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Counterpoint CLASSICAL and CONTEMPORARY EXAMPLES https://www.attackmagazine.com/technique/passing-notes/counterpoint Counterpoint Counterpoint refers to the relationship between two or more distinct, independent melodies playing simultaneously, complementing each other. It is the ‘independent’ aspect of the melodies which separates the idea of counterpoint from that of accompaniment or harmony – the melodic parts involved in any ‘contrapuntal’ relationship are distinct melodies in their own right. Certain forms of counterpoint in classical music have often followed a number of rules relating to aspects of the melodies in question – such as which notes could be placed where in the phrase, how many notes one melody plays per each note of the other melody and the specific intervals that should (or should not) occur between the separate melodies. However, whilst some of these are often still adhered to in dance music, in this Passing Notes we aren’t going to focus on the ‘rules’, but rather on how we can apply a basic understanding of the concept of counterpoint melodies to electronic tracks. CLASSICAL AND CONTEMPORARY EXAMPLES Counterpoint has been employed in western music for well over 1,000 years. The first written examples appear in Musica enchiriadis , a Latin treatise on music published in the late 9th century, although it’s reasonable to assume that counterpoint had been employed even before then. Counterpoint appears in numerous movements of classical music, but the technique was notably employed in the baroque music of the late 17th and early 18th centuries; Johann Sebastian Bach’s compositions in particular provide countless examples. Let’s consider this performance of Bach’s Prelude and Fugue in A minor (BWV 543 ), written for church organ around 1708: Note how the layers of melody overlap and interact within the same key, creating harmonies as the piece progresses. What’s important to understand here is that the separate melodic lines aren’t simply playing identical patterns; this should be relatively easy to follow by watching the movement of organist John Scott Whiteley’s left and right hands. (At this stage it’s not necessary to understand the specific details of the interplay of these contrasting parts, but if you’d like to visualise the complexity of counterpoint with multiple voices of polyphony, Stephen Malinowski’s videos are a good starting point.) Although the melodies must contrast at any given time in the arrangement for it to be considered counterpoint, one of the most simple and effective ways of creating counterpoint is to duplicate a melodic line of, say, four bars but to separate the two identical melodies by a bar. Bach’s compositions regularly use this technique, in which a melodic line is echoed a bar or two later, occasionally in a different octave. The effect is similar to the ’round’ technique often employed when singing children’s nursery rhymes. Steve Reich’s Electric Counterpoint is an interesting contemporary example. Written for jazz guitarist Pat Metheny and first recorded in 1987, the minimalist piece is composed for 13 guitars. The piece can be performed live by an ensemble, or (as in Metheny’s case) as a solo guitarist playing over a pre-recorded multi-track tape of the other parts. We can hear in the third movement how the parts overlap: Reich has influenced many dance music producers ( Electric Counterpoint itself has been sampled by artists as diverse as The Orb and Nero ), but what’s interesting here is to consider how the techniques employed in Electric Counterpoint are commonplace in electronic music https://www.attackmagazine.com/technique/passing-notes/counterpoint regardless of whether Reich is a direct influence: multi-tracked monophonic parts, repetition, minimalism and the separation of elements by subtle differences in timbre are fundamental to so much contemporary electronic music. All four techniques can be used to good effect when we create our own counterpoint. LORN – ‘GHOSST’ Let’s take a more detailed look at a simple but effective use of counterpoint in Lorn’s track ‘Ghosst’, taken from his 2012 album Ask The Dust . At 0:48, while the bassline continues, a new lead melody line plays on top: Audio Player 00:00 00:00 Use Up/Down Arrow keys to increase or decrease volume. Audio Player 00:00 00:00 Use Up/Down Arrow keys to increase or decrease volume. Both these melodies clearly work well separately, but there are a number of things that work particularly well when we look at them together. Audio Player 00:00 00:00 Use Up/Down Arrow keys to increase or decrease volume. Firstly, we can see that when the phrase is repeated the second time, both melodies end on the root note of the scale, G. We can hear how this ‘unifies’ the two separate melodies, resolving together at the end. Secondly, looking at the melodies together, we can see that, with the exception of the last note, G, their trajectories move in opposite directions. This is a great example of ‘contrary motion’ which we discussed in a previous Passing Notes . COUNTERPOINT IN PRACTICE https://www.attackmagazine.com/technique/passing-notes/counterpoint Let’s take a further look at how counterpoint can be employed in practice. In the example below we’ve created a loop using some synth string chords and a simple piano melody on top: Audio Player 00:00 00:00 Use Up/Down Arrow keys to increase or decrease volume. In this second version of the loop, however, we’ve panned the first melody to the right. The second melody that comes in on top, panned to the left, works independently but also complements the original melody without simply harmonising every note. Audio Player 00:00 00:00 Use Up/Down Arrow keys to increase or decrease volume. Notice how in our example the melodies are panned to either side of the mix. We’ve also used a different piano sound for each part to help separate them further. Techniques such as these can obviously be useful for separation from a mixing perspective, as the two parts will share the same frequency range. Having different lines separated in this way (be it via panning, timbre or instrumentation) allows the melodies to operate distinctly as well as complementing each other. .
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