Counter-melody

Primary and secondary melody in Bach's BWV 1079^[1]  Play 

In music, a counter-melody (often countermelody) is a sequence of notes, perceived as a melody, written to be played simultaneously with a more prominent lead melody: a secondary melody played in counterpoint with the primary melody. A counter-melody performs a subordinate role, and is typically heard in a texture consisting of a melody plus accompaniment.

In marches, the counter melody is often given to the trombones or horns (American composer David Wallis Reeves is credited with this innovation in 1876.^[2]) The more formal term countersubject applies to a secondary or subordinate melodic idea in a fugue. A countermelody differs from a barbershop quartet-style harmony part sung by a backup singer in that whereas the harmony part typically lacks its own independent musical line, a countermelody is a distinct melodic line.

See also

• Nebenstimme
• Parallel harmony
• Traditional sub-Saharan African harmony

References

1. Benward, Bruce, and Marilyn Nadine Saker (2009). Music in Theory and Practice Vol. 1, p.138. Seventh edition. Boston: McGraw-Hill. ISBN 978-0-07-310188-0.
2. "U.S. Army Bands in History: Civilian Bands Replace Military Bands". Archived from the original on July 21, 2007.