The moment the audience came in with the countermelody will live in my heart forever.
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An intricately expressive countermelody floats high into the piano's upper register, adorned with Chopinesque curlicues.
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Each verse layers on another instrument, a countermelody, an electronic effect, dabs of backup vocals.
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This note here, and this one, this joyful countermelody, her second violin harmony, the collective intangible, the audible agreement.
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It changes — holding down the chords, with all the vocal parts he could layer atop it: melody, harmony, countermelody, commentary.
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Rob Turner's drumming seesaws between hip-hop and jazz, while much, but by no means all, of the piano's melody and countermelody are stated and repeated.
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It comes with dynastic approval: their son, Sean Ono Lennon, plays guitar and sings the countermelody — "War is over/if you want it" — by Cyrus's side.
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In his work with the actors, Mr. Leon emphasizes the moments when that melody and countermelody intersect in questions of privilege and prejudice, even among lovers.
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Tasleema also says her voice is prominently featured in a countermelody, which she sang in her higher register ... and she says can be heard throughout the song's chorus.
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Yet as he complains, the instruments are working desperately to please, their sounds swarming around him: multiple varieties of handclaps, little ribbons of countermelody, tones that hover and undulate, quiver and plink.
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He might drop a chord of dewdrop sensitivity into the middle of a passage of heavily percussive playing; he might change the hue of a comrade's solo by suggesting a subtle countermelody underneath.
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A verse or two later, Mr. Fraites sprinkles on a few piano notes and bass-drum thumps, and as they start to egg each other on, the cello sneaks in with a bass line or a countermelody.
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But the track has its own mandate, and it's too kinetic to sulk; behind Ms. Wasner's voice, a fast odd-meter (7/4) beat and a racing synthesizer loop are poked and teased by electric guitar and a wavery synthesizer countermelody.
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"I added just a few details to the lyrics, mostly cinematic directions to change the point of view, and a countermelody, in which the words of an unsympathetic chorus of onlookers could be heard," he explained in his 2015 memoir, Unfaithful Music and Disappearing Ink.
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" A tabla rhythm track, a distant countermelody and men singing rhythmic syllables all raise the tension behind Ms. Cabello's breathless voice carrying a modal melody and fragmentary lyrics: "A kingdom that is mineOh me oh my, the way you always serpentineThink it's timeI'm running for the crown.
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The new album's earthy quiet blesses "True Love Waits" with its most breathless recorded incarnation—a skeletal, deconstructed piano chord fleshed out by bass notes and a splatter of countermelody—and in return, the threadbare directness of the lyric sharpens A Moon Shaped Pool's stark meditations on love to a point, lifting it to the pantheon of great Radiohead closers.
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I wish I could tell you who takes the first violin break on their old "Clejani Love Song," a 20-second countermelody that sums up their collective pizzazz so irresistibly that all three violinists join in when it comes around again, and again, only to change it up around the seven-minute mark, and that ain't all—the track clocks in at 11:11.
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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. The more formal term countersubject applies to a secondary or subordinate melodic idea in a fugue. A countermelody differs from a 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.
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The Grammy Museum, which opened in Los Angeles in December 2008, acknowledged Marroquin's musical achievement with its mixing exhibit. The interactive exhibit allowed players to mix a track under the guidance of Marroquin.Culture plays countermelody at new Grammy Museum. USA Today.
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The vocals are provided by Agnetha and Frida. The song has a "catchy bass synth riff" in the chorus. An "innovative vocal countermelody" in these choruses marks the start of a "steady rise in complexity when it came to vocal arrangements".
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Allmusic calls "This Love" "an utterly charming dance- rock confection that, in its last minute, abruptly unleashes a euphoric synthesizer countermelody whose nod to a-ha's 'Take On Me' is unmissable."[ allmusic review of album Hook Me Up] The song is synth based with an 808 based drum beat.
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One contemporary usage, however, is that by Erik Satie in the third movement of "Embryons desséchés" ("Desiccated Embryos"), where the obbligato consists of around twenty F-major chords played at fortissimo (this is satirising Beethoven's symphonic style). The term is also used with an entirely different meaning, signifying a countermelody.
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The latter was developed by English instrument maker William Bainbridge, resulting in the "improved English flageolet" in 1803. There are also double and triple flageolets, having two or three bodies that allowed for a drone and countermelody. Flageolets were made until the 19th century. Flageolets have varied greatly during the last 400 years.
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The South is represented by the famous piccolo obligato, and the West by the bold countermelody of the trombones. The three come together in the climax, representing the Union itself.Paul E. Bierley, The Works of John Philip Sousa (Westerville, Ohio: Integrity Press, 1984), p. 43, as cited in "The Stars and Stripes Forever" (1896).
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In modern days, classical Burmese chamber music is accompanied by either the pattala or the saung (the Burmese harp), both of which are capable of performing a harmonic countermelody. The pattala is also a key instrument in the Burmese ensemble orchestra, the hsaing waing. The pattala is also prominently featured in Burmese drama, anyeint.
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Eventually the soloist plays a countermelody against the processional music. The movement ends with the soloist playing a very high and loud note until his air is gone. Then he sucks in with a deathly sound and begins the next movement. Movement four is based on the sounds of aboriginal tribes and the desert of Australia.
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"The Songs of Richard Faith." The NATS Journal, Sept/Oct, 1994 Because Faith himself is an award-winning pianist, many of the songs have sophisticated accompaniments. Sometimes the piano doubles the voice, though hardly ever through an entire piece. At other times the piano will play a countermelody to the voice to form a kind of obbligato.
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"She's a Woman" is the first Beatles song that is longer than three minutes. The structure of the song is fairly simple, with the melody carried mostly by McCartney's voice. His bass and a backing piano produce a countermelody, with Lennon's guitar playing chords on the backbeat. After the first verse, the piano also plays chords on the upbeats.
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In addition, musicologist Walter Everett highlights the subtle use of piano in the musical arrangement; played as an electric guitar motif by Harrison on initial takes of the song, this part provides a countermelody during the verses. The timpani and piano (the latter played by McCartney) were overdubbed onto take 9, along with a guitar intro.
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" Powers claimed that "the best moments of this album are those when vintage Blur styles are evoked with new expertise. The meandering "Good Song" is a beautiful case in point. Acoustic guitar picking is matched with temperate drums and a sweet, steady bass countermelody. Albarn's singing is mostly in his mid-range, falling out as easily as breath.
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This briefly exchanges with a cello countermelody. When the violin and viola soar to an unexpectedly high register, the piano interrupts by playing an explosive broken dominant seventh chord. The strings respond by a piano, homophonic, homorythmic theme to be played mezza voce (medium voice). This idea is taken directly from the opening string theme of the first movement.
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"The Luck of the Irish" uses a folk-like melody. At the time, Lennon and Ono believed that the simplicity of a folk melody would encourage audience participation and help engage the audience in their protest. Music critic Johnny Rogan describes it as having a "waltztime arrangement." A flute played by Stan Bronstein provides a countermelody to the vocal part.
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Ivan Goff, who had been a guest on several tours before Tom Doorley's retirement, became the full-time flute player for the band following his retirement. An accomplished Uileann piper, flute and whistle player from Dublin, Goff is based in Brooklyn, New York. Éamon Doorley plays bouzouki and fiddle, and is the younger brother of Tom Doorley. His bouzouki playing has a strong emphasis on countermelody.
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Boston: McGraw-Hill. . 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. In other words, it is a secondary melody played in counterpoint with the primary melody. A counter- melody performs a subordinate role, and it is typically heard in a texture consisting of a melody plus accompaniment.
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The chorus of One Man, One Woman Anni-Frid Lyngstad sang the lead vocals. The instruments used in the song are piano, synths, and strings. The piano is used to add a colourful countermelody to the vocal pauses in the chorus, a similar technique to the "descending double-octave riff" used in "Dancing Queen." The synth is used in a "chord-per-bar" fashion throughout the verses, and strings take over in the chorus.
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In some songs or styles of music, instruments from the rhythm section may play soloistic roles on occasion (e.g., improvised guitar solos or solo breaks) or play a melodic role (e.g., a rhythm guitarist may play a lyrical countermelody behind a singer or a melodic intro line before the lead vocalist starts to sing). Since rhythm sections generally provide the background music for lead instruments and solo singers, rhythm sections are typically not as prominent as a singer or soloist.
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"Without Her" is a song written and recorded by American singer-songwriter Harry Nilsson, released on his 1967 album Pandemonium Shadow Show. The song, a Baroque pop single, is played with cello and a countermelody performed on a flute, based on only about a half of dozen chords. One of Nilsson's first hits (although a minor one), it explains the sadness and melancholy of spending a day without the loved one, when the person has gone from you. Despite the melancholic theme, the song is described as a joyous song, too.
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Perti was highly regarded for his sacred music and his operas. Of the operas, few remain of the original twenty- six. Perti maintained in his Op. 1 that he was influenced by the melodic style of Francesco Cavalli, Antonio Cesti, and Luigi Rossi; however he shows considerable originality in instrumentation, use of dialogue and countermelody. His output of sacred music was even more remarkable: he wrote 120 psalm settings, for one voice, chorus, basso continuo, and various other instruments; 54 motets, for similar forces; 28 masses; 83 versetti and other liturgical works.
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"The Boy Is Mine" was written by Brandy Norwood, LaShawn Daniels, Japhe Tejeda, Fred Jerkins III, and his brother Rodney "Darkchild" Jerkins. Musically, the song has been described as "R&B-pop.;" Written in thirty-two-bar form, "The Boy Is Mine" starts off with a twinkling yet stormy synthesized harp line, produced through the harp setting of a keyboard. When the two protagonists initiate a conversation that depicts their first meeting as rivals, the track adds a pulsing beat and a countermelody of cello strings before the chorus kicks in.
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The song is notable for drummer Joey Kramer's 1-2-1-2 lead beat in the beginning of the song, Joe Perry's slide guitar, and a horn section arranged by Tom Keenlyside. The song is in B minor. The melody and lyrics to the second verse are based on the vocal countermelody of the Rolling Stones' cover of Hank Snow's "I'm Movin' On" that appears on Got Live If You Want It! in which Keith Richards sings "Yes I'm movin'" in response to Mick Jagger singing "I'm movin' on".
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Arrangements of Mulligan's work with Krupa include "Birdhouse", "Disc Jockey Jump" and an arrangement of "How High the Moon", quoting Charlie Parker's "Ornithology" as a countermelody. Mulligan next began arranging for the Claude Thornhill Orchestra, occasionally sitting in as a member of the reed section. Thornhill's arranging staff included Gil Evans, whom Mulligan had met while working with the Krupa band. Mulligan eventually began living with Evans, at the time that Evans' apartment on West 55th Street became a regular hangout for a number of jazz musicians working on creating a new jazz idiom.
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Porter was able to create for Orbison his trademark sound, with background vocals brought nearer the foreground, beginning with "Only the Lonely". For that session, Porter discarded his standard mix style of building up from a foundation of percussion, and instead used the vocal countermelody as the foreground sound, and built the other sounds below and around it, leaving the percussion almost inaudible. The song's success cemented this mix style as Orbison's sound. Other Orbison hits recorded for Monument at RCA Nashville were "It's Over", "Running Scared" and "Oh, Pretty Woman".
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" In addition to inspiring the title, Langhorne also played the electric guitar countermelody in the song, the only musician to play on the song besides Dylan. A surrealist work heavily influenced by Arthur Rimbaud (most notably for the "magic swirlin' ship" evoked in the lyrics), Heylin hailed it as a leap "beyond the boundaries of folk song once and for all, with one of [Dylan's] most inventive and original melodies." Riley describes "Mr. Tambourine Man" as "Dylan's pied-piper anthem of creative living and open-mindedness … a lot of these lines are evocative without holding up to logic, even though they ring worldly.
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It was also the first song in the band's catalogue which includes both of the band's singers prominently (at different times). Lead singer Dave Gahan sings the lead vocals on the verses, while main songwriter Martin Gore sings the lead vocals on the chorus with backing from Alan Wilder. When the song has been performed live, the chorus has been sung by all of the band's members except Gahan, as it appeared in the video for the single. Many live versions of the song also feature Alan Wilder singing countermelody to Dave Gahan during the second verse (repeating the word "The Graph" after each line).
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In addition to inspiring the title character of "Mr. Tambourine Man", Langhorne played the electric guitar countermelody on the song. His guitar is also prominent on several other songs on Dylan's Bringing It All Back Home album, particularly "Love Minus Zero/No Limit" and "She Belongs to Me"; he also played the lead guitar parts on "Subterranean Homesick Blues", "Outlaw Blues", "Bob Dylan's 115th Dream" and "Maggie's Farm". He also played the guitar for Dylan's television performances of "It's Alright Ma (I'm Only Bleeding)" and "It's All Over Now, Baby Blue" on The Les Crane Show in February 1965, a month after the Bringing It All Back Home sessions.
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The following day, McCartney added piano over the end portion of the song and, according to Beatles historian Mark Lewisohn, a brief snippet of flugelhorn. Music journalist Robert Fontenot says that although some commentators list this sound as a flugelhorn, it is in fact Harrison's lead guitar, played on his Gibson Les Paul. Over the fourth verse and ending, the song's musical arrangement includes an extended drum fill by McCartney, which author Jonathan Gould describes as a "ten-bar drum solo", and an ascending countermelody played in two octaves by Harrison. In the opinion of author Ian MacDonald, the "richest ingredient" in the arrangement is Harrison's "Indian"-style guitar parts.
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Carl Carlton recorded "Everlasting Love" in October 1973 at the Berry Hill (Tenn) studio Creative Workshop, which was owned by Buzz Cason; however, Cason was not involved in the recording of Carlton's version - the singer had himself chosen to record "Everlasting Love", which he knew via the version on David Ruffin's 1969 album My Whole World Ended. Produced by Papa Don Schroeder and Tommy Cogbill, Carlton's cover features Hayward Bishop on drums and percussion, Cogbill on bass, and Reggie Young on guitar. The recording was engineered by Travis Turk. The track features a distinctive countermelody running through most of the song consisting of background vocal harmonies.
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This format is popular with new bands, as there are only two instruments that need tuning, the melody and chords formula prevalent with their material is easy to learn, four members are commonplace to work with, the roles are clearly defined and generally are: instrumental melody line, rhythm section which plays the chords or countermelody, and vocals on top. In some early rock bands, keyboardists were used, performing on piano (e.g. the Seeds and the Doors) with a guitarist, singer, drummer and keyboardist. Some bands will have a guitarist, bassist, drummer, and keyboard player (for example, Talking Heads, Gerry and the Pacemakers, Small Faces, King Crimson, the Guess Who, Pink Floyd, Queen, Coldplay, the Killers and Blind Faith).
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A master take of "If You Gotta Go, Go Now" was also selected, but it would not be included on the album; instead, it was issued as a single-only release in Europe, but not in the US or the UK. Though Dylan was able to record electric versions of virtually every song included on the final album, he apparently never intended Bringing It All Back Home to be completely electric. As a result, roughly half of the finished album would feature full electric band arrangements while the other half consisted of solo acoustic performances, sometimes accompanied by Langhorne, who would embellish Dylan's acoustic performance with a countermelody on his electric guitar.
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Another version of "Happy and Go-Lucky ..." was recorded a few months later by The Happiness Boys, who extended Murray's arrangement by quoting "My Old Kentucky Home" as a countermelody not just in the finale, but also in other parts of the song. That version was issued on Federal Records 5376 (the company not to be confused with the Cincinnati-based Federal Records that operated in the 1950s). It was also issued on Sears, Roebuck's Silvertone label, with catalog number 2376. An earlier recording by Murray, 1915's "We'll Have a Jubilee in My Old Kentucky Home", takes the further step of incorporating a portion of Foster's melody (but not his lyrics) into each chorus.
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While uilleann pipes may use their drones and chanters to provide harmonic backup, and fiddlers often use double stops in their playing, due to the importance placed on the melody in Irish music, harmony is typically kept simple or absent. Usually, instruments are played in strict unison, always following the leading player. True counterpoint is mostly unknown to traditional music, although a form of improvised "countermelody" is often used in the accompaniments of bouzouki and guitar players. In contrast to many kinds of western folk music, there are no set chord progressions to tunes; many accompanyists use power chords to let the melody define the tonality or use partial chords in combination with ringing drone strings to emphasize the tonal center.
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"I was so nervous I couldn't sing", he told journalist Ray Connolly, "but I like the lyrics." According to author Ian MacDonald, in a scenario similar to Lennon's disappointment with "Strawberry Fields Forever", Lennon most likely rued the loss of "sentimental gentleness" he had envisaged for the piece, and, overly passive to his songwriting partner's suggestions, allowed the arrangement to become dominated by McCartney's "glittering countermelody". MacDonald views the bridge portions as the "most effective" sections, through their subtle use of harmonised drone and "featherweight bass", and bemoans the reversion to "clodhopping ... three-chord 4/4 rock" over the choruses. He concludes by saying that the track "succeed[s] more as a glamorous production (voice and guitar through the Leslie cabinet; echo and varispeed on everything) than as an integrated song".
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In classical music, orchestration (choosing the instruments of a large music ensemble such as an orchestra which will play the different parts of music, such as the melody, accompaniment, countermelody, bassline and so on) is typically done by the composer, but in musical theatre and in pop music, songwriters may hire an arranger to do the orchestration. In some cases, a pop or traditional songwriter may not use written notation at all and instead compose the song in their mind and then play, sing or record it from memory. In jazz and popular music, notable sound recordings by influential performers are given the weight that written or printed scores play in classical music. Although a musical composition often uses musical notation and has a single author, this is not always the case.
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In the second half of the verse, McCartney's bass begins a syncopated three-note pattern that leaves the downbeat empty, meanwhile his vocal is dropping to F an octave below (on "stops my mind"), climbing back to C ("from wandering") then sailing free of the song's established octave to a high falsetto A flat on "where it will go". George Harrison enters in the seventh and eighth measure with a syncopated distorted Stratocaster with gain, treble and bass all turned up high, providing a distinctive countermelody, double-tracked phrase descending from McCartney's high A vocal note through what author Jonathan Gould terms a "series of biting inversions on the tonic chord". Harrison later plays an eight-bar solo that culminates in a two-octave descent. McCartney, Lennon and Harrison sing backing vocals over the bridge.
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Elgar quotes Polish patriotic songs, the Polish National Anthem, and themes by Chopin and Paderewski, integrating with them a theme of his own, said to be the motive of his admiration for the Polish people. The first theme that Elgar uses is heard, after an introductory flourish, played by the bassoons. It is a quote from the Warszawianka, which has the words "Śmiało podnieśmy sztandar nasz w górę" ("Bravely let us raise our flag"). This is immediately followed by a Nobilmente theme (Elgar's own), broadly stated then dying away to lead to the second national theme which is the dignified "Chorał" or "Z dymem pożarów" ("With the smoke of fires"), first played simply by the cellos (with a cor anglais) and a harp, later by the woodwind with a violin countermelody, before being played by the full orchestra.
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John Fordham of The Guardian noted "It's Lovano's 21st album for Blue Note - and one of his freest, letting group relations go where they will. The melodies are full of character: the wheeling theme of the title track unfolds over a piano vamp, with an eerie, nursery rhyme-like motif as the countermelody... Lovano pulls no punches here, but his lyrical instincts are also strong; Folk Art remains as accessible as its title implies it ought to be". Ben Ratliff of The New York Times commented "“Folk Art” might be his woolliest album. It’s a bit out of focus, perhaps intentionally. Made with his new band, Us Five, it’s sketchy, groovy and a little burdensome. The album isn’t set up as a reference to any one composer, style or period, but we’re strangely deep into the early 1970s here".
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The Irish bouzouki has also become integrated into some other western European musical traditions over the past forty years. Popularly used in the music of Asturias, Galicia, Brittany, Spain, and even the Scandinavian countries (in fact, there is even now a new Nordic branch of the instrument, having been modified further to suit the unique requirements of those musics). The instrument's role is usually a combination of interwoven accompaniment (usually a mix of open-string drones, two note intervals, bass lines and countermelody) and melodic play. Instrumental arrangements by musicians such as Ale Möller from Sweden, Jamie McMenemy of the Breton group Kornog, Elias Garcia of the Asturian groups Tuenda and Llan de Cubel, and Ruben Bada of the Asturian group DRD, typify the complex admixture of melody and chordal accompaniment to be found amongst skilled continental players.
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When Lennon first played his demo for Phil Spector, the producer remarked that the song's opening line, "So this is Christmas…", was rhythmically identical to the 1961 single "I Love How You Love Me" by the Paris Sisters, which Spector himself had produced. At the recording studio, Lennon instructed the guitarists to incorporate mandolin- style riffs similar to the ones heard in "Try Some, Buy Some", a single that Spector and George Harrison had produced in February 1971 for his wife, Ronnie Spector, formerly of the Ronettes. Spector also included percussion instruments of the sort he used on the 1963 album A Christmas Gift for You. In addition to these reappropriated elements, the chords and melodic structure of "Happy Xmas (War Is Over)" are similar to the traditional English ballad "Skewball", but with a different rhythmic meter, subsequent modulations and a wholly new and different chorus countermelody.
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