Countermelody and counter-vocal

Definition

A countermelody is a second melodic line, independent and recognizable, that sounds together with the main melody without competing with it. The counter-vocal (controcanto) is the same thing assigned to a voice (often in backing vocals or between the lead voice and a second voice). It differs from harmonization (a voice following the melody at a fixed distance) because it has its own rhythm and contour. The roots lie in counterpoint (Fux, first species): contrary motion, complementary rhythms, consonances on strong beats.

The principles

Complementary rhythm: when the melody moves, the countermelody stays still or moves little; when the melody holds a long note or rests, the countermelody moves. This is the most important principle.
Contrary or oblique motion: if the melody rises, the countermelody descends or stays still.
Separate register: at least a third or a sixth of average distance, better in a different register (melody in C4–C5, countermelody in C5–G5 or in C3–G3).
Different timbre: cello under a voice, flute above a piano, synth pluck under a female voice.
Consonances on strong beats: thirds, sixths, octaves and fifths with the melody on beats 1 and 3; passing dissonances on weak beats.
Guide tones as a skeleton: a simple countermelody is built by connecting the thirds and sevenths of the chords (see Guide tone lines).

Example over C–Am–F–G (I–vi–IV–V)

Main melody (one long note per bar, hypothetical): E4 – E4 – F4 – D4.

Countermelody above, with contrary motion and chord tones:

C: G4 A4 B4 C5 (rises while the melody is still)
Am: C5 (long note)
F: A4 G4 F4 (descends)
G: B4 (leading tone, held)

Countermelody below (cello), on the guide tones: E3 (3 of C) – C3 (3 of Am) – A2 (3 of F) – B2 (3 of G): each note moves a little up or down and is always the third of the chord.

Where to use it

Last chorus: adding a countermelody (strings, backing vocals, synth) makes the chorus feel “bigger” without changing melody or chords.
Second verse: a discreet line (melodic pad, guitar) avoids exact repetition of the first verse.
Outro: vocal counter-line over the repeated chorus.
Interlocking two themes: in film music and musical theater two already presented themes are superimposed (quodlibet).

Use in real songs

Simon & Garfunkel — Scarborough Fair/Canticle (1966): the “Canticle” is a counter-vocal with different lyrics over the traditional melody.
John Philip Sousa — The Stars and Stripes Forever (1896): the piccolo obbligato in the last trio is a classic example of a countermelody over the theme.
Coldplay — Viva la Vida (2008): the strings create figures that answer the voice.
In musicals (Les Misérables, “One Day More”) several already known melodies are sung together.

Vocal countermelody in pop

In pop backing vocals the second voice often sings a counter-line in the last chorus, with long notes (“ooh,” “aah”) or with a lyric phrase that answers the main one. Keep the counter-vocal 2–4 dB under the lead in the mix and with a different timbre (more reverb, more filtered).

Common mistakes

Rhythm identical to the melody (it becomes a harmonization).
Same register and same timbre: the lines blur together.
A countermelody more interesting than the melody, placed under the voice during the verse: it distracts from the lyrics.
Parallel octaves and fifths with the melody: the two lines fuse and lose independence.

Practical exercise

Take the chorus of one of your songs. Write a countermelody for cello (register C3–G3) using only chord tones and contrary motion, which moves only when the voice holds a note. Then write a second one for flute an octave above the voice with long notes. Use the first in the second verse and the second in the last chorus.

First-species counterpoint, Guide tone lines, Call and response, Parallel vs independent harmonies, String arranging in pop.