countermelody


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countermelody

(ˈkaʊntəˌmɛlədɪ)
n, pl -dies
a secondary melody that accompanies the primary melody
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For example, I will play melody and bass line, or melody and figuration, or figuration and bass line, or figuration and countermelody.
In the first movement, examples include not only the elegiac statement of the English horn, already noted, but the same instrument's echo of the second theme over a string countermelody in the exposition (Fig.
This scene of silent disbelief seems to be a subtle countermelody to the bourgeois "Serate futuriste," theatrical happenings in which Futurist artists provoked the audience through their performances, instigating fights.
When joined by Licad's soft and delicate countermelody, something became immediately apparent-both artists, while consummate solo performers, were also two keen listeners who had developed an almost telepathic musical connection.
Tertiary would harmonies, chordal accompaniments, or a purely rhythmic idea against or underneath a theme or countermelody.
Some of the melodies I might be singing were crossing over into a countermelody, and I didn't have any experience doing that.
It took up the countermelody in fits; occasionally viola and cello would drop out entirely, while the two violins played intertwining melodies.
A slow, rising countermelody consisting of long sustained notes on the guitar played over the bass figure also adds to the sense of building suspense when it enters.
There was also an ensemble of five musicians on stage-left who played continually during the production, not background music but rather a score that functioned as something of a Greek chorus, commenting on the action, anticipating events, sometimes underscoring the dialogue, at other times offering an ironic countermelody.
Then, for the ensuing "poeme danse" the orchestra came up trumps with sinuous, writhing woodwind, strings voluptuously yearning and fluttering (the violins crowning the wonderful main theme with the most glorious rendering of its countermelody I have ever heard), percussion colourful and teasing.
And Mackerras nonchalantly demonstrates his thorough knowledge of Mozart's music by revealing unexpected pleasures to even the connoisseur: for instance, by emphasizing a poignant viola countermelody in "Sola, sola, in buio loco.
The poems are carefully crafted: stanzas are often self-enclosed, and their progress either turns an image on its head (as in the gently comical "Redeeming Myth in Inchicore') or complicates it, as when the speaker's mother, gathering clothes hung out to dry, is seen to pluck the strings of an instrument attuned to the pizzicato rain; a countermelody is played after her rush indoors by the father, "gathering close / the music she has left behind.