59:
210:
201:
712:
945:
60:
211:
34:
162:
with the marks "H" and "N". When the "primary voice" ends in one instrument/staff/part, it may be marked with a closing bracket (such as ๐จ) at the point where it passes to another instrument/staff/part.
330:
889:
579:
133:
is the secondary part; i.e., a secondary contrapuntal or melodic part, always occurring simultaneously with, and subsidiary to, the
636:
408:
277:
in that whereas the harmony part typically lacks its own independent musical line, a countermelody is a distinct melodic line.
566:
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33:
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974:
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355:
882:
984:
914:
49:
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329:
875:
242:
with the primary melody. A counter-melody performs a subordinate role, and is typically heard in a
336:
27:
964:
622:
200:
969:
324:
139:. The practice of marking the primary voice within the musical score/parts was invented by
26:"Hauptsatz" redirects here. For the theorem about cut-elimination in sequent calculus, see
8:
258:
234:, perceived as a melody, written to be played simultaneously with a more prominent lead
934:
653:
583:
601:
562:
541:
517:
509:
493:
476:
452:
432:
147:
140:
492:
Gardner Read (1979). "Music
Notation: A Manual of Modern Practice" 2nd ed., p. 283.
158:, but are not uncommon in scores for string quartet. They are commonly indicated in
898:
841:
403:
270:
979:
681:
661:
533:
471:
243:
909:
856:
828:
793:
783:
773:
768:
686:
262:
195:
180:
In a footnote to a musical score, Schoenberg wrote, "The human voice is always
174:
958:
851:
798:
778:
756:
751:
691:
676:
645:
305:
274:
247:
167:
354:, the Hauptstimme, Nebenstimme, and closing bracket symbols are part of the
818:
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746:
726:
451:(1979). "Music Notation: A Manual of Modern Practice" 2nd ed., p. 282-283.
448:
309:
239:
231:
155:
100:
96:
836:
761:
666:
254:
159:
53:
736:
701:
320:
151:
846:
803:
808:
741:
731:
671:
580:"U.S. Army Bands in History: Civilian Bands Replace Military Bands"
253:
In marches, the counter melody is often given to the trombones or
205:
929:
351:
261:
is credited with this innovation in 1876.) The more formal term
104:
614:
924:
302:
235:
92:
696:
266:
867:
813:
20:
335:
Audio playback is not supported in your browser. You can
166:
Further contrapuntal lines or material may be considered
711:
265:
applies to a secondary or subordinate melodic idea in a
944:
561:
Vol. 1, p.138. Seventh edition. Boston: McGraw-Hill.
512:; Brand, Juliane; and Hailey, Christopher (1991).
173:Other examples of the terms' use include lead and
557:Benward, Bruce, and Marilyn Nadine Saker (2009).
956:
468:Bryn-Julson, Phyllis and Mathews, Paul (2009).
883:
630:
107:line of primary importance, in opposition to
19:"๐ฆ" redirects here. Not to be confused with
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181:
134:
127:
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109:
85:
73:
43:
37:
890:
876:
637:
623:
199:
32:
514:Alban Berg, Master of the Smallest Link
409:Traditional sub-Saharan African harmony
204:Primary and secondary melody in Bach's
16:Main voice within a musical composition
957:
48:(viola) marked in Arnold Schoenberg's
871:
618:
391:U+1D1A8 MUSICAL SYMBOL END OF STIMME
271:barbershop quartet-style harmony part
383:U+1D1A7 MUSICAL SYMBOL NEBENSTIMME
375:U+1D1A6 MUSICAL SYMBOL HAUPTSTIMME
13:
14:
996:
644:
269:. A countermelody differs from a
189:
943:
710:
280:
146:The terms are used primarily by
238:: a secondary melody played in
590:
572:
551:
527:
503:
486:
462:
442:
421:
1:
345:
177:, melody and counter-melody.
897:
596:Hailey, Christopher (2010).
559:Music in Theory and Practice
332:
246:consisting of a melody plus
7:
429:Schoenberg's Serial Odyssey
397:
10:
1001:
414:
358:and are coded as follows:
193:
25:
18:
941:
905:
827:
719:
708:
652:
975:German words and phrases
598:Alban Berg and His World
538:The Composer's Advocate
337:download the audio file
28:Cut-elimination theorem
296:
288:
219:
182:
135:
128:
117:
110:
86:
74:
68:
44:
38:
720:Techniques and styles
427:Haimo, Ethan (1990).
367:Official designation
203:
50:Fourth String Quartet
36:
985:Musical terminology
654:Musical instruments
259:David Wallis Reeves
257:(American composer
230:) is a sequence of
42:(first violin) and
510:Adorno, Theodor W.
220:
69:
952:
951:
865:
864:
586:on July 21, 2007.
567:978-0-07-310188-0
546:978-0-300-02887-4
522:978-0-521-33884-4
481:978-0-8108-6205-0
395:
394:
341:
148:Arnold Schoenberg
141:Arnold Schoenberg
992:
947:
892:
885:
878:
869:
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842:Musical ensemble
714:
639:
632:
625:
616:
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609:
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587:
582:. Archived from
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534:Leinsdorf, Erich
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501:
500:, 0-8008-5453-5.
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404:Parallel harmony
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325:Chamber Concerto
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948:
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829:Music ensembles
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715:
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682:Electric guitar
662:Acoustic guitar
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595:
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578:
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556:
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532:
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508:
504:
491:
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472:Pierrot Lunaire
467:
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356:Musical Symbols
348:
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283:
212:
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123:secondary voice
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31:
24:
17:
12:
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5:
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917:
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863:
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859:
857:Rhythm section
854:
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816:
811:
806:
801:
796:
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774:Counter-melody
771:
766:
765:
764:
759:
749:
747:Basso continuo
744:
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729:
723:
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687:Electric piano
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263:countersubject
224:counter-melody
196:Counter-melody
194:Main article:
191:
190:Counter-melody
188:
175:back up vocals
160:musical scores
15:
9:
6:
4:
3:
2:
997:
986:
983:
981:
978:
976:
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965:Accompaniment
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852:Pit orchestra
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799:Harmonization
797:
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772:
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757:Triadic chord
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692:Hammond organ
690:
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685:
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678:
677:Electric bass
675:
673:
670:
668:
665:
663:
660:
659:
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651:
647:
646:Accompaniment
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606:9781400836475
603:
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498:0-8008-5459-4
495:
489:
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478:
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457:0-8008-5459-4
454:
450:
445:
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437:0-19-816352-5
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338:
328:
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317:Hauptrhythmus
313:
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307:
304:
300:
298:
297:Hauptrhythmen
292:
290:
289:Hauptrhythmus
281:Hauptrhythmus
278:
276:
275:backup singer
272:
268:
264:
260:
256:
251:
249:
248:accompaniment
245:
241:
237:
233:
229:
228:countermelody
225:
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202:
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187:
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168:accompaniment
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81:primary voice
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56: 27โ31.
55:
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46:
40:
35:
29:
22:
970:Counterpoint
919:
727:Alberti bass
600:, p.213-14.
597:
592:
584:the original
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469:
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449:Gardner Read
444:
428:
423:
349:
316:
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286:
284:
252:
240:counterpoint
227:
223:
222:In music, a
221:
179:
172:
165:
156:Anton Webern
145:
126:
122:
121:(German for
108:
101:contrapuntal
99:; i.e., the
91:is the main
84:
80:
79:(German for
72:
70:
920:Hauptstimme
837:Backup band
762:Power chord
667:Double bass
183:Hauptstimme
136:Hauptstimme
118:Nebenstimme
111:Nebenstimme
75:Hauptstimme
45:Nebenstimme
39:Hauptstimme
959:Categories
935:Sotto voce
915:Fortepiano
784:Figuration
737:Banjo roll
702:Pipe organ
540:, p. 179.
346:In Unicode
321:Alban Berg
273:sung by a
152:Alban Berg
129:Seitensatz
71:In music,
847:Orchestra
804:Obbligato
516:, p. 97.
475:, p. 24.
431:, p. 38.
364:Character
87:Hauptsatz
899:Dynamics
809:Ostinato
742:Bassline
732:Arpeggio
672:Drum kit
536:(1982).
398:See also
303:rhythmic
293:(plural
206:BWV 1079
95:, chief
930:Pensato
769:Comping
470:Inside
415:Sources
352:Unicode
301:) is a
244:texture
226:(often
105:melodic
980:Melody
925:Niente
910:Accent
794:Groove
604:
565:
544:
520:
496:
479:
455:
435:
236:melody
154:, and
779:Drone
752:Chord
697:Piano
306:motif
267:fugue
255:horns
232:notes
125:) or
93:voice
83:) or
819:Vamp
814:Riff
789:Fill
602:ISBN
563:ISBN
542:ISBN
518:ISBN
494:ISBN
477:ISBN
453:ISBN
433:ISBN
327:is:
315:The
310:cell
213:Play
97:part
62:Play
350:In
323:'s
319:of
308:or
186:."
103:or
54:mm.
961::
388:๐จ
380:๐ง
372:๐ฆ
312:.
285:A
250:.
170:.
150:,
143:.
115:.
52:,
891:e
884:t
877:v
638:e
631:t
624:v
608:.
569:.
548:.
524:.
483:.
439:.
339:.
30:.
23:.
21:าค
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