Counter-voice

What it means

A counter-voice (German Gegenstimme) is an independent line that is led alongside the main melody. Unlike a mere accompaniment it has its own melodic contour and its own rhythm; it complements the melody instead of merely supporting it. In the fugue the related term countersubject designates that voice which is regularly set against the subject. In wind and choral music, counter-voice often means a line composed in addition to a familiar melody.

Musical use

The appeal of a good counter-voice lies in its relation to the melody: it moves where the main voice rests and steps back where the latter moves; the two complement each other into a continuous flow. This principle is the basis of counterpoint. A counter-voice can also clarify the harmony by adding notes that are missing in the melody. In the practice of congregational and wind music, counter-voices are set to chorales to enliven an otherwise uniform stanzaic singing.

Counter-voices are found in chorales, song settings, and arrangements. In jazz one speaks of counterlines that give the melody a second level without covering it.

Performance practice

Do not play a counter-voice too restrained, but not as a second melody either: it should be audible and yet not cover the main voice. Check where the lines cross or lie close together, and adapt the volume there. Bring out the places where your voice leads because the melody rests. Practise first together with the main voice, not alone, so that the relation of the lines is clear from the start. Watch the intonation, especially in parallel thirds and sixths.

Bear in mind that a counter-voice often comes to the fore when the melody rests: mark these places and shape them instead of playing evenly throughout. In wind music, counter-voices are often set to chorales; take care not to cover the melody.

Check whether the counter-voice was supplied in editions, because such additions are widespread in wind literature.