Principles of Orchestration - Counterpoint

ALL IT TAKES IS ONE - Counterpoint with Melody and Core

All right! Now the fun stuff. Counterpoint!

Now, for anyone who's thinking in terms of traditional countepoint that one would learn in Music Theory, this only barely even qualifies as the same thing.

Here's Merriam-Webster on it:
1 a: one or more independent melodies added above or below a given melody b: the combination of two or more independent melodies into a single harmonic texture in which each retains its linear character : polyphony
2 a: a complementing or contrasting item : opposite b: use of contrast or interplay of elements in a work of art (as a drama)

Combine these two definitions -throwing some of it out - and you basically have what I mean as counterpoint. But pretty much any and all harmonic rules you might learn in a theory class -- throw 'em out! Not to say you can't follow them if you'd like. They just aren't requisite to my orchestrating theory.

A counterpoint building block is simply a part that is contrasting rhythmically with the melodic (or other) building block(s). It doesn't have to be melodic or maintain it's linear character (as per m-w above.) It only needs to be independent rhythmically.

Based on this theory, the core that I posted would also be a counterpoint. Yes! But it's the MAIN rhythm and the foundation of the rhythm and/or the core of the harmonies...so I consider it a different building block. The counterpoint building block is more secondary. It adds character and texture.

But this is the fun part:

Any building block can have counterpoint added to it. That INCLUDES the counterpoint building block. You build counterpoint to the melody, counterpoint to the core, counterpoint to the counterpoints, and even counterpoint to the fills -- all as needed and artistically valuable to you.

Decision making comes into play big time here (as will all parts or orchestrating.) How many counterpoints should you use? There's no right answer. Zero is okay. So is twenty. It depends on the piece, the intent, and frankly, on your own sense of what works and what doesn't.

What about working out the harmonies within the counterpoint? Well, you can work it out mathmatically (like in theory class) or you can use your ear (particularly if you have sampled sounds and a sequencer) or maybe you're just a prodigy and can just write them. The point is - that's beyond the scope of my orchestration theories. Like I said, good harmonic voice leading and whatnot is a seperate skill, that does come into play, but should really be learned seperately.

It can be a lot of fun to play around with offsetting the rhythms. I recommend letting go of any rules or training or preconceived ideas about it and just let it flow. You may end up with some junk...but you'll learn and grow from it and you'll also hit some really golden moments if by nothing more than sheer chance.

Here are the counterpoints for this piece seperated out a bit. Note that it gets a bit iffy as to what is and isn't counterpoint. Technically, everything but the melody block (since I include any harmonies that follow the same rhythm therein) is a counterpoint...so that includes the core and the fills (fills discussed next time.) And...as you'll note, some instruments can be on the melody, but then leave it for a counterpoint for a bit and then return.

ALL IT TAKES IS ONE - Counterpoint #1
ALL IT TAKES IS ONE - Counterpoint #2
ALL IT TAKES IS ONE - Counterpoint #3
ALL IT TAKES IS ONE - Counterpoint #4

ALL IT TAKES IS ONE - Counterpoint with Melody and Core