UP FRONT - Section 5: Scoring and Arranging for the Pit
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Composing Countermelodies
Unlike comping sections, countermelodies should draw attention. In fact, they should draw as much attention as the main melody. For this reason it’s very important to consider where you insert countermelodies and how you score them. This is best coordinated with the wind arranger. Together, make sure you leave some space for the pit to interact with the winds. The pit should have their fair share of melodic and countermelodic material from the original score. Of course, there are always opportunities to create your own melodic passages. It’s difficult to outline the creative process, particularly when composing original material. Often the ideas come from listening to the original music and experimenting by singing new lines, or you may take a more studied approach. Here, your first step is a harmonic analysis of the wind parts. Oftentimes it’s best to have your counter melodies start on or work around different chord tones than the main melody. This will help to bring them through the texture a little better and provide a more interesting harmonic effect overall. The next step is to think of what rhythm works best. Try to counteract a busy melody with a very simple countermelody or vice versa. Once again, this kind of contrast helps to bring out the voices. Also, take time to consider the shape of the line. Should the line ascend when the main melody descends (again, contrast) or should it mimic the shape of the main melody.
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