Effective counterpoint requires rhythmically independent voices that each function as standalone melodies

Counterpoint is the combination of two or more independent melodic lines. The conditions for it to work: (1) rhythmic independence — voices must not move together, or the ear hears vertical chords rather than horizontal lines; (2) contrary motion — voices should generally move in opposite directions; (3) range separation — avoiding frequent voice crossings preserves each line’s identity; (4) each voice must be melodically satisfying alone. The Boards of Canada track ‘Roygbiv’ demonstrates electronic counterpoint: the bass line is so melodically complete that it sounds like the melody until the actual melody enters.

Examples

Write a 4-bar bass line that is melodically interesting enough to stand alone as the main voice. Then write a complementary melody that moves largely in contrary motion to the bass and rests when the bass moves.

Assessment

Compose two 4-bar melodic lines independently, then layer them. Do they create counterpoint or just chords? Apply the three tests: are they rhythmically independent, do they move in contrary motion, do they maintain their identities when stacked?