I didn’t contribute because I’m not a musicologist; “eyes two
stewpid," to attempt a contribution. However, I can read
music and now understand those terms because of the examples
provided by all of your contributions.

I’m curious now about the musical term referred to as counterpoint
melody. Is it the same thing as contrapuntal melody? I thought that
it meant that a different, unique melody is played against a main
melody and that both harmoniously fit together. An example I’m
thinking of is in Goldsmith’s Hour of the Gun. Towards the end,
a single trumpet plays a higher note melody against the main theme.
It seems to enrich the basic theme. Am I close? I would also
appreciate a few soundtrack and specific cue suggestions to listen
to, as I’m probably more of an “ears-on” learner. Thanks for
any suggestions.
[This message has been edited by joan hue (edited 03 December 2000).]

I think that this can also be found in 100 RIFLES, CAPRICORN ONE, and SLEEPING WITH THE ENEMY. I've never heard HOUR OF THE GUN (DARN IT!!!), so I'm not sure exactly about what you're mentioning. I hope I've summed it up well.

I think TOTAL RECALL has some degree of polyphonism to indicate the confused state of mind as a theme in that film, but I'm not positive here.

DH

[This message has been edited by Dan Hobgood (edited 03 December 2000).]

In Empire Strikes Back, when Luke destroys the walker, Williams uses either the main theme or the Force theme (I forgot which one) as it's own counterpoint, i.e. one group of instruments starts it, and a bit later, before it is over, another group does, too.

Yet another example: The end credits of Indiana Jones and the Temple of Doom.

as soon as the monks stuck a second and thirrd voice on top of their chants, thus was born polyphony and counterpoint.

JS Bach I think was the absolute master of counterpoint.

not really terribly well-versed on it myself.

Night Crossing "Final Flight"
when freedom theme meets the escape theme.
one of my most loved pieces

Andy
*even thinking of that music makes goosebumps*

Herrmann's Hitchcock main titles were the same way, aside from not having a basis in melody.

But, anyhow....

Dan

Elfman's score displayed everything that counterpoint should be.

It would be easy for him to step into "schmalz" terrain every time the visuals swelled (the flashbacks to Africa, for example). Instead he "hints" at a romantic string melody while layering the score with offbeat rhythms, cool percussion effects and most importantly a somber countermelody that seems to contrast with what is happening onscreen. The end result is a beautifully paradoxical "sound image" that gives the film a quality it would not otherwise have had.

Dean.