Editing Counterpoint (section)

==Examples from the repertoire==
There are many examples of song melodies that are harmonically interdependent yet independent in rhythm and melodic contour. For example, "[[Frère Jacques]]" and "[[Three Blind Mice]]" combine euphoniously when sung together. A number of popular songs that share the same [[chord progression]] can also be sung together as counterpoint. A well-known pair of examples is "[[My Way]]" combined with "[[Life on Mars (song)|Life on Mars]]".<ref>{{YouTube|id=nW0ACEOEq6w&t=1m45s|title="Life on Mars" and "My Way"}}, [[Ukulele Orchestra of Great Britain]]</ref>

[[Johann Sebastian Bach]] is revered as one of the greatest masters of counterpoint. For example, the harmony implied in the opening subject of the [[Fugue]] in [[G-sharp minor]] from Book II of ''[[the Well-Tempered Clavier]]'' is heard anew in a subtle way when a second voice is added. "The counterpoint in bars 5-8... sheds an unexpected light on the tonality of the Subject.":<ref>Tovey, D. F. (1924, p. 127, Bach 48 Preludes and Fugues, Book II. London, Associated Boards of the Royal Schools of Music.</ref>[[File:Bach prelude in G sharp minor from WTC Book 2.wav|thumb|Bach fugue in G-sharp minor from WTC Book 2]] [[File:Bach prelude in G sharp minor from WTC Book 3.png|thumb|center|500px|Bach fugue in G-sharp minor from WTC Book 2]]

[[Johann Sebastian Bach|Bach]]'s 3-part [[Inventions and Sinfonias (Bach)|Invention in F minor]] combines three independent melodies:
[[File:Bach 3-part Invention BWV 795, bars 7-9.wav|thumb|Bach 3-part Invention BWV&nbsp;795, bars 7–9]]
[[File:Bach 3-part Invention BWV 795, bars 7-9.png|thumb|center|500px|Bach 3-part Invention BWV 795, bars 7–9]]

According to pianist [[András Schiff]], Bach's counterpoint influenced the composing of both [[Wolfgang Amadeus Mozart|Mozart]] and [[Ludwig van Beethoven|Beethoven]]. In the [[development section]] of the opening movement of Beethoven's [[Piano Sonata No. 27 (Beethoven)|Piano Sonata in E minor]], Beethoven demonstrates this influence by adding "a wonderful counterpoint" to one of the main themes.<ref>[[András Schiff|Schiff, A.]] (2006) [http://download.guardian.co.uk/sys-audio/Arts/Culture/2006/12/13/01-27_emin_op90.mp3 "''Guardian'' Lecture on Beethoven Piano Sonata in E minor, Op. 90],  accessed 8 August 2019</ref>
[[File:Beethoven Piano Sonata Op. 90, first movement bars 110-113.wav|thumb|Beethoven Piano Sonata Op.&nbsp;90, first movement bars 110–113]]
[[File:Beethoven Piano Sonata Op. 90, first movement bars 110-113.png|thumb|center|500px|Beethoven Piano Sonata Op. 90, first movement bars 110–113]]

A further example of fluid counterpoint in late Beethoven may be found in the first orchestral variation on the "[[Ode to Joy]]" theme in the last movement of Beethoven's [[Symphony No. 9 (Beethoven)|Symphony No. 9]], bars 116–123. The famous theme is heard on the [[viola]]s and [[cello]]s, while "the [[double bass|basses]] add a bass-line whose sheer unpredictability gives the impression that it is being spontaneously improvised. Meantime a solo [[bassoon]] adds a counterpoint that has a similarly impromptu quality."<ref>[[Antony Hopkins|Hopkins, Antony]] (1981, p. 275) ''The Nine Symphonies of Beethoven.'' London, Heinemann.</ref>
[[File:Beethoven, Symphony No. 9, finale, bars 116-123.wav|thumb|Beethoven, Symphony No. 9, finale, bars 116–123]]
[[File:Beethoven, Symphony No. 9, finale, bars 116-123.png|thumb|center|500px|Beethoven, Symphony No. 9, finale, bars 116–123]]

In the Prelude to [[Richard Wagner]]'s opera ''[[Die Meistersinger von Nürnberg]]'', three themes from the opera are combined simultaneously. According to [[Gordon Jacob]], "This is universally and justly acclaimed as an extraordinary feat of virtuosity."<ref>[[Gordon Jacob|Jacob, Gordon]] (1953, p. 14) Wagner Overture ''Die Meistersinger''. Harmondsworth, Penguin</ref> However, [[Donald Tovey]] points out that here "the combination of themes ... unlike classical counterpoint, really do not of themselves combine into complete or euphonious harmony."<ref>[[Donald Tovey|Tovey, Donald Francis]] (1936, p. 127) ''Essays in Musical Analysis'', Volume IV. Oxford University Press.</ref>
[[File:Wagner Meistersinger Vorspiel bars 158-161.wav|thumb|Wagner Meistersinger Vorspiel bars 158–161]]
[[File:Wagner Meistersinger Vorspiel bars 158-161.png|thumb|center|500px|Wagner Meistersinger Vorspiel bars 158–161]]

One spectacular example of 5-voice counterpoint can be found in the finale to Mozart's [[Symphony No. 41 (Mozart)|Symphony No 41]] ("Jupiter" Symphony). Here five tunes combine simultaneously in "a rich tapestry of dialogue":<ref>[[Simon P. Keefe|Keefe, Simon P.]] (2003, p. 104) ''The Cambridge Companion to Mozart''. Cambridge University Press.</ref>
[[File:Mozart Jupiter Finale final section, bars 389-397 all five themes together.wav|thumb|Mozart Symphony No.&nbsp;41 Finale, bars 389–396]]
[[File:Mozart Jupiter Finale final section, bars 389-396 all five themes together.png|thumb|center|600px|Mozart Symphony No.&nbsp;41 Finale, bars 389–396]]
See also [[Invertible counterpoint]].