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In figured bass compositions (in which a keyboard instrument improvised the harmonies over a given bass melody) the counterpoint was between the upper melody and the bass line.
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Composers who used a continuo part wrote out in full only the parts of the upper melody instruments.
Insistent cello motifs underpinned melodies in the upper strings, punctuated by energetic outbursts and elegiac passages.
In the 18th century the psalm tone melody was placed in the upper part if it was used at all.
Additionally, a bigger distance between the pitches of melody and accompaniment also seems to be beneficial.
Author Ian Inglis also notes the "evident similarity" between the melody of the two compositions.
Atilano viewed a contrast between the song's melody and lyrical content.
The lower knob on the right is usually the bass, and the upper knob on the right is usually your melody.
Over and over in this quartet, the upper strings wave back and forth between C sharp and D sharp, this minimal melody ever contradicted by a dissenting, low pizzicato D natural in the cello.
Quasi-modal melody plays in unison across all of the upper strings and against trembling drones in the lower ones.
While Armstrong often soared into the upper register, Beiderbecke stayed in the middle range, more interested in exploring the melody and harmonies than in dazzling the audience.
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Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com