While, technically, the word "counterpoint" doesn't mean exactly what it's often being used as (i.e. "change" or "contrast" etc), it's this less precise meaning I'd like to focus on. Let's call it the "element of surprise."
We've all heard the predictable transitions from one part to the next, the standard drum rolls before a chorus comes in, the same riffs, and all that. Some tremendously good songs may fall flat on their face if they fail to surprise the listener or otherwise hold his attention. We've heard it all before, after all.
Enter "conterpoint arrangement techniques."
You'll hear this in some R&B arrangements, but also, increasingly, in many other styles these days. Some radio jingles/promos also often rely on little gimmicks like that. Now, the thing is that a good counterpoint arrangement must not come across as "gimmicky," but rather as "clever!" A good "counterpoint approach" CAN transform an average song into a good one and an good song into a great one. And it can send a great song into the stratosphere!
It's all about changing the way you think. Once you've embraced it, it can transform your productions.
For example, when transiting from verse to chorus, rather than building to a predictable crescendo and doing crazy drum fills, perhaps you can try the opposite? Reduce everything to just one sound (hat, guitar lick, voice - anything), for a bar or so. The chorus will suddenly feel much bigger. The listener will be pleasantly surprised with this effect and then before he can recover from that, the chorus hits him.
Or when you start verse 2, drop everything else out except the vocal and maybe a keyboard. Or, in the middle of a verse, break entirely but leave a sound hanging - just for a second...! It's all about hooking the listener's attention after all!
Another example is "splicing" a completely different bar (or two) in-between highly contrastive parts. Say a rock band is blaring a power chorus and is about to do a repeat. Why not break that up with a tight, dry acoustic strum? Something that's highly musical or rhythmical, but that's not OBVIOUS.
Naturally, it has to work musically. There are no "templates." At its best, this approach creates masterpieces. At its worst, it'sthe stuff of nightmares. But it's almost never indifferent!
Not everyone will be able to come up with a great counterpoint break on their first try. But the principle is solid and still very under-explored in modern music. Listen to some of the best artists out today. Study how they build their hooks! A good counterpoint break can indeed be a powerful hook for your song!
And if all else fails... study Zappa!
LISTEN TO: 224-Q/Wednesday May 27, 2009
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