The terminology used in music is often derived from Italian. Many of them are simply the names of compositions: sonata, cantata, oratorio, trio and concerto. Others indicate directions to the performers: dolce (sweet), adagio (at ease), forte (loud), piano (soft), espressivo (expressive), poco a poco (little by little), presto (very fast), crescendo (increasing) and teneramente (tenderly).

     Other musical terminology come from Greek and Latin. ‘Melody,’ ‘harmony’ and ‘hymn’ are of Greek origin, while ‘counterpoint’ and ‘descant’ are derived from Latin. These last two are the main focus of this edition of Music Notes.

     ‘Counterpoint’ is the English translation of the Latin phrase ‘punctus contrapunctus.’ It means ‘point against point’ or ‘note against note.’ The art of counterpoint goes back to the 13th century and culminated five hundred years later with the music of Johann Sebastian Bach. Counterpoint is defined as the combination of two or more melodies. The most basic example of this is ‘Row, Row, Row Your Boat’ in which the same melody overlaps itself in continuous repetition. A more complex use of counterpoint is the ‘descant’ melody written for various hymns and liturgical pieces. A ‘descant’ is an independent, secondary melody created to complement the main melody of a particular hymn. It is usually written above the main melody although it is sometimes interwoven around it.

     St. Joseph Church is fortunate to have Brian Walsh, a high school senior, who plays the trumpet at many of our liturgies. His playing is a great enhancement to the organ accompaniment. Over the year or so that Brian has contributed his time and talent, I have written many descants for hymns and Mass parts. Among them are the Gloria, the Alleluia, the Holy, Holy, Holy, the Great Amen and dozens of hymns. The combination of the cantor, congregation, trumpet and organ is exhilarating.

     I am not a composer but I do know counterpoint, thanks in great part to my amazing teacher, Nadia Boulanger, with whom I had the honor and privilege of studying in 1972. She is recognized as the foremost music teacher of the last century and perhaps of all time. I will never forget one day in her studio when I was playing a Chopin piano piece for her. She stopped me in the middle of a phrase and said to me, ‘It (the Chopin piece) is a miracle.’ Those words were life-changing. Yes, every creation by the master composers is miraculous. To be involved in music is one of the greatest gifts one could ever hope to receive.