Converging

Contrary motion is when two voices move in opposite directions. In converging motion specifically, the voices start far apart and move toward each other. This exercise trains you to maintain an ascending line while hearing a descending line, a fundamental skill for counterpoint and independent voice leading.

The backdrop descends from 5 to 1 while you ascend from 1 to 5. You'll pass through unison in the middle, experiencing the gradual narrowing and then widening of intervals.

Actionable Step: Converging

1. The Sound

Use a centered "Oh" vowel and keep your resonance consistent throughout. As the interval narrows, there's a tendency to distort your vowel or change your placement. Resist this. The same vowel quality that works at the fifth should work at the unison and beyond.

2. The Feel

The interval progression creates distinct sensations. The opening fifth feels stable and open. As you move through the fourth, third, and second, tension increases. The second is maximally tense. Then you hit unison, which feels like a brief resolution before the intervals widen again on the other side.

Notice how different it feels when you're below the melody versus above it. After the unison crossing, you become the higher voice.

3. The Drill

The backdrop descends 5-4-3-2-1-2, all half notes. You ascend 1-2-3-4-5-4 in contrary motion.

Backdrop (what you hear):

Your part (what you sing):

The key challenge is maintaining your ascending direction while hearing descent. Your ear will try to pull you down with the melody. Commit to your own contour and let the backdrop create changing colors against you.

Practice with Vocal Driller

Using the Fader

Start with the fader toward your harmony part so you can clearly hear your ascending line. As you gain confidence, gradually shift the fader toward the melody. The real test is maintaining your contrary motion when the descending line is more prominent.

The moment of unison crossing is particularly revealing. If you hesitate or falter there, it means you're tracking the melody too closely. Practice committing to your ascending line through the crossing point.