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This is the second of a two-part series on linear improvisation using guide tones in jazz. (I recommend viewing the first of the series ‘Creating Linear Connections Using Guide Tones in Jazz Improvisation‘ to maintain continuity). Although geared towards pianists, these principles can be adapted to other instruments as well. Here I’m demonstrating how to create a ‘double counterpoint’ or two melodies that complement and play off each other solely using the right hand. The technique used is similar to when playing polyphonic keyboard works by Bach and Handel.

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This is the first of a two-part series on linear improvisation using guide tones in jazz. The ear naturally gravitates towards strong chord tones, and building around them will give your lines a stronger structure and shape. I’m using a common progression (Autumn Leaves, Theme from M*A*S*H) to demonstrate how guide tones (derived from harmony) can help you create beautiful, flowing lines. At 8:14 I demo and improvise over the four formulas that are discussed in this video.

Here is a link to Part II of this series “Creating Counterpoint Using Guide Tones in Jazz Improvisation“

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A question I often get asked by my students is how to reharmonize a tune. This is a brief video outlining some methods I use. It is assumed that you are already familiar with jazz chord voicings, extensions/alterations & substitutions. Here is the leadsheet containing the reharmonization to Ode To Joy.

Reharmonization is a vast and beautiful area in which I continually encounter new insights and surprises. There are many books available on this subject, and transcribing reharmonized tunes by jazz greats will not only improve your ear, but give you a first hand look at how they approach improvisation on the new chord changes as well.
P.S. A minor slip of the tongue at 3:42 – the chord is a Gm9sus (not G9sus) and at 4:55 C#dim (not Cdim).