I have been studying jazz improvisation and harmony for quite a few years, and I would like to study multi-voice improvisation; as a lover of Baroque counterpoint, I thought I would draw inspiration from there.
Especially when I read simple classical pieces, for two voices, I am stunned by the genius of the two melodic lines, so simple (only 2 simultaneous notes) and so perfect.
I have therefore wondered how a "counterpoint" improviser thinks.
I am also reading about counterpoint techniques, but beyond the various rules, how are melody and harmony conceived? One certainly starts from a melodic idea, and then?
Can anyone give me some advice or does anyone know of methods or even teachers?
In the meantime, I am proceeding with do-it-yourself, i.e., by harmonically analyzing the pieces I like!
Thanks for the answer! I look forward to more advice
O
Organista94
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Reply 4 by Organista94
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The fact is that if the path is counterpoint, the melody is what must prevail; for this reason, even though we are dealing with harmonic counterpoint, one should think of melodic aspects first. A great master (since you mention the Baroque) was Bach. I would move on to Brahms and Franck. There are even good jazz musicians who have tested themselves with the fugue. For improvisation, a lot of analytical study is required, if one needs to go through paper as well, and then a lot of practice on the instrument
Thank you for the answer. Bach is obviously to be listened to and analyzed; it doesn't even cross my mind to ask how Bach thought, he was simply extraordinary, a genius.
My question, most likely asked in a poor way, is directed at those who improvise with this technique or at least with this intention, asking what the best approach for thinking is.
In traditional jazz, one starts by studying scales, modes, chords, voicings, harmonizations, etc., but at its core there is a harmonic structure. Let's say that a lifetime is not enough to delve into even just one of those topics, and therefore the fact of improvising in multiple voices does not present itself as a fundamental part of jazz study (except at high levels, obviously). In fact, it's not that I want to spend a lifetime improvising in counterpoint, but I would gladly dedicate a few months to it; it is also a way to analyze beautiful compositions and appreciate them even more!
Let's just say that a good organist should know how to improvise in this way
I also like counterpoint very much, but at the moment I cannot dedicate myself to it because I am studying classical harmony and many things are not yet very clear to me, so I dedicate all my time to learning the instrument, studying theory and harmony; plus, I also go to school, so I'm struggling with time.
I can recommend some treatises that were recommended to me if you like
Counterpoint by Salzer Schachter
The treatise on counterpoint and fugue by Dubois
Walter Piston's manual which is very well made; additionally, it presents many examples and there are many exercises, but if you get this book you might perhaps need the help of a teacher for some explanations (especially for the more difficult chapters).
The beauty of this manual is that it deals with counterpoint and composition, which is perhaps what you want most
