Hey Jeremy, am a kind of intermediate level jazz guitar player who was a massive music theory nerd before ever playing. Just wanted to say your videos are an absolute goldmine for applying theory to improvisation, appreciate you sharing your knowledge and expertise to everyone watching :)
I've been faching around with harmonizing standards with Maj6 dim, 4 voice chorale style plus bass line. Also motown tunes with modal voicings and afrocuban grooves. Congrats on everything Jeremy, thank you for all the great lessons
Your videos are not only amazingly educational, inspirational and inspiring…your sense of humor in them makes the entire learning experience just a whole lot of fun! Deepest thanks for these and your excellent books!
Nice lesson The best example of counterpoint in jazz to me is the Duke Ellington orchestra and Charles Mingus Also, the Barry Harris 6/dim system is great for making counterpoint quickly and easily in jazz
I had to stop your video to comment on your remark about Gary Peacock's playing with Keith Jarrett. I could never put my finger on it but I always felt there was something special about Gary and Keith playing together. Keith was lucky to find someone like Gary who seemed to know how to play "perfectly" with him.
From another perspective, counterpoint is a largely rhythmic phenomenon. Counterpoint is rhythmically displaced chord tones. If that's so, then comping, fills, and other rhythmic devices are really contrapuntal...
A round is a very specific form of counterpoint. A round features a melody sung by multiple voices entering at staggered intervals. Each voice sings the same melody, but starting at a different point. This creates a layering effect where the melody weaves in and out as different voices enter.
