Want to unlock the secret of playing independent melodic lines over jazz standards on solo guitar? Christian Miller’s Counterpoint for Solo Jazz Guitar course shows you exactly how.
At its core, counterpoint can be explained as note against note. You can play notes in the bass against notes in the melody and, viola, you have counterpoint.
Guitarists who are familiar with strict baroque-style species counterpoint, are probably also familiar with the Johann Joseph Fux book “Gradus Ad Parnassum”, The Study of Counterpoint. This book goes into detail about the various types and rules of species counterpoint.
The modern guitarist would be wise to learn species counterpoint in order to sharpen melodic thinking, get a deeper understanding of harmony and to use it as a springboard for modern textures. Learn the rules first then break them.
Obviously to play counterpoint over jazz chord progressions you need a different approach to strict species counterpoint. In fact jazz guitar counterpoint gives a larger nod to Bach style counterpoint then to the Fux book.
Christian Miller has written a very effective course for the application of counterpoint over jazz standards called Counterpoint for Solo Jazz Guitar. Christian primarily uses diminutions amongst other concepts in order to improvise counterpoint jazz lines on guitar.
A Unique and Easy Approach to Counterpoint for Solo Jazz Guitar
What sets Christian’s course apart is the practical application of counterpoint over jazz harmony for guitar.
We’ve all seen the Ted Greene baroque improvisation video on Youtube yet no-one has made an actual course about it – until now!
Christian starts with simple counterpoint exercises and gently leads the player to the promised land of advanced guitar counterpoint. In short Christian provides a roadmap for the combination of jazz harmony with the structured approach of two-part counterpoint.
The course also bridges the gap between being too heavy on theory and being practical. In fact Christian repeats a few times to ignore traditional counterpoint and while using his concepts he says Ellington’s law ethos of “If it sounds good, it is good”. So don’t banish those parallel fifths just yet!
The result is a unique and easy approach to counterpoint for solo jazz guitar.
Watch Christian Miller Improvise
Here is a short video of Christian improvising using techniques found in the course.
“That was SICK!” – Youtube Viewer
“This is clearly .1% level” – Youtube Viewer
Solo Jazz Guitar Course Progression
The exercises that Christian puts forth are designed to build contrapuntal efficiency from the ground up. There are some typical exercises that all fingerstyle players should know – such as moving tenths through a diatonic scale ( these tenths are also known as “counterpoint skeletons” which build a framework to expand upon), the course then moves onto more interesting diminution exercises and finally to real-world applications of applying counterpoint to jazz standards.
The diminutions fill out the counterpoint skeletons and borrow from both the classical and jazz idioms. This results on lush, flowing, ornamentations which give a nod to Bach’s inventions.
After using techniques such as voice displacement and alternating movement between upper and lower voice, you then dive into practical, real-world application of applying counterpoint over jazz standards such as Autumn Leaves, It Could Happen to You and All The Things You Are etc.
This logical progression in the exercises, from simple diatonic tenths to flowing diminutions and other techniques to improvising over jazz standards in a solo guitar contect, makes this course uniquely effective.
Ready to Start Playing Solo Jazz Guitar Counterpoint – Click Here
How Christian’s Counterpoint Course Can Improve Your Playing
Obviously when playing counterpoint you’ll start to think melodically in two voices instead of just one voice. In fact, during baroque times musicians didn’t think in terms of chords instead they thought in terms of harmonizing the bass line. Therefore they heard both the bass line and the melodic line separately.
From the start you will gain better left-right hand coordination and this in turn will help you develop better separation between the two-part counterpoint lines so that you have total tonal control across the fretboard.
Of course, the biggest benefit is that you will learn how to apply counterpoint to jazz standards. Many counterpoint courses either focus specifically on species counterpoint or the courses are too theoretical. Christian’s counterpoint course will show you how to integrate counterpoint into jazz harmony.
An important concept leading of from this is that you will be bridging the gap between Bach’s counterpoint approach and the modern counterpoint approach allowing you to find your own voice on the instrument. The result of this is that your playing will improve without including the typical chord melody cliches thus making your playing uniquely yours.
Another great benefit of using this course is that you will strengthen your harmonic and compositional understanding which will help you in all areas of your playing.
Developing a Compositional Mindset
The standard approach to learning chord-melody or solo guitar is through block chords. This is evidenced through chord-melody courses by Robert Conti, Frank Vignola and so many other guitarists.
A more advanced and much more musical approach to solo guitar is the approach through counterpoint and in the application of contrapuntal techniques.
Through the application of counterpoint to jazz standards you will develop a compositional mindset which can only help in creating future solo guitar arrangements and improvisations. Using the techniques such canonic lines, motivic development and much more in a counterpoint style will definitely make your solo guitar playing much more interesting.
Unlocking New Harmonic Possibilities
Another benefit of Christian’s course, and one that has not yet been mentioned, is that your intervallic thinking will improve and this in turn will uncover new harmonic possibilities.
Players such as Ben Monder and Bill Frisell use counterpoint all the time especially in their solo arrangements (The solo tunes on Monder’s Day After Day album remain my favourite solo guitar pieces). By expanding your intervallic thinking you will expand new harmonic possibilities even while improvising (and what a rush that is, you just have to keep your musical thought going when that rush comes).
“Inverted Counterpoint” is also discussed in Christian’s course and this can be done on a simple basis by placing the tune’s melody in the bass. This creates fresh harmonic tension and gives new life to tunes that you may have played countless times.
A New Approach to Jazz Standards
By applying counterpoint to jazz standards using Christian’s method you will end up with a distinct, unique voice when playing solo jazz guitar.
A contrapuntal approach is pleasing to the ear, as witnessed by so many great guitarists that use such an approach. You’ll be surprised how full a simple two-part contrapuntal tune can sound especially when it’s a jazz tune with fast chord changes and modulation.
Have fun discovering new ways of playing solo jazz tunes!
Grab Christian’s Counterpoint for Solo Jazz Guitar Here
Check Out More MGH Courses Here
FAQ’S
Q: Do I need to know classical counterpoint to benefit from this course?
A: Not at all. Christian’s course builds from the ground up and focuses on practical application over theory.
Q: Is this course suitable for intermediate players?
A: Yes. While the material is deep, it starts with accessible drills and gradually builds complexity.
Who This Course is For
-
Jazz guitarists looking to break free from chord-melody clichés
-
Players who want to sound more lyrical, harmonically rich, and independent
-
Guitarists interested in Bach, Ted Greene, or modern players like Ben Monder
You Might Like
How To Use The Mick Goodrick Almanacs
Explores the application of Mick Goodrick’s concepts, offering insights into voice leading and counterpoint techniques relevant to solo jazz guitar.
Embrace Your Originality And Uniqueness On Your Guitar
Encourages guitarists to develop their unique voice, resonating with the personalized approach advocated in Christian’s course.
The 3:2 Polyrhythm – A Great Way to Spice Up Your Playing!
Introduces rhythmic concepts that can add complexity and interest to solo performances, complementing the harmonic focus of your post.
Enjoyed this post? Share it with other guitarists exploring new solo jazz techniques.
This post was written by Marc, founder of Modern Guitar Harmony, home of creative harmonic exploration for guitarists.
Leave a Reply