Playing melody w/ counterpoint?

[Nikkoe]

I just got in a university jazz guitar program this year, and had my first private studies lesson last week. We talked a lot, and my teacher asked me if I could play something. I played him a chord melody arrangement of the Days of Wine and Roses, and he thought it was good. At the end of class, he asked me to work on it again for next week, but put in more counterpoint (as opposed to simply playing block chords), and showed me examples that sounded very Frisell-ish to my ears.

I was wondering if any of you have any clues or clear explanations as of how to do this? Obviously my teacher'll get back to me on this but in the meanwhile I'd like to get started. Thanks!

[fep]

This might help:

TedGreene.com - Video Section

[jseaberry]

And this:

YouTube - Steve Herberman - Contrapuntal Improvisation Master Class

[BigDaddyLoveHandles]

Also, think of any Bach piece you've done!

[bako]

Something simple suggestions for experimentation.

Play the melody and in the natural rhythmic breaks play a response line in the bass register.
Then reverse it and play the melody down low and the response above.

Play the melody and or improvisation against a steady accompaniment of in both the upper and lower voice. (one at a time)
Whole Notes
Half Notes
Quarter Notes
Eighth Notes

Play thru the chord changes at the following 2 part rhythmic ratios of lower voice/upper voice
1/1
1/2
1/3
1/4
1/6
1/8
2/1
3/1
4/1
6/1
8/1

ex.1: 1/2 quarter/eighth or half/quarter or whole/half
ex.2: 8/1 eighth/whole or sixteenth/half
ex.3: 3/1 quarter note triplet/half or triplet/quarter

Then freely moving between the species and also injecting rests which can only help the musical line.

I'll have to try this myself. It's always easier to say than do. This is my assignment too. The Ted Greene video is pretty impressive.
No doubt we learn to improvise counterpoint style by a combination of doing and listening and analyzing.

[gravitas]

Counterpoint refers to a lot of stuff... Any movement or lack of movement could technically be considered counterpoint. I'd suggest breaking a tune down into 4 or 8 bar phrases and harmonize the melody with a second. In each section of the tune, work a different kind of motion- parallel motion, similar motion, oblique motion, or contrary motion- until you have the entire tune down. Ensure that the motion stays consistent throughout the 4 or 8 bar section.

I like to do this bop tunes- Au Privave, Joy Spring, Aireign, Groovin High, etc.- gives you the feel of a fuller ensemble without killing yourself on the chords. Popping a line that features two voice counterpoint is also a great way to provide contrast in a heavy harmonization of a regular standard too.

-Al