This course starts with how to improvise "linear harmony,' with inner voice motion. You'll learn how to create chord voicings and play counter-melodies using the same methods used by Duke Ellington, Keith Jarrett, and Clare Fischer. After that, we explore melody-based improvisation.

Linear Harmony (Part 1)

1 inner voice within a ii/V/I progression

Linear Harmony (Part 2)

Becoming fluent with 'alto' voices

Linear Harmony (Part 3)

2-voice improv on "Body and Soul"

Linear Harmony (Part 4)

2-voice improv on "The Girl From Ipanema"

Linear Harmony (Part 5)

Adding an alto voice to "Dolphin Dance"

Linear Harmony (Part 6)

Linear motion on "Blue Room"

Linear Harmony (Part 7)

A continuous counter-melody on "Blue Room"

Linear Harmony (Part 8)

Rhythmically fluid innervoice motion on "Blue Room"

Linear Harmony (Part 9)

Harmonizing "Blue Bossa" in 3 voices

2-part counterpoint on the blues

A 4-part contrapuntal texture

"Blues For Alice"

Melody-based jazz improv (Part 1)

Starting with the original melody

Melody-based jazz improv (Part 2)

Rhythmic improv on the original melody

Melody-based jazz improv (Part 3)

Adding neighbor and passing tones

Melody-based jazz improv (Part 4)

Moving away from the basic melody

Melody-based jazz improv (Part 5)

Using motifs

Melody-based jazz improv (Part 6)

Expanding upon a melody's unique character

Melody-based jazz improv (Part 7)

Gradually getting away from the original melody

Melody-based jazz improv (Part 8)

Moving towards pure improvisation

Melody-based jazz improv (Part 9)

Soloing while hearing the melody internally

Melody-based jazz improv (Part 10)

Playing an entirely new solo

Composing a new melody over the chords to "Autumn Leaves"