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<h1>Counterpoint in Chord Melody</h1>
<p>Counterpoint is the art of combining independent melodic lines so they work together harmonically. In chord melody, counterpoint means more than just "melody plus chords" — it means creating inner voices that move with their own melodic logic, a bass line that has momentum and direction, and an overall texture where multiple lines are simultaneously interesting. This is what separates a mechanical chord melody arrangement from a musical one.</p>

<h2>The Basic Principle</h2>
<p>In conventional chord melody, you have melody on top and chords underneath. In contrapuntal chord melody, the "underneath" parts aren't just chords — they're voices that move. The bass line goes somewhere. Inner voices connect smoothly from chord to chord. The middle register might have a counter-melody that answers the main melody in the spaces between phrases.</p>
<pre>
Mechanical (block chord) approach:
Measure 1: Melody note + chord hit, held
Measure 2: Melody note + chord hit, held

Contrapuntal approach:
Measure 1: Melody note, bass walks to next chord, inner voices resolve
Measure 2: Melody note, counter-melody fills the gap, bass arrives on downbeat
</pre>

<h2>Voice Leading Rules</h2>
<p>Classical counterpoint has strict rules that you don't have to follow exactly in jazz, but the underlying logic is sound:</p>
<ul>
    <li><strong>Contrary motion</strong> — when the melody goes up, the bass goes down (and vice versa). Creates independence between lines.</li>
    <li><strong>Avoid parallel fifths and octaves</strong> — two voices moving in parallel at a fifth or octave sound like one voice, losing independence. In jazz this is relaxed, but parallel octaves in close spacing still sound thick.</li>
    <li><strong>Resolve tendency tones</strong> — the leading tone (major 7th) wants to go up to the tonic. The 7th of a dominant chord wants to go down. Let these resolutions happen in the inner voices, not just the melody.</li>
    <li><strong>Move by step where possible</strong> — voices that move by half or whole step sound smooth and connected. Large leaps create accent; use them for emphasis, not default movement.</li>
</ul>

<h2>Counter-Melody</h2>
<p>A counter-melody is a secondary melodic line that plays against the main melody — it responds, answers, and fills space. In chord melody, the counter-melody lives in the inner voices or the bass:</p>
<pre>
Main melody (top voice) holds a long note → 
Counter-melody moves through chord tones in the middle register

Main melody rests →
Counter-melody takes over briefly before the melody re-enters

Bass line walks in contrary motion to the melody →
Creates a sense of two independent musicians playing together
</pre>

<h2>Imitation</h2>
<p>One of the strongest contrapuntal devices: a melodic idea appears in one voice, then immediately echoed in another voice a beat or measure later. In chord melody, you might play a phrase in the melody, then answer it with a similar phrase in the bass or inner voice — the suggestion of call and response within a solo instrument. Django Reinhardt and Ted Greene both use this device effectively.</p>

<h2>Practical Application</h2>
<p>Start small. Take a two-bar phrase from a standard. Instead of just playing the chords under the melody, make the bass move by step or chromatic approach to each chord root. Then add one inner voice that resolves smoothly. You'll have a three-voice texture: melody, inner voice, bass. Record yourself and listen back — the difference from block chords is immediately clear.</p>
<p>Joe Pass's solo recordings are the master class. Listen to how the bass doesn't just sit on chord roots but walks, how inner voices shift and resolve, how he creates the impression of a trio from a single guitar. Ted Greene's YouTube videos show the technique more slowly and explicitly — invaluable if you're learning this approach.</p>

