This project explores how counterpoint can be understood, applied, and integrated into jazz piano playing - particularly in an improvisational context. By combining theoretical studies of classical counterpoint (with focus on Johann Joseph Fux’s Gradus ad Parnassum), transcriptions of performances by jazz pianists Brad Mehldau, Fred Hersch, and Chick Corea, as well as personal improvisational and compositional practice, the aim has been to develop a deeper, more embodied understanding of contrapuntal thinking at the piano.

Through exercises inspired by the studied pianists and the creation of original compositions, the work investigates how multiple independent voices can coexist and how improvisation can serve as a vehicle for contrapuntal dialogue. The findings suggest that counterpoint in jazz need not to be confined to written notation but can become a living method, an approach that supports both technical development and expressive freedom. This study highlights the artistic potential of contrapuntal thinking in contemporary jazz practice and opens new pathways for further exploration.