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is to simply start doing it. I can say from experience, if you start literally messing around with both hands going at once, eventually you will be able to generate a spontaneous interplay of ideas. When you first start, it may sound random but you must have faith that your subconcious will develop control over what is going on. For some reason an awful lot of people find this hard to swallow. Yet, it was t he advice I received and whatever reason I understood it and it worked for me. On the other hand, there are some "games" you can play with your hands that can help. I know when I started using both hands, I did a sort of "call and answer" thing. I'd play s ome melodic fragment in my right, and then imitate it in the left, possibly at a different part in the sca le. It doesn't have to be an exact imitation, either. Eventually you can start overlapping the rhythm of these imi tative exercises, and before you know it you'll be generating more than one idea at the same time tha t work together, in both hands at once. It does take time. I'd say my first experiments with contr apuntal improvisation were in about the year 2004, and it took me I'd say about two to three years to produce my first "wow, did I do that?" experiments with it. Note this was after several years of less complex, homophonic improvisation experience. I don't see any reason why one couldn't start on it s ooner, though. A comment about practicing Bach. I started doing contrapuntal improvisation befo re I knew more than a handful of very easy bach pieces. It is a lot easier to start from the ground up than go from the top down. It is easy to believe going from the top down, with a lot of detail and theory i s the way to go, but the "path less taken," in other words, just doing it messily at first and gradually building up a subconscious sense, may actually be easier for you if you give it a chance.