"Body and Soul" is fertile ground for Barry's approach as well. In measure 1, I use contrary motion on the D major 6 diminished scale while harmonizing the melody; you'll notice a similar movement in bar 5 on the D minor 6 diminished scale. In measure 3, I voice the F sharp m7 with an A6 (which contains the same notes), the B7 with Cm6 (the B and D are diminished-chord notes from the C minor 6 diminished scale), the Em7 with G6, and the A7 two ways: first with notes from its related diminished 7th chord (C sharp dim7) and then with G flat 7, a related dominant. While the chord symbol in bar 6 indicates E flat dim, the B in the bass is a reasonable choice because it's the root of a dominant 7th chord that is derived from E flat dim7.