barry harris jazz workshop
TRANSCRIPT
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THE
E RRY
H RRfS
WORKSHOP VfDEO
Copyrigbt0 1994 1998 by op City ProdllC ioos loe., P.O. ox 21016, 6GT7 Meadowvale Town Cen en:,
Mississauga OnLLSN 6A2, Cu nada Our intemet addtess is: www.bopcity.com.
Howatd Rccs email addtCSS is; [email protected].
Secondprinting by op Ciy Productions lnc 1998
All righlS
reserved. Mlldc in Canacla.
No
p n
of ths
book
may
be
rcproduccd
in
any
form
without
rrom
thc u h l i ~ c r
arry Harris and Howard
Rees,
Toronto 1991
QuasiMado
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'111CIC are many Joved ones, men tors, collcagu sand frie
whom I am indcbted for their kindness, patien
and llno
in
helping
me
with this projec
t.
in particular:
my parents, for teaching me to follow my dr
eams;
my bruther Philip, for
hi
s ongoing support and vast
computer skills;
my
senseis Rarry Harris and Ted Jungblut, f
or
showin
thc path;
friends
J
anc Bunnett and T arry Cramer, for th irsupp
good advice; Brian Ka
u
for hi s hclp with transcriptions
cditing; Larry Lewis, for his hc.l> with guitar transcriptio
Jane Low-U
r for cover dcsign; D.D. Jackson, for comp
help; Jannifer Smith-Rubcuzahl , for her help with proofr
and cditiug.
The music and text were set and laid out by David Ni
( 416-921 -4963) on the Maciutosh
om
puter using NoteW
and QuaJk.XPress.
I dedica te this book t the l ga yofCharlie Parker and to
musicians aJld teachers everywhcrc who ha ve carried on
dition of this bcautiful music.
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the autumn of 1979, aftcr having spcnt the previous twelve months
myself to
ge
thcr psychologically, financially and musically, I
York to realize a dream- to study with Uarry Harris.
Jt 's difficult to describe the atmospherc
of
lhe studio 1 walked
r m y first
cla
ss-t.he electricity
of
25
or 30 people
f ) ;u
scd on
the piano. Poring over cvcry note and cvcry word, each
f
us would cr.mc for a view
of
thc keyboard knowing lhat what was
oing on was very special allll powerful. As itturned out it was car
e tune was Body and Soul. The scene changed
very couple
of
minutes when Barry would choose someone random1y,
and motion to them t.o siL ncxt to him. Okay, he would say rto
but nervous subject],
now
yuu play it in this kcy.
lt 's not dif
fi
cult, in
fa
ct it's
eas
y,
to think
of
stories lhat show the
rcspect llarry has for his students. In 1979 the fec for his
startcd with piano and guitar players
at5
p.m., added
ingers at 8 p.m., and hom players at
11
p.m.- was $3. Nothing would
Barry more t.han to find out that someone missed class beca use
didn't
have
t11e
money, so he was direct when he would say, You
you're supposed to come anyway.
Uack lhen Barry would go to great lengths to comrnunicate to
passion and intimacy
of
the music. On one occasion, I
Barry work with a sightle
ss
student. Seated next to him at lhe
, Barry had thc student place bis hands on top
of
hls own and
y, t11c
cssence
of
Ba.rry's instruction remains
. He shar
cs
his musical gcnius wirh heart and soul.
Now, smne fifteen years aftcr m y frrst elass with Barry, J a m in
cess
of
fulfilling anoLher goal-to docurnent his intemationally
cclaimed teachings. It is my hope rhat the
sc
nsc of j
oy
, exciremcrll and
generuusly bestows upon cach srudent that
co
mes ro
is transmitted Lhrough rhis video to you.
The human cvolurionary thread
sp
irals upward, and am con-
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vinced that as pcople continue to search for more meaningful cxpcr
ences in life and place a highcr value on tapping into their own cre
ative powers, the music that developed in Ncw
York
in the 1940s a
50s wll
be
widely regarded with amazemcnt and ucasured for ils
beauty and frcsh sound.
We
are fortunate to have Barry Harris as spokesperson for th
lcgacy.
1r
eless in dedicating his energies and talcnLS to the ongoin
devclopmcnt
of
the music, he has long been recognizcd as one of it
major proponents and grcatcst comrnunicators. Simply put-he is t
keeper of the flame
.
rinally, 1would like to mention, to thc cr
cd
it
of
everyone
involved
in
documenting this extraordinary performance-the produ
tion crew whose intuilion and abilities harmoni:r ed to capture the
cssence
ofthese
sessions, the musicians who beautifully mirror
Barry's ideas, and Jim MacDonald for his support horn out of hi s
love for this music-that the entire recording took place without any
rehearsal.
Ilere is in fact arare opportunity to ga in an inside view of a
truc master at work.
Howard Rccs
February, 1994
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work is an attcmpt to perpetuatc the music. bclieve that along
s comes the responsibility of sharing them. While not always
orrect, it is important to pass on one's knowledge.
My greatest desirc is for peoplc to have the opportuniry to expc
cnce
th
e beautifullegacy that jazz. is huilt un. I m particular y interest
in having more yo
un
g pcople tumt d on to this music. Historically it
becn almost impossible to count on media support. Today we find
lvcs in a siluation
wh
ere we ha ve people who haven t even heard
, and yct they already
have
a negative mage about il. This
t change.
Bcbop repre
se
nts thc furthest extension of music. l takes place
, there is no tuming back. and no re-grouping. There is
no room for faking. Although relatively young, this music has
ri
scn
toa
very high leve dueto thc gcnius of such pcople as
harlic Parker, Tht:lonious Monk, Di:t.z.y Gillespie and Bud Powell.
are no shortcuts to the leaming process.
lt
isn't possible for
meone to go out, buy a hom, and get a gig the next day. Technical
ery
of one's instrument is the sta
rt
.ing point, and from ther
e,
with a
of
hard work, one might reach the height
of
moving the sic for
In addition, all instrumentalists and vocalists should know some
ng about the keyboard, about chord and seale relaLionships, and
h
ow
to use the scales as a basis for improvisation. To this end, a
al commiuncnt is required of every player
-c
ommitment to study,
patience and also to yourself. Th
esc
are the keys to frcedom,
ion and self-knowledge.
This is a vital music. Jts history is both very rich and beautiful. lt
importan for new pcople coming along to leam about a.nd carry on
traditions. As a teacher, it's irnportant to start teaching from
e cam rom not from where we re Hopefully then Lhc stu
ent will grow to wht:re thc teacher i
s
and add a
li
ttle mure.
I would like to cxpress my thanks to Howard Rt:t:s whose hard
that this project woultl become a reality.
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~
\J/1)fQ C ~ E ONE
T k g ~
Foreword
Scale
pra
ctice
or
" the ABC's"
Explanatory Notes
TAEI E f
CO
NTENTS
The 1/arris lla/f-Step Practice
od
el
The Dominan 7th Scale Half-Step Rules
le
Major Seale Ha
lf
-Step Rules
Thc Minor Scale llalf-Step Rules
Chromatic scalc breakdown chart
The
dimnishcd chord and its 4 related dominan 7ths
The 'Dimnishcd Scalc'
Related dominant 7th scales
=
hord
m
o v c m e n L ~
The
minor7 flat5 chord
The 5-4-3-2 Phrases
'5-4-3-2' on thc major scale
'5-4-3-2'
on
thc
dominan 7th
scaJc.
5
-4 3-2 '
on the minor sr.ale
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Back
Home
in Indiana by
Ma
c0 on
a1d
Hanlcy
le outlinc of (Back Hume in) lndiana
outline
of
e Blues in
C
typical fllues progression
uf scale ideas to the Blues
he Related iminished Chord
Rhythm Changes
le outline
of
Rhythm
Changes
he Important Minor
of scale ideas to Rhythm Changes
Anthropology by Charlie Parker
Cherok
ee
by Ray Noble
calc outline
of
the Cherokee bridge
of scale ideas to the Cherokec bridge
1
ow
Hgh
Th
c Moon by Murgan l.ewis
outline of How Hgh 'D1c Moon
Minor 6 DiminishedSea e
G minor 6 diminishcd
sc
ale
of scale ideas to How Hgh Tbe Moo
n
rcwurd
he C Diminhed Scale
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TI1c e diminished scale in
si
ngle notes
Guitar fingering for thc
C6
diminished seale
The C6 dminishcd scalc in comrary rnotion
The C Minnr 6 Diminished Scale
Thc e minor 6 diminished scale perfonned up and down
Chords found oo the
e
minor 6 dirninished sea e
Alone Togf;',ther
hy
f)ietz-Schwartz
Body and
Soul
by
Green
The Tritone s Minor
Re
-thinking the m7 and thc m71>5 chor
ds
Movng Am7 on the C6 diminishcd scale
Moving a voicing through the
e
major scalc
Moving a voicing through the C6 diminished scale
The 6 dminished scale contains two dominant 7th chords
Ending a tune with movements on thc 6 dirninished scale
Extcnding Lhe previous idea through 4 kcys
Using the C6 diminshed sea e on -V-I in G major
Using the
e
minor 6 dinnlshed
se
ale on -V I in G
Borrowed Notes
Bascd on Django
hy
John Lewis
Based
on
Ifl
Should L
ose
You by Robin-Raingcr
Based on In Your
Own
Sweet Way
by
n
ave
Brubcck
Maja
r-
minar- mi11or/6
Applied to Stella by Starlight by Young-Washington
Applied
to
Likc Someone In Love by van Hcuscn-Burke
Applied
to
I Remcmber You by Schertzinger-Mcrcer
Applied to Stella by Starlight wth guitar vo icings
Thc 4
re
lated dominant. 7ths used as V7 substitutions
Foreworcl
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No Chnser by Thelonious Monk
alking
bass p;H
terns emphasizing the upb
ea
t
e whole rhy
tJun
scction demonstrating hc prcvious rhyth
ms
hythrn lghlighting the
'2+'
and tJ1c
'4+'
hlighting the
1+
and the
4+
nger valucd tied nores in the walking
bass
line
~
rd
You Must Be lieve
Tn
Spring y Michcl Legrand
E diminish
ed
chord wilh app
lica
tions t
o
Y.M.B. in S.
-up exercises
ation
of
thc wann-ups ro Y.M.B. in S.
of
thc related diminished chord in thc 1st 4 bars of Y.M.B. in S.
Billie's Boun
ce
by Charlie Parkcr
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TH E SfCS
Probably th
most
frequently asked question by
le
music student is
What
should
1
spend
my
valuable practice
time on?
In
lis section
a systematic, step by step approach
1
answering this qucstion
is
outlined.
Technique might best be thoughl of as a mcans to an end.
That
is 1 say, strong technique is a prerequisite for jazz improvisa
tion; but, for 1hc purposes of praccing, teehnique must always have
a musical cootext. To get the poiot across Barry says, practice your
playing- nol your practicing.
To
be
consistent
in
providing musical contexts,
make the
rchearsaJ time as
real
as possible. A lot of practice
time
is spent
alone, so it is essential lo re-create Lhe rhyLhm section for yourself as
you play. ear the drums, the bass and 1c chord changes. Practice
in tempo, and envision how the rhyLhrn section would accompany
yo
u.
As
Barry
states in bis opening remarks in Lhe video, every-
Lhing comes
from scales, which requires that Lhey
be
practiced in a
variety
of
ways. With thls
in
rnind,
The
Basics contains transcrip
tions
of
the musical examples covered
in
the corresponding section
of the video.
The
transcriptions appear
in
sequence
as
they are intro
duced in the video. Additiooal explanations and further
examp
les
have been includcd where necessary-all of whlch will hopefully
guide you on the road
1
discovery and beyond.
Note:
1 Examples are
in
the key of C concert unless otherwise notated.
2) Where
Lherc
is no key signature, apply Lhe accideotaJs as 1cy
occur.
3) In sorne examplcs enharrnonic q u i v l e n t ~ may not be shown.
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( ~ 1
Sea e Practice or the ABe's
Explanatory Not
es
1-1 The referencc that Barry malees to
em7
- F7, and why it would
have been impossible for Bird to have played that as a horn player,
bccau
se
Crn7 is the chord found
on
the
5t
h
of
the f7 scale (the im
tant minor ), a.nd for that reason, only the
F7
scale is rcquir
ed
for s
ing over both of
the chord changes (see Fig.2-8).
1-2) Up nd down refers toa scale playcd from its tonic up to its 7
degree (either domina.nt
or
major 7th), and then straight back down
This produces a 2
bar
phrase.
1-3)
The
C dominant 7th scale up a.nd down.
1-4) The e major sea e up a.nd down.
1-5) Scale practice on the e dominant 7th scale.
a) The scale perfonncd in 3rds.
b) Same as previous figure, starting a half-step below
the
1st note
o
each 3rd.
e) The scale performed in triads.
d) Sarne as previous figure, starting a half-step below the 1st note o
each triad.
e) 4 note chords performed on each degree
of
the scale.
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Fig. 1-3
~
n n ~ n i J J J J
J>
'
Fig.
l-4
Fi;.
1-Sa
~ ~ ;s
}3 s
11 ftlf3 r
s
Fig. 1-Sb
~
4
3
r;oo t1 J r u ~ f t J W:ertJffs
t-
-22
Fig.
1-Sc
]_ ]_
.--
]-
...-ld
_-]..-.
..-3..-.
l ljfu J fJ
JI
l d j l : J>petf
Fi
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1
S ame as previous figure, starting a haJf-sLcp below
Lhe
1st note
of
cach chord.
g) The three important arpeggios on thc dominant 7th sea e are foun
on thc Oitic, the 5th and the 7Lh. Illustrated in its entirety is the arpe
gio on the tonic e). Practice lhe arpeggios on the 5th and 7th (Gm
Bb, shown in root position) the sarne way.
1-6) Pivoting
Pivoting is a muJti-purpose technique that is an importarlt tool for al
instruments.
It
is cspcciaJly useful for hom/string players and
v o c a i
enabling them to pcrform a melodic line
of
any length and/or rangc
while remaining within the boundaries of thcir instruments. Notice t
the acccntual structure
of
Lhe line changes where thc pivol creates n
highest and lowest notes, whicb natur.Uly feel rhythmically stronger
wilhin the melodic line.
a) Pivoting with thc chords on the
e
major scaJe.
b) Pivoting with thc
e
major scaJe. (Not shown on video.)
e Pivoting wilh the dominant 7th scalc as shown in Fig.l-6b. (Not
shown on video.)
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1-
7a
Major arpeggos are perfonned down chromatically from
the
highest note
on
the alto. Here, the hlghest note is the tonc.
b) Next, the highest note s the 3rd
of
the arpeggo.
e Final y the highest note is the 5th
of
the arpeggo.
1-8)Thi
s figure demonstrates dimnished chords performcd chrom
cally in an altemating descending/ascending pattern.
] -9)
n
this figure, inversions
of
lhe
e
augmented arpcggio are
per
fo rmed.
1-10) "Chi-Chi" by Charlie Parker makes u
se of a
1st inversion
arpeggio.
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i
. l 7a
Fig
19
~ ~ ~ ~ , ~
ibpr
p
~
ggw
s
11
v .
ID
--
'd. JO J
J
- 1
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1-11) Rhythm exercise perfonned on thc e dominan 7th sea e; (8-6
b7-6-5-4-3-2-1 . Practice this on the major sea e as
weU.
1 12) The Harrls Half Step Practice
od
el
Half-steps typify the language of
Lhc
bcbop player. With this in mind
Barry developed
the half step pra.ctice model
to teach the art of play
ing rhytJunicaUy. In their basic role, they appear as notes added 10 th
descending form of the scale.
1rough
various applications, (shown
below), the half
-s
teps becomc an endless source from which to gene
ate improvisational ideas. Thc dominant 7th sea e, the majar and the
minar scales cach have their own set
of
'rules' for adding half-stcp
s.
a) Thc Dominant
7th
Scale Half-Step Rules
St11rting
Note
# of Added Half-Steos
EndOn
1 (octave) 1 (8-7)
tonic
2
o
2 2 (2-8;8-7)
3
1 (8-
7
3
3 (3-
2;2
-8;8-7
4
o
4
2 (2-8;8-7
1 (8-7)
5
3 (3-2;2-8;8-7)
6
o
6 2 (2-8;8-7)
7 1 (8-
7
7
3 (3-2;2-8;8-7
3rd
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( ~ 1
10
Note:
Thesc rules are applied to scales descending from at Jeast th
octave (i.e., starting on t e
2nd
is acn1ally starting on the 9th).
1)
The
starting notes
of
the sea e are grouped
by
odd and even num
bers.
2)
The
octave is called 1 in
t is
case as it takes the rules
of
the odd
numbcred group.
3 In Chaptcrs
1
and 2, added half-steps where applied to the illust
examples have been circled.
b) Vocalized scale ideas on the C dominalll 7th scale.
e
The Miscel/aneou r Rule : start on a note, go up Lo any note, and
(whcn
de
scending), fo low a rule for thc starting note. If
t e
half-s
falls on the bcat, put it at the bottom of the phrase.)
d) When
starting a phrase with 8th note trip/ets,
use a rule for thc m
dlc note of the triplcc
e
When
starting a phrase
witlt
a 3rd,
follow a rule for thc next not
iliat falls on the beat; i.e., tonic-3rd-2nd follow a rule for the 2nd.
f)
When starting with a triad,
follow a rule for the top note
of
the t
i.e., C-E-G top note s the 5th so use or 3 half-steps.
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] ~ 1
2
g)
F or 4 note chords
follow a rule for the bollom note (the root)
of
each
ch
ord. Note that the exceplion to hls rule is the chord
on
the
tonic.
The reason for this is that both the top and bouom notes of t
chord are from the 'odd ' number group,
1
and
7
(as opposed to the
other chords that have notes from opposite groups on their op and
tom). Therefore, use a rule for the 1st scale tone below the top note
tbe chord; i.e., C E 0 Bb A.
'A,'
being the 6th
of the
sea e, would
require either Oor 2
added half-steps.
h)
F or starting a semi-tone below the
ro
ot of a chord
on the sea e,
beginning on the
' '
after '1,' follow a rule for the top note
of
the
chord. n1ere are no exceptions here. Note, however, that the chord
the tonlc requires the half-step(s)
to
be played at tbe bottom of the s
(i.e., bctween
the
root and the flat
7;
or between
the
3-2; 2-1;1-b7).
i
j)
These 2 figures show the application of the prevlous e.xample
over a common tumback. The chord on the 4th degree of C7 up, do
the scale with 3
half
-steps to lhe
3rd,
then
up
the related diminished
chord ofC7, resolving to lhe 5th ofF major; while the rhythm sccti
plays 1-VI-II-V in
he
key ofF.
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Fig. 1-12g
~
r
f n
J 31J=J>,
- ; G S J ] I n w - g
* ;o 1
J@J@ifr
t==u
Fig. 1-12h
~ J
~ J ~
, p ; J 1 E : F k f J I I 3
: P J - i L i w ~ n s u ~ n ~
ran;'
a
3 ~
r 3 ~
~ f f J d J P dZLJ na w 1,
}m
@J{:gJI n m >
. . . J ~
~ ~ m r ~ ~ ~ r P
M
Fig. 1-12j
Fma
j ~
Dm7 Gm7
C
r-
5
Anaj7
1, JW rffl
t1f 1
n
n { f t l 1 ~ 1 ~ ,
t
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( ~ 1
4
k) ny note as a half step. The object here is to make the line fccl ri
rhythmically.
1-13)
The Major Scale Half-Step
Rul
es not shown on video)
There is also a system for adding extra half-steps to both the maj
or
the minor scales. As with the dominant
7th
scale, the
s rne two
divi
sions of notes are mad
e even
numbered and odd. There are two rul
for each group with the exception of starting from the octave
1)
wh
there is only one rule.
TI1e frrst rule for descending from the 1-3-5 and major7 is: 1
addcd half-step between the 6-5.
The second rule applying to tltc 3-5 and major7 is: 3 added h
steps between the 3-2; 2-1; 6 5. Another way to practice this second
rule is by placing the half-steps between the 3-2; rnajor7-6;
6-5.
111e frrst rule for escending from the
2-4-6
is: no added half
steps. Play straight down the scale from the various starting notes.
The second rule for the 2-4-6 is: 2 addcd half-steps which ca
come between the 2-1; 6-5 or between the rnajor7-6; 6-5. Practice b
sets.)
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i .
1-12k
f 4 J ~ t a ~ f J r s ~ -
1
Fig. 1- 3
~ ~
s n
JJiiJ>
f J=er
f
i
1
J
s
~ ~ ~ E o J
1
ra;'
u lfJJ
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1 ,
1-14)
The Minor Scalc Half-Step Rules not shown on video)
Thc minor scale that the half-steps are addcd to is the melodic min
ascending form- tonic -
b3 -
4
6 - major7.
1l1e addcd half-steps for this scale fall in the same places
a
Lbe half-steps
for
the major se ale.
The
onc cxccption to this
is
whe
the major scale rules add a b3rd. Bccause this note is aiready prese
the
melcx lic minor scale, ny
oth r not
may be used n
i S
place.
Noticc that this may al so be achieved by using intcrval jumps and
rcpeating the same note twi
ce
.
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Fig. 1 14
inJ :Ff'T.h
n J
Jw
toru
c
f i ~ 1 H f f l i 3 d ~ I J ' * ll
2nd
~ B = e J o ~ m
1
~ ~
a 1
~ g @ f f l l l f f l ' ll(?goIJi
~ ; o ffl ~ n JS,
Ei
E
e
~
K
f _ Q i J r k J t f
~ J
1
J
H
1
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~
1-15) Chromatic scale breakdown chart
1 chromatic scale
..
2 whole tone scales
..
3 dmnshed chords
..
4 (keys or) donnant 7th chords related to each drninished ch
a
The diminished chord and its 4 related dominant 7ths
Dy taking a diminished chord and lowering each
of
its notes, one
time, 4 related dorninant 7l chords are formed. Because these 4 d
nant 7ths share the same diminished chord, ccrtain harmonic relat
ships between them are also implied. (See Fig.l-17.)
The rule of thumb for finding a related diminished chord is
build
i ta
major 3rd above
1e
dominant note.
f you
are looking fo
related diminished chord to a dominan 7th chord, just go up a ma
3rd from the root
of
the dominant 7th chord in the
key
ofF, C
the dominant note, E is a
major
3rd above the dominant note and t
root
of
the related diminished chord).
1) C#-E-G-Bb becomes C-E-G-Bb (C7)
2)
C
-E-G-Db becomes
C
(Db)-Eb-G-Bb (Eb7)
3) C#-E-
G-Bb
becomes C#-E-F#-Bh (F#7)
4) C#-E-G-Bb beeomcs C#-E-G-A (A7)
b) Extending a dominant 7th seale phrase with the related diminish
chord ofC7.
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r J
J
J
J a
1J
, ,
1 d
d
a J
j 3-&
J
u
11
1-
j
d
Fig l ISa
~ i W
, J
p
A
a(Je Ja1
J
B
J@
9
J ~ . , i
J
JCiJa
Fig
1- I
Sb
7
c T
Fmaj7
---; @
jJ ~ J ij$1
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20
1-16) The Diminished Scale
The
4 notes of a dimioished chord,
plus
the roots of the 4 related do
nant 7th chords, combine to form a scale- i.e.,
The
e diminished chord = e-Eb-Gb-A.
The
roots of the 4 related dominant 7ths are b-d-f-ab.
When these 8 notes are combincd, thcy form t11c diminisbcd scalc
e - d - Eb - f - Gb - ab - A - b
(or; b - e -
d- Eb- f-
Gb-
ab-A)
1-17) Related dominant
7th
scaJes
=
chord movements
As mcntioned earlier, certain implications arisc from stating tbat 4 k
or dominant 7th chords are related to one another through sharing th
same diminished chord. It
is
useful to practice the 4 related dominan
7ths (as scales) into eachother.
Tis chart
demonstrates how, by practicing the related domin
7th
scales into eachother, key chord movements
can
be practiced a
the same time. Here the four scales (C7; A7; Eb7; Gb7) that share t
e diminished
chord
are illustrated.
(Not
shown on video.)
SeA
LES
1) e7-A7
2)
e7-Eb7
(tritone
of
A7)
3) C7-
Gb7
tri tone of e7)
ei-JORD
MOV M NTS
Em7b5-A7 bot11 outline
Em7b5-A7 1Im7b5-V7
in
D min
Also:Gm7-Bbm7 (IIm7-IVm7 in F ma
Gm7-C7 (Ilm7-V7 in F maj)
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Fig. l
6
;
~
1
diminish
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C ~
1) A7-Gb7 (F#7) C#m7b5-F#7
2) A7-C7 C#m7b5-F#7
Also:Em7-Gm7
3)
A7-Eb7 Em7-A7
1) Eb7-C7
Gm7b5-C7
2)
Eb7
-Gb7 Gm7b5-C7
Al su:Bbm7-Dbm7
3)
Eb7-A7
Bbm7
-
Eb7
1) Gb7-Eb7 Bbm7b5-Eb7
2) Gb7-A7
Bbm7b5-Eb7
Alsu:C#m7-Em7
3) Gb7-C7
Dbm7
-Gb7
This is the enti
re
chart for the
C#
diminished chord. Do a similar ch
for the other 2 diminished chords (i.e., C and D), then the same cho
movements will
be
outlined
in
all l2 k
ey
s.
1-18) Practice the C7 scale up and down followcd by the Eb7 scale
anddown.
a) Prnctice the C7 scale followed by (or nto) an Eb7 scale to outlin
bar each of Gm7(11m7}-C7 and Bbm7(1Vm7)
-E
b7, illuslrating the 1
two mensures of When Sonny Gets Blue.
b) Shown here is anoll1er cxample of the C7 scale into the Eb7 scale
outlining, in this case,
Em
7b5
-A7.
TI is
cxample descends the
C7
sc
from the 2nd degrec, adding 2 half-steps and continuing down thc s
to the 5th of C7 which becomes the 3rd of Eb7. 3 half-steps are add
fonning a chromatic line from t
he
3rd
of
Eb7 down to its b7th. (No
shown
on
video.)
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Fig. 1-18
llm7 Gm7)
1Vm7 B ~ m
E
j J J
J
d J Jj j j
d
J]d
dJ J
J
J
J
J
Fig. 1-18a
Om7 C7sm4
B m
El7
I
jl\lm
Fmaj7 Gm7
A ~ d i m )
Am7 D7
Fig.l -
18b
E m ~ S
A
n=r
-9? w ~ n f @d ~
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4
J-19) Shown here are 3 examples
ofthe
C7 scale run into the Gb7
(F 7) scale, outlining Gm7-C7.
a)
The
1st
examplc descends
fr
om
the tonic to the b7
of
C7
with
added half-step. The b7 becomes the
3nl
of Gb7, and the line con
down t.he Gb7 scale to the 4th, again adding a half-step bctween t
tonic and b7
of
Gb7, rcsolving to the 5th
ofF
major.
b) The 2nd example on Gm7-C7, uses a parallel pattem
of
8-2- 2
cach of the two dominant 7th seales.
e)
Thc
last example dcscends the
C7
scale from the octave, with
1
added
half
-step to the flat 7, 1cn down the arpcggio of the flat 7 (
The same idea is then applicd to the Gb7 scale, finally resolving t
5th ofF major.
1-20)
The
minor7 flat5 chord
The following illustration shows a
C7
scale with
the
Em7b5 chor
located
on
its
rd
degrce. 'Ibis
is
a key point. When
soloing over t
Em7b
chord, choose the
C7
sea/e because the chord is found on
scak.
a) Playing the
C7
scale up and down to its flat 2,
or 10
the 3rd
of
A
ouines Em7b5-
A7
(one bar apiece).
1-21) The '5-4-3-2' Phrases
As Barry states, these phrascs are handy to help
get o
ut
oftroubl
Use them to end and
10
begin lines.
a '5-4-3-2' on the
major
scale
Notice that not only is it possible to play all 4 phrases
i
nto eachot
but it is also possible to make up various combination
s-i
.c., '5' in
4 ; 5 into 3 ; 5 nto 2,' etc. (See Fig.2-3.)
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Fig. 1 1 9a Gm?
C7 Fmaj7
f4u
@ * d : D ~ t t ;
d ~ . W 4 t -
M
Fig. l 19b
Om7 C7
~
{jp
J
i b w
Fig. 1 20
E m ~ 5
9
-
[ J
o
'
lg. l 20a
mns
A?
tuo
J
au
Jd
f?:zm=mv
'
Fig.
1 2 a
1
uz S--4-3-2 .
I a n m ;
*
i J P ~ r W J ; 1
a J;
*
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6
b) Scalc practice ending with c 5 phrase.
1-22)
5-
4-3-2 on the dominant 7tb scale (not shown on video)
In applying thc phrases
to
the dominant 7th scale, tbe
5, 4
and
can e borrowed directly from thc ma
jo
r scale phrases. In
Lhi
s figu
we show the 3 phrase, an a1temate
2
phrase, and then thc 5-4-3
run together.
1-23)
5-4-3-2 on
the minor
scale (not shown on video)
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. l-21b
1 J J J 3 [ }= =
B f p 1 ; - -
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APPLfCA fON5
In
Lhe
previous chapter we covered many
of Lhe
basic
tcehniques (or ABC's as
arry
refers to Lhem) Lhat
should make their way into any practice-rime reper
toire. In Lhis section, these tcclmiques are applied to
solo building over severa well-known song forms.
Consider three
steps
l Choose the correct scale(s) to outline
Lhe
chord
progression (song). P
ract
ice
the scale(s) thoroughly.
Not only will this souru the harmony, given that the
chords come from the various scales, but it will also
illuminate any darkened cerner in the tune, shedding
light on how to solo.
2. Make-up as
many
different phrases as possible
based on tbe scale(s) outlning the harmony. Pr.tetice
them in all keys, and at cballcnging tempos.
3. Find differe
nttunes
that make
use
of the chord
progress
ion
that you
are
working on, and
try out
the
phrases in cach of them.
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~
2-1)
INDIANA
MacDonald H
Fmaj7
07
G7
Om7
07
r q
J
J
J
r ~
r
F
jffi_
J_j
l '
~ J
C7
Om7
C7
Fmaj7
Cm?
F7
~ ~
J p ;J
1
'1
r
J
nt.=
:tJ
1
j_
B ~ m a
n ~ m 7 E ~ ?
Fmuj7
Am7
07
~
J
f
l y
~
1
J 1_,t
j.
~
J.
cJ
Gm7
C7
a:=
r l p
M
J
Fmaj7
D
07 Dm7
07
~ ~
-
u
1
'
r
r
J
Jt
J.
1
-
Fl
Em7s A7
Dm Em-fS A7
~
J
J
1
j
J_
Jttj
.
tJ
J
'
EmfS A7 Dm
1
J J J
Jd l_
~
A ~ d i J n
1 -
J
Pmj7 07 p Om7
t ~ f o k F 9 -:tr
C7 F ( Fldim Gm7 C7
=
};>-
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Sca
le outline
of (8ack
Homc in) Indiana
; r i k f g l @ n ~ ;
n
111Atru 1ae>
W
fl
n.n
1
J
l
H
1 l U
l3fV
1
J
iilgM
J
;
J,,
i.-
J51
m ~ a ~ p 1n
P
r:HJ 1
m
DMJ
.aue ttru
>
E 1
11
n ~ n 1 3
3
J, .
mu
u
1an-;,* 1p a-e 1u
u
J, A
1 :3Rp s 1J
~
, 1 n amp
~
;J
m ~ ,
wfHHa
; d
l
m ~
1
n: n
u
cr
n ;
n unJ'
1
a O
au1
liJa
J -
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2-3 Scale
outline of
the Blues
in e
*The e Major 7 scale played into an A7 scale. This outlines he
ing 2 bar chord progression: emaj7-A7 or Em7-A7; and also 2 b
each
ofemaj
-F7-Em7-A7.
a A typical Biues progression
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i
2-3
1
nn , nm n _
1
7
1Tma t
pr1
1
llfi7 V i
IV
Jlmal
t VIm
W
f
y1
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2-4) Application
of
scale
ideas lo
the Blues
The following examples run thc e major scale into he
A
domin
scale, making
use ofthc '5-4
-3-
2'
phrases (seeFig.l-18a). Hcrc
musicians illust:r.lle bars 7 and 8
of
the 8/ues.
a)
'5-4'
down to the 3rd
of
A7.
b)
'5
-3' down to the 3rd
of A7.
e) 5-2
to the 3rd
of A7.
d) '5 ' down to
the
3rd
of A7.
e)
e major from the 5th degrce to he 5th degree, then down to
of
1\7.
f Descending
e
major from the major7th to the 5th, th
en
5 dow
the 3rd
of
/\7.
2-5)
The 'Relatcd
Diminisbed
Chord'
The related climinished cbord is built from a major 3rd abo ve tbe
nant note.
Por
instance, in he
kcy of
D the dominant note is
A
a
tbird above is C#.
a)
In the
following example, which outlines bars 7 and 8
of
the B
(in the key
of
e),
noticc how the related diminishcd
of
1\7 is use
extend tbe phrase.
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Fig. 2
-4
a) S .. . ..4 .
r n g ]
J
J
i P fr'
b) 5 '3
C)
5
2
TJ JJ
j
}Sf Jyap' 11 fJ .s 1JJ1 1 J}ij Jtjf
1 1
n
I]JJ cr y - J nn
n
fJ Jo p *
1)
I D
m
JJ1
EtJ#l , -
11
Fig. 2-S
~ ~ o
u
1
f
F:
11
a)
CmaJ7
F7 Bm7 A7
~ g 4 J 1 1
D1 3
=
p JPI
J S
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C ~
2-
6 RIIythm Changes
(refers to thc chords based
on
I
Go
t Rhy
2-7) Sea e
oumne
of
Rhythm Changes
(pcrformed here in the k
Bb_ This is a 32 bar song
fonn
with 4 eight bar scctions: A-A-B(
To cnd the tune, the last A section is the 1st six bars with the 2nd
to repeat the tune, the
lastA
secrion is the 1st six bars with the 1s
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f 7 v'lm
7
1
l
1
1=
maj .
llf( lm 1 v o t
t w
1
pilmaJ
2
t@l
f n W
y
1
;11
z
1
or ?
I
1
1
1
IJ:m l n
tmaF
z
y
\
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( ~ 2
2-8) Tbe '
lmporta
nt
Minor
' Importan
minar
is the term given to the chord found on thc 5t
degree
of
a donnant 7th scale (5
of
5).
13arry
is saying here that blllm7 (C#m7) is the ' importan
minor ' of the
bV17
chord (F#7) in tlte key of Bb. Similarly,
he
p
out that thc llm7 chord, or Cm?, is the chord found on thc 5th
o
This phrase bcgins with the chord on the 3rd of b major.
a)
Th
is phrase and the previous cxample both illusttate bars
3
an
of
Rhythm.
b) This is an example of combi
n.ing
the seales
of
thc
5
and 6th
of ythm.
2-9) Application
of
scale ideas
to
Rhythm Changes
The
next
12
figures (2-9a-1) are various illustrations on the
Rhy
bridge.
a)
Up
and down each dominant 7th scale ending with the
4
phr
b)
Up
and down
eac
b dominant 7th scale ending with the 5 pha
e)
Down cach.dominant7th scalc from the b7tll to tllc 5th, tllen a
the '5-4-3' phrases.
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Fig.
2-8
lllm7 bJllm7 ITm7
titey 3
di
a
t
@ =
l
a . J ~
Ft MJ cl$ Ii3 p ua
C
~
p
f J J
jJJ
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d) DominanL 7th scales down and up
t.o
the
4Lh
dcgree, then addi
the
4
pllfase.
e) Arpeggios bascd
on
the triad found
on
the 1st dcgree
of
each
o
dominan 7th scales.
f
The arpeggio bascd on the tonic
of
each scale up,
Lhcn
descend
thc scale fTom the b7th to
the
3rd.
g h) Variations
on
Fig.2-9f.
i)
Up
each dominant 7th se ale from the 3rd to the b7th, back dow
the 3rd degrcc, then up the chord on the 3rd dcgree
of
the scale.
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d i3
~ 1 1 SaO J 1 J J f f r 1 FE g :D k J
t r v
U
J-Jn n
JtJ
; ,ntr E fH ~
,
m
;Jr;
p anAJr' - acffJ u H
r ~
fJ
P I J ~ 9
~ - '
c
if-EJ
0
4 i J t t
~ -
~ t J r P J J S = J V * l g d C T C F ~
n ~ l f f l ,
,, -_
kb tJtrttr
,
*
-
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~ z
42
j) Descending cach scale from the b7th to thc 3rd, then adding
and the 2nd degree
of
each scale.
k) Improvisation bascd on the
ls
t
5
bars
of
the bridge.
1 Each dominant 7th scale followed by its lritone 7th scale.
2-1
O
Sea e outline
of Rhythm
see Fig.2-7 for the
'A'
sections;
Fig.2-9k for the bridge.
a) Here, Lhe same
scalc
outline is performed.
The
scales on
tl c
'A
tions begin on thc ' ' after beat 4.
2-
11
) Improvisation based on
the
1st
5
bars of the
Rhythm
bridg
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~ z
2-t2
ANTHROPOLOGY
h a r l ~ l 'a
[X]
Om7 Cm7 P7
al
Gm7
~ r
t
a
0
er cr
1 , p
E; r
1 , ~
r
1
0
t
Cm7 F 11
1
7 Ddim n Edim
Ff$
@n t v r
A
F ,Tp""r
1
tf1 fh
l t l
7
2
a ~
Cm7
P7
Cm7 F
Bl
- r, : =1ti E
cJ
, ve:
er,v
u -EJu
[ID D
z
7
,..
F@*
frr r 'ar ru
t
5"1rt E fffer' * , fhr
Cl
F1 .....
rf?L ; t , J
1
C
u
,
ptr trtf[J r
n.
,
[A]
al
O
m Cm7
F7
al Gm7 Cm7
F7
- r ~
uu
E8 D 1 t
; p
e; r 1
i
vu
0
u
r , s ,
r j 7 l>dim E
1
7 Edim Cm7 F al
: n ~ r ntr t P a a c : ~ u a u
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2-13) CHEROKEE
( ]
~ ~ ~ ~ ;
u
F-t7 Fm7
Tf1
El
J j
[o lo 1
RayNo
A ~
~
J
1
u
;.t
C9
;1 .
l t
On7
G7
1
j ,]
1
o
1
lo
1
J
j
l 2
Cm7
F7
si
l-o
o
1
1
d
m cJm7 ~ 7
~ ~ a a p r
Bmaj7
;;'. Dm7
E9 Amaj7 ;
1
lp ~ J
J j } t ~
:lfc @
J
I ~ : J j
Am7
...
Om7
C7
On7
F+
1J.ijJ
e
J
J
1
',
.
P+7
Fm7 B
1
7
El
A ~
;. .
1
]
h
1
o
1 1
J
J
1
o
e
C9
; ,
Cm7
F7
si
1
J
l
o k
lo
1
1
1
2
..
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C iuZ
2-14 Scale outline ofthe Chcrokce bridge
2-15 A pplication
of
sea
e
ideas
to
the
Cherokee bridge
a Scales performed down and up.
h Scales perfonned in 3rds.
e Scales performed from the tonic to the 5th; 3rd to
the7th.
d Sea es performed from the tonic t tite 5tJt; 3rd to
t te
7th;
5th to
tlt
e 7th.
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2-16
HOW
IITGH THE MOON
Morga
:.-
.
Q,n7
C7
Ff
J
J j 1&5
l
=f
if l
~ j
j
; 1
Fm7
tJ
~
j J 1 o
1
=---
n
1
1
jJ j
d
E
1
maj7 Am71s D7 Cm :.- .
~ L J
J
J
1
w
.n
n
j
t ; : E
1
J:J
u
~ j
Rm7 E7 Am7 D7
Ir
f
F lf n F
I ~ J
J
Omaj7
f11
J
r
;.. . Om7
t d d
..
C7
f ~
~ J
~ n a J t
~
817
a J u -
i J:r m 7 Am71s
D7 omaJ7
~
J
J J
J
1
J J
1:0
J W
Cm7 F7
1t
hf
LJI
Omaj7 Am7 D Omaj7
~
F
I J J
J
;g..
Am7
1
l
p
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2-17) Senle outline
of
How lligh
Tbe
Moon
Fig. 2-17
~
m n u t r O u i
a
n n n ~ m ,
n :
JJ>'e
~ -
0 0
J i J F t
~ ~
3
m m s 1 J a n a , . , H
~ r D
m=tf11
b f
Etf
S Jftl
t f Jtr )-
n rlEJ 1u
np,
* 1 r : ~ 1 t 1 nE] m
.n
J'''
~ f n P F J
LJ1tr kOU
l l 113
D D FB J
*
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JPu
u
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fn
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3 4
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iJ
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ag
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p
~
nnu
; J , ; a n ~ , n n u h
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2-18)
The Minor
6 Diminished Scale
This scale is formcd by combining a minor 6 chord wilh its rela
diminished chord.
The
diminished chord is built from a major 3
above he dominant note of lhe scale.
2-19) Scale practicc on thc G
minor
6 diminished scale
a)
The
scalc pcrformed up and down.
b)
The
scale performed as broken note chords.
e)
The
scale performcd as arpcggios with inversions.
2-20) Figures 2-20a-n show various phrases based on lhe G min
dimilshed scale (bars 12).
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... ~ j ''
''
~ t
d
J
b t a
[ [
~
related
1'
dinnished chord
Fig
. 2-19
a)
~ l i d 1 ( ~ r t l l E
r
E
'F
g ~ U
1J
='
1
r
r
m{
r
r r
ltfepiJ
JO n
~ ~ ~ ~ er rJ e
g l
r rJ=to ;1 lter
lEO
11
Fig. 2-20
a
9
b)
e
~
ao
r
~
,
tf-C
r
P
g
_gj
411
d)
3
~
e
-:::.:;;::;
~
JW
, lbS) oo r ~ U A : : = e
-
v
, .t-
l ~ i g J @
cJI
~
'*
-
ii>[J 8n;1
t
1
i
lJ
h) i
j
, , ~ 3
'dj l
n ~ E f F l i : > J
v
c:f
1 '
*
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z
Application
of
scale ideas
to How
Higb The Moon
2-21) Figures 2-
2la
-f show various phrases
b ~ e d on
the G major
(bars 1 2;17 18).
2-22) Figures 2-22a-f show various
phr scs
based on thc
e
domin
scale (bars 3 4; 19 20).
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m
n) ~ ' ' l
~ Jj1 k ~ ,; t t=J11 )
Fig. 2-21 b)
~ i t
nnu muu ,,
11
fo
OP,
~ i D
J>" 1 \ :P J n
PJ
J.} n -
m
~ ( j
; ~
e]
0
gr
f.l t 4
Fig. 2-22 h)
.-
3., e) ...
~
~ n n ~ n t 9 -
J nY mw J . ; b ~ J J
J
~ ] ~
JN=il
r flC P
EP
u
J-
n , 11
f)
u
Lv
rfflr: &W
u1
3
-
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2-23) Thc F major scale performcd up and down (bars 5 6; 2
2-24) Thc Bb dominant 7th scalc peonned up and down (bars 7
23 24).
2-25) This figure oullines bars 9
10
(also
25 26).
Here lhe E
major scale is played up; followed by the F dominant 7th scale pl
down
t
lhc 3rd degree of the D dominant 7th scale.
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( ~ 2
2-26a-b Perfonned hcrc are furthcr cxamples illustrating bars 9
2-27 This figure shows an improvisation built on bars 9-13.
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Fig. 2-26
a
,_,
... b
,_,
... e) _3
...
1
v
~ ~ n a
p
1
,
J @
f
,
PJ
1
S.
1
o 1
A
d
e)
S _JiJ . f ~ J
Fg.
2-27
_
~ ~ d Jd fO lHfiJ ~ J O J J1JP J5=
-
=
@
@
~ ~
~
J
J
J_
i
d -
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HO\IAELE
QHOR7 5
P I N O ~
QliiTAR
chapteris inspiring notonly:from my
as a pianist, butalso from a philo
al perspectlve
that
chords
and
cbording
e
e
other th1ngs
in
lifc) can
be
thought
of as
and havlng poten
i
al for constant lnterac
We
are requlred, then,
to
consider where
cbord origirwes,
and
lo examine how he
are
related one to eacbother.
'The misconceptlon that chords are fixed
thc tune, bound by vertical hannonic
, may
be he
culprit behind thc tcn
play thc same two or three voiciitgs
r and over for thc same change. Introduccd
cre ls a
scalefor
h o r d l t ~ g ; anda melhod of
any chord to one of two
lcs-th
,.
( ). 6 po
(;l-6
pO
al6
A ~ D ~ m a j
;
. -l
_,
1
'
1
Fig.
3-8
Fig. 3-9a
Fig. 3-9b crv CV
'
~ I
k ~
~
r
f@z f@z
r
1
f e ~ ,
0z
Q:h Q)2 Q)J Q)z
Q),
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3-lOa Moving a voicing through the C major scalc
Here, chords are played up a C major scale. Fig.3-10b illustr
t
es v
for the gui ar.
3-lla
Moving a voicing through thc C6 diminished scale
he
same initial
cbord s
n the previous figure is now pcrformed
C6 diminishcd scale, with guitarfingerings shown in Fig.3-11b.
Remember
t
nwve each note to the next note o the sea/e
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Fig. 3 IOa
Fig. 310b
Fig. 3l la
1:::1
.n . ~ Rn ~ j J ~ Q
l l ;
n
n
n
n n ; ~ n ~ n
1 1
Fig. 3-llb
~ f7
Clli
~ v _ cv_I .O e eME ip
rrfPFf ~ F ~
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3- 12) The 6
dimin
s
hed sea e contains two
dominant
7t
.h chor
Illu
str
ated in
l
figure
s
a k
ey
difference between lhe major
sc
the
major
6
diminished scale.
As
Barry mentions, notice that the
6
dimilshed scale contains the dominant
7th
chord belonging to
key, (in this case
G7
),
as weU as
the
dominant 7th
chord belongi
the relative minor of the k ey (E7).
3-13)
Ending a tune with movements
on
the 6 diminishcd sca
a) Voiced for t he guitar, ths figure shows an
ending
for
a
tune de
oped by playing up the 1st four chords of
th
e
C6
diminished sca
rcsolving
IVm-bVll7 (implied by the E moving
to D,
tbe 3rd
Bb7)
lO
lrrtaj6.
b) Another illustration of us.ng a
chords
on the scale m
ovemen
create an ending. This exan1ple is performed by Barry
3-14) This figure exlcnds the cxamplc shown in Figs.3-13a b, d
oping the idea into a four key exercisc.
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Fig. 3 12
t - ~ 11 5 )
Fig. 313a
~ ~ ~
r r r
1 :\
1
5
==M
Fig. 31 3b
_n _
Fig. 3 1 4
.-1
. ......
.r .
1
,
.r .
...
1 1
~ ] ; 1
n
n
n
tTJ
F
F
r b
1
1
1
o
o
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3-15) Using the C6 diminished
sca
lc on
11
V 1 in G
majo
r
a b) TI1esc two figures illustrare the movemcnt of n
Am7
chor
on Lhc
G diminished
sca
le within thc context
of a
IIm7-V7-Tma
gression
in
the key o G.
e) Here, a variation of the previous examplc
is
written in guitar
tion.
3-
16) Using
tbe
C
minor
6
dimini
sbcd scale on ll-V-1 in G
a b) Two cxamples showing Am7b5 (Cm6) moving on t
he
C rn
diminished scale within the context of a Ilm7b5-V7-I progressio
in the key of
G
major, then
G
minor.
(Fig.3-16c
illustrates a tllir
ple for the guitar.)
3-17)
' Bo
owc
d Notes
This example demonstrJ.tes the samc chord progression
as
the p
figure; however, it incorporales
borrowed
diminisbed notes.
T
nd
'Eb ' re notes of the F dirninished
chord-
the related dirnn
to D7.
Borr
owcd diminished notes are circ/ed in Figures
3 17 3
3-19, and 3-22.
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Fig
.
3-15a
Fig. 3-15b
-
-.
.
tt
1 1
lJ
1
L
Fig. 3-15c CV11
~ ~ c i ' J j
~ G )
F 3 16a-
7
tg
r 1 1 1
-
3 16b
o
-
o
r
.
.....
U
L
1
1
._,
Fig.
317
i r
;:l
1 :\
1
-
= t
j
-
fif
- .)
1 -
1
~
:
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Fig. 3-18a
b)
Fig.
3
18
c
Fg.
3-
18d
Fig.
319a DJANGO (last 8
bars
r--r
Am
Do j
r
1
J\
r r
V
~ m
Al \
Um
.
.
V
1
~ ~
m7
1
-
1
: . ~
ti7)
1
#
A
m
1
~
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3-19b) Rased on I f 1Should Lose You by Robin-Rainger
3-19c) Based on In Your Own Sweet Way by Davc Rrubeck
'Major-minor-minor/6'
3-20
This
figure shows
the progression from major to
minor
to m
with the 6th degree in he bass(Bb
major-G minor-Gm/E
.
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Fig. 3-19b IF T S
HOULD
LOS . Y
OU Om7
Gm7 Am7\5 0 7 1 011
~ i t J f ~
IRh
; J
I:J
& ) ~ c ~ [email protected]@
Fm7 a7 ~ ~ r ~
1 , J. @
1
J J
R
J
Plrulj7 Gm7
ltM
Fig. 3-19c
lN
YOUR
OWN SWBBT WAY
A m ~ s o ]19 0m
Om6 Cm7
a l Fmaj7
f4
~
1
UW
@f
4
1
c
ff'r
ey-1f-3Uf
Alm7
1>7
(JI maj7 maj7 Cm715 F7\9 a>ma7+l1
~ ~ ~ v ttf r ~ : J-EuP
,fi[JJu.
~ r u w
Fig. 3-20
1
.
l>f
1
;
.
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3-
2
a) The previous progression based on bars 24-25 of Stclla
Starlight by Young-Washington.
l l l
e chord movements are I m
ID7-relative minor-b Vldim-
Im
aj/5-nnor/6.
b) Here, the harmonic.concept of the previous figure is applied
. progression-based on-the .
fust
4 bars of Like Someone In Lovc
van Heusen-Burke.
e) Again, the
hann
ony of Fig.3-21a
s
applied to changes base
fust 2 bars
of
I Remembcr
You
by Schertzinger-Mercer.
d)
The
movemcnts
on
the 24th-25th bars
of
Stclla by Starlight
ten for guitar.
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Fig. 3-2
la
S'T'ELLA
BY
STARLTGIIT''
@
..
1
.
~ '
B ~ l Cm
m
A
T
6
Em -J
-
w r
Fig. 3-21b LIKBSOMEONE
IN LOVE
..
~
:
11
~
:;.-
~
; ~
~
1
1
r
r r
r r r
r
r
Fig. 3-21c 1 REMEMBER
YOlf
1
lA
.
'
~ . _ r . r
_
r
L5 T r
r
; i 5 t D ~ ~
~ l - -
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3-22) Tbe 4 rclated dominant 7ths used us
V7
substit.utions
In
thc following two figures, (3-22a written for guitar
and
3-22b f
piano),
we
have illustrations of
how
related dominant
7th
chords
be u
sed to
substitute 'for eachother' when the
V7
chord moves ba
the l Refer to Figs.l-15, l -15a,
and
1-17 for explanation of how
thc dominan 7thchordsrelated to a.given diminished cbord;
and
for examples of how to practicehose.relatcd dominant 7th sea es
eachother' to outline key chord movements. In the following exam
7
going to G major
is
outlined.
TI e
diminished that
7
comes f
F# (F#-A-C-Eb). Given that F7, Ab7, and
87
are also relatcd
to
F
diminished, they make very interesting voicings when played aga
in the bass.
In
addition, notice how diminished chord tones (circle
can e incorporated into the progression .
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Fig. 3-22
Fig. 3-22b
Al ?
Gmaj
B7 r::
.--3--
r--,
hJ
-
-.....
1 r
1 1
-]{d i
_ /
{..,
Y
RHAM
ARTFARMER/
DON
ALDBYRO
DANFAULK
'IDRRY GlBBS
Tllem
Diny
Blues
Don
' Look Rack
Blues Sonala
ByrdJ
ozz
Play ll Now
Al
Cohn Ametica
NoProblem
Sa Ury Moming
Cuber Lihrc
Rcflcctions
Bebop Rcvlsiled,
Vol.
5
21
rompes
Focusing In
Bopstacle Course
Rivcrside 322 {L:lndm
Xanadu
101
Riven;idc RS 9453
Trdnsilion JS
(Dclmar
Xanadu 110
138
179
Xa
nadu 105 (FOC
516
Xa
nadu
135
Red (CD) 12.1247
Xanadu 205
Presligc 7062
(OJC 18
Criss Cruss
1076
D
Xanadu 210
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O
Bl:iNNY GOLSON Tite
Olhe.r
Sidc of
Benny Golson
Riverside 12-290 (OJC 1750)
DEXTER C .ORDON
Gcuin'
Around
Blue Note 4204 (CD 46394)
Clubhouse BlueNoteCD84445
The Tower
of
Power Prestige 7623 (OJC
299)
More
Powcrl 7680
Diting The Apple Ste.eplechasc 31080
DEXTBR GOROON/
ALCOHN
TrueBlue Xan.adu 136
Sil
ver
Blue
137
JOHNNY GRIFFIN
TIIC Kerry
Dancers Riven.ide 420
STEVB GROSSMAN Dolt Dreyfus Jazz 36550
COLEMAN HAWKJNS Sirius Pablo 2310-707
Wrapped Tight Impulse 87 (Impulse GRD 109)
LOUIS RAYES (feat. YusefLateef)
Vee Jay 3010 (VJ CD 906)
JIMMYHBATH
Pictureof Heath Xanadu 118
BUCKHILL
capi al
Hill Muse5384
Tite Bock
S1.0ps
Here
M u ~ e
CD 5416
ILL NO S JACQUET BotlomsUp Prestige 7575 (OJC 417)
Allstars JSP 1014
EDDlE JEFFERSON
Body
and Soul
Prestigc7619 (OJC 396)
Come Along Witb Me 7698 (OJC 613)
CARME.LL JONES Jay Hawk Tal k Prestige 7401
SAMJONES
CeUoAgain Xanadu 129
Clumgcs Things 150
THADJONF.S
The
Magnificent
ThadJooes
B1ue
N01e 1527
(CD 46814)
Magnificcnt Tllltd
Iones,
Vol.
3
B1ue
Note 1546
Cilll ORD JOROON Repetition
Soul Note 1084
RALPH LALAMA
Feelin' and Dealin'
Criss Cross CD 1046
HAROLDLAND West Coast Dlues
Jazzland 920 (Jap.Victor 23660)
YUSEF LATBEF 1nto Sometlllng New Jazz 8272 (OJC 700)
Eastem o u n d ~ Prcstigc 7319 (OJC 612)
Many Faces of
Yusef Lateef Mi1estone 47009
WARNEMARSH
BackHome Criss Cmss
1023
HOW ARO McGEE
J
87.zbrot1Jcrs Jaz7.crdfl 2
HOWARD Md3EE
DENNY
DAIUiY
HomeRun Jazzcraft
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CHARLES McPHERSON
BILLY MlTCHI. .LL
HANKMOBLEY
JAMESMOODY
FRANK MORGAN
LEEMORGAN
SAMNOTO
DAVEPIKE
SONNYRED
REDRODNEY
FRANK ROSOUNO
ER1C SCHNEIDER
SONNYST1TT
Bcbop
R
ev
isill:dl
Con Alma
TI
1c
Quintct/Livc l
Mcl'herson's Mood
U ve
lnT
okyo
Charles McPherson
The
Colossus
of
Dctroit
Mobley'
s Mcssage
Jazz Messsge Vol.2
Sualgbt. No
Filter
ThcThmarouod
Doo't Loolc
Away
Now
You
Must
Believe
rn
Spring
TakeTwelve
Thc Sidewinder
Wc Remcmbu You
EnU11nce
ActOne
11'
s Tune
For
Davc
Pike
Broe>.ing
ThcMode
lmages
Bird Uves
Ho
meFree
Swing ..Not Spring
(4
tunes)
Eric's Alley
Bumin'
Tunc-Up
Constcllation
Twelve
Mellow
PlayGene Ammons
Bluc.s for Dulce
Sonny's Back
In Style
Moonlightln Vermont
Prostige 73
59
(OJC 710)
7427
7480 (OJC 1804
7743
Xanadu
131
Mainstream 329
X..nadu 158
Prestige
7061 ('2A063
)
Savoy 12092 (CD 0158)
Bluc Note
84435
B1ue Note 4186 (CD 841
Prestige
761 5
Antilles (CD) 314
512
S1
Ja:a.land 980
OJC
310)
B1ueNote 4157 CD 841
F Wl
Sound
(CD) 1024
Xanoou 103
127
Riversidc 360
Ja.z.zland
32
59
74
Muse 5371 (CD5371)
MR
5135
Savoy 12062 CD 0 188)
Gatcmouth
1005
Argo
661
Cobb1estone 9013(Muse
9021 (Muse
Muse
5006
(JapaneseCro
Muse5067
5091
5129
2 4
5228
Denon CD 7046
-
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Various ArlisL
ANNlVBRSARY
TIIE BASIE-ITES
l
REMEMBER BEBOP
11m
PIANO
PLA YfiRS
RIVERSIDE REUNION
BAND
WANGARATIAJAZZ
XANADU
AT
MONTREUX
Trio: Sall
PcanuiS
How
High The Moon
Trio:
4
Monk
tunes)
Trio: a Barry Harris
original
Confusion)
Mostly
MonJe
Vol.l
Vol.2
Vol.3
Vol.4
Xanadu 201
Jubilcc 5004
Columbia C2 35381
Xanadu171
MileSU>ne
MCD
-9216-2
Subaru
CD)
SJOOI
Auslnllia)
Xanadu 163
164
165
- Compilcd by n MacDONALD
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The following quotations have been gathercd
ovcr
the years from lectu
and personal conven;ations with Barry Harris.
l (On jazz having advanced since Charlie Parlcer)
You can wear your trousers backwards,
but
that won
t
neccssarily
p
any further ahen.d.
2. (On tlte use of oo m ny 'blue' notes)
1e
old folks would say, ''The person who curses a
lot
has the fcwe
words at their command. '
3. (On tite importance of focused practicing)
Practi
ce
your playing-not your practicing; make the pmctice time a
for yourself
as
possible.
Monk would praclicc playing a tune for hours, and so when he wen
the ;ig he was ready.
4. (On rhythm)
' I'hink about it- you 'd mther hear a cat play rhythmic and wrong, tha
non-rhythmic and right, cause
thcy'rc
going to
be
wrong anyway
.
5. (On volume)
Play
at your norm [volume l
eve
lj. Know what y
our
nom1 is so that
play the most relaxed. lf you play a little lou
der
than that, theo you v
broughl in sorne teosion, and tension won t allow you to really
do
it.
Thc loud that you really want is thc loud that comes from surety- pos
ness
- thnt's when you hear people really starting to speak out.
6. (On vibrato)
How dislinctive and easily recognizablc t
hc
tenor players were, onc
the other, bccause of
their vihrato.
Your vihrato is likc your soul.
Hom
players nowadays aren't prnctic
their vihrnto and tltat's why you
can't
tell ther apart.
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(On the effect Charlic Parker hod on other
u s i c i o n ~
He made people play 'over their heads. ' "
"1
heard Bird with some
of
the
worst
cats
you could imagine.
He
ca
rne
to
Detroit once with [a band led by] Emperor Nero--and on top of that-
Emperor Nero playcd alto. The funny pan
of
it is that I had never heard
Emperor N
ero
play so
good in
my life
as he
did with Bird."
(On
performing with Lester Young)
"The way that
he
would count in a tune wos such a knockout-all he'd do
is shrug bis shoulder- Iike that-and that would
be
the tempo."
. (On the hipness of Euro-Classical masters)
I fBach and Chopin and them were around today, they wouldn
t
e play
ing other people's
mu
sic, they'd be down in the comer joint jarnming."
ceiving thc whole. Philosophy,
anda
typicnl t a r t to
an
other ses
sio
n of the
Barry
HluTis zz Workshop)
One thing that modero (wo)man is particular y good
al is
naming every
thing ..
Thcrc
are petrus, a stem, caves, the starnen, sccnt, color and all too
often what becomes obscured is that whnt
we
are Iooking at is a flower."
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Barry Doy e Ilarris, orn n Detroit Michigan on Decem
15, 1929, is self-proclaimed as thc world's oldestjazz t
He began playing the piano
at
age 4 and claims to ha ve
lw ys known that atwas what he was destined to do
the time he reached bis teens he had developed his own
.ries of.jazz, and soon became
so
ught out for bis knowle
local pcers and established, visiting jazz musicians alik
Indeed,
tbe
Harris family borne might well be regarded
first school
of
jazz. While Barry's reputation is legenda
modesty is also fro
nt
and
ce
nter. When asked about his
sion for teacliing,
arry
typically r
cp
lies tbat
it
is fucled
own
's
elfish' motives, hoping that someone will come
and show
me
the way." ' 'That," he
st
at
es
, half-jokingly,
when class is over."
Howard Rces, born in Toronto Canada on Fcbruary 21,
began studying with Ba
rry
Harris in 1979. In 1984 he f