Then try the exercise in Example 2-3, which uses long chords and short chords. Copyright 2001 BarryHarris.com. With an unrelenting inquiry into the nature of this music and his willingness to communicate it, Barry Harris now inspires and encourages many younger musicians. Example 3-4 It's a combination of two things The C and A are from one diminished chord, Example 3-5 the E and G are from another diminished chord. Any reproduction, retransmission, or re-publication of all or part of this document is expressly prohibited, unless BarryHarris.com or the copyright owner of the material has expressly granted its prior written consent to so reproduce, re-transmit, or republish the material. First of all, move from G6 to C6 Example 2-7 Now, try these diminished passing chords. All rights reserved This document is subject to copyrights owned by BarryHarris.com and other individuals or entities. For most altered dominants, the minor sixth diminished scale found a half step above the root note will work. Page 26 of 27 Issue 1.0 - The Barry Harris approach to Improvised Lines & Harmony: An Introduction Last Page of Document This page is intentionally blank Copyright 2001 BarryHarris.com. Any reproduction, retransmission, or re-publication of all or part of this document is expressly prohibited, unless BarryHarris.com or the copyright owner of the material has expressly granted its prior written consent to so reproduce, re-transmit, or republish the material.

All rights reserved This document is subject to copyrights owned by BarryHarris.com and other individuals or entities. The major sixth diminished scale is the same as the diatonic major scale, but with an added note between the fifth and sixth degrees of the scale. All rights reserved This document is subject to copyrights owned by BarryHarris.com and other individuals or entities. Copyright 2001 BarryHarris.com.

She presently attends his weekly workshops in New York. Example 1-4 Copyright 2001 BarryHarris.com. Here are a couple of other ways of looking at it Put your fingers down on a C6 chord - C, E, G, and A.

She uses contrary motion. All rights reserved This document is subject to copyrights owned by BarryHarris.com and other individuals or entities. She has been a student of Barry Harris and Walter Davis Jr, and was twice a semi-finalist in the Thelonious Monk International Piano Competition. All rights reserved This document is subject to copyrights owned by BarryHarris.com and other individuals or entities. Example 2-1 Also, play them like so: Example 2-2 This should be done with all major and minor sixth chords. CMa9, for example, is C6 with two unresolved diminished notes - B and D. But the true sixth sound, if only we could recognize it, is still intact. Bebop absorbed his attention, particularly the music of Charlie Parker, Dizzy Gillespie, Bud Powell and Thelonious Monk. Notice how he uses added half-steps in bars 7, 10, 15, 16, and 24 of his solo on Stay Right With It. [emailprotected] You can pivot from any note of a scale run. You have already seen one example of this - C6 to D7, or IV to V, in place of IIm7 to V. Another example is Cm6 to D7, or IVm6 to V, in place of IIm7(b5) to V. Knowing this can help you find the appropriate sixth diminished scale to generate movement. These should be played in all keys, and with the following rhythm: Example 1-7 Note that the turn of direction in these motifs occurs at a certain place. Any reproduction, retransmission, or re-publication of all or part of this document is expressly prohibited, unless BarryHarris.com or the copyright owner of the material has expressly granted its prior written consent to so reproduce, re-transmit, or republish the material.

Any reproduction, retransmission, or re-publication of all or part of this document is expressly prohibited, unless BarryHarris.com or the copyright owner of the material has expressly granted its prior written consent to so reproduce, re-transmit, or republish the material. Example 1-6 Some basic motifs Barry also teaches certain melodic motifs which are commonly used in bebop phrases. To see this, we must regard Dm7 - G7(b9) - C6 as F6 Bdim7 - C6. With motif B, the F - the fourth - is stated Copyright 2001 BarryHarris.com. This movement from a diminished chord back to a sixth chord is the basis of many harmonic progressions. Any reproduction, retransmission, or re-publication of all or part of this document is expressly prohibited, unless BarryHarris.com or the copyright owner of the material has expressly granted its prior written consent to so reproduce, re-transmit, or republish the material. Page 3 of 27 Issue 1.0 - The Barry Harris approach to Improvised Lines & Harmony: An Introduction Introduction In his teaching, Dr. Barry Harris emphasizes a return to basics. Any reproduction, retransmission, or re-publication of all or part of this document is expressly prohibited, unless BarryHarris.com or the copyright owner of the material has expressly granted its prior written consent to so reproduce, re-transmit, or republish the material. Page 27 of 27.

Above all, let your ear guide you; but never be afraid to let your intellect, governed by the logic of this harmonic material, take you into new areas. and so on, up to the run beginning on the seventh note of the scale. EVOLUTIONARY VOI, Barry Harris Harmony RevealedFull description, The Barry Harris Approach to Improvised Lines & Harmony: An Introduction By Fiona Bicket Copyright 2001 BarryHarris.com. Any reproduction, retransmission, or re-publication of all or part of this document is expressly prohibited, unless BarryHarris.com or the copyright owner of the material has expressly granted its prior written consent to so reproduce, re-transmit, or republish the material.

One way to find the long chord is by swapping the top and bottom notes of a short chord. B.H. Page 9 of 27 Issue 1.0 - The Barry Harris approach to Improvised Lines & Harmony: An Introduction Addendum 1: Song Example: Stay Right With It Copyright 2001 BarryHarris.com. All rights reserved This document is subject to copyrights owned by BarryHarris.com and other individuals or entities. Any reproduction, retransmission, or re-publication of all or part of this document is expressly prohibited, unless BarryHarris.com or the copyright owner of the material has expressly granted its prior written consent to so reproduce, re-transmit, or republish the material. When he is not traveling, Dr. Harris holds weekly music workshop sessions in New York City for vocalists, students of piano & other instruments. All rights reserved This document is subject to copyrights owned by BarryHarris.com and other individuals or entities. Copyright 2001 BarryHarris.com. Example 1-9 These motifs can also be condensed to form one whole phrase, as follows. Example 1-10 Copyright 2001 BarryHarris.com. All rights reserved This document is subject to copyrights owned by BarryHarris.com and other individuals or entities. Dr. Harris is the recipient of an Honorary Doctorate from Northwestern University. It takes some time to get accustomed to this unusual configuration. Any reproduction, retransmission, or re-publication of all or part of this document is expressly prohibited, unless BarryHarris.com or the copyright owner of the material has expressly granted its prior written consent to so reproduce, re-transmit, or republish the material. Sixth chords, long and short For example, see how F6 short chords in root position and inversion can be lengthened. Now, we often use other bass notes, and we often leave unresolved diminished notes in our chords. 1) Try adding a triplet. With soloing he teaches scalar and melodic materials which have a very practical application through their rhythmic integrity (Part I). Any reproduction, retransmission, or re-publication of all or part of this document is expressly prohibited, unless BarryHarris.com or the copyright owner of the material has expressly granted its prior written consent to so reproduce, re-transmit, or republish the material. All rights reserved This document is subject to copyrights owned by BarryHarris.com and other individuals or entities. The chord generated off the first degree of the scale is C6. Issue 1.0 Issue 1.0 - The Barry Harris approach to Improvised Lines & Harmony: An Introduction Table of Contents Dr. Barry Harris Profile 3 About the Author 3 Introduction.4 Part I Improvised Lines 5 Scale runs 5 Some basic motifs 7 Summary..9 Addendum 1: Song Example: Stay Right With It.10 Addendum 2: Solo Example: Stay Right With It (third and fourth choruses)11 Part II - Basic Chord Movement 12 Sixth chords, long and short .12 Diminished chords, long and short .13 Using the chords .16 Part III - Exploring the Sixth Diminished Scale 17 Major and Minor sixth diminished scales .17 Chord Scale .20 Practice Suggestion ..22 Summary25 List of Music Examples .26 Copyright 2001 BarryHarris.com. Page 17 of 27 Issue 1.0 - The Barry Harris approach to Improvised Lines & Harmony: An Introduction keys. He has received the Living Jazz Legacy award from the Mid-Atlantic Arts Association, and an American Jazz Masters Fellowship from the National Endowment for the Arts. Example 1-1 . Learn how we and our ad partner Google, collect and use data. . I've given these in long chords so you can immediately hear what a lovely, open, logical sound these moves can have. Any reproduction, retransmission, or re-publication of all or part of this document is expressly prohibited, unless BarryHarris.com or the copyright owner of the material has expressly granted its prior written consent to so reproduce, re-transmit, or republish the material. Example 3-26 Copyright 2001 BarryHarris.com. Within the atmosphere of one of Barry's workshops, you can really experience that intellectual quickness and heated spirit of play which is the flame of the music. Our partners will collect data and use cookies for ad personalization and measurement. All rights reserved This document is subject to copyrights owned by BarryHarris.com and other individuals or entities. Also do this with C minor sixth diminished scale. He deals in an uncomplicated and relaxed manner with the musical elements which make up bebop. When in an actual playing situation, some surprisingly fresh ideas can surface. Continue the pattern until you get back to bar 1, an octave higher. All rights reserved This document is subject to copyrights owned by BarryHarris.com and other individuals or entities. All rights reserved This document is subject to copyrights owned by BarryHarris.com and other individuals or entities.

Example 3-11 Example 3-12 Copyright 2001 BarryHarris.com. Example 2-4 Diminished chords, long and short Notice the use of the Gbdim71 chord for F7, to take us back to Bb6. : It's so pretty. She could also have played this using parallel motion Example 3-19 Copyright 2001 BarryHarris.com. .

Many of the questions I've heard uttered in Barry's workshops What if we did it backwards? or in contrary motion? How about moving the left hand instead of the right? - reflect the playfulness which can be at work in this kind of harmonic exploration. You could extend this movement further. Example 3-15 Example 3-16 Copyright 2001 BarryHarris.com. She initially met Barry Harris at the now closed Jazz Cultural Theater in New York. Example 1-2 You can see that any scale run originating on a chord tone requires one added half-step, positioned between the eighth and seventh degrees of the scale. Example 3-18 The above example shows how the diminished notes of the scale can be used to create melodic movement within the chord. Page 19 of 27 Issue 1.0 - The Barry Harris approach to Improvised Lines & Harmony: An Introduction Chord Scale Carry on up the scale, generating chords off each degree of the scale. Any reproduction, retransmission, or re-publication of all or part of this document is expressly prohibited, unless BarryHarris.com or the copyright owner of the material has expressly granted its prior written consent to so reproduce, re-transmit, or republish the material. After exploring the use of this scale over the past few years, I can see that it has filled quite a gap in my harmonic knowledge and also provided me with unlimited material for creating fresh harmonic ideas. Address: Copyright 2022 PDFCOFFEE.COM. He points out two distinct areas of study: chording and soloing. Page 4 of 27 Issue 1.0 - The Barry Harris approach to Improvised Lines & Harmony: An Introduction Part I Improvised Lines Scale runs In many jazz lines, you may have noticed the importance of an added half-step to allow an eighth note line to come out right rhythmically in 4/4 time. : Try this: move the pattern down one whole step at a time, ending with a run up the keyboard. The third part is the result of a two-step process. All rights reserved This document is subject to copyrights owned by BarryHarris.com and other individuals or entities. If you are a novice to jazz harmony, play the sequence of examples over and over to absorb the sound and movement. Page 12 of 27 Issue 1.0 - The Barry Harris approach to Improvised Lines & Harmony: An Introduction Example 2-3 Here's an example of how you might apply this idea to a II-V-I situation. Here are some suggestions he makes for introducing more rhythmic and melodic variety to these runs. Next, the voices move up two degrees, then back.

File size 569KB, EL METODO ARMONICO DE BARRY HARRIS (Extracto de las masterclass de Howard Rees) www.jazzworkshops.com Page 23 of 27 Issue 1.0 - The Barry Harris approach to Improvised Lines & Harmony: An Introduction When you begin to use these sounds in their appropriate contexts you can soon see a real connection between the sixth chords found in the original sheet music of standard tunes and our modern chord voicings. All rights reserved This document is subject to copyrights owned by BarryHarris.com and other individuals or entities.

All rights reserved. In motif C, one arrives at the third before dropping, and in the case of motif D, we reach the second before changing direction. Play this chord. Any reproduction, retransmission, or re-publication of all or part of this document is expressly prohibited, unless BarryHarris.com or the copyright owner of the material has expressly granted its prior written consent to so reproduce, re-transmit, or republish the material. Example 3-25 Do you see how this C7(+ 5b9) is Dbm6/C? All rights reserved This document is subject to copyrights owned by BarryHarris.com and other individuals or entities. Example 2-11 Minor II-V-I progressions can also be understood in this way. Play in hand positions . Example 2-14 In Part 3, the sixth/diminished relationship will be further explored and applied to movement within a chord. Any reproduction, retransmission, or re-publication of all or part of this document is expressly prohibited, unless BarryHarris.com or the copyright owner of the material has expressly granted its prior written consent to so reproduce, re-transmit, or republish the material.