THE
EARRY HARRfS
WORKSHOP VfDEO
Copyrigbt 0 1994, 1998 by Bop City ProdllC!ioos loe., P.O. Box 21016, 6GT7 Meadowvale Town Cenen:,
Mississauga OnL LSN 6A2, Cunada Our intemet addtess is: www.bopcity.com.
Howatd Rccs' email addtCSS is; howardrees@jazzworkshops.com.
Second printing by Bop Ciy Productions lnc. 1998
All righlS reserved. Mlldc in Canacla. No pan of ths book may be rcproduccd in any form without
pcnni.~siOtl rrom thc puhli~cr.
...
Jn the autumn of 1979, aftcr having spcnt the previous twelve months
getting myself togethcr psychologically, financially and musically, I
moved to New York to realize a dream- to study with Uarry Harris.
Jt 's difficult to describe the atmospherc of lhe studio 1 walked
into for my first class-t.he electricity of 25 or 30 people f()(;u scd on
Rarry seatcd at the piano. Poring over cvcry note and cvcry word, each
uf us would cr.mc for a view of thc keyboard knowing lhat what was
going on was very special allll powerful. As itturned out it was car
training night. The tune was "Body and Soul." The scene changed
every couple of minutes when Barry would choose someone random1y,
point, and motion to them t.o siL ncxt to him. "Okay," he would say rto
his consenting but nervous subject], "now yuu play it in this kcy."
lt's not difficult, in fact it's easy, to think of stories lhat show the
love and rcspect llarry has for his students. In 1979 the fec for his
class-which startcd with piano and guitar players at5 p.m., added
singers at 8 p.m., and hom players at 11 p.m.- was $3. Nothing would
upset Barry more t.han to find out that someone missed class beca use
they didn't have t11e money, so he was direct when he would say, "You
lcnow you're supposed to come anyway."
Uack lhen Barry would go to great lengths to comrnunicate to
his students the passion and intimacy of the music. On one occasion, I
watched Barry work with a sightless student. Seated next to him at lhe
keyboard, Barry had thc student place bis hands on top of hls own and
thcn played. Today, t11c cssence of Ba.rry's instruction remains
unchanged. He sharcs his musical gcnius wirh heart and soul.
Now, smne fifteen years aftcr my frrst e lass with Barry, J a m in
the process of fulfilling anoLher goal-to docurnent his intemationally
acclaimed teachings. It is my hope rhat the scnsc of joy, exciremcrll and
purpose that Barry generuusly bestows upon cach srudent that comes ro
hirn is transmitted Lhrough rhis video to you.
The human cvolurionary thread spirals upward, and J am con-
vinced that as pcople continue to search for more meaningful cxpcriences in life and place a highcr value on tapping into their own creative powers, the music that developed in Ncw York in the 1940s and
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 this
lcgacy. 1reless in dedicating his energies and talcnLS to the ongoing
devclopmcnt of the music, he has long been recognizcd as one of its
major proponents and grcatcst comrnunicators. Simply put-he is "the
keeper of the flame."
rinally, 1 would like to mention, to thc crcdit of everyone
involved in documenting this extraordinary performance-the production 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 his
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
TAEI.E Of CONTENTS
......
/~
C~ 1: Tkg~
Foreword
2
2
Explanatory Notes
The 1/arris lla/f-Step Practice Model
The Dominan! 7th Scale Half-Step Rules
le Major Se ale Half-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 =chord movcmenL~
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
8
8
14
16
18
18
20
20
24
24
24
26
26
C~2:A~
Foreword
"Back Home in Indiana" by Mac0 ona1d-Hanlcy
Sea le outlinc of (Back Hume in)"lndiana"
Seale outline of 'the Blues' in C
A typical 'fllues' progression
Applicaton uf scale ideas to 'the Blues'
The 'Related Viminished Chord'
29
30
'Rhythm Changes'
Scale outline of 'Rhythm Changes'
The 'Important Minor'
Application of scale ideas to 'Rhythm Changes'
36
Forcwurd
The C6 Diminhed S cale
The C6 dimini~hed ~cale with chord voicings for piano
The C6 diminishc:d sea le wirh chord voicings fur guirar
31
32
32
34
34
36
3X
38
44
45
46
46
48
49
50
50
52
59
60
60
60
60
60
60
60
60
62
62
62
62
62
62
64
64
66
66
66
68
68
68
70
72
72
72
74
74
74
74
Foreworcl
79
'Borrowed Notes'
76
80
82
82
82
82
82
C~S: V~
Foreword
"You Must Believe Tn Spring" by Michcl Legrand
Thc E diminished chord wilh applications t.o " Y.M.B. in S."
Wurm-up exercises
Application of thc wann-ups ro "Y.M.B. in S."
Use of thc related dimin ished chord in thc 1st 4 bars of"Y.M.B. in S."
"Billie's Bounce" by Charlie Parkcr
85
86
RR
88
92
92
94
102
102
THE EASfCS
Probably the 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 10 answering this qucstion is
outlined.
Technique might best be thoughl of as a mcans to an en d.
That is 10 say, strong technique is a prerequisite for jazz improvisation; 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. Hear 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, everyLhing comes from scales, which requires that Lhey be practiced in a
variety of ways. With thls in rnind, "The Basics" contains transcriptions of the musical examples covered in the corresponding section
of the video. The transcriptions appear in sequence as they are introduced in the video. Additiooal explanations and further examples
have been includcd where necessary-all of whlch will hopefully
guide you on the road 10 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 equivalent~ may not be shown.
(!~1
Sea le Practice or the "ABe's"
Explanatory Notes
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, is
bccause Crn7 is the chord found on the 5th of the f7 scale (the 'important minor'), a.nd for that reason, only the F7 scale is rcquired for soloing over both of the chord changes (see Fig.2-8).
1-2)'Up and down' refers toa scale playcd from its tonic up to its 7th
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 le 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 of
each 3rd.
e) The scale performed in triads.
d) Sarne as previous figure, starting a half-step below the 1st note of
each triad.
e) 4 note chords performed on each degree of the scale.
Fig. 1-3
~n
Fig. l-4
Fi;. 1-Sa
~~ ;s }3
Fig. 1-Sb
~"
43
s I11 ftlf3 0 r s 1
,..-3..-.
Fig. 1-Sd
rw 'f rn
a:o Etf11Ufif!LT!f, d
141 PW J 1fjJJfi!l 1
Fig. \-Se
g) The three important arpeggios on thc dominant 7th seale are found
on thc !Oitic, the 5th and the 7Lh. Illustrated in its entirety is the arpeggio on the tonic (e). Practice lhe arpeggios on the 5th and 7th (Gm and
Bb, shown in root position) the sarne way.
1-6) Pivoting
Pivoting is a muJti-purpose technique that is an importarlt tool for all
instruments. It is cspcciaJly useful for hom/string players and vocaJisL~
enabling them to pcrform a melodic line of any length and/or rangc
while remaining within the boundaries of thcir instruments. Notice that
the acccntual structure of Lhe line changes where thc pi vol creates new
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.)
1-8) This figure demonstrates dimnished chords performcd chromatically in an altemating descending/ascending pattern.
] -9) In this figure, inversions of lhe e augmented arpcggio are performed.
1-10) "Chi-Chi" by Charlie Parker makes use of a 1st inversion
arpeggio.
Fig. l-7a
Fig. 1-9
~ ~' ~
!ibpr
~'~ ~,~
fp ~J * '
v,. .
'ggw s
ID --
11
...,
1-11) Rhythm exercise perfonned on thc dominan! 7th sea le; (8-6b7-6-5-4-3-2- 1). Practice this on the major sea le as weU.
1-12) The Harrls Half-Step Practice Model
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 playing rhytJunicaUy. In their basic role, they appear as notes added 10 the
descending form of the scale. 1rough various applications, (shown
below), the half-steps becomc an endless source from which to generate improvisational ideas. Thc dominant 7th sea le, the majar and the
minar scales cach have their own set of 'rules' for adding half-stcps.
a) Thc Dominant 7th Scale Half-Step Rules
St11rting Note
1 (octave)
2
2
# of Added Half-Steos
1 (8-7)
o
2 (2-8;8-7)
1 (8-7)
3 (3-2;2-8;8-7)
EndOn
tonic
.
.
.."
3
4
"
4
5
5
2 (2-8;8-7)
1 (8-7)
3 (3-2;2-8;8-7)
"
6
6
7
7
o
2 (2-8;8-7)
1 (8-7)
3 (3-2;2-8;8-7)
"
"
.
.
..
3rd
(!~1
Note:
Thesc rules are applied to scales descending from at Jeast the
octave (i.e., starting on t11e 2nd is acn1ally starting on the 9th).
1) The starting notes of the sea! e are grouped by odd and even numbers.
2) The octave is called 1 in t11is case as it takes the rules of the odd
numbcred group.
3) In Chaptcrs 1 and 2, added half-steps where applied to the illustrated
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 descending), fo!low a rule for thc starting note. (If t11e half-step
falls on the bcat, put it at the bottom of the phrase.)
d) When starting a phrase with 8th note trip/ets, use a ru le for thc middlc note of the triplcc
e) When starting a phrase witlt a 3rd, follow a rule for thc next note
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 triad;
i.e., C-E-G top note s the 5th so use 1 or 3 half-steps.
10
11
(]~1
g) For 4 note chords, follow a rule for the bollo m note (the root) of
each chord. Note that the exceplion to Lhls rule is the chord on the
tonic.
The reason for this is that both the top and bouom notes of the
chord are from the ' odd' number group, 1 and 7 (as opposed to the
other chords that have notes from opposite groups on their Lop and bottom). Therefore, use a rule for the 1st scale tone below the top note of
tbe chord; i.e., C-E-0-Bb-A. 'A,' being the 6th of the seale, would
require either Oor 2 added half-steps.
h) For starting a semi-tone below the root 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 on
the tonlc requires the half-step(s) to be played at tbe bottom of the scale
(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.x ample
over a common tumback. The chord on the 4th degree of C7 up, down
the scale with 3 half-steps to lhe 3rd, then up the related diminished
chord of C7, resolving to lhe 5th ofF major; while the rhythm scction
plays 1-VI-II-V in Lhe key ofF.
12
Fig. 1-12g
~n=.ro fJ ~n J 31fJ=J>,
-;GSJ]Inw-g ~
Fig. 1-12h
~J-
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~ffJdJP -dZLJ na w, 1,
,...J~
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Fig. 1-12j
Fmaj7
.-J ~ Dm7
Gm7
C7
r-'15
Anaj7
1
13
(!~1
k) Any note as a half-step. The object here is to make the line fccl right
rhythmically.
14
Fig. 1.-12k
f4J~&ta a~:fJ-rs:~*
~ ~
Fig. 1-13
~~ s mn JJiiJ>' *
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ra;'
11
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11
1(,
Fig. 1-14
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toruc)
fi~1Hffli3d~IJ'*
2nd)
~B=e Jo~m ~ ~
1
a1
Ei=~E@
e ~ 3~J 1 J, H
K
f_QiJ!rkJtf
..,
2 whole tone scales
..,
3 dmnshed chords
..,
4 (keys or) donnant 7th chords related to each drninished chord
rFJ
J J .J .a 1J ,.., 1 d d a
J
11
J j 3-&$1
1j d
Fig. l-I Sa
---;:@ jJ
Fig. 1- ISb
Gm7
c:T
Fmaj7
J~J ij$1
20
ei-JORD MOVEMENTS
Fig. l -16
r ~J
; ~4 ~ J
e diminish<XI chord
21
C~1
1) A7-Gb7 (F#7)
2) A7-C7
3) A7-Eb7
1) Eb7-C7
2) Eb7-Gb7
3) Eb7-A7
1) Gb7-Eb7
2) Gb7-A7
3) Gb7-C7
C#m7b5-F#7
C#m7b5-F#7
Also:Em7-Gm7
Em7-A7
Gm7b5-C7
Gm7b5-C7
Alsu: Bbm7-Dbm7
Bbm7-Eb7
Bbm7b5-Eb7
Bbm7b5-Eb7
Alsu:C#m7-Em7
Dbm7-Gb7
This is the entire chart for the C# diminished chord. Do a similar chart
for the other 2 diminished chords (i.e., C and D), then the same chord
movements will be outlined in alll2 keys.
1-18) Practice the C7 scale up and down followcd by the Eb7 scale up
anddown.
a) Prnctice the C7 scale followed by (or nto) an Eb7 scale to outline a
bar each of Gm7(11m7}-C7 and Bbm7(1Vm7)-Eb7, illuslrating the 1st
two mensures of "When Sonny Gets Blue."
b) Shown here is anoll1er cxample of the C7 scale into the Eb7 scale
outlining, in thi s case, Em7b5-A7. TI1is cxample descends the C7 scale
from the 2nd degrec, adding 2 half-steps and continuing down thc scale
to the 5th of C7 which beco mes the 3rd of Eb7. 3 half-steps are added
fonning a chromatic line from the 3rd of Eb7 down to its b7th. (Not
shown on video.)
22
Fig. 1-18
llm7 (Gm7)
1Vm7 (B~m7)
Fig. 1-18a
Om7
PI
C7sm4
B~ m7
El7
Fmaj7
Gm7 (A~dim)
jl\lm/
Am7
D7
11
Fig.l-18b
Em7~S
A7
23
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 from the tonic to the b7 of C7 with 1
added half-step. The b7 becomes the 3nl of Gb7, and the line continues
down t.he Gb7 scale to the 4th, again adding a half-step bctween the
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-#2-3 on
cach of the two dominant 7th sea les.
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 (Bb).
The same idea is then applicd to the Gb7 scale, finally resolving to the
5th ofF major.
scak.
a) Playing the C7 scale up and down to its flat 2, or 10 the 3rd of A7,
ouines Em7b5-A7 (one bar apiece).
1-21) The '5-4-3-2' Phrases
As Barry states, these phrascs are handy to help "get out oftrouble."
Use them to end and 10 begin lines.
24
Fig. 1-1 9a
Gm?
Fmaj7
C7
C7
Fig. 1-20
~11
Em1~5
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11
"
Flg. l-20a
Emns
'"
A?
"
Fig. 1-2Ia
uz"
~~~~ Ia'nm;
1
"S--4-3-2..
* 1
iJP~r'WJ';1 a,J;
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zs
26
Fi. l-21b
J 1 J J J 3j1 [}=' t
~ji B U ;fJ
1;
)- -
2"1
APPLfCA1fON5
In Lhe previous chapter we covered many of Lhe basic
tcehniques (or ABC's as Barry refers to Lhem) Lhat
should make their way into any practice-rime repertoire. In Lhis section, these tcclmiques are applied to
solo building over severa! well-known song forms.
C~2
INDIANA
2-1)
r&q 'J
Fmaj7
JJ
~~ J!p!;J
~~
B~ma7
Pf
ly
J.""
D7
'
J 1_,t j.
MJ
Dm7
tJ
Jttj.
""'"""
EmfS
A7
Dm
1J J J Jd l_"__j~J
Pmj7
07
Om7
t~fokF-9- -:tr
30
C7
~=
Em-fS
Dm
J_
( Fldim
F7
j_
07
C7
-Jt J.
~J
'1
Am7
Fmuj7
J r=ll p
r r
:tJ
Gm7
A7
nt.=
1
07
Cm?
07
Em7s
J.
l'!
Fmaj7
E~?
~J
cJ
Fmaj7
~~ tu
C7
n~m7
~
~
'1
Om7
jffi_ J_j
F
-r~
Om7
C7
G7
07
11 . . z
MacDonald-Hanley
a:=P1
07
Fl J
A7
J J
A~diJn
1 -
Gm7
};>-
J J
C7)
JO
Fig.2-3
n _
7.
1 Tmat7
IV'
(pr1
Jlmal' t VIm'
1 llfi7 )
JIDW
A~
VIi
y1
>>
Fig. 2-4
a) "S .. . ..4 ..
~=rng]1 1 J vJ i P#fr' ~
b) " 5"- "'3"
C) "5" .. 2"
t-~1 11 n I]JJ cr p y
1)
~ID
miJJ1 EtJ#l , -
Fig. 2-S
~~o
a)
CmaJ7
Bm7
11
11
..
1tf-F:
F7
1 'J>nn n fJ Jo p'*
"
11
A7
3S
C~2
2-6) 'RIIythm Changes' (refers to thc chords based on " I Got Rhythm")
2-7) Sea le oumne of 'Rhythm Changes' (pcrformed here in the kcy of
Bb)_ This is a 32 bar song fonn with 4 eight bar scctions: A-A-B(ridgc)-A.
To cnd the tune, the last A section is the 1st six bars with the 2nd ending;
to repeat the tune, the lastA secrion is the 1st six bars with the 1st ending.
f!
1
41-1=Jmaj7
v'lm 7
.1 1l
~~--.
t mw
IJ:m'l'
-,n -,:
llf(!lm
~#I:votm
pilmaJ7
\11
t@lf n!W
y.
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11
';11
or..?
tmaF
y.
(!~2
2-8) Tbe ' lmportant Minor'
' Importan! minar' is the term given to the chord found on thc 5th
degree of a donnant 7th scale (5 of 5).
*13arry is saying here that blllm7 (C#m7) is the ' important
minor ' of the bV17 chord (F#7) in tltekey of Bb. Similarly, he points
out that thc llm7 chord, or Cm?, is the chord found on thc 5th of F7.
This phrase bcgins with the chord on the 3rd of Bb major.
a) This phrase and the previous cxample both illusttate bars 3 and 4
of 'Rhythm.'
b) This is an example of combin.ing the sea les of thc 5111 and 6th bars
of 'Rhythm.'
2-9) Application of scale ideas to 'Rhythm Changes'
The next 12 figures (2-9a-1) are various illustrations on the 'Rhythm'
bridge.
a) Up and down each dominant 7th scale ending with the '4' phrase.
b) Up and down eacb dominant 7th scale ending with the '5' phase.
e) Down cach. dominant 7th scalc from the b7tll to tllc 5th, tllen adding
the '5-4-3' phrases.
Fig. 2-8
lllm7
bJllm7
' ITm7
.-J~
11
11
C)
1~1
C~ 2
d) DominanL 7th scales down and up t.o the 4Lh dcgree, then adding
the 4' pllfase.
e) Arpeggios bascd on the triad found on the 1st dcgree of each of thc
dominan! 7th scales.
f) The arpeggio bascd on the tonic of each scale up, Lhcn descending
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 down Lo
the 3rd degrcc, then up the chord on the 3rd dcgree of the scale.
d)i3
~11 SaO ;J 11A J ~Jffr' 1 FE!g :D kEJ t!r vUd
r~ fJ P.IJ~9 ~1
~tJrPJJS=JV'*
~
'
cJ if-EJ 04iJtt~
- _,
lgdCTCF~ -
11
e~z
j) Descending cach scale from the b7th to thc 3rd, then adding the 5th
and the 2nd degree of each scale.
k) Improvisation bascd on the lst 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; use
Fig.2-9k for the bridge.
a) Here, Lhe same scalc outline is performed. The scales on tl1c ' A' sections begin on thc '&' after beat 4.
2- 11) Improvisation based on the 1st 5 bars of the 'Rhythm' bridge.
42
e~z
ANTHROPOLOGY
2-t2)
Charl~
[X]
~ r2 t
a~
a 0 er cr
Ff$ @tn
P7
111 7
F1
Cm7
lt l
Cm7
Om7
"
07
al
p E: ;
1,
v r A ~F
1
,Tp""r
Gm7
~ r1 0 tp
n~
Ddim
l'arur
Edim
tf1 fh
[ID
P7
Cm7
Cm7
D1
Bl
F1
07
,..
Cl
rf?L%; t
[A]
~u
rj 7
Cm7
Om7
l>dim
~ :n~r
, J! 1 C!
uu E8 D
al
vi
E 17
ntr
"
F1
F7
al
-r-
1'i
Edim
.....
Gm7
Cm7
Cm7
F1
al
F7
,tPa ,ac:,~u ~ au -H
CHEROKEE
2-13)
(!]
~~~~;
RayNob/t
B~
F-t7
EJ= j [o
;.t.
Tf1
Fm7
lo
1"
,]
~7
cJm7
Bmaj7
;;'.
"
G7
On7
J j
si
F7
!l-o
lo
l 2 Cm7
lt
1o
~ J
;1'.
C9
A~7
"
El
.....
di
1
~
Dm7
E9
Amaj7
;;'.
e <J J
Om7
I,W ...
C7
1J.ijJ
P+7
h+
1]
C9
"
o
l
1J
z..
B1 7
Fm7
1o
;',
!k
"
J J
Cm7
lo
F7
F+7
1~ ',.. 11
A~7
"
El
On7
;.'.
si
1
1
~
"
2J
C4iuZ
2-14) Scale outline ofthe "Chcrokce" bridge
2-15) Application of sea le 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 the 7th.
d) Seales performed from the tonic to tite 5tJt; 3rd to tJte 7th;
5th to tlte 7th.
ltl
2- 16)
Ff
S
tJ ~
E1maj7
j
1
Am71s
~LJ J J
1w
Rm7
~j7
Ir
Omaj7
f11 J
Q,n7
E7
Lf
~~t;:E
Am7
F lf n
;..'.
>
~11naJ1
J ~
I.~ J
LJI Omaj7
D7
omaJ7
J J J 1J J 1:0 J W
~M
Am7
D7
F I~'J J M
C7
'f ~ ~J J
aJ
s
FIF
D7
Omaj7
J J J ;g..
IJ
1r J:J u- J
'817
Am71
:.-'.
Om7
tMdd t~..
i J:r ~m7
if.l
jJ j d
Cm
l=f
n1 1
1 ~o=---
D7
.n n
C7
J J j 1&5
Fm7
;.1.
~j7 j
:.-'.
Morgan Lewis
Cm7
1t
J ,u-~J%1
F7
hf
(Am7
lp!!
F
1)7)
~ n trlEJ
unp, *
rtcmaup'lEfttrn1:!, ,n nu~ , , ;J mp
~ nnuh I ;J,;an ~, ~ nnuh I;J,a=.Spt
so
.~ . '~' d
t
j
""'
'
""'
'
J ~bt
a
~
Fig. 2-19
a)
b)
9 ~,* 1
~-~~ ao~r
d)
.- 3 ~
e)
-:::.:;;::;
i)
j)
nv c:f 1~ ' *
1
S1
sz
e dominant 7th
m)
~-11 Jj1
n)
'"'
k 11 ~ ,; t)t=J11 ~)'
Fig. 2-21
~it
b)
n nu'muu ,, fo OP, -~
11
~&(j ;~, e] 0
gr f.l t 4
Fig. 2-22
~) ~nn~nt9-J nY*
:J
h)
11
.-3.,
e)
...
mw J.;b~'JJidl
11
2-23) Thc F major scale performcd up and down (bars 5 & 6; 21 & 22).
2-24) Thc Bb dominant 7th scalc peonned up and down (bars 7 & 8;
23 &24).
2-25) This figure oullines bars 9 & 10 (also 25 & 26). Here lhe Eb
major scale is played up; followed by the F dominant 7th scale played
down to lhc 3rd degree of the D dominant 7th scale.
Fg. 2-23
u u mn ; ,cu
r-~u--.EJ m
Fig. 2-24
*11~;; JS~u ~,
cm7~ S
02,
1&[) iJ mJ
11
SS
(!~2
2-26a-b) Perfonned hcrc are furthcr cxamples illustrating bars 9 & 10.
Fig. 2-26
a)
,_, ...
b)
,_,...
e)
,_3 ...
d)
Fg. 2-27
,_
J J1
JP J5=' - --=
~~ ~J J J J_Ji d -
11
HO\IAELE QHOR7)5
QuasiMado
PIANO~ QliiTAR
Thls chapteris inspiring notonly:from my
2) In guitar notation, lhcre are often two oumbcrs beside a note. TIJC circled numbcr (as it is
explained abovc) indicates !he string !he note is found on. The undrelcd number lndlcates !he futgcr
nf lhe lefi hand thatthe note is played wilh. 'o' indicates an open string.
3) 1e capltalletter C followed by a Roman numeral indicatcs a bar on a particular fret For examplc. CV indicates a bar on thc fifth fret.
3-4) The minor 6 diminished sea le performed up and down. (To practice this scale as a 2 bar phrase, play it up and down to the major 6th
degree, omitting the major7th and thc octave. Not shown on video.)
60
Fg. 3-2a
1
<D-0
<D)--
Fg. 3-Ja
Fig. 3-3b
l-.1
Fig. 3-4
~ 1 J ilt"fd ~~lijA 1B
62
Fig. 3-5a
b)
-o
~-
'
1'"1:
'
f)
e)
1
l.J
-.J
"ALONE TOOETHER"
~Q ~t.J. ~ 1
Fig 3-7
11
;..('). 6
--;
,-,
d)
rrw
Fig. 3-6
1,11
e)
. -l
~~
Ji..-
po (;l-6
- - _,
...
- .-.fl-
pO
'
-t:.---1,~ Ffl =~~
1-1>,.
- 1!
A~7
al6
D~maj7
'
Fig. 3-8
Fig. 3-9a
Fig. 3-9b
~Id
fe~),
crv
k~ ij~ ~
f@z f@z r0z
CV
~ ~
Q:h
Q)2
'
Q)J
~"
1
Q)z
'rQ),
11
~3
Fig. 3-IOa
nnnnnnn
Fig. 310b
Fig. 3-lla
~-
l'l;
.n n n
1
Fig. 3-llb
~11
.1:::1
!Rn
~ ~jJ ~ ..Q
nn-;~n~n
Clli
~v,_,
f7 rrfPFf
cv_I.O
eA eME ip
~~F~
Fig. 3 12
t-~
11
Fig. 3-13a
~~~r
5!)
~.
r ror
1':\
5==M
Fig. 3-1 3b
. nn_n _
r
Fig. 3-1 4
.-1
.,......,
. r-.
..n n
~l
1.,
.r-.
n
1
... 1"1
~~]";1
n
r
~"'JJ-
tTJ
b
o o
tion.
3-16) Using tbe C minor 6 diminisbcd scale on ll-V-1 in G
a&b) Two cxamples showing Am7b5 (Cm6) moving on the C rninor 6
diminished scale within the context of a Ilm7b5-V7-I progression, first
in the key of G major, then G minor. (Fig.3- 16c illustrates a tllird example for the guitar.)
3-17) ' Borrowcd Notes'
This example demonstrJ.tes the samc chord progression as the previous
figure; however, it incorporales 'borrowed' diminisbed notes. The 'C'
and ' Eb' are notes of the F# dirninished chord-the related dirnnished
to D7. Borrowcd diminished notes are circ/ed in Figures 3-17,3-18,
3-19, and 3-22.
Fig. 3-15b
Fig. 3-15a
r--
-.
....
tt
CV11
~~ci'J
~"G)
Ftg. 3- 16a
..
"lJ
Fig. 3-15c
....
o)
-.....
171
fj
-~ ~
L
1
._,
Fig. 3-17
1
i;
=-tj
- .)
'
..
-----~
r -;:l
1':\
/fif
-
o
U'
70
Fig. 3-18a
b)
'''
Fig. 3 18c
11
Fg. 3-18d
Am
r--r
.. ~
Do(j
rl
~m
r r
Al'\
IJ\
Um
V
. (~pJ'
1
~~)
Bm7
-
tt :.~
(ti7)
#
Am
1
)
3-20) This figure shows the progression from major to minor to minor
with the 6th degree in Lhe bass(Bb major-G minor-Gm/E).
Om7
,--1-
011
b~~r~
a7
Plrulj7
, J. @ 1J J R J
Gm7
ltMJ
11
f4 ~ 1 UW
Alm7
1>7
o-]19
0m
Om6
<@f4
(JI maj7
'maj7
Cm7
..
-01;
...
l>f
al6
Fmaj7
1# cff'r ey-1f-3Uf
Cm715
F7\9
a>ma7+l1
,fi[JJu. ~ru
@)
~-
..
.
B~
~- ~
lE Cm ' !~~'!~
A
NT
Gm
Em'-J
w r
.:
11*
:;.-
~
1
~ ~
..
r r------r
r r
$--;~
...
'lA
~,
"'
~-
~._r.r
r L5 T r
r-
;i5tD~~
~l--'
IS
Fig. 3-2211
Fig. 3-22b
Gmaj7
Al ?
r--, ,-.....,
B7
1
r::
.--3--,
-]{d i
'- _./
Gmaj7
'{..,
'Y
'Y
'<
!---"
-hJ
STRAIGHT, NO CHASER
Fig. 4- 1
F7
B~7
~&J u ; ]
c:1
~::ti#J ;
JlJ d
;;".
B~7
1'
.n J fl
4)
Fmaj7
J,J J J_tJJ u
( Dm7
J f.l
t:t
Cm7
tJ.
c:l)
'<4)1
Fig. 4-2ll
Fig. 4-2b
~ 1 J J J .1 .J "
.m
Fig. 4-2c
.1 .1
1r=J J
.1
.o
Pig. 4-2d
~11 ,} J
Jd
J:i#J
Fig. 4-3a
I$1&J .1 .! .! .l .l ] .l .l .l .l ,) J 1J
Fig. 4-3b
$=:::0 ,) .o .o ],)
.l .l ,) ,) ,) Jd)
Fig. 4-4a
1$11 bJ .1 ,) 1 .1 .l .! .J 1 .E J J J 1 J
Fig. 4-4h
~1
,} ,)
=tD
JJ j
,) 11
Fig. 4-4c
~~~ .l .! .!
tLt=:JA
Fig. 4-4d
~hl J J J~3
.ss
.J
1
11
VOQALf2fNG
Here, the voice is cast into the role of
both storyteller and melodic/rhythmic
instrument. To achieve success in the
areas of story and rhythm, it is essential for the singer to develop a sense
of time and phrasing independent of
what the rhytlun section lays down.
Tt is also vital for the vocalist, as it
is for any instrumentalist in this
music, to develop technical (scalar
and rhythrnical) skills in order tomaster the art of improvisation-to then be
free to explore nuanee, possibility, and
depth. With this in mind, severa! key
exercises and elcments of thcory are
demonstrated such as the use of the
relatcd diminished chord. (The relat.ed
diminished chord has been dealt with
in more detail earlier in this book. See
figures 1- 15a-b and 1-16.)
Whm ~ ly
M iclf<:l Lrgrand
A7
Rm7
Cl~.l)
Dmr(l
J!J&\
Bm
.,... it
a~n
J..
,_.,.. wm re ap - pc-r;
CII(I'J)
Bm7
Ul'
llt('ml.
(.)7 (~'})
Oon'I\';IJ
1~
in.g
1 'jll J
ot
Cm
G?ffl/C
...
A m 1\';1)
M.ty.
Su
In
..
wotld
ot
~.
CIJ
.....
-~
oTi!"JJ
9'17
F m7
@J J J
""" k '
Elmo7
cr
Um'l\'S)
[ J ~
3,
cr(I'J)
Warm-up exercises
5-3) The D dirninished chord.
a) Here, a pattern based on chrornatically descending dirninished
chords is illustr.tted. Playing up the fust chord and down the second.
b) An Ab rnajor arpeggio.
e) An Ab minor arpeggio.
Fig. 5 2
1~1
~J
j J J
3 J
Fig.S-2a
'~ 1J d d J-3
J J 3~J
J
-~
':
11
Fig. 5-2b
1'112Eld2J J j j J tJ :
Fig. S-2c
I~H J d d
J =J
~ ~ E j
( )~ ~
r
~
Fig. 52d
Fig. S-3
e F>r
~[ Jdid 3
~1 J J.ffl
11
..
r..
11
rr
" e
I r1
11
5-Sa) The Ab whole tone scale (a six note scale built on whole-steps
above the root).
b) 1l1c Ab whole tone scale perfonned up in 3rds.
e) The Ab whole tone scale performed down in 3rds.
Fig. 5-3d
$ =w a (~nJ 1 3 J iJ
Fig. 5-4a
~ll s
W J d=d J J
'
Pig. 5-4b
~ ) GfQJ
a g, ,
"
Pig. 5-5a
l$&s iJ J J J tU tP tH
f'ig. 5-5b
~VJs oFJ
ro l:fiJaJ ~=---n
Fig. S-Se
$1ffittJ tr t; 1=0
Qr ,.w
Fig. S-6a
~1~
Fig. 5-6b
~"i]
J f d J J J73
J J d jJJ
11
tA l
12
flig. 5-7a
11
Fig. 5-7b
L'll
Fig. 5-8a
r..
ijo
11
::
In:~ t JdJJ
"' ;;; E(llr t
>J F
11
Bll...LIE'S BOUNCE
Fig.S-11
F
IW* ' J ~~ ~J
14
B~7
Bdim
JJ PJ;; Jj ?J 4 , J
F/c
~)
J '
Clrarlk Parku
JLFJ 4
NewerTiuln New
Chasin' Thc Binl
Lwninesccnccl
Argo 644
Riversidc 326 (OJC 208)
354 (OJC 48)
392
413
BuU'sEyc
MagnirICalt!
Vicissitudes
Plays Tadd Damcron
UvelnTokyo
Plays Bany ltlrris
Xanadu 113
Tokyo: 1976
213
Uptown 27.20
Conc:ord CD 44 76
Se.pember CO 5111 (Delgium)
NUBA (CD) 7754 2 (Spain)
Candid 79519
CHARLIEBYRD
VONALD BYRD
Blues Sonala
ALCOHN
Play ll Now
Al Cohn ~ Ametica
ByrdJozz
NoProblem
SONNYCRISS
RONNIE CUBER
CHARLES OAVIS
KUNNY I.X>RHAM
ARTFARMER/
DONALDBYRO
DANFAULK
'IDRRY GlBBS
138
179
Xanadu 105 (FOC 5163 Frunce)
Sa!Ury Moming
Cuber Lihrc
Rcflcctions
Bebop Rcvlsiled,
Vol.5
Xanadu 135
Red (CD) 12.1247
Xanadu 205
21'rompes
Focusing In
Bopstacle Course
'O~~
Bl:iNNY GOLSON
DEXTER C'.ORDON
DEXTBR GOROON/
ALCOHN
JOHNNY GRIFFIN
STEVB GROSSMAN
COLEMAN HAWKJNS
LOUIS RAYES
JIMMYHBATH
BUCKHILL
ILL!NO!S JACQUET
EDDlE JEFFERSON
CARME.LL JONES
SAMJONES
THADJONF.S
Cilll'ORD JOROON
RALPH LALAMA
HAROLDLAND
YUSEF LATBEF
WARNEMARSH
HOWARO McGEE
HOWARD Md3EE &
DENNY DAIUiY
TrueBlue
Silver Blue
TIIC Kerry Dancers
Dolt
Sirius
Wrapped Tight
(feat. YusefLateef)
Picture of Heath
capiJal Hill
Tite Bock S1.0ps Here
BotlomsUp
Allstars
Body and Soul
Come Along Witb Me
Jay Hawk Tal k
CeUoAgain
Clumgcs & Things
The Magnificent
ThadJooes
Magnificcnt Tllltd
Iones, Vol. 3
Repetition
Feelin' and Dealin'
West Coast Dlues
1nto Sometlllng
Eastem Sound~
Many Faces of
Yusef Lateef
BackHome
J87.zbrot1Jcrs
Xan.adu 136
137
Riven.ide 420
Dreyfus Jazz 36550
Pablo 2310-707
Impulse 87 (Impulse GRD 109)
Vee Jay 3010 (VJ CD 906)
Xanadu 118
Muse5384
Mu.~e CD 5416
Prestige 7575 (OJC 417)
JSP 1014
Prestigc7619 (OJC 396)
7698 (OJC 613)
Prestige 7401
Xanadu 129
150
Mi1estone 47009
Criss Cmss 1023
Jaz7.crdfl 2
HomeRun
Jazzcraft 5
1)
CHARLES McPHERSON
BILLY MlTCHI.!.LL
HANKMOBLEY
JAMESMOODY
FRANK MORGAN
LEEMORGAN
Bcbop Revisill:dl
Con Alma!
TI1c Quintct/Livcl
Mcl'herson's Mood
U ve lnTo kyo
Charles McPherson
The Colossus of
Dctroit
Mobley' s Mcssage
Jazz Messsge Vol.2
Sualgbt. No Filter
Thc Thmarouod
Doo't Loolc Away Now
You Must Believe
X..nadu 158
Prestige 7061 ('2A063)
Savoy 12092 (CD 0158)
Bluc Note 84435
B1ue Note 4186 (CD 84186)
Prestige 761.5
rn Spring
TakeTwelve
Thc Sidewinder
Wc Remcmbu You
SAMNOTO
DAVEPIKE
SONNYRED
EnU11nce!
ActOne
11's Tune For
Davc Pike
Broe>.ing
ThcMode
lmages
REDRODNEY
Bird Uves!
HomeFree
FRANK ROSOUNO
Swing...Not Spring
ER1C SCHNEIDER
SONNYST1TT
Eric's Alley
Bumin'
Tunc-Up!
(4 tunes)
Constcllation
Twelve
Mellow
Play&Gene Ammons
Bluc.s for Dulce
Sonny's Back
In Style
Moonlightln Vermo nt
Xanoou 103
127
Riversidc 360
Ja.z.zland 32
59
74
Gatcmouth 1005
Argo 661
Cobb1estone 9013(Muse CD 5334)
9021 (Muse CD 5323)
Muse 5006 (JapaneseCrown CD4520)
Muse5067
5091
5129
5204
5228
Denon CD 7046
C) Various ArlisL
ANNlVBRSARY
TIIE BASIE-ITES
l REMEMBER BEBOP
11m PIANO PLA YfiRS
RIVERSIDE REUNION
BAND
WANGARATIAJAZZ
XANADU AT MONTREUX
Xanadu 201
Jubilcc 5004
Columbia C2 35381
Xanadu171
Mostly MonJe
Vol.l
Vol.2
Vol.3
Vol.4
MileSU>ne MCD-9216-2
Subaru (CD) SJOOI
(Auslnllia)
Xanadu 163
- Compilcd by nM MacDONALD
164
165
The following quotations ha ve been gathercd ovcr the years from lecturcs
and personal conven;ations with Barry Harris.
100
101
102