THE BARRY HARRIS WORKSHOP VIDEO workbook by Howard Rees Copyright ©1994, 1998 by Bop City Productions Inc., P.O, Box 21016, 6677 Meadowvale Town Centre, Mississauga Ont. LSN 6A2, Canada. Our internet address is: www-bopcity.com. Howard Recs’ email address is; howardrees@jazzworkshops.com. Second printing by Bop City Productions Inc,, 1998. AlLrights reserved. Made in Canada. No part of this book may be reproduced in any form without permission from the publisher. Barry Harris and Howard Rees, Toronto 1991,Nekmoukedgurerts Dedication ‘There are many loved ones, mentors, colleagues and friends to whom J am indebted for their kindness, patience and knowledge in helping me with this project. in particular: my parents, for teaching me to follow my dreams; my brother Philip, for his ongoing support and vast computer skills; my senseis Barry Harris and ‘Ted Jungblut, for showing me the path; friends Jane Bunnett and Larry Cramer, for their support and good advice; Brian Katz, for his help with transcriptions and editing; Larry Lewis, for his help with guitar transcriptions; Jane Low-Beet, for cover design; D.D. Jackson, for computer help; Jannifer Smith-Rubenzahl, for her help with proofreading and editing. The music and text were set and laid out by David Nichol (416-921-4963) on the Macintosh computer using Note Writer and QuarkXPr I dedicate this book to the legacy of Charlie Parker and to the musicians and teachers everywhere who have. carried on the tra- dition of this beautiful music.In the autumn of 1979, after having spent the previous twelve months getting myself together psychologically, financially and musically, 1 moved to New York to realize a dream-to study with Barry Harris. It’s difficult to describe the atmosphere of the studio [ walked into for my first class-the electricity of 25 or 30 people focused on Barry seated at the piano. Poring over every note and every word, each of us would crane for a view of the keyboard knowing that what was going on was very special and powerful. As it turned out it was car training night. The tune was “Body and Soul.” The scene changed every couple of minutes when Barry would choose someone randomly, point, and motion to them to sit next to him. “Okay,” he would say [to his consenting but nervous subject], “now you play it in this key.” It’s not difficult, in fact it’s easy, to think of stories that show the love and respect Barry has for his students. In 1979 the fee for his class—which started with piano and guitar players at 5 p.m., added singers at 8 p.m., and horn players at 11 p.m.—was $3, Nothing would upset Barry more than to find out that someone missed class because they didn’t have the money, so he was direct when he would say, “You know you're supposed to come anyway.” Back then Barry would go to great lengths to communicate to his students the passion and intimacy of the music. On ene occasion, I watched Barry work with a sightless student. Seated next to him at the keyboard, Barry had the student place his hands on top of his own and then played. Today, the essence of Barry’s instruction remains unchanged. He shares his musical genius with heart and soul. Now, some fifteen years after my first class with Barry, Tam in the process of fulfilling another goal-to docurnent his internationally acclaimed teachings. It is my hope that the sense of joy, excitement and. purpose that Barry generously bestows upon cach student that comes to him is transmitted through this video to you The human evolutionary thread spirals upward, and Tam con-yinced that as people continue to search for more meaningful experi- ences in life and place a higher value on tapping into their own cre- ative powers, the music that developed in New York in the 1940s and 50s will be widely regarded with amazement and treasured for its beauty and fresh sound. We are fortunate to have Barry Harris as spokesperson for this logacy. Tircless in dedicating his energies and talcnts to the ongoing development of the music, he has long been recognized as one of its major proponents and greatest communicators. Simply put-he is “the keeper of the flame.” Finally, | would like to mention, to the credit of everyone involved in documenting this extraordinary performanee-the produc- tion crew whose intuition and abilities harmonized to capture the essence of these sessions, the musicians who beautifully mirror Barry's ideas, and Jim MacDonald for his support born out of his love for this music—that the entire recording took place without any rehearsal. Here is in fact a rare opportunity to gain an inside view of a true master at work, Howard Rees February, 1994Foreword This work is an attempt to perpetuate the music. I believe that along with ideas comes the responsibility of sharing them. While not always correct, it is important to pass on one’s knowledge. My greatest desire is for people to have the opportunity to expe- rience the beautiful legacy that jazz. is built on. I’m particularly interest ed in having more young people turned on to this music. Historically it has becn almost impossible to count on media support. Today we find ourselves in a situation where we have people who haven’teven heard the music, and yet they already have a negative image about it. ‘This must change. Bebop represents the furthest extension of music. It takes place in the moment, there is no turning back, and no re-grouping. There is also no room for faking. Although relatively young, this music has already risen to a very high level due to the gcnius of such people as Charli¢ Parker, Thelonious Monk, Dizzy Gillespie and Bud Powell. ‘There are no shortcuts to the learning process. It isn’t possible for someone to go out, buy a horn, and get a gig the next day. Technical mastery of one’s instrument is the starting point, and from there, with a lot of hard work, one might reach the height of moving the music for- ward. In addition, all instrumentalists and yocalists should know some- thing about the keyboard, about chord and scale relationships, and about how to use the scales as a basis for improvisation. To this end, a total commitment is required of every player-commitment to study, discipline, patience and also to yourself. These are the keys to freedom, expression and self-knowledge. This is a vital music. Its history is both very rich and beautiful. It is important for new people coming along to learn about and carry on those traditions. As a teacher, it’s important to start teaching from where we came from-not from where we're at. Hopefully then the stu- dent will grow to where the teacher is, and add a little more. J would like to express my thanks to Howard Rees whose hard work ensured that this project would become a reality.TABLE OF CONTENTS Aeknowledgmenti/ Dedication lntraduction Foreword by Basny Harri VIDEO CASSETTE ONE Chapter: The Basics Foreword Scale practice or “the ABC Explanatory Notes The Harris Half-Step Practice Model The Dominant 7th Scale Half-Step Rules The Major Scale Half-Step Rules The Minor Scale Half-Step Rules Chromatic scale breakdown chart The diminished chord and its 4 related dominant 7ths The ‘Diminished Scale’ Related dominant 7th scales = chord movements ‘The minor7 flat5 chord The ‘5-4-3-2" Phrases 3 on the major scale on the dominant 7th scale 5 4-3-2’ on the minor scale OR Eeonne 20 24 24 24 26 26Chapter 2: Applications Foreword “Back Home in Indiana” by MacDonald-Hanley Scale outline of (Back Home in)“Indiana” Scale outline of ‘the Blues’ in C A typical ‘Blues’ progression Application of scale ideas to ‘the Blues’ The ‘Related Diminished Chord’ ‘Rhythm Changes’ Scale outline of ‘Rhythm Changes’ The ‘Important Minor’ Application of scale ideas to ‘Rhythm Changes’ “Anthropology” by Charlie Parker “Cherokee” by Ray Noble Scale outline of the “Cherokee” bridge Application of scale ideas to the “Cherokee” bridge “How High The Moon” by Morgan Lewis Scale outline of “How High The Moon” The ‘Minor 6 Diminished Scale’ Scale practice on the G minor 6 diminished scale Application of scale ideas to “How High The Moon” MIDEO CASSETTE Two Chapter 3: Movable Chords for Piann and Guiter Foreword The C6 Diminished Scale The C6 diminished scale with chord voicings for piano ‘The C6 diminished scale with chord voicings for guitar 60.The C6 diminished scale in single notes Guitar fingering for the C6 diminished scale The C6 diminished scale in contrary motion The C Minor 6 Diminished Seale The C minor 6 diminished scale performed up and down Chords found on the C minor 6 diminished scale “Alone Together” by Dietz-Schwartz “Body and Soul” by Green ‘The Tritone’s Minor’ Re-thinking the m7 and the m7b5 chords Moving Am7 on the C6 diminished scale Moving a voicing through the C major scale Moving a voicing through the C6 diminished scale The 6 diminished scale contains two dominant 7th chords Ending a tune with movements on the 6 diminished scale Extending the previous idea through 4 keys Using the C6 diminished scale on TI-V-T in G major Using the C minor 6 diminished scale on I1-V-I in G ‘Borrowed Notes’ Based on “Django” by John Lewis Based on “Tf 1 Should Lose You” by Robin-Rainger Based on “In Your Own Sweet Way” by Dave Brubeck ‘Major- minor- minor/6’ Applied to “Stella by Starlight” by Young- Washington Applied to “Like Someone In Love” by van Heusen-Burke Applied to “I Remember You” by Schertzinger-Mercer Applied to “Stella by Starlight” with guitar voicings The 4 related dominant 7ths used as V7 substitutions Chapter Y: The Rhythm Section Foreword 79“Straight, No Chaser” by Thelonious Monk Walking bass patterns emphasizing the upbeat The whole thythm section demonstrating the previous rhythms Rhythm highlighting the *2+" and the ‘4+’ Rhythm highlighting the “1+” and the ‘4+" Using longer valued tied notes in the walking bass line Chapter S: Vocalizing Foreword “You Must Believe In Spring” by Michel Legrand The E diminished chord with applications to “Y.M.B. in S.” Warm-up exercises Application of the warm-ups to “Y.M.B. in S.” Use of the related diminished chord in the Ist 4 bars of “Y.M.B. in S.” “Billie’s Bounce” by Charlie Parker Appendic A: Discograpliy Appendic B: Anecdotes About Basny Hasnis About Howard Rees 80 82 82 82 82. 12 102THE BASICS Probably the most frequently asked question by the music student is: “What should I spend my valuable practice time on?” In this section a systematic, step by step approach to answering this question is outlined, Technique might best be thought of as a means to an end. ‘That is to say, strong technique is a prerequisite for jazz improvisa- tion; but, for the purposes of practicing, technique must always have a musical context. To get the point across Barry says, “practice your playing—not your practicing.” To be consistent in providing musical contexts, make the rehearsal time as real as possible, A lot of practice time is spent alone, so it is essential to re-create the thythm section for yourself as you play. Hear the drums, the bass and the chord changes. Practice in tempo, and envision how the rhythm section would accompany you. As Barry states in his opening remarks in the video, every- thing comes from scales, which requires that they be practiced ina variety of ways. With this in mind, “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. Additional explanations and further examples have been included where necessary—all of which will hopefully guide you on the road to discovery and beyond, Note: 1) Examples are in the key of C concert unless otherwise notated. 2) Where there is no key signature, apply the accidentals as they occur. 3) In some examples enharmonic equivalents may not be shown.Scale Practice or the “ABC’s” Explanatory Notes 1-1) The reference that Barry makes to Cm7- F7, and why it would have been impossible for Bird to have played that as a horn player, is because Cm7 is the chord found on the 5th of the F7 scale (the ‘impor- tant minor’), and for that reason, only the F7 scale is required for solo- ing over both of the chord changes (see Fig.2-8). 1-2)‘Up and down’ tefers to a scale played from its tonic up to its 7th degree (either dominant or major 7th), and then straight back down. This produces a 2 bar phrase. 1-3) The C dominant 7th scale up and down. 1-4) The C major scale up and down. 1-5) Scale practice on the C dominant 7th scale. a) The scale performed in 3rds. b) Same as previous figure, starting a half-step below the 1st note of each 3rd. c) The scale performed in triads. d) Same us previous figure, starting a half-step below the Ist note of each triad. ) 4 note chords performed on each degree of the scale.The Basicsf) Same as previous figure, starting a half-stcp below the 1st note of each chord. g) The three important arpeggios on the dominant 7th scale are found on the tonic, the 5th and the 7th. Illustrated in its entirety is the arpeg- gio on the tonic (C). Practice the arpeggios on the 5th and 7th (Gm and Bb, shown in root position) the same way. 1-6) Pivoting Pivoting is a multi-purpose technique that is an important tool for all instruments. It is especially useful for horn/string players and vocalists enabling them to perform a melodic line of any length and/or range while remaining within the boundaries of their instruments. Notice that the accentual structure of the line changes where the pivot creates new highest and lowest notes, which naturally feel rhythmically stronger within the melodic line. a) Pivoting with the chords on the C major scale. b) Pivoting with the C major scale. (Not shown on video.) ©) Pivoting with the dominant 7th scale as shown in Fig.1-6b. (Not shown on video.)Fig. 1-6b Fig. 1-6¢ ae glee1-7a) Major arpeggios are performed down chromatically from the highest note on the alto. Here, the highest note is the tonic. b) Next, the highest note is the 3rd of the arpeggio. c) Finally, the highest note is the 5th of the arpeggio. 1-8) This figure demonstrates diminished chords performed chromati- cally in an alternating descending/ascending pattern. 1-9) In this figure, inversions of the C augmented arpeggio are per- formed. 1-10) “Chi-Chi” by Charlie Parker makes use of a Ist inversion arpeggio.The Basics Fig. I-7a Fig. 1-7b1-11) Rhythm exercise performed on the C dominant 7th scale; (8-6- b7-6-5-4-3-2-1). Practice this on the major scale as well. 1-12) The Harris Half-Step Practice Model Half-steps typify the language of the bebop player. With this in mind, Barry developed the haif-step practice model to teach the art of play- ing rhythmically, In their basic role, they appear as notes added to the descending form of the scale. Through various applications, (shown below), the half-steps become an endless source from which to gener- ate improvisational ideas. The dominant 7th scale, the major and the minor scales cach have their own set of ‘rules’ for adding half-steps. a) The Dominant 7th Scale Half-Step Rules Starting Note __# of Ac Ss End On 1 (octave) 1 (8-7) tonic 0 2.(2-8;8-7) " 18-7) " 3.(3-2;2-8:8-7) ” 0 , 2.(2-8;8-7) f 18-7) i 3 3-2;2-8:8-7) 7 0 2.(2-8;8-7) 7 1(8-7) “ 3 (3-2;2-8;8-7) 3rd NU ARAARRLONDHFig. 1-11 D ca Ge - Feet o10 Note: These rules are applied to scales descending from at least the octave (i.e., starting on the 2nd is actually starting on the 9th). 1) The starting notes of the scale are grouped by odd and even num- bers. 2) The octave is called 1 in this case as it takes the rules of the odd numbered group. 3) In Chapters 1 and 2, added half-steps where applied to the illustrated examples have been circled. 6) Vocalized scale ideas on the C dominant 7th scale, ©) The ‘Miscellaneous Rule’: start on a note, go up to any note, and (when descending), follow a rule for the starting note. (If the half-step falls on the beat, put it at the bottom of the phrase.) d) When starting a phrase with 8th note triplets, use a tule for the mid- dic note of the triplet. ¢) When starting a phrase with a 3rd, follow a tule for the next note that 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; ie, C-E-G top note is the Sth so use 1 or 3 half-steps,The Barics Fig. 1-120 [a Fig. 1-12d Fig. 1-12e12 8) For 4 note chords, follow a tule for the bottom note (the root) of each chord. Note that the exception to this rule is the chord on the tonic. The reason for this is that both the top and bottom 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 top and bot- tom). Therefore, use a rule for the Ist scale tone below the top note of the chord; i.e., C-E-G-Bb-A. ‘A,’ being the 6th of the scale, would Tequire either O or 2 added half-steps. h) For starting a semi-tone below the root of a chord on the scale, beginning on the ‘&’ after ‘1,” follow a Tule for the top note of the chord. There are no exceptions here. Note, however, that the chord on the tonic requires the half-step(s) to be played at the bottom of the scale (ic., between the root and the flat 7; of between the 3-2; 2-1;1-b7). i & j) These 2 figures show the application of the previous example over a common tumback. The chord on the 4th degree of C7 up, down the scale with 3 half-steps to the 3rd, then up the related diminished chord of C7, resolving to the Sth of F major; while the rhythm section plays I-VI-II-V in the key of F.Fig. 1-128 git a (ep on es Sy eee Fig. 1-121 maj? <2} Das? Gn? et : 7h oe = SS 1a Fig. 1-12) Fmaj? 3 Dm? B% k) Any note as a half-step. The object here is to make the line feel right rhythmically. 1-13) The Major Scale Half-Step Rules (not shown on video) ‘There is also a system for adding extra half-steps to both the major and the minor scales, As with the dominant 7th scale, the same two divi- sions of notes are made—even numbered and odd, There are two rules for each group with the exception of starting from the octave (1) where there is only one rule. The first rule for descending from the 1-3-5 and major? is: 1 added half-step between the 6-5. The second rule applying to the 3-5 and major7 is: 3 added half- 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; major7-6; 6-5. The first rule for descending 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 added half-steps which can come between the 2-1; 6-5 or between the major7-6; 6-5. (Practice both sets.)The Basics Fig. 1-12kChapten 9 16 1-14) The Minor Scale Half-Step Rules (not shown on video) The minor seale that the half-steps are added to is the melodic minor in ascending form-tanic - 2 - b3 - 4 - 5 - 6 - major?. The added half-steps for this scale fall in the same places as do the half-steps for the major scale. The one exception to this is where the major scale rules add a b3rd. Because this note is already present in the melodic minor scale, any other note may be used in its place. Notice that this may also be achieved by using interval jumps and by repeating the same note twice.The Baries Fig, 1-14. S- = fea Se tonic) iE ALES 2nd) SS ile eS nas tra eS HE ae quglengREChapter 7 Rn 1-15) Chromatic scale breakdown chart 1 chromatic scale v 2 whole tone scales v 3 diminished chords v 4 (keys or) dominant 7th chords related 10 each diminished chord a) The diminished chord and its 4 related dominant 7ths By taking a diminished chord and lowering each of its notes, one at a time, 4 related dominant 7th chords are formed. Because these 4 domi- nant 7ths share the same diminished chord, certain harmonic relation- ships between them are also implied. (See Fig.1-17.) ‘The rule of thumb for finding a related diminished chord is to build it a major 3rd above the dominant note. If you are looking for the related diminished chord to a dominant 7th chord, just go up a major 3rd from the root of the dominant 7th chord (i.c., in the key of F, C is the dominant note, E is a major 3rd above the dominant note and the Toot of the related diminished chord), 1) C#HE-G-Bb becomes C-E-G-Bb (C7) 2) C#-E-G-Bb becomes C# (Db)-Eb-G-Bb (Eb7) 3) C#-E-G-Bb becomes C#-E-Fi#+Bb (F#7) 4) C#-E-G-Bb becomes C#-E-G-A (A7) b) Extending a dominant 7th scale phrase with the related diminished chord of C7.The Basics Fig. 1-15 ajo afotte jo ota jo pote be Foes —@ Jobe + ¢ + +S = ta =* — et ‘ pm Fig. 1-15a Fig. 1-15b Gm, cr Fonaj7 420 1-16) The ‘Diminished Scale’ The 4 notes of a diminished chord, plus the roots of the 4 related domi- nant 7th chords, combine to form a scale-i.e., The C diminished chord = C-Eb-Gb-A. ‘The roots of the 4 related dominant 7ths are b-d-f-ab. When these 8 notes are combined, they form the ‘diminished scale’— C-d- Eb-f-Gb-ab-A-b (or, b-C-d-Eb-f-Gb-ab-A) 1-17) Related dominant 7th scales = chord movements As mentioned carlicr, certain implications arise from stating that 4 keys or dominant 7th chords are related to one another through sharing the same diminished chord. It is useful to practice the 4 related dominant ‘Tths (as scales) ‘into eachother’ This chart demonstrates how, by practicing the related dominant ‘7th scales ‘into eachother,” key chord movements can be practiced at the same time, Here the four scales (C7; A7; Eb7; Gb7) that share the Ci diminished chord are illustrated. (Not shown on video.) SCALES: CHORD MOVEMENTS 1) C7-A7 Em7b5-A7 (both outline 2) C7-Eb? (tritone of A7) Em7b5-A7 Tm7b5-V7 in D min) Also: Gm7-Bbm7 (IIm7-IVm7 in F maj) 3) CT-GD7 (tritone of C7) Gm7-C7 (IIm7-V7 in F maj)Fig. 1-16 C diminished chord = Rools of the Related Dominant 7th chords1) AT-Gb7 (F#7) C#m7b5-F#7 2) AT-CT Citm7b5-F#7 Also:Em7-Gm7 3) AT-Eb7 Em7-A7 1) Eb7-C7 Gm7b5-C7 2) Eb?7-Gb7 Gm7b5-C7 Also:Bbm7-Dbm7 3) Eb7-A7 Bbm7-Eb7 1) Gb7-Eb7 Bbm7b5-Eb7 2) Gb7-A7 Bbm7b5-Eb7 Also:C#m7-Em7 3) Gb7-C7 Dbm7-Gb7 ‘This is the entire chart for the C# diminished chord. Do a similar chart for the other 2 diminished chords (i.c., C and D), then the same chord movements will be outlined in all 12 keys. 1-18) Practice the C7 scale up and down followed by the Eb7 scale up and down. a) Practice the C7 scale followed by (or into) an Eb7 scale to outline a bar each of Gm7(Im7)-C7 and Bbm7([Vm7)-Eb7, illustrating the Ist two measures of “When Sonny Gets Blue.” b) Shown here is another example of the C7 scale into the Eb7 scale outlining, in this case, Em7b5-A7. This example descends the C7 scale from the 2nd degree, adding 2 half-steps and continuing down the scale to the 5th of C7 which becomes the 3rd of Eb7. 3 half-steps are added forming a chromatic line from the 3rd of Eb7 down to its b7th. (Not shown on video.)The Basics Fig. 1-18 Vr ieee 1Vm7 (Bbm7) (SS eS Fig. 1-184 Fmajt Gm7(Abdim) Am7 D7 Fig. 1-18b Em7S, ete 23Chapter 24 1-19) Shown here are 3 examples of the C7 scale run into the Gb7 (F#7) scale, outlining Gm7-C7. a) The Ist example descends from the tonic to the b7 of C7 with 1 added half-step. The b7 becomes the 3rd of Gb7, and the line continues down the Gb7 scale to the 4th, again adding a half-step between the tonic and b7 of Gb7, resolving to the Sth of F major. b) The 2nd example on Gm7-C7, uses 4 parallel pattern of 8-2-#2-3 on each of the two dominant 7th scales. c) The last example descends the C7 seale from the octave, with 1 added half-step to the flat 7, then down the arpeggio of the flat 7 (Bb). The same idea is then applied to the Gb7 scale, finally resolving to the Sth of F major. 1-20) The minor? flat5 chord ‘The following illustration shows a C7 scale with the Em7b5 chord located on its 3rd degree. This is a key point. When soloing over the Em7b5 chord, choose the C7 scale because the chord is found on the scale. a) Playing the C7 scale up and down to its flat 2, or to the 3rd of A7, outlines Em7b5-A7 (one bar apiece). 1-21) The ‘5-4-3-2’ Phrases ‘As Barry states, these phrases are handy to help “get out of trouble.” ‘Use them to end and to begin lines. a) ‘5-4-3-2’ on the major scale Notice that not only is it possible to play all 4 phrases ‘into eachother,’ but it is also possible to make up various combinations-ie., ‘5’ into ‘4’; ‘5’ into ‘3°; ‘5’ into °2,’ etc, (See Fig.2-3.)The Basics Fig.1-194 Gy co Fmaj7 — fie = Fig, 1-19b Gm7 Fmaj? i ees ——— Fig. 1-21a ase age “on "54.3.0" | | ‘ SS Se Saas26 b) Scale practice ending with the ‘5’ phrase. 1-22) ‘5-4-3-2’ on the dominant 7th scale (not shown on video) In applying the phrases to the dominant 7th scale, the ‘5,” ‘4’ and ‘2’ can be borrowed directly from the major scale phrases. In this figure, we show the ‘3 phrase, an alternate ‘2” phrase, and then the *5-4-3-2° run together. 1-23) ‘5-4-3-2? on the minor scale (not shown on video)Fig. 1-21b Fig. 1-23 “2 5.4.3.2" 2APPLICATIONS In the previous chapter we covered many of the basic techniques (or ABC’s as Barry refers to them) that should make their way into any practice-time reper- toire. In this section, these techniques are applied to solo building over several well-known song forms. Consider three steps: 1. Choose the correct scale(s) to outline the chord progression (song). Practice the scule(s) thoroughly. Not only will this sound the harmony, given that the chords come from the various scales, but it will also illuminate any darkened corner in the tune, shedding light on thow to solo.’ 2. Make-up as many different phrases as possible based on the scale(s) outlining the harmony, Practice them in all keys, and at challenging tempos. 3. Find different tunes that make use of the chord progression that you are working on, and try out the phrases in each of them. 2421) INDIANA Frmaj7 D7 ul Dm? oT MacDonald-Hantey . Gm? 7 Fmaj7 cm? Fr = i ——— = ea a + Bhu? Bm? EI? Fnaj7 Am? D7 Fmmaj7 D? G7 Dm? G7 Emits Al Dm Em?s ATApplications 2-2) Scale outline of (Back Home in) “Indiana” ow32 2-3) Scale outline of ‘the Blues’ in C *The C Major 7 scale played into an A7 scale. This outlines the follow- ing 2 bar chord progression: Cmaj7-A7 or Em7-A7; and also 2 beats each of Cmaj7-F7-Em7-A7. a) A typical ‘Blues’ progression3B34 2-4) Application of scale ideas to ‘the Blues’ ‘The following examples run the C' major scale into the A dominant 7th scale, making use of the ‘5-4-3-2" phrases (see Fig-1-18a). Here, the musicians illustrate bars 7 and 8 of ‘the Blues.” a) ‘5-4’ down to the 3rd of A7. b) 5-3” down to the 3rd of A7. c)‘5-2" to the 3rd of A7. d) ‘5? down to the 3rd of A7. e) C major from the Sth degree to the Sth degree, then down to the 3rd of AZ. f) Descending C major from the major7th to the 5th, then ‘5’ down to the 3rd of A7. 2-5) The ‘Related Diminished Chord’ The related diminished chord is built from a major 3rd above the domi- nant note, For instance, in the key of D the dominant note is A and a third above is C#. a) In the following example, which outlines bars 7 and 8 of “the Blues” (in the key of C), notice how the related diminished of A7 is used to extend the phrase.3S2-6) ‘Rhythm Changes’ (refers to the chords based on “I Got Rhythm”) 2-7) Scale outline of ‘Rhythm Changes’ (performed here in the key of Bb). This is a 32 bar song form with 4 eight bar sections: A-A-B(ridge)-A. To end the tune, the last A section is the 1st six bars with the 2nd endin; to repeat the tune, the last A section is the Ist six bars with the 1st ending.Fig. 2-6 im? ta? v7 — ve Tint i oi meee i Ct —— oa a38 2-8) The ‘Important Minor’ “Important minor’ is the term given to the chord found on the Sth degree of a dominant 7th scale (5 of 5), *Barry is saying here that bIIIm7 (C#m7) is the ‘important minor’ of the bVI7 chord (F#7) in the key of Bb, Similarly, he points out that the m7 chord, or Cm7, is the chord found on the 5th of F7. This phrase begins with the chord on the 3rd of Bb major. a) This phrase and the previous example both illustrate bars 3 and 4 of ‘Rhythm.’ b) This is an example of combining the scales of the 5th and 6th bars of ‘Rhythm.’ 2-9) Application of seale ideas to ‘Rhyshm Changes? The next 12 figures (2-9-1) are various illustrations on the ‘Rhythm’ bridge. ) Up and down each dominant 7th scale ending with the ‘4’ phrase. ‘b) Up and down each dominant 7th scale ending with the ‘5’ phase. ©) Down cach dominant 7th scale from the b7th to the Sth, then adding the ‘5-4-3" phrases.aa oe ee ae40 d) Dominant 71h scales down and up to the 4th degree, then adding the “4” phrase. ¢) Arpeggios based on the triad found on the Ist degree of each of the. dominant 7th scales. £) The arpeggio based on the tonic of each scale up, then descending the scale from the b7th to the 3rd. g & h) Variations on Fig.2-9f. i) Up each dominant 7th scale from the 3rd to the b7th, back down to the 3rd degree, then up the chord on the 3rd degree of the scale.” j) Descending each scale from the b7th to the 3rd, then adding the Sth and the 2nd degree of each scale. k) Improvisation based on the Ist 5 bars of the bridge. 1) Bach dominant 7th scale followed by its tritone 7th seale. 2-10) Scale outline of “Rhythm'- see Fig.2-7 for the ‘A’ sections; use Fig.2-9k for the bridge. a) Here, the same scale outline is performed. The scales on the ‘A’ see- tions begin on the '&? after beat 4. 2-11) Improvisation based on the 1st 5 bars of the ‘Rhythm’ bridge.Fig. 2-11 4BANTHROPOLOGY Charlie Parker Gul FT B _ aeFT CHEROKEE Fn? =o? as2-14) Scale outline of the “Cherokee” bridge 2-15) Application of scale ideas to the “Cherokee” bridge a) Scales performed down and up. b) Scales performed in 3rds. c) Scales performed from the tonic to the Sth; 3rd to the 7th, d) Scales performed from the tonic to the 5th; 3rd to the 7th; Sth to the 7th.Fig. 2-15 42 ig SPE : eee) ae aa poe pi lapis a el H2-16) HOW HIGH THE MOON Ginaj7 n Gm? Ch. af SSS Fmaj7 i ¢F ote Morgan Lewis Ehmaj7 Gmaj7 m7 — —— 2 |? r = pon Am? vr Gmaj7 (Am? v7) Ss — = eee — 492-17) Scale outline of “How High The Moon” Fig. 2-17 toendSO 2-18) The ‘Minor 6 Diminished Scale” This scale is formed by combining a minor 6 chord with its related diminished chord, The diminished chord is built from a major 3rd above the dominant note of the scale. 2-19) Scale practice on the G minor 6 diminished seale a) The scale performed up and down. b) The scale performed as broken note chords. c) The scale performed as arpeggios with inversions. 2-20) Figures 2-20a-n show various phrases based on the G minor 6 diminished scale (bars 11 & 12).Fig. =. Gm6 chord : ie ~ =a —| J related Fi diminished chord Fig. 2-19 a) b) Fig. 2-20 i 5 . °) gies S= Pe fo = 7 Ly bal Wl iApplication of scale ideas to “How High The Moon” 2-21) Figures 2-21a-f show various phrases based on the G major scale (bars 1 & 2;17 & 18). 2-22) Figures 2-22a-f show various phrases based on the C dominant 7th scale (bars 3 & 4; 19 & 20).m) n) i saa aa aS Fig, 2-21 a) b) 3Chapter 2 sy 2.23) The F major scale performed up and down (bars 5 & 6; 21 & 22). 2-24) The Bb dominant 7th scale performed up and down (bars 7 & 8; 23 & 24). 2-25) This figure outlines bars 9 & 10 (also 25 & 26). Here the Eb major scale is played up; followed by the F dominant 7th scale played down to the 3rd degree of the D dominant 7th scale.Fig. 2-23 geese ps ed oo Fig. 2-24 aaa Fig. 2-25 Bhai? as DTChapter 2 2-26a-h) Performed here are further examples illustrating bars 9 & 10. 2.27) This figure shows an improvisation built on bars 9-13.Fig. 2-26 a) 32 b) i> c) a = ch deo eS aa ea oleMOVABLE CHORDS bon PIANO and GUITAR ‘This chapter is inspiring not only:frommy perspective as a pianist, but also from a philo- sophical perspective that chords and chording (ike other things in life) can be thought of as fluid and having potential for constant interac- tion. We are required, then, to consider where each chord originates, and to examine how the chords are related one to eachother. ‘The misconception that chords are fixed points in the tune, bound by vertical harmonic movernent, may be the culprit behind the ten- dency to play the same two or three voicings over and over for the same change. Introduced here is a ‘scale for chording,’ and a method of assigning virtually any chord to one of two scales—the major 6 diminished and the minor 6 diminished. Through the various ways in which practicing chords on their respective scales is demonstrated, see how misconcep- tions about harmonic rigidity disperse. Notes for guitar players: ‘To illustrate this point further, think of a right-handed piano voicing for an Am7 chord (rom bottom note to top) like B-C-E-G against A in the left hand, Actually this voic- jing can be found in the repertoire of most jazz pianists; however, not many players would ‘consider incorporating a D, an F or an Ab into ‘that specific chordal structure. Clarification of how Am7 (going to D7 in the key of G) is actually C6 follows; and, that B, D, F, and Ab-being part of the C6 dimin- ished scale—are all perfectly acceptable (not to mention interesting) note choices for the Am7 chord. Bary masterfully demonstrates the con- cept and application of movable chords later in the segment within the context of several tunes, (Transcriptions of rubato passages are meant to illustrate the harmony and to approxi- mate the rhythmic shape of the tune.) 1) The open strings on the guitar are numbered (from lowest string to highest) in the following man- ner; 6-5- 4+ 3+ 2+ 1. These numbers will appear circled, 2) In guitar notation, there are often two numbers beside a note. ‘The circled number (as it is explained above) i cates the string the note is found on. The uncircled number indicates the finger of the left hand (hat the note is played with, ‘a’ indicates an open string. 3) The capital letter C followed by a Roman numeral indicates a bar on a particular fret. For exam- ple, CV indicates a baron the fifth fret. S4Chapter 3 6 The C6 Diminished Scale 3-1a) This figure shows the C6 diminished scale in chords with voic- ings for the piano and for the guitar (Fig.3-1b). 3-2a) Here, the Cé diminished scale is shown in single notes. Fig.3-2b gives the guitar fingering. This scale is actually comprised of all 3 diminished chords. The. Cand A belong to one diminished, the E and G to a second, and the B diminished chord provides the other four notes of the scale. 3-3) These two illustrations show the C6 diminished scale performed in contrary motion: a) in single notes, and b) in chords. The C Minor 6 Diminished Scale 3-4) The C minor 6 diminished scale performed up and down. (To prac- tice this scale as a 2 bar phrase, play it up and down to the major 6th degree, omitting the major7th and the octave. Not shown on video.)“Heuable Chords for Piano ard Guitar SS o, 4 ig ig 4 3. i 1 | i 616 1 1 © © 1 @ © Fig. 3-2a Fig. 3-26 Fig. 3-3a Fig. 3-3b oe ee lzye t poh hae pcb ee aChapter 3 62 3-5) Chords found on the C minor 6 diminished scale are illustrated here: a) C minor triad on the I st degree; b) the D minor triad on the 2nd degree; c) 2nd inversion Ab major triad on the b3rd degree; d) 2nd inversion Ab minor tiad also on the b3rd degree; c) the F minor triad on the 4th degree; f) the F major triad also on the 4th degree. 3-6) “Alone Together” starts with its first chord, Cm, being voiced with the b6th, a diminished note from the scale (the Ab), then resolving back to the 6th degree (A). In the third bar a Cm6 chord movement is shown on the C minor 6 diminished scale resolving to Dm7b5. 3-7) This figure illustrates the movement of an Ebm?7 chord on the Gb6 diminished scale, resolving to Ab7. It is performed in the context of “Body and Soul.” The movement over the Ab7 chord to get to the Dbmaj7 makes use of the A minor 6 diminished scale, the altered scale for the Ab7 chord, also referred to as ‘the tritone’s minor.’ (This term comes from the ‘important minor,’ see Fig.2-8, and is being used here to refer to the chord on the Sth degree of the tritone of Ab-Am.) 3-8) Re-thinking the m7 and the m7b5 chords Every minor 7 chord is an inversion of a major 6th chord, and every minor7 flat chord is an inversion of a minor 6th chord. This figure shows Am7b5 on the major 6th degree of the Cm6 diminished scale. Notice that itis also simply an inversion of the Cm6 chord. (On the C6 diminished scale, the chord on the major 6th degree appears as Am7.) 3-9a) Moving Am7 on the C6 diminished scale In this figure, an Am7 chord is performed ascending the C6 diminished scale. Each note moves to the next note on the scale. Fig.3-9b voices the same example on the guitar.Movable Chords for Diane and Gaitan Fig.3-5a b) ° d) e) i) Fig.3-6 “ALONE TOGETHER” Fig. 3-7, “BODY & SOUL” Aa ©. |: 2 Gh @s @: © @ @ 2oy 3-10a) Moving a voicing through the C major scale Here, chords are played up a C major scale. Fig.3-10b illustrates voicings for the guitar. 3-1 1a) Moving a voicing through the C6 diminished scale The same initial chord as in the previous figure is now performed on the C6 diminished scale, with guitar fingerings shown in Fig.3-11b. Remember to move each note to the next note of the scale,Movable Chords for Pinwo and Guitenr Fig. 3-10a OmanAasy pose egg 'e, fa, a2 | a &® © © Fig. 3-Lla apap pO pl Ei oi) ee wo | = Fig. 3-1 1b CL cy, CVI ona ox hi a 7 Apis Eats i t t fi p o bo. lo lo 'o © '@% ® ©—_—————_ & 3-12) The 6 diminished scale contains two dominant 7th chords TMlustrated in this figure is a key difference between the major scale and the major 6 diminished scale. As Barry mentions, notice that the major 6 diminished scale contains the dominant 7th chord belonging to the key, (in this case G7), as ‘well as the dominant 7th chord belonging to the relative minor of the key (E7). 3-13) Ending a tune with movements on the 6 diminished scale a) Voiced for the guitar, this figure shows an ending for a tune devel- oped by playing up the Ist four chords of the C6 diminished scale and resolving EVm-bV1I7 (implied by the ‘E’ moving to ‘D,’ the 3rd of Bb7) to Imaj6. b) Another illustration of using a ‘chords on the scale movement’ to create an ending. This example is performed by Barry. 3-14) This figure extends the example shown in Figs.3-13a&b, devel- oping the idea into a four key exercise.Houelle Chords for Dingo avd Gutter Fig. 3-13b a} ery) i= ja dol bea acl gi WoL sich & og 7 al BOL aol ic ho a ot, 3 Cll eal = : ii in eGa 3-15) Using the C6 diminished scale on TI-V-1 in G major a&b) These two figures illustrate the movement of an Am7 chord (C6) on the C6 diminished scale within the context of a Iim7-V7-Imaj pro- gression in the key of G. c) Here, a variation of the previous example is written in guitar nota- tion. 3-16) Using the C minor 6 diminished scale on II-V-I in G a&b) Two examples showing Am7b5 (Cm6) moving on the C minor 6 diminished scale within the context of a IIm7b5-V7-I progression, first in the key of G major, then G minor, (Fig.3-16c illustrates a third exam- ple for the guitar.) 3-17) ‘Borrowed Notes’ This example demonstrates the same chord progression as the previous figure; however, it incorporates ‘borrowed’ diminished notes. The ‘C’ and ‘Eb’ are notes of the Fi diminished chord-the related diminished to D7. Borrowed diminished notes are circled in Figures 3-17, 3-18, 3-19, and 3-22.Hell Tada sane ond Got Fig. 3-154 Fig. 3-156 Fig, 3-15¢ cv cy d, ©, ©, @, Fig. 3-168 Fig. 3-160 Fig. 3-16¢ 5 q Pig. 3-17 470 3-18aéb) The following two examples illustrate diminished notes (circled), borrowed from B diminished on the Cm6 chord. ¢) Performed by Barry, this example takes chords up the C6 diminished scale beginning with a voicing that includes a diminished note with the C6 chord,.alternating. with a diminished chord using a note of C6, (Fig.3-18d illustrates a 2nd similar example, not shown on the video.) 3-19a) Based on “Django” by John Lewis“Houble Chords fon Pinna and Guitar Fig. 3-184 by oop 1g ¢ Hee ig. 3-18¢ Fig. 3-180 Fig. 3-194 “DJANGO” (last 8 bars) = ef DingCepia s 4 3-19b) Based on “If I Should Lose You” by Robin-Rainger 3-19c) Based on “In Your Own Sweet Way” by Dave Brubeck ‘Major-minor-minor/6” 3-20) This figure shows the progression from major to minor to minor with the 6th degree in the bass-((Bb major-G minor-Gm/E).Moule Cherds for Diane and Guitar Fig. 3-19b “IF 1 SHOULD LOSE YOU” Ont Gm7 Ami5 D7 —3I— G7 Fin? BY z | 7 eS Se ¥ HAG =a : ¥ Email CT (Eo) Fm BET Ema? B maj? Gm? ———— =a Fig. 3-19¢ “IN YOUR OWN SWEET WAY” AmhbS DAO Gm Gm6 Cm? PARES 91 90a maj? cms F79 Bhma7+11 fy B3-21) The previous progression based on bars 24-25 of “Stella by Starlight” by Young-Washington. The chord movements are I major- 17-relative minor-bVIdim-Imaj/5-minor/6. b) Here, the harmonic. concept of the previous figure is applied to a progression-based on-the first 4 bars of “Like Someone In Love” by van Heusen-Burke, c) Again, the harmony of Fig.3-21a is applicd to changes based on the first 2 bars of “I Remember You" by Schertzinger-Mercer. d) The movements on the 24th-25th bars of “Stella by Starlight” writ- ten for guitar,Mouable Chords for Pane and Guitar Fig. 3-21a “STELLA BY STARLIGHT” @ @ ® Q Bh D7Gm Ae Bh a Bh ee) Fig. 3-21b “LIKE SOMEONE IN LOVE” Fig. 3-21¢ “I REMEMBER YOU" a 7SChapter 3 3-22) The 4 related dominant 7ths used as V7 substitutions In the following two figures, (3-22a written for guitar and 3-22b for piano), we have illustrations of how related dominant 7th chords may be used to substitute ‘for eachother’ when the V7 chord moves back to the I, Refer to Figs.1-15, 1-15a, and 1-17 for explanation of how to find the dominant 7th:chords related to a:given diminished chord; and also for examples of how to practice those related dominant 7th scales ‘into eachother’ to outline key chord movements. In the following examples, D7 going to G major is outlined. The diminished that D7 comes from is F# (F#-A-C-Eb). Given that F7, Ab7, and B7 are also related to Fit diminished, they make very interesting -voicings when played against D in the bass, In addition, notice how diminished chord tones (circled) can be incorporated into the progression.— “ell ada soar ond tn Fig. 3-228 Fig. -22b DT Gmaj? =I arTHE RHYTHM SECTION It occurs to me that if one were seeking a model for the perfect social order it would not be neces- sary to look beyond the jazz rhythm section. ‘Consider a society based on the fulfillment of its members’ needs, Each person would be secure and confident about his or her unique role in life and in the ability to express ideas. People would think well of, support and creatively chal- lenge not only themselves, but others. Add to this everyone proudly assuming a role in the development and flourishing of the whole, while continuing to build a strong, focused individual center, Far from being perceived as a threat, each different voice would be welcomed with full attention and consideration. Anything short of this in the rhythm section causes imbalance, confusion, and beats to drop! In the corresponding video segment Barry puts the rhythm section through key thythmic and listening exercises designed to achieve the kind of ‘harmony’ described above.Chapter 4 4-1) “Straight, No Chaser” by Thelonious Monk. 80—— The Rhythm Section Fig. 4-1 STRAIGHT, NO CHASER82 4-2a-d) Walking bass patterns emphasizing the importance of the upbeat. Note how Fig.4-2d makes the ‘1’ disappear by phrasing over the bar line. 4-3) The above patterns can be practiced in various combinations and performed simultaneously throughout: the thythm section. a) This example combines the ‘2+’ and the *4+." b) Here, the ‘1+’ is combined with the ‘4+.’ 4-4a-d) This next series of figures extends the previous idea by making use of longer tied notes in the walking bass line.The Réithon Section Fig. 4-2a Fig. 4-2b Fig. 4-2c. sass 5s nMVOCALIZING 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 essen- tial for the singer to develop a sense of time and phrasing independent of what the rhythm section lays down. Tt is also vital for the vocalist, as it is for any instrumentalist in this music, to develop technical (scalar and rhythmical) skills in order to mas- ter the art of improvisation—to then be free to explore nuance, possibility, and depth. With this in mind, several key exercises and elements of theory are demonstrated such as the use of the related diminished chord, (The related diminished chord has been dealt with in more detail earlier in this book. See figures 1-15a-b and 1-16.)Capes 5-1) “You Must Believe In Spring” by Michel Legrand.Vacalini Michel Legrand aI. Fig 51 ‘YOU MUST BELIEVE IN SPRING Chet) FG3) rresyn Rm = Bm? iE ve ‘Who loc 1y—eeleings cil the mead ove of your min, um nF win. eres, can AT69YD—-Dinaj? Gten65), enes) Finns) B7¢9) Bm7 ‘At: ssringhe ferbe-hind? — Becnenh the deepest eoows, the se-cretof rane merely tht itknowe yous Day ohms) Par FO Edy Bm chm mute ive In mee er ee es Em? i ANON Dinait Gtae5, ones) i kaows ts emp-ti-ness is jst tiene of year, The frovzen mountain dreams Be Gomis, C169) Fm? Email Dats) Gr OOF Apo ris melting means, How crye-ak clea ik sees, you must believe in mping! ie) Ba, Dmit5) cite Cm ocr Fei? Yow mon bene i love and tue tk ans way at me ese rte a+ Binoy Ema? Am 5 bits) Gmitts ore) SSS f = =e ? SS See wats te kine of May, So int world af mom, OF ings Ha cae ad oi r fat may Aboa? Dnt) ar cn Wrre what yo think yous know, yon cant be eet tain of, You aut be- eve in rg ant ove, 7RB 5-2) The E diminished chord with applications to “Y.M.B. in 8.” a-d) Demonstrated in the following four figures are examples of the last 2 bars of “Y.M.B. in S.,” incorporating notes of the diminished chord. Examples are notated in the keys of F and C minor. C7 (in the key of F minor) uses the E-diminished chord; while G7 (in the key of C minor) uses the B diminished chord. ‘Warm-up exercises 5-3) The D diminished chord. a) Here, a pattern based on chromatically descending diminished chords is illustrated. Playing up the first chord and down the second. b) An Ab major arpeggio. c) An Ab minor arpeggio.40 d) An Ab augmented arpeggio (the 5th degree is raised a half-step from the major). 5-4a) The Ab major scale performed up. b) The Ab major scale performed down. 5-5a) The Ab whole tone scale (a six note scale built on whole-steps above the root). b) The Ab whole tone scale performed up in 3rds. c) The Ab whole tone scale performed down in 3rds. 5-6a) An Ab diminished arpeggio. b) An Ab diminished chord.Fig. 5-34 a Fig. 5-4a J - ———— SSS SSS Fig. 5-4b Fig. 5-Sa Fig. 5-6a Fig. 5-6b ===42 Application of the warm-ups to “Y.MLB. in S$." 5-7a) An illustration of the last 2 bars of “Y.M.B. in S.,” making use of the related diminished chord. (Performed in the key of F minor.) b) An illustration of the last 2 bars of “Y.M.B. in S.,” first making use of the related diminished chord (ascending), then descending the G augmented arpeggio. (Performed in the key of C minor.) Use of the related diminished chord 5-8a) Barry demonstrates the use of the related diminished chord over the first 4 bars of “Y.M.B. in S.” Fig.5-8b gives a second resolution point after the diminished chord in the first 2 bars. (Performed in the key of F minor.) 5-9) More examples using the related diminished chord are shown here. (Performed by Cara in the key of F minor.) 5-10) This figure illustrates the same 4 bars as above. (Examples are performed by Denzil in the key of C minor.)|p Fig. 5-84 Fig. 5-8b BS Fig. 5-9 Fig. 5-10 coo rae pT as BYn @n Bir es ¥ : 4 es Ecoera Te =F = be a Fr (Bt?) Am? Pi Gm? 4 = pepe ee aaa ot Gm7 SS aaAppendix: A A) Albums recorded as leader (or in a solo piano setting) 6 Breakin’ It Up At The Jazz Workshop Preminado Listen To Bary Harris...Solo Pi Newer ‘Than New Chasin’ The Bird Luminescence! Bull's Eye ‘Magnificent! ‘Vicissitudes Plays Tadd Dameron Live In Tokyo Plays Barry Harris Tokyo: 1976 ‘The Bird of Red and Gold For The Moment Live at Maybeck Recital Hall Solo Barry Harris In Spain Confirmation (with Kenny Barron) B) Albums featuring Barry Harris Argo 644 Riverside 326 (OJC 208) 354 (OIC 486) 392 413 435 (Japanese Victor 23733) Prestige 7498 7600 7733 (Japanese Victor 23732) MPS 20 22682-4 Xanadu 113 130 (Xanadu FDC 5155) 154 (Xanadu FDC 5173) 17 213 ‘Uptown 27.20 Concord CD 4476 Sepiember CD 5111 (Belgium) NUBA (CD) 7754-2 (Spain) Candid 79519 CANNONBALL ADDERLEY Thom Dirty Blues Riverside 322 (Landmark 1301) DAVID ALLYN Don't Look Back Xanadu 101 CHARLIE BYRD Blues Sonata Riverside RS 9453 DONALD BYRD Byrd Jazz tion j-5 (Delmark 407) ALCOHN Play It Now Xanadu 110: Al Cohn’s America 138 No Problem 179 SONNY CRISS Saturday Moming Xanadu 105 (FDC 5163 France) RONNIE CUBER Cuber Libre: Xanadu 135 CHARLES DAVIS Reflections Red (CD) 123247 KENNY DORHAM. Bebop Revisited, Xanadu 205 VoLS ART FARMER/ DONALD BYRD 2 Trumpets Prestige 7062 (OIC 18) DAN FAULK Focusing In Criss Cross 1076 CD ‘TERRY GIBBS Bopstacle Course. Xanadu 210BENNY GOLSON DEXTER GORDON DEXTER GORDON/ ALCOHN JOHNNY GRIFFIN STEVE GROSSMAN COLEMAN HAWKINS ‘LOUIS HAYES JIMMY HEATH BUCK HILL ILLINOIS JACQUET EDDIE JEFFERSON ‘CARMELL JONES SAM JONES THAD JONRS CLIFFORD JORDON RALPH LALAMA HAROLD LAND YUSER LATEER WARNE MARSH HOWARD McGEE HOWARD McGEE & BENNY BAILEY ‘The Other Side of Benny Golson Gettin’ Around Clubhouse. ‘The Tower of Power More Power! Biting The Apple True Blue Silver Blue The Kerry Dancers Dolt Sirius ‘Wrapped Tight (feat. Yusef Lateef) Picture of Heath Capital Hill The Buck Stops Here Bottoms Up Allstars Body and Soul Come Along With Me Jay Hawk Talk Cello Again Changes & Things ‘The Magnificent Thad Jones Magnificent Thacl Jones, Vol. 3 Repetition Feelin’ and Dealin’ West Coast Blues Into Something Eastemn Sounds Many Faces of Yusef Latect Back Home Jaxzbrothers Home Run Discograpls Riverside 12-290 (OJC 1750) Blue Note 4204 (CD 46394) Blue Note CD 84445 Prestige 7623 (QJC 299) 7680 Steeplechase 31080 Xanadu 136 137 Riverside 420 Dreyfus Jazz 36550 Pablo 2310-707 Impulse 87 (Impulse GRD 109) Vee Jay 3010 (VI CD 906) Xanadu 118 Muse 5384 Muse CD 5416 Prestige 7575 (OIC 417) JSP 1014 Prestige 7619 (OIC 396) 7698 (OFC 613) Prestige 7401 Xanadu 129 150 Bluc Note 1527 (CD 46814) Blue Note 1546 Soul Note 1084 Criss Cross CD 1046 Jazzland 920 (Jap. Vietor 23660) New Jaz 8272 (OJC 700) © 7319 (OFC 612) Milestone 47009 Criss Cross 1023 Jarscraft 2 Jazzcraft 5 nlAppendiz: A CHARLES McPHERSON BILLY MITCHELL HANK MOBLEY JAMES MOODY FRANK MORGAN LEE MORGAN, SAM NOTO DAVE PIKE SONNY RED RED RODNEY FRANK ROSOLINO ERIC SCHNEIDER SONNY STITT ® Bebop Revisited! Con Alma! ‘The QuinteyLive! ‘McPherson's Mood Live In Tokyo Charles McPherson ‘The Colossus of Detroit Mobley's Message Jazz Message Vol.2 Straight, No Filter ‘The Tumaround Don’t Look Away Now You Must Believe Tn Spring Take Twelve The Sidewinder We Remember You Entrance! Act One It’s Time For Dave Pike Breezing ‘The Mode Images Bird Lives! Home Free ‘Swing...Not Spring (4 wes) Eric's Alley Burnin’ ‘Tune-Up! Constellation Twelve ‘Mellow Plays Gene Ammons Blucs for Duke Sonny's Back In Siyle Moondight In Vermont Prestige 7359 (OIC 710) 7407 7480 (OIC 1804) 743 Xanadu 131 Mainstream 329 Xanadu 158 Prestige 7061 (24063) Savoy 12092 (CD 0158) Blue Note 84435 Blue Note 4186 (CD 84186) Prestige 7625 Antilles (CD) 314 512.570 Jazzland 980 (OIC 310) Blue Note 4157 (CD 84157) Fresh Sound (CD) 1024 Xanadu 103 vw Riverside 360 Jazzland 32 39 74 Muse 5371 (CD5371) MR 5135 Savoy 12062 (CD 0188) Gatemouth 1005 Argo 661 Cobblestone 9013(Muse CD 5334) 9021 (Muse CD 5323) ‘Muse 5006 (Iapanese Crown CD4520) Muse 5067 5091 5129 5204 5228 ‘Denon CD 7046©) Various Artists ANNIVERSARY THE BASIE-ITES I REMEMBER BEBOP THE PIANO PLAYERS: RIVERSIDE REUNION BAND WANGARATTA JAZZ XANADU AT MONTREUX (Trio: Salt Peanuts) How High The Moon (Tio: 4 Monk tunes) (Trio: a Barry Harris original- Confusion) Mostly Monk Vol.t Vol.2 Vol.3 Vol Xanadu 201 Jubilee 5004 Columbia C2 35381 Xanadul71 Milestone MCD-9216-2 Subaru (CD) SJO01 (Australia) Xanadu 163 164 165 — Compiled by JIM MacDONALDAppendix: B 100 ‘The following quotations have been gathered over the years from lectures and personal conversations with Barry Harris. 1, (On jazz having advanced since Charlie Parker) “You can wear your trousers backwards, but that won’t necessarily put you any further ahead.” Nv (On the use of too many ‘blue’ notes) “The old folks would say, ‘The person who curses a lot has the fewest words at their command,’ ” - (On the importance of focused practicing) “Practice your playing-not your practicing; make the practice time as real for yourself as possible.” “Monk would practice playing a tune for hours, and so when he went to the gig he was ready.” & (On rhythm) “Think about it-you'd rather hear a cat play rhythmic and wrong, than non-rhythmic and right, cause they’re going to be wrong anyway. . (On volume) “Play at your norm [volume level]. Know what your norm is so that you play the most relaxed. If you play a little louder than that, then you've brought in some tension, and tension won't allow you to really do it, ‘The loud that you teally want is the loud that comes from surety—positive- ness-that’s when you hear people really starting to speak out.” a (On vibrato) “How distinctive and easily recognizable the tenor players were, one from the other, because of their vibrato.” “Your vibrato is like your soul. Horn players nowadays aren’t practicing their vibrato and that’s why you can’t tell them apart.”7. (On the effect Charlic Parker had on other musicians) “He made people play ‘over their heads.” ” “[ heard Bird with some of the worst cats you could imagine. He came to Detroit once with [a band led by] Emperor Nero-and on top of that— Emperor Nero played alto. The funny part of it is that I had never heard Emperor Nero play so good in my life as he did with Bird.” eo (On performing with Lester Young) “The way that he would count in a tune was such a knockout-all he’d do is shrug his shoulder—like that-and that would be the tempo.” 2 (On the hipness of Euro-Classical masters) “If Bach and Chopin and them were around today, they wouldn't be play- ing other people’s music, they’d be down in the corner joint jamming.” 10. (On perceiving the whole. Philosophy, and a typical start to another ses- sion of the Barry Harris Jazz Workshop) “One thing that modern (wo)man is particularly good at is naming every- thing... There are petals, a stem, Ieaves, the stamen, scent, color and all too often what becomes obscured is that what we are looking at is a flower.” 104Barry Doyle Harris, born in Detroit Michigan on December 15, 1929, is self-proclaimed as the world’s oldest jazz teacher. He began playing the piano at age 4 and claims to have always known that that was what he was destined to do. By the time he reached his teens he had developed his own theo- ties of'jazz, and soon became sought out for his knowledge by local peers and established, visiting jazz musicians alike, Indeed, the Harris family home might well be regarded as the first school of jazz. While Barry’s reputation is legendary, his modesty is also front and center, When asked about his pas- sion for teaching, Barry typically replies that it is fueled by his Own ‘selfish’ motives, hoping “that someone will come along and show me the way.” “That,” he states, half-jokingly, “is when class is over.” ee About Howard Rees 902 Howard Rees, born in Toronto Canada on February 21, 1954, began studying with Barry Harris in 1979. In 1984 he founded the Howard Rees Jazz Workshop in Toronto, which, in its tenth year, is a leading Canadian school dedicated exclusively to the study of bebop, In addition, Howard maintains a busy schedule as guest clinician and performer on both the piano and the double bass, He is currently working on a book detailing Barry Harris” har- monic concept as it applies to the piano,