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Barry Harris is an iconic jazz piano player that is famous for his "diminished

6th" scale. We take a look at this and apply it to modern day guitar.

Barry Harris' first rule is that we add a "diminished 6th" in the major scale.
So the C Major scale now would have a G#,

C - D - E - F - G - G# - A - B

Barry Harris' second rule is that major 7th intervals are too tense and they
need to be resolved.
So instead of using major 7th chords like Cmaj7, he uses major 6th chords.

Cmaj6 = C E G A

Given these two rules, we can derive chords from

C - D - E - F - G - G# - A - B

Chord 1) CEGA
Chord 2) D F G# B
Chord 3) EGAC
Chord 4) F G# B D
Chord 5) GCEA
Chord 6) G# B D F
Chord 7) ACEG
Chord 8) B D F G#

If you notice, chords (1), (3), (5) and (7) are all the same chords.

Additionally, chords (2) (4) (6) and (8) are all the same chords.

So the result of the Barry Harris method is that we simplify the scale into two
chords, which makes it easier to conceptualize the scale. We now have only 2
chords to worry about.
Barry Harris Half-Step Practice Model for Bebop Scales
by Marc-Andre Seguin

After a while of practicing the Half-Step Practice Model (as explained in the
Barry Harris Workshop DVD booklet), I finally made up some of my own
exercises. Here's a good warm up (with scales) that I use on most days ...

Note: If you have never encountered bebop scales, a good way to start
practicing "in time" is this sample rhythm exercise. It employs NO passing tone
and is based on C dominant 7th (mixolydian) scale.

Part one: learning the model

What is the "Practice Model" ?

Without going into too much detail (no spoiler alert here!), Barry Harris has a
way of making scales "fit" into bar lines which he calls The Half-Step Practice
Model.

This concept stems from the bebop


language ... and it's all about rhythms.

In short, the model is a technique that adds 0, 1, 2 or 3 extra passing notes to


regular scales. The end result is the rhythmical alignment of "strong notes on
strong beats" within the bar. This simply means that we get chord-tones 1-3-5-7
on downbeats.

The three optional passing notes can be found between degree b7 and 3 (in a
mixolydian scale). Here, added passing notes in red:

The Bebop Scale

The primary scale which is, by the way, a great starting point for most teachers
(including yours truly), and most commonly referred to as "bebop scale" only
has ONE passing note between b7 and 1 (in this case, the "B natural" note).
The most basic bebop scale is therefore:
But, obviously, the Barry Harris Workshop goes beyond this simple scale by
using two more available passing-tones. Let's say you wanted to start the scale
on something else than the root, it wouldn't always work! Try it and see for
yourself. So Barry found a solution to this musical problem...

Zero and Two Passing Tones

Let use the "F" (the fourth degree) as an example in the same old, C7
mixolydian scale.You can have either:

1- NO passing tone added

... or ...

2- Two passing tones!

As you can see, the arrows point to chord tones. Notice how they fall on
downbeats after the scale is "rebalanced" because of the presence (or
absence) of passing tones.

One and Three Passing Tones

One more example: starting on the 3rd ("E" note). You can have either:
1- One passing tone

... or ...

2- Three passing tones!

By now, I think you get the idea...

This is just a principle, of course. You have to own the Barry Harris Workshop
DVD to really "get it" and understand how it works. It always better to hear the
master himself explain it to you!

Part two: implementation

What Am I doing Different from Barry ?

So, yes: I like the idea behind Barry's Half Step Practice Model very much. I've
been working with the Barry Harris Workshop DVDs for years now. And yes: I
even took the time to write my very own exercises (in mixolydian only) based
on the whole approach. Here's what I'm adding.

My variations on the original concept:

Each line starts with a pickup of three 8th-notes and


Each scale degree is treated in two "phases" :

1. Placed on beat "one" (after the pickup)


2. As part of the pickup (beat "four")
Confused?

Basically, if you play them "my way" you'll get all the musical juice from the
original Barry Harris Workshop exercises plus a few added bonuses. A picture is
worth a thousands notes, so here's an example.

I turned this (Original "Barry Harris Workshop" way):

... into this (Phase one and Phase Two)


Part three: tips
Practice suggestions

Go very slow! Use a metronome and learn the lines at ridiculously slow speeds.
This is like "programming" the lines into your ears and fingers.

Repetition: Repeat one line as much as you to need to memorize it. Test
yourself: stop looking at the paper and play the line ...

Fingerings: Use the suggested fingerings (in TABS) or come up with your own.
But, whatever you do, stick to the same fingerings for a while. It becomes
easier to "ingrain" lines in working in this fashion; you may always fix your
fingerings later.

Octave: You can start most lines at different octaves on the guitar. I wrote down
only basic starting points here. See how far up (and/or down) the fretboard you
can go with the same line.

Analyze and Investigate: How many passing notes are present in the line and
why? Can you invent some variations on this line?

Etude: Once each line is memorized individually, play the entire thing, front to
back as an etude.

Practice Phase 1 separately from Phase 2: Then practice them together... in the
end, you'll realize they're the same old thing!

Chromatics: The chromaticism in the pickups can be changed to suit your


taste/style. I'm sure you could come up with many different interesting pickups.
(as I'm barely scratching the surface here, with only the most obvious ones...)

Discard the paper: Learn the two pages by heart!

Learn in all keys: Play through cycle of fourth, at first.

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