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    THE

    E RRY

    H RRfS

    WORKSHOP VfDEO

    Copyrigbt0 1994 1998 by op City ProdllC ioos loe., P.O. ox 21016, 6GT7 Meadowvale Town Cen en:,

    Mississauga OnLLSN 6A2, Cu nada Our intemet addtess is: www.bopcity.com.

    Howatd Rccs email addtCSS is; [email protected].

    Secondprinting by op Ciy Productions lnc 1998

    All righlS

    reserved. Mlldc in Canacla.

    No

    p n

    of ths

    book

    may

    be

    rcproduccd

    in

    any

    form

    without

    rrom

    thc u h l i ~ c r

    arry Harris and Howard

    Rees,

    Toronto 1991

    QuasiMado

  • 7/24/2019 Barry Harris Jazz Workshop

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    '111CIC are many Joved ones, men tors, collcagu sand frie

    whom I am indcbted for their kindness, patien

    and llno

    in

    helping

    me

    with this projec

    t.

    in particular:

    my parents, for teaching me to follow my dr

    eams;

    my bruther Philip, for

    hi

    s ongoing support and vast

    computer skills;

    my

    senseis Rarry Harris and Ted Jungblut, f

    or

    showin

    thc path;

    friends

    J

    anc Bunnett and T arry Cramer, for th irsupp

    good advice; Brian Ka

    u

    for hi s hclp with transcriptions

    cditing; Larry Lewis, for his hc.l> with guitar transcriptio

    Jane Low-U

    r for cover dcsign; D.D. Jackson, for comp

    help; Jannifer Smith-Rubcuzahl , for her help with proofr

    and cditiug.

    The music and text were set and laid out by David Ni

    ( 416-921 -4963) on the Maciutosh

    om

    puter using NoteW

    and QuaJk.XPress.

    I dedica te this book t the l ga yofCharlie Parker and to

    musicians aJld teachers everywhcrc who ha ve carried on

    dition of this bcautiful music.

  • 7/24/2019 Barry Harris Jazz Workshop

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    the autumn of 1979, aftcr having spcnt the previous twelve months

    myself to

    ge

    thcr psychologically, financially and musically, I

    York to realize a dream- to study with Uarry Harris.

    Jt 's difficult to describe the atmospherc

    of

    lhe studio 1 walked

    r m y first

    cla

    ss-t.he electricity

    of

    25

    or 30 people

    f ) ;u

    scd on

    the piano. Poring over cvcry note and cvcry word, each

    f

    us would cr.mc for a view

    of

    thc keyboard knowing lhat what was

    oing on was very special allll powerful. As itturned out it was car

    e tune was Body and Soul. The scene changed

    very couple

    of

    minutes when Barry would choose someone random1y,

    and motion to them t.o siL ncxt to him. Okay, he would say rto

    but nervous subject],

    now

    yuu play it in this kcy.

    lt 's not dif

    fi

    cult, in

    fa

    ct it's

    eas

    y,

    to think

    of

    stories lhat show the

    rcspect llarry has for his students. In 1979 the fec for his

    startcd with piano and guitar players

    at5

    p.m., added

    ingers at 8 p.m., and hom players at

    11

    p.m.- was $3. Nothing would

    Barry more t.han to find out that someone missed class beca use

    didn't

    have

    t11e

    money, so he was direct when he would say, You

    you're supposed to come anyway.

    Uack lhen Barry would go to great lengths to comrnunicate to

    passion and intimacy

    of

    the music. On one occasion, I

    Barry work with a sightle

    ss

    student. Seated next to him at lhe

    , Barry had thc student place bis hands on top

    of

    hls own and

    y, t11c

    cssence

    of

    Ba.rry's instruction remains

    . He shar

    cs

    his musical gcnius wirh heart and soul.

    Now, smne fifteen years aftcr m y frrst elass with Barry, J a m in

    cess

    of

    fulfilling anoLher goal-to docurnent his intemationally

    cclaimed teachings. It is my hope rhat the

    sc

    nsc of j

    oy

    , exciremcrll and

    generuusly bestows upon cach srudent that

    co

    mes ro

    is transmitted Lhrough rhis video to you.

    The human cvolurionary thread

    sp

    irals upward, and am con-

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    vinced that as pcople continue to search for more meaningful cxpcr

    ences in life and place a highcr value on tapping into their own cre

    ative powers, the music that developed in Ncw

    York

    in the 1940s a

    50s wll

    be

    widely regarded with amazemcnt and ucasured for ils

    beauty and frcsh sound.

    We

    are fortunate to have Barry Harris as spokesperson for th

    lcgacy.

    1r

    eless in dedicating his energies and talcnLS to the ongoin

    devclopmcnt

    of

    the music, he has long been recognizcd as one of it

    major proponents and grcatcst comrnunicators. Simply put-he is t

    keeper of the flame

    .

    rinally, 1would like to mention, to thc cr

    cd

    it

    of

    everyone

    involved

    in

    documenting this extraordinary performance-the produ

    tion crew whose intuilion and abilities harmoni:r ed to capture the

    cssence

    ofthese

    sessions, the musicians who beautifully mirror

    Barry's ideas, and Jim MacDonald for his support horn out of hi s

    love for this music-that the entire recording took place without any

    rehearsal.

    Ilere is in fact arare opportunity to ga in an inside view of a

    truc master at work.

    Howard Rccs

    February, 1994

  • 7/24/2019 Barry Harris Jazz Workshop

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    work is an attcmpt to perpetuatc the music. bclieve that along

    s comes the responsibility of sharing them. While not always

    orrect, it is important to pass on one's knowledge.

    My greatest desirc is for peoplc to have the opportuniry to expc

    cnce

    th

    e beautifullegacy that jazz. is huilt un. I m particular y interest

    in having more yo

    un

    g pcople tumt d on to this music. Historically it

    becn almost impossible to count on media support. Today we find

    lvcs in a siluation

    wh

    ere we ha ve people who haven t even heard

    , and yct they already

    have

    a negative mage about il. This

    t change.

    Bcbop repre

    se

    nts thc furthest extension of music. l takes place

    , there is no tuming back. and no re-grouping. There is

    no room for faking. Although relatively young, this music has

    ri

    scn

    toa

    very high leve dueto thc gcnius of such pcople as

    harlic Parker, Tht:lonious Monk, Di:t.z.y Gillespie and Bud Powell.

    are no shortcuts to the leaming process.

    lt

    isn't possible for

    meone to go out, buy a hom, and get a gig the next day. Technical

    ery

    of one's instrument is the sta

    rt

    .ing point, and from ther

    e,

    with a

    of

    hard work, one might reach the height

    of

    moving the sic for

    In addition, all instrumentalists and vocalists should know some

    ng about the keyboard, about chord and seale relaLionships, and

    h

    ow

    to use the scales as a basis for improvisation. To this end, a

    al commiuncnt is required of every player

    -c

    ommitment to study,

    patience and also to yourself. Th

    esc

    are the keys to frcedom,

    ion and self-knowledge.

    This is a vital music. Jts history is both very rich and beautiful. lt

    importan for new pcople coming along to leam about a.nd carry on

    traditions. As a teacher, it's irnportant to start teaching from

    e cam rom not from where we re Hopefully then Lhc stu

    ent will grow to wht:re thc teacher i

    s

    and add a

    li

    ttle mure.

    I would like to cxpress my thanks to Howard Rt:t:s whose hard

    that this project woultl become a reality.

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    ~

    \J/1)fQ C ~ E ONE

    T k g ~

    Foreword

    Scale

    pra

    ctice

    or

    " the ABC's"

    Explanatory Notes

    TAEI E f

    CO

    NTENTS

    The 1/arris lla/f-Step Practice

    od

    el

    The Dominan 7th Scale Half-Step Rules

    le

    Major Seale Ha

    lf

    -Step Rules

    Thc Minor Scale llalf-Step Rules

    Chromatic scalc breakdown chart

    The

    dimnishcd chord and its 4 related dominan 7ths

    The 'Dimnishcd Scalc'

    Related dominant 7th scales

    =

    hord

    m

    o v c m e n L ~

    The

    minor7 flat5 chord

    The 5-4-3-2 Phrases

    '5-4-3-2' on thc major scale

    '5-4-3-2'

    on

    thc

    dominan 7th

    scaJc.

    5

    -4 3-2 '

    on the minor sr.ale

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    Back

    Home

    in Indiana by

    Ma

    c0 on

    a1d

    Hanlcy

    le outlinc of (Back Hume in) lndiana

    outline

    of

    e Blues in

    C

    typical fllues progression

    uf scale ideas to the Blues

    he Related iminished Chord

    Rhythm Changes

    le outline

    of

    Rhythm

    Changes

    he Important Minor

    of scale ideas to Rhythm Changes

    Anthropology by Charlie Parker

    Cherok

    ee

    by Ray Noble

    calc outline

    of

    the Cherokee bridge

    of scale ideas to the Cherokec bridge

    1

    ow

    Hgh

    Th

    c Moon by Murgan l.ewis

    outline of How Hgh 'D1c Moon

    Minor 6 DiminishedSea e

    G minor 6 diminishcd

    sc

    ale

    of scale ideas to How Hgh Tbe Moo

    n

    rcwurd

    he C Diminhed Scale

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    TI1c e diminished scale in

    si

    ngle notes

    Guitar fingering for thc

    C6

    diminished seale

    The C6 dminishcd scalc in comrary rnotion

    The C Minnr 6 Diminished Scale

    Thc e minor 6 diminished scale perfonned up and down

    Chords found oo the

    e

    minor 6 dirninished sea e

    Alone Togf;',ther

    hy

    f)ietz-Schwartz

    Body and

    Soul

    by

    Green

    The Tritone s Minor

    Re

    -thinking the m7 and thc m71>5 chor

    ds

    Movng Am7 on the C6 diminishcd scale

    Moving a voicing through the

    e

    major scalc

    Moving a voicing through the C6 diminished scale

    The 6 dminished scale contains two dominant 7th chords

    Ending a tune with movements on thc 6 dirninished scale

    Extcnding Lhe previous idea through 4 kcys

    Using the C6 diminshed sea e on -V-I in G major

    Using the

    e

    minor 6 dinnlshed

    se

    ale on -V I in G

    Borrowed Notes

    Bascd on Django

    hy

    John Lewis

    Based

    on

    Ifl

    Should L

    ose

    You by Robin-Raingcr

    Based on In Your

    Own

    Sweet Way

    by

    n

    ave

    Brubcck

    Maja

    r-

    minar- mi11or/6

    Applied to Stella by Starlight by Young-Washington

    Applied

    to

    Likc Someone In Love by van Hcuscn-Burke

    Applied

    to

    I Remcmber You by Schertzinger-Mcrcer

    Applied to Stella by Starlight wth guitar vo icings

    Thc 4

    re

    lated dominant. 7ths used as V7 substitutions

    Foreworcl

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    No Chnser by Thelonious Monk

    alking

    bass p;H

    terns emphasizing the upb

    ea

    t

    e whole rhy

    tJun

    scction demonstrating hc prcvious rhyth

    ms

    hythrn lghlighting the

    '2+'

    and tJ1c

    '4+'

    hlighting the

    1+

    and the

    4+

    nger valucd tied nores in the walking

    bass

    line

    ~

    rd

    You Must Be lieve

    Tn

    Spring y Michcl Legrand

    E diminish

    ed

    chord wilh app

    lica

    tions t

    o

    Y.M.B. in S.

    -up exercises

    ation

    of

    thc wann-ups ro Y.M.B. in S.

    of

    thc related diminished chord in thc 1st 4 bars of Y.M.B. in S.

    Billie's Boun

    ce

    by Charlie Parkcr

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    TH E SfCS

    Probably th

    most

    frequently asked question by

    le

    music student is

    What

    should

    1

    spend

    my

    valuable practice

    time on?

    In

    lis section

    a systematic, step by step approach

    1

    answering this qucstion

    is

    outlined.

    Technique might best be thoughl of as a mcans to an end.

    That

    is 1 say, strong technique is a prerequisite for jazz improvisa

    tion; but, for 1hc purposes of praccing, teehnique must always have

    a musical cootext. To get the poiot across Barry says, practice your

    playing- nol your practicing.

    To

    be

    consistent

    in

    providing musical contexts,

    make the

    rchearsaJ time as

    real

    as possible. A lot of practice

    time

    is spent

    alone, so it is essential lo re-create Lhe rhyLhm section for yourself as

    you play. ear the drums, the bass and 1c chord changes. Practice

    in tempo, and envision how the rhyLhrn section would accompany

    yo

    u.

    As

    Barry

    states in bis opening remarks in Lhe video, every-

    Lhing comes

    from scales, which requires that Lhey

    be

    practiced in a

    variety

    of

    ways. With thls

    in

    rnind,

    The

    Basics contains transcrip

    tions

    of

    the musical examples covered

    in

    the corresponding section

    of the video.

    The

    transcriptions appear

    in

    sequence

    as

    they are intro

    duced in the video. Additiooal explanations and further

    examp

    les

    have been includcd where necessary-all of whlch will hopefully

    guide you on the road

    1

    discovery and beyond.

    Note:

    1 Examples are

    in

    the key of C concert unless otherwise notated.

    2) Where

    Lherc

    is no key signature, apply Lhe accideotaJs as 1cy

    occur.

    3) In sorne examplcs enharrnonic q u i v l e n t ~ may not be shown.

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    ( ~ 1

    Sea e Practice or the ABe's

    Explanatory Not

    es

    1-1 The referencc that Barry malees to

    em7

    - F7, and why it would

    have been impossible for Bird to have played that as a horn player,

    bccau

    se

    Crn7 is the chord found

    on

    the

    5t

    h

    of

    the f7 scale (the im

    tant minor ), a.nd for that reason, only the

    F7

    scale is rcquir

    ed

    for s

    ing over both of

    the chord changes (see Fig.2-8).

    1-2) Up nd down refers toa scale playcd from its tonic up to its 7

    degree (either domina.nt

    or

    major 7th), and then straight back down

    This produces a 2

    bar

    phrase.

    1-3)

    The

    C dominant 7th scale up a.nd down.

    1-4) The e major sea e up a.nd down.

    1-5) Scale practice on the e dominant 7th scale.

    a) The scale perfonncd in 3rds.

    b) Same as previous figure, starting a half-step below

    the

    1st note

    o

    each 3rd.

    e) The scale performed in triads.

    d) Sarne as previous figure, starting a half-step below the 1st note o

    each triad.

    e) 4 note chords performed on each degree

    of

    the scale.

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    Fig. 1-3

    ~

    n n ~ n i J J J J

    J>

    '

    Fig.

    l-4

    Fi;.

    1-Sa

    ~ ~ ;s

    }3 s

    11 ftlf3 r

    s

    Fig. 1-Sb

    ~

    4

    3

    r;oo t1 J r u ~ f t J W:ertJffs

    t-

    -22

    Fig.

    1-Sc

    ]_ ]_

    .--

    ]-

    ...-ld

    _-]..-.

    ..-3..-.

    l ljfu J fJ

    JI

    l d j l : J>petf

    Fi

  • 7/24/2019 Barry Harris Jazz Workshop

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    1

    S ame as previous figure, starting a haJf-sLcp below

    Lhe

    1st note

    of

    cach chord.

    g) The three important arpeggios on thc dominant 7th sea e are foun

    on thc Oitic, the 5th and the 7Lh. Illustrated in its entirety is the arpe

    gio on the tonic e). Practice lhe arpeggios on the 5th and 7th (Gm

    Bb, shown in root position) the sarne way.

    1-6) Pivoting

    Pivoting is a muJti-purpose technique that is an importarlt tool for al

    instruments.

    It

    is cspcciaJly useful for hom/string players and

    v o c a i

    enabling them to pcrform a melodic line

    of

    any length and/or rangc

    while remaining within the boundaries of thcir instruments. Notice t

    the acccntual structure

    of

    Lhe line changes where thc pivol creates n

    highest and lowest notes, whicb natur.Uly feel rhythmically stronger

    wilhin the melodic line.

    a) Pivoting with thc chords on the

    e

    major scaJe.

    b) Pivoting with thc

    e

    major scaJe. (Not shown on video.)

    e Pivoting wilh the dominant 7th scalc as shown in Fig.l-6b. (Not

    shown on video.)

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    1-

    7a

    Major arpeggos are perfonned down chromatically from

    the

    highest note

    on

    the alto. Here, the hlghest note is the tonc.

    b) Next, the highest note s the 3rd

    of

    the arpeggo.

    e Final y the highest note is the 5th

    of

    the arpeggo.

    1-8)Thi

    s figure demonstrates dimnished chords performcd chrom

    cally in an altemating descending/ascending pattern.

    ] -9)

    n

    this figure, inversions

    of

    lhe

    e

    augmented arpcggio are

    per

    fo rmed.

    1-10) "Chi-Chi" by Charlie Parker makes u

    se of a

    1st inversion

    arpeggio.

  • 7/24/2019 Barry Harris Jazz Workshop

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    i

    . l 7a

    Fig

    19

    ~ ~ ~ ~ , ~

    ibpr

    p

    ~

    ggw

    s

    11

    v .

    ID

    --

    'd. JO J

    J

    - 1

  • 7/24/2019 Barry Harris Jazz Workshop

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    1-11) Rhythm exercise perfonned on thc e dominan 7th sea e; (8-6

    b7-6-5-4-3-2-1 . Practice this on the major sea e as

    weU.

    1 12) The Harrls Half Step Practice

    od

    el

    Half-steps typify the language of

    Lhc

    bcbop player. With this in mind

    Barry developed

    the half step pra.ctice model

    to teach the art of play

    ing rhytJunicaUy. In their basic role, they appear as notes added 10 th

    descending form of the scale.

    1rough

    various applications, (shown

    below), the half

    -s

    teps becomc an endless source from which to gene

    ate improvisational ideas. Thc dominant 7th sea e, the majar and the

    minar scales cach have their own set

    of

    'rules' for adding half-stcp

    s.

    a) Thc Dominant

    7th

    Scale Half-Step Rules

    St11rting

    Note

    # of Added Half-Steos

    EndOn

    1 (octave) 1 (8-7)

    tonic

    2

    o

    2 2 (2-8;8-7)

    3

    1 (8-

    7

    3

    3 (3-

    2;2

    -8;8-7

    4

    o

    4

    2 (2-8;8-7

    1 (8-7)

    5

    3 (3-2;2-8;8-7)

    6

    o

    6 2 (2-8;8-7)

    7 1 (8-

    7

    7

    3 (3-2;2-8;8-7

    3rd

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    ( ~ 1

    10

    Note:

    Thesc rules are applied to scales descending from at Jeast th

    octave (i.e., starting on t e

    2nd

    is acn1ally starting on the 9th).

    1)

    The

    starting notes

    of

    the sea e are grouped

    by

    odd and even num

    bers.

    2)

    The

    octave is called 1 in

    t is

    case as it takes the rules

    of

    the odd

    numbcred group.

    3 In Chaptcrs

    1

    and 2, added half-steps where applied to the illust

    examples have been circled.

    b) Vocalized scale ideas on the C dominalll 7th scale.

    e

    The Miscel/aneou r Rule : start on a note, go up Lo any note, and

    (whcn

    de

    scending), fo low a rule for thc starting note. If

    t e

    half-s

    falls on the bcat, put it at the bottom of the phrase.)

    d) When

    starting a phrase with 8th note trip/ets,

    use a rule for thc m

    dlc note of the triplcc

    e

    When

    starting a phrase

    witlt

    a 3rd,

    follow a rule for thc next not

    iliat falls on the beat; i.e., tonic-3rd-2nd follow a rule for the 2nd.

    f)

    When starting with a triad,

    follow a rule for the top note

    of

    the t

    i.e., C-E-G top note s the 5th so use or 3 half-steps.

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    ] ~ 1

    2

    g)

    F or 4 note chords

    follow a rule for the bollom note (the root)

    of

    each

    ch

    ord. Note that the exceplion to hls rule is the chord

    on

    the

    tonic.

    The reason for this is that both the top and bouom notes of t

    chord are from the 'odd ' number group,

    1

    and

    7

    (as opposed to the

    other chords that have notes from opposite groups on their op and

    tom). Therefore, use a rule for the 1st scale tone below the top note

    tbe chord; i.e., C E 0 Bb A.

    'A,'

    being the 6th

    of the

    sea e, would

    require either Oor 2

    added half-steps.

    h)

    F or starting a semi-tone below the

    ro

    ot of a chord

    on the sea e,

    beginning on the

    ' '

    after '1,' follow a rule for the top note

    of

    the

    chord. n1ere are no exceptions here. Note, however, that the chord

    the tonlc requires the half-step(s)

    to

    be played at tbe bottom of the s

    (i.e., bctween

    the

    root and the flat

    7;

    or between

    the

    3-2; 2-1;1-b7).

    i

    j)

    These 2 figures show the application of the prevlous e.xample

    over a common tumback. The chord on the 4th degree of C7 up, do

    the scale with 3

    half

    -steps to lhe

    3rd,

    then

    up

    the related diminished

    chord ofC7, resolving to lhe 5th ofF major; while the rhythm sccti

    plays 1-VI-II-V in

    he

    key ofF.

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    Fig. 1-12g

    ~

    r

    f n

    J 31J=J>,

    - ; G S J ] I n w - g

    * ;o 1

    J@J@ifr

    t==u

    Fig. 1-12h

    ~ J

    ~ J ~

    , p ; J 1 E : F k f J I I 3

    : P J - i L i w ~ n s u ~ n ~

    ran;'

    a

    3 ~

    r 3 ~

    ~ f f J d J P dZLJ na w 1,

    }m

    @J{:gJI n m >

    . . . J ~

    ~ ~ m r ~ ~ ~ r P

    M

    Fig. 1-12j

    Fma

    j ~

    Dm7 Gm7

    C

    r-

    5

    Anaj7

    1, JW rffl

    t1f 1

    n

    n { f t l 1 ~ 1 ~ ,

    t

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    ( ~ 1

    4

    k) ny note as a half step. The object here is to make the line fccl ri

    rhythmically.

    1-13)

    The Major Scale Half-Step

    Rul

    es not shown on video)

    There is also a system for adding extra half-steps to both the maj

    or

    the minor scales. As with the dominant

    7th

    scale, the

    s rne two

    divi

    sions of notes are mad

    e even

    numbered and odd. There are two rul

    for each group with the exception of starting from the octave

    1)

    wh

    there is only one rule.

    TI1e frrst rule for descending from the 1-3-5 and major7 is: 1

    addcd half-step between the 6-5.

    The second rule applying to tltc 3-5 and major7 is: 3 added h

    steps between the 3-2; 2-1; 6 5. Another way to practice this second

    rule is by placing the half-steps between the 3-2; rnajor7-6;

    6-5.

    111e frrst rule for escending from the

    2-4-6

    is: no added half

    steps. Play straight down the scale from the various starting notes.

    The second rule for the 2-4-6 is: 2 addcd half-steps which ca

    come between the 2-1; 6-5 or between the rnajor7-6; 6-5. Practice b

    sets.)

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    i .

    1-12k

    f 4 J ~ t a ~ f J r s ~ -

    1

    Fig. 1- 3

    ~ ~

    s n

    JJiiJ>

    f J=er

    f

    i

    1

    J

    s

    ~ ~ ~ E o J

    1

    ra;'

    u lfJJ

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    1 ,

    1-14)

    The Minor Scalc Half-Step Rules not shown on video)

    Thc minor scale that the half-steps are addcd to is the melodic min

    ascending form- tonic -

    b3 -

    4

    6 - major7.

    1l1e addcd half-steps for this scale fall in the same places

    a

    Lbe half-steps

    for

    the major se ale.

    The

    onc cxccption to this

    is

    whe

    the major scale rules add a b3rd. Bccause this note is aiready prese

    the

    melcx lic minor scale, ny

    oth r not

    may be used n

    i S

    place.

    Noticc that this may al so be achieved by using intcrval jumps and

    rcpeating the same note twi

    ce

    .

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    Fig. 1 14

    inJ :Ff'T.h

    n J

    Jw

    toru

    c

    f i ~ 1 H f f l i 3 d ~ I J ' * ll

    2nd

    ~ B = e J o ~ m

    1

    ~ ~

    a 1

    ~ g @ f f l l l f f l ' ll(?goIJi

    ~ ; o ffl ~ n JS,

    Ei

    E

    e

    ~

    K

    f _ Q i J r k J t f

    ~ J

    1

    J

    H

    1

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    ~

    1-15) Chromatic scale breakdown chart

    1 chromatic scale

    ..

    2 whole tone scales

    ..

    3 dmnshed chords

    ..

    4 (keys or) donnant 7th chords related to each drninished ch

    a

    The diminished chord and its 4 related dominant 7ths

    Dy taking a diminished chord and lowering each

    of

    its notes, one

    time, 4 related dorninant 7l chords are formed. Because these 4 d

    nant 7ths share the same diminished chord, ccrtain harmonic relat

    ships between them are also implied. (See Fig.l-17.)

    The rule of thumb for finding a related diminished chord is

    build

    i ta

    major 3rd above

    1e

    dominant note.

    f you

    are looking fo

    related diminished chord to a dominan 7th chord, just go up a ma

    3rd from the root

    of

    the dominant 7th chord in the

    key

    ofF, C

    the dominant note, E is a

    major

    3rd above the dominant note and t

    root

    of

    the related diminished chord).

    1) C#-E-G-Bb becomes C-E-G-Bb (C7)

    2)

    C

    -E-G-Db becomes

    C

    (Db)-Eb-G-Bb (Eb7)

    3) C#-E-

    G-Bb

    becomes C#-E-F#-Bh (F#7)

    4) C#-E-G-Bb beeomcs C#-E-G-A (A7)

    b) Extending a dominant 7th seale phrase with the related diminish

    chord ofC7.

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    r J

    J

    J

    J a

    1J

    , ,

    1 d

    d

    a J

    j 3-&

    J

    u

    11

    1-

    j

    d

    Fig l ISa

    ~ i W

    , J

    p

    A

    a(Je Ja1

    J

    B

    J@

    9

    J ~ . , i

    J

    JCiJa

    Fig

    1- I

    Sb

    7

    c T

    Fmaj7

    ---; @

    jJ ~ J ij$1

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    20

    1-16) The Diminished Scale

    The

    4 notes of a dimioished chord,

    plus

    the roots of the 4 related do

    nant 7th chords, combine to form a scale- i.e.,

    The

    e diminished chord = e-Eb-Gb-A.

    The

    roots of the 4 related dominant 7ths are b-d-f-ab.

    When these 8 notes are combincd, thcy form t11c diminisbcd scalc

    e - d - Eb - f - Gb - ab - A - b

    (or; b - e -

    d- Eb- f-

    Gb-

    ab-A)

    1-17) Related dominant

    7th

    scaJes

    =

    chord movements

    As mcntioned earlier, certain implications arisc from stating tbat 4 k

    or dominant 7th chords are related to one another through sharing th

    same diminished chord. It

    is

    useful to practice the 4 related dominan

    7ths (as scales) into eachother.

    Tis chart

    demonstrates how, by practicing the related domin

    7th

    scales into eachother, key chord movements

    can

    be practiced a

    the same time. Here the four scales (C7; A7; Eb7; Gb7) that share t

    e diminished

    chord

    are illustrated.

    (Not

    shown on video.)

    SeA

    LES

    1) e7-A7

    2)

    e7-Eb7

    (tritone

    of

    A7)

    3) C7-

    Gb7

    tri tone of e7)

    ei-JORD

    MOV M NTS

    Em7b5-A7 bot11 outline

    Em7b5-A7 1Im7b5-V7

    in

    D min

    Also:Gm7-Bbm7 (IIm7-IVm7 in F ma

    Gm7-C7 (Ilm7-V7 in F maj)

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    Fig. l

    6

    ;

    ~

    1

    diminish

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    C ~

    1) A7-Gb7 (F#7) C#m7b5-F#7

    2) A7-C7 C#m7b5-F#7

    Also:Em7-Gm7

    3)

    A7-Eb7 Em7-A7

    1) Eb7-C7

    Gm7b5-C7

    2)

    Eb7

    -Gb7 Gm7b5-C7

    Al su:Bbm7-Dbm7

    3)

    Eb7-A7

    Bbm7

    -

    Eb7

    1) Gb7-Eb7 Bbm7b5-Eb7

    2) Gb7-A7

    Bbm7b5-Eb7

    Alsu:C#m7-Em7

    3) Gb7-C7

    Dbm7

    -Gb7

    This is the enti

    re

    chart for the

    C#

    diminished chord. Do a similar ch

    for the other 2 diminished chords (i.e., C and D), then the same cho

    movements will

    be

    outlined

    in

    all l2 k

    ey

    s.

    1-18) Practice the C7 scale up and down followcd by the Eb7 scale

    anddown.

    a) Prnctice the C7 scale followed by (or nto) an Eb7 scale to outlin

    bar each of Gm7(11m7}-C7 and Bbm7(1Vm7)

    -E

    b7, illuslrating the 1

    two mensures of When Sonny Gets Blue.

    b) Shown here is anoll1er cxample of the C7 scale into the Eb7 scale

    outlining, in this case,

    Em

    7b5

    -A7.

    TI is

    cxample descends the

    C7

    sc

    from the 2nd degrec, adding 2 half-steps and continuing down thc s

    to the 5th of C7 which becomes the 3rd of Eb7. 3 half-steps are add

    fonning a chromatic line from t

    he

    3rd

    of

    Eb7 down to its b7th. (No

    shown

    on

    video.)

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    Fig. 1-18

    llm7 Gm7)

    1Vm7 B ~ m

    E

    j J J

    J

    d J Jj j j

    d

    J]d

    dJ J

    J

    J

    J

    J

    Fig. 1-18a

    Om7 C7sm4

    B m

    El7

    I

    jl\lm

    Fmaj7 Gm7

    A ~ d i m )

    Am7 D7

    Fig.l -

    18b

    E m ~ S

    A

    n=r

    -9? w ~ n f @d ~

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    4

    J-19) Shown here are 3 examples

    ofthe

    C7 scale run into the Gb7

    (F 7) scale, outlining Gm7-C7.

    a)

    The

    1st

    examplc descends

    fr

    om

    the tonic to the b7

    of

    C7

    with

    added half-step. The b7 becomes the

    3nl

    of Gb7, and the line con

    down t.he Gb7 scale to the 4th, again adding a half-step bctween t

    tonic and b7

    of

    Gb7, rcsolving to the 5th

    ofF

    major.

    b) The 2nd example on Gm7-C7, uses a parallel pattem

    of

    8-2- 2

    cach of the two dominant 7th seales.

    e)

    Thc

    last example dcscends the

    C7

    scale from the octave, with

    1

    added

    half

    -step to the flat 7, 1cn down the arpcggio of the flat 7 (

    The same idea is then applicd to the Gb7 scale, finally resolving t

    5th ofF major.

    1-20)

    The

    minor7 flat5 chord

    The following illustration shows a

    C7

    scale with

    the

    Em7b5 chor

    located

    on

    its

    rd

    degrce. 'Ibis

    is

    a key point. When

    soloing over t

    Em7b

    chord, choose the

    C7

    sea/e because the chord is found on

    scak.

    a) Playing the

    C7

    scale up and down to its flat 2,

    or 10

    the 3rd

    of

    A

    ouines Em7b5-

    A7

    (one bar apiece).

    1-21) The '5-4-3-2' Phrases

    As Barry states, these phrascs are handy to help

    get o

    ut

    oftroubl

    Use them to end and

    10

    begin lines.

    a '5-4-3-2' on the

    major

    scale

    Notice that not only is it possible to play all 4 phrases

    i

    nto eachot

    but it is also possible to make up various combination

    s-i

    .c., '5' in

    4 ; 5 into 3 ; 5 nto 2,' etc. (See Fig.2-3.)

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    Fig. 1 1 9a Gm?

    C7 Fmaj7

    f4u

    @ * d : D ~ t t ;

    d ~ . W 4 t -

    M

    Fig. l 19b

    Om7 C7

    ~

    {jp

    J

    i b w

    Fig. 1 20

    E m ~ 5

    9

    -

    [ J

    o

    '

    lg. l 20a

    mns

    A?

    tuo

    J

    au

    Jd

    f?:zm=mv

    '

    Fig.

    1 2 a

    1

    uz S--4-3-2 .

    I a n m ;

    *

    i J P ~ r W J ; 1

    a J;

    *

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    6

    b) Scalc practice ending with c 5 phrase.

    1-22)

    5-

    4-3-2 on the dominant 7tb scale (not shown on video)

    In applying thc phrases

    to

    the dominant 7th scale, tbe

    5, 4

    and

    can e borrowed directly from thc ma

    jo

    r scale phrases. In

    Lhi

    s figu

    we show the 3 phrase, an a1temate

    2

    phrase, and then thc 5-4-3

    run together.

    1-23)

    5-4-3-2 on

    the minor

    scale (not shown on video)

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    . l-21b

    1 J J J 3 [ }= =

    B f p 1 ; - -

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    APPLfCA fON5

    In

    Lhe

    previous chapter we covered many

    of Lhe

    basic

    tcehniques (or ABC's as

    arry

    refers to Lhem) Lhat

    should make their way into any practice-rime reper

    toire. In Lhis section, these tcclmiques are applied to

    solo building over severa well-known song forms.

    Consider three

    steps

    l Choose the correct scale(s) to outline

    Lhe

    chord

    progression (song). P

    ract

    ice

    the scale(s) thoroughly.

    Not only will this souru the harmony, given that the

    chords come from the various scales, but it will also

    illuminate any darkened cerner in the tune, shedding

    light on how to solo.

    2. Make-up as

    many

    different phrases as possible

    based on tbe scale(s) outlning the harmony. Pr.tetice

    them in all keys, and at cballcnging tempos.

    3. Find differe

    nttunes

    that make

    use

    of the chord

    progress

    ion

    that you

    are

    working on, and

    try out

    the

    phrases in cach of them.

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    ~

    2-1)

    INDIANA

    MacDonald H

    Fmaj7

    07

    G7

    Om7

    07

    r q

    J

    J

    J

    r ~

    r

    F

    jffi_

    J_j

    l '

    ~ J

    C7

    Om7

    C7

    Fmaj7

    Cm?

    F7

    ~ ~

    J p ;J

    1

    '1

    r

    J

    nt.=

    :tJ

    1

    j_

    B ~ m a

    n ~ m 7 E ~ ?

    Fmuj7

    Am7

    07

    ~

    J

    f

    l y

    ~

    1

    J 1_,t

    j.

    ~

    J.

    cJ

    Gm7

    C7

    a:=

    r l p

    M

    J

    Fmaj7

    D

    07 Dm7

    07

    ~ ~

    -

    u

    1

    '

    r

    r

    J

    Jt

    J.

    1

    -

    Fl

    Em7s A7

    Dm Em-fS A7

    ~

    J

    J

    1

    j

    J_

    Jttj

    .

    tJ

    J

    '

    EmfS A7 Dm

    1

    J J J

    Jd l_

    ~

    A ~ d i J n

    1 -

    J

    Pmj7 07 p Om7

    t ~ f o k F 9 -:tr

    C7 F ( Fldim Gm7 C7

    =

    };>-

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    Sca

    le outline

    of (8ack

    Homc in) Indiana

    ; r i k f g l @ n ~ ;

    n

    111Atru 1ae>

    W

    fl

    n.n

    1

    J

    l

    H

    1 l U

    l3fV

    1

    J

    iilgM

    J

    ;

    J,,

    i.-

    J51

    m ~ a ~ p 1n

    P

    r:HJ 1

    m

    DMJ

    .aue ttru

    >

    E 1

    11

    n ~ n 1 3

    3

    J, .

    mu

    u

    1an-;,* 1p a-e 1u

    u

    J, A

    1 :3Rp s 1J

    ~

    , 1 n amp

    ~

    ;J

    m ~ ,

    wfHHa

    ; d

    l

    m ~

    1

    n: n

    u

    cr

    n ;

    n unJ'

    1

    a O

    au1

    liJa

    J -

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    2-3 Scale

    outline of

    the Blues

    in e

    *The e Major 7 scale played into an A7 scale. This outlines he

    ing 2 bar chord progression: emaj7-A7 or Em7-A7; and also 2 b

    each

    ofemaj

    -F7-Em7-A7.

    a A typical Biues progression

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    i

    2-3

    1

    nn , nm n _

    1

    7

    1Tma t

    pr1

    1

    llfi7 V i

    IV

    Jlmal

    t VIm

    W

    f

    y1

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    2-4) Application

    of

    scale

    ideas lo

    the Blues

    The following examples run thc e major scale into he

    A

    domin

    scale, making

    use ofthc '5-4

    -3-

    2'

    phrases (seeFig.l-18a). Hcrc

    musicians illust:r.lle bars 7 and 8

    of

    the 8/ues.

    a)

    '5-4'

    down to the 3rd

    of

    A7.

    b)

    '5

    -3' down to the 3rd

    of A7.

    e) 5-2

    to the 3rd

    of A7.

    d) '5 ' down to

    the

    3rd

    of A7.

    e)

    e major from the 5th degrce to he 5th degree, then down to

    of

    1\7.

    f Descending

    e

    major from the major7th to the 5th, th

    en

    5 dow

    the 3rd

    of

    /\7.

    2-5)

    The 'Relatcd

    Diminisbed

    Chord'

    The related climinished cbord is built from a major 3rd abo ve tbe

    nant note.

    Por

    instance, in he

    kcy of

    D the dominant note is

    A

    a

    tbird above is C#.

    a)

    In the

    following example, which outlines bars 7 and 8

    of

    the B

    (in the key

    of

    e),

    noticc how the related diminishcd

    of

    1\7 is use

    extend tbe phrase.

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    Fig. 2

    -4

    a) S .. . ..4 .

    r n g ]

    J

    J

    i P fr'

    b) 5 '3

    C)

    5

    2

    TJ JJ

    j

    }Sf Jyap' 11 fJ .s 1JJ1 1 J}ij Jtjf

    1 1

    n

    I]JJ cr y - J nn

    n

    fJ Jo p *

    1)

    I D

    m

    JJ1

    EtJ#l , -

    11

    Fig. 2-S

    ~ ~ o

    u

    1

    f

    F:

    11

    a)

    CmaJ7

    F7 Bm7 A7

    ~ g 4 J 1 1

    D1 3

    =

    p JPI

    J S

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    C ~

    2-

    6 RIIythm Changes

    (refers to thc chords based

    on

    I

    Go

    t Rhy

    2-7) Sea e

    oumne

    of

    Rhythm Changes

    (pcrformed here in the k

    Bb_ This is a 32 bar song

    fonn

    with 4 eight bar scctions: A-A-B(

    To cnd the tune, the last A section is the 1st six bars with the 2nd

    to repeat the tune, the

    lastA

    secrion is the 1st six bars with the 1s

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    f 7 v'lm

    7

    1

    l

    1

    1=

    maj .

    llf( lm 1 v o t

    t w

    1

    pilmaJ

    2

    t@l

    f n W

    y

    1

    ;11

    z

    1

    or ?

    I

    1

    1

    1

    IJ:m l n

    tmaF

    z

    y

    \

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    ( ~ 2

    2-8) Tbe '

    lmporta

    nt

    Minor

    ' Importan

    minar

    is the term given to the chord found on thc 5t

    degree

    of

    a donnant 7th scale (5

    of

    5).

    13arry

    is saying here that blllm7 (C#m7) is the ' importan

    minor ' of the

    bV17

    chord (F#7) in tlte key of Bb. Similarly,

    he

    p

    out that thc llm7 chord, or Cm?, is the chord found on thc 5th

    o

    This phrase bcgins with the chord on the 3rd of b major.

    a)

    Th

    is phrase and the previous cxample both illusttate bars

    3

    an

    of

    Rhythm.

    b) This is an example of combi

    n.ing

    the seales

    of

    thc

    5

    and 6th

    of ythm.

    2-9) Application

    of

    scale ideas

    to

    Rhythm Changes

    The

    next

    12

    figures (2-9a-1) are various illustrations on the

    Rhy

    bridge.

    a)

    Up

    and down each dominant 7th scale ending with the

    4

    phr

    b)

    Up

    and down

    eac

    b dominant 7th scale ending with the 5 pha

    e)

    Down cach.dominant7th scalc from the b7tll to tllc 5th, tllen a

    the '5-4-3' phrases.

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    Fig.

    2-8

    lllm7 bJllm7 ITm7

    titey 3

    di

    a

    t

    @ =

    l

    a . J ~

    Ft MJ cl$ Ii3 p ua

    C

    ~

    p

    f J J

    jJJ

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    d) DominanL 7th scales down and up

    t.o

    the

    4Lh

    dcgree, then addi

    the

    4

    pllfase.

    e) Arpeggios bascd

    on

    the triad found

    on

    the 1st dcgree

    of

    each

    o

    dominan 7th scales.

    f

    The arpeggio bascd on the tonic

    of

    each scale up,

    Lhcn

    descend

    thc scale fTom the b7th to

    the

    3rd.

    g h) Variations

    on

    Fig.2-9f.

    i)

    Up

    each dominant 7th se ale from the 3rd to the b7th, back dow

    the 3rd degrcc, then up the chord on the 3rd dcgree

    of

    the scale.

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    d i3

    ~ 1 1 SaO J 1 J J f f r 1 FE g :D k J

    t r v

    U

    J-Jn n

    JtJ

    ; ,ntr E fH ~

    ,

    m

    ;Jr;

    p anAJr' - acffJ u H

    r ~

    fJ

    P I J ~ 9

    ~ - '

    c

    if-EJ

    0

    4 i J t t

    ~ -

    ~ t J r P J J S = J V * l g d C T C F ~

    n ~ l f f l ,

    ,, -_

    kb tJtrttr

    ,

    *

    -

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    ~ z

    42

    j) Descending cach scale from the b7th to thc 3rd, then adding

    and the 2nd degree

    of

    each scale.

    k) Improvisation bascd on the

    ls

    t

    5

    bars

    of

    the bridge.

    1 Each dominant 7th scale followed by its lritone 7th scale.

    2-1

    O

    Sea e outline

    of Rhythm

    see Fig.2-7 for the

    'A'

    sections;

    Fig.2-9k for the bridge.

    a) Here, Lhe same

    scalc

    outline is performed.

    The

    scales on

    tl c

    'A

    tions begin on thc ' ' after beat 4.

    2-

    11

    ) Improvisation based on

    the

    1st

    5

    bars of the

    Rhythm

    bridg

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    ~ z

    2-t2

    ANTHROPOLOGY

    h a r l ~ l 'a

    [X]

    Om7 Cm7 P7

    al

    Gm7

    ~ r

    t

    a

    0

    er cr

    1 , p

    E; r

    1 , ~

    r

    1

    0

    t

    Cm7 F 11

    1

    7 Ddim n Edim

    Ff$

    @n t v r

    A

    F ,Tp""r

    1

    tf1 fh

    l t l

    7

    2

    a ~

    Cm7

    P7

    Cm7 F

    Bl

    - r, : =1ti E

    cJ

    , ve:

    er,v

    u -EJu

    [ID D

    z

    7

    ,..

    F@*

    frr r 'ar ru

    t

    5"1rt E fffer' * , fhr

    Cl

    F1 .....

    rf?L ; t , J

    1

    C

    u

    ,

    ptr trtf[J r

    n.

    ,

    [A]

    al

    O

    m Cm7

    F7

    al Gm7 Cm7

    F7

    - r ~

    uu

    E8 D 1 t

    ; p

    e; r 1

    i

    vu

    0

    u

    r , s ,

    r j 7 l>dim E

    1

    7 Edim Cm7 F al

    : n ~ r ntr t P a a c : ~ u a u

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    2-13) CHEROKEE

    ( ]

    ~ ~ ~ ~ ;

    u

    F-t7 Fm7

    Tf1

    El

    J j

    [o lo 1

    RayNo

    A ~

    ~

    J

    1

    u

    ;.t

    C9

    ;1 .

    l t

    On7

    G7

    1

    j ,]

    1

    o

    1

    lo

    1

    J

    j

    l 2

    Cm7

    F7

    si

    l-o

    o

    1

    1

    d

    m cJm7 ~ 7

    ~ ~ a a p r

    Bmaj7

    ;;'. Dm7

    E9 Amaj7 ;

    1

    lp ~ J

    J j } t ~

    :lfc @

    J

    I ~ : J j

    Am7

    ...

    Om7

    C7

    On7

    F+

    1J.ijJ

    e

    J

    J

    1

    ',

    .

    P+7

    Fm7 B

    1

    7

    El

    A ~

    ;. .

    1

    ]

    h

    1

    o

    1 1

    J

    J

    1

    o

    e

    C9

    ; ,

    Cm7

    F7

    si

    1

    J

    l

    o k

    lo

    1

    1

    1

    2

    ..

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    C iuZ

    2-14 Scale outline ofthe Chcrokce bridge

    2-15 A pplication

    of

    sea

    e

    ideas

    to

    the

    Cherokee bridge

    a Scales performed down and up.

    h Scales perfonned in 3rds.

    e Scales performed from the tonic to the 5th; 3rd to

    the7th.

    d Sea es performed from the tonic t tite 5tJt; 3rd to

    t te

    7th;

    5th to

    tlt

    e 7th.

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    2-16

    HOW

    IITGH THE MOON

    Morga

    :.-

    .

    Q,n7

    C7

    Ff

    J

    J j 1&5

    l

    =f

    if l

    ~ j

    j

    ; 1

    Fm7

    tJ

    ~

    j J 1 o

    1

    =---

    n

    1

    1

    jJ j

    d

    E

    1

    maj7 Am71s D7 Cm :.- .

    ~ L J

    J

    J

    1

    w

    .n

    n

    j

    t ; : E

    1

    J:J

    u

    ~ j

    Rm7 E7 Am7 D7

    Ir

    f

    F lf n F

    I ~ J

    J

    Omaj7

    f11

    J

    r

    ;.. . Om7

    t d d

    ..

    C7

    f ~

    ~ J

    ~ n a J t

    ~

    817

    a J u -

    i J:r m 7 Am71s

    D7 omaJ7

    ~

    J

    J J

    J

    1

    J J

    1:0

    J W

    Cm7 F7

    1t

    hf

    LJI

    Omaj7 Am7 D Omaj7

    ~

    F

    I J J

    J

    ;g..

    Am7

    1

    l

    p

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    2-17) Senle outline

    of

    How lligh

    Tbe

    Moon

    Fig. 2-17

    ~

    m n u t r O u i

    a

    n n n ~ m ,

    n :

    JJ>'e

    ~ -

    0 0

    J i J F t

    ~ ~

    3

    m m s 1 J a n a , . , H

    ~ r D

    m=tf11

    b f

    Etf

    S Jftl

    t f Jtr )-

    n rlEJ 1u

    np,

    * 1 r : ~ 1 t 1 nE] m

    .n

    J'''

    ~ f n P F J

    LJ1tr kOU

    l l 113

    D D FB J

    *

    ~

    J

    JPu

    u

    1

    J

    fn

    *

    1

    3 4

    ~

    iJ

    ~ o

    IJ

    ag

    dgtJ'

    *

    rtcmaup l fttrn

    1

    : , n u ~

    J

    p

    ~

    nnu

    ; J , ; a n ~ , n n u h

    I;J,a=.S

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    2-18)

    The Minor

    6 Diminished Scale

    This scale is formcd by combining a minor 6 chord wilh its rela

    diminished chord.

    The

    diminished chord is built from a major 3

    above he dominant note of lhe scale.

    2-19) Scale practicc on thc G

    minor

    6 diminished scale

    a)

    The

    scalc pcrformed up and down.

    b)

    The

    scale performed as broken note chords.

    e)

    The

    scale performcd as arpcggios with inversions.

    2-20) Figures 2-20a-n show various phrases based on lhe G min

    dimilshed scale (bars 12).

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    ... ~ j ''

    ''

    ~ t

    d

    J

    b t a

    [ [

    ~

    related

    1'

    dinnished chord

    Fig

    . 2-19

    a)

    ~ l i d 1 ( ~ r t l l E

    r

    E

    'F

    g ~ U

    1J

    ='

    1

    r

    r

    m{

    r

    r r

    ltfepiJ

    JO n

    ~ ~ ~ ~ er rJ e

    g l

    r rJ=to ;1 lter

    lEO

    11

    Fig. 2-20

    a

    9

    b)

    e

    ~

    ao

    r

    ~

    ,

    tf-C

    r

    P

    g

    _gj

    411

    d)

    3

    ~

    e

    -:::.:;;::;

    ~

    JW

    , lbS) oo r ~ U A : : = e

    -

    v

    , .t-

    l ~ i g J @

    cJI

    ~

    '*

    -

    ii>[J 8n;1

    t

    1

    i

    lJ

    h) i

    j

    , , ~ 3

    'dj l

    n ~ E f F l i : > J

    v

    c:f

    1 '

    *

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    z

    Application

    of

    scale ideas

    to How

    Higb The Moon

    2-21) Figures 2-

    2la

    -f show various phrases

    b ~ e d on

    the G major

    (bars 1 2;17 18).

    2-22) Figures 2-22a-f show various

    phr scs

    based on thc

    e

    domin

    scale (bars 3 4; 19 20).

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    m

    n) ~ ' ' l

    ~ Jj1 k ~ ,; t t=J11 )

    Fig. 2-21 b)

    ~ i t

    nnu muu ,,

    11

    fo

    OP,

    ~ i D

    J>" 1 \ :P J n

    PJ

    J.} n -

    m

    ~ ( j

    ; ~

    e]

    0

    gr

    f.l t 4

    Fig. 2-22 h)

    .-

    3., e) ...

    ~

    ~ n n ~ n t 9 -

    J nY mw J . ; b ~ J J

    J

    ~ ] ~

    JN=il

    r flC P

    EP

    u

    J-

    n , 11

    f)

    u

    Lv

    rfflr: &W

    u1

    3

    -

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    2-23) Thc F major scale performcd up and down (bars 5 6; 2

    2-24) Thc Bb dominant 7th scalc peonned up and down (bars 7

    23 24).

    2-25) This figure oullines bars 9

    10

    (also

    25 26).

    Here lhe E

    major scale is played up; followed by the F dominant 7th scale pl

    down

    t

    lhc 3rd degree of the D dominant 7th scale.

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    ( ~ 2

    2-26a-b Perfonned hcrc are furthcr cxamples illustrating bars 9

    2-27 This figure shows an improvisation built on bars 9-13.

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    Fig. 2-26

    a

    ,_,

    ... b

    ,_,

    ... e) _3

    ...

    1

    v

    ~ ~ n a

    p

    1

    ,

    J @

    f

    ,

    PJ

    1

    S.

    1

    o 1

    A

    d

    e)

    S _JiJ . f ~ J

    Fg.

    2-27

    _

    ~ ~ d Jd fO lHfiJ ~ J O J J1JP J5=

    -

    =

    @

    @

    ~ ~

    ~

    J

    J

    J_

    i

    d -

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    HO\IAELE

    QHOR7 5

    P I N O ~

    QliiTAR

    chapteris inspiring notonly:from my

    as a pianist, butalso from a philo

    al perspectlve

    that

    chords

    and

    cbording

    e

    e

    other th1ngs

    in

    lifc) can

    be

    thought

    of as

    and havlng poten

    i

    al for constant lnterac

    We

    are requlred, then,

    to

    consider where

    cbord origirwes,

    and

    lo examine how he

    are

    related one to eacbother.

    'The misconceptlon that chords are fixed

    thc tune, bound by vertical hannonic

    , may

    be he

    culprit behind thc tcn

    play thc same two or three voiciitgs

    r and over for thc same change. Introduccd

    cre ls a

    scalefor

    h o r d l t ~ g ; anda melhod of

    any chord to one of two

    lcs-th

    ,.

    ( ). 6 po

    (;l-6

    pO

    al6

    A ~ D ~ m a j

    ;

    . -l

    _,

    1

    '

    1

    Fig.

    3-8

    Fig. 3-9a

    Fig. 3-9b crv CV

    '

    ~ I

    k ~

    ~

    r

    f@z f@z

    r

    1

    f e ~ ,

    0z

    Q:h Q)2 Q)J Q)z

    Q),

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    3-lOa Moving a voicing through the C major scalc

    Here, chords are played up a C major scale. Fig.3-10b illustr

    t

    es v

    for the gui ar.

    3-lla

    Moving a voicing through thc C6 diminished scale

    he

    same initial

    cbord s

    n the previous figure is now pcrformed

    C6 diminishcd scale, with guitarfingerings shown in Fig.3-11b.

    Remember

    t

    nwve each note to the next note o the sea/e

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    Fig. 3 IOa

    Fig. 310b

    Fig. 3l la

    1:::1

    .n . ~ Rn ~ j J ~ Q

    l l ;

    n

    n

    n

    n n ; ~ n ~ n

    1 1

    Fig. 3-llb

    ~ f7

    Clli

    ~ v _ cv_I .O e eME ip

    rrfPFf ~ F ~

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    3- 12) The 6

    dimin

    s

    hed sea e contains two

    dominant

    7t

    .h chor

    Illu

    str

    ated in

    l

    figure

    s

    a k

    ey

    difference between lhe major

    sc

    the

    major

    6

    diminished scale.

    As

    Barry mentions, notice that the

    6

    dimilshed scale contains the dominant

    7th

    chord belonging to

    key, (in this case

    G7

    ),

    as weU as

    the

    dominant 7th

    chord belongi

    the relative minor of the k ey (E7).

    3-13)

    Ending a tune with movements

    on

    the 6 diminishcd sca

    a) Voiced for t he guitar, ths figure shows an

    ending

    for

    a

    tune de

    oped by playing up the 1st four chords of

    th

    e

    C6

    diminished sca

    rcsolving

    IVm-bVll7 (implied by the E moving

    to D,

    tbe 3rd

    Bb7)

    lO

    lrrtaj6.

    b) Another illustration of us.ng a

    chords

    on the scale m

    ovemen

    create an ending. This exan1ple is performed by Barry

    3-14) This figure exlcnds the cxamplc shown in Figs.3-13a b, d

    oping the idea into a four key exercisc.

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    Fig. 3 12

    t - ~ 11 5 )

    Fig. 313a

    ~ ~ ~

    r r r

    1 :\

    1

    5

    ==M

    Fig. 31 3b

    _n _

    Fig. 3 1 4

    .-1

    . ......

    .r .

    1

    ,

    .r .

    ...

    1 1

    ~ ] ; 1

    n

    n

    n

    tTJ

    F

    F

    r b

    1

    1

    1

    o

    o

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    3-15) Using the C6 diminished

    sca

    lc on

    11

    V 1 in G

    majo

    r

    a b) TI1esc two figures illustrare the movemcnt of n

    Am7

    chor

    on Lhc

    G diminished

    sca

    le within thc context

    of a

    IIm7-V7-Tma

    gression

    in

    the key o G.

    e) Here, a variation of the previous examplc

    is

    written in guitar

    tion.

    3-

    16) Using

    tbe

    C

    minor

    6

    dimini

    sbcd scale on ll-V-1 in G

    a b) Two cxamples showing Am7b5 (Cm6) moving on t

    he

    C rn

    diminished scale within the context of a Ilm7b5-V7-I progressio

    in the key of

    G

    major, then

    G

    minor.

    (Fig.3-16c

    illustrates a tllir

    ple for the guitar.)

    3-17)

    ' Bo

    owc

    d Notes

    This example demonstrJ.tes the samc chord progression

    as

    the p

    figure; however, it incorporales

    borrowed

    diminisbed notes.

    T

    nd

    'Eb ' re notes of the F dirninished

    chord-

    the related dirnn

    to D7.

    Borr

    owcd diminished notes are circ/ed in Figures

    3 17 3

    3-19, and 3-22.

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    Fig

    .

    3-15a

    Fig. 3-15b

    -

    -.

    .

    tt

    1 1

    lJ

    1

    L

    Fig. 3-15c CV11

    ~ ~ c i ' J j

    ~ G )

    F 3 16a-

    7

    tg

    r 1 1 1

    -

    3 16b

    o

    -

    o

    r

    .

    .....

    U

    L

    1

    1

    ._,

    Fig.

    317

    i r

    ;:l

    1 :\

    1

    -

    = t

    j

    -

    fif

    - .)

    1 -

    1

    ~

    :

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    Fig. 3-18a

    b)

    Fig.

    3

    18

    c

    Fg.

    3-

    18d

    Fig.

    319a DJANGO (last 8

    bars

    r--r

    Am

    Do j

    r

    1

    J\

    r r

    V

    ~ m

    Al \

    Um

    .

    .

    V

    1

    ~ ~

    m7

    1

    -

    1

    : . ~

    ti7)

    1

    #

    A

    m

    1

    ~

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    3-19b) Rased on I f 1Should Lose You by Robin-Rainger

    3-19c) Based on In Your Own Sweet Way by Davc Rrubeck

    'Major-minor-minor/6'

    3-20

    This

    figure shows

    the progression from major to

    minor

    to m

    with the 6th degree in he bass(Bb

    major-G minor-Gm/E

    .

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    Fig. 3-19b IF T S

    HOULD

    LOS . Y

    OU Om7

    Gm7 Am7\5 0 7 1 011

    ~ i t J f ~

    IRh

    ; J

    I:J

    & ) ~ c ~ [email protected]@

    Fm7 a7 ~ ~ r ~

    1 , J. @

    1

    J J

    R

    J

    Plrulj7 Gm7

    ltM

    Fig. 3-19c

    lN

    YOUR

    OWN SWBBT WAY

    A m ~ s o ]19 0m

    Om6 Cm7

    a l Fmaj7

    f4

    ~

    1

    UW

    @f

    4

    1

    c

    ff'r

    ey-1f-3Uf

    Alm7

    1>7

    (JI maj7 maj7 Cm715 F7\9 a>ma7+l1

    ~ ~ ~ v ttf r ~ : J-EuP

    ,fi[JJu.

    ~ r u w

    Fig. 3-20

    1

    .

    l>f

    1

    ;

    .

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    3-

    2

    a) The previous progression based on bars 24-25 of Stclla

    Starlight by Young-Washington.

    l l l

    e chord movements are I m

    ID7-relative minor-b Vldim-

    Im

    aj/5-nnor/6.

    b) Here, the harmonic.concept of the previous figure is applied

    . progression-based on-the .

    fust

    4 bars of Like Someone In Lovc

    van Heusen-Burke.

    e) Again, the

    hann

    ony of Fig.3-21a

    s

    applied to changes base

    fust 2 bars

    of

    I Remembcr

    You

    by Schertzinger-Mercer.

    d)

    The

    movemcnts

    on

    the 24th-25th bars

    of

    Stclla by Starlight

    ten for guitar.

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    Fig. 3-2

    la

    S'T'ELLA

    BY

    STARLTGIIT''

    @

    ..

    1

    .

    ~ '

    B ~ l Cm

    m

    A

    T

    6

    Em -J

    -

    w r

    Fig. 3-21b LIKBSOMEONE

    IN LOVE

    ..

    ~

    :

    11

    ~

    :;.-

    ~

    ; ~

    ~

    1

    1

    r

    r r

    r r r

    r

    r

    Fig. 3-21c 1 REMEMBER

    YOlf

    1

    lA

    .

    '

    ~ . _ r . r

    _

    r

    L5 T r

    r

    ; i 5 t D ~ ~

    ~ l - -

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    3-22) Tbe 4 rclated dominant 7ths used us

    V7

    substit.utions

    In

    thc following two figures, (3-22a written for guitar

    and

    3-22b f

    piano),

    we

    have illustrations of

    how

    related dominant

    7th

    chords

    be u

    sed to

    substitute 'for eachother' when the

    V7

    chord moves ba

    the l Refer to Figs.l-15, l -15a,

    and

    1-17 for explanation of how

    thc dominan 7thchordsrelated to a.given diminished cbord;

    and

    for examples of how to practicehose.relatcd dominant 7th sea es

    eachother' to outline key chord movements. In the following exam

    7

    going to G major

    is

    outlined.

    TI e

    diminished that

    7

    comes f

    F# (F#-A-C-Eb). Given that F7, Ab7, and

    87

    are also relatcd

    to

    F

    diminished, they make very interesting voicings when played aga

    in the bass.

    In

    addition, notice how diminished chord tones (circle

    can e incorporated into the progression .

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    Fig. 3-22

    Fig. 3-22b

    Al ?

    Gmaj

    B7 r::

    .--3--

    r--,

    hJ

    -

    -.....

    1 r

    1 1

    -]{d i

    _ /

    {..,

    Y

    RHAM

    ARTFARMER/

    DON

    ALDBYRO

    DANFAULK

    'IDRRY GlBBS

    Tllem

    Diny

    Blues

    Don

    ' Look Rack

    Blues Sonala

    ByrdJ

    ozz

    Play ll Now

    Al

    Cohn Ametica

    NoProblem

    Sa Ury Moming

    Cuber Lihrc

    Rcflcctions

    Bebop Rcvlsiled,

    Vol.

    5

    21

    rompes

    Focusing In

    Bopstacle Course

    Rivcrside 322 {L:lndm

    Xanadu

    101

    Riven;idc RS 9453

    Trdnsilion JS

    (Dclmar

    Xanadu 110

    138

    179

    Xa

    nadu 105 (FOC

    516

    Xa

    nadu

    135

    Red (CD) 12.1247

    Xanadu 205

    Presligc 7062

    (OJC 18

    Criss Cruss

    1076

    D

    Xanadu 210

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    O

    Bl:iNNY GOLSON Tite

    Olhe.r

    Sidc of

    Benny Golson

    Riverside 12-290 (OJC 1750)

    DEXTER C .ORDON

    Gcuin'

    Around

    Blue Note 4204 (CD 46394)

    Clubhouse BlueNoteCD84445

    The Tower

    of

    Power Prestige 7623 (OJC

    299)

    More

    Powcrl 7680

    Diting The Apple Ste.eplechasc 31080

    DEXTBR GOROON/

    ALCOHN

    TrueBlue Xan.adu 136

    Sil

    ver

    Blue

    137

    JOHNNY GRIFFIN

    TIIC Kerry

    Dancers Riven.ide 420

    STEVB GROSSMAN Dolt Dreyfus Jazz 36550

    COLEMAN HAWKJNS Sirius Pablo 2310-707

    Wrapped Tight Impulse 87 (Impulse GRD 109)

    LOUIS RAYES (feat. YusefLateef)

    Vee Jay 3010 (VJ CD 906)

    JIMMYHBATH

    Pictureof Heath Xanadu 118

    BUCKHILL

    capi al

    Hill Muse5384

    Tite Bock

    S1.0ps

    Here

    M u ~ e

    CD 5416

    ILL NO S JACQUET BotlomsUp Prestige 7575 (OJC 417)

    Allstars JSP 1014

    EDDlE JEFFERSON

    Body

    and Soul

    Prestigc7619 (OJC 396)

    Come Along Witb Me 7698 (OJC 613)

    CARME.LL JONES Jay Hawk Tal k Prestige 7401

    SAMJONES

    CeUoAgain Xanadu 129

    Clumgcs Things 150

    THADJONF.S

    The

    Magnificent

    ThadJooes

    B1ue

    N01e 1527

    (CD 46814)

    Magnificcnt Tllltd

    Iones,

    Vol.

    3

    B1ue

    Note 1546

    Cilll ORD JOROON Repetition

    Soul Note 1084

    RALPH LALAMA

    Feelin' and Dealin'

    Criss Cross CD 1046

    HAROLDLAND West Coast Dlues

    Jazzland 920 (Jap.Victor 23660)

    YUSEF LATBEF 1nto Sometlllng New Jazz 8272 (OJC 700)

    Eastem o u n d ~ Prcstigc 7319 (OJC 612)

    Many Faces of

    Yusef Lateef Mi1estone 47009

    WARNEMARSH

    BackHome Criss Cmss

    1023

    HOW ARO McGEE

    J

    87.zbrot1Jcrs Jaz7.crdfl 2

    HOWARD Md3EE

    DENNY

    DAIUiY

    HomeRun Jazzcraft

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    CHARLES McPHERSON

    BILLY MlTCHI. .LL

    HANKMOBLEY

    JAMESMOODY

    FRANK MORGAN

    LEEMORGAN

    SAMNOTO

    DAVEPIKE

    SONNYRED

    REDRODNEY

    FRANK ROSOUNO

    ER1C SCHNEIDER

    SONNYST1TT

    Bcbop

    R

    ev

    isill:dl

    Con Alma

    TI

    1c

    Quintct/Livc l

    Mcl'herson's Mood

    U ve

    lnT

    okyo

    Charles McPherson

    The

    Colossus

    of

    Dctroit

    Mobley'

    s Mcssage

    Jazz Messsge Vol.2

    Sualgbt. No

    Filter

    ThcThmarouod

    Doo't Loolc

    Away

    Now

    You

    Must

    Believe

    rn

    Spring

    TakeTwelve

    Thc Sidewinder

    Wc Remcmbu You

    EnU11nce

    ActOne

    11'

    s Tune

    For

    Davc

    Pike

    Broe>.ing

    ThcMode

    lmages

    Bird Uves

    Ho

    meFree

    Swing ..Not Spring

    (4

    tunes)

    Eric's Alley

    Bumin'

    Tunc-Up

    Constcllation

    Twelve

    Mellow

    PlayGene Ammons

    Bluc.s for Dulce

    Sonny's Back

    In Style

    Moonlightln Vermont

    Prostige 73

    59

    (OJC 710)

    7427

    7480 (OJC 1804

    7743

    Xanadu

    131

    Mainstream 329

    X..nadu 158

    Prestige

    7061 ('2A063

    )

    Savoy 12092 (CD 0158)

    Bluc Note

    84435

    B1ue Note 4186 (CD 841

    Prestige

    761 5

    Antilles (CD) 314

    512

    S1

    Ja:a.land 980

    OJC

    310)

    B1ueNote 4157 CD 841

    F Wl

    Sound

    (CD) 1024

    Xanoou 103

    127

    Riversidc 360

    Ja.z.zland

    32

    59

    74

    Muse 5371 (CD5371)

    MR

    5135

    Savoy 12062 CD 0 188)

    Gatcmouth

    1005

    Argo

    661

    Cobb1estone 9013(Muse

    9021 (Muse

    Muse

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    (JapaneseCro

    Muse5067

    5091

    5129

    2 4

    5228

    Denon CD 7046

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    Various ArlisL

    ANNlVBRSARY

    TIIE BASIE-ITES

    l

    REMEMBER BEBOP

    11m

    PIANO

    PLA YfiRS

    RIVERSIDE REUNION

    BAND

    WANGARATIAJAZZ

    XANADU

    AT

    MONTREUX

    Trio: Sall

    PcanuiS

    How

    High The Moon

    Trio:

    4

    Monk

    tunes)

    Trio: a Barry Harris

    original

    Confusion)

    Mostly

    MonJe

    Vol.l

    Vol.2

    Vol.3

    Vol.4

    Xanadu 201

    Jubilcc 5004

    Columbia C2 35381

    Xanadu171

    MileSU>ne

    MCD

    -9216-2

    Subaru

    CD)

    SJOOI

    Auslnllia)

    Xanadu 163

    164

    165

    - Compilcd by n MacDONALD

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    The following quotations have been gathercd

    ovcr

    the years from lectu

    and personal conven;ations with Barry Harris.

    l (On jazz having advanced since Charlie Parlcer)

    You can wear your trousers backwards,

    but

    that won

    t

    neccssarily

    p

    any further ahen.d.

    2. (On tlte use of oo m ny 'blue' notes)

    1e

    old folks would say, ''The person who curses a

    lot

    has the fcwe

    words at their command. '

    3. (On tite importance of focused practicing)

    Practi

    ce

    your playing-not your practicing; make the pmctice time a

    for yourself

    as

    possible.

    Monk would praclicc playing a tune for hours, and so when he wen

    the ;ig he was ready.

    4. (On rhythm)

    ' I'hink about it- you 'd mther hear a cat play rhythmic and wrong, tha

    non-rhythmic and right, cause

    thcy'rc

    going to

    be

    wrong anyway

    .

    5. (On volume)

    Play

    at your norm [volume l

    eve

    lj. Know what y

    our

    nom1 is so that

    play the most relaxed. lf you play a little lou

    der

    than that, theo you v

    broughl in sorne teosion, and tension won t allow you to really

    do

    it.

    Thc loud that you really want is thc loud that comes from surety- pos

    ness

    - thnt's when you hear people really starting to speak out.

    6. (On vibrato)

    How dislinctive and easily recognizablc t

    hc

    tenor players were, onc

    the other, bccause of

    their vihrato.

    Your vihrato is likc your soul.

    Hom

    players nowadays aren't prnctic

    their vihrnto and tltat's why you

    can't

    tell ther apart.

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    (On the effect Charlic Parker hod on other

    u s i c i o n ~

    He made people play 'over their heads. ' "

    "1

    heard Bird with some

    of

    the

    worst

    cats

    you could imagine.

    He

    ca

    rne

    to

    Detroit once with [a band led by] Emperor Nero--and on top of that-

    Emperor Nero playcd alto. The funny pan

    of

    it is that I had never heard

    Emperor N

    ero

    play so

    good in

    my life

    as he

    did with Bird."

    (On

    performing with Lester Young)

    "The way that

    he

    would count in a tune wos such a knockout-all he'd do

    is shrug bis shoulder- Iike that-and that would

    be

    the tempo."

    . (On the hipness of Euro-Classical masters)

    I fBach and Chopin and them were around today, they wouldn

    t

    e play

    ing other people's

    mu

    sic, they'd be down in the comer joint jarnming."

    ceiving thc whole. Philosophy,

    anda

    typicnl t a r t to

    an

    other ses

    sio

    n of the

    Barry

    HluTis zz Workshop)

    One thing that modero (wo)man is particular y good

    al is

    naming every

    thing ..

    Thcrc

    are petrus, a stem, caves, the starnen, sccnt, color and all too

    often what becomes obscured is that whnt

    we

    are Iooking at is a flower."

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    Barry Doy e Ilarris, orn n Detroit Michigan on Decem

    15, 1929, is self-proclaimed as thc world's oldestjazz t

    He began playing the piano

    at

    age 4 and claims to ha ve

    lw ys known that atwas what he was destined to do

    the time he reached bis teens he had developed his own

    .ries of.jazz, and soon became

    so

    ught out for bis knowle

    local pcers and established, visiting jazz musicians alik

    Indeed,

    tbe

    Harris family borne might well be regarded

    first school

    of

    jazz. While Barry's reputation is legenda

    modesty is also fro

    nt

    and

    ce

    nter. When asked about his

    sion for teacliing,

    arry

    typically r

    cp

    lies tbat

    it

    is fucled

    own

    's

    elfish' motives, hoping that someone will come

    and show

    me

    the way." ' 'That," he

    st

    at

    es

    , half-jokingly,

    when class is over."

    Howard Rces, born in Toronto Canada on Fcbruary 21,

    began studying with Ba

    rry

    Harris in 1979. In 1984 he f