Barry Harris Jazz Workshop

THE

EARRY HARRfS

WORKSHOP VfDEO

Copyrigbt 01994, 1998 by Bop City ProdllC!ioos loe., P.O. Box 21016, 6GT7 Meadowvale Town Cenen:,

Mississauga OnL LSN 6A2, Cunada Our intemet addtess is: www.bopcity.com.

Howatd Rccs' email addtCSS is; [email protected].

Second printing by Bop Ci¡y Productions lnc .• 1998

All righlS reserved. Mlldc in Canacla. No pan of thís book may be rcproduccd in any form without

pcnni.~siOtl rrom thc puhli~cr.

Barry Harris and Howard Rees, Toronto 1991

•

...

QuasiMado

'111CIC are many Joved ones, mentors, collcagucs and friends to whom I am indcbted for their kindness, patiencc and llnowledge in helping me with this project. in particular:

my parents, for teaching me to follow m y dreams; m y bruther Philip, for his ongoing support and vast computer skills;

my senseis Rarry Harris and Ted Jungblut, for showing me thc path;

friends J anc Bunnett and T .arry Cramer, for thcir suppurt and good advice; Brian Ka u, for his hclp with transcriptions and cditing; Larry Lewis, for his hc.l¡> with guitar transcriptions; Jane Low-Uccr, for cover dcsign; D.D. Jackson, for computer help; Jannifer Smith-Rubcuzahl, for her help with proofrcading and cditiug.

The music and text were set and laid out by David Nicho! ( 416-921-4963) on the Maciutosh computer using Note Writcr and QuaJk.XPress.

I dedica te this book

to

the lcgacy of Charlie Parker and to thc musicians aJld teachers everywhcrc who ha ve carried on the tr a-dition of this bcautiful music.

Jn the autumn of 1979, aftcr having spcnt the previous twelve months getting myself togethcr psychologically, financially and musically, I moved to New York to realize a dream-to study with Uarry Harris.

Jt 's difficult to describe the atmospherc of lhe studio 1 walked into for m y first class-t.he electricity of 25 or 30 people f()(;uscd on Rarry seatcd at the piano. Poring o ver cvcry note and cvcry word, each uf us would cr.mc for a view of thc keyboard knowing lhat what was going on was very special allll powerful. As itturned out it was car training night. The tune was "Body and Soul." The scene changed every couple of minutes when Barry would choose someone random1y, point, and motion to them t.o siL ncxt to him. "Okay," he would say rto his consenting but nervous subject], "now yuu play it in this kcy."

lt's not difficult, in fact it's easy, to think of stories lhat show the love and rcspect llarry has for his students. In 1979 the fec for his class-which startcd with piano and guitar players at5 p.m., added singers at 8 p.m., and hom players at 11 p.m.-was $3. Nothing would upset Barry more t.han to find out that someone missed class beca use they didn't have t11e money, so he was direct when he would say, "You lcnow you're supposed to come anyway."

Uack lhen Barry would go to great lengths to comrnunicate to his students the passion and intimacy of the music. On one occasion, I watched Barry work with a sightless student. Seated next to him at lhe keyboard, Barry had thc student place bis hands on top of hls own and thcn played. Toda y, t11c cssence of Ba.rry's instruction remains

unchanged. He sharcs his musical gcnius wirh heart and soul.

Now, smne fifteen years aftcr m y frrst e lass with Barry, J a m in the process of fulfilling anoLher goal-to docurnent his intemationally acclaimed teachings. It is my hope rhat the scnsc of joy, exciremcrll and purpose that Barry generuusly bestows upon cach srudent that comes ro hirn is transmitted Lhrough rhis video to you.

vinced that as pcople continue to search for more meaningful cxpcri -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 and 50s wíll be widely regarded with amazemcnt and u·casured for ils beauty and frcsh sound.

We are fortunate to have Barry Harris as spokesperson for this lcgacy. 1íreless in dedicating his energies and talcnLS to the ongoing devclopmcnt of the music, he has long been recognizcd as one of its major proponents and grcatcst comrnunicators. Simply put-he is "the keeper of the flame."

rinally, 1 would like to mention, to thc crcdit of everyone involved in documenting this extraordinary performance-the produc -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 his love for this music-that the en tire 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

TI1is work is an attcmpt to perpetuatc the music. i bclieve that along with ideas comes the responsibility of sharing them. While not always correct, it is important to pass on one's knowledge.

M y greatest desirc is for peoplc to ha ve the opportuniry to

expc-ricnce the beautifullegacy that jazz. is huilt un. I'm particular! y interest ed in having more young pcople tumt:.d on to this music. Historically it

has becn almost impossible to count on media support. Today we find oursclvcs in a siluation where we ha ve people who haven't even heard thc music, and yct they already have a negative ímage about il. This must change.

Bcbop represents thc furthest extension of music. il takes place in thc moment, there is no tuming back. and no re-grouping. There is

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

airead y riscn toa very high leve! dueto thc gcnius of such pcople as Charlic Parker, Tht:lonious Monk, Di:t.z.y Gillespie and Bud Powell. 'l11cre are no shortcuts to the leaming process. lt isn't possible for someone to go out, buy a hom, and get a gig the next day. Technical

mastery of one's instrument is the start.ing point, and from there, with a

lot of hard work, one might reach the height of moving the mu

s

i

c

for -ward. In addition, all instrumentalists and vocalists should know some-thing about the keyboard, about chord and sea le relaLionships, and

about how to use the scales as a basis for improvisation. To this end, a total commiuncnt is required of every player-commitment to study, discipline, patience and also to yourself. Thesc are the keys to frcedom, exprcssion and self-knowledge.

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

is importan! for new pcople coming along to lea m about a.nd carry on

those traditions. As a teacher, it's irnportant to start teaching from where we camefrom-not from where we're ~11. Hopefully then Lhc stu

-tlent will grow to wht:re thc teacher is, and add a little mure.

/~

\J/1)fQ CA~E

ONE

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Foreword

Scale practice or "the ABC's" Explanatory Notes

TAEI.E Of

CONTENTS

The 1/arris lla/f-Step Practice Model

The Dominan! 7th Scale Half-Step Rules lñe Major Se ale Half-Step Rules

Thc Minor Scale llalf-Step Rules Chromatic scalc breakdown chart

The dimínishcd chord and its 4 related dominan! 7ths The 'Dimínishcd Scalc'

Related dominant 7th scales

=

chord movcmenL~ The minor7 flat5 chord

The '5-4-3-2' Phrases '5-4-3-2' on thc major scale '5-4-3-2' on thc dominan! 7th scaJc. '5-4 3-2' on the minor sr.ale

..

....

J

2 2 8 8 14

16

18 18

20

20

24

24

24

26

26

C~2:A~

Foreword

"Back Home in Indiana" by Mac0ona1d-Hanlcy Sea le outlinc of (Back Hume in)"lndiana" Se ale outline of 'the Blues' in C

A typical 'fllues' progression

Applicatíon uf scale ideas to 'the Blues' The 'Related Viminished Chord'

'Rhythm Changes'

Scale outline of 'Rhythm

Chan

ges'

The 'Important Minor'

Application of scale ideas to 'Rhythm Changes' "Anthropology" by Charlie Parker

"Cherokee" by Ray Noble

Scalc outline of the "Cherokee" bridge

Applicatíon of scale ideas to the "Cherokec" bridge "1 low Hígh Thc Moon" by Murgan l.ewis

Scale outline of "How Hígh 'D1c Moon" Tlle 'Minor 6 Diminished Sea le'

Scale practice on the G minor 6 diminishcd scale AppUcation of scale ideas to "How Hígh Tbe Moon"

Forcwurd

The C6 Diminühed S cale

The C6 dimini~hed ~cale with chord voicings for piano

29

30

31 32

32

34 34

36

36

3X

38 44

45

46

46

48

49

50

50

52

59

60 60

TI1c

e6

diminished scale in single notes Guitar fingering for thc C6 diminished sea le The C6 díminishcd 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 le

"Alone Togf;',ther" hy f)ietz-Schwartz "Body and Soul" by Green

'The Tritone's Minor'

Re-thinking the m7 and thc m71>5 chords Movíng Am7 on the C6 diminishcd scale Moving a voicing through the

e

major scalc Moving a voicing through the C6 diminished scale

The 6 díminished 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 diminíshed sea le on 11-V-I in G major Using the

e

minor 6 dinúnlshed se ale on TT-V-I in G 'Borrowed Notes'

Bascd on "Django" hy John Lewis

Based on "Ifl Should Lose You" by Robin-Raingcr Based on "In Your Own Sweet Way" by nave Brubcck

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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" wíth guitar voicings Thc 4 related dominant. 7ths used as V7 substitutions

Foreworcl 60

60

60

60 60

62

62

62

62

62

62

64 64

66

66

66 68 68

68

70

72

72

72

74

74

74

74

76

79

"SLraight, No Chnser" by Thelonious Monk Walking bass p;Hterns emphasizing the upbeat

The whole rhytJun scction demonstrating Lhc prcvious rhythms Rhythrn lúghlighting the '2+' and tJ1c '4+'

Rhythm highlighting the '1+' and the '4+'

Using longer valucd tied nores in the walking bass line

C~S: V~

80

82

82

82

82

82

Foreword 85

"You Must Believe Tn Spring" by Michcl Legrand 86 Thc E diminished chord wilh applications t.o "Y.M.B. in

S."

RR

Wurm-up exercises 88

Application of thc wann-ups ro "Y.M.B. in

S."

92 Use of thc related diminished chord in thc 1st 4 bars of"Y.M.B. in S." 92

"Billie's Bounce" by Charlie Parkcr 94

102

102

THE

EASfCS

Probably the most frequently asked question by Üle music student is: "What should 1 spend my valuable practice time on?" In úlis section

a systematic, step by step approach 10 answering this qucstion is outlined.

Technique might best be thoughl of as a mcans to an en d. That is 10 say, strong technique is a prerequisite for jazz improvisa-tion; but, for 1hc purposes of pracúcing, teehnique must always have a musical cootext. To get the poiot across Barry says, "practice your playing-nol your practicing."

To be consistent in providing musical contexts, make the rchearsaJ time as real as possible. A lot of practice time is spent

alone, so it is essential lo re-create Lhe rhyLhm section for yourself as you play. Hear the drums, the bass and ú1c 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 examples

have been includcd where necessary-all of whlch will hopefully guide you on the road 10 discovery and beyond.

Note:

1) Examples are in the key of C concert unless otherwise notated.

2) Where Lherc is no key signature, apply Lhe accideotaJs as ú1cy occur.

3) In sorne examplcs enharrnonic equivalent~ may not be shown.

(!~1

Sea le Practice or the "ABe's" Explanatory Notes

1

-

1)

The referencc that

Barry

malees to em7-F7, and why it would have been impossible for Bird to ha ve played that as a horn player, is bccause Crn7 is the chord found on the 5th of the f7 scale (the 'impor-tant minor'), a.nd for that reason, only the F7 scale is rcquired for solo

-ing over both of the chord changes (see Fig.2-8).

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

degree (either domina.nt or major 7th), and then straight back down. This produces a 2 bar phrase.

1-3) The C dominant 7th scale up a.nd down. 1-4) The e major sea le up a.nd down.

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

a) The scale perfonncd in 3rds.

b) Same as previous figure, starting a half-step below the 1st note of

each 3rd.

e) The scale performed in triads.

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

each triad.

Fig. 1-3

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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 le are found on thc !Oitic, the 5th and the 7Lh. Illustrated in its entirety is the arpeg

-gio on the tonic (e). Practice lhe arpeggios on the 5th and 7th (Gm and Bb, shown in root position) the sarne way.

1-6) Pivoting

Pivoting is a muJti-purpose technique that is an importarlt tool for all instruments. It is cspcciaJly useful for hom/string players and vocaJisL~ enabling them to pcrform a melodic line of any length and/or rangc

while remaining within the boundaries of thcir instruments. Notice that the acccntual structure of Lhe line changes where thc pi vol creates new highest and lowest notes, whicb natur.Uly feel rhythmically stronger wilhin the melodic line.

a) Pivoting with thc chords on the

e

major scaJe.

b) Pivoting with thc

e

major scaJe. (Not shown on video.)

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

1-7a) Major arpeggíos are perfonned down chromatically from the highest note on the alto. Here, the hlghest note is the toníc.

b) Next, the highest note ís the 3rd of the arpeggío.

e) Final! y, the highest note is the 5th of the arpeggío.

1-8) This figure demonstrates dimínished chords performcd chromati

-cally in an altemating descending/ascending pattern.

] -9) In this figure, inversions of lhe

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augmented arpcggio are per

-formed.

1-10) "Chi-Chi" by Charlie Parker makes use of a 1st inversion

Fig. l-7a Fig. 1-9

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1-11) Rhythm exercise perfonned on thc

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dominan! 7th sea le; (8- 6-b7-6-5-4-3-2-1 ). Practice this on the major sea le as weU.

1-12) The Harrls Half-Step Practice Model

Half-steps typify the language of Lhc bcbop player. With this in mind,

Barry developed the half-step pra.ctice model to teach the art of

play-ing rhytJunicaUy. In their basic role, they appear as notes added 10 the

descending form of the scale. 1ñrough various applications, (shown

below), the half-steps becomc an endless source from which to gener

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

minar scales cach have their own set of 'rules' for adding half-stcps. a) Thc Dominant 7th Scale Half-Step Rules

St11rting Note # of Added Half-Steos EndOn

1 (octave) 1 (8-7) tonic 2

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

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Note:

Thesc rules are applied to scales descending from at Jeast the

octave (i.e., starting on t11e 2nd is acn1ally starting on the 9th). 1) The starting notes of the sea! e are grouped by odd and even num-bers.

2) The octave is called 1 in t11is case as it takes the rules of the odd numbcred group.

3) In Chaptcrs 1 and 2, added half-steps where applied to the illustrated examples have been circled.

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

e)

The

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el/aneou.r

Rule':

start on a note, go up Lo any note, and (whcn descending), fo!low a rule for thc starting note. (If t11e half-step falls on the bcat, put it at the bottom of the phrase.)

d)

When starting a phrase with 8th

not

e

trip/ets,

use a rule for thc mid-dlc note of the triplcc

e)

When

starting

a

phrase witlt a 3rd,

follow a rule for thc next note

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

f)

When

starting

with

a

triad

,

follow a rule for the top note of the triad; i.e., C-E-G top note ís the 5th so use 1 or 3 half-steps.

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g)

F or 4 note chords,

follow a rule for the bollo m note (the root) of

each chord. Note that the exceplion to Lhls rule is the chord on the

tonic.

The reason for this is that both the top and bouom notes of the chord are from the 'odd' number group, 1 and 7 (as opposed to the

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

bot-tom). Therefore, use a rule for the 1st scale tone below the top note of tbe chord; i.e., C-E-0-Bb-A. 'A,' being the 6th of the sea le, would require either O or 2 added half-steps.

h)

F or starting a semi-tone below

the

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f a chord

on the sea! e,

beginning on the '&' after '1,' follow a rule for the top note of the

chord. ·n1ere are no exceptions here. Note, however, that the chord on the tonlc requires the half-step(s) to be played at tbe bottom of the scale (i.e., bctween the root and the flat 7; or between the 3-2; 2-1; 1-b7). i &j) These 2 figures show the application of the prevlous e.xample

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

the scale with 3 half-steps to lhe 3rd, then up the related diminished chord of C7, resolving to lhe 5th ofF major; while the rhythm scction

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k) Any note as a half-step. The object here is to make the line fccl 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 sarne 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.

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 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; rnajor7-6;

6-5.

111e frrst rule for áescending 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 can

come between the 2-1; 6-5 or between the rnajor7-6;

6-5.

(Practice both

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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 minor in

ascending form-tonic-2- b3 - 4-5-6 - major7.

1l1e addcd half-steps for this scale fall in the same places as do Lbe half-steps for the major se ale. The onc cxccption to this is where

the major scale rules add a b3rd. Bccause this note is airead y present in the melcx:lic minor scale, any other note may be used in iLS place. Noticc that this m ay al so be achieved by using intcrval jumps and by rcpeating the same note twice.

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1-15) Chromatic scale breakdown chart 1 chromatic scale

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2 whole tone scales

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3 dímíníshed chords

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4 (keys or) donúnant 7th chords related to each dírninished chord

a) The diminished chord and its

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related dominant 7ths

Dy taking a diminished chord and lowering each of its notes, one ata

time, 4 related dorninant 7úl chords are formed. Because these 4 domi

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

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

The rule of thumb for finding a related diminished chord is to build ita major 3rd above ú1e dominant note. If you are looking for the related diminished chord to a dominan! 7th chord, just go up a major 3rd from the root of the dominant 7th chord (i.e~, in the key ofF, C is the dominant note, E is a major 3rd above the dominant note and the 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 sea le phrase with the related diminished

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1-16) The 'Diminished Scale'

The 4 notes of a dimioished chord, plus the roots of the 4 related domi

-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 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 7ths (as scales)

'into eachother.'

Tiús 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 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 MOVEMENTS

Em7b5-A7 (bot11 outline

Em7b5-A7 1Im7b5-V7 in D min) Also:Gm7-Bbm7 (IIm7-IVm7 in F maj)

Fig. l-16

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diminish<XI chord

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; Roou or lhe Relaled Dominan¡ 71h chords

C~1

1) A 7-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 Alsu: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 entire chart for the C# diminished chord. Do a similar chart for the other 2 diminished chords (i.e., C and D), then the same chord movements will be outlined in alll2 keys.

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

a) Prnctice the C7 scale followed by ( or ínto) an Eb7 scale to outline a bar each of Gm7(11m7}-C7 and Bbm7(1Vm7)-Eb7, illuslrating the 1st two mensures of "When Sonny Gets Blue."

b) Shown here is anoll1er cxample of the C7 scale into the Eb7 scale outlining, in this case, Em7b5-A7. TI1is cxample descends the C7 scale from the 2nd degrec, adding 2 half-steps and continuing down thc scale to the 5th of C7 which beco mes the 3rd of Eb7. 3 half-steps are added fonning a chromatic line from the 3rd of Eb7 down to its b7th. (Not shown on video.)

Fig. 1-18 llm7 (Gm7) 1Vm7 (B~m7)

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J-19) Shown here are 3 examples ofthe C7 scale run into the Gb7 (F#7) scale, outlining Gm7-C7.

a) The 1st examplc descends from the tonic to the b7 of C7 with 1

added half-step. The b7 becomes the 3nl of Gb7, and the line continues

down t.he Gb7 scale to the 4th, again adding a half-step bctween the tonic and b7 of Gb7, rcsolving to the 5th ofF major.

b) The 2nd example on Gm7-C7, uses a parallel pattem of 8-2-#2-3 on cach of the two dominant 7th

sea

les.

e) Thc last example dcscends the C7 scale from the octave, with 1

added half-step to the flat 7, ú1cn down the arpcggio of the flat 7 (Bb).

The same idea is then applicd to the Gb7 scale, finally resolving to the 5th ofF major.

1-20) The minor7 flat5 chord

The following illustration shows a C7 scale with the Em7b5 chord

located on its 3rd degrce. 'Ibis is a key point.

When

soloing over

the

Em7b5 chord,

cho

ose

the

C7

sea/e

because

the chord is found on

the

scak.

a) Playing the C7 scale up and down to its flat 2, or 10 the 3rd of A 7, ouúines 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

oftrouble."

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 'into eachother,'

but it is also possible to make up various combinations-i.c.,

'5'

into

Fig. 1-1 9a Gm? C7 Fmaj7

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b) Scalc practice ending with ú1c '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 '2' can be borrowed directly from thc major scale phrases. In Lhis figure,

we show the '3' phrase, an a1temate '2' phrase, and then thc '5-4-3-2'

run together.

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In Lhe previous chapter we covered many of Lhe basic tcehniques (or ABC's as

Barry

refers to Lhem) Lhat

should make their way into any practice-rime 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). Practice the scale(s) thoroughly. Not only will this

sourui

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) outlíning the harmony. Pr.tetice them in all keys, and at cballcnging tempos.

3. Find differenttunes that make use of the chord progression that you are working on, and try out the phrases in cach of them.

C~2

2-1)

INDIANA

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'the Blues' in

e

*The e Major 7 scale played into an A7 scale. This outlines Lhe follow-ing 2 bar chord progression: emaj7-A7 or Em7-A7; and also 2 bcats each ofemaj7-F7-Em7-A7.

Fig.2-3

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2-4) Application of scale ideas lo

'the Blues'

The following examples run thc

e

major scale into !he A dominant 7tll

scale, making use ofthc '5-4-3-2' phrases (seeFig.l-18a). Hcrc, !he

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

A 7.

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 !he 3rd of 1\7.

f) Descending

e

major from the major7th to the 5th, then '5' down to the 3rd of /\7.

2-5) The 'Relatcd Diminisbed Chord'

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

domi-nant note. Por instance, in !he kcy of D the dominant note is

A

and a tbird above is C#.

a) In the following example, which outlines bars 7 and 8 of 'the Blues'

(in the key of

e),

noticc how the related diminishcd of 1\7 is u sed to

Fig. 2-4 a) "S ..... 4 ..

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C~2

2-6) 'RIIythm Changes' (refers to thc chords based on "I Got Rhythm")

2-7) Sea le oumne of 'Rhythm Changes' (pcrformed here in the kcy of Bb)_ This is a 32 bar song fonn with 4 eight bar scctions: A-A-B(ridgc)-A.

To cnd the tune, the last A section is the 1st six bars with the 2nd ending; to repeat the tune, the lastA secrion is the 1st six bars with the 1st ending.

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2-8) Tbe 'lmportant Minor'

'Importan! minar' is the term given to the chord found on thc 5th degree of a donúnant 7th scale (5 of 5).

*13arry is saying here that blllm7 (C#m7) is the 'important minor' of the bV17 chord (F#7) in tlte·key of Bb. Similarly, he points

out that thc llm7 chord, or Cm?, is the chord found on thc 5th of F7.

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

a) This phrase and the previous cxample both illusttate bars 3 and 4

of 'Rhythm.'

b) This is an example of combin.ing the sea les of thc 5111 and 6th bars of 'Rhythm.'

2-9) Application of scale ideas to 'Rhythm Changes'

The next 12 figures (2-9a-1) are various illustrations on the 'Rhythm'

bridge.

a) Up and down each dominant 7th scale ending with the

'4'

phrase.

b) Up and down eacb dominant 7th scale ending with the

'5'

phase.

e) Down cach. dominant 7th scalc from the b7tll to tllc 5th, tllen adding

Fig. 2-8

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d) DominanL 7th scales down and up t.o the 4Lh dcgree, then adding

the • 4' pllfase.

e) Arpeggios bascd on the triad found on the 1st dcgree of each of thc

dominan! 7th scales.

f) The arpeggio bascd on the tonic of each scale up, Lhcn descending

thc scale fTom the b7th to the 3rd.

g & h) Variations on Fig.2-9f.

i) Up each dominant 7th se ale from the 3rd to the b7th, back down Lo

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j) Descending cach scale from the b7th to thc 3rd, then adding the 5th

and the 2nd degree of each scale.

k) Improvisation bascd on the lst

5

bars of the bridge.

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

2-1 O) Sea! e outline of 'Rhythm'-see Fig.2-7 for the 'A' sections; use

Fig.2-9k for the bridge.

a) Here, Lhe same

sc

alc

outline is performed. The scales on

tl1c

'A' sec-tions begin on thc

'&'

after beat 4.

e~z

2-t2)

ANTHROPOLOGY

Charl~ l'arur

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2-14) Scale outline ofthe "Chcrokce" bridge

2-15) A pplication of sea le ideas to the "Cherokee" bridge

a) Scales performed down and up.

h) Scales perfonned in 3rds.

e) Scales performed from the tonic to the 5th; 3rd to the 7th.

d) Sea les performed from the tonic to tite 5tJt; 3rd to tJte 7th;

2-16)

HOW IITGH THE MOON

Morgan Lewis :.-'. Q,n7 C7

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2-18) The 'Minor 6 Diminished Scale'

This scale is formcd by combining a minor

6

chord wilh its related diminished chord. The diminished chord is built from a major 3rd above Lhe 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 minor 6 dimilúshed scale (bars 11 & 12).

...

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Application of scale ideas to "How Higb The Moon"

2-21) Figures 2-2la-f show various phrases ba~ed on the G major scale

(bars 1 & 2;17 & 18).

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

phras

cs

based on thc

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-2-23) Thc F major scale performcd up and down (bars 5 & 6; 21 & 22). 2-24) Thc Bb dominant 7th scalc peñonned up and down (bars 7 & 8;

23 &24).

2-25) This figure oullines bars 9 & 10 (also 25 & 26). Here lhe Eb major scale is played up; followed

by

the F dominant 7th scale played down to lhc 3rd degree of the D dominant 7th scale.

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2-26a-b) Perfonned hcrc are furthcr cxamples illustrating bars 9 & 10.

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PIANO~

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Thls chapteris inspiring notonly:from my perspectlve as a pianist,·but·also from a

philo-sophical perspectlve that chords and cbording

(lile e other th1ngs in lifc) can be thought of as Ouid and havlng poten ti al for constant lnterac

-tioiL We are requlred, then, to consider where

each cbord origirwes, and lo examine how !he

chords are related one to eacbother.

'The misconceptlon that chords are fixed polnts in thc tune, bound by vertical hannonic

movement, may be !he culprit behind thc

tcn-dency to play thc same two or three voiciitgs over and over for thc same change. Introduccd

hcre ls a 'scalefor chordlt~g; anda melhod of

assigning vinually any chord to one of two

scalcs-th<! major 6 diminisMd and th<! mlnor 6

tlíminished. Through tite various ways in

which pracllcing chords on tiu::ir respective

scalcs is dcmonstrat.cd, sce how misconccp

-tion~ about hannoruc rigidity disperse.

Notes for guilllr players:

1b illustrate lhis point furthcr, lhink of a

right-handed piano volcing for an Aro7 chord

(from bottom note 10 IOp) llke D-C-E-G

against A in the len hand. Actually this voi

c-ing can be found in tilc repertolre of most jazz

pianists; however, not many plnyers would

considcr lncorporating a D. an F oran Ab inlo that spoci tic cbordal structurc.

Qarification of how Ain7 (going 10 D7 in

lhe lc.ey of G) is actually C6 follows; and, that

B. D. F, and Ab-helng part of tite C6 dim

ln-ished scal~H~re all perfeclly acceptablc (not 10

mention intcresting) note choices for tite Am7

chord.

Barry masterfully dcmonstrates lhe

con-ccp! and appliation of movablc chords later in

!he scgment within tite contcxt of severa!

tunes.

•(Tr.lll.SCriptions of rubato passages are

meant 10 illustr.tte thc harmony and 1o approx

i-matc the rhythmic shapc of the tune.)

1) Thc opcn strings on lhc cuitar are numbered (frum lowcst string 10 highe~1) in !he following m

an-ner; 6· 5-4-3-2- l. Thcse numbcrs will appear circled.

2) In guitar notation, lhcre are often two oumbcrs beside a note. TIJC circled numbcr (as it is

explained abovc) indicates !he string !he note is found on. The undrelcd number lndlcates !he futgcr

nf lhe lefi hand thatthe note is played wilh. 'o' indicates an open string.

3) 1ñe capltalletter C followed by a Roman numeral indicatcs a bar on a particular fret For exam

-plc. CV i ndicates a bar on thc fifth fret.

60

Thc C6 Dimi.nishcd Scale

3-la) This figure shows the e6 diminished scale in chords with voic-ings for the piano and for the guit.ar (T'ig.3-1 b).

3-2a) Here; the e6 dirninished scale is shown in single notes. Fig.3-2b gives the guitar fingering.

This scale is actually comprised of all 3 diminished chords. The

e

and A belong to one dimin.isbcd, the E and G to a second, and the B diminishcd chord provides the other four notes of the scale.

3-3) These two illustrations show the e6 diminished sea le performed in

contrary motion: a) in single notes, a.nd b) in chords.

The

e

Minor

6

Diminishcd Scalc

3-4) The

e

minor 6 diminished sea le performed up and down. (To prac-tice this scale as a 2 bar phrase, play it up and down to the major 6th

Fíg. 3-2a

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3-5) Chords found on thc C minor 6 diminished scale are illustrated here: a) C minor triad on the lst degree; b) the D minor triad on the 2nd

degree; e) 2nd inversion Ab major triad on the b3rd degree; d) 2nd inversion Ab minor triad also on the b3rd dcgrcc; e) thc F minor triad on the 4th degree; f) the F major triad al so on the 4th degree.

3-6) "AloncTogcther" starts with its fustchord, Cm, being voíced with thc b6tl1, a diminished note from tlle scale ( the Ab ), tllen 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 tlte movement of an Ebm7 chord on the Gb6 diminished sea le, resolving to Ab7. lt. is performed in the context of "Body and Soul."

The movement o ver the Ab7 chord to gel to the Dbmaj7 makes use of the A minor 6 diminíshed scale, the altered scale for the Ab7 chord, al so referred toas 'the tritone's minor.' (This term comes from the 'importan/ minor,' see Fig.2-ll, and is being u sed here to refer to the chord on ú1e 5th degree of the lritone 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 rninor7 flaL'i chord is an inversion of a rninor 6tl1 chord. This figure shows Am7b5 on the rnajor 6th degree of the Crn6 dirninished scale.

Notice that it is al so simply an inversion of thc Cm6 chord. (On ú1c C6 díminished scale, the chord on the major 6th degree appears as Am7.)

3-9a) Moving Am7 on lhe C6 díminished 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.

Fig. 3-5a b) e) d) e) f)

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for the gui t.ar.

3-lla)

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the previous figure is now pcrformed on the C6 diminishcd scale, with guitarfingerings shown in Fig.3-11b.

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3-12) The 6 diminíshed sea le contains two dominant 7t.h chords Illustrated in lhis figure ís a key difference between lhe major scale and the major 6 diminished scale. As Barry mentions, notice that the major

6

dimilúshed scale contains the dominant 7th chord belonging to tbe key, (in this case G7), as weU as the dominant 7th chord belonging

to

the relative minor of the k.ey (E7).

3-13) Ending a tune with movements on the 6 diminishcd scale

a) Voiced for t.he guitar, thís figure shows an ending for a tune devel

-oped by playing up the 1st four chords of the C6 diminished scale and

rcsolving IVm-bVll7 (implied by the 'E' moving to 'D,' tbe 3rd of Bb7) lO lrrtaj6.

b) Another illustration of usí.ng a 'chords on the scale movement' lo

create an ending. This exan1ple is performed by

Barry.

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

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3-15) Using the C6 diminished scalc on 11-V-1 in G major

a&b) TI1esc two figures illustrare the movemcnt of an Am7 chord (C6)

on

Lhc

CG

diminished scale within thc context of

a

IIm7-V7-Tmaj pro

-gression in the key of G.

e) Here, a variation of the previous examplc is written in guitar nota

-tion.

3-16) Using tbe C minor 6 diminisbcd scale on

ll-V-1

in G

a&b) Two cxamples showing Am7b5 (Cm6) moving on the C rninor 6

diminished scale within the context of a Ilm7b5-V7-I progression, first

in the key of G major, then G minor. (Fig.3-16c illustrates a tllird

exam-ple for the guitar.)

3-17) 'Borrowcd Notes'

This example demonstrJ.tes the samc chord progression as the previous figure; however, it incorporales 'borrowed' diminisbed notes. The 'C'

and 'Eb' are notes of the F# dirninished chord-the related dirnínished

to D7. Borrowcd diminished notes are circ/ed in Figures 3-17,3-18, 3-19, and 3-22.

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