Barry Harris Jazz Workshop Pdf Download
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Here are some starting points for seeing the relationships between 6th voicings and their functional equivalents: a) For major 7th chords, play the major 6th chord whose root is the fifth degree of the major scale. B) One approach to a dominant 7th voicing is to play the minor sixth chord on the fifth degree of the dominant. C) Another dominant 7th approach is to use the minor 6th chord whose root is one-half step up from the root of the dominant. D) Minor 7th chords are just inversions of major 6th chords, so this combination is natural. E) The same goes for minor 7 flat 5 and minor 6th chords. With the latter two examples, thinking in terms of 6th voicings opens up the possibility of moving voicings along a corresponding major or minor 6 diminished scale and then resolving to the next chord, rather than to simply hold a static voicing.
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As we discussed in Examples 2 and 4, dominant 7ths derived from the same diminished 7th can be used as substitutions for each other. Here is B flat 7 resolving to E flat maj7, and voiced with three substitutions over a shell voicing in the left hand: a) an E7 resolving to a B flat 6 voicing over the E flat maj7, b) a G7 resolving to another inversion of the B flat 6, and c) a D flat 7 resolving to yet another B flat 6 inversion. Where are the chord symbols, you ask? We could include them as they appear with alerations in Example 4, but Barry wants you to focus on the basic structure of the voicings. As we’ll see momentarily, this makes them easier to move along a scale. This is another approach to resolving borrowed tones.
In the first bar, the E and C sharp are borrowed from the diminished 7th chord of the F major 6 diminished scale; they resolve down to the Fm6. The progression continues in a similar manner until the last bar, where something interesting occurs: What seems at first glance to be a straight-ahead major 9th voicing actually contains three notes borrowed from the A flat major 6 diminished scale (G and B flat). Rather than being static, these notes are unstable in the context of a major 6 diminished scale and can resolve down to the chord tones of an A flat 6.
Contents • • • • • • • • • • • • • • • • • Early life and career [ ] Harris began learning the piano at the age of four. His mother was a church pianist and had asked if Harris was interested in playing church or jazz music. Having picked jazz, he was influenced by,.
Harris had a strong admiration for the style of Powell, claiming it to be the 'epitome' of jazz. He went to public areas to play dances for clubs and ballrooms. Harris learned the bebop styles largely by ear, imitating the solos played by Bud Powell in his teenage years. Later life and career [ ] 1950s [ ] Harris was based in Detroit through the 1950s and worked with musicians such as,. He also performed in place of, who was 's regular pianist for his group frequently. In addition, Harris toured with briefly in 1956 as a pianist after the group's resident pianist (younger brother of Bud Powell) died in a car crash.
1960s [ ] Harris performed with 's quintet and even had a chance to do a television stint with them. Harris relocated to New York City in 1960, where he became a performer as well as a jazz educator. During his time in New York, Harris collaborated with,, and through performances and recordings. Between 1965 and 1969, Harris performed extensively with at the. 1970s [ ] During the 1970s, Harris lived with Monk at the home of the jazz patroness, and so was in an excellent position to comment on the last years of his fellow pianist. Harris also sat in for Monk for rehearsals at the New York Jazz Repertory Company in 1974.