Official Barry Harris Thread

[Christian Miller]

Guitarist Rick Stone another BH student (who died from brain cancer six years ago) had a lesson on Vimeo on a whole tone patterns originating from Dizzy. (Unfortunately all his lessons -- those on BH stuff as well -- are deleted over there, I think I downloaded then once and might re-upload them on YT if I find them). I think I saw the same thing on a PDF by a Japanese pianist who had studied with Barry as well:

You can think of the whole tone scale as consisting of parallel major thirds, e.g. C whole tone: C-E, D-F#, E-G#, Gb-Bb, Ab-C, Bb-D.

Now play those thirds up-down resp. down-up and insert chromatic passing tones (play as eights):

C-E-C-B-Bb-D-Bb-A-Ab-C-Ab-G-Gb

or

E-C-E-Eb-D-Bb-D-Db-C-Ab-C-B-Bb

or

C-E-C-C#-D-F#-D-D#-E-G#-E-F-F#

or

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


And here a video I just discovered on Rick Stone's YT channel from a tribute concert which IIRC served to raise money for Rick's medical treatment:

Barry Harris teaching "These are the Things I Love" to Harvey S on the bandstand.

To be clear, when I say ‘know’ I mean, can I play them at tempo without a moments hesitation over any given dominant chord?

I don’t mean I can’t set out the patterns in theory or find them in a YouTube video. That’s obviously on me, not you! I need to shed them.

[GuyBoden]

I've never used the Barry Harris system, but I remember reading some interesting complex rules, which used Bebop type scales where the chord tones landed on the down beats.

I'm wondering if someone has simplified these rules. It sounds very interesting.

[Christian Miller]

I've never used the Barry Harris system, but I remember reading some interesting complex rules, which used Bebop type scales where the chord tones landed on the down beats.

I'm wondering if someone has simplified these rules. It sounds very interesting.

I have a video. This is designed as a quick start guide for the whole approach, but the relevant bit is at 13:00

Some of the notation in the video is a bit wrong. Sorry!

I think it’s good to start with the 0/1 rule on dominant. Starting on the beat, if you start on an odd numbered note add a note (usually between 1 and b7, most often a half step passing tone or 7), if you start on an even note don’t add a note, play the scale as normal.

practice until it’s intuitive.

then move on to more complex rules. Don’t bother with major and minor until you’ve got dominant working. I think I outline that in my video.

[pcjazz]

I think it’s good to start with the 0/1 rule on dominant. Starting on the beat, if you start on an odd numbered note add a note (usually between 1 and b7, most often a half step passing tone or 7), if you start on an even note don’t add a note, play the scale as normal.

practice until it’s intuitive.

then move on to more complex rules. Don’t bother with major and minor until you’ve got dominant working. I think I outline that in my video.

To clarify, Christian is referring to descending lines here.

[Christian Miller]

To clarify, Christian is referring to descending lines here.

the rule works the same for ascending scales

[GuyBoden]

I have a video. This is designed as a quick start guide for the whole approach, but the relevant bit is at 13:00

Some of the notation in the video is a bit wrong. Sorry!

I think it’s good to start with the 0/1 rule on dominant. Starting on the beat, if you start on an odd numbered note add a note (usually between 1 and b7, most often a half step passing tone or 7), if you start on an even note don’t add a note, play the scale as normal.

practice until it’s intuitive.

then move on to more complex rules. Don’t bother with major and minor until you’ve got dominant working. I think I outline that in my video.

Excellent, many thanks.

[garybaldy]

Was the 6th diminished scale and it's associated harmony used 'before Barry Harris'? My guess is it probably was.

[grahambop]

Was the 6th diminished scale and it's associated harmony used 'before Barry Harris'? My guess is it probably was.

Barry said that Chopin used it.

[Boss Man Zwiebelsohn]

Tonight at 6 pm Eastern Standard Time*)

YT live stream

Barry Harris Memorial Concert feat. Charles McPherson

St. Peter's Church NYC

The Barry Harris Institute of Jazz – Protecting, preserving, & promulgating the musical compositions, teachings, & musical legacy of Barry Harris

*) The World Clock — Worldwide

[NSJ]

This is a pretty good way of using using the family of 4 major or minor 6 chords through a song, here, for the sake of simplicity, using only drop 2 voicings. Once you can get the muscle memory down (e.g, go from Cm6 to Ebm6 to Gbm6 to Am6), it’s’ a pretty powerful tool.

[NSJ]

I just realized that the prior episode explains this process better: This is the stuff I practice all the time, independently of this guy’s YT. But he was a way of really explaining it.
Imagine using the power of limitation to create so many possibilities and pathways of playing a song. In this instance, he uses only the family of four minor6 chords built from associated with a diminished chord, from the Barry Harris system. E.g, from B°, we get Cm6, Ebm6, Gbm6, Am6. He simplifies the conception of each family in a given position: which is the chord with the root in the bass the third in the bass, the fifth in the bass, and the sixth in the bass?
Using the note Eb (6th fret, 5th string) in a strictly drop 2 system: that Eb is:
the R of Ebm6
the b3 of Cm6
The 6th of Gbm6
Moving UP one fret to E: which is the 5th of Am6

He is able to comp/play through an entire section of All the Things You are strictly using these four m6 drop 2 chord shapes, either at that aforementioned position, or moving UP or down a semi-tone, using hte same concepts.

It’s pretty cool, and it demonstrates, to me, the power of LIMITATION (using only the family of drop 2 m6 chords that BH builds from a dim chord) to VOICE-LEAD (using the smallest movements) though a song. It works, and he elaborates, in a rigorous but clear way, how you can use these concepts to play through any song and create your own arrangement.

[Petimar]

I LOVE that this thread just keeps on keepin on.

[pcjazz]

I LOVE that this thread just keeps on keepin on.

It will be a long time before we have exhausted all that Barry had to teach us.

[rlrhett]

This is a pretty good way of using using the family of 4 major or minor 6 chords through a song, here, for the sake of simplicity, using only drop 2 voicings. Once you can get the muscle memory down (e.g, go from Cm6 to Ebm6 to Gbm6 to Am6), it’s’ a pretty powerful tool.

Yes, it is very cool and sounds great. The problem I have is I don’t understand the underlying concept.

He talks about doing a minor ii-V-i as the ii-V being the same “family” of min6, but descending in a circle of inversions. Then he moves “across” his circle and up a family to resolve. But that’s the only place I’m aware that he lays out his “transformations”. What about other chord movement? Is a major ii-V-I the same? What about a back door ii-V, or a I-VI7-ii-V7?

I see “Don’t blame me” in functional terms. I know I’m looking at a Real Book, and real jazz players disdain such a pathetic crutch, but still…

I see the first 8 bars as a bunch of turnarounds:

|: I -bVII7 | VI7 -# | ii-V | I-IV7 | ii-V7 | [ii-V7] | ii-V7 | iii-VI7-ii-V7:||

To start, he uses a tonic Maj6 with the root in the base (he plays it in the key of Eb). Ok, makes sense to me. I think he skips the bVII7 as a passing chord — I’m still on board. Then for the C7 he moves up in his circle of inversions and down a “family” to play a BMaj6 chord in first inversion. What?

It sounds great, and my ear says, “yes, that works.” But how did he know to change families down and up an inversion? What about doing Imaj7-VI7 told him that? What is his system for transformation?

I thought the substitution for a C7 was the min 6 on the 5 or a best the tritone’s minor. Wouldn’t that be the Gmin6 or the Dbmin6?

I hope he explains this in some future video, or perhaps the explanation is buried in one of his old videos. For now, especially when he limits himself to drop2’s, I can follow along and easily repeat what he plays. I just don’t understand how to apply his system to a standard.


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[NSJ]

Yes, it is very cool and sounds great. The problem I have is I don’t understand the underlying concept.

He talks about doing a minor ii-V-i as the ii-V being the same “family” of min6, but descending in a circle of inversions. Then he moves “across” his circle and up a family to resolve. But that’s the only place I’m aware that he lays out his “transformations”. What about other chord movement? Is a major ii-V-I the same? What about a back door ii-V, or a I-VI7-ii-V7?

I see “Don’t blame me” in functional terms. I know I’m looking at a Real Book, and real jazz players disdain such a pathetic crutch, but still…

I see the first 8 bars as a bunch of turnarounds:

|: I -bVII7 | VI7 -# | ii-V | I-IV7 | ii-V7 | [ii-V7] | ii-V7 | iii-VI7-ii-V7:||

To start, he uses a tonic Maj6 with the root in the base (he plays it in the key of Eb). Ok, makes sense to me. I think he skips the bVII7 as a passing chord — I’m still on board. Then for the C7 he moves up in his circle of inversions and down a “family” to play a BMaj6 chord in first inversion. What?

It sounds great, and my ear says, “yes, that works.” But how did he know to change families down and up an inversion? What about doing Imaj7-VI7 told him that? What is his system for transformation?

I thought the substitution for a C7 was the min 6 on the 5 or a best the tritone’s minor. Wouldn’t that be the Gmin6 or the Dbmin6?

I hope he explains this in some future video, or perhaps the explanation is buried in one of his old videos. For now, especially when he limits himself to drop2’s, I can follow along and easily repeat what he plays. I just don’t understand how to apply his system to a standard.


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Thats why I posed the prior lesson as well. Basically he’s developed a “formula” for minor ii-Vs using all 4 min6 family members.

Em7b5 to A7========

Gm6 to Bbm6

Imagine Gm6 with the 5th in the bass (51b36). What is the closest family member with the 3rd in the bass? Bbm6 (b36R5). Want to resolve it? Find the family member with the Root in the bass a half step down. (R56b3): Dm6.

[pcjazz]

Imagine Gm6 with the 5th in the bass (51b36). What is the closest family member with the 3rd in the bass? Bbm6 (b36R5). Want to resolve it? Find the family member with the Root in the bass a half step down. (R56b3): Dm6.

i think you mean a half step up.

[NSJ]

Minor ii-V7-i from Autumn Leaves (F#m7b5-B7-Em6)

In Barry’s World: Am6-Cm6-Em6

Systematic bass moment: b3 to R to 6; 5 to b3 to R; 6 to 5 to b3; R to 6 to 5

Am6 in b3 position bass (b3615); Cm6 in R position bass (156b3); Em6 with 6 in bass (6b351)

Am6 in P5 position in bass (51b36); Cm6 in b3 position in bass (b3615); Em6 with R in bass (R56b3)

Am6 in M6 position in bass (6b351); Cm6 in P5 position in bass (51b36) Em6 with m3 position in bass (b3615)

Am6 in R position in bass (156b3); Cm6in M6 position in bass (6b351); Em6 with P5 position in bass (51b36).

[rlrhett]

Thats why I posed the prior lesson as well. Basically he’s developed a “formula” for minor ii-Vs using all 4 min6 family members.

Em7b5 to A7========

Gm6 to Bbm6

Imagine Gm6 with the 5th in the bass (51b36). What is the closest family member with the 3rd in the bass? Bbm6 (b36R5). Want to resolve it? Find the family member with the Root in the bass a half step down. (R56b3): Dm6.

Yes, but the point is "Don't Blame Me" --the example HE uses in the video-- doesn't have a minor ii-V until bar six. I understand his minor ii-V formula, and find it useful. What is his system for transforming the other harmonic motion he demonstrates? How does I-VI7 become "up one major6 in the circle and down one in family"? He just does it, he doesn't seem to explain it. Or am I missing something?

[NSJ]

It’s straight forward chord substitution. “Transformation” and “Summoning” are just his words for chord subs.

A ii chord in a minor ii-V7 is usually a minor7b5. Any minor 7b5 can be thought of as a m6 under the way Barry Harris teaches it. Em7b5 is really Gm6.

Working with Gm6: Think of the family of m6 chords that go with Gm6, under BH: Gm6-Bb6-Dbm6-Em6. When you move any of the four notes of the dim chord under BH (in this case, G dim: G-Bb-Db-E) you get these resulting m6 chords. Note that the G is root of Gm6, the 6 of Bb6, and the 3rd of Em6. Moving the G UP a half step gives you Ab, which is the 5th of Dbm6.

Gm6 as a drop 2: G-D-E-Bb (156b3). The G, which names the chord is in Root position. Now which chord from the four BH chords named above has the same note, G as the 6 in the bass? Bbm6 (6-b3-5-R). Bb-6 is another way of subbing for the V7 associated with A7 (go up a half step on any dominant chord).

Thus, Gm6-Bbm6, two of the four family of m6 chords built from a dim chord, under BH, can be thought of a minor ii-V7 in the key of Dm, with the most minimal voices moving. To resolve, follow the same pattern—go up a half step, if your pattern is R to 6 in the bass, the resolution note should be the 5 of the I chord. In this case, move up a half step to find the resulting chord. But since chord has the 5th in the bass, you move up 2 half steps from the original position, to find A-D-F-B.

It should be pretty well explained in the 2nd video (#77). It’s just a way of creating all kinds of sub ii-Vs using BH’s min6 and major 6s.

[rlrhett]

Thank you NSJ, but I think we are talking past each other. Did you notice he substituted a C7 with a Bbmaj6? Not a Dbmin6 or a Gmin6.

In any case, re-watching the video he coyly says the other “transformations” are “figure-out-able”. Either he plans future videos or is holding that to himself.


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[Christian Miller]

I found a bit impenetrable in a way that didn’t really motivate me to watch more vids. Also the use of alternative terms for things I can find both a bit cutesy and also kind of demands that you buy into his whole channel. Lots of jazz education things do this btw.

(That’s kind of an issue with Barry anyway, but with Barry I feel it was more down to him predating the whole standard jazz edu thing and coming up with his own way of doing it.)

Sounded great what he was doing though! If you get something out of it, good for you!

[rlrhett]

I got a response back from Thomas saying, essentially, take a private lesson or wait for future episodes.

I think this is a perfectly appropriate answer for someone who makes a significant part of his income on private lessons. No criticism expressed or implied.

His application and even expansion of BH’s family concepts as it relates to guitar is truly intriguing to me. I don’t have the time, nor am I convinced Thomas would make a good teacher; otherwise I would sign up for a private lesson right away.

In the mean time, I’m off to explore Alan Kingstone’s suggestion to use the scale of chords as a departure point for improvising lines…

There is truly no bottom to the well that is BH.


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[Christian Miller]

Hmmmm

[NSJ]

Forget about how he resolved it or not, I didn’t find it confusing-it’s just a way of subbing a regular minor ii-V7 with two family minor 6 chord family members.

Regular ii-V7:

Em7b5-A7 (resolves to Dm6)

The BH ii-V7 built from E°:

Gm6 to Bbm6

If you know your m6 chord families everywhere on the neck, you can get automatic ii-V subs using those alone.

[NSJ]

Fun with TRIADS as movement using Barry Harris concepts


Barry Harris Family of chords: Moving from Triads of the Dom7 family and Shell Triads of the Min6 family built from the sam Dim chord, borrowing notes from the diminished chord as an intermediate step:


1. Find the four Triads build from the dim chord that are the 4 dom7 chords, with the 7th omitted
2. Move the R of the triad up a half step (borrowing from the diminished)
3. Move back to the triads found in #1
4. Move the 5th of the triad down a half step
5. Build a m6 shell chord (R-b3-6 and inversions) from the prior note that was moved down a half step


#1: From B°, we get the Dom7 chords associated with the diminished, but omit the 7th (TRIAD only)


GM triad: G-B-D
BbM triad: Bb-D-F
DbM triad: Db-F-Ab
EM triad: E-G#-B


#2: Raise the Root of these by a half step (i.e, borrow from the original dim chord)


Root position:
Ab- B-D
B-D-F
D-F-Ab
F-G#-B


1st Inversion


B-D-Ab
D-F-B
F-Ab-D
G#-B-F


2nd Inversion
D-Ab-B
F-B-D
Ab-D-F
B-F-D#


#3: MOVE back to the 4 Major triads (G, Bb, Db, E)


4: Move the 5th of each chord down a half step
For example, in root position:
G-B-Db
B-D-E
D-F-G
E-G#-A#


5. Transform each chord into a minor 6th chord shell chord built from the flatted 5th


Dbm6 shell chord
Em6 shell chord
Gm6 shell chord
A#m6 shell chord