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(Chapter 1) Improvisation
The Chromatic Scale
The Two Whole Tone Scales
The Three Diminished Chords
The Four ‘Related Dominant 7th Chords’
The Diminished Scale and Usage
Running the Four Related Dominant 7th Scales into Each-Other
Use of ‘Surrounding Notes’
Going from IV – I
‘Feel the Shape of the Melody’
“Scrapple From The Apple” (excerpt) by C. Parker
Phrase Building on ‘Rhythm Changes’
‘Turnbacks’ Using: Scale Degrees; Related Diminished Chords
‘Turnback’ Fig. 1-9e Applied to the ‘A’ Sections of ‘Rhythm Changes’
‘Turnbacks’ Using: the Tritone; Chord on the C Dominant 7th Scale
‘Turnback’ Fig. 1-9h Applied to the ‘A’ Sections of ‘Rhythm Changes’
Expanded ‘Extra Note Rules’
‘Extra Note Rules’ Applied to a Chromatic Fifth
The F Harmonic Minor Scale Performed Up and Down
Dominant 7th Scale Rules Applied To Descending Harmonic Minor Scale
Major 7th Scale Rules Applied To Descending Harmonic Minor Scale
‘Extra Note Rules’ Applied To An Ascending Harmonic Minor Scale
Any Scale Degree as the Tonic Then Applying Dominant 7th Scale Rules
‘Extra Note Rules’ Applied To a C Diminished Chord
The Harmonic Minor Scale Performed From Each Degree
Barry’s Four Key Scales
The Major 6th Diminished Scale
The Major 6th Diminished Scale Contains Two Dominant 7th Chords
The Minor 6th Diminished Scale
The 7th Diminished Scale
The 7th b5 Diminished Scale
The Tritone’s Minor Scale with analysis
‘Rhythm Changes’ - Seven Songs in One
‘Rhythm Changes’ Scale Outline
Soloing Over An ‘A’ Section From Bar 2 to Bar 1
Scale Outline of An ‘A’ Section From Bar 2 to Bar 1
Soloing Over An ‘A’ Section From Bar 3 to Bar 2
Soloing Over An ‘A’ Section From Bar 4 to Bar 3
The Rhythmic Implication of Starting a Phrase in Different Bars
“Embraceable You” by I. & G. Gershwin
Transcription of Barry’s Solo on “Embraceable You”
“What’s New” by B. Haggart and J. Burke
“What’s New” Scale Outline
The ‘Chromatic Major Scale’
Chromatic Major Scale Practice
The C ‘Chromatic Dominant 7th Scale’
Developing a Solo on the “Lady Bird” Changes
The “Lady Bird Turnback”
“Lady Bird” by T. Dameron
“Lady Bird” Scale Outline
(Chapter 2) The Rhythm Section
Feel ‘6’ While Playing in ‘4/4’
Importance of Playing Upbeats and Application to Each Instrument
‘Salsa’ Rhythm
The Bb Blues Changes
“Cherokee” by R. Noble
“Tenor Madness” by S. Rollins
Small Chords are Easy to ‘Grab’
Eb6 – Edim. – Bb6
Transcription of Barry’s Voicings on ‘the Blues’
Transcription of Barry’s Voicings on ‘Rhythm Changes’
“The Fruit” (excerpt) by B. Powell
“Strictly Confidential” (excerpt) by B. Powell
The bIII Diminished Chord
Application to “Fine & Dandy” by K. Swift
Application to “My
Heart Stood Still" by R. Rodgers
The bIII Diminished Chord Going Back to I
Phrasing a Melody in 6 Over 4 is Discussed
(Chapter 3) Harmony
The C Major 6th Diminished Scale ‘Up & Down’
The C Minor 6th Diminished Scale ‘Up & Down’
The C7th Diminished Scale ‘Up & Down’
The C7th b5 Diminished Scale ‘Up & Down’
Contrary Motion Exercises on the Previous Scales
The C Major 6th Diminished Scale ‘Up & Down’ With 2 Notes
The C Major 6th Diminished Scale ‘Up & Down’ With 3 Notes
Taking a Chord Up a Major 6th Diminished Scale
Sixth Chords Rule (Chord Conversion Chart)
Sixth Chord Tones are Surrounded by Diminished Notes
The ‘Important Minor’ and The ‘Tritone’s Minor’
Descending Thirds on the Eb Minor 6th Diminished Scale
Why the Tritone’s Minor is the Perfect ‘Altered Scale’
The Tritone’s Minor Bridging V7th to Imaj7
Taking an Altered D7th Chord up the Eb Minor 6th Diminished Scale
Chord Movement on the Minor 6th Diminished Scale
Seeing Em7b5 as Gm6
Chords on the G Minor 6th Diminished Scale
6th Diminished Chord Movement
Dm7 = Fmaj6 and Abmin6 is the Tritone’s Minor of G7
6th Diminished Movements in “Body and Soul”
Movement Using the Tritone’s Minor
Introducing Diminished Notes Into the Tritone’s Minor Voicing
Voicings With ‘Borrowed Diminished Notes’
Borrowing Diminished Notes on the “Cherokee” Bridge”
“I Should Care” by S. Cahn
Transcription and Analysis of Barry’s “I Should Care” Voicings
Movement
Exercises Thinking ‘6th – 6th – 6th’
Instead of ‘II – V – I’
The Musical Universe
Finding Common Chords Through the Diminished Chord
The Family of Dominant 7th Chords
The Family of Minor 6th (m7b5) Chords
Outlining V7 – I Major7 Using the Families
The Family of Major 6th (m7) Chords
Using 6th Chords from Two Different Families
The Family of Dominant 7th b5 Chords
Using Minor 6th – Dim. – Dom 7th Over a Dominant 7th Chord
The Previous Movement With the Dominant 7th b5 Chord
Chord Movement on the C7 Diminished Scale Outlining V7 – I Major7
Chord Movement of the C7 b5 Dim. Scale Outlining V7 – I Major7
Finding Chord Types From a Diminished Chord: A Reference Chart
Discography
About Barry Harris
About Jazzworkshop Productions |
