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QuasiMado

THE EARRY HARRfS WORKSHOP VfDEO

Copyrigbt 0 1994, 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

...•

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; my bruther Philip, for his ongoi ng support and vas t 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 Kau, 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! (4 16-921 -4963) on the Maciutosh computer using NoteWritcr and QuaJ k.XPress. '111CIC

I dedicate this book to the lcgacy of Charlie Parker and to thc musicians aJld teachers everywhcrc who ha ve carried on the tradition 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 my first class-t.he electricity of 25 or 30 people f()(;u scd on Rarry seatcd at the piano. Poring over 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. Today, t11c cssence of Ba.rry's instruction remains unchanged. He sharcs his musical gcnius wirh heart and soul. Now, smne fifteen years aftcr my 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. The human cvolurionary thread spirals upward, and J am con-

vinced that as pcople continue to search for more meaningful cxpcriences in life and place a highcr value on tapping into their own creative 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 production 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 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

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. My greatest desirc is for peoplc to ha ve the opportuniry to expcricnce 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 cou nt on media support. Today we find oursclvcs in a siluation wh ere 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 music forward. In addition, all instrumentalists and vocalists should know something 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 stutlent will grow to wht:re thc teacher is, and add a little mure. I would like to cxpress my thanks to Howard Rt:t:s whose hard work ensured that this projec t woultl become a reality.

TAEI.E Of CONTENTS

...... /~

\J/1)fQ CA~E ONE

C~ 1: Tkg~

Foreword

J

Scale practice or " the ABC's"

2 2

Explanatory Notes 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

8 8 14

16 18 18

20 20

24 24 24

26 26

C~2:A~ Foreword "Back Home in Indiana" by Mac0 ona1d-Hanlcy Sea le outlinc of (Back Hume in)"lndiana" Seale outline of 'the Blues' in C A typical 'fllues' progression Applicatíon uf scale ideas to 'the Blues' The 'Related Viminished Chord'

29 30

'Rhythm Changes' Scale outline of 'Rhythm Changes' The 'Important Minor' Application of scale ideas to 'Rhythm Changes'

36

"Anthropology" by Charlie Parker "Cherokee" by Ray Noble Scalc outline of the "Cherokee" bridge Applicatíon of scale ideas to the "Cherokec" bridge " 1low Hígh Thc Moon" by Murgan l.ewis Scale outline of "How Hígh 'D1c Moon" Tlle 'Minor 6 Diminished Seale' 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 The C6 diminishc:d sea le wirh chord voicings fur guirar

31 32

32 34 34

36

3X 38 44 45 46

46

48 49 50

50 52

59 60 60 60

TI1c e6 diminished scale in si ngle notes Guitar fingering for thc C6 diminished sea le The C6 díminishcd scalc in comrary rnotion

The C Minnr 6 Diminished Scale

e

Thc minor 6 diminished scale perfonned up and down Chords found oo the minor 6 dirninished sea le " Alone Togf;',ther" hy f)ietz-Schwartz "Body and Soul" by Green

e

'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 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 Usi ng the minor 6 dinúnlshed se ale on TT-V-I in G

e

e

60

60 60 60 60

62 62

62 62 62 62 64 64

66 66 66 68 68

Bascd on " Django" hy John Lewis Based on "Ifl Should Lose You" by Robin-Raingcr Based on "In Your Own Sweet Way" by n ave Brubcck

68 70 72 72

'Majar- minar- mi11or/6'

72

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

74 74 74 74

Foreworcl

79

'Borrowed Notes'

76

"SLraight, No Chnser" by Thelonious Monk Walking bass p;Hterns emphasizing the upbeat The whole rhytJun scction demonstrating Lhc prcvious rhyth ms Rhythrn lúghlighting the '2+' and tJ1c '4+' Rhythm highlighting the '1+' and the '4+' Using longer valucd tied nores in the walking bass line

80

82 82 82 82 82

C~S: V~ Foreword "You Must Believe Tn Spring" by Michcl Legrand Thc E diminished chord wilh applications t.o " Y.M.B. in S." Wurm-up exercises Application of thc wann-ups ro "Y.M.B. in S." Use of thc related dimin ished chord in thc 1st 4 bars of"Y.M.B. in S." "Billie's Bounce" by Charlie Parkcr

85 86 RR 88 92 92 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 improvisation; 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, everyLhing comes from scales, which requires that Lhey be practiced in a variety of ways. With thls in rnind, "The Basics" contains transcriptions of the musical examples covered in the corresponding section of the video. The transcriptions appear in sequence as they are introduced 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

(!~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 have played that as a horn player, is bccause Crn7 is the chord found on the 5th of the f7 scale (the 'important minor'), a.nd for that reason, only the F7 scale is rcquired for soloing 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. e) 4 note chords performed on each degree of the scale.

2

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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 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 the '5-4-3' phrases.

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C~ 2 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 the 3rd degrcc, then up the chord on the 3rd dcgree of the scale.

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e~z 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 scalc outline is performed. The scales on tl1c ' A' sections begin on thc '&' after beat 4. 2- 11) Improvisation based on the 1st 5 bars of the 'Rhythm' bridge.

42

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ANTHROPOLOGY

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