After the chromatic, come 2 whole tone scales. Man (2.) and woman (3.) are the 2 whole tone scales. God created the world and our world is the chromatic scale (1.), and that s 12, which is like the twelve disciples, 1 and 2 is 3 and that equals the trinity, and then after God created the world, do you know what happened? He looked around and he said - oh this is beautiful, but I m still lonely - so you know what he made next, woman and man. The chromatic is God creating the earth, creating the world. It follows a pattern, it starts off very simply, it starts off with the chromatic. Barry explains clearly how chords are related 1 and often refers to this metaphor. Below, is a fragment of Barry Harris' workshop from 2003 in The Hague recorded and written out by Howard Rees. To get deeper into the harmonic possibilities, you have to start with the basics. The main question of my research is the following: How can the transcriptions I made of Barry Harris' workshops and recordings be incorporated in my playing, in order to develop myself in a Bebop style? "4ĥ Harmony Fragment of Barry Harris' workshop in 2003 Barry Harris believes chords come from scales. In the second part of the Master Program, I organized the transcribed material, practiced it and tried to apply it to songs to make it my own and to fully understand and master the principle of Barry's method. This work resulted in over 35 pages of transcribed material. Especially the second DVD box is very interesting and goes a lot deeper into the material then the workshops I saw in The Hague or on Youtube. Furthermore, I transcribed several solo's of Barry Harris.
The barry harris harmonic method for guitar download plus#
From a friend, I borrowed these DVD's and during the Master Program I transcribed all of them plus the video's I found on the website of Frans Elsen. He recorded these video's during workshops that Barry gave at the Royal Conservatory of The Hague between 1989 and Besides that, Canadian pianist Howard Rees collaborated with Barry Harris and released 2 DVD boxes that contain 8 discs with over 8 hours of lessons per disc and books of workshop video's, nicknamed by pianist Tommy Flanagan as 'the Bebop Bible'. Recently, a website was dedicated to good friend of Barry and former teacher at the Royal Conservatory of the Hague, Frans Elsen on This website contains 54 videos, varying in length from about 2 minutes to 45 minutes per video, stemming from Frans' personal collection. Three years ago, I participated in his 3-day workshop in The Hague and got introduced to his approach to jazz harmony the diminished chord and its relationship to the twelve keys. Barry Harris is a piano player from the bebop era and besides that a great educator, who still travels the world at the age of 84 to teach vocalists and instrumentalists about Jazz. In this report I want to show you some of the important things I learned from Barry Harris, all related to one important chord: the diminished.
"3Ĥ In short, this paper is a reflection of Barry Harris' method, written in my own words and applied to my playing. I strongly believe that I not only gained a lot of knowledge, concerning harmonic, rhythmic and technical skills from it, but that it is valuable for others as well. Art Kane, Harlem 1958 Before starting this research, I found my harmonic knowledge a bit shallow and my technique and improvisational lines could be improved as well. Since then I've been reading books about Charlie Parker, Lee Konitz and Lennie Tristano and watching documentaries about these musicians, amongst others such as Thelonious Monk, Pannonica Koeningswarter (who is not a musician but a very inspiring lady), Barry Harris, etc. In the summer of 2012, I read a book about the life and music of pianist Bud Powell and developed a great sense of respect for him, his type of music and the era in which bebop was rising. Reading that, I figured I needed to get deeper into that style as well if I ever wanted to be as good as those guys. Charlie Parker Most of the modern jazz pianists I like, say that their roots are in bebop and that bebop is the foundation on which modern jazz was built. And then, when you finally get up there on the bandstand, forget all that and just wail. 3 Introduction You've got to learn your instrument.
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