• Barry Harris Workshop Pdf

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Hey guys,I have this little trick I picked up somewhere along the way that I use quite a bit. It's hitting one diminished chord (either as a passing chord, or as a 7b9 version of a V chord) and then sliding it up quickly in m3rds before the next chord. It's nice, it adds movement and color, and tension - people do it all the time, I'm sure you're familiar with it. But lately I've been learning about the diminished 6 scale from Barry Harris stuff on youtube, and I'm going at it slowly on piano.

But with my guitar ability being much quicker and easier for me to see chords, I'm wondering if someone could explain how that relates to this specific jazz guitar sliding diminished chords technique. Is it essentially putting a M6 chord based off a whole tone below in between each dim chord slide that would result in these Barry Harris 'movements'? Like for instance, lets say my progression is typically C∆7 - Dm7. I would maybe do some passing chord slide things in there, in the right point of a song - so my real progression would be something like C∆7 - C#dim (invert twice in a row maybe) - Edim - Gdim then an inversion of a Dm7 close by like Dm7/A (2nd inversion). Would 'Barry Harris-ing' that be just, peppering in a BM6 chord and it's equivelent inversions right behind the Diminished chord hit? So for instance the progression could becomeC∆7 - C#dim - BM6/D# (1st Inversion) - Edim - BM6/F# (2nd Inversion) - Gdim - Dm7/A?Am I on the right track with my understanding of these 'movements' and how to use them in a progression?Thanks!Also any examples you like of this kinda thing in songs are appreciated. Even in R&B, pop, soul, hip hop, jazz whatever genre you've heard it in.

Barry Harris Workshop Pdf

My understanding of the Barry Harris thing is that you're playing alternating inversions of a major 6th chord, and a dim7th chord, by harmonizing a C major bebop scale (C D E F G G# A B C).To start, find all four inversions of Cmaj6 on the same set of four strings, you can play a dim7th inversion off the remaining notes of the scale (D F G# B). The resulting dim7th chords do following the standard min3 inversion pattern you're talking about, because they are essentially the same chord. More or less a rootless G7b9.An example on the top four strings, starting in first position and ascending a whole octave, would be: EACG, FBDG#, GCEA, G#DFB, AEGC, BFG#D, CGAE, DG#BF, EACG.If you examine any one of those notes in each voicing from one to the next, you will see it progresses through a Cmaj bebop scale. You will also see that the diminished chords invert a min3 apart.The result is an alternating Cmaj6, G7b9, Cmja6, G7b9, etc. Essentially repeated tension and release over the I chord. I use it over any static I major situation. Great for intros and endings or to play a quick chord 'scale' type run during a chord melody.​edit: you can hear an example and reasonable explanation here:Example starts at 2:30.