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1. The Barry Harris Approach To Improvised Lines Harmony Pdf Converter
2. The Barry Harris Approach To Improvised Lines Harmony Pdf Document
3. The Barry Harris Approach To Improvised Lines Harmony Pdf Files

The Barry Harris Approach to Improvised Lines & Harmony: An Introduction Written by Fiona Bicket. Printable PDF (eBook) Version. You don’t have to learn any fancy scales or play for years before you attempt this tutorial – you just need an open mind, and of course a piano or keyboard! Barry Harris Harmony and Harmonic Method for Guitar (Alan Kingstone) I don't even know what questions to ask; but I have been studying jazz a while now and I never heard anyone say 2-5 was obsolete. As a matter of fact almost everyone agrees you simply can't play jazz without tons of 2-5's with or without resolutions - maybe just lots of 2-5's. Buy The Barry Harris approach to improvised lines & harmony: An introduction Issue 1.0 by Bicket, Fiona (ISBN: ) from Amazon's Book Store. Everyday low prices and free delivery on eligible orders.

Sounds more like Pat Martino's approach.

I think Barry Harris, and everyone else really, incorporates into his
approach the fact that any diminished 7 chord actually *is* a Dom7b9
chord without a root, and in fact can be viewed as four different
ones. Thus, Bbo7, for example, is A7b9, C7b9, Eb7b9 and F#7b9 (each
without its respective root).

In harmonizing major and minor scales, the Barry Harris method uses,
for example, different inversions of the major sixth chord for
harmonizing a top note that is the root, third, the fifth and the
sixth. All the other scale tones (and one extra see below) are
harmonized with a diminished 7 chord having that note as the top
note. Because of the equivalence noted above, if, say you are
harmonizing Gmajor, you would harmonize the A note in the scale with
an A diminished 7 chord, but it would be functioning as a D7b9 chord,
i.e., a V7b9 chord. So when you play the scale this way ascending for
example, you are harmonizing with Imaj6 (G on top) then V7b9 (A on
top) then I maj6 (B on top), then V7b9 (C on top), etc. Of course you
need the extra note in the bebop major 6 scale to allow you to do this
all the way up. That is, your scale in this case includes the raised
fifth as well as the perfect fifth and major sixth.

The Barry Harris Approach To Improvised Lines Harmony Pdf Converter

Rick Stone has great articles on this, in which he describes it much
better than me, at his web site.

Here is the one concerning harmonizing using the major sixth. There
are two others relating to minor as well.

The Barry Harris Approach To Improvised Lines Harmony Pdf Document

The Barry Harris Approach To Improvised Lines Harmony Pdf Files

http://www.jazzand.com/Rick_Stone/Articles/JJG-2000%20May-Chordal%20Movement%20and%20the%206th%20Dim%20Scale.pdf