1 DVD & Workbook Included

Program Highlights

  • Rhythmic phrasing exercises
  • Warm-ups, chord and scale exercises
  • Application of the examples to many different jazz standards
  • How to use “Rubato” time
  • Using the chords to outline the harmony
  • Rhythmic tools that help the singer make it seem like they are “making up the song” as they sing it
  • All musical examples in the video are keyed for quick referencing in the workbook

About

This 84 minute instructional tool is packed with practical tips for vocalists at all levels. The ‘clinic’ setting allows you to join into the lesson. Key aspects of jazz singing including rhythm, scales and the ability to hear chord changes are covered in depth.

Led by jazz legend, Dr. Barry Harris, the video documents a small vocal class being instructed in rhythm, phrasing, vocal warm-ups, leading a rhythm section and outlining key harmonic progressions.

The accompanying 50 page workbook provides a transcription of the exercises and songs presented in the video along with additional explanations.

Recommended for all levels, the Barry Harris Vocal Workshop will stretch even the most experienced vocalist, not by teaching you neat tricks but by deepening your understanding of and appreciation for the jazz tradition.

About Barry Harris

About Barry Harris

b_harris_about“I guess you could say Barry Harris is one of the very last of the bebop purists that we have on piano. He is a living and brilliant extension of Bud Powell.”
Walter Bishop Jr.

“I’ve always thought that if Charlie Parker had played piano, he would sound exactly like Barry Harris. Or is it the other way around? In any case, Barry’s sense of time, motion and rhythm is absolutely impeccable.”
Benny Golson

“A list of Harris’ graduates reads like a Who’s Who of Jazz; among them are Paul Chambers, Curtis Fuller, Joe Henderson, Lonnie Hillyer, Yusef Lateef, Hugh Lawson, Kirk Lightsey, Charles McPherson, and Doug Watkins.”

“Harris’ (method) is unique in both its emphasis and detail, for it teaches students precisely how to transform the (basic theoretical) elements into credible phrases and focuses as much upon the creative processes of improvisation as upon its products, effectively clarifying the relationship between theory and performance practice in the jazz tradition.”

“Harris’ theory is an expansive generative method. It encourages musicians to create original phrases based, in part, on the cross-fertilization of rhythmic, melodic, and harmonic models embodied in the rules Harris promulgates.”

Excerpts from ‘Thinking in Jazz’, by Paul F. Berliner, University of Chicago Press 1994

Musician Testimonials

Musician Testimonials

“Barry’s Workshop Video is a valuable educational tool for anyone interested in the inner workings of modern jazz.”
Kenny Burrell

“A fine workshop for striving pianists and serious students who want to play modern harmonies in the style of Charlie Parker.”
Tommy Flanagan

“This package offers information that hasn’t been given before. It is a very practical and organized way of looking at chord movement applied to the areas of accompaniment, arranging and composition. An excellent orchestration tool.”
Jimmy Heath

“The Barry Harris Workshop Video is an outstanding educational package which provides a wealth of material for students, teachers and musicians alike.”
Jackie McLean

“Barry’s video will, without question, help anyone who is seriously interested in gaining a knowledge of the art of improvisation.”
Ed Thigpen

“A ray of sunlight in jazz educational products.”
Michael Weiss

“This effectively conceived instructional package puts the spotlight on master pianist Barry Harris…Harris’ lucid master class is enhanced by a clearly written ‘Workbook’ compiled by Howard Rees. Harris’ concepts are fully notated and keyed to the video for further enhancement. In all, there are invaluable ‘tools’ that serious-minded players and critics will return to time and again.”
Chuck Berg, JazzTimes Magazine

“…there is something of interest in this video for most everyone…the set is intended for [those] who are unable to personally study with a master jazz teacher. Warmly recommended.”
Shirley Klett, Cadence Magazine

Customer Testimonials

Customer Testimonials

“I just received mine about a week ago, and I am thrilled with it. I am fifty years old and a pro pianist, and (Barry) talks about and demonstrates an approach that for me is already changing my playing. I watched all the dvds through several times (which really helps to see his over-all approach) before I began using the dvds with the workbook. I am still on the first page of the workouts but I already have a very different perception and skill that is popping out.  This is one of the best investments I have ever made!!!!”

“If you are interested in bop purchase it.
Barry Harris is a great pianist and a great educator.”

“I’ve read every book I could find on bop (Levine, Baker, Coker etc) and even took some private lessons.  I managed to pick up some understanding and some skill for improv, but I was left with more questions than answers and after some years of playing I felt like I was in a rut.  Now this is where Barry walks in, takes me by the hand and says “Here is what you do”.

“The power of this video is Barry the teacher, he was there when bop was born, and it is evident when you watch him teaching and playing that he knows exactly what this is all about, and he knows exactly how to pass what he knows on to you. Working with this less than two weeks, the exciting part has been watching how much is already creeping into my playing. I am climbing out of old perspectives and into new ones.  This video was the grail I had been looking for !!! If you even have the thought that this method sounds interesting, don’t hesitate, “Buy It “.

Hi Howard,
“I got all the materials in the mail several days ago.  They are excellent.  I have been studying these methods for some time using the information from your articles and whatever else I could find on the web.  These videos really fill in the gaps of my knowledge.”

“I guess you could say Barry Harris is one of the very last of the bebop purists that we have on piano. He is a living and brilliant extension of Bud Powell.”
Walter Bishop Jr.

“I’ve always thought that if Charlie Parker had played piano, he would sound exactly like Barry Harris. Or is it the other way around? In any case, Barry’s sense of time, motion and rhythm is absolutely impeccable.”
Benny Golson

“A list of Harris’ graduates reads like a Who’s Who of Jazz; among them are Paul Chambers, Curtis Fuller, Joe Henderson, Lonnie Hillyer, Yusef Lateef, Hugh Lawson, Kirk Lightsey, Charles McPherson, and Doug Watkins.”

“Harris’ (method) is unique in both its emphasis and detail, for it teaches students precisely how to transform the (basic theoretical) elements into credible phrases and focuses as much upon the creative processes of improvisation as upon its products, effectively clarifying the relationship between theory and performance practice in the jazz tradition.”

“Harris’ theory is an expansive generative method. It encourages musicians to create original phrases based, in part, on the cross-fertilization of rhythmic, melodic, and harmonic models embodied in the rules Harris promulgates.”

Excerpts from ‘Thinking in Jazz’, by Paul F. Berliner, University of Chicago Press 1994

Table of Contents

TOC - Acknowledgements, Part 1

Acknowledgements
Introduction
Foreword by Barry Harris

Part 1: Singers are Rhythm Instruments First

  • Foreword
  • ‘+’s or Upbeats
  • ‘6’
  • “Never Let Me Go” by J. Livingston & R. Evans
  • “Dearly Beloved” by J. Kern/J. Mercer

TOC - Part 2

Part 2: Warm-ups & Scales

  • Foreword
  • The Bb Major Arpeggio
  • Intervals on The Bb Major Scale
  • The Bb Minor Arpeggio
  • The Bb Harmonic Minor Scale
  • The Bb Whole Tone Scale
  • “You Go To My Head” (excerpt) by J. Cotts, and Whole Tone Scale Application
  • “A Beautiful Friendship” (excerpt) by D. Kahn & S. Styne
  • Whole Tone Scale Applications to “A Beautiful Friendship”
  • “S’Wonderful” (excerpt) by G. & I. Gershwin
  • Diminished Chord Applications to “’SWonderful”
  • The Bb Major, Augmented, Minor & Diminished Triads
  • The Bb Major, Augmented, Minor & Diminished Arpeggios

TOC - Part 3

Part 3: Putting the Scales to Work

  • Foreword
  • “I Understand” by K. Gannon/M. Wayne
  • The Diminished Scale Applied as an Ending to “I Understand”
  • The B Diminished Chord Applied as an Ending to “I Understand”
  • The Whole Tone Scale Applied as an Ending to “I Understand”
  • The Chromatic Scale Applied as an Ending to “I Understand”
  • Augmented Arpeggios Applied as an Ending to “I Understand”

TOC - Part 4, Part 5

Part 4: Rubato – ‘out of time’

  • Foreword
  • “Lush Life” (verse) by B. Strayhorn

Part 5: Suggesting the Harmony

  • Foreword
  • Combine a Melodic Phrase and a Scale to Outline the Harmony
  • “When Sunny Gets Blue” (excerpt) by Fisher & Segal
  • II minor7 Moving to the IV minor7 in ‘W. S. G. B.’
  • ‘I Will Not Change The Song’
  • “Here’s That Rainy Day” by J. van Heusen & J. Burke
  • ‘Turnback’ or ‘Turnaround’ Ideas Applied to ‘H.T.R.D.’
  • ‘2-4-3′ Applied to “Here’s That Rainy Day”
  • “Time Was” (excerpt) by M. Prado
  • Barry’s Solo on the 1st Half of “Time Was”
  • ‘Turnbacks’ in the Key of G
  • ‘Turnbacks’ Applied as Endings

Appendix A: About Barry Harris
Appendix B: About Jazzworkshop Productions