4 DVDs & Workbook Included

“I have such a ball in my classes, and I learn so much from my students. They probably don’t realize that I come to school here, too. I’m just the oldest member of the class. I just wish everyone could experience the blessing of learning new things all the time.” Barry Harris

About

This professionally produced product comprises over 4 hours of video and includes a 112 page workbook. It is the successful culmination of a two year project to document for the first time, the legendary teachings of Barry Harris. The following areas are highlighted, each presented in a ‘clinic’ setting:
The ABC’s of the jazz vocabulary

The opening section features an in-depth examination of scales and deals with the topic of both what and how to practice. Approx. 60 mins.
Application of the above to key song forms

Presented here are methods of turning scales into unlimited sources of improvisational ideas- applied to the blues, rhythm changes, Cherokee, Indiana and How High The Moon. Approx. 60 mins.
Movable Chords for the piano and guitar

Barry’s unique approach to chord voicing and movement is outlined here demonstrated on several standards. Approx. 45 mins.
Focus on the Rhythm Section

Here, accompaniment is addressed, along with the function and interaction of each instrument in the rhythm section. Approx. 45 mins.
Vocalizing

Key points for the vocalist including warm-ups, phrasing, breathing, improvising and presentation are demonstrated and applied to a beautiful ballad. Approx. 45 mins.

About Barry Harris

“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

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

“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

Acknowledgements

  • Acknowledgements
  • Dedication
  • Introduction
  • Foreword by Barry Harris

Chapter 1

Chapter 1: The Basics

  • Foreword
  • Scale practice or “the ABC’s”
  • Expanatory Notes
  • The Harris Half-Step Practice Model
  • The Dominant 7th Scale Half-Step Rules
  • The Major Scale Half-Step Rules
  • The Minor Scale Half-Step Rules
  • Chromatic Scale Breakdown Chart
  • The Diminished Chord and its 4 ‘Related’ Dominant 7ths
  • The Diminished Scale
  • Related Dominant 7th Scales = Chord Movements
  • The Minor7 Flat5 Chord
  • The ‘5-4-3-2’ Phrases
  • ‘5-4-3-2’ on the Major Scale
  • ‘5-4-3-2’ on the Dominant 7th Scale
  • ‘5-4-3-2’ on the Minor Scale

Chapter 2

Chapter 2: Applications

  • Foreword
  • “Back Home In Indiana” by MacDonald/Hanley
  • Scale Outline of (Back Home In) “Indiana”
  • Scale Outline of ‘The Blues’ in C
  • A Typical ‘Blues’ Progression
  • Application of Scale Ideas to ‘The Blues’
  • The ‘Related Diminished Chord’
  • ‘Rhythm Changes’
  • Scale Outline of ‘Rhythm Changes’
  • The ‘Important Minor’
  • Application of Scale Ideas to ‘Rhythm Changes’
  • “Anthropology” by Charlie Parker
  • “Cherokee” by Ray Noble
  • Scale Outline of the “Cherokee” Bridge
  • Application of Scale Ideas to the “Cherokee” Bridge
  • “How High The Moon” by Morgan Lewis
  • Scale Outline of “How High The Moon”
  • The ‘Minor 6 Diminished Scale’
  • Scale Practice on the G Minor 6 Diminished Scale
  • Application of Scale Ideas to “How High The Moon”

Chapter 3

Chapter 3: Moveable Chords for Piano and Guitar

  • Foreword
  • The C6 Diminished Scale
  • The C6 Diminished Scale with Chord Voicings for Piano
  • The C6 Diminished Scale with Chord Voicings for Guitar
  • The C6 Diminished Scale in Single Notes
  • Guitar Fingering for the C6 Diminished Scale
  • The C6 Diminished Scale in Contrary Motion
  • The C Minor 6 Diminished Scale
  • The C Minor 6 Diminished Scale Performed Up and Down
  • Chords Found on the C Minor 6 Diminished Scale
  • “Alone Together” by Dietz/Schwartz
  • “Body and Soul” by Green
  • ‘The Tritone’s Minor’
  • Re-thinking the m7 and the m7b5 Chords
  • Moving Am7 on the C6 Diminished Scale
  • Moving a Voicing Through the C Major Scale
  • Moving a Voicing Through the C6 Diminished Scale
  • The 6 Diminished Scale Contains Two Dominant 7th Chords
  • Ending a Tune with Movements on the 6 Diminished Scale
  • Extending the Previous Idea Through 4 Keys
  • Using the C6 Diminished Scale on II-V-I in G Major
  • Using the C Minor 6 Diminished Scale on II-V-I in G
  • ‘Borrowed Notes’
  • Based on “Django” by John Lewis
  • Based on “If I Should Lose You” by Robin/Rainger
  • Based on “In Your Own Sweet Way” by Dave Brubeck
  • ‘Major – Minor – Minor/6’
  • Applied to “Stella by Starlight” by Young/Washington
  • Applied to “Like Someone In Love” by van Heusen/Burke
  • Applied to “I Remember You” by Schertzinger/Mercer
  • Applied to “Stella by Starlight” with Guitar Voicings
  • The 4 Related Dominant 7ths Used as V7 Substitutions

Chapter 4

Chapter 4: The Rhythm Section

  • Foreword
  • “Straight, No Chaser” by Thelonious Monk
  • Walking Bass Patterns Emphasizing the Upbeat
  • The Whole Rhythm Section Demonstrating the Previous Rhythms
  • Rhythm Highlighting the ‘2+’ and the ‘4+’
  • Rhythm Highlighting the ‘1+’ and the ‘4+’
  • Using Longer Valued Tied Notes in the Walking Bass Line

Chapter 5

Chapter 5: Vocalizing

  • Foreword
  • “You Must Believe In Spring” by Michel Legrand
  • The E Diminished Chord with Applications to “Y.M.B. in S.”
  • Warm-up Exercises
  • Application of the Warm-ups to “Y.M.B. in S.”
  • Use of the Related Diminished Chord in the 1st 4 Bars of “Y.M.B. in S.”
  • “Billie’s Bounce” by Charlie Parker

Appendix

  • Appendix A: Discography
  • Appendix B: Anecdotes
  • About Barry Harris
  • About Howard Rees