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Barry Harris is one of the legendary teachers in jazz. He's a source from which the river flows.
Inasmuch as I believe you go to the river because the river doesn't come to you, well, that means
only good things happen in a visit to Barry Harris land.
[]
[http://3.bp.blogspot.com/VOr2uHXyJc4/Uh8CVJWEeSI/AAAAAAAAAZ0/nOmn1GHovw8/s1600/Screen+Shot+2013-08-29+at+09.11.11.png]
[http://1.bp.blogspot.com/RCcNj_Bfwfg/Uh8GYZGq3RI/AAAAAAAAAaA/AqJ5dP8jJQc/s1600/Screen+Shot+2013-08-29+at+09.28.49.png]
Like this
[http://2.bp.blogspot.com/cF4yS_xsSoU/Uh8KJsXhtoI/AAAAAAAAAac/O0J0P8fNSJ0/s1600/Screen+Shot+2013-08-29+at+09.44.53.png]
[http://3.bp.blogspot.com/-7Pc8toO8fUY/Uh8LqDU63BI/AAAAAAAAAao/n-ybvafcIuU/s1600/Screen+Shot+2013-0829+at+09.50.00.png]
The diminished 7th chord becomes more and more prominent in each successive example.
When improvising over a C6 with the Barry Harris scale we can focus on the C6 chord that's in the
scale and use the other notes as passing dissonances or approach notes or whatever and however
they get used in common practice.
Or, we can emphasise the diminished 7 chord because it is right there in the scale. In that case
the notes in the C6 chord becomes the in-between notes - the approach and the passing notes.
The diminished 7 chord, with this kind of emphasis, will want to resolve somehow somewhere.
his
very
famous
(infamous?)
very
influential
Theory
of
Harmony
the
so-called "inventor" of the 12-tone row, the teacher of Alban Berg, Anton Webern, and John Cage,
and
the
polemical
composer
who
gave
the
(in)famous
"boiling
water"
speech
[http://www.youtube.com/watch?v=PSK8hfQ3iw4] - explains diminished 7th chords as dominant 7th chords
with a b9. The thing about a diminished 7th chord as really being a dominant 7th chord with a b9
is that works. For sure. But to believe it you have to take for granted the simple fact that the root
is missing!
[http://books.google.co.uk/books/about/Theory_of_Harmony.html?id=5Y5MyjbU87oC] , Arnold Schoenberg -
In other words, G7b9 is G B D F Ab and B diminished 7 is B D F Ab. You can see - the diminished
7th chord is almost the same as the dominant 7 chord with the b9. The only difference is the
diminished 7th chord doesn't have the root note (G).
What's Next?
More about the Barry Harris system in Barry Harris - Part 2 [http://www.polishookstudio.com/2013/08/barryharris-part-2.html] .
Posted 29th August 2013 by Mark Polishook
Labels: Barry Harris, concept, style, theory
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