300306668-Barry-Harris-Jazz-Workshop.pdf - Download as PDF File (.pdf), Text File (.txt) or read online. Barry harris teaching schedule concert schedule jazz information jazz theory bebop jazz. Jazz Workshop Classes and Schedule. Location: 244 Rehearsal Studios, NY.

Your look the wonderful panorama of the harbor station, the port and the sea. You can walk through the cozy Primorskiy boulevard, where are located the City Council, the palace of Count Vorontsov with a colonnade, a monument to Duke de Richelieu and the famous Potemkin Steps, which is the main entrance of the Primorskiy Boulevard from the sea.

Here are some starting points for seeing the relationships between 6th voicings and their functional equivalents: a) For major 7th chords, play the major 6th chord whose root is the fifth degree of the major scale. B) One approach to a dominant 7th voicing is to play the minor sixth chord on the fifth degree of the dominant. C) Another dominant 7th approach is to use the minor 6th chord whose root is one-half step up from the root of the dominant. D) Minor 7th chords are just inversions of major 6th chords, so this combination is natural.

E) The same goes for minor 7 flat 5 and minor 6th chords. With the latter two examples, thinking in terms of 6th voicings opens up the possibility of moving voicings along a corresponding major or minor 6 diminished scale and then resolving to the next chord, rather than to simply hold a static voicing. As we discussed in Examples 2 and 4, dominant 7ths derived from the same diminished 7th can be used as substitutions for each other. Here is B flat 7 resolving to E flat maj7, and voiced with three substitutions over a shell voicing in the left hand: a) an E7 resolving to a B flat 6 voicing over the E flat maj7, b) a G7 resolving to another inversion of the B flat 6, and c) a D flat 7 resolving to yet another B flat 6 inversion. Where are the chord symbols, you ask? We could include them as they appear with alerations in Example 4, but Barry wants you to focus on the basic structure of the voicings. As we’ll see momentarily, this makes them easier to move along a scale.

This is another approach to resolving borrowed tones. In the first bar, the E and C sharp are borrowed from the diminished 7th chord of the F major 6 diminished scale; they resolve down to the Fm6. The progression continues in a similar manner until the last bar, where something interesting occurs: What seems at first glance to be a straight-ahead major 9th voicing actually contains three notes borrowed from the A flat major 6 diminished scale (G and B flat). Rather than being static, these notes are unstable in the context of a major 6 diminished scale and can resolve down to the chord tones of an A flat 6.