Barry Harris conducts the workshops in a very unique fashion that allows everyone to participate and learn. The itinerary varies from week to week. Harris will pick a tune and explain the harmonic chord movements and have the students play through the various scales. Larry Ridley, Barry Harris, Jim Harrison, and Frank Fuentes were partners in creating the Jazz Cultural Theater beginning 1982. Located at 368 Eighth Avenue in New York City in a storefront between 28th and 29th Streets in Manhattan, it was primarily a performance venue featuring prominent jazz artists and also hosted jam sessions. The most basic jazz guitar chord voicings are called Drop 2 and Drop 3. These were used by guitarists like Wes Montgomery, Joe Pass, and countless others. This lesson will teach you a straightforward way to learn 96 jazz guitar chords using a small handful of drop 2 and drop 3 voicings. Drop 2 Challenge! Chords From Three Scales Intro to Bossa Nova Comping Uncommon Uses of Common Create Harmonic Movement Walking and Chromatic Chords Voice Leading Tutorial Big Five: Chords Warm Up Barry Galbraith Comping Studies Barry Harris Harmony Primer. One final thought. Notice over the A sections of the solo Barry tends to use more of a modal/scalar approach to the tune and he mixes some bebop in. Since the B and C sections of the tune use more traditional bebop based 2 5 1 chord changes Barry tends to focus his improvisation style more in.
I’ve listened to the famous recording by the Bill Evans trio of Autumn leaves from 1959 on Portraits in Jazz for many years. Scott LaFaro on bass, Paul Motian on drums. But recently I discovered video of live performances from 1966 with a different Evans trio (Eddie Gomez on bass) using the same arrangement. It’s interesting to see which parts remained the same and which parts evolved.
Barry Harris Drops 2 5 1 Tutorials
My sketch transcription (which means I am not claiming 100% accuracy and it is only meant to be good enough for me to use as a starting point with my trio) is shown below. For me, the interesting parts are:
- The solo piano intro has 5 against 4 in bars 5-7 in all versions I can find.
- In the original recording Bill plays most of the tune. In the later videos, he seems more interested in playing block chords.
- There is a lot of drop-2 voicing used, where the second voice from the top of a close position voicing is dropped down an octave. But at bar 24, Bill seems to be playing drop-3.
- Bar 15 is standard drop-2 voicing within what Barry Harris calls the G-6/dim scale resulting in either G-6 or F#o7 chords.
- Bar 13: how come the chord is D7b9 and the melody has an E natural. Well, I suppose we should think the scale at this point is G-6/F#dim7 scale and that has both Eb and E natural, as Bill demonstrates in bar 14.
- Bar 26 has left hand rolls to connect the block chords.
- Bar 28-29 is just G-6/dim scale harmony again, rather than the common chords often used G-7 C7 F-7 Bb7.
- From bar 30 and through the coda, he uses upper structure voicings where triad shapes are used over the 3rd and 7th tritones that represent the dominant chords.
Barry Harris Drops 2 5 1 Tutorial Download
Here is a video of me playing the last eight bars (from C) from memory (so might not be identical).