Barry HarrisThe method

Learn with Chris Parks · Volume XII of XIII

12Tunes: the blues, rhythm changes and standards

The tunes Chris uses as vehicles, each broken down into scale outlines, movements and comping with the scales of chords.

Show
Map of this module what each idea builds on
The tunes you have to k…The blues the Barry wayThe most recognisable b…Blues comping with the …Minor bluesMinor blues with only m…Rhythm changesComping I Got Rhythm di…CherokeeDonna Lee / IndianaHow High the Moon / Orn…A Night in TunisiaYesterdaysAll the Things You AreStar EyesWhat Is This Thing Call…Autumn LeavesBody and SoulGiant Steps scalesLady Bird turnbackBorrowingChord melody with the s…Least movement: find th…Comping with movementSoloing with the dimini…Drop 2, drop 3 and drop…A half-diminished means…The important minorA beautiful movement we…Minor ii-V-i as three m…The minor 6 diminished …The minor 6 on the fift…Be a movement playerI to the VI dominant1-2-3-5 on short chordsRun one chord into the …Scale outlinesSix on the fifth: two s…Sixth chords rule: mino…Three, flat three, twoThe tritoneThe whole-tone scale
Ideas in this module 20
  1. 1The tunes you have to know
  2. 2The blues the Barry way
  3. 3The most recognisable blues turnaround
  4. 4Blues comping with the four scales of chords
  5. 5Minor blues
  6. 6Minor blues with only minor sixes
  7. 7Rhythm changes
  8. 8Comping I Got Rhythm differently
  9. 9Cherokee
  10. 10Donna Lee / Indiana
  11. 11How High the Moon / Ornithology
  12. 12A Night in Tunisia
  13. 13Yesterdays
  14. 14All the Things You Are
  15. 15Star Eyes
  16. 16What Is This Thing Called Love / Hot House
  17. 17Autumn Leaves
  18. 18Body and Soul
  19. 19Giant Steps scales
  20. 20Lady Bird turnback

Idea 1 of 20

The tunes you have to know

The old musicians said that to play this music you must know the blues, I Got Rhythm and a ballad like Body and Soul; Chris adds Cherokee. Barry considers standards perfect vehicles for soloing, which is why Bird, Dizzy and Coltrane used them.

Builds onScale outlines

Barry’s own pages12.2 Know the song; learn many songs; find your key13.3 Standards worked in class

More on this 3 moments where Chris teaches it

Also called standards as vehicles

Where Chris teaches it

  1. 6:22Scales on the blues · Episode 1
    Blues, I Got Rhythm and a ballad like Body and Soul.
  2. 0:00Scales for Cherokee · Episode 8
    The one left out: Cherokee.
  3. 15:43Playing the movement from major to relative minor · Episode 34
    Standards are perfect vehicles for soloing.

Idea 2 of 20

The blues the Barry way

The blues comes first, because its changes are in every other song. Barry’s outline for a B flat blues is B flat 7 up, E flat 7 up, B flat 7 up and down for bars 1 to 4, E flat 7 up and down for bars 5 and 6, B flat major down to the third of G for bars 7 and 8 (major, not dominant, as Bird and Bud play it), then F7 and the turnaround. Even the first two bars can be played many ways, such as running B flat 7 into E flat 7, I to the raised IV diminished, the tritone E7, the Blues for Alice changes or Barry’s chain of dominants a fourth apart, and you can imply these in a solo without telling the band.

Practise it: Play the outline in time in C, F and B flat, then take one short section, such as the first two or four bars, and practise each movement and substitute, connecting the scales with notes in common and notes that surround.

Line
𝄞♭♭
C4C5DEFB♭E♭
  1. B♭
  2. D
  3. E♭
  4. E
  5. F
Line
𝄞♭♭♭
C4FGC5G♭A♭B♭
  1. B♭
  2. A♭
  3. G
  4. G♭
  5. F

Builds onScale outlinesBe a movement playerThe tritone

Barry’s own pages13.1 The blues the Barry way4.4 Scale outlines10.2 First progressions to know8.5 The tritone

More on this 35 moments where Chris teaches it

Also called The first four bars of the blues, The blues, Don’t be bored of the blues, Barry Harris blues outline, Blues for Alice changes, Barry’s dominant chain, blues in C, first four bars of the blues, jazz blues, the first two bars of the blues

Where Chris teaches it

  1. 0:36Scales on the blues · Episode 1
    The scales for a blues in C.
  2. 12:12Half-step rules on the dominant scale · Episode 5
    Half-step rules on bars 3 and 4 of an F blues.
  3. 1:12Movements in the first four bars of the blues · Episode 7
    The plain movement: phrases on C7, F7, C7.
  4. 8:14Movements in the first four bars of the blues · Episode 7
    Third in the bass, then from F7 moving in fourths: F7, B flat 7, E flat 7, A flat 7, D flat 7, F sharp 7, back to F.
  5. 10:56Movements in the first four bars of the blues · Episode 7
    Recap of all the first-four-bar movements; practise them in C, F and B flat.
  6. 0:04Playing the blues with Barry’s chromatic scale and pivots · Episode 48
    First bars of a B flat blues: B flat 7 scale, E flat 7 scale.
  7. 0:38Don’t Think 2-5, Just Think 5 · Episode 57
    Bars 3 and 4 of an F blues: C minor to F7, thought as F7.
  8. 0:38Middle of a blues: bars 5 to 8 · Episode 58
    Bars 5-8 in C: F7, then C major down to the third of A.
  9. 1:10Middle of a blues: bars 5 to 8 · Episode 58
    Bird, Bud and the masters play a major there, not a dominant.
  10. 6:10Middle of a blues: bars 5 to 8 · Episode 58
    Other changes people play in bars 7-8, such as I to II7 to III to VI.
  11. 12:36Middle of a blues: bars 5 to 8 · Episode 58
    To learn jazz know a blues, rhythm changes and some ballads.
  12. 0:33Starting a solo from any note · Episode 76
    Barry’s phrase on a spot in Chi Chi, a blues in A flat, in his online class.
  13. 1:38Starting a solo from any note · Episode 76
    Starting B flat blues lines from every degree.
  14. 2:04Don’t Think C9 · Episode 81
    Blues in C comped with G minor 6 and C minor 6 instead of C9 and F9
  15. 0:35Don’t Be Bored of the Blues · Episode 91
    Making Bb7 run into Eb7 as one thing
  16. 3:02Don’t Be Bored of the Blues · Episode 91
    Barry’s bass line: Bb, D, Eb, E, F (Bb7 over D, Eb6 or Eb7, E diminished, F)
  17. 4:36Don’t Be Bored of the Blues · Episode 91
    Bb major straight to Bb diminished
  18. 6:34Don’t Be Bored of the Blues · Episode 91
    Bb major to Bb minor, and Bb to F7 like a 2-5
  19. 9:34Don’t Be Bored of the Blues · Episode 91
    Barry’s method is a mirror: how many ways can I play Bb to Eb7?
  20. 11:32Don’t Be Bored of the Blues · Episode 91
    The masters leave no filler in the first two bars
  21. 0:00Scales on the blues revisited, with tritones · Episode 100
    Episode 100 revisits the blues scale outline from episode 1
  22. 5:18Scales on the blues revisited, with tritones · Episode 100
    Bars 5-6 as F major to F minor (Bb7 scale), heard in Bird blues
  23. 9:00Scales on the blues revisited, with tritones · Episode 100
    Soloing with every substitution in the outline
  24. 0:00You’ve never played this on a blues · Episode 124
    B-flat 7, E-flat 7, B-flat 7 for the first four bars.
  25. 0:37You’ve never played this on a blues · Episode 124
    E-flat 7 up and down, B-flat major up and down to the third of G, F7 up and down, B-flat up, F7 up.
  26. 4:28Think small, not big: F6, F7, B flat 6, B diminished · Episode 135
    In F the Barry outline starts F7 up, B-flat 7 up; the F6 F7 Bb6 B diminished movement fits there.
  27. 5:16A beautiful Sonny Rollins idea: surrounds in thirds · Episode 149
    The Sonny Rollins surround phrase on a blues
  28. 1:06Ways to play the first four bars of the blues · Episode 160
    The standard outline: Bb7 up, Eb7 up, Bb7 up and down
  29. 2:46Ways to play the first four bars of the blues · Episode 160
    Tritone variants using E7
  30. 4:28Ways to play the first four bars of the blues · Episode 160
    Blues for Alice: Bb major up, F7 down to the 3rd of D, G minor 6 up, Bb7 up
  31. 5:35Ways to play the first four bars of the blues · Episode 160
    No need to warn the band; they will move with you
  32. 6:08Ways to play the first four bars of the blues · Episode 160
    Bb7 up, then 1-2-3-5-6 of Eb6, then E diminished
  33. 7:13Ways to play the first four bars of the blues · Episode 160
    The bass line Bb, Ab, G, Gb, F implies Bb7, Eb6, Eb minor 6
  34. 8:21Ways to play the first four bars of the blues · Episode 160
    Barry’s chain, two beats each: Eb7 Ab7, Db7 Gb7, B7 E7, back to Eb7, with 1-2-3-5 of each
  35. 10:04Ways to play the first four bars of the blues · Episode 160
    Learn a blues, I Got Rhythm and a ballad and you cover much of the foundation

Idea 3 of 20

The most recognisable blues turnaround

The common guitar turnaround riff in A is really a chord movement: A7, then three notes move down to a diminished and then to D minor 6 while A stays on top. Barry named it in passing in class; Chris shows it in every inversion and then as single-note lines.

Practise it: Play the movement with the root, flat seventh, fifth and third as the held voice, then improvise single-note lines through it.

Builds onThe blues the Barry wayThe minor 6 diminished scale

Barry’s own pages13.1 The blues the Barry way10.2 First progressions to know

More on this 8 moments where Chris teaches it

Also called the blues riff, A7, diminished, D minor 6 over a held A

Where Chris teaches it

  1. 0:04The most famous blues turnaround explained · Episode 49
    The riff guitarists play on blues turnarounds.
  2. 0:44The most famous blues turnaround explained · Episode 49
    Barry called out what the riff really was in class.
  3. 1:18The most famous blues turnaround explained · Episode 49
    In A: A7, then a diminished, then D minor 6, with A held constant.
  4. 2:34The most famous blues turnaround explained · Episode 49
    Inverted, from the seventh.
  5. 3:48The most famous blues turnaround explained · Episode 49
    From the fifth.
  6. 4:28The most famous blues turnaround explained · Episode 49
    From the third, with A on the G string.
  7. 5:38The most famous blues turnaround explained · Episode 49
    Players later reduced it to two moving notes; it comes from this fuller movement.
  8. 6:13The most famous blues turnaround explained · Episode 49
    As single-note lines from root position and the inversions.

Idea 4 of 20

Blues comping with the four scales of chords

On a B flat blues the usual guitar chords are really minor 6 chords (B flat 9 = F minor 6, E flat 9 = B flat minor 6), so comping becomes small movements between scales of chords: F minor 6 to B minor 6 to B flat minor 6, B flat 7 flat 5 to E flat 7, E diminished back to B flat 6. Comping like this needs no planning and makes a soloist sound better.

Practise it: Learn each movement in every drop 2 inversion on four adjacent strings.

Builds onThe blues the Barry wayThe minor 6 on the fifth: don’t think C9Least movement: find the closest voicing

Barry’s own pages11.6 Comping13.1 The blues the Barry way9.8 The 7th diminished and 7th flat 5 diminished scales

More on this 9 moments where Chris teaches it

Where Chris teaches it

  1. 0:41Blues Comping Using All 4 Scales of Chords · Episode 71
    The B flat 9 is F minor 6.
  2. 1:20Blues Comping Using All 4 Scales of Chords · Episode 71
    The E flat 9 is B flat minor 6, so the first bars are F minor 6 to B flat minor 6.
  3. 2:38Blues Comping Using All 4 Scales of Chords · Episode 71
    F minor 6 to B minor 6 (B flat 7’s tritone) to B flat minor 6.
  4. 4:44Blues Comping Using All 4 Scales of Chords · Episode 71
    B flat 7 into B minor 6 in every inversion.
  5. 6:39Blues Comping Using All 4 Scales of Chords · Episode 71
    B flat 7 flat 5 to plain E flat 7.
  6. 7:18Blues Comping Using All 4 Scales of Chords · Episode 71
    E diminished after E flat 7 back to B flat 6.
  7. 9:09Blues Comping Using All 4 Scales of Chords · Episode 71
    E7 to B flat minor 6.
  8. 11:04Blues Comping Using All 4 Scales of Chords · Episode 71
    Ways from B flat 6 to the IV: via B flat 7, E7, F minor 6 or B flat minor 6.
  9. 11:43Blues Comping Using All 4 Scales of Chords · Episode 71
    With a soloist you don’t plan; these movements make them sound better.

Idea 5 of 20

Minor blues

Barry’s outline for a 12-bar C minor blues thinks of each minor 7 as a minor 6 and uses the minor 6 diminished scales. Where the chart has C7 going to F minor, he plays Eb7 down from its flat 7 to the third of C, and he plays Bb7 down to the third of G in place of G7. Barry plays a lot of minor 6 diminished on his records with Cannonball Adderley.

Practise it: Play the outline in time, then fill each spot with what you know on C minor 6 and F minor 6.

Builds onThe blues the Barry wayThe minor 6 diminished scaleA half-diminished means the dominant whose third it is

Barry’s own pages13.1 The blues the Barry way4.4 Scale outlines4.3 Minor9.5 The minor 6th diminished scale and its diminished partner

More on this 5 moments where Chris teaches it

Also called scale outline for a C minor blues

Where Chris teaches it

  1. 2:56Barry’s scale outline for a C minor blues · Episode 85
    Bars 1-4: C minor 6 up and down, up again, then Eb7 down to the third of C
  2. 4:01Barry’s scale outline for a C minor blues · Episode 85
    Bars 5-8: F minor 6, then Bb7 down to the third of G instead of G7
  3. 4:36Barry’s scale outline for a C minor blues · Episode 85
    Last four bars: Ab7 up, Bb7 down to the third of G, C minor 6
  4. 9:31Barry’s scale outline for a C minor blues · Episode 85
    A pattern: top note of the triad, then back to grab the rest, on F minor 6
  5. 10:05Barry’s scale outline for a C minor blues · Episode 85
    Listen to Barry’s minor playing with Cannonball Adderley

Idea 6 of 20

Minor blues with only minor sixes

Chris harmonises a whole C minor blues with nothing but minor sixth chords. C minor stays C minor 6 (Barry liked the minor 6 sound). D half-diminished becomes F minor 6, G7 becomes A-flat minor 6, C7 becomes D-flat minor 6, and A-flat 7 becomes E-flat minor 6. That gives five minor 6 diminished scales, and so a reason to practise them.

Practise it: From each drop 2 inversion of C minor 6, find the closest voicing of each minor 6 in the form. Then use thirds, triads, broken drop 2s, contrary motion, borrowing and drop 3s.

Builds onMinor bluesThe minor 6 on the fifth: don’t think C9Minor ii-V-i as three minor 6 chordsLeast movement: find the closest voicing

Barry’s own pages13.1 The blues the Barry way9.7 The important minor and the tritone’s minor (minor 6 dim over a dominant)9.5 The minor 6th diminished scale and its diminished partner

More on this 5 moments where Chris teaches it

Also called minor six diminished in five keys

Where Chris teaches it

  1. 0:38A beautiful way to play a minor blues · Episode 139
    Barry liked C minor 6 rather than C minor 7; D half-diminished comes from F minor 6.
  2. 2:46A beautiful way to play a minor blues · Episode 139
    First four bars: C minor 6, F minor 6, A-flat minor 6, C minor 6, D-flat minor 6, F minor 6.
  3. 4:04A beautiful way to play a minor blues · Episode 139
    A-flat 7 becomes E-flat minor 6: five minor sixes in all.
  4. 4:49A beautiful way to play a minor blues · Episode 139
    Practising the closest drop 2s from the inversion with the fifth as the drop 2.
  5. 10:02A beautiful way to play a minor blues · Episode 139
    Learning a minor blues forces you to see five scales of chords.

Idea 7 of 20

Rhythm changes

Rhythm changes in B flat (AABA, 32 bars, ‘seven songs in one’) is one of Chris’s core vehicles. Its A section can be heard as B flat and F7, B flat alone, F7 alone, or with F7’s tritone B7, and bars 3 and 4 invite the three, flat three, two arpeggios or B flat down to the third of G; the bridge of dominants, two bars each (D7, G7, C7, F7), is where he tries out any dominant idea, often in one guitar position. The same bridge appears in Perdido and Anthropology.

Practise it: Play the scale outline with the metronome on 2 and 4; then work out lines for each way of hearing bars 1 to 4, and take one phrase through all four bridge dominants in one position.

Builds onScale outlinesThree, flat three, twoThe tritone

Barry’s own pages13.2 Rhythm changes (‘seven songs in one’)4.4 Scale outlines

More on this 18 moments where Chris teaches it

Also called I Got Rhythm, the first four bars of rhythm changes, seven songs in one, the rhythm bridge

Where Chris teaches it

  1. 0:00Scales for I Got Rhythm · Episode 2
    Scales for all 32 bars in B flat.
  2. 1:17First 4 Bars of I Got Rhythm · Episode 20
    The first four bars: B flat to F7, bringing in the third of G7.
  3. 0:40Soloing on Dominants · Episode 22
    The bridge: D7, G7, C7, F7 two bars each, up and down.
  4. 1:23Practicing Triplets · Episode 24
    Perdido shares the rhythm-changes bridge.
  5. 0:36Using the pivot to make lines on I Got Rhythm · Episode 42
    Bridge: D7, G7, C7, F7 up and down.
  6. 0:42Creating lines from Bud Powell ideas · Episode 43
    Perdido’s bridge is the rhythm bridge.
  7. 0:04Rules for half steps on the I Got Rhythm bridge · Episode 50
    In E flat: D7, G7, C7, F7 for two measures each.
  8. 1:15Rules for half steps on the I Got Rhythm bridge · Episode 50
    Play the phrase in one position, around the fifth to eighth frets, instead of shifting the same fingering.
  9. 1:52Lines Using Drop 2 on Rhythm Changes · Episode 68
    A section in B flat: B flat 6, G minor (also B flat 6), C minor as E flat 6, F7.
  10. 3:07Lines Using Drop 2 on Rhythm Changes · Episode 68
    Then B flat 7, E flat 7, E diminished, plus tritones and tritone’s minors.
  11. 9:25Lines Using Drop 2 on Rhythm Changes · Episode 68
    IV dominant to sharp-IV diminished, or IV major to IV minor (E flat 6 to E flat minor 6).
  12. 10:15Barry’s Beautiful Half-Step Rules Continued · Episode 83
    The bridge, D7, G7, C7, F7 for two bars each, for practising half-step rule phrases
  13. 3:53A Minor Arpeggio Ideas · Episode 84
    Moving minor arpeggio ideas tried on the bridge dominants
  14. 5:30Barry’s Beautiful Rhythm Exercise · Episode 94
    The rhythm exercise applied to the bridge
  15. 0:35Do You Know Rhythm Changes? · Episode 101
    Scale outline: Bb major up, F7 up, twice; usual chords Bb, G minor, C minor, F7
  16. 2:34Do You Know Rhythm Changes? · Episode 101
    Bb major over the whole first part, with surrounded arpeggio notes
  17. 5:42Do You Know Rhythm Changes? · Episode 101
    Bb major to B7, or all B7
  18. 6:51Do You Know Rhythm Changes? · Episode 101
    Bars 3-4: D minor, G7, C minor, F7 with walking arpeggios

Idea 8 of 20

Comping I Got Rhythm differently

Chris challenges the standard drop 3 grips guitarists use on I Got Rhythm. He rebuilds the first bars from Barry’s harmony: Bb6, B diminished (standing for G7), E-flat 6 (C minor 7), F7. He then swaps in A-flat minor 6 for G7, C minor 6 for F9, B7 (the tritone of F7) or F-sharp minor 6 (B7’s minor on its fifth). Every version works under a soloist.

Practise it: Play each version from every drop 2 inversion with the closest voicings, then try drop 3s. Make yourself play something other than the usual grips.

Builds onRhythm changesThe minor 6 on the fifth: don’t think C9Least movement: find the closest voicing

Barry’s own pages11.6 Comping13.2 Rhythm changes (‘seven songs in one’)9.7 The important minor and the tritone’s minor (minor 6 dim over a dominant)

More on this 6 moments where Chris teaches it

Also called why do we all play this

Where Chris teaches it

  1. 0:00Why do we all play this? Comping on I Got Rhythm · Episode 121
    The grips every guitarist plays on the first bars of I Got Rhythm.
  2. 1:44Why do we all play this? Comping on I Got Rhythm · Episode 121
    The B diminished in the usual grip stands for G7 rather than G minor 7.
  3. 6:48Why do we all play this? Comping on I Got Rhythm · Episode 121
    Bb6, A-flat minor 6, E-flat 6, C minor 6: one note moves at a time.
  4. 10:03Why do we all play this? Comping on I Got Rhythm · Episode 121
    Bb6, A-flat minor 6, E-flat 6, B7.
  5. 11:21Why do we all play this? Comping on I Got Rhythm · Episode 121
    Bb6, A-flat minor 6, E-flat 6, F-sharp minor 6.
  6. 12:40Why do we all play this? Comping on I Got Rhythm · Episode 121
    Why do we all play the same thing? Challenge yourself to be different.

Idea 9 of 20

Cherokee

A 64-bar, bright AABA tune Chris adds to the list of tunes everyone must know. Its bridge moves the same ii-V-I down in whole steps (F sharp 7 to B, E7 to A, D7 to G, C7 to F), so it trains lines in unfamiliar keys like B major and teaches running one chord into the next.

Practise it: Play the scale outline at 100 on 2 and 4; then build one bridge line and take it through every change, then vary it.

Builds onScale outlinesRun one chord into the next

Barry’s own pages13.3 Standards worked in class

More on this 3 moments where Chris teaches it

Where Chris teaches it

  1. 0:36Scales for Cherokee · Episode 8
    The scales for the whole tune.
  2. 6:45Scales for Cherokee · Episode 8
    A line over the bridge repeated on each change.
  3. 0:00The bridge of Cherokee and tricky spots · Episode 11
    The bridge changes and their tricky spots.

Idea 10 of 20

Donna Lee / Indiana

An A-B tune in A flat whose opening is a full bar of the I chord into a bar of the VI dominant. Chris uses it to show how to dissect a song into movements: I to VI7, I to its tritone (flat III7), or I straight into the II dominant.

Practise it: Play the scale outline at 90; then take the first two bars and practise each way of moving from A flat to the next chord.

Builds onScale outlinesI to the VI dominant

Barry’s own pages13.3 Standards worked in class

More on this 3 moments where Chris teaches it

Also called Indiana

Where Chris teaches it

  1. 0:00Scales for Donna Lee · Episode 9
    The scales for the A section.
  2. 2:01Scales for Donna Lee · Episode 9
    The B section, with F minor 6 and E flat 7 down to the third of C.
  3. 10:04Scales for Donna Lee · Episode 9
    Summary of the three movements out of the opening A flat.

Idea 11 of 20

How High the Moon / Ornithology

A standard in G used for scales, soloing spots and comping. Its tricky spots are G major into C7, F major into B flat 7, and the E flat major move to the relative minor. For comping it needs the G6, C6 and D6 diminished scales of chords.

Practise it: Play the scales at 85; practise the tricky spots; comp the first four bars using only G6, C6 and D6 diminished.

Builds onScale outlinesComping with movement

Barry’s own pages13.3 Standards worked in class

More on this 4 moments where Chris teaches it

Also called Ornithology

Where Chris teaches it

  1. 0:36Scales for How High the Moon · Episode 14
    The scales for the whole tune.
  2. 3:57Scales for How High the Moon · Episode 14
    Tricky spot: G major running into C7.
  3. 5:13G6 and C6 diminished scale of chords · Episode 15
    Why the tune needs G6, C6 and D6 diminished.
  4. 8:45Comping for How High the Moon · Episode 16
    Recap of comping ideas for the first four bars.

Idea 12 of 20

A Night in Tunisia

Bird and Dizzy’s tune alternating E flat 7 and D minor 6, where E flat 7 acts as the tritone of A7 going to D minor. Chris uses it for surrounding notes, half-step rules into a minor 6, diminished ideas on A7, and comping with E flat 7, D minor 6 and B flat minor 6.

Practise it: Play the scales at 90; then lines from E flat 7 into D minor 6 with surrounding notes; then comp with the closest D minor 6 from each E flat 7.

Builds onScale outlinesThe tritoneThe minor 6 diminished scale

Barry’s own pages13.3 Standards worked in class

More on this 3 moments where Chris teaches it

Where Chris teaches it

  1. 0:00Scales and soloing for A Night in Tunisia · Episode 18
    The scales for the A sections and bridge.
  2. 4:14Scales and soloing for A Night in Tunisia · Episode 18
    E flat 7 here is the tritone of A7, going to D minor.
  3. 0:00Comping for A Night in Tunisia · Episode 19
    Comping chords: D minor 6 diminished, E flat 7 inversions, B flat minor 6.

Idea 13 of 20

Yesterdays

Starts D minor, E half-diminished, A7, D minor: a minor ii-V that Chris turns into D minor 6, G minor 6 and B flat minor 6 for comping. It is the vehicle for his minor 6 diminished voicings in drop 2, drop 3 and drop 2-and-4.

Practise it: One bar of D minor 6, two beats of G minor 6, two beats of B flat minor 6, slowly, from every inversion.

Builds onMinor ii-V-i as three minor 6 chordsDrop 2, drop 3 and drop 2 and 4

Barry’s own pages13.3 Standards worked in class

More on this 2 moments where Chris teaches it

Where Chris teaches it

  1. 0:37Minor sixth diminished chords in drop 2 · Episode 12
    The opening changes and why they need three minor 6 chords.
  2. 11:36Minor sixth diminished chords in drop 3 and drop 2-4 · Episode 13
    The progression in drop 3 and drop 2-and-4.

Idea 14 of 20

All the Things You Are

A tune played by Bird, Dizzy, Bud and Barry. For comping, Barry hears its opening F minor 7, B flat minor 7, E flat 7, A flat as A flat 6, D flat 6, (E minor 6), E flat 6 and A flat 6, so the first section can be done with sixth chords, diminished chords and borrowed notes. For lines, Chris uses the opening bars for chains of important minors and the bridge for the family of dominants, where Barry hears half-diminished-to-dominant moves (A minor 7 flat 5 to D7, F sharp minor 7 flat 5 to B7), so the scales are F7 into G and D7 into E.

Practise it: Find every A flat 6 to D flat 6 to E minor 6 to E flat 6 to A flat 6 connection in drop 2, then add borrowed and constant notes; for lines, chain the important minors through the opening bars.

Builds onSixth chords rule: minor 7 is major 6, half-diminished is minor 6The important minorA half-diminished means the dominant whose third it isBorrowing

Barry’s own pages13.3 Standards worked in class

More on this 8 moments where Chris teaches it

Where Chris teaches it

  1. 0:36Comping All the Things You Are · Episode 23
    The first eight bars of changes.
  2. 8:58Comping All the Things You Are · Episode 23
    A flat 6 - D flat 6 - E minor 6 - E flat 6 - A flat 6 in inversions.
  3. 4:58Comping Ideas with 6th Diminished · Episode 30
    F minor 7 as the 6 chord of the key, using a constant note.
  4. 2:12Playing with the family of dominants on All the Things You Are · Episode 59
    Bridge: Real Book has A minor 7-D7-G and F sharp minor 7-B7-E; Barry prefers half-diminished chords.
  5. 3:16Playing with the family of dominants on All the Things You Are · Episode 59
    The scales for the bridge.
  6. 10:08Playing with the family of dominants on All the Things You Are · Episode 59
    C diminished with the dominant tonics over the whole bridge.
  7. 0:00All the Things You Are with Minor Arpeggios · Episode 67
    Opening: F minor 7, B flat minor 7, E flat 7, A flat major, D flat major.
  8. 4:57All the Things You Are with Minor Arpeggios · Episode 67
    F minor, B flat minor, E minor, A minor arpeggios through the opening.

Idea 15 of 20

Star Eyes

A tune in E flat whose changes are E flat, F minor 7, B flat 7, E flat, then the same down a whole step to D flat. Chris uses it to teach borrowing notes on E flat 6 and A flat 6, and Bird’s Star Eyes phrase from Bird at the Apartment.

Builds onBorrowing

Barry’s own pages13.3 Standards worked in class

More on this 2 moments where Chris teaches it

Where Chris teaches it

  1. 4:11Borrowing notes · Episode 17
    The changes, and borrowing notes on them.
  2. 0:00Charlie Parker Idea #3 · Episode 33
    Bird’s phrase where the tune goes to D flat major.

Idea 16 of 20

What Is This Thing Called Love / Hot House

Opens G half-diminished, C7, F minor, which Chris uses for soloing with the diminished. Barry keeps the half-diminished there (rather than Bird’s D minor 7 - G7), so the soloist stays on F minor 6 for a long time.

Builds onA half-diminished means the dominant whose third it isSoloing with the diminished

Barry’s own pages13.3 Standards worked in class

More on this 2 moments where Chris teaches it

Also called Hot House

Where Chris teaches it

  1. 0:34Soloing with the Diminished · Episode 21
    The opening changes and their scales.
  2. 9:02Soloing with the Diminished · Episode 21
    Barry keeps D minor 7 flat 5, so F minor 6 lasts longer.

Idea 17 of 20

Autumn Leaves

In B flat its two II-Vs (C minor-F7 to B flat, A half-diminished-D7 to G minor) both become F7, so one F7 phrase serves both with different resolutions. Chris also harmonises the melody with the scales of chords in parallel and contrary motion.

Builds onA half-diminished means the dominant whose third it isChord melody with the scales of chords

Barry’s own pages13.3 Standards worked in class

More on this 4 moments where Chris teaches it

Also called Falling Leaves

Where Chris teaches it

  1. 1:58Autumn Leaves with Barry’s 4 Scales of Chords · Episode 69
    Chord melody with B flat 6, E flat 6, F7, C minor 6, D7 flat 5 and G minor 6 diminished.
  2. 3:15Autumn Leaves with Barry’s 4 Scales of Chords · Episode 69
    Contrary motion against the melody.
  3. 4:12Eighth-Note Triplets in Autumn Leaves and Donna Lee · Episode 73
    Changes in B flat: C minor, F7, B flat, E flat, A half-diminished, D7, G minor (G7).
  4. 5:37Eighth-Note Triplets in Autumn Leaves and Donna Lee · Episode 73
    One F7 phrase used on both II-Vs.

Idea 18 of 20

Body and Soul

Chris uses the bridge of Body and Soul, in D, as a set of practice spots. Its A7 going home to D major and then to D minor, with quick E minor to A7 turnarounds, gives room for the whole-tone scale, for D7 resolving to D flat by tritone, and for sixth-diminished triads and borrowed chords.

Builds onThe whole-tone scaleThe tritone

Barry’s own pages13.3 Standards worked in class

More on this 4 moments where Chris teaches it

Where Chris teaches it

  1. 8:29The Whole Tone Scale · Episode 44
    Bridge in D: two A7 spots to use the whole tone scale.
  2. 11:38What is the name of this chord? · Episode 51
    The bridge in G with borrowed-note chords.
  3. 9:10Yet Another Very Important Arpeggio · Episode 53
    D7 going to D flat major as in Body and Soul.
  4. 6:51Triads · Episode 70
    A quick E minor to A7 into D major with G6 triads.

Idea 19 of 20

Giant Steps scales

Chris’s guess at Barry’s scale outline for Giant Steps, drawn from a video of Barry discussing it: 1-2-3-5 on each two-beat chord, full scales on the longer majors, each minor ii-V treated as half diminished to V (so F7 down to the third of D, Db7 down to the third of Bb, A7 down to the third of F#), and the Eb, D diminished, C minor 7, A half diminished walk-down on the long stretch. Thought of this way, the changes sound normal and free-flowing.

Practise it: Play the outline slowly in tempo, then make lines on the connecting points.

Builds onScale outlines1-2-3-5 on short chordsA half-diminished means the dominant whose third it isA beautiful movement we never play

Barry’s own pages4.4 Scale outlines8.2 A half-diminished chord means the dominant whose third it is7.3 Getting through changes

More on this 5 moments where Chris teaches it

Also called what Barry would play on Giant Steps

Where Chris teaches it

  1. 0:33Scales for Giant Steps, the Barry way · Episode 104
    Two beats per chord: B, D7, G, Bb7, Eb, then A minor to D7
  2. 2:15Scales for Giant Steps, the Barry way · Episode 104
    Full first part: 1-2-3-5 of each, Eb up, F7 down to the third of D
  3. 4:02Scales for Giant Steps, the Barry way · Episode 104
    The longer part, with the walk-down from Eb through D diminished
  4. 5:42Scales for Giant Steps, the Barry way · Episode 104
    The whole outline played through
  5. 9:13Scales for Giant Steps, the Barry way · Episode 104
    Barry said he didn’t really know the song, yet his solo is extraordinary

Idea 20 of 20

Lady Bird turnback

Barry’s name for the two-bar ending of Lady Bird: C major, E-flat 7, A-flat major, D-flat 7, two beats each. Chris works it through four scales of chords and then reharmonises it with sixes on the fifth and minor sixes on the fifth, for example G6 C6 B-flat minor 6, then E-flat 6 A-flat 6 A-flat minor 6. It shows how Barry could turn two bars into months of practice.

Practise it: Learn the closest voicings of the four chords from every inversion, then substitute the six on the fifth and the minor six on the fifth, and try the elevator floors and contrary motion.

Builds onSix on the fifth: two sixth chords for a major chordThe minor 6 on the fifth: don’t think C9Least movement: find the closest voicing

Barry’s own pages7.3 Getting through changes9.2 Two sixth chords for every major chord (6 on the 1, 6 on the 5)9.7 The important minor and the tritone’s minor (minor 6 dim over a dominant)13.3 Standards worked in class

More on this 5 moments where Chris teaches it

Also called Lady Bird turnaround

Where Chris teaches it

  1. 0:00You’re going to have fun with this: the Lady Bird turnback · Episode 130
    The end of Lady Bird, which Barry called the Lady Bird turnback.
  2. 0:33You’re going to have fun with this: the Lady Bird turnback · Episode 130
    C major, E-flat 7, A-flat major, D-flat 7, two beats each.
  3. 1:04You’re going to have fun with this: the Lady Bird turnback · Episode 130
    Scales of chords: C6, E-flat 7, A-flat 6 and D-flat 7 diminished.
  4. 7:40You’re going to have fun with this: the Lady Bird turnback · Episode 130
    Ending with G6 to C6, B-flat minor 6, E-flat 6 to A-flat 6, A-flat minor 6.
  5. 9:56You’re going to have fun with this: the Lady Bird turnback · Episode 130
    Barry could take two bars and turn them into months of practice.