In plain words
In the 1998 workshop the class was running scales over the bridge of ‘Cherokee’ (F♯7 to B major, E7 to A major, and on down to C7 and F7) when Barry added a rule: coming down a scale, when you get to the fourth, play the second and go chromatically up to the third. He said it held for every scale, dominant seventh or major, and had the class play it in time, then a little faster.
The 1998 workshop, part 31:03:451:07:531:08:261:10:071:10:391:11:42
He then varied it on F♯7, the first scale of the bridge: run it up, come back down and make the move at the fourth; and sometimes, on reaching the third, keep going chromatically. He tied it to the next chord as well: the tonic of F♯7 becomes the fifth of B major, and from there he called five, four and then the same second-chromatic-third move.
The same small figure, the second rising chromatically to the third, turns up elsewhere in his teaching. In a short lesson on tritone lines he had a trumpeter play the tonic of C and then the second up chromatically to the third, then do the same on F♯7, the tritone, starting on the second instead of the tonic.
Step by step
Coming down a dominant or major scale, when you reach the fourth, skip down to the second and climb chromatically to the third.
C7 from C- C
- B♭
- A
- G
- F
- D
- D♯
- E
C major from C- C
- B
- A
- G
- F
- D
- D♯
- E
F♯7 from F♯- F♯
- E
- D♯
- C♯
- B
- G♯
- A
- A♯
Sometimes, on reaching the third, keep climbing chromatically instead of stopping.
Into the next key: over F♯7 going to B major, F♯ is the fifth of B. Barry called five, four, then the second up chromatically to the third.
B major from F♯ (its fifth)- F♯
- E
- C♯
- D
- D♯
The 1998 workshop, part 31:13:06
an added note, outside the scale
How he said to practise it
In Barry’s words
Each one plays from the moment he says it. Every other moment he teaches it is listed below.
No matter if it’s dominant seven... Every scale, when you come down and you get to the four, I want you to play the second.
Sometimes when you get to the 3rd of a scale, you go chromatic... You can go chromatic to the tonic.
Play the tonic of C, and then play the second... chromatic to the third.
Where this comes from
Everything above is drawn from these. Open any one to check it.
Every moment he teaches it7 moments in 2 recordings
Each time opens the transcript there; the video plays when you are online.
The 1998 workshop, part 3
- 1:10:07
On the ‘Cherokee’ bridge: at the fourth, play the second and go chromatically up to the third.
- 1:10:39
Says it holds for every scale, dominant or major; the class plays it in time.
- 1:11:42
The class repeats the move a little faster.
- 1:12:29
On F♯7: the move at the fourth; sometimes keep going chromatically from the third.
- 1:13:06
F♯7 up and down with the move; F♯ as the fifth of B: five, four, then the move.
- 1:07:53
Lays out the ‘Cherokee’ bridge scales that the rule is then applied to.
Tritone lines on Indiana and Embraceable You
- 4:01
Tritone lines: C’s tonic, then the second up chromatically to the third; then the same on F♯7.
From the lessons1 lesson, 1 point
Notes taken from Barry’s classes, each tied to the moment it comes from.
Coming down to the fourth: jump to the second, climb to the third
- Exercise
Barry gave a rule for every scale, dominant seventh or major: when you come down the scale and reach the fourth, jump to the second and go chromatically up to the third. In class he applied it to F-sharp 7: run it up, come back down, and at the fourth do the 2-chromatic-3 move. Sometimes, on reaching the third, keep going chromatically upward. When the F-sharp 7 tonic becomes the fifth of B major, play five and four and then the 2-chromatic-3 move again.
Read further1 link
These open on the web.
Books and paid courses
- The Barry Harris Workshop Video (Part 1), Howard Rees / Jazz Workshop Productions: 4+ hours, 5 clinic segments + 102-112 page workbook (ABCs, scales on song forms, movable chords, rhythm section, vocalizing)
Barry himself (produced and transcribed by Howard Rees) — Paid workbook with a scale outline of the ‘Cherokee’ bridge and scale ideas applied to it; Barry taught this rule on that bridge.