Woody’n You

At a workshop in The Hague, after borrowing diminished notes on All the Things You Are, he turned to Woody’n You. He remarked that the tune is really pretty like that, then started putting diminished notes into it and played on. The passage, mostly music, was also posted on its own under the tune’s name.

Borrowed diminished notes on All the Things You Are0:004:22Woody ’n’ You, with diminished chords0:00

Later in the same session he turns to B♭ minor 6: a student plays it with the sixth in the bass, and he says you should know its diminished partner at once (A, C, E♭, F♯) and borrow the diminished note below. Howard Rees, applying Barry’s method to Woody’n You, joins an F♯ from A diminished to B♭ minor 6 in bar 1 and repeats the idea in bar 3.

Borrowed diminished notes on All the Things You Are6:487:20Howard Rees, Evolutionary Voicings ¶19

Teacher Tom Cleary singles out the third chorus of Barry’s Woody’n You solo on At the Jazz Workshop. In its last A section Barry covers all three minor ii-Vs with Cleary’s ‘seven down to the third’, the falling half of Barry’s minor ii-V scale (a seventh scale from a major third below the ii root). He also offers the chorus as a model of the two hands in conversation.

Tom Cleary (University of Vermont), What is this scale called: Charlie Parker ¶4Tom Cleary (University of Vermont), What is this scale called: Charlie Parker ¶6Tom Cleary (University of Vermont), What is this scale called: Charlie Parker ¶12