1. Harmony
The Barry Harris method reveals layers of harmonic logic that allow you to play, improvise, and compose. Here are the foundational structures:
The 12 notes of the octave encapsulate the entire musical system of the Barry Harris method. Barry Harris analyzed everything within these limits. As with other forms of art, constraints allow creativity.
The major scale and the dominant scale are the two fundamental scales of the Barry Harris method.
Here is a dominant scale (G dominant) moving to a major scale (C major). This is a V-I move in the key of C:
The intervals between notes are what give the scale its harmonic sound and feel. Major scales are: whole-step, whole-step, half-step, whole-step, whole-step, whole-step, half-step. Dominant scales are: whole-step, whole-step, half-step, whole-step, whole-step, half-step, whole-step. A good practice routine is to go from each of the 12 dominant scales (V), to their relative major scales (I) – like the G dominant going to C major in the video above.
Note: the note interval C to F is a I-IV move in the key of C, and a V-I move in the key of F.
Jazz Standards generally follow a scale outline that moves between a V (= notes and chords in a dominant context) going back to a given I (= notes and chords in a major context). The V provides tension, and the I provides release. V is away, I is home. Tunes can move to additional tonal centers (i.e., a different I), but typically resolve back to the original tonal center by the end of the tune. Note that these are not clear cut shifts. The harmonic movements are cyclical and there are many possibilities and steps within the broad V-I context.
Chords on the I of a tune (major, minor, or dominant) and the note itself (e.g the C in a C major scale) provide resolution. The rest (chords, notes) can be generally viewed as part of the dominant tension. There is no distinct line of separation, but most of the tune is the tension, with typically 1-4 or so resolutions throughout (and most commonly at the end of the tune, providing the final resolution).
Other types of scales (e.g. pentatonic, blues scale, etc) should be interpreted in relation to a major scale or dominant scale context.
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The 2 whole tone scales split the octave into two equal parts of 6 (e.g: mother: C, D, E, G♭, A♭, B♭. Father: D♭, E♭, F, G, A, B). Whole tone scales should be analysed within a dominant scale context (e.g: a whole tone scale with C in the root implies a C dominant scale context).
The whole tone scales “give birth” to the 3 fully diminished 7th chords (or simply: diminished chords). Each of the diminished chords has 2 notes from mother, and two from father. Barry Harris calls these 4 notes of a diminished chord brothers and sisters (they are closely related as we will later see).
A diminished chord consists of 4 notes, each separated by a minor 3rd interval (3 semitones = 3 half-steps). For example, a C diminished chord is C, E♭, G♭, A.
Because of their symmetry, there are only 3 diminished chords. E.g: C° (C, E♭, G♭, A), D♭° (D♭, E, G, B♭), D° (D, F, A♭, B). The diminished chords that begin on the root of the other 9 notes, are just inversions of these 3.
Chords are just intervals on a major or a dominant scale, played all at once (or inversions of those notes).
Major 7th chords are on notes 1,3,5,7 of a major scale. Major 6th chords are on notes 1,3,5,6 of a major scale. Minor 7th chords are an inversion of a major 6th. Dominant chords are on notes 1,3,5,7 of dominant scale.
When playing chords, you can make use of their entire scale, for depth.
Note: diminished chords, dominant♯5 and dominant ♭5 chords are not intervals on scales, so technically they are not chords. Minor chords (a major chord with a flat 3rd) will be discussed in the next chapters.
Notes and chords are always context dependent. They mean different things in different harmonic contexts. To understand their harmonic context, identify the scale they are on, where they came from, and where they are going next.
Movement. Movement is a central concept in the Barry Harris method. The giants of our tradition decorate their scales, chords and notes. They provide connective tissue between segments and create flow and elegance. The Barry Harris method provides harmonic guidelines for how this movement is achieved.