TILF Barry Harris Episode 25 Major Scale Half Step Rules 

Thank you.

Thank you. Please share with your musician friends.

Thanks Ste. Please share with your musician friends.

Actually, Barry doesn't have rules for minor as far as i know. He does have his "chromatic scale" which I touched on in a previous episode.

You're Welcome Dylan.

Yeah Man.

I'd love to understand this better...have you looked into Barry's "chromatic scale?"

Bird changed my life. I played rock guitar until I heard Charlie Parker. My first Jazz teacher was a guitar player named Roni Ben Hur. He was the one who told me if I wanted to understand Bird, I needed to take Barry's classes. I'm forever indebted to him for that advice.

@@thingsivelearnedfrombarryh2616 me too (rock guitar) although I turned to jazz when I saw the movie The Talented Mr Ripley (1999) and discovered Chet Baker's version of "My Funny Valentine".

What do you think of Pat Martino's technique and "method"? I'm not a huge fan of his music (hard-bop, fusion, organ trios, etc) but I love his playing and fluidity. Actually his ballads are nice and soulful.

@@ecaepevolhturt I really don't know anything about it. I've been so engrossed in Barry's method, I've never looked elsewhere. After 25 years of studying with Barry i feel like I'm only scratching the surface.

Thanks Cameron. I'm glad you're enjoying these videos. For me, practicing just one song like Out of Nowhere, Indiana, All the Things You are, Blues etc..., really helped.

Hi! yes there is indeed a video on that by pianist Isaac Raz who explains this second option for the rules with two or three half steps.

Yo lo he preacticado y se logra rl mismo efecto, las notas de acorde caen en tiempos fuertes y con eso ya de deletrea el acorde

Same place just different side of the room. I think the camera was further away. I'll fix that in up coming videos.

Yes. You're correct Michael. I'm just showing how Barry taught us to practice them. I don't remember him giving a reason for this. I'm glad you're enjoying the videos. Please share with your musician friends.

@@thingsivelearnedfrombarryh2616 It's interesting as an insight into his way of conceiving of it. I wonder if it is consistent with the other original bebop musicians.

@@realmichaelteo It's the best method I've ever come across. I'm not sure how Bird and Bud and Dizzy thought about things but Barry's method seems to make the most sense.

If you start from the 7th, but include the "6 to 5" half step in the higher octave than you end up rhythmically incorrect

Hi! The reason is explained in Isaac Raz's video on this topic!

Hi! i have the same question. I guess that's why Chris does start with the half steps on the runs from 6 and 7 only at the "bottom", not in the first occasion where one could use them. This is explained in Isaac Raz's video on this topic. If you would use the 6-5 half step on the first occasion already when starting from 6, then the second half step 2-1 would land on the beat. Similar if you start from 7 and use the half step 6-5 on first occasion, this already falls on the beat. By waiting to the "bottom" of the line before the first half step is applied, this is avoided. But I would find using one or three half steps when starting on 6 also more natural, as well as no or two half steps when starting on 7. But so far I only found Bill Grahams video doing it like this, where's no need to "wait" before being able to apply rules.

I don't have it written out but maybe a skype lesson would be helpful.

You can also get a four DVD set with a book that lays out most of this information as well. jazzworkshops.com/the-barry-harris-workshop-video/ That's not to say that a Skype lesson with Chris wouldn't be an excellent way to go.

Major diminished scale? Anyways, major scale is clearly different from dim scales. Period

@@brothercaleb I think Rohan C meant the major 6th diminished scale, one of Harris' four main scales in his method.

Andrew Herbert I have the exact same questions. Isn’t the whole point of the half steps to ensure that you have chord notes on beat? When starting on the 6th for the doom in any rules, you have 6, 5, 4, 3, 2, 1, b7, 6, 5. So I guess in that case you don’t have chore notes until you hit the b7 it seems. Perhaps it’s more about the end of the phrase being on chord notes. I’m just throwing ideas out there.

@@mrkeyzzz I've been looking at that. I think it is about the note that the end of the phrase lands on. Movement is created when you land rhythmically into the next chord, or at least that's part of it?

This "rule" works however if you add an escape tone right after the seventh like this |ti do la le so fa mi re| do. I've seen other RU-vid channels that apparently quote Mr. Harris when he says things like "add a half step to flat three and two" when what he really means is "add an escape tone between flat three and two." This last comment comes from reading about his melodic minor descending "rules."

Great ear Brother! I always like to shoot these videos in one take so there are often mistakes. In this instance, I think i play the same thing on the 2nd and 3rd time (2nd one is not clean though). I put 3 half steps between 3-2 2-1 6-5. Same rule every time. The Major 7 is a borrowed note when we're thinking Cmajor 6th diminished scale but when soloing the Major 7 gets the same rule as the 1 3 and 5. (1 half step or 3 half steps). Barry is the Master and all of us are blessed that his shares this information with us so freely. I appreciate your feedback.

Thanks for getting back.Yes indeed, same thing 2nd x & 3rd x. I like the line the way you created it, sounds great starting from the top of a Maj.7 voiced 5,1,3,7 and the rhythm it starts on 1 and ends on 3 so it works well with the exercise where you drop the first note then first&second etc. (you know that one). Then I took around the cycle of 4ths&5ths. After I commented I thought... Barry might have played it that way. Maestro Harris yes, we are the lucky ones. Ed Bickert RIP passed 2/28/19. Thanks again.