v0aAuztNq

Here,the voice is castinto the role of

both storytellerandmelodic/rhythmic
instrument.To achievesuccessin the
areasof story and rhythm, it is essen-
tial for the singerto developa sense
of time and phrasingindependentof
what the rhythm sectionlays down.
It is alsovital for the vocalist,as it
is for any instrumentalistin this
music, to developtechnical(scalar
and rhythmical) skills in orderto mas-
ter the art of improvisation-to then be
free to explorenuance,possibility,and
depth.With this in mind, severalkey
exercisesand elementsof theory are
demonstratedsuchas the use of the
relateddiminishedchord. (The related
diminishedchordhasbeendealtwith
in more detailearlierin this book. See
figures1-15a-band 1-16.)

9S
 V""r,l;{v.t
Fig. 5-l YOU MUST BELIEVE IN SPRING

Wha lone - ly fwl- ings chill thc mqd - ox of vw mind. Just thirk if win-ter cm6. cu

springbe farbehind? Be-nqth the dep-st snom, the se- qet of a r6e Is merely ftat it knows yN

DrmjT Clnttt Ff ctrrT0t Ff70e) FW(g)E Bm

be - liwe in spring! a tr@ is re its lqve will rc- ap - pqr;

N
7 Grl{rc' cf70e)

It knom its mp- ti- n6s is just a time of yar. The fro-zen m$n- tain drqm

cm70t c7(9) Fm7 E N$7 Dmfts) G?

Of Ap - ril's melt - ing strqtr, How sys-tal cler it m, you mut bslieve in spring!

Drnft51 BW

You must be- lieve in love md tust it's on ls way, Jxt as the sleping rce a-

B.4(qpl E*eil Am(r$ D70e) cm70t

waits the kiss of May. So in a wcld of snow, Of things that cme md go,

Bb7
F m7 bofmJt A>reJt Drrt(t G7 C m

Whqe what you think yo know, yo an't be s- tain of,

9)
Ck#r4S

5-2) The E diminished chord with applications to "Y.M.B. in S."

a-d) Demonsfiatedin the following four figures are examplesof the last
2 bars of "Y.M.B. in S.," incorporatingnotesof the diminishedchord.
Examples are notatedin the keys of F and C minor. C7 (in the key of F
minor) usesthe E diminished chord, while G7 (in the key of C minor)
usesthe B diminishedchord.

Warm-up exercises
5-3) The D diminishedchord

a) Here, a pattern basedon chromatically descendingdiminished

chordsis illustrated.Playing up the first chord and down the second.

b) An Ab major arpeggio.

c) An Ab minor arpeggio.

g8
 V"./44
Fig.5-2

Fig.5-2a

Fig.5-2b

Fig.5-2d

Fig.5-3a

Fig.5-3b

Fig.5-3c
ekfft4S

d) An Ab augmentedarpeggio(the 5th degreeis raised a half-stepfrom

the major).

5-4a) The Ab major scaleperformed up.

b) The Ab major scaleperformed down.

5-5a) The Ab whole tone scale(a six note scalebuilt on whole-steps

abovethe root).

b) The Ab whole tone scaleperformed up in 3rds.

c) The Ab whole tone scaleperformeddown in 3rds.

5-6a) An Ab diminishedarpeggio.

b) An Ab diminishedchord.
 V"z.I;4*g
Fig.5-3d

Fig.5-4a

Fig.5-4b

Fig.5-5a

Fig.5-5b

Fig. 5-6a

Fig.5-6b

q1
C/i,tltn S

Apptication of the warm-ups to'6Y.M.8. in S."

5-7a)An illustration of the last 2 bars of "Y.M.B. in S.," making use of
the related diminished chord. (Performedin the key of F minor.)

b) An illustration of the last2bars of "Y.M.B. in S.," first making use

of the relateddiminishedchord (ascending),then descendingthe G
augmentedarpeggio.(Performedin the key of C minor.)

Use of the related diminished chord

5-8a) Barry demonstratesthe use of the related diminished chord over
the first 4 bars of "Y.M.B. in S." Fig,5-8b gives a secondresolution
point after the diminished chord in the first 2 bars. (Performed in the
key of F minor.)

5-9) More examplesusing the relateddiminishedchord are shown here.

(Performed by Cara in the key of F minor.)

5-10) This figure illusffatesthe same4 barsas above.@xamplesare

performed by Denzil in the key of C minor.)

q2
 Vt al;"j;*g
Fig.5-7a

Fig.5-7b

Fig.5-8a

Fig.5-8b

Fig.5-9

Fig.5-10

q3
Ak+rrnS

Fig.5-11 BILLIE'S BOUNCE

Charlie Parker

WI\

4(+
An **: A
A) Albums recordedasleader(or in a solopiano setting)

Breakin'It Up Argo 644

At TheJazzWorkshop Riverside326(OJC208)
Preminado 354(OJC48O
ListenTo Barry Hanis...SoloPiano 392
NewerThanNew 413
Chasin'The Bird 435(Japanese
Victor 23733)
Luminescence! Prestige7498
Bull's Eye 7600
Magnificent! 7733(Japanese
Victor 23732)
Vicissitudes MPS 20 22682-4
PlaysTadd Dameron Xanadu113
Live In Tokyo 130(XanaduFDC5155)
PlaysBarry Harris 154(XanaduFDC5173)
Tokyo: 1976 t7'l
The Bird of RedandGold 2r3
For The Moment Uptown27.20
Live at MaybeckRecitalHaIl ConcordCD 4476
Solo September
CD 5111@elgium)
Barry Harris In Spain NUBA (CD) 7754-Z(Spain)
Conflumation(with KennyBarron) Candid79519

B) Albums/eqturingBarry Hanis

CANNONBALL ADDERLEY ThemDirty Blues Riverside322 (Landmark1301)

DAVID ALLYN Don'tlook Back Xanadu101
CHARLIE BYRD BluesSonata RiversideRS 9453
DONALD BYRD ByrdJazz Transitionj-5 (Delmark407)
AL COHN PlayItNow Xanadu110
Al Cohn'sAmerica 138
No Problem 779
SONI.{YCRISS SaturdayMoming Xanadu105(FDC 5163France)
RONNIE CUBER CuberLibre Xanadu135
CHARLESDAVIS Reflections Red (CD) 123247
KENNY DORHAM BebopRevisited, Xanadu205
Vol.5
ART FARMER/
DONALD BYRD 2 Trumpets Prestige7062(OJC18)
DAN FAULK Focusing
In CrissCross1076CD
TERRY GIBBS BopstacleCourse Xanadu210
q6
 DU**rt4^E
BENNY GOLSON The Other Side of
Benny Golson Riversidel2-29A(OJC1750)
DEXTER GORDON Gettin'fuound Blue Note 42M (CD 46394)
Clubhouse BlueNoteCD 84445
The Tower ofPower Prestige7623(OJC299)
More Power! 7680
Biting The Apple Steeplechase31080
DEXTERGORDON/
AL COHN True Blue Xanadu 136
Silver Blue 137
JOHNNY GRIFFIN The Kerry Dancers Riverside420
STEVEGROSSMAN Do It DreyfusJazz36550
COLEMAN HAWKINS Sirius Pablo2310-707
Wrapped Tight Impulse87 (ImpulseGRD 109)
LOUIS HAYES (feat. Yusef Lateef) Vee Jay3010(VJ CD 906)
JIMMY IMATH Picture of Heath Xanadu118
BUCKHILL Capital Hill Muse5384
The Buck Stops Here MuseCD 5416
ILLINOIS JACQUET Bottoms Up Prestige7515(OJC417)
Allsrars JSP1014
EDDIE JEFT]ERSON Body and Soul Prestige7619 (OJC396)
Come Along With Me 7698(OJC613)
CARMELLJONES Jay Hawk Talk Prestige7401
SAM JONES Cello Again Xanadu 129
Changes& Things 150
THADJONES The Magnificent
Thad Jones Blue Note 1527(CD 46814)
Magnificent Thad
Jones,Vol. 3 BlueNote1546
CLiFFORD JORDON Repetition SoulNote 1084
RALPHLALAMA Feelin' and Dealin' CrissCrossCD 1046
HAROLD LAND West CoastBlues I azzland920 (Jap.Victor 236f'0)
YUSEFLATEEF Into Something New Jazz8272(OJC7ffi)
Eastern Sounds Prestige1319(OJC612)
Many Facesof
Yusef Lateef Milestone47009
WARNE MARSH Back Home CrissCross1023
HOWARD McGEE Jazzbrothers Jazzcraft2
HOWARDMcGEE&
BENNTYBAILEY Home Run Jazzcraft5

4)
AtfrA*t A
CIIARLES McPIIERSON BebopRevisited! (OJC710)
Prestige7359
1
Con Alma! I+L
^an I

The Quintet&ive! 7480(OJC1804)

McPherson'sMood 7743
Live h Tokyo Xanadu131
CharlesMcPherson Mainstream329
BILLY MITC}IELL The Colossusof
Detroit Xanadu158
HANK MOBLEY Mobley'sMessage Prestige761Q4M3)
JazzMessage Vol.2 Savoy12092(CD 0158)
Straight,No Filrer Blue Note 84435
The Turnaround BlueNote4186(CD 84186)
JAMESMOODY Don'tLook Away Now Prestige7625
FRANK MORGAN You Must Believe
In Spring Antilles (CD) 314 5r2 574
LEE MORGAN Take Twelve Jazzland980 (OJC310)
The Sidewinder Blue Note4157(CD 8r'.157)
We RememberYou FreshSound(CD) 1024
SAM NOTO Entrance! Xanadu103
Act One tn
DAVE PIKE It's TimeFor
DavePike Riverside360
SONT{YRED Breezing Jazzland32
The Mode 59
Images 74
RED RODNEY Bird Lives! Muse537l(CD5371)
HomeFree MR 5135
FRANKROSOLINO Swing...Not Spnng
(4 tunes) Savoy12062(CD 0188)
ERIC SCHNEIDER Eric's Alley Gatemouth1005
SONI\ry STITT Bumin' Argo 661
Tune-Up! Cobblestone
9013(MuseCD 5334)
Constellation 9021(MuseCD 5323)
Twelve Muse5006(Japanese
CrownCD4520)
Mellow Muse5067
PlaysGeneAmmons 5091
Bluesfor Duke 5129
Sonny'sBack 52M
In Style 5228
MoonlightIn Vermont DenonCD7046

q9
 D:q*gr/"&v
VariousArtists

ANMVERSARY (Trio: SaltPeanuts) Xanadu201

THE BASIE.ITES How High The Moon Jubilee5004
IREMEMBERBEBOP (Trio: 4 Monk tunes) ColumbiaC2 35381
TIIE PIANO PLAYERS (Trio: a Barry Harris
original-Confusion) XanadulTl
RIVERSIDE RELINION
BAND Mostly Monk MilestoneMCD-9216-2
WANGARATTAJAZZ Vol.1 Subaru(CD) SJ00l
(Australia)
XANADU AT MONTRELX Vol.2 Xanadu 163
Vol.3 r&
Vol.4 165

- Compiledby JIM MacDONALD

qq
Aftn*.r,: E

The following quotations have beengatheredover the years from lectures

and personalconversationswith Barry Harris.

1. (On jazzhaving advancedsinceCharlie Parker)

"You can wear your trousersbackwards,but that won't necessarilyput you
any further ahead."

2. (On the useof too many'blue'notes)

"The old folks would say, 'The person who cursesa lot has the fewest
words at their command.' "

3. (On the importance of focusedpracticing)

"Practice your playing-not your practicing; make the practice time as real
for yourself as possible."
"Monk would practice playing a tune for hours, and so when he went to
the gig he was ready."

4. (On rhythm)
"Think about it-you'd rather hear a cat play rhythmic and wrong, than
non-rhythmic and right, causethey're going to be wrong anyway."

5. (On volume)
'?lay at your norm [volume level]. Know what your nofin is so that you
play the most relaxed. If you play a little louder than that, then you've
brought in some tension,and tension won't allow you to really do it.
The loud that you really want is the loud that comesfrom surety-positive-
ness-that's when you hear people really starting to speakout."

6. (On vibrato)
"How distinctive and easily recognizablethe tenor players were, one from
the other, becauseof their vibrato."
"Your vibrato is like your soul. Horn players nowadays aren't practicing
their vibrato and that's why you can't tell them apart."

100
 A^r.j"lpt

7. (On the effect Charlie Parkerhad on other musicians)

"He madepeopleplay 'over their heads.'"
"I heardBird with someof the worst cats you could imagine. He came to
Detroit once with [a band led by] Emperor Nero-and on top of that-
Emperor Nero played alto. The funny part of it is that I had never heard
Emperor Nero play so good in my life as he did with Bird""

8. (On performing with Lester Young)

"The way that he would count in a runewas sucha knockout-all he'd do
is shrug his shoulder-like that-and that would be the tempo."

9. (On the hipnessof Euro-Classicalmasters)

"If Bach and Chopin and them were around today, they wouldn't be play-
ing other people'smusic, they'd be down in the cornerjoint jamming."

10. (On perceivingthe whole. Philosophy,and a typical startto anotherses-

sion of the Barry Harris Jazz Workshop)
"One thing that modern (wo)man is particularly good at is naming every-
thing...Therearepetals,a stem,leaves,the stamen,scent,color and all too
often what becomesobscuredis that what we are lookine at is a flower."

101