q I I ij i : : (MASTER CLASS x6, Put the major 6th chord In Example 5 together witha diminished 7h hard, and you get what Bary likes to call the major 6 cmanishea scot. 1x, 7. Put the minor sth chord of Erample 5 together with a diminishes 7h uiund, end you get Bary’ minor & diminishad ccale Daim? Bam? x. 8. An interesting and useful feature vf the major & diminished zeole js that it contains two dominant 7th chord: the V7of the tonic and the V7 of the relative minor. 1B¢ @ Playing a minne 6 diminished scale beainning a hal-step highe) than the root of a dominant 7th chord covers the root, 3rd, minor 7th, ‘ai all ofthe commonly used altered tones. You can even think af th ‘minor 6 diminished scale as am altered scale when you use it this wa, crim) 670m) 7 _——— — SS oad Gs eS f& 10. Here are some starting points for seeing the relationsmups ‘between 6th veicings and thei functional equivalents: a) For major 7th chords, play the majar sth chord whose root is the fifth degree of the Imajor scale. 0) une epprodtl ty a vominant 7th voicing iz to ploy the ‘minor sixth chord on the fith degree of the dominant. c) Another dominant 7th approach isto use the minor 6th chord whose root is one Nal-step up 2) Cmal7 + G8 » G7 + Dm 9 2 ‘om tite 194 uf Ue verninant.d) Minor 7th chorde ao just inversions ‘major 6th chords, s0 this combination is natura. e) The same goes » ‘minor 7p5 and minor 6th chords. With the fatter two examples, ink Jn torme af 6th voirings opens up the possibilty of moving vocings alo ‘a corresponding majar or minor 6 diminished scale and then resolving tte next end, toler than to vimply hold 9 ctotc vorcing. a7 + Abe wy Dm7+ FE 9) Om7)5 + Fm x11, As we discussed in Examples 2 and 4, dominant 7ths derived from the same diminished 7th can be used as substitutions for each other. Here is 98,7 resolving to an Eymaj7, and voiced with three sub- stitutions over 9 shell voicing in the left hand: a) an €7 resolving to a Bh6 voicing over the tpma)/, 0) 4 G7 sesutviiy Wu another inversion of the Bh6, and ¢) a Dp7 resolving fo yet another Bb6 inversion. Where tne chota symo0's, you d3k? We Luuld inafade them o3 they oppcor v alterations in Example 4, but Barry wants you to focus on the b, Structure of the voicings. As we'll see momentarily, this makes th ‘cozier to move along 2 scale » erepr —lorcleny? my = Tm aberhmai? » Ob? ~———_—BbsvEbmayr its bes © iy oe | Zz F 4 T be be oe x. 12, You can float those dominant substitute voicngs up tne aimun- ished 7th arpeagio ss BZ KEYBOARD | ovIUEK 1¥¥0 [Bx 13... ain! you can flat them back down, We've lowered the tom note of the voicings 50 that each contains roots from two d rant substitutions.MASTER CLASS, ‘x 14. Let’s put Bary’ voicing ideas trom Example 10 to work in ai7-V7-WM7-i7 progression. Aber? © ETIBb7 wporebmayr —Dbnolor aberm? 7h? ~—-BhGIEhmai? —DbméiC7 15. Coninuing inthe manner of xample 14, we have the W/-¥717- Ex. 16. As in Crmple 15, here is another voicing ‘approach. tv progression with the deminantc niced different, Practice these these vocings in diferent inversions, (02 Yoiings in diferent iverson. aboirm7 —Fm6@b7 —EDOIEDmal? GmexLr Ahem? —emeeh? — Paatbmair ofmec a SS oa = . ae Be Bc 17,4 fn way to get fart wan moving wokanp op ad down the Gx. 18. Take th basic cacod vocings and sun them up and d Po catininre dished cle so pracic plying votingsincon- scale, which in ths cases the mina é dined sale, Te trary maton. Using the € major 6 diminished scale, start with a unison, altematng minor stand diminished 7th cov. Epona’ Te vies jou move up and down the sclestopurc,filin the wnicings pina of actave-dsplacing certain notes to obtain open voi between the outer voices. Youll find that you're always alterating shown on the bottom staf. bet the 6th chord and the diminished 7th chord, which is in a | e SS be = x 19, Who says you have to confine 2 voicing to either the sth chord Pes tr he amined rh co of th ¢ diminished zcale? You con BOTOW 75 ays ving resoes the “vorowed note oa chord fone, ses amt one to use wth the other i creates a sound tat inrgues kes Fn i ear om wre eel ge) te emai 6) ee FL ‘major 7th. You're likaly to hear (eens is e | (2 ——- 2.29. This is another approach to reslving borrowed tones. nthe fst bar, the Eand Ck ae boriowed fram the diminished 7th chord ofthe F major diminished scale; they resolve down tothe Fmé. The progression continues ina similar manner unt the last bay, where something inlerestng occurs: What seems at fist glance tobe a stvaght-ahead major 9 von: contains two notes borrowed fam Bp). Rather than being stati these notes are unstable inthe con the Als mejor 6 diminished sca) ‘major 6 minsed stale and can resolve down to the chord tones ¢ I eRtionary oicings, Applying the Barry Harris Method to TunesWASTER CLASS x, 2. AS we discussed in the October issue, the minor 6 diminished scale works great as on altered scale a half-step up from the root of SS is T 8 dominant 7th chord. Here Is the Op version of thet scale voiced fe ase over 3 (7. be by be. He $ = ig ae T T r x3. Here's 3-1 inF that uses movement along the altered scale of the dominant, x 4 Last month, we also introduced the idea of “borrowing” roots tor ‘dominant chords related to particular diminished 7th chords. Here the oir ‘shed woicing on bea 4 incorporates a borrowed rool (8) onthe fourth bea x. 5. Let's ny a new take on “How High the Mon.” in measure 3 you ‘can see how I move voicing up along the 8 major 6 diminished scale. In measure 5 | hasmonize the 6 in the melody with a full diminished chard asi it were a diminished nate from the F major 6 diminished scale ~ then I move the voicing up the scale. in measures 9 and 10, the changes move from a major 7th chord to the minor i-V a ttone Gmair am? ‘nay. This situation comes up frequently, and in Barty’ universe, w «an see this a8 a major chord (fi) moving to its relative minor (em with the 6th inthe bass (A). The 6 diminished scales are great for cor trary motion effects, a5 you cam see in measure 11. In measure 13,1" Voiced the £7 with notes from E7 but added two notes from 87 — ‘elated dominant 7th chord. or Fal Fm Am75 (D7 Gmai7 comms FT Bm7 & aAn7 og he ese“ wort by Nay Hae, rb Mgnt © 148 Dy Cappel. opi Reed nnn opi Scared. Aight se” BG Kevaoaro | novewer 1980MASTER CLASS int) that inks with Bhn6 to form the Ble minor 6 1 6 The “A” section of izzy Gilespie's “Weady ‘n You" lends itself to chminkibed chord (Ad interesting esl. The sequence fs epeae in bar 3. “jtosesting borrowed tone effects. n measure 1F've used an from the diminished scale, with | 5 ommbs cr a5 Fm7b5 ae | C aa | | | z | eae ae pte More,» isn 0 PL ammunition, In A igh esr andy aby iy ie. ©1988 ones dn IS ABOUT GETTING SIGNED “The New, Music Showcase. ANTS I'S ABOUT TIME www.billboardtalentnet.com | 58 KEYBOARD | NOVEMBER 1098 READER SERVICE NO. 29MASTER CLASS ‘shed-chord notes from the C minor 6 diminished scale), the Em? with ‘and the AT two ways: fist with notes tom its related ciated ‘hard (Cadim7) and then with Gb7, 2 related dominant, While the c: Symbol in bar 6 indicates dim, the B in the bass sa reasonable ch Because it’ the ront of a dominant 7th chord that is derived from Eat Fe 7 “Boay and sour eit yound for Dary/s approach 26 well Trecute1 Fase contay motion onthe D major 6 cmished scale whe rig the melody, You noc silar movement in bar onthe Perna samnished scale. mens 3,1 voce the FT with an A funich contains the same nots), eT wancme (Che andD are din Dmal7 Emr Durr Gm? 7 Fm7—B7 Em7 AT Dmaj7 ered oS (Fea Doe Li ae Om G7 Oma? Ebdim Dm7 or cr o7 eb7 E7 i, SA = ad —— aia nae by yeas lee l= ie ee andy ad sul chy ny urd ey Kobe sa nd Fras ten, © 1930 enna wae nights Exended Rene Ter and Sd iy ae ee ed sl Coan as cole Wa es i Al Reseed edb Peat All Gear, All the Time Browlt to you hy the eos of KEYBOARD, te wor’ nung musi ctloy mage, te esl Tally Byers Goo mst cpl et untae gud to mtara msi tls err pl t Featuring comparison charts and listings of all tyr th A of gear for stage, studio, and desktop music-maki including: + digital recording systems + Keyboards, synths, samplers, and sound modul * computer soundcards and peripherals * recording gear « music software * sampling and sound libraries ana much more! ree (INH BUYER'S If you record, practice, sample, play, loop, produce compose, perform, mix, or sequence you need the Music Technology Buyer’s Guide!