Jazz Guitar Q&A: Barry Harris Harmonic Concept The Barry Harris Harmonic Method (for guitar) allows you to avoid playing those 'bland' II-V-I chords and add interest by connecting with chords in between. A visitor on JazzGuitarLessons.net asked me a question: How to apply some of the Barry Harris harmonic technique to standards? Here's the answer in video format. I created a little 8-bar example on how to use Barry Harris harmony on the great Jazz guitar standard 'Out of Nowhere'. In short: you can still use the concept of 'bebop scale' when using chords. Simply use the major 6 - diminished 7 with regular drop 2 and drop 3 voicings. This means that whenever you're sitting on ONE chord, you can play EIGHT different voicings.

Pretty cool, uh? You can also learn to connect Jazz guitar chords in virtually any progression with this type of 'harmonic plumbing' See this page full the full questions / answer article: Here's PDF example of some chords in the Barry Harris Harmonic Concept (for Jazz guitar): And finally, please see the book by Alan Kingstone: The Barry Harris Harmonic Method for Guitar Subscribe.

I recently stumbled upon the concept of negative harmony in these threads: • • • • I am trying to interpret it in the most basic ways, to get a feel for it. The most useful post in the talkbass forum offers this info: (progression I) Cmaj7 (C E G B) E-7 (E G B D) G7 (G B D F) (It's Mirror) Dbmaj7 (Db F Ab C) F#-7 (F# A C# E) A-7(b5) (A C Eb G) Notice how I got that? I started on the root of the first chord progression and spelled down new chords based upon the intervallic content of the first ones. C major 7 is C up a major third to E up a minor third to G up a major third to B. I took that same order of intervals, but used it going down instead of up. C down a major third is Ab, down a minor third is F down a major third is Db. This order of notes spelled a Db major 7 chord.

Barry Harris Harmonic Method For Guitar Pdf To Adam Folia- theme was part of the program to get the appointment of beiaardier. The Leuven manuscript is not just a simple transcription (although some passages. Nov 12, 2012 That program is structured around the ideas of bebop pianist Barry Harris. Гдз По Английскому Языку 5 Класс Верещагина Афанасьева 2013 on this page. The 'Harris Method' is structured more explicitly around bop practice and focuses on creating smooth chromatic melodies through the use of certain 'rules' (for example, descending from the tonic, 3rd, 5th or 7th of a major scale add one half-step between.

You can do that with any quality of chord, and they will invert to some interesting things. Here's a basic list. Major 7 =>Major 7 a half step up (Cmaj7 to Dbmaj7) Minor 7 =>Minor 7 a whole step up (E-7 to F#-7) Dominant 7 =>Minor 7(b5) a whole step up (G7 to A-7(b5)) Minor7 (b5) =>Dominant 7 a whole step up (C-7(b5) to D7) Diminished 7 =>Diminished 7 a minor third up (inverts to itself, essentially) Minor major 7 =>Augmented major 7 a half step up (C-(maj7) to Db+maj7) Augmented major 7 =>Minor major 7 a half step up This seems straightforward enough. Each chord is mirrored around its own root note.

Part of the idea they way I heard about it though is that the negative chord will have an equivalent role. So for example a G7 tends to resolve to C. Therefore -G7, i.e. A-7(b5), should equally resolve to C. But then I started to wonder if this meant the tones of chords in a progression should be mirrored around the key of the piece, rather than the root of each chord?

That would generate different results from above. Can anyone shed any light?

'Negative harmony' is a term from the theorist Ernst Levy and his book A Theory of Harmony. Here's what's actually happening: Let's say you're in C. The idea is that the 'axis' of C is the perfect fifth C/G. So, when you have a G7, you're actually inverting it around this C/G axis.

Or, put another way, the halfway point between C and G is right between E and Ef, so you're actually rotating it around that point. As such, G becomes C, B becomes Af, D becomes F, and F becomes D. So in terms of negative harmony, the equivalent of G7 is Dhalfdim7. The idea is that the voice-leading tendencies are just inverted. The leading-tone B, which wants to go up by half step, is now Af, which wants to go down by half step. What makes this confusing is that it's close to but not the same as other ideas.

It's really an evolution of a prior concept (typically connected with 19th-century German thought) called harmonic dualism. They're not the same, but they're very related. From a dualist standpoint, the chords will be inverted around their tonic; thus C major (C E G) inverts around its tonic to become 'C dual minor' (F Af C). Yes, you read that correctly; harmonic dualists name minor triads by what we consider their fifth!

This is also not to be confused with the more twentieth-century notion of pitch (or pitch-class) inversion, where music is simply rotated around a given axis. In addition to Richard's excellent answer, which I've accepted, I just wanted to highlight some other approaches to this question I found on the internet.

One problem in investigating this subject, as a casual musician rather than music theory major, is a) not having the Levy book b) not sure if I'd understand it anyway and c) of the few internet sources discussing the topic that aren't way over my head, hard to judge if they're getting it 'right'. So for point c) I'm going to assume that musical prodigy, Jacob Collier, having apparently discussed it with Herbie Hancock (!) knows how this is supposed to work.

With that in mind there's some clues in this video. With accompanying PDF: This basically explains Method 1 but also relates it to the ideas of Barry Harris. A relationship between diminished chords, dominant 7ths and minor 6ths. So far in this post I have been referring to eg C ->-C = Cm, G7 ->-G7 = Fm6. And if the positive scale is C Major then 'negative C Major' is G Phrygian backwards. However in the PDF above the author uses a different convention, so you have pairs like C -C (Cm), G7 *-C7* (Fm6) and for the scales 'C Major' and 'negative G Major' (which is still G Phrygian backwards).

So in this scheme the negative chords and scales have the real (i.e. Entertainment Rigging By Harry Donovan Pdf Editor. Positive) name of the note from the negative scale they are built from as their root note. What I called -G7 and they call -C7 is built starting from C, the fifth degree of the negative scale). But this seems to me more confusing as you have to do an extra mental step to relate it back to the positive key. Also why only translate the root note of the name in this way and not rest of the chord?

-C7 is not a 7th chord in real (positive) terms. The notes of Fm6 with a root of C spells, er, I don't know how you'd call it.

Whereas -G7 has no G in it but at least tells you clearly the chord it was generated from. I have no idea what the correct convention is for naming the negative chords but -G7 = Fm6 so far seems to make the most sense to me. However one thing to note is with this scheme the negative names only make sense in relation to a positive key. For example in the key of C we have -G7 = Fm6.

If we transpose down to B♭ then we will have -G7 = D♭m6 (G7 being now in the VI chord position). Whereas, according to the method in the PDF, if we have -C7 = Fm6 in C and we transpose up to D then we still have -C7 = Fm6, where this represents the negative B7 (the VI chord again). Or if we transpose to G then we have -C7 = Fm6 again, this time as the negative of A7 (the II chord). So this stable naming seems an argument in favour of the convention used in the PDF above and is maybe more correct. I would welcome further comments on this. After reading the PDF linked from the Youtube video and thinking it through some more I think I can answer some of my questions (and correct an error) in the part about 'method 1' above.

I did not find anything to suggest naming the fourth chord G-♭6. It's named either -FΔ7 or -DΔ7. From the method in the linked PDF they would call it -DΔ7 based on the fact that the 'negative C Major' scale is actually G Phrygian counted backwards and the fourth degree of that is D. But -FΔ7 would make more sense to me. I'm not sure which is correct.

Either way the notes are D B♭ G E♭. – Oct 24 at 22:45 1. As Collier points out the axis is between the minor and major 3rd of a key, E and Eb in the key of C. That means you simply count an iterval upwards from E (or the major third of your key) and then reflect it downwards from Eb (or the minor third of your key). A simple way is to start with the chord tone closest to the axis and calculate the relative intervals from there. In the case of A7 you would start with E (right on the positive axis), then up a minor 3rd to G, major 2nd to A and major 3rd to C#. E-G-A-C#=A7 The reflection starts on Eb (right on the negative axis), down a minor 3rd to C, down a mjor 2nd to Bb and down a major 3rd to Gb.

Eb-C-Bb-Gb= Ebm6. G7 starts on F (1/2 step up from E) etc. Its refletion starts on D (1/2 step down from Eb) etc.