QuasiMado
THE EARRY HARRfS WORKSHOP VfDEO
Copyrigbt 0 1994, 1998 by Bop City ProdllC!ioos loe., P.O. Box 21016, 6GT7 Meadowvale Town Cenen:, Mississauga OnL LSN 6A2, Cunada Our intemet addtess is: www.bopcity.com. Howatd Rccs' email addtCSS is;
[email protected]. Second printing by Bop Ci¡y Productions lnc.• 1998 All righlS reserved. Mlldc in Canacla. No pan of thís book may be rcproduccd in any form without pcnni.~siOtl rrom thc puhli~cr.
Barry Harris and Howard Rees, Toronto 1991
...•
are many Joved ones, mentors, collcagucs and friends to whom I am indcbted for their kindness, patiencc and llnowledge in helping me with this project. in particular: my parents, for teaching me to follow m y dreams; my bruther Philip, for his ongoi ng support and vas t computer skills; my senseis Rarry Harris and Ted Jungblut, for showing me thc path; friends J anc Bunnett and T.arry Cramer, for thcir suppurt and good advice; Brian Kau, for his hclp with transcriptions and cditing; Larry Lewis, for his hc.l¡> with guitar transcriptions; Jane Low-Uccr, for cover dcsign; D.D. Jackson, for computer help; Jannifer Smith-Rubcuzahl, for her help with proofrcading and cditiug. The music and text were set and laid out by David Nicho! (4 16-921 -4963) on the Maciutosh computer using NoteWritcr and QuaJ k.XPress. '111CIC
I dedicate this book to the lcgacy of Charlie Parker and to thc musicians aJld teachers everywhcrc who ha ve carried on the tradition of this bcautiful music.
Jn the autumn of 1979, aftcr having spcnt the previous twelve months getting myself togethcr psychologically, financially and musically, I moved to New York to realize a dream- to study with Uarry Harris. Jt 's difficult to describe the atmospherc of lhe studio 1 walked into for my first class-t.he electricity of 25 or 30 people f()(;u scd on Rarry seatcd at the piano. Poring over cvcry note and cvcry word, each uf us would cr.mc for a view of thc keyboard knowing lhat what was going on was very special allll powerful. As itturned out it was car training night. The tune was "Body and Soul." The scene changed every couple of minutes when Barry would choose someone random1y, point, and motion to them t.o siL ncxt to him. "Okay," he would say rto his consenting but nervous subject], "now yuu play it in this kcy." lt's not difficult, in fact it's easy, to think of stories lhat show the love and rcspect llarry has for his students. In 1979 the fec for his class-which startcd with piano and guitar players at5 p.m., added singers at 8 p.m., and hom players at 11 p.m.- was $3. Nothing would upset Barry more t.han to find out that someone missed class beca use they didn't have t11e money, so he was direct when he would say, "You lcnow you're supposed to come anyway." Uack lhen Barry would go to great lengths to comrnunicate to his students the passion and intimacy of the music. On one occasion, I watched Barry work with a sightless student. Seated next to him at lhe keyboard, Barry had thc student place bis hands on top of hls own and thcn played. Today, t11c cssence of Ba.rry's instruction remains unchanged. He sharcs his musical gcnius wirh heart and soul. Now, smne fifteen years aftcr my frrst e lass with Barry, J a m in the process of fulfilling anoLher goal-to docurnent his intemationally acclaimed teachings. It is my hope rhat the scnsc of joy, exciremcrll and purpose that Barry generuusly bestows upon cach srudent that comes ro hirn is transmitted Lhrough rhis video to you. The human cvolurionary thread spirals upward, and J am con-
vinced that as pcople continue to search for more meaningful cxpcriences in life and place a highcr value on tapping into their own creative powers, the music that developed in Ncw York in the 1940s and 50s wíll be widely regarded with amazemcnt and u·casured for ils beauty and frcsh sound. We are fortunate to have Barry Harris as spokesperson for this lcgacy. 1íreless in dedicating his energies and talcnLS to the ongoing devclopmcnt of the music, he has long been recognizcd as one of its major proponents and grcatcst comrnunicators. Simply put-he is "the keeper of the flame." rinally, 1 would like to mention, to thc crcdit of everyone involved in documenting this extraordinary performance-the production crew whose intuilion and abilities harmoni:r.ed to capture the cssence ofthese sessions, the musicians who beautifully mirror Barry's ideas, and Jim MacDonald for his support horn out of his love for this music-that the entire recording took place without any rehearsal. Ilere is in fact arare opportunity to ga.in an inside view of a truc master at work. Howard Rccs February, 1994
TI1is work is an attcmpt to perpetuatc the music. i bclieve that along with ideas comes the responsibility of sharing them. While not always correct, it is important to pass on one's knowledge. My greatest desirc is for peoplc to ha ve the opportuniry to expcricnce the beautifullegacy that jazz. is huilt un. I'm particular! y interest ed in having more young pcople tumt:.d on to this music. Historically it has becn almost impossible to cou nt on media support. Today we find oursclvcs in a siluation wh ere we ha ve people who haven't even heard thc music, and yct they already have a negative ímage about il. This must change. Bcbop represents thc furthest extension of music. il takes place in thc moment, there is no tuming back. and no re-grouping. There is also no room for faking. Although relatively young, this music has airead y riscn toa very high leve! dueto thc gcnius of such pcople as Charlic Parker, Tht:lonious Monk, Di:t.z.y Gillespie and Bud Powell. 'l11cre are no shortcuts to the leaming process. lt isn't possible for someone to go out, buy a hom, and get a gig the next day. Technical mastery of one's instrument is the start.ing point, and from there, with a lot of hard work, one might reach the height of moving the music forward. In addition, all instrumentalists and vocalists should know something about the keyboard, about chord and sea le relaLionships, and about how to use the scales as a basis for improvisation. To this end, a total commiuncnt is required of every player-commitment to study, discipline, patience and also to yourself. Thesc are the keys to frcedom, exprcssion and self-knowledge. This is a vital music. Jts history is both very rich and beautiful. lt is importan! for new pcople coming along to lea m about a.nd carry on those traditions. As a teacher, it's irnportant to start teaching from where we camefrom- not from where we're ~11. Hopefully then Lhc stutlent will grow to wht:re thc teacher is, and add a little mure. I would like to cxpress my thanks to Howard Rt:t:s whose hard work ensured that this projec t woultl become a reality.
TAEI.E Of CONTENTS
...... /~
\J/1)fQ CA~E ONE
C~ 1: Tkg~
Foreword
J
Scale practice or " the ABC's"
2 2
Explanatory Notes The 1/arris lla/f-Step Practice Model The Dominan! 7th Scale Half-Step Rules lñe Major Se ale Half-Step Rules Thc Minor Scale llalf-Step Rules Chromatic scalc breakdown chart The dimínishcd chord and its 4 related dominan! 7ths The 'Dimínishcd Scalc' Related dominant 7th scales =chord movcmenL~ The minor7 flat5 chord The '5-4-3-2' Phrases '5-4-3-2' on thc major scale '5-4-3-2' on thc dominan! 7th scaJc. '5-4 3-2 ' on the minor sr.ale
8 8 14
16 18 18
20 20
24 24 24
26 26
C~2:A~ Foreword "Back Home in Indiana" by Mac0 ona1d-Hanlcy Sea le outlinc of (Back Hume in)"lndiana" Seale outline of 'the Blues' in C A typical 'fllues' progression Applicatíon uf scale ideas to 'the Blues' The 'Related Viminished Chord'
29 30
'Rhythm Changes' Scale outline of 'Rhythm Changes' The 'Important Minor' Application of scale ideas to 'Rhythm Changes'
36
"Anthropology" by Charlie Parker "Cherokee" by Ray Noble Scalc outline of the "Cherokee" bridge Applicatíon of scale ideas to the "Cherokec" bridge " 1low Hígh Thc Moon" by Murgan l.ewis Scale outline of "How Hígh 'D1c Moon" Tlle 'Minor 6 Diminished Seale' Scale practice on the G minor 6 diminishcd scale AppUcation of scale ideas to "How Hígh Tbe Moon"
Forcwurd The C6 Diminühed S cale The C6 dimini~hed ~cale with chord voicings for piano The C6 diminishc:d sea le wirh chord voicings fur guirar
31 32
32 34 34
36
3X 38 44 45 46
46
48 49 50
50 52
59 60 60 60
TI1c e6 diminished scale in si ngle notes Guitar fingering for thc C6 diminished sea le The C6 díminishcd scalc in comrary rnotion
The C Minnr 6 Diminished Scale
e
Thc minor 6 diminished scale perfonned up and down Chords found oo the minor 6 dirninished sea le " Alone Togf;',ther" hy f)ietz-Schwartz "Body and Soul" by Green
e
'The Tritone's Minor' Re-thinking the m7 and thc m71>5 chords Movíng Am7 on the C6 diminishcd scale Moving a voicing through the major scalc Moving a voicing through the C6 diminished scale The 6 díminished scale contains two dominant 7th chords Ending a tune with movements on thc 6 dirninished scale Extcnding Lhe previous idea through 4 kcys Using the C6 diminíshed sea le on 11-V-I in G major Usi ng the minor 6 dinúnlshed se ale on TT-V-I in G
e
e
60
60 60 60 60
62 62
62 62 62 62 64 64
66 66 66 68 68
Bascd on " Django" hy John Lewis Based on "Ifl Should Lose You" by Robin-Raingcr Based on "In Your Own Sweet Way" by n ave Brubcck
68 70 72 72
'Majar- minar- mi11or/6'
72
Applied to " Stella by Starlight" by Young-Washington Applied to "Likc Someone In Love" by van Hcuscn-Burke Applied to " I Remcmber You" by Schertzinger-Mcrcer Applied to "Stella by Starlight" wíth guitar voicings Thc 4 related dominant. 7ths used as V7 substitutions
74 74 74 74
Foreworcl
79
'Borrowed Notes'
76
"SLraight, No Chnser" by Thelonious Monk Walking bass p;Hterns emphasizing the upbeat The whole rhytJun scction demonstrating Lhc prcvious rhyth ms Rhythrn lúghlighting the '2+' and tJ1c '4+' Rhythm highlighting the '1+' and the '4+' Using longer valucd tied nores in the walking bass line
80
82 82 82 82 82
C~S: V~ Foreword "You Must Believe Tn Spring" by Michcl Legrand Thc E diminished chord wilh applications t.o " Y.M.B. in S." Wurm-up exercises Application of thc wann-ups ro "Y.M.B. in S." Use of thc related dimin ished chord in thc 1st 4 bars of"Y.M.B. in S." "Billie's Bounce" by Charlie Parkcr
85 86 RR 88 92 92 94
102 102
THE EASfCS Probably the most frequently asked question by Üle music student is: "What should 1 spend my valuable practice time on?" In úlis section a systematic, step by step approach 10 answering this qucstion is outlined. Technique might best be thoughl of as a mcans to an en d. That is 10 say, strong technique is a prerequisite for jazz improvisation; but, for 1hc purposes of pracúcing, teehnique must always have a musical cootext. To get the poiot across Barry says, "practice your playing- nol your practicing." To be consistent in providing musical contexts, make the rchearsaJ time as real as possible. A lot of practice time is spent alone, so it is essential lo re-create Lhe rhyLhm section for yourself as you play. Hear the drums, the bass and ú1c chord changes. Practice in tempo, and envision how the rhyLhrn section would accompany yo u. As Barry states in bis opening remarks in Lhe video, everyLhing comes from scales, which requires that Lhey be practiced in a variety of ways. With thls in rnind, "The Basics" contains transcriptions of the musical examples covered in the corresponding section of the video. The transcriptions appear in sequence as they are introduced in the video. Additiooal explanations and further examples have been includcd where necessary-all of whlch will hopefully guide you on the road 10 discovery and beyond. Note: 1) Examples are in the key of C concert unless otherwise notated. 2) Where Lherc is no key signature, apply Lhe accideotaJs as ú1cy occur. 3) In sorne examplcs enharrnonic equivalent~ may not be shown.
1
(!~1 Sea le Practice or the "ABe's" Explanatory Notes
1-1) The referencc that Barry malees to em7- F7, and why it would have been impossible for Bird to have played that as a horn player, is bccause Crn7 is the chord found on the 5th of the f7 scale (the 'important minor'), a.nd for that reason, only the F7 scale is rcquired for soloing over both of the chord changes (see Fig.2-8). 1-2)'Up and down' refers toa scale playcd from its tonic up to its 7th degree (either domina.nt or major 7th), and then straight back down. This produces a 2 bar phrase. 1-3) The C dominant 7th scale up a.nd down. 1-4) The e major sea le up a.nd down. 1-5) Scale practice on the e dominant 7th scale. a) The scale perfonncd in 3rds. b) Same as previous figure, starting a half-step below the 1st note of each 3rd. e) The scale performed in triads. d) Sarne as previous figure, starting a half-step below the 1st note of each triad. e) 4 note chords performed on each degree of the scale.
2
Fig. 1-3
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1) Same as previous figure, starting a haJf-sLcp below Lhe 1st note of cach chord.
g) The three important arpeggios on thc dominant 7th seale are found on thc !Oitic, the 5th and the 7Lh. Illustrated in its entirety is the arpeggio on the tonic (e). Practice lhe arpeggios on the 5th and 7th (Gm and Bb, shown in root position) the sarne way. 1-6) Pivoting Pivoting is a muJti-purpose technique that is an importarlt tool for all instruments. It is cspcciaJly useful for hom/string players and vocaJisL~ enabling them to pcrform a melodic line of any length and/or rangc while remaining within the boundaries of thcir instruments. Notice that the acccntual structure of Lhe line changes where thc pi vol creates new highest and lowest notes, whicb natur.Uly feel rhythmically stronger wilhin the melodic line. a) Pivoting with thc chords on the e major scaJe. b) Pivoting with thc e major scaJe. (Not shown on video.) e) Pivoting wilh the dominant 7th scalc as shown in Fig.l-6b. (Not shown on video.)
S
1-7a) Major arpeggíos are perfonned down chromatically from the highest note on the alto. Here, the hlghest note is the toníc. b) Next, the highest note ís the 3rd of the arpeggío. e) Final! y, the highest note is the 5th of the arpeggío.
1-8) This figure demonstrates dimínished chords performcd chromatically in an altemating descending/ascending pattern. ] -9) In this figure, inversions of lhe e augmented arpcggio are performed. 1-10) "Chi-Chi" by Charlie Parker makes use of a 1st inversion arpeggio.
Fig. l-7a
Fig. 1-9
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1-11) Rhythm exercise perfonned on thc dominan! 7th sea le; (8-6b7-6-5-4-3-2- 1). Practice this on the major sea le as weU. 1-12) The Harrls Half-Step Practice Model Half-steps typify the language of Lhc bcbop player. With this in mind, Barry developed the half-step pra.ctice model to teach the art of playing rhytJunicaUy. In their basic role, they appear as notes added 10 the descending form of the scale. 1ñrough various applications, (shown below), the half-steps becomc an endless source from which to generate improvisational ideas. Thc dominant 7th sea le, the majar and the minar scales cach have their own set of 'rules' for adding half-stcps. a) Thc Dominant 7th Scale Half-Step Rules St11rting Note 1 (octave) 2 2
3
# of Added Half-Steos
1 (8-7)
o 2 (2-8;8-7) 1 (8-7) 3 (3-2;2-8;8-7)
EndOn tonic
. .
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3 4
o
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4 5 5
2 (2-8;8-7) 1 (8-7) 3 (3-2;2-8;8-7)
"
6 6 7 7
o 2 (2-8;8-7) 1 (8-7) 3 (3-2;2-8;8-7)
" "
. . ..
3rd
(!~1 Note: Thesc rules are applied to scales descending from at Jeast the octave (i.e., starting on t11e 2nd is acn1ally starting on the 9th). 1) The starting notes of the sea! e are grouped by odd and even numbers. 2) The octave is called 1 in t11is case as it takes the rules of the odd numbcred group. 3) In Chaptcrs 1 and 2, added half-steps where applied to the illustrated examples have been circled. b) Vocalized scale ideas on the C dominalll 7th scale. e) The 'Miscel/aneou.r Rule': start on a note, go up Lo any note, and (whcn descending), fo!low a rule for thc starting note. (If t11e half-step falls on the bcat, put it at the bottom of the phrase.) d) When starting a phrase with 8th note trip/ets, use a ru le for thc middlc note of the triplcc e) When starting a phrase witlt a 3rd, follow a rule for thc next note iliat falls on the beat; i.e., tonic-3rd-2nd follow a rule for the 2nd.
f) When starting with a triad, follow a rule for the top note of the triad; i.e., C-E-G top note ís the 5th so use 1 or 3 half-steps.
10
11
(]~1 g) For 4 note chords, follow a rule for the bollo m note (the root) of each chord. Note that the exceplion to Lhls rule is the chord on the tonic. The reason for this is that both the top and bouom notes of the chord are from the ' odd' number group, 1 and 7 (as opposed to the other chords that have notes from opposite groups on their Lop and bottom). Therefore, use a rule for the 1st scale tone below the top note of tbe chord; i.e., C-E-0-Bb-A. 'A,' being the 6th of the seale, would require either Oor 2 added half-steps. h) For starting a semi-tone below the root of a chord on the sea! e,
beginning on the '&' after '1,' follow a rule for the top note of the chord. ·n1ere are no exceptions here. Note, however, that the chord on the tonlc requires the half-step(s) to be played at tbe bottom of the scale (i.e., bctween the root and the flat 7; or between the 3-2; 2-1; 1-b7). i &j) These 2 figures show the application of the prevlous e.x ample over a common tumback. The chord on the 4th degree of C7 up, down the scale with 3 half-steps to lhe 3rd, then up the related diminished chord of C7, resolving to lhe 5th ofF major; while the rhythm scction plays 1-VI-II-V in Lhe key ofF.
12
Fig. 1-12g
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1 13
(!~1 k) Any note as a half-step. The object here is to make the line fccl right rhythmically.
1-13) The Major Scale Half-Step Rules (not shown on video) There is also a system for adding extra half-steps to both the major and the minor scales. As with the dominant 7th scale, the sarne two divisions of notes are made-even numbered and odd. There are two rules for each group with the exception of starting from the octave (1) where there is only one rule. TI1e frrst rule for descending from the 1-3-5 and major7 is: 1 addcd half-step between the 6-5. The second rule applying to tltc 3-5 and major7 is: 3 added halfsteps between the 3-2; 2-1; 6-5. Another way to practice this second rule is by placing the half-steps between the 3-2; rnajor7-6; 6-5. 111e frrst rule for áescending from the 2-4-6 is: no added halfsteps. Play straight down the scale from the various starting notes. The second rule for the 2-4-6 is: 2 addcd half-steps which can come between the 2-1; 6-5 or between the rnajor7-6; 6-5. (Practice both sets.)
14
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1-14) The Minor Scalc Half-Step Rul es (not shown on video) Thc minor scale that the half-steps are addcd to is the melodic minor in ascending form- tonic - 2- b3 - 4- 5 - 6 - major7. 1l1e addcd half-steps for this scale fall in the same places as do Lbe half-steps for the major se ale. The onc cxccption to this is where the major scale rules add a b3rd. Bccause this note is aiready present in the melcx:lic minor scale, any other note may be used in iLS place. Noticc that this m ay al so be achieved by using intcrval jumps and by rcpeating the same note twice.
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1- 15) Chromatic scale breakdown chart 1 chromatic scale
..¡, 2 whole tone scales
..¡, 3 dímíníshed chords
..¡, 4 (keys or) donúnant 7th chords related to each dírninished chord
a) The diminished chord and its 4 related dominant 7ths Dy taking a diminished chord and lowering each of its notes, one ata time, 4 related dorninant 7úl chords are formed. Because these 4 domi nant 7ths share the same diminished chord, ccrtain harmonic relationships between them are also implied. (See Fig.l-17.) The rule of thumb for finding a related diminished chord is to build ita major 3rd above ú1e dominant note. If you are looking for the related diminished chord to a dominan! 7th chord, just go up a major 3rd from the root of the dominant 7th chord (i.e~, in the key ofF, C is the dominant note, E is a major 3rd above the dominant note and the root of the related diminished chord). 1) C#-E-G-Bb becomes C-E-G-Bb (C7) 2) C#-E-G-Db becomes C# (Db)-Eb-G-Bb (Eb7) 3) C#-E-G-Bb becomes C#-E-F#-Bh (F#7) 4) C#-E-G-Bb beeomcs C#-E-G-A (A7) b) Extending a dominant 7th sea le phrase with the related diminished chord ofC7. 1~
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1-16) The 'Diminished Scale' The 4 notes of a dimioished chord, plus the roots of the 4 related dominant 7th chords, combine to form a scale- i.e., The e diminished chord = e-Eb-Gb-A. The roots of the 4 related dominant 7ths are b-d-f-ab. When these 8 notes are combincd, thcy form t11c 'diminisbcd scalc'e - d - Eb - f - Gb - ab - A - b (or; b-e- d- Eb- f- Gb- ab-A)
1-17) Related dominant 7th scaJes = chord movements As mcntioned earlier, certain implications arisc from stating tbat 4 keys or dominant 7th chords are related to one another through sharing the same diminished chord. It is useful to practice the 4 related dominant 7ths (as scales) 'into eachother.' Tiús chart demonstrates how, by practicing the related dominant 7th scales 'into eachother,' key chord movements can be practiced at the same time. Here the four scales (C7; A7; Eb7; Gb7) that share the e# diminished chord are illustrated. (Not shown on video.) SeA LES 1) e7-A7 2) e7-Eb7 (tritone of A7)
3) C7-Gb7 (tri tone of e7)
20
ei-JORD MOVEMENTS
Em7b5-A7 (bot11 outline Em7b5-A7 1Im7b5-V7 in D min) Also:Gm7-Bbm7 (IIm7-IVm7 in F maj) Gm7-C7 (Ilm7-V7 in F maj)
Fig. l -16
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Roou or lhe Relaled Dominan¡ 71h chords
21
C~1 1) A7-Gb7 (F#7) 2) A7-C7 3) A7-Eb7 1) Eb7-C7 2) Eb7-Gb7 3) Eb7-A7 1) Gb7-Eb7 2) Gb7-A7 3) Gb7-C7
C#m7b5-F#7 C#m7b5-F#7 Also:Em7-Gm7 Em7-A7 Gm7b5-C7 Gm7b5-C7 Alsu: Bbm7-Dbm7 Bbm7-Eb7 Bbm7b5-Eb7 Bbm7b5-Eb7 Alsu:C#m7-Em7 Dbm7-Gb7
This is the entire chart for the C# diminished chord. Do a similar chart for the other 2 diminished chords (i.e., C and D), then the same chord movements will be outlined in alll2 keys. 1-18) Practice the C7 scale up and down followcd by the Eb7 scale up anddown. a) Prnctice the C7 scale followed by (or ínto) an Eb7 scale to outline a bar each of Gm7(11m7}-C7 and Bbm7(1Vm7)-Eb7, illuslrating the 1st two mensures of "When Sonny Gets Blue." b) Shown here is anoll1er cxample of the C7 scale into the Eb7 scale outlining, in thi s case, Em7b5-A7. TI1is cxample descends the C7 scale from the 2nd degrec, adding 2 half-steps and continuing down thc scale to the 5th of C7 which beco mes the 3rd of Eb7. 3 half-steps are added fonning a chromatic line from the 3rd of Eb7 down to its b7th. (Not shown on video.)
22
Fig. 1-18 llm7 (Gm7)
1Vm7 (B~m7)
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11
Fig.l-18b Em7~S
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23
J-19) Shown here are 3 examples ofthe C7 scale run into the Gb7 (F#7) scale, outlining Gm7-C7. a) The 1st examplc descends from the tonic to the b7 of C7 with 1 added half-step. The b7 becomes the 3nl of Gb7, and the line continues down t.he Gb7 scale to the 4th, again adding a half-step bctween the tonic and b7 of Gb7, rcsolving to the 5th ofF major. b) The 2nd example on Gm7-C7, uses a parallel pattem of 8-2-#2-3 on cach of the two dominant 7th sea les. e) Thc last example dcscends the C7 scale from the octave, with 1 added half-step to the flat 7, ú1cn down the arpcggio of the flat 7 (Bb). The same idea is then applicd to the Gb7 scale, finally resolving to the 5th ofF major.
1-20) The minor7 flat5 chord The following illustration shows a C7 scale with the Em7b5 chord located on its 3rd degrce. 'Ibis is a key point. When soloing over the Em7b5 chord, choose the C7 sea/e because the chord is found on the
scak. a) Playing the C7 scale up and down to its flat 2, or 10 the 3rd of A7, ouúines Em7b5-A7 (one bar apiece). 1-21) The '5-4-3-2' Phrases As Barry states, these phrascs are handy to help "get out oftrouble." Use them to end and 10 begin lines.
24
a) '5-4-3-2' on the major scale Notice that not only is it possible to play all 4 phrases 'into eachother,' but it is also possible to make up various combinations-i.c., '5' into '4'; '5' into '3'; '5' ínto '2,' etc. (See Fig.2-3.)
Fig. 1-1 9a
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b) Scalc practice ending with ú1c '5' phrase.
1-22) '5-4-3-2' on the dominant 7tb scale (not shown on video) In applying thc phrases to the dominant 7th scale, tbe '5,' '4' and '2' can be borrowed directly from thc major scale phrases. In Lhis figure, we show the '3' phrase, an a1temate '2' phrase, and then thc '5-4-3-2' run together. 1-23) '5-4-3-2' on the minor scale (not shown on video)
26
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APPLfCA1fON5 In Lhe previous chapter we covered many of Lhe basic tcehniques (or ABC's as Barry refers to Lhem) Lhat should make their way into any practice-rime repertoire. In Lhis section, these tcclmiques are applied to solo building over severa! well-known song forms.
Consider three steps:
l. Choose the correct scale(s) to outline Lhe chord progression (song). Practice the scale(s) thoroughly. Not only will this sourui the harmony, given that the chords come from the various scales, but it will also illuminate any darkened cerner in the tune, shedding light on 'how to solo.' 2. Make-up as many different phrases as possible based on tbe scale(s) outlíning the harmony. Pr.tetice them in all keys, and at cballcnging tempos. 3. Find differenttunes that make use of the chord progression that you are working on, and try out the phrases in cach of them.
C~2
INDIANA
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2-2) Scale outline of (8ack Homc in) " Indiana"
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2-3) Scale outline of 'the Blues' in e *The e Major 7 scale played into an A7 scale. This outlines Lhe following 2 bar chord progression: emaj7-A7 or Em7-A7; and also 2 bcats each ofemaj7-F7-Em7-A7. a) A typical 'Biues' progression
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2-4) Application of scale ideas lo 'the Blues' The following examples run thc e major scale into !he A dominant 7tll scale, making use ofthc '5-4-3-2' phrases (seeFig.l-18a). Hcrc, !he musicians illust:r.lle bars 7 and 8 of 'the 8/ues.' a) '5-4' down to the 3rd of A7. b) '5-3' down to the 3rd of A7. e) '5-2' to the 3rd of A7.
d) '5' down to the 3rd of A7. e) e major from the 5th degrce to !he 5th degree, then down to !he 3rd of 1\7. f) Descending the 3rd of /\7.
e major from the major7th to the 5th, then '5' down to
2-5) The 'Relatcd Diminisbed Chord' The related climinished cbord is built from a major 3rd abo ve tbe dominant note. Por instance, in !he kcy of D the dominant note is A and a tbird above is C#. a) In the following example, which outlines bars 7 and 8 of 'the Blues' (in the key of e), noticc how the related diminishcd of 1\7 is u sed to extend tbe phrase.
Fig. 2-4 a) "S .. . ..4 ..
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C~2 2-6) 'RIIythm Changes' (refers to thc chords based on " I Got Rhythm") 2-7) Sea le oumne of 'Rhythm Changes' (pcrformed here in the kcy of Bb)_ This is a 32 bar song fonn with 4 eight bar scctions: A-A-B(ridgc)-A. To cnd the tune, the last A section is the 1st six bars with the 2nd ending; to repeat the tune, the lastA secrion is the 1st six bars with the 1st ending.
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(!~2 2-8) Tbe ' lmportant Minor' ' Importan! minar' is the term given to the chord found on thc 5th degree of a donúnant 7th scale (5 of 5). *13arry is saying here that blllm7 (C#m7) is the ' important minor ' of the bV17 chord (F#7) in tlte·key of Bb. Similarly, he points out that thc llm7 chord, or Cm?, is the chord found on thc 5th of F7. This phrase bcgins with the chord on the 3rd of Bb major. a) This phrase and the previous cxample both illusttate bars 3 and 4 of 'Rhythm.' b) This is an example of combin.ing the sea les of thc 5111 and 6th bars of 'Rhythm.' 2-9) Application of scale ideas to 'Rhythm Changes' The next 12 figures (2-9a-1) are various illustrations on the 'Rhythm' bridge. a) Up and down each dominant 7th scale ending with the '4' phrase. b) Up and down eacb dominant 7th scale ending with the '5' phase. e) Down cach. dominant 7th scalc from the b7tll to tllc 5th, tllen adding the '5-4-3' phrases.
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C~ 2 d) DominanL 7th scales down and up t.o the 4Lh dcgree, then adding the •4' pllfase. e) Arpeggios bascd on the triad found on the 1st dcgree of each of thc dominan! 7th scales.
f) The arpeggio bascd on the tonic of each scale up, Lhcn descending thc scale fTom the b7th to the 3rd. g & h) Variations on Fig.2-9f. i) Up each dominant 7th se ale from the 3rd to the b7th, back down Lo the 3rd degrcc, then up the chord on the 3rd dcgree of the scale.
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e~z j) Descending cach scale from the b7th to thc 3rd, then adding the 5th and the 2nd degree of each scale. k) Improvisation bascd on the lst 5 bars of the bridge. 1) Each dominant 7th scale followed by its lritone 7th scale. 2-1 O) Sea!e outline of 'Rhythm'- see Fig.2-7 for the 'A' sections; use Fig.2-9k for the bridge. a) Here, Lhe same scalc outline is performed. The scales on tl1c ' A' sections begin on thc '&' after beat 4. 2- 11) Improvisation based on the 1st 5 bars of the 'Rhythm' bridge.
42
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ANTHROPOLOGY
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C4iuZ 2-14) Scale outline ofthe "Chcrokce" bridge 2-15) Application of sea le ideas to the "Cherokee" bridge a) Scales performed down and up. h) Scales perfonned in 3rds. e) Scales performed from the tonic to the 5th; 3rd to the 7th.
d) Seales performed from the tonic to tite 5tJt; 3rd to tJte 7th; 5th to tlte 7th.
ltl
HOW IITGH THE MOON
2- 16)
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2- 18) The 'Minor 6 Diminished Scale' This scale is formcd by combining a minor 6 chord wilh its related diminished chord. The diminished chord is built from a major 3rd above Lhe dominant note of lhe scale. 2-19) Scale practicc on thc G minor 6 diminished scale a) The scalc pcrformed up and down. b) The scale performed as broken note chords. e) The scale performcd as arpcggios with inversions. 2-20) Figures 2-20a-n show various phrases based on lhe G minor 6 dimilúshed scale (bars 11 & 12).
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Application of scale ideas to "How Higb The Moon" 2-21) Figures 2-2la-f show various phrases ba~ed on the G major scale (bars 1 & 2;17 & 18).
2-22) Figures 2-22a-f show various phrascs based on thc scale (bars 3 & 4; 19 & 20).
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e dominant 7th
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2-23) Thc F major scale performcd up and down (bars 5 & 6; 21 & 22).
2-24) Thc Bb dominant 7th scalc peñonned up and down (bars 7 & 8; 23 &24).
2-25) This figure oullines bars 9 & 10 (also 25 & 26). Here lhe Eb major scale is played up; followed by the F dominant 7th scale played down to lhc 3rd degree of the D dominant 7th scale.
Fíg. 2-23
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(!~2 2-26a-b) Perfonned hcrc are furthcr cxamples illustrating bars 9 & 10.
2-27) This figure shows an improvisation built on bars 9-13.
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HO\IAELE QHOR7)5 QuasiMado
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PIANO~ QliiTAR Thls chapteris inspiring notonly:from my
perspectlve as a pianist,·but·also from a philosophical perspectlve that chords and cbording (lilee other th1ngs in lifc) can be thought of as Ouid and havlng potenti al for constant lnteractioiL We are requlred, then, to consider where each cbord origirwes, and lo examine how !he chords are related one to eacbother. 'The misconceptlon that chords are fixed polnts in thc tune, bound by vertical hannonic movement, may be !he culprit behind thc tcndency to play thc same two or three voiciitgs over and over for thc same change. Introduccd hcre ls a 'scalefor chordlt~g; anda melhod of assigning vinually any chord to one of two scalcs-th
1b illustrate lhis point furthcr, lhink of a right-handed piano volcing for an Aro7 chord (from bottom note 10 IOp) llke D-C-E-G against A in the len hand. Actually this voicing can be found in tilc repertolre of most jazz pianists; however, not many plnyers would considcr lncorporating a D. an F oran Ab inlo that spoci tic cbordal structurc. Qarification of how Ain7 (going 10 D7 in lhe lc.ey of G) is actually C6 follows; and, that B. D. F, and Ab-helng part of tite C6 dimlnished scal~H~re all perfeclly acceptablc (not 10 mention intcresting) note choices for tite Am7 chord. Barry masterfully dcmonstrates lhe conccp! and appliation of movablc chords later in !he scgment within tite contcxt of severa! tunes. •(Tr.lll.SCriptions of rubato passages are meant 10 illustr.tte thc harmony and 1o approximatc the rhythmic shapc of the tune.)
Notes for guilllr players: 1) Thc opcn strings on lhc cuitar are numbered (frum lowcst string 10 highe~1) in !he following manner; 6· 5-4- 3- 2- l. Thcse numbcrs will appear circled.
2) In guitar notation, lhcre are often two oumbcrs beside a note. TIJC circled numbcr (as it is explained abovc) indicates !he string !he note is found on. The undrelcd number lndlcates !he futgcr nf lhe lefi hand thatthe note is played wilh. 'o' indicates an open string. 3) 1ñe capltalletter C followed by a Roman numeral indicatcs a bar on a particular fret For examplc. CV indicates a bar on thc fifth fret.
Thc C6 Dimi.nishcd Scale 3- la) This figure shows the e6 diminished scale in chords with voicings for the piano and for the guit.ar (T'ig.3-1b). 3-2a) Here; the e6 dirninished scale is shown in single notes. Fig.3-2b gives the guitar fingering. This scale is actually comprised of all 3 diminished chords. The and A belong to one dimin.isbcd, the E and G to a second, and the B diminishcd chord provides the other four notes of the scale.
e
3-3) These two illustrations show the e6 diminished sea le performed in contrary motion: a) in single notes, a.nd b) in chords.
The e Minor 6 Diminishcd Scalc
e
3-4) The minor 6 diminished sea le performed up and down. (To practice this scale as a 2 bar phrase, play it up and down to the major 6th degree, omitting the major7th and thc octave. Not shown on video.)
60
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3-5) Chords found on thc C minor 6 diminished scale are illustrated here: a) C minor triad on the lst degree; b) the D minor triad on the 2nd degree; e) 2nd inversion Ab major triad on the b3rd degree; d) 2nd inversion Ab minor triad also on the b3rd dcgrcc; e) thc F minor triad on the 4th degree; f) the F major triad al so on the 4th degree. 3-6) "AloncTogcther" starts with its fustchord, Cm, being voíced with thc b6tl1, a diminished note from tlle scale ( the Ab), tllen resolving back to the 6th degree (A). In the third bar a Cm6 chord movement is shown on the C minor 6 diminished scale resolving to Dm7b5. 3-7) This figure illustrates tlte movement of an Ebm7 chord on the Gb6 diminished seale, resolving to Ab7. lt. is performed in the context of "Body and Soul." The movement o ver the Ab7 chord to gel to the Dbmaj7 makes use of the A minor 6 diminíshed scale, the altered scale for the Ab7 chord, al so referred toas 'the tritone's minor.' (This term comes from the 'importan/ minor,' see Fig.2-ll, and is being used here to refer to the chord on ú1e 5th degree of the lritone of Ab-Am.) 3-8) Re-thinking the m7 and the m7b5 chords Every minor 7 chord is an inversion of a major 6th chord, and every rninor7 flaL'i chord is an inversion of a rninor 6tl1 chord. This figure shows Am7b5 on the rnajor 6th degree of the Crn6 dirninished scale. Notice that it is al so simply an inversion of thc Cm6 chord. (On ú1c C6 díminished scale, the chord on the major 6th degree appears as Am7.) 3-9a) Moving Am7 on lhe C6 díminished scale In this figure, an Am7 chord is performed ascending the C6 diminished scale. Each note moves to the next note on the scale. Fig.3-9b voices the same example on the guitar.
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3-lla) Moving a voicing through thc C6 diminished scale The same initial cbord as in the previous figure is now pcrformed on the C6 diminishcd scale, with guitarfingerings shown in Fig.3-11 b.
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3- 12) The 6 diminíshed sea le contains two dominant 7t.h chords Illustrated in lhi s figure ís a key difference between lhe major scale and the major 6 diminished scale. As Barry mentions, notice that the major 6 dimilúshed scale contains the dominant 7th chord belonging to tbe key, (in this case G7), as weU as the dominant 7th chord belonging to the relative minor of the k.ey (E7). 3-13) Ending a tune with movements on the 6 diminishcd scale a) Voiced for t.he guitar, thís figure shows an ending for a tune developed by playing up the 1st four chords of the C6 diminished scale and rcsolving IVm-bVll7 (implied by the 'E' moving to 'D,' tbe 3rd of Bb7) lO lrrtaj6. b) Another illustration of usí.n g a 'chords on the scale movement' lo create an ending. This exan1ple is performed by Barry. 3-14) This figure exlcnds the cxamplc shown in Figs.3-13a&b, develo ping the idea into a four key exercisc.
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tion. 3-16) Using tbe C minor 6 diminisbcd scale on ll-V-1 in G a&b) Two cxamples showing Am7b5 (Cm6) moving on the C rninor 6 diminished scale within the context of a Ilm7b5-V7-I progression, first in the key of G major, then G minor. (Fig.3- 16c illustrates a tllird example for the guitar.) 3-17) ' Borrowcd Notes' This example demonstrJ.tes the samc chord progression as the previous figure; however, it incorporales 'borrowed' diminisbed notes. The 'C' and ' Eb' are notes of the F# dirninished chord-the related dirnínished to D7. Borrowcd diminished notes are circ/ed in Figures 3-17,3-18, 3-19, and 3-22.
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3-20) This figure shows the progression from major to minor to minor with the 6th degree in Lhe bass(Bb major-G minor-Gm/E).
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3-22) Tbe 4 rclated dominant 7ths used us V7 substit.utions In thc following two figures, (3-22a written for guitar and 3-22b for piano), we have illustrations of how related dominant 7th chords may be used to substitute 'for eachother' when the V7 chord moves back to the l. Refer to Figs.l-15, l -15a, and 1-17 for explanation of how to find thc dominan! 7thchords·related to a.given diminished cbord; and also for examples of how to practice·!hose.relatcd dominant 7th seales 'into eachother' to outline key chord movements. In the following examples, 07 going to G major is outlined. TI1e diminished that 07 comes from is · F# (F#-A-C-Eb). Given that F7, Ab7, and 87 are also relatcd to F# diminished, they make very interesting voicings when played against D in the bass. In addition, notice how diminished chord tones (circled) can be incorporated into the progression.
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1HE RHYTHH 5EC1tON lt occurs to me lhat if one were seeking a model for-the perfect.social order it would not be necessary to look beyond the jazz rhylhm section. Considera socicty based on the fulfillment of its members' needs. Each person would be secure and confident about his or her unique role in life and in the ability to express ideas. People would think well of, support and creatively challengc not only lhemselves, but others. Add to this everyonc proudly assuming a role in the devclopment and flourishing of the wholc, while continuing to build a strong, focuscd individual center. Par from being perceived as a threat, cach diffcrent voice would be welcomed wilh full attention and consideration. Anything sbort of this in lhe rhythm sectíon causes imbalance, confusion, and beats Jo drop! ln the corresponding video segment Barry puts thc rhythm section through key rhyt.hmic a.nd listening cxercises designed tu achieve the kind of 'harmony' described abovc.
4-1) "Straight, No Chascr" by Thelonious Monk.
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4-3) The above pattems can be practiced in various combinations and pcrformed ·simultaneously throughout,the·rhythm section. a) This example combines the '2+' and the '4+.' b) Here, the ' 1+' is combined with the '4+.' 4-4a-d) Tiús next series of figures extends the previous idea by rnaking use of longer tied note.~ in the walk:ing bass line.
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VOQALf2fNG Here, the voice is cast into the role of both storyteller and melodic/rhythmic instrument. To achieve success in the areas of story and rhythm, it is essential for the singer to develop a sense of time and phrasing independent of what the rhytlun section lays down. Tt is also vital for the vocalist, as it is for any instrumentalist in this music, to develop technical (scalar and rhythrnical) skills in order tomaster the art of improvisation-to then be free to explore nuanee, possibility, and depth. With this in mind, severa! key exercises and elcments of thcory are demonstrated such as the use of the relatcd diminished chord. (The relat.ed diminished chord has been dealt with in more detail earlier in this book. See figures 1- 15a-b and 1-16.)
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5-2) The E diminished chord with applications to "Y. M. B. in S." a-d) Demonstratcd in the following four figures are examples of the Jast 2 bars of "Y.M.B. in S.," incorporating notes of the diminished chord. Exarnples arenotated·in the keys ofF and e minor. C7 (in the key ofF rninor) uses·the-E-diminished·chord;· while G7 (in the key of e minor) uses the B dirninished chord.
Warm-up exercises 5-3) The D dirninished chord. a) Here, a pattern based on chrornatically descending dirninished chords is illustr.tted. Playing up the fust chord and down the second. b) An Ab rnajor arpeggio. e) An Ab minor arpeggio.
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5-Sa) The Ab whole tone scale (a six note scale built on whole-steps above the root). b) 1l1c Ab whole tone scale perfonned up in 3rds. e) The Ab whole tone scale performed down in 3rds.
5-6a) An Ab diminished arpeggio. b) An Ab diminished chord.
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5-7a) An illustration of the lnst 2 bars of "Y.M.B. in S.," making use of the related diminíshed chord. (Perfonned in the key ofF minor.) b) An illustration of the last 2 bars of "Y.M.B. in S.," first making use of the related diminished chord (ascending), then descending the G augmented arpeggio. (Perfonned in the key of minor.)
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Use of tbe related diminished cbord 5-8a) Barry demonstrates the use of the related diminished chord over the first 4 bars of "Y.M.B. in S." Fig.5-8b gíves a second resolution poínt after the diminished chord in the first 2 bars. (Performcd in Úle key ofF minor.) 5-9) More exnmples using Úle related dimini shed chord are shown here. (Performed by Cara in the kcy ofF minor.) 5 -l O) This figure illustrates the same 4 bars as abo ve. (Examples are perfonned by Denzil in the key of minor.)
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213 Uptown 27.20 Conc:ord CD 44 76 Se.p¡ember CO 5111 (Delgium) NUBA (CD) 7754 ·2 (Spain) Candid 79519
B) AJbumsfeaturÚig Rany Hanis CANNONBALL ADDERLilY Tllem Diny Blues Don'! Look Rack DAVID All.YN
CHARLIEBYRD VONALD BYRD
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138 179 Xanadu 105 (FOC 5163 Frunce)
Sa!Ur®y Moming Cuber Lihrc Rcflcctions Bebop Rcvlsiled, Vol.5
Xanadu 135 Red (CD) 12.1247 Xanadu 205
21'rompe¡s Focusing In Bopstacle Course
Presligc 7062 (OJC 18) Criss Cruss 1076 CD Xanadu 210
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DEXTBR GOROON/ ALCOHN JOHNNY GRIFFIN STEVB GROSSMAN COLEMAN HAWKJNS LOUIS RAYES
JIMMYHBATH BUCKHILL ILL!NO!S JACQUET EDDlE JEFFERSON CARME.LL JONES SAMJONES THADJONF.S
Cilll'ORD JOROON RALPH LALAMA HAROLDLAND YUSEF LATBEF
WARNEMARSH HOWARO McGEE HOWARD Md3EE & DENNY DAIUiY
Tite Olhe.r Sidc of Benny Golson Gcuin' Around Clubhouse The Tower of Power More Powcrl Diting The Apple
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Mi1estone 47009 Criss Cmss 1023 Jaz7.crdfl 2
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B1ue N01e 1527 (CD 46814) B1ue Note 1546 Soul Note 1084 Criss Cross CD 1046 Jazzland 920 (Jap.Victor 23660) New Jazz 8272 (OJC 700) Prcstigc 7319 (OJC 612)
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CHARLES McPHERSON
BILLY MlTCHI.!.LL HANKMOBLEY
JAMESMOODY FRANK MORGAN LEEMORGAN
Bcbop Revisill:dl Con Alma! TI1c Quintct/Livcl Mcl'herson's Mood U ve lnTo kyo Charles McPherson The Colossus of
Prostige 7359 (OJC 710) 7427 7480 (OJC 1804) 7743 Xanadu 131 Mainstream 329
Dctroit Mobley' s Mcssage Jazz Messsge Vol.2 Sualgbt. No Filter Thc Thmarouod Doo't Loolc Away Now You Must Believe
X..nadu 158 Prestige 7061 ('2A063) Savoy 12092 (CD 0158) Bluc Note 84435 B1ue Note 4186 (CD 84186) Prestige 761.5
rn Spring TakeTwelve Thc Sidewinder
Antilles (CD) 314 512 S10 Ja:a.land 980 (OJC 310) B1ueNote 4157 (CD 84157) F!Wl Sound (CD) 1024
Wc Remcmbu You SAMNOTO
DAVEPIKE SONNYRED
EnU11nce! ActOne 11's Tune For Davc Pike Broe>.ing ThcMode
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Bird Uves! HomeFree
FRANK ROSOUNO
Swing...Not Spring
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Constcllation Twelve Mellow Play&Gene Ammons Bluc.s for Dulce Sonny's Back In Style Moonlightln Vermo nt
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5129 5204 5228 Denon CD 7046
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Xanadu 201 Jubilcc 5004 Columbia C2 35381
(Trio: a Barry Harris original- Confusion)
Xanadu171
Mostly MonJe Vol.l Vol.2 Vol.3 Vol.4
MileSU>ne MCD-9216-2 Subaru (CD) SJOOI (Auslnllia) Xanadu 163
- Compilcd by nM MacDONALD
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The following quotations ha ve been gathercd ovcr the years from lecturcs and personal conven;ations with Barry Harris.
l. (On jazz having advanced since Charlie Parlcer) "You can wear your trousers backwards, but that won 't neccssarily put you any further ahen.d." 2. (On tlte use of too many 'blue' notes) "1ñe old folks would say, ''The person who curses a lot has the fcwest words at their command.' " 3. (On tite importance of focused practicing) "Practice your playing-not your practicing; make the pmctice time as real for yourself as possible." "Monk would praclicc playing a tune for hours, and so when he went 10 the ¡;ig he was ready." 4. (On rhythm) '"I'hink about it- you 'd mther hear a cat play rhythmic and wrong, than non-rhythmic and right, cause thcy'rc going to be wrong anyway." 5. (On volume) "Play at your norm [volume levelj. Know what your nom1 is so that you play the most relaxed. lf you play a little louder than that, theo you 've broughl in sorne teosion, and tension won ' t allow you to really do it. Thc loud that you really want is thc loud that comes from surety- positiveness- thnt's when you hear people really starting to speak out." 6. (On vibrato) " How dislinctive and easily recognizablc thc tenor players were, onc from the other, bccause of their vihrato." "Your vihrato is likc your soul. Hom players nowadays aren't prncticing their vihrnto and tltat's why you can't tell thern apart."
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7. (On the effect Charlic Parker hod on other musicion~) "He made people play 'over their heads.' " "1 heard Bird with some of the worst cats you could imagine. He carne to Detroit once with [a band led by] Emperor Nero--and on top of thatEmperor Nero playcd alto. The funny pan 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 tune wos such a knockout-all he'd do is shrug bis shoulder- Iike that-and that would be the tempo." 9. (On the hipness of Euro-Classical masters) "If Bach and Chopin and them were around today, they wouldn 't be playing other people's music, they'd be down in the comer joint jarnming." 10. (On perceiving thc whole. Philosophy, anda typicnl ~tart to another session of the Barry HluTis 1azz Workshop) "One thing that modero (wo)man is particular! y good al is naming everything ...Thcrc are petrus, a stem, !caves, the starnen, sccnt, color and all too often what becomes obscured is that whnt we are Iooking at is a flower."
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Barry Doyle Ilarris, born in Detroit Michigan on December 15, 1929, is self-proclaimed as thc world's oldestjazz teachcr. He began playing the piano at age 4 and claims to ha ve always known that Lhat was what he was destined to do. By the time he reached bis teens he had developed his own theo.r ies of.jazz, and soon became sought out for bis knowledge by local pcers and established, visiting jazz musicians alike. Indeed, tbe Harris family borne might well be regarded as tbe first school of jazz. While Barry's reputation is legendary, his modesty is also front and center. When asked about hispassion for teacliing, Barry typically rcplies tbat it is fucled by bis own 'selfish' motives, hoping "that someone will come along and show me the way." ' 'That," he states, half-jokingly, " is when class is over."
Howard Rces, born in Toronto Canada on Fcbruary 2 1, 1954, began studying with Barry Harris in 1979. In 1984 he founded the Howard Rees Jazz Workshop in Toronto, which, in its tenth year, is a leading CanadiaJl school dedicated exclusive! y to the study of bebop. In addition, Howard maintains a busy schedule as guest clitúcian and peñormer on both the piano and the double bass. He is currently working on a book detailing Barry Harris' harmonic concept as it applies to the piano.
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