1: “The Basics” Barry Harris Jazz Workshop

Scale Practice or the “ABC’s”

● C Dominant 7th scale up and down.
● C Major scale up and down.
● Scale practice on the C dominant 7th scale:
○ The scale performed in 3rds.
◆ Starting a half-step below the 1st note of each 3rd.

○ The scale performed in triads.

◆ Starting a half-step below the 1st note of each triads.

○ 4 note chords performed on each degree of the scale.

◆ Starting a half-step below the 1st note of each chord.

○ Three important arpeggios on the dominant 7th scale are found on the tonic, the 5th
and the 7th.
● Pivoting:
○ Pivoting with the chords on the C major scale.
○ Pivoting with the C major scale.
○ Pivoting with the dominant 7th scale.

● Major arpeggios
○ Major arpeggios are performed down chromatically from the highest note, the tonic.
○ Next, the highest note is the 3rd of the arpeggio.
○ Next, the highest note is the 5th of the arpeggio.

● Diminished chords performed chromatically in an alternating descending/ascending

pattern.
● Inversions of the augmented arpeggio are performed.
 ● Rhythm exercise performed on the C dominant 7th scale; (8-6-b7-6-5-4-3-2-1). Practice
this on major scale as well.

The Harris Half-Step Model

Through various applications, the half steps become an endless source from which to generate
improvisational ideas. The dominant 7th scales, major scales and the minor scales each have
their own set of rules for adding half-steps.
– Note: These rules are applied to scales descending from at least the octave (i.e.,
starting on 2nd is actually starting on the 9th).
1. The starting notes of the scale are grouped by odd and even numbers.
2. The octave is called 1 in this case as it takes the rules of the odd numbered group.

Dominant 7th Scale Half-Step Rules

● The first rule for descending starting from the 1, 3, 5 or b7 is: one added half-step
between the root and 7th.
● The second rule, when starting from 2, 4 or 6 is: zero added half-steps or two half-steps
between the 2-1; 1-7.
● The third rule, when starting from 3, 5 or b7 is: can add three half-steps between the 3-2;
2-1; 1-7.
○ The 'Miscellaneous Rule': start on a note, go up to any note, and (when descending),
follow rule for the starting note. (If the half-step falls on the beat, put it at the
bottom of the phrase.)
○ When starting a phrase with 8th note triplets, use a rule for the middle note of the
triplet.

○ When starting a phrase with a 3rd, follow a rule for the next note that falls on the
beat; i.e.,tonic-3rd-2nd follow a rule for the 2nd.

○ When starting with a triad, follow a rule for the top note of the triad; i.e., C-E-G top
note is the 5th so use 1 or 3 half-steps.

○ For 4 note chords, follow a rule for the bottom note (the root) of each chord. Note
that the exception to this rule is the chord on the tonic. {The reason for this is that
both the top and bottom 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
top and bottom). Therefore, use a rule for the 1st scale tone below the top note of
the chord; i.e., C-E-G-Bb-A. 'A,' being the 6th of the scale, would require either 0 or
2 added half-steps.}

○ For starting a semi-tone below the root of a chord on the scale, beginning on the '&'
 ○ For starting a semi-tone below the root of a chord on the scale, beginning on the '&'
after '1,' follow a rule for the top note of the chord. There are no exceptions here.
Note, however, that the chord on the tonic requires the half-step(s) to be played at
the bottom of the scale (i.e., between the root and the flat 7; or between the 3-2;
2-1;1-b7).

○ These 2 figures show the application of the previous example over a common
turnback. The chord on the 4th degree of C7 up, down the scale with 3 half-steps to
the 3rd, then up the related diminished chord of C7, resolving to the 5th of F major;
while the rhythm section plays I-VI-II-V in the key of F.

○ Any note as a half step. The object here is to make the line feel right rhythmically.

Major Scale Half-Step Rules

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 same two divisions of notes are made-even numbered and odd.
● The first rule for descending starting from the 1, 3, 5 or major7 is: one added half-step
between the 6-5.
● The second rule, when starting from 2, 4 or 6 is: zero added half-steps or 2 added half-
steps between the 2-1; 6-5 or between the major7-6; 6-5.
● The third rule, when starting from 3, 5 or major7 is: three added half-steps 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; major7-6; 6-5.

Minor Scale Half-Step Rules

The minor scale that the half-steps are added to is the melodic minor in ascending form: tonic -
2 - b3 - 4 - 5 - 6 - major7.
● The added half-steps for this scale fall in the same places as do the half-steps for the
major scale. The one exception to this is where the major scale rules add a b3rd. Because
this note is already present in the melodic minor scale, any other note may be used in its
place. Notice that this may also be achieved by using interval jumps and by repeating the
same note twice.
Chromatic scale breakdown chart
1 chromatic scale

2 whole tone scales

3 diminished chords

4 (keys or) dominant 7th chords related to each diminished chord

The diminished chord and its 4 related dominant 7ths

– By taking a diminished chord and lowering each of its notes, one at a time, 4 related
dominant 7th chords are formed. Because these 4 dominant 7ths share the same
diminished chord, certain harmonic relation- ships between them are also implied.
– The rule of thumb for finding a related diminished chord is to build it a major 3rd above the
dominant note. If you are looking for the related diminished chord to a dominant 7th chord,
just go up a major 3rd from the root of the dominant 7th chord (i.e., the key of F, C is in 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-Bb becomes C#(Db)-Eb-G-Bb (Eb7)
3. C#-E-G-Bb becomes C#-E-F#-Bb (F#7)
4. C#-E-G-Bb becomes C#-E-G-A (A7)

– Extending a dominant 7th scale phrase with the related diminished chord of C7.
The 'Diminished Scale'
– The 4 notes of a diminished chord, plus the roots of the 4 related dominant 7th chords,
combine to form a scale-i.e.,
– The C diminished chord = C-Eb-Gb-A.
– The roots of the 4 related dominant 7ths are b-d-f-ab.
– When these 8 notes are combined, they form the 'diminished scale'.
C - d - Eb - f - Gb - ab - A - b
(or; b - C - d - Eb - f - Gb - ab - A)

Related Dominant 7th Scales = Chord Movements

– As mentioned earlier, certain implications arise from stating that 4 keys or dominant 7th
chords are related to one another through sharing the same diminished chord. It is useful
to practice 4 related dominant the 7ths (as scales) 'into eachother.'
– This 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 C# diminished chord are illustrated.

Four scales (C7; A7; Eb7; Gb7) that share the C# diminished chord.

SCALES CHORD MOVEMENTS

1) C7-A7 Em7b5-A7 (iim7b5-V7 in Dmin)
2) C7-Eb7 (tritone of A7) Em7b5-A7 (iim7b5-V7 in Dmin)
Also: Gm7-Bbm7 (iim7-ivm7 in
Fmaj)
3) C7-Gb7 (tritone of C7) Gm7-C7 (iim7-V7 in Fmaj)

1) A7-Gb7(F#7) C#m7b5-F#7 (iim7b5-V7 in Bmin)

2) A7-C7 (tritone of G7) C#m7b5-F#7 (iim7b5-V7 in Bmin)
Also: Em7-Gm7 (iim7-ivm7 in
Dmaj)
3) A7-Eb7 (tritone of A7) Em7-A7 (iim7-V7 in Dmaj)

1) Eb7-C7 Gm7b5-C7 (iim7b5-V7 in F min)

2) Eb7-Gb7 (tritone of C7) Gm7b5-C7 (iim7b5-V7 in F min)
 Also: Bbm7-Dbm7 (iim7-ivm7 in
Abmaj)
3) Eb7-A7 (tritone of Eb7) Bbm7-Eb7 (iim7-V7 in Ab maj)

1) Gb7-Eb7 Bbm7b5-Eb7 (iim7b5-V7 in

Abmin)
2) Gb7-A7 (tritone of Eb7) Bbm7b5-Eb7 (iim7b5-V7 in
Abmin)
Also: C#m7-Em7 (iim7-ivm7 in
Bmaj)
3) F#7-C7 (tritone of F#7) C#m7-F#7 (iim7-V7 in Bmaj)

Four scales (B7; Ab7; D7; F7) that share the C diminished chord.

SCALES CHORD MOVEMENTS

1) B7-Ab7 Ebm7b5-Ab7 (iim7b5-V7 in Dbmin
2) B7-D7 (tritone of Ab7) Ebm7b5-Ab7 (iim7b5-V7 in Dbmin
Also: F#m7-Am7 (iim7-ivm7 in
Emaj)
3) B7-F7 (tritone of B7) F#m7-B7 (iim7-V7 in Emaj)

1) Ab7-F7 Cm7b5-F7 (iim7b5-V7 in Bbmin)

2) Ab7-B7 (tritone of F7) Cm7b5-F7 (iim7b5-V7 in Bbmin)
Also: Ebm7-Gbm7 (iim7-ivm7 in
Dbmaj)
3) Ab7-D7 (tritone of Ab7) Ebm7-Ab7 (iim7-V7 in Dbmaj)

1) D7-B7 F#m7b5-B7 (iim7b5-V7 in Emin)

2) D7-F7 (tritone of B7) F#m7b5-B7 (iim7b5-V7 in Emin)
Also: Am7-Cm7 (iim7-ivm7 in
Gmaj)
 3) D7-Ab7 (tritone of D7) Am7-D7 (iim7-V7 in Gmaj)

1) F7-D7 Am7b5-D7 (iim7b5-V7 in Gmin)

2) F7-Ab7 (tritone of D7) Am7b5-D7 (iim7b5-V7 in Gmin)
Also: Cm7-Ebm7 (iim7-ivm7 in
Bbmaj)
3) F7-B7 (tritone of F7) Cm7-F7 (iim7-V7 in Bbmaj)

Four scales (C#7; Bb7; E7; G7) that share the D diminished chord.

SCALES CHORD MOVEMENTS

1) C#7-Bb7 Fm7b5-Bb7 (iim7b5-V7 in Ebmin)
2) C#7-E7 (tritone of Bb7) Fm7b5-Bb7 (iim7b5-V7 in Ebmin)
Also: G#m7-Bm7 (iim7-ivm7 in
F#maj)
3) C#7-G7 (tritone of C#7) G#m7-C#7 (iim7-V7 in F#maj)

1) Bb7-G7 Dm7b5-G7 (iim7b5-V7 in Cmin)

2) Bb7-C#7 (tritone of G7) Dm7b5-G7 (iim7b5-V7 in Cmin)
Also: Fm7-Gm7 (iim7-ivm7 in
Ebmaj)
3) Bb7-E7 (tritone of Bb7) Fm7-Bb7 (iim7-V7 in Ebmaj)

1) E7-C#7 G#m7b5-C#7 (iim7b5-V7 in

F#min)
2) E7-G7 (tritone of C#7) G#m7b5-C#7 (iim7b5-V7 in
F#min)
Also: Bm7-Dm7 (iim7-ivm7 in
Amaj)
3) E7-Bb7 (tritone of E7) Bm7-E7 (iim7-V7 in Amaj)
 1) G7-E7 Bm7b5-E7(iim7b5-V7 in Abmin)
2) G7-Bb7 (tritone of E7) Bm7b5-E7 (iim7b5-V7 in Abmin)
Also: Dm7-Gm7 (iim7-ivm7 in
Cmaj)
3) G7-C#7 (tritone of G7) Dm7-G7 (iim7-V7 in Cmaj)

This is the entire chart for all 3 diminished chords and all chord movements outlined in the 12
keys.
● Practice the C7 scale up and down followed by the Eb7 scale up and down.

● Practice the C7 scale followed by (or into) an Eb7 scale to outline a bar each of Gm7(iim7)-
C7 and Bbm7(ivm7)-Eb7, illustrating the 1 st two measures of "When Sonny Gets Blue."

● Shown here is another example of the C7 scale into the Eb7 scale outlining, in this case,
Em7b5-A7. This example descends the C7 scale from the 2nd degree, adding 2 half-steps
and continuing down the scale to the 5th of C7 which becomes the 3rd of Eb7. 3 half-
steps are added forming a chromatic line from the 3rd of Eb7 down to its b7th.

– Shown here are 3 examples of the C7 scale run into the Gb7 (F#7) scale, outlining Gm7-C7.
 ● The 1st example descends from the tonic to the b7 of C7 with 1 added half-step. The b7
becomes the 3rd of Gb7, and the line continues down the Gb7 scale to the 4th, again
adding a half-step between the tonic and b7 of Gb7, resolving to the 5th of F major.
● The 2nd example on Gm7-C7, uses a parallel pattern of 8-2-#2-3 on each of the two
dominant 7th scales.
● The last example descends the C7 scale from the octave, with 1 added half-step to the flat
7, then down the arpeggio of the flat 7 (Bb). The same idea is then applied to the Gb7
scale, finally resolving to the 5th of F major.

The minor 7 flat 5 chord

● The following illustration shows a C7 scale with the Em7b5 chord located on its 3rd
degree. This is a key point. When soloing over the Em7b5 chord, choose the C7 scale
because the chord is found on the scale.

● Playing the C7 scale up and down to its flat 2, or to the 3rd of A7, outlines Em7b5-A7 (one
bar apiece).

The '5-4-3-2' Phrases

As Barry states, these phrases are handy to help "get out of trouble." Use them to end and to
begin lines.

'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.e., '5' into '4'; '5' into '3'; '5' into '2,' etc. (See Fig. 2-3.)

Scale practice ending with the phrase.

'5-4-3-2' on the dominant 7th scale
In applying the phrases to the dominant 7th scale, the '5,' '4' and '2' can be borrowed directly
from the major scale phrases. In this figure, we show the '3' phrase, an alternate '2' phrase, and
then the 5-4-3-2' run together.

'5-4-3-2' on the minor scale