(“Body and Soul,” music by John Green, lyrics by Edward Heyman, Robert Sour, and Frank Eyton. While the chord symbol in bar 6 indicates E flat dim, the B in the bass is a reasonable choice because it’s the root of a dominant 7th chord that is derived from E flat dim7. In measure 3, I voice the F sharp m7 with an A6 (which contains the same notes), the B7 with Cm6 (the B and D are diminished-chord notes from the C minor 6 diminished scale), the Em7 with G6, and the A7 two ways: first with notes from its related diminished 7th chord (C sharp dim7) and then with G flat 7, a related dominant. In measure 1, I use contrary motion on the D major 6 diminished scale while harmonizing the melody you’ll notice a similar movement in bar 5 on the D minor 6 diminished scale. “ Body and Soul” is fertile ground for Barry’s approach as well. Have fun applying these techniques to other tunes in your repertoire. You’ll also find places where I’ve incorporated related dominant 7th voicings over a root dominant 7th (Examples 11 and 12 in October). Some of the 6th voicings contain notes borrowed from their associated diminished 7th chords (Example 19 in October). In the following examples, I have voiced the minor 7th, minor 7flat5, and major 7th chords with their corresponding 6th chords (refer to Example 10 in October). Once on the D7, you could use a voicing from the Eflat minor 6 diminished scale, which is the altered scale for D7 (see Examples 10 and 11 in October). Moving a Cm6 voicing along that scale makes for a very interesting sound, and it leads nicely to the D7. Taking a II-V progression in D as an example, an Am7 flat 5 can be realized as a Cm6, which together with the Bdim7 chord forms the C minor 6 diminished scale (for a refresher, refer to Examples 6 and 10 in “ Evolutionary Voicings, Part I” in the October ’98 issue). The goal and beauty of this system is finding ways to move voicings along the appropriate hybrid scale in such a way that the motion leads into the next chord. I hope you’ve enjoyed the exercises I’ve presented – and that you’ve practised them in all keys! The skills you develop by doing so will help you to “read into” the chord symbols you encounter on a typical fakebook chart. To recap briefly, the scales consist of two chords each: a major 6 and a diminished 7th, and a minor 6 and a diminished 7th, respectively. Last month we introduced you to jazz pianist Barry Harris’s approach to developing a chord voicing style based on two unique hybrid scales: the major 6 diminished scale and the minor 6 diminished scale. Keyboard Magazine Article – November 1998 Applying the Barry Harris Method to Tunes, by Howard Rees
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