As we discussed in Examples 2 and 4, dominant 7ths derived from the same diminished 7th can be used as substitutions for each other. With the latter two examples, thinking in terms of 6th voicings opens up the possibility of moving voicings along a corresponding major or minor 6 diminished scale and then resolving to the next chord, rather than to simply hold a static voicing. E) The same goes for minor 7 flat 5 and minor 6th chords. D) Minor 7th chords are just inversions of major 6th chords, so this combination is natural. B) One approach to a dominant 7th voicing is to play the minor sixth chord on the fifth degree of the dominant.Ĭ) Another dominant 7th approach is to use the minor 6th chord whose root is one-half step up from the root of the dominant. Here are some starting points for seeing the relationships between 6th voicings and their functional equivalents: a) For major 7th chords, play the major 6th chord whose root is the fifth degree of the major scale. Track listing All compositions by Barry Harris except as indicated Reception Professional ratings Review scores Source Rating awarded the album 4 stars with its review by Scott Yanow stating, 'Pianist Barry Harris' second recording as a leader (he led a set for Argo in 1958) finds him at the age of 30 playing in the same boppish style he would have throughout his career'.The barry harris workshop video howard rees'. Barry Harris Workshop Barry harris official site, barry harris teaching schedule concert schedule jazz information jazz theory bebop jazz.
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