Barry Harris Major Half Step Rules
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- Опубликовано: 18 окт 2024
- Here is the second of three videos about Barry’s elegant and powerful rules for getting scale-wise lines to work out rhythmically in the true BeBop way! Warning: these are really cool and can cause a risk of mind blowing.
Here’s the previous video on the Dominant seventh half step rules:
• Barry Harris Dominant ...
Here’s the link to the Barry Facebook group, managed by Barry’s long time major disciple and community leader: Phil Bingham (shout out!!) where you can get all the info regarding upcoming Barry Zoom workshops! (I think you need permission to join)
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I just wanted to add something I learnt from Bill Grahams video on major half step rules: if you put "6" in the odd category (1 or 3 half-steps added) and 7 in the even category (0 or 2 half-steps added) most twists with inserting at top or bottom resolve nicely.
E.g. starting from 6 with 1 halfstep: you land nicely on the 6 again by inserting only b13 immediately. Starting from 6 with 3 halfsteps category 1: you land nicely on 1, after inserting b13 immediately, then b3, b9 .
Starting from 6 with 3 halfsteps category 2: you insert b13 immediately, then b9 and b7, then land on 6 again.
Starting with 7 will work with 2 half steps category 2 also perfectly (immediately adding b7, b13).
Using 2 half steps category 1 show the same problem however of having to wait until the bottom part. When starting from 7 I only use category 7.
Note that it might perhaps also be allowed by BH to let half steps fall on the beat? E.g. starting from 7 using 2 half steps category 1 would let b13 fall on the beat but still resolve nicely to land on 1! the b13 and 4 on the beat might be interpreted as acting as suspensions resolving to 5 and 3. I think it also sounds good. I also saw a BH workshop transcription where added tones indeed fall on the beats in the chapter on half step rules.
Hi Isaac!
Thanks so much for your videos!
The rule from the 7 with 3 half steps (option 2) at about 6:53 is confusing for me: first you explain that one can start the half steps at the top which is nicely done via B Bb A Ab G F E D C, but there are actually only two halfsteps included. Then a run starts with half steps at the bottom. Following a run with three half steps from the top that would stop at D if it weren't continued further. The confusing part ends at about 7:15. I perfectly agree that one just has to try to make it work.
But what's the canonical rule for the 7 option 2 with three half steps: start with the half steps at the bottom (so first added note Eb) as you do in the end of the video?
I’d never considered the idea of not starting the chromatic notes straight away; I’ve always used the half steps rules as they are - and not necessarily thought about placement, it hasn’t always sounded good, sometimes it sounds great but outlining a little of the scale and then using the half steps after to get you to a place - makes a lot of sense sound wise. I like that, I dig. Thanks again Isaac. Also you mentioned you don’t know if anyone on RUclips who can talk about this stuff clearly; there certainly is: TILF channel. He’s great. You both have different insights but his lessons are a gold mine. He gives lots of musical examples and explains them very well. However you have filled some gaps for me.
Thanks, yes, I am aware of his channel, and actually got a chance to sort of meet him in class before this whole pandemic thing hit. He is one of BH's original attendees from way back. I'm a relative newbie, but I can only explain it the way I know. I'm glad to know there's another reference out there (by the way as a clarification I didn't mean that others don't explain it well, only that I didn't see specifically a breakdown of the "rules' per se. Again thanks for pointing me to one, which I will definitely check out.)
Isaac Raz - I understand; I didn’t mean it as though you were the only person to reference outside Barry. You don’t seem like a newbie to me (I see you you in almost all Barry videos sitting by the piano and commenting 😄), your insights are awesome and invaluable. I also find pianistic tutorials very informative for the guitar. TILF is just another great source of information, and he talks about half step theory in a number of videos. One thing that Barry mentioned when I was with him is that although these half steps work, you can actually put them in anywhere. E.g. Dom7 scale - run down scale tones and put the half step in between 2 and 1, or even 5 and 6! It’s all about rhythm here! Though I found it very helpful to start with his basic half step rules first. The half step rules are for rhythm and not ‘harmonic movement’ - the half steps in the 6thdim scales are for harmonic movement and don’t affect the half steps used within line playing (Even though the half step rules of ‘line playing’ still outline harmony of a chord/chords rhythmically because of chord tones on strong beats etc). I know you know what i mean, just hope I said it well enough for comment readers of your channel.
Thank you so much for that! I guess in Barry’s world when you’ve only been at it for eight years that counts as a newbie, right?. Yes, the six, seven, etc. - diminished scale theory and a half step rules definitely overlap (as I had mentioned in the video about “making connections“) all of Barry‘s ideas intersect with one another, which is why it’s such an elegant and powerful system. Also, you can use the major rules for the dominant seventh, etc. so there are endless combinations!
Half step rules are everywhere!
It’s the universe man!
😅😅 great
10:25 So it seems like those two different "types" of 3 half steps are meant to outline either a maj6th or maj7. The first uses the maj7 as a passing tone and the 2nd type uses it as a chord tone. Thats how i would think of it. Otherwise it would seem just like "add a half step anywhere". Actually, as Im practicing this it seems the first one also puts the notes of a C6/9 on the beat and the "other one" puts the notes of a G6/9 on the beat. I think?
That's all correct and makes sense. What gets called Cmaj9 is really a G6 on top of C bass. C6 with two borrowed notes from the diminished. You can outline that melodically and it kinda wants to fall to a melodically outlined C6 the same way the chord would
Thanks for these great videos - I'm interested in how to apply 1/2 rule to scales like Harmonic Minor / Melodic Minor. Although I know Barry thinks differently than those scales, i find HM great for V in minor and MM great for altered dominant.. I'm also interested in how to do Barry's chromatic scale with those scales!
Yes! Great question. The minor rules will be the topic of the next video in a couple of days! Another interesting thought: the minor sixth diminished scale is a combination of harmonic and melodic scales with both the lowered and natural 6th and major 7th degree! See you in a couple days… Stay tuned
thanks again Isaac. Stay safe!
Went thru everything in your video again, thanks. I always found the major rules not as right as the dominant, especially around the 6 and 7... your explanation of the 7 rule makes alot of sense (even though it is with an asterick, since you have to wait until you pass by the 5 on the way down). I still struggle with the 6 rules. I guess Barry wanted consistent ideas for DOM and MAJ, but doesnt it make more sense to use the 6 b6 5 chromatic to quickly "get right"?
😅😅bebop jazz piano please