Barry Harris Voicings Part 2
In this masterclass we are going to dig deeper into Barry Harris voicings. If you’re not familiar with the subject, check out the other 5 minute masterclass on Barry Harris voicings.
We will look at using some alternate major and minor 6th chords to create some different colours in our voicings – for example, over a Cmaj7 we can use a G6 chord to create Barry Harris voicings.
We then take a look at voicings derived from the melodic minor scale and how they can be used in a 2-5-1 situation.
We will also touch on how to use Barry Harris voicings as a way to explain complex chords that are difficult to describe with standard language. Using combinations of a 6th chord and its associated diminished chord we can gain an understanding of voicings that could be otherwise challenging to describe.
Lesson Downloads
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Barry Harris Voicings Part 2 Lesson Notation File Type: pdf
Related Lessons
Diminished 7th chords are not as common as major, minor and dominant chords and so you don’t see them as often in jazz standards.
In this lesson I explain what drop 2 voicings are, how to construct them and how to practice drop 2 so that you are familiar with them in all 12 keys.
Block chords are used for harmonising a melody line by moving the notes of the chord in parallel, following the same rhythm as the melody.
Practice Tips
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Choose a standard and see if you can harmonise the melody using techniques from this lesson. A tune where the melody moves mainly step-wise would be a great choice.
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Practice using the Barry Harris voicings based on a melodic minor scale to create strong and colourful resolutions in 2-5-1 progressions.
- Using the ideas Tuomo uses to describe the Herbie Hancock chord, try to find some unusual and colourful voicings of your own.
