![]() This of course vanished when we re-harmonize.Ī different set of voicings, derived from the appropriate bebop scale, is used for each chord. Harmonizing a Major scale in triads is what gives our characteristic chords (our ii-dorian, iii-phrygian, IV-lydian, V-Mixolydian, etc). What are typical ways of applying Barry Harris voicings (as described here) to jazz standards?ĮDIT: While writing this I came to the conclusion that the biggest challenge for me is to make coherence between the Barry Harris voicings and functional harmony. Even the thought of applying this to a 2-5-1 makes little sense to me. However I don't really know how to use this theory and apply it to functional harmony chord changes in jazz standards. This on its own creates beautiful sounds, and its fun to play around it in a "modal" setting. Same can be constructed for minor, and dominant scales. So every note belongs either to (C,E,G,A), or (D,F,A♭,B). We harmonize each note using only the I-Maj6 or the vii-diminished chords (which is the rootless V7♭9). In essence, these are harmonizations of the bebop scale using the I and V7b9 (vii dim7) chords. The Barry Harris diminished 6th voicings are popular voicings in Jazz, often related to Bill Evans when using drop 2 's.
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