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  • Barry Harris II-Tritone of V-I (Spain 2008 Clinic)

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    Escuela Musical Abel
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    Barry Harris was giving a jazz piano clinic in Spain in 2008 about tritone relationships between the V and I chords. He demonstrates that the tritone of the V chord, A major in the key of D minor, can be used instead of the V chord itself. As he is explaining this, a student interrupts him by playing, and the 34 second video clip ends before Barry can complete his explanation. The transcript suggests that if he was not interrupted, Barry would have demonstrated the same concept transposed down a whole tone to the key of Bb minor. He shows that the tritone of the V7 chord, C minor 7, can be used instead of the V7 itself to create chromaticism as it resolves

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    Barry Harris II-Tritone of V-I (Spain 2008 clinic)

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    Barry Harris was giving a jazz piano clinic in Spain in 2008 about tritone relationships between the V and I chords. He demonstrates that the tritone of the V chord, A major in the key of D minor, can be used instead of the V chord itself. As he is explaining this, a student interrupts him by playing, and the 34 second video clip ends before Barry can complete his explanation. The transcript suggests that if he was not interrupted, Barry would have demonstrated the same concept transposed down a whole tone to the key of Bb minor. He shows that the tritone of the V7 chord, C minor 7, can be used instead of the V7 itself to create chromaticism as it resolves

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    511 views3 pages

    Barry Harris II-Tritone of V-I (Spain 2008 Clinic)

    Uploaded by

    Escuela Musical Abel
    Barry Harris was giving a jazz piano clinic in Spain in 2008 about tritone relationships between the V and I chords. He demonstrates that the tritone of the V chord, A major in the key of D minor, can be used instead of the V chord itself. As he is explaining this, a student interrupts him by playing, and the 34 second video clip ends before Barry can complete his explanation. The transcript suggests that if he was not interrupted, Barry would have demonstrated the same concept transposed down a whole tone to the key of Bb minor. He shows that the tritone of the V7 chord, C minor 7, can be used instead of the V7 itself to create chromaticism as it resolves

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Flag for inappropriate content
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    of 3

    Barry Harris II-Tritone of V-I (Spain 2008 clinic)

    (See YouTube Link below)(Last Update: 8-Aug-2917)

    playlist: https://goo.gl/uVkcZQ Transcript: Robert Glover 26-Jul-2017


    90 "Tritones...watch"

    "D minor 7.... just like


    4 "So you observe. As you're going to play going back to... you've
    D minor 7.... it's wierd... the one you start Dm 7 got to do this....
    with is the ... A major ... and its tritone ...."

    6 ([bass is Amaj (beat 1) ([notice this D 7 "Let's say..."


    and treble its tritone Eb]) is tritone of G])

    Barry Harris II-Tritone of V-I (Spain 2008 clinic)


    2
    8 ([Barry in video really does play
    "Eb,F" in right hand])

    (Student interrupts Barry


    10 by playing in treble. Barry stops
    and 34 second video clip ends)

    I think if Barry had not been interrupted, he would have played the following. It's the
    same pattern transposed down a whole tone. I.e. starting with C minor 7 instead of D
    minor 7.

    ([beat 1 this is the voicing


    Barry used
    11 before the student
    interrupted]) B7 B maj 9

    Barry Harris II-Tritone of V-I (Spain 2008 clinic)


    3

    ([So, this is a II-V-I in key of Bb, BUT ([Adding to the wierdness, after the "II"
    the tritone of that V is used instead of the is played (i.e. the Cm7), the chromaticism
    13 actual V]) begins with "G,B" in L.H. and its tritone
    "Db, F" in R.H.])

    Barry Harris II-Tritone of V-I (Spain 2008 clinic)

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