Bill Graham (2 of 2) Barry Harris Bebop Improv 101

Bill Graham(2 of 2) Barry Harris Bebop Improv 101
Original YouTube video: https://youtu.be/R-d4PmAXsms
Bill Graham: Everything (lesson, etc.) Transcript: RdgJr619 March, 2019

NOTE: This is part 2 of a 2 part transcript. [12:47] "The next concept we're going
to talk about is what really changed my
Part 2: "Family of 4 Dominants" (starts 12:47) playing forever.
(Part 1: Extra Half Step Rules (up to 12:46) This is what Barry refers to as the
family of four dominants.
90
So the concept of the family Let's take a "B diminished

of four dominants revolves seventh" chord as an
around the diminished example...
seventh chord.... The notes in Bdim7 are
3 B, D, F, and A
So if you take any one of Let's start by dropping the "B" to

these four notes and drop it a "Bb"...
by a half step, you get a and now we have a B 7 chord
dominant seventh chord.
5
Bdim7 B 7
Bill Graham(2 of 2) Barry Harris Bebop Improv 101 (last update R.Glover RdgJr619 March 14 2019)
Now let's move the next note, "D", The next note, "F", 2
down a half step... let's move that down a half step...
now we have a D 7 chord now we have an E7 chord
7
Bdim7 D 7 Bdim7 E7
And finally move the last note, So this Bbdim7 chord gave us
"Ab", down a half step to "G". Bb7, Db7, E7, and G7
And now that is a G7 chord
9
Bdim7 G7 B 7 D 7 E7 G7
Well THOSE form another

diminished seventh chord
that's a half step away from the
first diminished chord
11
[14:55] So because those four

dominant chords are related
together through that diminished
chord, Barry calls them a
FAMILY, and shows us how we
So you could look at THAT can substitute them for one
as a diminished scale... another, or superimpose them
over one another as chord voiceings,
12 arpeggios, or full scale lines.
[15:14] So let's go back to our diminished Let's take the top note [of Bdim7] 3
chord and build those four dominants and drop it down [a half step].
and see how they relate to one another And that gives us G7
in a key.
15 Bdim7 G7
If we go back to Bdim7 and drop the

next note down [F] we get an E7, which is
the "V" [five] chord in the
relative minor" of "C", which is A minor.
[15:30] So G7 is the V [five] chord [the "A harmonic minor" scale
in the key of C. has a G so as to make its "V" chord an E7].
17
G7 C Bdim7 E7 Amin
[16:07] And then lastly, if we drop

our lowest note [B] we get a Bb7.
[15:47 ] Now B 7 is the "back door dominant"
Let's go back to our diminished chord chord, or the "flat 7 dominant chord"
[Bdim7] and drop the next note down [D] in the key of "C".
[we get a D 7 chord]. And it [Bb7] is also the tritone
So now D 7 is the tritone substitution substitution for the "V" chord [E7] in the
for G7. "relative minor", "A minor".
So that means D 7 is the tritone [i.e. the "relative minor" key of "C" is
substitution for the "V" chord [G7] "A minor" or "A harmonic minor"].
in the key of "C".
19
Bdim7 D 7 G7 C Bdim7 B 7 C Amin
[16:33] Another way I like to look at that 4
"back door dominant" chord, is as the "V"
chord in the "relative major" of the
"parallel minor".
So, we're in "C major".
The "parallel minor" of "C major" is "C minor".
The "relative major" of "C minor" is "Eb major".
And the dominant chord, the "V" chord, in the
key of E flat major, is Bb7.
So, that's how B 7 is related to the key of C major"
21 7
C Cm E B
[17:09] Let's try superimposing all of those Let's go to the next member of the family,
chords from the family over a B7 shell.... which is a B 7
Now what that gives us is a G7 with a
So if we start with a G7, that's just a plain, sharp 9 and a flat 9
unaltered G7 chord.
22
G7 G7 9 9
And the next chord is E7.
How about a D 7 over a G7? So to play E7 over a G7

we end up with a G7 with a
This gives us is a G7 with a 13 and a flat 9.
flat 5 and a flat 9
So, this is a G13b9
24
G7 5 9 G13 9
[18:09] Let's try putting this 5
in the context of a ii-V-I.
So Barry tells us that on a ii-V-I

we should just think,"the V chord
going to the I".
Or, we can think "the V chord over

And we can of course also just play the the ii, and then when we get to
B diminished chord over the G7. the V chord you can go to one of
the other chords from the
And that gives us a G7 flat 9. family of four dominants.
Barry calls this, "Playing with

26 your brother and sisters".
G7 9
[18:32] So let's start by over Dm7, G7, Cmaj7...

we're going to think, "G7 over both Dm7 and G7",
and then we're going to resolve into a chord tone
of C.
70
28
Dm7 G7 C
[18:53] So what And that resolves down to

were we thinking there? the 3rd [of G7] [on beat 2] .
Over the ii7 chord, So we're going to use a rule
Dm7, we're thinking "G7". where we can put a half step
We're thinking [beat 1] an between 3 and 2, 2 an 1, and
arpeggio on the fifth of G7. 1 and 7
30
G7 /Dm 7 G7 /Dm 7
And then Until we 6
we resolve to the
continue 5th of the "I"
down the chord.
[G7]
scale....
32
G7 /Dm 7 G7 C
[19:34] Let's play that... again at full tempo
34 G7 /Dm 7 G7 C
And we apply
[19:40]. Good. the exact same And we end
Let's try another rule. So we put it on the 7th
one.... This time a half step on the "I"
we're going to between 3 and 2, chord this
come up from the between 2 an 1, and time
7th of the G7 chord... between 1 and 7
36
G7 /Dm 7 G7 C
[20:16] Let's try using one of So on Dm7 we're 7
the siblings over the "V" chord... thinking G7.....
So now we're still going to think

"G7" over the "ii" chord...
But when we get to the "V" chord

38
let's think "Db7".... G7 /Dm 7
But now on G7
let's think "Db7"...
So this B note that we landed And then we end
on is the 6th of a "Db7" it on the 7th
scale. So we're going to use on the "I"
the rule where we add a half chord this
step between 2 and 1, and time
between 1 and 7...
40 D 7 /G 7 Cmaj7
42
D 7 /G 7
G7 /Dm 7 Cmaj7
[21:08] So that's a great sound that you would never come up

with using chord scale theory.
[plays the run to more times, once full tempo with swing,
44 second time slowly with swing.]
[21:31] Okay great. 8
Let's try thinking B 7 over G7....
45
G7 /Dm 7 B 7 /G 7 C
And then when we got

go our G7 we landed on a
D natural.
So that's the 5th of G7, And then we
but it's also the 3rd of Bb7. resolved up
And then we got into the 3rd
[21:43] Okay. up to the root, So we came down our B 7 of the "I" chord.
So we played up a and so we used our scale and use our rule to put
G7 arpeggio rule to add a half a half step between the 1 and
starting step between the 7.
from the 7th.... 1 and 7...
47
G7 /Dm 7 B 7 /G 7 C
[22:19]
49
G7 /Dm 7 B 7 /G 7 Cmaj7
Again, combinations that you would [22:37] 9
never come up with, with chord Let's try playing E7 over the "V"
scale theory..... chord now....
but that you have heard a million times
51 on Charlie Parker
and Bud Powell solos.
And then when we get and then use

to G7, we're going to the rule to put And then
think "E7". So this "D" a half step when we
So we're still get to the
which is the 5th of G7 between
going to think 1 [of Bb7],
is alto the 7th of E7. 3 and 2,
"G7" over the "ii" it's actually
So we're going to 2 an d1...
continue down an E7 the 3rd of the
scale. "I" chord.
53
G7 /Dm 7 E7 /G 7 Cmaj7
[23:34]
Okay, so now let's try
running some of these We're still going to think But now over the "V"
siblings INTO one "G7" over the "ii" chord. chord we're going to
another.... try thinking B 7 to D 7
55
[23:46]
58
B 7 /G 7 D /G 7 C
G7 /Dm 7
And then 10
we start coming
down a D 7
And then arpeggio, and instead
we come of continuing down
We go up an arpeggio
down a B 7 we do a pivot up an
on the 5th of the "V"
arpeggio octave and then
chord continue down
60
B 7 /G 7 D /G 7
G7 /Dm 7
61
C
And then re resolve to our "I" chord
62 Let's try another two. So we're still going to think G7 over the "ii" chord, but this time
we're going to go E7 to Db7, over the "V" chord.
[24:40]
63
E7 /G 7 D /G 7 C
G7 /Dm 7
and then this 11
"B natural"
but as soon we're going to
as we get to elide into a
"G7" we're D 7 chord.
[24:50] So what we're and then going to play This "B" was the
thinking there is, over walk down down an inversion 5th of E7, but it's
the "ii" chord we're our G7 of E7 also the 7th of Db7.
thinking an argpeggio scale So we're going to
up from the 7th continue up a
G7 D 7 chord
65
E7 /G 7 D /G 7
G7 /Dm 7
66
C and then resolve into our "I" chord
[25:44] Okay, this time over the "B" chord let's go back and think "Bb7" to "Db7" again.
67
But this time we're going to think arpeggios from the 3rd's of those dominant chords.
And over the And then an 12
G7 we're going arpeggio on
to go up and the 3rd of
[25:55] So over Dm7 we're arpeggio on the D 7
again thinking G7... 3rd of B 7
68 G7 /Dm 7 B 7 /G 7 D /G 7 C and then resolve

into our "I" chord
So if we look at the extensions

that ends up making...as we and then the 7th,
go up our G7 we've got the flat 9, the 3rd,
the 5th, the 7th, the flat 9, and the flat 13th
the 4......
70
B7 /G 7 D /G 7 C
[26:40]
But instead of having to add that up to some fancy scale, or some fancy mode,
we're just thinking about the chords that are in the "family of four dominants"
73 and messing around moving back and forth between them.
[26:53] We can also play all of this vocabulary over MINOR ii-V-i 13
So let's go to the relative minor.
We were in C major, so the relative minor of C major is 'A minor'.

And the "ii" chord in "A minor" is B minor 7 flat 5 (Bm7b5).
So, remember that Bm7b5 is the chord you get when you start on the 3rd of G7.
So over this Bm7b5 we're going to think G7....
74
G7 /Bm 7 5
Below starts on the "2" of G7 Below ALSO starts on '2" of G7
75
G7 /Bm 7 5 G7 /Bm 7 5
Below starts on the "3" of G7 Below ALSO starts on the "3" of G7
77
G7 /Bm 7 5 G7 /Bm 7 5
79
G7 /Bm 7 5 G7 /Bm 7 5
[27:40] [Bill maybe meant 14
Below starts on the "5" Below ALSO prior measure to
of G7 starts on the "5" of G7 instead be this???]
81
G7 /Bm 7 5 G7 /Bm 7 5 G7 /Bm 7 5
84
G7 /Bm 7 5 G7 /Bm 7 5
Below starts on the "7" of G7 [27:49]

Below ALSO starts on the "7" of G7
86
G7 /Bm 7 5 G7 /Bm 7 5
[27:52] Below starts on the "6" of G7 Below ALSO

starts on the "6" of G7
88
G7 /Bm 7 5 G7 /Bm 7 5
Below starts on the "1" of G7 Below ALSO 15
90
G7 /Bm 7 5 G7 /Bm 7 5
Below ALSO
92
G7 /Bm 7 5
93
G7 /Bm 7 5 G7 /Bm 7 5
95
G7 /Bm 7 5
96
G7 /Bm 7 5 G7 /Bm 7 5
98
G7 /Bm 7 5 G7 /Bm 7 5 16
100
G7 /Bm 7 5 G7 /Bm 7 5
102
G7 /Bm 7 5 G7 /Bm 7 5
104
G7 /Bm 7 5 G7 /Bm 7 5
106
G7 /Bm 7 5 G7 /Bm 7 5
108
G7 /Bm 7 5 17
[28:47] Okay, so let's try playing over this So let's trying playing that....
minor ii / V / i ...
On the Bm7b5 we're going to think "G7"
and we're going to run that over the V
chord "E7", and that's going to resolve into
109 the "I" chord, A minor.
[29:03]
111
G7 /Bm 7 5 E7 Am6
[29:10] So what did we just play? And then that connected into the
On Bm7b5 we came straight 3rd of E7, where we put our rule
down the G7 scale. We started on where we've got a half step between
the root, so we put the half step 3 and 2, and then 2 and 1.
between 1 and 7 and then walked And then we just came right up
down the scale. out #7 arpeggio....
113
G7 /Bm 7 5 E7
And that resolved into 18
A minor.
115
Am6
We're going to start thinking G7 over the

B half diminished,
[29:59] So now let's try using some of And then when it goes to the "V" chord,
the siblings over this minor ii / V (/ i ) when it goes to E7 we're just going to
continue to think G7 over that.
116
And then we'll resolve it to A minor
118
G7 /Bm 7 5 G7 /E 7 Am6
[31:30] This time let's try thinking B over the V... So on Bm7b5 we're still
going to be thinking G7.
But when it goes to the "V" E7, now we're going to think about B 7 on top of that.
And then that's going to resolve into the I chord, which is A minor...
120
[31:51] So let's see what 19
sound like....
121
G7 /Bm 7 5 B 7 /E 7 Am6
[32:56] This is the last example we're going to look at today.

And this is kind of similar to something we played in major, but now it's
on a different context. So over B half diminshed we're still going to think G7.
But when we go to E7 we're going to think, "Bb7 to Db7".
123 And then that's going to resolve into our "I" chord, A minor.
[33:17] Let's hear how that sounds...
124
G7 /Bm 7 5 B 7 /E 7 D 7 /E 7 Am6
[34:18] 20
Barry's theories are incredibly deep, and we just scratched the service today.
But I hope you can tell from this just brief introduction how valuable this
information really is.
Like I said, learning these concepts completely changed my playing overnight.
Work on them, and I'll bet they can do the same for you.
That's about it for this episode.

Next time I'll be looking at applying tese concepts to playing on an actual tune.
I hope you liked this video. Please like, share and subscribe.
If you have any questions just leave them in the comments below.
Until next time, "take it easy".
126 (Bill Graham: BillGrahamMusic@gmail.com
Bill Graham welcomes PayPal contributions and gives Skype lessons)

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Bill Graham (2 of 2) Barry Harris Bebop Improv 101

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Bill Graham(2 of 2) Barry Harris Bebop Improv 101

Original YouTube video: https://youtu.be/R-d4PmAXsms

Bill Graham: Everything (lesson, etc.) Transcript: RdgJr619 March, 2019

So the concept of the family Let's take a "B diminished

So if you take any one of Let's start by dropping the "B" to

Well THOSE form another

[14:55] So because those four

If we go back to Bdim7 and drop the

[16:07] And then lastly, if we drop

And the next chord is E7.

How about a D 7 over a G7? So to play E7 over a G7

So Barry tells us that on a ii-V-I

Or, we can think "the V chord over

Barry calls this, "Playing with

[18:32] So let's start by over Dm7, G7, Cmaj7...

[18:53] So what And that resolves down to

[19:34] Let's play that... again at full tempo

So now we're still going to think

But when we get to the "V" chord

[21:08] So that's a great sound that you would never come up

And then when we got

And then when we get and then use

68 G7 /Dm 7 B 7 /G 7 D /G 7 C and then resolve

So if we look at the extensions

We were in C major, so the relative minor of C major is 'A minor'.

Below starts on the "2" of G7 Below ALSO starts on '2" of G7

Below starts on the "3" of G7 Below ALSO starts on the "3" of G7

Below starts on the "4" of G7 Below ALSO starts on the "4" of G7

Below starts on the "6" of G7 Below ALSO starts on the "6" of G7

Below starts on the "7" of G7 [27:49]

[27:52] Below starts on the "6" of G7 Below ALSO

We're going to start thinking G7 over the

[32:56] This is the last example we're going to look at today.

But when we go to E7 we're going to think, "Bb7 to Db7".

[33:17] Let's hear how that sounds...

That's about it for this episode.

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