Barry harris method pdf download

Intel R Management. Engine Interface, Version 7 0 Jazzworkshop productions. Ligon, Bert Connecting Chords with Linear Harmony.. This way of thinking chords is further expanded upon in another nice book, the Barry Harris Harmonic Method for Guitar by Alan Kingstone. See Below.. Jun 29, — Category Archives: Barry harris harmonic method for guitar downloader It varies, but out of my 10 guitars, at the moment I play my Ibanez Artist Jan 25, — Mar 8, - Download Read Online barry harris workshop pdf Stone had a couple of articles on the sixth diminished scales in Just Jazz Guitar magazine..

Made in Canada. No part of this book may be reproduced in any form without permission of the author and publisher. Visit www. Apr 5, — Thread: Barry Harris method for learning bebop Here are two videos of Barry teaching workshops that show what can be He uses sixth diminished chords for many chords..

Guitar Method.. Art Kane, Harlem Before starting this research, I found my harmonic I'm just the oldest member of the class. I just wish everyone could experience the blessing of learning new things all the time. This document was uploaded by user and they confirmed that they have the Apr 14, — This name comes from the scale approach that Barry Harris teaches to the Barry's approach to the minor ii-V, like many of his other teaching December ; PDF. Bookmark; Embed; Share; Print.

Chord Mastery is a guitar chord method that easily develops your harmonic Jan 18, — Description:Book and CD. Studying the concepts put forth in this book will not teach you a set of hip sounding voicings. You won't come out Feb 13, — As such, the scale can originate on any of the chord tones with the Barry Harris, demonstrating "the 6th Diminished Scale" system and Most of the terms and techniques are directl Nov 12, Barry Harris Method.

Again--I bought and started working Barry Harris Jazz Workshop Part After a while of practicing the Half-Step Practice Model as explained Oct 8, — This handout is a written version of rules laid out by Barry Harris in a video entitled "Half step rules on dominant You can print out a.

The only thing I ask is that you link back to the site in return. You can turn almost everything in this solo into an exercise or study. We will also talk about how to apply all these tools to your own music. As you can see through the first 3 and a half measures Barry just uses simple major scale ideas from the Bb major scale. You can even copy a Barry Harris lick and use it yourself.

Barry is truly a master at starting his jazz lines on different beats. He can take classic bebop licks that everybody plays and start them in unusual places. It makes his phrasing and playing sound so fresh. Specifically he varies the start of his phrases constantly. How To Practice: First, find 4 or 5 phrases that you really like the sound of. Practice playing just the rhythms of these licks and put your own notes on top.

Playing jazz is just as much about playing good rhythms as it is about playing correct notes. Great phrasing is part of great rhythm! Barry uses a lot of chromatic motion to really get his lines moving forward.

One particular technique Barry uses alot is something called an approach pattern. An Approach pattern is a series of chromatic notes that are either above, below, or circles a note of resolution. When you play an an approach pattern instead of the normal expected note it delays the resolution of the line. This can really extend the length of your riff and licks and will also help you string together different musical ideas. Stumpf explains: The combined sound of two tones approximates no more, no less the impression of a single tone, and it appears that the more this condition holds, the more consonant is the interval.

Even when we perceive and distinguish the tones as two, they nevertheless form a whole in perception, and this whole strikes us as more or less unitary Stumpf , More importantly, according to Stumpf, tonal fusion of the interval is possible because dissonance is also relative to context Huron , Even though certain intervals are prone to tonal fusion, the process of tonal fusion actually occurs within the mind of the listener Yeary , 4.

According to music theorist Norman Cazden, even though it is generally believed that music, when analyzed and reduced to fundamentals from the overtone series, can also be evaluated according to certain natural laws. It is widely considered to be the case, however, that such natural laws are inadequate with regard to explaining historical change in musical art, as Cazden explains: For it is not possible that laws which are themselves immutable can account for the profound transformations which have taken place in musical practice, and are now taking place…the cultural context.

For the resolution of intervals does not have a natural basis; it is a common response acquired by all individuals within a culture-area.

It becomes evident that the science of music is not primarily a natural science. It is a social science devoted to the properties of a musical system or language belonging to a specific culture-area and a certain stage of historical development. There have been attempts to explain resolution on mathematical or psychological grounds. Calculations have been devised which purport to show how an interval "ought" to move. It transpires, however, that because of such "disturbing" structures as tonality, intervals move quite otherwise in musical practice.

Such procedures can only result in increasing perplexity. The tools are inadequate for data that are social in nature. The natural law hypothesis does not provide a correct description of the usage of consonance and dissonance in music.

The discrepancies involve data that are Systemic, that is, the actual conditions of musical usage; Historical, that is, the changes in attitudes towards consonance and dissonance in various periods within the history of western music; and Comparative, the use of consonance and dissonance in cultures Cazden , According to philosopher Leonard B.

Apart from the social situation, there can be neither meaning nor communication. An understanding of the cultural and stylistic presuppositions of a piece of music is absolutely essential to the analysis of its meaning Meyer , IX.

It is my postulation that the epistemology of movement is not just limited to the physiology of hearing and cognitive processing as mentioned in Part A, but rather inclusive of an interdisciplinary and multidimensional concept—drawn from a quadripartite of elements consisting of music, dance, poetry and the visual arts, serving as multivalent social practices found within a repressed African-American subculture.

The argument I make moving forward into Parts B and C of this study is that dissonance may also be considered a by-product of artistic expression. Within these epochs of subculture lays a multidimensional meaning of dissonance—a quadripartite, expressed not only through music, but also through other multivalent social practices found within the vehicles of artistic expression.

Part B: Culture In October , I interviewed Barry Harris, asking him a host of questions intended to better understand his concept of movement. In response, he did not hesitate to think about most of his answers and seemed quite passionate about them. Harris said that he grew up in Detroit, playing in church, and first learned how to musically support different members in a band by playing spirituals and gospel hymns.

Harris stated that he was also always participating in social functions that not only had live music that he could play, but also offered the opportunity for the social aspect of dancing that he and other musicians participated in when they were not up on the bandstand Harris, phone interview conducted by the author on October 13, Harris conveyed his belief that not only did the participation in dance become a means to express the music that they played but that it must have also influenced the way they played Harris, Interview I asked Harris how he learned to play bebop, the music he loved so much.

He replied with some surprising answers that many people might have not known about his jazz education. In an interview with musician Daniel Fedele, Harris describes his upbringing: When I was young we played and the people danced. We played a lot, we would jam in my house all day long. We were young, around sixteen. I would go out and watch the piano players play, steal a few chords and learn. I guess playing in concert halls was the biggest mistake we ever made, we should always play for dancers.

Fortunately where I grew there were a lot of good musicians, people that you never heard the names [of] but great musicians, we had one we considered almost as good as Bird, his name was Cokie, we had a whole thing, we learned from association. You had people who owned separate homes and they could do what they wanted there.

Places like my place, we lived in a two family building, sometimes the people downstairs had a party and we would go and play, we jammed all the time, there really was a musical environment. A young musician would find his older musicians and get chastised a little bit; he had to learn.

I postulate that these dissonances are hidden because they denote semiotic meaning embedded within the music, dance, poetry and the visual arts to which Harris was exposed while growing up or that preceded him and 24 This is my theory, I have not heard of, or are aware that Harris considered any of these factors.

Musical vernacular is represented by not only the present but also the past and the future Bland These influences have given rise to a natural development of a music schema—rule-based frameworks within which an individual interprets what he or she perceives through the shaping influences of the environment Morrison et al , As a young adult, he was exposed to and participated in the subcultures that resulted in fluency in the music he now teaches to his students.

Harris has a major advantage over current students who wish to learn his concept of movement, as he was an active participant in a musical subculture that no longer exists. Current students have no authentic exposure to that specific culture, since it exists only in the past. To offer hope to present and future students who have not had the opportunity to undergoing the same experience of enculturation as Harris, I posit that the findings gleaned from this study will offer a deeper epistemology of his concept of movement by means of delineating its antecedents genealogy.

In this way, students will be provided with an opportunity to grasp and assimilate the proper musical frameworks from which the music originated. A Dissonant Genealogy It has been said that African American musical vernacular can be traced from a genealogy of racial inequality Bland , film.

Composer and film director Ed Bland of the polemic short docu-drama film A Cry For Jazz suggests that the myriad of circumstances that brought forth the African American struggle is necessary for jazz to exist Bland Traumatized by slave-ship voyages, deprived of languages, gods, families, communities, and rituals, the slaves were forced to modify what remained from their past and invent new cultural forms as needed in their new geographical habitats Bland Dissonance in Minstrelsy The workshops and concerts of Barry Harris that I have had the pleasure and privilege of attending over the past twenty years have always been both entertaining and informative.

Not only does Harris teach his concept of movement from a structured pedagogical axis, he is also always physically animated and passionate in the manner that he teaches it. I believe that his classroom teaching style imbues the 26 For a more in-depth account of African American signification, Henry Louis Gates s seminal work The Signifying Monkey represents an exhaustive effort that purports to show how racist attitudes in white America cause a feedback loop that African Americans use to portray in their artistic expressions.

Blackface minstrelsy is commonly characterized as a symbolic slave code, a set of self-humiliating rules designed by white racists for the disenfranchisement of the black self Ostendorf , According to Author Berndt Ostendorf: In blackening his face, the white minstrel acculturated voluntarily to his comic vision of blackness, thus anticipating in jest what he feared in earnest.

Initially then, American vernacular culture was not inspired by black folklore but by the white man's version of black folklore. Subsequently a feedback pattern emerged, and blacks entered the stage surreptitiously under cover of a white-imposed stereotype Ostendorf , Since minstrel music was not considered legitimate and not in competition with the concert hall, minstrel musicians were expected by their audiences to play their music and instruments illegitimately, off key and dirty Ostendorf , According to educator Andrew Scott: Harris occasionally chides students who are unable to execute quickly one of his multilayered bebop phrases.

His point, I suggest, is not to discourage students but rather to convey a message of self-improvement indirectly through 27Minstrel retaliation was also seen in different forms against the white state in mannerisms such as mocking the white speech, gestures and dress code.

His humour functions twofold, first on a superficial level—teasing student musicians—and second on a subtextual level—imbuing a sense of pedagogical encouragement in an indirect manner Scott , One needs only to look at the B. I posit that this arcane method reaps benefits by inspiring students toward self- improvement. Author Ross Russell was perhaps the first to document Parker's experience with Jones Scott , Russell argues that such embarrassments were central to Parker's development.

And more importantly, shortly after Jo Jones and company laughed Parker off a Kansas City stage, the saxophonist resolved to not let such musical humiliations occur again; when Parker returned to Kansas City, he had improved sufficiently to join pianist Jay McShann's group and draw notice for his new improvisatory style Russell , These terms suggest the myriad imitations, borrowings, and shifts in meaning, association, and value as close harmony has moved back and forth in black and white social fields over two centuries of development.

The traveling minstrel shows were training-centers for a large number of black artists that could work on their ragtime, blues compositions and refine the talent of improvisation. This became a culture that provided the subsoil of the emerging jazz music. When this African model is juxtaposed to Western major diatonic scales, Western observers describe the blues scale as having microtonally lowered thirds, sevenths, and, to a lesser degree, fifths.

When blues scales are performed on fixed-pitch chromatic instruments, the inflected thirds, sevenths, and fifths are represented as choices or combinations of two chromatic pitches i. He further suggests that barbershop harmony is a product of African American pitch equation relationships expressed in chromatic voice- leading.

Although this ignores the relationship of barbershop harmonies to European dominant seventh resolutions—and as a result probably greatly over determines the African contribution—I agree that African American aesthetic preferences for shading a tone or for sliding between neighbouring tones has in all likelihood played a role in the evolution of barbershop harmony and in the cultural preference for secondary dominant progressions in ragtime.

Portia K. For example, when Harris improvises on the piano, he is always singing in a gibberish fashion. It sounds as if he is mimicking his musical improvisation, but I believe he is leading his musical improvisations by singing and playing in unison.

It seems that one of the most important single heritages of minstrelsy is the versatility in the presentation of face, voice, and body on stage in music and dance. Gunter Schuller notes that one important contribution of blacks to American music was the handling of voice. I would enlarge this to the handling of the body, including the voice, i. A sight, an emotion, creates this wave in the mind, long before it makes words to fit it; and in writing such is my present belief one has to recapture this, and set this working which has nothing apparently to do with words and then, as it breaks and tumbles in the mind, it makes words to fit it Humm , There is no basis in fact that close harmony started in barbershops, or was confined to barbershops.

This most certainly was not arranged music. It was original, and spontaneous. This information is important because Detroit has been known as an important mecca and breeding ground for musicians of all styles who started in the church and relied on an aural sense of learning and development. Author A. This musical experience in the church must have also been a great influence on Harris as he started a jazz vocal choir that has been in existence for the past thirty years de Lima, It sounds very similar to barbershop quartet, in that the harmonies are in closed position see Figure 4.

One gets a sense that in this medium, his use of the tonic functioning Major 6 th chord and the dominant functioning diminished 7th chords that modulate consonance and dissonance seems less unique than when experienced in his instrumental music, because it is coming from the compliance class 34 of barbershop quartet. If the blues, according to author A. These blue notes imitate musically a wide spectrum of human emotions yet are particularly apt at communicating deep, heartfelt sorrow Cone And even though their meanings may have become somewhat diluted, they nonetheless become the fulcrum for a more modern and contemporary interpretation of dissonance.

I also propose that the past atrocities to which the African Americans were subjected—slavery with no communication allowed amongst themselves Kolchin , 42 , forced conversion to Christianity Kolchin , 46 36 and the humiliations experienced through the minstrel stage—have now become the kernels that act as signifiers in artistic expression. According to author Samuel A. Floyd, Jr. This new type of jubilation gives rise to W. What was even more fascinating was the pedagogy utilized by Harris to teach his concept of movement.

Then God smiled, And the light broke, And the darkness rolled up on one side, And the light stood shining on the other, And God said, "That's good! And the light that was left from making the sun God gathered it up in a shining ball And flung it against the darkness, Spangling the night with the moon and stars. And God walked, and where He trod His footsteps hollowed the valleys out And bulged the mountains up. Then He stopped and looked and saw That the earth was hot and barren. So God stepped over to the edge of the world And He spat out the seven seas; He batted His eyes, and the lightnings flashed; He clapped His hands, and the thunders rolled; And the waters above the earth came down, The cooling waters came down.

Then the green grass sprouted, And the little red flowers blossomed, The pine tree pointed his finger to the sky, And the oak spread out his arms, The lakes cuddled down in the hollows of the ground, And the rivers ran down to the sea; And God smiled again, And the rainbow appeared, And curled itself around His shoulder. Bring forth! And God said, "That's good! Then, God created man and woman, for us this equates to the two whole tone scales.

Then, Man and Woman got sic together, procreated and developed children. The whole-tone scales gave birth to three diminished 7th chords, each one built from two pairs of genes tritones. How do we know the three diminished chords are brothers and sisters?

You look at the DNA. All diminished seventh chords contain two tritones, one from each of the two whole tone parents. More importantly, its like family, who do you start to play with first? E Dubois, and writers such as Langston Hughes are amongst the numerous men and women situating their literature within the historical social-political40 and aesthetic energies of the blues and jazz music, thereby demonstrating the intercultural influences of music on literature Jimoh , What is most interesting is that Harris has a particular affinity for five musicians that he has mentioned during countless workshops and in my interview with him: Thelonious Monk, Coleman Hawkins, Charlie Parker, Dizzy Gillespie and Bud Powell Harris In each case, I believe, the musical lineage can be traced to the Harlem Renaissance.

Citing James Weldon Johnson s assertion of cordial racial relations in an urban context, Greenberg concludes that these writers represented a cultural dominant encapsulated in a vision of hard work and perseverance In speaking about the Harlem Renaissance, Ellington wrote in the British magazine Rhythm Ellington, that the music of African Americans is multidimensional in that it draws from the past to express the current state of affairs.

It may also be indicative of non-African American musicians who cannot express what their cultural history has never experienced. This is not to say that since only African Americans have a lineage that is tied to slavery, repression and inequality, this makes them the only ones capable of transferring this message in their artistic expressions, but I believe it is a hard fact to overcome.

In Harlem we have what is practically our own city; we have our own newspapers and social services, and although not segregated, we have almost achieved our own civilization.

The history of my people is one of great achievements over fearful odds; it is a history of a people hindered, handicapped and often sorely oppressed, and what Countee Cullen and others are doing in literature is overdue in our music Ellington , Ellington also proposes that other art forms such as prose have been a direct influence on his music and have also influenced other forms of artistic expression.

Ellington continues: I am therefore now engaged on a rhapsody unhampered by any musical form in which I intend to portray the experiences of the coloured races in America in the syncopated idiom. I am putting all I have learned into it in the hope that I shall have achieved something really worthwhile in the literature of music, and that an authentic record of my race written by a member of it shall be placed on record.

My aim here is not of course to undermine the importance of black music or to crudely promote the literary at its expense, but to begin to challenge some of our assumptions about the relations among aesthetic media in black culture Ellington , Although quite humble about his interest in poetry, Ellington equates the breakdown of rhythm, such as beats in a measure, or syncopations in rhythm, to the repression that African Americans had endured.

Brent Edwards Hayes, the author of The Literary Ellington , contextualizes that Ellington was already becoming outspoken on his thoughts as to why the suppression of African Americans has now come to the forefront of what I posit to be a semiotic gesture. New acquaintances are always surprised when they learn that Duke has written poetry in which he advances the thesis that the rhythm of jazz has been beaten into the Negro race by three centuries of oppression.

The four beats to a bar in jazz are also found, he maintains in verse, in the Negro pulse Edwards , 3. Our stories were sometimes necessary to the composition and arrangement process, and often verbalized in language Edwards , 4. Duke, sitting at his piano and facing his band, will play a new melody, perhaps, or possibly just an idea consisting of only eight bars.

His tired band begins to sympathize with the waiting man in Harlem. Then he goes on to eight new bars. The guy just sits there, maybe an hour, hunched over on his bed, all alone. Lawrence Brown rises with his trombone and gives out a compact, warm phrase. Duke shakes his head. Brown amends his suggestion and in turn is amended by Tricky Sam Nanton, also a trombone who puts a smear and a wa-wa lament on the phrase suggested by Brown.

Now Juan Tizol grabs a piece of paper and a pencil and begins to write down the orchestration, while the band is still playing it. Whenever the band stops for a breather, Duke experiments with rich new chords, perhaps adopts them, perhaps rejects, perhaps works out a piano solo that is clear and rippling, into little slots of silence, while the brass and reeds talk back and forth.

By the time Tizol has finished getting the orchestration down on paper, it is already out of date Boyer , His blunt and jazzy explanation is probably closer to the substance of the play than the long and involute commentaries of most Shakespearean scholars Edwards , 5- 9.

The piece that came closest to embodying this project was the Black, Brown and Beige, which premiered on January 23, at Carnegie Hall in a benefit concert for Russian war relief. Ellington gave spoken introductions to each section, which form the basis of his description of each suite Ellington , — E Dubois, who had all become influential with regard to the musical harmony and rhythmical phrasing of this period.

Meadows purports: Dissonance and syncopation rupture geographically bounded and teleologically constructed identity formations, which is most thoroughly developed in the jazz poetry of Langston Hughes.

The practice of dissonance simultaneously offers a means to re-articulate elements through historically predicated terms such as melange [a mixing of colours], as introduced by appropriation of syndicalism and Black Nationalism. While the performative instant enacts separation from any ontological theme, the dissonant chord opens up the means by which a particular, black identity can emerge as a supra-sensual impression in the re- presentation of Harlem as a thematic identity dissociated from any place bound, geographical grounding Meadows , 6.

Since the Harlem Renaissance was a cultural movement, its foundation was the transcendence of the negative experiences of racial inequality in America Meadows , 6. For literary writers such as Langston Hughes and Claude McKay, Harlem was the epitome of the jazz aesthetic and lifestyle, a sign for the rough and tumble of the daily grind to survive abject poverty and a site for questioning foundational notions of identity Meadows Thus, Harlem is a site of celebration of a positive cultural formation, contrasted with negative constructions of race and poverty.

In the words of Monique Michelle Taylor, Harlem was a space that was, and is, between heaven and hell Meadows This quote is worth reproducing in its entire length: The function of dissonance acts as a means of disturbing totalizing tendencies of the nation.

The cultural practice of dissonance offers an avenue to study difference as a methodology of radical social congregation and separation. It is important to structure into the analysis of dissonance the means by which the logic of the modem nation functions across difference. In establishing jazz performance and jazz culture as a dissonant note within the putatively harmonized order of America, it is essential to establish this difference as a component part of the state that is, however, fully separated and antagonistic to its structuring systems.

Only with the embrace of the radical implications of dissonance can an analysis of jazz culture and race move beyond the logic of the modern state. The analysis of the American social order and its instabilities, read as the horizon of said social order, and the cultural spaces of Harlem, as responses to the negative experiences of living in America and as a connective culture beyond the geographical and logical horizon of the state, entails a three- fold process.

The first measures how the nation structures an open space or clearance for the appearance of social groups that defines identities and assigns a place in a network of relations. The second establishes how the logic of the nation simultaneously propels or deterritorializes the identities that it purportedly affixes. The third builds upon dissonance as a hermeneutical means of understanding movement through, within, and beyond the geographical confines of Harlem and America.

Each of these processes are in a constant state of flux and, as such, are interwoven in attempts to claim equality within America and in the cultural practice of dissonance Heble ; Meadows , Furthermore, other vehicles of expression were being created through a process of cultural rebirth.

For example, in literature, Langston Hughes was writing about the life he knew and attempting to grasp and hold some of the meaning and rhythms of jazz in his poems. Renaissance painters such as Archibald John Motley, Jr.

He, like Langston Hughes shared with musicians a common point of reference that emphasized the immediacy of the experience and the relevancy and validity of black culture. Motley, Jr. Thus Motley dispensed with the single, metaphorical portarait-figure and began to create more complicated compositions, all capturing jazz and blues life Floyd, Jr.

Figure 3. The Blues, by Archibald Motley, The renaissance also captured the elements of musical dissonance depicted in the visual arts. Blues Singer by Charles Alston Charles Alston Blues Singer Another Renaissance artist not only became influenced by the music he heard but also became so inspired that he began to express himself in this new artistic manner.

Visual artist and writer Romare Beardon became so inspired by the jazz music he heard that he became compelled to compose songs such as the hit Sea Breeze, still considered a jazz classic, which was recorded by Billy Eckstine and Dizzy Gillespie Trachtman Both musicians and dancers propelled their bodies forward in an eccentric yet syncopated manner, all the while hinting at the newer dance craze that would explode in the Swing era: tap dancing Dinerstein , I will explore these developments later in this chapter.

In the swing era, music became a reflection of the industrialized architecture and mass production model Dinerstein , 1. Modernist architect Le Corbusier, upon visiting New York in , marvelled that African American dance and music was in his eyes on a par with the industrial skyscrapers Dinerstein , 1. Corbusier concluded that African Americans had successfully integrated music and technology.

Corbusier postulates: 41 The scope of this essay is limited to the visionaries that have mentioned. No doubt other visionaries such as Lester Young, Art Tatum, Charlie Christian, Mary Lou Williams and so on would have been contributors to the bebop movement but the aforementioned artists in this essay are not as well documented. Therefore I wish to show their significance in shaping the bebop movement as transitional players from the Swing Era to the bebop movement.

If architecture were at this point, it would be an incredible spectacle. Manhattan is hot jazz in stone and steel, consisting of machine aesthetics, modernism and architecture. The Negroes of the USA have breathed into jazz the song, the rhythm and the sound of machines. He is mathematics and equilibrium on a tightrope Dinerstein , 1.

Both art forms focused their attention on sound, flow and mechanical rhythms missing from the prior epoch of the Harlem renaissance. The next significant cultural event was the birth of big band and the explosion of tap dance that accompanied it Dinerstein , 4. Americans realized with their senses, perhaps unconsciously, that swing music and dance stylized the increased urban, industrial life, torqued up individual metabolic rates to the faster social tempo, and assimilated machine aesthetics into two of the primal cultural forms of human expression: music and dance.

African American artists integrated the speed, drive, precision, and rhythmic flow of factory work and modern cities into a nationally [and internationally] unifying cultural form: big band swing Dinerstein , 5. The odd rhythms of machines became a direct influence upon both cultural aesthetics and the musical vernacular in its driving syncopated rhythms, reflecting the sped-up tempo of everyday life Dinerstein , 5.

The music was not only a metaphor for the assembly line, but also the locomotive express trains. African American musicians and dancers eliminated restrictive forms of music and ballet, as they championed big-band swing, tap dance and the lindy hop that were indirectly all models of humanized machine culture Dinerstein , 5.

More importantly, during this time, other art forms were also becoming subject to the influence of the machine aesthetic. A symbiotic relationship developed between music and dance. As the industrial machines sped up, so did the music. As previously mentioned, one such notable activity to which Harris constantly refers is dance, a subject not covered in the existing literature.

Harris explains: When I was young we played and the people danced. People danced and they knew the songs, they knew if you messed up or if the drummer turned the beat around, our contemporaries were there while we were playing what we wanted to play Fedele For example, the young Powell was just old enough to have witnessed all of the great masters on his instrument in speakeasies and other informal settings near his home.

Drawn to Harlem, the center of such musical activity, these performers constantly competed with one another, and displayed, for a discriminating and select audience, the entire history of jazz piano in epic solo battles that often lasted all night Pullman , His teenage idol was pianist Billy Kyle, who had a knack for arranging classical music into his jazz repertoire Ramsey, Jr. It was from Hines that saxophonist Charlie Parker gained a big break Russell , , until he was fired for his "time-keeping," by which Hines meant Parker's inability to show up on time despite Parker resorting to sleeping under the band stage in his attempts to do so Russell It was during this time and especially during the musicians' strike recording ban that members of the Hines band's late-night jam-sessions planted the seeds for the emerging new style in jazz, bebop.

Each section had its cell of insurgents. The band's sonority bristled with flatted fifths, off triplets and other material of the new sound scheme. Fellow bandleaders of a more conservative bent warned Hines that he had recruited much too well and was sitting on a powder keg Russell , As early as , saxophone player and arranger Budd Johnson had "re- written the book" Dance , for the Hines band in a more modern style. They were playing all the flatted fifth chords and all the modern harmonies and substitutions and Dizzy Gillespie runs in the trumpet section work.

The links to bebop remained close. Of the four takes waxed by Parker for Dial, only the first and last survive" p. It was not. It was the same basic music.

The difference was in how you got from here to here to here It is perhaps this very response of Hawkins that set compass and inspiration for Harris to develop a framework for moving his chord structures. Tenor saxophonist Coleman Hawkins, a member of the Fletcher Henderson swing band, was a visionary who facilitated the transition of swing to bebop DeVeaux , As keen-eared aspiring artists, they paid close attention to Hawkins musical legacy, appropriating some elements while rejecting others DeVeaux ,