"I have such a ball in my classes, and I learn so much from my students. They probably don't realize that I come to school here, too. I'm just the oldest member of the class. I just wish everyone could experience the blessing of learning new things all the time."
About The Vocal Workshop Video
This 84 minute instructional tool is packed with practical tips for vocalists at all levels. The 'clinic' setting allows you to join into the lesson. Key aspects of jazz singing including rhythm, scales and the ability to hear chord changes are covered in depth.
Led by jazz legend, Dr. Barry Harris, the video documents a small vocal class being instructed in rhythm, phrasing, vocal warm-ups, leading a rhythm section and outlining key harmonic progressions.
The accompanying 50 page workbook provides a transcription of the exercises and songs presented in the video along with additional explanations.
Recommended for all levels, the Barry Harris Vocal Workshop will stretch even the most experienced vocalist, not by teaching you neat tricks but by deepening your understanding of and appreciation for the jazz tradition.
- Rhythmic and phrasing exercises
- Warm-ups, chord and scale exercises
- Application of the examples to many different jazz standards
- How to use 'Rubato' time
- Using the chords to outline the harmony
- Rhythmic tools that help the singer make it seem like they are 'making up the song' as they sing it
- All musical examples in the video are keyed for quick referencing in the workbook
About Barry Harris
"I guess you could say Barry Harris is one of the very last of the bebop purists that we have on piano. He is a living and brilliant extension of Bud Powell."
Walter Bishop Jr.
"I've always thought that if Charlie Parker had played piano, he would sound exactly like Barry Harris. Or is it the other way around? In any case, Barry's sense of time, motion and rhythm is absolutely impeccable."
"A list of Harris' graduates reads like a Who's Who of Jazz; among them are Paul Chambers, Curtis Fuller, Joe Henderson, Lonnie Hillyer, Yusef Lateef, Hugh Lawson, Kirk Lightsey, Charles McPherson, and Doug Watkins." "Harris' (method) is unique in both its emphasis and detail, for it teaches students precisely how to transform the (basic theoretical) elements into credible phrases and focuses as much upon the creative processes of improvisation as upon its products, effectively clarifying the relationship between theory and performance practice in the jazz tradition." "Harris' theory is an expansive generative method. It encourages musicians to create original phrases based, in part, on the cross-fertilization of rhythmic, melodic, and harmonic models embodied in the rules Harris promulgates."
Excerpts from 'Thinking in Jazz', by Paul F. Berliner, University of Chicago Press 1994
Part 1: Singers are Rhythm Instruments First
- '+'s or Upbeats
- "Never Let Me Go" by J. Livingston & R. Evans
- "Dearly Beloved" by J. Kern/J. Mercer
Part 2: Warm-ups & Scales
- The Bb Major Arpeggio
- Intervals on The Bb Major Scale
- The Bb Minor Arpeggio
- The Bb Harmonic Minor Scale
- The Bb Whole Tone Scale
- "You Go To My Head" (excerpt) by J. Cotts, and Whole Tone Scale Application
- "A Beautiful Friendship" (excerpt) by D. Kahn & S. Styne
- Whole Tone Scale Applications to "A Beautiful Friendship"
- "'SWonderful" (excerpt) by G. & I. Gershwin
- Diminished Chord Applications to "'SWonderful"
- The Bb Major, Augmented, Minor & Diminished Triads
- The Bb Major, Augmented, Minor & Diminished Arpeggios
Part 3: Putting the Scales to Work
- "I Understand" by K. Gannon/M. Wayne
- The Diminished Scale Applied as an Ending to "I Understand"
- The B Diminished Chord Applied as an Ending to "I Understand"
- The Whole Tone Scale Applied as an Ending to "I Understand"
- The Chromatic Scale Applied as an Ending to "I Understand"
- Augmented Arpeggios Applied as an Ending to "I Understand"
Part 5: Suggesting the Harmony
- Combine a Melodic Phrase and a Scale to Outline the Harmony
- "When Sunny Gets Blue" (excerpt) by Fisher & Segal
- II minor7 Moving to the IV minor7 in 'W. S. G. B.'
- 'I Will Not Change The Song'
- "Here's That Rainy Day" by J. van Heusen & J. Burke
- 'Turnback' or 'Turnaround' Ideas Applied to 'H.T.R.D.'
- '2-4-3' Applied to "Here's That Rainy Day"
- "Time Was" (excerpt) by M. Prado
- Barry's Solo on the 1st Half of "Time Was"
- 'Turnbacks' in the Key of G
- 'Turnbacks' Applied as Endings