РІР‚СљA list of HarrisРІР‚в„ў graduates reads like a WhoРІР‚в„ўs 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.РІР‚Сњ Or is it the other way around? In any case, BarryРІР‚в„ўs sense of time, motion and rhythm is absolutely impeccable.РІР‚Сњ РІР‚СљIРІР‚в„ўve always thought that if Charlie Parker had played piano, he would sound exactly like Barry Harris. He is a living and brilliant extension of Bud Powell.РІР‚Сњ РІР‚СљI guess you could say Barry Harris is one of the very last of the bebop purists that we have on piano. I am confident that guitarists everywhere who are fortunate enough to pick up this book will thank him again, and again. Having had the pleasure of seeing Alan grow musically over the past 20 years, I am delighted that his insightfulness and hard work have found their way into a form that others can benefit from. Suddenly the musical ceiling gets raised and points us back to the purpose behind this book. ItРІР‚в„ўs not that the classical folks donРІР‚в„ўt play chords, they just know something about getting from one to the next in an unobvious manner. When was the last time you listened to the symphony, for instance, and said oh yeah, Am7b5 РІР‚вЂњ D7. In fact, I prefer to think РІР‚вЂњ movement-to-movement РІР‚вЂњ as opposed to chord to chord. As well, one realizes that the interesting spots in music, whether you are comping, harmonizing a melody or writing an arrangement, are the places in between the chord symbols. The РІР‚СљmoverРІР‚Сњ on the other hand, understands that chords come from scales and thereby learns to approach chording in a more fluid fashion. These vertical groups of notes are РІР‚СљhitРІР‚Сњ or РІР‚СљstruckРІР‚Сњ on the instrument РІР‚вЂњ with no thought to creating movement. The РІР‚СљhitterРІР‚Сњ sits up and works out a couple of beautiful sounding voicings for each kind of chord (or worse, learns someone elseРІР‚в„ўs from a method book) РІР‚вЂњ and from that point on, plays them exactly the same way. Either one becomes a РІР‚СљhitterРІР‚Сњ or, one becomes a РІР‚СљmoverРІР‚Сњ. Imagine, a system for learning jazz harmony that actually embraces the concept of improvisation.Р”Р„s I see it, there are two paths for a chord player to go down. What you will find herein are the structural components, as mapped out and developed by jazz giant Barry Harris, that will guide and aid you on your own personal road to discovery.

You wonРІР‚в„ўt come out sounding like everyone else РІР‚вЂњ and thatРІР‚в„ўs the good news! Studying the concepts put forth in this book will not teach you a set of hip sounding voicings.

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