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Barry Harris’s Approach to Harmonizing Melodies

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When exploring the art of jazz harmony, few concepts are as elegant and practical as Barry Harris’s method for harmonizing melodies. This approach begins with the bebop scale — a hallmark of bebop musicians—and derives harmonic depth from it. The bebop scale is a modified major scale that includes an additional chromatic passing tone: 1, 2, 3, 4, 5, b6, 6, 7. This scale became popular among bebop musicians because it allowed for seamless melodic phrasing over chord changes, maintaining a steady flow of eighth notes while emphasizing key chord tones.

What sets Barry Harris apart is that he transformed the bebop scale from just a tool for improvisation into the foundation for a comprehensive harmonic system. By deriving chords directly from the scale, he created a framework that blends melodic movement with harmonic richness, enabling musicians to harmonize melodies with ease and sophistication. His system revolves around alternating between two chords: I6 and IIdim7 in major keys, and Im6 and IIdim7 in minor keys, offering smooth voice leading and chromatic movement. In this article, we’ll delve into the theory behind this approach, explore its historical context, and provide practical examples and exercises for applying it to both major and minor melodies.

The Foundation

At the heart of Barry Harris’s harmonization technique is the sixth-diminished scale. This scale alternates between the notes of a major sixth chord (or minor sixth chord in minor keys) and a diminished seventh chord built on the second degree of the scale. The result is an eight-note scale that seamlessly blends two harmonic colors.

In Major Keys:

  • The I6 chord consists of the root, major third, perfect fifth, and major sixth (e.g., C6 = C, E, G, A).
  • The IIdim7 chord consists of the root, minor third, diminished fifth, and diminished seventh (e.g., Ddim7 = D, F, Ab, B).

The corresponding scale for C major is: C, D, E, F, G, Ab, A, B.

In Minor Keys:

  • The Im6 chord consists of the root, minor third, perfect fifth, and major sixth (e.g., Cm6 = C, Eb, G, A).
  • The IIdim7 chord remains the same as in major keys (e.g., Ddim7 = D, F, Ab, B).

The corresponding scale for C minor is: C, D, Eb, F, G, Ab, A, B.

This alternating structure creates a natural harmonic flow, allowing each note in the scale to belong to either the sixth chord or the diminished seventh chord.

How It Works

In Major Keys:

  • When the melody note is 1, 3, 5, or 6, harmonize it with the I6 chord.
  • When the melody note is 2, 4, b6, or 7, harmonize it with the IIdim7 chord.

In Minor Keys:

  • When the melody note is 1, ♭3, 5, or 6, harmonize it with the Im6 chord.
  • When the melody note is 2, 4, ♭6, or 7, harmonize it with the IIdim7 chord.

This approach ensures that every melody note is harmonized with a chord containing that note, creating smooth voice leading and a cohesive harmonic structure.

Historical Context

Barry Harris, a legendary jazz pianist and educator, developed this system as a way to teach students how to harmonize melodies while maintaining smooth, logical voice leading. His sixth-diminished scale concept has become a cornerstone of jazz education, influencing countless musicians worldwide.

The beauty of Harris’s approach lies in its simplicity and versatility. By limiting the harmonic palette to just two chords, he provides a structured yet flexible framework that can be applied to a wide range of melodies and harmonic contexts. This method is particularly effective in jazz, where chromaticism and fluid voice leading are essential components of the style.

Harmonizing Simple Melodies

Step 1: Start with a Simple Melody

Choose a straightforward melody in a major or minor key. For major keys, classics like “Mary Had a Little Lamb” or “Happy Birthday” work well. For minor keys, “The Ants Go Marching” or “Greensleeves” are excellent choices.

Step 2: Apply Barry Harris’s Method

Harmonize the melody using only I6 and IIdim7 chords in major keys, or Im6 and IIdim7 chords in minor keys.

Example: “Mary Had a Little Lamb” (C Major)

Melody: E, D, C, D, E, E, E.

  • E (3rd) → C6.
  • D (2nd) → Ddim7.
  • C (1st) → C6.
  • D (2nd) → Ddim7.
  • E (3rd) → C6.
Example: “Greensleeves” (A Minor)

Melody: A, C, D, E, F, E, D, C, B.

  • A (1st) → Am6.
  • C (3rd) → Am6.
  • D (2nd) → Bdim7.
  • E (5th) → Am6.
  • F (♭6th) → Bdim7.
  • E (5th) → Am6.
  • D (2nd) → Bdim7.
  • C (3rd) → Am6.
  • B (7th) → Bdim7.

Step 3: Combine with Traditional Chord Melody Techniques

Once you’ve harmonized the melody using Barry Harris’s approach, revisit the tune’s original chord changes. Construct a chord melody by placing as much of the chord as possible below the melody note. Then, integrate Barry Harris’s harmonizations where appropriate, especially in harmonically stagnant or less consequential sections.

Why This Works:

  • Barry Harris’s method adds harmonic richness and chromatic movement in static sections.
  • Traditional chord melody techniques anchor the arrangement in the song’s functional harmony.
  • Combining the two approaches creates a balance between innovation and familiarity.

Advanced Tips for Harmonization

1. Use Chromatic Passing Chords

Barry Harris’s system naturally incorporates chromaticism through the diminished seventh chord. Experiment with using the diminished chord as a passing chord to connect sixth chords.

2. Explore Voice Leading

Focus on smooth transitions between chords. The close relationship between the I6 and IIdim7 chords ensures minimal movement between voices, making it easier to achieve seamless voice leading.

3. Apply to Jazz Standards

Once comfortable, apply this method to more complex tunes like “Autumn Leaves” or “All the Things You Are.” Use Barry Harris’s harmonizations to create fresh, modern arrangements.

A Path to Richer Harmonies

Barry Harris’s method for harmonizing melodies with I6 and IIdim7 (or Im6 and IIdim7) is a simple yet profound tool for any guitarist or pianist. By focusing on smooth voice leading and the interplay between sixth chords and diminished seventh chords, students can develop a deeper understanding of harmony while enriching their arrangements.

Start with simple melodies, experiment with combining this approach with traditional chord melody techniques, and gradually apply it to more complex musical contexts. This journey into the world of sixth-diminished harmony will open new doors for your musical creativity and understanding.

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