Barry HarrisThe method
Volume II · Lines Stage 5, the added-note rules Idea 4 of 812345678
5.4

Off the beat, pickups and tripletsWhich rule applies

The half-step rules assume the run starts on the beat. Start on the ‘and’ and you use the opposite rule; after pickups, use the rule for the note that lands on the beat; when you start with a triplet, follow its second note.

In plain words

Barry’s rules are for runs that start on the beat, on ‘one’. Start the same run on the ‘and’ and, he said, you have to do the opposite rule: the tonic, which takes one added note from the beat, takes none; the second, which takes none, takes one. He added that this is exactly the sort of thing that has to be practised.

Half-step rules on the dominant scale, part 25:22

With pickup notes, ask which note falls on the beat and follow its rule. In Barry’s example the line goes from the tonic up to the third and then runs down; the second lands on the beat, so you use the second’s rule, no half steps. Begin with a triad instead and the note on the beat called for one half step.

Half-step rules on the dominant scale, part 10:000:32

For a triplet start, generally follow the rule for the triplet’s second note. A triplet on the third and fourth takes the fourth’s rule (no half steps); one on the second and third takes one half step. Barry found the triplet on the tonic and second awkward and called it an exception: first he gave it one half step, because the seventh then falls on the beat, then settled on none.

Half-step rules on the dominant scale, part 11:111:452:17

Barry called this really important and said it will happen a lot. In his ‘Confirmation’ lesson, the C7 scale run down to the third of A7 comes out right from the beat, but started on the ‘and’ it needs a triplet on F and G, and only at that spot; you have to feel when. Started from F instead, running up to C and coming down with the tonic-to-seventh half step, the line went straight down.

Confirmation11:0211:3512:4613:21

Step by step

  1. Starting on the ‘and’ of a beat, reverse the rule: the tonic takes no added note, the second takes one.

    C7, C on the ‘and’ of 1: nothing added
    𝄞♭
    1. C
    2. B♭
    3. A
    4. G
    5. F
    6. E
    7. D
    8. C
    C7, D on the ‘and’ of 1: one added note
    𝄞♭
    1. D
    2. C
    3. B
    4. B♭
    5. A
    6. G
    7. F
    8. E

    Half-step rules on the dominant scale, part 25:22Jazz School Online (Howard Rees), Glossary of Terms ¶10

  2. After pickup notes, find the first note that lands on a beat as the line comes down and use its rule.

    C and E, then D on beat 2: no added note (Howard Rees)
    𝄞♭
    1. C
    2. E
    3. D
    4. C
    5. B♭
    6. A
    7. G
    8. F
    9. E
    10. D
    11. C
    C–E–G, then G on beat 2: one added note (Howard Rees)
    𝄞♭
    1. C
    2. E
    3. G
    4. F
    5. E
    6. D
    7. C
    8. B
    9. B♭
    10. A
    11. G
    12. F
    13. E

    Half-step rules on the dominant scale, part 10:000:32Howard Rees’ Jazz Workshops, Using the Extra Note Rules to Build Lines ¶6Howard Rees’ Jazz Workshops, Using the Extra Note Rules to Build Lines ¶8

  3. Starting with a triplet, use the rule for its second (middle) note; the triplet on the tonic and second is the exception.

    Triplet B♭–C–B, middle note C: one added note, taken into the triplet (Howard Rees)
    𝄞♭♭
    1. B♭
    2. C
    3. B
    4. B♭
    5. A
    6. G
    7. F
    8. E
    9. D
    10. C

    Half-step rules on the dominant scale, part 11:452:17Howard Rees’ Jazz Workshops, Using the Extra Note Rules to Build Lines ¶5

  4. If you run up first and the top note lands on the beat, come down with the top note’s rule: Barry ran up from F to C and came down with C’s rule, one half step between the tonic and the seventh.

    C7: F up to C, then down with C’s rule
    𝄞♭♭
    1. F
    2. G
    3. A
    4. B♭
    5. C
    6. B
    7. B♭
    8. A
    9. G
    10. F
    11. E

    Confirmation13:21Howard Rees, Part 1: Scales & Chords / Part 2: Scale Rules ¶18

an added note, outside the scale

How he said to practise it

  • Practise starting on the ‘and’ a lot, not only on the beat; Barry asked for exactly this while running major scales from each degree.

    The 1998 workshop, part 337:00Half-step rules on the dominant scale, part 25:22

  • Take a run that works from the beat, start it on the ‘and’, and play straight eighths until the one spot where it needs fixing; put the triplet there and nowhere else.

    Confirmation11:3512:46

  • Write the rules down, including the ones for pickups and triplets, and practise them rhythmically.

    Half-step rules on the dominant scale, part 12:52

In Barry’s words

Each one plays from the moment he says it. Every other moment he teaches it is listed below.

These rules are for on the beat. That’s on the one. But if I started on the [and] of the one, I’d have to do the opposite rule.

Half-step rules on the dominant scale, part 2, The Hague, 1989–98. Short lesson, right after the dominant and major rules. 5:25 Watch on YouTube at 5:25

That note falls on the beat, the second, so I would follow the rule for the second. No half steps.

Half-step rules on the dominant scale, part 1, The Hague, 1989–98. A line that goes from the tonic to the third, then runs down. 0:32 Watch on YouTube at 0:32

I would say, follow the rule for the second note of the triplet.

Half-step rules on the dominant scale, part 1, The Hague, 1989–98. Working out which rule applies when a run starts with a triplet. 1:45 Watch on YouTube at 1:45

If you start on the beat, you come right down... it goes perfect. But if you start on the [and] of the beat, you’ve got to do a triplet with that F and that G.

Confirmation, The Hague, 1989–98. ‘Confirmation’: the C7 scale run down to the third of A. 11:03 Watch on YouTube at 11:03

Where this comes from

Everything above is drawn from these. Open any one to check it.

Every moment he teaches it12 moments in 4 recordings

Each time opens the transcript there; the video plays when you are online.

Half-step rules on the dominant scale, part 2

The Hague, 1989–98 — 8 min On YouTube

  1. 5:22

    The rules are for starting on the beat; on the ‘and’, use the opposite rule (tonic none, second one).

    Watch on YouTube at 5:22

Half-step rules on the dominant scale, part 1

The Hague, 1989–98 — 3 min On YouTube

  1. 0:00

    From the tonic up to the third, then down: which note falls on the beat decides the rule.

    Watch on YouTube

  2. 0:32

    The second lands on the beat, so no half steps; starting with a triad needs one.

    Watch on YouTube at 0:32

  3. 1:11

    Triplet starts: on tonic and second the seventh falls on the beat; then second and third.

    Watch on YouTube at 1:11

  4. 1:45

    General rule: follow the triplet’s second note; the tonic–second triplet is the odd one.

    Watch on YouTube at 1:45

  5. 2:17

    Third–fourth triplet takes the fourth’s rule; the tonic–second case settled as no half steps.

    Watch on YouTube at 2:17

Confirmation

The Hague, 1989–98 — 15 min On YouTube

  1. 11:02

    ‘Confirmation’ lesson: C7 down to the third of A7, started on the beat, comes out perfectly.

    Watch on YouTube at 11:02

  2. 11:35

    Started on the ‘and’ it needs a triplet on F and G; says this will happen a lot.

    Watch on YouTube at 11:35

  3. 12:46

    Play straight; put the triplet only at the one spot where it is needed, by feel.

    Watch on YouTube at 12:46

  4. 13:21

    Start on F, run up to C, then the tonic-to-seventh half step: the line goes straight down.

    Watch on YouTube at 13:21

  5. 13:57

    A student starts on the ‘and’ of two and the run goes straight down; he compares the triplet version.

    Watch on YouTube at 13:57

The 1998 workshop, part 3

The Hague, 1989–98 — 76 min On YouTube

  1. 37:00

    Tells the class to practise starting on the ‘and’ a lot.

    Watch on YouTube at 37:00

From the lessons1 lesson, 3 points

Notes taken from Barry’s classes, each tied to the moment it comes from.

Starting off the beat, or with pickups

  1. Idea

    Barry said these half steps are put in so that we can practise rhythm. The rules assume you start on the beat, on ‘one’. If you start on the ‘and’ of the beat, you apply the opposite rule: start the tonic off the beat and you use no half step; start the second off the beat and you use one.

    Half-step rules on the dominant scale, part 25:22

  2. Exercise

    When a dominant-scale line starts with pickup notes, use the rule for whichever scale note lands on the beat. Go from the tonic to the third and then run down in eighths, and the second lands on the beat, so follow the rule for the second: no half steps. For a triplet start, generally follow the rule for the triplet’s second note: a triplet on the third and fourth takes the fourth’s rule (no half steps); one on the second and third takes one half step. A triplet on the tonic and second is the awkward case: Barry called it an exception, at first giving it one half step because the seventh then lands on the beat, and later saying no half steps.

    Half-step rules on the dominant scale, part 10:000:321:452:17

  3. Exercise

    Barry called this really important. Run the C7 scale down to the third, A. Started on the beat, it comes out perfectly. Started on the ‘and’ of the beat, you have to put in a triplet on F and G. Play straight eighths and use the triplet only at the one spot where it is needed; you have to feel when. Another way: start on F, run up to C (which becomes the tonic of C7), and put a half step between the tonic and seventh as you come down; done that way, the line went straight down.

    Confirmation11:0211:3512:4613:21

In writing7 notes

What his interviews, his students’ class notes and other teachers’ articles add.

How other teachers explain it6 videos, 3 series episodes

Barry’s students, and their students, teaching it their way. A second opinion, not Barry.

In the teaching series

Episodes on this idea in the long series by other teachers. Each name opens that whole series in order.

Pete Martin

Things I’ve Learned From Barry Harris

Where the accounts differ1 point

  • The triplet on the tonic and second is unsettled. Barry first gave it one half step, because the seventh then falls on the beat, then said none, by the rule of the second note. Howard Rees also calls it odd, and fits the flat second in as the triplet’s third note.

    Half-step rules on the dominant scale, part 11:112:17Extra Note Rules Applications for Line Building7:27

Read further6 links

These open on the web.

Free to read

Books and paid courses