NOTES ON THE METHOD OF BARRY HARRIS 1

NOTES ON THE METHOD OF BARRY HARRIS

Frédéric Galliano

Université Paris-Saclay, Université Paris Cité, CEA, CNRS, AIM, 91191, Gif-sur-Yvette, France

July 16, 2024

Contents
1 RESSOURCES 2

2 SCALE EXERCISES 2
2.1 In Thirds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
2.2 In Triads . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
2.3 In Chords (i.e. Seventh Arpeggios) . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
2.4 In Thirds with Chromatic Pick-Up . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
2.5 In Triads with a Chromatic Pick-Up . . . . . . . . . . . . . . . . . . . . . . . . . . 3
2.6 In Chords with a Chromatic Pick-Up . . . . . . . . . . . . . . . . . . . . . . . . . . 3
2.7 Chromatic Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
2.8 Charlie Parker Ideas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
2.8.1 Thirds with triplets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
2.8.2 Upper structure with chromatic appogiatura . . . . . . . . . . . . . . . . . . 3

3 CHORD EXERCISES 4
3.1 Family of Dominant Chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
3.1.1 The origin of the dominant chord families . . . . . . . . . . . . . . . . . . . 4
3.1.2 Practicing moving through families . . . . . . . . . . . . . . . . . . . . . . . 4
3.2 Chord Scales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
3.2.1 Major sixth diminished . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
3.2.2 Minor sixth diminished . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
3.2.3 Dominant seventh dminished . . . . . . . . . . . . . . . . . . . . . . . . . . 5
3.2.4 Dominant seventh flat fifth diminished . . . . . . . . . . . . . . . . . . . . . 5
3.3 Moving in Fourths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
3.3.1 Practicing the movement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
3.3.2 Application to a II V I in C . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
3.4 Inner Movements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
3.4.1 Alternating sixth and seventh . . . . . . . . . . . . . . . . . . . . . . . . . . 6
3.4.2 Adding a chromatic note . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

4 MAKING PHRASES 6
4.1 5-4-3-2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
4.1.1 Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
4.1.2 Minor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
4.2 Half-Step Rules . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
4.2.1 Example on dominant chords . . . . . . . . . . . . . . . . . . . . . . . . . . 6
4.2.2 Major chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
4.2.3 Example on the harmonic minor scale . . . . . . . . . . . . . . . . . . . . . 7
4.2.4 Starting with eight note triplet trill . . . . . . . . . . . . . . . . . . . . . . . 8
4.2.5 Starting with sixteenth notes trill . . . . . . . . . . . . . . . . . . . . . . . . 8
4.3 The Sixth / Seventh Diminished Octatonic Scales . . . . . . . . . . . . . . . . . . 8
4.4 Important Arpeggios (i.e. Octave Triads) . . . . . . . . . . . . . . . . . . . . . . . . 9

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NOTES ON THE METHOD OF BARRY HARRIS 2

4.5 Using Diminished Arpeggios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

5 PRACTICING CHORD CHANGES 9

5.1 Mapping the Changes with Scales . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
5.1.1 B♭ Blues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
5.1.2 C minor Blues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
5.1.3 Rhythm Changes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
5.1.4 Cherokee . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
5.1.5 Donna Lee . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
5.1.6 How High the Moon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
5.1.7 A Nigth in Tunisia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
5.2 Movements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
5.2.1 Development of the first 4 bars of a C blues . . . . . . . . . . . . . . . . . . 14
5.2.2 Bars 7 to 9 of a blues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
5.2.3 Classic blues turnaround . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
5.2.4 Tonic minor chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
5.2.5 Bars 1 and 2 of How high the Moon . . . . . . . . . . . . . . . . . . . . . . . 15
5.2.6 Bars 9 to 11 of How high the moon . . . . . . . . . . . . . . . . . . . . . . . 15

1 RESSOURCES
1. Things I’ve Learned From Barry Harris (hereafter TILFBH), a Youtube channel by Chris PARKS.
2. The Labyrinth of Limitations (hereafter LL), a Youtube channel by Thomas ECHOLS.
3. The Barry Harris Harmonic Method for Guitar, a book by Alan KINGSTONE.

2 SCALE EXERCISES
Partial transcript of TILFBH4.

2.1 In Thirds


C

2.2 In Triads



C

C

Variation
C


2.3 In Chords (i.e. Seventh Arpeggios)



C

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NOTES ON THE METHOD OF BARRY HARRIS 3

2.4 In Thirds with Chromatic Pick-Up

 86
















C






















C

2.5 In Triads with a Chromatic Pick-Up

 
C


C








2.6 In Chords with a Chromatic Pick-Up

 





C 3 3 3


















3

3
3 3 3

C

3 3

 3


3 3 3 3 3

2.7 Chromatic Scale

Synchronizing the scale notes on the beats, by adding the upper scale tone when no chromatic passing tone is
available.

 

C

   






2.8 Charlie Parker Ideas

2.8.1 Thirds with triplets

Partial transcript of TILFBH31. Playing a scale in thirds, but adding a triplet on the highest note.

A








2.8.2 Upper structure with chromatic appogiatura

Partial transcript of TILFBH32. Declining a lick over the whole scale

 
 D7
     
etc.

3
3

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NOTES ON THE METHOD OF BARRY HARRIS 4

3 CHORD EXERCISES
3.1 Family of Dominant Chords
Partial transcript from TILFBH10.

3.1.1 The origin of the dominant chord families

1. The chromatic scale contains all the notes:








2. It can be symmetrically split in two whole tone scales:

C, D, E, G♭, A♭, D♭ whole tone scales C♯, D♯, F, G, A, B whole tone scales






 


3. It can also be split in three diminished arpeggios:

C, D, E♭, G♭, A diminished arpeggios C♯, E, G, A♯ diminished arpeggios D, F, A, B♭ diminished arpeggios



  

4. From each diminished arpeggio, four dominant chords can be built by lowering one of their notes by a half
step (e.g. F7 , B7 , D7 and A♭7 all spring from C◦7 ):


Lowering the root of C°⁷ Lowering the third of C°⁷ Lowering the seventh of C°⁷
Lowering the fifth of C°⁷
B7 D7/C F7/C A 7/C







 




  






5. Stacking the diminished arpeggio and the roots of the four dominant chords from its family, results in the
diminished scale.
C°⁷ Roots of B⁷, D⁷, F⁷, A♭⁷ C diminished scale
 


3.1.2 Practicing moving through families

Since it is possible to substitute dominant chords from the same family, it is important to practice moving from
one to the other:
F7 to B7;
F7 to D7;
F7 to Ab7.

3.2 Chord Scales

Partial transcript from TILFBH6. Examples in Drop 2 voicings.

3.2.1 Major sixth diminished

C6 D°7 C6/E F°7 C6/G

°7



C6/A

B°
7

A





 

















C




6
B°7 C6/A °7 C6/G F°7 C6/E D°7 C6



A






























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NOTES ON THE METHOD OF BARRY HARRIS 5

3.2.2 Minor sixth diminished

Cm6 D°7 Cm6/E F°7 Cm6/G



°7



Cm6/A

B°
7

A





 
















Cm6




B°7


Cm6/A A



°7 Cm6/G F°7 Cm6/E D°7 Cm6






























3.2.3 Dominant seventh dminished

° 7 


 

C7 D°7 C7/E F°7 C7/G C7/B B°7


A
  
 


  

 
  
C7/B
A
°7


 
C7 B°7 C7/G F°7 C7/E D°7 C7
 

  
  

  



  
3.2.4 Dominant seventh flat fifth diminished


° 7
B °7

 

C7 5
D°7 C7 5/E F°7 C7 5/G C7 5/B



A
 

 




 


 
5

 /B A
°7


 
C7 5
B°7 C7 C7 5/G F°7 C7 5/E D°7 C7 5

 


 
 


 

 



  

3.3 Moving in Fourths

Partial transcript of TILFBH26. Practice the following chord scale, here in C major.

3.3.1 Practicing the movement

Em7/B Am7 F /C Bø G7/D C Am7/E Dm7 Bø/F Em7 C /G F Dm7/A G7 Em7/B Am7


Em7/B Am7 Dm7/A G7 C /G F Bø/F Em7 Am7/E Dm7 G7/D C F /C Bø Em7/B Am7



3.3.2 Application to a II V I in C

1. Play the movement on II;

2. Play the movement on the tritone sub;
3. Resolve on the I.







Am7/E Dm7 Bø E m7/B A m7 Fø Em7


F /C B /G


 




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NOTES ON THE METHOD OF BARRY HARRIS 6

3.4 Inner Movements

Partial transcript of TILFBH27.

3.4.1 Alternating sixth and seventh

C6 Dm7 Dm6 Em7 Em

5
C F F6 G7 G6 Am7 Am 5
Bø Bm 5
C

 

3.4.2 Adding a chromatic note

Dm7 Em7 G7 Am7 Bø 

 
C F C



 



4 MAKING PHRASES
4.1 5-4-3-2
4.1.1 Major

Partial transcript of TILFBH3.

Tag 5 Tag 4 Tag 3 Tag 2
  
C
   




3
All of them

  
C


3

4.1.2 Minor

Partial transcript of TILFBH37.

Tag 5 Tag 4 Tag 3 Tag 2
Am6















  


 







3


All of them









Am6







3

4.2 Half-Step Rules

Partial transcript of TILFBH5. Those are rules to synchronize the chord tones on the beats, when descending a
scale, starting on a down beat. The following table synthesizes the different choices of chromatic notes to add,
depending on the starting note. Note, in the case of the harmonic minor scale, there are two instances where
we can not add a half-step, the second is thus added between the tonic and the major seventh, and the fourth
between the minor third and the second. Those make the coolest lines.

4.2.1 Example on dominant chords

A 


F7 B
 



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NOTES ON THE METHOD OF BARRY HARRIS 7

Starting note Root Second Third Fourth Fifth Sixth Seventh

Dominant chords:
- Choice 1 7M No 7M No 7M No 7M
- Choice 2 7M, 3m, 2m 2m, 7M 3m, 2m, 7M 2m, 7M 3m, 2m, 7M 2m, 7M 3m, 2m, 7M
Major chords:
- Choice 1 6m No 6m No 6m No 6m
- Choice 2 6m, 3m, 2m 2m, 6m 3m, 2m, 6m 2m, 6m 3m, 2m, 6m 2m, 6m 3m, 2m, 6m
Harmonic minor:
- Choice 1 2 No 2 No 2 No 2
- Choice 2 - 2m, 2 4, 2m, 2 2m, 2 4, 2m, 2 2m, 2 4, 2m, 2







B

7
A F
 








F7 B


 


A
  

7 B
A F









  

F7 B
A








 

F7 B

A

 



F7 B

A
 






4.2.2 Major chords

Partial transcript of TILFBH25. See table 4.2.

4.2.3 Example on the harmonic minor scale

Partial transcript of TILFBH29.

Am B
A
 


  
Am B
A
 

























B
 








A Am





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NOTES ON THE METHOD OF BARRY HARRIS 8

 















A Am B





A B
 

Am
   
A Am B
   
  
A B
 

Am



 

4.2.4 Starting with eight note triplet trill

The rule of the upper note of the triplet applies. For instance:

7 B

A F



 3
 3


4.2.5 Starting with sixteenth notes trill

The rule of the first note of the sixteenth group applies. For instance:

7 B

A F




  

4.3 The Sixth / Seventh Diminished Octatonic Scales

The major / minor / dominant diminished scales can be practised the same way as regular scales. Examples for
the C major sixth diminished scale.
Up and down the scale
C6
 



In thirds
C6






In arpeggios
C6
 



C6






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NOTES ON THE METHOD OF BARRY HARRIS 9

In chords
C6
 



C6






4.4 Important Arpeggios (i.e. Octave Triads)
On a dominant chord (e.g. C7 ), the important triads are those built on:
the root (i.e. C major);
the fifth (i.e. G minor);
the seventh (i.e. B♭ major).

Mixolydian mode
C major B♭ major
C7 G minor

 

4.5 Using Diminished Arpeggios

Partial transcript from TILFBH21.
Adding chromatisms between two of the notes






3
C7
 




C7
3










5 PRACTICING CHORD CHANGES

5.1 Mapping the Changes with Scales
1 bar per chord: play the scale in eight notes starting on the root up to the seventh.
2 bars per chord: play the scale in eight notes starting on the root up to the seventh and back to the root.
Major sixth of major seventh chord: play the major scale (ionian mode).
Dominant chord: play the dominant scale (mixolydian mode).
Tonic minor chord: play the minor sixth diminished scale to the sixth (i.e. with minor sixth passing tone, but
without the seventh).
IIm7 V7: only play the V chord over the whole duration of a II V.
I6 VI7: play the scale of the I to the third of the VI (the minor second of the I).
IIm7b5 V7: play the dominant scale (mixolydian mode) of the VII to the third of the five (the minor second of the
II).

5.1.1 B♭ Blues

Partial transcript of TILFBH1.

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NOTES ON THE METHOD OF BARRY HARRIS 10

7 7 B 7
B♭ mixolydian E♭ mixolydian B♭ mixolydian

  B









E









 











E 7 B
E♭ mixolydian B♭ ionian to the third of G⁷

 
E°7 G7






























F mixolydian B♭ ionian F mixolydian


Cm7


F7
 







G7 Cm7 F7













B

5.1.2 C minor Blues

Partial transcript of TILBH85.

C minor sixth diminished to the sixth E♭ mixolydian to the third of C7

   C





7

  
Cm
























B♭ mixolydian to the third of G7
F minor sixth diminished to the sixth C minor sixth diminished to the sixth
 Fm






 









 
Cm













C minor sixth diminished to the sixth


A♭ mixolydian B♭ mixolydian to the third of G7 B♭ mixolydian to the third of G7


7
A G7 G7






















Cm
 








5.1.3 Rhythm Changes

Partial transcript of TILFBH2.

1. A1


B♭ ionian F mixolydian B♭ ionian F mixolydian

 
B G7 Cm7 F7 Dm7 G7 Cm7 F7


 7 7 
B♭ mixolydian E♭ mixolydian B♭ ionian F mixolydian


E°7 G7 Cm7 F7


B B E B
 

2. A2


B♭ ionian F mixolydian B♭ ionian F mixolydian

 
B G7 Cm7 F7 Dm7 G7 Cm7 F7


 7 7 
B♭ mixolydian E♭ mixolydian B♭ ionian


E°7 G7 Cm7 F7


B B E B
 

3. B

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NOTES ON THE METHOD OF BARRY HARRIS 11

D mixolydian G mixolydian
 
   

D7 G7





 

C mixolydian F mixolydian


C7



F7  

4. A3


B♭ ionian F mixolydian B♭ ionian F mixolydian

 
B G7 Cm7 F7 Dm7 G7 Cm7 F7


 7 7 
B♭ mixolydian E♭ mixolydian B♭ ionian F mixolydian


E°7 G7 Cm7 F7


B B E B
 

5.1.4 Cherokee

Partial transcript of TILFBH8.

1. A1

7
B♭ ionian F mixolydian B♭ mixolydian

F7
 

  
B B

7 
A♭ mixolydian


E♭ ionian

 

E A


B♭ ionian to the third of G⁷ C mixolydian

   
B G7 C7
  

B♭ mixolydian to the third of G⁷
C minor sixth diminished to the sixth F mixolydian

Cm6 G7 Cm7 F7
 

 


2. A2

7
B♭ ionian F mixolydian B♭ mixolydian

  
F7
 
B B


7 
A♭ mixolydian


E♭ ionian

 

E A


B♭ ionian to the third of G⁷ C mixolydian

   
B G7 C7
  



F mixolydian B♭ ionian

Cm7 F7
  B
 


3. B

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NOTES ON THE METHOD OF BARRY HARRIS 12

7
F♯ mixolydian B ionian
C m7





F B

  
















E mixolydian A ionian

  
Bm7 E7 A
 




  





D mixolydian
 
G ionian

 Am7 D7
 
G


 

   
C mixolydian F mixolydian


Gm7 C7
 
Cm7

F7
  
  
4. A3

7
B♭ ionian F mixolydian B♭ mixolydian

  
F7
 
B B


7 
A♭ mixolydian


E♭ ionian

 

E A


B♭ ionian to the third of G⁷ C mixolydian

   
B G7 C7
  

B♭ mixolydian to the third of G⁷
C minor sixth diminished to the sixth F mixolydian

Cm6 G7 Cm7 F7
 

 



5.1.5 Donna Lee

Partial transcript of TILFBH9.

1. A


7
A♭ ionian to the third of F⁷ B♭ mixolydian

    
A F7 B
  


7


7

E♭ mixolydian A♭ ionian A♭ mixolydian

 
B m7 E A E m7 A
  

7

D♭ ionian G♭ mixolydian A♭ ionian to the third of F⁷

D G A F7 






  

7

7
B♭ mixolydian E♭ mixolydian

 
B m7




B E
 
 
2. B

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NOTES ON THE METHOD OF BARRY HARRIS 13


7
A♭ ionian to the third of F⁷ B♭ mixolydian

    
A F7 B
  
E♭ mixolydian to the third of C⁷
E♭ mixolydian to the third of C⁷ F minor sixth diminished to the sixth

 
Gø C7 C7
 
Fm


 

E♭ mixolydian to the third of C⁷ B♭ mixolydian to the third of G⁷
F minor sixth diminished to the sixth F minor sixth diminished to the sixth

   
C7 B°7

  
Fm Fm
  



7


7
A♭ ionian E♭ mixolydian A♭ ionian E♭ mixolydian

B m7 B m7


   
A E A E

5.1.6 How High the Moon

Partial transcript from TILFBH14.

1. A1
C mixolydian
 
G ionian
 G

Gm7

C7
 



7
B♭ mixolydian

F ionian
 
 
Fm7
 
F B





 
2. B
G minor sixth diminished to the sixth
E♭ ionian F mixolydian to the third of D⁷











  
ø 7

E A D Gm

















D mixolydian







 
G ionian to the third of E⁷














 
G E7 Am7 D7







3. A2
C mixolydian
 
G ionian
 G

Gm7

C7
 



7
B♭ mixolydian

F ionian
 
 
Fm7
 
F B





 
4. C
G ionian

 
E♭ ionian F mixolydian to the third of D⁷ F mixolydian

 

E Aø D7 G Am7 D7
     

 
G ionian D mixolydian G ionian D mixolydian

 Bm7 E7


Am7 D7


G6


Am7 D7




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NOTES ON THE METHOD OF BARRY HARRIS 14

5.1.7 A Nigth in Tunisia

Partial transcript from TILFBH18. A A B A structure.

1. A
E♭ mixolydian

7
E♭ mixolydian D minor sixth diminished to the sixth D minor sixth diminished to the sixth



7
E Dm6 E Dm6



  

  
C mixolydian to the third of A⁷

7
E♭ mixolydian D minor sixth diminished to the sixth D minor sixth diminished to the sixth
Dm6 Eø A7 Dm6


E



  

   

2. B
F mixolydian to the third of D⁷ G minor sixth diminished to the sixth
Aø

D7
  Gm6

 


C mixolydian F ionian C mixolydian to the third of A⁷
Gm7 C7 F Eø A7
    

5.2 Movements
5.2.1 Development of the first 4 bars of a C blues

Partial transcript from TILFBH7. There are several movements that can be played on the first four bars of a blues.
1. Tritone substitution

C7 F7 C7 F
7
 
2. Descending line-cliché

C7 F7 Fm7 C7 7


C F
     

3. Ascending line-cliché

C7 C7/E F7 °7 C7/G 7


F F
     

4. Bebop blues

C6 Bø E7 Am7 A m7
Gm7 C7

 
5. Cycle of fifths

C6 C6/E F7
7
7
7
7
7
 
B E A D B

5.2.2 Bars 7 to 9 of a blues

Partial transcript of TILFBH58.

F. Galliano’s musical stuff https://irfu.cea.fr/Pisp/frederic.galliano/

NOTES ON THE METHOD OF BARRY HARRIS 15

Bar 8 Bar 9
Bar 7
C F7 Em7 A7 Dm7
 

 

Bar 8 Bar 9
Bar 7
C F7 Em7 E m7 Dm7

 

 
  


 


°7
Bar 8 Bar 9


Bar 7
Dm7 Em7 Dm7

C E
   
 

 




5.2.3 Classic blues turnaround

Partial transcript of TILFBH49. The actual harmonization of a classic blues (Robert JOHNSON type) turnaround
is the following. It is possible to play this movement, chordally in all inversions and adding extensions, or in single
lines.


A7

A°7
  Dm6/A

A7 E7
 
  

3

3 3 3
  

5.2.4 Tonic minor chords

Partial transcript of TILFBH84.

 
Cm Cm Cm7 Cm6


5.2.5 Bars 1 and 2 of How high the Moon

Partial transcript from TILFBH16 Applicable on any G major chord.


Single notes


Chords
  
G
    
 



See also Chapter 2 of the Kingstone book (the sixth on the fifth movement).

G



 







5.2.6 Bars 9 to 11 of How high the moon

Partial transcript from TILFBH14.

6 D°7 Cm7 Cm7/B
Aø D7 9

Gm6
 

E

 
 

 





  
 

F. Galliano’s musical stuff https://irfu.cea.fr/Pisp/frederic.galliano/