Barry Harris Method

Tonic Major

First, assume we’re dealing with a tonic major chord. In the Barry Harris system, we train the ear to hear an eight-note environment: four tones that function as stable, consonant sounds, and four tones that create useful tension or dissonance.

These are the consonant tones: R–3–5–6. Practice improvising with just these four notes while playing over a C, C6, or any major-family vamp. Get comfortable hearing how cleanly they sit inside the harmony.

Now let’s outline the more dissonant tones. You’ll notice they form a Ddim7 arpeggio. As before, improvise using only these notes and listen closely to how the tension behaves against the same major-family vamp.

Now combine both groups of notes. Repeat the same exercise, listening for how your lines naturally move between tension and release. Pay attention to the character of each note both on the numbered beats and on the ‘and’ of the beat—each placement has its own feel.

Working with these two four-note groups is one of the quickest ways to internalize the sound of the Barry Harris major system. By isolating consonance, isolating dissonance, and then blending the two, you begin to hear tension and release as something you can shape, not something that just happens.

Ready to take your playing further?
Unlock exclusive lessons, live workshops, and member-only resources that go beyond YouTube.
👉 Join the Fretprints Member Site and start refining your craft today.