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The dominant bebop scale is the most important one after the major bebop scale here.

Any real melody will have some parts that can be interpreted as coming from the bebop scale and others that can't these voicings apply only to the former.Īlso note that for other qualities of chord, there are other bebop scales. That is to say that the chord voicings Harris is teaching in this video aren't meant to be a comprehensive formula for harmonizing any melody. But this would be somewhat beside the point, because the context for this discussion is, how do we harmonize a melody built from the bebop scale? The principle of bebop scales is that only chord tones appear on downbeats, so if a melody is written purely using the C major bebop scale, you will never have B (or D, F, or A♭) on a downbeat. If your example had a prominent B on a downbeat, then I would harmonize using a Cmaj7 shape or something similar. Note that in Barry Harris's conception a "major" chord is a major 6, and the 7th scale degree or leading tone is a non–chord tone. I have put the voicings in close position, assuming you know how to drop the second voice to make it match yours: For a major chord, if the melody note is the 1, 3, 5, or 6, you play a major 6 shape ( C6), and if the melody is the 2, 4, ♭6, or 7, you play a diminished 7 shape ( Bdim7). Speaking broadly, the point of the bebop scale approach to block-chord harmony is that you don't have to think of a different chord for each melody note.