Something to note about this tune is there has been a. The melody to this tune is absolutely beautiful and Jimmy Van Heusen yet again proves to be a remarkable composer. It has since become a popular jazz standard. Now when I go back to my Bill Evans transcriptions, I understand what he was doing. Like Someone In Love is a tune written by Jimmy Van Heusen in 1944 for the film Belle of Yukon. Barry Harris, sketch transcription, Like Someone In Love In this transcription, I show the regular chords on the top and the Barry Harris-style thinking for the appropriate movement scale below the stave. Next I transcribed Barry Harris playing a block-chord version of Like Someone In Love. And my ear hears the movements when I am playing tunes and I can spontaneously add in voice leading. I am no longer relying on stock voicings all the time. I have found that my playing has been transformed. And in this way, you can block-chord harmonise any melody.īut this is not just about four-way block chords and drop-2 voicings. The idea is that for any given harmony of the moment, a scale can be found which alternates with passing diminished chords to allow movement without changing the harmony. I’ve become hooked.įor the past few weeks I have been trying to understand and apply Barry Harris’s method of harmonic ‘movement’. I had some online conversations with Mr Berkman asking questions about the bits I did not get and trying to understand why II-V-I is so hard to voice with block chords.īut recently, having viewed lots of Barry Harris on YouTube and then Dave O’Higgins recommended the books to me as well. About a year ago I bought David Berkman’s book Jazz Harmony which has a chapter inspired by the Barry Harris way and talking about borrowing notes from the ‘other’ side. I decided not to follow up on this because of their outrageous price. Whenever I tried to harmonise an actual standard melody, I would get stuck at some point.Ī few years ago, Bob Keller recommended the Workbooks associated with Barry Harris. Until recently, most of what I knew came from transcription and reading Mark Levine’s chapter on the subject in his Jazz Piano book. It has since been performed and recorded by many artists and continues to be a mainstay in the repertoire.I’ve been thinking a lot about block chords recently. Frank Sinatra’s 1953 recording with arrangement by Nelson Riddle was highly influential in boosting the popularity of this composition in its day. The first recording comes from Dinah Shore in 1944. This song has been recorded over 400 times. Bars 6-7 are usually treated as simply V - I, although a common reharmonization is to insert a II-V of III which arrives at IIImi in the 7th bar instead of IMaj7. Whereas the harmony is rather malleable, it is important to maintain the integrity of the descending bassline as the theme is stated. For example, bar 3 as played in Eb can very well be: Ami7b5 – Ab7, or F7/A – D7, or even Ami7b5 – Abmi6. The first 4 bars of the A sections typically see many varying reharmonizations which are generally along the lines of tri-tone and like-function substitution. The contrary motion between the descending bassline and the melody immediately gives the song a distinct character. Although many musicians have recorded it in other keys, such as Coltrane in Ab, Bill Evans in F, Bud Powell in C, and Paul Desmond in Bb to name a few. Most likely due to the fact that this tune initially showed up in many real books in Eb Major, this has become a common key. Taken at a wide variety of tempos, nearly always swung. Debuted in the 1944 film Belle of the Yukon.
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