Every exercise is numbered E1, E2, E3… in practice order, most-played material first. Arpeggio drills on m6, m7, 6 and maj9, Barry Harris lines, and melodies that land on the ♭3, 6 and 9. Each exercise lists the chords it sounds good over, most common first; tap one to hear the line over it. Change the key, position or rhythm and every tab recalculates; the numbers stay the same.
Shapes are ranked S1–S98 by how often they turn up in bebop lines: the ½-step approach from below first, then scale-above/½-below, the two chromatic sides, and so on down to octave-displaced and delayed shapes. Exercises follow that ranking in tiers.
Barry Harris built his teaching on the 6th-diminished scale: a 6 chord plus the diminished 7th a half step below it. In eighths, chord tones fall on the beats and the diminished tones act as built-in enclosures. He also drew lines from arpeggios on the 3rd, 5th, 7th and 9th, and played over a minor 7 as if it were the dominant a 4th up. Pivots follow JMI's definition: keep the first note, move the rest of the arpeggio an octave.
Notes in order, then the target (T). The 64 combinations of ½ and whole-step neighbors are all here, plus chord-tone and minor-third neighbors, delayed resolutions and octave displacements.
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