The following is an extract from my book Fundamental Changes in Jazz Guitar
This is a valuable little book, showing how a bebop scale can be constructed using the major, Dorian, Mixolydian, and Locrian modes/scales. Basically 1st, 3rd, 5th and 7th. It takes you through all the keys for each mode/scale, and the music is displayed in two octaves, good practice for anyone learning to read. The following examples spell out bebop scales starting on the 9 for different chord types.The circ-led note indicates where the initial bebop scale begins. Note that on this last example for C7∑9∑13, when the scale goes over an octave, the major 7th (the note B) is added as usual in the dominant bebop scale. This is a valuable little book, showing how a bebop scale can be constructed using the major, Dorian, Mixolydian, and Locrian modes/scales. Basically 1st, 3rd, 5th and 7th. It takes you through all the keys for each mode/scale, and the music is displayed in two octaves, good practice for anyone learning to read. 101 bebop era patterns for ii - v7 project: David Baker is a notable Jazz educator who extensively studied and codified Bebop. He wrote many books on Jazz and Improvisation, and among others, 'How To Play Bebop' which is in 3 volumes. Bebop Scales The bebop scales are mostly used in jazz. You will probably notice the close relationship between the Major Bebop Scale and the ordinary Major Scale. The only difference is one extra note, which can be compared with the blue note added to the Pentatonic to get a blues scale.
We’ve done a lot of work with arpeggios and the bebop scale. It’s now time to combine the two devices for a musical, articulate sound. To do this we’re going to start by ascending arpeggios from each chord tone and then de-scending the bebop scale. This is a common sound and you can use it to write your own lines and licks.
Once again we start our structured approach by ascending the E minor 7 arpeggio from the root to b7. We then descend 4 notes down the bebop scale to land on ‘G’ the b7 of A7. We ascend the Bb diminished arpeggio to the octave of the b7 (G) and we then descend the bebop scale to land on the major 7th of the D Major Chord (C#), finally jumping down to the A for a real bebop flavor. This is shown in figure and audio example 9a.
https://www.fundamental-changes.com/wp-content/uploads/2018/05/Audio-Example-9a.mp3Next we begin on the b3 of the E minor (G) and ascend the arpeggio to the 5th (B) and descend the bebop scale again until we hit the b7 of A7. We descend the Bb diminished arpeggio to the b9 of A7 and continue scalically down the bebop scale with a little bounce off to the 3rd of D Major. Study figure and audio example 9b.
https://www.fundamental-changes.com/wp-content/uploads/2018/05/Audio-Example-9b.mp3Figure and audio example 9c is another example from the 3rd of E minor that hits the 3rd of A7 and a chromatic approach note pattern into the 3rd of the D Major:
https://www.fundamental-changes.com/wp-content/uploads/2018/05/Audio-Example-9c.mp3Figure and audio example 9d ascends from the 5th of E minor 7, ascend the arpeggio from the 5th to the 3rd, play the A on the top string and descend the bebop scale to the 5th of A7 (E) Here we play a chromatic approach note into the 3rd and descend via the b9 and bebop scale with a cool little chromatic jump to the 3rd of the D Major 7.
https://www.fundamental-changes.com/wp-content/uploads/2018/05/Audio-Example-9d.mp3Figure and audio example 9e is an example from the b7 of the E minor: Ascend the arpeggio from b7 to b3, de-scend the bebop scale. Chromatically approach the 5th of the A7 chord (E) Ascend the Bb diminished arpeggio to the 5th again and descend to the 5th of the D major 7 chord.
Bebop Scale Patterns
https://www.fundamental-changes.com/wp-content/uploads/2018/05/Audio-Example-9e.mp3I’ve given you one or two examples for each arpeggio tone but I expect you’re anxious to create your own lines and make your own play-ing unique and fluid.
How can you be creative with this important concept?
It is an important stage to learn and play the lines above with confidence as they’re a great place to start. There is a reason I have written out the theory behind the construction of the lines; it’s so you understand what’s happening technically to help develop your own voice.
Have patience and determination to learn and understand these lines before embarking on your own voyage of discovery.
When I was writing these ideas I sat with my guitar and said to myself; ‘ok what happens when I ascend 4 notes up an arpeggio and descend a bebop scale?’ Then I spent some time figuring out some lines. I didn’t stick to this rule too hard as you’ll see if you really study the lines above. This was however my starting point and everything developed naturally from there.
When you’re writing your own lines how about these ideas to get you going?
Ascend 3 notes up an arpeggio and descend the bebop scale. Ascend 4, ascend 5 etc.
- Skip intervals, in-stead of 1, b3, 5, b7, try 1, 5, b3, 7, figure and audio example 9f.
- Skip intervals 1 – 5 and then descend the bebop scale , figure and audio example 9g.
- Add in chromatic approach note patterns, figure and audio example 9h.
- Begin on beat 2, beat 3 or beat 4
9F
https://www.fundamental-changes.com/wp-content/uploads/2018/05/Audio-Example-9f.mp39G
https://www.fundamental-changes.com/wp-content/uploads/2018/05/Audio-Example-9g.mp3
9H
https://www.fundamental-changes.com/wp-content/uploads/2018/05/Audio-Example-9h.mp3- Play a chromatic approach note on the off-beat before your first arpeggio tone, figure and audio example 9i
There are so many possible combinations so for now just pick one idea at a time. If you like it write it down, there’s blank music paper at the back of this book to get you started and lots of free resources online for printing your own paper.
Bebop Scales And Patterns Download
Remember, there is no way to cram in every idea in every lick. Keep it simple for now and try to think of this lesson as a chance to internalize the sound of the bebop scale in conjunc-tion with arpeggios.
Have fun!….
101 BEBOP ERA PATTERNS FOR ii - V7 PROJECT:
David Baker is a notable Jazz educator who extensively studied and codified Bebop. He wrote many books on Jazz and Improvisation, and among others, 'How To Play Bebop' which is in 3 volumes.
He basically selected and transcribed 101 typical Bebop lines and compiled them into the first chapter of 'How To Play Bebop Vol.2'.
The book is for all instruments, and its subtitle is 'Learning the Bebop Language: Patterns, Formulae and Other Linking Materials'.
Those 'Bebop Era Patterns' are now considered Public Domain and are very helpful in understanding Bebop and Jazz Improvisation.
There are multiple fingerings for the guitar though, and I am presenting a methodical approach for each line, so that we can explore as many possibilities as we can.
The key for all the lines is C Major, and the implied chords are:
Dm7 - G7 - (CMaj7)
(note that not all of the examples necessarily resolve to the I chord)
Each line is meant to be played in all 12 keys. I strongly suggest that you hum or sing while playing them, as it is the proven way to internalize their sound. The idea is of course not to simply 'plug' them into our solos, but to absorb them and come up with our own variations when we improvise.
So, don't just watch me play them: pick 1 or 2 at first, and go through the process !
This page is going to be a work in progress, as I will regularly add each new line as I (slowly…) go through and document them all.
Wish me luck !
LINE #1:
LINE #2:
LINE #3:
LINE #4:
LINE #5:
LINE #6:
LINE #7:
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