Bebop Scales And Patterns

1. Bebop Scales The Bebop scales are frequently used in jazz improvisation and are derived from the modes of the major scale, the melodic minor scale and the harmonic minor scale. David Baker named these scales the “bebop scales” because they were used so often by jazz artists form the Bebop.
2. In a few words, the main idea behind the bebop scales is adding one note to a 7-note scale to make it fit the bar of 4/4. Obviously, a scale that has 8 notes is better suited for 4/4 time signature than a scale that has only 7 notes. For instance, the C major scale.

The following is an extract from my book Fundamental Changes in Jazz Guitar

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.

Take your jazz chops to the next level: book a call with Marc4 Effective Bebop Scale Fingerings for 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 bebop scales add a chromatic passing tone to the basic scales so that strong chord tones occur on the strong beats. The strong chord tones are root, 3 rd, 5 th and 7 th on the dominant chord and root, 3 rd, 5 th and 6 th (not 7 th) on tonic major and minor chords. C7 bebop scale (natural 7 th added) C tonic major bebop scale (sharp 5 th.

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.mp3

Next 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.mp3

Figure 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.mp3

Figure 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.mp3

Figure 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.

https://www.fundamental-changes.com/wp-content/uploads/2018/05/Audio-Example-9e.mp3

I’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?

Bebop Scales And Patterns Pdf

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.mp3

9G

Bebop Scale Patterns Pdf

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

https://www.fundamental-changes.com/wp-content/uploads/2018/05/Audio-Example-9i.mp3

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.

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!….

The Bebop scales

In the Bebop era the basic phrasing in improvisation shifted from crochets to extended quaver patterns. This caused a problem with the traditional 7-note scales, as they did not fit into patterns of 8 quavers to the bar. To overcome this problem Bebop scales were formed by adding one extra note to three modes of the major scale. This brought them in phase with the new rhythmic pulse (but see note). Shown below are the Bebop major, Bebop dominant and Bebop minor scales. They are resp. the Major scale with an added b6, and the Mixolydian and Dorian modes each with an added major 7th.

Key	Bebop major	Bebop dominant	Bebop minor
C	C - D - E - F - G - Ab - A - B - c	C - D - E - F - G - A - Bb - B - c	C - D - Eb - F - G - A - Bb - B - c
G	G - A - B - C - D - Eb - E - F# - g	G - A - B - C - D - E - F - F# - g	G - A - Bb - C - D - E - F - F# - g
D	D - E - F# - G - A - Bb - B - C# - d	D - E - F# - G - A - B - C - C# - d	D - E - F# - G - A - B - C - C# - d
A	A - B - C# - D - E - F - F# - G# - a	A - B - C# - D - E - F# - G - G# - a	A - B - C - D - E - F# - G - G# - a
E	E - F# - G# - A - B - C - C# - D# - e	E - F# - G# - A - B - C# - D - D# - e	E - F# - G - A - B - C# - D - D# - e
B	B - C# - D# - E - F# - G - G# - A# - b	B - C# - D# - E - F# - G# - A - A# - b	B - C# - D - E - F# - G# - A - A# - b
Gb	Gb - Ab - Bb - B - Db - D - Eb - F - gb	Gb - Ab - Bb - B - Db - Eb - E - F - gb	Gb - Ab - A - B - Db - Eb - E - F - gb
Db	Db - Eb - F - Gb - Ab - A - Bb - C - db	Db - Eb - F - Gb - Ab - Bb - B - C - db	Db - Eb - E - Gb - Ab - Bb - B - C - db
Ab	Ab - Bb - C - Db - Eb - E - F - G - ab	Ab - Bb - C - Db - Eb - F - Gb - G - ab	Ab - Bb - B - Db - Eb - F - Gb - G - ab
Eb	Eb - F - G - Ab - Bb - B - C - D - eb	Eb - F - G - Ab - Bb - C - Db - D - eb	Eb - F - Gb - Ab - Bb - C - Db - D - eb
Bb	Bb - C - D - Eb - F - Gb - G - A - bb	Bb - C - D - Eb - F - G - Ab - A - bb	Bb - C - Db - Eb - F - G - Ab - A - bb
F	F - G - A - Bb - C - Db - D - E - f	F - G - A - Bb - C - D - Eb - E - f	F - G - Ab - Bb - C - D - Eb - E - f

Note A perhaps more effective way to deal with this problem is to play 7-note scales and modes up to and/or down from the 9th. This also has the advantage that all chord tones fall on down-beat positions in the bar, emphasizing them in the process. - D - - F - - A - - c - - c - - A - - F - - D -

• 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.mp3

9G

Bebop Scale Patterns Pdf

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

https://www.fundamental-changes.com/wp-content/uploads/2018/05/Audio-Example-9i.mp3

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.

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!….

The Bebop scales

In the Bebop era the basic phrasing in improvisation shifted from crochets to extended quaver patterns. This caused a problem with the traditional 7-note scales, as they did not fit into patterns of 8 quavers to the bar. To overcome this problem Bebop scales were formed by adding one extra note to three modes of the major scale. This brought them in phase with the new rhythmic pulse (but see note). Shown below are the Bebop major, Bebop dominant and Bebop minor scales. They are resp. the Major scale with an added b6, and the Mixolydian and Dorian modes each with an added major 7th.

Key	Bebop major	Bebop dominant	Bebop minor
C	C - D - E - F - G - Ab - A - B - c	C - D - E - F - G - A - Bb - B - c	C - D - Eb - F - G - A - Bb - B - c
G	G - A - B - C - D - Eb - E - F# - g	G - A - B - C - D - E - F - F# - g	G - A - Bb - C - D - E - F - F# - g
D	D - E - F# - G - A - Bb - B - C# - d	D - E - F# - G - A - B - C - C# - d	D - E - F# - G - A - B - C - C# - d
A	A - B - C# - D - E - F - F# - G# - a	A - B - C# - D - E - F# - G - G# - a	A - B - C - D - E - F# - G - G# - a
E	E - F# - G# - A - B - C - C# - D# - e	E - F# - G# - A - B - C# - D - D# - e	E - F# - G - A - B - C# - D - D# - e
B	B - C# - D# - E - F# - G - G# - A# - b	B - C# - D# - E - F# - G# - A - A# - b	B - C# - D - E - F# - G# - A - A# - b
Gb	Gb - Ab - Bb - B - Db - D - Eb - F - gb	Gb - Ab - Bb - B - Db - Eb - E - F - gb	Gb - Ab - A - B - Db - Eb - E - F - gb
Db	Db - Eb - F - Gb - Ab - A - Bb - C - db	Db - Eb - F - Gb - Ab - Bb - B - C - db	Db - Eb - E - Gb - Ab - Bb - B - C - db
Ab	Ab - Bb - C - Db - Eb - E - F - G - ab	Ab - Bb - C - Db - Eb - F - Gb - G - ab	Ab - Bb - B - Db - Eb - F - Gb - G - ab
Eb	Eb - F - G - Ab - Bb - B - C - D - eb	Eb - F - G - Ab - Bb - C - Db - D - eb	Eb - F - Gb - Ab - Bb - C - Db - D - eb
Bb	Bb - C - D - Eb - F - Gb - G - A - bb	Bb - C - D - Eb - F - G - Ab - A - bb	Bb - C - Db - Eb - F - G - Ab - A - bb
F	F - G - A - Bb - C - Db - D - E - f	F - G - A - Bb - C - D - Eb - E - f	F - G - Ab - Bb - C - D - Eb - E - f

Note A perhaps more effective way to deal with this problem is to play 7-note scales and modes up to and/or down from the 9th. This also has the advantage that all chord tones fall on down-beat positions in the bar, emphasizing them in the process. - D - - F - - A - - c - - c - - A - - F - - D -

Bebop Scale Patterns

© 2016 Michael Furstner