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TUNI

INSTRUMENTS-PAGE

BbINSTRUMENTS-PAGE

E'INSTRUMENTS-PAGE

Introduction
Adding chromatic passing tones between specific tones of the diatonic scale is a device that musicians often use. This technique helps to make the scale sound harmonically right or consistent with
the chord. These scales are sometimes called bebop scales. I think of them as jazz scales because
many of my favorite jazzplayers use them. Bebop, hard bop, swing, cool, avant garde, rhythm and
blues and many other jazz styles incorporate bebop scales. This book presents a clear and pracrical
approach to chromaticism, line playing, voice leading, and to learning and integrating bop scales

into one's playing.

thapter

l, Major and Dominant Bebop 5cales

interjecting
Bebop scales are chord scales with added chromatic passing tones. They are created by
are added to
one or more nondiatonic passing tones into the chord scales. When these passing notes
the diatonic chord scale certain notes then stand out in the scale.
The
There are several commonly used bebop scales, major and dominant are the most common'
following example spells a C major bop scale'

Bop scales can

An,,Ab,, passing tone is added between the fifth and sixth notes of a C major scale.
When you play
be used as ascending or descending scales although descending is more common'
voice
this bop scale, as a result of the extra note, every down beat is a chord tone' The chord tones
scale on root,
iead the scale making the line sound just like the chord. You should start a major bop

third, fifth, or sixth to insure this result of voice leading the chord. If you start the scale on second,
beats will
fourth, b5th, or seventh the line will not sound like a major bop scale because the down
not spell the chord.
following examples spell out a C major bop scale descending and then ascending with different
The

starting notes:
Fnou

rsr noot:

Fnou

rur 3no:

Fnov rHE 5ru:

(I]APTtR

Fnorr rne 6ru:

The following example spells the C major bop scale starting on the second step. The down beats
then become D,8,.^b, and B which describes a D diminished or a G7b9 sound rather than a C major.
There are ways to start the scale from any note but this will be discussed in further chapters.
Fnou

rnr

zNo:

So,

to form

a major bop scale add a passing tone between the

fifth and sixth note of a major scale.

To form a dominant bop scale add the extia note between the root and the dominant seventh. The

following example spells out

a G7 bop scale

starting on the root:

The added note for G7 is Ffl (Gh) the major seventh, but it is used as a passing tone. \\-he::..--::
include this passing tone the down beats again spell out the chord. Start the scale on the root. ::-::j
ftfth, or blth.
G7 sranrrNc oN THE Roor:

G7 srenuNc oN rHE JRD:

MIJOR AllD DOI.lI|lAllT BTBOP

I(Itii

G7 sranrrNc oN THE 5TH:

G7 srenuNc oN

rur

bTrH:

If you start the scale from the 2nd, 4th,6th, or major 7th scale step, the line sounds

baclcrnrards.

The following example spells the G7 bop scale starting on the 6th. This line sounds more
Fflo or a D7 than aG7.
G7 srenuNc

lile

an

rnov rHr 6rH

Again in the following chapters different options for starting notes will be discussed.
Notice that these lines need to be started on down beats. If you choose a correct starting note but
play it on the up beat the line will again sound like a different chord.
ExarvrruE

G7

G7 nacxwanos

(I]IPTtR

The first practice assignment is to play through the following progression (A and B) with bop
scales starting on the root descending. Play full octaves of the scale for each chord change as in the
following example:
A. Root descending

c69

With that same rhythmic pattern play through the progression using the following starting notes
and directions:
B. Root ascending
C. 3rd descending

Exalrprr:

c69

D. 3rd ascending
E.

5th descending

F.

5th ascending

G. 6th (if chord is major) or 7th (if chord is dominant) descending

H. 5th (if chord is major) or 7th (if chord is dominant) ascending

I. Random choices: pick a different starting note on each chord, ascending and descending

|'1Al0R Al]D 001,1illAilT

W YW&XW

&

TW&^qW

&;

&;

PR0GRtSSI0N

PR0GRESSI0N

lA

(C INSTRUMENTS)

lB ((

INSTRUMTNTS)

BtB0i

i-r-,

illt?ttI

& TK&{K ?.

IA (Bb

to9

B7

aboe

* Tn&(K

4:

INSIRUMENIS)

PROGRESSION

obz

tbo9

Eb7

sbo9

a4

PROGRESSION

IB (Bb

A7

INSIRUMENIS)

Ro9

D7

co9

ra9

sbz

rlo9

C7

tbz

MAJOR A|lD DOI,lIIIAIIT BTBOP

TeSaK

&

Ym&(K 4: PROGRESSION IB (Eb INSIRUMENIS}

3:

PR0GRESSI0N

I(ILt5

lB (Eb INSTRUMTNTS)

a5

T
I
i

Ihapte tl', Ionic Minor and DomlbebtJ Bop 5cales

In a minor key the tonic minor 6th chord (I-69) and thgy7b9b13 chord use the same passing tone
the IA andYT of a major key. For example, as with a CA bop scale the tonic minor or C-59 bo
scale uses a passing tone between the 5th and 5th notes of the scale. Again you must start the scal
on the 7,3,5, or 6. There are two options for spelling the tonic minor scale, that is with a major f t
or ab7th. On a C-69 chord scale you can use either B natural or Bb since the 7th is on an upbeat.
as

C-59 uslNc B NuuRaL:

C-69 usrNc

Bh:

is treated the same as a G7 chord in that the passing tone is between the root and
scale. Again, start the scale on the 1, 3, 5, or 7.
G7b9b73

GTbobtz

Itn :: ::

I011l( f4il0R AilD D0ilIbebll00t

t(lttt

The next practice assignment is to play through progression 2 (A and B) a full octave of each bop
scale starting on the following notes:

A. From the root descending:

(Use either of the tonic minor scales and use the same rhythmic pattern
assignment 1.)
Exarupm

,rbefis

c-69

or C-69

,rbebts

B. From the root ascending

C. From the 3rd descending

D. From the 3rd ascending

E. From the
F.

5th descending

From the 5th ascending

G. From the 5th (for

-6 chord) and 7th (for Dom7beh13) descending

H. From the 6th (for

-6 chord) and 7th (for Dom7b9b13)

ascending

I. Random choices for starting notes descending or ascending

as

with

(I]APTtR

W YW&{"W %: PR0GRESSI0N 2A (C INSTRUMENTS)

F7beb1

tb-oe

eS7b9b13

Fil-69

,rbefis

orbob

"rbebt

W YW#-{"M

G-69

&;

PR0GRESSI0N 2B (C INSTRUMENTS)

c7b9b13

ssrbebt

r8

r-d9

sgrbebl3

rybeAs

T0|1l( Iltl,l0t

)
D-69

Til&(K 5:

ill0 D0t47berlrB0p t(AL$

PR0GRESSI0N 2A (Bb INSTRUMENIS)

orbebt

uo-09

c-69

ab-09

sS7beb13

B7b9b13

Tfr&{K &: PR0GRtSSI0N

2B (Bb INSTRUMTNTS)

rXzbebts

A-69

orbobtz

F-69

sgTbebts

rb-oe

r9

i;1iii;

TRA(K 5: PR0GRESSI0N 2A (Ep INSIRUttENTS)

YW ffi^{M

d;. PROGRESSION

2B (Eb INSTRUMENTS)

Ihapter J: Scale Segments Using 5 0r I Notes

After playing the exercises for chapters 7 and 2, using a whole octave of the bop scale, now go
through progressions 1 and 2 and play just seven notes of the scale with the following rhythmic
pattern:

Practice with the same specific starting notes for assignments 7 and 2 and then practice using ran-

dom starting notes. You are starting and ending each scale on a chord tone.
I

qr:_r'

Root descending with seven notes

,rbobtt

c-a9

c-69

F7b9b13

Next play seven notes of each chord scale on the following tune. When there is all-7 Y7 in one
bar just use the dominant bebop scale for now. (You can also try just using five notes of the scale)
Use all chord tones for starting notes ascending and descending.
1, 3, 5 or 6

Example:

@ TW&{W:&

for tonic and 1, 3, 5 or 7 for dominant.

lD-7

G7 I use G7 bop scale for the whole bar.

l&xIUNE

I ALICE (C INSTRUMENTS)

Ea

orbobts D_7

G7

c-7

Bb-7

G-7

G-7

(I]APTtR ]

* XWeW 7l&* TUNE I ALTCE (Bb INSTRUMENTS)

GA

A-7

B7b9b13

Ffr,

D7

tb-z

nbz

* xes"*W 7 f&z IUNE I

v/

c-7

L-/

G-7

E-7

A7

D-7

A-7

GA

G7

D7

ALTCE(Eb INSIRUMENTS)

c7

r#-7

B7

F-7

Bb7

5(Att

lt6r.1rIlT5

Here are the first four bars of the tune written out with each starting note:

Ea

c-7

r:.:\DI\C

ron MAIoR, T ron oovtNeNr):

--rR

7TH DTscENDTNG (5

DR

ZrH ASCENDTNG (5 ron MAJoR/ 7 ron oolrrNeNr):

23

(I]APTtR ]

RaNoolr cHorcE:
FA

6J

G7 3l

ATbebt3 5J

ril7 sl

F^

F7 3J

3J

Practice this for hundreds of choruses so that you get the sound in your ear and
thing that you can do in "auto pilot" !

it becomes some-

Here is another tune to practice with:

Again, remember that if there is alr_7 Y7 in one bar just use the v7 scale for now.

Ploy: FA
FA

orbebts
Ea

A7b9b13

G7
D-7

F7

c-7

5(ALi 5t6|4iltT5

YW&{W w/&ffir IUNE

,rbobtt

B>7

1S7beb13

orbefis

SPRTNG

t0y (C INSTRUMENTS)

(I]APTtR

E7b9b13

Bb-7

c-7

,rbefis

AA

GA
I

E7b9b13

A-7

D7

GA

G-7

C7

A-7

D7

GA

c-7

F7

lutt

*' T&e(K S/r 8z

TUNE

SPRING

IOY (Eb INSTRUMENTS)

,rbefis

G-7

F-7

E-7

St6tlt}.1Il

Ihapte

t lr',1] arrnonic Antici pation

The next step is to anticipate the harmonic changes of the tune by starting the seven notes of the
bop scale one beat early. As in the following example you begin playing each bop scale on the

fourth beat of the preceding measure.

Exauprr:
On Spring Joy

root descending

one beat early

sb-t

Play through the previous progressions and tunes from chapters 1-3 using all of the specific starting notes and begin each scale one beat early. Then try playing random staring notes one beat early.
You can take this another step further and play the seven notes of the bop scale two beats early.
First try specific starting notes such as five ascending and then try using random starting notes.

Anticipating the harmony takes some getting used to but it allows you to practice hearing what,s
coming up. It gives the improviser harmonic command. Anticipating the harmony is a device that
can be used not only with bop scales but with all meiodies.
The following is an example of using just five notes of the bebop scale and starting one beat early:

Exauprr:
On Spring Joy frorn the third descending

lilRt10|it( Ail1lIP1r
Try using random starting notes one beat early with five notes of every bop

scale.

On Spring Joy random starting notes

G-7

9rt9bl3

Bb-7

G-7

Taking it another step furthe4 try playing five notes of each bop scale two beats early,
as in the fol-

lowing example:
l,

.,.lrr.:tr

-l

From the root descending

FA

G-7

Bb-7

Now try five notes of the bop scale two beats early with random starting notes.

G-7

A-7

G-7

C7

FA

Bb-7

Gil_7

Eb7

|l tPltR

1,

Next try using five notes of the bop scales and playing them one beat late.
Exaupre:
From the third descending

This following example uses five notes of the scale one beat late with random starting notes.

G-7

A-7

orbefis

Bb-7

G-7

Gil_7

As another exercise try playing only three notes of the bop scale, starting on different beats from
random available notes as in the following example.

.r-

A-7

G-7

FA

D7 ---

G-7

C7 +-

Br-7

FL

-c-

Gfi-7

Finally, try mixing up all of the preceeding practice exercises using harmonic anticipation or
delay
on the progressions and tunes. The following example is on the tune Spring
in
mind
Joy.Keep
when playing through this example that there is something wrong with the "whole picture,, or
sound. Playing only bebop scales which constantly repeat the sound of intervals of a second becomes very one dimentional. This is truly just practicing scales.

il A R f40

G-7

FA

C7

Bb-7

|1

r(

llj_lllf ,- . '

Eb7

eu
t
17t9 t13

w-/

FA

A;-7

D;7

fe
ft_
o

A;-7

B-7

f,
,a

A-7

3r,

G-7

F-7

G-7

G-7

G-7

After playing the bebop

G-7

from all of the different beats try randomly using this technique
when improvising on the tunes to get a feel for what this is like. Anticipating the harmony
with a
scale or a line gives the soloist harmonic command and the abllity to hear what
is coming up next.
scales

)L

[haptQr 5: Bop Scale Modes

chord types here are the bop scale modes
To determine some different scales for some of the other

IoNreN

DonraN

D-Z

Dorion

E-7

Phrygion

FA

Lydion

PunvcraN

LvoreN

MrxorvoreN
Mixolydion

B0P 5(ALt tl0Dt5

xi --rt

A-7

Aeolion

Bs

Locrion

r:r\

Notice that both of the major scales start on the 1,3,5, or 6.

7 .You can start these scales from any of their down beats.

All of the others start

on the 1, 3, 5, or

Some scales may be used on several chords. For example, the CA scale is also the same as the

Aeolian

scale.

This scale could also be used on

A-7

D-7 chord, or an FA$11, or a G7sus4 chord.

The D-7 Dorian mode scale is the same as the FA Lydian mode scale and can also be used on
G7sus4.

The E-7 Phrygian can be used on CL,D-7,Ft,

Gl,A-7

and Bo chords.

FA Lydian is the same asD-7 and can be used on G7sus.

The G7 Mixolydian mode can be used onD-7, FA or Bo.

A-7

(same as CA) can be used on

EL,D-7, or GZ sus.

Bo can be used onG7, D-7 or FA.

The result of playing one mode scale over another chord is that the down beats become different
chord tones. For example take the E-7 Phrygian mode scale and play it over a CA chord.

-.r-!-l.1PLE

On an E-7 chord the starting notes are E, G,B, and D or 1-,3,5, andT

BondD

But over a CA chord these starting notes are now the 3, 5, 7, andg.If you play the E-7 scale over an
FA chord, those starting notes are now the7,9, il11, and 13. THr souND IS DETERMTNED BywHATTHE
IMPROVISER WOULD LIKE TO HEAR.

33

T
iltApTrR

Tiy playing through progression 1 in chapter 1 and use the mode a major 3rd above the chord. Ur
E-7 over CA, use Bz over G7 etc... Remember that E-7 is Phrygian over CA andBois Locrian ovt
c7.
Exalrprr:

Progression

E-7
CA

Bo

G7

Progression

B-7
GA

[hapter 6:

Bop 5 ca le Modes

for Ionic Minor

and Dom/ bebtJ Ihords

over a C-69 chord use

a G7

natural 9 and

b13

or

a G-7

Aeolian bop

scaie.

Here is the G79b13 scale.

Thedownbeatsorstartingnotesforthisscaleare G,B,D,andFor 7,3,5,andZoveraG7chord.

But over a C-69 chord those notes are the 5, maj or 7 , 9 and 77.
,
Here is the G-7 Aeolian scale:

The starting notes or downbeats are 1,3,5, and 7 on aG-7 chord but they are 5,7,9,
and 11 on

C-69 chord.

TonG-7

llonC-69

There are many different bebop scales to play over a dominant 7th chord. Each
one gives a unique
sound to the melodic line because they have different downbeats. For example
over u 67b9brs .6o.4

you can use aBb7b9 bop

scale.

b9

""8b7

"nG7

IT

(lilPTil

Here is another example: Eb7b73bop scale over

G7b9b73

fi 1

""Eb7

'lon

GZ

Tiy playing through the original tonic minor progression II exercise and substitute some of thes
different scales over the chords:

Progression llA

AbTle

o,957b13

Arrn

F79

Bb-/.q

J\q
ot A7b13

Mrnr

,rbts
E-69

36

A,,rb:r

ES7bebl3

ozbg

c#zbls
ril-6e

c/e

or F7b1 3

bl3

or G7b13

;irrl3

abzle

sTbts

t_F

o,757b13

Cir;n

B0P

l(Att

l40Dt5 I0R

T0litt

l,4tl,l0R Al'lD D0t1/bsbll 0t0RD5

Progression llB

,i:

rzbg

,rbefie

B-69

,rbts
l-09

,rbebts

G-69

stbg
g,7t13

o, E7b13

;;P

Airbl3

;n,rn

cv,be

EbTbe

., 757b13

A7213

o, Bb7b13

,rbts

i_{

o,ritbl3

B$rr13

tzbg
o,D7b13

r1Tbebtt

Before continuing on try using all of the information presented thus far on this next tune. On the
bridge section where the chord changes are D-7 lG7 /E-71 A7 , use the Dorian bop mode scale for
D-7 (II-7) and the Phrygian bop mode scale for E-7 (lIl-7).When there is aII-71Y7 chord change

in one bar use the dominant bop scale for both chords. For example over Bb-7lEb7 iust use Eb7
scale.

(I]IPTtR

s T$?*rH ! r /r kx

il-7
D-7

3E

TUNE

AFTERNOON

IN

STRASBOURG

((

INSTRUMENTS)

B0p 5(ALt l,10Dt5 t0R T0|1l( l,lt|l0R tl.lD D0tl/'ebB ili0RD!

Ywe{"w xx /x

?;

TUNE 3

FTERN00N

tN

STRASB0URG

D-7

3:-\

Ea

tNSTRUMENTs)

c-7

A7b9b13

lt-7

-7
=7

(Bh

A7

rfr-7

B7b9b13

Eb-7

B-\

B-7

E7

AA

Gr

G-7

C7

Fil_7

Ab7

cfr-7

A-7

D7

B7

E-7

A7

(I]APItR

W YWeqK XX /3Kz TUNE 3 l|TERN|0N

tN

SIRASB0UR6 (Eb INSTRUMENTS)

A-7

rybebtt

|-7
B-7

Fil^

ril-7

D-7

40

B7

EA

E-7

A7

Ihapter l', Bop 5ca

ES

5tarting

0l.|

the 9th

So far we have discussed starting the bop scales on the 1, 3, 5, or 6 for tonic chords and the

and

7 for dominant

chords. Using the bop modes has given us the opportunity

7,3,5,
to start the bop

scale on some of the other notes. For example, when we play the E-7 Phrygian bop scale over a CA

chord,

it gives us the option to use the notes B and D as starting notes on the CA chord.

Here is another method for starting a bop scale from any degree of the scale. Simply start the bop
scale on any of the remaining degrees of the scale and use it as an approach note to the "initial
above" starting note options. The first such note to work with is the 9th.

If you begin a major

bebop scale from the 9th you can play a double chromatic approach from
above descending to the root or tonic of the scale or you can play a double chromatic approach
ascending to the third of the scale.

9 descending to 1

Notice that once you hit the note C you continue playing the appropriate major bebop scale.

9 ascending to 3

Notice that once you hit the note E you continue playing the appropriate major bebop scale. As in
both of the above examples once you hit the circled note or target note than continue the line with

the appropriate bebop scale. Also note that if you were to continue the bebop scale beyond one
octave you can remain on the original scale once you've contacted it.

(I]APTtR

The following examples spell out bebop scales starting on the 9 for different chord types. The circled note indicates where the initial bebop scale begins.

,rbebts

Note that on this Iast example for C7b9b73, when the scale goes over an octave, the major 7th (the
note B) is added as usual in the dominant bebop scale. The starting notes, Dh to C, are scale
approaches to the Bb where the

initial

scale then begins.

6-A

Notice here on the ascending line that the initial bop scale is not started until you reach the fifth oi
the chord.

B0P

C-7

Doriqn

C-Z

Aeolion

C-Z

Phrygion

5(AIt5 STtRT[i6 0tl Tlit

9Til

Go over all of the tunes and progressions we have used thus far and begin bebop scales from the
9th. add the following tune to the list!
For the following tune use the Dorian bop scale when there is a minor Zth chord for a whole bar.

tlltPttR

& ?ffi&6ffi r&/\4;

I
ii

I
,]

,[
,J

il
I[
I

,lr

TUNE

4 HAZy

EtRG

lC

TNSTRUMENTS)

BOP

I(ALt5 5TIRTIl.l6

O|]

]I]t

91I]

W TWe{"w ryef e&zIUNE 4 HAZY B\RG (Bb INSTRUMTNTS)

B-7

D-7

E7

G7

G-7

c7

:\

B_7

E7

{l

-.

c-7

r#7

3-7

a-7

Eb7

D-7

G-7

B-7

45

t(IIAPTtR

46

YW&*W

Ve/X4:

IUNE 4 HAZ\ B|RG lEb TNSTRUMENTS)

B0P 5(ALt5 51IRTt]'t6

0|l Tilt

Here is tune 4 bebop scales starting from the 9th written out:

Tune 4 slorling on the 9th

A-7

D7

C-7

F-7

A-7

c*7

Dt7

F-7

A-7

a-7
t)-/

Bb-7

A-7

Ab-7

c-7

A-7

F-7

Db7

9Tll

Ihapter B: Bop Scales Starting orr the llth

The following examples show how to start a bop scale on the 11th for the different chord types. As
in the preceding chapter the circled note marks the point at which the "initial" bebop scale begins.

c-09

48

B0P

,rbefit

cl#l

c2fr11

5(Atr5

5TARTtIl6 0|1

Tltt ltTll

(I]APTtR

Try starting bop scales on the 11th on this new tune:

W YWe*W 3%a TUNE

c-7

FALL

t0LlAGE

(( INSTRUMENTS)

B-7

F7

E7

thA

orbefis

c-7

t7

B-7

,rbobtt

D7b9b13

,rbebts

D7b9b13

5o

E7

thA

B0P

!tAL[

5TARTIl.16 0N

]ltt

ll1u

Try starting bop scales on the 11th on this new tune:

W YWe{W

3 %z T UNE

FALL

t0LlAGE (Bb INSIRUMENTS)

,rbefit

A_A

,rbebte

E7beb13

D-7

c-7

F7

Ba

E7b9b13

E7b9b13

A-7

D7

G-7

C7

4-A

51

(I]APTtR

Try starting bop scales on the 11th on this new tune:

W YW&*W

3 %z T UNE

FALL

t0LlAGE (Eb INSTRUMENTS)

rrbebts

Fila

,rbefit

g-A

rrbebts

A-7

,rbebts

G-7

rrbebtt

B0P 5iALt5 5lARTt|]6 0N

Tltt ll1u

Here are the bop scales starting on the 11th for tune 5 written out:

c-7

r[l#1

,rbebts

c-7

B-7

D7b9b13

G_A

,rbobtt

G_A

c-7

Bb-7

orbebts

G-7

orbefiz

s_A

F-7

5l

Ihapter 9: Bop Scales 5tarting orr the

llth

The 13 or the 6 is already a starting note for major and tonic minor chords. The following examples
spell out bop scales starting on 13th for the remaining chord types. Remember that the circled note
marks where to begin the initial bop scale.

G7

n=bgb13
v/

G-Z

G-Z

Aeolion

G-Z

Phrygion

Dorion

B0P

5(Attl llARTt|l6 0|l Tflt l]Ill

Bop scales starting on 7th for major and tonic minor chords.

6-A

In this last example, ascending from the 7th on tonic minol, notice how long it takes before you can
begin the initial bebop scale.

Try starting bop scales on the 13th or h13th on the next tune. For major chords start on the 7th to
mix it up a bit.

55

(IiAPTIR

,rbelts

Ga

,rbefis

F-7

Ab7

D-7

G7

,rbebt

F-7

-/Eb

"rbebt

c-7

Eb-7

v/
^ -b9b1 3

55

_/Eb

B0P

l(ALtS 5lARItl.16 0N Tltt llTll

W YW&qW 3e /ryXr TUNE 6 15 THIS THING (,ALLED L|VE? lBb INSTRUMtNIS)

,rbebtz

G-7

orbobts

,rbebts

G-7

D-7

F-7

E-7

,rbebts

G-7

57

(lilpTtR

W XWE{M

A-7

c-7

5E

3E/XXI

TUNE

6 /S THIS THING (ALLED

LOVE?

(Eb INsIRUMENTs)

BOP

5(Att5 5tARTl|l6 0|l Tltt

Here are bop scales starting on 13th or 7th for tonic chords on tune 6:

,rbebtt

-/Eb

G7b9b13

,rbefis

F_A

\t/
^ =bgb1 3

CA

_/Eb

_/Eb

c-7

D-7

Eb-7

,rbobts

c7b9b13

llill

IIIAPITR

For the next assignment play through tune 7 and start bop scales on every scale degree both
scending and ascending. Then play through the tune and make random choices for starting note

<

& f eee ,{ Xelr 9;

TUNE

,rbebts

orbebts

D7b9b13

6o

I HAVE Y0U ttlET M|SS illtLLER? l( TNSTRUMENTS)

orbebts

orbobts

B0P

w TW&{W 3e/3

GA

%:

5(Att5

STARTIN6 0N

lUt llill

IUNE 7 HAVE YOU IIET MISS I'IIILLER? (Bb INSTRUMENTS)

,rbefis

A-7

Ffr,

,rbefis

c-7

L-/

E7b9b13

E-7

5t

(IIAPTtR I

w Ywe*w 3el1

at-

Y; TUNE

HAVE YOU IilET IilISS MILLER?

(Eb INSTRUMENTS)

E-7

B-7

E7

F-7

DA

B7b9b13

E-7

Bb7

E-7

A7

Cil,

rybebte

A-7

B-7

F-7

sbz

rbl

Cfr_7

Ffr7

BA

F-7

sbt

EbA

ta
L-/

A7

E-7

Gil_7

6z

Cil7

E'7
L-/

A7

c-7

F7

sbl

B0B 5tALt5 5TARTIll6

Cli .. :--

The following is an example of random choice stalting notes on tune 7.

,rbefis

G-7

G-7

A;-7

tzbe

G-7

D7b9

-lgol3

c-7

,41-,2

2z

2//

E7

Olz

L-/

A7

G-7

G-7

D7b9b1s

a7
D-/

E7

G-7

C7

Eb-7

Ab7

obl

5.,

BOB

5(ALI5 ITARTIN6

O|1

TI]t I]TI]

The following is an example of random choice starting notes on tune 7

orbefis

D-7

-,

orbebts

G-7

G-7

Ab-7

b-/

ozbe

C7

xzbe

c-7

gI

Ab-7

obz

obl

E-7

A7

G-7

G-7

orbebts

B-7

G-7

rb-z

6:

Ihapter t0: Across the Bar Li tle

The topic of this chapter is connecting bop scales across the bar lines. The goal for the improviser is
to move from one chord to the next keeping the same direction or motion happening over the bar
line. In order to do this it is necessary for the improvisor to have accessibility with all starting notes
of the bop scales so that when the scale passes over the bar line into the next chord you can start a
scale from whatever that note may be.

One way to begin practicing this is to play a scale starting on the first beat of measure one and continuing in the next measure with seven notes of the next bop scale. Here are some examples:

Roor prscrNDING

E-7

A;-7

F-7

Fnolr 9 DESCENDING

E-7

F-7

rbl

xb-z

Fnou 3 DESCENDING

E-7

F-7

Ab-7

obz

AtRO55

\{ ,

TI]t

BARLIl]T

DESCENDING

c-7
L-/

Ab-7

.11
i,t

.:

, ].[ -i DESCENDING

E-7

-" ,II 5 DESCENDING

:. -rt 7 DESCENDING

E-7

A7

bl

Ab-7

Db7

65

tI]APTtR

IO

Another alternative for connecting scales across the barline is to make the beat on the ,,and,, of
four a chromatic approach to the nearest scale tone of the next chord (or nexr bar). In the following
example the chromatic approach notes are circled:

Exeuprr:

E-7

rhl

F-7

Ab-7

Db7

Ab-7

D;7

Fnorr noor

ASCENDING:

E-7

A7

F-7

Bb7

rh

Fnolr 9 ASCENDTNG:

E-7

F-7

Bb7

tbA

Db7
b

Fnolr 3 ASCENDTNG:

E-7

F-7

__
:i

llllllltr

BARII|lr

l,{ + _{SCENDING:

E-7

:r,}{ i.{SCENDING:

E-7

A7

Db7

:-r.

l\{ /

ASCENDING:

E-7

A7

Db7

-b,

67

Another way to practice crossing the bar line is to play beats 3 and 4 of one bar into beats 1, 2 and 3
of the next. Some examples follow.

Ab-7

Notice that on beat four "and" the extra notes in the bop scale, such as fl5 for major chords and the
major 7th for dominant chords, are excluded if the next chord tone is not a half stepaway.

ExeurrE:
The note Gfi is not needed.

AiROSI TI]t BARtINt

Plav through this next tune and cross the bar lines with any of the methods discussed previously.
once you have crossed from bar 1 to 2 and 3 to 4,5 to 6, go back and repeat the exercise crossing
between bars 2 to 3,4 to 5, 6 to 7, etc.

TR&e *{ 2*

/x ?: IUNE 8 6flfll

I't?t,/tf^rrs

((

tNSIRUMENTs)

F-7

Ab7

a:7

A;-7

CA
L-/

F-7

-=bgb13
\)/

F-7

..-bgbi3

D-7

v/

c-69

B,

Pedql

rb^

-7

G-7

69

llAPltR

l0

W YW&{"W

Xelffi;

TUNE

GREAT

I'll0l'ltflfS (Bb INSTRUMTNIS)

G-7

E-7

A7

D-,69

Bb-7

F-7

Bb7

rbl

Ea

orbefis

c-7

t7

sbl

B;-7

Eb7

A-7

D7

Bb-7

Eb7

Rbl

G-7

C7

t#-7

B7

G-7

C7

FA

Bb-7

Eb7

E-7

A7

F-7

Bb7

rbl

Ea

D-69

c-7

F7

G-7

A-7

sbl

Bb-7

Eb7

A-7

D7

G-7

orbefis

G-7

C7

AtR055

W TW&qW X*

/X3,

TUNE

ltit BrRINt

8 GREAT lll0MEAIrS (Eb TNSIRUMENIS)

B-7

E7

c-7

F7

sbn

Bo

,rbebts

E*7

A7

F-7

Bb7

thA

D-7

G7

F7

gl,A

Ba

,rbebtt

D-7

B-7

c-7

E7

G_7

C7

|t

-7

ca
L-/

D-7

CA

D-7

G Pedol
CA

D-7

E-7

D-7

CA

D-7

G7

Ihapter

ll:R hyth mic Variatiorrs

try playing the bop sales in triplets but accenting as if
they were eighth notes. For example, instead of playing on the first four bars of tune 2 like this;

To give a little variety to a rather dry sound

Try playing those notes in triplets, it would look like this;

G-7

The articulation is the same as if the line were played with eighth notes. If you articulate accenting
the first note of every triplet like so, the passing tone will get an undesired accent.

Playing triplets across the bar line also has a great effect. Here is an example on the beginning
eight bars of tune 2.

C7

,--- I l)
3

A-7

ozbg

G-7

rbt

sb-z

Gfr_7

-1--.

lDr

-+-;DE

RI] YTIl

11

VAR I ATI O Il

for
Being able to srart on any note and play triplets across the bar line is a Sreat ski1l to develop
Here is an
good voice leading. Another rhythmic device to try is playing the scales as if in half time.
example again on tune 2.

G-7

FA

G-7

Another rhythmic device involves playing a 3/4 rhythm over

rythmic pattern,

Bb-7

Eb7

Ab-7

Db7

414.

This next example uses this

--@ontune8.

E-7

F-7

Bb7

tbA

Ar-7

Db7

Eb-7

Ab7

again when moving

This line contains octave displacement when moving from the Db7 to D-7 and
starts with the
from the DhA to the Do because of the range involved. Notice that the new bop scale

quarter note.
Here is another examPle:

E-7

F-7

Ab-7

|ilpttR il
Another rhythmic variation is playing quarter note triplets articulated like eighth notes.

E-7

F-7

Here is an example using some of these different rhythms with

E-7

D-7

A7

F-7

E;-7

Bb7

Ab7

voice-led scale:

rh

Ab-7

Da

Db7

^ -bgb1
\J/

Even with the use of rhythmic variation there is still something wrong with this picture or sound.
Playing only bebop scales which employs so many chromatic passing tones creates a one dimentiona.l sound.

Ihapter IZ: Melod ic Vari ations

Ap p ro aching

and Leaving Off the Bop

5cale With Iag Notes

To lend more variety to the sound of bebop scales another variation to consider is how to begin or

end a bop scale. One option is to leave the scale by skip. In order to make the voice leading a bit
more interesting try playing a portion of the bop scale and leaving it by skip. Try this next exercise.
Play five notes of the bop scale and leave it by one added tag note of your choice, for example;

Try doing this with just three notes of the

A7

,--

scale,

for example;

F-7

Taking this a step furtheq, follow up the scale with two tag notes;

and then three tag notes;

(I]APTtR II

Another option for adding variety to the sound of the bop scales is approaching them with one,
two, or three melodic tones. The following is an example of approaching a five note bop scale
with
one note:

E-7

Notice that I approached beat 1 of bar one, beat 2 of the next phrase and again beat 1 of bar three.
The following is an example of approaching a three-note bop scale with two melodic tones:

This next example uses three notes to approach the bop scale

E-7

75

|,{IIODII

VARIATIO|i

The following is an example of approaching and leaving bop scales with larger intervals:

ctbg

77

Ihapter

ll:len -Note

Bop 5cales

lA

|-7

lt

-7

Yt-7

Notice that the down beats for both the IA and the IVA are 1- 2 - 3 - 5 and 6. The down beats for
thell-7,IlI-7, andVl-7 are 7 - 3 - 4 - 5 - and 7.The down beats for the Y7 areT - 2 - 3 - 5 - andT

andthedownbeatsfortheVlloarel-3-5-6andT.Downbeatsaretheplaceswhereyoucanstart
the scale and it sounds harmonically right or consistent with the chord.

78

It|l

NOTt BOP

5tIII\

Also notice that CA and A-7 are the same scale, D*7 and FA are the same scale, and Ba and G7 are
the same scale. These ten-note bop scales add more chromaticism to the melodic line. Now we have
the choice to use either the ten-note or the eight-note bop scale in our improvisations.
Consider next the ten-note bop scale for the tonic minor/major chord.

Etsrprr:
c_^

or C-69

To determine a ten-note bop scale for a domina

C7b9b73

chord the following three scales fit.

Errupu:
Ab7bt3

ten-note over

C7b9b73

Fil7frr ,"r-r-t ore over g7b9b73

Cfi_A

ten-note over

C7b9b73

fi

7b9b73

chord there are a number of options. For

Ihapter t4: Practice 6rids

As with the examples below the material we've covered thus far allows us a number of choices.

Notice that playing nine notes of the ten-note scale ends on a different note than starting on the
same note of an eight-note scale and descending nine notes. This demonstrates that the intervallic
content of the same rhythm has a tighter sound with a ten-note scale as compared to a eight-note
bebop scale.

Exerrprt:
Descending from 5 on a CA (eight-note)

(ten-note

Exeupm:
Descending from 3 on a CA (eight-note)

(ten-note)

Exeupm:
Ascending from 5 on a C7 (eight-note)

(ten-note)

PRA(T](t

6RID5

Use the following grid to practice descending eight or ten-note major bop scales. Start each scale on

the given note. Here are the first four measllres for this exercise using the eight-note scale and
then the ten-note scale.
Errl.lrpm:

Eight-note

Ex.,r r,rpr.r.:

Ten-note

Grid

#l

Descending/Moior

(IlAPlIR

I4

Other ways to use this practice grid include:

o From each starting note play

only five or seven notes from the bop

Play the scales in a triplet rhythm with eighth note articulation.

'

Use the

III-7

scale.

scale over the major chord. For example over CA substitute the E-7 bop scale.

The next grid can be used to practice ascending eight,note or ten-note bop scales.
ExelrprE:

Eight-note ascending

Exeupm:
Ten-note ascending

Again other ways to use this practice grid include the same

as above:

o From each starting note play only five or seven notes from the bop scale.

'

Play the scales in a triplet rhythm with eighth note articulation. When playing scales in triplet rhythm choose 5,7,9 or 11 notes in order to start and end on a chord tone as with the

eighth notes.
o Use the

III-7

scale over the major chord. For example over CA substitute the E-7 bop scale.

PRA(TI(t

Grid #2 Ascendin g/Moior

Grid #3 Destending /Dominonl

Fi7

G7

6RID5

llAPltR

l4

Use grid #3 to practice descending dominant bop scales.

Exeuptr:
Eight-note descending
Db7

Exauprr:
Ten-note descending

Db7

Again

as

with the first two grids try these variations:

o From each starting note play

only five or seven notes from the bop

. Play the scales in a triplet rhythm with

Use the

eighth note articulation.

VIIa scale as a substitute for the dominant

scale. When

bop scale notice that the V7 and the VIIo are one in the same.

. III-7 will

also work for the dominant scale in eight or ten-note.

Gdd #4 is for practicing ascending dominant bop

Exeuprr:
Eight-note ascending

Exalrpm:
Ten-note ascending

84

scale.

scales.

you are using the ten-note

PRA(II(t
Again

as

6RID5

with the previous grids try these variations:

o From each

starting note play only five or seven notes from the bop

scale.

. Play the scales in a triplet rhythm with eighth-note articulation.

r Use the VIIo scale as a substitute for the dominant scale. When you are using the ten-note
bop scale notice that the V7 and the VIIo are one in the same'

. III-7 will also work on the dominant chord'

Grid #4 Ascendin g/Dominonl

Ab7

G7

85

(I]IPItR

14

Grid #5 Descending/Minor
Note that when you are given the seventh as the
starting note there are two options, major 7th
from the tonic minor bop scale or minor Zth from
the Dorian bop scale.

ErA,Naprr:

Eight-note descending tonic minor

a1+_a

p-A

Exq,vpr.r:

Eight-note descending II-7 or Dorian minor

c-7

ci-7

D-7

EL^

PRA(Ti(t 6RID5

Exenapn:

Ten-note descending tonic minor

c_A

Exer,rpre

D[-A

Eb-^

Ten-note descending II-7 or Dorian minor

c-7

Db-7

D-7

As with the other practice grids, try playing only five or seven notes of each scale and also play
scales in triplets with eighth-note articulation. Superimpose the Aeolian scale from a fifth above
the Dorian chord. For example , play A-7 Aeolian over D-7
.

Grid #6 Ascending/Minor

(I]APTtR I{

Exelrpm:

Eight-note ascending minor/major

4-A

c_A

Exa*rpm:

Eight-note ascending

c-7

Exnwpre

ll-7

or Dorian minor

B-7

Bb-7

A-7

Ascending ten-note minor/maj or

c_A

B-A

A_A

Ex,q.upm:

Ascending ten-note

c-7

B-7

ll-7 or Dorian minor

A-7

PRA(TI(t

6RID5

Grid #7 Descending /Donbebl3

e7,el13 oSTbebi3 D.bebts ySTbebt3 E.bebl3

F7beb13 Fil7bebt3

G.bebl3oSrbebt3 ATbebt3 sg7bebl3 B7beb13

Note that for the ten-note bop scales on the dorr.7b9b13 use the dominant scale starting on the
and with a b13. For example, use Ab7b13 ten-note scale over C7b9b73

b13

:]{ \\IPLE:

Eight-note descending

,rbebts

dom7b9b13

,S7befis

orbefis

,Srbels

\ \\{PLE:

Ten-note descending d6p7b9br3

osrbefit

,rbebtz

,rbefie

pS7beb13

Again, for grids #7 and#8 try playing only fir,e or se\ren notes from each scale, play triplets and
also

trv strperimposi ngEbTbg over C7b9b73.

(I]APTtR I(

Grid #8 Ascending/Dombebl3

,rbeb13 BTbebt3 sSTbebt3ATbebt3 sSrbgbi3 GTbebi3 Fil7bebi3 rTbebt3

do

>

\,

ETbebts rgTbebi3 DTbebis

osrbebtt

(,

e
A

a)

d vl,

+i"

TI

,JI

a)

rL,

(J

Note that for the ten-note bop scales on the dom7b9b73 use the dominant scale starting on the
and with a h13. For example, ,r" 4[7br: ten-note scale over g7b9l:73.
Exalrprr:
Eight note ascending DomTbgl'13

,rbebts

,rbebts

gg7bebl3

orbebts

sg7bebl3

orbebtt

Exarrprr:
Ten-note ascending

c7b9b13

,rbeils

dom7b9b73

b13

Ihapter l5: Irossi rlg the Bar Line and

Ihanging Directi 0n

Across the bar line with ten-note bop scales.

A-7

As you can see with this example when you are using ten-note bop scales there can be many chromatic passing tones within the melodic line. This doesn't make the line a better line, the point is
that practicing with the ten-note bop scales is a way to practice using small intervals in your lines.

Of course these lines will quickly begin to sound very one dimentional if not used with other intervallic contrast, but being able to play these ten-note bop scale lines is a great skill to have together.
Try going through the previous tunes using the ten-note bop scales.

The following examples show how to play across the bar using the ren-note bop scales:

Ab-7

Db7
L

)11

D-7

n=bgb13
\)/

Eb*7

c-7

Bb-7

E-7

A7

Bb7

E[n

Ab-7

Db7

Eb-7

G7b9

Ab-7

G_7

C7

(R0l5t|]61Ut

tsARl Nt

You can change directions in the scale by using either chromatic approaches or diatonic

scale

approaches.

Err,raprr:
Chromatic approach

Exarrpu:
Diatonic scale approach

You can change directions within the bop scales after one, two or three notes/ or as many notes

you like. Here is another example:

E-7

R r-t

E r-z

E-7

E r-z

Er-z

r-z

as

illAplH

I5

The following example shows changing directions on a new tune,

tune 9.

Ga

,rbefis

ssrbent

ggrbefis

c7beb13

,srbefis

Fa

ggrbebts

Ab-7

A-7

Bb-7

B-7

,rbefis

4rbefis

A;-7

Bb-7

,grbefis

IRO55IN6 TI]t BARLII]T

W TW&{"M kX.1Xe, IUNE

HERI'IAN'N Y0U

(( INSTRUMENTS)

,rbebts

,srbefis

ssrbefis

,rbefis

Ga

rsrbebts

Fa

sS7bebl3

A-7

Bb-7

Eb7

B-7

E7

Bb-7

Eb7

alt

t)

,rbobts

ssrbefis

,grbebts

(IIAPTtR

!5

il TtA(lt 22/nSr TUNE 9 f,rflrf AN'N Y|U l}h INSIRUMENTS)

D7b9b1

B-7

c-7

96

B;-7

c-7

Eb7

Bb7

rR0l5tN6

lllt

BARLtIlt

p TRA(K 2V123:TttNEg H{-Rt/tAN,N y0U (Eb TNSTRUMENTS)

orbebt

"rbobt

F-7

\)-/

97

Ihapter l6. Scale on Scale

Playing the conventional bop scale for a given chord produces lines with chord tones on the down
beats. So, playing different bop scales other than the conventional one can give a

totally different

sonority and different flavor to the sound.

For example, play a D7 scale over a CA chord. While the downbeats for a D7 chord would be a7,3,

5 andT,those

notes over the CA chord would now be the

g,iltt,13, and the root.

D7/C

Some scales may even work over a given chord using either the eight-note version or the ten-note

version. For example, play a ten-note D7

s-cale

over a CA chord. The downbeats for D7 scale over

D7 chord would beL,2,3, 5, and 7.Over a CA chord those downbeats are 2,3,il77,13, and 1.

D7/C

Some scales that

fit over a CA are:

E-7 Phrygian
E-7 Aeolian
D7

B-7 Phrygian
A*7 Aeolian (which is the same

as C major)

A-7 Dorian (would give CA a Lydian sound)

p7b13 (would give CA a f11 and il5 sound)

Some scales that

fit over a D*7 (Il-7)

are

A-7 Aeolian (same as C major)

G7

Bs
E-7b9 natural13 (glves a D-A sound)

98

5(ALt O|l 5(ALt

Some scales that

fit over C7:

(there are numerous options for dominant chords)

pTbrs

or ten-note (gives the C7il11 sound)

"1*1-r,

Eb7b9

eight-note only (gives the

C7*e sound)

Eo eight or ten-note
Eo natural 9, eight or ten-note (gives the C7il1r

Ff7fifl

"it6,

torrl4)

or ten-note (gives the C7 altered sound)

E#7alt" eight or ten-note (gives the C7f11 sound)

gfl-A (gives a C7 altered sound)

*Here is that eight-note altered bop scale for

scale are 7,il9,177 andT:

Eil7.

The starting notes for an eight-note altered bop

Here is the ten-note altered bop scale for ElT.The starting notes for the ten-note altered bop scale
are

1-,

#9, il17, b13, and

G-69 eight or ten-note

G-69 with
Ab7b73

ATbe

major 7th in the scale ( gives the C7fllr torrl4)

eight or ten-note (gives the C7 altered sound)

with natural 13 or h13 eight-note only (gives the sound ol

Bbo natural 9, eight or ten-note (gives the C7 altered sound)

CTbe

natural 13)

(I]APTtR I6

Here is a new tune to practice some of these scale on scales.

W YWe{"W

CA

W.&z TUNE

Bbtilt

l0 VERY LAIE (( INSIRUMENTS)

rbl

nbzbe

Bbzilt t

srsbg

BA

xbz

ol,l

Ab7

5(Att 0li

W YW&*W ?.&x TINE

ctfr1

l0

I/ERY LATE (BS INSTRUMENIS)

ctfrlt

EA

B-7

Gfr_7

cXt 3be

szbg

5(ALt

(I]APTtR I6

W YWeqW K&x IUNE

c2fr11

AA

l0 VERY LAIE (Eb INSTRUMTNIS)

CA

rzbe

Gzilt

gbl

E7

tb-t

lbr

AA

FXzbo

sh9

5(ALr 0N 5(At{

Try playing tune 10 with the following scale on scale substitutions. The bottom chord is the one
played by the rhythm section (or your left hand for piano players) and the top chord is the bop scale to be played over those bottom chords.
I

W YW&{W, 3.&z TUNE

-Z

,rbts

Phrygion

-Z
obl

INSTRUMENIS)

QJ
r[n

sb7frl

CA

l0 VERY LATE (t

Phrygion

Abl3te

,rbts

Phryglon

esi*t

F-7

Phrygion

Phrygion

F-Z
Ab7

9tr
BA

srs[9

-Z

Phrygion

o1,l

Ab7

BA

A!r3[

E-Z A"olion
A-7

Df-7

B7

Phrygion

F-Z

Phrygion

oh

Ba

G7

CA

Ba

G7

CA

,rbts
Bb7

-Z

Phrygion

Phrygion

F-7

Phrygion

Nz

c
F-Z

Phrygion

Obzr

c
A-Z

o-z

Aeolion

,rlts
^

-bgbl

llApltR

t6

W Yru&{"'{, ?.&z TUNE

l0 VERY LAIE (Bt, INSTRUMENTS)

orbts

Db7

-frr
D-Z

etr sb9

orbts

Phrygion

alfr17

r[n

Ab-,/

tb-/

Phrygion

Ab-7

EA

Cd-ZAeolion

G-7

Fil_7

Bb7

-Z

Aeolton

Phrygion

G-7

Phrygion

Phrygion

D-Z

rh

Phrygion

G-Z

Dt^

Bb7

r[n

Eb7

Cla
A7

F[-Z

Dt^

G-Z
f

bzr

Phrygion

DA

;taD

Cla
A7

,rbts
C7

Phrysion

G-7

Phrygion

Bb7

orbts

EM

,rbefis

A7

Cil,
A7

Phrygion

sbr sbe

E7

Cila

DA

A7

5(ALI O|l 5(ALt

C{-Z
AA

;rbts

Phrygion

A-Z
sbl

Phrygion

Eb-7

Phrygion

efrr
Gil,
E7

-7

Phrygion

CA

ffi

en'vsion

Bb-7 A"olion

ilJ

BA

;7btt

Phrygion

Ab^

Ft3h9

Gila
E7

Cil_7

Bb7

s7b13

Afrr

Abl3be

Gfl-TAeolion

C-7
At^

tbz
rrshg

G7

Phrvoion

E7

Ct-Z
Ii-

9M

Cf-Z

Phrygion

G#,

E7

F[-ZAeolion

Gfr,

B-7

E7

D-Z

Phrygion

F7

orbtl

AA

iill'q;l3

B7

Gil,

A^

E7

Ihapter t/: Skippins Notes of the Bop Srale

Another way of creating some variation in sound when playing the bop scales is to skip some of the
notes. The following examples leave out two notes after a down beat. Leaving out two of the notes
after a down beat insures that the chord tones will still fall on the down beats.
Exeuprrs:
CA

skip

\(]PPI|l6
The following examples use seven notes of the scale and skip notes:

The following examples use ten-note scales with skipping notes:

NOIt5

(llAPliR ti
Skipping notes in the scale can occur from any starting note. Here are some further examples:

Dl and Ei sound more consonant than Dh and

c69

C69

B not.

\t

Ffl

--- --

and D# sound exellent as a chromatic approach

\
try

F# as

well

C and D sound more consonant

Z l0

note

/'
F#

try

Ffi also

and D# also work

------

.-.\

Eb

Ioncl usion
I don't know of any player who uses bebop scales exclusively, but most improvisers of varyinglazz
forms use them at times. This book presents a detailed way to explore chromaticism in scale. Great
music has great detaill The use of bebop scales is one of many details or devices to develop and
inregrate into one's playing.