NE PLAYING * VOICE-LEADING * CHROMATICISM * BEBOP SCALES FOR ALL INSTRUMENTS a advance musicCD Track List TRACK TUNE CCINSTRUMERTS PAGE ‘Tuning Notes (A Concert} Tuning Notes (Bb Concert} Progression 1A. 13 Progression 1B 13 Progression 2A. 18 Progression 2B 18 Alice (version 1) 21 Alice (version 2) : eee Spring Joy (version 1) 25 Spring Joy (version 2) 25 Afternoon In Strasbourg (version 1) 38 Afternoon In Strasbourg (version 2) 38 Hazy Birg (version 1) sod Hazy Birg (version 2) 44 Fall Foliage 50 Is This Thing Called Love? (version V) «156 Is This Thing Called Love? (version 2) v0.56 Have You Met Miss Miller? (version 1) ..u.60 Have You Met Miss Miller? (version 2} .u...60 Great Moments (version 1) 8 Great Moments (version 2} 69 Herman ‘n You (version 1) one 9B Herman ‘n You (version 2} 98 Very Late : 100 Demonstration 1 Demonstration 2 Demonstration 3 Demonstration 4 Demonstration 5 Demonstration 6 Demonstration 7 Demonstration 8 Demonstration 9 Demonstration 10 INSTRUMENTS PAGE INSTRUMENTS PGEIntroduction Adding chromatic passing tones between specific tones of the diatonic ggale is a device that musi- Je sound harmonically right or consistent with cians often use. This technique helps to make the sea the chord. These scales are sometimes called bebop scales. [ think of them as jazz scales because many of my favorite jazz players 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 practical proach to chromaticism, line playing, voice leading, and to learning and integrating bop scales into one’s playing,Chapter |: Major and Dominant Bebop Scales Bebop scales are chord scales with added chromatic passing tone: the chord scales. When. wey are created by interjecting one or more nondiatonic passing tones int e passing notes are added to ¢ diatonic chord seale certain notes then stand out in the scale There are several commonly used bebop scales, major and dominant are the most common, The following example spells a C major bop scale. An “Ab” be used assing tone is added between the fifth and sixth notes of a C major scale. Bop scales can ascending or descending scales although descending is more common. When you play this bop scale, as a result of the extra note, every down beat is a chord tone. The chord tones voice lead the scale making the line sound just like the chord. You should start a major bop scale on root is result of voice leading the chord. If you start the scale on second, third, fifth, or sixth to insure ¢ fourth, béth, or seventh the line will not sound like a major bop scale because the down beats will not spell the chord. The following examples spell out a C major bop scale descending and then ascending with different starting notes From THE ROOT as : aS Fron tHe 30) From tHe sriFron rue 61: From Tie 2Nb: The following example spells the C major bop scale starting on the second step. The down beats then become D, F Ab, and B which describes a D diminished or a G7 sound rather than a C major. There are ways to start the scale from any note but this will be diseussed in further chapters 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 extra 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 FF (Gb) the major seventh,-but it is used as a passing tone, When you include this passing tone the down beats again spell out the chord. Start the scale on the root, third, fifth, or b7¢h : Gy staxrin on THE ROOT G7 stagtinc on THE 38DGy STARTING ON THE 51H Gy staRTING ON THE 7TH: If you start the scale from the 2nd, 4th, 6th, or major 7th scale step, the line sounds backwards The following example spells the G7 bop scale starting on the 6th. This line sounds more Flo or a D7 than a G7, G7 staRTING FROM THE 6TH, 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 cortect starting note but play it on the up beat the line will again sound like a different chord. Exampte ~ G7 Gy wackwarpsExam ‘The first practice assignment is to play through the following progression (A and B) with bop scales starting on the roor descending. Play full octaves of the scale for each chord change as in the following example: A. Root descending With that same rhythmic pattern play through the progression using the following starting notes and direction: B. Root ascending 3d descending D. 3rd ascending E. 5th descending F 5th ascending G. 6th (if chord is major) of 7th (if chord is dominant) descending H. 6th {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.MALOU AND OOMIRANT BEBOP ScA > TRACK 3: PROGRESSION TA (C INSTRUMENTS) ce? 7 Bb6? Ey OE A = a a Te | ob7 e6? AZ 6? G7 LL — Sa Zz ———— ————— ® TRACK 4: PROGRESSION 1B (C INSTRUMENTS) Be? —7 Ao? 07 LFF FI Df FF SScunt > TRACK 3: PROGRESSION TA (B> INSTRUMENTS) » TRACK 4: PROGRESSION 1B (Bb INSTRUMENTS)MANOR A80 OOMIMAS) BEBOP SCALES > TRACK 3: PROGRESSION 1B (E> INSTRUMENTS) ® TRACK 4: PROGRESSION 1B (E> INSTRUMENTS)Chapter 2: Tonic Minor and Dom/>9>13 Bop Scales he tonic minor 6th chord (I-65) arid the V7%!5 chord pise th jor key. For example, as with a CA boy e between the 5th and 6th notes of the scale. A here are two options for spelling the tonic minor sea 69 chord seale you can use either B natural or Bb since the 7th (C69 usING B NaTURAL (C69 vsine Bh eo 6 th ie ST pd e same as a G7 chord in that the passing tone is between the root and 7th of the e scale on the 1, 3,5, 0F7., 2TOT MINOR AND DOMIEGUIIOF Scat The next practice assignment is to play through progression 2 scale starting on the following notes A and B) a full octave of each bop A. From the root descenditig: (Use either of the tonic minor scales and use the same rhythmic pattern as with assignment 1.) ExaMrte, B, From the root ascending, a I I I I I I I I CC. From the 3rd descending | D. From the 3rd ascending E. From the 5th descending I FE. From the Sth ascending G. From the 6th (for -6 chord) and 71h (For Dom79) descending H. From the 6th (for -6 chord) and 7th (for Dom7*913) ascending I I I I I I I I 1. Random choices for starting notes descending or ascending,carte > TRACY S: PROGRESSION 2A (C INSTRUMENTS) p7bobis Bin? e,7b913 Abe? piz9b13 Fe? p7bbi3 LAE SD LLL PL DP DIL PDD} A7i9b13 pa? g79h13 9 TRACK 6: PROGRESSION 2B (C INSTRUMENTS) e £7913 we? p7b9b13 ee ee ee ee ee ee ee BS ql |C4 3: PROGRESSION 2A (Bb INSTRUMENTS) g7b9b13 8 E7913 AN? PDS I LDL r0? g7h9h13 £68 TOOT MINOR ANE FaKIO SBOP SCALES e7b9b13 te LF pi7b9h13 Se ls ® TRACK 6: PROGRESSION 2B (BL INSTRUMENTS) 8 £47913 h7b9b13 eb? LLL LL fl PP LP e7h9b13 ‘Ap7b9b13.® TUACK 5: PROGRESSION 2A (E> INSTRUMENTS) Ne pygnis oe cpbonns DC FSI PT DIT < Fe? pi7h9b13, e6? ‘Apph9bl3 CLD DF PL ee a oe pons oe eposins @Z ID Vea ae ae ee > TRACK 6: PROGRESSION 2B (E> INSTRUMENTS) 479913 Apo9b13, LLP ce £79613 Bie? £70913 7D DD ADP TF PPChapter 3: Scale Segments - Using 5 or 7 Notes nd 2, using a whole now go ¢ seven notes of the sca Practice with the same specific starting notes for assignments L and 2 and then practice using ran- dom starting notes, You are starting and ending e ale on a chord tone. Example: Root descending with seven notes 57913 eth, SSE Next play seven notes of each chord scale on the following tune, When there is a l-7 V7 in one bar just use the domina for now. (You can also try just using five notes of the scale) | Use all chord tones for s notes ascending and descending 1, 3, 5 or 6 for tonie and 1,3, 5 or 7 for dominant. - Example: D-7 G7 | use G7 bop scale for the whole bar > TRACK 7/8: TUNE 1 ALICE (C INSTRUMENTS) APIS oD a a a a ee Bo-7 Eb7 A-7 o7 Ab? Db7 |Ta 7 TUNE 1 ALICE (B> INSTRUMENTS) GA Feo B7d9b13 e-7 AT Dee? G7 ber a a a a w C7 F7 8-7 &7 cr OF LA Pf AD AAP © > TRACK 7/8: TUNE 1 ALICE (E> INSTRUMENTS)Here are the first four bars of the tune written owt with each Root DESCENDINGwnt I Ranpom cHorce Practice this for hundreds of choruses so that you get the sound in your ear and it becomes some: thing that you can do in “auto pilot”! Here is another tune to practice with: Again, remember that if there is a 1-7 V7 in one bar just use the V7 scale for now. Poy: FA Ap9b13 G7 Fa Eo APHIS p-7 o7» TRACK 9/10: TUNE 2 SPRING JOY (C INSTRUMENTS) Gia AL-7 D7 Gha 8-7 E7 EE| > TRACK 9/30: TUNE 2 SPRING JOY (Bb INSTRUMENTS) I 8-7 EPIS — a7 07 Ga Bb-7 Eb7 : : PALS Ff Bow ne cr G47 4 7. a ee I C7 F793 ah 7 E7 Aba B-7 €&79/10: TUNE 2 SPRING JOY (E> INSTRUMENTS) 7 ar ba ey Se Se BAAS gz a7 Da F-7 87 La PAPChapter 4: Harmonic Anticipation ‘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 playingeach bop scale on the fourth beat of the preceding measure Examrte; I On Spring Joy ~ root descending — one beat early Play through the previous progressions and tunes from chapters 1-3 using all of the specific start ing 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 melodies. Examece: On Spring Joy from the third descending I The following is an example of using just five notes of the bebop scale and starting one beat earlyEREMOYIC ANTICIPATION Try using random starting notes one beat eatly with fi notes of e ry bop seale, Exawete On Spring Joy random starting notes Taking it another step further, try playing five notes of each bop scale two beats early, asin the fol lowing example Exaserte: From the root descending Now try five notes of the bop scale two beats early with random starting notes Exameur:CHAPTL & i From the third descending, ond playing them one beat late, I another exercise try playing only three notes of the bop scale, starting on different beats from random available notes as in the following example, Finally, try mixing up all of the preceeding practice exercises using harmonic anticipation or delay fon the progressions and tunes. The following example is on the tune Spring Joy. Keep in mind when playing through this example that there is something wrong with the “whole pictur sound. Playing only bebop scales which constantly repeat the sound of intervals of a second be- comes very one dimentional, This is truly just practicing scales.EXAMPLE: After playing the bet cales 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 ability to hear what is coming up next.Chapter 5: Bop Scale Modes e are the bop scale modes, Tonia Doaian Puirycian Lyon Mixowo1anArOuAN Locriay Examrue A-7 Aeolian \ be» - o tee Bo. locrian ton the 1,3,5, or 6. All of the oth: 7. You can start these scales from any of their down beats Notice that both of the major sca 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 A-7 Aeolian scale. This scale could also be used on a D-7 chord, or an FAM, 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 CA, D-7, FA, G7, A~7 and Bo chords FA Lydian is the same as D-7 and can be used on G7sus. The G7 Mixolydian mode can be used on D-7, FA or Bo. ‘A-7 (same as CA) can be used on FA D-7, or G7 sus, Bo can be used on G7, 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 But over a CA chord these starting notes are now the 3, 5,7, and 9. If you play the E-7 scale over an FA chord, those starting notes are now the 7, 9, 11, and 13. THE SOUND Is DETERMINED BY WHAT IMPROVISER WOULD LIKE TO HEAR,WATER 5 Try playing through progression Lin chapter Land use the mode a major 3rd above the chord. Use E-7 over C Bo over G7 ete... Remember that E-7 is Phrygian over CA and Bo is Loerian over cr. \ Examrtr Progression 1 . LLL pf LL Progression 2 OE7 Gio ch? Fo Ba &7 AA D7 os a a a a a A a a a | eChapter 6: Bop Scale Modes for Tonic Minor and Dom/>9>8 Chords Over a C-69 chord use a G7 natural 9 and $13 or a G-7 Aeolian bop seal oeeeee enna phe te SS a ‘The downbeats or starting notes for this scale are G, B, D, and F or 1, 3, 5, and 7 over a G7 chord. But over chord those notes are the 5, major 7, 9, and 11 The starting notes or downbeats are 1, 3,5, and 7 on a G-7 chord but they are 5, 7,9, and 11 ona C69 chord. Von C6? There many different bel sound to th 7th chord. Each one giv eats, For example over a G7 v9 Ss 7 WonG7CARTER 6 . Here i Try another example: £47*15 bop scale over G 13 5 Zen kb7 ’ be be — 13-5 HD, B17 jon I] exercise and substitute some of these aying through the original tonic minor prog ent scales over the chords: Progression IIA SSeS Fae A779. or D713 £79213 pp 9b13 Bho? p79 cab or 7013 ~ 5799513 LoD TFET ST | 79 or F213 AyalVOR SCALE MODES F0R TONIC HINOE AND ORDO Progression IIB 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/G7/E-7/A7, use the Dorian bop mode seale for D7 ( n bop mode scale for E~7 (III-7}. When there is a II-7/V7 chord change in one bar use the dominant bop scale for both chords. For example over Bp-7/E97 just use E57 and the Physi scale,canie 6 z= = AS A7 D7 Ga |NODES FOR TOW MINOR AnD poMH CHORDS I > TRACK 11/12: TUNE 3 AFTERNOON IN STRASBOURG (B> INSTRUMENTS) fi Oo Eo A713 | Da E7 A7 Da LADD AA LL PALS J LLS ed m7 £7 a7 F-7 579413 A777 7 Lf FF oo oo - — 7 Ba B-7 £7 AA AT 7Bias 4 Fa Bo EPrOb1a laa B-7 E7 GQLIP TDD DAD PPL DA PP |Chapter 7: Bop Scales Starting on the 9th So far we have discussed starting the bop scales on the 1, 3,5, or 6 for tqnic chords and the 1, 3,5, and 7 for dominant chords. Using the bop modes has given us the opportunity 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. EXAMPLE: 9 descending to 1 Notice that once you hit the note C you continue playing the appropriate major bebop scale. Examete: 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 ”The following examples spell out bebop scales starting on the 9 for different chord types. The ire. led note indicates where the initial bebop scale begins. Note that on this last example for C713, 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, Db to C, are scale approaches to the Bb where the initial scale then begias. cea oe Jotice here on the ascending line that the initial bop scale is not started until you reach the fifth of the chordC-7 Dorian Go over all of the tunes and progressions we have u Ith, Add the followin hus far and begin bebop scales from the ane to the list! For the following tune use the Dorian bop scale when there is a minor 7th chord for a whole bar.8 13/14: TUNE 4 HAZY BIRG (C INSTRUMENTS) 07 C7 F7 F-7 Bb7 A? er LL DD DA LLL 8 1 [z I ea A7 07 | Ga Ab-7 DWT Ga 0 QLLLS LS SL LSS err ry LLA S| . I eee 6 Ga Ab-7 Db7 Ig POP EA A PP Pf fh © A-7 D7 A7 D7 c-7 °7 F-7 Bb7 I Cz DL DoDy TRACK 13/14: TUNE 4 HAZY BIRG (Bb INSTRUMENTS) ec 6-7 e7 LA ALD APD PP PP PP i 2 7 7 | Aa B77 Aa LL AD LP LD AA L SAAT eee f= 8-7 £7 Aa B-7 B7 eeane I > TRACK 123/14: TUNE 4 HAZY BIRG (Eb INSTRUMENTS) 787 A? 07 D7 o7 pew’ LAP LA DDS IP PL fF Fe I ca fe7 87 | ee C2 LLL LIE ET PN ATE =| 7 GS 7 8u7 LTA DD PAD APA Ce ee ee ee ee 5 ° peHere is tune 4 bebop scales starting from the 9th written out: Tune 4 starting on the 9th ALES STARLING OF THE 9HChapter 8: Bop Scales Starting on the Ithepionns Aes ss 6 Potton eps a pao bebe te por Seo cat! Qe fe #f eS eecaries “Tay starting bop scales on the 11th on this new tune: > TRACK 15: TUNE 5 FALL FOLIAGE (C INSTRUMENTS) 79613 GA oe zZ SS a o7 F7 B-7 —7 ba, QLD FT Z = PoP G = Ao 7913 fom 67 =I Z = 5 © = = Ao p79bl3 GsHOP SCULLY Suanting ay rae ante ‘Try starting bop scales on the 11th on this new tune: 9 TRACK 15: TUNE 5 FALL FOLIAGE (Bb INSTRUMENTS)starting bop seales on the TLth on this new tune 18 bop 3: TUNE 5 FALL FOLIAGE (Eb INSTRUMENTS) Fo g7b9b13 62S SFE 6 = ——— Zzbor scuLis STARTING aN LAE Here are the bop scales starting on the 11th for tune 5 written out p7b9b13 “beet ete Eba Ae p7'9h13 gaChapter 9: Bop Scales Starting on the [3th “Ar nm mmeHE mmm eH Ee Eee Ee Ee eS oS 1BOP SCALES stanriNG O81 SSS —Sanebe fae In this last example, ascending from the c initial bebop sca on tonic minor, notice how long it takes before you can Tey starting bop scales on the 13th orb13th on the next tune. For major chords start on the 7th to imix it up a bit .Hane » TRACK 15/172 TUNE 6 IS THIS THING CALLED LOVE? (C INSTRUMENTS) De 7913 cA é LL PI Pp a Go c7b9b13 FLA PP G79b13 PELL9 TRACK 14/37: TUNE 6 IS THIS THING CALLED LOVE? (BL INSTRUMENTS) HOP OSCALES STLETING G8 IE BEE Ao 7/9013 C7 6 — a = _ Azi913 Da @7 = at = Ae 079613 G7 oF = = Fa oA 4 SSS 2 LPP PFT fo A7b9bi3 Da SE fs — —— — A709b13 4 Eo Da 6 7= Zz : ———f oCupiee § Eo peel D-7 D-/C CLL DDD DP PP DLT PP e Boinfeat For the next assignment play through t nd start bop scales on every ale degree both de- seending and ascending, Then play throu ® TRACK 13/19: TUNE 7 HAVE YOU MET MISS MILLER? (C INSTRUMENTS) he tune and make random choices for stati Fa 749513 G7 Eo A793 CLE AE = J D- LF P= nam EE ea lS oSBOP SCALES STARTING ON THE DT 13/19: TUNE 7 HAVE YOU MET MISS MILLER? (B> INSTRUMENTS) Fto a7b9b13 TAF FL £7913 ay o7 [4 7 7S Fto 7b9b13.a 4 Karten § i » TRACK 18/ TUNE 7 HAVE YOU MET MISS MILLER? (ED INSTRUMENTS) ba a7b9h13 gy7!9013 Veer 2 ve Lat | —7 <7 Bb7 E-7 AT [ PPE L LF IFES FAP ST a709b13, Bo Cte 14p919 AFL DIT LT DP LT a a a a ee Bi7 ba CHe7 Fez. _O08 SCALES STARTING OW The following is an example of random choice starting, notes on tune 7. : p7b9b13,Chapter 10: Across the Bar Line The topic of this ‘The gal for the improviser ig 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 t of the bop scales so that when the scale scale from whatever that note may be. +hapter is connecting bop seales a © to have accessibil with all starting notes asses over the bar line into the next chord you « + beat of measure une and con- (One way to begin practicing this is to play a scale starting on the fi tinuing in the next measure with seven notes of the next bop scale. Here are some ples ‘ROM 9 DESCENDING 7 AT F-7 Bb7 Eba AW7 D7 FROM 3 DESCENDINGscnoys Tae aad au From 4 OFSCENDING E-7 £4 ph FRoM 5 DESCENDING From 6 DESCENDING. Ab-7 ou7 , a PR tebe babeunre io Another alternative for connecting scales across the barline is to make the beat on the “and” of foura chromatic approach to the nearest scale tone of the next chard (or next har). In the followving example the chromatic approach notes are circled Exam FROM ROOT ASCENDING Ba.Mavs rH pantine at 4 ASCENDING Fro! From 6 ASCENDING! £-7 —_— From 7 ASCENDING:Cay iea = ae “BS H = = = = \ -— 4 . . € tt AMPLE: 7 Another way’ to practice crossing the bar ine isto play beats 3 and 4 of one bar into beats 1, 2 and of the next. Some examples follow. F-7 87 Eba, ALT D7 Notice that on beat four “and” the extra notes in the bop scale, such as #5 for major chords and the major 7th for dominant chords, are excluded if the next chord tone is not a half step away. | The note Gt is not needed | |AC 0sS THE BARLINE Play through this next tune and cross the bar lines with any of the methods discussed previously. ‘Onve you have crossed from bar 1 10 2 and 3 to 4, 5 to 6, go back and repeat the exercise crossing, 7 Ay F7 Bb7 Eba. Ab-7 ob7 Bb-7 €b7 Aba c7 Ab-7 D7 Sha. F-7 Bb7 ge o7 6-7 Ay Dba De 7913 c-6? B-7 EL Aba fy a Sf Zi o ~ Eba F-7 Bo Pedal a Eba, F aeTUNE 8 GREAT MOMENTS (BL INSTRUMENTS) oz Fa B77 OLS Sf SP SP SL SD PL FL PLS SF PS) fo A913 LPL LL Bb-7 Eb7 oe a a oe G-7 c7 FL LLP PL ae 7 a ay 7 or N04 A LA ALLD ALLL DSS A ASSL AAA : I 5 fae G7 A? G-7 Kw © 0 Pedal> TRACK li: TUNE 8 GREAT MOMENTS (ED INSTRUMENTS) a7 A o7 7 ca 17 owe a a a © Eph9bi3 oe &7 C7 A? G7 LF PPT = a8? G7 C7 Fa” F-7—Bb7 £7 A7 D-7 G7Chapter II: Rhythmic Variations ‘To give a little variety to a rather dry sound try playing the bop sales in triplets but accenting as if they were eighth notes. For example, instead of playing on the first four bats of tune 2 like this: The artis lation is the same as ifthe line were played with eighth notes. If you articulate accenting the first note of every triplet like so, the passing tone will yet an undesired accent, Playing triplets across the bar line also has a great effect. Here is an example on the be ‘ginning eight bars of tune 2,HUTTE vamiatioNs Being able to start on any note and play triplets across che bar line és a great skill to develop for ‘good voice leading. Another rhythmic device to try is playing the scales as if in half time. Here is an example again on tune2. Fa BL-7 EL * he Another rhythmic device involves playing a 3/4 chythm over 4/4, This next example uses this rythmic pattern, == 7-7 on tune § oF Ay F-7 Bb7 Eba, ADH? ob7 This line contains octave displacement when moving from the Db7 to D-7 and again when moving from the Dbd to the Do because of the range involved. Notice that the new bop scale starts with the quarter note, Here is another example:marie Another rhythmic variation is playing quarter note triplets articulated like eighth note - A? o7 Here is an example using some of these different rhy ice-led scale Even with the use of rhythmic variation there fs stitf'something wrong with this picture or sound Playing only bebop scales which employs so many chromatic passing, tones creates a one dimen tional sound,5 Chapter 12: Melodic Variations - Approaching and Leaving Off the Bop | Scale With Tag Notes = | I A7 F7 Bb7 Eba £-7 get (ee ee ee 6c Se eerAnother option for adding variety to the sound of the bop scales is approaching them with one two, oF three melodic tones. The following is an example pproaching a five note bop scale with Notive that [ approached beat L 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: E-7 Az 7 ba ee to. a7 F7 87 eba. Ab-7, 7 = & fiMELON rattayion The following is an example of approaching and leaving bop scales with larger interval- : ———— 9 —— =a Gt tee SJE fps ‘© oe = . a _—_——. —— , = SSS ae eee = " OLS = E ee So tee fe ed ee teHa wort nop 54a Also notice that CA and A-7 are the same scale, D-7 and FA are the same scale, and Bo 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-nore or the eight-note bop scale in ottr improvisations Consider next the ten-note bop scale for the tonic minor/major chord. co or C69 To determine a ten-note bop scale for a dominant 7°%13 C7191 chord the following three scales Fit. chord there are a number of options. For a ExAMPLe D713 ten-nove aver C7913 #27411 cen-note over C713 ote ne C44 ten-note over C713Notice thar pla same note of an content of d bebop scale, Descending from § on a CA (eight-note) Exam Descending from 3 on a CA (eight-note) Exanrce: Ascending from 5 on a C7 (eight-note) Chapter 14: Practice Grids As with the examples below the material we've co e rhythm has a tighter sound with a ten-note hus far allows usta number of choices, note scale and descending ni a at the intervallic pared toa eight-note {ten-note ) (ten-note} Ge abe e (ten-note) —_—_— a =a etebr ten-note major bop seal the given note, Here are the first four measures for this exercise using the then the ten-note scale. Examrlt Eight-note Examtt Ten-note oeuri EXAMPLE: EXAMPLE ee ee ee ee ee ee ee ee ee ee ee ee BS Other ways to use this practice grid include notes from the bop scale, + From each starting note play only five or se # Play the scales in a triplet rhythm with eighth nore articulation * Use the III-7 scale over the major chord. For example over CA substitute the E-7 bop scale, The next grid can be used to practice ascending & note or ten-note bop scales Eight-nore ascending, Ten-nowe ascending, Again other ways to use this practice grid include the same as above + From cach 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 trip- let rhythm choose 5, 7, 9 oF 11 notes in order to start and end on a chord tone as with the eighth notes. * Use the III-7 scale over the major chord. For example over CA substitute the E-7 bop scale.Pairs eens Grid #2 Ascending/Major a7 AT ~ G7, FR F7 a7 Grid #3 Descending/Dominant 87 07 7 Db c7apne ak Use grid 43 to practice descending dominant bop scales. Fight-note descending c7 D7 07 by ttt. ot Ten-note descending, == Again as with the first two grids try these variations: + 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 * Use the Vila scale as a substitute for the dominant scale. When you are using the ten-note bop scale notice that the V7 and the Vile are one in the same. # I1L-7 will also work for the dominant scale in eight or ten-note. Grid #4 is for practicing ascending dominant bop scales Eight-note ascending =—— Ten-note ascending >PUNCH Gans Again as with the previous grids try these variations: + From each starting note play only five or seven notes from the bop scale * Play the scales ina triplet rhythm with eighth-note articulation, + Use the Vilo scale as a substitute for the dominant scale. When you are using the ten-note bop seale notice that the V7 and the Vilo are one in the same. ‘¢ IIL-7 will also work on the dominant chord. 2 Grid #4 Ascending/Dominant Bb7,cunt Grid #5 Descending/Minor Note that when you are given the seventh as the starting note there are two options, maj 7th from the tonic minor bop scale or minor 7¢h from the Dorian bop seale es ce oD EL © 0 6 the Exar Eight-note descending tonic minor Examce Eight-note descending 1-7 or Dorian minor |PACU aes EXAMPLE ‘Ten-note descending tonie minor Exawrce Ten-note descending II-7 of Dorian minor Db-7 D-7 Eb7 aa Tobe = = = ire ae sale ol As with the other practice grids, try playing only five or seven notes of each seale and also play scales in triplets with eighth-note articulation. Superimpose the Acolian scale from a fifth above the Dorian chord, For example, play A-7 Aeolian over D-7. Grid #6 Ascending/Minor |.Bune Eight-note ascending minor/major Examote Eight-note ascending II-7 or Dorian minor Exampcr Ascending ten-aote minor/major nN Examue Ascending ten-note II-7 or Dorian minor “DsPRACIEL GeIns, Grid #7 Descending/Dom»913 79619 p79} 13 574913 617913 g7bOb13 p79613 gy79H13 G7I9PI3pj719H13 , 749013 gi 799013 g7b9b13 Z See = =o= a= 5 oe 5 Note that for the ten-note bop scales on the dom713 use the dominant scale starting on the b13 and with a 613. For example, use Ab7!3 ten-note scale over C713 EXAMPLE! Eight-note descending dom7*13 c7i9b13 piyishi3 p7b9b1s eypoh13 6 Se tebe Exace: Ten-note descending dom7"13 7913 py7b9h13 p7b9bis g79b13 oe Again. for grids #7 and #8 try playing only five or seven notes from each scale, play triplets and also try superimposing B57” over C703,ane Grid #8 Ascending/Domb913 7/9613 g 769413 gir Pb13p 7/9513 55719013 G7)9H19 garbOb13 grb9b13— 719613 g47h9b13 p7)9413 pyp)9113 an Rd Se me bts eo © 7 O5 & i & « bo oe Note that for the ten-note bop scales on the dom? use the dominant scale starting on the b13 and with a 413. For example, use Ab713 ten-note scale over C7H12 Exar: Eight note ascending Dom7%13 Ce PC et Ce Ce OS = 2 YY 2 g7)9b13, 6 ohh Fy Svs ees Ten-note ascending dom7913 g79b13Chapter 15: Crossing the Bar Line and Changing Direction Exanrte, Across the bar line with ten-note bop scales. BA gp — tote te 6c G Gri eet o eho teh ae Of course these lines will quickly begin to sound very one dimentional if not eat skill to have together, t, but being able to play t Try going through the previous tunes usiRuartee t The following examples show how to play across the bar using the ten-note bop seales L c-7 F7 8-7 87 Aba Ab-7, D7UoystNe aE BATU You can change directions in the scale by using either chromatic approaches or diatonic scale Exanett Diatonic scale approach You can change directions within the bop scales after one, two or three notes, or as many notes as you like, Here is another example:3 directions on a new tune, tune 9. i The following example shows char Ge 7913 * ky 79613 = ete te abe she Le ; - (ope bag akeCassin THE baRtine 23: TUNE 9 HERMAN ‘N YOU (C INSTRUMENTS) Ab-7 bbz A-7 07 ALT D7 Gha Bb7 £7 8-7 £7 B77 lz ca cpb9b13 fe 7913 5 a CLIPS 2 @ Foo Ab799513 Dba (Saas(ARTEL 5 )7>9b13 We LL DS C7 cH AZ. C7 ‘7 Bb7 as a IF ho p79b13 Ge C7913 LA A A LD PPL ICROs THC BRUIT 9 TTACH L223. TUNE 9 HERMAN ‘N YOU (Eb INSTRUMENTS) I a A7r9b13 De G7h9bi3 + £ Co F7b9b13 Bba DLT 87 F7 Bb7 Ebs e y= A7>9b13 Do © e ca F7b9b13 Bhs % a, = — G7 c7 GL7 cy G7 7 °7 IChapter 16: Scale on Scale Playing the conventional bop scale for a given chord produces lines with chord tones on the down bears, So, different bop scales other than the conventional one cart-give a totally different sonority and different flavor to the sound. For example, play a D7 scale over @ CA chord. While the downbeats for a D7 chord would 5 and 7, those notes over the CA chord would now be the 9, 411, 13, and the root b7/c Some scales may even work over a given chord usi ther the eight-note version or the ten-note note D7 scale over a CA chord. The downbeats for D7 seale over a D7 chord would be 1, 2, 3,5, and 7. Over a CA chord those downbeats are 2, 3,411, 13, and 1 version. For example, play a te D7/c Some scales that fit over a CA are: E-7 Phrygian E-7 Acolian D7 B-7 Phrygian A-7 Aeolian (which is the same as C major) A~7 Dorian (would give C4 a Lydian sound E7¥15 (would give CA a #11 and #5 sound) Some scales that fi over a D-7 (II-7) are A-7 Aeolian (same as C major) G7 Bo £-7 natural 13 (gives a D4 sound} a I i i I I I I I i i 6 I I I I | I I I Iseales that fit over C7: (thereare numerous options for dominant chords) eight or ten-note (gives the C741 sound) £57 eight-note only (gives the C7? sound) Eo eight or ten-nore Eo natural 9, eight oF ten-note (gives the C7#1 sound) rs FA7#It eight or eon-note (gives the C7 altered sound} F¥Zale* eight or te note (gives the C7 ound) CHA giv C7 altered sound) “Here is that eight-note altered bop scale for F47. The fing notes for an vight-note al ed bop scale are 1, #9, #11 and 7: Here is the ten-note altered bop scale for F47. The starting notes for the ten-note altered bop scale are 1, #9, 411, b13, and 7: G-69 eight or ten-note 69 with a major 7th in the scale (gives the C7#"! sound) eight or ten-note (gives the C7 altered sound) A7* with natural 13 oF b13 eight-note only (gives the sound of C7? natural 13) Bho nat 9, eight or note (gives the C7 altered sound)® TRACK 24: TUNE 10 VERY LATE (Bb INSTRUMENTS) Da c7ll a a eae 8-7 GET cag? aCuan Ly a TRACK 24: TUNE 10 VERY LATE (Eb INSTRUMENTS) Aa G7! ca F729 Fo FD fff “BS pees = FRX | N I \ 6 E7 AA o7tl! OF FP PF FF aa . 484 FLT Abs? a a a I Fa FSF ° I CH7 F7 BbA EF ar 4D LD YFP = .Try playing tune 10 with the following scale on scale substitations. The bottom chord is the one I played by the rhythm section (or your left hand for piano players) and the top chord isthe bop sea- StL Oy SLE le to be played over those boxtom chords. > TRACK $2 TUNE 10 VERY LATE (C INSTRUMENTS) P13 Cc?’ E=7 Phrygian 7 G7 Phiygion a ap7etT Eba F-7 Phrygion 7 destin CH-7 Aeotion Da 7 RT F-=7 Phrygion C-7 Phrygian Ab7 D7 gen Be ei Ba Ab7 Dba oF = : ——=— ——— : a7 Be BA G7 F=7 Phrygion Bo E=Z Phrygian Dba G7 cATay bis E407 Prin o7 AZ Pheygian DW Da Fa Ct-7Acolian G=7 Phrygion D=7 Phrygion 2 Lo / 7 fa 9 e F=7 Phrygian G=7 Pheygion G=Z Phrygian pls N Dba, Bb7 Eba G~7 Phrygian a7SCALE ON SCALE > TRACK 24: TUNE 10 VERY LATE (E> INSTRUMENTS) C#-7 Pheygion aris E=7 Phrygion AN7, AS ca C$-7 Acolicn Bb-7 Aeclien Ee 7 Ang? Gt-7 Acotion D-7 Phrygion AX7 Pheygion Gto cr? F7 Bba E7 C-7 Phrygion D=7 Phrygian D=7 Phrygion Azrl3 ADA F7 BA. G7 D-7 Fh ce pls =. Phrygian Sto C#—7 Phrygian Bh 7 ae Fy be Ze o Ste 87 Sto E7 AS —7Chapter I7: Skipping Notes of the Bop ScaleI Skipping notes in the scale can occar from any starting note, Here are some further examples:Conclusion