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Used by countless players over the decades, both consciously and subconsciously, this 8note
scale can be used to add a bit of Bebop tension and release to your improvised lines and
phrases.
In this lesson, you will learn how to build, apply and play the minor bebop scale.
This will provide you with the knowledge and material necessary to add this important scale to
your jazz guitar soloing concept, taking your playing to the next level in the process.
Don’t forget to download your FREE Jazz Guitar eBook!
To begin our study of this important jazz scale, let’s take a look at how you build a minor bebop
scale.
The easiest way to think about this scale is that it is simply a Dorian scale with an added major
7th interval between the b7 and R, creating an 8note scale.
Dorian – R2b3456b7R
Minor Bebop – R2b3456b77R
Here is how that difference looks on the fretboard.
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Since both of these scales are closely related, you can apply the minor bebop scale in the same
way you apply the Dorian scale, over m7th chords.
Try putting on a Dm7 backing track and playing up and down both of these scales in a row to
hear how they sound the same, yet different, over that chord.
From there, you can begin soloing over the same backing track using both scales to hear how
they sound in comparison when applied to an improvisational situation.
Now that you know how to build a minor bebop scale, and apply it to your soloing lines over
m7th chords, it’s time to take this theory knowledge to the fretboard.
Here are 12 different oneoctave scale shapes that you can use to practice the minor bebop
scale in all keys across the fretboard.
To begin, here are four oneoctave shapes that begin with your index finger.
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Now, here are four oneoctave shapes that begin with your middle finger, with the exception
of the 3rdstring root, which begins with the index finger.
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Lastly, here are four shapes that begin with your pinky finger.
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Oneoctave shapes are essential when learning to solo over fastmoving jazz changes.
When you have a few of these oneoctave fingerings under your belt, try putting on a backing
track that has Cm7 for 1 bar and Fm7 for 1 bar, moving between these chords in your lines.
From there you can change the keys or add new keys as you begin to apply oneoctave bebop
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scales to your improvised lines and phrases.
Though oneoctave bebop scale fingerings are essential for fastmoving chord changes, there
are times when you will want to stretch out and cover more of the fretboard with your lines.
To help you expand this scale on the fretboard, here are four commonly used minor bebop scale
fingerings written out across two octaves.
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As well, for those that are interested in players such as Kurt Rosenwinkel and Alan
Holdsworth, here are two fournoteperstring scale shapes that can help you play the minor
bebop scale across a wide stretch of the fretboard.
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Once you have learned these shapes, try putting on a m7th chord backing track in various keys
and using the twooctave scale shapes to build your lines and phrases as you take these
fingerings from a technical to improvisational setting in your workout.
To help you get started with taking the minor bebop scale to an improvisational setting, here are
three classic minor bebop licks to work out in 12 keys, and then apply to tunes you are
working on in the woodshed.
The first lick uses a D minor bebop scale to outline a Dm7 chord over a twobar phrase.
Click to hear Vm P
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Here, you will apply the D minor bebop scale to the iim7 chord in a iiVI progression in the
key of C major.
Click to hear Vm P
Lastly, here is a lick that uses the C and F minor bebop scales over the first four bars of Blue
Bossa.
Click to hear Vm P
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Once you have worked these licks out and begun applying them to your solos, try writing out
three minor bebop licks of your own to practice in a similar manner.
Now that you have checked out how to play the minor bebop scale, how to solo with this fun
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scale, and 3 sample licks, here are links to resources for further study.
Related Articles
Major Bebop Scales
Master m7th Chords
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The 9Note Bebop Scale
on Guitar
Dorian Scale for Jazz Guitar
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Guitar
Do you have a question about the Minor Bebop Scale? Share your thoughts in the comments
section below.
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7 Comments
1. Mamalov, January 26, 2012:
Nice job.
Are these fingerings on purpose?
Don’t you think there might be some easier fingerings?
2. Matthew Warnock, January 26, 2012:
Yeah, these are just one option, you can basically take any Dorian fingering you know and
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just add in the maj7 interval and it will become the minor bebop scale
3. Mamalov, January 26, 2012:
Agree.
Since fingering has always been a matter to me, I’ve come to conclusion it’s mostly
dependent on your ease.
Anyway, I’m really enjoying your post.
Keep on dude.
4. Matthew Warnock, January 26, 2012:
For sure, a lot of it for me is where I am on the neck as well as tempo, those two things
will often define what fingering I use.
5. Chris W, September 22, 2013:
I think the idea of the fingering is to have the tension note and its resolution on the same
string descending (the big spreads accomplish this for 6 to 5 and 4 to 3).
6. Kyle, November 19, 2014:
Hi Matt. I have a question about using this scale as a sub over V chords. Since it’s a
combination of Dorian and melodic minor, I would assume you can move it up a semi
tone and do the old trick. But then the b7 becomes a major 7–which clashes against a
dominant sound. Do you have any advice for being melodic with that major 7th so it
sounds musical? Thanks!
7. Matt Warnock, November 19, 2014:
Hi Kyle
Yes you can move it up a half step and try it out. For the major 7 use it as a passing tone,
or try some of the licks above and move them up a 1/2 step to see how they sound.
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