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The Bebop Scales Workbook Daniel Fedele

www.cuadernodeejerciciosdearmoniamoderna.com

The Bebop Scales Workbook Copyright © 2007-2016 Daniel Fedele All rights reserved

Contents 1 2 3 4 6 8 9 10 11 12 13 15 17 18 19 20 21 22 24 26 27 28 29 30 31 32 33 34 35 36 37 38

Major bebop scale: fundamentals Major bebop scale: melodic patterns in C -modelMajor bebop scale: melodic patterns in C -templateMajor bebop scale: rules -modelMajor bebop scale: rules -templateMajor bebop scales -modelMajor bebop scales -templateMixolydian bebop scale: fundamentals Mixolydian bebop scale: melodic patterns in C -modelMixolydian bebop scale: melodic patterns in C -templateMixolydian bebop scale: rules -modelMixolydian bebop scale: rules -templateMixolydian bebop scales -modelMixolydian bebop scales -templateDorian bebop scale: fundamentals Dorian bebop scale: melodic patterns in C -modelDorian bebop scale: melodic patterns in C -templateDorian bebop scale: rules -modelDorian bebop scale: rules -templateDorian bebop scales -modelDorian bebop scales -templateBebop scales with forward motion I Bebop scales with forward motion II Basic syncopated rhythmic patterns Bebop scales with syncopated rhythms and articulations Bebop scales study with melodic pattern Bebop scales study with syncopated rhythmic pattern Bebop scales study with articulations Bebop scales study with forward motion Bebop scales study with chromatics Bebop scales study with pivoting Bebop scales study with skips

39 40 41 42 43 44 46 47 48 50 51 53 54 56 57 59 60 61 62 63 64 65 66 67 68

Bebop scales study with embellishments Bebop scales study with clichés Bebop scales study in relation to rhythm Bebop scales study with swing Bebop scales study with other scales Transformation of the bebop melodic line Bebop scales over the major II-V-I progression -modelBebop scales over the major II-V-I progression -templateBebop scales over the blues form in C Bebop scales over the blues form in C -templateBebop scales over the blues form in F Bebop scales over the blues form in F -templateBebop scales over the blues form in Bb Bebop scales over the blues form in Bb -templateBebop scales over the rhythm changes form Bebop scales over the 16 bar form Bebop scales over the AABA form Minor bebop scales -modelMinor bebop scales -templateThe bebop modes of the major scale in C -modelThe bebop modes of the major scale in C -templateScales study organization C Scales study organization Bb Scales study organization Eb Notes

Major bebop scale: fundamentals On Beat

        





4 2 1 No passing tone. Chord tones fall on off beats

Incorrect

On Beat

          Correct

6





b6





5 3 1 Chromatic passing tone. Chord tones fall on on beats

Rules: A From 7. 5, 3 or 1: one or three passing tones

        



        b6

                    b3

b2





b6

B From 6, 4 or 2: no passing tone or two passing tones

                   b2

A

+





       



    

b6

B

                      b2

b6

b3

b2



 -1-

Major Bebop Scale: melodic patterns I in C Play ascending and descending in the register of the instrument

1 Scale

 

               



    



   



Etc...............

2 Thirds

                          a)

B)

3 Major sixth chord + diminished

A¨º7 C6/A Bº7                                    C6

Dº7

1 3 5 6

C6/E

Fº7

C6/G

2 4 b6 7

4 Connected major sixth chord + diminished

C6/A Bº7 C6 Dº7                                    C6/E

Fº7

C6/G

A¨º7

5 One half step below each note of the scale + triad

                                    c c c c c c c c 6 Surrounding the notes of the major sixth chord with its diminished + major sixth chord a)

                                 Dº C6/E Bº         B) C6/A                  Bº

3

C6

Dº

C6/E

3

Fº

3

C6/G

3

C6

A¨º

A¨º 3

3

                            C6/A

3

Fº

C6/G

3

-2-

Major Bebop Scale: melodic patterns in C 1 Scale

 

Etc...............









2 Thirds a)

B)

 



3 Major sixth chord + diminished Dº7

C6

C6/E

Fº7

           1 3 5 6 2 4 b6 7

C6/G

A¨º7

C6/A

Bº7





4 Connected major sixth chord + diminished

           C6/E

Fº7

C6/G

A¨º7

C6/A

Bº7



C6

Dº7



5 One half step below each note of the scale + triad

           c c



c

c

c

c











c



c

6 Surrounding the notes of the major sixth chord with its diminished + major sixth chord a)



Bº

3

C6

      C6/A



  C6



Dº

 

A¨º



B)

C6/E

3

Fº

 

C6/G

A¨º 3

 

       C6/E   Dº

Bº

3

C6/A

3

Fº

C6/G

 3

3

 3

 -3-

Major bebop scale: rules From tonic: one passing tone

 



    b6

5







3







1

From tonic: three passing tones

           b6



b3

From 2: no passing tone

















    b2







From 2: two passing tones



   



   

b2

b6















From 3: one passing tone











    b6



  

From 3: three passing tones

                 b3







b2

b6

From 4: no passing tone





















 -4-

Major bebop scale: rules

From 4: two passing tones

           b2

b6

    



    



From 5: one passing tone

          b6 From 5: three passing tones

           b3

b2

        b6

         From 6: no passing tone

         

    



From 6: two passing tones

b2

        

        b6

From 7: one passing tone

b2

        b6

                      From 7: three passing tones

b3

b2

b6

-5-

Major bebop scales: rules From tonic: one passing tone

 

b6

5





 3



1

From tonic: three passing tones

 





b6



b3

  b2

From 2: no passing tone











From 2: two passing tones



 





b2

b6

From 3: one passing tone







 b6

 

From 3: three passing tones



 





b3

b2

b6





From 4: no passing tone







 -6-

Major bebop scale: rules

From 4: two passing tones









From 5: one passing tone









From 5: three passing tones







From 6: no passing tone









From 6: two passing tones







From 7: one passing tone







From 7: three passing tones







  -7-

Major Bebop Scales C

        

             









                          





Eb





                            





                           











1

2

3

4

5

#5

6

7

           F



1 #1

2

#2

3 b3

2

b2

1

             

Bb

                           Ab

Db

                                  Gb B

         

             





             



          

             

 













           E

A

D

                     G

                          

-8-

Major Bebop Scales 

C

1

  

2

3

4

5

#5

6

7

1 #1 2 #2 3 b3

2

b2

1

F Bb

Eb

Ab

       

Db

F#

B E

A

D

G

-9-

Mixolydian bebop scale: fundamentals on beat

        





4 2 1 No passing tone. Chord tones fall on off beats on beat

Incorrect

         



7







5 3 1 Correct Chromatic passing tone. Chord tones fall on on beats

Rules: A From 7. 5, 3 or 1: one or three passing tones

                



7

                     b3

b2





7

B From 6, 4 or 2: no passing tone or two passing tones

        





                 



b2

A

+

    

7

B

                      b2

7

b3

b2



 -10-

Mixolydian bebop scale: melodic patterns in C C7

1

Scale

                      

  2

Etc...............

Thirds

                          a)

3

B)

Arpeggios

          1 3 5 8 4

Connected chords

5

Chord + Scale

6

Chromatics

 





Chords

                1 3

5 b7

                                                                                            c c c 7

 8

a) One half step below each note of the arpeggio

b) Two half steps below each note of the arpeggio

Two half steps below and two half steps above each note of the arpeggio

  

    

      

      



One half step below each note of the scale + triad

                                      9



Two half steps below and two half steps above each note of the scale + chord

                                c c c c -11-

Mixolydian bebop scale: melodic patterns I in C C7

1

Scale

 





2

Thirds



a)

B)



3

Arpeggios

Chords

      1 3 5 8 4

  5

Connected chords

Chord + Scale

  6

Chromatics a) One half step below each note of the arpeggio

       7

 8

      1 3 5 b7

 

b) Two half steps below each note of the arpeggio



   

Two half steps below and two half steps above each note of the arpeggio

  



 

One half step below each note of the scale + triad

      9



Two half steps below and two half steps above each note of the scale + chord

       

  -12-

Mixolydian bebop scale: rules From tonic: one passing tone

    



7





5





3







1

From tonic: three passing tones

           7







   

b3

From 2: no passing tone













b2









From 2: two passing tones



       b2





















7



From 3: one passing tone









   7



 

From 3: three passing tones



           b3







b2

From 4: no passing tone





    

7

















 -13-

Mixolydian bebop scale: rules

From 4: two passing tones

           b2

7

    



    



From 5: one passing tone

          7 From 5: three passing tones

                   b3

b2

7

From 6: no passing tone

        

    



From 6: two passing tones

                  b2

7

From 7: one passing tone

                 7

                       From 7: three passing tones

b3

b2

7

-14-

Mixolydian bebop scale: rules From tonic: one passing tone

  5





3



1

From tonic: three passing tones

  

 b3



  b2

From 2: no passing tone









From 2: two passing tones







From 3: one passing tone









 

From 3: three passing tones

 

 



From 4: no passing tone





 -15-

Mixolydian bebop scale: rules

From 4: two passing tones









From 5: one passing tone









From 5: three passing tones









From 6: no passing tone









From 6: two passing tones





From b7: one passing tone







From b7: three passing tones







  -16-

Mixolydian Bebop Scales                          





F

                          





                           





Eb

















  





  



















C

1



2

3

4

5

6

b7

7

1 #1

2

#2

3 b3

2

b2

1

Bb

                            

                               Ab

                               Db

                                   Gb B

                       E                               A                 

  

                         D

                          G

-17-

Mixolydian Bebop Scales            

C

F

1

2

3

4

5

6

b7

7

1 #1

2 #2

3 b3

2

b2

1

Bb

Eb

Ab

Db

F#

B E

A

D

G

-18-

Dorian bebop scale: fundamentals On Beat

         Incorrect





4 2 1 No passing tone. Chord tones fall on off beats On Beat

         



7







5 3 1 Correct Chromatic passing tone. Chord tones fall on on beats

Rules: A From 7. 5, 3 or 1: one or three passing tones

                



7

                     b2 7





4

B From 6, 4 or 2: no passing tone or two passing tones

        





                 



b2

A

+

    

7

B

                      b2

7

4

b2



 -19-

Dorian bebop scale: melodic patterns I in C Play ascending and descending in the register of the instrument

1 Scale

                                   

 

Etc...............

2 Thirds

                        a)

B)

3 Minor sixth chord + diminished

                       C6



Dº7

C6/E

Fº7

C6/G

A¨º7



Bº7          C6/A

4 Connected minor sixth chord + diminished

C-6/G A¨º7 C-6/A Bº7 C-6 Dº7                                       C-6/E

Fº7

5 One half step below each note of the scale + triad

                                             cr cr cr cr cr cr cr cr 6 Surrounding the notes of the minor sixth chord with diminished + minor sixth chord a)



Bº

C-6

Dº

C-6/E¨

Fº

C-6/G

                     3

      C-6/A

C-6

A¨º

B)

3

3

 

A¨º 3



Bº        C-6/E¨              Dº

3

3

                            C-6/A

3

Fº

C-6/G

3

-20-

Dorian bebop scale: melodic patterns in C 1 Scale

 

Etc...............









2 Thirds



a)

B)

   

   

3 Minor sixth chord + diminished C6



Dº7

  



4 Connected Minor sixth chord + diminished C-6/E

 

Fº7

   

5 One half step below each note of the scale + triad

          cr cr 6 Surrounding the notes of the minor sixth chord with diminished + minor sixth chord a)



Bº

        

 

C-6

3



  B)

       C-6/E¨   Dº

3

 -21-

Dorian bebop scale: rules From tonic: one passing tone

    



7



 

5



3



 1

From tonic: three passing tones

           7

From 2: no passing tone

 

 





 



   

4

b2







From 2: two passing tones

        b2

From b3: one passing tone























7



   7



 

 

  

From b3: three passing tones

            b3

 

b2

From 4: no passing tone





 

    

7















 -22-

Dorian bebop scale: rules

From 4: two passing tones

           b2

7

    



    



From 5: one passing tone

          7 From 5: three passing tones

                   4

b2

7

         From 6: no passing tone

    



                  From 6: two passing tones

b2

7

From b7: one passing tone

                 7

From b7: three passing tones

                        4

b2

7

-23-

Dorian bebop scale: rules From tonic: one passing tone

    



7

 5

  3







1

From tonic: three passing tones

 





From 2: no passing tone

 





From 2: two passing tones

 



From b3: one passing tone









  

From b3: three passing tones





 



From 4: no passing tone





 -24-

Dorian bebop scale: rules

From 4: two passing tones









From 5: one passing tone









From 5: three passing tones







From 6: no passing tone









From 6: two passing tones







From b7: one passing tone







From b7: three passing tones







  -25-

Dorian Bebop Scales                         





                         





                           





E¨

                           





                               





D¨









  





  





  





  





                        







C

1

2

b3

4

5

6

b7

7

1 #1

2

4

b3

4

2

b2

1

F





B¨

A¨

                                                               G¨

                           E                  

B

                      D                        

A

G

-26-

Dorian Bebop Scales                           C

1

          

2 b3

4

5

6

b7

7

1 #1

2

4

b3

4

2

b2





1

F B¨

E¨

A¨

D¨

G¨

B

E A

D

G

-27-

Bebop Scales with Forward Motion I  Major Bebop Scale From 7, 5 or 3: 3 passing tones

           7

5

        

3

1



























From 6, 4 or 2: 2 passing tones

 

       6

4

2

        

1



 Mixolydian Bebop Scale From b7, 5 or 3: 3 passing tones

           b7

5

       

3

1



From 6, 4 or 2: 2 passing tones

 

       6

4

2

        



       



        



1

 Dorian Bebop Scale From b7, 5 or b3: 3 passing tones

           b7

b3

5

1

From 6, 4 or 2: 2 passing tones

 

       6

4

2

1

-28-

Bebop Scales with Forward Motion II  Major Bebop Scale  

             

From 5

     5 #5

6

7

      #1

1



1

From 1

 

Three Passing Tones

2 #2

               



3

 Mixolydian Bebop Scale  

From 5

5

6

b7

7

From 1

 

             

     

      #1

1

2 #2



1

           3



    

 Dorian Bebop Scale  

From 5

      5

6

b7

7

             



1

From 1

 

                      1 #1 2 4 b3

 -29-

Basic syncopated rhythmic patterns On Beat

1

     4     4

2

Off Beat

                 

Daht

3

Daht

a

 44      Du Daht Swing

Du Dah

 3    

a

Daht

     Daht

a

 3             Dah

    

      

Dah Du Du Daht



    



     







Dah

        Du Duht Dah

a

b

  44   Du a

     

b

     

Du Duht Daht

8

 3    

Dah Du Du Dah

a

    4     

7



b

   44      

64

    Du Dah

b

 44     

5

   

     

Du Daht

3      

4

Syncopation

b

  



Daht

  

Triplets

3   4   4    

   Du

   Dah

b

    

3      

3

Du Du Daht

  

Du Du Daht

    



3

Du Du Dah

Du Du Dah -30-

Bebop scales with syncopated rhythmic patterns and articulations 1 Major bebop

    

                            

     

  

     3            

2 Mixolydian bebop

 3      3                             3

3

                         3

      

Dorian bebop

  3            3                   

  

   

   

 

           

-31-

Bebop scales study with melodic pattern

Same melodic pattern applied to different scales

1

C Major bebop

          

Thirds A)

               

B)

                   2 C Mixolydian bebop

        

  

A)

               

                      B)

3 C Dorian bebop

          B)

 





A)

                  

                   

 -32-

Bebop scales study with syncopated rhythmic pattern           

Same syncopated rhythmic pattern applied to different scales

1

C Major bebop

               

    

  

  

2 C Mixolydian bebop           

   

3

    

 

         

   

        

       

     

      

  



     

  

C Dorian bebop

              

    

  

   

         





          

   -33-

Bebop scales study with articulations      

Different articulations applied to different bebop scales

1

C major bebop

               



                    





2 C mixolydian bebop

                      

   



           





3 C dorian bebop

                      

   



          



 -34-

Bebop scales study with forward motion         

Beginning of phrasing before down beat

Four notes before down beat

1

C Major bebop

            













         





5

1

            

                 1

3

3 C dorian bebop



             

3

         



1

                          1

2 C mixolydian bebop



5





5

    



1

            

b3                            1

-35-

Bebop scales study with chromatics c c c c

     

Chromatics below and above notes of the scale

1

One semitone below a note of the scale

C major bebop

           





           



c

Two semitones below a note of the scale







 



c

c

               

2 C mixolydian bebop



One semitone below and two above a note of the scale

        



               c c c



Two semitones below and two above a note of the scale





   



c

3 C dorian bebop

c

c

c





c

c



Two semitones below a note of the scale and two above a note of the scale

           

                



   c

c

            c c

                        c c -36-

Bebop scales study with pivoting      

Octave change between notes

1

C major bebop

               



                      





Pivot

2 C mixolydian bebop

                       



   

       

3 C dorian bebop

                       



   



        







 -37-

Bebop scales study with skips              Skips between notes of the scale

1

C major bebop

            







    



   

2 C mixolydian bebop

          





           





           

             

                  

3 C dorian bebop

        





    

      

                            -38-

Bebop scales study with embellishments        

Embellishments on different notes of the scales

1

C major bebop

          







            turn







                  



turn

2 C mixolydian bebop

          Trill

    3





 

          

         



  



connecting gliss

         

  



Lift

Mordent

C dorian bebop

Gliss



iss.               gl



doit                     plop

-39-

Bebop scales study with clichés      

Different clichés added to the scales

1

C major bebop

                 2





     

    

C dorian bebop

         

 





Cliché Miles Davis "The Theme"

C mixolydian bebop

  

             

Cliché "take the A train"

         

3





3





          3

         

D-7 b5



  

      3





G7 alt

         3

minor cliché "cry me a river"

C-





      3

       

   

 -40-

Bebop scales study in relation to rhythm     

Play ahead, on or behind the beat

1

C major bebop

           

          

Behind the beat:

1

On the beat:

         1

2

3

2 C mixolydian bebop       

4

  

Ahead of the beat:

3 C dorian bebop      

2

3

4

    



1

4

2

3

Ahead, on or behind the beat:

2

1

2

3

4

3

4



           

Ahead

  

1



1

on



2

3

4

behind the beat

                  1

2

3

4

1

2

3

4

Behind, on or ahead of the beat: Behind



on

       

1

2

3

4

ahead of the beat

        1

2

3

4







1

-41-

Bebop scales study with swing         f p

f

Different dynamics applied to each note of the scale

3

1

C major bebop

         Thirds:

3

    

        Ghost Note

      

ppp

dahd-n du daht

ppp

ppp

Chords:

                           Ghost Note Ti

Ta

Ti

o n

Ta

o n

ppp

3

2

C mixolydian bebop

          Trills:

    3

    3

           

C dorian bebop

Thirds:

         

  

   

3

3

3

3

3



  

      3

      3

3

                         dahd-n dahd-n

Chromatics:

          dahd-n

daht

       

dahd-n

daht

 -42-

Bebop scales study with other scales 1 Major bebop scale Cmaj7

Major bebop scale

Major pentatonic scale

Major bebop scale

                     Major bebop scale

Lydian scale

            

     

Major blues pentatonic scale

Minor pentatonic scale

      Major bebop scale

     



2 Mixolydian bebop scale C7 Mixolydian bebop scale

Blues scale

Major pentatonic scale

Mixolydian bebop scale

                            Minor pentatonic scale

Mixolydian bebop scale

          

Major pentatonic scale

       

Mixolydian bebop scale

       

3 Dorian bebop scale C-7 Dorian bebop scale

Minor pentatonic scale

Dorian bebop scale

Melodic minor scale

                                        

Harmonic minor scale



Phrygian scale

Dorian bebop scale

                     -43-

Transformation of the bebop melodic line 1 Major bebop scale with three passing tones

        b3



  

b2



b6











2 + syncopated rhythmic patterns and articulations

       

 



   

     

 



   

            

 



   

    



   





 



Grupetto

4 + pivot

 





3 + Embellishments

  



 













 

   

 

   





-44-

Transformation of the bebop melodic line

5 + cliché

     

 

 

   

      





 

    



     





blues scale

6 + skip

     

 

  

   

    

       7 + forward motion

      



             

3 Surrounding the third with diminished

     









  

3

             

Ghost note

     

F













 



        

 

8 + swing and dynamics

      

   



  





 

         p



  F

-45-

Bebop scales over the major II-V-I progression C-7

C7

Dorian bebop scale

Cmaj7

Mixolydian bebop scale

Major bebop scale

                                Dorian scale

         



      

II-V-I progression:

Mixolydian scale

       

     

Major scale

       

    

II-7

V7

Imaj7

D-7

G7

Cmaj7

Dorian bebop scale

Mixolydian bebop scale

Major bebop scale

                                                       Dorian scale



 

    

Mixolydian scale

   

Major scale

    

-46-

Bebop scales over the major II-V-I Progression C-7

C7

Dorian bebop scale

 

Cmaj7

Mixolydian bebop scale

 

Dorian scale

Major bebop scale

 

Mixolydian scale

Major scale

 











  

II-V-I progression:

II-7

V7

Imaj7

D-7

G7

Cmaj7

Dorian bebop scale

 

Mixolydian bebop scale

  Dorian scale

Major bebop scale

 Mixolydian scale

 



  











Major scale

 

-47-

Bebop scales over the blues form in C 1 Bebop scales from tonic C7

Mixolydian bebop scale

         

F7 

      

F7 

              F7

D-7 Dorian bebopscale

       

2 Bebop scales from 3 C7

         

G7 

       F7

       

C7

C7

       C7

       

C7

F7

D-7 Dorian bebop scale

      

G7

      

G7 

       C7

C7

A7

               

C7

       

A7

                

                

F7

C7

              

       

G7

       

3 Bebop scales with forward motion

   

C7

                           C7

F7

C7

F7 F7 C7 A7                                      

G7                                    D-7

Dorian bebop scale

G7

C7

-48-

Bebop scales over the blues form

4 Bebop scales with chromatics

   

F7 C7 C7                                 C7

F7 C7 A7                                

F7

                                  D-7

G7

C7

G7

5 Bebop scales crossing the bar line C7 

                F7

C7



C7

            

  A7                                      F7

F7

C7

G7                                   D-7

G7

C7

6 Bebop scales with syncopated rhythms and articulations F7 C7                                        C7

          C7

F7   3  C7     A7  F7                                  3 3

G7 C7 G7                                      

D-7

-49-

Bebop scales over the blues form in C My own bebop scales melodic lines

1

C7

 

F7

F7

C7

F7

C7

C7

A7

 D-7

G7

C7

C7

F7

C7

G7



2 

C7

 F7

F7

C7

A7

 D-7

G7

C7

G7



3

C7

F7

C7

C7

 F7

F7

C7

A7

C7

G7

 D-7

G7

 -50-

Bebop scales in the blues form in F 1

Bebop scales from tonic F7 Mixolydian bebop scales B¨7

         



     

B¨7

B¨7

F7

                G-7

Dorian bebop scale

        

2

F7

F7

B¨7

F7  

F7

F7

D7

     

      

Mixolydian bebop scales

C7

     

     



              

B¨7

                  

G-7

Dorian bebop scale

        



      

C7

B¨7

3

     

D7

Bebop scales from 3

           



F7              

F7

               

C7

F7

C7

       

       

       

Bebop scales with forward motion F7 F7                                  F7 Mixolydian bebop scales B¨7

  

B¨7 F7 D7                                            B¨7

                                        G-7

Dorian bebop scale

C7

F7

C7

-51-

Bebop scales over the blues form

4 Bebop scales with chromatics 

    

                                    F7

B¨7

F7

F7

 B¨7 F7 D7                                       B¨7

G-7

C7

F7

C7

                                        5 Bebop scales crossing the bar line B¨7 F7                  

F7



F7             

F7 D7                                             B¨7

B¨7

C7 F7 C7                                       G-7

6 Bebop scales with syncopated rhythms and articulations B¨7     F7 F7                               

 F7          

B¨7 F7 D7  B¨7 3  3   3                                            F7  C7     C7                                        G-7

-52-

Bebop scales over the blues form in F My own bebop scales melodic lines

1

F7

  

 

B¨7



 



B¨7

B¨7

C7

F7

B¨7

F7

F7

C7

D7

F7

F7



D7

F7

B¨7

G-7

F7

F7

C7

F7

3

F7

B¨7

G-7

2



B¨7

C7

B¨7

B¨7

F7

F7

F7

D7

F7

C7

 G-7

C7

 -53-

Bebop scales in the blues form in Bb 1 Bebop scales from tonic B¨7

Mixolydian bebop scales

          

E¨7

      

E¨7

E¨7

                  C-7

        

Dorian bebop scale

B¨7              

B¨7

B¨7

     

F7

     

B¨7

E¨7

B¨7

     

      

G7

     

F7

2 Bebop scales from 3 B¨7

            

Mixolydian bebop scales

        

E¨7

E¨7

                      C-7

         

Dorian bebop scale

F7

       

B¨7

                    B¨7

G7

                  

B¨7

        

F7

       

3 Bebop scales with forward motion B¨7 B¨7 B¨7  Mixolydian bebop scales E¨7                                           E¨7 B¨7 G7                                           E¨7

F7 B¨7 F7                                          C-7

Dorian bebop scale

-54-

Bebop scales over the blues form

4 Bebop scales with chromatics

      

E¨7

                               B¨7

E¨7

E¨7

B¨7

B¨7

B¨7

G7

                                    C-7

F7

B¨7

F7

                                        5

Bebop scales crossing the bar line

E¨7                     B¨7

B¨7



B¨7

             

B¨7 E¨7   G7                                              E¨7

F7 B¨7 F7                                        C-7

6

Bebop scales with syncopated rhythms and articulations B¨7 E¨7  B¨7 

                                     

B¨7

        

E¨7 E¨7 3  B¨7 3    G7                                           3

F7 B¨7  F7                                               C-7

-55-

Bebop scales over the blues form in Bb My own bebop scales melodic lines

1

B¨7

 

    2



E¨7



C-7

 

E¨7

B¨7

E¨7

B¨7

B¨7

B¨7

F7

B¨7

E¨7

B¨7

G7

F7

B¨7

  

E¨7



C-7

  3

  



E¨7

C-7

B¨7

F7

B¨7

 

E¨7

B¨7

F7

E¨7

E¨7

F7

G7

B¨7

B¨7

B¨7

G7

B¨7

F7

-56-

Bebop scales over the rhythm changes form

A

1 Bebop scales from tonic Bbmaj7

G-7

C-7

           

              Bbmaj7

Bb7

Eb6

F7

D-7

Eº

G7

                       

C-7

F7

     

2 Bebop scales from 3 Bbmaj7

G-7

               Bbmaj7

Bb7

Eb6

F7                 

C-7

Eº

D-7

G7

C-7

F7

                                   3

Bebop scales from 3 with syncopated rhythmic patterns, articulations and forward motion Bbmaj7 G-7 C-7 F7

                                        Bbmaj7

Bb7

Eb6

Eº

D-7

G7

C-7

F7



                                          

4

Bebop scales with syncopated rhythmic patterns, articulations, forward motion, pivots, skips and chromatics

                                         Bbmaj7

Bbmaj7

G-7

Bb7

Eb6

C-7

Eº

D-7

F7

G7

C-7

                             

F7

    -57-

Bebop scales over the rhythm changes form

B 1 Mixolydian bebop scales with three passing tones D7

        

G7

  

C7

         

  



       



       

   

F7

  



2 Mixolydian bebop scales with three passing tones and forward motion G7

                                D7

B¨maj7 Major bebop

F7                                   C7

3

Mixolydian bebop scales with three passing tones, syncopated rhythmic patterns and articulations

                  

G7 

                      D7

F7                   

C7                    

4

Mixolydian bebop scales from different notes, syncopated rhythmic patterns, articulations, pivots and chromatics D7

6                                          2

C7

G7

                                  3

2

F7

3

-58-

Bebop scales over the 16 bar form Blue Bossa harmony

1

Bebop scales and other scales C-

F-

                                  D-7b5





Dorian bebop scale with three passing tones

Galt

Diminished whole tone scale C-

                             

Eb-7  Ab7 Mixolydian bebop scale with three passing tones Dbmaj7 Major bebop scale with three passing tones                                 D-7b5





2

  

Galt

Diminished whole tone scale

C-

                      

Bebop scales from different notes with syncopated rhythmic patterns, articulations, forward motion, pivots, skips, chromatics and other scales CF-

            

                           

C   Whole tone scale  G7#9                            

(D-7b5)





 Eb-7  Ab7 Dbmaj7                                          3 Gb9  C Diminished scale  (D-7b5)                                        -59-

Bebop scales over the AABA form 8 first bars of All The Things You Are

1

Bebop scales from tonic

Ab: F-7

(B¨-7)

E¨7

                    Dbmaj7

Modulation C: G7

        

2

Cmaj7

            

Bebop scales from 3 F-7



      

A¨maj7

        

         Dbmaj7

(B¨-7)

E¨7

               G7

Cmaj7



      

3

Bebop scales with syncopated rhythmic patterns and articulations

      

      A¨maj7

             

F-7 (B¨-7) E¨7 A¨maj7                                           Dbmaj7



4

       

G7

        

 

Cmaj7

                 

Bebop scales from different notes with syncopated rhythmic patterns, articulations, forward motion, pivots, skips and chromatics F-7 (B¨-7) E¨7 A¨maj7

                                     

Cmaj7      G7                            

 

Dbmaj7

-60-

Minor Bebop Scales 1 C-7 Dorian 1

                         





            





1

2

b3

4

6

5

b7

7

Dorian 2

            1

2

b3

3

4

6

5

#1

1

b7

2

#1

1

2

4

4

b3 4

2

b3 4

b2

2 b2

1

1

                               Dorian 3

1

2

2 b3 3

4 #4

6

5

b7

C-maj7 Melodic Minor I

           1

 3

2

b3

4

5

#5

6

7

7

1 #1

2

4

b3 4

2 b2

1

             1

#1

2

4

b3 4

2

b2

 



1

                            Melodic Minor II

                          C-7 Aeolian I







Aeolian II

                              4



C-7 Phrygian I

                    





Phrygian II

                            5

C-maj7 Harmonic Minor

         

            



 

  -61-

Minor Bebop Scales 1

  

C-7 Dorian 1

Dorian 2

Dorian 3

2 C-maj7 Melodic Minor I



Melodic Minor II



3 C-7 Aeolian I

  4

 

Aeolian II

C-7 Phrygian I

Phrygian II

5 C-maj7



Harmonic Minor

-62-

The bebop modes of the major scale in C 1

C Ionian

  8

2

8

8

4

b6

5

  





7

6

5

6

b7

    7

4

   3

   

b3

2

b2

 

  4

   

2

   

 

    



1

4

b3

b2



1

b7

b6

5

b5



   

4

3

b3

b2



1

C Lydian

  8

 7

6

  

2

   

b6

5

#4

3

b3

  





7

6

5



  

   



7

5

    b2



1

C Mixolydian

  8

6

7



C Phrygian

 

5

   

C Dorian

  3



b7

4

3

b3

 

 

  



2

b2



1

C Aeolian

  8

7

b7

b6

4

b3

4

   

2

b2

1

C Locrian

  8

   7

b7

   6

b6

5

b5

4

  b3

b2







1

-63-

The bebop modes of the major scale in C 1 C Ionian

  2 C Dorian

  3 C Phrygian

  4 C Lydian

  5 C Mixolydian

  6

C Aeolian

  7 C Locrian

  -64-

Scales Study Organization Key Priority

C

Major

Mixolydian (Bebop)

(Bebop)

Dorian (Bebop)

Piano Major (blues) Pentatonic

Minor (blues) Pentatonic




F Bb D G A E Gb B Eb Ab Db

-65-

Scales Study Organization Tenor and Soprano Saxophone Key Priority

C

Major

Mixolydian (Bebop)

(Bebop)

Dorian (Bebop)

Major (blues) Pentatonic

Minor (blues) Pentatonic




G E D A B Gb Ab Db F Bb Eb -66-

Scales Study Organization Alto and Baritone Saxophone Key Priority

C

Major

Mixolydian (Bebop)

(Bebop)

Dorian (Bebop)

Major (blues) Pentatonic

Minor (blues) Pentatonic




D G B A E Gb Db Eb Ab F Bb -67-

Notes 

-68-

Notes

-69-

Notes

-70-