Mt. San Antonio College Jazz ensemble Handbook Scales, Chords, Patterns and Rhythms
Jeff Ellwood: director of Instrumental Jazz Studies
Circle of 4 th ’s
What is the Circle of Keys? The circle of keys is a diagram used in music theory that helps students memorize and understand the 12 major and 12 minor keys used in music, key relationships, and many chord relatio nships. Learn to recite the notes on the circle from memory. Be able to start on any note (not just C) and go all the way around the circle in both directions.
Scales for Improvisation Mt. San Antonio College
C Maj7
&c œ œ œ œ œ œ œ œ
œ
œ
œ
œ
Basic Major Scale: To be used on Major chords
C7
& œ
3
œ
œ
œ
œ
* œ bœ
* bœ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
Mixolydian Scale: To construct a Mixolydian scale-take a major scale and lower the 7th degree of the scale by a 1/2 step. Or can be thought of as the 5th degree of a Major scale (i.e. C7 mixolydian shares the same key signature as a F Major scale
C min7
& œ
5
*
œ
œ bœ
œ
* œ bœ
* bœ œ
œ
œ
* œ bœ
œ
œ
Dorian Scale: To construct a Dorian scale-take a major scale and lower the 3rd & 7th degree by a 1/2 step Or can be thought of as the 2nd degree of a Major scale (i.e. cmi7 Dorian shares the same key signature as a Bflat Major scale
&
7
C m(maj7)
œ
œ
Aº
* bœ
œ
B 7# 9
œ
œ
œ
œ
* œ œ œ œ bœ œ œ
Jazz Melodic Minor scale: To construct a Melodic Minor scale-take a Major scale and lower the 3rd degree a 1/2 step The Melodic Minor scale is one of the most useful scales in jazz improvisation
Scales for Improvisation Mt. San Antonio College
œ ?c œ œ œ œ œ œ œ C Maj7
œ
œ
œ
œ
œ
œ
œ
Basic Major Scale: To be used on Major chords
C7
? œ
3
œ
œ
œ
* œ bœ
œ
b œ*
œ
œ
œ
œ
œ
œ
œ
Mixolydian Scale: To construct a Mixolydian scale-take a major scale and lower the 7th degree of the scale by a 1/2 step. Or can be thought of as the 5th degree of a Major scale (i.e. C7 mixolydian shares the same key signature as a F Major scale
C min7
? œ
5
* œ b œ œ
œ
* œ bœ
b œ* œ
œ
œ
* œ bœ
œ
œ
Dorian Scale: To construct a Dorian scale-take a major scale and lower the 3rd & 7th degree by a 1/2 step Or can be thought of as the 2nd degree of a Major scale (i.e. cmi7 Dorian shares the same key signature as a Bflat Major scale
?
7
C m(maj7)
œ
œ
Aº
b œ*
œ
B 7# 9
œ
œ
œ
œ
œ œ œ œ b œ* œ œ
Jazz Melodic Minor scale: To construct a Melodic Minor scale-take a Major scale and lower the 3rd degree a 1/2 step The Melodic Minor scale is one of the most useful scales in jazz improvisation
Basic Chords
Chords are constructed by taking the root, 3rd, 5th & 7th of a scale
Asending C Maj7
&c œ
1-3-5-7
C min7
&œ
3
1-b3-5-b7
bœ
œ
œ
œ
œ
C7
bœ
œ
bœ
bœ
bœ
bœ
œ
œ
œ
bœ
bœ
œ
œ
œ
1-3-5-b7 CÌ
œ
1-b3-b5-b7
Descending C Maj7
&œ
5
7-5-3-1
C min7
& bœ
7
b7-5-b3-1
œ
œ
C7
œ
bœ
œ
b7-5-3-1 CÌ
bœ
œ
bœ
b7-b5-b3-1
Basic Chords
Chords are constructed by taking the root, 3rd, 5th & 7th of a scale
Asending C Maj7
?c œ
1-3-5-7
C min7
?œ
3
1-b3-5-b7
bœ
œ
œ
œ
œ
bœ
C7
œ
œ
1-3-5-b7 CÌ
œ
bœ
œ
bœ
bœ
bœ
bœ
œ
œ
œ
bœ
bœ
œ
1-b3-b5-b7
Descending
?œ
C Maj7
5
7-5-3-1
? bœ
C min7
7
b7-5-b3-1
œ
œ
œ
bœ
C7
œ
b7-5-3-1
œ
CÌ
bœ
b7-b5-b3-1
C Instruments
Root Progressions A guide to studying scales
Half-steps Whole-Steps Circle of 4ths Major 3rds Minor 3rds
#1) Bb #2) Bb #3) Bb #4) Bb #5) Bb
B C C# D Eb E F F# G Ab A C D E F# Ab / B C# Eb F G A Eb Ab Db F# B E A D G C F D F# / B Eb G / C E Ab / C# F A Db E G / B D F Ab / C Eb F# A
Four Shapes: #1) ↑ #2) ↓ #3) ↑↓ #4) ↓↑ Things to Practice using Root Progressions: 1#) Scales • Major • Mixolydian • Dorian • Melodic Minor • Natural Minor • Harmonic Minor 2#) Chords: • Major 7 • Dominant 7 • Minor 7 • Minor 7b5
#3) Number Patterns • In 24 combinations (1235, 5132, 3521, etc..)
Scale, chord, & pattern practice needs to be done daily and with a metronome. Pick one scale type, one chord type & one number pattern and spend a week working on them. Practice what you have chosen through all root progressions and shapes at various tempos
B-flat Instruments
Root Progressions A guide to studying scales
Half-steps Whole-Steps Circle of 4ths Major 3rds Minor 3rds
#1) C #2) C #3) C #4) C #5) C
C# D Eb E F F# G Ab A Bb B D E F# Ab Bb / C# Eb F G A B F Bb Eb Ab C# F# B E A D G E Ab / C# F A / D F# Bb / Eb G B Eb F# A / C# E G Bb / D F Ab B
Four Shapes: #1) ↑ #2) ↓ #3) ↑↓ #4) ↓↑ Things to Practice using Root Progressions: #3) Number Patterns 1#) Scales • In 24 combinations • Major (1235, 5132, 3521, etc..) • Mixolydian • Dorian • Melodic Minor Scale, chord, & pattern practice needs • Natural Minor to be done daily and with a metronome. • Harmonic Pick one scale type, one chord type & one number pattern Minor and spend a week working on them.
2#) Chords: • Major 7 • Dominant 7 • Minor 7 • Minor 7b5
Practice what you have chosen through all root progressions and shapes at various tempos
Eb Instruments
Root Progressions A guide to studying scales
Half-steps Whole-Steps Circle of 4ths Major 3rds Minor 3rds
#1) G #2) G #3) G #4) G #5) G
Ab A Bb B C C# D Eb E F F# A B C# Eb F / Ab Bb C D E F# C F Bb Eb Ab Db F# B E A D B Eb / Ab C E / A C# F / Bb D F# Bb C# E / Ab B D F / A C Eb F#
Four Shapes: #1) ↑ #2) ↓ #3) ↑↓ #4) ↓↑ Things to Practice using Root Progressions: 1#) Scales • Major • Mixolydian • Dorian • Melodic Minor • Natural Minor • Harmonic Minor 2#) Chords: • Major 7 • Dominant 7 • Minor 7 • Minor 7b5
#3) Number Patterns • In 24 combinations (1235, 5132, 3521, etc..)
Scale, chord, & pattern practice needs to be done daily and with a metronome. Pick one scale type, one chord type & one number pattern and spend a week working on them. Practice what you have chosen through all root progressions and shapes at various tempos
Root Progressions Examples
Jeff Ellwood
Example using Major scale, Major chord & 1-2-3-5 Number pattern Major scale through root progression #1 using ascending shape (#1)
&c
œ œ bœ b œ œ œ b œ œ # œ œ b œ œ # œ œ b œ œ # œ œ œ bœbœ œœœ bœ œ œbœ œ #œ #œ œ
Major scale through root progression #1 using descending shape (#2)
œ #œ #œ #œ œ &bœ œ œ œbœ œ #œ #œ œ œbœ
5
œœœ œ #œ œ œ œ œ # œ # œ # œ# œ # œ # œ# œ
Major Scale through root progression #1 using ascending & descending shape (#3)
&
9
œ #œ #œ #œ #œ b œ œ œ œ # œ œ œ # œ œ œ # œ œ #œ #œ #œ #œ œ #œ #œ œ œ œ œ bœ œ œ bœ
Major scale through root progression #4 using ascending & descending shape (#3)
#œ #œ œ # œ # œ # œ b œ œ œ œ œ # œ & œ œ bœ œ œ œ #œ œ œ #œ #œ bœ
13
œ #œ #œ #œ œ #œ #œ œ
Major scale descending in whole steps (progression #2) using descending shape (#2)
bœ œ œ œ bœ œ œ bœ bœ œ œ bœ bœ œ bœ bœ #œ #œ #œ #œ œ #œ œ #œ #œ œ œ & #œ #œ #œ #œ œ
17
Major scale through root progression #5 using descending and ascending shape (#4)
bœ œ œ œ bœ œ œ bœ œ œ œ œ œ #œ œ œ #œ #œ œ œ bœ & œ # œ # œ œ b œ b œ œ b œ b œb œ œ
21
******Practice all scale types: Major, Mixolydian, Dorian, Melodic Minor, Harmonic Minor, Natural Minor
2
Root Progressions
Major chords through root progression #1 using ascending shape (#1)
&
25
#œ œ bœ œ #œ œ #œ œ œ œ œ œ # œ œ # œ œ œ # œ œ # œ # œ bœ œ œ œœ #œ #œ bœ œ nœ #œ
œ & œ œ œ #œ #œ #œ œ œ œ œ #œ #œ #œ #œ #œ œ #œ œ œ bœ œ bœ #œ œ #œ œ œ œ œ bœ nœ
Major chords through root progression #1 using desending shape (#2) 29
Major chords through root progression #1 using ascending & descending shape (#3)
&
33
œ bœ #œ œ œ œ # œ œ # œ œ œ # œ œ œ # œ œ # œ #œ œ nœ œ œ œ #œ #œ œ #œ bœ œ bœ œ œ
major chords through root progression #5 using ascending & descending shape (#3)
œ bœ œ #œ œ œ # œ œ # œ œ œœ #œ nœ #œ nœ œ œ bœ & œ œ œ bœ œ bœ œ #œ œ œ # œ bœ œ
37
Major chords through root progression #3 using decending & ascending shape (#4)
#œ #œ œ bœ #œ œ # œ œ œ # œ œ œ # œ # œ b œ œ œ bœ œ œ #œ œ & œ œ œ bœ œ #œ œ œ b œ bœ
41
******Practice all chord types: Major 7, Dominant 7, Minor 7, Minor 7 flat5, Diminished
Root Progressions
1-2-3-5 number pattern through root progression #1 using ascending shape (#1)
& œ œ œ #œ #œ #œ œ œ œ œ bœ bœ œ bœ œ œ #œ œ bœ nœ œ bœ œ #œ #œ œ nœ nœ œ œ bœ nœ
45
œ #œ œ œ œ b œ œ nœ bœ bœ œ bœ œ nœ nœ œ #œ #œ #œ #œ nœ nœ nœ nœ œ #œ #œ œ bœ nœ nœ bœ &
49
1-2-3-5 (descending) number pattern through root progression #1 using descending shape (#2) 1-2-3-5 in descending shape becomes 5-3-2-1
& œ œ œ #œ #œ #œ œ œ œ œ #œ #œ #œ #œ œ #œ œ œ bœ œ œ bœ œ #œ #œ œ œ œ nœ nœ bœ œ
53
1-2-3-5 number pattern through root progression #1 using ascending & descending shape (#3)
&
57
œ bœ œ nœ bœ œ #œ #œ œ œ œ nœ nœ œ # œ œ # œ # œ œ # œ œ #œ #œ nœ œ œ #œ #œ œ bœ œ œ
1-3-2-5 number pattern through root progression #5 using ascending & descending shape (#3)
&
61
bœ bœ œ œ œ œ nœ œ œ b œ œ œ bœ # œ œ œ bœ œ bœ œ #œ #œ œ œ nœ œ bœ œ œ œ #œ #œ
*****Practice all 24 combinations of number patterns in Major, Minor, & Minor 7flat5
3
Number Patterns Mt. San Antonio college
Jeff Ellwood
Number Patterns are essential for developing improvisational skills Number Patterns are a set of number arranged in various combinations We will start with the number 1-2-3-5 of a given scale 1-2-3-5 can be arranged into 24 different combinations Example: 1-3-2-5, 5-2-1-3, 3-1-2-5, 2-5-3-1, 1-5-2-3, 5-3-2-1, 3-5-2-1, 2-1-3-5, etc... Below are examples of number patterns in Major, Mixolydian, minor, & minor flat-5 Cÿ
&c œ
C7
œ
1-2-3-5
CÈ
&œ
5
œ bœ
1-2-b3-5
CÌ
&œ
9
œ
œ
œ
œ bœ bœ
1-2-b3-b5
œ
œ
2-5-3-1
œ
œ
œ
œ
œ
œ
œ
œ
œ
3-1-2-5
œ bœ
œ
bœ
œ bœ bœ
œ
bœ
œ
2-5-b3-1
2-b5-b3-1
b3-1-2-5
œ
b3-1-2-b5
œ bœ
œ
œ
œ
œ
œ
œ bœ
œ
bœ
œ bœ
œ
5-2-3-1
5-2-b3-1
b5-2-b3-1
Mt. SAC Jazz 1 Tune List • • •
Jazz band students are required to learn 1 jazz standard tune per semester. Upper division students and people holding solo chairs must learn 3 tunes. o The melody, scales and chord arpeggios must be memorized. This will be your final exam.
Autumn leaves (1) Alone Together (2) All the Things You Are (3) All of Me (1) All Blues (1) Beautiful Love (1) Bessie’s Blues (Eb blues) (2) Blue Bossa (1) Blue Monk (Bb blues) (1) Body & Soul (3) Blues for Alice (2) Confirmation (3) Cherokee (3) Days of Wine & Roses (2) Dexterity (3) Donna Lee (3) Equinox (c minor blues) (1) Footprints (1) Four (2) Freddie the Freeloader (1)
Easy (1) Intermediate (2) Advanced (3)
Groovin’ High (2) Have You Met Miss Jones (3)
How High the Moon/Ornithology (2)
Impressions/So What (1) In a Sentimental Mood (3) Inner Urge (3) Invitation (3) Just Friends (2) Lady Bird (2) My Funny Valentine (2) Nardis (3) Night & Day (2) Out of Nowhere (2)
Oleo/Anthropology (Ryhthm Changes) (2)
Recordame (2) Round Midnight (3) Satin Doll (1) Song For My Father (1) Solar (2) Stella by Starlight (3) Take the A Train (2) There is No Greater Love (2) There Will Never Be Another You (2) Well you Needn’t (2)
Download play - alongs at https://app.box.com/playalongs
G7
Bebop Lines
Jeff Ellwood
Developing lines
4 &4
G7
œ œ œ #œ œ œ œ œ
œ bœ œ œ œ œ œ œ
Break the bebop scale up into 4 parts that connect chord tones using scale motion 1-5
4
8
5-1
Ó
œ œ œ #œ ˙
7-3 œ #œ œ œ ˙
7-3
1-5
œ bœ œ œ ˙
3-7
5-1
œ œ œ œ ˙
&œ œ œ œ ˙
Œ
3-7
˙ œ œ œ œ
&œ œ œ œ ˙
œ
œ œ œ bœ ˙
After learning the scales motion, we must now learn arpeggio's built form primary chord tones (7-5-3) 7th degree = Major 7
&œ
12
œ
œ
œ
5th degree = Minor 7
œ
œ
œ
œ
3rd degree = Half Diminished
œ
œ
œ
œ
œ
œ
same chords as above, but with the 2nd note displaced down an octave (this allows us the use the same concept as above, but in a descending fashion)
&
œ
15
œ
œ
œ
œ
œ
œ
œ
œ
œ
Notice that a chord was not built from the root of the chord. Here we will just insert the bebop passing link
&
œ
bœ
˙
Bebop passing link
18
COPYRIGHT
2
Bebop Lines
Here are sample lines using the arpeggio's built from chord tones with the bebop passing link. These line will consist of the ascending and decending versions mixed together. The formula will always move this way 7-5-3-bebop passing. (wash rinse, repeat) even if we start on another chord tones, it still follows the same cycle (3-bebop passing-7-5, 5-3-bebop passing-7)
G7
œ
œ
œ
œ
œ
œ
&œ
œ
œ
œ
œ
&
œ
œ
œ
œ bœ
&
19
23
œ
27
G7
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ bœ
˙
œ
œ
œ
œ
œ bœ
˙
œ
œ
œ
œ
œ
œ
˙
œ œ œ œ œ œ œ œ œ &œ œ œ œ bœ œ œ
œ œ œ œ œ #œ œ
31
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ &œ œ bœ ˙ œ œ
34
œ
Ó
œ œ œ œ œ #œ ˙ œ œ œ bœ œ œ œ œ œ œ œ œ œ bœ œ œ œ
Ó
œ œ œ œ bœ ˙ œ œ œ b œ œ œ œ œ œ &œ œ œ œ œ œ œ œ œ œ
Ó
&
38
42
3
Bebop Lines
Now all the material must be worked out if there are alterations on the Dominant chord b We will now focus on applying the same concept to a G 7 {b139 } chord take the same scale shapes and alter the 9 & 13 (2 & 6).
˙ & œ bœ œ œ
˙ œ œ œ bœ
œ bœ œ #œ ˙
œ #œ œ bœ ˙
& œ œ œ bœ ˙
œ bœ œ œ ˙
œ bœ œ bœ ˙
œ bœ œ bœ ˙
46
50
Now the arpeggio's and their chord qualities need to be figured out 7th degree = Minor 7
bœ
&œ
54
displaced octave
&
œ
bœ
57
œ
bœ
5th degree = half diminished
œ
bœ
œ
œ
b9
G 7 {b13}
œ
œ
œ bœ
œ bœ
68
œ
œ
œ
œ bœ
œ bœ
˙
œ
œ bœ
œ bœ
˙
œ
˙
œ bœ
& œ bœ &
bœ
œ
œ
œ
œ
œ
œ bœ
64
œ
œ
bœ
60
bœ
œ
œ
&
œ
œ bœ
œ bœ
œ
3rd degree = diminished
bœ
œ bœ
œ
œ
œ
œ
œ
bœ
œ
œ
bœ
bœ
4
G
Bebop Lines
9 7 {bb13 }
œ bœ œ bœ œ Aœ œ œ &
72
œ œ œ bœ œ bœ œ Aœ
œ bœ œ Aœ œ #œ œ
bœ œ œ bœ œ bœ œ Aœ œ bœ œ œ Aœ œ œ œ œ b œ A œ &œ œ bœ ˙ œ œ
Ó
œ œ bœ œ bœ œ bœ œ bœ œ œ œ bœ œ bœ bœ œ bœ œ Aœ œ #œ ˙ œ
Ó
75
œ
&
79
bœ œ bœ œ bœ bœ œ œ œ œ bœ ˙ œ œ œ & œ bœ œ œ œ œ Aœ œ œ œ
83
These ideas work great over dominant 7 chords, but what do we do over minor 7 chords? I use the same ideas on minor, although I don't use a minor bebop scale. When I see a minor 7 chord, i use the dominant 7 chord that is a 4th away. (example Dmi7 = G7, Cmi7 = F7, Emi7b5 = A7b9b13, Dmi7b5 = G7b9b13 etc....)
Let's apply this concept to a tune. We are going to use the changes to
C mi7
C mi7
&
F7
&
G 7 {b13}
87
91
B
b
b9
G 7 {b13}
D mi7( 5)
b
E mi7
A
99
b
F7
D ma7
b
C mi7
b
D ma7
D ma7
b
b9
G 7 {b13}
D mi7( 5)
&
b7
F mi7
b7
C mi7
b9
& A b7
95
F mi7
Blue Bossa
b9
G 7 {b13}
C mi7 F7
b9
G 7 {b13} b9
G 7 {b13}
Ó
5
Bebop Lines
Notice how I simplified the chord chages to mostly all dominant 7 chords in the previous example Here is a solo using our bebop concept with the simplified changes
b7
bœ œ bœ œœ œ bœ bœ œ œ œ b œ œ œ œ Œ œ œ œ œ bœ œ bœ œ œ bœ œ œœ & œ
103
F7
B
b9
F7
G 7 {b13}
bœ œ œ bœ œ bœ œ œ œ œ œ Œ & œ bœ
107
A
&
111
b7
bœ œ bœ nœ bœ œ bœ œ bœ b9
G 7 {b13}
œ œ bœ œ œ œ œ bœ œ œ bœ œ œ Œ b
D ma7
bœ bœ bœ œ œ bœ œ ˙ C mi7
bœ & œ œ bœ œ bœ œ œ œ œ œ œ bœ œ œ bœ Œ Ó œ
115
Ó
b9
G 7 {b13}
Ó
∑ œ bœ œ œ
The solo above sounds a bit boring, WHY? Every phrase starts on a downbeat, and jazz is a syncopated music. The best way to solve this issue is starting a phrase on the & of the beat, but our bebop lines will sound odd if they are displaced by an 1/8 note. We can solve this problem by using one of our no primary chord tones (scale degrees 2-4-6) as approach notes. We can also use chromatic approach notes. We can also anticipate the note on the & of the beat Another important tool is editing. can we remove some note of the phrase to make it sound better? Yes!!! Let's take the same solo and do some editing and apply some approach notes
b7
bœ œ bœ œ œ œ œ bœ bœ œ œ œ œ b œ œ œ ‰ J & œ œ œ œ bœ œ bœ œ œ bœ ‰ J œ œ F7
119
B
6
Bebop Lines b9
G 7 {b13}
F7
œ bœ œ bœ œ œ bœ œ bœ œ œ ‰ œ œ bœ œ œ œ œ b œ œ œ œ œ œ œ ‰J ‰ & œ bœ
123
A
&
127
b7
œ
b9
G 7 {b13}
bœ bœ œ bœ œ bœ ‰ J
bœ bœ
b
D ma7
bœ œ œ bœ œ ˙ C mi7
bœ & œ œ bœ œ bœ œ œ œ œ œ œ bœ œ œ bœ Œ Ó œ
131
Ó
Ó
b9
G 7 {b13}
Ó
Œ ‰ j œ
œ bœ œ œ
Jeff Ellwood Mt San Antonio college
Bebop Ideas G7 Chord
The Bebop scale is one of the most important sounds in jazz improvisation. The bebop scale is a mixolydian scale with a major 7 passing. The passing tone helps to ensure that primary chord tones (1 3 5 7) fall on strong beats (1 2 3 4) see expample below
o œ & 44
G7
œo
œ
œ
œ o
œ
œ o
œ
Cmaj7
œ
Œ
Ó
the notes with the (o) above are the strong beats of the measure, but are not primary chord tones (1 3 5 7). Those notes are actually (1 6 4 2). Here is the same scale with the major 7 passing tone. See example below
œo b œ G7
3
&
œo
œo
œ
œ
o œ
CMaj7
œ
œ
Œ
Ó
Notice how the notes with (o) above are primary chord tones and falling on strong beats. This extra passing helps to keep better resolution between chords Below are some simple exercises to practice. They are small scale sequences using the bebop scale. Each exercise starts on a primary chord tone ( 1 3 5 7)
5
9
&œ œ œ œ ˙ Root
&
œ bœ œ œ ˙ Root
˙ œ œ œ œ 3rd
œ œ œ œ ˙
7th
œ œ œ #œ ˙
œ #œ œ œ ˙
œ œ œ œ ˙
œ œ œ bœ ˙
5th
5th
7th
3rd
Bebop Ideas
2
using are simple bebop excersises, we can now start adding link ideas. Below are some link ideas that start on primary chords. These ideas are common language used in improvisation. Play each link idea to get the sound of it in your ear. All these links will be used on a G7 chord
œ & œ œ #œ ˙
œ œ œ œ ˙
œ œ & œ #œ ˙
#6
#1
13
#5
#2
œ œ œ œ ˙
#9
œ bœ œ ˙ & œ œ œ œ #œ #12
& œ œ bœ #œ ˙ #16
& œ #œ œ #œ ˙
29
œ œ #œ œ ˙
#10
œ #œ œ bœ ˙
œ œ bœ œ ˙
#17
œ ˙ & œ œ œ œ œ œ #œ
#11
œ œ œ œ ˙
#14
œ bœ œ #œ œ bœ œ ˙ œ
33
#8
œ ˙ œ œ œ œ œ ˙ œ
œ bœ œ #œ ˙
& œ œ œ œ œ œ œ #œ ˙
37
œ œ #œ œ ˙
œ œ ˙ œ œ œ œ ˙ œ
#4
#7
#13
#19
#21
Ó
œ ˙ œ œ œ œ œ ˙ œ #3
Ó
#15
#18
œ œ #œ œ œ œ œ
Ó
œ #œ œ œ œ œ nœ bœ ˙
Ó
#22
#20
œ bœ œ bœ ˙
Ó
#23 œ œ œ bœ ˙
Bebop Ideas
3
Using the simple scale exercises (page 1) and combining that with the link ideas (page 2), one can develop endless improvisational vocabulary. See the examples below.......(Note: These G7 ideas can also work on a ii-7 V7 progression (D-7 G7 Cmaj7) G7
&œ
œ
&œ
œ
41
Link #1
43
scale Sequence
œ nœ
œ #œ œ
œ
scale sequence
œ
Link #5
Link #13
Link #14
œ #œ œ œ œ œ nœ bœ &
48
&
51
link #20
œ bœ œ bœ œ bœ œ œ Link #22
54
&
57
Scale sequence
œ #œ œ œ œ œ nœ bœ Link # 20
œ #œ
œ
œ bœ
link #11
œ
˙
œ
œ
œ bœ œ œ œ œ œ œ
˙
Ó
˙
Ó
œ œ œ œ œ œ œ ˙
Ó
Link #2
Scale sequence
œ
Scale sequence
œ
Link #3
œ
link #12
Link #14
˙
Ó
Link #3
œ œ œ œ œ œ #œ
Link #4
œ
Link #2
œ œ œ œ œ œ œ œ Link #4
œ
scale sequence
œ œ œ œ œ œ bœ #œ
scale sequence
& œ œ œ œ œ œ œ bœ Link #6
œ
œ #œ
œ œ œ b œ n œ œ #œ œ &
45
œ bœ
Link #1
˙
Ó
Bebop Ideas
4
Having studied the bebop scale sequence combined with links, one could come up with a variety of misical ideas. These ideas allow us to create lines on a specific chord type, but now the must be further study in resolving these musical ideas to their home base, the tonic chord (V7-I, G7 to Cmaj7). We will now shift our foucs to the resolutions to the major chord. Below is a series on resolution exercises to help create proper resolution to the tonic. This is where many students lack strength. resolving a weak chord (G7) to a point of strength (Cmaj7) These fisrt resolution studies will deal with descending scale motion exercises from the primary chord tones of G7. We will call these Downward resolutions G7
&Ó
60
G7
&Ó
64
œ œ œ œ
Root
œ œ œ œ 5th
Cmaj7
w
Ó
CMaj7
G7
w
G7
Ó
œ œ œ œ 3rd
œ œ œ œ
CMaj7
w
Cmaj7
w
7th
The next resolution studies will deal with ascending scale motion with a leap of a third between the last two notes. We will call these Upward Resolutions
G7
&Ó
68
G7
&Ó
72
œ œ œ œ Root
œ œ œ œ 5th
CMaj7
w w
CMaj7
G7
Ó
G7
Ó
œ œ œ œ
w
CMaj7
3rd
œ œ œ œ 7th
CMaj7
w
Bebop Ideas
5
These next resolutions are based on arpeggio's. These arrpegio's will be built from primary chord tones (1 3 5 7)
G7
&Ó
76
G7
&Ó
78
œ Root
œ
œ
œ
œ
w
œ
œ
œ
w
œ
CMaj7
w
œ
CMaj7
CMaj7
CMaj7
3rd (Bmi7b5)
G7
&Ó
80
œ
œ
œ
œ
5th (Dmi7)
G7
&Ó
82
œ œ
w
7th (FMaj7)
Notice the various other chord types one can use from building arpeggio's from othe chord tones Root=G7 3rd=Bmi7b5 5th=Dmi7 7th=FMaj7 Let's construct some lines using bebop scale sequences, links and resolution exercises to create lines resolving G7 to Cmaj7
&
84
G7
∑
CMaj7
∑
Bebop Ideas
6
œ & œ œ #œ œ nœ œ œ w
œ #œ œ bœ œ nœ œ œ w
&œ œ œ œ œ œ œ œ w
œ bœ œ bœ œ œ œ œ
CMaj7
G7
86
90
& œ œ œ bœ œ œ œ œ
94
w
œ
w
œ w œ œ œ œ œ œ
& œ œ œ œ œ œ œ #œ
œ œ œ œ œ œ œ œ
w
œ œ #œ œ bœ œ œ œ &
œ œ œ œ œ œ œ œ
w
G7 (dmi7)
98
101
G7
œ œ œ #œ œ nœ œ
œ œ œ œ œ œ # œ œ
œ bœ œ & œ œ œ œ #œ
œ œ bœ œ #œ œ nœ œ
œ œ œ œ œ & œ bœ œ
œ œ œ œ œ œ œ œ
&
104
œ
107
110
CMaj7
w w
w
