Mastering Bebop Scales

Introduction To ...

10.02.03 12:09

Welcome to "Mastering The Bebopscales"

Purpose The purpose of this website is is to provide exercises exercises to make the bebopscales work for you. If you are interested interested in practicing bebop-inflected bebop-inflected lines, lines, this is just your site.

GOALS Flowing/le Flowi ng/legato gato pla playin ying g

The idea of this is to help you sound more fluent, more flowing, flowing, more bebop. bebop. The frequent use of chromatic chromatic tones made the beboppers sound more fluent than the bigger intervals used during the swing swing era, where arpeggio’s ruled the improvisations. improvisations. Smaller, chromatic intervals intervals are hard to hear at first. For beginning musicians hardly easy, but as you practice practice it more, you’ll get more adept. Charlie Parker came to this additional chromaticism chromaticism through long long hours of study study and he commented commented on his studying habits a lot. Analysing Analysing the music, listening listening to classical music and practic practicing ing as he did, he became –if not the inventor- the hero of bebop music. You should listen to bebop-players a lot (not only only Parker, but also Miles and more advanced modern players like Yusef Lateef and Coltrane) to hear how they flowed throughout their improvisations. Yet they tended to phrase very carefully, emphasising some notes, ghosting others. They sound legato, but never dull. Playing fast

Charlie Parker played fast, unbelievably unbelievably fast, like lightning. Whether you will be able able to play as fast is only up to you and how many hours you are prepared to study. Amateurs like myself will probably never play as fast as Bird, but still, still, you can do a great jobs on slower tempos. tempos. Think of yourself as Miles Miles on the Prestige-albums. Slower than Bird, but Bebop bebop bebop... It will will make you play fluent double-time lines lines and still sound meaningful. No scalerunning as you’ll you’ll hear a lot of of beginners do, but clear and fast beboplines. ttp://users.skynet.be/jan.ghijselen/index.htm

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Introduction To ...

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Playing Play ing changes changes flu fluent ently ly

Playing bebop is also about about connecting the chords. In Swing there there was a lot of arpeggiating going on, Bebop emphasised the use of chromatic tones and landing the chord tones on the the strong beats. If you use the rules of thumb in these exercises, it will make you easier easier to connect the chords in the harmony. harmony. Listen to what Charlie Parker did on all of these great bebop-tunes and standards. He nailed the changes right there. Sounding mainstream

If you practice these exercises, you you will eventually eventually sound Bebop. Revolutionary Revolutionary in the 40’s, mainstream mainstream (in the jazzworld) today. Though this is true, you you just might like bebop and want to infuse your playing with bebop-elements. You should also remember that the great geniuses geniuses of modern modern jazz (Coltrane, Miles, Steve Coleman) worshipped Charlie Parker and came to their revolutionary music through and after the thorough study of bebop. Will this make you more Will more reactionary, reactionary, will will you become become old-fashione old-fashioned. d. I don’t believe believe it. It will turn your ear and your your playing to the the intricacies of bebop. You should keep an open eye to the really really modern players (Steve Coleman, Coleman, probably seen in thirty years as the Charl Charlie ie Parker Parker of the the 21st ce centu ntury) ry).. Even Even if I don’ don’tt like like –esth –estheti etical callyly- what what goes goes on in modern jazz (John Zorn, Threadgill) and am more moved by mainstream, I am always open to the great revolutionarie revolutionaries s of this music. music. What do I like? If i were to take take four albums albums to a deserted deserted Island Island Kind of Blu Blue e (Miles (Miles Dav Davis) is) Gnu High (Kenn (Kenny y Wheeler) Wheeler) Any An y reco recording rding of the the Keith Jarett Jarett trio trio Any An y reco recording rding of the European European Quartet Quartet of Charles Lloyd Pret Pr etty ty lam lame, e, hé? hé? [EmailProject]. Last changes: 04 februari 2003.

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Introduction To ...

10.02.03 12:09

Playing Play ing changes changes flu fluent ently ly

Playing bebop is also about about connecting the chords. In Swing there there was a lot of arpeggiating going on, Bebop emphasised the use of chromatic tones and landing the chord tones on the the strong beats. If you use the rules of thumb in these exercises, it will make you easier easier to connect the chords in the harmony. harmony. Listen to what Charlie Parker did on all of these great bebop-tunes and standards. He nailed the changes right there. Sounding mainstream

If you practice these exercises, you you will eventually eventually sound Bebop. Revolutionary Revolutionary in the 40’s, mainstream mainstream (in the jazzworld) today. Though this is true, you you just might like bebop and want to infuse your playing with bebop-elements. You should also remember that the great geniuses geniuses of modern modern jazz (Coltrane, Miles, Steve Coleman) worshipped Charlie Parker and came to their revolutionary music through and after the thorough study of bebop. Will this make you more Will more reactionary, reactionary, will will you become become old-fashione old-fashioned. d. I don’t believe believe it. It will turn your ear and your your playing to the the intricacies of bebop. You should keep an open eye to the really really modern players (Steve Coleman, Coleman, probably seen in thirty years as the Charl Charlie ie Parker Parker of the the 21st ce centu ntury) ry).. Even Even if I don’ don’tt like like –esth –estheti etical callyly- what what goes goes on in modern jazz (John Zorn, Threadgill) and am more moved by mainstream, I am always open to the great revolutionarie revolutionaries s of this music. music. What do I like? If i were to take take four albums albums to a deserted deserted Island Island Kind of Blu Blue e (Miles (Miles Dav Davis) is) Gnu High (Kenn (Kenny y Wheeler) Wheeler) Any An y reco recording rding of the the Keith Jarett Jarett trio trio Any An y reco recording rding of the European European Quartet Quartet of Charles Lloyd Pret Pr etty ty lam lame, e, hé? hé? [EmailProject]. Last changes: 04 februari 2003.

ttp://users.skynet.be/jan.ghijselen/index.htm

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Pagina op het hoogste niveau 1

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How to practice If you practice these ideas you could use two methods: methods: cycles and chord chord changes. 1.

Cycles

You could pract practice ice all these exercices exercices on on cycles of chords. For instance instance using the cycle of fourths so as to practice in all keys each different chord. It can help your ear and develop your sense sense of chords. Especially useful for practicing the techniques on “stranger” scales, scales, like phrygian, phrygian, lydian, altered altered and so on.

2. Chord Chord changes changes and and stan standard dards s slow at first... first... You could take a standard or a song, read over the chords and then take an exercise exercise and use it over the whole chorus. At first you don’t use a steady beat. Just pay attention to using using the techniques. Then Then play it at slow tempos tempos first, then till you you master and use these techniques at a comfortable tempo till you reach the right tempo. Don’t worr Don’t worry y if you can’t play play Beboptunes Beboptunes at at 300 bpm. bpm. Go over your your Prest Prestigeigerecordings of Miles and relax, don’t worry.

Above all, all, be patient. patient. Master each technique technique thoroughly before moving on. It could take you minutes, hours of months, who cares. Each step is a step forward. BE PATIENT and practice as much as you’re comfort comfortable able with. Don’t Don’t expect miracles, miracles, but you’ll definitely definitely be sounding more bebop as you progress....

[EmailProject]. Last changes: 03 februari 2003.

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Projectweb -- Planning

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LIST OF SC SCALES The pr prin inci cipl ple e for the the bebo bebopsc pscale ales s is eas easy. y. For For each each domin dominant ant or minor minor chor chord d that that isn’t a I chord, you insert an extra chromatic tone in between b7 and the root. For each major chord or minor chord chord that is a I chord, you insert an extra chromatic tone in between the 5th and 6th. For harmonic major and harmonic minor, you could use the same principle, but these scales are not covered. The I chord of harmonic major doesn’t have have a bebopscale. Using Usin g the bebopscale of of dominant and dominantb6 (melodic minor). minor). I frequ frequently ently use the dominant dominant bebopsc bebopscale ale on other chords: chords: Phrygian: if you play the Phrygian: the dominant bebopscale bebopscale from the third of the phrygian phrygian scale, sca le, you you sou sound nd fine. fine. Lydian: if you play the Lydian: the dominant bebopscale bebopscale from the second of the lydian lydian scale, .... go .. gorg rgeo eous us Aeolian: if you play the dominant bebopscale from the b7th, it it sounds great. great. Locrian: if you play the the dominant bebopscale bebopscale from the b6th, b6th, you sound bebop Altered: Altere d: if you you play play the dom domina inantb ntb6 6 bebop bebopsca scale le from from the b6t b6th h or #5th, it it sou sounds nds wonderful Dominant#11 or lydian dominant: Dominant#11 dominant: if you play play the dominatb6 dominatb6 bebopscale from the second, secon d, you ‘ll end up soundin sounding g fantastic fantastic.. Major

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Ten no note te sc scal ale e

Dorian


Phrygian


Lydian



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Dominant

Ten note scale

Aeolian

Ten note scale

Locrian

Ten note scale


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Melodic Minor

Ten note scale

Lydian dominant

Ten note scale

Locrian (mel minor)

Ten note scale

Altered


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Ten note scale



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Projectweb -- Status

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RULES OF THUMB 1. 2. 3. 4.

Starting on a chord tone is always ok Moving to a chord tone from a weak beat: insert NO or an even number of notes Moving to a chord tone from a strong beat: insert ONE or an UNEVEN number of notes On skips: a. Octave displacement is always ok (doesn’t interrupt the flow) b. If you’re still on track (CT’s on a strong beat, NCT’s on a weak beat) Skips from any CT to any NCT are always ok Skips from any NCT to any CT are always ok c. When skipping from any CT to any CT or any NCT to any NCT: insert ONE or an UNEVEN number of notes before continuing Chromatic Diatonic Beat STRONG BEAT

WEAK BEAT

Starting note Chord tone OK Insert NO or an EVEN number of notes before continuing.

Insert ONE or an UNEVEN number of notes before continuing

NonChord Tone

OK Insert NO or an EVEN number of notes before continuing

Insert ONE or an UNEVEN number of notes before continuing


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1.1. The Old Up And Down

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1) The old up and down You can create very powerful phrases just running up and down (following the changes as they go by) and not changing direction before you run out of keys or strings or cymbals.

Examples NOTE: before moving to Cmaj 7 I had to insert an extra chromatic tone in order to start the first beat of the third bar with a chord tone. We’re talking rule of thumb n°3 here: moving to a chord tone from a strong beat (4th beat of the G7 chord), insert one or an uneven number of notes.

Using the whole-tone scale (starting whole tone things on the third beat...)

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1.1. The Old Up And Down

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Examples


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1.2.Random Changing

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1) Random changing Remember you can change direction on every note. If you do it right, you will always have your chord tones on a strong beat.

NOTE: before moving to the third bar I already anticipated the Cmaj7 bebopscale one beat ahead.

Examples

Using diminished

Using Whole Tone

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1.2.Random Changing

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Examples


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1.3. Delay Chord Tones

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Delaying chord tones and then continuing up or changing direction If you are running up and down, you might want to delay the chord tones by an EVEN number of notes like in this example:

From above with two extra notes for example

Examples

NOTA BENE: A small note on approach notes. If you are approaching a chord tone from above, you should definitely want to use a diatonic tone (see note). If you are approaching a chord tone from below, you could use chromatic approach tones.

Note: But: it’s just in case you want to sound bebop. Remember Bill Frisell... His teacher told him what the avoid notes are and being a rebellious little gangster he checked these out first, only to emphasize them in his playing. It makes him http://users.skynet.be/jan.ghijselen/delayct.htm

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a wonderful musician, far removed from bebop, but what beauty and modernity... Great!

Or from above and below (one note above, one note below)

Or by inserting an extra half step from below

Examples

Using four notes can make things even more interesting

Using diminished

Examples

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Using Whole Tone

Examples

Example


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1.4. Combining CT and Octave Displacement

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Combining delaying the chord tone with octave displacement

In this example I use the fifth mode of harmonic minor on A altered.

What happens: I move to the chord tone from above, then progress downwards but an octave higher and then I approach the next chord tone with a delay (even number of notes). Another example in which I approach the last chord tone with a different kind of delay...

Listen

Just to show you what is possible, the old II-V. It’s a little bit stupid-sounding, but shows you what you can do with this powerful technique. http://users.skynet.be/jan.ghijselen/Combining.htm

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1.4. Combining CT and Octave Displacement

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Using diminished

Listen

Using Whole Tone

Listen


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1.5. Coltrane Blues Thing

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The Coltrane Blues Thing . •

From CT down

In one of his late-50’s solo recordings he starts his chorus on the blues like this

From the point of view of Mastering the Bebop Scales he does something very specific: every time he hits a chord tone, he goes in the other direction and plays the chromatic neighbouring tone (approach note, if you will). The use of this can be limitless, keeping your bebopscale in mind.

Let’s take another blues example, but start on a different chord tone.

Listen See what’s happening? http://users.skynet.be/jan.ghijselen/coltraneblues.htm

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Let’s go back to the old II-V and make up an example using dorian and mixolydian...

Now for the use of Diminished...

Listen

And for the Whole Tone Scale

Listen

But what if we turn the phrase upside down. Moving down, that is, instead of moving up. Well, the same thing goes...

Listen http://users.skynet.be/jan.ghijselen/coltraneblues.htm

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Another way is: •

From the CT up

Listen

Listen

Downwards it gives you

Listen

Using Diminished

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Listen

Using Whole Tone

Listen

•

To a CT

A bit strange, since the chord tones don’t fall on strong beats is the following example (but then again, it’s only theory, isn’t it...?)

Listen

Watch out for the seventh. You should use it, but it behaves strangly... you could try this... I put a little egg over the seventh....

Listen


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Diminshed sounds just fine

Listen

Whole tone ‘s nice too...

Listen



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2.1. One small Note

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1) Just one small note (for example: from a chord tone to the third above and then back, or to the fifth and then back) An example using a third above and moving downwards. Nota Bene: I use the third as in a regular scale. So, if you take the third of the b7th of a dominant scale, you play the ninth and not the root.

Listen Let’s just say you skip to the third, but you don’t return to the original chord tone but to the next non-chord tone. Then you’ll have to insert an extra chromatic tone from above or below before the next chord tone. Again, notice the trouble with the seventh of the dominant chord! I haven’t resolved this to any set of solutions. It’s a dilemma: deal with it, you can try to solve the problem, but you might as well leave it there with a question mark. Still, this sounds good.

Listen

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2.1. One small Note

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A third possibility is skipping to –let’s say a third- and then continuing not with the starting CT but with a lower CT: listen,

Listen

Listen to how well it sounds with the diminished scale:

Listen

Try different intervals Fourths:

Listen

Listen


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2.1. One small Note

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Listen

Fifths.......experiment

Sixths.........experiment



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2.2. Approaching Chord Tones

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Approaching each chord-tone from the opposite direction If you are playing from low to high instead of inserting the next NCT before approaching a CT, you take the NCT after the CT you are approaching. Let’s make it clear with an example:

Listen

Or Diminished

Listen

Or Whole Tone

Listen http://users.skynet.be/jan.ghijselen/nieuwe_pagina_2.htm

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From high to low you can use the NCT after the next CT you are reaching for Diatonically:

Listen

Or Chromatically

Listen

The same goes for the Diminished (even though you stick to the diatonic tones)

Listen For the Whole Tone Scale I suggest you stick to the diatonic tones also, listen...


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Listen



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2.3. From any CT to any NCT

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From any NCT to any CT or from any CT to any NCT From any non chord tone to any chord tone... Just the principles outlined in the rules of thumb. In the example I focus on the G dominant scale, just to be sure...

Listen

Listen

Using diminished


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2.3. From any CT to any NCT

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Listen

Using Whole-Tone-Scale

Listen



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2.4. From any CT to any CT

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From any CT to any CT and from any NCT to any NCT

Let’s just say you like to bend the rules a little and you want to move from CT to CT. Well, no problem, just insert an extra tone before reaching the next CT.

Listen

Listen



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3.1. One Start Note

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One starting note •

From below

If you approach the starting chord tone from below, you might consider using a (chromatic) approach tone. You will prefer to start on a weak beat...

Listen Using wider intervals you could get:

Listen

•

From above

If you approach it from above you will mostly use a diatonic tone. Using a chromatic approach tone from above will make you sound more modern, but this course is focusing on bebop-phrasing.


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3.1. One Start Note

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Listen Using wider intervals would get you into this example

Listen



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3.2. Two Starting Notes

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Two starting notes •

From above

You insert an extra chromatic tone if the distance is a whole tone. Refer to from above and below if the distance is only a half tone...

Listen

You could also use two diatonic tones...

Listen •

From below

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Listen

Listen Or you could also use two diatonic tones

Listen •

From above and below

Mostly you would use a chromatic approach note from below and not a diatonic tone

Listen


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Listen



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3.3. Three Starting Notes

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Three starting notes

Listen

Listen

Listen

Listen


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3.3. Three Starting Notes

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Listen

Listen



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3.4. Four Starting Notes

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Four starting notes

You expand on the ideas you have already learned. I will limit myself to some examples...

Listen

Listen

Listen


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4.1. Chromatic Stretches

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Chromatic Stretches Inserting a larger number of notes (even or uneven)

•

Bridging the interval of an uneven number of half steps:

The following intervals have an uneven number of half steps: Minor Third Fourth Fifth Sixth Major Seventh The rule here is If you start on a strong beat: insert an extra tone before the CT you want to reach. You can do this by approaching the CT from above or using the technique described in Methenisms, Milesisms. If you start on a weak beat, insert no extra tones... Say you want to approach the b7th of G7 from the 4th: this makes an interval of a Fifth. Then you insert an extra tone...

Listen http://users.skynet.be/jan.ghijselen/nieuwe_pagina_8.htm

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Listen Say you want to approach the third of G7 from the fifht of G7. This is an interval of a Third. The same goes here...

Listen

Listen

Same goes for the other direction: going up gives you the same rules as above:

Listen Let’s go for the sixth interval: from b7 of G7 to the 5th of G7:

Listen


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•

Bridging the interval of an even number of half steps:

Intervals with an even number of intervals are: Major third #11 #5 b6 b7 Here the rule is: If you start on a strong beat and the CT that you want to reach is an even number of halfsteps away, you have to insert NO or an even number of notes. You just walk chromatically to the CT. On the other hand: if you start on a weak beat, insert one or an uneven number of notes.

Take the same exercises as above, but with intervals with an even number of half steps.



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4.2. Methenisms, Milesisms

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Methenisms, Milesisms

Pat Metheny, a dedicated follower of Miles Davis embellishes lines by inserting ghost notes a third or minor third lower. The emphasis is on the notes on the strong beats and the notes in between are just slightly touched on, hardly played, you can’t identify them, but they are mildly dissonant, and should be...

Listen

Miles used this technique extensively far before Pat Metheny could even say mama or pa-pa. Miles didn’t use these ghost notes (intervals of thirds and minor thirds), but used whole steps down as ghost notes. Oh Miles.........., man....

Listen

Principle is: http://users.skynet.be/jan.ghijselen/4_2__methenisms,_milesisms.htm

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4.2. Methenisms, Milesisms

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If you start on a strong beat insert the ghost tone immediately after your starting tone. By the time you reach the CT, you’re back in sync

Listen If you start on a weak beat, go down a chromatic tone before inserting your ghost tone and then continue...

Listen


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4.3. Triplets

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Using triplets First some examples....

Listen

Listen

So, what’s the idea behind the use of triplets. Triplets break the flow of the eighth notes, so you have to add an extra chromatic tone to regain the flow of chord tones on strong beats, if you stay within the scale without skips. Triplets add a nice touch, you get off course, and you get back by inserting that extra note, terrific. You can expand on this using arpeggio’s and so on. For these, the rules all go. If you use a three note arpeggio, you should check your next note after the triplet. If you land on a chord tone (on this first beat, a strong beat), nothing’s wrong, if you land on a non chord tone, you should add an extra half tone...

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4.3. Triplets

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Listen

Listen


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4.4. Arpeggio's

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Using arpeggio’s •

Arpeggio turnback

Listen

We use our chord tone as a starting point and the arpeggio turns back to it. If you use three note arpeggio’s as in the example above, you land on a non-chord tone on a strong beat. You should consider inserting an extra chromatic tone. The arpeggio can be turned upside down like in the following example

Listen If you use four-note-arpeggio’s, you stay far removed from trouble.

Listen

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4.4. Arpeggio's

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•

Arpeggio’s to continue

Between the chord tone and the next tone you insert the three note arpeggio from the next tone and then continue down or up or changing direction

Listen You could think of the same two notes F and E and consider taking a three note arpeggio from above, but –as much as I advise you to use your imagination- use your ears to judge if it’s any good.

•

Leaping off the scale with arps

You can always insert arpeggio’s but keep in mind the rules of thumb. If the last note of your arpeggio is a CT on a weak beat, insert an uneven number of notes before continuing. If it’s a CT on a strong beat all’s well. If the last note is a NCT on a weak beat, you’re ok, if it’s on a strong beat insert an uneven number of notes before continuing..

Listen


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5.1. Embellish Triads

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Embellishing the triad

•

1 embellishing tone

Approaching from below (means using chromatic tones)

Approaching from above (means using diatonic tones)

•

2 embellishing tones

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•

3 approach notes


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You can find as many examples as you can think of... it’s up to you...

Examples



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Mastering Bebop Scales

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