The Dominant archetype of the Red Knight Attraction ModelFull description
Full description
music
Tradução Mestre sem esforço.Full description
Bebop Scale Exercise
Bebop Scale ExerciseDescripción completa
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Bebop Scale Practice ExercisesFull description
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Descrição: practice material
Details playing over bebop scales.
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bebop
Descrição: practice material
The Bebop Activity Books are all produced in large format for students to be able to use easily. Each book is 80 pages long and is composed of 8 units each with 8 lessons, thus mirroring the…Descripción completa
Make your own knots for any occasions. If for siling or something else here you'll find every knot
Make your own knots for any occasions. If for siling or something else here you'll find every knot
scales for violin
Mastering the Dominant Bebop Scale Created by Steve Neff
Note: Please do not distribute this book. Respect the copyright laws. If someone is interested in the whole book please direct them to my site at www.ne! music music.com . I appreciate it. Steve
Copyright 2007
www.neffmusic.com
Mastering the Dominant Bebop Scale Created by Steve Neff
Note: Please do not distribute this book. Respect the copyright laws. If someone is interested in the whole book please direct them to my site at www.ne! music music.com . I appreciate it. Steve
Table of Contents 9. B7 Bebop Scale........................................................................................................................... p. 126 9.1 B7 Bebop Links................................................................................................................p. 130 9.2 B7 Resolution Links..................................................................................................... .p. 139 10.E7 Bebop Scale.......................................................................................................................... p. 141 10.1 E7 Bebop Links............................................................................................................... p. 145 10.2 E7 Resolution Links...................................................................................................... p. 154 11. A7 Bebop Scale......................................................................................................................... p. 156 11.1 A7 Bebop Links................................................................................................................p. 160 11.2 A7 Resolution Links.......................................................................................................p. 169 12.D7 Bebop Scale..... ................................................................................................................... p. 171 12.1 D7 Bebop Links.............................................................................................................. p. 175 12.2 D7 Resolution Links..................................................................................................... p. 184 13.Dominant Bebop Scale Blues..................................................................................................... p. 186 13.1 Playing a Bebop Scale Pattern Through a Blues..............................................................p.186 13.2 Example of a blues solo using the Dominant Bebop Scale...............................................p. 187
The Dominant Bebop scale can be used over any dominant chord but it can also be used on a ii-7 chord that is connected to the V7 chord. Many times in jazz you will see these two chords connected as in the following example:
In this example you can see that the dominant scale is used for the Dm7 chord as well as the G7. Many times you will also see a ii-7 and a V7 in the same measure. The Dominant bebop scale can be used over the entire measure in that situation also. I hope you enjoy studying the materials in this book. You will find that it is filled with many musical gems that Once mastered will add greatly to your jazz vocabulary. Have Fun. Steve
6
Ths first step in learning the Dominant Bebop scale is to learn it in a one octave range. It should be practiced starting on the 1, the 3rd, the 5th and the 7th. I suggest practicing the exercises below as an introduction to the bebop scale. These will help you to get use to what notes the scale can be started on. Start slowly and increase your speed gradually until you can play them as 16th notes over a fast tempo. These should be practiced until you find that you don't have to think about a bout what the scale is or what notes to t o use.
Now to make things more interesting, the last 12 exercises should be practiced without the first note. In place of the first note put an eighth rest for every two bar phrase. practicing this way will help you so you can start the scale on the off beats. Another thing to practice is to make the first two notes into sixteenth notes but start them on the off beat. So number 9 would be:
Every exercise should be practiced these two ways. The reality is that in a real world playing situation, you need to be able to start your phrases where ever you want. By practicing them this way you can get use to playing them on the downbeats or the upbeats. If you only start your ideas on the downbeats it will get very predictable and boring pretty quickly. Don't skip this Step!!!
9
10
These bebop scale links can be inserted into the bebop scale whenever you get to the first note of the link while playing the scale. After you play the link you can continue with the bebop scale or even continue with another link if you want. These will add different textures to your lines.
These Links are examples of links that can be used when resolving from the Dominant to the Tonic. You can use these any time your moving from a dominant chord down a fifth. In the case of the G blues you can use them where G7 resolves to C7 and also at the end where D7 resolves to G7.
œ œ œ b œ œ b œ ˙ œ œ œ # œ ˙ œ œ œ Ó œ œ œ Ó & c œ œ b œ b œ ˙ œ œ œ # œ œ b œ b œ œ œ Ó œ œœ ˙ Ó & G 7
C
G 7
C
G 7
C
G 7
C
G 7
C
G 7
C
5
œ œ b œ œ bœ ˙ Ó œ Ó œ œ b œ œ # œ & œ b œ œ n œ œ ˙ b œ b œ œ ˙ œ œ œ œ œ b œ œ œ œ œ # œ œ œ ˙ Ó Ó &
9
G 7
C
G 7
C
13
G 7
C
G 7
C
œ œ œ œ œ œ œ œ œ œ bœ ˙ Ó œ # œ n œ ˙ œ Ó œ & b œ b œ œ œ œ œ b œ œ œ œ œ ˙ œ bœ bœ œ ˙ Ó œ œ Ó & œ œ # œ n œ œ b œ œ # œ ˙ # œ œ # œ # œ n œ œ ˙ Ó œ Ó œ & œ œ œ b œ œ # œ œ b œ ˙ Ó œ œ b œ # œ œ n œ œ # œ ˙ Ó &
17
G 7
C
3
G 7
C
21
G 7
C
G 7
C
G 7
C
G 7
C
25
29
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20
G 7
C
G 7
C
œ œ œ œ œ b œ œ œ # n œ œ œ Ó œ bœ ˙ œ b œ œ & œœ ˙ œ œ œ # œ œ b œ ˙ Ó œ b œ œ œ œ œ n œ œ ˙ œ œ & œ œ œ b œ œ œ b œ œ bœ œ bœ bœ ˙ œ ˙ Ó œ &œ œ œ b œ œ œ œ b œ ˙ œ œ œ œ œ œ œ œ œ œ ˙ Œ Œ &œ 3
3
33
G 7
C
G 7
C
37
G 7
C
3
G 7
C
G 7
C
41
G 7
C
45
b œ œ b œ b œ n œ œ œ œ ˙ Ó œ œ œ b œ œ & œ œb N ˙ œ bœ œ b œ b œ n œ b œ œ ˙ Ó œ b œ ˙ œ œ œ œ œ & œ œ œ œ œ # œ œ œ # œ n œ œ b œ ˙ œ œ Ó b œ & œœ ˙ b œ b œ œ œ œ œ œ ˙ œ œ œ œ Ó œ œ œ b œ & œ # œ ˙ G 7
C
G 7
C
49
G 7
C
G 7
C
53
G 7
C
G 7
C
57
G 7
61
C
G 7
3
C
Ó Ó Ó Ó Ó Ó Ó Ó
21
Ths first step in learning the Dominant Bebop scale is to learn it in a one octave range. It should be practiced starting on the 1, the 3rd, the 5th and the 7th. I suggest practicing the exercises below as an introduction to the bebop scale. These will help you to get use to what notes the scale can be started on. Start slowly and increase your speed gradually until you can play them as 16th notes over a fast tempo. These should be practiced until you find that you don't have to think about what the scale is or what notes to use.
b
C 7
1.
œ œ œ œ n œ b œ œ œ œ . . œ . . œ b œ n œ n œ b œ œ n œ œœœœœ œœœœ & .œœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . œ œ . . œ œ bœ . b œ n œ n œ b œ œ n œ . œ œ & œ œ œ œ œ œ œ œ œ œ œ n œ & b œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ b n œ b œ n œ b œ n œ b œ œ œ & œœœ œ ˙ œ ˙ œ b ˙ œ n œ œ n œ œ œ & œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ ˙ b n œ b œ n œ b ˙ œ˙ &
