Download pdf - Jerry Bergonzi - Melodic Line-1

7/21/2019 Jerry Bergonzi - Melodic Line-1

1/105


2/105

tD

lrack

List

TRAff

TUNI

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INSTRUMENTS-PAGE

BbINSTRUMENTS-PAGE

E'INSTRUMENTS-PAGE


3/105

Introduction

Adding

chromatic

passing tones

between

specific

tones

of the

diatonic

scale

is

a

device

that musi-

cians often

use. This technique helps to make the scale sound

harmonically right

or consistent with

the

chord.

These

scales

are sometimes called bebop scales. I

think

of

them

as

jazz

scales because

many

of

my favorite

jazzplayers

use them.

Bebop, hard

bop, swing, cool, avant

garde, rhythm

and

blues and

many

other

jazz

styles incorporate bebop scales. This book presents a clear and pracrical

approach

to

chromaticism,

line

playing,

voice

leading,

and

to

learning

and

integrating

bop scales

into

one's

playing.


4/105

thapter

l,

Major

and

Dominant

Bebop

5cales

Bebop

scales

are

chord

scales

with

added

chromatic

passing tones.

They

are created

by interjecting

one

or

more

nondiatonic

passing

tones

into

the chord

scales.

When

these

passing

notes

are

added

to

the diatonic

chord

scale

certain

notes

then

stand

out

in the

scale.

There

are

several

commonly

used

bebop

scales,

major

and

dominant

are

the

most

common'

The

following

example

spells

a C

major

bop

scale'

An,,Ab,,

passing

tone

is added

between

the

fifth

and

sixth

notes

of

a

C

major

scale.

Bop

scales

can

be

used

as

ascending

or

descending

scales

although

descending

is

more

common'

When

you

play

this

bop

scale,

as

a

result

of

the

extra

note,

every

down

beat

is

a

chord

tone'

The

chord

tones

voice

iead

the

scale

making

the

line

sound

just

like

the

chord.

You

should

start

a major

bop

scale

on

root,

third,

fifth,

or

sixth

to

insure

this

result

of

voice

leading

the

chord.

If

you

start

the

scale

on

second,

fourth,

b5th,

or

seventh

the

line will

not

sound

like

a

major

bop

scale

because

the

down

beats

will

not

spell

the

chord.

The

following

examples

spell

out

a

C

major

bop

scale

descending

and

then

ascending

with

different

starting

notes:

Fnou

rsr

noot:

Fnou

rur

3no:

Fnov

rHE

5ru:


5/105

(I]APTtR

I

Fnorr

rne 6ru:

Fnou rnr

zNo:

The

added

note

for G7

is

Ffl

(Gh)

include

this

passing tone the down

ftfth,

or

blth.

G7 sranrrNc

oN

THE

Roor:

The following

example spells

the

C

major

bop scale

starting

on the

second step.

The

down

beats

then become D,8,.^b,

and

B

which

describes a D

diminished

or a G7b9 sound rather

than

a

C

major.

There are ways

to

start

the scale

from

any note

but this

will

be discussed

in further

chapters.

So,

to form

a major bop scale add a passing

tone between

the

fifth

and

sixth

note

of

a major scale.

To

form

a

dominant

bop

scale

add

the extia

note between

the

root

and

the dominant

seventh. The

following

example spells

out

a G7 bop

scale

starting

on the root:

the major

seventh,

but it

is

used

as

a

passing

tone.

\\-he::..--::

beats

again spell out the chord.

Start

the

scale on

the root.

::-::j

G7

srenuNc

oN rHE

JRD:


6/105

MIJOR

AllD DOI.lI|lAllT BTBOP

I(Itii

G7 sranrrNc oN THE

5TH:

G7

srenuNc

oN rur

bTrH:

If

you

start the scale

from

the 2nd,

4th,6th,

or

major 7th

scale step,

the

line

sounds

baclcrnrards.

The following

example spells

the

G7

bop scale

starting

on

the 6th. This line sounds more

lile an

Fflo

or a

D7

than

aG7.

G7

srenuNc

rnov

rHr

6rH

Again in

the

following

chapters

different

options

for

starting

notes

will be discussed.

Notice

that

these lines

need

to

be started

on

down

beats.

If

you

choose

a

correct

starting

note but

play

it on the up beat the

line

will again sound

like a different

chord.

ExarvrruE

-

G7

G7 nacxwanos


7/105

(I]IPTtR

I

The

first practice

assignment

is

to

play

through

the following

progression (A

and

B)

with bop

scales

starting

on the

root

descending.

Play full

octaves

of the scale

for

each chord

change as

in

the

following

example:

A. Root descending

c69

With

that

same

rhythmic pattern

play

through

the progression

using

the

following

starting

notes

and directions:

B. Root

ascending

C.

3rd

descending

Exalrprr:

c69

D. 3rd ascending

E. 5th descending

F.

5th

ascending

G.

6th

(if

chord is

major)

or

7th

(if

chord is

dominant)

descending

H.

5th

(if

chord is

major)

or

7th

(if

chord is

dominant)

ascending

I. Random

choices:

pick

a different starting note

on each chord, ascending

and descending


8/105

|'1Al0R

Al]D

001,1illAilT

BtB0i

i-r-,

W

YW&XW

&;

PR0GRtSSI0N

lA

(C

INSTRUMENTS)

&

TW&^qW

&;

PR0GRESSI0N

lB

((

INSTRUMTNTS)


9/105

illt?ttI I

&

TK&{K

PROGRESSION

IA

(Bb

INSIRUMENIS)

.

sbo9

Eb7

tbo9

obz

aboe

B7

to9

A7

*

Tn&(K

PROGRESSION

IB

(Bb

INSIRUMENIS)

:

Ro9

D7

co9

C7

ra9

sbz

rlo9

tbz

a4


10/105

MAJOR

A|lD DOI,lIIIAIIT BTBOP

I(ILt5

*

TeSaK 3: PR0GRESSI0N

lB

(Eb

INSTRUMTNTS)

&

Ym&(K

PROGRESSION

IB

(Eb

INSIRUMENIS}

:

a5


11/105

Ihapte

tl',

and

DomlbebtJ

onic

Minor

Bop

5cales

C-59

uslNc

B NuuRaL:

C-69

usrNc Bh:

GTbobtz

In

a

minor

key

the

tonic

minor

6th

chord

(I-69)

and

thgy7b9b13

chord

use

the

same

passing

tone

as the

IA

andYT of a

major

key. For

example,

as

with

a CA bop

scale

the

tonic

minor

or

C-59

bo

scale

uses

a

passing

tone

between

the

5th

and

5th notes

of the

scale.

Again you

must

start

the

scal

on the

7,3,5,

or 6. There

are

two

options

for

spelling

the

tonic

minor

scale,

that

is

with

a major

f

t

or ab7th.

On

a

C-69

chord scale

you

can use

either

B

natural

or

Bb

since

the 7th is

on an

upbeat.

G7b9b73 is

treated the

same as a

G7 chord

in that

the passing

tone

is between

the

root

and Itn

:: ::

scale.

Again, start

the scale

on the 1,

3, 5,

or

7.


12/105

I011l( f4il0R AilD D0ilIbebll00t

t(lttt

Exarupm

The

next

practice

assignment

is

to

play

through

progression

2

(A

and B) a full octave

of

each bop

scale

starting

on the

following

notes:

A.

From the

root

descending:

(Use

either

of the

tonic

minor

scales and use the same

rhythmic pattern

as with

assignment

1.)

,rbefis

-69

or

C-69

,rbebts

B. From the

root

ascending

C. From the 3rd descending

D.

From the 3rd

ascending

E. From the

5th

descending

F.

From the

5th

ascending

G.

From the

5th

(for

-6

chord) and

7th

(for

Dom7beh13)

descending

H. From the

6th

(for

-6

chord) and

7th

(for

Dom7b9b13)

ascending

I. Random choices

for starting notes descending

or

ascending


13/105

(I]APTtR

I

W

YW&{"W

%:

PR0GRESSI0N

2A

(C

INSTRUMENTS)

F7beb1

tb-oe

eS7b9b13

Fil-69

,rbefis

orbob

"rbebt

W

YW#-{"M

&;

PR0GRESSI0N

2B

(C

INSTRUMENTS)

G-69

c7b9b13

r-d9

sgrbebl3

ssrbebt

rybeAs

r8


14/105

T0|1l(

Iltl,l0t

ill0 D0t47berlrB0p

t(AL$

)

Til&(K

5: PR0GRESSI0N

2A

(Bb

INSTRUMENIS)

D-69

c-69

rbebt

uo-09

ab-09

sS7beb13

B7b9b13

,

Tfr&{K

&:

PR0GRtSSI0N

2B

(Bb

INSTRUMTNTS)

rXzbebts

A-69 orbobtz

F-69

rb-oe

gTbebts

r9


15/105

i;1iii;

)

TRA(K

5:

PR0GRESSI0N

2A

(Ep

INSIRUttENTS)

W

YW

ffi^{M

PROGRESSION

2B

(Eb

INSTRUMENTS)

;.


16/105

Ihapter

J: Scale Segments Using

5

0r

I

Notes

After

playing

the

exercises

through

progressions 1 and

pattern:

for chapters

7

and

2,

2 and play

just

seven

using

a

whole

octave

of the bop

scale,

now

go

notes

of the

scale with

the following rhythmic

I qr:_r'

Practice with the same specific starting

notes

for assignments 7

and

2

and then

practice

using ran-

dom

starting

notes.

You

are

starting

and

ending

each scale on a chord tone.

Root descending with seven

notes

,rbobtt

c-69 F7b9b13-a9

Next play

seven notes

of

each chord scale on

the following

tune.

When

there is all-7

Y7

in

one

bar

just

use

the dominant

bebop scale for now.

(You

can also

try

just

using

five

notes

of

the

scale)

Use

all

chord tones

for starting

notes ascending

and descending.

1,

3, 5

or 6

for

tonic and 1, 3, 5

or

7

for

dominant.

Example:

lD-7

G7

I

use

G7 bop scale

for

the whole bar.

@

TW&{W:&

l&xIUNE

I ALICE

(C

INSTRUMENTS)

Ea

orbobts

D_7

G7 c-7

G-7

Bb-7

G-7


17/105

(I]APTtR

]

GA

*

XWeW

7l&*

TUNE I

ALTCE

(Bb

INSTRUMENTS)

Ffr,

B7b9b13

E-7

A7

D-7 G7

A-7

D7

A-7

D7

b-z

nbz

GA

*

xes"*W

7

f&z

IUNE

I

ALTCE(Eb INSIRUMENTS)

v/

G-7 c7

r#-7 B7

F-7

Bb7

c-7

L-/


18/105

5(Att

lt6r.1rIlT5

Here are the

first four

bars of the tune

written

out

with

each

starting

note:

Ea c-7

b

r:.:\DI\C

-

--rR

7TH

DTscENDTNG (5 ron

MAIoR,

T

ron oovtNeNr):

DR

ZrH

ASCENDTNG

(5

ron

MAJoR/

7

ron oolrrNeNr):

23


19/105

(I]APTtR

]

RaNoolr

cHorcE:

3J

7

J

A

ATbebt3

5J G7

3l

ril7

sl

orbebts

Ea

F^

3J

Practice

this

for

hundreds

of

choruses

so

that you

get

the

sound in your

ear and it

becomes

some-

thing

that

you

can do

in

"auto

pilot"

Here is

another

tune to practice

with:

Again,

remember that

if

there

is

alr_7

Y7 in

one

bar

just

use the

v7

scale

for

now.

Ploy: FA

FA

G7

D-7

F7

c-7

7b9b13


20/105

5(ALi

5t6|4iltT5

*

YW&{W

w/&ffir

IUNE

2

SPRTNG

t0y

(C

INSTRUMENTS)

,rbobtt

B>7

1S7beb13

orbefis


21/105

(I]APTtR

]

E7b9b13

Bb-7

,rbefis

-7

AA

A-7

D7

GA

G-7

C7

GA

A-7

F7

7

GA

c-7

I

E7b9b13


22/105

lutt

St6tlt}.1Il

*'

T&e(K

S/r

TUNE

2

SPRING

IOY

(Eb

INSTRUMENTS)

z

,rbefis

G-7

F-7

E-7


23/105

pationhapte

t

lr',1]

arrnonic

Antici

The

next

step

is

to

anticipate the

harmonic

changes

of

the

tune by

bop

scale one

beat

early.

As

in

the

following

example

you

begin

fourth

beat

of the preceding

measure.

starting the seven notes

of

the

playing

each

bop

scale

on

the

Exauprr:

On

Spring

Joy

-

root

descending

-

one

beat early

Exauprr:

sb-t

Play

through

the previous

progressions

and

tunes

from

chapters

1-3

using

all

of the

specific

start-

ing notes

and

begin

each scale

one

beat early.

Then

try

playing

random

staring

notes

one beat

early.

You

can

take

this another

step further

and

play

the

seven

notes of

the

bop

scale

two

beats

early.

First

try specific

starting

notes

such

as

five

ascending

and then

try

using random

starting

notes.

Anticipating

the

harmony

takes

some

getting

used

to but

it allows

you

to

practice

hearing

what,s

coming

up.

It

gives

the improviser harmonic

command.

Anticipating

the

harmony

is

a

device

that

can

be used

not

only with

bop scales

but

with

all meiodies.

The

following

is

an example

of

using

just

five

notes

of the

bebop

scale and

starting

one

beat

early:

On

Spring

Joy

frorn

the

third

descending


24/105

lilRt10|it(

Ail1lIP1r

.

r

Try

using

random

starting

notes

one

beat

early

with

five

notes

of every

bop

scale.

On

Spring

Joy

random

starting

notes

G-7

Bb-7

9rt9bl3

G-7

Taking

it

another

step

furthe4

lowing

example:

try

playing

five

notes

of

each

bop

scale

two

beats

early,

as

in

the

fol-

l,

.,.lrr.:tr

-l

A-7

From

the

root

descending

FA

G-7

Now

try

five

notes

of the

bop

scale

two beats

early

with

random

starting

notes.

G-7

C7

FA

Bb-7

Bb-7

Eb7

Gil_7

-7


25/105

|l

tPltR

1,

Exaupre:

Next

try using five

notes

of the

bop

scales

and

playing

them

one

beat

late.

From

the

third

descending

This

following

example

uses five

notes

of the

scale

one

beat

late

with

random

starting

notes.

G-7

orbefis

Bb-7

A-7

G-7

Gil_7

As

another

exercise try

playing

only

three

notes

of

the

bop

scale,

starting

on

different

beats

from

random

available notes

as

in

the

following

example.

.r-

FA

G-7

C7

+-

FL

Br-7

A-7

D7

---

G-7

-c-

Gfi-7

Finally,

try

mixing

up all

of the preceeding

practice

exercises

using

harmonic

anticipation

or

delay

on the

progressions

and

tunes.

The

following

example

is

on

the tune

Spring

Joy.Keep

in

mind

when

playing

through

this

example

that

there

is

something

wrong

with

the

"whole

picture,,

or

sound.

Playing

only

bebop

scales

which

constantly

repeat

the

sound

of intervals

of

a second

be-

comes

very

one

dimentional.

This

is

truly

just

practicing

scales.


26/105

il

A

R

f40

|1

r(

llj_lllf

,-

.

'

FA

G-7

C7

Bb-7

Eb7

eu

t

fe

ft_

o

f,

,a

17t9

t13

w-/

FA

A;-7

D;7

3r,

A;-7

B-7

A-7

G-7

F-7

G-7

G-7

G-7

G-7

After

playing

the

bebop

scales

from

all of

the

different

beats

try

randomly

using

this

technique

when

improvising

on the tunes

to

get

a feel

for

what

this

is

like.

Anticipating

the

harmony

with

a

scale

or

a line

gives

the

soloist

harmonic

command

and

the

abllity

to hear

what

is coming

up

next.

)L


27/105

IoNreN

DonraN

PunvcraN

LvoreN

MrxorvoreN

[haptQr

5:

Bop

To determine

some

different

scales

for

some of the

other

chord types here

are

the

bop

scale modes

D-Z

Dorion

Scale

Modes

E-7

Phrygion

FA

Lydion

Mixolydion


28/105

B0P 5(ALt tl0Dt5

A-7

Aeolion

xi

--rt

-

-

r:r\

-.r- -l.1PLE

Locrion

Notice

that both

of the

major

scales

start on the

1,3,5,

or 6.

All of the others start

on

the

1, 3, 5,

or

7

.You

can

start

these

scales

from

any of

their

down

beats.

Some scales

may be used

on several chords.

For example,

the

CA scale

is

also

the

same

as the

A-7

Aeolian

scale.

This

scale

could also

be used on a

D-7

chord,

or

an

FA$11,

or

a G7sus4 chord.

The

D-7

Dorian mode

scale

is the

same

as

the

FA

Lydian

mode

scale

and can also be used on

G7sus4.

The E-7 Phrygian

can be

used

on CL,D-7,Ft,

Gl,A-7

and Bo chords.

FA

Lydian is the same

asD-7 and can

be used on G7sus.

The G7

Mixolydian

mode can

be used onD-7,

FA

or

Bo.

A-7

(same

as CA)

can be used on

EL,D-7,

or GZ sus.

Bo can

be used

onG7,

D-7 or

FA.

The

result

of playing one

mode scale

over

another

chord

is

that the

down beats become

different

chord

tones. For

example take

the

E-7

Phrygian mode scale and

play it

over

a CA chord.

On an

E-7

chord the

starting

notes

are E, G,B, and

D

or

1-,3,5, andT

.

BondD

But over

a

CA chord

these

starting

notes are

now the 3, 5, 7,

andg.If

you play the E-7 scale over an

FA

chord, those

starting

notes are

now the7,9,

il11,

and

13.

THr

souND

IS

DETERMTNED

BywHATTHE

IMPROVISER WOULD LIKE TO

HEAR.

Bs

33


29/105

iltApTrR 5

Exalrprr:

Tiy playing

through

progression

1

in

chapter

1

and

use

the

mode

a major

3rd

above

the

chord.

Ur

E-7

over

CA,

use

Bz

over

G7

etc...

Remember

that

E-7

is

Phrygian

over

CA

andBois

Locrian

ovt

c7.

Progression

I

Progression

2

E-7

CA

Bo

G7

B-7

GA


30/105

[hapter

6:

Bop

and

5

ca le

Dom/

Modes

for

Ionic

Minor

bebtJ

Ihords

over

a

C-69

chord

use

a G7

natural

9

and

b13

or

a G-7

Aeolian

bop

scaie.

Here

is

the

G79b13

scale.

Thedownbeatsorstartingnotesforthisscaleare

G,B,D,andFor

7,3,5,andZoveraG7chord.

But

over

a

C-69

chord

those

notes

are the

5,

maj

or 7

,

9

,

and

77.

Here

is the

G-7

Aeolian

scale:

The

starting

notes

or

downbeats

are

1,3,5,

and 7

on

aG-7

chord

but

they

are

5,7,9,

and

11

on

a

C-69

chord.

I

3

5

TonG-7

5

7

9

llonC-69

There

are

many

different

bebop

scales

to play

over

a

dominant

7th

chord.

Each

one

gives

a

unique

sound

to

the

melodic

line

because

they

have

different

downbeats.

For

example

over

u

67b9brs

.6o.4

you

can

use

aBb7b9

bop

scale.

7

""8b7

b9

"nG7


31/105

(lilPTil

6

Here is

another

example:

Eb7b73bop

scale

over G7b9b73

Tiy

playing

through

the original

tonic

minor

progression

II

exercise

and

substitute

some

of thes

different

scales

over the chords:

Progression llA

AbTle

o,957b13

Arrn

F79

bl3

Bb-/.q

ES7bebl3

7

""Eb7

fi

1

'lon

GZ

J\q

ot

A7b13

Mrnr

c#zbls

ril-6e

ozbg

or G7b13

;irrl3

,rbts

E-69

c/e

or F7b1

3

A,,rb:r

sTbts

t_F

abzle

o,757b13

Cir;n

36


32/105

B0P l(Att l40Dt5

I0R

T0litt

l,4tl,l0R Al'lD D0t1/bsbll

0t0RD5

Progression llB

,i:

B-69

,rbts

rzbg

o, Bb7b13

;n,rn

-09rbefie

A7213

EbTbe

., 757b13

,rbebts

,rbts

i_{

cv,be

o,ritbl3

B$rr13

-69

stbg

o, E7b13

Airbl3

tzbg

o,D7b13

,7t13

;;P

r1Tbebtt

Before

continuing

on try

using

all

of the

information

presented

thus far

on

this

next tune.

On

the

bridge section

where the chord

changes are D-7 lG7 /E-71

A7

,

use

the Dorian

bop

mode

scale

for

D-7

(II-7)

and the

Phrygian bop mode scale

for E-7

(lIl-7).When

there

is

aII-71Y7

chord

change

in one

bar

use

the dominant bop

scale

for

both

chords.

For

example

over

Bb-7lEb7

iust

use

Eb7

scale.


33/105

(I]IPTtR

6

s

T$?*rH r

/r

kx

TUNE

3

AFTERNOON

IN

STRASBOURG

((

INSTRUMENTS)

il-7

D-7

3E


34/105

B0p 5(ALt

l,10Dt5

t0R

T0|1l( l,lt|l0R

tl.lD D0tl/'ebB

ili0RD

*

Ywe{"w

xx

/x

?;

TUNE

3 I

FTERN00N

tN

STRASB0URG

(Bh

tNSTRUMENTs)

3:-\

D-7

Ea A7b9b13

c-7

-7

=7

A7

lt-7

rfr-7

B7b9b13

e

B-\

B-7

E7

Eb-7

AA

Ab7

cfr-7

A-7

D7

t

Gr

G-7

C7 Fil_7

B7

E-7 A7

a


35/105

(I]APItR

6

W

YWeqK

XX

/3Kz

TUNE

3 l|TERN|0N

tN

SIRASB0UR6

(Eb

INSTRUMENTS)

A-7

rybebtt

|-7

B-7

Fil^

ril-7 B7

EA

E-7

A7

D-7

40


36/105

the 9th

hapter

l', Bop

5ca

ES

5tarting

0l.|

So

far we

have discussed

starting

the

bop

scales

on

the

1,

3, 5,

or

6

for tonic

chords and

the

7,3,5,

and 7

for

dominant

chords.

Using the

bop modes

has

given

us the opportunity

to

start the bop

scale on some of the

other

notes. For example,

when we play

the

E-7

Phrygian

bop scale

over

a

CA

chord, it gives

us the

option

to use the notes B and D

as

starting

notes

on the CA chord.

Here is

another method

for starting

a bop

scale

from any

degree of the scale.

Simply start

the bop

scale

on any of the remaining

degrees

of the

scale and use

it as

an approach note to

the

"initial

above"

starting

note options. The

first

such

note to

work with

is

the 9th.

If you

begin

a

major

bebop scale

from

the 9th you

can

play

a

double

chromatic

approach

from

above descending

to

the

root

or tonic of the

scale or you can play

a double

chromatic

approach

ascending to the

third

of the scale.

9 descending

to

1

Notice

that

once

you hit

the note

C

you

continue

playing

the appropriate major

bebop scale.

9 ascending to

3

Notice

that

once

you

hit

the

note

E you

continue playing

the appropriate

major

bebop scale. As

in

both of the

above examples once you hit

the

circled note or target note

than

continue the line with

the

appropriate

bebop scale. Also note that if you were

to

continue the

bebop scale

beyond

one

octave

you

can remain on the

original scale

once

you've

contacted it.


37/105

(I]APTtR

/

The

following

examples spell out bebop

scales

starting

on the 9

for

different

chord

types. The

circ-

led note indicates

where the initial bebop

scale begins.

,rbebts

Note

that

on

this

note

B) is added

approaches to the

Iast example

for C7b9b73, when

the scale goes over

an octave,

the major 7th

(the

as

usual in the

dominant

bebop

scale. The

starting notes,

Dh

to C, are

scale

Bb

where the initial scale then

begins.

6-A

Notice

here on the ascending

line

that

the

initial

bop

scale is

not

started

until

you

reach the fifth

oi

the chord.


38/105

B0P

5(AIt5

STtRT[i6

0tl

Tlit

9Til

C-7

Doriqn

C-Z

Aeolion

C-Z

Phrygion

Go over

all of the

tunes

and progressions

we

have

used

thus far

and

begin

bebop

scales

from

the

9th.

add

the

following

tune to the

list

For

the

following

tune

use

the

Dorian

bop scale

when

there

is

a minor

Zth chord

for

a whole

bar.


39/105

tlltPttR

/

&

?ffi&6ffi

r&/\4;

TUNE

4

HAZy

EtRG

lC

TNSTRUMENTS)


40/105

BOP

I(ALt5

5TIRTIl.l6

O|] ]I]t 91I]

B-7

W

TWe{"w

ryef

e&zIUNE

4

HAZY

B\RG

(Bb

INSTRUMTNTS)

E7

D-7

G7

G-7

c7

e

:\

B_7

E7

{l

-.

7

r#7

c-7

3-7

Eb7

a-7

D-7

G-7

B-7


41/105

(IIAPTtR

/

*

YW&*W

Ve/X4:

IUNE

4

HAZ\

B|RG

lEb

TNSTRUMENTS)


42/105

B0P

5(ALt5

51IRTt]'t6

0|l Tilt

9Tll

Here

is tune

4 bebop

scales

starting

from

the 9th

written

out:

Tune

4

slorling

on

the 9th

A-7 D7

C-7

F-7

A-7

Dt7

c*7

F-7

A-7

a-7

t)-/

Bb-7

A-7

Ab-7

Db7

c-7

F-7

A-7


43/105

Ihapter

B:

Bop Scales

Starting

orr

the llth

The

following

examples

show how

to

start

a

bop

scale

on the 11th

for

the

different

chord

types.

As

in the

preceding chapter

the

circled

note marks the

point

at

which

the

"initial"

bebop

scale begins.

c-09

48


44/105

B0P

5(Atr5

5TARTtIl6 0|1

Tltt

ltTll

,rbefit

cl#l

I

c2fr11


45/105

(I]APTtR

B

c-7

Try starting

bop scales

on the 11th

on

this

new

tune:

W

YWe*W

3%a TUNE

5

FALL

t0LlAGE

((

INSTRUMENTS)

thA

7

7

B-7

orbefis

thA

7

7

B-7

-7

,rbobtt

D7b9b13

,rbebts

5o

D7b9b13


46/105

B0P

tAL[

5TARTIl.16

0N ]ltt ll1u

Try

starting

bop

scales

on the 11th on this

new tune:

W

YWe{W

3

%z T UNE

5

FALL

t0LlAGE

(Bb

INSIRUMENTS)

,rbefit

A_A

,rbebte

E7beb13

D-7

c-7

F7

Ba E7b9b13

A-7 D7

G-7

C7

E7b9b13

4-A

51


47/105

(I]APTtR

B

Try

starting

bop scales on the 11th on

this

new

tune:

W

YW&*W 3

%z

T

UNE

5

FALL

t0LlAGE

(Eb

INSTRUMENTS)

rrbebts

Fila ,rbefit

g-A

rrbebts

A-7

G-7 ,rbebts

rrbebtt


48/105

B0P

5iALt5

5lARTt|]6

0N

Tltt

ll1u

Here

are the

bop scales

starting

on the 11th

for

tune

5

written

out:

c-7

r[l#1

I

,rbebts

c-7

B-7

D7b9b13

G_A

,rbobtt

G_A

c-7

Bb-7

orbebts

G-7

F-7

orbefiz

s_A

5l


49/105

Ihapter

9:

Bop

Scales

5tarting

orr

the

llth

The

13

or the 6 is already

a starting

note

for

major

and

tonic

minor

chords.

The following

examples

spell

out

bop scales

starting

on 13th

for

the

remaining

chord

types.

Remember

that

the

circled

note

marks

where

to begin

the initial

bop

scale.

G7

n=bgb13

v/

G-Z

Dorion

G-Z

Aeolion

G-Z

Phrygion


50/105

B0P

5(Attl

llARTt|l6

0|l Tflt l]Ill

Bop

scales

starting

on

7th

for major

and

tonic

minor

chords.

6-A

In

this last example,

ascending

from

the 7th

on tonic

minol,

notice

how long

it

takes before

you can

begin the

initial

bebop scale.

Try

starting

bop scales

on

the 13th or

h13th

on

the next tune. For

major

chords

start

on

the

7th

to

mix

it up a

bit.


51/105

(IiAPTIR

g

,rbelts

Ga

,rbefis

F-7

F

-/Eb

"rbebt

c-7

Eb-7

Ab7

D-7

G7

,rbebt

F-7

F

_/Eb

^

-b9b1

3

v/

55


52/105

B0P

l(ALtS 5lARItl.16

0N

Tltt

llTll

W

YW&qW

3e

/ryXr

TUNE

6

15

THIS

THING

(,ALLED

L|VE?

lBb

INSTRUMtNIS)

,rbebtz

G-7

orbobts

,rbebts

G-7

D-7

F-7

E-7

,rbebts

G-7

57


53/105

(lilpTtR

g

W

XWE{M

3E/XXI

TUNE

6 /S

THIS

THING

(ALLED

LOVE?

(Eb

INsIRUMENTs)

A-7

c-7

5E


54/105

BOP

5(Att5

5tARTl|l6

0|l Tltt

llill

Here

are bop

scales starting

on 13th

or

7th

for

tonic

chords

on

tune

6:

,rbebtt

F

-/Eb

G7b9b13

,rbefis

F_A

F

_/Eb

^

=bgb1

3

\t/

CA

c-7

Eb-7

D-7

,rbobts

F

_/Eb

c7b9b13


55/105

IIIAPITR

9

For the

next

assignment

play

through

tune

7

and

start

bop

scales

on every

scale

degree

both