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‘w David : aker Books from AIfre.MPROVISATIONazz Improvisation,lew Editionor over a decade musicians~terywhere have made this text,y one of America’s most gifted all-round musicians and teachers, theirorking bible. From fundamentalsadvanced techniques—everyapter contains pages of practiceiaterial, provocative study questionsnd selected recordings.
~dvanced Improvisationlow revised, in an easy-to-readirmat. Not just a workbook, but anspiring two-volume guide to jazzleas, problems and solutions.olume Iolume 2
ëchniques.ot.‘nprovisation,. Vol. 1hree volumes cover every aspectirnp~ovisation. VolUme 1 is aiethod for~developing technique,asedon George Russell’s Lydianhron~iatic Concept.
echniquesofnprov~isation,VoI. 2olum’e~2 of3 volumes—coversie II, V7 Progressions.
èchniques ofnprovisation, Vol. 3olume 3 of 3 volumes—coversurnbacks.
~tringed Instruments-nprovisation, Vol. 1his efficient course covers everyspect of improvisation from aiscussion of its nature, terminology,nd basic approaches to annotatedolos. Reference charts illustrateDales, cycles, multiple stops,rogressions and their patterns,tc. Volume 1, Violin & Viola —violinigerings suggested by Eric Bindmannd Greg Fried, and viola fingeringsy Barry Shapiro.
(2762) Striiiged InstrumentsImprovisation, Vol. 2Vol. 2, Cello & String Bass—bassfingerings suggested by Paul Berner,multiple stop fingerings by Baker andMike Vandermark.
(2799 Modern Concepts in JazzImprovisationA book designed to meet the needsof performers, teachers, students andothers interested in the performanceof contemporary (post-bebop) jazz.
BOOKS ON JAZZ(2752 Jazz Quiz Book
A delightful book of jazz trivia thatincludes games, puzzles, nostalgiaand other items! It is not only fun andexciting, but is also intended to bechallenging and educational. All ofthe material has been meticulouslyresearched and edited. Perfect forjazz lovers, teachers, students andprofessionals.
(2751) Jazz Pedagogy,for Teachers and StudentsThis volume is the first jazz teachingmethods text. One of America’s greatmusician-teachers shows how todevelop jazz courses and jazzensembles, with classroom-testedlesson plans, rehearsal techniques,practice suggestions, improvisationalideas, and ideas for school andprivate teachers and students.
HOW TO PLAY BEBOP(2746 How to Play Bebop, Vol. 1
First in a three-volume series,this book includes scales, chordsand modes necessary to play bebopmusic. A great introduction to astyle that is most influential intoday’s music.
(2747) How to Play Bebop, Vol. 2This volume covers the beboplanguage, patterns, formulas andother linking materials. It alsointroduces chord progressions andcycles, and gives a listing of pieces tomemorize for a greater understandingof the bebop feel.
(2748) How to Play Bebop, Vol. 3In this book, methods for learning,memorizing and utilizing beboptunes are discussed, along withanother list of essential tunes formemorization. Includes two sectionson improvisation.
ARRANGING(2750 Arranging & Composing,
Rev. Ed.This professional manual lets youshare the secrets of his success.Baker explains his practical workingtechniques for piano trio, jazz quartet,four- and five-voice writing, chordsubstitutions, voicings, bass patternsand much more.
AlFred
Alfred Publishing Co., Inc16380 Roscoe Blvd., RO. Box 10003 N f~ II I~U 111111111111 ~ N0 38081 02204 8
Van Nuys, CA 91410-0003
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Table of Contents
Part I The Bebop Scales
The Bebop Dominant Scale 1
The Bebop Major Scale 12
BebopSolo 38
Part II Other Scales and Their Use
Scale Syllabus 40
20 Public Domain Whole-Tone Patterns 43
26 Public Domain Diminished Patterns 45
_~i1.
Part ITHE BEBOP SCALES
From the early 1 920s, jazz musicians attempted to make their improvised lines flow more smoothly byconnecting scales and scale tones through the use of chromatic passing tones. In a detailed analysis of more than500 solos by the acknowledged giants from Louis Armstrong through Lester Young and ColemanHawkins, one isaware, first, of the increased use of scales (as opposed to arpeggios and chord outlines) and then the increasing useof chromaticism within these scales. An unusual fact about this increased chromaticism is that, despite thefrequent re-occurrence of certain licks or patterns, no discernible design with regard to how the extra chromatictones are added emerges. The overall impression is a somewhat arbitrary or random use of chromaticism.
When one listens to the great players from the distant and near past, one of the main things that tends to“date” their playing (aside from technological improvements in recording techniques, changes with regard toharmonic and rhythmic formulae, etc.) is this lack of unanimity with regard to the use of melodic chromaticism.
From his earliest recordings Charlie Parker can be observed groping for a method for making the modes ofthe major scale sound less awkward and for rendering them more conducive to swing and forward motion.Gradually, in a systematic and logical way, he began using certain scales with added chromatic tones. Dizzy,approaching the scales from an entirely different direction, began utilizing the same techniques for transformingthem. These scales became the backbone of all jazz from bebop to modal music.
A study of a large number of representative solos fromthe bebop era yields a set of very complex governingrules that have now been internalized and are a part ofthe language of all good players in the bebop and post-beboptradition. Very simply stated, the added chromatic tones make the scales “come out right.” Play a descendingmixolydian scale and then play the bebop version of the scale and see how much smoother the second scalemoves.
F7 Cc-) F7 (c-)LI
mixoIvd.ic,~n~ bthop
There are a number of reasons why the second scale makes sense. First, in the second scale all of the chordtones are on down beats; and second, the tonic of the scale falls on beat one of each successive measure, and thefifth (C) falls on beat 3.
THE BEBOP DOMINANT SCALEThis scale is spelled 1-2-3-4-5-6-b7- ~ 7-1 and the rules governing its use are given with the dominant
seventh chord as the point of reference. The scale is also used on the related minor seventh chord (II) and, underspecial conditions to be discussed later, on the related half-diminished seventh chord (VII), i.e. the following:
c C-D-E-F-G-A-Bb-B
E~ (under special conditions)
Rules1. On a dominant seventh chord the scale is reckoned from the root of the chord, i.e., C7 = C dominant
(bebop)2. On a minor seventh chord the scale is reckoned from the root of the related dominant seventh chord,
i.e., G- C dominant (bebop)
1
C7 (~ -)~,nfñei *~ .3
~n 4he b7
c7(&-)arr~1E.i OY) ~ 3
~ II[~r~rrfJr IIun*i~5
8. As long as the scale starts on a chord tone, the line may ascend(example I) or descend(example 2) ina scalar fashion and return the same way.
~i)
r_f ~r ~ r L1 r r b~., ~
rLLr ~Lrj I ~
—— —— ~= ~~-;j—~ ~ — - —— - - —
—4-J__J~ _________
3. When conditions dictate the use of this scale on a half-diminished chord, its starting point is reckonedfrom the root of the two related dominant seventh chords, i.e., the following
E~ as a VII related to C7 (V of F minor or F major), orE~ as a II related to A7 (V of D minor or D major)
This rule is fully explained in the section of this chapter entitled USING THE BEBOPDOMINANT SCALE OVER A HALF-DIMINISHED CHORD.
4. The scale usually moves in basic eighth-note patterns.5. In pure form the scale invariably starts on a down beat.6. In pure form the scale starts on a chord tone (1, 3, 5, or b7) of the dominant seventh chord.
__I_—— ——I ————— ——- I
————-— w~-y ——I ———— —~—~yIi.— ——— — — —~-—I — ————.~ I — p-———~———I -~ ~l—— I
7. Often the descending form of the scale is used, but practice both ascending and descending exercises.
2
9. The line may also descend and then ascend in scalar fashion (example 1) or ascend and then descendin scalar fashion (example 2).
(~ji:~~
~
(ia)L ~ _______ ..vLi —————— ~ ‘A ~1• — ——~—— —— —
10. When the line starts on the 3rd, it may descend chromatically to the 6th, i.e., the following:
4~ ~,I ~~~_w• _______________,~ ..‘ —~—.~ ~A ~ ~ —
— ‘~A_~ ~ I- ———————~——
or ascend and then descend chromatically from the 3rd, i.e. the following
A~ —- — ~ ~~1 ~1~~ —————— ~A -L~ ~— — — .~ ~A~-—————
EndingsThe endings of phrases are very important, and two particular endings appear with great frequency:
~ Lr~~r ~( 2’)
~ rJI~r]rp~More often than not, phrases end on the upbeat of beats one or three, as in the following examples:
(8) ____________
———.~ — —~ . ..~ ..——~ v-_ ——1’•~~~~ ~—————-~ A~ .— — —————
The line should use whichever of the two endings make this possible. Eventually the player will make thischoice intuitively.
~lease note that in examples #2 and #A the extra half step between the tonic and the b7 has been omitted.e governing this situation is as follows: if the line is ending, use a whole step as in examples #2 and #A; ifis to continue, use the half step as usual, as in the following example:
‘I-Is 11‘
I I I ~I I I
ractice the different endings starting on other chord tones, as in the following examples:
— ~Ft ~- — ——— - — ~ .~ ‘A— -i v—w ———~ ‘A ~ — — ‘4 L’J 1 ..d “.4 ~ — ~ ‘1 4—~———————— — ——————-——
I..-—
— ,~_
———~ ~— —— - ———————————— -——.— —‘-‘-————————————— ‘A ——— ~ -~ I—————————
ig the Scale on Non-chord TonesVhen starting the scale on a non-chord tone many options exist. Some of the most frequently used ones
1. Use the scale without the extra half step, as in the following examples:
rrrrb~~J I ~
2. Use the scale without the extra half step until you reach the b7, at which time balance is restored andthe previous rules are once more operative, as in the following examples:
LA F__i- r~ rblf I ~ IbE~E r fbrr I -j ~ [~J
— — —~-—— —z~’-———— — —- ————‘~ b ————— —— ——— t_J~—— ~-~— ————— ——————
~
~ ~j b~ ~r r r I b~J
I I I - Li I ~ r~brj_ ~
3. Make the non-chord tone a quarter note, as in the following examples:
4. Insert a half step before the first chord tone you come to, as in the following examples:
~. ~ _____ _______ _d~i ~w- _______—~ .~~4 ff~ — — ______— .J .y rzr.i • ~: ~ —- I ~ v~.~— j ri .ijj — —— — — ——— ‘Z4 .~ ~A ——~4 LZA .1— ————————— — ————————
~1~rj ~,~b~~
(~ ~ ————— — — —— ,~___________ ~ii. ——————— ——~4 — —— I~ ~ I
_________________________ —~——————————
———
5. Syncopate the first chord tone you come to, as in the following examples:
~——.— ~-~ — —
~—.~——v_———-~— — — —~—z.,—~ ______— —.‘ ____________I’ —————————~ —— — ——— -~ — -~V —————————————————
-—
6. From the b2, approach the tonic from a half step below, as in the following example:
~ ~ rbr~rr~ I 12r7. From the b3 approach the 3rd from a half step above, as in the following example:
~ i_tI ~~A~Y ~ .~ ______— - ____r ~ 1 .z h _____ - ~ .~~—————— — ———~V —— ———
8. From the #4 descend chromatically to the 3rd, as in the following example:
~ TbPr.I~J~
9. From the b6 approach the 5th from a half step below or ascend chromatically to the b7, as in thefollowing examples:
— à.h. — _______—~ ———— ——~ — ——z.v-~. _______ j -y r~.i————————‘A —— — ——~A 1J .~
———————— —————
I I I I I r~w 4•
D. When the line starts with a chord tone on an upbeat, all ofthe preceding nine non-chord tone rules areoperative since it places a non-chord tone on a down beat.
1. Generally, move by step, half step, or skip until a chord tone occurs on a down beat. All of thepreceding examples exemplify this rule.
ing the Bebop Linehe bebop dominant scale may be extended through the use of a number of techniques which are a part ofimon language of all good players. Some of the more common ones follow:1. Upon arrival on the b7 the line may ascend along a major seventh chord (in this case Bbâ9), allowing
for extension or change of direction, as in the following examples:
w. + t(b*) L~-L
—-—— ————— — —. ~ v.-.~— i ~ ..~ —— ‘A ~— ~h ~ I.L4 • I—————-~————— ———
I~
2. Upon arrival on the 3rd, 5th, or b7th, the line may proceed along the outline of the diminished chordcontaining that note, as in the following example (the diminished chord usually sets up amodulation):
kE~:j o# Fr1LfLrJJrbrrrIjJJ~JJkf~joçDm~
—————-‘V —- ———— ~— ——————— •—~ — .. ~——————— :1 ——— ————
.Drno4m~
L r brj~ £-J .1 ~ I b~Zf or
Lt ri ~J I ~rbr~r T~f~r, I ~JJ~ ~
~- ~‘.
~m~a~’DflW’~
(e)~ ~rLrrr~r~IJJii r’~J1~I -~
Fmo~m
4— — — —————1. .~ r — — izv— -,I Ill I ~ ——————— — ___ —_-I — —~————— •1 .~ I~ ~ —
—— p
Examples A and B may be combined with examples C through H, as in the following example:
~iLr~j’~ TJii I ~3. The bebop line may be extended through the use ofwhatl shall hereafter refer to as deflection. When
leaving the 5th of the scale, the line may be deflected in the manner of the following examples (makesure that when the line resumes its descent the 5th is on a down beat):
_____——-—
F-.~——-y ———— —— —I’. — — — —,—— — ~~—— L~ .I‘~ • —~- Y ——~I~T ~ —
— — ——— —— — _________________________________________________r —-~ — -~-——————— —— — ——_I’•————~ —.- —— —~~—.v_———~————————1~A .S~V~——— -~ X —— ~.T — — —— ———
b— — — — ——————-
— ——— — — _,- ————— ——— •.~ -~———————_— •;4 -~ ~ —~ L’J .~~‘~————————————— ~ 2 ___ Pt ———— ———
~i Lr~rf ~ I ~~Enclosure
The bebop line may be extended by enclosing the root or the 5th of the chord. This is accomplished bydelaying the arrival of the chord tone by inserting the notes one half step above and one half step below the tone inquestion, as in the following examples:
4~—— _______— ——F——‘4 ——— — —~V —Ii.~ — ~ ——-~‘A — ~ 1A .1——
_____ _____ ——-———— ___________ -~——
là~ — —~ ———~————~— —~———L~ ‘A —• —— I_—— ——— —~r_————~•1 ————————
———
the line originates from the 3rd or the b7th, the rule remains operative, as in the following examples:
.~J-__ _.v- ____ —• d ~ ~h~ — _______ ~ V~T.1
——— —— A ~ —~A t1 .1- — —— —————————
Lrbr‘ the 3rd is to be enclosed within a line, start on the b5th, as in the following example:
‘ ~ r J ~J L~-JhJ I ~jj j~ ~ j i 1 I r~ E~f&
r skip from the 4th and return by half step, as in the following example:
_____—— —
— -~ ..‘- —————~— — ——-~ ~;4— ——,—————~———————————— —————————————
‘hese techniques for extending lines are particularly useful in modal situations (as in example 1, which), in double time passages where more material is needed to fill the same number of measures (as ine 2, which follows), and simply for variety.
_____——————- ———
—— — .— -~. ——————— ———————__———————“A —— — ——W ————————— — ~1 ~——————~——~. I — — h~ W ——————— ——-—
___—~-——
—— —————————~———————————— ~ tL. ~— ———— —
Pt,
r1 . LnaL—_~v-._ ——————————-— ~‘A — — ——— ——— ~ 7 ——— ————
*obLstims _________ ______________
—__~.— —— — ~.. ——_—-I .~‘~‘-‘~————————————————— ~v-. -~ A~ .V ——————-— ~ — ~ - r————— — ___ — ‘A t I~ ‘1 .2 V —‘ L— — -T _______bY W — ————— ~ .‘ — —. ——— ___
Examples of Enclosure in Actual Compositions1. “Anthropology”: measure 1, measure 72. “Bebop”: introduction, measures 8-9; measure 8; measure 16; measures 18-19; measures 22-23;
measure 323. “Confirmation”: measure 74. “Donna Lee”: measures 4-5; measure 135. “Groovin’ High”: pick-ups and beat 1, measure 4, measures 8-9, measure 126. “Little Willie Leaps”: measure 47. “Nica’s Dream”: introduction, interlude, and tag8. “Night in Tunisia”: measures 7-8, measures 15-16, measures 3 1-329. “Ornithology”: measures 13-14, measures 15-16, measures 29-3010. “Quicksilver”: measure 2, measures 9-10, measures 11-12, measure 50, measures 57-58, measure
59, measures 6 1-6211. “The Serpent’s Tooth”: measure 1, measure 8, measure 2512. “Woody’n You”: measures 6-7-8, measures 14-15-16, measures 30-31-32
Achieving Variety with the Bebop Dominant Scales1. Start the scale on something other than the first beat of the measure, as in the following examples:
~rrr~rIJ~7~A— — —~— — —— —I • — —-~———— — —~,.-‘——— r~1 .1~ —— ———~ — L.J .1.. — — ——— p
~3 -
2. Vary the starting note (not just the tonic and not just chord tones), as in the following examples:
~LtLr~frpI~rL~ ~.z — —
t~ ———-~ ‘~ ~- —————Z~~ — -4-j~•——————.~ “A ... ~ ‘ —~ ~T 1.. I~4 h”I~. ———————— p ~.—~~———
——— —-—
A — —_—t. . ——————— T — “A~ — —i~. ——————.—————— —p:A__ —— 1~1 -‘,~. ——————
~ r~Ir~rJ~ri_J w
3. Vary the endings, as in the following examples:
I~ r~ I ~ rj Lr -~-~-~
—————-——~zv-_ —————————~A ~ —i’i .i——— .1 ——•~T ~
— —————— -v-—-~— — ~‘ —————2V~ ‘~A .~ — ———— “A ‘~ ——— — ———— — ——— ———————
~r LI LrZr~ I ~ ~ ~r ~r~r4. Balance ascending and descending motion, as in the following example:
———— — — ——~— —~ —~•v —— — —— ~ —— ———— —“4—~ —~ ~ .~——————-~“A _~‘ ‘ W ~‘ — — — ~——— ——— —————~——— — —~ ——
5. Bury the scale within a line, as in the following examples:
__ — — — __ ——
— — ~— r~i~a~ “A ——————— — —— ~ I~ .~———~ —————
——— -‘V ~— — —~.- ——W~——~ ~~I —— ‘~~ —— L~ 1
~ — ———-——————— ————— — —
———- —— — ___————:v-w —.~——— — — — ~‘ — ~.— — “A ~— ————— “A ~ —‘A I V• ~ — ———-.~—~—— ——————
-
F II———-__ I__———————— —— ——zv—_ —-~—————— -~—— r_•~ • I~—— —“A — L!A hI— ———— — S
pp————______ •:~I—— ——— ——————— — —-~——————————~—— —“A —————— I “~
• 7 — ———--— —
~p~f~ ———--—--— -y —— —_~ “A . ~ —— — ‘~J~ ZV~—————.~ “A ~ — “A~ I 1J .~—————————— —. v — _~ ——~J
~~-----~-.-..
LJ10
6. Turns may be used on any chord tone, as in the following examples:
b~ff~
~—— —r . - r~ .1I~.——— ~-~ — ——————————— L.1 .~——————— —————————
~ ~
7. Join bebop scales to other bebop scales, as in the following examples:
8b...&-
A — —,~ ~ ————~— — ‘-L~•— — ~ — — ‘A .4~ ———————————.___—~~b7 Eb_
~ br 1~r ~ b~ ~r ~r ~r I r~ r~ L~-~ J bJb~&— ~7bq
- — — ————— ———fr . —-~— 1 -y ————•ZV~t~ — — — —j~•——— — ~ ‘A~ — •~A ~ P1 ~ ———,~ .——————————~— ——————— — ~a~—.~—
—— ——— I ——— I F p
Ab7
I~J~~r~rr SJ4~j.: :~I~J~b~rrr~
8. Join the bebop scales to other scale types, as in the following examples:
d.ni~niShe.d~
dim inishEci/ulhote.ttme.
rrbrfI~C~bJ~JWhoL~+~r~rrhr r p~ I~J Lr r~r
9. Use various delays, as in the following examples:
p——---—~ ~v-w r.i • i... —— ~— ~- — ———— L~4.a1•—————— 1 = —~T ~~ - —
rTIr_rb~f.JHJ7~LrJ10. Use extensions.11. Use double time.the Bebop Dominant Scale Over a Half-diminished ChordWhen the half-diminished chord is treated as a minor seventh (II), then all of the aforementioned rules are.ive, as exemplified here:
C7‘ I / / / /~ : use rules for C7
ver, if the half-diminished chord is perceived as part of all V7 VII situation (i.e., G- C7 E~ A7 D- as inHome Again in Indiana,” “Whisper Not,” etc.), then observe the following rule: treat the 0 (VII) as the
1 II V progression, as in the following example:
C7 A7
~rLr[f~rIflr1 ~J~I(~)THE BEBOP MAJOR SCALE
[‘he rationale for the use of the bebop major scale is the same as that for the use ofthe bebop dominant scale.Dale is spelled 1-2-3-4-5-#5-6-7-8 and is used over any major type chord.
12
Rules1. The scale usually moves in basic eighth note patterns and usually descends.2. In pure form the scale invariably starts on a down beat.3. In pure form the scale starts on a chord tone. For the purposes of the use of this scale the chord tones
are 1, 3, 5, and 6 (not 7), as in the following example:
C
rrr~r ~-:n-~ i ~—ll ~rrr~ J~j~wII,frarr~+I~ 5
_______ ______ p~w ____ — ___
— ———~ — _____________— — I———— • ————— Ir~———— ———————— I—————— ~—.._———L.I — ———— — ~ ~I .,: ~———— —— ——— I ~———— —-—
4. As long as the scale starts on a chord tone, the line may ascend ancVor descend in scalar fashion, as inthe following examples:
- —_— —— ____ — — ________— — ___~ z —-~ — —~———— —— —.. —~ ——— —i..~— .. ~ ~r ~ —— — L.d .~ ———..~ ~ P1 ~ ———— ~1~1,~ ,,_——— —— ——————————————— — ——
—~
~5. When the scale starts on the 9th, descend chromatically to the major 7th, then observe the basic rule,
as in the following examples:
—~ — ————‘~4~ — —N — — — r~,•
“~————~ ~.1 ~————— i—~ I.vI.- .;_——— —— —~-——
— — -~—~ -.,~ _______________—~-,~ ~ — —-~ “A~~ — — ———~—l~•—————— ~P1 — ————~ ————— ——— ——————
—— ———-~ — —~-.—r.—~-~————— — 4.~ —~.‘ _——— ——————— — ~p1 ——— ~I~ — — ————————— ——
6. When the scale starts on the major 7th, descend chromatically to the 5th of the chord, as in thefollowing examples:
~ ~b~JL~J ~rr~-~ I “ -—‘- ‘~‘ ~‘I
7. When starting on a non-chord tone move by step, half step, or skip until a chord tone (1, 3, 5, or 6)occurs on a down beat.
8. When the solo line starts on a non-chord tone or when the line has a chord tone on an upbeat, insert ahalf step just before a chord tone to restore balance to the line, as in the following examples:
~ LI _~ —
____ —
————— —P1 —~ 1Jfl~— ———~——— ————
p
__.I —~ I — __________———~ ————-——-~ ————~——— — p1——————— — .ap~ ~———— IY~A hi————— — ———
‘~——a ..~ — _______— —— ——. — ——— ——— I—————— — ~P1 ~ L~J ~1— —— — — —
-~ .p-w —~ —~—— • I——~. L——~——— — P1 ~ ~ I—————————— ———-——
9. For variety, approach the chord tone which initiates the line by a half step above and a half step below(enclosure), as in the following examples:
tr)ILrr~r~Ji~ &t&ij&Jmj~~I~rPr,~~Irrr-i
— .__J
p——————— — — ————————-~ — ——__———~— ——————~. — art — ~ I
————— — ———
ving Variety with the Bebop Major Scale1. Start the scale on something other than the first beat of the measure.2. Vary the starting note (not just the tonic and not just chord tones).3. Balance ascending and descending motion.4. Bury the scale within less obvious lines.5. Turns may be used on any chord tone, as in the following examples:
—-~ ——• ——— ———— — ~P1 —————— B~1.1——— —————
—.~ — ____ —————— ———————~——————— —P1 ~ —————— ——— —— ————
14
I.
~4
Internalizing the Bebop Scales: Some Exercises
W~
1. Broken 3rds.A. When ascending or descending resume the diatonic line from a chord tone on a down beat. (This
rule maintains whether starting from a chord tone or a non-chord tone.)
pj~PIJ~j~-~~ JJJ~IJ~WILtffbJI~ ~.
—~———————— —~ (~ ~— —-~ ______ ——————————.z~ ~ v — —i’ ——— a‘.a~ — —~———————.-— _ — —~———— ~—— —~—— ——
B. In broken lines the extra half step is usually omitted, i.e. the following example:
Cl
~
k
2. To resume the diatonic line from a non-chord tone, use one of the rules governing non-chord tones, i.e.the following examples:A. Omit the half step.
C7
4-— ~ I I I
~-
15
r r ~ F — -
I ~ — I— I
) I III Li Lrr~yi’~J.J,r:~~,~9~
I I I~‘ r i r ~‘ ~‘‘ L_J I FPL’PIEI I I I I I~I~ I
~—‘- L.J w, 4.
~ .
‘~‘‘‘‘LJ[~fpI,~JJ’]1
B. Use a quarter note on the non-chord tone.
£~ J~ ~ J IC. Syncopate the next chord tone.
~———————————~-—————v_——~——— ——— —— —————
-~-
- -
D. Add an extra half step before the next chord tone.
j~E.it~J J7jI~1n short, get to a chord tone on a down beat as soon as possible.3. Broken triads.
A. Resume the diatonic line with a chord tone, as in the following examples:
~‘_‘~_~~JI ~ jj J ~bd J n ~III I I —T
—— — I ——~ ——._——— w-~~ ~——— I— Z~V•~—————•~I ZV •— ———.. ~—— I—~——— — .~ ‘~~——-~—— I —— — ——
B. If the line is resumed with a non-chord tone, use one of the rules for dealing with non-chord tones,as in the following examples:
J J J ~ ~7I~ I ~— II ~r~r~ ~- IIrj- II ‘1TJj ~b~ I r ~Ii
flThi F i F1 I i —~— LIt__I
16
*~I
I
I~-‘-‘1w
____________________——~:.w—I______________________________________—I~-~~-—_~•_.‘—-———‘—_-.v~——~——,-~———I~——-~—r_———.ii I——~~.A~~—-~~I-AI————————I—-
—3l-S
I——————~w~I____________—————~ I—————ir~——~——~-v~—I~——~~——~-——~i ——w..A~L.~••——————.A~V’~I————-~•~—~—FW——~.I~-~—I—A•~
L
IH~r~g~~III~-~-‘
~~~r~~r~Ltr~j-t~rj-r~ ci3fS~j+!WO
:s~jdur~x~~ui~oj~oj~flU!S~‘S~UO~p10143-UoU~U!UJ~AO~S~JtU~flJO~UO~Sfl‘~UO~pJOqo-UOu~WOJJS~UIflS~1~Ufl~~uiH
~~ii~~~f-~iLrrI-~ThS1~I———r___——_______—~——I——,_—~—~ I..P_~———_-.-~—~—~—I——wv~.~-I~———r~— I~L~T—~———W~—I———.A•~~——I~w-——~I——————~————
:s~Idw~x~~UiA~OIjOJ~q1U~S~‘~UO~~1O43~q~JM~uq3!U0W!P~~WflS~)JVS~3.IO1~pU~)fO1~17
81
———.——————r——————————~—————-~~———‘—p.~~—-~——————————~hi —————~~~~•———————————.-
——————
——F~—L____—————————~. —~p.•r4~——~.a~—————————————hi ——~‘.~_———————————————~,‘
~p~’~~...~~
L~ijrrrrrrrrrrrr1rr1~
— -~~afr~r~ru—I~’
(
(
_trr~~~ S3T~J~aO?~dO.Jdd~~3cflIUD4-pRDLf~-LWU-oUJ.DJd
fI~sp?e(~uo~p~o~p~q~i~~uiI~w1dwoo~p~wns~>j)sdnoi~~ou-~rnoj~wosc
61
________—~—~4 ———~—~———ki~——~~~~(~Y~.V1~LA~VI.~—-~—~~h————~—.ii ~—~A’L_A.•I—— -——————
a———————————~—7———~.hW—————~ w—i~wr—..—~——h) —L.~VA~I~—
—————————
.s~Uo2
(1~)
(I)
(H)
(‘9)
(~)
(3)
(a)
(;~)
(9)
(y)
ILi~-~rf~r~j-1~r~r
I———.~‘~-————————————I~——~~r~..—— ~—————..~———~..AVW1:-z——t:~—
———————-— ———
——— ~—————————£-——-~~V4—IW—F.V—~‘V’i~~~
——A~~A~(wr~—A——.~•—~ —————A~.———jb
(1a~.p.AO~P-uOu)
r~~~~~J-t~~~ry)~IS~[ITh~~r~*pgrr~rr~
~ ——————w-~-y——~——~—~‘-————~A ———————..~‘1’r—~•v:.—.———————————.ij —————.._—I—————————————~~—————————
~iw~p~o~-UPU
~~--~0~~4~ ILIIILI[1III]IIII
ploq3-uouiojs~jru~.idoidd~~~sn.zo~uo~pioip~uioij~u!J~~wnsais~jdw~x~~UiMOftOJ~UI9
7. Triplets. If the scale is to function normally, make the middle note of the triplet the chord tone (andwhen going to the tonic, start on the major 7th), as in the following examples:
3
T)pb~ J~j-~~ ii r~r~r ~JbJT~].3~——
———— — —. ;:v•- —— - I—ti’ t— __~ —I— IT ._~
b
8. Triplets. When starting the triplet on a chord tone, use one of the rules for non-chord tones, as in thefollowing examples:TonicA. Enclosure (extra half step)
3—-~ — — —-y ————~ ——~ ‘A ..‘ ‘——————__——— ———
B. Non-chord tone as a quarter note
rrrpbfTTJI~ ~~C. Chord tone syncopated
rrr~~~JJIj~D. Extra half step omitted
rrr~3rdE. Extra half step
rrr ~
20~ø
F. Non-chord tone as a quarter note
.3
G. Chord tone syncopated
3• - ——-—
——~- ————— —
H. Extra half step omitted
- ~- ~- — ———(I I~ ~ — —-— —~-—————~-(fl I til — r~—~————
~— — ————
I. Extra half step
(prEJzrr~cL)
(t) ir~ I~I~ — ________ __________________—————~~— ~——~——~ — ——_y— 1.1.1———— I ~~I—~ A. I.!kkI ——————
————— ————
J. Non-chord tone as a quarter note
3——-— — —————— ,—_~v.——————~—- ——
K. Chord tone syncopated
‘3
— I I •~• —
~Lf’~ -,‘~IJ~ ~
3
5th
(~)~
(L)
r’ r r’ — —
‘LI
L. Extra half step omitted
3
~r~rr..rrr~f21
7th (This is the only exception of the chord tone in the middle.)M. Extra half step
3bt~N. Non-chord tone as a quarter note
br[pJ T~I~0. Chord tone syncopated
brrr ~P. Extra half step omitted
.3L~ I
~Jthough less frequently used, the above rules maintain for ascending triplet figures, as in the followingles (starting on a non-chord tone):
~ -‘ ~ Lrbrj_ _I -~ -~ r ~-~-‘~—~--
9. In a string of triplets the last triplet determines the rule, as in the following examples:
starting on a non-chord tone3 3 3
—————— —— —~ ~— ——————————— ———— _—.-y ——————————————~_a~ ———————— ———— ———
——
-73 3 3 3 3 3rir rrr rfr rrr rrr~brrrJJ ~~
22
More Exercises for Internalizing the Bebop Scales1. Bebop scales (dominant). Play into the sound of the chord as quickly as possible. Use the cycle, with
each chord lasting two measures.A. From the tonic of the chordB. From other predetermined chord tones (3, 5, b7)C. From predetermined non-chord tonesD. All scales from a single predetermined starting tone, as in the following example using C:
~~rrrbrrr.IrJb~JJ_~ ~I~ffJ~bJ~ ILJ8b7
- ________F_____— —________ —————————-——r z~z,w..~ — — —~i ~—y ——— ————z~v —~———~—~.• ‘4 -~— —‘~ ‘A ~ P1 ———‘~A~ ~ Pi~ ~~ — —— — ~
Eb7~(___________ ___________ -~ _______
— —— — —~Pj ~ v- ~ j —,~.~ I~—V~ —————— — —-~ ‘A ~ —NC li..V~ ~ I 2V —I’ ~ ~ ..A ‘A -~ Pr ———————I.: ————~ A.A Pr W • ~V ‘A———~ —————— j~ — — - ———— — A
— p
— ——~——— ~ v — P1 —~~~ ————————I 1 ..A ‘A _ ~ P1 .~—~ — ~A APTI I — — Pt ~ ~ ~ —— ‘A __ P1~ r— ‘A. ZV- — — _________ _____________________________________—
(~ indicM~s t~. nc,n-thm~i 4nnFI I I I ---—---———--———--—-- —-—-—
f,r~ f~i — h’~ i_ I I. I Iw I~ I I — I ~W — ~ —I — .
E. Start each successive scale from the next highest chord tone in rotation, as in the followingexample:
~ c7 F7 gb7 Lb7— — .~-‘—.—---— L_ -‘1I_~ ~ L.I .I~ I. ‘I~ ~ ~I .~~‘_.—_ I
vii I
+O’flLc 3rd ,~4h
F. Start each successive scale from the next highest or lowest chromatic tone, as in the followingexamples:
C7 F7 Eb, Ab7,~ —~-.--~- :. ~ —~-.--~—- -----
~ I I I I I ~‘~- I_~—~— I
— IL~‘I I~ —.---~_%-~_ — —.---—-—.—.— r-1_ —i-’— — ~I- ~I
I~ II
‘•1-~ ~7 F7 6b7 ~b7II.
II~ -~-j- I~ I
C7 T~7
3
Ab7
G~
23
Choose starting tones randomly.Playing a continuous line, move into each new chord by conjunct motion (by half step or wholestep), as in the following example:
———— ——-~~ P1 ~•__—-————~—————— ——i~r —• .~~.• P1 ~I Z~ ———I ———~~- I A~ • ~r —~—.~— ‘I v~— • 1 — —• “ — ____________
— P ~P
k—r ‘—‘ ‘
2. Bebop scales(dominant). Repeat all exercises from #1 (A—H). Use changes that move at the rate ofone per measure, as in the following:
Sb, Eb1I I I I€.fti.
3. Playing by EAR realize random 7th and minor 7th chords using the bebop scales from a single startingtone, as in the following example using C:
Ab7— —— — _______ —_~_-., PA —
I I ——— — —.~.- _______ ~—I 1~-~~ ——y ~‘~—— ————-~• “A ——~_l~ — —~.~ P1— —— ———————— —— ———-~—— — —
-—— ______ ________————————— ——__ww ———~.~ ——————————.zv•—~_—~~1 iz ~ r ~ ~I~‘‘ra ~r4 ——~ —— _——————_ ‘~A ———‘W~——— ~ F:——— ~—— —az,————————————— _ —
D7— ~ i .~ b .~ “1 ________ ______
—~—————I I K~ 7 — J — — ‘~4~——————‘__~I———————————..~: .~—~—~II —W~ — - — ~—— —— — -~- 7
Using starting notes chosen randomly, play the preceding exercise. As preparation, practice thefollowing exercise, leaving a measure to listen to each new chord before playing.
G.H.
I II •~I ~‘
p
F*- (Br)
24
ILl STENI Aby ____
II -~4~r~ b~b~ J~ I L:~~I; &1l-’SrE~4i F7 IPLAYJ __________ __________
4. Using the instructions for #1,2, and 3, play exercises using the bebop major scale, as in the followingexample using C as the starting tone:
CA PA
r JJ~ JI1~~ — I~j~rrfrrrbr IBk’A
— — ——~ — ,~ —, i-~ ,- ———._—~—— ~ —~ — ~ ~‘~ —~ ~4—~ ~—Z, ——— ~i~———— ————————~ ~ZV~~—————— ——
5. Using the instructions for #1, 2, and 3, play exercises mixing major and dominant bebop scales, as inthe following example using E as the starting tone:
C7 F4~ ?~rrbp r ~- lrJ~-~~ ~I rrbrr~r~ H
~8b4~—.~ — p ——
— ———— — ——~f I— ~— ~P1 — — ________——— ~ —— — •~‘V —e.—— -~~——,——————_~~~——-~—— ~
6. Spins from a chord tone. (Spins are scalar ascending figures.)
3 note spins:
~ ,—
~‘~‘ - ‘ ~j~r L—— ______________ ~~~——--- ~—_
\ ,— — ——— —.—..— ~.,—‘ ~v..—_— —~ — ~v• — I~———————————i j ~_———— — — .~~ — — ____ - — j~ —~ ~ —,. , ———— —~——— —~ ~— —— ————
~~~~JJJIJJb~J J~~~Ir
4 note spins:
r] rr ~ ri I b~ r r r~ r ~rr1 ~Jb~~ bJD~~ jJ~J~~ ~
______ ———- —
—- — ________————— ——————— ————————————————————_—..————————————————.-— —~ w-—~-~
I,
5 note spins:
— —— — — — — — ——,_————————— —.-.~ ~v—~~v—w — -~—-~— —.-.‘ —V. —~I ~V•~ — ~— ——————————~.~I ——————-~ .~A .~ —— ~L~I—..4 ~A~—— —————————— —I———
— — ——
6 note spins:
—————.—— — —— —— — ____—— —————————~ _-._ zv-.~ :v-w — —————-~ ~..., ——————————————— —•~A .~~ —————————.4 -~ — ————~-— ——— ——— ——————~—
——_———— — — ___________ — — -.——_-~ —V. ————— ‘.~ ~.—_ —-~— — — —_—,. — ~—v~w ~-~————— — ~—— — —• ~j .4~ ——————.~ ~4 _____h —— ——— —— — ——.——————— —=——
7. Spins from non-chord tones.
C75 rrrbrLf~ 1JTJ~
~—————~—— r.~&. ———— ———.-———————— LJ .~ ~••————————— — — ——————— — —— .J ~. I.,——————
‘ 2 F- 1~
~~
26
IL.. I I I I~i~1) áIJ~á~ III III (~J ~1~”~J liii [~$J~7,- ——‘~..~- ~r
,—~‘~
I I— I_ — — ~ I - I - I II,
—-.~ I I— —f Ik.1 i . I . -~ .~1-r ~
IF‘:~
h~: I I I I.I I ~ ~ — —,‘ ~I •1--- —
L — W ~ — H I I- —L~
To restore the balance in a string of spins, you may alter the last pattern, as in the following example:
Some Examples of Enclosure with Ascending Scales
~rz~ {~b~J~ I br3rr~r iii Jjj~Ib~rr‘ LD*+J~ —
A ——————_———, ~. ~ ——— • ——•—I v r vI3) II — •————— —.i p: ~ Z~— v •L ~‘ ~ ——r~— — ~~~i~
Or, in a string of spins, add the half step at any point to restore the balance, as in the following example:
~r
‘ L -I ~~/
-~ I I - I I I -
,k I II..~I i~ iii~ i i i iL~II I — 1f’ I L4 — ...I I ~ -
27
ne Examples of Embellishment with Ascending Scales
- —— -—— —.—————————~.v-_— ———— -—•————•—~ — —~ .A.~ ———— — — ——~—~-_. — _J—
—______—~———~_.—————~—— ———• ~— ———~er’~ ~ ——— ———— — ~—~— L —— — ———
b
~~Example of a Bebop Solo Using Bebop Scales, Enclosure, Embellishment, Etc.Because of copyright restrictions it is not possible to print Clifford Brown’s solo on “Confirmation,” but by
nbering the four choruses of the solo(A), (B), (C), and (D), examples of these devices will be indicated. Thiso can be found on the albumA NightAtBirdland: Blue Note 1522; published transcriptions can be found inModern Jazz Trumpet Solos by Ken Slone and The Jazz Style of Clifford Brown by David Baker.Bebop Scales(A) measures 8, 11-12, 12-13, 17-18, 26, 29-30, and 30-3 1(B) measures 4-5,6, 7, 11-13, 15, 17, 22, and 27(C) measures 3, 6, and 18-19(D) measures 3, 6-7, and 11-12
closures(A) measures 2, 3-4, 22, 29, and 31(B) measures 7, 9-10, and 25-26(C) measures 16-17, 28, and 30(D) measures 8-9, 9-10, 16, and 18-19
ier Embellishments(A) measures 6, 15, and 27-28
‘erpetual Motion ExerciseThis exercise is designed to help a player develop a sense of line. The pattern may be used whenever a set of
~nges (II V7 or V7) move around the key circle at the rate oftwo measures apiece, as in the following examples:
1. Blues
I F7j F7 C- 1F71
F F7 e,b7————— — J,r — ——________ ,I —— ———— —~1 ~ ——
• ———————~‘~- ———————F, ——— ~— —
28
2. Bridge of “I Got Rhythm”
(A-)D7 (D-)G7
2 2(C-) F7
2 iii]
67
i~i ir~rr~rrP’~fI ~JJ~r~rrr IF7
-——————-
Ii.— j p1 —~~—————————~• Y~— I— ~‘— ~i~-——————• v ~ I
p
3. “Donna Lee”
Ab Gb7 F7 (F-) Bb7 (Bb-) Eb7
I—2—---1 I—2-—-~(Eb-) Ab7 Db
—— — —Fl ~—~ — •Z’~~ ~T J Pr — ____________— —,~ ~ —————.~A ——~V N I — Y —~_I ~ ———————~F1 ~———————— ~ —P1 ~I V
______________ ~—— ——————— — ~-
(G-) C7
2
e~ fr-)
Eb, (81-) (I~7)
29
(bq)£9-cz
~HI°ILO
(~Idwoou!)u~i~dILAjj~s~~~qA~wuia~d~ç
P—~hA~R————~-i~x~r~——~i.,——— rk~~,—~___~Idr—rr—rr --~_A:j•J————.~I————jAk~F•
———~———————-—~
~U!1~fl~w~-~jqnoa
(~)1i~qwnu
1—1ains~w
•~+•~rrr4:LJ-::LLp~rirI~~ .F-I—‘—‘1_~JN~
L~~LD(~)L~(~j)LG(-v)
L®®17
TI
IIII-cr ——~
————.~~-~Xe—L———————t..db.————————~—~‘~.~-•—~——iri• —————————.~:•——————————A~_AC1~
————————————~
-V~LyI
—-~—————————~—~I—L~—.—~Z~—_——__———1e~~—~‘ ———————————————————_.————~, ——————————___
9bq~91—
______————-~——————..~•~—4 Idr——i~————————~-——iiv-~• ~J—_~•—~kdF)~1~W~~~VI.AU—~—~—————~.—~-——————..._~~__~,——=--——————
-~69Lq.9
______________________4— ———————————~V.•-~—1 ——————A~14~~F.———————I’I_~•————•h~ —rvi~rIm•———~~W~—__—————~I———— A~————A~~fir~——14U_—r
L -qybq~
-q~-q9
~j~3~rrr1ri~1~rt~f~ bq4f~-d
;~~ii~c~
*I
~La
-z,bq-.9
uoi~ui~uojo~uiod~o~~p~q~Idpu~pioipj~Aui~uo~p~gasiaxauozjowivn~acf~adayj
ii—iI~
I—~-.~~—LJ—Z——————————~•———~•————_.~..~———r————————————~——————-~~—— ———————-~—~—-——._—————.——~ —~——_____________________________________________________________——~——————
43-stlt’t ,,~4-
•J~~—————~4b————A~rId—~—•———~.24~——~-‘——————_L~rz’V~Vd—~ •—————————————_.-~— ———~—————
~t1,[~4gJ~]~III~3
LqS-qa
i~a~t1t~r~i~~I44—
——~.~ff—-1~4~———i~rwv~—~-~— —————_A~I————————A.I-~14PV—————_~~r— ———~——————IA~r————————Fa~_A ____________________————~________74F’——
4qc~-qY
r~’rI~ri’~~C.1~IL4Vq~
4—.dI ——~—~—~——~~-———•~~r—-———~‘~———14.A~~dl———————74.———r_ -~rr~—~———_A~w—~i———————~j——— —r—————————————F
:•LJIr~~1J2~TiIi~-1 •—-——a
-•,I
lw
11ra.Ir
i~Lqg-~I~r~r~$fV~Ct.r~rf~T~iL~rj~g~~j Ld~~
[Ti2Ij~~-i~~~
aszaiaxauonouilvnwd~aj
E-A7
A-D7 - ___
———.—‘.~————~-— _______ -________ — — ——— ——,~—,~-—~ 7 —,—————~——~-~— -~———~_~.—~—w-—————I’——~—‘— — ~I~—~•‘•~~—————_4—~—~.—~———_———~ ~-w~i~—‘~ ~ • T —————W ~ ~ ~— — ~— — t .~ ~
~SwJJ~I~n~”rlH I I~ II • F.
—~—— — ___ ——-~ — ——z_—~— — Ir- —— ~ ————~ -_~ ————————— • II I ———— ———~ “A ~ — —— _________ ..~ IT~ — ~—, I~ ————— — ————— ______~— ~z ~ —
Jazz CalisthenicsAll of these exercises fit over these chords: G-, C7, E~Each of the following exercises takes four forms:
~W ~ W~ W~ J7TD ji4~ rib~ JTi~ ~ II~ CLrJ rr1 ~rLr ~~Lr r p~rr JD7D .IW~ II
I,A— ——— ———— -~ ——————————- I~ L~ -‘- —~- i:v•-’ — ~a_.- —~ I~— ~ .~— — — — ~———__________ I
IL)) ~I •— .4 ‘~4 ~ 4~’IA ~ ~ ———— —— I~ .:~———— ————— —— - I——— ———
m~~~?] fl2DJflJ JTTh~rfi rrrrbJJ2] : ~b b
A • -~————— — ~-~————— — — ——-——- — —II ~ —~———— ———————————— ~ v — •~‘~ :,T ~ ——iIDI .~——--— ——————--— ——————--—~— ~-___w-~ .r4.4__:~_~___lI ‘~~ —— — _—— — ~_———I
L
I I I II—~ L—I~ -
~ JII~j~~WDb~rrr ~fL[fb~D 3”
A— — —— —_ ______ — — I/~ ?~—W W1—r — ‘ I — W~.‘ —~ I~— ~-~ —— ~_— — — I~IY — Ijc~) LI ——~.4 ~.4. — —R .4 ‘~A .~ — ————————E ~ I~,‘_———— ————— ————— — ————_•- ~ — I——— ———
b
Practice the four forms from the 3rd of the chord, as in the following examples:
33
Practice the four forms from the 5th of the chord, as in the following examples:
1C~~— ______ ——- ____ —————— .- ——-~ — ————— I~————— —————~-=_ ———1, I~— ——~————— —i~,——— I————————————————~ ~ ¶A.A~~————~—— Ar~~ — I—— ~.———_-— — — w.———~-~ — ———— I
1:’
___——— —
—— —. — —~ ——.~ — ,— ———-~ —————————— — — — I———— — •-~—————— -~—————-~ ~I~———1’-~v — ——— I~—————————————————— ~ —~ ~——— — I————--- -—~--- — — ——— I
Practice the four forms from the b7 of the chord, as in the following examples:
—U LZ’-~--~ LtL.
_________ — ________ -—.————.- I
~——————— —————- —~—————--— — ~———————————————————————————r ~ i~a~ ~-———————Iv_———~-~ w-———————~-~ w-———————~_. ~. A, ~—————I
P k p ~ b h ~ b
~2~D J~?JD~ jW~rI ErLr Lttr Er~Jbr 1
34
;i~~ J~-~ fl~1~b~
Some possible continuations using enclosure.
~~bJ~J -~
, ~i.~-~.~ —.-——
~ ~ ~rJJ cI~Lr rfLr br~rIr~b~ ~J j~
€t~ ~. 1—i rT~J~ rJ 9~ .4..W V — I—’—
1•’ I~~’ ~I I
I I II. I. I I ~
~LIA-.. - I_. _I I I I ~_ -..r)r~•~a~ i, r i I i — - — — i .
A —_______ ~,~~— — — —~ —————— —~ — —a,- — — —.71 ——r I~ I .~V — ~•Z~ —I’ ———-~ ~A — F! ~~I~t — PA ___ ~~ .1 P1 ~ ‘ I~ J ~ __~—————— I — —~_—— _______________ — — -~——— —
- I I —
A — ______—— ~- ——— — — — —(~. I ~~—.~ —z,——•-~——r~i ~ a ~v—— ~ ~—— —~ -y ————
_ — ~ ..I ~~I~ 2 ‘A-d.~ h — -~ ~A ~ ZV I ~V’~ ~
——— —— ———————~h..~*——a
F.~——————r_• .-~--, ~-—LI • ~I it —~ I ~ I~ F————~- ~ —
,~
‘,F~E IJ_ — - L ~.• :~. — —,--, , I I. — — — -— - ~I I I~ I 1 — I - — r’ i1 — - •J :- •; ; I L~ - D -L D — b-1~
I I I1 iL. I ~L— WI
— ~—I I I I W~
1~1 I ~
,~ ri i—, r—i- 1T I(~: ~1 I I I I I ‘~-I~ 41 L4 d.~_d •
~
~ ~ I~’FiIi~~Fr ~~rr~r ~.rr ‘
L~*P. - -~p ‘•~—I--.LJ
35
Some possible continuations using deflection.
___ —
,- — ——.~ — -~ ~-——.~ — ———————~_ ——————— — ——~————— — .—,-.‘ —y —————iz~—• ~• ———~ ———————————~A —~ —~ 1~ — — ——— ~.r
______ _______-——I—~
~_ _—I .y ———— ——_.~v- I ~‘y——•—— — —I_———————.—~ I~ — ~I~ ———— ~‘r w ———~—— ————
-————————— —————- ___~— w-~ —— —————I~•- I ZV~~— W~~•I —y ——————— —~~————_A ~d -~ —IT”~ ~ J ‘A.~ .~ ‘~ — F~— ~i — — —.~————— ~ ~ — — —————~ I — ~~T ~—————— ———
~-~-
p— — ———————.—, ——— —— • a—— — — — ————
d~——————————— ——————————~ __—_ ~v—.———~ —— ————— — ———————-~ ~A.. ~————— —
p~b~
Some possible continuations using enclosure and deflection.
b— I — ~——————— ‘~———_ ———~ L-~———————————————— -————————— ——— ———
~I~ ‘ A—~ — —~~ _I~ I I — 2 .V r .;v•————————— ~Zh~ _W — — ~ I,,— —————~ ~— —.-——
1P ~‘ y ~V’ P1 —~ In 1——— — ‘A-~ —~I.~ J ———.J ‘~A ~a_v~ ——
•——————————————-~ ‘A ~ —P1 2 Z~ I ~V ——————————————————————~_d •— ~-•—i._—
36
Continuations with various endings.
— .——.~ — — — _. -~—.— — — —————————————-~ --~—————~ —‘~——————————————————————————~_:4 —— —-~— ~—t_—————~- I
—~—- ~————— -~ — 1’!~
——— ————————— ,————— -~ — ———— ______———
- ———1v — .~ —— iv- — •_~— —~ ~ v-~ j~ ..-,~ —~ (~ ~ ~r J’d~4~ ~~ ~~d’a~ 11.1~
— — — — —-~ ~ L~4~
Use your imagination to develop other continuation exercises.Using the rules for non-chord tones, construct exercises using all four forms, as in the following examples:
(~ ri. fl FT ‘~i r-rTl I ITi r-r’Tl J~Ji~L~ r eb. .11 T9 II‘%;V Jht~ — ~ ~ø -. ~dh1 ~L ~ — L_L I I W —, ~ J III ~- w~-U- —
4’ L ~ - L
~ i -i~~j Li i - i [j~L~ LJ_ LI L[ff~ ~ ~ ~ -J ~ -~~JrT ~
~[ P~i*’ ~p~p i4r’ P r~r ~b r~r f r~r ~b~D’7~ n ‘-II
- I I ~
I~
Ib1t~t ‘4+ w .~.f4+ *tM~I•~t~ --J
Practice these exercises from all twelve notes of the chromatic scale.The bebop major scale calisthenics should be practiced in the same way, i.e., (1) four forms, (2) all chord
tones, and (3) all non-chord tones.
II
W I W — El— — 11 P’
‘I
II
bIW~I~~I I
I I T1 rr i~I fl~ i ~ r-~ ii J~JJ JJ~ [~bp r ~V~I~ J I II I...J .J 1. J I I I iLl
37
BEBOP SOLO
( ) ico±km of tnCJOS.LrSic.otio’n o~ b~bap SCO.IL
P1 I — I I riII ~ ~ ~ : ‘~. i’ I ~ i
4 [ LI ‘~I_T ‘ -‘~ .IJ’ -J -‘ “~ I ‘ ~‘Eb
~r zf ~ J~D ~ r ~
_____— ___ __
— , __________ ________————~———_~—• — I —— .J ‘I ~~~- ~ ~V —— — —iz~~ ‘à — ~ ~‘ — — ——— —— .. ~ —•F? ~ •ZV ——~ •~ ——— —— ————————~ — ——~~z—— —_____________________________
3
G- C7——- —z,-~— ___ ——— —— -~ ———————zy.—~ ~‘~A —~ — ————— — ~——— — — ~— —— — — - .r—— —— —:i:~ w —3
Bb7 Lbbr r~r~r - IIbr ~r ~ TJ~j~ I JJ~ t ~ I
-
_.—.. —~,. — I——— —— ——__—~—— ____________— -~ ‘~A — • :~‘—————~ ~—— —————— —. ~ •~ ~- — ~•IPI A • V 1 WA t~I———— —~ • V —~ =~VA_A L4 I ~J 1
~r r~r)~r 4~ ~I r~IJ ~J’t~1 J~ - I[r~r r~r tPD~rbr~I~7 F- 6b7 Ab— Db7
LLII I. Il~ ~ JJYb~f~rJ~Y~ I•~~‘~tt~4J ?t4•.~~v~
Gb t’
_______________~—.1 —— . — I— _______
-— ~ .~r __ Zv-a A — ‘A .. ~ .~ P1 ~Y J ~ A ‘~ V———~A ..~~P1 J ~A ~~___I I—. — Z~WW ———— ~ ——— a—
A Eb Eb~~1
A-II -~
6-- C7 C-
F-
>
6- C7
38
A-
EL’—~ ~
A~ — pr — — w ~r.~——__ . v~— ~v-~ . — — —— a-~— b~— ~I —~•~ ‘4 — — — _____ ________~ ‘~A~ J —
C7
F-3
C- F7
J ~ - IIkJ~iJ i,-i I~J~ ~. -
(a~— — —:v-—————————.~-————————-~=-—~-—~——~————~—— ~-—~——~ — r~— ~-————.————~——,-.—— — —— — —_zv- ——————~--~—— —
.~.JbJ 44 ~ I J~ ~‘ i~J’ ~ ~ J ~P I8b7~
(45 ~4’ ~ ~ I ~ r [r~~~r~ I
S e
__——I_ _____
A~ ——.Pr — _-y—~ ___________ I~zv————— —Pr — I — -j~ — ~ k— ——~‘~i — I — ~-— _______
39
Part II
OTHER SCALES AND THEIR USE
The following syllabus is based on information gleaned from the study ofperformance practices ofthe majorfigures from bebop forward.
SCALE SYLLABUSRelationship Of Chords To Scales
Major FamilyChord Type (I)Major—i 3579Major(~4)1 3579~11Major (~4~5) 1 3 ~5 79 ~1 1Major(~6~9)1357 911Major 1 3 5 7 9Major 1 3 5 7 9Major 1 3 5 7 9Major 1 3 5 7 9Major 1 3 5 7 9
Scale FormMajor12345678Lydian123~45678Lydian Augmented 1 2 3 ~4 ~5 6 7 8
13 Augmented1~235~671diminished 1 ~2~3~3#456 ~78Harmonic Major 1 234 5~678bluesi ~3h34~45~78minor pentatonic 1 ~3 4 5 ~7 8Major pentatonic 1 2 3 5 6 8
minor FamilyScale Form
Doriani 2~3456 ~78
Natural minor 1 2 ~3 4 5 ~,6 ~,7 8Phrygian 1 L~2 ~,3 4 5 ~6 ~7 8Ascending Melodic minor
1 2 ~3 4 5 6 7 8Harmonic minor 1 2 ~3 4 5 ~6 7 8minor pentatonic 1 ~3 4 5 ~,7 8Blues 1 ~3 ~3 4 ~4 5 L,7 8Dorianl 2~3456~79Ascending melodic minor
1 2 ~3 4 5 6 7 8Harmonic minor 1 2 ~3 4 5 ~6 7 1minor Pentatonic 1 ~,3 4 5 ~7 8Bluesi ~334~4578diminished (start with whole step)
1 2~34~4$5678
Chord Typeminor, tonic (I) Function.
minor 7th (II) Function
40
Dominant FamilyChord Type Scale FormDominant 7th unaltered Mixolydian 1 2 3 4 5 6 1,7 8
1 3 5 1,7 9 Lydian Dominant 1 2 3 ~4 5 6 1,7 8Major Pentatonic 1 2 3 5 6 8minor Pentatonic 1 1,3 4 5 1,7 8Bluesi 1,3~34~451,78
Dominant 7th ~1 1 Lydian dominant135~79~11 123~456~78
Dominant 7th 1,5, ~5 or both Whole Tone 1 2 3 ~4 ~5 ~61 31,5 ~71 3 ~5 1,71 3(1,5~5)~7
Chord Type Scale Form
Dominant 7th (1,9) Diminished1351,71,9 1 1,21,3~3~4561,78
Dominant7th~9 Diminished 1~2 1,3 3#451’781 3 5 1,7 ~9 Diminished whole tone
1 1,21,3~3~4~5~68Dorian 121,34561,78Blues 1 1,334~45 1,78minor pentatonic 1 1,3 4 5 1,7 8
Dominant 7th 1,9 and fl9. . . diminished 1 1,2 1,3 ~3~I 56 1,78diminished whole tone
1~minor pentatonic 1 1,3 4 5 1,7 8Bluesi 1,3~34~45 1,7~
Dominant 7th 1,5 and 1,9. . . diminished1 1,21,3~3~45~1,7,~
diminished whole tone1~
minor pentatonic 1 1,3 4 5 1,7 8Blues 1 ~334~451,78
Dominant 7th . . diminishea scale1,5and1,9131,51,71,g 1 1,21,33~4561,78~5 and ~9 1 3 #5 1,7 ~9 minor pentatonic1,5and~9131,51,7~9 11,3451,78~5and ~913~5 1,71,9 Blues 1 1,3~34~45 1,78
(and/combination)
41
Half diminished chords
Chord Type(half-diminished 7th
(~7)or
minor 7th (~5)1 ~,3 ~5 ~7
diminished 7th
1 ~3 ~56(o7)
Scale FormLocriani~LOCriafl#2— 12 ~34 ~5~p6 ~‘78
diminished (start with whole step)1 2~34#4~5678
blues 1 ~3a34~45 ~‘78
diminished chordsdiminished scale(start with whole step)12 ~34~4~5678
For specific information about the use of these scales I recommend any good improvisation method or scale)k, i.e., Jazz Improvisation by David Baker, The Complete Methodfor Improvisation by Jerry Coker, Thehan Concept by George Russell, A NewApproach To Ear Trainingfor the Jazz Musician by David Baker,‘les for Jazz Improvisation by Dan Haerle, etc.For all serious players the best method for learning the correct use of the scales is through the study of
ordings by thejazz giants. One method of pursuing this information is to isolate situations in various tunes thatically suggest a particular scale, as in the following examples:
e’~~] C t- C
~5 I—2--4 I_2_iJ 1/1/ /1/’ I~2’SLL99EStS a.who)1~ftmE SCO.LE
~i1~ C7~I C76q F- I •iO -1 J liii Jiiii I i—2~-— I
SLJ.~gE9fs a. dLrnLnishLd.. scc”1~
~ 81’- A Ab- A Bb- A~ -~‘ I ~ 2 ‘ I I 2 1SU99EStS ‘Ihe. LLSL of: O~~~~.fldijig rn€Jod~ m ifl~i’~ SCOLLS
~ Ab- V~r G C7 F7~ B~, G - C7 F- P17(~ /1/1 j /1 /1 j i//f Jiiii I u/i I liii 1/ /1 ~// /1
Suggestsa. Iyd.Lon.~dcrninant scale..
42
Observe how established players play over those changes. It is advisable to transcribe those patterns andcommit them to memory for future use. To locate those places in tunes (and what specific tunes), search variousfake books, sheet music, play-along booklets, etc.
The following public domain patterns for whole tone and diminished scales were gleaned from various solosby the established giants. Study, learn, and use the patterns in your playing and personalize them. Once theplayer understands the technique, the process should then be used to build a vocabulary based on the other scales.
20 PUBLIC DOMAIN WHOLE.TONE PATTERNS
4 —————————~~~——-—
,~~ ————————————r’ •~~v ~
~i — ~—— P~7 — 1 _~— IY — P1 3 ~! • .~ h~W _._ ~ — ______ — ____________ I
— ——————— ————————— v I2. bt•—————————————~———— ————‘~A..d ‘T I~ ——————— - ——— ——— ;~a ~ I
t~b F’ -
Lr ~r r~r r~ ~ b4~ J ~~JL?J~ ~T~; ~ II
~b:~4 J4~~~ J~ r II
___ Il
~j-~2 J~J~ J~bt~f] ‘~r II
45 ~r1!r btr~r~~ j~2 II
~
_________ ___________ _______________ I
, — — ~ V~ ..~ — A — I~ — — —— I—————.~ — — — ~ I ___rr w r ~ — _.~— I— —— —— ————‘ —— ___ ~ ‘.. .~ I———
43
.~£1~~
rr~JJq~~——-—.h~—~X4•—-~W~V’~~~—~— ~——~I———~-~•—— ——————
al ——————x~—————————~r~r’~.————a ————————~.i—~—w-r~r~ ————~~—
————————— -~—————————————————————— —:•~~Ljc
————-J~r~—————————— -r-—~_—————————
r:——————— .44
~E3~.WJ~JVduj~i4gj.6ujpu~,L~r~j~~~~qf~.~4rJ~,~TJ~1
~~rrZrrtfr~j-J~’J-~—w~
————-~———i~~———————14~-~rv~——~~_—————-~~—••~——~II~—————— -~_.—-~—_~F.—————————~_1—~—— ———————
___q______ I———————————~—t—.~—1•2~————I————————.——~—~WJ4i~_~rx~ I————————————————-~—~-~—~z I——————————
•q~. I______________________—~2.~~‘~L~_~—_~— I——~d•_Ar~———.z;~———~————————————•~—~~~_——————————_——————I————————-——
r~ -—— ———— ——ii I~.————— ———~p- —~,~—————r ~ w~~— ~.T — (
rrrr~rrr~J~J~~ p;J~ i~~~rfbf~ ~.
A — —~-. —— ———, ——— ~ —~‘ —______— zv.-.U —————~I ~ — p7 ——— I ~A~———-~ ,~—— —~- —.— .
26 PUBLIC DOMAIN DIMINISHED PATTERNS
A ———F.~— — ——————— ———I~V—Ii.———————r_~———.-— .—— ~ -— —‘.~~————ZV ~ .7 ~—
~ p ‘ p —
-~- —_—F.— ~ -v ‘ ——— ,...“‘ I.——~ — ——.~——— —~ ——— •1 —~ i —. zv v V‘ — ‘
~ 4~;~b~ bJ~~ ~&r~r r~i r~r~ 7~J~J~j~ 4~ ~_... .,~ — — ————————~ r~’ Z~ VIi —————r~r ~-~ ~ —~P——I I~~IZV ~ LI .~ —— ~J
p p .
~ rr~rr~—~Jb~c———— — ————— .. . ._————~
II———————————_~._—v~ ~ ~I~ ——~—————~,—————~ ~ .— c~ ~. —— -~——p
45
91’
———~.—__~~
————F~.L..~~ -—I~‘41
______4~4—4 -~—‘~——-~r:ai—————~——_.—————~————~j——~———————— ——————~p
.~43r~rr~rrrr~J~1~g.L~
4———-~——~1’~_~——— 1~—————~——~~r_w— V————————~
————
£I~-~q t‘~I..a~W~.—-~——— I~—~———~.i———— ———————— ——-—
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—I•A~F•V~I..A—~ ..~W——I— .———————
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a.~—j~——j—i—-r~r~~—~~d——~r~ ~I————AL..A~r——~•—-r~W~_A~—~——————A’~14
~-~q1 •A~rivr~;—.-a~—kiri———•~i~i~rir—J-~ ————~I——~——— ——
-e-~44——.._AI—-~k~WI
—————————~•—WVI-~14W!‘-.————————.._A~I~V~LV_VA~~_.. ——————————~—
•~I~rr1r~r~rh~r~r~r~t~i
~~~~Ir~rr~r~~
Li 1-’ —————~;i ~—• _ —z.. ———,~—.~————~~ — ~ • v — — -21. ~_______________
.~
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-‘I_f —t ‘ I -
,~
-~- —, I
- r~ r~ - — - — -- I ~~II - ~- .~-.
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- — -~ .1~ I ~ ste.IL~I~5~LiW I ~I— -
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I I I I: rn—~ -.
.~ - — — I - — ~I I
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r ~+$—~ 1~
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,%• ——•~—— — _.~ ~ ____—~~IO 11 — I— • —~A~ ~— ——— ~ — ~ • ~ — ~—
The reader may wish to practice the exercises in this book with the Jamey Aebersold jazz play-alongrecords, particularly the following:
Volume 3: The II V7 ProgressionVolume 6: All BirdVolume 16: Turnarounds. Cycles & II/V7sVolume 21: Gettin’ It TogetherVolume 24: Major & Minor
47
