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CŒ„Š7
CŒ„Š7
C7
C7
C‹7
4
4
4
4
&
BeBop Style Lines (with chromatics)
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ff fb
f ff# f f f f f
fnf fb f fb F
Ó
4 7 6 4 5
6 7
4 5 7
5 8 12 11 10 9 8
Ó
f f fb fn
f fn fb fn
f f fb fn
fn f fb fn f f fb fn f fb fn fb fn fb f fb f
7 8 9 10
8 10 11 12
9 10 11 12
9 10 11 12
9 10 11 12
8 9 10 11 12 11 10 9 8
f#fn fb
f f fn f f f fn fbffn fn f#
f f fb fn fb fn f f fn fbfff fb
f
‰
7 10 9 7 8
10 9 7
10 9 8
7
7
10 9
7
10 9 8 6 7
10 8 7 6
5 8
7 6
7
‰
fn fb fnf
f fb f
f
f fb f fbf
ff
fb fnf
fn ff fb fn
f F
8 9 10
8
10 9 8
10
8 7
10 8
10
10
10
8 9
10
10 8
10
6 7
8 8
f ffb f fb fn
fbf f f f
f fb ffbf f fn
ffbf fb f fb f f
f fb fn fb f fn fb
f‰ Œ Ó
8 10 11
8 9 10
8
10
7
8 10
7 8 10
8
10
5 6
5 8
7 8 7 6 5
8 5 6 7 6 5
8 6
5
‰ Œ
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BeBop Style Lines These lines are quite reminiscent of the sort of melodic ideas that jazz guitarists like Pat Martino might play and are very much in the Hard Bop idiom. The accompanying audio file (embedded within the .PDF file) has the lines played via MIDI at a fairly challenging tempo but I would highly recommend playing the lines at a much slower tempo to begin with. The lines incorporate a good deal of chromatic embellishment and at first may seem somewhat unusual sounding if you haven’t tackled ideas like this before, but in time they will feel quite normal as part of your improvisational vocabulary. Most jazz players incorporate a degree of chromatic embellishment within their playing and this helps considerably in avoiding lines which sound like pure scales and arpeggios and therefore a little bland. The TAB fingerings are just supplied as a guide for how you might finger the ideas and are not in any way definitive fingerings. You may well wish to explore a number of different fingerings until you find something that is comfortable for YOU. I would highly recommend playing these ideas with alternate picking starting either with a downstroke or an upstroke with your pick and then strictly alternating thereafter. This will ensure a consistent tone and attack. The lines are illustrated over static chords in the musical examples, but could be played over other single chords or indeed over more than one chord in a sequence. Experimentation is the key here and you may indeed find quite a few new and interesting applications for them. You may also note that the lines are all written out in semiquavers, which is purely for the sake of learning them. Again, I would highly recommend breaking the lines up rhythmically once you have memorised them as this will ultimately make them sound more personal to you and less like a ‘lick’. Future lessons will explore additional applications of these types of lines but for the moment I would suggest working with them as additions to your current vocabulary. Hope you enjoy playing and learning these lines, Best Wishes Pete
