U.S.A.274
โw David : aker Books from AIfre.MPROVISATIONazz Improvisation,lew Editionor over a decade musicians~terywhere have made this text,y one of Americaโs most gifted all-round musicians and teachers, theirorking bible. From fundamentalsadvanced techniquesโeveryapter 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
รซchniques.ot.โnprovisation,. Vol. 1hree volumes cover every aspectirnp~ovisation. VolUme 1 is aiethod for~developing technique,asedon George Russellโs Lydianhron~iatic Concept.
echniquesofnprov~isation,VoI. 2olumโe~2 of3 volumesโcoversie II, V7 Progressions.
รจchniques ofnprovisation, Vol. 3olume 3 of 3 volumesโcoversurnbacks.
~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 โviolinigerings suggested by Eric Bindmannd Greg Fried, and viola fingeringsy Barry Shapiro.
(2762) Striiiged InstrumentsImprovisation, Vol. 2Vol. 2, Cello & String Bassโbassfingerings 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 Americaโs 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 intodayโs 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 toโdateโ 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 โcome out right.โ 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 (~ -)~,nfรฑei *~ .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 ~
โโ โโ ~= ~~-;jโ~ ~ โ - โโ - - โ
โ4-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_โโ โโI โโโโโ โโ- I
โโโโ-โ w~-y โโI โโโโ โ~โ~yIi.โ โโโ โ โ โ~-โI โ โโโโ.~ I โ p-โโโ~โโโI -~ ~lโโ 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 โโโโโโ ~ โA ~1โข โ โโ~โโ โโ โ
10. When the line starts on the 3rd, it may descend chromatically to the 6th, i.e., the following:
4~ ~,I ~~~_wโข _______________,~ ..โ โ~โ.~ ~A ~ ~ โ
โ โ~A_~ ~ I- โโโโโโโ~โโ
or ascend and then descend chromatically from the 3rd, i.e. the following
A~ โ- โ ~ ~~1 ~1~~ โโโโโโ ~A -L~ ~โ โ โ .~ ~A~-โโโโโ
EndingsThe endings of phrases are very important, and two particular endings appear with great frequency:
~ Lr~~r ~( 2โ)
~ rJI~r]rp~More often than not, phrases end on the upbeat of beats one or three, as in the following examples:
(8) ____________
โโโ.~ โ โ~ . ..~ ..โโ~ v-_ โโ1โโข~~~~ ~โโโโโ-~ A~ .โ โ โโโโโ
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:
โI-Is 11โ
I I I ~I I I
ractice the different endings starting on other chord tones, as in the following examples:
โ ~Ft ~- โ โโโ - โ ~ .~ โAโ -i vโw โโโ~ โA ~ โ โ โ4 LโJ 1 ..d โ.4 ~ โ ~ โ1 4โ~โโโโโโโโ โ โโโโโโ-โโ
I..-โ
โ ,~_
โโโ~ ~โ โโ - โโโโโโโโโโโโ -โโ.โ โโ-โ-โโโโโโโโโโโโโ โA โโโ ~ -~ Iโโโโโโโโโ
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
โ โ โ~-โโ โz~โ-โโโโ โ โ- โโโโโ~ b โโโโโ โโ โโโ t_J~โโ ~-~โ โโโโโ โโโโโโ
~
~ ~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- _______โ~ .~~4 ff~ โ โ ______โ .J .y rzr.i โข ~: ~ โ- I ~ v~.~โ j ri .ijj โ โโ โ โ โโโ โZ4 .~ ~A โโ~4 LZA .1โ โโโโโโโโโ โ โโโโโโโโ
~1~rj ~,~b~~
(~ ~ โโโโโ โ โ โโ ,~___________ ~ii. โโโโโโโ โโ~4 โ โโ I~ ~ I
_________________________ โ~โโโโโโโโโโ
โโโ
5. Syncopate the first chord tone you come to, as in the following examples:
~โโ.โ ~-~ โ โ
~โ.~โโv_โโโ-~โ โ โ โ~โz.,โ~ ______โ โ.โ ____________Iโ โโโโโโโโโ~ โโ โ โโโ -~ โ -~V โโโโโโโโโโโโโโโโโ
-โ
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 ~ .~ ______โ - ____r ~ 1 .z h _____ - ~ .~~โโโโโโ โ โโโ~V โโ โโโ
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:
โ ร .h. โ _______โ~ โโโโ โโ~ โ โโz.v-~. _______ j -y r~.iโโโโโโโโโA โโ โ โโ~A 1J .~
โโโโโโโโ โโโโโ
I I I I I r~w 4โข
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 Bbรข9), allowing
for extension or change of direction, as in the following examples:
w. + t(b*) L~-L
โ-โโ โโโโโ โ โ. ~ v.-.~โ i ~ ..~ โโ โA ~โ ~h ~ I.L4 โข Iโโโโโ-~โโโโโ โโโ
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~joรงDm~
โโโโโ-โV โ- โโโโ ~โ โโโโโโโ โขโ~ โ .. ~โโโโโโโ :1 โโโ โโโโ
.Drno4m~
L r brj~ ยฃ-J .1 ~ I b~Zf or
Lt ri ~J I ~rbr~r T~f~r, I ~JJ~ ~
~- ~โ.
~m~a~โDflWโ~
(e)~ ~rLrrr~r~IJJii rโ~J1~I -~
Fmo~m
4โ โ โ โโโโโ1. .~ r โ โ izvโ -,I Ill I ~ โโโโโโโ โ ___ โ_-I โ โ~โโโโโ โข1 .~ I~ ~ โ
โโ p
Examples A and B may be combined with examples C through H, as in the following example:
~iLr~jโ~ 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):
_____โโ-โ
F-.~โโ-y โโโโ โโ โIโ. โ โ โ โ,โโ โ ~~โโ L~ .Iโ~ โข โ~- Y โโ~I~T ~ โ
โ โ โโโ โโ โ _________________________________________________r โ-~ โ -~-โโโโโโโ โโ โ โโ_Iโโขโโโโ~ โ.- โโ โ~~โ.v_โโโ~โโโโโโโโ1~A .S~V~โโโ -~ X โโ ~.T โ โ โโ โโโ
bโ โ โ โ โโโโโโ-
โ โโโ โ โ _,- โโโโโ โโโ โข.~ -~โโโโโโโ_โ โข;4 -~ ~ โ~ LโJ .~~โ~โโโโโโโโโโโโโ ~ 2 ___ Pt โโโโ โโโ
~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~โโ _______โ โโFโโโ4 โโโ โ โ~V โIi.~ โ ~ โโ-~โA โ ~ 1A .1โโ
_____ _____ โโ-โโโโ ___________ -~โโ
lร ~ โ โ~ โโโ~โโโโ~โ โ~โโโL~ โA โโข โโ I_โโ โโโ โ~r_โโโโ~โข1 โโโโโโโโ
โโโ
the line originates from the 3rd or the b7th, the rule remains operative, as in the following examples:
.~J-__ _.v- ____ โโข d ~ ~h~ โ _______ ~ V~T.1
โโโ โโ A ~ โ~A t1 .1- โ โโ โโโโโโโโโ
Lrbrโ the 3rd is to be enclosed within a line, start on the b5th, as in the following example:
โ ~ 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:
_____โโ โ
โ -~ ..โ- โโโโโ~โ โ โโ-~ ~;4โ โโ,โโโโโ~โโโโโโโโโโโโ โโโโโโโโโโโโโ
โhese 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.
_____โโโโโโ- โโโ
โโ โ .โ -~. โโโโโโโ โโโโโโโ__โโโโโโโโA โโ โ โโW โโโโโโโโโ โ ~1 ~โโโโโโ~โโ~. I โ โ h~ W โโโโโโโ โโ-โ
___โ~-โโ
โโ โโโโโโโโโ~โโโโโโโโโโโโ ~ tL. ~โ โโโโ โ
Pt,
r1 . LnaLโ_~v-._ โโโโโโโโโโ-โ ~โA โ โ โโโ โโโ ~ 7 โโโ โโโโ
*obLstims _________ ______________
โ__~.โ โโ โ ~.. โโ_โ-I .~โ~โ-โ~โโโโโโโโโโโโโโโโโ ~v-. -~ A~ .V โโโโโโ-โ ~ โ ~ - rโโโโโ โ ___ โ โA t I~ โ1 .2 V โโ Lโ โ -T _______bY W โ โโโโโ ~ .โ โ โ. โโโ ___
Examples of Enclosure in Actual Compositions1. โAnthropologyโ: measure 1, measure 72. โBebopโ: introduction, measures 8-9; measure 8; measure 16; measures 18-19; measures 22-23;
measure 323. โConfirmationโ: measure 74. โDonna Leeโ: measures 4-5; measure 135. โGroovinโ Highโ: pick-ups and beat 1, measure 4, measures 8-9, measure 126. โLittle Willie Leapsโ: measure 47. โNicaโs Dreamโ: introduction, interlude, and tag8. โNight in Tunisiaโ: measures 7-8, measures 15-16, measures 3 1-329. โOrnithologyโ: measures 13-14, measures 15-16, measures 29-3010. โQuicksilverโ: measure 2, measures 9-10, measures 11-12, measure 50, measures 57-58, measure
59, measures 6 1-6211. โThe Serpentโs Toothโ: measure 1, measure 8, measure 2512. โWoodyโn Youโ: 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~Aโ โ โ~โ โ โโ โI โข โ โ-~โโโโ โ โ~,.-โโโโ r~1 .1~ โโ โโโ~ โ L.J .1.. โ โ โโโ 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 โ โ
t~ โโโ-~ โ~ ~- โโโโโZ~~ โ -4-j~โขโโโโโโ.~ โA ... ~ โ โ~ ~T 1.. I~4 hโI~. โโโโโโโโ p ~.โ~~โโโ
โโโ โ-โ
A โ โ_โt. . โโโโโโโ T โ โA~ โ โi~. โโโโโโ.โโโโโโ โp:A__ โโ 1~1 -โ,~. โโโโโโ
~ r~Ir~rJ~ri_J w
3. Vary the endings, as in the following examples:
I~ r~ I ~ rj Lr -~-~-~
โโโโโ-โโ~zv-_ โโโโโโโโโ~A ~ โiโi .iโโโ .1 โโโข~T ~
โ โโโโโโ -v-โ-~โ โ ~โ โโโโโ2V~ โ~A .~ โ โโโโ โA โ~ โโโ โ โโโโ โ โโโ โโโโโโโ
~r LI LrZr~ I ~ ~ ~r ~r~r4. Balance ascending and descending motion, as in the following example:
โโโโ โ โ โโ~โ โ~ โ~โขv โโ โ โโ ~ โโ โโโโ โโ4โ~ โ~ ~ .~โโโโโโ-~โA _~โ โ W ~โ โ โ โ ~โโโ โโโ โโโโโ~โโโ โ โ~ โโ
5. Bury the scale within a line, as in the following examples:
__ โ โ โ __ โโ
โ โ ~โ r~i~a~ โA โโโโโโโ โ โโ ~ I~ .~โโโ~ โโโโโ
โโโ -โV ~โ โ โ~.- โโW~โโ~ ~~I โโ โ~~ โโ L~ 1
~ โ โโโ-โโโโโโโ โโโโโ โ โ
โโโ- โโ โ ___โโโโ:v-w โ.~โโโ โ โ โ ~โ โ ~.โ โ โA ~โ โโโโโ โA ~ โโA I Vโข ~ โ โโโ-.~โ~โโ โโโโโโ
-
F IIโโโ-__ I__โโโโโโโโ โโ โโzvโ_ โ-~โโโโโโ -~โโ r_โข~ โข I~โโ โโA โ L!A hIโ โโโโ โ S
ppโโโโ______ โข:~Iโโ โโโ โโโโโโโ โ โ-~โโโโโโโโโโ~โโ โโA โโโโโโ I โ~
โข 7 โ โโโ--โ โ
~p~f~ โโโ--โ--โ -y โโ โ_~ โA . ~ โโ โ โ~J~ ZV~โโโโโ.~ โA ~ โ โA~ I 1J .~โโโโโโโโโโ โ. v โ _~ โโ~J
~~-----~-.-..
LJ10
6. Turns may be used on any chord tone, as in the following examples:
b~ff~
~โโ โr . - r~ .1I~.โโโ ~-~ โ โโโโโโโโโโโ L.1 .~โโโโโโโ โโโโโโโโโ
~ ~
7. Join bebop scales to other bebop scales, as in the following examples:
8b...&-
A โ โ,~ ~ โโโโ~โ โ โ-L~โขโ โ ~ โ โ โA .4~ โโโโโโโโโโโ.___โ~~b7 Eb_
~ br 1~r ~ b~ ~r ~r ~r I r~ r~ L~-~ J bJb~&โ ~7bq
- โ โ โโโโโ โโโfr . โ-~โ 1 -y โโโโโขZV~t~ โ โ โ โj~โขโโโ โ ~ โA~ โ โข~A ~ P1 ~ โโโ,~ .โโโโโโโโโโ~โ โโโโโโโ โ ~a~โ.~โ
โโ โโโ I โโโ 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:
pโโ---โ~ ~v-w r.i โข i... โโ ~โ ~- โ โโโโ L~4.a1โขโโโโโโ 1 = โ~T ~~ - โ
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:
C7โ 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,โ โWhisper Not,โ 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
[โhe 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 ~โll ~rrr~ J~j~wII,frarr~+I~ 5
_______ ______ p~w ____ โ ___
โ โโโ~ โ _____________โ โ Iโโโโ โข โโโโโ Ir~โโโโ โโโโโโโโ Iโโโโโโ ~โ.._โโโL.I โ โโโโ โ ~ ~I .,: ~โโโโ โโ โโโ I ~โโโโ โ-โ
4. As long as the scale starts on a chord tone, the line may ascend ancVor descend in scalar fashion, as inthe following examples:
- โ_โ โโ ____ โ โ ________โ โ ___~ z โ-~ โ โ~โโโโ โโ โ.. โ~ โโโ โi..~โ .. ~ ~r ~ โโ โ L.d .~ โโโ..~ ~ P1 ~ โโโโ ~1~1,~ ,,_โโโ โโ โโโโโโโโโโโโโโโ โ โโ
โ~
~5. When the scale starts on the 9th, descend chromatically to the major 7th, then observe the basic rule,
as in the following examples:
โ~ โ โโโโโ~4~ โ โN โ โ โ r~,โข
โ~โโโโ~ ~.1 ~โโโโโ iโ~ I.vI.- .;_โโโ โโ โ~-โโ
โ โ -~โ~ -.,~ _______________โ~-,~ ~ โ โ-~ โA~~ โ โ โโโ~โl~โขโโโโโโ ~P1 โ โโโโ~ โโโโโ โโโ โโโโโโ
โโ โโโ-~ โ โ~-.โr.โ~-~โโโโโ โ 4.~ โ~.โ _โโโ โโโโโโโ โ ~p1 โโโ ~I~ โ โ โโโโโโโโโ โโ
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 โ -โโ- โ~โ ~โI
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 _~ โ
____ โ
โโโโโ โP1 โ~ 1Jfl~โ โโโ~โโโ โโโโ
p
__.I โ~ I โ __________โโโ~ โโโโ-โโ-~ โโโโ~โโโ โ p1โโโโโโโ โ .ap~ ~โโโโ IY~A hiโโโโโ โ โโโ
โ~โโa ..~ โ _______โ โโ โโ. โ โโโ โโโ Iโโโโโโ โ ~P1 ~ L~J ~1โ โโ โ โ โ
-~ .p-w โ~ โ~โโ โข Iโโ~. Lโโ~โโโ โ P1 ~ ~ Iโโโโโโโโโโ โโโ-โโ
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
โ .__J
pโโโโโโโ โ โ โโโโโโโโ-~ โ โโ__โโโ~โ โโโโโโ~. โ art โ ~ I
โโโโโ โ โโโ
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:
โ-~ โโโข โโโ โโโโ โ ~P1 โโโโโโ B~1.1โโโ โโโโโ
โ.~ โ ____ โโโโโโ โโโโโโโ~โโโโโโโ โP1 ~ โโโโโโ โโโ โโ โโโโ
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~ ~.
โ~โโโโโโโโ โ~ (~ ~โ โ-~ ______ โโโโโโโโโโ.z~ ~ v โ โiโ โโโ aโ.a~ โ โ~โโโโโโโ.-โ _ โ โ~โโโโ ~โโ โ~โโ โโ
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-โ ~ I I I
~-
15
r r ~ F โ -
I ~ โ Iโ I
) I III Li Lrr~yiโ~J.J,r:~~,~9~
I I I~โ r i r ~โ ~โโ L_J I FPLโPIEI I I I I I~I~ I
~โโ- L.J w, 4.
~ .
โ~โโโโLJ[~fpI,~JJโ]1
B. Use a quarter note on the non-chord tone.
ยฃ~ J~ ~ J IC. Syncopate the next chord tone.
~โโโโโโโโโโโ~-โโโโโv_โโ~โโโ โโโ โโ โโโโโ
-~-
- -
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:
~โ_โ~_~~JI ~ jj J ~bd J n ~III I I โT
โโ โ I โโ~ โโ._โโโ w-~~ ~โโโ Iโ Z~Vโข~โโโโโโข~I ZV โขโ โโโ.. ~โโ Iโ~โโโ โ .~ โ~~โโ-~โโ I โโ โ โโ
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 ~โ II ~r~r~ ~- IIrj- II โ1TJj ~b~ I r ~Ii
flThi F i F1 I i โ~โ LIt__I
16
*~I
I
I~-โ-โ1w
____________________โโ~:.wโI______________________________________โI~-~~-โ_~โข_.โโ-โโโโโ_-.v~โโ~โโ,-~โโโI~โโ-~โr_โโโ.ii Iโโ~~.A~~โ-~~I-AIโโโโโโโโIโ-
โ3l-S
Iโโโโโโ~w~I____________โโโโโ~ Iโโโโโir~โโ~โโ~-v~โI~โโ~~โโ~-โโ~i โโw..A~L.~โขโขโโโโโโ.A~Vโ~Iโโโโ-~โข~โ~โFWโโ~.I~-~โIโAโข~
L
IH~r~g~~III~-~-โ
~~~r~~r~Ltr~j-t~rj-r~ ci3fS~j+!WO
:s~jdur~x~~ui~oj~oj~flU!S~โS~UO~p10143-UoU~U!UJ~AO~S~JtU~flJO~UO~Sflโ~UO~pJOqo-UOu~WOJJS~UIflS~1~Ufl~~uiH
~~ii~~~f-~iLrrI-~ThS1~Iโโโr___โโ_______โ~โโIโโ,_โ~โ~ I..P_~โโโ_-.-~โ~โ~โIโโwv~.~-I~โโโr~โ I~L~Tโ~โโโW~โIโโโ.Aโข~~โโI~w-โโ~Iโโโโโโ~โโโโ
:s~Idw~x~~UiA~OIjOJ~q1U~S~โ~UO~~1O43~q~JM~uq3!U0W!P~~WflS~)JVS~3.IO1~pU~)fO1~17
81
โโโ.โโโโโโrโโโโโโโโโโ~โโโโโ-~~โโโโโp.~~โ-~โโโโโโโโโโ~hi โโโโโ~~~~โขโโโโโโโโโโโ.-
โโโโโโ
โโF~โL____โโโโโโโโโ~. โ~p.โขr4~โโ~.a~โโโโโโโโโโโโโhi โโ~โ.~_โโโโโโโโโโโโโโโ~,โ
~p~โ~~...~~
L~ijrrrrrrrrrrrr1rr1~
โ -~~afr~r~ruโI~โ
(
(
_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
________โ~โ~4 โโโ~โ~โโโki~โโ~~~~(~Y~.V1~LA~VI.~โ-~โ~~hโโโโ~โ.ii ~โ~AโL_A.โขIโโ -โโโโโโ
aโโโโโโโโโโโ~โ7โโโ~.hWโโโโโ~ wโi~wrโ..โ~โโh) โL.~VA~I~โ
โโโโโโโโโ
.s~Uo2
(1~)
(I)
(H)
(โ9)
(~)
(3)
(a)
(;~)
(9)
(y)
ILi~-~rf~r~j-1~r~r
Iโโโ.~โ~-โโโโโโโโโโโโI~โโ~~r~..โโ ~โโโโโ..~โโโ~..AVW1:-zโโt:~โ
โโโโโโโ-โ โโโ
โโโ ~โโโโโโโโโยฃ-โโ-~~V4โIWโF.Vโ~โVโi~~~
โโA~~A~(wr~โAโโ.~โขโ~ โโโโโA~.โโโjb
(1a~.p.AO~P-uOu)
r~~~~~J-t~~~ry)~IS~[ITh~~r~*pgrr~rr~
~ โโโโโโw-~-yโโ~โโ~โ~โ-โโโโ~A โโโโโโโ..~โ1โrโ~โขv:.โ.โโโโโโโโโโโ.ij โโโโโ.._โIโโโโโโโโโโโโโ~~โโโโโโโโโ
~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~โโ
โโโโ โ โ. ;:vโข- โโ - Iโtiโ tโ __~ โIโ 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)
3โ-~ โ โ โ-y โโโโ~ โโ~ โA ..โ โโโโโโโ__โโโ โโโ
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~รธ
F. Non-chord tone as a quarter note
.3
G. Chord tone syncopated
3โข - โโ-โ
โโ~- โโโโโ โ
H. Extra half step omitted
- ~- ~- โ โโโ(I I~ ~ โ โ-โ โ~-โโโโโ~-(fl I til โ r~โ~โโโโ
~โ โ โโโโ
I. Extra half step
(prEJzrr~cL)
(t) ir~ I~I~ โ ________ __________________โโโโโ~~โ ~โโ~โโ~ โ โโ_yโ 1.1.1โโโโ I ~~Iโ~ A. I.!kkI โโโโโโ
โโโโโ โโโโ
J. Non-chord tone as a quarter note
3โโ-โ โ โโโโโโ ,โ_~v.โโโโโโ~โ- โโ
K. Chord tone syncopated
โ3
โ I I โข~โข โ
~Lfโ~ -,โ~IJ~ ~
3
5th
(~)~
(L)
rโ r rโ โ โ
โLI
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):
~ -โ ~ Lrbrj_ _I -~ -~ r ~-~-โ~โ~--
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
โโโโโโ โโ โ~ ~โ โโโโโโโโโโโ โโโโ _โ.-y โโโโโโโโโโโโโโ~_a~ โโโโโโโโ โโโโ โโโ
โโ
-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_____โ โ________ โโโโโโโโโ-โโr z~z,w..~ โ โ โ~i ~โy โโโ โโโโz~v โ~โโโ~โ~.โข โ4 -~โ โโ~ โA ~ P1 โโโโ~A~ ~ Pi~ ~~ โ โโ โ ~
Eb7~(___________ ___________ -~ _______
โ โโ โ โ~Pj ~ v- ~ j โ,~.~ I~โV~ โโโโโโ โ โ-~ โA ~ โNC li..V~ ~ I 2V โIโ ~ ~ ..A โA -~ Pr โโโโโโโI.: โโโโ~ A.A Pr W โข ~V โAโโโ~ โโโโโโ j~ โ โ - โโโโ โ A
โ p
โ โโ~โโโ ~ v โ P1 โ~~~ โโโโโโโโI 1 ..A โA _ ~ P1 .~โ~ โ ~A APTI I โ โ Pt ~ ~ ~ โโ โA __ P1~ rโ โA. ZV- โ โ _________ _____________________________________โ
(~ indicM~s t~. nc,n-thm~i 4nnFI I I I ---โ---โโโ--โโโ--โ-- โ-โ-โ
f,r~ f~i โ hโ~ i_ I I. I Iw I~ I I โ I ~W โ ~ โI โ .
E. Start each successive scale from the next highest chord tone in rotation, as in the followingexample:
~ c7 F7 gb7 Lb7โ โ .~-โโ.โ---โ L_ -โ1I_~ ~ L.I .I~ I. โI~ ~ ~I .~~โ_.โ_ I
vii I
+OโflLc 3rd ,~4h
F. Start each successive scale from the next highest or lowest chromatic tone, as in the followingexamples:
C7 F7 Eb, Ab7,~ โ~-.--~- :. ~ โ~-.--~โ- -----
~ I I I I I ~โ~- I_~โ~โ I
โ IL~โI I~ โ.---~_%-~_ โ โ.---โ-โ.โ.โ r-1_ โi-โโ โ ~I- ~I
I~ II
โโข1-~ ~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:
โโโโ โโ-~~ P1 ~โข__โ-โโโโ~โโโโโโ โโi~r โโข .~~.โข P1 ~I Z~ โโโI โโโ~~- I A~ โข ~r โ~โ.~โ โI v~โ โข 1 โ โโข โ โ ____________
โ P ~P
kโr โโโ โ
2. Bebop scales(dominant). Repeat all exercises from #1 (AโH). Use changes that move at the rate ofone per measure, as in the following:
Sb, Eb1I I I Iโฌ.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:
Ab7โ โโ โ _______ โ_~_-., PA โ
I I โโโ โ โ.~.- _______ ~โI 1~-~~ โโy ~โ~โโ โโโโ-~โข โA โโ~_l~ โ โ~.~ P1โ โโ โโโโโโโโ โโ โโโ-~โโ โ โ
-โโ ______ ________โโโโโโโโโ โโ__ww โโโ~.~ โโโโโโโโโโ.zvโขโ~_โ~~1 iz ~ r ~ ~I~โโra ~r4 โโ~ โโ _โโโโโโ_ โ~A โโโโW~โโโ ~ F:โโโ ~โโ โaz,โโโโโโโโโโโโโ _ โ
D7โ ~ i .~ b .~ โ1 ________ ______
โ~โโโโโI I K~ 7 โ J โ โ โ~4~โโโโโโโ__~Iโโโโโโโโโโโ..~: .~โ~โ~II โW~ โ - โ ~โโ โโ โ -~- 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 โข~I ~โ
p
F*- (Br)
24
ILl STENI Aby ____
II -~4~r~ b~b~ J~ I L:~~I; &1l-โSrE~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~~ โ I~j~rrfrrrbr IBkโA
โ โ โโ~ โ ,~ โ, i-~ ,- โโโ._โ~โโ ~ โ~ โ ~ ~โ~ โ~ ~4โ~ ~โZ, โโโ ~i~โโโโ โโโโโโโโ~ ~ZV~~โโโโโโ โโ
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~โ.~ โ p โโ
โ โโโโ โ โโ~f Iโ ~โ ~P1 โ โ ________โโโ ~ โโ โ โข~โV โe.โโ -~~โโ,โโโโโโ_~~~โโ-~โโ ~
6. Spins from a chord tone. (Spins are scalar ascending figures.)
3 note spins:
~ ,โ
~โ~โ - โ ~j~r Lโโ ______________ ~~~โโ--- ~โ_
\ ,โ โ โโโ โ.โ..โ ~.,โโ ~v..โ_โ โ~ โ ~vโข โ I~โโโโโโโโโโโi j ~_โโโโ โ โ .~~ โ โ ____ - โ j~ โ~ ~ โ,. , โโโโ โ~โโโ โ~ ~โ โโ โโโโ
~~~~JJJIJJb~J J~~~Ir
4 note spins:
r] rr ~ ri I b~ r r r~ r ~rr1 ~Jb~~ bJD~~ jJ~J~~ ~
______ โโโ- โ
โ- โ ________โโโโโ โโโโโโโ โโโโโโโโโโโโโโโโโโโโ_โ..โโโโโโโโโโโโโโโโ.-โ โ~ w-โ~-~
I,
5 note spins:
โ โโ โ โ โ โ โ โโ,_โโโโโโโโโ โ.-.~ ~vโ~~vโw โ -~โ-~โ โ.-.โ โV. โ~I ~Vโข~ โ ~โ โโโโโโโโโโ~.~I โโโโโโ-~ .~A .~ โโ ~L~Iโ..4 ~A~โโ โโโโโโโโโโ โIโโโ
โ โ โโ
6 note spins:
โโโโโ.โโ โ โโ โโ โ ____โโ โโโโโโโโโ~ _-._ zv-.~ :v-w โ โโโโโ-~ ~..., โโโโโโโโโโโโโโโ โโข~A .~~ โโโโโโโโโ.4 -~ โ โโโโ~-โ โโโ โโโ โโโโโโ~โ
โโ_โโโโ โ โ ___________ โ โ -.โโ_-~ โV. โโโโโ โ.~ ~.โ_ โ-~โ โ โ โ_โ,. โ ~โv~w ~-~โโโโโ โ ~โโ โ โโข ~j .4~ โโโโโโ.~ ~4 _____h โโ โโโ โโ โ โโ.โโโโโโโ โ=โโ
7. Spins from non-chord tones.
C75 rrrbrLf~ 1JTJ~
~โโโโโ~โโ r.~&. โโโโ โโโ.-โโโโโโโโ LJ .~ ~โขโขโโโโโโโโโ โ โ โโโโโโโ โ โโ .J ~. I.,โโโโโโ
โ 2 F- 1~
~~
26
IL.. I I I I~i~1) รกIJ~รก~ III III (~J ~1~โ~J liii [~$J~7,- โโโ~..~- ~r
,โ~โ~
I Iโ I_ โ โ ~ I - I - I II,
โ-.~ I Iโ โf Ik.1 i . I . -~ .~1-r ~
IFโ:~
h~: I I I I.I I ~ ~ โ โ,โ ~I โข1--- โ
L โ W ~ โ H I I- โL~
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~rrโ LD*+J~ โ
A โโโโโโ_โโโ, ~. ~ โโโ โข โโโขโI v r vI3) II โ โขโโโโโ โ.i p: ~ Z~โ v โขL ~โ ~ โโr~โ โ ~~~i~
Or, in a string of spins, add the half step at any point to restore the balance, as in the following example:
~r
โ L -I ~~/
-~ I I - I I I -
,k I II..~I i~ iii~ i i i iL~II I โ 1fโ I L4 โ ...I I ~ -
27
ne Examples of Embellishment with Ascending Scales
- โโ -โโ โ.โโโโโโโโโ~.v-_โ โโโโ -โโขโโโโโขโ~ โ โ~ .A.~ โโโโ โ โ โโ~โ~-_. โ _Jโ
โ______โ~โโโ~_.โโโโโ~โโ โโโโข ~โ โโโ~erโ~ ~ โโโ โโโโ โ ~โ~โ L โโ โ โโโ
b
~~Example of a Bebop Solo Using Bebop Scales, Enclosure, Embellishment, Etc.Because of copyright restrictions it is not possible to print Clifford Brownโs solo on โConfirmation,โ 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
โerpetual 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,b7โโโโโ โ J,r โ โโ________ ,I โโ โโโโ โ~1 ~ โโ
โข โโโโโโโ~โ~- โโโโโโโF, โโโ ~โ โ
28
2. Bridge of โI Got Rhythmโ
(A-)D7 (D-)G7
2 2(C-) F7
2 iii]
67
i~i ir~rr~rrPโ~fI ~JJ~r~rrr IF7
-โโโโโโ-
Ii.โ j p1 โ~~โโโโโโโโโ~โข Y~โ Iโ ~โโ ~i~-โโโโโโโข v ~ I
p
3. โDonna Leeโ
Ab Gb7 F7 (F-) Bb7 (Bb-) Eb7
Iโ2โ---1 Iโ2-โ-~(Eb-) Ab7 Db
โโ โ โFl ~โ~ โ โขZโ~~ ~T J Pr โ ____________โ โ,~ ~ โโโโโ.~A โโ~V N I โ Y โ~_I ~ โโโโโโโ~F1 ~โโโโโโโโ ~ โP1 ~I V
______________ ~โโ โโโโโโโ โ ~-
(G-) C7
2
e~ fr-)
Eb, (81-) (I~7)
29
(bq)ยฃ9-cz
~HIยฐILO
(~Idwoou!)u~i~dILAjj~s~~~qA~wuia~d~รง
Pโ~hA~Rโโโโ~-i~x~r~โโ~i.,โโโ rk~~,โ~___~Idrโrrโrr --~_A:jโขJโโโโ.~IโโโโjAk~Fโข
โโโ~โโโโโโโ-โ~
~U!1~fl~w~-~jqnoa
(~)1i~qwnu
1โ1ains~w
โข~+โข~rrr4:LJ-::LLp~rirI~~ .F-Iโโโโ1_~JN~
L~~LD(~)L~(~j)LG(-v)
Lยฎยฎ17
TI
IIII-cr โโ~
โโโโ.~~-~XeโLโโโโโโโt..db.โโโโโโโโ~โ~โ~.~-โขโ~โโiriโข โโโโโโโโโ.~:โขโโโโโโโโโโA~_AC1~
โโโโโโโโโโโโ~
-V~LyI
โ-~โโโโโโโโโ~โ~IโL~โ.โ~Z~โ_โโ__โโโ1e~~โ~โ โโโโโโโโโโโโโโโโโโโ_.โโโโ~, โโโโโโโโโโ___
9bq~91โ
______โโโโ-~โโโโโโ..~โข~โ4 Idrโโi~โโโโโโโโ~-โโiiv-~โข ~Jโ_~โขโ~kdF)~1~W~~~VI.AUโ~โ~โโโโโ~.โ~-โโโโโโ..._~~__~,โโ=--โโโโโโ
-~69Lq.9
______________________4โ โโโโโโโโโโโ~V.โข-~โ1 โโโโโโA~14~~F.โโโโโโโIโI_~โขโโโโโขh~ โrvi~rImโขโโโ~~W~โ__โโโโโ~Iโโโโ A~โโโโA~~fir~โโ14U_โr
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
iiโiI~
Iโ~-.~~โLJโZโโโโโโโโโโ~โขโโโ~โขโโโโ_.~..~โโโrโโโโโโโโโโโโ~โโโโโโ-~~โโ โโโโโโโ-~โ~โ-โโ._โโโโโ.โโ~ โ~โโ_____________________________________________________________โโ~โโโโโโ
43-stltโt ,,~4-
โขJ~~โโโโโ~4bโโโโA~rIdโ~โโขโโโ~.24~โโ~-โโโโโโโ_L~rzโV~Vdโ~ โขโโโโโโโโโโโโโ_.-~โ โโโ~โโโโโ
~t1,[~4gJ~]~III~3
LqS-qa
i~a~t1t~r~i~~I44โ
โโ~.~ffโ-1~4~โโโi~rwv~โ~-~โ โโโโโ_A~IโโโโโโโโA.I-~14PVโโโโโ_~~rโ โโโ~โโโโโโIA~rโโโโโโโโFa~_A ____________________โโโโ~________74Fโโโ
4qc~-qY
r~โrI~riโ~~C.1~IL4Vq~
4โ.dI โโ~โ~โ~โโ~~-โโโโข~~rโ-โโโ~โ~โโโ14.A~~dlโโโโโโโ74.โโโr_ -~rr~โ~โโโ_A~wโ~iโโโโโโโ~jโโโ โrโโโโโโโโโโโโโF
:โขLJIr~~1J2~TiIi~-1 โขโ-โโa
-โข,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 - ___
โโโ.โโ.~โโโโ~-โ _______ -________ โ โ โโโ โโ,~โ,~-โ~ 7 โ,โโโโโ~โโ~-~โ -~โโโ~_~.โ~โw-โโโโโIโโโ~โโโ โ ~I~โ~โขโโข~~โโโโโ_4โ~โ~.โ~โโโ_โโโ~ ~-w~i~โโ~ ~ โข T โโโโโW ~ ~ ~โ โ ~โ โ t .~ ~
~SwJJ~I~n~โrlH I I~ II โข F.
โ~โโ โ ___ โโ-~ โ โโz_โ~โ โ Ir- โโ ~ โโโโ~ -_~ โโโโโโโโโ โข II I โโโโ โโโ~ โA ~ โ โโ _________ ..~ IT~ โ ~โ, I~ โโโโโ โ โโโโโ ______~โ ~z ~ โ
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,Aโ โโโ โโโโ -~ โโโโโโโโโโ- I~ L~ -โ- โ~- i:vโข-โ โ ~a_.- โ~ I~โ ~ .~โ โ โ โ ~โโโ__________ I
IL)) ~I โขโ .4 โ~4 ~ 4~โIA ~ ~ โโโโ โโ I~ .:~โโโโ โโโโโ โโ - Iโโโ โโโ
m~~~?] fl2DJflJ JTTh~rfi rrrrbJJ2] : ~b b
A โข -~โโโโโ โ ~-~โโโโโ โ โ โโ-โโ- โ โII ~ โ~โโโโ โโโโโโโโโโโโ ~ v โ โข~โ~ :,T ~ โโiIDI .~โโ--โ โโโโโโ--โ โโโโโโ--โ~โ ~-___w-~ .r4.4__:~_~___lI โ~~ โโ โ _โโ โ ~_โโโI
L
I I I IIโ~ LโI~ -
~ JII~j~~WDb~rrr ~fL[fb~D 3โ
Aโ โ โโ โ_ ______ โ โ I/~ ?~โW W1โr โ โ I โ W~.โ โ~ I~โ ~-~ โโ ~_โ โ โ I~IY โ Ijc~) LI โโ~.4 ~.4. โ โR .4 โ~A .~ โ โโโโโโโโE ~ I~,โ_โโโโ โโโโโ โโโโโ โ โโโโ_โข- ~ โ Iโโโ โโโ
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~~โ ______ โโ- ____ โโโโโโ .- โโ-~ โ โโโโโ I~โโโโโ โโโโโ~-=_ โโโ1, I~โ โโ~โโโโโ โi~,โโโ Iโโโโโโโโโโโโโโโโ~ ~ ยถA.A~~โโโโ~โโ Ar~~ โ Iโโ ~.โโโ_-โ โ โ w.โโโ~-~ โ โโโโ I
1:โ
___โโโ โ
โโ โ. โ โ~ โโ.~ โ ,โ โโโ-~ โโโโโโโโโโ โ โ โ Iโโโโ โ โข-~โโโโโโ -~โโโโโ-~ ~I~โโโ1โ-~v โ โโโ I~โโโโโโโโโโโโโโโโโโ ~ โ~ ~โโโ โ Iโโโโ--- -โ~--- โ โ โโโ I
Practice the four forms from the b7 of the chord, as in the following examples:
โU LZโ-~--~ LtL.
_________ โ ________ -โ.โโโโ.- I
~โโโโโโโ โโโโโ- โ~โโโโโ--โ โ ~โโโโโโโโโโโโโโโโโโโโโโโโโโโr ~ i~a~ ~-โโโโโโโIv_โโโ~-~ w-โโโโโโโ~-~ w-โโโโโโโ~_. ~. A, ~โโโโโI
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.~-~.~ โ.-โโ
~ ~ ~rJJ cI~Lr rfLr br~rIr~b~ ~J j~
โฌt~ ~. 1โi rT~J~ rJ 9~ .4..W V โ Iโโโ
1โขโ I~~โ ~I I
I I II. I. I I ~
~LIA-.. - I_. _I I I I ~_ -..r)r~โข~a~ i, r i I i โ - โ โ i .
A โ_______ ~,~~โ โ โ โ~ โโโโโโ โ~ โ โa,- โ โ โ.71 โโr I~ I .~V โ ~โขZ~ โIโ โโโ-~ ~A โ F! ~~I~t โ PA ___ ~~ .1 P1 ~ โ I~ J ~ __~โโโโโโ I โ โ~_โโ _______________ โ โ -~โโโ โ
- I I โ
A โ ______โโ ~- โโโ โ โ โ โ(~. I ~~โ.~ โz,โโโข-~โโr~i ~ a ~vโโ ~ ~โโ โ~ -y โโโโ
_ โ ~ ..I ~~I~ 2 โA-d.~ h โ -~ ~A ~ ZV I ~Vโ~ ~
โโโ โโ โโโโโโโ~h..~*โโa
F.~โโโโโโr_โข .-~--, ~-โLI โข ~I it โ~ I ~ I~ Fโโโโ~- ~ โ
,~
โ,F~E IJ_ โ - L ~.โข :~. โ โ,--, , I I. โ โ โ -โ - ~I I I~ I 1 โ I - โ rโ i1 โ - โขJ :- โข; ; I L~ - D -L D โ b-1~
I I I1 iL. I ~Lโ WI
โ ~โI I I I W~
1~1 I ~
,~ ri iโ, rโi- 1T I(~: ~1 I I I I I โ~-I~ 41 L4 d.~_d โข
~
~ ~ I~โFiIi~~Fr ~~rr~r ~.rr โ
L~*P. - -~p โโข~โI--.LJ
35
Some possible continuations using deflection.
___ โ
,- โ โโ.~ โ -~ ~-โโ.~ โ โโโโโโโ~_ โโโโโโโ โ โโ~โโโโโ โ .โ,-.โ โy โโโโโiz~โโข ~โข โโโ~ โโโโโโโโโโโ~A โ~ โ~ 1~ โ โ โโโ ~.r
______ _______-โโIโ~
~_ _โI .y โโโโ โโ_.~v- I ~โyโโโขโโ โ โI_โโโโโโโ.โ~ I~ โ ~I~ โโโโ ~โr w โโโ~โโ โโโโ
-โโโโโโโโโ โโโโโ- ___~โ w-~ โโ โโโโโI~โข- I ZV~~โ W~~โขI โy โโโโโโโ โ~~โโโโ_A ~d -~ โITโ~ ~ J โA.~ .~ โ~ โ F~โ ~i โ โ โ.~โโโโโ ~ ~ โ โ โโโโโ~ I โ ~~T ~โโโโโโ โโโ
~-~-
pโ โ โโโโโโโ.โ, โโโ โโ โข aโโ โ โ โ โโโโ
d~โโโโโโโโโโโ โโโโโโโโโโ~ __โ_ ~vโ.โโโ~ โโ โโโโโ โ โโโโโโโ-~ ~A.. ~โโโโโ โ
p~b~
Some possible continuations using enclosure and deflection.
bโ I โ ~โโโโโโโ โ~โโโ_ โโโ~ L-~โโโโโโโโโโโโโโโโ -โโโโโโโโโ โโโ โโโ
~I~ โ Aโ~ โ โ~~ _I~ I I โ 2 .V r .;vโขโโโโโโโโโ ~Zh~ _W โ โ ~ I,,โ โโโโโ~ ~โ โ.-โโ
1P ~โ y ~Vโ P1 โ~ In 1โโโ โ โA-~ โ~I.~ J โโโ.J โ~A ~a_v~ โโ
โขโโโโโโโโโโโโโโ-~ โA ~ โP1 2 Z~ I ~V โโโโโโโโโโโโโโโโโโโโโโ~_d โขโ ~-โขโi._โ
36
Continuations with various endings.
โ .โโ.~ โ โ โ _. -~โ.โ โ โ โโโโโโโโโโโโโ-~ --~โโโโโ~ โโ~โโโโโโโโโโโโโโโโโโโโโโโโโโ~_:4 โโ โ-~โ ~โt_โโโโโ~- I
โ~โ- ~โโโโโ -~ โ 1โ!~
โโโ โโโโโโโโโ ,โโโโโ -~ โ โโโโ ______โโโ
- โโโ1v โ .~ โโ iv- โ โข_~โ โ~ ~ v-~ j~ ..-,~ โ~ (~ ~ ~r Jโd~4~ ~~ ~~dโa~ 11.1~
โ โ โ โ โ-~ ~ 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 โ~i r-rTl I ITi r-rโTl J~Ji~L~ r eb. .11 T9 IIโ%;V Jht~ โ ~ ~รธ -. ~dh1 ~L ~ โ L_L I I W โ, ~ J III ~- w~-U- โ
4โ L ~ - L
~ i -i~~j Li i - i [j~L~ LJ_ LI L[ff~ ~ ~ ~ -J ~ -~~JrT ~
~[ P~i*โ ~p~p i4rโ P r~r ~b r~r f r~r ~b~Dโ7~ n โ-II
- I I ~
I~
Ib1t~t โ4+ w .~.f4+ *tM~Iโข~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 โ Elโ โ 11 Pโ
โI
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
( ) icoยฑkm of tnCJOS.LrSic.otioโn o~ b~bap SCO.IL
P1 I โ I I riII ~ ~ ~ : โ~. iโ I ~ i
4 [ LI โ~I_T โ -โ~ .IJโ -J -โ โ~ I โ ~โEb
~r zf ~ J~D ~ r ~
_____โ ___ __
โ , __________ ________โโโโ~โโโ_~โโข โ I โโ .J โI ~~~- ~ ~V โโ โ โiz~~ โร โ ~ ~โ โ โ โโโ โโ .. ~ โโขF? ~ โขZV โโ~ โข~ โโโ โโ โโโโโโโโ~ โ โโ~~zโโ โ_____________________________
3
G- C7โโ- โz,-~โ ___ โโโ โโ -~ โโโโโโโzy.โ~ ~โ~A โ~ โ โโโโโ โ ~โโโ โ โ ~โ โโ โ โ - .rโโ โโ โ:i:~ w โ3
Bb7 Lbbr r~r~r - IIbr ~r ~ TJ~j~ I JJ~ t ~ I
-
_.โ.. โ~,. โ Iโโโ โโ โโ__โ~โโ ____________โ -~ โ~A โ โข :~โโโโโโ~ ~โโ โโโโโโ โ. ~ โข~ ~- โ ~โขIPI A โข V 1 WA t~Iโโโโ โ~ โข V โ~ =~VA_A L4 I ~J 1
~r r~r)~r 4~ ~I r~IJ ~Jโt~1 J~ - I[r~r r~r tPD~rbr~I~7 F- 6b7 Abโ Db7
LLII I. Il~ ~ JJYb~f~rJ~Y~ Iโข~~โ~tt~4J ?t4โข.~~v~
Gb tโ
_______________~โ.1 โโ . โ Iโ _______
-โ ~ .~r __ Zv-a A โ โA .. ~ .~ P1 ~Y J ~ A โ~ Vโโโ~A ..~~P1 J ~A ~~___I Iโ. โ Z~WW โโโโ ~ โโโ aโ
A Eb Eb~~1
A-II -~
6-- C7 C-
F-
>
6- C7
38
A-
ELโโ~ ~
A~ โ pr โ โ w ~r.~โโ__ . v~โ ~v-~ . โ โ โโ a-~โ b~โ ~I โ~โข~ โ4 โ โ โ _____ ________~ โ~A~ J โ
C7
F-3
C- F7
J ~ - IIkJ~iJ i,-i I~J~ ~. -
(a~โ โ โ:v-โโโโโโโโโ.~-โโโโโโโโ-~=-โ~-โ~โโ~โโโโ~โโ ~-โ~โโ~ โ r~โ ~-โโโโ.โโโโ~โโ,-.โโ โ โโ โ โ_zv- โโโโโโ~--~โโ โ
.~.JbJ 44 ~ I J~ ~โ i~Jโ ~ ~ J ~P I8b7~
(45 ~4โ ~ ~ I ~ r [r~~~r~ I
S e
__โโI_ _____
A~ โโ.Pr โ _-yโ~ ___________ I~zvโโโโโ โPr โ I โ -j~ โ ~ kโ โโ~โ~i โ I โ ~-โ _______
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)Majorโi 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#451โ781 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#2โ 12 ~34 ~5~p6 ~โ78
diminished (start with whole step)1 2~34#4~5678
blues 1 ~3a34~45 ~โ78
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,โles 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:
eโ~~] C t- C
~5 Iโ2--4 I_2_iJ 1/1/ /1/โ I~2โSLL99EStS a.who)1~ftmE SCO.LE
~i1~ C7~I C76q F- I โขiO -1 J liii Jiiii I iโ2~-โ I
SLJ.~gE9fs a. dLrnLnishLd.. sccโ1~
~ 81โ- A Ab- A Bb- A~ -~โ I ~ 2 โ I I 2 1SU99EStS โIhe. LLSL of: O~~~~.fldijig rnโฌJod~ m ifl~iโ~ 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 โโโโโโโโโ~~~โโ-โ
,~~ โโโโโโโโโโโโrโ โข~~v ~
~i โ ~โโ P~7 โ 1 _~โ IY โ P1 3 ~! โข .~ h~W _._ ~ โ ______ โ ____________ I
โ โโโโโโโ โโโโโโโโโ v I2. btโขโโโโโโโโโโโโโ~โโโโ โโโโโ~A..d โT I~ โโโโโโโ - โโโ โโโ ;~a ~ I
t~b Fโ -
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] โ~r II
45 ~r1!r btr~r~~ j~2 II
~
_________ ___________ _______________ I
, โ โ ~ V~ ..~ โ A โ I~ โ โ โโ Iโโโโโ.~ โ โ โ ~ I ___rr w r ~ โ _.~โ Iโ โโ โโ โโโโโ โโ ___ ~ โ.. .~ Iโโโ
43
.~ยฃ1~~
rr~JJq~~โโ-โ.h~โ~X4โขโ-~W~Vโ~~~โ~โ ~โโ~Iโโโ~-~โขโโ โโโโโโ
al โโโโโโx~โโโโโโโโโ~r~rโ~.โโโโa โโโโโโโโ~.iโ~โw-r~r~ โโโโ~~โ
โโโโโโโโโ -~โโโโโโโโโโโโโโโโโโโโโโ โ:โข~~Ljc
โโโโ-J~r~โโโโโโโโโโ -r-โ~_โโโโโโโโโ
r:โโโโโโโ .44
~E3~.WJ~JVduj~i4gj.6ujpu~,L~r~j~~~~qf~.~4rJ~,~TJ~1
~~rrZrrtfr~j-J~โJ-~โw~
โโโโ-~โโโi~~โโโโโโโ14~-~rv~โโ~~_โโโโโ-~~โโขโข~โโ~II~โโโโโโ -~_.โ-~โ_~F.โโโโโโโโโ~_1โ~โโ โโโโโโโ
___q______ Iโโโโโโโโโโโ~โtโ.~โ1โข2~โโโโIโโโโโโโโ.โโ~โ~WJ4i~_~rx~ Iโโโโโโโโโโโโโโโโ-~โ~-~โ~z Iโโโโโโโโโโ
โขq~. I______________________โ~2.~~โ~L~_~โ_~โ Iโโ~dโข_Ar~โโโ.z;~โโโ~โโโโโโโโโโโโโข~โ~~~_โโโโโโโโโโ_โโโโโโIโโโโโโโโ-โโ
r~ -โโ โโโโ โโii I~.โโโโโ โโโ~p- โ~,~โโโโโr ~ w~~โ ~.T โ (
rrrr~rrr~J~J~~ p;J~ i~~~rfbf~ ~.
A โ โ~-. โโ โโโ, โโโ ~ โ~โ โ______โ zv.-.U โโโโโ~I ~ โ p7 โโโ I ~A~โโโ-~ ,~โโ โ~- โ.โ .
26 PUBLIC DOMAIN DIMINISHED PATTERNS
A โโโF.~โ โ โโโโโโโ โโโI~VโIi.โโโโโโโr_~โโโ.-โ .โโ ~ -โ โโ.~~โโโโZV ~ .7 ~โ
~ p โ p โ
-~- โ_โF.โ ~ -v โ โโโ ,...โโ I.โโ~ โ โโ.~โโโ โ~ โโโ โข1 โ~ i โ. zv v Vโ โ โ
~ 4~;~b~ bJ~~ ~&r~r r~i r~r~ 7~J~J~j~ 4~ ~_... .,~ โ โ โโโโโโโโ~ r~โ Z~ VIi โโโโโr~r ~-~ ~ โ~PโโI I~~IZV ~ LI .~ โโ ~J
p p .
~ rr~rr~โ~Jb~cโโโโ โ โโโโโ .. . ._โโโโ~
IIโโโโโโโโโโโ_~._โv~ ~ ~I~ โโ~โโโโโ~,โโโโโ~ ~ .โ c~ ~. โโ -~โโp
45
91โ
โโโ~.โ__~~
โโโโF~.L..~~ -โI~โ41
______4~4โ4 -~โโ~โโ-~r:aiโโโโโ~โโ_.โโโโโ~โโโโ~jโโ~โโโโโโโโ โโโโโโ~p
.~43r~rr~rrrr~J~1~g.L~
4โโโ-~โโ~1โ~_~โโโ 1~โโโโโ~โโ~~r_wโ Vโโโโโโโโ~
โโโโ
ยฃI~-~q tโ~I..a~W~.โ-~โโโ I~โ~โโโ~.iโโโโ โโโโโโโโ โโ-โ
โ4~
โIโขA~FโขV~I..Aโ~ ..~WโโIโ .โโโโโโโ
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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: Gettinโ It TogetherVolume 24: Major & Minor
47