MAJOR AND DOMINANT BEBOP SCALES Chapter 1: Major

MAJOR AND DOMINANT BEBOP SCALESChapter 1: Major and Dominant Bebop ScalesBebop scales are chord scales with added chromatic passing tones. They are created by interjectingone or more nondiatonic passing tones into the chord scales. When these passing notes are added tothe diatonic chord scale certain notes then stand out in the scale.There are several commonly used bebop scales, major and dominant are the most common. Thefollowing example spells a C major bop scale.&œ œ œ bœ œ œœ œœ œ œ œ œ œ œ #œ œAn “A ” passing tone is added between the fifth and sixth notes of a C major scale. Bop scales canbe used as ascending or descending scales although descending is more common. When you playthis bop scale, as a result of the extra note, every down beat is a chord tone. The chord tones voicelead the scale making the line sound just like the chord. You should start a major bop scale on root,third, fifth, or sixth to insure this result of voice leading the chord. If you start the scale on second,fourth, 6th, or seventh the line will not sound like a major bop scale because the down beats willnot spell the chord.The following examples spell out a C major bop scale descending and then ascending with differentstarting notes:From the root:&œ œ œ bœ œœœ œ œ œ œ œ œ œ #œ œ œ&œ œ œœ œ bœ œ œœ œ œ #œ œœ œ œ œœ œ œœ œ œ œ bœœ #œ œ œ œœ œ œ œFrom the 3rd:From the 5th:&9

MAJOR AND DOMINANT BEBOP SCALES TRACK 3: PROGRESSION 1A (C INSTRUMENTS)C69& c . ’ ’ ’ ’A b69&’ ’ ’ ’E69&’ ’ ’ ’F7B b69E b7’ ’ ’ ’’ ’ ’ ’’ ’ ’ ’D b7G b69B7’ ’ ’ ’’ ’ ’ ’’ ’ ’ ’A7D69G7’ ’ ’ ’’ ’ ’ ’’’’’. TRACK 4: PROGRESSION 1B (C INSTRUMENTS)B69& c . ’ ’ ’ ’G69&’ ’ ’ ’E b69&’ ’ ’ ’E7A69D7’ ’ ’ ’’ ’ ’ ’’ ’ ’ ’C7F69B b7’ ’ ’ ’’ ’ ’ ’’ ’ ’ ’A b7D b69’ ’ ’ ’’ ’ ’ ’F #7’ ’ ’ ’ .13

CHAPTER 2Chapter 2: Tonic Minor and Dom7 9 13 Bop ScalesIn a minor key the tonic minor 6th chord (I–69) and the V7 9 13 chord use the same passing tonesas the I and V7 of a major key. For example, as with a C bop scale the tonic minor or C–69 bopscale uses a passing tone between the 5th and 6th notes of the scale. Again you must start the scaleon the 1, 3, 5, or 6. There are two options for spelling the tonic minor scale, that is with a major 7thor a 7th. On a C–69 chord scale you can use either B natural or B since the 7th is on an upbeat.C–69 using B natural:&œœ œ œ bœ œœ bœ œ œ œ bœ œ œ #œ œ œ&œ bœ œ bœ œœœ bœ œ œ œ bœ œ œ #œ œ bœC–69 using B :G7 9 13 is treated the same as a G7 chord in that the passing tone is between the root and 7th of thescale. Again, start the scale on the 1, 3, 5, or 7.G7 9 13&16œ bœ œ bœ œœœ bœ œ bœœ #œ œœ œ œ bœ

SCALE SEGMENTSChapter 3: Scale Segments – Using 5 or 7 NotesAfter playing the exercises for chapters 1 and 2, using a whole octave of the bop scale, now gothrough progressions 1 and 2 and play just seven notes of the scale with the following rhythmicpattern:&c Û Û Û Û Û Û ÛÛ Û Û Û Û Û ÛPractice with the same specific starting notes for assignments 1 and 2 and then practice using random starting notes. You are starting and ending each scale on a chord tone.Example:Root descending with seven notes.b bF7 9 13C – 69& c œ nœ œ bœ œ œ bœœ nœ bœ bœ œbœ œorb bF7 9 13C – 69œ bœ œ bœ œœ bœœ nœ bœ bœ œbœ œNext play seven notes of each chord scale on the following tune. When there is a II–7 V7 in onebar just use the dominant bebop scale for now. (You can also try just using five notes of the scale)Use all chord tones for starting notes ascending and descending.1, 3, 5 or 6 for tonic and 1, 3, 5 or 7 for dominant.Example: I D–7 G7 I use G7 bop scale for the whole bar. TRACK 7/8: TUNE 1 ALICE (C INSTRUMENTS)F &c ’ ’ ’ ’B b7C7&’ ’ ’ ’b bA7 9 13’ ’ ’ ’B b –7&’ ’ ’ ’G –7EøE b7D –7G7’ ’ ’ ’A –7D7C –7F7’ ’ ’ ’A b –7D b7’ ’ ’ ’’ ’ ’ ’C # –7F G –7’ ’ ’ ’’ ’ ’ ’F #7’ ’ ’ ’’ ’ ’ ’C721

SCALE SEGMENTSHere are the first four bars of the tune written out with each starting note:Root descending:F &cœ œ œ bœ œbœ œEøb bA7 9 13œ bœ œ œ œ œ#œD –7G7œ bœ œ œ œœ œC –7F7œ œ bœ œ œbœ œRoot ascending:œ& œ œ œ bœ œ #œœ œ œœ#œbœœœ œ œœ œ œ œœ bœœbœœœœ#œ bœ œ bœ œœ œœ œ œ bœ œ œœœ œ œ œ bœœ œœ #œ œ#œ œ œ œœ #œ œœ œ œ œœ œ #œ bœ œ bœœœ œ œ œœ bœ œœ bœ œ œœ œ bœbœ #œœ œ œ #œ œœœ œ œ #œ œ œœ œœ œ bœ nœ œœ œ œ œ œœ œbœ œ œ bœœ œ œœ œœ #œ œ œ œbœ œbœ nœ œ œ œ3rd descending:& œ œ œ œ œ bœœ3rd ascending:œ œ& œ bœ œ #œ œbœ nœ œœ bœ œ œ5th descending:& œ bœ œ œ œ œ œ5th ascending:&œ œœ #œ œ œ œ6th or 7th descending (6 for major, 7 for dominant):œ bœ œ bœ œ&œ œœ œ œ œ#œ bœ œ6th or 7th ascending (6 for major, 7 for dominant):& œ œ œ œ œ bœ œœœ #œ œ bœ #œ œRandom choice:23

HARMONIC ANTICIPATIONTry using random starting notes one beat early with five notes of every bop scale.Example:On Spring Joy random starting notesF G –7C7B b –7F E b7bœ œ œ Œ œ bœœbœnœbœœœ#œœcŒbœŒŒbœbœœ œ œ œœ& œb bD7 9 13A –7& œ bœ œŒ œ œG –7C7bœ nœ œŒG # –7F œ bœŒ #œ nœœ œ œC #7œ #œ #œetc.ŒTaking it another step further, try playing five notes of each bop scale two beats early, as in the following example:Example:From the root descendingF G –7C7B b –7F œ œ œ bœ œ Œ œ œ bœœ œ Œ œ œ bœ œ bœœ#œœcŒœ œ&etc.Now try five notes of the bop scale two beats early with random starting notes.Example:F G –7C7F B b –7E b7œ œ œ œ œœ œ bœ œ bœœ œ œ bœ œœœœnœcŒbœŒŒŒ œ bœ œ #œ&A –7&œŒD7G –7C7œ œ bœ nœœœ bœ œ bœŒG # –7F œŒ #œ #œ œ œ#œetc.29

CHAPTER 5Chapter 5: Bop Scale ModesTo determine some different scales for some of the other chord types here are the bop scale modes.IonianC Ionian&œ œ œ bœ œœœ œ œ œ œ œ œ œ #œ œ œDorianD –7 Dorian&œ bœ œœ œ œ œœ œ œ œ œ œœ œ #œ œœ œ œ œ œœœ œ œ œœ œ #œ œPhrygianE –7 Phrygian&œ bœ œLydianF &Lydianœ œ œ bœ œ œœ œœ œ œ œ œ œ œ #œ œMixolydianG 7 Mixolydian&32œ bœ œœ œ œ œœ œ œ œ œ œœ œ #œ œ

CHAPTER 6Here is another example: E 7 13 bop scale over G7 9 13bœ œ bœ bœ bœbœ œ œ bœ&œbœbœ5#9# 11on G 73b 13& bœ7 on E b 751Try playing through the original tonic minor progression II exercise and substitute some of thesedifferent scales over the chords:Progression IIAbG7 9 13C – 69& c . ’ ’ ’ ’bE b7 13A b – 69&’ ’ ’ ’bB7 13E – 69&’ ’ ’ ’36bA b7 b 9or D b7 13b bF7 9 13’ ’ ’ ’bE7 9bor A7 13b bD b7 9 13’ ’ ’ ’bC7 9bor F7 13b bA7 9 13’ ’ ’ ’bF #7 9b13or B7b bE b7 9 13bF7 9 13B b – 69’ ’ ’ ’’ ’ ’ ’bD7 9bor G7 13b bB7 9 13bC #7 13F # – 69’ ’ ’ ’bA7 13D – 69’ ’ ’ ’’ ’ ’ ’bB b7 9bor E b7 13b bG7 9 13’’’’.

CHAPTER 7The following examples spell out bebop scales starting on the 9 for different chord types. The circled note indicates where the initial bebop scale begins.C &œ bœ œ œ œ bœœ œ œœ œ œœ#œœœœ #œC7&œ bœ œ œ bœ œœ œ œœ bœ nœ œœœœœ #œb bC7 9 13& bœ œ b œ bœ œ œ œ bœœ nœ bœbœ nœ œbœœœbœnœbœNote that on this last example for C7 9 13, when the scale goes over an octave, the major 7th (thenote B) is added as usual in the dominant bebop scale. The starting notes, D to C, are scaleapproaches to the B where the initial scale then begins.C– &œ bœ œ œ œ bœœ œ bœœ œ œœ#œœ#œbœœNotice here on the ascending line that the initial bop scale is not started until you reach the fifth ofthe chord.42

CHAPTER 8Chapter 8: Bop Scales Starting on the 11thThe following examples show how to start a bop scale on the 11th for the different chord types. Asin the preceding chapter the circled note marks the point at which the “initial” bebop scale begins.C &œ œ œ bœ œœ œ bœ œC7&œ œ œ bœ œœ bœ œ œC – 69&œ œbœ œ œœ œ bœ œCøœ œ b œ bœ œœ bœ bœ bœ&#Cø 2œ œ b œ nœ œ œ bœbœ bœ&48œ œ œœœœ#œœ #œœ œ œbœnœœœœ #œœ œ bœœœœ#œœ #œœ bœ bœœ bœ bœ nœ b œ nœnœ bœœ bœ bœ nœ b œ nœ œ

BOP SCALES STARTING ON THE 13THGøbœ œ b œ œ bœ bœ&œ bœ œœ bœbœbœœœ#œbœ nœbœ bœ œœbœbœbœ œ œorBop scales starting on 7th for major and tonic minor chords.C & œ bœ œ bœ œ œ œ œ œœ œ #œ œœœ#œœœC– & œ bœ œ bœ œ œ bœ œœœ #œ œ #œ œbœœœœIn this last example, ascending from the 7th on tonic minor, notice how long it takes before you canbegin the initial bebop scale.Try starting bop scales on the 13th or 13th on the next tune. For major chords start on the 7th tomix it up a bit.55

CHAPTER 9For the next assignment play through tune 7 and start bop scales on every scale degree both descending and ascending. Then play through the tune and make random choices for starting notes. T R A C K 1 8 / 1 9 : TUNE 7 HAVE YOU MET MISS MILLER? (C INSTRUMENTS)F &c ’ ’ ’ ’D –7&’ ’ ’ ’F &’ ’ ’ ’D –7&’ ’ ’ ’Bb&’ ’ ’ ’D &’ ’ ’ ’F &’ ’ ’ ’B –7E7&’ ’ ’ ’60b bD7 9 13G –7Eø’ ’ ’ ’’ ’ ’ ’’ ’ ’ ’G7G # –7’ ’ ’ ’’ ’ ’ ’’ ’ ’ ’b bD7 9 13G –7Eø’ ’ ’ ’’ ’ ’ ’’ ’ ’ ’G7C –7F7’ ’ ’ ’’ ’ ’ ’’ ’ ’ ’A b –7G b E –7’ ’ ’ ’’ ’ ’ ’’ ’ ’ ’A b –7G b G –7’ ’ ’ ’’ ’ ’ ’’ ’ ’ ’b bD7 9 13G –7C7’ ’ ’ ’’ ’ ’ ’’ ’ ’ ’G –7E b –7D b7D b7C7’ ’ ’ ’C #7b bA7 9 13A b7’ ’ ’ ’G –7C7b bA7 9 13A7C7D b ’ ’ ’ ’

ACROSS THE BARLINEFrom 4 descendingbF –7B 7œ # œ œ b œ Aœ 7b œ œ#œ œ bœ œ œbœ œ bœc&E –7E b A b –7D b7E b A b –7D b7bbA b –7D b7bœ œ œ œ bœ œœ œ bœ œ bœ bœœ bœ bœFrom 5 descendingF –7B b7œ œ #œ œ A7œ bœ œ #œ œ bœ œœ bœ œ bœc&E –7bœ bœ œ œbœ œ œ œ bœ œ bœbœ œ bœ bœFrom 6 descendingE –7&cA7F –7B b7#œ nœ œ œ #œœ œ bœ œ bœ œbœ œ œ bœE b A –7D 7œ œ bœ bœ œ œbœ œ bœ œ œ bœbœ bœ œFrom 7 descendingE –7A7F –7B b7œ #œ œ œ #œœ œ bœ œ bœ œc&bœ œ œ bœE b œ bœ œ œ bœ bœœ œ bœ œ bœ œœ bœ bœ65

CHAPTER 10 T R A C K 2 0 / 2 1 : TUNE 8 GREAT MOMENTS (B INSTRUMENTS)F # –7B7G –7&c ’ ’ ’ ’E –7A7D – 69&’ ’ ’ ’D7&’ ’ ’ ’F # –7B7&’ ’ ’ ’E –7A7B b7C –7F B b –7E b7’ ’ ’ ’’ ’ ’ ’b bA7 9 13E b Eø’ ’ ’ ’’ ’ ’ ’’ ’ ’ ’C –7B b B b –7’ ’ ’ ’’ ’ ’ ’’ ’ ’ ’B b –7A b G –7’ ’ ’ ’’ ’ ’ ’’ ’ ’ ’G –7F B b –7’ ’ ’ ’’ ’ ’ ’E b Eø’ ’ ’ ’’ ’ ’ ’F7E b7C7’ ’ ’ ’B b7F –7&’ ’ ’ ’D – 69’ ’ ’ ’F –7&’ ’ ’ ’A –7C7’ ’ ’ ’F7B b B b –7E b7A –7D7E b7C7E b7b bA7 9 13G –7C7&’’’’ ’’’’ ’’’’ ’’’’ ’’’’ ’ ’ ’ ’III – 7F &’ ’ ’ ’G –7A –7G –7’ ’ ’ ’’ ’ ’ ’’ ’ ’ ’A –7F G –7’ ’ ’ ’’ ’ ’ ’D PedalF G –7&’ ’ ’ ’70G –7’ ’ ’ ’C7