Bebop Scales for

Mandolin and Violin

© 2011 by Pete Martin

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This Page First

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 Bebop Scales for Mandolin and Violin
Table of Contents

Introduction .................................................................................................................. 4

Chapter 1 What Are Bebop Scales? ......................................................................... 6

Section 1: Major Bebop Scales

Chapter 2 C Major Bebop Scale .............................................................................. 10
Chapter 3 F Major Bebop Scale .............................................................................. 16
Chapter 4 Bb Major Bebop Scale ............................................................................ 22
Chapter 5 Eb Major Bebop Scale ............................................................................ 28
Chapter 6 Ab Major Bebop Scale ............................................................................ 34
Chapter 7 Db Major Bebop Scale ............................................................................ 40
Chapter 8 Gb Major Bebop Scale ............................................................................ 46
Chapter 9 B Major Bebop Scale .............................................................................. 52
Chapter 10 E Major Bebop Scale .............................................................................. 58
Chapter 11 A Major Bebop Scale .............................................................................. 64
Chapter 12 D Major Bebop Scale .............................................................................. 70
Chapter 13 G Major Bebop Scale .............................................................................. 76

Section 2: Dominant Seventh Bebop Scales

Chapter 14 C Dominant Bebop Scale ........................................................................ 83
Chapter 15 F Dominant Bebop Scale ........................................................................ 89
Chapter 16 Bb Dominant Bebop Scale ...................................................................... 95
Chapter 17 Eb Dominant Bebop Scale ...................................................................... 101
Chapter 18 Ab Dominant Bebop Scale ...................................................................... 107
Chapter 19 Db Dominant Bebop Scale ...................................................................... 113
Chapter 20 Gb Dominant Bebop Scale ...................................................................... 119
Chapter 21 B Dominant Bebop Scale ........................................................................ 125
Chapter 22 E Dominant Bebop Scale ........................................................................ 131
Chapter 23 A Dominant Bebop Scale ........................................................................ 137
Chapter 24 D Dominant Bebop Scale ........................................................................ 143
Chapter 25 G Dominant Bebop Scale ........................................................................ 149
 Section 3: Melodic Minor Bebop Scales
Chapter 26 C Melodic Minor Bebop Scale ................................................................ 156
Chapter 27 F Melodic Minor Bebop Scale ................................................................ 164
Chapter 28 Bb Melodic Minor Bebop Scale .............................................................. 170
Chapter 29 Eb Melodic Minor Bebop Scale .............................................................. 176
Chapter 30 Ab Melodic Minor Bebop Scale .............................................................. 182
Chapter 31 Db Melodic Minor Bebop Scale .............................................................. 188
Chapter 32 Gb Melodic Minor Bebop Scale .............................................................. 194
Chapter 33 B Melodic Minor Bebop Scale ................................................................ 200
Chapter 34 E Melodic Minor Bebop Scale ................................................................ 206
Chapter 35 A Melodic Minor Bebop Scale ................................................................ 212
Chapter 36 D Melodic Minor Bebop Scale ................................................................ 218
Chapter 37 G Melodic Minor Bebop Scale ................................................................ 224

Section 4: Other Bebop Scales

Chapter 38 Practicing Tunes Using Bebop Scales ..................................................... 231
Chapter 39 Other Bebop Scale Possibilities ................................................................ 241
Chapter 40 Bebop Scale Comparison Chart ................................................................ 246
Chapter 41 More Tunes Practice Using Bebop Scales .................................................247

Appendix
Appendix 1: Chord Spellings ........................................................................................253
Appendix 2: Notes Names On The Mandolin Fingerboard .......................................... 255
Appendix 3: Two Octave Major Scale Note Names and Numbers ...............................256
Appendix 4: Blank Mandolin Fingerboard Charts .........................................................257
Appendix 5: PDF Books by Pete Martin..........................................................................259
Appendix 6: For Further Study ...................................................................................... 260
 Bebop Scales for Mandolin and Violin
Introduction

To request MIDI files for this book

Email
pete@petimarpress.com

In the 1940s, Jazz evolved in a new direction. Players such as Charlie Parker, Dizzy
Gillespie, Bud Powell, Max Roach and countless others evolved a new language. That music,
called Bebop, influenced all Jazz styles that followed.
One of the innovations was the way these players used scales in their improvised solos.
This book will explain those “Bebop Scales” and give you a method of practicing them.
Chapter 1 introduces the scales and tells the student why they work. Chapters 2 – 37
introduce the common scales in all keys and give practice exercises to get the sound in your
mind and scales in your hands. Chapter 39 gives less common scales that can be very useful to
improvisers.
Chapter 40 compares all the scales covered in the book, how their formed and gives the
notes to each scale in each key. Chapters 38 and 41 give a method to practice the sound of the
scales with chord progressions to common tunes.
There are many great Jazz texts on the market currently. Most do not deal specifically
with mandolin and violin. That is the aim of this book. Each example has music notation and
mandolin tablature. Also MIDI files are available at the above mentioned email address.
My suggestion is to read the first chapter to learn what Bebop Scales are and how they are
used. Play the examples and listen to the MIDI files. You can speed up or slow down the MIDI
files using the slider control in Windows Media Player, or use one of the many freeware MIDI
file playing programs available.
Learn some of the scales in chapters 2 – 37. Listen to the MIDI files and play the
examples. Next take a common chord progression and learn the scales that fit each chord. This
is shown in chapters 38 and 41. Go back and eventually learn all the scales in all the keys as
you need them.
Any comments on this book, positive or negative, are welcomed by the author. If you see
mistakes, definitely let me know so I can correct them, the download the corrected .pdf file. Feel
free to pass this on to anyone who may be interested.

Best of luck and lets play some Bebop tunes someday!!!

Pete Martin

 Section 1

Major
Bebop Scales


 Chapter 1
What Are Bebop Scales?

Be sure you have read the introduction

before continuing to this chapter.
Great players from the Bebop era improvised so the notes of the solo fit well with the
chords played by the rhythm section. How to make notes fit can be a struggle for the beginning
Jazz player. Bebop Scales are one way to make improvised notes fit chords.
Listen to the MIDI file for example 1.

Example 1 is a G7 chord using a C major scale running two octaves starting on a G note.
This scale is very common for this chord. As you listen, did you notice there are some places in
the scale where the notes don’t seem to fit the rhythm section?

Now listen to the MIDI file for example 2.


 Notice how the notes seem to fit the chords better in example 2? Listen to both examples
many times. If you want to play them faster of slower, you can use the slider control in Win-
dows Media Player to accomplish this.
In example 2, we added an F# note to the notes in example 1. If you look at the notes
that occur on the beat in example 2, you will notice they are the notes G, B, D and F. These are
the notes of the G7 chord. This is shown in example 3.


 Bebop Scales are normal scales with an added note. This additional note is inserted into
the common scale to make chord tones fall on the beat. When a Bebop Scale is begun on a
chord tone and on the beat, all other chord tones will also fall on the beat. The notes on the off
beat are the remaining notes in the scale (non chord tones). This playing of chord tones on the
beat seems to make the melodic line “fit” better with the chords.
Listening to recordings of the Swing ear, one will occasionally hear these scales with the
added note. Bebop players, especially Charlie Parker, were the first musicians to extensively
use these scales with an extra note.
The most common Bebop scales are shown in example 4, 5 and 6. First the Bebop Major
scale, example 4.


 The notes that fall on the beat in example 4 are C, E, G and A, the notes of a C6 chord.
The Bebop Major scale fits any Jazz major chord, which are the sixth or major seventh. Exam-
ple 4 indicates a C Maj7 chord but works just as well against a C6.
The Bebop Dominant scale fits a dominant seventh chord. In example 5, that chord is C7.
The notes on the beat are C, E, G, Bb, a C7 chord.

The Bebop Melodic Minor scale fits any Jazz minor-major chord, which is a minor sixth
or minor-major seventh. The notes on the beat are C, Eb, G, A, a Cm6 chord. Example 6 indi-
cates a Cm6 but works just as well with CmMaj7.

We will start learning and practicing these scales in chapter 2.


 Chapter 2
C Major Bebop Scale
Learn each example from now on as it is pre-
sented. Memorize and be able to play each example
before going to the next example. Listen to the MIDI
files to help you learn the sound of each exercise.

Let’s begin our learning with Bebop Scales with the key of C. The one octave C Major
Bebop Scale is shown in example 7.

Now learn the C Major Bebop Scale in one octave ascending and descending, example 8.

10
 Learn the C Major Bebop Scale from the lowest note (G) to the highest note (B) you can
play in first position. This is shown in example 9.

Example 10 is an exercise that reinforces where the notes and chord tones are located.
Starting on a chord tone, ascend the C Bebop Major Scale until the next chord tone. Reverse
and keep doing the same. Notice each beat is a chord tone!

11
12


Example 11 is the opposite of example 10. Descend from the highest chord tone in first
position, the note A.

13
14
15
 Chapter 3
F Major Bebop Scale
The one octave F Major Bebop Scale is shown in example 12.

The F Major Bebop Scale, one octave ascending and descending, is example 13.

The F Major Bebop Scale, from the lowest note (G) to the highest note (Bb) you can
play in first position, is shown in example 14. This example keeps the chord tones on the beat,
which is how we want to play.

16
Example 15 is the F Bebop Major Scale reversing on chord tones.

17
18
Example 16 is the opposite direction of example 15.

19
20
21
 Chapter 4
Bb Major Bebop Scale

The one octave Bb Major Bebop Scale is shown in example 17.

The Bb Major Bebop Scale, one octave ascending and descending, is example 18.

The Bb Major Bebop Scale, from the lowest note (G) to the highest note (Bb) you can
play in first position, is shown in example 19.

22

Example 20 is the Bb Bebop Major Scale reversing on chord tones.

23
24
Example 21 is the opposite direction of example 20.

25
26
27
 Chapter 5
Eb Major Bebop Scale

The one octave Eb Major Bebop Scale is shown in example 22.

Play the same ascending and descending, shown in example 23.

28
 The Eb Major Bebop Scale, from the lowest note (G) to the highest note (Bb) you can
play in first position, is shown in example 24.

Example 25 is the Eb Bebop Major Scale reversing on chord tones.

29
30
Example 26 is the opposite direction of example 25.

31
32
33
 Chapter 6
Ab Major Bebop Scale

The one octave Ab Major Bebop Scale is shown in example 27.

Play the same ascending and descending, shown in example 28.

34
 The Ab Major Bebop Scale, from the lowest note (G) to the highest note (Bb) you can
play in first position, is shown in example 29.

Example 30 is the Ab Major Bebop Scale reversing on chord tones.

35
36
Example 31 is the opposite direction of example 30.

37
38
39
 Chapter 7
Db Major Bebop Scale

The one octave Db Major Bebop Scale is shown in example 32.

Play the same ascending and descending, shown in example 33.

40
 The Db Major Bebop Scale, from the lowest note (Ab) to the highest note (Bb) you can
play in first position, is shown in example 34.

Example 35 is the Db Major Bebop Scale reversing on chord tones.

41
42
Example 36 is the opposite direction of example 30.

Example 36 is the opposite direction of example 35.

43
44
45
 Chapter 8
Gb Major Bebop Scale

The one octave Gb Major Bebop Scale is shown in example 37.

Play the same ascending and descending, shown in example 38.

46
 The Gb Major Bebop Scale, from the lowest note (Ab) to the highest note (Bb) you can
play in first position, is shown in example 39.

Example 40 is the Gb Major Bebop Scale reversing on chord tones.

47
48
Example 41 is the opposite direction of example 40.

49
50
51
 Chapter 9
B Major Bebop Scale

The one octave B Major Bebop Scale is shown in example 42.

Play the same ascending and descending, shown in example 43.

52
 The B Major Bebop Scale, from the lowest note (G#) to the highest note (B) you can play
in first position, is shown in example 44.

Example 45 is the B Major Bebop Scale reversing on chord tones.

53
54
Example 46 is the opposite direction of example 45.

55
56
57
 Chapter 10
E Major Bebop Scale

The one octave E Major Bebop Scale is shown in example 47.

Play the same ascending and descending, shown in example 48.

58
 The E Major Bebop Scale, from the lowest note (G#) to the highest note (B) you can play
in first position, is shown in example 49.

Example 50 is the E Major Bebop Scale reversing on chord tones.

59


60
Example 51 is the opposite direction of example 50.

61
62
63
 Chapter 11
A Major Bebop Scale

The one octave A Major Bebop Scale is shown in example 52.

Insert Example 52 here

Play the same ascending and descending, shown in example 53.

64
 The A Major Bebop Scale, from the lowest note (G#) to the highest note (B) you can play
in first position, is shown in example 54.

Example 55 is the A Major Bebop Scale reversing on chord tones.

65


66
Example 56 is the opposite direction of example 55.

67
68
69
 Chapter 12
D Major Bebop Scale

The one octave D Major Bebop Scale is shown in example 57.

Play the same ascending and descending, shown in example 58.

70
 The D Major Bebop Scale, from the lowest note (G) to the highest note (B) you can play
in first position, is shown in example 59.

Example 60 is the D Major Bebop Scale reversing on chord tones.

71
72


Example 61 is the opposite direction of example 60.

73
74
75
 Chapter 13
G Major Bebop Scale

The one octave G Major Bebop Scale is shown in example 62.

Play the same ascending and descending, shown in example 63.

76
 The G Major Bebop Scale, from the lowest note (G) to the highest note (B) you can play
in first position, is shown in example 64.

Example 65 is the G Major Bebop Scale reversing on chord tones.

77


78
Example 66 is the opposite direction of example 65.

79
80
81
 Section 2

Dominant
Bebop Scales

82
 Chapter 14
C Dominant Bebop Scale
The Dominant Bebop Scale places the notes of the dominant seventh chord on the
beat. As we saw in chapter 1, this makes the scale fit the chord. In example 67, we see the C
Dominant Bebop Scale.

The C Dominant Bebop Scale, one octave ascending and descending, is shown in
example 68.

83
 Learn the C Dominant Bebop Scale from the lowest note (G) to the highest note (B) you
can play in first position. This is shown in example 69.

Example 70 is the reverse on chord tone exercise.

84
85
 Example 71 is the opposite of example 70. Descend from the highest chord tone in first
position, the note Bb.

86
87
88
 Chapter 15
F Dominant Bebop Scale

Continuing our study of Dominant Bebop Scales, in example 72, we see the F Dominant
Bebop Scale.

The F Dominant Bebop Scale, one octave ascending and descending, is shown in
example 73.

89
 Learn the F Dominant Bebop Scale from the lowest note (G) to the highest note (Bb) you
can play in first position. This is shown in example 74.

Example 75 is the reverse on chord tone exercise for the F Dominant Bebop scale.

90
91
Example 76 is the opposite of example 75.

92
93
94
 Chapter 16
Bb Dominant Bebop Scale
The Bb Dominant Bebop Scale is shown in example 77.

The Bb Dominant Bebop Scale, one octave ascending and descending, is shown in
example 78.

95
 Learn the Bb Dominant Bebop Scale from the lowest note (G) to the highest note (Bb)
you can play in first position. This is shown in example 79.

Example 80 is the reverse on chord tone exercise for the Bb Dominant Bebop scale.

96
97
Example 81 is the opposite of example 80.

98
99
100
 Chapter 17
Eb Dominant Bebop Scale

The Eb Dominant Bebop Scale is shown in example 82.

The Eb Dominant Bebop Scale, one octave ascending and descending, is shown in
example 83.

101
 Learn the Eb Dominant Bebop Scale from the lowest note (G) to the highest note (Bb)
you can play in first position. This is shown in example 84.

Example 85 is the reverse on chord tone exercise for the Eb Dominant Bebop scale.

102
103
Example 86 is the opposite of example 85.

104
105
106
 Chapter 18
Ab Dominant Bebop Scale

The Ab Dominant Bebop Scale is shown in example 87.

The Ab Dominant Bebop Scale, one octave ascending and descending, is shown in
example 88.

107
 Learn the Ab Dominant Bebop Scale from the lowest note (G) to the highest note (Bb)
you can play in first position. This is shown in example 89.

Example 90 is the reverse on chord tone exercise for the Ab Dominant Bebop scale.

108
109
Example 91 is the opposite of example 90.

110
111
112
 Chapter 19
Db Dominant Bebop Scale

The Db Dominant Bebop Scale is shown in example 92.

The Db Dominant Bebop Scale, one octave ascending and descending, is shown in
example 93.

113
 Learn the Db Dominant Bebop Scale from the lowest note (Ab) to the highest note (Bb)
you can play in first position. This is shown in example 94.

Example 95 is the reverse on chord tone exercise for the Db Dominant Bebop scale.

114
115
 Example 96 is the opposite of example 95.

116
117
118
 Chapter 20
Gb Dominant Bebop Scale

The Gb Dominant Bebop Scale is shown in example 97.

The Gb Dominant Bebop Scale, one octave ascending and descending, is shown in
example 98.

119
 Learn the Gb Dominant Bebop Scale from the lowest note (Ab) to the highest note (Bb)
you can play in first position. This is shown in example 99.

Example 100 is the reverse on chord tone exercise for the Gb Dominant Bebop scale.

120
121
Example 101 is the opposite of example 100.

122
123
124
 Chapter 21
B Dominant Bebop Scale

The B Dominant Bebop Scale is shown in example 102.

The B Dominant Bebop Scale, one octave ascending and descending, is shown in
example 103.

125
 Learn the B Dominant Bebop Scale from the lowest note (G#) to the highest note (B) you
can play in first position. This is shown in example 104.

Example 105 is the reverse on chord tone exercise for the B Dominant Bebop scale.

126
127
Example 106 is the opposite of example 105.

128
129
130
 Chapter 22
E Dominant Bebop Scale

The E Dominant Bebop Scale is shown in example 107.

The E Dominant Bebop Scale, one octave ascending and descending, is shown in
example 108.

131
 Learn the E Dominant Bebop Scale from the lowest note (G#) to the highest note (B) you
can play in first position. This is shown in example 109.

Example 110 is the reverse on chord tone exercise for the E Dominant Bebop scale.

132
133
Example 111 is the opposite of example 110.

134
135
136
 Chapter 23
A Dominant Bebop Scale

The A Dominant Bebop Scale is shown in example 112.

The A Dominant Bebop Scale, one octave ascending and descending, is shown in
example 113.

137
 Learn the A Dominant Bebop Scale from the lowest note (G#) to the highest note (B) you
can play in first position. This is shown in example 114.

Example 115 is the reverse on chord tone exercise for the A Dominant Bebop scale.

138
139
Example 116 is the opposite of example 115.

140
141
142
 Chapter 24
D Dominant Bebop Scale

The D Dominant Bebop Scale is shown in example 117.

The D Dominant Bebop Scale, one octave ascending and descending, is shown in
example 118.

143
 Learn the D Dominant Bebop Scale from the lowest note (G) to the highest note (B) you
can play in first position. This is shown in example 119.

Example 120 is the reverse on chord tone exercise for the D Dominant Bebop scale.

144
145
Example 121 is the opposite of example 120.

146
147
148
 Chapter 25
G Dominant Bebop Scale

The G Dominant Bebop Scale is shown in example 122.

The G Dominant Bebop Scale, one octave ascending and descending, is shown in
example 123.

149
 Learn the G Dominant Bebop Scale from the lowest note (G) to the highest note (B) you
can play in first position. This is shown in example 124.

Example 125 is the reverse on chord tone exercise for the G Dominant Bebop scale.

150
151
Example 126 is the opposite of example 125.

152
153
154
 Section 3

Melodic Minor
Bebop Scales

155
 Chapter 26
C Melodic Minor Bebop Scale

The Melodic Minor Bebop Scale is derived from a regular Melodic Minor scale. Just like
the previous Bebop Scales we have studied, it adds one note to make the chord tones fall on the
beat.
It is beyond the scope of this book to explain the many uses of the melodic minor scale.
The book “Jazz Theory” by Mark Levine does a very good job at this starting on page 55.
First, let’s look at a C Melodic Minor Scale, shown here in example 127.

Compare this to the C Major Scale, example 128.

156
 The C Melodic Minor Scale is just the C Major Scale with the third (E) lowered to the
flatted third (Eb).
Now look at the C Melodic Minor Bebop Scale, example 129.

Similarly, the C Melodic Minor Bebop Scale is just the C Major Bebop Scale with the
third lowered to the flatted third (once again E lowered to Eb). Example 130 is the C Major
Bebop Scale. Compare this to example 129.

When the C Melodic Minor Bebop Scale is played as eighth notes, it has the notes C, Eb,
G, and A fall on the beat. These are the notes of a Cm6 chord. Both the chords Cm6 and Cm
Maj7 are used as minor major chords in Jazz. The scale fits both chords.

157
 The C Melodic Minor Bebop Scale in eighth notes is shown in example 131.

The C Melodic Minor Bebop Scale, one octave ascending and descending, is shown in
example 132.

Learn the C Melodic Minor Bebop Scale from the lowest note (G) to the highest note (B)
you can play in first position. This is shown in example 133.

158
 Example 134 is the reverse on chord tone exercise for the C Melodic Minor Bebop Scale
scale.

159
160
Example 135 is the opposite of example 134.

161
162
163
 Chapter 27
F Melodic Minor Bebop Scale

The F Melodic Minor Bebop Scale is shown in example 136.

The F Melodic Minor Bebop Scale, one octave ascending and descending, is shown in
example 137.

164
 Learn the F Melodic Minor Bebop Scale from the lowest note (G) to the highest note
(Bb) you can play in first position. This is shown in example 138.

Example 139 is the reverse on chord tone exercise for the F Melodic Minor Bebop Scale.

165
166
Example 140 is the opposite of example 139.

167
168
169
 Chapter 28
Bb Melodic Minor Bebop Scale

The Bb Melodic Minor Bebop Scale is shown in example 141.

The Bb Melodic Minor Bebop Scale, one octave ascending and descending, is shown in
example 142.

170
 Learn the Bb Melodic Minor Bebop Scale from the lowest note (G) to the highest note
(Bb) you can play in first position. This is shown in example 143.

Example 144 is the reverse on chord tone exercise for the Bb Melodic Minor Bebop
Scale.

171
172
Example 145 is the opposite of example 144.

173
174
175
 Chapter 29
Eb Melodic Minor Bebop Scale

The Eb Melodic Minor Bebop Scale is shown in example 146.

The Eb Melodic Minor Bebop Scale, one octave ascending and descending, is shown in
example 147.

176
 Learn the Eb Melodic Minor Bebop Scale from the lowest note (Ab) to the highest note
(Bb) you can play in first position. This is shown in example 148.

Example 149 is the reverse on chord tone exercise for the Eb Melodic Minor Bebop
Scale.

177
178
Example 150 is the opposite of example 149.

179
180
181
 Chapter 30
Ab Melodic Minor Bebop Scale

The Ab Melodic Minor Bebop Scale is shown in example 151.

The Ab Melodic Minor Bebop Scale, one octave ascending and descending, is shown in
example 152.

182
 Learn the Ab Melodic Minor Bebop Scale from the lowest note (G) to the highest note
(Bb) you can play in first position. This is shown in example 153.

Example 154 is the reverse on chord tone exercise for the Ab Melodic Minor Bebop
Scale.

183
184
Example 155 is the opposite of example 154.

185
186
187
 Chapter 31
Db Melodic Minor Bebop Scale

The Db Melodic Minor Bebop Scale is shown in example 156.

The Db Melodic Minor Bebop Scale, one octave ascending and descending, is shown in
example 157.

188
 Learn the Db Melodic Minor Bebop Scale from the lowest note (Ab) to the highest note
(Bb) you can play in first position. This is shown in example 158.

Example 159 is the reverse on chord tone exercise for the Db Melodic Minor Bebop
Scale.

189
190
Example 160 is the opposite of example 159.

191
192
193
 Chapter 32
Gb Melodic Minor Bebop Scale

The Gb Melodic Minor Bebop Scale is shown in example 161.

The Gb Melodic Minor Bebop Scale, one octave ascending and descending, is shown in
example 162.

194
 Learn the Gb Melodic Minor Bebop Scale from the lowest note (Ab) to the highest note
(Bbb) you can play in first position. This is shown in example 163.

Example 164 is the reverse on chord tone exercise for the Gb Melodic Minor Bebop
Scale.

195
196
Example 165 is the opposite of example 164.

197
198
199
 Chapter 33
B Melodic Minor Bebop Scale
The B Melodic Minor Bebop Scale is shown in example 166.

The B Melodic Minor Bebop Scale, one octave ascending and descending, is shown in
example 167.

200
 Learn the B Melodic Minor Bebop Scale from the lowest note (G) to the highest note (B)
you can play in first position. This is shown in example 168.

Example 169 is the reverse on chord tone exercise for the B Melodic Minor Bebop Scale.

201
202
Example 170 is the opposite of example 169.

203
204


205
 Chapter 34
E Melodic Minor Bebop Scale

The E Melodic Minor Bebop Scale is shown in example 171.

The E Melodic Minor Bebop Scale, one octave ascending and descending, is shown in
example 172.

206
 Learn the E Melodic Minor Bebop Scale from the lowest note (G) to the highest note (B)
you can play in first position. This is shown in example 173.

Example 174 is the reverse on chord tone exercise for the E Melodic Minor Bebop Scale.

207
208
 Example 175 is the opposite of example 174.

209
210
211
 Chapter 35
A Melodic Minor Bebop Scale

The A Melodic Minor Bebop Scale is shown in example 176.

The A Melodic Minor Bebop Scale, one octave ascending and descending, is shown in
example 177.

212
 Learn the A Melodic Minor Bebop Scale from the lowest note (G#) to the highest note
(B) you can play in first position. This is shown in example 178.

Example 179 is the reverse on chord tone exercise for the A Melodic Minor Bebop Scale.

213
214
Example 180 is the opposite of example 179.

215
216
217
 Chapter 36
D Melodic Minor Bebop Scale

The D Melodic Minor Bebop Scale is shown in example 181.

The D Melodic Minor Bebop Scale, one octave ascending and descending, is shown in
example 182.

218
 Learn the D Melodic Minor Bebop Scale from the lowest note (G) to the highest note (B)
you can play in first position. This is shown in example 183.

Example 184 is the reverse on chord tone exercise for the D Melodic Minor Bebop Scale.

219
220
Example 185 is the opposite of example 184.

221


222
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 Chapter 37
G Melodic Minor Bebop Scale

The G Melodic Minor Bebop Scale is shown in example 186.

The G Melodic Minor Bebop Scale, one octave ascending and descending, is shown in
example 187.

224
 Learn the G Melodic Minor Bebop Scale from the lowest note (G) to the highest note
(Bb) you can play in first position. This is shown in example 188.

Example 189 is the reverse on chord tone exercise for the G Melodic Minor Bebop Scale.

225
226
Example 190 is the opposite of example 189.

227
228
229
 Section 4

Other Topics

230
 Chapter 38
Practicing Tunes Using Bebop Scales
The most common Bebop Scales have been covered in previous chapters. You have seen
how the Bebop Scale puts the chord tone on the beat, allowing the scale to sound good with the
rhythm section. The Bebop Major is used against major seventh and major sixth chords. The
Bebop Dominant is used against dominant seventh chords. The Bebop Melodic Minor is used
against minor sixth and minor major seventh chords.
A way to practice to get the sound of the scale is take a tune and play the appropriate
Bebop Scale for that chord. In example 191 we see a 12 bar blues progression in the key of C.

231
Example 192 shows the appropriate Bebop Scale for the C blues progression.

232
 In measure 9 of example 192, we see a Dm7 chord. We don’t currently have a bebop
scale for a minor seventh chord. What to do?
In this chord progression, a G7 follows the Dm7 chord. In measure 9, the Dm7 chord is
acting as a substitute chord for a G7 chord. This would make IIm7 V7 in the key of C. In this
case, just play the G dominant seventh Bebop Scale over both chords.
Example 193 shows the appropriate Bebop Scale for the C blues progression.

233
 Solo analysis of many players from the Bebop era shows the following: when a tune has
a minor seventh chord, the bebop scale played is the dominant seventh scale a fifth lower. It
doesn’t matter if the following chord is a dominant seventh chord a fifth lower, the same Bebop
Scale is used over the minor seventh chord.
Look at this using the tune Yardbird Suite. Example 194 is the chord progression to
Yardbird Suite. Example 195 contains the Bebop Scales to Yardbird Suite.
Notice in measure 17 and measure 21, we have minor seventh chords NOT followed by
dominant seventh chords a fifth lower. Play example 195 while someone chords for you, or
listen to the MIDI file of example 195.

234
235
236
 Whenever a minor seventh chord is played in a tune, play the
bebop scale of the dominant seventh chord a fifth lower.

Example 196 has the Bebop Scales to the chord progression of Doxy. For the diminished
chord, we are using an E diminished whole step, half step scale. In this scale, the notes are E
F# G A Bb C C# D# E. Diminished scales are covered in the next chapter.

237
Example 197 has the Bebop Scales to the chord progression of Just Friends.

238
239
240
 Chapter 39
Other Bebop Scale Possibilities
The Bebop Major, Dominant and Melodic Minor Scales are the most common bebop
scales. As you have seen, these put the chord tone on the beat. The first paragraph in chapter
38 listed the chords these scales fit against. Using the same idea of chord tone on the beat, there
are more Bebop Scales we can create to fit other chord types.

This chapter introduces 4 new scales. Practice these in all keys as

shown in sections 1, 2 and 3.

Minor Seventh Bebop Scale

Example 198 shows a scale that fits an Am7 chord. Notice it places the chord tones (the
notes A C E G) on the beat. I’ll call this the A Minor Seventh Bebop Scale.

The most common use of the minor seventh chord is as the II chord in a major key II V I.
The notes from the key of G major were used to derive the A Minor Seventh Bebop Scale. The
additional note of G# was inserted to make the chord tones fall on the beat. Also note that this
is the same as the A Dominant Bebop Scale with the third flatted (C# becomes C).
241
 Example 199 shows the A Minor Seventh Bebop Scale from low to high in first position.

Half Diminished Bebop Scale

The half diminished chord is a minor seventh chord with a flatted fifth. If we had an
Am7b5, the notes of the chord are A C Eb and G. The bebop scale that fits this chord is in
example 200.

242
 If you are confused, “minor seventh flat five” and “half diminished” are two terms that
mean the same thing. The most common use of a half diminished chord is as the II chord in a
minor key II V I. The II is IIm7b5, the V is often V7b9 and the I is Im6 or ImMaj7.
Example 201 shows the A Half Diminished Bebop Scale from low to high in first
position.

Does example 201 sound and feel familiar? Look at example 133, the C Melodic Minor
Bebop Scale, from chapter 26, shown here.

Notice they are the same. The notes of an Am7b5 (A, C, Eb, G) and the notes of a Cm6
(C, Eb, G, A) are the same. Only the roots of the two chords are different. The scale that fits
both chords is the same.

You can find any Half Diminished Bebop Scale by playing

a Melodic Minor Bebop Scale starting one and one half steps

243
 Diminished Scales
There are two common diminished scales. Not called “Bebop Scales” per se, they
function same way as bebop scales as they put the chord tones on the beat. The first is a whole
step followed by half step. The second is just the opposite, half step followed by whole step.
Any diminished chord has 4 names. G diminished is also a Bb diminished, a Db
diminished and an E diminished. The scales work the same way. The whole step – half step
scale that fits the G, Bb, Db and E diminished chord is shown in example 202.

The half step – whole step scale that fits the G, Bb, Db and E diminished chord is shown
in example 203.

244
 Altered Dominant Bebop Scale
A typical II - V - I progression in a minor key is IIm7b5, V7alt and IM6 or ImMaj7. We
have seen Bebop Scales for II and I, but not V. For this we use the Altered Dominant Bebop
Scale.
Example 204 has the C Altered Dominant Bebop Scale.

Example 205 is the C Altered Dominant Bebop Scale in first position.

245
 Chapter 40
Bebop Scale Comparison Chart

The following compares all the scales we have discussed in this book.

#1 #2 #4 #5 #6
Scale Degree 1 b2 2 b3 3 4 b5 5 b6 6 b7 7

Type of
Bebop Scale
Major BBS x x x x x x x x
Dominant 7 BBS x x x x x x x x
Melodic Minor BBS x x x x x x x x
Minor 7 BBS x x x x x x x x x
Half Diminished BBS x x x x x x x x
Diminished W/H x x x x x x x x
Diminished H/W x x x x x x x x
Altered Dominant BBS x x x x x x x x

Key
A A Bb B C Db D Eb E F Gb G Ab
Bb Bb B C Db D Eb E F Gb G Ab A
B B C C# D D# E F F# G G# A A#
C C Db D Eb E F Gb G Ab A Bb B
Db Db D Eb E F Gb G Ab A Bb B C
D D D# E F F# G G# A A# B C C#
Eb Eb E F Gb G Ab A Bb B C Db D
E E F F# G G# A A# B C C# D D#
F F Gb G Ab A Bb B C Db D Eb E
Gb Gb G Ab A Bb B C Db D Eb E F
G G G# A A# B C C# D D# E F F#
Ab Ab A Bb B C Db D Eb E F Gb G
It shows which scale have which scale degree and shows which notes are in the
scale in each of the 12 keys. For example, the Major Bebop Scale is built on the scale degrees
1, 2, 3, 4, 5, #5/b6, 6, and 7. The notes for the Eb Major Bebop Scale would be Eb, F, G, Ab,
Bb, B, C and D.

246
 Chapter 41
More Tunes Practice Using Bebop Scales
We saw in chapter 38 a way to practice is play the appropriate Bebop Scale for each
chord in a tune. Example 206 is the chord progression to the first eight measures of Wes
Montgomery’s Four On Six with the Bebop Scales for each chord.

Notice in example 206, instead of using the C Dominant Bebop Scale for Gm7, we used
the G Minor Seventh Bebop Scale. Either, or a combination of both, work fine.
Example 207 is the Bebop Scales to the chord progression of There Will Never Be
Another You.

247
248
 Notice in example 207 there are both ascending and descending Bebop Scales starting
on various chord tones. One can start the appropriate Bebop Scale on ANY chord tone of the
current chord.
Example 208 is the Bebop Scales to the chord progression of Groovin High.

249
250
 Example 209 is the chord progression to Minority. This progression has two places
where we use a C7alt chord. In these places, we will use the C Altered Dominant Bebop Scale.

251
252
 Appendix 1
Chord Spellings

Chord Type Symbol Spelling

Major X 1 3 5
Minor Xm 1 b3 5
Sixth X6 1 3 5 6
Major Seventh XMaj7 1 3 5 7
Dominant Seventh X7 1 3 5 b7
Minor Seventh Xm7 1 b3 5 b7
Diminished Xdim X° 1 b3 b5 bb7 (6)
Half Diminished XØ Xm7b5 1 b3 b5 b7
Minor Seventh Flat Fifth XØ Xm7b5 1 b3 b5 b7
Minor Sixth Xm6 1 b3 5 6
Minor Major Seventh XMaj7 1 b3 5 7
Suspended Xsus 1 4 5
Augmented X+ X#5 X+5 1 3 #5

Chord Extensions (9, 11, 13)

Ninth X9 1 3 5 b7 9
Eleventh X11 1 3 5 b7 9 11
Thirteenth X13 1 3 5 b7 9 (11) 13
Minor Ninth Xm9 1 b3 5 b7 9
Minor Eleventh Xm11 1 b3 5 b7 9 11
Minor Thirteenth Xm13 1 b3 5 b7 9 (11) 13
Major Ninth XMaj9 1 3 5 7 9
Major Eleventh XMaj11 1 3 5 7 9 11
Major Thirteenth XMaj13 1 3 5 7 9 (11) 13
These are just some, any chord can be extended

Chord Alterations (5, 9, 11, 13)

Sharp Nine X#9 1 3 5 b7 #9
Flat Nine X(b9) 1 3 5 b7 b9
Sharp Eleventh X#11 1 3 5 b7 9 #11
Sharp Thirteenth X#13 1 3 5 b7 9 (11) #13
Major Seven Flat Five XMaj7b5 1 3 b5 7
These are just some, any chord can be altered
The 5 main chord types are:
1. Major
2. Minor
3. Dominant Seventh
4. Diminished
5. Half Diminished

MAJOR: Major, Sixth, Major Seventh, Major Ninth, Major Eleventh, Major Thirteenth,
any of these with suspended or augmented, sharp eleven (flat five)

MINOR: Minor, Minor Seventh, Minor Sixth, Minor Major Seventh, any of these with
suspended or augmented (rare)

DOMINANT SEVENTH: Dominant Seventh, Ninth, Eleventh, Thirteenth, any of

these with suspended or augmented (common)

DIMINISHED: Diminished, Diminished Seventh

HALF DIMINISHED: Minor Seventh Flat Fifth

Any Major, Minor, or Dominant Seventh chord can have alterations, but these are most
common on the Dominant Seventh. These alterations are b5 and #5, b9 and #9, #11, b13 and
#13.
 Appendix 2
Mandolin - Violin Note Names

Fret String Name

# G D A E
1 G#/Ab D#/Eb A#/Bb F
2 A E B F#/Gb
3 A#/Bb F C G
4 B F#/Gb C#/Db G#/Ab
5 C G D A
6 C#/Db G#/Ab D#/Eb A#/Bb
7 D A E B
8 D#/Eb A#/Bb F C
9 E B F#/Gb C#/Db
10 F C G D
11 F#/Gb C#/Db G#/Ab D#/Eb
12 G D A E
13 G#/Ab D#/Eb A#/Bb F
14 A E B F#/Gb
15 A#/Bb F C G
16 B F#/Gb C#/Db G#/Ab
17 C G D A
 Appendix 3
Two Octave Major Scales

Two Octave Major Scale

One Octave 1 2 3 4 5 6 7 1 2 3 4 5 6 7 1
Two Octaves 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Key of C C D E F G A B C D E F G A B C
Key of F F G A Bb C D E F G A Bb C D E F

Two Octaves 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Key of Bb Bb C D Eb F G A Bb C D Eb F G A Bb
Key of Eb Eb F G Ab Bb C D Eb F G Ab Bb C D Eb

Two Octaves 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Key of Ab Ab Bb C Db Eb F G Ab Bb C Db Eb F G Ab
Key of Db Db Eb F Gb Ab Bb C Db Eb F Gb Ab Bb C Db

Two Octaves 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Key of Gb Gb Ab Bb Cb Db Eb F Gb Ab Bb Cb Db Eb F Gb
Key of B B C# D# E F# G# A# B C# D# E F# G# A# B

Two Octaves 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Key of E E F# G# A B C# D# E F# G# A B C# D# E
Key of A A B C# D E F# G# A B C# D E F# G# A

Two Octaves 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Key of D D E F# G A B C# D E F# G A B C# D
Key of G G A B C D E F# G A B C D E F# G
 Appendix 4
Blank Fingerboard Charts
 Appendix 5
PDF Books by Pete Martin
Download and try for free at:
www.petimarpress.com

Bebob Mandolin: Target Notes and Chromatic Approaches

Explains Target and Approach notes and how to get this fundamental Bebop sound into
your improvising. Music and tab.

Bebop Scales for Mandolin and Violin

Learn and practice the scales commonly used bu Jazz players in thre Bebop era.

Jazz Chording for Mandolin

A comprehensive look at chords for Jazz (Swing, Bebop, Post Bebop) Mandolin

Mandolin and Fiddle Improvisation Using the Chord Tone Scale

Looks at developing ideas for improvising in a non Jazz setting (Bluegrass, Fiddle tunes,
etc.), Music and tab.

Easy Music Theory For Fiddle and Mandolin

A good introduction for players who know no theory but want to learn. Music and tab.

Texas Style Fiddle Tunes for Mandolin

Tunes from this great fiddlin’ style arranged for mandolin players. Music and tab.

Oldtime Tunes for Fiddle and Mandolin, Volume 1

50 common fiddle tunes. Music and tab.

Oldtime Tunes for Fiddle and Mandolin, Volume 2

50 less common fiddle tunes. Music and tab.

Texas Style Fiddle Transcriptions, Volume 1

21 note for note versions as played by top Texas style fiddlers. Music notation only.

Texas Style Fiddle Transcriptions, Volume 2

18 more note for note versions as played by top Texas style fiddlers. Music notation only.

Benny Thomasson Fiddle Transcriptions

17 tunes as played by the legendary Texas fiddler. Music notation only.
 Appendix 5
PDF Books by Pete Martin
Download and try for free at:
www.petimarpress.com

Bebob Mandolin: Target Notes and Chromatic Approaches

Explains Target and Approach notes and how to get this fundamental Bebop sound into
your improvising. Music and tab.

Jazz Chording for Mandolin

A comprehensive look at chords for Jazz (Swing, Bebop, Post Bebop) Mandolin

Mandolin and Fiddle Improvisation Using the Chord Tone Scale

Looks at developing ideas for improvising in a non Jazz setting (Bluegrass, Fiddle tunes,
etc.), Music and tab.

Easy Music Theory For Fiddle and Mandolin

A good introduction for players who know no theory but want to learn. Music and tab.

Texas Style Fiddle Tunes for Mandolin

Tunes from this great fiddlin’ style arranged for mandolin players. Music and tab.

Oldtime Tunes for Fiddle and Mandolin, Volume 1

50 common fiddle tunes. Music and tab.

Oldtime Tunes for Fiddle and Mandolin, Volume 2

50 less common fiddle tunes. Music and tab.

Texas Style Fiddle Transcriptions, Volume 1

21 note for note versions as played by top Texas style fiddlers. Music notation only.

Texas Style Fiddle Transcriptions, Volume 2

18 more note for note versions as played by top Texas style fiddlers. Music notation only.

Benny Thomasson Fiddle Transcriptions

17 tunes as played by the legendary Texas fiddler. Music notation only.
 Materials For Further Study
Chord Study
How To Comp: A Study of Jazz Accompaniment by Hal Crook
A comprehensive chord study text – highly recommended!!
http://aebersold.com/Merchant2/merchant.mvc?Screen=PROD&Product_
Code=HTC&Category_Code=PIAVOI

Hearin’ The Changes by Jerry Coker, Bob Knapp, Larry Vincent

How to learn chord changes by ear
http://aebersold.com/Merchant2/merchant.mvc?Screen=PROD&Product_
Code=HEAR&Category_Code=JERCOKBOO

Improvising Jazz by Jerry Coker

Especially good is appendix C and D where he looks at various chord progressions
common to the music
http://www.amazon.com/Improvising-Jazz-Fireside-Jerry-Coker/dp/0671628291

Music Theory
Jazz Theory by Mark Levine
A comprehensive theory text – highly recommended!!
http://www.shermusic.com/new/1883217040.shtml

General Jazz Information

http://www.jazzstandards.com/compositions/index.htm
A list of 1000 Jazz standards, ranked in order of importance.

Fake Books
The Real Book, Volumes 1-3
http://www.amazon.com/s/ref=nb_ss_b?url=search-alias%3Dstripbooks&field-keywords=real+
book&x=0&y=0

The New Real Book, Volumes 1-3

http://www.shermusic.com/new/0961470143.shtml
 Play Along Books and Software
Jamey Aebersold Play Along Recordings
http://www.aebersold.com
A ton of great suff here for all levels of players.

Band in a Box
http://www.band-in-a-box.com/
Play along software. Type in chords, pick a backup style (a lot of good Jazz styles) and it
generates the backup band. Change tempo, key, etc. Terrific and highly recommended!!!!