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Warnock » Bebop Guitar Vocabulary » 21 Bebop Scale Patterns for
Guitar
21 Bebop Scale Patterns for
Guitar
New to Jazz Guitar? Visit the Beginner's Guide to Jazz Guitar. And
Learn to Play Jazz Guitar Today!

One of the most widely used concepts in jazz improvisation; the

Bebop Scale has long been a staple in the vocabulary of many of
the genres great artists.

Therefore it is an essential sound to get under your fingers when

learning how to play bebop jazz guitar.

When learning how to play jazz guitar, many players study this
scale, they often practice it descending only, or with its related
Dominant 7th Arpeggio ascending on the front end, but few people
work this scale with patterns and phrases as they would the
Pentatonic Scale or Major Scale.

For this reason, I’ve compiled 21 different patterns that you can
use to practice Bebop Scale fingerings on the guitar, most of which
come from David Baker’s Bebop books, and all of which come from
the jazz tradition and can be found in the solos of greats such as
Wes Montgomery, Johnny Smith, Charlie Parker and many more.
Before you dive in to these patterns, check out my article on Bebop
Scale fingerings.

I was turned on to this unique way of playing the Bebop Scale by

the great L.A. guitarist Jon Bremen, who in turn learned them
from jazz education legend David Baker, and if you can get these
scale shapes under your fingers, then the following patterns will be
easier to learn and internalize.

If you find that this approach to fingering the Bebop Scale is not
your cup of tea, you can apply all of these patterns to any Bebop
Scale fingering that you currently know or that you are working
on in the practice room.

Though these patterns are all presented within the Dominant

Bebop Scale, you can also apply them to the Major Bebop Scale as
well as the Minor Bebop Scale.

Just grab the pattern or classic Bebop Jazz Guitar Lick that is
unique to any particular example below and insert it into these
other, lesser used, Bebop Scales and you’ll be able to expand your
improvisations exponentially.

Learn Jazz Guitar Scales and Scale Patterns with the Matt
Warnock Guitar Jazz Scales App
Have any questions or comments about this lesson? Visit the 21
Bebop Scale Lick thread at the MWG Forum.

Bebop Scale Patterns for Guitar

1: Enclosed Root

Click to view the YouTube video for this Bebop Scale Pattern

In this first example you are going to use a very popular Bebop
technique called an “enclosure.”

An enclosure is when you take a note (in this case the root) and
play one note above that note, then one below, before finally
settling on the note you were targeting in the first place.

There are several common notes that you can enclose so we’ll start
on the root and explore more as you go.
Read more about this technique in my article “Bebop Vocabulary:
Enclosures”

2: Enclosed Fifth

Click to view the YouTube video for this Bebop Scale Pattern

You can now take the same approach and enclose the fifth of the
scale.

The enclosure technique works particularly well with the root and
5th of any chord.

You can also use this approach on any note of the arpeggio or scale
in your playing, but this is a good place to start.
As well, there are specific patterns that can only be applied to the
3rd and 7th, that we’ll see below, so enclosing the root and 5th is a
great place to start at this point in time.

3: Enclosed Root and Fifth

Click to view the YouTube video for this Bebop Scale Pattern

Since you’ve enclosed the root and 5th separately, you can now
enclose both of them together.

Notice that by adding a simple idea, such as the enclosure(s),

you’re extending your melodic ideas without getting complicated.
All you are doing is adding in the enclosure, or other Bebop
techniques, as you descend the scale to make the scale last longer
as you play down the fingering.

This is a great way to get more mileage out of any scale you are
working on because all of a sudden 7 notes becomes 10 or 12 or
more, allowing you to cover more ground with a simple scale or
arpeggio fingering than you normally would without the pattern.

4: Enclosed Root with 3 to b9

Arpeggio

Click to view the YouTube video for this Bebop Scale Pattern
Now you can add a pattern to the third note of the scale, in this
case a Diminished 7th arpeggio off of the third of the chord.

Notice how by doing so, you are essentially “resetting” the scale
back to the top of the fingering, allowing you to start over again
and extend your melodic idea even further.

The notes in this arpeggio are the 3rd-5th-b7th-b9th, and so this

arpeggio is often called a 3 to 9 or more specifically a 3 to b9
arpeggio.

5: Enclosed Fifth with 3 to b9

Arpeggio
Click to view the YouTube video for this Bebop Scale Pattern

Here is a variation on that same concept, although instead of

enclosing the root and adding the diminished arpeggio on the
third, you will add the enclosure on the fifth, with the diminished
arpeggio off of the third note in the scale.

Though I didn’t include it in this article, if you want to go further

with this concept you can do an enclosure on the root and the fifth,
while adding the diminished arpeggio to the third of the scale.
6: Enclosed 3rd With Double
Chromatic Approach

Click to view the YouTube video for this Bebop Scale Pattern

Up to this point, you’ve been enclosing the root and the fifth with
one note above and one below each target note. Now, you can add
one more note to that equation and do a double chromatic
approach enclosure, this time with the third of the chord.

Here you have one note above, F, your target note, E, and two
notes below, D and D#. Again, you are adding a simple melodic
device to extend your scale, allowing you to cover more ground
without getting too fancy melodically or moving into outside
harmonic areas.
7: Enclosed 3rd with Double
Chromatic Approach and 3 to b9
Arpeggio

Click to view the YouTube video for this Bebop Scale Pattern

Here you are going to mix our double enclosure with the
diminished arpeggio from the previous example to produce a
longer melodic idea. This practice, of combining any or all of these
patterns in your playing is totally acceptable.

Feel free to experiment with combining as many of these as you

feel comfortable with. You might like to just use one per line, or if
you’re like me, you might like to use as many as you can cram into
an idea without going beyond the borders of good musical taste.
8: 3 to b9 Arpeggio (Diminished
Arpeggio from 3rd)

Click to view the YouTube video for this Bebop Scale Pattern

Since you’ve been pairing it up with the enclosures, let’s just take a
look at how the diminished arpeggio off of the third of the scale
sounds on its own, with other melodic device used in the scale.
Again, this is a great way to “reset” the scale back to the top, as
well as accent the b9 of the chord, in this case Db, since that is the
landing note at the top of the arpeggio.
9: 7(b9/b13) With b7 to b13
Arpeggio

You will now apply a Bebop pattern to an altered version of the

Bebop scale. You are going to flatten the 9th and 13th of the scale,
common alterations for dominant chords, on the way down. Then,
on the way up the scale, which you haven’t seen yet, you will play a
Bbm7b5 arpeggio to get yourself back to the top of fingering, with
the Bebop note, B natural, added in for good measure.
If this altered sound is new to you, try just adding one outside note,
the b9 or the b13, and then combine them in your playing. The key
is to get these new sounds in your ears so that you can use them in
your playing. If you just have the fingerings memorized it is a lot
more difficult to solo with any idea until you can learn to hear that
sound in the context of how your improvise.

10. Triplet with Enclosed Root

Click to view the YouTube video for this Bebop Scale Pattern
Since you’ve been looking at straight 8th-note patterns so far, let’s
expand your rhythmic vocabulary by adding in a triplet at the
start of the scale, then descending the fingering with an enclosed
root for adding spice to the line.

You will have to alter your normal Bebop Scale fingering to get at
the notes in the triplet, which extend above the upper tonic, so feel
free to move your hand around on this lick. I would try to play the
C with my middle finger, the D with my pinky, then jump back into
the normal Bebop Scale fingering we have been using up until this
point.

11: Triplet off Third with b9

Passing Note
Again, here is another triplet idea, this time starting on the 3rd of
the scale, and instead of using an enclosure, you are adding in the
b9 color tone, from the previous example. If you like this sound you
can also add in the b13, or both the b9 and b13, whatever your ear
find attractive as far as added color notes found outside of the
diatonic scale.

12: Starting from b7

Up to this point you’ve descended the scale from the top note on
down. Now, let’s add a little melodic twist by starting on the b7 of
the scale and then ascend up to the root chromatically, before
descending the scale to the lowest note.
This is a cool way to play the Bebop Scale without adding or
altering any diatonic notes, just starting on a note that isn’t the
tonic and adding a change in direction to our melodic phrase.

13: Chromatic Triplet from 3rd

to 5th

Here is one of the most popular Bebop Scale patterns in any jazz
guitarist’s vocabulary. Great players such as Joe Pass, Wes
Montgomery and Pat Martino have used this idea countless times
in their solos over the decades.

The key is to get the chromatic triplets as smooth as possible, so

feel free to experiment with adding slurs and slides to those six
notes in order to get that “liquid” sound that you hear in the
playing of these great guitarists.

14: Deflection

This next example contains a device that David Baker calls a

“deflection.” Essentially, you are using a short, four-note pattern to
“reset” the scale by a few notes, not as much as the diminished
arpeggio did, but still producing the same effect.

Notice how the added note, the F#, functions as both an alteration,
the #11 of the chord, as well as the lower-neighbor of the fifth, G,
that you are using to deflect your line. Adding a harmonic color to
your melodic phrase in this instance.
15: Chromatic Down from Third

Many players know about adding the natural 7th note to a

Mixolydian Scale in order to build the Dominant Bebop Scale that
you normally use in your playing. But, you can also add other
chromatic notes to this scale, on the off-beats of the bar, in order to
extend your melodic ideas.

Here, you are adding two more chromatic notes, between the 3rd
and 2nd notes as well as between the 2nd and 1st notes of the scale.
So now you have three added chromatic notes in your Bebop Scale,
extending it even further than the normal 8 notes of the original
form.
16: Ascending IIm7 Arpeggio

Since you apply the Bebop Scale to a 7th chord, the V7 chord in any
key, you can also pair it up with its popular cousin the iim7 chord.
So, in this case you will ascend a iim7 chord, Gm7, before
beginning our descending Bebop Scale idea. You can also spice this
idea up by adding in any of the scale patterns that we have learned
up to this point in order to extent this ii-V idea even further.
17: Descending IIm7 Arpeggio

This pattern features the same idea, adding in a iim7 chord to the
Bebop Scale, but this time you will descend the iim7 arpeggio
before jumping into the Bebop scale.

18: Ascending Diversion from

Flat Seven

Here is another pattern that uses a diversion, including the added

#11 note from the previous example, to extend our melodic ideas.
Check out the first five notes in this pattern as well, this mini-
motive is a very common phrase used by Bebop and Hardbop
players, and it is worth checking out further, both in the context of
this line and working on it separately as well.

19: Ascending Diversion from

Third

Here is another diversion, this time starting on the third of the

scale and using both the #11 and #5 alterations to the scale. For
good measure, we’ll go ahead and add in the chromatic passing
notes from the 3rd down to the root from the previous example,
which extends the line even further.
Remember that it is very important to be able to let your ears
grow accustom to these new and highly chromatic sounds, so
practice these ideas slowly and in all 12 keys across the neck in
order to fully ingrain them into your playing.

20: 1-2-3-5 From Flat Seven

In this example you are going to apply a very common Bebop

technique called the 3 to 9 Arpeggio.

What you are doing here, is adding in a iim7 chord at the start of
the phrase. But, instead of playing the iim7 arpeggio from the root
to the 7th of the chord, you are leaving the root out and playing the
arpeggio from the 3rd to the 9th of the chord.
To take the idea even further, you are using an alteration of the 3
to 9 concept here by using the 1-2-3-5 arpeggio pattern, something
that John Coltrane and McCoy Tyner both favored in their soloing.

This kind of “rootless” arpeggio is very common in the playing of

Charlie Parker, Dizzy Gillespie and many other Bebopers. Check it
out, this is a great melodic idea and one that every Bebop guitarist
should have under their fingers.

21. Honeysuckle

To finish off our 21 Bebop Scale Patterns you will apply a variation
of the melody to “Honeysuckle Rose” to the Bebop scale. The idea is
to take a four note chromatic pattern, C-B-Bb-A, and use an triad
starting on the 9th, Dm, to break up that pattern and extend your
melodic idea from four notes to six.
Do you have a favorite Bebop Scale Fingering or Bebop Scale
Pattern? If so, please share it in the comments section below.

Matt Warnock Guitar Frequently

Asked Questions

Click any link below for answers to the 9 most frequently asked questions that I receive from readers, students, workshop participants

and Facebook followers about how to learn jazz guitar.

I Am New To Jazz Guitar. Where Should I Start?

What Are The Essential Beginning Guitar Chords, Scales and Arpeggios?

How do I Learn How to Run My Own Guitar Teacing Website?

How Do I Build An Effective Jazz Guitar Practice Routine?

What Are The Three Elements Of Music?

 Should I Play Jazz Guitar With My Fingers Or A Pick?

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What Are Essential Tunes For A Beginning Jazz Guitarist to Know?

How Do I Play a Jazz Blues Chord Progression?

Do you have a question about playing jazz guitar? Post it in the comments section below.</P< font>

36 Responses to "21 Bebop Scale

Patterns for Guitar"
1. Drew Engman says:

Reply

Nice set of exercises and variations, very usable right out of

the box. Thank you!

June 5, 2011 at 10:10 pm

1. José Arboleda says:

Reply

Excelent lesson.,great man…

 September 5, 2012 at 2:33 pm

1. Matthew Warnock says:

Reply

Thanks Jose, glad you dug it!

September 5, 2012 at 2:40 pm

2. Matt Warnock says:

Reply

Thanks Drew, yeah once you get the fingering down for the
scale you can apply them right away, or you can apply each
little pattern to any bebop scale fingering, or any scale
fingering like the major modes if you want, they’re good all
around

June 5, 2011 at 10:20 pm

3. Olmon says:

Reply

Thanks, I’m a bassist looking to expand my jazz vocabulary,

great stuff. Question, Im know that Cmajor works over Dm7
but what other minor scales can you use Cmajor over?
Thanks. Also does this formula work in reverse (playing Dm7
over CMajor)?
 June 13, 2011 at 8:54 am

4. Matt Warnock says:

Reply

Hey,
You can technically use Cmajor over any minor chord in the
key, so Dm7 (iim7), Em7 (iiim7) and Am7 (vim7), and vice
versa, you can use D Dorian, E Phrygian and A Aeolian over
Cmajor7 if you want, they all share the same notes and key
centers. What I would probably do though, is focus on
outlining the arpeggio for each chord, and then add bebop
lines in using arpeggios, and the bebop scale over the iim7
and V7 chord. Check out this lesson on arpeggios with bebop
vocabulary, might help out as well:

http://www.mattwarnockguitar.com/instant-bebop-adding-
chromatics-to-basic-arpeggios

June 13, 2011 at 8:58 am

1. Ben says:

Reply

Why bother with modes ? I mean, modes are related to a

chord, not a scale. ” on Cmaj7 you can play D dorian” is
 completely nonsense. On all degrees you can play Cmaj
scale, this is way easier for a student to understand.

This said, modes are very practical to work to hear the

colours of each of them.

July 5, 2011 at 9:08 am

1. Matt Warnock says:

Reply

Ben,
Modes are good for adding colors to chords, yes
you can play Cmajor over any chord in the C
major scale, Cmaj7, Dm7, Em7 etc, but the cool
stuff happens when you play different modes
over each chord, like C Lydian over Cmaj7, or C
phrygian over Cm7 instead of Dorian, that sort of
coloring can be a very cool way to extend ideas
and add different colors to one’s playing.

July 5, 2011 at 9:36 am

5. David Henderson says:

Reply
 is there a link somewhere to Jon Bremen’s Bebop scale
fingerings?

July 5, 2011 at 9:02 pm

1. Matt Warnock says:

Reply

Yeah you can find them here for major, dominant and
minor

http://www.mattwarnockguitar.com/guitar-
resources/scales/bebop-scale

July 5, 2011 at 10:12 pm

6. magerlab says:

Reply

It seems to sound good if i mix C and F# patterns:) one after

another
For example root and fifth enclosures.

July 10, 2011 at 8:13 am

1. Matt Warnock says:

Reply
 For sure! I talk about this in my article on Tritone Division
Soloing, check it out.

http://www.mattwarnockguitar.com/modern-jazz-guitar-
techniques-tritone-division-soloing

July 10, 2011 at 8:16 am

7. Taura says:

Reply

Great article Matt. I really like the way you introduce just one
concept at a time. I haven’t had any Jazz Guitar students for
over five years so I haven’t stayed current with the genre,
especially bebop (which my lids replaced with hip-hop in our
house). Your step by step illustration of Bebop conventions is
excellent Matt. In this lesson, bebop is a great way to
incrementally melodize scales where rhythm is relatively
predictable if not constant and contours are relatively uniform.
I did some bebop workshops with David Baker years ago. This
has been a great updater. Thanks for all your work. (BTW, it
would be cool if I could not just LIKE your article but also post
a comment to my FB wall)

September 2, 2011 at 10:12 am

1. Matt Warnock says:

 Reply

Thanks Taura, glad you liked the article. Yeah I feel that
breaking things down and working on them step by step
is the easiest and best way to internalize these, or any
musical concepts.

Feel free to copy and past the address to your FB page

or any other site you want to post it on, spread the word!

September 2, 2011 at 10:23 am

8. Russell says:

Reply

thanks a million for this Matt,it cleared up a lot for me,it’s a lot
of info so it’ll take a while to sink in,but thanks for this!!!!!.

November 9, 2011 at 8:49 pm

1. Matt Warnock says:

Reply

No problem, have fun with these patterns!

November 10, 2011 at 3:30 am

9. Eric says:

Reply
 Great set of exercises Matt. It’s nice to have these written out
rather than trying to reinvent the wheel with my students. I
have a few that I am going to direct here.

May 28, 2012 at 6:57 pm

1. Matthew Warnock says:

Reply

Thanks Eric, glad you’re able to use the licks with your
students, thanks for checking out the article!

May 28, 2012 at 7:00 pm

10. Jeff says:

Reply

Matt,

From example 4, bar 2. You didn’t enclose the root after

ascending the 3 to b9 arp. Was that deliberate? I’m pretty sure
in example 5 you enclosed the root every time, even after you
played the ascending arp.

I realize these are just exercises, but is the main idea to

enclose the root *every* time, or just on the initial pass down
the scale, but not after reascending from the arp?
 Thanks,

Jeff

June 10, 2012 at 4:02 am

1. Matthew Warnock says:

Reply

Hey Jeff, for that lick, the 3 to b9 arpeggio, when I use

the arpeggio in bar 2 I just use the arpeggio not the
enclosure on the root in that bar, so I use the enclosure
in bars where there is no 3 to 9 arpeggio but when there
is that arp I just use it and not in combination with the
enclosure in this lick. Hope that helps

June 10, 2012 at 6:03 am

11. Jeff says:

Reply

Okay, thanks, Matt. The only reason I asked was because in

example 5 you enclosed the 5th before and after the arp,
regardless. I guess, like anything else, there are no hard and
fast rules. Thanks!

June 10, 2012 at 7:01 am

 1. Matthew Warnock says:

Reply

For sure, you can add as many of these into your lines
as you want, when I’m blowing over tunes I combine
any/all of them throughout my solos. These exercises
are just to separate them to practice, once you get them
down go for it, mix and match as your ears please. It’s all
good!

June 10, 2012 at 9:01 am

12. Tom L says:

Reply

I don’t suppose you could do bass clef version of this lesson

could you? would be massively appreciated!

September 18, 2012 at 6:22 pm

1. Matthew Warnock says:

Reply

Hey i haven’t done any hass stuff on my site yet, might

have to check that out.

September 19, 2012 at 1:08 am

1. Tom L says:
 Reply

Well what your doing is useful and insightful, I

may not be a solo/virtuoso bass player but it’d be
nice not to read your lessons a 3rd away ;)

September 20, 2012 at 10:03 am

13. Stush says:

Reply

Thanks Matt for that lesson, I have homework to do now and I

look forward to it. I am definitely fascinated by what I call the
mystery of bebop. I have struggled real hard to find get this
sound and I think you have put me on the right track.
For the most part I was just playing by ear which was more of
a miss and hit affair. This has been with its frustrations (more)
and joys (few). Of the few joys, I sort of realized, or even “felt”
that when I use let me call it a motif of four consecutive notes
starting from any point of the scale. Say I start from E to
F,Gb,G, something “bebopish”, something sweet happens -
though I hasten to add that the sweetness is augmented when
I descend. So I took to “injecting” this four notes anywhere and
wherever, even as I play freely. At times I would sound nice
but deep down I know its guess work. Thats why your lesson
here is so liberating for me.
However this leads me to my question. Why is it that the
 bebop scale “sweetens” when you descend? Must one always
play the bebop scale descending?
Pardon my english and thanks so much for the lesson. I`ll let
you know of my progress.
Shalom.

Stush, The Gambia.

December 31, 2012 at 1:11 pm

14. AJ Green says:

Reply

Head spinning! Could be enough stuff here for this years

practice. Thanks Matt!

January 25, 2013 at 4:29 pm

15. Bill Sargeant says:

Reply

Thanks for your article. It is very helpful. Just to be clear: the

reason all the patterns are descending (other than ascending
arpeggios) is because that’s part of the style?

February 14, 2013 at 2:54 am

1. Matthew Warnock says:

 Reply

That’s right. After you get them under your fingers, you
can apply them ascending as well as descending. But to
start off, working on each pattern descending gets the
right sound and feel of each line under your fingers and
into your ears.

February 14, 2013 at 8:20 pm

16. Bill Sargeant says:

Reply

Matt,

Would if be possible for you to post of video of you blowing

over some standards or blues with some of these patterns? I
would really like to see how the “finished product” comes out
so that I might better bridge the gap between practicing the
patterns as written (in all keys) and applying them to actual
playing. Thanks again for this important lesson.

February 28, 2013 at 10:23 pm

1. Matthew Warnock says:

Reply
 HI Bill, thanks for checking out the site. I am adding
more videos to this page so stay tuned for future links as
I post them.

Cheers.

March 1, 2013 at 10:25 am

17. Joe says:

Reply

I was looking for some patterns and licks with the bebop scale
and ran into your website. I’m a piano player, but couldn’t find
what I was looking for on any piano sights. Most of their stuff
is geared for the beginner. I like your explanations, not too
long or too short, just right! Examples are great! I’ve had
problems playing a tune like Speak Low but I think this page is
the answer I’ve been looking for. Thanks Matt

March 23, 2013 at 7:13 pm

1. Matthew Warnock says:

Reply

That’s great Joe, glad the article is helpful and translates

well to the piano. Enjoy the site!
 March 23, 2013 at 7:14 pm

18. Vitor Guerreiro says:

Reply

Hi Matt. Greetings from Portugal.

First off, great site. Tons of info, technical and theory based
exercises, very clear…excellent work.
My question is regarding bebop scales in general. I´ve read
somewhere that when using the bebop scale the chord tone
must fall on downbeats. Is this always applied? I mean,
sometimes, when i practice bebop scale with arpeggios and
enclosures, the chord tones fall on the upbeat. Is this a thing
that i must correct right away or is something that is going to
correct it self?
Thanks!

May 21, 2013 at 12:55 pm

1. Matt Warnock says:

Reply

Hey, I think you might want to think that way to begin

with, but it can be a bit tricky and sound forced if you
always do that. So maybe try it out and see how it fits
your playing, but for me it would be more important to
work out common phrases from the Bebop Scale, and to
 get those sounding organically in your playing than
worrying about where you put chord tones and non-
chord tones. As long as it sounds good and fits it should
be cool, but if you find the chord tones on down beats to
be helpful in the learning process than try it for a while
and go from there. Cheers

May 21, 2013 at 5:49 pm

1. David says:

Reply

I see some places that say the diminished and

bebop scale can also be pentatonic. A little
confused as there are 8 notes in those scales.
Can they somehow be used as pentatonics??
Seems like they can.

May 27, 2013 at 4:45 pm

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