NE PLAYING * VOICE-LEADING * CHROMATICISM * BEBOP SCALES FOR ALL INSTRUMENTS a advance musicCD Track List TRACK TUNE CCINSTRUMERTS PAGE ‘Tuning Notes (A Concert} Tuning Notes (Bb Concert} Progression 1A. 13 Progression 1B 13 Progression 2A. 18 Progression 2B 18 Alice (version 1) 21 Alice (version 2) : eee Spring Joy (version 1) 25 Spring Joy (version 2) 25 Afternoon In Strasbourg (version 1) 38 Afternoon In Strasbourg (version 2) 38 Hazy Birg (version 1) sod Hazy Birg (version 2) 44 Fall Foliage 50 Is This Thing Called Love? (version V) «156 Is This Thing Called Love? (version 2) v0.56 Have You Met Miss Miller? (version 1) ..u.60 Have You Met Miss Miller? (version 2} .u...60 Great Moments (version 1) 8 Great Moments (version 2} 69 Herman ‘n You (version 1) one 9B Herman ‘n You (version 2} 98 Very Late : 100 Demonstration 1 Demonstration 2 Demonstration 3 Demonstration 4 Demonstration 5 Demonstration 6 Demonstration 7 Demonstration 8 Demonstration 9 Demonstration 10 INSTRUMENTS PAGE INSTRUMENTS PGEIntroduction Adding chromatic passing tones between specific tones of the diatonic ggale is a device that musi- Je sound harmonically right or consistent with cians often use. This technique helps to make the sea the chord. These scales are sometimes called bebop scales. [ think of them as jazz scales because many of my favorite jazz players use them. Bebop, hard bop, swing, cool, avant garde, rhythm and blues and many other jazz styles incorporate bebop scales. This book presents a clear and practical proach to chromaticism, line playing, voice leading, and to learning and integrating bop scales into one’s playing,Chapter |: Major and Dominant Bebop Scales Bebop scales are chord scales with added chromatic passing tone: the chord scales. When. wey are created by interjecting one or more nondiatonic passing tones int e passing notes are added to ¢ diatonic chord seale certain notes then stand out in the scale There are several commonly used bebop scales, major and dominant are the most common, The following example spells a C major bop scale. An “Ab” be used assing tone is added between the fifth and sixth notes of a C major scale. Bop scales can ascending or descending scales although descending is more common. When you play this bop scale, as a result of the extra note, every down beat is a chord tone. The chord tones voice lead the scale making the line sound just like the chord. You should start a major bop scale on root is result of voice leading the chord. If you start the scale on second, third, fifth, or sixth to insure ¢ fourth, béth, or seventh the line will not sound like a major bop scale because the down beats will not spell the chord. The following examples spell out a C major bop scale descending and then ascending with different starting notes From THE ROOT as : aS Fron tHe 30) From tHe sriFron rue 61: From Tie 2Nb: The following example spells the C major bop scale starting on the second step. The down beats then become D, F Ab, and B which describes a D diminished or a G7 sound rather than a C major. There are ways to start the scale from any note but this will be diseussed in further chapters So, to form a major bop scale add a passing tone between the fifth and sixth note of a major scale To form a dominant bop scale add the extra note between the root and the dominant seventh. The following example spells out a G7 bop scale starting on the root The added note for G7 is FF (Gb) the major seventh,-but it is used as a passing tone, When you include this passing tone the down beats again spell out the chord. Start the scale on the root, third, fifth, or b7¢h : Gy staxrin on THE ROOT G7 stagtinc on THE 38DGy STARTING ON THE 51H Gy staRTING ON THE 7TH: If you start the scale from the 2nd, 4th, 6th, or major 7th scale step, the line sounds backwards The following example spells the G7 bop scale starting on the 6th. This line sounds more Flo or a D7 than a G7, G7 staRTING FROM THE 6TH, Again in the following chapters different options for starting notes will be discussed, Notice that these lines need to be started on down beats, If you choose a cortect starting note but play it on the up beat the line will again sound like a different chord. Exampte ~ G7 Gy wackwarpsExam ‘The first practice assignment is to play through the following progression (A and B) with bop scales starting on the roor descending. Play full octaves of the scale for each chord change as in the following example: A. Root descending With that same rhythmic pattern play through the progression using the following starting notes and direction: B. Root ascending 3d descending D. 3rd ascending E. 5th descending F 5th ascending G. 6th (if chord is major) of 7th (if chord is dominant) descending H. 6th {if chord is major) or 7th (if chord is dominant) ascending I. Random choices: pick a different starting note on each chord, ascending and descending.MALOU AND OOMIRANT BEBOP ScA > TRACK 3: PROGRESSION TA (C INSTRUMENTS) ce? 7 Bb6? Ey OE A = a a Te | ob7 e6? AZ 6? G7 LL — Sa Zz ———— ————— ® TRACK 4: PROGRESSION 1B (C INSTRUMENTS) Be? —7 Ao? 07 LFF FI Df FF SScunt > TRACK 3: PROGRESSION TA (B> INSTRUMENTS) » TRACK 4: PROGRESSION 1B (Bb INSTRUMENTS)MANOR A80 OOMIMAS) BEBOP SCALES > TRACK 3: PROGRESSION 1B (E> INSTRUMENTS) ® TRACK 4: PROGRESSION 1B (E> INSTRUMENTS)Chapter 2: Tonic Minor and Dom/>9>13 Bop Scales he tonic minor 6th chord (I-65) arid the V7%!5 chord pise th jor key. For example, as with a CA boy e between the 5th and 6th notes of the scale. A here are two options for spelling the tonic minor sea 69 chord seale you can use either B natural or Bb since the 7th (C69 usING B NaTURAL (C69 vsine Bh eo 6 th ie ST pd e same as a G7 chord in that the passing tone is between the root and 7th of the e scale on the 1, 3,5, 0F7., 2TOT MINOR AND DOMIEGUIIOF Scat The next practice assignment is to play through progression 2 scale starting on the following notes A and B) a full octave of each bop A. From the root descenditig: (Use either of the tonic minor scales and use the same rhythmic pattern as with assignment 1.) ExaMrte, B, From the root ascending, a I I I I I I I I CC. From the 3rd descending | D. From the 3rd ascending E. From the 5th descending I FE. From the Sth ascending G. From the 6th (for -6 chord) and 71h (For Dom79) descending H. From the 6th (for -6 chord) and 7th (for Dom7*913) ascending I I I I I I I I 1. Random choices for starting notes descending or ascending,carte > TRACY S: PROGRESSION 2A (C INSTRUMENTS) p7bobis Bin? e,7b913 Abe? piz9b13 Fe? p7bbi3 LAE SD LLL PL DP DIL PDD} A7i9b13 pa? g79h13 9 TRACK 6: PROGRESSION 2B (C INSTRUMENTS) e £7913 we? p7b9b13 ee ee ee ee ee ee ee BS ql |C4 3: PROGRESSION 2A (Bb INSTRUMENTS) g7b9b13 8 E7913 AN? PDS I LDL r0? g7h9h13 £68 TOOT MINOR ANE FaKIO SBOP SCALES e7b9b13 te LF pi7b9h13 Se ls ® TRACK 6: PROGRESSION 2B (BL INSTRUMENTS) 8 £47913 h7b9b13 eb? LLL LL fl PP LP e7h9b13 ‘Ap7b9b13.® TUACK 5: PROGRESSION 2A (E> INSTRUMENTS) Ne pygnis oe cpbonns DC FSI PT DIT < Fe? pi7h9b13, e6? ‘Apph9bl3 CLD DF PL ee a oe pons oe eposins @Z ID Vea ae ae ee > TRACK 6: PROGRESSION 2B (E> INSTRUMENTS) 479913 Apo9b13, LLP ce £79613 Bie? £70913 7D DD ADP TF PPChapter 3: Scale Segments - Using 5 or 7 Notes nd 2, using a whole now go ¢ seven notes of the sca Practice with the same specific starting notes for assignments L and 2 and then practice using ran- dom starting notes, You are starting and ending e ale on a chord tone. Example: Root descending with seven notes 57913 eth, SSE Next play seven notes of each chord scale on the following tune, When there is a l-7 V7 in one bar just use the domina for now. (You can also try just using five notes of the scale) | Use all chord tones for s notes ascending and descending 1, 3, 5 or 6 for tonie and 1,3, 5 or 7 for dominant. - Example: D-7 G7 | use G7 bop scale for the whole bar > TRACK 7/8: TUNE 1 ALICE (C INSTRUMENTS) APIS oD a a a a ee Bo-7 Eb7 A-7 o7 Ab? Db7 |