HOW TO USE THE “BEBOP BIBLE” The “Bebop Bible” will solve two of the most common problems among musicians. 1) The lack of a strong musical vocabulary (licks, patterns, etc.) and 2) How to connect the ideas into’ smooth Solos once they have been memorized, You will notice that the bak not only contains melodic ideas to be played over individual chords (major, minor, and dominant) but also.a great number of larger musical sentences for chard progres 8 (ie. Hm? V7 Imaj? and turn arounds, i.e, Im: Mm7 V7.) || notation) far your playing All the ideas are categorized into sections for easy reference and also the starting note (in inter every idea is given (root, 3rd, 5th, 7th, etc. ), This will enable vou to he ideas more quickly One way to give our solos continuity is to memorize musical sentences, The next step is to connect these sen- tences into paragraphs. Here's how we do it, In the Ilm7 V7 Imaj7 section of the book the melodic idens are grouped according to the starting note of the [Im7 chord (the root of a Dm? chord is D, the bards P, the Sth is A, etc.). Also notice that the note the Ilm7 V7 (Dm? G7) resolves to when it reaches the [maj7 (Cmaj?) chord is indicated in interval notation. ‘This is shown because if we wanted to connect the Imi V7 line to another progression or add another idea, it's important to know the starting note (interval) of the next idea for it-to- connect smoothly. MUSICAL EXAMPLES WORD CMaj.7 Dom G7 CMaj.7Dan PARAGRAPH Gust! CMaj.7 at qe C Mal. + ele ‘The lines in the “Bebop Bible” are written as straight 8th notes for easy reading but ta play the ideas ina “bop” ‘swing fashion the 8th notes should be phrased like this: Here are some tips for you to think about as you go through the book. 1. Learn small seetions at a time, maybe 4 or 8notes. 2. Play slowly to ensure correct programming of motor skills. 3. Transpose the ideas to all keys. 4. Learn the ideas in different octaves, 5. Practice singing the lines away from your instrument, 6. Tape the chord changes and play the ideas against them. 7. Experiment with breaking up the lines rhythmically, mar playing immediately. 8. Incorporate the ideas intoMAJOR IDEAS Starting on the RootMAJOR IDEAS Starting on the Root - Cia Cig maj? Coa}? CMaj7 =SMAJOR IDEAS Starting on the 3rd - maj.” cmaja Maj? CMaj.7 CMay?MAJOR IDEAS > Starting on the 3rd MAJOR IDEAS Starting on the 4th or 11th CMaj?MAJOR IDEAS Starting on the 5th CMa). Cmaj.7 ay? CO : Tipe ema! Maj.MAJOR IDEAS Starting on the 5th Cmaj? maj!MAJOR IDEAS Starting on the 6th or 13thMAJOR IDEAS Starting on the 7thMAJOR IDEAS Starting on the 2nd or 9th cMajt es ——- = SS : | Sa SsMINOR IDEAS - Starting on the Root 16MINOR IDEAS Starting on the Root Dami. theMINOR IDEAS Starting on the b3rdMINOR IDEAS Starting on the b3rd Doni. $9 ar SSS — oF <4 ——— SS ‘a oo +e Se eee ——————— Don. 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Grtalt) CMaj.7IIm7 V7 Imaj7 Starting on the Root of the IIm7 chord Dwat GT cat) CMaj.7 r 1 4 — rr TF i ae ee #otehe ne, i = ae aS ca Thee end 9% or 5% —a (mom te ve 4 et ee Dan? Grats Maj? 41Iln7 V7 Imaj7 Starting on the Root of the IIm7 chord pas Qafam) Maj. = bath a ste betete et 2 = = ba et ete bey se SS SS Se = = et =| wr 42Iim7 V7 Imaj7 Starting on the Root of the IIm7 chord Dont Grist CMmaj.7 b Dm? grat! Maj.Ikm7 V7 Imaj7 Starting on the Root of the Ilm7 chord Damn? Gnlatt bebe CMaj.7 (a7) (om) (e) Root Daw? Gnlatt.) C Maj. ———— SS=—— = — (oe te a Sao a =o sera | jan Fe fF Me —— — —— % t i 4Ilm7 V7 Imaj7 Starting on the Root of the IIm7 chord Dam? rath C Maj. e Dont q7alt) CMaj.7Ikn7 V7 Imaj7 Starting on the b3rd of the IIm7 chord Dent grat Maj a be et tt = = === ee t 3dIIm7 V7 Imaj7 Starting on the b3rd of the IIm7 chord Don? Gis OMaj.7 Pu Reot Dnt Gq? 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