5 Bebop Licks

= 120

( = )
LICK #1
D-7 G7 Cmaj7

3
5 7 10 8
6 8 8
7 4 8 9

LICK #2
D7 G7 Cmaj7

7 7
7 10 10 9 7
10 8 7

LICK #3
Cmaj7 C-7

3 3
7
8 11 10 9 8 8 8
9 9 10 10 9 7 8
9 10 10 7
10

LICK #4
Fmaj7 F-7

5 6 5
6 6 8 6 9 (9) 8 6
5 6 5 5 7 8
8 7

LICK #5
C13(  9)

7 5
5 8 6 5
8 7 5 8 4 7 5
7 6 4

Paper Moon Music

sandiegoguitarlessons.com/sheet-music
 5 Bebop Licks Explained

Lick 1 - This is a major ii-V-I lick o3en used by players such as Joe Pass. For the triplet, I recommend
using the picking paBer “Down-up-up” to maintain alternate picking. NoHce that the line targets 3rds on
both the G7 (V) and Cmaj7 (I).

Lick 2 - Lick 2 is again a major ii-V-I lick that was used by Charlie Parker. It begins with a descending d
minor arpeggio, followed by a rapidly ascending arpeggio on the G7, before resolving from the 9th to the
root on C major. Note the resoluHon from the 9th to the root, this is a commonly used device in bebop
playing.

Lick 3 - This lick is a useful paBern to use on major 7 chords that resolve into minor 7th chords. It starts
with a pickup note before ascending the C major seventh arpeggio using triplets. It then chromaHcally
descends the C major scale, cleverly placing the flaBed 7th and flat 6th on oUeats. Following a rapid
melodic turn on scale degrees three, four and five, it resolves to the 5th of the C major, before the chord
then switches to minor and the line finally ends on the flaBed 3rd.

Lick 4 - Another lick useful for major chords resolving into minor chords. NoHce how the first several
notes cleverly place the chord tones on the down beats and non-chord tones on oUeats. As the chord
turns from major to minor, a melodic figure outlining the 3rd, 7th, 9th and root is then played; these types
of paBerns are very useful to play when chords are changing very rapidly as they very quickly and
effecHvely establish the sound of the chord.

Lick 5 - This is a more modern/post bop line that is used by players such as John Coltrane and Jackie
Mclean. This is a paBern from the symmetrical dominant scale; it begins with a descending major
second, followed by a descending major second beginning from the note a major third below the
starHng note. The line then jumps up a perfect fourth and this enHre paBern is repeated again. The types
of licks can be used over altered dominant chords such as the C13/b9.