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 book 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 chord progressions (i.e., [m7 V7 Imaj7 and turn arounds. i.e., Imaj7 VI7 Ilm7 V7.) Allthe ideas are categorized into sections for easy reference and also the starting note (in interval notation) for every idea is given (root, 3rd, 5th, 7th, etc.). This will enable you to use the ideas more quickly in your playing. 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 Imaj? section of the book the melodic ideas are grouped according to the starting note of the IIm7 chord (the root ofa Dm7 chord is D, the b3rdis F, the 5this A, etc.). Also notice that the note the IIm7 V7 (Dm7 G7) resolves to when it reaches the Imaj7 (Cmaj7) chord is indicated in interval notation. This is shown because if we wanted to connect the Ilm7 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 C Maj. Ze + t SENTENCE DntPARAGRAPH Dt Grats CMaj.7 ar f--— tee oo Dont qrlatts C Maj.7 ‘The lines in the “Bebop Bible” are written as straight 8th notes for easy reading but to play the ideas in a “bop” swing fashion the 8th notes should be phrased like this: n= Here are some tips for you to think about as you go through the book. 1. Learn small sections at a time, maybe 4 or 8 notes. 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. 8. Incorporate the ideas into your playing immediately.MAJOR IDEAS Starting on the 2nd or 9th comaj. CMaj.7MAJOR IDEAS Starting on the 3rd Cmaj7 cMmaj.? CMa? Cc maj? MAJOR IDEAS Starting on the 4th or 11th Cai?S CMaja MAJOR IDEAS Starting on the 3rd Coma. CMaj.7 maj CMaj?MAJOR IDEAS Starting on the 5th Comaj.7 cmaj? 57 ce cma? maj? cmajt Maj.” maj" = Maj."MAJOR IDEAS Starting on the 5th Maj.” Cai. | —_—¢¢ + Maj.7 cma? . == 5 si cai? cma? Coa? cma ——— — oe —s + = Coma? Cmaj.? maj? maj - Cmaja GMaj.” site —?- Zz ra z 5 == ——t—t—HMAJOR IDEAS Starting on the 6th or 13th ce Pie.» — taMAJOR IDEAS Starting on the 7th CMaj. cmaj.7 maj cma."MAJOR IDEAS Starting on the Root , Cmaj.7 CMmaj7 vrMAJOR IDEAS Starting on the Root Cmaj.7 Maj? 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