bebop scales for mandolin and violin
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Bebop Scales for Mandolin and Violin
© 20�� by Pete Martin
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Bebop Scales for Mandolin and ViolinTable of Contents
Introduction ..................................................................................................................
Chapter � What Are Bebop Scales? .........................................................................
Section �: Major Bebop ScalesChapter 2 C Major Bebop Scale ..............................................................................Chapter 3 F Major Bebop Scale ..............................................................................Chapter 4 Bb Major Bebop Scale ............................................................................Chapter 5 Eb Major Bebop Scale ............................................................................Chapter 6 Ab Major Bebop Scale ............................................................................Chapter 7 Db Major Bebop Scale ............................................................................Chapter 8 Gb Major Bebop Scale ............................................................................Chapter 9 B Major Bebop Scale ..............................................................................Chapter �0 E Major Bebop Scale ..............................................................................Chapter �� A Major Bebop Scale ..............................................................................Chapter �2 D Major Bebop Scale ..............................................................................Chapter �3 G Major Bebop Scale ..............................................................................
Section 2: Dominant Seventh Bebop ScalesChapter �4 C Dominant Bebop Scale ........................................................................Chapter �5 F Dominant Bebop Scale ........................................................................Chapter �6 Bb Dominant Bebop Scale ......................................................................Chapter �7 Eb Dominant Bebop Scale ......................................................................Chapter �8 Ab Dominant Bebop Scale ......................................................................Chapter �9 Db Dominant Bebop Scale ......................................................................Chapter 20 Gb Dominant Bebop Scale ......................................................................Chapter 2� B Dominant Bebop Scale ........................................................................Chapter 22 E Dominant Bebop Scale ........................................................................Chapter 23 A Dominant Bebop Scale ........................................................................Chapter 24 D Dominant Bebop Scale ........................................................................Chapter 25 G Dominant Bebop Scale ........................................................................
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Section 3: Melodic Minor Bebop ScalesChapter 26 C Melodic Minor Bebop Scale ................................................................Chapter 27 F Melodic Minor Bebop Scale ................................................................Chapter 28 Bb Melodic Minor Bebop Scale ..............................................................Chapter 29 Eb Melodic Minor Bebop Scale ..............................................................Chapter 30 Ab Melodic Minor Bebop Scale ..............................................................Chapter 3� Db Melodic Minor Bebop Scale ..............................................................Chapter 32 Gb Melodic Minor Bebop Scale ..............................................................Chapter 33 B Melodic Minor Bebop Scale ................................................................Chapter 34 E Melodic Minor Bebop Scale ................................................................Chapter 35 A Melodic Minor Bebop Scale ................................................................Chapter 36 D Melodic Minor Bebop Scale ................................................................Chapter 37 G Melodic Minor Bebop Scale ................................................................
Section 4: Other Bebop ScalesChapter 38 Practicing Tunes Using Bebop Scales .....................................................Chapter 39 Other Bebop Scale Possibilities ................................................................Chapter 40 Bebop Scale Comparison Chart ................................................................Chapter 4� More Tunes Practice Using Bebop Scales .................................................
AppendixAppendix �: Chord Spellings ........................................................................................Appendix 2: Notes Names On The Mandolin Fingerboard ..........................................Appendix 3: Two Octave Major Scale Note Names and Numbers ...............................Appendix 4: Blank Mandolin Fingerboard Charts .........................................................Appendix 5: PDF Books by Pete Martin..........................................................................Appendix 6: For Further Study ......................................................................................
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Bebop Scales for Mandolin and ViolinIntroduction
In the �940s, Jazz evolved in a new direction. Players such as Charlie Parker, Dizzy Gillespie, Bud Powell, Max Roach and countless others evolved a new language. That music, called Bebop, influenced all Jazz styles that followed. One of the innovations was the way these players used scales in their improvised solos. This book will explain those “Bebop Scales” and give you a method of practicing them. Chapter � introduces the scales and tells the student why they work. Chapters 2 – 37 introduce the common scales in all keys and give practice exercises to get the sound in your mind and scales in your hands. Chapter 39 gives less common scales that can be very useful to improvisers. Chapter 40 compares all the scales covered in the book, how their formed and gives the notes to each scale in each key. Chapters 38 and 4� give a method to practice the sound of the scales with chord progressions to common tunes. There are many great Jazz texts on the market currently. Most do not deal specifically with mandolin and violin. That is the aim of this book. Each example has music notation and mandolin tablature. Also MIDI files are available at the above mentioned email address.
My suggestion is to read the first chapter to learn what Bebop Scales are and how they are used. Play the examples and listen to the MIDI files. You can speed up or slow down the MIDI files using the slider control in Windows Media Player, or use one of the many freeware MIDI file playing programs available.
Learn some of the scales in chapters 2 – 37. Listen to the MIDI files and play the examples. Next take a common chord progression and learn the scales that fit each chord. This is shown in chapters 38 and 4�. Go back and eventually learn all the scales in all the keys as you need them.
Any comments on this book, positive or negative, are welcomed by the author. If you see mistakes, definitely let me know so I can correct them, the download the corrected .pdf file. Feel free to pass this on to anyone who may be interested.
Best of luck and lets play some Bebop tunes someday!!!
Pete Martin
To request MIDI files for this bookEmail
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Section 1
Major Bebop Scales
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Chapter 1What Are Bebop Scales?
Be sure you have read the introduction before continuing to this chapter.
Great players from the Bebop era improvised so the notes of the solo fit well with the chords played by the rhythm section. How to make notes fit can be a struggle for the beginning Jazz player. Bebop Scales are one way to make improvised notes fit chords. Listen to the MIDI file for example 1.
Example � is a G7 chord using a C major scale running two octaves starting on a G note. This scale is very common for this chord. As you listen, did you notice there are some places in the scale where the notes don’t seem to fit the rhythm section?
Now listen to the MIDI file for example 2.
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Notice how the notes seem to fit the chords better in example 2? Listen to both examples many times. If you want to play them faster of slower, you can use the slider control in Win-dows Media Player to accomplish this. In example 2, we added an F# note to the notes in example �. If you look at the notes that occur on the beat in example 2, you will notice they are the notes G, B, D and F. These are the notes of the G7 chord. This is shown in example 3.
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Bebop Scales are normal scales with an added note. This additional note is inserted into the common scale to make chord tones fall on the beat. When a Bebop Scale is begun on a chord tone and on the beat, all other chord tones will also fall on the beat. The notes on the off beat are the remaining notes in the scale (non chord tones). This playing of chord tones on the beat seems to make the melodic line “fit” better with the chords. Listening to recordings of the Swing ear, one will occasionally hear these scales with the added note. Bebop players, especially Charlie Parker, were the first musicians to extensively use these scales with an extra note. The most common Bebop scales are shown in example 4, 5 and 6. First the Bebop Major scale, example 4.
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The notes that fall on the beat in example 4 are C, E, G and A, the notes of a C6 chord. The Bebop Major scale fits any Jazz major chord, which are the sixth or major seventh. Exam-ple 4 indicates a C Maj7 chord but works just as well against a C6. The Bebop Dominant scale fits a dominant seventh chord. In example 5, that chord is C7. The notes on the beat are C, E, G, Bb, a C7 chord.
The Bebop Melodic Minor scale fits any Jazz minor-major chord, which is a minor sixth or minor-major seventh. The notes on the beat are C, Eb, G, A, a Cm6 chord. Example 6 indi-cates a Cm6 but works just as well with CmMaj7.
We will start learning and practicing these scales in chapter 2.
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Chapter 2C Major Bebop Scale
Let’s begin our learning with Bebop Scales with the key of C. The one octave C Major Bebop Scale is shown in example 7.
Now learn the C Major Bebop Scale in one octave ascending and descending, example 8.
Learn each example from now on as it is pre-sented. Memorize and be able to play each example before going to the next example. Listen to the MIDI files to help you learn the sound of each exercise.
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Learn the C Major Bebop Scale from the lowest note (G) to the highest note (B) you can play in first position. This is shown in example 9.
Example �0 is an exercise that reinforces where the notes and chord tones are located. Starting on a chord tone, ascend the C Bebop Major Scale until the next chord tone. Reverse and keep doing the same. Notice each beat is a chord tone!
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Example 11 is the opposite of example 10. Descend from the highest chord tone in first position, the note A.
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Chapter 3F Major Bebop Scale
The one octave F Major Bebop Scale is shown in example �2.
The F Major Bebop Scale, one octave ascending and descending, is example �3.
The F Major Bebop Scale, from the lowest note (G) to the highest note (Bb) you can play in first position, is shown in example 14. This example keeps the chord tones on the beat, which is how we want to play.
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Example �5 is the F Bebop Major Scale reversing on chord tones.
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Example �6 is the opposite direction of example �5.
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Chapter 4Bb Major Bebop Scale
The one octave Bb Major Bebop Scale is shown in example �7.
The Bb Major Bebop Scale, one octave ascending and descending, is example �8.
The Bb Major Bebop Scale, from the lowest note (G) to the highest note (Bb) you can play in first position, is shown in example 19.
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Example 20 is the Bb Bebop Major Scale reversing on chord tones.
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Example 2� is the opposite direction of example 20.
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Chapter 5Eb Major Bebop Scale
The one octave Eb Major Bebop Scale is shown in example 22.
Play the same ascending and descending, shown in example 23.
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The Eb Major Bebop Scale, from the lowest note (G) to the highest note (Bb) you can play in first position, is shown in example 24.
Example 25 is the Eb Bebop Major Scale reversing on chord tones.
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Example 26 is the opposite direction of example 25.
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Chapter 6Ab Major Bebop Scale
The one octave Ab Major Bebop Scale is shown in example 27.
Play the same ascending and descending, shown in example 28.
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The Ab Major Bebop Scale, from the lowest note (G) to the highest note (Bb) you can play in first position, is shown in example 29.
Example 30 is the Ab Major Bebop Scale reversing on chord tones.
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Example 3� is the opposite direction of example 30.
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Chapter 7Db Major Bebop Scale
The one octave Db Major Bebop Scale is shown in example 32.
Play the same ascending and descending, shown in example 33.
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The Db Major Bebop Scale, from the lowest note (Ab) to the highest note (Bb) you can play in first position, is shown in example 34.
Example 35 is the Db Major Bebop Scale reversing on chord tones.
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Example 36 is the opposite direction of example 30.
Example 36 is the opposite direction of example 35.
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Chapter 8Gb Major Bebop Scale
The one octave Gb Major Bebop Scale is shown in example 37.
Play the same ascending and descending, shown in example 38.
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The Gb Major Bebop Scale, from the lowest note (Ab) to the highest note (Bb) you can play in first position, is shown in example 39.
Example 40 is the Gb Major Bebop Scale reversing on chord tones.
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Example 4� is the opposite direction of example 40.
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Chapter 9B Major Bebop Scale
The one octave B Major Bebop Scale is shown in example 42.
Play the same ascending and descending, shown in example 43.
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The B Major Bebop Scale, from the lowest note (G#) to the highest note (B) you can play in first position, is shown in example 44.
Example 45 is the B Major Bebop Scale reversing on chord tones.
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Example 46 is the opposite direction of example 45.
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Chapter 10E Major Bebop Scale
The one octave E Major Bebop Scale is shown in example 47.
Play the same ascending and descending, shown in example 48.
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The E Major Bebop Scale, from the lowest note (G#) to the highest note (B) you can play in first position, is shown in example 49.
Example 50 is the E Major Bebop Scale reversing on chord tones.
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Example 5� is the opposite direction of example 50.
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Chapter 11A Major Bebop Scale
The one octave A Major Bebop Scale is shown in example 52.
Insert Example 52 here
Play the same ascending and descending, shown in example 53.
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The A Major Bebop Scale, from the lowest note (G#) to the highest note (B) you can play in first position, is shown in example 54.
Example 55 is the A Major Bebop Scale reversing on chord tones.
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Example 56 is the opposite direction of example 55.
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Chapter 12D Major Bebop Scale
The one octave D Major Bebop Scale is shown in example 57.
Play the same ascending and descending, shown in example 58.
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The D Major Bebop Scale, from the lowest note (G) to the highest note (B) you can play in first position, is shown in example 59.
Example 60 is the D Major Bebop Scale reversing on chord tones.
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Example 6� is the opposite direction of example 60.
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Chapter 13G Major Bebop Scale
The one octave G Major Bebop Scale is shown in example 62.
Play the same ascending and descending, shown in example 63.
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The G Major Bebop Scale, from the lowest note (G) to the highest note (B) you can play in first position, is shown in example 64.
Example 65 is the G Major Bebop Scale reversing on chord tones.
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Example 66 is the opposite direction of example 65.
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Section 2
Dominant Bebop Scales
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Chapter 14C Dominant Bebop Scale
The Dominant Bebop Scale places the notes of the dominant seventh chord on the beat. As we saw in chapter 1, this makes the scale fit the chord. In example 67, we see the C Dominant Bebop Scale.
The C Dominant Bebop Scale, one octave ascending and descending, is shown in example 68.
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Learn the C Dominant Bebop Scale from the lowest note (G) to the highest note (B) you can play in first position. This is shown in example 69.
Example 70 is the reverse on chord tone exercise.
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Example 71 is the opposite of example 70. Descend from the highest chord tone in first position, the note Bb.
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Chapter 15F Dominant Bebop Scale
Continuing our study of Dominant Bebop Scales, in example 72, we see the F Dominant Bebop Scale.
The F Dominant Bebop Scale, one octave ascending and descending, is shown in example 73.
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Learn the F Dominant Bebop Scale from the lowest note (G) to the highest note (Bb) you can play in first position. This is shown in example 74.
Example 75 is the reverse on chord tone exercise for the F Dominant Bebop scale.
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Example 76 is the opposite of example 75.
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Chapter 16Bb Dominant Bebop Scale
The Bb Dominant Bebop Scale is shown in example 77.
The Bb Dominant Bebop Scale, one octave ascending and descending, is shown in example 78.
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Learn the Bb Dominant Bebop Scale from the lowest note (G) to the highest note (Bb) you can play in first position. This is shown in example 79.
Example 80 is the reverse on chord tone exercise for the Bb Dominant Bebop scale.
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Example 8� is the opposite of example 80.
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Chapter 17Eb Dominant Bebop Scale
The Eb Dominant Bebop Scale is shown in example 82.
The Eb Dominant Bebop Scale, one octave ascending and descending, is shown in example 83.
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Learn the Eb Dominant Bebop Scale from the lowest note (G) to the highest note (Bb) you can play in first position. This is shown in example 84.
Example 85 is the reverse on chord tone exercise for the Eb Dominant Bebop scale.
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Example 86 is the opposite of example 85.
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Chapter 18Ab Dominant Bebop Scale
The Ab Dominant Bebop Scale is shown in example 87.
The Ab Dominant Bebop Scale, one octave ascending and descending, is shown in example 88.
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Learn the Ab Dominant Bebop Scale from the lowest note (G) to the highest note (Bb) you can play in first position. This is shown in example 89.
Example 90 is the reverse on chord tone exercise for the Ab Dominant Bebop scale.
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Example 9� is the opposite of example 90.
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Chapter 19Db Dominant Bebop Scale
The Db Dominant Bebop Scale is shown in example 92.
The Db Dominant Bebop Scale, one octave ascending and descending, is shown in example 93.
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Learn the Db Dominant Bebop Scale from the lowest note (Ab) to the highest note (Bb) you can play in first position. This is shown in example 94.
Example 95 is the reverse on chord tone exercise for the Db Dominant Bebop scale.
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Example 96 is the opposite of example 95.
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Chapter 20Gb Dominant Bebop Scale
The Gb Dominant Bebop Scale is shown in example 97.
The Gb Dominant Bebop Scale, one octave ascending and descending, is shown in example 98.
�20
Learn the Gb Dominant Bebop Scale from the lowest note (Ab) to the highest note (Bb) you can play in first position. This is shown in example 99.
Example �00 is the reverse on chord tone exercise for the Gb Dominant Bebop scale.
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Example �0� is the opposite of example �00.
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Chapter 21B Dominant Bebop Scale
The B Dominant Bebop Scale is shown in example �02.
The B Dominant Bebop Scale, one octave ascending and descending, is shown in example �03.
�26
Learn the B Dominant Bebop Scale from the lowest note (G#) to the highest note (B) you can play in first position. This is shown in example 104.
Example �05 is the reverse on chord tone exercise for the B Dominant Bebop scale.
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Example �06 is the opposite of example �05.
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Chapter 22E Dominant Bebop Scale
The E Dominant Bebop Scale is shown in example �07.
The E Dominant Bebop Scale, one octave ascending and descending, is shown in example �08.
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Learn the E Dominant Bebop Scale from the lowest note (G#) to the highest note (B) you can play in first position. This is shown in example 109.
Example ��0 is the reverse on chord tone exercise for the E Dominant Bebop scale.
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Example ��� is the opposite of example ��0.
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Chapter 23A Dominant Bebop Scale
The A Dominant Bebop Scale is shown in example ��2.
The A Dominant Bebop Scale, one octave ascending and descending, is shown in example ��3.
�38
Learn the A Dominant Bebop Scale from the lowest note (G#) to the highest note (B) you can play in first position. This is shown in example 114.
Example ��5 is the reverse on chord tone exercise for the A Dominant Bebop scale.
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Example ��6 is the opposite of example ��5.
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Chapter 24D Dominant Bebop Scale
The D Dominant Bebop Scale is shown in example ��7.
The D Dominant Bebop Scale, one octave ascending and descending, is shown in example ��8.
�44
Learn the D Dominant Bebop Scale from the lowest note (G) to the highest note (B) you can play in first position. This is shown in example 119.
Example �20 is the reverse on chord tone exercise for the D Dominant Bebop scale.
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Example �2� is the opposite of example �20.
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Chapter 25G Dominant Bebop Scale
The G Dominant Bebop Scale is shown in example �22.
The G Dominant Bebop Scale, one octave ascending and descending, is shown in example �23.
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Learn the G Dominant Bebop Scale from the lowest note (G) to the highest note (B) you can play in first position. This is shown in example 124.
Example �25 is the reverse on chord tone exercise for the G Dominant Bebop scale.
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Example �26 is the opposite of example �25.
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Section 3
Melodic Minor Bebop Scales
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Chapter 26C Melodic Minor Bebop Scale
The Melodic Minor Bebop Scale is derived from a regular Melodic Minor scale. Just like the previous Bebop Scales we have studied, it adds one note to make the chord tones fall on the beat.
It is beyond the scope of this book to explain the many uses of the melodic minor scale. The book “Jazz Theory” by Mark Levine does a very good job at this starting on page 55.
First, let’s look at a C Melodic Minor Scale, shown here in example �27.
Compare this to the C Major Scale, example �28.
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The C Melodic Minor Scale is just the C Major Scale with the third (E) lowered to the flatted third (Eb).
Now look at the C Melodic Minor Bebop Scale, example �29.
Similarly, the C Melodic Minor Bebop Scale is just the C Major Bebop Scale with the third lowered to the flatted third (once again E lowered to Eb). Example 130 is the C Major Bebop Scale. Compare this to example �29.
When the C Melodic Minor Bebop Scale is played as eighth notes, it has the notes C, Eb, G, and A fall on the beat. These are the notes of a Cm6 chord. Both the chords Cm6 and Cm Maj7 are used as minor major chords in Jazz. The scale fits both chords.
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The C Melodic Minor Bebop Scale in eighth notes is shown in example �3�.
The C Melodic Minor Bebop Scale, one octave ascending and descending, is shown in example �32.
Learn the C Melodic Minor Bebop Scale from the lowest note (G) to the highest note (B) you can play in first position. This is shown in example 133.
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Example �34 is the reverse on chord tone exercise for the C Melodic Minor Bebop Scale scale.
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Example �35 is the opposite of example �34.
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Chapter 27F Melodic Minor Bebop Scale
The F Melodic Minor Bebop Scale is shown in example �36.
The F Melodic Minor Bebop Scale, one octave ascending and descending, is shown in example �37.
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Learn the F Melodic Minor Bebop Scale from the lowest note (G) to the highest note (Bb) you can play in first position. This is shown in example 138.
Example �39 is the reverse on chord tone exercise for the F Melodic Minor Bebop Scale.
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Example �40 is the opposite of example �39.
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Chapter 28Bb Melodic Minor Bebop Scale
The Bb Melodic Minor Bebop Scale is shown in example �4�.
The Bb Melodic Minor Bebop Scale, one octave ascending and descending, is shown in example �42.
�7�
Learn the Bb Melodic Minor Bebop Scale from the lowest note (G) to the highest note (Bb) you can play in first position. This is shown in example 143.
Example �44 is the reverse on chord tone exercise for the Bb Melodic Minor Bebop Scale.
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Example �45 is the opposite of example �44.
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Chapter 29Eb Melodic Minor Bebop Scale
The Eb Melodic Minor Bebop Scale is shown in example �46.
The Eb Melodic Minor Bebop Scale, one octave ascending and descending, is shown in example �47.
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Learn the Eb Melodic Minor Bebop Scale from the lowest note (Ab) to the highest note (Bb) you can play in first position. This is shown in example 148.
Example �49 is the reverse on chord tone exercise for the Eb Melodic Minor Bebop Scale.
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Example �50 is the opposite of example �49.
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Chapter 30Ab Melodic Minor Bebop Scale
The Ab Melodic Minor Bebop Scale is shown in example �5�.
The Ab Melodic Minor Bebop Scale, one octave ascending and descending, is shown in example �52.
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Learn the Ab Melodic Minor Bebop Scale from the lowest note (G) to the highest note (Bb) you can play in first position. This is shown in example 153.
Example �54 is the reverse on chord tone exercise for the Ab Melodic Minor Bebop Scale.
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Example �55 is the opposite of example �54.
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Chapter 31Db Melodic Minor Bebop Scale
The Db Melodic Minor Bebop Scale is shown in example �56.
The Db Melodic Minor Bebop Scale, one octave ascending and descending, is shown in example �57.
�89
Learn the Db Melodic Minor Bebop Scale from the lowest note (Ab) to the highest note (Bb) you can play in first position. This is shown in example 158.
Example �59 is the reverse on chord tone exercise for the Db Melodic Minor Bebop Scale.
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Example �60 is the opposite of example �59.
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Chapter 32Gb Melodic Minor Bebop Scale
The Gb Melodic Minor Bebop Scale is shown in example �6�.
The Gb Melodic Minor Bebop Scale, one octave ascending and descending, is shown in example �62.
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Learn the Gb Melodic Minor Bebop Scale from the lowest note (Ab) to the highest note (Bbb) you can play in first position. This is shown in example 163.
Example �64 is the reverse on chord tone exercise for the Gb Melodic Minor Bebop Scale.
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Example �65 is the opposite of example �64.
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Chapter 33B Melodic Minor Bebop Scale
The B Melodic Minor Bebop Scale is shown in example �66.
The B Melodic Minor Bebop Scale, one octave ascending and descending, is shown in example �67.
20�
Learn the B Melodic Minor Bebop Scale from the lowest note (G) to the highest note (B) you can play in first position. This is shown in example 168.
Example �69 is the reverse on chord tone exercise for the B Melodic Minor Bebop Scale.
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Example �70 is the opposite of example �69.
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Chapter 34E Melodic Minor Bebop Scale
The E Melodic Minor Bebop Scale is shown in example �7�.
The E Melodic Minor Bebop Scale, one octave ascending and descending, is shown in example �72.
207
Learn the E Melodic Minor Bebop Scale from the lowest note (G) to the highest note (B) you can play in first position. This is shown in example 173.
Example �74 is the reverse on chord tone exercise for the E Melodic Minor Bebop Scale.
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Example �75 is the opposite of example �74.
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Chapter 35A Melodic Minor Bebop Scale
The A Melodic Minor Bebop Scale is shown in example �76.
The A Melodic Minor Bebop Scale, one octave ascending and descending, is shown in example �77.
2�3
Learn the A Melodic Minor Bebop Scale from the lowest note (G#) to the highest note (B) you can play in first position. This is shown in example 178.
Example �79 is the reverse on chord tone exercise for the A Melodic Minor Bebop Scale.
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Example �80 is the opposite of example �79.
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Chapter 36D Melodic Minor Bebop Scale
The D Melodic Minor Bebop Scale is shown in example �8�.
The D Melodic Minor Bebop Scale, one octave ascending and descending, is shown in example �82.
2�9
Learn the D Melodic Minor Bebop Scale from the lowest note (G) to the highest note (B) you can play in first position. This is shown in example 183.
Example �84 is the reverse on chord tone exercise for the D Melodic Minor Bebop Scale.
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Example �85 is the opposite of example �84.
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Chapter 37G Melodic Minor Bebop Scale
The G Melodic Minor Bebop Scale is shown in example �86.
The G Melodic Minor Bebop Scale, one octave ascending and descending, is shown in example �87.
225
Learn the G Melodic Minor Bebop Scale from the lowest note (G) to the highest note (Bb) you can play in first position. This is shown in example 188.
Example �89 is the reverse on chord tone exercise for the G Melodic Minor Bebop Scale.
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Example �90 is the opposite of example �89.
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Section 4
Other Topics
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Chapter 38Practicing Tunes Using Bebop Scales
The most common Bebop Scales have been covered in previous chapters. You have seen how the Bebop Scale puts the chord tone on the beat, allowing the scale to sound good with the rhythm section. The Bebop Major is used against major seventh and major sixth chords. The Bebop Dominant is used against dominant seventh chords. The Bebop Melodic Minor is used against minor sixth and minor major seventh chords. A way to practice to get the sound of the scale is take a tune and play the appropriate Bebop Scale for that chord. In example �9� we see a �2 bar blues progression in the key of C.
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Example �92 shows the appropriate Bebop Scale for the C blues progression.
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In measure 9 of example �92, we see a Dm7 chord. We don’t currently have a bebop scale for a minor seventh chord. What to do?
In this chord progression, a G7 follows the Dm7 chord. In measure 9, the Dm7 chord is acting as a substitute chord for a G7 chord. This would make IIm7 V7 in the key of C. In this case, just play the G dominant seventh Bebop Scale over both chords.
Example �93 shows the appropriate Bebop Scale for the C blues progression.
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Solo analysis of many players from the Bebop era shows the following: when a tune has a minor seventh chord, the bebop scale played is the dominant seventh scale a fifth lower. It doesn’t matter if the following chord is a dominant seventh chord a fifth lower, the same Bebop Scale is used over the minor seventh chord. Look at this using the tune Yardbird Suite. Example 194 is the chord progression to Yardbird Suite. Example 195 contains the Bebop Scales to Yardbird Suite. Notice in measure �7 and measure 2�, we have minor seventh chords NOT followed by dominant seventh chords a fifth lower. Play example 195 while someone chords for you, or listen to the MIDI file of example 195.
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Example �96 has the Bebop Scales to the chord progression of Doxy. For the diminished chord, we are using an E diminished whole step, half step scale. In this scale, the notes are E F# G A Bb C C# D# E. Diminished scales are covered in the next chapter.
Whenever a minor seventh chord is played in a tune, play the bebop scale of the dominant seventh chord a fifth lower.
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Example �97 has the Bebop Scales to the chord progression of Just Friends.
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Chapter 39Other Bebop Scale Possibilities
The Bebop Major, Dominant and Melodic Minor Scales are the most common bebop scales. As you have seen, these put the chord tone on the beat. The first paragraph in chapter 38 listed the chords these scales fit against. Using the same idea of chord tone on the beat, there are more Bebop Scales we can create to fit other chord types.
This chapter introduces 4 new scales. Practice these in all keys as shown in sections 1, 2 and 3.
Minor Seventh Bebop ScaleExample 198 shows a scale that fits an Am7 chord. Notice it places the chord tones (the
notes A C E G) on the beat. I’ll call this the A Minor Seventh Bebop Scale.
The most common use of the minor seventh chord is as the II chord in a major key II V I. The notes from the key of G major were used to derive the A Minor Seventh Bebop Scale. The additional note of G# was inserted to make the chord tones fall on the beat. Also note that this is the same as the A Dominant Bebop Scale with the third flatted (C# becomes C).
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Example 199 shows the A Minor Seventh Bebop Scale from low to high in first position.
Half Diminished Bebop Scale The half diminished chord is a minor seventh chord with a flatted fifth. If we had an Am7b5, the notes of the chord are A C Eb and G. The bebop scale that fits this chord is in example 200.
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If you are confused, “minor seventh flat five” and “half diminished” are two terms that mean the same thing. The most common use of a half diminished chord is as the II chord in a minor key II V I. The II is IIm7b5, the V is often V7b9 and the I is Im6 or ImMaj7.
Example 201 shows the A Half Diminished Bebop Scale from low to high in first position.
Does example 20� sound and feel familiar? Look at example �33, the C Melodic Minor Bebop Scale, from chapter 26, shown here.
Notice they are the same. The notes of an Am7b5 (A, C, Eb, G) and the notes of a Cm6 (C, Eb, G, A) are the same. Only the roots of the two chords are different. The scale that fits both chords is the same.
You can find any Half Diminished Bebop Scale by playing a Melodic Minor Bebop Scale starting one and one half steps
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Diminished Scales There are two common diminished scales. Not called “Bebop Scales” per se, they function same way as bebop scales as they put the chord tones on the beat. The first is a whole step followed by half step. The second is just the opposite, half step followed by whole step. Any diminished chord has 4 names. G diminished is also a Bb diminished, a Db diminished and an E diminished. The scales work the same way. The whole step – half step scale that fits the G, Bb, Db and E diminished chord is shown in example 202.
The half step – whole step scale that fits the G, Bb, Db and E diminished chord is shown in example 203.
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Altered Dominant Bebop Scale A typical II - V - I progression in a minor key is IIm7b5, V7alt and IM6 or ImMaj7. We have seen Bebop Scales for II and I, but not V. For this we use the Altered Dominant Bebop Scale. Example 204 has the C Altered Dominant Bebop Scale.
Example 205 is the C Altered Dominant Bebop Scale in first position.
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Chapter 40Bebop Scale Comparison Chart
The following compares all the scales we have discussed in this book.
It shows which scale have which scale degree and shows which notes are in the scale in each of the �2 keys. For example, the Major Bebop Scale is built on the scale degrees �, 2, 3, 4, 5, #5/b6, 6, and 7. The notes for the Eb Major Bebop Scale would be Eb, F, G, Ab, Bb, B, C and D.
#1 #2 #4 #5 #6
Scale Degree 1 b2 2 b3 3 4 b5 5 b6 6 b7 7
Type of
Bebop ScaleMajor BBS x x x x x x x x
Dominant 7 BBS x x x x x x x x
Melodic Minor BBS x x x x x x x x
Minor 7 BBS x x x x x x x x x
Half Diminished BBS x x x x x x x x
Diminished W/H x x x x x x x x
Diminished H/W x x x x x x x x
Altered Dominant BBS x x x x x x x x
KeyA A Bb B C Db D Eb E F Gb G Ab
Bb Bb B C Db D Eb E F Gb G Ab A
B B C C# D D# E F F# G G# A A#
C C Db D Eb E F Gb G Ab A Bb B
Db Db D Eb E F Gb G Ab A Bb B C
D D D# E F F# G G# A A# B C C#
Eb Eb E F Gb G Ab A Bb B C Db D
E E F F# G G# A A# B C C# D D#
F F Gb G Ab A Bb B C Db D Eb E
Gb Gb G Ab A Bb B C Db D Eb E F
G G G# A A# B C C# D D# E F F#
Ab Ab A Bb B C Db D Eb E F Gb G
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Chapter 41More Tunes Practice Using Bebop Scales
We saw in chapter 38 a way to practice is play the appropriate Bebop Scale for each chord in a tune. Example 206 is the chord progression to the first eight measures of Wes Montgomery’s Four On Six with the Bebop Scales for each chord.
Notice in example 206, instead of using the C Dominant Bebop Scale for Gm7, we used the G Minor Seventh Bebop Scale. Either, or a combination of both, work fine.
Example 207 is the Bebop Scales to the chord progression of There Will Never Be Another You.
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Notice in example 207 there are both ascending and descending Bebop Scales starting on various chord tones. One can start the appropriate Bebop Scale on ANY chord tone of the current chord.
Example 208 is the Bebop Scales to the chord progression of Groovin High.
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Example 209 is the chord progression to Minority. This progression has two places where we use a C7alt chord. In these places, we will use the C Altered Dominant Bebop Scale.
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Appendix 1Chord Spellings
Chord Type Symbol SpellingMajor X � 3 5Minor Xm � b3 5Sixth X6 � 3 5 6Major Seventh XMaj7 � 3 5 7Dominant Seventh X7 � 3 5 b7Minor Seventh Xm7 � b3 5 b7Diminished Xdim X° � b3 b5 bb7 (6) Half Diminished XØ Xm7b5 � b3 b5 b7Minor Seventh Flat Fifth XØ Xm7b5 � b3 b5 b7Minor Sixth Xm6 � b3 5 6Minor Major Seventh XMaj7 � b3 5 7Suspended Xsus � 4 5Augmented X+ X#5 X+5 � 3 #5
Chord Extensions (9, 11, 13)Ninth X9 � 3 5 b7 9Eleventh X�� � 3 5 b7 9 ��Thirteenth X�3 � 3 5 b7 9 (��) �3Minor Ninth Xm9 � b3 5 b7 9Minor Eleventh Xm�� � b3 5 b7 9 ��Minor Thirteenth Xm�3 � b3 5 b7 9 (��) �3Major Ninth XMaj9 � 3 5 7 9Major Eleventh XMaj�� � 3 5 7 9 ��Major Thirteenth XMaj�3 � 3 5 7 9 (��) �3
These are just some, any chord can be extended
Chord Alterations (5, 9, 11, 13)Sharp Nine X#9 � 3 5 b7 #9Flat Nine X(b9) � 3 5 b7 b9Sharp Eleventh X#�� � 3 5 b7 9 #��Sharp Thirteenth X#�3 � 3 5 b7 9 (��) #�3Major Seven Flat Five XMaj7b5 � 3 b5 7
These are just some, any chord can be altered
The 5 main chord types are:1. Major2. Minor 3. Dominant Seventh 4. Diminished 5. Half Diminished
MAJOR: Major, Sixth, Major Seventh, Major Ninth, Major Eleventh, Major Thirteenth, any of these with suspended or augmented, sharp eleven (flat five)
MINOR: Minor, Minor Seventh, Minor Sixth, Minor Major Seventh, any of these with suspended or augmented (rare)
DOMINANT SEVENTH: Dominant Seventh, Ninth, Eleventh, Thirteenth, any of
these with suspended or augmented (common)
DIMINISHED: Diminished, Diminished Seventh
HALF DIMINISHED: Minor Seventh Flat Fifth
Any Major, Minor, or Dominant Seventh chord can have alterations, but these are most common on the Dominant Seventh. These alterations are b5 and #5, b9 and #9, #��, b�3 and #�3.
Appendix 2Mandolin - Violin Note Names
Fret String Name
# G D A E � G#/Ab D#/Eb A#/Bb F 2 A E B F#/Gb 3 A#/Bb F C G 4 B F#/Gb C#/Db G#/Ab 5 C G D A 6 C#/Db G#/Ab D#/Eb A#/Bb7 D A E B 8 D#/Eb A#/Bb F C9 E B F#/Gb C#/Db�0 F C G D �� F#/Gb C#/Db G#/Ab D#/Eb�2 G D A E �3 G#/Ab D#/Eb A#/Bb F �4 A E B F#/Gb �5 A#/Bb F C G �6 B F#/Gb C#/Db G#/Ab �7 C G D A
Appendix 3Two Octave Major Scales
Two Octave Major Scale
One Octave � 2 3 4 5 6 7 � 2 3 4 5 6 7 �Two Octaves � 2 3 4 5 6 7 8 9 �0 �� �2 �3 �4 �5Key of C C D E F G A B C D E F G A B CKey of F F G A Bb C D E F G A Bb C D E F
Two Octaves � 2 3 4 5 6 7 8 9 �0 �� �2 �3 �4 �5 Key of Bb Bb C D Eb F G A Bb C D Eb F G A BbKey of Eb Eb F G Ab Bb C D Eb F G Ab Bb C D Eb
Two Octaves � 2 3 4 5 6 7 8 9 �0 �� �2 �3 �4 �5Key of Ab Ab Bb C Db Eb F G Ab Bb C Db Eb F G AbKey of Db Db Eb F Gb Ab Bb C Db Eb F Gb Ab Bb C Db
Two Octaves � 2 3 4 5 6 7 8 9 �0 �� �2 �3 �4 �5Key of Gb Gb Ab Bb Cb Db Eb F Gb Ab Bb Cb Db Eb F GbKey of B B C# D# E F# G# A# B C# D# E F# G# A# B
Two Octaves � 2 3 4 5 6 7 8 9 �0 �� �2 �3 �4 �5 Key of E E F# G# A B C# D# E F# G# A B C# D# E Key of A A B C# D E F# G# A B C# D E F# G# A
Two Octaves � 2 3 4 5 6 7 8 9 �0 �� �2 �3 �4 �5 Key of D D E F# G A B C# D E F# G A B C# DKey of G G A B C D E F# G A B C D E F# G
Appendix 4Blank Fingerboard Charts
Appendix 5 PDF Books by Pete MartinDownload and try for free at:www.petimarpress.com
Bebob Mandolin: Target Notes and Chromatic Approaches Explains Target and Approach notes and how to get this fundamental Bebop sound into your improvising. Music and tab.
Bebop Scales for Mandolin and Violin Learn and practice the scales commonly used bu Jazz players in thre Bebop era.
Jazz Chording for Mandolin A comprehensive look at chords for Jazz (Swing, Bebop, Post Bebop) Mandolin
Mandolin and Fiddle Improvisation Using the Chord Tone Scale Looks at developing ideas for improvising in a non Jazz setting (Bluegrass, Fiddle tunes,
etc.), Music and tab.
Easy Music Theory For Fiddle and Mandolin A good introduction for players who know no theory but want to learn. Music and tab.
Texas Style Fiddle Tunes for Mandolin Tunes from this great fiddlin’ style arranged for mandolin players. Music and tab.
Oldtime Tunes for Fiddle and Mandolin, Volume � 50 common fiddle tunes. Music and tab.
Oldtime Tunes for Fiddle and Mandolin, Volume 2 50 less common fiddle tunes. Music and tab.
Texas Style Fiddle Transcriptions, Volume � 21 note for note versions as played by top Texas style fiddlers. Music notation only.
Texas Style Fiddle Transcriptions, Volume 2 18 more note for note versions as played by top Texas style fiddlers. Music notation only.
Benny Thomasson Fiddle Transcriptions17 tunes as played by the legendary Texas fiddler. Music notation only.
Appendix 5 PDF Books by Pete MartinDownload and try for free at:www.petimarpress.com
Bebob Mandolin: Target Notes and Chromatic Approaches Explains Target and Approach notes and how to get this fundamental Bebop sound into your improvising. Music and tab.
Jazz Chording for Mandolin A comprehensive look at chords for Jazz (Swing, Bebop, Post Bebop) Mandolin
Mandolin and Fiddle Improvisation Using the Chord Tone Scale Looks at developing ideas for improvising in a non Jazz setting (Bluegrass, Fiddle tunes,
etc.), Music and tab.
Easy Music Theory For Fiddle and Mandolin A good introduction for players who know no theory but want to learn. Music and tab.
Texas Style Fiddle Tunes for Mandolin Tunes from this great fiddlin’ style arranged for mandolin players. Music and tab.
Oldtime Tunes for Fiddle and Mandolin, Volume � 50 common fiddle tunes. Music and tab.
Oldtime Tunes for Fiddle and Mandolin, Volume 2 50 less common fiddle tunes. Music and tab.
Texas Style Fiddle Transcriptions, Volume � 21 note for note versions as played by top Texas style fiddlers. Music notation only.
Texas Style Fiddle Transcriptions, Volume 2 18 more note for note versions as played by top Texas style fiddlers. Music notation only.
Benny Thomasson Fiddle Transcriptions17 tunes as played by the legendary Texas fiddler. Music notation only.
Materials For Further StudyChord Study
How To Comp: A Study of Jazz Accompaniment by Hal Crook A comprehensive chord study text – highly recommended!!http://aebersold.com/Merchant2/merchant.mvc?Screen=PROD&Product_Code=HTC&Category_Code=PIAVOI
Hearin’ The Changes by Jerry Coker, Bob Knapp, Larry Vincent How to learn chord changes by earhttp://aebersold.com/Merchant2/merchant.mvc?Screen=PROD&Product_Code=HEAR&Category_Code=JERCOKBOO
Improvising Jazz by Jerry Coker Especially good is appendix C and D where he looks at various chord progressions common to the musichttp://www.amazon.com/Improvising-Jazz-Fireside-Jerry-Coker/dp/067�62829�
Music TheoryJazz Theory by Mark Levine A comprehensive theory text – highly recommended!!http://www.shermusic.com/new/�8832�7040.shtml
General Jazz Informationhttp://www.jazzstandards.com/compositions/index.htmA list of �000 Jazz standards, ranked in order of importance.
Fake BooksThe Real Book, Volumes �-3http://www.amazon.com/s/ref=nb_ss_b?url=search-alias%3Dstripbooks&field-keywords=real+book&x=0&y=0
The New Real Book, Volumes �-3http://www.shermusic.com/new/096�470�43.shtml
Play Along Books and SoftwareJamey Aebersold Play Along Recordingshttp://www.aebersold.comA ton of great suff here for all levels of players.
Band in a Boxhttp://www.band-in-a-box.com/Play along software. Type in chords, pick a backup style (a lot of good Jazz styles) and it generates the backup band. Change tempo, key, etc. Terrific and highly recommended!!!!