jerry bergonzi - melodic line-1
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tD
lrack
List
TRAff
TUNI
(
INSTRUMENTS-PAGE
BbINSTRUMENTS-PAGE
E'INSTRUMENTS-PAGE
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Introduction
Adding
chromatic
passing tones
between
specific
tones
of the
diatonic
scale
is
a
device
that musi-
cians often
use. This technique helps to make the scale sound
harmonically right
or consistent with
the
chord.
These
scales
are sometimes called bebop scales. I
think
of
them
as
jazz
scales because
many
of
my favorite
jazzplayers
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 pracrical
approach
to
chromaticism,
line
playing,
voice
leading,
and
to
learning
and
integrating
bop scales
into
one's
playing.
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thapter
l,
Major
and
Dominant
Bebop
5cales
Bebop
scales
are
chord
scales
with
added
chromatic
passing tones.
They
are created
by interjecting
one
or
more
nondiatonic
passing
tones
into
the chord
scales.
When
these
passing
notes
are
added
to
the diatonic
chord
scale
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,,
passing
tone
is added
between
the
fifth
and
sixth
notes
of
a
C
major
scale.
Bop
scales
can
be
used
as
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
iead
the
scale
making
the
line
sound
just
like
the
chord.
You
should
start
a major
bop
scale
on
root,
third,
fifth,
or
sixth
to
insure
this
result
of
voice
leading
the
chord.
If
you
start
the
scale
on
second,
fourth,
b5th,
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:
Fnou
rsr
noot:
Fnou
rur
3no:
Fnov
rHE
5ru:
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(I]APTtR
I
Fnorr
rne 6ru:
Fnou rnr
zNo:
The
added
note
for G7
is
Ffl
(Gh)
include
this
passing tone the down
ftfth,
or
blth.
G7 sranrrNc
oN
THE
Roor:
The following
example spells
the
C
major
bop scale
starting
on the
second step.
The
down
beats
then become D,8,.^b,
and
B
which
describes a D
diminished
or a G7b9 sound rather
than
a
C
major.
There are ways
to
start
the scale
from
any note
but this
will
be discussed
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 extia
note between
the
root
and
the dominant
seventh. The
following
example spells
out
a G7 bop
scale
starting
on the root:
the major
seventh,
but it
is
used
as
a
passing
tone.
\\-he::..--::
beats
again spell out the chord.
Start
the
scale on
the root.
::-::j
G7
srenuNc
oN rHE
JRD:
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MIJOR
AllD DOI.lI|lAllT BTBOP
I(Itii
G7 sranrrNc oN THE
5TH:
G7
srenuNc
oN rur
bTrH:
If
you
start the scale
from
the 2nd,
4th,6th,
or
major 7th
scale step,
the
line
sounds
baclcrnrards.
The following
example spells
the
G7
bop scale
starting
on
the 6th. This line sounds more
lile an
Fflo
or a
D7
than
aG7.
G7
srenuNc
rnov
rHr
6rH
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
correct
starting
note but
play
it on the up beat the
line
will again sound
like a different
chord.
ExarvrruE
-
G7
G7 nacxwanos
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(I]IPTtR
I
The
first practice
assignment
is
to
play
through
the following
progression (A
and
B)
with bop
scales
starting
on the
root
descending.
Play full
octaves
of the scale
for
each chord
change as
in
the
following
example:
A. Root descending
c69
With
that
same
rhythmic pattern
play
through
the progression
using
the
following
starting
notes
and directions:
B. Root
ascending
C.
3rd
descending
Exalrprr:
c69
D. 3rd ascending
E. 5th descending
F.
5th
ascending
G.
6th
(if
chord is
major)
or
7th
(if
chord is
dominant)
descending
H.
5th
(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
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|'1Al0R
Al]D
001,1illAilT
BtB0i
i-r-,
W
YW&XW
&;
PR0GRtSSI0N
lA
(C
INSTRUMENTS)
&
TW&^qW
&;
PR0GRESSI0N
lB
((
INSTRUMTNTS)
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illt?ttI I
&
TK&{K
PROGRESSION
IA
(Bb
INSIRUMENIS)
.
sbo9
Eb7
tbo9
obz
aboe
B7
to9
A7
*
Tn&(K
PROGRESSION
IB
(Bb
INSIRUMENIS)
:
Ro9
D7
co9
C7
ra9
sbz
rlo9
tbz
a4
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MAJOR
A|lD DOI,lIIIAIIT BTBOP
I(ILt5
*
TeSaK 3: PR0GRESSI0N
lB
(Eb
INSTRUMTNTS)
&
Ym&(K
PROGRESSION
IB
(Eb
INSIRUMENIS}
:
a5
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Ihapte
tl',
and
DomlbebtJ
onic
Minor
Bop
5cales
C-59
uslNc
B NuuRaL:
C-69
usrNc Bh:
GTbobtz
In
a
minor
key
the
tonic
minor
6th
chord
(I-69)
and
thgy7b9b13
chord
use
the
same
passing
tone
as the
IA
andYT of a
major
key. For
example,
as
with
a CA bop
scale
the
tonic
minor
or
C-59
bo
scale
uses
a
passing
tone
between
the
5th
and
5th notes
of the
scale.
Again you
must
start
the
scal
on the
7,3,5,
or 6. There
are
two
options
for
spelling
the
tonic
minor
scale,
that
is
with
a major
f
t
or ab7th.
On
a
C-69
chord scale
you
can use
either
B
natural
or
Bb
since
the 7th is
on an
upbeat.
G7b9b73 is
treated the
same as a
G7 chord
in that
the passing
tone
is between
the
root
and Itn
:: ::
scale.
Again, start
the scale
on the 1,
3, 5,
or
7.
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I011l( f4il0R AilD D0ilIbebll00t
t(lttt
Exarupm
The
next
practice
assignment
is
to
play
through
progression
2
(A
and B) a full octave
of
each bop
scale
starting
on the
following
notes:
A.
From the
root
descending:
(Use
either
of the
tonic
minor
scales and use the same
rhythmic pattern
as with
assignment
1.)
,rbefis
-69
or
C-69
,rbebts
B. From the
root
ascending
C. From the 3rd descending
D.
From the 3rd
ascending
E. From the
5th
descending
F.
From the
5th
ascending
G.
From the
5th
(for
-6
chord) and
7th
(for
Dom7beh13)
descending
H. From the
6th
(for
-6
chord) and
7th
(for
Dom7b9b13)
ascending
I. Random choices
for starting notes descending
or
ascending
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(I]APTtR
I
W
YW&{"W
%:
PR0GRESSI0N
2A
(C
INSTRUMENTS)
F7beb1
tb-oe
eS7b9b13
Fil-69
,rbefis
orbob
"rbebt
W
YW#-{"M
&;
PR0GRESSI0N
2B
(C
INSTRUMENTS)
G-69
c7b9b13
r-d9
sgrbebl3
ssrbebt
rybeAs
r8
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T0|1l(
Iltl,l0t
ill0 D0t47berlrB0p
t(AL$
)
Til&(K
5: PR0GRESSI0N
2A
(Bb
INSTRUMENIS)
D-69
c-69
rbebt
uo-09
ab-09
sS7beb13
B7b9b13
,
Tfr&{K
&:
PR0GRtSSI0N
2B
(Bb
INSTRUMTNTS)
rXzbebts
A-69 orbobtz
F-69
rb-oe
gTbebts
r9
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i;1iii;
)
TRA(K
5:
PR0GRESSI0N
2A
(Ep
INSIRUttENTS)
W
YW
ffi^{M
PROGRESSION
2B
(Eb
INSTRUMENTS)
;.
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Ihapter
J: Scale Segments Using
5
0r
I
Notes
After
playing
the
exercises
through
progressions 1 and
pattern:
for chapters
7
and
2,
2 and play
just
seven
using
a
whole
octave
of the bop
scale,
now
go
notes
of the
scale with
the following rhythmic
I qr:_r'
Practice with the same specific starting
notes
for assignments 7
and
2
and then
practice
using ran-
dom
starting
notes.
You
are
starting
and
ending
each scale on a chord tone.
Root descending with seven
notes
,rbobtt
c-69 F7b9b13-a9
Next play
seven notes
of
each chord scale on
the following
tune.
When
there is all-7
Y7
in
one
bar
just
use
the dominant
bebop scale for now.
(You
can also
try
just
using
five
notes
of
the
scale)
Use
all
chord tones
for starting
notes ascending
and descending.
1,
3, 5
or 6
for
tonic and 1, 3, 5
or
7
for
dominant.
Example:
lD-7
G7
I
use
G7 bop scale
for
the whole bar.
@
TW&{W:&
l&xIUNE
I ALICE
(C
INSTRUMENTS)
Ea
orbobts
D_7
G7 c-7
G-7
Bb-7
G-7
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(I]APTtR
]
GA
*
XWeW
7l&*
TUNE I
ALTCE
(Bb
INSTRUMENTS)
Ffr,
B7b9b13
E-7
A7
D-7 G7
A-7
D7
A-7
D7
b-z
nbz
GA
*
xes"*W
7
f&z
IUNE
I
ALTCE(Eb INSIRUMENTS)
v/
G-7 c7
r#-7 B7
F-7
Bb7
c-7
L-/
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5(Att
lt6r.1rIlT5
Here are the
first four
bars of the tune
written
out
with
each
starting
note:
Ea c-7
b
r:.:\DI\C
-
--rR
7TH
DTscENDTNG (5 ron
MAIoR,
T
ron oovtNeNr):
DR
ZrH
ASCENDTNG
(5
ron
MAJoR/
7
ron oolrrNeNr):
23
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(I]APTtR
]
RaNoolr
cHorcE:
3J
7
J
A
ATbebt3
5J G7
3l
ril7
sl
orbebts
Ea
F^
3J
Practice
this
for
hundreds
of
choruses
so
that you
get
the
sound in your
ear and it
becomes
some-
thing
that
you
can do
in
"auto
pilot"
Here is
another
tune to practice
with:
Again,
remember that
if
there
is
alr_7
Y7 in
one
bar
just
use the
v7
scale
for
now.
Ploy: FA
FA
G7
D-7
F7
c-7
7b9b13
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5(ALi
5t6|4iltT5
*
YW&{W
w/&ffir
IUNE
2
SPRTNG
t0y
(C
INSTRUMENTS)
,rbobtt
B>7
1S7beb13
orbefis
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(I]APTtR
]
E7b9b13
Bb-7
,rbefis
-7
AA
A-7
D7
GA
G-7
C7
GA
A-7
F7
7
GA
c-7
I
E7b9b13
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lutt
St6tlt}.1Il
*'
T&e(K
S/r
TUNE
2
SPRING
IOY
(Eb
INSTRUMENTS)
z
,rbefis
G-7
F-7
E-7
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pationhapte
t
lr',1]
arrnonic
Antici
The
next
step
is
to
anticipate the
harmonic
changes
of
the
tune by
bop
scale one
beat
early.
As
in
the
following
example
you
begin
fourth
beat
of the preceding
measure.
starting the seven notes
of
the
playing
each
bop
scale
on
the
Exauprr:
On
Spring
Joy
-
root
descending
-
one
beat early
Exauprr:
sb-t
Play
through
the previous
progressions
and
tunes
from
chapters
1-3
using
all
of the
specific
start-
ing notes
and
begin
each scale
one
beat early.
Then
try
playing
random
staring
notes
one beat
early.
You
can
take
this another
step further
and
play
the
seven
notes of
the
bop
scale
two
beats
early.
First
try specific
starting
notes
such
as
five
ascending
and then
try
using random
starting
notes.
Anticipating
the
harmony
takes
some
getting
used
to but
it allows
you
to
practice
hearing
what,s
coming
up.
It
gives
the improviser harmonic
command.
Anticipating
the
harmony
is
a
device
that
can
be used
not
only with
bop scales
but
with
all meiodies.
The
following
is
an example
of
using
just
five
notes
of the
bebop
scale and
starting
one
beat
early:
On
Spring
Joy
frorn
the
third
descending
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lilRt10|it(
Ail1lIP1r
.
r
Try
using
random
starting
notes
one
beat
early
with
five
notes
of every
bop
scale.
On
Spring
Joy
random
starting
notes
G-7
Bb-7
9rt9bl3
G-7
Taking
it
another
step
furthe4
lowing
example:
try
playing
five
notes
of
each
bop
scale
two
beats
early,
as
in
the
fol-
l,
.,.lrr.:tr
-l
A-7
From
the
root
descending
FA
G-7
Now
try
five
notes
of the
bop
scale
two beats
early
with
random
starting
notes.
G-7
C7
FA
Bb-7
Bb-7
Eb7
Gil_7
-7
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|l
tPltR
1,
Exaupre:
Next
try using five
notes
of the
bop
scales
and
playing
them
one
beat
late.
From
the
third
descending
This
following
example
uses five
notes
of the
scale
one
beat
late
with
random
starting
notes.
G-7
orbefis
Bb-7
A-7
G-7
Gil_7
As
another
exercise try
playing
only
three
notes
of
the
bop
scale,
starting
on
different
beats
from
random
available notes
as
in
the
following
example.
.r-
FA
G-7
C7
+-
FL
Br-7
A-7
D7
---
G-7
-c-
Gfi-7
Finally,
try
mixing
up all
of the preceeding
practice
exercises
using
harmonic
anticipation
or
delay
on the
progressions
and
tunes.
The
following
example
is
on
the tune
Spring
Joy.Keep
in
mind
when
playing
through
this
example
that
there
is
something
wrong
with
the
"whole
picture,,
or
sound.
Playing
only
bebop
scales
which
constantly
repeat
the
sound
of intervals
of
a second
be-
comes
very
one
dimentional.
This
is
truly
just
practicing
scales.
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il
A
R
f40
|1
r(
llj_lllf
,-
.
'
FA
G-7
C7
Bb-7
Eb7
eu
t
fe
ft_
o
f,
,a
17t9
t13
w-/
FA
A;-7
D;7
3r,
A;-7
B-7
A-7
G-7
F-7
G-7
G-7
G-7
G-7
After
playing
the
bebop
scales
from
all of
the
different
beats
try
randomly
using
this
technique
when
improvising
on the tunes
to
get
a feel
for
what
this
is
like.
Anticipating
the
harmony
with
a
scale
or
a line
gives
the
soloist
harmonic
command
and
the
abllity
to hear
what
is coming
up
next.
)L
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IoNreN
DonraN
PunvcraN
LvoreN
MrxorvoreN
[haptQr
5:
Bop
To determine
some
different
scales
for
some of the
other
chord types here
are
the
bop
scale modes
D-Z
Dorion
Scale
Modes
E-7
Phrygion
FA
Lydion
Mixolydion
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B0P 5(ALt tl0Dt5
A-7
Aeolion
xi
--rt
-
-
r:r\
-.r- -l.1PLE
Locrion
Notice
that both
of the
major
scales
start on the
1,3,5,
or 6.
All of the others start
on
the
1, 3, 5,
or
7
.You
can
start
these
scales
from
any of
their
down
beats.
Some scales
may be used
on several chords.
For example,
the
CA scale
is
also
the
same
as the
A-7
Aeolian
scale.
This
scale
could also
be used on a
D-7
chord,
or
an
FA$11,
or
a G7sus4 chord.
The
D-7
Dorian mode
scale
is the
same
as
the
FA
Lydian
mode
scale
and can also be used on
G7sus4.
The E-7 Phrygian
can be
used
on CL,D-7,Ft,
Gl,A-7
and Bo chords.
FA
Lydian is the same
asD-7 and can
be used on G7sus.
The G7
Mixolydian
mode can
be used onD-7,
FA
or
Bo.
A-7
(same
as CA)
can be used on
EL,D-7,
or GZ sus.
Bo can
be used
onG7,
D-7 or
FA.
The
result
of playing one
mode scale
over
another
chord
is
that the
down beats become
different
chord
tones. For
example take
the
E-7
Phrygian mode scale and
play it
over
a CA chord.
On an
E-7
chord the
starting
notes
are E, G,B, and
D
or
1-,3,5, andT
.
BondD
But over
a
CA chord
these
starting
notes are
now the 3, 5, 7,
andg.If
you play the E-7 scale over an
FA
chord, those
starting
notes are
now the7,9,
il11,
and
13.
THr
souND
IS
DETERMTNED
BywHATTHE
IMPROVISER WOULD LIKE TO
HEAR.
Bs
33
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iltApTrR 5
Exalrprr:
Tiy playing
through
progression
1
in
chapter
1
and
use
the
mode
a major
3rd
above
the
chord.
Ur
E-7
over
CA,
use
Bz
over
G7
etc...
Remember
that
E-7
is
Phrygian
over
CA
andBois
Locrian
ovt
c7.
Progression
I
Progression
2
E-7
CA
Bo
G7
B-7
GA
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[hapter
6:
Bop
and
5
ca le
Dom/
Modes
for
Ionic
Minor
bebtJ
Ihords
over
a
C-69
chord
use
a G7
natural
9
and
b13
or
a G-7
Aeolian
bop
scaie.
Here
is
the
G79b13
scale.
Thedownbeatsorstartingnotesforthisscaleare
G,B,D,andFor
7,3,5,andZoveraG7chord.
But
over
a
C-69
chord
those
notes
are the
5,
maj
or 7
,
9
,
and
77.
Here
is the
G-7
Aeolian
scale:
The
starting
notes
or
downbeats
are
1,3,5,
and 7
on
aG-7
chord
but
they
are
5,7,9,
and
11
on
a
C-69
chord.
I
3
5
TonG-7
5
7
9
llonC-69
There
are
many
different
bebop
scales
to play
over
a
dominant
7th
chord.
Each
one
gives
a
unique
sound
to
the
melodic
line
because
they
have
different
downbeats.
For
example
over
u
67b9brs
.6o.4
you
can
use
aBb7b9
bop
scale.
7
""8b7
b9
"nG7
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(lilPTil
6
Here is
another
example:
Eb7b73bop
scale
over G7b9b73
Tiy
playing
through
the original
tonic
minor
progression
II
exercise
and
substitute
some
of thes
different
scales
over the chords:
Progression llA
AbTle
o,957b13
Arrn
F79
bl3
Bb-/.q
ES7bebl3
7
""Eb7
fi
1
'lon
GZ
J\q
ot
A7b13
Mrnr
c#zbls
ril-6e
ozbg
or G7b13
;irrl3
,rbts
E-69
c/e
or F7b1
3
A,,rb:r
sTbts
t_F
abzle
o,757b13
Cir;n
36
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B0P l(Att l40Dt5
I0R
T0litt
l,4tl,l0R Al'lD D0t1/bsbll
0t0RD5
Progression llB
,i:
B-69
,rbts
rzbg
o, Bb7b13
;n,rn
-09rbefie
A7213
EbTbe
., 757b13
,rbebts
,rbts
i_{
cv,be
o,ritbl3
B$rr13
-69
stbg
o, E7b13
Airbl3
tzbg
o,D7b13
,7t13
;;P
r1Tbebtt
Before
continuing
on try
using
all
of the
information
presented
thus far
on
this
next tune.
On
the
bridge section
where the chord
changes are D-7 lG7 /E-71
A7
,
use
the Dorian
bop
mode
scale
for
D-7
(II-7)
and the
Phrygian bop mode scale
for E-7
(lIl-7).When
there
is
aII-71Y7
chord
change
in one
bar
use
the dominant bop
scale
for
both
chords.
For
example
over
Bb-7lEb7
iust
use
Eb7
scale.
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(I]IPTtR
6
s
T$?*rH r
/r
kx
TUNE
3
AFTERNOON
IN
STRASBOURG
((
INSTRUMENTS)
il-7
D-7
3E
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B0p 5(ALt
l,10Dt5
t0R
T0|1l( l,lt|l0R
tl.lD D0tl/'ebB
ili0RD
*
Ywe{"w
xx
/x
?;
TUNE
3 I
FTERN00N
tN
STRASB0URG
(Bh
tNSTRUMENTs)
3:-\
D-7
Ea A7b9b13
c-7
-7
=7
A7
lt-7
rfr-7
B7b9b13
e
B-\
B-7
E7
Eb-7
AA
Ab7
cfr-7
A-7
D7
t
Gr
G-7
C7 Fil_7
B7
E-7 A7
a
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(I]APItR
6
W
YWeqK
XX
/3Kz
TUNE
3 l|TERN|0N
tN
SIRASB0UR6
(Eb
INSTRUMENTS)
A-7
rybebtt
|-7
B-7
Fil^
ril-7 B7
EA
E-7
A7
D-7
40
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the 9th
hapter
l', Bop
5ca
ES
5tarting
0l.|
So
far we
have discussed
starting
the
bop
scales
on
the
1,
3, 5,
or
6
for tonic
chords and
the
7,3,5,
and 7
for
dominant
chords.
Using the
bop modes
has
given
us the opportunity
to
start the bop
scale on some of the
other
notes. For example,
when we play
the
E-7
Phrygian
bop scale
over
a
CA
chord, it gives
us the
option
to use the notes B and D
as
starting
notes
on the CA chord.
Here is
another method
for starting
a bop
scale
from any
degree of the scale.
Simply start
the bop
scale
on any of the remaining
degrees
of the
scale and use
it as
an approach note to
the
"initial
above"
starting
note options. The
first
such
note to
work with
is
the 9th.
If you
begin
a
major
bebop scale
from
the 9th you
can
play
a
double
chromatic
approach
from
above descending
to
the
root
or tonic of the
scale or you can play
a double
chromatic
approach
ascending to the
third
of the scale.
9 descending
to
1
Notice
that
once
you hit
the note
C
you
continue
playing
the appropriate major
bebop scale.
9 ascending to
3
Notice
that
once
you
hit
the
note
E you
continue playing
the appropriate
major
bebop scale. As
in
both of the
above examples once you hit
the
circled note or target note
than
continue the line with
the
appropriate
bebop scale. Also note that if you were
to
continue the
bebop scale
beyond
one
octave
you
can remain on the
original scale
once
you've
contacted it.
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(I]APTtR
/
The
following
examples spell out bebop
scales
starting
on the 9
for
different
chord
types. The
circ-
led note indicates
where the initial bebop
scale begins.
,rbebts
Note
that
on
this
note
B) is added
approaches to the
Iast example
for C7b9b73, when
the scale goes over
an octave,
the major 7th
(the
as
usual in the
dominant
bebop
scale. The
starting notes,
Dh
to C, are
scale
Bb
where the initial scale then
begins.
6-A
Notice
here on the ascending
line
that
the
initial
bop
scale is
not
started
until
you
reach the fifth
oi
the chord.
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B0P
5(AIt5
STtRT[i6
0tl
Tlit
9Til
C-7
Doriqn
C-Z
Aeolion
C-Z
Phrygion
Go over
all of the
tunes
and progressions
we
have
used
thus far
and
begin
bebop
scales
from
the
9th.
add
the
following
tune to the
list
For
the
following
tune
use
the
Dorian
bop scale
when
there
is
a minor
Zth chord
for
a whole
bar.
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tlltPttR
/
&
?ffi&6ffi
r&/\4;
TUNE
4
HAZy
EtRG
lC
TNSTRUMENTS)
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BOP
I(ALt5
5TIRTIl.l6
O|] ]I]t 91I]
B-7
W
TWe{"w
ryef
e&zIUNE
4
HAZY
B\RG
(Bb
INSTRUMTNTS)
E7
D-7
G7
G-7
c7
e
:\
B_7
E7
{l
-.
7
r#7
c-7
3-7
Eb7
a-7
D-7
G-7
B-7
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(IIAPTtR
/
*
YW&*W
Ve/X4:
IUNE
4
HAZ\
B|RG
lEb
TNSTRUMENTS)
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B0P
5(ALt5
51IRTt]'t6
0|l Tilt
9Tll
Here
is tune
4 bebop
scales
starting
from
the 9th
written
out:
Tune
4
slorling
on
the 9th
A-7 D7
C-7
F-7
A-7
Dt7
c*7
F-7
A-7
a-7
t)-/
Bb-7
A-7
Ab-7
Db7
c-7
F-7
A-7
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Ihapter
B:
Bop Scales
Starting
orr
the llth
The
following
examples
show how
to
start
a
bop
scale
on the 11th
for
the
different
chord
types.
As
in the
preceding chapter
the
circled
note marks the
point
at
which
the
"initial"
bebop
scale begins.
c-09
48
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B0P
5(Atr5
5TARTtIl6 0|1
Tltt
ltTll
,rbefit
cl#l
I
c2fr11
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(I]APTtR
B
c-7
Try starting
bop scales
on the 11th
on
this
new
tune:
W
YWe*W
3%a TUNE
5
FALL
t0LlAGE
((
INSTRUMENTS)
thA
7
7
B-7
orbefis
thA
7
7
B-7
-7
,rbobtt
D7b9b13
,rbebts
5o
D7b9b13
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B0P
tAL[
5TARTIl.16
0N ]ltt ll1u
Try
starting
bop
scales
on the 11th on this
new tune:
W
YWe{W
3
%z T UNE
5
FALL
t0LlAGE
(Bb
INSIRUMENTS)
,rbefit
A_A
,rbebte
E7beb13
D-7
c-7
F7
Ba E7b9b13
A-7 D7
G-7
C7
E7b9b13
4-A
51
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(I]APTtR
B
Try
starting
bop scales on the 11th on
this
new
tune:
W
YW&*W 3
%z
T
UNE
5
FALL
t0LlAGE
(Eb
INSTRUMENTS)
rrbebts
Fila ,rbefit
g-A
rrbebts
A-7
G-7 ,rbebts
rrbebtt
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B0P
5iALt5
5lARTt|]6
0N
Tltt
ll1u
Here
are the
bop scales
starting
on the 11th
for
tune
5
written
out:
c-7
r[l#1
I
,rbebts
c-7
B-7
D7b9b13
G_A
,rbobtt
G_A
c-7
Bb-7
orbebts
G-7
F-7
orbefiz
s_A
5l
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Ihapter
9:
Bop
Scales
5tarting
orr
the
llth
The
13
or the 6 is already
a starting
note
for
major
and
tonic
minor
chords.
The following
examples
spell
out
bop scales
starting
on 13th
for
the
remaining
chord
types.
Remember
that
the
circled
note
marks
where
to begin
the initial
bop
scale.
G7
n=bgb13
v/
G-Z
Dorion
G-Z
Aeolion
G-Z
Phrygion
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B0P
5(Attl
llARTt|l6
0|l Tflt l]Ill
Bop
scales
starting
on
7th
for major
and
tonic
minor
chords.
6-A
In
this last example,
ascending
from
the 7th
on tonic
minol,
notice
how long
it
takes before
you can
begin the
initial
bebop scale.
Try
starting
bop scales
on
the 13th or
h13th
on
the next tune. For
major
chords
start
on
the
7th
to
mix
it up a
bit.
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(IiAPTIR
g
,rbelts
Ga
,rbefis
F-7
F
-/Eb
"rbebt
c-7
Eb-7
Ab7
D-7
G7
,rbebt
F-7
F
_/Eb
^
-b9b1
3
v/
55
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B0P
l(ALtS 5lARItl.16
0N
Tltt
llTll
W
YW&qW
3e
/ryXr
TUNE
6
15
THIS
THING
(,ALLED
L|VE?
lBb
INSTRUMtNIS)
,rbebtz
G-7
orbobts
,rbebts
G-7
D-7
F-7
E-7
,rbebts
G-7
57
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(lilpTtR
g
W
XWE{M
3E/XXI
TUNE
6 /S
THIS
THING
(ALLED
LOVE?
(Eb
INsIRUMENTs)
A-7
c-7
5E
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BOP
5(Att5
5tARTl|l6
0|l Tltt
llill
Here
are bop
scales starting
on 13th
or
7th
for
tonic
chords
on
tune
6:
,rbebtt
F
-/Eb
G7b9b13
,rbefis
F_A
F
_/Eb
^
=bgb1
3
\t/
CA
c-7
Eb-7
D-7
,rbobts
F
_/Eb
c7b9b13
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IIIAPITR
9
For the
next
assignment
play
through
tune
7
and
start
bop
scales
on every
scale
degree
both