, describing a technique Charlie Parker and other bebop players used to make those long, never-ending bebop lines. Today it’s unthinkable for a jazz musician to not at least speak a bit of the bebop language and the bebop scale is a good place to get you started.
In this lesson, you will learn what the bebop scales are, how they look on the guitar, and how you can use these scales in your solos.
The bebop scale is an octatonic scale, which means it has 8 notes. It is formed by adding a chromatic passing note to heptatonic (7-note) scales such as the Mixolydian, Dorian, and Ionan modes.
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The Dominant Bebop Scale Although there are several kinds of bebop scales, the dominant bebop scale is what is normally referred to as “The Bebop Scale”.
Here is a comparison between the Mixolydian scale and the dominant bebop scale. The note that is added to the G Mixolydian scale is the 7 (F#). I reversed the scale in the diagram because that is how the bebop scale is usually played.
If I play the G Mixolydian scale descending, starting on a downbeat, you will notice that the chord tones of G7 fall on the upbeats (except for the first one):
The Dominant Bebop Scale
Here I play the G bebop scale descending, starting on a downbeat. Notice how all chord tones of G7 fall on downbeats. As a result, the 3 and b7 of the G7 chord are emphasized:
Remember that you don’t have to start the bebop scale from the root. You can start this scale from the 1, 3, 5 or b7. You don’t have to play the entire scale as well, it’s ok to use fragments of the scale in your solos.
These first two positions are the basic positions of the scale and are the best to get you started. Needless to say, you can play the bebop scale in any position you want. Try taking any Mixolydian scale fingering you know and adding the passing maj7 interval to create a bebop scale fingering.
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Here is a very convenient way to play the bebop scale on guitar (descending). It involves some slides to reposition your fingers.
To help you take the bebop scale from the technical side of your practice routine to the improvisational, here are 5 classic jazz guitar licks that use the bebop scale in various situations.
Try working these licks in 12 keys around the fretboard, at various tempos, as well as apply them to any tune you are working as you bring these phrases into your jazz guitar vocabulary.
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This minor bebop scale is directly related to the Dorian Scale, and therefore you can use it to solo over any m7 chord in a jazz standard, including Im7 chords and iim7 chords.
When first working on this scale in your studies, try putting on a static m7 chord vamp and soloing over that chord with the minor bebop scale. From there, try soloing over tunes such as So What,
The minor bebop scale works best descending, though with practice you can apply it to your lines both ascending and descending through the scale.
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There is a second form of the minor bebop scale, which features a chromatic note (F#) between the b3 and 4. This scale is actually a mode of the dominant bebop scale and has all the same notes. For example: D minor bebop (second form) = G dominant bebop.
Here is the D minor bebop scale on the fretboard for you to work in 12 keys as you take this scale from the theoretical to the practical.
There are two fingerings provided, one with the root on the 6th string and one with the root on the 5th string.
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To help you take the minor bebop scale from the technical side of your practicing to the improvisational side of your routine, here are 5 minor bebop scale licks that you can use to solo with this scale over a number of musical situations.
Try working these minor bebop scale licks in 12 keys around the fretboard, at various tempos, as well as apply them to any chord progressions or jazz standards that you are working on as you integrate these phrases into your jazz guitar vocabulary.
Though not as commonly used as its minor and dominant cousins, the major bebop scale can be used to add a bebop sound to your major family soloing lines and phrases.
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Adding the major bebop scale to your repertoire will allow you to bring a sense of tension and release to your maj7, maj9, and maj6 soloing phrases.
This major bebop scale is directly related to the Major Scale. Because of this, you can use the major bebop scale to solo over any maj7 chord in your jazz guitar solos.
The major bebop scale works best descending, though with practice you can apply it to your lines both ascending and descending through the scale.
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Here are two fingerings for the C major bebop scale that you can use to get this important sound onto your fretboard.
After you have worked out one or both of these major bebop scales, try putting on a maj7 backing track in any key and use either of these fingerings to solo over the backing track.
These two positions are will get you started with the major bebop scale, but it is important to take them further in your practice routine.
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To do this, take any major scale fingering you already know, add the b6 passing tone to those scales, and voila, you’ve created new major bebop scale fingerings to use in your soloing ideas and phrases.
To help you take the major bebop scale from the technical side of your woodshedding to the improvisational side, here are 5 major bebop scale licks that you can learn in 12 keys, and add to your maj7 soloing ideas and phrases in the practice room.
Try working these major bebop scale licks through different tempos, as well as apply them to any chord progressions or jazz standards that you are working on in order to fully integrate these major bebop lines into your vocabulary.
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The bebop Lydian scale is a variation of the more common dominant bebop scale. It is formed by adding a chromatic passing note between the 1 and b7 of the Lydian dominant scale (one of the melodic minor modes).
The bebop Lydian scale can be used on dominant chords with a #11, such as the dominant chords of a tritone substitution.
For example: a normal V-I in C major is G7-Cmaj7. By doing a tritone substitution, we exchange the G7 for a Db7. That Db7 has a #11 and is a good place to play the Lydian bebop scale.Bebop is one of the most exciting, engaging, and popular jazz styles, and has captivated guitarists for decades. Though you may dig the bebop sound and want to learn to play it on guitar, it’s easy to be overwhelmed and not know where to start in your practicing. To help you explore bebop sounds in your playing, without the stress, this lesson teaches you the essential first steps in beginning bebop guitar.
Bb Mixolydian Bebop Guitar Scale
In the early 1940s, a new jazz style emerged from the displeasure some jazz musicians had with the commercialism of swing music.
Musicians like saxophonist Charlie Parker, trumpet player Dizzy Gillespie, pianist Thelonious Monk, and other young jazz players reacted against the big dance bands by playing a kind of music characterized by advanced harmonies, frantic tempos, rhythmic intricacies and long improvisations. They were more interested in developing the technical aspects of music and increasing its aesthetic qualities, rather than enlarging their audience and wallets.
There is much to be learned out of bebop today. Every jazz musician should be familiar with its language and techniques. This tutorial will help you to start learning bebop, we’ll have look at the concepts, vocabulary, scales, and techniques that are typical for this popular jazz style.
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Before you dive into learning how to play bebop guitar, here are 10 tunes to get the bebop sound into your ears.
If you wanted to learn a language but didn’t know what that language sounded like, it’d be tough to learn. It’s the same with learning a musical language such as bebop.
As you work on bebop concepts, spend time each day listening to bebop in order to understand the sounds you’re aiming for in your practicing and performing.
Major Bebop Scale
Before bebop, improvisations were based on the melody of a tune. A bebop improvisation is based on the harmony of a tune with little or no reference to the original melody. A bebop improviser should be able to outline a tune’s harmony in his solos. When you listen to a bebop improvisation and you would take away the accompaniment, you can still hear the chords of the standard in the improvised lines.
A way of doing this is by putting emphasis on the chord tones. To be able to do this you should know your chord arpeggios very well in all positions on the neck. Another thing that can help you outline the harmony is voice leading.
You don’t always play arpeggios up and scales down, but this is an
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