![]() 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. Figure and audio example 9e is an example from the b7 of the E minor: Ascend the arpeggio from b7 to b3, descend the bebop scale.Ĭhromatically approach the 5th of the A7 chord (E) Ascend the Bb diminished arpeggio to the 5th again and descend to the 5th of the D major 7 chord. How can you be creative with this important concept? I’ve given you one or two examples for each arpeggio tone but I expect you’re anxious to create your own lines and make your own playing unique and fluid. It is an important stage to learn and play the lines above with confidence as they’re a great place to start. There is a reason I have written out the theory behind the construction of the lines it’s so you understand what’s happening technically to help develop your own voice. Have patience and determination to learn and understand these lines before embarking on your own voyage of discovery. Bebop guitar etudes example 3 is a variation of the first exercise and the pattern is 3, R, 5, 7. When I was writing these ideas I sat with my guitar and said to myself ‘ok what happens when I ascend 4 notes up an arpeggio and descend a bebop scale?’ Then I spent some time figuring out some lines. This bebop exercise works particularly well as a warm up because it features a 4 th interval which can be tricky to apply all over the guitar neck. ![]() Even if jazz isn’t your bag, learning a few of these licks will undoubtedly open your eyes, ears, and fingers.The fingerings in the last bar begin to get tough so if you are finding them. Parker could logically dissect jazz harmony and improvise some of the most engaging and beautiful melodies every created. While Parker’s vocabulary doesn’t lay as easily on the fretboard as a Led Zep riff or a Clapton solo, it does offer a glimpse into the mind of a harmonic master. This B natural is played as a passing tone on an upbeat so that the tonic (C) and b7 (Bb) can appear as downbeat notes, exactly as done here. In the key of C, instead of the usual seven notes, a B natural is added. Music theorists after Parker would describe this as the “bebop dominant scale,” which is a form of the Mixolydian mode. The use in measure 6 is particularly important. This note isn’t a typical choice by beginning players over a C7 chord, but Parker would use it often, but quite judiciously-either as a neighbor tone to the tonic (measure 5) or as a passing tone (bar 6). The C7 section is interesting because of the note B. ![]()
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