aq781.65 Wis The Musicians Dictionary of Melodic Lines Q otek £ + ote ra = = i 2 LesWise Ea 824 Jazz Ideas for All Instruments SS ae bt tp es +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., IIm7 V7 Imaj7 and turn arounds. i.e., Imaj7 VI7 IIm7 V7.) All the 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 IIm7 V7 Imaj7 section of the book the melodic ideas are grouped according to the starting note of the IIm7 chord (the root of a Dm7 chord is D, the b3rd is 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 IIm7 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. ‘> SENTENCE Dw» Guat —— ro ete t+ + 2 oe Sz oePARAGRAPH ‘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 RootMAJOR IDEAS Starting on the Root CMaj.7 t Cmaj.7 SSS esl maj Coes ———— pees SES aaae CMaj7 GMa}. tt eo CMaj7 SS] ==— = CMaj.? £ pr f Se Cmaj.7 £MAJOR IDEAS Starting on the 3rd CMay.7 Maj Cmaj Cmaj-7 CMaj? CMaj? ae Sr eee ett tee Dp an + . (ef pe SS Sar tres Cmaj.7MAJOR IDEAS Starting on the 3rd CMa? CMmaj? CMsj.7 C Maj Se = Cmaj.1 b fee Sts a MAJOR IDEAS Starting on the 4th or 11th a a E Ep SS CMa.” C MajaMAJOR IDEAS Starting on the 5th Maj? maj E —— —— ae jy se STS maj" Coma. 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CMay.7MINOR IDEAS Starting on the Root Demi. a —. ——————————————_————— oe to > or —_——s Fo — CI 4 ———* FF 3 —MINOR IDEAS Starting on the RootMINOR IDEAS Starting on the b3rd po SS Don.MINOR IDEAS Starting on the b3rdMINOR IDEAS Starting on the 4th or 11thMINOR IDEAS Starting on the 5thMINOR IDEAS Starting on the 5th eo Pt oe 9 SS =e! otMINOR IDEAS Starting on the 6th or 13th MINOR IDEAS Starting on the b7thMINOR IDEAS Starting on the 2nd or 9th oo ee ———————————— or —— a a ———T SaDOMINANT 7th IDEAS Starting on the Root EEE SS SS A A +A Ms SN tN TT TE" 2DOMINANT 7th IDEAS Starting on the 3rdDOMINANT 7th IDEAS Starting on the 5thDOMINANT 7th IDEAS Starting on the 5th GiaDOMINANT 7th IDEAS Starting on the b7thDOMINANT 7th IDEAS Starting on the 6th or 13th es eee ees Sere pet Ete eety Gat.) G7 (alt) ara) Sea ea a aE G Hatt) Gren) att) be be ad as pegs DOMINANT 7th IDEAS Starting on the 2nd or 9th x GT G7 ty et GT (aHy Gr latty Gatty be 6 z @. + e? x +, e oe a 2 ; im é £ oH f Galt) Galt.) Galt)DOMINANT 7th IDEAS Starting on the b5th gat) grat) qrats aS aay H ba Wo tye 4 Gt (aH) qi(att.) Gilat) 5 ae aaa ip ee great) G7.) eran wi eS al pate tage DOMINANT 7th IDEAS Starting on the #5th aa) qian) Gralt) bee iJ SSS re ‘te : é H grat) ger alt) Qraty ——s Ln a a Peay fee ete He peel gait) a Gilat Guat.) ano a SS 4 Pepe sepia Po ee ims oo Gilat) Gian) Gilatty ' te £» , ee PaaS i ¥ bros F beDOMINANT 7th IDEAS Starting on the b9th Gist) b qiait) be gat) b ee io be rte b. 4 b GT Gt) G7 (ae) b G7 (alt) DOMINANT 7th IDEAS Starting on the #9th iS (at) Ea at e (ath) be : f be e Lbs pea SoS Gait.) Gait) b SN b G7 (att) be b G7 fatty gras) b Gi (att) G1 (alt) Galt) behebe bo bahet toe re Lhe , = eee fifi eaeIIm7 V7 Imaj7 Starting on the Root of the IIm7 chord The following Ilm7 V7 Imaj7 ideas are in groups of threes because they utilize a common IIm7 chord idea.IIm7 V7 Imaj7 Starting on the Root of the IIm7 chord Dw c_rialt.) cMaj7 ol fence 4 am is 7 ES (| ere eg Ne FS At ae sa ago tea he a a — y eo ee eee eee oS eee oe SSm7 V7 Imaj7 Starting on the Root of the IIm7 chord (4 b er — 7s te raem7 V7 Imaj7 Starting on the Root of the IIm7 chord rT a a a |m7 V7 Imaj7 Starting on the Root of the IIm7 chord Dew? Galt) CMaj.7 = = — yt 6 a fg fF A A A A = oe eo oo oo Lt el See ——— LS a a a a tte ft et eo ene oe eS See Pe joe ee a SS oF Dom? Galt) CMaj.7 — ae ee eS eo ee a _ 2 FF ra a oe Se Set eee Sf ——— — SS ee ee ee eee ee ee Se ce Lb —__g—? Fs ——| [oS ooo oe toe A a A A Al ar 4IIm7 V7 Imaj7 Starting on the Root of the IIm7 chordIIm7 V7 Imaj7 Starting on the Root of the IIm7 chord Dm G” (alt) C Maj.7 {—— He-fef |__| e+ | | 7 a ———_ _—_ ee bee edIIm7 V7 Imaj7 Starting on the Root of the IIm7 chord Leet y-9— e Heda rs a rr] el lo C2 eS SSS rls ae te rig t 2 re