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In this first example you are going to use a very popular Bebop
technique called an enclosure.
An enclosure is when you take a note (in this case the root) and
play one note above that note, then one below, before finally
settling on the note you were targeting in the first place.
There are several common notes that you can enclose so well start
on the root and explore more as you go.
2: Enclosed Fifth
Click to view the YouTube video for this Bebop Scale Pattern
You can now take the same approach and enclose the fifth of the
scale.
The enclosure technique works particularly well with the root and
5th of any chord.
You can also use this approach on any note of the arpeggio or
scale in your playing, but this is a good place to start.
As well, there are specific patterns that can only be applied to the
3rd and 7th, that well see below, so enclosing the root and 5th is a
great place to start at this point in time.
Since youve enclosed the root and 5th separately, you can now
enclose both of them together.
Notice that by adding a simple idea, such as the enclosure(s),
youre extending your melodic ideas without getting complicated.
Now you can add a pattern to the third note of the scale, in this
case a Diminished 7th arpeggio off of the third of the chord.
Notice how by doing so, you are essentially resetting the scale
back to the top of the fingering, allowing you to start over again
and extend your melodic idea even further.
The notes in this arpeggio are the 3rd-5th-b7th-b9th, and so this
arpeggio is often called a 3 to 9 or more specifically a 3 to b9
arpeggio.
Click to view the YouTube video for this Bebop Scale Pattern
Up to this point, youve been enclosing the root and the fifth with
one note above and one below each target note. Now, you can add
one more note to that equation and do a double chromatic
approach enclosure, this time with the third of the chord.
Here you have one note above, F, your target note, E, and two
notes below, D and D#. Again, you are adding a simple melodic
device to extend your scale, allowing you to cover more ground
without getting too fancy melodically or moving into outside
harmonic areas.
Here you are going to mix our double enclosure with the
diminished arpeggio from the previous example to produce a
longer melodic idea. This practice, of combining any or all of these
patterns in your playing is totally acceptable.
Feel free to experiment with combining as many of these as you
feel comfortable with. You might like to just use one per line, or if
youre like me, you might like to use as many as you can cram into
an idea without going beyond the borders of good musical taste.
8: 3 to b9 Arpeggio (Diminished
Arpeggio from 3rd)
Click to view the YouTube video for this Bebop Scale Pattern
Since youve been pairing it up with the enclosures, lets just take a
look at how the diminished arpeggio off of the third of the scale
sounds on its own, with other melodic device used in the scale.
Again, this is a great way to reset the scale back to the top, as
well as accent the b9 of the chord, in this case Db, since that is the
landing note at the top of the arpeggio.
If this altered sound is new to you, try just adding one outside
note, the b9 or the b13, and then combine them in your playing.
The key is to get these new sounds in your ears so that you can use
them in your playing. If you just have the fingerings memorized it
is a lot more difficult to solo with any idea until you can learn to
hear that sound in the context of how your improvise.
Again, here is another triplet idea, this time starting on the 3rd of
the scale, and instead of using an enclosure, you are adding in the
b9 color tone, from the previous example. If you like this sound
you can also add in the b13, or both the b9 and b13, whatever your
ear find attractive as far as added color notes found outside of the
diatonic scale.
notes in order to get that liquid sound that you hear in the
playing of these great guitarists.
14: Deflection
This next example contains a device that David Baker calls a
deflection. Essentially, you are using a short, four-note pattern
to reset the scale by a few notes, not as much as the diminished
arpeggio did, but still producing the same effect.
Notice how the added note, the F#, functions as both an alteration,
the #11 of the chord, as well as the lower-neighbor of the fifth, G,
that you are using to deflect your line. Adding a harmonic color to
your melodic phrase in this instance.
notes from the 3rd down to the root from the previous example,
which extends the line even further.
Remember that it is very important to be able to let your ears
grow accustom to these new and highly chromatic sounds, so
practice these ideas slowly and in all 12 keys across the neck in
order to fully ingrain them into your playing.
to the 7th of the chord, you are leaving the root out and playing the
arpeggio from the 3rd to the 9th of the chord.
To take the idea even further, you are using an alteration of the 3
to 9 concept here by using the 1-2-3-5 arpeggio pattern, something
that John Coltrane and McCoy Tyner both favored in their soloing.
This kind of rootless arpeggio is very common in the playing of
Charlie Parker, Dizzy Gillespie and many other Bebopers. Check it
out, this is a great melodic idea and one that every Bebop guitarist
should have under their fingers.
21. Honeysuckle
To finish off our 21 Bebop Scale Patterns you will apply a
variation of the melody to Honeysuckle Rose to the Bebop scale.
What Are The Essential Beginning Guitar Chords, Scales and Arpeggios?
Do you have a question about playing jazz guitar? Post it in the comments section below.</P< font>
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Thanks Drew, yeah once you get the fingering down for the
scale you can apply them right away, or you can apply each
little pattern to any bebop scale fingering, or any scale
fingering like the major modes if you want, theyre good all
around
Olmon says:
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Hey,
You can technically use Cmajor over any minor chord in the
key, so Dm7 (iim7), Em7 (iiim7) and Am7 (vim7), and vice
versa, you can use D Dorian, E Phrygian and A Aeolian over
Cmajor7 if you want, they all share the same notes and key
centers. What I would probably do though, is focus on
outlining the arpeggio for each chord, and then add bebop
lines in using arpeggios, and the bebop scale over the iim7
and V7 chord. Check out this lesson on arpeggios with bebop
vocabulary, might help out as well:
http://www.mattwarnockguitar.com/instant-bebop-addingchromatics-to-basic-arpeggios
1.
Ben says:
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Ben,
Modes are good for adding colors to chords, yes
you can play Cmajor over any chord in the C
major scale, Cmaj7, Dm7, Em7 etc, but the cool
stuff happens when you play different modes
over each chord, like C Lydian over Cmaj7, or C
phrygian over Cm7 instead of Dorian, that sort of
coloring can be a very cool way to extend ideas
and add different colors to ones playing.
5.
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Yeah you can find them here for major, dominant and
minor
http://www.mattwarnockguitar.com/guitarresources/scales/bebop-scale
magerlab says:
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Taura says:
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Great article Matt. I really like the way you introduce just one
concept at a time. I havent had any Jazz Guitar students for
over five years so I havent stayed current with the genre,
especially bebop (which my lids replaced with hip-hop in our
house). Your step by step illustration of Bebop conventions is
excellent Matt. In this lesson, bebop is a great way to
incrementally melodize scales where rhythm is relatively
predictable if not constant and contours are relatively uniform.
I did some bebop workshops with David Baker years ago.
This has been a great updater. Thanks for all your work.
(BTW, it would be cool if I could not just LIKE your article but
also post a comment to my FB wall)
1.
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Thanks Taura, glad you liked the article. Yeah I feel that
breaking things down and working on them step by step
is the easiest and best way to internalize these, or any
musical concepts.
Feel free to copy and past the address to your FB page
or any other site you want to post it on, spread the word!
Russell says:
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thanks a million for this Matt,it cleared up a lot for me,its a lot
of info so itll take a while to sink in,but thanks for this!!!!!.
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Eric says:
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Great set of exercises Matt. Its nice to have these written out
rather than trying to reinvent the wheel with my students. I
have a few that I am going to direct here.
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Thanks Eric, glad youre able to use the licks with your
students, thanks for checking out the article!
Jeff says:
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Matt,
From example 4, bar 2. You didnt enclose the root after
ascending the 3 to b9 arp. Was that deliberate? Im pretty
sure in example 5 you enclosed the root every time, even
after you played the ascending arp.
I realize these are just exercises, but is the main idea to
enclose the root *every* time, or just on the initial pass down
the scale, but not after reascending from the arp?
Thanks,
Jeff
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Jeff says:
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1.
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For sure, you can add as many of these into your lines
as you want, when Im blowing over tunes I combine
any/all of them throughout my solos. These exercises
are just to separate them to practice, once you get them
down go for it, mix and match as your ears please. Its all
good!
Tom L says:
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Tom L says:
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Stush says:
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AJ Green says:
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Thats right. After you get them under your fingers, you
can apply them ascending as well as descending. But to
start off, working on each pattern descending gets the
right sound and feel of each line under your fingers and
into your ears.
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Matt,
Would if be possible for you to post of video of you blowing
over some standards or blues with some of these patterns? I
would really like to see how the finished product comes out
so that I might better bridge the gap between practicing the
patterns as written (in all keys) and applying them to actual
playing. Thanks again for this important lesson.
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Joe says:
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I was looking for some patterns and licks with the bebop scale
and ran into your website. Im a piano player, but couldnt find
what I was looking for on any piano sights. Most of their stuff
is geared for the beginner. I like your explanations, not too
long or too short, just right! Examples are great! Ive had
problems playing a tune like Speak Low but I think this page is
the answer Ive been looking for. Thanks Matt
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David says:
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