The "bebop" scale is an eight-tone scale -- eight-note scales let you play one tone for every eighth-note in a bar.
You can turn any seven-note scale into a bebop scale by inserting what is known as a 'passing' tone.
You can turn any seven-note scale into a bebop scale by inserting what is known as a 'passing' tone.
| bebopscales.pdf |
These are "diagonal" scales that let you create runs while moving up the fretboard.
The Major Bebop scale has a flat-six "passing" tone between the 5th and 6th degrees.
The Harmonic Minor Bebop scale is the tonic scale for a minor progression. Its passing tone connects the flat-six to the flat-seven with the Major-six.
The Dorian Minor Bebop, commonly played over a ii chord in a major ii-V-I, has a Major-seven passing tone sandwiched between the flat-seven and root.
The Mixolydian Bebop -- played over a V chord -- also has a passing tone connecting the flat seven to the root -- the Major-seven.
The Locrian Bebop (used over the half-diminished chord in a minor 2-5-1) has a passing tone between the flat-five and the flat-six. This scale is essentially the third mode of the Mixolydian Bebop scale.
When playing the scale with a beat, try starting a three-note "pickup" on the "3" of the count to give some "forward motion" to the line.
The Major Bebop scale has a flat-six "passing" tone between the 5th and 6th degrees.
The Harmonic Minor Bebop scale is the tonic scale for a minor progression. Its passing tone connects the flat-six to the flat-seven with the Major-six.
The Dorian Minor Bebop, commonly played over a ii chord in a major ii-V-I, has a Major-seven passing tone sandwiched between the flat-seven and root.
The Mixolydian Bebop -- played over a V chord -- also has a passing tone connecting the flat seven to the root -- the Major-seven.
The Locrian Bebop (used over the half-diminished chord in a minor 2-5-1) has a passing tone between the flat-five and the flat-six. This scale is essentially the third mode of the Mixolydian Bebop scale.
When playing the scale with a beat, try starting a three-note "pickup" on the "3" of the count to give some "forward motion" to the line.
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