U.S.A.

274
w David : aker Books from AIfre.
MPROVISATION
azz Improvisation,
lew Edition
or over a decade musicians
~terywhere have made this text,
y one of Americas most gifted all-
round musicians and teachers, their
orking bible. From fundamentals
advanced techniquesevery
apter contains pages of practice
iaterial, provocative study questions
nd selected recordings.
~dvanced Improvisation
low revised, in an easy-to-read
irmat. Not just a workbook, but an
spiring two-volume guide to jazz
leas, problems and solutions.
olume I
olume 2
chniques.ot.
nprovisation,. Vol. 1
hree volumes cover every aspect
irnp~ovisation. VolUme 1 is a
iethod for~developing technique,
asedon George Russells Lydian
hron~iatic Concept.
echniquesof
nprov~isation,VoI. 2
olume~2 of3 volumescovers
ie II, V7 Progressions.
chniques of
nprovisation, Vol. 3
olume 3 of 3 volumescovers
urnbacks.
~tringed Instruments
-nprovisation, Vol. 1
his efficient course covers every
spect of improvisation from a
iscussion of its nature, terminology,
nd basic approaches to annotated
olos. Reference charts illustrate
Dales, cycles, multiple stops,
rogressions and their patterns,
tc. Volume 1, Violin & Viola violin
igerings suggested by Eric Bindman
nd Greg Fried, and viola fingerings
y Barry Shapiro.
(2762) Striiiged Instruments
Improvisation, Vol. 2
Vol. 2, Cello & String Bassbass
fingerings suggested by Paul Berner,
multiple stop fingerings by Baker and
Mike Vandermark.
(2799 Modern Concepts in Jazz
Improvisation
A book designed to meet the needs
of performers, teachers, students and
others interested in the performance
of contemporary (post-bebop) jazz.
BOOKS ON JAZZ
(2752 Jazz Quiz Book
A delightful book of jazz trivia that
includes games, puzzles, nostalgia
and other items! It is not only fun and
exciting, but is also intended to be
challenging and educational. All of
the material has been meticulously
researched and edited. Perfect for
jazz lovers, teachers, students and
professionals.
(2751) Jazz Pedagogy,
for Teachers and Students
This volume is the first jazz teaching
methods text. One of Americas great
musician-teachers shows how to
develop jazz courses and jazz
ensembles, with classroom-tested
lesson plans, rehearsal techniques,
practice suggestions, improvisational
ideas, and ideas for school and
private teachers and students.
HOW TO PLAY BEBOP
(2746 How to Play Bebop, Vol. 1
First in a three-volume series,
this book includes scales, chords
and modes necessary to play bebop
music. A great introduction to a
style that is most influential in
todays music.
(2747) How to Play Bebop, Vol. 2
This volume covers the bebop
language, patterns, formulas and
other linking materials. It also
introduces chord progressions and
cycles, and gives a listing of pieces to
memorize for a greater understanding
of the bebop feel.
(2748) How to Play Bebop, Vol. 3
In this book, methods for learning,
memorizing and utilizing bebop
tunes are discussed, along with
another list of essential tunes for
memorization. Includes two sections
on improvisation.
ARRANGING
(2750 Arranging & Composing,
Rev. Ed.
This professional manual lets you
share the secrets of his success.
Baker explains his practical working
techniques for piano trio, jazz quartet,
four- and five-voice writing, chord
substitutions, voicings, bass patterns
and much more.
AlFred
Alfred Publishing Co., Inc
16380 Roscoe Blvd., RO. Box 10003
N f~ II I~U 111111111111 ~ N
0 38081 02204 8
Van Nuys, CA 91410-0003
4 .
P t
. . . . . . . . . . . . . . . . . . . . . .
~ S f l U O W W O D U ! S ~ E D ~ J ~ 1 ~ Q p U E
s ~ D S d o q ~ ~ i i j
S I N ] W f l N I S N I l i v N O ~
I
a
I
S ~ N ] ) I V 9
A W l
O i l
M O
a I A V
n w
I A
L 8 6 1
9 H
8 9
1 4
N
Table of Contents
Part I The Bebop Scales
The Bebop Dominant Scale 1
The Bebop Major Scale 12
BebopSolo 38
Part II Other Scales and Their Use
Scale Syllabus 40
20 Public Domain Whole-Tone Patterns 43
26 Public Domain Diminished Patterns 45
_~i1.
Part I
THE BEBOP SCALES
From the early 1 920s, jazz musicians attempted to make their improvised lines flow more smoothly by
connecting scales and scale tones through the use of chromatic passing tones. In a detailed analysis of more than
500 solos by the acknowledged giants from Louis Armstrong through Lester Young and Coleman Hawkins, one is
aware, first, of the increased use of scales (as opposed to arpeggios and chord outlines) and then the increasing use
of chromaticism within these scales. An unusual fact about this increased chromaticism is that, despite the
frequent re-occurrence of certain licks or patterns, no discernible design with regard to how the extra chromatic
tones are added emerges. The overall impression is a somewhat arbitrary or random use of chromaticism.
When one listens to the great players from the distant and near past, one of the main things that tends to
date their playing (aside from technological improvements in recording techniques, changes with regard to
harmonic and rhythmic formulae, etc.) is this lack of unanimity with regard to the use of melodic chromaticism.
From his earliest recordings Charlie Parker can be observed groping for a method for making the modes of
the major scale sound less awkward and for rendering them more conducive to swing and forward motion.
Gradually, in a systematic and logical way, he began using certain scales with added chromatic tones. Dizzy,
approaching the scales from an entirely different direction, began utilizing the same techniques for transforming
them. These scales became the backbone of all jazz from bebop to modal music.
A study of a large number of representative solos fromthe bebop era yields a set of very complex governing
rules that have now been internalized and are a part ofthe language of all good players in the bebop and post-bebop
tradition. Very simply stated, the added chromatic tones make the scales come out right. Play a descending
mixolydian scale and then play the bebop version of the scale and see how much smoother the second scale
moves.
F7 Cc-) F7 (c-)
LI
mixoIvd.ic,~n~ bthop
There are a number of reasons why the second scale makes sense. First, in the second scale all of the chord
tones are on down beats; and second, the tonic of the scale falls on beat one of each successive measure, and the
fifth (C) falls on beat 3.
THE BEBOP DOMINANT SCALE
This scale is spelled 1-2-3-4-5-6-b7- ~ 7-1 and the rules governing its use are given with the dominant
seventh chord as the point of reference. The scale is also used on the related minor seventh chord (II) and, under
special conditions to be discussed later, on the related half-diminished seventh chord (VII), i.e. the following:
c C-D-E-F-G-A-Bb-B
E~ (under special conditions)
Rules
1. On a dominant seventh chord the scale is reckoned from the root of the chord, i.e., C7 = C dominant
(bebop)
2. On a minor seventh chord the scale is reckoned from the root of the related dominant seventh chord,
i.e., G- C dominant (bebop)
1
C7 (~ -)
~,nfei
*~ .3
~n 4he b7
c7(&-)
arr~1E.i OY) ~3
~II[~r~rrfJr II
un*i~5
8. As long as the scale starts on a chord tone, the line may ascend(example I) or descend(example 2) in
a scalar fashion and return the same way.
~i)
r_f ~r ~ r L1 r r b~., ~
rLLr ~Lrj I ~
~= ~~-;j ~ ~ -
- -
4-
J__J ~ _________
3. When conditions dictate the use of this scale on a half-diminished chord, its starting point is reckoned
from the root of the two related dominant seventh chords, i.e., the following
E~ as a VII related to C7 (V of F minor or F major), or
E~ as a II related to A7 (V of D minor or D major)
This rule is fully explained in the section of this chapter entitled USING THE BEBOP
DOMINANT SCALE OVER A HALF-DIMINISHED CHORD.
4. The scale usually moves in basic eighth-note patterns.
5. In pure form the scale invariably starts on a down beat.
6. In pure form the scale starts on a chord tone (1, 3, 5, or b7) of the dominant seventh chord.
__I_ I - I
- w~-y I ~ ~y
Ii. ~-I .~I p
- ~I -~ ~l I
7. Often the descending form of the scale is used, but practice both ascending and descending exercises.
2
9. The line may also descend and then ascend in scalar fashion (example 1) or ascend and then descend
in scalar fashion (example 2).
(~ji:~~
~
(ia)
L ~ _______ ..v
Li ~ A ~1
~
10. When the line starts on the 3rd, it may descend chromatically to the 6th, i.e., the following:
4~ ~,I ~~~_w _______________
,~ .. ~.~ ~A ~ ~
~A _~ ~ I
- ~
or ascend and then descend chromatically from the 3rd, i.e. the following
A ~- ~ ~~1 ~
1~ ~ ~A -
L~ ~ .~~A
~-
Endings
The endings of phrases are very important, and two particular endings appear with great frequency:
~ Lr~~r ~
( 2)
~ rJI~r]rp ~
More often than not, phrases end on the upbeat of beats one or three, as in the following examples:
(8) ____________
.~
~ . ..~ .. ~v-_
1~~~~ ~-~ A
~ .
The line should use whichever of the two endings make this possible. Eventually the player will make this
choice intuitively.
~lease note that in examples #2 and #A the extra half step between the tonic and the b7 has been omitted.
e governing this situation is as follows: if the line is ending, use a whole step as in examples #2 and #A; if
is to continue, use the half step as usual, as in the following example:
I-Is 11

I I I ~I I I
ractice the different endings starting on other chord tones, as in the following examples:
~ Ft ~-
- ~ .~ A -i vw
~A ~ 4 LJ 1 ..d .4 ~ ~ 1 4
~
-
I..-
,~_
~~ -
-. --
A ~ -~ I

ig the Scale on Non-chord Tones

Vhen starting the scale on a non-chord tone many options exist. Some of the most frequently used ones
1. Use the scale without the extra half step, as in the following examples:
rrrrb~~J I ~
2. Use the scale without the extra half step until you reach the b7, at which time balance is restored and
the previous rules are once more operative, as in the following examples:
LA F__i- r~ rblf I ~ IbE~E r fbrr I -j ~ [~J
~-
z~- -
~ b t_J ~
~-~
~
~ ~j b~ ~r r r I b~J
I I I - Li I ~r~brj_ ~
3. Make the non-chord tone a quarter note, as in the following examples:
4. Insert a half step before the first chord tone you come to, as in the following examples:
~. ~ _____ _______ _d~i ~w- _______
~ .~~4 ff~ ______ .J .y rzr.i ~: ~ - I ~v~.~ j ri .i
jj Z4 .~~A ~4 LZA .1

~1~rj ~, ~b~~
(~ ~ ,~___________ ~
ii. ~4 I ~ ~I
_________________________ ~

5. Syncopate the first chord tone you come to, as in the following examples:
~
. ~-~
~.~v_-~ ~z.,~ ______ . ____________
I ~ -~ -~
V
-
6. From the b2, approach the tonic from a half step below, as in the following example:
~ ~rbr~rr~ I 12r
7. From the b3 approach the 3rd from a half step above, as in the following example:
~ i_tI ~~A~Y ~ .~ ______ - ____
r ~ 1 .z h _____ - ~.~
~
~V
8. From the #4 descend chromatically to the 3rd, as in the following example:
~TbPr.I~J~
9. From the b6 approach the 5th from a half step below or ascend chromatically to the b7, as in the
following examples:
.h. _______ ~
~ z.v-~. _______ j -y r~.i
A ~A 1J .~

I I I I I r~
w 4
D. When the line starts with a chord tone on an upbeat, all ofthe preceding nine non-chord tone rules are
operative since it places a non-chord tone on a down beat.
1. Generally, move by step, half step, or skip until a chord tone occurs on a down beat. All of the
preceding examples exemplify this rule.
ing the Bebop Line
he bebop dominant scale may be extended through the use of a number of techniques which are a part of
imon language of all good players. Some of the more common ones follow:
1. Upon arrival on the b7 the line may ascend along a major seventh chord (in this case Bb9), allowing
for extension or change of direction, as in the following examples:
w. + t(b*) L~-L
-
. ~ v.-.~i ~ ..~
A ~ ~h ~ I.L4 I
-~
I ~
2. Upon arrival on the 3rd, 5th, or b7th, the line may proceed along the outline of the diminished chord
containing that note, as in the following example (the diminished chord usually sets up a modulation):
kE~:j o# F
r1LfLrJJrbrrrIjJJ~JJ
kf~joDm~
-V -
~
~ .. ~
:1

.Drno4m~
Lr brj~ -J .1 ~ I b~Zf or
Lt ri ~J I ~rbr~r T~f~r, I ~JJ~ ~
~- ~.
~m~a~DflW~
(e)~ ~rLrrr~r~IJJii r~J1~I -~
Fmo~
m
4
1. .~ r i zv -,
I Ill I ~ ___ _-I ~ 1 .~ I
~ ~
p
Examples A and B may be combined with examples C through H, as in the following example:
~iLr~j~ TJii I ~
3. The bebop line may be extended through the use ofwhatl shall hereafter refer to as deflection. When
leaving the 5th of the scale, the line may be deflected in the manner of the following examples (make
sure that when the line resumes its descent the 5th is on a down beat):
_____-
F -.~-y
I. , ~~ L~ .I
~ ~- Y ~I~T ~
_________________________________________________
r -~ -~- _
I ~.- ~~.v_~1~A .S
~ V~ -~ X ~.T
b
-
_,-
.~ -~_;4 -~ ~ ~ LJ .~
~~~ 2 ___ Pt

~i Lr~rf ~I ~~
Enclosure
The bebop line may be extended by enclosing the root or the 5th of the chord. This is accomplished by
delaying the arrival of the chord tone by inserting the notes one half step above and one half step below the tone in
question, as in the following examples:
4 ~ _______
F4 ~V
Ii. ~ ~ -~A ~ 1A .1

_____ _____ - ___________ -~

l ~ ~ ~~ ~
L~ A I_
~ r_~1

the line originates from the 3rd or the b7th, the rule remains operative, as in the following examples:
.~J-__ _.v- ____
d ~ ~h ~ _______ ~ V~T.1
A ~ ~A t1.1
-

Lrbr
the 3rd is to be enclosed within a line, start on the b5th, as in the following example:
~ r J ~J L~-JhJ I ~jj j~ ~ j i 1 I r~ E~f&
r skip from the 4th and return by half step, as in the following example:
_____
-~ ..- ~
-~~;4 ,~

hese techniques for extending lines are particularly useful in modal situations (as in example 1, which
), in double time passages where more material is needed to fill the same number of measures (as in
e 2, which follows), and simply for variety.
_____-
. -~. __
A W ~1 ~
~~. I h~ W -
___~-

~ ~ t
L. ~
Pt,
r1 . LnaL
_~v-._ -
~A
~ 7
*obLstims _________ ______________
__~. ~..
_-I .~~-~ ~v-. -~ A ~.V -
~ ~ - r ___ A t I ~ 1 .2 V L
-T _______bY W ~ . . ___
Examples of Enclosure in Actual Compositions
1. Anthropology: measure 1, measure 7
2. Bebop: introduction, measures 8-9; measure 8; measure 16; measures 18-19; measures 22-23;
measure 32
3. Confirmation: measure 7
4. Donna Lee: measures 4-5; measure 13
5. Groovin High: pick-ups and beat 1, measure 4, measures 8-9, measure 12
6. Little Willie Leaps: measure 4
7. Nicas Dream: introduction, interlude, and tag
8. Night in Tunisia: measures 7-8, measures 15-16, measures 3 1-32
9. Ornithology: measures 13-14, measures 15-16, measures 29-30
10. Quicksilver: measure 2, measures 9-10, measures 11-12, measure 50, measures 57-58, measure
59, measures 6 1-62
11. The Serpents Tooth: measure 1, measure 8, measure 25
12. Woodyn You: measures 6-7-8, measures 14-15-16, measures 30-31-32
Achieving Variety with the Bebop Dominant Scales
1. Start the scale on something other than the first beat of the measure, as in the following examples:
~rrr~rIJ~7~
A ~
I -~ ~,.- r~1 .1
~ ~ L.J .1
.. p
~3 -
2. Vary the starting note (not just the tonic and not just chord tones), as in the following examples:
~LtLr~frpI~r
L~ ~.z
t~ -~~ ~- Z~~ -4-
j~ .~A ... ~ ~ ~T 1.. I~4 hI
~. p ~.~~
-
A _
t. . T A ~
i~. . p:A__ 1~1 -
,~.
~ r~Ir~rJ~ri
_J w
3. Vary the endings, as in the following examples:
I~ r~ I ~ rj Lr -~-~-~
-
~zv-_
~A ~ ii .i
.1 ~T ~
-v-
-~ ~ 2V~~A .~
A ~

~r LI LrZr~ I ~~ ~r ~r~r
4. Balance ascending and descending motion, as in the following example:
~
~ ~v ~
4 ~ ~ ~ .~-~A _~ W ~ ~
~ ~
5. Bury the scale within a line, as in the following examples:
__ __
~ r~i~a
~A ~ I~.~
~
-V ~ ~.-
W~ ~~~I ~ ~ L~ 1
~ -

- ___
:v-w .~ ~ ~.
A ~ A ~ A I V
~ -.~~
-
F I
I
-__ I__
zv_ -~ -~ r_~ I
~ A L!A hI
S
p
p
______ :~I
-~
~ A I ~
7 --
~p~f ~ ---- -y
_~ A . ~ ~J~ ZV~
.~A ~ A ~ I 1J .~
. v _~ ~J
~~-----~-.-..
LJ
10
6. Turns may be used on any chord tone, as in the following examples:
b~ff~
~

r . - r~.1
I~. ~ -~ L.1 .~

~ ~
7. Join bebop scales to other bebop scales, as in the following examples:
8b...
&-
A
,~ ~~ -
L~ ~ A .4
~ .___
~
~b7 Eb_
~ br 1~r ~b~ ~r ~r ~r I r~ r ~L~-~ J bJb~
& ~7bq
-
fr . -~ 1 -y ZV~t~
j~ ~ A ~ ~A ~ P1 ~
,~ .~ ~a ~.~
I I F p
Ab7
I~J~~r~rr SJ4~j.
: :~
I~J~b~rrr ~
8. Join the bebop scales to other scale types, as in the following examples:
d.ni~niShe.d~
diminishEci/ulhote.ttme.
rrbrfI~C~bJ~J
WhoL~+~
r~rrhr r p~ I~J Lr r~r
9. Use various delays, as in the following examples:
p---
~ ~v-w r.i i
... ~ ~- L~4.a1
1 = ~T ~
~ -
rTIr_rb~f.JHJ7~LrJ
10. Use extensions.
11. Use double time.
the Bebop Dominant Scale Over a Half-diminished Chord
When the half-diminished chord is treated as a minor seventh (II), then all of the aforementioned rules are
.ive, as exemplified here:
C7
I / / / /~ : use rules for C7
ver, if the half-diminished chord is perceived as part of all V7 VII situation (i.e., G- C7 E~ A7 D- as in
Home Again in Indiana, Whisper Not, etc.), then observe the following rule: treat the 0 (VII) as the
1 II V progression, as in the following example:
C7
A7
~rLr[f~rIflr1 ~J~I(~)
THE BEBOP MAJOR SCALE
[he rationale for the use of the bebop major scale is the same as that for the use of the bebop dominant scale.
Dale is spelled 1-2-3-4-5-#5-6-7-8 and is used over any major type chord.
12
Rules
1. The scale usually moves in basic eighth note patterns and usually descends.
2. In pure form the scale invariably starts on a down beat.
3. In pure form the scale starts on a chord tone. For the purposes of the use of this scale the chord tones
are 1, 3, 5, and 6 (not 7), as in the following example:
C
rrr~r ~-:n-~ i ~ll ~rrr ~J~j~wII
,frarr~+I~ 5
_______ ______ p~w ____ ___
~ _____________ I I
r~ I ~.._
L.I ~ ~I .,: ~
I ~
-
4. As long as the scale starts on a chord tone, the line may ascend ancVor descend in scalar fashion, as in
the following examples:
- _ ____ ________ ___
~ z -~ ~ .. ~
i..~ .. ~~r ~ L.d .~ ..~ ~ P1 ~ ~1~1
,~ ,,_
~
~
5. When the scale starts on the 9th, descend chromatically to the major 7th, then observe the basic rule,
as in the following examples:
~
~4~ N r~,
~~~ .1 ~ i~ I.vI
.- .;_ ~-
-~~ -.,~ _______________ ~-
,~ ~ -~ A~~ ~
l~ ~ P1
~

-~ ~-.
r. ~-~ 4.~
~. _ ~p1 ~ I
~

6. When the scale starts on the major 7th, descend chromatically to the 5th of the chord, as in the
following examples:
~ ~b~JL~J ~rr~-~ I -- ~ ~I
7. When starting on a non-chord tone move by step, half step, or skip until a chord tone (1, 3, 5, or 6)
occurs on a down beat.
8. When the solo line starts on a non-chord tone or when the line has a chord tone on an upbeat, insert a
half step just before a chord tone to restore balance to the line, as in the following examples:
~ LI _~
____
P1 ~ 1Jfl~
~

p
__.I ~ I __________ ~
- -~ ~ p1
.ap~ ~ IY~A hi

~a ..~ _______
. I
~P1 ~ L~J ~1

-~ .p-w ~ ~
I ~. L
~ P1 ~ ~I

-
9. For variety, approach the chord tone which initiates the line by a half step above and a half step below
(enclosure), as in the following examples:
tr)ILrr~r~Ji~ &t&ij&Jmj~~
I~rPr,~~Irrr-i
.__J
p

-~ __~
~. art ~I

ving Variety with the Bebop Major Scale
1. Start the scale on something other than the first beat of the measure.
2. Vary the starting note (not just the tonic and not just chord tones).
3. Balance ascending and descending motion.
4. Bury the scale within less obvious lines.
5. Turns may be used on any chord tone, as in the following examples:
-~
~ P1 B ~ 1.1

.~ ____
~
P1 ~

14
I.
~4
Internalizing the Bebop Scales: Some Exercises
W~
1. Broken 3rds.
A. When ascending or descending resume the diatonic line from a chord tone on a down beat. (This
rule maintains whether starting from a chord tone or a non-chord tone.)
pj~PIJ~j~-~
~ JJJ~IJ~WILtffbJI~ ~.
~
~ (~ ~ -~ ______ . z~~ v
i a.a ~ ~.- _
~ ~ ~

B. In broken lines the extra half step is usually omitted, i.e. the following example:
Cl
~
k
2. To resume the diatonic line from a non-chord tone, use one of the rules governing non-chord tones, i.e.
the following examples:
A. Omit the half step.
C7
4-
~ I I I
~-
15
r r ~ F -
I ~ I I
) I III Li Lrr~yi~J.J,
r:~~
,~
9~
I I I~
r i r ~
~ L_J I FPLPIEI I I I
I I~I~ I
~- L.J w, 4.
~ .
~LJ[~fpI,~JJ]1
B. Use a quarter note on the non-chord tone.
~ J~ ~ J I
C. Syncopate the next chord tone.
~
~-v_~

-~-
- -
D. Add an extra half step before the next chord tone.
j~E.it~J J7jI~
1n short, get to a chord tone on a down beat as soon as possible.
3. Broken triads.
A. Resume the diatonic line with a chord tone, as in the following examples:
~_~_~~JI ~ jj J ~bd J n ~II
I I I T
I ~ ._
w-~~ ~ I Z~V~ ~I ZV
.. ~ I ~ .~ ~~
-~ I
B. If the line is resumed with a non-chord tone, use one of the rules for dealing with non-chord tones,
as in the following examples:
J J J ~ ~7I~ I ~ II ~r~r ~ ~- II
rj- II 1TJj ~b~ I r ~Ii
flThi F i F1 I i ~
LIt__I
16
* ~
I
I
I ~ - - 1 w
_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ ~ : . w I _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
I ~ - ~ ~ - _ ~ _ . - _ - . v ~ ~ , - ~ I ~ - ~ r _ . i i
I ~ ~ . A ~ ~ - ~ ~ I - A
I I -
3 l - S
I ~ w ~ I _ _ _ _ _ _ _ _ _ _ _ _ ~
I i r ~ ~ ~ - v ~ I ~ ~ ~ ~ - ~ i
w . . A ~ L . ~ . A ~ V ~ I - ~ ~ ~ F W ~ .
I ~ - ~ I A ~
L
I H ~ r ~ g ~ ~ I I I ~ - ~ -
~ ~ ~ r ~ ~ r ~ L t r ~ j - t ~ r j - r ~
c i 3 f S ~ j + ! W O
: s ~ j d u r ~ x ~ ~ u i ~ o j ~ o j ~ f l
U ! S ~ S ~ U O ~ p 1 0 1 4 3 - U o U ~ U ! U J ~ A O ~ S ~ J t U ~ f l J O ~ U O ~ S f l ~ U O ~ p J O q o - U O u ~ W O J J S ~ U I f l S ~ 1 ~ U f l ~ ~ u i H
~ ~ i i ~ ~ ~ f - ~ i L r r I - ~ T h S 1 ~
I r _ _ _ _ _ _ _ _ _ _ ~ I , _ ~ ~
I . . P _ ~ _ - . - ~ ~ ~ I w v ~ . ~ - I ~ r ~
I ~ L ~ T ~ W ~ I . A ~ ~
I ~ w - ~ I ~
: s ~ I d w ~ x ~ ~ U i A ~ O I j O J ~ q 1 U ~ S ~ ~ U O ~ ~ 1 O 4 3 ~ q ~ J M ~ u q 3 ! U 0 W ! P ~ ~ W f l S ~ ) J V
S ~ 3 . I O 1 ~ p U ~ ) f O 1 ~ 1 7
8 1
.
r ~
- ~ ~ p . ~ ~ - ~ ~ h i
~ ~ ~ ~ . -

F ~ L _ _ _ _ ~ .
~ p . r 4 ~ ~ . a ~ h i
~ . ~ _ ~ ,
~ p ~ ~ ~ . . . ~ ~
L ~ i j r r r r r r r r r r r r 1 r r 1 ~

- ~ ~ a f r ~ r ~ r u
I ~
(
(
_ t r r ~ ~ ~
S 3 T ~ J ~ a O ? ~ d O . J d d ~ ~ 3 c f l I U D 4 - p R D L f ~ - L W U - o U J . D J d
f I ~ s p ? e
( ~ u o ~ p ~ o ~ p ~ q ~ i ~ ~ u i I ~ w 1 d w o o ~ p ~ w n s ~ > j ) s d n o i ~ ~ o u - ~ r n o j ~ w o s c
6 1
_ _ _ _ _ _ _ _ ~ ~ 4
~ ~ k i ~ ~ ~ ~ ~
( ~ Y ~ . V 1 ~ L A ~ V I . ~ - ~ ~ ~ h ~ . i i
~ ~ A L _ A . I
-
a
~ 7 ~ . h W ~
w i ~ w r . . ~ h )
L . ~ V A ~ I ~

. s ~ U o 2
( 1 ~ )
( I )
( H )
( 9 )
( ~ )
( 3 )
( a )
( ; ~ )
( 9 )
( y )
I L i ~ - ~ r f ~ r ~ j - 1 ~ r ~ r
I
. ~ ~ -
I ~ ~ ~ r ~ . .
~ . . ~ ~ . . A V W 1 : - z t : ~
-


~
- - ~ ~ V 4 I W F . V ~ V i ~ ~ ~
A ~ ~ A ~ ( w r ~ A . ~ ~
A ~ .
j b
( 1 a ~ . p . A O ~ P - u O u )
r ~ ~ ~ ~ ~ J - t ~ ~ ~ r y )
~ I S ~ [ I T h ~ ~ r ~ * p g r r ~ r r ~
~
w - ~ - y ~ ~ ~ - ~ A
. . ~ 1 r ~ v : . . . i j
. . _ I ~
~
~ i w ~ p ~ o ~ - U P U
~ ~ - - ~ 0 ~ ~ 4 ~
I L I I I L I [ 1 I I I ] I I I I
p l o q 3 - u o u i o j s ~ j r u ~ . i d o i d d ~ ~ ~ s n . z o ~ u o ~ p i o i p ~ u i o i j ~ u ! J ~ ~ w n s a i s ~ j d w ~ x ~ ~ U i M O f t O J ~ U I 9
7. Triplets. If the scale is to function normally, make the middle note of the triplet the chord tone (and
when going to the tonic, start on the major 7th), as in the following examples:
3
T)pb~ J~j-~ ~ii r~r~r ~JbJT~]
.3
~
. ;:v- - I ti t
__ ~ I IT ._~
b
8. Triplets. When starting the triplet on a chord tone, use one of the rules for non-chord tones, as in the
following examples:
Tonic
A. Enclosure (extra half step)
3
-~ -y
~ ~ A ..
__

B. Non-chord tone as a quarter note
rrrpbfTTJI~ ~ ~
C. Chord tone syncopated
rrr~~~JJIj~
D. Extra half step omitted
rrr~
3rd
E. Extra half step
rrr ~
20
~
F. Non-chord tone as a quarter note
.3
G. Chord tone syncopated
3
- -
~-

H. Extra half step omitted
- ~- ~-
(I I~ ~ - ~- ~-
(fl I til r~ ~
~
I. Extra half step
(prEJzrr~cL)
(t) ir~
I ~I~ ________ __________________ ~~ ~
~~ _y 1.1.1 I ~~I
~A. I.!kkI

J. Non-chord tone as a quarter note
3
-
,_~v.
~
-
K. Chord tone syncopated
3
I I ~
~Lf~ -,~IJ~ ~
3
5th
(~)~
(L)
r r r
LI
L. Extra half step omitted
3
~r~rr..rrr~f
21
7th (This is the only exception of the chord tone in the middle.)
M. Extra half step
3
bt~
N. Non-chord tone as a quarter note
br[pJ T~I~
0. Chord tone syncopated
brrr ~
P. Extra half step omitted
.3
L~ I
~Jthough less frequently used, the above rules maintain for ascending triplet figures, as in the following
les (starting on a non-chord tone):
~ - ~Lrbrj_ _I -~ -~ r ~-~-~~--
9. In a string of triplets the last triplet determines the rule, as in the following examples:
starting on a non-chord tone
3 3 3
~~
_. -y
~_a ~

-73 3 3 3 3 3
rir rrr rfr rrr rrr~brrrJJ ~~
22
More Exercises for Internalizing the Bebop Scales
1. Bebop scales (dominant). Play into the sound of the chord as quickly as possible. Use the cycle, with
each chord lasting two measures.
A. From the tonic of the chord
B. From other predetermined chord tones (3, 5, b7)
C. From predetermined non-chord tones
D. All scales from a single predetermined starting tone, as in the following example using C:
~~rrrbrrr.IrJb~JJ_~ ~I~ffJ~bJ~ I
LJ
8b7
- ________F_____ ________ -
r z~z,w..~ ~i ~y z~v ~~
~. 4 -~ ~ A ~P1 ~A~ ~ Pi~ ~
~ ~
Eb
7~(___________ ___________ -~ _______
~ Pj ~v- ~ j
,~. ~I ~V~ -~A ~ NC li..V~ ~ I 2V
I ~ ~ ..A A -~Pr I.: ~A.APr W ~V A
~ j ~ - A
p
~ ~v P1 ~
~ ~ I 1 ..A A _ ~ P1 .~~ ~A APT
I I Pt ~ ~ ~ A __ P1
~r A. ZV- _________ _____________________________________

(~ indicM~s t~. nc,n-thm~i 4nnF

I I I I ------------ --
f,r~ f~i h~ i_ I I. I I
w I~ I I I ~W ~
I .
E. Start each successive scale from the next highest chord tone in rotation, as in the following
example:
~ c7 F7 gb7 Lb7
.~-.--- L_ -
1
I_~ ~ L.
I .I~ I. I~ ~ ~I .~~_._ I
vii I
+OflLc 3rd ,~4h
F. Start each successive scale from the next highest or lowest chromatic tone, as in the following
examples:
C7 F7 Eb, Ab7
,~ ~-.--~- :. ~ ~-.--~- -----
~ I I I I I ~~- I_~~ I
I
L~
I I~ .---~_%-~_ .----.. r-1_ i-
~I
- ~I
I~ II
1-~ ~7 F7 6b7 ~b7
II
.
II~ -
~-j- I~ I
C7 T~7
3
Ab7
G~
23
Choose starting tones randomly.
Playing a continuous line, move into each new chord by conjunct motion (by half step or whole
step), as in the following example:
-~~ P1 ~
__-~ i ~r .~~.
P1 ~I Z~ I ~~- I A~ ~r ~.
~ I v~ 1 ____________
P ~
P
k
r
2. Bebop scales(dominant). Repeat all exercises from #1 (AH). Use changes that move at the rate of
one per measure, as in the following:
Sb, Eb1
I I I I!.fti.
3. Playing by EARrealize random 7th and minor 7th chords using the bebop scales from a single starting
tone, as in the following example using C:
Ab7
_______ _~_-., PA
I I . ~.- _______ ~I 1~-~~ y ~
~ -~ A ~_l ~ ~.~P1
-~

-
______ ________ __ww
~. ~ .zv~_~~1 iz ~ r ~ ~I ~
ra~r4 ~ __~A W~ ~F:
~ az,
_
D7
~ i .~ b .~ 1 ________ ______
~I I K~ 7 J ~4 ~
__~I ..~: .~~~I
I W~ - ~ -~- 7
Using starting notes chosen randomly, play the preceding exercise. As preparation, practice the
following exercise, leaving a measure to listen to each new chord before playing.
G.
H.
I II ~I ~
p
F*- (Br)
24
ILl STENI Aby ____
II -~4~r~ b~b~ J~ I L:~~I; &
1l-SrE~4i F7 IPLAYJ __________ __________
4. Using the instructions for #1,2, and 3, play exercises using the bebop major scale, as in the following
example using C as the starting tone:
CA PA
r JJ~ JI1~~ I~j~rrfrrrbr I
BkA

~ ,~ , i-~ ,- ._
~ ~ ~ ~ ~ ~ ~ ~4 ~ ~Z, ~i
~ ~~ZV~~

5. Using the instructions for #1, 2, and 3, play exercises mixing major and dominant bebop scales, as in
the following example using E as the starting tone:
C7 F4
~ ?~rrbp r ~- lrJ~-~~ ~I rrbrr~r~ H
~8b4
~.~ p
~f I ~ ~P1 ________
~ ~V
e. -~~, _ ~~~-~ ~
6. Spins from a chord tone. (Spins are scalar ascending figures.)
3 note spins:
~ ,
~~ - ~j
~r L
______________ ~~~--- ~_
\ , ... ~., ~v.._ ~ ~v I ~
i j ~_ .~ ~ ____ - j ~ ~ ~
,. , ~ ~ ~
~ ~~~JJJIJJb~J J~~~Ir
4 note spins:
r] rr ~ri I b~ r r r~ r ~rr1 ~Jb~ ~bJD~
~ jJ~J~~ ~
______ -
- ________
_..
.- ~w- ~- ~
I,
5 note spins:
,_
.-.~~v~ ~vw -~-~ .-. V. ~I ~V~ ~
~.~I -~ .~A .~ ~L~I ..4 ~A ~
I

6 note spins:
. ____
~ _-._zv-.~:v-w -~ ~...,
~A .~~ .4 -~
~- ~
_ ___________ -.
_-~V. .~~._ -~ _ ,. ~v~ w ~-~
~ ~j .4~ .~ ~4 _____h
. =
7. Spins from non-chord tones.
C7
5 rrrbrLf~ 1JTJ~
~
~ r.~&.
.- LJ .~ ~
.J ~. I.,
2 F- 1~
~ ~
26
IL.. I I I I~
i~1) IJ~~ III III (~J ~1~~J liii [~$J
~7,- ~..~- ~r
,~
~
I I
I_ ~ I - I - I I I,
-.~ I I

f Ik.1 i . I . -~ .
~1-r ~
IF
:~
h~
: I I I I.
I I ~ ~ ,
~I 1---
L W ~ H I I
-
L~
To restore the balance in a string of spins, you may alter the last pattern, as in the following example:
Some Examples of Enclosure with Ascending Scales
~rz~ {~b~J~ I br3rr
~r iii Jjj~Ib~rr
LD*+J~
A _
, ~. ~ I v r v
I 3) II .i p: ~ Z~ v L ~
~ r~ ~ ~~i~
Or, in a string of spins, add the half step at any point to restore the balance, as in the following example:
~r
L -I ~~/
-~ I I - I I I -
,k I II..~I i~ iii~ i i i i
L~II I 1f I L4 ...I I ~ -
27
ne Examples of Embellishment with Ascending Scales
-
- . ~.v-_
- ~ ~.A.~
~~- _. _J
______
~~_.~
~ ~er~ ~
~~ L
b
~ ~
Example of a Bebop Solo Using Bebop Scales, Enclosure, Embellishment, Etc.
Because of copyright restrictions it is not possible to print Clifford Browns solo on Confirmation, but by
nbering the four choruses of the solo(A), (B), (C), and (D), examples of these devices will be indicated. This
o can be found on the albumA NightAtBirdland: Blue Note 1522; published transcriptions can be found in
Modern Jazz Trumpet Solos by Ken Slone and The Jazz Style of Clifford Brown by David Baker.
Bebop Scales
(A) measures 8, 11-12, 12-13, 17-18, 26, 29-30, and 30-3 1
(B) measures 4-5,6, 7, 11-13, 15, 17, 22, and 27
(C) measures 3, 6, and 18-19
(D) measures 3, 6-7, and 11-12
closures
(A) measures 2, 3-4, 22, 29, and 31
(B) measures 7, 9-10, and 25-26
(C) measures 16-17, 28, and 30
(D) measures 8-9, 9-10, 16, and 18-19
ier Embellishments
(A) measures 6, 15, and 27-28
erpetual Motion Exercise
This exercise is designed to help a player develop a sense of line. The pattern may be used whenever a set of
~nges (II V7 or V7) move around the key circle at the rate of two measures apiece, as in the following examples:
1. Blues
I F7j F7 C- 1F71
F F7 e,b7
J ,r ________ ,I
~1 ~
~ ~-
F, ~
28
2. Bridge of I Got Rhythm
(A-)D7 (D-)G7
2 2
(C-) F7
2 iii]
67
i~i ir~rr~rrP~fI ~JJ~r~rrr I
F7
--
Ii. j p1 ~ ~~ Y~ I
~ ~i~- v ~ I
p
3. Donna Lee
Ab Gb7 F7 (F-) Bb7 (Bb-) Eb7
I2---1 I2--~
(Eb-) Ab7 Db
Fl ~~ Z~~ ~T J Pr ____________
,~ ~ .~A ~V N I Y
~_I ~ ~F1 ~ ~ P1 ~I V
______________ ~ ~-
(G-) C7
2
e~ fr-)
Eb, (81-) (I~7)
29
( b q ) 9
- c z
~ H I I
L O
( ~ I d w o o u ! ) u ~ i ~ d I L A j j ~ s ~ ~ ~ q A ~ w u i a ~ d ~
P ~ h A ~ R ~ - i ~ x ~ r ~ ~ i . ,
r k ~ ~ , ~ _ _ _ ~ I d r r r r r
- - ~ _ A : j J . ~ I j A k ~ F
~ - ~
~ U ! 1 ~ f l ~ w ~ - ~ j q n o a
( ~ ) 1 i ~ q w n u
1 1 a i n s ~ w
~ + ~ r r r 4 : L J - : : L L p ~ r i r I ~ ~
. F - I 1 _ ~ J N ~
L ~ ~ L D ( ~ ) L ~ ( ~ j ) L G ( - v )
L
1 7
T I
I I I I
- c r
~
. ~ ~ - ~ X e L t . . d b .
~ ~ ~ . ~ - ~ i r i
. ~ : A ~ _ A C 1 ~
~
- V ~ L y
I
- ~ ~ ~ I L ~ . ~ Z ~
_ _ _ 1 e ~ ~ ~
_ . ~ ,
_ _ _
9 b q ~ 9
1
_ _ _ _ _ _ - ~ . . ~ ~ 4
I d r i ~ ~ - i i v - ~
~ J _ ~ ~ k d F ) ~ 1 ~ W ~ ~ ~ V I . A U ~ ~ ~ . ~ -
. . . _ ~ ~ _ _ ~ , = - -
- ~ 6 9 L q . 9
_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ 4
~ V . - ~ 1
A ~ 1 4 ~ ~ F . I I _ ~ h ~
r v i ~ r I m ~ ~ W ~ _ _ ~ I
A ~ A ~ ~ f i r ~ 1 4 U _ r
L
- q y b q ~
- q ~ - q 9
~ j ~ 3 ~ r r r 1 r i ~ 1 ~ r t ~ f ~
b q 4 f ~ - d
; ~ ~ i i ~ c ~
* I
~ L a
- z , b q - . 9
u o i ~ u i ~ u o j o ~ u i o d ~ o ~ ~ p ~ q ~ I d p u ~ p i o i p j ~ A u i ~ u o ~ p ~ g a s i a x a u o z j o w i v n ~ a c f ~ a d a y j
i i i I ~
I
~ - . ~ ~ L J Z ~ ~
_ . ~ . . ~ r ~ - ~ ~
- ~ ~ - . _ . ~
~ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ ~
4 3 - s
t l t t
, , ~ 4 -
J ~ ~ ~ 4 b A ~ r I d ~
~ . 2 4 ~ ~ - _ L ~ r z V ~ V d ~
_ . - ~
~
~ t 1 ,
[ ~ 4 g J ~ ] ~ I I I ~ 3
L q S - q a
i ~ a ~ t 1 t ~ r ~ i ~ ~
I
4 4
~ . ~ f f - 1 ~ 4 ~ i ~ r w v ~ ~ - ~
_ A ~ I A . I - ~ 1 4 P V _ ~ ~ r
~ I A ~ r F a ~ _ A
_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ ~ _ _ _ _ _ _ _ _ 7 4 F
4 q c ~ - q Y
r ~ r I ~ r i ~ ~ C . 1 ~ I
L 4 V q ~
4 . d I
~ ~ ~ ~ ~ - ~ ~ r - ~
~ 1 4 . A ~ ~ d l 7 4 . r _
- ~ r r ~ ~ _ A ~ w ~ i ~ j
r F
: L J
I r ~ ~ 1 J 2 ~ T i I i ~ - 1
- a
-
, I
l w
1 1 r a . I r
i ~
L q g - ~
I ~ r ~ r ~ $ f V ~ C t . r ~ r f ~ T ~ i L ~ r j ~ g ~ ~ j
L d ~ ~
[ T i 2 I j ~ ~ - i ~ ~ ~
a s z a i a x a u o n o u i l v n w d ~ a j
E-A7
A-D7 - ___
..~ ~- _______ -________
,~ ,~-~ 7 , ~~- ~ -~~_~. ~w-
I ~ ~I ~~~~ _4~~. ~_ ~~- w~i~
~ ~ T W ~ ~ ~ ~ t .~ ~
~SwJJ~I~n~rlH I I ~I
I F.
~ ___ -~ z_~ I
r- ~ ~ -_~ I
I I ~ A ~ _________ ..~IT~ ~, I
~ ______~ ~z ~
Jazz Calisthenics
All of these exercises fit over these chords: G-, C7, E~
Each of the following exercises takes four forms:
~W ~W~ W~ J7TD ji4~ rib~ JTi~ ~ II
~ CLrJ rr1 ~rLr ~~Lr r p~rr JD7D .IW ~ II
I,
A -~ - I
~ L~ -- ~- i:v- ~a_.- ~I ~ ~ .~ ~__________ I
IL)) ~I .4 ~4 ~ 4~IA ~ ~ I
~.:~ - I

m~~~?] fl2DJflJ JTTh~rfi rrrrbJJ2] : ~
b b
A -~ ~-~ - - I
I ~ ~ ~v ~~:,T ~ i
IDI .~-- -- --~ ~-___w-~ .r4.4__:~_~___l
I ~ ~ _ ~_I
L
I I I II
~ LI~ -
~ JII~j~ ~WDb~rrr ~fL[fb~D 3
A _ ______ I
/~ ?~ W W1r I W~. ~I ~ ~-~ ~_ I ~I Y I
jc~) LI ~.4 ~.4. R .4 ~A .~ E ~ I
~,_ _- ~ I

b
Practice the four forms from the 3rd of the chord, as in the following examples:
33
Practice the four forms from the 5th of the chord, as in the following examples:
1C~~
______ - ____ .- -~ I
~ ~-=_ 1, I ~ ~ i ~, I
~ ~ A.A~ ~~ Ar~~ I
~. _- w. ~- ~ I
1:
___
. ~ .~ , -~ I
-~ -~-~ ~I ~1- ~v I
~ ~~ ~ I
--- -~--- I
Practice the four forms from the b7 of the chord, as in the following examples:
U LZ-~--~ LtL.
_________ ________ -..- I
~ - ~-- ~
r ~ i~a~ ~- I
v_~- ~ w- ~- ~ w- ~_. ~. A, ~I
P k p ~ b h ~ b
~2~D J~?JD~ jW~rI ErLr Lttr Er~Jbr 1
34
;i~~ J~-~ fl~1~b~
Some possible continuations using enclosure.
~~bJ~J -~
, ~
i.~
-~ .~.-
~ ~~rJJ cI~Lr rfLr br~rIr ~b~ ~J j~
!t~ ~. 1i rT~J ~r
J 9~ .4..W V I

1 I~~ ~
I I
I I I
I. I. I I ~
~L
IA-.. - I_. _I I I I ~_ -
..r)r~~a
~ i, r i I i - i .
A _______ ~
,~ ~ ~ ~ a,- .71 r I ~I .~V ~Z~
I -~~A F! ~~I ~t PA ___ ~~ .1 P1 ~ I ~ J ~ __
~ I ~_ _______________ -~

- I I
A ______ ~-
(~. I ~~.~ z,-~r~i ~a ~v ~ ~ ~ -y
_ ~..I ~~I ~ 2 A-d.~ h -~ ~A ~ ZV I ~V~ ~
~h..~*
a
F. ~r_ .-~--, ~-
LI ~I it ~ I ~I
~ F~- ~
,~
,
F~E IJ_ - L ~. :~. ,--, , I I
. - - ~I I I~ I 1 I - r i1 -
J :- ; ; I L~ - D -L D b-1~
I I I1 iL. I ~L
WI
~
I I I I W~
1~1 I ~
,~ ri i, ri- 1T I
(~: ~1 I I I I I ~-I
~ 41 L4 d.~_d
~
~ ~ I~FiIi~~Fr ~~rr~r ~.rr
L~*P. - -
~p ~I--.LJ
35
Some possible continuations using deflection.
___
,- .~ -~ ~- .~
~_ ~ .,-. y iz~ ~
~ ~A ~ ~ 1
~ ~. r
______ _______-I~
~_ _I .y _.~v- I ~y
I_.~ I~ ~I
~ ~r w ~

-
- ___
~ w-~ I ~- I ZV~~ W~~I y ~ ~
_A ~d -~ IT~ ~ J A.~ .~~ F~ ~i
.~~ ~ ~ I ~ ~T ~

~-~-
p
., a
d ~ ~ ___ ~v.
~ -~ ~A.. ~

p~b~
Some possible continuations using enclosure and deflection.
b
I ~ ~_ ~ L -~
-

~I ~ A~ ~
~ _I ~ I I 2 .V r .;v
~Zh ~_W ~ I
,, ~ ~ .-
1P ~ y ~V P1 ~ In 1
A -~ ~I .~ J .J~A ~a_v~
-~A ~ P1 2 Z~I ~V
~_d ~-i._
36
Continuations with various endings.
..~ _. -~.
-~ --~~ ~
~_:4 -~ ~t_~- I
~- ~ -~ 1! ~

, -~ ______
- 1v .~ iv- _~ ~ ~v-~ j ~..-,~
~ (~ ~ ~r Jd~4~ ~ ~~~da~ 11.1 ~
-~ ~ L~4 ~
Use your imagination to develop other continuation exercises.
Using the rules for non-chord tones, construct exercises using all four forms, as in the following examples:
(~ ri. fl FT ~i r-rTl I I Ti r-rTl J~Ji~L~ r eb. .11 T9 II
%;V Jht~ ~~ -. ~dh1 ~L ~ L_L I I W , ~ J II
I ~- w~-U-
4 L ~ - L
~ i -i~~j Li i - i [j~L~ LJ_ LI L[ff~~ ~ ~ -J ~ -~~JrT ~
~[ P~i* ~p~p i4r P r~r ~b r~r f r~r ~b~D7~ n
-II
-I I ~
I~
Ib1t~t 4+ w .~.f4+ *tM~I~t~ -
-J
Practice these exercises from all twelve notes of the chromatic scale.
The bebop major scale calisthenics should be practiced in the same way, i.e., (1) four forms, (2) all chord
tones, and (3) all non-chord tones.
II
W I W El 11 P
I
II
bIW~I~~I I
I I T1 rr i~I fl~ i ~ r-~ ii J~JJ JJ~ [~bpr ~
V~I~ J I II I...J .J 1. J I I I iLl
37
BEBOP SOLO
( ) icokm of tnCJOS.LrS
ic.otion o~ b~bap SCO.IL
P1 I I I riII ~ ~ ~
: ~. i I ~ i
4 [ LI ~I_T -~ .IJ -J - ~ I ~
Eb
~r zf ~ J~D ~ r ~
_____ ___ __
, __________ ________ ~ _~ I .J I ~
~~- ~ ~V iz~~ ~ ~
.. ~ F? ~ ZV ~ ~
~ ~ ~z _____________________________
3
G- C7
- z,-~ ___ -~
zy.~ ~~A ~ ~
~ - .r
:i:~ w
3
Bb7 Lb
br r~r~r - IIbr ~r ~ TJ~j~ I JJ~t ~ I
-
_... ~,. I __~ ____________
-~~A :~~ ~
. ~ ~ ~- ~IPI A V 1 WA t~I
~ V ~ =~VA_A L4I ~J1
~r r~r)~r 4~ ~I r~IJ ~Jt~1 J~ - I
[r~r r~r tPD~rbr ~I
~7 F- 6b7 Ab Db7
LLII I. Il~ ~ JJYb~f~rJ~Y~ I
~~~tt~4J ?t4.~~v~
Gb
t
_______________ ~.1 . I _______
- ~.~r __ Zv-a A A .. ~ .~P1 ~Y J ~ A ~ V
~A ..~~P1 J ~A ~~___I I . Z~
WW ~ a
A Eb
Eb
~~1
A-
II -~
6--
C7
C-
F-
>
6- C7
38
A-
EL
~ ~
A ~ pr w ~
r. ~__. v~ ~v-~. a -~ b
~ ~I ~ ~ 4 _____ ________
~ ~A~ J
C7
F-
3
C-
F7
J ~ - IIkJ~iJ i,-i I~J~ ~. -
(a ~ :v- . ~- -~=-~-~
~~ ~-~~ r~ ~- . ~
,- . _zv- ~--~
.~.JbJ 44 ~ I J ~ ~ i~J ~ ~ J ~P I
8b7~
(45 ~4 ~ ~ I ~ r [r~~~r ~I
S e
__I_ _____
A ~ . Pr _-y~ ___________ I
~zv Pr I -
j~ ~k ~ ~i I ~
- _______
39
Part II
OTHER SCALES AND THEIR USE
The following syllabus is based on informationgleaned fromthe study ofperformance practices of the major
figures from bebop forward.
SCALE SYLLABUS
Relationship Of Chords To Scales
Major Family
Chord Type (I)
Majori 3579
Major(~4)1 3579~11
Major (~4~5) 1 3 ~5 79 ~1 1
Major(~6~9)1357 911
Major 1 3 5 7 9
Major 1 3 5 7 9
Major 1 3 5 7 9
Major 1 3 5 7 9
Major 1 3 5 7 9
Scale Form
Major12345678
Lydian123~45678
Lydian Augmented 1 2 3 ~4 ~5 6 7 8
13 Augmented1~235~671
diminished 1 ~2~3~3#456 ~78
Harmonic Major 1 234 5~678
bluesi ~3h34~45~78
minor pentatonic 1 ~3 4 5 ~7 8
Major pentatonic 1 2 3 5 6 8
minor Family
Scale Form
Doriani2~3456 ~78
Natural minor 1 2 ~3 4 5 ~,6 ~,7 8
Phrygian 1 L~2 ~,3 4 5 ~6 ~7 8
Ascending Melodic minor
1 2 ~3 4 5 6 7 8
Harmonic minor 1 2 ~3 4 5 ~6 7 8
minor pentatonic 1 ~3 4 5 ~,7 8
Blues 1 ~3 ~3 4 ~4 5 L,7 8
Dorianl 2~3456~79
Ascending melodic minor
1 2 ~3 4 5 6 7 8
Harmonic minor 1 2 ~3 4 5 ~6 7 1
minor Pentatonic 1 ~,3 4 5 ~7 8
Bluesi ~334~4578
diminished (start with whole step)
1 2~34~4$5678
Chord Type
minor, tonic (I) Function.
minor 7th (II) Function
40
Dominant Family
Chord Type Scale Form
Dominant 7th unaltered Mixolydian 1 2 3 4 5 6 1,7 8
1 3 5 1,7 9 Lydian Dominant 1 2 3 ~4 5 6 1,7 8
Major Pentatonic 1 2 3 5 6 8
minor Pentatonic 1 1,3 4 5 1,7 8
Bluesi 1,3~34~451,78
Dominant 7th ~1 1 Lydian dominant
135~79~11 123~456~78
Dominant 7th 1,5, ~5 or both Whole Tone 1 2 3 ~4 ~5 ~6
1 31,5 ~7
1 3 ~5 1,7
1 3(1,5~5)~7
Chord Type Scale Form
Dominant 7th (1,9) Diminished
1351,71,9 1 1,21,3~3~4561,78
Dominant7th~9 Diminished 1~2 1,3 3#45178
1 3 5 1,7 ~9 Diminished whole tone
1 1,21,3~3~4~5~68
Dorian 121,34561,78
Blues 1 1,334~45 1,78
minor pentatonic 1 1,3 4 5 1,7 8
Dominant 7th 1,9 and fl9. . . diminished 1 1,2 1,3 ~3~I 56 1,78
diminished whole tone
1 ~
minor pentatonic 1 1,3 4 5 1,7 8
Bluesi 1,3~34~45 1,7~
Dominant 7th 1,5 and 1,9. . . diminished
1 1,21,3~3~45~1,7,~
diminished whole tone
1 ~
minor pentatonic 1 1,3 4 5 1,7 8
Blues 1 ~334~451,78
Dominant 7th . . diminishea scale
1,5and1,9131,51,71,g 1 1,21,33~4561,78
~5 and ~9 1 3 #5 1,7 ~9 minor pentatonic
1,5and~9131,51,7~9 11,3451,78
~5and ~913~5 1,71,9 Blues 1 1,3~34~45 1,78
(and/combination)
41
Half diminished chords
Chord Type
(half-diminished 7th
(~7)
or
minor 7th (~5)
1 ~,3 ~5 ~7
diminished 7th
1 ~3 ~56
(o7)
Scale Form
Locriani ~
LOCriafl#2 12 ~34 ~5~p6 ~78
diminished (start with whole step)
1 2~34#4~5678
blues 1 ~3a34~45 ~78
diminished chords
diminished scale
(start with whole step)
12 ~34~4~5678
For specific information about the use of these scales I recommend any good improvisation method or scale
)k, i.e., Jazz Improvisation by David Baker, The Complete Methodfor Improvisation by Jerry Coker, The
han Concept by George Russell, A NewApproach To Ear Trainingfor the Jazz Musician by David Baker,
les for Jazz Improvisation by Dan Haerle, etc.
For all serious players the best method for learning the correct use of the scales is through the study of
ordings by thejazz giants. One method of pursuing this information is to isolate situations in various tunes that
ically suggest a particular scale, as in the following examples:
e~~] C t- C
~5 I2--4 I_2_iJ 1/1/ /1/ I~2
SLL99EStS a.
who)1~ftmE SCO.LE
~i1~ C7~I C76q F
- I iO -1 J liii Jiiii I i2~- I
SLJ.~gE9fs a. dLrnLnishLd.. scc1~
~ 81- A Ab- A Bb- A
~ -~ I ~2 I I 2 1
SU99EStS Ihe. LLSL of: O~~~~.fldijig rn!Jod~ mifl~i~ SCOLLS
~ Ab- V~r G C7 F7 ~ B~, G- C7 F- P17
(~ /1/1 j /1 /1 j i//f Jiiii I u/i I liii 1/ /1 ~// /1
Suggests
a. Iyd.Lon.~
dcrninant scale..
42
Observe how established players play over those changes. It is advisable to transcribe those patterns and
commit them to memory for future use. To locate those places in tunes (and what specific tunes), search various
fake books, sheet music, play-along booklets, etc.
The following public domain patterns for whole tone and diminished scales were gleaned fromvarious solos
by the established giants. Study, learn, and use the patterns in your playing and personalize them. Once the
player understands the technique, the process should then be used to build a vocabulary based on the other scales.
20 PUBLIC DOMAIN WHOLE.TONE PATTERNS
4 ~~~-
,~ ~ r ~~v ~
~i ~ P~7 1 _~ I Y P1 3 ~! .~h
~W _._ ~ ______ ____________ I
v I
2. bt ~ ~A..d T I ~ - ; ~a ~ I
t~b F -
Lr ~r r~r r~ ~b4~ J ~~JL?J~ ~T~; ~ II
~b:~4 J4~ ~~ J ~r II
___ Il
~j-~2 J~J~ J~bt~f] ~r II
45 ~r1!r btr~r ~~j~2 II
~
_________ ___________ _______________ I
, ~ V~..~ A I ~ I
.~ ~I ___rr w r ~ _.~ I
___ ~ .. .~ I

43
. ~ 1 ~ ~
r r ~ J J q ~ ~
- . h
~ ~ X 4 - ~ W ~ V ~ ~ ~ ~
~ ~ I ~ - ~

a l
x ~
~ r ~ r ~ . a
~ . i ~ w - r ~ r ~
~ ~

- ~

: ~ ~ L j c
-
J ~ r ~
- r - ~ _
r :
. 4 4
~ E 3 ~ . W J ~ J V d u j ~ i 4 g j . 6 u j p u ~ , L ~ r ~ j ~ ~ ~ ~ q f ~
. ~ 4 r J ~ , ~ T J ~ 1
~ ~ r r Z r r t f r ~ j - J ~ J - ~
w ~
- ~ i ~ ~
1 4 ~ - ~ r v ~ ~ ~ _ - ~ ~ ~ ~ I I ~
- ~ _ . - ~ _ ~ F . ~ _ 1 ~

_ _ _ q _ _ _ _ _ _
I ~ t . ~ 1 2 ~
I . ~ ~ W J 4 i ~ _ ~ r x ~
I - ~ ~ - ~ ~ z
I
q ~ .
I _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ ~ 2 . ~ ~ ~ L ~ _ ~ _ ~
I ~ d _ A r ~ . z ; ~ ~
~ ~ ~ ~ _ _
I -
r~ -
ii I~. ~p- ~
,~ r ~ w~~ ~.T (
rrrr~rrr~J~J~
~ p;J~ i~~~rfbf~ ~.
A ~-.
, ~ ~ ______ zv.-.
U ~I ~ p7 I ~A
~-~ ,~ ~-
. .
26 PUBLIC DOMAIN DIMINISHED PATTERNS
A
F. ~ I ~V
Ii. r_~.- . ~ -
.~ ~ZV ~ .7 ~
~ p p
-~- _
F. ~-v ,...
I. ~ .~
~ 1 ~i . zv v V

~ 4~;~b~ bJ~~ ~&r~r r
~i r~r~ 7~J~J~j~ 4
~ ~_... .
,~ ~ r~ Z~ V
Ii r~r ~-~ ~
~P I I ~~IZV ~ LI .~ ~J
p p .
~ rr~rr~~Jb~c
.. . ._~
II _~._v~ ~ ~I ~
~~,~ ~ .c~ ~. -~
p
45
9 1
~ .
_ _ ~ ~
F ~ . L . . ~ ~
- I ~
4 1
_ _ _ _ _ _ 4 ~ 4 4
- ~ ~ - ~ r : a i ~ _ .
~ ~ j ~
~ p
. ~ 4 3 r ~ r r ~ r r r r ~ J ~ 1 ~ g . L
~
4
- ~ ~ 1 ~ _ ~
1 ~ ~ ~ ~ r _ w
V ~

I
~ - ~ q
t ~ I . . a ~ W ~ . - ~
I ~ ~ ~ . i

-
4 ~
I A ~ F V ~ I . . A ~
. . ~ W I
.

- ~ i i r ~ .
a . ~ j ~ j i - r ~ r ~ ~ ~ ~ d ~ r ~
~ I A L . . A ~ r ~ - r ~ W ~ _ A ~ ~
A ~ 1 4
~ - ~ q 1
A ~ r i v r ~ ; . - a ~ k i r i
~ i ~ i ~ r i r J - ~
~ I ~

- e - ~ 4 4
. . _ A I - ~ k ~ W I
~ W V I - ~ 1 4 W ! - .
. . _ A ~ I ~ V ~ L V _ V A ~ ~ _ . .
~
~ I ~ r r 1 r ~ r ~ r h ~ r ~ r ~ r ~ t ~ i
~ ~ ~ ~ I r ~ r r ~ r ~ ~
Li 1-

~; i ~ _ z..
,~ .~~ ~ ~ v -
21. ~_______________
.~
#1
IG~
-
I_f
t I -
,~
-~-
,
I
- r~ r~ - - -
- I ~~II - ~- .~-.
j--~
- -~ .1~ I ~ ste.
IL~I
~5~LiW I
~I -
-
I~
-
I I I I
: rn~ -.
.~ - I - ~I I
(F
LI~
I_ ~I ~ I I ~
-. I -
. r ~ ~J ~rr
-~:4:tsl
I I I
r ~+$
~ 1~
~-I -

-~-.-
,% ~ _.~ ~ ____ ~
~IO 11 I ~A~ ~ ~ ~ ~ ~
The reader may wish to practice the exercises in this book with the Jamey Aebersold jazz play-along
records, particularly the following:
Volume 3: The II V7 Progression
Volume 6: All Bird
Volume 16: Turnarounds. Cycles & II/V7s
Volume 21: Gettin It Together
Volume 24: Major & Minor
47