In other words, just treat the II- chord like a V7 chord in the same key, which works since both modes come from the same parent scale and therefore comprise the same pitches. You can play one scale over both the II- and the V7 chords.
The dominant seventh bebop scale is also useful over diatonically paired minor chords when you’re playing II-V-I’s. In the key of C for example, the dominant V7 chord is G7, so add an F# (or Gb) as a chromatic passing tone between the G and the F: This scale is generated by adding a passing tone between the flatted-seventh scale degree and the root. For example, combine Cmaj6 with D(dim.) to get the C-major bebop scale:Īnother common bebop scale is the dominant seventh (or Mixolydian) bebop scale. Here it is:Īnother way to think of a major bebop scale (which apparently comes from Barry Harris) is that it is derived from combining a major sixth chord with a diminished seventh chord a whole step above. For example, in the key of C major, you’d add a G# (or Ab) as an additional scale tone (a chromatic or non-diatonic passing tone) between the 5 th and 6 th degrees of the scale (in this case, G and A).
The major bebop scale is essentially a major scale (also called the Ionian mode) with an added passing tone: the b6. Let’s first look at the major bebop scale. It is important to note that in theory and in practice, bebop scales are generally thought of as descending scales, meaning they make the most sense, sound the best, and are most often used when playing descending stepwise melodies. Here’s the simplest and most direct explanation: you can generate bebop scales by adding strategically placed passing tones to common scales and modes from traditional Western music theory, including the standard diatonic or “church modes” derived from the major scale.īebop scales are essentially major, minor, and dominant scales with one or more added “passing tones,” which are extra “chromatic” or “non-diatonic” notes. There are many different ways to think about how bebop scales are derived. What is the theoretical derivation of bebop scales? So scholars, theorists, jazz musicians, and jazz pedagogues have developed theoretical paradigms, such as systematized bebop scales, in order to facilitate studying, learning, and talking about bebop musical vocabulary. Instead, bebop scales were theorized after the fact as a way to explain common melodic gestures that recur frequently in bebop-style melodies and improvised solos.īebop solos notably feature a lot of chromatic or non-diatonic notes – meaning pitches that music theorists can’t easily explain by simply referring to the traditional 7-note scales such as the major scale (the Ionian mode) and the modes derived from it (such as the Dorian and Mixolydian modes). To my knowledge, there isn’t much evidence that the idea of “bebop scales” existed when Charlie Parker, Dizzy Gillespie, Charlie Christian, Bud Powell, Thelonious Monk, and the other legendary musical pioneers were developing the unique new style of jazz which we now call bebop. As is often the case with theoretical constructs, the theory arose and was codified after the practice was well established. It is important to note that the notion of bebop scales is a concept that arose after bebop had already emerged as a distinct style of jazz. Pioneering jazz pedagogues David Baker and Barry Harris are the two musicians most commonly credited with the development of the concepts surrounding bebop scales. Bebop scales appear to have emerged as a theoretical concept in the first few decades after the emergence of bebop as a distinct jazz style, which occurred around the time of the Second World War in the late 1930s/early 1940s. Many different backstories and explanations are circulating about where bebop scales come from, but in general, the narratives seem to have some common themes. This is a complicated question, but I can try to provide a basic framework for understanding the history and derivation of bebop scales. But where do bebop scales come from, and how can they be used in the practice room and in practical playing situations? In this post, I’ll hopefully shine some light on where these useful scales come from and how you can incorporate them into your practice routine, compositions, and improvisations. Perhaps you’ve read or heard about bebop scales before – they’ve been mentioned in passing on LJS in the past.
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