Bebop scale

As bebop scale (English bebop scale ) are different in modern jazz called scales used. They are formed by adding a chromatic continuity tone to the heptatonic root key .

There are three commonly used bebop scales: the bebop dominant scale (derived from the Mixolydian scale), the Doric bebop scale (derived from the Doric scale) and the bebop major scale (derived from the major scale) . The fourth form, the semi-diminished bebop scale, is ambiguous. The name comes from David Baker .

The sound material has a lot in common with that of the block chords , on I and II dim. Barry Harris reinterprets seventh chords to sixth chords. Harris calls these scales "sixth-diminished" scale and does not use Baker's name.

The diminished sound then builds on the semitone between the major second of the sixth chord, so at C6 between g and a with g sharp a diminished sound is formed.

(If a seventh chord is reversed, e.g. Cmaj7, a minor second is necessary, or a second is altered to a semitone, e.g. b to b.)

The bebop dominant scale

The bebop dominant scale is derived from the Mixolydian scale and has a chromatic passage tone between the minor seventh and the octave (in the note example H). This scale can be used on dominant 7th chords.
Example:

The Doric bebop scale

The Doric bebop scale is derived from the Doric scale and has its chromatic passage tone between the third and the fourth (in the note example E). This scale is often used with minor seventh chords.
Example:

The Doric bebop scale is the scale on the fifth level of the bebop dominant scale. In a II-V scheme, the Doric bebop scale for the second level and the Mixolydian bebop scale for the fifth level therefore correspond.

The half-diminished bebop scale

The half-diminished bebop scale is ambiguous and depends on the context. If the half diminished chord, which is actually part of a minor cadence, is simply seen as a variant of the second degree chord, it uses the Doric bebop scale, i.e. the bebop dominant scale of the associated V chord.

In a context of the diminished seventh level VII, the dominant scale of the third level III is used, i.e. the parallel minor dominant.

Finally, the locrian scales with and without a raised second are an alternative.

For c half-diminished, this means in the first case:
1. F-bebop dominant
in the second
2. Ab-bebop dominant
in the third
3. c-locric
in the fourth case
4.c-locric with increased major second (# 2)

This shows the limits of the theory because it does not do justice to the minor cadence. Axel Jungbluth's theory of harmony does not even go into this scale, but assigns every half-diminished chord to a minor cadence. The diminished fifth is also a typical tone, like the minor ninth and minor tredecime of the following dominant chord, which is typically even excessive with its sixth. The special thing about the minor cadence is not these tones, but only the major third of the dominant, which cannot be explained with the means provided by the scale theory, because it is part of a modulation theory.

The bebop major scale

The bebop major scale is derived from the ionic scale and has a chromatic passage tone between the fifth and the sixth, namely the minor sixth (Ab in the note example). This scale is mostly used over major seventh chords with a major seventh.
Example:

The bebop scales are used by David N. Baker in his books on jazz theory or in Roni Ben-Hurs book "Talk Jazz", which is derived from Barry Harris ' theoretical work.

rhythm

It is often taught to play the chromatic passage tones only on the light, unstressed times of the measure, especially on the "four and" or the "two and", since they are tones that are not in the chord. Billy Taylor, for example, names the chromatically unrelated tones, with which many bebop phrases are dramatically completed on the unstressed times, active tones , which require a further melodic development, so to speak, because they leave the melody in suspension for a short time.

With Roni Ben-Hur, the system can be summarized as follows: If a scale run begins on a seventh chord tone (prime, third, fifth, seventh) with a rhythmic emphasis, you can add an odd number (usually one or three) tones that are not chromatic to the chord and come at a rhythmically stressed time on a chord tone. If, on the other hand, you start on a diatonic note that is not related to the chord (e.g. second, fourth), you add an even number (usually two) of notes that are not chromatically related to the chord, so that you finally come out rhythmically emphasized on a chord tone.

Example:

• 

  About G7 chords, g - f sharp - f - e - d - c - h - a - g. listen ^{? / i}

• 

  Via G7 foreign to chord, a - g - f sharp - f - e - d - c - h - b - a - g. listen ^{? / i}

This is because a scale has seven notes. Your own considerations are necessary for chord tones like the sixth, and the semitone whole-tone scale of diminished chords already has eight tones, the whole-tone scale six, so both already have an even number of tones.

Of course, a practical sonic check is important to find out which tones that are not chromatic on the chord fit best.

swell

1. ↑ Carlo Bohländer used the distinction between chordal notes, diatonic and non-chordal notes and chromatic non-chordal notes in his theory of harmony as early as 1961

literature

• David Baker, Jazz Improvisation , Alfred
• David Baker, Arranging and composing , Alfred,
• Roni Ben-Hur, Talk Jazz: A Comprehensive Collection of Be Bop Studies, With Detailed Explanation of Some of Jazz Improvisation's Fundamental Tools , Bohobza Music (Paperback - October 2003)
• Books and videos by Barry Harris