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21 Bebop Scale Patterns for Guitar

 Take Your Playing to the Next Level. 30 Days to Better Jazz Guitar Eook Get Your!o"y To#ay

$ne o% the &ost 'i#ely use# (on(e"ts in )azz i&"rovisation* the Beo" +(ale has longeen a sta"le in the vo(aulary o% &any o% the genres great artists. ,hen learningho' to "lay )azz guitar- &any "layers stu#y this s(ale- they o%ten "ra(ti(e it#es(en#ing only- or 'ith its relate# Do&inant th /r"eggio as(en#ing on the %ronten#- ut %e' "eo"le 'ork this s(ale 'ith "atterns an# "hrases as they 'oul# thePentatoni( +(ale or a)or +(ale.

1or this reason- 2ve (o&"ile# 45 #i%%erent "atterns that you (an use to "ra(ti(eBeo" +(ale %ingerings on the guitar- &ost o% 'hi(h (o&e %ro& Davi# Bakers Beo"ooks- an# all o% 'hi(h (o&e %ro& the )azz tra#ition an# (an e %oun# in the solos o%greats su(h as ,es ontgo&ery- Johnny +&ith- !harlie Parker an# &any &ore.

Be%ore you #ive in to these "atterns- (he(k out &y arti(le on Beo" +(ale %ingerings.2 'as turne# on to this uni6ue 'ay o% "laying the Beo" +(ale y the great L./.guitarist Jon Bre&en- 'ho in turn learne# the& %ro& )azz e#u(ation legen# Davi#Baker- an# i% you (an get these s(ale sha"es un#er your %ingers- then the %ollo'ing"atterns 'ill e easier to learn an# internalize.

2% you %in# that this a""roa(h to %ingering the Beo" +(ale is not your (u" o% tea- you(an a""ly all o% these "atterns to any Beo" +(ale %ingering that you (urrently kno'or that you are 'orking on in the "ra(ti(e roo&.

 Though these "atterns are all "resente# 'ithin the Do&inant Beo" +(ale- you (analso a""ly the& to the a)or Beo" +(ale as 'ell as the inor Beo" +(ale. Just grathe "attern or li(k that is uni6ue to any "arti(ular exa&"le elo' an# insert it into

these other- lesser use#- Beo" +(ales an# youll e ale to ex"an# youri&"rovisations ex"onentially.

 

Bebop Scale Patterns for Guitar

 

1: Enclosed Root

 

2n this %irst exa&"le you are going to use a very "o"ular Beo" te(hni6ue (alle# an7en(losure.8 /n en(losure is 'hen you take a note 9in this (ase the root: an# "layone note aove that note- then one elo'- e%ore %inally settling on the note you'ere targeting in the %irst "la(e. There are several (o&&on notes that you (anen(lose so 'ell start on the root an# ex"lore &ore as you go.

;ea# &ore aout this te(hni6ue in &y arti(le 7Beo" <o(aulary= En(losures8

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2: Enclosed Fifth

 

 You (an no' take the sa&e a""roa(h an# en(lose the %i%th o% the s(ale. The

en(losure te(hni6ue 'orks "arti(ularly 'ell 'ith the root an# >th o% any (hor#. You(an also use this a""roa(h on any note o% the ar"eggio or s(ale in your "laying- utthis is a goo# "la(e to start. /s 'ell- there are s"e(i%i( "atterns that (an only ea""lie# to the 3r# an# th- that 'ell see elo'- so en(losing the root an# >th is agreat "la(e to start at this "oint in ti&e.

 

3: Enclosed Root and Fifth

 

+in(e youve en(lose# the root an# >th se"arately- you (an no' en(lose oth o% the&

together. Noti(e that y a##ing a si&"le i#ea- su(h as the en(losure9s:- youreexten#ing your &elo#i( i#eas 'ithout getting (o&"li(ate#. /ll you are #oing isa##ing in the en(losure- or other Beo" te(hni6ues- as you #es(en# the s(ale to&ake the s(ale last longer as you "lay #o'n the %ingering.

 This is a great 'ay to get &ore &ileage out o% any s(ale you are 'orking on e(auseall o% a su##en notes e(o&es 50 or 54 or &ore- allo'ing you to (over &oregroun# 'ith a si&"le s(ale or ar"eggio %ingering than you nor&ally 'oul# 'ithout the"attern.

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4: Enclosed Root with 3 to b9 rpe!!io

 

No' you (an a## a "attern to the thir# note o% the s(ale- in this (ase a Di&inishe#

th ar"eggio o%% o% the thir# o% the (hor#.

Noti(e ho' y #oing so- you are essentially 7resetting8 the s(ale a(k to the to" o%the %ingering- allo'ing you to start over again an# exten# your &elo#i( i#ea even%urther. The notes in this ar"eggio are the 3r#?>th?th?@th- an# so this ar"eggio iso%ten (alle# a 3 to @ or &ore s"e(i%i(ally a 3 to @ ar"eggio.

 

": Enclosed Fifth with 3 to b9 rpe!!io

 

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Aere is a variation on that sa&e (on(e"t- although instea# o% en(losing the root an#a##ing the #i&inishe# ar"eggio on the thir#- you 'ill a## the en(losure on the %i%th-'ith the #i&inishe# ar"eggio o%% o% the thir# note in the s(ale.

 Though 2 #i#nt in(lu#e it in this arti(le- i% you 'ant to go %urther 'ith this (on(e"tyou (an #o an en(losure on the root an# the %i%th- 'hile a##ing the #i&inishe#

ar"eggio to the thir# o% the s(ale.

 

#: Enclosed 3rd $ith %ouble &hro'atic pproach

 

" to this "oint- youve een en(losing the root an# the %i%th 'ith one note aove an#one elo' ea(h target note. No'- you (an a## one &ore note to that e6uation an##o a #oule (hro&ati( a""roa(h en(losure- this ti&e 'ith the thir# o% the (hor#.

Aere you have one note aove- 1- your target note- E- an# t'o notes elo'- D an#DC. /gain- you are a##ing a si&"le &elo#i( #evi(e to exten# your s(ale- allo'ing youto (over &ore groun# 'ithout getting too %an(y &elo#i(ally or &oving into outsi#ehar&oni( areas.

 

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(: Enclosed 3rd with %ouble &hro'atic pproach and 3 to b9 rpe!!io

 

Aere you are going to &ix our #oule en(losure 'ith the #i&inishe# ar"eggio %ro&the "revious exa&"le to "ro#u(e a longer &elo#i( i#ea. This "ra(ti(e- o% (o&ining

any or all o% these "atterns in your "laying is totally a((e"tale.

1eel %ree to ex"eri&ent 'ith (o&ining as &any o% these as you %eel (o&%ortale'ith. You &ight like to )ust use one "er line- or i% youre like &e- you &ight like to useas &any as you (an (ra& into an i#ea 'ithout going eyon# the or#ers o% goo#&usi(al taste.

 

): 3 to b9 rpe!!io *%i'inished rpe!!io fro' 3rd+

 

+in(e youve een "airing it u" 'ith the en(losures- lets )ust take a look at ho' the#i&inishe# ar"eggio o%% o% the thir# o% the s(ale soun#s on its o'n- 'ith other&elo#i( #evi(e use# in the s(ale. /gain- this is a great 'ay to 7reset8 the s(ale a(kto the to"- as 'ell as a((ent the @ o% the (hor#- in this (ase D- sin(e that is the

lan#ing note at the to" o% the ar"eggio.

 

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9: (*b9,b13+ $ith b( to b13 rpe!!io

 

 You 'ill no' a""ly a Beo" "attern to an altere# version o% the Beo" s(ale. You aregoing to %latten the @th an# 53th o% the s(ale- (o&&on alterations %or #o&inant(hor#s- on the 'ay #o'n. Then- on the 'ay u" the s(ale- 'hi(h you havent seen yet-you 'ill "lay a B&> ar"eggio to get yoursel% a(k to the to" o% %ingering- 'ith theBeo" note- B natural- a##e# in %or goo# &easure.

2% this altere# soun# is ne' to you- try )ust a##ing one outsi#e note- the @ or the53- an# then (o&ine the& in your "laying. The key is to get these ne' soun#s inyour ears so that you (an use the& in your "laying. 2% you )ust have the %ingerings&e&orize# it is a lot &ore #i%%i(ult to solo 'ith any i#ea until you (an learn to hearthat soun# in the (ontext o% ho' your i&"rovise.

 

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1-. /riplet with Enclosed Root

 

+in(e youve een looking at straight th?note "atterns so %ar- lets ex"an# yourrhyth&i( vo(aulary y a##ing in a tri"let at the start o% the s(ale- then #es(en#ingthe %ingering 'ith an en(lose# root %or a##ing s"i(e to the line.

 You 'ill have to alter your nor&al Beo" +(ale %ingering to get at the notes in thetri"let- 'hi(h exten# aove the u""er toni(- so %eel %ree to &ove your han# aroun#on this li(k. 2 'oul# try to "lay the ! 'ith &y &i##le %inger- the D 'ith &y "inky- then

 )u&" a(k into the nor&al Beo" +(ale %ingering 'e have een using u" until this"oint.

 

11: /riplet off /hird with b9 Passin! 0ote

 

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/gain- here is another tri"let i#ea- this ti&e starting on the 3r# o% the s(ale- an#instea# o% using an en(losure- you are a##ing in the @ (olor tone- %ro& the "reviousexa&"le. 2% you like this soun# you (an also a## in the 53- or oth the @ an# 53-'hatever your ear %in# attra(tive as %ar as a##e# (olor notes %oun# outsi#e o% the#iatoni( s(ale.

 

12: Startin! fro' b(

 

" to this "oint youve #es(en#e# the s(ale %ro& the to" note on #o'n. No'- letsa## a little &elo#i( t'ist y starting on the o% the s(ale an# then as(en# u" to theroot (hro&ati(ally- e%ore #es(en#ing the s(ale to the lo'est note.

 This is a (ool 'ay to "lay the Beo" +(ale 'ithout a##ing or altering any #iatoni(notes- )ust starting on a note that isnt the toni( an# a##ing a (hange in #ire(tion toour &elo#i( "hrase.

 

13: &hro'atic /riplet fro' 3rd to "th

 

Aere is one o% the &ost "o"ular Beo" +(ale "atterns in any )azz guitaristsvo(aulary. Great "layers su(h as Joe Pass- ,es ontgo&ery an# Pat artino haveuse# this i#ea (ountless ti&es in their solos over the #e(a#es.

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 The key is to get the (hro&ati( tri"lets as s&ooth as "ossile- so %eel %ree toex"eri&ent 'ith a##ing slurs an# sli#es to those six notes in or#er to get that 7li6ui#8soun# that you hear in the "laying o% these great guitarists.

 

14: %eflection

 

 This next exa&"le (ontains a #evi(e that Davi# Baker (alls a 7#e%le(tion.8 Essentially-you are using a short- %our?note "attern to 7reset8 the s(ale y a %e' notes- not as&u(h as the #i&inishe# ar"eggio #i#- ut still "ro#u(ing the sa&e e%%e(t.

Noti(e ho' the a##e# note- the 1C- %un(tions as oth an alteration- the C55 o% the(hor#- as 'ell as the lo'er?neighor o% the %i%th- G- that you are using to #e%le(t yourline. /##ing a har&oni( (olor to your &elo#i( "hrase in this instan(e.

 

1": &hro'atic %own fro' /hird

 

any "layers kno' aout a##ing the natural th note to a ixoly#ian +(ale in or#erto uil# the Do&inant Beo" +(ale that you nor&ally use in your "laying. But- you(an also a## other (hro&ati( notes to this s(ale- on the o%%?eats o% the ar- in or#erto exten# your &elo#i( i#eas.

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1): scendin! %iersion fro' Flat Seen

 

Aere is another "attern that uses a #iversion- in(lu#ing the a##e# C55 note %ro& the"revious exa&"le- to exten# our &elo#i( i#eas. !he(k out the %irst %ive notes in this"attern as 'ell- this &ini?&otive is a very (o&&on "hrase use# y Beo" an#

Aar#o" "layers- an# it is 'orth (he(king out %urther- oth in the (ontext o% this linean# 'orking on it se"arately as 'ell.

 

19: scendin! %iersion fro' /hird

 

Aere is another #iversion- this ti&e starting on the thir# o% the s(ale an# using oththe C55 an# C> alterations to the s(ale. 1or goo# &easure- 'ell go ahea# an# a##in the (hro&ati( "assing notes %ro& the 3r# #o'n to the root %ro& the "reviousexa&"le- 'hi(h exten#s the line even %urther.

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;e&e&er that it is very i&"ortant to e ale to let your ears gro' a((usto& tothese ne' an# highly (hro&ati( soun#s- so "ra(ti(e these i#eas slo'ly an# in all 54keys a(ross the ne(k in or#er to %ully ingrain the& into your "laying.

 

2-: 123" Fro' Flat Seen

 

2n this exa&"le you are going to a""ly a very (o&&on Beo" te(hni6ue (alle# the 3to @ /r"eggio.

,hat you are #oing here- is a##ing in a ii& (hor# at the start o% the "hrase. But-instea# o% "laying the ii& ar"eggio %ro& the root to the th o% the (hor#- you areleaving the root out an# "laying the ar"eggio %ro& the 3r# to the @th o% the (hor#.

 To take the i#ea even %urther- you are using an alteration o% the 3 to @ (on(e"t herey using the 5?4?3?> ar"eggio "attern- so&ething that John !oltrane an# (!oy

 Tyner oth %avore# in their soloing.

 This kin# o% 7rootless8 ar"eggio is very (o&&on in the "laying o% !harlie Parker-Dizzy Gilles"ie an# &any other Beo"ers. !he(k it out- this is a great &elo#i( i#eaan# one that every Beo" guitarist shoul# have un#er their %ingers.

 

21. one5suc6le

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 To %inish o%% our 45 Beo" +(ale Patterns you 'ill a""ly a variation o% the &elo#y to7Aoneysu(kle ;ose8 to the Beo" s(ale. The i#ea is to take a %our note (hro&ati("attern- !?B?B?/- an# use an tria# starting on the @th- D&- to reak u" that "atternan# exten# your &elo#i( i#ea %ro& %our notes to six.