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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 long
een a sta"le in the vo(aulary o% &any o% the genres great artists. ,hile &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 %ront en#* ut %e' "eo"le 'ork this s(ale 'ith "atterns an#
"hrases as they 'oul# the Pentatoni( +(ales or /a)or +(ale.
0or this reason 12ve (o&"ile# 34 #i%%erent "atterns that you (an use to "ra(ti(e your
Beo" +(ale %ingerings on the guitar* &ost o% 'hi(h (o&e %ro& Davi# Baker2s 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. 1
'as turne# on to this uni5ue '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.
Though these "atterns are all "resente# 'ithin the Do&inant Beo" +(ale* you (an also
a""ly the& to the /a)or Beo" +(ale as 'ell as the /inor Beo" +(ale. Just gra the
"attern or li(k that is uni5ue to any "arti(ular exa&"le elo' an# insert it into these other*
lesser use#* Beo" +(ales an# you2ll e ale to ex"an# your i&"rovisations
ex"onentially.
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Bebop Scale Patterns for Guitar

4. En(lose# 7oot

1n this %irst exa&"le 'e are going to use a very "o"ular Beo" te(hni5ue (alle# an
8en(losure.9 .n en(losure is 'hen 'e take a note* in this (ase the root* an# "lay one note
aove that note* then one elo'* e%ore %inally settling on the note 'e 'ere targeting in
the %irst "la(e. There are several (o&&on notes that 'e (an en(lose so 'e2ll start on the
root an# ex"lore &ore as 'e go.

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3. En(lose# 0i%th

No' 'e (an take the sa&e a""roa(h an# en(lose the %i%th o% the s(ale. The en(losure
te(hni5ue 'orks "arti(ularly 'ell 'ith the root an# :th o% any (hor#s. You (an also use
this a""roa(h on any note o% the ar"eggio or s(ale in your "laying* ut this is a goo# "la(e
to start. .s 'ell* there are s"e(i%i( "atterns that (an only e a""lie# to the 3r# an# -th*
that 'e2ll see elo'* so en(losing the root an# :th is a great "la(e to start at this "oint in
ti&e.

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3. En(lose# 7oot an# 0i%th

+in(e 'e2ve en(lose# the root an# :th se"arately* 'e (an no' en(lose oth o% the&
together. Noti(e that y a##ing a si&"le i#ea* su(h as the en(losure;s<* 'e2re exten#ing
our &elo#i( i#eas 'ithout getting (o&"li(ate#. .ll 'e are #oing is a##ing in the
en(losure* or other Beo" te(hni5ues* as 'e #es(en# the s(ale to &ake the s(ale last
longer as 'e "lay #o'n the %ingering. This is a great 'ay to get &ore &ileage out o% any
s(ale you are 'orking on* all o% a su##en - notes e(o&es 40 or 43 or &ore* allo'ing you
to (over &ore groun# 'ith a si&"le s(ale or ar"eggio %ingering than you nor&ally 'oul#
'ithout the "attern.

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=. En(lose# 7oot 'ith Di&inishe# o%% Thir#

No' 'e (an a## a "attern to the thir# note o% the s(ale* in this (ase a Di&inishe# -th
ar"eggio o%% o% the root o% the (hor#. Noti(e ho' y #oing so* you are essentially
8resetting9 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.
1% this ar"eggio is ne' to you* (he(k out &y "age on Di&inishe# .r"eggios %or Guitar to
see ho' these o%ten>use# #evi(es lie on the %inger>oar#.

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:. En(lose# 0i%th 'ith Di&inishe# o%% Thir#

?ere 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#* 'e '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 1 #i#n2t in(lu#e it in this
arti(le* i% you 'ant to go %urther 'ith this (on(e"t you (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.


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@. Doule En(lose# Thir#

A" to this "oint 'e have een en(losing the root an# the %i%th 'ith one note aove an#
one elo' ea(h target note. No'* 'e (an a## one &ore note to that e5uation an# #o a
#oule en(losure* this ti&e 'ith the thir# o% the (hor#. ?ere 'e have one note aove* 0*
our target note* E* an# t'o notes elo'* D an# DB. .gain* 'e are a##ing a si&"le
&elo#i( #evi(e to exten# our s(ale* allo'ing us to (over &ore groun# 'ithout getting too
%an(y &elo#i(ally or &oving into outsi#e har&oni( areas.


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-. Doule En(lose# Thir# 'ith Di&inishe# o%% Thir#

?ere 'e 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. 0eel %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% you2re like &e* you &ight like to use as &any as you (an (ra& into an i#ea
'ithout going eyon# the or#ers o% goo# &usi(al taste.


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C. Di&inishe# $%% o% Thir#

+in(e 'e2ve een "airing it u" 'ith the en(losures* let2s )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 no' other
&elo#i( #evi(e use# in the s(ale. .gain* this is a great 'ay to 8reset9 the s(ale a(k to the
to"* as 'ell as a((ent the D 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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D. -;DE43< ,ith &-: .s(en#ing

,e 'ill no' a""ly a Beo" "attern to an altere# version o% the Beo" s(ale. ,e are going
to %latten the Dth an# 43th 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 'e haven2t seen yet* 'e 'ill "lay a
B&-: ar"eggio to get us a(k to the to" o% %ingering* 'ith the Beo" note* B natural*
a##e# in %or goo# &easure.
1% this altere# soun# is ne' to you* try )ust a##ing one outsi#e note* the D or the 43* an#
then (o&ine the& in your "laying. The key is to get these ne' soun#s in your ears so
that you (an use the& in your "laying. 1% 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 hear that soun# in the
(ontext o% ho' your i&"rovise.


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40. Tri"let 'ith En(lose# 7oot

+in(e 'e2ve een looking at straight Cth>note "atterns so %ar* let2s s"i(e things u" y
a##ing in a tri"let at the start o% the s(ale* then #es(en#ing the %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 the tri"let* 'hi(h exten# aove the u""er toni(* so %eel %ree to &ove
your han# aroun# on this li(k. 1 '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.


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44. Tri"let o%% Thir# 'ith D

.gain* here is another tri"let i#ea* this ti&e starting on the thir# o% the s(ale* an# instea#
o% using an en(losure* 'e are a##ing in the D (olor tone* %ro& the "revious exa&"le. 1%
you like this soun# you (an also a## in the 43* or oth the D an# 43* 'hatever your
ear %in# attra(tive as %ar as a##e# (olor notes %oun# outsi#e o% the #iatoni( s(ale.


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43. !hro&ati( A" %ro& +eventh

A" to this "oint 'e have #es(en#e# the s(ale %ro& the to" note on #o'n* no'* let2s a## a
little &elo#i( t'ist y starting on the - o% the s(ale* then as(en# u" to the root
(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
isn2t the toni( an# a##ing a (hange in #ire(tion to our &elo#i( "hrase.


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43. !hro&ati( Tri"let %ro& 3>:>3

?ere is one o% the &ost "o"ular Beo" +(ale "atterns in any )azz guitarist2s vo(aulary.
Great "layers su(h as Joe Pass* ,es /ontgo&ery an# Pat /artino have use# this i#ea
(ountless ti&es in their solos over the #e(a#es. The key is to get the (hro&ati( tri"lets as
s&ooth as "ossile* so %eel %ree to ex"eri&ent 'ith a##ing slurs an# sli#es to those six
notes in or#er to get that 8li5ui#9 soun# that you hear in the "laying o% these great
guitarists.

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4=. De%le(tion

This next exa&"le (ontains a #evi(e that Davi# Baker (alls a 8#e%le(tion.9 Essentially 'e
are using a short* %our>note "attern to 8reset9 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 0B* %un(tions as oth an alteration* the B44 o% the (hor#* as 'ell as the lo'er>neighor
o% the %i%th* G* that 'e are using to #e%le(t our line. .n a##e# har&oni( (olor to our
&elo#i( "hrase in this instan(e.

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4:. !hro&ati( Do'n %ro& Thir#

/any "layers kno' aout a##ing the natural -th note to a /ixoly#ian +(ale in or#er to
uil# the Do&inant Beo" +(ale that 'e nor&ally use in our "laying. But* you (an also
a## other (hro&ati( notes to this s(ale* on the o%%>eats o% the ar* in or#er to exten# your
&elo#i( i#eas. ?ere 'e are a##ing t'o &ore (hro&ati( notes* et'een the 3r# an# 3n#
notes as 'ell as et'een the 3n# an# 4st notes o% the s(ale. +o no' 'e have three a##e#
(hro&ati( notes in our Beo" +(ale* exten#ing it even %urther than the nor&al C notes o%
the original %or&.

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4@. .s(en#ing 11 !hor#

+in(e 'e a""ly the Beo" +(ale to a -th (hor#* the F- (hor# in any key* 'e (an also "air
it u" 'ith its "o"ular (ousin the ii&- (hor#. +o* in this (ase 'e 'ill as(en# a ii&- (hor#*
G&-* e%ore eginning our #es(en#ing Beo" +(ale i#ea. You (an also s"i(e this i#ea u"
y a##ing in any o% the s(ale "atterns that 'e have learne# u" to this "oint in or#er to
extent this ii>F i#ea even %urther.

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4-. Des(en#ing 11 !hor#

This "attern %eatures the sa&e i#ea* a##ing in a ii&- (hor# to the Beo" +(ale* ut this
ti&e 'e 'ill #es(en# the ii&- ar"eggio e%ore )u&"ing into the Beo" s(ale.

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4C. .s(en#ing Diversion %ro& 0lat +even

?ere is another "attern that uses a #iversion* in(lu#ing the a##e# B44 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>&oti% is a very (o&&on "hrase use# y Beo" an# ?ar#o"
"layers* an# it is 'orth (he(king out %urther* oth in the (ontext o% this line an# 'orking
on it se"arately as 'ell.

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4D. .s(en#ing Diversion %ro& Thir#

?ere is another #iversion* this ti&e starting on the thir# o% the s(ale an# using oth the
B44 an# B: alterations to the s(ale. 0or goo# &easure* 'e2ll go ahea# an# a## in the
(hro&ati( "assing notes %ro& the 3r# #o'n to the root %ro& the "revious exa&"le* 'hi(h
exten#s the line even %urther. 7e&e&er that it is very i&"ortant to e ale to let your
ears gro' a((usto& to these ne' an# highly (hro&ati( soun#s* so "ra(ti(e these i#eas
slo'ly an# in all 43 keys a(ross the ne(k in or#er to %ully ingrain the& into your "laying.

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30. 11>F 0ro& 0lat +even

1n this exa&"le 'e are going to a""ly a very (o&&on Beo" te(hni5ue (alle# the 3 to D
.r"eggio. ,hat 'e 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#* 'e are
leaving the root out an# "laying the ar"eggio %ro& the 3r# to the Dth o% the (hor#.To take
the i#ea even %urther* 'e are using an alteration o% the 3 to D (on(e"t here y using the 4>
3>3>: ar"eggio "attern* so&ething that John !oltrane an# /(!oy Tyner oth %avore# in
their soloing.
This kin# o% 8rootless9 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#ea an# one that
every Beo" guitarist shoul# have un#er their %ingers.

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34. ?oneysu(kle

To %inish o%% our 34 Beo" +(ale Patterns 'e 'ill a""ly a variation o% the &elo#y to
8?oneysu(kle 7ose9 to the Beo" s(ale. The i#ea is that 'e take a %our note (hro&ati(
"attern* !>B>B>.* an# use an tria# starting on the Dth* D&* to reak u" that "attern an#
exten# our &elo#i( i#ea %ro& %our notes to six.

!li(k to return to the Essential Jazz Guitar +(ales Page
No relate# "osts.

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