Bebop scale
The bebop scale (English bebop scale ) is a scale used in modern jazz. It is made by the home key a chromatic passing tone is added. There are three commonly used bebop scales: the bebop dominant scale (derived from the mixlodyischen scale ), the Dorian bebop scale (derived from the Dorian scale ) and the bebop major scale (derived from the major scale ). The fourth form, the half diminished bebop scale is ambiguous. The name comes from David Baker.
The sound system has much in common with the block chords together on I and II dim. Barry Harris points to seventh chords sixths to order. Harris calls this scale " sixth - diminished " scale and Bakers does not use names.
The Bebop Dominant Scale
The Bebop Dominant scale is derived from the Mixolydian scale and has a chromatic passing tone between the minor seventh and the octave ( in sheet music sample H). This scale can be used over dominant seventh chords. example:
The Dorian bebop scale
The Dorian bebop scale is derived from the Dorian mode and has its chromatic passing tone between the third and the fourth ( In Note Example E). This scale is often used with Mollseptakkorden. example:
In a II-V scheme, the Dorian bebop scale for the second stage and the Mixolydian bebop scale for the fifth stage match.
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, simply seen as a variant of the second stage chord, it uses the Dorian bebop scale, ie the Bebop Dominant scale of the associated V - chord.
In a context as diminished seventh stage VII, the third stage III Dominant scale is used, so to speak, the relative minor dominant.
Finally, alternatively offer nor the Locrian scale with and without elevated second.
For c half reduces the mean in the first case: 1 F- bop Dominant in the second 2 From bebop Dominant in the third 3 c- locrian In the fourth case, 4 c- locrian with increased large secondary (# 2)
This shows the limits of the theory, because it is the minor cadence not fair. The harmony of Axel Jungbluth also do not deal with this scale, but assigns each half diminished chord a minor cadence. The diminished fifth is also a typical sound, as the minor ninth and the thirteenth of the following small dominant chord, which typically is even overly concerned with his sixth. The special feature of the minor cadence are not these tones but only the major third of the dominant, which can not be explained by the means provided by the scaling theory available, because it is part of a modulation theory.
The bebop major scale
The bebop major scale is derived from the Ionian scale and has a chromatic passing tone between the fifth and the sixth, namely the minor sixth ( In Note Example Ab). This scale is usually used on Durseptakkorden major seventh. example:
The Dorian bebop scale is itself a scale on the fifth stage of the bebop dominant scale. The scales used by David N. Baker in his books for jazz theory. They are also used in Roni Ben- Hur book " Jazz Talk ", which is derived from Barry Harris ' theoretical work.
Rhythm
Taught many cases, the chromatic passing tones to play only on the light unstressed hours of the clock, ie mainly on the four " and" or " and two ". This is quite useful, as they are strange chord tones and the chord even more justification has to appear on rhythmically stressed times, but it does so from the artist does not necessarily have to be so intended and can be changed consciously willed by him.
Billy Taylor called as the chromatic chord strange sounds with which many bebop phrases are completed dramatically to the unstressed times, active tones, so to speak, require a more melodic development, because they let the melody short in the balance.
In Roni Ben- Hur, the system can be summarized as follows: If on one Septakkordton ( Prim, third, fifth, seventh) begun a scale running rhythmic stresses can an odd number (usually one or three) to add chromatic chord strange sounds and comes to a rhythmically stressed time on a chord tone out. If you start, however, on a diatonic chord strange sound (for example, secondary, fourth) as one adds an even number (usually two ) chromatic chord strange sounds added, so you finally rhythmic stresses on a chord tone comes out.
Example:
About G7 chord alien, a - g - f # - f - e - d - c - h - b - a - Listen g / i?
The reason is that a scale has seven notes. My considerations are needed for the chord tones as the sixth, and the half-tone whole-tone scale of diminished chords in itself has eight tones, the whole-tone scale six, so both have an even number of tones.
Of course, a sound and practical examination is important that chromatic chord strange sounds best fit.