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szulc
08-05-2002, 03:20 AM
This is a tough little lick in the A Minor BeBop Scale.
At least it is tough for me to get this up to speed, so I practice it to force myself to get better! This one forces 'Inside " picking on the third, fourth and fifth note of the second sextuplet.

EricV
08-05-2002, 10:46 AM
That one is nice, too... what chord / tonality would ya play it over ? Or do you just consider it an exercise ?
Warm regards
Eric

The Bash
08-05-2002, 11:01 AM
I thought it sounded cool over a "Crushing Day" kinna vamp transposed to A5 to Ab5
Then again I'm weird so...
Cool lick

NP-Frank Zaapa-"one size fits all"

szulc
08-05-2002, 11:02 AM
A Minor, this is one of those things I use to weasel my way between A harmonic and d dorian via d Blues.
The g#(Ab) is the blue note of D Blues.
You should recognize those hiding in there.
If this continued I might raise c to c# and go for D melodic.

szulc
08-05-2002, 05:45 PM
I was taught the Minor Be-Bop scale as Aeolian with both a b7 and a 7. I hope I am using the correct terminology. In my way of looking at this it is a combination of A Aeolian and A harmonic.
Another useful way to look at this is Dorian ( from the root as D)with a Blue Note (b5)Added, since dorian fits in nicely with the root form of the Minor Pentatonic, it is easy to visualize.
So D Minor Pentatonic with M2, M6 and b5.
Or A minor Pentatonic with m6, M2 and 7.

jazzIII
08-07-2002, 01:00 AM
Cool lick! It has that "hornets in the brain" sound when played quickly. Works well over an E5; the 3rd and b3rd (G and Gb) give it a real ying and yang feel (major and minor).

szulc
08-07-2002, 12:27 PM
Over E it is Phrygian (G) Or Phrygian Dominant (G#) the 5th mode of A harmonic Minor. Some time I like to use it over Dm so it would be like Dorian with added b5.

E Minor Pentatonic with m6 and m2 ( E Phrygian) and M3.

So to wrap this all up, this can be looked at from Am, Dm or Em using the three respective Minor Pentatonics and the appropriate added 6th and 2nd to make the respective mode, then add the G# which is M7 in Am, b5 in Dm and M3 in Em.

Once again I was told this is called the A Minor Bebop Scale because it has 7 and b7.

I actually discovered this on my own, trying to cop Don Byas' Sax Solo on DIzzy Gilespe's original recording of 'BeBop'.
Later I read that it was referred to as the minor 'BeBop' Scale.

Hmmm, I wonder where it got its name?

EricV
08-07-2002, 12:39 PM
Just looked into my old GIT-material...

Bebop Major Scale: 1-2-3-4-5-b6-6-7
Mode 2 of Bebop Major: 1-2-b3-4-b5-5-6-b7
Mode3: 1-b2-b3-3-4-5-b6-b7
Mode4: 1-2-b3-3-4-5-b6-b7
Mode5: 1-2-b3-3-#4-5-6-7
Mode6: 1-b2-b3-3-#4-#5-6-7
Mode7: 1-2-b3-4-5-b6-b7-7
...

szulc
08-07-2002, 12:42 PM
Ok, So it is Mode 7 of the Major Be Bop Scale.

EricV
08-07-2002, 12:57 PM
Yeah... I dunno whether this is commonly referred to as the "Major Bebop", I ainīt got that listed in my notes.
But I guess thatīs the one.
Eric

Guni
08-07-2002, 01:47 PM
The Bebop Scale is actually a dominant scale. It was first introduced by Charlie Parker.

So over a G7 chord he would use the G Bebop scale with the notes: g a b c d e f f# g

The advantage of this scale is that when you play it descending in 8th notes starting on the root you play all chord tones of the G7 chord on the strong beats.

Furthermore, he used this scale over an entire II V I progression. The added f# implies a II7 secondary dominant and gives a lydian touch to the I chord.

well, enough of Bebop :-)

If I would need to analyse the lick above I'd just say that you imply a harmonic minor sound by including the major seventh - this is how I hear it.

Guni

szulc
08-07-2002, 02:02 PM
This is also useful for smoothing out the Roughness of the fourth tone (F)( Commonly referred to as AVOID NOTE) by giving a nice chromatic approach.