Bebop scales are frequently used in jazz improvisation and are derived from the modes of the major scale, the melodic minor scale, and the harmonic minor scale. There are four types of frequently used bebop scales: the bebop dominant scale, the bebop Dorian scale, the bebop major scale, and the bebop melodic minor scale. Each of these scales has an extra chromatic passing tone. In general, bebop scales consist of traditional scales with an added passing tone placed such that when the scale is begun on a chord tone and on the downbeat, all other chord tones will also fall on downbeats, with the remaining tones in the scale occurring on the upbeat (given that the scale is played ascending or descending; i.e., no intervallic skips are played). As such, many heptatonic scales may be modified by the addition of an eighth passing tone to accomplish this same effect; however, the modifier "bebop" is reserved to indicate those scales most frequently used—and popularized—during the bebop era (and/or by modern practitioners of the bebop genre).
[edit] Bebop dominant scale
The bebop dominant scale is derived from the Mixolydian mode and has a chromatic passing tone between the 7th and the root. This scale is often used over dominant 7th chords and ii V chord progressions.
[edit] Bebop Dorian scale
The bebop Dorian scale is derived from the Dorian mode and has a chromatic passing tone between the 3rd and 4th notes. This scale is often used over minor 7th chords. The Bebop Dorian scale is a mode of the Bebop Dominant scale.
[edit] Bebop major scale
The bebop major scale is derived from the Ionian mode and has a chromatic passing tone between the 5th and 6th notes. This scale is often used over major 6th chords and major 7th chords.
[edit] Bebop melodic minor scale
The bebop melodic minor scale is derived from the ascending form of the melodic minor scale and has a chromatic passing tone between the 5th and 6th notes. This scale is often used over minor 6th chords.
These scales are listed in David N. Baker's books on Bebop.
They are also included, with the exception of the Dorian bebop scale, in Roni Ben-Hur's book Talk Jazz: A Comprehensive Collection of Bebop Studies, which is derived from the work of Barry Harris. Ben-Hur further elaborates on the concept of placing additional chromatic passing tones between other notes in the scales.
[edit] Bebop Harmonic Minor scale
The bebop harmonic minor scale is derived from the harmonic minor scale and has a chromatic passing tone (an additional b7) between the 6th and the 7th notes. It can be used on all three chords of a minor II-V-I progression. This scale is listed in Randy Halberstad's book Metaphors For The Musician—Perspectives from a Jazz Pianist. The Bebop Harmonic Minor scale is a mode of the Bebop Major scale.
[edit] Modes of the G Dominant Bebop Scale
4th mode
name: C Lydionian
(aka Ichikotsucho, Raga Yaman Kalyan, Chaya Nat, Bihag, Hamir Kalyani, Kedar,
Genus Diatonicum Veterum Correctum, Gaud Sarang, Gregorian nr.5,
Kubilai's Mongol scale)
desc: hybrid – lydian & ionian (lydian add P4 or ionian add #4)
scale: C D E F F# G A B C
formula: R-W-W-h-h-h-W-W-h
degrees: 1 2 3 4 #4 5 6 7 8
usage: over major quality chords
5th mode
name: D Mixodorian
(aka Dorian Bebop, Minor Bebop, Raga Zilla)
desc: hybrid – mixolydian & dorian (mixolydian add b3 or dorian add 3)
scale: D E F F# G A B C D
formula: R-W-h-h-h-W-W-h-W
degrees: 1 2 b3 3 4 5 6 b7 8
usage: over dominant quality and secondary dominant chords
6th mode
name: E Phrygiolian
desc: hybrid – phrygian & aeolian (phrygian add 2 or aeolian add b2)
scale: E F F# G A B C D E
formula: R-h-h-h-W-W-h-W-W
degrees: 1 b2 2 b3 4 5 b6 b7 8
usage: ???
b7th mode
name: F Lydiocrian
desc: hybrid – lydian & locrian (lydian add b2)
scale: F F# G A B C D E F
formula: R-h-h-W-W-h-W-W-h
degrees: 1 b2 2 3 #4 5 6 7 8
usage: ???
7th mode
name: F# Locrydian
desc: hybrid – locrian & lydian (locrian add 7)
scale: F# G A B C D E F F#
formula: R-h-W-W-h-W-W-h-h
degrees: 1 b2 b3 4 b5 b6 b7 7 8
usage: over half-diminished chords, altered 7ths
1st mode
name: G Mixionian
(aka Dominant Bebop Scale, Genus Diatonicum, Raga Khamaj, Desh Malhar, Alhaiya Bilaval,
Devagandhari, Maqam Shawq Awir, Gregorian nr.6, Chinese Eight-Tone, Rast)
desc: hybrid – mixolydian & ionian (mixolydian add 7 or ionian add b7)
scale: G A B C D E F F# G
formula: R-W-W-h-W-W-h-h-h
degrees: 1 2 3 4 5 6 b7 7 8
usage: over dominant quality chords
2nd mode
name: A Doriolian
(aka Raga Mukhari, Anandabhairavi, Deshi, Manji, Gregorian nr.1)
desc: hybrid – dorian & aeolian (dorian add b6 or aeolian add 6)
scale: A B C D E F F# G A
formula: R-W-h-W-W-h-h-h-W
degrees: 1 2 b3 4 5 b6 6 b7 8
usage: over (dorian) minor chords
3rd mode
name: B Phrygiolocrian
desc: hybrid – phrygian & locrian (phrygian add b5 or locrian add P5)
scale: B C D E F F# G A B
formula: R-h-W-W-h-h-h-W-W
degrees: 1 b2 b3 4 b5 5 b6 b7 8
usage: over b2 minor chords and altered minor chords (m7b5, m7b9b5)
[edit] Modes of the C Major Bebop Scale
1st mode
name: C Major Bebop Scale
desc: ionian add b6
scale: C D E F G Ab A B C
formula: R-W-W-h-W-h-h-W-h
degrees: 1 2 3 4 5 b6 6 7 8
usage: over major quality chords
2nd mode
name: D Dorian Blues Scale
desc: dorian add b5
scale: D E F G Ab A B C D
formula: R-W-h-W-h-h-W-h-W
degrees: 1 2 b3 4 b5 5 6 b7 8
usage: over dorian minor chords & blues 7th chords
3rd mode
name: E Phrygian Bebop Scale
desc: hybrid - phrygian & phrygian dominant
scale: E F G G# A B C D E
formula: R-h-W-h-h-W-h-W-W
degrees: 1 b2 b3 3 4 5 b6 b7 8
usage: over phrygian tonic chords & V7 of composite minor tonalities
4th mode
name: F Lydian Minor Bebop Scale
desc: lydian add b3
scale: F G Ab A B C D E F
formula: R-W-h-h-W-h-W-W-h
degrees: 1 2 b3 3 #4 5 6 7 8
usage: over major quality chords
5th mode
name: G Mixolydian add b9
desc: mixolydian add b9
scale: G Ab A B C D E F G
formula: R-h-h-W-h-W-W-h-W
degrees: 1 b2 2 3 4 5 6 b7 8
usage: over 7b9 chords
b6th mode
name: G# Diminished Augmented Scale
desc: | G# dim tetrachord | W W | E dim tetrachord |
scale: | G# A B C | D | E F G Ab |
formula: R-h-W-h-W-W-h-W-h
degrees: 1 b2 b3 b4 b5 b6 6 7 8
usage: over diminished and augmented quality chords
6th mode
name: A Harmonic Minor Bebop Scale
(aka Maqam Nahawand, Raga Suha, Suha Kanada)
desc: hybrid - harmonic minor & aeolian
scale: A B C D E F G G# A
formula: R-W-h-W-W-h-W-h-h
degrees: 1 2 b3 4 5 b6 b7 7 8
usage: over (aeolian) minor quality chords
7th mode
name: B Locrian Diminished Bebop Scale
desc: locrian add 6
scale: B C D E F G Ab A B
formula: R-h-W-W-h-W-h-h-W
degrees: 1 b2 b3 4 b5 b6 6 b7 8
usage: over half-diminished chords & diminished 7th chords
[edit] Modes of the C Ionian add b9 Bebop Scale
1st mode
name: Ionian add b9
desc: ionian add b9
scale: C Db D E F G A B C
formula: R-h-h-W-h-W-W-W-h
degrees: 1 b2 2 3 4 5 6 7 8
usage: ???
b2nd mode
name: Diminished Major Bebop Scale
desc: | C# diminished tetrachord | G major tetrachord | (super locrian add 7)
scale: | C# D E F | G A B C | C#
formula: R-h-W-h-W-W-W-h-h
degrees: 1 b2 b3 b4 b5 b6 b7 7 8
usage: over altered 7th chords
2nd mode
name: Dorian Melodic Bebop Scale
(aka Raga Mian Ki Malhar)
desc: hybrid - dorian & melodic minor (dorian add 7 or melodic minor add b7)
scale: D E F G A B C C# D
formula: R-W-h-W-W-W-h-h-h
degrees: 1 2 b3 4 5 6 b7 7 8
usage: over (dorian) minor chords
3rd mode
name: Double Phrygian Bebop Scale
desc: hybrid - phrygian & dorian b2/phrygian 6
(phrygian nat6 add b6 or phrygian add 6 or dorian b2 add b6)
scale: E F G A B C C# D E
formula: R-h-W-W-W-h-h-h-W
degrees: 1 b2 b3 4 5 b6 6 b7 8
usage: phrygian
4th mode
name: Lydydian Augmented Bebop Scale
desc: hybrid – lydian & lydian augmented (lydian add #5 or lydian augmented add P5)
scale: F G A B C C# D E F
formula: R-W-W-W-h-h-h-W-h
degrees: 1 2 3 #4 5 #5 6 7 8
usage: ???
5th mode
name: Mixolydian Blues Scale
desc: hybrid - mixolydian & lydian dominant (mixolydian add b5 or lydian dominant add P4)
scale: G A B C Db D E F G
formula: R-W-W-h-h-h-W-h-W
degrees: 1 2 3 4 b5 5 6 b7 8
usage: over blues 7ths
6th mode
name: Melodic Major Minor Bebop Scale
desc: hybrid – melodic major & aeolian (melodic major add b3 or aeolian add 3)
scale: A B C C# D E F G A
formula: R-W-h-h-h-W-h-W-W
degrees: 1 2 b3 3 4 5 b6 b7 8
usage: ???
7th mode
name: Double Locrian Bebop Scale
desc: hybrid – locrian & locrian nat2 (locrian add 2 or locrian nat2 add b2)
scale: B C C# D E F G A B
formula: R-h-h-h-W-h-W-W-W
degrees: 1 b2 2 b3 4 b5 b6 b7 8
usage: ???
[edit] Modes of the C Ionian Minor Bebop Scale
1st mode
name: Ionian Minor Bebop Scale
desc: hybrid – ionian and melodic minor (ionian add b3 or melodic minor add 3)
scale: C D Eb E F G A B C
formula: R-W-h-h-h-W-W-W-h
degrees: 1 2 b3 3 4 5 6 7 8
usage: over major quality chords
2nd mode
name: Double Dorian Bebop Scale
(aka Adonai Malakh)
desc: hybrid – dorian b2 & dorian (dorian b2 add 2 or dorian add b2)
scale: D Eb E F G A B C D
formula: R-h-h-h-W-W-W-h-W
degrees: 1 b2 2 b3 4 5 6 b7 8
usage: Jewish
b3rd mode
name: Lydian Augmented add b9
desc: lydian augmented add b9
scale: Eb E F G A B C D Eb
formula: R-h-h-W-W-W-h-W-h
degrees: 1 b2 2 3 #4 #5 6 7 8
usage: ???
3rd mode
name: Phrygian Diminished Bebop Scale
desc: | E phrygian tetrachord | B diminished tetrachord | (phrygian add 7)
scale: | E F G A | B C D D# | E
formula: R-h-W-W-W-h-W-h-h
degrees: 1 b2 b3 4 5 b6 6 7 8
usage: phrygian
4th mode
name: Lydian Dominant Bebop Scale
desc: hybrid – lydian dominant & lydian (lydian dominant add 7 or lydian add b7)
scale: F G A B C D Eb E F
formula: R-W-W-W-h-W-h-h-h
degrees: 1 2 3 #4 5 6 b7 7 8
usage: over dominant quality chords
5th mode
name: Mixolydian Augmented Bebop Scale
desc: hybrid – mixolydian b6 & mixolydian (mixolydian add #5 or mixolydian b6 add 6)
scale: G A B C D D# E F G
formula: R-W-W-h-W-h-h-h-W
degrees: 1 2 3 4 5 #5 6 b7 8
usage: over 7#5 chords
6th mode
name: Aeolian Blues Scale
desc: hybrid – aeolian & locrian nat2/aeolian b5
(aeolian add b5 or aeolian b5 add P5 or locrian nat2 add P5)
scale: A B C D Eb E F G A
formula: R-W-h-W-h-h-h-W-W
degrees: 1 2 b3 4 b5 5 b6 b7 8
usage: over minor blues
7th mode
name: Altered Quartal Bebop Scale
(aka Eight-Tone Spanish, Espla's Scale)
desc: hybrid – super locrian & locrian (altered scale add P4 or locrian add dim4)
scale: B C D Eb E F G A B
formula: R-h-W-h-h-h-W-W-W
degrees: 1 b2 b3 b4 4 b5 b6 b7 8
usage: over Alt7, 7sus, Spanish
[edit] Modes of the C Melodic Minor Bebop Scale
1st mode
name: C Melodic Minor Bebop Scale
(aka Zirafkend)
desc: melodic minor add b6 or harmonic minor add 6
scale: C D Eb F G Ab A B C
formula: R-W-h-W-W-h-h-W-h
degrees: 1 2 b3 4 5 b6 6 7
usage: over (dorian) minor chords
2nd mode
name: D Dorian Blues b9 Scale
desc: | D phrygian tetrachord | G# diminished tetrachord |
(phyrgian nat6 add #4 or dorian b2 add #4)
scale: | D Eb F G | G# A B C | D
formula: R-h-W-W-h-h-W-h-W
degrees: 1 b2 b3 4 #4 5 6 b7 8
usage: over diminished chords
b3rd mode
name: Eb Major Minor Bebop Scale
desc: | Eb major tetrachord | A minor tetrachord |
lydian augmented add P4
scale: | Eb F G Ab | A B C D | Eb
formula: R-W-W-h-h-W-h-W-h
degrees: 1 2 3 4 #4 #5 6 7 8
usage: ???
4th mode
name: F Lydian Dominant Minor Bebop Scale
desc: lydian dominant add b3
scale: F G Ab A B C D Eb F
formula: R-W-h-h-W-h-W-h-W
degrees: 1 2 b3 3 #4 5 6 b7 8
usage: over dominant chords
5th mode
name: G Melodic Major add b9
desc: melodic major add b9 or phrygian dominant add nat2
scale: G Ab A B C D Eb F G
formula: R-h-h-W-h-W-h-W-W
degrees: 1 b2 2 3 4 5 b6 b7 8
usage: over 7b9
#5th mode
name: G# Diminished Phrygian Bebop Scale
desc: |G# diminished tetrachord | D phrygian tetrachord |
scale: | G# A B C | D Eb F G | G#
formula: R-h-W-h-W-h-W-W-h
degrees: 1b2 b3 b4 b5 5 6 7 8
usage: ???
6th mode
name: A Minor Major Bebop Scale
desc: | A minor tetrachord | Eb major tetrachord |
(locrian nat2 add 7 or aeolian b5 add 7)
scale: | A B C D | Eb F G Ab | A
formula: R-W-h-W-h-W-W-h-h
degrees: 1 2 b3 4 b5 b6 b7 7 8
usage: over altered minor chords
7th mode
name: B Super Locrian Diminished Bebop Scale
desc: Super Locrian add 6
scale: B C D Eb F G Ab A B
formula: R-h-W-h-W-W-h-h-W
degrees: 1 b2 b3 b4 b5 b6 bb7 b7 8
usage: over half-diminished, diminished and alt7 chords
[edit] Modes of the C Melodic Minor Blues Scale
1st mode
name: C Melodic Minor Blues Scale
desc: melodic minor add b5
scale: C D Eb F Gb G A B C
formula: R-W-h-W-h-h-W-W-h
degrees: 1 2 b3 4 b5 5 6 7 8
usage: over (dorian) minor chords
2nd mode
name: D Mixodorian b9 Bebop Scale
desc: | D diminished tetrachord | G major tetrachord |
(dorian b2 add b4 or phrygian nat6 add b4)
scale: | D Eb F F# | G A B C | D
formula: R-h-W-h-h-W-W-h-W
degrees: 1 b2 b3 3 4 5 6 b7 8
usage: over 7b9 chords
b3rd mode
name: Eb Lydian Augmented Minor Bebop Scale
desc: lydian augmented add b3
scale: Eb F Gb G A B C D Eb
formula: R-W-h-h-W-W-h-W-h
degrees: 1 2 b3 3 #4 #5 6 7 8
usage: ???
4th mode
name: F Lydian Dominant add b9
desc: lydian dominant add b9
scale: F Gb G A B C D Eb F
formula: R-h-h-W-W-h-W-h-W
degrees: 1 b2 2 3 #4 5 6 b7 8
usage: over 7b9 chords
#4th mode
name: F# Locrydian bb7 Scale
desc: | F# phrygian tetrachord | C minor tetrachord |
scale: | F# G A B | C D Eb F | F#
formula: R-h-W-W-h-W-h-W-h
degrees: 1 b2 b3 4 b5 b6 bb7 7 8
usage: over half-diminished and diminished chords
5th mode
name: G Mixionian b6 Scale
desc: | G major tetrachord | D diminished tetrachord |
melodic major add 7 or harmonic major add b7
scale: | G A B C | D Eb F F# | G
formula: R-W-W-h-W-h-W-h-h
degrees: 1 2 3 4 5 b6 b7 7 8
usage: over 7#5 chords
6th mode
name: A Doriolian b5 Scale
desc: locrian nat2 add 6 or aeolian b5 add 6
scale: A B C D Eb F F# G A
formula: R-W-h-W-h-W-h-h-W
degrees: 1 2 b3 4 b5 b6 6 b7 8
usage: over half-diminished chords
7th mode
name: B Altered Quintal Bebop Scale
desc: super locrian add P5
scale: B C D Eb F F# G A B
formula: R-h-W-h-W-h-h-W-W
degrees: 1 b2 b3 b4 b5 5 b6 b7 8
usage: over alt7 chords
[edit] Further reading
- David Baker, Jazz Improvisation, Alfred.
- David Baker, Arranging and Composing, Alfred.
- Mark Levine, The Drop 2 Book, Sher Music Co.
- Mark Levine, The Jazz Theory Book, Sher Music Co.
- Randy Halberstadt, Metaphors For The Musician, Sher Music Co.
[edit] External links
| Musical scales | | | Main western | | | | Types | | | | Name | | | | Ethnic origin | | | | Modes | | | | Number of tones | | |
