Shortbook™ - “Beboppin' the 6th / Diminished Scale”
An Improviser's Essential Element
An Improviser's Essential Element
This new volume of “Beboppin' the 6th / Diminished Scale” is an expansion of a previous post, “Bach to Baics - Minor b6 Scale Arpeggios”.
As that title suggests, the focus was on the (Melodic) Minor “Bebop Scale”, the name coined by jazz education pioneer David Baker in the 1970s, as well as its history as a melodic device introduced by the Bebop pioneers of the 1940s.
To clarify once again, a Bebop Scale is a Major Scale with an added passing tone between its 5th & 6th scale degrees (Ab in C Major). Its purpose was to rhythmically “even out” groups of eighth notes – the eighth note being the primary rhythmic unit or “feel” of the Bebop melodic line.
As that title suggests, the focus was on the (Melodic) Minor “Bebop Scale”, the name coined by jazz education pioneer David Baker in the 1970s, as well as its history as a melodic device introduced by the Bebop pioneers of the 1940s.
To clarify once again, a Bebop Scale is a Major Scale with an added passing tone between its 5th & 6th scale degrees (Ab in C Major). Its purpose was to rhythmically “even out” groups of eighth notes – the eighth note being the primary rhythmic unit or “feel” of the Bebop melodic line.
There is also a dominant (Mixolydian) bebop scale (usually descending), with a passing tone between scale steps 1 & b7 (F# in G Mixolydian). That scale, however, is not part of the concept of this book.
Enter legendary pianist and jazz-ed icon, Barry Harris - who introduced and teaches this scale not only as a melodic device, but as a complete 8-note harmonic system.
In one the features of this system, inversions of the resulting 4-note chord structures – alternating Maj 6 & dim7 - built on diatonic 3rds, are utilized to create a continuous, built-in I - V7b9 - I harmonic movement, which can most commonly be employed over static Major Harmony of more than a measure.
In this volume - featuring the Major 6th / Diminished scale - as in the previous one, the accent is on exploring this latter system, with the focus being on single lines, permutations and arpeggios, both for practice and practical use.
Enter legendary pianist and jazz-ed icon, Barry Harris - who introduced and teaches this scale not only as a melodic device, but as a complete 8-note harmonic system.
In one the features of this system, inversions of the resulting 4-note chord structures – alternating Maj 6 & dim7 - built on diatonic 3rds, are utilized to create a continuous, built-in I - V7b9 - I harmonic movement, which can most commonly be employed over static Major Harmony of more than a measure.
In this volume - featuring the Major 6th / Diminished scale - as in the previous one, the accent is on exploring this latter system, with the focus being on single lines, permutations and arpeggios, both for practice and practical use.
Ex 1. below illustrates in horizontal fashion the "modes" built on the first four steps of a C Maj6 / Diminished scale (aka Bebop Scale). Notice that the G# (Ab) in each case is not considered as merely a passing tone, but as part of this eight note scale system.
Each “mode” alternates between a Major and Diminished (Dominant) tonality with each succeeding one, creating the aforementioned I – V7b9 – I movement. The more obvious chord types for each mode are listed above it.
Ex 1.
Each “mode” alternates between a Major and Diminished (Dominant) tonality with each succeeding one, creating the aforementioned I – V7b9 – I movement. The more obvious chord types for each mode are listed above it.
Ex 1.
. . . Etc.
The modes presented here for use over the the diminished (dominant) chords do not necessarily replace the traditional Bebop Dominant scale, rather, they add yet another logical alternative.
Listen
The accompaniment used in this audio example consists of closed, block chord "George Shearing type" voicings with the bass running the scales in contrary motion.
Ex 2. below depicts alternating C6 & D dim7 ascending arpeggios. The D diminished 7th chord in this case, is seen as part of a G7b9 chord, but could also be part of a Bb7b9, Db7b9 and E7b9, as well.
In this example, a constant C6 – G7b9 movement is maintained
Ex 2.
In this example, a constant C6 – G7b9 movement is maintained
Ex 2.
Listen
In the next example, permutations are added to the descending inversions of each 4-note grouping.
Ex 3.
C6 G7b9
Ex 3.
C6 G7b9
Listen
The example below illustrates further possible variations - using approach notes, passing tones and rhythmic variation - to create a more musical melodic line, while maintaining the simple harmonic integrity of 6th / Diminished Scale itself.
Ex 4.
C6 G7b9
Ex 4.
C6 G7b9
The so called “Bebop Scale” is an essential part of the improviser's tool box. Add to that, its harmonic implications put forth by Barry Harris, as a self contained, 8-note harmonic system and a whole other realm of possibilities opens up.
As a study guide, “Beboppin' the 6th / Diminished Scale” attempts to uncover but a few of those inherent possibilities, through the exercises and sequences - in all 12 keys - found within its pages.
B. Stern
As a study guide, “Beboppin' the 6th / Diminished Scale” attempts to uncover but a few of those inherent possibilities, through the exercises and sequences - in all 12 keys - found within its pages.
B. Stern
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