There are many different ways to think about how bebop scales are derived. What is the theoretical derivation of bebop scales? So scholars, theorists, jazz musicians, and jazz pedagogues have developed theoretical paradigms, such as systematized bebop scales, in order to facilitate studying, learning, and talking about bebop musical vocabulary. Instead, bebop scales were theorized after the fact as a way to explain common melodic gestures that recur frequently in bebop-style melodies and improvised solos.īebop solos notably feature a lot of chromatic or non-diatonic notes – meaning pitches that music theorists can’t easily explain by simply referring to the traditional 7-note scales such as the major scale (the Ionian mode) and the modes derived from it (such as the Dorian and Mixolydian modes). To my knowledge, there isn’t much evidence that the idea of “bebop scales” existed when Charlie Parker, Dizzy Gillespie, Charlie Christian, Bud Powell, Thelonious Monk, and the other legendary musical pioneers were developing the unique new style of jazz which we now call bebop. As is often the case with theoretical constructs, the theory arose and was codified after the practice was well established. It is important to note that the notion of bebop scales is a concept that arose after bebop had already emerged as a distinct style of jazz. Pioneering jazz pedagogues David Baker and Barry Harris are the two musicians most commonly credited with the development of the concepts surrounding bebop scales. Bebop scales appear to have emerged as a theoretical concept in the first few decades after the emergence of bebop as a distinct jazz style, which occurred around the time of the Second World War in the late 1930s/early 1940s. Many different backstories and explanations are circulating about where bebop scales come from, but in general, the narratives seem to have some common themes. This is a complicated question, but I can try to provide a basic framework for understanding the history and derivation of bebop scales. But where do bebop scales come from, and how can they be used in the practice room and in practical playing situations? In this post, I’ll hopefully shine some light on where these useful scales come from and how you can incorporate them into your practice routine, compositions, and improvisations. thinking movement-to-movement as opposed to chord to chord.Perhaps you’ve read or heard about bebop scales before – they’ve been mentioned in passing on LJS in the past. As well, one realizes that the interesting spots in music, whether you are comping, harmonizing a melody or writing an arrangement, are the places in between the chord symbols. The mover on the other hand, understands that chords come from scales and thereby learns to approach chording in a more fluid fashion. These vertical groups of notes are hit or struck on the instrument with no thought to creating movement. The hitter sits up and works out a couple of beautiful sounding voicings for each kind of chord (or worse, learns someone elses from a method book) and from that point on, plays them exactly the same way.
Either one becomes a hitter or, one becomes a mover. There are two paths for a chord player to go down. Imagine, a system for learning jazz harmony that actually embraces the concept of improvisation. What you will find herein are the structural components, as mapped out and developed by jazz giant Barry Harris, that will guide and aid you on your own personal road to discovery. You won't come out sounding like everyone else, and that's the good news! Studying the concepts put forth in this book will not teach you a set of hip sounding voicings. Harris' chordal approach for guitarists to explore. The Barry Harris Harmonic Method For Guitar adapts Dr.
Baritone Horns, Euphoniums, and Alto HornsĪlan Kingstone has studied piano great Barry Harris' educational methods since 1986 with The Howard Rees Jazz Workshop and in classes led by Barry in Toronto, New York and Rome.Speakers - Speakers & Tweeters Component.