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Tutorials tagged: “Bebop”

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  • Bebop figure 2 →

    Another 16th-note bebop phrase.

    Includes three rhythmic variations on the original phrase (over a minor 7th chord) and versions that work over Phrygian and diminished 7th chords.

  • Bebop enclosures →

    A brief intro to bebop ‘enclosures’, a foundational jazz pattern.

    Contains several examples of phrases with enclosures, including a real-world example in the form of four bars from a Keith Jarrett solo.

  • Bebop figure 1 →

    A 16th-note bebop phrase that works over a number of different chord types.

    Bebop figure 1 (works over major 7th, minor 7th, dominant 7th and Phrygian chords) • Variation 1 (minor sixth and half diminished chords) • Variation 2 (altering the figure) • A variation that works over diminished 7th chords • Exercise: putting it into practice in a tune (rhythm changes)

  • Phrygian harmony

    The Phrygian chord is a dominant seventh chord with a suspended fourth and flattened ninth. It sounds cool.

    The Phrygian chord • Phrygian scale • Triplet 8th note scale • 16th note scale • Examples: iiø7-V7-i in F minor 2 • Phrygian chord in practice: ‘Auld Flame’ cadence; ‘Dreich’ turnaround • Jamming with the Phrygian chord

  • Playing outside the changes →

    Playing ‘outside’ or ‘outside the changes’ is a cool sound that builds tension and adds additional interest and excitement to your soloing.

    Example 1. Jungle/drum and bass • 2. Chilled Latin • 3. Straight-ahead bebop • Jungle/DnB and chilled Latin backing tracks to jam along to • Exercise 1. Jungle, minor 3rds ascending • 2. Medium swing, major 2nds descending

  • Bebop licks: ii-V7-i (2-5-1): minor key

    Some bebop licks for ii-V7-i cadences/chord progressions in the minor key, where the ii is a half-diminished (or minor 7 flat 5) chord.

    ii-V7-I in: D minor (184bpm) 2 • B minor (184bpm) • E minor (190bpm) • G minor (190bpm; lick from Keith Jarrett playing ‘Stella…’) • A minor (147bpm) • C minor (189bpm; lick from Bill Evans’ ‘Bill’s Hit Tune’) • A note about scales and chords

  • Mining Bud Powell: an applied analysis →

    This tutorial takes eight bars from Bud Powell’s solo on ‘Oblivion’ from The Genius of Bud Powell and works with it in different keys, at different tempos, and in different contexts.

    Transposing a few bars of Bud’s solo from E flat major to G major: how I think when transposing, in terms of key, chord progression, and scale degrees • Transposing just a single phrase • Taking phrases and using them in other contexts: in another jazz standard, over a rhythm changes bridge, and in a contemporary jazz context

  • Bebop licks: ii-V7-I (2-5-1): major key →

    A collection of bebop licks over ii-V7-I cadences in the major key.

    ii-V7-I in: F major (198bpm) • F major (140bpm) • F major (200bpm) • E major (184bpm) • B flat major (236bpm) • E flat major (190bpm) • E flat major (Keith Jarrett) (164bpm)

  • Playing outside: more exercises

    More examples of taking a phrase and playing it outside the changes.

    Exercise 3. Bebop, ascending in minor 3rds • 4. Jungle/DnB, ascending in major 2nds • 5. Jungle/DnB, descending in minor 3rds • 6. Jungle/DnB, descending in minor 3rds (variation) • 7. Medium swing, ascending in major 2nds • 8. Bluesy-rock groove, ascending in major 2nds • 9. Jungle/DnB, playing outside by moving around the left-hand voicing