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This is a print version of the full tutorial, with audio and animated keyboards, available at JazzKeys.fyi →

Bebop figure 2

Here’s is a 16th-note bebop phrase that works over a minor 7th chord.

Bebop figure 1

1a permalink

Coming up with variations helps the learning process and keeps things interesting. We’ll start with a couple of rhythmic variations.

This is the same phrase offset by a quarter note.

Bebop figure 1a

I’ve added F dominant 7 as another chord this figure could work against. I hesitated to suggest it for the original phrase as I’m not sure about starting with the 4th on beat 1. I wonder whether the B flat clashes with the 3rd (A natural) in the chord, and works better on a less strong beat. Because the note is so short, maybe it doesn’t matter.

1b permalink

This example extends the first two beats of the original figure into a longer descending sequence. Optional fingerings are given.

figure-bebop-1b

1c permalink

This is the same as variation 1b, but missing the first note (B flat), and starting on the second 16th note of the bar.

figure-bebop-1c

When I was first learning to play jazz I had a tendancy to start too many phrases on strong beats. When this was pointed out to me by a mentor, I made a conscious effort to start varying where I started my phrases. It helps keep your improvisations rhythmically interesting and less rigid.

1c: Phrygian chord permalink

Here’s the pattern over a Phrygian chord.

1e: diminised 7th chord permalink

And over a diminished 7th chord.

A basic diminished 7th chord comprises four notes stacked in intervals of a minor 3rd. The above lick will work over diminished 7th chords over C, E flat, G flat and A. (Change the value in the Bass dropdown menu to listen.)

As an exercise, transpose the lick up a semitone (which covers D flat, E, G and B flat diminished 7th chords), and a whole tone (covering D, F, A flat and B).