ÏÏis sjion 11-1Ï3Ï eXAmpLe 2A 1-bAr bebop Lines: A good understandingää of which note
tje R-3#-ÏÏ5-7), noÏÏ
extenÏÏ constitutes a chord tone (usually etc) and which notes are tensions (chromatic passing tones along with scale tones a semitone higher than chord tones) will allow you to make sense of the thoughts behind these lines found here. While it is possible to pick every note, you might find it easier to get a greater sense of bounce, flow and speed if you follow the written indications for hammer-ons and pull-offs. eXAmpLe 2b ii v i ConneCTions: This phrase is essentially our 7th to 3rd principle fleshed out with more harmonically ap6p6ropriate notes insinuated into the gaps. The main motio6n6 here is from Bb to A at the6end o5f beat 1, bar 1 ibnÏÏ barÏÏ (ÏÏ
ÏÏarticujlaÏÏ (Cm7 to F7) and G to F# at the same place 2 A minor 7b5 to D7). Again,
tion nÏÏ watch those slurs and slides to assist with speed and . eXAmpLe 2C minorisATion: Here we see how the same two-bar phrase can be harmonised with a staggering five different chords. This works as they all come from essentially the same equivalent scale, so C Dorian, F Mixolydian, Eb lydian and A locrian are all the same notes and they share common chord tones (C-D-Eb-F-G-A-Bb). C Dorian ideas also work against B ‘Altered’ as six of the seven notes are identical to the C Melodic minor (C-D-Eb-F-G-A-B) and the Bb adds an extra sense6of te8ns6i6on an8d ru9b a8ga6i6nst B7, which for an altered chord is8pretty much exactly what you’re supposed to do.