February 4, 2016 at 9:02 pm #3427mjwellsParticipant
I’ve been practising the exercise you set, linking these three sequences:
Minor triads (eg. playing in G, we have G, Bb, D)
Major triads one tone below G (so now F, A, C)
Descending bebop from the last note (C, B, Bb, A, G, F, E, D, C)
…leaving you one forth around the circle from G, on the C. Neat!
The question I have is about “hearing” the bebop scale. I keep finding I want to play the scale C, Bb, A, G, F, E… ie. missing the 7th and just going directly to a flattened 7th. It sounds good, it feels more natural. Obviously I can drill the correct notes and get past this, but what is it about the flattened 7th? Is it that this gives a dominant 7th feel and seems a bit more musical to my pop ears? Where can I hear a bebop scale in some obvious setting to try and get this cleared up?
Practicing this exercise is quite interesting. It’s testing three different scales in one, with no ‘seams’ between them.
February 12, 2016 at 11:10 am #3440Dan ForshawKeymaster
Great question Michael and one that will be answered in Lick #2 on the 10 Licks Course, (you were given a slight head start)
The reason the natural 7th and b 7th are included in the Dominant BeBop scale is to make it an octatonic or 8 note scale. By playing the b7th on the ‘2’ we emphasis rhythmically the importance of the 7th on the second beat.
More to come in the video.
February 12, 2016 at 5:19 pm #3443Dan ForshawKeymaster
Lick #2 now live https://cambridgesaxophone.com/lessons/lick-2-two-bar-ii-v-lick/
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