Bebop Scale? Not A Thing

hey Peter hey what do leprechauns unicorns the Loch Ness monster and the Bebop scale have in common uh none of them exists exactly [Music] I'm adamantis and I'm Peter Martin who listen to the you'll hear podcast real talk from two players I had to look at my notes it sounds like is this a is this a sports podcast real talk from two players hey you know what I'm still workshopping it man come on this is what keeps people coming back they want to know what the what the latest that's what keeps people coming back okay we're gonna do we're gonna do a new segment because I know you love it after I do the current um namakur I'm not a fan of new segments okay go ahead no after I do our current catchphrase our you know little thing which is again a real talk from two players that's what it currently is love it or leave it buddy all right um well I'm gonna give you a little quiz about past ones and see how many you can remember first of all what was our very first daily Jazz advice coming at you coming at you Taylor Jazz if I was probably our best one actually well we stopped being daily so that was you know if we stopped being jazzed we stopped being jazzed um anyway really it's not good advice all of it let us know in the YouTube comments please and look we had some questions about this some folks are like I'm listening to your podcast in the car how am I going to let you know in the YouTube comments pull out your phone while you put it in cruise control pull out your phone just kidding do not do that once you get to a computer yeah or to your Roku or to your mobile device be it Android Microsoft phone or iPhone go to YouTube find this episode because this is on the YouTube right I see video cameras there is yes it is on the YouTube yes I feel I feel a little weird in this thing oh you're on are you are you leaving a comment right now I am I'm on YouTube right now I'm leaving account you can leave a comment even if you don't watch it on the YouTube but you might want to 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stars we demand it we demand Seven Stars so when you get a chance to do that um what do we got today what are we talking about so today we're talking about 12 notes yes but in jazz you know we play all the notes all 12 notes right about a chromatic scale in the western Greco-Roman scale no not not Greco-Roman uh what we're talking about really though is is Barry Harris's uh chromatic scale which is this beautiful concept and uh it also dispels this myth of a Bebop scale I was looking through there's a really great um uh music theory reference website that I found last night and but it had a jazz section which was perilous I'm being honest and a main chunk of the Jazz section was the Bebop scale and the major Bebop scale right and these are Concepts that I was taught as a Young musician and then had to be untaught and unlearned because it weren't that if you go to the direct sources the Bebop musicians didn't play Bebop scales they didn't play Bebop major scales or whatever you want to call it is the Bebop scale like something you can't unsee like you can't unlearn it once you've learned well you can or you can but because the concept is so so for those of you who don't know typically a Bebop scale is taught like if you have a C7 right the beatbox scale would you you put a a half step between the root and the seventh right and that you do that so that everything I was told lines up on the Note right the non-chord tones question yeah is it always I feel like I've somebody said or I read somewhere yeah so that's eight notes so it's lining up but is it also well that's the major bebops so this is the bebops and this is all wrong by the way none of this is real none of the Bebop musicians didn't use this this is good this is what we like to teach on the you'll hear it podcast no we're setting it up so that we can teach sort of the real way so okay this is all by the way inspired by this music theory website which is a good classical music theory website but the Jazz section was perilous also we have a new video coming out on openstudios YouTube channel from Chris Parks a friend of the show Chris Parks who has his own uh YouTube channel called things I learned from Barry Harris he made a YouTube video for us here at Open studio all about this chromatic scale concept we're going to link to that video here so that you can see uh it should be just coming out as this podcast is coming out um but so we're just setting up what the Bebop scale is usually taught as yep and we're going to then explain how Barry Harris didn't teach it that way at all but taught a sort of what you might consider a similar concept but actually is way deeper like all things Barry Harris it's way deeper and has way more applications than you might think so very onion asked right many layers so it does involve putting chromatic scales between notes of the skill like like putting chord tones and non-chord tones on the beat but it's not just the one it's not just that it's available to us in pretty much anywhere that there's a scale tone or a chord tone a chord tone and a non-core tone it's available to us so let's just take a major scale C major scale let's do it so the way that Barry Harris would teach to put chromaticism between chord tones and non-chord tones is you can go chromatic up to the third right because there's a note chromatic note between c and d right on a C major scale there's a chromatic note between d and e and then once you get to here this is where things kind of go awry because there's no chromatic note between E and F right which is the diatonic right so what Barry does is have you go up the to the uh scale note just above F so you jump up to G and then back down to F now there's a chromatic tone between f and g the chromatic tone between G and a there's no chromatic tone or no there is a chromatic tone between uh A and B because we're doing the major but there's no chromatic tone between B and C so you still need another beat right or half a Beat so you go up to the tone above the sea let me see if I can play what you just I might not have caught it exactly so [Music] right so it's like [Music] same ah so anytime anytime there's a natural chromatic tone between scale tones you can put it in if there's not if it's a semitone then you jump up to the scale tone above your target and it's the same thing going down right plug in yeah so and this is where you get things like right so what's brilliant about this is now it doesn't matter what scale you're playing so let's do a dominant scale C7 right so the same rules apply say it's exactly the same [Music] but when you get to that half step between the A and the B flat yeah you jump up to the scale tone above the B flat C and then hit the B flat and then there's a half step now between B flat and c and that becomes the passing and that passing yeah so that's if you were to go down [Music] that's a jumping up a little bit more but the same concept applies so you can use this on any scale like you'd use it on a Dorian scale right can you talk a little bit at this juncture before you even go on the door just about your phrasing because I notice you are you have an affectation with your phrasing that really fits especially when you're yeah and when you come down it just makes sense right I'm exaggerating there but there is something right before when you're jumping up before you're coming back down yeah but it's important because I think a lot of like we we get this this is such a big part of the Bebop feel yeah actually yeah like we talk about Bebop vocabulary folks sometimes get so caught up in the notes which are obviously important but the the missing link with it the missing piece is often the phrasing so I think accentuating that is going to be so helpful for a lot of folks because once you have it you kind of take it for granted right right because it just automatically comes out just like if you learn how to say a sentence a sentence and you're emphasizing certain parts to make your point you don't have to think about it but as you're learning that you do have to kind of pay attention when you're learning a foreign language which Bebop is for everybody totally uh the magic of this isn't playing it like all scales the magic of this is not playing it from C to C right the magic of this is playing it in ways that make it uh musical like uh you know Barry might talk about [Music] going up the court you know when you get to a chord tone [Music] night or doing a pivot what what Barry Harris might call the pivot right something like that that is where this really comes in handy it's a way to sort of time out [Music] yeah the great thing is too is diatonic so if you have like a two five one in the key of f right which is where we're doing C7 here right the two is just the five and this is also just the F major scale the C down I'm just looking at your sweatshirt two is Justified [Music] oh [Music] it works on F right because it's just the F major scale is the C dominant scale it's the same thing yep it's the same concept so it's not just about about putting a half step between the fifth and six tones on the major it's not about putting a half step between the root and the dominant seven on a dominant scale it's like these half steps can go anywhere and where they don't fit naturally you can put that scale tone above both ascending and descending it's a beautiful concept we're going to link to Chris Park's video by the way Chris Parks is doing a lot of teaching over at Open Studio Pro I don't know if you know that Peter but I love Chris um well he's just like I mean he studied with Barry Harris for decades he really has all of Barry Harris's Concepts right at his fingertips and he's so uh clear and concise with how he explains it I just love this idea because you know seeing that that sort of classical theorists talk about the Bebop scale and the major Bebop scale and how you know the Bebop musicians weren't thinking about that yeah like that at all you know what I mean it's so great so great and I mean just the fact that um can you help me with this one more time oh yeah to be able to play a line and this we have you haven't even taken into like you know any kind of like breaks or skips or anything like that but just to play the lines straight when it makes so much more musical sense right every some of these other scales every scale tone is on the beat yeah yeah it's a system it's a little system it's a little system it's just a really beautiful little and now I finally know it and now you got it so and now based on our episode last time you're going to take it through all 12 Keys okay exactly can you do it descending as well I don't know if I could do it descending back and see is that right yeah [Music] ah I know you're going to use this because you're such a fan of the chromatic bailout that's going to come in handy [Music] Jazz you know we play all the notes 12 notes of the skill good great stuff man thank you Adam you laid this out beautifully looking forward to the uh future Chris the Bebop scales not a real thing it's not yeah that's why it sounds like all right until next time you'll hear it foreign [Music] [Music] Springs Colorado currently I'm in Indianapolis hey how's it going guys Andrew hi because I feel inspired to play something else from your playing okay okay that's right I think using the metronome is a great tool but it's not the only tool all of the answers are really in the music what does it mean to live in a Groove be in a group until next time happy practicing foreign [Music]

Channel: You'll Hear It

Views: 7,308

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Id: RgcQK6AFgN4

Length: 14min 47sec (887 seconds)

Published: Tue Jan 17 2023