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Introducción Al Bebop

introducción al bebop

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Lyzbeth Badaraco
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119 views2 pages

Introducción Al Bebop

introducción al bebop

Uploaded by

Lyzbeth Badaraco
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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BEBOP CHARACTERISTICS

compiled by David Baker


1. COMPLEX HARMONIC IDEAS
2. LONGER MELODIC PHRASES USING ODD INTERVALS BUILT ON THE EXTENSION OF
CHORDS (9ths, 11ths, 13ths, etc.) .
3. HARMONY GAINED EQUAL FOOTING WITH MELODY AND RHYTHM (WESTERN INFLUENCE).
4. A SOUND INSTRUMENTAL TECHNIQUE WAS MANDATORY.
5. A GOOD EAR AND A QUICK MIND WERE INDISPENSIBLE.
6. EIGHTH NOTES AND SIXTEENTH NOTES BECAME THE BASIC UNITS OF TIME.
7. HORNS AIMED FOR CLEAN, PIANO-LIKE EXECUTION.
8. PLAYERS FOLLOWED THE TREND TOWARD THE VIBRATOLESS SOUND (REDUCING THE
LATITUDE AND FLEXIBILITY OF SOUND PRODUCTION IS ANOTHER WESTERN CONCEPT).
AS A PRACTICAL CONSIDERATION, VIRTUOSITY DEMANDS AN UNENCUMBERED SOUND.
9. THE EMPHASIS WAS MORE ON CONTENT THAN ON SOUND.
10. COMPLEX CHORDS PROVIDED THE SOLOIST WITH A BROADER HARMONIC BASE, CON-
SEQUENTLY MAKING POSSIBLE A GREATER VARIETY OF NOTE CHOICES AND A HIGHER
INCIDENCE OF CHROMATICISM.
11. CHORDS SERVED AS THE IMPROVISATIONAL REFERENTIAL RATHER THAN THE MELODY.
12. HOT IMPROVISATION (FAST, INTENSE, IMPASSIONED) WAS THE RULE.
13. COLLECTIVE IMPROVISATION WAS EXCLUSIVELY BETWEEN THE SOLOIST AND THE
RHYTHM SECTION.
14. BEBOP WAS PRIMARILY A SMALL BAND MUSIC, BUT FOUND SOME EXPRESSION IN A
FEW SELECT BIG BANDS.
15. A BROADENED CONCEPT OF CHORD SUBSTITUTION CAME INTO BEING; THIS HELPED
TO PROVIDE A BROADER HARMONIC BASE.
16. THE MUSIC MOVED EVER CLOSER TO WESTERN EUROPEAN MUSIC BECAUSE OF ITS
EMPHASIS ON HARMONY AND INSTRUMENTAL FACILITY AND ITS INCREASING USE OF
OTHER WESTERN MUSICAL DEVICES.
17. THE ENTIRE LANGUAGE OF JAZZ WAS QUESTIONED, SUBTRACTED FROM, ADDED TO,
PURGED, AND REAFFIRMED.
18. POLYRHYTHM BECAME AN IMPORTANT FACTOR AGAIN.
19. BEBOP TENDED TO CODIFY ALL THAT HAD GONE BEFORE; IT IS CONSIDERED THE COM-
MON PRACTICE PERIOD IN JAZZ.
20. UNISON MELODY STATEMENTS WERE THE RULE OF THUMB BECAUSE THE INCREASING
HARMONIC COMPLEXITIES MADE COUNTERPOINT AND SECONDARY LINES LESS FEA-
SIBLE.
21. THE BREAK AS A STRUCTURAL DEVICE REGAINED POPULARITY.
22. BEBOP PLAYERS MADE LIBERAL USE OF "QUOTES" OR INTERPOLATIONS FROM OTHER
TUNES.
23. BEBOP REDUCED MELODY TO ITS ESSENTIALS. THERE WERE FEW BACKGROUNDS,
SOME BRIEF INTRODUCTIONS AND ENDINGS, AND SOME UNISON INTERLUDES.
24. MELODIC LINES WERE SCALAR RATHER THAN CHORDAL.
25. MORE SOPHISTICATED SCALES WERE INTRODUCED INTO THE LANGUAGE; ONE EXAMPLE
IS THE DIMINISHED SCALE (1 2 3 3 #4 5 6 7 8)
26. THERE WAS MORE EFFORT TO MAKE THE SOLO LINES COHESIVE BY LINKING THEM
TOGETHER WITH TURNBACKS, CYCLES, AND OTHER MUSICAL ADHESIVE DEVICES.
27. PIANO BECAME THE CENTER OF THE NEW EXPRESSION.
28. ASSYMETRICAL SOLO CONSTRUCTION BECAME A FACT.

Copyright © 2000 Jamey Aebersold Jazz, Inc. • http://www.jazzbooks.com


A Short List of Bebop Players:

Charlie Parker, alto sax Dexter Gordon, tenor sax


Dizzy Gillespie, trumpet Mitt Jackson, vibes
Bud Powell, piano Wynton Kelly, piano
Charlie Mingus, bass Horace Silver, piano
Max Roach, drums Art Blakey, drums
Thelonius Monk, piano Jimmy Raney, guitar
Sonny Stitt, alto/tenor sax Wes Montgomery, guitar
Clifford Brown, trumpet Charles McPherson, alto sax
Wardell Gray, tenor sax James Moody, tenor/alto sax
Al Haig, piano Phil Woods, alto sax
Howard McGhee, trumpet Cannonball Adderley, alto sax
Fats Navarro, trumpet Miles Davis, trumpet
Red Rodney, trumpet Lee Konitz, alto sax
J.J.Johnson, trombone Gerry Mulligan, bari sax
Sonny Rollins, tenor sax Ray Brown, bass

BEBOP SCALES

The "BEBOP" scale can be used over any quality ... major, minor, dom.7th or half-
dim. It is probably used most often over Dom.7th and Dorian minor chord/scales.

C7 Bebop scale = C D E F G A Bb B-natural C -- This is also called the 7th scale.

Don't allow the B-natural to fall on a down-beat. It MUST fall on the up-beat: Beats
1, 2, 3, and 4 are down-beats. Good beginning/starting notes for ascending eight-notes
lines are: 1, 3, 5, b7. For descending eighth-note lines: the same as ascending: 1, b7, 5,
3. These are ALL chord tones. When you begin a phrase on the 2nd, 4th, or 6th note of
the scale you must use a passing tone or chromaticism somewhere in the phrase in order
to make the B fall on an upbeat. Be careful to use proper jazz articulation or you may
negate the effectiveness of the Bebop scale/sound.

Doing the above will make your phrases sound natural


and like what you hear on records.

BEBOP SCALES: MAJOR = 1, 2, 3, 4, 5, #5, 6, 7, 1


DOM.7th = 1, 2, 3, 4, 5, 6, b7, 7, 1
MINOR = 1, 2, b3, 3, 4, 5, 6, b7, 1 The circled note is the extra, added tone.
HALF-DIM = 1, 2, 3, 4, 5, #5, 6, 7, 1

PROPER USE OF THE BEBOP SCALE WILL INSTANTLY MAKE YOUR MUSICAL LINES MORE MATURE AND ALIVE.

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