Bebop Lines

[RichParticipant]

Rick

I love the Bebop lines and Linear Development studies and have been getting alot out of them.
My question is i’m having a hard time playing over other types of turnarounds and progressions other than 2 5 1’s
Such as minor 2 5 1’s and for instance a progression like 1 #Io7 II-7 #IIIo7 III-7 VI7b9 etc. Would like if possible to maybe see some lessons on lines to play over those types of turnarounds and progressions. As always thank you so much for all that you do.

Thanks!

Rich

[Rick StoneKeymaster]

Rich,

Thanks for writing and good idea. I’m always looking for new ideas to create lessons and I’ll try to get on this one ASAP.

Meanwhile, here are a couple suggestions for the two situations you mentioned in your question:

Minor key IIm7b5 V7b9 Im – In the key of Cm that would be Dm7b5, G7b9, Cm. There are two commonly used ways to handle this progression.

1) The first (and simplest) is to use the notes of the C Harmonic Minor scale over Dm7b5 G7b9 and then resolve to C Melodic Minor on the I chord (it’s common to play the Tonic minor as a m6 chord which uses the Melodic Minor scale).

2) Treat each chord individually in which case Dm7b5 can be played using the Bb7 scale rules (or alternately the F Melodic Minor scale), and G7 can be played use the Db7 scale rules (the tritone substitute) or Ab Melodic Minor. Then resolve to Cm6 as C Melodic Minor.

For the I #Io IIm #IIo IIIm; the diminished 7th chords are actually behaving very much like dominant chords. For instance in the key of C; C#o7 to Dm is like playing A7b9 into Dm. Likewise D#o7 to Em behaves exactly the same as playing B7b9 into Em.

Thanks and I hope this helps.

Musically Yours,
~ Rick

• This reply was modified 9 years, 4 months ago by  Rick Stone.

[RichParticipant]

Rick,

Thank you and this helps enormously. Once again i find myself trying to over complicate things. As you say keep it simple.

Thanks!

Rich

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