Les wise bebop bible

Bebop Lines for improvising jazz musicians

1. ®
The Musicians er Melodic Lines
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824 Jazz Ideas for All Instruments
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2. HOW TO USE THE “BEBOP BIBLE”

‘The “Bebop Bible” will solve two of the most common problems among musicians. 1) The lack of a strong
musical vocabulary (licks, patterns, etc.) and 2) How to connect the ideas into smooth solos once they have
been memorized.

You will notice that the book not only contains melodic ideas to be played over individual chords (major, minor,
and dominant) but also a great number of larger musical sentences for chord progressions (ie, Ilm? V7 Imaj?
and turn arounds. i.e., Imaj? VI? Hm? V7.)

All the ideas are categorized into sections for easy reference and also the starting note (in interval notation) for
every idea is given (root, 3rd, Sth, 7th, etc.). This will enable you to use the ideas more quickly in your playing.

One way to give our solos continuity is to memorize musical sentences, The next step isto connect these sen-
tences into paragraphs. Here's how we doit. In the Ilm? V7 Imaÿ7 section of the book the melodic ideas are
grouped according to the starting note of the Ilm? chord (the root ofa Din? chordis D, the b3ed is F, the Sthis.
A, ete.) Also notice that the note the Ilm7 V7 (Dm? G7) resolves to when it reaches the Imaj? (Cmaj?) chord
is indicated in interval notation, This is shown because if we wanted to connect the Ilm? V7 line to another
progression or add another idea, it’s important to know the starting note (interval) ofthe next idea for it to
connect smoothly.

MUSICAL EXAMPLES

WORD

CMaj.7
oes
==

<

si

Dm? Grats Maj.

3. PARAGRAPH

Dim qua Ar
tot oy
ESAS SS = =
=
=i ==
Dm7
reses

"The lines inthe “Bebop Bible” are written as straight Sth notes for easy reading but to play the ideas ina “bop”
swing fashion the 8th notes should be phrased like this:

=a

Here are some tips for you to think about as you go through the book.

Learn small sections at a time, maybe 4 or 8 notes.
Play slowly to ensure correct programming of motor skills.
Transpose the ideas to all keys.

Learn the ideas in different octaves.

Practice singing the lines away from your instrument.
Tape the chord changes and play the ideas against them.
Experiment with breaking up the lines rhythmically.
Incorporate the ideas into your playing immediately.

4. MAJOR IDEAS

Starting on the Root
pena?

—=— A —
= SSS
Cmaj?

= nn

EE EE
cma? bel tbe +

A
== == =
Maj?

£ e pie

x 2 z
===: Fr E

mar

e tf £
= sa === =

2
we Et yet e
E
——
ma!
e Er
=== = zn =
[=== — ——— z

5. MAJOR IDEAS
Starting on the Root

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6. MAJOR IDEAS
Starting on the 3rd

Comaj?

7. MAJOR IDEAS
Starting on the 3rd

4 Sas Lane

a

al
EN
ul
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MAJOR IDEAS
Starting on the 4th or 11th

8. MAJOR IDEAS
Starting on the 5th

cma? mat
===: === =; HAS
CE Ter +
ma? Maj."
e
E = = ==! = == 7
Cm? cmt
_ == tter,,
coma? e Cmait
=e eee (te

9. MAJOR IDEAS

Starting on the 5th
Cm? E= ema?
= == ets
EEE
cong Cm?
en 2477)
=== Ef SES: =: E
cms? era
+ ae —
== =e eee
Chat ca?
et eet tete
= EI Se SS
coma? Cmaja ri 5
te oe 72721717
= SS fer =
ma"
et rete
5 RX
FE =e
Cat 2
£ £ £ Tin
SS EÉ SS === +

10. MAJOR IDEAS
Starting on the 6th or 13th

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11. MAJOR IDEAS
Starting on the 7th

Cmaj?
tft, —. Pr
5 i : E EA —
Cm
+ te + EA,
= +
== = mr; +
eme e e£t* te _
= f ===>
cma?
oe VER m
Fer i ++ ES
cma."
£ a 2. El shee yy a
ft = = E
Se

12. MAJOR IDEAS
Starting on the 2nd or 9th

E gr -
SS
£ ls

cms. 7

+ 1

EEE == 2 ez

Maj

Fern m — f

2 > =
AAA rs

Ca?

11
ml
FN

13. MINOR IDEAS
Starting on the Root

Dewi.

BER ES >= +8 =>
=== == #
Dei.

= pe +

14. MINOR IDEAS
Starting on the Root

Sa a
AA pte 5
zz ma
7
Omi
Fr st > — +
Di. Di.
=== == —===5
== + A AE
Demi LES
=> LR ===
RE =: ==
7
D. Omi.
€
Fi =e
Fr te + 7 =
pee ue peo,
SS Fr