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JAZZ
THEORY (BeBop Drills)
The
Language of BeBop
In
the 1940's a small group of jazz musicians in New York City, including Charlie
Parker, Dizzy Gillespe and Kenny Clarke, evolved a new sound, which became known
as BeBop. Since that time almost every jazz style has been affected by the
musical techniques they created.
For
musicians who wish to express jazz on their instrument these stylings have
become a fundamental. Listening to, writing and transcribing bebop solos must be
done by the musician. Several drills will help open the ears and fingers to the
sounds they will be experiencing in this pursuit. We will begin our study with
the chord tones.
BeBop
uses the seventh chord as its basic tool. The four notes in each of these
chords, called the chord tones, must become thoroughly familiar. To accomplish
this, learn the notes in every major seventh, dominant seventh, minor seventh,
minor seventh flat fifth [half diminished] and diminished seventh chord. I
suggest the cycle of fifths [C, F, Bb, Eb, Ab, Db, F#, B, E, A, D, G] as a
practice order. Advanced students can also include mj7#5, mj7b5, +7, 7b5, -mj7
and 7sus4.
First
learn the chord through the full range of your instrument. Ascend from the
lowest possible chord tone [ct] to the highest, then descend back to the lowest.
If this is difficult at first, begin with the lowest possible root, ascend to
the highest ct, descend to the lowest ct, and ascend to the low root, if the
lowest ct is below this. String players should do this exercise one string at a
time, piano players use two hands in octaves.
Next,
play the chord tones [R-3-5-7] in a comfortable range, in an eighth note
[1-&-2-&] rhythmic pattern. The goal here is to do this once from each
note in the cycle of fifths without breaking rhythm, then twice from each note
the same way.
To
put these chord tones to work, try writing an eighth note solo over your
favorite chord progression, and learn to play it. Remember to use your ears and
listen to what you practice. Happy drilling! [top]
- Frank Singer ©2002
I originally learned these concepts from Charlie Banacos, private
instructor.
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BACK
TO THEORY DEN CONTENTS
The
Language of BeBop
The
Use of Tensions 1
The
Use of Tensions 2
The
Use of Tensions 3
The Jazz
Sub-Dominant Chord - II-7
The Jazz Dominant Chord - V7
The II-7 V7 Progression - II V series
The Key of the Moment
"Watch out for
those chromatics!"
Ear Training
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eCUTS
