Let's integrate these
first two tools that we have toward
making a nice bebop line on our F7.
What we're going to do
here is we're going to
play five notes of the, bop scale [SOUND].
If we're playing from the root
we're gonna play just the first
five notes of our eight note scale,
then we're gonna approach
that last note with the pattern, so,
This already, this exact line has
appeared in countless bebop solos but
these are the tools that we'll use
to construct it for ourselves.
Then we're gonna approach the root again
and the fifth and the root and the fifth,
this time stitching it all
together with the scale, so.
That's the idea, and
of course we wanna be swinging it.
And you'll notice that
I'm finding a way to put my
thumb here on the C so that
So that our standard fingering works.
Again, this is something that
it's kind of important to
figure out how you're
going to finger these.
Learning to finger it on the fly or kind
of finding how you can get at this stuff
is a big part of getting
fluent at playing jazz.
Because you need to be able
to finger on the fly, so
that your ideas aren't impeded
by your fingering once again.
You can see that I'm ending up
with my second finger here
because then it's an easy.
And then on the way down.
Similar kind of thing, and
now you can hear that
we're getting something
that really does actually
sound like a bop line.
And it's all in sync with the harmony
because we're using our eight note scales.
Let's put on the metronome and
play a little bit.
[SOUND] One, two, one, two, three, four.
And then on
the way down.
The next step would be
to approach the third and
stitching that together with
pieces of our bop scale.
[SOUND] There's our approach to the third.
[SOUND] There's our
approach to the seventh.
And, on the way down.
So you can
hear that that's
like a bop line.
Let's put it on our slow play along track
and kind of check out how it sounds.
It is useful to work against
a rhythm section against a bass and
the drums because obviously,
that is eventually where we
are headed with these lessons.
One, [SOUND] two, [SOUND],
three, [SOUND] four.
this is how
we make a line
out of the two
You can offset things, for example,
if I play two approach patterns in a row.
Check out what the line sounds like.
Right there I put two approach patterns,
[SOUND] there's the scale fragment.
[SOUND] There's one approach pattern.
[SOUND] There's another one.
then I went up the scale from there, and
played this here,
another approach pattern.
Once you've got these under your fingers,
you would be amazed by
the variety of lines that you can
create by mixing this stuff up.
You might also try, if you're ambitious,
you might work on something like this.
That last one was
our next approach pattern.
But go ahead, play a scale fragment and
then approach a different
note in the scale.
Doesn't have to be the same one.
There's another good one.
Skip around, approach any chord tone
with the approach pattern, and again,
you can really make a lot of great
bop lines with just these tools.
Next thing we're gonna do is we're
gonna work a very similar idea
on the B flat seven bop scale and
approach notes to that,
because that's the second note, or
second chord rather, in our blues.
So I'll see you for that lesson.