?

BASS CLEF

bebop
scales
JAZZ SCALES & PATTERNS
IN ALL 12 KEYS

L IK E A P R O !
PHRASE

BY
JOE RIPOSO

Jamey Aebersold Jazz ®

 BEBOP SCALES
JAZZ SCALES AND PATTERNS
IN ALL 12 KEYS
by JOE RIPOSO

Published by
JAMEY AEBERSOLD JAZZ®
P.O. Box 1244
New Albany, IN 47151-1244
www.jazzbooks.com
ISBN 978-1-56224-036-3

Engraving by JOE RIPOSO

Engraving Formatting and Editing by KATIE COSTELLO & JASON A. LINDSEY
Cover Design & Layout by JASON A. LINDSEY
Copyright © 2009 by Jamey Aebersold Jazz® All Rights Reserved.
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Table of Contents
Use of Chromatic Tones............................................................................3
Major Scales
with the added ½ Step in a Chromatic Pattern....................................6
with the added ½ Step in a Scale Pattern in 4ths................................8
with the added ½ Step Ascending and Descending Pattern
in Major 3rds....................................................................................10
with the added ½ Step Ascending and Descending Pattern
in Minor 3rds....................................................................................10
Dorian Scales
with the added ½ Step in a Chromatic Pattern..................................14
with the added ½ Step in a Scale Pattern in 4ths..............................16
with the added ½ Step Ascending and Descending Pattern
in Major 3rds....................................................................................18
with the added ½ Step Ascending and Descending Pattern
in Minor 3rds....................................................................................20
Mixolydian (Dominant 7th) Scales
with the added ½ Step in a Chromatic Pattern..................................22
with the added ½ Step in a Scale Pattern in 4ths..............................24
with the added ½ Step Ascending and Descending Pattern
in Major 3rds....................................................................................26
with the added ½ Step Ascending and Descending Pattern
in Minor 3rds....................................................................................28
Locrian (Half-Diminished) Scales
with the added ½ Step in a Chromatic Pattern..................................30
with the added ½ Step in a Scale Pattern in 4ths..............................32
with the added ½ Step Ascending and Descending Pattern
in Major 3rds....................................................................................34
with the added ½ Step Ascending and Descending Pattern
in Minor 3rds....................................................................................36
Application...............................................................................................38
Examples..................................................................................................39
Summary..................................................................................................46
About The Author.....................................................................................47

2| Table of Contents
Use of Chromatic Tones
For the following two reasons an added chromatic tone should be used
when playing eight-note scale patterns.

1. Adding a chromatic note to the eight-note scale will allow for

better phrase balance.

2. The added chromatic note will allow for the chord tones of the
scale to fall on a strong down beat in the measure

Compare the following examples:

A.

Added Note

B.

In Example (A) the last note “G” falls on the “and” of the 4th beat of the
measure. This makes the scale sound awkward. The first note ”G” falls on
the 1st beat, which is a chord tone, but on all the other beats (2, 3, and 4)
a non-basic chord tone appears.

In example (B), the last note “G” falls on the 1st beat of the second
measure, which gives the phrase proper musical balance. The addition of
the chromatic half step in the eight note scale in example (B) solved the
problem of not having a chord tone fall on all the down beats. The note
“G” is on the 1st beat, the note “F” is now on the 2nd beat, the note “D”
falls on the 3rd beat, “B” falls on the 4th beat, and the note “G” falls on
the 1st beat of the next measure giving the scale balance.

Use of Chromatic Tones | 3

The chromatic ½ step should be used in all eighth-note scales. You will find
that the ½ step will appear between two different notes in each scale.

In the Major scale, the chromatic ½ step is used between the 5th and 6th
scale tone while in the Dorian scale the chromatic ½ step is used between
the 3rd and 4th note of the scale. In the Mixolydian or Dominant scale,
the chromatic ½ step is used between the 7th and 8th note of the scale
and in the Locrian or half diminished scale the chromatic ½ step is used
between the 5th and 6th note of the scale.

To develop our ear to hear and become comfortable using the added
chromatic ½ steps in each of these scales, play them slowly at first. Careful
listening while playing these scales will help to develop your ear to hear
where the chromatic ½ steps fall in the different scales.

MAJOR SCALE
In the Major scale, the added ½ step is used between the 5th and 6th
scale step.

1, 2, 3, 4, (5, #5, 6), 7, 8

DORIAN SCALE
In the Dorian scale, the added ½ step is used between the 3rd and 4th
scale step.

1, 2, (3, #3, 4,) 5, 6, 7, 8

4| Use of Chromatic Tones

MIXOLYDIAN (DOMINANT 7th) SCALE
In the Mixoldian scale, the added ½ step is used between the 7th and 8th
scale step.

1, 2, 3, 4, 5, 6, (7, #7, 8)

HALF-DIMINISHED SCALE (Locrian)

In the Half-Diminished scale, the chromatic ½ step is used between the
5th and 6th note of the scale.

1, 2, 3, 4, (5, #5, 6,) 7, 8

BØ

NOTES

Use of Chromatic Tones | 5

Major Scales
With the added ½ Step in a Chromatic Pattern

Notice Ex.1A in the incorrect playing of the C Major eight-note scale, the
note “C” is on the first beat of the measure which is a chord tone. Now
look at the 2nd beat, we have the note “A” which is not a chord tone. On
the 3rd beat of the measure, we have the note “F” which is not a chord
tone and is what is called an avoidance tone. This note should not be
played on a strong beat. Another non chordal tone “D” falls on the 4th
beat.

The additional problem we create is that the resolution falls on the “up”
beat of 4, thus creating an unbalanced scale line.

By comparison, look at Ex. 1B the correct playing of the C Major eight-

note scale. The resolution or home tone “C” falls on the downbeat which
gives the scale the proper balance. You now have created a scale with all
the basic chord tones on each down beat of the measure. The 3rd of the
chord, which is the most important note of a chord, now falls on the 4th
beat of the measure.

Play the following Major scales to develop your ear to hear the added
chromatic tone. Learn to play these scales without reading them from
the printed page.

6| Major Scales (With the added ½ Step in a Chromatic Pattern)

Major Scales (With the added ½ Step in a Chromatic Pattern) | 7
Major Scales
With the added ½ Step in a Scale Pattern in 4ths

Using the same concept as in the chromatic pattern, the following is an

ascending root pattern in 4ths. Many jazz tunes use the chord progression
of a 4th, often called the “cycle.” This is true especially in the middle
section of a tune called the bridge.

By practicing this exercise, you will develop your ear to hear the standard
progression of a 4th and how the appropriate scale with the ½ step is
used.

Play the following 12 scale progressions with and without the printed
page. This is all about loading up with the sounds necessary to play over
a progression in 4ths.

8| Major Scales (With the added ½ step in a Scale Pattern in 4ths)

Major Scales (With the added ½ step in a Scale Pattern in 4ths) | 9
Major Scales
With the added ½ Step Ascending and Descending
Pattern in Major 3rds

To continue to load up with your experience of playing scales with the

added ½ step over some of the most common chord progressions, you
need to practice the following:

Many chord progressions use the interval of a Major 3rd.

Play the following 12 scale progressions with and without the printed
page. This is all about loading up with the sounds necessary to play over
a progression in Major 3rds.

10 | Major Scales (With the added ½ Step Ascending and Descending Pattern in Major 3rds)
Major Scales (With the added ½ Step Ascending and Descending Pattern in Major 3rds) | 11
Major Scales
With the added ½ Step Ascending and Descending
Pattern in Minor 3rds

To continue to load up with your experience of playing scales with the

added ½ step over some of the most common chord progressions, you
need to practice the following:

Many chord progressions use the interval of a Minor 3rd.

Play the following 12 scale progressions with and without the printed
page. This is all about loading up with the sounds necessary to play over
a root progression in Minor 3rds.

12 | Major Scales (With the added ½ Step Ascending and Descending Pattern in Minor 3rds)
Major Scales (With the added ½ Step Ascending and Descending Pattern in Minor 3rds) | 13
Dorian Scales
With the added ½ Step in a Chromatic Pattern

In a Dorian scale, all the notes sound good. There are no wrong notes
when playing the Dorian scale over a minor chord. The use of the ½ step
in a Dorian scale outlines the chord and gives the scale proper balance.

In example labeled correct (2B), the chord tones fall on each primary beat
of the measure. Please note that the 3rd of the chord falls on the 4th beat
of the measure.

14 | Dorian Scales (With the added ½ Step in a Chromatic Pattern)

Dorian Scales (With the added ½ Step in a Chromatic Pattern) | 15
Dorian Scales
With the added ½ Step Ascending and Descending
Pattern in 4ths

Using the same concept as in the chromatic pattern, the following is an

ascending and descending pattern in 4ths. Many jazz tunes use the chord
progression of a 4th, often called the “cycle.” This is true especially in the
middle section of a tune called the bridge.

By practicing this exercise, you will develop your ear to hear the standard
progression of a 4th and how the appropriate Dorian scale with the ½
step is used.

Play the following 12 scale progressions with and without the printed
page. This is all about loading up with the sounds necessary to play over
a progression in 4ths.

16 | Dorian Scales (With the added ½ Step Ascending and Descending Pattern in 4ths)
Dorian Scales (With the added ½ Step Ascending and Descending Pattern in 4ths) | 17
Dorian Scales
With the added ½ Step Ascending and Descending
Pattern in Major 3rds

To continue to load up with your experience of playing scales with the

added ½ step over some of the most common chord progressions, you
need to practice the following:

Many chord progressions use the interval of a Major 3rd.

Play the following 12 scale progressions with and without the printed
page. This is all about loading up with the sounds necessary to play over
a progression in Major 3rds.

18 | Dorian Scales (With the added ½ Step Ascending and Descending Pattern in Major 3rds)
Dorian Scales (With the added ½ Step Ascending and Descending Pattern in Major 3rds) | 19
Dorian Scales
With the added ½ Step Ascending and Descending
Pattern in Minor 3rds

To continue to load up with your experience of playing scales with the

added ½ step over some of the most common chord progressions, you
need to practice the following:

Many chord progressions use the interval of a Minor 3rd.

Play the following 12 scale progressions with and without the printed
page. This is all about loading up with the sounds necessary to play over
a progression in Minor 3rds.

20 | Dorian Scales (With the added ½ Step Ascending and Descending Pattern in Minor 3rds)
Dorian Scales (With the added ½ Step Ascending and Descending Pattern in Minor 3rds) | 21
Mixolydian (Dominant 7th) Scales
With the added ½ Step in a Chromatic Pattern

Notice Ex.1A in the incorrect playing of the C7 (dom.7) eight-note scale,

the note “C” is on the first beat of the measure which is a chord tone.
Now look at the 2nd beat, we have the note “A” which is not a chord
tone. On the 3rd beat of the measure, we have the note “F” which is not
a chord tone and is what is called an avoidance tone. This note should not
be played on a strong beat.

The additional problem we create is the resolution falls on the “up” beat
of 4, thus creating an unbalanced scale line.

By comparison, look at Ex. 1B the correct playing of the C7 (dom.7) scale.

The resolution or home tone “C” falls on the first beat of the measure
which gives the scale the proper balance. You now have created a scale
with all the basic chord tones on each down beat of the measure. The 3rd
of the chord, which is the most important note of a chord, now falls on
the 3rd beat of the measure.

Play the following Mixolydian scales to develop your ear to hear the added
chromatic tone. Learn to play these scales without reading them from the
printed page.

22 | Mixolydian Scales (With the added ½ Step in a Chromatic Pattern)

Mixolydian Scales (With the added ½ Step in a Chromatic Pattern) | 23
Mixolydian (Dominant 7th) Scales
With the added ½ Step Ascending and Descending
Pattern in 4ths

Using the same concept as in the chromatic pattern, the following is an

ascending and descending pattern in 4ths. Many jazz tunes use the chord
progression of a 4th, often called the “cycle.” This is true especially in the
middle section of a tune called the bridge.

By practicing this exercise, you will develop your ear to hear the standard
progression of a 4th and how the appropriate scale with the ½ step is
used.

Play the following 12 scale progressions with and without the printed
page. This is all about loading up with the sounds necessary to play over
a progression in 4ths.

24 | Mixolydian Scales (With the added ½ Step Ascending and Descending Pattern in 4ths)
Mixolydian Scales (With the added ½ Step Ascending and Descending Pattern in 4ths) | 25
Mixolydian (Dominant 7th) Scales
With the added ½ Step Ascending and Descending
Pattern in Major 3rds

To continue to load up with your experience of playing scales with the

added ½ step over some of the most common chord progressions, you
need to practice the following:

Many chord progressions use the interval of a Major 3rd.

Play the following 12 scale progressions with and without the printed
page. This is all about loading up with the sounds necessary to play over
a progression in Major 3rds.

26 | Mixolydian Scales (With the added ½ Step Ascending and Descending Pattern in Major 3rds)
Mixolydian Scales (With the added ½ Step Ascending and Descending Pattern in Major 3rds) | 27
Mixolydian (Dominant 7th) Scales
With the added ½ Step Ascending and Descending
Pattern in Minor 3rds

To continue to load up with your experience of playing scales with the

added ½ step over some of the most common chord progressions, you
need to practice the following:

Many chord progressions use the interval of a Minor 3rd.

Play the following 12 scale progressions with and without the printed
page. This is all about loading up with the sounds necessary to play over
a progression in Minor 3rds.

28 | Mixolydian Scales (With the added ½ Step Ascending and Descending Pattern in Minor 3rds)
Mixolydian Scales (With the added ½ Step Ascending and Descending Pattern in Minor 3rds) | 29
Locrian (Half-Diminished) Scales
With the added ½ Step in a Chromatic Pattern

Notice Ex.1A in the incorrect playing of the BØ eight-note scale, the note
“B” is on the first beat of the measure which is a chord tone. Now look at
the 2nd beat, we have the note “G” which is not a chord tone. On the 3rd
beat of the measure, we have the note “E” which is not a chord tone and
a “C” on the 4th beat of the measure.

The additional problem we create is the resolution falls on the “up” beat
of 4, thus creating an unbalanced scale line.

By comparison, look at Ex. 1B the correct playing of the BØ Locrian scale.

The resolution or home tone “B” falls on the first beat of the measure
which gives the scale the proper balance. You now have created a scale
with all the basic chord tones on each down beat of the measure. The 3rd
of the chord, which is the most important note of a chord, now falls on
the 3rd beat of the measure.

Play the following Locrian scales to develop your ear to hear the added
chromatic tone. Learn to play these scales without reading them from the
printed page.

30 | Locrian Scales (With the added ½ Step in a Chromatic Pattern)

Locrian Scales (With the added ½ Step in a Chromatic Pattern) | 31
Locrian (Half-Diminished) Scales
With the added ½ Step Ascending and Descending
Pattern in 4ths

Using the same concept as in the chromatic pattern, the following is an

ascending and descending pattern in 4ths. Many jazz tunes use the chord
progression of a 4th, often called the “cycle.” This is true especially in the
middle section of a tune called the bridge.

By practicing this exercise, you will develop your ear to hear the standard
progression of a 4th and how the appropriate scale with the ½ step is
used.

Play the following 12 scale progressions with and without the printed
page. This is all about loading up with the sounds necessary to play over
a progression in 4ths.

32 | Locrian Scales (With the added ½ Step Ascending and Descending Pattern in 4ths)
Locrian Scales (With the added ½ Step Ascending and Descending Pattern in 4ths) | 33
Locrian (Half-Diminished) Scales
With the added ½ Step Ascending and Descending
Pattern in Major 3rds

To continue to load up with your experience of playing scales with the

added ½ step over some of the most common chord progressions, you
need to practice the following:

Many chord progressions use the interval of a Major 3rd.

Play the following 12 scale progressions with and without the printed
page. This is all about loading up with the sounds necessary to play over
a progression in Major 3rds.

34 | Locrian Scales (With the added ½ Step Ascending and Descending Pattern in Major 3rds)
Locrian Scales (With the added ½ Step Ascending and Descending Pattern in Major 3rds) | 35
Locrian (Half-Diminished) Scales
With the added ½ Step Ascending and Descending
Pattern in Minor 3rds

To continue to load up with your experience of playing scales with the

added ½ step over some of the most common chord progressions, you
need to practice the following:

Many chord progressions use the interval of a Minor 3rd.

Play the following 12 scale progressions with and without the printed
page. This is all about loading up with the sounds necessary to play over
a progression in Minor 3rds.

36 | Locrian Scales (With the added ½ Step Ascending and Descending Pattern in Minor 3rds)
Locrian Scales (With the added ½ Step Ascending and Descending Pattern in Minor 3rds) | 37
Application
Now that you have developed your ear to hear where the added ½ step
chromatic tone can be used, you need to combine the scales to shape a
melodic line. The most common use of these combined scales is over a
II7, V7, I chord progression.

You may find that there are places where additional chromatic tones can
be used. In the following examples, I have taken the liberty to use a few
of these extra chromatic tones to even out the melodic line.

Remember, the reason for using ½ step chromatic tones is so that the
chord tones fall on all the strong down beats in a measure.

Jazz players use scales with added chromatic tones with ease. These
added chromatic tones help to navigate through chord progressions.
Chromatic tones in the 8th note scale can be thought of as hinge tones. It
is important to hinge one scale to an other.

A jazz player selects a target note in the new chord to go to and uses the
added chromatic tone in the 8th note scale to get to the desired note.
Using the 8th note scale in this way will provide the much needed line
direction, or as some times called, “forward motion” in the melodic line.

Each chord in a progression needs to be married to each other. They

should not be thought of as individual chords. They are all related to each
other in the progression. Think of the key center of each chord and play
on the key center using the unique color tones of each chord.

In the minor 7 chord, the 3rd is a desired note as well as the 7th. The note
that makes the minor chord sound Dorian is the 6th. As stated earlier, all
the notes of a Dorian scale are good notes to use.

The most common target note for better line direction in the Dom.7
chord or Mixolydian scale is the 3rd and 7th. All the other notes, with
the exception of the 4th note, are good target notes to use. The 4th note
of the Mixolydian scale is an avoidance tone and should not be use as a
target tone.

In a Major chord, once again, the 3rd and 7th notes are the desired tones
to consider as target notes. All the other notes, with the exception of the
4th note, are good target notes to use.

One needs to practice these concepts to allow them to become automatic.

Jazz players play without thinking of the mechanical process of performing
these concepts. They do not make a physical response when they hear a
chord progression but they make a mental response.
38 | Application
Examples
The following pages are devoted to providing an experience of how these
scales can be used. Play and analyze them to develop an understanding
of why they sound like they do. Feel the “forward motion” created by this
½ step approach.

Examples | 39
40 | Examples
Examples | 41
42 | Examples
Examples
Locrian (Half-Diminished) Phrases using the ½ Steps

Examples | 43
44 | Examples
Examples | 45
Summary
Now that you have played all the written jazz phrases, your ear should be
able to hear your own jazz phrases using ½ step chromatic tones.

As mentioned previously, these are more traditional ways to use the

chromatic ½ steps but additional chromatic ½ steps can be used between
other notes as well. You need to remember the reason for using the
chromatic ½ steps is so the chord tones fall on the down beat.

The more chromatic tones used in a measure, the fewer chord tones will
fall on the down beat. This will cause the phrase to have a less harmonic
tonal center.

In order to become proficient at using these chromatic ½ steps in your

phrases, you need to practice until it becomes an automatic response
and not a technique that you have to think about to manufacture a jazz
phrase.

Experience is your best teacher so improvise using this concept as often

as you can. Each time, try the notes and ½ steps in a different order and
over different chord progressions.

As stated in the beginning of this book, there are two basic reasons for
using the chromatic ½ step when playing eight-note scale patterns:

1. Adding a chromatic ½ step when playing a eight-note phrase will

allow for better phrase balance.

2. The added chromatic ½ step will allow for the chord tones in the
scale or phrases to fall on a strong down beat in the measure.

46 | Summary
About the Author
JOE RIPOSO (Saxophonist, Composer, Arranger and Jazz Educator) is the
Director of Jazz Studies at Syracuse University. The former Director of Music
Education for the Liverpool Central School District (31 years) served as past
president of the International Association of Jazz Educators (N.Y.S. Unit) and
as the North Eastern Division Coordinator for the International Association of
Jazz Educators.

Riposo has served as Jazz Coordinator and Clinician for the NY State School
Music Association. He is the recipient of the presidential medallion for his
leadership and contributions to the New York State School Music Association.
Riposo holds the New York State School Music Association certification as a
Woodwind Adjudicator and as a State Jazz Adjudicator.

Riposo is also an active performer, having worked in house bands for

nationally known artists such as Tony Bennett, Sammy Davis, Jr., Nat King Cole,
Ella Fitzgerald and the McGuire Sisters, and others. He has played a special
performance with the Woody Herman Band on tour with Jackie Leonard
and Tony Bennett. He has also performed in bands for Diane Schuur, Harry
Connick Jr. and Natalie Cole. Riposo also conducted jazz ensembles with many
renowned guest soloists including Dizzy Gillespie, Phil Woods, Marvin Stamm,
Glenn Drewes, Darius Brubeck, Nick Brignola, and Bob Kindred. Riposo appears
frequently as clinician, adjudicator, guest conductor and soloist in many jazz
festivals throughout the U.S.

He is the composer of numerous published compositions and is the author of

Jazz Improvisation “The Whole-Brain Approach” and a Recorder Method (1999
by LMI) and a second Recorder Method published by Increase Music. Joe is a
contracted writer for Increase Music Publishers, Walrus Music Publishers and
Jamey Aebersold Jazz®.

Riposo received the Outstanding Jazz Educators Award from the National
Band Association for effective leadership in instrumental music education by
developing successful concert and jazz bands in America’s schools.

On November 21, 1997, Riposo was inducted into the (SAMMYS) Music Hall
of Fame. He was also inducted in the Fine Arts Hall of Fame on June 8, 2003.
Riposo is the recipient of the 2008 Jazz Educator of the Year Award presented
by CYN Jazz Arts.

About the Author | 47

More Jazz Improv!
Patterns For Improvisation by Oliver Nelson
One of the world’s most popular patterns books, many jazz
greats have fond memories of practicing from this book!
An exhaustive collection of improvisational jazz patterns
in various meters and feels. Comments and suggestions
by the author.

..........................................................................................
Expressions & Explorations By David Baker
David is one of the most sought-after jazz educators, and
his influence on the giants of jazz can not be overestimated.
This text will allow more complete musical expression
by emphasizing patterns and phrases that work. He has
brought together much of his decades of experience into
one resource! Available in Bass Clef.
..........................................................................................
Keys Unlocked! By Jerry Coker
Playing in all 12 keys is one of the most important skills
an improviser can master. Book contains clear and concise
explanations, examples, and exercises. Along the way, Jerry
shares his musical journey on the way to 12 key mastery.
Move to a higher level of improvisation and confidence in
any musical situation.
..........................................................................................

JJ Johnson Solos
13 Personal Favorites picked by JJ himself! The best of his
recorded output. Included are: Now’s the Time, Blues in
the Closet, Walkin’, Blue Trombone, Part 1, Billie’s Bounce,
Tune Up, Laura, Turnpike, Misterioso, Yesterdays, Crazy
Rhythm, Hello, Young Lovers, When the Saints go Marchin’
In
..........................................................................................
The Creative Nudge By Jerry Coker
Why do musicians choose jazz improv as an outlet for
creativity? Why are we creating this music and who are we
creating it for? All you need is a little information. Master
jazz educator Jerry Coker has put together this wonderfully
structured text summarizing topics regarding jazz and jazz
improvisation; giving us all that much needed “nudge.”
............................................................................................
Available from your favorite music source or visit www.jazzbooks.com
 ?
BASS CLEF

bebop
scales
By simply adding one chromatic tone, you can convert the most commonly used
scales into Bebop Scales. Bebop Scales almost magically turn scales into “lines,”
adding melodic flow and logical forward motion to your solos. This makes hitting
those “target notes” much easier and facilitates the seamless connection of one
chord to another. The one added note makes all the difference! Now, author Joe
Riposo brings you a clear and concise method for hearing, understanding, and
practicing this essential improv tool.

Joe’s simple practice method utilizes the Bebop Scales in all 12 keys for:

• Major Scales
• Minor (Dorian) Scales
• Mixolydian (Dominant 7th) Scales
• Locrian (Half-Diminished) Scales

Practical exercises demonstrate the melodic concept of “forward motion” created

by using the ½ step approach.

ISBN 978-1-56224-036-3
$6.95
USA
D-BEBOP-BC

Digital PDF Edition