Let's now take a closer look at Triad pairs.

C major chord.

C . E . G . B . D . F#. A
1 . 3 . 5. 7. 9. 11 .13

1. CEG,DF#A
2.EGB, F#AC
3.GBD,ACE
4.BDF#,CEG
5.DF#A,EGB
6.F#AC,GBD
7.ACE,BDF#

We only need the first one to start.
1.CEG,DF#A

Our first note is C
We put the notes from our second triad ( df#A)
Surrounding the note.
ACD
DEF#
F#GA
CDE
EF#G
GAC
We have taken each note in our triad pair and made an enclosure around it with our 6 notes contained in our 2 triads.

Next, let's take C again

ACD

We start below A go up to above D then go down to our landing note.
ADC
When we start from below we end the enclosure by going down a fourth .
ADCG
A up to D down to C down to G

Next is starting from above.

D down to A up to C
DAC
When we start from above we end the enclosure by going up a third
D down to A up to C up to E

Next we are going to combine from below and from above together in a looped pattern.

A up to D down to C down to G up to D down to A up to C up to E
That is our loop when you get to the end start over from the top again.

ADCGDACE

Now this entire pattern is built around our C note.
Let's move to our next note E.

We think of it as C pattern was permutation 1 and now we apply same principles but on the E note.

From below

DF#EC

From above

F#DEG

Next combine the two into our loop.

D up to F# down to E down to C up to F# down to D up to E up to G

DF#ECF#DEG

And the loop

DF#ECF#DEGDF#ECF#DEG.........etc.

Now take your time and once you get these two , do the other 4 permutations.

 

We are now going to look at more enclosures.

Key of C major C6 (cega) chord
C. E. G. A
1. 3. 5. 6

First enclosure , D down to B up to C
Diatonic from above wrap around c note.
Next when start from above we can start from semitone higher like this .
E down to D down to B up to C up to E
Next enclosure is
Low A up to D down to B up to C down to G
Listen to the contour of these ones.

We can begin to see how to use the like building blocks
( Note these enclosures are tools to be used in any context for example you can combine them with triad pairs for example)

Let's take a triad pair in c major
1.ceg df#a

We will use the above enclosures on some of these chord tones .
The E note.

G down F# down to D up to E up to G up to C up to D down to B up to C down to G slide down to F# down to D down to A down to F# slide up to G up to C up to F# down to D up to E up to G with vibrato.

 

The Dominant chord is the most tense .
It has the most options for harmony and Melody.
It can be the most creative and fun because all the opportunities .
Diminished, augmented, minor,minor7b5 chords are all able to get used over dominant.
Most symmetrical scales can also be used
The dominant chord has the most upper extensions.
You can shape your melodies and harmony to express a lot .

Let's start with dominant enclosures.

We can create chromatic enclosures around the 1357th of don't chord to add in upper extensions.

Let's take G7 of c major

G. B. D. F. A
1. 3. 5. 7. 9

Our extensions are
G# (b9 _____, A# (#9 ,_____ C# (b5______D#(#5

Some like the 13 ( E ( I don't because gives away the tonic chord which comes after

So first 135 GBD

G# down F up to F# up to G
G#FF#G
Then go up to B
Then down
around the 9th
A#G#A

Make sure to swing it and here is whole thing ( loop it and repeat to get feel)
G#FF#GBA#G#AG#FF#GBA#G#A

Next we are going to take the first portion again
G#FF#G
But now
Up to B up to D#C#D up
F#D#EF down D down CA#B

Now here is whole thing ( loop it and repeat it )
G#FF#GBD#C#DF#D#EF

 

Next we going to look at a triad pair for dominant chord 135 , then 135 of the tritone substitution.

C key G7 chord
1. G. B. D, C# F. G#

G up to B up to D up to G
Slide down F down to C# down to G# down to F .
Loop it and repeat it.
GBDGFC#G#FGBDGFC#G#F

Next we are permutation from the 3rd

B up to D up to G up to B
Down to G# down to F down to C# down to G# up to B at the start again.

BDGBG#FC#G#BDGBG#FC#G#

 

Next we are going to look at the melodic minor scale which fits over our dominant chord.
Key c

G7

The G# melodic minor scale spells our upper extensions.

G# melodic minor

G# A#B C# D# F G G#

Next the chords contained in the scale
1. G# B D# G .. G# minor,major
2. A# C# F G#. .. A#minor7
3. B D# G A# . B major7 #5
4. C# F G# B. C#7
5. D# G A# C#. D#7
6. F G# B D#. Fminor7b5
7. G A# C# F. Gminor7b5


Next we are going to play some if these chords 8n place of where you would play G7 .

Key of C ii DFAC , V GBDF , I CEGA(C6

First our pattern

DFAC now down the next chord
BGFD
Now up next chord
CEGA down to E
......
Now let's swap out G7 with Gmin7b5 (GA#C#F)
From our g# melodic minor scale

DFAC come down next chord
A#GFC# and up next chord
CEGA down to E

Next you try swapping the Dom chord ( middle chord ) out with other chords shown above.

 

Next we are going to look at how to connect all these things into playing and improvising.
The first step is to look at Triplets.

The first way to use triplets is arpreggios .
We start on a off beat and slide into the triplet.
We will take dmin7
C#DFAC
The first note c# on on the off beat, then we have our triplet DFA then we end on C note as a regular downbeat.
Next we have
DFACED#Dc#C
This time our first note D is on the offbeat, next FAC is our triplet , next we go up to E and while swinging we chromatically descend .
Let's continue adding tou this.
DFACED#DC#CA#GG#A
Now we have added a enclosure around the A to finish the line off.
Take your time and practice this line .
This was outlining the 2 chord dmin7 dfac
Now transpose it to other chords in key of. C one part at a time ,then the whole thing like we showed here.

 

Next we have the Bebop scales , this is a way to play descending down a scale adding in chromatics such that our chord tones land on the Beat Everytime in all inversions .
Here is how it works.
Let's take C major Bebop scale
I will show you forward first as to make it easier to see what is happening .
On the beat is in bold.
Starting on the beat
CDEFGG#ABC
This was from the root ,
We add in the G# note to the ionion scale for major Bebop .
We play from 1,3,5
So from the 3rd E
EFGG#ABCDE
And from the 5th
GG#ABCDEFG
Next we combine arpreggio up Bebop down .
CEGBDFEDCBAG#GFEDC
It's an all 8th note pattern you can loop.

Next we are going to look at our minor Bebop scale this is used for our ii min7 chord dmin7 dfac.
We add c# in our d Dorian to get the downbeats to land on chord tones.
DEFGABCC#D
That was from the root , here is from the 3rd.
FGABCC#DEF
Here is from 5th
ABCC#DEFGA
Here is from 7th
CC#DEFGABC
Next like we did with major Bebop before, here is our arpeggio up Bebop down pattern in 8th note swing.
DFACEGFEDC#CBAGFED
As before this pattern is a loop.


Next we have our dominant Bebop scale .
So for G7 Bebop we take G mixolydian and add the f# this is from the root.
GABCDEFF#G
From the 3rd
BCDEFF#GAB
From the 5th
DEFF#GABCD
From the 7th
FF#GABCDEF
And as before here is our arpeggio up Bebop down pattern .
GBDFACBAGF#FEDCBAG
Now practice these so that later on we can use this to combine with the other things we have looked at .

 

Here is each chord in our key and which Bebop scale belongs to it.

1.CEGB. Cmajorbebop cdefgg#abc
3.EGBD
6.ACEG
......................
2.DFAC. D minor bebop defgabcc#d
4.FACE
.........................
5.GBDF . G dominant Bebop gabcdeff#g
7.BDFA
.............

 

More fun with Bebop scales.

If we take say C major Bebop scale
CDEFGG#AB
Build chords by selecting every other note
CEGA . ( C6 aminor7
DFG#B .( Ddim7
EGAC. ( C6
FG#BD . ( Ddim7
GACE. ( C6 .( Aminor7
G#BDF . ( Ddim7
ACEG. ( Aminor7 ( C6
BDFG#. ( Bdim7
CEGA. ( C6 (aminor7

What we have here is a system for attaching a tonic or dominant chord to each note played in a key to harmonize any Melody ever at all times .( In major and relative minor )

For example take C major Bebop starting on root
8th note swing starting on beat
CDEFGG#ABC
We spell out either C6 root or Aminor7 root (depends on context)
However what if we play same thing starting on the OFF beat?
CDEFGG#ABC
Here we spell out Ddim7 we as we have seen early in this thread is our 4 dominant chords, the major key G7, the relative minor E7, and both their tritone substitutes C#7, A#7

Let's now take a look at the d minor bebop scale.
DEFGABCC#D
Build chords by every other note
DFAC . ( Dmin7 ( F6 FACD
EGBC# .( C#min7b5( Emin6
FACD. ( F6 ( dmin7
GBC#E . ( Emin6 (C#min7b5
ACDF . (F6(Dmin7
BC#EG . ( Emin6 ( C# min7b5
CDFA . ( F6, (Dmin7
C#EGB . ( C#min7b5( Emin6

Here we have the same as with our major Bebop scale , each note of the scale has a tonic or dominant chord attached harmonically.
Our c# min7b5 is essentially functioning as a A7
AC#EGB meaning V or I chord for each note 9f the Bebop scale .

Let's now take a look at the G dominant Bebop scale .
GABCDEFF#G
And as before select every other note to build a chord.
GBDF . ( G7
ACEF#. ( Amin6,(F#min7b5)
BDFG . ( G7
CEF#A . ( Amin6, F#min7b5
DFGB . ( G7
EF#AC. ( Amin6,F#min7b5
FGBD. ( G7
F#ACE . (F#min7b5,(Amin6

Now as before we spell out a dominant or tonic .
Each note has a chord attached to it harmonically
Let's look at it swinging on the root
GABCDEFF#G
We spell the G7
What of we start the same pattern on the OFF beat?
GABCDEFF#GA
Here we spell out Amin6 ( F#min7b5)
Amin6 is our tonic chord for A melodic minor .

In conclusion what we have seen is first take a major or rel min key and by using the Bebop scale we can attach a tonic or dominant chord to each degree. We can design our landing on the on or off beats to spell out tonic or dominant .
Next we can combine all this with all the other techniques we have covered to build a fluent language for improvisation.

 

Let's look closer at the min7b5 chord. In the key of C major for instance we have
this chord B min7b5
B D F A
I have heard over the years beginners struggle with how to use this type chord .mostly omitting it in pop songs for example .
But the secret is that this type of chord is the most universal chord we have . Let's see how.
Bmin7b5 BDFA
First it represents a rootless G9
Alternate playing these 2 chords
GBDFA. Alternate with BDFA
Do you here a difference?
Sure in timbre maybe but the function is the same watch .
Play GBDFA resolving to CEG
Now play BDFA resolving to CEG
Both function the same here as our dominant especially since the bass player plays our root anyway .
So we seen that Bmin7b5 BDFA functions as a dominant chord type .
Next look at this chord
DFAB . ( Dmin6 ) this is a tonic chord
Play A7 AC#EG to DFAB (Dmin6
Now play
A7 AC#EG to BDFA
Here our bmin7b5 is just an inversion of dmin6
DFAB equals BDFA

So our Bmin7b5 BDFA
Functions as a dominant or a tonic
What about a subdominant?

Well in our relative minor key of A min , a ii V I
Is
Bmin7b5 , E7, Amin6
So yes we have now seen that our Bmin7b5 can be used as a tonic, dominant or subdominant in different contexts .

Well if this is really true we should be able to test it .
Here is how we should be able to play a ii V I or Cadence which is subdominant to dominant to tonic, only using min7b5 chords . If it really is that compatible.
Take a look at this.
In key of relative A minor .

ii Bmin7b5 BDFA
V. E9 rootless G#BDF# ( G#min7b5
I Amin6 ( F# min7b5 )

 

Advanced Bebop scale lines .
Another important use of Bebop scales in Melody is with tetrachords
We keep our melody in the context of a perfect 4th when it comes to alternating ascending and descending through the scale.
Take for instance key of C major playing a ii V I
Zooming into only the ii portion so dmin7 DFAC
Starting from C descending .
CBAGFGAA#AGFEDEFGFEDC#CDEFEDCBABCC#

 

Here is a companion video to go along with the above concept of tetrachords in Bebop scale and the specific use of it.

 

Getting used to triplets.

First we take 135 of chord precedes it with leading tone .(start on the off beat)
So Dmin7 DFA

C#DFA
How about inversions
EFAD
G#ADF
Now G7 GBDF

F#GBD
A#BDG
C#DGB

Now Cmaj tonic
BCEG
D#EGC
F#GCE
Now let's look at connecting some building blocks here.

Structure ii chord Dmin7 DFAC ,

DFACED#CC#DBCADFACAFDCF

 

Let's look at some simple triplet building blocks which you can attach to each chord in the key to get used to .( Start on the OFF beat)
Dmin7 DFAC
C#DFACAFDAFAF

G7 GBDF
F#GBDFDBGDBDB

Cmaj7 CEGB
BCEGBGECGEGE

.........

Bmin7b5. BDFA
A#BDFAFDBFDFD

E7 . EG#BD
D#EG#BDBG#EBG#BG#

Amin7 ACEG
G#ACEGECAECEC