This is archetypal bebop melody - Up Ladder Arpeggios and down Snake Scales. I'm already very familiar with C Mixolydian/C7 Bebop Scale. Once I figured out where the three arpeggios Gm7,Em7b5,BbM7 are linked together by the C7 Bebop Scale, it took me about 5 minutes to write this exactly in Sibelius. To understand the substitutes - Gm7 and BbM7 are virtually identical because BbM7 is Gm9 and Em7b5 is just a rootless C9 arpeggio. Also remember that C mixolydian Bebop and G dorian Bebop are the same scale, so because this would be used over a ii v in G, then it's easier to think of the scale as a G bebop dorian.
I've transcribed in Sibelius. Didn't take very long at all because once Sheryl explained the mixture of the C7 bebop scale and Gm7,Em7b5,BbM7 arpeggios, it was a piece of cake. It's really just classic bebop melodic contour - Up arpeggio ladders and down snake scales. Peace of cake really... I can send you a copy no probs if you like...
I just don't get one thing. Why is she calling the chord she plays at 4:03 Em7b5 when there is no minor third in it? Ok I know you can omit the root note or the fifth so that the fingers can play some colornotes. But doesn't a minor chord have to have a minor third in order to be called minor? I suppose it may be a kind of convention in a jazz language to avoid chord names like E7sus4b5 and (like Joe Pass recommends) just to think in simple categories major, minor and dominant. Not sure if I'm right on this. A confirmation of an expert would be nice. By the way the same chord could be called Gb7#5#9 right? Oh boy, playing jazz is nothing for stupid people ;-)
if you remove the high a and substitute it for g(as most people would), it is the aforementioned chord. many will say that the minor third is implied in the chord. the chord can't be called Gb because the bass is e. unless of course, you wrote it as Gb7#5#9/E which is just stupid.
I bought your course 50 essentials Bebop Licks, thank you it is very good.
What a lesson man! Excellent!!!
i LOVE how easy you make it to understand! hi5!
Awesome, thanks Sheryl.
Great thanks, sound great to!
great line !
waw you're a great guitar player i like the way you played .i need more from your teaching .and bebop liner. plz plz
Me gustó ampliar mi lenguaje con unos cuantos bebop licks.Very thanks..Sheryl Bailey!
Great. Sheryl Bailey as we know her.
Thanks for the micro cosmic line
nice :)
This is archetypal bebop melody - Up Ladder Arpeggios and down Snake Scales. I'm already very familiar with C Mixolydian/C7 Bebop Scale. Once I figured out where the three arpeggios Gm7,Em7b5,BbM7 are linked together by the C7 Bebop Scale, it took me about 5 minutes to write this exactly in Sibelius.
To understand the substitutes - Gm7 and BbM7 are virtually identical because BbM7 is Gm9 and Em7b5 is just a rootless C9 arpeggio. Also remember that C mixolydian Bebop and G dorian Bebop are the same scale, so because this would be used over a ii v in G, then it's easier to think of the scale as a G bebop dorian.
BERY GOOD RRR
like to see it on paper (not tab)
I've transcribed in Sibelius. Didn't take very long at all because once Sheryl explained the mixture of the C7 bebop scale and Gm7,Em7b5,BbM7 arpeggios, it was a piece of cake. It's really just classic bebop melodic contour - Up arpeggio ladders and down snake scales. Peace of cake really...
I can send you a copy no probs if you like...
Well write it out dude
lol ed hardy tho....
She has a very staccato feel. I can't help think that she's been promoted over much better players because she's a woman in the man's world of Jazz.
I just don't get one thing. Why is she calling the chord she plays at 4:03 Em7b5 when there is no minor third in it? Ok I know you can omit the root note or the fifth so that the fingers can play some colornotes. But doesn't a minor chord have to have a minor third in order to be called minor? I suppose it may be a kind of convention in a jazz language to avoid chord names like E7sus4b5 and (like Joe Pass recommends) just to think in simple categories major, minor and dominant. Not sure if I'm right on this. A confirmation of an expert would be nice. By the way the same chord could be called Gb7#5#9 right? Oh boy, playing jazz is nothing for stupid people ;-)
if you remove the high a and substitute it for g(as most people would), it is the aforementioned chord. many will say that the minor third is implied in the chord. the chord can't be called Gb because the bass is e. unless of course, you wrote it as Gb7#5#9/E which is just stupid.
Marwin Moody Who cares about the root note? You can drop it. Base is not always the root note, but a minor chord has to have a minor third.
May the 4ths be with you @@herrschnupke4044
@@BernieHollandMusic Feel blessed if you got the point man! I guess there are not so many people around to grasp it.
@@jaysteels Nature has designed beautiful things for us which are very hard to understand. Actually, that's why they are so beatiful.
I'm sure your "proper" way to play over a dominant chord is different than somebody be else.
There is no proper way. She's not claiming to be proper either.
mimi fox > sheryl bailey