Modes of the Dominant Bebop Scale
the modes of the dominant bebop scale
c ionian mode
c d e f g a b (c)
1 2 3 4 5 6 ♮7 (8)
c lydian mode
c d e f# g a b (c)
1 2 3 #4 5 6 ♮7 (8)
c lydionian mode
(4th mode of g dominant bebop scale)
c d e f f# g a b (c)
1 2 3 4 #4 5 6 ♮7 (8)
descriptions:
lydian mode w/ added p4
ionian mode w/ added #4
usage: over major quality chords
* * *
d mixolydian mode
d e f# g a b c (d)
1 2 3 4 5 6 b7 (8)
d dorian mode
d e f g a b c (d)
1 2 b3 4 5 6 b7 (8)
d mixodorian mode
(5th mode of the g dominant bebop scale)
(aka d dorian bebop scale)
d e f f# g a b c (d)
1 2 b3 3 4 5 6 b7 (8)
descriptions:
mixolydian mode w/ added b3
dorian mode w/ added ♮3
usage: over dominants and secondary dominants
e phrygian mode
e f g a b c d (e)
1 b2 b3 4 5 b6 b7 (8)
e aeolian mode
e f# g a b c d (e)
1 2 b3 4 5 b6 b7 (8)
e phrygiolian mode
(6th mode of the g dominant bebop scale)
e f f# g a b c d (e)
1 b2 2 b3 4 5 b6 b7 (8)
descriptions:
phrygian mode w/ added ♮2
aeolian mode w/ added b2
usage: ???
* * *
f# locrian mode
f# g a b c d e f#
1 b2 b3 4 b5 b6 b7 8
f lydian mode
f g a b c d e f
1 2 3 #4 5 6 ♮7 8
f# locrydian mode
(♮7th mode of the g dominant bebop scale)
f# g a b c d e f f#
1 b2 b3 4 b5 b6 b7 ♮7 8
description:
locrian mode w/ added ♮7
usage: with half-diminished chords
f lydiocrian mode
(b7th mode of the g dominant bebop scale)
f f# g a b c d e (f)
1 b2 2 3 #4 5 6 ♮7 (8)
description:
lydian mode w/ added b2
usage: ???
g mixolydian mode
g a b c d e f (g)
1 2 3 4 5 6 b7 (8)
g ionian mode
g a b c d e f# (g)
1 2 3 4 5 6 ♮7 (8)
g mixionian mode
(g dominant bebop scale)
g a b c d e f f# (g)
1 2 3 4 5 6 b7 ♮7 (8)
descriptions:
mixolydian mode w/ added ♮7
ionian mode w/ added b7
usage: over dominant chords
* * *
a dorian mode
a b c d e f# g (a)
1 2 b3 4 5 6 b7 (8)
a aeolian mode
a b c d e f g (a)
1 2 b3 4 5 b6 b7 (8)
a doriolian mode
(2nd mode of the g dominant bebop scale)
a b c d e f f# g (a)
1 2 b3 4 5 b6 6 b7 (8)
descriptions:
dorian mode w/ added b6
aeolian mode w/ added ♮6
usage: over minor quality chords
b phrygian mode
b c d e f# g a (b)
1 b2 b3 4 5 b6 b7 (8)
b locrian mode
b c d e f g a (b)
1 b2 b3 4 b5 b6 b7 (8)
b phyrgiolocrian mode
(3rd mode of the g dominant bebop scale)
b c d e f f# g a (b)
1 b2 b3 4 b5 5 b6 b7 (8)
descriptions:
phrygian mode w/ added b5
locrian mode w/ added p5
usage: over b2 minor style chords or altered minor chords (m7b5, m7b9b5)
There are 9 comments, leave a comment.
(4th mode of g dominant bebop scale)
c d e f f# g a b (c)
1 2 3 4 #4 5 6 ♮7 (8)
descriptions:
lydian mode w/ added p4
ionian mode w/ added #4
usage: over major quality chords
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♮ is the natural sign in word
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also does anyone have a good common usage for either the phrygiolian mode or lydiocrian mode???
***
what is the usefulness of knowing or studying the greek modes or the modes of the melodic minor or any type of scale for that matter?
lol
just kidding.
that "chord tones fall on downbeats" "logic" only works on eighth note contiguous scalar lines, which are a rarity in jazz.
the modes of the major scale and the modes of the ascending form of the melodic minor scale don't do a very good job of keeping all the chord tones on the downbeats, but that doesn't seem to hurt them one little bit.
many of these modes of the dominant bebop i use every day. maybe richie bierach, john abercrombie, chick corea...etc. don't use them every day. or if they do use them, they might not be thinking of them as "modes of a bebop scale".
i always thought that that usefulness of the bebop scales and their modes lay not in some square rhythmic ability to drop in chord tones on down beats (which is my job, not the scale's), but that "extra" note gives us more harmonic and melodic possibilities to take advantage of.
this scale consists of a diminished tetrachord on the bottom and
a wholetone (lydian) tetrachord on the top:
| diminished tetrachord | lydian tetrachord |
a number of these octatonic scales are used around the world. where known, i have listed their alternate names.
the two most popular sets of "bebop scales" are the modes of the radially symmetrical major bebop scale and the radially symmetrical dominant bebop scale.
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