Licks Full

1

BeBop Cliches/Patterns Dm7

          5

2 Dm7

G7

       

3

G7

             

4 Dm7          

      G7         

       

5 G7 Coltrane                       7

G7

              

OR

C^7







6 Dm7       G7    

13

17





Dm7

G7

9

C^7

8

G7

  etc.           

9 C G7     C     A7     Dm7       







10 C A7 Dm7 G7     C               







21

25

11 C^7 or

12

                                 33 13 Dm7 G7 C^7                       29

37



15  

41

C7

14 3    

Dm7

Dm7

C^7 or C7

G7

C^7

                  G7

        

16



Dm7

G7(Ebº7)

C^7

          

 

2

17 G7 18 G7                  etc.  

C

45

3

3

3

49

19

 



           

Dm7

G7

C^7

                    3

20 Dm7 G7 C^7                      

53

21  

57

22  

61

65

23

Dm7

G7

Dm7

G7(Db^7)

      

     

Dm7

        

24 G7alt      

69

26

73



 

Diminished

 

C^7



C^7

        



Dm7





G7

C



C^7

     

      





25 G7    3





      

G7

  C^7

                

27 Dm7 C^7     G7                  

77

81









 

BOXES - Exercises (All permutations based on Cmaj.)

3rds

1

        

2   

etc.

Broken 3rds 

   

etc.

3

3

3

3

3

 3a                3

3

3



    



etc.

3

3

etc.

         3

4    

3

3

3

3

3

       3

3

3

3

3





etc.

etc.

3

           

Three Note Stacked 3rds Up and   Down           



etc.

Four Note Stacked 3rds Up and Down            etc. 5a                 Broken Triads  

6   

6a                 

etc.

etc.



etc.

3

Four Note Stacked 3rds               etc.

    4a         

 5         

etc.

Three Note Stacked  3rds 

       etc.       3     3

        

   

    

etc.

etc.

 

etc.

 

etc.

etc.

etc.

Brecker - Rhythm Changes    6



C

 

     

26



   

  

Em7

  

    D7

Am7

     E7  D7    Am7           Bm7

C7

Bm7

3

3

E7



           

    D7              

31

3

37

 47

 57

 67

 76



3

                 

             Bridge B7

G7

          

From "Frieda" David Benoit - Here's To You Charlie Brown G7

Dm

F7



 

   G7 C   A7                      Dm

From "Oleo" bootleg - at NTSU '84

C7

(Rhythm Changes G 14 in concert F)

19

 Am

          

A7

3

      G^7    

































































 



 

 

 

 

 

 

 

Coltrane Changes (Countdown)                 C^7

Eb7

Ab^7

G7 C^7  B7       E^7            

The following phrases come from the Ridker/Wieskoepf book Coltrane's Harmony

Ab^7   B7      E^7  G7    C^7                    9                                  13                              C^7

5

17

Eb7

     

                         

                                25                                 21

                                

29

                            

33

       

                      



                                 



37

 41

         

                                  

45

2 49

 53

 57

 61





C^7

Eb7      

Ab^7

B7

       

E^7

G7



    



     

C^7



  



   



               



                             

     

      

  



    



                                  

65

                                

69

                               

73

                          

77



                                  

81

                                

85

                           

89



                                 

93

CONFIRMATION (Bird Blues) CHANGES                             BØ7

E7alt

Brecker

5

 

Am7

D7

Gm7

C7

  F^7 

Art Farmer

Trane



                       

                                  

9

Gm7 F^7 Am7 D7    C7                                                  

13

17

 21

 25

 29

 33

 37

 41

 45



BØ7

E7alt

































































Lines in Minor Dm

melodic

  Trane                                    etc.  5



 Gm7        

9

Gm7

13

Em7



F#m7



Trane

Fm7

Em7

                                    

17

 21

 25

 29



Dbm7 Dm7      Ebm7           Brecker                

































Long Line Exercises Pete Lewis A7

  

  

3

                             

                                         



















Eric Alexander (BeBop Scale) In the Key of C

                                     



                            

                                                                            

    

                      

In The Key of C



   

Eric Alexander (BeBop Scale with Rotations)

                                

                                     



                                                                             

           

                        

                                                                             

                               

           

                 

Eric Alexander (Loops)

                  1                                              (Gm7-C7)

3                                        2 

                                      (Gm7-C7)

3

3

  

MAJOR 2, 5, 1s (all in C major)     Dm7

5

G7

     

        

9



   



  

  

               

13

                

17

    



       





C^7

        

Aebersold



 



 



  



                  



 

  

 Good in Blues

       

21







25

29





                     

                    

33

37

 41

 45



         3



Diminished

3





     





  



             Red Garland  

   

Good in Blues

3



      

  



2

C ^7  G7                         

49

Dm7

Dm7        

53

 57





      

   

G7

      3

       

3

61

  

C^7



3

3

 BeBop Cliche

                3

65

Cannonball

      

  

          

    



3

3

3

3

3

                   

  

                    

  

69

73

        



77

  

Hemiola

   





Garzone

Use of Ab Pent. §6

Sonny Stitt

81

                  

                             

Diminished

85

3

3

            

89

Good in Blues

3

     



John Nugent

3 G7          C^7                   

93

Dm7



3

97

 101

 105

 109

 113

 117

 121



























































MINOR 2, 5, 1s (All in Aminor) Bm7(b5)



 5

E7alt



       

  

 

Am



                



       



9

        

13

 

   

    

17

                  



  

                 





                 

37

 41



   

29

33

Aebersold

  

       

21

25

    

 

Aebersold Tritone Sub

Diminished Scale

  

Diminished Scale

























Quick Major 2, 5, 1s (All in Cmaj.)   



 









 

 











 



































 

4





 

 7

10

 13

16

  19

 22

 25









Bird



  



Circle of 4ths

 







 















 







 

















 



         





28

31









  

       





BeBop Cliche

Art Farmer

Trane

2 34

 37

 40

 43



 













 

 

  

 















        

46

49

 52





BeBop Scale

     

        





 









      









Trane / Bergonzi

 

Quick Minor 2, 5, 1s (All in A minor) BØ7

E7alt





  











 



 











 









 



 





 



4

 7

 10

 13

 16

 19

22









 



 25

 28

31







 



 







 











 



 

   

















 



Arpeggiation

  















Diminished Scale





  





  

 





Am

Arpeggiation

Arpeggiation

Arpeggiation

Shapes                 

1

etc.

             

2 

etc.

            

3 

                (Gm)

    

(F#m)

etc.

              

etc.

                

etc.

etc.

Also start this shape with the first note as a pickup.



          

  



etc.

(Fm)

     

   

  

etc.

(Em)

                  

etc.

Use of above shape in a 2,5,1

Dm7 G7 C^7                              

4  5 





A7alt 





















etc.

Brecker Cape Verdean Blues

               

         6       Around







the circle of 4ths



 

etc.

                

                               7  Also starting one half step lower

-

etc.

                        8             

etc.

2

Use of Patterns 2 and 1 in a 2, 5, 1

                              Dm7

G7

C^7



                      9                                         10       also 1/2 step lower                                          11 Whole-Tone (also, 1/2 step higher)

          12  

        

       

                                   13  Diminished

also start on C and B Diminished

14 

               

  15   

 

 

 

OR

etc.

 

              

 

 

 

 (G7,B7, Eb7)                 16 

 

  

etc.

etc.

etc.

etc.

etc.

etc.

etc.

Bob Berg

      

etc.

etc.      Ricker                        17              Also Start on C and D  Ricker  4ths                            18                Also start on D, C#, C 4ths

Also Start on B, C, C#, D, E b

 



 



 



 



     Em7

5

TURNAROUNDS (3, 6, 2, 5, 1s)      A7

Dm7

  

G7

   

C^7



         

        



        

       



9

13

 17



        

        

        

       

 

         

        

25

       

21



       

29

         

33

 37

 41

 45





      

Trane

Bird

Ornithology

 

































V7 to I Resolutions G7

 

   5

G7

     

C^7

G7

    

C^7

 

9

C^7

  

 



 

  



G7









C^7

      

G7

   

C^7

G7

  

C^7











   









The above six examples are "Double Rotation" (an idea from Cannonball Adderley) 13

      

G7

 

17

 20

C7        3

G7

 

24



C^7







Stan Getz

F7

   



 



C^7

G7

       

G7



G7 

C^7

             

28

     

G7

 

C^7                  

        

Brecker

   

       Quarter Tones    36 G7alt Cm                32 G7alt

Cm7

Chip McNiel Cm

               

40 G7alt

3

3

3

3



 





Bars 4 and 5 in Blues

C^7

        

  C^7              

Cannonball

G7 Triad Pairs

 

C^7

G7



    Triad Pairs

C^7

   



Gary Campbell

           G7

C^7 Quarter Tones

G7alt



 

Cm

         3

G7alt (Or start on 3rd of Dominant chord)

   3



Chip McNiel

Cm

3               3

The last two examples make use of the Ab minor pentatonic §6

3

D or E