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Section 31.11 Harmonizing the Bebop Scale
In
The Jazz Theory Book , author Mark Levine provides a method for harmonizing the
bebop major scale (
\(\hat{1} \) –
\(\hat{2} \) –
\(\hat{3} \) –
\(\hat{4} \) –
\(\hat{5} \) –
\(\hat{♯5} \) –
\(\hat{6} \) –
\(\hat{7} \) –
\(\hat{8} \) ) with four voices.
Try singing through each part—soprano, alto, tenor, then bass.
Figure 31.11.1. Four-Part Harmonization of the Bebop Scale in Major
Figure 31.11.2. Four-Part Harmonization of the Bebop Scale in Minor Notice that all of the non-tonic chords are
\(\left.\text{vii}^{\circ}{}^{7}\right.\) chords in various inversions.
One hears a similar approach to harmonizing a scale (though without the fully-diminished seventh chords as passing chords) in the following example.
Figure 31.11.3. Count Basie and His Orchestra, “London Bridge is Falling Down”
