Harmonizing the Bebop Scale

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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”

Music Theory for the 21st-Century Classroom

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Section 31.11 Harmonizing the Bebop Scale