Jazz Improvisation : The «Bebop Leap» Motif, Part 1
Reno De Stefano, Ph.D.
It is common practice among jazz musicians to outline chords during an improvisation. This technique is usually called «change-running» or running the changes. Historically, this practice became more prevalent during the Bebop era (ca.1940) as musicians added preparation chords, passing chords and substitutions to existing progressions. Coleman Hawkins’ legendary 1939 solo on Body and Soul already demonstrated the essence of this vertical approach to improvisation. However, Bebop musicians such as Charlie Parker devised new, original and subtle ways of dealing with the changes, where the improvised line was in effect derived from arpeggios or chord tones. At times, Bebop musicians used more angular and jagged lines that were, nevertheless, based on chord tones. Upon analyzing many of Charlie Parker’s solos I realized that he uses 5 basic derivatives of a fundamental motif that is based on chord tones- I call this intrinsic motif of the bebop language, the «Bebop Leap». In the following lesson we will explore the various ways we can use this motive and make it an integral part of our own improvisational vocabulary.
Ex. 1 The Bebop Leap : (5 derivatives)
(a) Bebop Leap - Minor Ascent : In the first two measures of example 1 we have outlined a Dm9 chord using the 3 -5-7-9 arpeggio (F-A-C-E). In measure 3 and 4 we have slightly modified the arpeggio by leaping downwards from the third (F) to the fifth (A), hence the name «Bebop Leap». I refer to this type of motif as the bebop leap with «minor ascent» because after the leap it ascends as a minor chord (A-C-E) and always resolves to its chord’s tonic (D). This leap adds that angularity and jaggedness which is so typical of many bebop lines. The jazz student will find this type of structure in much of the vocabulary used by the great masters such Charlie Parker, Clifford Brown, Jimmy Raney, Chet Baker, etc As a rule, the bebop leap always moves downward from the third (F) to the fifth (A) of the minor seventh chord (Dm7), or from the seventh (F) to the ninth (A) of the dominant (G7) chord. Consequently, the bebop leap motif can be used freely either on the IIm7 or the V7 chord. In measures 5 and 6 we illustrate a bebop leap with minor ascent that moves from Dm7 to G7 via a b7 to 3 resolution (C to B).
(b) Bebop Leap - Chromatic Ascent : In measure 7 we have the same bebop leap (F to A), however, this time we have a chromatic ascent after the fifth (A-A#-B) which moves to the sixth degree (B) and then to the ninth (E). This structure is once again derived from the basic arpeggio (3-5-7-9) with a slight modification--there is no seventh (C) This is another interesting and original way to outline the Dm9 chord without imposing the basic sound of arpeggios. The angularity of the leap is combined with chromaticism to produce an authentic bebop line. In measures 8 we illustrate a bebop leap with chromatic ascent that moves to G7 via a b7 to 3 resolution (C to B). c) Bebop Leap - Neighbor Note : In measure 10 we have a another common type of bebop leap (F to A). In this instance we have a neighbor note (G#) after the fifth (A) which moves once again to the ninth (E). This structure is also derived from the basic arpeggio (3-5- 7-9) with a subtle modification, that is, there is no seventh (C). Once again, the motive ends on (D) the chord’s tonic. In measures 11 and 12 we illustrate a bebop leap with neighbor note that moves to G7 via a b7 to 3 resolution (C to B). d) Bebop Leap – Appoggiatura : Measure 13 illustrates a bebop leap with an appoggiatura (G#) preceding the fifth (A). Notice that except for the (G#) and the rhythmic displacement of the following notes, this motif is very similar to the first bebop leap with minor ascent. It contains all the chord tones of Dm9, that is, 3-5-7-9 (F-A-C-E). e) Bebop Leap – Diminished ascent. All of the previous Bebop leaps can be used over a minor seventh chord (Dm7) and/or a dominant seventh chord (G7). However, the bebop leap with «diminished ascent» illustrated in measure 16 outlines a dominant 7b9 chord (D7b9). It is similar to the previous bebop leaps, as it leaps from the third (F#) to the fifth (A) and moves up through the seventh (C), to the flatted ninth (Eb) of the D7b9 chord. I refer to this type of motif as the bebop leap with «diminished ascent» because after the leap it ascends as a diminished triad (A-C-Eb) and always resolves to its chord’s tonic (D). In measures 17 we have illustrated a bebop leap with diminished ascent that moves to Gmaj7 via a b7 to 3 resolution (C to B).
7 to 3 resolution You may have noticed that we have used the b7 to 3 resolution in all of the examples. From our study of tonal music theory we learn that the b7-3 resolution, where the seventh of the IIm7 (Dm7) chord resolves to the third of the V7 (G7) chord, is one of the strongest available resolutions. Learning to use this type of voice-leading in improvised melodies will increase your change-running efficiency. This type of resolution is a commonplace device and examples abound in all tonal music.
Ex. 2 Bebop Leap Etude
In example 2 we have prepared an etude that will help the student internalize short one-measure phrases based on the bebop leap. The five different types of bebop leaps mentioned in example 1 run through II-V progressions in the cycle of fifths. Remember that the bebop leap may also be used independently, either on the II chord or on the V7 chord. It does not necessarily have to be a II-V progression.