Bebop Cliché Lines Exploding From The 4 note 'Sound' Chord in V7 Chords.

This is a follow up from the previous blog on Bebop Cliché, and closes the book on this topic for a while.

Ok it's been a while but I have something here that might be of interest. I didn't invent it, it was just laying there to be explored. Obviously it's not new, when I ran it by my friend (jazz pianist and teacher) Hal Galper as if I alone had found this he straightened me out on that score rather quickly so I had to smile at myself a little but !! there may be some of us who could benefit in the improv department not to mention voiceleading. If you have read my blog on the bebop cliche you would notice that I have explored it mostly in a major ii V and a little mention of minor ii V. What I'm thinking (apparently not an original thought) was working with the "Sound" chord: i.e. Fma7(b5)/G, and generating from that the descending bebop cliche line in the 'expansion' of a ii V.

The example I use is Sound 1 (S1 = ma7[b5]) using Fma7(b5) as an example. Just to refresh your memory on the Sound numbers: (using Fma7[b5]) as a Sound 1 (S1) starting point.

FS1 = Fma7(b5)

FS2 = FmiMa7(b5)

FS3 = F7(b5)

FS4 = Fmi7(b5)

FS5 = Fma7(b5)sus4

FS6 = F7(b5)sus4

All of these can represent some sort of G7 chord as in Fma7(b5)/G = G13 etc. or as in FS6, F7(b5)sus4/G = G7(#9#5) etc.

OK, the bebop cliche that expands ii V harmony into some linear action went like:

Figure 1.
               [ FPS1/D——————FPPS1/D————— FPS1/D——————FS1/G ]

                Fma7/D——————Fma7+/D—————Fma7/D——————Fma7(b5)/G =

                Dmi9———————DmiMa9—————Dmi9———————G13.

The distinguishing feature of this exercise is the chromatic line from DmiMa9 (C#) to Dmi9 (C) to G13 (B) [C# C B also B C C#].


Within this 'Sound' chord the chromatic movement produced is (D) C# C B. So what is happening here is basically the movement of the 5th of the F 'Sound".  I realized quite some time ago, that there is at least one other (really 3 other) places to operate a bebop cliche from within the 'Sound' specifically FS1 used here. So here goes.

Fma7(b5) or FS1 can be used over a 'B' root to produce an interesting voicing for mi11(b5) [ B half diminished ]....  When the potential bebop cliche is applied there as in iimi11[b5]) to a V7 chord as in Bmi11(b5)—E7(b9), the result is: (see Figure 2)

Figure 2.

              FS1/B———————FS5/B——————FS1/B——————FS2/E

               Fma7/———————Fma7(b5)sus4/B——Fma7/B —————FdimMa7/E

               Bmi11(b5)—————BmiMa11(b5) ———Bmi11(b5) ————E7(b9)

The chromatic line here is: (/B) is A# A G# (also G# A A#).

Now if that idea is applied to G7(#9#5) [Galtdom] or even Db13 using FS6 ( F7[b5]sus4) there can be a similar result. So this is information that may be of some value when applied to making melody and harmony in the improv process.

So here is the outline for FS6 (G7alt or Db13).

FS6/Db [or /G] written as: (with the 'F' note on the bottom of the voicing)

Note that here I'm just using the Dominant as the root of the dominant chord while leaving out the 'ii' root (Ab) so these are all variants of a Dominant: (See Figure 3.)

Figure 3.

                     BPS1/Db[/G]———BPPS1/Db[/G] ————BPS1/Db[/G]———BS1/Db[/G]

                     Bma7/Db[/G]———Bma7+/Db[/G] ————Bma7/Db[/G] ——Bma7(b5)/Db[/G]

                     Db13sus4 ————Db13(#11)—————±—Db13sus4————Db13

The chromatic cliche´ line here is: G F# F (also F F# G)


If FS6 (and/or BS1 and have the same notes in them7) is used as a half diminished chord as in a min ii V, the chord would be Fmi11(b5) as is written here.

Figure 4.

                       FS6/F—————FS5/F———————FS6/F———————BS2/F(—/Bb)

F7(b5)sus4/F ———Fma7(b5)sus4/F—————F7(b5)sus4/F——————BdimMa7/F(—Bb)

Fmi11(b5)—————FmiMa11(b5) ——————Fmi11(b5) ——————Bb7b9

Note that the Bb7b9 has no written b7 but it is implied by the noninterference of the b9.

The chromatic cliche´ here is E Eb D (or D Eb E).


Now that this process is 'explained,' I'll just add up the cliche lines as they emanate from each note of the FS wether FS1 or FS6.

FS1

E —(E Eb D or D Eb E)

B —(B C C# or C# C B)

A —(A A# A G# or G# A A#)

F —(F F# G or G F# F)

These can be interpreted according to the root used in FS1 or FS6 ( or !! BS6 or BS1).....

Figure 5.
             G13..b13..5                G13..sus4..#11..5           G13(9)..#9..9..b9            G13..Ma7..1...b9..
             Bmi11(b5)..3..b3       Bmi11(b5)..1..b9..9..b3  Bmi11(b5)..ma7..7..6    Bmi11(b5)..5..b6..6
             Db7alt..#9..9..b9       Db7alt..b7..ma7..1..b9   Db7alt..+5..6..b6..5       Db7alt 3..4..#4..5
             Fma7(b5)..ma7..7..6   Fma7(b5)..b5..5..#5..6  Fma7(b5)..3..4..3..b3  Fma7(b5)..1..b9..9..#9

Over G13, E Eb D creates a chromatic line moving between the 13th the b13th and the 5th

Over G13, B C C# creates a chromatic line moving between the 3rd the sus4 and the #11
Over G13, A# A G# creates a chromatic line moving between the #9 the 9 and the b9
Over G7 (G13), F F# G creates a chromatic line moving between the 7th, the ma7 and the root.

Over Bmi11(b5), E Eb D creates a chromatic line moving between the 11 the (major) 3rd and the b3
Over Bmi11(b5), B C C# creates a chromatic line moving between the root, the b9 and the 9 (fast b9)
Over Bmi11(b5), A# A G# creates a chromatic line moving between the Ma7, the b7 and the 6th (3rd/V
Over Bmi11(b5), F F# G creates a chromatic line moving between the b5, the 5th and the b6.

Over Db13, E Eb D creates a chromatic line moving between the #9 the 9 and the b9
Over Db13, B C C# creates a chromatic line moving between the b7 the Ma7 and the root
Over Db13, A# A G# creates a chromatic line moving between the 13 the b13 and the 5th
Over Db13, F F# G creates a chromatic line moving between the 3rd the 11 and the #11.

Over Fmi11(b5), E EbD creates a chromatic line between the Ma7 the b7 and the 6th (bebop clich´e)
Over Fmi11(b5), B C C# creates a chromatic line between the b5 the 5th and the #5

Over Fmi11(b5), A# A G# creates a chromatic line between the 11th the major 3rd and the b3rd 

Over Fmi11(b5) ,F F# G creates a chromatic line between the Ma7 the root the b9 and the 9. 

Some of these moves are obviously to be done as passing tones. You will no doubt hear which ones they are. I'm glad I put it up as it helps to clarify things in my own mind. Will anyone pick up the torch here?