5 Easy Ways To Sound Like Bebop on a C7

The most important part of sounding like jazz, whether you play in that genre or in another, is probably to have some Bebop as a part of your playing.

This video is going to demonstrate 5 easy bebop licks on a C7 chord in a very position and quickly connect it to a scale and an arpeggio. I will go over how you can add some bebop flavour and chromatic phrases to your playing in this position.

Learning and adding to your vocabulary

Finding practical and playable solutions is essential if you want to learn something like the jazz language and this video should give you some easy to apply examples and ideas. This is also how I work and have worked with learning new material.

Keeping Bebop simple: Chord, Position, Licks

The examples I am going to cover are all found around this chord, which is C7 in the 8th fret:

which is closely related to this arpeggio.

And in that position you could think of this C7 or F major scale: 

I find that this is an area of the neck that is a good starting point if you want to add something new to your C7 vocabulary because it is very close to the chord and the Cm pentatonic scale so we have an overview already.

Chromatic Passing note idea 1

This first example is adding a chromatic note on the top E string. The melody is adding a note between the 9th and the root. From there it is a descending scale run ending with a C major triad.
Notice how the end of the phrase is no on the beat which is also typical for bop lines.

More Chromaticism and a bit of Blues

In this example I am using a longer chromatic run on the B string. On this string we already have 3 strong C7 notes: 5,13 and b7.After a short bluesy phrase with those the lick is descending from b7 to 5 in halfsteps again reconnecting with the chord by playing a descending C major triad at the end.

Pivot arpeggios and arpeggios from the 3rd

This example uses two really strong bebop concepts. First this way of using an arpeggio inversion where I am using Em7b5 in first inversion but starting with the high note and then skipping down. If you want to check out how George Benson uses this I have that in a video here.

The other example is adding a chromatic note between b7 and the root which is also extremely common.

Two note chromatic approach

Here the chromatic approach is two notes and inserted between F and E in the beginning of the lick. The rest of the line is using an Em7b5 arpeggio and ends on the root on the high e string. Again ending on the 1&

Encircling: Diatonic above, chromatic below

Encircling a chord tone with a chromatic note and a scale note is also a very common bebop melody. This example is first encircling the 5th(G) with A and F# before it continues with first the arpeggio from the 5th: Gm7 and then a C7 arpeggio.

A few closing Bebop remarks

Besides the devices I talked about in this video it is also important to remember that bebop lines are based on the chords your are playing over. This means that you want to use those chord tones as target notes and as start and ending points of your melodies when you are improvising.

If you want to explore more bebop and especially focus on the phrasing then I have this WebStore lesson with some exercises for that:

Jazz & Bebop Phrasing – C Blues

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5 easy ways to sound like bebop on a C7

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