The Dominant Bebop Scale on Guitar: Why Scales Put Wrong Notes on the Beat (and the Fix)

Short answer: When you run a scale in eighth notes, non-chord tones land on the downbeats, so it sounds like you're not playing the changes. Descend C major from C over a C chord and F lands on a downbeat, rubbing against the 3rd (E). There are two fixes: start the scale on the "and" of one instead of the downbeat, or add a chromatic note between the root and the ♭7, which is what's called the dominant bebop scale. Over C7 that's C, B, B♭, A, G, F, E, D: eight notes, so every chord tone falls on a downbeat. I think of it as a pattern, not a scale.

The problem: non-chord tones on downbeats

The problem with playing scales in our solos is that they give us non-chord tones on downbeats. When the notes of the harmony don't fall on strong beats, it sounds to the listener like we're not playing over the changes, like we're playing wrong notes. ▶ 0:00

A really simple example: play the C major scale over a C major chord, descending from C, in eighth notes. ▶ 0:20

• C on the downbeat is fine. A on the next downbeat can still work in a C6 context. ▶ 0:34
• Then F lands on a downbeat, and that's a really bad note over a major chord: it rubs against the major 3rd, E, and that half step doesn't sound good to the ear in this context. After E on the upbeat comes another non-chord tone on the downbeat, D. ▶ 0:34

Fix 1: shift the scale by an eighth note

Without changing scales, you can just shift everything by an eighth note: start the descending major scale on the "and" of one instead of on beat one. Then everything lines up: B, G, E on the downbeats, and you land on C on the next one. That can work. ▶ 1:08

Fix 2: the dominant bebop scale (a pattern, not a scale)

But what if you want to start on C, a chord tone, on a downbeat? That's the problem what's called the bebop scale solves. I think about it more as a pattern than a scale in the way major or minor scales are: it adds a chromatic note so that the chord tones fall on strong beats. To me, that's the essence of it. ▶ 1:27

This lesson covers what's called the dominant bebop scale: the bebop pattern applied to a dominant 7 chord. It adds a note between the root and the ♭7. Over C7: C, B, B♭, A, G, F, E, D, C. ▶ 2:35

Picking: two groups of four

Because it's an eight-note pattern, you can split it with your picking into two groups of four: four notes on one string, four on the next. Descending: C, B, B♭, A on one string, then G, F, E, D on the next. You could also do it ascending, but here everything stays descending. ▶ 3:15

The two-octave pattern

You can play these as double-time licks or keep the pattern going. That's the other benefit: because it's eight notes (four and four), it always lines up within a measure of four beats, so you can continue it through two octaves. ▶ 3:47 The catch: it moves you out of a single position really quickly. ▶ 4:11

Pull-offs to stay in position

When you want to stay in position, use pull-offs. Pull-offs save your right-hand picking, and they also keep you from having to shift position. ▶ 4:11

In shape 1 for C7 (the position around the 8th fret), start with your first finger on C (8th fret, high E string), then four notes on the B string: B, B♭, A, G. Because you started with one note on its own, make it up with a three-note group with a pull-off on the G string, F, E, D, so you're back to an even grouping. That pull-off keeps you in position. On the D string, play C, B, B♭, A, then another three-note group with a pull-off on the A string (G, F, E), and end on C. ▶ 4:44

Practice loop: descend the pattern, ascend an arpeggio

Practice it with your arpeggios: descend the bebop pattern in position, then ascend an arpeggio. That makes a continuous loop (a three-measure loop, though you might also play these as double-time phrases). ▶ 5:38

In shape 1, descend the pattern from C, then ascend an arpeggio starting on E: E, G, B♭, D. Think of it like an E half-diminished chord (E-7♭5). Repeat E, G, B♭, D, ending one note above the note you started on. ▶ 6:09

Starting on other chord tones

In other positions, you don't have to start the dominant bebop pattern on the root. You're always alternating a chord tone with a non-chord tone (a scale note or the chromatic passing tone), so you can start on any chord tone on a downbeat and keep that alternating pattern. ▶ 6:51

For example, in shape 2, start on the 3rd of C7, E (12th fret, high E string): descend the pattern from E, then ascend a G-7 arpeggio. You get a slightly different result, but the fundamental thing is the same: start on a chord tone, descend through the pattern, then ascend an arpeggio that ends one note higher than the note you started with. ▶ 7:25

There's a free PDF with the patterns for all five positions: get the bebop scale PDF. ▶ 5:38

Frequently asked questions

Why do scales sound wrong when I solo?

Played in eighth notes, a scale puts non-chord tones on the downbeats, so it sounds like you're not playing the changes. Descending C major from C over a C chord, F lands on a downbeat and rubs against the 3rd, E.

What is the dominant bebop scale?

What's called the dominant bebop scale adds a chromatic note between the root and the ♭7 of a dominant chord. Over C7, descending: C, B, B♭, A, G, F, E, D. With eight notes, every chord tone falls on a downbeat.

How do you play the bebop scale on guitar?

Split it into two groups of four with your picking (C, B, B♭, A on one string, G, F, E, D on the next), or use pull-offs on three-note strings to stay in one position.

Can you start the bebop scale on the 3rd?

Yes. Because the pattern alternates chord tones and non-chord tones, you can start on any chord tone on a downbeat. Starting on E over C7, descend the pattern and then ascend a G-7 arpeggio.

Is there a way to fix scale lines without the bebop scale?

Yes: shift the scale by an eighth note. Start the descending C major scale on the "and" of one, and B, G, E land on the downbeats before you resolve to C.

Keep learning

• The secret to bebop jazz guitar: chromaticism: why the bebop scale is only one small way bebop players use chromatic notes
• Jazz guitar arpeggio workout over ii-V: the arpeggio shapes to pair with this loop, in all keys
• The 2 shapes for jazz guitar scales and arpeggios: positions on the neck, with Corey Christiansen

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