Here’s a nice 2 bars pattern on Dominant 7#11 chord, starting from the 5th of each chord.

As seen previously, in order to practice it continuously along the Vths Cycle, there are shown two forms: descending, and ascending on the cycle by transposing by an octave a chord tone (pivoting).

Once seen how to apply both hands voicings for each kind of chord , we can extend all those frames to the Major & Minor  Turn Around Progressions.

A first simple and very effective way which ti start with, is to aplly the drop 2 technique to the left hand voicing already  seen, and consists to drop the 2nd note of the basic voicing on the top:

Es.This way you get a smooth mouvement of voices that leads you to the tonal center…

The few lines describe how to apply the Bebop Major scale on a II-7b5 - V7b9 progression. As known, these scales use some cromatism between specific diatonic (i.e. notes exclusively taken from a simple major/minor scale) tones, in order to get a simmetric scale (8 notes) that starting from a note spells clearly a chord both ascending or descending

For  this purpose we use the major bebop scale starting from:

II°b degree of the II-7b5 chord = V°# degree of the V7b9 chord of a given minor II-V

or from an opposite perspective

A BeBop Major scale which II-7b5 built on its VII° and the V7b9 chord built on its III° match a given minor II-V progression.

An example could help further:

Es. –> on a B-7b5   -  E7b9  we use the C major BeBop Scale.

The reasons of all this are more than one, and for the moment focus on the V7b9 dominant chord only.

As first, the use of the cromatism between the V and VI degree of the scale gives it a simmetry, allowing to reach a chord note on every beat (3 5 7 and b9).

In addiction to that, the underline concept of this scale is that it incorporates the tension-release of the V-I progression. And this is applyable on both compin’ and improvising situations:

- if you start from a Dominant 7 chord tone, playing such a scale both ascending or descending you spell a Dominant chord,

- if you start from scale chord tone (in our case C major), you spell the tonal center chord, that in the given example (B-7b5/E7b9) is A minor, relative minor scale of C major and both composed of the same chorf tones: A C E G.

Es.

Here’s a nice 2 bars pattern on Dominant 7#11 chord, starting from the 3th of each chord.

As well, here, in order to practice it continuously along the Vths Cycle, there are shown two forms: the first descending, and the second let you ascend on the cycle by transposing by an octave a chord tone (pivoting).

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Here’s a nice 1 bar pattern on Dominant 7 chord: In order to practice it continuously along the Vths Cycle, there are shown two forms: the first allows to ascend, and the second let you discend on the cycle.

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