# II V7 Bebop Patterns - David Baker - Analysis and Scale Diagrams

This blog article is related to the video tutorial published on JGL YouTube channel. It contains 10 II V7 jazz bebop guitar patterns with analysis and scale shapes.

These lines come from the first chapter of David Baker's book "How To Play Bebop Vol.2 - Learning the bebop language". They correspond to the first ten exercises of the section named "The Use of The II V7 Progression in Bebop".

You 'll find in this lesson a quick analysis of each pattern with scale diagrams (Dorian, Dorian bebop, Mixolydian, dominant bebop, Mixolydian b13, altered, mixo-blues and half-whole diminished).

## Scales

#### Scales Used Over The iim7 Chord?

We have a choice of two minor scales to play over the ii chord. The Dorian scale (1 - 2 - b3 - 4 - 6 - b7), which is the second mode of the major scale, and the Dorian bebop scale (1 - 2 - b3 - 3 - 4 - 6 - b7) which is the Dorian scale with a supplementary note between the b3 and the 4.

#### Scales Used Over The V7 Chord

Let's start with the Mixolydian mode (1 - 2 - 3 - 4 - 5 - 6 - b7), the fifth mode of the major scale and the Dominant bebop scale (1 - 2 - 3 - 4 - 5 - 6 - b7 - 7) that contains a supplementary note, the major seventh (7) between the b7 and the root (1). These two scales are the most obvious choice when you want to improvise over dominant 7 chords.

The four following scales will bring tension to your dominant lines. The Mixolydian b13 scale as its name implies is the Mixolydian mode with a b13. The formula is (1 - 2 - 3 - 4 - 5 -b6 - b7). The dominant diminished scale (1 - b9 - #9 - 3 - b5(#11) - 5 - 13 - b7) is also known as half-whole diminished scale. This is a symmetric scale. The altered scale (1 - b9 - #9 - 3 - b5 - b13 - b7) is the seventh mode of the melodic minor scale. The Mixo-blues scale, a mix of minor blue scale and Mixolydian mode (1 - 9 - #9 - 3 - 11 - #11 - 5 - 13 - b7), will bring a little touch of blues.

## Patterns

Here are ten II V7 patterns using the scales previously seen. You can hear and see them in the video at the top of this lesson (please don't hesitate to like it, share it and subscribe to the YouTube channel). It is strongly recommended to play these lines in twelve keys. You can sing the chord tones (R - 3 - 5 - 7) while playing them. Don't forget that the ultime goal is to make is to play what you ear. These patterns are only used to build the basis of your improvisation.

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