Eight-note scale derived from Mixolydian, used to place chord tones on strong beats in eighth-note lines. Adds a chromatic passing tone between ♭7 and 7.
Intervals from the tonic that build this scale step by step.
Diatonic chords on each degree of this scale.
Explore scales that share many of the same notes and compare how their tonal center changes the sound.
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Bebop Scale is an eight-note scale used in jazz improvisation to create strong rhythmic and harmonic alignment with chord tones on downbeats. It is not a single fixed scale, but a family of scales derived from major, dominant, or minor tonalities with the addition of a chromatic passing tone that allows for continuous eighth-note lines while keeping chord tones metrically stable.
The most common form is the Dominant Bebop Scale, built from a Mixolydian framework with an added chromatic passing tone between the ♭7 and the 6.
In C, this yields: C–D–E–F–G–A–B♭–B.
Its interval formula is: 1–2–3–4–5–6–♭7–7.
Other common variants include the Major Bebop Scale (with an added passing tone between 5 and 6) and the Minor Bebop Scale (with a chromatic passing tone added to align chord tones on strong beats).
The Bebop Scale is primarily used to create fluent eighth-note lines where chord tones naturally fall on strong beats (1, 2, 3, 4). The added chromatic note functions as a passing tone that preserves both scalar motion and harmonic clarity.
In the Dominant Bebop context, the scale is especially effective over dominant seventh chords (V7), where the presence of both ♭7 and natural 7 adds chromatic tension without losing the dominant function.
Melodically, emphasis is placed on chord tones (1, 3, 5, ♭7), while the chromatic passing tone is used as a linear connector rather than a resolution point.
Practice the Bebop Scale by first isolating the underlying Mixolydian or major scale, then adding the chromatic passing tone and ensuring that chord tones fall on strong beats when played in steady eighth notes.
For improvisation, think in terms of chord tone targeting rather than scalar motion: the chromatic note should function as a connector, not a point of resolution.
| Interval | semitones | Note | ||
|---|---|---|---|---|
| 0 | G♯ | |||
| 2 | A♯ | |||
| 4 | B♯ | |||
| 5 | C♯ | |||
| 7 | D♯ | |||
| 9 | E♯ | |||
| 10 | F♯ | |||
| 11 | F𝄪 |