The essence of the bebop scales has to do with the chromatic passing tone. I think it's the idea of inserting chromatic passing tones that is really important. If you analyze any solo by Charlie Parker, Dexter Gordon, etc, you'll find lots of chromatic passing tones that smooth out the eighth (or sixteenth) note line and make it sound good. They aren't always the same passing tone used in the "bebop scale" proper, but often are.
I use the maj7th passing tone and also a chromatic run from the minor or major 3rd up to the 5th a lot when playing blues, so this concept doesn't just apply to bebop either. To restate, I think it's the concept that is important, not any particular scale. You do have to be careful to place the chromatic notes in the right place, usually, but not always, on a upbeat.
I use the maj7th passing tone and also a chromatic run from the minor or major 3rd up to the 5th a lot when playing blues, so this concept doesn't just apply to bebop either. To restate, I think it's the concept that is important, not any particular scale. You do have to be careful to place the chromatic notes in the right place, usually, but not always, on a upbeat.
