F bebop minor Scale — Guitar Fretboard Visualization

Low E string: F, G, Ab, A, Bb, C, D, Eb at frets 1, 3, 4, 5, 6, 8, 10, 11

A string: A, Bb, C, D, Eb, F, G, Ab, A at frets 0, 1, 3, 5, 6, 8, 10, 11, 12

D string: D, Eb, F, G, Ab, A, Bb, C, D at frets 0, 1, 3, 5, 6, 7, 8, 10, 12

G string: G, Ab, A, Bb, C, D, Eb, F, G at frets 0, 1, 2, 3, 5, 7, 8, 10, 12

B string: C, D, Eb, F, G, Ab, A, Bb at frets 1, 3, 4, 6, 8, 9, 10, 11

High E string: F, G, Ab, A, Bb, C, D, Eb at frets 1, 3, 4, 5, 6, 8, 10, 11

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F bebop minor

The bebop minor scale adds a major 3rd as a chromatic passing tone to the dorian mode, eight notes in all. The extra half step keeps chord tones on strong beats through a ii chord vamp, and momentarily brightens the minor sound in passing. It pairs with the dominant bebop scale for seamless minor ii-V lines.

it consists of these notes and degrees:

F

I

G

II

A♭

bIII

A

III

B♭

IV

C

V

D

VI

E♭

bVII

Same notes, different mode

F bebop minor uses the same notes as the scales below. Start from a different note and you get a new mode built on the very same note set.

bebop minor in all 12 keys, with chords and related scales

tip
  • Over the ii chord in a minor or major ii-V, run F bebop minor in eighths; the added major 3rd (A) passing tone keeps the dorian chord tones on strong beats.
  • Pivot on the double 3rd: bIII (Ab) on the beat, III in passing, which is the sound of bebop language over minor chords.
  • Pair it with the dominant bebop scale a 4th up for a seamless ii-V line in one position.
  • When the line stops moving, park on the 6th (D); it keeps the dorian brightness the scale is built on.

How to play F bebop minor on guitar

E-shape barre chords land at fret 1. Clamp fret 1 with a capo and E fingerings match this key, which puts open-position shapes back in play. Open A, D and G belong to the scale but arrive as the third, sixth and second, so none can hold a pedal. Low E carries a root at fret 1, deepest in pitch and closest to the nut, so first-position phrases start there.

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