LESSON 3
u s i n g u n p r e pa r e d
approaches &
e n c lo s u r e s
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BEBOP GUITAR IMPROV SERIES . VOLUME 1
LESSON BOOK
avoiding modal ambiguity
In this lesson we are going to explore some more advanced «approach tone» techniques. However, before we
proceed with this study it is beneficial that we discuss some principles that will make the application of these
techniques more pleasing to the ear.
If you go back and examine the summary of neighboring tones available for the mixolydian scale on p.25,
you’ll notice that chromatic tones are only present as lower neighboring tones and never in their upper role.
The reason behind this is that we want to be careful not to unintentionally create what some like to call modal
ambiguity. This sometimes occurs when placing a non-diatonic chromatic tone, a 1/2 step above a chord
tone. In doing so, we end up mimicking the upper extensions of an unrelated parallel mode or scale. Don’t
worry, you will learn all about upper extensions in Lesson 4. May it suffice to know for now that they are the
2, 4 and 6 of a given scale when available as added chord tones. Because so many students throughout the
years have asked questions regarding this matter, I have included this explanation here so that you may have
a better understanding behind the ambiguous, dissonant sonority sometimes produced by the use of certain
chromatic approaches.
To help avoid any accidental modal ambiguity on part of the student, throughout the examples in this series,
I have avoided the use of chromatic approaches above chord tones, except in cases where I felt it was safe. In
due time, as you gain more knowledge and experience as an improvisor, your ear will guide you in properly
resolving any chromatic note.
harmonic anticipations
A harmonic anticipation can be defined as the introduction of one or more notes harmonically related to
a new chord, before its initial downbeat. An anticipation usually consists of eighth notes, the last of which
may or may not be tied to the upcoming downbeat of the new chord. Although quarter notes may be used,
they are more effective at faster tempos due to their longer delay before resolving. Here are some examples of
harmonic anticipations, with the last two using different approach note techniques:
harmonic anticipation: 1 eighth note with «tie»
*
*
harmonic anticipation: 2 eighth notes without «tie»
harmonic anticipation: 2 eighth notes with «tie»
**
**
46
LESSON 3 UNPREPARED APPROACH TONES
introducing unprepared approaches
An Unprepared Approach
(UA) consists of a nonchordal tone (either 2, 4 or
6) diatonic to the scale of the
moment, which is preceded
by a rest or approached from
a chord tone by a leap of a 3rd or more. It then resolves by stepwise motion. The term Unprepared Approach
is due to the fact that it doesn’t require a preparatory pitch. On the contrary, both passing and neighboring
tones are considered «prepared» approaches because they are preceded by a chord tone situated a half/whole
step away, thus acting as a preparatory pitch.
An Unprepared
Chromatic
Approach (CH-UA) consists of
a tone which is non-diatonic to
the scale of the moment and is
preceded by a rest or approached
from a chord tone by a leap of a
3rd or more. It then resolves by
1/2 step.
i n d i r e c t a p p r oac h e s & e n c lo s u r e s
An Indirect Approach (IA) consists of one or more consecutive approach notes on both sides of the resolution note. The first note can often be viewed as an unprepared approach note if it has no preparatory pitch. It
must be a minor or major second away from the target resolution note. It resolves «indirectly» due to a delay
created by a second note situated on the opposite side of the resolution note. Both approach notes can be
either diatonic, chromatic, or a combination thereof.
The most common form of indirect approach is referred to as an enclosure. When using 2 note enclosures we
will occasionally refer to them as simple enclosures to differentiate them from the more «complex» varieties
we will be exposed to in the upcoming lessons.
Although indirect approaches do not
require a preparatory pitch, you will note
that the enclosure in the current example is
preceded by an initial chord tone. This aids
in establishing the chord sound and minimizes the dissonance that may result from
the extended delayed resolution of more
than one approach note.
Note that the «5» which is the target resolution note, is being enclosed by the «6»
(indirect approach) & the chromatic from below (direct approach). Both notes are
resolving from opposite directions to the «5» by stepwise motion. The chromatic note
is delaying the resolution of the «6».
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BEBOP GUITAR IMPROV SERIES . VOLUME 1
LESSON BOOK
The following chart displays a summary of unprepared approaches and simple enclosures available for use
with the mixolydian mode. Play each variety on your instrument, employing the fingering pattern you are
most comfortable with. This will help in familiarizing you with the sound of these approaches in context of
the various chord tones they can target. Be sure to refer to it when writing your own etudes using the rhythm
templates at the end of this lesson.
mixolydian mode
s u m m a ry o f u n p r e pa r e d a p p r oac h e s
diatonic unprepared approaches :
(note: this is not an exhaustive summary. there are more possibilities!)
Ascending w/ UA From Above
Descending w/ UA From Below
1-4-3 1-6-5
1-6-b7 1-4-5
3-6-5
b7-4-5 b7-2-3
b7-2-1 b7-4-3
5-2-3
Ascending w/ UA From Below
Descending w/ UA From Above
1-4-5 1-6-b7
1-6-5 1-4-3
3-6-b7
3-6-5
5-2-3
5-2-1
b7-2-3 b7-4-5
b7-4-3 b7-2-1
chromatic unprepared approaches :
Ascending w/ CH UA From Below
1-ch-3
Descending w/ CH UA From Below
1-ch-5
1-ch-5
3-ch-1
b7-ch-5
1-ch-3
b7-ch-3
5-ch-1
5-ch-3
5- ch-3
5-ch-1
b7-ch-3
b7-ch-5
3- ch-1
3-ch-5
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LESSON 3 UNPREPARED APPROACH TONES
mixolydian mode
i n d i r e c t a p p r oac h e s ( pa r t 1)
diatonic enclosures :
Ascending w/ enclosure From Above & Below
Descending w/ enclosure From Above & Below
1-4-2-3 1-6-4-5
1-6-4-5 1-4-2-3
3-6-4-5
3-2-b7-1 3-6-4-5
5-4-2-3
5-1-6-b7 5-2-b7-1
5-2-b7-1
b7-4-2-3 b7-6-4-5
b7-6-4-5 b7-4-2-3
Ascending w/ enclosure From Below & Above
Descending w/ enclosure From Below & Above
1-2-4-3 1-4-6-5
1-4-6-5
3-4-6-5 3-6-1-b7
3-b7-2-1 3-4-6-5
5-6-1-b7
5-2-4-3 5-b7-2-1
b7-2-4-3
b7-4-6-5 b7-2-4-3
mixed enclosures ( diatonic & chromatic ):
Ascending w/ enclosure From Above & Below
Descending w/ enclosure From Above & Below
1-4-ch-3 1-6-ch-5
1-ch-6-b7 1-6-ch-5 1-4-ch-3
3-6-ch-5 3-2-ch-1
3-2-ch-1 3-6-ch-5
5-ch-6-b7 5-2-ch-1
5-4-ch-3 5-2-ch-1
b7-4-ch-3 b7-6-ch-5
b7-6-ch-5 b7-4-ch-3
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bebop Guitar improv series . volume 1
LESSON BOOK
mixolydian mode
i n d i r e c t a p p r oac h e s ( pa r t 2 )
mixed enclosures ( diatonic & chromatic ) continued :
Ascending w/ enclosure From Below & Above
Descending w/ enclosure From Below & Above
1-ch-4-3 1-ch-6-5
1-ch-6-5
3-4-ch-5
3-ch-2-1 3-ch-6-5
5-6-ch-b7
5-ch-4-3 5-ch-2-1
b7-ch-6-5 b7-ch-4-3
chromatic enclosures :
Ascending w/ enclosure From Above & Below
Descending w/ enclosure From Above & Below
1-ch-ch-5
1-ch-ch-5
3-ch-ch-5 3-ch-ch-1
3-ch-ch-1 3-ch-ch-5
b7-ch-ch-1
5-ch-ch-1
b7-ch-ch-5
Ascending w/ enclosure From Below & Above
Descending w/ enclosure From Below & Above
1-ch-ch-5
1-ch-ch-5
3-ch-ch-5 3-ch-ch-1
3-ch-ch-1 3-ch-ch-5
b7-ch-ch-1
5-ch-ch-1
b7-ch-ch-5
ASSIGNMENT 7: You are now ready to begin Bebop Calisthenics 2 & 3 on p.47-53 / p. 58-67 of the “Bebop Guitar
Improv Series” VOL 1: Workbook.
After completing the assignment please proceed with the related etudes in the upcoming pages.
5
LESSON 3 UNPREPARED APPROACH TONES
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BEBOP GUITAR IMPROV SERIES . VOLUME 1
LESSON BOOK
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LESSON 3 UNPREPARED APPROACH TONES
53
QuiZ # 2
Here is an opportunity to verify your understanding of the theoretical material introduced so far! You will
find all the answers at the bottom of the page.
Check The Correct Answer:
- An Unprepared Approach Tone:
a)___ consists of a non-chordal tone (either 2,4 or 6) diatonic to the scale of the moment, which is preceded
by a rest or approached from a chord tone situated not more than a major 3rd away. It then resolves by whole
step.
b)___ consists of a tone, diatonic or chromatic to the scale of the moment, which is preceded by a rest or approached from a chord tone by a leap of a 3rd or more. It then resolves by stepwise motion.
c)___ consists of a tone not diatonic to the scale of the moment, which is preceded by a rest or approached
from another none diatonic tone by a leap of not more than a 3rd. It then resolves by 1/2 step.
- An Enclosure is classified as an Indirect Approach:
True___ False___
- An Indirect Approach:
a)____ must consist of two chromatic approach notes on both sides of the resolution note.
b)____ can consist of one or more diatonic or chromatic consecutive approach notes on both sides of the
resolution note.
c)____ must consist of only one diatonic approach note on both sides of the resolution note.
- Unprepared and Indirect Approaches do not necessarily have a «preparatory pitch»:
True___ False___
- A Simple Enclosure may consist of 2 approach notes below, and 1 approach note above the target note it
resolves to: True___ False___
- Which of the following contains an Unprepared Approach?
a)___ 3 - 4 - 3 b)___ b7 - 2 - 1 c)___ 3 - 4 - 5
.- Which of the following contains an Enclosure?
a)___ 3 - 6 - 4 - 5 b)____ 3 - 6 - 5 - b7 c)____ both a) & b)
Answers: 1) b 2) true 3) b 4) true 5) false, only 1 note on each side 6) b 7) a
ASSIGNMENT 8: Using Rhythm Templates 5 & 6 on the following pages, write a minimum of 2 etudes using
Unprepared Approaches & Enclosures.
54
LESSON 3 UNPREPARED APPROACH TONES
CT=chord tone
PT=passing tone
NT=neighboring tone
UA=unprepared app.
ENC=enclosure
option 1:CT
option 2:CT
UA CT CT
CT UA CT
CT
CT
UA CT
PT CT
CT CT
CT CT
UA CT
UA CT
CT
CT
NOTE: Whenever using “option 2” , it is recommended that you first cross out the “option 1” line to avoid visual confusion between the two.
opt 1: CT
opt 2: CT
ENC CT CT CT
CT UA CT PT CT
CT NT CT CT UA CT PT
CT CT PT CT ENC CT
opt 1:CT UA CT ENC CT CT
opt 2:CT NT CT CT NT CT CT
CT
CT
opt 1: CT CT
opt 2: CT CT
CT
CT
UA CT
NT CT
CT
CT
CT
CT
UA CT CT
CT UA CT
ENC CT CT CT
CT UA CT CT CT
55
CT
CT
CT
CT
UA CT CT
NT CT CT
CT
CT
CT CT
CT CT
CT
CT
CT
CT
CT
CT
ENC CT
CT NT CT
BEBOP GUITAR IMPROV SERIES . VOLUME 1
LESSON BOOK
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LESSON 3 UNPREPARED APPROACH TONES
57