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What does Sheryl Baily mean with "The Flow"?
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03-23-2013 01:04 PM
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It's her concept of organizing II-V vocab and applying it. It integrates bebop scales, diatonic arpeggio substitutions and more. Puts it all together in a logical way. Kind of Martino-esque approach but not quite.
She has some videos about it on Mikes Masterclasses.
I learned it in her Guitar Sherpa program via TrueFire. It's pricey at $99 a month, but I tell you she goes out of her way to make sure you learn! She sends me lengthy personalized videos anytime I ask her a question about a topic, and there is a huge curriculum of pre-recorded lesson videos too.
I recommend her TrueFire program. It's more expensive than most online tuition, but also WAY more comprehensive and thorough.
I've studied with many teachers through online video exchange, and with most of them, you just drown in the hundreds or thousands of students and the teacher doesn't remember what you worked on last time. This has happened with more than one of those I studied with before.
Sheryl makes you feel like you belong, and she is attentive to your progress and development as a player.
So if you want to learn that bebop concept of hers, the videos at Mikes Masterclasses will give you the basics, but her Truefire program gets much more in depth.
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It think it's a way to organize the bebop scale and combining it with arpeggios (in a II-V). For example, she starts with playing a C minor 7 arpeggio, and then runs down a F dominant bebop scale (F mixolydian with a #7) from the Bb flat to the 3rd of F7, and then plays an A half diminished arpeggio (diatonic arpeggio in F7) and then again runs down a F7 dominant bebop scale, this time from the G, to the Eb, and plays an Ebmaj7 apreggio here, and then runs down again trough the F scale from the D to the C, and you're back again at the start.
Actually, while typing this, I realized I'm not really sure if this is called "the flow" or the "microcosmic bebop line". Anyway, hope it's still helpfull in some way or another.
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MeneerJelle yes, what you have discribed is the micro-cosmic bebop line. Although that is an example of what she calls the "flow". The "flow", as I understand it, is the connecting of the Cmin7, Amin7b5, Ebmaj7 through the use of the F7 bebop scale.
I do have a question, she mentions the Family of Four plus 1. But she never says what the plus 1 chord/scale is? Do you happen to know what she is talking about when she mentions the plus 1?
@Guitarplayer007, I have her first video of the flow. If I can answer any questions I'll be glad to help. I do plan on getting the second video on the flow topic. I like her way of teaching. Shes very throrough. She explains every thing(except the plus one mentioned above
. ).
edh
P.S. guitarplayer007, I'm glad you brought this up. I have been meaning to ask the question here conerning the plus one idea.
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Yes, she does. It's a way to deal with both major ii-Vs and minor ii-Vs. The +1 would be the altered dominant associated with the minor ii-V, i.e., in this case, D7 alt.
Originally Posted by edh
I do have a question, she mentions the Family of Four plus 1. But she never says what the plus 1 chord/scale is? Do you happen to know what she is talking about when she mentions the plus 1?
@Guitarplayer007, I have her first video of the flow. If I can answer any questions I'll be glad to help. I do plan on getting the second video on the flow topic. I like her way of teaching. Shes very throrough. She explains every thing(except the plus one mentioned above. ).
ing the plus one idea.
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The plus 1 is D7#9, but my question is, how can you use a C7 bebop scale against a Bbmaj7 chord. The B natural doesn't sound right. I do have her video on this called the Flow and she says to turn the Bbmaj7 into a 2-5 of Gm7-C7 and use the C7 bebop as a connector.
Thx
ken
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The B note in a C7 Bebop scale is a passing note not something your going to sit on. The Bebop scale is for creating long FLOWing lines. Originally Posted by guitarplayer007
The Bebop scale is about straightening out the rhythm of where chord tones land in lines.Last edited by docbop; 03-24-2013 at 01:30 PM.
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She has a 2nd video on the flow?
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Yes, 2 classes on The Flow, both excellent. Mike's Master Classes.
And the C bebop sounds great over Bbmaj7 - the B natchl is a passing tone on a weak beat that give s a nice tension to the line.
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Watch the video again. Pay close attention. Play the examples. You seemed to have missed something in her presentation. Originally Posted by guitarplayer007
You are not playing the C7 Bebop Scale against a BbMajor7. You're playing a BbMajor7 against C7, connecting it to the other arpeggios with the C Dominant Bebop Scale.
The sequence is Em7b5 arp-C7 Bebop Scale-Gm7 arp-C7 Bebop Scale-Bbmaj7-C7 Bebop Scale. Against the C7, you're playing an arpeggio up-scale down sequence.
The result against the dominant chord is:
3 5 b7 9 up-scale down-5 b7 9 11 up-scale down-b7 9 11 13 up-scale down.
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Originally Posted by monk
On her example of Just friends she turns the Bbmaj7 into a 2-5 of Gm7-C7, so you are playing Gm7 arp into a C7 bebop starting on the 3rd=E
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Yes. By playing Bbmaj7 over Gm7, you are playing the b3 5 b7 9 of Gm7. Originally Posted by guitarplayer007
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Right but you never mentioned what i said about C7 Bebop scale, i never said anything about the Gm7 sounding off over Bbmaj7, just the C7 Bop scale. Gm7 as you know is the 6th of Bbmaj7 so of course it sounds fine.
Thx
ken
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Sorry, I thought I covered it in Post #11. She uses the C7 bebop scale to connect the arpeggios. So you could play Gm7 up-C7Bebop down over a Gm7-C7.
You can interpret a ii7-V7 in F (Gm7-C7) three ways. As a ii7-V7, as a ii7 or as a V7. Bailey's microcosmic bebop line fits them all.
Most bop players tend to use the descending bebop dominant scale, so that's why she plays arpeggio up-scale down.
Regards,
Jerome (monk)
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From others not Sheryl you will see they use the additional note depending on if the line starts on a chord tone or not. If starting on a non-chord tone they don't add the chromatic note. Some will add two chromatic notes in some cases again to get chord tones to fall on strong beats. So as I've said before the Bebop scale is more about adjusting the rhythm to control where chord tones end up. Originally Posted by monk
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Roni Ben-Hur covers this exhaustively in his book Talk Jazz. He learned it from Barry Harris. Originally Posted by docbop
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I have watched her YouTubes on the microcosmic scale and sooner or later I'll buy her course to get more into how to use it. In the meantime, I'm still confused about why she is connecting these particular chords. Is it just "because you can", using the bebop scale, or do these chords really fit together in any kind of progression? Off the top of my head I can't think of any tunes that include Cm7, Am7b5, EbMaj7 and F7. So is the point just to recognize that you can use the F7 bebop scale when you see any one of those chords appear? If so, they tend to appear for a few beats or a bar at a time, and usually not adjacent to one of these other chords that her device is intended to "connect" them to, so pardon my blind-spot here, but what actually is the point...? Originally Posted by edh
Thanks.
jasaco
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She uses the bebop scale to connect to those Arpeggios, not the chords themselves. But thos chords are all related to each other.
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She does get into the chords the scale works over and those chords end up being sub's for each other. Originally Posted by guitarplayer007
Sheryl's whole Flow idea isn't something that can be covered in a few sentences on a forum people need to play it, hear it, analyze it, and come up with their own observations no different that any other concept they work on.
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Hi Ken, Originally Posted by guitarplayer007
I also am a very happy Dojo customer! I just however recently started on this same material, as I have been working on some other concepts with Sheryl.
I think what helps is to memorize and play the examples that she gives over various harmonic environments. For example take one of her 25 runs in Bb and play over a backing track of 25 in Bb, then a 25 in g minor, and then play over an Eb major chord to hear it in a lydian context. Doing this in several areas and keys of the guitar also helps ingrain the newer sounds(such as the B natural) There are other substitutions that she uses as well, but these are a great start.
Best of luck Ken!Last edited by srlank; 03-26-2013 at 02:15 PM.
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F7-F A C Eb G Bb D Originally Posted by jasaco
Am7-F A C Eb G Bb D
Cm7-F A C Eb G Bb D
Eb7-F A C Eb G Bb D
All the diatonic notes in an F dominant (1 3 5 b7 9 11 13)
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The reason she mentions Gm7/C7 over Bbmaj7 is to convert everything to a II V. You could then use the "flow" or microcosmic bebop line using the C7 bebop scale to connect arps. I got the "Bebop Flow" course and its great. The idea is to play over changes without getting caught up in a bunch of scale theory. I am seriously considering her Truefire course. She's fantastic in my opinion.
Last edited by Bigmagic; 04-07-2013 at 09:27 AM.
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I guess some further examination may be needed. C7 bebop would give you a Bbmaj7 arp a Em7b5 arp(tritone of Bb) and a Gmi7 arp to work use in your lines. Sheryl explains it, gives great examples and points you in the right direction to get it into your playing. If you can make an entire piece of music into all II Vs you got it.
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Originally Posted by Bigmagic
Hi Guys, thanks for all the great answers. Yes i know she converts all the Maj7's to 2-5 based on the relative minor at first. So Bbmaj7 Relative minor is Gm and then the 25 is Gm7-C7. I guess i keep thing that C7 bebop sounds a little strange over a Bbmaj7 chord
Ken
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PS
I only have her Master class video on The flow, i didn't join true fire
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