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Jazz Guitar Bebop Soloing – 13th Pattern

When learning how to solo over Dominant 7th chords, one of the roadblocks that many of us hit is knowing how to expand beyond the initial 7th arpeggios and Mixolydian scale shapes that we first get under our fingers.

To help you break out of these initial shapes, and expand your 7th chord soloing ideas, I’ve put together a little video lesson that outlines one of my favourite 7th chord soloing shapes that is based on a 13th chord shape, focusing on arpeggios, chords and scales from the third of that shape.

Check it out, learn the chord, scale and arpeggio, as well as the three licks below, and have fun exploring this Jazz Guitar Bebop Soloing Pattern in the woodshed this week.


Jazz Guitar Bebop Soloing Shapes


Here are the Eb13th chord, the rootless version of that chord, as well as the arpeggio from the 3rd and the scale from the 3rd that you see in the video lesson below.

Start by working out the chord and arpeggio shape, and then practice soloing over an Eb13th chord using only the arpeggio and chord to create your ideas. From there, you can move on to other keys with the chord and arpeggio shape.

Then, practice the scale shape starting from the 3rd, G, of the Eb13th chord, and soloing over a one-chord vamp using that scale shape to build your lines.

When you’ve got that under your fingers, try mixing the chord, scale and arpeggio together to create your lines over an Eb13th chord, and then moving on to the other 11 keys from there.


Jazz Guitar Bebop Pattern 1


Jazz Guitar Bebop Soloing Licks


To help get you started with this shape in the woodshed from a soloing perspective, as well as adding it to your soloing ideas, here are the three licks from the video in tab and notation to check out in your practice routine.

Once you have learned a lick, try playing over an Eb7 vamp backing track and using that lick in your lines to get used to how it sounds over a harmony. Then, mix in notes from the scale and arpeggio to begin to integrate the line into your improvisational ideas.

From there, learn the next line and repeat this process, before working out the final line and mixing them all together, along with the chord, scale and arpeggio, to get the full scope of the material that you can create with this fun and cool-sounding 13th chord shape.


Jazz Guitar Bebop Pattern 2


Jazz Guitar Bebop Soloing Video


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Do you have a question or comment about this lesson? Post your thoughts in the comments section below and I’ll be glad to help with answering your questions or comments.

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  1. JOhn, January 8, 2014:

    Is you melodic minor approach the same for the harmonic minor. that is, all you do is flat the 6th??

  2. Matt Warnock, January 8, 2014:

    Hey, pretty close. I think of it as an Aeolian Mode with a raised 7th.

  3. Peter, January 8, 2014:

    Great lesson, you make it easy. thanks

  4. Luciano, January 10, 2014:

    You look to have some fine guitar instruction on your site.
    Interesting sounds in this lesson.
    I was toying with the tonality along with a backtrack and discovered it sounds the same as applying a b5 scale 2 tones up.
    Thanks for sharing.

  5. Ryan, January 17, 2014:

    Great stuff Matt, I never thought I could learn much from online material but honestly, I learn more from your site than any other source. Keep it up!

  6. Mike C., May 6, 2015:

    Matt, I’m following a lot of your lessons as well as reading David Baker’s Bebop books. Here’s my question: how important is it to get the chord tones on the right beats? Baker gives different techniques to skip notes in the scale to insure that the chord tones land on the downbeats. I’m looking to do these in double-time to work them out over funk grooves and such. Will the chord tones landing on upbeats and such change the sound of the Bebop scale?

  7. Matt Warnock, May 6, 2015:

    Hi Mike. thanks for checking out the lesson. I don’t think it’s that important, you can find examples in solos of guys putting chord tones on and off beats, so it can go either way. What you might want to think more about is resolving to a chord or strong scale tone for now. So aim to end your line on the 3rd, or 7th, or even the 6th or 9th for that Wes sound. Try that instead of working on placing notes on specific beats, that might be a better exercise for you.

  8. Mike C., May 6, 2015:

    So, will these licks work as 16th note funk lines?

  9. Matt Warnock, May 6, 2015:

    Yeah they work great in a funk solo.

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