JOSHA is a service that helps scholars, researchers, and students discover, use, and build upon a wide range of content 1 C. Cataldo, S. Deidda, F. D'Errico, G. Abstract (English)In this article, the purpose of which may be regarded as solely didactic, some simple strategies finalized to mastering the Be-Bop Dorian scale are suggested. Moreover, their application to jazz improvisation is herein discussed. We start from the mere definition of the scale, extended along two adjacent octaves, in ascending and descending motion. Subsequently, the metric characteristics of the scale are highlighted, proposing performance, in descending motion, beginning at the chordal notes (tonic, modal, dominant, subtonic). Moreover, by exploiting some artificis typical of the Be-Bop idiom (such as chromatisms and approaches), we show how the scale may preserve its metric peculiarities even if it is performed beginning at the remaining tensions. Lastly, by resorting to the concept of harmonization, we expound a simple method finalized to combining the Be-Bop Dorian scale with the diatonic seventh arpeggios derived from the corresponding Dorian Scale. Keywords (English)Jazz Improvisation, Be-Bop Dorian Scale, Minor Seventh Chords, Chordal Notes, Tensions, Approach Notes, Chromatisms, Harmonization, Arpeggios. AbstractIn quest'articolo, dalle finalità squisitamente didattiche, vengono suggerite alcune semplici strategie di metabolizzazione della scala Dorica Be-Bop, discutendone l'utilizzo in ambito improvvisativo. Si parte dalla mera esposizione della scala, estesa lungo due ottave adiacenti nei moti ascendente e discendente. Successivamente, se ne evidenziano le caratteristiche metriche, proponendone l'esecuzione, in moto discendente, a partire dalle note cordali (tonica, modale, dominante, sottotonica). Sfruttando alcuni artifizi tipici dell'idioma Be-Bop (quali cromatismi ed approcci) si mostra, inoltre, come la scala possa preservare le proprie peculiarità metriche anche qualora eseguita a partire dai restanti gradi tensivi. Infine, avvalendosi del concetto di armonizzazione, si illustra una semplice metodologia finalizzata alla combinazione della scala Dorica Be-Bop con arpeggi di settima diatonici dedotti dalla scala Dorica corrispondente.

In this article, the purpose of which may be regarded as solely didactic, some simple strategies finalized to mastering the Be-Bop Natural Minor scale are suggested. Moreover, their application to jazz improvisation is herein discussed. We start from the mere definition of the scale, extended along two adjacent octaves, in ascending and descending motion. Subsequently, the metric characteristics of the scale are highlighted, proposing performance, in descending motion, beginning at the chordal notes (tonic, modal, dominant, subtonic). Moreover, by exploiting some artificis typical of the Be-Bop idiom (such as chromatisms and approaches), we show how the scale may preserve its metric peculiarities even if it is performed beginning at the remaining tensions. Lastly, by resorting to the concept of harmonization, we expound a simple method finalized to combining the Be-Bop Natural Minor scale with the diatonic seventh arpeggios derived from the corresponding Natural Minor (Eolian) Scale.