The lesson introduces the bebop major scale , explaining how adding an extra note between the fifth and sixth allows the chordal notes to fall on the strong beats, ensuring greater harmonic clarity and melodic coherence in improvisation.

The minor bebop scale is explored, constructed with the minor third and the usual chromaticism between the fifth and sixth. Practice is suggested using the five boxes on the neck, exploring alternative positions for the third, and recommending study in all keys.

The lesson analyzes the Mixolydian bebop scale , highlighting how chromaticism varies depending on the seventh. The main versions are presented, including those with a flat ninth and a flat thirteenth , which can be applied to improvisation to enrich harmonic and melodic possibilities.

A study method based on the cycle of fourths is demonstrated, with exercises on scale fragments. The focus is on combining arpeggios and the bebop scale to develop coherent phrases that can be integrated into improvisational language.

The work on arpeggios and the bebop scale continues, with particular attention to the resolution of sevenths on chords. The chromatic options for making notes fall on the downbeat onto chord tones are explained, constructing typical bebop phrases.

We move on to the harmonic-harmonization perspective of bebop scales, introducing voicings . The harmonization is based on just two chords: major sixth and diminished. We explain how to apply these voicings in drop 2 to make them playable on the guitar.

The lesson addresses the harmonization of the minor bebop scale , focusing on the minor sixth chord and the diminished one. Drop 2 positions and their use on half-diminished chords are illustrated, solving typical accompaniment problems in these contexts.

Major sixth chords and their equivalence with minor seventh voicings are explored, allowing for broad practical application. Study is organized around the cycle of fifths, training the ability to recognize and quickly apply substitutions.

The lesson explores minor sixth chords and their equivalences with other structures, such as half-diminished chords, sevenths with major ninths, and altered chords. It explains how to recognize and use these connections to enrich your accompaniment and improvisation.

Arpeggios built on sixth chords are introduced, developing them over each voicing and inversion. The connection with the piano approach is emphasized, highlighting how these arpeggios can enrich improvisation, accompaniment, and moments of stolen tempo.

The study is extended to minor sixth arpeggios , applied to their respective voicings and inversions. The lesson demonstrates how these arpeggios can also be used on half-diminished notes, seventh-ninth chords , and altered structures, significantly expanding the practical possibilities.

The use of bebop Mixolydian scales on the II-VI is analyzed, offering exercises for playing them at intervals of a minor third. The logic of dominant substitutions and the technical integration of phrases in different keys are demonstrated.

The focus shifts to the II-VI from a harmonic perspective , developing the voicings on D minor and G seventh until the resolution in C. Progressive exercises are proposed with one, two, three, and four voicings per chord.

A reflection on solo guitar is introduced, encouraging students to think of themselves not just as guitarists but as musicians. It suggests drawing inspiration from pianists, wind instruments, and orchestras, broadening their rhythmic and harmonic palette beyond the instrument itself.

In the final lesson, Eleonora concludes with a performance of Stella by Starlight , summarizing the concepts covered: bebop scales, harmonizations, piano approaches, and inspiration from great jazz masters, offering a conclusive overview of the entire journey.