Bass Guitar JazzChords · Modes · Scales · Practical Cheat Sheet

Fretboard diagrams verified for standard 4-string tuning (E-A-D-G). All patterns are moveable — root shown as R.

I. Essential Jazz Scales & Modes

All diagrams show a one-position box pattern starting from R on the E string. Fret numbers are relative (e.g., fret 3 means "3rd fret from wherever you place the root"). Standard tuning: E–A–D–G, each string is a perfect 4th (5 semitones) apart.

Root (R)
Chord Tone (3,5,7)
Scale Degree
Tension / Color
Chromatic Pass

II. Jazz Chord Voicings

Shell voicings use just R-3-7 (or R-♭3-♭7) — the minimum notes to define a chord's quality. Two positions shown: E-string root and A-string root. All shapes are moveable — shift the root to any fret for any key.

Root (R)
Chord Tone (3,5,7)
Tension (♯5,♭5)

III. Chord → Scale + When to Use

Chord Symbol Scale Choices Tempo / Context Feraud Pick Patitucci Pick
Major 7 Δ7 Ionian, Lydian Slow/modal: Lydian (♯4 avoids the avoid note). Fast changes: Ionian arpeggios, target 3→7 voice-leading. Lydian Ionian / Lydian
Minor 7 -7 Dorian, Aeolian, Phrygian Modal vamp: Dorian (bright ♮6). ii-V-I fast: Dorian arpeggio R-♭3-5-♭7 only. Dark/ballad: Aeolian. Dorian Dorian
Dominant 7 7 Mixolydian, Bebop Dom, Lydian Dom Fast bebop: Bebop dom (8 notes = chord tones on downbeats). Slow/funk: Mixolydian. Tritone sub: Lydian Dom. Lydian Dom / Whole Tone Bebop Dom
Dominant alt 7alt Altered, Dim HW, Whole Tone Fast V→I: Altered scale (automatic ♭9♯9♭5♯5). Slow/expressive: Dim HW patterns for angular tension. Floating: Whole Tone. Altered + Dim Altered + Phryg Dom
Min-Major 7 -Δ7 Melodic Minor, Harmonic Minor Modal/slow: Melodic minor ascending (ambiguous major/minor quality). Exotic/dark: Harmonic minor (1.5-step gap = drama). Melodic Minor Melodic Minor
Half-Dim ø7 Locrian, Locrian ♮2 Fast ii-V in minor: Locrian ♮2 arpeggio (♮2 avoids the ugly ♭2). Ballad: Full Locrian ♮2 scale for color. Locrian ♮2 Locrian ♮2
Diminished °7 Diminished WH Any tempo: Symmetric — transpose any pattern up 3 frets = same scale. Perfect for fast repeating cells. Often used as passing chord. Dim WH cells Dim WH
Sus4 7sus4 Mixolydian, Dorian Modal/groove: Mixolydian or pentatonic. Fast: Pentatonic fragments — simple shapes at speed. Pent. superimposition Mixolydian

IV. When to Use What — Practical Situations

🔥 Fast-Moving Changes (♩ > 200, 2 beats per chord)

When chords fly by (Giant Steps, Cherokee, Rhythm Changes at tempo), you don't have time for full scales. Think in chord tones + chromatic approach notes.
Strategy: Arpeggios only — R, 3, 5, 7 of each chord. Connect by half-step to next chord's nearest tone. Guide tones — Just play the 3rd and 7th of each chord. They voice-lead by half/whole step naturally. Bebop scale fragments — 4-note cells from bebop scales that start on chord tones. (Patitucci's method) Diminished cells — On fast dom7♭9 chords, a 4-note dim pattern shifted in minor 3rds covers it. (Feraud's method) Pentatonic fragments — Simple 5-note shapes played fast sound cleaner than 7-note scales at tempo.

🎵 Slow / Modal Vamps (1-2 chords, 4+ bars each)

When you sit on one chord for multiple bars (So What, Maiden Voyage, fusion vamps), you have time to explore the full scale and all its tensions.
Strategy: Full scale runs — Dorian, Lydian, Melodic Minor in all positions. Use the whole neck. Intervallic playing — Skip intervals (3rds, 4ths, 5ths within the scale) for angular melodies. (Feraud's wide intervals) Pentatonic superimposition — Stack pentatonics from different scale degrees for shifting color. Tension/release — Go "outside" (play a half-step away) then resolve back. Time to build arcs. Upper-structure triads — Simple triads from upper chord tones for rich color. (Patitucci's approach)

⚡ Medium Tempo ii-V-I (♩ 120-180, most common)

The sweet spot where you blend scale runs with arpeggio voice-leading. This is where most jazz playing happens.
Strategy: ii (Dorian) → Scale run targeting the ♭7, which resolves down by half-step to the 3rd of V chord (strongest voice-leading in jazz). V (Altered or Bebop Dom) → Altered for tension, Bebop Dom for straight-ahead. Enclosures around 3rd and 7th. I (Lydian or Ionian) → Resolve to the 3rd or 5th. Lydian ♯4 adds brightness on arrival. Chromatic enclosures — Approach each chord's 3rd from a half-step above AND below. Both artists rely on this heavily.

🌊 Ballads & Rubato (♩ < 80, expressive)

Every note matters. This is where harmonic minor, melodic minor, and whole tone scales shine for their emotional color.
Strategy: Melodic minor modes — Rich, ambiguous sound. Let notes ring. Explore Lydian Dominant slowly. Harmonic minor — The ♭6→7 gap is dramatic. Use for V→i resolutions with maximum emotion. Whole tone fragments — Floating, dreamy quality over augmented/dominant chords. Great for transitions. Space — Leave gaps. One perfectly placed altered note > a fast run. Target chord tones with intention.

V. Artist Breakdown

HF
Hadrien Feraud
French fusion virtuoso. Blistering speed, wide intervallic leaps, aggressive altered harmony. Influenced by McLaughlin, Holdsworth, Jaco. Plays 5/6-string basses. Guitar-influenced technique (sweeps, tapping, legato).

Altered Dominant Sweeps

Sweeps through 7♯9 and 7♭13 arpeggio shapes across 3+ octaves, connected by chromatic approach notes. The altered scale gives him every possible tension simultaneously.
Over these chords 7alt7♯97♭9♯9
Scales: Altered (7th mode melodic minor) + Diminished HW — he switches between them mid-phrase over the same dom chord.
Fast changes · V→i resolution

Diminished Symmetry Cells

Builds 4-note groupings from the diminished scale and transposes them up in minor 3rds (3 frets). Because the dim scale is symmetric, the pattern repeats perfectly every 3 frets — at speed, it sounds "outside" but is harmonically locked in.
Over these chords 7♭97♯9dim713♭9
Cell pattern: e.g., R-♭9-♯9-3 → shift +3 frets → repeat. 4 cells cover the full neck.
Fast · Dom7 with ♭9/♯9

Whole Tone Cascades

Rapid descending runs through the whole tone scale over augmented chords. Combined with RH tapping for extra range. Only 2 possible whole-tone scales exist, so he toggles chromatically between them for color shifts.
Over these chords 7♯5aug79♯5
Technique: LH hammer-on cascades + RH tap extensions. Creates floating, unresolved tension.
Slow/modal · Aug chords · Transitions

Pentatonic Superimposition

Layers "wrong" pentatonic scales over chords for controlled tension. The pentatonic's simplicity makes fast passages clean even when the harmony is complex. Then resolves to "inside" pentatonic for release.
Over these chords 77altmin7Maj7
Key formulas: Over G7alt → B♭ minor pentatonic (♯9-♭5-♯5-♭7-♭9). Over Cmin7 → E♭ major pent (= Dorian). Over FMaj7 → G major pent (= Lydian sound).
Any tempo · Especially modal vamps

Wide-Interval Melodic Minor Lines

Instead of stepwise runs, skips intervals of 4ths and 5ths within melodic minor modes. This creates angular, horn-like lines that cover the full range of the instrument — signature Feraud sound.
Over these chords minMaj77alt7♯11
Parent scale: Melodic minor gives him mode 1 (minMaj7), mode 4 (Lydian Dom), mode 7 (Altered) — all same fingering shape transposed.
Slow-medium · Modal · Fusion vamps

Chromatic Enclosure + Legato Bursts

Targets chord tones with chromatic approach from above AND below (enclosure), then explodes into fast legato hammer-on/pull-off runs through the scale. The enclosure "announces" the target note; the burst adds velocity.
Over these chords ii-V-I7altmin7
Method: Enclose the 3rd or 7th of each chord → burst into altered/dim fragment → land on target of next chord. Works as "connector" between changes.
Fast ii-V-I · Connecting changes
JP
John Patitucci
Master of electric and acoustic bass. Deep bebop tradition + modern harmonic sophistication. Worked with Chick Corea, Wayne Shorter, Herbie Hancock. Melodic, singing lines with perfect voice-leading at any tempo.

Bebop Scale Streams

Long, flowing 8th-note lines using bebop dominant scale. The added ♮7 passing tone creates 8 notes, so chord tones (R, 3, 5, ♭7) always fall on strong beats. This gives a natural "swing" even at extreme tempos.
Over these chords 7913
Key insight: Start on a chord tone on a downbeat, run 8th notes, and every downbeat automatically has a chord tone. This is why bebop scales exist — rhythmic/harmonic alignment.
Fast · Straight-ahead jazz · ii-V-I

Arpeggio Voice-Leading Chains

Connects chord changes by arpeggiating each chord and targeting the closest tone of the NEXT chord. Minimum hand movement across changes = seamless melodic contour at speed.
Over these chords ii-V-Iiii-VI-ii-VRhythm chgs
Example: Dm7 arp (D-F-A-C) → closest G7 tone from C is B → G7 arp from B (B-D-F-G) → closest CMaj7 tone is E → resolve on E. Minimum motion, maximum harmony.
Fast changes · Rhythm changes · Bebop

Harmonic Minor / Phrygian Dominant

Uses the 5th mode of harmonic minor (Phrygian Dominant: 1-♭2-3-4-5-♭6-♭7) extensively for V→i resolution in minor keys. The ♭9 and ♭13 give a dramatic, almost Spanish sound.
Over these chords V7→i7♭9♭13dim7
When vs Altered: Phrygian Dom has a ♮5 (more grounded); Altered has ♭5/♯5 (more tension). Use Phryg Dom when you want resolution clarity, Altered when you want maximum tension.
Any tempo · Minor key V→i

Latin Rhythmic Displacement

Takes standard bebop phrases and displaces them rhythmically over Latin grooves (samba, baião). Same melodic content, shifted starting beat = completely different feel. Influenced by Brazilian music.
Over these chords min77Maj7
Method: Standard bebop line from beat 1 → replay starting on "and" of 2 or beat 4. Same notes over same chords, entirely different rhythmic feel. Requires solid time feel.
Medium-fast · Latin jazz · Samba

Upper-Structure Triad Runs

Plays simple major/minor triads built on UPPER extensions of the chord. Sounds harmonically complex but uses the simplest possible fingerings — triads are muscle-memory shapes everyone knows.
Over these chords Maj77♯11min97alt
Formulas: Over CMaj7 → E minor triad (3-5-7). Over G7♯11 → A major (9-♯11-13). Over Dm9 → F major (♭3-5-♭7). Over G7alt → D♭ major (♭5-♭7-♭9). Simple shapes, rich color.
Any tempo · Especially slow/medium

Chromatic Bebop Enclosures

Surrounds each target note with chromatic neighbors (above-below or below-above) before landing. Chains these enclosures together at speed targeting each successive chord tone. Classic bebop technique executed with surgical precision.
Over these chords ii-V-I7min7Maj7
Pattern: Target C → play D-B-C. Target E → play F-D♯-E. Chain: enclose 3rd → enclose 7th → enclose root of next chord. 3-note groups over 8th notes create rhythmic displacement that adds momentum.
Fast ii-V-I · Bebop · Any changes

VI. Head-to-Head

Hadrien Feraud
  • Altered + Diminished scales dominate
  • Wide intervallic leaps (4ths, 5ths, 6ths)
  • Sweep picking + tapping for range
  • Pentatonic superimposition for "outside"
  • Symmetric dim cells transposed in m3
  • Whole tone scale for aug chords
  • Melodic minor modes everywhere
  • Guitar-influenced technique (legato, tap)
  • Best at: Modal vamps, fusion, fast alt dom
SHARED
Dorian for min7
Melodic Minor system
Diminished scales
Chromatic enclosures
Locrian ♮2 for ø7
Arpeggio-based lines
All 12 keys fluency
Altered over V7alt

VII. Practice Roadmap

Phase Focus Scales Chords Tempo Context Goal
1. Foundation Major modes + arps Ionian, Dorian, Mixo Maj7, min7, dom7 Start slow (♩=100). Build to ♩=160. All modes in 12 keys, 2 octaves
2. Bebop Chromatic passing tones Bebop Dom, Bebop Maj ii-V-I Target ♩=180+. Chord tones on downbeats. Automatic chord-tone alignment
3. Melodic Minor MM modes + voice-leading MM, Altered, Lyd Dom minMaj7, 7alt, 7♯11 Medium tempo. Hear the colors slowly first. All 7 MM modes from one parent
4. Symmetric Dim + Whole Tone Dim HW, Dim WH, WT 7♭9, dim7, 7♯5 Practice dim cells and transpose in m3. Fluent pattern transposition
5. Integration Superimposition + encl. All combined Full standards Play tunes at all tempos. Slow=color, fast=arps. Navigate changes freely, all tools

VIII. Practice Licks — Fast Movement Vocabulary

Tab reads bottom-to-top = E(low)–A–D–G(high). All licks verified against standard 4-string tuning. Fret numbers are absolute for the given key — transpose by shifting all numbers equally. Start slow (♩=80), build to target tempo. Use a metronome.

Hadrien Feraud — Licks

Lick 1: Altered Dominant Sweep — G7alt → CMaj7

G Altered scale (A♭ melodic minor) Fast V→I
Ascending sweep through altered chord tones, then descending back. Resolves to E (3rd of CMaj7). Every note comes from the G altered scale: G-A♭-B♭-B-D♭-E♭-F.
G: ─────────────────────1──3──4──3──1─────────────────────4─
D: ─────────────1──3──────────────────3──1─────────────────
A: ───────1──2──────────────────────────────2──1───────────
E: ──3──4──────────────────────────────────────4──3──────
E: 3=G(R) 4=A♭(♭9) · A: 1=B♭(♯9) 2=B(3) · D: 1=E♭(♯5) 3=F(♭7) · G: 1=A♭(♭9) 3=B♭(♯9) 4=B(3) → resolve to G:4=B(7th of CMaj7)
Practice: Use strict alternate picking ascending, then sweep (rake) descending. Start at ♩=100 as 16th notes. The resolution note (B) is the major 7th of CMaj7 — strong voice-leading. Feraud often hangs on this note before continuing.

Lick 2: Diminished Cell Transposition — G7♭9

G Diminished Half-Whole: G-A♭-B♭-B-D♭-D-E-F Fast Dom7♭9
4-note cell (R-♭9-♯9-3) transposed up in minor 3rds across strings. The diminished scale's symmetry means this pattern repeats exactly every 3 frets. The fret shape (X, X+1, X+3, X+4) is identical on every string.
         Cell 1          Cell 2          Cell 3          Cell 4
G: ──────────────────────────────────────────────────────────────────
D: ──────────────────────────────────────────2──3──5──6──
A: ───────────1──2──4──5──4──5──7──8──────────────────
E: ──3──4──6──7──────────────────────────────────────────────────────
Cell 1 (E string): 3=G(R) 4=A♭(♭9) 6=B♭(♯9) 7=B(3) — fret pattern: X, X+1, X+3, X+4
Cell 2 (A string): 1=B♭(♯9) 2=B(3) 4=D♭(♭5) 5=D(5) — same fret shape, shifted to A string
Cell 3 (A string): 4=D♭(♭5) 5=D(5) 7=E(6) 8=F(♭7) — same shape, shifted up position on A string
Cell 4 (D string): 2=E(6) 3=F(♭7) 5=G(R octave!) 6=A♭(♭9) — lands back on root, one octave up
Practice: Play each cell as a group of 4 sixteenth notes. The pattern is identical on every string — just memorize one cell shape. At speed, this sounds like a machine-gun run but every note is inside the harmony. Start at ♩=120, target ♩=200+. Feraud signature: He often adds a hammer-on between notes 2-3 of each cell for legato fluidity.

Lick 3: Whole Tone Cascade — G7♯5 (with tapping)

G Whole Tone: G-A-B-C♯-D♯-F Any tempo · Dramatic effect
Two-octave descending cascade through the whole tone scale. Equal spacing (all whole steps = 2 frets apart on same string) makes this surprisingly easy to play fast. Use RH tap on the first note for extended range.
G: ──T12──10───8───6──────────────────────────────────────────
D: ───────────────────────9───7───5───3──────────────────
A: ───────────────────────────────────────────8───6───4───2
E: ──────────────────────────────────────────────────────────3─
G: T12=G(R, tap) 10=F(♭7) 8=D♯(♯5) 6=C♯(♯4)
D: 9=B(3) 7=A(2) 5=G(R 8vb) 3=F(♭7)
A: 8=F(♭7) 6=D♯(♯5) 4=C♯(♯4) 2=B(3)
E: 3=G(R 2 octaves down) ← lands on root for resolution
Practice: The "T" means right-hand tap. Pull off to the next fretted note. Every interval is a whole step (2 frets) making the pattern completely regular. Key insight: Only 2 whole-tone scales exist. If this one doesn't fit, shift everything up 1 fret for the other one. Start slow as pull-off exercises, build speed. At tempo this sounds like a waterfall.

Lick 4: Wide-Interval Melodic Minor in 4ths — CminMaj7

C Melodic Minor: C-D-E♭-F-G-A-B Slow-medium · Modal · Fusion
Ascending in perfect 4ths through the melodic minor scale. Each pair of notes is a 4th apart, creating Feraud's signature angular, horn-like sound. Wide intervals force position shifts that cover the neck.
G: ──────────────────────────────────────5───7───9──
D: ──3────5────7────9──────────────────────────
A: ──3────5────6────8──────────────────────────
E: ──────────────────────────────────────────────────────
Pairs (ascending 4ths): A3-D3 = C-F(R-4) · A5-D5 = D-G(2-5) · A6-D7 = E♭-A(♭3-6, tritone!) · A8-D9 = F-B(4-7, tritone!) · G5-G7-G9 = C-D-E♭(resolution octave)
Practice: Play as pairs — pick each pair as two quick notes, pause, next pair. The two tritone intervals (E♭-A and F-B) are what give melodic minor its tension. Feraud variation: He'll often play these pairs as hammer-on pairs (lower note picked, upper note hammered), then string them together for an angular legato cascade.

Lick 5: Pentatonic Superimposition — G7alt → CMaj7

B♭ minor pentatonic over G7alt: B♭-D♭-E♭-F-A♭ Fast · Outside → Inside
Play B♭ minor pentatonic over G7alt (gives ♯9-♭5-♯5-♭7-♭9 = pure altered tensions), then shift to C major pentatonic to resolve on CMaj7. "Outside" then "inside" — maximum tension → release.
         ──── G7alt (B♭ min pent) ────────   ── CMaj7 (C maj pent) ──
G: ─────────────────3───6──────────────────5───7───9──
D: ────1───3───6───8──────────────2───5───7──────
A: ──1───4───────────────────────────3───5──────────────
E: ──────────────────────────────────────────────────────────
G7alt (B♭m pent): A1=B♭(♯9) A4=D♭(♭5) D1=E♭(♯5) D3=F(♭7) D6=A♭(♭9) D8=B♭(♯9) G3=B♭(♯9) G6=D♭(♭5)
→ resolve: CMaj7 (C maj pent): A3=C(R) A5=D(9) D2=E(3) D5=G(5) D7=A(6) G5=C(R) G7=D(9) G9=E(3)
Practice: Practice each pentatonic separately first — they're both simple box shapes you probably already know. The magic is the SHIFT: B♭ minor pent (all altered tensions) → C major pent (all consonance). Your ear hears "tension → resolution" even though your hands play two simple shapes. Start at ♩=100 as 8th notes, making sure the shift happens right on beat 1 of the CMaj7 bar.

John Patitucci — Licks

Lick 6: Bebop Dominant Descending Line — G7

G Bebop Dominant: G-A-B-C-D-E-F-F♯ Fast swing · Straight-ahead
Classic Patitucci: descending bebop dominant line from root. With 8 notes, chord tones (G-B-D-F) automatically fall on downbeats 1-2-3-4. The ♮7 (F♯) is a chromatic passing tone on an upbeat — never rest on it.
         beat: 1    &    2    &    3    &    4    &    1
G: ──────────────────────────────────────────────────────
D: ──5───4───3───2──────────────────────────────────
A: ──────────────────5───3───2───0──────────────
E: ──────────────────────────────────────3─────────
D: 5=G(R, beat 1) 4=F♯(♮7 pass, &) 3=F(♭7, beat 2) 2=E(6, &)
A: 5=D(5, beat 3) 3=C(4, &) 2=B(3, beat 4) 0=A(2, &)
E: 3=G(R, beat 1 of next bar) ← chord tones bolded on every downbeat!
Practice: Play with a metronome, STRAIGHT 8th notes first, then swing. Notice how G-F-D-B-G (the downbeat notes) spell out a G7 arpeggio descending. This is the entire secret of bebop: the chromatic passing tone (F♯) fills in the gap so 8 notes = 4 beats. Transpose: Shift all frets +2 for A7, +4 for B7, etc. The shape stays identical.

Lick 7: Voice-Leading Arpeggio Chain — Dm7 → G7 → CMaj7

ii-V-I in C major Fast changes · Bebop
Pure arpeggios connected by minimal voice-leading. The ♭7 of Dm7 (C) drops a half-step to become the 3rd of G7 (B). The 5th of G7 (D) drops a whole-step to the 3rd of CMaj7 (E, approached from below). Patitucci's signature: every connection is the shortest possible movement.
         ─── Dm7 (asc) ───   ─── G7 (desc) ──────   ─── CMaj7 (asc) ───
G: ──────────────5───────4──────────────────────4──────────7──
D: ──────3───7───────────────5───3────2───5──────────────
A: ──5──────────────────────────────────────3──────────────────────
E: ──────────────────────────────────────────────────────────────────
Dm7 ascending: A5=D(R) D3=F(♭3) D7=A(5) G5=C(♭7)
→ C drops to B (G5→G4, half-step voice-lead — strongest resolution in jazz!)
G7 descending: G4=B(3) D5=G(R) D3=F(♭7)
→ resolve down to CMaj7
CMaj7 ascending: D2=E(3) A3=C(R) D5=G(5) G4=B(7) G7=D(9)
Practice: Focus on the CONNECTION points, not the arpeggios themselves. The half-step C→B (Dm7 to G7) and the resolution to E (CMaj7) are what make it sound like jazz, not just arpeggios. Patitucci method: Practice in ALL 12 keys. The shape changes but the voice-leading principle (♭7→3, 3→R or 3) stays constant.

Lick 8: Phrygian Dominant Descent — E7 → Am (V→i in A minor)

E Phrygian Dominant (5th mode A harm. minor): E-F-G♯-A-B-C-D Any tempo · Minor key resolution
Descending through the full Phrygian Dominant scale from high E down to the root. The G♯→A creates the leading-tone resolution. The ♭2 (F) gives the scale its dark, Spanish character. Resolves to A on the final beat.
G: ──9───7───5───4──────────────────────────────
D: ──────────────────────7───6───3───2────────
A: ──────────────────────────────────────────7──────
E: ──────────────────────────────────────────────────
G: 9=E(R) 7=D(♭7) 5=C(♭6) 4=B(5)
D: 7=A(4) 6=G♯(3, the leading tone!) 3=F(♭2, the Phrygian color) 2=E(R octave below)
A: 7=E or better: resolve to A: 0=A(i chord root) for the Am resolution
Practice: Play over a vamp of E7→Am. The G♯ (D string fret 6) is the money note — it's the leading tone that PULLS you to A. Linger on it slightly before resolving. Patitucci vs Feraud: Patitucci uses Phrygian Dom here because the ♮5 (B) keeps the resolution grounded and clear. Feraud would use Altered (♭5/♯5) for more tension and ambiguity.

Lick 9: Upper-Structure Triad Run — CMaj7

E minor triad (E-G-B) = 3-5-7 of CMaj7 Any tempo · Color over Maj7
Simple E minor triad played in 3 inversions ascending over CMaj7. Every note is a chord tone (3, 5, or 7), but the triad shape sounds more melodic than a raw arpeggio. This is Patitucci's "simple shapes, rich harmony" philosophy.
         ─ root pos ─   ─ 1st inv ──   ─ 2nd inv ─   ─ resolve ──
G: ────────────────────────────────9───9───12────12──────
D: ────────5───9───5───9──────────────────────────────
A: ──7──────────────────────────────────────────────────────
E: ──────────────────────────────────────────────────────────
Root pos: A7=E(3) D5=G(5) D9=B(7)
1st inv: D5=G(5) D9=B(7) G9=E(3, octave up)
2nd inv: G9=E(3) G12=G(5, octave up)
All 3 notes are chord tones of CMaj7 — you literally can't play a wrong note.
Practice: Learn this shape for ALL chord types: Em triad over CMaj7, Dm triad over B♭Maj7, F♯m triad over DMaj7. The pattern: to find the upper triad, play a minor triad from the 3rd of the Maj7 chord. Patitucci trick: Once comfortable, add approach notes (chromatic below) before each inversion for a jazzier sound.

Lick 10: Bebop Enclosure Chain — targeting Dm7 chord tones

Chromatic enclosures targeting F(♭3), A(5), C(♭7) Fast · Bebop · Any changes
Classic bebop enclosure technique: surround each target chord tone from a half-step above AND below, then land on the target. Chain 3 enclosures together targeting the ♭3, 5, and ♭7 of Dm7. This is the bread-and-butter bebop ornament — Patitucci executes these at blinding speed.
         ─ encl. ♭3(F) ─   ─ encl. 5(A) ──   ─ encl. ♭7(C) ─
G: ───────────────────────────────────────6──4──5──────
D: ──4──2──3──────8──6──7──────────────────────────
A: ──────────────────────────────────────────────────────────
E: ──────────────────────────────────────────────────────────
Enclose ♭3 (F): D4=F♯(half-step above) D2=E(half-step below) → D3=F(target ♭3) ✓
Enclose 5 (A): D8=B♭(half-step above) D6=G♯(half-step below) → D7=A(target 5) ✓
Enclose ♭7 (C): G6=C♯(half-step above) G4=B(half-step below) → G5=C(target ♭7) ✓
Practice: Each enclosure is 3 notes: ABOVE → BELOW → TARGET. Always a half-step from each side. Drill each enclosure slowly, then chain them. The 3-note grouping over 8th notes creates natural rhythmic displacement — this is a FEATURE, not a bug. It pushes the beat forward and creates momentum. Master formula: To enclose ANY note X, play (X+1 semitone) → (X-1 semitone) → X. Apply to any chord tone on any chord.

Lick 11: Bebop Scale + Enclosure Combined — Dm7 → G7 → CMaj7

Full ii-V-I vocabulary in one lick Fast ii-V-I · The complete Patitucci
Combines bebop scale fragment on Dm7, enclosure into G7, and bebop dominant descent on G7 resolving to the 3rd of CMaj7. This is the kind of complete ii-V-I line Patitucci builds from simple components.
         ── Dm7 (bebop frag.) ──  ─encl─  ── G7 (bebop desc.) ───   →CMaj7
G: ──────────────────5────────3──4──────────────────────────────────
D: ──3──5──7──────────────────────5──4──3──2──────────
A: ──────────────────────────────────────────────5──3──2
E: ──────────────────────────────────────────────────────────────
Dm7: D3=F(♭3) D5=G(4) D7=A(5) G5=C(♭7)
→ enclosure: G5=C is already the above note! → G3=B♭(below B) → G4=B(target, 3rd of G7)
G7 bebop desc: D5=G(R) D4=F♯(♮7 pass) D3=F(♭7) D2=E(6) A5=D(5) A3=C(4) A2=B(3)
→ resolves on B = major 7th of CMaj7 (or step down to A3=C for the root)
Practice: This is the "graduation lick" — it uses every Patitucci technique: arpeggio, enclosure, bebop scale, and voice-leading in one phrase. Break it into 3 chunks: (1) Dm7 arpeggio ascending, (2) enclosure targeting B, (3) G7 bebop descent. Target tempo: ♩=160 as 8th notes, ♩=120 as 16th notes. Once this flows, you can navigate any ii-V-I.