Bebop Dorian The definition of the Bebop Dorian scale in this article follows the definition by David Baker which makes sense since he coined the term but it s not the only definition and he might have been mistaken Another definition floating around is adding the passing tone between the minor seventh and the root instead of between the minor third and the eleventh That definition places the chord tones root minor third fifth and minor seventh on the same part of the beat up beat or down beat and the passing tones on the other part of the beat which helps define the chord rhythmically The David Baker definition breaks that rhythmic alignment accenting pitches that define the related V7 chord instead of the ii 7 chord it is supposedly played over It s likely personal opinion that the real jazz soloists David Baker was listening to when he wrote his book were actually thinking of a measure containing a ii 7 V7 progression as simply a measure of V7 which would be easier at blazing tempos and were playing the Bebop Dominant scale through the whole measure causing David Baker to misinterpret it as two scales with the same pitches because the lead said it was two chords When played over modal type tunes with extended sections of the same chord where your ear has a chance to absorb it it becomes obvious that the Bebop Dorian scale as defined by David Baker doesn t define the chord well and the other definition works better A jazz lover