bar with many changing key every four bars. In addition, since bebop was for listening rather than dancing, the tempo was not constrained by danceability; bebop tunes were often faster than those of the swing era. With bebop's complex tunes and chords and fast tempo, melodic embellishments and playing by ear were no longer sufficient to enable performers to improvise effectively. Saxophone player Charlie Parker began to solo by using scales associated with the chords, including altered extensions such as flattened ninths, sharpened elevenths and flattened thirteenths, and by using the chord tones and themselves as a framework for the creation of chromatic improvisation. Modes Modes are all the different musical scales and may be thought of as being derived from various chords. Musicians can use these modes as a pool of available notes. For example, if a musician comes across a C7 chord in a tune, the mode to play over this chord is a C mixolydian scale. These are various chord derivations that help musicians know which chord is associated with a certain scale or mode: C7 → C mixolydian C-7 → C dorian Cmaj7 → C Ionian (natural major) Cmaj711 → C Lydian mode Csus9 → C phrygian C- → C Aeolian mode (natural minor) C/C-75 → C ..Locrian Targeting One of the key concepts of improvisation is targeting, a technique used by Parker. Targeting means landing on the tones of a chord. A chord is built of a root (1st) and the notes a 3rd, 5th, 7th, 9th, 11th and 13th above the root in the scale. There are a number of ways to target a chord tone. The first is by ascending or descending chromatic approach (chromatic targeting). This means playing the note a semitone above or below one of the chord tones. In the key of C, the notes in the tonic chord are C(1st or root of chord), E(3rd), G(5th), and B(7th). So by playing a D sharp at the end of a line then resolving (moving up a semitone) to an E, this would be one basic example of targeting and would be targeting the third of the chord (E). This may be used with any factor of any type of chord, but rhythm is played so that the chord tones fall on the downbeats. In Bebop melodic improvisation, targeting often focused on the 9th, 11th and 13th of the chord -