{"id":6925,"date":"2018-03-26T19:04:31","date_gmt":"2018-03-26T17:04:31","guid":{"rendered":"https:\/\/www.jazzguitar.be\/blog\/?p=6925"},"modified":"2018-10-21T14:14:56","modified_gmt":"2018-10-21T12:14:56","slug":"chromaticism-how-to-add-chromatic-notes","status":"publish","type":"post","link":"https:\/\/www.jazzguitar.be\/blog\/chromaticism-how-to-add-chromatic-notes\/","title":{"rendered":"Chromaticism – How to Add Chromatic Notes to Scales and Arpeggios"},"content":{"rendered":"

C<\/span>hromaticism is an important concept for any jazz guitarist to study and master in his playing. In this lesson, we’ll look at how you can take all of the scales and arpeggios you have learned over the years and turn them into “jazzy” sounding phrases by using chromatic approach notes. This is a big obstacle for a lot of people, but by working through the material in this lesson you will be able to hip up your lines.<\/span><\/p>\n

A simplified explanation of chromaticism<\/strong> would be:<\/p>\n

The notes that fall on the strong beats should be chord tones, the notes that fall between the strong beats should be scale tones or chromatic approach notes.<\/p><\/blockquote>\n

Even the shallowest exploration of the previous statement will find it to be untrue in many circumstances, but it is a useful starting point to help learn one of the most important concepts in bebop<\/a>.<\/p>\n \n

\n

Table of Content<\/h3>\n
    \n
  1. Example 1 – B Dorian Scale + Chromatic Notes<\/a><\/li>\n
  2. Example 2 – C Major Scale + Chromatic Notes<\/a><\/li>\n
  3. Example 3 – Bebop Line<\/a><\/li>\n
  4. Example 4 – Chromatic Chord Substitution<\/a><\/li>\n
  5. Example 5 – Chromatic Chord Substitution 2<\/a><\/li>\n
  6. Example 6 – Chromatic Chord Substitution 3<\/a><\/li>\n
  7. Example 7 – 1235 Pattern<\/a><\/li>\n
  8. Example 8 – Tension and Release<\/a><\/li>\n
  9. Example 9 – Chromatic Approach Chord<\/a><\/li>\n
  10. Example 10 – Chromatic Approach Chord 2<\/a><\/li>\n
  11. Example 11 – Chromatic Approach Chord 3<\/a><\/li>\n
  12. Example 12 – Tune Up<\/a><\/li>\n<\/ol>\n<\/div>\n

     <\/p>\n

    Examples 2 to 11 in this article will be written over a iim7 – V7 – I – VI7 chord progression<\/strong> in the key of C major:<\/p>\n\n\n\n\n
    Dm7<\/td>\nG7<\/td>\nCmaj7<\/td>\nA7b9<\/td>\n<\/tr>\n
    ii<\/td>\nV<\/td>\nI<\/td>\nVI<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

    <\/a><\/p>\n

    Example 1<\/h2>\n

    Example 1 is a good exercise that combines scales and chromatic notes<\/strong>.<\/p>\n

    There are many ways to practice guitar scales<\/a>, but this is a particularly good one because the chromatic notes give the scale an instant jazz sound<\/b>.<\/p>\n

    The example below is in the B Dorian mode<\/strong>, make sure you use the same principle on other scales and positions.<\/p>\n

    \"B<\/p>\n

    Here is what happens:<\/p>\n