Chromatic Runs - Please post TABS here!

**JonnyPac** · 12-15-2011, 05:47 PM

Greeting y'all!

I'd like to have a thread going here to make a collection of jazzy chromatic runs in TAB form. Players from Django to Rosenwinkel use chromatic runs frequently and it varied ways, and it would be nice to gather our collective knowledge here to study (beginning and advanced players welcome).

Please explain your submissions with any useful information (ie bebop scale, blues scale, inside/outside, rhythmic devices, accents, etc) that make the run understandable and re-usable. If there is a specific kind of harmony or chord that it fits over, please include that info as well.

Let's get every generic chromatic run known to jazz posted and milk them for all they are worth!

**JonnyPac** · 12-15-2011, 05:51 PM

Bop motif:

-----4--7--4--5--6--------------------------
---------------------------------------------
---------------------------------------------
---------------------------------------------
---------------------------------------------
---------------------------------------------

**JonnyPac** · 12-15-2011, 06:16 PM

The HUGE Django run!!!

------------------------------0-1-2-3-4-5-6-7-8-9-10-11-12---
-------------------0-1-2-3-4-----------------------------------
----------0-1-2-3----------------------------------------------
-1-2-3-4-------------------------------------------------------
----------------------------------------------------------------
----------------------------------------------------------------

**BigDaddyLoveHandles** · 12-15-2011, 06:24 PM

Here's an easy turn around:

Code:

| F7  D7b9 | Gm7 C7 | F...


-----------------+-----------------+---------
-----------------+---6-----5-------+---------
-8-5-------------+-----7-----5-----+---------
-----7---4-5-6-7-+-8-----8-----8-6-+-7...----
-------8---------+-----------------+---------
-----------------+-----------------+---------

I like the chromaticism: F F# G G# A Bb. Any longer than that and the run would have overstayed its welcome (Sorry, Django).

**aniss1001** · 12-15-2011, 06:37 PM

Good idea there

Don´t know if it is an actual "run" but here is a chromatic frase I like:

-----------------------------
-8-7-6---5-------------------
-------5---8-7-6-5---------5-
-------------------7---------
---------------------8-6-7---
-----------------------------

Ah and it's in A minor but could be used in many other cases

**TrakaVobla** · 12-15-2011, 07:17 PM

This is a line from Pat Metheny solo on Here to Stay

---------------9-10-11-12--8--7--5----------
------------10------------------------5------
----9-10-11----------------------------------
-12------------------------------------------
---------------------------------------------
---------------------------------------------

**JonnyPac** · 12-15-2011, 10:21 PM

Bebop lick in A
--------------------------------------9-12-8-12-7---
-----------------------9-12-10-9-10-------------------
---9-------------9-11-------------------------------
-----12-9-10-11-------------------------------------
------------------------------------------------------
-----------------------------------------------------

**JonnyPac** · 12-15-2011, 10:31 PM

It's a bit like the G bluegrass lick!

---------------------------------------------
---------------------------------------------
------------------------0---------------------
---------------0--2--0--------------------------
------0--1--2------------------------------------
---3-------------------------------------------

**JonnyPac** · 12-15-2011, 10:40 PM

The straight no chaser opening lick (5 R 2 b3 M3)
---------------------------------------------
---------------8--9--10---------------------
-----------10--------------------------------
-------10------------------------------------
---------------------------------------------
---------------------------------------------

and the final big run!

------------------------------------------------------------------
------------8--9--10--11---------------------------8--9--10--11--
--------10------------------------7--8--9--10--11-----------------
---10--------------------10--11-----------------------------------
-------------------------------------------------------------------
--------------------------------------------------------------------
(continued)
---------------------------------------------
---------------8--9--10---------------------
-----------10--------------------------------
-------10------------------------------------
---------------------------------------------
---------------------------------------------

Examples in F

**JakeAcci** · 12-16-2011, 12:58 AM

There exists an idea of enclosures or chromatic approaches. I vaguely recall that some educators considered that there were 12:

One above

One below

two above

two below

one above then one below

one above then two below

two above then one below

two above then two below

one below then one above

one below then two above

two below then one above

two below then two above

So, two above then one below example - your target is C, so you play D, Db, B, resolving to C on your intended 'strong' beat.

Below is a ii V I in Bb. Observe the accents. Note the 'line cliche' - descending chromatic motion from the root of the Cm, there is also a "one above then one below" approach on the last three notes.

.>.....>.....>.......>............>

-----8-7----6--|-----5-----------|-------
----8----8-----|-8-----8---9-7---|6-----------
5-8--------8---|---8-----8-----9-|----------
---------------|-----------------|----
---------------|-----------------|----
---------------|-----------------|----

another ii V. This one has a "two below" as well as a "one above and two below"

----------------|--5-7-9---------|---
--------4-8-5-6-|7-------9-7-----|6--
5-4-5-7---------|------------8-9-|---
----------------|----------------|----
----------------|----------------|----
----------------|----------------|----

**brwnhornet59** · 12-16-2011, 02:12 AM

Cool thread.

**JonnyPac** · 12-16-2011, 09:56 PM

That's right, Jake. Good post.

Keep 'em comin', all y'all!

**aniss1001** · 12-16-2011, 10:31 PM

Ah this is one of the most common blues/jazz cliches there is. You probably allready know it most of you, but I'll post it anyway for those few who don't:

Code:

---|-----------------|---
---|-----------------|---
---|-5-6-7-8-9---5-6-|---
-7-|-----------7-----|-7-
---|-----------------|---
---|-----------------|---

It's in A. Can be used over A7, AM7, Am7

**JonnyPac** · 12-16-2011, 10:37 PM

Bebop lick - Gm7 and/or C7

-8--7--6----------5------------------------------
--------------6--------8-----------------------
----------7-----------------------------------
---------------------------------------------
---------------------------------------------
---------------------------------------------

**brwnhornet59** · 12-17-2011, 10:53 AM

This is one of my favorite idomatic lines that I put together from several different sources. ii V#5 I

1/16 e of 4

---------------------------------------8--7----5-----------
-8--7--5--6------------5--7--5--6---------8----6--5-----
------------------5--7----------------------------------7-6
---------------7--------------------------------------------
-------------------------------------------------------------
-------------------------------------------------------------

---------------------------------------------------------
-9--4----------------------------------------5--3------
--------4--3------6--4----3-----------------------5--4
---------------6--------5-----6--3--4--5--------------
--------------------------------------------------------
--------------------------------------------------------

**fep** · 12-17-2011, 12:03 PM

Reading tab is giving me a headache.

**AmundLauritzen** · 12-17-2011, 12:14 PM

---10-8-9-7-8-6-7-5-6-3-4-- and so on.
Start on any string any fret, but preferably on a chord tone and lead into the changes when you're done with it.
This one string chromatic descending concept is used by a lot of players. I hear it a lot in Andreas Oberg, Bireli Lagrene and Frank Gambales playing.
Very nice for descending from one position to the other.
Check out this lick that Jack Zucker does. It's not strictly chromatic but it uses the very nice one finger descending chromatic movement to get from one position to the other. After all, the purpose of chromatic playing is not to destroy the changes by doing it all the time, so I think what Jack shows here is a very usable chromatic concept applied in a musical way. I picked it up from his book and I use it all the time.

**brwnhornet59** · 12-17-2011, 12:20 PM

Originally Posted by AmundLauritzen

---10-8-9-7-8-6-7-5-6-3-4-- and so on.
Start on any string any fret, but preferably on a chord tone and lead into the changes when you're done with it.
This one string chromatic descending concept is used by a lot of players. I hear it a lot in Andreas Oberg, Bireli Lagrene and Frank Gambales playing.
Very nice for descending from one position to the other.
Check out this lick that Jack Zucker does. It's not strictly chromatic but it uses the very nice one finger descending chromatic movement to get from one position to the other. After all, the purpose of chromatic playing is not to destroy the changes by doing it all the time, so I think what Jack shows here is a very usable chromatic concept applied in a musical way. I picked it up from his book and I use it all the time.

Cool Line!!

**JakeAcci** · 12-17-2011, 12:24 PM

Originally Posted by fep

Reading tab is giving me a headache.

Yes. Using lucida console font and making bar lines clear is helpful.

Also, the lines are less useful if we don't know what beat they are starting on or what the rhythm is. I'm assuming all 8th notes for these, but obviously knowing what beat of the measure we're starting on is essential.

**aniss1001** · 12-17-2011, 02:30 PM

I would also urge people to write the tabs somewhat less messy. Use bar separators in longer frases (more than 8 notes) and use the code tag provided by this forum so that each character takes up the same amount of space. It's A LOT easier to read that way. Ah and since we're talking jazz the default way of interpreting the notes would be as swing 8th notes. If anything else is the idea please state that clearly.

Ah and here is a Chet Baker minor II-V-I frase (notice that the tabs don't have to look like crap haha):

Code:

  Em7b5             A7                Dm7
|-----------------|-----------------|----------------|
|---5-6-7-8-6-5---|-----------------|-5-6---5--------|
|-7-------------7-|-6-------------6-|-----6---7------|
|-----------------|---8-7-5---5-7---|-----------7----|
|-----------------|---------8-------|----------------|
|-----------------|-----------------|----------------|

It's not THAT chromatic but it IS great

**Kman** · 12-17-2011, 04:25 PM

This is a very fast line from Sheryl Bailey.

16th notes starting on the & of 1. Beat two is a Bb on the high E string. This line also sounds good starting on the downbeat of one and finishing on the & of 4.

[tab]

E-7b5 /////// A7

---87---65-----------------------------
------------86----5--------------------
---------------------76-----------------
------------------------8-----765------
-----------------------------------9----
-----------------------------------------

D-7

-------------------------------------------
-------------------------------------------
-------------------------------------------
-------------------------------------------
8------------------------------------------
-------------------------------------------

**jtizzle** · 12-17-2011, 05:41 PM

Originally Posted by JakeAcci

There exists an idea of enclosures or chromatic approaches. I vaguely recall that some educators considered that there were 12:

One above

One below

two above

two below

one above then one below

one above then two below

two above then one below

two above then two below

one below then one above

one below then two above

two below then one above

two below then two above

So, two above then one below example - your target is C, so you play D, Db, B, resolving to C on your intended 'strong' beat.

Below is a ii V I in Bb. Observe the accents. Note the 'line cliche' - descending chromatic motion from the root of the Cm, there is also a "one above then one below" approach on the last three notes.

.>.....>.....>.......>............>

-----8-7----6--|-----5-----------|-------
----8----8-----|-8-----8---9-7---|6-----------
5-8--------8---|---8-----8-----9-|----------
---------------|-----------------|----
---------------|-----------------|----
---------------|-----------------|----

another ii V. This one has a "two below" as well as a "one above and two below"

----------------|--5-7-9---------|---
--------4-8-5-6-|7-------9-7-----|6--
5-4-5-7---------|------------8-9-|---
----------------|----------------|----
----------------|----------------|----
----------------|----------------|----

That chromatic theory is something I think Charlie Banacos came up with. My teacher told me how he studied with him and it was some crazy shit he learned.

Also, why are we using tabs? hahaha