chromaticism – The Jazz improviser and modern music theory application

How to use the “CHROMATIC SCALE” in Jazz Improvisation

Please watch video above for in depth analysis:

Hi Guys,

Today we will look at applying the simple half step chromatic scale to jazz improvisation. This in turn will be reflected in the alternate picking guitar technique:

So, we will look at two parts,

1] Harmonic Aspect-Set-UP-Theory

2] Technical Execution-Set-Up-Instrument

The analysis will be detailed through this 2 5 1

Hot-to-use-the-chromatic-scale-jazz — How to use the “CHROMATIC SCALE” in Jazz Improvisation

MUSIC THEORY: Chromatic Scale:

how-to-use-the-chromatic-scale — How to use the “CHROMATIC SCALE” in Jazz Improvisation

If we look at the first bar we will see 4 note groupings “Tetrachords”. These groupings are made of semitones [chromatic scale].

outlining-chords-with-chromatic-scale — Outlining chord with the chromatic scale for jazz improvisation

What you will notice is that they “Outline” the Chord DmMaj7. This makes the ear follow the direction of the line in relation to the harmony so that it is not just aimless semitones strung together, but a connected line with a definite direction that resolves into an arpeggio.

These chromatic semitones in groups of 4 are “Even” Patterns and hence easy to alternate pick as the are all the same “Down Up Down Up”.

how-to-use-the-chromatic-scale-alternate-picking — 4 note chromatic grouping for alternate picking guitar technique

In the next bar we see the same technique: The chord is outlined again with 4 note chromatic scale groupings.

Finally we come to the last bar. This time we employ outlining by moving the chromatic scale up in minor 3rds [Diminished 7th].

In order to execute this type of playing it is essential to accent the 1st and the 3rd notes of each 4 note grouping. This will create a fluid rhythmic sound and hold the tempo tight.

alternate-picking-accents-jazz-guitar — Alternate Picking jazz guitar technique

If you watch the video at the top of the page you will see how the fretting hand works:

Here is the fretting technique that I employ in the video that sync’s the left hand with the right hand alternate picking:

I use GRIP, PLAY

alternate-picking-fretting-hand-technique — Alternate Picking Guitar Technique Fretting Explained

RELEASE, MOVE HAND

GRIP, PLAY

RELEASE, MOVE HAND etc.

FREE PDF DOWNLOAD:

Chromatic-scale-how-to-use-it Chromatic scale Download

IF THIS LESSON WAS OF USE TO YOU THEN PLEASE SUBSCRIBE TO US BELOW ON YOUTUBE, THANKS!

PolyModal “Chromaticism” WHAT MAKES IT SPECIAL?

Posted on October 4, 2022October 11, 2022 by Jazz fusion guitar Improvisation lessons and modern music theory

yt_logo_rgb_light CLICK SUBSCRIBE!

Poly-Modal “Chromaticism” WHAT MAKES IT SPECIAL

PLEASE WATCH VIDEO ABOVE FOR IN DEPTH EXPLANATION:

We hear much polymodality and polytonality in modern music like, Jazz, fusion, progressive rock and 20c Classical,

Stravinsky Petrushka Chord: EXAMPLE

But, for the most common example of PolyModal “Chromaticism” here is an example by Bela Bartok: This employs the joining together of C Phrygian and C Lydian [the same root] which in turn creates a full 12 note chromatic scale.

But, there is a much more interesting and useful approach for a composer and improviser.

For this example we will join together C Dorian and C lydian [same root] and create a ten note scale:

This Polymodal Chromatic approach is unique in that it is like an alchemical process where two different modes are put into the melting pot and give birth to new chords that appear in neither of the two modes that originally went into the pot.

It doesn’t have to be Dorian and Lydian, but for this quick insight they are a good example of what can be achieved through this poly modal chromatic methodology.

EXAMPLE:

SUPERIMPOSITION EXAMPLE:

IF THIS LESSON WAS HELPFUL TO YOU THEN PLEASE SUBSCRIBE TO US BELOW ON YOUTUBE, THANKS!

John Mclaughlin ii v7 i chromatic jazz lick guitar lesson

Posted on February 25, 2022 by Jazz fusion guitar Improvisation lessons and modern music theory

yt_logo_rgb_light CLICK SUBSCRIBE!

John Mclaughlin Jazz ii V7 I Guitar Lick Lesson

PLEASE WATCH VIDEO ABOVE FOR EXAMPLES:

FREE PDF DOWNLOAD

John-mclaughlin-ii V7 I-pdf FREE II V I Download

John Mclaughlin establishes the Dm7 tonality and then chromatically slips into the altered sound with the EbmMaj7. The Eb note then resolves up to the E natural. The resolution is finally established the F major arpeggio to create Dm7.

John, Mclaughlin, ii V7 I, jazz, guitar, lick, tab — John Mclaughlin Jazz ii V7 I Guitar Lick Lesson

In the next bar John employs Db Lydian Harmony over the G7b5 chord. [The b5 of G7 of course being the Db note]. John keeps the G natural note to establish G7 and at the same time establish the #11 of Db harmony.