Notice the anacrusis/upbeat. See how the note C is targeted with the three chromatic notes starting on an “Up” stroke for alternate picking. It is essential to count time in order to carry the rhythmic phrasing as you connect it all together.
Notice that the “Target Tones” [Enclosure] are now in the bar as part of the line, but the set up remains the same.
Example 2:
This time we have an upbeat with 4 [even notes] grouping. Again, the target tones are set up in the bar as part of the line. Notice, how the chromatic notes set up the key notes on the “Strong” beat.
The next part employs pentatonic tetrachords [4 note groupings]. These are easy to play at a quick tempo on the guitar and work well to connect the next bars chromatic content.
We finally finish with chromatic notes in even alternate picking groupings outlining B7+
EX.1
EX.2
IF THIS LESSON WAS OF VALUE TO YOU THEN PLEASE SUBSCRIBE TO US ON YOUTUBE BELOW, THANKS!
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
How to use the “CHROMATIC SCALE” in Jazz Improvisation
MUSIC THEORY: 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 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.
Outlining chords with the chromatic scale
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”.
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.
Outlining chords with the chromatic scale
Finally we come to the last bar. This time we employ outlining by moving the chromatic scale up in minor 3rds [Diminished 7th].
Outlining chords in minor 3rds [Diminished 7th] with the chromatic scale
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 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:
Before starting it is important to note that these principles are to be applied to major, minor, diminished and augmented: In this overview we will use “Major”only.
PART 1: Triadic
First we will take a simple C major root position triad. We can move DOWN a 1/2 step or UP a half step from the last note to connect the next triad:
GEORGE GARZONE -“Triadic Chromatic Approach”
Predictable Example:
Here we can see that just adding another root position triad creates a non random and predictable sound.
GEORGE GARZONE -“Triadic Chromatic Approach”
Correct Approach Example:
Here we create freshness by employing “Inversion” and “Displaced Permutations”.
GEORGE GARZONE -“Triadic Chromatic Approach”
What are Displaced Permutations?
This means that we change the order of the notes. In this case although they are both in root position the order of the notes has been changed in the second triad. Hence this moves away from a more traditional sound/approach.
GEORGE GARZONE -“Triadic Chromatic Approach”
Also, because the last note is the 3rd of C Major it is considered a 1st Inversion:
GEORGE GARZONE -“Triadic Chromatic Approach”
Now lets add another triad to this:
GEORGE GARZONE -“Triadic Chromatic Approach”
Predictable “Improper” application:
Below is an example of predictable repeated connections/patterns:
GEORGE GARZONE -“Triadic Chromatic Approach”
Correct Application Example:
Here we have an imaginative less predictable and more random sounding line.
GEORGE GARZONE -“Triadic Chromatic Approach”
PART 2: A Chromatic Approach:
Within the interval of a Major 3rd there are five 1/2 steps. [We will use C to E as an example]
GEORGE GARZONE -“Triadic Chromatic Approach”
These five 1/2 steps cannot be used in a consecutive manner and must stay within the interval of a major 3rd.
GEORGE GARZONE -“Triadic Chromatic Approach”
RANDOM Chromatic Method: EXAMPLES
Here are some example of how this works
Example:1
GEORGE GARZONE -“Triadic Chromatic Approach”
Example 2:
GEORGE GARZONE -“Triadic Chromatic Approach”
Example: 3
GEORGE GARZONE -“Triadic Chromatic Approach”
ii V7 I’s with applied Chromatic Approach:
Here are two examples where the George Garzone approach is applied
Example 1
GEORGE GARZONE -“Triadic Chromatic Approach”
Example 2
GEORGE GARZONE -“Triadic Chromatic Approach”
PART 3:
Finally, here are a few ideas with the principles applied to harmony:
Idea 1
GEORGE GARZONE -“Triadic Chromatic Approach”
Idea 2
GEORGE GARZONE -“Triadic Chromatic Approach”
Idea 3
GEORGE GARZONE -“Triadic Chromatic Approach”
IF THIS LESSON WAS OF USE TO YOU THEN PLEASE SUBSCRIBE TO US BELOW ON YOUTUBE, THANKS!
