I'm afraid of the chromatic scale. I usually stay away with anything pertaining with anything chromatic in it. I never seen someone improvise the chromatic scale and stay in key and not lose the tonal center of the music. Because I love when it's all diatonic but the chromatic scale uses outside notes. But my question is how to stay in key when trying to improvise with the chromatic scale for I'm sure a lot jazz guitar players uses the chromatic scale.
use the non diatonic (chromatic) notes as passing tones (on weak beats) on your way to target tones (on strong beats).
^ This!
There is really no such thing as the chromatic "scale". It isn't a scale at all, it's just all the notes there is.
As borge says, you should see it as all the OTHER notes, the "outside" ones in between the "inside" notes you'd normally play (whatever the context dictates).
The way to start with chromatics (IMO) is to pick notes a half-step below the chord tones. Whatever the chord is, precede each chord tone (target note) with a half-step below. Some of those notes will be diatonic (in key) but some won't. Doesn't matter which; it's the sound of the half-step resolution that matters.
Whatever scale you're using normally, if you always add these half-step "approach notes" to the mix you'll start to get a jazzier sound to your improvisation.
Chromatics a half-step above are trickier to use, except in passing between diatonic notes either side. But if you always treat any chromatic note as a passing note, you'll have no trouble. It's about keeping your eye (and ear) on your target notes - the ones you know sound "inside" - and not worrying too much about what notes you play on the way there.
I always think of Django Reinhardt when I think of chromatics. In particular this tune:
http://www.youtube.com/watch?v=vL-whDhwUvc
- it's a great little game with half-steps. The melody is a C6 arpeggio, but with each note preceded by a half-step below - starting and ending on F#, the #4 of the chord (very daring for 1938). IOW, B6 and C6 arps interlaced.
The break is largely a diminished run, then the bridge is the same tune a half-step up: Db6 arp with a C6 below; very cute.
The audaciousness here is that the chromatics are on strong beats; the diatonic notes (C6 arp) are in between the beats. But if they can play chromatics on accented beats in 1938, I reckon you can easily get away with them between the beats in 2012...
And here you can see another way Django liked to use chromatics, showing off a lightning chromatic run (2:52):
http://www.youtube.com/watch?v=fzz6fAdFFis
- but of course he has a target note at the end of the run, pre-planned. Shows how you can get away with pretty much anything if the target is right on the button. (And of course you're confident enough of your technique with the chromatic stuff.)
Last edited by JonR; 07-24-2012 at 09:22 AM.
Chromatic scale - only time I ever use it is when figuring out WWHWWWH whole step, half step notes for a scale, and have not done that in years.
But, yes I use chromatic runs all the time. Want to move somewhere use a chromatic run to get there. Chord runs or note runs. Chromatic runs are a great way of goiing somewhere.
Last edited by Malcolm; 07-24-2012 at 03:16 PM.
Hey JonR after seeing this video help me out on playing chromatics but how to play the chromatic scale using approach notes above step is hard to me. Look at the Cmaj7 arppegio C E G B to use a chromatic approach note above I dont know where to start.
http://www.youtube.com/watch?v=Z9Hg4JdwMMg
JonR please! You must tell me the secret to playing chromaticism after I seen this video I was diffently hooked but I dont know where to start though
http://www.youtube.com/watch?v=WG03-MmLVYA
Last edited by dwest2419; 07-24-2012 at 06:49 PM.
Another question here guys about the chromatic scale like in the key of C. The notes to the C major scale C D E F G A B do I have to learn the chromatic scale for every note of C major scale?
What I never seen done before is have someone explain to me what the intervals are for the Chromatic scale. For instance the C major scale consist of these intervals for C D E F G A B
Ionian:
1st = Root
2nd = Major second
3rd = Major third
4th = Perfect fourth
5th = Perfect fifth
6th = Major sixth
7th = Major seventh
8th = Octave
But the chromatic scale consist of C C# D D# E F F# G G# A A# B and C
The chromatic notes that are added I dont have interval name for them
which is C# D# F# G# and A#
Would the C# be called a minor second?
Would the D# be called a minor third?
Would the F# be called a augmented fourth?
Would the G# be called a augmented or diminshed fifth?
Would the A# be called a augmented sixth?
Last edited by dwest2419; 07-24-2012 at 08:58 PM.
Hey guys my chromatic playing is coming along great! I learn that you can use chromatics notes but you have to land on a 3rd of a chord and then land on its root in order to get back in key. But its like you can play a series chromatic of notes and then land on the third of a chord tone then play its root of a chord tone. Its like an escape goat kind of bail you out though with playing chromatic (non diatonic) notes and then landing on a third note of chord so you can land on its root it like the chord tone steps in and difuses the situation before thing get out of hand. I thought might be useful to you guys.
For example in the key of C the Cmajor triad its third is E so after that land on C its root chromaticsim is so simple. Check this out
E-------------
B--3-4-5-6-5--
G------------5
D-------------
A-------------
E-------------
Try the A minor triad its third is C and land on its root A
E------------
B------------
G-9-8-7-6-5-
D-----------7
A------------
E------------
How about this one
E---8-7-6-5-6-7-
B----------------8
G-----------------
D-----------------
A-----------------
E-----------------
Notes of this lick C B Bb A G
Its like its centered around G major chord in the key of C
Last edited by dwest2419; 07-25-2012 at 02:39 AM.
Again, there is no such scale. What you're referring to is chromaticsm, yes, but as stated before, there is no such. If/When asking about the intervallic relationship, yes, there is one.Originally Posted by dwest2419
And I need to correct you.
C-C# = augmented unison =/= minor second - C-Db, however is your minor second.
C#-D would be a minor second
D-D# again is an augmented unison =/= minor second
The relationship between C-D# is an augmented second =/= minor third; this makes up the harmonic minor scale as there is an A2 between note six and seven (despite it sounding like a minor third; however, C-D-Eb-F-G-Ab-B (natural)-C) As you can see the raised seventh is a half-step below the tonic - hence why it is called the "leading tone" which is why you see V7s in minor keys and not minor V7s; you may, but they aren't as strong. (ie: Summertime)
But that is what chromaticism consists of: Augmented Unisons when ascending (C-C#) - while the diminshed octave occurs when descending (C-Cb)
Granted, C-Cb sounds like C-B, but just as the augmented second =/= minor third (C-C# =/= C-Db) the diminished octave =/= major seventh. (C-Cb =/= C-B)
Oh, and make sure to link the proceeding note to the one that precedes it:
Likewise, but using the diminished octave when descending:Code:C-C# C#-D D-D# D#-E E-F F-F# F#-G G-G# G#-A A-A# A#-B B-C
Does this help?Code:C-Cb Cb-Bb Bb-A A-Ab Ab-G G-Gb Gb-F F-Fb Fb-Eb Eb-D D-Db Db-C
Last edited by Color of Music; 08-01-2012 at 06:53 AM.
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