- Hi everybody, my name is Jens Larsen.
A big part of what we consider the jazz sound
is the use of chromatic passing notes
and chromatic enclosures
and this is of course something you wanna have
in your playing and you're also gonna hear it everywhere,
if you start checking out guitar players
like Pat Martino, Tal Farlow or Pat Metheny.
In this video, I'm going to show you some examples
of how you can use chromatic phrases,
I'm of course gonna show you the chromatic ideas themselves,
but I'm also going to discuss how you're using them,
because you can use passing note and enclosures
just to add some colors in a line,
but you can also use them to point toward
an important target note in the next chord
or delay in a chord tone,
in the chord that you're playing on now
and you can also use it,
if you listen to people like Pat Metheny
as a way of creating some outside phrases,
that resolve quite nicely back into the chord.
In working with these examples,
I'm going to use some modal examples
and also just some two-five-ones,
where the chords are moving,
so you can hear how they work in a tonal progression.
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As you can hear, I have a cold today,
so if I'm a little bit more difficult to understand
than usual and I sound a little bit like,
(coughing and spluttering)
then that's why.
In this example, I'm using the chromatic passing notes
and the chromatic enclosures
just to add some color to the melody
and I think the way you should think about this
is that if we have, so in this case, I'm using A Dorian
and if we have sort of an A minor sound like this,
then a melody that does not have
any chromatic B notes will be,
and that all fits and you can hear,
that I could pretty much stop anywhere
and it will still work okay,
but if I start using notes,
that are not found within the scale,
then I have some notes that wanna resolve,
so instead of having,
if I start adding a note like on top of this chord,
you can hear that it wants to resolve
and that's the kind of small tension, that you can use,
it just makes the melody a little bit more interesting
to listen to and it creates a little bit of tension,
that you then have to resolve.
The first part of the example
is just the arpeggio from a 3rd of the chord,
so we're on A minor and a 3rd of the chord is C
and the arpeggio we have there is a C major seven,
so I start on the B and then I go up the arpeggio
and then I'm adding a chromatic passing note
between the B and the A,
so instead of just playing B to A,
I just add the B flat in between
and then down the scale to G
and then the next thing that happens
is that I add a complete chromatic enclosure,
so the chromatic enclosure that I'm using here,
this is actually one that's quite common,
well, I use it all the time,
but it's also quite common with Pat Martino,
because I think that's where I stole it
and that is because I'm targeting the C,
so I wanna play an approach to the 3rd of the chord,
the C again,
just because that's a very sort of strong note to emphasize
and the way I'm doing that is I'm starting with a B
and then I'm skipping up to the scale note,
that's above the C, that's a D,
then going down towards it with a D flat
and then back to B and then resolving to the C
and then on the C, I'm starting another arpeggio
and because I wanna have sort of the,
the Dorian sound in there,
I'm playing a C major seven flat five arpeggio,
so I'm playing a C, skipping up to the F sharp
and then down to E and then ending on the 9th of the chord.
This example is using the chromatic phrase
to give the line a little bit more forward motion
and really use the chromaticism
to pull towards the resolution,
so it's a two-five-one in the key of G major,
so that means it's A minor, D7 to G major seven
and the first part of the A minor
is just really an A minor nine arpeggio,
so there's nothing happening there
and a scale fragment
and then on the D7
down to the 3rd here, so really clearly D7,
spelling out that we're now changing to D7
and then down the scale, adding a chromatic passing note
between the 9th and the root,
which is actually similar to what I did with the A minor
and then going to the C
and here I wanna resolve to the 3rd of the G,
so the G major and the way I'm doing that
and the way I'm pulling towards it
and creating a little bit of tension,
so that resolution works a little bit better
is by adding
this melody to it,
so I'm playing the D,
I'm coming from the E to the D
and then down to the C, going down below the B,
just skipping down to the A and then back up,
chromatic and so A and then A sharp to B
and the number resolving the line there.
You can also use the chromatic phrases
to keep the resolution really vague
or maybe even delay it a little bit,
so that you don't really hear what's happening.
When you expect the line to resolve,
then you get some other notes
that you don't really know what are there
and that way you are sort of creating something
that sounds interesting and surprising
to whoever's listening to the solo.
That's what I'm doing in this example,
it's on a two-five-one in G major again,
so A minor D7 to G and the first part of the A minor line
is an open voiced Triad from C, so the 3rd of the chord,
the first comes down on the E, then up to the C
and then up to the G
and from here, I'm playing an A minor Triad
and then back up to the C
and then I'm playing a D7 altered,
so in this case, I'm really using D7 altered,
because that really pulls a little bit stronger to G major,
so when you play D7 altered, you wanna hear it resolve
and that's what I can use,
because if I then delay that resolution,
then the effect is a little bit stronger.
But the first part is
an A flat major Triad,
which is just a Diatonic Triad in D7 altered
and then we get this sort of E flat minor,
so the stock E flat minor phrase,
it's kind of coming out of an E flat minor Triad
and then now,
you'd expect it to go down to the D
and then just end there, so you have the,
and then that's where you would expect a G to end,
but instead of going to the D,
I first go to a chromatic enclosure of the D, so
and then once I'm on the D, on B3,
I go immediately into another enclosure of the 3rd,
so I don't really resolve until one bar later,
so in that way, I'm sort of really
creating some tension on the D7
and then instead of really resolving it,
I keep it going until I'm in the second bar of G major.
If you wanna check out an example of a guitar player
who uses this really a lot,
then you should check out Pat Metheny
on the trio album, Question and Answer.
If you listen to the solo on the song, Solar,
which I think is the first song on the album,
then you can hear this happen quite a lot,
but he'll really delay the resolution
by using some chromatic phrases.
But of course, you can also use chromaticism
to really start to sound outside
and that's what the last two examples are on.
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In this example, I'm of course using
a lot more chromatic enclosures and passing notes,
but I'm also starting to shift small phrases out of the key
and in that way, have some bigger chunks,
that are not in the key, you're not in the scale,
that I then need to resolve
and I can use that to create some outside sounds.
So the first part of the line
is really just targeting the root of the chord, so the A,
I'm doing that with an enclosure that's starting below,
moving up towards the A,
but instead of moving directly to the A,
it skips up and then starts above
and then moves from there as well,
so G, G sharp, B, B flat down to, and then I'm on the A,
then on A minor seven arpeggio
in the first inversion descending
and then from here, another chromatic enclosure,
now of the 5th, so,
D sharp, F to E
and then here, I'm starting sort of a shifting 3rd side here
and this is something,
something you will hear in Pat Metheny's playing,
I'm pretty sure you probably know it from him,
he probably got it from Miles
and another guitar player, that I also made a video on,
that uses this quite often is John McLaughlin,
so the exact same idea of shifting a 3rd interval
in half steps like this,
and then using a passing note,
I resolve it to the 3rd of the chord to C.
And of course, if you can do this with intervals,
you can also do it with other structures,
so in this example, I'm doing it with Triads,
but you can also experiment with using
something like Pentatonic scales or complete 7th chords
and then work with just shifting them
and finding ways to resolve those lines.
Now this is easier to check out in a modal situation,
because there you have a steady definition
of what is the inside chord tones that you wanna hit
and you have a lot of time
to just move away and move back in,
so that's why this example is also on an A minor chord.
The first part of it is again, just a chromatic enclosure,
so I'm starting, the target was the A, the root,
and then I'm starting below with a G
and then going up to the diatonic note above, the B
and then moving from there
down to the B flat and then the G sharp,
then from here, I'm getting into the A minor seven arpeggio
and actually it's an A minor nine arpeggio,
in that way, when I'm moving up to the B
and then from here,
I'm sort of taking the top part of the chord
or the arpeggio, and turning that into an E minor Triad,
or thinking of it as an E minor Triad
and I'm then moving that, shifting that down in half steps,
down to the D and from here,
I go back up to the F
and then I'm playing a chromatic enclosure,
that ends on the F sharp.
So in this case, it's because it's A Dorian
and I really wanna have that A minor 13 sound
and that's why I'm targeting that note,
which isn't really of course
like a strong chord tone in A minor,
but it's a very good sound to have
if you wanna have the Dorian sound across,
to have that 13 on top of an A minor seven.
If you wanna check out some more videos
on different ways to use chromatic passing note
or chromatic enclosures, then check out this playlist,
where there are a few videos,
that are concerned with this in a bebop style,
but also in a more modern or modal jazz style.
If you wanna learn more about jazz guitar
and this is the first time you've seen one of my videos,
then subscribe to my channel.
If you wanna help me keep making videos,
then check out my Patreon page.
That's about it for this time,
thank you for watching and until next time.
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