#CHROMATIC NOTES FREE#

Let’s try to use the enclosure a little differently in the line. Since you know the basic recipe then you can also start to try other things with how you play arpeggios and where you can put the enclosure, because there are so many great sounding options for this.ĮDITOR JENS: I took this phrase from his solo on Confirmation, and I just went back and checked, and he actually plays it a little differently moving the rhythm, but this also illustrates how you need to make these things something you can use and a part of your sound. You can use it where more of the notes are chromatic because that works equally well if you use the root, A, as a target note and then you get this:Īnd as you can see, this phrase is really just built around playing the enclosure: ENCLOSURE and then playing the arpeggio ARPEGGIO. but of course, in the end, a bebop line is about creating movement. (Michael Brecker Enclosure) It is interesting that like this, the enclosure actually only has one chromatic note. So if people tell you that you can’t put chromatic leading notes on the beat then play them this example. I am combining the enclosure with the arpeggio from the 3rd of the chord.

This is a variation on one I took from one of his solos, and it is a great way to use a very dissonant note right on beat 1. Michael Brecker has some great chromatic phrases as well. I am sure you can hear how this is a fairly simple way to create some Bop lines that really work! You can also use the 3rd of the chord, C, as the target note and play that arpeggio giving you this: You can create a great line by combining it with an Am7 arpeggio:Īnd combining enclosures with arpeggios is a very solid strategy for making lines sound like Jazz!

#CHROMATIC NOTES FREE#

When I was taught this I was told that it was from Pat Martino, but I don’t think I have ever heard it in any of his solos? But feel free to let me know in the comments if you know of a place where he uses it. (Pat Martino Enclosure) This enclosure is using a half step below and works better if you have a diatonic note a whole-step above the target. Let’s first check out some solid chromatic enclosures that you can easily add to your playing so that you can hear how powerful a tool they are for Bebop lines! #1 Pat MartinoĪll enclosures have a target note, so the phrase is moving toward that note.

They actually have an advantage over just adding chromatic notes, but I will get back to that later. Or longer chromatic phrases that approach a target note from above and below which is what we call Chromatic enclosuresĬhromatic enclosures are great as short licks that you can combine with the scales and arpeggios in your solo to play lines that have a surprising element and really move forward. Passing notes, which is a way to have a single chromatic note that resolves to a note in the scale or a chord tone When it comes to using chromatic notes in your solos then there are two main ways you can do that. Which is a great chromatic enclosure, and probably you are now asking what is a chromatic enclosure? In the lesson, my teacher showed me a way to use chromatic notes when I was improvising and that felt like I had just been given the secret power to use all the wrong notes, and still sound great! (EXPLOSION?) Chromatic Phrases in Jazzįor Bebop-inspired Jazz, chromatic phrases and using chromatic notes is a huge part of the style, and, as you will see, it is one of the easiest ways to start getting that sound into your playing One of the few times that I had a guitar lesson that really blew my mind and opened up how I thought about music was before I was even interested in learning to play Jazz. Chromatic Passing Notes are such a powerful part of the Jazz sound!

Chromatic notes