CHROMATICISM WHEN SOLOING

Chromatism is basically a technique based on the use of other pitches that don't belong to the
diatonic scale (major, minor scales) moving in half steps, which creates a certain tension that
normally is resolved into the diatonic scale again. Chromaticism is used in various ways
throughout music history: to create tension and release, to make conections between notes, to
contrast the constant use of diatonism.
It is a very good technique to incorporate into your improvisation tools, since it can allow you
create a lot of momentum in your solos or just move more freely throughout the changes.
The most basic use of chromaticism is called approach note. We approach chromaticaly every target
note, which are the important notes that build the chord: 1,3,5. There are different ways to do this
either from above or from below (Ex 1). A good exercise would be to use the approach from above
and below in all the triads (major, minor) to get familiar with the sound and with the concept under
your fingers.
Ex. 1

Afterthat we can combine both the chromatic from above and from below (Ex.2). And again do it in
all the keys to get it in your system.
Ex. 2

Another way of approaching this approach concept, is by using the double approach, which is
basicaly an approach of two chromatic notes to the target, either from above or from below Ex.3.
Again get this new idea in all the keys and triads.
Ex.3

Also you could start incorporating this concept in your solos, by improvising with it in some
standard, but also designing some lines on a paper, or even better by transcribing solos from your
jazz heros by ear, since is a technique that is continuously used throughout music.
Ex.4

Check this recording of Miles Davis where he uses some chromatic approach lines.
https://www.youtube.com/watch?v=xLfsQSpefbA
Another way to use chromatism, that has been very much used in jazz is the chromatic scale,
or at least parts of it. Bebop musicians realised that when you play a C diatonic scale down from C
to C, the main notes of the chords Cmaj7 don't fall of the beat (which is handy if we want to finish
in one of the target notes), so they decided to add a chromatic note in between the 5th and the 6th for
the major and minor chords and in between 7th and 8th in dominants.
Though they where maybe the first ones to use consciously use this type of scales for
improvisation, this idea has been present in music since Bach and Mozart, since it is a very natural
sound for our ears. And that is why I would suggest you to instead of start practising this scale in all
the keys right away (which for sure would hurt), start by adding one chromatic note when you
improvise trying to make the main chord tones fall on the beat, but always using your ears and very
slow and the beginning so that you can be completely aware of every note you play.
A very good example to get familiar with this sound, is to listen to Charlie Parker, famous
bebop musician. Here is a line where he used the one passing note scale:
Ex.5

If we take this concept of chromaticism to the extreme, we find out that it is actually a very good
tool also to create momentum in your lines towards a goal note or strong arrival point. One of the
reasons this technique is so effective is that the chromaticism acts as a harmonic tension, building
towards a resolving note. Try aiming for a chord tone as the arrival point of your chromatic based
line.
Ex.6