Triades

                         
   
     
Majeures

    
                      
9


                                       
23 Mineures

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                     
31

 
                                
45 Augmentées

                        
   
53

                                              
67 Diminuées

           
 
76

1 - Triads
Play either major, minor, diminished or augmented triads and "move them around" in random inversions (by connecting them with half steps.)
By avoiding repetition of the same inversion and moving by only a 1/2 step on each successive triad, the line is borrowing from
the twelve-tone row.
Triads played in this fashion have a lot of forward motion and resolve often to the chord-tones of the moment. Simply by "luck", the odds are
in favor of resolving these ambiguous lines! (you'll have to try it to hear what I mean.)
2- Chromatic Approaches
Playing "Random Chromatic Approach" as George Garzone explains is guided by two concepts :
Select a major third on your instrument. (for example : C to E)
Play randomly on any of the five notes within the selected interval without repetition or obvious patterns. (for example : C to E,
use the notes C, Db, D, Eb and E ONLY!)
To avoid repetition (and sound as random as possible) is easy : within the major third, do not repeat de same interval consecutively
in the same direction!