Chromaticism §\ Shaun Baxter looks at the time-honoured >} practice of introducing a target note by using —_ surrounding scale-and non-scale notes. > Moderate Advance Info Wilimpeove your A Orem 20 ym | et scen neat TRANSS456 | Tape eee i enclosre technique (prominent rusia feature when playing angle note ines in jaza)has been an aspect of classical musi for centuries, fram the ‘musica feta’ of Medieval and Renaissance musi, to Baroque composers uch a Bac, Mozart and Haydn, up tothe Romantic music of Schubert, Chopin and beyond inthis series, we veaen king atthe se of on-acle motes in onder toad spice to ‘ur ines By mobilising notes that are no in the key (chromatic), we getto nearly lube the amox tof itferen notes in our ‘musical palette (rom seven pe eta, 012) and thiscan really enliven therm sound much more sophisticated chromatic provides swith osand make ity tose tenon (dissonance) it (corsonace, rather than jut vel on consonant notes he time, 0 far, we have looked at 1) Chromatic approac-notes:singlenote ‘sed either fom asemitone aboweer below the target note 2) Chromatl begin: whereby one not linked te another (however fr apart by aconsecutiveseriesof scale toes and chrommati steps Incasica musi, when chord ‘onojs arrived at vin ehromatieraute itis kaown as chromatidecoraton, Hrweve, la ths eeo, we ae gon explore the concept of nese Rascals, enclosareimvolves anyronding tar nots rma above and belo ther datonialy (fom the scale) or hromatcally (rom ouside ‘the scale, so thatthe target eis “fell surrounded oe enelaned by ‘the dacarative mata eng up tt Generally, when xppling seed tobe conalderd are 4) Whether chromatic noteisused ‘onan offbeat the mst palatable option) ora downbeat (he nto, pungent option). 1) The speed at which chromatic is Applied: thelonger younger ona chtouuticnote, the moet wall prolong tension fr the listener converse the quicker pi the sorelberts canbe than ay ‘wakions erated ae bre. Forthesolo pies, builing on our recent Molin stad we are going continue tousean A7-C7-D7-)-67 ‘hora progesion witha diferent Mixolan ing aed rom theroot of each chord Throughout the sao 'smportant to re visually grounder youl gtlast andi tobesbetorespply what youhave learned to theca iets peaod locket Diagram which showsall five CAGED shapes of Mivolytan Before wansferrng tat sae information tothe aher keys (or Cz, D7, E> and?) Use thi information as your vial reference when moving around the neck, Inthe solo transcription each chromatic rots incest ing an asterisk ust thst yortean visual istinguish them fom the corres notes (in ote words the onesthat balongto each Milian mode) however, thiseloes ot mean that they should be played ENCLOSURE INVOLVES APPROACHING A TARGET NOTE FROM ABOVE AND BELOW, TO DIATONICALLY AND CHROMATICALLY SURROUND IT as ghost snotes no rhthmie van}: each chromate note has fll ote-value (ually anelghth-note inthis solo) and should be Paved as loud and proud asany other note ithinthe line Finally, the solo ransrption ls eures hybrid piching indications for certain sections that reflect the technical approach tat weld normale adopt ry most nuntry-rock tar players; however isnot eeenta ‘The same setons can also be altemate picked (at-pcked, Jost fous on producing as auch staceato ap and separation between the notes as possible Shaun bringsusanother Misolydian sl to learn in Creative Rock ae eed Se ener eee Eire stent enrrorreron ee crs Pirrsaarcjeumtincsanis hehe Eee eeamentcen