Approaching Notes Chromatically
The term chromatic in this context simply refers to a note one half step (fret) down from our target/scale tone. So we're approaching our scale tones from the fret below.
In a moment, we'll look at different ways in which we can use this approach. First, we need to be comfortable with visualizing these chromatic tones around the scale pattern.
Starting with minor pentatonic, we can add in a chromatic tone (the orange markers) before each of the scale tones as
follows...
So each scale tone is now linked to a chromatic "approach" tone.
Familiarize yourself with the new pattern by playing through each scale
tone, preceded by its chromatic tone. Just pick each note for now. Here
I'm using A
minor pentatonic with the approach tones in orange...
Then it's simply a case of "slurring" these approaches using legato techniques such as hammer-ons, slides and bends. This will "soften" or "smooth out" the dissonance of the initial chromatic note, as we'll be resolving it quickly to the (harmonious) scale tone.
Hammer Ons
Slides
Bends
Chromatic Approach in Phrasing
Once you're confident with moving through the scale pattern like this, try building simple phrases using different combinations of these three approach techniques.
There are no rules as such, but perhaps refrain from using the chromatic approach on every note! Let some notes sit naturally in the sequence.
Some examples, again using A minor pentatonic ( / = slide up
b
= bend h
= hammer on)...
Backing Track
Now try out your own A minor pentatonic ideas over the backing track below (A minor key)...
That's the basic idea, and you can apply it to any scale, lick or solo
you may know/learn.
Tip: You can also apply this technique to arpeggio patterns and even chord shapes. The main thing is that you establish a target note (e.g. a chord tone) and can visualise the approach from just below it. How you get there (pick, bend, slide etc.) is up to you!
Start with those basic picked phrases and then sprinkle in the approaches to different notes. See how many variations you can create from the same phrase then move on to another phrase. Finally, link them together.
Let's finish up with another scale example - Mixolydian...
This time we're going to repeat notes by picking them as usual and then hammering-on, sliding or bending into them immediately after. Repetition is a great way of emphasizing those strong target notes in your phrases.
Some examples of repetition in B♭ Mixolydian (positioned at the 6th fret using the
above pattern)...
Or you could play a more prolonged repetition as follows (you could
replace the hammer ons with slides if you prefer)...
Some more examples of chromatic approach in B♭ Mixolydian...
Backing Track
Once again, try jamming out your own ideas over this B♭ Mixolydian track. Note that B♭ major pentatonic would also work fine if you prefer...
See what you can come up with by applying the chromatic approach method to scales and licks you know and turn that flat, lifeless scale plodding into a more sincere musical statement!
Hope you enjoyed it. Feel free to share your discoveries and ideas using this method in the comments below.
