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Conceptual Jazz - Improvising On Chromatic Harmonies
Conceptual Jazz - Improvising On Chromatic Harmonies
Date Posted: September 12 2011
Written By: Frank Caruso
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In one of my earlier articles I demonstrated the fact that all harmony can be conceived as “chromatic.” I used “Mary Had A Little Lamb” as an example, employing all 12 tonalities of a descending chromatic scale as the source for harmonizing a typical 1-V7-I progression.
I have received requests from some readers to demonstrate the handling of these changes and the resulting scale/chord tone patterns in manuscript form. In the following written exercises I have set forth some basic examples, using simple eighth-note patterns to suggest an approach to manipulating these “chromatic” harmonies.
Please make a serious attempt at utilizing a mixture of duple and triple meter ideas in executing these outlined exercises. Note the distinction between the various partial “chord tone” and “scale tone” patterns used in constructing these exercises.
Then, most importantly, construct your own ideas with your own parameters, guide tones and target notes; then internalize these ideas, working them into your muscle memory.
In these three exercises I have attempted to help jazz students with an approach to improvising over changes with alterations. In one of my earlier articles entitled “Scale
Identification” I listed the various scales that can be used with these chromatically inspired changes.
There are virtually limitless rhythmic and scale/chord change possibilities that can be explored in this treatment of “Mary Had A Little Lamb.” It is my hope that these exercises will help those who need an approach to better understand and manipulate chromatic harmonies.
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