This example uses a chromatic pattern, descending major seconds in descending minor seconds. Increase the tempo as you get the hang of … Some chromatic concepts can get pretty involved, though. I have another theory that jazz musicians turn to the chromatic scale when they’re (hopefully temporarily) bored with conventional harmony. They have been an essential part of my saxophone technique practice throughout my professional career. An example C chromatic scale. That’s a good place to start if you don’t know what ear training or playing by ear means. As I mentioned earlier in the article, some of these chromatic patterns form symmetric scales. A few that work well are: 7 down to 5 over a maj7 chord, 5 down to 3 over a minor chord, and 3 down to 1 over a major chord. Working on the chromatic scale will free up so many technical hang-ups. It will teach you how other scales are formed. It’s just all twelve tones. The scale construction starts to get interesting when you look at different patterns built from the chromatic scale. SAXOPHONE THIS BOOK BELONGS TO _____ - 3 - Before we begin… YOU ARE CREATIVE YOU ... B C C# OR Db CHROMATIC SCALE - 25 - D D# OR Eb E F F# OR Gb G 1) The Chromatic Scale is when you play every note on the instrument, in order, up or down. You didn’t know what the selected scales were going to be until the day of the audition. It’s just a simple chromatic idea, making sure to not hit any ‘bad’ notes on downbeats. One way to apply the chromatic scale is in the context of another scale or chord. The chromatic scale’s construction isn’t difficult to analyze. I guess this could be called chaos vs order. When we practice the major scale, we practice it in different diatonic patterns: the major scale in thirds, the major scale in fourths, diatonic triads, etc. There are saxophonists that I respect a great deal who disagree with using the side fingering in the chromatic. Then, there are some that take deliberate practice. The chromatic scale always stressed me out. Similarly, we can practice the chromatic scale in chromatic patterns: major seconds chromatically, minor thirds chromatically, minor thirds in major seconds, perfect fourths in minor thirds, major sevenths in major seconds, diatonic triads in major seconds, etc. It’s all the notes, in order. Or rather, there’s just one chord/scale relationship: the chromatic scale fits over every chord. These are really helpful to me. Really, it doesn’t matter how you analyze it. The chromatic scale’s construction isn’t difficult to analyze. This application was used in the second example above (major seconds in minor seconds). When we practice this scale in different patterns, we begin to see more familiar scales in a new light. To initially approach this you could take D to D. One octave and play chromatic. I’ve come to many realizations while working on the chromatic scale. Application of the chromatic scale to improvisation can fall into two broad categories: applying the chromatic scale in the context of another scale or chord, and applying the chromatic scale as its own chromatic idea. But, even in non-jazz contexts, practicing the chromatic scale is just a beneficial thing to do. This is an advanced technique that will come with time, but you can benefit from being conscious of it as a concept. When practicing the chromatic scale, you discover how the other symmetric scales are formed. This would involve moving from Side C to C Sharp and vice versa. Remember symmetric scales? But, it definitely has its place in jazz and improvisation. They were always posted on a list on a wall in a large auditorium. For me, personally, the chromatic scale has taught me a lot about musical harmony. There’s not really any reason why it works or sounds good. Classical music went in this direction at the turn of the 20th century. The whole tone scale is made up of major seconds in major thirds. Experience and trial-and-error will tell your ears what sounds good. At least not on a superficial level. The first five notes are clear contextual passing tones. With chromatic passing tones, we get the opposing ideas of diatonic vs chromatic. Chris K. is a saxophone player based in New York City. The augmented scale is made up of minor thirds in major thirds. It has some unique applications. Other patterns that create diminished scale patterns include: minor seconds in minor thirds, perfect fourths in minor thirds, tritones in minor thirds, major sixths in minor thirds, etc. It will help with making something as simple as a fall sound way better. It’s all the notes, in order. He is available for teaching lessons in the NY/NJ area and his Musika teaching profile can be found here. The chromatic scale has both simple applications to improvisation as well as some more complex applications. There are no harmonic or melodic constraints. Thanks for sharing nice information on music. There are a lot of possible chromatic exercises you can practice. There are some chromatic applications we do more or less innately. ALTO SAXOPHONE CHROMATIC SCALE : c melody saxophone for sale Alto Saxophone Chromatic Scale chromatic scale a 12-note scale including all the semitones of the octave The chromatic scale is a musical scale with twelve equally spaced pitches, each a semitone apart. Wiki User Answered . The chromatic scale is just totally free; no limitations. A chromatic scale is a nondiatonic scale having no tonic due to the… We can take that a step further. It’s always been a defining part of jazz, especially since the Bebop Era in the 1940s. Do I want to be more clear about a chromatic application? The diminished scale, whole tone scale, and augmented scale are built from the chromatic scale in chromatic patterns. Printable scales written for the saxophone, including major, melodic minor, harmonic minor, natural minor and chromatic Saxophone Scales Below are both printable pdf and html links to all the major, minor and chromatic scales for saxophone. Just like physical exercises repeated over time make your muscles bigger and stronger, so too will the saxophone chromatic scale make your playing bigger / better / stronger / faster / able to leap tall buildings in a … Side Keys (Side C and Side F#/Gb): In addition to the side Bb/A# key, there are also side keys for C and F#/Gb. Obviously there are not chord/scale relationships with the chromatic scale. The scale construction starts to get interesting when you look at different patterns built from the chromatic scale. This is something that takes deliberate practice and a discerning ear. A sort of musical nirvana. And chromatic scale patterns build the other symmetric scales. I remember back in middle school and high school preparing for regional band auditions. The line descends from 5 down to 3 chromatically. The diminished scale is made up of major seconds in minor thirds. The chromatic scale is a symmetric scale. The categories I’ve been using in my other jazz scales articles to describe how each scale is constructed and applied in music don’t quite fit with this scale. What note are in chromatic scales for alto sax? The notes in between the downbeats are technically passing tones, but there aren’t really any particular chords or scales that the passing tones are outlining. For this example - the chromatic scale in the key of C, let's assume that we are working with the major scale of the same key - C major scale, and want to identify some chromatic scale notes outside that key. When applying harmonic ideas or concepts to jazz improvisation, there are contextual and non-contextual applications. It’s useful when playing a B trill, when playing a chromatic scale, or when playing certain fast passages like the example provided. I play my C major scale in 3 octaves with ease, it just takes a little time and experimenting with new fingerings to get what you want. G, g#, a, a#,b,c,c#,d,d#,f,f#,g. I used to believe that one could eventually reach a certain point on his or her musical journey where scales don’t really exist anymore; where the chromatic scale is the only scale. This example uses the chromatic scale in a couple different ways. The scales category, if I remember correctly, consisted of a few selected major scales (I believe full range, both slurred and tongued) and the chromatic scale. It also contains the building blocks for all other scales. Most classical western music (the music of Bach and Beethoven, for example) is built around the octave (do-re-mi). I don’t really believe this anymore, although I’m sure there are musicians that don’t think in the context of scales, so who knows. This is the idea that led to the development of the bebop scale. Then, if we resolve to a simple diatonic idea, it creates a strong release. Placement was based on a scoring system. What makes the chromatic scale especially interesting in modern jazz, though, is applying it in a non-contextual way. It just does. You could say the Bb-Ab is outlining 1 down to b7 of the tritone substitution and call it contextual. When studying improvisation, we talk about tension and release. Answer. Some would call the chromatic scale a non-scale. If you’ve read my other articles, then you’ve already practiced contextual chromatic scale applications while working on the bebop scale. Many years later, I have a very different opinion of the chromatic scale. Practicing the chromatic scale will make your improvising more versatile and more interesting. Its really helpful for me. We will take the C chromatic scale as an example: C Chromatic Scale as you go up: C C# D D# E F F# G G# A A# B C C Chromatic Scale as you go down: C B Bb A Ab G Gb F E Eb D Db C How Are Chromatic Scales Used? Note: the major third of D (F#) is the #11 of C. The second weaves together two minor triads a whole step apart, (as illustrated below, C minor and D minor), which gives you the notes contained in a C Dorian scale (with the exception of Bb). A way to achieve tension and release is by utilizing opposing ideas: slow vs fast, dense vs sparse, close intervals vs wide intervals, etc. There are plenty of ways to use chromatic passing tones. If we use the chromatic scale in a seemingly random way, it can create very strong tension. There’s just something about being comfortable and totally fluid with playing chromatically. Call now 877-687-4524 or, © Copyright 2001 - 2020 Musika All Rights Reserved, Jazz Scales: The Chromatic Scale – CB Music Studios. Just keep practicing and you should be fine . Chromatic scale, whether it's a scale or chromaticism, is just a series of half steps. That assignment you were given was probably for wind players in general, because it's slightly unrealistic to expect atlo sax players fresh from middle school to be able to play some scales 2 or more octaves. The second measure is more like the first example. Knowing how to use the chromatic scale over a specific chord is a skill that just comes with experience. Studying the chromatic scale will definitely give you new insights into music. This first example uses the chromatic scale mostly straight and in a non-contextual way. Need Help Finding a Teacher? Hey. The best way to test this, perhaps, to try and work out other major scales just using your ears. It doesn’t sound nearly as good as the main C fingering, but definitely has a purpose. 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