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Chromatic Neighbors
By Vincent Demasi

Located one half-step below a scale tone

or chord tone, the chromatic lower
neighbor (CLN) comes in handy when you
want to embellish a melody. Many jazz,
swing, rockabilly, and country guitarists
use this technique to heat up their lines.

The basic concept. We'll start with a plain vanilla C major scale
played in thirds (Ex. 1). Hmm -- not too thrilling. Now try Ex. 2. It
features the same basic scale pattern, enhanced with chromatic
lower neighbors -- definitely more compelling.

More edge. Now play Ex. 3a, an unadorned A7 arpeggio. With its
CLN action, Ex. 3b sounds much more interesting. Notice that
we're still outlining A7, but because each CLN acts as a leading
tone -- half-stepping into its respective chord tone -- there is more
forward momentum.

Reminiscent of Django Reinhardt, the minor swing line in Ex. 4

also sounds great played with rockabilly energy through a cranked
Fender Twin. Although this passage is based on simple Dm and
A7 arpeggios, the many CLN tones provide edgy propulsion.

Once you hear how CLNs work, you'll have no trouble snapping
them into your favorite lines. Welcome to the hood.

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Listen to Example 4
DEMASI4.WAV (for Windows)
DEMASI4.AIF (for Macintosh)

VINCENT DEMASI is a regular contributor to The Island Ear, a

music magazine in Long Island, New York.

2 of 2 3/31/2007 2:20 PM