start bringing the next element into this.
Let's bring some chromatics in.
This can be like the glue.
Chromatics is when we, when we go for our
target mode, but
we play a note, a semi-tone, either side.
It, the choice is yours which you go on
So with the first, let's do something
Here's a chromatic.
Okay, two, a one, two, three, four.
This is really simple.
Let's do it the other way.
Now with a third.
Now the fifth.
This becomes our glue.
So we can.
See it's starting,
it's getting there now isn't it.
We could start taking it a little
bit further away and getting a bit more
outside using those chromatic notes.
Which brings us, gives us tension and
A one, two,
There we go back.
[LAUGH] It's all based on this.
there, some of our little things that we
We have the two five one, D-minor seventh
G seventh to C.
We can use our target notes.
Target, target, targeting an interval.
We can target the first, the third, the
fifth, the seventh.
We can embellish around that.
Use that as our little point.
So, if you hit the first.
You can play.
Or without chromatics.
But use that as your target point.
That's where you, where you, you want to
That really glues it all together.
And then we can take a little bit further.
And if we can get a little bit more
Another thing you can do as well you can
find the right,
right point as you can actually start
bringing a minor pentatonic in there.
The blues scale.
Which is basically you're playing a minor
third against a major third.
So you can play that on, on the C.
If you want to put a little bluesy touch.
If you want a,
put a little bluesy thing in there.
So that's, that's how I would approach
And from there, from the very basics,
basics of that absolutely corny stuff.
Little corny triads that we're playing.
We can take it further.
Target notes, melodic embellishments,