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Cello Lessons: Soloing: Using Chromatic Neighbor Notes

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[MUSIC]
>> The B flat Mixolydian scale,
that is the home scale for
this tune [SOUND].
Can be augmented by a few
chromatic neighbor notes.
And the addition of just a few chromatic
neighbor notes is really gonna
make our improvising sound really,
really, much more jazzy.
So, our first chromatic neighbor is
an upper chromatic neighbor to the root
[SOUND].
That B natural [SOUND].
Also, we can add a flat third,
a D flat [SOUND],
which would lead up to the third or
even down to the second [SOUND].
And then also a sharp four
can help connect us between
the fifth scale degree and
the fourth scale degree [SOUND].
If I add these chromatic
notes in to the scale,
it would just sound like
this straight up [SOUND].
It's almost all chromatics,
I didn't put in [SOUND].
That, those two chromatics but you could
actually, especially that F sharp [SOUND].
That's gonna lead nicely
to the G [SOUND or the B.
And of course you have the choice to
throw in the A although, I would avoid
that one maybe a little bit more so
that flat seven quality [SOUND] comes out.
Let me just demonstrate
two solos in Blue Monk.
The first one is gonna be diatonic
with no chromatic neighbor notes.
And then I'm gonna introduce
these neighbor notes and
you'll see how much of
a difference they can make.
[MUSIC]
All just
diatonic.
[MUSIC]
In the chord scales.
[MUSIC]
A little
vanella.
Now let me add these
chromatic neighborhoods.
[MUSIC].
All right, so you can access all
sorts of different feels and
shapes with these chromatic neighborhoods.
So start exploring throwing them in even
if they're not from a specific scale,
just think of them as they
relate to the cord scales
when practicing.
[MUSIC]