Illustrate how to develop a melodic improvisation using both diatonic and chromatic passing tones over a complex chord progression.
Developing a melodic improvisation over a complex chord progression using both diatonic and chromatic passing tones involves a combination of theoretical understanding and creative application. Diatonic passing tones are notes that fall within the scale of the current key or chord, while chromatic passing tones are notes that lie outside of the current scale. The strategic use of both types of passing tones allows an improviser to connect chord tones, add melodic interest, and create a sense of forward motion.
A diatonic passing tone connects two chord tones by moving stepwise within the scale of the current chord. For example, if you are improvising over a C major chord, and your melodic line moves from C to E, a diatonic passing tone would be the note D, because it falls within the C major scale and lies between the notes C and E. Using these notes allows the improviser to connect chord tones while also maintaining the sense of being in key. This is a key aspect to creating a flowing melody within the underlying chord progression. This is a very effective method for crafting smooth and melodic phrases.
Chromatic passing tones, on the other hand, are notes that lie outside the diatonic scale of the current chord or key. They are often used to add color, tension, and a touch of surprise to the melodic line. For example, in the same C major chord example, if your melodic line moved from C to E, a chromatic passing tone could be C# or D#. Chromatic notes connect the chord tones by half step movement. This means that the note that precedes or follows a chromatic passing tone is most of the time, a chord tone. Chromatic notes are very effective for adding color and excitement to a solo. They should not be used without discretion, or the solo might sound messy. Chromatic passing tones are great for creating a sense of chromaticism, moving beyond the limitations of any key, adding a layer of complexity and sophistication to the solo. They also can create interesting melodic shapes and allow for smoother transitions between notes, and create a more compelling solo.
Now, let’s apply these concepts to a more complex chord progression. Consider a ii-V-I progression in C major, but this time we add alterations to the dominant chord: Dm7 - G7alt - CMaj7.
Here’s how diatonic and chromatic passing tones might be used:
1. Over the Dm7 chord: You might start your melodic line on F (the 3rd of Dm7), and then move down to E and then to D, all with diatonic passing tones within the D dorian mode. These passing tones create smooth stepwise connections between the chord tones and stay entirely within the Dm7 scale. Another way would be to start on A and then move step wise to G and then to F, also diatonic notes within the Dm7 chord, creating a melodic line.
2. Over the G7alt chord: Instead of just using diatonic notes over the G7alt, we can use chromatic passing tones to create a unique melodic line. You could start on B, a chord tone, then move to C, a diatonic passing tone, then to C#, a chromatic passing tone, and then to D, a chord tone from G7. Or, you could move from B to C, to C# and then to D, all connecting chord tones. The C# creates a bit of tension, and the motion from C to C# allows a smooth transition to D, a chord tone. Another example would be moving from F (7th of G7) down to E, a diatonic passing tone, then to Eb, a chromatic passing tone, and then down to D, a chord tone. The Eb creates a chromatic movement towards D, and a smooth harmonic motion. These chromatic passing tones also create a more modern sound, as it alters the traditional sounds of the dominant chord. Using chromaticism is a great way to spice up a solo, but should be used in moderation.
3. Over the CMaj7 chord: You might begin on E, the third of Cmaj7 and then move up to F, and then to G, all diatonic passing tones within the C major scale, creating a smooth, familiar melodic line within C major. Another way would be to start on the root C, then use a chromatic note like C# to go to D. In this case, the chromatic passing tone creates a more unexpected movement between chord tones. Another way would be to start on G, and move step wise downwards to F, then to E, connecting a chord tone G to chord tone E using diatonic notes. These examples highlight the use of different kinds of passing tones, which create a smooth and pleasing resolution.
The key to effectively using both diatonic and chromatic passing tones lies in the balance. Using only diatonic passing tones can sometimes make the improvisation sound too predictable, while using too many chromatic passing tones can lead to a sense of harmonic aimlessness. The best approach involves integrating both, using diatonic passing tones to create a foundation and then strategically incorporating chromatic passing tones to add color, tension, and a sense of surprise. The effective use of both types of passing tones will lead to a more interesting, engaging, and expressive improvisation.
In conclusion, developing a melodic improvisation over a complex chord progression involves a careful combination of using diatonic and chromatic passing tones. Diatonic passing tones allow you to connect chord tones within the key and keep a sense of familiarity while chromatic passing tones add color and tension to the melodic line. When used effectively, this approach allows the improviser to create a diverse and highly expressive solo.