
Having the ability to artfully add those "in-between" notes is a cornerstone of jazz guitar. Here’s how you do it.
Intermediate
Intermediate
• Understand the basic elements of the CAGED system.
• Learn the “rules” for adding outside notes.
• Expand your view of the fretboard in every key.
Have you ever asked yourself if you “know” all your scales? Well, one might answer that question with the chromatic scale. Simply put, the chromatic scale is all 12 notes. Chromaticism plays an important role in the construction of melodic lines in jazz, allowing dissonance to resolve into consonance. Jazz players are fond of a famous quote that basically states: No matter where you are on the neck, if you hit a “wrong” note you’re only a half-step away from a “right” one. This lesson will show how to integrate chromatics into major and minor CAGED scale forms, as well as provide examples of jazz lines. While this lesson centers around a major scale, this method of visualizing chromatic scales works with all scale types.
Let’s begin with a fingering for a chromatic scale. Ex. 1 shows an ascending and descending one-octave chromatic scale in open and first positions. We’re starting on C, so I used a Cmaj7 chord as the underlying harmony.
Ex. 1
Let’s expand that idea in Ex. 2. Here we are starting on F and playing a chromatic scale up to the A on the 1st string before descending to where we started. Because we aren’t using any open strings, this fingering can easily be moved up and down the neck.
Ex. 2
To clearly see how to integrate the chromatic scale into the major scale forms, I believe it’s best to start with one-octave major scale fingerings. Since we want these to be movable all over the fretboard, I’ve written them in 2nd position to avoid any open strings.
Ex. 3 is based on the “A” shape in the key of C.
Ex. 3
Ex. 4 is based on the “E” shape in the key of G.
Ex. 4
Ex. 5 is based on the “C” shape in the key of D.
Ex. 5
Ex. 6 is based on the “G” shape in the key of A.
Ex. 6
Finally, Ex. 7 is based on the “D” shape in the key of F.
Ex. 7
Now that we have our scale forms, let’s add in the chromatics by filling the spaces between the diatonic major scale tones. There are two possible fingerings for the chromatic scales derived from these forms, due to the guitar’s tuning. The following group of examples illustrates these fingerings.
Ex. 8 is based on the “A” shape in the key of C.
Ex. 8
Ex. 9 is based on the “E” shape in the key of G.
Ex. 10 is based on the “C” shape in the key of D.
Ex. 10
Ex. 11 is based on the “G” shape in the key of A.
Ex. 11
Finally, Ex. 12 is based on the “D” shape in the key of F.
Ex. 12
Generally, melodic lines are constructed using a balance of scalar and arpeggiated movement. Think of chord tones (root, 3, 5, 7) and the extensions (9, #11, 13) as areas of resolution. Chromatic passing tones are initially inserted between whole-steps, allowing connections and resolutions to chord and scale tones.
In measure one of Ex. 13, Ab is inserted between A and G, allowing a descending chromatic passage. Also, note the Eb inserted between E and D. Most of this example makes use of this device.
Ex. 13
In Ex. 14, I’m using mostly descending chromatic passing tones, but observe the ascending chromatics in measures one, two, and four. I briefly hit a C# in the first measure. Normally, I would resolve to D. Instead, I skip to E and then descend chromatically to D.
Ex. 14
By now, these chromatic devices should start to sound familiar to your ear. In Ex. 15, I’m pretty much sticking to ascending and descending chromatic movement.
Ex. 15
Ex. 16 balances the ascending and descending chromatic movement. Notice the four-note motivic sequence in measure two.
Ex. 16
Ex. 17 starts off with a very cool way to skip between two chord tones. In this case, we move from the root (F) to the 7 (E) and then descend chromatically to D. From there we skip up to the root and then leap down to A before approaching the root chromatically from G. When you start to isolate and analyze the nuances of these lines, they become easier to integrate into your own playing.
Ex. 17
Once you understand the basics of integrating chromatics into a one-octave major scale form, then you can apply those same principals to the full CAGED fingerings. Ex. 18 shows each fingering.
Ex. 18
Ex. 19 illustrates how to expand the full “C” shape to include all the chromatic notes.
Ex. 19
Ex. 20 expands on the “A” shape.
Ex. 20
Ex. 21 expands on the “G” shape.
Ex. 21
Ex. 22 expands on the “E” shape.
Ex. 22
Ex. 23 expands on the “D” shape.
Ex. 23
Ex. 24 expands on the “C” shape in closed position.
Ex. 24
The following examples cover the full range of the scale forms. All of the examples are over a major 7 chord quality.
Ex. 25 makes a straight-ahead use of ascending and descending chromaticism. To avoid turning your line into a total chromatic passage with no whole-steps, it’s important to balance diatonic and chromatic movement. Of special interest in this line is measure four, which leaps from G to E to G and follows with an ascending chromatic approach to A.
Ex. 25
In measure one of Ex. 26, notice the chromatic descent from A to G. This is followed with an ascending Gmaj7 arpeggio. The rest of the line is made up of various ascending and descending chromatic movements. A special moment occurs in measure four, where D skips to Ab and then moves down to F# before resolving on G. The G is therefore approached chromatically from both above and below, which is called a double-chromatic approach.
Ex. 26
Ex. 27 kicks off with almost a boogie-woogie pattern. When it gets to A, a skip occurs from A to C# (root to 3) and then moves to a chromatic descent from B to A. Similarly, a skip in measure four moves from D to E before resolving chromatically to D.
Ex. 27
There’s more sequential writing in the first measure of Ex. 28. The first two beats establish a bit of a chromatic motif that catches the ear. Measure three uses one of my favorite chromatic devices, where on beat 3 you skip up from a root to a 5 and then drop to the 7 and descend chromatically as little or as much as you want. In this case, I went chromatically from G# to F#.
Ex. 28
Finally, we have Ex. 29. If you’ve made it this far you must really love chromatics! We kick off with a downward leap from the root to the 3 before ascending chromatically to the 5. Always try to keep chord tones on the strong beats, as this will help give your lines focus and direction.
Ex. 29
MayFly Le Habanero Review
Great versatility in combined EQ controls. Tasty low-gain boost voice. Muscular Fuzz Face-like fuzz voice.
Can be noisy without a lot of treble attenuation. Boost and fuzz order can only be reversed with the internal DIP switch.
$171
May Fly Le Habanero
A fuzz/boost combo that’s as hot as the name suggests, but which offers plenty of smoky, subdued gain shades, too.
Generally speaking, I avoid combo effects. If I fall out of love with one thing, I don’t want to have to ditch another that’s working fine. But recent fixations with spatial economy find me rethinking that relationship. MayFly’s Le Habanero (yes, the Franco/Spanish article/noun mash-up is deliberate) consolidates boost and fuzz in a single pedal. That’s far from an original concept. But the characteristics of both effects make it a particularly effective one here, and the relative flexibility and utility of each gives this combination a lot more potential staying power for the fickle.
“Le Habanero’s fuzz circuit has a deep switch that adds a little extra desert-rock woof.”
The fuzz section has a familiar Fuzz Face-like tone profile—a little bit boomy and very present in that buzzy mid-’60s, midrangey kind of way. But Le Habanero’s fuzz circuit has a deep switch that adds a little extra desert-rock woof (especially with humbuckers) and an effective filter switch that enhances the fuzz’s flexibility—especially when used with the boost. The boost is a fairly low-gain affair. Even at maximum settings, it really seems to excite desirable high-mid harmonics more than it churns out dirt. That’s a good thing, particularly when you introduce hotter settings from the boost’s treble and bass controls, which extend the boost’s voice from thick and smoky to lacerating. Together, the boost and fuzz can be pushed to screaming extremes. But the interactivity between the tone and filter controls means you can cook up many nuanced fuzz shades spanning Jimi scorch and Sabbath chug with tons of cool overtone and feedback colors.
IK Multimedia is pleased to announce the release of new premium content for all TONEX users, available today through the IK Product Manager.
The latest TONEX Factory Content v2 expands the creative arsenal with a brand-new collection of Tone Models captured at the highest quality and presets optimized for live performance. TONEX Tone Models are unique captures of rigs dialed into a specific sweet spot. TONEX presets are used for performance and recording, combining Tone Models with added TONEX FX, EQ, and compression.
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TONEX Pedal
- 150 crafted presets matched to 150 Premium Tone Models
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TONEX Mac/PC
- 106 new Premium Tone Models + 9 refined classics for TONEX MAX
- 20 new Premium Tone Models for TONEX and TONEX SE
TONEX ONE
- A selection of 20 expertly crafted presets from the list above
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Gig-ready Tones
For the TONEX Pedal, the first 30 banks deliver an expansive range of amp & cab tones, covering everything from dynamic cleans to brutal high-gain distortion. Each bank features legendary amplifiers paired with cabs such as a Marshall 1960, ENGL E412V, EVH 412ST and MESA Boogie 4x12 4FB, ensuring a diverse tonal palette. For some extremely high-gain tones, these amps have been boosted with classic pedals like the Ibanez TS9, MXR Timmy, ProCo RAT, and more, pushing them into new sonic territories.
Combined with New FX
The following 5 banks of 15 presets explore the depth of TONEX's latest effects. There's everything from the rich tremolo on a tweed amp to the surf tones of the new Spring 4 reverb. Users can also enjoy warm tape slapback with dotted 8th delays or push boundaries with LCR delay configurations for immersive, stereo-spanning echoes. Further, presets include iconic flanger sweeps, dynamic modulation, expansive chorus, stereo panning, and ambient reverbs to create cinematic soundscapes.
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The TONEX Pedal's A, B, and C footswitches make navigating these presets easy. Slot A delivers clean, smooth tones, Slot B adds crunch and drive, and Slot C pushes into high-gain or lead territory. Five dedicated amp-only banks provide a rich foundation of tones for players looking to integrate external IRs or run directly into a power amp. These amp-only captures span clean, drive, and high-gain categories, offering flexibility to sculpt the sound further with IRs or a real cab.
Must-have Stompboxes
TONEX Pedals are ideal for adding classic effects to any pedalboard. The next 5 banks focus on stompbox captures, showcasing 15 legendary overdrive, distortion, and fuzz pedals. This collection includes iconic models based on the Fulltone Full-Drive 2, Marshall DriveMaster, Maxon OD808, Klon Centaur, ProCo RAT, and more.
For Bass Players, Too
The last 5 banks are reserved for bass players, including a selection of amp & cab Tone Models alongside a few iconic pedals. Specifically, there are Tone Models based on the Ampeg SVT-2 PRO, Gallien-Krueger 800RB, and Aguilar DB750, alongside essential bass pedals based on the Tech21 SansAmp, Darkglass B7K and EHX Big Muff. Whether it's warm vintage thump, modern punch, or extreme grit, these presets ensure that bassists have the depth, clarity and power they need for any playing style.For more information and instructions on how to get the new Factory
Content v2 for TONEX, please visit:
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Darkglass Electronics unveils ANAGRAM, a flagship bass platform designed to redefine tone, flexibility, and performance. The pedal’s extraordinarily deep feature set includes multiple effects and modeling, an on-board looper and tuner.
Best of all, ANAGRAM brings together these creative tools in a streamlined, rugged format that’s designed for ease of use. Onstage and in the studio, bassists can quickly access and fine-tune their sound via the ANAGRAM interface:
- 7-inch high-brightness touchscreen for clear and intuitive control.
- Three footswitches for live performance control.
- Six high-resolution endless rotary knobs for precise parameter adjustments.
- Flexible input and output configuration.
With ultra-low latency, extensive customization, and seamless integration into the Darkglass ecosystem, it supports both studio precision and stage performance. Combining 15 years of innovation with cutting-edge processing power, ANAGRAM offers a purpose-built solution for bassists seeking unparalleled sound-shaping capabilities.
Anagram
Powered by a state-of-the-art hexacore processor and 32-bit/48kHz audio processing,ANAGRAM delivers ultra-low latency, pristine clarity, and studio-grade sound. Its intuitive blocks-based architecture lets players create signal chains in series (12 blocks) or parallel (24blocks) using a high-resolution touch display. ANAGRAM features three control modes—Preset,Scene, and Stomp—for instant switching, parameter adjustments, and traditional pedalboard-style operation. With a curated collection of distinct preamps, 50+ customizable effects, a looper, tuner, and user-generated IR support, ANAGRAM delivers unmatched creative flexibility.Seamless integration with the Darkglass Suite allows for expanded control and functionality. Additionally, Neural Amp Modeler (NAM) integration provides access to thousands
of high-quality amp and effect models, expanding tonal possibilities from analog warmth to futuristic textures.
"Anagram represents the culmination of years of research and development," says Marcos Barilatti, Managing Director of Darkglass Electronics. "We set out to create a product that not only pushes the boundaries of bass tone but also inspires musicians to explore new sonic territories."
Housed in a rugged anodized aluminum chassis, ANAGRAM is road-ready, compact, and powered via 9V or USB-C (PD). With flagship features at a compelling price, ANAGRAM represents the new standard for bassists seeking a modern platform for their performance.
Street $1199.99 USD
Alongside Nicolas Jaar’s electronics, Harrington creates epic sagas of sound with a team of fine-tuned pedalboards.
Guitarist Dave Harrington concedes that while there are a few mile markers in the music that he and musician Nicolas Jaar create as Darkside, improvisation has been the rule from day one. The experimental electronic trio’s latest record, Nothing, which released in February on Matador, was the first to feature new percussionist Tlacael Esparza.
Taking the record on tour this year, Darkside stopped in at Nashville’s Brooklyn Bowl, where Harrington broke down his complex signal chains for PG’s Chris Kies.
Brought to you by D’Addario.
Express Yourself
Harrington bought this mid-2000s Gibson SG at 30th Street Guitars in New York, a shop he used to visit as a kid. The headstock had already been broken and repaired, and Harrington switched the neck pickup to a Seymour Duncan model used by Derek Trucks. Harrington runs it with D’Addario NYXL .010s, which he prefers for their stretch and stability.
The standout feature is a round knob installed by his tech behind the bridge, which operates like an expression pedal for the Line 6 DL4. Harrington has extras on hand in case one breaks.
Triple Threat
Harrington’s backline setup in Nashville included two Fender Twin Reverbs and one Fender Hot Rod DeVille. He likes the reissue Fender amps for their reliability and clean headroom. Each amp handles an individual signal, including loops that Harrington creates and plays over; with each amp handling just one signal rather than one handling all loops and live playing, there’s less loss of definition and competition for frequency space.
Dave Harrington’s Pedalboards
Harrington says he never gives up on a pedal, which could explain why he’s got so many. You’re going to have to tune in to the full Rundown to get the proper scoop on how Harrington conducts his three-section orchestra of stomps, but at his feet, he runs a board with a Chase Bliss Habit, Mu-Tron Micro-Tron IV, Eventide PitchFactor, Eventide H90, Hologram Microcosm, Hologram Chroma Console, Walrus Monument, Chase Bliss Thermae, Chase Bliss Brothers AM, JHS NOTAKLÖN, two HexeFX reVOLVERs, and an Amped Innovations JJJ Special Harmonics Extender. A Strymon Ojai provides power.
At hip-level sits a board with a ZVEX Mastotron, Electro-Harmonix Cathedral, EHX Pitch Fork, Xotic EP Booster, two EHX 45000 multi-track looping recorders, Walrus Slöer, Expedition Electronics 60 Second Deluxe, and another Hologram Microcosm. A Live Wire Solutions ABY Box and MXR DC Brick are among the utility tools on deck.
Under that board rest Harrington’s beloved Line 6 DL4—his desert-island, must-have pedal—along with a controller for the EHX 45000, Boss FV-50H volume pedal, Dunlop expression pedal, Boss RT-20, a Radial ProD2, and another MXR DC Brick.