
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
Brent Mason is, of course, on of the most recorded guitarists in history, who helped define the sound of most ’90s country superstars. So, whether you know it or not, you’ve likely heard Mason’s playing.
Professional transcriber Levi Clay has done the deepest of dives into Brent Mason’s hotshot licks. At one point, he undertook the massive project of transcribing and sharing one of Mason’s solos every day for 85 or so days. Mason is, of course, on of the most recorded guitarists in history, who helped define the sound of most ’90s country superstars. So, whether you know it or not, you’ve likely heard Mason’s playing. Levi shares the insight he gleaned from digging deep, and he tells us what it was like when they shared a stage last year. Plus, Levi plays us some great examples of Mason’s playing.
For the first time ever, two guitar greats, John 5 and Richie Kotzen will be heading out on the road this year. The tour will launch October 16 and run through November, hitting markets across the U.S.
Find the full tour itinerary right plus a link for tickets & VIP, including additional dates featuring John 5 only. Reserved seating tickets will go on sale Friday May 16 though a fan presale will begin today at noon local time and fans are strongly encouraged to buy early to get the best seats.
Meet and Greets for both artists will be available. For John 5 please go to: https://john5store.com/collections/vip.
Today, John 5 also announces more details of his anticipated new album. Called The Ghost, it will be released October 10 and is led by the new track “Fiend,” featuring Kenny Aronoff.
John 5 continues running public tours this month for his Knights In Satan’s Service Museum of KISS Memorabilia in Los Angeles, California. Guided tours are open to the public for one month only (with a possible expansion). Current dates available are May 12-16, May 19-23 and May 27-30. Each will be led by John 5 himself who will provide tons of rich detail and answer any questions. Secure your place HERE.
JOHN 5 continues to tour with Mötley Crüe including an upcoming residency in Las Vegas in 2025.RICHIE KOTZEN &
JOHN 5 FALL 2025 TOUR
October 16 El Cajon, CA @ Magnolia
October 17 Riverside, CA @ Fox Performing Arts
October 18 Roseville, CA @ Goldfield Trading Post
October 19 San Jose, CA @ The Ritz
October 21 Phoenix, AZ @ Celebrity Theatre
October 22 Albuquerque, NM @ KiMo Theatre
October 24 Dallas, TX @ Granada Theater
October 25 Leander, TX @ The Haute Spot
October 27 New Orleans, LA @ House of Blues
October 28 Memphis, TN @ Minglewood Hall
October 29 Nashville, TN @ Fogg Street Lawn Club
October 30 Atlanta, GA @ Variety Playhouse
October 31 Orlando, FL @ House of Blues
November 1 Fort Lauderdale, FL @ Culture Room
November 2 Clearwater, FL @ Capitol Theatre
November 4 Richmond, VA @ The National
November 5 Leesburg, VA @ Tally Ho Theater
November 6 Patchogue, NY @ Patchogue Theatre
November 11 Glenside, PA @ Keswick Theatre
November 12 Derry, NH @ Tupelo Music Hall
November 13 Foxborough, MA @ Six String Grill & Stage
November 14 Stroudsburg, PA @ Sherman Theater
November 15 Lorain, OH @ Lorain Palace Theatre
November 16 Columbus, OH @ The King Of Clubs
November 17 Warrendale, PA @ Jergels
November 19 Wyandotte, MI @ District 142
November 20 Flint, MI @ The Machine Shop
November 21 Fort Wayne, IN @ Piere’s
November 22 St. Charles, IL @ Arcada Theatre
November 23 Belvidere, IL @ Apollo Theatre
November 25 Denver, CO @ Oriental Theater
November 29 Pioneertown, CA @ Pappy & Harriet's*
*John 5 only
AEROSMITH guitarist and songwriter JOE PERRY is set to return to the road for a series of August performances with THE JOE PERRY PROJECT. The 8-date run kicks off August 13 in Tampa, FL and wraps August 23 in Port Chester, New York, with an August 19 performance in PERRY’s Boston hometown (see the itinerary below). For the North American trek—which marks the first solo shows for PERRY this year—the legendary guitarist will be joined by his Aerosmith bandmates Brad Whitford (guitar) and Buck Johnson (keys), along with The Black Crowes’ Chris Robinson (vocals), and Stone Temple Pilots’ Robert DeLeo (bass), and Eric Kretz (drums).
“Well…it’s time to let the music do the talkin again,” PERRY says. “I’m really excited about the JPP line up this year!!!! Most of these guys played with me at The Roxy in L.A. at the debut event for my latest solo album [Sweetzerland Manifesto] in January 2018. They’re all busy as hell but thankfully they’re able to carve out some time for this run. And I’m not only lucky enough to have Brad Whitford onstage with me but Chris Robinson of The Black Crowes! [who sang ‘Fortunate One’ on Sweetzerland Manifesto MKII], Robert DeLeo and Eric Kretz from STP!!! and Buck Johnson who plays keys and sings with Aerosmith, the Hollywood Vampires, and is also a solo artist in his own right.”
For the shows, the Rock and Roll Hall of Fame inductee says “the set list is gonna include my fav JPP cuts, STP, Black Crowes, and with Brad we’ll be hitting the Aero hits and some deep cuts and then ya never know!!!! Gonna be a BLAST, and if you’ve ever been to one of my shows you know the words GARAGE BAND on STEROIDS come to mind! See you there!!!!”
DATE | LOCATION | VENUE |
Wednesday, August 13 | Tampa, FL | Seminole Hard Rock - Tampa |
Thursday, August 14 | Hollywood, FL | Seminole Hard Rock - Hollywood |
Saturday, August 16 | Toronto, ON | HISTORY |
Sunday, August 17 | Muskoka, ON | Kee to Bala |
Tuesday, August 19 | Boston, MA | Wang Theatre |
Wednesday, August 20 | Hampton Beach, NH | Hampton Beach Casino Ballroom |
Friday, August 22 | Mashantucket, CT | The Premier Theater at Foxwoods Resort Casino |
Saturday, August 23 | Port Chester, NY | Capitol Theatre |
A sample page from the author’s analog log.
Seasonal changes are tough on your acoustic. Here’s how you can take better care of your prized instrument.
As you read this, spring is in bloom in most of the US, or maybe it has been for some time. I’m timing this column specifically to ask acoustic guitarists, in this season of increasing humidity and comfortable conditions, to prepare for what’s coming. It’s never too soon, and time flies. Before you know it, we’ll be back to the maintenance phase and you might be blowing up the phones of your local guitar shops, luthiers, and techs. I’m here to encourage a decidedly old-school approach to preventative guitar maintenance, and yes, it starts now.
Why, you ask? Well, as the lead luthier at Acoustic Music Works, I can tell you that in my nearly 15 years in this position, this was the worst winter ever for preventable repairs on acoustic guitars. Fret sprout, bridge lifts, top sink, soundboard cracks, back cracks, loose binding, general malaise… These hit us very hard in the winter that spanned 2024 and 2025. Am I complaining? On the one hand, no. This is part of how we make our money. On the other hand, yes! Repair schedules related to dryness and humidity issues can stretch into weeks and even months, and nobody wants to be without their favorite instruments for that amount of time. With a little thoughtfulness, however, you might get through next winter (and every one thereafter) without hefty repair bills or time apart from your musical companion.
Our preparation is going to start with an unlikely but very important guitar accessory: the humble notebook. Plain, lined, grid, day planner… it doesn’t matter. We all need to actively participate in our instrument maintenance, and in my experience, fancy apps that track humidity via Bluetooth breed a kind of laziness, a feeling of safety that might prevent us from actually physically looking in on conditions. Better we keep an analog, well, log, so that we know where things stand, and I suggest checking in daily.
“This was the worst winter ever for preventable repairs on acoustic guitars.”
Track your relative humidity, both in the case and in the room where your instruments mostly reside, but also take notes on your action height, top deflection (StewMac has some great tips for measuring this) and anything related to playability that you believe you can observe empirically.
Dryness is the root cause of most guitar issues that manifest in the fall and winter months. Symptoms of dryness include sharp fret ends, falling action and dead frets, sunken top around the sound hole, and cracks and bridge lifts. With your trusty notebook, you’ll get a feel for the sensitivity level of your instrument, and that knowledge is power!
A few other basic implements will not only assist you in your observations, but may also satisfy your need to buy guitar-related things (at least for a minute). Getting quick and comfortable with a fret rocker is a great skill to have, and is invaluable in diagnosing buzzes due to high frets or frets that have come unseated due to dryness. A well-calibrated relief gauge might seem luxurious, but it can prevent you from making unnecessary or extreme truss rod adjustments. A string action gauge, or even a simple machinist’s rule or set of feeler gauges, will help you keep track of your action. Get a three-pack of hygrometers so you can average their readings, rather than depending on one.
Lest we forget: A guitar can not only be too dry, it can also be too wet. By beginning your maintenance diligence in the spring/summer, you’ll also be able to tell if your instrument is the victim of a too-humid environment. The signs of over-humidification are subtle: Your action may rise from a puffed-up top, and in extreme cases, glue joints could begin to fail. In my experience, an over-humidified guitar will suffer from dulled tone, almost like a sock in the sound hole. If you’re sensing a lack of clarity in your guitar all of a sudden, start with new strings. If it persists, it might be due to over-humidification, and you may want to introduce a desiccant to the case for a time. The more lightly built your guitar is, the more sensitive it will be to seasonal changes.
By getting into these habits early, you’ll be empowered by knowing your instrument more intimately. You’ll understand when and why changes in tone and playability might have occurred, and you’ll hopefully save on repair bills year-round. Feel free to reach out with any questions. Who knows? I might just send you a notebook with an AMW sticker on the cover!