![]() We can also recognize when the chromatic scale crops up in our music. We can use chromatic scales to practice shifting, speed, tone quality, or anything else we can think of. From the low e string to the high e string.īecause it’s easy to remember, we can focus our attention on other aspects of technique. There are sharps () each of which can also be called a flat (). We can practice the chromatic scale as a technical exercise all over the guitar neck. This is one of the elements that create recognizable styles of music. Different styles of music often use chromaticism in characteristic ways. Approaching a musical arrival point by moving step by step “pulls” the ear toward that note.Ĭhromatic notes can also give the music a certain style, such as blues, tango, or Brazilian choro. While we do sometimes find examples of entire twelve-note scales, we more often see a few chromatic notes that move through adjacent frets.Ĭhromatic scales can emphasize an arrival point. ![]() Enharmonic equivalents are the sharp flat notes that have 2 names, e.g. More times than not, chromaticism uses snippets of the chromatic scale. The notes of the chromatic scale are A, A or B, B, C, C or D, D, D or E, E, F, F or G, G, G or A. On tablature (TABs), we’ll see consecutive numbers, such as 2345. Due to this peculiar characteristic, it has become common to use the term chromaticism to refer to notes separated by a semitone. When we see a cluster of accidentals, we can guess that there’s a chromatic scale at work. A high concentration of sharps and flats may signal a chromatic scale.
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