Triads and Approach Notes – Adding Chromatics to Diatonic Arpeggios

Here are some practice exercises that I’ve found incredibly helpful for enhancing arpeggio playing.

These triads and approach notes exercises will not only boost your technical abilities but also broaden your musical vocabulary. Arpeggios are vital in improvisation, and the goal here is to thoughtfully add some chromatic notes to the diatonic arpeggios from a specific key. By incorporating chromaticism, you can deviate from the predictable patterns typical of standard arpeggio playing. This is an excellent way to introduce some extra color into your improvisation while maintaining a careful and structured approach.

In the examples noted below, I’ve begun by illustrating the standard diatonic triads from the Bb Major Scale. These triads serve as the foundation for understanding how to effectively integrate chromatic notes.

The triads are initially played ‘in position’ and as triplet arpeggios moving across the strings vertically. This, of course, is a great way to practice arpeggios; however, in the second line, I have taken these same triads and now arranged them horizontally along the fingerboard.

After relocating the triads onto the D, G, and B strings, the intention is now to experiment with each arpeggio by adding chromatic passing tones to experience their effect in real time. To encompass all the arpeggios within the parent key of Bb on this string set, I began with an F major triad and then progressed through the remaining diatonic triads.

You will notice that I begin adding the approach notes (in bar 5) by inserting a semi-tone from below the root of each arpeggio. This is often referred to as playing a ‘chromatic from below,’ although confusingly the actual note isn’t always chromatic to the key. In bar 7, the chromatic from below leads to the 3rd of each chord, and in the final line, the approach note is to the 5th of each chord.

I believe that once you play the musical examples, you’ll hear how effective these triads and approach notes can be for soloing. If you’d like some additional homework, you could also try reversing some of the patterns. For example, the chromatic approach to the 5th played in reverse is a very common pattern for saxophonists.

I hope you find these triads and approach notes exercises beneficial,

Pete

Here’s a PDF of the exercises that you can print out, and below that, a MIDI file of the exercises so that you can hear how they sound.

Triads with Approach Notes PDF