Generate, hear, read and export jazz enclosures around chord tones with chromatic or diatonic approach notes.
Jazz enclosures surround a target note with approach tones so the final note sounds like a clear resolution.
Start by choosing a key, a target, and a short cell. Open advanced mode only when you need octave, tempo, note value, meter, expert species, or MIDI export.
An interactive practice space for upper and lower approach tones that resolve into a target note.
Choose a target note and target motion.
Chromatic neighbors create tension, diatonic neighbors keep the line inside the key.
Bergonzi Intervallic MelodiesJazz enclosures surround a target note with approach tones so the final note sounds like a clear resolution.
Start by choosing a key, a target, and a short cell. Open advanced mode only when you need octave, tempo, note value, meter, expert species, or MIDI export.
An interactive practice space for upper and lower approach tones that resolve into a target note.
Example: target C, choose upper-lower-target, then compare C# B C with diatonic D B C.
An enclosure is not a scale run; it points at a target.
The last note of each group is the resolution.
Chromatic neighbors create tension, diatonic neighbors keep the line inside the key.
An enclosure is a short melodic cell that approaches a target note from above, below, or both sides. The approach notes create motion and tension; the target note releases that tension and anchors the line to the harmony.
Chromatic enclosures use half-step neighbors around the target. They are common in bebop because the tension is strong, easy to hear, and resolves directly into chord tones.
Diatonic enclosures choose approach notes from the selected key scale. They sound more inside the harmony while still giving the line direction and a clear point of arrival.
The ear accepts tension when it can hear a destination. Approach notes draw attention, then the target note confirms the chord, especially when it lands on a strong beat.
Bebop improvisers often surround the third or seventh before resolving. They may delay the resolution by an eighth note, add chromatic tension, then land the target at the start of the next bar.
Start by aiming at the third to hear major or minor color, then the seventh to hear chord function. Add tensions such as the ninth once the resolution still sounds clear.
Work slowly on one target note, sing the approach tones, then land confidently on the resolution. Over chords, aim enclosures at thirds, fifths, sevenths and color tones on strong beats.