Chord tone targeting is a powerful improvisational tool, and chromatic chord tone targeting takes it to another level. By filling in the chromatic scale between your target notes, you can create interesting and dynamic lines that will elevate your improvisation to new heights.

To start, let's take a look at a simple 1625 progression in the key of F. We'll use Fmaj7, Dm7, Gm7, and C7. We want to target the third of each chord, so for Fmaj7, we'll play A, for Dm7, we'll play F, for Gm7, we'll play Bb, and for C7, we'll play E. These target notes will be played on the beat with the chord changes.

Next, we'll fill in the chromatic scale between our target notes. For example, between the A on Fmaj7 and the F on Dm7, we could play G, G#, or Ab. Experiment with different chromatic notes to find what sounds best to you.

It's important to note that not all chromatic notes will work equally well. Some will create more tension than others and may not resolve cleanly. Keep this in mind as you experiment with different notes.

Another important aspect of chromatic chord tone targeting is rhythm. Varying the rhythm of your chromatic notes can add interest and create tension and release. Experiment with different rhythms like triplets and 16th notes to see what works best for you.

Overall, chromatic chord tone targeting is a powerful tool that can take your improvisation to the next level. By targeting the third of each chord and filling in the chromatic scale between your target notes, you can create interesting and dynamic lines that will impress your audience and elevate your playing.

Another important concept in chromatic chord tone targeting is the use of passing tones. Passing tones are non-chord tones that help to connect chord tones, creating a smooth and flowing line. In the example above, we used passing tones to connect our target notes in a chromatic scale. For instance, we used G# and A as passing tones to connect F# and B, respectively.

It's important to note that not all passing tones work equally well. You want to choose passing tones that are close to the target notes and fit within the context of the chord progression. Experiment with different passing tones and listen for which ones sound best to your ear.

In addition to passing tones, you can also use approach tones to target chord tones. Approach tones are one or two notes that approach the target note from above or below. They create a sense of tension and resolution, leading the listener's ear to the target note.

For example, in the F#7 chord in the example above, we used approach tones to target the third (A#). We approached the A# from above with G# and below with B. This creates a sense of anticipation and resolution, leading the listener's ear to the target note.

Finally, it's important to note that chromatic chord tone targeting is just one tool in your improvisational toolbox. While it can be a powerful tool for creating interesting and dynamic lines, it's important to use it in conjunction with other techniques like scale patterns, arpeggios, and blues licks.

Remember, the goal of improvisation is to express yourself musically and connect with your audience. So don't get too bogged down in technical details like chromatic chord tone targeting. Use it as a means to an end, and focus on creating music that moves and inspires you and your listeners.

In conclusion, chromatic chord tone targeting is a powerful tool for creating interesting and dynamic lines in improvisation. By using passing tones, approach tones, and careful attention to context, you can target chord tones with precision and create lines that flow smoothly and naturally. But remember, improvisation is about expressing yourself musically, so don't get too bogged down in technical details. Use chromatic chord tone targeting as a means to an end, and focus on creating music that moves and inspires you and your audience.