 The last thing which I want to share in this lesson is how you can use just chromatic embellishments all over the place and use those, if you observe the melody which I have written out, I have used a lot of these off the scale notes or even off the chord notes but I have used it at the off beat, I have used it at the ends, I have not used it at the strong beats, I may not have used it at the one of the bar or the threes of the bar, I will use it where the beats are as we say weak. So the chromatic melody which I have come up with is as follows. Something like that. So on its own some of these chromatic notes when fused with the B flat like your E or your D flat and D combined, they don't really sound very good but when you bring it all together and weave it into this melody, they sort of have a way of either talking to each other or connecting with each other. So maybe the notes which are chromatic or the notes which are not part of the chord are still serving their purpose because they lead to a more stronger note and it allows the listeners here to really acknowledge the actually awesome chord tone you know or the actually awesome scale degree which is part of the major scale. So I like to use chromatic notes a lot to pass between what sounds unstable to something which sounds stable. So let's see what I've come up with. Again all over the B flat major chord. Okay, I've come up with one more melody, something like this, quite like that. So when you use chromatic notes, just use them primarily to pass to or to connect to more stronger notes. Use them maybe at the off beats or the weaker beats of the bars like two and the fours or the ands and then let them resolve to a chord tone as much as possible or if ever you use these chromatic passing notes, use them in a quicker sense. Don't land and wait too much on it, otherwise the dissonance gets felt by the human ear.