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CREATIVE FORCE Part
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BIBLTCITECA
IHSTiTUTO
PROFESIONAL
PROJAZZ
Edtor: Aaron Stang
Assstant Edtor: Kenn Chipkin
Addtonal Text and Examples: Kenn Chpkin
Transcriptons: Dave Hll and Kenn Chpkn
Cover Design: Debbe Johns Lipton
Original Art: Pat Martino
Copyright @ 1994 Beam Me Up Music, clo CPP/Belwin, lnc.
15800 N.W. 48th Avenue, Mam, FL 33014
lnternatonal Copyrght Secured Made n U.S.rq. Al Rghts Reserved
VARNING: Any duplication, adaptaton or arrangement of the compostons contaned n
ths collection, wthout the wrtten consent of the owner, is an infringement of U,S.
copyright law and subject to the penalties and liabltes provded theren.
N
I
12
.6-
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AM=Ma
B'
3D
PM=Mi
ascent
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W.n
ths
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descent
Editor's Nole
who ore th true Iegends of
jozz guitor?
obviously chorlie christion,
who in the few short yeors
he hod, loid the foundqtion for every
electric guitorist
since. Wes Montgomery, who's dignity ond genius
we
heor in his heortfelt melodic Iines, worm tone ond
joyous
swinging
rhythm, And Pot Mortino, who os o teen burst out of Philodelphio with
his explosive technique ond seoring non-stop lines, estoblishing new
boundories for which others would reoch.
ln this two-volume series, creotive Force Ports I & 2, Pot imports some of
his extroordinory concepts tor
iou
improvisotion, Beginning with lhe
Diminished Concepl from which Pot shows how hundreds, perhops
lhousonds, of guitor chords con be derived from o few simple
diminished chord forms; to the Minor Conversion Concepf which he
uses over complex chonges. This book ond its sequel, Creotive Force
Port 2, will provide
on involuoble insight into the method ond the
creolive
process
of one of the most preeminent jozz
musicions of the
20th Century.
On the recording, Pot demonstrotes eoch of his concepts ond
substitution principles,
freely improvising his lines ond
phroses
over
stotic chord chonges. Becouse of the rhythmic freedom of this
opprooch the tronscriptions ore written in "freetime" (with no bor lines),
usuolly os constont flows of eighth notes, Consider the first note
(or rest) of ony odd group
of beomed eighth notes to be o downbeot.
Odd groupings of eighth notes (groups of 3, 5, , 7 etc,) do not
indicote triplets, quintuplets,
etc., but insteod indicote smoll
melodic
phroses.
Enioy,
Aoron Stong
Kenn Chipkin
l
,,
Contents
Cassette users: For easy location of all programs,
always set your
tape counter to 000 when beginning the tape.
Filt in the index numbers as you progress
through the recording.
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Page #
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l\STtTUtr'G
PROFESIONAL
PRO JAZZ
0$243
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ln this section, polytonol chords ronging from consonont
{Ab/F}
to dissonont
(Dm(b5)/E) ore demonstroted os the
,,Minor
Conversion Concept" moves beyond the scope o Creotive Force Part l. Port I deolt exclusively with the
minor Zth os o substitute for dominont 7th chords; in this book you will exomine improvisotion opplicotions
of t
minor Zth chord form os o substitute for mony other hormonic possiblities. lt is, once ogoin, bosed on the ideo
thot whotever chord you ore ploying over ot o given moment con be opprooched by "thinking minor'"
Example
I
An FmZchordcon
bethoughtof oson F minoririod pluso minor 7thff AbC+ Eb) oroso polytonol chord
whereby on Ab moior triod (Ab c Eb) is superimposed obove on F boss noie. check out the two types
{inversion
of Ab trods demonstroted here. Note the use of the Romon numerol I, denoting the inversion tyPe.
FrnT(Ab/F)
AL Triads
Example
2
Now look ot E7
IEG#
B D). When rhe B (rhe srh) s roised to B# (fsth), we ore moving in the direction of on F
minor sound
(G# is Ab ond B s c
-
the 3rd ond 5th of on F minor triod, respectively). So on E7l*sllhos two
I
in common with on F minor hiod.
]
Bz(s)
F minor triad
----
-3b8
Exampfes 3A - 3C
ln Exomple 3A, we odd on F to the top of the E7il5 chord ond orrive ot E7{#5/b9). Exomple 3B brings rhis voicing
down one octove ond loses the D{b7}. Now you con see the enhormonic chonges from Gil ond Bf to Ab ond C
cleorly, os the nome olso chonges from 871fr5/b9l lo the polychord Fn/E. Finolly, in Exomple 3C the some Fm.
triod is ployed obove o G boss note, giving woy to Fn/G whch could be onolyzed os GsusT(b9).
Exomple 3A:
E7(frstte)
Exomple 38:
El(istbe) Fm/E
Exomple 3C:
Fm/G
CI
Examples 4A - 4C
The second inversion (ll) is shown here in 4A continuing on he 6-4-3-2 slring group. ln bor 2,you con see thot
FmZ is synonymous with on Ab chord. Since AbmoiT is o noturol relotion to Ab, both chords con be used os
substitutes tor Fm7, os well os the oltered version of Ab
-
Ab(b5), found in bor 3
-
which coutd be onolyzed os
tn7(6l,.
Exomple 4A:
Fm7
(Ab6)
Exomple 48:
Ab6 ArmajT
Exomple 4C:
A1605)
BIBLIOTECA
IT.ISTITUTO PROFEIONAL
P R.OJ AZZ
Examples 5A - 5C
\'
ln the following exomples, Mortino cleorly loys out his improvisi.ng scole/potterns for eoch nu"rroXT th" f
chord. Although they remoin the some fingering-wise in the upcoming exomples, your understonding of their
relotionship to the chords they ore ployed over will soon be chollenged. Becquse these ore oll ployed over
they ore "eosy to heor"
-
so now is o good time to get comfortoble with ihe fingerings (oll of these fingering
concepts ore exploined in detoil in Pori 1).
Exomple 5A:
Fm7
Exomple 58:
Fm7
Exomple 5C:
I
t
i
ii
rl
Fm7
Exomple 5D:
Example 6
(Example
I on the video)
Exomple brings together oll the positions in o demonstrotion of improvisotion over the some FmZ sound: F G Ab
Bb C D Eb, known os the F Dorion mode.
Phrose I:
a/
.'/ \
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t't
I
,
,* if
'.
t:
\
\ .
tt
t-,/
Phrose 2:
Phrqse 3:
Phrose
4:
Phrqse :
Exqmpte
7
(ExamPle 2 on the video)
The Minor conversion
technique begins here; Fmz sounds ore ployed over o Bbl3 chord. This relotionship of
minz to domT is whot o greot deol of Creotive Force Porl lis bosed on. Agoin, oll positions ore covered in this
improvisotion.
Phrose l:
Phrose 2:
f-*'
.,/ ,
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/ L-J
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ti
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Exampte 8
(ExamPIe 3 on the video)
Here DmZ(b5) is the focol point over which FmZ shopes will be superimposed. A quick onolysis of o OrZtiSi
chord shows thot on Fm triod con be found within it:
Dm7{b5}:D F Ab C
F Triod
You will heor how ihe some notes (F G Ab Bb C Eb) now hove
This chord receives the some single line treotment'
on entirely new sound.
Phrose I:
Dmz0s)
tr+rvvvvw
Exampte
9
(ExamPIe 4 on the video)
To demonstrote
rhe mony possibiliries o chord con hove, Pot chooses to reploce the root (D) of the Dmz(b5) chord
with on E, thus creoting the dense, unresolved sound of Dmz(b5)
/E -
o minT(b5) with its ninth in the boss or
E7l#s,bgl. This exomfle demonstrotes
thot you con inprovise over this chord using FmZ lines despite the obscurity
resulting from the E boss note. Notice the occentuotion
ond speciol interest given lo the odded E note' The use of
E os o iorget note or "resolving tone," is o nod to the importonce the E boss nole holds'
Phrqse I:
p7(b5)/g
-.
Phrose 2:
Phrqse 3:
Phrose 4:
Phro
[[
se 5:
Example lO
(Example
5 on lhe video)
This exomple drows our
qttention
to on AbmoiZ chord. The oforementioned "FmZ sound" (F dorion) when ployed
over this chord con be heord os the Ab Lydion Mode:
FDorion:F G Ab Bb C D Eb F G Ab
lr
Ab Lydion
The D note is the most identifioble chorocteristic of this mode, ond therefore tends to be occentuoted melodicolly.
Be ottentive to the different woys Mortino deols with the D notes (indicoted with boxes
qround
them!.
Phrqse l:
ALmajT
Phrqse 2:
Example I I (Example
6 on ]he video)
This next chord is EZ(#s) ond once ogoin, the thrust of whot is improvised over it is the F dorion sound. However,
in response to the root (E) of the E7lfr5l chord, the low E note is odded ond stressed
-
os well os the inclusion of
other E notes (see boxes) moking for o very compelling hormonic effect thot brings the originol conversion concept
to yet onother level.
Phrose I:
Phrose 2:
Phrqse 3:
E7(15)
a.)
r .r
r
rt+
c[h=a
E
Example 12 (Example
7 on the video)
The finol chord is Fm/G. This exomple serves to prove the some musicol point os Exomple 9 does, in thot
digressing from o root positio n tm7 chord by odding the olternotive G boss note doesn't effect the strength of the
chosen lineor notes. As in the lost exomple, the chosen notes ore F G Ab Bb D Et ond the odded E, which receives
speciol ottention in Phrose 3.
Phrose l:
Phrqse 2:
Phrqse 3:
*.:,-.J
.tri
\.'. -..
2'
r'
''*'J.i
,\:
ln this section we will onolyze improvising over chonges. lt is here thot the substitution process reolly begins to
flourish, os it is heord in o context thot is'decidely
iozz.
Here, you wll find whot distinguishes Pot os the esteemed
iozz
musicion he is, os we study his opprooch to stondord chord progressions os compored to whot oiher
iozz
guitorists might do with the some.
Example 13
Here is fie bosic ii-v-i turnoround using very procticol root position voicings. The brocketed voicings ore inversions
o E7lb9l, ond serve os "connective lissue" to the AmZ(b5). Try procticing these chords in o strict rhythmic conlext:
Amz(b5)
////
D71il5/b5l D7(bel
////
Gm7
//
(i)
Gm9
//
(i) (u)
Am7(b5) D7(istbe) D7(re) Gm7
(cme)
E7(fle) E70e) Am7(rs)
/'
a:
f.
\
\.
'! Exsmple
14
This exompre
shows how on Amz(b5)
chord
(A c Eb G) contoins o cm triod
(c Et G), ond con therefore
be
expressed
os o
,,cmz
sound.,,
The notes thot constitute
ihis sound ore c D Eb F G A ond Bb (c dorion)'
This
forows the some rine of thought
found in the previous
exompres
thot involved
the Fmz sound
{F
dorion)'
chromotic
tones ore odded,
but the moin focus is the c dorion scole'
,r
-71b5)
Cm Triad
ExamPles
t 5A orl
l5B
Here ore two possibre scores for use over DZ(fl5/b9).
Exompre
i 5A shows cmz os o workoble
substitution'
Be
mindful of how the notes of the c dorion scole relote to the chord in ierms of chord tones ond non-chord
tones
{s
the onorysis
under the notes).
rn Exompre
r58, the given substitution
is Eb F Gb Ab Bb c Db
-
olso known os the
Dorion mode.
As shown
in the intervollic
onolysis,
chord tones ore fewer ond forther between
ihe non-chord
tor
noies. Therefore,
this substitution
choice is decidedly
more "outside"'
hormonicolly
speoking'
ExomPle
l5A:
Arrl(bs)
D1
(is
tbg)
(Cm7
substitution)
Exomple l58:
(Etm9
substitution)
Examples 16A
- l6E
These exomples stond os o recop of the ii-v-i lesson thor begon with Exomple
.3.
Note the following:
Exomple 1A: AmZ{b5}
-
This phrose folls in the lowest position, position l. The substitution is CmZ.
Exomple 168: D7(b9)
-
ln ihe some position, the substirution is Ebm9.
Exomple I C: First, o phrose is ployed over on Ebmg chord, then the some phrose is superimposed over the
D7(bgll, its shiking hormonic effect is evident. There is olso o conscious effort to olter the lost note of the phrose to
fit the chord in question. See circled Eb ond D root notes.
Exomple I D; The moin thrust of whot is used over the GmZ chord is G A Bb D E ond F. Aside from the
inclusion of F# ond B possing tones, these notes stond os G dorion.
Exomple I E: Just os o minZ "sound,"
one holf-step obove o domZ chord wos employed in the cose of Ebmg
toDTlb9l,lhe some technique is repeoted here: FmZ is the subsfitute for heETlfrglchord.
This meons thotfhis
opprooch is plousible in respect to domT(b9) or domZ(f9) types. Study rhe inrervollic relorionship of line to chord
os it is loid ouf, ond note the enhormonic spellings thot ore in fovor of the substitution (FmZ spellings).
/,+^.
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t,
i'*'"t
dh
l.
r'
\ ,
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[E
[E
Exomple
mple I El
Bt(il) Fm7 substiturion
^
Exq
31
D
Exsmpte
17
(ExamPle 8 on the video)
This demonstrotion
runs through the chord progression
(Amz(bs)
-D7l*5,b9) -
Gm7) two times, os it puts to use
the substitutions
we hove been studying.
the
fhroses
ore freely improvised
ond oll foll in the oreo of Position ll'
Note the substitutions
shown in porenthesis'
(Cm7)
Dl(lstbe)
(Ebm7)
Gm7
(Gm7)
,/-/ r
./.." Y
\- ':.,
., L.
'\
/\' \
f\.
.
: C"lA
i.,
\:.
-/
\ -/'
Am7(b5)
(Cm7)
D7(il5lbe)
(nmz)
'i/
c"t,
(cm7)
E7([s/te)
(Fm7)
Excrmple 18
INTITUTO
PROTESIONAL
PROJAZZ
Firsi, let us cloiiFy the four position oreos by morking them with four Cm7 voicings os references. Remember
thot these references identify the CmZ substitutions even though, in the big picture, we ore thinking of AmZ(b5).
Cm7 substitutions for Amz(ts)
Example 19
This phrose demonstrotes the Position ll, cm7 substitution for Amz(b5).
Am7('s)
(Cm7)
Example 20
This exomple shows how Positions I ond ll con be connected in o seomless "flow."
de-
I .,
i
n"J
f
;;;q6Jl{:
t ^r
\.
(\
.\-
\=_i'
.
rH,.
Fl**+larr'
IJtIfl
4 231
Am7(r5)
(Cm7)
ffi
6r..;;.,
Ie
g
on the
vldeo)
"*.-9
This
exomple
combines
oll rhe positions
or "oreos
of octivity"
ot rondom,
os the chords
or"
"o):ffio
lru
j|*
;;::J.["ntoneous
wov' Asoin, the subsrirurions
ore expressed
in porenrhesis
ro remind
us
'Q i-
PR@'AZU
a
fre'
Fiir.-.
,
(',,..
D7(lstbe)
(Ebm7)
Gm7
(Gm7)
D7(ilstbe)
(Ebm7)
*cc;
Fi"r"r
.";--
^i
3or
Gm7
(Gm7)
r,,.. , n,, t t
LlJglll;ELlLp lZl/:lrLlLLLI; a.1raEGEilzll
r;1"'^'$,
l* o io+l
I
I
\
\l
Gm7
(Gm7)
E7(5lte)
(Fm7)
Am7(ts)
(cmz)
D7(stbe)
(Etm7)
\
Am70s)
(cm7)
D7(ts/be)
(Etm7)
Gm7
(Gm7)
E7(5iLe)
(Fm7)
Exumple 22
ln describing the option between o dissonont resolution or o consonont one, the E7(b9l chord is used to
demonstrote on Fm7 substitution thot ends dissonont on the low F note in the first phrose, then ends consonont on
the low E in the second.
E7(te)
(Fm7)
,r,\
'-;
"i
.i
42
Example 23
ln this section, o few more useful substitutions ore introduced in the contexl of o stondo rd
iozz
turnoround thot
involves the l, iii, Vl, ii ond V chords. ln
iozz,
the beot plocement of these chords moy chonge but the order is
olwoys the some. Pot chooses to phrose it os such: V I Vl. ln the key of C, lhe chords ond their lineor
substitutions ore os follows:
Dm9
A7(f
5)
Emz0s)
G7(15) CmajT
ln simple terms, eoch of the minZ substitutions con be thought of os the Dorion mode
11
2b3 4 5 6 bZ) beginning
on the roots of the chosen minZ chord. For exomple DmZ
=
D Dorion
,
AbmT
=
Ab Dorion, Am7
=
A Dorion, ond
so on. Before moving on to the following exomples which eloborote on these substituiions, now would be o good
time to get o hondle on the sounds ond positions of the new substitulions by recording the chords of Exomple 23
onto o tope recorder, repeoting eoch of the five chords mony times for length. Try ploying in time (4 beots to o
chord, perhops) or without time (20 seconds to o chord, for exomple).
Example 24
Phrose 1: Dm7 is used over Dm9
Phroses 2-4: AbmT is substituted over G7(f5)
Phrose 5: Position I o AbnT over G7(f5)
Phrose : Position ll of AbmZ over G7(#5)
Phrose 7: Position lll of AbmZ over G7(f5)
Phrose 8: Position lV of AbmZ over G7(5)
Phrose 9: The AmZ substitution for Cmoi7.
Phrose I0: The GmZ substitulion for EmZ(b5).
Phrose I l: The BbmZ subslitution for AZ(#5).
Dme
(Dm7)
Phrose l:
Phrose 2:
Phrqse 3:
rose 4: Ph
c7(5)
(Abm7)
.F
a.,
Phrose 5:
se Phro
[E
Phrt
[E
Phrq
[E
Phrqse
se 8:
[H
[H
Phrqse
[H
Dt
Phrqse IO:
Phrqse I I:
Exampte
25
(Example I I on lhe video)
ln this exomple, Dn7, G71fr5) ond cmoiz ore one bor eoch, while rmz(b5) ond Mlf'slrdivide the lost bor evenly'
The sum effect is six four-bor phroses of the V I Vl progression ployed with some rhythmic freedom' Pot's
position coveroge is ollencompossing:
he pulls out oll the siops os he improvises over eoch chord, connecling
them with their ossocioted substitutions.
This is on excellent exomple study of Morlino's concepls in proctice'
tgl
tr ryw
6\
-
a.l)att*alrtl.
,i$'
F
I
t
.l
I
c7(f5)
Emz(15)
.
A7(f5)
)fE"
"^
t''
.1
/' \
\
/, I
i\.: i
"..tP-'F
I
I .. I
\.^

tli--...'
/
\' '- ..
53
,.- ..^\
/'r' \
l'\ \
f
;.Tgq.:,"
^,
.' I
I +- .'
I r,'
\$^*" i
he Bssfcs
This seciion exomines o concept thot recolls "The Diminished Concepf' - covered in Creotive Force, Port l. These
two concepts porollel eoch other in lhot their foundotions lie in the physicol properties of the guitor os on
instrument or "mochine" os Pot refers to it.
Aulomqllc Yolcings
A perfect onology would be o comporison of piono lo guitor: The piono possesses oll l2 notes in o specific order
of block ond white keys. Once the order hos been estoblished, this some order repeots ilself o number of times
ond therefore comprises the entire length of the keyboord. A pionist only need leorn chords ond scoles within the
l2 note ronge ond con then "outomoticolly" move these voicings up or down the keyboord. The only "outomotic"
opportunities thot exist on the guitor ore diminished ond ougmenled chords (ond scoles). A guitorist con leorn one
fingering for o dmnished or ougmented chord thot will invert itself up ond down the neck, whle oll other types of
chords
{i.e.
Gmoi7, GmoiTlb1}, etc.} finger differently ot eoch inversion. The diminished concept divides the guitor
(from the open strings to the 12th fret) ogoin ofter the l2th fret, while the ougmented concept divdes the some
oreo into three ports.
he 3-2-l lring Group
Example 26
Let's look ot the lhree inversions (1, ll, & lll) of the ougmented form on the iop three strings, ond the beginning of
fieir repetition in the lost bor. All three positions con be nomed Bb+ (Bh Augmented) by virtue of the occurrence of
Bb in eoch one. However,
iust
os with the diminished chord, the ougmented chord is o symmetricol chord form
meoning thot oll notes in the chord ore equol ond ony could be considered the root:
Bb+ (Bb D FX)
=
D+ (D r# Af)
=
F#+ (F# Af D)
Porentol Form Trqnsformqtions -
Group I
#g
Example 27
ln Creotive Force Port l, lhe "porenlol form" wos described os being fie storting point from whch oll fomilies
{moi7,
min7, domZ) ond their voriotions ore born, only diminished Z forms were used os porentol forms. ln this
port, the "porentol forms" ore the ougmented hiods. The dmZ porentol forms were converled to ofter chord types
by lowering, in turn, eoch chord tone. Here, we will systemoticolly roise lones of the ougmented triods lo creote
"pufe" minor triods:
Augmented Triods:
Minor Triods:
I 3f5
rb35
Bm Bb+
bo--__________*
By roising the root of the Bb+ chord up o holf-step lo B, it becomes lhe root of o Bm triod. This is shown in oll three
inversions. The movement of the Bb to B is indicoted by orrows in the nototion ond tob stoffs.
Bb+: Bb D Ff
Bm: BDFf
Bb+ Bm Bb+ Bm
b8-..-.----
Example 28
As mentioned, ony note in fie ougmented form con be considered its root. Since the Bb+ is olso D+ ond F#+, let's
look ot the tronsformotion process using the D+ chord os the storting point. By moving the root (D) ,p o holf-step
to Eb we would orrive ot the root of on Eb minor triod. Agoin, the orrows troce the poth of the tronsformotion
through eoch inversion. Aside from the chonging note, lhe olher notes ore common to both chords - however, it is
necessory to enhormonicolly respell them to conform to the proper spelling of the Ebm chord.
D+: D F A
Ebm: Eb Gb Bb
Ebm
b-*
Example 29
lf we now thnk of the ougmented form os Ff+, by roising the Ff o holf-step to G, the resulting chord is Gm.
F#+: F# A# Cx
Gm:GBbD
F$+ Gm
Porentql Tronsformotions -
Groups 21 3 & 4
Exampfes 3OA-3OC
Remember: There ore only four different ougmented chords:
Group l: Bb+
--
D+ & Ff+
Group 2: B+
=
Eb+ & G+
Group 3: C+
=
E+ & Ab+
Group 4: C*+
=
F+ & A+
l-..\
lR,li,'^.
l
Now thot the tronsforming process hos been shown, move on to Groups 2, 3, & 4 tor further study:
Group 2 (Exomple 30) covers the tronsformotion of B+ to Cm, Eb+ to Em ond G+ to Abm.
Group 3 (Exomple 31)covers the tronsformotion of C+ to Dbm, E+ to Fm ond Ab+ toAm.
Group 4 (Exomple 32) covers the tronsformotion of Cf+ to Dm, F+ to Gbm ond A+ to Bbm.
Poy close otlention to the notes thot ore responsible for the tronsformotions, ond ony enhormonic olterotions thot occur.
Exomple 3OA:
Cm
-G>
#*
Eb+
Exomple 3OB:
Dbm
c+
*-uf*
Exomple 3OC:
re----r/*
#--*bb*
#W,--bb*
Olhe String Groups
Example
3l
This concept con, of course, be honsferred lo other string groups. This exomple illustrotes the Bb+ (or D+ & F#+)
chord on three odditionol siring groups ot descend in pitch, ending on the -5-4 group.
Wth your new
knowledge of the tronsformolion process, you should be oble to perform the steps necessory to produce the
resulting minor triods.
cf*
fg
Dm
&
<>
COTC[U'OT
By now you should see thot the concept of "porenlol" ougmenied forms is on excellent meons of orgonizing
chords throughouhe fingerboord. A useful phenomenon orises by woy of ths concept
- consider this: Eoch
porentol form, before it is inverted, brings wth t lhree minor triods. The form found on the 2nd fret con be
honsformed to Bm, Eb ond Gm
{Group
1). By moving to the next porenlol form, ond following suit, we now odd to
our collection Cm, Em ond Abm (Group2). Moving ogoin will bring Dbm, Fm ond Am (Group3) ond finolly Dm,
G,m ond Bbm (Group 4). Now we hove oll velve minor triods in the spoce of four frets. The inversions of these
chords become evident os the process repeots itself oscending up the fingerboord, where eoch oreo will conloin
one inversion of oll l2 minor triods. This con be of greot use to you in lerms of chorol ond melodic improvisotion.
Psrental Augmented frqnsJormalions
fo llalor riads
Example 32
Mortino ends his lecture on lhe ougmented concept with o brief demonstrotion on lronsforming ougmenied forms
to moior triods in o similor monner: insteod of roising ihe root of on ougmented form, he lowers it, os it becomes
the Sth of o moior triod. Exomple 32 demonsirotes this, os the voice movemenls ore lroced with on orrow. You
con see the porentol ougmented form is nomed Bb+, D+ ond F#+. The moior triods thot result from these ore D, F#
(Gr) ond Bb, respectively. Note thot, os exploined, the orrow is pointing to the Sths of these moior triods.
Bb+:BbOff
-
D:DFilA
D+: D F# A
-
F#: F# A# Cf
Ff+: F# A# Cx
-
Bb' Bb D F
Example 33
Here the Bb+ konsformolion to D is used os o model to show how it inverts two times up the neck before repeoting
ogoin one octove higher. lt would be o good ideo for you to work out the inversions of the D+ to Ffi to Bb, os well
os oll others thot constituie Groups 2-4, os exploined eorlier. Add the moior lriods to their minor counterporls
olong with the dominont 7 moteriol discussed in Port l, ond you will lhen hove o greot deol of Pot Morlino's
musicol opprooch ot your fingertips.
Bb+ D
D
(t
59
=_-\
PRfl
1.
Io
3o.
E<ample 34
This excerpt from the song Bofh Sr'des Now gives woy to "pue" moior triod usoge. Note the A ond E chords,
orrived ot vio the ougmented concept.
Example 35
This beoutiful series of chords mokes use of moior ond minor lriods, (nole their inversions in some coses) ond olso
moiZ ond minZ types. The point Mortino is moking with this exomple is thot you con develop o vocobulory of
bosic chord voicings os o result of studying the ougmented ond dminshed concepts os exploined.
Ebm Gm Em Bm
^
CmajT 3r, G Am7 Bm7 Em7 CmajT F;ttli Bm E
Am7 Bm7 CmajT EbdimT E7
Exampfes 3A And 368
Mortino demonstrotes onother series of chords showing how the products of the two concepls con be "bolonced"
musicolly.
ploy
Exomple 3A now, ond try to obsorb the sounds whch, ot this point, will be fomilior to you. ln
Exomple 3B, certoin chords (denoted by on osierisk) ore isoloted, os their origins ore pointed out by using the
honsformotion process . D7
/C
is orrived ot by lowering the root of the EbdimZ chord o holf-step down to D ond
noming it os the root.
B7(i51, on olterotion of the BZ, wos produced by lowering the root of the CdinZ chord down o holf'step to B. The
D/Fl iso result of lowering rhe root of the Bb+ down to A, moking thot A the Sth of the D/F# chord. Finolly, the Ab
triod is derived from the preceding G+ chord where the root (G) is roised to become the root of the Abm kiod.
Moke note of oll enhormonic respellings.
Exomple 3A:
*D7tC
ts7(il5)
*D/F$
BitA lz1s DTtc B7(f5) EmajT cm7(s)
*Abm
Exomple 3B:
EbdimT DTlc CdimT B7 sz(ils) Bb+
{>
->
15:
D/Ffl G+
_o-
Abm
b*
\
\
t
RlEl-loTEcA
rN$;rTulol'5ft*Jo*ot
Non-Adlacenl Slrlng Groups
Exampfes 37A and 378i
Here Pot loys oui some of the mony string grouping possibilites odherent lo the ougmented concept. Exomple 3ZA
shows o 6-4-3 voicing of o C triod ond the E+ form thot it wos "drown" from. Exornple 37B disploys the E+ in
lhree inversions.
Exomple 37A
E+
Exomple 37Bz
E+
Exampfes 38A-38C
Other possibilities ore expressed on lhe 5-4-2,5-4-3 ond 4-3-1 shing groups, still using E+ os the porenlol form
thotbecomesoCtriod.
Exomple 38A:
Exomple 38B:
E+C
Example 39
This exomple shores some of whot Pot colls "pure forms" whch ore found in moments of soltude
- o very personol
port of his musicionship. These "pure forms" ore minT ond moiZ types with odded melodic notes on the 5-3-2
string group. After the fermoto, domTsus ond domZ types ore found on the 3-3-1 group.
CmajT Bm7 Am7 Gmaz F[m7 Em7 Dm7 CmajT G/B
(Bm7)
ETsus
E7 ATsus A7 ETsus E7(Ae) A6 ETsus

E1 ATsus A7 ETsus E7A

;"':
o
PH[r'I
'
k',
Counlry Roqd
by Pot Mortino
The smooth, even flow of County Rood
{o
Mortino composition} is due in port io the picking technique thot Pot
employs. Amozingly, every note is downpicked. Mony ployers would hove difficulty controlling dynomics given
ths lmtoton, however - Mortino milks the downpicks for every bit of dynomic ronge lhot con be gotten.
HoM tofonn chords throughout
t, r. t. a 4,t,, i t I ),riL*,(L*il
a. t .
-.rr1.t,
r ,, t a1r.il;ll;aEIll
T-Zr
l--=-___--ll
---. /l
-J -U
l-'----l
II
GUITAR TAB GLOSSARY
**
TABLATURE EXPLANATION
READING TABLATURE: Tablature illustrates the six strings of the guitar. Notes
and chords are indicated by the placement of fret numbers on a given string(s).
s, 1@, 3rd r ,,r
i;]j:;E ]:ll :i::
A "C" Chord C Chord Arpeggiated
BEND AND
RELEASE:
Play the note
and gradually
bend to the
next pitch,
then release
to the original
note. Only the first.note is attacked.
BENDS
INVOLVING
MORE
THAN ONE
STRING:
Play the
note and
bend string
while playing an additional note (or
notes) on another string(s). UPon
release, relieve
Pressure
from
additional note(s), causing original
note to sound alone.
BENDS
NVOLVING
STATIONARY
NOTES: Play
notes and
bend lower
pitch, then
hold until
release begins (indicated at the
point where line becomes solid)
UNISON
BEND: Play
both notes
and
immediately
bend the
lower note to
the same
pitch
as the higher
note.
DOUBLE
NOTE BEND:
Play both
notes and
immediately
bend both
strings
simultaneously.
HALF STEP: Play
the note and
bend string one
half step.*
WHOLE STEP:
Play the note and'
bend string one
whole step.
WHOLE STEP
AND A HALF:
Play the note and
bend string a
whole step and
a half.
TWO STEPS:
Play the note and
bend string two
whole steps.
*A
half step is the smallest interval in
Western music; it is equal to one fret.
A whole step equals two frets'
BENDNG NOTES
SLIGHT BEND
(Microtone): Play
the note and
bend string
slightly to the
equivalent of half
a fret.
PREBEND
(Ghost Bend):
Bend to the
specified note,
before the string
is picked.
PREBEND AND
RELEASE: Bend
the string, play it,
then release to
the original note.
REVERSE BEND:
Play the already-
bent string, then
immediately drop
it down to the
fretted note.
I
@ 1990 Beim Me UP lvfusic
c/o CPP/Belwin, lnc. Miagi, Florida 33014
lnternatonal Copyright Secured Madeln U.S.A. All Rghts Reserved
--By
Kenn Chipkin and Aaron Stang
RHYTHM
SLASHES
,
t-']_r
,,
a)
///'
t
:
-
a)
The chord voicings are found on
the first
page of the transcription
underneath
the song title'
STRUM
INDICA-
TIONS:
Strum with
indicated
rhythm.
INDICATING
SINGLE
NOTES
USING
RHYTHM
SLASHES:
Very often
HAMMER ON:
Play lower note,
then
"hammer
on" to higher
note with another
finger. Only the
first note is
attacked.
LEFT HAND
HAMMER:
Hammer on
the first note
played on
each string
with the left
hand.
PULL OFF:
Play higher note,
then "Pull off" to
lower note with
another finger.
Only the first note
is attacked.
@
5fr
)
@@ @@@
3f lfr open Sfropen
GF ECA
r-.']^rT'r-''l
)/////
single notes are incorporated
into
a rhythm Part.
The note name is
indicated above the rhYthm slash
with a fret number and a string
indication.
ARTICULATIONS
*---
FRET-
BOARD
TAPPING:
"Tap"
onto the
note
indicated
by
* with
a finger of the
Pick
hand, then
Pull
off to the following note held by the
fret hand.
tap onto note indicated-
fretboard, then
Pulled
following note.
TAP SL!DE:
Same as
fretboard
tapping, but
the tapped
note is slid
randomly
up the
off to the
BEND AND
TAP
TECHNIQUE:
Play note and
bend to
specified
interval. While
holding bend,
LEGATO
SLIDE:
Play note
and slide to
the
following
note. (Only
first note is
attacked).
LONG
GLISSAN-
DO: Play
note and
slide in
specified
direction
for the full
o!-
PR$'J
t'7:1
&L.^E
value of the note.
(ecci
I o rsf.),
the last
possible
SHORT
GL!SSAN-
DO: Play
note for its
full value
and slide in
specified
direction at
moment.
across the length of the string(s)'
PICK
SLIDE:
Slide the
edge of
the
pick
in
specified
direction
MUTED
STRINGS:
A
percussive
sound is
made by
laying the
fret hand
PALM MUTE:
The note or
notes are muted
by the palm of
the
pick hand
by lightlY
touching the
string(s) near
the bridge.
TREMOLO
PICKING:
The
note or notes
are
picked as
fast as
Possible-
across all six strings while
Pick
hand strikes sPecified area (low,
mid, high strngs).
I
I
I

I
"@
l-t-r
L--
and the
grace note.
half their actual value and with
separation.
TRILL:
Hammer on
and pull otf
consecutively
and as fast as
possible
between the
original note
ACCENT;
Notes or
chords are
to be played
with added
emphasis.
STACCATO
(Detached
Notes):
Notes or
chords are
to be
played
roughly
DOWN
STROKES
AND
UPSTROKES:
Notes or
chords are to
be played with
either a
downstroke
v )
of the
Pick.
VIBRATO: The
pitch of a note
is varied by a
rapid shaking
of the fret hand
finger, wrist,
and forearm.
(
n
.) or upstroke (
HARIUIOilICS
NATURAL
HARMON!C:
A finger of the fret
hand lightly
touches the note
or notes indicated
in the tab and is
played by the pick
hand.
ARTIFICIAL
HARMONIC:
The first tab
number is fretted,
then the pick
hand produces
the harmonic by
using a finger to
lightly touch the
same string at the second tab
number (in parenthesis) and is then
picked by another finger.
ARTIFICIAL
"PrNCH"
HAR.
MON!C:
A note is
fretted as
indicated by
the tab, then
the pick
hand
produces the harmonie by
squeezing the pick firmly while using
the tip of the index finger in the pick
attack. lf parenthesis are found
around the fretted note, it does not
sound. No parenthesis means both
the fretted note and A.H. are heard
simultaneously.
A.H.
( I 5mq)
A.H. A.H.
(8va) (8\'o)
,"q
PR$J
ez-&
\.rs*9'
TREMOLO BAR
SPECIFED
INTERVAL:
The pitch of a
note or chord
is lowered to
a specified
interval and
then may or
may not
return to the original
Pitch.
The
activity of the tremolo bar is
graphically represented bY
Peaks
and valleys.
UN.
SPECIFED
INTERVAL:
The pitch of a
note or a
chord is
lowered to an
unspecified
interval.
B tBLle,
Ti
H,SA
.'Tlr#ffd5ff5o*o'
1.1
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