: CREATIVE FORCE Part2Contents Cassette users: For easy location of all programs, always set your tape counter to 000 when beginning the tape. Fill in the index numbers as you progress through the recording. cD Page# Track # Intro Music Part I: The Minor Conversion Concept ‘Applied To Chords 4 Example | - 4 Example 2 4 Examples 3A 3C 5 Examples 4A- 4C 5 Examples 5A- 5D... 6 Example 6.... oT BXAMPIE 7 eesnnnnennnee nnn dO ExXAMPIE Bs eovevnvnnnnnntnnntntninnnnnnn 2 Example 9. 14, Example 10. 15, Example 11 17 Example 12 19. Part Il: Improvising Over Chord Changes 21 Examnp les eeaeseneennten 21 Example 14 = 22. Examples 15A and 158... : 22 Examples 16A- 16E 23 Example 17 26. Example 18... = aso) Example 19. eee eens) Example 20, :31 Example 21 a : 132. Example 22. : ae Part Ill: Improvising Over a Turnaround... ear Example 23, a 42. Example 24 festnnvtntnnnnnnn fee Qe Example 25 cron seennnnnnnnnnnnnenAT Part IV: The Augmented Concept... 53 Example 26 53 Example 27 ocnsnnnnnnsnninnennsnincsnn on Example 28. 54 Example 29. 55. Examples 30 - 308 55 Example 3! evn nn seen ST Example 32 58. Example 33. 58. Part V: Applications enn 59 BxaMple 34 snr ee 59. Example 35. a 59. Examples 36A and 368 60. Examples 37A and 378 61 Examples 38A - 38C.. 61. Example 39... Country Road Intro utneesnnnsetn . Country Road... z n>) Guitar Tab Glossary. 68 1 Cassette Track #In this section, polytonal chords ranging from consonant (Ab/F} to dissonant (Dm|¢5)/E) are demonstrated as the “Minor Conversion Concept” moves beyond the scope of Creative Force Part |. Part 1 dealt exclusively with the minor 7th as a substitute for dominant 7th chords; in this book you will examine improvisation applications of the minor 7th chord form as a substitute for many other harmonic possibilities. It is, once again, based on the idea that whatever chord you are playing over at a given moment can be approached by “thinking minor.” Example 1 ‘An Fm7 chord can be thought of as an F minor triad plus a minor 7th (F Ab C+ E}) or as a polytonal chord whereby an Ab major triad (Ab C Eb) is superimposed above an F bass note. Check out the two types (inversions) of Ab triads demonstrated here. Note the use of the Roman numeral I, denoting the inversion type. FmM(AVF) Ab Triads Example 2 Now look at £7 (E G#B D). When the B (the Sih) is raised to Bé (25th), we are moving in the direction of an F minor sound (G# is Ab and B# is C - the 3rd and 5th of an F minor triad, respectively). So an E7(#5) has two notes in common with an F minor triad. Ey EN(5) F minor triad ——Examples 3A - 3€ In Example 3A, we add an F to the top of the E7#5 chord and arrive at E7(#5/9). Example 3B brings this voi down one octave and loses the D{t7). Now you can see the enharmonic changes from G# and B# to Ab and C clearly, as the name also changes from E7(#5/+9) to the polychord Fm/E. Finally, in Example 3C the same Fm triad is played above a G boss note, giving way to Fm/G which could be analyzed as Gsus7(b9). Example 3A: Example 3B: Example 3¢: ETS /+9) ENS (9) Fm/E Fm/G 2 Examples 4A - 4€ The second inversion (ll) is shown here in 4A continuing on the 6-4-3-2 string group. In bar 2, you can see that Fm7 is synonymous with an Abé chord. Since Abmaj7 is @ natural relation to Ab6, both chords can be used as substitutes for Fm7, as well as the altered version of Ab6 — A>6(>5], found in bar 3 - which could be onalyzed as Fm7(6). Example 4A: Example 4B: Example 4c: Fin? (A'6) AN Abmaj? As65) 1Examples 5A - 5€ In the following examples, Martino clearly lays out his improvising scale/patterns for each inversion of the Fm7 chord, Although they remain the same fingering-wise in the upcoming examples, your understanding of their relationship to the chords they are played over will soon be challenged. Because these ore all played over Fm7, they are “easy to hear” - so now is a good lime to get comfortable with the fingerings (all of these fingering concepts are explained in detail in Part 1) Example 5A: Example 5B: Fm? Example 5¢: Fm?Example 5D: ett a Example 6 (Example 1 on the video) Example 6 brings together all the positions in a demonstration of improvisation over the same Fm7 sound: FG Ab Bb CD Eb, known as the F Dorian mode. Phrase 1: apa