Editor's Note

I.'

Who are the true legends of jazz guitar? Obviously Charlie Christian, who in the few short years he had, laid the foundation for every electric guitarist since. Wes Montgomery, who's dignity and genius we hear in his heartfelt melodic lines, warm tone and joyous swinging

rhythm. And Pat Martino, who as a teen burst out of Philadelphia with his explosive technique and searing non-stop lines, establishing new boundaries for which others would reach.

In this two-volume series, Creative Force Parts 7 & 2, Pat imparts some of his extraordinary concepts for jazz improvisation. Beginning with The Diminished Concept, from which Pat shows how hundreds, perhaps thousands, of guitar chords can be derived from a few simple dimin-

ished chord forms; to the Minor Conversion Concept which he uses over complex changes. This book and its sequel, Creative Force Part 2, will provide an invaluable insight into the method and the

creative process of one of the most preeminent jazz musicians of the 20th Century.

On the recording, Pat demonstrates each of his concepts and substitution principles, freely improvising his lines and phrases over static chord changes. Because of the rhythmic freedom of this approach the transcriptions are written in "freetimetl (with no bar lines), usually as constant flows of eighth notes. Consider the first note (or rest) of any odd group of beamed eighth notes to be a downbeat. Odd groupings of eighth notes (groups of 3. 5, 6, 7 etc.) do not indicate triplets, quintuplets, etc., but instead indicate small melodic phrases.

Enjoy,

Aaron Stang Kenn Chipkin

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This section is based on the premise that the diminished 7 chord can be considered the "parental form" that all subsequent chords (its "children") are derived from. The dim7 is a complex sound, and has a multi-functional character in the context of chord progressions. The diml chord is an unresolved, tense sound that always pulls your ear towards resolution. The following diagram compares the intervalic structure of the dim7 chord to that of the mai7, min7 and dem7 chords.

In C for example:

Dim7 Min7 Mai7 Dom7

1 1 1 1

~3 ~3

3 3

b5 5 5 5

bb7: b7: 7: b7:

c c c c

Eb Eb

E E

Gb G G G

Bbb (or A) Bb

B

Bb

The dim7 form is referred to as 1/ automatic" by virtue of the fact that a single fingering repeats itself symmetrically every four frets, and therefore, unlike other guitar voicings, you need not learn many different fingerings to cover the neck.

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ascent

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descent

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ths ---.v

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Part .: The Diminished (on~ep' 5 .

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The top four strings of the guitar are referred to as the "4-3-2-1" string group. We will begin with a dim7 voicing on these top four strings. The voicing will "automatically" repeat itself, in three inversions, as we progress up the neck. All four chords will be referred to as Edim7 by virtue of the appearance of the E note in each case (any note in a diminished 7th chord can be considered the root). Note how the E shifts to a different string with each chord. The E is denoted by a box around the note and corresponding tab number.

Edim7:

E

G

~~~~--~e~--~~~~~~~~~~~~~~~----~.~.;~ .. ·~ .. ·~.-·.~····'~·x~~~~~~~~~~~~~··~~

& ...

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. . .

Here we have 4 voicings of a C7 chord on the 4-3-2-1 string group. Bear in mind that Pat does not use the term "inversion" in the standard context. Traditionally, the proper sequence order for chord inversions is: Root position (root in the bass), 1 st inversion (3rd in the bass), 2nd inversion (5th in the bass) and 3rd inversion (7th in the bass). Pat refers to chord inversions in respect to physical logistics. So, the first chord (e7, 1 st inversion) is named by virtue of it being the lowest voicing in the group. The other chords follow suit and will be known as 2nd, 3rd and 4th inversions. Inversions are denoted by Roman Numerals.

C7: C

E

G

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Now that the inversions of the dim7 chord are understood (Example 1), we will see how "children" can be born from these parental forms. By lowering the root of the Edim7 chord a half-step to Eb I this note becomes the root of an E~7 chord. This is shown here in all 4 inversions. The movement of the E to E~ is indicated by arrows in the

notation and tab staves.

Edim7:

E~7:

E E~

G G

Bb Bb

Edim7

E~7

E~7

Edim7

E~7

E~7

Edim7

Edim7

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I

II

IV

ill

As you already know, any note in the dim7 chord can be considered its root. The Edim7 chord is also Gdim7, Bbdim7 and Dbdim7. It is very important that you understand this concept before continuing.

Now let's look at our 4 inversions of the Edim7 chord form as 4 inversions of a Bbdim7 chord instead. In Exornph 3, we lowered the root of the Edim7 chord a half step to create Eb 7. Now, if instead we lower the Bb note down one half step to A we will have an A7 chord. Once again, the arrows trace the path of the transformation througl 4 inversions. Note that all other notes are common to both chords like before - however, it is necessary to enharmonicolly re-spell the Db as C~, so that it conforms to the correct spelling of an A7 chord.

Bbdim:

A7:

Bb A

G G

Db C~

E E

B~dim7

B~dim7 b «» .__...~. ................____

A7

A7

Bldim? bo

A7

A7

I

II

IV

m

Par' .= The Diminished Concept 7

Now, if we think of our diminished form as Dbdim7, by lowering the Db one half step to C, the resulting chord is C7.

Dbdim7:

C7:

Db C

E E

G G

Dkdim?

C7

Dldim?

b eL' ---------.~_e:a_

Dkdim?

C7

C7

bo

c,

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n

IV

III

•

The final transformation renames the parental form as Gdim7. Again, the inversions follow suit. If we lower the G one half step to G~, the resulting chord is G~ 7. Note the enharmonic change from E to Fb in order to properly

spell the Gb 7 chord.

Gdim7:

Gb7:

G Gb

E

Fb (E)

Bb Bb

Db Db

Gdim7

Gb7

G~7

Gdim?

G~7 bo

G~7

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Remember: There are only three different diminished 7th chords:

Group 1:

Group 2:

Group 3:

Edim7 = G, Bb I & Dbdim7 Fdim7 = A~, B, & Ddim7 Gbdim7 = A, C, & Ebdim7

Now that the process of transforming the parental dim7 form into a dominant 7th form has been explained, advance to Groups 2 & 3 for further study:

Group 2 (Example 7A) shows the conversion of Fdim7 to E7, A~dim7 to G7, Bdim7 to Bb7, and Ddim7 to Db 7.

Group 3 (Example 7B) shows the conversion of Gbdim7 to F7, Adim7 to Ab71 Cdim7 to B7, and Ebdim7 to D7.

,

Be mindful of the notes that are responsible for transforming the chords, and any enharmonic alterations that take place.

Example 7 A: Group 2

Fdim7

E7

Fdim7. " --- -----.....-----........_ --

Fdim?

E7

Fdim7

E7

E7

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ParI .: The Dimini.shed Concept 9

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G7

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Example 78: Group 3

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D7

D7

D7

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If you think of one octave on the fingerboard (12 frets) and divide it into quadrants (3 frets each), each quadrant will contain one inversion of all 12 dominant 7th chords. This can be of great assistance to you in terms of improvising, both chordally and melodically .

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IV

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The concept of "parental" diminished chords is a creative means of organizing chords on the fingerboard which gives way to a useful phenomenon, consider this: Each parental form, before it is inverted, brings with it four dominant 7th chords. The form found on the 2nd fret can be converted to Eb 7, A7, C7 and Gb 7 (Group 1). By moving up a half .. step to the 3rd fret parental form, we now add to our collection E7, Bb7, Db7 and G7 (Group 2). Moving one more half-step brings us F7, B7, D7 and Ab7 (Group 3). We now have all twelve dominant 7th chords within the space of 3 frets. The inversions of these chords begin to reveal themselves as the process repeats itself at the 5th fret (inversion II), 8th fret (inversion III) and 11th fret (inversion IV).

Adim?

A dim'

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A~7

Adim7

Adim?

Ab7

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It is important to draw from the dim7 forms and take advantage of what they have to offer, as they can be thought of as a basis for alterations on any chord, played on any string group.

The first three string groups we will examine (Examples 8 - 11) are all on cdjccent strings: String Groups 4-3~2-1, 5-4-3-2, and 6-5-4-3.

-3-2- r Str'lIg Group

By lowering the Db one half step, we arrive at a C7 chord via the D~dim7 parental form, position I. When the rnojor 3rd (E) of the C7 is lowered one half step to Eb I we arrive at a em7 chord. Now, the 5th (G) is lowered to G~ I transforming the chord to a Cm7{~5). The functional chords that are produced by this step-by-step process can be "stocked up and banked," so that you can make them part of your musical vocabulary .

Dbdim7

. Cm7(~5)

C7

Cm?

! ..

.

I

-3-2 Str'lIg Group

So far, our chordal study has taken place solely on the 4-3-2-' string group. Now we will work with the next

string group: 5 .. 4-3-2. Here, the first dim7 form has its lowest note (D~) on the 5th string. If you compare this voicing to the 4th voicing in Example 1, you will find it contains the same order of notes, only it sounds one octave lower. The chord is shown in all four inversions

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J 2 Part II: Build;n Chords ~rom Diminished Forms

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As demonstrated previously, lowering any note of the parental dim7 form will give way to a dominant 7th chord. In this case, lowering the Db on the 5th string generates e7, position I. Trace the path of this transformation through the next 3 positions as follows: Position II = 3rd string, III = 4th string and IV = 2nd string.

Example lOA:

Dkdim?

C7

D~dim7

C7

C7

Dldim? C7

b •• ~~~ _.. __

o

I

ill

IV

II

Example 1 08:

As you know, any note in the dim7 chord can be considered the root: Dbdim7 = Edim7 = Gdim7 = B~dim7

•

Renaming the chord to Gdim7 will yield a Gb7 chord when the G is lowered to Gb.

Gdim7

Gdim?

G~7 o

G~7

Gdim?

Gb7

Gdim? bo

Gt,7

I

II

m

IV

..

Example 10C:

By lowering the Bb in the parental diminished form we arrive at an A7 chord.

Bldim?

B~dim7

A7

A'

A7

Bsdim? b (, ~....._..___ ..............

A7

B~dim7 bo

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r

......

IV

n

ill

Part II: Building Chords From Diminished Forms r 3

Example 10D:

By lowering the E in the parental diminished form, we arrive at an Eb7 chord.

Edim7

E~7

Edim7

E~7

Edim? bo

E~7

Edim7 b,D

E~7 Q

11 .. 0,

I

II

N

- r

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--

-5-4-3 StrIng

This example is derived from a dim7 form voiced on the bottom four strings and shows the complete process of converting the parental diminished form into four different dominant 7th chords in four inversions.

Example 11 A: Gdim7 to G~ 7

Gdim'

G~7

Gdim7

G~7

Gdim7

Gb7

Gdim7

Gb7

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Example 11 B: D~dim7 to C7

D~dim7

C7 .

Dbdim7

C7

C7

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Example 11 C: Edim7 to E~ 7

Edim7

@7

E~7

Edim7

E~7

E~7

Bdim?

Edim?

Ci

o

Example 11 D: B~dim7 to A7

..

B~dim7

B~dim7· A7

Bkdim?

A7

A7

A7

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I'

-3-2 SIring

.-

This new parental form is played on the 6-4-3-2 String group - our first non-adjacent string group - as it skips the 5th string in its construction. This structure is arrived at by means of a technique known as octave displacement:

The first form found in Example 1 had a G note on the 1 st string. When we displace this note two octaves down, it drops to the low G (on the 6th string) found in the position I chord in Example 12A. The chord then inverts as shown in positions II - IV. Note the changing location of the root, denoted by the box in the notation and tab.

Gdim 7 - - - - -. - - - -. _. ~ - - - ... - - - "". - - - - - - -. - - ~ - - - - ~ - ";'-,.

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IV

Part II: Building Chords From Diminished Forms r 5

-

-

.trlng Group

This is the second non-odjocent string group, as it skips the 4th string. The Gdim7 form now has Db at the bottom of the first chord, and the root G, at the top. Note the inversion process as the root shifts from string to string, denoted by the box in the notation and tob.

Gdim 7 ..; - ... - .;, - - ~ .. - .. - - - - _. - - - - - - - - - - - - - - - - - - - - - - - -'.

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IV

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ample 3:

This example illustrates the following transformations on the 5-3 .. 2-1 group: Dbdim7 to e7, Bbdim7 to A7, Edim7 to Eb 7, and Gdim7 to Gb 7. As always, the root of the parental form drops a half-step to the root of the dominant

7th chord. '

C7

A7

Edim7

E~7

Gdim? G~7

__...-.------.. ...........

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I'

ample 4:

This example shows the same conversion process as the preceding example, only here we utilize the the 6-4-3-2 group.

Gdim7 G~7

Edim7

~7 .

Bkdim?

A7

D~dim7

C7

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II

Ij

I'

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II

J 45 Part II: Buildin Chords From Diminished Forms

With the Gdim7 on the 6-4-3-2 group as the basis, Pat produces a collection of useful voicings commonly found in the [ozz guitar idiom.

1} First, the Gdim7 is transformed to Gb 7.

2) lowering the rnojor 3rd (Bb) of the Gb7 chord to a minor 3rd (B~~) produces G~m7.

3) Raising the minor 7th (Fb) up to a major 7th (F#) changes the quality to a Gb mo]?'.

4) Gb6 is arrived at by lowering the minor 7th (Fb) of the Gb7 chord down a half-step to a rnojor 6th (Eb).

5) Next is the G~mai7 (b5), whereby the 5th (Db) of the Gbmai7 is lowered one half step to Db b_

6) Finally, the Gb m7 (b 5) is produced by lowering the same 5th (D~) from the G~ m7 chord, down to Db b

•

once again.

Gdim7

G~7

,

·G~m7

G~maj7 .

G~6

G~maj7(~S) -':. G~m7(~S)

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bu

bu

bo

be)

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The three other inversions of this parental form (positions II, III and IV) will act accordingly, as they give way to the same sequence of chord qualities. Invest the time to work these out and you may discover new voicings to add to you r repertoi re.

Moving to the dim7 parental form (position II, on the 6-4-3-2 group) will ultimately give us Gb 7, Gb m7 and Gb m7(b 5) - alJ with thei r 3 rd in the bass: Gb 7/Bb, Gb m7/Bb b and G~ m7(~ 5}/Bb b _

Example 16A:

Gdim? ..

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o

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. Part II: Building Chords From Diminished Forms J 7'

Example 168:

Example 16B demonstrates the same process using the position III dim7 form as its basis, with the 5th (Db ,or Db b) as the bass note for Gb7, Gbm7 and Gbm7(b5).

4 I

1

G~7/D~ ,

G~m7/D~

G~m7("5)/D~~

Gdim?

b

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Example 16C:

lostly, 16C shows the same series of chords with the b 7 (Fb) as the bass note. The upcoming 11 Areas of Activity" are governed by the existence of these chord types and voicings.

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•

The Basic Concept:

While many improvisers choose to use specialized scales or modes over each individual chord change, Martino instead prefers to improvise around minor chord shapes and positions. When improvising, Pat often substitutes a related minor chord for whatever change he is playing over at the time. When playing over dominant 7th chords, he simply thinks "Up a fifth." For example: In the case of F7, he would substitute em7 patterns.

When analyzed more closely, the min7 fingerings that Pat plays over dominant 7th chords can be seen and heard as bei n9 derived from the Dorian mode (C, D I Eb I F,G, A and B~). What may be confusing is the fact that these are the very same notes that constitute F mixolydian: F, G, A, B~ I C, D and Eb, which is the most obvious scale choice over F7.

So, if the note choice is essentially the same, why bother with the substitution? Because: Martino's system is, once again, a system of organization whereby familiar, comfortable fingerings can be used in many musical contexts. This way, only one group of fingerings delineated over the course of four positions scaling the fingerboard need

be learned. It should be understood that this conclusion boils the sophistication of Martino's lines down to a barebones minimum. However, there is a multitude of experience and wisdom that playa part in his choice of added notes not found in the Dorian (or Mixolydian) mode. These chromatic additions (or passing tones) will be dealt

with analytically in the upcoming text.

These two phrases are to be thought of as expressly melodic, and not scaler. The first is a short melodic idea that sounds as though it is part of a song. The second phrase is decidedly less obvious, due to its length and melodic complexity. The circled notes are passing tones • they are additions to the minor 7th sound (or Dorian mode). Note the clear occurrence of a Cm7 arpeggio within the line, denoted by the brace.

F7(Cm1)

..

Part "I: Minor Conversion Concept 19

re

c

r

Using F7 as a model, Pat improvises em7 lines in four different positions. He refers to these positions as "vertical areas of cctivity." Each of these positions is centered around a standard fingering for the Cm7 chord (see befow). The term "position" is used loosely in that each one has a sl:ghtly different fret span, and notes are not restricted by stringent boundaries. For all intents and purposes, the meanings of the words "position" and "area" are synonymous.

Position I

Position II

Position III

Position IV

x

)(

)(

)(

x

)(

)(

3fr

6fr

8fr

1 3 1 2

1342

2 333

2 143

ample J on ,,'deo

Position I is demonstrated here. The fret span ranges from the 1 st fret to the 6th. Continue to be mindful of notes other than C, D, Eb, F, G, A and Bb (more on "outside" notes in the section, Chromaticism: Chord-Tones and Non-

Chord-Tones) .

F13(Cm7)

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on

This is Position II and the fret span ranges from the 5th fret to the 10th fret. Note the use of slides on the 3rd string.

F13(Cm7)

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20 Part "I: Minor Conversion Conce ,

Here we have Position III, ranging from the 7th fret to the 11 th fret. You may have noticed that each position is demonstrated thoroughly, making use of all six strings and strategically ascending and descending as the line peaks at the highest frets and then returns.

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Position IV ranges from the 9th fret to the 13th fret. An easily identifiable em7 arpeggio is denoted by the brace. In terms of the Cm7 substitution, this arpeggio not only makes up a em7 chord, but extends to include the 9th (D) and 11 th (F). Compare this to their intervalic meaning in terms of F7:

Cm7: C 1

G 5

C 5

D 9

F

1 1

F7:

G 9

Bb 1 1

D 13

F 1

Also note the first occurrence of one of Pat's favorite licks: a double-stopped blues lick in 6ths that imitates a pianist (shown by the second brace).

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9 11

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----...___---. :;,..

As explained in the section, "Parental Form Transformations," when all twelve of the dominant 7th chords have been realized, we can view them as three groups of four chords each, residing in a range of four frets. We will now combine that concept with the Minor Conversion Concept. Here, Martino demonstrates the three groups through improvisation, delineating the dom7 chords with their corresponding min7 substitutions. Note the chord frames that serve to remind you how we arrived at this order for dom7ths.

The first group stands as Eb7 (Bbm7), A7 (Em7), C7 (Gm7) and Gb7 (Dbm7). All lines take place in Position I.

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22 Part IV: Minor Conversion In Twelve Ke s

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Part IV: Minor Conversion In Twelve Keys 23

This group consists of E7 (Bm7), Bb7 (Fm7), Db7 (Abm7) and G7 (Om7). This demo also takes place in the same area of activity, position I.

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24 Part IV: Minor Conversion In Twelve Ke s

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Part IV: Minor Conversion In Twelve Keys 2S

The third and final group: F7 (em7), B7 (F~m7), D7 (Am7) and A~7 (Ebm7), likewise played in position I.

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26 Part IV: Minor Conversion In fwelve Ke s

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etc.

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etc.

Part IV: Minor Conversion In Twelve Keys 27

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In this next example, Pat demonstrates the minor conversion concept by improvising over the dom7 chord inversions that were originally arrived at in Example 3. This is all shown in relation to Eb 7, with Bb m7 as its substitute.

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28 Par' IV: Minor Conversion In Twelve Ke s

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To conclude this section, Martino clues us into how the four areas of activity can be connected together in one spontaneous phrase. The key to understanding the inner workings of such connections is to study where the position shifts take place. In this example, they are clear as day in that each shift is accomplished by a 1 st finger slide. This is, without a doubt, one of the most integral aspects of Pat's brilliant linear ability. Note how seamles~ the connections are from position to position (as illustrated by the braces and position numbers). Again, the substitution is Bbm7 for Eb7. A more in-depth study of this subject will follow.

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I - - - - - - - - - - - - - - - - - - - - - : IV - - - - - - - - - - - - - - - - ~ ill - - - - - - - - - - - - -: II - - - - - - - - - - - - - - - - - - - - - - - - - - - - -: .

Part IV: Minor Conversion In 7we've Keys 29

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ample 6 on ,,'deo

In this section, we will thoroughly demonstrate each "oreo of activity," first separately, then combined. This study begins as an alternate version of Example 22, where the first group of dom7 chords (Eb7, A7, C7 and Gb7) is situated in Position I and the corresponding min7 substitutes (Bbm7, Em7, Gm7 and Dbm7) are improvised over them. Note the chord frames that serve as cues, reminding us of the original Group I/Position I dominant 7th :hords-derived from the first parental diminished form.

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. Part IV: Minor_ Conversion In Twelve Keys 31

Here are the same four dom7 chords with their respective substitutions played in Position II.

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32 Part IV: Minor Conversion In Twelve Ke s

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Par' IV: Minor Conversion In Twelve Keys 33

ample 8 011 ,,'deo

Eb 7, A7, C7 and Gb 7 with their substitutions once again, this time in Position III.

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Part IV: Minor Conversion In Twelve Keys 3S

ample 9 on ,,'deo

Same four chords and substitutions, in the fourth and final position.

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Part IV: Minor Conversion In Twelve Keys 37

ample '0 on vIdeo

Finally, these four chords are negotiated in the same manner that Example 26 demonstrated; from the highest position (in some cases, Position I an octave higher than the original Position I) descending downward to the lowest position. Once again, pay careful attention to where the positions shift via the 1 st finger. As stated earlier, these 1 sf finger shifts are often marked by slides.

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38 ParI IV: Minor Conversion In Twelve Ke 'S

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The purpose of the next four examples is to bring all twelve dom7 chords together, one position at a time.

Example 32 concentrates on the first area of activity, Position I. The accompanying chord frames clue you into the origin of the dom7 chord that is being played over in each example. Examples 33 - 35 deal with positions II, III and IV respectively.

Example 32:

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1 11 3

A7(Em7)

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40 Par' IV: Minor Conversion In 'l'welve Ke 5

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Part IV: Minor Conversion In Fwelve Keys 41

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Part IV: Minor Conversion In fwelve Keys 43

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Part IV: Minor Conversion In Twelve Keys 45

.---

Example 33:

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Part IV: Minor Conversion In Twelve Keys 47

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48 Part IV: Minor Conversion In Twelve Ke s

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Part IV: Minor Conversion In Twelve Keys 49'

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SO Part IV: Minor Conversion In Twelve Ke s

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Part IV: Minor Conversion In Twelve Keys 5 J

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Part IV: Minor Conversion In Twelve Keys 55

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S6 Part IV: Minor Conversion In Twelve Ke s

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ParI IV: Minor Conversion In Twelve Keys 57

Example 35:

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Part IV: Minor Conversion In Twelve Keys 59

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60 Part IV: Minor Conversion In Twelve Ke s

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Par' IV: Minor Conversion In Twelve Keys 63

Now we have reached the final frontier. This "totol fingerboard example" brings together all of the aformentioned concepts, and combines them into a single example. In it, Pat improvises using the Minor Conversion Concept, in all four Vertical Areas of Activity, over all twelve dom7 chords - the fingerings and inversions of which were derived from the Parental Diminished Concept. Due to space consideration, only the first complete cycle of the twelve keys is transcribed.

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64 Part IV: Minor Conversion In 'l'welve Ke s

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. ParI IV: Minor Conversion In Twelve Keys 6S

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66 Par' IV: Minor Conversion In Twelve Ke s

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Par' IV: Minor Conversion In Twelve Keys 67

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Recurring Melodic Fragments

In Martino's approach to improvising over dom7 chords, you will encounter quite a few identifiable, recurring melodic ideas that tend to "tronspose" themselves to more than one string group in any of the four areas of activity.

This first model is a popular favorite that finds its way into almost all of the examples, especially where its first half is concerned. The basis of this idea (as with all the min7 substitutions) is the relationship of minor 7 to dominant 7 (Cm7 to F7, in this example). If we compare the chord tones of the dominant 7 with its minor 7 substitute we eet:

Min7

(em7)

Dom7

(f7)

1 b3

5 ~7

9

tel (Eb)

G (Bb)

(D)

5 b7

9

1 1 13

(C) (Eb)

(G) (B~ )

(D)

In example 37, the circled notes make up the em7 arpeggio. Notes other than these include a combination of chord tones (F & A) and non-chord tones: D (6th), Gb (b9), B (~11) and Ab (b3). Note how the Gb, B~ and Ab serve as chromatic passing tones that strategically connect the em7 arpeggio notes. Unlike most of the others, this lick is exclusive to these strings. Consider this analysis when transposing the idea to other keys.

F7(Cm7)

s

~7

9 11

S ~7

9

11

9

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ParI V: Analysis 69

Ie 38

This idea gets its strength from highlighting the b7 on a strong beat, while preceding it with a dissonant ~7 on an off beat. Here, in terms of F7, the ~7 (E) is driving downward to the b7 (Eb). The Eb is "surrounded" by the D (6th) below and the F (root) above. This also helps to accent the b 7 both rhythmically and melodically. Note that once the b7 arrives it can be perceived as the first note of a Cm7 arpeggio shape (denoted by the brace). Incidentally, this shape almost always follows the surrounded b7 idea. Check out the next version on the 5-4-3 string group, and the last version .. played an octave higher on the 3 .. 2-' string group.

F7(Cm7)

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~7

t

This fragment has a powerful downward gravitational pull to the 3rd of the dom7 chord. The first four notes comprise a full min7 arpeggio substitution .. in this case Gm7 for C7. When converted to lntervclicolly relate to e7, the notes read 5 (G), b 7 (Bb), 9 (D), and 11 (F). The 11 th always resolves downward via a first finger slide, to the 3rd of the dom7 chord. In this case, F resolves to E. The other two versions find the fragment on other string groups.

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C7(Gm7)

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5

~7 9 11" 3

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3

~7 9, 11 3

5

This line outlines the dom7 chord (A7 in this case) with a descending triad from the 5th (E) which then adds to it

(on a strong beat) the ~ 7 (G) by way of a hammer from the 6th (F~). The Em7 substitute is present in the form of an arpeggio from G up to F~; by now, you should automatically be translating min7 substitution notes to relate to the dam7 chord. The F~ (~6) that occurs next is a downward chromatic passing tone that serves to connect the ~6 (F-) with the 5th (E). Note the next version an octave higher on an alternate string group.

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5 31· 6 ~7

A7(Em7)

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6 ~6

5 3 1 6 ~7

6 ~6

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This lick is related to 40A because it ends the same way. Its two identifying features otherwise are: "

1) the ~7 (G~) is pulling downward to the b7 (G~) which falls on a strong beat, therefore being rhythmically

accented, and ...

2) the wide skip between this b 7 and the following 6th (F~). This constitutes the interval of a major 7th (denoted by a brace.)

Again, the same downward arpeggio from the 5th, however, this time the line ends with a series of thirds (G to B, F~ to A and G to E) ending on the note it began with, the 5th. There are two versions.

A7(Em7)

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· Part V: Analysis 71

. ......-.

This phrase is found exclusively on the 3-2-1 string group. With E~7 as the model, note the chromatic connection between the root (E~) and 9th (F) by way of the rhythmically accentuated ~9 (F~ IE). The skip from the 9th to a 13th [C, see brace} is a strong, identifying characteristic, as well as the strong pull downward from the ~6 [O /B) to the point of origin: Bb (5th).

E~7(B~m7)

..

~6 S

&438

This is a chromatic idea that makes use of both the minor and mojor thirds. For e7, that is Eb and E respectively. The b3 ascends chromatically to the 5th (G). As is usually the case with alternating rnojor and minor thirds, the b3 is accented on a strong beat, while the ~3 is resolved to (being a chord tone of the dem7 chord) on a weak beat. Note this occurrence twice in the lick. The second version is placed in an alternate position.

Example 43B makes use of the same half step idea, only the root (C) is found above, creating double stops.

Example 43A:

C7(Gm7)

Example 438:

..

4 . 14

5

ample 44

The ~9 and the ~9 play an important part in this line. As related to a e7, the ~9 (D) is pulled off to the b9 (Db) which eventually resolves down a half step to the root after a "quick fakell to the 13th (A). The 13th is reiterated in a downward arpeggio (1-13-3-1) that uses the ~9 again, an octave lower.

C7(Gm7)

~9 ~9 13 1

r "

3 1 9 ~7 6 S

This is Pat's "blues lick." This little move finds its way into many of the examples. The b 3 (in this case, Eb) is bent slightly to imply the q3. The 5th (G) comes along for the ride, creating a double stop. This bit is exclusive to the two

high strings throughout.

C7(Gm7) 1/4

- 1/4

-:······:1·:::::-:·:::

. . . ....

.. ... .'.. .

. .._ .

. . .

..

.: :',

. '. . ', ':~: ":' ': .

.. ' .

· .:1:5

V7

. ", . :-)::-.: .. :.:: ... . .... . ..... _-_ ", -_ ... _-_ ... _.... . . . ..

.. , :/'di~',:i~Li;ijii~]~ 'iIlll~:t:(1I . .

Par' V: Analysis 73

• •

es

ro

As we have realized. much of what Martino plays over dom7 chords is based on the use of min7 forms. The final outcome of this usage is a sophisticated language of improvisation that brings with it a masterful sense of phrasing that combines chord tones and non-chord tones in a decidedly balanced way. Another important point to consider is that Pot' s musical experience is at such a level that he need not think about the conversion process; his eors, not h-is fingersl govern where the lines go. SOl in the split seconds between notes in the midst of chromatic line, there is no thought given to how a min7 form relates and converts to a dom7 chord - it's all one big dom7 sound. With this vantage point, let us look at the following examples in terms of chord tones and nonchord tones as we attempt to uncover what makes the lines tick. Notice that chord tones (1 , 3, 5 and b 7) are boxed, while all other notes are dealt with according to their role in the phrase.

ample 4

The tonality of the A7 chord is strongly confirmed by three chord tones within the first four notes - E (5th), G (b 7) and A (root). Immediately following are four non-chord tones in a row: B~ (b9), B~ (9)1 D (11) and D- (~11). These four notes drive upward, resolving to chord tones: E (5) and G (~7). In the remainder of the line, the rnojor 3rd (C-) is approached from below by the minor 3rd (C~), and the 9th (B) is heard twice more .. balanced almost equally with chord tones and non-chord tones.

A7(Em7)

•

11

The origin of the arpeggio that starts on b7 (G) and ascends to the 13th (F~, see brace) is an Em7 chord: G = b3, B = 5, D = b7 and F- = 9, which can also be thought of as a Gmai7 arpeggio in root position. However you view it, your ear will hear it as ~7 (G), 9 (B), 11 (D) and 13 (F~) for an A7 chord. Look out for this pattern throughout all of Pat's solos in a multitude of keys and positions. The 13th (F#) heads downward to the 5th (E) using the b 13 (F) as a passing tone. Finally, the A7 tonality is the ~ 13 (F) as a passing tone. Finally, the A7 tonality is confirmed by the "blue note", C (~3) resolving to the C~ (~3).

A 7 (Em7)

- -

.

.... _ ....

: •• I

9

13

~13

11

s

Here, Example 42 is revived to illustrate a line that uses a ~6 (C) ascending and then a b6 [O] descending, (see asterisks) at the beginning and ending of the phrase. Note the five non-chord tones in a row - beginning with the b9 (Fb IE) and ending at the apex of the line on the 13th (C).

The first two chord tones, Db (b 7) and G (q3) are involved in a tricky move that highlights the b 6 [O /B) as it resolves down to the 5th (Bb)~ Note the two consecutive mojor 3rds - C to Ab I then Cb to B. This move can be found in abundance throughout many of Pat's solos. The brace points to a melodic device mentioned in Example

t

38, which makes use of the dissonant ~7 (D) and the b 7 (Db) .. a chord tone. The b6(or b 13) is found again,

\

employed as a downward passing tone, resolving to the 5th (Bb).

. .

. .~

: . .j:

E~7(B~m7)

I 1 I - ., d 1

~

. b·

b6

~ . . .

.-"'

, .

. I

You should recall this line from Example 43A. This is a bluesy lick that accents the dissonant, non-chord tone Eb (b3) as it gives way to the E (q3). Then, the 4th (G) is accented by virtue of its strong beat placement, preceded by F and F~ (4 & ~4) - non-chord tones, heading toward upward resolution. Two versions are shown.

C7(Gm7)

L·:· ~

~

- - ... '.. '.-:: ....

.. :.' ."1'.. • •

. ..-

,.'

,.

.

. , .

5

4

5

1

.1

Part V: Analysis 7S

.~

ample 5

In this line, played over E7, the b6 (C) once again resolves to the 5th (B) after the 3rd (G#) is heard between them.

The other point of interest is the occurrence once again of the q7 (D~) followed by the b 7 (D) in two octaves (see asterisks) .

E7{Bm7)

*

.*

, ,

..

s

~7 ~7

E ample. 52 and 53

In concluding this discussion of chromaticism and non-chord tones, you may already see that a great deal of the

~

non-chord tones are played with the 1 st finger and almost invariable resolve downward to a chord tone. This fact,

[oined by "musical gravity" govern Martino's approach to position changes by way of shifts. "Gravity" in the' sense that 90% of this type of shifting is found descending from higher neck areas to lower ones. Now would be a good time to review Example 26, where Pat demonstrates this approach in his own terms. With this example, as well as Examples 52 and 53 (which appear as the first two chords of Example 31), study the position shifts in terms of what notes are used as vehicles at the moment the shifts are made. These exact notes are labeled in terms of their intervalic status and the areas of activity are shown by the use of Roman numerals I - IV.

Example 52:

•

r . ·1·

~7 ~7 ~6

I (8va) --------------------------1 rv-------~------------------------------------------I UU----

I

I J

J I

r .h

.-';

.,

. .

• "I' • :..

, .,

: .

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - c .. - -. - -I n- - - - .- - - - - - - -.- - - - - - - - - - - - - -:- - - - .i

~ r" .

I J

I J

Example 53:

A7(Em7)

r

t

I

~6 S

IV- - --

----------------------

- - - - - - - - - - - - - - - - - - - - - - - - - - - - -I

m - - - - - - - - - - - - - - - - - - - - - - - - - - - - - .. ·1

I

r

~7

n - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ·1

s

I - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -I

. ... .. . . ,,',' ' .. ...... .. . . ..... . .

GUITAR TAB GLOSSARY JI.¥-

TABLATURE EXPLANATION

READING TABLATURE: Tablature illustrates the six strings of the guitar. Notes and chords are indicated by the placement of fret numberson a given strinQ(s)~

..

..

-

v~··· .

.. ' .

. ' ...... '.'

" '.'_

. .. ' ..

: - . "

,_. .

.. '

. "

. .

. .

. . --

. . .. :........ .

. .

.. .

. ,

:. • - :'.... • .... -. v , I

. . . .', .:.

. .. ... .-.

.:

I": •

... '. '- .. '

· . .~. . .

. .". . .

• • ..... I.

, ,

· -. : "

· - -'

· . '.. .

. '.

· . .

.~'. <. 'I',

Strilfll ® * 3Rt Fr"

. ' .. <:-... C chc:ird A,...._~6tAd

~ '., .~~

. ( ..... : ." .

..

I" ',' .

. ·.~· .... ::"-r.. . .

. . ... ··>:t::·.·. ".~~~

.....

,

. .

,

1-111.

BENDING NOTES

HALF STEP: Play the note and bend string one half step.*

','.:. .

WHOLE STEP:

Play the note and bend string one whole step.

L. ".

. ."

WHOLE STEP AND A HALF:

Play the note and bend string a whole step and

a half.

SLIGHT BEND (Microtone): Play the note and bend string slightly to the equivalent of half a fret.

*A hatf step is the smallest interval in Western music; it is equal to one fret, A whole step equals two frets.

.. .._ .

PREBEND (Ghost Bend); Bend to the specified note, . before the string is picked.

.. ·1.

. .. . . -

PREBEND AND RELEASE: Bend the string, play it. then release to the original note,

... ..

• ... 1 .'

I_ • ..:..

',_"-:.., ...

" • I _ • .' •

. -. . . ...

.. .._

REVERSE BEND:

Play the alreadybent string, then immediately drop it down to the fretted nate.

1

. ,

t.

.). : ". : . . .

BEND AND RELEASE:

Play the note and gradually bend to the next pitch, then re1ease

to the original

note. Only the first note is attacked.

. 'I:'

1·

1 ...

. .

. . "

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 frem additional note(s), causi ng original note to sound alone.

. ..

. . ..

. ..

",: .' :" . ..I .....

:' .r .', .. .; ..

• ..', ..'~ I, • I • "

. . . . - .

.. . '.' ,' ... " .

- ..... - ~

~ .. ~

- __ ..

',' .

, ,

. ..

.'. .'. -...... ..'

': .-.

: ",~ .. : ..... ' .

. .". .

'. -' .-' : .

'. :- ." .

.. . "

. .. .

. . .

.....

.. : .' .r:

• - r •

• :- • :' ... 'I .. - ••

."

..' . .

!tol!( •. ~ .•. : -. <~.~ ~ 1

. . .

..:.. .', .'

..............

" "..... .

hold.. • ~:.. III 1·· . .1 ., ~ ...

. .,

UNISON BEND: Play both notes and immediately bend the lower note to the same pitch as the higher notea

DOUBLE NOTE BEND:

Play both notes and immediately bend both strings simultaneously.

BENDS INVOLVING STATIONARY NOTES: Play notes and bend lower pitch, then hold until

. .

release begins (indicated at the

point where line becomes solid).

TREMOLO BAR

SPECIFIED INTERVAL:

The pitch of a note or chord is lowered to a specified interval and then mayor

may not

,

return to the originat pitch. The

activity of the tremolo bar is · graphically represented by peaks and valleys.

trem. bar

2

@ 1990 B8am Me UP MUSiC

clo CPP/Belwint Inc. Miamit Florida 33014

International copyright secured Made in U .S .. A. All Rights Reserved

UN· SPECIFIED INTERVAL:

The pitch of a note or a chord is lowered to an unspecified interval.

HARMONICS

hum.

NATURAL HARMONIC:

A finger of the fret hand lightfy touches the note or notes indicated in the tab and is played by the pick hand.

A.H. A

11

ARTIFICIAL

HARMONIC:

The first tab

. A.Ht 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.

A.H, (J jllfa)

A~Ht ArHt

(Bva) (BWI)

ARTIFICIAL "PINCH" HAR~

MONIC:

A note is fretted as indicated by the tab, then

the pick

hand produces the harmonic by squeezing the pick firmly while using the tip of the index finger in the pick attack. If parenthesis are found around the fretted note, it does not sound, No parenthesis means both the fretted note and A.H~ are heard simultaneously .

•• BY Kenn Chipkin and Aaron stang

PALM MUTE:


The note or
LEGATO

SLIDE: notes are muted


LEFT HAND Play note P"'hi ....... ~ ~ - -I by the palm of

HAMMER: and slide to the pick hand

Hammer on the by light1y


the fi rst note touching the
following

~r

played on
note, (Only string(s) near ( n


each string first note is the bridge.
with the feft attacked).
hand, RHYTHM SLASHES

STRUM INDICATIONS:

Strum with indicated

rhythm.

The chord voicings are found on the first page of the transcription underneath the song title",

c

~ .. )

(i)<D<D

open 31r open

E C A

~ .. J:l.J,J J J

(i) ® ®

Sir 3ft 1ft

A 0 F

INDICATING SINGLE NOTES USING RHYTHM

SLASHES:

Very often

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

HAMMER ON:

Play lower note, then "hammer on" to higher note with another finger. Only the first note is attacked.

PULL OFF:

Play higher note, then "pull offt to

lower note with another finger. Only the first note is attacked.

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 SLIDE:

Same as fretboard

+" ", tapping, but

the tapped note is slid randomly up the fretboard, then pulled off to the following note",

BEND AND TAP TECHNIQUE:

Play note and bend to specified interval. While holding bend, , tap onto' note indicated.

, 1IoId,. - ..f 1 _ +

LONG GLISSANDO: Play note and s~ide in specified direction for the full

....

value of the note.

r! '.

SHORT GLISSAN· DO: Play note for its full value and slide in specified direction at the last possible moment.

,

.' , ,',,.',,

. (' - . I ..

" '

, 'II '

.... -: • I ~. 0.

, ~

PICK SLIDE:

Slide the edge of the pick in specified direction

across the length of the string(s).

pic-I: J/.

MUTED STRINGS:

A

mid stgs~

low stp. hip stas.

•

percussive

sound is made by laying the fret hand

across all six strings while pick hand strikes specified area (low, mid. high strings).

..

TREMOLO PICKING: The note or notes are picked as fast as possible.

TRILL:

Hammer on and pull off consecutively and as fast as possible between the original note

and the grace note.

ACCENT:

Notes or chords are to be played with added emphasis.

+

STACCATO

'.

(Detached

Notes); Notes or chords are to be played roughly

half their actual value and with separation",

v

v

DOWN STROKES AND UPSTROKES:

Notes or chords are to be played with ---------'- either a downstroke

) or upstroke ( v ) of the pick.

VIBRATO: The pitch of a note is varied by a rapid shaking of the fret hand finger, wrist and forearm.

~ II

o 29 047 6

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