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Ed¡tor: Aaron Stang Ass¡stant Ed¡tor: Kenn Chipkin Add¡t¡onal Text and Examples: Kenn Ch¡pkin Transcript¡ons: Dave H¡ll and Kenn Ch¡pk¡n Cover Design: Debb¡e Johns Lipton Original Art: Pat Martino Copyright @ 1994 Beam Me Up Music, clo CPP/Belwin, lnc. 15800 N.W. 48th Avenue, M¡am¡, FL 33014 lnternat¡onal Copyr¡ght

Secured

Made ¡n

U.S.rq. Al

R¡ghts Reserved

VARNING: Any duplication, adaptat¡on or arrangement of the compos¡t¡ons conta¡ned ¡n th¡s collection, w¡thout the wr¡tten consent of the owner, is an infringement of U,S. copyright law and subject to the penalties and liab¡l¡t¡es prov¡ded there¡n.

BIBLTCITECA IHSTiTUTO PROFESIONAL

PROJAZZ

Editor's Nole

who ore thé 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, ó, 7 etc,) do not indicote triplets, quintuplets, etc., but insteod indicote smoll melodic phroses. Enioy,

Aoron Stong Kenn Chipkin

l

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Contents

| ,

r .:nJ,¡ 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.

Page

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(Dm(b5)/E) ore demonstroted os the ln this section, polytonol chords ronging from consonont {Ab/F} to dissonont ,,Minor Conversion Concept" moves beyond the scope oÍ Creotive Force Part l. Port I deolt exclusively with the

improvisotion opplicotions of tÍ¡ minor Zth os o substitute for dominont 7th chords; in this book you will exomine lt is, once ogoin, bosed on the ideo minor Zth chord form os o substitute for mony other hormonic possib¡lities. by "thinking minor'" thot whotever chord you ore ploying over ot o given moment con be opprooched

Example

I

oroso polytonol chord An FmZchordcon bethoughtof oson F minoririod pluso minor 7thff AbC+ Eb) out the two types {inversion whereby on Ab moior triod (Ab c Eb) is superimposed obove on F boss noie. check the inversion tyPe. of Ab tr¡ods demonstroted here. Note the use of the Romon numerol I, denoting FrnT(Ab/F)

AL Triads

Example 2

moving in the direction of on F¡ Now look ot E7 IEG# B D). When rhe B (rhe srh) ¡s roised to B# (fsth), we ore respectively). So on E7l*sllhos two I minor sound (G# is Ab ond Bü ¡s c - the 3rd ond 5th of on F minor triod, in common with on F minor

hiod.

]

Bz(üs)

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 wh¡ch could be onolyzed os GsusT(b9).

Exomple 3A: E7(frstte)

Exomple 38:

El(istbe)

Exomple 3C:

Fm/E

Fm/G

CI

Examples 4A - 4C The second inversion (ll) is shown here in 4A continuing on ¡he 6-4-3-2 slring FmZ is synonymous with on Abó

group. ln bor 2,you con

chord. Since AbmoiT is o noturol relotion to Abó, both chords con be used os

substitutes tor Fm7, os well os the oltered version of Abó

- Abó(b5), found

in bor 3

-

which coutd be onolyzed os

tn7(6l,.

Exomple 4A: Fm7 (Ab6)

BIBLIOTECA IT.ISTITUTO PROFE§IONAL

P R.OJ

AZZ

see thot

Exomple 48:

Ab6

ArmajT

Exomple 4C: A1605)

Examples 5A - 5C

I t

\' ln the following exomples, Mortino cleorly loys out his improvisi.ng scole/potterns for eoch ¡nu"rr¡oXT th" chord. Although they remoin the some fingering-wise in the upcoming exomples, your understonding of their

f

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

i

ii rl

Exomple 58: Fm7

Exomple 5C: Fm7

Exomple 5D:

Example 6 (Example Exomple Bb

ó brings together oll the positions in o demonstrotion of improvisotion over the some

C D Eb, known os the F Dorion mode.

Phrose

I on the video)

I:

FmZ sound: F G Ab

.'/a/

\

/?,

t't I , ,* if t:

\

Phrose 2:

Phrqse 3:

Phrose 4:

t-,/ .

'.

\

tt

Phrqse ó:

Exqmpte 7 (ExamPle 2 on the video) o Bbl3 chord. This relotionship of Porl lis bosed on. Agoin, oll positions ore covered in this

ore ployed over The Minor conversion technique begins here; Fmz sounds minz

to domT is whot o greot deol of Creotive Force

improvisotion.

Phrose

l:

Phrose 2:

f-*' ,

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Exampte 8 (ExamPIe 3 on the video)

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.

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 F

This chord receives the some single line treotment' You

C

Triod

will heor how ihe some notes

(F

G Ab

Bb

C Eb) now hove

on entirely new sound.

Phrose

I: Dmz0s)

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(

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Exampte 9 (ExamPIe 4 on the video) to reploce the root (D) of the Dmz(b5) chord To demonstrote rhe mony possibiliries o chord con hove, Pot chooses with its ninth in the boss or with on E, thus creoting the dense, unresolved sound of Dmz(b5) /E - o minT(b5) using FmZ lines despite the obscurity E7l#s,bgl. This exomfle demonstrotes thot you con inprovise over this chord interest given lo the odded E note' The use of resulting from the E boss note. Notice the occentuotion ond speciol holds' note or "resolving tone," is o nod to the importonce the E boss nole E

os o iorget

Phrqse

I: p¡¡7(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

lr

Ab

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

Phrqse

l: ALmajT

with boxes qround them!.

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: E7(15)

Phrose 2:

Phrqse 3:

a.)

E¡

r .r r

rt+¿

c[h=a

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 w¡ll 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 oÍ E7lb9l, ond serve os "connective lissue" to the AmZ(b5). Try procticing these chords in o strict rhythmic conlext:

////

D71il5/b5l ////

(¡i)

(u)

Amz(b5)

Am7(b5)

D7(istbe)

D7(re)

D7(bel

Gm7

Gm9

// (i)

//

Gm7 (cme) E7(fle) E70e)

Am7(rs)

/'

a:

f.§

Exsmple 14

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con therefore be (A c Eb G) contoins o cm triod (c Et G), ond chord Amz(b5) on how shows This exompre This ,,cmz sound.,, The notes thot constitute ihis sound ore c D Eb F G A ond Bb (c dorion)' expressed os o Fmz sound {F dorion)' in the previous exompres thot involved the forows the some rine of thought found focus is the c dorion scole' chromotic tones ore odded, but the moin ,r Arrl(bs) -71b5)

ExamPles t 5A

Cm Triad

orl l5B

substitution' Be DZ(fl5/b9). Exompre i 5A shows cmz os o workoble tones ond non-chord tones {s scole relote to the chord in ierms of chord mindful of how the notes of the c dorion Db - olso known os the the given substitution is Eb F Gb Ab Bb c r58, Exompre rn notes). the under the onorysis ihe non-chord tor chord tones ore fewer ond forther between onolysis, intervollic the in shown As Dorion mode. decidedly more "outside"' hormonicolly speoking' noies. Therefore, this substitution choice is

over Here ore two possibre scores for use

ExomPle

l5A: 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 1óA: AmZ{b5} Exomple 168: D7(b9)

- This phrose folls in the lowest position,

position

l.

The substitution is CmZ.

- ln ihe some position, the substirution is Ebm9.

Exomple I óC: 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 óD; 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 óE: 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).

/,+^. ,lr*'

t, l.

r'

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dh

[E D

[E Exomple

Exq mple I óEl Bt(il»)

Fm7 substiturion

^

31

Exsmpte 17 (ExamPle 8 on the video) Gm7) two times, os it puts to use ore freely improvised ond oll foll in the oreo of Position ll' the substitutions we hove been studying. the fhroses Note the substitutions shown in porenthesis'

(Amz(bs) This demonstrotion runs through the chord progression

(Cm7)

Dl(lstbe)

(Ebm7)

-D7l*5,b9)

-

Gm7 (Gm7)

r

,/-/Y \./.." L.

/\' .,

f\. ¡.

:i.,

\:. \

Am7(b5) (Cm7)

D7(il5lbe) (n¡mz)

':., '\

C"lA -/ -/'

\

'i/

c"t,

(cm7)

E7([s/te) (Fm7)

IN§TITUTO PROTESIONAL

Excrmple 18 Firsi, let us cloiiFy the four

PROJAZZ

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,

Am7('s) (Cm7)

cm7 substitution for Amz(b5).

Example 20 This exomple shows how Positions I ond ll con be connected in

o seomless "flow."

de-

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i f

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t ^r¡ \. (\

rH,.

\=_i'

Fl**+larr'

IJtIfl 231

4

Am7(r5) (Cm7)

ffi

.\.

Ie g on the vldeo) This exomple combines oll rhe positions

lru j|* ;;::Jí.["ntoneous

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PR@'AZU

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or "oreos of octivity" ot rondom, os the chords or" wov' Asoin, the subsrirurions ore expressed in "o):ffio porenrhesis ro remind

us

fre' Fiir.-.

(',,.. D7(lstbe) (Ebm7)

Gm7 (Gm7)

,

*cc; D7(ilstbe) (Ebm7)

Gm7 (Gm7)

Fi"r"rÉ .";-3or§^§i

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r;1"'^'$, l* o io+l

,

n,,

tt

LlJglll;ELlLp

lZl/:lrLlLLLIÍ; a.1íraüEGEilzll

I I

\¡

Gm7 (Gm7)

E7(É5lte) (Fm7)

Am7(ts) (cmz)

D7(üstbe) (Etm7)

\l

§\

Am70s) (cm7)

D7(ts/be) (Etm7)

Gm7 (Gm7)

E7(ü5iLe) (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)

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'-; "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

G7(15)

CmajT

Emz0s)

A7(f 5)

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

2-4: AbmT is substituted over G7(f5) Phrose 5: Position I oÍ AbnT over G7(f5) Phrose ó: Position ll of AbmZ over G7(#5) Phrose 7: Position lll of AbmZ over G7(f5) Phrose 8: Position lV of AbmZ over G7(ü5) Phroses

Phrose 9: The AmZ substitution for Cmoi7. Phrose

I0:

Phrose I

l:

The GmZ substitulion for EmZ(b5). The BbmZ subslitution for AZ(#5).

l:

Phrose

Dme (Dm7)

Phrose 2: c7(ü5) (Abm7)

Phrqse 3:

.F

Ph rose 4:

a.,

Phrose 5:

Phro se

[E Phrt Phrqse

[E Phrq se 8:

[E

[H

[H Phrqse

[H

Dt

Phrqse IO:

Phrqse I

I:

Exampte 25 (Example I

I on lhe video)

ond cmoiz ore one bor eoch, while rmz(b5) ond Mlf'slrdivide the lost bor evenly' with some rhythmic freedom' Pot's The sum effect is six four-bor phroses of the ¡¡ V I ¡¡¡ Vl progression ployed over eoch chord, connecling position coveroge is ollencompossing: he pulls out oll the siops os he improvises of Morlino's concepls in proctice' them with their ossocioted substitutions. This is on excellent exomple study ln this exomple,

Dn7,

G71fr5)

tgl tr ryw

6\

-

a.l)att*alrtl.

,i$'

F

I

t

.l

I

c7(f5)

Emz(15)

A7(f5)

ñ.

)fE"

"^

/'t''

.1

/,

\\

i\.: "..tP-'F

i I I

I\.^ ..

tli--...' \' '-

I

/ ..

¡

53

,.-

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/'r' l¡'\ f ;.Tgq.:," +I I

\

^,

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\$^*" i

Íhe Bssfcs

r,'

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

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 possesses

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 d¡m¡nished or ougmented chord thot will invert itself up ond down the neck, wh¡le 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

div¡des the some

oreo into three ports.

Íhe 3-2-l §lring Group Example 26 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: Let's look ot the lhree inversions (1,

Bb+ (Bb D FX) = D+ (D r#

Af) = F#+ (F# Af

D)

Porentol Form Trqnsformqtions - Group I

#g

\ I ¡

Example 27 ln Creotive Force Port l, lhe "porenlol form" wos described os being

fie storting point from wh¡ch 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 d¡mZ 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:

I

3f5

rb35

Minor Triods:

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 Bm

Bb+

Bb+

bo--__________*

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

Fü

Aü

Ebm:

Eb

Gb

Bb

Ebm

b-*

Example 29 lf we now th¡nk 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:

Ál-..\

lí»R,li,'^.

Group l: Bb+ -- D+ & Ff+ Group 2: B+ = Eb+ & G+ Group 3: C+ = E+ & Ab+ Group 4: C*+ = F+ & A+

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: c+

Dbm

*-uf*

Exomple 3OC:

cf*

fg

Dm

&



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 üot descend in pitch, ending on the ó-5-4 group. W¡th your new knowledge of the tronsformolion process, you should be oble to perform the steps necessory to produce the resulting minor triods.

COTC[U§'OT By now you should see thot the concept of "porenlol" ougmenied forms is on excellent meons of orgonizing

chords throughou¡he fingerboord. A useful phenomenon orises by woy of th¡s concept - consider this: Eoch porentol form, before it is inverted, brings w¡th ¡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

minor triods. This con be of greot use to you in lerms of chorol ond melodic improvisotion.

l2

Psrental Augmented frqnsJormalions

fo lÍlalor Íriads

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+: D F# Aü Ff+: F# A# Cx-

D:DFilA F#: F# A#

Bb' Bb D

Cf 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

3oÉ.

E»

Abm

b*

15:

->

\ \

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 possibilit¡es 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 37Bz

Exomple 37A¿

E+

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" wh¡ch ore found in moments of sol¡tude - 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 Gma¡z F[m7 Em7

E7

A7

ATsus

§;"': o PH[r'I

'

k',

ETsus

E7(Ae) A6

ñ

ETsus

Dm7

E1

CmajT

ATsus

G/B

A7

(Bm7) ETsus

ETsus

E7A

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 th¡s l¡m¡tot¡on, however - Mortino milks the downpicks for every bit of dynomic ronge lhot con be gotten.

HoM tofonn chords throughout

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a. t .

T-üZr l--=-___--ll

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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).

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.

s,

1@,

3rd

r

,,r

i;]j:;E ]:ll :i::

A "C" Chord

C Chord Arpeggiated

BENDS INVOLVING MORE THAN ONE STRING: Play the note and

BEND¡NG NOTES

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

WHOLE STEP: Play the note and' bend string one

whole step.

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.

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.

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

the original note.

REVERSE BEND:

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

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.

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

I

@ 1990 Be€im Me UP lvfusic

c/o CPP/Belwin, lnc. Miagi, Florida 33014 lnternat¡onal Copyright Secured Madeln U.S.A. All R¡ghts Reserved

--By Kenn Chipkin and Aaron Stang

RHYTHM SLASHES

a)

, ///'t-']_r

t ,,

:

a)

STRUM INDICATIONS: Strum with indicated rhythm.

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

*--FRETBOARD 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.

SHORT GL!SSANDO: Play note for its full value

and slide in specified direction at the last possible moment.

@@ 3f lfr

@@@

INDICATING SINGLE ECA GF NOTES r-.']^rT'r-''l 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

@

5fr

open Sfropen

) )/////

TAP SL!DE: Same as

fretboard tapping, but the tapped note is slid randomly up the to the off then fretboard, Pulled

PICK SLIDE: Slide the edge of

the pick in

specified direction across the length of the string(s)'

following note.

indication.

ARTICULATIONS

BEND AND TAP TECHNIQUE: Play note and bend to

HAMMER ON: Play lower note,

then "hammer on" to higher note with another finger. Only the first note is

specified interval. While holding bend, tap onto note indicated-

MUTED STRINGS: A percussive sound is made by

laying the fret hand across all six strings while Pick hand strikes sPecified area (low, mid, high str¡ngs).

attacked.

LEGATO SLIDE: Play note and slide to

LEFT HAND HAMMER: Hammer on the first note played on

the following

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.

touching the

LONG GLISSANDO: Play note and

TREMOLO PICKING: The note or notes are picked as fast as Possible-

value of the note.

(ecci

o!-

by lightlY

note. (Only first note is attacked).

slide in specified direction for the full

PR$'J

PALM MUTE: The note or notes are muted by the palm of the pick hand

§t'7:1

&L.^E I o rsf.),

string(s) near the bridge.

I

I I

É

I

HARIUIOilICS

TRILL: Hammer on

and pull otf consecutively and as fast as possible

l-t-r L-"@

between the

and the grace note.

hand.

ACCENT; Notes or chords are to be played with added emphasis.

roughly

UPSTROKES: Notes or chords are to be played with either a

(

n .) or upstroke

(

downstroke ) of the Pick.

v

UN. SPECIF¡ED INTERVAL: The pitch of a note or a chord is lowered to an

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.

Notes): Notes or chords are to be played

AND

return to the original Pitch. The activity of the tremolo bar is graphically represented bY Peaks and valleys.

HARMONIC: The first tab number is fretted, then the pick

(Detached

STROKES

is lowered to a specified interval and then may or may not

ARTIFICIAL

STACCATO

DOWN

SPECIF¡ED INTERVAL: The pitch of a note or chord

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

original note

half their actual value and with separation.

TREMOLO BAR

A.H. (

I

5mq)

A.H. (8va)

unspecified interval.

A.H.

(8\'o)

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.

VIBRATO: The pitch of a note is varied by a

rapid shaking of the fret hand finger, wrist, and forearm.

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