WITH TABLATURE ORD, ae 7@ 8 “vews fol a7 Wm A's ee ed oe eePAT MARTINO an’ ~T Editor: Aaron Stang ‘Assistant Editor: Kenn Chipkin ‘Additional Text, Examples and Transcriptions: Kenn Chipkin Cover Design: Debbie Johns Lipton ‘Original APE: Pat Martino Copyright © 1993 CPP/Betwin, inc. 15800 N.W. 48th Avenue, Miami, FL 33014 WARNING: Any duplication, adaptation oF arrangement of the compositions contained in this collection, without the written consent of the owner, is an infringement of U.S. eetasdumeentes dete Sateen teitiaceememees ene tamieaaeenn aeEditor’s Note Who are the true legends of jazz guitar? Obviously Charlie Christian, who in the few short years he had, laid the foundation for every elec- tric 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 1 & 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 substitu- tion principles, freely improvising his lines and phrases over static chord changes. Because of the rhythmic freedom of this approach the transcriptions are written in “freetime" (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 group- ings of eighth notes (groups of 3, 5, 6, 7 efc.) do not indicate triplets, quintuplets, etc., but instead indicate small melodic phrases. Enjoy, Aaron Stang Kenn ChipkinThe Basics 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 dim7 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 maj7, min7 and dom7 chords. in C for example: Dim7 1 b3 b5 bb: C Eb Gb Bbb {or A} Min7 1 b3 5 b7: C Eb G Bb Maj7 1 3 5 7: C G B Dom7 1 3 5 b7: C G Bb The dim7 form is referred to as “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.ee TE TY The 4-3-2-1 String Group Example 1 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 Bb Db Example 2 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}, 1st 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 (C7, 1st 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.6 Part I: The Diminished Concept . Parental Form Transformations - Group I Example 3 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 E+, this note becomes the root of an Eb7 chord. This is shown here in all 4 inversions. The movement of the E to Eb is indicated by arrows in the notation and tab staves. Edim7: E G Bb D> Eb 7: Eb G Bb D> Example 4 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 Example 3, we lowered the root of the Edim7 chord a half step to create Eb7. 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 throug! 4 inversions. Note that all other notes are common to both chords like before — however, it is necessary to enharmonically re-spell the D> as C¥, so that it conforms to the correct spelling of an A7 chord. Bb dim: Bb Db E G A?: A C# E GPart I: The Diminished Concept 7 Example 5 Now, if we think of our diminished form as Dbdim7, by lowering the D’ one half step to C, the resulting chord is C7. Db dim7: Db E G Bb C7: C E G Bb Example 6 The final transformation renames the parental form as Gdim7. Again, the inversions follow suit. If we lower the G one half step to Gb, the resulting chord is G>7. Note the enharmonic change from E to Fb in order to properly spell the Gb7 chord. Gdim7: G Bb Db E G7: Gb Be Db Fb (E} Gdim7 Gb7 Gdim7 Gb7 Gdim7 Gb7 Gdim7 Gb7 Lo oa bo a Lor Cy or 2 OE oo en — hex ———_ 5 5 eS ee ll i I II TV nw 2 "Ss »&» ~T YS l_ « ~*- J a | es - —- | | =o a CisCdt fC ( (C:ti‘(‘CSSTCCCSCSCSCsi‘aSCO Yd | ae tt—“—t—t— SS ti‘—:SCSCS~s™Y me eee eee po rrrr—s dd a | QR rr | . h f J eee ue 1p 6D 6D 4 ood : ae ! re <2 wParental Form Transformations - Group 2 & 3 Examples 7A & 7B Remember: There are only three different diminished 7th chords: Group 1: Edim7 = G, Bb, & Dkdim7 Group 2: Fdim7 = Ab, B, & Ddim7 Group 3: 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, Abdim7 to G7, Bdim7 to Bb7, and Ddim7 to Db7. Group 3 (Example 7B) shows the conversion of Gbdim7 to F7, Adim7 to Ab7, 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 7A: Group 2hed Concept 9 Tele | ot ae ee ee? b7 D Ddim7 b7 D Ddim? b7 D Ddim7 b7 D Ddim? 7 G Abdim? 7 G Abdim7 7 G Abdim? 7 G Abdim7 Group 3 7B Example 7 F Gbdim?7 F? Ghdim? 7 F Gbdim7 F? Gbdim?10 Part I: The Diminished Concept . Conclusion 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 E67, A7, C7 and G*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 halfstep 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 Il), 8th fret {inversion III} and 11th fret (inversion IV). 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.i | Part II TC TT et EA ee PEN nec! FOrmns— >= we ae 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 adjacent strings: String Groups 4-3-2-1, 5-4-3-2, and 6-5-4-3. Example 8: (4-3-2-1 String Group) By lowering the Db one half step, we arrive at a C7 chord via the Dbdim7 parental form, position |. When the major 3rd (E) of the C7 is lowered one half step to Eb, we arrive ata Cm7 chord. Now, the 5th (G} is lowered to G>, 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 C7 Cm7 Cm/7(b5) Example 9: (5-4-3-2 String Group) So far, our chordal study has taken place solely on the 4-3-2-1 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 Sth 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12 Part li: Building Chords From Diminished Forms Examples 10A - 10D 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 C7, position |. Trace the path of this transformation through the next 3 positions as follows: Position Il = 3rd string, Ill = 4th string and IV = 2nd string. Example 10A: Dbdim? c7 Dbdim7 Cc? Dbdim7 Cc? Dbdim? C7 Example 10B: As you know, any note in the dim7 chord can be considered the root: Dbdim7 = Edim7 = Gdim7 = Bbdim7 Renaming the chord to Gdim7 will yield a Gb7 chord when the G is lowered to Gb. Gdim? Gb? Gdim/? G7 Gdim? Gb? Gdim7 G7 Example 10C: By lowering the B? in the parental diminished form we arrive at an A7 chord. Bbdim’? A? Bbdim7 A7 Bbdim7 Al Bbdim7 Al f\ C XD bs Oe b e ; ry [Ww ; fy <5 Tyron. yy "Lik el} “435 JT jy

maj7. 4) Gb6 is arrived at by lowering the minor 7th (Fb) of the G7 chord down a half-step to a major 6th (Eb}. 5) Next is the Ghmaj7 (65), whereby the 5th (D>) of the G>maj7 is lowered one half step to Db>. 6) Finally, the G>m7 (+5) is produced by lowering the same 5th (D>) from the Gbm7 chord, down to Db> once again. The three other inversions of this parental form (positions Il, Ill 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 your repertoire. Examples 16A - 16¢€ Moving to the dim7 parental form (position Il, on the 6-4-3-2 group] will ultimately give us G7, Gbm7 and Gbm7(>5} - all with their 3rd in the bass: Gb7/Bb, Gbm7/Bbb and Gb m7 (b 5) /Bb b. Example 16A: Gdim?7 - Gb7/Bb a Gbm7/Bbb Gbm7(b5)/Bb> ry Mo CLE d ne oe ee- Part Il: Building Chords From Diminished Forms 17 Example 16B: Example 16B demonstrates the same process using the position Ill dim7 form as its basis, with the 5th (D> or Db») as the bass note for Gb7, Gbm7 and Gbm7(> 5). Gdim? Gh7/Ds Gbm7/Db Ghm7(5)/Di> é % — abs 7? aah 2. ah} cjicanrc......-"—-."x...W”2{@79/”——_ =@]—O oe ee eee ss enn fe oo So Ot I -----222c22-22----- poccccee wera ners coca enn s sen a ne scee es pancc tec ccecen ered | [> ——s—™C*dSC“=“NN pe See" eS A (A ey rr ig Example 16C: Lastly, 16C shows the same series of chords with the +7 (Fb) as the bass note. The upcoming “Areas of Activity” are governed by the existence of these chord types and voicings. Gdm7 Gb7/P> | Gbm7/F> / Gbm7(65)/ Fb_ Part [il Minor Convenrsi 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 Cm7 patterns. When analyzed more closely, the min7 fingerings that Pat plays over dominant 7th chords can be seen and heard as being derived from the Dorian mode (C, D, Eb, F, G, A and Bb}. What may be confusing is the fact that these are the very same notes that constitute F mixolydian: F, G, A, Bb, 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 bare bones minimum. However, there is a multitude of experience and wisdom that play a 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. Example 17 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. é f e \ yy gi fj ft rs A | a on ces es» 2 es oe... | _ ACU oT ||| le oer | i |_| [Tl f @hw J] it yf hp et ae es ge ee ee ot HH ___ eee | dg ria se Ty CL ™ ee | ee — a >) C4———— ee Vertical Areas of Activity, Part I Using F7 as a model, Pat improvises Cm7 lines in four different positions. He refers to these positions as “vertical areas of activity.” Each of these positions is centered around a standard fingering for the Cm7 chord (see below]. The term “position” is used loosely in that each one has a slightly 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 | Position Il Position Ill Position IV 13 12 1342 2 333 2 143 Example 18 (Example 1 on video) Position | is demonstrated here. The fret span ranges from the 1st 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(Cm/7) , ft rr —@-F AF | (}——_____}_~.232>rONnNuVN°7---’--— ee eee dle te Cd Sr i a here eel : I Example 19 (Example 2 on video) This is Position Il and the fret span ranges from the 5th fret to the 10th fret. Note the use of slides on the 3rd string.Example 20 (Example 3 on video) Here we have Position Ill, ranging from the 7th fret to the 11th 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. — L D rr A eee a Ke Od ee r/R ee) ee ne” ee ee ee ee ee" ee... eee eee A TCD lL ee Oe OZ Tend _ iv a Gee bo Sn” iit —~ Example 21 (Example 4 on video) Position IV ranges from the 9th fret to the 13th fret. An easily identifiable Cm7 arpeggio is denoted by the brace. In terms of the Cm7 substitution, this arpeggio not only makes up a Cm7 chord, but extends to include the 9th (D} and 11th (F). Compare this to their intervalic meaning in terms of F7: Cm7: C Eb G Bb D F F7: oC Eb G Bb D F 1 b3 5 b7 9 11 5 b/. 9 1] 13 l 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). ld AT TE 1 A A Tee a 2 /.. Vee ve eT CO ng ALLL gl ClUOTTt—‘CSsSCi‘(CS_C:Cti‘(S$S*TCOOOCOT TT ered ee OC” 5 re is ry a ee eea — fd la mA A Minor Conversiongliplwelve K6ys Se 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. Example 22 The first group stands as Eb7 (Bbm7}, A7 (Em7), C7 (Gm7} and G?7 (Dbm7). All lines take place in Position |. x x xx 1324 1112 E+7(Bbm7) | A7(Em7) a rN —) | | Y eee fa’ i PS ed 2S ce | a ieee, A TO ie UU es eee! ST TT ree TT eee _ kT UL LOL 6. (a | ee | i he ee ed 2 ee | nee ee en Te | ps —___,_} __}_} iis lz Pt 4 F——____j__j_;__}_}_{__} {fj} _¢ ey a i/o A i a I ; = i i | , . a i = , - j — ST 3 aN pe oN é — Ss 7 || fT] = enn i nN _ Ce a de ee" eee LSS” i . Cn en ee eee ee ea Oe ee ee ee ee ee ee eee eee so 2” ee nes ee Ee eee i (.. CE ee | | ee = 2 ee 2" ee ee ee ee ee ee ees es ees es ee ee ee ee Ti. ao | | T 7 pp e=g nC1211 G+7(Dbm7) xx in Twelve Keys ion Core Lat ay | Minor 2314 C7(Gm7) V: rie leePart IV: Minor Conversion In Twelve Keys 23 Example 23 This group consists of E7 (Bm7}, Bb7 {Fm7), Db7 (Abm7) and G7 (Dm7). This demo also takes place in the same area of activity, position I. ux E7(Bm7) EL | ie |] i\t) Ry Ph Wes |] y : rT ) i it rE | # il yy HT Tp TTT Hd 7 rT TT Th Hh TT 4} FA TT Te) | il | TT He 3 qt ran A ) ) HT ae) | aT ne |c ith Hl on iin ihe Hts “1 mE v ny i iit a) ee | LS i Cry a | Le - oS Ah | ii et |] qe z My (3 is mI Nr ft TH rit : TT CITT | TT uni! TIE YH To ' L \ ) TL Ht i Hl (WITT dt I gn 1 TH ul th Lad | : ‘ al rk HT) yy ie 2314 D+7(Abm7) 4 — = ’ ._ oT oT - nN ——— . U il P Se 1112 Bb7(Fm7) — i. TN? ro | MY | UY SY | had aeConversion In Twelve Keys hil ds ri eee HH TH lth t TEP) HL I ~ |i Hh ii tl i | tt ie I nt res IT {Es 1 ui lity HT sf il HT) » il HL lly) HM | HH It ny HH rs m | . TT i Hy IH + iy ( eH ( He + l ils BHT fil TT Hin a Th r | a ia cit | l aH K At | = | iy | St Ml oH i at | i . ire! Re Ht lr it 2 lik a ay i it MH lily Th tt H i A 1 ll | II [ res | NII \ 5 _ Ul f HP) FITS “$9 SE lll hn Th Hee 6 | | rll iy) } | ll Te? KAP ic Sh Tet RSS Se MAEPart IV: Minor Conversion In Twelve Keys 25 The third and final group: F7 (Cm7), B7 (Fm7), D7 (Am7) and Ab7 (Ebm7), likewise played in position I. Example 24 Feat 1324 F7(Cm7) Ce 7 7 Po ] Pd a Co os PN. pd , hg Dod Yd ed Yee | |__| na Td 1/2 12 1/2 I~26 Part IV: Minor Conversion In Twelve Keys ax Afr 1112 B7(F*'m7)Part IV: Minor Conversion In Twelve Keys 27 xx “5° 1211 Ab7(Ebm7) Si Example 25 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 E67, with Bbm7 as its substitute. = eee28 Part IV: Minor Conversion In Twelve Keys . Example 26 (Example 5 on video) re 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 1st finger slide. This is, without a doubt, one of the most integral aspects of Pat's brilliant linear ability. Note how seamless 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. Et7 bes ‘TE tbe« gh = , p Zo | tT , Tr tg ?, Oo ee o_O ee a ieee toe | eee ial a nl OY el oe eg | TT rt Te TTT _ LT Bee eee eS oe _"LDSe HH! + ms ef dee eh le lg, i ee ~ et V [ -----------2 000 r tree | [V----- 2222 cccec nnd Il--- 22222000 eaee 8k Vertical Areas of Activity, Part 2 Example 27 (Example 6 on video) In this section, we will thoroughly demonstrate each “area 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 G7) is situated in Position | and the corresponding min7 substitutes {Bb m7, Em7, Gm7 and D>m7) are improvised over them. Note the chord frames that serve as cues, reminding us of the original Group |/Position | dominant 7th chords-derived from the first parental diminished form. os 1324 E}7(B>m’) oN oN : r) , a y . sme |___; 1 Es Se ee SE es 0 eee ee ee a. a i | ti _ [(Litharer |! | iva YY git ft | Pf 2 2 | 7 flr hUmvsLMLMLMLULULLULULUWe Mf. Se PE kn ee ne ee ee es ee ee, See ee. PA fpf he al I gh gf aa ——} — |} —____$ y= 4 Pb jt r : eee” 4 I t | £ 1 | ES — =30 Part IV: Minor Conversion In Twelve Keys Xx 2314 C7(Gm7) i HI ‘ il alll) ee : +. | fl i | Nt iM iB ue aT it ik ps | z ' z TT 7 ih "| CU rT 4 i iy I i il it HH r la # | If 3 Hn 4 i i i h A) ae mH ~ b = gies TPT] nae TP nth xx 1211 Gb7(Dbm7) rT HH 4s cote Tn rH Hil [TR re If i Hf is | al ik on aL a ral fl at! WT yA (OT WT all Tn um Hr UL | I, I ul , iL Cq i AL rH lll vill si al ul ft IT : Th S| TT pi TT] a || aL et zT a . wT A) a | r TH +e TsAMAA AL OU A AL aCe LD 2314 E+7(Bbm7) xx Here are the same four dom7 chords with their respective substitutions played in Position II. Example 28 (Example 7 on video) || ll it I ti | ih Bil | | I ty My) Ty ‘|r i sy nin qn Th t a | ai " HH n | fh alt ; LE ut it ral i ie TTL ht m rh LN LP ttt iy TI | r in li! kos 4 FT ul ed alll ef « EH Cs TT ‘Il | Me Af | ee Nay gunn5tr 1112 C1(Gm7) xx 32 Part IV: Minor Conversion In Twelve Keys 4fr 1324 G>7(Dbm7) xx