Pat MARTINO a») Jn EZ) co yo \ itt Jf \ J wena No pw \ / ’ \ CS = a= nn a | Reece | ean a) Ino Part 1Intro Music... Pat's Foreword. Part I: The Diminished Concept. 4 ‘The 4-3-2-1 String Group 5 Example | 5 Exainple 2 5 Parental Form Transformations - Group 1 ee Example 3 6 6 7 7 a a Example 4 Example 5 Example 6 Parental Form Transformations - Groups 263. Examples 7A & 78, : Part Il: The Building Chords From Diminished Form: 1 Example 8 Example 9 Example 108-100. Example I1A- 110) Example 124, Example 128 Example 13. Example 14 Bxample 15 Example 16A- 16C Minor Conversion Concept. Example 17 Vertical Areas of Activity, Part 1 Baample 18 Example 19. Example 20. Example 21 Part IV: Minor Conversion in Tweive Keys Example 22. Example 23. Example 24 Example 25. Example 26... Vertical Areas of Activity, Part 2 Example 27. Example 28. Example 29. example 30, example 31 Example 32 Example 33. Example 34 Example 35. Example 36 Part v: Analysis (No Recorded Examples) Example 37... re 68 Example 36. 2 69 Example 39. oe i Examples 404 8 i 10 Example 47 70 Example 42. TI Examples 43A & 8 sen . 71 Example 44. nes Example 45... 2 Chromaticism: Chord Tones and Non-Chord Tones, 7 Example 46. n Example 47 B Example 48 . eit 1 Exemple 49) i 74 Example 50.10 0n0 ie 74 Exemple $1 75 ition Shifts Exomple 52 isin 75 Example 53 75 Guitar Tab Glossary 7 Part Wl Posi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 Marlino, 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 dimi 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 etc.) do not indicate triplets, quintuplets, etc., but instead indicate small melodic phrases. Enjoy, Aaron Stang Kenn Chipkin.