Pat Martino VE a rod®t) ©, ___LINEAR ‘y-,\” EXPRESSIONS Pat Martino in collaboration with Tony Baruso cREDITS Cover Design K. Adele Photogrohs Wode Listerman Constant oa on Mace Music Copy ‘Tory Barso Typeseting ‘Magna Coo Press, Ine Gran are EH Producoes ‘This book, o parts thereat, may tbe reproduced or tasted nay form whathoever without writen permis om the Pulser Phe stconane: ISBNO-99586.11-5 Cnr AL Leow rms concaTON ‘toed gre ARs ne Usual iar aa ug me ‘ric nem cee“Llirstmet Pst Martino when he and his father approached me backstage for an autographanda ‘ck. When the eleven.year-old Pat picked up my gitar and began playing, Iwas amaged with his concept of music and astounding technique. [knew then he would beamaster of thetrsiru- ‘ment. [til stay in close contac with Pat and consier him a sweet, warm person and an un- ‘compromising artist.” Les Paitl “Pat Martino has fong been one of my favorite guitar players and I'm very excited about this Jong-awaited book, which wil be of great value fo all utaists.” —Howard Roberts “One ofthe important guitarists of our time is Pat Martina. He uses his masterful technique with exceptional medic sense. ‘Linear Expressions’ now offers guarsts everywhere the 09- portunity (share in Pat's insights to improvising.” — Herb Ellis “Pat Martino’ incredible musical ideas and technique have long been a major induence to the Jazz guitarist and his book, ‘Linear Expressions,’ shouldbe included nthe stdies of every as- ‘ring jaz gitar stent.” —Johnay Smith “Ris beconning increasingly evident that there are several logical approaches to learning the art of faze improvisation, Pat Martino is estabiished as one ofthe most extraordinary and innova tive performers and has managed to bring new concepts tothe art of teaching guitar improvise- fon Ts bok ‘ear Bresson, isan oustanding example that ae uy “Pat Marino's book, ‘Linear Expressions, wil gve guitarists an inside glimpse at Pt’ nique approach to azz guitar I strongly recommend that any serious payer investigate is content.” —Joe PassForeword Introduction. Course Description Phase T Phase I. . Phase I. . Phase IV In Closing CONTENTS PRB GS aioeFOREWORD ‘The flowing nar expresions ate a orm ofa. In Websters dtonary the defnion of the word ‘xe stated at “atime a personal manaljzable creative power”, wheres he wor sil stresses tetra Inowlege and protien, and nbothcates he word arduous is tated as Nal wich Sad to acconish coractiove with fal, are bya great aber or effort” ‘Arthas many social probes. One ofthe greatest is tht al soncessal artis have become sucess ough tragic cei to the els m which they te most marks. Teele therm ear ‘named reed basis, Wi regard the arts’ eve expressions i's extremely posse hat what uy ‘moves tht atsts wi also move te pabe. But unotasately the insty of revrded msn most cases eepe tat sts andthe pubic gel ow. trough dhs ht sucess haa natn de with exreion less ofcourse, we as arts no longer sek sucess fom te ery el bt un through privately sharing with the pubis, cause thet aris chooses oo hs athe han hee, many cakes the nitrite shall ow come to seek the artist because Ux wugh sharing with lta ast Sal now cre let aout sacking the nstey sn win er have to wat sor er Me ying each retain uses. We now the trv tht shall emergo fr bots the pub abd dustyINTRODUCTION ‘rom the tine the sping guitar player ssn tothe instrument, be (or the) exposed and sub- ected tony tras ad trbugtens, One st experience te frustration eel despa wich uforantey, ‘reanessential part ofarmutices rem taney enw though shoo. hat onc nes ‘9 otc st knowledge; teow iat serve to owihas x astray, ican and weal ese, satis (One ofthe tates tat student the iter nccunters ery ayn tr growthstheleckofteiigue ‘nd physical desteny eee to lay the instrument efleivel. The guar, ker ll a ery phys ‘Sumer and demands bos coon aod apy frm bth and. Aer sos practi th ng gta pyr wl ext oe nti ic ad bg o focus more and more pon what being Hayed as opposed ow isa. nother words the ty ot ‘he musts aow the primary cancer. Wi this ind the mating gars wil sedate his on-going urge to pay Hite ast utr licks and Tay ents of agericardgyanastcs, aly the itr cores face ae ih the eet of every bung mse ers aay. erpONan vet anges Erersince the sounds of Chae Parke’ ao sax were rt heard resonating the sidewalks and streois of ake ane fling the a witha tempestuous roar f te then new sod cal “Be: Bo", the a i ‘orion has beome ono ofthe mst explored areas in mse. Much the teeny a cnet se {eda incerporat snd advocate the ue and memiitin ofmany detent ypes of eles pono, Ce, eal one shoul ry o treat every chee change of the progression wih tbe proper Soi ‘The folowing ia IVI progresion which shows some of he posible singe note devices which can be slayed over each ofthe chords EXAMPLE: Dm er mai DDorin Gina Ciena DaitArpeaso Fa Apeasio Goal Arpegaio Dace AbDiminshedScale Cai Scale Akboug te aforementioned method is corect and re, you can early see that can ad oten does be- ‘ame ciberome and edo, to sn the east. ofl aster aed bin oecy in este aes many ‘years sty as well ardent determination ‘There are, however, twosigesto every ei. Iwe were to calthe no accepted thas of sty complex fy, then conversely the olher ideo the ciate sng. Its, however, to be untested ta ‘ough the method catined inthis work amore sia approach to lear improvise, al arenes of stay, wheter they be simple or comple, ut be expe Porte eof ingens by no meats Decansiered simple or easy an shot ot be ken ty n the following pages, you wile itoticed os smewht diferent rproach to improvising over chord changes. Wht kes ths approach erent fr ater methods presen me ody isha seston ‘tes tae minor chord and minor line form any. To frter exp, al sheds whether they be of ior, mior, dian, augmented, cinched. or afc quay, con eter decent bereduced to or sabttated by amar chord fam. EXAMPLE: Col? cece Amt Gr Dm Brits Gn ‘Once hs is seer, the player ncd onl to ply minor type melo eas over the minor redutions and ‘bts ater words, convert to mine. ‘The preci bie, approximate explanation ofthe werk herein. Te utc wl bvcusly be dealt ‘vthinmore deta iroughout the course o the book, Read on! 5COURSE DESCRIPTION ‘The couse of study presente is bok willbe dived into four phases, The pases ae as flows PHASE: Horizontal Movement: Inversion and Actites tn One Key [A Introduction ta Gri chord oma wich wil icvert isl systematic three ines wp the ‘mar neck, yeléing for eal chord inversions 1, Introduction othe ve basi tvs ne forme) and thee relationsip to ther four e- sgectvechrdinversns. . Tha coverage af one ke (Grine over asp of twelve fe (one octave) horny up the gerd PHASE I: Vertical Movement: Inversion and Activites In AE 12 Keys ‘Transposng thee basic actives ine orms and four cherdinversionsandlacteal12 ey ‘none sector ofthe puta neck. PHASE: I: Horizontal ané Vertical Movement: Lin Sues “The transposition and conection ofthe ve bn sto line forms) to formate contin ns ie using thaghll12 keys Each ofthe vetass actives nthe Fans otwo separate line studs, Each set ofine sues wilmove vertical and hraonaly up the neck wih fs e- spective sting ine for fitting total corunand ad acess to any ey, anywhere onthe fngerboard, PHASEIV: Application Through Substitution and Reduction With sid ofan rgnal song tthe “Nadine, llo he principles dscssedin thisbook wie ctl apd. | Through arly the complex chor changes ofthe tune willie redoedtosinplemipoe chord fons B.A sample sty, consructedof the basic activtes, is provide atthe endo thi seson, kis taportant to ask that you dont proceed to Phe I ntl Pase Is fly uotertoed Te sre ols ‘uc throughout the course ofthe backPHASE I: Horizontal Movement Inversions and Activities In One Key ‘Sine the sujet cussed in this wokis ht ofthe nr cra ioe frm andhow they ae ws basi for near enprovition, we wil stat wih bse frm os Gr chord ad ernst y= {ematiciversionhotontl Wp the gut eck Theresa willbe four dierent oof Gn chord, INVERSIONS ‘To systematic invert any chord we mus frst slet a set of strings on wich the stating chord walbe ut: erefter tobe refereed to acing seta) The ting tet selected in 4132 he sath thy tha, ‘nd scorer) ‘The next tepisto choses chord vino Gi that es on hs stag set The king wewiluseis 1b? 185 inversion of Gm? chord. To further exp, the root) ofthe chord will on essing, he 97 Alegre of he chord wl lon te fourth singe FORMI:Gn? —stingsets6 4.9.2 ‘woking 1 5763 5 To nd te est verted fem os corres ach voice inthe fir frm by one degree. ‘ont FORM? Gm? stingset: 6 4 3 ‘orang 6315 BT “The 1 b7 35 wing becomes 3881587 vokng ‘enor repeat the procedure to profce the thin form of Gr. PORMS:GnT — stingsct:6 4 3.2 Tae ‘oking § 8867 1 ww ‘The bs 157 voice becomes 25867 1 woking Werepet the procedure once more to ave athe fourth an fal frm FORMAGn? singe 64 9 2 ; eens 28 ~ Tesh Wi wking tener st7Stiwoing Fy You shadow farce yourself with these four chord iverson they willbe used throught Phases 1, and aes pri hao the acti to flow.ACTIVITIES “The nex area of stdy to be discusses ofa eb natae. Aste tema “near improvisation” sugests, ‘neon foe mart be mprovised ever varus harmonic tutus, creating lo. These ine ms ‘Poreniter tobe refered to ab activities) cn be related tbh coed and sale fom, “The key we wil be den with tthe present nee G minor. Shc G mors derived fom 2 Bb mae ‘tale (Gn beng the rete minor of Bb jr, inpatant wo kaow where onthe ita neck the BD Ia (Gm) scales are cated orien tes scales, ang withthe previously mentioned chrdorms, that ve forms eats canbe rake, “The allowing grams letra five ors of Bb jor (Gr ele. Incusive in the grams are the four Gminor chord verso ow they rele to ther respective scale aters, Notice ha ke te four ‘hord versions the Eve scale ators aovelezortaly up the fngeboar,unaltweve ris one oe tave)are covered NOTE: The scale foisted herein donot necessary start and end onthe rot ofthese. They in ‘toad dpy every ase sal toe in poston. —_——__KEY © = Sale Tone BB) ~ cord Tone within cel pattern 142.5 bY = Chord Tone Degrees asindcated at et ingen dears.For 15 illstrate the four Gai? chord aversion ae thei relationship otek fie parent scales (Bb major Gm). form #1 ‘Notice tht form V ues the ental Gai chord inversion 8 fore, one octave up. This wil hold eve throughout the std[Now that the four Gai cord inversions have bees asocisted withthe five G minor (Bb jon scl at tem, the next lags tp orl ve bse form actiy to them. ‘Te folowing activites (ae forms) shouldbe assed with their respective chord inversion. They Should thoroughly enerstond sed memrized belremovag ot ‘THE FIVE BASIC FORMS OF ACTIVITIES acho the folowing forms ofzctvtes Gin forms depicted withits respective chrdinvrsion. Eachac- ‘tinted enh nase as wells graphical Te prope agar iad You no niger, bua act asa visual ude relting the fe activites to thls Gon cd atl see fr ‘When eaming thet acti ia god ites to play thr respective chord forms immediatly before ply Ing each activity. ach chord farm wil dictate the acti tobe played (except nthe case othe frst chard form which nares tots the st nd ith acti). Fon CHORD ORM. Ue activity Form Fos 85 Form? Form? Forms Forms Form FormaACTIVITY #1 ‘Theft activity Ga the hey of G minor) tarsi the thd postin, and spans fom the secondo sith et on ‘he ngerbond Iceary dines a minor eal which oad make reativey easy totnemorze ad as ‘vith ts arg ey. Ath ine stud bo ade cls that he format actvity docs me les fence tote key it Bh EXAMPLE: The Sit activity, starting inthe third poston the ey of Gminor, ‘he et aciy startin the ih poston te ey ofA ance, ee = = GmzACTIVITY #2 ‘The second actiityin th key of G minor, es totaly nthe Sit poston, spaning the ith to ight et. It culins «Boa arpewsio, sang War the may degre ofthe Bhai an" hte. ‘Ain it mist be understood tha: the form of avy doesnot ame te key you ate in. The key s dete: minod by where the arm of city i eng payed. Gut oo 2ACTIVITY #3 ‘The third actvty, wh the exception ofthe Bb ce cnthe second string, nthe severth poston. The sinor sae ad arpeago are vil throughout ths act.ACTIVITY #4 ‘The lcurthactity in th ey of G mir, ies the inh ad tenth poston ant spans therith aleve frets. The mine shapes are sl evident b, ® ® @@o @ @e006 6 oo ™.._- “ACTIVITY #5 ‘The ith nda form of ctivity inthe key of Gmina competes the total coverage ofthe fgerboadin one key (Gmina), ever distance weve fete (one octave), Notice tht hth he nan first ects sar tn the se te on he sth ting (2 "6" note, ERGO: Thenext cl form to alow, would be the est orm of acti cn octave higher. Remember: The fist and ith tives share the same chrdinversin.Before moring on o PHASE I the student soul lear to play the romaing elven keys, bein up the fngrboaa. To actieve thi, nly transpse the our hor ome adler ofa either ‘oc down te oer eleven keys. EXAMPLE: Horizontal movement inthe key fC minor (Eb sj 1) Locate the our chord inversion nd cles. 2) Pay the appropriate aetity (ne form), according tothe cord inverson fom 1 2, 3, et) cnt fora #4 Ca? form #5 Cr form #2 cs orm #2 Cont form #3 Ln ‘Upon completion ofthis asec stuty you shoul beable o pay al twelve keys hoot up thefingerbnerd. Then poly then shold you move ono PHASE 6PHASE II: Vertical Movement Inversions and Activities in All 12 Keys Phase I involves transposing the ve Basic forms fatty learned in Phase Ian veal toca all twee keys inane area othe puta nok. Remember: Pa the chad inversion Set, thi wil nate the for of activity o be used, Except in the ase ol atiies 1&3 whic stare the sare hard version) ine form: Key of G minorLine form: Key of Ab ioar Abm7ine form 5: Key fA minorie fora 4: Key of Bb minorLine fom 4: Key f 8 inoe[Une fom 3 Key of Cinor Cm7ine form: Key of DinarLine fom Key of Dine{ine form 2: Key of Bb norine form 2: Key of minorLine fom 1: Key of Finorine frm 1 Key of Gb minorPHASE III: Vertical and Horizontal Movement Line Studies ‘Phase Il dels wt the ransposton sl connection ofthe five basic ors of stv, resulting inten co ‘intous linear improvisstons. Hereafter to be reerred tos ne sides.) achtine stu twenty far o twenty aight hareinngthandwildexnoostratetheinear movement ote Sve forms fact through etre keys. Hach frm off the bai of two diferent ine studs ‘The ine stces wil more herzanaly up the ingerbeard accorngto thei respertive staring Ee fomss ‘citing toa commune and access to every key cere, sehen the tar. LINE STUDY 14 Gm7 a(Acont) Bm?Ene (Acon.) ‘Ate end ofthis ine stu, you wil atc an arow. This merely suggests thatthe ne stu can coins ‘aware, starting again ona G maior cher LINE STUDY 18(Beant)(Beont)Youtavenow crpletedine sues 1A and 1B. Aayoubuve akeady reaedby no linestaliesLAand 1B abot stared fom their arm of actin G minor Both ne des were osteo the lowe st ‘eon ofthe ingerbrard (as have nest ofthe meso exersises tp nto). Staring wth ne ties 2 ‘and 2B, the ie stulies wi ascend up the fagerbour wih each sucoessve sto ine tae. NOTE: The sume two chord progressions wil be ulzd forthe remining ine studies, according tole ‘Le Lie studies 1, 2A, 3A, 4A and SA wil stare the same chord progression. The ste hole tue fo the" stu, [Eo studies 24 and 2B start wth the second farm of ctv n Goce, LINE sTuby 24 Gm7(cont) ® @ eee ®2@0@ ®(2Acont.)LINE STUDY 2B(@Beont) 42 . bars 3 3(@Beont) Em7Lin stdin A ad 3 start withthe thi form fatty ia G mie LINE STUDY 24GA cont)Boot)Dm? (3B cont) 3Line ties 4A an 48 start with the forth foo ctv, in G mio ema sig aoe eet i © @ ©G@Acm)(@Acon) LINE STUDY 418(4B cont) aAer ering the precoting sight ine sais, shouldbe clear ato how to connec the ve cites. Ergo: Line stig SA and sIthave been started nde for yosto complete, The sts ie the same prresslons athe preceding ei LINE STUDY 5A @ LINE STUDY 5BPHASE IV: Substitution & Reduction ‘Apgication hugh subst ad reduction, As was previously meno, comes chord changes on tdtenbereduced tor substutedby ce pint rate cord forms Iti the mean cord ssi tion hat an orga composition tiled "Nadine wilbo roduced to thse ror cord forme fre pape fina mpeorsation, (CHORD SUBSTITUTION ‘Since the subject of had substation sa posse topic fo 2 bok i itsel, we wil ote into ren deta oc explore every posiy onthe subject. We wil however, mento the mae common Used forms a8 ‘ella the ore of abet ht ae pret os paseo sy 1 Substiute chords ofthe sane rane and quay. Converting to mmo though ub, Cnajé = An? (Relveniaor) Com = Ceuj? = Cri ee cat = An Relaiveminee) ee oe eee Cale = Emi? (Secondary relative minor) c= = cae oe cms = Ets Atthistime the siden shoud explore the subject ofboth contextual and composi svbetitions PROCEDURE, 1) Study the songin its gta orm (page 52) |) Pay the melody, 1 Sty the chord anges. 2) On pages 58 and 54 you wifi the chord agra andthe simplified breakdown of the harmonic ste tare Gower stare). 4 Leaa the chord viings (pore in both rusia and grape form). 1 Stuy the ubsttutens oud inmedatly below the compotion amon. 2) Stay the rays on pagen 5 through 7 4) Relate cach subsitton to tb eampostional barony, wth the ad ofthe writen aaa. 8) Mere the eben, 4) Examine the sep sol cm pages $8 through 62. 2) Playthrough he spe slo until the stay canbe perfonned moatop. 3) Record the changes on tape and play the 2 over tem. '5) Now that you've lamedshetune throught, compose your ammsoksoverthe hangs, ting the sub ston given or any of your own substan [NOTE: It shouldbe understood tt the tune wed in thi phase i ofa very abstract and doit tere ‘a8 with he intent of showing the entrst of comply r= simp st thistine was selete ERGO: The nest logical tp ofthe procedure woud be spy the pres learned inthis wrk to more ‘common forms a rgressions and song EXAMPLES: “Stolp Stig” eee seeees eee Vator Young “Al the Things You Are” SUT Jerome ere “The Days of Wine and Roses’ 2 en Mane “Sumnertine™ TIITIII eon Gest “Serpple Prom the Ap 7 Chase Parker aNADINE by Put Martino Bm75S. aE(CHORD INVERSIONS WITH SUBSTITUTIONS, Bm7b5 jf, omy, Fe tokFmaj75/, Emo faa iat cu7#549 cme Ebnyay Bisbs, F#m6 Abeyan GayBARS 6-7: BARS 6. ANALYSIS NADINE”) ‘The song starts with Bb chrd over an” bass note. The abst form we wise Dminor. To better understand ths, we ms view tbe Bris cx inet eon oD ‘The Bins chords comprise ofthe notes B,D, FA “The note nelson oD isthe sth degree (th. ‘TheD note inreaion to Duis the root ofthe Dn (1). “The Fnotein reat to Dr's the minor hind degree (0). “The A ote in eatin to Dm isthe ith degree (th), ERGO: Inston oD minor, th BTS chords Dacha nero, Con ‘versely, «Di chordie Beh chord it's Est inversion, RULE: Frum therootafsminr seventh ve x75) chard, goupamine thiand pay tino, Le Bm «pas ~ Da. ‘Tocamy the proces tp further, we canalso derive 2 dina sinh (chord fom the 76 and mir Et (in) cords Ihe ce of BS ane Dn, 2 G9 chard can be derived. "The Bnotein rein tothe G9 chords the minor rd degree ‘The pote nreation tothe G3 cori the ith degre (5). ‘The mote in relation tothe G9 chars the b seventh degree (7). The Anote in relation tothe G9 cords the sinh degre RULE: To comers dominant ith chord toa mins form, go up prec ith rm he root ofthe Sth chard and pay mz. Le."G9.. wpa PS ~ Di, OBSERVATION: Minor seventh fst Sve (705) cords ae incomplte deine sith heres ‘Ao minor fom was used over a Gb minor id with an Ab ote inthe bass. Inbars8.9, cn augmented rid wih sterating“G to” sents, ssubstetedbyaD nino rm 1. The augmented tread, mach ke the iinished 7th chor, verte to form wo othe sgmented iad. EXAMPLE: A, C# = Paugmented ACB, Ba, @) ~ Anugmested (C#)D6, FA! = Db (Ca) augmented [NOTE: Hach aoe ofthe rin can be alle the root and can are the ad1, Observe now thatthe augmented trad an incomplete minor (a7) cho FA.C#=D,F.A,C# Omni) A.C#, Be = Fa, A.Ce, Ee, (F#m mai) Db. A= Bb, Db, FA (htm main ERGO: Keeping inind hat n augmented trad hasthre names, thereare three diferent ‘minor (Ma?) substitutions or an augmented chad EXAMPLE: Faugnented « Dm mi? EXAMPLE: Faugnented ~ Fm maj? EXAMPLE: Faugnented = Bom maj? “To hurr demonstrate i we lok back at bars 6 & 7, we Se tha Gen (F# ior form was se ts ‘ow ancl posse olay Fino over bars 6,7, 8, a3. The rot othe Gane wl more 1 the rot ofthe Faugmented producing the sounded F# mba oF manoe (Na?) ‘TO SUMMARIZE: Over an augmented ris, go wpa majo 6th fromthe eo and ply ether mela or turner mine EXAMPLE: Faymented... pa msjoréth = D meade or harmonic mine. Aaagpented | amar 6th = Fs melodic or armonic mn. (Ca augmence. "yp amar 6th = Bb (A#) melodie o hari mina. BAR 10: Inbor 10, the amon isa Cmsjr tid wih sn"F#” tein th bass. Convertthe Corto ‘minor (Am being the relate minor ef Casi and treat the Fa basntas thee rao. ERGO: For Sire play A minor [BAR 11: Inbar tthe tarmony it Dbsjor tind over an “B" note inthe bass. The eben ie F EXPLANATION: Ifwe view thei msjor vad lone, he most bvius substuon woud be ‘tgrlatveior (Bb minoo) However, the"B* nlc the bss woaldaat go very well vith Bb ‘minor (eating 2 bth inthe bat). Tereore, we goto the secondary eave ror of Db ‘aor which the Il chor of Dp, nal minor ‘Amin, we mast rele tho PY direct to Prinr. “The Db note ineltion oF minor the bth ‘The F” non ration o Friars the act ‘The Ab note relation to Fiz ithe Bed “The notein relation oF inor ithe majth Also ntice hat al ofthe nates inthe PY chor can be found nan F armani minor sae 6, Ab, Bh, C, Db, B). ‘Thereis stil however, aproblam withthe" bss not. Itsilhasa tendency toclash withthe Fmior. Therefor, mat be anderson that altho the absttations sed are theoretical cect. henature ofthe erga harmony (hat Ding very absrac wilt alow ade ‘The Pocket” type ofsound tobe profuced the calls on tbe musician torelyonhisespeiene snd ring to crentea psu hat bh deine te harmon eel be lesan eo tener eaBAR 12; Treat the barharmeny PY ext asit appears and pay the reste miner (De on BAR 13: Phy an‘ * nar form over Ea. BAR 14: Inberl4, we encounteredanakered dominant 7h chord (GO? #5 #9). The sbstinton chord BAR BAR 15: 16: 1% 1 19: 20, Jigmi, Although there are many waystotettan red dria chor, ony hess tio sed bee wlbe explained EXPLANATION: Ope way to create the sound an ltered dominant chord ego wp Ye spiro the rot ofthe rina chord and ay mine. EXAMPLE: For GOT tere, go up ¥ step an play min. ‘The fallowing are two diferent types of G minor cles and how they relate tothe GBT chor EXAMPLE: Ghamonicninge GA Bh OCR elstontoGb? bo 49 Sd hss ra Gmebsicnine 8 G A Bh COD Ok OF# RelstontoGb M99 Sd Tet 1s clear to gee from the exams that though both minor scales ie the tered ths and Sth (8, #9, b6, #5), only the melodic nor contains the 7, whist" nota d= stent Tesch ERGO: Over Gb7:#5 #9 use G mina (nebo) (6 mor (tamanic) Playa“C" incr orm over Cn Inbar 1, pay an Eb minor orm over the FA chord In bur 17, BLD was subetiuted by an F# mina orm. (Refer tote explanation in bars 15, ecg with doeamant chads) Pay F# minor farm over F#m6 Play Aina form over Ay, NOTE: The Bb bss nce canbe viewed es the Sth deren relation to Ab ino. Pay G minor form over YaSolo for NADINE Bm7b5.Solo for NADINE (con)Solo for NADINE cont) Diy Fmaj7b5Solo for NADINE (cot.) Bm co7#5#9 cmo Ebaya, aSolo for NADINE (ent) Bisb5 Fém6TONY BARUSO |n1979"Teny move rom New York o Los Angeles tattend a anesear cour of siya the Guitar i state of Fechnotogy. Wile a GL. Tan bad te oppor to sd with wo Ot est ets ‘ayers inthe wot tly, Pat Martino ad Joe Dori, wasthere that the close fendstipand asian withPat Martino evelved. Toy spent nny hours with Pal exchangingeasanddsuascng Pas views do mas ad ein ener Is fom hese rsny Rows of {steac that this ori eame tbe ‘Upon completion is statist GT. Tony was ced ena barn and apy worked way upto che akon of ordinator cf cumcaar and staff mus copys forthe ene Sonal ‘ie olin this prton Tony athe chance to, nvarious capac, work fora ith many oe [sts suchas" Howard Roberts Tommy Tedenco, Joe Dori, Rebien For, Jay Graydon, Ros Ee chete, Larry Carlton, Don Mock, Tim Bogert snd Les Wise. “Tony hes nw returned to hs ative New York, where tre projects with Pat Marne aeIN CLOSING In dciing wheter cr nt an instructional method i of nye othe stent wb aubscibeso tone ‘ust ak te questions as tmetbod boa efectve nrg te students eve ofamarencs? Hae he ‘ete fered and dlveced specie data andor eformation tat wil cntrbue tothe tueatsntelectal [row In other wade, isthe stent ened sya? “This methods redo strc the stent in certain areas of gitar paying and musi theory. Teas {ered ire approach to mprvisigove choc chuages and wing be gar Gngerboard an entire ‘ety, comprised ove diferent ements thos fered abril explanation of cord sasttution and ae (fis nore common aplesons, Ieisthe shor sincere hope that the receding pages of study provide some od for tng, andin some ‘way appease your ongoing tit for Knowledge. [Risnot the authors intent, however, to suggest tha the course of tay ofered inthis books ofany mare sal, ors inany ay beter than ober methods inte on. Fo, ims sin Me al Uhre re ab. leeway fit dlerent aya! The eso A Me Vios 7 Pat Marino