Dokumen - Tips Gavin Degraw Guitar Pat Martino Geometryplayervaultjuly2012

5/26/2018 Gavin De graw Guita r Pa t Ma r tino Ge ometr y_Playe r_Va ult_July_2012 - slide pdf.c om
JULY 2012
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Reviewed! Koll Duo Glide
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JAN AKKERMAN
WAYNE KRANTZ
The virtuoso 12-st

innovator goes d
into his techniq
guitars, sli
tunings,
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contents
July 2012 · Volume 2, Number 7
NEW ARTIST FEATURE

08 Wayne Krantz
From the current issue of Guitar Player
FROM THE VAULT

17 Jan Akkerman A classic story from the May
1975 issue of GP
23 Classic Leo Kottke Interview

The virtuoso 12-string innovator goes
deep into his techniques in this fascinating
and freewheeling interview from the
August 1977 GP cover story.
GEAR
44 Reviewed! Koll Duo Glide!
(from the current issue of GP).
ON THE NEWSSTAND
48 GP July 2012 Table of Contents
LESSONS
50 Pat Martino:Sacred Geometry, Simplifying t
Fretboard. From the April 2004 issue of GP.
61 Lenny Breau Fingerstyle Jazz Tremolo

Techniques from the May 1983 issue of GP .

SESSIONS
62 The ever-popular TrueFire Lessons
TRANSCRIPTIONS
64 “Wake Up Everybody” John Legend & The Roo
70 “Fire Woman” The Cult
80 “In Love with a Girl” Gavin DeGraw
GUITAR PLAYER VAULT | July 2012

Wayne Krantz BY BARRY CLEVELAND
WAYNE KRANTZ’S SINGULAR AND FREQUENTLY

visionary playing has made him one of New York
City’s most highly respected and sought-after guitar-
ists, resulting in performing and recording gigs with
a host of luminaries such as Steely Dan, Victor Bailey,
Michael Brecker, Carla Bley, Billy Cobham, and Chris
Potter. Beyond those celebrated sideman roles, Krantz
has led his own trios through intriguing and ever-shift-
ing musical landscapes for nearly two decades, spe-
cializing in structured improvisations that showcase
his formidable stylistic scope and uncanny real-time
compositional prowess. (Intrigued listeners with the
aspiration and determination to plumb Krantz’s con-
ceptual depths for themselves may attempt ingress via
his instructional masterwork, An Improviser’s OS, pub-
lished in 2005.)
On Krantz’s latest release, Howie 61 [Abstract Logix],
the perpetually restless guitarist’s polyglot musical trip
mutates into an unprecedented take on the “singer-song-
writer” format. Except for an extended improvisation
GUITAR PLAYER VAULT | July 2012

artist feature krantz

“I think it is nice
on Ice Cube’s “Check Yo Self,” the songs
are relatively short, have easily discern-
for the audience starting with a title—in this case a play on
words that I thought was funny. Instead of
able sections, and feature Krantz’s lyrics saying “Highway 61,” which has the his-
and vocals. The album also departs from to experience torical weight of both the Americana and
the past by featuring combinations of more Dylan things, switching it to “Howie 61”
than a dozen stellar players rather than the
familiar trio lineup.
some lushness made it ridiculous. The wordiness of the
song is also kind of a reference to Dylan,
W as there a concept behind Howie 61 when you and beauty. I and the song’s form—which is basically a
weird, expanded blues—is based on the
started out, and how did the circumstances sur- structure of a Dylan tune. As far as the
rounding the making of the record differ from album title, I was going to call it something
those surrounding your previous albums?
The process began on Krantz Carlock don’t want to
everything
else, but Howie 61 was kind of funny and
easy to remember, so I decided to use it.
Lefebvre [2009], which contained a few And I had no idea that that song was going
actual “songs” in terms of shorter length, to open the album when I wrote it, but I
lyrics, and singing. Howie 61 continued my be harsh and like that it provides a soft opening and just
exploration of how I might take all of the kind of eases the listener in.
stuff I’ve learned about guitar playing and
improvising, my thoughts about what kind
difficult just Is there a single guitar part on the album that
you were particularly pleased with?
of words I want to be responsible for, and I like the guitar solo on “How the West
what was possible given the limitations because that’s Was Left” a lot because it was an overdub
of my voice—and pack all that stuff into and I wasn’t sure how I wanted to approach
a short song.
Anoth er hug e shift was tha t going
what gets me it sonically. I experimented with some dif-
ferent things and ultimately I discovered
back to 1993, all of my records have fea-
tured the bands that I was working with off.” that using the back pickup with pretty high
gain on the amp but the volume turned
at the time, and I wanted to get away from down and playing with my fingers rather
that because I felt I had already done it. than a pick gave me the sound I needed. I
So I invited a lot of musicians that I had was happy with that, though by nature I’m
played with previously, or had wanted to not motivated to sit around trying to figure
play with, and combined them in different out what the best sound for something is.
ways to expand into a broader thing with You have always said that you aren’t a gear
more colors coming in from other places. guy, and that you don’t spend a lot of time mess-
Some tracks were recorded in L.A., some ing with things but you have good gear and
in London, and some in New York. Every- always get good sounds. D o you just choosea few
one gave their all and were really into it, things and focus on getting them to sound right?
which was very gratifying because there That makes me wonder if I’ve just been
were no limousines or complimentary sushi fooling myself all these years [laughs]. But
dinners—it was pretty rough and rugged. the second part of what you said also makes
W hat about the title track? Is there a direct sense. The beginning of my sound was in
connection to D ylan’s Highway •   evisited ? 1993, when I got rid of a bunch of amps and
There actu ally is. It’s an example of just plugged a Strat directly into a Fender
10 | July 2012 | GUITAR PLAYER VAULT

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  krantz

Deluxe turned all the way up. That sounded and loaded with both 12” and 10” speakers. I El Capistan delay and a Wampler Pinnacle dis
terrible for a year or so, but the good thing is use them with the Tyler and Marshall heads, tortion. I also have a Hiwatt wah and a Dr. Sci
that I had to figure out how to make such a with a little more break-up on the Marshall, entist Reverberator pedal, and very recently
thin tone sound good just by using my hands and delay and reverb on one side. It’s essen- got an Electro-Harmonix Freeze, which sound
rather than relying on an amp. tially an exaggerated clean sound, and then I sort of low-fi and funny but is really useful.
Are you still playing the James Tyler Studio Elite

I’m That
kindsaid, fast-forwarding
of excited because Mattto the present,
Brewster add more
at The distortion
reason with aone
I’ve just used pedal
ampwhen needed.
for so many Yes, with a Duncan Full Shred in the bridg
30th Street Guitars—who does all my guitar years is that the sound is more focused when slot and two Suhr single-coils. James is als
work, advises me on gear, and built my pedal- it comes from one place. That’s particularly working on another guitar for me that ma
board—showed me this Tyler amp that I really important rhythmically, as the more spacious become a signature model. The neck is mod
like. I believe its called a JT46, and its based the sound, the less rhythmic it is. Rhythm is eled on the neck on my ’73 Fender Strato
on an old Marshall. When I heard it I said, like the crack of the snare when you’re a foot caster, which is not a particularly good guitar
“That is a sound I can use,” so I bought one, away from the drum. On the other hand, I think but I love the way the neck feels, probably
along with a couple of Tyler cabinets, and I it is nice for the audience to experience some just because I’ve played it for so long. I go
also tweaked my pedalboard. So maybe I am lushness and beauty. I don’t want everything that guitar in 1980, and learned to play on i
getting into gear. to be harsh and difficult just because that’s Did you use any other guitars on the album?
Did you use that rig on the new album? what gets me off. Yes, a really cool ’67 Fender Tele with
Yes, on part of it. I also used my Marshall What’s new with your pedalboard? great neck that I got some years ago and lov
2553 Jubilee head, which I still love. In fact, I’m still using the Boss DD-3 delay and very much, and a Godin dreadnought acoustic
just this last week I started using the two amps OC-2 octave pedals, and the Moogerfooger Transitioning away from gear, briefly describ
together. The Tyler cabs are super lightweight MF-102 Ring Modulator, but I added a Strymon what An Improviser’s OS is all about.
KRANTZ TEARS IT UP LIVE WITH DRUMMER ZACK DANZIGER AND BASSIST LINCOLN GOINES IN 2009.

artist feature krantz

It contains the method I stumbled across for Ellington talked about it, too, and when I ana- Your improvisational style involves harmon
practicing the chords and scales that are part of lyzed his music I saw that the use of rhythmic much as it does melody. To what extent are you
chromatic tonality that we are subject to here counterpoint gave a certain kind of bounce to sciously thinking about harmonic relationships, an
in the West. But the method is creative and the groove. I think of it as a vertical lift that the what extent are you just going with the flow?
musical, as opposed to re-creative and pattern groove has, where the 2 and the 4 just pop up It’s a good question. Surprisingly, it’s k
oriented, and
the context ofthe material is presented within
improvising. off the
a lot ofsnare. The energy
rock music is going
the energy up, whereas
is going in
down, as of hardI’m
when to answer
playingbecause the space
is something thatthat I’m
I hav
Talk about your approach to groove. in to the floor. That vertical energy fits perfectly really quantified. That said, I’ve been practi
I’m coming from the James Brown, Sly Stone, with what I do, because while the ball is in the that approach for so many years that I don’t e
Prince camp—and I list those guys in order of my air, before it hits the floor and bounces again, all think about it as adding harmony. I’m either p
discovery of them. As far as I understand it, their kinds of things can happen—and that’s where ing one note at a time, or more than one not
groove has a lot to do with rhythmic counterpoint. I live. That’s where all my stuff is happening. a time, but it’s all coming from exactly the s
place. The only difference is the kind of imp
it has. There’s a certain effect when you do
of those two things and then suddenly peo
perceive it as a chord or a line or someth
But as far as how it feels, it’s not really a dist
tion that I make.
You are able to find space for your parts even w
navigating the densest musical environments. Ho
you do that?
That’s counterpoint. And although it may
like there is no space in the music, almost in
tably there will be—and that’s my place. I’ve
ened it to looking at an image and then seei
negative of the image to see what isn’t ther
is also a little like looking at a page of text
seeing the spaces between the words. Those k
of images sort of describe what I’m talking ab
Honestly, though, it is a classic skill that m
different types of musicians have. For example
of the great R&B session players have that a
ity. In order for them to create a part that m
ters, they listen to where the cracks are in
music, center their parts those cracks, and t
maybe ornament them beyond that. They
bleed over into space that is already occup
too, but the fundamental parts are in the pl
where nothing else is happening.
And the same is true in terms of sound. W
I first got to New York many years ago, I atten
a David Sanborn rehearsal and Hiram Bullock
the guitarist. At the time I was playing thro
two amps, stereo chorus, stereo delay, and
this stuff that gave me a big, lush sound. W
Hiram started playing he had a really thin
not great sound, and I thought to myself, “W
would he opt for a sound like that?” Then
band started playing, and that place that he o
pied sonically was completely his own. The lu
ness of the overall sound came from the en
band. His experience told him that that’s wh
he had to be to make a difference, and it soun
incredible in that context, whereas a big,
cious guitar sound would have been inaudi
That was the voice of experience talking. An
was a beautiful thing. g

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gear test drive
Koll Duo Glide

TES TED B Y D A V E HU NTER
THE CUSTOM-BUILT CREATIONS OF SAUL KOLL OF PORTLAND , carved to a rounded C profile that measures .830” thick at first
Oregon, have long inspired lust in the hearts of guitarists for their fret and .960” at the 12th. The ebony ’board carries 22 medium-
superb build quality and diner-retro meets space-race-modern styl- jumbo frets, and upper-edge inlays of white pearl, Koll’s twist on
ing. In joining the Premier Builders Guild, Koll guitars are now the position markers of several late-’50s and early-’60s Gretsch
more widely available, while retaining the U.S.-made kudos and guitars. The ebony facing on the asymmetrical headstock bears
small-shop quality that PBG’s team of California-based luthiers a matching white-pearl logo inlay and is trimmed with narrow
brings to the table. The Duo Glide is Koll’s flagship model, and off-white binding, also echoed in the bound body top, fretboard,
blends elements of classic familiarity with artful originality. In and f-hole. What really makes the package pop, though, is the
its more frequent incarnations, with either TV Jones Classics taffy-sweet surf green urethane finish splashed across the entire
or Lollar PAF-style Imperial humbuckers, it blends elements of body and neck, and the heart-shaped white pearloid pickguard
Gretsch and Gibson in a boutique-grade package with Koll’s inim- that dramatically offsets it. The inclusion of a Bigsby B-5 vibrato
itable stamp upon it. With the more unusual pickups used here, is practically required by law.
and dressed in a surf-tastic finish option, this Duo Glide is some- The beating heart of this Duo Glide lies in its pair of Regal
thing rather different—and certainly a sweet hunk of eye candy humbuckers, acclaimed pickup maker Jason Lollar’s rendition of
by any standards. the Fender Wide Range Humbucker of the early ’70s, as designed
The Duo Glide sports a body of chambered mahogany with a by Seth Lover—better known as the father of Gibson’s legendary
glued-on maple top. The set neck is also made from mahogany, “PAF” humbucker. These pickups are wound pretty hot, like the

originals, at around 10k Ω, but the use of magnetic polepieces—

rather than steel poles with a bar magnet beneath, like traditional
Gibson and Gretsch humbuckers—aims to retain clarity amidst
the heat. It has to be noted that the pickups’ polepiece spacing
falls wider than the outside E strings, but check photos of ’70s
Fender Telecaster Thinline, Custom, or Deluxe models that car-
ried the Regal’s predecessors and you’ll see the same disparity of
widths, so it’s clearly a quirk of the original design. A single master
Volume and Tone control and a 3-way switch govern the package.
The few Koll Duo Glides that I have laid hands on in the past
have achieved that illusive trick of blending the indefinable magic
of a great vintage guitar with the playability of a skillfully crafted
modern instrument. This PBG-built Duo Glide goes a long way
toward nailing the same Holy Grail mojo. Fit and finish are immac-
ulate, the neck feels great in the hand, and the guitar rings loud
and clear, even when played unplugged.
Fired up through a Matchless HC-30, a Bogner Goldfinger (both

gear test drive

KO L L S P E C I F I C AT I O N S
through a 2x12 cab with Scumback speak- CONTACT Premier Builders Guild, (714) 514-0647; premierbuildersguild.com
ers), and a Fender EC Twinolux, the Duo
Glide translates its candy-colored façade to DUO GLIDE
a surprisingly sizzling tone beast that heaps PRICE $3,695 street (with hardshell case); $3,595 with TV Jones Classic pickups
NUT WIDTH 1 11/16" GraphTech Tusq
on bitesultry
offers and bluster when needed,
sonic depths but also
and nuances for NECK Mahogany, glued in, C profile (.830" thick at 1st fret, .960" at 12th)
FRETBOARD Ebony, 24 3/4" scale
more contemplative moments. The Lollar
FRETS 22 medium jumbo
Regals really do pack a sting, but it’s a more
TUNERS TonePros Kluson-style vintage tuners
vintage-edged snarl with plenty of clarity and
BODY Chambered mahogany with maple top
cleaner tones when you turn down the gui-
BRIDGE Tune-o-matic with Bigsby B-5 vibrato
tar’s Volume control. The Duo Glide excels
PICKUPS Two Lollar Regal humbucking pickups
at anything from the meaner side of surf to
CONTROLS Single Volume and Tone, 3-way selector
alt-country with attitude to gutsy-blues and FACTORY STRINGS D’Addario, .010-.046 set
garage rock on those edge-of-breakup amp WEIGHT 8 lbs
settings. Cranking some high gain with the BUILT USA
Bogner or an OD pedal, it proved an easy KUDOS Impeccable styling. Excellent build quality. Original tones that are extremely versatile
match for just about any breed of straight-on CONCERNS Pole spacings on these pickups don’t accurately match string spacing, but this doesn’t
rock, too. The polepiece spacing issue doesn’t noticeably impact string output or balance.
seem to affect string output or balance in the
least, and the Bigsby works smoothly with-
out any major return-to-pitch issues. All in
all, the Duo Glide is a blast to play, is surpris-
ingly versatile, and damn if it doesn’t make
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John Petrucci’s new TonePrint pedal, images from the Ronnie Montrose tribu
Lessons show, Jeff Aug’s record-setting gigs, Carl Verheyen, Editors’ Faves, and much m
COVER STORY
Jason Becker The Shrapnel star and former David Lee Roth guitarist talks abou
his incredible technique, his compositional skills, and how he continues to create
music 23 years after being diagnosed with ALS.
ARTISTS
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Dweezil Zappa · Wayne Krantz · Sam Weber
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The Making of Great Gypsy Soul

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LESSONS
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Ten Things You Gotta Do to Play Like … Other Instruments
Jess Gress shows you everything you need to cop piano, drum, sax, synth, and voca
10 lines on guitar.
New Acoustic and
Acoustic-ElectricGuitars
TE STE D B Y THE GU ITAR P LAY E R STAFF
AS YOU’VE LIKEL ROM CHECKING OUT NEW ACOUSTIC

Y NOTICED F
guitars online or in the brick-and-mortar domain, there are some amazing
deals to be had these days on instruments that look, play, and sound like
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Dave Hill Lesson
The Right Way to Play Wrong Notes Part 1
construction,which is somethingthat has typically notbeen thecasewith
moreaffordableinstruments.Obviously,manufacturingguitarsinChinahas
muchtodowithmakingthispossible,although,asthisrounduppointsout,
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neckjoint,fretboardscale,and thethicknessandhardness
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Andthentherearetheelectronicsthatmanyguitarscome
equipped with—some sporting lots of knobs, sliders, and
switches,andotherswithlittlemorethana2-bandEQ.Most
systemsarewellimplementedforthe guitarsthey’reinstalled
Hey Jazz Guy
Jake Hertzog helps you spread out.
in,butit’s definitelyworthplugginginandseeingif youlike
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overwhelmedorundergunnedbytheinterface.
With acoustic guitars you do get what you pay for,
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Even if you score a hit, you never overandwhinesabouttoeveryone body is a very cruel twist of fate.
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oneunleasheswhenyoumakeapact tofeelguiltyandsmallforbitching music.Today,againstallodds,heis
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WHETHER YOU’RE IN THIS GAME musicalendeavorsandemotionsout worries. Becker’sjourneytrumps funnyashell,andasexyguitar god.
forfun orprofit—orboth—being a thereinanoftencruelanduncaring us all—or at least 99.9-percent of Heisnovictimof fate,and—here’s
Accessory File Wolfetone Dr. Vintage and Marshallhead Humbuckers

musician isn’t easy. Some people world.Musiciansthemselvescanbe us (my apologies to anyone in the amammothunderstatement—he’s
automaticallyassumewe’reweir- themostmaliciousandspitefulcrit- 0.1 percent I may have offended). certainlynowhiner.
dos,egotists,narcissists,druggies, ics,zeroinginwithunabashedgleeon Youcanreadaboutthespecificsin So,I don’t know about you,but
alcoholics,and/orarrogantputzes— minutedetailsregardingthequality MattBlackett’sexcellentstoryon wheneverthe going getstough for
notanideal“bestfootforward”for oftone,technique,andcomposition. Beckerinthisissue,but,fornow,let’s me in this crazy soap opera called
meetingnewfriends,tosaytheleast. Yes, there are truckloads of justagreethathavingaburgeoning themusicbusiness,I’mnotgoingto
complain,getangry,orevensigh.I’m
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I figure that if Beckercan give the
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get out of my own way.
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lessons ROCK
M A S T E R C L A S S
SACRED GEOMETRY
Simplifying the fretboard with Pat Martino
BY JUDE GOLD
If there’s one common misconception people the language of scales, theory, and intervals that
have about geniuses, it’s the notion that these we all use when explaining or communicating
stellar intellects engage only in the most strenu- music—really has nothing specifically to do with
ous of thought; that in order to even hold a con- any instrument other than the piano.”
versation with one of these brainiacs you need But guess what, guitarists: It’s now finally
an Ivy League PhD, an IQ of 200 or more, and time to describe music from our point of view.
a bulbous cranium that makes you look like a And there’s probably nobody more qualified
character from Star Trek. In reality—as brilliant to step up to the podium and demonstrate a
inventions such as the wheel, the light bulb, the guitar-centric vision of the musical universe than
magnetic guitar pickup, the TV dinner, and the Martino, because he has written a mesmerizing
Pet Rock all so vividly prove—the most ingenious treatise called The Nature of Guitar that may for-
ideas are often the simplest. And if the mark of ever change how you visualize the way harmony,
true genius is the ability to find simple, head- melody, and improvisation all function on the
slapping, gosh-why-didn’t-I-think-of-that solu- fretboard.
tions to complex problems, then Pat Martino is And yes, Martino’s genius ideas are almost
truly one of the guitar’s cleverest minds. In this childishly simple.
lesson, the jazz legend shares with you an inspir-
ing re-mapping of the fretboard that is radically A B A N D O N I N G THE PIANO
different from what is typically taught in private “Here’s the piano,” says Martino, playing the C
lessons or at music schools. major scale in Ex. 1. “These seven notes are the
“The guitar is structured like no other instru- white keys. And the piano’s black keys are here
ment,” states Martino, “and it unveils itself in a [Ex. 2]. These five black keys spell a D # pentatonic
unique way. Like the piano, it has its own fully minor scale, starting on the 7, C #. Combine those
unique temperament. But the communal lan- two groups of notes and you get all 12 notes of
guage of music that all musicians share—that is, the octave—in other words, you get the chromatic

PH O T O : PAU


lessons
sacred geometry
T R E A SU R E MA P
scale [Ex. 3]. That’s seven plus five. It’s a jazz lines you’ll
system of addition—a horizontal system ever hear from a Jazz fans worldwide may recognize Fig. 1 as the cover of Pat Martino
based on the fact that the piano goes from guitar player, all adventurous new album Think Tank [Blue Note], a modern bop tour d
left to right, from lower in pitch to higher in you’ll need to grasp force that features sax master Joe Lovano and an all-star rhythm sectio
pitch. This
are part is where
of the scales come
community from,
language which
you use the
followconcepts that
is a basic of GonzaloBut
(drums). Rubalcaba (piano),
if you’ve got Christian
especially goodMcBride (bass),
eyes, you’ll spyand Lewis
hiding Nas
beneat
to function with other musicians so that you knowledge of music the transparent geodesic dome that dominates this cover an additiona
can discuss modes and scale forms, etc. But theory, because, in set of intersecting lines—the musical blueprint in Fig 2. Generated from
scales really have nothing to do with how Martino’s mind clockwise placement of every note in the chromatic scale—and featurin
the guitar works. The guitar does not work there are only two the letters N, E, S, and W in the center signifying the compass—this intrig
horizontally.” basic shapes you ing image represents Martino’s vision of Western harmony and how it
absolutely must navigated using the guitar’s fretboard. —JG
MEET THE PARENTS know to unlock the
The guitar, like the piano, does have hori- secrets of the fret-
zontal properties, at least in the sense that board. One of them is the augmented triad FIG
as you ascend horizontally from left to right (a major triad with a raised 5) such as the
on a given string the notes get higher in Caug5 in Ex 4.
pitch. What makes the guitar inherently dif- “This augmented cluster is one of two
ferent, though, is that it also has a vertical parental forms on the guitar,” explains
nature, because it allows you to move up and Martino. By “parental,” Martino means that
down—which is exactly what you do when the augmented triad—in this case a Caug5
move from a higher string to a lower string spelled C-E-G#—produces multiple chordal
or vice versa. This means that the fretboard offspring. Specifically, it’s a harmonic gate-
is an x-y axis. “It’s a matrix,” adds Martino. way to three major chords. Just lower any
“By being both horizontal and vertical, one of its three tones and you get a major FIG. 1
you have latitude and longitude. It’s like a triad. As shown in Ex. 5, if you drop the
compass—north, east, west, and south.” lowest note, C, a half-step, you get an E
We’re about to enter the heart of major triad. Or, lower the middle note, E,
Martino’s unique vision of the fretboard— the same distance, and you have a G# major
but fear not: Although Martino plays some triad. Or, finally, knock the highest pitch,
of the most ferocious, angular modern G#, back one fret to hear a C triad. Slick!
Freely Freely
        
            

EX. 1 EX. 2
T T
A
2 3 5 2 4 A
4 6 3
B B
3 5 4 6
Freely EX. 3
                  

T
2 3 4
A
2 3 4 5 6
B
3 4 5 6

PH O T O S : JU

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DIN 14001                           
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lessons
sacred geometry
“Also, be sure to try raising any note in the second-lowest note and you get C7. Drop the Caug5 triad is in bold, spelled enharmon
augmented cluster a half-step,” encourages second-highest note and you get Eb7. And if cally C-E-Ab. Similarly the other parent
Martino. “That’s how you’ll get minor chords. you lower the highest note, you’ll hear A7. shape—the diminished cluster—is perfect
For instance, raise the lowest note in our To me, this is the guitar. These two paren- symmetrical as well. Dividing the octav
Caug5 chord a semi-tone to C#, and you’ve got tal shapes—the augmented and diminished equally into four minor-thirds, a diminishe
aand
C #you’ll
minorhear
triad.
an Sharp
F minorjusttriad.
the middle
Or, raisenote,
the clusters—are the fastest
instrument, provided you way
have to learncom-
a basic the chord repeats
in Ex. 10 itself
. Again, the every threethat
only thing fretschanges
as show
highest note, and you’ve got Am.” mand of chord theory and scale spellings.” these four identical grips is the arrangeme
The other parental shape that Martino of the notes.
deems crucial is the diminished 7th chord, SYMMETRY IN M O T I ON “The diminished cluster forms a square
which is represented by the Edim7 in Ex. 6. The most beautiful aspect of the two parental says Martino, referring to Ex. 11. “Unlike th
“The diminished cluster has a different set of forms has to be their perfect symmetry. The piano, which uses a seven-plus-five system
siblings,” notes Martino, playing the shape’s augmented triad, for example, divides the addition, the guitar uses multiplication. Wi
four offspring chords in Ex. 7. “Lower any one octave equally into three intervals of a major both of our parental forms we cover all 1
of its notes by a half-step and you get the root third. For that reason, if you move the shape notes of the chromatic scale by multiplyin
of a dominant 7 chord. For example, drop the up or down the fretboard a major third (or three times four.”
lowest tone and you get Gb7. Or, drop the four frets), as shown in Ex. 8, the chord doesn’t
change in any way except for the fact that its MOVIN’ ON UP
tones become rearranged (with one shifted When it comes to inverting chords, the port
an octave). We’re playing the same shape at bility of Martino’s two parental forms prove
PAT the 4th, 8th, and 12th frets, yet the harmony, very convenient. Take the augmented cluste
note names, and fingering remain exactly for example. Remember how, in Ex. 5,
MARTINO’S the same. fourth-position Caug5 triad yielded a diffe
“It gives you automatic inversions of itself ent major chord each time we lowered one
GEAR with no necessity of memorizing new finger- its tones? Well, if you move Caug5 up to i
ings,” observes Martino. “If you arrange the first inversion at the 8th fret, it still produc
Guitar: Gibson Pat Martino 12 notes of the chromatic scale like the face the same three major triads (though you
Signature Model. of a clock, you’ll see that the augmented find the trio of triads has swapped finge
Amp: Acoustic Image. cluster forms a perfect triangle [Ex. 9].” ings). For instance, in Ex. 5, we dropped th
Strings: GHS, .016-.058 set. Due to its perfect symmetry, there are lowest note of the chord, C, a half-step an
only four different augmented triads, as our Caug5 became an E major triad. But
shown by the four triangles in Ex. 9. Our Ex. 12, the augmented cluster is at the eight
EX. 4 EX. 5 EX. 6

Augmented cluster Augmented cluster’s offspring Diminished cluster
Caug5 E G  C Edim7
XXX 2 3 1 XXX1 3 2 XXX 2 1 1 XXX 3 4 1 XX1 3 2 4
IV IV IV III V
EX. 7 EX. 8
Diminished cluster’s offspring Symmetrical inversion


G 7 C7 E 7  A7 Caug5 Caug5 Caug5
XX1 3 2 4 XX 1 1 1 4 X X 2 3 1 4 XX1 2 1 1 XXX 2 3 1 XX X 2 3 1 XXX 2 3 1
IV V IV V IV VIII XII
C EG  
EG C 
G C E

PH O T O CO UR T E S Y O F

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5/26/2018 BY Gavin De graw Guita r Pa t Ma r tino Ge ometr y_Playe r_Va ult_July_2012 - slide pdf.c om
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lessons
sacred geometry
position, and C appears on the first string. “It’s a whole different approach to shift- ished forms, you’ll hear a dominant 7 chor
Now, lowering the highest note yields E ing harmony from the standard method, Martino especially likes the open-voic
major, as shown. which involves creating chords from scale sound you get by placing the parental form
Ex. 13 shows the same process as it relates tones and applying complex alterations,” on non-adjacent string sets—and the offspri
to the diminished cluster. Here, by lower- says Martino. “And again, it’s so portable. they produce. Ex. 18 shows one of Ex. 16
ing G to we’re
because Gb, Edim7
at thestill becomes
eighth G b7, but
position, the Shift our original isCsimply
inversion—which #dim7 the
up to its same
exact next shimmering
its offspring open-voiced
(not countingCaug5 chordschor
the minor wi
dominant chord is now achieved by lowering fingering moved up to the 5th fret—and you you get when you raise any one of Caug5
the second-highest note in the diminished can easily generate a new inversion of the tones), and Ex. 19 shows one of Ex. 17’s ope
form, not the lowest note (as was the case entire progression [Ex. 15]. Just as we did in voiced Edim7 clusters with its offspring.
with the fifth-position Edim7 in Ex. 7). the previous example, we’re expanding one
note at a time, but this time the same notes CHROMATIC ATTACK!
THE BIG BANG are on different strings.” Now that you’ve seen how the two parent
“These clusters are great for generating shapes act as key centers and yield doze
chord progressions,” shares Martino. “By BRANCHING OUT of colorful, closely-related chords, it’s tim
lowering one note here, raising another The next step toward conquering the fret- to start thinking of them as launching pa
there, you have a very efficient way of gen- board using Martino’s two parental forms for melodic improvisation—which is exact
erating complex harmonies—and with the is to place the clusters on different groups what Martino does. That means putting asi
smoothest of voice leading.” of strings so you can take advantage of the notions of scale patterns and really lear
Martino demonstrates the approach in Ex. many timbres and pitch ranges that the guitar ing to visualize the fretboard as a netwo
14, taking the diminished parental form (in offers. Ex. 16 displays seven ways of fretting of shapes connected by neighbor tones an
this case, C#dim7) and expanding it one note the augmented cluster using unique string passing tones.
at a time. First, he drops C# to C, yielding groups, while Ex. 17 shows five ways of doing “Chromatic intermediates intertwi
C7. Next, he raises Bb to B. (“That gives you the same with the diminished cluster. In across the entire fretboard,” says Martin
a beautiful form of Cmaj7.”) Adding an open- each example the chord remains the same demonstrating this fact with one of his trad
A pedal tone to the Cmaj7 chord creates a throughout, but the inversion and timbral mark chromatic runs in Ex. 20. While there a
chimey Am9 voicing. Raising G a half-step character changes with each new grip. a ton of chromatic notes in this long descen
produces the tendon-twisting Am9(maj7), And yes, with any of Ex. 16’s augmented ing line, the blazing riff somehow makes th
which, when you raise E to E#, relaxes into voicings, if you lower any single chord tone, entire neck seem to scream “C7.” “You c
the ear-twisting Am9#5(maj7) chord that you’ll get a major triad, and similarly, if you use chromatic notes to weave the whole fre
closes the progression. flatten any note in one of Ex. 17’s dimin- board into one given topic.”
EX. 9 EX. 10 EX. 11
Symmetrical inversion
Edim7 Edim7 Edim7 Edim7

XX1 3 2 4 XX 1 3 2 4 XX1 3 2 4 XX 1 3 2 4
V VIII XI XIV
G D E B B  E G D D G B  E E B  D G
EX. 12 EX. 13
Caug5 E Edim7 G 7
XXX 2 3 1 XX X 3 4 1 XX 1 3 2 4 XX 2 3 1 4
VIII VII VIII VII

PH O T O : M AR C

lessons
sacred geometry
ENCORE
It’s one of the most inspirational stories in
jazz: Pat Martino learning to become a mas-
ter guitarist—twice. “The first time around, I
was a dead-serious youngster who was tuned
in to the competitive nature of our culture
and was fully motivated to achieve success,”
says Martino, who, in 1980, at the peak of his
form, suffered a catastrophic brain aneurysm
that caused him to forget all he knew about
playing guitar. “My second relationship with
the instrument began in a much more inti-
mate, innocent kind of way. The guitar
became a playful resting place during a period
of intense therapeutic recovery. It allowed me
to take my attention away from my ordeal.
I was able to enjoy the guitar in a pure and
almost childish way—like a child does a toy. I
think we’re ultimately chosen to be childish.
That’s exactly
and exactly howhow
wewe come
leave it. into
The this world
guitar just
happens to be my favorite toy.”g
MARTINO ON SACRED GEOMETRY.
For more on Pat Martino, his new album Think

Tank , and his ideas on the nature of guitar, visit
him online at patmartino.com.
EX. 14 Expanding diminished cluster


C dim7 C7 Cmaj7 Am9 Am9(maj7) 
Am9 5(maj7)
XX1 3 2 4 X X 2 3 1 4 XX 2 4 1 3 X 2 4 1 3 X 2 3 1 4 X 2 3 1 4
 
EB C G 
EB C G E B C G A E B C G
A E B C G  
A E B C G 
EX. 15 Expanding diminished cluster inverted


C dim7 C7 Cmaj7 Am9 Am9(maj7) 
Am9 5(maj7)
XX1 3 2 4 XX1 1 1 4 XX1 1 1 4 X 1 1 1 4 X 2 1 1 4 X 2 1 3 4
V V V V V V
G C  EB  G C E B  G C E B A G C E B 
AG C E B 
AG CE B 
EX. 16
Augmented cluster
Caug5 Caug5 Caug5 Caug5 Caug5 Caug5 Caug5

XXX 2 3 1 XX 3 1 2 X X 3 2 1 XX 3 2 1 XXX 3 X1 4 XX XX1 4 X 3 X1 2 XX4
IV V V VI VI VI VI
EX. 17 Diminished cluster
Edim7 Edim7 Edim7 Edim7 Edim7

XX1 3 2 4 X 2 3 1 4 X 2 4 1 3 XX 2 X1 3 1 X X 2 X1 4 1
II III II III

lessons

sessions TrueFire


transcriptions john
ROCK leg
64 | July 2012 | GUITAR PLAYER VAULT Used by Permission of ALFRED MUSIC PUBLISHING CO.

d & the roots
Used by Permission of ALFRED MUSIC PUBLISHING CO., INC. GUITAR PLAYER VAULT | July 2012 |

transcriptions john legend


transcriptions

transcriptions john legend


transcriptions the cult




transcriptions



transcriptions



transcriptions



transcriptions gavin d

graw

transcriptions gavin degraw


transcriptions

transcriptions gavin degraw


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