pat martino - the nature of guitar (excerpts)

Martino

Excerpts from

THE NATURE OF GUITAR

Automation

View

The circle visually alters perspectives. It reveals a balance

that’s invisible when seen in any other way.

a. HORIZONTAL:

A Twelve Tone Scale, from E to Eb

b. CIRCULAR:

Chromatic

The Twelve Tone Scale on a Circular Staff

THE AUGMENTED PARENTAL FORM

THE DIMINISHED PARENTAL FORM

Eg. 1TWO IMPORTANT SHAPES

AUGMENTED DIMINISHED

65

43

21

I

65

43

21

II

The two chord forms displayed above are unlike any others found on the guitar.

What’s unique about them, (compared to other chord forms) is how the fingerings

for either of them, (always 3, or 4) never change as their inversions unfold horizontally.

Although vertically, the string groups they take place upon cause them to have various

shapes, but once located on any specific group they invert horizontally from one end of

the fingerboard to the other automatically.

DIMINISHED:

65

43

21

3

65

43

21

6912 :fret

In this special way what this causes is the “automation of chord inversions”, (as well as

their alterations). They can be defined as “parental forms”, if only due to the fact that

they automatically give birth, (in the case of the triangle into pure major, or minor triads,

and the diamond into V7th, or Mi7b5 clusters). That process is also a result of natural

variation, with ascent, or descent, (at singular points) within those forms.

32

16

45

123

32

16

45

123

32

16

45

123

32

16

45

123

F, A, or Db Aug A Ma Db Ma F Ma

Aug. Source 3 Major Key Centers

THE AUGMENTED TRANSFORMATIONS!into Major Triads

Automatic transformations take place on the guitar by either lowering, (or rais-

ing) any single tone in the augmented, or diminished forms. In the augmented

form, (thru the process of lowering) its new position becomes the Perfect 5th

of a major triad, (one of three). In fact, the notes within the augmented chord

itself embody the key centers of those major triads.

123457 68910111213

32

16

45

2nd String 4th String 3rd String

Inv 3 Inv 2 Inv 1

A Ma

32

16

45

123457 68910111213

Db Ma

32

16

45

123457 68910111213

F Ma

H O R I Z O N T A L

V!!

E!!

R!!

T!!

I!!

C!!

A!!

L

= the positions of the Root

The application of the same procedure, (now thru raising any single note)

causes its new position to become the Root of a relative minor triad, (in junc-

tion with the prior major forms, one of three). The tones within an augmented

chord, (! step higher) embody the key centers of these relative minor triads.

32

16

45

123

32

16

45

123

32

16

45

234

32

16

45

123

F, A, or Db Aug Gb Mi Bb Mi D mi

Aug. Source 3 Minor Key Centers

THE AUGMENTED TRANSFORMATIONS!into Minor Triads

123457 68910111213

32

16

45

2nd String 4th String3rd String

Inv 3 Inv 2 Inv 1

Gb Mi

32

16

45

123457 68910111213

Bb Mi

32

16

45

123457 68910111213

D Mi

H O R I Z O N T A L

V!!

E!!

R!!

T!!

I!!

C!!

A!!

L


The following transformations reveal 4 V7th forms developed from the basic di-

minished form. They spread horizontally, as well as vertically in the same way

the augmented form did.

THE DIMINISHED TRANSFORMATIONS!into V7 Forms

Dim. Source 4 V7th Key Centers

32

16

45

123

32

16

45

123123

E, Bb, Db, or G Dim Eb7 A7

32

16

45

32

16

45

123

C7

32

16

45

123

Gb7

H O R I Z O N T A L

V!!

E!!

R!!

T!!

I!!

C!!

A!!

L

123457 68910111213

32

16

45

2nd String 4th String1st String

Inv 3 Inv 2 Inv 1

Eb7

32

16

45

123457 68910111213

A7


3rd String

Inv 4

32

16

45

123457 68910111213

C7

32

16

45

123457 68910111213

Gb7

The final series of diminished transformations has the parental form transformed

into Mi7b5 clusters, by raising any of its single tones ! step, (one by one).

THE DIMINISHED TRANSFORMATIONS!into Mi7b5 Forms

Dim. Source 4 V7th Key Centers

32

16

45

32

16

45

234

E, Bb, Db, or G Dim Gmi7b5

32

16

45

32

16

45

Emi7b5

32

16

45

234 234 234 234

Dbmi7b5 Dbmi7b5

H O R I Z O N T A L

V!!

E!!

R!!

T!!

I!!

C!!

A!!

L

123457 68910111213

32

16

45

2nd String 4th String 1st String

Inv 3 Inv 2 Inv 1

Gmi7b5

32

16

45

123457 68910111213


3rd String

Inv 4

32

16

45

123457 68910111213

32

16

45

123457 68910111213

Dbmi7b5

Emi7b5

Bbmi7b5

Eg. 2

Formulas and Transformations

Geometric blueprints for both of these parental forms appear in the following diagrams:

Eb EF

GbG

AbA

BbB

C

DbD

1

EF

GbG

AbA

BbB

C

DbD

Eb

2

EF

GbG

AbA

BbB

C

DbD

Eb

3

Eb EF

GbG

AbA

BbB

C

DbD

4

Abma

Cma

Ema

Ama

Dbma

Fma

Bbma

Dma

Gbma

Bma

Ebma

Gma

F m i

A m i

D b m i

Gbm i

B b m i

D m i

G m i

B m i

E b m i

Abmi

C m i

E m i

The Augmented FormulaThe movement of any single tone 1/2 step

U PDOWNMA 3rds

Major Minor

Bb

EF

GbG

AbAB

C

DbD

Eb

Ma

Ab Ma

EF

GbG

AbA

BbB

C

DbD

Eb

Ma

C Ma

EF

GbG

AbA

BbB

C

DbD

Eb

Mi

F mi

EF

GbG

AbA

BbB

C

DbD

Eb

Mi

A mi

EF

GbG

AbA

BbB

C

DbD

Eb

Mi

Db mi

EF

GbG

AbA

BbB

C

DbD

EbE Ma

Ma

1 /2 step up1/2 step down

Transformations

R E

L A

T I V

E

M

A J

O R

R E

L A

T I V

E M

I N O

R

Eg. 3

1

EF

Gb

G

Ab

ABb

B

C

Db

D

Eb

2

EF

Gb

G

Ab

ABb

B

C

Db

D

Eb

3

EF

Gb

G

Ab

ABb

B

C

Db

D

Eb

The Diminished FormulaThe movement of any single tone by 1/2 step

MI 3rdsDOWN

Eb7

Gb7

A7

C7

E7

G7

Bb7

Db7

F7

Ab7

B7

D7

7F

Ab 7

B 7

D 7

Gb 7

A 7

Eb 7

C 7

G 7

Bb 7

Db 7

E 7

UP

Eb

Db

E

Db

C#

Db

C

Eb7

Gb7

A7

C7

V7 G

Bb

Db

EF

Gmi7 (b5)

V7

Ab

G

E

Bb

Db

Bbmi7 (b5)

V7

E

BbB

GDb

Dbmi7 (b5)

Bb

V7

E

Db

D

G

Emi7 (b5)

UP

V7 G

Bb

V7

Gb

G

E

Bb

V7

E

Bb A

G

Bb

V7

E

G

DOWN

TRANSFORMATIONS

Like the Augmented parental form, (producing two pure triads, descent as a Major triad, and ascent as a relative Minor triad) the movement of any single tones by ! step within the Diminished form, produces two forms as well, (descent as V7s, and ascent as a Mi7 (b5)s.

In retrospect, when eventually viewed fully both the Augmented, and the Diminished structures define themselves as distinct areas of chromatic families circumscribed around larger 12 point structures.

Eg. 4

The String Groups of the Guitar(viewed as Hexagrams)

1 String

.

. ..

..

3 String

.

( the dotted hexagrams are the 7 common groups )

2 String

. .

.

.

( the dotted hexagrams are the 2 string placement of

octaves )

..

.

.

.

4 String

( the dotted hexagrams are the 5 common groups )

5 String

6 String Silence

If these same combinations are viewed as numbers, (instead of hexagrams) set up in

vertical columns, they’ll appear as follows in example 17 b.

Eg. 5 Numerical String Groups

The columns displayed are not to be seen as the guitar fingerboard,

but as combinations of different sets of strings.

6 5 4 3 2 1Full Use = #1

6 Strings

Silence#64 =

6 5 4 3 2

16

6

6

6

5

5

5

5

4

4

4

4

3

3

3

3

2

2

2

2

1

1

1

1

5 String Groups

6 5 4 3 2 1

6

5

4

3

2

1

6 5 4 3 2 1

1 String

2

1

3456

6

6

6

6

6

6

6

6

6

5

5

5

5

5

5

5

5

5

4

4

4

4

4

4

4

4

3

3

3

3

3

3

3

2

2

2

2

2

2

2

2

2

1

1

1

1

1

1

1

1

1

3

4 String Groups

4

6 5 4 3 2 1

3

6

6

6

6

6

6

6

6

6

6

4

4

4

4

4

4

4

4

4

4

5

5

5

5

5

5

5

5

5

5

3

3

3

3

3

3

3

3

3

2

2

2

2

2

2

2

2

2

2

1

1

1

1

1

1

1

1

1

1

3 String Groups

6 5 4 3 2 1

3

6

6

5

4

3

2

1

6

6

6

5

5

5

5

4

4

4

4

3

3

3

3

2

2

2

2

1

1

1

1

2 String Groups

6 5 4 3 2 1

Take Note:

String groups that are marked are common groups, (normally in use) while

the groups that are darkened should also to be seen as valuable sets.

Eg. 6 The Common Augmented Inversions

4

6

5

32

1

Series 2Series 3 Series 1

12 11 10 9 8 7 6 5 4 3 2 113

4

65

3

2

1


12 11 10 9 8 7 6 5 4 3 2 113

4

65

3

2

1


12 11 10 9 8 7 6 5 4 3 2 113

4

6

5

32

1


12 11 10 9 8 7 6 5 4 3 2 113

Ab, C, & E Augmented

C, E, & Ab Augmented

E, Ab, & C Augmented


ADJAC

ENT

4

6

5

32

1


12 11 10 9 8 7 6 5 4 3 2 113

4

65

3

2

1


12 11 10 9 8 7 6 5 4 3 2 113

4

6

5

32

1


12 11 10 9 8 7 6 5 4 3 2 1


C, E, & Ab Augmented

E, Ab, & C Augmented

N

ON

A

DJAC

ENT

Eg. 7

The Common Diminished Inversions

4

65

32

1

12 11 10 9 8 7 6 5 4 3 2 113

Series 1Series 2Series 3Series 4

G, Bb, Db, and E Diminished


4

65

32

1

12 11 10 9 8 7 6 5 4 3 2 11314

Db, E, G, and Bb Diminished

1234567891011126

543

21


E, G, Bb, and Db Diminished


4

65

32

1

12 11 10 9 8 7 6 5 4 3 2 11314

Db, E, G, and Bb Diminished

654321

123456789101112


G, Bb, Db, and E Diminished

A

D

J

A

C

E

N

T

N

O

N

A

D

J

A

C

E

N

T

Linear Inversions

Ranges of chordal and linear activity organize in greater balance when they’re viewed

as self contained divisions of the fingerboard, (similar to separate floors in a larger

house). These vertical areas comprise linear as well as chordal inversions encompass-

ing all twelve keys in each of their five separate positions.

Eg. 8

123456789101112654321

* 1

open

FirstPosition

123456789101112654321

Second Position

123456789101112654321

Third Position

Fourth Position

123456789101112654321

123456789101112654321

13

Fifth Position

When each of these separate areas are mastered, the sixth, (full fingerboard) becomes

activated as a free canvas for any improvisational topic.

12345678910111213

The Full Fingerboard

654321

* 1

123456789101112654321

* 1

open

FirstPosition

Before beginning a discussion on line forms, and their inversions, it’s important to define

the proper use of fingerings for what’s normally categorized as open strings.

Players often use a completely different arrangement of their fingers each time they use

open strings in lower areas of the neck. By placing the first finger behind the “nut”, just

as if it were another fret, familiar fingerings used in other areas take place in comfort

here as well. The following patterns utilize this approach. Take note, the asterisk *

when in use should be viewed as a reminder regarding placement of the first finger be-

hind the nut whenever it appears on fingerings in the upcoming patterns.

The first and fourth finger of the left hand determine not only the beginning of the pat-

tern, but also the position in which it unfolds vertically as well as horizontally. From

“Fingering Inversions” patterns I and II reveal a full vertical / horizontal inversion.

Eg. 9

Once again, when we give thought to a practical use of the opposites, (yin & yang) and

view the outer fingers of the hand, (eg. 22) the two patterns seen above, (eg. 21) are

perfectly in line with the fourth and first fingers. Vertically, pattern I begins at the lowest

point with the fourth finger followed by its next inversion, (in close range) beginning with

the first finger. Those are the first two vertical inversions of this line form.

Eg. 10

Also, take note that the positions of these fingers continue to represent the opposites,

(in this case it represents the inside, (right) and the outside, (left).

Introduced in examples A, and B, the melodic line forms seen below are positioned in

two opposite ways as well, vertical, and horizontal. Both sets are subjects of the chor-

dal inversions seen above them, and they continuously take place within the general

areas of particular chordal inversions:.

Eg. A

Eg. B

It’s important to remember how basic modifications of both the augmented, and the di-

minished parental forms automatically produce inversions. Similar types of inversion

take place within linear patterns as well. In example A, (up above) take note of the 1

octave transposition of the melody itself within its two positions, (automatically below, or

above one another). What’s displayed in example B, is the “unison” transfer, changing

to the opposite fingerings, (now locating the melody itself beginning with the first finger).

That sets up the next series of inversions, (much like a mirror image of the two original

fingerings).

Eg. C

When continued in this way, the inversions that take place are 12 in number, and can be

fully viewed in example 26.

These are 6 patterns that begin with the first finger, and instead of the next 6 starting

with the fourth finger, there are 5, with the addition of one that begins with the third fin-

ger, (due to the intervalic tuning of a ma 3rd, between the second, and third strings.)

Also, in the chordal inversions of example C, (above #2. starting with the fourth finger)

the reason there are two separate forms is due to the number of frets that particular fin-

gering covers. Both of those inversions are effected areas.

The following 12 patterns are to be seen as an introduction to vertical areas of the fin-

gerboard that directly relate to a specific key center, (G minor) and they are collectively,

(as a skeletal form) horizontal sets, (two in each). These are the six vertical positions

that determine not only the linear inversions, but improvisational extensions as well.

Eg. 11: 12 Inverted Fingerings( and positions of one pattern )

The patterns displayed next are twelve positions of vertical, and horizontal linear inver-

sions of the same motive. In general these linear forms, (seen as fingerboard graphics

in eg. 8) are extensions of eg. 9.

The following series in this study uses descending transpositions, (in a whole-tone

scale) of the original form, to define its change of position across the fingerboard. What

initially was demonstrated as a pattern that’s compatible with Gmi7 shall now be part of

a descending framework that unfolds in six keys, beginning with : Dmi7, Cmi7, Bbmi7,

Abmi7, Gbmi7, Emi7, continuing into a full series of five ascending positions. The sixth,

(invisible) position forms at the twelfth fret, (beginning with the first finger at D on the

fourth string. The reason that it isn’t included in the first string group, (4321) is that it’s

used as the departure point, (one octave lower) for entrance into the second group,

(5432). The dotted markings placed on Dmi7 in the example shown below represent

the sequential inversions ascending horizontally across the entire fingerboard. The

“boxes” represent the beginning of each series.

Eg. 12

E

F

Gb

G

Ab

A

Bb

B

C

Db

D

Eb

Cm7

Dm7

Bbm7

Abm7Gbm7

Em7

Cm7

Dm7

Bbm7

Abm7Gbm7

Em7

Cm7

Dm7

Bbm7

Abm7Gbm7

Em7

Cm7

Dm7

Bbm7

Abm7Gbm7

Em7

Cm7

Dm7

Bbm7

Abm7Gbm7

Em7

Series 5Series 4

Series 3

Series 2Series 1

5 Positions

This study is also arranged into three separate adjacent string groups, 4321, 5432 and

6543. These string groups offer insight within areas of activity, that automatically trans-

pose themselves vertically through various key centers, and horizontally across the

framework of the fingerboard. The following shall be marked in full as Eg. 13.

COMPLEXITY TO SIMPLICITY

The transfer of chordal frameworks

Into unified substitutions

pat martino - the nature of guitar (excerpts)

Documents