martino - fundamentals - text
DESCRIPTION
Pat Martino JazzTRANSCRIPT
-
Martino
Excerpts from
THE NATURE OF GUITAR
Fundamentals
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The Circle
The circle alters arrangements of tonal perspectives, and by doing so it reveals an inter-valic balance thats invisible when seen in any other way.
a. HORIZONTAL:
A Twelve Tone Scale, from E
b. CIRCULAR:
Chromatic
The Twelve Tone Scale on a Circular Staff
-
EF
Gb
G
Ab
ABb
B
C
Db
D
Eb
Chromatic
EF
Gb
G
Ab
ABb
B
C
Db
D
Eb
Augmented
EF
Gb
G
Ab
ABb
B
C
Db
D
Eb
Diminished
EF
Gb
G
Ab
ABb
B
C
Db
D
Eb
V7b5
EF
Gb
G
Ab
ABb
B
C
Db
D
Eb
The Guitar's Tuning
m11
6 Geometric Primaries
EF
Gb
G
Ab
ABb
B
C
Db
D
Eb
V7/9
-
Eg. 1
Formulas and Transformations
Geometric blueprints for both of these parental forms appear in the following diagrams:
Eb E FGb
G
AbA
BbBC
DbD
1
EF
GbG
AbA
BbBC
DbD
Eb
2
EF
GbG
AbA
BbBC
DbD
Eb
3
Eb E FGb
G
AbA
BbBC
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
BbBC
DbD
Eb
Ma
C Ma
EF
GbG
AbA
BbBC
DbD
Eb
Mi
F mi
EF
GbG
AbA
BbBC
DbD
Eb
Mi
A mi
EF
GbG
AbA
BbBC
DbD
Eb
Mi
Db mi
EF
GbG
AbA
BbBC
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
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Eg. 2
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.
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Eg. 3 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 darkened are also to be seen as functional sets
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Eg. 4 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
Series 2Series 3 Series 1
12 11 10 9 8 7 6 5 4 3 2 113
4
65
3
2
1
Series 2Series 3 Series 1
12 11 10 9 8 7 6 5 4 3 2 113
4
6
5
32
1
Series 2Series 3 Series 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
Ab, C, & E Augmented
ADJAC
ENT
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
Series 2Series 3 Series 1
12 11 10 9 8 7 6 5 4 3 2 113
4
6
5
32
1
Series 2Series 3 Series 1
12 11 10 9 8 7 6 5 4 3 2 1
Ab, C, & E Augmented
C, E, & Ab Augmented
E, Ab, & C Augmented
N
ON
A
DJAC
ENT
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Eg. 5
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
Series 1Series 2Series 3Series 4
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
Series 1Series 2Series 3Series 4
E, G, Bb, and Db Diminished
Series 1Series 2Series 3Series 4
4
65
32
1
12 11 10 9 8 7 6 5 4 3 2 11314
Db, E, G, and Bb Diminished
654321
123456789101112
Series 1Series 2Series 3Series 4
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
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Vertical Inversions
Eg. 6
Once again, when we give thought to a practical use of the opposites, (yin & yang) and
view the outer fingers of the hand, (eg. 7) the two patterns seen above, (eg. 6) are per-
fectly 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. These are the first two vertical inversions of this line form.
Eg. 7
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Eg. 8
12 Inverted Fingerings(Vertical & Horizontal)
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Eg. 9
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Eg. 10