pat martino creative force

8/12/2019 Pat Martino Creative Force

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CREATIVE FORCE Part


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BIBLTCITECAIHSTiTUTO PROFESIONALPROJAZZ

Edtor: Aaron StangAssstant Edtor: Kenn ChipkinAddtonal Text and Examples: Kenn ChpkinTranscriptons: Dave Hll and Kenn ChpknCover Design: Debbe Johns LiptonOriginal Art: Pat MartinoCopyright @ 1994 Beam Me Up Music, clo CPP/Belwin, lnc.15800 N.W. 48th Avenue, Mam, FL 33014lnternatonal Copyrght Secured Made n U.S.rq. Al Rghts ReservedVARNING: Any duplication, adaptaton or arrangement of the compostons contaned nths collection, wthout the wrtten consent of the owner, is an infringement of U,S.copyright law and subject to the penalties and liabltes provded theren.

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Editor's Nole

who ore th true Iegends of jozz guitor? obviously chorlie christion,who in the few short yeors he hod, loid the foundqtion for everyelectric guitorist since. Wes Montgomery, who's dignity ond genius weheor in his heortfelt melodic Iines, worm tone ond joyous swingingrhythm, And Pot Mortino, who os o teen burst out of Philodelphio withhis explosive technique ond seoring non-stop lines, estoblishing newboundories for which others would reoch.ln this two-volume series, creotive Force Ports I & 2, Pot imports some ofhis extroordinory concepts tor iou improvisotion, Beginning with lheDiminished Concepl from which Pot shows how hundreds, perhopslhousonds, of guitor chords con be derived from o few simplediminished chord forms; to the Minor Conversion Concepf which heuses over complex chonges. This book ond its sequel, Creotive ForcePort 2, will provide on involuoble insight into the method ond thecreolive process of one of the most preeminent jozz musicions of the20th Century.On the recording, Pot demonstrotes eoch of his concepts ondsubstitution principles, freely improvising his lines ond phroses overstotic chord chonges. Becouse of the rhythmic freedom of thisopprooch the tronscriptions ore written in "freetime" (with no bor lines),usuolly os constont flows of eighth notes, Consider the first note(or rest) of ony odd group of beomed eighth notes to be o downbeot.Odd groupings of eighth notes (groups of 3, 5, , 7 etc,) do notindicote triplets, quintuplets, etc., but insteod indicote smollmelodic phroses.Enioy,Aoron StongKenn Chipkin


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ContentsCassette users: For easy location of all programs,always set your tape counter to 000 when beginning the tape.Filt in the index numbers as you progress through the recording.

.._-__,| '\, ''\r .:nJ, . '.\,'\'.1. . .' .)Yf ":,r'Page # CDIlack # CassetteIlack f

tr'*lfECAl\STtTUtr'G PROFESIONALPRO JAZZ0$243


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ln this section, polytonol chords ronging from consonont {Ab/F} to dissonont (Dm(b5)/E) ore demonstroted os the,,Minor Conversion Concept" moves beyond the scope o Creotive Force Part l. Port I deolt exclusively with theminor Zth os o substitute for dominont 7th chords; in this book you will exomine improvisotion opplicotions of tminor Zth chord form os o substitute for mony other hormonic possiblities. lt is, once ogoin, bosed on the ideothot whotever chord you ore ploying over ot o given moment con be opprooched by "thinking minor'"

Example IAn FmZchordcon bethoughtof oson F minoririod pluso minor 7thff AbC+ Eb) oroso polytonol chordwhereby on Ab moior triod (Ab c Eb) is superimposed obove on F boss noie. check out the two types {inversionof Ab trods demonstroted here. Note the use of the Romon numerol I, denoting the inversion tyPe.

FrnT(Ab/F) AL Triads

Example 2Now look ot E7 IEG# B D). When rhe B (rhe srh) s roised to B# (fsth), we ore moving in the direction of on Fminor sound (G# is Ab ond B s c - the 3rd ond 5th of on F minor triod, respectively). So on E7l*sllhos twoin common with on F minor hiod.

Bz(s) F minor triad---- -3b8


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Exampfes 3A - 3Cln Exomple 3A, we odd on F to the top of the E7il5 chord ond orrive ot E7{#5/b9). Exomple 3B brings rhis voicingdown one octove ond loses the D{b7}. Now you con see the enhormonic chonges from Gil ond Bf to Ab ond Ccleorly, os the nome olso chonges from 871fr5/b9l lo the polychord Fn/E. Finolly, in Exomple 3C the some Fm.triod is ployed obove o G boss note, giving woy to Fn/G whch could be onolyzed os GsusT(b9).

Exomple 3A:E7(frstte)

Exomple 38:El(istbe) Fm/E

Exomple 3C:Fm/GCI

Examples 4A - 4CThe second inversion (ll) is shown here in 4A continuing on he 6-4-3-2 slring group. ln bor 2,you con see thotFmZ is synonymous with on Ab chord. Since AbmoiT is o noturol relotion to Ab, both chords con be used ossubstitutes tor Fm7, os well os the oltered version of Ab - Ab(b5), found in bor 3 - which coutd be onolyzed ostn7(6l,.

Exomple 4A:Fm7 (Ab6)

Exomple 48:Ab6 ArmajT

Exomple 4C:A1605)

BIBLIOTECAPROFEIONALP R.OJ AZZ


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Examples 5A - 5C \'ln the following exomples, Mortino cleorly loys out his improvisi.ng scole/potterns for eoch nu"rroXT th" fchord. Although they remoin the some fingering-wise in the upcoming exomples, your understonding of theirrelotionship to the chords they ore ployed over will soon be chollenged. Becquse these ore oll ployed overthey ore "eosy to heor" - so now is o good time to get comfortoble with ihe fingerings (oll of these fingeringconcepts ore exploined in detoil in Pori 1).Exomple 5A:

Fm7

Exomple 58:Fm7

Exomple 5C:

It

Fm7


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Exomple 5D:

Example 6 (Example I on the video)Exomple brings together oll the positions in o demonstrotion of improvisotion over the some FmZ sound: F G AbBb C D Eb, known os the F Dorion mode.Phrose I:


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a/.'//?,t'tI , ,* ift:\ . tt-,/hrose 2:

Phrqse 3:

Phrose 4:


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Phrqse :


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Exqmpte 7 (ExamPle 2 on the video)The Minor conversion technique begins here; Fmz sounds ore ployed over o Bbl3 chord. This relotionship ofminz to domT is whot o greot deol of Creotive Force Porl lis bosed on. Agoin, oll positions ore covered in thisimprovisotion.Phrose l:

Phrose 2:


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Exampte 9 (ExamPIe 4 on the video)To demonstrote rhe mony possibiliries o chord con hove, Pot chooses to reploce the root (D) of the Dmz(b5) chordwith on E, thus creoting the dense, unresolved sound of Dmz(b5) /E - o minT(b5) with its ninth in the boss orE7l#s,bgl. This exomfle demonstrotes thot you con inprovise over this chord using FmZ lines despite the obscurityresulting from the E boss note. Notice the occentuotion ond speciol interest given lo the odded E note' The use ofE os o iorget note or "resolving tone," is o nod to the importonce the E boss nole holds'Phrqse I:

p7(b5)/g

-.

Phrose 2:

Phrqse 3:


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Example I I (Example 6 on ]he video)next chord is EZ(#s) ond once ogoin, the thrust of whot is improvised over it is the F dorion sound. However,response to the root (E) of the E7lfr5l chord, the low E note is odded ond stressed - os well os the inclusion ofE notes (see boxes) moking for o very compelling hormonic effect thot brings the originol conversion concept

yet onother level.I:

2:

3:

E7(15)


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a.) r .r r rt+ c[h=aE


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Example 12 (Example 7 on the video)The finol chord is Fm/G. This exomple serves to prove the some musicol point os Exomple 9 does, in thotdigressing from o root positio n tm7 chord by odding the olternotive G boss note doesn't effect the strength of thechosen lineor notes. As in the lost exomple, the chosen notes ore F G Ab Bb D Et ond the odded E, which receivesspeciol ottention in Phrose 3.Phrose l:

2:


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Phrqse 3:

*.:,-.J .tri\.'. -..


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2'

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ln this section we will onolyze improvising over chonges. lt is here thot the substitution process reolly begins toflourish, os it is heord in o context thot is'decidely iozz. Here, you wll find whot distinguishes Pot os the esteemediozz musicion he is, os we study his opprooch to stondord chord progressions os compored to whot oiher iozzuitorists might do with the some.Example 13

ere is fie bosic ii-v-i turnoround using very procticol root position voicings. The brocketed voicings ore inversionsE7lb9l, ond serve os "connective lissue" to the AmZ(b5). Try procticing these chords in o strict rhythmic conlext:Amz(b5)//// D71il5/b5l D7(bel//// Gm7//(i)

Gm9//(i) (u)

Am7(b5) D7(istbe) D7(re) Gm7 (cme) E7(fle) E70e) Am7(rs)


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Exomple l58:(Etm9 substitution)

Examples 16A - l6EThese exomples stond os o recop of the ii-v-i lesson thor begon with Exomple .3. Note the following:Exomple 1A: AmZ{b5} - This phrose folls in the lowest position, position l. The substitution is CmZ.Exomple 168: D7(b9) - ln ihe some position, the substirution is Ebm9.Exomple I C: First, o phrose is ployed over on Ebmg chord, then the some phrose is superimposed over theD7(bgll, its shiking hormonic effect is evident. There is olso o conscious effort to olter the lost note of the phrose toit the chord in question. See circled Eb ond D root notes.Exomple I D; The moin thrust of whot is used over the GmZ chord is G A Bb D E ond F. Aside from thenclusion of F# ond B possing tones, these notes stond os G dorion.Exomple I E: Just os o minZ "sound," one holf-step obove o domZ chord wos employed in the cose of Ebmgsome technique is repeoted here: FmZ is the subsfitute for heETlfrglchord. This meons thotfhisis plousible in respect to domT(b9) or domZ(f9) types. Study rhe inrervollic relorionship of line to chordit is loid ouf, ond note the enhormonic spellings thot ore in fovor of the substitution (FmZ spellings).

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[E[EExomple

mple I ElBt(il) Fm7 substiturion^

Exq

31

D


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Gm7 (Gm7)


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,/-/ r./.." Y \- ':.,., L. '\/\' \f\..: C"lAi.,\:. -/\ -/'Am7(b5) (Cm7)

D7(il5lbe) (nmz)


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'i/ c"t, (cm7)

E7([s/te) (Fm7)


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Excrmple 18 INTITUTO PROTESIONALPROJAZZFirsi, let us cloiiFy the four position oreos by morking them with four Cm7 voicings os references. Rememberthot these references identify the CmZ substitutions even though, in the big picture, we ore thinking of AmZ(b5).

Cm7 substitutions for Amz(ts)

Example 19This phrose demonstrotes the Position ll, cm7 substitution for Amz(b5).

Am7('s) (Cm7)


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Example 20This exomple shows how Positions I ond ll con be connected in o seomless "flow." de-.,i n"Jf ;;;q6Jl{:t ^r\. (\ .\-\=_i' .rH,.Fl**+larr'IJtIfl4 231

Am7(r5) (Cm7)

ffi


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6r..;;.,Ie g on the vldeo) "*.-9his exomple combines oll rhe positions or "oreos of octivity" ot rondom, os the chords or" "o):ffiolru j|* ;;::J.["ntoneous wov' Asoin, the subsrirurions ore expressed in porenrhesis ro remind us'Q i-PR@'AZU


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fre'Fiir.-. ,(',,..D7(lstbe) (Ebm7)

Gm7 (Gm7)


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D7(ilstbe) (Ebm7)

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Gm7 (Gm7)


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r,,.. , n,, t t LlJglll;ELlLp lZl/:lrLlLLLI; a.1raEGEilzllr;1"'^'$,l* o io+l


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II\\lGm7 (Gm7)

E7(5lte) (Fm7)

Am7(ts) (cmz)

D7(stbe) (Etm7)


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Am70s) (cm7)

D7(ts/be) (Etm7)

Gm7 (Gm7)

E7(5iLe) (Fm7)


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Exumple 22ln describing the option between o dissonont resolution or o consonont one, the E7(b9l chord is used todemonstrote on Fm7 substitution thot ends dissonont on the low F note in the first phrose, then ends consonont onthe low E in the second.

E7(te) (Fm7)

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42

Example 23ln this section, o few more useful substitutions ore introduced in the contexl of o stondo rd iozz turnoround thotinvolves the l, iii, Vl, ii ond V chords. ln iozz, the beot plocement of these chords moy chonge but the order isolwoys the some. Pot chooses to phrose it os such: V I Vl. ln the key of C, lhe chords ond their lineorsubstitutions ore os follows:

Dm9 A7(f 5)Emz0s)7(15) CmajT

ln simple terms, eoch of the minZ substitutions con be thought of os the Dorion mode 11 2b3 4 5 6 bZ) beginningon the roots of the chosen minZ chord. For exomple DmZ = D Dorion , AbmT = Ab Dorion, Am7 = A Dorion, ondso on. Before moving on to the following exomples which eloborote on these substituiions, now would be o goodtime to get o hondle on the sounds ond positions of the new substitulions by recording the chords of Exomple 23onto o tope recorder, repeoting eoch of the five chords mony times for length. Try ploying in time (4 beots to ochord, perhops) or without time (20 seconds to o chord, for exomple).Example 24

Phrose 1: Dm7 is used over Dm9Phroses 2-4: AbmT is substituted over G7(f5)Phrose 5: Position I o AbnT over G7(f5)Phrose : Position ll of AbmZ over G7(#5)Phrose 7: Position lll of AbmZ over G7(f5)Phrose 8: Position lV of AbmZ over G7(5)Phrose 9: The AmZ substitution for Cmoi7.Phrose I0: The GmZ substitulion for EmZ(b5).Phrose I l: The BbmZ subslitution for AZ(#5).


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5:

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[EPhrq

[E

Phrqse

se 8:


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[H

[HPhrqse

[H

Dt


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Phrqse IO:

Phrqse I I:


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- a.l)att*alrtl.

,i$' F


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t.l I


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t'' .1/' \\/, Ii\.: i"..tP-'F II .. I\.^ tli--...' /\' '- ..


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53

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This seciion exomines o concept thot recolls "The Diminished Concepf' - covered in Creotive Force, Port l. Thesetwo concepts porollel eoch other in lhot their foundotions lie in the physicol properties of the guitor os oninstrument or "mochine" os Pot refers to it.Aulomqllc YolcingsA perfect onology would be o comporison of piono lo guitor: The piono possesses oll l2 notes in o specific orderof block ond white keys. Once the order hos been estoblished, this some order repeots ilself o number of timesond therefore comprises the entire length of the keyboord. A pionist only need leorn chords ond scoles within thel2 note ronge ond con then "outomoticolly" move these voicings up or down the keyboord. The only "outomotic"opportunities thot exist on the guitor ore diminished ond ougmenled chords (ond scoles). A guitorist con leorn onefingering for o dmnished or ougmented chord thot will invert itself up ond down the neck, whle oll other types ofchords {i.e. Gmoi7, GmoiTlb1}, etc.} finger differently ot eoch inversion. The diminished concept divides the guitor(from the open strings to the 12th fret) ogoin ofter the l2th fret, while the ougmented concept divdes the someoreo into three ports. he 3-2-l lring GroupExample 26Let's look ot the lhree inversions (1, ll, & lll) of the ougmented form on the iop three strings, ond the beginning offieir repetition in the lost bor. All three positions con be nomed Bb+ (Bh Augmented) by virtue of the occurrence ofBb in eoch one. However, iust os with the diminished chord, the ougmented chord is o symmetricol chord formmeoning thot oll notes in the chord ore equol ond ony could be considered the root:Bb+ (Bb D FX) = D+ (D r# Af) = F#+ (F# Af D)

Porentol Form Trqnsformqtions - Group I#g


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Example 27ln Creotive Force Port l, lhe "porenlol form" wos described os being fie storting point from whch oll fomilies{moi7, min7, domZ) ond their voriotions ore born, only diminished Z forms were used os porentol forms. ln thisport, the "porentol forms" ore the ougmented hiods. The dmZ porentol forms were converled to ofter chord typesby lowering, in turn, eoch chord tone. Here, we will systemoticolly roise lones of the ougmented triods lo creote"pufe" minor triods:

Augmented Triods:Minor Triods:I 3f5rb35

Bm Bb+bo--__________*

By roising the root of the Bb+ chord up o holf-step lo B, it becomes lhe root of o Bm triod. This is shown in oll threeinversions. The movement of the Bb to B is indicoted by orrows in the nototion ond tob stoffs.

Bb+: Bb D FfBm: BDFfBb+ Bm Bb+ Bmb8-..-.----

Example 28As mentioned, ony note in fie ougmented form con be considered its root. Since the Bb+ is olso D+ ond F#+, let'slook ot the tronsformotion process using the D+ chord os the storting point. By moving the root (D) ,p o holf-stepto Eb we would orrive ot the root of on Eb minor triod. Agoin, the orrows troce the poth of the tronsformotionthrough eoch inversion. Aside from the chonging note, lhe olher notes ore common to both chords - however, it isnecessory to enhormonicolly respell them to conform to the proper spelling of the Ebm chord.

D+: D F AEbm: Eb Gb BbEbmb-*


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Example 29lf we now thnk of the ougmented form os Ff+, by roising the Ff o holf-step to G, the resulting chord is Gm.

F#+: F# A# CxGm:GBbDF$+ Gm

Porentql Tronsformotions - Groups 21 3 & 4Exampfes 3OA-3OCRemember: There ore only four different ougmented chords:

Group l: Bb+ -- D+ & Ff+Group 2: B+ = Eb+ & G+Group 3: C+ = E+ & Ab+Group 4: C*+ = F+ & A+

l-..\lR,li,'^. lNow thot the tronsforming process hos been shown, move on to Groups 2, 3, & 4 tor further study:

Group 2 (Exomple 30) covers the tronsformotion of B+ to Cm, Eb+ to Em ond G+ to Abm.Group 3 (Exomple 31)covers the tronsformotion of C+ to Dbm, E+ to Fm ond Ab+ toAm.Group 4 (Exomple 32) covers the tronsformotion of Cf+ to Dm, F+ to Gbm ond A+ to Bbm.Poy close otlention to the notes thot ore responsible for the tronsformotions, ond ony enhormonic olterotions thot occur.Exomple 3OA:

Cm-G> #*


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Eb+

Exomple 3OB:Dbmc+ *-uf*


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Exomple 3OC:

re----r/*

#--*bb* #W,--bb*

Olhe String GroupsExample 3l

This concept con, of course, be honsferred lo other string groups. This exomple illustrotes the Bb+ (or D+ & F#+)chord on three odditionol siring groups ot descend in pitch, ending on the -5-4 group. Wth your newknowledge of the tronsformolion process, you should be oble to perform the steps necessory to produce theresulting minor triods.

cf*fg Dm&


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COTC[U'OTBy now you should see thot the concept of "porenlol" ougmenied forms is on excellent meons of orgonizingchords throughouhe fingerboord. A useful phenomenon orises by woy of ths concept - consider this: Eochporentol form, before it is inverted, brings wth t lhree minor triods. The form found on the 2nd fret con behonsformed to Bm, Eb ond Gm {Group 1). By moving to the next porenlol form, ond following suit, we now odd toour collection Cm, Em ond Abm (Group2). Moving ogoin will bring Dbm, Fm ond Am (Group3) ond finolly Dm,G,m ond Bbm (Group 4). Now we hove oll velve minor triods in the spoce of four frets. The inversions of thesechords become evident os the process repeots itself oscending up the fingerboord, where eoch oreo will conloinone inversion of oll l2 minor triods. This con be of greot use to you in lerms of chorol ond melodic improvisotion.

Psrental Augmented frqnsJormalions fo llalor riadsExample 32Mortino ends his lecture on lhe ougmented concept with o brief demonstrotion on lronsforming ougmenied formsto moior triods in o similor monner: insteod of roising ihe root of on ougmented form, he lowers it, os it becomesthe Sth of o moior triod. Exomple 32 demonsirotes this, os the voice movemenls ore lroced with on orrow. Youcon see the porentol ougmented form is nomed Bb+, D+ ond F#+. The moior triods thot result from these ore D, F#(Gr) ond Bb, respectively. Note thot, os exploined, the orrow is pointing to the Sths of these moior triods.

Bb+:BbOff-

D:DFilAD+: D F# A - F#: F# A# CfFf+: F# A# Cx - Bb' Bb D F

Example 33Here the Bb+ konsformolion to D is used os o model to show how it inverts two times up the neck before repeotingogoin one octove higher. lt would be o good ideo for you to work out the inversions of the D+ to Ffi to Bb, os wellos oll others thot constituie Groups 2-4, os exploined eorlier. Add the moior lriods to their minor counterporlsolong with the dominont 7 moteriol discussed in Port l, ond you will lhen hove o greot deol of Pot Morlino'smusicol opprooch ot your fingertips.Bb+ D D(t


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59

=_-\PRfl 1.Io3o.E


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Non-Adlacenl Slrlng GroupsExampfes 37A and 378iHere Pot loys oui some of the mony string grouping possibilites odherent lo the ougmented concept. Exomple 3ZAshows o 6-4-3 voicing of o C triod ond the E+ form thot it wos "drown" from. Exornple 37B disploys the E+ inlhree inversions.

Exomple 37AE+

Exomple 37BzE+

Exampfes 38A-38COther possibilities ore expressed on lhe 5-4-2,5-4-3 ond 4-3-1 shing groups, still using E+ os the porenlol formthotbecomesoCtriod.

Exomple 38A: Exomple 38B:E+C


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Counlry Roqd by Pot MortinoThe smooth, even flow of County Rood {o Mortino composition} is due in port io the picking technique thot Potemploys. Amozingly, every note is downpicked. Mony ployers would hove difficulty controlling dynomics givenths lmtoton, however - Mortino milks the downpicks for every bit of dynomic ronge lhot con be gotten.

HoM tofonn chords throughout


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t, r. t. a 4,t,, i t I ),riL*,(L*il


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GUITAR TAB GLOSSARY **TABLATURE EXPLANATION

READING TABLATURE: Tablature illustrates the six strings of the guitar. Notesand chords are indicated by the placement of fret numbers on a given string(s).

s, 1@, 3rd r ,,r i;]j:;E ]:ll :i:: A "C" Chord C Chord Arpeggiated

BEND ANDRELEASE:Play the noteand graduallybend to thenext pitch,then releaseto the originalnote. Only the first.note is attacked.

BENDSINVOLVINGMORETHAN ONESTRING:Play thenote andbend stringwhile playing an additional note (ornotes) on another string(s). UPonrelease, relieve Pressure fromadditional note(s), causing originalnote to sound alone.

BENDSNVOLVINGSTATIONARYNOTES: Playnotes andbend lowerpitch, thenhold until

release begins (indicated at thepoint where line becomes solid)

UNISONBEND: Playboth notesandimmediatelybend thelower note tothe same pitchas the highernote.DOUBLENOTE BEND:Play bothnotes andimmediatelybend bothstringssimultaneously.

HALF STEP: Playthe note andbend string onehalf step.*

WHOLE STEP:Play the note and'bend string onewhole step.

WHOLE STEPAND A HALF:Play the note andbend string awhole step anda half.

TWO STEPS:Play the note andbend string twowhole steps.

*A half step is the smallest interval inWestern music; it is equal to one fret.A whole step equals two frets'

BENDNG NOTESSLIGHT BEND(Microtone): Playthe note andbend stringslightly to theequivalent of halfa fret.

PREBEND(Ghost Bend):Bend to thespecified note,before the stringis picked.

PREBEND ANDRELEASE: Bendthe string, play it,then release tothe original note.

REVERSE BEND:Play the already-bent string, thenimmediately dropit down to thefretted note.

I@ 1990 Beim Me UP lvfusicc/o CPP/Belwin, lnc. Miagi, Florida 33014lnternatonal Copyright Secured Madeln U.S.A. All Rghts Reserved --By Kenn Chipkin and Aaron Stang


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RHYTHM SLASHES, t-']_r ,,a) ///' tThe chord voicings are found onthe first page of the transcriptionunderneath the song title'

STRUMINDICA-TIONS:Strum withindicatedrhythm.

INDICATINGSINGLENOTESUSINGRHYTHMSLASHES:Very often

HAMMER ON:Play lower note,then "hammeron" to highernote with anotherfinger. Only thefirst note isattacked.

LEFT HANDHAMMER:Hammer onthe first noteplayed oneach stringwith the lefthand.

PULL OFF:Play higher note,then "Pull off" tolower note withanother finger.Only the first noteis attacked.

@5fr

)@@ @@@3f lfr open SfropenGF ECAr-.']^rT'r-''l)/////

single notes are incorporated intoa rhythm Part. The note name isindicated above the rhYthm slashwith a fret number and a stringindication.

ARTICULATIONS

*--- FRET-BOARDTAPPING:"Tap"onto thenoteindicatedby * witha finger of the Pick hand, then Pulloff to the following note held by thefret hand.

tap onto note indicated-

fretboard, then Pulledfollowing note.

TAP SL DE:Same asfretboardtapping, butthe tappednote is slidrandomlyup theoff to the

BEND ANDTAPTECHNIQUE:Play note andbend tospecifiedinterval. Whileholding bend,

LEGATOSLIDE:Play noteand slide tothefollowingnote. (Onlyfirst note isattacked).

LONGGLISSAN-DO: Playnote andslide inspecifieddirectionfor the full

o -PR$'J t'7:1&L.^Evalue of the note.

(ecciI o rsf.

the last possible

SHORTGL SSAN-DO: Playnote for itsfull valueand slide inspecifieddirection atmoment.

across the length of the string(s)'

PICKSLIDE:Slide theedge ofthe pickinspecifieddirection

MUTEDSTRINGS:Apercussivesound ismade bylaying thefret hand

PALM MUTE:The note ornotes are mutedby the palm ofthe pick handby lightlYtouching thestring(s) nearthe bridge.

TREMOLOPICKING: Thenote or notesare picked asfast as Possible-

across all six strings while Pickhand strikes sPecified area (low,mid, high strngs).


71/74

"@--and the grace note.

half their actual value and withseparation.

TRILL:Hammer onand pull otfconsecutivelyand as fast aspossiblebetween theoriginal note

ACCENT;Notes orchords areto be playedwith addedemphasis.

STACCATO(DetachedNotes):Notes orchords areto beplayedroughly

DOWNSTROKESANDUPSTROKES:Notes orchords are tobe played witheither adownstrokev ) of the Pick.VIBRATO: Thepitch of a noteis varied by arapid shakingof the fret handfinger, wrist,and forearm.

( n .) or upstroke (

HARIUIOilICSNATURALHARMON C:A finger of the frethand lightlytouches the noteor notes indicatedin the tab and isplayed by the pickhand.

ARTIFICIALHARMONIC:The first tabnumber is fretted,then the pickhand producesthe harmonic byusing a finger tolightly touch thesame string at the second tabnumber (in parenthesis) and is thenpicked by another finger.

ARTIFICIAL"PrNCH"HAR.MON C:A note isfretted asindicated bythe tab, thenthe pickhandproduces the harmonie bysqueezing the pick firmly while usingthe tip of the index finger in the pickattack. lf parenthesis are foundaround the fretted note, it does notsound. No parenthesis means boththe fretted note and A.H. are heardsimultaneously.

A.H.( I 5mq) A.H. A.H.(8va) (8\'o)

,"qR$J ez-&\.rs*9'

TREMOLO BARSPECIFEDINTERVAL:The pitch of anote or chordis lowered toa specifiedinterval andthen may ormay not

return to the original Pitch. Theactivity of the tremolo bar isgraphically represented bY Peaksand valleys.

UN.SPECIFEDINTERVAL:The pitch of anote or achord islowered to anunspecifiedinterval.

B tBLle, Ti H,SA.'Tlr#ffd5ff5o*o'


72/74

1.1


73/74

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