pat martino - the nature of guitar (excerpts)
DESCRIPTION
Automation; augmented and diminished parental forms and their transformations; string groups; inversionsTRANSCRIPT
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
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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:
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3
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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.
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123
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123
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123
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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
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2nd String 4th String 3rd String
Inv 3 Inv 2 Inv 1
A Ma
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123457 68910111213
Db Ma
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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.
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123
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123
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234
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123
F, A, or Db Aug Gb Mi Bb Mi D mi
Aug. Source 3 Minor Key Centers
THE AUGMENTED TRANSFORMATIONS!into Minor Triads
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2nd String 4th String3rd String
Inv 3 Inv 2 Inv 1
Gb Mi
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123457 68910111213
Bb Mi
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D Mi
H O R I Z O N T A L
V!!
E!!
R!!
T!!
I!!
C!!
A!!
L
= the positions of the Root
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
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123
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123123
E, Bb, Db, or G Dim Eb7 A7
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123
C7
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123
Gb7
H O R I Z O N T A L
V!!
E!!
R!!
T!!
I!!
C!!
A!!
L
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2nd String 4th String1st String
Inv 3 Inv 2 Inv 1
Eb7
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123457 68910111213
A7
= the positions of the Root
3rd String
Inv 4
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123457 68910111213
C7
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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
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234
E, Bb, Db, or G Dim Gmi7b5
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Emi7b5
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234 234 234 234
Dbmi7b5 Dbmi7b5
H O R I Z O N T A L
V!!
E!!
R!!
T!!
I!!
C!!
A!!
L
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2nd String 4th String 1st String
Inv 3 Inv 2 Inv 1
Gmi7b5
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= the positions of the Root
3rd String
Inv 4
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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
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
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
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
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.
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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