Pat Martino Basics

MARTINOFUNDAMENTALS A BROADER INTERPRETATION OF OUR INSTRUMENT www.patmartino.com I’ve often heard this said: “I recently went to your website, and I looked thru the window you call The Nature of Guitar. I don't quite understand what some of your diagrams represent, can you be more specific?” I’ll do the best I can to describe what those particular “drawings” meant to me. how they began to unfold. The following is one of the first diagrams that functioned in that way. as a larger matrix. Upon what appeared like an orchestral manuscript. revealing ..... but also began to suggest other implications. it suddenly visually circumscribed its twelve tones on the face of my wristwatch. and moves closer to the Nexus.. a point where all points meet. As this progressed. rested 5 scales of intervals. divided into separate parts. Presentation in this way began to suggest the importance of greater dimension for the sake of analysis. and in the process share information that in many ways transcends a music curriculum alone. . the chromatic scale no longer confined itself to a horizontal line.. I remember when I began to graphically display music in ways that helped not only to define specific topics of my studies. b B A A B C C# D E E G F# F b b My use of Letroset. and revealing melodies each time I looked at the time. .for the first time the geometric shapes of its intervals. along with calligraphy pens helped to capture. as well as present some of the first diagrams used for private teachings. “The Nature of Guitar” began. but more like a study of perception. early 70’s) as seen above. (in the late 60’s. . To this day it’s continued to redefine the interpretation of information. The following text. focuses upon the application of it to the Guitar. not specifically as a study of music. the third (E). (of 12 o’clock.A Change in Dimension Thru comparison it’s interesting to view a procedure known as “The Circle of Fifths”. If viewed within the normal theoretical approach. while 4 equilateral points. 6 o’clock. 4 o’clock. and 8 o’clock) geometrically form the Augmented triangle. 3 o’clock. or moving counter-clockwise as a series of perfect 4ths. the root (C). (at 12 o’clock. (the white keys of the piano) at three points. Its tonal values can be seen moving clockwise in 5ths. a major triad is subtracted in the key of C from the horizontal major scale. and 9 o’clock) form the Diminished diamond. 12 9 8 4 3 6 In either way the 3 equilateral points. and finally the fifth (G). If it’s viewed chromatically on a circular stave that’s sympathetic to the guitar it now can be seen as follows: . E. when the G. 4321.Db. and finally to the next set of strings. (with the identical fingering) to the 5432 set it becomes D7th. This brings a display of the three important elements born within a vertical array of the Mi 3rd interval.Bb Diminished “parental form” fingered on the 6543 adjacent set of strings is transfered directly below itself. It’s obvious how important the V7th structure is when it’s attained by lowering any of the four single tones within the diminished parental form. (tritones). (in the same way) it then becomes G7 (b5).On the Guitar. -=- . Chromatic Eb D Minor 3rds Db C B E F Gb G Ab Tritones Bb A Major 3rds Primaries If we begin with exactly how we visualize different tonal intervals. 1 A Twelve Tone Scale. . or descending order of pitches viewed upon a horizontal staff as follows: Eg. from E When arranged in a circular array. (as opposed to being horizontal) that same chromatic pattern begins to define itself in quite a different way. we’re normally taught to see an arrangement of tones as an ascending. specifically the piano and the guitar. Piano B b B C D b D E A Chromatic 7 White / 5 Black E G A b b G b F b œ b œ b D b E œ F œ G Ma 3rd b C œn B B b A A b G b œ œ b œ œ œ œ bœ D E œ b D b E œ F œ G Mi 3rd G b œ b b n n C œn B B b A A œ b œ œ n n b b n n . The difference found in two separate instruments. immediately defines itself as follows. as two innate divisions of the chromatic circle. 2 A Twelve Tone Scale. Let’s begin with the first drawing presented in “Nature of the Guitar”. from E (two circumscribed intervalic systems) Augmented 3 x4 Diminished 4x3 œ œ bœ D E œ We can now view the triangle and the square.Eg. . (the black keys) from the tones Db to Bb. after which. 3 Diatonic Piano ( Addition ) Pentatonic C B A G 7 F Pentatonic D B E b Ab Db 5 E b G Pentagon b Heptagon Diatonic Chromatic Take note that a curriculum generated from the piano alone often bypasses elements concealed within some of the other instruments. but in a social context remains extremely valuable when used to educationally establish a general language.. (hammers) only 12 of them are needed to display its automatic functions. (Pentatonic) are 5 in number. Its keyboard operates horizontally. (Ionian. These elements indicate that the addition of 7 + 5 results in a full chromatic scale. shared as a prerequisite by the members of an interacting musical community.. (the white keys) from the tones C to B. Dorian..The Piano is a stringed percussion instrument.. and although it contains multiple keys. (Diatonic) are 7 in number. . . The first of these two automatic forms. repetition takes place. Eg. The keyboard itself is a white and black structure. These keys also contain 7 modes. etc). while the second one. although its automatic functions appear in quite a different way. symbolized as a heptagon and pentagon. 4 Guitar ( Multiplication ) Augmented E D Db Ab C Eb E F Gb D Db C Eb E F Gb Diminished E 3 C Ma 3rd G Ab Mi 3rd G Ab Db 4 G Bb B Bb A Triangle B Bb A Square Ma 3rd 12 Perf 4th Ma 3rd Perf 4th Ma 3rd 9 8 7 6 5 4 Ma 3rd 3 2 1 6 5 4 3 2 1 11 10 Augmented 4x3 Mi 3rd Mi 3rd Mi 3rd Mi 3rd Diminished 3x4 Chromatic . Similar to the piano the guitar is also a stringed instrument. (7 + 5 = 12) the auto-functions of the guitar symbolize themselves simplistically as a triangle and a square. Unlike the auto-functions of the piano. (3 x 4 = 12. Eg.Let’s now consider the Guitar. or 4 x 3 = 12). and where a different metamorphosis begins. (A & D) mechanically repeat themselves across the guitar fingerboard. it will horizontally produce an open-ended chromatic scale on each of its six strings. Like the piano. The first type is the Augmented. as well as automatically repeats itself it re-creates mirror images. and the second is the Diminished. the guitar is naturally managed thru multiplication. but they also geometrically display themselves graphically in startling balance. but this is where their intervalic similarity ends. 5 Augmented E E 3 C A Triangle b D b D b B E F G Ma 3rd G A A b E C B b b D b D b E Diminished F G Mi 3rd G A A b E C B B b b D b 4 B G Square b . One of the first things that should be noticed on the guitar is how there are only two chordal forms that repeat themselves horizontally without any change in fingerings. (as a source) continuously. not only do these two forms. and by doing so guarantee an ongoing legitimacy. it’s a matrix. Eg. and is not only horizontal but vertical as well.The general range of the Guitar (compared with the Piano) Pentatonic Diatonic Chromatic Instead of addition. Furthermore. When something. and in each of those mirror images unveils specific secrets. 7 C. Eg. or Ab Augmented 8 7 6 6 5 3 2 1 4 F. A. or C# Augmented 8 7 6 6 5 3 2 1 4 Bb Major 8 7 6 6 5 3 2 1 4 Eb Minor 8 7 6 6 5 3 2 1 4 . 6 Ma 3rds 13 12 11 10 9 8 7 6 5 4 3 2 1 6 5 3 2 1 4 Series 3 Series 2 Series 1 When placed in a vertical stack at the 6th. (654. & 8th frets from one string set to the next.The Augmented Parental Form The augmented form displays its inversions. (per string group) horizontally across the fingerboard with each position a major 3rd apart. 7th. 432. E. 543. 321) the following unfolds: Eg. (three keys per fret) prior to its next series of auto-inversions on this particular string group.These harmonic forms naturally reveal three separate structures. It also automatically transposes thru all twelve keys horizontally across four frets. Moving that tone ! step down produces a pure major triad. Remember. while the same tone if moved ! step up produces its relative minor triad. the following takes place. this method not only unveils the C major triad. or Ab Augmented C Major C 8 6 5 3 2 1 E A 7 6 6 5 3 2 1 8 4 7 6 4 E 7 6 G 5 6 5 3 2 1 4 For the guitarist this process alleviates a need for the traditional approach. third. . and one pure minor triad. E. E major / C# minor. (654). Two augmented triads. (to its next vertical inversion) we horizontally move only one of the three tones within it. if instead of moving it fully outside of itself. 4 x 3 = 12. Eg. (similar as one) a pure major. and its relative A minor. and Ab major / F minor. based upon an extraction of the root. but two others as well. With a single augmented triad. and fifth from any diatonic scale to form its major triad. 8 ascent A Minor C 8 descent C. 9 In fact. Eg. D. 10 C. or C# Augmented 8 7 6 3 2 1 4 II Bb Major 8 7 6 6 5 3 2 1 4 Bb. A.As seen on page 5. G. (instead of a perfect 4th) all that has to be done to recreate the new augmented inversion. What’s most important to be done from this point forward is to flip the coin. and recreate the parental inversions from those “siblings”. using the same fingering) it remains augmented. But when moved to the next set. both vertically and horizontally. or Ab Augmented Frets: 8 7 6 Strings 6 5 I F. 10. (543. (432) it becomes a Bb major triad. 7) the fingering being moved from one string set to the next reveals a valuable suggestion. or F# Augmented 8 6 5 3 2 1 7 6 6 5 4 III x B Major 3 2 1 4 Eb Minor 8 7 6 6 5 3 2 1 Eb. when the original augmented form. (Eg. or B Augmented 6 6 5 3 2 1 8 4 7 8 4 7 6 6 5 IV x 3 2 1 4 As viewed in Eg. so that the end result establishes a complete array of augmented inversions. E. that this “parental form”. on that group of . the augmented triad contains opposite polarities of major & minor results. Eg. (654) was vertically transfered to its next 3 string set. Because of the guitar’s tuning of the second string as a ma 3rd. (321) it automatically appears as a B major triad. 10. when the same fingering of that form. or B Augmented 8 7 6 6 5 3 2 1 Step 1 IV 4 . and once again. (432) the following takes place: Eg. To form vertical inversions in the opposite direction.strings. 11 Eb Minor 8 7 6 6 5 3 2 1 Bb. (321). (321) in Eg. G. G. by raising the tone on the second string ! step higher it produces the final augmented inversion on that set of strings. or B Augmented 8 7 6 6 5 3 2 1 IV 4 and after transferring it to the next set. (from higher to lower sets of strings) the procedure is reversed in the following way. (as an augmented) is transfered to the next and final adjacent set of three. D. This time we begin with the IV triad. (432) is to raise the tone on the second string ! step higher. or F# Augmented 8 4 7 6 6 5 x 4 3 2 1 Eb. Likewise. Eb. 8th fret) ! step the next augmented inversion is created on that string group.As it can be seen. Adjacent fingerings are transformed into non-adjacent ones by transposing the tone on the central string one octave higher. then by lowering the Eb. 12 D Minor 8 7 6 6 5 D Minor 8 4 3 2 1 7 6 6 5 x 4 3 2 1 Bb. (ascent & descent. major & minor. etc. In retrospect the most interesting facet of this process is polarity itself. (432).) for this shall continue to occur. along with 3 non-adjacent as well. Eg. . (located on the 3rd string. (321) now transposes itself to an Eb minor on the 432 string group. D. Keep in mind how opposites have continuously appeared. The following diagram contains 4 adjacent sets. the augmented. or F# Augmented 8 7 6 6 5 4 Step 1 3 2 1 After its fingering takes shape on the 543 group it automatically repeats in the same way on the 654 set. C or Ab+ 4th to the 2nd 6 5 4 6 5 8 4 3 2 1 7 6 5 6 5 Ab. Ab or E+ 5th to the 3rd 7 6 5 6 5 9 4 3 2 1 8 7 6 5 6 5 E. Ab or C+ x 4 3 2 1 E. E or C+ 3rd to the 1st 5 4 3 6 5 3 2 1 4 C. as well as 3 minor forms culminating with the addition of 4 in a row. E or Ab+ In summary.Eg. these augmented triads auto-invert horizontally across the fingerboard in ma 3rd intervals upon each of the groups chosen. Eg. each of these augmented triads contain 3 major. (containing all twelve keys). Also. E or Ab+ x 1 4 3 2 C. C or E+ x 4 3 2 1 Ab. 14 Ma 3rd 12 11 10 9 8 Ma 3rd 7 6 5 4 Ma 3rd 3 2 1 6 5 4 3 2 1 Perf 4th Ma 3rd Perf 4th Twelve Keys Twelve Keys Twelve Keys . 13 Adjacent 8 7 6 Key Transpositions 6 5 Non-Adjacent 9 8 7 6 String Transpositions 6 5 4 3 2 1 C. (6543) it appears in the following order: . which moved in ascent as four in a row. and its variations appear in idioms like blues. (mi 3rd) displays itself on three separate planes. hard bop. b b When organized upon its lowest adjacent set of strings. In the following example the diminished interval. etc. jazz. (in ascent) as three in a row.The Diminished Parental Form A general compositional presence of pure major and minor triads can be found idiomatically within certain types of music. bluegrass.) while the use of the V7th chord. rhythm & blues. (before reaching its next inversion) with four horizontal inversions. etc. The difference found in its ratios is how it moves itself.). rock. (classical. Eg 15 E D b D b E F G Mi 3rd G A A b C B B Similar to its partner it also reproduces perfect inversions of itself. (per string group) the opposite of the augmented triad. with no change of fingerings. country & western. (before reaching its next inversion) with three horizontal inversions per string group. collectively covering the circular chromatic scale. (forms of be-bop. pops. 16 Mi 3rds 13 12 11 10 9 8 7 6 5 4 3 2 1 6 5 3 2 1 4 Series 3 Series 2 Series 1 Named from its lowest tones it arranges itself as G. over a C pedal tone). also referred to as a semi-poly chord.Eg. (G dim / 6543) is transfered to the next adjacent string set. (the inside group. 5432) it becomes a D7. and E diminished. They appear as follows: Eg. Bb. When its first inversion. 17 Similar to the two augmented methods. (4321) it becomes a G7 (b5) chord. and descent) of creating alterations to majors and minors the diminished becomes V7 forms thru lowering any one of its tones . (D major. (ascent. this time to the third and final set. Db. When transfered once again. A complete series of these diminished forms unfolds in the following diagram: Eg. Eb or Gb DIMINISHED 4th to the 1st G7 (b5) 4 3 2 6 4 5 4 3 2 1 3 2 6 5 4 3 2 1 F.by ! step. Db. that tone becomes the root of the V7 chord). Eg. (by separately lowering any single tone ! step. 18 Adjacent G. Db. or Ab DIMINISHED 4 3 2 6 III 5 4 3 X 2 1 As in string set 6543. Bb or Db DIMINISHED 5th to the 2nd Adjacent Eb. or E Diminished 4 3 2 6 5 3 2 1 Gb7 4 C7 2 6 5 3 2 1 Eb7 2 6 5 3 2 1 A7 1 6 5 3 2 1 x 3 4 4 3 4 4 3 2 4 4 3 2 6 5 4 x x x 3 2 1 4 . B. Gb or C DIMINISHED 4 3 2 6 4 3 2 6 6 5 4 3 2 1 II X Db V7 5 4 3 2 1 V X 5 4 3 2 1 C. A. D. E or Bb DIMINISHED Frets: 4 3 2 STRINGS Non-Adjacent 4 3 2 6 String Transpositions 6 I D V7 4 3 2 5 4 3 2 1 IV X 5 4 3 2 1 G. 19 G. A. Bb. the V7 forms emerge thru all the others in the same following way. E. SUMMARY The 12 Common Sets . E. & C Augmented Series 3 Series 2 Series 1 13 12 11 10 9 8 7 6 5 4 3 2 1 6 5 3 2 1 4 Ab. & C Augmented Series 3 Series 2 Series 1 . & E Augmented Series 3 Series 2 Series 1 13 12 11 10 9 8 7 6 5 4 3 2 1 6 5 A D J A C E N T 3 2 1 4 C. C. & Ab Augmented Series 3 Series 2 Series 1 12 11 10 9 8 7 6 5 4 3 2 1 4 3 2 1 6 5 E. & Ab Augmented Series 3 Series 2 Series 1 13 12 11 10 9 8 7 6 5 4 3 2 1 6 5 3 2 1 4 E. Ab. C. & E Augmented Series 3 Series 2 Series 1 13 12 11 10 9 8 7 6 5 4 3 2 1 4 3 2 1 6 5 Ab. C. Ab. E. & E Augmented N O N 13 Series 3 Series 2 Series 1 12 11 10 9 8 7 6 5 4 3 2 1 4 3 2 1 6 5 A D J A C E N T C.The Augmented Inversions 13 12 11 10 9 8 7 6 5 4 3 2 1 6 5 3 2 1 4 Ab. Bb. E. and E Diminished 14 13 12 11 10 9 8 7 6 5 4 3 2 1 6 5 3 2 1 4 Db. G. and Bb Diminished Series 4 Series 3 Series 2 Series 1 12 11 10 9 8 7 6 5 4 3 2 1 6 5 4 3 2 1 E. and Bb Diminished Series 4 Series 3 Series 2 Series 1 . E. Db. and E Diminished Series 4 Series 3 Series 2 Series 1 A D J A C E N T 14 13 12 11 10 9 8 7 6 5 4 3 2 1 6 5 3 2 1 4 Db.The Diminished Inversions 13 12 11 10 9 8 7 6 5 4 3 2 1 6 5 3 2 1 4 G. G. G. Db. and Db Diminished Series 4 Series 3 Series 2 Series 1 12 11 10 9 8 7 6 5 4 3 2 1 6 5 4 3 2 1 N O N A D J A C E N T Series 4 Series 3 Series 2 Series 1 G. Bb. Bb. 20 The Augmented Formula The movement of any single tone 1/2 step DOWN Abma MA 3rds UP Transformations Major 1 / 2 step down E Cma D b D b B E F G 1 G A A b Fmi Minor 1 / 2 step up C Ema B Ama E MAJOR Dbma D b D b B E b b b Ami E Dbmi D Gbmi b D b B Ab Ma E F G Ma G A A b E F C G 2 B G A A C Fma B RELATIVE Bbma E Dma D b D b B E b b Bbmi E Dmi D F G 3 G A A b Gmi b D b B C Ma E F b b D b D b B F mi E F G Mi G A A b C B G Ma G A A b E C C Gbma B Bma E Ebma D b D b B b b b Bmi B Ebmi E E F Abmi D G 4 b D b B E Ma E F b b b D b D b B A mi E F b b RELATIVE MINOR G Mi G A A b C B E G Ma G A A C G C Gma B b A A b Cmi B b b D b D b B Db mi E F b b G Mi G A A b C B b b Emi .Geometric blueprints for both of these parental forms appear in the following diagrams: Eg. 21 Transformations The Diminished Formula The movement of any single tone 1/2 step down MI 3rds V7ths D E F Eb7 E E D b D b G 1 G A A b Eb7 b D b E F G V7 G A A b C B Gb7 B C B B E D b D b E b b A7 Gb7 E C7 D F G 2 G A A b E7 b D b E b b F G V7 G A A b C B G7 B C B B E D b D b b b A7 Bb7 Db7 E D F E G 3 G A A b F7 b D b E b b F G V7 G A A b C B Ab7 B E C B B b b C7 B7 D7 E D b D b b b F G V7 G A A b C B B b b In retrospect.Eg. when viewed fully (as separate types) both the Augmented and the Diminished parental structures define themselves as distinct areas of chromatic families circumscribed around larger 12 point infrastructures. . Exponential Infrastructures The anatomy of this information multiplies each time we apply its principles to another string group. and both of these forms. while (3 or 4 fret) horizontal families transpose themselves a mi 2nd in ascent. or 5 sets referred to as “common groups” are merely the characteristics of a practical vocabulary of chord forms that allows an individual to be prepared as a competent instrumentalist. or 3 times diminished) before reaching their next horizontal departure point. When viewed in a circular context both the Augmented. or descent. The vertical profiles define specific string groups. . and the Diminished forms begin to define themselves as alternate bands. either vertically or horizontally as one. These auto-inversions apply to all of the twenty 3 string groups. These fields can also be seen as positions of activity across the instruments fingerboard. (in every set) are always to be seen ‘complete’. Their offspring. (4 times augmented. (alterations) do the same. Also. or distinct areas of chromatic families spread around larger 12 point infrastructures. the 7. as well as the fifteen 4 string groups. Both of these networks reveal architectural frameworks. or Mi 3rds reproducing themselves on every string group. on systems of 3 or 4 both vertically and horizontally. -=- . divided in Ma 3rds. . . (or non-use) can be traced into the past. while the divided line represents strings that are silent. and can be instantly viewed as one of the tables found in this instruments blueprints. Eg. In the following diagrams the hexagrams that are dotted represent the most common string groups used in a normal repertoire. the full line represents the string in use. 24 As seen above. ( I Ching.Hexagrams The strings of the guitar. prior to its invention as a musical instrument. “The Book of Changes” ) incorporates 6 line structures known as “hexagrams” which are used to represent separate stages of meaning within consultation of the Oracle. The following clearly defines six strings of the guitar separately from the left to the right. and every combination of their use. (the 6th to the 1st). Those forms are identical to each and every combination of the guitar’s 6 strings. An ancient form of philosophy from China. ( the dotted hexagrams are the 7 common groups ) ( the dotted hexagrams are the 5 common groups ) 6 String Silence If these same combinations are viewed as numbers. . 4 String . . . . . . . 25 The String Groups of the Guitar (viewed as Hexagrams) 1 String 2 String . . .Eg. (instead of hexagrams) set up in vertical columns. . ( the dotted hexagrams are the 2 string placement of octaves ) 5 String . . 3 String . . they’ll appear as follows: . Eg. 26 The columns displayed are not to be seen as the guitar fingerboard. but as combinations of different sets of strings. 6 Strings Full Use 6 5 4 3 2 1 = #1 5 String Groups 6 5 4 3 2 1 6 6 6 6 6 5 4 3 2 5 4 3 1 5 4 2 1 5 3 2 1 4 3 2 1 5 4 3 2 1 4 String Groups 6 5 4 3 2 1 6 6 6 6 6 6 6 6 6 6 5 4 3 5 4 2 5 4 1 3 2 5 3 1 5 2 1 5 4 3 2 4 3 2 4 3 2 5 4 3 2 5 4 3 5 4 2 5 1 1 1 1 1 3 String Groups 6 5 4 3 2 1 6 6 6 6 6 6 6 6 6 6 5 4 5 3 5 2 5 1 4 3 4 2 1 4 3 2 3 1 2 1 5 4 3 5 4 2 5 4 1 5 5 5 3 2 3 1 2 1 4 3 2 4 3 1 4 2 1 3 2 1 2 String Groups 6 5 4 3 2 1 6 5 6 4 6 3 2 6 1 6 5 4 5 3 5 2 5 1 4 3 2 4 1 4 3 2 3 1 2 1 3 2 1 4 3 2 1 1 String 6 5 6 5 4 3 2 1 # 64 = 4 3 2 1 Silence Take Note: String groups that are darkened are also to be seen as functional sets . . Line Forms Positions and Inversions . Eg. (similar to separate floors in a larger house). 27 12 11 10 9 8 7 6 5 4 3 2 1 open *1 6 5 4 3 2 1 FirstPosition 12 11 10 9 8 7 6 5 4 3 2 1 6 5 4 3 2 1 Second Position 12 11 10 9 8 7 6 5 4 3 2 1 6 5 4 3 2 1 Third Position 12 11 10 9 8 7 6 5 4 3 2 1 6 5 4 3 2 1 Fourth Position 13 12 11 10 9 8 7 6 5 4 3 2 1 6 5 4 3 2 1 Fifth Position . These vertical areas comprise linear as well as chordal inversions encompassing all twelve keys in each of their five separate positions.Linear Inversions Ranges of chordal and linear activity organize in greater balance when they’re viewed as self contained divisions of the fingerboard. From “Fingering Inversions” patterns I and II reveal a full vertical / horizontal inversion. the sixth. familiar fingerings used in other areas take place in comfort here as well. but also the position in which it unfolds vertically as well as horizontally. (full fingerboard) becomes activated as a free canvas for any improvisational topic. The following patterns utilize this approach. 28 12 11 10 9 8 7 6 5 4 3 2 1 open *1 6 5 4 3 2 1 FirstPosition Before beginning a discussion on line forms. the asterisk * when in use should be viewed as a reminder regarding placement of the first finger behind the nut whenever it appears on fingerings in the upcoming patterns. Take note.When each of these separate areas are mastered. it’s important to define the proper use of fingerings for what’s normally categorized as open strings. . 13 12 11 10 9 8 7 6 5 4 3 2 1 *1 6 5 4 3 2 1 The Full Fingerboard Eg. 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”. The first and fourth finger of the left hand determine not only the beginning of the pattern. just as if it were another fret. and their inversions. Vertically. These are the first two vertical inversions of this line form. 29 Once again. (Eg. 29) are perfectly in line with the fourth and first fingers. (in close range) beginning with the first finger. when we give thought to a practical use of the opposites. (yin & yang) and view the outer fingers of the hand. 30) the two patterns seen above.Eg. Eg. . 30 The patterns displayed next are twelve positions of vertical and horizontal linear inversions of the same motive. pattern I begins at the lowest point with the fourth finger followed by its next inversion. (Eg. Eg. 31 . (invisible) position forms at the twelfth fret. 27. beginning with D: Dmi7.In general. (one octave lower) for the second string group. Eg. 5432 and 6543 before briefly moving thru combinations of these sets. (in a wholetone scale) of the original form to define its change of position across the fingerboard. (5432) in this study. The reason that it isn’t included in the first string group. (seen as Eg. 4321. Bbmi7. . 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. The dotted markings placed on Dmi7 in the example shown below represent the sequential inversions of the topic ascending horizontally across the entire fingerboard. displayed on page 15. these linear forms. Cmi7. 31) are a tonal reproduction of Eg. continued into the next of five ascending positions. Emi7. Abmi7. (beginning with the first finger at D on the fourth string. Gbmi7. The sixth. (4321) is that it’s the departure point. 32 5 Positions Series 3 Dm7 Cm7 Bbm7 Abm7 Gbm7 Em7 Series 4 Dm7 Cm7 Bbm7 Series 5 Dm7 Cm7 Bbm7 Series 1 Dm7 Cm7 Series 2 Dm7 Cm7 Bbm7 Bbm7 Abm7 Gbm7 Em7 Em7 Abm7 Gbm7 Abm7 Gbm7 Em7 Abm7 Gbm7 Em7 The study is also arranged into three separate adjacent string groups. The following series of this study uses descending transpositions. . . . . . -=- . Complexity and Simplicity Substitutions . « » » « « » » » » bœ » » bˆ « 4 « » » « « »»» »»» = « » » » » » » » ====================== & « » œ » “ { » l « « « ˆ l »» l œ »» »» » 1 » » 2 b_ » _ ˆ « j » « _ ˆ « j » _ ˆ « 3 » » ( Guitar ) C7b9 Fmi9 Ab/Bb Ebmi9 Ab7#5 Dbmi9 Ballad : Pat Martino « « « « « « « « « « « « « « « »»» . œ « « « « « « « « « « w ˆ « « ˙ ˆ « « « » « ˆ « « « « « « bˆ « « ˆ « « » « « « ˙ « ˆ « « ˆ « ====================== & « « « l » «_ ˆ « bˆ « l =l _ « ˆ ˆ « « 6l ˆ j _ ˆ_ « 5 Cma7/A Cma7/G Gbmi7b5 1. B7b9 A9b5 Dmi9 4 7 »»» œ »»» . Dbmi7b5/E Bmi11b5/E Cma7b5/E C7b9 ©1994 Kitai Music . . bœ »»» œ J #œ »»» »»» œ œ #œ »»» b_ » œ » .Original Theme ( Welcome to a Prayer ) ( from: " The Maker " & " Live at Yoshi's " ) « « b_ »»» ˙ œ « » » œ « » œ « » » bœ » « « b˙ ˆ »»» œ »»» bœ 4 Œ ‰ bœ » « « »» bœ » œ » » » » œ . bœ »» œ w w » œ » œ » » ˙ » œ » bœ » » » » » « » » » » » » » » ====================== & « »» »» »» »» ” {6 » » l l = ” _ ˆœ « j 8 16 » 7 Gb13b5 B7b9 2. ˙ »»» œ œ » » » » » »»» » » » » » » œ » » » » » » » » » œ » » œ » » » » » » » ====================== & l l l =l » » » 13 » »» » »» 14 » »» » »» 15 A13b9 A7#5 Dmi9 G13b5 Cmi9 12 b_ »»» œ »»» bœ »» . #œ » » œ J bœ » « nœ » #œ » » » ! » œ » » » « » œ » »» l »»» »» »» » »» » l » »»» œ » » bˆ « j » » » » ====================== & l »» œ l » » = » 10 11 9 8 G13b5 B7#5 Emi9 A7b5 Dbmi7b5 Gb7#5 Bmi9 ( E13 ) Db mi / D b_ »˙ »œ »»» _ œ _ »» œ _ »» œ œ b_ »» œ œ »» »»» n_ »»» »»» » ˙ » œ » ˙ » œ » » » »»» .ASCAP . B7 (b9) Cmi7 Bmi11 (b5) / E Dmi7 »»˙ ˙ »»˙ ˙ »»˙ ˙ »»»˙ ˙ w b bw w w » » » b˙ ˙ b˙ » ˙ » » »»˙ ============================= & 16 _ w { ” l l ll #w »˙ »»» b˙ »»» w _ _ _ ˙ _ _ w »˙ »˙ 6 7 8 _ _ _ _ w » • b_ _ _ _ _ »»»» »»» ˙ »˙ » »» »» Ami7 Ami7 Cma7 (b5) / E Dbmi7 (b5) / E Cma7 (b5) / E Emi7 Emi7 (9/11) Emi7 #w w w w w w ww =============== &9 _ l ” _ w w 10 _ _ • _ _ w w © 1994 Kitai Music .P.A. . Cmi7 Bbmi7 Dmi7 « « « « « « « b » ˙ n˙ « ˙ « ˙ b ˙ « w w » ˙ « « ˙ ˙ « w w » « « ˙ « » ˙ « ============================= &4 _ « ˙ ˙ l w l l ˙ l « #w » « ˙ _ « _ _ _ _ « w » 6 7 5 ˙ « _ _ _ ˙ ˙ « »»» • #_ w Ami7 Ami7 Cma7 / A Cma7 / G F#mi7 (b5) Ami7 B7 (b9) A7 (b5) Dmi9 « « « « « « « « « « « ˙ « « « b˙ » b˙ « #˙ « ˙ « « « b˙ ˙ « » « »»»˙ #˙ ˙ « ˙ ˙ b˙˙ « « « # ˙ « » « ˙ « ˙ b ˙ « « ˙ « ˙ « » « ˙ b ˙ ˙ « ˙ b˙ « ˙ « « « » « »»˙ ============================= & 8 b˙ l ˙ « l ˙ l =l « « « b˙ « »˙ « _ _ _ « _ « ˙ « ˙ « ˙ « 9 10 11 _ _ _ _ ˙ « _ _ ˙ « « b˙_ »»»» »»»˙ • _ _ _ ˙ « »» Abmi7 Cmi7 Emi7 Bbmi7 Emi7 Gmi7 Bmi7 Bmi7 Cmi7 »˙ _ »˙ #b#˙ n˙ »»»˙ »»» w w w w w bw »_ ˙ »˙ w w ============================= & 12 _ b˙ » l l l b w =l »_ w bw »»»˙ _ _ w »»˙ 13 15 14 _ _ w • »» » Bbmi7 Bbmi7 Dmi7 Abmi7 G13 (b5) B7 (#5) Emi9 A7 (b5) Dbmi7 (b5) Gb7 (#5) Bmi9 Dbmi / D A13 (b9) A7 (#5) Dmi9 G13 (b5) Cmi9 * Gb13 (b5) Dbmi7 2.S.A.Chords & Substitutions ( "Welcome To A Prayer" ) Ballad Chords: Substitutions: Pat Martino (b9) * C7 Dbmi7 Fmi9 Fmi7 Ebmi7 Ami7 Dbmi7 « « « « « « « « ˙ « « « ˙ « b˙ « ˙ bw 4 « b˙ « « ˙ ˙ « ˙ b bw w « « « ww b˙ ˙ « « b « ˙ « ˙ « ============================= &4 w “ { b ˙ « l b˙ « « ˙ l l « bw _ w _ ˙ « _ _ « b ˙ « 0 3 1 2 _ « b_ ˙ « • _ ˙ « p Ab / Bb Fmi7 Ebmi9 Ab7 (#5) q = 49 Dbmi9 1.C. 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