mo et 1 (ae (6) Pat MartCONTENTS Foreword ...... 4 Introduction 5 Course Description 6 Phase I Phase IL Phase III Phase IV In ClosingFOREWORD The following linear expressions are a form of art. In Webster's dictionary the definition of the word ‘arti stated that “art implies a personal unanalyzable creative power”, whereas the word ‘skill stresses technicz knowledge and proficiency, and in both cases the word ‘arduous’ is stated as “that which is hard to accomplis or achieve with difficulty, marked by a great labor or effort”. Art has many social problems. One of the greatest is that all successful artists have become successft! throug! being publicly confined to the ficds in which they are most marketable. Therefore most of their musics hear on a media oriented basis. With regard to the artists’ private expressions it's extremely possible that what trul ‘moves that artists will also move the public. But unfortunately, the industry of recorded music in most case: keeps that artist and the public in rigid tow. It's through this that success has nothing to do with expression un less of course, we as artists no longer seek that success from the industry itself but gain it through privatel sharing with the public itself, because ifthe true artist chooses to do this rather than the other, in many cas the industry itself shall now come to seek the artist because through sharing with all, that artist shall now car Jess about seeking the industry and will no longer have to wait his or her life trying to reach or retain success, [es now the true art that shall emerge for both the public and industryINTRODUCTION From the time the aspiring guitar player is first introduced to the instrument, he (or she) is exposed and sub- jected tomany trials and tribulations. One must experience the frustration and despair which, unfortunately, are an essential part of a musician’s life from infancy on up through adulthood. Itis from this that one acquires an insatiable lust for knowledge; the knowledge that is imperative to growth as a guitar player, musician and above allelse, an artist. One of the difficulties that a student of the guitar encounters very early in their growthis the lack of technique and physical dexterity needed to play the instrument effectively. The guitar, after all, is a very physical in- ‘strument and demands both coordination and agility from both hands. After years of practice, the young guitar player will eventually overcome kenetic disabilities and begin to focus more and more upon what is being played as opposed to how itis played, In other words, the quality of the music is now the primary concern. With this is mind, the maturing guitarist will temporarily sedate his on-going urge to play lightening fast guitar licks and flashy feats of fingerboard gymnastics. Finally, the guitarist comes face to face with the nemesis of every budding musical artist, namely, improvising over chord changes. Ever since the sounds of Charlie Parker's alto sax were first heard resonating the sidewalks and streets of Harlem and filing the air with a tempestuous roar of the then new sound called “Be-Bop”, the art of im= provisation has become one of the most explored areas in music. Much of the theory and concepts in use today incorporate and advocate the use and memorization of many different types of scales, arpeggios, etc. Ideally one should try to treat every chord change of the progression with the proper device. ‘The following is a IV I progression which shows some of the possible single note devices which can be played over each of the chords. EXAMPLE: Dm7 G7 Cmaj7 DDorian G Mixolydian, Clonian Dm? Arpeggio Fimaj7 Arpeggio Ciaj7 Arpeggio DmScale Ab Diminished Scale ‘Cmaj? Scale Although the aforementioned method is correct and true, you can clearly see that it can and often does be- come cumbersome and arduous, to say the least. To fully master and obtain fluency in this style takes many years of study as well as ardent determination, ‘There are, however, two si¢es to every coin. If we were to call the now accepted methods of study complex- ity, then conversely, the other side of the coin must be simplicity. Its, however, to be understood that al- though the method outlined in this work is a more simple approach to linear improvisation, all avenues of study, whether they be simple or complex, must be explored. For the art of improvisation is by no means to be considered simple or easy and should not be taken lightly. On the following pages, you will be introduced to a somewhat different approach to improvising over chord changes. What makes this approach different from other methods presently in use today is that this system utilizes the minor chord and minor line form only. To further explain, all chords whether they be of ‘major, minor, dominant, augmented, diminished, or half diminished quality, can either directly or indirectly be reduced to or substituted by a minor chord form, EXAMPLE: cr re Am? G7... Dm? Em7b5 - Gmé6 Once this is achieved, the player need only to play minor type melodic ideas over the minor reductions and substitutions. In other words, convert to minor. ‘The preceding is a brief, approximate explanation of the work herein. The subject will obviously be dealt with in more detail throughout the course of the book. Read on! 5COURSE DESCRIPTION ‘The course of study presented in this book will be divided into four phases. The phases are as follows: PHASE I: Horizontal Movement: Inversions and Activities In One Key A, Introduction to a Gm? chord form which will invert itself systematically three times up the guitar neck, yielding four individual chord inversions. B, Introduction to the five basic activities (line forms) and their relationship to their four re- spective chord inversions. C. The coverage of one key (G minor) over a span of twelve frets (one octave) horizontally up the fingerboard. PHASE Il: Vertical Movement: Inversions and Activities In All 12 Keys, ‘Transposing the five basic activities (ine forms) and four chord inversions and locate all 12 keys. in one sector of the guitar neck PHASE III: Horizontal and Vertical Movement: Line Studies ‘The transposition and connection of the five basic activities (line forms) to formulate a continu- us line passing through all 12 keys. Each of the five basic activities is the basis of two separate line studies. Bach set ofline studies will move vertically and horizontally up the neck withits re- spective starting line form, facilitating total command and access to any key, anywhere on the fingerboard, PHASE IV: Application Through Substitution and Reduction With the aid of an original song titled “Nadine, "all ofthe principles discussed in this book will be practically applied. A. Through analysis, the complex chord changes of the tune will be reduced to simple minor chord forms. B. A sample study, constructed of the basic activities, is provided at the end of this section. Itis important to ask that you do not proceed to Phase Il until Phase [is fully understood. ‘The same holds true throughout the course of the book.eee ee PHASE I: Horizontal Movement Inversions and Activities In One Key Since the subject discussed in this work is that of the minor chord and minor line form and how they are used a a basis for linear improvisation, we will start with a basic form of a Gm? chord and demonstrate its sys- ‘tematic inversion horizontally up the guitar neck. ‘The result will be four different forms of a Gm? chord, INVERSIONS ‘To systematically invert any chord we must first select a set of strings on which the starting chord will be built. (Hereafter to be referred to as string sets.) The string set selected is 6 4 3 2 (the sixth, fourth, third, and second strings). ‘The next stepis to choose a chord voicing of Gm7 that lies on this string set. The voicing we will useis a 1b7 535 inversion ofa Gm7 chord. To further explain, the root (1) ofthe chord will fall on the sixth string, the b?7 degree of the chord will fall on the fourth string ete. Gm7 Ef To find the next inverted form of this chord, raise each voice in the first form by one degree. Gm7 FORM2:Gm7 — stringset: 6 4 3 2 voicing:b3 1 5 b7 v ae ‘The 1 b%b3 5 voicing becomes a b3 1 5 b7 voicing. We now repeat the procedure to produce the third form of Gm?. Gm7 FORM3:Gm7 _stringset: 6 4 3 2 voicing: 5 b3b7 1 wut te oo ‘The b3 1 5 b7 voicing becomes a 5 b3b7 1 voicing. We repeat the procedure once more to arrive at the fourth and final form, Gm7 FORM4:Gm7 stringset: 6 4 3 2 voicing: b7 5 1 b3 " a ‘The 5b3 b7 1 voicing becomes ab751b3 voicing. > You should now familiarize yourself with these four chord inversions as they will be used throughout Phases T&T, and are a partial basis of the activities to follow. 7ACTIVITIES ‘The next area of study to be discussed is of a melodic nature. As the term “linear improvisation” suggests, melodic line forms must be improvised over various harmonic structures, creating a solo. These line forms (hereafter to be referred to as activities) can be related to both a chord and scale form. The key we will be dealing with at the present time is G minor. Since G minor is derived from a Bb major scale (Gm being the relative minor of Bb major), itis important to know where on the guitar neck the Bb major (Gm) scales are located. For itis from these scales, along with the previously mentioned chord forms, that five forms of activities can be realized, ‘The following diagrams illustrate five forms of a Bb major (Gm) scale. Inclusive in the diagrams are the four G minor chord inversions and how they relate to their respective scale patterns. Notice that like the four chord inversions, the five scale patterns move horizontally up the fingerboard, until all twelve frets (one oc tave) are covered. NOTE: The scale forms illustrated herein do not necessarily start and end on the root of the scale. They in- vad display every accessible scale tone in position, KEY @ == Scale Tone Chord ‘Tone within scale pattern 1b3 8 b7 = Chord Tone Degrees as indicated at left of fingerboard diagrams,S 1-5 illustrate the four Gm7 chord inversions and their relationship to their five parent scales (Bb maoe-G form #1 Fi = i S = = = by 7 S S form #2 form #3 orm #4 = = 3 3 S +e fe Notice that form V uses the identical Gm7 chord inversion as form I, one octave up. This will hold true throughout the study.Now that the four Gm7 chord inversions have been associated with the five G minor (Bb major) scale pat- terns, the next logical step is to relate five basic forms of activity to them. ‘The following activities (line forms) should be associated with their respective chord inversions. They should be thoroughly understood and memorized before moving on. ‘THE FIVE BASIC FORMS OF ACTIVITIES Each of the following forms of activities (line forms) is depicted with its respective chord inversion. Bach ac- tivity is notated both musically as well as graphically. The graphic diagrams will aid you not only in fingerings, but also act as a visual guide in relating the five activities to their Gm chord and scale forms. When learning these activities it's a good idea to play their respective chord forms immediately before play- ing each activity. Each chord form will dictate the activity to be played (except in the case of the first chord form which names both the first and fifth activities). For CHORD FORM Use: ACTIVITY Form1 Forms1&5 Form2 Form2 Form3 Form3 Form4 Form 4 10ACTIVITY 41 ty (inthe key of G minor) starts in the third position, and spans from the second to sixth fre It clearly outlines a G minor scale which should make it relatively easy to memorize and waming key. At this time it should be made clear that the form of activity does not make refer- sociate with its ence to the key it is in, Bb. EX \MPLE: The first activity, starting in the third position is the key of G minor. ‘The first activity starting in the fifth position is the key of A minor, ete. é q| oq eis 2ACTIVITY #2 ‘The second activity in the key of G minor, lies totally inthe fifth position, spanning the fifth to eighth fret. It utines 2 Bbmaj? arpeggio, starting from the maj7 degree of the Bbmaj7 (an “A” note). Again it must be understood that the form of activity does not name the key you are in. The key is deter- by where the form of activity is being played.ACTIVITY #3 ‘The third activity, with the exception of the Bb note on the second string, lies in the seventh position. The G minor scale and arpeggio are visible throughout this activityACTIVITY #4 activity in the key of G minor, lies in the ninth and tenth positions and spans the ninth to eleventh minor shapes are still evident.ACTIVITY #5 ‘The fifth and final form of activity in the key of G minor completes the total coverage of the fingerboard in one key (G minor), overa distance of twelve frets (one octave). Notice that both the fifth and first activities start with the same note on the sixth string (a “G" note). ERGO: ‘The next logical form to follow, would be the first form of activity one octave higher. Remember: The first and filth activities share the same chord inversion. Gm7Before moving on to PHASE I, the student should learn to play the remaining eleven keys, horizon the fingerboard. To achiev imply transpose the four chord forms and five forms of activities either up or down the other eleven keys. EXAMPLE: Horizontal movement in the key of C minor (Bb major). 1) Locate the four chord inversions and scales. 2) Play the appropriate activity (line form), according to the chord inversion (form 1, 2, 3, etc.) Cm? form #4 Crm form #2 br a = S S = = . = b; fe Cm form #3 e 1 e br = = ba — = 5 ° ‘Upon completion of this phase of study you should be able to play all twelve keys horizontally up the fingerboard. Then and only then should you move onto PHASE I 16PHASE II: V ertical Movement Inversions and Activities in All 12 Keys Phase II involves transposing the five basic forms of activity learned in Phase I and vertically to locate all twelve keys in one area of the guitar neck. Remember: Play the chord inversion first, this will indicate the form of activity to be used. (Except in the case of activities 1 & 5 which share the same chord inversion.) Line form 1: Key of G minor > ser st ©® ® @ a COO®®Line form 5: Key of Ab minor Abm7 ale R prnesLine form 5: Key of A minor oi Ov @ 19Line form 4: Key of Bb minor o mh Ibo Ee) p © be Bbm7 20Sa z o L EF _ fo #3 ee, —— ® ®@ a ©Line form 3: Key of C minorLine form 3: Key of Db minor 23.Line form 3: Key of D minor od eo} e Mn * oe ‘Line form 2: Key of Eb minor HH © © zz @O®O @Line form 2: Key of E minor 26Line form 1: Key of F minorLine form 1: Key of Gb minorPHASE TE Vertical and Horizontal Movement Line Studies Phase III deals with the transposition and connection of the five basic forms of activity, resulting in ten con- tinuous, linear improvisations. (Hereinafter to be referred to as line studies.) Each line study is twenty four to twenty eight bars in length and will demonstrate the linear movement of the five forms of activity through all twelve keys. Each form of activity is the basis of two different line studies. ‘The line studies will move horizontally up the fingerboard according to their respective starting line forms, facilitating total command and access to every key center, anywhere on the instrument. LINE STUDY 14 Gm7(Acont.) Dbm7 1 4 3 1 qe ea 21 2 443 pee SE a ® Sa Dm7 Pa 4 2 4 re areal 1 ae —_—e —_ @ @ 30(1A cont. Ce et ee ee =e = ¥ Fe ® @o © oO® Gm7 At the end of this line study, you will notice an arrow. This merely suggests that the line study can continue onward, starting again ox a G minor chord. LINE STUDY 1B Gm7 TeeGate RE eee eA = yeie & © ® Bbm7 ee 2. ?1B cont.) Am7 : | SSS SSS e 9 : ' : o @ Cm7 oo ai de ——— — o e) @ ® Bm7 1 2 3 4 3 2 a : : —————s - . ® '® 6f 32(1B cont.) 33You have now completed line studies 1A and 1B. As you have already realized by now, line studies 1A and.1B are both started from the first form of activity in G minor, Both line studies were located on the lower-most region of the fingerboard (as have most of the melodic exercises up until now). Starting with line studies 2A and 2B, the line studies will ascend up the fingerboard with each successive set of line studies, NOTE: The same two chord progressions will be utilized for the remaining line studies, according to let- ter. i.e.: Line studies LA, 2A, 3A, 4A and 5A will share the same chord progression. The same holds true for the “B” studies, Line studies 2A and 2B start with the second form of activity in G minor. LINE STUDY 24(2A cont. 35(2Acont.) ae ee SS 2 @ oO oO . oo @ Gm7 36LINE STUDY 2B 37(2B cont.)39Line studies 3A and 3B start with the third form of activity in G minor. LINE STUDY 3A Gm7 fee Dest te ; ere x ———— oe ® @ © @ Pe ®@ ®@ % O00 0 @ ® os Bbm7 i i ® © ® 9 eo ®GBA cont.) Cm7 fe eee see a —_—S © ®O ®@ Dbm7 ee » pee be Ope 2 pt ps tees = rete Seo imMMenii a oe © Dm7 3 ieee leeaeeeee Ebm7 as be a 301 1 2 4 2 ahZ re e b 1 es 8 @ oO @o ®@2O@ ® 6 © Em7 1 @ 202 4 1 1 3 4.0) 2 3 3g. Zhe q Ss 4GA cont) LINE STUDY 3B 42GB cont.)(BB cont.)L ine studies 4A and 4B start with the fourth form of activity, in G minor. LINE STUDY 4A ; . Phe ee 1 Bee 23 1 3 ig 3 = = : ® ® a © ® © Abm7 ; : obe 2 pope ys spp hehehe 2 — = =e @ @ @ ® @@ @ Bbm7 bre 2 2 be 1 4 451 8 oo po 6 lg cg # hs 7 oe : E oe oe pars oe ao § ® ® Dm7 2 4h3 2 , Ll, # pee ee 006 22% f £ ® @® @ oe Ebm7eo ® . ® Gm7 LINE STUDY 4B Gm7 Spectre tetas 4 3,2 4 tetse thai 3 2? a @ ®@ O®@ o ®@ eo ©@(AB cont.) 48(4B cont.)eight line jould be clear as to how to connect the five activities. A and 5B have been started and left for you to complete. The studies utilize the same preceding eight. LINE STUDY 5A Fe — @@0 @ @ @ @ Gm7 Gm7“PHASE IV: Substitution & Reduction Application through substitution and reduction. As was previously mentioned, complex chord changes can often be reduced to or substituted by more simplistic minor chord forms. Itis by the means of chord substitu- tion that an original composition titled “Nadine” will be reduced to these minor chord forms for the purpose of linear improvisation. CHORD SUBSTITUTION Since the subject of chord substitution is a possible topic for a book in itself, we will not go into great detail nor explore every possibility on the subject. We will however, mention the more commonly used forms as ‘well as the forms of substitution that are pertinent to this phase of study. 1. Substitute chords of the same name and quality. TI. Converting to minor through substitution. Cmajé = Am? (Relative minor) sa eee a earteeee Cmaj7 = Am9 (Relativeminor) Cub: = Gui = Uniti ete Cmaj9 = Em7 (Secondary relative minor) c7 = © = C3 ete. Guo ce Cm7b5 = Ebm6 [At this time the student should explore the subject of both contextual and compositional substitutions. PROCEDURE 1) Study the song in its original form (page 52). a) Play the melody. b) Study the chord changes. 2) On pages 53 and 54 you will find the chord diagrams and the simplified breakdown of the harmonic struc ture (ower stave). a) Learn the chord voicings (provided in both musical and graphic forms). b) Study the substitutions found immediately below the compositional harmony. 3) Study the analysis on pages 55 through 57. a) Relate each substitution to the compositional harmony, with the aid of the written analysis. b) Memorize the substitutions. 4) Examine the sample solo on pages 58 through 62. a) Play through the sample solo until the study can be performed nonstop. ) Record the changes on tape and play the solo over them. 5) Now that you've learned the tune thoroughly, compose your own solo over the changes, utilizing the sub- stitutions given or any of your own substitute forms. NOTE: It should be understood that the tune used in this phase is of a very abstract and disjoint nature. It ‘was with the intent of showing the contrast of complexity vs. simplicity that this tune was selected, ERGO: The next logical step of the procedure would be to apply the principles learned inthis work to more ‘common forms of progressions and songs. EXAMPLES: “Stella by Starlight” teem Victor Young “All the Things You Are”... .. » « Jerome Kern “The Days of Wine and Roses” +» Henry Mancini “Summertime”... . 2. + George Gershwin “Scrapple From the Apple” ~ Charlie Parker 81NADINE FALL |CHORD INVERSIONS WITH SUBSTITUTIONSBARS 6-7: BARS 8-9: ANALYSIS (“NADINE”) ‘The song starts witha Bm765 chord over an “E” bass note. The substitute form we willuse is D minor. To better understand this, we must view the Bm7b5 chord in direct relation to D ‘minor. ‘The Bm7b5 chord is comprised of the notes B, D, F, A. ‘The B note in relation to Din is the sixth degree (6th). The D note in relation to Dmis the root of the Dm (1), ‘The F note in relation to Dm is the minor third degree (b3).. ‘The A note in relation to Dmis the filth degree (Sth). ERGO: _Inrelations toD minor, the Bm7b5 chords aDm6 chord in t's third inversion. Con- versely, a Dm6 chord is a Bm7b5 chord in it's first inversion, RULE: From theroot ofa minor seventh at five (i765) chor, g0upa minor third and play minor. i.e.: Bm7b5 . . . upam3 = Dm6. ‘To carry the process a step further, we can also derive a dominant ninth (th) chord from the ‘m7b5 and minor 6th (m6) chords. In the case of Bm7b5 and Dm6, a G9 chord can be derived. ‘The B note in relation to the G9 chord is the minor 3rd degree (3). ‘The D note in relation to the G9 chord is the fifth degree (5). ‘The F note in relation to the G9 chord is the b seventh degree (b7).. ‘The A note in relation to the G9 chord is the ninth degree (9). RULE: To convert a dominant ninth chord to a minor form, go up a perfect fifth from the root of the 9th chord and play minor. i.e,: G9... upa P5 = Dm6, OBSERVATION: wr seventh flat five (a5) chords are incomplete dominant ninth chords. A.Gb minor form was used over a Gb minor triad with an Ab note in the bass. Inbars 8 & 9, on F augmented triad with alternating “G to E” bass notes, is substituted by aD. ‘minor form. 1, The augmented triad, much like the diminished 7th chord, inverts to form two other au- gmented triads. EXAMPLE: F, A, C# = augmented A, C#, E#, ) = A augmented (C#) Db, F, A, = Db (C#) augmented NOTE: Each note of the triad can be called the root and can name the triad.IL. Observe now that the augmented triad is an incomplete minor (Ma7) chord. F, A, C# =D, F, A, C# Dmmaj7) A, C#, E# = F#, A C#, E#, (F#m maj?) Db, F, A = Bb, Db, F, A, (Bbm maj7) ERGO: Keeping in mind that an augmented triad has three names, there are three different minor (Ma7) substitutions for an augmented chord. EXAMPLE: F augmented = Dm maj? EXAMPLE: F augmented = F#m maj7 EXAMPLE: F augmented = Bbm maj7 ‘To further demonstrate, if we look back at bars 6 & 7, we see that a Gbm (F# minor) form was used. It is now conceivably possible to play F# minor over bars 6, 7, 8, and 9. (The root of the Gb minor will move to the root of the F augmented producing the sound of F# minor to F# minor (Ma7).. TO SUMMARIZE: Over an augmented triad, go up a major 6th from the root and play either melodic or harmonic minor. EXAMPLE: F augmented . . . up a major 6th = D melodic or harmonic minor. Augmented . . . up a major 6th = F¥# melodic or harmonic minor. C# augmented . . . up a major 6th = Bb (A#) melodic or harmonic minor. BAR 10: Inbar 10, the harmony is aC major triad withan “F#” note in the bass. Convert the C major to A minor (Am) being the relative minor of C major and treat the F# bass note as the 6th of A minor. ERGO: For Y/r# play A minor note in the bass. The substitution is F BAR 11: In bar 11, the harmony is a Db major triad over an EXPLANATION: _ If we view the Db major triadalone, the most obvious substitution would be. its relative minor (Bb minor). However, the “E” note in the bass would not go very well with Bb minor (creating a bath in the bass). Therefore, we go to the secondary relative minor of Db ‘major (which is the III chord of Db), namely, F minor. Again, we must relate the PY%e directly to F minor. ‘The Db note in relation to F minor is the b6th. ‘The “P” note in relation to F minor is the root. ‘The Ab note in relation to F minor is the b3rd. ‘The E note in relation to F minor is the maj7th. Also notice that all of the notes in the PY: chord can be found in an F harmonic minor scale (F, G, Ab, Bb, C, Db, E). ‘There is still, however, a problem with the “E” bass note. It still has.a tendency to clash with the F minor. Therefore, it must be understood that although the substitutions used are theoretically correct, the nature ofthe original harmony (that being very abstract) will not allow a definite “In ‘The Pocket” type of sound to be produced. It then calls on the musician to rely on his experience and training to create a phrase that will both define the harmony and still be pleasing to the lis- tener’s ear.BAR 12: Treat the bar harmony *™i7°f exactiy as it appears and play the relative minor (Dm) form. BAR 13: Playan“E" minor form over Em9, BAR BAR BAR BAR BAR BAR BAR 14: 15: 16: 17: 18: 19: 20: Inbar 14, we encountered an altered dominant 7th chord (Gb7 #5. #9). The substitution chord is G minor. Although there are many ways to treat an altered dominant chord, only the substitu- tion used here will be explained. EXPLANATION: One way to create the sound of an altered dominant chord is to go up step from the root of the dominant chord and play minor. EXAMPLE: For Gb? altered, go up ¥¢ step and play G minor. ‘The following are two different types of G minor scales and how they relate to the Gb7 chord. EXAMPLE: G harmonic minor G A Bb C D. “a Sie Relation to Gb? bo #9 3rd bs #5 Groot Gmelodic minor & A Bb ¢ -D Relation to Gb? bo #9 3rd #57 rot It is clear to see from the examples that although both minor scales yield the altered Sths and ths (b9, #9, b5, #5), only the melodic minor contains the b7, which is the “hot” note of a do- ‘inant 7th chord. ERGO: Over Gb7 #5 #9 use G minor (melodic) or G minor (harmonic) Play " minor form over Cm Inbar 16, play an Eb minor form over the */ay chord In bar 17, B13b5 was substituted by an F¥ minor form, (Refer to the explanation in bars 1-5, dealing with dominant chords.) Play F# minor form over F#m6 Play Ab minor form over Abnyjy, NOTE: The Bb bass note can be viewed as the 9th degree in relation to Ab minor. Play G minor form over S"Yq, 57Solo for NADINE Bm7b5/, ®@ “To aHegEEEEEEEHEE OF© BI 58Seine NADINE (cont.) Chay aD ———— Pau to ESolo for NADINE (cont.) EEE ‘AHL 60Sais fox NADINE (cont. Em9 Gb7#5#9 Cm9 Ebny/q,, Eee Se 6for NADINE (cont.) Solo F#m6 B13b5 = jet o be Gry Abnyg, 62TONY BARUSt In 1979 Tony moved from New York to Los Angeles to attend a one-year course of study at the Guitar In- stitute of Technology. While at G.L.T. Tony had the opportunity to study with two of the finest guitar players in the world, namely, Pat Martino and Joe Diorio. It was there that the close friendship and association with Pat Martino evolved. Tony spent many hours with Pat, exchanging ideas and disucussing Pat's views on music and life in general. Itis from these many hours of interface that this work came to be. Upon completion of his studies at G.I. Tony was hired on as librarian and rapidly worked his way up to the position of co-ordinator of curriculum and staff music copyist for the entire school. ‘While holding this position Tony had the chance to, in various capacities, work for and with many other art- ists such as: Howard Roberts, Tommy Tedesco, Joe Diorio, Robben Ford, Jay Graydon, Ron Es- chete, Larry Carlton, Don Mock, Tim Bogert and Les Wise. ‘Tony has now returned to his native New York, where future projects with Pat Martino are in the works.IN CLOSING In deciding whether or not an instructional method is of any value to the student who subscribes to it, one must ask the questions: Has the method been effective in raising the students level of awareness? Has the ‘method offered and delivered specific data and/or information that will contribute to the students intellectual growth? In other words, has the student learned anything? This method has tried to instruct the student in certain areas of guitar playing and music theory. It has of- fered a different approach to improvising over chord changes and viewing the guitar fingerboard as an entire entity, comprised of five different elements. It has offered a brief explanation of chord substitution and some of it's more common applications. Itis the author's sincere hope that the preceding pages of study provide some food for thought, and in some Way appease your on-going thirst for knowledge. Itis not the author's intent, however, to suggest that the course of study offered in this book is of any more value, or isin any way, better than other methods in use today. For, in music as inlife itself, there are no bet ter ways . . . just different wayst ‘The Best of All MED 78 — Pat Martino 64