When we look at the architecture of a
chord form, we see everything that’s
needed to naturally unfold an improvised
melody. There are two distinctly different
ways to expand the chord form—our skeletal
melody—into linear improvisations.
The standard way, and this is the
approach that’s most often taught, is to use
horizontal scale forms (this also includes
modal systems). An alternative approach
comes through using arpeggios. This is a
vertical approach, which is evident when
you look at the chord displayed graphically.
Beginning with a diminished chord on
the lowest adjacent string group, the following
transformations unfold, as shown in
Fig.
1. [Note: To streamline the music notation,
we’re spelling F dim using B and D, which
are enharmonic equivalents for Cb and Ebb,
the b5 and bb7 of this diminished chord.] Pay
attention to the two half-step shifts that occur
between these three chords. First, F drops to E,
making the F dim to E7 chord change. Second,
G# drops to G to create the E7 to Em7 shift.
The following examples contain two separate
chord forms that compatibly reveal the
same topic—E minor. The first is based on
Em7—the same voicing we created a moment
ago—and is shown in
Fig. 2. The line in this
example emerges from this Em7 chord and
contains all four of its tones. The second is
based off an inversion of Gmaj7 (technically,
we’re viewing it as a rootless Em9) and is
shown in
Fig. 3. Note that the arpeggios
found in Fig. 2 and Fig. 3 are notated in red
to indicate their skeletal frameworks. The Em7
arpeggio in Fig. 2 is spread in non-adjacent
order with intermediate tones set in between
and around the arpeggio itself. In Fig. 3, the
Gmaj7 arpeggio appears as adjacent tones.
Download Example Audio...
Download Example Audio...
When combined with fluency, these
dual patterns become unified as one, and
although constructed from vertical tangents,
they now appear horizontal in context, as
seen in
Fig. 4. In this example, we first
encounter the vertical Em11 (created by
combining Em7 and Gmaj7), followed by a
horizontal expression of this harmony.
Download Example Audio...
Keep in mind that forms of this nature
are commonly transcribed and analyzed as
derivatives of scale and modal concepts,
but in reality, they were not constructed in
those ways. As we saw in last month’s lesson
(“Augmented and Diminished Forms,”
March 2011
PG), augmented and diminished
structures, as parental forms, automatically
position themselves across the guitar
fretboard. They appear both vertically and
horizontally, along with their alterations
that produce dominant 7th, major 7th, and
minor 7th forms.
Once you explore these shapes you can
also see their related inversions develop
exponentially across the fretboard, not
only as chordal inversions, but as arpeggio-based
linear inversions as well. We’ll continue
to unfold these expansions in our
upcoming lessons.
Pat Martino
Since his first recording as a leader in 1967, Pat
Martino has constantly pushed the limits of jazz
guitar with his flowing technique and powerful,
muscular tone. Showing no signs of slowing
down, Martino still travels the world performing
and giving lectures about his approach to
the guitar. Currently, Martino is working on an
autobiography and serving as adjunct faculty
at the University of the Arts in Philadelphia.
For more info, visit
patmartino.com.