Martino - Fundamentals - Text

Martino

Excerpts from

THE NATURE OF GUITAR

Fundamentals

The Circle

The circle alters arrangements of tonal perspectives, and by doing so it reveals an inter-valic balance thats invisible when seen in any other way.

a. HORIZONTAL:

A Twelve Tone Scale, from E

b. CIRCULAR:

Chromatic

The Twelve Tone Scale on a Circular Staff

EF

Gb

G

Ab

ABb

B

C

Db

D

Eb

Chromatic

EF

Gb

G

Ab

ABb

B

C

Db

D

Eb

Augmented

EF

Gb

G

Ab

ABb

B

C

Db

D

Eb

Diminished

EF

Gb

G

Ab

ABb

B

C

Db

D

Eb

V7b5

EF

Gb

G

Ab

ABb

B

C

Db

D

Eb

The Guitar's Tuning

m11

6 Geometric Primaries

EF

Gb

G

Ab

ABb

B

C

Db

D

Eb

V7/9

Eg. 1

Formulas and Transformations

Geometric blueprints for both of these parental forms appear in the following diagrams:

Eb E FGb

G

AbA

BbBC

DbD

1

EF

GbG

AbA

BbBC

DbD

Eb

2

EF

GbG

AbA

BbBC

DbD

Eb

3

Eb E FGb

G

AbA

BbBC

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

BbBC

DbD

Eb

Ma

C Ma

EF

GbG

AbA

BbBC

DbD

Eb

Mi

F mi

EF

GbG

AbA

BbBC

DbD

Eb

Mi

A mi

EF

GbG

AbA

BbBC

DbD

Eb

Mi

Db mi

EF

GbG

AbA

BbBC

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. 2

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. 3 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 darkened are also to be seen as functional sets

Eg. 4 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


12 11 10 9 8 7 6 5 4 3 2 113

4

65

3

2

1


12 11 10 9 8 7 6 5 4 3 2 113

4

6

5

32

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


ADJAC

ENT

4

6

5

32

1


12 11 10 9 8 7 6 5 4 3 2 113

4

65

3

2

1


12 11 10 9 8 7 6 5 4 3 2 113

4

6

5

32

1


12 11 10 9 8 7 6 5 4 3 2 1


C, E, & Ab Augmented

E, Ab, & C Augmented

N

ON

A

DJAC

ENT

Eg. 5

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


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


E, G, Bb, and Db Diminished


4

65

32

1

12 11 10 9 8 7 6 5 4 3 2 11314

Db, E, G, and Bb Diminished

654321

123456789101112


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

Vertical Inversions

Eg. 6

Once again, when we give thought to a practical use of the opposites, (yin & yang) and

view the outer fingers of the hand, (eg. 7) the two patterns seen above, (eg. 6) are per-

fectly 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. These are the first two vertical inversions of this line form.

Eg. 7

Eg. 8

12 Inverted Fingerings(Vertical & Horizontal)

Eg. 10

Martino - Fundamentals - Text

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