Do you use Coltrane Patterns like this? Or do you have another name for them? Check out this video if you want to see some pentatonic scale applications which are closely related to this sound: ua-cam.com/video/TMLd2CKsbK0/v-deo.html
My teacher used to call them tetrachords so that’s what I call them. I’ve never heard anyone else use tetrachord in that context but it works for me. Love your channel, man. ✌🏻❤️
It's mind blowing that people are so anxious to be offended that they got mad simply because you used the term "Coltrane pattern" for the patterns commonly known by that name; the world is burning, we have a psychotic madman destroying America and recklessly accelerating the climate crisis as he lies his denial of (he applied for building a sea wall to protect one of his golf courses from sea level rise resulting from melting ice caps), but apparently what really pisses off some people is a nice friendly guy teaching great guitar lessons for free, calling 4 note patterns by their common name.
Hi Jens, from a fellow Dane. I played the blues guitar since I was about 13 y.o. Now I'm 66, and your lessons just woke me up. I'll use my retirement to learn the jazz guitar. Great lessons you give for free. Thanks so much 👌🇩🇰
God Jens I cannot tell you how invaluable these videos are. I had a jazz guitar teacher back in high school who I always wanted to play like and at the time I just couldn’t grasp everything he played. Your videos are finally helping me understand and I cannot tell you how much I appreciate it.
That's probably a good idea! You could try to check out this post: jenslarsen.nl/how-to-learn-jazz-guitar-suggestions-to-begin-studying/ to get some suggestions!
Hi Jens! Dennis Sandole taught John Coltrane, Pat Martino, and a number of others in Philadelphia. My teacher studied with Dennis, and used these patterns for me in a lesson years ago. I'm not sure if this is a Sandole creation, something even older, or just a coincidence. Either way, "Coltrane pattern" is a fine name for them! Thank you so much for your wonderful work, Jens!
I love that even when providing free and supremely helpful lessons, people still feel the obligation to complain about the title of the concept that you’re taking time to explain. Love your videos, Jens - you’ve made jazz guitar more accessible than I would’ve hoped.
Thank you, Jens. It's amazing how in music short easy patterns can produce interesting melodies. The more I deepen in that concert, the more I see that it's all about the rhythm.
This was the most significant lesson I had in years. My ability to play more melodically over chords blossomed after ten minutes playing with this idea- thank you!
I always appreciate and take away so much from your Videos Jens. Thank you for your wisdom and your humbleness to share it. I’ve taken classical and gypsy jazz lessons at college and I always felt that the professors were holding back their secrets and didn’t want to tell their students in fear that they’d get better than them. You’re obviously not like that and it doesn’t go unnoticed. Thanks again!
I think this video has unlocked some things that I've been trying to get at for a long time. Thank you so much. I needed this idea of "4 note pattern". I actually searched for "8th note runs", and found one of your other videos in which you used the term Coltrane Pattern. Then I searched for that, and you came up again! I guess I have a lot to learn from you! Your generosity for sharing is much appreciated!
Listening to this and knowing that Coltrane sound make it easy to remember what you're teaching. This is a very kind way of pay homage to mr. Coltrane, especially since he is recognized a one of Jazz's greatest pioneers. Since a lot of what you post is jazz oriented, one should expect such references. Thanks for expanding the skill of even those who've been playing for years. I always refer you channel to guitarist from beginners to the advanced. The lessons are priceless!
Long familiar with the Bergonzi approaches, very much enjoyed hearing you combine Coltrane cells with arpeggios and enclosures. Thanks Jens! Best, Daniel
Jens Larsen yeah, the terminology is problematic to say the least(or the most); thanks again for posting and taking the time to reply, I appreciate you and your work
@@JensLarsen "Tetratonic patterns" might be a good name and seems to be used a lot. Some people online call it "Quadratonic" but that doesn't fit with the Greek numbering system we use for Pentatonic, Hexatonic, etc. Thanks for all your great lessons, by the way!
Jen, this is an excellent video explanation for putting melodic fragments to use. Jerry Coker calls them “digital patterns” in his book Patterns for Jazz, in which he acknowledges Coltrane’s creative and extensive use.
The Pat Martino lick reminds me of a lick I learned from his short book called hot licks back in the 80s. I quoted the same lick in my song “Capacity” from my 2003 release Danny Masters “Keepers of the Time”
Jens Larsen it was actually a little book I picked up visiting GIT in California. It had a crazy lick where he played a chromatic scale dispersed over 3 octaves. But it only had 10 links.
Slightly different approach but some of my FAVORITE patterns are four note patterns. Lydian 1 2 #4 5 (or 1 9 #11 5 if you’re a stickler about jazz harmony) played up the octaves sounds incredible. Same thing with the Phrygian 1 b2 4 5....so menacing and mysterious. They’re relatively uncommon patterns too so they make your colleagues/buddies on the bandstand go 🧐
Thanks Jens, another great lesson , I really hear the outline of the chords with the John Coltrane way of playing... Respect to you for sharing your great love of Jazz 👌
This gives me practice exercises as a flute player to explore . It helps me to define the circuitous rotation of notes played within a fixed distance from one another . Thanks for simplifying concepts that often challenge a players vocabulary .
Thank youJens for your instruction,time,& patience.Im reminded of Out Of Nowhere,the song Bandleader Peter Graves would use to get folks to come in at functions or events when they opened the room.
Jens, there will be always people complaining and whining. Your presentation of this soloing approach is impeccable, and use of Coltrane Patterns is absolutely legitimate. Thank you for sharing this with us and investing your time and effort in preparing this study on Coltrane Patterns concept applied to jazz guitar improvisation. 👍
Love these patterns! With the ukulele's limited range, it is not always possible to utilize arpeggios the way many other instruments do, so these condensed patterns are a great tool to have. As usual, you took them to a whole new level in this lesson. Thank you! -JoJo
Oh man the production quality of Jens videos has just gotten better and better! Great content for years, but the videos look so good now, I hadn’t been watching as frequently until lately again
It might be worth mentioning that this 1-2-3-5 "Coltrane Pattern" was first recognized from his Giant Steps solo in a very fast tempo song with almost constant chord changes, 2 to a bar. It's broadly recognized as THE challenging song to conquer as a student. And Coltrane rips those 1-2-3-5 notes over the different chords so fluently. We learned this pattern back in the late '70's in Jazz Improv and Jazz Theory classes in college, and turned that pattern into a practice exercise (just playing that pattern, slowly at first, over the root of each chord in the song for the full chorus, then faster and then in different positions, etc.). We didn't call them "Coltrane Patterns" back then, just the 1-2-3-5 pattern, and of course it doesn't go anywhere near defining Coltrane. But for lack of a better name, until something better comes along, why not give tribute to the genius who established it? Here's a link to Giant Steps for all you students out there, where the 1-2-3-5 pattern is clearly heard - if your ear is fast enough! Warning: if you've never heard this then DO NOT give up your instrument and walk away shaking your head - most who play this song don't attempt it at quite this break-neck tempo. ua-cam.com/video/KwIC6B_dvW4/v-deo.html
Great channel. Jerry Coker calls them digital patterns in his book I'd highly recommend: Elements of Jazz Language for the Developing Improvisor. All these years think this is my first comment, this area always has great info and further rabbit holes to fall down. If this introduces even one person to the material mission accomplished.
Thanks to UA-cam caption I now have a much better grasp on cold train changes haha! Been evading me for years! Seriously though I love this channel! Thank you so much!
@@JensLarsen I can see that Jens. There are a lot of teachers out there but a good instructor is hard to find, I somehow just stumbled across you just recently and your lessons already have made a marked difference in my playing and theory knowledge. Thank you Sir! Much Respect, Paul
I really like these as musical ideas for soloing material - especially intriguing was the slide slip around 7:54. That's really cool - not only can a beginner potentially sound like they are really playing jazz, but the basic target notes become very easy to see and play with when one is only dealing with 4 notes. Its almost like the shell chord version of scales.
Like a Manheim Rocket. It has to be called something.I was introduced to the Manheim Rocket by a theory instructor in college and Ive been fascinated by such devices ever since. When I saw your video i immediately clicked. Thanks.
Love this video with these patterns, especially the shifting a half-step. Just got the Modern Jazz Guitar Concepts book and delighted to see the "Coltrane patterns" listed there:)
I've been playing for 25 years, this is a wonderful simplification of a technique that will allow you to build some really great sounding licks that have the dexterity of people you admire, but by building it yourself you can inject your personality into it from the beginning. That in itself is a beautiful thing, and the sign of a good teacher. I see no problem with the name. It really helps to start at the shallow end of the pool with Coltrane because the deep end is like the Mariana Trench🤣
As often this is a great breakdown of such a mammoth musician’s methods! Great work Jens! Breaking complex large scales into “packets” is helpful for students. Recently I’ve been doing that as a neck learning exercise for my students. Taking a B major scale tune but using just 3 treble strings to start with. Starting at 1st fret. But each note packet I remove the 6th degree of that modal packet. Get creative with the remaining 6 notes in that mode (which starts on G#). Then learn the next mode from A# but again remove the 6th degree of THAT mode. So you end up with 7 modal packets in B but each has a different note removed to make hexatonic modal packets. The student learns the notes on the neck in digestible small packets on treble string. But the sonic possibilities with these 7 varying hexatonics is very wide and some sound really exotic even though they only come from B major. Next is to move to middle & bass strings in similar fashion. It’s huge possibilities for students learning the neck and modes and harmony.
I can't understand why people would get angry at calling these structures Coltrane patterns; some people use any excuse to release their anger. Perhaps they're just angry at themselves. Thanks for yet another a fantastic video Jens, cheers from Australia.
that’s a really solid offering for fashioning tasteful and effective solo lines. It’s great how you can inject sophisticated sounding outside notes simply by transposing a pattern up or down a half step which could function as chromatic passing tones or as some sort of Neapolitan relationship to a dominant, or be like changing lanes on the freeway and move right back to the lane you were in.
Another book that thinks in these terms, but with a greater variety of patterns is The Cellular Approach by Randy Vincent. I am finding it very useful, especially for dealing with fast chord changes.
@@kramnewton8683 An entire chapter of Jerry Coker's "Elements of the Jazz Language" (Chapter 2) also deals with these patterns (which Coker calls Digital Patterns).
@@Khayyam-vg9fw Yes! I was trying to remember what I used to refer to these patterns as... I think the most correct term is Digital Patterns. Amazing book!
I'm currently working on my tenor sax improvisation and am use the melodic structured book as my main book. The book is fantastic as a practice tool to get busy with but I'm finding it difficult to connect the four voicings into actual music.it just sounds like in practicing them back to back, not playing them all as a larger melody. This discouraged me and I haven't practiced in a while.this video really connects the voicings toghether and helps me acknowledge them collectively as a whole melody. He adds arpeggios and chromaticism to it and it sounds fantastic. There is a lot to learn from this video.i think I'll need to use lots of manuscript paper to study this, rather that just trying to play it on my 🎷.
I don't know of a specific Pat Martino solo, but it's used throughout his book, "Linear Expressions." I like how you described it as an enclosure of the root, as I've been thinking of it similarly.
I’ve heard them called 4 note cells. I was going to mention the Bergonzi book as well but I already see that’s been mentioned several times. Do you also play altered versions of these cells, Jens? 1-b2-3-5 for a 7b9 chord for example?
@@JensLarsen Have you ever seen this? www.javierarau.com/augmented-scale-theory The exercises make it more clear what he's talking about. The leading tone and enclosures pair really nicely with the Coltrane (digital) patterns.
@@JensLarsen Great video Jens. The Pat Martino lick is very similar to what he describes in his Linear Expressions book, Patterns 1 and 3 if I recall. In that book he also uses that b2 to lead into the 1 chord (AbMaj7 tritone substitution for D7 in this example). Thanks for the Coltrane explanation, I didn't know where that had come from.
I know what you mean about losing jazz licks, very frustrating, especially when you have a huge record collection, which I don't btw!! Great video as always!
Good video and don't worry about the pedantics who enjoy endless bloviations about "correct" terminology over getting on with the business of playing. I also enjoyed Jerry Coker's analysis of Coltrane patterns in his books where he breaks it down into digital patterns (instrument independent ones I might add). One has to begin somewhere.
I have learned the term "numerical patterns". This doesn't seem to be well established, but it makes sense: Such a pattern is given by a sequence of numbers (numerals) like 1-2-3-5. Notice that 5-3-2-1 or 1-5-2-3 are different sequences (order does matter), and also different musical patterns (4-note melodies).
F clashes with the 3rd of Cmaj7 and forms a tritone against the B. You can use the note, but it is more a passing note on that chord and if you include it in the pattern then it is nowhere nearly as practical.
In this video (4:25) you asked us to post a comment if we are angry. Im angry, but not because of the term Coltrane pattern, Im angry because i dont have a 1950s Gibson Super 400 CES. As far as a better name for Coltrane pattern's, no idea, but i will say I love your videos books! please keep making amazing content!!!
Hello Jens, thanks again for a very instructive video. My question today is, are there any rules to "move out of the key"? as you mentioned in the video. Regards from Canada.
@@luismendoza9195 I think it is not really nuanced enough or useful to just look at inside the key and outside the key. People don't even agree on what that means.
If it were me, I'd include notes from neighbouring fifth scales, ex I'd borrow notes from F or G minor if I were in C minor, or C dorian/phygrian from another perspective... But I'm not a jazz guy... Not sure if that would apply here Edit: relative major/minor shifts could be cool too🤔
I think it can be a great game to use substitutions and explore, thank you. I use it random, but just a,few. I prefeer use menor melodics and myxo b13b19 with different roots in a same Dom7 and triads. use this patterns will expand my ear. thank you
Hi Jens, I think academically they're called *Cells* . Your taking a small part of the whole to build something that could be related or unrelated to where it first originated. (that last part is the way I look at it) I tried to email you from your website. Because I put a link to one of my videos (Play Jazz With Only Four Notes) it thought I was sending you something nefarious. It's on using 4 note cells. (Coltrane Patterns)
They have many names actually. I think the two most common ones would be Coltrane Pattern and Digital patterns. Yeah that did look like you had been hacked, so I just deleted the mail. I didn't see a link.
If you really want to figure it out then you should just try and just listen, your ears can tel. But it is pretty simple: F clashes with the 3rd of Cmaj7 and forms a tritone against the B. You can use the note, but it is more a passing note on that chord and if you include it in the pattern then it is nowhere nearly as practical.
Hi Jens I have a question: at 0:49 in the video you say that C in the Am scale is a b3, why is that? Cheers from a beginner, I like your videos a lot. 😀 EDIT: Is it because C is a minor third (3 semitones) away from A?
Jens Larsen I’m an organist and I do love to study your videos with my Hammond organ 🎹 but, even if I don’t want to, I’m learning guitar! Keep on rocking!! 🤘🏽🔥
Have you gone back to listen to Pat Martino's first solo album, "Footprints?" It's been many years since I listened to it, but I think I hears those patterns there.
@@JensLarsen You're right. It was MY first Martino album which I got when it first came out. I looked a little deeper & found that Footprints (1975) is a reissue of another album called The Visit (1972). In any case I'm not the type to nerd out about these things. I just enjoy the music. I leave it to others to argue about things like what to call these patters or the exact order of albums, etc.
Thanks for the video! I’m a little confused as to why we’re excluding F from the C major patterns. It seems like it makes sense but I’m missing the exact reason why
Do you use Coltrane Patterns like this? Or do you have another name for them?
Check out this video if you want to see some pentatonic scale applications which are closely related to this sound:
ua-cam.com/video/TMLd2CKsbK0/v-deo.html
What about "Out of nowhere"as name? ;)
@@TheThierrysub And the minor one?
good ideas to play E maj over Gmaj....I didn't think about it special.. Thanks!
My teacher used to call them tetrachords so that’s what I call them. I’ve never heard anyone else use tetrachord in that context but it works for me. Love your channel, man. ✌🏻❤️
It's mind blowing that people are so anxious to be offended that they got mad simply because you used the term "Coltrane pattern" for the patterns commonly known by that name; the world is burning, we have a psychotic madman destroying America and recklessly accelerating the climate crisis as he lies his denial of (he applied for building a sea wall to protect one of his golf courses from sea level rise resulting from melting ice caps), but apparently what really pisses off some people is a nice friendly guy teaching great guitar lessons for free, calling 4 note patterns by their common name.
Hi Jens, from a fellow Dane. I played the blues guitar since I was about 13 y.o. Now I'm 66, and your lessons just woke me up. I'll use my retirement to learn the jazz guitar. Great lessons you give for free. Thanks so much 👌🇩🇰
Tusind tak Allan! :)
God Jens I cannot tell you how invaluable these videos are. I had a jazz guitar teacher back in high school who I always wanted to play like and at the time I just couldn’t grasp everything he played. Your videos are finally helping me understand and I cannot tell you how much I appreciate it.
I'm overwhelmed, there is so much to learn, I think I'll start with the beginner playlist first
That's probably a good idea! You could try to check out this post: jenslarsen.nl/how-to-learn-jazz-guitar-suggestions-to-begin-studying/ to get some suggestions!
Hi Jens! Dennis Sandole taught John Coltrane, Pat Martino, and a number of others in Philadelphia. My teacher studied with Dennis, and used these patterns for me in a lesson years ago. I'm not sure if this is a Sandole creation, something even older, or just a coincidence. Either way, "Coltrane pattern" is a fine name for them! Thank you so much for your wonderful work, Jens!
I love that even when providing free and supremely helpful lessons, people still feel the obligation to complain about the title of the concept that you’re taking time to explain.
Love your videos, Jens - you’ve made jazz guitar more accessible than I would’ve hoped.
Here’s a quote “no good deed goes unpunished “ and another “some things never change”.
Thanks for all the great knowledge you share with us.
Good one! Thanks :)
Jens, thanks for building your channel the right way, without click bait and hyperbole. Content rules. Please keep up the great work.
Glad you like the videos 🙂
Thank you, Jens. It's amazing how in music short easy patterns can produce interesting melodies. The more I deepen in that concert, the more I see that it's all about the rhythm.
You are THE guy to go to on youtube for jazz guitar lessons. Thanks for all your hard work.
This was the most significant lesson I had in years. My ability to play more melodically over chords blossomed after ten minutes playing with this idea- thank you!
That is great to hear 🙂 Go for it!
I always appreciate and take away so much from your Videos Jens. Thank you for your wisdom and your humbleness to share it. I’ve taken classical and gypsy jazz lessons at college and I always felt
that the professors were holding back their secrets and didn’t want to tell their students in fear that they’d get better than them. You’re obviously not like that and it doesn’t go unnoticed. Thanks again!
Well said.
Thank you Patrick!
I think this video has unlocked some things that I've been trying to get at for a long time. Thank you so much. I needed this idea of "4 note pattern". I actually searched for "8th note runs", and found one of your other videos in which you used the term Coltrane Pattern. Then I searched for that, and you came up again! I guess I have a lot to learn from you! Your generosity for sharing is much appreciated!
Glad you like it 🙂
Listening to this and knowing that Coltrane sound make it easy to remember what you're teaching. This is a very kind way of pay homage to mr. Coltrane, especially since he is recognized a one of Jazz's greatest pioneers. Since a lot of what you post is jazz oriented, one should expect such references. Thanks for expanding the skill of even those who've been playing for years. I always refer you channel to guitarist from beginners to the advanced. The lessons are priceless!
Thank you very much Bryant! Very nice of you to say so :)
I've always loved Coltrane. He turned me on to jazz. The older I get, the more I love him. Thanks.
Long familiar with the Bergonzi approaches, very much enjoyed hearing you combine Coltrane cells with arpeggios and enclosures. Thanks Jens! Best, Daniel
Pat lived on my block in Philly in the 70's ... i had a De angelico in the 80's ... i miss it
"Coltrane Pattern " name makes me feel like I'm getting in on the magic of Coltrane's great music. Thanks
Relatable :D
Thanks for all of your work Jens.
When I learned these patterns they were introduced to me as tetrachords.
Glad you like the videos! Usually tetra chords are something else.
Jens Larsen yeah, the terminology is problematic to say the least(or the most); thanks again for posting and taking the time to reply, I appreciate you and your work
@@JensLarsen "Tetratonic patterns" might be a good name and seems to be used a lot. Some people online call it "Quadratonic" but that doesn't fit with the Greek numbering system we use for Pentatonic, Hexatonic, etc. Thanks for all your great lessons, by the way!
Jen, this is an excellent video explanation for putting melodic fragments to use. Jerry Coker calls them “digital patterns” in his book Patterns for Jazz, in which he acknowledges Coltrane’s creative and extensive use.
Glad you like them!
The Pat Martino lick reminds me of a lick I learned from his short book called hot licks back in the 80s. I quoted the same lick in my song “Capacity” from my 2003 release Danny Masters “Keepers of the Time”
Ok. I never heard of that hot licks video :)
Jens Larsen it was actually a little book I picked up visiting GIT in California. It had a crazy lick where he played a chromatic scale dispersed over 3 octaves. But it only had 10 links.
Always been fascinated by Coltrane Patterns, I think they are definitely straightforward, but another viable tool in the arsenal of jazz playing.
Thanks RC! :)
@@JensLarsen Always my pleasure!
These patterns are so melodic !!! All by just adding one note to the triad. You are an awesome Teacher.
Slightly different approach but some of my FAVORITE patterns are four note patterns. Lydian 1 2 #4 5 (or 1 9 #11 5 if you’re a stickler about jazz harmony) played up the octaves sounds incredible. Same thing with the Phrygian 1 b2 4 5....so menacing and mysterious. They’re relatively uncommon patterns too so they make your colleagues/buddies on the bandstand go 🧐
Thanks Jens! It's amazing how much there is to create with using simple building blocks.
Thanks Jens, another great lesson , I really hear the outline of the chords with the John Coltrane way of playing... Respect to you for sharing your great love of Jazz 👌
My pleasure!
This gives me practice exercises as a flute player to explore . It helps me to define the circuitous rotation of notes played within a fixed distance from one another . Thanks for simplifying concepts that often challenge a players vocabulary .
Great that you find it useful on flute 🙂
Thank youJens for your instruction,time,& patience.Im reminded of Out Of Nowhere,the song Bandleader Peter Graves would use to get folks to come in at functions or events when they opened the room.
Jens, there will be always people complaining and whining. Your presentation of this soloing approach is impeccable, and use of Coltrane Patterns is absolutely legitimate. Thank you for sharing this with us and investing your time and effort in preparing this study on Coltrane Patterns concept applied to jazz guitar improvisation. 👍
Super video, thanks for all these ideas and licks!! Never thought one could do inversions of the Coltrane pattern! That Partino lick is just great....
You are very welcome, Mike 🙂
Love these patterns! With the ukulele's limited range, it is not always possible to utilize arpeggios the way many other instruments do, so these condensed patterns are a great tool to have. As usual, you took them to a whole new level in this lesson. Thank you! -JoJo
Oh man the production quality of Jens videos has just gotten better and better! Great content for years, but the videos look so good now, I hadn’t been watching as frequently until lately again
It might be worth mentioning that this 1-2-3-5 "Coltrane Pattern" was first recognized from his Giant Steps solo in a very fast tempo song with almost constant chord changes, 2 to a bar. It's broadly recognized as THE challenging song to conquer as a student. And Coltrane rips those 1-2-3-5 notes over the different chords so fluently. We learned this pattern back in the late '70's in Jazz Improv and Jazz Theory classes in college, and turned that pattern into a practice exercise (just playing that pattern, slowly at first, over the root of each chord in the song for the full chorus, then faster and then in different positions, etc.). We didn't call them "Coltrane Patterns" back then, just the 1-2-3-5 pattern, and of course it doesn't go anywhere near defining Coltrane. But for lack of a better name, until something better comes along, why not give tribute to the genius who established it? Here's a link to Giant Steps for all you students out there, where the 1-2-3-5 pattern is clearly heard - if your ear is fast enough! Warning: if you've never heard this then DO NOT give up your instrument and walk away shaking your head - most who play this song don't attempt it at quite this break-neck tempo. ua-cam.com/video/KwIC6B_dvW4/v-deo.html
Fantastic Jens. I love your channel. Thank you
Glad you enjoy it!
Great teacher...great Chanel
wonderful lessons always thank you jens larsen
Glad you liked it!
greatest jazz lessons online. Thank you for all the great jazz stuff
I'm so happy I found your channel, Jens. I'm a bassist, and these lessons you share are invaluable! Thank you! 💙🎸
Great channel. Jerry Coker calls them digital patterns in his book I'd highly recommend: Elements of Jazz Language for the Developing Improvisor. All these years think this is my first comment, this area always has great info and further rabbit holes to fall down. If this introduces even one person to the material mission accomplished.
I should have had a teacher like you when I started interesting in jazz time ago. Always great lessons! Thanks!
Thanks to UA-cam caption I now have a much better grasp on cold train changes haha! Been evading me for years!
Seriously though I love this channel! Thank you so much!
Haha! Cold train rules!
Yes, people are always angry at something. Thanks for the lesson. I will put this to good use.
Haha! go for it :)
Hard to believe people would leave you angry comments Jens...
Haha! Thanks Paul! I think I have a few on this video already :D
I can't say that it really gets to me though...
@@JensLarsen I can see that Jens. There are a lot of teachers out there but a good instructor is hard to find, I somehow just stumbled across you just recently and your lessons already have made a marked difference in my playing and theory knowledge. Thank you Sir! Much Respect, Paul
@@paulreddy5275 Really glad to hear that :)
haha! I had the same anger when I made a video called Coltrane Pentatonic. Great video btw!
Thanks Nick 😂
I really like these as musical ideas for soloing material - especially intriguing was the slide slip around 7:54. That's really cool - not only can a beginner potentially sound like they are really playing jazz, but the basic target notes become very easy to see and play with when one is only dealing with 4 notes. Its almost like the shell chord version of scales.
Like a Manheim Rocket. It has to be called something.I was introduced to the Manheim Rocket by a theory instructor in college and Ive been fascinated by such devices ever since. When I saw your video i immediately clicked. Thanks.
“Can’t Hardly Wait” by the Replacements is rooted in one of these Coltrane patterns from the opening riff.
Love this video with these patterns, especially the shifting a half-step. Just got the Modern Jazz Guitar Concepts book and delighted to see the "Coltrane patterns" listed there:)
Thanks a lot Jens for this very instructive tutorial, thanks for your time and dedication, great stuff here, thanks!
I've been playing for 25 years, this is a wonderful simplification of a technique that will allow you to build some really great sounding licks that have the dexterity of people you admire, but by building it yourself you can inject your personality into it from the beginning. That in itself is a beautiful thing, and the sign of a good teacher.
I see no problem with the name. It really helps to start at the shallow end of the pool with Coltrane because the deep end is like the Mariana Trench🤣
I've also seen the major ones call "Triad add 9", that's what Tim Miller refers to them as in his lessons.
I'm just learning jazz guitar, your channel is a great contribution! Regards from Chile
As often this is a great breakdown of such a mammoth musician’s methods! Great work Jens! Breaking complex large scales into “packets” is helpful for students. Recently I’ve been doing that as a neck learning exercise for my students. Taking a B major scale tune but using just 3 treble strings to start with. Starting at 1st fret. But each note packet I remove the 6th degree of that modal packet. Get creative with the remaining 6 notes in that mode (which starts on G#). Then learn the next mode from A# but again remove the 6th degree of THAT mode. So you end up with 7 modal packets in B but each has a different note removed to make hexatonic modal packets. The student learns the notes on the neck in digestible small packets on treble string. But the sonic possibilities with these 7 varying hexatonics is very wide and some sound really exotic even though they only come from B major. Next is to move to middle & bass strings in similar fashion. It’s huge possibilities for students learning the neck and modes and harmony.
I can't understand why people would get angry at calling these structures Coltrane patterns; some people use any excuse to release their anger. Perhaps they're just angry at themselves. Thanks for yet another a fantastic video Jens, cheers from Australia.
that’s a really solid offering for fashioning tasteful and effective solo lines. It’s great how you can inject sophisticated sounding outside notes simply by transposing a pattern up or down a half step which could function as chromatic passing tones or as some sort of Neapolitan relationship to a dominant, or be like changing lanes on the freeway and move right back to the lane you were in.
great lesson and enjoyed it. This openned up new doors for me in jazz.
Another excellent lesson and great licks ! Thank you Jens
Another book that thinks in these terms, but with a greater variety of patterns is The Cellular Approach by Randy Vincent. I am finding it very useful, especially for dealing with fast chord changes.
There is a good book about this patterns by Jerry Bergonzi: Melodic structures.
Andrew Green has a great book on four note patterns as well, Jazz Guitar Structures. Both of these books helped me a lot.
@@kramnewton8683 An entire chapter of Jerry Coker's "Elements of the Jazz Language" (Chapter 2) also deals with these patterns (which Coker calls Digital Patterns).
@@Khayyam-vg9fw Yes! I was trying to remember what I used to refer to these patterns as... I think the most correct term is Digital Patterns. Amazing book!
Yes, these structures are not specific to Coltrane. They're called tetrachords.
I'm currently working on my tenor sax improvisation and am use the melodic structured book as my main book. The book is fantastic as a practice tool to get busy with but I'm finding it difficult to connect the four voicings into actual music.it just sounds like in practicing them back to back, not playing them all as a larger melody. This discouraged me and I haven't practiced in a while.this video really connects the voicings toghether and helps me acknowledge them collectively as a whole melody. He adds arpeggios and chromaticism to it and it sounds fantastic. There is a lot to learn from this video.i think I'll need to use lots of manuscript paper to study this, rather that just trying to play it on my 🎷.
I don't know of a specific Pat Martino solo, but it's used throughout his book, "Linear Expressions." I like how you described it as an enclosure of the root, as I've been thinking of it similarly.
Gracias!!!!. Me encantan estos vídeos. Me están ayudando mucho. Explicas genial!! 🎸👌
Glad to hear it Maria :)
I’ve heard them called 4 note cells. I was going to mention the Bergonzi book as well but I already see that’s been mentioned several times. Do you also play altered versions of these cells, Jens? 1-b2-3-5 for a 7b9 chord for example?
Thank you, David. No, I don't really use the altered versions in a systematic way, but of course, you can.
Thank you Jens for doing this videos :)
Cheers from Spain
Glad you like them!
For the Pat Martino lick, the E major comes from the Coltrane Changes. Am could be thought of as a sub for Cmaj.
Yes, I was more wondering where I heard him use it.
@@JensLarsen Have you ever seen this? www.javierarau.com/augmented-scale-theory
The exercises make it more clear what he's talking about. The leading tone and enclosures pair really nicely with the Coltrane (digital) patterns.
@@DannyVDub yes, I have a few videos on augmented scale in fact. I still don't think that is a good description though.
Jens Larsen yeah, the paper is very confusing. It really only applies to Giant Steps and Countdown.
@@JensLarsen Great video Jens. The Pat Martino lick is very similar to what he describes in his Linear Expressions book, Patterns 1 and 3 if I recall. In that book he also uses that b2 to lead into the 1 chord (AbMaj7 tritone substitution for D7 in this example). Thanks for the Coltrane explanation, I didn't know where that had come from.
I wonder what Coltrane called them?? Thanks for the excellent content. My guitar playing has improved so much using these videos and your books.
I know what you mean about losing jazz licks, very frustrating, especially when you have a huge record collection, which I don't btw!! Great video as always!
Exactly!
Thank you Jens, Coltrane is very inspiring for me.
You're very welcome!
Good video and don't worry about the pedantics who enjoy endless bloviations about "correct" terminology over getting on with the business of playing. I also enjoyed Jerry Coker's analysis of Coltrane patterns in his books where he breaks it down into digital patterns (instrument independent ones I might add). One has to begin somewhere.
I have learned the term "numerical patterns". This doesn't seem to be well established, but it makes sense: Such a pattern is given by a sequence of numbers (numerals) like 1-2-3-5. Notice that 5-3-2-1 or 1-5-2-3 are different sequences (order does matter), and also different musical patterns (4-note melodies).
Yes, that is very similar to digital patterns
Excelente lección. Muchas gracias maestro.
You are very welcome Salvador!
This was very helpful! You are an excellent teacher.
Thank you! Glad it was helpful!
You answered your own question there Jens - Why? COLTRANE!!! Genius. End Of. ;-)
Haha :)
Love this! I'm going to show my lack of knowledge but why take the F out? Why would it sound bad?
F clashes with the 3rd of Cmaj7 and forms a tritone against the B. You can use the note, but it is more a passing note on that chord and if you include it in the pattern then it is nowhere nearly as practical.
@@JensLarsen thank you!
Isn’t it also to do with the unwanted b9 interval between the major third (e) and the 11th (f)?
@@fritzallgemeine Yes, that is what I meant with F clashes with the 3rd of Cmaj7 :)
What a phenomenal channel! Thank you very much!
nice ideas thanks, but it would be also great to hear them over a tune or a backup track
For those who are angry, throw in that F and be a rebel.
Yeah! Sit on it in your solos!! :D
Play F patterns on Cmaj7 to sound outside xD
Great lesson mate! It fits well what I`m studying right now! Cheers
Thank you! Really glad to hear that :)
Great video. I feel like what you are calling the "Pat Martino Dominant" was always common in bebop, will try to come up with an example.
Hey Jens, The name my class was taught in Music School is "Digital Patterns." Cool Video!
Thanks! That is indeed another common name :)
I've seen them referred to as Digital Patterns (notably by Jerry Coker).
Yes, I have heard that one as well :)
I think naming scales or chords after legends is a cool idea. It gives them stories and characters. Much like BB box and hendrix chord.
That is at least a way to pay tribute which I also like🙂
In this video (4:25) you asked us to post a comment if we are angry. Im angry, but not because of the term Coltrane pattern, Im angry because i dont have a 1950s Gibson Super 400 CES.
As far as a better name for Coltrane pattern's, no idea, but i will say I love your videos books! please keep making amazing content!!!
Brilliant again,Thank you so much Jens.
Glad you enjoyed it!
Love how you explain man
Glad to hear it! Thank you!
Turns out this pattern idea was the sound I've been looking for! Looks like I have more improv tools to memorize.
Digital (four note) Pattern? Jerry Bergonzi wrote a book on the subject. However, very useful video! Thanx!
Hello Jens, thanks again for a very instructive video. My question today is, are there any rules to "move out of the key"? as you mentioned in the video. Regards from Canada.
Not if you only distinguish between in the key and out of the key
@@JensLarsen I'm not sure if I follow, could you please elaborate a bit more?
@@luismendoza9195 I think it is not really nuanced enough or useful to just look at inside the key and outside the key. People don't even agree on what that means.
@@JensLarsen Thanks!!
If it were me, I'd include notes from neighbouring fifth scales, ex I'd borrow notes from F or G minor if I were in C minor, or C dorian/phygrian from another perspective...
But I'm not a jazz guy... Not sure if that would apply here
Edit: relative major/minor shifts could be cool too🤔
I think it can be a great game to use substitutions and explore, thank you. I use it random, but just a,few. I prefeer use menor melodics and myxo b13b19 with different roots in a same Dom7 and triads. use this patterns will expand my ear. thank you
excellent indications Jens, but aside, please mark and country of origin of your guitar, it sounds beautiful. Thank you.
Thank you! It is an Ibanez AS2630 🙂
@@JensLarsen thank you thank you
I like 1, 2, min 3, 5, 6 (I know I know pentatonic, but dope nevertheless). like in wise one :)
great lesson as always
Cool lesson, Jenzz Larson.
Thank you!
Great video Jens! Looking forward to trying these out!
Hope you enjoy! :)
Wow, there's allot of information here. Well done. Thank you.
Love you man
Glad you like the videos :)
@@JensLarsen
I'm gonna to see all of them!
Hi Jens, I think academically they're called *Cells* . Your taking a small part of the whole to build something that could be related or unrelated to where it first originated. (that last part is the way I look at it) I tried to email you from your website. Because I put a link to one of my videos (Play Jazz With Only Four Notes) it thought I was sending you something nefarious. It's on using 4 note cells. (Coltrane Patterns)
They have many names actually. I think the two most common ones would be Coltrane Pattern and Digital patterns.
Yeah that did look like you had been hacked, so I just deleted the mail. I didn't see a link.
@@JensLarsen Your email server just stripped the links out likely.
at 2:23, whats the theory behind not wanting to play the chords with F in them ? thanks for your videos !
If you really want to figure it out then you should just try and just listen, your ears can tel. But it is pretty simple: F clashes with the 3rd of Cmaj7 and forms a tritone against the B. You can use the note, but it is more a passing note on that chord and if you include it in the pattern then it is nowhere nearly as practical.
Jens, I believe Pat Martino plays this in the '72 Live! album version of Sunny
Lage Lund`s part on Thompson Fields starts with a good example of what you can do with these.
Hi Jens I have a question: at 0:49 in the video you say that C in the Am scale is a b3, why is that? Cheers from a beginner, I like your videos a lot. 😀 EDIT: Is it because C is a minor third (3 semitones) away from A?
Short answer: yes (long answer, also yes) :D
You’re an amazing teacher!! 🤘🏽🤘🏽
Thank you 🙂 Glad you like the videos
Jens Larsen I’m an organist and I do love to study your videos with my Hammond organ 🎹 but, even if I don’t want to, I’m learning guitar!
Keep on rocking!! 🤘🏽🔥
Have you gone back to listen to Pat Martino's first solo album, "Footprints?" It's been many years since I listened to it, but I think I hears those patterns there.
I think the first Martino album is El Hombre?
@@JensLarsen You're right. It was MY first Martino album which I got when it first came out. I looked a little deeper & found that Footprints (1975) is a reissue of another album called The Visit (1972). In any case I'm not the type to nerd out about these things. I just enjoy the music. I leave it to others to argue about things like what to call these patters or the exact order of albums, etc.
Thanks for the video! I’m a little confused as to why we’re excluding F from the C major patterns. It seems like it makes sense but I’m missing the exact reason why
If you only want to use 4 notes, then it doesn't make a lot of sense to use one that does not sound stable on the chord.
@@JensLarsen why doesn’t F sound stable? Is it because it’s a half step away from E?
@@kylebrainpresents yes, if you play an F over a Cmaj7 chord you can ahead it
@@JensLarsen how would I apply the same logic to something like Dm? I’m trying to apply this to So What which is in D Dorian.
@@kylebrainpresents Dm, F major, Am and C major Coltrane patterns. Same principle as 1:04