Pat Martinos’ TrueFire course is worth the money just to hear his stories. The way he sees the guitar neck and music theory was true genius. Thanks for posting.
I remember Pat Gilbert saying that theory was just names for stuff you already know, lol. While all I actually know about theory is the difference between a major and minor third, and the difference between a major 7th(jazz) and a dominant 7th(country),I had no idea that what you are doing was a diminished chord. I used that all the time, but I didn't know that was what the name of it was. I always called it "weird", lol. Vernon Reid used that a lot, and it's where I got it. I retired from playing about 20 years ago, and I get asked to teach all the time, but I don't, because I have no clue of what I am doing, just 1,3,5,7,9,11,13-everything else is a passing tone, and if it sounds good, it is good. I used to play with a bunch of teachers from Denton, and UTA, and they knew I was illiterate, but they called me all the time to do gigs. My band's drummer at the time, was Greg Bissonette's college roommate, and he said he liked the way I used trytones, whatever that is. Liked and subbed to your channel, THANKS!
Hey man, I hear ya! I don't know half as much as I think I do;) I do find the theory side of music, especially as pertains to guitar, particularly fascinating though! There are a lot of great musicians who couldn't tell you what they're doing, and it doesn't in any way "diminish" their talent in my opinion. I played in bands and various musical combos, solos, etc. until my mid 30s, but my main career has been as a songwriter. However, I started taking classical guitar as a teenager and learned to read, and have learned a few Joe Pass chord melodies through the years. I do those things just for fun, but now they are coming in handy since I'm concentrating on this channel. If you know major, minor, major 7th, min 7th, dom 7th, the diminished chord, AND 1,3,5,7,9,11,13, that's pretty much all there is imho! And regarding the tritone, which is merely the 1st and 3rd intervals of a linear diminished chord, it is indeed weird, so much so that it was once called the "devil's interval". I did a whole video on the subject and how it relates to a blues progression, a few years back: ua-cam.com/video/bDuTeBizXgU/v-deo.html. I appreciate the comment and all the love bro! Best of luck to you!!
Thanks buddy. Pat is a big hero of mine but I struggle to see how this concept makes you a better player. It’s interesting but can’t imagine how you would use the knowledge when playing.
Man, I appreciate the comment. I get that a lot about, "what the heck am I supposed to do with this??" I'm actually working on a couple of followup videos to this, where I address that very thing! It's mainly for me, a reinforcement of the CAGED location of the Dom7 and min7b5 chords. I'm currently editing a video where I go up the neck through the inversions of both the Dom7 and min7b5 chords that result from these diminished forms. If you actually digest those, it really does improve your playing via chordal options I'm convinced! It helped me see how Joe Pass came up with those amazing chord melodies where he flies up and down the neck with inversions! Stay tuned, and thanks for watching!
Remember, any minor7b5 chord is also FIVE other chords ! For example, Bmin7b5 = Dmin6 = G9(rootless) = E7sus4b9(rootless) = Db7b9b13(rootless) = F6#11 !!! It has SIX purposeful functional identities, and many more applications ! It's the Swiss army knife, of chords ! ENJOY!
Damn dude! Not really being a jazz player myself, I had not made all those connections. That is truly fascinating! I briefly draw attention to the correlation between the min7b5 and the rootless 9 chord somewhere in the video, but that's as far as I got. I might have to do a followup video with this nugget! Thanks!!
If I only knew how to use all those chords in progressions, as means to transition from where I am to where I want to go, I might actually sound like I know how to play a guitar.
I was so confused by the count of the chords until I remembered you weren't just talking about note layout but where on guitar neck and strings it was being played, and vocings lol. Am I not getting it still? Because 12 augmented chords as triads (as opposed to our holy 3 diminished 4 note chords) then 12 major chords as triads. Plus 3 inversions only reveals 72. Then you add voicings which I can't immediately conceive, and is theoretically infinite. But if you make it finite in service of function/sound/and possibility/probability of your fingers then add in where on guitar it's played that's how you got the number? I'm wrapping my head around your first like minute of the video because I care. So if you could reply or send a link to where it's explained that would be appreciated. If not I'll figure it out anyways so no worries
@@derwienernuts Hey man, I’ll be glad to clarify! But to be clear, you’re referring to the count of chords from my previous Pat Martino video about augmented triads, right? That chord count was 196. The count for this video about Pat’s Dimished parental form concept is 135.
Pat Martinos’ TrueFire course is worth the money just to hear his stories. The way he sees the guitar neck and music theory was true genius. Thanks for posting.
@@donindri indeed, brother! I couldn’t agree more!
I remember Pat Gilbert saying that theory was just names for stuff you already know, lol. While all I actually know about theory is the difference between a major and minor third, and the difference between a major 7th(jazz) and a dominant 7th(country),I had no idea that what you are doing was a diminished chord. I used that all the time, but I didn't know that was what the name of it was. I always called it "weird", lol. Vernon Reid used that a lot, and it's where I got it. I retired from playing about 20 years ago, and I get asked to teach all the time, but I don't, because I have no clue of what I am doing, just 1,3,5,7,9,11,13-everything else is a passing tone, and if it sounds good, it is good. I used to play with a bunch of teachers from Denton, and UTA, and they knew I was illiterate, but they called me all the time to do gigs. My band's drummer at the time, was Greg Bissonette's college roommate, and he said he liked the way I used trytones, whatever that is.
Liked and subbed to your channel, THANKS!
Hey man, I hear ya! I don't know half as much as I think I do;) I do find the theory side of music, especially as pertains to guitar, particularly fascinating though! There are a lot of great musicians who couldn't tell you what they're doing, and it doesn't in any way "diminish" their talent in my opinion. I played in bands and various musical combos, solos, etc. until my mid 30s, but my main career has been as a songwriter. However, I started taking classical guitar as a teenager and learned to read, and have learned a few Joe Pass chord melodies through the years. I do those things just for fun, but now they are coming in handy since I'm concentrating on this channel. If you know major, minor, major 7th, min 7th, dom 7th, the diminished chord, AND 1,3,5,7,9,11,13, that's pretty much all there is imho! And regarding the tritone, which is merely the 1st and 3rd intervals of a linear diminished chord, it is indeed weird, so much so that it was once called the "devil's interval". I did a whole video on the subject and how it relates to a blues progression, a few years back: ua-cam.com/video/bDuTeBizXgU/v-deo.html. I appreciate the comment and all the love bro! Best of luck to you!!
great lesson!!!
Thanks for watching, friend!
that was really helpful with that concept. thank you for sharing, look forward to more
@@ramseyomery Thanks for watching man! I’m editing the follow up to it now!
Wow ...love this ...Thank you Sir!
I appreciate that! Thanks for tunin' in!
Thanks buddy. Pat is a big hero of mine but I struggle to see how this concept makes you a better player. It’s interesting but can’t imagine how you would use the knowledge when playing.
Man, I appreciate the comment. I get that a lot about, "what the heck am I supposed to do with this??" I'm actually working on a couple of followup videos to this, where I address that very thing! It's mainly for me, a reinforcement of the CAGED location of the Dom7 and min7b5 chords. I'm currently editing a video where I go up the neck through the inversions of both the Dom7 and min7b5 chords that result from these diminished forms. If you actually digest those, it really does improve your playing via chordal options I'm convinced! It helped me see how Joe Pass came up with those amazing chord melodies where he flies up and down the neck with inversions! Stay tuned, and thanks for watching!
@@ChuckJonesMusic Thanks so much Chuck. 🙂
You're back!!! Great to see you.
@@lawbossproductions1331 Thanks man! Good to be back!
Whoa! I’m gonna need another finger! Quite a stretch on some of those. Thanks Chuck for sharing these awesome tips
@@RonnieWScottHa! I’m inventing a finger stretcher. It should be available soon!!
Remember, any minor7b5 chord is also FIVE other chords ! For example, Bmin7b5 = Dmin6 = G9(rootless) = E7sus4b9(rootless) = Db7b9b13(rootless) = F6#11 !!! It has SIX purposeful functional identities, and many more applications ! It's the Swiss army knife, of chords ! ENJOY!
Damn dude! Not really being a jazz player myself, I had not made all those connections. That is truly fascinating! I briefly draw attention to the correlation between the min7b5 and the rootless 9 chord somewhere in the video, but that's as far as I got. I might have to do a followup video with this nugget! Thanks!!
@@ChuckJonesMusic You're welcome ! It's a harmonic party, have fun !
Great post. I bet I would enjoy listening to you play, even if I didn't like the song.
@@christopherparsons3224 Hey man, check out my channel! I have several song videos on there. Some original and some covers. Thanks for watching!
If I only knew how to use all those chords in progressions, as means to transition from where I am to where I want to go, I might actually sound like I know how to play a guitar.
I’m working on some follow up videos now that will help with that Christopher! Thanks for watching!
I was so confused by the count of the chords until I remembered you weren't just talking about note layout but where on guitar neck and strings it was being played, and vocings lol. Am I not getting it still? Because 12 augmented chords as triads (as opposed to our holy 3 diminished 4 note chords) then 12 major chords as triads. Plus 3 inversions only reveals 72. Then you add voicings which I can't immediately conceive, and is theoretically infinite. But if you make it finite in service of function/sound/and possibility/probability of your fingers then add in where on guitar it's played that's how you got the number? I'm wrapping my head around your first like minute of the video because I care. So if you could reply or send a link to where it's explained that would be appreciated. If not I'll figure it out anyways so no worries
Much love btw
@@derwienernuts Hey man, I’ll be glad to clarify! But to be clear, you’re referring to the count of chords from my previous Pat Martino video about augmented triads, right? That chord count was 196. The count for this video about Pat’s Dimished parental form concept is 135.
I’ll be glad to clarify both!
Yes the major becoming augmented through semi tone movement
Much appreciated!!!!
Play the chord before you talk for 2 minutes.