Martino taught us this: there are 2 “symmetrical parental forms”, the augmented triad and the fully diminished 7th chord. 1) the augmented triad (1-3-#5) is easy-to-grab and can be used to quickly form other triads. If you play 554 on GBE, that’s C+ (C augmented) as well as E+ and G#+. (There are only 4 augmented triads as they repeat.)If you LOWER any one of those notes, you will form an E, a G#, and a C major triad. If instead you RAISE any one of those notes, you will form a C# minor, an F minor, and an A minor triad (the relative minor triads of each of the major triads). 2) the fully diminished 7th chord (1-b3-b5-bb7) is also easy-to grab and can be used to quickly form other 7th chords. If you play 4545 on DGBE, that’s F#/C/D#/A Diminished. (They repeat every 3 frets just as the augmented triad repeats every 4 frets.) If you LOWER any one of those notes, you will form F/B/D/G# Dominant 7. If instead you RAISE any one of those notes, you will form A/D#/F#/C Half-Diminished 7th chords (1-b3-b5-b7). So one Augmented triad “parents” 6 other chords, 3 major triads and 3 minor triads; and one Diminished 7th chord “parents” 8 other chords, 4 Dominant 7th chords and 4 Half-Diminished 7th chords. Martino saw the fretboard in a unique way. Pure genius!
I spent 3 summers at the Old Shire in Cape May NJ. Pat was performing there anonymously, under his mother's maiden name, "Azzara". This was after he came out of the coma, and was putting himself back together. Early 1980s. Respect to Wayne Piersanti.
I live in cape may and know(and play) with a lot of guys who played at the shire. One of the old cooks/musicians there was my roommate for a couple of years and moved into an apartment over the old shire space(wayne still owns the property)
@ValirAmaril Italian sounding names still had a bad rap in some industries, due to stereotyping. Peek behind the curtain of the Kennedy presidency: ) untraditional candidte background. ) meanwhile the italians carried alot of water for him. ) and then JFK never reciprocated while in office. But I agree. Azzara sounds smooth
I hope this helps. Martino did not say he plays "dorian." He is an exact extended quote: “Unlike quite a number of players who are focused on modal interaction with chord forms, alterations within those chords forms, intervocalically or modally, I find it most comfortable of all to use the Minor Seventh constantly, And when I way the Minor Seventh, I am not specifically referring to scalar use - the normal minor scale, the harmonic minor, so on and so forth. Or by the same token modally, the Dorian Mode, the Lydian Mode, the Mixolydian Mode,and all of these. Interacting with transcribers in the past, I have come to see that a great deal of my playing has been analyzed along modal points. And really I have never given any thought to this approach. I think of things primarily in a very simplistic kind of way, which I refer to in a general context as a Minor Seventh. The Minor Seventh, is, of course, in my context, has been through experience quite a number of line forms that I find extremely pleasing... When I play something like this [plays a short phrase] in the case of a C Minor, being a substitution for an F7, and that F7 could be an F13, it could be quite a number of things. It could be an F7#5, and F7b5. In my case, I generally refer to it as a Minor Seventh.”
I took a masterclass with Pat about 18 years ago (and I have an autographed copy of Linear Expressions, as well as a binder with he gave out with The Nature of Guitar). Someone in the audience asked specifically if he was thinking in terms of Dorian, and he shot him down, saying he didn't think in terms of modes at all.
@@thesecretsoundsjazz I believe that. I just quoted him saying the same thing from a video seminar that is on UA-cam. If anyone wants to see, I'l tell them where to find it. Also, you can look in Linear Expression at Activity 3 on page 13. Two of the first five notes are F#. There is no F# in G Dorian. I am very confident that what I call the first generation, guys born in teh 1920s - guitarists like Ellis, Kessel and Pass - never learned "modes." I don't think it became part of the jazz pedagogy until the 1970s. My personal opinion is that the idea of "modes" creates more confusion than clarity.
Pat Martino played the lines, they were then transcribed. I think the reason he said he didn't write the book is because the accidentals are all over the place using flats in the key of A etc. but those are his lines believe it. Check out Barry Greene's lesson on Pat Martino. It's not free, but it is incredibly great.
I got this book a while ago and learned most of the exercises, but was unclear as to how to incorporate it. And now.....I'm still unclear about it. 😵💫
I met him once at the Iridium and told him I wanted to study with him, after I got done with college. He gave me his business card. Then I moved back to upstate NY and started having a family. Then he passed away, I'm sad I never actually got a chance to study with him.
Thank you for making this digestible! I got this book, Linear Expressions, several years ago, but wasn't sure what to do with it. This made me locate it, and start applying the information. Very cool stuff. Peace
I still have my original copy which I bought in the 80s. One of the best books I own and I still play the patterns. I believe that Wes Montgomery may have used a similar approach.
La escala real que utilizo pat para escribir linear expresións es la escala menor melódica de Sol, con variaciones de aproximación y tocando por terceras para iniciar las frases
i get the modal thing about starting phrases on taget notes lets say that on a g minor that based on dorian lets say with passing tones or diminished notes aded to it, if you start the b flat for a line i g minor, it will brings out a lydian sounds, the D will be based on aeolian and so on, am i right?
this video really needs to be remade with music notes and guitar tab below, for the ease of learning. otherwise people are only getting half of the information on the video which is the theory.
In the All things you are demo I don't fully understand how you're incorperating those excsercies into the song because the excsercies are way too long to fit over any given chord so are you just picking out parts of the line to use over any given chord and then changing the root note accordingly?
Also trying to figure this out, but I think you play the line until the chord changes, then find the next line for the next chord (convert the chord to minor) in the position closest to where you are, and play that next line from the note closest to where you finished the previous. The book has a 'Line Study' where it goes through all 12 keys, kind of doing this.
you talk minor 7 you got a major 6 inversion. if you got minor 6 you got a minor 7 flat 5 inversion and its also a dominant with a 9. Dorian its an extension of a dominant starting on the 5 579 and the 7th 7911 is the other thats a 4 chord or a dominant 11 chord ... quite close to the 2 also
yeah but hold up where did he get those incidentals on that on those lines like the ones starting on the G where to get the G flat? And why did he decide to end on the E
mentioned before but love everything you put out. Is this plugged in? It sounds different and more appealing to the ears! Hearing jazz tones (reminds me of velvet) is the coolest thing.
Can anyone clarify this question... if I'm applying this method to a standard, then for literally every chord, I should figure out the associated minor, then use parts of these activities over each chord as they change, and gradually link the whole thing together?
Pretty much. If you find the associated minor then you can play that over the chord. The exercises are just some licks to help you do that, but ultimately knowing the associated minor gives you enough to start working out your own chops.
No disrespect meant but this is the second video by a player that has the pick hitting the pick up. This is so distracting for the listener from what you are trying to convey.
I prefer to listen to these examples without a clicking track or a Jamie style of rhythm changes. But if you couple find a living person to accompany you that would be perfect.
OH MAAAAAN! I've had the same problem. I read and learn a bit and it helps but still? There are no jazz guys around me and I'm an older guy so my options aren't a lot, but I think this is gonna help! Pat Martino is like a genius that I couldn't understand (well most jazz guys are) but I could almost get his instructions. I knew it was genius but I'd put it off to hopefully a point when I was better. THAT TIME MIGHT BE TODAY. Thanks! ❤️🩹
You're right in that it's not dorian but it's not melodic minor either. It's not modal - it's a m7 "grip" where yes, the natural 6th is available, the b7 is too (dorian?) but so is the natural 7 (melodic minor?). Then all the chromatic notes. Pat said he never thought in modal terms whatsoever.
-->Free PDF: www.guitarmin.info/webinar-optin
Martino taught us this:
there are 2 “symmetrical parental forms”, the augmented triad and the fully diminished 7th chord.
1) the augmented triad (1-3-#5) is easy-to-grab and can be used to quickly form other triads. If you play 554 on GBE, that’s C+ (C augmented) as well as E+ and G#+. (There are only 4 augmented triads as they repeat.)If you LOWER any one of those notes, you will form an E, a G#, and a C major triad.
If instead you RAISE any one of those notes, you will form a C# minor, an F minor, and an A minor triad (the relative minor triads of each of the major triads).
2) the fully diminished 7th chord (1-b3-b5-bb7) is also easy-to grab and can be used to quickly form other 7th chords. If you play 4545 on DGBE, that’s F#/C/D#/A Diminished. (They repeat every 3 frets just as the augmented triad repeats every 4 frets.)
If you LOWER any one of those notes, you will form F/B/D/G# Dominant 7. If instead you RAISE any one of those notes, you will form A/D#/F#/C Half-Diminished 7th chords (1-b3-b5-b7).
So one Augmented triad “parents” 6 other chords, 3 major triads and 3 minor triads; and one Diminished 7th chord “parents” 8 other chords, 4 Dominant 7th chords and 4 Half-Diminished 7th chords.
Martino saw the fretboard in a unique way. Pure genius!
You sound great. The clicking of your pick on the pickups is driving me crazy lol
He could play more quietly, would sound more jazzy.
Good lesson though
👍
Lower that pickup! I have the same problem with middle pickups lol I understand completely
@@JLS_CNRD He needs to either raise his pick up or move it so it doesn't hit the pickup.
Yeah, surface picking. You should only be just barley scraping the surface of the string. Your pick should never go that deep.
I spent 3 summers at the Old Shire in Cape May NJ. Pat was performing there anonymously, under his mother's maiden name, "Azzara". This was after he came out of the coma, and was putting himself back together. Early 1980s. Respect to Wayne Piersanti.
I live in cape may and know(and play) with a lot of guys who played at the shire. One of the old cooks/musicians there was my roommate for a couple of years and moved into an apartment over the old shire space(wayne still owns the property)
Azzara isn't his mom's maiden name. It's his father's last name. In other words - Azzara is Pat's last name. "Martino" is his stage name.
Maybe its just me but, Azzara sounds way cooler than Martino imo. Same for Joe Passalaqua > Joe Pass.
@ValirAmaril Italian sounding names still had a bad rap in some industries, due to stereotyping. Peek behind the curtain of the Kennedy presidency: ) untraditional candidte background. ) meanwhile the italians carried alot of water for him. ) and then JFK never reciprocated while in office. But I agree. Azzara sounds smooth
@@aprilnelly ok that makes sense
I hope this helps.
Martino did not say he plays "dorian." He is an exact extended quote:
“Unlike quite a number of players who are focused on modal interaction with chord forms, alterations within those chords forms, intervocalically or modally, I find it most comfortable of all to use the Minor Seventh constantly, And when I way the Minor Seventh, I am not specifically referring to scalar use - the normal minor scale, the harmonic minor, so on and so forth. Or by the same token modally, the Dorian Mode, the Lydian Mode, the Mixolydian Mode,and all of these.
Interacting with transcribers in the past, I have come to see that a great deal of my playing has been analyzed along modal points. And really I have never given any thought to this approach. I think of things primarily in a very simplistic kind of way, which I refer to in a general context as a Minor Seventh.
The Minor Seventh, is, of course, in my context, has been through experience quite a number of line forms that I find extremely pleasing...
When I play something like this [plays a short phrase] in the case of a C Minor, being a substitution for an F7, and that F7 could be an F13, it could be quite a number of things. It could be an F7#5, and F7b5. In my case, I generally refer to it as a Minor Seventh.”
I took a masterclass with Pat about 18 years ago (and I have an autographed copy of Linear Expressions, as well as a binder with he gave out with The Nature of Guitar). Someone in the audience asked specifically if he was thinking in terms of Dorian, and he shot him down, saying he didn't think in terms of modes at all.
@@thesecretsoundsjazz I believe that. I just quoted him saying the same thing from a video seminar that is on UA-cam. If anyone wants to see, I'l tell them where to find it.
Also, you can look in Linear Expression at Activity 3 on page 13. Two of the first five notes are F#. There is no F# in G Dorian.
I am very confident that what I call the first generation, guys born in teh 1920s - guitarists like Ellis, Kessel and Pass - never learned "modes." I don't think it became part of the jazz pedagogy until the 1970s.
My personal opinion is that the idea of "modes" creates more confusion than clarity.
Thanks!
Pat Martino played the lines, they were then transcribed. I think the reason he said he didn't write the book is because the accidentals are all over the place using flats in the key of A etc. but those are his lines believe it. Check out Barry Greene's lesson on Pat Martino. It's not free, but it is incredibly great.
Dude, I’ve been searching for this for so long. Thank you! Love the way your brain works!
I have this book and you're right about the book. It's great and I've been trying to apply it in my playing. It also a good book to learn note reading
Awesome! Pat Martino's the GOAT!
I got this book a while ago and learned most of the exercises, but was unclear as to how to incorporate it. And now.....I'm still unclear about it. 😵💫
Yes me too ,, no tab no go (
Totally got it. Pat was the king of swing!
I met him once at the Iridium and told him I wanted to study with him, after I got done with college. He gave me his business card. Then I moved back to upstate NY and started having a family. Then he passed away, I'm sad I never actually got a chance to study with him.
The way i do it is using modes if i m going to play in b flat major i use c dorian because its close ro pentatonic shape i am used to and it works.
So grateful for this Armin, thank you so so much
Thank you for making this digestible! I got this book, Linear Expressions, several years ago, but wasn't sure what to do with it. This made me locate it, and start applying the information. Very cool stuff. Peace
😮😮😮ohhhh fretmate you know what you walked through my mind .Got the book and been tryina to dissect the info .And you nailed it .Cmon man hats off
These lines have actually changed my playing life
I still have my original copy which I bought in the 80s. One of the best books I own and I still play the patterns. I believe that Wes Montgomery may have used a similar approach.
I love this book. Great licks that lay nicely on the fretboard.
I’ll have to check out the book. Thanks for the great video!
Yes i learned all the patterns of linear expressions
Martino had a big influence on me to, his vocabulary is insane
i was kinda noodling around this concept and figure out something useful. thanks for this
I always had an inpression that thinking "in minor" makes things easier but I couldn't say why.
La escala real que utilizo pat para escribir linear expresións es la escala menor melódica de Sol, con variaciones de aproximación y tocando por terceras para iniciar las frases
This is a Great Post..keep bangin it bro..much love❤‼👍🏿🔥🎸
Thanks for this great lesson and Pat's insights
got the book, thank you!
Really great and simple concept!
i get the modal thing about starting phrases on taget notes lets say that on a g minor that based on dorian lets say with passing tones or diminished notes aded to it, if you start the b flat for a line i g minor, it will brings out a lydian sounds, the D will be based on aeolian and so on, am i right?
So where does Dorian come in!
Thanks for posting. Enjoyed!
this video really needs to be remade with music notes and guitar tab below, for the ease of learning. otherwise people are only getting half of the information on the video which is the theory.
In the All things you are demo I don't fully understand how you're incorperating those excsercies into the song because the excsercies are way too long to fit over any given chord so are you just picking out parts of the line to use over any given chord and then changing the root note accordingly?
Also trying to figure this out, but I think you play the line until the chord changes, then find the next line for the next chord (convert the chord to minor) in the position closest to where you are, and play that next line from the note closest to where you finished the previous. The book has a 'Line Study' where it goes through all 12 keys, kind of doing this.
For whatever reason it’s easier for me to think of natural minor up a whole step from a Dom7th chord.
Otro secreto que usa pat al tocar sus líneas , es usar el sistema pentatonico de jhonn coltrane.. toca 1,2,3 y 5 en cualquier situación
I LOVE dorian. I also LOVE superimposing melodic minor over it!!!
you talk minor 7 you got a major 6 inversion. if you got minor 6 you got a minor 7 flat 5 inversion and its also a dominant with a 9. Dorian its an extension of a dominant starting on the 5 579 and the 7th 7911 is the other thats a 4 chord or a dominant 11 chord ... quite close to the 2 also
The similarity of all these 4 lines is that they all land on E note (the sixth of G). Ain't I right?
"people in a family" -- Allan Holdsworth described it this way too.
Martino was a fuckin genius
I got read this again because my endings are different.
yeah but hold up where did he get those incidentals on that on those lines like the ones starting on the G where to get the G flat? And why did he decide to end on the E
mentioned before but love everything you put out. Is this plugged in? It sounds different and more appealing to the ears! Hearing jazz tones (reminds me of velvet) is the coolest thing.
Dumb question because I know it is! What are you running it/recording it through?
OK but where did you get the incidental on the first scale on the G there's a D flat and why did he end up on the E
Can anyone clarify this question... if I'm applying this method to a standard, then for literally every chord, I should figure out the associated minor, then use parts of these activities over each chord as they change, and gradually link the whole thing together?
Pretty much. If you find the associated minor then you can play that over the chord. The exercises are just some licks to help you do that, but ultimately knowing the associated minor gives you enough to start working out your own chops.
I have the same question by @ZCBeats1 . How did you apply to a real standard? The lines are too long thought...
Look for Pat Martino's "Creative Force" (book & video) True Fire Nature of the guitar (course by Pat)
You're not suppose to play them verbatim - these are just "areas of activity" (as Pat refers to them). Just use chunks of them.
Hey bro what model of Eastman do you play
Thx, great lesson
I’ve heard Pat say he had nothing to do with that book.
Dude. Can you not hear the sound of your plectrum hitting the pickup cover?
Does anyone know if this book was printed in tab ? 👍
FOR THE LOVE OF GOD,.... JUST LEARN HOW TO READ !!!!!!
It has diagrams and notation.
If you want tabs look for "Creative Force". Learning to read will help you understand things faster.
Maaan, that pick scratching the pickups everytime 😭 how can you live with that? Great video tho
It's a great book, it's on Scribd, well now it's called Everand...
Great stuff ...ignore picky people who cant deal with physical elements around us...Purest dig a hole ...
Thanks man!
Why 4 not 5? 🤔
I skipped having two formations with D in the bass!
Really? even over altered dominants?
I think the lines are wrong though
Kinda did my own thing with them.. didnt I say that?😁
No disrespect meant but this is the second video by a player that has the pick hitting the pick up. This is so distracting for the listener from what you are trying to convey.
4:45
I prefer to listen to these examples without a clicking track or a Jamie style of rhythm changes. But if you couple find a living person to accompany you that would be perfect.
Martino said he had nothing to do with that book. Apparently written by someone else.
This is unclear. What modes are you playing over each note of the chord? Anyone?
It's got nothing to do with modes. Pat said so himself.
I don’t mean to be unkind, but this guy’s ‘explanation’ is hopeless. I have no idea what he’s getting at.
5:15
7:47
Nice material, but your plectrum clicking against the neck pickup cover constantly is ANNOYING as heck. How can you ever put that out to the public ?
stop hiting the humbucker, please!!!
8:09
learn bebop in ten minutes......that s all jazz........
Haha this is crazy
You like your "Likes" don't you 😅 in 3 words 10 are "like" 😅❤❤
OH MAAAAAN!
I've had the same problem. I read and learn a bit and it helps but still? There are no jazz guys around me and I'm an older guy so my options aren't a lot, but I think this is gonna help! Pat Martino is like a genius that I couldn't understand (well most jazz guys are) but I could almost get his instructions. I knew it was genius but I'd put it off to hopefully a point when I was better. THAT TIME MIGHT BE TODAY.
Thanks! ❤️🩹
Pat plays all ways melodic minor not a dorian !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
You're right in that it's not dorian but it's not melodic minor either. It's not modal - it's a m7 "grip" where yes, the natural 6th is available, the b7 is too (dorian?) but so is the natural 7 (melodic minor?). Then all the chromatic notes. Pat said he never thought in modal terms whatsoever.
4:47
5:15