I find it hard to except my hero died. Somewhere mid 70s, five years after I picked up the guitar, a friend of mine gave me the record, “we’ll be together again”. Listen to this he said. I was shocked after listening to this pat martino record. My life has never been the same since that day. I bought all of his records through the years and went to 2 of his concerts in Amsterdam. I heard the news today he died. Tears rolled over my cheeks. Pat Martino not only influenced my guitar playing but his music also gave my life a positive direction. Thank you Pat. I bow down to you. R.I.P.
After analyzing some of his lines and watching this 10 times....Here's a simple practical translation: for minor7b5 chords: think minor lines built off the minor 3rd of the chord ; For a dominant 7 without alterations - think minor lines built off the 5th of the chord; for a dominant 7 with alterations: use minor lines built off the b9 of the chord. Side note: most of his minor lines contain both the major and minor 7th making them very versatile since that is a combo of dorian and melodic minor. Furthermore, many also contain both the natural 6 and flat 6, so they work also in as a natural minor situations too (e.g., G minor over Bb maj7)
Pat Marino’s “Symmetrical Parental Forms” is pure genius! There are two: the Augmented triad and the Diminished 7th chord. The Augmented triad,… play 554 on strings GBE. LOWER any one of those notes, you get a MAJOR TRIAD. Raise any one of those notes, you get a MINOR TRIAD. So one Augmented triad “parents” 6 other triads; and it does this ALL OVER THE NECK. The Diminished 7th chord… play 4545 on strings DGBE. LOWER any one of those notes, you get a DOMINANT 7TH CHORD. Raise any one of those notes, you get a MINOR 7b5 CHORD (aka HALF-DIMINISHED 7th CHORD). So one Diminished 7th chord “parents” 8 other chords; and it also does this ALL OVER THE NECK. Both of these two “symmetrical parental forms” are easy-to-grab, and can save years of wrestling with inversions. They both act like this all over the neck, and IN ANY FORM. - Understanding this could be helpful in understanding this lesson. Pat Martino, rest in peace.
Pat went through so much 30 years ago just to be able play again.....Great man, as well as the renowned legend he's always been. Joyous Lake will always be one of my fav fusion albums.
Guitar playing at a very high level of technique. Pat was one of the greats on guitar. Thanks for all you gave the guitar community as well as the jazz listening public. Rest in peace my friend .
Pat's going to figure out how he can play outside of the key and still make it sound good. Herb Ellis showed his scale logic and it morphed into every note on the neck. So to me as long as you relate to the notes in a way that gives you confidence that you can make those notes sound good even when they don't look like part of the key you're starting to think like a Martino. Pat Martino was by far one of the greatest improvisers ever. RIP and thanks for breaking down the barriers.
Despite all the seemingly complicated lingo, the whole thing to Pat Martino's sound is : "how can I simplify everything and play minor scale licks on any chord and make it fit". Really simplifies the thinking and playing in the long run.
kiodath - have you watched ‘Pat Martino: Unstrung’? I think that it would help you see his perspective better. You can watch it for free on RU-vid. It goes into more and different details about his life. Pat had, unbeknownst to himself, a tumor growing in his brain until it finally burst in 1980. It is thought that as he was growing his brain began to transfer functions from the parts of his brain that were dying to parts that were living. I’m assuming you know some of the story but it’s okay if you are not aware of his brain surgery and subsequent amnesia.
I was in a master-class with him in college and he played a chord and said, “I’m not really sure what this chord is called.” I was front-row center so he looks at me and says, “Do you know what this is called?” and I said, “ Yeah, it’s an A-flat seven sharp five.” He smiled and said, “Oh. See, I just know the sound of this chord.” 😂 (which is what the overall aim is of course, to hear it) Pat is a wonderful musician, and that’s an understatement, but he had to construct his own way of understanding theory so he built that around the guitar fretboard. Understandably, the way he looks at things can be confusing to a guitarist who doesn’t know his/her theory and fretboard. However, if you do know theory and your fretboard everything he plays makes sense. Though, with chops like his, he can pretty much play anything and make it work because of his speed and ear for dissonance and resolution. Also, he said he learned by transcribing Wes, and one of the first tunes he transcribed was ‘Bock to Bock’, so immediately after that master class I went back to my dorm and began transcribing ‘Bock to Bock’. So...I suppose the point is, listen to him, dig him and as always, transcribe, transcribe, transcribe. 😊 And to Pat, much love, sir!
Funny how we, me included, thrive for knowing all the harmony and melodic sense in the world, and Martino, with street smarts, sends all that down the gutter, and it sounds BEAUTIFUL!
All of this is a bit simplier if one studies intervals on piano before. Of course a bloody mess for the self-taught guitarist or the ones who's not into a bit of harmony, itself, before approaching it on the guitar (that's a very complicated instrument if approached from the wrong side, I know because it's my case too. I just got what the problem is since some harmony lessons, but after 27 years of wrong approach on the instrument... )
Thx Pat, thx for your dedication to spread knowledge to all of us. I met you in Trento, Italy, years ago, talked to you for 10 minutes, get an autograph and you were really nice. Bless you man!
Pat Martino - Let’s take the Bb7 move it up a minor 3 then subtract the ratio between the relative minor of D major then go down a half step and use an reverse m7b5 chord which then becomes a G69/Eb first inversion...
Not really. All he said was that subs can be/are personal in how you get your sound. He said he likes minor so he explained how he goes about playing minor lines over chords that aren't minor.
@@clintjones9848 exactly! you could do the same to play major over chords that aren't. All this starts when you understand that if you play G major over Emin, then you play Em7. If I think Emin or Gmajor is up to me, but it doesn't change anything at the end of the day...
I'm not sure I can process all this all at once yet but I think I've understood enough to try different ideas thanks to his simple explanations. He could've gone much more technical in his jargon but chose not to. Side note: that is one exquisite looking guitar that sounds absolutely beautiful.
IMO the one word that could best sum up Pat (btw...I don't think that's even possible) would be 'impeccable'. Truly an inspiration. When the great Tony Janflone Sr. told me nearly 35 years ago that Pat was one of the major domo's I'm glad I paid attention.
Es un capo, pero acá da mil vueltas solo para decir: en G7 y Bm7b5, lo pienso como si fuera D menor; y si el G7 es alterado, en cambio lo pienso como Ab menor.
Great guitarrits can always teach what they know entirely and everyone can understand and actually incorporate. But there will never be anyone playing not even close to Pat Martino. As well as all the other great guitarrists out there. John Scofield, Pat Metheny, Joe Diorio, Wesley Montgomery, John Abercombrie, and everyone else: they are all unique and precious and cannot be repeated. No one can say "oh well, now there is someone better than these guys" it is just not something achievable. This is one of the reasons I don't like when people try to make comparrisons between different players with different styles and approaches, they are just not comparable. Pat Martino is just a Legend and an amazing Soul and he will be remembered!
This great musicians concepts shouldn't be lost with his passing, please follow his videos and examples to learn what he's talking about If you have a 4note chord, you have/4 different chords by changing the root. Here, changing one note any half step makes for endless possibilities within the progression. There are 3 substitute chord pattern formulas I regularly use. But Mr. Pat demonstrated on guitar endless possibilities. True genius. Thank you Mr. Martino.
If you learn the blues on the guitar you naturally learn the minor substitution for the dominate chord without knowing what you’re playing. It just sounds correct. A lot of jazz guitar players learn jazz on the guitar without learning to play blues which is backwards to me!
@@cyanhallows7809 Well, if you know anything about the history of blues and jazz most jazz players knew how to play the blues first! Louis Armstrong and Buddy Bolden invented jazz out of ragtime blues when King Oliver was popular then Dizzy Gillespie and Charlie Parker turned it into Bebop! Pat Martino learned Bebop from all the jazz players that he played with and they played blues! Jack McDuff told George Benson to play the blues! The was when he started learning to play jazz! Trust me blues is basis for most Black music invented by black musicians, rock & roll (invented by Chuck Berry and Little Richard)! How do you think the Beatles learned how to play or The Rolling Stones? Where do you think they got their name from? Howlin Wolf that’s how they learned to play!
It's cool to use 9 for 1 principle, substitute the root for a 9. Over G7 you would play Bm7b5. I think tha's what he's trying to explain. I don't even know what this video is about. I suspect a lot of those watching this video writes "great video" and moves on. Thing is that you have to know all the chord notes, minor and major, augmented and diminished triads to fully understand this. Start with learning everything on a single string first.
I guess ill chime in, i prefer Pats method of teaching over university, he teaches with sound quickly rather than long explanation. i love this, im making music
I have his videos and he always seems to make stuff more complex then what is needs to be. He is just on another level. I think his way of teaching is very frustrating. He throws so much at you at once leaving you scratching your head. Most people just want to play. He is like a mad scientist with all these formulas.
Pat talks about this in quite a convoluted way, but the essence of what he is saying is as follows: 1) his approach to improvising is to try and fit a minor chord over the given chord he is playing over. 2) By looking at the form of the chord he's playing over, and the associated chord tones/scale (G7, scale: G mixolydian), he concludes that all notes in the scale are the same as the notes in D Dorian (a minor scale).
If I were to teach again...my approach would be far different. I know the need for guitarists to advance and gain knowledge, technical proficiency...etc...but the single greatest challenge is training the ear with a guided purpose. I would teach guitar from the perspective of the chord as it relates to harmonic movement within the theme..and teach the student to hear the quality of the chord ( harmony)..and to play phrasing based on the chord...and anticipating its next movement or "goal". What is the arrangement trying to suggest? I think once a musicians ears are developed to the point where he can hear changes in a tune he or she has never heard before, prior to them taking place...they have arrived.
i'm sorry....what? actually I love this....I have this lesson from truefire.....I went thru the parental forms of augmented and diminished...lowering one note of the aug gives you a major chord...raising the note from the aug gives you it's relative minor....that works with each note in the aug chord...nice...genius....the nature of guitar by pat martino on truefire...I recommend it...and i'm nobody...so....
@mloutris Pat considers the aug a parental form because it's derived from the whole tone scale which divides the octave uniformly (symetric) like the diminished which he also calls parental. He explains his use of the term "parental" in other videos. Major and minor triads derive from aug and diminished triads this way by moving only one voice one half step. Major and minor triad of course also transform to aug or diminished triad with the movement of one voice, however that would be considered going back to their parental form. It's all about the the notes contained within the octave and how they present themselves in terms of division.
I was buying Pat s albums 40 years ago and love his playing along with many other jazz greats. I ve been playing guitar for over 50 years rock but mainly classical. Also some extra curricular teaching in a school. My reading of music is slow but good enough to play off a score up to grade 8 at least. Having said all that what Pat is explaining very well I might add is still a mystery to me and I imagine always will be.
I get the minor form he is showing us, as with the D minor inside the B -7 flat five. But I don’t understand when he says it comes from an augmented form?
why make life difficult. B minor 7th flat 5 IS D minor 6, for all altered dominants just play the melodic minor a semitone up from the root - so far G7 alt play A flat minor - simples.
I'm curious about this too. Why isn't Bmin7b5 a modified Bdim7 (in line with the 'parental forms' idea)? Why go hunting for the Dmin triad and relating it to Db+ as the basis for substitutions and scales? Of note is that using the dim7 "parental form", by selecting any note and raising it a half-step gives you a min6 chord (where the raised note is its 5th degree); lowering that note instead gives you a dom7 (where the now lowered note is the root) - these derived two chords are a ii-V7. That takes up less brainspace imho than inferring the min6 from an augmented chord. I think this approaches Barry Harris's approach too, not that we need any piano players bossing us around, but it works pretty well for that dude
So, use the ii over the V7 and use a minor scale a half step above the root of the V7? Pat has a very detailed explanation for why this is so, but it can be hard to follow if you don't know the basic concept first. Astonishing player.
It's not "a" minor scale it's specifically the melodic minor . For example Ab minor over G7alt. If you examine the Ab melodic minor scale you'll see that it contains all the altered tones of G7. it gives you the b9 (Ab) and the #9 . Also the #5 and the b5
I have been a fan since Starbright. However I don't understand the point of thinking: Bm7b5 over G. Isn't that just a common fingering for G9. G under BDFA?
I guess it's about being on a different layer. And where you came from, and where you're going. For example, check out this footage of Dave Liebman I shot a while back. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-kpFv1tmpDX8.html
Pat has developed a way of looking at how chords are formed on the fretboard by using symmetrical chord shapes and changing notes within them to make new ones. An augmented triad can "become" a minor or a major third by changing a single note in it. With C augmented, for example you have C, E, and G sharp. Raise any of those notes by one semitone and the raised note becomes the root of a new minor chord - C sharp minor, F minor, and A minor. Lower any of the notes in an augmented triad and the lowered note becomes the fifth of a major triad. Again, with C augmented, if you lower the G sharp, you get C E G, a C major triad. Lower the E and it becomes G sharp major. Lower the C, it becomes E major. It's a deep and unique system, but hard to grasp.
@@SpawnofHastur Nice explanation. In addition: there's a video somewhere on youtube (can't find it now, sorry) where Brian Setzer explains that you can think of augmented and diminished chords as *passing* chords. In other words, they come from somewhere and have to resolve to something else. I think Pat is unusual in that, as I understand him, he takes the augmented form as a starting point. It's kind of upside down. But in jazz, where you may be changing key several times in a chorus or (Monk) twice per bar, I guess it's a way of finding stepping stones to build your solo or comping from. But I have to admit I'm not even close to mastering that.
The part I don't quite understand is when he says that the minor triad comes from an augmented form. He must be talking about chord shapes, not about theoretical considerations. He probably explained that in a previous video.
Yeah he was vague about it. Yet if you raise any note of the augmented triad by half tone you end up on the root of a minor triad. He explains something like this when playing diminished form yet lowering a half tone to end up on the root of a major.
I'll hit you right off the bat with Line Games alone. The most unique musical extravaganza ever done. You can run off at your mouths about your "theory" all you want. It's about COMPOSITION, and there is absolutely nothing like Line Games. I don't know that song ever came about and neither does anybody else. Futhermore, you guys had better eat your wheaties before attempting to play that tune. It is relentless from start to finish.
I always look at the context of what is going on before and after any chord. Bmin7b5 usually functions as a ii chord followed by E7 (V chord) which in turn is a ii V in A Harmonic minor. Thinking of the Harmonic Minor allows for the chromatic approach with all the notes descending from the octave A, G#, G, F# F, E. I usually think/play a full G# Diminished (and all 4 part inversions; G# (or Ab enharmonic) B, D, F of the Scale/Arpeggio/Chord for both the Bm7b5 and the E7.
Except that to my ears there's a huge difference between a diminished and a half diminished, ie. the A and the G#. The diminished is a comparatively resolved sound while the half is unresolved with more tension which I feel a II chord should be. Therefore for me the Dm6 works better for the the Bm7b5 naturally as does the G9. I don't want to hear a G# note over a Bm7b5 chord.
