4:03 of the greatest music lesson i have ever seen. This man is like an astronomer than a musician. Simple explains the circle of fifths even though i Dont read music. "We begin to see it in everyday life".
I wish that Pat would've been given a few more decades. Well, it is what it is. Over the decades many great outstanding musicians have come and gone. Pat is right there with them. Thanks Pat, your artistry has made our daily grind so much easier to deal with.....
Truefire has been evolving with the quality of their production. This though is several leaps forward. I hope this is the new standard for them. Content: This is great stuff. There is only on Pat Martino.
well, that made me sub immediately. GREAT philosophy. I have studied music for nearly 30 years and have never seen this concept. And also, studying Pythagoras and so-called sacred geometry, it brought me to this video! Awesome!!!
Here’s a quick intro to Pat’s genius. He saw 2 chords as being “parental forms”: the 3-note Augmented triad, and the 4-note Half-Diminished 7th chord. Play C-E-G# on strings GBE on frets 554. If you move one of those notes DOWN by one fret, you will “parent” 3 different MAJOR TRIADS. If you instead move each one of those notes UP by one fret then you will “parent” 3 MINOR TRIADS. So that 3-note “triangular” “parental form” will generate 6 other triads (3 major ones, and 3 minor ones). Investigate this! - Now onto the other “parental form”, the FULLY-DIMINISHED 7th chord. Play frets 4545 on strings DGBE. That is 4 different Fully-Diminished 7th chords named for any note of F#-C-D#-A. Now if you move any one of those notes DOWN by one fret, you will “parent” or create 4 different Dominant 7th chords (1-3-5-b7). If instead you move any one of those notes UP by one fret, you will “parent” 4 different Half-Diminished 7th chords (1-b3-b5-b7). Think of the Dim.7th chord as a perfect square. So instead of spending a lot of time learning all these inversions, you take the two easy-to-find symmetrical “parental forms” and you can easily find 6 other triads and/or 8 other 7th chords. - There’s so much more to Pat’s genius but this can serve as an intro into how he looked at the fretboard. It is definitely worth investigating further!
This is literally a video you gotta watch a few times, otherwise....it's a TLDR sort of thing. Another way of saying it is: Take the chromatic scale and start with a root at 12 o clock...follow it until you get back to 12 and then use basic geometric shapes to define the intervals as how they divide into 12. I like how you get to see stuff differently and I find this immensely helpful. But Pat uses so much...extra and not useful language that it is needlessly complicated.
He's trying to get people to understand geometric subsets, which is vastly important for anybody exploring melodies from an inventive perspective. Say if you were to draw a star in that circle, then limit yourself to only using those notes when soloing; the color you get from it would be based on that shape. Its a good way to test EVERY melodic possibility and organize it so you can use it later, or not. If you look at Giant Steps, a Coltrane tune, the circle of fifths is actually being used geometrically. For every three chords, there is a triangle seen in the circle of fifths, hence the pattern.
The Chromatic scale can be divided equally in half steps, whole steps and minor third steps. Ex. If you take a Dominant 7th chord form and move it in whole steps it will resolve itself. ex If you take any chord form and move it in minor third intervals it will resolve itself..
I don't see any connectivity between the circle of Fifths and Giant Steps. Giant Steps is built on the key signatures of 3 major keys and moves in major 3rd G, B, Eb
I would search for "giant steps geometry" in google images and look for a image that connects the changes you've mentioned. "coltrane changes" connect out to a triangle no matter what key you start on if you've drawn out of the circle fifths
What an amazing concoction of complete babble. Yes, if you take a line and make it a circle !!! you will get a circle. Which has nothing to do with a guitar string. Or pitches.
I agree. His whole emphasis on symmetrical division of the octave is irrelevant. Of course a dim 7th can resolve 4 ways and an augmented triad resolve 3 ways.
Why’s he using “big words” incorrectly all the time & mostly out of context? It makes simple concepts seem extremely complex, given his choice of wordplay. Incredible guitarist though, just not the easiest to follow!
