Pat Martino's Magic Chord!! 1 Chord = 196 Chords!!! 

Thank you my friend! He was indeed a genius! I hope to make an video on the diminished parental forms one of these days.

Barry Harris would be proud

Thanks for this to-the-point explanation.

@@carlosclaptrix My pleasure, man. Thanks for watching!

Thank you Neil! I’m sure I’ll be coming back to it myself;) Some cool voicings on those spread triads!

My pleasure man! I need to get that course myself! He was definitely a sage guy.

That's might kind of you Joe! I sure appreciate you watchin' bro!

Hey Gina! So great to hear from you! As I recall, you were an excellent student.;)! Hope you're still having fun with the guitar. Is your dad still around?

@@ChuckJonesMusicNo Chuck, unfortunately my Dad died in 1995 & we lost Mom at 90years of age in 2016. She used to drive me to the Guitar lessons back then, because I was too young to drive, Lol. I still have my Black Les Paul custom that I had back then by the way. It's like my 401k. 🤣 . Pete Vescova & I were talking about those Saturday guitar lessons the last time he and I got together for a jazz jam. We couldn't believe that Berl Olswangers had been closed for so long. I took lessons from you at two places, one being over on Highland. I think the other was on Jackson Ave. Later when I was in college & we reconnected, remember we laughed about how long we'd known each other, & how I had been your student at 13yrs old. Well 🤔40 plus years later & both of us are STILL in the music business. I do more singing than playing now, but I still love to watch your Videos on youtube. I may even start playing again, now that I found my favorite teacher is online. I still write songs and am working with a guy in Nashville that I worked with when I was writting and singing jingles at Tanner/Media General. Mike Porter. Super great guy! Great writer! Take care & please wish your family well for me. 🤗 GREAT talking to you.

@@ginamoore767 Hey Gina! It's all coming back to me now! Please forgive me, I briefly confused you with another young student I had back in the day who's dad traded me karate lessons for her guitar lessons🤣 So you started with me at Berl Olswanger's on Highland and then must've have followed me over to Yarbrough's Pickin' Post on White Station Rd off of Summer Avenue. Those are the only places I recall having taught. Sorry to hear about your folks regardless. My mom passed in 2011 and Dad in 2017. If you still have your Black Les Paul Custom from those days, that's a 401K for sure;) So, was Pete Vescova another teacher at Berl Olswanger's? or was he a student? I remember the name but can't remember if we were acquainted or not. My memory just ain't what it used to be;) I seem to recall us reconnecting in college. I only went for one year before I dropped out, and I think the year was 75/76. I started playing in a duo at Ireland's with Kay Metz and staying out all night and just quit going to classes;) I know a songwriter here in Nashville who worked at Pepper Tanner in Memphis before she moved here. Here name is Stephony Smith. One of her hits was "It's Your Love", the Faith and Tim duet. She might have been there a bit later but I thought you might have met her there. As for songwriting, I'm semi-retired myself. I do some co writes with veterans and active duty military these days (through Operation Song), but that's about it. As for the RU-vid channel, I've been exceedingly remiss and not posted anything for over a year now. I have a few ideas ready to shoot, but have just been dealing with life. Plan to get back to it pretty quick here though, they just sent me a notice that I'm reaching the status where I can monetize;) Sorry to run on so long, but it's kind fun taking the trip down memory lane! Wishing you the best Gina. Stay in touch!

@@ChuckJonesMusic Hey Chuck, Pete was a sales manager downstairs at Olswanger. He is an incredible bass player, and had an older brother named Ernie Vescova, I believe. YES, I know Stephony. We worked together at Media General. She is an awesome writer! I really looked up to her. I took guitar from you in the 70's when I was 13 or 14. You & I saw each other again in 1980 or 81 when I was in college. I was on the Memphis State Karate team , only one of 2 girls on the team with Bill Wallace & Steve Stanford. Thats how we reconnected. I was 18 or 19. We hung out for a while & worked out a few times with a friend who was teaching you. Thats probably why you got confused. We also went to a few parties & hung out for a while before you went on the road with some band ( maybe AVENUE) . You lived on Sandra and I grew up on Berkshire off of Graham. So we knew all the same folks. My brothers were all in bands too. My dad had a TV/Ham Radio store on Wells Station & Gray rd.. I thought maybe you taught at Youngs Music or Atoms Music on Jackson before moving to Olswangers, but its been a minute ,so my memory is a bit fuzzy too. Lol. When i was 13, I do remember I used to love to hear you sing that Eric Clapton song " Let it grow" . I loved your voice! I actually found a folder the other day that had our lessons & my homework in it. I was a bad student bcuz my ear was so good that I would cheat & act like I was reading but you'd catch me & call me out on it. 🤣. So much fun talking about the old days. Tell Stephony I said Hi. I sing her praises all the time. She's one of the best writers I know. Have a great day & I TOO am sorry to ramble on. I just love walking down memory lane.

​@@ginamoore767 Wow! Thank you so much for bringing all that back! So you worked out with Superfoot? I'm sure I was impressed by that;) Loved the Chuck Norris movies with him! I remember Pete now. He's prolly the one who sold me my Sakura classical that I still have. I took lessons at Berl's from Forest O'Kelly before teaching there. And we partied together when you were in college??? I certainly hope I was a gentleman at all times;) It probably was Avenue that I was in at the time, or one of the earlier bands like Bandit, with Gary Hardy. Jerry Alvin Dean (grew up on Wells Station Rd.) was a bass player and my best friend in those days. We were in around 30 different bands together from high school til my early 30's, so no telling!! Being semi retired from songwriting, I don't see Stephony much anymore, but will be sure to tell her next time I do! And you must have come to my folks house a time or two if you remember I grew up on Sandra Rd.! I certainly remember Graham. It was on a couple of paper routes I had as a kid! And lastly, I haven't played "Let It Grow" in decades. Might have to pull that one back out again;) Thanks again for the convo, Gina!

Thanks so much! I appreciate you!

Thanks so much man! Appreciate you watching!

@@Tristanlu789 Thanks for watching, my friend!

Indeed! Thank you for watching, Dimitri!

Hey man, thanks for watching! Yes, and Pat has a diminished parental form concept as well that I’ll be talking about soon!

Thank you so much for listening! Hope to do a lesson on his diminished parental forms sometime soon!

@@ChuckJonesMusic Thank you for putting it out!

Thanks man, I appreciate you saying that. You’re the first to appreciate how I oriented the diagrams, to appear the same as looking down at your guitar.

My pleasure, Steve! Thanks for taking the time to watch!

I couldn’t agree more!

My pleasure dude. He was the master indeed!

Hey there! Sorry about that;) I definitely plan to start ramping back up. Trying to figure out how to do it smarter;) Working on a book about the CAGED system. Going to be a video course as well. Have a couple of new ideas finished, just need to get back to shooting the videos! Thanks for reaching out and checkin'.

Wow, I’d really be interested to hear that! Thanks for watching, man!

@@ChuckJonesMusic I generally either use a augmented or diminished between the 4 and 5 chord but this is an expanded version of that idea I really am excited to try it out

@@jwinchester1320 I plan to do a breakdown on Pat’s Diminished concept soon. Stay tuned!

Thanks man. I will check it out!

@@ChuckJonesMusic Take a look at Robby Barnby’s video on Barry’s 6th diminished and the channel Things I Learned from Barry Harris.

@@mooseymoose Will do bro, thanks.

@@ChuckJonesMusic Don’t thank me yet! His stuff made my head explode! Lol!

@@ChuckJonesMusic Oh yeah there’s a book called Barry Harris Harmonic Method for Guitar that is really clear. There are pdf files online and you can order a hard copy too.

I agree! Sure wish I’d thought of it;)😊

Thanks for watching, my friend!

Thanks for watching, friend!

Thanks so much for watching, my friend!

Thanks bro, I appreciate it! He was definitely a cool cat and a genius theorist!

@@ChuckJonesMusic does that same thing work with diminished chords?

@@guitar9310 It works differently with diminished chords. I plan to do a vid on Pat's diminished parental forms soon! Thanks again for watching, man!

Thank you brother! I appreciate you watching!

Thank you for watching, my friend!

Thanks so much man! I appreciate ya!

Hey man, I hear ya! Probably not for everybody;) I have no idea if Pat brought these concepts into play when it came to his "high-velocity functional harmony". I have no idea what he did with this stuff at all, outside of his spread triad compositional inspiration that I discussed and demonstrated towards the end of the video. However, this parental form, as well as the diminished parental form he taught, both have a deeper meaning for me. The guitar is obviously a very "graphic" instrument. And these forms have a significant depth when it comes to this graphic nature. The fact that you can demonstrate a maj, min, and aug triad on 7 different string sets in all 12 keys within a 4 fret span, well that's just mind blowing to me! And it can also lead to a stronger visualization of the different triads in a single chord across the neck. Maybe not that useful in Bebop, but pretty cool regardless! At any rate, I truly appreciate you watching and commenting. I'll try to do a followup on this soon where I tie some of it together a little better, and demonstrate how it might be useful to deeper understanding of guitar chords!

@@ChuckJonesMusic hey, cheers for your thoughtful reply. Thing is, I'm pretty certain that Pat *did*, in fact, use this parental forms stuff as the foundation for his improvised lines ... and they were some pretty awesome lines to be sure😉. In fact he *re* learned it during his rebound from his health crisis. It's downright miraculous how he rebuilt himself. His playing "after" is magnificent, definitely not some half-baked shadow of his former self. Anyway, I think this is one of those things where, as you suggest, everybody's brain works its own way, this is the way Pat worked it out, and it surely worked like hell for him.

@@thelonious-dx9vi I hear you bro! I was fortunate to meet Pat just prior to his health crisis, when I was studying guitar at the Musician's Institute (then Guitar Institute of Technology) out in Hollywood, CA, around 1980. He did a residency there for a month or so, where he would come in and hang out in an office for a few hours now and then. I found him there one morning practicing on his Adamas gut string guitar. He had that thing tuned down about a minor third and it sounded amazing! He let me pick his brain for at least an hour that morning and one of the things I recall him showing me was his diminished chord parental form. He didn't go through the whole breakdown, but just showed me how lowering each note one half step gave you a different dom 7 chord. He also showed me his "Octavistics" that day. He even gave me a handout sheet with several permutations, only one of which I can recall. He was truly a magnanimous, and genuine, generous individual.

Never too old to pick!! I’m not far behind you brother. Thanks so much for watching!

Hell, I’m definitely gonna check him out now! Anybody who can share the Stage w Oscar Peterson gets my vote!

Thank you so much for watching!

Wow, wasn't aware he tuned that way! It makes sense when you think about it though. At my age, with so much of Spanish tuning ingrained, it would be tough to switch;) Thanks for the info and thanks for watching!

Thanks man! I’ve had it forever. It’s a Manley Gold Reference.

@@ChuckJonesMusic yes, I know what it is, I wish I could afford one, lol! Great lesson too, by the way :)

Ha, I hear you! I bought that back in my hit songwriter phase. Afraid I couldn’t afford it myself these days;)

Hi there friend! I appreciate you watching. I think you might be missing the point regarding this video;) It is definitely a good thing to know all of your major and minor chord shapes, apart from finding them through this method. However, for those who know the basic "root 4, root 5, and root 6" shapes that use 4 strings or more, this method will definitely help you see the 3 string shapes within those, in all their various positions. It also a is good thing to know when using the augmented triads as passing chords between these maj and min shapes. Pat referred to the augmented triad as a "parental form", and it does indeed bear a lot of little baby chords;) For me, it's just one more sign of Pat's fingerboard brilliance, and an evincing of the beauty of fretboard "geometry".

P.S. - It's also perhaps just one more arrow in your quiver to see these chordal relationships. For me, I just love to explore any fretboard concept that bears this much fruit!

@@ChuckJonesMusic Thanks for this explanation Chuck that helps to see " the forest AND the tree" so to speak.

@@yusefandersen ha ha! Very apt metaphor, Joe! It’s my pleasure man, and thanks for watching!

You guys are Awesome Alohoho

Thanks Andy, I appreciate you watching bro! That is a plug-in called TH-U Overloud, I believe. And I think it's the Jazz Basic tone Neck setting. It's a pretty cool plug-in that I originally got for free with the Slate Digital subscription plan, but I eventually bought the premium plug when they had a sale. I wish I was better with real amp tones but it takes so much dang time;)

@@ChuckJonesMusic 👌

Hi there Asher, nice to meet you man. Thanks for watching!

Thanks for watching man!

Thanks for the Comment friend! Yes, I've heard they had very similar concepts. Actually, Pat has a diminished version of it as well. I hope to do a video of that soon! Thanks for watching!

Yeah, I struggled with that on this vid. Usually they are vertical. I went with this horizontal to give folks an option. If I turned it 180 degrees it would be the same orientation as my hands. I figured this way you'd have the option with the diagrams for it to look as it does when you're looking down at your guitar when you're playing. I agree though, ultimately it's just confusing. I will take your advice for future vids!

Chris, I don’t at this time, but am thinking of maybe working it up w a PDF of tabs and notation.

@@ChuckJonesMusic that would be great. I subscribed to your site. Will you post it there if you do?

@@chrisbatson3402 Absolutely! Just curious, have you downloaded any of the other stuff I have posted there? Just wondering if everything is working like it should!

@@ChuckJonesMusic yes I have downloaded other stuff and it is working good. Thanks

@@chrisbatson3402 Thank you, man! I appreciate the feedback!

🤣🤣Pat man, I truly appreciate you! Full disclosure, I never heard of him either, at least until I posted this video. Pretty sure he was a piano player though;)

Hey bro, thanks for watching! That's a shirt I picked up from Lucky Brand about 20 years ago!! The buttons are diamond shaped plastic "pearl" I'm pretty sure, but the shirt has held up pretty well! It's one of their so called "Western" shirts. This particular model is prolly discontinued, but they come out with a new one now and then: www.luckybrand.com/

Hey Gary, thanks so much for the comment, man! I had considered that when making this video, but because my chord diagram defaults that way, I just went with it. I was thinking that two grid perspectives were better than one;) But you make an excellent point and now it occurs to me that I can easily reorientate the diagrams in post. Good to know for future reference. Thanks man!

@@ChuckJonesMusic Wow that’s really interesting it would default to that view when virtually every guitar neck tab I have ever seen or used has the 6th string at the top the way it looks when holding a guitar. What app is that?

@@garycrooks6935 Hey Gary, I may have misspoken. It’s been a while since I made this video. I use Neck Diagrams for chords like this. I’m on vacay at the moment and don’t have a computer w me, but I seem to recall they have various templates. The ones w only a few frets are actually w the neck vertical, as though hanging on a wall. Then they have full length necks which is prolly what I used here and they are horizontal. Of course, you can change the number of frets on any template to whatever you want. And you can orient them any way you want when editing the video. They’re might even be a way to do that in the program itself in preferences. Thinking back now, I believe I turned these upside down on purpose. My thinking was that it would give you the perspective of looking down at the guitar in your hands, while my demonstration would give you the opposite perspective. I can see now how that could be confusing. Thanks for the input Gary. And I apologize for the lengthy reply!

I will do that, Matt. Thanks for recommending and thanks for watching!

Man, I’m not familiar with him but I’ll try to check him out!

Sounds close enough for jazz;)

Thanks for watching, man!

Actually, Pat’s method of using augmented and diminished chords as “parental forms” to find all other chords on the guitar is much easier than any other method. The traditional method for constructing chords is to build them from scales. A C major chord for instance, is the 1st, 3rd, and 5th intervals of a C major scale. To make it minor you then lower the 3rd a half step. Further alterations go from there. You then must learn all the other iterations of a C major scale to cover the neck of the guitar horizontally! You then must learn to transpose all of the above to all 12 keys. As the augmented triad (1, 3, b5) repeats every 4 frets, and you get a major and a minor chord by lowering or raising each note by 1 fret, you achieve the major and minor chords in all 12 keys within a 4 fret span! And by moving vertically across the neck in that same position, you find the fingerings for all string sets, adjacent and non-adjacent. As the augmented (as well as the diminished for that matter) chord is the same fingering in all positions, you then cover the entire neck horizontally by merely shifting those same chords up to the next 4 fret position, then the next, and so on. As Pat’s diminished concept uses the 4 note dim7 chord, it repeats every 3 frets instead of 4 frets (an easy rule of thumb is to remember the number 12 for 12 keys - 4 notes x 3 frets = 12 for diminished and 3 notes x 4 frets = 12 for augmented)! And instead of giving you the Maj and min by lowering and raising 1/2 step (or 1 fret), as with the augmented, the diminished instead gives you the dominant 7 chord (lowering) and the minor7b5 (raising). But it too covers all string sets in each position and using the same fingerings for all positions, covers the entire neck! Learning every chord there is in every position on the neck by simply starting with 2 chords? What could be easier than that? Stay tuned for my video on Pat’s diminished concept, coming soon! And thanks for watching!!

Touché my friend;)

Not by lowering or raising one note one fret. It only gets you major or minor triads from the augmented! I'll be doing another video soon on Pat's diminished parental forms though. Keep an eye out and thanks for watching!

Hey bro! Thanks for pointing that out! I'm up to 1,000 now!! Just 999,000 to go!;)

@@ChuckJonesMusic NO MATE 1,99999MILL TO GO ,,music,is not easy work on the net,,,one love ,,you'll do it ,

@@hangerlanetheearthman9421 Thanks for the confidence Earthman!!

You are correct sir! The cool thing is how you can arrive at EVERY Major and minor triad and inversion (and some split triads and inversions!) for all 12 diatonic keys within a four fret span by simply lowering and raising each string of an augmented triad one fret! Pat might not have been the first one to recognize these parental relationships of the guitar neck, but he's the guy I got it from;) Thanks for watching my friend!

Sürgős videót várok

@@dezsogagyi7509 I was wondering if there was any way you could translate your comment to English?

⁠@@dezsogagyi7509 I’m not sure what you mean by solve it? What exactly needs solving. Unless of course Google translate made a mistake! Sorry, I don’t speak Hungarian. Thanks for watching tho regardless!!

Not sure who you’re talking about, David. Are you referring to Chuck Jones the animator?;)

@@ChuckJonesMusic sure! “Duck Amuck” “Rabbit Seasoning” and The Grinch. Yep, that’s the guy!

Wow man, you must be as old as me,) I’m old enough to remember seeing all the cartoons as a kid!

@@ChuckJonesMusic yup.

Thanks for keeping the legacy of Pat Martino alive. I first heard Pat in 1979 and played Song Bird from Joyous Lake over and over. His playing was like nothing I had heard previously as a formally trained classical percussionist via rock- jazz drumset playing and mostly self taught guitarist- composer. At a time where fusion was big, his approach was so incredibly unique. When he was gone from the scene, there wasn't the internet to fill in the information. Then he made a comeback and I got to see him play at the Blue Note NYC. He could not have been more down to earth. The anecdote was that he relearned his entire skillset by listening to his old records. The implication was that with amnesia he was starting from scratch. He became Pat Martino from scratch. I often pondered/ joked what would have happened if he only studied the Wes Mongomery catalogue. As it turns out, one Wes and one Pat works just fine....

Hey Francis, I appreciate you watching! If you'll check out the last minute and a half of the video, I do go into a little piece that Pat improvised using the spread triad version of this! As for applying the concept to a songs, I think Pat was probably more about applying it to jazz improvisation? I can see a use for it to find cool passing chords when going from the major to the minor, for instance. In fact, if you listen to the old Eddie Money song, Baby Hold On To Me, he uses this very technique going from the D chord to the D augmented by raising the 2nd fret G string to the 3rd fret! Thanks for giving me an idea for another video! BTW man, I love your "Sugarloaf Rag"!!

Check out Pat's improvisation at the very end, about 2 minutes from the end of the video!

Hey James, I appreciate you trying to watch. Thanks for the dissertation. I’ll take it under advisement;)

Chuck's tuning is as good as can be expected. I have better than average sense of pitch and am not bothered in any way. The Strat he plays has a roller nut, likely a Deluxe, which comes with locking tuners. The thing is, you don't want to be schooling a seasoned teacher. Making videos is a lot of work, after all.

@@matthiasscheffler548 I truly appreciate the vote of confidence! You seem like a truly civilized human;) And you are correct, my Jeff Beck Signature model does have locking tuners.

Use the rewind .

Hey man, thanks for watching! I was actually introduced to the concept by Pat Martino. Seeing as he and Barry were fairly contemporaneous, I'm not sure who actually discovered it first. As far as it's graphic application to the fret board of the guitar, I'd venture a guess that Pat can claim the credit there!

Thanks man. I’ll take it under advisement. I just never know how far along some folks might be. I guess maybe I do dumb it down a bit sometimes;)

@@ChuckJonesMusic really it’s your fault. JK. Your tone is really good I just wanted to hear that baby sing. Onwards and upwards.