My comment's intention was not to discredit your work explaining it to people who might not have heard about Pat's method particularly for beginners. So if my comment offended you I apologize. I do not dislike his approach. I use many approaches if any works for me. I attended Pat's workshop way back in early 80's (yes, I am old!) and he was into many different things like "S a c r e d G e o m e t r y" which I am sure you know about. In the end Pat emphasized us to trust our ears and that is obviously crucial. Pat is playing A natural over Bb7 (Fmi7) is a good example, he heard it so he was in a way breaking his own rules. Miles plays F# on Fmi9, Wes plays C# on Ami7, so I think it is important to learn the rules (methods) and expand. You can not break the rules if you don't know them in and out. Thank you for your contribution to jazz education,
Cool! There ir another concept that Martino showed as the Nature of the Guitar (there are videos about it in the youtube, one of them is with Dave Frank and Martino himself). In which he divides the octave in the fretboard through three augmented triads and four diminished tetrads. Every time you take one note of an augmented and move down a half-step this triad become a major triad, if you move this note up a half-step instead of moving it down you get the relative minor (and you can experiment through inversions along the neck). The diminished follows the same procedure but have different results: if you move a note down a half-step you'll get a dominant seventh chord, if you move it up a half-step instead it turns into a half-diminished related to the previously found seventh chord (and, as with the augmented triads, you can explore along the neck). The cool thing is that you can get a lot of chords and inversions within a few frets. Thanks for this video, it will help me while I'm studying the Linear Expressions book. Cheers!
Excellent explanation. But, can someone explain why converting to minor is easier or better than the alternative? I’m a n00b currently working on ”mastering” the scales and modes all across the neck. I have it pretty down pretty well so far, just not at instant speed yet. Some pros I can see with converting to minor-if you work out a tune ahead of time, it reduces your fingering patterns. Are the minor patterns also easier to play on guitar or something? The alternative is to just play the notes directly-like a melodic cells approach. So you’d hit some chord tones and some characteristic tones from the chord/mode you’re playing over. In my head, I see it as stage 1: you move to the chord tone fingering, and play your notes, just following the chords. Stage 2: you don’t have to move anywhere because all the notes are under your fingers, wherever they may be. So you move when you want to access a particular voicing, or when the melody demands it. This is only in theory, because I have not mastered either approach yet. Thoughts?
This is generally correct. The two big benefits of converting to minor are 1) only having to “think” in one set of shapes and 2) minor shapes (like minor pentatonic) are easier to play on guitar.
@@ChaseMaddox Thanks! That makes sense. I guess my confusion is based on how I practice in lessons-we jam over a chord progression that I don’t know ahead of time. It’s always random and could be rock, blues, jazz, whatever. So converting to minor on the fly seems harder to me. I’m sure it would get easier. I can see the advantage in the context of working out a tune ahead of time to add it to your repertoire. You can learn the chords and do the minor conversions ahead of time and stick to the simpler minor fingerings. BTW I ordered Pat Martino’s book and look forward to learning from it. Thanks for the lesson!
What happens when you’re playing by ear is you’ll quickly recognize/feel which of the minor shapes fits the harmony you’re playing over. It’s a very effective approach, glad to help! 👍
Mike Kaplan taught me this approach in our first lesson when I was studying at Miami Dade college Wolfson campus 20 years ago. It also works well with guitarists who might not have a background in jazz, but have played blues licks forever. The licks are already minor, it's just a matter of knowing where to plug them in. Mike would comp on Cmaj and tell me to play A minor blues. Just that simple illustration helped open up the door to chord/scale relationships. Of course, there was still more to learn, but it served as a good introduction, especially for someone like me who had minimal knowledge going in.
Pat Martino did not actually write the book "Linear Expressions." Tony Baruso compiled it, and although it has some accurate transcriptions of Martino's lines, Baruso makes a technical blunder when he tries to explain the method. Pat Martino used the DORIAN minor (ii minor), not the aeolian minor.(vi minor).
Maybe I've drunk too much of the Barry Harris Kool-aid, but this whole approach seems like it's expressed more succinctly and consistently in Barry's system. Am I missing something in Pat Martin's approach that Barry's doesn't encompass?
Both are similar and eye opening. I think you just study them both and whichever clicks for you is the way to approach first and foremost. I’ve been studying since I was a teen (43 now) and I’m amazed how all these approaches just are ways to open your brain to seeing the big picture
He obviously can't - judging by his squirmy reply. Does the method work? Or is it just like solving math equations in the middle of the song... I'd say, the proof is in the pudding - only when you eat it!
this is almost a pentatonics ponies safety net, BUT, one must still know how these tension are coloring the 3 types of chords Maj, Min, 7ths. which theory of chord construction is necessary, BUT this method creates a cruise control method that is safe if you know where your special landing points are .mahalo partner. well done
This helps. I had actually misunderstood his approach, thinking of it as harmonic generalization- that he reduces 251 cadences to one chord. Instead changes each chord to a minor. In bensons case it does sound to me that he he tends to generalize 251 cadences to one chord. And this would make sense given that he comes out of blue
Yeah I love this type of thinking. I think it’s a tool, not a preferred method. We know treating chords individually or collectively are both valid, based on tempo, taste, line shape. The beginners book Mel Bay for guitar actually had a chart, chords of the key, brackets with Tonic, Subdominant, Dominant (1,6,3- 2,4- 5,7) Funny how things come full circle. I use this for improv and songwriting quite a bit. Thanks for posting
Great Video! This approach definitely simplifies how to think about playing your lines over different chord types. I love the idea of converting everything over to minor, brilliant! And converting the Tritone sub to minor as well, love it! Will definitely be adding this to my playing.
man i spent so many hours with the first chapter of Linear Expressions! great lesson. Interesting how some of the stuff lines up with the berry Harris approach for instance what Pat Martino does with a E minor seven flat five is exactly the same way Barry sees it: as a Gmi6. Hey chase i’m just learning about the C minor six diminished scale. It’s the one scale berry Harris uses not only as a scale of chords but also as just a straight scale to build lines from have you tried to apply that scale over any of the Pat Martino conversion theory because it’s basically a melodic and harmonic minor scale mixed together? so you get the best of both. or is there some reason why that scale won’t work just like I need the other minor skills you mentioned for example over the first four bars of take the A-Train so an a minor 6 diminished scale??
I don't really think of scales at all. I used to early in my development and it was helpful for learning which notes are in certain chords, but it definitely slowed me down in developing as an improviser.
interesting. i guess i asked cuz you discuss using the harmonic and melodic minor scales at one point as part of the pat breakdown. anyhow, like a lot of people those were the only “jazz” approved minor skills I knew until I was made hip to the C minor six dim scale, which like I said is pretty much a melodic and harmonic minor scale put together. Check it out if you haven’t already! anyhow, sorry for the garbled question earlier-Blame siri.
Unbelievable detail and depth for such a short video. I can’t follow the explanations and examples as quickly as the video presents them, but it’s also the best way to get the concepts across. I plan on watching and rewatching this till I begin to grasp things. Thanks!
You basically memorize a type of chord in this video and the position you move to, to play the minor relative to it. Or you can just memorize the entire neck of the guitar and all the mode forms based off major, it’s just another way to see. The chord approach like this makes it more practical in live situations, where mode studies and neck dots will just make you sound scale oriented and less musical in a live situation 😊 especially since a major 7th is added a lot of jazz improvisation during minor runs, those pulling you towards harmonic minor temporarily 😊
Hey, Would be awesome if you just record yourself improvising with that kind of idea over A train. Appreciate talking part with some short examples but in the end it's about put it all together over some tune, isn't it?
Your a great guitarist but has a teacher you talk more than what you teach, we want a hands down teaching from the beginning and explicacion at the end of the video. I will garentee if you consider my suggestion you are going to have more youtube followers.
17:35 I’ve see Joe Dorio talk about this in clinics, you can go up another major 3rd (after ascending the initial minor third) to get lines for the one chord of the 2-5-1. This same concept applies to chord shapes as well.
Very intriguing, and as always you do a masterful job of simplifying, Chase. Question, though: As a beg / Int guitarist, I wonder to what extent am I using this just as a fretboard short cut to pull up the available notes for a solo on Cmaj7 by using the Am7 patterns, and then I revert to C maj licks? In other words, even though they share exactly the same notes, we know a Am7 and Cmaj7 have a very different sound. That's the missing, and perhaps unspoken, part for me. To what extent would you highlight the notes of a CMaj7 arpeggio, when using the notes of the Am7? In other words, it would be simplistic to say, just run some Am7 licks over a CMaj 7, correct? Thanks again.
I think the essence is that even if you think A-7, you'll still hit good chord tones for CMaj.7. So, you want to see which of those ways of thinking helps you play ideas that are better in your mind. For me personally, I come up with different ideas when thinking of CMaj.7 as CMaj.7 than I do thinking of it as A-7. Not necessarily better ideas, but I 'see' and hear different patterns and shapes depending on which I'm thinking of. Experiment with the approach and you'll see what I mean.
I think if we stick to any one METHOD that can be limiting. Of course it is important to really dig into it if you think that suites you and then apply it to your playing. However for example if you take a look at transcription of Pat's Blue Bossa, he is not really thinking Dmi7-5 ~G7alt~Cmi as 2-5-1 but rather pretty much 5-1 so he is playing G7 altered phrases over Dmi7-5 (he even plays A natural over Dmi7-5) just as many great players do like Joe Pass, Jimmy Rainey, Branford Marsalis, etc Branford says most of the time he does not worry about IImi7 , that is a passing chord to V7) So anything goes as long as it is swingin' and sounds good.
The ii- and v7 are essentially the same chord, so too the ivMaj7 and vii-7b5= all dominant FUNCTION. The I maj, iii- and vi- are all tonic function. Dominant functioning chord pulls your ear to a tonic (resolving) functioning chord. Doesn't matter if it's Mozart or sex pistols.
@@ToddBrooks-gm6hy What Sex Pistols song has minor 2-5- 1, let alone in major? Besides we're talking here more in jazz or contex of 4 chords and improvising, not some "power chord" stuff going from G5 to C5. Kid stuff.
I met Pat several times and I had the fortune to discuss directly with him this approach and to express my opinion. He was a super open person. I confess that "Minor Conversion" is not interesting for me because in my opinion it doesn't generate tension and interest in the phrasing. To me those substitutions are a waste of time while we can think in terms of intervals and colors (Ted Green books are a great example).
@@slydogtom I just expressed an opinion which didn't mean to offend anybody. I'm sorry if you felt offended, it was not my intention and no....unfortunately I'm not a genious (....and all).
@@simonegubbiotti9859 I’m sorry for coming off like a prick. I’m sure it says more about me than it does you. You do sound very knowledgeable and I wish you the best.
@@slydogtom Jazz in a way saved my life which took me in a long journey started 26 years ago. Since then I become a professional musician but more than that a truly passionate and constant student. Best to you also!!
Hey, weird request, would you look into a now somewhat-obscure jazz guitar virtuoso and country guitarist Clint Strong? He's from the Dallas/Fort Worth area and was very popular when he played with Merle Haggard, and even had an online instructional video. He was definitely an original and influential to those who know him. Not sure why people don't talk about him now.
He basically pulls aspects of harmonic minor into the natural minor when playing over the relative chord in a lot of cases like using an a harmonic minor phrase over a D7b5 chord
Ps: Does one of the ebooks cover ideas like that Gminor one? On a serious note, I was disappointed there was no Bebop Banjo😢 I am also inspired to buy some aviators and grow a ‘Martini Moustache’ hombre🏴
At 4:35 you say the Eb is confusing, and that the transcribed lines use E instead. This is because Martino did not use Bb major; he used F major. He treated G minor as dorian ii to F, not as relative vi to Bb major.
Saw this vid and picked up Linear Expressions. Lots of questions but wondering why he presents the scale as G Aeolian but all the activities use E natural which looks to me like G Dorian. Does it even matter? Just curious. Love your articulate and concise style. Hope you will reconsider not posting more. Thanks!
I’m also not sure why he presents the G Aeolian scale 🤷🏻♂️ Thank you! I’m still posting some on RU-vid but much more focused on my lessons on Chase’s Guitar Academy 🤘
As with your George Benson video, this one on Martino’s approach is great. You’re a great educator! Easy to follow, and lots of things to get us started with applying the concepts. Thank you!
Outstanding. I got into Pat's music some 30 odd years ago, mainly because my teacher was a huge fan (he even found a Koontz guitar - probably the only one in the UK), and he felt that Pat's approach was best considered as a major line approach (in spite of what's in the book and the long instructional video of Truefire), precisely because of the point you make about minor 6 sounds at about 5.20. So he taught by converting each chord not to its associated minor, but to the associated relative major to that minor. In your first example at 6.02, the relevant scale would be Ab major, for example, with the 4 notes you mention being an Ab major 6th arpeggio. This is actually a very intuitive approach for beginning jazz students, espcially if they are coming from a rock background. I'm also not convinced that Pat was suggesting you apply these 'activities' - he was once asked if he thought in terms of scales when soloing over changes and he said (more or less): 'jazz doesn't work like that - it's too fast to think like that, but you can PREPARE for it. I think that's the point of the activities, and I feel it's better to say not that a player is thinking of a particular chord, but is calling up what they have PREPARED for. That said, your approach is also a kind of preparation, and very accessible. Really enjoyable vid. Your analysis of the charts was so reminscent of my old teacher and an absolute joy. Thank you.
Thanks a lot for this extremely useful lesson. I have had "Linear Expressions" on my shelf for almost three decades and made no progress (with forms, activities, movements ...). While keeping in line with the (overwhelming - for me) details/basics of Pat Martino's approach you manage to simplify it in a highly usable way (I agree 100% with your remarks starting at 3:50). I also find the ideas around 12:30 / 19:30 (keeping everything in Amin / Gmin and add "interesting" notes).
Great lesson. I loved Pat and his genius, but as a teacher, his approach was too cerebral, I couldn’t make enough sense of it. I’m impressed you have it down! Nice work!
Thanks, this material is incredibly useful, and really helping me organise my improvising. You make Martino & Benson’s approaches a lot more accessible. It’s definitely working for me. Only problem I have is playing D minor over a Dm7 G7/9/13 where it resolves to C. It comes out a bit bland because the dominant function is not strong. Any tips on nuancing that? Maybe needs some chromatics on the way to resolving?
Great video, wonderful analysis, enjoy these concepts. That part at 4:50 where Pat was talking abour relative major to Gm, maybe is Gm6 = Bb (IV) so F as the home key? So E natural is there also, not entirely certain
Thank you! To me it seems like the line is based more in G melodic minor. It’s just confusing when teaching to say to think of the Bb Major scale and then not use it in the example.
Fantastic lesson Chase!! You the man!!👍🎩👍 Just to mention, the A flat, is the tritone of D, and also part of the family of dominants, that Barry Harris talks about.
Another triumph! In my half-assed Welsh/ half gypo way I think I was getting there (not to some of the deeper complexities, tho) via Gypsy Jazz as they often have little or no knowledge of theory and simplify/ condense ideas/ substitute minor 7-5s for dominant 7ths etc. Tell me if I’m beating a very crooked path, but by this thinking, I go from Dm7-5 to Fm6 to alt E7 arpeggios and all those lovely messed up sounds… Or maybe I should just lie down in a darkened room and pretend it never happened, hoping tomorrow is a better day? 😳😆 Particularly enjoyed the first Gminor scalar exercise. More of that please!)
@@ChaseMaddox oh man! What a tip! Just down loaded the 63page pdf. Kid on Christmas morning. I’d buy you a banana daiquiri if I wasn’ 5000 miles away😆🙏💫🏴
I'm not sure that would've really demonstrated the concept because you wouldn't be able to know which ideas I'm thinking of as 'minor', without also transcribing that and analyzing...which becomes a whole lesson on its own.
Thanks for the feedback. By the way, I went back and reviewed your “the important ii-V-I lines to learn first”. Great stuff. Lots of things are coming together for me with respect to harmony. Thank you. Robert
Didn't I say the relative minor of Bb is G-? Or do you mean the part where I'm talking about how the minor chord associated with Bb7 would be F-7 (ii-V-I: F-7, Bb7, EbMaj.7).
Unless there's some musical example at the beginning of the video, I'm not going to invest 20 minutes skimming through a video, if I don't even know if i want to learn the concept.
