The Secret To Jazz Vocabulary(No Bullsh*t) 

CONFESSION: I should've made it clear that E dorian has a C# which theoretically don't work over Cmajor7. The "right" scale is E phrygian over Cmajor7(3rd mode of the C major scale) BUT I find that "wrong" C# is a nice flavor to use as a note that stands out which makes nice boplines. We don't wanna be good boys only when we play lol! However I should have 100% have talked about what's "theoretically" right and how one can go against it via "wrong" scales. :) !!!!Now go play E dorian over C major!!!!

Excellent explanation, thanks! I read Martino's book many years ago, but for whatever reason I couldn't really understand what he was getting at. In a few minutes here, you've managed to break this down in a way that makes sense to me, cheers!

Straight to the point! This is the way things should be done. No fluff, no bull. Good job!

You are like me in the future. Better guitar player. Already quit weed. Starting youTube and business. Yes man. I am right behind you on these.

thank you so much, really enlightening!

That makes an INSANE amount of sense!

💯Best lesson

Real cool lesson, man! Thanks. I found out that I have the book sitting in my shelf for about 20 years totally forgotten. Gift of a guitar teacher back then. It’s time to give it a try.

Thanks for sharing, I really like the way you explained the concepts in Pat's book. You really cleared a lot of things up for me. I will consider taking some lessons from you when I have some free time

Thank You for sharing this information with us. Your explanation is pretty clear and of course your playing is awesome.

Great lesson with concepts that are easy to apply. The melodies really do start oozing out of your fingers.

My brother gave me Pat's "Linear Expressions" book in 1985. I was playing Country/Rock at the time. I couldn't find anything useful in it back then. Thank you for laying this out. Better late than never.

Great lesson. I have Pat’s book. Time to check it out again. Thanks for your great explanation. Much appreciated 👍🏿

Thanks. Those were some things I wanted to know

Loving these ideas. Plus I must listen to Pat Martino more. Thanks for the reminder.

Beautiful stuff, thanks for making this video! Barry Harris’s ideas really unlocked all of this for me. It made everything make sense to me.

I've been doing this for years. I think of the MM scale as the Dorian mode with a raised 7th rather than a Major scale with a flattened 3rd. Makes life a lot easier, and works just about everywhere. 👍

Bro. Game changer. Thank you.

Very interesting and useful...thank you!

Thank You, this is The most useful lesson I have had in a Long Long Long Time !

Great concepts, succinctly explained too! Subscribed :)

This is a great approach 👍 Thanks so much !

Very nice!

Very cool I have this book but never applied it as you described Looks like I’m taking a deep dive !

A brilliant video. Thanks.

That's super important lesson you remind us 😊 Thank.

amazing lesson :)

Great video. I have to buy that book.

great video ! you cleared up alot of things for me. this could have easily been a course at college. thank you

Haha this was good, appreciate the free knowledge man you killed it! 👍🏽🔥

💯👌🙏 I'm glad you lay it out this comprehensibly as I had been hoping forever that someone would give me a "key" to "unlock" Jazz harmony as learning the scales never made much sense to me or really: Almost zero. I guess I'm also thinking more in terms of the relationships that chords in a chord progression share - i.e. functional harmony, I guess, is the technical term here -rather than in modal ways. Where I'm concerned, the modes are sort of a side effect of what you're showing us here about Martino's way of approaching it. Another icon whose approach to Jazz always spoke to me is George Benson, of course, who'd lean heavily on the Blues scale and Blues altogether at the base of his improvisation. Really glad that RU-vid presented this and you in the related videos. Gotta hit that subscribe button right away... Thanks so much!

I have been relearning guitar after discovering Mick Goodrick's Advancing Guitarist, I am glad to come across your video, your enthusiasm inspires me and is also very motivating , really appreciate u sharing

That's an interesting way to make interesting sounds flow through your fingers!

Jazz hands! Good video.

great lesson!

Wow... this would be a one hour vid for most YT channels 😂 Greatly appreciate this wisdom! I personally have a really hard time remembering all the modes and their application and blah blah... I know it's useful, but if Pat was anything like me, and felt unnatural going the complex route, maybe the only difference between us is courage

thanks for that armin! really usefull

Very good stuff :)

thank you Bro! peace

Man this is the good shit. Really giving me Django Reinhardt vibes with your phrasing. Am excited to practice and employ this in my playing 🤝 thank you sir

🔥🫨 love it

I bet there are some golden triad pairs in this concept!

Thank you,Amir🌹🌹⭐🌹🌹

I've been learning about music theory for about 6 hours max. I've watched half of this, I feel like I've been ran over by a bus. Saved to watch later, I'll be back in a few months. Or years, no idea how deep this is on the iceberg meme of music stuff.

Coming from a jazz/blues background the E Dorian over C is a bit of a staple.since blues is a lot of minor scales over major chords and adding passing tones to sound way more sophisticated then we really are.

Thank you it was an amazing lesson... All the way from Nepal :)

Scales are great... for getting your musical qualifications, for music teachers and their students, for "academ-musicians" & music history professors. As Bird said (sorta...), learn them perfectly & study them intimately. Then, break their boundaries & tendancy to chain you down! Start using the ears, inner hearing, and inspiration... Start really improvising & making music.

I jus tried the minor two five one and sounds amazing ❤

I'll go get the book. I need help with Jazz so this definitely helps. Thanks!

You just solved it all for me man

Definitely going to expirement with different modes now, hopefully it helps achieve a more interesting sound.

This is what metal and rock fusion guys do - it’s a much easier approach 😊

Awesome video man. Now im going to listen to a bunch of Pat Martino.

If it wasn't for this method I wouldn't be able to play jazz at all. Great video!

Good video

you know the feeling when you feel everything clicks and pieces together ? well this video made it happen, especially with the E dorian over Cmaj7, i was like didn’t he mean E natural minor ? until i tried it myself great content

This is a great concept! I’m sure Larry Carlton does a similar thing with thinking of a 5th above e.g. C7 chord = G7 triad to give it a different quality and feel 👌 Will start practising the different ways of playing the not so obvious scales/chord tones over chords e.g. C minor pent over Cmin7 😅

You have a lot of mana to constantly conjure spells like that.

Actually, as great as Martino is/was he once said he got this main idea from Wes Montgomery. Wes didn't have a clue about scales or theory , couldn't even read chord boxes BUT he had something far more important, he had perfect pitch, like his brothers and I have an interview where he is asked "'How do you interpret a G minor chord?" His answer was "'I don't practice scales , I dont know any...I practice TUNES, never scales & I don't know as many chords as others... so if I might play a G minor chord but it won't anything like the G min chord you might know...If I play a phrase over it it won't be from a G minor scale..it might be more a C7th but with added notes"'

Here’s how I think about playing over C7: 1-3-5-b7 are the consonant chord tones. I start by adding in b3, which must always and only resolve upwards to 3, and also b5 (both notes from the Blues scale). Next I add in 2-4-6 all from Mixolydian. So now I have a hybrid Blues scale + Mixolydian for 1-2-b3/3-4-b5-5-6-b7. That’s the 9 “safest” notes. The last 3 notes are b2/b6/7 which can also be used as part of chromatic lines. So that’s how I use all 12 notes over a Dominant 7 chord without getting trapped into scales. I can think that way (in terms of scales) but I now prefer to classify all 12 notes in terms of how each one of them can function against the current chord quality. Example: I don’t use 3 against a Minor 7 chord, but I do use b3 against a Dominant 7 chord but either immediately resolving upwards to 3 (never going downwards from 3 to b3), or only using b3 but thinking of it as #9. Why get trapped into scales when the chromatic scale has everything you need?

This is pretty interesting

Summary: 1. Over C7 can use G minor Dorian 2. Over Cmaj7 can use E minor Dorian or A minor Dorian 3. Over a minor 2-5-1 in C, can use F minor Dorian over both the 2 and 5 chord

nice concept..there is also a vid that i think he uses about 4 different Alt scales on a dominant 7th.. as for Cmaj 7 give me G 6th dim scale any day. that Eb must be heard

Bravo bravo great revelation knoledge... now lets play,,,

Hi ! At minute 5.20, I was reflecting on the fact that A dorian on CMaj7 works well ( A dorian on Cmaj7 is C lydian ) but not as well as E dorian which corresponds to the D major scale.....

Cool video

A very good topic to explore! But Pat Martino really didn't even start to describe how he approached note choice, right? I remember he based his note framework around the diminished tonality. As we know from Barry Harris theory, that can act as a sort of "slide rule" for any extended tonality. So how do we really connect the dots to develop a generic way to proceed?

On the II V minor in C. Is it also possible to think it as F dorian on Dmin7b5, and on G7 F Dorian with a maj 7 (or Ab melodic minor) ?

Awesome vid by the way, i am from Pat's neighborhood in south philly

Lol. Modes

Guitar sounds 😢loveley, what guitar is it please ?

But what to do over major 2-5-1?

This is interesting. Pat Martino had a very reductionist approach and so did Joe Pass (he basically only ever throught maj, min and dominant ...e everything else was just a flavour not note).

That’s how I always thought about that. It just was easier and felt more natural, cool video. It was cool to know Pat used similar approach

Brilliant video and like you’re humanity and true and real ..like me so keep going on this vibe ..are you on Patreon ? Johnny from London

12 Tones... 2 or 3 Tones can name or spell out the primary chord with 5 other colors to Raid The Chicken Coop..

Brother you said that Pat martino mixed the Dorian and melodic min but how ?Play show us how to

What happened to the audio?

Wow just tried this concept on Just Friends, sounds instantly better!! Thank you 🙏🙏

Hey brother at 3:15 its an A-7b5

Fact! Trumpet players often used minor conversions before Pat mentioned them.

F minor 7 - Abmaj 7 ...why does that work again? Is it the relative minor?

Väldigt bra lektion verkligen inget skitsnack!

Chord subs ...🎸👍💎these are some new ones..This was Brilliant.THANKS..Might hit up.on some lessons

I still dont get it...

You left out learning the Fallopian Harmonic Minor Scale 😅

as a beginner, this all just hurts my head tbh

Pat Martino had the ability to play phrases beyond most peoples ability but he was a terrible teacher and talked in hippy waffle that confused everyone including me.

Great explanation. I just wouldn’t play Emin Dorian on Cmaj. That C# will sound off. Instead try Amin Dorian for Lydian sound over CMaj. Also, their are ways to play A Aeolian to sound hip over Cmaj.

I get almost everything you said. but one question professor. but why (or how) does F Dorian work over G7b9? F Dorian is F G Ab Bb C D Eb G7b9 is G Ab B C D E F why the two different notes dont matter? 🤔🤔

is that a swedish accent i'm hearing

I am a huge jazz fan…. And a huge jazz hater. I love the spice but hate the noodles!😂

Great video but Bbmaj7 isn’t the same as Gm6 it’s Gm9.

rn im playing grateful dead music. A lot of triads and chords tones. I thought jazz is using triads and chord tones with chromaticism? Why play different notes or a different scale is it because of the sound? nothing to do with theory?

I tried this. Lol, it feels like cheating on a test.

0:20 I'm sorry, I'm not trying to ruin your video, but jazz has never EVER been about scales. Pat may have studied with scales, but most jazz musicians focus on the chord tones.

Everyone makes improv sound like its some magical magicy magic. Its literally learnt vocabulary that u learn to play a bit around with. Incredibly hard to do at a high level, but it aint giving birth to new music on the spot. Not in "that" way anyway.

I totally disagree. Obviously Pat has his own style, but to say he changed things? lol Just because he play outside doesn´t mean he´s doing something very musical. There is people that did what he does way before his time. And to be fair almost 90% of what he plays lacks musicality. That´s why most piano and trumpet players are way more musical than the average jazz guitarists, and Pat its just an extreme example of what lacks of musicality looks. Julian Lage is a perfect example of playing outside or being creative but at the same time be super musical. Just because a phrase its hard to understand or doesnt sound familiar, doesnt mean it´s good. People now looks to sound more "outside" and "complex" than actually play music and express something. Meanwhile Julian Lage is playing Bach arpeggios and pentatonics combined with some chromatics (playing with an incredible amount of difficulty) and he´s giving a whole soul to the song itself, not just his improvisation turn.

Pat Martino is too deep he doesn't stick to the program he always spaces out talking about the universe and spiritual stuff I have several of his DVDs and have to come back later and try to understand what the heck he is saying. He start out as music theory then space out and talk about the Universe.

Who thinks 5,000 scales are necessary to play jazz? Answer: Nobody. Dorian? Martino never used that term in his life. I stopped the video after hearing 2 fallacies in such quick succession.