PAT MARTINO CREATIVE FORCE PDF

He began playing professionally at the age of 15 after moving to New York City. He lived for a period with Les Paul and began playing at jazz clubs such as Smalls Paradise. He later moved into a suite in the President Hotel on 48th Street. He would play at Smalls for six months of the year, and then in the summer play at the Club Harlem in Atlantic City.

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Original: Jan 28, Pat Martino is a true guitar player and he can teach you how to think like one. Martino soon signed on with Prestige and recorded El Hombre , his debut as a leader and the first of a string of releases that included Strings!

With each title more adventurous than the previous one, these recordings pushed the boundaries of post-modern bop and established Martino as a major jazz artist. He joined the Muse label for Live! But in , fate intervened as Martino was stricken with a brain aneurism, and the reparative surgery left him with virtually no memory of family, career, or how to play the guitar. So you want to play guitar like a real hero? He points out in the introduction to his groundbreaking book, Linear Expressions first published in by REH Publications; buy it!

Finally, the guitarist comes face to face with the nemesis of every budding musical artist, namely, improvising over chord changes. In retaliation, Pat came up with an ingenious, simplified system that utilizes only minor scales to cover any type of chord sound, wrote it down, and the results are astoundingly empowering and totally guitar-friendly.

And for a truly cosmic example of how Martino sees music in everything, just Google or Wiki a gander at the plate of 64 hexagrams found in the I Ching, the ancient Chinese book of wisdom.

Martino detailed his perspective in a interview with Victor L. There are two types of lines: One is whole, the other is broken. Now, the guitar has six strings. And guess what? The quintet of melodic lines in Examples 1a through 1e cover the entire fingerboard with hip, two-bar eighth-note runs that fit comfortably into the trinity of basic chord sounds—minor, dominant, and major.

See how all three chordal climates reference a partial barre shape at the third fret? Where do these lines come from? Why do they sound so dang cool? How do they work over multiple chord sounds? Can we use them to play over chord changes? Glad you asked. Note how scale patterns 4 and 5 share the same Gm7 chord grip. Concentrate on memorizing the relationships between G minor scale patterns and Gm7 chord shapes first, and then get to work transposing the entire matrix to every other key.

See you in a week. Again, you want to approach these activities as pure melodic line form. Note: To my ears, these line forms tend to reflect a G Dorian, not Aeolian, tonality. To accommodate this, you may wish to shift perspective by re-numbering and relocating the G minor scale patterns in Ex. Start in G minor and learn each line in bite-sized two-beat chunks, two beats at a time, and append each new grouping to the previous one.

It may take months to fully absorb these activities and relate them to their chord forms, but believe me, the payoff is worth it as you gradually discover how to incorporate these lines into your own musical vocabulary. Given: C7 9,13 alt. Given: Caug—Play: A melodic or harmonic minor m3rd lower than root for augmented sounds. Apply these minor subs to any chord progression. You should be able to hear the chord changes in your lines.

Pretty cool, eh? But how about those unorthodox progressions with strangely named slash chords? Well, fear not, because now you can simply convert any major or minor slash chord to minor by learning to recognize the triads within and applying the appropriate minor line forms.

The following chart lists all 12 major and relative minor slash chords and their minor conversions. Witness how lowering any note in the 4th-fret Caug cluster shown in Ex. Since any augmented triad fingering inverts and repeats every four frets due to its symmetrical construction of major thirds, the same moves applied to the same fingering played at the 8th and 12th frets will yield the same results—two trios of related major and minor triads, albeit with each triad switching order and jumping to its next inversion.

The implications are huge. By repeating these six chord conversions at the 5th, 6th, and 7th frets 4 positions x 3 chords , and then repeating the entire process beginning first on the 8th, and then the 12th fret, one can produce every inversion of every major and minor triad. Take into account that this formula works with any three-note augmented chord voicing, and the six grids in Ex.

Likewise for the Edim7 fingering in Ex. Diminished chords invert every three frets, so repeating this quartet of onenote alterations at the 3rd and 4th frets will give you all 12 seventh chords 3 positions x 4 chords , and repeating the whole deal starting at the 5th, 8th, and 11th frets will yield every inversion of every chord.

From this we also learn that any diminished 7th chord is actually four different 7b9 chords, which can be converted to minor using the altered dominant sub rule from thing 6. Follow suit with the grids in Ex. Tip: Try this with any part of any previous activity. But check out how something that at first seems random reveals under closer inspection a pair of identical sixnote fretboard shapes played a tritone, or flatted-fifth, apart.

Work out your own displaced chromatic scales, then drop these monsters into your next jam and watch the fur fly! If you ask for the complex, I will give you the complex, but I also will give you the simple, primarily because the totality of it has to be seen holistically, otherwise you only have half the coin. Rhythmically and harmonically, it could have gone a hundred different ways, but Ex. For a rhythmic variation try starting the first two notes in bar 1 and the last four notes in bar 4 on beat three of their respective measures.

Absorb and assimilate these concepts and I promise that your playing will never be the same. Thanks for sharing, Pat.

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