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jazzmusicgrBlog
เข้าร่วมเมื่อ 13 มี.ค. 2011
Bobby Timmons - Samba Triste
A beautiful performance of "Samba Triste", by Bobby Timmons
enjoy...
ΜΟΥΣΙΚΗ ΤΖΑΖ (ΚΑΙ ΟΧΙ ΜΟΝΟ)
www.jazzmusicgr.com/
Αν σας αρέσει πολύ κάποιο από τα δισκάκια ή βιβλία που σας παρουσιάζουμε, αγοράστε τα! Στηρίξτε τους καλλιτέχνες και τους συγγραφείς! Ανταμείψτε τον κόπο τους! Η στήριξή σας θα εφοδιάσει τους δημιουργούς, όχι μόνο με πόρους, αλλά και με κίνητρα για να συνεχίσουν να είναι δημιουργικοί.
Όταν μία μουσική μας ενθουσιάσει, μας κάνει να νιώσουμε καλά, αλλά το κυριότερο σέβεται την νοημοσύνη μας και την μουσική μας παιδεία, ΤΗΝ ΑΓΟΡΑΖΟΥΜΕ. Στηρίζουμε τους καλλιτέχνες που πραγματικά το αξίζουν.
enjoy...
ΜΟΥΣΙΚΗ ΤΖΑΖ (ΚΑΙ ΟΧΙ ΜΟΝΟ)
www.jazzmusicgr.com/
Αν σας αρέσει πολύ κάποιο από τα δισκάκια ή βιβλία που σας παρουσιάζουμε, αγοράστε τα! Στηρίξτε τους καλλιτέχνες και τους συγγραφείς! Ανταμείψτε τον κόπο τους! Η στήριξή σας θα εφοδιάσει τους δημιουργούς, όχι μόνο με πόρους, αλλά και με κίνητρα για να συνεχίσουν να είναι δημιουργικοί.
Όταν μία μουσική μας ενθουσιάσει, μας κάνει να νιώσουμε καλά, αλλά το κυριότερο σέβεται την νοημοσύνη μας και την μουσική μας παιδεία, ΤΗΝ ΑΓΟΡΑΖΟΥΜΕ. Στηρίζουμε τους καλλιτέχνες που πραγματικά το αξίζουν.
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Pat Martino Creative force part 3
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Part 3 of Creative Force Video Lesson of Pat Martino (REH)
Great Sam Jones on bass, masterly Jimmy Cobb on drums. Wonderful unpretentious version. Gotta love Bobby Timmons!
Thank you Pat! In 40 yesrs I play guitar I never thought to this way of seeing these kind of 7 dominant chords as all sons of diminished chord. You are great!
to say in an unusually elaborative manner, Martino sums analogously topical formatives in a most thesauric collation of poly-syllabic considerations at any one juncture. Truly a marvel among all uniquely creative hominids, I would say, of any reputable societal aggregate.
If you say so ??????
love this track. it's perfect
why does he say “the entire fretboard in the same key” and not “in the same chord”? So, he plays the same scale for the entire key? doesn't he play changes??
this is fucking amazing, I'm upset no one told me about this before
wtff yesss my mind is blown ty pat!
You could consider buying it and support the artist and the people who produced this DVD
brilliant
Great playing... but the sweater?
that's a magnificent sweater
lol...
hinting..Joyous Lake!
substituting V7 for a IImin dorian ... with outstanding licks played great
This s teaching? Too fast
Keibee Votran www.scribd.com/doc/13612997/Pat-Martino-Creative-Force-1#scribd
+Keibee Votran it is not about fast or slow. He said it himself, those lines are melodic lines of "personal use" it means that he just gives you an example to apply on the chords not necessarily gives you what you need to play. Actually his teaching is great.
+Keibee Votran ...you're too slow.
+zakaria azhari ..Great statement. You get it.
+Pete TheMan ...thank you.
man will you slow yo ass down ... jesus christ
Hahaha! That made me laugh. Yeah, Pat really burns and that's his secret. It's the overall effect created by long, fast flowing phrases played with superhuman technical precision. That's what makes his sound so exciting.
Yeah, he doesn’t explain in more detail. But in the books that accompany this video there is staff for all the runs he plays.. I think it's all just Dorian: E Dorian (Em7) with passing tones played over A Mixolydian (A7) and so on for all dominant 7 chords.
When Pat plays, say, Em7 over A7, it sounds like A7 runs to me. I think partly because the chord tones of the A7 tend to always fall on down beats. It's subtler than just blowing Em dorian , he plays the A, C#, E, G notes almost always on the downbeats - just like Charlie Parker would tend to do.
@@juancpgo these are melodic minor scales
@Dan R. "You might as well just play the major scale of the 1 chord but position your hand 2 frets up... you get the same notes. Way over-complicated." Not really over-complicated, you either play a 5th up from the dominant or a major 2nd from the tonic. I'd say if you're playing over a dominant, it's probably easier to convert directly to a minor seventh a 5th higher than determing the tonic and then the super tonic, in my opinion.
I think Pat is actually saying he doesn't play scales, or at least doesn't think in terms of scales. He plays from his 'experience' as he puts it, which means knowing what works from being on stage so much and developing his ear. That of course does not mean he hasn't sat down beforehand and worked stuff out. His unique sounds comes from thinking logically about the guitar neck and playing off chord shapes, which is what Joe Pass did. They all did. However, Pat uses passing tones (chromaticisms) and his lines sound more linear (modal), than derived from chord shapes. That works well and sounds "in". For example, if you ran a chromatic line from B to G, then F to D over a G7 alt, it will fit in spite of the fact that some of those notes sit outside the chord. Why? Because you are targeting chord tones. In the words of Warren Nunes (and I paraphrase), "its not where you are, but where you going that is important". A metaphor might be to think of playing jazz as a chromatic scale with notes being foot soldiers, chord tones being Generals, and melodic content the strategic victory. But all this gets away from what Pat is really good at ... and he alludes to this briefly, that of rhythmic ideas. He is not only highly rhythmic in a metronomic sense, but he has his hallmark, needle-stuck-on-vinyl, tension moments. He builds these into high states of tension and then releases them. So much of jazz is about building your solo, creating interest by contrast, and holding your audience on the edge of their seats by never allowing them to guess what comes next. There is resolution, but it's never final. Sorry, If I rambled on. I don't usually do this, but I have listened and studied Pat for many years and couldn't resist giving my (rather over-sized) tuppence worth.
que pena
to have the guitar if not make it sound
para que tiene la guitarra si no la haces sonar..........
You might as well just play the major scale of the 1 chord but position your hand 2 frets up... you get the same notes. Way over-complicated.
All the videos from pat the audio quality is the worst haha
Thanks a lot for posting all these!!
He is only speaking in terms of a minor MELODY. He doesn't think in terms of Natural minor or Harmonic minor or even arpeggios. He plays a minor melody thats a Fifth from the root of a Dominant Chord.
my brain is about to explode
math always looses. heart wins
grabba dubbu dubu daaah!
when he says to play a minor 7th a 5th from the root is he talking about a natural minor scale or arpeggio??? im confused lol
automatically my dear Watson
automatically
dudes! it is highly recommendable to learn the diminished concept! super explenation of mr martino!
Pat is not to be called a musician- he is a professor!
where can i find part 2?
where can i find part 2??
You can find it on the guitar itself.
You can get the DVD online creative force
@@chrisbatson3402 th-cam.com/users/jazzmusicgrBlog
The Best is PATTTTT
This is an extremely useful way to think of chord-construction. By just altering one tone of the dim-chord you can quickly build up almost every useful chord plus its inversions. The diminished-chord-fingering is just the virtual anchor.
Hey man, thx so much for sharing this great stuff but im wondering if you can share the second part of this educational video talking about the Augmented Concept of Pat
This is some real genius information from an icon of jazz guitar...and there's only 636 views?
Brain expanding, its not just the subject, but he teaches it so well, even if you knew most of the subjects, he would give it to you in a totally different way.
amazing!