PLEASE NOTE: At 02:38 Form 3 as a typo in it, BUT is corrected on the downloadable materials. Thank you to the people that spotted this so it could be addressed and thank you for watching!
This book gave away Martino's thinking in 5 patterns. Crazy! Still gotta study a few years. Important book in my life. Then, you improvise and do YOUR thing with them. Give more feel and syncopation than he does. I saw Pat 15 years ago in Boston. Ever jazz guitar guy should study him. Guy is a God. R.I.P. Truly a giant. No one at the show! It was for the Wes tribute album w Full House etc. He would make eye contact w me and nod. Thank God I got see him do his thing.
I really struggled with this book at first. I’ve had it for 4 or 5 years. I’ve used the Steve Kahn Pat Martino transcription book also and I’ve learned some of Pat’s lines note by note, from recordings, but can’t seem to get his sound into my playing. A couple of months ago, was inspired by one of his former student’s TH-cam video to pursue his sound again. I grabbed this book and went after the first five exercises. Slowly, but surely I’m starting to get these ideas into my vocabulary and playing them on gigs. Thanks for making this video, Nathan! Glad to hear your take on the book.
My teacher went " YOU WANT MARTINO" .....dropped it on the stand. It literally gives ya Martino. Lol. Revealing book. Like transcribing a solo over one chord!!!!¡ He uses the same patterns starting over chord subs over altered chords and "Presto" your playing outside AF. Your gonna need to master Altered shit b9,#9, b5,#5. Or at least fretboard . Where to start the patterns over ALL 12 alt. Chords. Have fun . He sticks w the patterns. His thing. Eventually. You won't. Because these are 'his' thing. Not yours. And there are endless concepts for playing and this will morph into what you do over years of jamming
Comment- part 2: I agree with breaking up the activities. The descending lines are very cool, so I sometimes practice a blues starting with one of descending lines and follow that with an ascending “chunk”. I’ve thought of moving a chunks starting on a different string, but will save that until later. I have enough to keep me busy for a while😅
Take a look at his "Octavistics" method. It's basically octave displacement, or Barry Harris's "pivoting," but an in-depth analysis would be dope. Thanks again!
Hi! Im having a problem wich maybe you can help me with! If I play lets say a 251 in G MAJOR, The first activity is Aminor activity both for A and D7, but when I convert To E-mionor and play the same activity over the Gmajor 7 theres a C# instead of a C!?🤔
Also, if I just keep playing in A minor conversion instead, its like a A dorian( + D# And G# for flavour)wich ofc fits to Gmajor, so should we really convert the one Chord to its Minor conversion?
I’m not quite advanced enough for this lesson, but as someone who’s basically self taught and learned the minor pentatonic as my first scale - I can really relate to Pat thinking of everything as minor 😂
There is a typo on the screen with the chord diagram, but that is corrected in the downloadable materials! Probably why you having some trouble! That I play is correct though
Hi, the neck pickup is sounding great.It looks like a charlie Christian pickup ,right ? I would like to try it also. Is it a Lollar or another brand? johann
*Form 3* (2:38) The chord played is a semitone down from what's in the chart and the scale shape played is a C Dorian, but the one in the chart is ... not that.
Yes! The Lydia sound is a great choice, but it’s only really accented when you land the the #11, otherwise it acts more as a passing tone for a pivot tone.
Honestly not 100 percent sure. But I kind dig some of the weird notes you get like play the G Dorian over Bbmajor, and getting the #11 sometimes. Transcribing Pat sometimes he does mix Dorian and melodic minor as well. I think it’s about the fingering or the line along with the phrase being played.
So activities are just another way of saying lines that can outline chord tones? The idea is if you can visualize minor7s across the fretboard, you can always play some relative minor lick that goes with the progression?
Almost every time I see a lesson about Pat's approach to a ii V I, it is always a major 2 5. Could you go into detail about his approach to a minor ii V i? I am guessing it will be a minor 4 to a minor b6 to a minor 1.
I think we have to start with the bases of scale Major with the system 3, 1, 3 and the tecnic legato. I'm sorry, my english is not very good. I'm Spanish. Thank you
Yes for sure! They are 100% dorian phrases, however it is weird because the minor conversion stated in the start of the book related it back to playing minor off the 6th... I took the path of trying to just lay out the book in this video to guide people through it (expect towards the end). It is kind of cool getting the lydian sound out of the Bb though! Some interesting phrases!
At 7.06 you say Dom conversion is built off the II ( you mean II V I ) In your other lesson you say it’s built off the V ( meaning the 5th note of the Dom chord ) Not trying to be pedantic but perhaps you should stick to one description so as not to confuse the unwary…..
This was based on Pat's lines and concepts. A very useful book. Even if he wasn't involved. Pat was directly involved in "Creative Force" books & videos.
Yes, I understand how this is frustrating. However, this is due to me only having one guitar durning the filming of this video. Recently i was able to save up enough money to get another guitar (my first ever second guitar!) that has fret markers which I will try and use more often in future videos
That is debated, but people do use this book. I wanted to make a lesson as a guide for those people who want to internalize the info presented in the book
PLEASE NOTE: At 02:38 Form 3 as a typo in it, BUT is corrected on the downloadable materials. Thank you to the people that spotted this so it could be addressed and thank you for watching!
This book gave away Martino's thinking in 5 patterns. Crazy! Still gotta study a few years. Important book in my life. Then, you improvise and do YOUR thing with them. Give more feel and syncopation than he does. I saw Pat 15 years ago in Boston. Ever jazz guitar guy should study him. Guy is a God. R.I.P. Truly a giant. No one at the show! It was for the Wes tribute album w Full House etc. He would make eye contact w me and nod. Thank God I got see him do his thing.
Been using this book for the last 20 year, purely metaphysical, gives you freedom , Deep love for Pat
I bought this book because of your video. It's opened a whole new world of options to me. Thanks for the recommendation and great content.
I really struggled with this book at first. I’ve had it for 4 or 5 years. I’ve used the Steve Kahn Pat Martino transcription book also and I’ve learned some of Pat’s lines note by note, from recordings, but can’t seem to get his sound into my playing. A couple of months ago, was inspired by one of his former student’s TH-cam video to pursue his sound again. I grabbed this book and went after the first five exercises. Slowly, but surely I’m starting to get these ideas into my vocabulary and playing them on gigs. Thanks for making this video, Nathan! Glad to hear your take on the book.
This book blew my mind when I first encountered it.
Same here
Same here!
My teacher went " YOU WANT MARTINO" .....dropped it on the stand. It literally gives ya Martino. Lol. Revealing book. Like transcribing a solo over one chord!!!!¡ He uses the same patterns starting over chord subs over altered chords and "Presto" your playing outside AF. Your gonna need to master Altered shit b9,#9, b5,#5. Or at least fretboard . Where to start the patterns over ALL 12 alt. Chords. Have fun . He sticks w the patterns. His thing. Eventually. You won't. Because these are 'his' thing. Not yours. And there are endless concepts for playing and this will morph into what you do over years of jamming
Thanks!
Ok I think I got it down now! Thank you again!
Wonderful lesson Nathan 👍🎸 I've been working out of this book for quite awhile and really love it! Best to you brother, thanks so much!
Thank you so much! Always appericate your comments and support! Happy practicing!
Great recital today Nathan you are pretty killin
Thanks Grant! Remember to subcribe to Patreon!
Very well presented and great playing as well. Interesting concepts.
A great lesson !
Thank you so much! Hope it helps!
Wonderful lesson
Comment- part 2: I agree with breaking up the activities. The descending lines are very cool, so I sometimes practice a blues starting with one of descending lines and follow that with an ascending “chunk”. I’ve thought of moving a chunks starting on a different string, but will save that until later. I have enough to keep me busy for a while😅
great video, I struggled with this book in the past.
Killer recital today!
Thanks so much Evelyn! Appreciate you being there!
In my life was absolutely beautiful at the recital today!!!!!!!!!
Thank you Scotty!!!
Outstanding lesson
Loved it , 😎!
Excellent lesson!
Ellegance! ❤
Thank you! Pat is the man!
Great video thanks a lot
Take a look at his "Octavistics" method. It's basically octave displacement, or Barry Harris's "pivoting," but an in-depth analysis would be dope. Thanks again!
Hi! Im having a problem wich maybe you can help me with!
If I play lets say a 251 in G MAJOR, The first activity is Aminor activity both for A and D7, but when I convert To E-mionor and play the same activity over the Gmajor 7 theres a C# instead of a C!?🤔
Also, if I just keep playing in A minor conversion instead, its like a A dorian( + D# And G# for flavour)wich ofc fits to Gmajor, so should we really convert the one Chord to its Minor conversion?
Practiced theses lines like licks, without thinking, after few years your fingers will walk on their own :)
I’m not quite advanced enough for this lesson, but as someone who’s basically self taught and learned the minor pentatonic as my first scale - I can really relate to Pat thinking of everything as minor 😂
I’m having a hard time getting the scale form for Form 3. Something doesn’t seem right to me. I’ve got all of the other forms down.. but hmmm 😪
There is a typo on the screen with the chord diagram, but that is corrected in the downloadable materials! Probably why you having some trouble! That I play is correct though
Hi, the neck pickup is sounding great.It looks like a charlie Christian pickup ,right ? I would like to try it also. Is it a Lollar or another brand? johann
Hi! It’s a lollar, love it so much!
*Form 3* (2:38) The chord played is a semitone down from what's in the chart and the scale shape played is a C Dorian, but the one in the chart is ... not that.
Thank you for pointing this out, it has now been corrected for downloadable materials! Sometimes things slip through, but I'm happy you caught it :)
With the Gm7 - C7 - Fmaj7, if you use the Dm7 for Fmaj7 instead of sticking with the Gm7, doesn't it end up giving you a B natural or F Lydian?
Yes! The Lydia sound is a great choice, but it’s only really accented when you land the the #11, otherwise it acts more as a passing tone for a pivot tone.
Why does he show an Aeolian minor structure, but then be plays Dorian over it? Am I incorrect?
Honestly not 100 percent sure. But I kind dig some of the weird notes you get like play the G Dorian over Bbmajor, and getting the #11 sometimes. Transcribing Pat sometimes he does mix Dorian and melodic minor as well. I think it’s about the fingering or the line along with the phrase being played.
Hell yea
Hell yea!
best book!!
Word!
It's a great one!
So activities are just another way of saying lines that can outline chord tones?
The idea is if you can visualize minor7s across the fretboard, you can always play some relative minor lick that goes with the progression?
Almost every time I see a lesson about Pat's approach to a ii V I, it is always a major 2 5. Could you go into detail about his approach to a minor ii V i? I am guessing it will be a minor 4 to a minor b6 to a minor 1.
Yes, should have included that at the end, but you are right in the subs. d-7b5 = F min | G7alt = Ab minor | Cmin6 = Cmin6
@NathanBortonMusic Thanks, Nathan!
Great! Which pickup do you use in this guitar? Is it a Charlie Christan pickup in humbucker format?
Thanks so much! I am using the CC Lollar pickup :)
Are you planning a second part?
clicked on this video because i love that mic
the m88 is a great mic!
I think we have to start with the bases of scale Major with the system 3, 1, 3 and the tecnic legato. I'm sorry, my english is not very good. I'm Spanish. Thank you
They are related to F major not Bb as they are Dorian Mode phrases
Book has mistakes
Yes for sure! They are 100% dorian phrases, however it is weird because the minor conversion stated in the start of the book related it back to playing minor off the 6th... I took the path of trying to just lay out the book in this video to guide people through it (expect towards the end). It is kind of cool getting the lydian sound out of the Bb though! Some interesting phrases!
@@NathanBortonMusic You did great job!, I think its a typo in book but there is no way to prove it now. Starting on different string is a great idea.
Resolve the lines as II-V-I
and you have more vocabulary .
Yes! great starting points for language!
Pat played the lines Tony transcribed them ...Don Mock helped..the poor accidental and silly grr diagrams were all REH ..
I like those silly diagrams.
At 7.06 you say Dom conversion is built off the II
( you mean II V I )
In your other lesson you say it’s built off the V
( meaning the 5th note of the Dom chord )
Not trying to be pedantic but perhaps you should stick to one description so as not to confuse the unwary…..
I could see how that could be confusing for some, thanks for the perspective!
Pat claimed he wasn’t involved in making this book.
All his lines.
This was based on Pat's lines and concepts. A very useful book. Even if he wasn't involved.
Pat was directly involved in "Creative Force" books & videos.
@@CRP2426 Nope all his..Ask Barry Greene the true expert on this book.
Teachers should use guitars with markers.
Yes, I understand how this is frustrating. However, this is due to me only having one guitar durning the filming of this video. Recently i was able to save up enough money to get another guitar (my first ever second guitar!) that has fret markers which I will try and use more often in future videos
Barry Greene has revised the chord forms ...his are more versatile and practical.
May I ask which text/book of B.Greene you are referring to?
@ Barry Greene video lesson "The Pat Martino Lesson" shows much more practical chord forms than Pat's LE book...really worth checking out.
Guess what. It's not Marino's book. He had nothing to do with it. That's what he said.
That is debated, but people do use this book. I wanted to make a lesson as a guide for those people who want to internalize the info presented in the book