Thank you! It's something I've worked on a long time but made sense in application much later. Once you have the patterns they are easy to adapt making your own.
I just started looking at this yesterday. One thing that confuses me is he says to just play G minor over it, but like half the notes are not in the scale he provides. I know to use methods like chromaticism, enclosures, etc, but he plays so outside the scale it hardly resembles the scale at all. Am I missing something?
Hey stevens7920; yes, it's true--Martino's lines are very "outside" but they are actually excerpts of different minor scales, just not the the standard Dorian with all the notes in F major. This takes a while to internalize how the melodic minor scale or a b2 or natural seven even works there. I remember the first time a friend showed me this method, I just ignored the lines because they sounded crazy. But as years went on I investigated altered minor scale like melodic, harmonic, bebop (I already used harmonic like most young rock players) and even how diminished or whole tone relates to it. Gradually my ears started to get used to this zaniness, and I realized this is what Pat Metheny, Scofield, Lage and of course Coltrane, Miles, Chick Corea were all doing! It's a type of playing that I love, but a lot of folks think too dissonant--absolutely a matter of taste. But Martino's idea is so brilliant and you can use it in any style of music to get more natural extensions, even if you stay in the basic mode! I hope that helps. Happy playing:)
Thank you very much. I have memorized 5 activities but gave up on line studies since I was lazy and wasnt sure how to apply them. I guess I should try again and have some fun with your awesome tip!
Hey Andrew. I totally get that! Stay tuned and I will have another lesson soon about how they get applied to different things besides just the ii Vs as well:) But this method has really made it easier for me to get around tough tunes like Moment's Notice and Tune Up, etc.
Apply to Gm7 or C7 tunes (as being the One (I) chord. Like a G minor blues, or a C7 funky blues/jazz/rock one chord jam thing.. Mix it into your existing rock and blues playing.
All the Martino lines are designed to be Dorian minor and the relative minor is Aeolian (natural min.), so they work best over the ii and V of the progression and then resolve nicely to the I. You can use this idea, however, to play over the I, but if you play the iii min. instead, so in F that would be A min. Dorian and this gives you the 3,5, 7, and 9 or 2 as well as the b5, which can be nice. But playing the relative minor (Aeolian) is also a great idea. This would give you the 6, 1, 3, 5 and b5 as well as the b5 and other tones like the b3 with his patterns.
@@ryanolivermurphey if you know who Sheryl Bailey is she has a similar thing called the microcomic bebop line that connects arpeggios via a bebop scale but also uses the approach if playing over EbMajor play Cm Dorian
Yes, and how that can work to enhance multiple chords, depending on how you place it. For example, if you play F dorian over G7 it gives you the b9, #9. Also, if you modify dorian to mel. minor you will also get a dim. whole tone scale a half step above the root of G, so Ab mel. minor=G7+9. In Martino's world, every chord can be reduced to a minor idea:)
It doesn't have tabs but he has a really cool system I've never seen using a fretboard with numbers circled for each note in the pattern. It's easy to follow because all the patterns are eight notes.
Just got the book. Page 11 completely confuses me. How can anyone produce something this bad is beyond me! What on earth are those numbers assigned each scale degree? Why are they in this order? What do they mean? Why is there LITERALLY NOTHING that explains them?? How can someone actually write a book that is this completely not explaining anything it's showing???
I'm pretty sure it was published way before standard tab notation was widespread. (Might be wrong tho) The notation is simple when you understand it. It's kinda like those picture books where you trace out a drawing by following the numbers. The numbers aren't scale degrees but the order you play the notes in. Start from 1, 2, 3 and so on. Pretty confusing and not something I like tbh, but helps you visualize the fretboard.
@@Ssssssshhha I assume you know what I'm talking about. It's not the actual notation but the strange numbers written on the fretboard illustration. (1 2 3 4 5 68 9 7 10 11 1214 etc... and the second one with that weird 1013151114 sequence! ) what on earth is this? Why is there absolutely no explanation?? Who edited this book anyway!!??😆 but I think I see what you mean now. A sorta primitive form of tablature! But not the frets but the order you play it, is that what it is?? I'm going to just read the notation! I still don't know if that's even what those numbers mean.
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You nailed not only the notes but the rhythm. That crazy drive that Pat's lines had.
Appreciate the video my dude. This is my intro into Pat Martino - cheers!
Really awesome content 👍🎸 thankful to have found your channel, I'm subscribed!
Thanks a lot! I just got the book and am learning the inversions. Great to see some demonstrations!
Thank you! It's something I've worked on a long time but made sense in application much later. Once you have the patterns they are easy to adapt making your own.
I have spent lots of time incorporating these lines into all kinds of music like pop, blues, jazz, 60s rock, Jamband, unusual usages.
It's amazing how versatile they are. I've used in many bluegrass situations too, any time there's a minor song or bluesy situation.
Thanks! Excellent explanation.
Oh my god! That cat, how sweet !!🥰😍😍
You are so kind
Thanks for the great demo of one of my favorite sections of Linear Expressions.
Thanks Cliffird! I have always been intrigued by Martino and his ideas really helped me get around the guitar a lot easier:)
Great lesson.
2:21 kitty
I just started looking at this yesterday. One thing that confuses me is he says to just play G minor over it, but like half the notes are not in the scale he provides. I know to use methods like chromaticism, enclosures, etc, but he plays so outside the scale it hardly resembles the scale at all. Am I missing something?
Hey stevens7920; yes, it's true--Martino's lines are very "outside" but they are actually excerpts of different minor scales, just not the the standard Dorian with all the notes in F major. This takes a while to internalize how the melodic minor scale or a b2 or natural seven even works there. I remember the first time a friend showed me this method, I just ignored the lines because they sounded crazy. But as years went on I investigated altered minor scale like melodic, harmonic, bebop (I already used harmonic like most young rock players) and even how diminished or whole tone relates to it. Gradually my ears started to get used to this zaniness, and I realized this is what Pat Metheny, Scofield, Lage and of course Coltrane, Miles, Chick Corea were all doing! It's a type of playing that I love, but a lot of folks think too dissonant--absolutely a matter of taste. But Martino's idea is so brilliant and you can use it in any style of music to get more natural extensions, even if you stay in the basic mode! I hope that helps. Happy playing:)
Great! Just what I needed thx!
Thank you very much. I have memorized 5 activities but gave up on line studies since I was lazy and wasnt sure how to apply them. I guess I should try again and have some fun with your awesome tip!
Hey Andrew. I totally get that! Stay tuned and I will have another lesson soon about how they get applied to different things besides just the ii Vs as well:) But this method has really made it easier for me to get around tough tunes like Moment's Notice and Tune Up, etc.
Ryan O. Murphey Thats cool. I cant wait it. thanks again and please keep posting!
Apply to Gm7 or C7 tunes (as being the One (I) chord. Like a G minor blues, or a C7 funky blues/jazz/rock one chord jam thing..
Mix it into your existing rock and blues playing.
There’s a lot of bebop language in’the lines , you can take a small fragment from the lines and use it in with other ideas
Cat Martino
aw yeah!!
thanx, I am working on it.
My favorite thing about these is how easy they are to apply to ii V Is!
Would like to know how to apply these to standards- are you offering lessons?
I sure do and could definitely show you:) My e-mail is ryemurphey@gmail.com
Greetings from Cologne!
Hi there!
I though for the Major chord you played the relative minor E.G F Major play Dm7 line
All the Martino lines are designed to be Dorian minor and the relative minor is Aeolian (natural min.), so they work best over the ii and V of the progression and then resolve nicely to the I. You can use this idea, however, to play over the I, but if you play the iii min. instead, so in F that would be A min. Dorian and this gives you the 3,5, 7, and 9 or 2 as well as the b5, which can be nice. But playing the relative minor (Aeolian) is also a great idea. This would give you the 6, 1, 3, 5 and b5 as well as the b5 and other tones like the b3 with his patterns.
@@ryanolivermurphey if you know who Sheryl Bailey is she has a similar thing called the microcomic bebop line that connects arpeggios via a bebop scale but also uses the approach if playing over EbMajor play Cm Dorian
Nice cat.
He's a jazzer
kitty is more into jazz..strange
Dorian basically
Yes, and how that can work to enhance multiple chords, depending on how you place it. For example, if you play F dorian over G7 it gives you the b9, #9. Also, if you modify dorian to mel. minor you will also get a dim. whole tone scale a half step above the root of G, so Ab mel. minor=G7+9. In Martino's world, every chord can be reduced to a minor idea:)
@@ryanolivermurphey
All right, cool, I’ll have to take melodic minor more into consideration . Makes sense, it is really close to Dorian.
I’m late to the party, but question: I’m still a rookie. Is this book have tabs?
It doesn't have tabs but he has a really cool system I've never seen using a fretboard with numbers circled for each note in the pattern. It's easy to follow because all the patterns are eight notes.
I think you play the first activity wrong. The second note in the second bar is an F sharp, not an F.
Good catch! You're right, it's a chromatic run using the natural 7th (melodic min. scale). Thanks for pointing that out:)
Just got the book. Page 11 completely confuses me. How can anyone produce something this bad is beyond me! What on earth are those numbers assigned each scale degree? Why are they in this order? What do they mean? Why is there LITERALLY NOTHING that explains them?? How can someone actually write a book that is this completely not explaining anything it's showing???
I'm pretty sure it was published way before standard tab notation was widespread. (Might be wrong tho)
The notation is simple when you understand it. It's kinda like those picture books where you trace out a drawing by following the numbers.
The numbers aren't scale degrees but the order you play the notes in. Start from 1, 2, 3 and so on. Pretty confusing and not something I like tbh, but helps you visualize the fretboard.
@@Ssssssshhha I assume you know what I'm talking about. It's not the actual notation but the strange numbers written on the fretboard illustration. (1 2 3 4 5 68 9 7 10 11 1214 etc... and the second one with that weird 1013151114 sequence! ) what on earth is this? Why is there absolutely no explanation?? Who edited this book anyway!!??😆 but I think I see what you mean now. A sorta primitive form of tablature! But not the frets but the order you play it, is that what it is?? I'm going to just read the notation! I still don't know if that's even what those numbers mean.
@@monkface yeah the numbers on the fretboard is what I'm talking about. They're the order you play the frets