Dm7 licks over Fmaj7 (relative minor of it) Dm7 licks over Ebmaj7 (as the 7th of it) Dm7 licks over Bm7b5 (as the 3rd of it) This's a wonderful whole new concept to me
Pizza Express, London, July 2001. Pat Martino and I were drinking a beer at the bar after his first set with the trio. - Pat what do you think about when you improvise over chord changes? - I think about Spring, Summer, Autumn and Winter. - What do you mean, Pat? - I mean that I play East, North, West and South.
I’m here as witness. I got Linear Expressions after hearing about it here, practiced those 5 lines (“activities” is what Pat called them) every day then started transposing them without even thinking about how to use them. When they became automatic and I could use bits of them and mix and match it turns out they go everywhere! Guitarmin is right, get that book!
In addition to the inherent quality of the book, it also offers a unique approach. As guitarists, we often tend to pick up bits and pieces of information here and there. If you were to take two excellent solos and practice them diligently, you would likely experience something similar.
Lately, my algorithm has been bringing me videos about, when playing dominant blues, using the one and flat seven major triads as well as their respective relative minor triads for noodling. Kinda cool. Your method is even more interesting. I think I'll eventually learn all the triads on the neck this way.
Using the ii dorian lines over ii and V or V# "dorian" over V altered works great. But on the I chord sometimes the lydian (=relative minor dorian) sounds clashy to me and I prefer to just go on with the ii dorian over the I chord which ends up being ionian I guess. What is your take on that? Does Martino use lydian on the I or only if it is a IV? Bit confusing, sorry ....
Pat Martino didn't think about modes while playing. He did play what he found pleasant. He used minor lines and arpeggios. Targeted chord tones. Connected all the stuff chromatically. That's the art of bebop playing. Modes were identified later by musicologist and modern artists. Of course thinking modes can work as well. Any kind of approach will work well, if you dedicate enough time and energies, and you have taste, swing and soul.
Why doesn’t everyone just memorize the modes on the neck of the guitar and shift it all according to the key? Then learn the harmonic and melodic minor scales on the neck. This is what holsworth did. And it was less confusing. “Ok the song is in D Dorian? I instantly know all the notes on the entire neck for that” Done
@@guillermor.r4831 that’s not what I meant. I’m talking about learning placement on the neck and theory and then using that use to musical identity. Not just sticking to modes, although a lot of players do that
@@nickfanzoYes, that can be useful, but there is a world between that and making it sound like jazz.The good thing about linear expressions is that they give you vocabulary, not just scales. What it really teaches you first is the minor or major scale across the entire fretboard. Then, seeing the chords as minor isn't much more difficult than how you usually see them. If the theory confuses you, it's as simple as thinking, 'I have this chord, and I know the scale that starts at this distance in frets works well.' Little by little, you'll internalize it.
Dm7 licks over Fmaj7 (relative minor of it)
Dm7 licks over Ebmaj7 (as the 7th of it)
Dm7 licks over Bm7b5 (as the 3rd of it)
This's a wonderful whole new concept to me
Good man!! Thanks bro
Pizza Express, London, July 2001.
Pat Martino and I were drinking a beer at the bar after his first set with the trio.
- Pat what do you think about when you improvise over chord changes?
- I think about Spring, Summer, Autumn and Winter.
- What do you mean, Pat?
- I mean that I play East, North, West and South.
I’m here as witness. I got Linear Expressions after hearing about it here, practiced those 5 lines (“activities” is what Pat called them) every day then started transposing them without even thinking about how to use them. When they became automatic and I could use bits of them and mix and match it turns out they go everywhere! Guitarmin is right, get that book!
Great book! Thanks man
In addition to the inherent quality of the book, it also offers a unique approach. As guitarists, we often tend to pick up bits and pieces of information here and there. If you were to take two excellent solos and practice them diligently, you would likely experience something similar.
@@guillermor.r4831
True.
great stuff, thanks!
i love the pat martino approach changed my playing
Mine too!!
I like the approach tones you use with the minor scale, good stuff.
Thanks man!
Great video!!
I always felt that thinking "in minor" is more natural on guitar, but I never actually knew why.
Very helpful.
Glad you think so!
Lately, my algorithm has been bringing me videos about, when playing dominant blues, using the one and flat seven major triads as well as their respective relative minor triads for noodling. Kinda cool. Your method is even more interesting. I think I'll eventually learn all the triads on the neck this way.
great stuff!
Thanks man!!
Using the ii dorian lines over ii and V or V# "dorian" over V altered works great. But on the I chord sometimes the lydian (=relative minor dorian) sounds clashy to me and I prefer to just go on with the ii dorian over the I chord which ends up being ionian I guess. What is your take on that? Does Martino use lydian on the I or only if it is a IV? Bit confusing, sorry ....
I hear you!! Using the ii over the i still works great! As long as the ”landing” is clear! ;)
Pat Martino didn't think about modes while playing. He did play what he found pleasant. He used minor lines and arpeggios. Targeted chord tones. Connected all the stuff chromatically. That's the art of bebop playing. Modes were identified later by musicologist and modern artists. Of course thinking modes can work as well. Any kind of approach will work well, if you dedicate enough time and energies, and you have taste, swing and soul.
Sweet thx
Thanks yourself
Why does using a major 7th arpeggio a minor 3rd away work over a minor 7th chord?
it's the relative major (most of the notes are the same)
Exactly!! You badically get the chord tones: 3rd, 5th, 7th, 9th
Hi nice video man one question , How do you account for B in bm7b5 if your playing Dm scales
I guess d Dorian 😅
Yessir!
Why doesn’t everyone just memorize the modes on the neck of the guitar and shift it all according to the key? Then learn the harmonic and melodic minor scales on the neck.
This is what holsworth did. And it was less confusing.
“Ok the song is in D Dorian? I instantly know all the notes on the entire neck for that”
Done
Because in bebop many times modes are not even used and playing a mode is very different from having language.
@@guillermor.r4831 that’s not what I meant. I’m talking about learning placement on the neck and theory and then using that use to musical identity. Not just sticking to modes, although a lot of players do that
@@nickfanzoYes, that can be useful, but there is a world between that and making it sound like jazz.The good thing about linear expressions is that they give you vocabulary, not just scales. What it really teaches you first is the minor or major scale across the entire fretboard. Then, seeing the chords as minor isn't much more difficult than how you usually see them. If the theory confuses you, it's as simple as thinking, 'I have this chord, and I know the scale that starts at this distance in frets works well.' Little by little, you'll internalize it.
Bro