I have been asked before who the greatest guitar player is by metal heads, when I say "Pat Metheny," they really pause to reference who I'm talking about. But I tell them listen to "Third Wind" for clarity at speed. Perhaps it's not fair, because there is still George Benson too. Clarity at speed. Great Lesson.
Great explanation and demonstration on Pat's solo. I saw him here in Durban, South Africa with Christian Mcbride on bass and Antonio Sanchez on drums. Mind blowing gig. Love your band's music!
Always cool to hear what Metheny is going to play for a break on Third Wind. It's never the same and I doubt it's even based on a concept (apart from making sure the majority is fast 8ths).
Love how clearly you explain technique. Watching you, I realized that I'm likely playing the Pat Metheny Etudes (exercise book) wrong as I have been picking every note. How would one start to incorporate hammer on and legato phrasing while working thru these etudes?
You are not likely playing the etudes wrong because the point of the etudes is to develop vocabulary and mostly get comfortable of utilizing the full potential of the neck as opposed to approach the fretboard from certain positions like many scale exercises do. If you want to play it legato, you can. If you want to be more Pat Martino style and pick every note, you can. There are a few etudes though where he does add a specific picking pattern as part of the transcription. Haven't really looked into those but I assume it is to get you out of regular alternate picking patterns. The reason Metheny is a legato player is basically his crude way of holding the pick. He uses a thin pick and plays with the side instead of the tip. The way he holds it is so that it slightly bends in order to get it slightly more stiff and to have it basically parallel to the strings as opposed to some form of angle as most players do (especially when they have more pointy picks or are "shredding"). In such a position, you are not physically able to pick all notes at faster tempos as your hand will just quickly wear out because the pick itself will give a lot of resistance to the string. It is really true that a pick can slow down your speed (or better formulated: will cost you more energy and thus usually comes at the expense of speed). Many guys doing sweep picking and shredding will have pretty pointed picks because there is only a minor surface that will contact the string and that you need to "push through". If you use a surface the size Metheny uses to pick (which again is the side of a thin pick), you basically have to rely on hammer ons, pull offs, and slides (like sliding the half step from the 3rd to the 4th degree of a scale) in order to give your hand pauses and divide the task between two hands. The legato playing therefor is literally compensation for his bad technique (and he will be the first to point out his technique is bad but he just simply made it work and doesn't know any other way-though there came a point in the late 80ies where he started to put more effort in picking notes slightly more, perhaps Martino inspired). There is a video from a different guy on youtube who did a very good job at explaining how you could sort of approach when to pick, when to hammer on, when to slide, when to pull off Metheny style. It's fun to understand and there are some things in his technique which are interesting to learn and apply to your own playing (hammer on from nowhere is a nice one, just the idea to slide into notes or to pick less and tap more), but copying his technique (the kind of "rules" he seems to apply) doesn't make much sense to me as it is kind of personal to him. Look into it, take from it what you find interesting, and if it helps you to express and articulate your ideas better, go for it. In the end, the note and timing choices Metheny makes are far more important than how he attacks the string. The contents of his solos and lines transcend the guitar as you can apply it on many other instruments.
I guess if you were blending the 5th and 6th modes of melodic minor you could use the diminished ladder from Aeolean b5 F# 1/2 W would be the diminished ladder for Fminor pentatonic outlining dorian b2 mode 2 of MM
Awesome lesson. Do you think Metheny was thinking of all the theory consciously when he composed this piece? Or do you think he was just kinda going for certain sound when he wrote it??
I can see that, I too would have to use legatto to play as many 16ths as he does for as long as he does (looking at it as one big run) instead of different phrases within a run.
Sweeeet! This is crazy awesome! This is absolutely one of my top favorite solos!! Great explanation! Thanks!!!
Excellent job, Dani!! Do more of these solo breakdowns!!
My favorite solo! Thanks so much for explaining it!
Whole album is a Jazz Classic ! The Perfect Line up for the Group as well.. Thanks for this👍👍
Been looking for this revently! Thanks so much, great work
Great work, thank you and cheers from Finland!
I love this. I always learn, also I dig that 335.
Thanks for this! That moment is badass. My favorite version is from The Road to You live album.
EXCELLENT ! נפלא
Awesome breakdown man
Yo! How do we collaborate? I watch your channel ;)
Cool
Very nice and thorough! You're an excellent teacher. 🎸🎶
Im not kidding when i say ive been working on this lick since 98. Great explanation, especially of the B7b9. It's really pretty bebop, no?
I have been asked before who the greatest guitar player is by metal heads, when I say "Pat Metheny," they really pause to reference who I'm talking about. But I tell them listen to "Third Wind" for clarity at speed. Perhaps it's not fair, because there is still George Benson too. Clarity at speed. Great Lesson.
Great explanation and demonstration on Pat's solo. I saw him here in Durban, South Africa with Christian Mcbride on bass and Antonio Sanchez on drums. Mind blowing gig. Love your band's music!
Always cool to hear what Metheny is going to play for a break on Third Wind. It's never the same and I doubt it's even based on a concept (apart from making sure the majority is fast 8ths).
Love how clearly you explain technique. Watching you, I realized that I'm likely playing the Pat Metheny Etudes (exercise book) wrong as I have been picking every note. How would one start to incorporate hammer on and legato phrasing while working thru these etudes?
You are not likely playing the etudes wrong because the point of the etudes is to develop vocabulary and mostly get comfortable of utilizing the full potential of the neck as opposed to approach the fretboard from certain positions like many scale exercises do. If you want to play it legato, you can. If you want to be more Pat Martino style and pick every note, you can. There are a few etudes though where he does add a specific picking pattern as part of the transcription. Haven't really looked into those but I assume it is to get you out of regular alternate picking patterns.
The reason Metheny is a legato player is basically his crude way of holding the pick. He uses a thin pick and plays with the side instead of the tip. The way he holds it is so that it slightly bends in order to get it slightly more stiff and to have it basically parallel to the strings as opposed to some form of angle as most players do (especially when they have more pointy picks or are "shredding"). In such a position, you are not physically able to pick all notes at faster tempos as your hand will just quickly wear out because the pick itself will give a lot of resistance to the string. It is really true that a pick can slow down your speed (or better formulated: will cost you more energy and thus usually comes at the expense of speed). Many guys doing sweep picking and shredding will have pretty pointed picks because there is only a minor surface that will contact the string and that you need to "push through". If you use a surface the size Metheny uses to pick (which again is the side of a thin pick), you basically have to rely on hammer ons, pull offs, and slides (like sliding the half step from the 3rd to the 4th degree of a scale) in order to give your hand pauses and divide the task between two hands. The legato playing therefor is literally compensation for his bad technique (and he will be the first to point out his technique is bad but he just simply made it work and doesn't know any other way-though there came a point in the late 80ies where he started to put more effort in picking notes slightly more, perhaps Martino inspired). There is a video from a different guy on youtube who did a very good job at explaining how you could sort of approach when to pick, when to hammer on, when to slide, when to pull off Metheny style. It's fun to understand and there are some things in his technique which are interesting to learn and apply to your own playing (hammer on from nowhere is a nice one, just the idea to slide into notes or to pick less and tap more), but copying his technique (the kind of "rules" he seems to apply) doesn't make much sense to me as it is kind of personal to him. Look into it, take from it what you find interesting, and if it helps you to express and articulate your ideas better, go for it. In the end, the note and timing choices Metheny makes are far more important than how he attacks the string. The contents of his solos and lines transcend the guitar as you can apply it on many other instruments.
Fantastic lesson Dani!
That was insane! 🤯🙏🏼🤘🏽
Great video, thanks.
I guess if you were blending the 5th and 6th modes of melodic minor you could use the diminished ladder from Aeolean b5
F# 1/2 W would be the diminished ladder for Fminor pentatonic outlining dorian b2 mode 2 of MM
Great instruction :) What kind/brand of effect do you use on the clip?
Awesome lesson. Do you think Metheny was thinking of all the theory consciously when he composed this piece? Or do you think he was just kinda going for certain sound when he wrote it??
In a Facebook time out but I want a capo!!!!
Get your today marbinmusic.bandcamp.com/merch/the-baby-finger-marbin-capo
❤
Wouldnt this be easier with a capo?
So good 🤯🔥
😂
That fretboard is nasty bro
It imparts "tone"!
Ha it’s like “more cowbell!” As he’s picking -- great tutorial thanks!
Is this Marbin or Al di Meola?
I can see that, I too would have to use legatto to play as many 16ths as he does for as long as he does (looking at it as one big run) instead of different phrases within a run.