3 Licks You Should Steal From Pat Martino!
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- Опубликовано: 2 окт 2024
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can you give Pat the full 18 lick treatment like you did with Wes and Bird?? I appreciate your efforts
I'm planning on it, thanks!
@@RichieZellon That's awesome!
Am I the only one noticing the David Baker lick over the ii in the key of A? 😎
I made like 30 phases with the David Baker lick it's amazing vocabulary
You should check his book Creative Force. He explains a lot.
Your second example on screen at 9:47 uses the same chords that he has sample lines for in Part II of the book. He suprerimposes Cm on Am7b5 and Ebm on D7.
- He has multiple Cm lines that look like Maj7 arpeggios on the 3rd degree, which is the Ebmaj7 in the first measure
- He has plenty of lines that look like Eb-F-(Gb-Ab-A-Bb-C-D)- The part in parenthesis is in the second measure
Nice analysis. Really enjoyed this. Thank you. At times I’ve wondered what I find so compelling about solos. His mind seems to work in fast motion, but also interesting rhythms are created in his lines that drive them forward.
One aspect of Pat Martino's playing that is overlooked is his time feel. Now matter what he plays--eighths, sixteenths, etc. , he's got that straight ahead, almost even, with just a little bit of lilt, feel to his playing. Pat's time feel makes all those notes "work". That's also worth stealing
Absolutely!
Well said.
7:01 Hi Richie. I think the idea behind the Eb#11 is to make the Am7b5 sound suspended, with both the 2nd and the 4th. This happens all over the major scale, every arpeggio a fifth above any tone within the scale produces a sus chord. By knowing this, which i'm pretty sure Pat does, it becomes a pretty straightforward solution. This said, I feel that when he played it he was making a very calculated and reasonable chord substitution, and your analysis at this bar should look at the intervals according to both A and Eb.
Thanks for your insight! It is definitely a possibility. Actually, there are many ways of looking at it depending on what modal relationship you are basing your perspective on. I still hear a Lydian sound based on the Ebmaj arpeggio being super-imposed...
Hi Richie -
Thanks for the video. That's a lot of vocabulary in 3 licks! By the way, in his solo on Just Friends, he plays a very similar line to the 1st lick you analyzed. He played it a half step down in Eb, but it's coming out of the same chord shape. I guess he liked that lick!
I think I know the lick you're referring to. It's classic Pat....by the way, Just Friends features one of my all-time favorite Martino solos!
@@RichieZellon It’s a classic, for sure! I go back to it every few years to tune up my bebop chops, lol. Thanks Richie - I enjoy your videos 👍
Nice vid.... nice guitar. I have a lot of Peerless models myself. Cudos.
Hi great video! What time in Days of Wine and roses does that first lick occur?
Thanks so much. It's helping me alot.
You're most welcome!
Great stuff! I'm just getting started with jazz guitar licks and enclosures. I decided to fluently learn at least three licks a day from my favourite jazz guitarist knowing I'll forget them very soon but hoping their vibe will remain ,eventually enabling me to come up with some cool ones of my own.Hopefully I'm on the right track.A year ago it would have taken me a week just to learn one!
Thanks Francesca!
Just wondering for comparison if folks here find lick 1 easier played starting from Gb on 6th str/14th fret?
I would steal from many guitarist and musician but there is a problem.. I can't hear these damn chords.. It is frustrating. Do you have some advice? Thanks
Ear training is the answer. It's not going to just happen out of the blue. You need a method/course and a a teacher to guide you.
thank you for this excellent tutorial to Pat's legacy! I determined to go through it in the coming weeks) may I ask you to explain your term @enclosure@ thanks a lot and take care)
simply put, an enclosure is an approach note lying a 1/2 or whole step on both sides of the target chord tone.
7:04 I am pretty sure Pat would be thinking C min over A half dim. The notes of Eb maj7 #11 can all be found in C Dorian. Great lesson.
Absolutely awesome stuff.!! Thanks so much :)
Thanks RZ from a first timer excellent stuff XxX
@Richie - good video, great choices
I'm curious. What is the name of the guitar you are playing. It sounds good.
That's a Peerless Jazz City customized with a Lollar humbucker.
@@RichieZellon thank you! I will check them out. I have been a lifelong seeker of knowledge, so I am always eager to discover new things. That is why I subscribed to your channel. For someone who has been trying to learn how to play the guitar since 1965, I still suck. But, I enjoy learning things from others.
@@RichieZellon is it solid top or laminate?
It is amazing how they can improvise this complex and perfect phrases. Definitely genius.
Very interesting! And cool guitar, i’ve the same😉
Call me crazy but I have never been all that enthusiastic about Martino. When I first got interested in jazz guitar I bought a few of his LPs but discovered several players whose music appealed to me in a much more profound way. Johnny Smith, Jimmy Rainey, Howard Roberts and Howard Alden to name a few. I guess it all depends on one's ears.
Jack The Skunk go back and listen more- this guy is a master player
Nice. Don’t listen to him
@@jakemf1 exactly what i was going to say, it took me a while to get him myself.
A guy in my dorm, from Philly, had the LP, Pat Martino Live. He played Sunny and The Great Stream really loud. I was mesmerized. Someone else in the dorm had Introducing Eric Knoss(blind saxophonist from Pittsburgh). Martino played on that, too. He was only 18 when it was recorded, maybe 1965. That was about 1975 I first heard Martino. Have been pursuing his sound forever. I love Martino, Benson and of course, Wes Montgomery. And despite all my listening, studies, practicing, copying, I sound nothing like these guys.