It is my sincere conviction with regards to the derivation of the aforementioned chordal structures and subsets thereof, that a thorough analysis of their constituent elements, while cross-referencing their inverted enharmonic counterparts as projected on an n-dimensional non-euclidian hyperplane, where n is the product of the total number of frets shifted by modulo z and quantized against the parental diminished shapes are you taking notes, all this will be in the test
Yes, I agree with you100% Spb! However; I didn’t take Valir Amiril serious. I thought the statement was humorous, and I would think that Mr. Martino (The Great Guitarist) would laugh at Valir Amiril’s humorous reply.
Martino was a genius. I'm sure he's having a blast in heaven. Probably teaching mere mortals with a knack for music how to become more fluid in their craft. I hope I can sign up for his class...😊
Pat: By aggregating the vertical architectures you can unleash user-centric transitionary relationships between notes and extend synergistic playing, like so: “sprays 100 notes” at you. Ok? Me: OK
A summery: Key of C: Dm7 G7 Cmaj7 Over the G7 chord you can think any combination of the following: Fm7 Bb7 EbMaj7 Abm7 Db7 Gbmaj7 Bm7 E7 Amaj7 4 key centers each a tri-tone away from each other.
Lots of comments saying this is bad teaching and unnecessarily complicated. I don't see anything having been made more complex in the slightest..Pat's instruction in this video is nothing more than an expounding on his incredibly simple to understand approach to playing over changes and the dodecaphonic substitutions he employs therein. I suspect the reason so many find what he is saying complicated is a lack of the foundational theoretical/improvisational knowledge required to comprehend the concepts Pat is teaching. A video teaching Russian adverbs is useless for somebody who doesn't have a basis in Russian or know what adverbs are. Of course it would be confusing. However what Pat is explaining here is simply his own manner of conceiving and organizing particular sounds systematically in order to recall them on command with a simultaneous emphasis on an understanding of the harmonic structures from which they are derived.
Agreed. And actually someone said it earlier as well as Pat himself describing it this way, it’s a perception issue solved. I get it! I’ve always sort of understood what he’s talking about here but this video made it click. It’s how you view. Sure, theory too. But I’m with you, not complicated. Really it’s just beautifully a way to see how his brain thought.
This instructional video is definitely not geared towards beginners but if you already have an idea of what's going on musically, from a foundation in music theory, you'll realize there is a wealth of great information being shared here. Mr. Martino is a musical genius with a deep understanding of music. If you really pay attention to what he's explaining there is a lot of deep valuable musical knowledge within his explanations. He comes at it from shall I say "a unique angle" but that's actually just his genius showing. Like I said though this isn't for beginner's.
This in a way reminds me of the Barry Harris approach. Except Barry's method was reductionist and about simplifying jazz, whereas Martino's method actually makes the thinking of music/jazz more complex than it already is. Martino's approach seems like the way a mathematician would end up learning the guitar.
I think they are the same, the dorian he used is just m6dim, for example, 2-5 in C Barry says it’s G7, and Pat says it’s Dm7, and he just uses the similar things in different naming, so the substitutions work. Pat is just explaining substitutions, I don’t think in his teaching he’s really teach you lines just the way he thinks about harmony.
I think Pat learned a lot of what he plays from playing with the guys and groups he has played with in his life.and then he has developed a system in which he can explain what’s going on!
I love how differently everyone sees the guitar. I see more like holdsworth, where I picture the entire scale form on the neck. Very interesting. From what I understand, here, from briefly viewing and not completely studying Martino’s approach, is that he is playing “Dorian” lines over a 7th chord, which would be in a mixolydian fashion, which is why he is saying he is playing a fifth over the chord. For example if he played an A7 chord, he would solo in Dorian mode, which would be em7 lines, because the A7 chord is mixolydian in d major.
Geez, man, lookie here: The chord "A7+" is merely the seventh position of Bb Melodic Minor, and Eb9 is in its four position. That is why, when you are looking at notes to find related chords, you will gravitate toward the notes of its diatonic scale. Thus the tendency toward Bbm7, by which Pat really intends to say is a "Bb minor major chord," which is the root chord of Bb Melodic Minor. Once you know the scale, add a chromatic note or two within the form for hip measure, and you got yourself a Martino. I guess one more thing. If you are looking for a science of the application of a well-placed chromatic note, perhaps it is a good time for the reminder that augmented chords are also found in the seventh position of Harmonic Minors (and every M3 from its root note in a loop), and they are in the first position of Harmonic Majors (again found every M3 from its root note in a loop). In the unlikely event that you will find yourself in jazz hell presented with a chord progression containing BbminMaj to A7+ to Eb9 over which you are forced to apply theoretically sensible notes lest you be fixed on Satan's Dante anal spittle, grab the notes from Bb Harmonic Minor and those from A Harmonic Major that are not in Bb Melodic Minor (the diatonic parent of those three chords), and you have an academic excuse to have chosen those accidentals in your fancy shmancy arpeggio. Amen
i wondered about that, because Bb melodic minor fits perfectly (or a mmaj7 as a substiution) but the b7 (Ab) of Bbm7 woul really be not a good note choice for A7#5
These lines are not diatonic. There will be "Bb minor" lines with Ab that look "Dorian" or with A-nat stressed that look "Melodic Minor" or lines that move chromatically between Bb and Ab that look like "Bebop Scales." Plus, he plays Em, Gm and Dbm against the A7. It would be quite difficult to force feed that into scale names. You can even find him using major thirds against minor chords. The thing that you wrote that caught my interest was "theoretically sensible notes." I suggest it's just called "theory," but it is really just descriptive statistics. When I was in fifth grade, a classmate told that jazz is when you use the black keys. lol
example 1: * ears start to bleed from stroking out * "one more time" * full blown generalised tonic clonic seizure from hyper driving brain circuits to comprehend 4D guitaring *
. . . Or it could have been the drugs? When you listen to those recordings up to Exit, imo it’s pretty clear he was using some kind of performance enhancers. After the stroke, he came back stronger than ever.
I like it when he plays his lines slow enough for his students to learn from, so patiently, so slowly, then speed up slowly, so patiently like a good teacher does. Right?
This is Pat Martino .......he doesn't teach beginners......he's assuming (as he rightly should) that if your watching his video ...your good enough to absorb what he's doing & teaching
I start the video and Mr. Martino says he prefers to play a Minor 7rh a Fifth above a Dominant 7th and turns my world around all in the first 10 seconds of the video.
“Now I’ll play Bb, Db, F and Ab minor bebop scales over chords Gb, A, C, and Eb #5“. (Plays) squibble dibble booble dabble ooba dooba bidda diiba scooba dooba, ooga dibba doobop. “Got that?” I wish he’d slow down that eighth note salad, I suspect it’s much simpler than he’s making it sound.
Yeah, bruh... I don't know the language enough to understand what he's doing, but I'm trying to understand what he's doing TO learn the language, like when your first job wants you to have 3 years of experience alreadt
How i see it is I put everything in relation with the chord that's played underneath. If you say you play Em over A7 you're playing E B G, that means you're highlighting the 5,9 and 7 of A7. That's a simple A9 dominant. The problem is the way he uses the scale at that speed with the chord tones on strong time. That i think requires years of slow practice over changes.,
Same answer is valid if he uses the whole Em scale, it will just add colours to that A7 triad. It's a common way of thinking in jazz it seems, I don't quite like it though
Man, listen to those stabbing, somewhat alienesque lines! I put Pat, John McLaughlin, and Holdsworth together because they all sound like they are coming from space. Something otherwordly about all those players musical vibe. I know Holdsworth also derived his own unique systematic approach. I don't know about McLaughlin. Maybe it was the time. the late 60's early 70's. the space race. getting off this planet. Getting philosphical. It shines through the music. Pat could be such a warm player but he could also sound stone cold.
Awesome, now in color! Suggestion: this video should be run through a "Deinterlace" filter in Handbrake or Adobe Media Encoder. It is interlaced / pixelated pretty badly...
If you want to understand this and why he plays so many notes..you need to hear the lines as a group, a chord ontop of the main harmony chord. If you play the line slow, the substitutions never sound good. The notes in any substitution need to be played fast to bring out the harmony
Edim7 - E, Bb, C#, G, if you lower the Bb to an A you get E, A, C#, G. This is an Adom7 chord with the E in the bass. Pat plays Emin7 over it. Is this because A7 is the "5 chord" in the key of D major and that Emin7 would be the "2 chord" (E dorian)?
Yes. The ii V effect. You know what else is cool? Each note in the diminished chord can be played as its minor seventh. E minor can be used against the dimished chord. Bb minor can be used against it. C# minor as well, and G minor as well. Because if you lower any tone in the chord, it becomes the root of the dom7. E to Eb becomes Eb dom7. The perfect fifth of Eb dom 7 is Bb minor. C# lowered to C becomes C7. The minor to that is G minor. Pat plays literally all 4 minors over a fully dimished “cube” chord
ecaepevolhturt no problem! Ive been studying pat for a while now and know a lot about his approach to improvisation. If you want anymore explanations, please ask me. Its fun for me to discuss and it helps me retain the information I leanred.
We are very lucky he does the examples very very very slooooooow 🙂 however I do understand, when you have the knowledge like he does, it is extremely difficult to deal with the rest of us the mediocre guitarists, Imagine Friedrich Nietzsche writing lullaby for kids
19:24 - Correct me if I'm wrong If you have 10 ice cubes and I have 11 apples how many pancakes you can put on the roof? The answer is violet, because aliens do not wear hats. Did I understood it correctly?
He never describes what notes are actually in these "minor substitutions" or what mode or scale they might be based around except to say that they're... Minor Seventh. There must be specific adjustments he makes starting from the different intervals, but I've been watching him a long time and verbally he ain't gonna go there folks so use your ear or a slow down tool! btw I noticed that the four intervals where he creates minor substitutions over a dominant chord spell out a Dominant 7 arpeggio from the tritone of the chord being played over.
@@ronaskew Listen to Ron he’s basically got it. He substituted everything for Dorian, m7 chord, second degree of the major scale. When he says minor he really means Dorian
well...i think this is advanced level of playing...not for beginners...yes its bebop lines with lot chromatics...the minor substitutions he talks about is like this example : Gm7 play Bb major scale...easy..make the relation of notes of the minor 7 chord and see how it relates to the Bb and try to make chromatics from 3rd 5th and 7th and you will understand...if you can understand this..after you can understand what Pat Metheny does aswell😉
Will Kriski : It’s not as automatic as you say it is even if you learn your patterns... If that were the case every guitarist would sound like pat and that’s certainly not the case even after decades of playing the instrument.
Love his music but the language used in this video is unnecessarily flourished, almost pedantic. His lines are too fast for anyone to follow. Cool sounding jargon and a bunch of runs, but didn’t retain anything of substance, a bit of a shame.
I know what you are saying. He is some kind of pedant and if one is talented as he is... it's easy to put that in stilted speech that is meaningful to you but useless to others. You are right on this one.
I love how Pat swings Hard Bop. But in the explanations I feel like I am listening to a lecture on Quantum Physics! RIP Brother Martino
It is my sincere conviction with regards to the derivation of the aforementioned chordal structures and subsets thereof, that a thorough analysis of their constituent elements, while cross-referencing their inverted enharmonic counterparts as projected on an n-dimensional non-euclidian hyperplane, where n is the product of the total number of frets shifted by modulo z and quantized against the parental diminished shapes are you taking notes, all this will be in the test
LOLOLOLOLOLOLOL
hahaha Great language tbh. THat is how Mr. Martino talks hahaha Physics professor
😂 😂 😂
It’s sad that in an age of abbreviated language we have to make fun of the articulate.
Yes, I agree with you100% Spb! However; I didn’t take Valir Amiril serious. I thought the statement was humorous, and I would think that Mr. Martino (The Great Guitarist) would laugh at Valir Amiril’s humorous reply.
Martino was a genius. I'm sure he's having a blast in heaven. Probably teaching mere mortals with a knack for music how to become more fluid in their craft. I hope I can sign up for his class...😊
Pat: By aggregating the vertical architectures you can unleash user-centric transitionary relationships between notes and extend synergistic playing, like so: “sprays 100 notes” at you.
Ok?
Me: OK
Ju
LOL! Hysterical... Feel the same.
Pat is great- he's always going somewhere on guitar- thanks for so much inspiration-
A summery:
Key of C: Dm7 G7 Cmaj7
Over the G7 chord you can think any combination of the following:
Fm7 Bb7 EbMaj7
Abm7 Db7 Gbmaj7
Bm7 E7 Amaj7
4 key centers each a tri-tone away from each other.
Muito bom este vídeo, pelo conteúdo do MESTRE e, pela qualidade de imagem e áudio. Obrigado amigo, sou Fã do Pat Martino. Agora é LUZ.
Lots of comments saying this is bad teaching and unnecessarily complicated. I don't see anything having been made more complex in the slightest..Pat's instruction in this video is nothing more than an expounding on his incredibly simple to understand approach to playing over changes and the dodecaphonic substitutions he employs therein.
I suspect the reason so many find what he is saying complicated is a lack of the foundational theoretical/improvisational knowledge required to comprehend the concepts Pat is teaching. A video teaching Russian adverbs is useless for somebody who doesn't have a basis in Russian or know what adverbs are. Of course it would be confusing. However what Pat is explaining here is simply his own manner of conceiving and organizing particular sounds systematically in order to recall them on command with a simultaneous emphasis on an understanding of the harmonic structures from which they are derived.
You've got trees, columns, and that thing behind Pat.
He’s got his own language and vocabulary. Just happens to only work for him. No one can sound like this genius
Agreed. And actually someone said it earlier as well as Pat himself describing it this way, it’s a perception issue solved. I get it! I’ve always sort of understood what he’s talking about here but this video made it click. It’s how you view. Sure, theory too. But I’m with you, not complicated. Really it’s just beautifully a way to see how his brain thought.
I saw Pat a couple times. He never forced anything. It was all very natural for hiim.
This instructional video is definitely not geared towards beginners but if you already have an idea of what's going on musically, from a foundation in music theory, you'll realize there is a wealth of great information being shared here. Mr. Martino is a musical genius with a deep understanding of music. If you really pay attention to what he's explaining there is a lot of deep valuable musical knowledge within his explanations. He comes at it from shall I say "a unique angle" but that's actually just his genius showing. Like I said though this isn't for beginner's.
Pat Martino at his best!
Thank you Pat.
Regards,
David D.
This in a way reminds me of the Barry Harris approach. Except Barry's method was reductionist and about simplifying jazz, whereas Martino's method actually makes the thinking of music/jazz more complex than it already is.
Martino's approach seems like the way a mathematician would end up learning the guitar.
@eh6794 No that's not what I'm saying. What I'm saying is that he employs a purely logic-driven, systematic approach to playing guitar and music.
@eh6794 your comment here is a black hole bud. ...astrophysicist....yeah...yeah
@@xxczerxx Pat Martino was a brilliant man
I think they are the same, the dorian he used is just m6dim, for example, 2-5 in C Barry says it’s G7, and Pat says it’s Dm7, and he just uses the similar things in different naming, so the substitutions work. Pat is just explaining substitutions, I don’t think in his teaching he’s really teach you lines just the way he thinks about harmony.
Actually, Martino’s system is simplifying the fretboard. From a single augmented or diminished chord, are many coming from the same position.
Thank you for posting this amazing jazz lesson of improvisation.
I think Pat learned a lot of what he plays from playing with the guys and groups he has played with in his life.and then he has developed a system in which he can explain what’s going on!
I used to play guitar before I watched this😳
Same.
大好きなギターリストでした。
本当に残念ですが天国でもギターを弾き続けてください。
RIP from japanese guitarist
Rest in Peace Pat 🌹
fantastic‼️
Side note, you can tell around 29:00 mark where he’s performing with the band just how big those strings are. 😮
QUANTUM GUITAR MASTER...!
I love how differently everyone sees the guitar. I see more like holdsworth, where I picture the entire scale form on the neck. Very interesting.
From what I understand, here, from briefly viewing and not completely studying Martino’s approach, is that he is playing “Dorian” lines over a 7th chord, which would be in a mixolydian fashion, which is why he is saying he is playing a fifth over the chord.
For example if he played an A7 chord, he would solo in Dorian mode, which would be em7 lines, because the A7 chord is mixolydian in d major.
in other words.. better not to _think_ about it
RIP Master ❤️
Geez, man, lookie here: The chord "A7+" is merely the seventh position of Bb Melodic Minor, and Eb9 is in its four position. That is why, when you are looking at notes to find related chords, you will gravitate toward the notes of its diatonic scale. Thus the tendency toward Bbm7, by which Pat really intends to say is a "Bb minor major chord," which is the root chord of Bb Melodic Minor. Once you know the scale, add a chromatic note or two within the form for hip measure, and you got yourself a Martino.
I guess one more thing. If you are looking for a science of the application of a well-placed chromatic note, perhaps it is a good time for the reminder that augmented chords are also found in the seventh position of Harmonic Minors (and every M3 from its root note in a loop), and they are in the first position of Harmonic Majors (again found every M3 from its root note in a loop).
In the unlikely event that you will find yourself in jazz hell presented with a chord progression containing BbminMaj to A7+ to Eb9 over which you are forced to apply theoretically sensible notes lest you be fixed on Satan's Dante anal spittle, grab the notes from Bb Harmonic Minor and those from A Harmonic Major that are not in Bb Melodic Minor (the diatonic parent of those three chords), and you have an academic excuse to have chosen those accidentals in your fancy shmancy arpeggio. Amen
i wondered about that, because Bb melodic minor fits perfectly (or a mmaj7 as a substiution) but the b7 (Ab) of Bbm7 woul really be not a good note choice for A7#5
😂
These lines are not diatonic. There will be "Bb minor" lines with Ab that look "Dorian" or with A-nat stressed that look "Melodic Minor" or lines that move chromatically between Bb and Ab that look like "Bebop Scales." Plus, he plays Em, Gm and Dbm against the A7. It would be quite difficult to force feed that into scale names. You can even find him using major thirds against minor chords.
The thing that you wrote that caught my interest was "theoretically sensible notes." I suggest it's just called "theory," but it is really just descriptive statistics. When I was in fifth grade, a classmate told that jazz is when you use the black keys. lol
Me, getting ready to rip a FAT A minor pentatonic lick. Gotcha.
impressionistic composer Debussy was the first to substitute minor chords over major and dominant chords.
This man is brilliant, I can watch it but I can’t understand it
example 1: * ears start to bleed from stroking out *
"one more time"
* full blown generalised tonic clonic seizure from hyper driving brain circuits to comprehend 4D guitaring *
i am a long time guitaist who suffered a stroke,,,this is way beyond me
Haha, that's exactly what I call this, 4D guitaring.
. . . Or it could have been the drugs? When you listen to those recordings up to Exit, imo it’s pretty clear he was using some kind of performance enhancers. After the stroke, he came back stronger than ever.
RIP Maestro.
Chords in Japanese subs are quantum too :)
It was a solution to a perceptual problem... God bless you, sir and keep you in this time of trial.
I like it when he plays his lines slow enough for his students to learn from, so patiently, so slowly, then speed up slowly, so patiently like a good teacher does.
Right?
This is Pat Martino .......he doesn't teach beginners......he's assuming (as he rightly should) that if your watching his video ...your good enough to absorb what he's doing & teaching
@@sarge7string232 yea, also the fact that these vids are meant to be paused and rewound ofren anyways
Subtitles cover the area of the video that is most important....namely, the guitar neck. Seems like they could have found a better placement for them.
I start the video and Mr. Martino says he prefers to play a Minor 7rh a Fifth above a Dominant 7th and turns my world around all in the first 10 seconds of the video.
I forgot what I was thinking...😖
The greatest guitar player
Agreed. Hope he recovers soon
can confirm this works if you play it slowly too
“Now I’ll play Bb, Db, F and Ab minor bebop scales over chords Gb, A, C, and Eb #5“. (Plays) squibble dibble booble dabble ooba dooba bidda diiba scooba dooba, ooga dibba doobop. “Got that?” I wish he’d slow down that eighth note salad, I suspect it’s much simpler than he’s making it sound.
Yeah, bruh... I don't know the language enough to understand what he's doing, but I'm trying to understand what he's doing TO learn the language, like when your first job wants you to have 3 years of experience alreadt
It’s the concept.... it’s not. Here have my lines served to you on a silver platter lmao. Listen and absorb.
How i see it is I put everything in relation with the chord that's played underneath. If you say you play Em over A7 you're playing E B G, that means you're highlighting the 5,9 and 7 of A7. That's a simple A9 dominant. The problem is the way he uses the scale at that speed with the chord tones on strong time. That i think requires years of slow practice over changes.,
Same answer is valid if he uses the whole Em scale, it will just add colours to that A7 triad. It's a common way of thinking in jazz it seems, I don't quite like it though
Master 🙏🏼🙏🏼❤️❤️
Man, listen to those stabbing, somewhat alienesque lines! I put Pat, John McLaughlin, and Holdsworth together because they all sound like they are coming from space. Something otherwordly about all those players musical vibe. I know Holdsworth also derived his own unique systematic approach. I don't know about McLaughlin. Maybe it was the time. the late 60's early 70's. the space race. getting off this planet. Getting philosphical. It shines through the music. Pat could be such a warm player but he could also sound stone cold.
jazz ASMR
Rip Pat
Gold
Awesome, now in color! Suggestion: this video should be run through a "Deinterlace" filter in Handbrake or Adobe Media Encoder. It is interlaced / pixelated pretty badly...
That shit won't make it any easier
Rick Beato brought me here
What are those strings? Zemaitis guitar?
What kind of guitar is Pat playing? Kind of reminds me of the old Eubanks guitars from like 20 years ago….
It was a gift from a Puerto Rican luthier based in NYC.
@@effsixteenblock50 is it Abe Rivera?
@@Newgrassrock Yes! I had forgotten his name.
If you want to understand this and why he plays so many notes..you need to hear the lines as a group, a chord ontop of the main harmony chord.
If you play the line slow, the substitutions never sound good. The notes in any substitution need to be played fast to bring out the harmony
Edim7 - E, Bb, C#, G, if you lower the Bb to an A you get E, A, C#, G.
This is an Adom7 chord with the E in the bass.
Pat plays Emin7 over it.
Is this because A7 is the "5 chord" in the key of D major and that Emin7 would be the "2 chord" (E dorian)?
Yes. The ii V effect.
You know what else is cool? Each note in the diminished chord can be played as its minor seventh. E minor can be used against the dimished chord. Bb minor can be used against it. C# minor as well, and G minor as well. Because if you lower any tone in the chord, it becomes the root of the dom7. E to Eb becomes Eb dom7. The perfect fifth of Eb dom 7 is Bb minor. C# lowered to C becomes C7. The minor to that is G minor. Pat plays literally all 4 minors over a fully dimished “cube” chord
@@isaacpadilla6348 Okay, thanks for explaining that. The "math" part of me wants to see every step of logic clearly. This makes sense.
ecaepevolhturt no problem! Ive been studying pat for a while now and know a lot about his approach to improvisation. If you want anymore explanations, please ask me. Its fun for me to discuss and it helps me retain the information I leanred.
@@isaacpadilla6348 great stuff man
38:00
Taking notes
Dude uses piano wire for strings... insane gauge. I heard back then he used really fat strings and down tunes the treble strings to standard.
pat has always been an old guitar guru haha
We are very lucky he does the examples very very very slooooooow 🙂 however I do understand, when you have the knowledge like he does, it is extremely difficult to deal with the rest of us the mediocre guitarists, Imagine Friedrich Nietzsche writing lullaby for kids
19:24 - Correct me if I'm wrong
If you have 10 ice cubes and I have 11 apples
how many pancakes you can put on the roof?
The answer is violet, because aliens do not wear hats.
Did I understood it correctly?
You are not alone!!!
LMFAO 🤣
Pedantic Martino
so... this is where Buckethead got all his crazy chops.
Nah, he got his from Shawn Lane and Paul Gilbert
He never describes what notes are actually in these "minor substitutions" or what mode or scale they might be based around except to say that they're... Minor Seventh. There must be specific adjustments he makes starting from the different intervals, but I've been watching him a long time and verbally he ain't gonna go there folks so use your ear or a slow down tool! btw I noticed that the four intervals where he creates minor substitutions over a dominant chord spell out a Dominant 7 arpeggio from the tritone of the chord being played over.
They sound like bebop scales to me.
They are, essentially, what you might play over a ii-chord in a modal situation, adding in diatonic passing tones and chromatics.
@@ronaskew Listen to Ron he’s basically got it. He substituted everything for Dorian, m7 chord, second degree of the major scale. When he says minor he really means Dorian
well...i think this is advanced level of playing...not for beginners...yes its bebop lines with lot chromatics...the minor substitutions he talks about is like this example : Gm7 play Bb major scale...easy..make the relation of notes of the minor 7 chord and see how it relates to the Bb and try to make chromatics from 3rd 5th and 7th and you will understand...if you can understand this..after you can understand what Pat Metheny does aswell😉
Guitar looks to be strung 22-80 with a wound b LOL
His speaking and playing actually match. Babbling. Now, in his old age, his playing has become more lyrical, though.
You must be a unhappy person.
@@chrisbatson3402 Perhaps. But he's still right.
You should have put the subtitles somewhere else. Not right on his guitar!!!!??????
pat martino
one of those guys you have to just shake your head at
does anybody understand this stuff?
Eats a guy like Jimmy Bruno for breakfast, Jesus Christ.
18:22
47:55
Bro that's not a b9 that's a natural 9
watch this video at 3/4 speed. you'll thank me later 🤣
Do u have pdf
Yes. I have it. The pdf file
@@PALMOLOGO yo you should share that if you got it
A7 Emin7...
how does he blaze so fast
He's a bad ass!
Learn the lines and get them up to speed then it's automatic
Yeah man!
Hey Stevie...He's gifted, and you're a poser.
Will Kriski : It’s not as automatic as you say it is even if you learn your patterns... If that were the case every guitarist would sound like pat and that’s certainly not the case even after decades of playing the instrument.
What possessed him to speak like a bloody English Professor? Its JAZZ man, simplify and send a clear message.
that‘s just mr martino being mr martino. i know what you mean 😁
He is a master at guitar and a genius. He is very articulate and very professional.
He is a horrifically bad teacher 🤯
Most geniuses are.
@@andybaldman joe pass was a really great teacher
It's always the same: When the student is ready, then he can understand. Otherwise......
What an ugly guitar!
useless without pdf file, i want my money back! REFUND!
Love his music but the language used in this video is unnecessarily flourished, almost pedantic. His lines are too fast for anyone to follow.
Cool sounding jargon and a bunch of runs, but didn’t retain anything of substance, a bit of a shame.
anyone? you mean for you.
I know what you are saying. He is some kind of pedant and if one is talented as he is... it's easy to put that in stilted speech that is meaningful to you but useless to others. You are right on this one.
Selfish teacher,,
Kind of defeats the purpose of teaching guitar when its covered in Kanji