Do you use Coltrane Patterns like this? Or do you have another name for them? Check out this video if you want to see some pentatonic scale applications which are closely related to this sound: ruclips.net/video/TMLd2CKsbK0/видео.html
My teacher used to call them tetrachords so that’s what I call them. I’ve never heard anyone else use tetrachord in that context but it works for me. Love your channel, man. ✌🏻❤️
It's mind blowing that people are so anxious to be offended that they got mad simply because you used the term "Coltrane pattern" for the patterns commonly known by that name; the world is burning, we have a psychotic madman destroying America and recklessly accelerating the climate crisis as he lies his denial of (he applied for building a sea wall to protect one of his golf courses from sea level rise resulting from melting ice caps), but apparently what really pisses off some people is a nice friendly guy teaching great guitar lessons for free, calling 4 note patterns by their common name.
This gives me practice exercises as a flute player to explore . It helps me to define the circuitous rotation of notes played within a fixed distance from one another . Thanks for simplifying concepts that often challenge a players vocabulary .
I don't think Coltrane pattern is a bad name, but it's not super descriptive. I would call these major and minor pentatonic tetrachords if I wanted to be specific. There's actually two more unique tetrachords in the pentatonic scale. In C, starting on E gets you a second inversion Am7 arpeggio. Starting on D or G gives you the same 1-2-4-5 tetrachord shape, which is neutral (works over major or minor) and can be used as a sus to either a major or minor pentatonic tetrachord on the same root.
I can't really tell for sure, but I think you will find that most people don't really think a lot when they play music. It needs to be internalized to the point where you can play without having to think about it.
@@JensLarsen I can see that Jens. There are a lot of teachers out there but a good instructor is hard to find, I somehow just stumbled across you just recently and your lessons already have made a marked difference in my playing and theory knowledge. Thank you Sir! Much Respect, Paul
God Jens I cannot tell you how invaluable these videos are. I had a jazz guitar teacher back in high school who I always wanted to play like and at the time I just couldn’t grasp everything he played. Your videos are finally helping me understand and I cannot tell you how much I appreciate it.
Hi Jens! Dennis Sandole taught John Coltrane, Pat Martino, and a number of others in Philadelphia. My teacher studied with Dennis, and used these patterns for me in a lesson years ago. I'm not sure if this is a Sandole creation, something even older, or just a coincidence. Either way, "Coltrane pattern" is a fine name for them! Thank you so much for your wonderful work, Jens!
@@kramnewton8683 An entire chapter of Jerry Coker's "Elements of the Jazz Language" (Chapter 2) also deals with these patterns (which Coker calls Digital Patterns).
@@Khayyam-vg9fw Yes! I was trying to remember what I used to refer to these patterns as... I think the most correct term is Digital Patterns. Amazing book!
I'm currently working on my tenor sax improvisation and am use the melodic structured book as my main book. The book is fantastic as a practice tool to get busy with but I'm finding it difficult to connect the four voicings into actual music.it just sounds like in practicing them back to back, not playing them all as a larger melody. This discouraged me and I haven't practiced in a while.this video really connects the voicings toghether and helps me acknowledge them collectively as a whole melody. He adds arpeggios and chromaticism to it and it sounds fantastic. There is a lot to learn from this video.i think I'll need to use lots of manuscript paper to study this, rather that just trying to play it on my 🎷.
That's probably a good idea! You could try to check out this post: jenslarsen.nl/how-to-learn-jazz-guitar-suggestions-to-begin-studying/ to get some suggestions!
Hi Jens, from a fellow Dane. I played the blues guitar since I was about 13 y.o. Now I'm 66, and your lessons just woke me up. I'll use my retirement to learn the jazz guitar. Great lessons you give for free. Thanks so much 👌🇩🇰
Listening to this and knowing that Coltrane sound make it easy to remember what you're teaching. This is a very kind way of pay homage to mr. Coltrane, especially since he is recognized a one of Jazz's greatest pioneers. Since a lot of what you post is jazz oriented, one should expect such references. Thanks for expanding the skill of even those who've been playing for years. I always refer you channel to guitarist from beginners to the advanced. The lessons are priceless!
Long familiar with the Bergonzi approaches, very much enjoyed hearing you combine Coltrane cells with arpeggios and enclosures. Thanks Jens! Best, Daniel
Slightly different approach but some of my FAVORITE patterns are four note patterns. Lydian 1 2 #4 5 (or 1 9 #11 5 if you’re a stickler about jazz harmony) played up the octaves sounds incredible. Same thing with the Phrygian 1 b2 4 5....so menacing and mysterious. They’re relatively uncommon patterns too so they make your colleagues/buddies on the bandstand go 🧐
I’ve heard them called 4 note cells. I was going to mention the Bergonzi book as well but I already see that’s been mentioned several times. Do you also play altered versions of these cells, Jens? 1-b2-3-5 for a 7b9 chord for example?
Jen, this is an excellent video explanation for putting melodic fragments to use. Jerry Coker calls them “digital patterns” in his book Patterns for Jazz, in which he acknowledges Coltrane’s creative and extensive use.
You should call it “Begin The Beguine” patterns, hahaha. But seriously, now I’m pretty convinced that John McLaughlin used these patterns extensively_ probably because of Coltrane.
It might be worth mentioning that this 1-2-3-5 "Coltrane Pattern" was first recognized from his Giant Steps solo in a very fast tempo song with almost constant chord changes, 2 to a bar. It's broadly recognized as THE challenging song to conquer as a student. And Coltrane rips those 1-2-3-5 notes over the different chords so fluently. We learned this pattern back in the late '70's in Jazz Improv and Jazz Theory classes in college, and turned that pattern into a practice exercise (just playing that pattern, slowly at first, over the root of each chord in the song for the full chorus, then faster and then in different positions, etc.). We didn't call them "Coltrane Patterns" back then, just the 1-2-3-5 pattern, and of course it doesn't go anywhere near defining Coltrane. But for lack of a better name, until something better comes along, why not give tribute to the genius who established it? Here's a link to Giant Steps for all you students out there, where the 1-2-3-5 pattern is clearly heard - if your ear is fast enough! Warning: if you've never heard this then DO NOT give up your instrument and walk away shaking your head - most who play this song don't attempt it at quite this break-neck tempo. ruclips.net/video/KwIC6B_dvW4/видео.html
Great channel. Jerry Coker calls them digital patterns in his book I'd highly recommend: Elements of Jazz Language for the Developing Improvisor. All these years think this is my first comment, this area always has great info and further rabbit holes to fall down. If this introduces even one person to the material mission accomplished.
Thank you, Jens. It's amazing how in music short easy patterns can produce interesting melodies. The more I deepen in that concert, the more I see that it's all about the rhythm.
I think this video has unlocked some things that I've been trying to get at for a long time. Thank you so much. I needed this idea of "4 note pattern". I actually searched for "8th note runs", and found one of your other videos in which you used the term Coltrane Pattern. Then I searched for that, and you came up again! I guess I have a lot to learn from you! Your generosity for sharing is much appreciated!
Like a Manheim Rocket. It has to be called something.I was introduced to the Manheim Rocket by a theory instructor in college and Ive been fascinated by such devices ever since. When I saw your video i immediately clicked. Thanks.
‘4 note groupings’ is what I have mostly heard them called, or to make it more specific for this type I’ve heard ‘McCoy style groupings’ or a variation thereof. But like, also, who cares?
Hi Jens! I've been following this channel for a while now, and I usually watch anything that pops up. I have a question. I've realised, in recent months, that if you take out one or more notes off any scale, and keep playing it, you can sort of hear its tonality. Which is very different than the parent scale. Compared to a major scale, only playing R, 2, 3, 5, 7 has an entirely different tonality, and the 4 and 6 sound somewhat dissonant. Like, the miniscale has a trance-like quality, a note outside this just disrupts that. Is there is a name for these (mini)scales?
Thanks! If you remove two notes from the major scale then essentially you have a pentatonic scale of some sort. Having no points of tension in a scale is not always a good thing because it keeps everything standing still and music is also about movement :)
Can you loop a Cmaj7 chord and then play a long F over that? The idea is that if you want to pick 4 notes to use over a chord then don't pick one that doesn't sound great on the chord when there are others that work better
Over Major the "Coltrane Patterns" are Major 6. In C = C major, G major, A minor and E minor. Just a Mnemonic Device to remember. Works either Major 6 or Minor 7 😀
The Pat Martino lick reminds me of a lick I learned from his short book called hot licks back in the 80s. I quoted the same lick in my song “Capacity” from my 2003 release Danny Masters “Keepers of the Time”
Jens Larsen it was actually a little book I picked up visiting GIT in California. It had a crazy lick where he played a chromatic scale dispersed over 3 octaves. But it only had 10 links.
Hello jens ı have a question. Howcome we dont use F note cus its not a part of CM7 chord , but at at the same time we use the note of D ! İT doest include in CM7 chord either.... help me out please
If you reduce the amount of notes to 4 then you probably don't want one of them to be dissonant against the chord. Try to hear it: Play a loop of a Cmaj7 chord and then play an F over it and compare how that sounds to playing a D. Your ear will tell you.
Another book that thinks in these terms, but with a greater variety of patterns is The Cellular Approach by Randy Vincent. I am finding it very useful, especially for dealing with fast chord changes.
I always appreciate and take away so much from your Videos Jens. Thank you for your wisdom and your humbleness to share it. I’ve taken classical and gypsy jazz lessons at college and I always felt that the professors were holding back their secrets and didn’t want to tell their students in fear that they’d get better than them. You’re obviously not like that and it doesn’t go unnoticed. Thanks again!
As often this is a great breakdown of such a mammoth musician’s methods! Great work Jens! Breaking complex large scales into “packets” is helpful for students. Recently I’ve been doing that as a neck learning exercise for my students. Taking a B major scale tune but using just 3 treble strings to start with. Starting at 1st fret. But each note packet I remove the 6th degree of that modal packet. Get creative with the remaining 6 notes in that mode (which starts on G#). Then learn the next mode from A# but again remove the 6th degree of THAT mode. So you end up with 7 modal packets in B but each has a different note removed to make hexatonic modal packets. The student learns the notes on the neck in digestible small packets on treble string. But the sonic possibilities with these 7 varying hexatonics is very wide and some sound really exotic even though they only come from B major. Next is to move to middle & bass strings in similar fashion. It’s huge possibilities for students learning the neck and modes and harmony.
Mr. Larson: This magnificent vital lesson was key in helping me understand what chromatic enclosure is and where it belongs. I thought I would never understand and should just accept my retardation. "According to my psychology research you're beyond genius." Your respectful mention of Mr. Coltrane is 100% normal educational format between us guitarists. When we mention a name in association with a technique that's considered one of the highest level compliments we can give.
why is passing tone in major and minor different ? eg 1-2-3-5 vs 1-m3-4-5 ? i can see that it makes for the same whole step/minor 3rd intervals across the pattern in each but don’t understand why that’s the way it’s done
One way to explain it is to say that it is 4 first notes of a major or a minor pentatonic scale. Another part of it is that if you use those patterns then it will work for all the major triads in a major scale and all the minor triads in a minor scale. That would otherwise not be possible.
@@JensLarsen Thank you for response! That makes sense. I kind of noticed the pentatonic pattern and my mind went to relative minor/major being identical scales in pentatonic but didn't know what that meant functionally for this... "then it will work for all the major triads in a major scale and all the minor triads in a minor scale. " - by this do you mean you can play any of the diatonic arpeggios over any chord change in the key you're playing in and have it work like blues? maybe i'm answering my own question, but just considering this now.
F clashes with the 3rd of Cmaj7 and forms a tritone against the B. You can use the note, but it is more a passing note on that chord and if you include it in the pattern then it is nowhere nearly as practical.
I AM SO ANGRY! Nice video, though. Thanks. In a book by Andrew Green, he was using the term MA+2 for the major triad plus the second for those phrases. (Jazz Guitar Structures, 2002)
Love these patterns! With the ukulele's limited range, it is not always possible to utilize arpeggios the way many other instruments do, so these condensed patterns are a great tool to have. As usual, you took them to a whole new level in this lesson. Thank you! -JoJo
I don't know of a specific Pat Martino solo, but it's used throughout his book, "Linear Expressions." I like how you described it as an enclosure of the root, as I've been thinking of it similarly.
How about "Modal Quadratonic Phrases"... Just a thought, as guitarists, most of us use Pentatonics everyday.. But I like the idea of Coltrane Patterns, plus it sounds groovy. Thanks Jens, very interesting topic and a new approach for me! 💯🖖
I love that even when providing free and supremely helpful lessons, people still feel the obligation to complain about the title of the concept that you’re taking time to explain. Love your videos, Jens - you’ve made jazz guitar more accessible than I would’ve hoped.
They make me so mad (those people who get mad like that.) But seriousness aside, if you want to make sure nobody thinks you're dissing Trane, you could call those patterns "twelve thirty-fives." That name kind of instantly conveys which scale degrees you play.
Good video and don't worry about the pedantics who enjoy endless bloviations about "correct" terminology over getting on with the business of playing. I also enjoyed Jerry Coker's analysis of Coltrane patterns in his books where he breaks it down into digital patterns (instrument independent ones I might add). One has to begin somewhere.
okay 4ths licks Non Root like maj7 shapes super imposed over each chords II V's and Tonics...also the maj shapes NR...that is what i like as a sound that is a little bit different the degree of going out would be also like D7 Ebmaj7 to get a more phrygian domiant sound or more the 13b9 sound i like so the octatonic or half hole dim scale wilt 4ths...so you get a 12 tone scale...the four chromatic pints are the 4 outside notes i get this also from a American Conservatory teacher...who likes benson martino Montgomery and Jim hall as greatest inspirations he is much in to coltrane patterns and 4ths...I forgot his name maybe somebody could remind me???/
I know what you mean about losing jazz licks, very frustrating, especially when you have a huge record collection, which I don't btw!! Great video as always!
Jens Larsen I’m an organist and I do love to study your videos with my Hammond organ 🎹 but, even if I don’t want to, I’m learning guitar! Keep on rocking!! 🤘🏽🔥
I learned about these back in the day too but I believe they were referred to as Coltrane 4-note patterns. Seems to me to be a slightly better name, cause it clearly narrows down that this is only talking about a particular 4 note grouping that he was particularly fond of.
Do you use Coltrane Patterns like this? Or do you have another name for them?
Check out this video if you want to see some pentatonic scale applications which are closely related to this sound:
ruclips.net/video/TMLd2CKsbK0/видео.html
What about "Out of nowhere"as name? ;)
@@TheThierrysub And the minor one?
good ideas to play E maj over Gmaj....I didn't think about it special.. Thanks!
My teacher used to call them tetrachords so that’s what I call them. I’ve never heard anyone else use tetrachord in that context but it works for me. Love your channel, man. ✌🏻❤️
It's mind blowing that people are so anxious to be offended that they got mad simply because you used the term "Coltrane pattern" for the patterns commonly known by that name; the world is burning, we have a psychotic madman destroying America and recklessly accelerating the climate crisis as he lies his denial of (he applied for building a sea wall to protect one of his golf courses from sea level rise resulting from melting ice caps), but apparently what really pisses off some people is a nice friendly guy teaching great guitar lessons for free, calling 4 note patterns by their common name.
This gives me practice exercises as a flute player to explore . It helps me to define the circuitous rotation of notes played within a fixed distance from one another . Thanks for simplifying concepts that often challenge a players vocabulary .
Great that you find it useful on flute 🙂
For those who are angry, throw in that F and be a rebel.
Yeah! Sit on it in your solos!! :D
Play F patterns on Cmaj7 to sound outside xD
This was very helpful! You are an excellent teacher.
Thank you! Glad it was helpful!
I don't think Coltrane pattern is a bad name, but it's not super descriptive. I would call these major and minor pentatonic tetrachords if I wanted to be specific. There's actually two more unique tetrachords in the pentatonic scale. In C, starting on E gets you a second inversion Am7 arpeggio. Starting on D or G gives you the same 1-2-4-5 tetrachord shape, which is neutral (works over major or minor) and can be used as a sus to either a major or minor pentatonic tetrachord on the same root.
Forget the patterns for a moment, that guitar has a sweet aged tone I’d give my right leg for!
wow
My guitar teacher Ron Bosse always called these "tetrachords", but I believe that actually may refer to a different concept.
The amount of thinking that goes into playing with the head ....
I can't really tell for sure, but I think you will find that most people don't really think a lot when they play music. It needs to be internalized to the point where you can play without having to think about it.
Coltrane Patterns ? Maybe the analogy should be with Feynman diagrams. NOT the only thing by any means he did but deserving of his name...
That's a great comparison (and it was an interesting read looking up what it was :D )
Hard to believe people would leave you angry comments Jens...
Haha! Thanks Paul! I think I have a few on this video already :D
I can't say that it really gets to me though...
@@JensLarsen I can see that Jens. There are a lot of teachers out there but a good instructor is hard to find, I somehow just stumbled across you just recently and your lessons already have made a marked difference in my playing and theory knowledge. Thank you Sir! Much Respect, Paul
@@paulreddy5275 Really glad to hear that :)
haha! I had the same anger when I made a video called Coltrane Pentatonic. Great video btw!
Thanks Nick 😂
God Jens I cannot tell you how invaluable these videos are. I had a jazz guitar teacher back in high school who I always wanted to play like and at the time I just couldn’t grasp everything he played. Your videos are finally helping me understand and I cannot tell you how much I appreciate it.
Hi Jens! Dennis Sandole taught John Coltrane, Pat Martino, and a number of others in Philadelphia. My teacher studied with Dennis, and used these patterns for me in a lesson years ago. I'm not sure if this is a Sandole creation, something even older, or just a coincidence. Either way, "Coltrane pattern" is a fine name for them! Thank you so much for your wonderful work, Jens!
There is a good book about this patterns by Jerry Bergonzi: Melodic structures.
Andrew Green has a great book on four note patterns as well, Jazz Guitar Structures. Both of these books helped me a lot.
@@kramnewton8683 An entire chapter of Jerry Coker's "Elements of the Jazz Language" (Chapter 2) also deals with these patterns (which Coker calls Digital Patterns).
@@Khayyam-vg9fw Yes! I was trying to remember what I used to refer to these patterns as... I think the most correct term is Digital Patterns. Amazing book!
Yes, these structures are not specific to Coltrane. They're called tetrachords.
I'm currently working on my tenor sax improvisation and am use the melodic structured book as my main book. The book is fantastic as a practice tool to get busy with but I'm finding it difficult to connect the four voicings into actual music.it just sounds like in practicing them back to back, not playing them all as a larger melody. This discouraged me and I haven't practiced in a while.this video really connects the voicings toghether and helps me acknowledge them collectively as a whole melody. He adds arpeggios and chromaticism to it and it sounds fantastic. There is a lot to learn from this video.i think I'll need to use lots of manuscript paper to study this, rather that just trying to play it on my 🎷.
I'm overwhelmed, there is so much to learn, I think I'll start with the beginner playlist first
That's probably a good idea! You could try to check out this post: jenslarsen.nl/how-to-learn-jazz-guitar-suggestions-to-begin-studying/ to get some suggestions!
Hi Jens, from a fellow Dane. I played the blues guitar since I was about 13 y.o. Now I'm 66, and your lessons just woke me up. I'll use my retirement to learn the jazz guitar. Great lessons you give for free. Thanks so much 👌🇩🇰
Tusind tak Allan! :)
Listening to this and knowing that Coltrane sound make it easy to remember what you're teaching. This is a very kind way of pay homage to mr. Coltrane, especially since he is recognized a one of Jazz's greatest pioneers. Since a lot of what you post is jazz oriented, one should expect such references. Thanks for expanding the skill of even those who've been playing for years. I always refer you channel to guitarist from beginners to the advanced. The lessons are priceless!
Thank you very much Bryant! Very nice of you to say so :)
I’m angry! So I’m leaving a comment. Just stubbed my toe on the coffee table. Great video and content for me to work on, thank you!
A little anger is good for the blood circulation :)
Long familiar with the Bergonzi approaches, very much enjoyed hearing you combine Coltrane cells with arpeggios and enclosures. Thanks Jens! Best, Daniel
haha, coltrane pattern go brrr
Haha :)
Slightly different approach but some of my FAVORITE patterns are four note patterns. Lydian 1 2 #4 5 (or 1 9 #11 5 if you’re a stickler about jazz harmony) played up the octaves sounds incredible. Same thing with the Phrygian 1 b2 4 5....so menacing and mysterious. They’re relatively uncommon patterns too so they make your colleagues/buddies on the bandstand go 🧐
I’ve heard them called 4 note cells. I was going to mention the Bergonzi book as well but I already see that’s been mentioned several times. Do you also play altered versions of these cells, Jens? 1-b2-3-5 for a 7b9 chord for example?
Thank you, David. No, I don't really use the altered versions in a systematic way, but of course, you can.
Jen, this is an excellent video explanation for putting melodic fragments to use. Jerry Coker calls them “digital patterns” in his book Patterns for Jazz, in which he acknowledges Coltrane’s creative and extensive use.
Glad you like them!
Love you man
Glad you like the videos :)
@@JensLarsen
I'm gonna to see all of them!
You should call it “Begin The Beguine” patterns, hahaha. But seriously, now I’m pretty convinced that John McLaughlin used these patterns extensively_ probably because of Coltrane.
Or maybe Out of Nowhere pattern :)
Always been fascinated by Coltrane Patterns, I think they are definitely straightforward, but another viable tool in the arsenal of jazz playing.
Thanks RC! :)
@@JensLarsen Always my pleasure!
It might be worth mentioning that this 1-2-3-5 "Coltrane Pattern" was first recognized from his Giant Steps solo in a very fast tempo song with almost constant chord changes, 2 to a bar. It's broadly recognized as THE challenging song to conquer as a student. And Coltrane rips those 1-2-3-5 notes over the different chords so fluently. We learned this pattern back in the late '70's in Jazz Improv and Jazz Theory classes in college, and turned that pattern into a practice exercise (just playing that pattern, slowly at first, over the root of each chord in the song for the full chorus, then faster and then in different positions, etc.). We didn't call them "Coltrane Patterns" back then, just the 1-2-3-5 pattern, and of course it doesn't go anywhere near defining Coltrane. But for lack of a better name, until something better comes along, why not give tribute to the genius who established it? Here's a link to Giant Steps for all you students out there, where the 1-2-3-5 pattern is clearly heard - if your ear is fast enough! Warning: if you've never heard this then DO NOT give up your instrument and walk away shaking your head - most who play this song don't attempt it at quite this break-neck tempo. ruclips.net/video/KwIC6B_dvW4/видео.html
Yes, people are always angry at something. Thanks for the lesson. I will put this to good use.
Haha! go for it :)
I've also seen the major ones call "Triad add 9", that's what Tim Miller refers to them as in his lessons.
I’m just angry, period. 😂
Fair enough 😁
I’m angry!!
That's great! 😂
Great channel. Jerry Coker calls them digital patterns in his book I'd highly recommend: Elements of Jazz Language for the Developing Improvisor. All these years think this is my first comment, this area always has great info and further rabbit holes to fall down. If this introduces even one person to the material mission accomplished.
Thank you, Jens. It's amazing how in music short easy patterns can produce interesting melodies. The more I deepen in that concert, the more I see that it's all about the rhythm.
I think this video has unlocked some things that I've been trying to get at for a long time. Thank you so much. I needed this idea of "4 note pattern". I actually searched for "8th note runs", and found one of your other videos in which you used the term Coltrane Pattern. Then I searched for that, and you came up again! I guess I have a lot to learn from you! Your generosity for sharing is much appreciated!
Glad you like it 🙂
Like a Manheim Rocket. It has to be called something.I was introduced to the Manheim Rocket by a theory instructor in college and Ive been fascinated by such devices ever since. When I saw your video i immediately clicked. Thanks.
‘4 note groupings’ is what I have mostly heard them called, or to make it more specific for this type I’ve heard ‘McCoy style groupings’ or a variation thereof. But like, also, who cares?
So is it correct to say that Coltrane patterns are major or minor pentatonic fragments?
Yes, though some extend this so that you can make them from any note in the scale and then that does not hold :)
Some random long-haired Danish bloke explains them as such here ruclips.net/video/7n2WELMhyb4/видео.html
I was always told they were called “tetra-chords”.
Hi Jens! I've been following this channel for a while now, and I usually watch anything that pops up. I have a question.
I've realised, in recent months, that if you take out one or more notes off any scale, and keep playing it, you can sort of hear its tonality. Which is very different than the parent scale. Compared to a major scale, only playing R, 2, 3, 5, 7 has an entirely different tonality, and the 4 and 6 sound somewhat dissonant. Like, the miniscale has a trance-like quality, a note outside this just disrupts that. Is there is a name for these (mini)scales?
Thanks! If you remove two notes from the major scale then essentially you have a pentatonic scale of some sort. Having no points of tension in a scale is not always a good thing because it keeps everything standing still and music is also about movement :)
Argggg....stop trying to sum up the legacy of Coltrane in four note patterns!! (Just Kidding)
😁
“Can’t Hardly Wait” by the Replacements is rooted in one of these Coltrane patterns from the opening riff.
Hey Jens, The name my class was taught in Music School is "Digital Patterns." Cool Video!
Thanks! That is indeed another common name :)
Pat lived on my block in Philly in the 70's ... i had a De angelico in the 80's ... i miss it
Dumb question: for Coltrane patterns over Cmaj7, why do we avoid the F note? Thanks!
Can you loop a Cmaj7 chord and then play a long F over that?
The idea is that if you want to pick 4 notes to use over a chord then don't pick one that doesn't sound great on the chord when there are others that work better
You are THE guy to go to on youtube for jazz guitar lessons. Thanks for all your hard work.
Over Major the "Coltrane Patterns" are Major 6. In C = C major, G major, A minor and E minor. Just a Mnemonic Device to remember. Works either Major 6 or Minor 7 😀
Solid way of seeing it! :)
The Pat Martino lick reminds me of a lick I learned from his short book called hot licks back in the 80s. I quoted the same lick in my song “Capacity” from my 2003 release Danny Masters “Keepers of the Time”
Ok. I never heard of that hot licks video :)
Jens Larsen it was actually a little book I picked up visiting GIT in California. It had a crazy lick where he played a chromatic scale dispersed over 3 octaves. But it only had 10 links.
Hi Jens. How can I use these Coltrane Patterns with the melodic Minor scale? Thank you
Find the places where they are in that scale and explore how you can use them over chords where you use melodic minor
I feel like having a basic building block of jazz named after you is actually a huge sign of respect. Is it disrespectful to say Coltrane Changes too?
Haha! I hope not 😁
Jens, thanks for building your channel the right way, without click bait and hyperbole. Content rules. Please keep up the great work.
Glad you like the videos 🙂
I’ve also learned the term Coltrane pattern, I think it’s commonly used
Yes, that is also my impression 🙂
Sounds shit when i play it.
Hello jens ı have a question. Howcome we dont use F note cus its not a part of CM7 chord , but at at the same time we use the note of D ! İT doest include in CM7 chord either.... help me out please
If you reduce the amount of notes to 4 then you probably don't want one of them to be dissonant against the chord.
Try to hear it: Play a loop of a Cmaj7 chord and then play an F over it and compare how that sounds to playing a D. Your ear will tell you.
Another book that thinks in these terms, but with a greater variety of patterns is The Cellular Approach by Randy Vincent. I am finding it very useful, especially for dealing with fast chord changes.
You answered your own question there Jens - Why? COLTRANE!!! Genius. End Of. ;-)
Haha :)
I always appreciate and take away so much from your Videos Jens. Thank you for your wisdom and your humbleness to share it. I’ve taken classical and gypsy jazz lessons at college and I always felt
that the professors were holding back their secrets and didn’t want to tell their students in fear that they’d get better than them. You’re obviously not like that and it doesn’t go unnoticed. Thanks again!
Well said.
Thank you Patrick!
"Coltrane Pattern " name makes me feel like I'm getting in on the magic of Coltrane's great music. Thanks
Relatable :D
All these self appointed authorities critisizing you & probably don't know a Db from a C# hehe.
Haha, yes, it is a little like that :)
Homer patterns !
I've seen them referred to as Digital Patterns (notably by Jerry Coker).
Yes, I have heard that one as well :)
Thanks Jens! It's amazing how much there is to create with using simple building blocks.
As often this is a great breakdown of such a mammoth musician’s methods! Great work Jens! Breaking complex large scales into “packets” is helpful for students. Recently I’ve been doing that as a neck learning exercise for my students. Taking a B major scale tune but using just 3 treble strings to start with. Starting at 1st fret. But each note packet I remove the 6th degree of that modal packet. Get creative with the remaining 6 notes in that mode (which starts on G#). Then learn the next mode from A# but again remove the 6th degree of THAT mode. So you end up with 7 modal packets in B but each has a different note removed to make hexatonic modal packets. The student learns the notes on the neck in digestible small packets on treble string. But the sonic possibilities with these 7 varying hexatonics is very wide and some sound really exotic even though they only come from B major. Next is to move to middle & bass strings in similar fashion. It’s huge possibilities for students learning the neck and modes and harmony.
Super video, thanks for all these ideas and licks!! Never thought one could do inversions of the Coltrane pattern! That Partino lick is just great....
You are very welcome, Mike 🙂
I should have had a teacher like you when I started interesting in jazz time ago. Always great lessons! Thanks!
I wonder what Coltrane called them?? Thanks for the excellent content. My guitar playing has improved so much using these videos and your books.
Mr. Larson: This magnificent vital lesson was key in helping me understand what chromatic enclosure is and where it belongs.
I thought I would never understand and should just accept my retardation. "According to my psychology research you're beyond genius."
Your respectful mention of Mr. Coltrane is 100% normal educational format between us guitarists.
When we mention a name in association with a technique that's considered one of the highest level compliments we can give.
why is passing tone in major and minor different ? eg 1-2-3-5 vs 1-m3-4-5 ? i can see that it makes for the same whole step/minor 3rd intervals across the pattern in each but don’t understand why that’s the way it’s done
One way to explain it is to say that it is 4 first notes of a major or a minor pentatonic scale.
Another part of it is that if you use those patterns then it will work for all the major triads in a major scale and all the minor triads in a minor scale. That would otherwise not be possible.
@@JensLarsen Thank you for response! That makes sense. I kind of noticed the pentatonic pattern and my mind went to relative minor/major being identical scales in pentatonic but didn't know what that meant functionally for this... "then it will work for all the major triads in a major scale and all the minor triads in a minor scale. " - by this do you mean you can play any of the diatonic arpeggios over any chord change in the key you're playing in and have it work like blues? maybe i'm answering my own question, but just considering this now.
Turns out this pattern idea was the sound I've been looking for! Looks like I have more improv tools to memorize.
How about Quadratonics ?
Maybe, I always think that sounds like a type of fitness or workout. But maybe that is just me? :D
@@JensLarsen Hi, quadratonics, like pentatonics ,just 'says what it does on the tin', better than fourtonics! LOL - better with gin and lemon ...
Here’s a quote “no good deed goes unpunished “ and another “some things never change”.
Thanks for all the great knowledge you share with us.
Good one! Thanks :)
Why is the minor pattern 1b345 and not just 12b35? Which Coltrane uses as well on his solos
That is probably coming from the connection with the pentatonic scale
Love this! I'm going to show my lack of knowledge but why take the F out? Why would it sound bad?
F clashes with the 3rd of Cmaj7 and forms a tritone against the B. You can use the note, but it is more a passing note on that chord and if you include it in the pattern then it is nowhere nearly as practical.
@@JensLarsen thank you!
Isn’t it also to do with the unwanted b9 interval between the major third (e) and the 11th (f)?
@@fritzallgemeine Yes, that is what I meant with F clashes with the 3rd of Cmaj7 :)
I AM SO ANGRY! Nice video, though. Thanks. In a book by Andrew Green, he was using the term MA+2 for the major triad plus the second for those phrases. (Jazz Guitar Structures, 2002)
I'm so happy I found your channel, Jens. I'm a bassist, and these lessons you share are invaluable! Thank you! 💙🎸
Love these patterns! With the ukulele's limited range, it is not always possible to utilize arpeggios the way many other instruments do, so these condensed patterns are a great tool to have. As usual, you took them to a whole new level in this lesson. Thank you! -JoJo
I don't know of a specific Pat Martino solo, but it's used throughout his book, "Linear Expressions." I like how you described it as an enclosure of the root, as I've been thinking of it similarly.
Excelente lección. Muchas gracias maestro.
You are very welcome Salvador!
Is the Bridge PU a dummy?
No, that is the original pickup
Digital (four note) Pattern? Jerry Bergonzi wrote a book on the subject. However, very useful video! Thanx!
How about "Modal Quadratonic Phrases"... Just a thought, as guitarists, most of us use Pentatonics everyday.. But I like the idea of Coltrane Patterns, plus it sounds groovy.
Thanks Jens, very interesting topic and a new approach for me! 💯🖖
greatest jazz lessons online. Thank you for all the great jazz stuff
I love that even when providing free and supremely helpful lessons, people still feel the obligation to complain about the title of the concept that you’re taking time to explain.
Love your videos, Jens - you’ve made jazz guitar more accessible than I would’ve hoped.
1,2,3,5, pattern? I like the faster pace of your videos.
They make me so mad (those people who get mad like that.) But seriousness aside, if you want to make sure nobody thinks you're dissing Trane, you could call those patterns "twelve thirty-fives." That name kind of instantly conveys which scale degrees you play.
Good video and don't worry about the pedantics who enjoy endless bloviations about "correct" terminology over getting on with the business of playing. I also enjoyed Jerry Coker's analysis of Coltrane patterns in his books where he breaks it down into digital patterns (instrument independent ones I might add). One has to begin somewhere.
Jens, I believe Pat Martino plays this in the '72 Live! album version of Sunny
okay 4ths licks Non Root like maj7 shapes super imposed over each chords II V's and Tonics...also the maj shapes NR...that is what i like as a sound that is a little bit different the degree of going out would be also like D7 Ebmaj7 to get a more phrygian domiant sound or more the 13b9 sound i like so the octatonic or half hole dim scale wilt 4ths...so you get a 12 tone scale...the four chromatic pints are the 4 outside notes i get this also from a American Conservatory teacher...who likes benson martino Montgomery and Jim hall as greatest inspirations he is much in to coltrane patterns and 4ths...I forgot his name maybe somebody could remind me???/
At KUG Graz we called that "TETRATONICS". 🤘
Great video. I feel like what you are calling the "Pat Martino Dominant" was always common in bebop, will try to come up with an example.
Oh my God, you're trying to sum up Coltrane in a few patterns! Who do you think you are? 😂
Thank you Jens, Coltrane is very inspiring for me.
You're very welcome!
On the one hand, you are murdering jazz with your silly names. On the other hand, I don't care and these videos are super helpful.
Another excellent lesson and great licks ! Thank you Jens
Gracias!!!!. Me encantan estos vídeos. Me están ayudando mucho. Explicas genial!! 🎸👌
Glad to hear it Maria :)
I know what you mean about losing jazz licks, very frustrating, especially when you have a huge record collection, which I don't btw!! Great video as always!
Exactly!
You’re an amazing teacher!! 🤘🏽🤘🏽
Thank you 🙂 Glad you like the videos
Jens Larsen I’m an organist and I do love to study your videos with my Hammond organ 🎹 but, even if I don’t want to, I’m learning guitar!
Keep on rocking!! 🤘🏽🔥
Love how you explain man
Glad to hear it! Thank you!
I learned about these back in the day too but I believe they were referred to as Coltrane 4-note patterns. Seems to me to be a slightly better name, cause it clearly narrows down that this is only talking about a particular 4 note grouping that he was particularly fond of.
The E major pattern over A minor outlines an Am major 7 (9) chord :)
Great teacher...great Chanel
wonderful lessons always thank you jens larsen
Glad you liked it!