The pinnacle of guitar genius! To see both the Diminished 7th chord (1-b3-b5-bb7) and the Augmented triad (1-3-#5) as “parental forms” is pure genius. Those 2 chord structures are both “symmetrical” in that one is based on 4 equally-separated minor thirds, and the other is based on 3 equally-separated major thirds. That “symmetry” of equally-distanced intervals is why they work so perfectly as “parental forms”. This is one of the greatest realizations ever about the nature of the guitar. Thanks Pat!
This just “clicked” for me, too. I stumbled on another video where Pat was explaining this concept and I was like, “Whaaaatttt? Why didn’t I realize this YEARS ago??” The piano’s “7+5=12” symmetry versus the guitar’s “3x4=12” ( or “4x3=12” ) symmetry. Mind. Blown. 😳🤯🤷🏼♂️😆👍 25 years of playing guitar for me and there’s always more to discover. What a trip. ✌️
@@gkniffen @Kevin Eliot - Picture the Augmented triad as an equilateral triangle. Take say C+ by fretting 554 on GBE. Pull any note flat? Parent a major triad. Push any note sharp? Parent a minor triad (and the relative minor, don’t forget that). - So 6 other triads from any Augmented parent. - Now picture the 4-note Diminished 7th chord as a perfect square. Fret 4545 on DGBE for a Diminished 7th chord (named for any note). Flatten any one note? Form 4 different Dominant 7th chords. Sharpen any one note? Form 4 different Half-Diminished 7th chords (mi7b5). - So that’s 8 other 7th chords parented by that one Diminished 7th chord. - - - Martino was a genius! Martino saw that those two structures, the Augmented triad and the Diminished 7th chord, were “automatic” on the guitar. Only Martino observed this, and named it “Symmetrical Parental Forms”.
Ciao, ti volevo chiedere: secondo te come si possono usare queste varie forme nel improvvisazione ? Tipo sul C7#5 una scala minore armonica di A? Che la relativa minore... oh non ho capito nulla?🤦♂️ grazie in anticipo Vittorio
(This is my second comment here because people seemed interested.) Pat Martino’s “SYMMETRICAL PARENTAL FORMS”: Both the Augmented triad (1-3-#5) and the Diminished 7th chord (1-b3-b5-bb7) are “symmetrical”; the Augmented triad is all major 3rds, and the Diminished 7th chord is all minor 3rds. Each of those “parental forms” are super-easy to find on the guitar, and they can be used to easily generate other chords. - By LOWERING any one note of any Augmented triad, you will create 3 Major triads; by RAISING any one note, you will create 3 minor triads. So that one Augmented triad can be used to find 6 other triads, 3 major triads and their 3 relative minor triads. - Now the Diminished 7th chord… by LOWERING any one note, you will create 4 different Half-Diminished 7th chords, by RAISING any one note, you will create 4 different Dominant 7th chords. So that one Diminished 7th chord can “parent” 8 other 7th chords. - This is Pat’s “symmetrical parental forms”. Every guitarist should understand this aspect of the guitar that Pat observed and explained to us. May he rest in eternal peace!
This was such a good way of explaining. I knew the diminished/7th chord one, but had never really thought about augmented/major/minor before, embarrassed to say. Thanks, Pat!
Saw him live at the Cape May Jazz Festival several years ago -- just him, bass and drums. He absolutely floored everyone! This was a very handy lesson I hope to incorporate in my playing.
i have watched several of pat martino's instructional videos. without a doubt, he is a great musician and i like his way of playing the guitar. however, i cannot understand his methodology.
How does Pat bring the parental forms into relation of his minor scales? Say you have A aug as Part of A7 alt. Where is the distinction made of Bb dorian minor and Bb melodic minor which would be more useful here? In Bb dorian you would have an 'ab' which does not correspondence with the note 'a' of the initial parental form. So how does Pat make the distinction of using a related dorian or melodic minor scale substitution? As far as I understand it Pat refers to the dorian mode talking about minor substitutions.
Not really, they are different. The Barry Harris method is to add another note to a scale and then to harmonize that scale. It’s too complicated to get into in detail here but it is explained on YT by several fine teachers like: Howard Rees, Jens Larsen, and Robbie Barnby (excellent!).
What's amazing is how Tal Farlow, Wes and Herb Ellis didn't think about this lesson and most of Pat's other's .In Fact Herb said there's only one scale ..The chromatic! I know Pat has soul and that isn't bought from books or youtubes. The clones will grow in numbers as nameless and faceless creatures because they don't even like the culture of those who innovated Jazz as a dominant majority on every instrument! I have been amused at many of the almost soulless non smiling hot shots who are basically intent on proving how intelligent they are while lacking original sounds and feels! The music schools have helped destroy the genre by pushing them so to stay in business with the ignorant future hot shots!
The pinnacle of guitar genius!
To see both the Diminished 7th chord (1-b3-b5-bb7) and the Augmented triad (1-3-#5) as “parental forms” is pure genius.
Those 2 chord structures are both “symmetrical” in that one is based on 4 equally-separated minor thirds, and the other is based on 3 equally-separated major thirds.
That “symmetry” of equally-distanced intervals is why they work so perfectly as “parental forms”.
This is one of the greatest realizations ever about the nature of the guitar.
Thanks Pat!
This just “clicked” for me, too. I stumbled on another video where Pat was explaining this concept and I was like, “Whaaaatttt? Why didn’t I realize this YEARS ago??” The piano’s “7+5=12” symmetry versus the guitar’s “3x4=12” ( or “4x3=12” ) symmetry. Mind. Blown. 😳🤯🤷🏼♂️😆👍 25 years of playing guitar for me and there’s always more to discover. What a trip. ✌️
Truly amazing to have it explained like this! I’m new to playing jazz guitar and I actually understand him🤯
@@gkniffen @Kevin Eliot
- Picture the Augmented triad as an equilateral triangle.
Take say C+ by fretting 554 on GBE.
Pull any note flat? Parent a major triad.
Push any note sharp? Parent a minor triad
(and the relative minor, don’t forget that).
- So 6 other triads from any Augmented parent.
- Now picture the 4-note Diminished 7th chord as a perfect square.
Fret 4545 on DGBE for a Diminished 7th chord (named for any note).
Flatten any one note?
Form 4 different Dominant 7th chords.
Sharpen any one note?
Form 4 different Half-Diminished 7th chords (mi7b5).
- So that’s 8 other 7th chords parented by that one Diminished 7th chord.
- - -
Martino was a genius!
Martino saw that those two structures, the Augmented triad and the Diminished 7th chord, were “automatic” on the guitar.
Only Martino observed this, and named it
“Symmetrical Parental Forms”.
Ciao, ti volevo chiedere: secondo te come si possono usare queste varie forme nel improvvisazione ? Tipo sul C7#5 una scala minore armonica di A? Che la relativa minore... oh non ho capito nulla?🤦♂️ grazie in anticipo Vittorio
@@NGM575Anything that helps you to understand the nature of the guitar is “useful in a live setting”. Now how is up to you.
Thanks Pat, I forgot that jazz theory is the most fascinating thing on the face of the planet
(This is my second comment here because people seemed interested.)
Pat Martino’s “SYMMETRICAL PARENTAL FORMS”:
Both the Augmented triad (1-3-#5) and the Diminished 7th chord (1-b3-b5-bb7) are “symmetrical”; the Augmented triad is all major 3rds, and the Diminished 7th chord is all minor 3rds.
Each of those “parental forms” are super-easy to find on the guitar, and they can be used to easily generate other chords.
- By LOWERING any one note of any Augmented triad, you will create 3 Major triads; by RAISING any one note, you will create 3 minor triads.
So that one Augmented triad can be used to find 6 other triads, 3 major triads and their 3 relative minor triads.
- Now the Diminished 7th chord… by LOWERING any one note, you will create 4 different Half-Diminished 7th chords, by RAISING any one note, you will create 4 different Dominant 7th chords. So that one Diminished 7th chord can “parent” 8 other 7th chords.
- This is Pat’s “symmetrical parental forms”. Every guitarist should understand this aspect of the guitar that Pat observed and explained to us. May he rest in eternal peace!
Cogent explanation! But raising any note of a fully dim chord yields a half diminished while
Lowering by half step yields dominant though eh?
This was such a good way of explaining. I knew the diminished/7th chord one, but had never really thought about augmented/major/minor before, embarrassed to say. Thanks, Pat!
Saw him live at the Cape May Jazz Festival several years ago -- just him, bass and drums. He absolutely floored everyone! This was a very handy lesson I hope to incorporate in my playing.
Respect for this guy. A knowledge of the fretboard which exceeds the humanly possible. A lot of discipline and passion in order to achieve this level.
After 2 years of serious woodsheding I actually get it. Two years ago it was a mystery. Useful stuff.
Same, every few years I check back on these Pat Martino videos and finally understand what he's saying
This man is a genius !
My mind is utterly blown.
Mama Jazz back in the 80s introduced me to Pat Martino. On the radio of course, out of Oxford Ohio.
Yep, just decided on my lesson materials for the next couple months. I love it.
You get through it?
Yes, tell us how it went
Can't say enough how much your videos help and inspire me with my work. God bless you.
Phenomenal use of fret knowledge!
Mind. Blown.
Yep, I had figured out the Diminished to Dominate/Major forms on my own, but never played with the Augmented. Simplicity is also complexity.
This is fantastic! Thank you so much.
Rest In Peace, Pat
If I only saw this 50 years ago. Guess it never to late to learn right. Especially since it spells everything out for you that you need to know.
Major triads repeated on minor thirds (3 frets) sound really cool too.
😮 Wow!! Very inspirational.
Wonderful .
at the end: "therefore, all three of these sets do the same thing horizontally as well as they do vertically."
i have watched several of pat martino's instructional videos. without a doubt, he is a great musician and i like his way of playing the guitar. however, i cannot understand his methodology.
How does Pat bring the parental forms into relation of his minor scales? Say you have A aug as Part of A7 alt. Where is the distinction made of Bb dorian minor and Bb melodic minor which would be more useful here? In Bb dorian you would have an 'ab' which does not correspondence with the note 'a' of the initial parental form. So how does Pat make the distinction of using a related dorian or melodic minor scale substitution? As far as I understand it Pat refers to the dorian mode talking about minor substitutions.
This is deep
"Dead On Arrival" off his "The Grave Digger" album.
Wow!
After watching this, I feel like a little school kid again ...
Fantasztikus!
Wow thank you!
is this have some similarity with barry harris method？
Not really, they are different.
The Barry Harris method is to add another note to a scale and then to harmonize that scale.
It’s too complicated to get into in detail here but it is explained on YT by several fine teachers like: Howard Rees, Jens Larsen, and Robbie Barnby (excellent!).
ooh! Suits you, Sir.
RIP Pat
Damn are those piano strings
Think of the possibilities - Now get to work!
❤
🤯 God Tier
Eureka!
🤯
Yeah I had to repeatedly pause this in order to clean the brains splattered on the wall behind me.
And?
:)
What's amazing is how Tal Farlow, Wes and Herb Ellis didn't think about this lesson and most of Pat's other's .In Fact Herb said there's only one scale ..The chromatic! I know Pat has soul and that isn't bought from books or youtubes. The clones will grow in numbers as nameless and faceless creatures because they don't even like the culture of those who innovated Jazz as a dominant majority on every instrument! I have been amused at many of the almost soulless non smiling hot shots who are basically intent on proving how intelligent they are while lacking original sounds and feels! The music schools have helped destroy the genre by pushing them so to stay in business with the ignorant future hot shots!
True and in especially jazz...the b.s is very deep in clones.
DJsqueely I only debate my intellectual equals. You are very confused and no doubt can't play the music at a high level.
@Pdpmail All great music Innovators ignored many facets of Academic info! Soul obviously is difficult to learn resulting in clones!
@Pdpmail Those who are Naturals cant even read music so WTH are you implying?
Way over my head, unfortunately
Cool but guitar's too bright
This guy is ill