Pat Martino Lines and How To Use Them

[@JazzStrat781]

Really wonderful Pat Martino content 🎸👍 glad to have found your channel, I'm subscribed!

[@stefanjoubert]

Thank you so so very much for your kind comment! I am delighted that you have subscribed! I will soon record more Pat Martino material! 😊😊

[@patrickcaron5929]

Very great Stuff . I'm very interested by your lesson . I'have learned the 5 forms of Gmi7 by Pat martino but you are right ; it will be more precious to learn formulas of 8 notes . I 'm very interested for another lesson on that PMartino stuff and how to play them . Thanks a lot for that

[@stefanjoubert]

Much appreciated! Thanks Patrick! I will indeed record more on the Pat Martino lines and share some more ideas! Thank you! 😊

[@Steve-hc8xr]

@@patrickcaron5929 that was not a lesson,he was playing fast on purpose so we don't catch it.... hahahaha

[@Malcolm.Y]

Bravo. You are one of a few out of many Tubers to decipher a signifcant part of the Martino code. He also has similar lines, sometimes the exact same lines, in Creative Force and Quantum Guitar. They break down into constituent pieces that he re-assebles and that we can re-assemble - like Legos or Grreek or the quatraines of an epic poem. He is very systematic, far more so than the generation who preceded him, like Pass, Kessel, Ellis, etc. Maybe I can help you. Martino said he didn't know theory and scales when he came up with the idea of replacing Eb7 or Eb9 with Bbm. He just liked the way it sounds, but that theory is how we have to explain to each other. So, Martino's Bbm replacement is playing a mostly Dorian mode against Mixolydian chortd - all basically the key of Ab. So, when you start talking about Gm7b5, this is another chord from the same Ab key center. Among it's other names is "rootless Eb9.: So yes, you can perceive that Bbm "works" against both Eb7 (or 9) and Gm7b5, not just because of some common tines, but more because they are the same chord, and that both chords and Martino's Bbm thinking are all three are from the same Ab parent scale. Howeer, the common tone explanation is going to run out of gas on Quantum Guitar when Pat plays those same type of Bbm lines against A7, C7 and Gb7. That is, in a "old school" way, before everyone was taught to force feed everything through scales and modaes, there is something about the inherent tonal gravity of the phrase - like how the contout of the lines creates its own tension and resolution - that makes you listen to its melodic drive of the line separate and apart from it's harmomic environment. Because you are not actually hearing both at the same time. Good luck to you and your channel.

[@stefanjoubert]

Thank you EXCELLENT explanation! I definitely plan to make some more Pat Martino based lessons. He was such a giant and I adore his systematic way of thinking and his mindset/presentation and overall way of being! 😊😊 Thank you again makes sense... everything is everything!!! 😊

[@kenyattaward8546]

Absolutely amazing. Thank you, sir 🙏 Blessings

[@stefanjoubert]

Thank you! 😊😊

[@SHAWVEE]

Great video and great advice here. But I do wonder.. the original Bb line. Is that containing a 2,5,1 inside it.?? Or is the entire thing simply over the Ghalfdim thanks

[@stefanjoubert]

Thanks so much! To answer your question: each line is (generally) designed to be performed over a single chord in a swiss-army knife fashion. So the Bb minor line would work wonders over G-7b5, but if we added a C7#9 after that, we would then have to play a C# minor line and resolve that neatly into the F Minor chord (perhaps with an arpeggio or tension note). In the major we can however play a single line over the entire II V I. So for example if we have a Bb min 7 going an Eb7 and that resolves to Ab maj 7 we can simply play a Bb minor line over the whole thing... So it is situation dependant and you need to experiment with many variations! Hope this helps! 😊

[@stefanjoubert]

Also Pat Martino in his playing has many short lines that he can then flawlessly and smoothly superimpose of a variety of chord progressions. This requires a repertoire of lines to be designed and internalised!

[@samnewlin9423]

For major 7 chords… is there any difference worth noting between playing the minor line on the II or the VI of the major 7 chord?

[@stefanjoubert]

The first thing we have to take into account is the UNDERLYING melodic aspect and what we want to achieve. With Major 7th chords, we have two choices: 1. Choice I - Ionian 2. Choice 2 - Lydian Pat Martino's lines are a combination of Dorian as well as Melodic minor scales plus chromatic notes/twists/chromatic thirds and all sorts ✔ Here goes: (DORIAN MINOR EXAMPLE) CHORD: G Major 7th A Dorian Minor Line on the II of G Major 7th (A Dorian) If we play a Dorian-based minor line on the II of, say, G Major 7 (so we play A minor line), we are playing Ionian or Major mode. CHORD: G Major 7th E Dorian Minor Line on the VI of G Major 7th (E Dorian) If we play that Dorian-based minor line on the VI of, say G Major 7 (so we play E minor), then we are really playing G Lydian and highlighting the Augmented fourth ✔ NOW Let us do the same from the perspective a 'Melodic minor' based line. Keep in mind that Pat Martino often mixes both up, so it gets Bebop-like, and that is fine, too. But for analysis, it is best to analyse in parts first. Here goes: (MELODIC MINOR EXAMPLE) CHORD: G Major 7th Melodic Minor Line on the II of G Major 7th (A Melodic Minor) If we play "A" Melodic Minor Line on top of G Major 7th, we are really playing Ionian with a b9, so a passing note. Again, it is fine as we will just resolve through and not actually keep the G# running for a long time on G, as that will clash. So a nice fast A Melodic Minor Line will anyway sound like G Ionian, just with a bit of chromaticism! CHORD: G Major 7th Melodic Minor Line on the VI of the G Major 7th (E Melodic Minor) Now, if we play "E" Melodic Minor Line on top of G Major 7th, we will play the lovely JAZZ MAJOR or G Lydian Augmented. Basically, it is a Lydian sound with a sharpened fifth. So again, it's a little spicy on that Major 7th chord. Again, a type of chromaticism bebop sound. So, to keep it simple: # Path 1: Play the minor line on the II chord for an IONIAN sound where this is applicable and wanted. # Path 2: Play the minor line on the VI chord for a LYDIAN sound where this is applicable and wanted. I hope this helps. Thank you for asking this question!

[@samnewlin9423]

@@stefanjoubert Thank you Stefan. I really appreciate the reply.

[@stefanjoubert]

You are very welcome, Sam!@@samnewlin9423

[@stefanjoubert]

@@Nzbdjcnx Thank you so much! 😊😊

[@alchemysticgoldmind4164]

Nice Lesson

[@stefanjoubert]

Thank you so so much! 😊😊

[@Brucewayne-tj7kj]

I've practice these lines for years now, approach it like blues licks, then you get total freedom over the fingerboard

[@stefanjoubert]

I wholeheartedly agree.... learn them in the 5 positions and approach them like licks and the world of jazz lines is your Oyster! 😊😊

[@Brucewayne-tj7kj]

@@stefanjoubert and don't even think 😊 your fingers will do the job for you , i've Always loved Pat and Jerry Garcia, lots of similarity to my ears between those two giants

[@samnewlin9423]

Thank you so much for this video. I’ve had this book for a while but was having a lot of trouble understanding the use of each line. Super helpful

[@stefanjoubert]

You are very very welcome! I am glad that it is helpful! 😊😊

[@leisurealien]

can somebody please explain to me why playing the Bb line over a Dbmaj7 chord gives you a rather dorian sound? thx

[@stefanjoubert]

Bb Dorian over Db Maj 7 will give you a Lydian sound.... 😊😊 From Db's perspective: 6th, 7th, Root, 2nd, 3rd, SHARP 4.... The Bb Dorian has a characteristic note that is a major sixth. This is equal to G which is the Sharp 4 of Db Major 7 (another characteristic note if you target playing a Lydian!)

[@leisurealien]

@@stefanjoubert thank you very much stefan for responding so quickly, you´re a gem

[@stefanjoubert]

@@leisurealien Your questions are not stupid at all. I need to make another video on how to superimpose the lines over various chords. We have: 1. Minor 7 2. Major 7 3. Dom 7 (Vanilla) 4. Min 7b5 5. Min/Maj 7 6. Maj 6 7. Min 6 8. Dom 7 (Many types) The Pat Martino line structures fits over each one of these chords. So if you see a C Major 7th chord, you can play A min line (VI of C) or D min line (II of C). I will make a video on this to make it utterly clear! 😊😊 Thank you for the question - all questions are very important! 😊😊

[@leisurealien]

@@stefanjoubert mr joubert, thank you so much for your quick response, I really appreciate your help and I don't take it for granted

[@stefanjoubert]

@@leisurealien Most most welcome! 😊😊

[@jjhonnychacon1005]

When you are playing you are using two scales combining Dorian and medolic minor of Bb?

[@stefanjoubert]

Yes. The Pat Martino lines largely consists out of Dorian as well as the Melodic Minor. Sometimes the lines are strictly Dorian sometimes strictly Melodic Minor.... sometimes a combo. The beauty is it is basically part of 12 note scale and we can use everything as long as we outline main parts and hit the right notes primarily on the beat. But in essence your analysis is 100% correct! 😊😊

[@nickfanzo]

@@stefanjoubertand sometimes it’s just harmonic minor, as the 7th remained unchanged throughout the line.

[@rwjazz1299]

there's a tranditional grammar in jazz theory that does not take Pat Martino's approach to jazz improv. into account. He turned his nose up to traditional jazz therory. I recommend a new player learns the traditional way first. The, if you want to incorporate some of Pat's materials into your playing; then go for it. Learn the diatonic and altered modes. Learn how traditional jazz harmony is structured. Learn what extentions can be used when and where and on what chords. Learn to recognize what key you are in at any given moment in a given set fo changes. Pat's books tend to leave all this information out. And remember !! you don't want to end up being a Martino clone. You need to develope your own sound and your own lines.

[@stefanjoubert]

Fantastic comment - I agree 100% 😊😊 Traditional jazz theory is the very first step! 😊

[@sturdychinfilms]

Totally agree. I know for a fact I wouldn't be able to, or it would be a serious labor, to use the lines in Linear Expressions if I hadn't learned tradition harmony theory beforehand.

[@stefanjoubert]

@@sturdychinfilms Excellent comment! 😊

[@andresugueruaga6920]

Great lesson Stefan! Your surname is linked to the French writer Joseph Joubert

[@stefanjoubert]

Thank you so much! 😊😊

[@jansen_music]

Tweek couple of notes and The lines will resolve as II-V's .

[@stefanjoubert]

Absolutely - excellent observation - thank you so much! 😊😊

[@barryo5158]

I’m sure I heard Pat say in an interview that he had nothing to do with that book.

[@stefanjoubert]

It is an excellent book. The lines were created by him.... perhaps he did not edit the book, but there are gems within for those willing to SEARCH DEEP! 😊😊

[@barryo5158]

@@stefanjoubert I’m not sure what you mean, perhaps it’s some sarcasm. Pat Martino was very nice to me and like I said “I’m sure…nothing to do with…”.

[@stefanjoubert]

@@barryo5158 It is entirely possible. I would never be sarcastic, it is not in my nature. The book is wonderful nevertheless and very helpful for anyone wanting to learn jazz guitar ✔ 😊😊

[@gregormarini]

I didn’t know Gary Oldman could play guitar! 😂

[@stefanjoubert]

Now he does! 😊😊

[@gregormarini]

@@stefanjoubert Haha! Thanx for the videos! 👍

[@Steve-hc8xr]

The most important part ,the part Martino line you play too fast,am sure many have not got it yet

[@stefanjoubert]

The idea with the video is just an overview of Pat Martino. To learn the actual lines, best would be to buy Pat Martino's book as shared in the description. They are all in there! 😊😊

[@Steve-hc8xr]

@@stefanjoubert nah bro, you're one of em dudes who played guitar and hide the chords and shit so dudes can't learn it...I grew up with dudes like you,but it's ok ...lol

[@kidpoker007]

Doesn't sound that bad over a regual A7 either

[@stefanjoubert]

Yes if played on A7 it will give a Super Locrian sound! (1 3 b7) + b9 #9 + b5 #5! 😊😊 I love that scale!!! Basically turn that A7 into an altered dominant! 😊😊