Play Like Pat Martino Over Blue Bossa (Jazz Guitar Lesson 77)

[@christopherclermont2060]

I found Linear Expressions to be sort of a workout book to help guitarist develop in 3 ways: (1) to build dexterity and muscle memory for playing jazz lines, (2) to bridge the theory gap with an easy to digest formula that players can incorporate into their playing immediately, and (3) to train the player's ear for jazz motion and language. It is a daunting task to learn music theory by itself let alone figure out how to incorporate it into your playing without listening to hours and hours of older players in the idiom. Linear Expression is inspirational in that playing these lines, the player instantly sounds "correct" for the idiom which alone combats the tendency to get discouraged during practice. This book is not a "how to play like Pat Martino" book which Pat never would have been involved with. He was a natural teacher with an amazing curiosity and intelligence. He was not afraid to share what he learned with other lovers of the guitar. He was a true artisan I was fortunate to get to know. Rest in peace!!!

[@winstonsmith8240]

He uses the same lines over just about every chord, he just resolves them differently. Neat. He's influenced me more than just about any player, and I could listen to his playing all day, but I struggle to listen to him talk about it for more than about 5 minutes. Just saying. When he uses 'dorian' over altered you have to keep in mind that his 'dorian' also includes the major 7, and, he uses it to hint at the 1/2 Whole scale. I get your reservations though. Sweet playing by the way. 👍

[@AntarblueGarneau]

When I started this book I had been working on modes all over the neck. I discovered that the minor forms were quite friendly on guitar and can be moved around to play other chord qualities than minor. Then I discovered I could add a lot of chromatic passing tones on the modes to make it sound more jazzy. Then I found that I could connect all the positions using diminished scales. So the Martino book came very naturally to me.

[@carterpaul2688]

I perceive you are a prophet sir

[@davidtardio9804]

I really like how you take the material from the book and immediately apply it to a tune. Well done.

[@joeturnip4216]

I was working with that book when I stopped for a second and noticed your lesson 77. I work through each line in Linear Expressions in every key until it's under my fingers and then let the stuff float out into my improvisation without trying to "play by memorization". Internalizing the lines seems to wake up the "inspiration in my playing. I find your "book oriented" method quite useful so I now go through a book rather than just sample. Your videos keep me motivated.

[@davidlane4159]

Great book and great study material to generate musical lines. If you break it to small chunks and transpose all over its really a great resource. I enjoyed your video and since I've been into this book for years i appreciated the video. I have a friend that studied with Pat for years and although Pat said he did not write book I know those lines came from Pat

[@iiWNMii]

I got my copy of Linear Expressions autographed by Pat last year. He played Blues Alley in DC with a major cold. What a pro.

[@Mikkokosmos]

Nice 😎

[@kriyaban100]

He signed for me this title and other 6 ones. Not long before he passed away. So, definitely he proved himself to us that he was behind “Linear Expressions “

[@marcuso.424]

I have an observation about this book. It shows 5 forms based on eolian mode, but the 5 activities are clearly based on dorian mode. Because of it, you can use the same activity over the entire IIm7-V7-I7M. What makes the use of the book confused is the fact that it links the activity with the form with the same number. You have to link activity #1 with form #3, activity #2 with form #4, activity #3 with form #5, activity #4 with form #1 and activity #5 with form #2. You have, of course, to change the chord references on the forms, because it wrongly descripts eolian chords (you have do change the visual reference of the VI chord for the IIm7 inversion over the region you are thinking). You can easily note in some of these activities that it makes bebop chromatic approachs over the third of the V chord, and uses the notes of the diminished arpeggio, like you had and invisible V7(b9) hídden on the dorian activities lines. I don’t know why they did not repair that yet, because it is an old book.

[@jansen_music]

Yes. I agree, Its a mistake in the book. page 55 they say that the third degree of G9 is a minor third so that need to be corrected too . A lot of these lines work really nicely over Maj7# 11.

[@jkbck1]

I was really confused right when I started analyzing activity 1. It was clearly derived from Dorian, not Aeolian mode. Thank you so much for the explanation, good job, Marcus!

[@gregorwilmes3723]

I like your lessons. You go all the ways. Very busy and konsequent! Thank you. Greetings from cologne

[@OTIStheREALcarlos]

Enjoyed your improv solo right there. Inspirational. Clean technique too. I watch you quite often for your in depth theoretical techniques for improv. I appreciate all ... your dedication love and commitment to the great art.

[@Shuzies]

Mikko....thank you for all of your videos....you have made me a better player....ron

[@Mikkokosmos]

Wow. Hearing this makes me want to keep on making videos 🙏

[@mattdowie92]

Thanks for the lesson Mikko. You've got it down! I have this book but haven't spent much time with it. You have encouraged me to dig into it.

[@richardsorice4509]

I can't use this book, I'm afraid I'll sound like Pat Martino, Hahahaha! I wish. Mikko, as I said earlier, I bought the book. Have been studying from it. I remember a few years ago I learned a four bar lick from Dave Stryker's book. It helped me immensely. It helped me phrase better on all my lines. I see this book being similar. A lot of these licks can be broken down to one bar phrases and still sound good, for the smaller bites that you mentioned. I really like the tritone potential, also. Say that I'm playing a four bar Fminor lick over Bb7 on a Bb blues. When I go to Eb7, I can just continue the same line, but move a half step lower, giving it more of an altered dominant sound. I think this is the fifth or sixth time I've watched this video. Thanks for letting me know about this book. Coupled with your great playing, it's helping a lot!!!!

[@jansen_music]

Richard Sorice I recommended the book to Mikko and been studying in it now for almost 4 years ...curious to hear what kind of progress you've made using this book/Don

[@richardsorice4509]

@@jansen_music Don, I like this book a lot. Has it helped me tremendously? ..... No. More my fault than the book's. I memorized Line form 5: A minor on Page 19. It sounds good as written, using 1/8 notes, but the magic really starts when you double time it with 1/16 notes. Seriously, i don't have the chops to play that fast. So I look at it, then set aside. Recently, I've been working on one of Pat's solos over a blues called Goin' To A Meeting, where he's playing live at the Java Jazz Festival with Tony Monaco and Harvey Mason. I have the first 2 choruses memorized, but I can't get it up to speed. I also have been playing Billie's Bounce melody and Bird's first chorus from the Omni book and have transposed to 4 other keys.

[@jansen_music]

Richard Sorice Just listened to Birds solo on Billy's Bounce.. sounds like one of his more accessible solos . I've seen the Martino Harvey Mason concert ...His solo on Meeting has deep groove watched probably six or seven times. To me Pats playing has evolved into pure melodic style .I memorized Linear Expressions and use it everyday as a warm up. The lines are versatile and truly part of solid jazz vocabulary. Best of luck going forward and I'm glad you liked the book. /Don

[@richardsorice4509]

@@jansen_music Don, I'm looking at the book again. I'm glad it's working for you. I think the book is great. I question my attention span. It's easy to get distracted by the next shiny object. I want to get back into it again. Are you here in the U.S., do you play out, are you on Facebook? Would love to hear you playing this stuff.

[@kevinsspanish]

Fantastic information..this will also help one's chops btw! Thanks! I will get Pat's book for sure!..btw, I think that book was published before tab was being used if you check the copyright date.

[@tenbroeck1958]

Great video, and I truly appreciate a really talented Jazz guitarist and musician saying it is good to add your own preferences. As Jazz, specifically Bebop, has gained acceptance in Academia, there is the danger of it becoming regimented, or set in stone with Rules, like Classical Music, which was originally improvisational, to a degree.

[@richardsorice4509]

Thanks for the great lesson!

[@jansen_music]

Great review! This book acts as a supplement or a "steroid" when blended... I think this is one of those books that when you're not even looking for something it kind of "finds you" . The "Line Studies" have a ton of great information and examples on connecting chord progressions .. as you say the book is fun to play too... I have it memorized and go through it every day in about six minutes.The F minor activity has the natural E so it works well over a B-flat 7b5 there are also more line studies beyond the 5 "Activities" that work well over altered chords. This book is a nice steppingstone into Pats next series called "Creative Force" Would love to hear review on that as well🤩 Thank You. /Don

[@Mikkokosmos]

This will keep me busy for years 😲🙏

[@AntarblueGarneau]

Great book Mikko! I've been working on the line studies in the back of the book for 30 years! Btw I have never sounded like Pat Martino! ha ha! As far as rumors I heard that Martino said that "IN WRITING THIS BOOK" he regretted giving the impression that these "activities" are based on scales. )

[@jansen_music]

30 yrs! Hey that's great to hear I've been in the book for three years and recommended it to Mikko. A classical player recommended it to me and it's like a hidden treasure.. I'm surprised it isn't the gold standard of beginning to play over changes musically.

Nice! Thank you!

[@lavenderfana3137]

Your solo was 👌

[@DELALUZZ]

The fretboard with numbers is some Of the best I’ve seem haha. It really helped me to learn and read them Quick since i can’t read at first sight. :)

[@jakemf1]

Have had that book for years- I think I need to get to work on it

[@briantyhy4880]

Thanks for posting. I have added linear expressions to my next amazon.ca order. I really appreciate your insight and suggestions. I have just started to learn how to play lines over the changes. Predominately I am a fingerstyle guitarists. Also thanks again for your suggestion on the gp10 finally started using it with the boss tone studio. It tracks much faster than the gr33 with fewer mistakes and glicks. cheers snowing in the yukon. brian

[@shoemakerthumb8959]

Great review! 👍

[@Mikkokosmos]

Thanks 😀👍

[@GlennMichaelThompson]

I can't remember when I bought this book.... probably in the late 70's or early 80's. I like the way it's layed out, but I have to say that I do prefer the 3 volume set "Creative Force" (vol 1, 2, & 3). They were written by Pat Martino and relate to the DVD set of the same name. I somehow prefer using the books. Should one want to they could use both in tandem as all the books examples have a time mark of wjere it matches the DVD. The books come with CD's so I never felt the need to pay for the videos. Cheers!

[@Mikkokosmos]

Interesting, now I have to check out those books as well

[@Krizendalsenpai]

Thank you!

[@richardsorice4509]

Mikko, I never knew about this book either and I love Pat Martino's playing. I did purchase the book. If I can put in the time and get it up to speed, this is truly a game changer. You sound great playing this stuff. BTW, in the final seconds of the video, I heard a Django riff. LOL!

[@jansen_music]

It's been a year since you introduced this very useful book to thousands of guitar players.there's a fantastic article on Pat Martino in guitar player magazine called "10 things you need to do to play like Pat Martino" towards the end, the guitarist who wrote the article Todd Rundgren's Jesse Gress, does an analysis of Pats Linear Expressions minor substitution concept over all the chromatic slash chords i.e. C/Db = Bb minor .The gravity of the notes change dramatically ..it's a unique study on where to play these lines over complex hybrids. I hope you have time to check it out and let us know what you think . Thank you for all your impressive contributions!/Don

[@Mikkokosmos]

Nice I'll check it out. I think I have seen that article it sounds familiar.

[@jansen_music]

Hope Pat Martino is making a little money .. who knows , IF you sold 3000 books from 10,000 views = $30,000 . Jus sayin' ;)

[@Mikkokosmos]

@@jansen_music yeah I heard he is in bad shape? I donated to a fund raiser a while back.

[@jansen_music]

Mikko I got a email through Wolf Marshall saying that Pat uses a ventilator and is unable to play now .that was a couple of months ago.. Do you have a link to that donation site. thx

[@Mikkokosmos]

@@jansen_music www.gofundme.com/f/pat-martino-fund?fbclid=IwAR0newfRLYPVcHyg3K3sbpA8aTscpHDnI6LDe5fOTq9dHmyqFKSxA--mXns

[@brucebaldy]

Very good. I think you see why so many combos get into an over choppy thing instead of various flows, at one time it was the thing to fit an entire scale pattern into a measure, and to make it more challenging strange choppy progressions developed good or bad sounding ( all relative to listener), also why, (in my opinion), so many jazzers were institutionalized for going nuts.

[@jansen_music]

Ha! Here is how I feel about Linear Expressions.. ..Miles Davis. "Nothing like you" kzbin.info/www/bejne/gpW9hX6sg72rhqM

[@bartlebob]

Great lines man, it is indeed a good book.

[@savvasanastasiou335]

Hi Mikko!I think what we should be able to in the end is to be able to play the lines non-stop through the changes and voice lead them as the chords change , instead of starting from the lowest note of each line everytime right?

[@angelvega2937]

Awesome video man! Interesting and weird approach haha

[@Mikkokosmos]

Thanks... I like weird 🤡

[@eddyneerdael6303]

Hello Mikko, have you also the same lesson for Sunny ? Very nice this one 👍

[@Mikkokosmos]

That's a good idea

[@VanceMusicStudios1]

This is a great book. I would disagree with shortening the lines- learn each activity in its entirety then do what you want. Also F#/Gb- I’ve heard folks debate this forever, and although F# is ‘correct’, it’s six in one and a half dozen in the other as far as what I’ve heard used (some folks just don’t care about the details). Out of curiosity, do you relate each activity to traditional scale fingering? I.e. CAGED? Activity 1 is a G shape, activity 2 is an E shape, etc. for me that translates well into the rest of my playing. Also how each activity relates to melodic minor. Great review, and the way you are applying the activities I would guess the answer to my questions above is yes, but if I would add one critique to your review it would be to make those connections clearer

[@Mikkokosmos]

I don't think about traditional scale fingerings or boxes. I stopped doing that 30 years ago or so. I have a video on horizontal vs vertical playing for those who are interested. F# is correct yes, anybody with the most rudimentary knowledge of music theory knows this. The "half a dozen" analogy went completely over my head. Maybe it's the language barrier? Yes I also think one should learn the lines first, but for me it works better if I apply segments of them into my playing 😎

[@jansen_music]

Hey there .I recommended the book to Mikko.. I bought a second copy of the book, copied it and cut out every line ,then sorted them according to the activity position they fit. I found: 20 lines in Activity 1.... 18 lines in Activity 2... 15 lines in Activity 3 17 lines in Activity 4 14 lines in Activity 5 I organized in a fingering order : the 1st finger on first string. line starting with 2 finger etc. Each one is labled with a position number first then a decimal point so if I want to access 5.12 can go right to it regardless of key. Why the book relates the G minor to Bb Major is a puzzle ...? ... it makes more sense to think Dorian/ melodic minor not Aeolian.

[@joejoe5921]

jag tycker du har en väldig sund inställning till musiken! älskar det

[@kidpoker007]

Sheryly Bailley has something similar called the Microcomisc Bebop scale

[@jameserenberger3425]

Thank you, once again, for reviewing a book I am extremely interested in. Pat is one of my favorite players. I love his view of the parental forms and how to modulate them. Do you think a "Barry Harris Person" would gain a lot from this book? Do you need to be able to read sheet music to use it properly? Cheers.

[@alexandermager3814]

I'm practising two bar phrases with resolution clichés on the last to measures as II-V-Is

[@cugir321]

Your right hand technique is very Dennis Sandole (Pat's buddy)..... What you're explaining is very Sandole also. Makes sense since Sandole was Pat's mentor. Simplified...you can change anything but the 3rd over a minor 7th chord, and 7th over a major 7th or dom 7th. In essence....anything over anything. The inversion thing is almost like a basic Sandole lesson. They can be used to resolve all over the neck.

[@Mikkokosmos]

Interesting...I will have to check him out. Thanks for the info.

[@thepartimemusician65]

Great video Mikko ,jealous that you studied with Scott Henderson though:) Your playing is high level

[@AntarblueGarneau]

Now try Pat Martino "Creative Force" Vol 2 )

[@adeladnani3713]

nice but tell me how can we practice bulding lines juist like you re doing in the begining of the video i think that's the key on improving imporovisation i mean how can we manage to play so diffrent ideas using bearly same material arpegios chrmatisisme and scales

[@Mikkokosmos]

I think it's a matter of learning tons of material and then figure out a way to connect everything in a natural and fluid way 😎

[@eternalrainbow-cj3iu]

Do you know the book of Garison Fuell? and a book by Wim Overgaauw? The Theasaurus for Jazz(the "Necronomicon for Jazz musicions"

[@eliaspap8708]

Great insight, thanks for sharing. is the book in tab form also?

[@Mikkokosmos]

Thanks. I think I explain on the video that the book has standard notation plus his own notation systwm, kind of like tabs. Hard to explain but kind of like tabs but with a fretbiard diagram instead of staff lines. I don't like it I read the notation.

[@eliaspap8708]

@@Mikkokosmos thanks Mikko just ordered the book. 👍

[@Mikkokosmos]

@@eliaspap8708 😎👍

[@grantgre]

Martino's playing is great for technical skills, but the ultimate is to create some new killer melody inside your solo that admittedly only a few players( Wes, Bernstein) can accomplish occasionally.

[@Shawn-hs8qk]

I think that odd number/notation thing ws an early GIT/REH kinda thing. I don't care for it either.

[@joeychase5881]

I think you are correct - the REH stuff from that era was that way

[@GreenJeepAdventures]

I also seen this in a Les Wise book called "Inner Jazz."

[@profmichelmarcel]

👏👏👏👏

[@kidpoker007]

What about the G7?

[@veronicacolucci4082]

Thanks for the tutorial Mik Are you familiar with Jimmy Bruno and Chuck Anderson? Both Philadelphia area now Check out Sleight of Hand (Bruno) and Freefall (Anderson) Ha! Had that same guitar years ago Way to play it brah!

[@Mikkokosmos]

Jimmy Bruno I know for sure. Will check out that stuff.

[@onceuponascale]

“I am not going to show you this lick for copyright reasons obviously”. One of the most idiotic things i have heard in a long time. Well done.

[@Mikkokosmos]

Interesting. Why is it idiotic?

[@onceuponascale]

Because, according to your "logic". All tutorials teaching how to play, AC/DC, Guns, Metallica, Benson, Van Halen, Chet Atkins, well basically all musicians should be striken with copyright claims, shouldn't they? @@Mikkokosmos

[@Mikkokosmos]

@@onceuponascale No I don"t think that should be the case. KZbin is actually changing how copyright works. But if I take content from a book that somebody is making money from and give it away, and then monotize from it...that's wrong. Let's say I would take pictures of all the pages and put them on the screen. I would be taking credit from someone elses work. Pat Martino was alive when I made this video. What I'm trying to do is to show what you can learn from this book if you buy it. How I work with it. I only cover books that I think are worth getting and I have been thanked by publishers who have sent me books. But I"m glad I was able to say one of the most idiotic things you"ve heard. I'm so much wiser now after that comment.

[@eternalrainbow-cj3iu]

I d o totaly appreciate just one idea using everywhere this the way just to also totaly get that, let's prey that the book gets out of the reach of Scot!

[@vincentparrella272]

It would be awesome if you had tab.

[@Mikkokosmos]

There is a kind of tab system in the book. It's not expensive or hard to find. Plus it's a good idea to support mr Martino right now I have heard that he is very sick 😪

[@proximact695]

Hi, I'm new to your patreon channel, do you have the pdf of this lesson uploaded on patreon? I think it's a very good lesson, greetings from Spain

[@Mikkokosmos]

Thank you so much 😃 I don't think I made a pdf for this lesson. Unless there is a link under the video. I don't want to take credit fir the lines that Pat Martino created. All the lines are in that book. Regards /Mikko 🇸🇪

[@5geezers]

Hey Mikko....I don't think you did this material justice. Before reviewing it I believe you'd have been better placed to give a more instructive take on it had you worked with the book thoroughly. By which I mean that you only really covered the "activities" and didn't touch on the line studies which are the meat and potato in my view. For a start, you'd find it most instructive if you made a study of how the lines are voice led at each point of chord change. Also the lines are worth analysis to see/hear which devices are used in their construction. There are upper extensions triads, inversions, pentatonic patterns, octave displacement....I could go on....but I suggest that you check out the "engine" of these lines. Regarding the notation....it has already been stated that Pat may not have written the book himself. I argue that whoever did, Tony Baruso? was a keen observer of Pat's vocabulary....but to suggest that Pat could not write notation is absolute BS. He is well known to have used manuscript books to write studies for his private students and he would have the student leave a second book that he would write in preparation for the next lesson with that student. He is also known for his exquisite penmanship in drawing up his elaborate diagrams. You will find that many of the books that were published by REH would have been overseen by the publisher Roger Hutchinson.....take a look at Joe Diorio's Intervallic Designs or Don Mock's Artful Arpeggios to see the same unwieldy number system. Pat probably had no say in that matter. This book is like a textbook on post bop guitar playing to my mind. I do agree with many of the points you made...like, why have 6 bar activities and then chop back to 2 bar phrases in the line studies? Also....yes, many of the minor forms written in the book will fail to line up over given chords. So....you either don't give a rat's about such details or you adjust them as you suggest. And....in closing, I must say that you gave a helluva performance given that you've not been working with the lines for long at all. Some nice chops! So....bravo for that.....I only go into this rant because I really like your videos and look forward to them .....we share many tastes....your classical guitar playing, particularly on the Sth American pieces. I even have a Cordoba C10 spruce....couldn't stretch to the beauty you have. Who thought we'd be playing Chinese guitars?....and good ones! Keep up the good work....and a PS....try looking at the 1bar licks that you can find throughout LE PPS....also check out Pat's Creative Force vids and the books....also Quantum Guitar . Best wishes

[@jansen_music]

Yes , it would've been nice if he would've thrown in a couple of dom 7th and Maj7#11 chord ex. to show how versatile the lines are.He chose a minor sounding tune because this book is perceived by most players as dorian based .however if you notice at the beginning of the book Gmin is related to Bb maj not Fmaj ..Pat raises the Eb to E natural in the lines so we can get : Gmin/C7/Bbmaj7#11/E-7b5. Analyze the lines that way in 12 keys then there's a lot to work with... I requested that he review the book I'm glad he did...if he had more time I'm sure he would see the value of studying the lines in depth.

[@Mikkokosmos]

Thank you. This is good criticism. I confess that I didn't look to closely at the line studies. Maybe I should look at it more closely. However, I never said that Martino can't write or read music. I said maybe! And I don't think it's nececcary to do that to be a great musician. I just think it's weird to publish a book with a mistake like that. Your criticism is appreciated. Best, Mikko 😎

[@Mikkokosmos]

@@jansen_music I think I understand how the lines can be applied to different chords. I for exanple use the Bb minactivity over the DbMaj chord. I also have a video coming up next week where U use these lines in different chordal contexts. However I do think that we also need to study each chord/mode/tobality as it's own sound. If that makes any sense? 🤓

[@jansen_music]

@@Mikkokosmos Charlie Parker said: “First you learn the instrument, then you learn the music, then you forget all that s**t and just play.” I think it may be the "professor" inside you saying "how can you have any pudding unless you eat yer meat" These lines are much more than licks .."they are moving living forms that don't give a rats ass about dorian this or lydian that"...just practice the hell out of all of them @ half note = 130 then analyze all day. I love how they play "against" some chords .The clashes are momentary and add tensions dark and light . Cat is out of the bag! -Don

[@kidpoker007]

So basically when you have a Major chord you are playing the relative minor ..E.G F major play Dm7?

[@Mikkokosmos]

yes but I wouldn't necessarily think of it like that. It's more like the same lick or line or what the book calls "activity" can bu used over several harmonic situations.

[@kidpoker007]

@@Mikkokosmos right Barry Greene talks about that as well… basically 4 different chords Gm6 Em7b5 C9 and F#7 b13

[@Mikkokosmos]

@@kidpoker007 yes similar concept

[@jfender8023]

Don Mock's handiwork

[@lesliengo]

hey Mikko, do you strictly use alternate picking or do you sweep that arpeggio that can be found in activity 2?

[@lesliengo]

oh lmao right when I typed this out i got to the technique portion of the video

[@Mikkokosmos]

@@lesliengo 😁 I do a combo of alternate, sweep and Gypsy picking 😎

[@grantgre]

Martino plays minor on everything!

[@jansen_music]

I agree he converts to minor most of the time but he does play diminished scale lines. I'm transcribing a solo now and he uses Ab dim scale over a G7b9. I think the minor sound also lends itself well to the blues ..Pat is a great blues player.

[@jansen_music]

You mentioned that John Stowell was in Sweden playing some gigs ..when he was at my house I showed him " Linear Expressions" he was not aware of the book..he looked at it for about two minutes and said : there's vocabulary there ,it was a different approach and that it was based on ...Dorian?

[@tasossimeonidis3275]

Hi Mikko!Pat Martino did not write this book so the conclusion is that maybe the guy who wrote that book may not know how to notate music and not Pat Martino.With all due respect!

[@GlennMichaelThompson]

Isn't that a drop 3? :)

[@Mikkokosmos]

Yes you can see I made a little correction caption there 🙏😀

[@eliaspap8708]

I think its nice to have some fast licks u can have ur sleeve But he doesn’t create much tension and release. U need to learn to take the melody and create emotion in your playing.

[@Mikkokosmos]

I do my best 😉

[@daniellibens4533]

Nous

[@DrJoshGuitar]

Maybe Pat didn't remember working on the book because of that brain hemorrhage he had which gave him amnesia? Just a thought.

[@emmanueldelacruz1404]

You have to slow down if want you to share what you know

[@Mikkokosmos]

slow down the information? My talking? Could you be more specific? Or you mean the playing? The idea of this video is not to show you the lines so you can transcribe them, but to show you the info in the book so you can get it for yourself if you find it intriguing. In the book the lines are clearly laid out so you can learn them.

[@joenickerson8443]

sorry, sounds nothing like pat! just fast diatonic scales.. better go into rock where they know little about harmony and, like you, nothing of ii-Vs.. you have good technique, but for me, that is all.. 😔

[@Mikkokosmos]

Thank you for saying that I have good technique. I have always worked hard on that 😎

[@m.vonhollen6673]

Go say that …. while looking in a mirror.