Lessons from Jazz/World to 20 Century Classical Music Harmony Rhythm and Theory
Hi Guys,
I made an E Book from the collected webpages and blogs from this website that wasn’t needed in the end.
So,
Rather than delete it I have posted it here for anyone who might be interested or find it useful:
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Hi Guys,
Many of you have asked me to publish more pages from the unpublished book on intervallic studies by jazz guitar legend Pat Martino:
Here are some excerpts/pages from the book that you might find interesting/insightful and useful:
SCALES:
Firstly, we see Pats thoughts on the many scales available to create his intervallic studies: [He seems to have had an impressive encyclopaedic knowledge of scales].
Here, Pat lays out the main/commonly used scales to his preferred/choice of harmony [inversions/voicing’s]
Here, his harmonic expansion is continued: Again, scale to harmony [chord voicing’s].
This page demonstrates once again, scales and harmony with possibilities and personal choices. It’s interesting to see Pats chord voicing’s available for development with his unique intervallic concept:
[It presenst a unique glimpse into Pat’s theoretical outlook, considerations and harmonic outlook].
Full Study: The Melodic minor scale EXAMPLE:
Now, let’s take a complete study. Here is the first one of the melodic minor set :
Pat’s studies to be completed:
Towards the end of the book we find that Pat was either still working on the book or he didn’t have time to complete [in all 12 keys] everything that was in his mind.
Here is an Example:
Although incomplete, here we see Pat preparing studies for the Spanish Gypsy scale, with the key points of string order and correct guitar fingering:
LAST EXAMPLE: FULL STUDY
Lastly, we have a full study with the Hungarian minor scale: Once again notice the string order and Pat’s choice/recommended guitar fingering.
IN CONCLUSION:
In conclusion, these are some of the important pages of the book, although there are lots more studies of interest and some more interesting pages [chords/scales] that I will publish in a later blog. But, this is the main core for those interested.
Judging by this book, although, Pat was an amazing jazz guitarist/composer and improviser he also seems to have been a great theoretician and super creative individual with a vast knowledge of music and not just jazz:
Finally, I would like to say a big thanks to Mark Koch for sending me the book and making all of this possible.
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Please watch video above for detailed info:
Hi Guys,
Today, a look at picking arpeggio inversions on the guitar. This is in the more recent style of Al Di Meola’s nylon string guitar playing/composing.
Okay, Let’s get started!
The main guitar picking pattern is “Down Down Up” and the variations of this naturally occur form the music itself.
Here is the basic pattern:
This simple “Down Down Up” patten means that the final upstroke makes it easy to pluck the next downstroke on the lower strings.
Arpeggio inversions:
To begin with lets play a simple F Major arpeggio in the root, 1st inversion and 2nd inversion:
As you can see and hear the “Down Down Up” works smoothly with the basic F major arpeggio inversions.
CHORD SEQUENCE
Now, let’s pick a chord sequence and vary the picking set up and pattern:
Basic Down Down Up: F root, E7 1st inversion, Am root:
Now, we will add an open E string for a syncopated rhythmic off beat set up,
You will also notice the two upstrokes on the high B and C notes. This makes it easy to descend with the pick/pattern whilst anticipating the next chord:
This time we will employ the 1st open E string and do the same thing:
EXTENDING THE HARMONIC CHORD SEQUENCE
We will now extend this chord sequence with more arpeggio inversions to outline the chord sequence.
So, G7 1st inversion, C Major root, A7 1st inversion to D minor root:
Let’s extend this some more.
C7 1st inversion, F Major root, D13 1st inversion:
We now have
Here is the Full Sequence:
With Open Strings added:
A couple of variations:
This example makes use of triple upstroke picked to create beautiful melodic movement:
Finally, we will exploit A augmented 1st inversion going to D minor root: Also, notice the single note melodic rise of the high notes.
IN CONCLUSION
In conclusion, these are just a few examples of the beauty and fluidity of following arpeggio inversions for melodic composing and performing at the guitar.
This way of playing smoothly through the inversions works really well with the guitar pick, and as you can see in the examples the inversions can be manipulated rhythmically with anticipation/syncopation.
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