chromatic scale – Modern Music Theory Improvisation and Application

Jazz Fusion Alternate Picking Guitar Exercise Analysis

Posted on July 8, 2024July 8, 2024 by Modern Music Theory and Application

Hi Guys

As requested, here are the two youtube shorts [uploaded horizontal] with the Tab/Notation. [Sorry, some notation is a bit messy]

VIDEO OF THE EXERCISE:

Alternate Picking guitar exercise. Jazz Fusion music mid tempo. Lesson/How to:

EXERCISE ANALYSIS:

PLEASE NOTE: These are only exercises to connect and get familiar with the jazz tools of improvisation in regards to alternate picking:

This exercise starts on a down stroke with strict alternate picking around 130-140 Bpm:

The point of the exercise is to “Connect” lots of jazz improvisation concepts together.

The first being barring 4ths and 3rds with the little finger [or pinkie]. This breaks up the monotony of the scale sound and creates a melodic inflection. It also makes it easy to play quickly as two notes are fretted with the same finger.

alternate-picking-guitar-jazz-fusion-lesson

This exercise is also good for exploiting phrasing on one string:

It’s also good for triad implications or sus 4-3 to lengthen the line.

Lastly, another tool that works really well for both the alternate picking right hand and the sound of the phrase is to employ an arpeggio. In this exercise we have also manipulated the open string to set up the next fragment of scale on the same string.

FULL EXERCISE:

DESCENDING ALTERNATE PICKING EXERCISE:

Alternate Picking mid tempo guitar exercise

This exercise starts on a downstroke once again, but, this time we descend:

The same improvisational tools are applied.

We start the line with some 4ths barred with the little finger into a bit of broken scale.

This leads us nicely into the employment of two arpeggios. These arpeggios create melodic colour over the A7 Dominant chord.

Next we exploit the alternate picking on the same string for two beats over the D Major 7 chord:

As with the previous exercise we exploit the Major 3rd and perfect 4th intervals, which means that we can alternate pick two notes quickly without having to change our fretting fingers.

Finally, we employ the chromatic scale starting on the #5 [Bb] of D7augmented chord:

IN CONCLUSION

In conclusion it’s through exploiting these improvisational devices that we can alternate pick and create long quick fluid lines lines that make improvisational sense.

In terms of jazz fusion this means that we can play smoothly through ambiguous harmony as well as standard chord changes at a quick tempo.

FREE PDF DOWNLOAD:

alternatepicking-lesson Download

If this blog/lesson was of any use then please SUBSCRIBE to us below on YOUTUBE, Thanks!

Pat Martino’s Minor Conversion Jazz Technique: Chromatic Devices and Examples

Posted on June 17, 2024June 24, 2024 by Modern Music Theory and Application

Pat Martino’s Minor Conversion Jazz Technique: Chromatic Devices and Examples

PLEASE Watch Video above for detailed info:

Hi Guys,

Some of you have said “How do we make Pat Martino’s minor conversion technique actually sound jazzy?”

Okay, let’s take a closer look!

CHROMATIC JAZZ TECHNIQUES FOR MINOR CONVERSION

There are 5 essential devices to employ for this:

1] Target tones:

These are employed to target a specific note. In this case E the 5th note of Am.

The use of an anacrusis/upbeat works best with target tones as this also sets up the jazz phrasing.

pat-martino-minor-conversion-jazz-guitar-lesson-target-tones

2] Chromatic scale.

This is usually delivered in fragments:

pat-martino-minor-conversion-chromatic-jazz-guitar-lesson

3] Side stepping:

In this case we are moving the interval of a tone down a semitone:

pat-martino-minor-conversion-side-stepping

4] “Classic” Jazz passing melody/MOTIF:

This is heard a lot in Charlie Paker’s playing as well as Pat’s improvisations.

pat-martino-minor-conversion-jazz-guitar-lesson

5] Minor arpeggio/min7th:

This is really useful and simple melodic tool for improvisational manipulation:

pat-martino-minor-conversion-minor7th-arpeggio

PART 2:

Analysis/Example- Pat Martino’s ii V7 I

In this example we can clearly see Pat’s exploitation of chromatics and how fluid they are in creating a long phrase.

We can see the target tone set up with an upbeat. Next we can see the manipulation of the chromatic scale, also, with a chromatic mix of scale and target tones. The minor arpeggio descends easily whilst the classic jazz motif/melody comes into play to round the phrase off .

This creates a very convincing jazz line in the “Minor conversion” Martino jazz guitar style/approach.

To complete this ii V7 I minor conversion we will exploit the minor7 arpeggio. From this, notice, the use of simple scale movement that finishes with a variation of the “Classic” jazz melody/motif:

pat-martino-minor-conversion-jazz-chromatics-guitar-lesson

Minor conversion: Sequence/Juxtaposition

As an exercise to display the brilliance of Pat Martino’s minor conversion jazz technique we will take the minor 7th arpeggio from the previous bar in the previous example and sequence/juxtapose this to play through both major and minor ii V I’s

1] Example 1: “MAJOR”– the same line moves down a fourth to play a ii V7 I Vi

2] Example 1: “MINOR”– the same line moves down a fourth to play a ii V7 i Vim7b5

pat-martino-minor-conversion-jazz-sequence-guitar-lesson

Shown in Full:

IN CONCLUSION:

This was a look at the essential devices any jazz guitar improviser needs to know and use for creative improvisation with the minor conversion, or minorisation technique.

As, I stated in the previous blog this simple method can save you 20 years of hard slog! Why? Because, Pat Matino’s minor conversion technique can be applied immediately!….

With these 5 musical improvisation tools anyone can create confident musical lines with strong and fluid jazz guitar phrasing.

FREE PDF DOWNLOAD:

chromatic-minor-conversion Download

IF THIS LESSON WAS OF USE TO YOU THEN PLEASE SUBSCRIBE TO US BELOW ON YOUTUBE, THANKS!

Pat Martino Intervallic Studies: Un-Published Book Lesson

Posted on May 21, 2024May 25, 2024 by Modern Music Theory and Application

Pat Martino Intervallic Studies: Un-Published Book Lesson

PLEASE WATCH VIDEO ABOVE FOR DETAILED INFO:

Hi Guys!

Guitarist Mark Koch one of Pat’s students kindly sent me a copy of Pat’s un-published book on “Intervallic studies“.

pat-martino-intervallic-studies-umpinlished-book

It’s a fascinating look at the imaginative thought process and creative concepts that Pat was investigating for the development of the improvising guitarist.

Also, it’s a real eye opener for the development of scale applications and creating fresh lines form nearly every scale imaginable. This book has around 294 examples.

pat-martino-intervallic-studies-unpublished-book

INTERVALLIC STUDY #1 “Whole Tone Scale”

In this first example we will look at the “Whole Tone Scale” Study:

From a music theory perspective if we take away the intervallic approach and place the notes in order we will get a whole tone scale ascending followed by a whole tone scale descending:

Now, we will put them back into the “Disguised” form with the clever approach of the intervallic design:

The key to playing these studies on the guitar is to decide on a methodical fingering and stick to it. [Below=Pat’s Fingering]

pat-martino's-unpublished-book-intervallic-guitar-studies

Also, it’s a really good idea to play in a staccato manner because there is a tendency for the open strings to resonate sympathetically with the string that has just been plucked.

I am employing strict alternate picking for this study starting on an upstroke:

FULL INTERVALLIC STUDY:

Same Study: From Pat’s book with fingering examples:

pat-martino-intervallic-studies-unpublished-book-whole-tone-scale

INTERVALLIC STUDY #2 “Pentatonic Scale”

Now we will look at how Pat breathes life into the pentatonic scale:

As before we will take this from a music theory perspective and remove the intervallic approach:

pat-martino-pentatonic-scale-guitar-lesson

Here, we again find the same principle as the previous example. But, this time we have the Pentatonic scales ascending and descending:

Now, let’s disguise this with the use of intervallic exploitation and alternate picking starting on a “Downstroke”:

Same Study from Pat’s unpublished book:

INTERVALLIC STUDY APPLICATION with the “Chromatic Scale”

Finally, we will employ these intervallic concepts through a iim7b5 V7 i cadence.

Once again, we see the intervallic set up:

pat-martino-intervallic-improvisation-example

Now, let’s employ our music theory and place the intervallic notes in order. Here we find that we have the exploitation of the chromatic scale.

pat-martinochromatic-scale-guitar-lesson

This clever approach is really effective because in the second bar beats 2 and 3 we have a literal chromatic scale that then anticipates the coming minor tonic chord of Em with an Em arpeggio.

Full Example:

In Conclusion:

This was just a quick look at the creative thought process and unique approach of Pat Martino, resulting in the application of this material into a minor iim7b5 V7 i improvised line to hear how they work and sound.

This approach to scales and improvising [and composing] with them is highly original and extremely useful when there is a need to bust out of cliches and seek colour and creativity in our playing.

FREE PDF DOWNLOAD:

pat-martino-jazz-book Download

IF THIS LESSON WAS OF USE TO YOU THEN PLEASE SUBSCRIBE TO US BELOW ON YOUTUBE, THANKS!