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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](https://jazzimproviser.com/wp-content/uploads/2024/05/img_3440.jpg)
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![pat-martino-intervallic-studies-unpublished-book](https://jazzimproviser.com/wp-content/uploads/2024/05/img_3439.jpg)
INTERVALLIC STUDY #1 “Whole Tone Scale”
In this first example we will look at the “Whole Tone Scale” Study:
![pat-martino-intervallic-studies-unpublished-book](https://jazzimproviser.com/wp-content/uploads/2024/05/screenshot-2024-05-16-at-20.56.58-1.png)
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:
![pat-martino-intervallic-studies-unpublished-book](https://jazzimproviser.com/wp-content/uploads/2024/05/screenshot-2024-05-17-at-17.41.42.png)
Now, we will put them back into the “Disguised” form with the clever approach of the intervallic design:
![pat-martino-intervallic-guitar-studies](https://jazzimproviser.com/wp-content/uploads/2024/05/screenshot-2024-05-16-at-20.56.51.png)
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![pat-martino's-unpublished-book-intervallic-guitar-studies](https://jazzimproviser.com/wp-content/uploads/2024/05/img_3443-copy.jpg)
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.
![pat-martino-intervallic-studies-unpublished-book](https://jazzimproviser.com/wp-content/uploads/2024/05/screenshot-2024-05-21-at-12.25.42.png)
I am employing strict alternate picking for this study starting on an upstroke:
![pat-martino-intervallic-studies-unpublished-book](https://jazzimproviser.com/wp-content/uploads/2024/05/screenshot-2024-05-16-at-20.56.58-2.png)
FULL INTERVALLIC STUDY:
![pat-martino-intervallic-studies-unpublished-book](https://jazzimproviser.com/wp-content/uploads/2024/05/screenshot-2024-05-16-at-20.56.27.png)
Same Study: From Pat’s book with fingering examples:
![pat-martino-intervallic-studies-unpublished-book-whole-tone-scale](https://jazzimproviser.com/wp-content/uploads/2024/05/img_3445-2.jpg)
INTERVALLIC STUDY #2 “Pentatonic Scale”
Now we will look at how Pat breathes life into the pentatonic scale:
![pat-martino-intervallic-studies-unpublished-book](https://jazzimproviser.com/wp-content/uploads/2024/05/screenshot-2024-05-17-at-18.40.10-2247435555-e1716026640401.png)
As before we will take this from a music theory perspective and remove the intervallic approach:
![pat-martino-pentatonic-scale-guitar-lesson](https://jazzimproviser.com/wp-content/uploads/2024/05/screenshot-2024-05-17-at-18.19.53.png)
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”:
![pat-martino-intervallic-studies-unpublished-book](https://jazzimproviser.com/wp-content/uploads/2024/05/screenshot-2024-05-16-at-20.48.49.png)
Same Study from Pat’s unpublished book:
![pat-martino-intervallic-studies-unpublished-book](https://jazzimproviser.com/wp-content/uploads/2024/05/img_3449-1.jpg)
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](https://jazzimproviser.com/wp-content/uploads/2024/05/screenshot-2024-05-17-at-17.58.02.png)
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](https://jazzimproviser.com/wp-content/uploads/2024/05/screenshot-2024-05-17-at-17.59.27.png)
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.
![pat-martino-intervallic-improvisation-example](https://jazzimproviser.com/wp-content/uploads/2024/05/screenshot-2024-05-17-at-18.06.59.png?w=593)
Full Example:
![pat-martino-intervallic-improvisation-example](https://jazzimproviser.com/wp-content/uploads/2024/05/screenshot-2024-05-16-at-20.57.29.png)
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.
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