Modern Music Theory Improvisation and Application
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:
FREE DOWNLOAD:
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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Many of you have asked me to publish more pages from the unpublished book on intervallic studies by jazz guitar legend Pat Martino: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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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:
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.
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:
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.
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