jazz guitar lesson – Modern Music Theory Improvisation and Application

Unlock Your Guitar Skills with Pat Martino’s Triad Pair Techniques

Posted on January 4, 2026 by Modern Music Theory and Application

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Hi Guys,

Today, a quick look at building interesting, creative, melodic lines by pairing simple triads together.

PART 1:

To begin with, let’s join the triads of F and G [back to F] together

Sheet music illustrating the chord pairing of F and G triads in a melodic line of jazz guitarist Pat Martino. — Musical notation illustrating the triad pairs of F and G for creative melodic lines.

We will now, extend the line further by employing the same two triads once again,

Sheet music showing melodic lines with F and G triad pairs of guitarist Pat Martino highlighted. — Pat Martino F and G triad pairs to create melodic jazz lines.

At this point we will end the phrase and create a cadence with our two triads,

Musical notation showing the triad pairs of G and F in a jazz melodic line, with highlighted notes and annotations. — Musical notation showing the pairing of triad pairs F and G for melodic development.

We will now shape a new line and ascend with the triads of F G and C

Sheet music showing pairing of triads F, G, and C of guitarist Pat Martino with annotations highlighting jazz melody and note positions. — Musical notation illustrating the use of F, G, and C triads for melodic jazz line construction.

At this point the triad pairs have started to become formulaic

So, we will add some colour.

To achieve this, we will now go in the opposite direction and descend with a classic Pat Martino lick

Musical notation showing a jazz guitarist Pat Martino melodic line with a labeled lick, featuring notes on a staff and highlighting specific sections for musical instruction. — Musical notation illustrating a classic Pat Martino lick, focusing on descending triad pairs.

This leads us in nicely to exploit some chromatic set ups with target tones

Sheet music showing jazz guitarist Pat Martino's musical phrase with highlighted notes and text label 'Target Tones'. for chromatic improvisation. — Musical notation for guitar illustrating target tones for improvisation.

From this, we can bring in our G Major triad/arpeggio to give a wider intervallic sound to give a sense of distance from our chromatic notes.

Musical notation showing a melodic line with notes and a highlighted segment in red, labeled with a G.

Finally, to complete the lick we will employ some basic scale movement with chromatic fragments for the A7 chord.

Musical notation for an A7 chord with highlighted notes and finger positions.

IN CONCLUSION:

Although, this was a long phrase It acts as a useful example to hear and see how natural it is to build off of triad pairs for the improvised line.

These triad pairs also create a really nice melodic and fluid way to start a phrase.

Lastly, due to the way triad pairs are offset rhythmically, the improvised line generally possesses a more composed and polished sound.

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Julian Lage’s Approach to Jazz Guitar Improvisation: 2Note Chord Voicing’s

Posted on December 27, 2024January 8, 2025 by Modern Music Theory and Application

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Hi Guys,

Today, a look at how jazz guitar master Julian Lage harmonises, creates and improvises on jazz standards with simple 2 note chord voicing’s:

Many guitarists, and many instructional manuals display what are commonly called jazz chords as big block barre chords with overbearing resonance and no resolution to the movement.

But, the reality is that someone really good at comping in jazz will distill big block chords into simple 2 note voicing’s that don’t intrude and that pierce through the band or ensemble.

2 NOTE VOICING’S PART 1

To begin with, let’s take a ii V I [Example below]. Notice that the C moves down a semitone to the note B and and then back up the semitone to C. The F note is played in both chords and then resolves down a semitone to the note E.

julian_lage_guitar_jazz_chords_lesson_example

Now, let’s apply this to the minor key. Here we have iim7b5 V7 i [note the 1 tone movement from the F to the Eb]

ADDING A SIMPLE MELODY:

Below, is an example of how to add a little melody to our 2 note voicing’s of our ii V I – [notice that it creates a clear and uncluttered sound].

julian-lage-jazz-guitar-chords-melody-example-lesson

We, will now apply this same concept to the minor key.

julian-lage-jazz-chords-chord-melody-example-guitar

Julian Lage: Chord Melody-“All Things” Concept.

Applying, what we have learnt so far let’s look at the first few bars of the standard “All the things you are”

First of all let’s take the basic harmony and see how the chords connect.

julian-lage-jazz-chords-melody-guitar-example

From here, we will now add the melody to this skeletal structure.

SOME MORE 2 NOTE VOICING’S:

Here, is a nice easy way to string some V I’s together on the guitar fingerboard.

julian-lage-jazz-chords-voicings-guitar-example

Below, is a great way to modulate. Here, we have V7 I with I becoming the new V7 [third inversion] that modulates/resolvess to the new I chord [1st inversion] This works so well on the guitar with simple 2 note voicing’s.

julian_lage_jazz_guitar_chords_lesson-tab-

This last example, is super easy and is a great case in point as the same shape just moves down in semitones through the cycle 4ths/5ths.

julian-lage-jazz-chords-voicings-example-cycle-of-5ths

julian-lage-jazz-chords-voicings-example

ADDING COLOUR NOTES:

Although, 2 note voicing’s cut through, it can still be okay to add colour notes. For instance, below we have the use of a Major 3rd and minor 3rd to create a bluesy sound on the dominant chord.

In the next example let’s add the 13th [F#] and the #9th [C]. This again, works well and creates colour when used sparingly.

julian-lage-jazz-chords-voicings-example-lesson

Playing simple 2 note voicing’s in a structure:

Here, is a simple Blues structure example exploiting these voicing’s:

julian-lage-jazz-chords-voicings-blues-example

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Simplify Guitar Chromatics with Easy Fingering:

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

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Hi Guys,

Today, we will employ chromatics [Target Tones]to a simple guitar fingering/scale that everybody knows.

Yes, this is our old mate the A minor Pentatonic scale.

TARGET TONES/CHROMATICS- GUITAR FINGERING:

Before we start: Both fingerings are essential and very useful, but, in different instances.

Okay, let’s compare fingering.

Below, is the more “Traditional” fingering:

mclaughlin-jazz-guitar-chromatics-lesson-explained-example

Now, let’s simplify this with a more intuitive John McLaughlin style guitar fingering. [2 fingers to 2 fingers with a slide].

We will now now apply this to the simple A minor Pentatonic scale guitar shape.

Here, we will employ a “Side Step” with chromatic target tones for more interest and chromatic colour.

This time we will extend the line with an upbeat of 4 chromatic descending notes starting on the note D as the tonic:

Lastly, let’s try this over a ii V7 I [Dm7 G7 CMaj7]

IN CONCLUSION:

This simple minor pentatonic guitar scale/shape allows us an easy way to employ chromatics and chromaticism by exploiting it with what we are already very familiar with.

This familiarity means that it is not only easier to learn, but, also, easy to remember. Hence, we can apply it to any strings of the guitar and create some colourful and interesting sounding lines.

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