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Dennis Sandole Polytonal Guitar Scales: Lesson:

Posted on August 25, 2024October 31, 2024 by Modern Music Theory and Application

Please watch video above for detailed info:

Hi Guys,

Today, a look at the unique scale formations/superimpositions of Dennis Sandole.

Dennis Sandole

We will take three examples from a handwritten page of polytonal scales by Dennis Sandole and apply them to the guitar:

SCALE 1:

Dennis Sandole’s Handwritten Polytonal Scale:

Same scale applied to the Guitar:

dennis-sandole-polytonal-guitar-scales-blog

In this example notice how the different major scales connect via semitones creating a unique chromatic connection.

Now, let’s apply a descending version with a more pentatonic/fingering guitar format:

Again, notice the half step chromatic connections that make this run smoothly.

SCALE 2:

Dennis Sandole’s Handwritten Polytonal Scale:

Same scale applied to the Guitar:

Here, we have whole tone connections as well as half step connections creating a colourful set of sounds:

Let’s now create a descending version:

SCALE 3:

Dennis Sandole’s Handwritten Polytonal Scale:

Same scale applied to the Guitar:

In this example we have a full C major scale connecting to a full Db major scale via the halfstep of C to Db. And finally, up another half step to the note D.

Finally, let’s descend:

Arpeggio/Motifs from Polytonal Scales:

There are also many concepts that you can make out of these polytonal scales:

For instance, we can imply triads/arpeggios with dyads and create little licks, motifs and hook lines.

EXAMPLE:

Slight Var:

IN CONCLUSION

This was just a very brief look at Dennis Sandole’s concept of polytonal scales.

In terms of the guitar these are very useful for creating a mixed harmonic palette and creating seamless lines where any scale can connect to any other scale regardless of non diatonicism and ambiguity.

FREE PDF DOWNLOAD:

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Pat Martino Unpublished Book: Intervallic Studies: NEW PAGES:

Posted on July 17, 2024July 17, 2024 by Modern Music Theory and Application

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Many of you have asked me to publish more pages from the unpublished book on intervallic studies by jazz guitar legend Pat Martino: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].

pat-martino-intervallic-studies-jazz-guitar-book

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-martino-intervallic-studies-jazz-guitar-book-melodic-minor

pat-martino-intervallic-studies-jazz-guitar-book-melodic-minor-scale

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.

PDF DOWNLOAD:

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Pat Martino’s Melodic Minor Scale: Jazz Guitar Improvisation: minor conversion

Posted on June 24, 2024July 3, 2024 by Modern Music Theory and Application

Pat Martino Melodic Minor Guitar Improvisation | Jazzimproviser.com

Hi Guys,

Today, a look at Pat Martino’s use of the melodic minor scale. We will employ the same jazz tools as the previous video.

The Melodic Minor Scale

As, you can see below the melodic minor scale is the same as the major scale but with a flattened third.

pat-martino-melodic-minor-conversion-jazz-guitar-improvisation

This scale works well, when played over altered Dominant chords.

In this case we have an Ab7 chord that is then altered. To play over this we employ the melodic minor scale by playing it a half step up.

So, for Ab altered we can exploit the A melodic minor scale as it is a half step up.

Below, the Ab altered chord:

Jazz chromatic Tools:

To begin with, let’s use our old friends the “Target tones”.

Once again [as in last lesson] we will start with an upbeat. This sets the rhythmic flow of the chromaticism and the jazz phrasing. From here we will employ some simple chromatic scale tones.

We will now exploit the phrase by bringing in an arpeggio for melodic effect. [Also, notice, the flattened 6th and the major 3rd interval with chromatic descending movement].

Rhythmically, we start on the off beat once again.

In the next bar we will employ some basic melodic minor scale before adding our colourful chromaticism.

Now, we will bring in our chromatic set up which is a mixture of target tones and chromatic scale. [Notice, we end the phrase on the leading note of A melodic minor scale the G#].