Pat Martino's "Secret of the One Chord" Method

Thanks!

I have no clue what this guy is babbling about.

Thanks

Thanks for another GREAT lesson, Chase!!

The minor confusion- maybe he doesn't say which minor- like the e natural- is Dorian minor for the B flat relative major

Outstanding. I got into Pat's music some 30 odd years ago, mainly because my teacher was a huge fan (he even found a Koontz guitar - probably the only one in the UK), and he felt that Pat's approach was best considered as a major line approach (in spite of what's in the book and the long instructional video of Truefire), precisely because of the point you make about minor 6 sounds at about 5.20. So he taught by converting each chord not to its associated minor, but to the associated relative major to that minor. In your first example at 6.02, the relevant scale would be Ab major, for example, with the 4 notes you mention being an Ab major 6th arpeggio. This is actually a very intuitive approach for beginning jazz students, espcially if they are coming from a rock background. I'm also not convinced that Pat was suggesting you apply these 'activities' - he was once asked if he thought in terms of scales when soloing over changes and he said (more or less): 'jazz doesn't work like that - it's too fast to think like that, but you can PREPARE for it. I think that's the point of the activities, and I feel it's better to say not that a player is thinking of a particular chord, but is calling up what they have PREPARED for. That said, your approach is also a kind of preparation, and very accessible. Really enjoyable vid. Your analysis of the charts was so reminscent of my old teacher and an absolute joy. Thank you.

Great lesson. I loved Pat and his genius, but as a teacher, his approach was too cerebral, I couldn’t make enough sense of it. I’m impressed you have it down! Nice work!

Hey, weird request, would you look into a now somewhat-obscure jazz guitar virtuoso and country guitarist Clint Strong?

He's from the Dallas/Fort Worth area and was very popular when he played with Merle Haggard, and even had an online instructional video.

He was definitely an original and influential to those who know him. Not sure why people don't talk about him now.

Yngwie Malmsteen will often solo like a fool over a drone synth note.

Beautiful

Saw this vid and picked up Linear Expressions. Lots of questions but wondering why he presents the scale as G Aeolian but all the activities use E natural which looks to me like G Dorian. Does it even matter? Just curious. Love your articulate and concise style. Hope you will reconsider not posting more. Thanks!

If you know how to play a dozen sequences well, none of this modal shit matters. All of the notes you need will be right where you are.

That's why he was eaten alive by scofield 😅

Pat Martino did not actually write the book "Linear Expressions." Tony Baruso compiled it, and although it has some accurate transcriptions of Martino's lines, Baruso makes a technical blunder when he tries to explain the method. Pat Martino used the DORIAN minor (ii minor), not the aeolian minor.(vi minor).

Making ur own rules 😂😂😂

Thanks!

Chase U are the only good thing coming out of Florida.

1 chord brain damage 😂😂😂 are you masplaing asking for a female friend😂😂

would like to hear you play this technique of these two tunes

Maybe I've drunk too much of the Barry Harris Kool-aid, but this whole approach seems like it's expressed more succinctly and consistently in Barry's system. Am I missing something in Pat Martin's approach that Barry's doesn't encompass?

Are you saying the inversions become minor chords that you can substitute?

Hey, Would be awesome if you just record yourself improvising with that kind of idea over A train. Appreciate talking part with some short examples but in the end it's about put it all together over some tune, isn't it?

You mentioned a link to a chord conversion cheat sheet, but I can't see that link. Can you send it, please or post it in the description?

Wow. The Lick 3 theory - my head is spinning. I'll be revisiting until this this is clearer in my mind.

great lesson Chase, is the pdf still available? I don't see it in the description.

Excellent explanation. But, can someone explain why converting to minor is easier or better than the alternative? I’m a n00b currently working on ”mastering” the scales and modes all across the neck. I have it pretty down pretty well so far, just not at instant speed yet. Some pros I can see with converting to minor—if you work out a tune ahead of time, it reduces your fingering patterns. Are the minor patterns also easier to play on guitar or something? The alternative is to just play the notes directly—like a melodic cells approach. So you’d hit some chord tones and some characteristic tones from the chord/mode you’re playing over. In my head, I see it as stage 1: you move to the chord tone fingering, and play your notes, just following the chords. Stage 2: you don’t have to move anywhere because all the notes are under your fingers, wherever they may be. So you move when you want to access a particular voicing, or when the melody demands it. This is only in theory, because I have not mastered either approach yet. Thoughts?

He basically pulls aspects of harmonic minor into the natural minor when playing over the relative chord in a lot of cases like using an a harmonic minor phrase over a D7b5 chord

this is almost a pentatonics ponies safety net, BUT, one must still know how these tension are coloring the 3 types of chords Maj, Min, 7ths. which theory of chord construction is necessary, BUT this method creates a cruise control method that is safe if you know where your special landing points are .mahalo partner. well done

Where's the pdf?

cool guitar...which ibanez is it?

Great stuff 😊

Are you brother of Mad Maddox? 😊

Great tutorial!!!

where is the PDF?

Thanks for this very useful vid! Applying this will take a minute! Excellent.

Im a teacher ..And Im going say GREAT LESSON..Well organized

Excellent vid !! Thanks so much .... converting to minor was a real personal eye / mind opener many years ago.

You playing too fast Bru...you don't want us to catch it.. lol

Patartino is ok but all his playing sounds the same,same scales n kicks..vs George Benson ,

George Benson is the best jazz guitarist of all time and in all stylesnil d say Stanley Jordan is the most advanced,versatile if all styles

All your improvisation can't be sounding the same,that's pat martino

Very nice lesson! Always loved Pat since I first heard "Impressions" in the 70's. Never saw his book or dug into his approach, but you know when it's Pat...and what you shared makes it clear why. I'm also reminded of Wes's approach of using the 2 chord as a substitute for the 5 when playing blues, e.g., giving those extra tones to the 5 chord. I'm also reminded of that great "Oleo" solo from Live at Yoshi's....the A section of "I Got Rhythm" in Bb becomes G minor. Time to practice!

Martino's minor conversion method, Barry Harris' sixth/diminished seventh method, Berklee's chord/scale method...they all have strengths and weaknesses. After many years of trying endless 'methods' I found that my best progress seemed to come from simply transcribing ideas and then using melodic development techniques to adapt those ideas. Also, I've noticed most methods get so caught up in carving out lines that they forget about the actual melody of the song. That was the real genius of Sonny Rollins, his abilility to take small fragments and develop them into much longer ideas. Thanks for the video.

The most important aspect of Martino's for me is how he moves his lines on different positions on the guitar. This "Jazz melodic tendency" (I don't know how to call it) are based on experience an listening rather than scales.

I believe I have sufficient experience and theory background to fundamentally understand Martino's approach, and I like it, However, for us mere mortals, do you think there is value in this approach for those of us shall we say "unblessed" with the ability to play things like Martino's activities at smoking speeds. Can they (and how can they) help us create interesting and cool lines at more human tempos?

Interesting method and I’m sure Martino popularized it but these ideas were around well before him. The approach to a min7b5 chord comes from Dizzy Gillespie. When I was first learning bebop I read that Dizzy looked at min7b5 chords as min6 chords with the 6 as the root. When you look at the shape on guitar, thats exactly what it is and that’s how Ive always looked at it too.

What's your #1 takeaway from this? Do you like this approach? Let me know in the comments! 👇