The Jazz Guitar Chord Dictionary
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  1. #26

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    On the other hand, one might think of minor conversion not as a gateway to the traditional bebop language but as a gateway to, at least, one sub-genre of post-60's straight-ahead style. A guitaristic approach to harmony that evolved in that era. I don't know how historically accurate that is but that's why we have Christian on the forum.

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    The Jazz Guitar Chord Dictionary
     
  3. #27

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    A good skill to cultivate is to be able to play any idea over any chord


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  4. #28

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    Quote Originally Posted by Tal_175
    On the other hand, one might think of minor conversion not as a gateway to the traditional bebop language but as a gateway to, at least, one sub-genre of post-60's straight-ahead style. A guitaristic approach to harmony that evolved in that era. I don't know how historically accurate that is but that's why we have Christian on the forum.
    Well it’s not like I have definite answers to how things developed or how everyone has thinking even if that were possible- but to me it looks like Charlie Christian was thinking about minor on dominant most of the time even where it goes against the prevailing key.

    His influence can’t be overstated.

    So I think guitar players tended to plough a slightly different furrow from the horn players…


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  5. #29

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    Quote Originally Posted by Christian Miller
    Well it’s not like I have definite answers to how things developed or how everyone has thinking even if that were possible- but to me it looks like Charlie Christian was thinking about minor on dominant most of the time even where it goes against the prevailing key.

    His influence can’t be overstated.

    So I think guitar players tended to plough a slightly different furrow from the horn players…


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    Yeah Grant Green overwhelmingly favors minor shapes. Wes is more omnivorous, but I feel like if you tallied it up it would be a bit more minor looking things.

    I think they just sit really well on guitar.

  6. #30

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    Quote Originally Posted by Christian Miller
    Charlie Christian was thinking about minor on dominant most of the time even where it goes against the prevailing key.

    His influence can’t be overstated.

    So I think guitar players tended to plough a slightly different furrow from the horn players.
    As well they should: it's a different kind of instrument.

  7. #31

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    Mr. Pat Martino was a musical genius. If you've heard Mr. Martino play, you can honestly say you've heard a musical genius play guitar. My advice, whatever he's teaching, learn it well.

  8. #32

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    Quote Originally Posted by AdroitMage
    Mr. Pat Martino was a musical genius. If you've heard Mr. Martino play, you can honestly say you've heard a musical genius play guitar. My advice, whatever he's teaching, learn it well.
    Most of Pat Martino teaching videos are confusing and over complex. His 'Linear Expressions' book is easier to understand in comparison. (IMHO)

  9. #33

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    Quote Originally Posted by GuyBoden
    Most of Pat Martino teaching videos are confusing and over complex. His 'Linear Expressions' book is easier to understand in comparison. (IMHO)
    This is out of my wheelhouse but I remember years ago when I was trying to learn it (I didn't get very far), but Barry Greene had a lot of educational material that uses this approach. I found it useful. Pat Martino type stuff but easier to digest.

  10. #34

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    Yeah conceptually very simple and a really great learning tool, but Pat Himself certainly wasn’t the best communicator.

    Nobody’s perfect.

  11. #35

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    I am under the impression that minorization is a strictly guitaristic concept because of how the minor lines layout nicely on the instrument. I think horn and piano players lean more towards dominization, so to speak, to the extend that they apply this type of superimposition.