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Yesterday I strarted the book....I have already memorized activities I and II, today I will learn the others, and then I will play it in all 12 keys.
I think they could fit well i.e. over domintant chords, playing the minor chords of the diminished scale harmonitazion (i.e. Gm6, Bbm6, Dbm6, Em6 over a G7 chord). Maybe will try them over activities I and II to listen the sound.
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11-27-2014 09:21 AM
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I would like to start working on activities but i'm skeptical on how to use them, have you guys figured out how to make use of them ans start creating your own even ?
This guys seems to have got it !
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Originally Posted by mooncef
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Originally Posted by MarkRhodes
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09-25-2016, 05:41 AM #180dortmundjazzguitar GuestOriginally Posted by mooncef
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Originally Posted by dortmundjazzguitar
But I can give you one simple example of a place I used the first activity: over the first measures of the bridge of "Satin Doll." A simple ii / V / I / I. There's a lot of other things you can do with that line, but that's one you can mess with a must-know tune that you don't even have to play fast.
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You can use them in all sorts of places. I used one (or my approximation of one) at 2m 10s here:
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09-26-2016, 04:32 AM #183dortmundjazzguitar Guest
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The PM solo in Along came Betty still freaks me out. It's just so unbelievably exciting and in the pocket.
....and he's right on those changes even though there are lots of them.
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I don't do a lot of joining study groups or anything. When I get hooked on something I just kind of zero in on it. I started working on "Expressions" a while back and then moved on to Pat's "Creative Force" which expounds on the ideas in Expressions. I'm still in the first of two Creative Force courses. I'm glad I did "Expressions" first as it references the minor chord forms more and kind of acclimates you to the positions. I'm still referencing those minor forms and attaching them to the 7th chords derived from the parent diminished chords (a major concept in Creative Force). I'm enjoying this so much. Sometimes whilst learning these licks I think "...that's awkward...not for me". Then after a while it's in my vocabulary. I sat in with a group a couple of weeks ago & they thought I was some kinda jazz dude. I'm really not and just really diggin this. Many of you are probably more adept than I.
A side note: I met Pat a bunch of years ago (like '79) and told him how I was hooked on pedal steel. He was VERY positive and supportive much to my surprise. He was in collaboration with Buddy Emmons (king of jazz steel & my idol) to do an album that never happened and won't as Buddy passed away last year. My next project (after I'm done with this) is to transpose all this to C6 pedal steel--a whole different matrix. My main purpose for this post is to encourage all of you involved in "Expressions" to please move on to "Creative Force" when you feel that you've gotten everything out of "Expressions". It goes much further in respect to dancing around in those patterns and probably inventing your own licks. Then after that there's "Quantum Guitar". I'm still on Creative Force 1. I guess Pat Martino, Robert Conti, and Sheryl Bailey have helped me the most in my jazz education.
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Originally Posted by JazzOnSix
I would go even a step further to say also check in with the rawest, most 'untutored' blues, Chicago, delta, whatever---and get at least a little into your playing. It is to me the very plasma of jazz (arguably along with the American Songbook), no matter how fancy or abstract the harmonies or concepts get. I like players that take me 'home' to the basics, whatever (hopefully interesting) trip they may be on.
I'm for a return to simplicity---as long as it's not simple minded. There has been to me, an unfortunate deviation away from the heartbeat and roots of jazz in particular, sometimes into self-indulgent and too long solos. The blues players and older school jazz players knew to 'say it in 2', or their hinies just might have been kicked off the stand.
(Gets off soapbox, steps in s^^t).
And now, with pleasure, I will listen to Mark Stefani...Last edited by fasstrack; 10-02-2016 at 09:04 PM.
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Mark Stefani:
If you are out there, I salute you and bow deeply! I just listened to Shadow of Your Smile, and it had all the qualities I love and try to exemplify myself in music: A desire to use one's talent in the service of bringing out a beautiful song, rather than show 'what I'm working on'. It is a mature and wise attitude that says in the performance 'Folks, isn't this a beautiful tune?' rather than 'Folks, ain't I a bad MF?'. Yes, there's a time for that, too, and 'if you got it flaunt it'---but it seems relatively rare these days, especially among certain younger players weaned on the age of technology and reflecting it in their playing, to hear a loving, knowing delivery of a melody the way a guy like you does.
That tenor player is gorgeous. Who is he?
Joel Fass, Bronx, NY. (62 year-old jazz guitarist-songwriter)...Last edited by fasstrack; 10-02-2016 at 09:34 PM.
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Originally Posted by fasstrack
Hey, Joel,
I know Mark. He's a member here but he's a busy guy, playing and teaching, and goes long periods without popping up here. I'll email him and make sure he sees this. Might prompt him to come back and post something----he's come up with a multitude of good lessons. Great taste, great feel, great guy!
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Originally Posted by MarkRhodes
Thanks for having this forum and letting me get my 'coat pulled' to some pros and very talented people like Jordan Lemons, Nathaniel Koenig and especially Mark Stefani.
All reet...
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[QUOTE=dortmundjazzguitar;696102] What a heavyweight he is (even if I'm not in love with every SINGLE note he plays). Such command from note 1, such great, surging time. My lone reservation would be that I wish he'd take more breaths more often. I like a little daylight between the notes myself. It gets a little 'monochromatic' for me (for want of a better expression) when players don't (won't?) leave a little space now and again. (I'm a Stan Getz, Paul Desmond, Miles freak).
He is one of the greats and originals, going back to when he played with Sonny Stitt at like 14. The organ dates, especially with Don Patterson, are some of the most burnin' and soulful music I've ever heard. I sometimes practice and try to keep up with him on stuff like Minority (or Wes playing Tune Up). Kicks my natural ass and keeps me young...Last edited by fasstrack; 10-02-2016 at 10:28 PM.
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Originally Posted by geoffsct
Where do you live? If not too far, we ought to get together some time. (Or perhaps we already have done so and don't know it cuz we don't recognize each other's forum moniker?)
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jasaco, I'm way out in NW Colorado. Do get in touch if you're ever out this way. I think I'm the only pedal steeler in three counties & I don't play out that much. I never got too proficient on C6 but I'm thinking I dig these PM courses so much that it's the way to go on steel too.
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I've been working with the Martino lines for several months now and I do use them regularly in ii V I's. I grabbed a video cam this morning and just played over a backing track for awhile, using each of the Martino activities. I apologize in advance for not capturing the first few frets of the neck with the video (which limits vision of activity #1) but you can certainly hear all the lines and if you've been working with these lines for awhile, you'll recognize them, either in full, or pieces of them. I'm not a great player, more an intermediate-level, but I thought this might be either interesting or useful to somebody out there.
jasaco
Last edited by jasaco; 10-04-2016 at 12:50 AM.
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Originally Posted by jasaco
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Originally Posted by 2bornot2bop
(It's a 16" Peerless Cremona, bought here from 2b a few months ago. Loving it.)Last edited by jasaco; 10-04-2016 at 07:39 PM.
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Originally Posted by jasaco
Nice! I could sure recognize them. I had a teacher when I started in Pat's book and I learned those lines thoroughly. Wasn't sure sure what to do with them then----I wasn't really a jazz player yet---but "As Time Goes By" I've found many, many uses for them. And I like them as warm-ups too because they're actual jazzy lines, not just scale / arp patterns.
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I recently started to learn the lines from the "Linear Expressions" in a structured way. I recorded a short example of Line study 2a where all the two bar phrases are transposed to A minor. What is very useful in these phrases that they usually start from different chord tones, not only from the lowest chord tone as in the first part of the book.I first play a chord form and then the lines. In some cases I slightly modify the lines. I take one key a day and move in circle of fifths.
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Chanced upon this today: guy playing Pat's line studies over the changes of "All the Things You Are."
Study Group: Linear Expressions by Pat Martino
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Oops, wrong link!
Here's the right one:
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How do I join the group this late in the piece? Where would I start?
Sent from my iPhone using Tapatalk
Transcriber wanted
Today, 04:35 PM in Improvisation