I have been working through Pat Martino's Linear Expressions & have made good progress getting the patterns under my fingers and moving them horizontally and vertically around the fret board........
In terms of the next stage how have people used the patterns in terms of developing their improvisation skills?
I have started applying them to song forms & they still sound very pattern like at this stage
Would be interested to hear how people have used this approach..............
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05-08-2016, 06:19 AM #1
Next Stage with Martino's Linear Expressions
05-08-2016, 08:05 AM #2
Great book! There are lots of ways to take it further, but you'll have to be creative and patient a bit with it after you've gotten the shapes under your fingers.
Here are a few exercises I've done and used that work well with this book. Before you start, in the beginning of the book it says to think of these shapes as over Aeolian, so a vim7 chord. But I think that's a typo or a misunderstanding between Pat and the editor as these lines sound way better over a iim7 chord. So I would think of them as coming from Dorian, not Aeolian, in your playing.
1. Put on a backing track, start with a one-chord vamp like Gm7 or a ii V like Gm7-C7, and solo using the patterns in the book. Change the rhythms, play the notes out of order a bit, add some notes in, take some away. Treat the patterns like you would treat scales or arpeggios in your solos. Do this with each pattern individually, then connect them over the fretboard. Repeat in other keys and then take to full tunes when you're ready, but there's no rush.
2. Analyze the 2-beat patterns that are all over those shapes and apply them to chord changes in your own solos. For example, in the second pattern he starts with A-Bb-D-F, or a Bbmaj7 arpeggio starting from the 7th over Gm7. A good way to work that pattern further is to play diatonic arpeggios, all the arpeggios in the key of F major for example, starting on the 7th, 7-1-3-5. Then, put on a ii V I backing track in F and solo using those arpeggio shapes as the basis for your lines. Take it to other keys from there and into full tunes if you want. Repeat with any other small melodic pattern you like from the longer shapes.
3. Pull concepts out of the patterns to apply to your solos. Like the Bbmaj7 over Gm7 chord, that's a 3-9 arpeggio so you could take a tune and work out the 3579 arpeggios for each chord and only solo with those shapes to use that concept in a musical situation. You can also look at the first pattern, where he uses b6, 6, b7, and 7 over a m7 chord, so mixing aeolian, dorian, and melodic minor sounds together. Apply those notes, b6-6-b7-7, over m7 chords in your own soloing, using licks from the Martino shapes, or coming up with some of your own. The goal is to derive soloing concepts that you can take into your playing beyond the notes themselves.
I would start there, those three exercises will keep you busy for a year or more if you dig into each two-beat pattern and work on soloing over whole tunes using only these patterns as the basis for your lines. Over time you won't want to only use these shapes to solo with, but they'll give you a solid foundation in that hard bop sound that you can integrate into your other material when soloing over tunes down the road.Matt Warnock Guitar
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05-08-2016, 09:28 AM #3
Thanks Matt - that's great - really helpful
05-08-2016, 09:56 AM #4
I/ve practised Martino's Linear Expressions about 10 years...now I feel them more natural.
I try to play them very fast also...
Use them with jazz standards and record your solos.Be creative.
05-08-2016, 11:22 AM #5
Transcribe Pat to see how and where *he* uses them.
05-08-2016, 12:03 PM #6
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As my teacher told me it can take six months or more for new lines to appear naturally in your own solos. You practice them, internalize them then one day you notice them coming thru on their own in your playing they have become part of your vocabulary. Then they are your sound, not a PM line.