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Hi Matt What a good exercise! it looks excellent, I wish I have the time to experiment with this in a few days. Thanks!. Antonio.
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03-17-2008 04:05 AM
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Cool stuff for sure. I like to use rootless 7b9 arpeggios(okay, diminished 7th arpeggios) over dominants because the symmetry saves me some thinking in tight spots. :P I've also been messing with the minor third subs and have found them real fun, especially in my chord melody playing where I don't have to worry about stepping over someone's harmony.
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Originally Posted by ancontreras
I'm thinking about it exactly like you ! First time I happen to read this somewhere ... I'm very happy !
Pat martino tells it but doesn't explain it ...moreover this is not the way he applies this concept.
I came to this by analysing standarts (cherokee , donna lee .... are good examples for the modal interchange ). How did you ?
First post , hello everyone !
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08-18-2008, 05:27 PM #29Stringbean GuestOriginally Posted by m78w
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I love this thread. Thanks to everyone contributing. Looking through Pat Martino's "The Nature of Guitar" was an eye-opener. But his charts are written backwards to my eye. That is to say the nut of the neck is on the right, and "up" the neck towards the 12th fret and beyond is to the left. I find this awkward but I'm thinking he must have a reason for doing it that way. Can anyone explain?
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To be honest I don't know, maybe it was a printing error and they left it in. Pat does some weird things with how he writes things out so it's just one of his quirks.
MW
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