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I've seen it before... Great video!
Thanks for posting it for all...
A.K.
But...
Where is the "teaching value" in this video? All I see is a guy who is showing off his knowledge of chord substitution, but isn't telling us *why* all of these chords work as replacements for Ab7#5. Does he explain scales and passing tones and inversions (oh my!) in earlier portions of the original video?
Sorry. To me, this clip seems more self-serving than instructive.
You may now burn me in effigy (only!).
Oh, before you set me ablaze, take a look at Romane's videos on YouTube as an example of how to do *instructional* videos.
For what it's worth, I'm a theory nerd, but there are many ways to learn.
best,
Jack.
Em7 over A7 is just replacing the V chord with the IIm chord , something that django often did (but obviously wasn't thinking in theoretical terms).... Pat Martino just went further with all that
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The concept he's showing in the video is to use lines based on minor scales/arpeggios over dominants.
Against A7 you can use a minor based on Em, Gm, Bbm or Dbm. Which forms a diminished seventh chord. BTW you can also use diminished seventh lines from the same notes.
Why it works... Do the math.
I'm only gonna show it with the m7 arpeggios ,you can figure out the whole mode by yourself if you wish.
Em7: E, G, B, D against A7 gives you: 5th, b7th, 9th and 11th
Gm7: G, Bb, D, F : b7th, b9th, 11th and +5th (or b13th).
Bbm7: Bb, Db, F, Ab : b9th, 3rd, +5, 7.
Dbm: Db, Fb, Ab, Cb : 3rd, 5th, 7, 9.
I hope this makes sense to you.
Remember you can use other arpeggios like m6, and the whole dorian mode and melodic minor scales.
Lastly, keep in mind that theory is secondary ALWAYS USE YOUR EARS!!
If it sounds good it is good.
My point isn't "Wow, how does Pat *know* that stuff?" My point is: If you're going to CLAIM to be teaching others, then TEACH; don't just flash licks at folks, as if to say "Look at ME, ain't I cool!?" Being smug doesn't impress most folks.
Again, I'm sorry if this offends Those In Awe of Pat. That isn't my intent. I've been a "stoont" of music since the mid-1960s and I will continue to be one until that first shovel-full of dirt is dumped over me. I'm always learning. I have been blessed with the privilege of sitting knee-to-knee with some great musicians who were also truly gifted teachers: Mike Seeger, John Hartford, Kenneth "Jethro" Burns, Johnny Gimble (and son Dick) and many, many others. They would show me a lick and EXPLAIN why it worked.
"Lastly, keep in mind that theory is secondary ALWAYS USE YOUR EARS!! If it sounds good it is good." Yup. Truer words were never spoken in music education. That's what my best teachers always said. But... because they *were* teachers, they also gave good reasons why something did or didn't work.
By the way, if I *have* offended anyone by my temerity, as a way of recompense let me offer my two favorite tips from two of my favorite teachers who were literally and musically worlds apart:
1. This one came from my first EFFECTIVE music teacher, Mario. He was a violinist who came to NY from Italy in the 1920s and owned a music store called "The Fiddle Shop." He would let a certain 12-year-old kid with no money, but a lot of desire play any of the instruments in his shop and he would fix this kid's cheapo Sears guitar for free. Mario used to gently nag this "poor li'l feller" by saying (and forgive my attempt at trying to capture his Old World accent): 'You need-a to learn-a da mandolin-a. If-a you know-a da mandolin-a, you can-a play-a evuh-ting else!' So eventually, I 'learn-a da mandolin-a.' Mario was right. After learning the mandolin, violin, saxophone and guitar were easy.
2. And so, a couple decades later, "this kid" got a great tip from ex-Bob Wills mando player Tiny Moore: "You're never more than one fret away from the right note." Tiny used to repeat that at all of his workshops. When someone would hit a sour note during a jam, he would smile and say "See... he was only one fret away from the right note!" So I know that if I hit a clinker, I just need to bend or slide the note REALLY FAST. The trick is catching it in time.
Ok, free lesson's over. Now go study!
best,
Jack.
I don't think we are in that much of a disagreement. I love music theory. Does it make me a better musician? Uh, well... no one is knocking my door down to record me. :shrug:
Something about Pat's name rang (ahem) a familiar note and I Googled him. 'Oh yeah! He's the guy who had an aneurysm and had to re-learn everything.' His story is inspiring... amazing... miraculous... what other terms am I leaving out? Ok, so I'm impressed.
Let me clarify my opinion this way: You absolutely do NOT need to know any music theory to be a great picker. I'm even willing to assert that knowing theory might make one a WORSE musician. Too much thinking, and all. (Now I'm REALLY asking for that shovel-full of dirt!) But, if you claim to be a "teacher," then teach. Don't just show off.
In sum, I'm neither a great picker *nor* a teacher, so I come here to learn and, man, I've learned a lot! It's just, after 40+ years of pickin', I've grown extremely "sensitive" to show-offs that only teach me how NOT to teach.
So, I'll take a deep breath now and run through "Lulu Swing" - my favorite tune of the month!
He's assuming you already know how to play minor lines and he offers a different use for them, so he only says "Gm against A7+5". He's not gonna explain the basic stuff or go too deep into the theory, he's just showing you how he does it and how it can sound.
If you need to backtrack get his book "linear expressions" and if you need an introduction to that get a book that explains the Dorian mode... if you want to know the inner workings you can think for yourself.
The clip it's from a masterclass aimed at intermediate/advanced players, he's not showing off he's just expecting the student to catch on real fast and already have a good grasp of scales, arpeggios and jazz lines.
The whole concept it's about relating everything to minor, thus simplifying thinking.
One way to think about it could be to substitute A7 for Eb7 (tritone), C7 or F#7 and playing off the related ii7's of each.
Very useful.
Once you understand the basics of this approach you can watch the video again and be able to start experimenting with the stuff he's teaching... or on that portion of the video "demonstrating".
Just try it... record a backing of a dominant chord (say A7+5...) and play your favorite Em lick. Then move it to Gm...Bbm...Dbm and then start mixing them up and integrating them into your playing. It works!! And in my opinion it's not really that hard to do or understand why it works.
I really haven't heard him play much, and I'm not in awe of him as I am of say... Tchavolo or Bireli, but I did study a little bit his book and have found it to be a very useful and different system and I had absolutely no trouble getting what he's talking about in that clip. As a teacher he really got his point across to me.
I hope I'm not being pompous or condescending, it's not my intention ...I'm just trying to explain the idea behind that video, so you can use it... you can get some pretty cool sounds out of it!!!
He is a terrific player, and I would say his teaching style if anything is a bit over my head. He is a "peculiar" person, and sometimes this made the videos tough to watch.
http://www.djambossa.com
New CD out now, "Moonflower"