Re: Pat Martino's minor substitutions



Hi Andy,

As I understand it, it follows the same principles as his diminished
concepts...


Here are discussions from Clay Moore on Pat's view on chords...I think
Clay studied with Pat at one point:

#1: http://www.justjazz.com/discussion-hypermail/Feb-97/00000208.htm
#2: http://www.justjazz.com/discussion-hypermail/Feb-97/00000237.htm
#3: http://www.justjazz.com/discussion-hypermail/Feb-97/00000264.htm

and then this is from the man himself (Pat from allabboutjazz.com Pat
Martino forum):

["Linear Expressions" contains information based upon use of the
improvisational Mi 7th motif.

The Mi7th stems from the Perf 5th of the V7th chord, (in other words,
G7 = Dmi7).

Since the V7th chord is generated by the Diminished chord thru
lowering any single tone by 1/2 step, four of them are produced, and
they rest a mi3rd apart. When using alterations with more dissonance
to the V7th form, (#5, b5, #9, b9, etc.) I'd recommend for you to
begin transposing any line form (discussed within Linear Expressions)
in mi3rds. A good example would be to use separately against G7 (b13)
one of the following: Dmi7, Fmi7, Abmi7 or Bmi7. Or, combinations of
them in different orders.]


Hope this helps



On Dec 18, 6:29 am, "beheiger" <behei...@xxxxxxxxxxx> wrote:
Hi everybody,

After a decade of not playing the guitar due to shoulder
problems I finally have been able to take up the instrument again.
Right now I am practicing my old etudes from Pat Martiono's book
"Lienar Expression". The book is full of fabulous minor licks.
At the end of the book, Pat explains how to substitute
minor scales ober each chord of a given chord progression.
Unfortunately, the example tune he uses for this is full
of rather weird chords like "Bm7b5/E to G" (a Bm7b5
with bass notes alternating between E and G) and so on.
However, what I am missing is how to substitute minor
scales for the more common progressions like II-V-I
in major and minor, I-VI-II-V turnarounds in major and
minor, blues, rythm changes and so on. For instance, I
suspect that over II-V-I in the key of C, I could use
Dm7-Abm7-Am7 licks, since the Abm7 melodic scale
is identical to the G alteres scale. However, in the
Abm7 dorian scale, the flat seven (Gb) tends to clash
with the G7 harmony, so certainly not any Abm7 dorian
lick will work over G7. Now some of the licks are in
melodic minor anyway. Maybe I should try to learn both
"dorian and melodic" versions of all these etudes?

On youtube I have seen parts of an instructional vodeo that
Pat seems to have produced much later than the Linear
expression book. Does he explain there how he "thinks
over these progressions"?

Any help is appreciated.

Andy

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