Pat Martino's Magic Chord!! 1 Chord = 196 Chords!!!
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- čas přidán 29. 11. 2021
- Jazz guitarist Pat Martino passed away recently. This week's video is an homage to him and his concept of the Augmented Triad Parental Form. I do an in depth breakdown of the concept where he takes one augmented triad and turns it into 49 Major, minor, and augmented chord inversions, then moves those up chromatically through 4 frets, giving you all 12 diatonic keys, for a total of 196 chords!!!
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Pat saw 2 chords as being the symmetrical “parents” of other chords.
- The Augmented triad (1-3-#5) could have any one of its notes lowered to form 3 major triads, or any one of its notes raised to form 3 minor triads. So one Augmented triad “parents” 6 other triads.
- The Diminished 7th chord (1-b3-b5-bb7) could have any one of its notes lowered to form a Dominant 7th chord, or any one of its notes raised to form a Minor 7b5 chord. So one Dim.7 chord “parents” 8 other 7th chords.
So the nature of the guitar (in standard tuning) is such that those 2 “parental forms” are easy-to-see and easy to alter to form other types of chords.
- Your video explains this quite well. Pat Martino was a genius!
Thank you my friend! He was indeed a genius! I hope to make an video on the diminished parental forms one of these days.
Barry Harris would be proud
Thanks for this to-the-point explanation.
@@carlosclaptrix My pleasure, man. Thanks for watching!
awesome video thank you. i already knew "the diminished approach", not knowing "augmented apptoach" not that great Pat invented this. guitar=ultimate interval machine :)
Thanks so much! I appreciate you!
nice work，thanks bro
So much in the course he made with TrueFire. I have only reviewed 1/3 or so and my mind is officially boggled! So many of his explanations are sage like, it’s obvious he loved music as much as life itself. Thanks for posting this.
My pleasure man! I need to get that course myself! He was definitely a sage guy.
Thank you, it's very useful, and really helps to see interactions between different chords
Indeed! Thank you for watching, Dimitri!
Wow incredible lesson thank you! Rip Pat Martino
Thanks so much man! Appreciate you watching!
Thanks Chuck, that's a really interesting and useful lesson - and very well explained. I'll be coming back to this one! I wish I'd known this long before now.
Thank you Neil! I’m sure I’ll be coming back to it myself;) Some cool voicings on those spread triads!
Dear Chuck you are irresistibly the best. one can not - not listen to you! Many thanks for being the helpful you!
That's might kind of you Joe! I sure appreciate you watchin' bro!
Amazing
Thanks for watching, friend!
Excellent,well played,, very interesting
Thanks so much for watching, my friend!
This was great thanks!
Thanks for watching, my friend!
Wow, that's a great method! Watched the vid with guitar in my hands, these fingerings are so nice and intuitive! Thanks!
Thanks man, I appreciate you saying that. You’re the first to appreciate how I oriented the diagrams, to appear the same as looking down at your guitar.
this is like the Barris Harris diminished families but augmented version. super helpful
Hey man, thanks for watching! Yes, and Pat has a diminished parental form concept as well that I’ll be talking about soon!
Very helpful
Thanks so much man! I appreciate ya!
Very interesting indeed 🙏
Thank you for watching, my friend!
Pat was absolutely brilliant
I couldn’t agree more!
WOW! Wish somebody had shown this to me when I first started circa 1959. Thanks Chuck. I may become a guitar player yet.
My pleasure, Steve! Thanks for taking the time to watch!
I saw Pat at Jazz alley. I am a first timer to your lessons. I love your lesson and the symmetrical chord applications. Dims and Augs. Reminds me of Star Wars music. Consider the chords built on 4ths. Like the dim, Any note can be the root. But the chord can be moved chromatically and still remain the same. no matter where you play it, it can function as any chord if you have imagination. It just gets more tension or release depending on where you take it. This sound reminds me of Star Trek. Do you have a vid on that yet?
Hi Chuck! Came to your side from a Pat Martino Lesson.Very well explained! Thank you for sharing.Cheers from Germany! Thumbs up!
Thank you so much for listening! Hope to do a lesson on his diminished parental forms sometime soon!
@@ChuckJonesMusic Thank you for putting it out!
Watching this brings back memories of you teaching me theory 40Plus years ago. Nice video!
Hey Gina! So great to hear from you! As I recall, you were an excellent student.;)! Hope you're still having fun with the guitar. Is your dad still around?
@@ChuckJonesMusicNo Chuck, unfortunately my Dad died in 1995 & we lost Mom at 90years of age in 2016. She used to drive me to the Guitar lessons back then, because I was too young to drive, Lol. I still have my Black Les Paul custom that I had back then by the way. It's like my 401k. 🤣 . Pete Vescova & I were talking about those Saturday guitar lessons the last time he and I got together for a jazz jam. We couldn't believe that Berl Olswangers had been closed for so long. I took lessons from you at two places, one being over on Highland. I think the other was on Jackson Ave. Later when I was in college & we reconnected, remember we laughed about how long we'd known each other, & how I had been your student at 13yrs old. Well 🤔40 plus years later & both of us are STILL in the music business. I do more singing than playing now, but I still love to watch your Videos on youtube. I may even start playing again, now that I found my favorite teacher is online. I still write songs and am working with a guy in Nashville that I worked with when I was writting and singing jingles at Tanner/Media General. Mike Porter. Super great guy! Great writer! Take care & please wish your family well for me. 🤗 GREAT talking to you.
@@ginamoore767 Hey Gina! It's all coming back to me now! Please forgive me, I briefly confused you with another young student I had back in the day who's dad traded me karate lessons for her guitar lessons🤣 So you started with me at Berl Olswanger's on Highland and then must've have followed me over to Yarbrough's Pickin' Post on White Station Rd off of Summer Avenue. Those are the only places I recall having taught. Sorry to hear about your folks regardless. My mom passed in 2011 and Dad in 2017. If you still have your Black Les Paul Custom from those days, that's a 401K for sure;) So, was Pete Vescova another teacher at Berl Olswanger's? or was he a student? I remember the name but can't remember if we were acquainted or not. My memory just ain't what it used to be;) I seem to recall us reconnecting in college. I only went for one year before I dropped out, and I think the year was 75/76. I started playing in a duo at Ireland's with Kay Metz and staying out all night and just quit going to classes;) I know a songwriter here in Nashville who worked at Pepper Tanner in Memphis before she moved here. Here name is Stephony Smith. One of her hits was "It's Your Love", the Faith and Tim duet. She might have been there a bit later but I thought you might have met her there. As for songwriting, I'm semi-retired myself. I do some co writes with veterans and active duty military these days (through Operation Song), but that's about it. As for the CZcams channel, I've been exceedingly remiss and not posted anything for over a year now. I have a few ideas ready to shoot, but have just been dealing with life. Plan to get back to it pretty quick here though, they just sent me a notice that I'm reaching the status where I can monetize;) Sorry to run on so long, but it's kind fun taking the trip down memory lane! Wishing you the best Gina. Stay in touch!
@@ChuckJonesMusic Hey Chuck, Pete was a sales manager downstairs at Olswanger. He is an incredible bass player, and had an older brother named Ernie Vescova, I believe.
YES, I know Stephony. We worked together at Media General. She is an awesome writer! I really looked up to her.
I took guitar from you in the 70's when I was 13 or 14.
You & I saw each other again in 1980 or 81 when I was in college. I was on the Memphis State Karate team , only one of 2 girls on the team with Bill Wallace & Steve Stanford. Thats how we reconnected. I was 18 or 19. We hung out for a while & worked out a few times with a friend who was teaching you. Thats probably why you got confused. We also went to a few parties & hung out for a while before you went on the road with some band ( maybe AVENUE) . You lived on Sandra and I grew up on Berkshire off of Graham. So we knew all the same folks. My brothers were all in bands too. My dad had a TV/Ham Radio store on Wells Station & Gray rd..
I thought maybe you taught at Youngs Music or Atoms Music on Jackson before moving to Olswangers, but its been a minute ,so my memory is a bit fuzzy too. Lol.
When i was 13, I do remember I used to love to hear you sing that Eric Clapton song " Let it grow" . I loved your voice! I actually found a folder the other day that had our lessons & my homework in it. I was a bad student bcuz my ear was so good that I would cheat & act like I was reading but you'd catch me & call me out on it. 🤣. So much fun talking about the old days. Tell Stephony I said Hi. I sing her praises all the time. She's one of the best writers I know. Have a great day & I TOO am sorry to ramble on. I just love walking down memory lane.
@@ginamoore767 Wow! Thank you so much for bringing all that back! So you worked out with Superfoot? I'm sure I was impressed by that;) Loved the Chuck Norris movies with him! I remember Pete now. He's prolly the one who sold me my Sakura classical that I still have. I took lessons at Berl's from Forest O'Kelly before teaching there. And we partied together when you were in college??? I certainly hope I was a gentleman at all times;) It probably was Avenue that I was in at the time, or one of the earlier bands like Bandit, with Gary Hardy. Jerry Alvin Dean (grew up on Wells Station Rd.) was a bass player and my best friend in those days. We were in around 30 different bands together from high school til my early 30's, so no telling!! Being semi retired from songwriting, I don't see Stephony much anymore, but will be sure to tell her next time I do! And you must have come to my folks house a time or two if you remember I grew up on Sandra Rd.! I certainly remember Graham. It was on a couple of paper routes I had as a kid! And lastly, I haven't played "Let It Grow" in decades. Might have to pull that one back out again;) Thanks again for the convo, Gina!
This came back up on my feed . . . hope all is well. Miss seeing your vids.
Hey there! Sorry about that;) I definitely plan to start ramping back up. Trying to figure out how to do it smarter;) Working on a book about the CAGED system. Going to be a video course as well. Have a couple of new ideas finished, just need to get back to shooting the videos! Thanks for reaching out and checkin'.
all hail Pat the master. Thank you Chuck Jones man
My pleasure dude. He was the master indeed!
That’s so ingenious!
I agree! Sure wish I’d thought of it;)😊
Nice!
Thank you so much for watching!
Great vid man! I watched his vid, really an interesting approach talking about what naturally occurs on guitar vs what naturally occurs on piano too!
Thanks bro, I appreciate it! He was definitely a cool cat and a genius theorist!
@@ChuckJonesMusic does that same thing work with diminished chords?
@@guitar9310 It works differently with diminished chords. I plan to do a vid on Pat's diminished parental forms soon! Thanks again for watching, man!
Love it. I’m going to use this concept on my steel guitar
Wow, I’d really be interested to hear that! Thanks for watching, man!
@@ChuckJonesMusic I generally either use a augmented or diminished between the 4 and 5 chord but this is an expanded version of that idea I really am excited to try it out
@@jwinchester1320 I plan to do a breakdown on Pat’s Diminished concept soon. Stay tuned!
You might like to check out Barry Harris’ family of chords. It expands on the idea of lowering and raising the pitches from the 7dim to create the dominants, minor6, major6 etc. Really ties it all together.
Thanks man. I will check it out!
@@ChuckJonesMusic Take a look at Robby Barnby’s video on Barry’s 6th diminished and the channel Things I Learned from Barry Harris.
@@mooseymoose Will do bro, thanks.
@@ChuckJonesMusic Don’t thank me yet! His stuff made my head explode! Lol!
@@ChuckJonesMusic Oh yeah there’s a book called Barry Harris Harmonic Method for Guitar that is really clear. There are pdf files online and you can order a hard copy too.
Thank you! Light bulbs are flashing in my brain. That rarely happens.I wish I could hgit like every time that I watch it over.
Thank you brother! I appreciate you watching!
Hey Chuck. Do you have a transcription of the composition you played of pats at end of this video.
Chris, I don’t at this time, but am thinking of maybe working it up w a PDF of tabs and notation.
@@ChuckJonesMusic that would be great. I subscribed to your site. Will you post it there if you do?
@@chrisbatson3402 Absolutely! Just curious, have you downloaded any of the other stuff I have posted there? Just wondering if everything is working like it should!
@@ChuckJonesMusic yes I have downloaded other stuff and it is working good. Thanks
@@chrisbatson3402 Thank you, man! I appreciate the feedback!
I play bebop guitar, I adore Pat no end, and I've played with this stuff from time to time. His linear "activities" too. I have to say, I don't really get what he's chasing with this parental chord forms stuff. I assume he's got lines cooking, like triggering right off the chord shapes. But that's pretty much how it works in general, and, in the context of high-velocity functional harmony, I have a hard time seeing how this makes life simpler. The minorization thing, basically playing ii on V, that makes sense and works beautifully. But this chord shapes thing, not so much ... at least for me anyway.
Hey man, I hear ya! Probably not for everybody;) I have no idea if Pat brought these concepts into play when it came to his "high-velocity functional harmony". I have no idea what he did with this stuff at all, outside of his spread triad compositional inspiration that I discussed and demonstrated towards the end of the video. However, this parental form, as well as the diminished parental form he taught, both have a deeper meaning for me. The guitar is obviously a very "graphic" instrument. And these forms have a significant depth when it comes to this graphic nature. The fact that you can demonstrate a maj, min, and aug triad on 7 different string sets in all 12 keys within a 4 fret span, well that's just mind blowing to me! And it can also lead to a stronger visualization of the different triads in a single chord across the neck. Maybe not that useful in Bebop, but pretty cool regardless! At any rate, I truly appreciate you watching and commenting. I'll try to do a followup on this soon where I tie some of it together a little better, and demonstrate how it might be useful to deeper understanding of guitar chords!
@@ChuckJonesMusic hey, cheers for your thoughtful reply. Thing is, I'm pretty certain that Pat *did*, in fact, use this parental forms stuff as the foundation for his improvised lines ... and they were some pretty awesome lines to be sure😉. In fact he *re* learned it during his rebound from his health crisis. It's downright miraculous how he rebuilt himself. His playing "after" is magnificent, definitely not some half-baked shadow of his former self. Anyway, I think this is one of those things where, as you suggest, everybody's brain works its own way, this is the way Pat worked it out, and it surely worked like hell for him.
@@thelonious-dx9vi I hear you bro! I was fortunate to meet Pat just prior to his health crisis, when I was studying guitar at the Musician's Institute (then Guitar Institute of Technology) out in Hollywood, CA, around 1980. He did a residency there for a month or so, where he would come in and hang out in an office for a few hours now and then. I found him there one morning practicing on his Adamas gut string guitar. He had that thing tuned down about a minor third and it sounded amazing! He let me pick his brain for at least an hour that morning and one of the things I recall him showing me was his diminished chord parental form. He didn't go through the whole breakdown, but just showed me how lowering each note one half step gave you a different dom 7 chord. He also showed me his "Octavistics" that day. He even gave me a handout sheet with several permutations, only one of which I can recall. He was truly a magnanimous, and genuine, generous individual.
Ed Bickert was a Toronto studio jazz guitarist. Recorded with Paul Desmond. Another genius jazz player is Lorne Lofsky. Toured and recorded with Oscar Peterson. Lorne has taught many Toronto Pro/studio guitarists. His online lessons are really for advanced Grad. guitarists. Heavy Bill Evans voicings😊 You may enjoy Lenny Breau! Bluesette
Hell, I’m definitely gonna check him out now! Anybody who can share the Stage w Oscar Peterson gets my vote!
👍🏻 young dude
Thanks for watching man!
That microphone sounds beautiful!
Thanks man! I’ve had it forever. It’s a Manley Gold Reference.
@@ChuckJonesMusic yes, I know what it is, I wish I could afford one, lol! Great lesson too, by the way :)
Ha, I hear you! I bought that back in my hit songwriter phase. Afraid I couldn’t afford it myself these days;)
Where did you get that shirt with this diamond buttons??
Hey bro, thanks for watching! That's a shirt I picked up from Lucky Brand about 20 years ago!! The buttons are diamond shaped plastic "pearl" I'm pretty sure, but the shirt has held up pretty well! It's one of their so called "Western" shirts. This particular model is prolly discontinued, but they come out with a new one now and then: www.luckybrand.com/
Great lesson !! Thanks ! Turned 69 yo on 9/11 and and still trying to learn to play that ol gitfiddle .
Never too old to pick!! I’m not far behind you brother. Thanks so much for watching!
Hey Chuck.
Hi there Asher, nice to meet you man. Thanks for watching!
Also interesting is Stanley Jordan tuning in fourths all the way: EADGCF so you only need to learn a third as many chord shapes
Wow, wasn't aware he tuned that way! It makes sense when you think about it though. At my age, with so much of Spanish tuning ingrained, it would be tough to switch;) Thanks for the info and thanks for watching!
“Picking his brain” might not be the best choice of words
Touché my friend;)
Different angle on the barry harris concept but based on the augs vs the diminished but same deal.
Thanks for the Comment friend! Yes, I've heard they had very similar concepts. Actually, Pat has a diminished version of it as well. I hope to do a video of that soon! Thanks for watching!
When you want to find Major and minor triads … do you really find defaulting to the augmented triad then rising and lowering notes to find the major and minor’s actually useful ? Surely that’s a slower process …it’s just quicker to learn all the shapes once and for all to be able to play them at a snap of a finger than defaulting to the augmented triad surely ??
Hi there friend! I appreciate you watching. I think you might be missing the point regarding this video;) It is definitely a good thing to know all of your major and minor chord shapes, apart from finding them through this method. However, for those who know the basic "root 4, root 5, and root 6" shapes that use 4 strings or more, this method will definitely help you see the 3 string shapes within those, in all their various positions. It also a is good thing to know when using the augmented triads as passing chords between these maj and min shapes. Pat referred to the augmented triad as a "parental form", and it does indeed bear a lot of little baby chords;) For me, it's just one more sign of Pat's fingerboard brilliance, and an evincing of the beauty of fretboard "geometry".
P.S. - It's also perhaps just one more arrow in your quiver to see these chordal relationships. For me, I just love to explore any fretboard concept that bears this much fruit!
@@ChuckJonesMusic Thanks for this explanation Chuck that helps to see " the forest AND the tree" so to speak.
@@yusefandersen ha ha! Very apt metaphor, Joe! It’s my pleasure man, and thanks for watching!
You guys are Awesome Alohoho
Never heard of Barry Harris so I guess I didn’t know. Glad I came across this video though 😂
🤣🤣Pat man, I truly appreciate you! Full disclosure, I never heard of him either, at least until I posted this video. Pretty sure he was a piano player though;)
I find that difficult to watch with the chord grids reversed from the neck visual. Good information though😎
Hey Gary, thanks so much for the comment, man! I had considered that when making this video, but because my chord diagram defaults that way, I just went with it. I was thinking that two grid perspectives were better than one;) But you make an excellent point and now it occurs to me that I can easily reorientate the diagrams in post. Good to know for future reference. Thanks man!
@@ChuckJonesMusic Wow that’s really interesting it would default to that view when virtually every guitar neck tab I have ever seen or used has the 6th string at the top the way it looks when holding a guitar. What app is that?
@@garycrooks6935 Hey Gary, I may have misspoken. It’s been a while since I made this video. I use Neck Diagrams for chords like this. I’m on vacay at the moment and don’t have a computer w me, but I seem to recall they have various templates. The ones w only a few frets are actually w the neck vertical, as though hanging on a wall. Then they have full length necks which is prolly what I used here and they are horizontal. Of course, you can change the number of frets on any template to whatever you want. And you can orient them any way you want when editing the video. They’re might even be a way to do that in the program itself in preferences. Thinking back now, I believe I turned these upside down on purpose. My thinking was that it would give you the perspective of looking down at the guitar in your hands, while my demonstration would give you the opposite perspective. I can see now how that could be confusing. Thanks for the input Gary. And I apologize for the lengthy reply!
was Ed Bickert a master of inversions?
Man, I’m not familiar with him but I’ll try to check him out!
Tory Slusher has 45 magical chords. She teaches lessons. Check her out.
I will do that, Matt. Thanks for recommending and thanks for watching!
If your diagrams were turned around 180 degrees it would be a lot easier to visualize
Yeah, I struggled with that on this vid. Usually they are vertical. I went with this horizontal to give folks an option. If I turned it 180 degrees it would be the same orientation as my hands. I figured this way you'd have the option with the diagrams for it to look as it does when you're looking down at your guitar when you're playing. I agree though, ultimately it's just confusing. I will take your advice for future vids!
🍿🍿🍿🍿🍿
Thanks for watching, man!
Tune that guitar!
Sounds close enough for jazz;)
Why make playing the guitar so difficult
Actually, Pat’s method of using augmented and diminished chords as “parental forms” to find all other chords on the guitar is much easier than any other method. The traditional method for constructing chords is to build them from scales. A C major chord for instance, is the 1st, 3rd, and 5th intervals of a C major scale. To make it minor you then lower the 3rd a half step. Further alterations go from there. You then must learn all the other iterations of a C major scale to cover the neck of the guitar horizontally! You then must learn to transpose all of the above to all 12 keys. As the augmented triad (1, 3, b5) repeats every 4 frets, and you get a major and a minor chord by lowering or raising each note by 1 fret, you achieve the major and minor chords in all 12 keys within a 4 fret span! And by moving vertically across the neck in that same position, you find the fingerings for all string sets, adjacent and non-adjacent. As the augmented (as well as the diminished for that matter) chord is the same fingering in all positions, you then cover the entire neck horizontally by merely shifting those same chords up to the next 4 fret position, then the next, and so on. As Pat’s diminished concept uses the 4 note dim7 chord, it repeats every 3 frets instead of 4 frets (an easy rule of thumb is to remember the number 12 for 12 keys - 4 notes x 3 frets = 12 for diminished and 3 notes x 4 frets = 12 for augmented)! And instead of giving you the Maj and min by lowering and raising 1/2 step (or 1 fret), as with the augmented, the diminished instead gives you the dominant 7 chord (lowering) and the minor7b5 (raising). But it too covers all string sets in each position and using the same fingerings for all positions, covers the entire neck! Learning every chord there is in every position on the neck by simply starting with 2 chords? What could be easier than that? Stay tuned for my video on Pat’s diminished concept, coming soon! And thanks for watching!!
Couldn't even find a C diminished triad???
Not by lowering or raising one note one fret. It only gets you major or minor triads from the augmented! I'll be doing another video soon on Pat's diminished parental forms though. Keep an eye out and thanks for watching!
I WANNA BE SUBBIE 1,MILL PLEASE,WELL DONE CHUCK ,,,,now to watch what you do,,pat ,,can't go wrong,,@ 28 views ,,, and counting /... 999 subbies
Hey bro! Thanks for pointing that out! I'm up to 1,000 now!! Just 999,000 to go!;)
@@ChuckJonesMusic NO MATE 1,99999MILL TO GO ,,music,is not easy work on the net,,,one love ,,you'll do it ,
@@hangerlanetheearthman9421 Thanks for the confidence Earthman!!
Isn’t this just basic triads/inversions? 🤔
You are correct sir! The cool thing is how you can arrive at EVERY Major and minor triad and inversion (and some split triads and inversions!) for all 12 diatonic keys within a four fret span by simply lowering and raising each string of an augmented triad one fret! Pat might not have been the first one to recognize these parental relationships of the guitar neck, but he's the guy I got it from;) Thanks for watching my friend!
Oké. Én is sokat gyakoroltam pet martinostól ezeket. :::::: de ez csak a dzsessz___---- irányzata. Jó. 1 példa. Pacsirta zene......... Nos akkor hogy oldja meg?????
Sürgős videót várok
@@dezsogagyi7509 I was wondering if there was any way you could translate your comment to English?
@@dezsogagyi7509 I’m not sure what you mean by solve it? What exactly needs solving. Unless of course Google translate made a mistake! Sorry, I don’t speak Hungarian. Thanks for watching tho regardless!!
He’s interested in self- promotion. He’s a pretty good animator, too.
Not sure who you’re talking about, David. Are you referring to Chuck Jones the animator?;)
@@ChuckJonesMusic sure! “Duck Amuck” “Rabbit Seasoning” and The Grinch. Yep, that’s the guy!
Wow man, you must be as old as me,) I’m old enough to remember seeing all the cartoons as a kid!
@@ChuckJonesMusic yup.
Thanks for keeping the legacy of Pat Martino alive.
I first heard Pat in 1979 and played Song Bird from Joyous Lake over and over.
His playing was like nothing I had heard previously as a formally trained classical percussionist via rock- jazz drumset playing and mostly self taught guitarist- composer.
At a time where fusion was big, his approach was so incredibly unique.
When he was gone from the scene, there wasn't the internet to fill in the information.
Then he made a comeback and I got to see him play at the Blue Note NYC.
He could not have been more down to earth.
The anecdote was that he relearned his entire skillset by listening to his old records.
The implication was that with amnesia he was starting from scratch.
He became Pat Martino from scratch.
I often pondered/ joked what would have happened if he only studied the Wes Mongomery catalogue.
As it turns out, one Wes and one Pat works just fine....
A lot of good date but you never applied it to a song etc. Left me hanging!
Hey Francis, I appreciate you watching! If you'll check out the last minute and a half of the video, I do go into a little piece that Pat improvised using the spread triad version of this! As for applying the concept to a songs, I think Pat was probably more about applying it to jazz improvisation? I can see a use for it to find cool passing chords when going from the major to the minor, for instance. In fact, if you listen to the old Eddie Money song, Baby Hold On To Me, he uses this very technique going from the D chord to the D augmented by raising the 2nd fret G string to the 3rd fret! Thanks for giving me an idea for another video! BTW man, I love your "Sugarloaf Rag"!!
Check out Pat's improvisation at the very end, about 2 minutes from the end of the video!
Haven't a clue to what's he's talking about 🥱
Simple Barry Harris concept and u don't know? 😂
Hey man, thanks for watching! I was actually introduced to the concept by Pat Martino. Seeing as he and Barry were fairly contemporaneous, I'm not sure who actually discovered it first. As far as it's graphic application to the fret board of the guitar, I'd venture a guess that Pat can claim the credit there!
Your tone is very good, reminds me of Stanley Jordan.
However, I can’t watch because your guitar is out of tune.
Every time I hear the mismatch i lose IQ points.
I recommend giving each string a tug prior to tuning, and tuning more often and even getting a locking nut. This way you won’t have to bend the strings to hide the tuning fault, and you’ll have more viewers.
*Music is assemblies of sounds delineated by certain frequencies we call “notes.” Western hemisphere’s music has 12 notes within an octave (eleven, actually, but the twelfth is the resolve).
The notes have a mathematical relationship with one another. That mathematical relationship is more important than having the notes be exactly on the frequency count - 440hz (440 cycles per second) for the A note, for instance. The A note used to be 432hz, but all other notes were also proportionately lower. The notes and their correct mathematical relationship form a system that is pleasing to the human ear for its mathematical relations - the mechanical correctness of the division of frequencies (notes).
Eastern music has 24 notes from root to octave.
Perhaps one day, once we have become truly civilized, humans will advance to 36 notes from root to octave. Even then, sour notes from a slightly out-of-tune string won’t have a place within any of these systems.
Hey James, I appreciate you trying to watch. Thanks for the dissertation. I’ll take it under advisement;)
Chuck's tuning is as good as can be expected. I have better than average sense of pitch and am not bothered in any way. The Strat he plays has a roller nut, likely a Deluxe, which comes with locking tuners. The thing is, you don't want to be schooling a seasoned teacher. Making videos is a lot of work, after all.
@@matthiasscheffler548 I truly appreciate the vote of confidence! You seem like a truly civilized human;) And you are correct, my Jeff Beck Signature model does have locking tuners.
I would appreciate if you would just stay on one line of thought. You seem to go into side roads which feels not really getting to the point.
Use the rewind .
This is a great lesson, but you talk too much. if you’re gonna use a chord chart, people can see the notes and the chords there you have great tone. Let’s hear the guitar.
Thanks man. I’ll take it under advisement. I just never know how far along some folks might be. I guess maybe I do dumb it down a bit sometimes;)
@@ChuckJonesMusic really it’s your fault. JK. Your tone is really good I just wanted to hear that baby sing. Onwards and upwards.