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Pat Martino – How to Play Powerful Bop Lines

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Pat Martino is famous for weaving long beautiful bop lines through chord changes with surprising twists and turns.

In this Pat Martino Lesson, I am going to analyze a few examples from his solo on the Benny Golson tune Along Came Betty and show you some of the building blocks he uses and how he is a master of using those building blocks in a musical way in his solos.

The fast lines and fantastic flow through the chord changes are really what Pat Martino is known for and this double-time samba version of Along Came Betty is no exception. In the lesson, I analyze some of his phrases or licks and talk about how they are constructed and what we can learn from them.

Content:

0:00 Intro
0:24 Building Blocks for lines
0:43 Example #1 – Amazing Pickups
0:54 The Form and the double-time feel
1:40 Analysis of Example #1
2:16 Arpeggio Motifs and Build Up
4:00 Example #1 – Slow
4:23 Example #2 –
4:28 Analysis – Using Motifs to play changes
6:45 Example #2 Slow
6:55 Example #3 – Continuous 8th note melodies
7:04 Mixing Melodic minor and Dorian
8:58 A quote from Parker (or George Benson)
9:49 Re-using the same line?
10:17 Example #3 Slow
10:36 Example #4 – Cross Rhythms
10:43 Cross-rhythms and PPolyrhythmswith 8th notes
11:02 The Martino Honeysuckle Rose Variation
11:42 The Polyrhythms
12:47 Example #4 SLow
13:02 Like the video? Check out my Patreon Page

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The PDF with examples for this video is available through Patreon. You can check out my Patreon Page here: https://www.patreon.com/jenslarsen

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How to Play Killer Hard Bop like Pat Martino

One of the first jazz solos that really blew me away was the Pat Martino solo on Just Friends from his album El Hombre. In this video I am going to show you 3 Pat Martino Licks from the song and talk about how they are good examples of some of the things he uses a lot in his playing that you can add to your vocabulary.

The 3 Pat Martino Licks

This Lesson is exploring three different licks from the recording and talking about how they are typical for hard bop and also highlights some of Pat Martinos influences like Wes Montgomery.

Melodic Minor and Hard bop

The first example shows how Pat Martino is using Melodic minor, in this case on a Db7(#11). In this example the maj7(#5) arpeggio is central. He uses this structure through out the song in both fills and the solo. The lick also contains an AbmMaj7 arpeggio.

The Blues and Arpeggio Patterns

In the 2nd lick Pat Martino is starting with an F blues phrase and then continues into a Aø D7 line. Notic how he is using a pattern to play a D major triad adding a chromatic enclosure in the last bar.

Chromaticism and Wes Montgomery

The final example is a simple line with a long chromatic passage, which is typical to Pat Martino, and also a Bbmaj7(9) arpeggio somthing that is found time and time again in Wes Montgomerys playing. Wes was a huge influence on Pat and that is on this entire album very clear.

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If you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter:

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