Tag Archives: pat martino

3 Great Ways To Use Arpeggios In A Solo

Arpeggios are one of the building blocks you need to have in your vocabulary. But using Arpeggios in a solo can be very difficult. They can be hard to use in a way that sounds like a natural melody and not an exercise.

One way you can learn that is to check out how master jazz guitarists like Wes Montgomery and Pat Martino use arpeggios in their playing. Take over some of their great ideas and start using similar concepts in your own jazz licks and solos.

In this video, I am going to show analyze some great arpeggio phrases and talk about how you can use them in your own playing.

Content:

0:00 Intro – Arpeggios and Jazz Vocabulary

0:35 Example #1

0:37 Wes Montgomery – Great Arpeggio Polyrhythm idea

1:47 Example #1 Slow

1:52 Example #2

2:07 Pat Martino’s take on this rhythmical idea

3:02 Example #2 Slow

3:09 Putting this into your playing #1

3:29 Putting this into your playing #2

4:12 Example #3

4:14 Pat Martino’s Power Arpeggio Pickup

5:08 A Great Chromatic Idea

5:25 Example #3

5:49 Putting this into your playing #3

6:07 Putting this into your playing #4

6:41 How To Practice This and What To Focus on

7:27 Example #4

7:38 Wes’ Amazing Sense Of Melody

8:29 Example #4 Slow

8:46 Making Long Phrases like Wes!

9:27 Putting this into your playing #4

9:33 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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If you have any questions, comments or suggestions for topics then please let me know. Leave a comment on the video or  send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.

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Pat Martino – How to Play Powerful Bop Lines

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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Get the PDF!

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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If you have any questions, comments or suggestions for topics then please let me know. Leave a comment on the video or  send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.

Please subscribe to my YouTube channel and feel free to connect with me via Instagram,Twitter, or Facebook to keep up to date with new lessons, concerts, and releases.

Jazz Swing Feel – How To Get It Right (And You Want To)

How to Swing and how to work on your swing feel. Swing feel is the elusive part of Jazz Phrasing that we can’t really describe and tell you how to work on. Most of the time it is hard to understand and work on. In this video I am going over how to hear, practice and understand different types of swing feel and use this to improve your playing.

Examples of Jazz Swing Feel in recordings

In the video I am referencing some recordings by Jazz Guitarists that you can check out as examples of different types of swing feel: 

Joe Pass Stompin at the Savoy: https://www.youtube.com/watch?v=4AglV3X5EjQ

Pat Martino https://www.youtube.com/watch?v=8kEdoHGmDwU

Wes Montgomery https://www.youtube.com/watch?v=HmUUi6wGwRA

Content:

0:00 Intro

1:07 What is Swing-Feel?

1:20 Sub-division, notation and different interpretation

1:55 We can’t really write it down and there is no one perfect solution

2:23 Train you ears, Hearing rhythms

2:51 3 Examples of different swing feel

3:06 Joe Pass – Slow Medium

3:37 Pat Martino – Medium Up

3:56 Wes Montgomery – Medium

4:20 Check out the complete tracks for a better impression of the feel

4:32 Ways to work on Swing-Feel

4:40 Imitate solos and really nail the phrasing

5:08 Experiment with what you can play

6:03 Who is your favoirite when it comes to swing feel?

6:31 Like the video? Check out my Patreon Page!

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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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