Steve:
The brief analysis you offer is, in my opinion, somewhat incomplete or
more to the point, inaccurate if you will - nothing intended "ad
hominum". Let me try to explain. As I'm certain you know, Gmaj equals E
aeolian (natural minor with b6), not E dorian (with a nat. 6th) - if, of
course, one is referencing these to a major key area. Each of the other
twochord examples (Ami7 and Ami7b5) -if viewed from this perspective-
would be correct in relation to dorian "conversion". The difficulty is
that Pat does not offer such an explanation (to my knowledge) refarding
dorian minor conversions. That is something the method book transcribers
have labeled him with; transcription analysis is interpretative as much
as historical analysis.
I had the honor and pleasure of playing ("jamming" was more like it) with
Pat and Les Wise in L.A. before the time of his accident (this was when
the "linear expressions" book was just out)and I can tell you from that
brief experience that Pat never seemingly defined his soloing in terms
which would limit one to a specific minor scale or mode. In fact, he
related the concept of line-form improvisation as being a series of
melodic phrases, connected (and repeatable) by the various positions of
chord voicings (in this case, minor 7th types)which along themselves
horizontally along the fretboard. This was the reference point for
creating and utilizing long, flowing line-forms; each area of the
fretboard may be used to connect a melodic idea to the next. However,
the actual "substance" of these lines- I noticed- were a combination of
melodic, harmonic and rhytmic elements, which, when combined, served to
create these non-stop phrases which marveled all of us.
The technical aspect aside, this minor conversion renown of Pat's is
acombination of minor scales (dorian, aeolian, melodic & harmonic minor)
plus arpeggios, triads, intervals, pentatonic/blues and chromaticism. It
is too narrow an analysis to suggest that only a single approach will
adequately convey the boundless elements intrinsic in a Pat Martino solo.
I know, I've been working on them and trabscribing them for sometime
now. This is not to say that the minor scale conversion concept is
wrong; it is only the beginning of the story. The melodic continuity
which Pat displays is fundamentally grounded in years of internalizing
pre-arranged line-forms which will work and which can be modified by him
at will to suit any musical occassion. There is far more here than meets
the senses. It is not merely enough to suggest one scale - It is far
better to suggest utilizing the entire pallette of musical "tools" and
combining these into a unique, and melodically constant reference whereby
the minor chord voicings are used to "target" the areas of activity.
Once again, I find nothing "negetive" in your remarks Steve. I felt the
need to clarify on what had been stated. Pat and his playing is always
a pleasurable topic. Thanks.
____________________________________________
On Thu, 9 Sep 1999 16:20:07 -0700 "Steve Gallagher"
<steveg@...> writes:
Someone recently mentioned Clay's thread on Martino's diminished
chord
concept, which btw I found immensely helpful. I have read
somewhere in
the past that when soloing Martino thinks of everything in terms
of
minor scales, etc. Does anybody know exactly what that concept
entails? Is it simply another form of substitions? Just
wondering...
eme
Gmaj -> E Dorian
Ami7 -> A Dorian
D7+9 -> D# Dorian
Ami7b5 -> C Dorian
Good luck,
Steve Gallagher
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