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Pat Martino's Star System
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It's explained By Pat himself on his web site:
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under the 'Nature of the Guitar' link. Follow the links at the bottom of the pages, it's around page 3 or 4. -Dan --- In jazz_guitar@y..., Graham Cox <jazzguitar@o...> wrote:
Hi Fellow Listers, |
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Ross Ingram
Re:Dan
delemia, if you reach the star you will see groups of fourAlways appeciate your entries.To add to everyones tones at all clock positions (12o'clock,1o'clock etc.).Look at the tones in each group as being either top,right,bottom or left.If you go around the master circle clockwise while at the same time changing the position circles at the same time you get some beautiful mathematics.(T-R-B-L)=aug. chord.(T-L-B-R) whole-scale.(T-B-T-B) circle of 5th's.Some players talk about looking at every chord as being some form of an dominant chord the master scale being the chromatic.I think the main thing intended in Pat Martino's star is the mathematical beauty.The triangle and the square also have the the same tones if you superimpose them on a chromatic cycle (like Pat did) or a conventional cycle of 5th's. ----- Original Message -----Ross From: dan@... Sent: Wednesday, August 08, 2001 5:04 PM To: jazz_guitar@... Subject: [jazz_guitar] Re: Pat Martino's Star System It's explained By Pat himself on his web site: under the 'Nature of the Guitar' link. Follow the links at the bottom of the pages, it's around page 3 or 4. -Dan --- In jazz_guitar@y..., Graham Cox <jazzguitar@o...> wrote: Hi Fellow Listers, |
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--- In jazz_guitar@y..., dan@d... wrote:
It's explained By Pat himself on his web site:Okay Graham, now that you're _thoroughly_ by Martino's musical mysticism... ;-) I'll explain _half_ of Martino's chord-building system, the diminished half. You can work out the augmented half on your own. Martino says that to build four-note chords up and down the neck in all inversions on all string-combinations, you must learn the diminished chord forms on all string combinations (1234, 2345, 3456, 1345, 1456, etc.). Diminished chords (1-b3-b5-bb7) are symmetric so you can use the same diminished chord form three frets (a minor 3rd) up or down the neck to get a different inversion of the same diminished chord. Now if you slide any one note down from that diminished chord you get a dominant-seventh chord. For example, C dim is C-Eb-Gb-A (or C-D#-F#-A). Slide up three frets, a minor 3rd and you get Eb-Gb-A-C which is both Cdim/Eb and Ebdim. Lower the C and you get B7 (B-D#-F#-A). Lower the Eb and you get D7. Lower the Gb and you get F7. Lower the A and you get Ab7. Okay, using all combinations of strings you can now make a tremendous number of dom7 chords in all inversions. Next learn to alter those dom7 chords to create all the other chord forms (m7, 6, m7b5, 9, etc.). Now wherever your hands happen to be, you're less than three frets away from _any_ chord you need. (In theory. In practice you may need Martino's long fingers to play some of those chords.) This means you can choose an area of the neck and just sit there, making smooth transitions through the changes. Or you can use your new knowledge to contruct elegant little chord melodies. I've never been able to do this in real time on the bandstand. But I've found it useful occasionally when working out chord progressions. Generally these days, I just apply my knowledge of harmony and of the fretboard to construct new chords from scratch. However, there are many roads to Rome and this one's Pat's. Maybe it will be yours as well. Cheers, Kevin www.TheNettles.com |
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Graham Cox
Thanks Kevin for taking the time to explain.
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It all makes perfect sense now. Cheers, Graham From: kevinj@... |
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