What's your #1 takeaway from this? Do you like this approach? Let me know in the comments! 👇

Mike Kaplan taught me this approach in our first lesson when I was studying at Miami Dade college Wolfson campus 20 years ago. It also works well with guitarists who might not have a background in jazz, but have played blues licks forever. The licks are already minor, it's just a matter of knowing where to plug them in. Mike would comp on Cmaj and tell me to play A minor blues. Just that simple illustration helped open up the door to chord/scale relationships. Of course, there was still more to learn, but it served as a good introduction, especially for someone like me who had minimal knowledge going in.

Cool! There ir another concept that Martino showed as the Nature of the Guitar (there are videos about it in the youtube, one of them is with Dave Frank and Martino himself). In which he divides the octave in the fretboard through three augmented triads and four diminished tetrads. Every time you take one note of an augmented and move down a half-step this triad become a major triad, if you move this note up a half-step instead of moving it down you get the relative minor (and you can experiment through inversions along the neck). The diminished follows the same procedure but have different results: if you move a note down a half-step you'll get a dominant seventh chord, if you move it up a half-step instead it turns into a half-diminished related to the previously found seventh chord (and, as with the augmented triads, you can explore along the neck). The cool thing is that you can get a lot of chords and inversions within a few frets. Thanks for this video, it will help me while I'm studying the Linear Expressions book. Cheers!

"Secret of the One Chord" , I Love it. 🤩 Just make sure you stick to One! Last time when you went to Two, all hell broke loose 😄

I'm happy to see you teach here again. Great lesson! Know that there are people who really appreciate this. Thank you..

One of the very best video's yet. Brilliant.Your ability to simplify the complexity make memorable and apply it is in a class of it's own.

Fantastic video Chase! 🎸👍 thanks so much for this, best to you brother!

Unbelievable detail and depth for such a short video. I can’t follow the explanations and examples as quickly as the video presents them, but it’s also the best way to get the concepts across. I plan on watching and rewatching this till I begin to grasp things. Thanks!

Great approach Chase - really helpful.

Another awesome video brother! Clear and easy to understand 🙌

Excellent, going to have to try it.

Thanks for another GREAT lesson, Chase!!

Thanks!

Beautiful

Great breakdown of a deep subject

Very well explained

Thank you!

Great Video! This approach definitely simplifies how to think about playing your lines over different chord types. I love the idea of converting everything over to minor, brilliant! And converting the Tritone sub to minor as well, love it! Will definitely be adding this to my playing.

Would love to see you bring the approach to life over one of the standards you analysed.

Magnifique Bravo,très content de te revoir.Super leçon.

This helps. I had actually misunderstood his approach, thinking of it as harmonic generalization- that he reduces 251 cadences to one chord. Instead changes each chord to a minor. In bensons case it does sound to me that he he tends to generalize 251 cadences to one chord. And this would make sense given that he comes out of blue

Thank you for coming back… Quiters never win and winners never quit… Thank you….

Thanks

Thank you Chase.. Outstanding lesson, lots of stuff to work on here.. Great companion to PM’s True Fire course.. This is “that good”! Thank you

Yeah I love this type of thinking. I think it’s a tool, not a preferred method. We know treating chords individually or collectively are both valid, based on tempo, taste, line shape. The beginners book Mel Bay for guitar actually had a chart, chords of the key, brackets with Tonic, Subdominant, Dominant (1,6,3- 2,4- 5,7) Funny how things come full circle. I use this for improv and songwriting quite a bit. Thanks for posting

Thanks a lot for this extremely useful lesson. I have had "Linear Expressions" on my shelf for almost three decades and made no progress (with forms, activities, movements ...). While keeping in line with the (overwhelming - for me) details/basics of Pat Martino's approach you manage to simplify it in a highly usable way (I agree 100% with your remarks starting at 3:50). I also find the ideas around 12:30 / 19:30 (keeping everything in Amin / Gmin and add "interesting" notes).

Chase, once again, you have made complicated harmonies crystal clear. Many thanks. Robert

As with your George Benson video, this one on Martino’s approach is great. You’re a great educator! Easy to follow, and lots of things to get us started with applying the concepts. Thank you!

17:35 I’ve see Joe Dorio talk about this in clinics, you can go up another major 3rd (after ascending the initial minor third) to get lines for the one chord of the 2-5-1. This same concept applies to chord shapes as well.

would like to hear you play this technique of these two tunes

Fantastic lesson Chase!! You the man!!👍🎩👍 Just to mention, the A flat, is the tritone of D, and also part of the family of dominants, that Barry Harris talks about.

Buenísimo

Outstanding. I got into Pat's music some 30 odd years ago, mainly because my teacher was a huge fan (he even found a Koontz guitar - probably the only one in the UK), and he felt that Pat's approach was best considered as a major line approach (in spite of what's in the book and the long instructional video of Truefire), precisely because of the point you make about minor 6 sounds at about 5.20. So he taught by converting each chord not to its associated minor, but to the associated relative major to that minor. In your first example at 6.02, the relevant scale would be Ab major, for example, with the 4 notes you mention being an Ab major 6th arpeggio. This is actually a very intuitive approach for beginning jazz students, espcially if they are coming from a rock background. I'm also not convinced that Pat was suggesting you apply these 'activities' - he was once asked if he thought in terms of scales when soloing over changes and he said (more or less): 'jazz doesn't work like that - it's too fast to think like that, but you can PREPARE for it. I think that's the point of the activities, and I feel it's better to say not that a player is thinking of a particular chord, but is calling up what they have PREPARED for. That said, your approach is also a kind of preparation, and very accessible. Really enjoyable vid. Your analysis of the charts was so reminscent of my old teacher and an absolute joy. Thank you.

Great video, wonderful analysis, enjoy these concepts. That part at 4:50 where Pat was talking abour relative major to Gm, maybe is Gm6 = Bb (IV) so F as the home key? So E natural is there also, not entirely certain

Chase U are the only good thing coming out of Florida.

Thanks Chase! Pat Martino's areas of activity, nice lesson ❤... without spending 250bucks for a non-printable ebook😅 Keep it up, u are the best👍🏼

Thanks, this material is incredibly useful, and really helping me organise my improvising. You make Martino & Benson’s approaches a lot more accessible. It’s definitely working for me. Only problem I have is playing D minor over a Dm7 G7/9/13 where it resolves to C. It comes out a bit bland because the dominant function is not strong. Any tips on nuancing that? Maybe needs some chromatics on the way to resolving?

Hey, weird request, would you look into a now somewhat-obscure jazz guitar virtuoso and country guitarist Clint Strong? He's from the Dallas/Fort Worth area and was very popular when he played with Merle Haggard, and even had an online instructional video. He was definitely an original and influential to those who know him. Not sure why people don't talk about him now.

I was hoping you would demonstrate the Pat Martino approach on the banjo!

I substitute say an Em for Cmaj7, or Am for Fmaj7 too. That adds flexibility, so Am Em for a C.

I think if we stick to any one METHOD that can be limiting. Of course it is important to really dig into it if you think that suites you and then apply it to your playing. However for example if you take a look at transcription of Pat's Blue Bossa, he is not really thinking Dmi7-5 ~G7alt~Cmi as 2-5-1 but rather pretty much 5-1 so he is playing G7 altered phrases over Dmi7-5 (he even plays A natural over Dmi7-5) just as many great players do like Joe Pass, Jimmy Rainey, Branford Marsalis, etc Branford says most of the time he does not worry about IImi7 , that is a passing chord to V7) So anything goes as long as it is swingin' and sounds good.

Would liked to have seen a live application of this to one of the tunes you chose.

Great lesson. I loved Pat and his genius, but as a teacher, his approach was too cerebral, I couldn’t make enough sense of it. I’m impressed you have it down! Nice work!

At 4:35 you say the Eb is confusing, and that the transcribed lines use E instead. This is because Martino did not use Bb major; he used F major. He treated G minor as dorian ii to F, not as relative vi to Bb major.

I read somewhere that Pat claimed that he had nothing to do with the writing of that book. It’s still an interesting one tho!

Another triumph! In my half-assed Welsh/ half gypo way I think I was getting there (not to some of the deeper complexities, tho) via Gypsy Jazz as they often have little or no knowledge of theory and simplify/ condense ideas/ substitute minor 7-5s for dominant 7ths etc. Tell me if I’m beating a very crooked path, but by this thinking, I go from Dm7-5 to Fm6 to alt E7 arpeggios and all those lovely messed up sounds… Or maybe I should just lie down in a darkened room and pretend it never happened, hoping tomorrow is a better day? 😳😆 Particularly enjoyed the first Gminor scalar exercise. More of that please!)

Great video, as always !! My only concern is the total lack of banjo stuffs 😆

Another awesome video!! Does this mean that you are staying on KZfaq??? Please!!! You are an incredible teacher!!!

Are you saying the inversions become minor chords that you can substitute?

Ps: Does one of the ebooks cover ideas like that Gminor one? On a serious note, I was disappointed there was no Bebop Banjo😢 I am also inspired to buy some aviators and grow a ‘Martini Moustache’ hombre🏴󠁧󠁢󠁷󠁬󠁳󠁿

Very intriguing, and as always you do a masterful job of simplifying, Chase. Question, though: As a beg / Int guitarist, I wonder to what extent am I using this just as a fretboard short cut to pull up the available notes for a solo on Cmaj7 by using the Am7 patterns, and then I revert to C maj licks? In other words, even though they share exactly the same notes, we know a Am7 and Cmaj7 have a very different sound. That's the missing, and perhaps unspoken, part for me. To what extent would you highlight the notes of a CMaj7 arpeggio, when using the notes of the Am7? In other words, it would be simplistic to say, just run some Am7 licks over a CMaj 7, correct? Thanks again.

man i spent so many hours with the first chapter of Linear Expressions! great lesson. Interesting how some of the stuff lines up with the berry Harris approach for instance what Pat Martino does with a E minor seven flat five is exactly the same way Barry sees it: as a Gmi6. Hey chase i’m just learning about the C minor six diminished scale. It’s the one scale berry Harris uses not only as a scale of chords but also as just a straight scale to build lines from have you tried to apply that scale over any of the Pat Martino conversion theory because it’s basically a melodic and harmonic minor scale mixed together? so you get the best of both. or is there some reason why that scale won’t work just like I need the other minor skills you mentioned for example over the first four bars of take the A-Train so an a minor 6 diminished scale??

Pat Martino did not actually write the book "Linear Expressions." Tony Baruso compiled it, and although it has some accurate transcriptions of Martino's lines, Baruso makes a technical blunder when he tries to explain the method. Pat Martino used the DORIAN minor (ii minor), not the aeolian minor.(vi minor).

The minor confusion- maybe he doesn't say which minor- like the e natural- is Dorian minor for the B flat relative major

Hey, Would be awesome if you just record yourself improvising with that kind of idea over A train. Appreciate talking part with some short examples but in the end it's about put it all together over some tune, isn't it?

Those martino 5 measure lines/activity sure sounds like a melodic minor scale to me. The first one was a G melodic minor. Am I wrong?

Love your channel. But isn’t the relative minor of B flat major seventh actually G minor and not F minor?

Yngwie Malmsteen will often solo like a fool over a drone synth note.

I met Pat several times and I had the fortune to discuss directly with him this approach and to express my opinion. He was a super open person. I confess that "Minor Conversion" is not interesting for me because in my opinion it doesn't generate tension and interest in the phrasing. To me those substitutions are a waste of time while we can think in terms of intervals and colors (Ted Green books are a great example).

Who used three chords/sounds/buckets? Joe Pass? Major, minor, dominant? :)

Saw this vid and picked up Linear Expressions. Lots of questions but wondering why he presents the scale as G Aeolian but all the activities use E natural which looks to me like G Dorian. Does it even matter? Just curious. Love your articulate and concise style. Hope you will reconsider not posting more. Thanks!

Maybe I've drunk too much of the Barry Harris Kool-aid, but this whole approach seems like it's expressed more succinctly and consistently in Barry's system. Am I missing something in Pat Martin's approach that Barry's doesn't encompass?

👍

Cannot wait for the secret of NO CHORDs! 😅

Joe Pass said 3 chords, George Benson 2 chords, Pat Martino 1 chord. Where is this going?

Not I sure get it, more mentall thinking. Joes Pass said he doesnt care about the 2 in 2-5. He just thinks the 5 chord, kinda opposite of this. 😂

Making ur own rules 😂😂😂

Well, where is the music in all these technicalities ? It’s all mathematical and a science project than music, hence boring and remains unpopular. Music has no theory, it’s a feeling that one expresses with sound. However, it’s somewhat important to know chords and scales, depending on the instrument of choice to express an idea.

I like your stuff but you shoudn't use that "The secret of the 123 chord" titles anymore, because its originated in Peter Farrels materials.

If you know how to play a dozen sequences well, none of this modal shit matters. All of the notes you need will be right where you are.

2 chord...1chord...show us the 0 chord method next please

That's why he was eaten alive by scofield 😅

Unless there's some musical example at the beginning of the video, I'm not going to invest 20 minutes skimming through a video, if I don't even know if i want to learn the concept.

1 chord brain damage 😂😂😂 are you masplaing asking for a female friend😂😂

I have no clue what this guy is babbling about.

im sure you are a great player and instructer but your all over the place here

Thanks!