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There are not a lot of guitarists who can articulate like Pat. You do this very well, mate. Impressive actually. As far as today’s jazz guitarists concerned, most of them sound the same. Same school, same books, same lines… I think transcribing PM is fantastic for advanced musicians, he is a master. An album such as Question & Answer is a good starting point to check out his thinking.

Very nice and valuable lesson! Thank you.

I’m glad that KZfaq’s algo pitched me this video. It’s exceptionally good. Thanks for sharing your research. I’m subscribing.❤

Much overlooked, right hand technique. Thank you

Hi, i'm not a Metheny specialist but one important thing that making is sound too is the way he's olding his pick. And witch side of it he's using. Intersting video by the way :)

I am a beginner, and I just subscribed.

Great analysis, Anri!

Real jazz people pay attention to Metheny’s work, and not just on guitar. Not sure who is telling folks not to study him, as that would be silly. Cheers, Daniel

Awesome video man! Will definitely be checking out these concepts.

Thank you for a great insight

Great video. One thing that i noticed about Pat articulation is the way he stop the duration of the note in the left hand. If he's playing 2 eight notes, the first one it´s gonna be shorter becouse he would pull up the finger of the fret. Also love that PRS, i miss my HB1, best guitar i ever had.

Superb , thank you !

thanks very interesting.

Thansk!

Thank you very much 😘

Great editing skills! By the way, are you based in Japan? Your English is flawless...

Interesting video. I think the point with Hendrix vs Metheny licks is that Hendrix comes from the rock world where the approach to music is just completely different. Many rock players aspire to copy solos and it is an important part in their development to play guitar. It often is much lick-based learning. Jazz players have a far heavier emphasis on being unique players, developing your own voice, and be true to the music. There is often a far deeper theoretic framework of modes and scales and the development of cells (especially when the focus is on Bebop language). Many jazz guitarists also study horn players like Parker, Trane, Davis, etc. But as Metheny himself learned very early on: being able to sound like Montgomery is a nice gimmick and kind of accepted if you are a 14 year old guy. If you are aspiring to be a working musician, it is just not done to be just a Montgomery clone. And I think this is kind of where the fine line is when it comes to these techniques: some things are so typical for just Pat that if you are going to apply them in your own playing a lot, you will wear the Pat-inspiration on your sleeve and depending on how you incorporate them, you will either sound like a bad attempt at being Metheny, or if you can apply them in a less obtrusive and natural way, it might help develop your own personal style. It is why I for example would be very weary to use the Roland GR300 sound. I think it's a fabulous sound and really good for soloing. But there is no chance you will not be compared to Metheny given that he made that sound so uniquely his. While using his legato techniques of playing can work for your own vocabulary as it's just another way of attacking the strings irregardless of the melodic and harmonic development and concepts you want to apply it to. In any case, Metheny's work allows for a life-time study. One cannot ever study "too much" Metheny. In fact, I wish more players studied the contents of his melodic lines in order to make their own solos more like storytelling vehicles instead of a shredding or arpeggio exercise.

I understand what you're saying, but I don't want to sound like Pat Metheney [my favourite player by the way], he does it so much better than I ever will.

Well of course you can use it....Pat does what every jazz player is aspiring to do and that is to play over chord changes😢