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(Guitar) partition pat martino jazz book

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(Guitar) partition pat martino jazz book

  1. 1. e, fi e s s a C & .5 s N. a n A e _ r. u t m b a T h. S u M PAT MARTINO
  2. 2. PAT MARTINO lAZZ PHILOSOPHY The philosophy of the REH H OTLHVE SERIES is to give you a larger and varied Vocabulary ofliclrs and melodic ideas. Many guitarists want to have their own original style and feel they shouldn’: copy licks [rom odiar players. ln reality, it is a proven fact by most top ‘original’ players that it is very benetïcial, if not necessary, to study other players, leam theirideas, phrasing, etc. Some of the benefits ofleaming such lines are: Developing the eat — by playing and singing these lines you will soon ‘hear’ and understand melodias and how they relate to chords; Building technique and confidence — the I-lotlines are great {or building chops and will also give you an arsenal of ideas to fall back on; Music theory - an understanding ofnnproirísizig theory can be gained by Ieanuhg and analyzing the lines which are built from scales, arpeggzos and zhtervals. Here are some suggestions to help you get the most out of the l-Iotlines: w Play them in all keys and, if possible, ín different octaves. G Since many of the lines are written in simple 16th notes for quick leaming, experiment by breaking them up rhythmically (syncopating) or phrasing them in different parts of the bar, etc. 0 Feel free to add effects like: Hammer-ons. Pull-offs, slurs and bends. ü Experiment with the lines over Chords different from the ones Suggested. e Although the authors ñngenngs and positions are shown for each of the Hotlmes, you may want to make some adjustments to make them more comfortable. ü The last and most important thing is to work the lines, in whole or in part, into your playing right away. CREDITS Cover Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . K. Adolphsen Cover Photo . . . . . . . . . . . . . . . . . . . . . . . , . . . . Wade Listerman Transcription and Analysis . . . . . . . . . . . . . . . . . . . . . . Tony Baruso Consultant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Don Mock Graphic Art . . . . . . . . . . . . . . . . . . . . . . . . . . . . REH Productions This book, or paris thereof, may not be reproduced or transmitted in any form whatsoever without written permission from the Publisher. ISBN 0-943686-15-6 HEH PUBLICATIDNS ® Copyright © 1984 Roger E. Hutchinson P. O. Box 31729 Seattle, Washington 98103 lntemational Copyright Secured, Printed in U. S.A. All Rights Reserved
  3. 3. IIn1II¡¡¡¡¡= ==¡IrI¡ru¡: ¡¡ImIII 43——————————————————————————+9——%——e————— = HOTUNE#1 The first line works over a II-V-I chord progression in the key of C major. Note the use of passing tones and arpeggiated chord shapes throughout. Notice in bar #2 the third Ó( fourth beats outiine a Fmaj7 arpeggio resoiving chromatically to a G augmented arpeggio creating the sound of a G7#5 chord. D m 7 > D n ’ “ i 'í, rízí'gí__e___ánutíïjï ; ¿F41 u! ‘¿í- G7 r1 V V V r—'FMA7———j r-G-i- TRlADáf 2 2 i i 5 ] ííí s / 3 1 ¿:1 :1 1 "‘ 3 n Leí - _ ïflííïííï—ííí—ïïtflí__íí . ' . o 1Z: _’—— -Ï u . - o . g . . — . —- o Z .
  4. 4. HOTLINE #2 rThe second hotline works over a lI-V-I chord progression in the key of G major. It incor- porates an "A" melodic minor idea in the first bar (note the F# and G# notes). Bar #2 moves from A minor to D7 (note the D7#5 arpeggio on the third beat). The line resoives to a Gmaj? chord by way of a small phrase accentuating the tones D, C, and Eb (the root fiat seventh, and fiat ninth of the D7 chord). _ Am7 Ó ¿í - ! ".T'í. _’—z_i -! !—_"II- '— 71-’ I. :.Ï--7_—'_ -u-—_í——jfl—-m IIAIÏÍ-H-I; ÍI-JÏÏ7 “"aI--Í l. u‘.1——Ï_: -¡—-¡ " a . ï j u i 1111 í I)! 1.1’ _X1‘I 1,1 —ïmrïjïïjn—— 11111.1 1r-1— In:
  5. 5. HOTLINE # 3 This hotline starts with a sequential pattern outlining "C" minor to "G" minor over the ll chord of Bb major (Cm7). On the fourth beat of the first bar, an Ebmaj? (Cm9) arpeg- gio is introduced and continues into the second bar (F7). In bar #2 beats three and four, an F7#5 to F7b9 sound is used. The line resolves to a "D" and "C" note, creating the sound of a Bbmaj9 chord. In bar #1, the opening pattern is played with the 3rd, Qth, and lst Íingers respectively. The same pattern is played on the 2nd, 3rd, and 4th strings again. Cm7 > H > > P H p b P ¿a / ' H - ___. ———-: iïínïïïjíïjïïlu 11137413-11- ï-íïíï Ïíï 1 . = -n= __-T11111_1 1x71: 3 4 3 1 3 4 3 ‘*- ‘I: = V > P 1 3 4 3 . "' , ï- , «'--»¿Ïi+ P : > ; > 4 3 ‘ ÏÏ Í v. e = z n n u H P - ' IIIIIIIIIIIII - ' ' . .. ... IIIIIIIIII ¿IIIIII: ::: =:IIImIIhIIIIIHIINIIIIIIIIIIHIIlIlIIHII! IIIIIIIIIIIIHII 3 ""'! !"“‘” -—. ==-EÉÍHIIIII-Iíillll ‘ ‘ "' ----""! ! "' "' IIIHIIHIIIIIIIII ‘¿É íÏÏ-— b F7 i r——-r7 9———-—¡ r——-r7+s———1 P Taj ’ ’ZDÉ¡7—g= =‘iTIII ÏA—ííII — . -ÍÜ—. JVJ— Al‘7l. -—_' mff7— '-_—ggí. lg_írf, nTá—í— _ íïí 7’ ' —Z11—: ::í! : . : — 1111111 i ' g : v O U B bmaj 7 rx 3111 '
  6. 6. HOTLINE # 4 Here we have a II-V-I in the key of C major. Bar #1 displays a descending melodic idea in the "D" dorían mode (Znd mode of C major). The D minor sets up an Abmajé arpeggio in bar #2 on the third beat, creating the sound of a G7(b9#5) chord. lt then resolves to a Gmaj7 with the use of a simple diad anticipated at the end of bar #2. ' Dm7 —'—ml——l—nííjji; > , —————Dm—————1 ¡_Abó(G7+5b9l_¡ _ 111.17" "Ï"‘IKÏ: Ï-DÏÉFT-IW—I‘
  7. 7. HOTLINE # 5 This hotline is a ll-V-I in the key of G minor. lt consists of a Cm7 idea in bar #1 (note the rhythmical variation on the Cm7 arpeggio on beats l ¿Sc 2). Bar #2 introduces a more sophisticated rhythmical pattern comprised of descending dominant seventh arpeggios. The concept here is that the listeners ear is Íocusing on the rhythmical movement rather than the melodic content of the musical phrase. The line resolves to Gm9 by way of an Ab dominant 7th arpeggio (tritone substitution). I 1'D4'í-—IÍ Z-‘-: -IÉ ' í_ T FKÏ%ÉÉua'EÉ’-'É= AÉ—-1——————Éü D7 (alt ) ¡-——B7-—, ¡-—————— Bb7 —————1 r—A7 f3 a /3 . _ / '3 / 3 '_ÉTÜ| ÜLZIJZÏ'I--”Í- _í—ï-Í — - 4—ISIJZ-. LJIF'IíEÍÉLZ-I'Í l_: -" ‘ (IIÍJ --_ ’ IÏ Í—--: ’II-'r ¡IT-ri — v3.11}: ' 11211114-4 —= —-' = =—= = s. _ /3x /3 __——= Gm7 Ab7 —-—————-—¡ /3 Í ¿á _ o / '17‘ —_——_‘_IÍÏ . '— I . — IíI-g-I-Í —V. ' I IJQ_II J’¡'T'—Í'III —I l a . m1 T M I I —: 52:22 . —__-Ï_ . _ I e _,
  8. 8. HOTLINE # s Hotline #6 is a lI-V-I in the key of E minor. It utilizes a chromatic scale dispersed in octaves, ascending from a "B" note (in the lst bar, lst beat) to a "B" note two octaves up (2nd bar, down beat of 3). The upbeat of three starts a chromatic movement down, and resolves itself to. a "G" note setting up an E minor arpeggio ending on the open E. Because of the chromatic nature of this pattern, it will fit over many other harmonic situations. Experiment and try to use’ this idea in other contexts. Also, this pattern is great for developing right and left hand co-ordination. F#m7b5
  9. 9. HOTLINE #7 Try this hotline over an A minor chord. It begins as a scalar sequence in "A" melodic ' minor then converts to an "A" dorian mode (Znd mode of G major). This line can be used over many static (one chord) situations (ie. Am, Cmaj, D7 etc). IíIEÏÏILLÉÍÍ _ gggbl-f I2LL—. -_: —í‘, í;_ P 7 l . " Lnl—‘—_——_= = ——T——_í‘: _ f¡lÍ_Ï'Íí-— : Ï:--_-_: I'-'; ——-————- Tgí_-_’_ í ‘á ¿í m ¿í s —1 ' Z1 4.. .1 ¿ _ 3 I-n e . 3 —_¡ n :2 111 . __¿_ _. _—-—n: —_1—1íí_1_ l A. :í’_-Z1.___—'—I ' n I ¡D
  10. 10. HOTLINE # 8 This line works over a C7 chord. Notice the ascending melodic line (a "C" blues scale) under the "C" note (tonic) in the upper voice. This "oblique motion" creates a very definite "Blues" flavor. The motif shifts an octave lower by way of a triadic type rhythmical phrase (bar l, beat 3). Pay close attention to the special fingering and picking notations above and below the_written music. These will assist you in perform- ing the "Hotline" properly. —’1u ¡:1 t4ia4gíen4wü í’ r. :n—n: —u1í nui.
  11. 11. HOTLINE # 9 Hotline #9 is a more linear approach to playing over a C7 chord (as opposed to Hot- line #8 which is more of a harmonic device). Notice that even though the bar harmony is a C7 chord, a G minor (Bb major) idea is used. When playing over a Dominant 7th chord, go up a P5 (perfect 5th) from the root of the dominant and play minor or, go down a M2 (major 2nd) from the root of the dominant and play major. Refer to Pat Martino "Linear Expressions" REH Publications. c7 P ' ‘ S l) s ) l L ¡J "—ï—_—-_n——-ï. —- 4 —í1—_—: .___¿—_n-_——__— Ill w’ íïj%ííí m: g ——— l —- -—— mi‘ ' 3 3 ‘ ‘i Ü . . íïï a [T11 }¿_- _. '. __III -_——ïï_ííflíITnl 4-11 —ï_lïj—-—-ní—jlgííïz-l falÉ-zú_ III t—I-z——: I-lzí—zg—l *l'1T: _ JÉÏ'-: —=Iï7'I—! ”—-I v si v I; - ‘ . ’ íïí 11:: ï-í-ïïnn-ïííTfeí-u-‘I-VL-I-‘Z-Ïl . !--‘-1-í-1-2—_-11-——:1-’-| g . _ ’—-: ——-—-_-! _| - _ ' v u a QI lb HOTL| NE #10 This Hotline is an abbreviated version of "1 Got Rhythm" changes. Note the G7#5b9 arpeggio at the end if bar #1. In bar #2, Cmaj7 moves to F7. Note the use of "F" pentatonic at the end of the bar. The line ends with a 111m7, V17, 11m7, V7 turn around into Bbmaj7. Bbmaj7 G7 P I . -"EÏI’. ÏÉII XII’ -. __II ZÍ'_. -— I 4_VJLCI. JC—JI: ZEÍÏC‘—. . —l-; "l‘-—‘ IIAl_-l—-I: T7.. —_u--—' --C -A. ‘_K— Ql'-ííï1—. ïïúú_í—úll_lííí"ï: 2.1: 23 : ——-—_ 121 tu: ,_ _ —_-—--1——í1—--“ _ ¿ . ._. .4 . . . . lO
  12. 12. HOTL| NE #10 (conL) Cm7 i F7 ‘ _ Z"—LII . II -.1——í_ Ú4—í-Zn_íí --; Z——? —Ï5.É I Íll_, *——; ___‘_zí‘í fl‘l'—"'íïí——————'jíí’" T“ a . ._. — 11
  13. 13. HOTLINE #11 Here we have a I, V1, 11, V, 1 in the key of G major. Notice the use of 13m7 and Gmaj7 arpeggios "in the ‘first par. Bat #51 utïïtzes Cima") «m» in smmsmg xo (175% phase, settkwg up a Gmaj7 (Am) arpeggio at the beginning of bar #3. 1n bar #4, D7 moves to an Fílm7b5 arpeggio resolving to Gmaj in bar #5 (F/ Ím7b5 is a direct substitute chord for D7, cre- ating the sound of a "D" dominant 9th chord). Substitutions are dealt with in more detail in the Pat Martino "Linear Expressions" book. - Gmaj7 a ¿n , i 9 a—aí————ïu—n: _z-ludj - _—ZIÏ¡ 11. _—: _—_——_ (gg-EDIT —Il —"' 4_. —-_T_—: ¿Ïa-—í’ ¡Í 111111 9-’ . . Em7 G 7 b 9 á‘ Í Znln- —'— n-ÏÏ-Üú XIV a í'__-_-' azI-‘í íís-T TCD mía ïïí -_——___ __——— T11- ’—__! —1_íí_n“— i b Am7 a f É’ 111 -¿ ííí T i i i S 12
  14. 14. HOTLINE #11 (cant) D7 n í ! '-’Éi¡¡- -_ —-_—: í:‘ lïïÏ--—_l Ïa-Z-"J" -: '-ÏÏ_—_—-' g= _-—_I IIAI_D'Ï_—-II. -_-CVL. LÏ ¿II-í ¿—__: _I 1‘I'}71-Í—-lT_í 'Í D o _ ¿ui-n q- = :—-1—¡——¿-—'ÉL-——I ’m'a2-: ’I I HOTL| NE #12 This Hotline illustrates a single motif which moves in a cycle of ¿iths on the same set of strings. You may want to refer to Hotline #8 for fingering tips. >, _ > . —¡--n— m: -n: r:r, :1—: [T1111 á _ s. .. “CC ’ 3 í 3/ ‘ñ > > Ví z z I A ‘ I ' .1 . . . . ‘EV e . i ' ' ' ' . . Ïl-EV‘ --_ ÜÍ. EÍ_- ' . . Zltfln: 13
  15. 15. HOTLINE #13 This is a line for a 111, V1, 11, V, 1 in the key of G major. The line begins with a rhythmical phrase played on the first string with the first and third fingers and moves down chromatically. Note the use of chromatic passing tones in creating smooth movement through the chord changes, and the D7#9b5 arpeggio in bar #2 moving to an Ebm (D7 alt. ). Bm7 1 i 3 1 5¡MiLE. __. .--_--. _-_____--__-___. ---_ H rxïii ¿LE s Ji - e ! -----! _----’-! — 9 -———-—-——1:-11--¿—- Em7 > > s 7 l . . 4 "——__Ï I. -—É I. L'I“ —II “¡Í- I‘ á= 1-= :Ï’_: -’—í’í: > ‘V: ¡ía-mí TVC Vu-n: ííí —""--—— . . -1—— 11- -}2 ' ' . o - - _—’ ' ' i D o 11+
  16. 16. HOTL| NE #13 (cont. ) Am7 ‘ I 4. L_ -'—2--'_. ' —Sá_ '4——. Ï_‘ ‘a’; jïííííïíïïï I ÍlI—-I-. I"r ‘____uí__—_‘í! 15
  17. 17. HOTL| NE #14 The last Hotline works over a VI, 11, V, 1 chord progression in the key of Ab major. Again, the emphasis is on melodic movement. Note the line contour (alterating di- rection of the line). Also, this line could be used over the first four bars of the tune "All The Things You Are" by Jerome Kern. Bbm7 íntim- _ Í e’_ígil —I—. J_—: ——'—1—. _'—Í—í_1 . ——í— El: 11a’ (ïgfi-íïïíjj ’ nrr-i-ï-¡LL 4-: I ’ n. .- ïn-Ï 222:: :5. _ . - _—“_—, __’íí= : ’ ' ¡ _ __—-_—’- 2 - —z- : - ' Eb7 4 Abmaj7 " í b I I . . 'ï‘íí_á_íuli7Ill 1'. ’ III 1311111: azííl" III IKÏI"IÉT'I’L¡L--I_-ZLÍ ZÏ-zl nnïíílnl . ——-—n. au JI-ÍIZ_J-—’I-Ï: SI l'í_-Ï _Ï! -.Ï-f 1J—í. ÍÏ’-Z27’I ’ -——-—. _.: #1: y —n____ I _ ¿EL mí! 3 g _ &_— - = _g - ' ' — ‘ —I 16
  18. 18. REH PUBLICATIONS‘ REH HOTLINE SERIES@ (Includes Book & Cassette) JAZZ Pat Martino 14.95 BLUES ‘Robben Ford 14.95 FUSION ‘Don Mock 14.95 COUNTRY-ROCK ‘Steve Trovato 14.95 ROCK ‘Keith Wyatt 14.95 JAZZ-ROCK ‘Steve Freeman 14.95 JAZZ ‘Joe Diorio 14.95 _ TWO-HAND ROCK ‘Jennifer Batten'14.95 «- COUNTRY FINGERP| CKlNG David Ferguson 14.95 FINGERSTYLE BLUES David Ferguson 14.95 BOOKS & CASSETTES LINEAR EXPRESSIONS Pat Martino 9.95 HOT LICKS ‘Don Mock - Book 7.95 n Tape 9.95 (set 16.95) ROCK LICKS Joe Mclntyre - Book 6.95 - Tape 9.95 (set 15.95) COUNTRY LICKS ‘Trovato 81 Arnold - Book 8.95 - Tape 9.95 (set 17.95) BEBOP BIBLE ‘Les Wise - Book 9.95 - Tape 9.95 (set 18.95) | NTERVALLlC DESlGNS ‘Joe Diorio - Book 7.95 - Tape 9.95 (set 16.95) CHORD PHRASES ‘Ron Eschete - Book 6.95 - Tape 9.95 (set 15.95) INNER JAZZ ‘Les Wise - Book 6.95 - Tape 9.95 (set 15.95) ARTFUL ARPEGGIOS ‘Don Mock - Book 6.95 - Tape 9.95 (set 15.95) CHORD CONCEPTS Ted Shumate 8.95 ROCK LEAD Elliott 8. ‘Wise - Book & Tape 17.95 ROCK RHYTHM Elliott 8 ‘Wise - Book 81 Tape 16.95 CHORD CONNECTION Dave Eastlee - Book 6.95 v Tape 9.95 (set 15.95) SCALE CONNECTION Dave Eastlee - Book 6.95 - Tape 9.95 (set 15.95) SPEED PICKING ‘Frank Gambale - Book 8. Tape 16.95 ‘G. I. T. (Guitar Institute of Technology) Instructor PTOLÍCIíS“ The Ultimate Lick System (Includes 6 Cassettes & Book) HARD ROCK ‘Paul Hanson 69.95 JAZZ ‘Les Wise 89.95 COUNTRY ROCK ‘Steve Trovato 69.95 BLUES ‘Keith Wyatt 69.95 JAZZ ROCK ‘Steve Freeman, Doug Perkins and ‘Norman Brown 69.95 Single ProLlck Lessons v Tape & Booklet 12.95 Ask for the REH product line at your favorite music store. For a FREE catalog or to order, send check or money order (VISA 8. MasterCard orders accepted) in U. S, Funds only to: REH Distribution, Dept. B. P. O. Box 31729. Seattle, WA 98103. In U. S. and Canada add 52.00 lor postage 8. handling (55.00 for each ProLicks course) All other Foreign Countries add 86.00 tor postage & handling (510.00 for each ProLicks course). Washington residents add sales tax. Joootoo; , ____ _________. .L ISBN 0-943686-15-6 3

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