Pat Martino Minor Line Improvisation Over Chords Analysed
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In this latest video I try to explain how you can use Pat Martino's lines over chord changes.
Let us be clear on one thing... The lines are really just MINOR lines... Basically Dorian and Melodic Minor Lines!
We then SUPERIMPOSE that upon various chord changes or chords.
So let us look at it!
MAJOR 7th CHORDS!
We play E Major 7th:
CHOICE 1: Play the F# Minor Line (II DEGREE OF E MAJ 7th)
What do we get? Since F# Dorian is the second mode of E Ionian (or Major) we really get an E Major or Ionian sound.
Should we play F# Melodic minor... we will have a b9 in the sound, but that does not matter as it will be felt as a chromatic line over the E Major 7th chord ON THE CONDITION that we do not hang unto that sound! (We can play chromatically, but we should not hold an avoid note on a particular chord... or it will sound bad!)
CHOICE 2: Play the C# Minor Line (VI DEGREE OF E MAJ 7th)
What do we get? Since C# Dorian is the second mode of B Ionian (or Major) we really get an E Lydian. This is because the analysis would be:
B Ionian
C# Dorian
D# Phygrian
E Lydian
If you are a beginner and trying to wrap your head around all this... it is easy, BUT YOU NEED EDUCATION on it. So do not be hard on yourself... You just need good education. Consider online lessons with me! 😊
Should we play C# Melodic minor... we will have a #5 in the sound, but that does not matter as it will be felt as a chromatic line over the E Major 7th chord ON THE CONDITION that we do not hang unto that sound! (We can play chromatically, but we should not hold an avoid note on a particular chord... or it will sound bad!)
Actually that would mean that we play a E Lydian Augmented scale.... Which is the third mode of the Major scale... and works fabulous over E Maj 7th IN THE RIGHT CONTEXT!!!!
OK GREAT!
Now let us look at DOMINANT 7th Chords!
E13 or E9 (Standard Vanilla V chord)
Here we would play B Dorian that is equal to E Mixolydian!
The B minor line would act as an E Mixolydian line!
E13b9
Here we would play D MELODIC minor which would give us the E Dorian b2 Mode.
This mode would essential act as a Mixolydian with a b2 and the b3 would be interpreted as a #9!
It is a fabulous sound!!!
E Altered 7th.
Here we would play a line on the bII of E... so we would play F Minor or F Melodic minor.
This would give me the sound of E Superlocrian... one of my favourite modes EVER!
See this video on the E Superlocrian scale for you to work on:
• E7#9#5 - Using the Superlocrian Mode for t...
E7b5 or E13#11 etc...
This is usually used in a II TRITONE V I progression.
Here we would use the minor line on the Vth of E - so play a B minor line.
BUT SPECIFICALLY B MELODIC MINOR LINE... we want that A# in the melody... to give us that #11 sound!
FINALLY
E Minor 7b5
Here we would target the bIII of E.
This would give us G Melodic Minor... and we would in turn play the E Aeolian b5 mode AKA E Locrian with Natural 2nd.
It gives the most tensions possible on E-7b5.....
That means:
Chord tones: 1 b3 b5 b7
Tension: Tension 9, 11, b13
IN terms of notes: E, G, Bb, D
Tensions: F#, A, C
Kindly note here how the tension notes are a WHOLE STEP above the root!
Another video to watch as a recommendation:
• Pat Martino Lines and How To Use Them
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