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But in 1980, fate intervened as Martino was stricken with a brain aneurism, and the reparative surgery left
him with virtually no memory of family, career, or how to play the guitar. Some might call his recovery a
miracle, but it was Martino’s inner drive and lust for life that eventually led to a complete recovery, and the
deep-thinking guitarist seemingly picked up where he left off, recording more than ten albums, including his
comeback, The Return (1987), Think Tank (2003), and his latest, Remember: A Tribute to Wes Montgomery
(Blue Note). Pat currently maintains a healthy teaching and touring schedule (he’s gigging and conducting
seminars in Tokyo as I write this), as well as a splendid website (patmartino.com) where you can check out
bio info, a complete discography, multimedia presentations, and stream non-stop Martino audio. So you
want to play guitar like a real hero? First, you’ve gotta...
1 IMPROVISE
The art of improvisation has always been one of Pat Martino’s main areas of musical exploration. He points
out in the introduction to his groundbreaking book, Linear Expressions (first published in 1983 by REH
Publications; buy it!), how all serious students of the guitar spend years of practice overcoming such initial
obstacles as lack of technique and physical dexterity before they begin to focus more on what is being
played as opposed to how it is played. “The quality of the music is now the primary concern,” Martino
philosophizes. “With this in mind, the maturing guitarist will temporarily sedate his on-going urge to play
lightening fast guitar licks and flashy feats of fingerboard gymnastics. Finally, the guitarist comes face to face
with the nemesis of every budding musical artist, namely, improvising over chord changes.” Early on,
Martino mastered the “correct” traditional method of memorizing scales and arpeggios, and treating every
chord in a progression individually with the proper device, but found this piano-centric process to be
complex, cumbersome, and very un-guitaristic. In retaliation, Pat came up with an ingenious, simplified
system that utilizes only minor scales to cover any type of chord sound, wrote it down, and the results are
astoundingly empowering and totally guitar-friendly. Though Linear Expressions’ streamlined convert- to-
minor concept can change your life (it changed mine.), Martino is also quick to point out the value of
exploring all avenues of study: “The art of improvisation is by no means to be considered simple or easy and
should not be taken lightly.” From where does one draw such deep inspiration? You’ve gotta...
2 THINK HOLISTICALLY
Martino’s natural tendency is to view music and the world from many different angles— to embrace the
simple alongside the complex—and this holistic attitude has opened his awareness to numerous parallels
and connections between music and the cosmos at large, many of which he generously shares with
students. His conversion-to-minor system, which we will be exploring in depth momentarily, epitomizes
Martino’s ability to look at both sides of the coin equally. And for a truly cosmic example of how Martino
sees music in everything, just Google or Wiki a gander at the plate of 64 hexagrams found in the I Ching, the
ancient Chinese book of wisdom. To dedicated followers and scholars, these ancient symbols represent
truths and wisdom, and have been pondered for centuries, but Martino looks at the plate and sees “all that
was ever done on this 6-string instrument, all that is being done at the moment, and all that ever will be
done.” Yipes!
Martino detailed his perspective in a 2003 interview with Victor L. Schermer posted on his website: “The
skeletal framework for the system of symbols that the I Ching is based upon is 64 symbols (hexagrams), and
each has six straight lines. There are two types of lines: One is whole, the other is broken. Now, the guitar
has six strings. The broken line stands for a string that isn’t used. Therefore, if the fifth and sixth are broken,
and the other four are not, wow, that’s the fourth, third, second, and first strings of the guitar. That’s string
use. Any chord that can be played on those strings, that’s what that symbol and any of the other 63 symbols
represent, included ‘all strings broken’, which is silence.” In other words, Martino sees a holistic
representation of every possible way to play one-note, twonote intervals, and three- to six-note chordal
groupings on six strings—every combination of guitar strings. And guess what? He’s absolutely right. You’ve
gotta check this out!
With that in mind, let’s begin our fantastic journey into the mind of Martino by getting a few of his signature
moves under our fingers. The quintet of melodic lines in Examples 1a through 1e cover the entire
fingerboard with hip, two-bar eighth-note runs that fit comfortably into the trinity of basic chord sounds—
minor, dominant, and major. Approach each line as a pure melody (don’t worry about how or why it works
for the moment), and precede each one with the suggested chords to observe how it behaves in each
harmonic climate. See how all three chordal climates reference a partial barre shape at the third fret?
Where do these lines come from? Why do they sound so dang cool? How do they work over multiple chord
sounds? Can we use them to play over chord changes? Glad you asked. First, you’ve gotta...
6 CONVERT TO MINOR
Now comes the revelation: All of the preceding minor line forms are interchangeable and can fit into
virtually any harmonic climate (i.e., chord progression, i.e., song). Once you’ve absorbed and assimilated
Martino’s five G minor activities and become facile with each one in all 12 keys, it’s time to try them out in
different harmonic climates by applying the following substitution rules, which also illustrate transposition
formulas for converting a variety of common chord types to minor
Given: Gm, Gm7, Gm9—Play: G minor (as is for Dorian), C minor (P4th higher than root for Aeolian), or F
minor (M2nd lower than root for Phrygian)
Given: Bb, Bbmaj7(9), Bbmaj7b5—Play: G minor (m3rd lower than root for Lydian), or C minor (M2nd
higher than root for Ionian).
Given: C7, C9, C11, C13—Play: G minor (P5th higher than root for Mixolydian).
Given: C7(9,13)alt. (b5, #5, b9, #9)— Play: Bb minor or Db minor (whole-step below or half step above root
for altered dominant sounds).
Apply these minor subs to any chord progression. Start with a simple 12-bar blues in C and play G minor
lines for the I chord (C7), C minor lines for the IV chord (F7), and D minor lines for the V chord (G7). You
should be able to hear the chord changes in your lines. For a major IIm-V7-I progression in C, play D minor
lines for Dm7, F minor or Ab minor lines to create altered tensions for G7, and A minor lines for Cmaj7. The
same minor subs also work for the relative minor IIm7b5-V7-Im progression—Bm7b5 - E7 - Am. Pretty cool,
eh? Transpose these progressions and subs to all keys, explore modal cycles, and most importantly, put ’em
to work in standards like “All the Things You Are,” “Stella By Starlight,” “The Days of Wine and Roses,”
“Summertime,” “Blue Bossa,” etc., or incorporate them into your favorite songs. But how about those
unorthodox progressions with strangely named slash chords? You’ve gotta...
7 BE FEARLESS
Every guitarist has at some point had to deal with a set of triad-over-bass-note chord symbols, or slash
chords, where the bass notes no longer represent the root of the chords. Well, fear not, because now you
can simply convert any major or minor slash chord to minor by learning to recognize the triads within and
applying the appropriate minor line forms. The following chart lists all 12 major and relative minor slash
chords and their minor conversions. Trust me, they work
Given: C/Eb or Am/Eb—Play: C# minor or E minor (whole-step below or half-step above bass note)
Given: C/G# or Am/G#—Play: F, A, or C# minor (m3rd lower, half-step above, or P4th above bass note
9 DISPLACE OCTAVES
Octave displacement, which involves raising or lowering one or more notes in a melodic line by one or more
octaves, is a signature technique Martino uses to generate out-of-the-ordinary lines. “I take melodies and
transpose the notes to various points in three octaves, write them down, and practice the results.” In Ex. 5a,
we extract bar 2 from Ex. 1a and displace by one octave one additional note per bar. (Tip: Try this with any
part of any previous activity.) Regrettably, I missed Martino’s 1978 seminar at G.I.T., but my bud, the late
Kimbo Smith, hipped me to Pat’s zany displaced chromatic scale shown in Ex. 5b. The up-stemmed notes
present a descending, one-octave chromatic scale beginning on F, while the down-stems document
Martino’s wild and crazy multioctave displacements. But check out how something that at first seems
random reveals under closer inspection a pair of identical sixnote fretboard shapes played a tritone, or
flatted-fifth, apart. Work out your own displaced chromatic scales, then drop these monsters into your next
jam and watch the fur fly!
It’s in this spirit that I’d like to close this session with a personalized gift of melody derived from the
alphabet and a looped chromatic scale starting on C (Ex. 6a), and the notes derived from the letters P-A-T-
M-A-RT- I-N-O and G-U-R-U (Ex. 6b). Rhythmically and harmonically, it could have gone a hundred different
ways, but Ex. 6c is what I ended up with. (For a rhythmic variation try starting the first two notes in bar 1
and the last four notes in bar 4 on beat three of their respective measures.) And while two harmonic
climates are suggested, feel free to come up with your own—it’s the gift that keeps on giving.
I know this is a lot of homework, but folks, this is the s**t! I can’t begin to express the impact Martino’s
virtual teachings, especially Linear Expressions, have had on my own playing. Absorb and assimilate these
concepts and I promise that your playing will never be the same. Thanks for sharing, Pat. You’re beautiful!