sausagefingers
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I recently watched the Pat Martino instructional video, and have been reading about his 'geometric' approach to building chords. The gist of it is that he thinks in 2 parental forms: The augmented triad and the dimished chord.
The augmented triad can be made into a major chord by lowering any one tone a half step, and because it inverts as you move up a major third, there are only 4 augmented triads. Similarly, the diminished parent can be made into a dom7 by lowering in one tone a half step. And it also inverts, every minor third.
I think linearly, while Pat is in some other dimension ;-) There is a decidedly new-age tone to the Martino thread over at allaboutjazz, more than technical discussion so I am posting here even as I read the Martino thread.
Pat talks a lot about this geometry. I can appreciate the cool mathamatical nature of it. I can also see the neat internal movement you can create when moving between cloesly related chords, as a compositional device. But does it relate to improv? Do you see an application to building lines? Is this over my head if I don't get it?
The augmented triad can be made into a major chord by lowering any one tone a half step, and because it inverts as you move up a major third, there are only 4 augmented triads. Similarly, the diminished parent can be made into a dom7 by lowering in one tone a half step. And it also inverts, every minor third.
I think linearly, while Pat is in some other dimension ;-) There is a decidedly new-age tone to the Martino thread over at allaboutjazz, more than technical discussion so I am posting here even as I read the Martino thread.
Pat talks a lot about this geometry. I can appreciate the cool mathamatical nature of it. I can also see the neat internal movement you can create when moving between cloesly related chords, as a compositional device. But does it relate to improv? Do you see an application to building lines? Is this over my head if I don't get it?
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