Since Pat`s debut album “El Hombre” in 1967 for Prestige Records, a time when radical political, cultural, social, and economic forces were reshaping the ecology of the arts, Martino has been a pioneering presence in the field of recorded music.
Spanning genres and Jazz historical periods, Pat Martino’s recordings in improvised music and contemporary written music set a standard of aural clarity and spatial transparency from its inception. A standard that today still distinguishes his playing from other guitarists.
Pat’s career, now spanning over 50 years, didn’t just receive him countless awards and honors but he has insistently positioned himself as the most rigorous example of artistic integrity and recording virtuosity.
The recognition that Pat Martino has received in the Jazz field owes as much to the broad range of greats he has worked with such as: Jimmy Smith, Willis Jackson, Eric Kloss, Jimmy McGriff, Don Patterson, Jack McDuff, Richard Holmes, Steve LaSpina, Joey Baron, Woody Herman, Stanley Clarke, Barry Miles, Charles McPherson, Sonny Stitt, Trudy Pitts, Jimmy Heath, Joe Pesci, Eric Alexander, Joey DeFrancesco, Royce Campbell and Lee Ritenour.
Today, the legacy of Pat Martino’s playing still reverberates.
His approach to the instrument not only reveals his passion to put forward some of the most advanced principles of improvisation but also set standards of Jazz guitar playing that still remain difficult to emulate or replicate.
Now it goes without saying that if you just want to become a “better” Guitar Player, there are many little ways to tweak your playing instantly and it might get you somewhere in the short term and maybe it doesn’t…
But if you want to become a “GREAT” Guitar Player in the long term, at some point you will have to do more and make a decision.
If you actually choose to play at your full potential, you will need the right “vehicle” and mindset to work with. This is not a theory, but the reality that nobody wants to talk about.
TAGA Publishing’s “A Study of the Opposites and How They Manifest on the Guitar” marks a comprehensive examination of the work of Pat’s genius. In exploring the work of Pat Martino, “Study Of The Opposites” incorporates visual high quality three angle camera format, supported with countless complimentary PDFs, Diagrams from Pat himself, and cutting-edge learning material.
“These are automatic functions on the instrument that are rarely discussed, primarily because the main object so far has been the study of music using the guitar to do so. We are going to deal with nothing but the guitar as a machine and how it operates with regards to the opposites different directions.” -Pat Martino
Be mentored by a hero who provides you with his blueprint of pure accumulated wisdom that will unleash your potential greatness and will save you wasting time on failure in the future.
Experience a conceptual upheaval in your guitar playing that will rewire your brain and skills permanently and will enable you to explore new territories in improvisation.
“… the opposites have a great deal to do with just about every factor on the guitar that is of any significance. -Pat Martino
Have a systematic transformation on your fretboard so that you can control and develop your skills in the future, the right way.
All growth begins with fear, so if you are committed to playing to your full potential why not surround yourself with a legend like Pat from the get-go?
Pat Martino: “Study Of The Opposites” is a course designed for the guitarist willing to advance and a commitment to leave an everlasting imprint on everybody’s playing. Pat will cover topics such as:
Inner and Outer Fingerings
Lower and Upper Areas of Activity
Decoding the Matrix
Piano vs. Guitar
Triad Inversions: Horizontal Movement / Vertical Movement
Consonant / Dissonant Cluster
Tune Examples: Round Midnight, Alone Together, Remembered, and more.
You’ll also be supported by the newest Soundslice Technology so that you can play, loop and/or slow down the tab and notation WHILE you work through the material.
That many of his recordings have become classics as references for contemporary listeners is a testament to Pat’s musical and artistic vision.
The process of preparing this course with a figure such as Pat Martino has been immensely thrilling and gratifying and it is our hope that these creative parallels will bring fresh insight into your guitaristic consciousness.
Be aware of the gravity of Pat’s teachings and get ready for a seismic shift in your guitar playing.
|1.1 Introduction by Pat Martino||00:01:10|
|2. Decoding the Matrix|
|2.1 Introducing Fingering Points||00:00:59|
|2.2 Lower and Upper Areas of Activity||00:02:30|
|2.3 Coupling Fingering Points||00:01:15|
|2.4 Decoding the Matrix Recap||00:01:13|
|2.5 Chromatic Stairways: Connecting Fingering Points||00:01:09|
|3. Piano vs Guitar|
|3.1 The Nature of the Piano||00:01:23|
|3.2 The Two Automatic Functions of the Guitar||00:02:05|
|3.3 A Mathematical Approach||00:00:46|
|4. The First Automatic Function|
|4.1 Descent: Deriving Major Triads||00:00:58|
|4.2 Ascent: Deriving Minor Triads||00:01:28|
|4.3 Deriving Triads Recap||00:00:56|
|4.4 Twelve Keys||00:01:37|
|4.5 Triad Inversions: Horizontal Movement (String Group 3 2 1)||00:01:05|
|4.6 Triad Inversions: Vertical Movement||00:01:28|
|4.7 Adjacent Triad Inversions||00:00:50|
|4.8 Non-Adjacent Triad Inversions (String Group 6 4 3)||00:00:46|
|4.9 Demonstration of Non-Adjacent Triads||00:00:53|
|4.10 String Groups 5 3 2 and 4 2 1||00:01:04|
|5. The Second Automatic Function|
|5.1 Descent: 7th Chords||00:02:15|
|5.2 7th Chord Inversions: Horizontal Movement (String Group 6 5 4 3)||00:01:02|
|5.3 7th Chord Inversions: Other String Groups||00:02:07|
|5.4 Accommodating for the 2nd and 3rd Strings (Transferring Chord Shapes)||00:05:36|
|5.5 7th and Diminished Inversions: Non-Adjacent||00:01:58|
|5.6 Ascent: Deriving m7b5 Chords||00:02:20|
|5.7 Summing Up the Automatic Functions||00:00:38|
|5.8 Expanding Further||00:01:02|
|6. The Tritone and its Division of the Twelve-Tone Scale|
|6.1 Dividing Twelve Notes Into Six||00:03:03|
|6.2 Consonant Cluster||00:02:10|
|6.3 Dissonant Cluster||00:01:42|
|6.4 Conceptualizing Multiple Substitutions||00:01:08|
|6.5 Applying Multiple Substitutions||00:00:57|
|6.6 Concluding Multiple Substitutions||00:00:53|
|7.1 Introduction to Tunes||00:01:02|
|7.2 Round Midnight||00:06:34|
|7.3 Alone Together||00:04:44|
|7.5 Sun on My Hands||00:08:25|
|7.6 Thanks for Watching||00:00:14|