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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.

Pat Martino’s distinctive sound was the result of a guitar playing approach that enabled the intricacies of the guitar to be heard in a way that gave the impression of both unyielding intimacy and openness.

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
Chromatic Stairways
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.

Read more

Course Curriculum

1. Introduction
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. Tunes
7.1 Introduction to Tunes 00:01:02
7.2 Round Midnight 00:06:34
7.3 Alone Together 00:04:44
7.4 Remembered 00:04:20
7.5 Sun on My Hands 00:08:25
7.6 Thanks for Watching 00:00:14

Course Reviews

4.5

4.5
10 ratings
  • 5 stars6
  • 4 stars3
  • 3 stars1
  • 2 stars0
  • 1 stars0
  1. Reggie Michaels

    5

    Interesting to hear about Pat’s approach to improvisation. There’s a lot of information to digest, but his systematic approach is easy to follow. Great if you feel stuck playing the same licks over and over again.

  2. Sofia Wagenknecht

    4

    I was expecting to learn more of Pat’s signature lines, but Pat really teaches about music and the guitar in general, which is really great too! He goes really deep with some topics and gives you more of a vehicle to use for improvisation. I was always a big fan of Pat Martino and enjoyed the tunes he played at the end. I whish some of them could have been more uptempo, but i still enjoyed it!

  3. Patrick Willink

    5

    Pat Martino always has been such an inspiration for me! He is not really teaching you his signature lines, but he is teaching you more of his mindset on how to approach the instrument. This is actually the course i needed years ago. Great job!

  4. Jonas Kramer

    5

    VERY ADVANCED COURSE, BUT SUPER INTERESTING! LOVE TO HEAR PATS IDEAS ON MUSIC, THANKS A LOT!

  5. Rebecca Levin

    5

    Pat says in this course that he’s going to approach the guitar like a machine. His approach is very intellectual and academic and might not be for everyone. Having said that, the pieces are beautiful, although I don’t really care for the synth backing sound he uses. The transcriptions are absolutely superb though. Top marks for that.

  6. Dima Kuznetsov

    4

    I am enjoying this course a lot, but I will need some time to digest all of the information that Pat presents in this course of jazz guitar.

  7. Jose Maria del Amo

    5

    Great course from a truly unique living legend.

  8. Marc Deluca

    4

    Although Pat’s playing is a litle sloppy occasionally during the examples, these lessons are well worth it. I still enjoyed Pat’s explanations as to how he views the Guitar. It was nice to get in his head a bit.

  9. Edward Rosen

    3

    The Inner and outer fingering points section was very interesting. Some of these lessons are beyond my current understanding of the guitar so I really wish that he would have explained a little more.

  10. Manoj Kumar

    5

    LOVED IT! THANKS PAT!!!

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