
The late jazz master was not only a deep harmonic genius but could twist your ear with rhythms too.
Intermediate
Intermediate
• Learn how to outline chord changes with motives.
• Develop a sense of “3-over-4” rhythms.
• Understand how to increase tension in your solos.
A quick online search will uncover an overwhelming amount of information about Martino’s amazing bebop lines, concepts such as the minor conversion technique, his “The Nature of Guitar” writings, and transcriptions of his solos. I decided to take a slightly different view for this lesson. Throughout his career, Pat used a wealth of exciting repetitive motives that was as much a part of his signature sound as other more melodic and harmonic devices. These motives intensified the drama in many of his solos, kept audiences on the edge of their seats (check out the cheering at the 3:04 mark after one such example during his “Oleo” solo on Live at Yoshi’s), and the repetitive and rhythmic nature of these ideas was the perfect complement to his monstrous eighth-note lines.
Oleo (Live From Yoshi's, Oakland, U.S.A./2001)
When studying the masters, I don’t like to just learn licks. I find great importance in examining the theory and mechanics behind each idea to understand the language and assimilate the concept. The first idea (Ex. 1) can be found in many of Martino’s solos (check out “Mr. P.C.” on Pat Martino Trio Young Guns (1968/1969), but I found it when transcribing his other-worldly “Just Friends” solo on El Hombre (1967). The C# is optional as Pat sometimes plays this note as part of the idea and sometimes it is omitted.
Ex. 1
Ex. 1 can be viewed as an Fmaj7(#5) arpeggio built on the root, but we could also consider it as a DmMaj9 arpeggio built on the b3, a Bmin9(b5) arpeggio built on the b5 and also a G13(#11) arpeggio built on the b7. If we dig deeper we discover that all of these arpeggios/chords are based out of the D melodic minor scale (D–E–F–G–A–B–C#). In fact, Ex. 1, played over G13(#11), comes from the 4th mode of D melodic minor. This mode is also referred to as G Lydian dominant or G Mixolydian #4 (Ex. 2).
Ex. 2
The motive works beautifully over G13(#11) as it outlines the upper extensions: 13, #11, 9, and b7. Knowing that this idea comes from D melodic minor, we can experiment with superimposing the idea of other harmony from this scale. It can be used over a variety of chords like DmMaj7, C#7 alt., Bm9(b5), and Fmaj7#5.
If we take this idea one step further, we can apply it to the most prominent progression in jazz, the IIm-V7-I. Ex. 3 show this idea over a slightly modified progression in C major. Here we are starting each phrase on a specific chord tone or extension. For the II chord, start on the 9, the V7 chord start on the #9 (or b3) and for the I chord start on the 7.
Ex. 3
With a few slight position shifts, we can use that same phrase over a II-V-I in C minor (Ex. 4). Similar to the above example, we start on the 11 of the II chord, the #9 of the V chord, and the 9 of the I chord.
Ex. 4
We can also practice this idea over a 12-bar blues. Ex. 5 shows one possibility when superimposing this idea over a Bb jazz-blues progression.
Ex. 5
Martino also uses a variation of this idea to create a 3-over-4 rhythmic pattern (Ex. 6). Here, we are taking a six-note pattern and playing it over an eighth-note line. The effect builds tension before repeating every three measures.
Ex. 6
That’s a lot of information to digest, but the time spent will be worth the effort as it is a great motive that you can incorporate into your playing rather quickly.
The next motive (Ex. 7) is based on an Em7 arpeggio (E–G–B–D) and is played during the “Strings” solo on his record, Strings (1967).
Ex. 7
Pat Martino - Strings!
I previously mentioned the rhythmic nature of Martino’s repetitive ideas. This motive illuminates his penchant for ideas that create a 3-over-4 feel. Coupled with repetition, this concept can generate loads of rhythmic intensity. As you will see, he employs this device often. Dig the super-hip rotation between Em7 and EmMaj7 arpeggios, marked by the alternating D and D# top pitches. He plays this idea over A7, but it creates a toggling effect between A7 and A7(#11) which is more harmonically interesting. Bonus: This idea can also be played over Em7.
Ex. 8 is a variation that comes from the “Sunny” solo on Live! (1972). The Am7 arpeggio works so well over this entire progression. This example is somewhat unique as these repetitive ideas generally don’t include space. The idea incorporates an eighth-note rest to create the 3-over-4 sound once again. The phrasing, which includes a pull-off at the top of the arpeggio, demonstrates how articulation can also generate interest.
Sunny (Live / New York, NY / 1972)
Ex. 8
Although the Gm7 arpeggio doesn’t necessarily “fit” chords such as Am7 and D7b9, the strength of the repetition makes it work. This is similar to the concept of a minor blues scale working over the entire 12-bar blues progression. The hammer-on articulation at the bottom of the arpeggio as well as the short, accented top not really makes this idea pop.
Ex. 9
Ex. 10 is another uber-hip idea taken from the “Strings” solo. This is a six-note repeating motive with the 3-over-4 rhythmic grouping. The b3 and b5 “blue notes” contribute heavily to the sound, and this motive works wonderfully over the A7 chord. I’m not sure about Pat’s picking motion, so I supplied what I feel is comfortable. The slide going from the C to C# creates a slippery feel.
Ex. 10
Ex. 11 (again from “Strings”) exemplifies one of the most effective repetitive patterns in his playing. It consists of a 3-note pattern based on the minor 3rd interval. I love the way Pat toggles between picking each note and hammering-on the bottom two notes. The top pitch (C) is the #9 of A7, exuding a bluesy flavor.
Ex. 11
In Ex. 12 Martino plays the identical pattern during “Strings” with the root (A) as the top pitch.
Ex. 12
Ex. 13 occurs during the “Just Friends” solo, and rather than 16th-notes, he employs triplets over a IIm7–V7–IIIm7–VI7 progression in the key of F.
Ex. 13
There’s a very similar pattern during the “Oleo” solo on Live at Yoshi’s (2001). Ex. 14 is based on the interval of a minor sixth giving it a more vertical spread. The previous examples repeated every three beats, but this one repeats every three measures. This is slick, as Martino is outlining the upper extensions—the 13 (A) and 11 (F)—to give some harmonic color. You could easily adjust to use the 5 (C) and b3 (Eb), which he actually shifts to during the solo.
Ex. 14
Martino would often use open strings against moving fretted notes. It’s kind of funny. I first learned this idea as a teenager from Iron Maiden’s “Wasted Years” and AC/DC’s “Thunderstruck.” Martino was doing this in the 1960s, so I’m confident his influence crossed genres!
Ex. 15 comes from his “Mac Tough” solo on Live at Yoshi’s. Again a three-note pattern is utilized to create rhythmic interest.
Ex. 15
The final motive (Ex. 16) is what I describe as a Chromatic Melodic Connector. This idea has no harmonic implications, meaning it works in any harmonic situation, and is literally just a way to get from point A to point B. This specific example is from the song “Lazy Bird” on East! (1968) and it consists of three notes with the intervallic structure of two whole steps. Notice the accents on every third note. This reinforces the 3-over-4 motive and creates rhythmic intensity. The ascending and descending nature of the idea also builds excitement.
Pat Martino - Lazy Bird
Ex. 16
There are many more examples not discussed in this article, however, I hope this sheds some inspiring light on the more rhythmic and motivic side of Pat Martino’s playing.
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An easy guide to re-anchoring a loose tuning machine, restoring a “lost” input jack, refinishing dinged frets, and staunching a dinged surface. Result: no repair fees!
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Unleashing the Pro Series Signature Lee Malia LM-87 | Jackson Guitars - YouTube
Jackson Pro Series Signature Lee Malia LM-87 Electric Guitar - Open Pore Black
Pro Series Lee Malia Signature LM-87 Open Pore BlackWith a bit of downtime back in Nashville, co-shredders-in-chief Megan and Rebecca Lovell joined Shred With Shifty to deconstruct their face-melting leads on “Summertime Sunset,” off of their 2022 record Blood Harmony.
The Georgia-born, Nashville-based roots-rock outfit Larkin Poe have had a busy year. Last summer, they toured across the U.S. supporting Slash, and released their seventh studio album, Bloom, on January 22. With a bit of downtime back in Nashville, co-shredders-in-chief Megan and Rebecca Lovell joined Shred With Shifty to deconstruct their face-melting leads on “Summertime Sunset,” off of their 2022 record Blood Harmony.
The Lovells grew up reading sheet music and learning violin via the Suzuki method—there was little room for going off the beaten path until they fell in love with Jerry Douglas’ dobro playing on Alison Krauss records. Rebecca took up the mandolin, while Megan went for the dobro and the slide side of things. It took a while for them to get comfortable turning up from their bluegrass roots, but eventually they built Larkin Poe’s amplified, blues-rock sound.
First up, Rebecca, playing a pristine ’60s SG, shows how she put together her stinging, fuzzy solo by “hunting and pecking out” melodies in her mind, building up the chops to follow her intuition. Then Megan, playing a Rickenbacker-inspired lap steel of her own design through a Rodenberg TB Drive, details her dizzyingly fast slide acrobatics, and her particular “rake” technique that she copped from Jerry Douglas and Derek Trucks.
Tune in to hear them talk about how to sustain family relationships while going professional, keeping music community-minded, and whether or not they’ll go back to bluegrass.
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Credits
Producer: Jason Shadrick
Executive Producers: Brady Sadler and Jake Brennan for Double Elvis
Engineering Support by Matt Tahaney and Matt Beaudion
Video Editor: Addison Sauvan
Graphic Design: Megan Pralle
Special thanks to Chris Peterson, Greg Nacron, and the entire Volume.com crew.
The legendary Louisville rockers brought tons of vintage tone tools on the road this year.
My Morning Jacket’s Is, their 10th album, released on March 21, and as we reported in our feature on the band in our May print issue, it showcased a band exercising their classic strengths as well as newfound vision and curiosity. Helmed by superstar producer Brendan O’Brien, Is finds MMJ at their anthemic, psychedelic best.
We caught up with Carl Broemel for a Rig Rundown back in 2015, but on this year’s tour, PG’s John Bohlinger checked in with all three axemen—Jim James, Broemel, and bassist Tom Blankenship—to hear about their road rigs. In Broemel’s estimation, they’re lazy—they just like to bring everything.
Brought to you by D’Addario.
Three's a Crowd
This gorgeous Gibson Jimi Hendrix 1967 SG Custom, aged by Murphy Labs, initially had three humbuckers, but James kept hitting his pick on the middle pickup, so it got the yank—as did the hefty bridge and Maestro Vibrola system, which were replaced with a simple stopbar tailpiece.
Mirror Image
James picked up this 1998 Gibson Flying V right around when My Morning Jacket got started. He traced and ordered the flashy mirror pickguard himself. It’s got Gibson pickups, though James isn’t sure of the models.
Jim James' Jimmy
James plucked this one-of-a-kind from Scott Baxendale’s collection of restored vintage guitars. He guesses it’s either an old Kay or Harmony guitar, but the decorations, including the custom plastic headstock plaque, make exact identification difficult. But it was clear this one was meant for James, since it has his name on it.
Elsewhere backstage is James’ Epiphone Jim James ES-335, a custom shop Fender Telecaster and Strat, a 1967 Gretsch Chet Atkins Country Gentleman, and a Gibson Barney Kessel.
Make Love, Not War
James loves repurposing old military equipment for creative, peaceful purposes, which is how this old radar system came to be a part of his live amplification kit. Along with the old tech, James runs two 3 Monkeys Orangutan heads through a 3 Monkeys cab.
Jim James' Pedalboard
James’ board is built around a pair of GigRig QuarterMaster switching systems, which lets him navigate the stomps you see here: a Devi Ever US Fuzz, Boss BD-2w, SoloDallas Schaffer Boost, Boss OC-2, EarthQuaker Devices Spatial Delivery, Strymon blueSky, EQD Ghost Echo, Malekko Spring Chicken, ISP Deci-Mate, Electro-Harmonix Mel9, UA Starlight Echo Station, and UA Astra Modulation Machine. A D’Addario Chromatic Pedal Tuner duo keep things on pitch, a Strymon Zuma and Ojai pair handle the power, and a Radial SGI-44 line driver maintains clarity.
Arts and Crafts Night
One night while a bit tipsy, Broemel took out his paint pens and set to work on this Gibson Les Paul Standard Faded, resulting in this masterpiece. He also removed the pickup selector switch; even though the neck pickup remains, it never gets used.
Relic By Broemel
This 1988 Les Paul Standard predates the band, and Broemel has given it its aged finish over the years—on one occasion, it fell out of a truck. It’s been treated to a Seymour Duncan pickup upgrade and occasional refrets when required.
Carl's Creston
This Creston Lea offset has two Novak lipstick pickups in the neck, with a switch to engage just one or both, plus a low-end roll-off control. It’s finished in the same blue-black color as Broemel’s house and sports a basil leaf on the headstock in tribute to Broemel’s son, Basil.
Also in the wardrobe are a shiny new Duesenberg tuned to open G, and a custom shop Fender Telecaster with a fattened neck and Bigsby to swing it closer to Broemel’s beloved LPs.
Milk Route
Broemel routes his GFI Ultra pedal steel, which is tuned to E9, through a board which includes a Milkman The Amp, which is projected through the speaker of a Fender Princeton Reissue combo. Operated with another GigRig QuarterMaster, the board also includes an Eventide H9, Moog MF Delay, Fender The Pelt, MXR Phase 90, EHX Nano POG, Xotic Effects EP Booster, Source Audio C4, and a Peterson StroboStomp HD.
Side-Carr
This time out, Broemel is running two Carr Slant 6V heads in stereo.
Carl Broemel's Pedalboard
Broemel commissioned XAct Tone Solutions to build this double-decker board, which depends on a GigRig G3S switching system. From top to bottom (literally), it includes a Boss TU-3, Durham Electronics Sex Drive, JAM Pedals Tubedreamer, Source Audio Spectrum, JAM Retrovibe, MXR Phase 100, Fender The Pelt, Origin Effects SlideRIG, 29 Pedals EUNA, two Eventide H9s, Kingsley Harlot V3, JAM Delay Llama, Merix LVX, Hologram Chroma Console, and EHX POGIII. A wah and Mission Engineering expression pedal sit on the left side, while a Lehle volume pedal and Gamechanger Audio Plus hold down the right edge.
Utility units include two SGI TX interfaces, two Strymon Ojais and a Strymon Zuma, and a Cioks Crux.
More From the Creston Crew
Blankenship, too, has brought along a few guitars from Lea, including these Precision-bass and Jazz-bass models. The dark-sparkle P-style rocks with GHS flatwound strings, while the natural-finish J-style has roundwounds.
Emperor's New Groove
Blankenship just got these brand-new Emperor cabinets, through which he cranks his Mesa Boogie WD-800 Subway heads.
Tom Blankenship’s Pedalboard
Like James, Blankenship uses a GigRig QuarterMaster to jump between his effects. After his Boss TU-3, that includes an Origin Effects Cali76, DigiTech Whammy Ricochet, Pepers’ Pedals Humongous Fuzz, MXR Bass Octave Deluxe, Tronographic Rusty Box, and EHX Bassballs Nano. A Voodoo Labs Pedal Power 2 Plus lights things up, and a Radial SGI TX keeps the signal squeaky clean.
Shop My Morning Jacket's Rig
EarthQuaker Devices host Echo Reverb Pedal
ISP Technologies DECI-MATE Micro Noise Reduction Pedal
Electro-Harmonix Mel9 Tape Replay Machine Pedal
EarthQuaker Devices Spatial Delivery Envelope Filter Pedal
Universal Audio UAFX Starlight Echo Station Delay Pedal
Universal Audio UAFX Astra Modulation Machine Pedal
Fender Custom Shop Stratocaster