Pat Martino Lines – ‘Oleo’ (5)
The penultimate post in my short series examining Pat Martino’s ‘Oleo‘ solo from the album ‘Live At Yoshi’s’, example 5 below elaborates on the previous lesson’s use of implied modulation as a device to create tension when soloing over static harmony.
In addition to some quintessential ‘minor’ vocabulary, the example contains 2 further instances of approach patterns as a basis for modulation. Compare these pivots, which take place during bars 5 and 9 respectively – notice any similarity? Hopefully so, as Martino employs a near identical approach to the minor 3rd in each case, cleverly adapting to suit the direction of modulation.
Once more, suggested picking/articulation and a time reference are included, so have a go and feel free to contribute below with questions, comments or your own version. Check back soon for the final ‘Oleo’ line and don’t forget to sign up to the newsletter for the chance to win a copy of my improvisation eBook ‘The Creative Method’!