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Tom, Just too kind for words. Frenzy could have been a fine alternative title to these changes by Pat Martino. Here is his original version. https://www.youtube.com/watch?v=V8zBGnikch8I've been thinking about this tune for decades, after I heard him play the electric twelve string on this one (and only) album. I immediately ran out and bought one. Now I'm working on my second 12-string, an Eastwood. I was surprised to find that they make really good guitars. This one is much better than my original Guild. My deepest bow to your generous comments. Thank you. Dean
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Trevor,
Just wonderfully kind remarks. Yeh, I dig that "off the planet" stuff. You can tell from my other responses that during my absence I've been searching for a new approach to the instrument. Your encouragement makes me think that some of this hard work has paid off. Essentially, I'm trying not to sound like a guitar player. The only two guys I've ever listened to with an aim to get inside their heads are Wes and Pat Martino. I consider them the two greatest jazz guitarists in history. I've finally gotten to the point where I think I know these guys brains almost as well as they do. Now I want to leave them to their greatness and strike out for new territory.
Your opinions are of great value to me.
Dean
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Hallo Guenter,
Was für eine Erinnerung an dich, Mann. Ja, Predator hatte die gleiche Art von Struktur und Sie haben eine ausgezeichnete Arbeit wie ich mich erinnere. Ich hoffe, es war nicht das gleiche genaue Melodie - das wäre irgendwie peinlich sein. Sie können in meinem anderen Antworten zu sehen, habe ich sehr hart an meinem neuen "Nicht-Gitarristik" Annäherung an die Gitarre bearbeitet. Es ist eine abstrakte "Muster und Strukturen" Ansicht. Es ist mehr wie Geometrie, als Musik. Vielleicht ist es zahlt sich aus. Es ist gut, wieder hier zu sein und ich danke Ihnen für die Unterstützung in den herzlichen Empfang.
Dean
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Listened to about 3 minutes of the original-very cool! BUT I like you version better!! You are an unbelievable musician!! Take care. Greg
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Hi Dean
I am sure I can speak for many forum members when I say that we miss your off-the-wall contributions to the forum (let me say they are off-the-wall for me as my musicianship is usually limited to three major chords!). This is quite wonderful, wild and wacky and as Alyn said, how you go about recording it is beyond me. Welcome back!
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Hi JosieC
Your welcoming words are so kind. It's a pleasure to have such open-minded musicians commenting.
How do you go about recording a thing like this? Here are the four steps:
As I explained to Alyn, above, the drum part was developed in BIAB first, using the bar settings to get the 7/4 and 2/2 measures.
Then, I did the bass line, which is pretty simple.
With this rhythmic foundation, the keyboard part came next. There are only two chord forms (not even three!) - essentially triads - that get moved around. But they are also "slash chords" - like E/F (E major triad with F in the bass). Pick up your guitar and, not using your index finger, play (from the bottom of the neck upward) G# on the E string, E on the B string and B on the G string. You should recognize it as an E major triad. Now, your index finger is going to completely re-color this tonality by pressing down on F on the D string. E is the tonic and F raises it a half step. Try playing just the low E string and F on the D string. Pretty weird, no?
Then came the final and easiest part (joke) - improvising on this abominable thing. Let's say it was a challenge.
Dean
Last edited by aleck rand; 06/22/15 07:30 AM.
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Wunderbar! Tschüss (That's about my limit in Deutsch  .
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Patrick,
That's a big enough vocabulary for me! Thanks man - glad you liked it.
Aleck Rand
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Hi aleck you are my bench mark for jazz great work i here the fussion side really nice guitar work here good to have you back thanks for sharing eric
AMD (TM) 5950 4.9 GHz 16Core Processor 64 bit 32 bits of ram windows 10 pro 64 bit os. sound card Antelope ZenQ guitars Ibanez 2202a 1968 les Paul Custom and Cavin ae 185 Guitar boss Gt-100,GT1000 pedal Yamaha HS8 studio monitors
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Greg,
So you listened to Pat's original, like I did decades ago and my reaction was one of complete bafflement. I understood neither the structure, the chords, the meter, to say nothing of how you might improvise on the thing. Your comparison of my version is just about the greatest compliment I've ever gotten. It means I came a long way since then, not by my own lights, but by the opinion of someone I regard highly. Wow ... and thank you!
Dean
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