Transcriber’s Comments: 1 became infamuated with the music of guitarist Pat Martina early in my career, and spent a great deal of my time transcribing, analyzing, and learning his solos and licks, slong -with the likes of George Benson, Kenny Buell, and numerons other fine improvisers in the jazz and blues genves Contrary to what some may be led to believe, and despite his now famous “L2-point Chromatic Star” analysis that appeared. in an early interview in Guitar Player Magazine, Martino is not az harmonically complex es you might ‘think. My conelusion, based on many tenscriptions and observations of his clossic moves, is that Pat is primarily auminor thinker, shifting his idees aecorling 10 the harmony. This belief was confined when I read the preface 1a hus “Linear Expressions" publication many years ago, and realized that my theory wee indeed comect, Additionally, Pat’s close friewls have told me point blank that Martino rwvely, if ever, thinks in terms of scale logic ‘when approaching a solo. 1 would advise yon ta keep this reality in mind a3 you absorb his language. Enjoy! - Mark StefaniG5 cm?Fr 40—41—10—44—-40-11 10-11-10 41-6.FFSunny ‘ si Bolo by " Pat Martino Transoribed by Mark Stefand ‘One of jazz guitarist Pat Martino's most memorable recowling periods was during the eauly seventies, when he ‘wes Detfonming With a builliant, Philly-besed quartet which included Ron Thomas (keybound), Tyrone Brown, (bass), and Sherman Ferguson (drums). Below is Pat's first of sixteen solo choruses from “Sunny” (Live) Am? or (13) An? cru FFE SE. = OO. i —EEGeeEEE ssAm ania} Ami AanFi,—,. Emits) EP (ot) Amm(sii9) Emit) EF Gn FS... Se i SS —=—OFeTE== - ¥ision Music Publishingbam ater E — a 4 == qe