John Stowell - Melodic Minor on Dominant (Jazz Guitar lesson)
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- Опубликовано: 31 авг 2017
- Excerpt from In The Style Of John Stowell Vol.3
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John Stowell explains his use of the melodic minor substitutions over dominant chords
John Stowell, who plays electric and acoustic guitar, was born in New York and raised in Connecticut. He had private studies with Linc Chamberland and John Mehegan. Several years later he met bassist David Friesen in New York City. Stowell took a trip to Portland, Oregon, where Friesen lives, and decided to stay. The two formed a duo in 1976 that recorded and toured prolifically for seven years, with performances in the United States, Canada, Europe and Australia. The duo continues to perform thirty years after their first meeting. In 1983, Stowell and David Friesen joined flutist Paul Horn and Paul's son Robin Horn (on drums) for a tour of the Soviet Union. In 1977 Stowell recorded his debut album Golden Delicious; his sidemen were Jim McNeely, Mike Richmond, and Billy Hart.
Stowell teaches internationally. He has been an artist-in-residence at schools in Germany, Indonesia, Argentina, the United States and Canada. He served as assistant director and performer at Oregon Public Broadcasting's PDX Jazz Summit in 1991, and since 1995 has been a contributing columnist for a number of magazines, including Down Beat, Guitar Player, Canadian Musician, Soundcheck (Germany), and Guitar Club (Italy). In Germany, he teaches at Jazz & Rock Schulen Freiburg with Frank Haunschild, with whom he plays regularly. He has also worked with Uwe Kropinski, Dave Liebman, Hiram Mutschler, Gérard Pansanel, Gustavo Assis-Brasil, David Becker, and Nicolao Valiensi.
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Such a clear and logical way of explaining this stuff. John is a brilliant musician indeed.
Such a profound and useable way to understand and apply harmony. Truly excellent from Mr Stowell
I saw John in 1978 when I was in music college in northern California.
He was playing with a bassist and he was awesome way back then.
Doing simple math will reveal my age.
Lol
John thanks I've had a great music career and now I teach and play occasionally.
John you more then amazing now.
God bless
That is one crazy ass guitar, the more I look at it, the more i notice that head stock looks like a negative version of the Gibson, and what's up with the body, and , oh yeah, insane skill level, musicianship!
What a touch he has.
THANK YOU JOHN FOR DE MYSTIFYING THESE APPROACHES TO PLAYING AROUND THE HARMONY WITH WARM TONE - INTELLIGENCE AND MOVING PLAYING.
John stowel is such a great musician and teacher
Everytime I watch Jon my brain just goes into meltdown trying to work out how to apply all this!
Yep, and he does explain it well, but my brain still locks up.
This is brilliant, I finally understand how to apply this sound.
I saw this video thumbnail next to the Pat Martino one. They look like twins.
Awesome content. I love simple and applicable ideas
Wow, what a logical and musical way to apply this. Brilliant lesson John
Thank you John, This lesson is very helpful in beginning to learn how to use this melodic minor scale. Your presentation is an inspiration.
Yes, brother John!
man .... you are one very articulate knowledgeble guitar player.... can't understand much but it sounds awesome...
This guy is such an excellent teacher
Great to hear such an intelligent explanation. Thanks, John and Denis!
This is a fantastic lesson! Thank you
Absolutely priceless!!!!!!
This is a great lesson.
Great lesson
Thank you!!
Outstanding...
Fantastic!
Man, I need to learn from someone like this
Thanks so much!
half-tone above, tone below, fourth and fifth above. That's really clear John. I'm going to buy the course.
It makes sense to me also, though I would've said, "Whole tone below, or half-step, fourth, and/or fifth above," so the lower and higher inflections are grouped accordingly and not so zigzagged. That's how I'm going to try and remember it all. :)
Good luck.
It's more clear when you write it ...on the blackboard ! Thanks to confirm the 4th and 5th above, which sound little mashed potatoes
before you come to rescue !
Great video John! I´ve assisted to a masterclass you gave in cordoba (Argentina) yesterday. You make it look so easy and its really well explained!
Symmetry and predictability aren't my cup of tea either. Thanks John.
thank you teacher.
this guy looks like he could explain the theory of relativity
Vanguard
To my ears, he did!
Might as well be.
He looks like the embodiment of jazz
how often you washing that guitar's cloths sir ?
Love your playing and lessons. You remind me of Grouch o Marx when you explain...
Thanks- you talk about a short cut of the melodic minor to just play the arpeggio r b3 5, 7. Great tip- thanks again
thanks mr jones
You stated that the dominant chord sometimes isn't acting as the 5 chord. What would it then be acting as? (great lesson by the way, I've watched this numerous times)
Sidestepping....I use any minor scale a half step up from altered dom. I like to oscillate between melodic minor and dorian....Pat Martino does a lot of this too. Minor can be very flexible when looked at in the moment instead of in the context of a set key.
However by the end of the video i do understand it. Interesting topic. I havent learnt much about this before, ill have to try it out. Im a fan of the wholetone scale vibe but i also agree that it is too predictable and stagnant with its expression
Actually....you stink.
Very nice video,...thanks.....toward the end mentioning the whole tone, to me it sounds best as two notes per string like a pentatonic scale, leaving a note out here and there....otherwise it does sound too sequential
First! Badass musician.
chord-scale pedagogy seems like so much baggage to carry around. It's how I learned, don't get me wrong. I studied at a Berklee style school in Edmonton Alberta where Mr Stowell happened to play surprisingly often. He was a guest lecturer at my college and I love what he does. All this is to say that i don't buy into the chord scale approach as much any more. my issue being that if I want a b13 on an F7 I just want to know that that is Db, I don't want to have to choose between a Bb Mel Min and a Gb Melodic minor to access that, I want to stay in the tune, I want to see my key, the chord of the moment and chromatics that's it. if you do enough functional and exploratory pattern work a la Slonimsky or Campbell (Expansions) then you'll know how to frame the chromatic if that's what you want.
see, if the key is Bb minor and I'm on an F7, then by altering from the 'parent key', only that which is needed for the chord then I will have arrived at the perfect chord for the moment. Then, by seeing the layers as key and chord, then I can become aware of what is chromatic and what isn't. A 'b13' sonority is not always a chromatic alteration of the harmony. Just as often the regular old 'Dom13' would be the outside choice (if you're in a moment where the b13 is more sonorous and in agreement with the surrounding chords).
Be able to arpeggiate the chord sequence in time in any rhythmic grouping, be able to play up and down the scale altering the notes to fit the harmony throughout (this also in time) and be able to see opportunities to embellish ideas with chromatic options that have relevance.
decades of chord-scale thinking has led me to this, for better or for worse.
Are you through?
@@guitarman6742 and you? are you? i can't count how many condescending answers you gave to comments so far, so, are you through?
Altered always for me... most tension
Tension without resolution is futile.
So you do this with the "arpeggios", but not the full Melodic minor scales? 1, b3, 5, and 7 in these keys 1/2 step above or below, 4th and 5th above?
Good staring point.
I'm putting it together too. I'm not sure how he's using the word melodic minor "arpeggio" lol. Usually you think of them as scales, as I've never heard of a melodic minor chord. There are several chords in the scale, but I suppose the minMaj7 would be the one.
But to correct you, I think he said a half above but a wholestep below. You said a half step above or below.
Freakin' awesome lesson. Let this guy do the soundtrack to the next Star Trek movie....
Scale mm?
1 2 b3 4 5 6 7
Is this reviewbrahs father?
What is that guitar??
Soloette
@@KamilKisiel so cool thank you
I feel like if this was taken slower to explain it would have a much more effective impact. I cannot keep up with the pace of information
Well, that's on you. Practice.
everithing is here, just slow the playing velocity, pause it ,rewind it, play with him.
I agree since he is going fast, you could slow down the playback speed. But you will be distracted nontheless because he will sounds like he was on high doses of Klonopin.
This guy speaking in wingdings
In other words, hit some notes above, play some notes below. Sooner or later you’ll hit one that’s relative to something.
guitar wrapped in carpet man fs
doctor Spock would love your geetar.. but he's not as cool as evidently you suppose. Frankly i wouldn't use it to iron my new Woolworths jeans. ..but that's just me
Thank you!!