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!
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. :)
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 !
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.
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.
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
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
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.
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.
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
Such a profound and useable way to understand and apply harmony. Truly excellent from Mr Stowell
Such a clear and logical way of explaining this stuff. John is a brilliant musician indeed.
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
What a touch he has.
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!
He looks like the embodiment of jazz
Yes, brother John!
John stowel is such a great musician and teacher
THANK YOU JOHN FOR DE MYSTIFYING THESE APPROACHES TO PLAYING AROUND THE HARMONY WITH WARM TONE - INTELLIGENCE AND MOVING PLAYING.
Thank you!!
Thanks so much!
Outstanding...
Great lesson
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
This guy is such an excellent teacher
This is brilliant, I finally understand how to apply this sound.
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 !
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.
Thanks- you talk about a short cut of the melodic minor to just play the arpeggio r b3 5, 7. Great tip- thanks again
Great to hear such an intelligent explanation. Thanks, John and Denis!
Thank you John, This lesson is very helpful in beginning to learn how to use this melodic minor scale. Your presentation is an inspiration.
This is a great lesson.
man .... you are one very articulate knowledgeble guitar player.... can't understand much but it sounds awesome...
Man, I need to learn from someone like this
This is a fantastic lesson! Thank you
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!
Absolutely priceless!!!!!!
Love your playing and lessons. You remind me of Grouch o Marx when you explain...
thank you teacher.
how often you washing that guitar's cloths sir ?
this guy looks like he could explain the theory of relativity
Vanguard
To my ears, he did!
Might as well be.
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?
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)
Symmetry and predictability aren't my cup of tea either. Thanks John.
Fantastic!
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.
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
thanks mr jones
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.
Freakin' awesome lesson. Let this guy do the soundtrack to the next Star Trek movie....
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.
Altered always for me... most tension
Tension without resolution is futile.
Scale mm?
1 2 b3 4 5 6 7
Is this reviewbrahs father?
First! Badass musician.
What is that guitar??
Soloette
@@KamilKisiel so cool thank you
In other words, hit some notes above, play some notes below. Sooner or later you’ll hit one that’s relative to something.
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
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!!