Melodic Minor BY JOHN STOWELL pice {THE MELODIC MINOR SCALE- op these substitions melodealy as and the chonts and arpeggios derived. opposed to technically from it—-works wel for creating al “Touchy. feely. For starters tered sounds overthe dominant 7th + Slowly go back and forth be: chordin llm-V7-Leadence.Youucan tween C7 (1,3, 5,67, oF G EG, Bb playameodic minor scaleahalfstep and one ofthe melodic minor rpeg ove, awhole-stepbelow, a fourth losin the chart below. Since the 1 orafith away fromtherootofagiven 3 ‘dominant 7. For example, try 4,85, chord, youl alternate between Fand Gmelodie minor scales aginst and, say, Gna arpexaos. C7 the V7 of. The ticks to devel: adult youl star to get av meladi ings formela = Stowell holds his fretboard almost vertically to facilitate close-interval voicings. femteterner - 3 te he ot te | CH melodic minor eases cae 152 COTAR PLAYER ocrOnEN 996 he very bes players—Wes Pat Marin, Santana, Hall—all mae me hin of smeon sngua sense of where the tensions are on the fretboard relative tothe dominant chord tones. Replace math wth geography, Take your time ‘Now try Baumples 1-5 which tlustrate how ines uit from Ch, Bh, F and G melodic minor scales ale tones are spelled named with respect to thelr parent melodic minor a Caltered dominant—to scale and then Inbeled scretch ears an fi ‘Onward. Once you can manage these four melodic minor sales against C7, i's time co work out substitutions for other dominant 7s + Pleka dominant 7 and playa min/maf? ape: sio from a halfstep above or whole-step below Against £7, for example, play an Pralmaj? or a in/majaxpeggio a fourth o ith nedominant ?—Le,Ammaj7and + Expand each mity’maj? arpegio into its cor and work out extended lines over responding: the dominant 7 + Choose a new dominant 7 and start the Bhrvmayp as C139 3 metadie minor Finvmai9 as C7fS ore a Si al —— Ht = | 96 GUITAR PATER 133ROO he melodic minor scale as it is ‘applied in jazz (Example 1) is simply a major scale with the third flatted. The basic arpeg- gio (Example 2) uses the chord tones of a simple minor major 7th chord (1: mi3rd- perfSth- majZth). These are very luseful sounds because they have many applications as substitutions, assuming completely different harmonic identities in a wide variety of settings over differ font chord qualities. By labelling and breaking down different component parts of the harmony, I'l help you find Some wonderful sounds and give you the tools to access and use the information creatively. When playing anything new, my advice is to play slowly to give your ‘ears anid fingers a chance o absorb what ‘you're executing Repetition of any pattern generates muscle memory and ear training simul- taneously. ‘The most straightforward application of the melodic minor is over a minor chord. Sometimes a melodic minor is called for in a progression, usually specified as minor major 7th. Ifrequer Jy use that sound when I soe a minor ae Colours Of The Melodic Minor Part I choid in a chart, using the major 7th as a passing tone if the interval is not contained in the chord. Example 3 il- Iustratos an idea taken from the melodic minor alone, and Example 4 combines the melodic minor with the dorian minor utilizing major and minor 7th intervals together overa minor chord. Generally, my proforence in soloing is to use tho wider intervals of arpeggios. ‘You will develop your own set of pa- rameters as you experiment and listen to other players. In addition to playing the melodic minor in the same key over ‘aminor chord, Iwill also use the melodic minor a whole tone below. This is the 2nd mode of the melodic minor (dorian flat 2 or phrygian 6). In Example §, Tm combining Bf melodie minor and C mi ‘nor 7 (dorian), in the process generating ‘aC minor with aflat2 Flluse this sound frequently over a minor chord: the com- bination ofthe the flat 2and major6 is a nice colous Ill also use melodic minor chords in the same key and a whole tone bolow a minor to create some variations ‘on basic minor chords. Example 6 uses Cm maj7 and Bi m maj7 to illustrate some possibilities eit cunt Guirast John Stowell is based in Portiand, OR. He has taught and portormed ateationaly for 30 yoars. He plas tree signature custom ultars made fr bit by Hotnor(igatre model Vantin 8) and hbers Mike Daola an Ji ‘Soloway. His Mel Bay SooK/DVD Jazz Guitar Mastery was published in 2008 and he CO ROM Modern Chrod Melody was released by Truefire in 2007. Questions or comments car be directed to Jonn at his wobst (a johstowell con) 6.6 CMasoe Moe 6014 Hecere Mined cevanen W/0 Oeeun Mee 65 Shva.cte Moet Coewn eh C09 ef shop shove b wa canaoianatusiean, ARIAN MesteIAN + 28cul Colours Of The Melodic Minor Part II by John Stowell fhe melodie minor creates some interesting embellish- ments/tensions over a major chord. The third mode of the melodic minor is Iydian augment- ed, and this translates to using the lative melodie minor over a major ‘chord. The raised 5th is a more disso- ‘ant tonality than the flatted Sth, but both sounds are uced extensively in modern jazz. utilize this harmony frequently over a major chord, referencing the Guitarist John Stowell is based in Portland, OR: he has laugh and performed internationally Tor 30 yeas. He ploys ae signature custom guitars made for him by Holner altered Sths as passing tones if nec- (sigature mode! Verythin JS) and luthiers Mika Doolin and eosary. Example 7 uses A melodic | ‘F?*Saioway tis el Bay bokDVD Jars Guar asiery minor played over C major and Ex- | "yas puhanod 2008 ad hs CD ROM Moder Cho ‘ample Bcombines Amelodic minor | Noledy wa lease by Tele 2007. Gus or and C major, the perfect Sth and omments con bo daced to Joh al Me neta falsed and lowered Sth are all em- iurianctoveh. cn) ployed. ‘The sixth mode of the melodic ‘minor is locrian #2: using my r0a- soning, this translates to using the melodic minora minorthird abovea |Example7 A Melodic Minor As CMAI7 half-disminished chord. The flat 2 of the original locrian scale becomes a major 2nd in the proceas. Example 9 ilustrates this sound, combining C locrian and Eb melodic minor. ‘The melodic minor works in four keys over a dominant chord. The seventh, second, fifth, and fourth modes of the scale (sper loerian, sus flat 9, mixolydian flat 6, and | Example A Melodic Minor As w/CMAI7 Iydian dominant respectively) all generate different amounts of ten- sion which can be used to move away from and back to the original dominant sound, or be employed fo create resolution if the chord is func- tioning as a V chord. Ithink of using the melodic minor a hall step above (super loctian, all of the tensions) ‘whole tone below (sus flav/#9), 4th | Example Locrian w/f Melodic Minor Sone : tha be Gdn dotnet). With enough epson, the the cxetical understanding of the me: Indl minor aro ubsthate scale Teplacd by ot lyf locate ad “ldinatoly apy al ol he extonsioes fd aleatoa eatvey end int eo Hopeful teas wll | emple 10 Dominant 7 Wi# Melodic Minor Sf extended barney. Practice Ins Shire ieraiog scent wit ie tte ob Henle “discon eey and ap piving ew barmony inthe contort ahaa to gio you some proctcal spricalns:Crouteanstmocphere in which it's fun to practice and play, ad your inprevernent wl happen Orgetically. Good tek www. cananianMestciaN cone SICUIN + 25)mle BY JOHN STOWELL You CAM cREATE COLOR GD, B, BG, and F. Play this is against sustaining Gch and sa ‘careblly as your lingers jump aout the fetboatd. Canyou hearhow th fnterr-orlented technique gener detacly dlilecent results fram sakeering latex 8 totally consonant “home” triad, sting jumps a tek a Bs 2leanus Ds, Am Di Ft A,B A, B= 4 shows how you can apply this ead played ovex Dr Witla four fea nettle gropesion a |< ——————__ youvearpegpated 12 tiads or triad ‘Again, thereare lots of triads and unusual More gultass would play Ue John, petecretetttetnotes lenient tagetngna ee PTE ey new hove asserts jars ont ‘The cght diferent tisds—Ajdi, Dp eth Ah A snd Dm—in x3 create downti tetnn fastraedonal vkoos, call New Matta Hon and sles agaist G7. The melod Mestndhistonicbenci apes. (a0) estas $ COUNTRY Guitar WORKSHOP By JARMO HYNNINEN formed om the CD. As « Dialup asnappy to, andtry paneer tyalten ioculer palm euny te ghey croak toc ethan ee ae REC “A veryemtctan ee Sorel teh tormangy Satay Cerne coaraatsbaci ty ttac: — Gutar Workshop brea t ‘companiment. on ot welll pecs 9 JedananPt 8 cet opposed to asecofeecnts cease tumaminé— amdcts The best Nowe smeed by Scory sie Ommmnetfe Stace teas Me Played on all jamal broxicingteee, thse great songs Eivis Prez. worms 9 ley corded forthe Sun abet © _—_0vmas cee ete" Ply tie amo yeaa aces ee und with « hybrid gular atte Heli! pop] ook, and Mavlessly per- —pickand-fages techno Jazz Conservatary: ==ad Bek boo) \ Track i — sage hy AUF ZU NEUEN WEGEN! Sob TRADS Ayoe The prob CHF John Stowell zeigt Euch das Improvisieren mit Su ibstitution GITARRE ie Me Ard anwenenur,O- _Kombination der verschiedenen Mehr SpaB am Improvisierent Und mehr Krea- oie Livitdt! Dafiir macht sich lohn Stowell, der grope 2-28 * amerikanische lazzprofigitarrist, stark. Er zeigt mene sos Ewch exklusiv in SOUND CHECK — und 0's soy, natiirlich auf unserer CHECK the SOUND-CD — wie Ihr ausgetretene Pfade verlassen kinnt Idealist es, wenn Ihr mit einem Freund zusammen bt und tht ‘ben Wie meine Betspiele zeigen ven si jedoch mitenander tombs ert wenden rensoll out? Wenn the dicks “und. undberleste Pemtaronik meint~ sicher Veen Ssetzung {Ur diesen Workshop at ‘infoch nur, daB th fen fr neve Kennan vison a den mit der C Duet Major Ak fle ich benutze a! amit the de Joh Stowei ~ UBER DEN AUTOR wiser. Esalbt ERA), mit | thearie viele MOglich- EG Ho c testen einem bestimmten Ailors OE Jah Stel, glares im US Bods! Comet, it iw er Gren der aici | famatint area tas a | repo ta in a pee | siete meaty ender ideen schwindighelt ist led ‘Oschaes or ha eine unglovbehe rig tm narmaaintpe ri | srl eral dle ganie Geschichte | fig Mam Me Case ren ie di Stoo ly, wns we ido, hang. Durr “ und, sauberer onnen, wenn tr wibtich angsar | eden” an die Sache rangeht. Das Ent- | Da fae Garis in Dash tha Workshop | Sal mada durch soe Zaman te angepe- iste Me Melecien und |. biti ad du rary ors benenBespileinallenzwellTon- Rhythmen ty cmeape Seton Da wre mt ch Gant were eer rent salen. th Die folgenden fant Dur-Drei- | ahign Wish oraeee oi “ede fin DurDreklinge Ober singe werden wir ber einen [tea Ea Beispiel 1 64 SOUND CHECK LLBeispiel 2 Beispiel 3 ie EE —— —— Beispiel 4 c 66 SOUND CHECKGITARRE dita: RAUS AUS DEM TROTT pow minoe John Stowell macht mehr aus Moll Daf Akkorde nicht dazu da sind, stur runterge- spielt zu werden, beweist Euch wieder John Stowell. Als einer der angesagte- sten amerikanischen Gitarristen muf er ja auch wissen, wie man geil improvisiert. _ Welche Méaglichkeiten es gibt, durch Kombinieren von Akkorden Sound” zu machen, zeigt Euch John in diesem Workshop und auf unserer CD ‘nglichen — Mollakkord nd Moll-Athord, Letetenl Beispiel | A Beispiel 2 F bales e 54. SOUND CHECK a vale Beispel einen DecDedlng ever Deitad _Natirlich msen die lett D-Moll-Arpegslo (1-35-07) veneers Pasen NB c= am aulgetten, sinker disconan- sowie DberesngstOne (passing nen Beispielen, um Dit neve Fos bw ateMborde mit Vorsicht wer- tones: TEne, die einen Bund MBglichkeiten 2u erschlieBen, 6 = Ba ver dormerden: Du wisteigene ober bw. unterhalb der Find Dein elgenes Tempo, umn ee Yortiebon firden Einsatz dieser Akkordtne legen), um ei bre! A= Det ‘Sounds entwickeln, wahrend Du tes harmonisches Spektrum 24 =) Dani Sie dbst und im Zusarnmenspiel Wreieren, chen Wortschatz 2u integrie- BS baile we esturcn'Masthern anwen- Nimm Ausschnitte meiner ren, Relax. and have fun with = a Jest Neben den Durdreiblan- Ideen und Kombiniere sie mit these new sounds! Sera (Gerpleleich auch daseinfache Deinen eigenen oder verkndpte ok rar f—s pe SS — ++ aot [ 4 @ 4 Beispiel 4 Beispiel 5 SOUND CHECK 55a , dee DIE KOMBINATION , MACHT'S John Stowell bringt frischen Wind in Euer Spiet f t OVER Domunadl CHS ier kommt wieder ein Deri ha, po renee, een Schub an frischer Inspirg- wee ake Aor ttn at ike tion fir Eure Gitarrenim- imide rate ete at a provisationen. Auch wenn in den beiden vora Tone erw ind & auf den ersten Blick “ae steerer eames Supereinfach — aussehen von oe werden. un ian ti mag, bieten die Beispiole mane mC Atel gc sean ter des amerikanischen Jazz- gilarristen John Stowell onische Vielat fur den sey iMlingen ber Dominant Sep korden, wobel hier neun ve doch eine Menge an Arbeitsstoff Gut fir Euch. Ratna FI eliscn wir denn auf diese Weise verhindert thy a8 Eure Dee Domi ‘icine ine ha Band wie jede andere klingt Nutzt die Chance! § Beispie} | 52 SOUND CHECK34 SOUND CHECK TE dle tonletereigenen Abkondenve. terungen des Dominant Sepa, fordes G7 mit ateierten Sout, ombinieren, Lape sich dey G7 Atkord aul unterschiediche a lund Weise zu dem olgenden cy Ato hin auflsen. Ur mit dics Sen Sounds au Improvisiees ‘anni man 28 die neun unten el Beldhnten Dur-Driksnge ann Beispiel 3 den. Die Adkorderveterungen, die Sie aber einen G 7-Abkon! ers Ben, sind ebendalle angegeben Links steht ieweils der Dur-Dre Hang reches der erweiterte o Bb = G08 e = Gib Ge = Giitoes a = Glas ce G75 be die Linen, die ich aus den Dur-Dreklangen zusammenge stellt habe, zunichtlangsam as dl sich Deine Finger an de Fe ‘etsste und Dein Oty sch anche even Sounds gewainenkenen, estate eigene keen, indem eine improvisationen mit den G-Dominant-Septaliord ode ‘Arpe0 oder auch mit Detres, ‘igenen Gedanken zum Solcan ombinlers. Nimm Dir Zeit og ‘ene die even Sounae beatin. Ang Linderiol oe Ls BY ‘SINCE THE LATE 19305, WHEN EDDIELANG ‘and Char Christan mixed the basic pentatonic blues vocabulary with embellished dominant chords. re ‘harmonizations and new cadences. jaz guitarists have ‘been expanding 12-bar blues harmony. For instance, Jim Hall souped up his blues "Careful by ang four ‘bars and beaucoup altered-dominant harmony. Thy this jazzy G bes (Herb Ellis’ favorite blues key), Ie features tensions (such as $9, 49, #5, 15) over aiahsle Gist mp doe = = 1184 GUITAR PLAYER JANUARY 1998 Souped-Up Blues JOHN STOWELL ed a tricone substitution (replacing Adorinant owed to C13in ars A and 5), and ce The lst two bars contain hat resolves to when the pro sand vo the top ‘mony sounds into the melody itself. Learn afew e tunes and then start spinning your awn aa-cane blue matt gle Be he | r ? AS: orfofs iE phe Spt t — = arbate arbshoti) o7fp 09 fas ti i Yi hase tps and out of her futon come out heather ide™Aln denote. GP