A John Stowell lesson

3 thoughts on “A John Stowell lesson”

  1. In modern jazz, a Maj7#5 is an acceptable substitution for a Maj7. It’s the kind of sound you wouldn’t necessarily want to use every time, and you always take the situation in to account. A old school swing gig would be a rotten place to use this chord, for example. John’s guitar style employs this sound extensively. A good scale choice for this chord, by the way, is the third mod of melodic minor – a CMaj7#5 would employ an A melodic minor scale (remeber, in jazz we only think of the ascending melodic minor)

  2. Thanks, Christopher. Ted Greene also addresses this in “Single Note Soloing, Vol. 1,” I believe. Just saw it the other night. I’ll have to look for the exact explanation, other than the fact that the triad pops out of another scale for the original chord.Ted said he would elaborate further in a chapter on polytonality, but at the end of Vol. 2, he writes, “the promised chapter on polytonality never even made it in here.” Wish he had gotten to that AND pentatonics and the blues scale … oh well.

  3. Hi there, do you have any of the sheeets he hands out? i am trying to find the ones with the chord voicings. i am finding it QUITE hard yo transcribe! :@D Thanks for the great blog.bazmatronics.blogspot.comBarry Edwards

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