John Stowell

Guitarists John Stowell and Micky Lee demonstrate practical strategies for playing in odd meters — 5/4, 7/4, 7/8, 9/8 and beyond — and how to apply these meters to any song. Micky draws on Macedonian folk melodies and a standard to show how he subdivides 7/8 and 9/8, while John plays several standards in 5/4 and 7/4 to explain his concept of phrasing in those meters. What's covered Subdivisions of odd meters and how to feel them naturally Applying odd meters to standards and other familiar tunes Voice leading in odd meter time signatures Different ways to subdivide phrases in odd meters Playing over the bar line to interpret odd meters more freely in soloing and melody interpretation How odd-meter practice helps you phrase over the bar line in any time signature This is an advanced class for players who want to move beyond counting and start phrasing musically in odd time. Duration: 56 minutes.

John Stowell and Juan Dhas continue their modal playing series with an in-depth look at new vocabulary for playing over a major chord, including Lydian , Lydian #9 , and augmented-major harmony references. Using the bridge to "Little Sunflower" , John and Juan demonstrate extensions of basic diatonic harmony in the keys of Eb and D major. Alongside modes of the melodic and harmonic minor that reference harmonic information for major chords, they also demonstrate chord inversions and voice-leading . What's covered Lydian, Lydian #9, and augmented-major sounds over major chords Implied V chords Chord inversions and shapes as templates for generating single-line solo ideas Comping strategies and voice-leading ideas Modes of the melodic and harmonic minor applied to major-chord harmony This is an advanced class for players ready to extend their major-chord vocabulary beyond basic diatonic harmony. Part 1 of the series is available here: Concepts for Modal Playing with John Stowell and Juan Dhas, Part 1 .

John Stowell and Juan Dhas explore harmonic concepts for modal playing , starting from embellishments and triads derived from the Dorian mode over a single minor chord, then expanding into additional harmony you can apply in a modal context. What's covered Dorian-derived embellishments and triads over a single minor chord Major triads, melodic minor, and implied V chords in a modal setting Tension and release, with specific strategies for creating and resolving it Simple progressions and turnarounds superimposed over one minor chord Chord voicings as templates for single-line playing Open-string voicings An advanced class for guitarists who want to bring more harmonic motion and color to static, one-chord vamps. Duration: 43 minutes 28 seconds.

Guitarists John Stowell and Ben Sher share this webinar, playing and discussing their ideas on the blues. The session ranges from blues scales to basic bebop substitutions to modal, McCoy Tyner-style harmonies, with each guitarist applying his own distinctive style to blues changes. An encyclopedic exploration of blues playing from two very different musical voices. Level: Intermediate.

John Stowell and Mike Godette use pianist/composer Jovino Santos Neto's tune "Feire Livre" to explore non-diatonic harmony, specific dominant tensions and resolutions, and voice leading. They also cover extensions of minor tonalities and implied V chords in soloing, then trade choruses on the tune to demonstrate the concepts in action. What's covered The Brazilian Baião rhythm — its dotted-quarter feel and how it differs from samba and bossa nova The tune's compact five-chord form: Dorian minor melody over Gm and Bbm, plus a turnaround of three dominant chords Lydian dominant sounds in the melody and turnaround, and the melodic minor modes behind them Translating unfamiliar changes into familiar thinking — e.g. seeing Db Lydian dominant as G altered to turn the turnaround into a V–I motion Internalizing harmonic information so it comes out naturally in your solos Why short, catchy "blowing tunes" like this are ideal for low-rehearsal gigs An advanced class for guitarists who want to improve their improvisation and voice-leading concepts over modern, non-diatonic changes. Includes a download.

John Stowell is joined by guitarist Randy Vincent — friends and duo partners since the 80s — for a class on soloing and reharmonization over standards. Using Gone With the Wind , they trade choruses, react to each other's harmonic and melodic choices, and then break down what they heard, with each also comping for the other to demonstrate accompaniment techniques. What's covered Implied time and displaced rhythms — suggesting the pulse without stating it Voice leading and improvised chord melody inside a solo Dyads, contrary motion, pianistic and drop 2 voicings , and altered dominant chords Moveable shapes used as altered dominants The importance of space in both soloing and comping Motivic development in solos Reharmonizing the diatonic progressions of a standard with new voicings An advanced class for players who want fresh variations on standard diatonic progressions, new chord voicings, and solo lines — with influences like Bill Evans, Lenny Breau, Ted Greene, and Jim Hall woven through the conversation.

John Stowell and Mike Gaudette use the standard You and the Night and the Music as a vehicle for reharmonization and modulation, demonstrating a clever arrangement that splits the tune between two keys — the first two A sections up a whole step in D minor, the bridge descending chromatically back into the original C minor. Along the way they discuss how modulation helps you internalize, memorize, and transpose chord progressions. What's covered A full walk-through of the stock changes, then the two-key arrangement with the modulation built into the bridge Inserting extra harmonic information — descending minor chords in whole steps, a sound heard in Bill Evans reharms Chromatic slash-chord moves (Ab/Gb to G/F) for the bridge's flat-six-to-five motion Melodic and harmonic chord voicings for accessing tensions over major and dominant chords Playing over the bar line to develop asymmetrical phrasing Improvising with a pulse and no fixed meter Chord shapes as templates for single-line improvising An informal conversation-style class for players who want the motivation and skills to build modulations into their own arrangements and strengthen their memorization and transposing abilities.

In the fourth installment of John Stowell and Mike Godette's reharmonization and modulation conversation series, the two guitarists break down the harmonic minor scale and how its modes can be applied to major tonalities — both for chord voicings and improvisational ideas. Having covered the harmonic minor modes over dominant chords in the previous session, John and Mike focus here on the two modes that generate tension over major: the third mode (relative harmonic minor over major — A harmonic minor over C major, giving a major 6 #5 sound) and the sixth mode ( Lydian #9 — E harmonic minor over C major, which can also be heard as a B triad over a C bass, or as the "tonic diminished" chord in a ii-V-I-dim-I progression). What's covered Utilizing the #9 over major tonalities Superimposing triads within the harmonic minor scale over major tonalities Weaving in and out of major and harmonic minor tonalities Variations within triads to change the sound of the tonality Hearing the basic foundation of the harmony mixed with harmonic minor tensions Improvising with a pulse and no fixed meter; chord shapes as templates for single-line improvising You'll come away with a new set of sounds and colors to expand what you can play over major 7 tonalities, plus practical ways to hear and practice these modes against the underlying harmony.

In the third installment of John Stowell and Mike Godette's reharmonization and modulation conversation series, the two guitarists break down the harmonic minor scale and how its modes can be applied to minor 7 and dominant 7 tonalities. As in the rest of the series, John and Mike trade ideas back and forth, showing how these sounds work both for chord voicings and for improvisational lines. A natural companion to their sessions on melodic minor and on harmonic minor over major chords.

John Stowell (Portland) and Micky Lee (Vienna) use the well-known standard Have You Met Miss Jones to demonstrate important concepts in comping, soloing, and reharmonizing the song's basic diatonic harmony. The class opens with the two guitarists trading choruses on the tune, then settles into an informal conversation where they react to each other's playing and unpack the ideas behind it. What's covered Deconstructing chords into smaller shapes — double stops and triads — for full-sounding accompaniment with voice leading Using small chord shapes as templates on the neck for solo ideas, and for moving smoothly between chords and single lines Contrapuntal playing: combining two lines instead of alternating single notes and block chords (with a nod to Jimmy Wyble's approach) Specific rhythmic values for developing comping skills The importance of space, compositional intention, and using the melody to internalize the form Basic reharmonization of diatonic progressions An advanced class for players who want to develop new skills in comping, soloing, and reharmonization through watching two distinct voices work the same tune. Full class video includes a download.

John Stowell joins Sheryl for an advanced conversation on chord melody, voice leading, and reharmonization, built around the Gershwin ballad Embraceable You in G. The two trade performances of the tune, then dig into the voicings and harmonic ideas behind what they played. What's covered Open string voicings — using the top three open strings as chord tones or tensions to expand your interval palette, with ideas John traces to Gene Bertoncini Chord melody arrangements as a context for developing voice leading in both accompaniment and soloing Interpreting diminished chords as altered dominant chords The importance of melody in creating context for improvisation Going back to the original sheet music to discover harmonic variations Why ballads are challenging and worth keeping in your repertoire This is a thoughtful, player-to-player class for advanced guitarists who want richer voicings and stronger voice leading in their ballad playing.

John Stowell joins Sheryl for an advanced discussion on comping, voice leading, and reharmonization, using the standard I Should Care as the vehicle. They trade solo and comping choruses and 8s, then unpack the harmonic choices behind what each of them played. What's covered Reharmonizing the tune's basic diatonic cadences, and broader variations on diatonic harmony Block chords, cluster voicings, and pianistic concepts in comping — why Monk tunes sound great on guitar Deconstructing chords and adding color tones below the melody note instead of always reaching for big grip "cowboy chords" Voice leading and double stops, with a nod to Jimmy Wyble 's inner-voice movement Using the melody to create context for soloing and to internalize the form Retaining new chord shapes by learning them inside an arrangement rather than from a page A conversational, player-to-player class for advanced guitarists who want more harmonic depth and mindfulness of context in their comping and soloing.

In part two of their guitar conversation, John Stowell and Brazilian guitarist Genil Castro turn to another well-known Tom Jobim tune, "Dindi." Genil plays his reharmonized version of the intro, the two alternate solo sections, and then they unpack the harmony behind what they played. What's covered Genil's reharmonization of the "Dindi" intro — parallel minor chords, inversions, and a deceptive cadence back to C — with a nod to Lenny Breau's cascading-harmonics technique Using melodic minor chords as dominant chords , and broader applications of that harmony in other contexts Bill Evans-style moves: minor chords moving in whole steps, and putting "harmony in the cracks" between slow-moving changes Chromatic passing chords and sus voicings (with open strings) to add motion between two major chords a whole step apart Tension and release a half step above or below the target, and how much tension fits the song Strategies for improvising over non-diatonic progressions and using rhythmic motifs in solos An intermediate-level conversation for players who want practical reharmonization ideas and a deeper feel for how bossa nova harmony connects to jazz.

John Stowell and Tim Lerch wrap up their jazz guitar conversation series on How Deep Is the Ocean , finishing the tune with its last eight bars. After three classes of reharmonizations and comping ideas on the earlier sections, the two old friends tackle the final C section of this unusual A-B-A-C form — and for the first time in the series, each plays the tune uninterrupted, all the way through. What's covered The form of the tune: four eight-bar sections (A-B-A-C rather than the typical AABA) Bill Evans and Jim Hall -inspired harmony in the last eight: minor chords moving in whole steps and secondary dominants Inserting extra harmonic information at slow tempos to create more movement Tim's flowing bass-line approach — inversions, diatonic substitutions, and chromatic moves, with a nod to the Ted Greene influence in his playing Full solo-guitar melody renditions from both players, rubato and in time How faster tempos leave less room for harmonic detail — and the case for stripping changes down Populating changes for solo performance vs. simplifying them (even to just one and five) when improvising Gain insight into how professional players approach a standard tune harmonically, rhythmically, and conceptually — chord melody, voicings, comping, and learning tunes, all through an unscripted conversation between two masters.

John Stowell sits down with Brazilian guitarist Genil Castro for a guitar conversation about samba and bossa nova, built around Tom Jobim's tune "Triste." The two trade choruses, then dig into the rhythms, harmony and guitar techniques behind what they played. What's covered Bossa nova as a kind of samba — what actually distinguishes the two rhythms, including the partido alto figure Why Jobim wrote Triste in A (not the fake-book Bb), and the value of transposing tunes to see relationships on the neck Voice leading , chord inversions, movable chord shapes, artificial harmonics, double stops and open-string voicings Using chord shapes as templates on the neck to generate single-line soloing ideas Modes of the melodic minor for tensions and embellishments over dominant, minor and half-diminished chords Learning the feel by listening: Jobim's own guitar playing, João Gilberto, Brazilian singers' phrasing, and even the lyrics An informal, two-expert exchange for intermediate players who want an authentic feel for Brazilian rhythm and harmony that also carries over to the jazz setting.

John Stowell sits down with guitarist Sean McGowan to explore reharmonization and solo guitar techniques over the standard Alone Together . The two trade choruses, then discuss the harmonic and rhythmic ideas behind each other's playing — including revisiting the tune in a different meter as a Latin 3. What's covered Pedal points — using open-string pedals (A or D in the bass) to buy time and build upper-structure movement and extensions Voice leading, double stops, and open string voicings Reharmonization ideas on common cadences and turnarounds Using the melody to internalize song form and as a reference point for improvising inside or outside the changes Implied time versus obviously stated rhythm, plus rhythmic subdivisions for internalizing time and form Space as a creative element of improvising, and challenging yourself with different keys and meters A conversational duo class that shows different approaches to solo guitar on a tune flexible enough to color almost any way — and helps you find new ways to negotiate progressions and internalize reharmonization ideas.

John Stowell and Tom Lippincott play and discuss their approaches to the standard "Out of Nowhere" in a relaxed Zoom conversation. The two longtime friends trade choruses, compare arrangements (Tom on his 8-string guitar), and dig into melodic and harmonic ideas you can apply to this tune and to standards generally. What's covered Trading sixteens, eights, and fours while improvising solo guitar Solo guitar melody statements, with a comparison of John's and Tom's contrasting approaches Breaking down the form and a harmonic analysis of the chord changes Taking the melody into account in both harmonic and single-note improvisation Incorporating open strings in chord voicings and single-note lines Chord substitutions including tonic diminished and other options drawn from modes of harmonic and melodic minor Moving the song to a different key to highlight the function and relationships of melody and harmony Includes 39 pages of articles and transcriptions from John Stowell, plus a three-page PDF prepared for this class detailing the harmonic analysis and several of the specific chord voicings demonstrated. A good fit for intermediate players who want to deepen their reharmonization and solo guitar skills on standards.

John Stowell and Jamie Taylor continue their conversation on creative approaches to standards, this time using "Nobody Else But Me" — Jerome Kern's last song, added to the 1940s revival of Show Boat — as a context for exploring harmony, melody, and improvisation on a beautiful but lesser-known tune. What's covered Variations on standard diatonic harmony, and how jazz practice often differs from a composer's original sheet Using the melody to internalize the form and build motific solos — taking rhythmic liberties while keeping the tune recognizable, the way singers like Ella Fitzgerald do Modulations and open string voicings Diminished chords understood as altered dominant chords Cadences you can lift from this tune and apply to other standards Why it's worth keeping some obscure repertoire for your own gigs and recordings Alongside the discussion, John and Jamie each interpret the melody, then trade choruses and fours over the changes. A natural follow-on from Part 1 (on "Someday My Prince Will Come"), and a window into how two thoughtful players think about a standard from the inside.

John Stowell and Jamie Taylor use the familiar chord changes to "Someday My Prince Will Come" to explore the modes of the melodic and harmonic minor. Recorded as a long-distance conversation between the two guitarists, the class moves between playing and discussion, with each taking turns through the tune and unpacking what the other played. What's covered Modes of the melodic and harmonic minor applied to the tune's progression How these modes work over altered dominant chords Tonic diminished treated as Lydian #9 harmony Using the melody as a reference and resource when soloing — shaping lines from the song rather than spitting out riffs Singing the melody to internalize a tune's form, especially for odd-length modern repertoire Triads and right-hand technique in John and Jamie's discussion The harmony covered has broader applications beyond this one song, since portions of the progression occur in many other standards. A PDF of the tune is provided with the class.

John Stowell and Mike Gaudette continue their conversation series — part three, following two classes on melodic minor — by applying the harmonic minor scale to dominant chords . Working over a C7, they explore four harmonic minor key centers that each generate a different combination of tensions, sharing voicings, tips and two complementary approaches throughout. What's covered The four modes of harmonic minor that work over a dominant chord, ordered from least to most tension F harmonic minor over C7: getting the flat 9 and flat 13 alongside the natural 5 — and how that differs from the altered scale Mike's systematic approach: playing every seventh arpeggio of the harmonic minor key against the dominant chord to find the best colors John's chordal approach: hearing harmonic minor chords as variations on the dominant (e.g. a C#m triad over F as C7 with flat 9 and flat 13) Harmonic minor as an implied V — referencing it for a beat or two over major, minor or dominant chords Judging how much tension fits the musical context, and using tensions to create resolution Intermediate players will come away with many new colors and harmonic choices for soloing over dominant chords in a V–I setting.

John Stowell and Mike Gaudette continue their harmony conversation series, this time applying the harmonic minor modes to major, minor and diminished chords . Building on the previous class (harmonic minor over dominants), they trade voicings and perspectives, mixing harmonic minor chords and arpeggios with the basic harmony so you always hear the foundation underneath the tension. What's covered The two harmonic minor modes that generate tension over a major chord: the 3rd mode (major 6 #5 — A harmonic minor over C major) and the 6th mode ( Lydian #9 — E harmonic minor over C major) Hearing Lydian #9 as a slash chord: a B triad over C, or a diminished major 7 The tonic diminished move — playing ii–V–I°–I as D minor, G7, E harmonic minor, C major Treating unusual notes (like F natural over C major) as embellishments heading back into the scale Tensions created over minor chords, and diminished treated as altered dominant harmony Implied V chords using harmonic minor modes, reinforcing material from the earlier classes Intermediate players who have followed the earlier melodic and harmonic minor sessions will find this a natural next step, with practical ways to hear and practice each new color. Includes a download.

In this informal conversation class, John Stowell and Kevin discuss and demonstrate their approaches to composing, chord melody, and voice leading . John plays several of his original compositions and breaks down the harmony of each piece chord by chord, while the two react to each other's playing and examples. What's covered Breaking down John's originals: melodic minor voicings, parallel dominants, and altered dominant shapes moved in minor thirds Modes of the melodic and harmonic minor as they apply to altered dominant chords and harmony Using passing tones and the half-whole/minor-third approach over altered dominants Augmented triads with open strings — how a strong melody can mask dissonant minor seconds underneath John's composing process: letting a melody suggest itself, finding chords after, and connecting non-diatonic changes with chord tones Bass movement in composition, including a tune with the melody in the bass Learning new chords in the context of an arrangement so the voicings actually stick A pragmatic class for students looking to expand their chord vocabulary and composing skills. Included is a 5-page PDF containing a number of original compositions from John. Video is 21 minutes.

In this informal conversation, John Stowell and fellow guitarist Kevin Kerick demonstrate their different but complementary approaches to the four modes of the melodic minor scale that introduce tensions over a dominant chord. Hearing two players describe the same harmonic information in their own languages gives you several hands-on ways into altered dominant sounds. What's covered The four melodic minor modes that generate tensions over a dominant chord, and how each player learned and practices them Common substitutions explained from the V chord: melodic minor a step down from the V, a step up, and the conventional melodic minor of the target key Using melodic minor chords as dominant chords Tension and resolution in a II-V-I setting, plus V-I and secondary dominant applications Applying these sounds over a standard or a blues The class runs 34 minutes and includes a 39-page PDF of articles written by John. By the end, you'll have practical tools for developing and expanding your altered dominant vocabulary.

John Stowell and Mike Godette continue their conversation series on the modes of the melodic minor — this time applying them to major and minor tonalities, using melodic minor arpeggios and chord voicings as extensions of the underlying harmony. This is session two; their first session covered the four modes that generate tensions over dominant chords. What's covered The third mode, Lydian augmented (#11, #5) — the one melodic minor sound over major, heard as the relative melodic minor (A melodic minor over C major) Mixing the basic major arpeggio with the melodic minor arpeggio so the tensions are heard as extensions of the foundation Mike's shortcut: taking your usual Lydian vocabulary and raising the fifth The implied V idea — alternating A melodic minor (Lydian augmented over C) with Ab melodic minor (G7 altered) for tension and release Applications of melodic minor and Dorian minor sounds over minor chords John points out that the major-augmented sound has been part of the jazz vocabulary since at least the 1960s — Wayne Shorter, Herbie Hancock, and Keith Jarrett were all referencing it — making this harmony worth knowing for any modern jazz player. Mike Godette is a guitarist from the New Haven, Connecticut area with a degree in Jazz Studies from Western Connecticut State University. He has toured with his former progressive jazz-metal group Mid Atlantic Title, performed with artists including Aaron Goldberg, Myron Walden, Jimmy Greene, Jumaane Smith, and Ralph Lalama, and is on the faculty of the Litchfield Jazz Camp, Fairfield School of Music, and Continuo Music.

John Stowell and Mike Godette demonstrate how the modes of the melodic minor can be applied over dominant chords to create tension and resolution in a V-I setting. This is the first session in their conversation series, with the two guitarists trading ideas and reacting to each other's voicings. John shares the approach his teacher Link Chamberlain gave him in the early 1970s: using melodic minor chords from other keys as dominant chords. The centerpiece is the seventh mode — playing melodic minor ideas a half step above a dominant (C# melodic minor over C7) and combining them with the grounded sound of the basic dominant, so your lines aren't all tension. What's covered Melodic minor modes that generate tensions over dominant chords Melodic minor chords referenced as altered dominant chords (e.g. C#m(maj9) heard as C7#9b9) Implied V chords as a reharmonization device Pianistic chord voicings for the guitar Modifying voicings to find sounds outside the typical altered-scale vocabulary Mike Godette is a guitarist from the New Haven, Connecticut area with a degree in Jazz Studies from Western Connecticut State University. He has toured with his former progressive jazz-metal group Mid Atlantic Title, performed with jazz artists including Aaron Goldberg, Myron Walden, Jimmy Greene, Jumaane Smith, and Ralph Lalama, and is on the faculty of the Litchfield Jazz Camp, Fairfield School of Music, and Continuo Music.

John Stowell and Tim Lerch sit down for a wide-ranging conversation on jazz improvisation, harmony, and learning strategies — playing a little, talking a little, and comparing their approaches. The first in their Jazz Guitar Conversations series, this session captures what two jazz guitar masters talk about when they're simply enjoying each other's company. What's covered Trading eight-bar phrases on "Autumn Leaves" (in G), conversation-style, so you can hear the differences and commonalities in their approaches How they each think through the tune's ii–V–I–IV form and the resolution to the relative minor Movable altered-dominant shapes — why voicings with flat or sharp nines move in minor thirds, and raised/lowered fifths move in whole steps The diminished scale connection: how an altered dominant is a diminished chord in disguise Getting mileage from a small set of good-sounding, playable shapes, and placing them in context with strong voice leading How each of them learned — including Tim's "street-wise" path of playing and asking questions About Tim Lerch: world-renowned guitarist and educator, Tim is a member of the legendary Northwest gypsy jazz group Pearl Django and a popular duo with Jamie Findlay, and performs solo guitar as often as his schedule allows.

John Stowell and Tim Lerch sit down for a wide-ranging jazz guitar conversation built around a tune they both love: How Deep Is the Ocean . In this first installment, the two masters each work through a solo guitar rendition of the opening eight bars — in C minor — and compare notes on how differently (and how similarly) they see it, touching on jazz improvisation and learning strategies along the way. What's covered Tim's approach: propelling a simple chord progression with bass movement and inversions, plus a B diminished color and a D7 substitution borrowed from the Bill Evans version John's approach: keeping movement on top — turning the stock A half-diminished into an A7#11 , and using melodic minor voicings for added color How context shapes your voicings: heavy bass movement works when playing solo, less so with a bassist covering that role Two philosophies side by side: expressing the harmony through melody vs. finding the melody through the harmony Moving a melody note on top without shifting every voice underneath at once Hear how two seasoned players think out loud, question each other, and meet in the middle. Tim Lerch is a member of the legendary Northwest gypsy jazz group Pearl Django , performs in a popular duo with Jamie Findlay, and plays as many solo guitar performances as his schedule allows.

John Stowell and Tim Lerch continue their jazz guitar conversation on the Irving Berlin standard How Deep Is the Ocean , in C minor. In Part 2 they briefly review the first eight bars from each of their perspectives, then dig into the B section — the next eight bars — trading full passes through the first sixteen and discussing what they hear in each other's playing. What's covered Adding harmonic information to the simple opening changes: half-diminished variations, Lydian dominant substitutions, and altered dominants while keeping the melody note on top Turnarounds to a minor chord — strategies that transfer to plenty of other minor tunes, not just this one Holding a note on top and moving the harmony underneath, including chromatic half-step shifts Tritone substitutions and "five of two" moves for extra motion on a static one chord The Bill Evans reharmonization of the last four bars — fourths and chromatic movement (C#m9, F#7, C half-diminished, F7b9, Bb7, Eb7, G7) Making non-dominant chords dominant to introduce tension in a musical way Rubato vs. in-time approaches: two different players with a shared vocabulary A conversation-style lesson on improvisation and reharmonization strategy with broad application beyond this tune. Tim Lerch is a member of the legendary Northwest gypsy jazz group Pearl Django , performs in a popular duo with Jamie Findlay, and plays solo guitar performances whenever his schedule allows.

Touring jazz guitar master John Stowell shows how he keeps jazz standards fresh by building modulations into his arrangements — not just changing keys, but considering the color and relationship between the keys you choose. Filmed at the home of Mike Geller in Tucson, this is a practical 28-minute class you can digest quickly and revisit for John's voicings and lines. Three tunes, three modulation approaches The Days of Wine and Roses — the classic two-key arrangement Bill Evans and Toots Thielemans recorded, taking the second 16 bars up a minor third from F to Ab, with John's voicing choices and improvised choruses in both keys You and the Night and the Music — John's own arrangement starting a whole step above the original key (D minor), splitting the bridge between the two keys and descending chromatically back to C minor Isfahan — the Billy Strayhorn ballad from the Far East Suite, originally in Db; an arrangement (from bassist Steve Gilmore, via guitarist Steve Brown) that begins a half step below in C and modulates up Along the way John explains why seeing key relationships helps you learn and retain repertoire, transpose for singers, and internalize changes faster — and points out the original Jobim keys of Triste (A) and One Note Samba (E) as further modulation territory to explore. In addition to the main lesson, you'll receive "The John Stowell Real Book" — a 19-page collection of John's handwritten arrangements and reharmonized changes to his favorite songs, in lead-sheet-style standard notation. Full video is 28 minutes.

In this sequel to his first Exploring Original Compositions masterclass, John Stowell teaches three of his original chord-melody pieces — Always Sometimes , Springfield Sonata , and Shiffletting (named for Bay Area bassist John Shifflett) — breaking down every chord voicing, double stop, and single note so you know where each one comes from. The goal isn't just to learn the tunes: these rich, pianistic voicings are tools you can take into your own comping, arrangements, and compositions. What's covered Each tune performed (melody and improvisation), then walked through chord by chord Simplified blowing changes for each piece, included so you can see how John makes a dense progression soloing-friendly Hybrid picking — pick plus three fingers — with a simple exercise for developing it, and why it unlocks pianistic chord playing Movable shapes : how one voicing can function in many spots on the neck with small alterations Melodic minor, harmonic minor (Lydian sharp 9), and displaced-octave voicings, with influences from Jimmy Wyble and a chord borrowed from Ted Greene's Chord Chemistry Open strings, close intervals, and inner voice movement in John's compositional style John is a patient, generous teacher, and learning these short pieces is a fast way to absorb modern harmonic colors in context. Includes 12 pages of PDFs with all voicings and blowing charts written out. Full video is 53 minutes.