Fusion Essentials - Melodic Minor Improvisation On Dominant Chords

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Welcome to Fusion Essentials, a series of video lessons on developing fusion improvisation. In this episode we look at using the Melodic Minor scale over various dominant chords.
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Thanks for watching!

[@aberhan]

Thank you, you really simplified the concept of using the melodic minor scale. The concept of the “parent scale” was new to me, and very helpful.

[@jodyguilbeaux8225]

finally someone who plays very well, and a good teacher. Saying Thank you from Texas.

[@jameshall7632]

Thanks Rowan! I've been playing for many years and the melodic minor has been a mystery to me. I've had the scale and all its modes under my belt for quite some time, but being a self taught musician, I've always been hit or miss with it when improvising. I can now enjoy the fruits of my labor,, after watching this lesson. I feel like I've just taken one more step in my everlasting journey. Believe me; it couldn't have come too soon. I could be tempted to now say, " yeah, I can play jazz." , but I'm no fool...( a couple more lessons like this, though, and I might reconsider). In any case, I am fired up for the next jam session, thanks to you.

[@jaythomas2327]

Rowan, thanks very much for this video. I've been studying melodic minor modes this year and looking for a resource like this to demonstrate the scales in action. It is awesome and your playing is very inspiring to watch and listen to.

[@RowanJParker]

Jay Thomas Thank you for the compliment. Very kind of you and I'm glad you are finding the videos useful. Cheers Rowan

[@irishmuso7129]

You're playing fantastically well on this lesson and your explanations of the application of the various melodic minor modes is top class as well. Keep it up.

[@jwalk121]

No thank you Rowan, urn doing a service. Finally a guitar teacher I found for us more advanced players.. I love how u keep going deeper and deeper with ur explanation. I'm not even into fusion but I'm watching this for a second time just to understand the theory behind it.

[@samuelwnovak]

Too many teachers are highly theoretical but really just can't play that well. After watching a few of your videos pertinant to things I want to learn, I see that you are the execption that blows the rule out of the fucking water. I worship your hands and your mind, sir. Thank you!

[@RowanJParker]

Thank you Sam, that's very kind of you. Cheers Rowan

[@WilliamsGuitarTube]

Your straight lessons are pure gold Sir! They really help getting a red thread. Thanks for sharing your wisdom.

[@williamwatson7489]

Just recently discovered your lessons. I'm very grateful that you have decided to share and demonstrate your knowledge and understanding of music theory. I'm currently pairing these lessons with Mark Levine's Jazz Theory Book, which I highly recommend to anyone serious about taking their understanding of music theory and it's application in jazz music to the next level. Your particular application of these concepts is very 'ear opening' for someone who's had a difficult time developing 'bigger ears.' Your lessons really extrapolate a lot of what I've been reading but haven't been able to play because of my inability to read sheet music. Many thanks, Mr. Parker.

[@unfetteredaxes1032]

LOVE your technical application and approach to theory Rowan...

[@j.r.goldman3279]

you are still the best teacher to ever teach on here and TY beyond words................... Ur the best Rowan !!!

[@RowanJParker]

Very kind of you Sir!

[@irishmuso7129]

Love your erudite but clear approach to what can be a very confusing concept. Some people can explain it but few can demonstrate it as well as you can with your excellent playing.

[@RowanJParker]

Be glad to oblige. More fusion coming right up! Cheers Rowan

[@pauljones5375]

Thanks, this has been a real eye-opener. I've been playing over these kind of changes for a while and kinda scraping by, but it always felt more like doing mental arithmetic than playing music. It's amazing how re-associating the modes I already knew, from an easier perspective, suddenly made it feel musical again

[@jazzed2b]

Great stuff! Thanks, Rowan! Rock on...or jazz on

[@regulus0099]

Joined his lessons....Rowan is tops...if you got any gaps in your knowledge, Rowan fills them in....great lessons with a great teacher and guitar player....tops

[@jwalk121]

U r easily the most knowing guitarist I've ever listened to.

[@RowanJParker]

Thank you Jordan. I like to know why I'm playing what I'm playing so theory has always been very interesting to me. All the best. Rowan

[@binface9]

Loved that opening jam. Nice work Rowan

[@claytony1982]

Thanks for the great lesson. Well explained, great improve style and technique. Ill be looking up your site to buy some lessons!

[@dimsus1974]

this lesson is a gem..thanks a lot Rowan..greetings from the Philippines.

[@chrisrussell1318]

Thank you for a great lesson! Perfect 👌

[@teaforone77]

Awesome lesson! Thank you very much!

[@WilliamSaadGuitar]

Great lesson, thank you Rowan.

[@paulandlesson]

Fantastic! Cheers mate. As a classical player this is completely enjoyable to learn.

[@RowanJParker]

Thanks David. Much more Fusion and Jazz coming. Cheers Rowan

[@garysalgado9709]

Super clear and helpful, thanks!

[@antonio002]

you´ve got yourself another subscriber. cheers rowan.

[@ChrisMurrinGuitar]

The light bulb has just gone off! Truly a fantastic lesson, thank you.

[@LimaVideoProductions]

Rowan, Your videos are the best explanation on KZbin to understand Jazz/Fusion Keep posting you are a true inspiration every time I feel Im hitting a plateau I watch some of your videos and get inspired to learn more

[@RowanJParker]

Glad you are enjoying them buddy! Cheers Rowan

[@fenoruzcaneleo4220]

Thank you, you explained exactly what I was looking for!

[@jrgoldman8065]

Great video as usual. I always used the altered scale BUT it sounds better to launch it a half step above on a non active Dom. This kind of Info is prceless and I thank you sop much

[@MrJoeyBoombotz]

Best advanced guitar lesson EVER!! Thank you so much.

[@keibee2792]

woooooow, cool jamming sir

[@bf2err]

A great player and teacher. Hard to find that combination. Ty

[@richieadamsguitar]

Great lesson! - Thank you :)

[@chuckie049]

Amen! More! More Fusion!

[@Danytrovich]

thanks... for sharing Rowan...

[@masterbeernuts9344]

Superb teacher. Superb musician. Must have spent a LOT of time indoors😀

[@RowanJParker]

Indeed. I used to be known as Rowantisocial due to constant practice.

[@masterbeernuts9344]

+Rowan J Parker haha. well you've got another fan. nice one mate!

[@RowanJParker]

+Master Beernuts Thank you Sir!

[@masterbeernuts9344]

+Rowan J Parker hmmmmmm just jamming out with the Amin7 and that F9'y chord. If you could one day do a vid of nice chord progressions that begin with Amin7 i would be chock full of appreciation.

[@RowanJParker]

+Master Beernuts message me on my website and I'll send you a few. Cheers Rowan

[@bpaakwaan7325]

Excellent lesson..thank you

[@guitarforfree]

beautiful solo

[@MusiCaninesTheMusicalDogs]

This is so awesome! I understood everything, but applying this will lock my brain due to all the mode changes! I wish I wasn't dumb. 😞

[@Freelaughter420]

What a great teacher you are ! I would love to know if you have any video explaining the altered chords what do they mean and their use !

[@RowanJParker]

I'll do a video on that. Cheers Rowan.

[@CaioVianna]

You sound great, man. Really fluid. Cheers from Brazil!

[@coreysmith6686]

Great lesson, thank you!

[@rjdom]

so useful great playing Rowan, and teaching...peace

[@Evyanaf]

What a gem! Thanks a lot!

[@RobertoDaiqui]

Congratulations, you're great explaining jazz & fussion, fantastic teaching videos, go on Rowan!! :)

[@josueflores4550]

man I think I finally got it... thank you very much!!!

[@sinosinuj]

This improves my playing so much! I love you rowan lol. Thx a lot!

[@bakisha111]

Rowan you are great man!

[@DoktorLorentzBig]

that's a fantastic lesson, thank you!

[@guitarforfree]

wow great two sounds together.

[@aliclinton4500]

great concepts, thanks man.

[@ralfmartens5785]

Very helpfull !

[@Bflatest]

great intro jam!

[@Fitzliputzli23]

Making good use of the MM-modes separates the men from the boys. The beauty in Rowan's playing verifies his theory.

[@RowanJParker]

Hi there. Thanks for the comments. I will post a trailer for it on You Tube when its ready. Cheers Rowan

[@jerrymcdrake]

fantastic explanations, thanks a lot .please give ua an explanation about how to pick up static and fuctional chord each other, like in blues progression F7-BFlat7-are they static or functional?

[@jrgoldman8065]

amazing

[@Bflatest]

OK I am inspired to learn this better hahaha I do the Altered scale on some alt 5s in my blues and stuff but switching up to al this modes looks fun as hell

[@eranddroory9987]

Awesome tuts dude!! Love the Metheny style tracks :-)

[@RowanJParker]

Yes, use altered on the 5 chord. Eg Dm7, G7, Cmaj7. Use Ab Melodic Minor (G Super Locrian) on the G7.

[@guitaryuan]

love your lesson!

[@futuray22]

So fluid

[@Bflatest]

Question ... as you played over the 1 5 on your first example. were you mixing in any other things like pentatonic or ???

[@antosulistianto8278]

awesome

[@Scias]

Wow I really find this interesting. I learned the same thing, but with a different approach. These non-functional dominants were taught to me as secondary dominants, and they are very often b5 substitutions, for example a Bb7 in the key of A major, is actually chord V played as a b5 substitution. That VI 7 chord you play can be viewed as a b5 subbed chord ii. Same thing I guess, but can be taught in two separate ways.

[@李承洋-w1s]

love it~thank you.bless~~

[@badaxxe]

Excellent playing. I would rather listen to this type of playing over the shred stuff.

[@BasedRaven96]

Some tasty phrasing you got there! I'm also trying to work on some jazz, not that good.. Yet! :D

[@Bflatest]

my question is.... I heard that you can do some other modes too like you actually have 4 or 5 choices per Dom chord is that true????

[@ldmixer4228]

Great ! if there is a II7th-V7th-I7th,how to play on this chord changes ?thanks

[@Bflatest]

another... what about the 4 chord? can I use the melodic min up a semitone too?

[@SubKrypt]

Hi Rowan, thanks for the video. What is the name of the course you are selling on melodic minor?

[@applewhiteroad]

fantastic lesson! :)

[@stewartmclean7659]

Great lesson Rowan. About the passive domminant chord, does that mean that chord 4 in a 12 bar blues if played as a domminant could get treated as a passive domminant chord?

[@RowanJParker]

Indeed yes, pretty common in Jazz to treat the IV as lydian dominant.

[@stewartmclean7659]

@@RowanJParker Thank you

[@RowanJParker]

The Harmonic Minor scale produces this cadence. I suggest you watch my Music Theory 101 videos on the Harmonic Minor scale for a full understanding and explanation of this. Cheers Rowan

[@xxczerxx]

how does it work that the V can resolve to an I minor?

[@igorgoga]

Hello Mr. Parker, you have the best lessons! IS there a backing track Am7 D9 F9 E7#9 Am7 that you play at the end of this lesson. What program would you recommend to record backing tracks (band in a box?) Thank you! Also is there a lesson on Phrasing melodic minor lines so it sounds more palatable....

[@jazzerbme]

I don't understand in the super locrian mode why a G note is played when the E altered chord has a G# note?

[@RowanJParker]

More technically G is F double sharp, that's the #9 of the chord. E7 alt is 1 3 b5 #5 b7 b9 #9 or combinations of those. EG E7#5#9. Hope thats clear enough. Cheers R

[@moonn4108]

great video ! should the true dominant V be altered to be able to play the melodic minor half a step above or just a regular dominant 1,3,5,b7 ?

[@RowanJParker]

Moncef Fadal You can do it on a regular dominant but it does sound better if the chord contains the alterations as well. Cheers Rowan

[@usmc1875]

That was fucking great. Thank you sir! Im so grateful:)

[@jazzerbme]

Hi Rowan! When I play the F melodic minor over the E7 alt chord, the Bb doesn't sound good so I use a B natural. Can you please explain?

[@RowanJParker]

Youve a very natural bias towards hearing a perfect fifth. The whole point of the altered scale it to introduce tension with #5 b5 #9 b9. You just need to adjust your learned bias towards perfect intervals.

[@DEDZU786]

My brain explodes ! But very interesting, Thanks.

[@nialloleary6134]

would you advise using a dorian flat 2 over a passive dominant or an active dominant chord , cheers ! great video :)

[@RowanJParker]

+Saffire Six Neither really as Dorian b2 is not a dominant sound. It works best over 7susb9 chords or if you want to go a bit outside plain old minor. Cheers Rowan

[@nialloleary6134]

Thanks a mil !

[@geordiebaden]

Hey Rowan, What program do you use to create your backing tracks? Cheers

[@igorgoga]

Mr. Parker, if the progression is Am7 to E7 (not E sharp9 sharp5), what melodic minor choice do I have to play over this E7 . Over Am7 I can play dorian. Many thanks. I am a rookie!

[@kewlfonz]

Try using opposites - Play E minor pentatonic over Am7 and try playing A Dorian over E7 - Lotsa fun... E minor pentatonic over Am7 = E minor pentatonic EGABDE - E=5th G=flat7th B=9th D=11th E=5th - What's cool about this, is that it links the extended notes 9 and 11 (9th and 11th of A) into a smooth pentatonic sounding scale. A Dorian over E7 produces E Aeolian/Natural Minor scale = very moody/melancholic...

[@draconfir]

In your last improv, how those chords are related?

[@RowanJParker]

I suggest you watch the video again buddy. It's pretty clear. Cheers Rowan

[@Tom-qh8rh]

Fantastic lesson as ever Rowan, thank you. Can I ask (as I am just getting into fusion playing, starting mostly with pentatonic superimposition and perhaps learning melodic minor in the near future!) - is there a "standard" altered chord? Reading about it, it seems it could be #5#9, #5b9, b5#9 or b5b9! But those all sound quite different - yet online tutors often just say "A7 altered" and seem to think you'll know how to play that! Makes me think there must be an assumed version of the chord which is standard in the jazz world.

[@RowanJParker]

A7 altered could be any combination of #5,b5,#9 or b9, it's up to you really. They all come from the same source, the super locrian or altered scale so are all interchangeable.

[@MrJoeyBoombotz]

Which melodic minor is used over a static dominant chord?

[@RowanJParker]

+MrJoeyBoombotz Did you watch the whole video buddy? I make it explicitly clear how the dominant chords function and exactly what scales to use.

[@dany.3614]

F7 and Am are related in that each chord shares a C and an A. F7= F A C Eb and Am =A C E. It's a passive chord change because they're so closely related (they share two tones) and the major third of F stays the same. F7 to Bb (Bb D F) this change only shares the F. The A (maj 3rd of F7) resolves up to the tonic Bb by half step. Stating that F7 and Am are unrelated and therefore is a passive change would be incorrect. It's passive because they are so closely related.

[@RowanJParker]

F7 and Am are not directly related because they are not diatonic to each other. I don't think you are understanding what I mean by active and passive dominant chords. An active dominant means that it is a functioning dominant chord which resolves down a fifth, for instance F7 to Bb whereas a passive dominant chord would be one that does not resolve down a fifth, for instance F7 to Am. Understanding how to treat each type of dominant chord is the main point of this video. One other thing to point out is that just because chords might share notes does certainly not mean they have a relationship with each other. For instance Cmaj7 and Cmin/maj7 are very close in terms of construction but belong to totally different keys and harmonic families.

[@dany.3614]

Thanks for your the clarification. I see what you mean- I was referring to the voice leading itself as being active or passive rather than the dominant itself being passive or active as you defined it. However Am and F7 are directly related due to their common tones. F would be the bVI in the key of Am. The Eb in the F7 chord simply adds a b5 relative to A. It simply becomes a bVI7 chord to Am. Whether one uses F or F7 or F9 doesn't change the key center and your backing track ends on Am. Whether you think in C melodic minor or F Lydian dominant or think of A natural minor b5 doesn't matter so much as long as you know which chord you're on. We can use F7, E7(alt) and D7 without changing the sense of Am being the key. Common tones are important connectors for sounds. Cminmaj7 and Cmaj7 can be exchanged- it's common for music in a minor key to end on its parallel major. You can move directly from Cminmaj7 to Cmaj7 which pretty much sounds like an alternative to G7 to Cmaj7. (G7b13 to CMaj7). These chords are absolutely related.

[@dany.3614]

By the way- I didn't mention that I really like your playing- sounds great! Very inspiring; thanks for the video.

[@RowanJParker]

DanY.36 I think the problem is we are using the word 'related' in two different senses. When I use it I mean that the chords are both generated by the same diatonic scale. If they are are then they are related, if not then not. So by that definition Am7 and F7 are not related as there is no diatonic scale that produces these two chords. If we use a broad definition of relationship then we might look at things the way you do and see common tones etc but it doesn't alter the fact that harmonically they are generated by different scales and therefore don't have in a direct sense any relationship to each other. The final point I'll make is that just because we can substitute chords to fulfil the same or a similar harmonic function again does not imply a direct relationship. Here is a parable to illustrate the point; you have a red jacket. I also have red jacket. We both have red jackets. Does this mean that we are similar in a fundamental way or is it a cosmetic coincidence? I would argue the latter. Cheers Rowan

[@dany.3614]

Why would harmonic relationships be solely dependent on the diatonic scale? I'd argue that based on the tones generated by the overtone scale those relationships are there. For example, A7, D7 and E7 aren't produced by a diatonic scale yet they have a clear harmonic relationship. The changes to Hey Joe (C G D A E) aren't produced by a single diatonic scale yet there's a harmonic relationship (E blues works over the set of changes emphasizing E as the "key". You could solo by playing C maj, D maj and E maj but it wouldn't sound like the blues. A7 D7 and E7 are all simply expressing notes from the overtone series- those flat sevenths are present in every single harmonic series. I would argue that this is recognizing a deeper relationship than simple diatonicism- a system that historically rejected modes in favor of two more symmetrical key centers. The b5 or #4 is also in the harmonic series- way up there. If you chart the harmonic series those relationships become clear. If you generate the chromatic scale by each note creating a perfect fifth above then all notes are related by fifths to some degree. I'd use the analogy that notes naturally contain dissonant notes deep inside. It's like saying that humans who commit atrocities around the world aren't "human" but they really are: because that's what humans are capable of being.

[@87licorice]

Rowan is god

[@RowanJParker]

+Drew Doyle I'm sceptical about the existence of God so I don't think I am one...

[@87licorice]

I was an atheist Rowan- until I stumbled upon the miraculous way in which you make difficult concepts sound easy, it's divine articulation. I'm now an orthodox Rowanist.

[@BunkleMcCrunkle]

+David Gilmour Holy Shit! You're David fucking Gilmour!

[@87licorice]

+owenmcburns nothing to do with Pink Floyd

[@sadahnmo]

Super Super Like

[@kewlfonz]

The quick and dirty method for learning the super locrian, is just take the first four notes of the half/whole diminished scale or first four notes of the Phrygian Mode (Which are the same notes), then play a whole tone/augmented scale for the rest - dead easy...

[@RowanJParker]

Simon Loveland I think minor conversion is easier, works for multiple chord types as well.

[@kewlfonz]

I was justing thinking in VISUAL terms of comparing it to something I know already - That's how I learn most new, exotic scales. Since I know the half/whole diminished and I since I know the whole tone, it's therefore easy for me to learn this new scale, just by remembering it's a combination of these two, otherwise I'd get very confused when trying to finger the scale just using my ears although obviously that's the ultimate objective - to be able to 'hear' the Super Locrian without a guitar, piano... Thanks for the free lesson. Very informative and educational.

[@kewlfonz]

Incidentally, is the backing track you're using available for download/purchase? I like the sound of it...

[@RowanJParker]

That's kind of the point about minor conversion, it simplifies the thinking process and also works for all the modes of melodic minor as well. Check out Pat Matino talking about this.

[@kewlfonz]

@@RowanJParker Yes, I think you're right. I'll have to start think about it like this.

[@paan36ty]

👍👍👍👍👍👏👏👏👏👏👏👏✌✌✌

[@LeMans512]

Why can’t you explain this in the key of C? You lost me when you went from E7 to Faug7 to Bb7 Yada, yada, yada.??? Then to C7 to.....? How about G7 to... Keep it SIMPLE. This is why Jazz is so difficult to grasp.

[@RowanJParker]

Eh no. It was explained simply. You just need to put the labour in to understand. Thats not my responsibility or failure as an educator. Cheers R

[@RowanJParker]

Besides, if you want this advanced concept explained to you in the key of C, which isn't even applicable as a melodic minor scale isnt related to the major scale, then I think you need to do some remedial work on your basic understanding of harmony. Its like the student blaming the mathematics teacher for not explaining calculus simply when the student can't do arithmetic properly. Suggest you get a firm understanding of diatonic major harmony first, then attempt to understand this stuff. R.