MOCK'S DON, JAZZ GUITAR MASTERCLASS. LIBRO CON CD E TABLATURE
LIBRO METODO DI MUSICA JAZZ CON COMPACT DISC
SPARTITI PER CHITARRA.
ACCORDI, PENTAGRAMMA E TABLATURE.
Category: Guitar Method or Supplement
Format: Book & CD
This amazing three-section set of personal lessons with jazz guitar guru Don Mock features hours of personal audio instruction, play-along tracks, and demonstrations, with a complete accompanying book of music examples, exercises, and transcriptions in notation and TAB. Section 1 covers the all-important, Wes Montgomery-inspired Octave Technique. Section 2 is devoted to the target tone concept, which simplifies the improvising process, enabling you to play sophisticated lines that resolve beautifully into the correct chord tones. Section 3 is devoted to turnarounds: short four-chord progressions often found at the end of tunes to setup and return to the beginning.
"Don, I know, mastering jazz guitar can take a lifetime, but are there a few concepts and techniques I can work on now to improve my playing?'" This is a pretty common question, and one I hear from students all the time. To many, the world of jazz guitar seems like it's made up of hundreds of difficult concepts and techniques along with a dizzying amount of complex theory. But a lot of players just want to learn a few manageable ideas to get under their fingers without being drowned in heavy concepts. I usually answer the question by reminding them that learning to play jazz can be a life-long endeavor, but it's also an ongoing "work in progress." You can't wait around practicing until you think you are good enough to playa gig. As Howard Roberts always said, "You are a guitar player from the first day you pick it up." Learn a few things and get out and play, then continue to develop your skills. The three ideas outlined in this book, octaves, turnarounds, and target tones, are important cornerstones of jazz guitar. Serious players at any level can jump into these subjects and have great results. It's important to remember that this is really an audio lesson with a companion book, not the other way around. Most of the in-depth discussion, demonstrations, and performances are on the CD; the book is for reference, showing the examples and short descriptions. And don't be surprised if, when I've finished performing some of the examples, I keep on playing to demonstrate additional ideas, or just 'cause I'm having too much fun to stop! Without a doubt, one of the single most emulated and beloved techniques in jazz guitar are octaves played in the style of the great Wes Montgomery. Virtually every jazz guitarist today uses octaves to some degree. I highly recommend to my students that they become proficient with octaves and able to play at least the melodies to tunes. It's one technique that can bring soulful fullness to melodies. This book focuses on the right-hand pick, or Wes/thumb techniques, and octave fingerboard shapes. You'll learn lots of Wes-inspired phrases as well as useful scale and arpeggio patterns. Arguably, the most powerful chord progression in jazz is the turnaround. Turnarounds are a lot more than a short group of chords found at the end of tunes. On closer examination, they are made up from smaller chord moves that are the essence of jazz and pop music, like major and minor II-V-I progressions. Numerous examples of substitution ideas, such as fiat-fives and secondary dominants, can be applied to turnarounds. Like a lot of players, I struggled with turnarounds, especially at faster tempos. My frustration led me to break down and analyze each of the four chords, and to learn some classic melodic lines for turnarounds. Then, I could at least manage improvising and comping over faster turnarounds. But when I came up with the simple idea that is outlined in this book, turnarounds quickly became my favorite type of progression. This book teaches you a simple approach to mastering turnarounds, centering on a basic "master melody" that captures the sound of each of the four chords. Then, it's simply a matter of moving the notes to different octaves to create variations of the line. All my students who apply this concept have made huge leaps in their playing of turnarounds, and e-mails from players around the world confirm they've had the same positive results. Another topic that sits at the top of my list of "must learn" concepts for jazz guitar is target tones. "Target tones" is really a cliche name for the art of using chromatics in improvising. I discovered early in my career that the chromatic scale alone was not the solution for creating melodic lines with chromatics. My search to understand it allIed to several books and recordings of everything from classical music to modern jazz. It became clear that good melodies often had mini-melodies contained within them that used the "wrong" non-scale tones to support, strengthen, and set up strong tones. I began using very basic fournote target-tone melodies within my scales and arpeggios. Immediately, I was creating lines that contained some, or even all, the "in-between" tones. But more importantly, the lines retained the sound of the chord I was soloing over. We'll go over a few easy target melodies and take aim at chord tones. It' a surprisingly simple but powerful concept that should have you playing traditional, modem, and bebop jazz chromatic melodies in a fairly short time. I hope you enjoy working on the three topics in this book. Feel free to begin with anyone of them. Be sure to listen to the CD, and take advantage of the play-along tracks.
Title MP3 File
Preface
Introduction
Tuning Notes
Fingerboard Octave Shapes
Muting Strings
Picking: Thumb vs. Pick
Octave Exercises
Octave Arpeggios
Octave Scales
Melodic Lines Using Octaves
"Blues Axis" Jazz Blues Tune
Conclusion
"Blues Axis" Play-Along Track
Am7 Groove Play-Along Track
II-V-I in C Play-Along Track
F7 Groove Play-Along Track
Minor II-V-I in Am Play-Along Track
Title MP3 File
Turnarounds
Introduction
Tuning Notes
The Standard I-VI-II-VTurnaround
Turnaround Master Melody
The Secondary Dominant in a Turnaround
Scales for Turnarounds
Turnarounds in Blues
8th-Note Turnaround Etude
Rhythmic Variations
Rhythmic Turnaround Etude 2
Flat Fifth Substitution
I-VI7-II-V in G Play-Along Track
I-VI7-117-Vin Bb,Play-Along Track
Jazz Blues in C Play-Along Track
I-VI7-II-V in G Latin Play-Along Track
Title MP3
Target Tones
Introduction
Tuning Notes
Target Melodies
Arpeggio Fingerings
Melodic 8th-Note Phrases Using Target Melodies
Targeting with 16th Notes
Target Melody Theory
Targeting Scale Tones
Rhythmic Phrasing
Blues and Jazz Chromatic Lines
”Jazz Blues Solo Etude"
C7 Groove Play-Along
Cm7 Groove Play-Along
Cmaj7 Groove Play-Along
II-V-Iin C Play-Along Track
II-V-Iin E Minor Play-Along Track
Jazz Blues in Bb,Play-Along Track
Conclusion
About the Author
Don Mock is one of America's most respected guitar educators and players. Growing up in the
Seattle area, his musical upbringing parallels that of any guitarist who started out in the '60s.
First influenced by The Beatles and guitar heroes like Jimi Hendrix, Alvin Lee, Eric Clapton,
and Mike Bloomfield, Don soon discovered jazz and emulated many of the top players of the
time. His ability to learn the styles of other guitarists turned out to be quite an advantage, and
his reputation as a rock and jazz guitarist grew in the Northwest. After evolving through various
rock, blues, and jazz phases, borrowing from all the best, Don is now the master of his own
style, one that is a "fusion" in the purest sense of the word.
Don is well known among guitarists for his excellent technique and total command of the
instrument. His improvising concepts are the topic of several instruction books, including Hot
Licks, Fusion-Hot Lines, Artful Arpeggios, and Ten, and his popular Guitar Secrets series from
Alfred: Melodic Minor Revealed, Harmonic Minor Revealed, and Symmetrical Scales Revealed.
Don's latest works, Modal Mojo (the definitive study of modal playing) and Mastering the
Dominant Chord are also published by Alfred, as are his instructional videos The Blues from
Rock to Jazz and Jazz Guitar Rhythm Chops.
Don began his teaching career in 1972 at both the Cornish School of the Allied Arts and
Olympic Junior College in Washington state. In 1974, he met guitar legend Howard Roberts
and soon began to manage guitar teaching seminars in the Northwest for him. In 1977, Howard
brought Don to Los Angeles to help start the Guitar Institute of Technology (GIT), where Don
became a primary instructor and curriculum author. That same year, he teamed up with publisher
Roger Hutchinson (REH) to write and produce guitar method books. Don taught full time at GIT
until 1983, when he began a part-time arrangement, commuting back and forth from Seattle to
L.A. He has traveled around the U.S. and Europe, giving seminars to promote GIT.
In 1983, Don was called upon to direct most ofGIT's 300-plus videos, and in 1988, when REH
began its very successful instructional video line, he was hired as the primary director and
producer. His talent and expertise as a player and teacher, as well as a video producer, have been
a huge benefit to the many artists featured in REH videos, including Joe Pass, Allan Holdsworth,
Robben Ford, Scott Henderson, Herb Ellis, Steve Morse, Paul Gilbert, Pat Martino, Albert
Collins, Frank Gambale, Al DiMeo la, Keith Wyatt, John Petrucci, Joe Diorio, and Clint Strong.
Don is also a well-established live performer and recording artist, and became known for his
intense style and amazing guitar synthesizer while playing with an exciting fusion band in L.A.
The band performed at most of the top jazz venues and developed a large following of students
and fans. As a recording artist, he has appeared as a sideman on several albums and has two solo
efforts: Mock One and Speed of Light.
In 2004, Don joined Howard Roberts's son, Jay, in establishing the Roberts Music Institute in
Bellevue, Washington, where he lent his expertise to help develop the school's curriculum and
currently teaches classes on contemporary guitar playing.
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