MOCK'S DON, MASTERING THE DOMINANT CHORD. CD TABLATURE
REAL-WORLD CONCEPTS AND TECHNIQUES FOR IMPROVISING
GUITAR AXIS
AUDIO WORKSHOP SERIES
By Don Mock
Category: Guitar Method or Supplement
Format: Book & CD
DOMINANT MASTER SCALES
DEMO SOLOS
USEFUL DOMINANT 7TH VOICING
EXTENDED AND ALTERED 7THS
FLAT-FIFTH SUBSTITUTION
EQUIVALENT MINOR CHORDS
7Ths IN BLUES, ROCK, AND JAZZ
PRACTICE TRACKS OF CLASSIC TUNES AND PROGRESSIONS
This powerful book and audio lesson will expand your knowledge of not only the familiar V dominant 7th, but all of the secondary dominant 7ths that can be found in major and minor keys. Join Don Mock as he builds "master scales" for each dominant 7th and shows you the best voicings and the theory behind how they function. You’ll also explore the subject of extensions and alterations that can be added to dominants and the two basic ways dominants operate which are "static" and "functioning." You’ll play them in progressions and tunes and learn sample solos that demonstrate the correct scales, arpeggios and melodies for the various dominants. Discover why the study of dominant 7th chords will offer you the "keys to the kingdom" for truly understanding the workings of music. This one magical little chord gives music it’s movement, energy and tension. Knowing how dominants work will also greatly improve your dealings with other chord types including major and minors.
Welcome to this lesson on dominant 7th chords. A whole lesson on a single chord may sound a bit boring but stay tuned. With the aid of the pages here in the book and the audio recording, I hope to expand your knowledge of not only the familiar "V" dominant 7th, but all of the other secondary dominant 7ths that can be found in major and minor keys. We'll learn the best voicings and uses for dominant 7ths and the theory behind how they function. We'll also explore the subject of extensions and alterations that can be added to dominants and the two basic ways dominants operate which are "static" and "functioning." We'll play them in progressions and tunes and learn some sample solos that demonstrate the correct scales, arpeggios and melodies for the various dominants. And you'll learn that the study of dominant 7ths offer you the "keys to the kingdom" for understanding the workings of music. This one magical little chord gives music it's movement, energy and tension. Knowing how dominants work will also greatly improve your dealings with other chord types including major and minors. We will begin with understanding the diatonic system, it's "cycle of 5ths" and secondary dominants. Most players don't have a clear understanding of how and why there can be several "secondary" dominants in a single key. I was one of those players. I learned to play Rock, Blues and Jazz primarily by ear, and although I could play convincing chords and melodic lines over secondary dominants, I really didn't fully understand what they were or where they came from. This led to a lot of frustrating playing situations on gigs where I had to basically "fake it" by ear through certain chord changes. Even during my early years teaching theory at GIT, I did not clearly understand the big picture of the diatonic system's secondary dominants. I figured they were based in some form of "classical" theory and didn't relate to the modern music I was playing. Was I ever wrong. When I finally pieced together the complete story of secondaries, I found it much easier to negotiate even the most difficult chord changes. And my chord choices and melodic lines began to make much more musical sense. This lesson may appear to be very intense with lots of lists, details and the "do's and don'ts" of dominant 7ths. And to an extent, it is, but after we learn the specifics of each dominant type, there is a very important section later on where we will simplify and streamline all the information covered into an easy and practical "player's approach" to dealing with dominant 7ths. But for now, let's start at the beginning and learn as much as you can about each dominant chord. Learn the master scales and chord voicings and check out the sample solos which are full of melodic phrases you can use in lots of situations. And play all the chord progressions to help train your ear. You'll find that each dominant has it's own unique personality and sound. And once you start to "hear" those, you'll have much more success dealing with them.
About the Music Notation in This Book.
The point of the lesson is to learn the theory and application of dominant 7ths in the easiest and most practical way. Some traditional "classical" notation rules are not followed such as lower-case Roman numerals usedfor minor chords. Only upper-case numerals are used. Also, chord symbols will always be notated as; "m" for minor, "maj" for major, "dim" for diminished and "aug" for augmented. Alterations will not be in parenthesis with very few exceptions. And to help you clearly understand and analyze dominants in "keys," chord symbols in the examples will usually be shown as basic "seventh chords" with no extensions or alterations added.
The dominant 7th gives music movement, energy, and tension. This powerful audio lesson and book will expand your understanding of not only the familiar “V” dominant 7th, but all the secondary dominant 7ths in major and minor keys. Join Don Mock as he builds “master scales” for each dominant 7th, demonstrates the best voicings, and explains the theory behind how they function. You’ll explore extensions and alterations of dominants, as well as the two basic ways dominants operate, “static” and “functioning.” The included progressions and tunes give you a chance to practice, and sample solos demonstrate the correct scales, arpeggios and melodies. Discover why the study of dominant 7ths offers you the “keys to the kingdom” for truly understanding the workings of music.
Don Mock has become one of America's most respected guitar educators and players. Growing up in the Seattle area, his musical upbringing probably parallels that of any guitarist who started out in the 60's. First influenced by the Beatles, and guitar hero's like Jimi Hendrix, Alvin Lee, Eric Clapton and Mike Bloomfield, Don soon discovered Jazz and emulated many of the top players of the time. Don's reputation grew from the rock guitarist to the jazz guitarist in the Northwest. His ability to quickly learn the styles of other guitarists turned out to be quite an advantage in the long run. After evolving through the various rock, blues and jazz phases, borrowing from all the best, Don is now the master of his own style, a style that is literally a "fusion" in the purest sense of the word. Don is well known among guitarists for his amazing technique and total command of the instrument. His improvising concepts have been documented in several instructional books including: "Hot Licks," "Fusion - Hot Lines," "Ariful Arpeggios," "Ten," his popular Warner/Alfred Guitar Scale Secrets series: "Melodic Minor Revealed," "Harmonic Minor Revealed" and "Symmetric Scales Revealed." His recent Guitar Axis Masterclass series include; "Octaves," "Turnarounds" and "Target Tones." Don's latest work; "Modal Mojo" is the definitive study of modal playing. He also has three instructional videos: "The Blues from Rock to Jazz," "Jazz Guitar Tips" and "Jazz Guitar Rhythm Chops." Don began his teaching career in 1972 at the Cornish School of the Allied Arts and Olympic Jr. College, both in Washington State. In 1974 Don met guitar legend Howard Roberts and soon managed guitar-teaching seminars in the Northwestfor Howard. In 1977, Howard brought Don to Los Angeles to help start the Guitar Institute of Technology (GIT). Don became a primary instructor and curriculum author for the school. That same year, Don 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 LA. He also traveled around the U.S. and to Europe giving seminars to promote GIT. LA., Don had an exciting fusion band and performed at most of the top jazz venues. The band developed a large following of students and fans alike. He became well known for his intense style and amazing guitar synthesizer. In 1983, Don was brought in to direct most ofGIT's 300 plus videos. And in 1988, when REH began its very successful instructional video line, Don was hired as the primary director and producer. His talent and expertise as a player and teacher, as well as video producer, have been a huge benefit to the many artists who have been featured in REH videos. Artists include: Joe Pass, Allan Holdsworth, Robben Ford, Scott Henderson, Herb Ellis, Steve Morse, Paul Gilbert, Pat Martino, Albert Collins, Frank Gambale, Al DiMeola, Keith Wyatt, John Petrucci, Joe Diorio, Clint Strong and many more. As a recording artist, Mock has appeared as a sideman on several albums and has two solo efforts: "Mock One" and "Speed of Light. " In 2004, Don joined Jay Roberts, son of Howard Roberts, to establish the Roberts Music Institute in Bellevue, Washington. Don added his expertise in developing the schools curriculum and also teaches classes on contemporary guitar playing.
CONTENTS
Title
Introduction .
What Is a Secondary Dominant? .
Diatonic Harmony .
The Diatonic Cycle of 5ths .
Static and Functioning Dominant 7ths .
Building "Dominant Master Scales" .
I7-C7 (The Secondary Dominant 17 Chord) .
II7-D7 (The Secondary Dominant 117Chord) .
III7-E7 (The Secondary Dominant 1117Chord) .
IV7 -F7 (The Secondary Dominant IV7 Chord) .
V-G7 (The Primary Dominant V Chord) .
VI7 -A 7 (The Secondary Dominant VI7 Chord) .
VI17-B7 (The Secondary Dominant VII7 Chord) .
Combining the Master Scales .
All Dominant Demo .
Extensions and Alterations for Dominant 7ths .
Useful Dominant 7th Voicings: Extended .
Useful Dominant 7th Voicings: Altered .
Additional Altered Dominant Voicings .
Extensions and Alterations that can be added to Dominant 7ths .
Diatonic Chord Substitutes for Dominant 7ths .
Dominant 7ths in Progressions .
I7-The Secondary Dominant 17 Chord .
I7 Demo Solo .
I7 continued .
II7- The Secondary Dominant 117Chord .
II7Demo Solo .
II7continued
III7-The Secondary Dominant 1117Chord .
III7Demo Solo .
III7continued .
IV7 - The Secondary Dominant IV7 Chord .
IV7 Demo Solo .
IV7 continued .
V- The Dominant V Chord .
V Demo Solo .
V continued .
VI7 - The Secondary Dominant VI7 Chord .
VI7 Demo Solo .
VI7 continued .
VI17-The Secondary Dominant VI17 Chord .
VI17 Demo Solo .
VI17 conti nued .
bV117-The Dominant bV117Chord .
bV117Demo Solo .
Flat-Fifth Substitution .
Diminished and Augmented Chords are Dominants Too .
Diminished and Augmented Scales .
Diminished/Whole Tone Demo Solo .
Minor/Major 7ths as Dominants .
Using Equivalent II Minor 7th Chords with Dominants .
Simplifying the 8 Dominants into 3 Basic Groups .
Chord Charts: Dominants in Tunes .
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