Friday, September 11, 2009

Modal Mojo Info:

Just wanted to clarify for everyone the details about the Modal Mojo books and play-along tracks. There are two Modal Mojo products.
One is called “Modal Mojo Play-along Tracks” and consists of a free 10 page PDF booklet which describes the 28 tracks.
The audio tracks themselves are available on-line at locations such as I-Tune and Amazon MP3. The 28 tracks are divided into three groups, major, minor and dominant modal grooves. You can purchase each group, like you would an entire album, or you can just buy single tracks.

“Don Mock’s Modal Mojo” is a full-size 84 page book and audio lesson for guitarists distributed by Alfred Publishing. The book basically takes you through each of the 28 play-along modal grooves detailing ways to improvise over the particular groove and includes etude/demo solos for each modal type. I also spent a good deal of time on modal rhythm playing. The book comes with the same 28 modal grooves but also includes over 4 ½ hours of audio instruction. The audio comes on two disks as high-end MP3 files, one of the first instructional books by Alfred to use this format. The tracks sound great and let me just say…… I did a LOT of talking and playing on the audio CD. So if you don’t mind a few long-winded explanations and demonstrations about everything modes, I think you’ll find this to be one of the best books on the subject.

“Jazz Rhythm Chops” DVD Booklet PDF

For those of you who purchased my video “Jazz Rhythm Chops,” I’ve posted an improved PDF booklet of the examples in music notation and tablature. Just click on link below to download.

The original tab sheets, that were included with the DVD and original VHS tape, are not very good and I would prefer that you have the new version. When we produced the video, I sent Warner Bros. my original charts, but there was not enough space for all the material to fit in the small booklet that’s placed inside the video packaging. So they decided to make a reduced tab-only version. I was very disappointed when I saw the small sheets they printed. I expected them to at least add the rhythms to the tab notation but they didn’t. We planned to add the complete booklet as a PDF on the DVD when the time came to re-duplicate new copies, but were not able to connect in time with the folks at Alfred (who had taken over the product line from Warner a few years ago). Fortunately, thanks to the internet, I’m now able to get you the booklet.
-Don Mock

Tuesday, September 1, 2009

"An Evening with Joe Pass" by Don Mock

During the first half of the '90's, my partner Roger E. Hutchinson (REH) and I directed and produced dozens of instructional videos featuring some of the greatest guitar and bass players in the world. All of these shows which were produced under the Warner Bros. banner which is now Alfred. We're very proud of the accomplishments and treasure the friendships that came out of the unique experience. In many cases, the videos were shot in Seattle, Washington where Roger and I both live. We had some great times flying in the artists, picking them up at the airport, hanging out with them, eating dinner and even having a few stay at our homes. We also shot several in Los Angeles, where I commuted at the time to Musicians Institute where I taught. Many of the artists were reluctant performing in an instructional video not having a lot of teaching experience. It was my job to help them prepare and take them through the process. Besides being the director, I found myself doing all kinds of things from mixing the audio, running a camera or playing some rhythm guitar.

Shoot days were often very long, but we were always able to capture more than enough information and demonstrations to put together good programs. As you can imagine, we have a lot of great stories to tell. We had lots of fun, as the shoots were filled with great playing, screw-ups, re-takes and some fabulous spontaneous performances. Some day we just have to put out an "out take/bloopers" video of some of the hilarious episodes!

The video I want to tell you about is one of my favorite and proudest productions. I was lucky to have been friends with Joe Pass spending time with him at MI when he dropped by to do some clinics or a concert. He was a wonderful and down to earth person and it was easy for me to forget, when having some dinner and wine with him at a restaurant, that he was simply one of the greatest jazz guitar players who ever lived. In the early 1990's we brought Joe to Seattle to film his first REH video "Jazz Lines." When we first approached Joe about doing a video, we wanted to talk him into playing over some single static chords, II-V-I and turnaround progressions. Knowing Joe, we expected him to swear at us in Italian, refuse, and tell us that students should only learn tunes, not scales or licks. But to our surprise, Joe thought it was a great idea. "Jazz Lines" turned out to be an absolute goldmine of classic "Joe" as he played brilliantly over simple static chords through altered turnarounds. This still continues to be one of my most recommended jazz guitar videos.

A few years later Joe agreed to shoot a 2nd video that would be more of a "live" concert and clinic called "An Evening with Joe Pass." The plan was to shoot the show at Musicians Institute in LA in front of a packed house. I thought it would also be cool to film Joe's entire visit to the school so our camera man and I met Joe in the parking lot when he arrived and just kept rolling as he came in the building and got ready to play. He didn't even bring an amp and told me to just take the guitar direct into the PA. We actually got a pretty good recorded sound on his guitar which sounded amazing live in the audience.

Joe was showing signs of his illness during the shooting of but you would never know it by the way he performed. If you never had the chance to see Joe live, this video is probably the next best thing. You'll see him rehearse with the trio and talk with me about his influences among other things. Joe was full of life as he joked around with us, and talked with some of the other teachers and students. He played great during the concert and kept everyone mesmerized during the clinic portion. The very end of the video is very special to me as I walked Joe to his car. As he lit up his famous cigar, he simply said "I'll see you guys," and drove off. I never saw him again. -Don Mock

Here's more info about the video:

"An Evening with Joe Pass" is a very special 90 minute instructional and performance video by this legendary jazz guitarist. REH's camera crew spent the day with Joe as he visited Musicians Institute for a concert and clinic.
Joe Pass on stage at Musicians Institute with Joe Porcaro and Bob Magnusson during the filming of "An Evening with Joe Pass." You'll sit in on the sound check and watch Joe run through some standards in the pre-concert rehearsal with bassist Bob Magnusson and drummer Joe Porcaro. Later, host and fellow guitarist Don Mock talks with Joe about his incredible 50 year career. At concert time, Joe walks on stage to an enthusiastic and packed house. The trio performs many jazz classics including "Satin Doll," "All the Things You Are," and "You Don't Know What Love Is." Joe also plays his solo arrangements of "Stella by Starlight" and his own "Solo Piece." In the clinic portion of the evening Joe discusses and demonstrates his renown style. Answering questions from the audience, Joe talks about chord-melody and "playing what you hear." The booklet includes transcriptions form the concert and examples in music notation and tablature. Don't miss the chance to spend an evening and get to know this jazz guitar giant and very special man. In his incredible 50 year career, Joe Pass was one of the most influential and respected jazz guitarist in the world. He was known equally for his incredible single line improvising as well as brilliant chordal playing. The Grammy winning guitarist recorded numerous solo albums and performed with many legendary artists including Oscar Peterson, Ella Fitzgerald, Dizzy Gillespie, Duke Ellington and Count Basie. REH and Warner Bros. are very proud to have had the opportunity to produce two inspiring and informative videos documenting for all time Joe's approach to the instrument he loved.

Sunday, August 30, 2009

Don Mock's Stevens LJ Guitar

I am the very lucky recipient of the original Michael Stevens LJ model guitar, Serial Number 1. That’s right ONE! Can’t say if it’s the best one he ever built, cause I have not played any others. But if they are anywhere close to as good as this instrument is, the owners are also very lucky.

Here’s a quick story of how I landed the guitar and how it’s been my faithful main instrument for nearly 20 years. Although I played a lot of big acoustic jazz guitars over the years, I was basically a Les Paul guy. I bought one new in 1968 and have had one ever since. Was never much into Fender’s but did have a Strat type guitar built in the early eighties bowing to the pressure to have the “cool L.A. sound” of the time. I never really played it much live, only on recordings. In 1977 I moved from Seattle to L.A. at the invitation of Howard Roberts to help him start a music school in Hollywood. My many years at GIT, which became Musicians Institute in the mid eighties, gave me the opportunity to meet, teach and play with some of the world’s greatest players. One of them was Robben Ford. We became good friends playing at the school and doing promotional seminars around the country. I also produced his instructional videos and formed an acoustic guitar trio with Jamie Findlay, Robben and myself. We played a bit on the West Coast when ever we could hook up.

By the mid 1980’s I was spending half my time back in Seattle commuting to the school in L.A. every other week. It was at the 1989 N.A.M.M. show that I met and played my future favorite guitar. Robben was there promoting his Robben Ford Artist model for Fender. He was suppose to play several little concerts at the Fender booth. When I ran into him the first morning he grabbed me and said, “Don, can you play some tunes with me at the Fender booth?” He had not prepared anything and did not have anyone to play with. I told him I was happy to do it but did not bring a guitar with me. He said that there would be all kinds of guitars to choose from. That was not very reassuring to me cause I can hardly play a stock Strat cause the knobs are too close to the strings and I whack my hand on them. And I had never had any luck trying to play a Telecaster.

When we reached the Fender booth, there was a little stage set up with lots of amps and several guitar lined up on stands. I began to panic a bit as all I saw was Strats and Teles and feared I would fall on my face trying to play one and maybe even embarrass Robben too. Then I noticed an odd guitar sitting in the corner that looked kind of like a Les Paul with crooked pickups. So in my panic, as a crowd was forming to see us play, I grabbed this guitar and asked what the heck it was. Dan Smith, the Fender Vice President of Marketing, told me it was a prototype for a new Fender line. I strummed one chord on it and quickly told Robben in a relieved tone “This will work, let’s play.” After a tune or two to get our bearings, I kept thinking to myself, “what is the deal with this guitar?” I never like strange guitars when I first play them. Every one I have ever owned I have reworked and changed just about everything to make it play and sound the way I wanted. But here I was playing this strange guitar and loving it exactly the way it was. It had a wider than usual fingerboard which I like, and sounded great and it’s balance and feel were perfect. And because of it I played pretty damn good that day with Robben too! In fact we played several more performances over the weekend at the booth with Robben playing great as usual on his Artist guitar and I continued to play on the “odd guitar with the crooked pickups.” People kept coming up to me when walking around the show asking what that guitar was I was playing. I told them the very little I had been told about it, but it is the best thing I’ve ever just picked up and played.

Finally after one of our last concerts at the booth, Dan Smith introduced me to Michael Stevens. He told me Michael was a guitar designer/builder who was heading up Fender’s Custom Shop. They began to tell me the whole story of the guitar and that is was indeed a prototype for a new Fender line to be built in Japan. The guitar was build by Michael to be the first prototype. A few more were built by the Japanese to further serve as prototypes to test the new design. This particular guitar did not have the Fender logo on the head stock. Michael had put his own logo/name and two letters “LJ” which I did not know until recently what LJ stood for. (check out the story of LJ on the Stevens web site.) Then came the big shock. Dan Smith said, “So Don, how would you like to have this guitar?” I was pretty surprised and thrilled and of course said “Yes”!! They were looking for players to help promote the guitar and said if I would play it, I could have it. Michael and taken note of my style and technique while playing with Robben. He could tell I was a jazz player who picked pretty hard. He offered to take the guitar back to the Custom Shop and do a bit of work on it for me. He said to come and get it at the shop in a few weeks.

I went back to Seattle for a couple of weeks but couldn’t wait to get the guitar. When I returned to L.A. I headed straight to Corona to the Fender Custom Shop. When I arrived, Michael had the guitar all ready to go in a nice custom case. But to my surprise, the guitar looked a bit different. Michael, had given it a makeover with additional inlay on the fingerboard, different knobs and pickguard, giving it more of a jazz guitar look. It looked great! He had also done some work on the electronics adding a coil tap to the bridge pickup. I could not have thanked Michael, Dan and the folks and Fender enough for this amazing instrument. I told them I would do anything I could to help promote the new guitar line. They told me I would be hearing from them as they would need photos and might even send me out to do clinics to spread the word.

The following is a recent excerpt from an email from Michael Stevens regarding the guitar and this story:

“I was so rushed to get this guitar done for the NAMM show, that in order to have an unusual fingerboard I had put only the diagonal line of purfling on the board leaving the fret spaces where normally a marker would be blank. I was trying to have markers on the fancy model different than dots and I did some experiments. The Japanese curly LJ's had a combination dot and round end block . You said no problem I don’t look at the fingerboard much anyway. You had the guitar for some time ?? And called me to say you guessed you did look at the fingerboard more than you thought and kept hitting the wrong fret, could I fix it, just stick on some dots. Just putting a row of dots down the middle looked to me like a band-aid fix of a goof (which it was) but I did not want to admit it that way. Knowing this was going to a Jazz oriented player allowed me to think a bit fancier and move it into a design concept instead of an opps fix. I always called it the Lawrence Welk (Champaign bubbles) Also that is when I decided to make a pick guard more like an old L5. How is the stain holding up ? I had figured after a while you would pick through the lacquer and create a white spot. Also at your request I changed the neck pickup to a Seymour Duncan Jazz/ with a tap. You liked the clarity of the D'Marzzio but said you were used to that old alnico tone, but you raved about the bridge D'Marzzio as a distortion pickup because it did not color the effects you used.” -Michael Stevens 10/04

After I left the shop, I headed to MI for my two-week teaching stint. I walked into my Fusion Guitar Class with the new guitar to lots of whispers and inquisitive looks from the fifty or more students. By the end of the day everyone including the other teachers wanted to check out this beautiful guitar and hear the story about it.

Within a few weeks it was obvious that the LJ was becoming my main guitar. With a little tweaking of the action and experiments with string gauges I got it playing and sounding amazing. And once back home in Seattle, I was able to do some head to head comparisons with my other guitars, mainly my old trusty Les Paul. The LJ simply did everything better. Because of the slightly larger body, the LJ sustains and has a fatter tone than the Paul, especially the jazz tone on the neck pickup which I need much of the time. But I also needed the guitar to rock too and was really surprised at how well it sounded when cranked with distortion on the bridge pickup. And then I hit the push-pull pot to switch to the single coil sound and Wow! A huge fat yet Strat-like bright and smooth tone. And this setting also sounds very cool clean too.

It wasn’t long before the LJ got it’s first shot at recording and it was better than I expected. In fact every instructional book and video I’ve done from then on has featured the LJ. And most of the time, I recorded the guitar straight into my digital recorder direct. One guitar and one cable, that’s it. I recently wrote a book on octaves (Guitar Axis Masterclass Series - Octaves) demonstrating a lot of things in the style of Wes Montgomery. Strumming the octaves with my thumb ala Wes, I got a great sound with the LJ. Wes of course used his famous Gibson L-5 to get his warm and fat tone, but I came pretty close, pretty surprising for a solid-body guitar.

And at about the same time I was recording little “Quick Tip” Blues lessons for the Experience Music Project web site. The LJ came through great getting a gritty blues tone for the demonstrations. I simply plugged straight into my Deluxe, stuck a mic on it and cranked it. Killer tone. Wes one day and Clapton the next. Pretty damn versatile guitar.

I’m not completely sure of the reason why Fender decided not to follow through with the LJ guitar line. After about a year after I received the guitar, I did not hear from Fender again. Here I was with this beautiful guitar and no way to show my appreciation for it by doing PR. My guess is that the Japanese could not replicate the LJ prototype well enough for the costs Fender was hoping for. And Fender was not known for selling high-end expensive instruments. So the project was scrapped. A year later or so, Michael Stevens left Fender to continue his own custom guitar ambitions. I actually lost contact with Michael over the years, not realizing that he was continuing to build not only LJ models but basses and other guitar models back in his Texas shop. All at the highest level. And for years unfortunately, I have told hundreds of people asking about the guitar that I had one of the only ones and did not think they were available. Sorry Michael. A lot of players who checked out my guitar might have ordered one.

Guitar purists will probably think I committed “blasphemy” by adding a synth pickup to the LJ. But here is another aspect of the LJ that excels. I’ve always played a lot guitar synthesizer in my career. I use it live for chords and for doubling lines and melodies. I have had many different guitar synths over the years including a custom-built double neck with wired frets. But I found myself returning to the Roland system because of it’s simplicity and decent tracking. I’ve stuck Roland pickups on just about every guitar I have owned including acoustics but the LJ is by far the best guitar for a controller. Because of it’s solid and larger body, the LJ sustains forever which is a must for synth playing. The strings also respond very even which makes Roland’s tracking better than on any other guitar I’ve played. Almost every day I use the LJ midi’d up to my computer to write music notation and tablature for my books and for recording midi tracks.

And when I play live, I use the LJ through a a couple of Roland’s synths. The synths are sent to a mixer and to my powered P.A. speakers. I plug the guitar direct into a Fender Deluxe which the signal is then sent from the pre-amp out to the mixer. I can add stereo effects at the mixer. I can also bypass the amp to get a huge clean sound from the P.A., or combine the two. For guitar strings I have been using basically the same set for 30 years. 11-14-18-28-38-49 (D’Addario XL). I sometime put on a 11.5 if I’m playing or recording straight-ahead jazz to get a stronger high E string. Other than the synth pickup, I have not done a thing to the LJ. It still even has the original frets, which is surprising since I’ve played it day in and day out for 15 years. It is finally showing signs of fret wear, so I will probably ship the guitar back to Michael for a re-fret job.

Well, that’s the story. Thanks again to Michael for the beautiful guitar. If you are looking for a high quality instrument that is very versatile, check out an LJ. You won’t get serial number 1, but it will be your number one favorite guitar.

-Don Mock

"Mock One" album by Don Mock

(Available on I-Tunes and AmazonMP3)

1. You Choose One (Don Mock) BMI
Don Mock - electric guitar
Ken Cole - Rhodes piano and Oberheim Synthesizer
Paul Farnen - electric bass
Dave Coleman - drums
Tim Celeski - congas and percussion

2. Song to a Seagull (Joni Mitchell) BMI
Arrangement - Don Mock
Denny Goodhew - saxello and tenor saxophone
Don Mock - acoustic guitar
Ken Cole - Rhodes piano
Ron Soderstrom - trumpet
Luis Peralta - samba whistle and cuica
Tim Celeski - congas
Dave Coleman-drums and percussion

3. Stellar Stomp/ Waltz of the Stratus Dancers (Don Mock) BMI
Don Mock - electric guitar
Ken Cole - Rhodes piano and guitar synthesizer
Paul Farnen - electric bass
Dave Coleman - drums and percussion
Tim Rock - siren
Jim Bredouw - cabasa
Stacy Solberg – viola

4. Stephanie's Peace (Don Mock) BMI
Don Mock - guitar and 360 systems/Oberheim Guitar Synthesizer, percussion
Tim Celeski - percussion

5. Theme to Dream (Don Mock) BMI
Ron Soderstromfluegal horn
Don Mock - guitar
Ken Cole - Rhodes piano
Paul Farnen - electric bass
Dave Coleman - drums and percussion
Tim Celesti - percussion
Stacy Solberg -viola

6. Entrance of Heather & Transition of Heather (Ken Cole) BMI
Ken Cole - acoustic piano, Rhodes piano, Oberheim synthesizer
Don Mock - electric guitar, 360 systems/Oberheim guitar synthesizer
Paul Farnen - electric bass
Dave Coleman - drums and percussion
Tim Celesti – congas

Produced by Don Mock
Associate producer - Jim Bredouw
Engineer production assistant - Tim Rock
Mixed by - Jim Bredouw
Assisted by Don Mock, Tim Rock, Ken Cole
Recorded at: The Music Farm - Seattle, Washington
February - April 1977
Art direction and cover design - Kathy Adolphsen
Cover photo - Bill Johnson
Photography by Mead Powers, Paul Farnen, Mary Jane Cody

Special thanks to: Roger Hutchinson and REH publications, Howard Roberts, Jim Wolf, Judy Strawn
My many supportive students and friends and of course the musicians that played on this project.

1978 Wolf Records – 2007 Mock One Productions

Mock One was recorded in early 1977 right during the time I had moved to Los Angeles to help start The Guitar Institute of Technology with Howard Roberts. I flew back to Seattle a few times to complete the recording. The band was made up of great Seattle players and was called “Marbles.” We performed regularly in the area either as a quartet or with the added horn players and percussionist. The music was deep rooted in Jazz and Fusion popular at the time. I wrote most of the compositions and the arrangement of the Joni Mitchell tune “Song to a Seagull.” Ken Cole, our fine keyboard player, contributed his suite “Entrance/Transition of Heather.”
On a few cuts, I played one of the very first guitar synthesizer’s; 360 Systems had developed a pitch-to-voltage converter which I ran through an Oberheim synthesizer module. The tracking was pretty rough with lots of glitches but the system was the forerunner of current systems such as the Roland GR series. I played my trusty 1971 Les Paul and my ‘60’s L-5 for the rest of album except for a borrowed Martin acoustic for the Joni Mitchell tune.

During the 1970’s, mainly thanks to John McLaughlin, writing compositions in odd-time signatures was all the rage. Drummer Dave Coleman and bassist Paul Farnen, who I had been playing with since high school, spent hours working on every weird odd-time feel we could. The result was three pieces for this album. The opening cut, “You Choose One” is in 6/8. “Stellar Stomp” is a funky groove in 7/4 that transitions into the 14/8 “Dance of the Stratus Dancers.”
There is some great playing at times by all the talented musicians that still holds up today.
Denny Goodhew’s sax solo on “Song to a Seagull” is a high point as is Ron Soderstrum’s “out” fluegal horn solo on “Theme to Dream.” The core quartet also turned in fine performances. Although I’d love a chance to go back in time and have another shot at some of the guitar solos.

But, there’s a few moments of decent ’70’s fusion guitar playing. Ken Cole, the burning keyboard player, and I used to have lots of fun with the ripping solo trading sections. And I still love the energy and colors our two percussionist Luis Peralta and Tim Celeski brought to the music.

Dave Coleman, who I still perform and record with, showed why he is one of Seattle’s top drummers. In fact, Dave and bassist Paul Farnen joined me in LA later on in 1977. We rented a house together in North Hollywood and continued the band performing at most of the top Jazz clubs in the area.
The “Mock One” album brings back lots of great memories of my early career and I hope you discover tunes or performances that you enjoy. So, thanks for re-visiting the amazing late ‘70’s with me. It was quite an exciting and musical time!
-Don Mock

"Speed of Light" album by Don Mock

(Available on I-Tunes and AmazonMP3)

1. St. Clair - 5:31
2. Robben’s Bebop Blues - 4:03
3. Hip Hop Cowboy - 7:06
4. Ballad of Triangles - 2:05
5. Kasamba - 3:28
6. Field of Six - 5:19
7. Etude of Two Hearts - 1:55
8. User Friendly - 5:06
9. Flight of the U-10 - 7:53
10. Hip Hop Cowboy -Part 2 - 4:52
11. Apache Nightmare - 3:37
12. Silent Castle - 7:15

All compositions by Don Mock except:
Apache Nightmare by Howard Roberts and Jac Murphy
Robben’s Bebop Blues by Robben Ford
The theme from Flight of the U-10 - unknown
Speed of Light is a collection of compositions and computer tracks recorded at Mock One Productions, Seattle Washington. With the exception of St. Clair, Silent Castle and User Friendly (which are studio demos), all tunes were computer sequenced and/or recorded on a Tascam 4-track cassette recorder. All drums, bass and keyboard type parts recorded into the computer using a Roland Guitar Synthesizer with the exception of:
St. Clair and Silent Castle
Drums: Dave Coleman, Bass: Chuck Deardorf, Piano: Marc Seales
User Friendly
Drums: Mike Bueno,Bass: Dan Dean,Piano: Marc Seales
Robben’s Bebop Blues
Piano: Marc Seales
Produced by Don Mock
Dedicated to the Memory of Howard Roberts who was a great friend and inspiration to my guitar playing and my teaching. -Don Mock
Special Thanks to Kathy Adolphsen, Mark Morgan, Mike Stevens Guitars, Marc Seales, Dave Raynor, Harry Gatjens, Roger E. Hutchinson, Dave Coleman, Chuck Deardorf, Dan Dean, Mike Bueno and Jim Greeninger of Digital Domain Disks.

I had originally named this collection of tunes “The Basement Tapes.” I produced a few hundred cassette copies mainly for my GIT students so they could hear me play some of my compositions we were working on. Most of the tunes were basically rough demos which I recorded on my home studio (in my basement) 4-track cassette. I never considered the tracks to used on a “real” product. But soon after the tapes were duplicated, Jim Greeninger of DDD Records called me and wanted to release the album on CD. Playing off the title of my first album “Mock One,” he renamed it “Speed of Light.”

The CD was mainly sold in a few stores on the West Coast and later a few internet outlets. But eventually, we ran out of the first run of CD’s and the recording was out of circulation for several years. But thanks to the web, we’re now able to re-release the CD in digital downloadable form. This album will certainly not win any awards for it’s recording quality and some of the performances are rough but I’m proud of how well some of the tunes came out.

Being originally conceived as a demo, I wanted to demonstrate my playing and writing in various ways using several different guitars and sounds. Most of the electric guitar is my Mike Stevens prototype “LJ” with a Roland synth pickup. All of the midi recording of drums, bass and keyboard parts were input with the Stevens guitar. I also grabbed my Strat for a few things as well as my nylon and steel-string Ovation acoustics.

And that’s my custom Moller double-neck synth guitar playing the “Jan Hammer-ish” solos on tunes like St. Clair and Field of Six. The top neck has wires attached to each fret under the fingerboard. The strings are also wired so just the contact of the string touching the fret triggered the Oberheim synth modules I used. It’s the fasted tracking synth ever build but has lots of short-comings including mono-phonic (no chords) and mono-dynamic (no loud and soft). And it required a whole new left-hand “hammer” technique to play it. I did love using the pitch-bend lever which allowed me to do very un-guitar type bends and vibrato. The bottom neck is a regular electric guitar with a Roland system built in. A very experimental, exciting and heavy guitar.

"Speed of Light” does feature some very fine “real” players including drummer Dave Coleman, Chuck Deardorf on bass, Marc Seales on keyboards, Dan Dean on bass and Mike Bueno on drums.
A few of my favorite cuts are “St. Clair” and “Flight of the U-10.” Named after the street I lived on when I first moved to LA to start GIT, “St Clair” became a standard as far as fusion tunes go ending up in a few “fake" books. It’s a fun tune to play and the recording has some decent solos including a few seconds of “no idea how I pulled that off” guitar and synth licks. The “Flight of the U-10” is based on some sequenced background music I heard played on a sports broadcast showing, in slo-motion, a spectacular hydroplane crash which seriously injured the driver, who I knew. The music sequence was haunting and I “borrowed" the basic theme and built a groove from it. I added acoustic guitar and a few synth solos and like how it turned out.

And of course, “Apache Nightmare” is a tune I used to play a lot with the great Howard Roberts who wrote it. We always played it as a high-energy fusion tune, but for this recording I decided to change the key and play it on my nylon-string acoustic. And of all the tunes on “Speed of Light” I still play “Apache” to this day. Ironically, it’s usually with a guitar duo I play in with Jay Roberts, Howards son.
-Don Mock

Saturday, August 29, 2009

Top Ten Things to be a Better Blues Guitar Player

(not in any particular order)

1. A large collection of Blues recordings

2. The willingness and desire to hang out late in clubs listening to good Blues musicians. And be ready to “sit in” with the band if possible.

3. Tone. Having a mediocre tone can make everything you play lifeless and flat. A great guitar sound enhances every note and can inspire creativity in a player.

4. Patients - is a virtue in Blues soloing. A strong player with lots of chops patiently building a solo, “teasing” the audience comes off lot’s better than a player “showing their hand” in the first 12 bars. The phrase “less is more” is usually key to Blues playing.

5. Comping. Players with flashy soloing chops who neglect their rhythm playing will lose out every time to the guy who plays great rhythm parts and average solos. In Blues, supporting the singer or other instrumentalists and making them sound better is as important or more than big solos.

6. Emotions. Being able to make the connection from the brain to the fingerboard to communicate emotions is key. Anger, fear, love, feeling blue, joy and even sexual tension are great to express in Blues.

7. Music theory. Not a style of music known for needing to know a lot of theory, Blues can still benefit from a player who knows their stuff when it comes to theory.

8. A good ear. The best teachers are the guys on recordings. And the best way to learn what they’re doing is to copy and emulate them. A good ear make learning off recordings much easier. But having a good ear is equally important on stage. Listening to the other musicians and playing off each other is what live playing is all about. Not listening and paying close attention on stage is a quick way to find yourself band-less.

9. Sing, even if you are terrible. Singing is Blues. Learn the lyrics of a few Blues tunes. When no one’s around, pretend you’re B.B. King and sing a tune and add the guitar fills in the correct places. A gold-mine for learning about phrasing, comping and fills around the melody. On the gig, sing one if you’re brave enough, or simply let someone else sing it, but you will now have a much better feel and connection to the music.

10. Learn and understand the music business as it relates to Blues. Know who all the top national and local players are. Learn about the equipment, strings and guitars different players are using. Also learn about Blues history. Where did it come from? Who were the people that brought Blues to the forefront?

-Don Mock

The Story of the "TEN" Book

In 1982, we decided to put together a promotional book for GIT that brought together many of the great players who were associated with the school. I tackled the job of coordinating the project and help several of the guys write their chapters. It was quite a job, but I will always be proud of this book, as it is truly full of great information. I’ll always remember the evening at GIT, when all eleven of us got together for the cover photo shoot. I’d never been surrounded by so many incredible players in my life! We had a great time; Eddie joking around with Howard and Joe, Larry and Robben trading stories, and Tommy telling jokes and cracking everybody up.

But what people don’t know is that Pat Martino was originally suppose to be part of the project. In 1981, Pat had moved to LA to teach with us at the school. (I can’t tell you how great it was becoming friends and spending time with Pat. We had offices next to each other and in the mornings I could hear him practicing. He played some of the most amazing things, a lot of which were solo pieces he was writing.) So when the idea of the Ten book came about, Pat was one of the ten, plus HR, and would submit a chapter. And in fact the chapter was partly written when the evening came for us all to get together at the school for the photo shoot.

My wife Kathy, an professional art director hired a photographer, had organized the shoot. She made the huge book cover out of a sheet of plywood and we were all to sit around it for the photo. We all sat down and Pat was seated between Joe Diorio and Robben Ford. The photographer took probably 100 shots and then we all just hung out for a while afterwards. I’ve always said that if a bomb had hit the building that night, modern guitar playing would have had a huge set-back for years to come.

After the shoot I sat with Eddie and took lots of photos of his hand positions to use in his chapter which I basically “ghost-wrote” for him. Only a few days after that evening Pat Martino told the schools owner, Pat Hicks, that he was moving back to the east coast. I think Pat was dealing with the effects of his brain aneurism, and wanted to get back home to eventually undergo surgery. Pat made a fairly quick departure and with his chapter not finished it was decided to drop Pat from the book. This left us in a fix because we had a great cover photo and we knew that it would be a huge ordeal to get everyone together again for another shot.

Tommy Tedesco came to the rescue with the idea to get Joe Pass to replace Pat Martino so we would still have the “ten” players. But this did not solve the problem with the photo. Kathy then suggested that we re-shoot only the part of the photo where Pat had been seated. In the days before Photoshop, she felt that if we could get the four of us, who were seated on the left side of the book cover, she could have the image airbrushed together with the original to create a seamless photo. So that’s what we did. Joe Diorio, Robben Ford and myself joined Joe Pass a few days later and Kathy recreated the shot with the four of us. It’s nearly impossible to see the airbrushed seam between Tommy and myself. We eventually got the book completed with a new chapter by Joe Pass. A lot of credit goes to Tony Baruso, a former GIT student who was hired on by the school to do music transcription and notation. Tony was also close to Pat Martino and helped with Pat’s “Linear Expressions” book for REH Publications. As part of my compensation for my work writing and editing much of the book, I ended up with several boxes of the books. And to this day I still have a few hundred copies so if you would like one, send me an email at
-Don Mock

Producer Notes: Don Mock - "Jazz Rhythm Chops"

For years I received hundreds of requests from students for a book or video on jazz/blues rhythm phrases. I’ve always found that the blues progression served as a great vehicle for teaching the fundamentals of jazz. My first video “The Blues from Rock to Jazz” emphasized improvising on blues progressions. Following lots of requests from customers, Warner Bros. decided to release a rhythm guitar series titled “Rhythm Chops.” I tackled the jazz version. Once again the jazz/blues was the perfect structure to demonstrate chord moves used by legends of jazz guitar. I wrote several 12 bar comps which show my favorite voicings and chord movements. The section on 1/2 step connection is a extremely useful and easy tool for creating sophisticated chromatic movements. Thanks to a fine rhythm section, the demonstrations and play-along segments came out very good.
-Don Mock 6/02

The video packaging limitations required Warner to only add a small tab booklet of the examples. Below is the full music and tab PDF version available to download for those who have the video.

see additional post:

Producer Notes: Don Mock - "Guitar Secrets Harmonic Minor"

I haven’t met many guitar players who have spent as much time on the harmonic minor scale as myself. Some say it sounds too “middle eastern” or “exotic” to be useful as a rock and jazz scale. The truth is, the harmonic minor is a traditional classic scale that is right at home in western forms of music especially jazz. I have spent many years using the harmonic minor and have developed a large vocabulary of concepts and melodic lines.
Writing this book was an opportunity for me to lay out my whole approach to using this scale. You’ll learn that the harmonic minor is a must for playing in minor keys including minor II-V-Is. The key to getting the most out of the harmonic minor (and other scales) is mastering the art of “superimposition.” Rather than thinking in terms of modes, this technique has you learn only the one scale and simply superimpose it over chords in various ways. A natural approach for the guitar, an instrument that resembles a “slide rule.” The accompanying audio CD was the most important part for me. I wanted you to hear all the examples played in musical situations. I also used it as a forum to say lots more about the harmonic minor scale.
I want to thank Aaron Stang at Warner for all his valuable help on this book. I hope you check it out.
- Don Mock 3/01

Producer Notes: Don Mock - "Guitar Secrets Melodic Minor"

Does the world really need yet another book on scales? That was my question when talking with the guys at Warner Bros. about a new book series on scales for guitarists. But once I dove into the project, I realized that I had a lot of thing to say about the melodic minor scale that I had not seen in prior books. I’m very happy with the results, although a bit embarrassed about the humorous marketing theme making me out to be a spy revealing secret information. The book is, however, a true look at the scale from a players perspective. The key to getting the most out of the melodic minor (and harmonic minor) is mastering the art of “superimposition.” Rather than thinking in terms of modes, this technique has you learn only the one scale and simply superimpose it over chords in various ways. A natural approach for the guitar, an instrument that resembles a “slide rule.”
The accompanying audio CD was the most important part for me. I wanted you to be able to hear all the examples played in musical situations. I also used it as a forum to say lots more about the melodic minor. I want to thank Aaron Stang at Warner for all his valuable help on this book. I hope you check it out.
- Don Mock 3/01

Producer Notes: Joe Diorio - "Creative Jazz"

Without a doubt, Joe Diorio is simply one of the finest jazz guitarist to ever touch the instrument. Joe and I were two of the first instructors at GIT in 1977 and became good friends, playing together whenever possible. No one has inspired my own playing more than Joe. I never tired of listening to him play and tell stories about his early bebop years playing on the East Coast and Europe. If you can ever see Joe play live, DO IT!
Creative Jazz gives you a peek into the genious of Joe Diorio, and the warmth of his teaching. You’ll be inspired with lots of great improvising ideas and techniques to explore. Recommended for knowledgable students looking to widen their horizons.
- Don Mock 2/01

Producer Notes: Pat Martino - "Quantum Guitar"

An “at the top of his game” Pat Martino walked off the plane in Seattle to shoot his second video series for REH and Warner Bros. Pat had been performing a lot on the East Coast and in Japan with his new band, and was playing as well as ever. Once shoots like this wrap up, my work just begins as I look through all the footage editing together the final show. No other project sent me running for my guitar, more than “Quantum Guitar”. Pat played some of the most amazing lines I’d ever heard him play. From bebop inside melodies to outside, octave displaced ideas, this video has it all.
I would recommend “Quantum Guitar” to all guitar players even if you have only played a short time. Some concepts may be hard to grasp at first, but it’s a chance to be inspired by one of the world’s finest jazz guitarists.
-Don Mock 2/01

Producer Notes: Pat Martino - "Creative Force"

I had known Pat since the early eighties when we both taught at GIT. Pat had an office next to mine and remember listening through the wall to him practice, when students weren’t around. It was amazing. I’d long been a fan of Pat, especially his single-line improvising, but never realized what a tremendous solo/chord melody player he was. When Pat agreed to fly to Seattle for the video shoot, we asked him to include a few solo pieces along with his soloing techniques. Pat responded with several of his classic arrangements in “Creative Force”.
At first, many of Pat’s concepts seem unusual and difficult to understand for many students. But once you get to know Pat, as you quickly will in this video, and learn his musical vocabulary, the ideas will make the utmost sense. Pat’s “convert to minor” concept is one of the most important tools jazz musicians use.
“Creative Force” and Pat’s second video series, “Quantum Guitar” are amongst my highest recommended video for serious players.
- Don Mock 3/01

New Books by Don Mock

Mastering the Dominant Chord

Modal Mojo

Jazz Guitar Masterclass
(Contains "Turnarounds," "Target Tones" and "Octaves")

Introduction to Mastering the Dominant Chord

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.
-Don Mock

Introduction to Modal Mojo

Modal Mojo is an in-depth lesson on modes for contemporary guitarists. Each of the 13 modes on the play-along CD is explored from both a single-note improvisational and rhythm guitar point of view. You’ll notice that this book contains very little text; it’s intended to be used for reference to show the modes, patterns, scale harmonies, examples, and etudes in music notation and tablature. Join me on the audio CD, where you will find the demonstrations and my discussions about each example. And we’ll do a lot of playing, too: we’ll learn the correct mode, its fingerings, and some optional scales for each of the 28 tracks on the play-along CD.
The modes are divided into three sections: minor, major, and dominant. I’ll demonstrate each mode and talk about concepts you can use to make your modal playing melodic and interesting. I’ve also included an etude for each mode. The etudes, which are sample solos from 8 to 32 bars in length, include intervals, arpeggios, chromatics, and rhythms: all the ingredients for an interesting improvised solo. I’ll take you through each etude slowly, then we’ll play it up to tempo with the corresponding modal groove.
Next, we’ll get into the details about how to play interesting modal rhythm parts. We’ll look at the scale harmony and theory for each mode, and discover ways to use extended and substitute chords to create convincing rhythm parts.
In the Resource Section, you’ll find fingering patterns for all the primary “parent” scales that the modes are derived from. These include the major scale, harmonic and melodic minor scales, and pentatonic scales. I’ve also included a hybrid scale called a minor sixth pentatonic. The Resource Section also includes the most useful patterns for the symmetrical diminished and whole tone scales, as well as a special chapter on the three principles of chord substitution.
Modal Mojo addresses the most common modes a modern guitar player might encounter. All seven modes derived from the major scale are included. From the melodic minor scale we’ll look at the Lydian #5, Lydian/Dominant, and Super-Locrian modes. We’ll study the Ionian #5 and the Phrygian/Dominant modes from the harmonic minor scale, as well as one other modal groove, which is not really considered a mode: the Dominant 7#9. You’ll find this popular groove discussed in both the dominant modes section and the minor modes section.
The study and understanding of modes and the scale harmonies derived from them is truly a study of the workings of music. Although our emphasis is on playing rhythm and soloing on single-chord extended modal grooves, the knowledge you’ll gain will go a long way toward understanding key centers, theory, and how chords work together in progressions. Be sure to understand the mode, what its parent scale or key center is, and the chords that are built off of its scale tones. Make it a point to notice the sound and color modes create. And don’t forget to take advantage of the guitar fingerboard as a guide to find solutions: think of it as a slide rule, remembering that chord shapes and scale patterns can be moved up or down to new locations.
Modal Mojo is organized in a way that allows you to start with any mode you choose. If modes are new to you, I would recommend tackling the modes of the major scale first. From the minor category, these include Dorian, Phrygian, Aeolian, and Locrian. The major mode category includes Ionian and Lydian, and the dominant group includes Mixolydian.
I truly hope you enjoy this workshop!
-Don Mock

Introduction to Jazz Guitar Masterclass
Three Critical Jazz Guitar Concepts and Techniques

“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 first 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 play a 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 add a new things as you develop your skills.
The three ideas outlined in this book; Turnarounds, Octaves and Target Tones are important cornerstones of jazz guitar. Serious players at any level can jump into these subjects and have great results. I love to talk about these topics and it’s evident on the audio disk. So 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 audio disk. The book is really more for reference showing the examples and short descriptions. And I also just love to play so don’t be surprised that when I’ve finished performing some of the examples, I keep on playing, sometimes to demonstrate similar or additional ideas, or just cause I’m having too much fun to stop!

Arguably, the most powerful chord progression in jazz has to be the turnaround. Like a lot of players, I struggled with turnarounds especially at faster tempos. My frustration urged me to eventually break down and analyze each of the four chords and learn some classic melodic lines for turnarounds. I then 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 progression. This lesson teaches you a simple approach to mastering turnarounds that centers around a basic “master melody” that captures the sound of each of the four chords. Then it’s a matter of simply moving the notes to different octaves to create variations of the line. Literally all of my students who have applied this concept have made huge leaps in their playing dealing with turnarounds. And the dozens of emails from players around the world, who have studied the original Masterclass Turnarounds book, say they also have had the same positive results.
Turnarounds are a lot more than a short group of chords found at the end of tunes. On closer examination, turnarounds are made up from smaller chord-moves that are the essence of jazz and pop music. Both major and minor II-V-I’s can be found in turnarounds. And numerous examples of substitution ideas such as flat-five and secondary dominants can be applied to turnarounds. This is why the study of turnarounds is always one of my highest recommended topics for students of jazz guitar. And hopefully the lesson here will get you well on your way to successfully dealing with turnarounds. The intro music on Track 1 can also be found on the MP3 audio disk without my voice commentary. It’s Track 34 “Turnaround Tune” in the Turnarounds folder. The tune is also transcribed in its entirety and the PDF can also be found in the folder on the disk. Special thanks to Mike Wilson who is an exceptional transcriber and player. Mike also transcribed the intro tunes to “Octaves” and “Target Tones.” PDF’s of these can also be found on the disk.

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 playing today uses octaves to some degree. They are the tool of choice for playing warm fat melodies and solos. I highly recommend that my students become proficient with octaves and be able to at least play melodies to tunes. It’s one technique that can bring soulfulness and fullness to melodies and is a sound listener’s love from a guitar. The lesson in this book focuses in on both the right-hand pick or Wes/thumb techniques and octave fingerboard shapes. You’ll learn lots of Wes inspired phrases and useful scale and arpeggio patterns. On the audio disk, where you’ll find the real “meat” of this lesson, we’ll do a lot of playing and I’ll demonstrate all of the examples and more.

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 cliché 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 all led 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 four-note 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 still retained the sound of the chord I was soloing over. In the Target Tones” lesson we’ll learn a few easy target melodies and take aim at chord tones. It’s a surprisingly simple but powerful concept that should have you playing chromatic traditional, modern and bebop jazz melodies in a fairly short time.
So with that said, I hope you enjoy working on the three topics in this book. Feel free to begin with any one of them. Be sure to listen to the audio disk and take advantage of the play-along tracks.
-Don Mock

Thursday, August 27, 2009


Milan 2/16/2004 7:13 PM
Hi Don, There' s a little mistake in the Guitar Secrets Revealed book on Melodic Minor. You list the F melodic minor scale against G7 (page 22 Unit 8). The F mel. min. scale is said to have an E-flat in it; this is not true. This note has to be an E-natural. If you send me a manuscript of your new book on symmetrical scales, I'll do some proofreading for free ... :-) No offense, I' m writing my own material for my improvisation students and I know it's a lot of hard work. Best regards from The Netherlands, BearMaster.

Don Mock 2/17/2004 6:17 PM
Thanks, Bearmaster. I know about that mistake. I'm sure there's others in there too. Like you said, it's the nature of material like this to have a few mistakes. The worst one is in the Harmonic Minor book where the graphic guys at Warner showed the wrong scale pattern early in the book. That probably confused a lot of players.

Harmonic Minor Book Mistake:

This is a very big mistake, where on pages 6 and 7, A harmonic minor scale pattern #2 is duplicated as #3. The missing pattern is actually # 5. In the book, #3 should be deleted, #4 should be #3, and #5 should be #4. The missing pattern is up at the 13th fret. It starts with F at the 13th fret 6th string followed by G# and A on the 6th string. Then B at the 14th fret, C and D on the 5th string. On the 4th string play the E and F at the 14th and 15th frets. On the 3rd string play G# on the 13th, A-B-C on the 14th, 16th and 17th frets. Then D, 15th fret, 2nd string, and E and F on the 17th and 18th fret. The last two notes are on the 1st string and are G# at the 16th and A at the 17th fret. (thanks Dave)

When the time comes to re-print the books they will fix the mistakes, but that may take a long time.(They print A LOT of books in a print run to save money.) We're thinking about a page in this site to post mistakes like this for all our books. So keep looking. At least I know you are paying attention! I hope you check out the Symmetric Scales book. It should be out before summer. -Don Mock

Don Mock 2/21/2004 2:48 AM
There's a few more mistakes I should mention. There's a few places in the Melodic Minor book like page 20. A and E Harmonic Minor is shown as the titles of the examples. They of course should be A and E Melodic Minors. This happens a few times more times I think too. I happened because the layout people used the Harmonic Minor book (which I wrote first) as a templet for the Melodic Minor book. They just missed changing some of the "harmonics" to melodics." And sorry about the goofy photos of me being "Mr. Secret Agent Guitar Player Tells All Guy" Everyone gives me a bad time about the funny shots, but it was Warner's idea to help promote the book. We'll see what they put on the next one "Symmetric Scales Revealed.
-Don Mock

(Mastering the Dominant Chord) 8/26/2009
There's a small mistake on page 8. Right above Example 5, the sentence says "replacing the I, II, III, IV, VI and VI.(which should be VII, not VI)
There's a few small type-0's that have been spotted such as the two sub-titles on page 8. "Key of C Major: Diatonic Cycle of 5ths (not "or" 5ths).
Page 33 has misspelled "every," the 3rd word in "Dealing with Music Theory and the Blues."
Page 31.....the last paragraph, should say; "b5 substitute arpeggio (Gb9) the last time." Not (Ab9).
For Example 57, which is shown in 3/4, I demonstrated the chords in 4/4 on the audio (Track 35). -DM