Modal Mojo Minor Modes Play-along Grooves In Jazz, Rock and Fusion. Don Mock Dave Coleman Steve Kim. Play on Napster. Released: Dec 2008. Label: Guitar Axis. Facebook; Twitter. Grooves in Jazz, Rock and Fusion. Credits: Modal Mojo Tracks recorded at Mock One Productions - Seattle, Washington. Don Mock - Guitar. Steve Kim - Fretless Bass and Keyboards. Dave Coleman - Drums. Audio re-engineered and mixed by Don Gunn. Creative Consultant - Marc Connelly. Photography - Tim Coleman.Missing.

Download Don Mock - Fusion.pdf. Don Mock - Symmetrical Scales - Free download as PDF File (.pdf), Text File (.txt) or read online for free. We'll focus more on their uses in contemporary styles like blues, rock, fusion, and jazz. I've met many students who tell me they don't want to sound like anyone else and feel they shouldn't copy other players.

GUITAR SECRETS: SYMMETRICAL SCALES REVEALED, (Diminished and Whole Tone Scales). CATEGORY: Guitar Method or Supplement FORMAT: Book & CD Learning how to play and use scales has always been a large part of every guitar player's practice schedule. Written from a player's perspective, this book doesn't get too in-depth into the history and classical theory of the scales, but focuses on their uses in contemporary styles such as blues, rock, fusion, and jazz. Includes tons of diminished and whole-tone lines, licks, and music examples; soloing and scale substitution from a player's perspective; and new sounds and ideas. Written in standard notation and Tablature.

Foreword Welcome to Symmetrical Scales Revealed. Learning how to play and use scales has always been a large part of every guitar player's practice schedule.

Playershave spent countless hours practicing scales up and down all over the guitar, sometimes with great success and sometimes with frustration as the end result. Thoseof you who know me from my books and videos or years at the Guitar Institute of Technology (Gin know I've been involved in guitar education for a long time. I've seen hundreds of students struggle with the same problems that I faced when going through the process of learning how to play and use scales. After many years of experience, both playing and teaching, I've become a big believer in cutting through the nonsense and getting to the point of it all, which is playing music. The presentation and ideas in this book are definitely from a player's perspective. We're not going to get too in-depth into the history and classical theory of the diminished and whole-tone scales. We'll focus more on their usesin contemporary styleslike blues, rock, fusion, and jazz.

Don't get me wrong: there will be no shortcuts here when it comes to modern music theory. As far as I'm concerned, all guitar players must have a good working knowledge of harmony and theory and the ability to read music, even if it's only simple chord charts.

Three Steps to Success Learning to improvise can be thought of as a three-step process. The first step istypically the learning of scales.

Usingeither the key center approach or the modal approach, students should learn at least a few useful fingerings of the major scale and be able to play them in all keys.Also, in this first step, players need to learn about harmony and theory to help understand which scale fits over which chord. Armed with some theory knowledge, students can immediately begin playing over even difficult chord changes by simply switching to the correct scale or key center for the given chord. Most players after a period of time will begin to find this first step limiting.

They may say that they can't seem to make their solossound like the chords, that they sound too scalar. Moving on to step two, we introduce arpeggios as a tool to create chord sounds. Mixing arpeggios with our scales starts making our solos more harmonically intelligent. Step three isthe final frontier of improvising, as we now start really learning music. So far we've been using scales and arpeggios but may not been able to make our solossound melodic. Turbo Pascal 7.0 Free Download Deutsch. Now it's time to learn melodies.

Most of us need to learn a repertoire of melodic lines to use when we improvise. Almost every one of our favorite players has, at one time or another, learned linesby copying recordings or transcriptions. I've met many students who tell me they don't want to sound like anyone else and feel they shouldn't copy other players. They soon realize that the road to originality goes through the land of copying licks, phrasing, and concepts used by favorite players. Eventually, these influences merge together into your own original style.