Joe Pass Guitar Method

THE

JOE PASS

GUITAR METHOD

Chappell & Co., Inc.

CONTENTS

3 SCALES 4 Ma jor Scal es 5 Melodi c Min or Sca les 6 Na tural Minor Scales 6 Harm onic Min or Sca les

7 8 9 10 10

Dom inant 7th Sca les Aug mented (Whole Tone) Sca les Diminis hed Sca les Dominant 7th Altered Sca les Pickin g 11 PRACTICE PATTE RNS 11 Exercise i n Third s 11 Exerci se in Sca le Patte rn s 11 Va rious Combined Patt erns 12 Stu dy in 8th Not es 12 Improv ised Patt e rn s 13 Diminis hed Scale Pattern 13 Domina nt 7th Sca le Patt ern 14 Exercise Us ing Chord Sequ ence 15 Exa mpl e of Free Improvisation 17 CHROMATIC PATTER NS 18 SCA LE LI NES BASED ON CHORDS 20 CHORD SEQUENCES 22 BLUES LI NES 22 JAZZ LICKS 24 JO E'S BLUES 29 BLUES FOR NINA 30 NO BS 31 ALISO N 32 GRETE

Copyright© 1977 by Joe P ass Chap pell & Co . , In c ., pub li s he r Interna tional Copyri gh t Secu red

AL L RI GHT S RESE RVED Print ed in U. S. A. Unautho ri zed copying, arranging , adaptin g, re cording or publi c performance is an infri ng ement of copyright. Infring e rs are li a bl e under th e l a w.

Scales Scales and their Basic Chord Forms. In order to give the stude nt some direc tion and help in developing an ind ivid ual concept of improvising, it w ill be necessa ry for him to gain a full working knowledge of sca les, melodic lines,

guitarists when beg in ni ng to p lay in fi rs t position, the Intermed iate fo rm not included. All scales are p layed vertica lly w ithin each form whose

harmonic patt erns, and a p lan for comb ining these e lements

object is to provide a framework in w hich to function. Once the patt ern in each Form is perceived the location of notes

into useful practi ce patterns. With the exception of the Blues solo an d th e short pieces w hich concl ude thi s book,

and pitches w ill become automati c and a famil iarity w ith the fi ngerboard w ill be ac hieved. With the Chord Forms

every thin g is writte n in e ig hth- and quarter-notes, makin g it easier for the s tu dent to see and hea r the mus ica l lin e as it

act in g as points of anc hor or reference, th e abi lit y to create

develops. Below are six diagrams w hich are usually learned by a ll C Form

A Form

G Form

an im provised scale or melody wi ll be unham pered by the struggle to find the notes.

E Form

Intermediate Form

D Form

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(1 st Inversion

of C Form) The numbe rs wit hout circles indicate the fingers of the left hand: 1 2 3 4 The numbers in circles ind icate th e strings :

(Top Part of C Form)

CDA CDd CDg CDb CD CD E e'

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Majo r Scales. The fingerings are inte nded as suggestions. There are no fixed fingerings and man y different possibilities; those which best suit the player's hand should

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eventually be adopted. For the C Form I always start wit h my 4th finger on the A string. All sca les begin on the root C and all are given in the key of C.

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Alternate fin gerin g: s tart w ith the 2nd finger on the A string: 2·4 on A, 1· 2-4 on d.

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Only one finger in g is possible: the root C is on the 8th frel.

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E Form

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CD Alterna te fingering: 2-4 on E, 1-2-4 on A, etc.

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The fingering given above is the most pract ical, especia ll y beginning 1 on g (10th fret) .

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The C and D Forms are related: startin g wi th 4 on A (1 5th frel)' it is identi cal with th e C Form in the firs t position.

best to learn to play th e sca le both ways, s ubsequentl y appropriating the one which fee ls best. (If all poss ibilities were given, thi s book would be fill ed wit h nothing but numbers.) By masterin g all th e scales in th e A - E - cm Cho rd Forms, which are bas ica ll y similar, the student will ha ve covered the fingerboard quite thorou ghl y.

It is possible to move up o r duwn a step for a note, so th at each Form may encompa ss abou t 5 or 6 frets.

As familia rit y wit h th e fing erboard develop s, the stud en t will di scover choices to be made regardin g th e sa me note. In the G Form th e note B is poss ibl e on th e d or g strin gs. It is

descri bed for the Major Scales. Only th e E Form is given for th e Altered Dominant 7th Sca le , but aga in , thi s must also be practiced in all the Chord Forms.

Other Scales. Whil e all th e Chord Forms are give n for th e Melodic Minor Sca les ofC, onl y the C Form is given for th e Natu ral Minor and Harmonic Minor S~ l es. These scales s hould be repeated in a ll Forms; the fingerin g is th e sa me as MElODIC MINOR SCALES 4

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C 'Form

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DOMINANT 7th SCALES C Form 4

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D Form

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The Augmen ted. Dim inis hed. an d Dom inant 7th Scales are influenced by th e Dominant 7th Chord . For exam ple. th e chord G7 +5 is augme nted and ca n be interpreted lin ea rl y by an Augmen ted Scale. Likew ise. G7bg is a diminished chord agai nst wh ich a Dimi nished Scale can be emp lo yed. For improvisation th e bg and +g go toget her. Against almost any Dominant 7th C hord. I wi ll include th e bg, +9. b5 , or +5 in my li nes, wh ich is th e Altered Do minant 7t h Sca le [See page 10 J in most cases butthe s tudent is cau ti oned to use hi s ea rs. Applying what he has learned automatica ll y, withou t

consideri ng if it is appropriate, wi ll never lead to an y ki nd of di stin guis hed style. All scales s hou ld be practiced in all Forms either chromaticall y or in Form ord er: in chromatic order, play th e sca les of C in C Form , th en Db in C Form. D in C Form, etc.; in Form order , pla y th e sca les of C in eac h of th e Form s CA-G-E-Interm ed iate-D. All sca les shou ld ex tend two octaves, beginning and endin g on the root , except fo r C and Intermed iate Forms,

AUGMENTED (Whole Tone) SCALES 4

C Form

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Practice with definition in mind . Each note s hould be p layed evenly and clea rl y a nd Ihe tempo increase d very

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s lowly. This w illirain th e fingers of th e lefl hand to know where a ll th e n otes of th e fing erboard are located.

DIMINISHED SCALES

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C Form

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C DOMINANT 7th ALTERED SCALE

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G DOMINANT 7th ALTERED SCA LE E Form I

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same fingering descending

Picking. In my own pl ay ing I use ailernale picking ge nerally. When I sh ift from siring 10 strin g. I use down-picking regardl ess of whe ther I am s hifting to lo wer or higher s trings. Picking is something the s tudent will ·develop

th ro ug h practi ce. However, it is esse ntia l to be aware of all the ways there are. My habit of a ilernate picking is peculiar to my style. The studen t mu st find his own whi ch w ill best suit his persona l concept.

PICKING EXAMPLE

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Practice Patterns The Practice Patterns which follow wi ll aid the student in developing his own ideas. It is recommended tha t these patte rns be practiced in all keys and scales. By inventi ng his

eight h- or sixteenth-notes. Wh ile stri ving to establish continuity and a melod ic sense throu gh scales and patterns, always kee p in mind that the music must come from the head, not simpl y from the fingers ru n ning up and dow n the

own patterns th e g uitaris t will ga in a sense o f me lo dic

construction that w ill be uniquely hi s own. Thi s wil l be a

neck. It is imp orta nt to sing or hum the mus ica l ideas one

great adva ntage in improv is in g.

wants to play while play in g them [See page 14]. The follo w ing Practice Patterns s hould be practiced in all Chord Forms and keys. The first four examples can be extended at least to e ight bars .

Try taking a chord sequence such as C - A7 - Dmin - G7 -

C and co nstruc tin g an e ighth-not e exercise over four or

eight bars. Then try to extend the chord sequence using

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C MAJOR EXERCISE

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(Ascending and descending within the limits of the Chord Forms)

EXERCISES IN SCALE PATTERNS

EXERCtSE IN THIRDS

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BIG.

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VARIOUS COMBINED PATTERNS

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121

STUDY IN 8th NOTES

A Form

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EXAMPLE OF FREE IMPROVISATION The stud ent should try to creat e s ome me lodi c patt ern s of his ow n. Al so. th e und erlyin g chord sequ ence for thi s stud y

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someone e lse p lay the c hanges wit h th e student. These c han ges should be played out of te mp o so that the student ca n es tab li sh a long line and fully rea li ze th e potential ri c hn ess of eac h c h ord.

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Blues Lines Thoug h most stu de nt s know th ese Blues Lines, th ey w ill serve as a re min der to those who ma y have forgotten th em.

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jazz Licks Th e Jazz Lkks will acquaint the student with some of th e bas ic phras ing a nd ge rminal idea s. Most are based on the Do minant 7th Chord [C7 j since many peo ple see m to need g uida nce in their ex plorati o n of its possibilities . es pecia ll y in dis tin gui shing it from th e major chord . Students are urged to memori ze th ese licks, then try incorporating th e m into their ow n improvisati ons. All th e phrases mus t be p layed wit hin at least three Chord Forms a nd transposed

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C7

C7

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into a ll keys. They s hould be prac ti ced repeatedl y at a medium tempo until the student can sing th em and hea r th em a nd feel th em. When playing a Dominant 7th Chord or Scale, one Chord Form must be kept in mind . By consta nt ly using and thinking in terms of the Bas ic Chord Forms and simpl y flatting the sevent h tone. the number of mi stakes made in p laying o n the Dominant will be great ly redu ced .

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Joe's Blues Joe's Blues is based on th e blues in th e key of G; the chord changes are basically G7 - C7 - 07. These appear in the first twelve bars to indicate the sequence. The following va riants ma y be used in pl ace of G7: G13, G9, G9(6), G7 +9, G7(b9 ). Db 9 in the four th measure ca n be played in the sa me way. In ba r 8 8m 7 ca n be repla ced by F131F9/F +9/F m9 . 8m 7 ca n be change'd to a Dominant 7th (8 7) or 89/813. The substituti o ns can be made in th e second half of bar 8. E7 ca n be replaced wi th E+91Em 91E131E9 o r Bb9/8b+9IBbm 91 Sb1 3/8b9 . Bar 9 ca n be altered in muc h th e same way s in ce th ese chord s are interchangeabl e.

Stu dents must be abl e to c hoose freely from the a il ernatives ava ilabl e not on ly in chordin g but a lso in so lo improvisati on. In Joe's Blues the s tud ent s hould check out each phrase aga in st the chord he thinks is bein g used.

125

joe's Blues

JOE PASS

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Blu es fo r Nina, No bs, Ali so n, and Grete are si m p le

melod ies used as bases fo r improv isa ti o n. They are re· co rd e d o n th e Mo ntre u x S olo A lbum (Pa b lo) 1975. Th ro u g h o ut.+9/ ~9/1 3 /9 ( 6 )/ll / +5/ ~ 5 may be s ubstituted fo r simp le Dom ina nts. All cha nges s houl d be red uced to threeo r four· note c ho rds. And for better move ment, vo ici ngs s hou ld lea d into one a not her or have a comm on tone can· nec tin g the m. No bs contains severa l examples of this technique.

Blues for Nina

JO E PASS

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EXAMPLE OF CHORD VOICING

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EXAMPLES OF VOICE LEADING

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