Joe Pass Guitar Method

Citation preview

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

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

E Form

G Form

D Form

Intermediate 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 nu mbers 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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CD

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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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8va - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

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D Form

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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 s imilar, 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 ｬ ･ｳＮ＠ These scales Natu ral Minor and Harmonic Minor ｓｾ s hould be repeated i n 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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NATURAL MINOR SCALE

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HARMONIC MINOR SCALE 4

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DOMINANT 7th SCALES C Form 4

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E Form 1 2

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same fingering descending

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D Form

Bva - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - !J4

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Bva - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - " - - - - - - - - - - - - - - - - - - - - - - - - - - - - 1 4

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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 Chord. 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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A Form

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G Form

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same fingering descending

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same fingering descending

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E 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

II

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 4

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C Form

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G Form

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E Form

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same fingering descending

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d

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C DOMINANT 7th ALTERED SCALE

3

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E Form

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4

3

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(6)

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r

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4

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2

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r f

same fingering descending

I

G DOMINANT 7th ALTERED SCA LE E Form I

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(6)

J ｾｪ＠

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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

J J

J J 3 •i

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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 s ing 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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109

t' J

$-

3

f

r

f

f

11 7

4# f

"

f

3

J

r

f

f C

ｾ＠

f r 3

119

120

3

3

ｉｾ＠

ｾｲ＠

f

F 3 :> -e

ｾｲ＠

I

129

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. ｔ ｨ ｲ ｯ ｵ ｧ ｨｯ ｵｴＮ ＫＹ Ｏ ｾ Ｙ Ｏ Ｑ Ｓ Ｏ Ｙ Ｈ Ｖ Ｉ Ｏ ｬ Ｏ ＫＵ Ｏ ｾ Ｕ＠ 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

intra. 8va - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - _ - _

3

J 3 rubato

f F 3

3

3

Fast 4

8va - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ,

Gm7

ｾＣ＠ # ,d J3 Jｾｊ＠

" II J

J J

ｾ ｛＠

E [

｡ｾ＠

j

in tempo

ｾＣ＠

F r ｾｦ＠ Fm7

ｾＣｮ＠

{If

Fl m7

"

rF , IIJ

l't

t

(UO ,J

c

r F(, f

[ E F1#[

!

Em7

J 1'( 9[

liE

I'FI j ｾｦ＠ 1'[

5- r

!

IF

J

J

f Jｾ＠ r C

I

8va - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

3

I,d J Jｾｊ＠

9[ F F j rubato

ｾＣ＠

3

J J JJ I

3

Bva - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ , 3

f

liE 3

f F

9[ F F 3

Copyright 0 1976 by Pablito Publis hing Company 0 1977 under V.C.C. by Pablito Publishi ng Company Cha ppell & Co .. Inc .. ad min istrator for the world Internationa l Copyright Secured/ALL RIy HTS RESERVED

•I

I·.d J J bJ,

•i

j J

II

301

Nabs

JOE PASS

Triplet feel

A7

,### i j\ I

U rttt ｾｴｪ＠ ｾｦｊ＠

I J J @3

trr#tJ ｾｦｊ＠

J J J 3 J10

I

D7

J J ｾＳ＠

'#11#

A7

J j J J J It r ｱｶｴｲＣｾｊ＠

tiD I r r tlF r r r F FI

A7

,###

0 rttt 11118 ｾﾣ＠

JI J J q3 J J J @3 tiD

A7

r r r rlJ ｊｾＳ＠

3 J JqjJIU_

Copyright a 1976 by Pa blito Publis hing Company 01977 under U.C.C. by Pablilo Publishi ng Company Chappell & Co" Inc .. admin istrator for the world Internationa l Co py right Secured/ALL RIGHTS RESERVED

EXAMPLE OF CHORD VOICING

ｪＹｊｾ＠

f

(C7) ＧＭＺｾ

(F7) ＭＧＺＢ＠

C9 ...______ F13

ｾ

= Ji =====:JI

(Bbmaj7) Bbm7

Ｚ＠

(Eb)

Ebmaj7

EXAMPLES OF VOICE LEADING

G7(l3)

G7(+5)

:

.!

CI3

: T

G1(.:sM) I.! I T

or

1

-,

T

(Dm7) Dm9

Cmaj7

C9(6)

i

&C7)

I ｾｰｩ＠

voice leading

Cm9

..

pi

I

If

voice leading

Fmaj7

g..

:

0

I

n

n

ｾｯ＠

#0

b-e

0

0

b-e

q-e

II

I

Alison

Ｇｾｉ Ｇ＠

131 JOE PASS

is ｂｾＷ＠

"j I J\ f j

j

simile

J If ) ｾｕ＠

ｾ＠

I

fir

r To Coda'"

r

r

I

j

ｾｏ＠

j

tUI

A7

Ｑｾｬ＿､＠

d -I J &J J ｊＨｾ＠ ＧｾｦＬ＠

qJ

(10 ｾｲ＠

nJ

-

IJ j&J J

J

IllJ

J

#J

J IgJ

I

Ｇｾｉ＠

a r r Iqr

'I

f

ｆｾ＠

-

-I

13

Ie

-

t

br(I

'I

a ｾｲ＠ IT I D,S, at Coda

r ｻｾｲ＠

Ir

€ E tt Ir"

'f

t

F13

-

"

(bt

It e

J

#J

@r r r r rN J ｊ＠ｾ J J ｾﾥ＠ qJ #J i

#J

b"

(t gr

I@-ｾ＠

t

7

ａｾＱＳ＠

G13

"

p

'I

IJ

0

t

'f

) j

I

t

II

ＨｂｾＷＩ＠

Coda ...

Ｇｾｐ､＠

IJ J J &J

J J (q)J IJ

j (q)J J ｾｊ＠

Copyright ｾ＠ 1976 by Pablito Publi shing Company 0 1977 under v.e.e. by Pablito Publishi ng Company Chappe ll & Co.. Inc., ad mini strator for the world International Copy right Secu red!ALL RIGHTS RES ERVED

EXAM PLE CHANGES FOR IMPROVISING ｂｾＷ＠

II: ,Y

G13 em7 H

IH

F7 H

D7

IH

G7 H

C7

F7

ｂｾ＠

IH

H

IH

ｾ＠

ｂｾＷ＠

H

IH

EdUn H

/

ｾＷｇ＠

IH

Cm7 F7// H

IH

H

ＺｾＷ＠

:11H

F7 H

ｂｾ＠

.I

IUD II

321

Grete

JOE PASS

Slow 4 8va - - - - - - .- - - - - - - - - - - - - - - - - - - - - - - _ - - ___ _ _ ____ __________ _ __ ___ ____ ___ __ _ D?

,## j

G

f 110 f

r

Gm?

D

E/D 3

ｾｲ＠ Cr oJ I.a J Jｾｪ＠

3

E'/D

3

3

CI A

J j J j I r 110 r r ｾｲ＠ 3

8va - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 1

•

3

, #.J J J ｾｪ＠ f

A

r

,## r

8J I ｾ＠

J J J j.

f d f ｾｲ＠

f l oJ

f d

oJ

3

Fine Fast 4

r.-.

3

Cf

A

r r

II f

f

IIF simile

A

r [lic f

f Ij

n

f Ij

Gm?

Of

J¥i

IIJ J 39r:gc ｦｾｬ＠

Fj m? A

I(#)C Fm?

,·U IIC

,-# f ,##

1

•

Il

J ''( !if IIC

hE I j ｾｦ＠

Em?

ｾ＠

f

"E liE

Ir

J J C r r-"I d

A

r f f

t

f

d

ｾｦ＠ ｾｲ＠

!Old J

r f

Ij

f]

f

f

liE

Ir A

Of

J ql

IJ

f

!lr

f

r f

liE

f

D. C. al Fine

f

f

Copyrig ht c 1976 by PabBlo Publis hing Company 0 1977 under U.C.c. by Pablito Publishi ng Company Chappell & Co., Inc .. ad minist rator fo r the worl d Interna tiona l Copy right SecuredfA LL RJGHTS RESERVED

f

f I' j

JJ

ｉ ｊｾ＠

A