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ByJOE PASS

Contents

1.10 H. \\,1 j\ J ~. J) P A S S . . . r • • • • + • • • • • • • • •• .3

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C;vvyn Publishing Co, 5555 D,T,C. Porkwov. Suite 1017 Engfewood, CO 80111

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Foreword

"re Ii vc in a 11 age () f iust ant her or s: 0 f rnusiciau s who pick up a gu i tar one "reek and have a millionselling record (hr" next. fW.caus('. too rnany of U~ tenrl to equate commercial success M th ar tist ic nH~rlt·~ lvr,- rl1a~~ sidestep t1H~ urg~~ll L nc('.c~51t y to afluire, (dong t he "vay ~ th a t indispensuhlc nttribute k no ,'\0' n H~· c raft S Hi a 11 s I ! i p .

. ,

Men like Joe Pass k no w there is a he ttcr \v ay. The best guaran tee of musical accornplishmen 1, of

rna turi t v and sccuri t y, r an he foo n d in a serious dedication to one 's craft., a careful exarnin a ti on .and

~ .

annlvsis of t he fat tors tlla t go into the making of a great solo.

It is griitifying to tho flout to he able to create an improvised line at alL It is many times more satisfying when the player knows how to add notes to chords, how to use pasfiing notes, how to create new rules hy breaking the old o nes. I laving followed the career of Joe Pass for a decade n ow, hearinj' him in every con text frorn the Gerald Wilson orchestra to the George Shearing quia tet to the dozens of studio groups and small jazz combos he has enlivened, J feel confident that any plectrist can gain valuable insights and inspiration from a study of this book, in which some of his greate,st solos are reproduced note for note ~

111e page~ that follow can help t urn hack the ti de 0 f instant heroes hy helping t.o produce a nevi crop of p a ti en t , 1 horou g-hl y qu al i ficd artis ts.

I~J blish cr:« J.\I'O ie: L .. e-oll a rd Fcatli er is the au th or of "The Encyclopedia ·~."Jf Jazz in the '6 Os, t, "Tlie H (} (} Ii Of J a z z F r (l n t Th c n Ti U 1\10 ·IV, ,. and a s y n die (J led col u m. rt is f. for tit e Lo sAil gel e s Ti rn e s - ij/ as h. ~ in~1 on Post. Ne lJ}S Service.

Introduction

The 8010s in this book are from some of rny past recordings. The tunes are mostly originals, SOBle arc standard in which only the solo gui tar work was written. These solos are meant for in-depth studv in relation to which they are based.

There are no unusual chord patterns in the music. All of the chords are in their basic form .. It 's up to you to use the chord su bstitu t~fi you think are he5t for each tune at the time you play ~ For instance, if yOll see an E~ chord, you could play Ebma7, 6/9, Ina9; or Cm?', Cm9; or Gm9, etc. If you see a C7 chord; you could play C 7b9, C7+9 ~ (:7+ II, C9; or G-7 or G ~ 1~, etc, You use these chords for improvising on the basic chord also.

There arc many different fingerings for playing the same line. Everyone has his O'W1l ideas and habits about which note gets played on which string "With wha t finger. Rather than try to present one w~~y of fingering, all solos in this hook are in one of three basic chord positions (with related fingerlllgs). F\)T example, in the key of F, use the first position from the l st to the 5th frets, the fifth posi lion from the 5t.h to the 8th frets, the eigh th p osi tion from the 8th to (he 12th frets, an u so f or lh , K.eep in mind that in most cases, your fingering wil! extend an extra fret or two in either direction beyond the norma] three or four frets for ear II posi bon"

It is very impor tan t for notes to be played wi thin the related chord. posi tion across the strings. You can move from one chord position to the next on any string. I try to move so that when J arrive at a new position l there is a chord form under my fingers, i.c, the chord I am playing on, or the follow

ing chord ..

This hook is intended for study use. and should not merely be used to memorize solos .. Play and cornpare the solos wi th the basic chord pa ttcrns so that you can see their relationship in irn provising. When you i mpr ovise , do not lirrit your playing to only notes in the chord. Good impr ovisa tion contains rnany differen t passing notes thal nor rn ally don't fi t in the chord. For example:

C 7 b9 is C ~ E ~ G, nb and I) b. ~'11~n 1 i In pr 0 vise ~ I kee p the basi c eh 0 rd sou n d in my min d , but U Sf. additional chromatic passing J1Gt·-.~ (i. e ., I)~ Eb, F, Gb, A, B) for melodic flow. Refer t.o .l()E PASS G U l'I' Alt, S'I'Y L E for addi tional stu dy along these lines.

This Look has hecn wri t ten to assist the in teres ted musician in the rewarding field of im provising. I hope it provides BOHle plcasur able study.

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