Introduction PART ONE: HARMONY. Chord Construction Chord Embellishment Chord Substitution Chord Connection Symmetric Chores: PART TWO: MELODY Chord Scales Allered Scales ar Training Whole Tone Scales... Chord Resolutions... improvising Blues Minor blues Modern Blues Rhythm Changes: 3/4 Blues SOO ce. Biographies " eM 15 16 22 24 32 35 ar 39 49 50 . 55 59 ContentsIntroduction Classical guitarists have had a few hundred years in which to evolve an organized, disciplined approach ta playing: a “*proper'’ method. The plectrum guitar. like jazz, is a product of this century, and the electric Quitar is so recent an innovation that we're nly beginning to recognize its possibilities as a legitimate instrument. The early guitar players combined elements of the classic style with banjo or mandolin picking techniques to form a sort of guitar method ‘When 1 started learning to play, the instrument books available were very limiting Some thirty years later, when | began to have the time and inclina tion to teach a few students, 1 was shocked to discover that the situation had improved only slightly. With a couple of worthy exceptions. there was virtually nothing in existing guitar literature designed for the working musician, teacher, or even for the ~“midgling”’ guitarist Experience is unquestionably the best teacher. dul it should not be the serious student's only access to new knowledge. This slim volume ts the first in a series of attempts to bridge the current gap betwen what is known and what is in print about playing guitar Music is an enormous subject. and na one can claim to know everything abaut il. Bill and | have spent, belween us. about seventy years as working guitar players, and we're siill learning. Our geal in this, bbook, and in those to follow, is simply to share with you what we've managed 16 learn thus far The emphasis here is on improvisation, which seems the most neglected and widely misunderstood area of modern music. and on the ear training essential to mastery of that gentle art The chapters on chords. theory and harmony have been condensed {rom an original manuscript which was several hundred pages in length ‘These subjects will be Lreated in greater detail in subsequent volumes. as will the elements of technique, style, Solo develoment, chord-melody solos, and much more about improvising ‘No book can substitute for your own experience... there are 100 many things you can learn on a stand that cannot be translated into printed words. If this book provides a few new ideas. a cifferent appreach or a fresh viewpoint towards your playing, then it is a beginning, ..a good first slep in what is hopefully the tight direction May it please you‘ea Cae PART ONE: HARMONY Intelligent improvising depends on a working understanding of the relationship between chords and melodic lines. The purpose of this section is to provide the necessary harmonic foundation for the solos in Part Two. The chordal theory is presented in its briefest form, as it directly relates to the guitar. If some of the explanations differ from those in “formal” theory books, you're free to change the words to suit your own way of thinking. It is the idea that’s important, not its explanation This material is designed more as a reference than a method. If these ideas are TOTALLY new to you, there may be other books you might investigate before finishing this one. CHORD CONSTRUCTION The C Major/Minor Scale @ @& 3) 6) 6 102 mi33 4 5 6 7 maw 8 9 lo B 13 MAJOR CHORDS: add chord NAME to basic triad major 13° 5 (basic triad) c CEG major 6th 1 3 Sand 6 co CEGA major 7th 13° 5 and ma? Cma7 CcEGB added 9th 1 3 5 and 9 Caddo cEGD major 9th 1 3° 5 and ma7 and 9 mas cEGBD 6th/9th 1 3 5 and 6 and 9 6/9 CEGAD SEVENTH CHORDS: add chord name to a 7th (or 9th) chord 7th 1357 c7 CE G Bb 9th 13 5 7and9 oc Cc EG BD lith* 13.5 7 (9)and 11 cu CE G BOF 13th ** 13.5 7 (9) and 13 C13 CEG BDA * in most guitar inversions, the 3rd is omitted from 11th chords. The 9th is often omitted from both 11th and 13th chords. ** in theory, a 13th chord also contains the 11th, but that tone is normally omitted in guitar finger- ings. MINOR CHORDS: add chord name to basic triad minor 1 mi3 5 (basic triad) cm Cc & G minor 6th 1 mi3_ 5 and 6 Cm6 CEGA minor (ma7th) 1 mi3 5 and ma7 cm+7 Cc & GB MINOR SEVENTH CHORDS: add chord name to a m7th chord minor 7th lewis) 5.7 m7 Cc EB G Bb minor 9th 1 mi3 5 7 and 9 m9 C E> G Bb D minor 11th 1 m3 5 7 and 11 Cmi1 Cc E> G Bb FDIMINISHED SEVENTH chords are built by flatting all but the root of a 7th chord. 7 1305 7 CE) Ge Bp °c 1 63 5 6 (7) © Eb Gb A (Bho) * may be written: Cdim, Cdim7, C7dim, C°, C°7, C7? ‘The word “AUGMENTED” in a chord name normally applies to the sharped (augmented) Sth chord tone. ** CH, Caug a5) C#7, C7+, CTaug 1 3 #5 7 Bb ** EXCEPTION: the AUGMENTED ELEVENTH chord is a regular 11th chord, but the 11th is sharped. cr 13 (5) 7 (9) 2n1 C E (G) Bb (D) Ft ALTERED CHORDS (sharp or flat Sth or 9th): just do ay instructed. cTs-9 13 #5 7 59 CE Ge B) Db cI3-5-9 13°45 7 49 13 C E G> Bb D> A “SHORTCUT” CHORD SYMBOLS Cmay C37 Cmay C89 cm7 c-7 cms Ce CHORD EMBELLISHMENT MAJOR CHORDS: add 6, ma7. 9 and (in blues) 7. To C major chord add the notes A, B, D or (blues) Bb. For © major. play: mat ce mas Cé/9 C7 SEVENTH CHORDS: add 9.13 or use HL in sets: 11 07. 11 to 9, 11 to 13. To C7 add the notes D. A. or F. For C7. play co cs cu ct cu cg cu cw MINOR CHORDS: add 6, 7. ma7. 9 or 11. To Cm add the notes A. B>. B. D or F. For Cm. play: mi Cmis? Cmi7 Cmis — Cmi9 mil CmizALTERED CHORDS: the Sth may be sharped or flatted in any chord. the 9th may be sharped or flatted in 7th chords, cr Fmi? BT EbT Ab This sequence: 75-9 Fmil-5 Bb13-9 Eb7#9 Eb7-9 _Abmat(-6) Abma? may be played: Reduce all chords to their basic form: Cma7, C6, Cad, C6/9 reduce to C MAJOR C9, CI, C13-9, C9=5 reduce to C SEVENTH Cm7, Cm9, Cmil, Cm7-5 reduce to © MINOR CHORD SUBSTITUTION MAJOR CHORDS: Substitute RELATIVE MINOR or SECONDARY RELATIVE MINOR chords. For C use Am or Em fae c Fa? cat Dmi_ G7 c Optional © Ami7) — DmitnG7 Emi(1)A7 Dmi(7)G7 € MINOR CHORDS: Substitute RELATIVE MAJOR. For Am use C This: Cc Am Dm G7 becomes: c F Gt aa SEVENTH CHORDS: Substitute DOMINANT MINOR. For C7 use Gm This: ET Aq br Gr becomes: Bmi7 Bo Emil A9 Ami Amit? Ami7 D9 Dmio 13.9 This rule may sometimes be reversed, as shown below: This: ic cr F becomes: Fmi cALL CHORDS: Substitute any chord which has as its root the FLAT FIFTH of the originat chord. For C use Gh. The type of chord used (major, minor, seventh) depends upon the desired harmony. A few examples: Gmat Emi? AmiD D7 Gma? BbS Bbmat —Ab7-5 Gea bas Hamat Awmates amit BbT Ami AbT.S y b in the last two In places where the melody indicates no STRONG preference for chord type ( “turnaround” measures of a song where no melody exists}. seventh chords may sephice minors. Bach of the following examples could be played in place of C Am Dm G7. Ca? AT# = Dmid GTF cmat Ami? Dmig Gis may ares Dmg G75, CmaT ATH DIS GIs “9 | td 8 ET#9065) AT+ — ABTIS+S GT#S48 &8) (8) cs) Cmad ALG DIS GIES te bal b Al ALD ATH DISGa) Gis Gate HIsesATS Dis Gis < -9 ETH Als DI GIs Cows Een akimar De S/aguad —— a8 erSUBSTITUTE PATTERNS ‘The following patterns substitute for C major. There are many possible variations. so experiment mat Dmil Emi? Dmistil) Cmar ma? Dmi? Emit Fmad c8r9 variation: Devs90n Cmad : a aa IFC is moving toward G7, use this, of jons on it ma? Dmi? | Epi? Bead Datta CHORD CONNECTION SEVEN EHS concer dominaarts. as showin below: A Denil Gini ¥ AL a Dani Dat 5 Optional: AUGMENTED. chocals so. connect dommaats: > G “ D bt Gat DIMINISHED chords connect subdtominants, Use the dintinished chord with the SAME NAME as (2) the chord being emtered or £29 the chord beiag lett DIMINISHED chords lve cenneet chromatieally « Diait Rit os Danity 1 ¢ beeee AA AMINOR chords connect the subdominant chord to the toni chord: ¢ Er c € (con Po pmi ALL. chords may be counected by moving into the chord from a half-step (one fret) above or below: « AT DF c bot AT Ber DT Here is a blues to illustrate the helf-step (one fret) connection principle. The whole thing can be played using this one fingering: cu Gs Use other fingerings if vou like. Try Am7 or AT+5+:9 in the 9th measure, oe ar cr ct These ate move thun just one-fect “slurs”. The “pickup” chord is D7“ $+ 9, moving dawn to G13 and G9 in the [st measure, The final chord! in that measure is G7 5-9 or Dol3/D=9. Analyze these chords: 48 ‘ Bmiz-s eT Db70 — Dmil/s mie BrillBACK-CYCLING Another way to sid harmonic interest to a chord pattern is to “back-cycle” through the order of dontinants ¢eycle of fifths). This should illustrate: c cr F variations: Ganig Amill Ab7-5 apres NOTE: The principles of chord embellishment, substitution applicable t any nd conneetion are THEORETICALLY given chord pattern, You'll find that some of them work nearly all the time, and some others less frequently. Try to use them in songs, and LISTEN? Your ear will tell you when it’s right, sym RIC (CHROMATIC) CHORDS Most chotdy ean be moved up or clown the fingerboard in almost any interval (hall-steps, whole-steps major or minor thitds) PROVIDED that the final chord it the symmetsic sequence resolves preperly into the following chord n study uses a single fingering theoxghout:Analyze the chords below, The top four tones in euch are identical, Depending upon the bassline used, the study above could be played against C7. Gm. Gb7 or Em chords 8 C8 Gmis Emit-3 Gb7-9 If that stualy were played a for just pedal a "Cote: inst a C7 chor), the bassline could move symmeteicilly sith the eberds moving bass psa °C" 4 Far the siome chord (C7) the Gs buss note could mave up wilh the eheuls, or he sustaited as a pedal tone in the rhytiim section: va “a “DIMI ISRED” CHORDS You know that ¢ Diminished 70h chord moves up or down the fingerboard in minor third intervals. The same is true of ANY chord which has a “diminished” character (79. 7 $139.75 9) ) C7 5 9 up and down in minor thirds: C19 BT Gh7 AT CT-9 AT Gb7 ED? The “C7” chord in the study abuye coukl resetve into an F chord at any of the "C7" points, or from either of the “Gb7" pains, The “E97” and "AT" chords would not resolve well into F. You needn't limit the symmetric motion to minor Ucirds. In the next study, F7 9 moves quite a lot before revalving into Be7 9 Pre Bh 7-9 Bp 1-8 ADT.9 Db7-0 4 3 oS eheke ug ve hg o rahe be = ie) Add appropriate bassnotes to hear the true cher soundThe next study is basically B7 t0 E7 to A7 to D7: 5 5 5 5 er Bro Br BTS AT ATS DT D190 Tk in symmetric harmony, the chords move from one “good” point to another, What takes place between those points is up to your ear. F13 up in minor thirds: FI3 FI3 Ab13. BIS. DIS. FIZ 4 Try the same thing with F13-9: Dm7 to G7 to C: Dmi7-5 GTs+9 | Cmad This fits Fm6 to Abm6 to Ebma7 Reduce: Fm/A’m to E> Fm6 to BbI1' 9 to Ebma? F/B) to Eb Dm7~5 to G71549 to Cm9 Dm/G7_ to Cm“hock? @ Fim7/B37 to Eb or Dm7/G7 to Cm: Dida aad Dm7/G7 w © Dmi?s Gites cso 2 PLS) wp DI w G: DIS.—-D7+549 Gmad G9) ad dittet 10 G Dis 7+s¥0 os ANT to DS: 6, APIs ABT +82 DOT/S ayy Ab 74549 Dbmad rock 8 This study uses an Eom triad moving symmeteis Cm or Ab? chords. C75 9 down in minor thisds: et re phraseds variation: These are just a few ideas, to help illustrate the point, The guitar is built a certain way, and tends itself to this kind of chordul thinking, Experiment until you get the feel of it, Your ear will tell you whenPART TWO: MELODY Good improvising is humming or singing a melody in your mind while simultaneously playing that melody on the guitar. The sound must be in your ear and in your hand, One of the goals of this part of the book is to provide you with some basic skills in coordinating the ear/hand relationship. More importantly, the studies and solos are designed to acquaint your ear with more MODERN sounds than are normally included in guitar books. You may have to do a lot of thinking and listening, but with a little effort you can force your ear into new harmonic ground faster than the normal process of on-the-job experience would take you there. Every study should be transposed to all keys, and played in all possible fingerings and positions on the fingerboard. Studies which cover a range of one octave should be extended to two-octave or three-octave figurations, etc. Work them into your own music, improvise only after learning the patterns, Think in terms of SOUNDS always. = cHonn scates Scale of G major: Altered to fit G7 chord: Chord scales are formed by altering the root scale to conform to the SIGNIFICANT chord tones. When playing against a G7 chord, the G major scale is altered to include the 7th (F), rather than the ma7th (F#), The chord scale of G7~S would be altered to include the flat 5th (Ds). The G7 chord scale contains no sharps or flats. It is equivalent to the scale of C major. Within cer- tain limitations, the C major scale fits the sound of all the following chords: cma? Dmit Emit Fal, Gr Ami? Bmit-5 c Analyze cach measure carefully. It will become apparent that the scale of C major does not ALWAYS apply to every chord shown in the example. A breakdown follows: First measure fits C, C6, Cma7, Cma9, C 6/9 Second measure fits Dm, Dm7, Dm6, Dm9, DmI1. These sounds apply to any “Dm” chord going to G7 and C. Third measure fits Em7 when used as Secondary Relative Minor substitute for C. If the chord were Em6 or Em9 the scale would include F# and C+ (D major scale.) Fourth measure fits any F chord (F6, Fma7) used as a substitute for Dm. For a true “F major” sound, the scale would include Bb (F major scale). Fifth measure fits G7, G9, G11, G13. All the unaltered “G7" chords going into C major. Sixth measure fits Am, Am7, Am9 when used as substitutes for C. For Am6 the scale would include F# (G major scale), Seventh measure fits Bm7~5 going into E7(+5~9) and Am. For this chord, use (a) the Am natural minor scale (same as C major scale) or (b) the Am harmonic minor 0ek 10 ‘Am harmonic minor scale fits these chords: Bmit-o E (+3) Ami(#7) Combining the minor scales produces results like this: Bmit-5 RIS O49 Ami é Minor chord scales may resolve into major chords: Dm7~5 or} Cma Cm harmonic minor scale major scale The reverse of that is often (but not always) true. Dm and G13, for example, each contain the MAJOR Sid of C, While those chords may be resolved into a Cm chord, the line will imply a stronger minor sound if they include the MINOR 3td (B4). That is, G75 to Cm is a more minor- sounding resolution than G13 to Cm. Minor chord scales are easy to form, if you keep in mind HOW the chord is being used. Notice the different chord scales used for Am in this study: c jor (Am natural minor) seate c Ami? Dmit a7 F major scale (Am is secondary relative minor to F) Amit Driv Gmit ct P G major scale Ami? Dz G 2Am harmonic minor scale Bmit-5, BT Ami) Gm harmonic minor scale Amit-5 Dis Gmic+7) Gm natural minor (Bb major) seale Ami1-5 pits Gmitty (Ascending) Cm melodic minor seale (Cm6 ~~ Am7 5) Ami9.5 Dis-s Gmat ‘The Fé in this last example could be played as F2, to sound like the major 3rd of D7 and the major Th of G. ‘This study illustrates the implied chord-sounds in the C major scale, The scale, played from “C", sounds like C. Cma7, C6, Played trom “D” io “D” it sounds like Dm, Dm6, Dm?, etc. cma? Amit Dmi er Emi7 Amit Dmiz G13Below is a standard chord progression, showing the proper chord scales. Emit Bb mit Eb7 Apmat AbT A> major seate Db major scale s-----= © major scale In the first measure above, the Fm7 chord could also be played using Dt instead of Di, (Seale of Es major), Another example, In this study, the A7 chord in the 6th measure could be played using the Dm harmonic minor scale, That sounds more like A7‘5~ 9% +5 Gma? Gs Fhmi7-5 BIA8 G major scale - Em harmonic minor D major scale ~. © major scale NOTE: Thinking in terms of “equivalent” scales is fine for study purposes, while your ear is learn ing to “hear” chord scale sounds. When improvising, you should be aware of the chords as separate entities because (as later studies will show) there are certain sounds that might fit one kind of chord (seventh) but not all others (major or minor). The practical value of these equivalents your left hand works in the famil s that while you may be THINKING of G7, for example, habit patterns of the C major scale. WTiock 11 ALTERED SCALES GS Tn the same way that chords can be altered (75, ~5, +9, 9 ete.) the chord scates may also be altcred to include those sounds, The following stadies move from a “pure” G7 scale to some more madera sounds, ‘ing the chord This uses both F2 and en the “seventh” feeling: Gr or Here the sharp Sth (De! G45) Grt+5) os G? with passing tones 15. °9. ma?)ars GT (25, £9) G7-5+9 G7s5(+9) 3) (5-9 6 ors Whole tones for G7*5, G7 5 9 orH8K9) Combination; whole tones and *9, (5 -9) GT5'9 a7 "9, ona (5-9) by Keep your thinking simple on these, Each study hus a certain sound of its own, but they are all basically G7 sounds. Think G7. If some of these sound a little strange. go ahead to the Ear ‘Training studies. come back and try these later. EAR TRAINING Most seale studies tend to take the ear away’ from the basic chord sound. fa dhe Following example, only the C major scale is used. but it SOUNDS as if the cherdy were moving from Ct Dmv?. Emn7, F. ete. c Dm? Emit F a ‘That same scale pattern may be played this way = f r r r It isn't necessary to play the notes exactly as they appear above. Just try to keep hearing the chord root, © 16Another good study for eur training (und developing chord scales) is this one: c ce cz mat Use Bo in that last measitre und play C9. Then play up to E> and play C79, and so on, A variation on the same ide: c ce cr mat f = + = Minor seales may be practiced in the same way. but there are three kinds of minor scales. Their differences invoive the 6th and Tih scale tones: NATURAL minor scale (Cm) HARMONIC minor scale (Cm) MELODIC minor scale (Cm) In the following studies, the 6th and 7th scale tones may be played as flats or naturals. The notes which can be played both ways ure marked with a “natural” sign in parenthesis (2) emi emis cmit comin aEach line shows a chord, its,scale and arpeggio. Recommended practice sequence: chord, scale, chord, arpeggio, chord. Transpose to all keys, fingerings and positions. MAJOR CHORDS: SCALE CHORD ARPEGGIO use D>” for C7-9 18cn There are many variations possible in altered 7th chord scales. A few examples are shown below. Don't spend too much time on these until you've finished the more basic ‘chord scales and arpeggios. This sounds more modern than the “pure” C7~S scale above, This includes the sharp and flat Sth and 9th: crtsi9 (5.9) Even more modern sounding. End on different chords for variety: crs -9 a 49 cos C9-5(~-9) crt 9MINOR CHORDS: Notes preceded by a “natural” sign in parenthesis (#) may be played as b or 4. Try all combinations. SCALE CHORD ARPEGGIO m7 5 normally progresses to F7 and Bh or Bom, Use the natural minor seale (same as D> ma- jor) or the harmonic minor scale, Experiment with the optional seale tones marked below 20When in doubt about the variations in altered minor scales, think of where the chords are progress- ing, Below are three versions of a Cm7'-5 chord scale (note key signatures): er? cmiz-s to F7 to Bom to F7 and Bom Cmit-3(9) to F7 and B>(major) Line | uses the Bam harmonic minor sevle, Line 2 uses the natural minor scale (same as D> major). In cach of these two lines, the F7 chord might be played as FITS. 9, Line 3 uses the Bo major scile. but G is flatied to conform to the chord sound. The F7 chord might be played us FI3 9, In the following study, line I uses Bs natural minor seale, moving into F7~ $+ 9 and Bam. The "D" note in line 2 and. Bs anajor Dy (Bd harmonic minor scale) or as D2. going inty F7 ay be phiy cmi-5 Bhbsts =9) xk 13 Start and end these studies on different notes or beats for variety, Here are five variations on the same phrase: 1 emits FTrock 14 WHOLE TONE SCALES Whole tone scales may be played over any #5 or 5 chord. Analyze the “C” whole tone scale below: 9.8 C78 CTS chord tone: Lot # 8 3 2 2 = ‘That scale fits C7+5, C7-5, C+ or C9+5 chords. When the #9 and $9 arc used in combinations with whole tone passages, they fit ALL the “C7” chords: C7+5-9, C13-5-9, CT+549, ete. crts+9 Combinations; C759 Fb ete, ‘The next four examples fit G+, G745, G7~5 or basically any “G7” chord: 22“ck 15 Whole tones move chromatically through dominant passages: or co Pe Bb etc, a FF Bot ete, Gt ce Fe Bot Ebt WHOLE TONE BLUES fill in Improvise some whole tone combinations in the blank measures. above,rock 16 CHORD RESOLUTIONS Here are four studies showing the resolution of G7 into C (or C7), Line 4 can go to Cm if the last note is changed 10 Es. Lines 1 and 3 could also stay in G7. Try to play the chords with the melody. to help your car, a «be G7 to Cm7/F7 sLeapan" Notes In the transition from one chord scale 10 another, there is a “lead-in” note which signals the point of departure from the preceding chord, and implies the sound of the chord to follow, In cach of these examples, the “lead-in” is the first ote in the second measure: G Pmit BT Eb G to Bh ar Bomi? 27 Ab ar Domi? hh? Ab — G7 t@ Ab ee —— bebe ar Abmi? Do? G G7 10 Go 24eck 18 Gece what you can do by changing one or two notes: G7 10 Ge ot Abmi? Db? Gb G7 to De G7 w BIT Flat B, E and A in the first measure (ubove) for Fin? to B97 Emi Bb7 e G7 to Bs] (End on ditferent chord tones for Bb7 9, ete.) or mitt Pit 0. GT to B57 (Try using Bo, Bs, Al in the first measure for Fm? to Bb7) ar Frit Bp? baye” GA 9) to Cm or be emi This same phrase appears in the rd and 4th measures, below: emi Di-g Ga cmi PT WG Amid D7 Gw E7 s Ba cone Se asp a: Fe, Extend these inte longer fines, The fast example Cabo begins this next extension: GT B19 ates BT EV ETH Bt The same (or similar) phi ay be repeated through the chord changes: or cr eT BbT Ebr ete. att Bb Eb? Ab? Db?or cr FT BbT bt EfEt chee, Spee ete. etc, G7 w C or Cm at ioc 20 DIMINISHED CHORDS ey a t aS ip = Here are five practice patterns, ascending and descending. The first two use only the tones of the diminished seventh chord. The last three involve “slurs” into those tones from a half-step away: a aN DDIMINISHED SUBSTITUTES Abe G7-8 G7-3 Notice the similarity between G7 9 and Ab’. Every 7 9 chord is (with root omitted) eijuivalent to a diminished chord one half-step higher. That is. diminished-sounding scales may be applied to 7 9 chords. and vice-versa, Below is a common chord pattern, using 7 9 substitutes for the diminished chord. Note use of #5 in those chord (35) Gmat BT-9 Amit Dis-8, Gmat Gs E1540 Amis Dive ae Gmat E1045 Amit pis-9 Gmaa Gmat E7945 Amit D7-8+9 Gmat 28Three more variations on the same pattern (G to Gt” to Am7 to D7). Note the use of A7*9 for Am: c BTtst9 ATS +9 pista 2 co) (9) eS j= Some 16th-note variations on the first two measures; 29In this study, E7 becomes Bm7~5/E7~ 9. This gets pretty far away from the original “ sound, but may be used with discretion: a oe Ami? pb? a Bmi7-5 B7_9(45) Amit(-5} Dis-9 Ami7 Amil-s D745-9 Teck 21 CHORDAL, THINKING gy ‘The chord shown above is Cm7 5. It is also Ebm6 or AN9 with root omitted, When playing a line against that chord you can THINK in Cm: emits 7 or think in Ab: (note key signature) Abo a 9 or in Ebm: Ep mis 6 Depending upon where the chord is progressing. you can THINK in terms of what is most familiar fo you, Resolve Cm7 5 to FT 9/Bhm. Resolve Ai9 to Do, and Enm6 to An?/Dh 30Here is a line “translated” trom thinking in G to thinking in D>. In this particular example, thinking in D> results in fewer accidentals, but that should not be your ONLY consideration, Think in terms of LOGICAL chord sequences; G7 5 10 C. Dx? 5 tw Go, or 8 20 48 Des oa SS 9 Some G7 lines. These fit G7*, G7 §,G7'S 9, ete, “Translate” each from G to D>. ar 3 —* Extend this chord. scale: on Db 7-5 to this: Two more examples. Try 10 play a chord with the melody. to help your ear, and resolve into an appropriate chord: G to C, Ds to Ga G755.0 Dbo{-5) Gray pis 2) aIMPROVISING ‘One way to develop improvisational skills is to take any common chord pattern and isolate it for study, Each of the following studies shows a chord pattern in the top line, Below it are some improvisations which fit the pattern, When you've finished these, write out any chord sequence that seems to you a “common” pattern; then improvise. Amit bt mir Gmi wn am! amit crs Fmas Amit-5 Ditt5-9) Grits cto Amis Dis D+ omit Gmit Gmit-s cr Fe Amit-$ 13-8 mis G7-3¢40) Bi comestntnrtnatcmsi cro Faus Emi Emit AT Amis Am DT oro Dmio or 83The next study fits the pattern: G (o Em to Am to D7 (one bar each). No chord symbols appear because you are to make your own analysis. o Emi Ami Dr, get, 9S ~ > y tte Pare fese ee ae =BLUES ‘These solos are in straight 8th-notes. By climinating rhythmic variety, you force the ear into building better melodies. 8th-note studies also tend to avoid the practice of playing memorized licks. Chord symbols are for your analysis, not necessarily for accompaniment cr FT ce c ce Gms cz cr 9 3 FB Dio = Gm? co Gms C75 C789 ‘ betebetees., ETSrATE-o De Boe aed 35,ers cr Fes FT cr cis 5 8-9 Fo 6 PT DT ne S comu c ct ‘Bb mié- Amit avmt vot [Emad ATV) Dmis_Gvise isles be a co be. 1 c c1s-9 ATS Dmit? Dmit Dmit-s abut om 36MINOR BLUES Chord symbols are for analysis, not accompaniment: Cm Gr 949 Fmi Gre cmi Abs 1% .5 GT Foi Dmi7-5 (-5.9) Cmi DIR 745-0) cm 6 7 Ab703) G7 Di9 5-9 mi Dmit Gr.9 cmi cr i on Fmt Fmis ey emi Dmit-s pr-8 ors Cmmi Dmi7-5 G78 Cmi pDt-3 at Fm cr9 Fm G75 cm G78 ci pi9 G7 G18 cmi Dmi7-5 G15 mi Dmit-5 ont cmi crs ams Fmil+7) Dmites 8 cmt prs cr emi Demins S7-9 38MODERN BLUES The chords shown below represent one version of blues changes. er? Basic: Dmi? a7 A Optionat: B Optional: Fes Emig Aly Eb9-4 Dmis G13 Dag Cmill FIs BO c Ebo Bomi? 613, | Amit amit cr Fr Dmit?_ = Gmiv_ 7 a9“There are many possible variations. The chord symbols in the studies are to help your analysis of the melodic lines, but they'll give an approximation of the proper accompaniment. ‘These are designed to be played consecutively, so the final measure in each chorus may contain the “pickups” for the following chorus. mat Emi AT#540 cmit FI G9) co ape SS Boat bo mit amin(i Asmit Db -3 mit cr 9 Fmaz THs Gmit cng mia cr cms cr e Gmi cr F Fad Emits AI~9 pz pbmit mth PALS) feb Bb ma? Bomit EbT ame? pra (51 tester tab. cmt Gb He8) Gait cueFmat Emit AT-9 Dri G7 emit FIs or Boma? Bbmiv Amit, Dt Abmi7 | Der r Emi? Ay Dmis G7 emir rs ome Grit ce Flamin ob, omit (an er mit FIs Bbmat Boe Bb mic) Boi? Ami? br Ab mit Der cmit om cms) Fe (Dm omit ous 4a2 cmt FT em7-s A103) Dm? ema) = ee ee Bb (FT) Bb Bbmit Amis DIT Abmimtt) aod a my C18 e pr Gmir C7 Gri wm K-o) 7, Pr F Bm AT Dei? Gt cmt 3) Bb cman ci? Bbs pom7on ) (2 Bb703) Abmi? F Emi? ar Dm or Abmit Apmis Gm ae F 1-9 Gmit C7BD Bomi (47) Amit Ab mis Gmit cia Gmims) cz Are F (9 (3) Dmg G7 ts ag cm Fr Bomat Eb 9.5 Ami? Abmi? be amt cis —_—— Gmu cs F B 5 fine 43Improvise in the blank measures: F Ar9 8) Dmi ars Bb mi(+7) EbT Amit Dr (av) Modern blues are also played against this chord pattern. Use chord embellishment, substitution, ete. F Emi? AT Dmit G7 emit FT Bb Bbmit Bb7 Ab Abmit DbT Gb Gm C7 F Abn) po) Gb«m) 44RHYTHM CHANGES Rhythm changes are normally played at very fast tempos, so the chord patterns vary, depending on the player. The chart shows two BASIC “rhythm” patterns ey (G745+9) (aT+s#9) (-5-9) Bb OBS Cmiz CP-5-9 DT G7 cr FT Boo Gmi? Cmit-— FT (Bb) Dmi7_ G7 Cm F? Frit Bb7 ee gpm — [br 7 cr FT Bb BbT7 Eb Eo (Bb) Dmi7_ G7 Cmi7 FT << —= = 4 . 2B Rb Bb Ami7 py Dmi7 G7 Gmit C7 cmt FT repeat first eight bars As usual, the chord symbols in each chorus represent the harmonic THINKING in the melody line. 45the bridge (starting at bar 17) consists of a single two-bar phrase, repeated through the chords: Bb emit cro Fn z Dts Gt.8 C18 FIA9 2 Bho -BbIs-9EbS. at Die Greg OTS ° F190 Frss+9 Bb cmt or? pe, | OR {2 co DT#8(+9) Ami? Do =5(29) Dm ae (c7ts49) (3-9) cree (Pst) Gmit ce 4st Cm Fg Bas (3-9) Bbmag Onn « 46Bp Cott BS eat (Gia) mir see Dm? G7 Cit ey So Beofmaty a tere fs cr Dow Die Ge6 +5 Boma? cmiz FT9 Be G8 oma Gb mit Fmt? Bb Eb6 At Dmit go cmit oF? Bb Dmit comin Fis Dm? Gmig Cmi? Pa zt Bb Bb Ebmi?7 | Abo Be c7 a3) 5) G3) (mat) cr FI emia ro Bb (Git) Omit FS Dmir Gy Gmit Pr Bb Bb? Eb ma? Epmi (6) Bomar 48‘The chords in the unmarked measures are just standard “rhythm” changes. The phrase which begins in bar 8 is re-stated during the next few bars. Don't over-analyze this: just play it and LISTEN. Bb ma? cmt PT Dm G70 mir BT ta Boma? 7 Bb Ebmi (Dmi7yBomaz_ Der oH ct Fe Finish the chorus with something of your own, Below are two examples of two-bar phrases which can be repeated through a line of dominant 7th chords. Try them on the bridge, above. 43/4 BLUES This is another set of blues changes, in 3/4 time. ay Fimii-s B19) Emi? at Bb Bp mit oT Ab Ebmat Ab7t3) brit Bbu-3) Alt Dr Amit br ¢ BT The solos are designed to be played consecutively, so the list bar in each chorus may contain the pickups” ty the ensuing chorus, & eck? INTR rest+0) amit Bhs Ebma? (9X9) Bro Gnas Fi mits Brit Ars Als pms oie Tock Tonks? Wed 38 hd at vad rate dace Tack 30 50 Fin) Gera aleeBbma? Bomit on EbT o3 Abmat Amin(6) Dis Bri? ET+5(+9) Ebmio Amit-5 (D7) (5-9) « PH mis/BT Fhmi7-s Bro Em 47) Emit AT Dm oat +0 mar omit wD Gma? Fmi(+) Bos a I gma slEma AS AT9 | Dmit Bb 1-9} Abmst Amig 7) pre Briu E149 AT.o4 Ama Dy = mat emitBb mit Eb 1-9) Abmat Amis D7 G(Bmiry Bot Bb mat AbT-s e Ph mi2-5 BT a Emit ar Delt ar Abma? ey amin) BbIs Fp ma? Abmat 740Emit At pmit e748 Ab Ami? pis emir abr bm) Abe. GSolo as Recorded by Joe Pass on Pacific Jazz PJ-85 album “For Django”, This chart shows some of the basic chordal thinking used in the solo, With chord embellishment and substitution, variations are almost limitless. No chord symbols are indicated throughout the solo, so you must do your own analysis, Fr ET EbT pt a7 ct Pe ont cr Pe amits Ets) 3) De as Ami Bmil-5 E%9) Ami Dmi7__G7 45 maT AT# DI3s_ G13 Gmir cr Gm? cis Fmat ET EbIS pis <5 G13 bas co Fma? D749 ais cre GT cr F Gmit C7 55Bridge87BridgeBiographies Sorn Joseph Anthony Passalaqua (one of 5 children) in New Brunswick, New Jersey, Joe grew up ina steel mill town. He began slaying the guitar at the age of 9. To help support his family, he started slaying professionally at 14. He practiced 6 hours a day. Being an avid fan of Django Reinhardt. it was natural that he first played in “Hot Club of France” type groups. Listening to Django probably helped form us ear training for the beautiful melodie Jines he creates. He plays no “trick licks— every note means something. Because of this. Joe is ane of the few guitarists whe 1s admired by all instrumentalists. His work was later influenced by Charlie Parker, Dizzy Gillespie. Coleman Hawkins. and athers. In 1963. nis famie orew as leader of “Sounds of Synanon Tour and he won Down Reai's New Star Award. Joe was virtually discovered by Leonard Feather (author of ENCYCLOPEDIA OF JAZZ) and recorded many fine albums- CATCH ME. 12-STRING GUITAR, FOR DJANGO SIMPLICITY, SIGN OF THE TIMES. STONE JAZZ. He was featured an BRASSAMBA, FOLD 'N FLUTE (with Bud Shank), MOMENT OF TRUTH PORTRAITS, ON STAGE (with Gerald Wilson), and SOMETHIN” SPECIAL ON TIME OUT FRONT. JAZZ AS | FEEL IT (with Les McCann). He has Joe Pass also been a sideman with George Shearing, Louie Bellson, Groove Halmes. Carmel Jones. Frank Sinatra. Julie London. Della Reese, Johnny Mathis. Leslie Ugganis and many others. Joe has appeared regularly on such 1¥ stows aS JAZZ SCENE USA. THE STEVE ALLEN SHOW. IHE WCODY WOODBURY SHOW. THE JOHNNY CARSON SHOW, THE GEORGE SHEARING SHOW. as well as his own personal appearances Gill Thrasher. who lives in Santa Barbara. spent much tedious time wiling and correlating this book with Joe. He is a successful teacher guitarist, illustrator and an all-around intellectual artist. These two have been good friends for a long time and got together to write this book ‘which will be of invaluable help to all musicians. Bill's work praves him to be an extremely talented “great Jou 48 currently doing studio work. personal concerts and teaching He resides in Van Nuys, California. Joe's music reflects honest beauly and rock-solid authority which comes {rom years of practicing and otessional experience, not to mention that special ingredienl: MUSICAL GENUS. In these pages you will find much evidence of one af the world's reat guitarists Bill Thrasher