Exploring Joe Pass II V I

5/3/2015

Exploring Joe Pass ii V I Arpeggios For Jazz Guitar | MattWarnockGuitar.com | MATT WARNOCK GUITAR

MATT WARNOCK GUITAR

Exploring Joe Pass ii V I Arpeggios For Jazz Guitar

Joe Pass was a master of every aspect of jazz guitar playing, as he could easily switch between chord melody, chord solos, solo guitar and single-notes in a seamless and highly creative fashion. While I have always been a big fan of Joe Pass’ chord soloing ideas, and taken a lot of influence from that side of his playing into my own chord work, there is another side to Joe’s soloing that we can learn a lot from by check out in the practice room, arpeggios. By looking at Joe Pass’ arpeggios and arpeggio patterns in the woodshed, you will be able to learn how Joe liked to outline common chord progressions, expanding your knowledge of Joe’s playing and your own soloing chops at the same time. In this lesson we’ll explore Joe Pass ii V I Arpeggios in major keys, the concepts behind these patterns, and look at how you can apply them to your own practice routine and jazz guitar soloing lines and phrases.    

Joe Pass ii V I Arpeggios 1   The first pattern based on Joe Pass ii V I Arpeggios that we’ll explore, uses two common diatonic

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Exploring Joe Pass ii V I Arpeggios For Jazz Guitar | MattWarnockGuitar.com | MATT WARNOCK GUITAR

superimpositions over a short ii V I jazz chord progression. Over the iim7 chord, the notes are bases on the 1-3-5-7 arpeggio, but when you hit the V7 chord, there is a 3 to 9 arpeggio being used, F#dim7 over D7, which highlights the 3rd, 5th, b7th and b9th of the V7 chord in that part of the measure. Joe Pass was a big fan of using 3 to 9 arpeggios in his lines, and they are a great way that you can expand your playing over ii V I chords, without stepping too far outside the diatonic key area. To finish things off, there is a D triad being used to outline the 5th, 7th and 9th of the Gmaj7 chord. Playing a major triad from the 5th of a maj7 chord is also something Joe Pass loved to do, and it’s another easy way to focus your lines on the color tones of the chord you are on, in this case the 9th, without worrying about playing a big scale or two-octave arpeggios.   Click to

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Joe Pass ii V I Arpeggios 2   In this second Joe Pass ii V I Arpeggios pattern, we’ll be expanding on the 3 to 9 idea from the previous example as you now apply this concept to the iim7 chord as well as the V7 chord in a long, 3 bar, ii V I jazz guitar lick. In this case, you play a Cmaj7 arpeggio over the underlying Am7 chord, to highlight the 3, 5,7 and 9 of that chord, before bringing in the F#dim7 over D7, which again implies a D7b9 sound that you resolve to the D, the 5th, of the Gmaj7 chord in bar three of the pattern. Using 3 to 9 arpeggios is a great way to expand your m7 soloing chops, without branching outside a fingering you already know, since you are playing a maj7 arpeggio over a m7 chord.   Click to

Vm P .

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Exploring Joe Pass ii V I Arpeggios For Jazz Guitar | MattWarnockGuitar.com | MATT WARNOCK GUITAR

 

   

Joe Pass ii V I Arpeggios 3   This final Joe Pass ii V I Arpeggios pattern uses the 3 to 9 arpeggio over the iim7 chord, again playing Cmaj7 over Am7, before you dig into a wide interval pattern over the V7 chord, something that Joe Pass loved to do, especially in his solo guitar playing. These rising 5ths outline the Root, 5th, #11 and 9th of the underlying D7 chord, before resolving to Go to... Login Search a more scale-based phrase in the third measure of the pattern. This type of intervallic playing is a great way to expand your dominant 7th soloing vocabulary, and Related break Articles up your arpeggio and scale-based lines, but the fingerings can be tricky to get down. So make sure you use a metronome and work slowly with this pattern at first, before increasing How Playand Dominant the To speed taking it 7th further from there in the woodshed. Arpeggios For Jazz Guitar   How To Play m7 Arpeggios For ClickGuitar to Vm P . Jazz How   To Play m7b5 Arpeggios For Jazz Guitar

   

Practicing Joe Pass ii V I Arpeggios http://mattwarnockguitar.com/exploring-joe-pass-ii-v-i-arpeggios-for-jazz-guitar

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Exploring Joe Pass ii V I Arpeggios For Jazz Guitar | MattWarnockGuitar.com | MATT WARNOCK GUITAR

  Once you have worked out these three patterns, you’ll want to explore them and the concepts behind these licks further in the practice room. Here are five exercises that I like to use when working out arpeggios patterns such as these in the woodshed that will help you dig deeper into these important and cool-sounding phrases.   1. Practice each pattern with a backing track in all 12 keys around the neck. 2. Use the 3 to 9 concept to write 5 patterns of your own over ii V I chords. 3. Solo over “All The Things You Are” or a similar standard and use one, then all of these patterns to outline the ii V I changes in that tune. 4. Write 5 patterns of your own that use the wide, 5th, intervals that you learned in the third Joe Pass Arpeggios Pattern from this lesson. 5. Put on a ii V I backing track in G, and solo using only 5th intervals around the neck. Repeat this exercise in 12 keys.   Do you have a question or comment about these Joe Pass ii V I Arpeggios? Post your thoughts in the comments section below.

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3 Comments 1. Marty, September 26, 2013: great lesson Matt, I especially liked the 2nd one. the 3rd one was too whack for me, I could never internalize it. :) 2. Britt Reed, September 26, 2013: Man that last ii V I was messed up even for my ears…LOL Fun stuff all! 3. jackson ordean, October 24, 2013: All good as the first and sometimes second phrase in the progression begged my ears to resolve in many different ways.

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Exploring Joe Pass ii V I Arpeggios For Jazz Guitar | MattWarnockGuitar.com | MATT WARNOCK GUITAR

The third and most strange iteration especially provoked me and I came up with second and resolving phrases that really were fun for me. All through I liked using a barred D flatted 9 to set the tension for the Maj 7. 251s are just like a sweetly baited mousetrap! {;^)

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