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Jo. Pass Chord Solos for Guitar, Vibes, and all Keyboard Instruments by Joe Pass

Contents lntroduction Misty.

.........2 .......3

WatchWhatHappens... Sunny. WineAndRoses...

....12

..

...14

....16

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Cover lllustration; Bill Thrasher

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Copyright OMCMLXXXV by Cametot-Gwyn pubtishing Co. Copyright assigned ¡/tCMLXXXV| Atfred pubtishing Co.,lnc. All rights

reserved.

Printed in USA.

Introduction The art of improvising chord-style solos is an important part of any musician's resources. This book has been written to improve that art. All the tunes are pop standards. A careful study of these solos should give you a thorough understanding of chordal playing and substitutions. lt is a good study in voicing, as well as improvisation. lf you're not familiar with the tunes in the book, two outside sources would be helpful: (1)the sheet music of the tunes to learn the

melody Iines and basic chords-a general feeling for the tune is acquired and the improvisation can be compared with the original this way; (2) Joe Pass Guitar Chords which shows chords in both diagram and note form. ln general, the top note of each chord is played on

the first (E) string.

Some chords will have a number in parenlhesis underneath the cluster to indicate which string the bottom note is on, Le., the Sth string (Example No. 1). This chord starts with E on the 7th fret of the 5th string. The top note (A) is on the 10th fret of the 2nd string. This system is used tri simplify finding the chord. Always took for the most natural fingering forthe given string indication. (The string ¡ndications are for guitarists only.) Where the same chord cluster moves up or down chromatically (by half-steps), the notation is made with X's rather than notes for easier reading (see Example Nos. 2 and 3). As a general rule, moving triads in this book arg played on the 2nd, 3rd and 4th strings. For instance, the chords in Example 4 are played on these set of strings, not on the 1st, 2nd and 3rd strings. With the possible excepiion of "Billie Joe" and "Watch What Happens," strive for a jazz feel even though "straight eighths" were written as per Example Nos. 5 and 6' Some chordal tones are writlen enharmonically and therefore may not necessarily agree with the given chord name above. This is

intended for easier reading only. These solos were played finger style, but can also be played with pick and fingers or exclusively with a pick, ad-lib style. A gliss indication (see Example No. 7) always indicates a slide between the chordal tones while keeping the left-hand fingers on the stringl as rnuch as possible. (Keyboard players can omit glisses.) When you see a figure like Example No. z, ¡t ¡s played in the following mánner (regardless of notes): (1 ) the bottom n0tes of the first chord (down stem) should be held as much as possiúle; (2) the major melody notes (up stems) in this case are C, B, Bb, F and D; (3) the top notes of the last chords in the upper line are iied over indicáte to that thiy are ringing while the melody notes 0n the bottom of the same stems are being played. There are no unusual chord fingerings used inlhii book. When playing above the 12th fret, most chords are some type of gth-major, minor or dominant, with occasional extensions (added 11ths or 13ths). We hope this book provides you with a better overall concept of chordal improvising and, at the same time, increases your pleasure and satisfact¡0n in playing. A special thanks to my friend Bob Grebb, w¡thout whose.valuable assistance this book would still be in my head!

Joe Pass

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