MEL BAY PRESENTS mBg409 MEL BAY PUBLICATIONS, INC. @ PACIFIC, MO. 63069-0066MEL BAY PRESENTS JOE PASS GUITAR CHORDS Cover photo by Phil Stern 1985 BY MEL BAY PUBLICATIONS, ING., PACIFIC, MO. INTERNATIONAL COPYRIGHT SECURED, ALL RIGHTS RESERVED. PRINTED IN USA,Joe Pass is one of the premier guitarists in the world today. It is with great pleasure that we present the many books in the Joe Pass guitar series. This particular text deals with guitar chord forms as used by Joe Pass in his outstanding solo work. Other works in the Joe Pass series include: Joe Pass Virtuoso LIT; ‘Toe Pass Plays the Blues; The Joe Pass Guitar Style; and Joe Pass/Herb Ellis Jazz Guitar Duets. Asa publisher, we feel honored to present the work of this great artist. INTRODUCTION ... CHORD FORMS .. Major... Seventh Augmented .... Minor... Diminished .......... Minor Seventh Flat Fifth CHORD PASSAGES. .........-- Major Sounds ........+ Minor Seventh to Seventh Sounds Sevenths Substitutions . . . Diminished Sounds .. Minor Seventh Flat Filth to Seventh Sounds. Minor Seventh Flat Fifth Augmented Sounds Diminished Passage Augmented Sounds . . Standard Pattern Chord SubstINTRODUCTION ‘The chords in this book are divided into six major categories of sounds. ‘The purpose of the book is not to identify each chord by name, but to portray their sound in cuntext with the category being played. ‘These are the chords I commonly use and improvise on when confronted with one of the six categories. Except where noted, all of the material in this book is written in the key of “C”. Alll of these chords can and should be transposed into all keys. ‘These chord forms are the substitutes and inversions I play when confronted wit bols such as: G, AT, Bp, etc. What comes to mind when you see or hear a Dm7? I have written what I think and hear in terms of chord relationships. Much has been left unsaid because this book is not a tutorial on chord theory—it is strictly for ear training on how different chords sound and move, and how they relate to each other. This builds good chord vocabulary. fh “basic” chord sym- Alll chords ean be broken down and played in parts for easy movement. For example, in Cma7 (C, B, E, G), third position, you can use C, B, and E. However, you should first learn each chord exactly as itis written before trying partial chords. Some of the chords will sound incorrect if they are not played as written. Observe the notation of each chord box and play only those strings indicated. ‘The Roman numeral opposite the diagram indicates fret reference. The names of the notes are indi- cated under diagrams for convenience. ‘The heavy vertical line at the top of some diagrams indicates the nut (or first position). An “x"" means a muted string (stopped, but not played) and “o” means an open string that is played. Fingerings are indicated by a number in a circle. A curved line indicates a bar with that finger. You will find some of the spread out chords easier to play if you use both a pick and your second and third fingers (sometimes the fourth also). ‘This is a common practice with guitarists. A special thanks to my good friend, Steve Merchant, who spent many hours editing my chords and cating my wife’s pasta. I hope my experience can give the reader some insight for broader use of chords. JOE PASSMajor Chord Forms x xx LHOH |v [@ vn t —— 2 = be : é 1 EBDA EADGB x xx xx vn 7 vm x mc) @ 3 EADGD BEGD CcGBD xx 5 x A Vu EA DG EAD GCoo00 nite vu vill IX GCEASeventh Chord Forms. eee 7 2 Ole @ a a G FACE G FA CE moo 5 f Se = cet = = G F ADB E G F AbDb E ooo BF ADDG BFAD G G FBEG ay D|O au — D nt p be Ss ~ @ osoe m ® | oe = = =F @ | F B Dt Ab G F B DS AS O m Ono m ATE ™ i J Ls > Y = [@ @ FBR A G G F BDSB : © OUT ga8= Che Voll val Vol p b @® = “FBEG FBE Ab F BD&G Tora - | F B DBAS F B D#Abvl vil oe oO] 1K =e s o F B DEA GBFAE xx xx x IX te Xx to Oo ih 6 v BR AE BRADE GBF Aap x xx 1K GOO a @ $ CB EA Db BR ABD x x xx Ix P xIV 2 x Bee” gs He g | ev l GB FAD BF AgDaG ® BFARG xx x [a f in |@ [@ ® LLL DAC G GABE G§ Ox a Ix GO $2 i= ¢ 3 © oe oe F ACHE Db BFAE DRG BDG Augmented Chord Forms xx x ur Gy |v Ooh $ e = = @ G BDEG DEG B DE B DEG B xx x x x x a FB DEG G FBDG G FAD> x x xx x Sees eee" i Tr] = = == os = ° +] G G FBDSA FADD x x x x x Tom |v OPO] vm Beth Sent ® DbF B DEG F BDaG FB DS ARau xx Kx : OP vu © WI ym € r ig 3S 1] 3 F BDRARD> F B DB AE "FB D&Bb F BDbG De ADbG Minor Chord Forms. x x F ml ho. DLO | m OO] |u é — — é Ea -3—— — | @ te = $ oe } {ity C G BbEbG C G BbEbBb CG BbF A xx x xx a a x be ] x Pe vin [I iT@ | GD 22 ae a ee o ® a CG BF BbEb BbEDG D xx xx Iv 7) Ou @ @ BbEbG C FBoEDG 10x D © p i a B= = o] a Te EbBbD G Eb BbD F ChBDF x m [O_ooom BOG D vit ae Qe == @ = e J CGBDG F BbEDG C [STOh] m 2 Do] van C GBD A C BEG x xx x x vu vu OO] m @ # = o c BoEbG C CBF EG BbD xx a x ons DVI x 9 9! —— o o @ GCF BD EbG Bb D C RC B> ulx xl ) Diminished Chord Forms bG B x xx @ | v a 5 v et? see @ € o oe £ 3 = FAC DEA C FRADE DIFF x x xx Olu ® 1 O|m ae & gate z fig. ote a C FS ADSG# CREA DEFt F BD Ag xx xx m1 oom Ltt @i tt F BD G FB DCE GHB DGx I ut @ju oie i © $ 1 L @ | BFGRE caB OD xXx x x x x [Ov g v a | a= 4 o = | t A FRCD# FaC F G# BD x x x x [ Vv [ Vv © Iv = = J A FRC FG# A” FE CFE FEC FA 13Minor Seventh Flat Fifth Chord Forms. xx x x Iv Glo ]v . é ba aa == oe oo oe D CF Ab DADC F D AbC F Bb x x x r i OLIV 1 v 4 = = = 7 a @ @ D ADC G D ASC TT FC x x XX_O XX O OL iS 2 = os = D c FG D AbC F DAbC G x x x x x vill IX STOST |x te = ‘g 2 = = a D F Ab DCF Ab CF x xx x eee 1 x G x - 92 x == St = eae [ @ | D ADC F DADC G DADC FCCHORD PASSAGES ‘These are examples of chordal movements using the six categories of chord sounds found in the ‘irst part of this book. MAJOR SOUNDS: The first four chords illustrate movement in “C”. The fifth chord is G13b5 (or Db7+9b5) which re- solves into Cma9. MINOR SEVENTH TO SEVENTH SOUNDS: First four chords illustrate movement in Dm7, resolving into Abl3 to G13. SEVENTHS: The first three chords illustrate movement around G7. The next four chords illustrate a substitute turn- around back to G13, followed by a cycle seventh movement. DIMINISHED SOUNDS: Resolve the last chord in this sequence into any chord. For example: (1) Dm7 ~ G7 — Cma?, or (2) Em7 — Eb9 — Dm9 — Db9. MINOR SEVENTH FLAT FIFTH TO SEVENTH SOUNDS: A7b9 to Dm7b5 resolving finally to G aug. MINOR SEVENTH FLAT FIFTH TO AUGMENTED SOUNDS: Dm7bs chords to G aug. Notice the chords used to obtain these sounds. DIMINISHED PASSAGE: Use of diminished chords for seventh flat ninth chord movement, utilizing the basic pattern of A? — Dm ~G7—C. AUGMENTED SOUNDS: The first six chords are basically G aug. Movement is used chromatically to get to the basic cycle (A7 — D7 — G). Major Sounds xx = Hoon og AST: = =— EADG CGBE CGBD x x x ° vu m™ 1@ == ol a @ | oe DGB DoF BEG CEBDE 15,Minor Seventh to Seventh Sounds xx xX xx - XI Hi < Dj) vi z= o | g @ = * a q DATE TRAE AD Ct xx x x x x a ut a Vv 8 um ~ | @ | FCEA Ab GeC F G F xx xx xx 1X aa G x a Ix gs = z - BFAE C GbBb F 16Sevenths Substitutions: & vI v @ WV ae= = of 4 @ | Oe EG#D G AGCF C D F&C F : oO Th = as \ G F BD# At Eu DIV ae @ | FC DaGs FEC F A F#C De B Iv t ] Iv go ole 2 oa o A DSF C D F&C HB F8C A are rar BA CG BAC FHh to Seventh Sounds. x x x O[@T |v ¢ vr ee D ASC F E Bb DoG. D CFA GF BDRAE Minor Seventh Flat Fifth to Augmented Sounds = XID OC x = 2 | & Ly D AbC G DAbC F C F Bb = } be om z == BE 4 AD GC D AbC F Bo D CF Ab = coh =e = G FB D&G 18DT] m STC pot 3 om @ a obo CHG BoE Bb AbDG x x G jm i o g eb | a er + G BE Ab ‘D ADB F B F Ab! GC Augmented Sounds x x m Vv f n x= a — s— oe a G F BODE oy CG ¥BDIG TOT TOV # ml > iy = a = oS o = of = Le Ab GbC F Ab G At Ab A x x x v Vv Pou 4 | [o g= {fee —_ a t os A GCF C D F AS ¥F Ie 19Standard Pattern Chord Substitutions In this section you will find basic chord patterns and substitute patterns utilizing the chords presented in the first two parts of this book. These chord symbols are written so that the order of appearance of notes coincides with the spelling of the chord symbol. For example, D7+945 means D7 with the raised Oth next and the raised 5th on top. BASIC PATTERN Dm? Dm? Dm7 Fm? Bb? Em7 AT Dm? Az#5 Dm? Eb9 Dm7 Dm? Bos A Dm7 20BASIC PATTERN: ma? Em7 AT Dm AS GIB pis Ebm7 Ab7 Add 9 AbI*S G13 21BASIC PATTERN: maz maT Dma7 Em7 Ema? Em? Dm? maz Dm7 G7 Em? Fma9 Em? Am? D9 G13 Cmad Dbmaz +L ie Fi3 B75 £7" aig aig9 E59 Dred AbLB C139 DTT Cma7HI1 BbIS. Bb13. AbL3 22BASIC PATTERN: G7 maz Dm7 D9 maz Dm Abm7 Db9 — Cma9 BASIC PATTERN: cis Dm7— G13 Dm9___AbI3. G13. GIS G19 GIS. ABTS GIB. GIs p79 Gis “STANDARD” CHANGES Am? Dm? G7 BASIC PATTERN c ATS Dm9 G13 ATHSH9 bis G13 E79 A139 E79 A13 D793. Gia Bo13. 5-9 Dm —_G13-9 Emil 6575 m9 G13 BbI3 BO Ab7ts 23BLUES BASIC PATTERN co ro © Gm? C138 FY Fy cas cus G79 G79 cis. Gre VOTE: Tey to sustain lead notes from one chord to the next. For example, C9 to F153, sustain the G on top. cla F9 Ce cls. Gm7 C13. C7#5 F9 Gbl3. FO Co Add C13 D139 C13 Em AT m7 C7945 C13. AT*S#9 Dm? G 78st cis Cbs FO Bis CIS Gmll C13 C7*5+9 FO FO co C9_FI3_E7#9*5 Azt5+9 Dmg AbI3 G13 G7-add13_ C13 EbI3_D1Sadd9 Dbl3add9 cis 7+9) C13, G79 C13 C7#5 FO G13 FD. co CIs. FO E75 AT*9 DI3-AbI3_—-G13_Db13*9 C13 Bo13 AbIS Dbig, CS 24Mel Bay Guitar Books CLASSIC GUITAR METHOD | CLASSIC GUITAR METHOD II (CLASSIC GUITAR METHOD IIL 'EASYWAY GUITAR "A" EASYWAY GUITAR “2° EASYWAY GUITAR °C" GUITAR CLASS METHOD VOLUME TWO ‘GUITAR WORKSHOP ‘JUNIOR GUITAR ‘COMPLETE MODERN METHOD FOR GUITAR MODERN GUITAR METHOD | MODERN GUITAR METHOD tI MODERN GUITAR METHOD Il MODERN GUITAR METHOD 1V MODERN GUITAR METHOD V MODERN GUITAR METHOD Vi MODERN GUITAR METHOD VII PRIMER (COMPLETE METHOD FOR CLASSIC GUITAR, ‘BASS GUITAR CHORD CHART DELUXE ELECTRIC BASS CHORDS DELUXE GUITAR CHORDS Guitar CHORDS GUITAR CHORD CHART MELODY GUITAR CHORDS: IRHYTHM CHORD SYSTEM PEDAL STEEL GUITAR CHORD CHART (GUITAR CHORD WALL CHART FUN WITH ELECTRIC BASS FUN WITH GUITAR FUN WITH STRUMS ~ GUITAR "THE COMPLETE CARCASS! ‘ELECTRIC BASS VOL. 1 ELECTRIC BASS VOL. 2 JUAN SERRANO/FLAMENCO GUITAR ‘PEDAL STEEL GUITAR [STEEL GUITAR METHOD VOL. 1 ‘STEEL GUITAR METHOD VOL. 2 "AMERICAN HISTORY IN SONG. 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