MEL BAY PRESENTS mee MEL BAY PUBLICATIONS, INC. @ PACIFIC, MO. 63089-0066MEL BAY PRESENTS JOE PASS GUHAR CHORDS Cover photo by Phil Stern CE 1806 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. Itis 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 IT; Joe 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 CONTENTS 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 -......... coos Minor Seventh Flat Fifth to Seventh Sounds Minor Seventh Flat Fifth Augmented Sounds Diminished Passage. .000..... 0000 ceee Augmented Sounds : Standard Pattern Chord Substitut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 context with the category being played. ‘These are the chords I commonly use and improvise on when confronted with one of the six categorie Except where noted, all of the material in this book is written in the key of ““C”. All of these chords can and should be transposed into all keys. ‘These chord forms are the substitutes and inversions I play when confronted with “basic” chord sym- bols such as: G, AZ, Bb. etc. What comes to mind when you see or hear a Dm7? I have written what I think and hear in terms of chard 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. All 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 shonid 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 eating my wife's pasta. I hope my experience can give the reader some insight for broader use of chords. JOE PASSMajor Chord Forms xx CT v DVI [| @ | to EBDA B EADGB x xx xx F vi vat oe ® ao | 6 o = [ EADGOD BEGD CGBD xx xx x 1 x BD x " = { } e b | COBE CGB Fs CEA DK xx xx x DOV vil a8 Po [| - | EADG GEEA EADGCx oo ooo 9 vo oe == AEGC CEABE CDGBE x x om @ om Wi $= Fai = at ¢ oe oe OE COBEG CGBDG CADP x x x x x x D vol vol L Vil ® 5 6 gobs Sad t = oe = | ADR Cc BER c AEG x x x x x J oO ® jvm vo b g IX = @ | = = BDG Cc BEG GCEA x Dix GCERSeventh Chord Forms x ° x D @ ale 7 | G FACE x ° x00 x ° T T1o Z to gee é S| @ 7 | G FACE GP AbB EE GF AbDbE x x x x x ——_—— _———— com r 0 @ wR © —— O1@ a= @ oe oe x x Lle Oo ‘ at @@ f = BE ADSG BF ABD G G FBEG x x x al "FBEA G FCEA G FBE Abaly FOE G PCE BRADGB x x x x x va he vi SH @ 4 @ gat ae e | FBEG FBE Ab F BDEG x x © val DO] | vm F BODEG Db vu FB DEADx x x DL OH | a Ot |v = a] x $= FB DEG FOB DBA GBFAR xx xx “jx eo Ix ® é I BOF ABE BFADB GBF ARDE x fa I x | GB F Abba CGB EADS BF AID x x xx IX 2 [Bd xv IX @ D e J GB FAD BF ARDEG oO) BOPAEG xx _x xx = [| G om gp Xi pe — | fa He = uo | J eS | i TT D abc G G ABE G FABEIx OO ur 2 FA CHE Db BFAE DIGBDG x G]OT jvm DbF B DEG F BDRG F BODE Aax xx xx be. D vu ut L- uw i ie é i OG @ oe . @ + co F BDEAED> FB DEAR F B DBE xx Xx ju ee 9 4 — € g @ e L. F BDbG Dé A DOG Minor Chord Forms x x t ul STO in é + Tté #2 =a 8 oe oe LLL C G BbEbG CG BbEbBD x Xx a ® x x a @OO jvm E 1 Qe ——— + Y ‘oo o @ 5 CG BDF © GBbEb BoEbG D xx xx OO Hv \ Vv = a. ae ® = ge te e e l BbEBG C G CEbBD 10 FBbE Gmi Cor 7 ea dost gee TEE oe CG Eb BD F C BDF x ut DL Ooom f Dvn e + _| oe o Ro = PS Coo | CG BFG CG BDG Cc F EGC xx TTOOD] var v be == = . | CGBDA | @ G CFR C BEG F x x xx GHHO vn o vin a= z —— © os _— C BEG C Cc BboF FG Bb D C BG Bb GCF BD 4XII )@ iu ® 2 I GD F be BD Diminished Chord Forms. xx v 0 Vv : é g ° = FEC DHA © FHA DE ADEFE x x xx OL)" on TO | 4. ke @ ® a ao tS 3 v ¢ FH ADSGH CRaA Dare F BD Ag i FBD G FBDGE G#B DG 12x x xxx xx x mL Oju = ae é @) BFGGE CHE G GHB D x x x x x cl > STO] A W aq ee af oe oS r A PaCDE A FEC F DF x x x xx T OW cre Vv Vv g g Sle § se = = = ° A PRC FG A PECRS FRCP A 13Minor Seventh Flat Fifth Chord Forms ow eTery . 2 @ 7 @ ge. ‘ et a= od © D CF Ab DADC F D AbC F DL v s any i- a TT @) o D AC G bC G Bb om z | e- —-s os oC F G FBE xx xx xx Tix o g x oD 1K 1 & @ e @ [TTT T@ BFA E C Gb Eb E xo x x x 6 v @ wv AG CRF Ab GCE ° s > ° ° 16Sevenths Substitutions @ vw Oo v wv E GED G AGF C D FRC F sii G FBDEAE Diminished Sounds xx * xx Xx OOW W ty 2 g '#CDEGS FEC F A xx x xx vir AT WV @ Tv ADEFSC D FRC BB FEC EA xx xx SE ga EES Oe - BA CG BAC Fa 17Minor Seventh Flat Fifth to Seventh Sounds x x x x x td Th Vv D | Vi £ > | bo —n — s—= o te C4G Bb E DADC F E Bb DbG xx v —— ¢ a dD CFA Minor Seventh Flat Fifth to Augmented Sounds. xx xX c x 2 T Lx a f XI be | x s se 4 —— oe = —— T @) oe DAC G DAC F C FP Bb Eb xx x _ x VI f v ow = bg ®1Oe = f-8= 6 3 : ve AD GC D AbC F Bb DC F ab D @ Ul at = G FBDEGDiminished Passage xo G ¥FBE Ab AbD BE AbD E Augmented Sounds x x x s ri ¢ Iv $ ill ee ge= HH 2 ces 44 oe oS | ora 5c _A——. 1v F ML 7 WW bg é fe £ a Oe oe g Oe ® Ab GbC F Ab G F BDEAS Ob B x x OD Iv a FRC F At ¥ iE 19Standard Pattern Chord Substitutions In this section you will find basie 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 coineides with the spelling of the chord symbol. For example, D7+9+5 means D7 with the raised 9th next. and the raised Sth on top. BASIC PATTERN: Dm? Dm? Dm? Fm? Bb? Em? A7 Din? Em? AT Din? Em?5 A139 Dm? ATS Dm? Eb9 Dm? E7+9 ATH Dm? Bold. AT Dm? co 20BASIC PATTERN, Cmaz Em? Az Dm? Ars GIS. pis Ebm? Ab? Dm? Add 9 Abg*S G13 21BASIC PATTERN Cma? Dma7 Em7 Fma? m7 Dm? Cmaz ma? Dm? G7 EmT Fad Bm7 AmT D9 G13 Cma9 6 mad ATS*9 DTD G7#589 +L 45 P13 B7*5*9 E79 py913 4139 FH9 DTD ABI G13 Del Cma?etl 6 BbL3. AbLS Dbis Cag,BASIC PATTERN: or Cma? 6 Dm? G7 mad Dm7 nso Cm? pe Dm7 Abm7 Db9 — Cma9 BASIC PATTERN: cis Dm? Gi8 G13 Gbis-9 G13 AbT*S GB TANDARD” CHANGES c Am? Dm? GT BASIC PATTERN: Arts Dm9 G13 B79 ALS DHHS GIS B13 ATS9 m9 13-9 EmL e675 Dmg Gia GTS 23BLUES BASIC PATTERN co 9 cr Gm? cs F9 NOTE: ‘Tey to sustain lead notes from one chord to the next, For example, C9 to FL, sustain the G ow eop. cig. Fy co cls. Gm? C13 C75 FO GbIB_ FG Co Add C13 6139 C13. Em1L AT Dm? G95 C13 ASH Dm? G7susd C13 Gls 9 BBY CIB Gmll C13 Crt5+9 FO Fo Co co FI3__ E7945 ATH5+9 Do AbI3G13_GTYadd13_C13_EbIS_ D1 dadd9 DbL3ada9 13 F749 cis, cred cl3. C75 FO GHB. FY CO Cis FO BTS A7+9 DIS AbI3—-G1B_Db13*9_ C13 Bo)s ALLS Dy\g C13 24Mel Bay Guitar Books CLASSIC GUITAR METHOD 1 CLASSIC GUITAR METHOD. CLASSIC GUITAR METHOD. EASYWAY GUITAR “= EASHvaY GUITAR “= EASHWAY GUITAR "C" GUITAR CLASS METHOD VOLUME TWO ‘GUITAR WORKSHOP. JUNIOR GUITAR COMPLETE MODERN METHOD FOR GUITAR MODERN GUITAR METHOD | MODERN GUITAR METHOD it MODERN GUITAR METHOD i MODERN GUITAR METHOD 1v MODERN GUITAR METHOD V MODERN GUITAR METHOD UI MODERN GUItAH METHOD Vil PRIMER COMPLETE METHOD FOR CLASSIC GUITAR, BASS GUITAR CHORD CHART DELUXE ELECTRIC BASS CHORDS, DELUXE GUITAR CHORDS ‘GulTaR CHORDS GUITAR CHORD CHART MgLODY GUITAR CHORDS TEM THM CHORD SYSTEM PEDAL STEEL GUITAA CHORD CHART ‘GUITAR CHORD WALL CHAT FUN WITH ELECTRIC BASS FUN WITH GUITAR FUN Waris STRUMS — GUITAR ‘THE COMPLETE CARCASS! ELECTRIC BASS VOL. ELECTRIC BASS VOL 2 JUAN SERRANS/ELAMENCO GUITAR PEDAL STEEL GUITAR STEEL GUITAR METHOD VOL. 1 STEEL GUITAR METHOD VOL. 2 "AMERICAN HISTORY IN SONG, ANTHOLOGY OF FINGERSTYLE GLITAR "AUTHENTIC BLUEGAASS GUITAR [BASIC FINGER STYLE GUITAR (CHET ATKINS — OFF THE RECORD CHORD StRUMMIN GUITAR CONTEMPORARY SLIDE GUITAR ‘COUNTRY BLUES GUITAR COUNTRY DOBRO GUITAR COUNTRY GUITAR PICKIN’ COUNTRY RAGTIME GUITAR. DELUXE BLUEGRASS/FLAT PICKING GUITAR METHOD DUELING GUITARS EZ BLUES GUITAR SOLOS EZ WAY BLUEGRASS GUITAR SOLOS EZ WAY PIGK & STRUM GUITAR FLAT-PICRIN’ GUITAR STYLES: FOLK GUITAR STYLES. GUITAR TUNINGS & SOLOS LEARN TO PLAY BLUEGRASS GUITAR MERLE TRAVIS GUITAR METHOD TWELVE STRING GUITAR STYLES BAROQUE GUITAR MUSIC BEST OF Bach BEST OF CARULLI BEST OF GIULIANI ‘Rest OF SOR EST OF TARREGA CLASSICAL PERIOD GUiraR MUSIC DELUXE CLASSIC GUITAR ALBUM EASY CLASSIC SOLOS, ENGLISH LUTE COMPOSERS. FLAMENCO GUITAR STYLES (GREAT CLASSIC SOLOS, ‘GUITAR BAND VOL. GUITAR GAND VOL. ‘QuITAR DUETS ON CLASSIC THEMES IMPRESSIONISY PERIOD GUITAR ‘GUITAR ENSEMBLES ‘GuiTag VIRTUOSO ‘JAZZ & COMTEMPORARY GUITAR DUETS RICHARD PICK FAVORITE SOLOS RENAISSANCE LUTE MUSIC ROMANTIC PERIOD GUITAR SELECTED QuiTAR SOLOS SOLO FOLIONOY EZ Way BOOGIE & BLUES GUITAR EZ WAY ROOK GUITAR NEW SOUNDS FOR ELECTRIC BASS ROGK GUITAR IMPROVISING. ROCKIN RHYTHMS FOR YOUNG GUITARISTS ASS GUITAR POSITION STUDIES PLAY Sage FROM CHORDS DELUXE GUITAR ARPEGGIO STUDIES DELUXE GUITAR SCALE BOOK GUITAR FINGERBOARD HARMONY GUITAR CHORD WRITING BOOK {GUITAR IMPROVISING VOL, 1 GUITAR IMPROVISING VOL: 2 GUITAR POSITION STUDIES, GuITaR Tas 800K GuiTaR tecHNic AZZ GUITAR VOL. 1 Jaze oITAR VOL. 2 JORNNY SviTH APPROACH GUITAR | JOBNHY Suite APPROACH GUITAR | DELUXE GUITAR CHORD PROGRESSIONS DELUXE GUITAR PHAISE BOOK ‘GosPEL GUITAR, (GUITAR HYMINAL SACRED GUITARIST HYMNS FOR CLASSIC GUITAR, CHILDRENS GUITAR HYMNAL EASYWAY CHnlsTMas GurTaR GUITAR CUAISTWAS CAROLS. TONY MOTTOLA HOLIDAY GUITARS. ‘SOUNDS OF CHRISTMAS FOR GUITAR. ‘100 £2 FLATPIGKING GUITAR SOLOS EZ WAY “HOW TO TUNE A GUITAR? EZ WAY FINGERSTYLE GUITAR SOLOS EZ WAY COUNTRY STYLE GUITAR ‘GEORGE VAN EPS “HARMONIC MECHANISMS" FLATPIGKING GUITAR SONGBOOK THE LITURGICAL GUITARIST GUITAR SCALE 4 aRPEGGIO CHART ROCK GUITAR CHORD Guan (CHORD STALIN’ SONGS FOR GUITAR ADVANCED ROCK GUITAR STUDIES ick FOSTER NMS FOR CLASSICAL QUITAR RIGK FOSTER MORE H¥DNlS FOR CLASSICAL GUITAR JRzZ GUITAR LINES GAZE GUITAR SCALES ART-OF SOLO Jazz GUITAR HARRY VOLPE WASTER CLASSICAL GUITAR COLLECTION DELUXE ROCK GUITAR METHOD GRADED GUITAR DUETS. HOW TO PLAY GUITAR IN A 816 BAND. DEVELOPING MELODIC SIGHT #EADING TECHNIQUE VOR MalRaNTS COMPLETE GUITAR EXPERIENCE JAN 'SERRANS CONCERT FLAMENCO SELECTIONS Yor ROCK GUITAR LICKS. 40) FINGERSTYLE GUITAR LICKS FIDDLE TUNES AND BREAKOOWNS FOR DOBRO ‘CLASSICAL GUITAR DUETS IN 1ST AND 2ND POSITIONS. ‘CLASSICAL GUITAR SOLOS If ISTAND 2ND POSITIONS DELUXE Jazz AND ROCK BASS METHOD ‘CHILDREN'S GUITAR METHOD VOLUME ONE: ‘CHILDRENS GUITAR METHOD VOLUME TWO CHILDREN'S GUITAR METHOD VOLUME THREE GHrisTwAS SONGS FoR CLASSIC GUITAR GHRIsTuas SOLOS For FINGERSTYLE GUITAR EUSION BASS CONTEMPORARY BASS SOLOS EZ WAY BASS SOLOS, BASIC BASS LINES. ‘TOM GRUNER STUDIO GLITAR PLAYING BUILDING LEFT HAND TECHNIQUE BUILDING RIGHT HAND TECHNIQUE ‘GUITAR DAILY STUDIES POCKETBOOK SHEORY AND HARMONY FOR EVERYONE,