LSPART ONE: HARMONY Intelligent improvising depends on 4 working understanding of the relationship between chords and melodie 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 dieety 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 isthe idea thats 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 Msjor/Minor Scale we Ow Oo 12 moo 4 8 6 7 SW SSS MAJOR CHORDS: add chord NAME to basi triad major 13-5 (basic triad) c CEG major 6th 13 5and6 cs cCEGA ~ os = = major Th 13 5 and ma? ma? CEGB added 9th 13 Sand 9 Caddo cCEGD major 9th 13. Sand ma? and 9 mad CEGBD - 6ih/9th 13 5 and 6 and 9 65/9 CEGAD SEVENTH CHORDS: add chord name to a 7th (or 9th) chord 7h 1357 a CEG Bb 3h 135 Tana9 ° CEG BD Tithe 1357 @andn cH CEG BDF 13th 13°57 @)and 13 C13 CEG BMA {in most guitar inversions, the 3rd is omitted {com 11th chords. The 9th is often omitted from both ~ Veh and 13th chords in theory, a 13th chord also contains the 11th, but tl tone is normally omitted in guitar finger- MINOR CHORDS: add chord name to basic triad minor 1 mi3_ 5 (basic triad) cm cH G ‘minor 6h 1 mis 3 and 6 mo CEH GA minor (mh) 1 mi3. «5 and ma Cm+7 Cm GB MINOR SEVENTH CHORDS: add chord name to a m7th chord rminor 7h toms 37 cm? cE G BS minor 9th Toms 5 7 and 9 m9 CE G BD minor Lh Loomis $7 and Catt CEG BFDIMINISHED SEVENTH chonts are built by flatting all but the 1001 of a 7th chord a 13s 7 cE GB 1c 163 95 6 G7) COB G A (BH) ‘may be written: Cuim, Cdim7, C7dim, C°, C7, C7° ‘The word “AUGMENTED” in a chord name normally applies tothe sharped (augmented) Sth chord C+, Cave 13 cE G: #7, CT, CTaug 13 257 CE Gt Bs ** EXCEPTION: the AUGMENTED ELEVENTH chord is a regular 11th chord, but the 11th is sharped. cn 130 7M a CE@m® MF ALTERED CHORDS (sharp or flat Sth oF 9th): just do ay instructed. crts-9 13557 09 CE Gt By Dy c13-s-9) 13058 7 99 13 © E Gr Bb Dr A ‘“SHORTCUT" CHORD SYMBOLS mat 37 cma Co Gm? C=7 Cmts Cy CHORD EMBELLISHMENT. MAJOR CHORDS: auld 6, m7, 9 and (in blues) 7. To C major chord aud the notes A, B, D or (blues) Bp. For © major. play ina ce cma cole cr SEVENTH CHORDS: add 9, 13 or use 11 in sets: 1110 7, 1110.9, 1110 13. To C7 add the notes D, A. 6 F. For C7, play co cu cu cr cu co cu cs MINOR CHORDS: edd 6, 7, ma7, 9 oF 11, To Cm add the notes A, Be, B, D or F, For Cin play: cmt cmt cmt emis emi emi emitALTERED CHORDS: the Sth may be sharped or flatied in any chord the 9th may be sharped or flatied in 7h chords, or Pm ome? Bor a This sequence: cus Fmit-s _Bbiv-8 _gp1#9_Eor-9__Abmaticst Abmat ny be ped) eee =a ze Reduce all chords to their basie form: Cima, C6, Cma9. C6/9 reduce to C MAJOR COLCH, C139. 69 Seduce 19 © SEVENTH C7, m9, Cmit. Cm7 $ reduce to © MINOR CHORD SUBSTITUTION MAJOR CHORDS: Substitule RELATIVE MINOR or SECONDARY RELATIVE MINOR chords, For C use Am or Em © Fog? © ar pm a? c cami Deng? BmitnAat —— Dmtyar © Optional MINOR CHORDS: Substiute RELATIVE MAJOR. For Am use This © Am Dmg? c becomes: © Fu Gr € SEVENTH CHORDS: Substitute DOMINANT MINOR. For C7 use Gm This eB ar pb? a becomes: Bmi_e9 Bm Ae Ami Ami? Ami? po Dmg _ais.9 ‘This rule may sometimes be reversed, as shown below This becomes:AVE CHORDS: Sustiuts any cond which has sso the FLAT FIFTH ote ovina chon Tey OME G2. HE Me of ction used (asjor ino, seventh) depen upon the Mlesired harmony. A few examples — ba Bm? BbT Ami Abts G69 ebm? Abmaras oe sb in Places where the melody indicates no STRONG preference for choed type (as in the last owo “turnaround” measures of a song where no melody exists). seventh chords may replace mine Eek ‘of the following examples could be played in place of C Am Din Gi cmt Amz mis gis cmat ate mis ore gig dd AbTis19 G7ise9 edd Sd vd eS ee z Pr Au AL Art Dinka) ois Gove emao Epa abmat Ds 8/qoa)SUBSTITUTE PATTERNS ‘The following patierns substitute for C major. There are many’ possible variations, so experiment. cma? Dein Emi? Disa cma cma SS variation bets mao Stat ty nn ICC is moving toward G7, use this, or variations on i emat_ pmit CHORD CONNECTION SEVENTHS connect dominant, as shown belo opines 2 a Dag Gm © AUGMENTED hors also connect dominants DIMINISHED chords conncet subdominants, Use the diminished chord with the SAME NAME as (() the chord being entered or (2) the chon being left FE © or a rr] cr may FO emer ce? Ge DIMINISHED chords aso connect eheomaticallyMINOR chords connect the subdominant chon to the tonic chord ALL chords may be eomneted by moving into the chord frm a halftep (ope fet) above or blows c ar bP Here is blues to illustrate the halls Using this one fingering ep (one fret) connection principle, The whole thing ean be played os Ge ‘These are more than just onesret “slurs”. The “pickup” chord is G9 in the Ist measure, The final chord in that measure is G7" chords 9, moving dows to GES and D913/Ds9. Analyze these “POP PF FP RFBACK.CY ‘Another way to add harmonic interest to a chord pattern is to “back-eyele” through the order of ddominants (eycle of fifths), This sbould ilustrate: (ee ZZ eee ie mat Ami? DS Gmit cs rey9 chia Bmit-5 ETH AmiT D1-2 Gmis C13-8 Pmad| & = mad cf Bmit-9 Bb 7-5 AmiiL AbT-5 Gmill Gb7-5 ‘mal 4 sore | on one J NOTE: The principles of chotd embellishment, substitution applicable to uny given chord patter. some others less frequently, Tey to wse them in songs, and L you when i's right SYMMETRIC (CHROMATIC) CHORDS sound in almost any imer ‘Most chords ca be moved up or down the fn "ROWIDED that the final eho in the symm major or minor thirds) PI tothe following chord. ‘This study uses a single fingering throughout: bs. oie wee RE ae sete pitt tele OE ME and conneetion are THEORETICALLY ‘Youll find that some of them work nearly all the times ISTEN! Your eat will ll val (halfsteps. wholeteps, estuence resolves properlyAnalyze the chords below, The top four tones in each ‘dential. Depending upon the basting ‘used. the study above could be played again C7. Gin, 7 ov Em chords == Pr Ba tady were played agnnst a C7 chord the busine could move symmitrcily with th chow (oF just pedal a °C note: ‘moving bass pedal "C™ SSS sera mais chord (C7—$) the Gs bass note could move Up with the hon. oF be sustained ay a Pedal tone in the rhythm section pe = “DIMINISHED CHORDS You know that a Diminished 7th chord moves ‘The same is true of ANY chord which has a ete) ‘oF down the fingerboard in minor third intervals, liminished” character (7-9, 7-5, 13-9, 75-9, 7-5-9 up and down in mio sind order ast ar ont argent Lagid a 20% = be. = pppe ee apts The “C7” chord in the study above could resolve into an F chord at any of the “C7” points, or from either of the “G57” points. The “E57” and "AT" chords would not resolve well into Ee You needn't limit the symmetric motion to minor thirds. In the next study, F7~9 moves quite a Tot before resolving into BS? 9: Fre 5 By78 BHTe9 AbTeO DIAS S39 stadt WoeTe wt PEh eh s tape SS‘The next study is basically B7 t0 ET to A7 to D7 In symmetric harmony, the chords move from on "good" point to another. What takes place between those points is up to your ea. F13 up in minor thirds: FI3 FI. AbI3. BIS. DIB FI3 a 4 oe ‘Try the same thing with F139: 3 F7+54+9 or BI3 down in minor thids. Resolve F7 into Bb, B13 into E: Dm? GTC This fis Fmé6 wo Adm Reduce: Fm/Atm © Eb Fm6 to Brll-9 Fm/B> to Eb Dm7-$ to G7+5=9 to Cm Dm/G7 10 CmFn7/057 to Ey or Dm7/G7 19 Cri Dmt/G7 to C pairs ors cor co DT SF £ bi w G AXT 10 Db on avrewe mtn beets, Deo apis AbT#5#9 Db mad oo (-9) b “This study vses an Em trad moving symmetrically down in minor tics, Ht could fit Eom, C7, G57, Gm or AXT chords 7-5-9 down in minor thie: bs Shey rephrased pees the aS =a % 7 “These are just few ideas, o help illastrate the point. The guitars but «certain way, and tends tet iOrins kindof chordal thinking. Experiment onl you get the fel of it. Your ear wil tll you when its ish 0 At RR I REPART TWO: MELODY Good improvising is humming or singing melody in your mind while simotaneousy plying that ‘melody on the guitar. The sound must be in your ear and in your hand. Y paving ‘ne of he goals of his part ofthe book io provide yu wth some bas sil in coordinating the far/hand tclatonsip. More importa, te sues and clos ave designed 10 acauint 9OUF eat ‘ith more MODERN sounds than are nally incladed in itn books. "You may have to 80 8 It of thinking and lstening, bt witha ie ifort you can fore your ea ino ew harmonic pound faster than the normal poses of ones experonse woul take you there Every study should be transposed to all keys, and played in all possible fingerings and postions on the fingerboard, Studies which cover a range of one octave should be extended to wooctave or ‘thiee-octave figurations, ete, Work them into your own music, improvise only after learning the patterns. Think in terms of SOUNDS always CHORD SCALES Scale of G major: ‘Altered to fit G7 chord a Chord scales are formed by altering the toot scale to conform to the SIGNIFICANT chord tones When playing against a G7 chord, the G major scale is altered to include the It (F), rather than the maith (FE). The chord seale of GT-S would be altered to include the flat Sth (Db). ‘The G7 chord scale contains no shatps or fats. I is equivalent to the scale of © major. Within cor- tain limitations, the C major scale fits the sound of all the following chords: ~~ cms? Dit Em “Analyze each 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, Dm?, Dm6, Dm9, Dmll, These sounds apply to any “Dm” chord foing to G7 and C. ‘Third. measure fits Em7 when used as Secondary Relative Minor substitute for C. If the chord were Em6 or Ein9 the scale would include FS and Ct (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 inelude B> (F major scale) Fifth measure fits G7, G9, G11, G13. All the unaltered "G7" chords going into C major. Sinth measure fits Am, Am7, Amd when used as substitutes for C. For Am6 the scale would include F# (G major scale) Seveath measure fits Bm7~S going into E7(*S~9) and Am. For this chord, use (a) the Am natural minor scale (same as © major seale) or (b) the Ant hatmotic sites n‘Am harmonic minor ssile fits these chords: Combining the minor scales produces results lke this Baits Ets Minor chord scales may resolve into major chords - ts cma Dn-sa7*3 — Cm harmonic minor seale © major seule ‘The reverse of that is often (but not always) true. Dm and G13, for example, each contain the MAJOR 3rd 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 3rd (Es), That is, G7+3 to Cm i @ more minor- sounding resolution than G13 to Cm, Minor chord scales ate 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 © major (Am natural minor) seale © Amit Dm ar F major scale (Am is secondary relative minor to F) Amit pm Gmit 7 Fr G major seale Amit ba ° — eee‘Am harmonic minor seule Bmir-s E15 Amicon So Gm harmonic minor seale Amir-s pis miter) Gm natural minor (B> major) scale Ami7.s pis emir) (Ascending) Cm melodic minor seule (C6 ~ Am 5) pine Gmat The Fé in this last example could be played as Fe, 10 sound like the major 3rd of D7 and the major Tih of G. ‘This study illustrates the implied chordsounds in the C major seale. The scale. played from °C" to *C°, sounds like C, Cma7, C6. Played from "D" to “D" ie sounds like Dm, Dm, Bm?, ete= © major seale In the frst measure above, the Fm7 chord could also be played using D¥ instead of Db. (Seale of E> major 1 ‘Another example. In this study, the A7 chord in the 6th measure could be played using the Dm Iharmonie minor scale. That sounds moze like A7*5~9: os Frais are G major scale = Em harmonic minor D major seale —— == C major scale NOTE: Thinking in terms of “equivalent” scales is fine for study purposes, while your ear is lear ing to “hear” chord scale sounds. When improvising, You should be aware of the chords as separate entities because (a later studies will show) there are certain sounds that might fit one kind of chord (seventh) but not all others (major or miner). ‘The practical value of these equivalents is that while you may be THINKING of G7, for example, your left hand works in the familiar habit patterns of the C major seal,ALTERED SCALES In the same way that chords cap be altered (5, =5, *9, ~9 ete.) the chord seales may also be altered to include those sounds, The following studies move from a “pure” G7 scale to xome more modern sound, G7 without leaving the chord or Fer ae This uses both Fs and F5 to heighten the “seventh” footing Here the sharp Sth (D2) is ide: e705) e705) G7 with passing tones (5, 9, ma?) arsi0 15= es ores, 29 co Whole tones for G75, G7-5 arrst19) ca Combination: sthole tones and +9, -9 Gr+st9 errsivo) iso} = Keep your thinking simple on these. Each study fay a certain sound of its own, but they are all basically G7 sounds. Think G7. If some of these sound a litle strange, go ahead to the Ear Training studies, come back ‘and try these later, EAR TRAINING Most scale studies tend to take the ear away from the basic chord sound. In the following example, ‘only the C major scale is used, but t SOUNDS as if the chords were moving from C to Dm7, Em, F, ete © mit Bit oz ‘That same scale pattern may be played this way: Fa Fag ee gee ee Pere ep re et a a It isn't necessary to play the notes exactly as they appear above. Just try t0 keep hearing the chord root, €. 6 :‘Another good study for car taining (and developing chord seaies) is this one: co cr9 Use B> in that last measure and play C9. Then play up to Eb and play C79, and $0 on, A variation on the same idea © co. o cost Minor scales may be practiced in the same way, but there ate three kinds of minor seals. Th differences involve the 6th and 7th scale tones NATURAL minor seale (Cm) HARMONIC minor scale (Cm) MELODIC minor scale (Cia) In the following studies, the 6th and 7th scale tones may be played as flats or naturals. The notes whieh ean be played both ways are marked with a “natural” sign in parenthesis (3): + ‘emis emit saeEach line shows a chord, its scale MAJOR CHORDS: SCALE cHorD ARPEGGIO SSS ae se Ds for CT-9‘There are many variations possible in altered 70h chord scales. A few examples are shown below. __ Don't spend too much time on these until you've finished the more basie:chord scales and arpeggios, ‘This sounds more modern than the “pure” C75 scale above. This includes the sharp and flat Sth and 9th Even more modern sounding. End on different chords for variety c7 (5, =9) : co-s C9-5(-9) ons » ee meneame anengeegremn Sonerneige mpmMINOR CHORDS: Notes precede by a “natural” sgn in parenthesis (9) may he played at 9 oF. Tey all combinations SCALE cHoRD ‘ARPEGGIO Cm7~-5 normally progresses to F7 and BY ot Bom. Use the natural minor seale (same as D> ma jor) oF the harmonic minor seale Experiment with the optional scale tones marked below, — 20ean eli lr a a RE ai in akered minor scales, think of where the chords are progress: BY ‘ mT chord seale (note key signatures) eee wo F7 @ Bim rane, to FY and Bim ss i eo to F? and Bximajon) ‘ " jor scale, Line 2 uses the natural minor scale (same as Dp major). 1 Gard migm be played ss F758 . : «hut @ is ated to conform 16 the chord sound. The F7 chord & sce Bo ata minor see, moving ino F759 and Bo played as Do (Bb harmonic minor seale) or as DY, going into F7 ferent notes oF beats for variety. Here are five variations on the A, - -en Ai innit ntti WHOLE TONE SCALES Whole tone scales may be played over any 45 or bS chord. Analyze the “C” whole tone scale below: cos crs cs chord tone: ‘That scale fits C7+5, C7-S, C+ or C9=5 chords. When’ the £9 and $9 with whole tone passages, they fit ALL the "C7" chords: C7+5~ erst used in combinations C13-5-9, CT+54+9, ete, ¢ T8t9 Combinations: 75:9 CES = ‘The next four examples fit G+, G7+5, G7~S or basically any "G7" chord: i ‘ a 2el ORAL ALR LGSSSSSSSS Whole tones move chromatically through dominant passages or ct cs Boe WHOLE TONE BLUES Improvise some whole tone combinations in the blank measures, above.CHORD RESOLUTIONS ). Line 4 can go to Cm if the last Here are four studies showing the resolution of G7 into C (or C7) shores with the melody, ote is changed to Eb, Lines 1 and 3 could also stay in G7. Try fo play the « to belp your ear je See BES G7 Cm/FT | % eet In the transition from one chord scale to another, there is a “Teud-in” note which signals the point ff departure from the preceding chord, and implies the sound of the chord to follow. In each of these examples, the “lead-in” isthe frst note in the second measure: 6 mi BoT Bb “LEAT ar Bomar OT AD s — as b ow a eee Romi Bb7 Ab by or G7 0 Ab Abmit Db? Gb oo =See what you can do by changing one or two notes: ‘Avmin DoT Gb G7 © Gb ’ Sh G7 Ds or or Epmit Ab? Db G71 BT) or Flat B, E and A in the first measure (above) for Fim7 to BOT Pmt bt by eetee G7 to B67 (End on dlferent chord tones for Bs?~9, etc.) an Pit Bb? Pmit_BbT.0 G7 to BbT (Try using Bb, E>, Ab in the first measure for FnT to B67) or. mit Bb bG1-9) 0 Cm or cmt DI WG GW ET Extend these into longer lines, The last-example (above) begins this next extension: or BT ET ET ET “The same (or similae) phrase may be repeated through the chord changes: ar or Fa Bo? et Slee eaee ore er cr rr mer eer ab per 2%GTC or Cm or DIMINISHED CHORDS we ed Sess diminished seventh chord, The last three involve “slurs” into those tones from a halfstep away: J . Se eee Ss SS =DIMINISHED SUBSTITUTES Notice the similarity between G7-9 and Ab’. Every 7-9 chord is (with root omitted) equivatent to a diminished chord one holfstep higher. That is, diminishedsounding scales may be applied to 7-9 chords, and vice-versa Below is a common chord patter, using 7~9 substitutes for the diminished chord, Note use of #5 in those chowds os) Gmat Ene Amit pu-s, ama? as Ensea mio pie as co deat a Gmat 7.945 Amit Disa cma“Three more variations on the same pattern (G to G2" to Am? to D7). Note the use of A7!9 for Amt: e Bri aniss9 pista co be? co Some 16th-note variations on the first two measures Amit AmitIn this study, E7 becomes Bm7-5/E7~9, This gets pretty far away from the original “diminished” sound, but may be used with discretion: @ or? Amit Db? « Bites B7-9105) mitts) pw.8 2 Amit Amines D189 CHORDAL. THINKING ‘The chord shown above is Cm7~5. It is also Ehm6 or AN9 with root omitted. ‘When playing a line against that chord you can THINK in Cm emines (of think in Ab: (note Kev signature) ee abs or in Ebm: Depending upon where the chord is progressing, you can THINK in terms of what és most familiar to you, Resolve Cm7~$ to F7-9/Bom, Resolve AN9 to Da, and Ehm6 to Ab7/D>. a0 cen A AHere isa fine “translated” from thinking in G to thinking fn Do, In this particular example, thinking in Dy results in fewer aecidentals, fut that should ot be your ONLY consideration. Think in terms of LOGICAL chord sequences: G7- 5 to C, Dr7~5 to Ge. Gis 8 we 4 ons Dp te ye to this: pebsightpra.s ‘Two more examples: Try to play a chord with the melody, 10 help your ear, and resolve into an appropriate chord: G 10 C, D> to Gh G7H8-9 Doot-s) ars9 co eo 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 Tine. Below it are some improvisations which fit the pattern When you've finished these, write out any chord sequence that seems to you “common” pattern; then improvise. Amit br mst br am an Amo pis Db emt Gm 2omar Em Ant Apis pis Gano, a‘The next study fits the pattern: G to Em to Am to D7 (one bar cach). No chord symbols appear because you are to make your own analysis ergata siemens ay peepee tease : oe = abe EEE aenpttteteee dt sett A,BLUES “These solos ate in straight Sth-notes. By eliminating rhythmic variety, you force the ear into building better melodies, Sthnote studies also tend to avoid the practice of playing memorized licks Chord symbols are for your analysis, not necessarily for accompaniment avs mi GE EeeRTET eo ber os 35iteel a ANS A SG ESETTS MINOR BLUES Chord symbols are for analysis, not aevompaniment: Grrse3 Fmt Dmites co cm bre am5-9) cm 6 7 Abrus)’ Gt Dre qus-0cmt Dmit-s 7-9 Cm p10 om i 255] pi = oe on emi Om EE Beesmon) praies The chords shown below represent one version of blues changes. A EE: B AF Optional Foot Fe | Bmio Als Bea Dmio GIs Dose ose 2 Be mit Amit Bomas Demi? pis | Amit Die om pros few cre [ara pis fare cas | 9‘There are many possible variations. The chord symbols in the stud help r isin the studies are to help your analysis of ‘the melodic tines, 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 sotetrsipicta ee eae Amini Amit Db? omnes ae Gmit cr (9) Pmat Drs amin cms Bmit-s AMI — pair omit Emit PSD(an ere as a Sars erie ee oo. xp ee a iedon ay cmF ce (5) pmo gras as tell Oe oppo PP pe pees cisImprovise in the Blank measures: F 5 ane «s) Dat ons Modern blues are also played against this chord pattern. Use chor embellishment, substitution, ete, oe cast cr Fae Dey avin “RUY TEN CHANGES: Riythm changes ate army played at very fast fmmpos, so the chord puters vary, depending om ‘the player, The chart shows two BASIC “rhythm” patterns: " carist) (ari) (3-0 Re cmt P59 pr or cra Gmit Emit FP Gin) bast G7 cmt Pt Finite eo nem [yy or ct Fr Be bor BBS (sy omer 2 Sint Be Gmit cr cr peat fist eight bars ‘AS usual the chord symbols in each ehorus represent the harmonic THINKING in the melody fine. 48[Notice the bridge (starting at bar 17) consists of a single eworbar plirase, repeated through the chords: cere (520) § See Bbmao (nin 46‘The chords in the unmarked measures are just standard “rhythm” changes. ‘the phrase which begins in bar & is restated during the neat few bars, Don't oversanalyze this: just play it and LISTEN. ‘nish the chorus with something of your own, Below are two examples of swo-bar phrases which ‘ean be repeated through a line of dominant 7th chords. Try them on the bridge, above3/4 BLUES This is another set of blues anges, in 3/4 time, a prmis ni). Emit ar » Demir oo a» Rest mens) Ebmat Ab TC0) ia ZZ The solos are designed to be plied consecutively, so te Tost bar in each chorus may contain the “pickups” to the ensuing chorus INTRO: ait as Rhona pasta) tach soo vrmsein7 wining "pre ef d= ao be pop fs a papsk £ heAREfe : spEeh tet het tet, er a Sees ausmin pos powat 7 abmat Dive cost cmtSolo rest ty oe Pow oP Jus PEAS aun “er Dh This chart shows some of the basic chordal thinking substitution, variations are almost limites, Ni you must do your on analysis, Used in the solo. With chord embellishment and (0 chord symbols are indicated throughout the solo, 40 bt nites nis) Baw oF ‘cma ara ais amt cr om cus mat Ene Epa bw cr os pees co mar pre os cre or co F _ Gm et 55oF 5 42 28 sige etlte ete aie cbe — SS = SS SpeedBorn Joseph Anthony Passalagua (one of 5 children) in New Brunswick, New Jersey, Joe 70 up in a sec! mill town. He began playing the guitar at the age of 9. To help support his family, he started playing professionally at 14. He practiced 6 hovrs a day. Being an avid fan of Django Reinhardt, it was natural that be first played in “Hot Club of France” {ype of groups. Listening fo Django probably helped form his car taining for the beatiful melodic lines he creates. Me plays no “tick” licks ~~ every note meas something, Because Of this, Joe is one of the few guitarists who i admired by all instrumentalists. His work was later influenced by Charlie Parker, Dizzy Gillespie, Coleman Hawkins, and others. In 1963, his fame grew as leader of "Sounds of Synanon Tour" and he sox Down Beats New Star Award. Jos was virtually discovered by Leonard Feather (author of ENCYCLOPEDIA OF JAZZ) and recorded many fine albums — CATCH ME, 12STRING GUITAR, FOR DIANGO, SIMPLICITY, SIGN OF THE TIMES, STONE JA7Z, He wis featured on BRASSAMBA, FOLK "N FLUTE (with Bod Shank), MOMENT OF TRUTH, POR: TRAITS, ON STAGE (with Gerald Wilbon), and SOMETHIN’ SPECIAL, ON "TIME, OUT FRONT, JAZZ ASL FEEL IT (with Les McCann). He has also been a sideman with George Shearing, Louie Bellon, Groove Holmes, Carme! Jones, Frank Sinates, Julie London, Della Reese. Johnay Mathis, Lesie Usgams and my others. Joe has appeated regularly on such TV shows as JAZZ SCENE USA, THE STEVE ALLEN SHOW, THE WOODY WOODBURY SHOW, THE JOHNNY CARSON SHOW, THE GEORGE SHEARING SHOW, as well a his own personal appearances Bill Thrasher, who lives in Santa Barbara, spent muck tedious time writing and correlating this book with Joo, He is « succesful teacher, guitarist, illustrator and an all-around intellectual artist. These two have been good friends for a long time and got together 10 write this book which will be of invaluable help to all musicians. Bill's Work proves him 19 be an extremely talented “pre Joe currently is doing studio work, petsonal concerts, and teaching. He i happily martied fo the former Alison Ditwiler, has one son, Joey, age 2 years and resides in Van Nuys, California. Joe's music reflects honest beauty and rock-solid suthorty which comes from years of practicing and professional experience, not to mention that special ingredient: MUSICAL GENIUS. In these pages you will find much evidence of one of the world's great guitarists. BILL, THRASHER JOE PASS.