159135071 joe pass chord encounters for guitar book 1

To play G?, simply move theF7 chord form up two fretsTo add more h'a¡monic interest, D7 would preceed G1 To play D7, simply moye üe C7 chordform up two fretsl THE STA¡TI'ARI' I YI II Y T

CHORD €NCOUNT€RS for Guitar Bookf

$NffiKeffieKe$tffiffi%

This book is my approach to the basic blues pattern It includes HalfStep and II minor 7 V Dominant 7 movements, Diminished and V chordsubstitutions, and varied ways of comping It also includes some extensions

on the chords, which will improve your overall sound and approach to ing blues changes

play-This book will be one of a series of books introducing the many mon chord patterns that exist in most standard pieces of music Accom-panying this will be a series of melodies and improvised lines to thesepatterns so you can see how melodic lines are built and fit the various chordpatterns

com-I chose the blues to begin with because it is a very basic pattern that weall knoq so it will be easy to see the substitutions as they appear Once youget the idea of how the patterns and substitutions work, you can then usethese ideas in other songs With the tape you can hear how the progressionsfit together I hope to simplify and explain how harmonies and chord formswork on the guitar This should help you understand substitutions and howthey work

You should take each substitution and practice it in every key until itbecomes automatic in your fingering and thought process Then go to thenext substitution It is important to be able to play and move these chordforms and their ideasfreely in every key

Because of certain chord fingerings, there are unwanted notes that willsound if you use a pick I play all examples in this book finger style Thisenables you to play only the notes you want If you use a pick you may have

to refinger some chords

I would like to thank my good friend and fellow guitarist Denny wick for spending many hours formulating the material in this book Hishelp is deeply appreciated and I'm looking forward to working with him on

CREDITS: Sound Editor: Dcnny Ha¡dwick

Tochnical Consultanu Mark Hill

Photos taken by Norman Jambson

at Stanford Sicrra Carnp,

Fallen Lcaf Lakc, Cdifornia.

Il MinorT V DominantT substitution 14

II MinorT V DominantT Progressions With New Resolutions 16

II llinorr bs y DominantT bq Progression l7

Vsriations On The Charleston Beat 3l

Copyright O 1979 by Charles Hansen tI of California, Inc., West Los Angeles, Calif 90025 International Copyright Secured Made in U.S.A Alt Rights Reserved

- h F- t :> tqr of F, coasisrs of rhrec chord changes Th€y are Ft, B b 7, and c7 Thc blues

¡ .¡ E! rrr átfctd Fncrns We arc, in this book, working from the familiar 12 bar blucs

: sr b* ¡:t tL bñic do&in¡nt ?th chord forms that are used in the first cxamplc of the Basic

t c - b F - o r h q r p t c

D t> F l;', Dd C? chord forms a¡e derived from üe F scale That is; F is üe I chord, Sb is Oe

t fr # d C b r.bc V cüord See the diagran directly below.

)

)

)

) Note: X = MutedString;O: OpenString

C7 is referred to as the V chold

8 l

c7

To add harmonic interest to this basic turn around, G7 preceeds C7 (To play G?, simply move theF7 chord form up two frets)

To add more h'a¡monic interest, D7 would preceed G1 (To play D7, simply moye üe C7 chordform up two fretsl

THE STA¡TI'ARI' I YI II Y TI.JRN AROUND

G7

Now working from the standard I, VI, II, V Tt¡rn Around, extensions of these chords are usedfor color A new form for G7 seen at the top of the opposite page, is used in this turn around

( C s u s ) F7

Csuspended

TrrRN AROUND CHORDS (rN r)

C(srr)

DONfiNANT SI ]BSTITUTION THE STANDARD I, YI, II, V CHORD PROGRESSION

Now we have seen how the standard I, VI, II, V chords can be substituted in the I, V turn around.The same principle is used in the preceding F7 and C7 chords

Below is the l2bar blues - the upper line is the basic chord pattern The lowerline illustrateszubstitutions and extensions The subsütutions in bars 7 thru l0 use the same principle as is used inbars ll and 12 See opposite page

'a:.,q W 7

Oo thc fcceding page is what is considerd to be the "Standard Changes" a Jatr player would

rt la tbc Hu¡ Tb.is is the "New Patternl'The "Basic Pattern" would be used in Rock, Folk, or

The exact principle is used in the turn'around chords The number of beats per chord is cut in

half; F? for 4 beats, and C7 for 4 beats

l a

7

: HALF STF,P SI]BSTITUTION

The half step substitution preceeds each new measure by starting Yz step above or belorry thechord in the new measur€ When proceeding from tbe Vz step substin¡tion to the next chord it is best

to keep the same voicing, or chord form, in your movement

The following is an extreme example of half step substitr¡üon Let your ears guide you as to theproper time and place for this substitution New chords are ilh¡strated below

t 2 3 4 5

7

WALKII{G BASS LIh{E TUR¡I AROUhID

Here is a good three note chord voicing as used in the turn around, taking advantage of tt¡: newhaií srep substitution Notice the "walking bass line" this substitution provides

I J Dt7 a7

VI

Usc üis form, or voicing for F7, F#7, G7, and G#7

Use this form, or voicing for C7, C#7 , D7, and D#7.

Now, by adding extensions, you can change the color of the "walking bass line" turn around

orf,g G l 3 Db7ilg c?#e

V

u

l 2

t 2 3 4 5

t 2 3 4 5

Below are some examples of adding different substitutions We now leave the key of F, *l ,r.going to usc the key of C This is so you can get an idea of how substituiions are used in other keys.Again, these examples contain some chords not yet illustrated

DbG,b

(addmaiT) c6rb A?#bbe E b13 üt +.hJIl c13

;¡¡r-f_-E :-._1¿¡ lu.í I Or ] bcats.

*¡:l -t e: cr-r-nnple oi substituting the V of the I chord for 2 beats

e

II MINONÍ, V DOMINANTT SI]BSTITUTION

Thp II Mino/ V DominantT progression is usually referred to as a II V progression The II rniiland V7 chords are derived from scale degrees of a given major scale That is, C7 is the V chord andGmiil is the II chord in the F scale

c v

You may substitute the II chord along with the V chord Here is an earlier example, using the V'

chord substitution, then adding the IIminT chord just before the V chord Then the V chord resolvesback to the I chord

This II V is in the key of F Notice the Ce is just an extensioh of the C7 chord

Bb

I V

A UI

!ü¡l cúridcr rhe tV chord (B b I Here is the Bb scale Notice the II and V chords.

G VI

F V

Bb

I

!b- üc Y cñord is F7, and the II chord is Cmin7 As before,

H¡l tL Y cüord- Thc¡ üe V resolves to the I

the IIminT chord is placed just

This subsütution should be handled with care Again, let your ears be the final judge as tortahcr rbe substitution is proper

F(sus)

1 6

II MINONÍ Y DOIUII\ANT7 PROGRESSIONS

WITH NEW RESOLUTIONS

Sometimes, when a new key center seems to be established, the II V progression in the new keydoes not resolve to the temporary I chord In the eÍample below, the chords preceding the Bb e in bar

2 seem to be establishing the temporary key of E (F#min1 Be is in the key of E} But instead of ing to E, Be moves a Vz step to gb e

-Key of EJ

The II V progression may resolÉ directly into another II V as in the example below

This is a very popular blues progression Study it and transpose it into every key This will helpyou understand how II V progressions work

tr ÜflNoil bt v rloh'flNAhli'T b'PR0GRESSION

tn sooc czreg5 a II V that progress€s ro another II V can be made into a tlmiil bt *d yz be,tthenr3¡ohr3 ro rbc ncrt chord Thesc chords may be used in the turn around

t 2 3 4 5

2 r v Bbe

The next logical place for a II V would preceed the II V in bar 4

TEMPORARY I chord for IImiil v7 (Dminz 613¡ is Cmiil

USE OF IIMiNT V FOR HAR}IONIC INTEREST

Consider the first 6 bars of the blues

r I

F 1 3

I K e y o f B b ' Remember, to find the II V progression, you have to make the chord you are going to resolve to the TEMPORARY I chord In the last example Cmid(bar 4I and Bb e Oar 5) are the temporary I

Key of Bb

tr MINOil b t V DOIWNANf b' AND YOIüNGS

Fc üffcrcnr color, a II V preceding bar 3 will use a IIminT bs yz be ptogrtssion- These are gtodv(iintr h¡ rbcn placcd ncxt to üe DminT they don't sound proper See the next page for voicings

6 7 8 I

4 5 6 7

2 0

VOIüNGEXAMPLES

The voicings on this page have the top note on the first string, in a descending -*n3 Th"previous page had the top note jumping from the flrrst string to the second string, therefore thevoicings.did not sound right

4 j7 jl J-1

n :1

3l 3l

NVANDHALFSTEP( b 5) SUBSTITUTIOI{

Consider the first 2 bars

Now adding the half step substitution, E be b5 resolves down Vz step to Dmine This is also a bS

E m ? b 5

E m ? b 5

The complete l2 bar blues using the II V and half step ( b5) substitution now sdunds like this.

B b m ?

c?#e

Notice the Half step turn around

The addition of one more II V used as a half step substitution, should make you aware of most ofthe uses of II V substitutions, as used in the blues Notice the II V's in bars 6 thru 9 resolve down inhalf steps

Be sure to change keys, and practice all extensions of chords, while being conscious of connectingthe top note as closely as possible for good voice movement

a Substitution the V chord for one or two beats.

2 II Minof V Domin¡nt7 Substitution

a Using the II Mino/ and V Dominant? and resolving to the temporary I chord

3 II V's ¡nd New Resolutions

a Using the II V and resolving down a Vz step

b Using the II V and resolving to another II V.

4 II Mino/ bs yz bt subrtitution

a Replacing a II v with II Mino/ b s yz b,

", in the turn around

5 lI V and Hatf Srep t bSl Subsrirurion

a Using a II MinT bs yz bt artd for the last beat of yz be use a b5 substitution

After reviewing all substitutions, take the examples below and study them in the original key

Then change keys using the same alterations

Here are two of Joe's versions of the blues

Compare rhe Frngerings of F7#e and É13.

Tbc only difference is in the bass note The rest of the chord remains the same As in the

follow-i c¡'mple, the blues may be played using the half step substitution and these "One Grip" chord

2 6

COMPING - WITH A PIANO AND BASS

Comping is a word used to describe accompanying, or playing chords while another instrument

or voice has the melody

When first confronted with accompanyrng a pianist, whether he is playing the melody, or soloing,much care must be taken to not get in his way You may be playing too much rhythmically orharmonically

The piano player won't mind if you layout (not play) right at first This will give you time tolisten, and take in the following considerations

1 LISTEN to the harmonic structure the pianist uses Below are some possibilities toconsider

a Does he use raised 9th (7#) sounds?

b Does he use a lot of half step movement?

c Does he use l3th sounds?

d Does he use augmented (7#5) sounds?

e Does he use dominant cycles (D7 / G7 /C7 etc.)?

f Does he use II V substitutions?

Consider the fact that he has 88 keys and l0 fingers After you kno% more or less,what his harmonic design is, then build your chord voicings on top of his, using thetop 3 or 4 strings You can also play 2 and 3 note chords on the inside strings Fullchords, with the bass note on the 6th string, often sound muddy This is why, whencomping with a piano and bass, the top strings and voicings are best

Rhythm should be your next consideration Most pianists are used to being thedominant player, and would prefer that you play a simple rhythmic figure or playsparingly This is a good practice; you have more time to listen to what everyoneelse is doing Then if you need to come on strong, you have the room

4 Dynamics (how loud you play), are ALWAYS a concern This can either make orbreak the soloist If you start out nice and eas¡ and build as the momentum builds,you can help, and actually be part of the climax of his solo

In review, the most important thing to do is LISTEN! Take the time to do so The music willdictate what harmonies and rhythms you should play

2.

3.

TWO AI\D THREE NOTE CHORDS

Wbcn compint, it is often a good idea to use fewer notes in your chords It is even possibb too(mp riü 6¡c Dotc But to get the sound of the changing chords, you need two notes, the 3rd, and 7th

of c -r¡ cüord Noticc üat in the two and three note chord examples below, you need only move Vz

¡¡rp ro ch.nSc cüords The 3, and 7 above each diagram indicate which are the 3rd and 7th

x

tI

x x

x x

x

x x

x x

ffi# #F-\rT- r¡ \L

' 4 ,

-t v tr¡r

X X

2 a

11

q 1 1 1

¡1

¡1 1 1

f-a

EASY TO GRAB 4 I\OTE CHORDS

It is always important when comping, to play easy to grab chord forms Should you hit a note

that clashes in your chord, it will be easy to change

Here are some easy to grab 4 note chord forms Incorporate these chords into your playing right

away- They are good comping, as well as good melody chords

5ó

5ó7 8

ct3

I3{sdCa}

b

B

A \\'ORD ON TRADITIONALRHYTHM

\A ere available, the guitarist in big bands had to have as much volume asnecessarl' for the guitar to use the bottom strings in their chord voicings so

be heard over the horns, strings, and the rest of the rhythm section

l -:.: -.\:tl::g sr¡'le $ as " four to the baC' or one strum to each beat This is how the traditional.: :' : :i;ing uas developed For good exposure to this style, listen to Django Reinhart, Charlie( - - : : : : : a i : d F r e d d i e G r e e n

THE CHARTESTOI\ BEAT (I-AYED BACK)

The Charleston beat is useful in helping develop a sense of rhythm It is also good for settlingdou'n the rh¡hm section, if there is a tendency for people to rush, or if the beat becomes unsteady.This beat will 9 out of 10 times get things into a groove

Try to feel this groove The first beat is longer than an eighth note, but not quite a quarter note.The second beat is not played exactly on the up-beat; it is layed back, or delayed

a

t

a

Bbe

GROOYING ON THE BLIIES

Once you have "the groovef ' play the blues using this beat At first use the most basic chords, orones you can grab easily, because your only concern at this point should be to find the rh¡hmicgroove Remember, by using extensions you may change the color of your playing

Note: Simile means continue the same rhythm

It is beyond the scope of this book to cover all the possibilities in rhythmic patterns The ing page has some examples made from basic "grooves." You should learn them and use them as apoint of departure, or as a basis for rhythmic improvisation

follow-If you get only one pattern that you can feel and groove on, stay with it Finding the groovedepends primarily on how much you are listening Remember, Listen!

VARIAIIONS OI'{ THE CHARLESTON BEAT

Bdon are some examples of variations on the Charleston beat Study the rhythms Then pickJust

om bar üar -vou like, and pracrice it through the blues until you have it Then pick anottler andcr-eat¡¡all¡- add ücm together

F 9 B b 1 3 F9 ril tr F13 813

t

B b l 3 8 1 3 Bbe go Flc ebz#s A?fi5 Db ulilg c?

G? Dbg Csus C11 Ff maj? Fo Eb ry#g Ab c? D b 1 3 C 1 3 F i l 1 3 F 1 3