159135071 joe pass chord encounters for guitar book 1

forGuitar €NCOUNT€RS CHORD Bookf $NffiKeffieKe$tffiff II{TRODUCTIO}I This book is my approach to the basic blues pattern It includesHalf Step and II minor V Dominant movements,Diminished and V chord substitutions,and varied ways of comping It also includessomeextensions on the chords,which will improve your overall soundand approachto playing blueschanges This book will be one of a seriesof books introducing the many common chord patterns that exist in most standard piecesof music Accompanying this will be a series of melodies and improvised lines to these patternsso you can seehow melodic linesare built and fit the various chord patterns I chosethe bluesto begin with becauseit is a very basicpattern that we all knoq so it will be easyto seethe substitutionsas they appear.Once you get the idea of how the patterns and substitutionswork, you can then use theseideasin other songs.With the tape you can hear how the progressions fit together.I hope to simplify and explain how harmoniesand chord forms work on the guitar This should help you understandsubstitutionsand how theywork You should take each substitution and practiceit in every key until it becomesautomatic in your fingering and thought process.Then go to the next substitution It is important to be able to play and move thesechord forms and their ideasfreely in everykey Becauseof certain chord fingerings, there are unwanted notes that will sound if you use a pick I play all examplesin this book finger style This enablesyou to play only the notesyou want If you usea pick you may have to refingersomechords I would like to thank my good friend and fellow guitarist Denny Hardwick for spendingmany hours formulating the material in this book His help is deeplyappreciatedand I'm looking forward to working with him on r34r out next project CREDITS: Sound Editor: Dcnny Ha¡dwick TochnicalConsultanu Mark Hill Photos taken by Norman Jambson at Stanford Sicrra Carnp, Fallen Lcaf Lakc, Cdifornia ) ) ) ) ) ) ) ) TABLEOF CONTENTS ) ) ) ) Drrrt'Clorú ) b( U lcr Blrcs in F And Extensions f rrc{t¡¡ ?ü Chords ) ) TLc Trn Around ) ) Trrr.{ro¡ndChordslnF Dorirut Substitution - The Standard M ) Hdf Stcp Substitution ) SilkingB¡sslineTurnAround ) fXninbhedSubstitution ) Rcvicr' ) ) ) ) ) I Forms t'ChordSubstitution U s c O f I I M i n o r T V T F o r H a r m o n i c l n t e r e s.t ) ) l7 .18 II MinorT V7 And Voicings Review The OneGrip Blues C o m p i n g W i tA hPianoAndBass And NoteChords pssVToGrab4NoteChords : ) .13 16 II Minor7v7 And Hatf Stept hsl Substirution ) .10 II MinorT V DominantT ProgressionsWith New Resolutions II llinorr bsy DominantT bqProgression ) ) TraditionalRhythm And The CharlestonBeat(LayedBack) GroovingOn The Blues VsriationsOn The CharlestonBeat Find ReviewAnd Conclusion 19 20 22 24 25 .26 27 28 29 30 3l 32 ) ) ) ) ) ) ) ) 14 t b i c i n g E x a m p l e s ) Il MinorT V DominantTsubstitution ) ) ll ) ) II V Chord Progression Copyright O 1979 by Charles Hansen tI of California, Inc., West Los Angeles, Calif 90025 Alt Rights Reserved International Copyright Secured Made in U.S.A a a a a rx)ttrNANT 7th cHoRD FORITIS I I ¡ : t D t F- t :> tqr of F, coasisrsof rhrecchordchanges.Th€yareFt, B b7,and c7 Thc blues ¡ 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 usedin the first cxamplcof the Basic c-b.F-orhqrp.tc t> F l;', Dd C?chord forms a¡ederivedfrom üe F scale.That is; F is üe I chord, Sb is Oe fr # d C b r.bcV cüord Seethediagran directlybelow h E! I t a I D I I a I 9: t3 F7 ¡s rrcferred to as the I chord lI I ls t Itx n,t 1lja ? 2t3F++i+i :F f4 BbTisrcferedro¡srhervchofd t5 D I ) ) ) Note:X = MutedString;O: OpenString C7 is referred to as the V chold BASICT2BAR BLTIESIN F t¡ Bb? sIV c7 2IV 1I Bb? F7 óIV EI (Bb?) c7 c7 EXTENSIONS By adding extensionsto thesebasic 7th chords, you can immediately changethe color of your playing Someextensions,including 9th's, raised9th's A#\ l3th's and suspensions,are illustrated on the oppositepage.Below is an exampleof the l}bar bluesusing thesechords rI Bbe sIV c?#e 3I Bbe 6tv (Bhe) c?ile 1I F13 7I r.13 F13 8l c7 ) ) t ) EXTL\DED 7rhCTTORDS (BrIrES rN F) t THETTJRNAROUND The last two measuresof the blues is consideredthe turn around The basic turn around as seenin the precedingtwo examplesis: (c?*e) c? (F13) FT To add harmonic interest to this basic turn around, G7 preceedsC7.(To play G?, simply move the F7chord form up two frets) To add more h'a¡monic interest, D7 would preceedG1 (To play D7, simply moye üe C7 chord form up two fretsl THE STA¡TI'ARI' I YI II Y TI.JRN AROUND F7 G7 Now working from the standard I, VI, II, V Tt¡rn Around, extensionsof thesechords are used for color A new form for G7 seenat the top of the opposite page, is usedin this turn around r13 (Csus) ozüg Csuspended TrrRNAROUNDCHORDS(rN r) C(srr) b' tr MINOil bt V DOIWNANf AND YOIüNGS bsyz beptogrtssion- Theseare gtod Fc üffcrcnr color, a II V precedingbar will usea IIminT v(iintr h¡ rbcn placcdncxt to üe DminTthey don't sound proper Seethe next pagefor voicings Em7b5 Fl3 Cm? Em7'?5 F13 I ¡l4t Bbe A7b9 D'nt7 Bbe cl3 20 VOIüNGEXAMPLES Th" The voicings on this page have the top note on the first string, in a descending-*n3 previous page had the top note jumping from the flrrst string to the second string, therefore the voicings.didnot soundright I A?be G7#509 I Dm9 G7*5be o a a a a a a a a a a a a a a Tlc -¡: II V rould s-orrlcin bar This would connect the first and last bars of the blues 'r¡:í-: I- '-\'r J¡.s ralher than resolving to a temporary I, the II V progression resolves down a Vz É+ - r.(:s ll \ ¡o¡rcssion rD I a a t o a a a o o a a o I o Tbc completel}bar bluesnow soundslike this, usingII V substitutions E m ?b A?be Dmg czfisbg Cm9 ¡ I D I D: t: D , ) ) ) ) ): ): ) Gm7 c?f,e cTbe Am? orfg cTbe :1 22 NVANDHALFSTEP( b 5) SUBSTITUTIOI{ Considerthe first bars :q :r :4 Em?b5 ¡fl ¡tl Now addingthe half stepsubstitution,E beb5resolvesdown Vz stepto Dmine.This is alsoa bS substitution.(E b is the b S of e) :# r1 :q ¡il 3il 3-l E m ?b czilsbg :q 3rl 3fl :É rt i EcgCs ó I e-l q 4 4 4j7 jl J-1 n :1 3l 3l Thecompletel2 bar bluesusingthe II V and half step( b5) substitutionnow sdundslike this Em?bb A?beEb9b5 Drie c?{sbgDbgb5cmg F?*sbgBgbS Bbm? c?#e Noticethe Half stepturn around The additionof onemore II V usedas a half stepsubstitution,shouldmakeyou awareof mostof the usesof II V substitutions,as usedin the blues.Noticethe II V's in bars6 thru resolvedown in half steps Be sureto changekeys,and practiceall extensions of chords,whilebeingconsciousof connecting the top note ascloselyaspossiblefor good voicemovement obgbs Em?bbA?benbsbsDme c?ilsbg F?#sbgsgbs 24 Jr REYIEW 'Since page ll, we have addedfive new ways to alter the blues.Also includedare tips origooo voicings l Y Chord Substitution a Substitutionthe V chord for one or two beats II Minof V Domin¡nt7Substitution a Using the II Mino/ and V Dominant?and resolvingto the temporary I chord II V's ¡nd New Resolutions a Using the II V and resolvingdown a Vz step b Usingthe II V and resolvingto anotherII V II Mino/ bsyz bt subrtitution a Replacinga II v with II Mino/ bs yz b, in the turn around ", lI V and Hatf Srept bSl Subsrirurion a Using a II MinT bs yz bt artd for the last beat of yz be use a b5 substitution After reviewingall substitutions,take the examplesbelow and study them in the original key Thenchangekeysusingthe samealterations Here are two of Joe'sversionsof the blues Fe rfig Ft3 B1s Bbls Bbl F?#e C?f,sB? rzf sfig Flc ¡^bzbs G? obz*s cls r#zfig rzfg nb ryfigeb Db Csusrf zbs rf ts F13 Flc l F13sus 'rzf sfg Bbe c?#ecilz$soz#gnbz#g E?üerz*g sz sbg E? enbs r,Tbe ezf sfig Ebe ulügfs Abl c13 rf,g sz#s$g Gl3 obg#s 1ú ¡Í ¡ ¡¡ 7a - a a a a,. _ THE OI{EGRIPBLUES Compare rhe Frngerings of F7#eand É13 \ -t-D- - -I^YI v f t I - - t - J t rD rt ¡D a a t a t a m >-/ El a a a I a a o t t a a I o i Tbc only differenceis in the bassnote The rest of the chord remainsthe same.As in the followc¡'mple, the bluesmay be playedusing the half stepsubstitutionand these"One Grip" chord fúDs- I Frtg Gl3 I F?#e Bb13 813 Db13 c13 l0 rfzilg F?#e u c13 r#z*g F?#e F?#e t2 813 c?#e 26 COMPING - WITH A PIANO AND BASS Comping is a word used to describeaccompanying,or playing chords while another instrument or voice has the melody When first confrontedwith accompanyrnga pianist, whetherhe is playing the melody,or soloing, much care must be taken to not get in his way You may be playing too much rhythmically or harmonically The piano player won't mind if you layout (not play) right at first This will give you time to listen, and take in the following considerations LISTEN to the harmonic structurethe pianist uses.Below are somepossibilitiesto consider a b c d e f Doeshe useraised9th (7#) sounds? Doeshe usea lot of half stepmovement? Doeshe usel3th sounds? Doeshe useaugmented(7#5)sounds? Doeshe usedominant cycles(D7/ G7/C7 etc.)? Doeshe useII V substitutions? Considerthe fact that he has 88 keysand l0 fingers.After you kno% more or less, what his harmonic designis, then build your chord voicingson top of his, using the top or strings You can also play and note chordson the inside strings.Full chords,with the bassnote on the 6th string, often soundmuddy This is why, when compingwith a piano and bass,the top stringsand voicingsare best Rhythm should be your next consideration.Most pianists are used to being the dominant player, and would prefer that you play a simple rhythmic figure or play sparingly This is a good practice; you have more time to listen to what everyone elseis doing Then if you needto comeon strong, you havethe room Dynamics (how loud you play), are ALWAYS a concern This can either make or break 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 is LISTEN! Take the time to so The music will dictate what harmoniesand rhythms you should play TWO AI\D THREE NOTE CHORDS Wbcn compint, it is often a good idea to use fewer notesin your chords It is evenpossibb to o(mp riü 6¡c Dotc.But to get the soundof the changingchords,you needtwo notes,the 3rd, and 7th of c -r¡ cüord Noticc üat in the two and three note chord examplesbelow, you need only move Vz ¡¡rp ro ch.nSc cüords The 3, and aboveeachdiagram indicate which are the 3rd and 7th xx xx xx xx xx xx tI xx FFFF P,b? F? F? F? I F7 Bb? Bb? F7 ü7 C7 G7 Now take the following raised9th and I 're) F7fre ;\ff ( Bpr3) l -/ \ -¿ x - xx x ó I I ffi# r¡ #F -\rT-t '4, \L v xx 11 2a EASY TO GRAB I\OTE CHORDS It is alwaysimportantwhencomping,to play easyto grab chord forms Shouldyou hit a note that clashesin your chord, it will be easyto change Here are someeasyto grab note chord forms Incorporatethesechordsinto your playing right away-They aregood comping,as well asgood melodychords XX ó BbI3{sdCa} ó ct3 q 1 ¡1 ¡1 1 f-a A \\'ORD ON TRADITIONALRHYTHM \Aere available,the guitaristin big bands had to have as much volume as necessarl'for the guitar to usethe bottom stringsin their chord voicingsso be heardover the horns,strings,and the rest of the rhythm section a t l -:.: -.\:tl::g sr¡'le$ as " four to the baC' or one strum to eachbeat This is how the traditional : :' : :i;ing uas developed.For good exposureto this style, listen to Django Reinhart, Charlie ( - - : : : : :a i : dF r e d d i eG r e e n a THE CHARTESTOI\ BEAT (I-AYED BACK) The Charleston beat is useful in helping develop a senseof rhythm It is also good for settling dou'n the rh¡hm section, if there is a tendencyfor people to rush, or if the beat becomesunsteady This beat will 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 secondbeat is not played exactly on the up-beat;it is layed back, or delayed Bbe 30 GROOYING ON THE BLIIES Onceyou have"the groovef' play the bluesusingthis beat At first usethe most basicchords,or ones you can grab easily, becauseyour only concern at this point should be to find the rh¡hmic groove.Remember,by usingextensionsyou may changethe color of your playing Note: Simile meanscontinuethe samerhythm It is beyond the scopeof this book to cover all the possibilitiesin rhythmic patterns.The following pagehas someexamplesmade from basic "grooves." You should learn them and usethem as a point of departure,or as a basisfor rhythmic improvisation If you get only one pattern that you can feel and groove on, stay with it Finding the groove dependsprimarily on how much you arelistening.Remember,Listen! VARIAIIONS OI'{ THE CHARLESTON BEAT Bdon are someexamplesof variationson the Charlestonbeat.Studythe rhythms.Then pickJust om bar üar -voulike, and pracriceit through the bluesuntil you have it Then pick anottler and cr-eat¡¡all¡-add ücm together F9 813 F13 ril tr F9 Bb13 t Bbl3 G? 813 Bbe go Dbg Csus C11Ff maj? Fo Flc ebz#s A?fi5Db ulilg c? B.7b5 E9 Ebg E9 813 Bb? (add9) F?fie Fe#sFe rüg*s E Bbl3 F r # g # SF Db13 C13 Fil13F13 Eb ry#g Ab c? Bb13Ab13 Bb13 DbeDeDbeDg tk$? c13 F9 6o obgüs rilz c13 F? A End of recording 32 FINALREVIEW Hereis a summaryof the variouswaysto changethe basicI, IV V bluespattern l Page#2; Adding extensions Page#4; Altering the turn around Page#6; Dominantcyclesubstitution Page#8; Half stepsubstitution Page#10;Diminishedsubstitution Page#13;V chordsubstitution Page#14;II minorTV dominantTsubstitution Page#17;IlminorTbi V dotninantTbesubstitution Page#22;IlminorT bt V do*inantT bsand half step( b5) substitution Here is a summaryof thingsto considerwhencomping.(Pages26 thru 3l) l Listen! Find the harmonicdesign Voiceyour chordson top of the piano Alwaysbe awareof dynamics Useeasyto grab 2, 3, and notechord voicings Userh¡hmic figures,suchasthe Tiaditional, or the Charlestonbeats CONCLUSION Takethe abovewaysto alter the blues,and let your earsguideyou as to which of the substitutions and rhythms to use Sometimesit is best to use the most basic approach This dependson the situation, the atmosphere,and the players Experienceis undoubtedlythe best teacheryou will find Bear in mind that all good playershad to work hard to get wherethey are I hope this book helpsyou understandsomeof the conceptsand harmonic approachesto playing the guitar ¡ I l I ) D ) Glossary D D D 7'¿ :¿'' , :t 'irs zlosary arein theorder in whichtheyappearin the furt ) D D ) ) D ) D ) ) D ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) \cr - { ;:::: i;r r¡hich a compositionis written or played.The first note of a seriesof : -':c: íorning an¡'givenmajor or minor scale.PageI ( Lord Chengesor Pattern- Refersto a seriesof chordsin a particularorder.PageI (Lord Form or Voicing - The way in which the notes or voicesare arrangedand ::::rbured in a chord.PageI I ('bord - Being the first chordof a major scale.PageI l\ Cbord - Beingrhe fourth chordof a major scale.PageI \ ('bord - Beingthe fifth chord of a major scale.PageI l-rtctsions - Adding higher scaledegreesto a basic chord Example:making a 7th -'iord into a 9th, l lth or 13thchord.Page2 ('of or - The soundof a chord or chordpattern Page2 Tr¡-nAround - The last two bars(l I and 12 of the blues)beforereturningto the beginning of the pattern.Page4 H¡rmonic Interest- That whichmakesthe chordsmore pleasingor interesting.Page4 sr¡nd¡rd Changes- The commonway to play a particularchord pattern.Page6 rrrlking BassLine - Movementof the bassnote of a chord.Page9 II Vinor v Dominant 7- Beingthe secondand fifth chordsof a major scale.Page14 Temporarf'I- Temporarilymakingany chord a I chord.Page15 f,e¡ Center - When a chord progressiontemporarilychangeskeys.Page15 Tnnspose - To change keys Poge 16 'r bs tl Vinor V Dominant bg - Being the altered secondand fifth chords of a major scale.Page I7 Fl¡rrened Fifth ( bs) - The fifth degree of a major scale being lowered Vz step in a chord; thus, the chord becomes'alterediPage22 Comping- Accompanyingor playingchordswhile anotherinstrumentor voicehasthe melody.Page26 and 29 Hrrmonic Design- The useof particularchordsin a particularorder.Page26 R.h¡lbmicFigure- A rhythmicpatternor motif Page26 of intensityor loudness.Page26 h nemics- Varnng and contrastingdegrees Groove- A feel for a rhythmicpattern.Page29 t34t