THE

JOE PASS
GUITAR
METHOD

Chappell & Co., Inc.

CONTENTS
3 SCALES
4 Ma jor Scal es
5 Melodi c Min or Sca les
6 Na tural Minor Scales
6 Harm onic Min or Sca les
7 Dom inant 7th Sca les
8 Aug mented (Whole Tone) Sca les
9 Diminis hed Sca les
10 Dominant 7th Altered Sca les
10 Pickin g
11 PRACTICE PATTE RNS
11 Exercise i n Third s
11 Exerci se in Sca le Patte rn s
11 Va rious Combined Patt erns
12 Stu dy in 8th Not es
12 Improv ised Patt e rn s
13 Diminis hed Scale Pattern
13 Domina nt 7th Sca le Patt ern
14 Exercise Us ing Chord Sequ ence
15 Exa mpl e of Free Improvisation
17 CHROMATIC PATTER NS
18 SCA LE LI NES BASED ON CHORDS
20 CHORD SEQUENCES
22 BLUES LI NES
22 JAZZ LICKS
24 JO E'S BLUES
29 BLUES FOR NINA
30 NO BS
31 ALISO N
32 GRETE

Copyright© 1977 by Joe P ass

Chap pell & Co . , In c ., pub li s he r
Interna tional Copyri gh t Secu red
AL L RI GHT S RESE RVED
Print ed in U. S. A.
Unautho ri zed copying, arranging , adaptin g,
re cording or publi c performance is
an infri ng ement of copyright.
Infring e rs are li a bl e under th e l a w.
 Scales
Scales and their Basic Chord Forms. In order to give the
stude nt some direc tion and help in developing an ind i-
vid ual concept of improvising, it w ill be necessa ry for him
to gain a full working knowledge of sca les, melodic lines,
harmonic patt erns, and a p lan for comb ining these e lements
into useful practi ce patterns. With the exception of the
Blues solo an d th e short pieces w hich concl ude thi s book,
every thin g is writte n in e ig hth- and quarter-notes, makin g it
easier for the s tu dent to see and hea r the mus ica l lin e as it
develops.
Below are six diagrams w hich are usually learned by a ll
guitarists when beg in ni ng to p lay in fi rs t position, the In-
termed iate fo rm not included.
All scales are p layed vertica lly w ithin each form whose
object is to provide a framework in w hich to function. Once
the patt ern in each Form is perceived the location of notes
and pitches w ill become automati c and a famil iarity w ith
the fi ngerboard w ill be ac hieved. With the Chord Forms
act in g as points of anc hor or reference, th e abi lit y to create
an im provised scale or melody wi ll be unham pered by the
struggle to find the notes.

C Form A Form G Form E Form Intermediate Form D Form

'" f-+-+-1'--i-..,
""1-+-+-+-+-1
." I,...f:::j::::j:::j....~
'n' I-+-+-+-+--l

11tll 12th 1-1-+--1-;---1

[rei ml f-I-+-+-+-~

(1 st Inversion
of C Form) (Top Part of C Form)
The numbe rs wit hout circles indicate the fingers of the left
hand: 1 2 3 4
The numbers in circles ind icate th e strings :
CD
E
CDA CDd CDg CDb CD e'
~ Majo r Scales. The fingerings are inte nded as suggestions. eventually be adopted. For the C Form I always start wit h
There are no fixed fingerings and man y different possi- my 4th finger on the A string. All sca les begin on the root C
bilities; those which best suit the player's hand should and all are given in the key of C.

,» 4 0 3

II) J ; J I; J r r Ir r E F IE F r F I
C Form CD CD CD CD CD CD
4 0 3 0 2 4 0 2 4 2 0 4 2

,r 0 3 0

J ; J I; J )
4 3

J 14 g 4 g14 g 4 J I II
0 4 3 0 4 2 0 2 4 0 3

-&
4

CD CD CD CD CD

,g -&

A Form
1

II) J ;
CD
3 4

CD
1

J I; J
3

CD
2

r r Ir r r r It t f I
3

CD
3 4

CD
1
3 4 4

same fingen·ng descendi'}g

Alternate fin gerin g: s tart w ith the 2nd finger on the A string:
2·4 on A, 1· 2-4 on d.

,» -&
4

II) J ;
G Form CD CD
3 4

J I; J
CD
1 4

r r IE r r r It
CD
t f I 3

CD
1 2 4- t 3 4

same fingering descending

CD
- Only one finger in g is possible: the root C is on the 8th frel.

4 t
3 4 1

J I; J
3 4 2 3 3

r
4
t
I) J r r IF F
same fingering descending
I
E Form
CD CD
Alterna te fingering: 2-4 on E, 1-2-4 on A, etc.

4 3
1 3 1 3
3

F F Fir
4 1 3
t t t r F FI
Intermediatef"4\
Fo rm ~ CD
4 3 4 1 4 3 4 1 4 1

&r F r r ; J ; IJ ; r I" II
CD
The fingering given above is the most pract ical, especia ll y
beginning 1 on g (10th fret) .
, .#
:ft
D Form
8va - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
4

IIJ J j
CD CD
3 4

J Ij
1

CD
3
j

CD
F
2

r Ir r
4

CD
2

r F Ir
2

r
CD
4

F
2

rI
15

, 8va - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

F
J j J Ij
1 4 3

J J J
4 3

14 J J
4 2

dIJ
2 4

J 4
3

JI
4

-&
1

II
CD CD CD CD CD
The C and D Forms are related: startin g wi th 4 on A (1 5th
frel)' it is identi cal with th e C Form in the firs t position.

It is possible to move up o r duwn a step for a note, so th at
each Form may encompa ss abou t 5 or 6 frets.
As familia rit y wit h th e fing erboard develop s, the stud en t
will di scover choices to be made regardin g th e sa me note. In
the G Form th e note B is poss ibl e on th e d or g strin gs. It is
best to learn to play th e sca le both ways, s ubsequentl y
appropriating the one which fee ls best. (If all poss ibilities
were given, thi s book would be fill ed wit h nothing but
numbers.) By masterin g all th e scales in th e A - E - cm
Cho rd Forms, which are bas ica ll y similar, the student will
ha ve covered the fingerboard quite thorou ghl y.

Other Scales. Whil e all th e Chord Forms are give n for th e descri bed for the Major Scales. Only th e E Form is given for
Melodic Minor Sca les ofC, onl y the C Form is given for th e th e Altered Dominant 7th Sca le , but aga in , thi s must also be
Natu ral Minor and Harmonic Minor S~ l es. These scales practiced in all the Chord Forms.
s hould be repeated in a ll Forms; the fingerin g is th e sa me as

MElODIC MINOR SCALES

4 o 2 4 o o 2 4 1 3 1 4 3

r
4

"i I J J j j Ij r Ir r F IF r r r
C 'Form
CD CD
o 4 2 o 4 3 3 4
J j j I j J J J IJ J II
CD
J

2 4 4

I~me ~ ~
3 4 4 1

~ QF
3 2 3 2

'~Iz I. ~ IJ
-& J j j Ij r Ir r r ~ /linng ae ending I
A Form
CD CD CD CD CD

If ~
1 4
-e 4

'~I! h
i
4

IIJ J j
2 4

j Ij ~ -F r Ir
1 4 3 4

r t ~ €
same fingering descending
I
G Form -CD CD CD CD CD CD
 '~III!
61 2 4 I
-& 3 4 I 3 4 2 3 I 2 4 I
gr f I
-&
IIJ •
1 ; J I; J ~r F Ie F e r If same flngenng ducendt!fl
E Fo rm
CD ® 0 CD CD CD
I 2 I 4
4

F e Ir f
I 3 4

r
g3
t If t f f (i)l 4

f r eI
3

Inler. form 0 CD CD CD CD CD
3 4 I 4 2 4 I I

e F r IJ ; J ; IJ ; J ~r In II
® CD ® 0
8va - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
4 124 12 124 1343 142

I J J ; J I; J gr F i e Fer I e F e F I
o form
®0 CD CD CD CD
Bva· - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - _ - - _ _ _ _ _ _ _ _ _ _ ___ _ ,
,42

jhl~ J )
142

~. I) l ~ J IJ
142 1424

£ J d 1£ ,J 134

j II

NATURAL MINOR SCALE

4 0 3

•~
2 4 0 4 2 4 4 I I 4 3 I

'~b J J ; J I ;
h
r F Ie F e r Ie F e F I
C form ®
0 CD CD CD CD
t~lz Iz r 4 2

~
0

; J I;
4 2 0

J J J 14
4 4

9 J
3 3

9 14 J
4 4

j II
CD 0 ® CD ®

HARMONIC MINOR SCALE

4 0 2 4 0 2 0 2 3 4 I 3 I 4 3 4

'~IzIz J J ; J I; ~ ~r F Ie F e ~ Ie F e F
C form® 0 CD CD CD CD
0 0 4 I 0 4 3 0 3 3 0
J ;
3 4

'~IzIz gr •~ I; J J qJ 14 II
9 J 9 I; qJ j
CD 0 ® CD ®
, P
DOMINANT 7th SCALES
C Form
4

r
4 0 3 4 0 3 4 2 4 0 2 2 0 4 2

J J J J IJ J 9r F If F f If F f F
, CD CD
9r
4 0
J J 3 IJ J
4
CD
3 0 4

J
2

&4 IJ
CD 0 4

J 4 414 J J
CD
2 0 2 4 0 2

&4 I-
CD 4

II
CD CD CD CD CD

,
A Form

CD
2 4

J J J IJ J
2 4 2

9r
4

F If
1 3

F f
4 1

r
3

IEm. fin:Lg a.lamg

4 4

,
G Form
4

CD CD
J
3

J J IJ J
4

CD
1 4

!ir
1

F Ir
CD
3

CD
F r
1 2 4

r It
~2
r f
same fingering ducending

CD
4

,
E Form

CD
1
2
3
4

J J J IJ
4
1
1
2
3
4
4

J
2
2

9r
4
4

F Ir
3
3

F r
4
4

r
1
1

It
3
3
~t
4
4

same fingering descending

1
1

f I

,
Inter. Form
1

F r F r It t
3 4 1
~t
2 4

f If
1

f
1

f
4

f It t
~2 3

r r

, CD
F r
4 3

F !ir
4

I~
1

J J
4 3

J 13
4 1

J J
4

9r In
1

II

D Form
Bva - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
!J4 1 3 4 1 4 4 2 4 1 2 4 2 1 4 2

~ =: J J J IJ ~ !ir Fir F r r Ir F r FI
Bva - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - " - - - - - - - - - - - - - - - - - - - - - - - - - - - - 1
:i 4 J 1 4 3 1 4 2 1 4 2 1 2 4 1 2 4

~ ~r - J J I J J J S IJ J 4 4 I4 J J S 1- II
 8[ The Augmen ted. Dim inis hed. an d Dom inant 7th Scales are
influenced by th e Dominant 7th Chord . For exam ple. th e
chord G7 +5 is augme nted and ca n be interpreted lin ea rl y
by an Augmen ted Scale. Likew ise. G7bg is a diminished
chord agai nst wh ich a Dimi nished Scale can be emp lo yed.
For improvisation th e bg and +g go toget her. Against almost
any Dominant 7th C hord. I wi ll include th e bg, +9. b5 , or +5
in my li nes, wh ich is th e Altered Do minant 7t h Sca le [See
page 10 J in most cases butthe s tudent is cau ti oned to use hi s
ea rs. Applying what he has learned automatica ll y, withou t
consideri ng if it is appropriate, wi ll never lead to an y ki nd
of di stin guis hed style.
All scales s hou ld be practiced in all Forms either chromati-
call y or in Form ord er: in chromatic order, play th e sca les of
C in C Form , th en Db in C Form. D in C Form, etc.; in Form
order , pla y th e sca les of C in eac h of th e Form s C-
A-G-E-Interm ed iate-D. All sca les shou ld ex tend two oc-
taves, beginning and endin g on the root , except fo r C and
Intermed iate Forms,

AUGMENTED (Whole Tone) SCALES

4 o 2 4 I 3 3 0 2 0 4 2 4

II) J a uJ I,a F r IF r IF r F
C Form
CD CD CD
2 o 4 2 4 2 o 2 4 4

a J I) I II

4
... 1
2
3
4
4
I
2
3
4
4
I
2
3
4
1
I
3
3 ~

~
II) J a UJ I@ F r IF I
same fingering descending
]
A Form CD CD

, #j I ) J
G Form
CD CD
4 3

a #J
4

I,a
CD
2

~r
4

F r
CD
IF
CD
#r #'r
CD
3 I
3 ~3
r
4
~

same fingering descending

I

, ,2 II)
~

E Form
CD
I
2 4

J
CD
a #J
3

I,a
4

~r
CD
2 4

F
CD
r IF
3 # 4
F r
#1

CD
r
b
3 4
~

sam e fingering descending

CD
il

,E #~
IF
CD
3

r
4

F r
#2

CD
4

I#r
b1
t
CD
f
3

f It
CD
3 I

f
CD
4

f bt
2

,
Inler. Form

2 4 4 2 4 2 4 2 4
#4
r -r F r IF br ,a #J la #J ,a br I" II
CD CD CD CD CD CD
 Bva - -.- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 19
4 I 3 4 2 4 I 3 I .3 ~4 3 I 4 2 4

I ) J a #J I,a ~F r r Ir r r r I r r r ~F
D Form CD (1) CD CD CD CD CD
Bva - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 1
2242 I 4242 1 3424

~ ,a #3 a J I) &J #J #J Id #J JJ &J ~ II
Practice with definition in mind . Each note s hould be s lowly. This w illirain th e fingers of th e lefl hand to know
p layed evenly and clea rl y a nd Ihe tempo increase d very where a ll th e n otes of th e fing erboard are located.

DIMINISHED SCALES
4 0 2 4 4 I 0 I 3 3 I

1~¥ II) J ~a J I#J fj J F Ir r !ir r

CD (1) CD CD CD
,
C Form
• I 2 I 4 4 0 2 4 4

#r fr r ~r Ilr IJ ,a J
r r F #3 II
CD CD (1)

, ~a J
0 4

)
3

J IJ
0 4 2 4 0 3 4

II
CD £ #J qJ I#J $ J
CD
J ~

, ~I-
;!! Ilii)
~

A Form
CD
I 3

(1)
4

II) J ~a J I l~ ,a J F I r r !ir r I~ r E t: I
2 4
f 4
I
I
3
3
4
4

CD
2 4

CD
I I 4

CD
4

same fingering descending

4
~

, ;jG Form
'&
4 I

II(E II) J d J IHJ ,a j F I r r !ir r I#r r E

CD CD
2 4

(1)
I 3 I

CD
2 4

CD
I 3 4 ~I

CD
I
t: I
3

same fingering descending

~

II

, --E Form
CD CD
2
I
4

;!! II) J ~a J 1#3 @ b F Ir r !iF r I#r r

(1) CD CD
3 4 I 3 4 I 4 I
~3
t
I

t: I
same fingen"ng descending

CD
2
-&

II
10 1 4
2f I

,!: I

II r r "r r I#r r
3 4 I
r t
I

If e I e If 4

r r
3 4

~r
CD CD CD CD CD
,
Inter . Form (})

#2 ~ !Ir I
4 3 4 3 I 4 3 4 3 4

r r r Ir r J ,J I~ ~IJ ~J J IIIJ ,J J &1" II

(}) CD (6) CD

&~ IJ--} ---;r --f --I;i ---~ ----~- ----r --iF ----F--':1 ----f --
D Form CD (}) CD CD CD

, 8va - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ _

#r
2
fr 2

r ~r
I 4

I"r
CD
3

r r
2

r I J .J
CD
3 2 4

#~•
(})
4

~IJ

, d
8va - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - _ - - _ - - _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ ,
2 I

I
J
4 3

4 14 W
I I 4 3 4 I I 3 4

II
~ ~J I#J
~
• J 4 .-
CD

,
C DOMINANT 7th ALTERED SCALE
I

J &J
(6)
2

~J
4

~J I#J ,J
E Form
3 4 2

~r
4

r I ~r
4

"r Ilr fr I#r

I 2
2
~4
r f
same fingering descending
I

,J
G DOMINANT 7th ALTERED SCA LE E Form
I

(6)
~J &4 qJ #J ~j J same fingering descending

Picking. In my own pl ay ing I use ailernale picking ge ner- th ro ug h practi ce. However, it is esse ntia l to be aware of all
ally. When I sh ift from siring 10 strin g. I use down-picking the ways there are. My habit of a ilernate picking is peculiar
regardl ess of whe ther I am s hifting to lo wer or higher to my style. The studen t mu st find his own whi ch w ill best
s trings. Picking is something the s tudent will ·develop suit his persona l concept.
PICKING EXAMPLE

'I
1"1 1"1

r
1"1
•~
1"1 1"1 1"1 V 1"1 1"1 V

J J J r r J Ir r r 1"1
Ilr J I~r I,] J I
CD (}) CD CD CD CD CD CD CD CD CD CD CD
 111

Practice Patterns
The Practice Patterns which follow wi ll aid the student in
developing his own ideas. It is recommended tha t these
patte rns be practiced in all keys and scales. By inventi ng his
own patterns th e g uitaris t will ga in a sense o f me lo dic
construction that w ill be uniquely hi s own. Thi s wil l be a
great adva ntage in improv is in g.
Try taking a chord sequence such as C - A7 - Dmin - G7
- C and co nstruc tin g an e ighth-not e exercise over four or
eight bars. Then try to extend the chord sequence using
eight h- or sixteenth-notes. Wh ile stri ving to establish con-
tinuity and a melod ic sense throu gh scales and patterns,
always kee p in mind that the music must come from the
head, not simpl y from the fingers ru n ning up and dow n the
neck. It is imp orta nt to sing or hum the mus ica l ideas one
wants to play while play in g them [See page 14].
The follo w ing Practice Patterns s hould be practiced in all
Chord Forms and keys. The first four examples can be ex-
tended at least to e ight bars .

,J
C MAJOR EXERCISE

J J J J 3 •i JI J •I J J fU .
I (Ascending and descending within
the limits of the Chord Forms)

EXERCtSE IN THIRDS EXERCISES IN SCALE PATTERNS

, JJ J J BIG. I i J J J j J JJ I .1 •. II~ i J JJ J I JJJJJ eli I

VARIOUS COMBINED PATTERNS

J JJ •f JI j J j J r rr J JJJ J

, J J J J £J 3J I J j J J J J J JI j j j J i J J J I J J J J f' I
121 STUDY IN 8th NOTES A Form

&1 j J J J J J J did a J J J J J JID J J J E F r f I

&E r r J ~ J J J J J J JI] J J J J J J J I
J j IJ •I j

j J •~ J E r E IE r F t f t f F Ir F r r ( r r J• I
~

& j

&r E r f rr r Elr r rr J J J aiD J J J J J J WI

&J J J J J J J JI ( r r J t f f tlf r f t FF F FI

&r r r r r rr f ir f r Err C r lJ J J J j J J JI

&f J J J J J a J I J J J j J j J J I J J J J f' II
The above s tud y ca n be pl ayed in an y of th e Chord Forms.
Note th e vari ous patterns: thirds, scales, trill s, etc.

IMPROVISED PATTERNS A Fo rm (C M in o r)

it" i J J J J J J _J J IrE -r J j J J J I] J J J J J J JI

&~" Iz ~l~
11 j 3
r mr r r IE r r r(~e r r r I j 3 ~J j J J j I
J
&~I z Iz r f r r IE rf r r r r F Ie f F f r r rl
t rE f (
Whole Tone Scale 113

, i j J J #3 .i ~J J J I J ~J.J J J j #d J I.a fiE J J J J J 3I

DOMINISHED SCALE PATTERN

&j J J ~J 3 #J.3 J llJ I#J ,OJ J J F [IT r I E r I'E ; #r #r f CI

, f C f r #r F #r ~r 1#[ I, F r F F r F r I.a J 0 ,J

DOMINANT 7th SCALE PATTERN

, i J J J ) J J ~J J ICE ~F j J J J 3Ii J J J a J ~r
~r
tJ J J 3 ~r r [ ur I a J ~J J F r F r If f r r E FJ I

&~F r F r J J j •~ I J J J J J ~~ J J I~F [ E r F [ r fI
E ~r I J J J J ~ J &J J I_ II
14 1 EXERCISE USING CHORD SEQUENCE
Cmaj7

'11 J J J j J J JIJ J J J r F r FIJ J J J J J J JI

,J J 3 J #1
A7

JJ
Dm7

41•I J •
i j J J J ] IJ j J j
J
G7

W 3 JI

, j
C
F

J ~ ~ F r F rI
C7

r PC F hF f 3j J 14
Fmaj

j J J C F r fI

, Fmaj

f bf r r E F
Fm7

r f I~J h.=1 J J J J J(laW IpJ J J d

B~7

j J 3 JI
Cmaj A7 b D7

, J J Jo~ (~)£ J J J ';J J J J 1'( e r ; IF #r hE E i#J pJ JI

, E7

C e r F [ r r !! I@J J
Am
...j
• J C Fr
D7

CI r r lie ~
j
G7

r Ft r I

, C
[ e
A7

r J• I-I
Om

f f FI r Ie r ge
G7

J J J J Ir F r
Cmaj7

r J J J JI
'J G7

c
J j JJ
f
J JJld
D,
C

~ ~~
J J j J
Eb9
J J JI]
F

J
D7
G7

J J J j J 21
G7
\15

, ( r rJ t r rJ I~C hr r r L r f r I ( r(qjr 1 PpfJ Ire rj Ef [3' I

c i
r r f J 3 J I J JJ J J ill JJ Ij J J J ( r f
G7 G7 C -e

, r[ I II

EXAMPLE OF FREE IMPROVISATION should be an alyzed. rem emberin g th at it ca n be broken

The stud ent should try to creat e s ome me lodi c patt ern s of down into three s imple chord ty pes: Major. Minor. a nd
his ow n. Al so. th e und erlyin g chord sequ ence for thi s stud y Domina nt 7th (Au g '/Dim .).

, i J J J f OOr r fir 'r r [ f r r! It r f f t r r'59

, r r -[ r c r r 1 Ie F 'f j1fU f J,. I( r I.e f 't #E t r EI
,r f~f c f ~F qr #r If F f (~r r r !lr • Ir r r r
J
f J J 1I

, JJJj •~
J J )1 J J J J J 3 J J I J J •~ J
F f r rI
, J J •~ J #r r [ rI J J J J
J JIJ J J J j
J J #J J I
~

,J U J j J
a J j IJ J J J J j J JI c r r f hr r r r I
, #r r '[ f j J J j I~J J J j
J

~J J J J I~r f r f rf F rI
, ] J j
•I jd ~J JId J J j ] J d JIJ J J J ~J J J J I
 ~l ~
~ j.J l :; ~
i ., l I
I,Jj Jj ~ I I, (t
F ~ EI r Izi J cd
JJ I

J #J J J J J I
 Chromatic Patterns
The fo ll ow in g Chromati c Patte rn s and Variations are so m e startin g w ith ope n E, th en m ovin g up by h a lf-ste p s to ex te nd
whi c h I still prac ti ce. The stud e nt should make up hi s ow n th e exerc ise.

! a$ gJgp hp~J J ,l ~IIJl ~~

o I 2 3 4 0 I 2 3 4 0 I 2 3 4 0 I 2 3 0 I 2 3 4 0 I 2 3 4 etc.

, i j EIE f If ~ [I[ ['r 'r Eif I

, r I'F C9C r f 9f r I"J 3 93 J j 9) J&J IJ 0&0 JpO JpJ 2E
0'
II
VAR IAT ION I (up Y, step)

'i £$ J;H£I 2 3 4 4 I 2

JJ
3 4 4 I 2 3 4

PJ~lllll~Jlll ~IE [It f~Ef 'E l' r

4 I 2 3 4 I 2 3 4 4 I 2 3 4 4 etc.

II

VAR IATI ON II
I I 2 3 4 1 I 2 3 4 I I 2 3 4 1 2 3 4 I I 2 3 4 I I 2 3 4 3 etc.

t i JJ JIJ JJ n iPl~ll#ll~JiJ J~#E [If FI~'E r'r [ E I.

(}) CD
EXAMP LE 1
0123432 1 23401043401232 10

, a JJJ 3#J J J2 1#4 JJ illS JpJ 3 IJ 1#4 J J 0&0 ill

q q q 8to·11
CD CD
EXAMPLE 2

, ~ d J #4 J#4 IJ #2 J #3 J erc 1
EXAMPLE 3

erc I

'i
EXAMPLE 4

J J #J ~J j I J #3 j J lid I J J lli ) .J J IliA ElF C#C I ['" II

lsi

Scales Based on Chords

The chords on whic h th ese scale lin es are based s hould be shift to an y string by us ing either th e first finger or fourth
played at th e beg inning and ending of each exe rcise. In fing er to pla y two notes. This w ill p lace th e hand on the next
movin g from on e position (Chord Form) to an other, one ca n Chord Form.

Cmaj9

'JJ;;r[rrrrrffrfrr[rrJ;;Jj I

,f
SCALE LINE
f r f r r [ r r~ J ; ; JJJJJ~; ~j II

'J J ; J ; J r r [ r r J ; J; Jj I

'J ; ; r [ r ; ;
ARPEGGIO

INTERVALS
j II

,r f r r [ r r [ ; r J ; j I

,f r r [ r ALTERED TONE

f f Of [ d J J il I
SHIFTING EXERCISE
shift shift

iff
CD I
f i
CD E Form
2

r [ r
4 3 1

[tr
G Form
3

J J J
CD
4

t ;
A Form
4 3

J J
3

J J II
,r f
G(.9)

f Of r [ r [ r d
CD
J J ~
•I J d J IL

'J
G (+9/+5)

d ~r qr #r 'e fqt r Of br qr Of or r Of e rI
, i'r [ ~e I'r ~r #r nJ r (~)J ~r d ; J ~; J W oj J I
 J -i
Oil b
J ~
~r ~r
¥.
~I
Ilrt

DIMINISHED CHORD LINES or 07 (b9/+ 9). F7, Ab7, B7 a re all to be pl ayed aga ins t Dom inant 7th Chord s. Find th e
Th ere are onl y three Dimini shed Scal es. Th e fi ve exa mp les chord s beyond th e 8 7 given.

B7 or

£
.~
r- f f r- r #r #r Ilr
r r J II J ~J J J J J J I

There are but two Who le T o ne Sca les. They w ill fit w ith all should be devel o ped by the s tud ent w hi ch w ill fit Dominant
Dominant 7 + 5 Chord s. A dditi o nal Au g ment ed Scale Lines 7th Chords.
C AUGMENTED (w hole tone)
..------::---..

, i IT f f IT f f be #r #r I F r r!r f' I

, 1f f f t #f r #r #r I@r #r r #f f I

, 1f ef f #c be f rlEt #f r r r f rI.J d J I

C9(13) Dominant Sca le Lin es w ith add ed ton es .

,: J ~ J ; J ~ rEF
l J r = = Err ~ ~ :I

6f bf fr br r r f r r r If 'F j l J l J J \J &J I
201
,Cbs Dominant Sca le Lines w ith added tones.

J J j ~j ,j J ~r r F
br gr r II
,
F

J ~r r F r r r ~r J j
J &4 I
J
.,
Cm(7/6/9) Min or Sca le Lines wi th adde d tones.

J J ~j
(#7)

J j (Vr r F r F
'ZF
(6th) (9th)

rrrf rI
,f f r r r 'ZF r F r J j ~j
J j I

,f f
(7th)
~r
r r 'ZF
r F ~r
j Jd •1 j I

, J • d J 1 j ~r r II

Chord Sequences
The melod iclsca le patterns, in the fo ll ow ing examples, someone e lse p lay the c hanges wit h th e student. These
grow Ollt of the cho rds a t the beg inning of eac h line, w hi c h · c han ges should be played out of te mp o so that the student
shou ld be apparen t when th ey a re played . It may help the ca n es tab li sh a long line and fully rea li ze th e potential
st ud e nt to deve lop hi s own ideas by first putting th e ri c hn ess of eac h c h ord.
c ha nges on tape and playing lines aga ins t th em or having
Cma7(6/9)

F r F J J J J J J J JJ JJ II
Cm9
~f
t
n

, ~I z: Il f f f r r hr
E F ~r J,. J ~J J J j I
 B7(+5/+9)
Q
121

, #g Ilf f f f f qr r J J J
u 'r #J qJ j J I
Bb13

'EBb ma 7
IIf f t ~F r r(T r r Iir r r ~J d J Jd J j P &:J I

, :I
A7(+S/+9)
If f r f r f r r r r r r ~f F r r J J j J J J &J I

,#;! If ~f f J r #E tiE ~r lip iE gE ~r J J J #3 &0 qJ J I

Om7(b9)

, Ii II~r f fPC r rilE r ~r d 3 J d 1 J J 1,0 J j Jd J I

E7(+9)

, it I r f f tt gr r r r J ,J qJ j J J J.J ~J J.J j J I
Am9

IJ j j J J J J .J r r r r E r f I
09(13)

, #2 If f f F [ r r r J J .3 llJ J J j il J I

I JJ J l Cf [1 r fir f [fir [ r J J J 3 r dt r Er U l I

,* G13

~
[' I
Ob7(b s/+9)

~= 11&£ J 1,0 agr r ~f r f. r r r r~r I'm ~r IiJ J J d J JdaII[' I

,!Cma9

I J Ij J J J r E f I f f
• f IT
I
221
Blues Lines
Thoug h most stu de nt s know th ese Blues Lines, th ey w ill
serve as a re min der to those who ma y have forgotten th em.
~~
'i
Pentato nic
J ~j J j ~r r !Ir F r ~~ f f II

r ~~ f ~~ f f ~~($r br F I.r r ~r
'i, j
J J ~j
~j J
J j

~j
~r
b
rr F #F

~j J ~ •1 j ~r r I'r F #F r ~~ f
II
J S J
~~ f r br I.r
'3 J d J j ~r r I.r F r ~ F r
, ~r j pj J pj J &4
J J J ~j J llJ j ~r r Irr
, F #F r f br qF I'r r ~r j ~j J ~j J &4 j II

jazz Licks
Th e Jazz Lkks will acquaint the student with some of th e
bas ic phras ing a nd ge rminal idea s. Most are based on the
Do minant 7th Chord [C7 j since many peo ple see m to need
g uida nce in their ex plorati o n of its possibilities . es pecia ll y
in dis tin gui shing it from th e major chord . Students are
urged to memori ze th ese licks, then try incorporating th e m
into their ow n improvisati ons. All th e phrases mus t be
p layed wit hin at least three Chord Forms a nd transposed
into a ll keys. They s hould be prac ti ced repeatedl y at a
medium tempo until the student can sing th em and hea r
th em a nd feel th em.
When playing a Dominant 7th Chord or Scale, one Chord
Form must be kept in mind . By consta nt ly using and think-
ing in terms of the Bas ic Chord Forms and simpl y flatting
the sevent h tone. the number of mi stakes made in p laying
o n the Dominant will be great ly redu ced .

'i [r ~r ~
C7

- V IE r ~r ~ ['
-
II f
C7

r r r ~J J J dIe II
JAZZ LI CKS i23
C7

~ iff f t t r r f If r [r tr J J J 3
IIr ~ er ~ e I
~ bC7
&i ~ E f; .r r It -c f r ~E r r I J ~J J J J J=J I
C7

&!, , f f If f 4' t IT r f 1,( I 't r F 'f ~ r I

C7 C7 ~ C7 b ~ t:. ~ ______
&i f -r r!f f I fy 0(; 9r I Cf U r r t t it r E!t r r r I
~i r u U1 Ir u ~QJ I ~ Pmr f r f f IT d'r r T Err J I
" b"
#S1P rf f -
3 3

&i VI ¥ t ~ rEr r hr I[ Pr i r J nO? rf f J , I

-

&! dtfIH IT r IE'r FJ r ! I! ""frfft rr I'EI' r 1'1 - I

&/f f f f f em r lit Err J ¥ DIhE ~IE r -r f f I(q)f PJ ¥ DI

&hE gE E-r r f hE tiE I f r E~f - li t -cJ EbE r r I J~J lid J J J J I

&i ' ~ 9n #J J tJ ItlJ J9J J J J I (9f rj t r [J l~r-bU - I

&i ,bt -~ ~ r br 1 1J 93 J j J J J I ¥ DIt f FI~ c~f - I

Ph rase Feeling

, iff t f ,vlf U'T FrE If f U ~1J ''[ gr [iT F rE I"

¥ I
241 Phra se Varialions

t II

Joe's Blues
Joe's Blues is based on th e blues in th e key of G; the chord
changes are basically G7 - C7 - 07. These appear in the
first twelve bars to indicate the sequence. The following
va riants ma y be used in pl ace of G7: G13, G9, G9(6), G7 +9,
G7(b9 ). Db 9 in the four th measure ca n be played in the sa me
way. In ba r 8 8m 7 ca n be repla ced by F131F9/F +9/F m9 . 8m 7
ca n be change'd to a Dominant 7th (8 7) or 89/813. The
substituti o ns can be made in th e second half of bar 8. E7 ca n
be replaced wi th E+91Em 91E131E9 o r Bb9/8b+9IBbm 91
Sb1 3/8b9 . Bar 9 ca n be altered in muc h th e same way s in ce
th ese chord s are interchangeabl e.
Stu dents must be abl e to c hoose freely from the a il ernatives
ava ilabl e not on ly in chordin g but a lso in so lo improvisa-
ti on. In Joe's Blues the s tud ent s hould check out each
phrase aga in st the chord he thinks is bein g used.
 125
joe's Blues JOE PASS

rubato

Slow

JJtJ. l' tf J Jd j p. dq3 J_j IIi t U r r #r r I

in tempo
G7 C7 Cdim 3 G7

~ -r r 9f If J ilt.) rt f IIf rflPr Fj 311 3(f 3 J

D' 9 C7

'I 9J!.J J 115 (j i

r Hr F F F F J qiJ
~ _ ~ c
9J
3 3

~~ ~
g rEd rrrr • (fij? ~J
G7
JJJJ J.
3

G7 D7
11' - -..... 12 A

f#~AztJ]J f - I j #qf
16

18 19 20

f##f f f f f f f f f f f f IT f f f: r
3 3 3 3
9f I~f cJl f rI

3
Copyright c 1977 by Joe Pass
Internationa l Copyright Secured/ALL RIGHTS RESERVED
2s1 ~

23 " straight

8tlls - - - - - - - - - - - - - - - - - - - - - - - - - 1
25 ........... 26

f Fr r f J J ~J J I t

3
31

&- J 9J J f j , t

f fl'frrrtj ' t I

i i~
¥ ¥ &,*
- A A A A - A

r r , C, J C r F ,

- i\ A A

frCC , b , i

e:::

3J j J J ~ r f E''f £;j JJI

 54 55

,- PC LC t f r r f r r f Ctr f r r f r ,
delay triplets

:0-
57

'I f r l#tJ . 'I ~ ~ ~f ~I

I
BaSSfj
t~
62

I- J 'I
63

#tt~ - J
64

I-
70

~r
J d$i J -

~- -•
74 75

J I~f
78

IJ
84

'I #~ tlEf r f r
a
I
281 87 88

rr I
89 90 ~ :> :> :> :> :> :> 91 ---

$# JJ Jher U vj JJ @ I t i 4fftffftfffq Up:~lf y f ! fF

,. ';5 r ['F erE rf[ft ('pr FffrT[ f r r E r FEr f #$ WI

98-1003 101

F II /1- - I
" 104
t 'I ~~ I F

...-----..

J qJ II
3 3
109

t' J $-

3 3

f r f r
11 7

4# f "
f f f f C f r ~r ~r
~

J
3 f F
3
I
:>
-e
119
120

3
I~
3
 Blu es fo r Nina, No bs, Ali so n, and Grete are si m p le 129
melod ies used as bases fo r improv isa ti o n. They are re·
co rd e d o n th e Mo ntre u x S olo A lbum (Pa b lo) 1975.
Th ro u g h o ut.+9/ ~9/1 3 /9 ( 6 )/ll / +5/ ~ 5 may be s ubstituted fo r
simp le Dom ina nts. All cha nges s houl d be red uced to three-
o r four· note c ho rds. And for better move ment, vo ici ngs
s hou ld lea d into one a not her or have a comm on tone can·
nec tin g the m. No bs contains severa l examples of this
technique.

Blues for Nina JO E PASS

intra.
8va - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - _ - _
3
J f F
3 3 3 3
rubato

8va - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ,
Fast 4
Gm7
~## ,d J3 J~J "
II J J J ~[ E [
a~
j
in tempo

Fl m7

~## F r ~f rF "
t l't (UO ,J c [ E F1#[ r F(, f !

Fm7 Em7
,
~#n {If IIJ J 1'( 9[ liE I'FI j ~f 1'[
5- r ! IF J J r f J~ I
C
8va - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
3 3

9[ F F j I,d J J~J J J JJ I
3
rubato

Bva - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ ,
3

~## f liE f F 9[ F F •I I·.d J J bJ, •i j J II

3 3

Copyright 0 1976 by Pablito Publis hing Company

0 1977 under V.C.C. by Pablito Publishi ng Company
Cha ppell & Co .. Inc .. ad min istrator for the world
Internationa l Copyright Secured/ALL RIy HTS RESERVED
301

Nabs JOE PASS

Triplet feel
A7 A7

,### i j\ I U rttt ~tj ~fJ I J J @3 J J J 3 J10 trr#tJ ~fJ I

D7

'#11# J J ~3 J j J J J It r qvtr#~tJ tiD I r r tlF r r r F FI

A7

,### 0 rttt 11118 ~£ JI J J q3 J J J @3

A7

tiD r r r rlJ J~3 3 J JqjJIU_

Copyright a 1976 by Pa blito Publis hing Company
01977 under U.C.C. by Pablilo Publishi ng Company
Chappell & Co" Inc .. admin istrator for the world
Internationa l Co py right Secured/ALL RIGHTS RESERVED

EXAMPLE OF CHORD VOICING

f
(C7)

C9 ...______ F13

j9J~ ~ :
(F7)
'-:-~---'---':""':
=
(Bbmaj7)

Bbm7

Ji =====:JI
(Eb)

Ebmaj7

EXAMPLES OF VOICE LEADING

G7(l3) G7(+5) Cmaj7 or Cm9 voice leading

: .! ..
pi 0
~o
II
If

1 I #0 0

T -,

(Dm7)
Dm9 CI3 G1(.:sM) C9(6) &C7) Fmaj7
g..
voice leading
b-e b-e q-e
: I ~pi :
0

i
n n
I.! I I I
T T
Alison JOE PASS
131

is B~7 simile

'~I' j J\ "j I j ~
J If ) ~U fir
f I r
To Coda'"

r j I r j ~O tUI
A7

1~l?d d -I J &J "

I@-~ J
J J(~J IJ j&J J J t #J -I
'~f, qJ nJ (10 ~r IllJ #J J

- I
J IgJ #J @r r r r rN J ~J J J ~¥ qJ #J i
7

A~13

b" "
It
(bt
f 'f € E tt Ir" t -
G13
(t gr F~ 13
br(I
'~I' e 'I a r r Iqr t - Ie 'I a ~r IT I
F13 D,S, at Coda

- Ir
{~r r p IJ t ) j I
'I
0 'f

Coda ... (B~7)

'~Pd IJ J J &J J J (q)J IJ j (q)J J ~J t II

Copyright ~ 1976 by Pablito Publi shing Company
0 1977 under v.e.e. by Pablito Publishi ng Company
Chappe ll & Co.. Inc., ad mini strator for the world
International Copy right Secu red!ALL RIGHTS RES ERVED

EXAM PLE CHANGES FOR IMPROVISING

B~7 G13 em7 F7 D7 G7 C7 F7 B~ B~7 ~~ EdUn / ~~7G7 Cm7 F7// :~7 F7 B~ .I

II: ,Y H IH H IH H IH H IH H IH H IH H IH H :11H H IUD II
321

Grete JOE PASS

Slow 4
8va - - - - - - .- - - - - - - - - - - - - - - - - - - - - - - _ - - ___ _ _ ____ __________ _ __ ___ ____ ___ __ _
D? G Gm? D E/D 3 E'/D 3 CI A

,## j f 110 f
3
r ~r Cr oJ I.a J J~j
3 3
J j J j I r 110 r r ~r Cf oJ
3
8va - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 1
Fine Fast 4

8J I ~
• 3 3 r.-.
, #.J J J ~j
A

J J J j. II f r r IIF f
simile
A A

f r f d f Ij r [lic f

n
Gm?

,## r f ~r f l oJ f d f Ij Of J¥i IIJ J 39r:gc f~fl

Fj m?
A

I(#)C

Fm? Em?

,·U IIC Il J ''( !if IIC hE I j ~f "E liE f ~ Ir J J C r r-"I

d

,-# f r f f t ~f ~r
J
!Old r f liE f Ir f !lr f

,## •
1

f d f Ij f] Of
J ql IJ
A

r f liE f
D. C. al Fine
A

f f f f I' j JJ II J~
Copyrig ht c 1976 by PabBlo Publis hing Company
0 1977 under U.C.c. by Pablito Publishi ng Company
Chappell & Co., Inc .. ad minist rator fo r the worl d
Interna tiona l Copy right SecuredfA LL RJGHTS RESERVED