159135071 joe pass chord encounters for guitar book 1

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II{TRODUCTIO}I
This book is my approach to the basic blues pattern. It includesHalf
Step and II minor 7 V Dominant 7 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.


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TABLEOF CONTENTS

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Drrrt'Clorú

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b(
U lcr Blrcs in F And Extensions
f rrc{t¡¡ ?ü Chords . . .

2

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TLc Trn Around

4

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)

Trrr.{ro¡ndChordslnF.
Dorirut
Substitution - The Standard M

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Hdf Stcp Substitution

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SilkingB¡sslineTurnAround

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fXninbhedSubstitution

)

Rcvicr'

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I

Forms

3
......5

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

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)

. . .l7

.....18

II MinorT V7 And Voicings

Review
The OneGrip Blues
C o m p i n g W i tA
hPianoAndBass
2 And 3 NoteChords
pssVToGrab4NoteChords....:

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.....13
. . 16

II Minor7v7 And Hatf Stept hsl Substirution
.

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...10

II MinorT V DominantT ProgressionsWith New Resolutions .
II llinorr bsy DominantT bqProgression .

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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

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9

. .14

t b i c i n g E x a m p l e s. .

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Il MinorT V DominantTsubstitution .

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8

..ll

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6

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

7--.

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
2
3
4
5
)
)
)

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

2

Bbe
6tv

(Bhe)
c?ile

1I

F13
7I

r.13

F13
8l

c7

)
)

t
)

EXTL\DED 7rhCTTORDS
(BrIrES rN F)

t
2
3
4
5


4

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)


DONfiNANT SI]BSTITUTION
THE STANDARD I, YI, II, V CHORD PROGRESSION
Now we haveseenhow the standard I, VI, II, V chordscan be substitutedin the I, V turn around.
The sameprinciple is usedin the precedingF7and C7chords.

Below is the l2bar blues - the upper line is the basic chord pattern. The lowerline illustrates
zubstitutions and extensions.The subsütutions in bars 7 thru l0 use the sameprinciple as is used in
bars ll and 12. Seeoppositepage.

BASIC PAITERN
F7

,

A

rI
NEWPAITERN
F13

Bb?
2IV

F7

F7

4I

3I

Bbe

F13

F13

IV
BASIC PAITERN

sIV

6 IV

8I

D7ile

BASICPATTERN

ev

l2V

u I

NE\WPATTERN

G7

F13

Uüg

c?

C?ilg


'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.isis the "New Patternl'The "Basic Pattern" would be used in Rock, Folk, or
dtr dndcr forms of music.
Tbc "!icr Pattern" will now be referred to as "Standard Changesl' and will be used as a basis
fc dl n¡h¡itutions to come.

In measures7 to 10, the Basicchordsare 8 beatsapiece,usingthe I, and V chords.

BASIC

HI

F7

C7

c7

l a
7

v

v

lo

The Standard Changes are 4 beats apiece, when used as substitution chords for the I, and V
chords.

STANDARD

D7

F?

8VI

G7

c7
lov

The exact principle is used in the turn'around chords. The number of beatsper chord is cut in
half; F? for 4 beats,and C7 for 4 beats.
?


: HALF STF,PSI]BSTITUTION
The half step substitution preceedseach new measure by starting Yz step above or belorrythe
chord in the new measur€.When proceeding from tbe Vzstep substin¡tion to the next chord it is best
to keepthe samevoicing, or chord form, in your movement.
The following is an extreme example of half step substitr¡üon. Let your ears guide you as to the

proper time and place for this substitution. New chords are ilh¡strated below.

B9

F13

Bbe

F$fB F1s

2IV

B9

Bbe

3I

F$13

Fl3

813

Fl3

4I

Dü?il9 ü#g

7

sIV

6IV

C$7ü9c?*e

G?

I

2
3
4
5

Et3

t
2
3
4
5

7I

F*13 F13

EVI

Cil?üec?ile

G$7


WALKII{G BASSLIh{E TUR¡I AROUhID
Here is a good three note chord voicing as used in the turn around, taking advantage of tt¡: new
haií srepsubstitution.Notice the "walking bassline" this substitution provides.

Dt7

IJ

a7

G$7

VI

G?

l2

c*7

F$7

C7

u

V

Uscüis form, or voicing for F7,F#7,G7,and G#7.

t
2
3
4
5

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

t
2
3
4
5

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

F13

Eb7$9

orf,g

Ab13

Gl3

Db7ilg c?#e

a

VI

t2

u

V

F$r3


DIIUINISHED SI]BSTITUTION
The Bo (B diminished) chord (as shown below) connectsthe IV chorci Gb ) with the I chord (FI
The Bois usedeither on the last, or next to last beat of the IV chord before it goesto the I chord.

Csus

Gl3

t
2
3
4
5

REVIEW
So fer tbcre bevebcco ñve waysto changethe BasicI, IV V, bluespattern.
t. AatS Elc¡sions
a- 9th's
b. Raiscd9th's A#e)
c. l3th's
d. Suspendedchords
2. Altering the turn around
a. r7 I C;to F7/ cl C?;to F7D7 / G7C7
b. Adding extensionsto the altered turn around
3. Dominant Substituüon
a. f, tr7 / e / C;toF7 /D7 / cl / c7
4. H¡lf StepSubstitution
a. SubstitutingVzstepaboveor belowthe chord of eachnew measure
5. DiminishedSubstitution
a. Replacingthe last I or 2 beats of the IV chord (Bb) with Bo as a
connectingchord before returning to the I chord (FI
Practiceeachof the abovesubstitutionsin all keysuntil you feel comfortablewith it. Then intermix all of the substitutions,taking advantageof everyextensionpossible.Let your earsdecidewhich
¿ueacceptable.

Below is an example of inter-mixing of substitutions,as played by Joe. Some chords in this
examplehavenot yet beencovered.

rf,rs

Fl3

F13

813

Bb13

813

Bb13

BO

F/c

ebz#s

I

7

nrlf;gcf rs

c? De#5c$e c?bb rü rg

c#ts

c13 cüg ce F{13

omtbs
c*mzbs

WCONTINTJED
Below are some examples of adding different substitutions. We now leave the key of F, *l ,r.
going to uscthe key of C. This is so you can get an idea of how substituiions are usedin other keys.
Again, theseexamplescontain somechords not yet illustrated.

DbG,b

(addmaiT)

Gl3susnbZf,g

c6rb A?#bbeEb13

üt +.hJIl
c13

cl1 ob$firrcmaje


I

a
a
a
a
a
a
a
a

a
a

r3

Y CHORD SUBSTITUTIOI\
a-:r
-r*'

o - - r !- i 3

;¡¡r-f_-E

*¡:l

a l Jtu1ído
. r a l V c h o r d f o r l o r 2 m e a s u r e s ,y o u c a n s u b s t i t u t e t h e V l t o r ¿ o f
:-._1¿¡lu.í I Or ] bcats.

-t e: cr-r-nnple
oi substitutingthe V of the I chord for 2 beats.

Bbe

tl3

F13

F13

I

a
a
t
t
t
I

Tlc nert erample shows the V of the IV chord for I beat. This also uses an extension of the
sr*:iution chord. Again, try to extendyour chords wheneverpossible.

t
t
t
t
t
t
t
t

F7$5$e

I
I

t
t
t
I

I

t
t
t

F7i5i9
I
2
3
4
5

I

t
,

D
t
D
I
)

t
t

e

II MINONÍ, V DOMINANTT SI]BSTITUTION
Thp II Mino/ V DominantT progressionis usually referred to as a II V progression.The II rniil
and V7 chords are derived from scaledegreesof a given major scale.That is, C7 is the V chord and
Gmiil is the II chord in the F scale.

u
'

A
UI

Bb
IV

c
v

D
VI

E

vtl

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 resolves
back to the I chord.
This II V is in the key of F. Notice the Ceis just an extensiohof the C7chord.

D
D
O
D
D
D
D

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

Bb
t

c
n

D

ru

Eb
IV

F
V

G
VI

A

VII

Bb
I

!b- üc Y cñord is F7, and the II chord is Cmin7. As before, the IIminT chord is placed just
tL Y cüord- Thc¡ üe V resolvesto the I.
H¡l

Fsus F7

TEMPORARY I

Bbe

L KeY of BbJ
To undcrsta¡rdthe use of this substitution, you must realize the I chord TEMPORARILY
bocs
Bt . This is called a key center.The chordsprecedingthe temporary I chord are labeledin
rd¡rioo to üat I chord, rather than to the original key.
This subsütution should be handled with care. Again, let your ears be the final judge as to
rtahcr rbesubstitutionis proper.

F(sus)


16

II MINONÍ Y DOIUII\ANT7 PROGRESSIONS
WITH NEW RESOLUTIONS

Sometimes,when a new key centerseemsto be established,the II V progressionin the new key
doesnot resolveto the temporary I chord. In the eÍample below, the chordsprecedingthe Bb e in bar
2 seemto be establishingthe temporarykey of E. (F#min1 Beis in the key of E} But insteadof resolving to E, Bemovesa Vz stepto gb e.

FfmT

F$m789

-Key

of EJ

The II V progressionmay resolÉ directly into anotherII V asin the examplebelow.
This is a very popular bluesprogression.Study it and transposeit into everykey. This will help
you understandhow II V progressionswork.

Key of G

Gm7
7ttz,J

c9

Am7

D9

Gm7

C9

-

l0v

u

v

r2

V


tr ÜflNoil btv rloh'flNAhli'Tb'PR0GRESSION
ro another II V can be madeinto a tlmiil bt *d yz be,tthen
a II V that progress€s
tn sooc czreg5
r3¡ohr3ro rbc ncrt chord. Thescchordsmay be usedin the turn around.

D7b9

Am7b6
ntr

V
Key o f G

Am735

t
2
3
4
5

t
2
3
4
5

Gm?

c9

IV

V

I

Key of F ,


r8

USE OF IIMiNTV FOR HAR}IONIC INTEREST
Considerthe first 6 bars of the blues.
l

F13

2rv

rI

I

Bbe

Bbe

F13

The first logical placefor a IIminT V7 is in bar 4 asit progresses
to B b .

Bbe
rI

I

IV

Bbe

Bbe

Cm7

Key of Bb
The next logical placefor a II V would preceedthe II V in bar 4.
TEMPORARY I chord for IImiil v7 (Dminz 613¡is Cmiil.

Dm7
IV

Bbe

I

Keyof Bb

3 t

G13
Keyof C

Bbe

'

you haveto makethe chordyou aregoingto resolveto
Remember,
to find the II V progression,
the TEMPORARYI chord. In the last exampleCmid(bar 4I and Bb e
5) arethe temporaryI

b'
tr MINOil bt V DOIWNANf AND YOIüNGS
bsyz beptogrtssion- Theseare gtod
Fc üffcrcnr color, a II V precedingbar 3 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

5
6
7
8
I

4
5
6
7

¡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