II

II
;I
l
ll
,I
rI
:I
,l
,I
:
T
T
,l
I
r
ir
r
!
i
-
- ::
-I
a--
ir-
:
G u rta
r'-a
='
Guitar, Vibes,
and all Keyboard Instrumenrs
Alred
mt
Jo.
Pass
for Guitar,
Vibes, and all Keyboard Instruments
Chord
Solos
by
Joe
Pass
Contents
lntroduction
.........2
Misty.
.......3
WatchWhatHappens...
....12
Sunny.
.. ...14
WineAndRoses...
....16
BTBLIOTECA
TNSTTTUT0
P5rElonut
Copyright OMCMLXXXV by Cametot-Gwyn
pubtishing
Co.
Copyright assigned /tCMLXXXV| Atfred
pubtishing
Co.,lnc.
All rights reserved. Printed in USA.
Cover lllustration; Bill Thrasher
Introduction
The art of improvising chord-style solos is an important part of any musician's resources. This book has been written to improve that
art. All the tunes are pop standards. A careful study of these solos should give you a thorough understanding of chordal playing and
substitutions. lt is a good study in voicing, as well as improvisation.
lf you're not familiar with the tunes in the book, two outside sources would be helpful: (1)the
sheet music of the tunes to learn the
melody Iines and basic chords-a general
feeling for the tune is acquired and the improvisation can be compared with the original this
way; (2) Joe Pass Guitar Chords which shows chords in both diagram and note form. ln general,
the top note of each chord is played on
the first (E) string.
Some chords will have a number in parenlhesis
underneath the cluster to indicate which string the bottom note is on, Le., the Sth
string (Example No. 1). This chord starts with E on the 7th fret of the 5th string. The top note (A) is on the 10th fret of the 2nd string.
This system is used tri simplify finding the chord. Always took for the most natural fingering forthe given
string indication. (The string
ndications are for guitarists only.)
Where the same chord cluster moves up or down chromatically (by half-steps), the notation is made with X's rather than notes for
easier reading (see Example Nos. 2 and 3). As a general rule, moving triads in this book arg played on the 2nd, 3rd and 4th strings. For
instance, the chords in Example 4 are played on these set of strings, not on the 1st, 2nd and 3rd strings. With the possible excepiion of
"Billie
Joe" and "Watch What Happens," strive for a
jazz
feel even though "straight
eighths" were written as per Example Nos.
5 and 6' Some chordal tones are writlen enharmonically and therefore may not necessarily agree with the given chord name above. This is
intended for easier reading only.
These solos were played finger style, but can also be played with pick and fingers or exclusively with a pick, ad-lib style. A gliss
indication (see Example No. 7) always indicates a slide between the chordal tones while keeping the left-hand fingers on the stringl as
rnuch as possible. (Keyboard players can omit glisses.) When you see a figure like Example No. z, t s played in the following mnner
(regardless
of notes): (1
)
the bottom n0tes of the first chord (down stem) should be held as much as possile; (2) the major melody notes
(up stems) in this case are C, B, Bb, F and D; (3) the top notes of the last chords in the upper line are iied over to indicte that thiy are
ringing while the melody notes 0n the bottom of the same stems are being played. There are no unusual chord fingerings used inlhii
book. When playing above the 12th fret, most chords are some type of
gth-major,
minor or dominant, with occasional extensions (added
11ths or 13ths).
We hope this book provides you with a better overall concept of chordal improvising and, at the same time, increases your pleasure
and satisfact0n in playing. A special thanks to my friend Bob Grebb, wthout whose.valuable assistance this book would still be
in my head!
Joe Pass
NO. 1 NO, 2
Written
NO. 6 Played
Written
MISTY
(s)
r-ornal I
a
a
a
a
a
a
a
a
a
a
a
a
a
Dbe
ffi
",

(4)
BbrniT
(41
Ebe +
(4)
Ab6/e
BiBLTECA
IH$TITUTO PROFESO}.IAI
P R 0"AU Z

---a
J
J
J
J
G7+Sl-e C7+s+9
Dbe
?
(6)
F6/9 Es
J
J
e
e
e
C
J
C
J
e
C
e
C
c
C
C
C
C
C
C
C
C
C
C
C
C
C
d
AbrnajT
Ebzbg n
-l-
il)
rbs
,;-
-,:t-
Jil
D9
f--]
J
(4) (4)
c7b9
_.
3
aJg
(s)
Ebm
J
(s)
Dbe
c7+9 FmiT a
3
BILLIE
JOE

I
I,
cl
d,
d

,
1
d
I
I
,
Db13 c13
JA
c1
-
JJ
t--
umr/
I'o
L
b
I
f,
a
a
a
a
a
a
a
a
a
t)
t
t

cbra
D7+ 9
ctbg
(4)
-F-.----
bIJJ
G7+ s+ 9
cl3
J
(4)
J 5t-.^
Dmi9
813
I
!
I
I

f
D
f
)
,
)
)
)
)
)
)
)
)
)
)
)
)
)
)
)
)
)
)
c13
ft
ebrg
(4)
_
D9+5
G9
(4') (5)
Ebe
ca+5 ce+s
Fe
F#e
(4) (5) (4) (5) (4)
G7+s+9
c13 D7+9 G13 c7+s
BLUES
Bb7+5+e
(4)
Eb13 Bbmig F7+ s+e
c13be
d
C

C
c

C
(21
Bb7 rr
Eb1 r
3
BbmiT
Eb1 3
hl
F9
"bu
ura
11
c9 cbrg c9
A13
Bbl 3
abra cbra
613 obg
r-3Tl
F13
sbra
(4)
BrniT
gbra
(5
+
J
G7+5
3
Ab13
(3)
(s)
c7+e
mi9
)
Bb13 .o
Bb7
\AZTCH WHAT HAPPENS
Bb13
--3
(4)
E13
13
GmiT
-r-
'
F#7be
(4)
FmajT
Bb7+ Eb6/e
-c-
l^
'
Y
-J,-.
E6/e u,,,r(maj7) Brniz
}JJ
L4
SLTNNY
F6/e
J
E7+9
Gmi9
-
JbJ
3
cbz +e
J
cfz+ cz+
r-3-
,l
FmajT
1
J
J
J
J
J
J
J
J
J
J
J

,
d
c13
D5
E7+9 rZ*9
)_
xtbg
E7+5+9 Ami9
J
rfiz+ F7+ E7+
f.-
3--l
(4)
_
f,
rt
rt
rl
a
I
f.
t:
t'
I
I
E7f9 a
3

(4)
-{=!:
3
cl1 C9
FmajT
ErniT+
DniT
.ll
-+
F7+9
L7+9
Ami?
lDt
I+
D=
D
I
)1',
-+ 2+
,++
F6/9
:?l
AmiT
,
D
D
)_
I
,
)
)
)
D9
.

t,
?
)
)
)
)
)
)
)
)
)
)
)
)
i
l
_
-l

d
d

I
1
d
I
d

16
WINE AI\TD
ROSES
rr,ajT
l
(4)'
_
Ami9
Bbmi11
rbra
Ami9
c13 obg
cfioz on is
(4)=
Grntl r
D13
+
r_3.
J.J
GrniT
ErniTb5
DmiTbs
;)
^
.- co7 cmig
ulnl/
AbmiT
f-Tf-l'l
c13 bS
F6/s
rtajT
FmajT
t7
Bo7
ozbg
Gm
J
\hm
.b
Froaj9 6 rnajT
E7+5+9
E7+9
813 Ez+ s+9
b
'JTT.
y-v I
cTbe
(s) Jr-,
D7b9 Gmig
co7 crniT
-3-1
(4)
Eb13
D9 Ebe
(s)
bg
D13
18
t
t
t
d
d
Jt
f,
I
J'
I'
d
d'
d
1,
d,
I
C'
d'

d,
t
d
d
d
D13 o*
l-3-l
c7+s+9
-3-r
Gmi11
(s)
F6/e
t
V
c13be
G13
c*iz
813b9
3-r
A13
c11
nr-1
-4ft
E7+9 AmiT
r-E-l/-l;-{--t
bs +e
i11 Bm
sbzbs
3
GmiT
L9
Am b9 A:mig Eb9
FmajT
Eb13
GmiT
BIBTITEGA
rNTffrTof
5ff8$u*uu
20
Bbmig
Bmi11
(5
^
DrliT
c"7
D7+e
bg
,J
mi11
c13
F6
Ebmig Ab13
(4'
-
c7+s+9
_
(s)
B13b9 nbrs
BIBLIOTEOA
lNsTrTurCI
PHE?*nut