GF2026

SOLOS
JOEPASSOHORD
by JOEPASS

Piano
for Guitar,Vibes,and

t
I
GW Y N P U B LIS H IN GC O. $3.95
l Exclus ve Selling Agenl
INC.
W1RNERBROS.PUBUCJ\TIONS in U. S. A.

I 75 Rockefeller Plaza' New Yofk, N Y l0019

 a
JOE PASS, one of the few outstanding musicians of our time to become
living legend in lazz, has written a chord book designed to assist the
thinking musician. Author of the well-known JOE PASS GLIITAR STYLE
and other great books, this unique man started his career early in life and
quickly became side man with George Shearing, Louis Bellson, Della Reese,
Les Mc Cann, Bud Shank as well as leading his own group in the early
Synanon days. His complete biography is in the above mentioned book so
we won't mention all the other credits as you probably want to "start
playing" right away. Seriously though, this is the man"qualified" to assist

the reader in all forms of Iazz I

THE PTELISHER

JO E'SLA TE S T A LB UMS :
"TAKE LOVE EASY", with singer Ella Fitzgerald.
"THE TRIO", with bassist Niels Petersonand pianist Oscar Peterson.
"DLIKE'SBIG 4", with drummer Louis Bellson and bassist Ray Brown.
"JOE PASS:VIRTUOSO" 50 minutes of solo guitar by Joe Pass.
All four albums by Pabio Records, 451 N. CanyonDrive, Beverly Hills,
California 90210
 AU
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SOLOS
JOEPASSCHORD
Piano
for Guitar,Vibes,and

byJOEPASS

CONTENTS

NOTES 2

MISTY 3

BILLIE JOE 6

BLUES t0

WATCH WHAT HAPPENS T2

SUNNY t4

WINE AND ROSES 16

cCopyright1972W GWYNPUBLISHING
CO.
IntornationdCopyrightSccurcd Printedin U. S. A. AI RightsRcaencd
z-

NOTES

The art of improvising solos, chord style, is an important part-of-all_musician resources. This book has been written to im-
prove thet art: All tËe tunes are current popular standards and all th-e solos were improvised spontaneously. A cSreful study
ôf th"r" solos should give you a thorough understanding of chordal playing and substitutions. It is a good study for all key-
board instrumentalists in voicings as well.

If yourre not familiar with the tunes in the book, two outside soulce,s wo:rld be helpful: (1) the sheet music for the tunes
used, to learn the melody lines and basic chords - a general feeling for the tune is acquired and the flrners irnprovisation can
be cômpared with the original this way; (2) the Joe Pass G-uitar Chord Book I which shows the chords in both diagram and
note foim thât are contained herein for practice. In general, most chords have the top note on the first (E) string. Solne
chords will have a number in parenthesis underneath the cluster to indicate which string the bottom note is on, i.9. , the Sth
string in the example (Examplè No. 1). This chord starts with E on the 7th fret of the Sth string. Take note of the toP note
whic-It is A on the-lOth fretoi the Znd string. This system is used to simplify finding the chord. Always look for the most
natural fingering for the given string indication. The string indications are for guitarists only.

Where the same chord cluster moves up or down chromatically a l/2 tone, the notation is made with Xrs, rather than notes
for easier reading (see Examples 2 and 3). As a general rule, moving triads in this book are played on the 2nd, .3rd and 4t}
strings. For inslànce, the chbrds in Example 4 arè played on the above mentioned set of strings, not on the-lst-, Znd and 3rd
strinls. On all tunei with the exceptioni of perhaps Billie Joe and Watch \fhat Happens, shive for a ita f.eel even though
Itstaight eighthsttwere written as pei Examples 5 and 6. Some chordal tones are written 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 wlth ? Pigk ad lib style.
A gliss indication (sée Example 7) always indicates a slide between the chordal tones while keeping thefeft-hand fiSgers on
the-strings as possib'le. keyboârd players can omit glisses. When you see a fidure liké ExaAple 8, it_ is played in
"s manner
the following -och (regardless of notes): (1) the bottom notes of the, first chord (down stem) should be held as much as
possibte; (2-) the majbrâelody notes (up stems) in this case are C, Bb, Fand D; (3) the top notes of the last two chords
-B,
in the upper line are tied over to indicate that they are ringing while the melody notes on the bottom of the same stems are
being piâyed. There ere no unusuel chord fingerings used in this book. Whgn playingraboye the 12tfi fret, most chords are
some Çpe of 9th - major, minor or dominant, with occasional extensions (added 11tJrsor 13ths).

We hope this book provides you with a better overall concept of improvising and at the s_ame-time, increases yoqr
-cho_rdal
pleazuie and satisfaôtion in playing. A special thanks to my friend, Bob Grebb, without whose valuable assistance this book
would still be in my head! ALl kidding aside, we hope you like it.

JOE PASS

Written
NO. 1

NO. 4 NO. 5 Writterr NO. 6 Played

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