oe

ass

on guitar

Transcriptions by KENN CHIPKIN Project Manager/Ed~tor: Aaron Stang Additional Text by Kenn Chipkin Technical Editor: Albert Nigro Engraver: Andrew Gregor Front Cover Photo: Margaret Ford Art Layout: Joann Carrera © 1996 CPP MEDIA GROUP, a division of WARNER BROS. PUBLICATIONS Atl Rights Reserved Any duplication, adaptation or arrangement of the compositions contained in this collection requires the written consent of the Publisher. No part of this book may be photocopied or reproduced in any way without permission.

eontents
Page # CD Track #

Blues Intro ' TIInlngNotes

'

'

,3,.......... .......1
2

"Caged'"
Examples 1,·3 '" 8 ,3·S

Rlght ... Hand Technique

Examples 4·5 10 6,·,8

Left ... an,d Technique H iExample 6 ,

12

Harmonic Families: Maj7, Do,m7, Mln7 Diminished 7 and Augmented SubfamiUes Major 7
Exam'ples, 7-19' Exa,mple 20: Major Etude , "

"
, ,

14 16
"""" 22

".. II 12-25
""" 26

Minor 7
:Examples 21-31 ' Examp'les 32-33 .."'

,",,,

'
,,, , , " " ,, ,

25
20 32, 38 40

27-37
35-39 40M 45-48 49 50
8

Superimposing MaJor Triads Over Minor Chords Domlnant7

Examples 34-38,

Altered Dominant Lines

Examp'les 39--42 , Examples 4J-45 "'''' ''' , ,

The Dim.inished Scale For Altered Dominant Chords The Tri..Tone Substitution For Alter~d Dominant Chords Examp'les 46,-48, "." " " "" 42, Scales For Altered DominantTurnarounds Examples 49~50 " Performance
Joe's Blues Stella By StarUght ' "" '" 49

,.. 5 1~53
54~5S

Section,
" ' " "" "..' 53 65 81 56 ,57 58

AU The Things You Are

CD
,,_/A,»_
I

CD

..
O'

c7
I""""'l

.. l,..

..
A

_-

"'I

.-oc;-_

---

~~
lo000oi
1

...
V

..

..

..--

- . ..

-"Yol"

..

.,tl

JI,

..
...
_ft

..

c7

.. I11J' v.."
;..

.......

--.
.-

......,

• ..
..

a
u

.. .. ..

.
A

..

..

-;

hold- - -I
;.

F#7 F7~

~i u.r .. .. .. "
:::
"

hold- --I

,.."tJ

»
~

~~

..

1._

07

~-W~~

1i

-v ~

'1

...
Pi u
.D.

..
"
;;

.,
;,.

.-

;..

"

--

.. .. .. ,.

~
--.-

;.

.. ..
Dm7

"
"
O'

..
07

""""'Ii~
...,
1i

- -3
.. ..

.-

..--==

.
e 1969

--c"7"" ..
3

.. i!:

~~~ f-

I; 1;1 ~, f=

_...~ .L.

...

... .... ...

A

..

,_
v

.. .. .. ~

..

"

..

;,.

- ~ .. ..
-v

.. -

'"

".

... .w

.~
ft

"

All Rights Reserved

JOE PASS

c7
"11 .110

..
...

..
L.. 1

,_..
I I

.
07

..
-*
-,J
hold- - - - - -I

~
~

•
hold- - - - - - - - - - - -I

::;
,n
n

::

.. x
n

"

.. ..
Ii
w w

..
=

trW

" ~

- "- E7(#9)

hold- - - - - - - -I
:='

"

..

"

07
.,111.110

.. ~ fL .,.-;.
~
-"
1

..

.. ft ..

~. c~

~b~
~ ~

..
c..
" ";::
<"

;; _i"

.. .
'A

hold- - - - - - -I

'n

.~ ..

.. -

.,

.. ..

:;; ;,
A

~
A

G#7(9,b13) 013
,,~ .110

Osus9 DP3

C13

..

•
~
:: _"'-

i~l5:=:

-..

b~f

,::=:: J J::

V,
n.

~-~
t.

I~~

ft.
~
:,,;;

813

~b.",~~
b",
~

I. ~

~ ~

I.~

~~.~.. Jt. ~

-x

,......

";
ft

'"
;. ;:; :;

.......

4":0 in

4-"

--n
li

..
.:,

'"
..
'"

II ~ IfI !ttl '-' " ':

n
;:;

"

./

:; ;,

;:

:::

::; ;,

.. ..
::

r:

.,

"-

...

~,

.110

__

.~

..
......

.n~
3

....._ ~
-;:;

.....
..

""""

..

..
..

"J

.. .. ;,

..
::c

..
A 7(1)

.,

-..
w

'"

- - ..

"

<"

=. .
..
...
"

"

..

..

hold- - - - - - - -1

_£

D7

07

"""11.110

..,

•
~

~~

..
•n

fL.

~.
.. ft-

Lb~
~
J!.

..* .. ........,_Yi
...

C:; .;.

trW

..
..

Ai
....

hold- - - - - - - - - - -I

...
" .._

,n

..

hold- - _ - - ·1

.. .....

x,

.,

/,,'

'-,

...

.. .. -

.. r:

.. -

G#7(9,b 13) Em 7 Eb 7sus Dm7 Ab13 1.,11' G13

-"',.

..

...

lob;:
~
,n I;::

..
..
:;

..

•
.._

IH
~ ::. ~
_.~

'i
" 1

.. ,•
8va
I ..
'W

c9,
III

G#7sus

G(9) Db13 e13

q..
Ii!!' ~:I!

... ::.
w

;:;

..

-L

~...#.~

lot

~~
IJII'

,. d~
~
I,..
_H_

11
W

,n ,-

"

'"

..

..

I ..

..

.I;:;
In

....

;-i

I;;

i;' K
w n

_ ;;

_._.._

""",,.
-.l

...

LI
Cji'i

..
..
_.,~
w

~.
1.11'
II'

I.

'i
" ~
.;
w

F
;;
n

_l

'I

..
;.
e.

..
trW

~ ~ "

hold- - - - - - - - - - - - - - - - -I

In

.,

::. _.,
w

;;
e

J>

::.

...

..
w

..

07

Lw

D7

e7 I

e#dim7 I
!I

-"',.

...
~
x

.. __ I'- .,;;;;---.-

..

.. ..
'"
n

II. .I

1"'"'-1

•
"

-trW

~
"

..
w

..

...
v

.w

,n

,n ._ ,.." .
;,.

'"

eo

_..

,..

..

.. ..

..

V ..

W J"

_ ;,

_ ,,_
w

"""'"
c7
~,. JIo

G7 =---

.. L

-co_

eJ

......
.. ... .. _

.......
w

...
w

"

.. '"
.. n

.. -:t.=

..
..
w

-:t. .........

'-' "-"

..

..

-"

n~

..

"
w

..

,..

..

,;',

...

e7

C#dim 7

G7

.. __ IL -,:. f:.

1'---

,..-...

..
-

..
_A

...._"

--... ':

.. ott ..

...... - ..
.._

"'r !
g

-..

....

...,
v

... .,

eo

... ;;

...

'"

.,_
v

...

..

"

..._

_"

"ft .w

...

-..

..

I ..

.w

*G~ sounds at pull-off.

~.
....

..
.I
I;

.. ,..~,..
., _

D7 ~
....... ~ ..... "' ....... 1.

.ft

'-'

..
,n
•n

....
.,;

n ~ IN
~
~

~~

.. ..
~

..

,-

w "

..

,~

~
v

..

,On

•
,ft

,n, ..

,-

--

:"

..

:.

".

..A sounds

at pull -off.

..

~ ~ ... - .. -" '"

'"

;;

.; ._

.,;~

.,w.

..
~

b~~

..

L.

b ....
II'"

..
" - ..

07

A~ 7(#11)

r---3'1 .. *IW'~.
~ *IW"·

-.. ..
«<.

...

'"

- - - -..
...
'" _"
;;

- ......

G7

~"

'" - ..

.. ..

" -

..

,,_

""

.. ..
~

.,w.

..
'"

C7

.........

..
~
_"

C#dim7

E7(~9)

......--......

..

- ..

""

,.

..

"""'-

.h J

..
-"-

= ...
.. _

'" :" _"-

...

..

hold- - - - - - - -I

"'It ,w.
eJ

G7
~I I. --;----.

~ 3

I~

~~ 3

..
.. -

c7
I

lj_ 1

_"I"

.... ~
.II.

- - .. - .. ._ -

-'" -..

i
'"

""

'"

.. .. .. -

-'"
n

..

..

..

"'/1 ""

..

ft

L.

- 'I

..
_.,_

Cl3 ~

i
,...
I;;
ii"

~I:

, Jt"
~

B13

Bb 13 B13

C13

..I

VD
_..._

.,
~

h~~i~ •
~
~ ~

.,
;...

'"
"-\

,._

"

...

..

_.,_

..
1,<; ft" .,

_.u,_

..
;:;
n

:.:-

.s: :;
:;

_""

_X

..

:; Lo

..
:;

l
" ....
:,.-

c13
"'/IJ""

,011:._

l_

~t~l
~
.\

J ............... -

..,
~
;.._
:;

..

~~
:..;:;

.. "

r"

., "

-..
~.

=1.

"I .._,"

=
;:;:

hold- - - - - ;. - - - - - - - - -I ., "

.. C7 C#dim7 07

07
,../",,,,,

I IJ.~~~
4
_A

..,

., "

•
r ......

I."
/:\
,<'Ii

;::
]:

..
.,

'on

ft

,.;.

..

1ft

.,

,-

_ft_

- ,..

.,

-""

..

-"-

., "

"

., "

- ..

The acronym "CAGED" stands for the roots of the basic open position major chords: C, A G, E and D. You can re-finger these forms so that your Index finger acts as the nut, converting each to a barre chord that can be used allover the neck. First,play the basic open chords with the given fingering, and then lay your index finger over the nut and re-finger accordingly.

Example 1 (CD

3)

Five FolklCountry Chords:

Example 2

•••••
32 1 111 21 3 231 (CD

132

4)

From the five folk chords we can derive five different fingerings and positions for a C chord. All five are root position chords (C in bass), (C Form) (A Form) (G Form) (E Form) (DForm)

43121

1333

321114

134211

1243

Example 3

(CD

5)

It is very useful to be able to play all 12 major chords within a given area of the neck, and this
example illustrates how to do so in three neck areas. The roots of the chords are derived from a cycle of 4ths. A 1st inversion chord form (3rd in bass) is used in order to keep all the chord fingerings In close proximity.

1st Inversion Form

3rd of chord

Iii

Once you are comfortable with these forms, change the qualities to minor and dominant. Next, include 7ths, 9ths and other tensions, as the original major types are the building blocks of 'tour fretboard access,

Area' I:

~Er
C
-..
321114

liar g~r
Ab

nb/c#
-..

1243

321114

Err tl1'
-..
43121

F#

IT

134211

lIt
134211

Area 2:

II
1333

113 tlr ilr

Bb Eb Ab
IT
321114

43121

134211

air liar ar
B
x

.-.

321114

43121

134211

II
134211

Area 3:

.SIT .SIT ar lIt It

F

Bb

Eb

Ab

nb/C#
134211

1333

2 134

321114

43121

ilr
321114

)(

IllOfr
x 1333

10

®
FINGERSrYLE
It is important to develop the ability to play fingerstyle, where you can choose any combination of notes from a given chord. Playing with a pick does not afford you this flexibility. Unlike the standard classical approach of assigning specific fingers to the six strings, you should seek to find the finger/string relationships that me most comfortable for you. No particular system is necessary. The choices you make can be as free and improvised as the style of jazz itself.

CD

USING A PleK
A small pick is recommended to keep the closest proximity to the strings as possible. This will help you to "feel" the instrument more than if a regular (or"loroe-sze) pick were used. In general, use alternate picking when on a Single string. When changing from one string to another In either direction, use a downstroke, despite that it may break the pattern of alternate picking. Downstrokes tend to give definition to your string attack.

Example 4

(CD

7)

This illustrates a typical alternate picking approach. All changes from string to string employ the downplck exclusively. Joe seldom uses "bockplcklnq" (or up-picked notes) when descending from high to low strings.

.,;"

~~~~._.

1"'1

1"'1

V sim.

..
...
,~

.
ft

~
...

t:I

*-,;

._

... _

-.~
._ w

.., "
.w

.,
.w w

- .-

"!L

~~ ~~~~~~"~-1.

,.

.... .~
_...._ .w ,~ '"

"

...-o!'!!I

1':'\.

p ..

1':'\

..
--

~~~
'-'

Oft

,... '" ,n

.
1'0

.......

.ft ._

...
.,.
~",.c<>_

• .._ ......

..

Example 5

(CD

8)
We will look at domi-

More of the same picking approach is shown here with lines based on G7 nant chord improvisation more closely later on in the book.

"""""

.,

_r_

..
p

...
...
p

..

.110

......
,_,I, ~
1.-

... ... A
!
IijII

..

.. ..

.. - .. .. .. ..

"

",'

....

.,

..

..
......

"

..
"

1":'\

i*"

.. ..

"

'"

"'-

.. -

..

.,

....

.n

.. .. .. ..

..

"

.. ..

~"

.,

..
.. .. .. ..
p

,.,

," ~

..

"~"ri

..

'" -

-'L

- ..

"

..

.. .. .. .. ..

Pu"-ofls, Hammer-ons and Slides

Guitar players use these slurring techniques to create a more lyrical, legato sound than continuous alternate picking can offer. By playing multiple notes with a single pick attack, the phrasing begins to imitate a singer, where many notes can be heard within a single word or syllable.

Example 6

(CD

9 & 10)

In this example there are several different combinations of pull-offs, hammer-ons and slides that can be isolated for practice purposes. (The fragments transcribed here do not include the repetitions as played on the recordinq.] At this time, it is not essential to understand the harmonic implications of the lines. Simply practice the fragments until they are under control. It would be a worthy time investment to transpose the musical ideas to the lower strings, as they will feel slightly more difficult to produce due to string mass"

Example 6AI

Freely

,.

,.-/""...-....
t.

_--..

ftd~~
--"~
n

'n \'

,.;.

"n

...

-v

"n

'"

.............

"n

...

...

.. ~

...

-~

"ft

... .~ ~ '"

~"
eJ

~~ ~.fL

.
..

...

L~

~
:J

.,.

~
1ft

....
Do
U

...

",0

.. "',

_p

etc.
-p

Example 6B:
This line highlights a hammer-on to a new string; a technique that allows great mobility and agile, legato playlng_ Another goal of this approach is to strengthen the third finger.

~~

~~~~~~~~

jr.;:'.

..
~p

......

.. ..
,

,ft

,
I I

..
1ft

..

..

--

;.,

"

'"

..

..

*
-...,;

etc.

;..

..

...

*Hammer to D note without pickin g~trin g.

@
To free yourself of complexity and "over thinking" when soloing, it Is best to boil chords down to the most basic terms possible. Instead of concerning yourself with every extension (9, 11,13)or tension tone (15/b5,#9/b9, etc.J present in a given chord, perceive that chord as belonging to one of three "families." These three families are major follows: TRIAD ------------1 Mail: Dom7: Min7: 3 3 b3 5 5 5 7th 7 b7 b7

co

7. dominant

7 and minor 7 Their intervallic structures are as

Example In C: Cmaj7: C C7: C em7: C

E
Eb

G G G

B Bb Bb

Note that the mail and dom7 families are based on a major triad with two different 7ths (~7 and b7 respectively) while the min7 family is based on a minor triad with a b7

, Diminished 7 and Augmented Subfamilies

The diml and augmented chords can be considered "subfamilies" of the dom7 Although these chords are commonly used entities unto themselves, in a jazz context they are viewed as "substitutions" where dim7 becomes a dom7(b9) sound, and augmented becomes a doml(#5) sound.

Diminished 7 Chord: 1 b3 bs bb7

Ex: Cdlm7 = C Eb Gb Ibb
This is a minor triad with a lowered 5th degree and a double-lowered 7th degree.

Augmented 7 Chord: 1 3 #5 Ex: Caug7 = C E G#

This is a dominant 7th chord with a raised 5th degree. Since all the notes in a diminished 7th chord are equal, In respect to chord substitution, anyone of the notes In the dim7 shape can be considered the 3, 5, b7 or b9 of a dominant 7 chord.

Dlmlnlsheel 7 Chord Substitution Process Ex: C#dlm7 as substitute for A7 STEP I

Spell Dim7 sound: (consecutive minor 3rdsl

C#

E
b3

G
b5

Bb
bb7

STEP 2

Relate chord intervalically to A7:

A7:

A
1

C_
3

E
5

G
b7

C#cUm 7:

C#
3

E
5

G
b7

Bb
b9

S1EP 3

Revoiee notes to form "guitaristic" shape that

symmetrically divides the

neck into four equal parts. with its inversions:

C#dim7(A7b9)

_3ft
2314

Edim7(A7b9)

_6ft
2314

Gdim7(A7b9)

R
2314

Bbdim7(A7b9)
)( x

9ft

gl2ft
2314

In Step 1.we see that the dim7 sound is constructed by "stacking" consecutive minor 3rds which diVides the octave into four equal ports. In Step 2, the dim7 chord Is analyzed In the context of the dom7 family (Al). The intervals present will always be 3. 5, b7 and b9 of the dominant chord. When we assume anyone of these four notes to be a dom7 chord tone, the remaining three notes complete the 3. 5, b7, b9 equation (always excluding the root). Finally, Step 3 revoices the stacked minor 3rds into a commonly used "guitarisfic" shape on the top four strings. This shape inverts itself every three frets as it divides the guitar neck into equal parts as shown by the chord frames.

Augmented Chord Substitu'ion Process:

51EP 1
Spell augmented sound: (consecutive molar 3rdsl

A
1

C#
3

E#
#5

51EP 2

Voicings are naturally "guitaristic"

A
STEP 3

C#

E#

Add the b7 (G)

The process concerning the augmented chord is less-involved and allows for the root (A) of the substitution chord to be used. In Step 1, the augmented chord is shown to be constructed by stocktnq consecutive major 3rds, dividing the octave into three equal parts. Step 2 shows the voicing of the augmented sound to possessa naturally "gultarisfic" shape that symmetrically dlvldes the neck into three equal parts. Now there Is no need to relate the chord to A7 because It is already related by its root and 3rd. In Step 3, we add the b7 (G) to the augmented chord wherever possible to complete the "dom7(j51 sound."

HarmonIc FamIlies: Malor 7

With Cmail as our example, we will be stepping directly up the major scale from the root to the major 7th (C D E F G A BL rather than employing arpeggios.
Cmaj7
.,til n

C Major Scale

..,

e
1

..
~

..

Example 7

(CD

12-14)

Here is a spontaneous line based on Cmal7 that is completely diatonic .

~A

..,
.

..
.. -

r"'""1
3

..,.. ~..,..~.
~
y

..

._ -

.,

.,

--

This line is derived from the following harmonization. The harmonization is again fully diatonic, carrying C major scale notes under the melodic line. It is best to think of all the chord shapes as "one big Cmail chord," rather than the separate chords which they may be implying - like Em7 or Am?, for example. Note the variations in 7B as compared to 7 A.

Example7A:
~II

&J

..
'l:'

.....,
3

•
hold- - - - - - - - - - -I

,..

III-

".

o!!:

•
.. :.I"

-tI

hold- - - - - - -I

.....

:::

.. -

.. -

.~

:::

;:

;:;

:::

..

hold- - - - - - - -I :.

;;

hold- - - - - - -I

;;

Example 78:
~It

.. ..
,; X
"I

....,
3

..
..

::
:,,;;.
ft

::
..
"
n

..
..

..
•
A

..
~

•
hold- - - - - - - -I

hold- - - - - - - - - - -1

.. -

hold- - - - - - - -1

;:;

..
~
"I

•
p A

Example 8

(CD

14)
of this material. A firm grasp on transposing musical information Make strjngs and positions . will ulti-

Transposing the melodic ideo we are playing to other string groups and neck positions is essential to your musical understanding subtle changes in fingering mately improve your musicianship, as you exploit the entire instrument. a mental note of the

"/,,
tJ
-...!

..

as this line transposes through the different ~ ~ ~

..

---

.~ 3

..

..
,

"I ..Il

...
~ ....
'ft

......

..
IIO

._

" -

- ..

'"

...

.. ..,

"'_._

.-

....

,ft

,p

..

~" .,.. •
..,. .... ... !
loll

--.-

..

..

."

..
...

....
A

._

.. ..
15)

..

.. ..

Example 9
octaves.

(CD

Unrelated to the last line comes this non-diatonic

example.

"Gravity"

is at play here, as the line

falls from the maj7th (B) down to the 5th IGl with chromatic shown in the previous example . ~It

passing tones

Bb

and

Ab

in two -different

From this point on, continue to transpose each new line to other strings and positions as

.,..~'*_(\;;} •
Passing tones

•
"I"
_! 'loll

...
A

-~ -

'"

...

"

'"

Example 10

(CD

16)

Next ore 0 variety of longer lines that span more than one octave. Pay dose attention to how nondiatonic notes are chosen and how they resolve to chord tones.

r-I~

..

..

~~

~.",.

..
'"

"'"""

~~~~~

..
n,

-~..
.,n "
...
'"
n

..
n,

I I 1J

...
a .... ...
!

~
-"

",

"

,n"

.. .. ..
"

"

... "........

"

..
In.

r-III

~ ~ ~6
,n ~7

..,
ow

...

...

'n'"

....

'"

-..

e-

.,..

,_
'C:/ ~3 .. ~~

b2
n

..,

~ "

"

.,

r-I,

..
....

.,.. • .

.,..

'(!:,'ft •

...
'"

'"

..

...

''''

..

. ..
'

#11 " " ." '" '.,

...
Pi
A

...

'9

...
w

"

..

In

-'II

.,..

..,
~6
'" ., " "

-5

_.
"..
.w

....
..
w

.,;

.. ., ..

...
•

...

..
p

"

.. .. .".

r-III

..

..
..
,n

..
..
..;

-~

.~

'~..,..
'n ...
'

.",.

•
~7

116
II<

'-'"

.. ..

...

"

'"

.. ... ,..
..

.. .. ..

.w '"

..

Example 11 (CD
chord. For email, the

17)

Thls line uses a very colorful interval called the Ill, which In jazz is a popular tension on a Mail

# 11is FI,

which is found in two octaves here. ~

'1.:...../

";A
.:J

.....
~

--

... ...
A

#11

#11

.. .

--"p p

Example 12 (CD

18)

The following arpeggio/line superimposes a G triad Ibeats 1 and 2), and an Em triad on beat 3, ending with a sweet Cmaj9 chord with a high 9th (0) on top in bar 2.
Cmaj9

1'-.
3Em:ad--I

G triad- - - - - - - - - - - -I

.3

...

hold-

-.

...

W'
.. -

Example 13

(CD

19)

This line has a "failing-dawn-stairs" quality to it - again due to the "gravity" of the downward chromatic passing tones: Bb and Ab. Once more, pay close att~ntion to where the non-chord tones resolve to chord tones. the rhythmic placement of which can make or break a line.

";11.

.fL '.fL

.,.. j,_..

• -

.. ...

.,;

I7W' ~~-?j

..
...
I

"

"

"

.D.

"

"

"

"

.. .. --

.. -

Example J4

(CD

20)

Here is a phrase bUilt on a diatonic pattern using a C major scale, beginning on a low 5th (G). The pattern is based on the interval of a 2nd. followed by the interval of a 3rd. This relationship continues for six beats and ends in a scalewise descent from the 3rd (El, landing on anA note, which adds up ta a C6 chord (bar 3).

,tI~

III

L 2nd JL 2ndJL 3rd

..

~
.... L2ndJL2ndJL 3rd J 6

etc.

'I"

Do Poi
;II

.'"

'"

~
r

..
u

:: ::

Example 15

(CD

21)

The #11 (F#)is highlighted again in this arpeggio/line which suggests Em9 (E G B D F#Jin bar 1,and GmaV (G B D F#) in bar 2. Bar 3 creates a structure based mostly on 4ths.
Em 9

"/11
eJ

-----,

.».

f'- ~

1=

.,.. •Gmaj~------. .»

...

...

r "

--I

4ths ___,

..

.,._

.. ..

...

.. .

hold- ...
t :; I

-"

- ·1

r :.

Example J6

(CD

22)

Thisarpeggio/line Is derived from the Cmaj9 chord as shown in the frame below. After reaching the highest note (DJ,the line shifts out of 2nd position, reaching as high as the 10th fret. This is another idiomatic example of a diatonic line that should be transposed to other positions and other keys as it is a good springboard for single-line soloing on a major 7 chord.
Cmaj9

Ii
2143

""11
IIlJ 4J. -

~
3

. .,.. .
~

.,._

......

~ -A

..

-.,
."

...

.1>.

....

Example J7

(CD

23)

Here is a very' strong example of C major scale usage. The line has a definite direction and identity with a variety of Intervallic skips between notes. Its most identifiable characteristic is that it begins and ends on the major 3rd (E). ~~ r>;

..

.....

\::J
maj 3rd

maj 3rd

~
p

.. ..
¥

-"¥

--

.. .. -

Example J8

(CD

24)

This line hints at superimposing the V7 altered chord (G7alt.), which we will delve deeper into shortIy.ln this case, the "hint" is the Ab and B within close proximity of each other, suggesting the b9 and motor 3rd of G7 (G B D F Ab).
.,I" tJ

...".

.".

..

({;;)
I

..
-.... Example J9
(CD

25)

.. ..

~.. .. ._

~9

Now the superimposition is further fleshed out with notes that strongly suggest the G7 altered chord. The Band Ab occur more often (and in two octaves) as well as the introduction of the #5 (D#) of G7 From this point on, when non-diatonic notes appear, you may want to consider the possibility of their association with the V7 altered sound. With G7 as the example, the "altered sound" is characterized by the following possibilities:

I
Diatonic G7: Altered G7: G G

3 B
B

5 D
Db/D#

b7
F F

n
C

b5/#5

A Ab/A# b9/#9

e#
#11 of one bar, finally

The color tones (G7 altered) can be superimposed over Cmajl for the duration resolving to a Cmai? chord tone. Check out the diagram below.

(G7 rut) ~"

&I

(Cmaj7)

.". ~ ~({;;) .". b;. .,,,-...

r--.
~9

...
....
.u.
g
!

... ..

~9
ft

..

#5
'"

.. .. - ..

~.

.ft

Example 20: Major Etude

(CD

26)

Thisexample pulls together all the principles we have been working on thus for and takes a few steps further in this study on improvising over a static mail chord. Check out these points of Importance for study: 1. Look Into the use of pure diatonic lines and what makes them tick. What chord tones do they begin and end on'? What is the shape and range of the hne? Finally, how is scolewlse movement balanced with skips? 2. Pay close attention to non-diatonic notes. Are they used as ascending/descending passlng tones? Do they accent a chord-tone only? Or are they used in the context of a substitution of V7 altered over emal? as discussed? Telltale signs would be the rhythmic placement of the substitution In the bar and especially how the tension is bult and released lresolvedl to specihc chord tones. As you will notice, these llnes commonly resolve to the 5th (G) of the email chord. 3. The bracketed or circled notes and phrases will assist you in understanding their harmonic purpose in the line. I stands for email. while V7 stands for G7 (altered). For example, "I: 3" refers to E, the 3rd of the emal7 chord, while "v7:b9" refers to Ab, the b9 of the G7 chord.
(Cmaj7 throughout)

~:I!""'_"
""""""
eJ

•
<:»
l: 3

'-'"'"

...

..

'9

-..
,

.f/L

..

... ..

.ft

..

"

.ft

.,

.,

..

.. ...

,~

."

~.,..~

~.f1L~

_---- ..........
3

-,

,
,. ,_

• p .'

..

'1

,-..

V7; ~9

,.

._
,ft

..

- ..

- .... .. -- .. ......
,;,

1:3

'

~,

..

=.•"

I I I

.. -

I I I

.. •

,,;'1\

•
r

_ .~

(;\f-\

-h

JC"\

•
.1

~~.#9 ~9

I.. J.

..

.. ..

V7: ~9 #9

~7

0_~

..

I: 3

V7: ~9

..

..

..

...

..

.. -

"

""""'" r>;

......
'"

...
A

I: 3

.1'- ~

~ft.

_I'- ~~.~

..
'"

oft-

"..
.. -

...

..
!

_ ...

~"

..

.n

.," ,ft

;,

,.

. ..
p

- - ..
.

.. -

.. . ..

.. -

"

#9 ~9 I: 5

,_,I" -.I

~~~

J! ffj.. .... l..~

.}

.~
3 ".
0'"

•
..L

. ..
..,......,

,w, .

- .....
3 ~9
1:5

...
......

."

-_

,_ .ft

.... ...
A

- --

..--..

- ..
A Oft

V7:#5

..

o0..

ft .ft

.. ..
w

_w

...

..

V *
I

1\

...

* Non -diatonic,

,_,III

~- - ~~I"\I'- ~ ~

..,

• b.
1

~
I

•
~
3

... .. .... ...

A
!

4ths- - - - - - - - - -I

...
0.&

Oft

.. ..

... .-

..
,Oft

.,

~
ft

..
,.
p

" ._ "

""""'II

~(¥i ~~
3

h. '-"""'

fL~

fL_'.

........-!

• ..

V7: #9

-------=----

#9 ~9
"

#5

~9 I: 5 .,

.•

.. .. .. ... .-

--

-•ft

.. . -

-"~

..

.. ,~ .
_ _

~
-",

............

V7: #5 b9 1: 5

or
_A _ft

..

.. ..

&

ft

...

\-,

..

'"

-..

-!~~~~~-

..
V7.: ~9 or
_A

•
I

~:--~
"3
'..::/

......,
V7: #9

,n

...-........

b5

#9

b9 "

#5

I: 1

b9 #5

#9

b9

t3

....
U

ft

,ft

...

..
¥

..... -..

,ft

.. .... .. .
I

..

..

...

.¥

-",.

..,
"
'"

.
A

.,..

~~~

.,.. ~

fL_

1ft ,ft

...

..

,.

..
"'ft

ft

,-

..
w

...

..
'"
W

"

",./,.

..,
.... \-,,

..
~
I

•
~

•
"3

.fI- •
J

.. .. ..

'"

..

"

..

'"

e-

..

.."

..

_._
p

..

_"

a.

-I" ~

..
_'P
_U

.. . ~# e
~
+-

f:

iR

.It.

1* -.J

;t

..
..

..:0 •

. .

hold- - - - • - -I

....
.a.

'W

,p

,ft I ..

.... .•

X
';

..

_"w

...

.. --

;:

Harmonic Families:

Minor 7

As we move on to the rnlncr 7 family, continue to consider simplifying complex chords to free yourself of over thinking while Improvising,

Example 21 (co

27)

First warm up to the sharp contrast in sound and mood that minor chords suggest. Play this 3rd position "grip" of Cm7 and consider what the chord suggests when played linearly.

""tI"

•
Cm7
13121

_l

__o_

-&

..

po

...

-<L

"

This particular scale is known as harmonic minor and its intervallic spelling is: 1 2 b3 45 b6 7. The two other minor scales that are used In this section are natural minor (1 2 b3 4 5 b6 b7) and melodic minor (1 2 b3 4 5 6 7)' and we will deal with them as they come up.

Example 22

(CD

28)

Thisarpeggio/line fills out the Cm7 sound up to the 9th (DJ,the sum total becoming Cm9 as a "block" chord.

if played

,.,;~

..
..

... ..
....._,

..

_ ..

..

Example 23

(co

29)

Thisone uses the same chord tones, only it starts from the ~3 (E~)and also throws in the 4th (F) for a bit of tension.

Example 23A:
,.,;"
eJ 4

- 1":\1

.~.,..
.. '" -

~.

)!:

.ft

..
~

_ ..-

._

Example 23B is the same line, only harmonized with notes derived from the melodic minor scale.

Example 238:
,/~

.. .. -

.. ..
I

~~

e
:,.;;;
i'i

..
c •

~. . .
6 etc.

~
;:;

c~

.....

:::

-" :::

~
n

Example 24

(CD

30)

This line makes use of downward chromatic passing tones that surround the Cm7 barre form. Chord tones are circled. The idea ends on the 5th (GJ of the Cm7 chord, as it is surrounded by upper and lower neighbor tones - A~ and F#. This "surroundlnq-ot-c-chord-tone" technique is common to the language of jazz improvisation and can be traced back to Baroque music.

"""",. ~
-.l

.,. j,... '"

b7
_'"

(.')~.

'"
l

1 '1
1

*"

"

..

b3

..

b3

--

"

" ;:;.

Example

25

(CD

31)

As in the major chord section, substituting the V7 altered sound over the static I (Cm7) chord is employed here in bar 2. Bar 1 begins as an ascending chromotlc idea with four notes played under a slur.

-",. .. -i.,.ija.

1:1.

j,... .fL •

I..........

V?alt

em?
I

'-'"

...--..... --

#5 113 b3 b9

b7

-A

..

.. ----p

Example 26

(CD

32)

The purpose of this line Is to once again illustrate how a phrase can be lengthened by repeating a group of notes through two octaves or more.

,/~

·1

L-

1st octave

_j

2nd octavt~

... .. ..

L 3rd octave

., .. /*'
_J

-"

..
v

r
p

'"

..

Example 27

(co 33)

Here again is the some principle of phrase extension through octave repetition, this time via on ascending Cm9 arpeggio.

"",/

" • '* ~3
1

.. b,. ~~
5 ~7
v

l!:~~1"\1!:

1= 1= 1= t- I- l5 ~7
'" ,ft

~7

9 ~3
-"'-

9 ~3
.ft

.. ..

"

..

...

Example 28

(CD

34)

Next is a descending line that Includes all notes from natural minor except the ers a full three-octave range.

b6

{Ab), This one cov-

_,~
•

~,. •
2nd octave

1st octave

3rd octave

'p

,ft

... ..

'"
-"-

• ~ it.

.. .. ...

.. ..

• ft

.. ..
_d

..

..

Example 29

(CD

35)

This pattern is a stand-alone line that is not harmonically related to the other examples, Its construction is based on a four-note idea where each successive four-note group is a major 3rd away from the last note in the group, This symmetrical occurrence takes the line pretty far "outside" before resolving to a C minor chord tone (Eb),
4 Note idea

",./,.
&I

-,:.

._.
..
4ft

.,
L.__j

•
L.__j L__J

l__j

'-------l

..-

.. -

..
-.....

Maj 3rd
ft •ft

. ..

.... .w

..
w

.... ..
w

Example 30

(CD

36)

Here we have one continuous line in eighth notes that arcs up and down with a balanced combination of scalewise motion and skips, As usual, study how non-diatonic notes are used in terms of beat placement and resolution,

~,. •
-'"

(em?)
1

.~ ~~.,'_
-.,...
\

..

J>
W

"

..

,...

"

.. -

'"

..

.,
W

ft

"
W

,_/,.

..

"

..

.,;

.. -.,;

.. ..
_.._
w

..

.. . -

..

..
P

ft

..

p
W

"

-..

.. -

'"

II

r~
..··1

.......

..
..

.. .. ..... ..
A.. ".,

..

.ft

.w

..

...

,_,I~

•
"T
y

,,__..
.. ..
w

"~~,-,
.
,- ..

.
"

....

! .a.

...~

,~

~ ...

'_

;;;

..

Example 31 (iCD

37)

Bar 2 of this example strongly suggest.sthe brocket and interval analysis below.

V7 altered sound before it resolves to em in bar 3. See

,_,III t.J

.,._.

i!:

11:.

II. ~

'I!I.

1"'::\-.

"T !

~~

....
A
.U

v7:b7

.. ..

#5

19

b9

CP'-'
_!_ 3
.:

b7

1:

~ . b3

1
:. ~

:::: ...-

SuperImposing Malor rriads Over Minor

The concept of superimpoSing one sound over another can be perceived of in two ways ~ from a theoretical point of view, InvolVing modes and polychords, or guitaristically, by visualizing and playing shapes on the fingerboard that we know sound good - without asking why. We will focus on the less analytical, more guitaristic approach. Observe the basic chord forms you hold ond by rearranging or Inverting them across the neck, discover their "puzzles," because when playing lines, the notes you are looking for will be found inslde those forms. Thinking of these triad shapes as their own entities will free you from thinking about "what modes/scales work over instead you can stay focused on Crn jhelf.

em" -

Example 32
Here are

(CD

38)

Bb (Bb

D F) and

Eb (Eb
....
3_

Bbl

triads for the purpose

Bb TriadiC ,_,III

Db Triads

~..
~

of superimposing over Cm?

Bb/C

•
T

-&

Il
;;II

...

..
X
;;;

.. ..

hoId·"······· ·1 hoId-········

- - ..
.nT

.~ e ..
....

Eb/C

..
-

TI I,~, _f;_ _!'-

"

Bb/C

·1 hold- - - - - - - - - - - - - - - - - ---.
.ft -:;;
~O

... ft '"

OJ,

~, f1

•
,

tJ

~"*
...
'"

~~

. .._4

.,

..
r;;

..

"

...

..

Example 31 (OD

37)

Bar 2 of this example strongly suggests the V7 altered sound before It resolves to em in bar 3. See bracket and interval analysis below .

"/1

.,,_

..

'I!"

,...

..

h ..

f:::\ ".......,

..
.,..

.. ..------:---"

....
A
.101

..

V7: ib7
'

#5

#9 ~9
.,

.,.
v

~:
~
. ~3 3

':T
...

;:;

Superimposing Major rrlads Over Minor

The concept of superimposing one sound over another can be perceived of in two ways - from a theoretical point of view, involving modes and polychords, or guitaristically, by visualizing and playing shapes on the fingerboard that we know sound good - Without asking why. We will focus on the less onolvncol, more guitaristic approach. Observe the basic chord forms you hold and by reorronoIng or inverting them across the neck, discover their "puzzles," because when plaYing lines, the notes you are looking for will be found inside those forms. Thinking of these triad shapes as their own entitles will free you from thinking about "what modes/scales work over em" - instead you can stay focused on em itself.

Example 32
Here are

(OD D

38)

Bb (Bb

Fl

and

Eb fEb
3
I"""

Bbl

triads for the purpose of superimposing over em?

BblC

B~ TriadiC

Bb Triads

"j

..

b ..

f:
~

~!&

e
'"

hold-. hold- - - - _. - - --I··

"I"

-on.

..
0 -

- ..
..
.;
·V

Eb/C

11 I.J

- .f:
••••••••••

B~/C

f'I !

-···-1 hold- -

00

•••

--

a ...
! u

'" :;
:;

..

~
w

'"

..

.. "

..

."

'n.

" ,~

(Example 32 continued)
E~ Triads
.0.
----

"""""
tJ

In

In

In

I'll

~a

:g:

e.,
lI'
i'

- - - - • - - -I
'w

..

" ;-

l.!. ,~

Example 33: Minor Etude

(CD

39)

ThiSis a very succinct improvisation over a em7 to G7alt vamp that is as "easy to hear" as it is to analyze. As with the "Malor Etude", look to the annotations for study assistance.
dlaJt ..,til
I

• ~I..--:"'-.

tJ

......,

-, •
-~

.~I. .. ----:--...
- ... 1

...
,U

....
A

..
w

.'" '"
'

..~

...

•~
.

..

_., .
I

.. ..

...

",

..

.. ..
.,,_
¥ .

..._

"

"

G7aJt ;'J
,I

...
r

.~@.
V7: ~5

i: I

.. ..

G7aJt

..--...

.......

#5
#9 ~9
.e.

V7: 3

i: 5

...

.. ..

"

.,
v

.~

~-

07(#5)
..,til
I

em7
~
r

~
r

~~.,,_~
,

07alt

.. .,,_

._.~.

...,....,

....-..
3

..
~

tJ

... ...
A

.. ,..

..

..

V7:#5

-~ #9 ~9
..

=---.
...
""

i: 5

;."

..
'w
in

..

..

"

...
ft"'-

...

...

iU
~'

G7alt
-'A I

em7

-... .(;) ..t:\ r»; .

~~.,.. ..
.__ .r-:
~

G7alt

em7

---..
"

... .... ...

.u.
!

#5

b9

b7 i: b3
,

.. ..........
~

_
"

......

.. ..

..

;.

..

'"

..
w

--G7aJt

'"

..

G7alt
~I
I

em7

b~
r

...
_A_

.... ...
em7

.-

-i

'"

;.
v

G7aJt
_"

,,-..,.

I""'"":

1""'"":.

I"""':_

... - ..
",

'"

~ ~

'" -

..

.",

_ .- ..

~~

..

.-

..

..

~ '"

..

.-

-"

I"'_.

...
_ft

---..

l.o000oi

-........
... ""
~
&

.. ~~em7

...._

,......
3
.-

;.

......

G7alt

...

'3

"1---";

...
.u. I

-.. ..

.. .. .. "

'"

..
A

..

.-

'"

.........

'"

:.

_"'-

..

.. ..

~.I;

G7alt
I"""'"T I

• -:»

..
_OL

G7aJt

"V" ...

If-" tJW ~ ~ ~ '''').

_~

"

"

..

.. .. .. ... .. -

..
d7alt

-"
L.

"

,ft

.,

..~ -

,n

G7alt

..

.110

~ !: ..
I

~
;}

.........

,..-...,

•
4'"

.-

~~~

..

..
-"-~

.~

..

.. - ..

V7: #5

#9 b9

..

..

;.
rw

""", fro

4!J

-.
i: 5
A -

..
n

01a1t ~ .. ~~~1

E ~ ~ ~ ~ .. ~b.
'A .A 'A

em1

01alt

..

..LI..~-

~
V1: 1

'A

'A

..

,n

.V

...

#5

'5

...
A

""
em1 01alt i: 5 ~3

Freely
(em7)

3 hold- - - - -I

HarmonIc Families: Dominant 7

The Dominant 7th chord is the most crucial chord in all music. Jazz has traditionally heightened this chord's importance ceptable. by exploiting its every shade of color and by inventing infinite ways of working it into chord progressions that if done in Pop or many other styles, would sound outlandish and unacBefore exploring the colors of the altered dominant chord, let us first deal with the static lunresolvingl dominant chord. In this case, G7 is used. Because it does not resolve to some type of - C chord, there is no need to motivate it towards resolution by adding tenslons,

Example 34

(CD

40)

The "G7 sound" is exemplified by this 3rd position voicing

of a G 13 chord, which is Simply G71G

0 E F) and it can be

B D F) with the added 13 (E). The scale that is used is G mixolydian IG ABC the scale can be thought of as non-diatonic.
013 G7 scale (Mixolydian)

considered to be the "complete sound" of G 13. For the purpose of analysis, any note outside of

-'It.

U'
n

U'

:e:

17

e-

..

;;

;::

..

-A

...
p

Example 35
07

(CD

41)

This line is similar to other descending lines we have been hearing, only it uniquely begins from the 13th (El and extends beyond three octaves and finally resolves on the 3rd {Bl.

.....~ ~~
~

~~~

~~

-fILa-.

..

olio

..
13

i*

.. 1t*11W ~
3

, .a.

... •
....
iii'

'"

."

...

..
.~

..

'" 'w

..
v

.,.

.,
v

"
v

--

"

..

'"

Example 36
"/,,

(CD

42)

Thts is a purely diatonic, rising-and-falling idea that combines the intervals of 3rds and 2nds.

..

.. -- ..
2nd
"-

~
3rd

L____j

L.___._j

L.___._j

L.___._j

L.___._j

-;
3rd

3rd
p p

2nd

2nd

2nd

3rd

-Example 37
(CD

p "P_

"

43)

Here are a collection of phrases that outline the G7 sound with many twists and turns. Notice the consistent eighth note rhythm and balanced, arcing shape of the lines. Non-diatonic notes in this example are used as passing tones as opposed to altered dominant implications - which is the next subject.

~Il

:F~_~~~ ~~.,..~
,,ft " ..
ft

...._
~

Lo_

..,
...

..
•

..
" "

-fIL ~ -fIL __ ..

rzr-:

olio

..

'"

"

"

..

~~"

.. .. '" .. .. v

"-

.....~

l'

F~~~ __
'ft

.. __,..~~t:~
,.
._ .... ."
,

'"
.
-

'"

,,,
'

.... ,.

..

... ... ,_
,-

,~

.....

...

,. ,_

,ft

,~
,

'"

.......:
(I

~~

~~~

..,.

,.. . ..,.

...
~

.".

.n
"I"

... .n

"
• n •v

....
ioooi

.a.

.. .. ... ..
,,;. 'p

.. ..

.. .. ..

.. .. ..

..

..

..

..

,..,til

-~
.. "
_il>

.
.~

•
"
v

..
~
'"

.. .. " ..

'*
~

..
..
-<T

~.
-.;T

~~~

~~..,.
..
_D.
V

T-"-

..~

-'"

.. ..

.. -

.. ..

.. ..

" -..

-'II •

;.

•
.. .. .. ..
.-

..
..

--

..

-.....::....,

...

."

..

-::»

.. .. ..

.. .. .. .. ..

- -..., ..

..

.. -"

Example 38: Static Dominant Etude

(CD

44)

Thisnext improvisation completely explores the sound of the G7 chord. The maiority

of

the solo

makesuse of G Mixolydian exclusively, with chromatic passing tones 'and other non-diatonic notes for occasional color - see circled interval identifications. Many neck positions are covered throughout, and it would be useful to memorize phrases that you are attracted to, both in terms of their fingerings and intervallic relationship to the chord - specifically for the purpose of transposition. These ideas should not begin and end only for a G7 chord; bring what you will to other dominant 7th chords in other keys.

Example 38:
(07 throughout)

"11
eJ

~~~ t: ~.~
,._

f'- ~

.~_L
, .. H

.,.

.-

...

...

...
_A

,~

,-

.... ...

.~.~ .~._

.ft

'ft

,ft

...

.ft

.ft

_,;"

.~

1.0_ ~

~~

, ~~~

~~,..,.
#11
'ft

_d';.
3

...
~

A""""\.

"...........

.. ..

...

...

..

..

... .- .~

ft'

- ..
'ft ;,

~13 "
po n ...

bs
~

.....
_,III

po

•
...

..
.. ..
po

-"

.........
3

-:;j •

~·trIt~

...

...
po

..
..
po

3 ...........

.. ..

..

.. .. - - ..
'"

.. .. ..

..

'"

.._ .. - -

...

..

"

.. ..

...

""""~
~eJ

~~=
.

~~

-4
15
,_
I .....

=~.,.._
~

.~ ..
3

-.-...

.t»::::.. ..

.,..tC:\ ..

-'"

.. .. ... .."'.

.. .. .- ..

..

... .....

...

.. ...... ..... ...

#5
'"

. .. .. ..
-'"

~7

..

.. ..

b7
ft

.. .. ..

..

.. .. '".. .. ..

#11

"
-'"

..

.,I'll
-.J

.w

..4- •
'1,...1

-,:.

...
_..
.II>

~-,:.~~-,:.

....

..
.ft ...

m~~
....

..

'.

""

"

..
-

_.,_

.,

ft

.. .. .,

.. ..

.-

..

.ft

.-

.- .'" ...

~'"
I'l"I

~ ~

-~ ~ t: e~,.. ... ,*3

..

"......._

..-

'iT

•
I

.... ......
D
A.

.-

.-

#11

._

ft

~- n" ._:..

~13

~5

.,..
--P-...::;
_
-..

- .. - .. - .. .. .. .
.. r

L.

..

..

_-

...,..,.

-=

~,.
["jJI

. -......_./

_ .. :f!:.~~_JI.

I ___

r-

_.

:J

.- '"

-..

.. ..

~
V

.. - ..--......

ft

..

ft"

- ..
;.

-..--.r

.. ..

#9 b9 ~9

~9

#11

#9

~13

bs

"Iii iT

.,..~,....
w

.Jj,

-.,-

.,..
.......
g

.....
A.

..

__

"

ft

.. ..

.. ..

- ..

.. ..

"

..

.. ..

"01

",~

r-;. ... fL

f:.~ ~

..,
"...,

....
.,.

_._

~ ~ ... ~

1iit~1

..
_a_
A

_-

_.._

__.,_

- ..

~13

-=-

-=-

...

--""-

_.._

-"-

..

.i

-.. .

#11 ~13
_"-"-

.......
3 r-- ..........

.Ij

~ " 'I

•
~

...

..

-"-

..I:..

-" v

--"'-

- .,.

,.

..-

~9

..

-"-

...

_.._

.,.

...

..

__,._

.,.-

..

"''' ..,
_._
_'"-

•• ~~~E
.. ..
1ft

~~

t; ..

...
,-

'A

'-",-

, ,_

L .. ,~

..._ ,-

_"

......

---...

.Ij
~
rn

liA_~.
J

ttf:..
s

.fI.~
3
..... r-.A

... ...
"3

..,

.....
~

--"-

::or: -.-.Do

.......

..
g

r-; _._.._ - _._.._ .__

,ft _._...._ ,II

r-;

"" -

",

.,.

...

..
r_

.,.

_.._

_D

- -- -<L ..

"

.._

.... """""'"
r

~A

-...
HI

_._ ~_

10_

.,.

.,J

... _D

..
-"-

#9
~

~9
_.._
.._

Q_

...

_",_

II

"

..

..

..

..

..._

....... A.-..

~~~

r--: .... 'f:. ~

..... ~t:~
._
~ft

~~~

I'

~_
......
~
II

Oft

'J!

•w

Oft

••

.~
__

.ft

...

.ft

.. ...

...

.ft

...-

...

.~

..

~~ f::

~~,.

..
.ft

..
• ft 'ft

..• ~~U~
.. .... ft

... .. ...... ... ...

.A
! A g

':'

--

.-

,-

~""P

... ...
~
3

'11 t: ~t:~ 'f:. t!: 'f:. ... ,

._.,.......-..." ,_
,....--...,_
.ft ft

._.'

...__:.!!"v"~~

'2~'
~9 ~7

~'

4"

ft'

'"

p' ;.

'"

--p

..

.'"

..
...

\...I

~-

- ..

Altered DomInant LInes

In jazz, "altered" refers to a specific group of notes or tensions that when placed on a dominant 7th chord create a very strong motivation towards resolution. The tensions are the b5/15 and bQ/19. These four possibilities are often found in numerous combinations. When the altered dominant chord is involved, it Is necessary to alter our lines to fit that chord. While the unoltered dominant chord calls for the rnlxolydlon scale, the altered dominant has the "altered scale." Let's check out a few chord voiclngs for the altered dominant sound.

Example 39

(co 4S)

Each of these volcings Include the low G root on the 6th string - which is certainly not necessary to the effect of the chord. They are included here due to the "solo gUitar" situation. When playing with a bassist or keyboard player, you may want to leave out the roots in order jo allow yourself more maneuverability. The chords are analyzed here in terms of chord-tones and tensions present.
G7(~51#9)

tbr'
T 1224

G7(#5/~9) 3r
T 11B

1I

G13(b9)
,

iRr
T 1243

G13(~5)

r ,

Ii
2 341

G7(#51#9)

.9fr
21344

,;'11

,:t&
'0'

lM.
'0'

~
'0' '0'

I\'it'

..,

~
;:

;:: -; ;:

..

~
;:

-y

--...

..
..
\

..

..

Example 40

(CD

46)

Here is a two-octave altered scale. Notice that whenever possible, the #3 and

b7 are

held to

emphasize the "complete altered dominant sound." It is very important to recognize each and every degree of the altered scale in respect to its relationship to the root of the dominant chord. In this case, the low root is found on the 3rd fret. 6th string. When working the altered scale out in other positions, recognize the lowest root possible and relate all scale degrees against it. See the 8th position version of the G altered scale as an example.
G altered scale (2nd position)
G altered scale (8th position)
_ 00

........

.. u [,e: 1m" Ifu' f&

"

"

iO.

etc.

~v

..
"

ft

'"

..

..
.oft "' ..

..

..

.-

"
w

"

..,

Example 4J

(CD

47)

Thisexample serves as a perfect working model of strong altered scale lines limited to 3rd position. It would be helpful to transpose this example to other keys by Simply moving it up to a higher fret. Always keep track of the intervals in relation to the roof.
G7alt

........

..

"
#9 b9
~3

........

~~

.....,
III
#5

.. _. - -_ •• -·-1

..

Lo-

.. -

-..

hold- - ••..

~'

#9 b9

..

'"

..

..

#5

"

..

-..

Example 42

(co 48)

These three lines are related in an interesting way. Each one is in a different posJtion and starts on different chord tones; however, their shape and fingerings are similar.

~, (¥) ~ ~

,.....,..
3

f-:j::

'~~

i!: ~

~~
3

,......,_

..
#9
-"I"
.A

.. ....
•

.-

..

'" .-

#9
"... .v

'-

~
,p

..

..--

'he DIminished Scale For Altered DomInant Chords

Example 43
Earlier we worked with the diminished chord "shape" superimposed over a dominant 7th chord. What we are about to do takes this concept a step further, as we superimpose the entire diminished scale over the altered dominant chord. It should be understood that the diminished scale is an eightnote symmetrical organization of whole steps and half steps. Diminished whole/half step:

W
H

W
H

W
H

Diminished half/whole step: H

For this study, we will deal with the half/whole sequence starting on G.

H G

H E
6

Ab
b2

Bb
b3

B
3

C'

b9
,_Iii

'9

#4 #11

F
b7

13

G Diminished HalfIWhole step

..

'U

"0'

J___J L-..-J L__j L__j

1m"
W
H

;f&

etc.

.. -

'"

..

..

Example 44

(CD

49)

Compared to the altered scale, it's clear that the first five scale degrees are identical. while the remainder have Important differences: The diminished scale has a q5 and ~6 that the altered scale does not have. The common degrees are 1 b2 cially, this scale would

ss '3

#4 and b7 Because of the

q6

(or q 13)espe-

be a better choice for dominant chords that have the b9/13 combination _ like

the 3rd chord in Example 39. Its symmetrical design allows for infinite pattern possibilities that have long been part of the jazz vernacular; dating back to the Bebop period. The following are based on the G diminished half/whole step scale.

~A

..
"I" ! A
y

i
~6
,n

~ ~

~ ce> ~~
..
,

•
.,

~~

r.......

..

..

•n

.. ... ..

~5

..

~6
.,
10

..

"

'"

..

";,,

...........

fL ~

~~~fL~~

~~

~,..
if>

~fL

&I

~5

..
JIl
II;

., .. ..

_"w

1>
v

..
50)

4 ..

'w

,<=

.. ,.. .. .4 ....

...

''''

..,.
w

_" w

..

..
w

'"
w

'"

Example 45

(co

Here pre G diminished half/whole step scale ideas running through all six strings. The fjrst two bars of this G diminished phrase are found in the form of a useful arpeggio. The final three bars are again inspired by Bebop patterns.

~"

..

.,;

..
_ ..

..

p,.

fL

M-

~ ~

.,

I'"

_.._

....

..

'"

..

"

....

,...

...

~ ~

~~

~ ~~,.. ~¥

.~,..
... .
w

~
3

..
... ... .. ...
.... ,_
_.._

_..
'"

...

,.

.. ... .. ..

..
..

.. .- ... -

"

The Trl- Tone Substitution For Altered Dominant Chords

In the same manner that we superimposed major triads over minor chords, a similar concept applies here with regard to the altered dominant chord. The trHone substitution is achieved by bUilding a dominant 7th chord from the lowered 5th degree of the dominant chord in question. A trHone Is on interval of a diminished fifth (three whole steps). The tri-tone above G is Db, the lowered 5th. Placing a Db7 chord (Db F Ab Cb) over the G7 altered chord creates a sound that Is very much a part of the jazz language. Once you can recognize the Db7 shapes over a G7 chord, you will begin to expand beyond shapes, playing lines found within them. Notice which Intervals occur when comparing Db7 against G7:

G7:

1 Db7:

B 3

D 5
b5 Db

F
b7 b7

A 9

B 3
Cb (BJ

bq

Ab

Notice that the 3rd and 7th of G7 (the two most Important notes of a dominant 7th chord) are also contained within the Db7 !reversed as the 7th and 3rdl, The chord frames show the common tones between G7 and Db7

Example 46

(CD

51)

Here the Db7 can be found in this line that extends up to 7th position as it reaches for the high Db in bar 2. See circled notations for Db7 notes.
,.I~
........ I

1"::\.

b,.. ~ ij) ,.. __

5
-"'"

........
D7
5

..
D~7: 5

*
~7
1

~
*B =C~.

-..

.. - ..
y >!L

I
y

'"

"

.D

"'

Example 47

(CD

52)

One lost example that again melds two tasteful, balanced phrases. "I"
eJ

Dbl,

G altered scale and G diminished scale ideas together in

..
A

• b-- b,..¥-

¥~
.,

....-:=--..
3

---r

G altered scale- - - - - -. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - --I

.....

.. ~ --

'"

"

,..

...

If>

..

G diminished scale- - - - - - - - - - - - - - - - -I

"

..

-"'-

'"
y

..._
-

- ..
;..

..
~I!.

..
or,
!
.Il

'"

F~~~~~;!~

~fl • 'f,. fl.

..,"'" "
v

- .... - - - - - - - -I
,

o diminished

..
1;1,

..

.. ..

.~.~ ..
,~
'"

scale- ·1

..

..

o altered

..
n

"'-11.
Db7 •• - - --I

.~ '"

,,,-,

..

scale- - ..•..

.. .. "

Example 48: Turnaround Etude

(CD

53)

The I vi ii V chord progression is the foundation of many jazz chord progressions and is often used as a means to "turn the phrase around" and begin anew. In this etude. we are going to study how to connect these chords as they constantly repeat in a loop. Although examining how each line relates to each chord can be advantageous, it may be best to "look at the big picture" and consider haw theii chord (Dm7l -and for all intents and purposes, the vi chord as weI! are lumped into one big V chord (G7l. In the big picture. the material we have been working with concerning the V chord can be heard starting at the Am7 all the way through to the resolution at the I chord. Analyze all notes with occtdentols as usual: chord-tonelnon-chord-tone, beat placement of tensions and resolutions, arpeggios, patterns, superimpositions, etc. The "cadenza" section af the end is made up of arpeggios that are dearly laying out the chords they represent. The f.inal resolution to Cmail is extended by adding Ab l3/. ll: on altered dominant a halfsfepabove the V, Db9/.n, another altered dominant substituting for the expected 'Om? and finally a

u-V (Dm7b5 - G7 alteredl to CmaV

Cmaj7
~I!.

..
"I'"
.Ill

.-

,,..,~

.. 1,..

Om7

h ..
<:r

...
!
g

..

..

.,

.. "

.. ..

"

"

.,.

.._

...

...

...

..

... '" '"

~, ..
"1""
!

07

Cmaj7

•
I

.,..;!*~.

,~
..
...
" "

*'
"

.a. ...
u

"

,..

'.

"

.. ..

.. ..

..

'"

I..

Dm?
,_.I,

..
W

..
ft ~ ~

...

..

I
J

Crnaj?

....
"

...~..".

...
ft L

ft

"

~
V

"

..

._
_L_""
.I/:_.

-"'-

ft

-"'--

"

ft
-W

ft
V

Dm7
.,I",

G7

Cmaj7

eJ

..
..
...

.. ~b,..¥. ~~

~~ ~~_,.. ~ •

.. .. ~ .. ..
.
ft •
ft

"

"

..

...

OW

_.._.. 0-

--"-

_.._

._ - _

-._.

~ Dm7
".,tIll 3_

..
.. .. ..
'"

Cmaj7

._.~ t:
.. .. ...

j!:
~

~ t: ~ ~ "-'~
'ft ...

...

..
"

.".

-'*i.
3

-.3

eJ

..

•P

...

ft

,;_

..

-..
;,

'7 '7 4ft

...

;.

.;

ft

::.

...fi>.

"

D7
,/~

eJ

'P

...
II:

Cmaj?

"'v

_"

"I,....

;,

.. "

..

"
w

1. 3
;.

...
r
___".

.. ~
3

.. ..

"

....

..

.......

!;II

Dm?

""""'"

..
..
P

.. ,.. ~ II!: b,..~_

__.,._
__L>_

._.~

~~~

b,..

..
..

f*__:'

..

"

..
w

II!'

~"

_z

"

"

'"

.. ...

..

Cmaj7

"""',. .tr

..

Dm7
1

, :w-.
...

~- J. ,,-

l'

_l

...
,101

;..

A ....

"

-~.

-" "

..

"'.

.......

.~

"

..
-

-".

_"O-

"

..... ---

..
."

.... i..

..
w

...

..

... "

.. '"

-"

'"

Cmaj7 """',. tJ " ..

Dm7

!:_. ..
,

i! _1f/I>_

i!

~~~~.

~~:

..
Cmaj7

..

.... "

..

.. ..

..

..
...

"

.. "

po

..

... .,
w

;.

..

...

.. " .. ..

Dm7

"""',.

. 110 ----.

••

1
,

tJ

........

..
.. ..
" '"

•
~.

.".~ ~~~~~
.. .. .. .,n ~
<>

~t:~
''''' ,..... .... '"

... ... "

.

.. .. "

..

...

..

...

"'--"

,,,. ....

• w

..

,,,.
'w

Cmaj7

Dm7

.;". 'f!:.U.".
tJ

ffi..»
.;J

.".,a.".
.;J

11.\.-'"
,

07
"";/i

,.. '"

- .... i..

., ...

q~.

#1

P,a.". ..

..~
.... w

n... ,,..... .........

w

.,:

.. -.. ..
ft •

...

.;,.

"
..

-~

... "

'" ~ "

..

.-"'-

~.b,.

..
....
lOll

..

._,......
~

Cmaj7

...
! A

.. .. ""

r»;

..

-_.,

...--....

~ ~~.

fL ."..,

.-..
" ..

.. "

..

...

.. ..

:.

.. ". .. .. ..

, ..

·n·

.;,.

--

"
_"
_"-

t..

...

.-

.,:."

...

"

Dm?

""""'~

......

..

..;.~-.
6

Cmaj7
:---. L

-...
,

'I~

-3

.. ,
"

.. - ..
;.
A

P L>

.. _ .., ..
.-

. ..

'"

.. ~

... .,

.. _ ~ ..

_ ...

_.._

~ Dm?
Cmaj?

"

_.fL ~
3
.... .r"\...

...

._.._ (""it ____ ._. _._. _._.,.

•
~

_--

, ......
-"-

_ ..... ..,_ _ .. "

_ .- '- ..

,,,ut\,, "'" 1_,

_ 'w

-_ ow _ ow

~
Om7 ••• __ ._ •• _ •••••• __.• _.•••

.. .. 07
-._ ••• _••••.•

__

..

....

.. ,..
Cmaj7

._

0_

8va •.••.••

"'"

• .fL.,...fL

__

._ ••••.•••••..•

.,

..

_
...

..

,_

...

.r

'"

._ .- ._

"

.-

...

..

A p

...

"t" ~

__~.fIL _

..
..-~
..

.
_

~T

I~J .fL

07
___

_.~

11-.."
'"

Cmaj7

1 I.u. J ..

- ...
... ..,
.-

--"-

_ .. _

...
'"

.. _
1
-w

~
n

..

..
Cmaj7

..

.,

..

Dm7
"t"

~111-~

-,:._

~~

.fL~
""'

.~.

•
"

-1* ~

.. ..

r .,
.-

- .. . ..
"
"'-

.,

_
II

- - .-

.. -

,ft
44

...

.A

.. ..

"

........

.ft

in
,n

Dm7

07

Cmaj7

,,,~~,a..~. ·~~M~~,a. .
1

Dm7

Cmaj7
1

•
,n

_ ~ '"

"ft-

.1

..
..

_. _.--.....
"3 "3
.u

I:.-

._ ... '" H __~

,_ ,_

......
Dm7 07

,..... " .. "'I~,a.

~""'I:-

..

.u

...

...

,,;.

;.

_.._

Cmaj 7
.-d L J. I

.-t" ....

# ..

••

••
~

•
_."

l_3-:::
._ ."
~

--r,_

--rp

1....1

..

~..'"

...

"

..

..

..

..

'"'-

p r

.. .. .. .. .. Cmaj7

..

Dm7

,,, ..,

Dm7

-:ff1I

--

~1.

.,.~
" "

~ ~.

_Jr,

r---3...".

t:\

......

..
"

.. ..

.. .......
"

.. ..... ..

....

..-

- .. ....

..

-.....:17 .......

...

.. ..

Ab 13(#11)

Db9{#11)
~

,......", ... b:;t."

..

---"!!!II t

.~~. ~~

Ab 13(#11) !!!!....

,,"

....
..
.,. .. .. '" ...... "

.~

... ...
! D.

..
...

..

.. ..
...

..

'" "

..

"

'"

., .,

'"

"

.,,,

Ob9(#1l)
""""""" t

.~~.I!!!!I...
..
.

[)9(# ll)

i""'"Ol

tJ ,,-

~. -"
..

..-oI!!!S

oII:.~_.
..

i~~

"

.. ..
~

..-oI!!!S

_:
•
"

..
I

~'1-

'''' 'a
I

.,

iooi

.....

.L"'.-'"

.. ..... .. '" '"

.. ... ..

..

I!L ..

"

.. .. ~ .. .. - ..
.;

"~

G7alt

"""'"

..
~

~ __,

.. -" ..... ., '" .. .. ..

.,

. ..~

.1..11.

lI,JJ11

~
I

,._

...

:;
hold·--·---I

If!

.. .. .. ., -.

..

..

"

.. '"

"'.

.. ..

'"

-. "-... ~

..

~ ."

Cmaj7

-'Ii

_,
3
I""""T

=:Iiiiii

• fL~ ~.

~ _.'1i.,

... ...

~._./

...
Do

..... ... ..

.. .. ,.('.. .. _.. ~ ...'" .. .... '"

'

...

.. ...........
-

..
.t.I' ... ~

Cmaj9

qy

..
.. ..

12·

· · ·
J

'"

.. .. ..

hold- ••••••

..

..

:;

... ..
In

....

'"

..

"

..

'"

~.

Scales For Altered DomInant rurnarounds

Example 49
....-;
E altered

(CD

54)

These are "so mpie"

fingerings for the Iollowlnq altered dominant chords:

A altered

D altered

G altered

.In:r
"
v

&~

...

...

...

..

...
.... ...
A

..

v v

"

"

..

'"

'"

..

"

..
v v

'"

..

Example 50: Altered Dominant Turnaround Etude

(CD

55)

The turnaround we will be working with here is related to the I vi ll V of the lost example. However, in this case, all of the chords are altered dominant types and the I chord is replaced by a III (E7j9/# 11)chord. Each chord employs the altered scale from their respective roots: E altered, 0 altered and G altered, A few observations concerning this example:

1. The harmonic content of the lines adheres rather strictly to the scales as shown In Example 49, so analyzing them should be easy.
2. Unlike the prior turnaround etude (I vi jj Vl, chords are approached on on Individual basis, with a clear-cut scale-per-chord relationship, Chords are never "lumped together," which makes connecting them more challenging.

3. The rhythm of these lines is varied ond dectdedly freer than all other examples thus for. There exists a good amount of "double-time" - playing sixteenth notes instead af the usual eighths thereby packing more tensions per beat.
E7alt

"""'Ii
eJ

..

A7alt .--3__'

.
~

...J-,
3

n7a1t
1.-

1-""

."*.. '"
'"

"

-G7alt

- ..
p

...

..

"

...

..

~
~ ft

'"
v

""""1\
eJ

_r::_3_'

.....-!
3

..
'"

~
3

-'"

ft11-

.-.!!!!II

ft

..
'

....

i*~

..

.. ,.J.,...". ..

"

""
v .,

.. " ..

..
v "

..

"

..

--

..

"" " ""

w v v
V

D7aJt

.II

..
v

---A

'"
V

"

G7alt

-D7alt

,.,..-~.

"

- -=
.....

,.:

.......
p

'"
V

..

.. -

'"

~.

..

v ___

--

.-

'"
G7a1t

.. ..

...
_

_.III

..
AP

-..

n_~~~~~fI-

~r..,
J

3 I"IIIiiiI iiii;I{

1"".'""1.

....4J

~
I J!!!IS
3

,. '---""
A A

...

p'

'"

;,

'"

..

ft
-

..
-

..
V

__.., "
V

'"

.. ..

...

..

__..,

n7alt
_.IA~

..,
.,
Ii

•
j

• -h' •
~

;~. #~#
3-

1" 3

.~

..

;.

..

~
A

,,.

p'

'"

..

.....-...
r
W

..

-- -

"
n n

'"

.. " .. ---

.. -

D7alt

07alt

n7alt
,.I"

.II.

IJ

::3~ ..--.....
1=:1

..

.. ~ ~

.-

4:. ...,;:IF"

Iiiii;II

'"

~~

~~--J

T"""'.,....-T"""

I~"~

__

L.

.r

-I

..

~
~ n

'"

.,

" -

--

II>

..
" v "7

07alt

~" •

..
~
!!!!!! 3
p n

..
'" 'n

-,:.

~~

-,:.

,~,.. •
,,.

E 7alt

I-J

.-

.,

..

,~ ._

,...

,... ,.w

'"

4"

,-

ConcernIng Chord-Melody Style

1. Generally, it is best to keep the melody on the top three strings. This way, your harmonization beneath allows (access to more strings In on appropriate range of the instrument. VOicing the melody of a song lower than the G !3rd string) will force you to place chord tones above the melody - which will tend to obscure and lessen its strength and importance. Playing a melody In a middle-to-low register of the guitar tends not to "speak" as well. 2. The process of harmonizing a melody with chords can be thought of as "adding color ... Once you know what family (Maior; Minor, Dominant) you are using to harmonize with, add whatever degree of color you heor at a given moment. As the colors become bolder, the more you depart from the expected. Rather than thinking of this departure as" re- harmon tzotlon." try a pproaching it as a colorful harmonization. 3. Because melody alone very often trnohes chords, it is not necessary to go to great pains and work very hard to accompany every melody note with a chord. There is no sense in "killing yourself for no reason." Even a ve ry rhythmi co Ily short chord can stay In the Ii stene r's eo run til the next harmonic change arises. You may choose to play more chords per bar for certain reasons, but always be aware that the melody needs to "breathe" and over-harmonizing can suffocate its impact. 4. Adding "voice movement" to your chords will add impetus and interest to your music. What "voice movement" refers to Is when one Of more chord tones move - usually by steps, diatonic or chromatic - to resolvlnq chord tones in the next chord. This con occur while the melody and stationary chord tones are also sounding, or in between them as "filler. When employed well, it can give the Illusion of a greot deal more going on than there actually is..
n

5. "Grips" (chord forms) tend to dictate melody, and the most natural reaction to improvising chord-melody style is to Simplify the infinite possibili.tlesand play only what you hear and what falls right in the vicinity of the grip. "What you are looking for is right around your fingers. " 6. Remember: "The object of chord-melody Is to make music, not hard work; you play the guitor; not the other way oro un d ." .

53

@
"/11

CD

Lyrics by OSCAR HAMMERSTEIN Music by JEROME KERN Freely

B~m7
I

II

~.

~.

.., n

...
"

Abrnaj 7

f
==-i
~

D~maj 7 r

••••

• :f!:
I

r-

3------,

--

•
~

.
r

hold until change

~
"

:i

;;:
y

.,

t>

'"

""

"/11

..,

--

Dm7

07

Cmaj 7 ~

.
~

r~

J
b;1I
~

..
y

.
3

.,
y

, --.._.....-._ =------...

... ... ~
! A

I~'

.. -

..

..

· • "" ·
I

\-!

..

~.

""/11' J

_I

..
n
y

.---.,

.r
3

..
r

,'" -

-3

:;

...
.a. ....
C
I

,-,

...

-PUBLISHING,

..
'"
INC.

I 4

..
A

•
© 1939 (Renewed) POLYGRAM INTERNATIONAL All Rights Reserved

'"
y

E~maj7(#5) ,_,I"
I

Abma] 7

Am7
3

•
i

_.,,--,.
"I-

F
i
'>

•
.,.
....
.11

..
.,
-"-

•
_'>_

.,
~

..

.,

.,

..

.n

Am7

.,

Gmaj 7

"""~
•
.,.

.110

-J
ft

E7(#9)

.rQ
I I I

r.\

q~ ~

~~

~.
-

~
A

qii

....
.11

ft

,
9

._
In

IiiII

.. -

Gmaj7 Cmaj7

,
a,
Jj.

_.
,n

..

-..
5

.. -

"
Bbrnaj 7

...-

.. ,

Fmaj7

""""

¥ ..

.-oo!!!!!

_'

I
l'

!:

¥
'L J

*~'1.

.,.
.11

_p

..
•
I

.. .. .. -

..
"
n

~I

Ebrnaj 7

~
11

•
I

.. ..
Gmaj7

n
n

~ '"

"

.. ..
'"

...
"

,_,Ill

Jj.

..
.)

~iit ~. •
I'

F#m 7(~5) >

,-...

•
..
;::

i
.,

L--3__.J .., ...

"

..

-- ~

!!EiEi

.,.
3
n

...
;:: :.;

'"

- .. .,

r-/"
~

_ I

4:3

""""'l

--

.J
:::;;

...

..
..

.. ..
" "

B~m7 ~

1
"'_ v ~
-"'-

..
"
v

r
n v '"

.... _u
A.

,. ~

...

..

In tempo Abrnaj 7(#5fC Dbrnaj 7 D~m7 I I L~ ~

i=-

r-/;
-.I

[
n
v

r'" "
v

..
a a_
v

.J

I~

•
•

~ ~ v

... ~
A
g

....

"

..
v

'" v

-" v

'"
v

_n_

v v

"

n
v

.,

Bdim 7

r-/i

.. .. .... ..
-

,.-

I""-

.".

-n

.
:; ;,.
v

B~m7

..
I
~

Abrnaj 7

-~.

I. ..

q-. ,-,,"
..-.. '"
v

q:i
:;
;,.
v

,.,
;;

;;

:;
v

;;

;;
n

;;

;;

..
;,.
v

"
v

~~

I::::

::

"-

on .v

-'''

.
v

~ C7 ~

Melody: Fm7

.;:-;..~
...-.

~.".~

...
! A
g

....

"

on

.v

...

..

In

_I--. _"v

n
V

"
V

n
v

"

_n
v

"

"v

"

o·

Abrnaj 7
.,/,
I

•
I

~.,..
r
v

Dbmaj 7 ~

07

•
.,
v

...-.....
I

...

..

..

"

'v,

"

~"
liT

emaj7
I

em7

"I-_____..

..........

ft

..

..

fI-

.fI-

!.m ..
.

.fI- .fI- ~

'"
Fm7
I

..

,-, ,'"

'v

~ ~ ..-

ft

"
v

_,~
"
--.
g
"'r

~~~~fI-

... ..

B~7

~
.}

..
-v-

Abmaj 7

...
a

-:-

-u

--:-n
u

;.

-'"

Am7
~" I

n7

Gmaj7

«J-

-.

7IIT

~.

T g

...
....

"
.. Ji,

Ji,

..

~~~~fI-

.. .

.. ..
v

~~ ..

'"

.. -

-..,

.-

D7

_,~
"
"'r-

Am7
I

Gmaj7

fl-

b.-

b...

..
-v-

....

• a

..

..

.,

..

..,
v

-=

..

'"

_./~

F#m 7(b5)

Emaj7
l I

t:J

"
-

"I"

II.

4f

..
;.
I: l

ft

,.
..

i·,-,~

. ..

..

--..-

'"

---

~,
II

C7(#5)
I

011:.
3

1,.
3
r

B~m7 (

_n_
y

--

'T'
_ft g

! A

~ "

"
y

...

...

.,
-~
y

"

-"-y

e:

........
e

Abrna] 7 ~I
II

'

-I>

-~

~_

.:._.'~

u~-~

Jr /,...~.,... Jr ~~~
r-.
r>:
y

1,.---.
...
y

.-..._

........

"

"

r>:
y

r>:
y y

"" "'-'

..

---

D~maj7

D~m7

Bdim7

.-111
tJ

_..__
r

t._

~~

~ I-

~!:

~;~ q~ i:;' r-3----J

!Je.
1-

q ..... ~ -..- ~;

~---~
,....

To Coda-@-

,.."

.,

..

...

..
y

...

.y
I.,

._
...

I ....

,r'
....

...

B~m7

'-/11
II

~---

r:;;
~

~,......~

.,...

-- .......
"-

* • -::--....,..

.ri..

...

_"
y

-'"
y

..

'"

..

_1>

'1

..
y

* A ~ sounds
Solo:

at pull-off.

,_.Ij ", tJ'

...--..
.....

C7
I

.;.

Fm7 ~ 1!'

In

B~m7

1"'-

_.,..

--

~ -..

."
,y

...

'"

"
y

'"
y

"
y

In

r-/fl

~~

.,.

..
_"I
ji

..
n

-~.

Abrnaj 7

.,.
.,
n

Nmaj7

e-

..
&;

" r
Cmaj7 >

.,

.......

--

~
''''

,~ '"

,-, ""

_,/fl t.J

.-

-...
... ~
" "~

----.

• q,.. ;!: ~

..
L---

b,.
•

~.

b•
L--3

.J

.. -

...

.~

..

~ "

'"

...

~
'" ,-

"""'fI

..
Jl

".--..._

~~

..
"
"

" " n
y

.. _..
_"I

'"

'"

.;

,'"

-in

~ "

,y

,ft

...

Ebrnaj 7

r-/fl . I
It.

.
...

Abrnaj 7

~~

E. ~ _ ~
...
,_
,n

Am7
.~

• ..

-~...
~
n

.,

'n

In

"
'I'\.

"

"

"

.._

.-

.-

........
Gmaj7
~/I
I

..
I
v

Am7

t.J

...
_ft lOt

! A

..

,n

...

"

D7
_./j
I
JI,'

..
... ... ...

~aj7

¥. ~

¥-

--.
~

-~~ ...

..

.".

...
.ll

...
g

...

...

-.u

~~

~ ...

~ '"

~ ...

...

...

...

F#m7 ./~
I

B7

•
jI'l

,
~
""
u

..
...

q,..~

Emaj 7

C7(#5)

~
I
I

...
g

... ~

... ...

po

...

~ ...

.;

po

--::-

;.

...

...

lA,
.~I

_./'"

..,

.,.

Pm7

~~

.. -~~
....
..-

Bpm7

~ F= ~ ~ ¥~.". ,.

..

E~7

~
.:I

~
3

-----3
;..

Abmaj 7
,_/A
I

...

...~n

'"

..

...

;~

.-

--..

.:

-w

;.

.,. .,.
A

Dbmaj 7

..
...-

D~m7

-~

.. ...

~
3

--.

-.:I

...

...
T
.ll

~
A

..

-~ -:-

...

_./j

.".

....
r

Bdim7

.b.- ~

~~ q,.. b.. ~...

I

._ straight 8th's_J

..

....

....

...

*Hammer-on string wI out picking.

Abmaj 7

Gm 7(~5)

Fm7

""'11.

_l

I•

;.

.it

.., .,.
A ;.;,:

"'~~~"~,"'~, e-"""'-""'e-

B~m7

..

-...

"

;;

-:

_ii

..

.......

-.. x

"
w

_.._

_d

- -u

"

.e

.....
-'"

--"-

.;.
u

_"

_a

---~

,....,
_a

~" "
w

..~~~""

".., ,-,

"_,/,, I

..,
_A g

- .,.-;.
n ...
W

r..
U~

A~maj 7 3 -r
,.,. .......

D~maj7

-n

f'- _ ..

T !

...

"

"

.-

,....,

."
on '" "

-e

.n

~
.

l.Q_

_." ._

Dm 7(~5)
_,I,
I

G7(#5)
.110

Cmaj 7 >

-~¥

~~

..
u

,-

.,
.n

.,. '"

"

"

..ft

.- ~._

,n

Bbmaj 7

,-..~

-_

~
" ,n

,.;. n

,n""

u -"----"-"-

••

.;..n
'w

,....,

'"

Am 7(~5) .,/,
I

~~.
,

~~~~~~.

..
.,

-..-...
A

Gmaj7

E7(#9)

.
Iiiiiiooj

.'¥ ~~.• .
iIr.

~:::
"0-

-3---1

L3_j

V'
...
v

In

,-

_
0

..
I;

~:;-;~ ." ,. .'v

....

In

... ~.. .- ,_
Gmaj 7

-"'-

...

..

In

"0-

~
;.

~.

"
;.

t•

.,/"

r-;

..,

.. ..
:.,;:;

Am7

!:

_
"

I!::~
;::

D 7(~9,~13)

"

.."
..;

~~~~~

~be- •

J.

~ fa'

.,H~'

V'

... ~
..... g
.D.

~I

;;:; i;:;;

'-

J~

iJ.

J~

i...

.n ,_ ._
i;:;

...

10'

;:;

:1

ft

In

..
:,

I:;

_ :;-

F#m 7(b5)
I

~~

"""'"

,:

Emaj7
~~: I~

-!-

.,

~"

q,._.
harm.

-z,
'1'

C7(#5)

-L
l'

..

~ ."' :.

'l.

...
~

_A.

... ~ ..... ...

Fm7
I

-"-

;::

.. ..

_n

_
n
.In\. \.

,.... L

..

,...

...

.,/"

..
...
....
y
_!_

-,~~~
..

Bbm7

~~

.
...

~,

.. II>

.. ..
v

•n ,_

..

.
II>

.A.

--<L

.-

..

"

Dbrnaj 7
I
I I

D~m7

"""'"

.. b.~

I..~

..

>_;.
/I

Cm7

__.
-.

~ ~

..
-

3 ..

...

,.

....

"

..

II>

., ...

..

,.

Bdim7
~" I

..,

.~_..
:;

~~

.,-..,_

-"

.-:.

s;

.. -

--

~ ~
:;
f>

v
~ ;::
;;
y

..._

t-

,::;:
n

E~ 7(9,13)

Abrna]70)
".

,..

_O,

.-.
;.,

;:: ;;

,.. .... ...

;,-

" x

...

", ;"
ix

,....

...

...

n .It

~I

lr
~ "
y

>

Gm7(~5)

C7(#5,#9)

Bass Solo: (over form) Fm

~
-iii

36

,.
"

"-"

~ :j

.,-

-"-

;::

,,-

"Trading Eights"

.-;"

..,
_!_

._. .~b •
J

Fm7

._.

~q,..~ ~.~~
'J

I!= II!!!..

~~..-;.

n
v

.....

.a.

.n

._

'"

.... ._

.,ft

'v

,n n
v

...

,. .... .-

"

'"
.v

...

,- ._

L"-

.ft

."

Abma] 7
~" I
.....-oo!!I

Dbrnaj 7

-h" .

.lf~ ••

play "behind the beat"· • - - . - - - - - - - •• - - - - - -I

T

'-'

......,
.........

~~~.
Dm7

..
.a.
! g_
I

..
Cmaj7

,n

,n
H

--

...

.-

"'-

...
v

-"
Drums

~,
..

,...
~

l'

.,

iii-

:;t q..r

...
...

...

po

...

AmI I

> "/1
t. I

~~

q~i
~., :;;: :;;:

n7(9,13)
~~

CID

G6/9

11·

.a.

... ....
.iA'

..
i'" ..

.. ..
;:<

•
I'"

~
V.

~'O"

g ""'"

x v

:: v

x v

~ ~

:: :: ::

,./,

~~
'---3

..

• I.~" •
----.J
0

F#m7(b5)

B7(9,13)

qfll-=-fIl •

,qfll

oft.
olt •

fL

,n.

::

;;

,n :::'

--

_0

.~ :.~

:.:-

.,

1/ • .,\

;'"n

:.-,
i'"n'

,.,
:.-

ft

..

::.

;; :;
;"

..

.. -

.,

Drums

Emaj7
~II I

~ ~

----L__3--.l
'

t.J

,,II!!

..
p

· ·
;'1'1'-11 •

1'\

~.
;.

.A
CI

.. .. ..

.-

""'"

.. ....- - - ..
e
;.,

..

..
_;;
A A

CmII

""""II
t.

h.-~

..
;,

'-'"

! A

..

'

.. D-.. ·-----~q~' ~ ....--....

;:
A

.---. .

Bmll

E 7sus(9,13)

Eb 7(b9,13)

r--

... /
)i,

· · ·

~~

~~:

~ ~~::=:~:
t
I" \

L~

qi ..._,".

::: ..._,:::

.,,-,,,
hold- - - -

;,

""'"
g

';;

:> :::

II!!

-:; ..;

:;

x
v
-:; ..; ;;

~
;: :.;

;;

"/11

,-....

t.J

..._,

..
;;:
;:< A
p'

~,.-..~'

.. ..
1~ ..
~

-...

r
II!!

D.S .••

al Coda

hold- . - - - - - - •. - . - - . -I
D

....
g

-Ett
Coda Freely Am7 Bbm

L. Ai>maJ. 9(#11)

./

65

CD

_,I" .JI.

G7

I.

C7

G7

I. •

..,
....
-.:::I

I,·

I.....J

1......1

...
A
!

"

":: ,

;::
v

.. ..
,;;

..

~. ;::

;;
u

"

;;

"

;;
U

;;

s:

;;
u

;::
v

..
..L

-; ,

~" ;;
V

..

"
v

;;

"::

;::
v

..
--".

""

..,
.... ....
.D.
! g

JI.

-I

c7
r\ ~""-I

.b ~~ ..
~"\.I ~-I

t,

,\
n

e!!!! "-I

~J

~
,

n
n

;;

_A_

"
;;;

"

~" v-

.. .,

..

-"

........

G7

","",,~_,i

~~ ~ f: ¥

..,
~

;:.

E7 ~

._.

..
J

Am7

,
,n

..

•n

.... .u

..,.
v V

..

... "

._

...

n.

,n

© 1994 JOE PASS All Rights Reserved

"/".110

~) __ • L

..,
"
v

~
-3

!!!!!!!!!!

..
,n ~ ,n ,_D w

..
n

.. k

I¥"

....
..
y

" 0,

;"

"
V

.,

.,

.,

.......

c7
.,/,,~~

..,
or
A.

..
.,

G7

I ~ ..

)
~

.,

,
:....__./

..b.. :: ~::
vr t

c7

.-~~~~

..
_

-....

...
WI

.. ..
y

I,
n
p v

D~~
V

G7

;;

"/1 ... ~~~

I.,

.-

..
..

Am7

..
.,
n

...

-L~
-3

.-~~~~
-

..

.,

..

.,

ov

fn

"/I.IIo~-~

.-

/-~

r---3--,

D7

..
r-;
ft
p' ... .,

--.,
V

..,
,-,

...

.,

..

.,
V

.. -

~
V

..
V

'-

.,

"

"

ft

.,/"

...

G7

c7
~

G7

..,
T

--..-

--....
"

.....

....
.0.
g

"

..

..

..

.,

..

"

"

"
V

.. .. '"
V

v'

07
,/, .110 ~

•
~

--..- .... ..
v

~
....... ....... .......
I

r--"I

~ .. q ..

"~I::~~~

......_,,-

n
.L>

'"
<::»

.,

07
_.Ii .110·1 ~

~..

~!II-

..
~
v

•
y

.n

,....,......

b•

..._.

...

~ '"

~ ~

,..

D
~
::

•
,..
;;

D
" ;;
;:<

A7

harm.- - --I

..

:::::

--

;..

,..
y

;:;

.,

~
A

" ;:;

" ~
::

;;; ;,-

In

;<

,_/;

.110

._. .--

..
I
;<

--I I
;;;
y

__,
'I

•
~

;;

::

;;; J:>
v

.. ~ .. ..
::

...

...
I~

,..
\v/

~j

.Ij.

1._

~
v

C7

•
.,.
A ....
g
!

-.
...
v

~>

>

"" :;

:; :;
>;:",

'"

,..
y

_,I,

,jj.

•
v

-...
..
n

...
harm.

I.

"" :; "" :;
_'

C#dim7

..
__J
harm.

~:;

~.,

._

;;:

~
,

In

lIE
"/11
t} .110

ljfi:w24

L.>

"'"

.ir.... ~~~

.. ~,a~

~~,aL.

" ::; " ::;

;'

" ..-,.,

.,'

.,

"7

"

""~"" ... " .. ""

Y

\YJ

...
y

"

..

...
v

...
y

..

.,.

.,

",

Am7

""""11.110

..
\VI

-"""

...
..

./\
.. 1'\. .

114

..

114

"'"

I
114 114

r>.
~I

.~
c9

x
--.;;

.. ..
n

..'-"

_,0

114

""

.. ..
,v

..

.,

..

.. " v

1\
~I

.. ..
v

..
"

.;
v

r-t,.

....,
.110 ,-..,_

..,
"I"

..
v

-~

'.
I
I;;

G7(#5)

-.~..I .... I
.1 /,'\,

L....I

.110...1

ham.
In.

~~~

•
x

.... ....
A

.,.

"7

on

..

.. ;;
";;

,n

.-

...

.
;. ;;

\"1

"

.,

..

"

..

'n ov

..

""/J

.110

..

',a __

,a#

..
"I"

..,;

....
.D.

"

,,",

._

--- ,I>
0"

,I> ov

"
V

;.,

"

.,.

Am7

""/11.110

,........

~~

I~~,a

..

.'~

~
,n

~ ~

·v
~
n
'~

..,

"
v

"'

"

"
y

'" ~

-"

:A

GID
"." Jj.

CID

C#dim7

G7
L ... --...

C7

•
"I" !

.._,.
'n }'

U
;<

;:'

••

...
A
g

;::

;;:
n

;::

:;:

,.
;::

.\

.... ...

~ ...

--~. .~ ..

--.-

"

- ..

'-/11

,jj.

='"

..

:;;

~
....

..
~

,....__

---.... ...

':;;

~ ~ ~

..

...

;:

~ ...

-;oJ'

~
ft

-v

...

;;

~ "

G7
~, ,jj.

p7
I
L

..

.
...
ft

E7

--.,.~~
"

..

...

~I.

L---3___l

- ..
Am7

...

... ...

.
ft

ft

..

ft

...

..

'V

'-/11

,jj.

b tJ~

~~

..

.,..

'f!:. ~-

'f!:.

b.,.. ..

..,

..__.
... ...
...
ft

..
~

...
!

"I" A

...

.:---- ...

ft

...

...

...

c9

.:.

--- /

.. .
G7

Am7

D7(#5,9) >

FIG >

D7(#5,9)

G9

D7(#5,#9)

C9(#11)
1._

~ I- ~~ ~
"""

Rio

..
..~

Jj.

•
~

Jj.~i

bLt

..-

-'L~_"

.-a
D-...
x ~ x
_\

r-,

..-

l)

,
... ...
;:'

...
a
!

J':

:=
:.;.

:= := ::

....

... = :::

x, !'"I
1('

Xl

-y -y

...

':

:.;.

...

;; ...

G7(#5.#11)
~jJj.

~~ ~ I
3

..,

.J

...
_A. g

n V

-~
n

Jjll:)
r

~i ~;
:;: ,;~

c9

C7sus(#9)

C13

I""-L.~

.,,-....
<;»

:;
~~
:';
~.; ~;"

"

,~
:;;

.....

~ "

~D'

;;

In ;,-

;; ;;

G
~ft

Jj...-....,,-.....

.... 1.---

..._,

<;»

/ .•\
;; X ;;

t, '"

I" ....

"

....

.,
p

';

r--IIII
'-"

~~-!:

.::1. J: ~, :,;.

-l.~

::--~
~IR-

,q ::I_H::

!-.J!.

L.~e

L_3--l

...
X

;;

" ::

ix ::.

,~"

::: :..-

'" tx

r,
~~: I

" x

:.:

X ;;

X :;

ft

..

--~
!0;,.
n

II x

r<;

:;

ft

s:

Am7
~ftJj.~~

D7(#5)

D7su:!9.13)

---• ... " ... ..

"..--....
_!_

-;;

..

•
;:
::! l'

III-

L.~

:
,... G x
;;

D7(~9,13)

.. .. ....-...~.---~..
~
;,
n

'L

I
~
::! l'

- -~
/

....

~. ..~
-c
;;

f.

.a.

l'

.. ~
l'

::!

.. .. .,
X

~
;::

.,

;;

~
;,

;:

';

;;

;: '; I ;;

... \
rr

t",\

;:

';

;;

:; ;,.

" ft

~
l'

,;I~ Jj.:::: ..

•
I ..\ :;

:r:~..:..
:;;
;;::
l' ':i
v
A_

C7
L~

~~

_ ..b~.. _

~'

:.

l'

--7 ~

7 ~

'"

"

'"

"

-;--_ _ ;; " "

_ ..

--

==
X

...

.. ...

,., ...

..

.,
-

--'=-

_"
p

G7 ,;I~ Jj.
1.0

~~~~~bA~
~
'v

_l

•
or
_!_

IIiiiiiiiiliII

r ,n_
.v

... ...
.a.

....

'n

"
v

_ ..

.OAr---.... ,_ -,...--...._ _ -

.... - "
._

Aft _

I
;

'7

."

_,;,

11.

,.-...,

..
• -zr
--a

-_
...

.
7

~~~*
~3---.J

~~

~~~"_~kJ

--"Il"

".

.~

An~ ._ "

..-..

--

....

"=

Am7

....
T
n ~;:

,...
• .:.

IX

".

G7
_,I,
.110

,.__
....
L3_j

E7

D7
~

.
...
n

~~

~~
..__ 3---..J

}<

_
x
n

...
~

.:

._

...

~-

,~- ,..
TV

........

G7(#5.#9) C7(9.13)

"-!_/I .110'-",.

.it

.;.

I..,
.,.
II.

..
•n

>

......

......_ ..
_
~

---

• n'

~
:;:

...

....
.v

i-ii

.......

I0Il

,-

,w

..

~
w

.,

".

G7
~II.11o

..,
'T A

•
I

~,.. e:
..
...
'

~ f-

~ ~,-.,;~
.~

...
harm,

~~
1.; .....

pc;

!:

:...,.

...
!
g

...

..

...

o o

... "

..

,...

In

..
,n
n

,_ ,~
,n

J.~
roT .n

::;

::;

... :~

,...

"" .n
ix ''''

,n ,_

........ ,.

.jj.

b
I~

c7
~

~ ~111- !-

,.._
I I

G7(#5,9) G7(#5,9) C9

,.r-,~
..
"

b~

.--<;»

I'

'I

'<II

... ..._,11

I.....!.
A

......
::::

.,.
....
A
g

" ;;;

~
0

'" ...

~'

;:

:::

...

..

;:

.. :::

.. ..

::::

...

~
n

17
~\

':

XI
1\

..
A

::: :::

:;

..,

8va 1 ........ .110....-.... r»: • ......-: /1

_b~

~ I-

~ ~

I!:
~

b~b#:::
,.....--....... ...

.....

..,
.,.
....
1.11

-= ~
•
X !~

~
"

#:

<:»

D'-"
:;
/'

I ..

• A

:.:.

...
::::

"

:::

,...

l::: ' '"

X
V

...
V

"

J:;

...

-'II ~/~~
t}

.,. .r-..
,.. ~

Am9

D7sus(~9) D7(9,13)

"

" :.;

-'" .~

..

._

~...,~ #.~ ... ,

... ...
...

== J"

..

CID

D7(#9)
,1

•
_III'

r' _
l::

-r"
"
-:

---. '--' " l:: "

..
;:;

~
:::

~.

"

~
:=

"

,n

.::;

::;

,...
0-

:,

_ :;

_n

"

"

"_

... ... ::

..

...

;;

-'II

Jj.

I~

_E_

-.l'--'

.
..
::: := ...

r»;

r
~L~

G7

r;-

r-:::;

..._,.

~ .»
A

'T .D

...
g

'" X

"

...

~ "

;: A

.. ::

•
-:
,;

...
..
-'"

3_

..~~ ..
hold- - - - - - -I

..

v ~

-:
n

,;

...

..

..

."

...

_.Ij
'" Jj.

-.l

....

3 ,;;;-

3 ,;;;-

3 :-

s.

·tnr~·
" .,

~ ....
" -

·tnr~·

~ ....
_ ...

·tnr~·

'T .D

...
g

...

..

..

"

..

..

... " '"

,-

...

C7
3
""""" Jj.

__
...

1,.....1
."

.".--.
=:LJ
~

..
...

,..~~-f!:
... ...
~

t.

,...
~

-r.,
~
"

..... g

'T -.!!_ .D

" :::

.,

....

...
. 'u

'n

'"

...

.U.~

'"

... "

... "

. ..

."r;n ,:' ._

3
""""" Jj. ~. ~ .".-;----....
/~

=L..~ 3

>
r

.".

.".

..
~

t.

_1

rr-.
'T .D

...
I0Il

._

....

--.
"

•n

...

..

,,;.
" n

~
.

"

...

,... ,

..

.... ... ,.

.-.

'"

.. n

..
..

La

r"
...
u

,n , ...

,_

.,111.110

e:
'ft

~L

.110.

.., ..
ft

~~~n ,.. «:, ~~,..~

3

r'"
,n

,ft

...

r--..

.-

In
.u

... -

"7

...

c9
~

_.....
u

.~
3
-"

L._"-"'_

-r
..
v-"-

..bs::
".

-"

"

"

..d

.. - - :.

Am7
~II~

09 ~

•
]4

L;:

..,

.,,

;;:

l)
.a
;; ;;;

gG
._,._
.A

07(#5,9)

C9
lilt.

~
;;:

... .... a
.D.

---

D
-'>.

---- .... -,L

~
'111

~\

_;:

<;»

on
iii.
;:"'

on
_;;

.s:
A

;;

.<i

c9

_ii

;;

-"

...
u

.A

x
X

.. :::

,..,
•

c9
.110

C7(9,13)

<;»

'U'______

. ~------:!:.
" x
\-

•
L
;; ;;

J~""""

lilt.

..
ft

C9

....
-<L

D
-'>. __ii __ii

x x

..

_n.

ii

:;

on

..!i

_ii

:5'

07(~5) C7(~9) C9sus

.,I"
.110 ....

D7(#9)
'l

p9

....

L..! .... b!iR-

'"

•
;

i\

It

;
.,.
,;::

. .

b_

.1 IlL

IlL

IlL

IlL__...

.rh
:;i,--"

'111

,--,,1; •

."7

.:.

."

.~

" _:5'
x

" x
x

,\
I ,.

--"-

--":;
_it

;;

ii

-"ii

.....
-7_
D ii

--":;
_it

..... :;
:;_
i>

I I

:;
_it

" :;

" x
:::

~
A7(~9,13)
.,I~
It
JI, "'"'.

~~

'-../:;i

c,
" ~

... ...
.D.

-•
u

....

:
L

D7

I::
3
;:;:

07 sus

L~!-_

• ""
;;

....-.._

.
..

:Lb~

;;: :; ;;: __;;_ :; L_;;_ ;;:

..

L--3----' x
X

-"'-

;::

~ ~

:::

;::

.:x

Bass Solo: (5 choruses)

09
./11
.110

r'I

.-.

..,
'I'"

'*
J U'_________ ...
A V

67

~~
hold- - - - - -I
~ p

Itt'"
::; ;;::

....
A.

..
I

t ;;
'i'

:;

::

::;

.., x

;;

Trading Choruses:

07
,/J
.110

"9

.".

;;-..

1'- ~1'- ¥

~ ~ ~ f:

.,.

... ..,
A
!

---

._ ._ .... ~"

._ '"

.ft

~j

.. " X ...

,..-,.
-c,

,."""C'_

...

~ .ill ~

.".-.
.-

C7

A.H.

"
v

Lo_~

IIiiiiiiiii;

..

.... ......
g

! A

.,.

..

., "

-..

. ~.n_... _
.,. ;;:_

.e.

..

...-.

." ."

.... .- ... ..

...

"9

..

....

...

- -..
'"

..-..
...

" .. "

..

.n

-~

'"

..

C#dim7
_.If!
,jj.

".._

L..;.

..,

~ .... -..
p

.
n

07

--,,- ~

r--3

"

•
r

A.H.
'"
n-

...-.

....

.. ..

..

.. .. .. ... .

- - .-.. .....
'".

..

.. .. .. ..

... .

.. .. - ...

Am7 ,../",Ij."~
tJ
.J

L.

........,

,--....

..

-__

-_

• ,..t:~~,..~~~ =,~ f'- ,. ,.

!:~
n .n ;. ... .n on .~

8va--------1

~'

'"," _A

...
!
W

'n

..

•.

"

..

..

.v

•nn

..

..

.~ ._ .-

.......

'"

.n

"

.....~,Ij.

!:

= ~¥~ +=
•r. ....

""~ f='

~~p;..
.J

;.

.. 3
I.. _

It• \,..1.-,..
--.J
harm.

I.

,.v, .v ""

,_ ,...
'"

.--

-J
on

",

,... .._ ,n

....n ._

~ ~~
II'

._

..

"

...

..

Drums

~,

G7
.110

11

..
..
-....
G7
,../j ~.110
tJ
a ••• _ ••••• _
.~

.~
...
v

•
n

..

::
\;{J ;;_

..

;:: ;;:

"

;;:

m,
;:;
V

;:;
i'i

;:; ;;.
v

c7
1/4

'a

,.

,.

.'f'-

~_)

f''.J

_f'-

_)

114

;-~ •. 'f'- •
L--3---'

...

,
J J

"'

rushed- - - - - - - - - - - - - - - - • - - - - - - - - - - - - - - - - - - - - - - • ~ - - - - - - - - - - - - - - - - - - -I
1/4
I"
II'

"

)
....

1/4

Ii.

._

'"
~

", .n .... ,n ,... '" o_

._ ,... 'n ._ ._ ._ ._ ._ 'n 'n ._ ._ .n ._ ", ._

II,

,_

,.

._ "'_

'" _ .- ,..... ._

'-'

'n ,-

.... ._

,_

.,/" ,Ij.

c7

al ar-

..

"'-"

-" v .,.

__ L

'I

_l

.J...,oj

"

"

n v

"" '-,

"

iii

" v

..

" v

.. ..
_

" v

-.

.., -

;::

.. '" -

er"

,...

_"-

"

-"_
'

...

"""'/1.110 -.J

--~

~ •• ~~~ j:

_...b,....... +-

••

~_1/t_

.. ,q" ~ q IE ~
.,

~~

Il-!- ~~
'---3

-I

,......

A.H,

•
"

"T

....I!l.

...

• .D.

... _ "'.

,.

;;

..

..~'n

,.

v ~

.. , '" .v
.

__
"-

ft

-ft .

....

.n

,-

iX ~

'n

~.

..

-..
v

',v

'n

- ,n
'':'

~ ~

~II

JIo

..
"T !

@~ E
:J

8va - - - - - - - - 1

"""'/L~

!:'
Fi=

b,.. ~'=

!:~

~ ~ ~ b/L ..
...
.... i~

A
y

......

....

...

.n ... ;,.

..-

.~

..

.~ ,~

,,.

,-

~ ...

...
'v

.,.

Drums D7(#9) G9
~JIoI._1

3 ...

.-

,
~

It..

III

11

.;

.. ..
"

~;
v

• - q 11 v ~

"T

.... ~
A

~
,_

,~

... ... ...

,'v

,. '"

.., ..

" ;;'

.. -

...
v

"
c7

"""'1

..

JIo

-kL

L>

>

--...

" -

"

.,

.,
v

...

"

"

.. ~

..
v

-'"
v

..

..

"

'"

-.,

..

~~

,.110

L>

>

..
~
I"

--r-e
n

_I.

~'
"-

'~

--

c7
~ v I

5
.r.

...

.. .. ~ -

...
v

..

-"-

_ . ... ..

A.H .

,.
<:»

.. _ -

;;

.'\ -/

;;

.. ~

...

~ - ~ ..

,n

C#dim7
~".110/"'\1

s>

~,..~.
•
hold- - - - -I

tJ

"

-v

..;

;.,

..

'" "

"

..

.. -

._
-~

...

... ...

... ~

Am7
'/A.IIo ..

..
'harm.

.....
..
Am7

.n

.......
H:

~J~~~,..
-,j~

.1._
3

...
~

r--l

•
n

,., ~

..

'"

'-

.n

...... n

,-

.n

....

.n

:::

.n ....

:::

.n

._

114

""""",,.110

•
~

~ ~~jI. t' ~ ,..

..
,

.. .. ,..

.~
,n

.-

,;

'"

1/4 .,

harm.

...-

, ...

.. ~,

-f*:.

..

1/4

~,..t
.......

,..

..~
~

.~
'11.,_"

,; ,

,n

.. .~
1:4
-IV

,/,.

.110 r-;

.......( .. )~

..

....

'T

...

"'!,..I

,,_

~:=:t
'-"

G7(#9, 13) c9

tt..

'wi

~ ....
i.-..-..

•
:::
,,,'

fI' II'

....

/,

''''-

,,, ."

"

"

I.

.ft

....

.'

" x ...

-:::
L

.,-... ...

r-..._,.
.p

<;»

::: x

..

...
x

;;

,/,

.110

..

._., ~.r'\.
.,_,,-

Gmaj7fD
_),.

;;: ::;

:It i

L.~: * e e
;,.
;;' v

!II-

.....

,,-.._
<:»

..
..
;,.

L....J
;..

C~
':'

...
;;
n

~
:! \'

•n

;;

,. ._ ...

..
n -v

:;

;i\.

...

"

...

" ~ -:,_

" ;;

:::

;, ...

~ ~ ...

""""1\ olio
e.!

In

..
°
n ¥ In
IV

!- ~

::
."
.o"

..;::;!>
-...

in.

,., 1._
"

.",.

~~I._

4'
I'

.r

"
,-..,

._ .,.
n
¥ ".-.._

..

..
V

.,.
,.a.

...
I

.n .on.

In
IV

.n .on.

I.

n
¥

.¥

~
<>

"

n7(#9) G13
"""", olio,

..~.
;::

n7(#9) G13

G7(#9) C13

.".-.._. ..... t. b,:"-"'J ".-.._d

..-

G7(#9) C13
L.~

• r-'

r
n

--• •_
;:: .;

"
;:: ,v,

.... ....

--~
in. ;;
'0' .vn\

b J'"""J

~Jt;f.:: 1Ir_
~
:;-

.--~'-"

;::

X
p

• G9

"

I,,'

;:: \ 1

'v.

;;

I'

;;
V

ft

.-.

;;

In.

.-:.
;;

r">. " ;;.

"

n7(#9)G13

""""1I0II0~.

..

..
I

11

.__
i>

..,-..,. _::;!~j;:~;: -- -iA

G7(#5,#9)

.i~

..,-..,.
° x ::
;;

G13 C9

oJ

»<. •

.__
.0

~:::::::::~
/,

.. ~
.;

rx

,n

lon\

IX

'''',

;;

::

° x
;;

-L.

.,-..,
'-'

. • ..
~

G7(#5,9) C9
"-"

_:;

;:; :;-

--

'-'

'I
;;:-

;;

:;

C9/C#*
_""ftJl.

""---iR
"-"

e.!

...._

...
A
! y

.,.

I .\

-;;

.,.-._.

n7(#5,9) G9

..._",-

..
'" :;

r''II ..._", 'II

I" \

r:
"

,.-..._

,.....
ft·'~ •

r»;

'II

-':"''11
x
X
\

::: ..._...:::
'II ..._...'II

'-! •

I...;.J

.-

:;

" ;;

..

-" ,..
1I

:; i>
v

;:: ;: ;::
v

" 1>,
;:

*Bass pla y s C # .

' 'I

""""II

JI.

..
I

..
~~

n9sus

i
,n

Ir

..

D 7SUS(9.13) C/D C#dim7 G7

.. ..
r
I

...
;:: :;

harm.

.,.
.....
w .a.

--n
v

;;

~~

:~

:,:; .:,.

;: ;:

;:: ;::

;:: ;;

"

.. .. .. _

Freely A~7
""'AJI.

013

-.
......

.,. =
~

ILJ

......
,

~~~~~..-;.
...

.... --:-:-::---. ...

''w._,i..=,i _,
'1:

..
::
A

'l:

....
.;.

'l:

~
v

I ..
v

~- .. '"
(1iiOC

ft

~~

.. .,.. ...- '" ..

"'" v

..

.¥

;..

... .

.ft

" -u

"
1':\

'",

-.T

""'A.IIo .... Lo~

e-

~
A

•
...
~
V

,,~

..
3
I
I

09(#11)

'~

.-~-~
f:\.
I I
ft

I0

; .._,;t~~
III

~r
>

;.

' .. - ... .. . -:;;

.......

If

,"

Hammer -on to srnng WIthout pIcking.

<:»

'"

'"

:: ~

...

~'

II.

on

tPop wi thumb.

"
..

@
.,I.",

CD

Lyrics by NED WASHINGTON Music by VICTOR YOUNG

Freely

N.C.

G~ 7(#5.#9)

.,

..

.fIL

~ ~

......
..
-~

••
ii
~
_iii

.J

.J
/,i

.. ..
r-ii ii

......_
'"

;
;{

_ ..

ft

ft

..
::: -..
ft

:r
x

..
...

:::

_ :::
iii

ft

-y

:::

~
ft

..
Bb13sus

. .I

iii

..

~~

,= ::::;;
'-'
hofd...

..
..I

ft

F13sus
.,/" I

.-.
- --I
'

- ".--.., ..
3
U

r:; ......... .,.. .. = ..I'"'.

!!.

F7sus(9.13) F7(9.13)
:2..
07 •

..

. .

...
_gI_

..
Ebmaj9

'
::; ;;

.. ..
X

. .1

..J

...
;;

...

....
.Il

..

-..I

,.;

:.,::;
ii

.r:o_

_\

l:"

:;

:;

..

:: v

ft

.,/"

..I

tJ

..
..
.;. ....-r--

..

r--

...
;,

v
::::
;.

· ·
· ·
33

<s

...
-1:1

....
.Il

:.

:.

'J:!"

...

.. ..

- .. ..

..

..,

..

., -

..

AP
_,I,
I

Bbrna] 7 ~

It

... .
A

•
•
o
I

.. -.. - ." .. .. .. .. . .. ., . ..
"

"

..

© 1946 (Renewed 1973) FAMOUS MUSIC CORPORATION

AU Rights Reserved

,/"

• .....
y

.. ....
! I

..
...
::

•
..,;

Dm7

r---3-

__
1

•
•

4:.._....;i
hald- - - - - - - - - - - - - - -I

..
.. "
i'i

IfII

;;;

'" ~~ ~

I
p

'"'

· ·•
•

hold- - - - - - - - - - -I
ii' ;y

i;

:;

. ... .

Fmaj7C "/11
-.I

(NCt)

.. .. '"

~i
.~
n'

!-

"

..

;;;

"

;;;

"
:=:
;:

,
I

;:;

..
:=:

3
;:;

..
.J

;;;

...

..
In tempo

· ··
,

Dm7
rtf"

..,

• •
i;

•
1i
,..

II'c...

.• r-e I::
hold- -I

Am7(b5) E7(#5,#9) A7(#5.#9)

'"~

G7(#5.#9)
1':\

".AI

1':\

r»; :.,-

:;
~
n
'i

..

cO;

.. ..
;:

...

..

..

;; :;

..

;;-

-~

~t
I

It-

I;' ft in

,-

..
Cmll

._

v ~

;;

v ~

"f"

~.
l)
;;
iii.

G7(#5,b9)

G7(#5)

•
I

..
~

::
;,-

--I

..

A 0

..
v

-...
,/,
I

"

\i'

:; :=:

."

'"

::

0 ~

.,

;; ;:;

..

;
v

, ,c

L
r

p..._

".

.,

..__,

;;
U

..
;;
i'

;;:;

'"

" r

;;

...
"
_.,_

,.

.. ::;

.....

--

'v.

.- ~

.. -

'"

"""1

..

- ,'' '--'' '

;.

>

~I''''

...

..
p

Em7(~S)
I

.
~ ~

.."

.. ..

_..._

I.' ,"

'"

07

Cm7(~S)

...

Dm7(~S)

""""'A

.....-r 4
~

..

"

,1,1..

'*.-1:..i'_

if4I

... II. ... ...

p7 """"'II
I

'" .. '" - .. " l!

hold- • -1

'"
;:

.. ..
;;:

......_.... ~-~ b;t

-~_

~.

..

=:

'"

.....__.....-..

'"

..

...

- -p

..

..
"'-

_. f!. .". ,. .".

..
~

if4I

...

..._r

...-.

.. .. - - - .. ~

.._

..

.. ..

.. "'- .. --

..

..

Em7(~5)

."IA

I _.

..,

_.

.....-,....

..

-.. - -

--"-

...-

-.

- .. - ..
.

---.,

Cm7

..
•
...

..

"

-.

-"

.-

-" - - ..
*D sounds at pull-off.

- ;; ..

..

..
...
;;

...-

p
.. -

- !;It

..
..

3_
..__",

...-,_
3

...

(..,,)

..

... -

..

...

..

"

- .. '"

"-

-.. '"-

..

""
v-

A~7 """,,,

B~maj1

B~ 7(~9,# II) ~

..
...
A iioii :I0Il

....._..,.
..
Dm7 '"

I01ooo"I

.
~ ~

"
..
Fmaj7

..
..
,,..

i*

", ..

"

..

ew

ew

.. ,-

...
;;

...

~
;,

".

""",,,

,.

.. '" ... ... ~

ill

..
...
;:;

B~m7

~~

i I:
...._
r

J
...
.n
",-

:;~:::::
.

~::
"
'lil 11

"q~t.~~
...._

;;

",

;::

... _~-

.... ~ -

..

ft

..
"0

"'\

11 ;;

;; ;;

l'

.. ..
:,.
;:: 1.~

~ I'

"01

..

;;

lOll

Em7(.~5)

Am7(~5)

.,;,

_. ;!:-~

-It.

h.

~
I.

..
... ... ...
A.

.1 I
.... "

.-,>_

..

."1',

'"

.. .._.--... ..

.. "

..

",'

....

..
,,,.

07(#5) """,,I~
I

.j~
II'''!'''

..

•
~
'i

.j.
v..
'~

.. ,~. ..
.,

..

..

i&

..........
it
t;;
.,.
.~

..
~

..
;;

..
..
-;;

"

"

..

.. "

..

"
:::

'i

;;

'" 'i

,;;

.,

;;

..
B~maj7

'I I

...

.. .
J;

-'Il

- ,...--...

t..

1,.

"/II'-

..

.. .. _..
;.

•
., ....

...
g

! A Pi

-,,..

-..

_.
_§

.,

...

..
.e,

..

~11

_I

~ i

=:

I'
~

J
..-..

~'

__!_

_~

...
.a

_.._
v

.. .. -

-'IlL

..
-'"

il
ft

t.
~
:.
;;

~'

v
;;
;;;

_ii _-'j_

..

..

.s.
;;

;;

G7(#5,#9) ",,/J
_l

C7(#5,#9)

.~
~
;; ;:
l'

.h~'
~

. ill

_h.

-..

..

L
;;

#
_.._
':
__d

"1:11

': _ii

..

p7

Bt,maj7

..
w

..
"

..

'"

_'"

--"-

..

..

'"

_-'j_

J:_

~lI_

_I

.i~

~ ~
:;

r--:
~

J._

.i

~~
10 ;:;

,.._
l

..

.J..

... ... v· ...._.... r

~

,
0
li:

__ti

_-'j_

_'"

.....
8bIF

..

..
;:

_..
_C_

':

..

;: ;;;

;;

:i
_L _.i_

_"-

:i

;;

_ii

p13

, 87(#59)

"Iii
aJ

~_r-~
'-"

Bb 78u8(9,13)

•
1;1
'III"'"

.~

•~

_E_'"

i!:

~ ~t=~

i.1.

.1.

--

...._, _~

;;:

..

hold- - --I
;; :I'

...

. ii .Ji
_A

..

.;0.

.I

-.-_-

--"'-

. ~

.. .. -

a-

,::;:--..
._

..

""""A~~~~~~~
•
....
A _ft.
g !

B~maj7

_"1;;.

I...~

_.....,...._ ~

.n

,,.;

-..
'"
'

~I

~.

.
"

--)"

..
,

.. ..
Dm7

;.,.

.. ....- ~ -~ .. <L

- ..

- -\
~
I

-, ,-

..

'"

...

Dm7

""""A

..
..

•
.... !
,

:w~
'"

•
"

..

q1

.. tr-

IrI ",,'"

- .~
;<

...
.D.

..

;;

"

..

.. .. ..

'" ;;; '"

...

' .."

;;: ;;

"

;;: ;;

::

..

'"
r

Om7

e13

""""~

•
i
::

•
.... -!
g

i
x ::

• ...

..

" ;;;

--

..
,,-'"

G7(a1t)

r---3----1

r-J--,
~

!N. ~

".....
-.II """'.II

~
" .;
;;

~;i
;;

•
" ;;
p

I;i.
" .1.

· ·

111 ~_i
u

~'

;;

;;

::

..

.;

'I

" ;;: "

'"

,.;

;;

..;

..

..

Freely

_l

~~

.. ...
! A.
g

'*
:.

~~
L-J_'

;:. _,i.~

.. ~,~
;}

I:{W'I"
~_...-...

...

..

"

.. -

..

.. .. ..
'

••

:.

.. ..

..
.,_

.. ..
_

... " ...

.. ..

-.. ..- ..
". v

~A

..,
p

..
,.,

r--..
Mol..

-..
"

......._.,
.. .. .. = ~"~

..
"

~r:J
.
~~~~

......--!II

"

.. .. ...

"

-""-

..

.. .. "

"

..

..

--

..,tA
II

.. - ;;
lI"
If".

· · ·

~.,

....--...
5

.fA. . .,.. -.. P.

'--3---...1

-'"

.,.
--".

Em7(~5.11)
1':\

•
~

h
'L~

~'-'
hold- - -

...-...
~;
..

-"'-

.;"

-""

'"

""
v

hold- - - - - - - • - - - - -I
:;

..
;

~
"

..,tA

I '""'..

..,

.. .. .,.
,\

..
-

1':\

jL

if•

.-....

•"

1':\

-It.

;1* 1i
hold- - - -I

!J.r.

r-til

.._,~
- - . - - - - - - - - - - - - - . - - - - - - - - - - - - -I
"

..~

..
.II

""

~
r

..

PI
);

Cm7(~5) C7(#9.#11)

::

'"

" . .. -

'"

"

F7(~9,13)

"';1
II

..
hold- - - - - -I

It.l

•
5

-- ""

r- -

-....;

..

• ~... ~~

..
~

... -

- .. " ..
G7(~5) G7(p9)

.. - .. . ..
Cm7(b5)
1':\

.. -

hold- - - - - - -I

..

.-

hold- -I
,;

==-,.
;;

Bva :

..,t"
II

h• • 1i

--,

h.
-til

,~~

If-

-til

·
~

'" ;;

::

.. ..
oi

..
.;

'"
;;;

.. ... ..

hold
Ii;

-.-

~:: !- ~ •
-til

(1t.1\
-til

- ·1 hol.d- -I

. .r' " '" L:L ii. 1i

::

..

hold- - - - - - -I

hold- - - - - - - - - - -I

I::

'"
.;

""
\2"1

..

... -

F7(b9,13) p7eb5)
..,tl
I

F7(#5,b9)

.l-

II

lri

"

... ...
! A
lOll

--..
..
::
Ii.

~:' •

~-~' ~ ~ ; ~ !;~ !,.Bva

Bb619

Bbmaj7(b5)

r-3----,
~

)
7

:: ::

·· ··

J:: J::; J~

--

. .. ..
"
r

tN!

l:

'li

J:t Jl' Jl'

'" ::
l: l: l' l"

;;; ;;;

'" ;;

. .. .. .. .. .. .. ... - ...- '".; ;:; ;::; ;;; ;::; ;:;

;0

'"

GUITAR TAB GLOSSARY

TABLATURE EXPLANATION
READING TABLATURE: Tablature illustrates the six strings 01 the guitar. Notes and chords are Indicated by the placement of fret numbers on a given string(s). e ~ .""

¥¥

ARTICULATIONS
~.

_......, .r--,....._
v

-t)

t)

...
.
...
C Otord A'l"'¥~i""d

..
•u f.,.
I

A
g
1'1

...

..
ft

-.,;
g

T ! A

..

HAMMER ON: Play lower note, then "hammer on" to higher note with another finger. Only the first note is attacked.

.\·'r;~I·

3rd t·".f'!

JU;IIN

~
....

12th f"m

A ·C· ChonJ

,.
iJ

--..
,. "

BENDING NOTES

PULL OFF: Play higher note, then "pun off" to lower note with another finger. Only the first note is attacked.

HALF STEP: Play the note and bend string one half step."

.....,.,
t)

----"
"

-..

PREBEND AND RELEASE: Bend the string, play it, then release to the original note.
_,I1I.e

.,;
!;II

LEGATO SLIDE: Play nole and slide to the following note. (Only first note is attacked).

tJ

)
T .! Pi
g

WHOLE STEP: Play the note and bend string one whole step.

'"

RHYTHM SLASHES

PALM MUTE: The note or notes are muled by the palm of the pick hand by lightly touching the string(s) near the bridge.

.....

,.,

>

>

i-

~
~

.n ~=~~~~~~~~I
J
G

t)

_--".

eSTRUM ) INDICATIONS:

® ®®
51r

Strum with indicated rhythm. The chord voicings are found on the first page of the transcription underneath the song title.

,) n~J)J1

*A half step is the smallest interval in Western music; it is equal to one fret. A whole step equals two frets. "By Kenn Chipkin and Aaron Stang

INDICATING SINGLE A GF ECA NOTES USING RHYTHM SLASHES: Very often single notes are incorporated into a rhythm part. The note name is indicated above the rhythm slash with a fret number and a string indication.
31r 11. apen 31r op!.In

®®®

x ::

x ::

ACCENT: Notes or chords are to be played with added emphaSis.

V
I

v
I

DOWN

STROKES
AND UPSTROKES: Notes or chords are to "be played with either a downstroke n .) or upstroke ( v ) of the pick.

..

..

~ 1990 Beam Me Up Music clo CPP/Belwln. Inc. Miami, Florida 33014 International Copyright Secured Made in U.SA All Rights Fieserved

ISBN

1-57623-437-1

9 781576 234372

111111111111111111111111

WARNER

BROS. PUBL.ICATIONS

11111111111Illll1'lll\lll\llllllllll 81158
I

1J

15800 N.W. 48th Avenue' Miami. FlOrid" 33014 A Warner Music Group Company

REKBK009CD
p.,,'

$29.95
H'. (,)
JJ

lti.
Ii

nK,{(