Chappell & Co., Inc.

CONTENTS
3 SCALES
4 Major Scales
5 Melodic Minor Scales
6 Natural Minor Scales
6 Harmonic Minor Scales
7 Dominant 7th Scales
8 Augmented (Whole Tone) Scales
9 Diminished Scales
10 Dominant 7th Altered Scales
10 Picking
11 PRACTICE PATTERNS
11 Exercise in Thirds
11 Exercise in Scale Patterns
11 Various Combined Patterns
12 Study in 8th Notes
12 Improvised Patterns
13 Diminished Scale Pattern
13 Dominant 7th Scale Pattern
14 Exercise Using Chord Sequence
15 Example of Free Im.provisation
17 CHROMATIC PATTERNS
18 SCALE LINES BASED ON CHORDS
20 CHORD SEQUENCES
22 BLUES LINES
22 JAZZ LICKS
24 JOE'S BLUES
29 BLUES FOR NINA
30 NOBS
31 ALISON
32 GRETE

Copyright ©1977 by Joe Pass

Ch appell & Co . , In c. , publisher
International Copyri ght Secu red
ALL RI GHTS RESERVED
Printed in U. S. A.
Un a u tho rized copying, arranging, adapting,
re cordin.g or public performance is
an infringement of copyright.
Infdngers are liable under the law,
 Scales
Scales and their Basic Chord Form s. In order to give the
student some direction and help in developing an in di-
vidual concept of improvising, it will be necessary for him
to gain a full working knowledge of scales, melodic lines,
harmonic patterns, and a p lan for combining these elements
into useful practice patterns. With the exception of the
Blues solo and the short p ieces which conclude this book,
everything is written in eighth- and quarter-notes, making it
easier for the student to see and hear the musical lin e as it
develops.
Below are six diagrams which are usually learned by a ll
guitarists when beginning to p lay in first position, the In-
termediate form not included.
All scales are played vertically wit hin each form whose
object is to provide a framework in which to function. Once
the pattern in each Form is perceived the locati on of notes
and pitches will become automatic and a familiarity with
the fingerboard will be achieved. With the Chord Forms
acting as points of anchor or reference, the ability to create
an improvised scale or melody will be unhampered by the
struggle to find the notes.

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

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The numbers in circles indicate the strings:
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41 Major Scales. The fingerings are intended as suggestions. eventually be adopted. For the C Form I always start with
There are no fixed fingerings and many different possi- my 4th finger on the A string. All scales begin on the root C
bilities; those which best suit the player' s hand should and all are given in the key of C.

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2-4 on A, 1-2-4 on d.

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Only one fingering is possible: the root C is on the 8th fret.

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beginning 1 on g (10th fret).
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The C and D Forms are related: starting with 4 on A (15th
fret) , it is identical with the C Form in the first position.

It is possible to move up or down a step for a note, so that best to learn to play the scale both ways, subsequently
each Form may encompass about 5 or 6 frets. appropriating the one which feels best. (If all possibilities
were given, this book would be filled with nothing but
As familiarity with the fingerboard develops, the student numbers.) By mastering all the scales in the A - E - CID
will discover choices to be made regarding the same note. In Chord Forms, which are basically similar, the student will
the G Form the note B is possible on the d or g strings. It is have covered the fingerboard quite thoroughly.

-
Other Scales. While all the Chord Forms are given for the described for the Major Scales. Only the E Form is given for
Melodic Minor Scales of C, only the C Form is given for the the Altered Dominant 7th Scale, but again, this must also be
Natural Minor and Harmonic Minor sales. These scales practiced in all the Chord Forms.
should be repeated in all Forms; the fingering is the sa.me as

MELODIC MINOR SCALES

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Bj The Augmented, Diminished. an.cl Dominant 7th Scales are considering if it is appropriate, will never lead to any kind
influenced by the Dominant 7th Chord. For example, the of distinguished style.
chord G7 +5 is augmented and can be interpreted linearly
by an Augmented Scale. Likewise, G1b9 is a diminished All scales should be practiced in all Forms either chromati-
chord against which a Diminished Scale can be employed. cally or in Form order: in chromatic order, play the scales of
For improvisation the bg and +g go together. Against almost C in C Form, then Db in C Form, Din C Form, etc.; in Form
any Dominant 7th Chord, I will include the bg, +9, b5, or +5 order, play the scales of C in each of the Forms C-
in my lines, ,,vhich is the Altered Dominant 7th Scale [See A-G-E-Intermediate-D. All scales should extend two oc-
page 10] in most cases but the student is cautioned to use his taves, beginning and ending on the root, except for C and
ears. Applying what he has learned automaticaUy, without Intermediate Forms.

AUGMENTED (Whole Tone) SCALES

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played evenly and clearly and the tempo increased very where all the notes of the fingerboard are located.

DIMINISHED SCALES
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C DOMINANT 7th ALTERED SCALE E Form
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C DOMINANT 7th ALTERED SCALE E Form

same fingering descending

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Picking. In my own playing I use alternate p_ic.king gener- through practice. However, it is essential to be aware of all
ally. When I shift from string to string, I use down-pie.k ing the ways there are. My habit of alternate picking is peculiar
regardless of whether I am shifting to lower or higher to my style. The student must find his own which will best
strings. Picking is something the student will ,develop suit his personal concept.
PICKING EXAMPLE
r, r, r, V, r, r, r, r, V r, r r, r
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 I11

Practice Patterns
The Practice Patterns which follow will aid the student in eighth- or sixteenth-notes. While striving to establish con-
developing his own ideas. It is recommended that these tinuity and a melodic sense through scales and patterns,
patterns be practiced in all keys and scales. By inventing his always keep in mind that the music must come from the
own patterns the guitarist will gain a sense of melodic head, not simply from the fingers running up and down the
construction that will be uniquely his own. This will be a neck. It is important to sing or hum the musical ideas one
great advantage in improvising. wa.nts to play while playing them [See page 14].
Try taking a chord sequence such as C-A7 - Dmin - G7 The following Practice Patterns should be practiced in all
- C and constructing an eighth-note exercise over four or Chord Forms and keys. The first four examples can be ex-
eight bars. Then try to extend the chord sequ.ence using tended at least to eight bars.

C MAJOR EXERCISE
~

~, ... (Ascending and descending within

..
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- the limits of the Chord Forms)

EXERCISE IN THIRDS EXERCISES IN SCALE PATTERNS

VARIOUS COMBINED PATTERNS

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121 STUDY IN 8th NOTES A Form
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The above study can be played in any of the Chord Forms.

Note the various patterns: thirds, scales, trills. etc.

IMPROVISED PATTERNS A Form (C Minor)

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141 EXERCISE USING CHORD SEQUENCE
Cmaj7
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EXAMPLE OF FREE IMPROVISATION should be analyzed, remembering that it can be broken

The student should try to create some melodic patterns of down into three simple chord types: Major, Minor, and
his own. Also. the underlying chord sequence for this study Dominant 7th (Aug./Dim.).

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 I11

Chromatic Patterns
The following Chromatic Patterns and Variations are some starting with open E, then moving up by half-steps to extend
which I still practice. The student should make up his own the exercise.

o 1 2 3 4 o 1 2 3 4 0 1 2 3 4 o 1 2 3 o 1 2 3 4 o 1 2 3 4 etc.

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VARIATION I (up ½ step)

1 2 3 4 4 1 2 3 4 4 1 2 3 4 4 1 2 3 4 1 2 3 4 4 1 2 3 4 4 etc.

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VARIATION II
1 1 2 3 4 1 1 2 3 4 1 1 2 3 4 l 2 3 4 1 l 2 3 4 1 1 2 3 4 3 etc.

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EXAMPLE 1
0 l 23 43 2 l 2 3 4 0 10 4 3 4 0123 2 1 O

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EXAMPLE 2

EXAMPLE 3

EXAMPLE 4

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Scales Based on Chords

The chords on w hi ch these scale lines are based should be shift to any string by using eith er the first finger or fourth
played at the beginning and en ding of each exercise. In finger to play two notes. This wi ll place the hand on the next
moving from one position (Chord Forn1) to anoth er, one can Chord Form.

Cmaj9
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INTERVALS
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SHIFTING EXERCISE
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DIMINISHED CHORD LINES or D7 (b9/ + 9), F7, Ab7, 87 are all to be played against Dominant 7th Chords. Find the
There are only three Diminished Scales. The five examples chords beyond the B7 given.
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There are but two Whole Tone Scales. They will fit with all should be developed by the student which will fit Dominant
Dominant 7 +5 Chords. Additional Augmented Scale Lines 7th Chords.
C AUGMENTED (whole tone)
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Chord Sequences
The melodic/sca le patterns, in the following examples, someone else play the changes with the student. These
grow out of the chords at the beginning of each line, which · changes should be played out of tempo so that the student
should be apparent when they are played. It may help the can establish a long line and fully realize the potential
student to develop his own ideas by first putting the richness of each chord.
changes on tape and playing lines against them or having
Cma7(6/9)

Cm9
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221
Blues Lines
Though most students know these Blues Lines, they will
serve as a reminder to those who may h ave forgotten them .
I,.IL -.. ...·-
,
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I
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Jazz Licks
The Jazz Licks will acquaint the student w ith some of the into all keys. They should be practiced re·p eatedly at a
basic phrasing and germinal ideas. Most are based on the medium tempo until the student can sing them and h ear
Dominant 7th Chord (C7) since many people seem to need tl1em and feel them.
guidance in their exploration of its possibilities, especially When playing a Dominant 7th Chord or Scale, one Chord
in distinguishing it from the major chord. Students are Form must be kept in mind. By constantly using and think-
urged to memorize these licks, then try incorporatiBg them ing in terms of the Basic Chord Forms and simply flatting
into their own improvisations. All the phrases must be the seventh tone, the number of mistakes made in playing
played vvithin at least three Chord Forms and transposed on the Dominant ivill be greatly reduced.

I'\
...
C7
-
- ..-' - .,
-
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...
C7
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 JAZZ LICKS ]23

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,...,
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3

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Phrase Feeling
- ..."- ·•
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,.. ·• ·•
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241 Phrase Variations
If_
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•
Joe's Blues
Joe's Blues is based on the blues in the key of G; the chord
changes are basically G7 - C7 - 07. These appear in the
first twelve bars to indicate the sequence. The following
variants may be used in place of G7: G13, G9, G9(6) , G7 +9,
G7(b9) . obg in the fourth measure can be played in the same
way. In bar 8 Bm7 can be replaced by F13/F9/F+9/Fm9. Bm7
can be change-cl to a Dominant 7th (B7) or B9/B13. The
substitutions can be made in the second half of bar 8. E7 can
be replaced with E+9/Em9/E13 /E9 or Bb9tBb+9/Bbm9/
Bb13/Bb9. Bar 9 can be altered in much the same way since
these chords are interchangeable.
Students must be able to choose freely from the alternatives
available not only in chording but also in solo improvisa-
tion. In Joe's Blues the student should check out each
phrase against the chord he thinks is being used.
Joe's Blues JOE PASS
125

Intro.
A

rubato

Slow

•
in tempo
G7 C7 Cdirn
3 G7
2
" ~l - J

. . ,. • . . I 3
d- •
I -

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I

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n
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7
- .,
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3

4G7 C7
5

3 3

3 C? 3
3

3 3 •

Bm7 E7 Am? D7 L
8 9 10 17

3
3
A
G7 D7
11'-' '-' 12 13

16
A
A
#

3
18 19 20

I- -3
3
Copyright 0 1977 by Joe Pass
International Copyright Secured/ALL RJGHTS RESERVED
261
straight

I\
8tllS -
2l,_
- - - - - - - - - - - -'--'- - - - - - - - - - - - , 26 • ... ~If_ #:~ ...
• I--
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=
27

• 3
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31
A 32

34 A

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f\ .iJ,
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A
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;13
' I 42
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43 44

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45
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 47 A 121
•
•

49

delay 16 ths

delay triplets

3 L-J----'
Bass solo
f'\ ,J, 61 62 63 64 ~ 65 .....
::> 66
---.
-
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. ....

67 68 69 711 72

A
73_ 74 75

A .
78 79 A

••"•= •
811 82 A 84
,...
~r

85
A 86
281 87 88

89 90

I\
94 " •
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95
-- ...--.... If b.~ ,_ -, -
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Dr. solo
97 98-1003 101 J >
102
. -
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• -- - - V -
.
---,
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• --
- j V -
- •
I

- • I I

--- -
I
···1£ .bl
!.

105
103 106
•
•

r---J--
107

3 3
109 110 111 A

112 A 113 114

"

3 3 3
A
3 A 116

L----3---'

I'\ J.I.
117
-
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A
. --.
' I..-••
....
>

.
118
If..•
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. IL
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............
A
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.
119
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•
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-
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120
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• , _

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i
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r '
-II
I!. • 3 3 . -
3 -
 Blues ·for Nina, Nobs, Alison, and Grete are simple 129
melodies used as bases for improvisation. They are re-
corded on the Montreux Solo Album (Pab lo) 19 75.
Throughout,+9/b9/13/9(6)/11/ +5/bs may be substituted for
simple Dominants. AU changes should be redu ced to three-
or four-note chords. And for better movement, voicings
should lead into one another or have a common tone con-
necting them. Nobs contains several examples of this
technique.

Blues for Nina JOE PASS

Intro.
8va- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
I'\ 3
.Mo 3
. •
- I

- -- - '
- If
---.
.

.. I
. - I
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•
..
I
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...
- ~~
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I ·11
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!. - -
3 3 3 3
rubato

Bva - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - , Fast 4
3 Gm7
,~
I\
-.
.Mo .1 I':'. A
- I. -
-
-... -' -
I
.
-
.. -~ ':,L-
I I
1f -
--
.
I

-• .
- V
I
!.,
" •
in tempo

f\. .Mo
.. ·• . ...
I. -
-
A
If ,,.
F#m7
,
of+ .. - ..
--
,, ~ .. " ~t h
.. --
-- • ~
I '
• r , I '" r

!.
. I
I
I

'
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I I

Fm7
,.
"
.
.Mo I
...
I I
I
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- I
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,.
Em7
~
-
.,. nJI ... - " I! n
- -
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I
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I I
I
I

" - II If ' "'l

--
I
--
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-

8va - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
3 3
I'\
-. .Mo -
--
-
..
I. --
-- -
I
I

- - - -- - -
I
I I

---
'
'
• ,, - - •
I - I
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I I

' I
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!
3
I
' •
3
rubato

8va - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - _ - - __ • __________________ ,
3

!.
"

-
~
.
.Mo I
n-
·JI
I
- - --
I

.... I
.. I
I

,
•
__
.
]I
-
.
.. -~

.
.
I
I
~
.~

•
- •
=~
. ... '
~ ~
I':'.

"'
3 3
,
Copyright ci 1976 by Pablito Publisb.ing Company
Cl 1977 under U.C.C. by Pablito Publishing Company
Chappell & Co., Inc., admin.istrator for the world
Internationa l Copyright Secured/ALL RJ~HTS RESERVED
301

Nabs JOE PASS

Triplet fee~
A7 A7

D7
l\»l .t. - ~-1:=,~~tl - -
. J --.
~ -
. - I I

•
l !)
~

I -
- -
n
"7
- ~
I
"., I
• I
I(
ir:::::

A7 E7 -
'\,, »
-
I - -
- ,.H J:- ·1 ·: I
L
1
I~~
I
~

--
.
... -
I

-.
.
_.,
'~
-
I(
- 1111 - -
]I
. _.._
-
. -lli. -
-
i. -
]J
... -• - .,
. -i

--
:ij
--
]I
-·-~
....
_,_ -

A7

-
Copyright t1 1976 by Pablito Publishing Company
o 1977 under U.C.C. by Pablito Publishing Company
Chappell & Co., Inc .. adm inistrator for the \VOrld
International Copyright Secured/ALL RIGHTS RESERVED

EXAMPLE OF CHORD VOICING

(C7) (F7) (Bbmaj7) (Eb)

Fl3 Bbm7

EXAMPLES OF VOICE LEADING

Drn7 G7(13) G7(+5) Crnaj7 or Crn9 voice leading

" • -
- -- .
-... -- ... ~r:-
.
-.
1111 -
--
-
-
• I
'
~
., -
..,,. -..,,. ~ ....
(Drn7)
Dm9 Cl3 C9(6) voice leading

..,,. ..,,.
Alison JOE PASS

simile
~
-.- I
" ,ii

---
,ii
....
A.
...,,. -
I A .
•
...-
I.. A I I
... ,, ~

", - I I I

"
!...
-- - - -

To Coda 4"
"' -
.I o
I
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.,,_ ' ---
---...
- ., - ., "IC.
@...
~v
I - I
I
- -- --

A7
I\ ,_ A
. ,. ' I

·-~ , - --
I I

...
I
'
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- lif :ii
V r r
II

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I
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j !., -- v• I

... ~ •- (~lt4 '11 •· I "1)•

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..... - --' -
1, I I I I
., • If
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I

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I
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I
I

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' -

--. "' - -
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- ......
- - - .
1,,6 I I I
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V
I
rJ
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I

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l
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r
7

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Ir,
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-., -
I
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• ... q~: q• #;• -,

. .- >

A!J13
A
~A (I, -

G13 F#13

"\ I
F13
-
,
I "' 'I
,. ... I
D.S. al Coda
ill

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.,
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.
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r'
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!.

Coda -t (BIJ7)

Copyright t;, 1976 by Pablito Publishing Company

ti 1977 under U.C.C. by Pablito Publishing Company
Chappell & Co .. Inc., administrator for the war.Id
International Copyrig ht Secured/ALL RIGHTS RESERVED

EXAMPLE CHANGES FOR IMPROVISING 1. 2.

Bb7 Gl3 Cm7 F7 D7 G7 C7 F7 Bb Bl,7 Eb Edirn Dm7G7 Cm7 F7 Cm7 F7 Bl,

II= u- €:¥ H- u- u- u- u- # # # -H u- H -u- -u n:11 ff -u- UH II

321

Crete JOE PASS

Slow 4
Bva- - - - - - .- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
D7 G ·Gm7 D E/D 3 E~ /D C/A
f\ Jj, 3 .
I
-
·-...-. -- ... -
,I
' ' I
. . !!!!!!iiiiiii . I
It - -- - 1
• • ·;~ .,. I!
11. .,. - - ]I I I fl

--
-
I I

• I -
~ '
3 3 3 3
Bva - - - - - - - - - - - - - - - - - - - - - - - - - - - - -.- - - - - 1
3
Fine Fast 4
"... -~ ...
3 • I\
- - -
A

.
-- -
I I -
. I 'It
-
-
l! -
.-
-
I I
, -
-- • • . ~-
I
!, • IIIL.JI'

A
- simile
I"\ A A I\ A A

I
Jj,
-
• -- - .-
--
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I
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I
I
- I

-,. I
-
J .,. I

- I
..
I
I
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~
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Gm7
-
f\ .Iii,
,... . - - -- I
- ., - -
.-
L, -

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.... I
n-,,.
.. ....
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~,,. - ..
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.,
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•
.-
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,.
... • L.. -
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I ,'
~
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,
I
'
A
- ,.
- .
~
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I ~-
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I
--. -- I\
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r
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I

Fm7 Em7

-- - -- - -~ -- -I
~
"\,:, L,_
'
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-- - I
n
- -- --
'
.,
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'I I
I
!,

-
/\ J1 A
'
I
I
I
,,_
I
I
I
I
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--
-- I I
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!, -•' q--.
..... • I

• -I D. C. al Fine
/ \ Jj, - A
~J . I
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--
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11.
I
. - I
11.
~-. ·~
I I I
I
'
!,
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-
Copyright «> 1976 by Pablito Publishing Company
ci 1977 under U.C.C. by Pablito Publishing Company
Chappell & Co., Inc.. administrator for the world
IntematiooaJ Copyright Secured/ALL RIGHTS RESERVED