Joe Pass seminar at the Guitar Workshop part 1 (audio only)
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- Опубліковано 10 лют 2018
- Joe Pass at the Guitar Workshop, hosted by Bruce Clarke in Melbourne, Australia in 1981
1.The Five basic forms
2.Eighth Note Melodic Continuity and Colour Tones
3.Georgia On My Mind(Part 1)
4.Georgia On My Mind(Part 2)
5.'Wave' & discussion
6.Fingerstyle or pick
7.Further discussion on 'Wave'
8.St Louis Blues(Duet with Bruce Clarke)
9.St Louis Blues(continued)
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Holy f. This may be the ONLY recording in the world where you can hear Joe’s foot stomping while he plays. It’s intense. A lesson. Every single time he plays he is locked into the rhythm. Such a deep and unwavering kick drum in the center of his body. It makes sense. Never shows up on records, but here it is. If you are watching this video on your phone, stop and put on your headphones right now. The foot stomping is a lesson in swing.
My all time greatest musician-hero. I love Joe Pass. What a brilliant expressionist.
, practising his tunes is tuff but so much rewarding, jahlove sir Passalaqua the gentle Maestro
I saw Joe play once. 1982, Baker’s Keyboard Lounge in Detroit. He played solo. All chord melodies. He would play the head to a tune then solo over the changes! You could hear the changes in your head. The changes. Were reflected in his improvised solo.
I’ll always remember that night. Seeing/hearing Joe play really changed everything for me. I wish I had attended one of the clinics that he usually did the morning after the show.
He’s in such a great mood here. I was lucky enough to see him at another of Bruce’s workshops at his home in the late ‘80s but he was not in a great mood at that time. He’s complained about the lot of a travelling musician and said that if he’d had his time over he’d be an arranger- more money and far less travel. His critiques of playing were very good however. Around the same time I was at another of the workshops with Herb Ellis. He also said that he based everything around what he called ‘the cowboy chords’ but it was essentially what Joe was saying. BTW, as I live nearby I occasionally drive down Nott St and glance at Bruce’s front yard and remember those sunny afternoons exactly as pictured here.
Thanks Paul. I remember Nott Street well. Great times.
This is gold dust! Thanks for posting it.
This is priceless. Thanks
Thanks for posting this... Wonderful, just wonderful...
This is just amazing. Thank you.
i can`t tell you how much i appreciate this, thank you so much for posting,
Love it! It’s soooo interesting to listen to him :) ... how deep his knowledge is... and how he see the things...
very cool !
Thank you for uploading this
Man so awesome. In the age of iPhone recordings this rocks for 1981. Beautiful recording, Feel like I’m there. Such great guitar insight from a genius . Love it
Thank you for posting this Mike, really informative
Oh my God thanks you for this! Joe lives on...
I didn't know he got into teaching! Thanks much for sharing -
Great seminar. It's a tresure trove of info about Joe's playing and how he practiced. Thanks for uploading this!!!
This is absolutely fabulous. This is the best Joe Pass instruction I've ever heard. He got right down to where the rubber meets the road. Really good stuff. I want more of this!
Thanks for the audio, it's great....
Great supplement to Solo Jazz guitar, Blue Side of Jazz an Jazz Lines. Thanks for sharing.
Thanks, Mike. This is fantastic. I feel like I'm sitting in the audience...
This is the best lesson I’ve heard to date
Nice listening, thanks for posting. Fun sequencing & creative ideas around scales.
Gracias por compartir !! Joe es genial!!!
Mike,
Thank you so for posting this clinic with Joe Pass. After listening to it, I realize Joe was a good instructor as well as a player. Joe decided on a guitar system that worked for him and he practiced it. I have 3 guitar player friends that knew and hung around Joe or took some private lessons from Joe. I wish I would have pushed myself harder to attend one of his gigs before he passed away. To go to a clinic would have been better. But, this post you made was the next best thing.
Thanks for sharing! God loves you deeply shalom
man i love this guy!
The best guitar lesson . . . Ever!
Amazing lesson 👏
I've watched UA-cam videos denouncing the CAGED system and I've sometimes wondered if it's the way to learn but if it was good enough for Joe Pass then it's good enough for me.
I would just use what works for you. What I loved about Joe Pass was he claimed really "There are only 4 or five basic chord types and the rest are variations on those. I found that it simplified things. The CAGED system I find as helpful to map out the fretboard. Worked slowly it's helpful to find those patterns but it isn't great at explaining chords intimately. But Even Pat MArtino would also mention CAGED as something useful for patterns, especially if you got really good theory but need to find new ways to learn. And sometimes just playing around with the CAGED system you can find new ways to visualize chords.
@@shaalis For me CAGED helps me build extensions, I see where the 1,2 and 3 are, I see the intervals I need to add, 2nd ,b7, 6th, etc.
@@hanskung3278 The “Joe Pass System” isn’t the same as today’s CAGED System, regardless of what it appears.
Joe Pass used 4 forms really, not five (because the first & fifth forms he used are the same)
The CAGED System also takes the Unnecessarily long road to learning modes. Focused around endless pattern memorisation, treating each mode as unrelated entities. (When they’re not)
Where Joe didn’t know the modes or bother with them, as many old school Jazz cats didn’t. He focused on the Key and the chord type being played within any given key & then playing by ear what was in his head. (He had an incredible ear)
I was a CAGED player for most of my life and was oblivious to how much it was holding me back. Especially when I come to playing the Harmonic & Melodic minor scales.
That’s where it really begins to fall apart. Not that some people can’t make it work, just you’ll find the original scale shapes start to look nothing like those original CAGED shapes you’ve engrained to memory.
I always had to think pentatonic if I wanted to play freely up & down the fretboard, and then switch to modal thinking when I got there, because of the inconsistency with notes per string.
That’s when I knew there had to be a better way and there was, The “Three Note Per String System!”
Made the switch to 3NPS this last year and everything made sense. Just seven scale shapes to learn and everything is derived from them. I don’t have different shape for each mode to memorise.
They’re Just different permutations of the same scale with intervalic structures. (Once you can outline all the diatonic chords then you’ve learned the ability to play modes as a byproduct)
I no longer have to hang my scales off chord shapes, making my brain much faster to react. Memorisation is easier, as I don’t have 5 visually different arpeggio shapes in each position to learn (like with the CAGED) System. I Just have 3 or 4 different inversions (depending on triad or seventh) to memorise and they always look the same.
To learn the Harmonic Minor Scale you just play the same “seven 3NPS Major scale shapes” but sharpen the 5th (just one note) and you now have the Harmonic Minor scale, (if you class the 6th as your root note) with all it’s modes.
Change one more note and you have all your Melodic minor modes. The modes are really determined by the arpeggios/chord tones your outlining within the scale, NOT fretboard shapes/patterns like I was shown within the CAGED System.
Guitar life can be so much simpler than the CAGED System makes it!
Jo actually used a customized version of caged. Caged as taught on youtube will do little to nothing to help unlock the secrets of the fingerboard.
CAGED is simply how triads fit together on the fretboard. Someone saying that you should not know that is simply trying to sell you something.
Excellent tutorials for jazz guitarists !
Georgia discussion starts at 28:30
Today I learned my inspiration used CAGED, while I have used that and three note. I feel closer to him now, because we did this together at different times, in different places.
Very informative information,
That's me at 24:06! - with the beard seated behind the mike. I remember enviously watching Vince Hopkins getting some tips. Joe did ask me to direct him to the bathroom at Bruce's place so there's that. The original recording was done by fellow student Don Chenery, the guy photographed with Joe at 27:33. He used a high end Marantz portable cassette recorder.
you were not smiling
Very cool
I was there..was going to buy the ibanez from him
Have a 1980 Ibanez JP and really enjoying it.
12:16 start of 8th note playing through the changes concept.
Mike--where did you get this? absolutely superb material, ol'Joe goes into things he didn't cover in his videos. Post more Joe material if you have it.
BIG THUMBS UP!!!
Joe is a big Influence in my life.
Wow.....
❤ best
Do you have Part 2? I bought this two CD set years ago but now my copy of Part 2 won't play. It was a great masterclass!
Yes, I’ll put it up soon. Don’t forget to subscribe.
48:00 St Louis Blues
🙂👍🏻💙
Great vid! Does somebody know how Joe thought about the scales for the ii, iii, IV, vi and viim7b5? I understand that I can use the major scale on the I chord. The dominant scale or the altered dominant scale on the V7 and the minor scale on the vi. But how does he think of these other chords? Just as subs? Like I, iii and vi use the major scale. The ii, IV, V7, viim7b5 use the dom scale? Would love to hear how other players think about this!
You can use the 1st major chords for the 1, 3, and 4, if they are part of the diatonic keys or you can use the minor scale on the 3rd cause its a minor. For the four you can the use the major of the one diatonic key, or the fourth of the key. E.g. you could use C major on lets say an F major, or an F major, or even the relative minor of F major, d minor. which is really the 6th diatonic chord. Most minor 7th chords are the 2nd minor 7th in the jazz standards. For example, I love to play A harmonic minor over a 2, 5, 1, progression in C major.
The best way to go about it, for me is, I look at the tune and when I come up with the chord formula - E.g. the tune starts as a 2, 5, 1, in B Flat Major, the progression is C minor 7, F7, B Flat Major, then goes into say a 2, 5, 1, in A Minor, I know which scales I can play, and which phrases I can use as passing notes, and runs that lead into the next chords. Although Joe didn't explain it, what he meant when he said play a chord, then the scale, then the chord again is, when you practice scales, also practice lines that go with the chords, or lines that run through progressions.
I feel every guitar player should start to practice, compose, and learn the lines of their favourite guitar players, and other instruments. When you compose a line library for chords and changes it will ALL come together. In my opinion scales are great, but they're there for what Joe said, to get the feel of where the notes are. Its useless to start learning ALL the scales like augmented, diminished, etc, Learn the Major, Minor, Dominant, and I will add, learn the Melodic, and especially the Harmonic minor scales patterns. The best book to learn the Harmonic Minor from Is "Scales and Modes in the beginning." After you know those scales, start learning lines from the greats that are played over the augmented and diminished, the flat 9ths, #9ths, etc. So when he says play 8th notes through changes, he's saying when you practice this way you'll begin to hear all these note/tone changes cause you're playing the 8th notes and will play the sharp/flat 5ths 9ths etc. most likely. When you begin to do this you won't even think, it will just come out of you based on lines you know, and where you're going.
I hope this helped.
The Major Scale can (and technically is) used for ALL the seven diatonic chords. Think same scale, just outlining the different chord tones/arpeggios.
e.g: If your playing a C major scale, but outlining the two chord (d min7 arpeggio) your playing a Dorian mode. The same can be said for all the other diatonic arpeggios.
Joe didn’t think Modes (like most the old bebop cats) he thought of chords within a key and played targeting them by ear. He never played arpeggio straight up or down and always ignored the two chord on a two, five, one progression.
@@Tsukiyomi-san What about the key of Bb Major and F Major? They both have a Dmin7. However, in the key of Bb Major it functions as a iii and in F as a vi. I completely agree with you that old jazz standards are based on functional harmony and tonality so we are not technically playing modes. And approaching these tunes modally is not a good idea. However, I think its still important to be aware of the chord that is being played behind you as you still need to play the changes e..g, playing F on the G7 chord fits perfectly while on Cmaj7 its more of a passing note.
Towards the end of his hot licks tape:
Blue side of Jazz. Joe demonstrates a scale exercise where you can see what scales he plays over various chords.
ua-cam.com/video/J5wOdikpRu8/v-deo.htmlsi=zMyfUly2xgk839-h
I would have loved to have seen actual video of Joes instructions rather than still pictures.
Unfortunately no video exists.
practicing scales 10:14 - 13:12
is this a video that i can buy? or only audio
There was no video taken.
@@MikeNeer ok tanks . Great upload!
Wow, audio gold! Did not know Joe was an advocate of the caged system. I always forget the basic chord forms as I'm so used to using 7s and extensions so def need to revise this. When he says he uses the "C form", does he mean that he uses chords that kinda follow its interval pattern (root, third, fifth, octave etc...) on the A string? Or just for solos? I've tried to transcribe a few of his songs now and never encountered this in chords, maybe I'm not understanding him right.
I have transcribed a couple of solos as well and I agree with you. Perhaps he did not use the exact C form, but he used some chords derived of that form, ex. C6. I think that he knew the basic forms for a number of reasons. First, because that basic forms are the basis of any extension, and you should know the basic before the complex things. Secondly, because as he said, he always practiced scales, and the respective chord, and I think the scale sounds more appropiate to a regular C chord than to a Cmaj7, that has a particular colour to it.
Excuse my english
Joe da MAN!!!!!
I think that the C chord that he use is the C9 dominant form
A little old but still.... When he says "C form" he means starting the scale with the 4th finger on the A string. What this produces is a shape that resembles the C open chord.
Concerning his chords, he basically plays anything from the scale, and the notes you choose and the way you voice the chord is all personal preferences. He kept the C root all the way though...
For solos he said he thinks entirely vertical, so he is locked in one of the 5 forms all the time and is playing scales all the time. Passing tones are used to make the changes
He has a book called "The Joe Pass Guitar Method" and it has the scale forms as he described in this video and it shows you the fingergering for each position.
wow! That was great. On to part 2! Is this available somewhere as a DVD?
Only audio was recorded at this event.
Is someone gonna get that phone or what...
This guy is the gandalf of guitar?..
audio only LOL
Учись, запоминай, импровизируй.
(подсознание поможет :) )
Hearing Pass talk about the "CAGED" system is weird because in other videos he denounces such devices (including modes) and stresses finding melodic lines and phrases inside the chord forms. He always seemed more of a natural, self-taught player who used his ear rather than tricks. It's almost as if he felt compelled to give students a logical, followable method instead of saying "just use your ears and figure it out". I doubt very much if Pass learned guitar that way.
They didn't call it caged. CAGED isn't a trick. It is simply a way pf explaining the fretboard. Joe did see the fretboard like that and he was self taught. ALL the guitarists of his day did. Herb Ellis who he recorded albums with talks extensively about this and even released instructional books and a video that's on UA-cam. One of his books is even called "All the shapes you are."
That might be because the source point and first influence of ALL American Jazz guitarists is Charlie Christian and Charlie showed you could make sophisticated solos using just chord shapes.