Do you use this book? What is your experience? ✅ The Most Important Bebop Licks ua-cam.com/video/2iFZdLf7a1o/v-deo.html ✅The 5 Bebop Facts That Will Help You Learn Faster 😎 ua-cam.com/video/c5g9ewommIA/v-deo.html
@@luckylicks3497 Oh, that’s new to me, thanks for that info. Although I have to say, I feel a bit bummed bc students can now resort to the tabs and are less likely to go down the worthwhile journey of dealing with the standard notation that Jens explains in this video. Sigh
The example of SRV and Albert King is AWESOME, thanks for including that, Jens! I will take the liberty of showing this to my students when I talk about the importance of learning the vocabulary of the music in which one is trying to improve one’s soloing.
At the age of 19 (I am now 67) I had built up quite a reputation here in LA, as a top up and coming guitarist. This was largely by word of mouth, through jamming quite a bit on the local scene. Much to my amazement, I was invited to play with Joe Pass at an upcoming New Years eve gig in Sherman Oaks! Sadly, I chickened out at the last minute! Although I did play in a kind of Joe Pass style, I just wasn't sure if I was actually good enough to play with the Master himself. As I look back, I wish I would have gone through with it!
Hi Jens. Your videos are so good - practical advice, great examples with excellent video editing and a sense of humor. I got my first copy of Joe Pass Guitar Style in 1972 and I can't tell you how many copies I've owned because I'd "loan" it to students and never get it back. I agree with everything you've said but I wouldn't dismiss the very first section of the book on harmony. In 9 or 10 pages he manages to explain the nuts and bolts of using chords in a jazz setting. Like your videos, the material is clear, direct and completely lacking in BS.
I met Joe Pass at the blue note in nyc . I told him I had his book and found it difficult. [ I actually did not understand it at all ] he told me “ yea it’s real hard kid real hard “ after the show my friends and I were hanging out outside the club. when he came out we asked him if he wouldn’t mind taking a picture with us . He accepted and said “ let me hold my guitar case. “ Without it you won’t know who the F I am “ His playing is timeless .
Joe said that when evaluating a new student he would ask them to play eighth note lines for 3 minutes and that excercise would tell him all he needed to know about what level they were at
Hi, Jens! I agree with you 100%. This book is amazing! I got it first when I was a young kid living in the USSR. It was 20th generation faded copy on yellowish thin almost toilet paper. The same like you say, I liked the most the second part of this book with solo examples. What a great source of the fantastic phrases related to the chords! Later I was able to get a real book and I still have it and value it like a treasure. Because I have this book signed by Joe Pass himself for me! When I immigrated to the US the very first concert I attended in New York was concert of Joe Pass(solo) and Jim Hall with Ron Carter(duo) :)) What a set! The concert was in legendary Blue Note club. So, after the show I had a chance to talk to Joe Pass, even played his signature Ibanez guitar. By the way, the string were very light and the action was very low. When Joe was signing the book for me Jim Hall entered Joe's room, eating an apple. Joe had an amazing sense of humor. He turned to Jim and said: "See Jim, if you had written a book, people would come to you, too.. " I have amazing picture of me staying between Joe and Jim, who was trying to hide an apple he was eating. I had a chance to see Joe two more times before he passed away at the same Blue Note. I was sitting in first row next to him. He took a few peaces of french fries from my plate and then played my request Wave by A.C. Jobim. What a memories!
I learned the 1st blues solo and without tab I found myself learning to play the phrases in more than one part of the fretboard which was in itself a good exercise.
Yeah, I thought that was a handicap of sheet music, but it’s actually a strength, it seems. You learn in one position, until you realise it’s impractical because of some too low or too high interval and then just translate it across. Pretty good for practice. And sometimes you can just switch positions as well, which gives you even more valid experience. I learned to read single notes in a few days two weeks ago and I love it. Chords though 😥 😂
I’m a classical violinist learning jazz. There’s a lot more material out there for guitar than violin, but most of it translates very well to my instrument. This is definitely one of the best channels. Thanks, Jens! I bought this book recently. The absence of tabs is obviously not a problem for me, and I have the technique to play the notes without much problem. However, I’m not used to swinging eighth notes notes, and phrasing these solos is different for me. In other words, the mechanics are easy, but turning this into music is difficult. I wasn’t sure how to take full advantage of this book, nor was I even sure if I should use it at all, so this video is a great help. As for unvarying rhythm (“motor rhythms” in classical terminology), look to the Sonatas & Partitas for Solo Violin by J.S. Bach. Many of them are in motor rhythms, but bury some very tricky “hidden rhythms” similar to what we see here.
I'm not a jazz guitarist by any stretch of the imagination but I really appreciate your videos and I appreciate real jazz guitar players and their prowess for improviseing over complex changes... Thanks for the lessons
I’ve really benefited from this post. I studied a couple of the solos in this book years ago as my teacher at the time used the book. But having revisited the book I have been knocked out by the beautiful lines that build from bar to bar. Thank you. Really helpful
I read that Joe Pass recommended playing through a chord progression using just eighth notes and it helped my playing a lot ; it really gets you to find a next note that will be logical and to get to some 'good ' notes in the strong beats . Your playing goes from licks on individual chords to starting to be able to recognize the chords in your lines. I saw a video of Pass playing these types of lines and a commenter had written , " yo dude , while I couldn't play as well as you are playing , take a breath once in a while - listen to some saxophone players and notice how they take a pause in their phrases," the next comment was , "hey , dude , that's Joe Pass "
I was looking for a new amp yesterday... But instead I purchased the Joe Pass book... You saved me about 540 bucks... and I'm playing better already... Thanks...
Hi there, you had me laughing at "I often wonder who they're listening to" and show Star Wars band playing clarinets lol!! I wanted to say that I've studied the Joe Pass book pgs. 45-46 for Rhythm Changes and memorized it. It helped so much and plan to memorize pgs. 47-49 if I can. Rythm Changes have always been a challenge for me and hope to master them once and for all!
As someone who started learning guitar AFTER learning some other instruments first when I was younger, I can say that taking the time to learn standard music notation is well worth it. I understand why tabs are appealing but there's a lot of information that they don't really convey as well.
I had this book for many years but never worked on it seriously. I will definitely take your advice and work on the building blocks first rather than just trying to digest those long lines... have you ever checked "cellular approach" by Randy Vincent? It's based on the concept of building blocks and it has helped me a lot on trying to make some sense (as opposed to just play scales over progressions in 8th note as I was told to at first hahah)
I believe Joe Pass used his own "Barry Harris" method based on things he said on videos and interviews. I love Joe's playing and Virtuoso is beautiful. The Barry Harris method has opened my eyes and is much easier to digest than the Modal / Chord scale things I've studied. I know you kind of dismissed the Harris method buy I love it. Take Care.
Stop calling these things 'methods', much less belonging to specific names of people. Just take all the _principles_ you can from all these sources and use them to your taste.
You should be Jens, this is such wonderful teaching on how to use this book, I wish I had this when I first started looking at Joe's book years ago. I hope lot's of youngster's studing jazz find your video !
I don't read on guitar very fast, but have found it helps my playing and fingerboard knowledge immensely. It's probably one of the least painful and majorly helpful exercises. I didn't study with the Joe Pass book, but do have both of your Jazz Concepts books, and one by Mike Stern (who does use strings of eighth notes, interestingly enough!). They're all great books with a really good method of teaching the material. Can't recommend them enough :)
@@JensLarsen I plan to take a course to learn to read--any recommendations? Also, in the video, I didn't see a mark for the accents--does one just learn how to intuit? Or is there a marking I didn't notice? Thanks
After watching your video, I bought the "Joe Pass Guitar Style" book. It has been a great help with my reading music getting the notes under my fingers. I really enjoy your music both instructions and performances. Thank you Frank
Another book I’d throw into this idea is by David Baker -Learning the Bebop Language Vol 2. I find it laid out very well and in smaller ‘bit size’ chunks. Each chapter is dedicated to a specific set of standard chord changes (ii-V’s etc) and he presents 60 to 100+ 2 or 4 bar lines seemingly taken from every player, which he calls “public domain lines”. It’s all presented in C and up to the learner to transpose into all keys, which in itself is a great exercise. Thx for your great channel ✌️
THIS IS ONE OF THE BEST 'MUSIC AS IT IS REALISED ON THE GUITAR (NOT JUST PLAYING THE GUITAR)' VIDEOS I HAVE EVER SEEN ! Thank you Jens ! I feel like I'm Indiana Jones and I've discovered the Ark Of The Covenant. I'm so happy ! 😁
I got this book-I think on your recommendation. It’s deep! And don’t forget about the CD where you actually hear Joe playing all the solos himself! I use the first rhythm changes solo as a great warmup for my fingers when I first pick up the guitar for the day.
8:21 Phrasing. If you take Jens' "Jazz Guitar Roadmap" course all the way through this section of the video will make a lot sense to you. I highly recommend that course.
Yup. Also, Barney Kessell had a good book as well. George Benson also had a great book that taught and gave a profound lesson on where certain melodic ideas come from and which generation of jazz. THAT BOOK should see a re-release.
@@JensLarsen Yes! Barney Kessel's book was called 'The Guitar' and I believe it was first published either in 1966 or 1967. It was definitely a good read. That cat was a trip. Not as much of a trip as good old Joe pass was. I can't remember the name of George benson's book, however. :(
At 4:44 this brought to mind that Mimi Fox has a great book on using arpeggios in Jazz context and so I would wonder also who doesn't dig the arpeggio scene? I bought this book on sale at a music store years ago and it is still challenging, and I'm a decent music reader. Joe Pass was a great player and I had the good fortune to see him live in small venues, but this book is formidable. I can only guess he didn't have time or use for pedagogy. Even in his instructional videos he barely explains his methodology. A good teacher is just as important as a good player. If a guitar student can find someone who can translate and transmit complex information, it makes the journey so much more rewarding in every way. And so Mr. Larsen, keep playing and just as importantly, keep teaching.
This Joe Pass method is an excellent book: and the comments in this video explain why. All of those continuous 1/8 note lines can be broken down into smaller usable idioms and reworked into your own vocabulary. It’s the same process for learning a language, words (scales) first then phrases (idioms)
I bought this book years ago, but just recently digging into it. Great study of target notes & voice leading. Similar great material from Barry Galbraith & earlier book from Sam Most , " Jazz Improvisation. The Joe Pass stuff might be written in eighth notes, but you can mix it up the rhythms & make it your own. Great stuff from a Master.
I got this book 30 years ago and after spending about a minute with it, put it on the shelf with so many others and hadn't really looked at it again until seeing your video. Now I appreciate it a whole lot more and intend to work through it over the next few months. Thanks for the nudge.
I don't always comment on videos, but i've got to say this: THANK YOU A LOT! You, sir, are helping me in so many ways with my playing and my vision about music you can't even imagine. Can't thank enough for this. Very inspiring playing and teaching that make me believe i still can play nerly good as this.
Jens, I like what you have to say about eighth notes. I'm old and I adore JP. The real benefit for me of studying in eighths has been the that ON beat and OFF beat notes play different roles in a passage with the ONE beat being the most dominant. Therefore when a guitar note study is all mixed up with shorter and longer notes, one really must concentrate mentally about what's going on, and feeling takes a back seat for too long. But once you're feeling the groove of a passage in eighths, mixing up the note duration is much easier as you strive to adjust tonality per beat type. Thanks for identifying the playful be-bob beats. That helps a lot.
The Cantina Band and Joe Pass’s secret Danish heritage, great video!! I do have the Joe Pass chord book which I found underwhelming, but now I’m intrigued about this book, thanks!
In addition to the fun musical material these videos are a masterwork of great graphics which illustrate the points and most of all, provide wonderful humor! The maker is an artist with more than just music!
I've had two copies of this book, one in the original printing. I worked on the blues exercises beginning on page 40 pretty carefully. But, to be honest I didn't view the phrases as building blocks to the exercise, but rather, a phrase to be memorized. I'm revisiting the book after hearing your discussion. I may actually learn something this time. Thanks for posting this.
I have an old copy of that book. The rhythm changes and Blues sections are worth working through for all the reasons stated by Jens. I believe there is a few audio videos on yt of Joe P playing through some of the examples.
Hi Jens. I took your advice and have been working on the solos in the Joe Pass book that you recommended. I’ve learnt 4 complete solos so far and I’ve found them to be extremely helpful from a number of perspectives. The solos provide quality melodic ideas both overall and against individual chords. I’ve also found that they have improved my playing and technique. I treat each solo like a jazz Etude and gradually learn to play it without the music and at quicker tempos. I’ve also been trying to reapply chord specific ideas into my other solos or to give me ideas on what I could do elsewhere.
I've had the same reaction to this book. I bought it years ago, and couldn't make much sense out of it. Now that I've seen the video, I'll have to try using it.
Wonderful analysis of a great instruction book. This was one of the first books I studied from and it has material that can be worked on for a lifetime. Thanks for giving it its due and laying out the importance of the studies. Loved the thumbnail. It cracks me up!!
I learnt that little bless in C solo years ago when studying at the Guitar Institute. Always wondered what the book was, so have just bought it. Thank you!
Great advice about a phenomenal book. I bought it when it first came out and have been studying it ever since. I don't class myself as a jazz guitarist, but more of a rock/fusion guitarist. It is still at the top of the list of the many guitar instruction books of many styles that I have studied over the years. Thank you for your wonderful appraisal of the book.
HI Jens I want to thank you again for this video. I started using the book after watching it, trying to get building blocks and practicing them on standards, as you suggest.... wow, I find it a huge source of vocabulary! Cheers
Thank you for this video . Im not a jazz guitarist, but I'm always keen to learn more because i love music ! Joe Pass got me much more interested in jazz . At first, I only enjoyed jazz fusion, but Joe Pass and Johnny Smith got me really excited for jazz
There was a moment when this was the “only” book. Your comments regarding lack of tablature are funny to us old folks. This morning I was looking for the notation for one of these dense Sinti melodies we all love and for a moment all I could find was TAB. I suppose people become familiar enough with TAB to sight read it, not me, but when I found a pdf of the actual notation I was immediately able to play the piece. So my advise to you non readers is , learn how to read. Music isn’t as much of a “trade” as it once was, but reading will allow you to work. You know, that thing you do to get paid😂
I don't know what a sinti melody is, but I am not sure reading is that essential for working around here, but of course it is good to be able to take every opportunity that presents itself 🙂
@@JensLarsen Jens, Sinti or Sinto are a "tribe" of Roma. Often German speaking. Django was a Sinti. There are melodies that are in that folk tradition.
Jens- I can't thank you enough for this video. I am slowly working my way through this book, and Joe's chord book, and am encountering many of the pros and cons that you mentioned (I am learning to read through my study of Guitar Method). I have found it especially difficult to figure out chord voicings for his chord charts. Lots of trial and error. As always, thank you for your timely and informative lesson. I am continually trying to integrate anything new I learn into my actual playing because of your (and my teacher's) encouragement. I hope you are well. Sincerely, Brad
@@JensLarsen As someone who is new to playing jazz (I've spent years playing Delta blues (largely in open tunings) and claw hammer banjo) working with his books has been hard. I am slowly deciphering and labeling chords in the chord book and decoding his single note/chord melody lines. Your videos (and my weekly lessons) have filled in so much missing information for me. I would be completely spinning my wheels without the foundational information you have given me. (Ex: I just watched all of your videos on Drop 2 voicings and I have been taking the few standards I have learned so far (Django, Lady Bird, Black Orpheus, Moonlight in VT) from the Real Book and/or my teacher and playing them in Drop 2.) I play your arpeggio exercises everyday and I try to learn at least one new line or phrase from you per day. I'm really grateful for your help, Jens. Thank you. You really are one of best teachers I have ever encountered. As a fellow teacher, I find your work ethic and passion for your material inspiring.
At 4:22 you played the G# with your 2nd finger, then the A with the fourth, which was cool because you could then hit the F with the third finger cleanly without changing position. I was glad I slowed it down to check how you were fingering it! Where did you learn that trick? Do you have videos that focus on fingering like this? Book recommendations? I find there's a lack of info sometimes on best practices on fingerings (especially in the Joe Pass! haha)
Thank you :) It is not really a trick as much as it is about thinking ahead when you are reading. I never really studied it or know on books on that, but I suspect it is coming from my classical lessons a million years ago?
I love Joe Pass and got this book when I started learning jazz. I couldn't understand it at all and it really put me off. You describe it and its difficulties really well, but I don't think I'll be going back to it.
I have found your bebop videos quite helpful in order to find practical things to work on and gain some insight into the construction of bebop lines. I'm an upright bass player who also plays guitar. Much harder to execute anything on the upright compared to guitar but I'm working on it every day. For people like me who are amateur players I think teachers frequently overlook how much time is needed to simply being able to execute a steady 8th note stream of arpeggios in time, at all positions on the fretboard, even at a slow speed. So this material requires quite a bit of dedication. As an academic exercise I like the steady stream of eighth notes concept. As you said phrasing can be created by placing accents appropriately and if you can run continuous 8th notes I'm pretty sure that learning to leave space in your phrases will be easier to learn.
update 9 months later... I started working on 4 note, 2 beat phrases for dominants so I could start to deal with cycle of 4 strings of dominant with 2 beats per chord. So I first wrote out a small list of phrases focusing on hitting the 3rd and 7th and later started adding other chord tones and chromatics. Then I did some 4 beat phrases and started working on stringing together phrases that seemed to make sense to connect. I'm also stealing pieces of other bop phrases that I either transcribed or read. It's really helped me get out of of the bass centric habit of finding the root first while also expanding my ability to navigate the very daunting upright bass fingerboard. Pieces of these phrases sometimes appear in some of my improvising so I consider that progress.
I love the idea of no tabs. I've been looking for old(er) books to force myself to learn to read more fluidly. If there are tabs, it's hard for me to defer to the "harder" form of notation. I've been using the Sal Salvador method and scale system for that at the moment. Super excited to pick up the Joe Pass book(s)
I bought this book when I was just starting to learn a little about jazz guitar, and found it completely useless. It is not good at all for a beginner without any guidance. The book says very little about how to use the book or how to practice. It has become more valuable as I've improved. The suggestions in this video for using the book are fantastic. Thanks!
I always pushed reading ahead of me, “do it later”. Until I just bit the bullet two weeks ago (indeed for this book 😂) and learned it with an app in a few days time. I can now read solos. Not any chords yet, as that’s a lot more involved it seems. But reading melody is actually pretty simple as long as you keep the current root and scale in mind.
Superb video Jens. I bought that book a few months ago. I haven't gone through the exercises you mention so far, but I've learnt some great ideas from the early chords and harmony chapters. I like the way he says any chord type can act as a tritone sub for any other chord type. I've had some success superimposing and F#maj7 line over a Cmin7 for example.
I had one of his books, it was basic stuff leading into stuff that I never mastered because it gets really advanced. I was into Metallica the book helped get me started.
I think this book was mostly Bill Thrasher's work as the solos are not indicative of Pass 's approach..... They collaborated on the project If you listen to the audio that is available on CD Pass plays it as written and it sounds nothing like his soloing. It was apparently a massive manuscript and was condensed to the volume it is since it was published .. As a side note. The great bassist /guitarist Carol Kaye recorded the last four pages .... Carol Kaye owned Gwyn publishing the original publishers. If I recall and the earnings from this another publications secured the funds for Joe and his family to purchase their home. As she told me in written correspondence with her some years ago. I could not find any thing on Bill Thrasher on the net
I took lessons from Bill Thrasher from 1970-1972. He was an excellent teacher and very good at explaining things. He said that he and Joe collaborated on the book, and it was not merely made up of transcriptions of what Joe played.
Another great lesson. For some reason I never bought the Joe Pass book (I have billions - oups sorry that's Carl Sagan - dozens of other books). I think I'm going to order it :) The argument against practicing licks and solo examples is silly. Playing patterns that sound great is fun and a great motivation. Learning licks helps to strengthen the connection between your finger and your brain. Eventually you forget the specific licks and the melodies in your brain start to come out much more easily at your fingertips. That's what I did in the beginning with pentatonic scales and that I am still trying to achieve with other scales and arpeggios. Practicing good licks certainly helps. Thanks again.
I used this book decades ago and still use it for reading study. It is a small but dense volume. If you can't read, too bad, so sad. Joe (and Bill Thrasher by extension) are correct in their consideration of the pedagogical merit of the material. It must be remembered this book was paired down from hundreds of pages! Guitarists need to explore the harmony within these lines, the inside and outside aspects of various tones and which beats they fall upon, and explore dynamics such as accented pick or apoyando fingerstyle attacks, muting, or even actuating the string at various distances from the bridge as a classical guitarist might. All of Joe's teaching and transcription material (Alan de Mause and Roland Leone etc) is a goldmine of ideas. We all borrow. Even purposefully not referencing mainstays of a language is thusly informed by it, deliberately so 😉 I love the background humour here too ☺️
Joe looks equally badass with halo and horns. Thanks for video Jens - I always found Joe's book dense - it took me days to get through one page. So I never made it to the Solos section.
@@JensLarsen I started memorizing first blues solo in F. It is a revelation - I had no idea you can use all 12 notes over blues. And in logical fashion. I read OK so lack of tabs is not important - this solo fits nicely in one position (+1 on index and pinky). Chord symbols are a bit odd indeed but not on first blues. I have 1985 edition I bought from Carol Kaye along with recording - the typeset is a bit messy and harder to read. The 1988 MelBay edition with Joe's photo on cover has cleaner typeset. Thanks Jens - it was great advice. PS. Leaving out syncopation and writing in eight notes leaves room for creativity - it is a bit similar idea as Joe's "Chord" book - there are diagrams but you have to spell out extensions yourself. PS2. I memorize because I want to treat it as etude - and then play around it.
1. Great video! 2. I have this book, I need to dig it out. 3. I know how to read, don't need tabs. 4. Nice cameos by Grant Green, SRV and the Star Wars Cantina Band!
Great video Jens, thanks a lot. I really needed some good material to work on phrasing, and the explanation you give on how to use the book is priceless. Cheers
Yes, I have used it a lot, especially for the extended 'Parker blues' (Blues for Alice) examples. I find it a bit relentless, and some of the chords are a bit off as you say. But there is a lot to learn from it. I'm more of a Jimmy Raney and Jim Hall fan actually...
Sure! As I point out in the video, practicing this doesn't really mean that you should play like this. You practice scales as well, but that doesn't mean it is the only thing you play :)
Hi Jens. I would very much appreciate a post on how to structure my learning journey. I learnt from a great jazz guitarist for 11 years. He has since passed and for the last 6 years my learning has been very piecemeal. I see a post and focus on that but I feel I lack a structured way forward. I put together bits from you, TrueFire, some Berklee. I gig fairly regularly so I have to constantly learn new material from the perspective of melody, rhythm and soloing ideas and content. Often I spend weeks learning the new material and doing really nothing else. Any suggestions?
I don't think that a general post like that is super useful, at some point you have to address things that are specific to your playing , goals, skillset and learning style. That said, as long as you keep playing and learning songs then you are probably on the right track.
funny story. when i was 18 and auditioning for school, i transcribed night and day off jp's virtuoso album. note for note by ear. it probably wasn't exactly the way he played it but my own interpretation. all the peoples face dropped at each audition and i was accepted into every school lol, i also played bouree by bach along with it. and i think something from joe diorio
Had this book and lost it in a fire. Could not remember the title to buy again. Not a lot of great explanation but, got a lot from it by re reading over and over.
Hey Jens, I bought the Joe Pass Guitar Style Book you recommended but it didn't have the CD in with it. Do you have the CD and is there a place to download the tracks referenced in the book?
Man, I tried to lean how to play jazz by using a Joe Pass solo book and a chord Encyclopedia. I wish someone would have given me lead sheets and explained how to make chords from the parent scales (1357 etc). It’s probably be useful now but not as a beginner. Helped my reading though.
There’s a Joe Pass hot licks that not on UA-cam anymore that’s the best jazz video I’ve ever seen. It’s not the blues one. I used to watch it every day.
I bought this book in the mid 1970’s (by now I can’t be more specific than that 😅). It’s probably the only book I ever made it through or almost through from cover to cover. I use many of the harmonic concepts especially turnarounds still. Having watched this video I think I’ll get the book off the shelf and revisit the second half. I agree that practicing playing 1/8 notes is good practice for developing your ear and your fingers to be able to play longer, more flowing lines. I heard Julian Lage recommend a ten minute exercise each practice session - set the metronome and play 1/8 notes for ten minutes. It’s hard to do but over time trains your ear and fingers to recognize intervals and sequences that sound good to you.
Jens, I'm in currently in a rut and was wondering if you have any tips for transcribing and learning jazz standards. I have learned entirely self taught and by ear so far, any tips you have would be incredibly helpful. Thank you!
I have a Wolf Marshall book of Pat Martino transcriptions. Pat uses long strings of eighth notes quite often. My biggest problem is getting that swing feel in my playing. I was listening to Joe Pass’ playing Rosetta, which I have a transcription of also, and I just can’t get the swing feel that Joe has in his playing. It’s so relaxed and flowing but really eludes me when I try.
Try learning some stuff by ear, that will beat reading a transcription everytime for phrasing and swing feel. Also: Try to listen to how even Joe Pass often plays :)
@@JensLarsen I got really lazy about transcribing by ear many years ago. Between working long hours and family I just never had the time to spend on it. I can pick up slower, simpler music like rock or country, but jazz has eluded my ear, especially the chords. So I cheated and bought some books. Pat Martino, Joe Pass, Mike Stern, Charlie Christian, and George Benson.
@@JensLarsen As far as the swing feel, I listen quite often to Joe and try to copy the feel, or at least get close. On the Parker tunes I practice slow at first to try and put that in them. Also, I watch and rewatch your videos, especially on bebop. When you demonstrate phrases, I pause the videos and work on getting that feel. I’ve gotten better, but still fall short of the mark. I really appreciate your lessons. I wish I had a teacher like you when I was younger. That was way BYT(BeforeUA-cam).🤣
Hey Jens! I loved this video. I feel very comfortable writing my own solos to explore ideas I am working or Incorporating lines I want to use; however, I’ve never been great at hearing something in my head that isn’t straight forward rhythmically while being able to write it down in notation; that always made me feel stuck. Adam Levy highly recommends writing out our own études to get better at something we want to work on and explore 😃 So this really helps open that door! Writing out phrases that work on this flow, and are more about creating strong up Melodies based on eight is brilliant, I love it! Do you recommend sticking to a specific rhythmic feel for comping and practicing/writing out our own études like that?
Super cool! Writing etudes is indeed very helpful. You can certainly explore using only a single rhythm or a single feel for an etude. It depends a lot on what you want to learn :)
It's an excellent book. I also recommend the Barry Galbraith books. Concepts in logical fingerings I think was the title and he had a great chord book as well. All are great learning and study guides. There are also some other good books ,saxophonist Bob Cooper had a great book in the same vein and I remember a Joe Diorio book I used to when learning these bebop styles;he also had a modern style using 4ths in the same book. You must learn to read in all of them and you learn to develop your own preferences for fingering which is invaluable and aids your knowledge in learning the fingerboard like no other method can. You become your own teacher with these books ie. learning the right way for you as a player.
I’ve had this book since I was a teenager. I think it was over my head at the time. I could understand the theory actually but wasn’t at the level of applying it. Now 30 years later I still love to crack it open and look at some of those lines. Yes you may need some more experience to get the most out of it…but it’s a great resource to have.
Maybe what I’m trying to say is that if you are less experienced it might be good to have a teacher guide you with the book and point out all the value that is packed in there.
Hi, i bought the book because everybody is recommending it but i have a hard time finding any music. This is just noises and random notes playing.. i dont understand anything about it
Great video and great topic. I’m glad you’re reminding me about this book and inspiring me to work from it again. I do try to practice like this, with endless eighth notes. In addition to the benefits you outline, it seems to help me keep my place in the harmonic rhythm. But it becomes a crutch and eventually I have to consciously break that habit.
Great video as always! However, being nitpicky as I am, I have to ask what's missing in 0:36? Also, what's wrong with chordal analysis in 2:54? The notes pretty much fit the chords given, with respect to extensions that are transcribed logically (+9 for augmented ninth, -5 for diminished fifth and so on).
Sure! Would you say that all your solos should sound exactly like 0:36 or would you change something? As for 2:54 Trying to make any chromatic leading note into a chord extension is nonsense. That would mean that understanding the David Baker Lick over a Gm7 chord would require you to hear a Gm7(b11) chord. It doesn't make sense and it is not a description of how it sounds. I think it is quite common for people to just look vertically at stuff and then completely ignore that the horizontal part of the context is as important (if not more).
@@JensLarsen 2:54 - I get it now, thanks. So, it's about concentrating on mathematically correct description of the chord while disregarding the sound quality of the chord and musical meaning of each note (extension, component of a chord vs a chromatic, leading, passing note). I'm still not sure about 0:36, though. I transcribed it into Guitar Pro (I'm yet to achieve fluency finding notes on fretboard. Burden of playing from tabs for 10 years...) and it might have sounded like it lacked a direction, indeed more like an exercise than a musical piece. But again, might be my lack of experience (been a rocker guy for years, opening up to jazz recently).
@@yngvardforskvist Well, a note is not always best described by what it is against the chord. It may be more useful to see what it is in the melody. Try playing that Gm7 and put a B in the melody, that is not how the David Baker lick sounds. That B is better described as a leading note to Bb than as a b11 on Gm7.
Funny because I just finally started trying to learn how to read music due to a different Joe Pass lesson which isn't in tab. It is not going well, its going to dramatically slow down my learning. It takes me days as it is to learn these complex short passages even when there is tab.
Do you use this book? What is your experience?
✅ The Most Important Bebop Licks
ua-cam.com/video/2iFZdLf7a1o/v-deo.html
✅The 5 Bebop Facts That Will Help You Learn Faster 😎
ua-cam.com/video/c5g9ewommIA/v-deo.html
This book has been available for a long time with tabs as well
@@luckylicks3497 Oh, that’s new to me, thanks for that info. Although I have to say, I feel a bit bummed bc students can now resort to the tabs and are less likely to go down the worthwhile journey of dealing with the standard notation that Jens explains in this video. Sigh
The example of SRV and Albert King is AWESOME, thanks for including that, Jens! I will take the liberty of showing this to my students when I talk about the importance of learning the vocabulary of the music in which one is trying to improve one’s soloing.
At the age of 19 (I am now 67) I had built up quite a reputation here in LA, as a top up and coming guitarist. This was largely by word of mouth, through jamming quite a bit on the local scene. Much to my amazement, I was invited to play with Joe Pass at an upcoming New Years eve gig in Sherman Oaks! Sadly, I chickened out at the last minute! Although I did play in a kind of Joe Pass style, I just wasn't sure if I was actually good enough to play with the Master himself. As I look back, I wish I would have gone through with it!
Hi Jens. Your videos are so good - practical advice, great examples with excellent video editing and a sense of humor. I got my first copy of Joe Pass Guitar Style in 1972 and I can't tell you how many copies I've owned because I'd "loan" it to students and never get it back. I agree with everything you've said but I wouldn't dismiss the very first section of the book on harmony. In 9 or 10 pages he manages to explain the nuts and bolts of using chords in a jazz setting. Like your videos, the material is clear, direct and completely lacking in BS.
I met Joe Pass at the blue note in nyc . I told him I had his book and found it difficult. [ I actually did not understand it at all ] he told me “ yea it’s real hard kid real hard “ after the show my friends and I were hanging out outside the club. when he came out we asked him if he wouldn’t mind taking a picture with us . He accepted and said “ let me hold my guitar case. “ Without it you won’t know who the F I am “ His playing is timeless .
Joe said that when evaluating a new student he would ask them to play eighth note lines for 3 minutes and that excercise would tell him all he needed to know about what level they were at
Hi, Jens! I agree with you 100%. This book is amazing! I got it first when I was a young kid living in the USSR. It was 20th generation faded copy on yellowish thin almost toilet paper.
The same like you say, I liked the most the second part of this book with solo examples. What a great source of the fantastic phrases related to the chords! Later I was able to get a real book and I still have it and value it like a treasure. Because I have this book signed by Joe Pass himself for me!
When I immigrated to the US the very first concert I attended in New York was concert of Joe Pass(solo) and Jim Hall with Ron Carter(duo) :)) What a set! The concert was in legendary Blue Note club. So, after the show I had a chance to talk to Joe Pass, even played his signature Ibanez guitar. By the way, the string were very light and the action was very low. When Joe was signing the book for me Jim Hall entered Joe's room, eating an apple. Joe had an amazing sense of humor. He turned to Jim and said: "See Jim, if you had written a book, people would come to you, too.. " I have amazing picture of me staying between Joe and Jim, who was trying to hide an apple he was eating.
I had a chance to see Joe two more times before he passed away at the same Blue Note. I was sitting in first row next to him. He took a few peaces of french fries from my plate and then played my request Wave by A.C. Jobim.
What a memories!
Thank you! That is an amazing story! I wish I could have seen those concerts live 🙂
What a fabulous story!!! Thanks for sharing 🥰
Joe was a pretty accessible star. I know 4 people who had personal interactions with him similar to this one. He was a regular guy in a lot of ways.
You are certainly a great story teller! it’s always lovely to read stories like this:)
Joe Pass AND Jim Hall????!! Incredible!
I learned the 1st blues solo and without tab I found myself learning to play the phrases in more than one part of the fretboard which was in itself a good exercise.
Exactly :)
Yeah, I thought that was a handicap of sheet music, but it’s actually a strength, it seems. You learn in one position, until you realise it’s impractical because of some too low or too high interval and then just translate it across. Pretty good for practice. And sometimes you can just switch positions as well, which gives you even more valid experience. I learned to read single notes in a few days two weeks ago and I love it. Chords though 😥 😂
@@CoenBijpost Agreed - reading chords from standard notation is properly hard 😞
I’m a classical violinist learning jazz. There’s a lot more material out there for guitar than violin, but most of it translates very well to my instrument. This is definitely one of the best channels. Thanks, Jens!
I bought this book recently. The absence of tabs is obviously not a problem for me, and I have the technique to play the notes without much problem. However, I’m not used to swinging eighth notes notes, and phrasing these solos is different for me. In other words, the mechanics are easy, but turning this into music is difficult.
I wasn’t sure how to take full advantage of this book, nor was I even sure if I should use it at all, so this video is a great help.
As for unvarying rhythm (“motor rhythms” in classical terminology), look to the Sonatas & Partitas for Solo Violin by J.S. Bach. Many of them are in motor rhythms, but bury some very tricky “hidden rhythms” similar to what we see here.
I'm not a jazz guitarist by any stretch of the imagination but I really appreciate your videos and I appreciate real jazz guitar players and their prowess for improviseing over complex changes... Thanks for the lessons
You're very welcome! I am glad you like it! 🙂
Joe Pass is a legend. Absolute inspiration to listen to and something to aspire to.
And impossible for us mere mortals to achieve. lol
I have the Joe Pass book and love it. I love that Joe Pass had a Danish accent, even though he was very much an Italian-American! Too funny. 🤣
Thank you 😂
I’ve really benefited from this post. I studied a couple of the solos in this book years ago as my teacher at the time used the book. But having revisited the book I have been knocked out by the beautiful lines that build from bar to bar. Thank you. Really helpful
Glad to hear that, Alan 🙂
This book is one of the best there is. I still have my students play at least one blues and one rhythm changes solo. So good.
I read that Joe Pass recommended playing through a chord progression using just eighth notes and it helped my playing a lot ; it really gets you to find a next note that will be logical and to get to some 'good ' notes in the strong beats . Your playing goes from licks on individual chords to starting to be able to recognize the chords in your lines. I saw a video of Pass playing these types of lines and a commenter had written , " yo dude , while I couldn't play as well as you are playing , take a breath once in a while - listen to some saxophone players and notice how they take a pause in their phrases," the next comment was , "hey , dude , that's Joe Pass "
I was looking for a new amp yesterday... But instead I purchased the Joe Pass book... You saved me about 540 bucks... and I'm playing better already... Thanks...
Glad I could help! 🙏😂
Your explanation of the “layer of syncopation” in the exercises was gold, thanks!
Glad it was helpful!
Hi there, you had me laughing at "I often wonder who they're listening to" and show Star Wars band playing clarinets lol!! I wanted to say that I've studied the Joe Pass book pgs. 45-46 for Rhythm Changes and memorized it. It helped so much and plan to memorize pgs. 47-49 if I can. Rythm Changes have always been a challenge for me and hope to master them once and for all!
Great! Glad you like my humour :)
As someone who started learning guitar AFTER learning some other instruments first when I was younger, I can say that taking the time to learn standard music notation is well worth it. I understand why tabs are appealing but there's a lot of information that they don't really convey as well.
Exactly! (and I am not only agreeing because it looks like we are related 😁)
I had this book for many years but never worked on it seriously. I will definitely take your advice and work on the building blocks first rather than just trying to digest those long lines... have you ever checked "cellular approach" by Randy Vincent? It's based on the concept of building blocks and it has helped me a lot on trying to make some sense (as opposed to just play scales over progressions in 8th note as I was told to at first hahah)
Thanks Julien! I have never checked out that Randy Vincent book. I rarely use books to be honest, but I might give it a look if I get the chance :)
It's one I never kjnew about, but sure wish I had found it when I was buying a ton of music books.
I believe Joe Pass used his own "Barry Harris" method based on things he said on videos and interviews. I love Joe's playing and Virtuoso is beautiful. The Barry Harris method has opened my eyes and is much easier to digest than the Modal / Chord scale things I've studied. I know you kind of dismissed the Harris method buy I love it. Take Care.
Go with what works for you!
Stop calling these things 'methods', much less belonging to specific names of people. Just take all the _principles_ you can from all these sources and use them to your taste.
Two of my heroes in one video: Joe and Jens = life is beautiful.
Thank you Luca! Not often I am mentioned in one sentence with Joe Pass :D
You should be Jens, this is such wonderful teaching on how to use this book, I wish I had this when I first started looking at Joe's book years ago. I hope lot's of youngster's studing jazz find your video !
I don't read on guitar very fast, but have found it helps my playing and fingerboard knowledge immensely. It's probably one of the least painful and majorly helpful exercises.
I didn't study with the Joe Pass book, but do have both of your Jazz Concepts books, and one by Mike Stern (who does use strings of eighth notes, interestingly enough!). They're all great books with a really good method of teaching the material. Can't recommend them enough :)
Thank you, Nick! I also think that reading music was a huge part of developing my fretboard overview :)
@@JensLarsen Nice :) I think it makes you see notes instead of numbers.
@@JensLarsen I plan to take a course to learn to read--any recommendations? Also, in the video, I didn't see a mark for the accents--does one just learn how to intuit? Or is there a marking I didn't notice? Thanks
@@dominickegan The book does not give you a specific phrasing that is something you have to learn to add yourself :)
After watching your video, I bought the "Joe Pass Guitar Style" book. It has been a great help with my reading music getting the notes under my fingers. I really enjoy your music both instructions and performances.
Thank you
Frank
Another book I’d throw into this idea is by David Baker -Learning the Bebop Language Vol 2. I find it laid out very well and in smaller ‘bit size’ chunks. Each chapter is dedicated to a specific set of standard chord changes (ii-V’s etc) and he presents 60 to 100+ 2 or 4 bar lines seemingly taken from every player, which he calls “public domain lines”. It’s all presented in C and up to the learner to transpose into all keys, which in itself is a great exercise.
Thx for your great channel
✌️
Thanks! I never really found those that useful, but I'll have a look again if I get the chance 🙂
THIS IS ONE OF THE BEST 'MUSIC AS IT IS REALISED ON THE GUITAR (NOT JUST PLAYING THE GUITAR)' VIDEOS I HAVE EVER SEEN ! Thank you Jens ! I feel like I'm Indiana Jones and I've discovered the Ark Of The Covenant. I'm so happy ! 😁
Thank you very much Kevin! :)
I got this book-I think on your recommendation. It’s deep! And don’t forget about the CD where you actually hear Joe playing all the solos himself! I use the first rhythm changes solo as a great warmup for my fingers when I first pick up the guitar for the day.
Thanks! I never had the cd, but somebody just linked a playlist with the examples :)
8:21 Phrasing. If you take Jens' "Jazz Guitar Roadmap" course all the way through this section of the video will make a lot sense to you. I highly recommend that course.
Thank you Ken! Makes my day that you think so!
Yup. Also, Barney Kessell had a good book as well. George Benson also had a great book that taught and gave a profound lesson on where certain melodic ideas come from and which generation of jazz. THAT BOOK should see a re-release.
Interesting! Never came across either of those 🙂
@@JensLarsen Yes! Barney Kessel's book was called 'The Guitar' and I believe it was first published either in 1966 or 1967. It was definitely a good read. That cat was a trip. Not as much of a trip as good old Joe pass was. I can't remember the name of George benson's book, however. :(
No Tabs? This is nothing but a plus, I’m going to have to find this book.
There is a link in the video description 🙂
At 4:44 this brought to mind that Mimi Fox has a great book on using arpeggios in Jazz context and so I would wonder also who doesn't dig the arpeggio scene? I bought this book on sale at a music store years ago and it is still challenging, and I'm a decent music reader. Joe Pass was a great player and I had the good fortune to see him live in small venues, but this book is formidable. I can only guess he didn't have time or use for pedagogy. Even in his instructional videos he barely explains his methodology. A good teacher is just as important as a good player. If a guitar student can find someone who can translate and transmit complex information, it makes the journey so much more rewarding in every way. And so Mr. Larsen, keep playing and just as importantly, keep teaching.
Thank you William! :)
This Joe Pass method is an excellent book: and the comments in this video explain why. All of those continuous 1/8 note lines can be broken down into smaller usable idioms and reworked into your own vocabulary. It’s the same process for learning a language, words (scales) first then phrases (idioms)
I love how organized you explain your approach to the book Jens. Thanks for making such well thought out videos!
Thank you Az 🙂
@@JensLarsen you’re welcome Jens. You’re really an inspiration!
@@AzSamad likewise, I always check what you post on Twitter even if I can't always understand it 🙂
@@JensLarsen That's very kind of you Jens, appreciate that!
I bought this book years ago, but just recently digging into it. Great study of target notes & voice leading. Similar great material from Barry Galbraith & earlier book from Sam Most , " Jazz Improvisation.
The Joe Pass stuff might be written in eighth notes, but you can mix it up the rhythms & make it your own. Great stuff from a Master.
Yes, it is super useful 🙂
I got this book 30 years ago and after spending about a minute with it, put it on the shelf with so many others and hadn't really looked at it again until seeing your video. Now I appreciate it a whole lot more and intend to work through it over the next few months. Thanks for the nudge.
Great Go for it 🙂
I don't always comment on videos, but i've got to say this: THANK YOU A LOT! You, sir, are helping me in so many ways with my playing and my vision about music you can't even imagine. Can't thank enough for this. Very inspiring playing and teaching that make me believe i still can play nerly good as this.
Great to hear! Go for it :)
Jens, I like what you have to say about eighth notes. I'm old and I adore JP. The real benefit for me of studying in eighths has been the that ON beat and OFF beat notes play different roles in a passage with the ONE beat being the most dominant. Therefore when a guitar note study is all mixed up with shorter and longer notes, one really must concentrate mentally about what's going on, and feeling takes a back seat for too long. But once you're feeling the groove of a passage in eighths, mixing up the note duration is much easier as you strive to adjust tonality per beat type. Thanks for identifying the playful be-bob beats. That helps a lot.
The Cantina Band and Joe Pass’s secret Danish heritage, great video!! I do have the Joe Pass chord book which I found underwhelming, but now I’m intrigued about this book, thanks!
The chord book is not great (in my opinion) this one is worth it! 👍
@@JensLarsenYou’re doing us all a huge favor by recommending material without tabs. Ughh. Tough sledding!!
In addition to the fun musical material these videos are a masterwork of great graphics which illustrate the points and most of all, provide wonderful humor! The maker is an artist with more than just music!
Thank you very much Steve!
I've had two copies of this book, one in the original printing. I worked on the blues exercises beginning on page 40 pretty carefully. But, to be honest I didn't view the phrases as building blocks to the exercise, but rather, a phrase to be memorized. I'm revisiting the book after hearing your discussion. I may actually learn something this time. Thanks for posting this.
Glad you like it :)
This is the BEST jazz guitar book I have ever used -----bought it 20 years ago.
I have an old copy of that book. The rhythm changes and Blues sections are worth working through for all the reasons stated by Jens. I believe there is a few audio videos on yt of Joe P playing through some of the examples.
Interesting! I never heard any of those. If you have a link I am certainly curious :)
@@JensLarsen he doesn't get too far into the book but its cool to hear Joe talk. ua-cam.com/play/PLeEoXNYRgUKGufyer5hLB2_tgSZ_ERWiW.html
He also credits Bill Thrasher in those early editions which was dropped in later reprints. I always found that a little strange.
@@es330 good observation
Maybe someone didn't want him the credit $ he deserves?
Hi Jens. I took your advice and have been working on the solos in the Joe Pass book that you recommended. I’ve learnt 4 complete solos so far and I’ve found them to be extremely helpful from a number of perspectives. The solos provide quality melodic ideas both overall and against individual chords. I’ve also found that they have improved my playing and technique. I treat each solo like a jazz Etude and gradually learn to play it without the music and at quicker tempos. I’ve also been trying to reapply chord specific ideas into my other solos or to give me ideas on what I could do elsewhere.
I’ve always shied away from this book because I never understood how to use it! Now you have me a bunch of reasons to try again!
Go for it :)
I've had the same reaction to this book. I bought it years ago, and couldn't make much sense out of it. Now that I've seen the video, I'll have to try using it.
Wonderful analysis of a great instruction book. This was one of the first books I studied from and it has material that can be worked on for a lifetime. Thanks for giving it its due and laying out the importance of the studies.
Loved the thumbnail. It cracks me up!!
Glad you enjoyed it!
I learnt that little bless in C solo years ago when studying at the Guitar Institute.
Always wondered what the book was, so have just bought it. Thank you!
Great! Hope you have fun with it 🙂
Great advice about a phenomenal book. I bought it when it first came out and have been studying it ever since. I don't class myself as a jazz guitarist, but more of a rock/fusion guitarist. It is still at the top of the list of the many guitar instruction books of many styles that I have studied over the years. Thank you for your wonderful appraisal of the book.
HI Jens I want to thank you again for this video. I started using the book after watching it, trying to get building blocks and practicing them on standards, as you suggest.... wow, I find it a huge source of vocabulary! Cheers
Makes my day to hear that Stefano :)
Thank you for this video . Im not a jazz guitarist, but I'm always keen to learn more because i love music ! Joe Pass got me much more interested in jazz . At first, I only enjoyed jazz fusion, but Joe Pass and Johnny Smith got me really excited for jazz
There was a moment when this was the “only” book. Your comments regarding lack of tablature are funny to us old folks. This morning I was looking for the notation for one of these dense Sinti melodies we all love and for a moment all I could find was TAB. I suppose people become familiar enough with TAB to sight read it, not me, but when I found a pdf of the actual notation I was immediately able to play the piece. So my advise to you non readers is , learn how to read. Music isn’t as much of a “trade” as it once was, but reading will allow you to work. You know, that thing you do to get paid😂
I don't know what a sinti melody is, but I am not sure reading is that essential for working around here, but of course it is good to be able to take every opportunity that presents itself 🙂
@@JensLarsen exactly!
@@JensLarsen Jens, Sinti or Sinto are a "tribe" of Roma. Often German speaking. Django was a Sinti. There are melodies that are in that folk tradition.
Jens- I can't thank you enough for this video. I am slowly working my way through this book, and Joe's chord book, and am encountering many of the pros and cons that you mentioned (I am learning to read through my study of Guitar Method). I have found it especially difficult to figure out chord voicings for his chord charts. Lots of trial and error. As always, thank you for your timely and informative lesson. I am continually trying to integrate anything new I learn into my actual playing because of your (and my teacher's) encouragement. I hope you are well.
Sincerely,
Brad
That's great! I never worked with his chord book, to be honest it seemed like a bunch of unconnected diagrams? That wouldn't make sense to me :)
@@JensLarsen As someone who is new to playing jazz (I've spent years playing Delta blues (largely in open tunings) and claw hammer banjo) working with his books has been hard. I am slowly deciphering and labeling chords in the chord book and decoding his single note/chord melody lines. Your videos (and my weekly lessons) have filled in so much missing information for me. I would be completely spinning my wheels without the foundational information you have given me. (Ex: I just watched all of your videos on Drop 2 voicings and I have been taking the few standards I have learned so far (Django, Lady Bird, Black Orpheus, Moonlight in VT) from the Real Book and/or my teacher and playing them in Drop 2.) I play your arpeggio exercises everyday and I try to learn at least one new line or phrase from you per day. I'm really grateful for your help, Jens. Thank you. You really are one of best teachers I have ever encountered. As a fellow teacher, I find your work ethic and passion for your material inspiring.
Great lesson, Jens! The ‘building blocks’ concept as it pertains to these solos makes me look quite differently at this book.
Thanks Hans Hendrik :)
At 4:22 you played the G# with your 2nd finger, then the A with the fourth, which was cool because you could then hit the F with the third finger cleanly without changing position. I was glad I slowed it down to check how you were fingering it! Where did you learn that trick? Do you have videos that focus on fingering like this? Book recommendations? I find there's a lack of info sometimes on best practices on fingerings (especially in the Joe Pass! haha)
Thank you :) It is not really a trick as much as it is about thinking ahead when you are reading. I never really studied it or know on books on that, but I suspect it is coming from my classical lessons a million years ago?
I love Joe Pass and got this book when I started learning jazz. I couldn't understand it at all and it really put me off. You describe it and its difficulties really well, but I don't think I'll be going back to it.
I got this book last y3ar when I watched this video. I recommend it. It helped a lot
I have found your bebop videos quite helpful in order to find practical things to work on and gain some insight into the construction of bebop lines. I'm an upright bass player who also plays guitar. Much harder to execute anything on the upright compared to guitar but I'm working on it every day. For people like me who are amateur players I think teachers frequently overlook how much time is needed to simply being able to execute a steady 8th note stream of arpeggios in time, at all positions on the fretboard, even at a slow speed. So this material requires quite a bit of dedication. As an academic exercise I like the steady stream of eighth notes concept. As you said phrasing can be created by placing accents appropriately and if you can run continuous 8th notes I'm pretty sure that learning to leave space in your phrases will be easier to learn.
update 9 months later... I started working on 4 note, 2 beat phrases for dominants so I could start to deal with cycle of 4 strings of dominant with 2 beats per chord. So I first wrote out a small list of phrases focusing on hitting the 3rd and 7th and later started adding other chord tones and chromatics. Then I did some 4 beat phrases and started working on stringing together phrases that seemed to make sense to connect. I'm also stealing pieces of other bop phrases that I either transcribed or read. It's really helped me get out of of the bass centric habit of finding the root first while also expanding my ability to navigate the very daunting upright bass fingerboard. Pieces of these phrases sometimes appear in some of my improvising so I consider that progress.
+1 for Douglas Adams reference
Thank you! :)
I love the idea of no tabs. I've been looking for old(er) books to force myself to learn to read more fluidly. If there are tabs, it's hard for me to defer to the "harder" form of notation. I've been using the Sal Salvador method and scale system for that at the moment. Super excited to pick up the Joe Pass book(s)
I bought this book when I was just starting to learn a little about jazz guitar, and found it completely useless. It is not good at all for a beginner without any guidance. The book says very little about how to use the book or how to practice. It has become more valuable as I've improved. The suggestions in this video for using the book are fantastic. Thanks!
Yes, it can be quite tricky to get started with :)
I always pushed reading ahead of me, “do it later”. Until I just bit the bullet two weeks ago (indeed for this book 😂) and learned it with an app in a few days time. I can now read solos. Not any chords yet, as that’s a lot more involved it seems. But reading melody is actually pretty simple as long as you keep the current root and scale in mind.
Exactly! 😎
Superb video Jens. I bought that book a few months ago. I haven't gone through the exercises you mention so far, but I've learnt some great ideas from the early chords and harmony chapters. I like the way he says any chord type can act as a tritone sub for any other chord type. I've had some success superimposing and F#maj7 line over a Cmin7 for example.
Great! Go for it :)
Thank you. You and 3 other youtubers are my guitar Sensei '
Thank you your methods on arpeggios have helped me greatly. Salute!
I had one of his books, it was basic stuff leading into stuff that I never mastered because it gets really advanced. I was into Metallica the book helped get me started.
Great that it could help you get started 👍
This is really interesting to get your perspective on improvisation and what's going on in the process. Thanks!
Glad it was helpful!
I think this book was mostly Bill Thrasher's work as the solos are not indicative of Pass 's approach..... They collaborated on the project
If you listen to the audio that is available on CD Pass plays it as written and it sounds nothing like his soloing.
It was apparently a massive manuscript and was condensed to the volume it is since it was published ..
As a side note.
The great bassist /guitarist
Carol Kaye recorded the last four pages .... Carol Kaye owned Gwyn publishing the original publishers.
If I recall and the earnings from this another publications
secured the funds for Joe and his family to purchase their home. As she told me in written correspondence with her some years ago.
I could not find any thing on Bill Thrasher on the net
I took lessons from Bill Thrasher from 1970-1972. He was an excellent teacher and very good at explaining things. He said that he and Joe collaborated on the book, and it was not merely made up of transcriptions of what Joe played.
Another great lesson. For some reason I never bought the Joe Pass book (I have billions - oups sorry that's Carl Sagan - dozens of other books). I think I'm going to order it :)
The argument against practicing licks and solo examples is silly. Playing patterns that sound great is fun and a great motivation. Learning licks helps to strengthen the connection between your finger and your brain. Eventually you forget the specific licks and the melodies in your brain start to come out much more easily at your fingertips.
That's what I did in the beginning with pentatonic scales and that I am still trying to achieve with other scales and arpeggios. Practicing good licks certainly helps.
Thanks again.
I have some Joe Pass books like the one you were holding in this video - cool :-) your explanation makes me want to check out on it again
Great! Go for it :)
1:56 This concept is interesting and reminds me of Bach's Cello Suite No. 1 (constant 16th notes - truly one of the greatest pieces of all time).
I used this book decades ago and still use it for reading study. It is a small but dense volume.
If you can't read, too bad, so sad. Joe (and Bill Thrasher by extension) are correct in their consideration of the pedagogical merit of the material.
It must be remembered this book was paired down from hundreds of pages!
Guitarists need to explore the harmony within these lines, the inside and outside aspects of various tones and which beats they fall upon, and explore dynamics such as accented pick or apoyando fingerstyle attacks, muting, or even actuating the string at various distances from the bridge as a classical guitarist might.
All of Joe's teaching and transcription material (Alan de Mause and Roland Leone etc) is a goldmine of ideas.
We all borrow. Even purposefully not referencing mainstays of a language is thusly informed by it, deliberately so 😉
I love the background humour here too ☺️
Love these Joe Pass books, I'm going to dig up my old copies. Thanks Jens, great info and you rule! Keep doing what your doing, thanks bro...
They are great :)
Joe looks equally badass with halo and horns. Thanks for video Jens - I always found Joe's book dense - it took me days to get through one page. So I never made it to the Solos section.
😂 I thought so too! You should skip to the solo section, it is worth it!
@@JensLarsen I started memorizing first blues solo in F. It is a revelation - I had no idea you can use all 12 notes over blues. And in logical fashion. I read OK so lack of tabs is not important - this solo fits nicely in one position (+1 on index and pinky). Chord symbols are a bit odd indeed but not on first blues. I have 1985 edition I bought from Carol Kaye along with recording - the typeset is a bit messy and harder to read. The 1988 MelBay edition with Joe's photo on cover has cleaner typeset. Thanks Jens - it was great advice.
PS. Leaving out syncopation and writing in eight notes leaves room for creativity - it is a bit similar idea as Joe's "Chord" book - there are diagrams but you have to spell out extensions yourself.
PS2. I memorize because I want to treat it as etude - and then play around it.
1. Great video!
2. I have this book, I need to dig it out.
3. I know how to read, don't need tabs.
4. Nice cameos by Grant Green, SRV and the Star Wars Cantina Band!
Glad you enjoyed it!
Hey Jens,
This is a great video! And the info is very practical and useful.
Wishing you well.
Jasper van Dongen
Thanks Jasper! A video about homework you already did! :D
Great video Jens, thanks a lot. I really needed some good material to work on phrasing, and the explanation you give on how to use the book is priceless. Cheers
You're very welcome!
I'd love to know more about materials to study from, I've never heard of this book and it seems like an incredible thing to have
Great! There is a link in the description if you want to check it out :)
Yes, I have used it a lot, especially for the extended 'Parker blues' (Blues for Alice) examples. I find it a bit relentless, and some of the chords are a bit off as you say. But there is a lot to learn from it. I'm more of a Jimmy Raney and Jim Hall fan actually...
Sure! As I point out in the video, practicing this doesn't really mean that you should play like this. You practice scales as well, but that doesn't mean it is the only thing you play :)
Hi Jens. I would very much appreciate a post on how to structure my learning journey. I learnt from a great jazz guitarist for 11 years. He has since passed and for the last 6 years my learning has been very piecemeal. I see a post and focus on that but I feel I lack a structured way forward. I put together bits from you, TrueFire, some Berklee. I gig fairly regularly so I have to constantly learn new material from the perspective of melody, rhythm and soloing ideas and content. Often I spend weeks learning the new material and doing really nothing else. Any suggestions?
I don't think that a general post like that is super useful, at some point you have to address things that are specific to your playing , goals, skillset and learning style. That said, as long as you keep playing and learning songs then you are probably on the right track.
Wasn't aware of this book! I love Joe pass and really feel like I've hit a brick wall with my playing so I'll have to get this!
Go for it! It is not expensive, and it is worth it!
thanks for the rec
be safe, be happy, work hard
peace \m/
You're very welcome! I am glad you like it! 🙂
funny story. when i was 18 and auditioning for school, i transcribed night and day off jp's virtuoso album. note for note by ear. it probably wasn't exactly the way he played it but my own interpretation. all the peoples face dropped at each audition and i was accepted into every school lol, i also played bouree by bach along with it. and i think something from joe diorio
You get strong lines and rythm avoiding cromaticism It's something I've just realized
Had this book and lost it in a fire. Could not remember the title to buy again. Not a lot of great explanation but, got a lot from it by re reading over and over.
Thanks Jens!! Will be looking for a copy.
There is a link in the video description 🙂
Hey Jens, I bought the Joe Pass Guitar Style Book you recommended but it didn't have the CD in with it. Do you have the CD and is there a place to download the tracks referenced in the book?
Ok. I never had those audio recordings either, I don't think they are Joe Pass playing, just someone reading the exercises.
Man, I tried to lean how to play jazz by using a Joe Pass solo book and a chord Encyclopedia. I wish someone would have given me lead sheets and explained how to make chords from the parent scales (1357 etc). It’s probably be useful now but not as a beginner. Helped my reading though.
Certainly, for anything you use it has to fit the level where you are at 🙂
There’s a Joe Pass hot licks that not on UA-cam anymore that’s the best jazz video I’ve ever seen. It’s not the blues one. I used to watch it every day.
I bought this book in the mid 1970’s (by now I can’t be more specific than that 😅). It’s probably the only book I ever made it through or almost through from cover to cover. I use many of the harmonic concepts especially turnarounds still. Having watched this video I think I’ll get the book off the shelf and revisit the second half. I agree that practicing playing 1/8 notes is good practice for developing your ear and your fingers to be able to play longer, more flowing lines. I heard Julian Lage recommend a ten minute exercise each practice session - set the metronome and play 1/8 notes for ten minutes. It’s hard to do but over time trains your ear and fingers to recognize intervals and sequences that sound good to you.
Jens, I'm in currently in a rut and was wondering if you have any tips for transcribing and learning jazz standards. I have learned entirely self taught and by ear so far, any tips you have would be incredibly helpful.
Thank you!
I've had this Joe Pass book for years, and the solos were uninspiring. . Now maybe I will try playing them.
I have a Wolf Marshall book of Pat Martino transcriptions. Pat uses long strings of eighth notes quite often. My biggest problem is getting that swing feel in my playing. I was listening to Joe Pass’ playing Rosetta, which I have a transcription of also, and I just can’t get the swing feel that Joe has in his playing. It’s so relaxed and flowing but really eludes me when I try.
Try learning some stuff by ear, that will beat reading a transcription everytime for phrasing and swing feel. Also: Try to listen to how even Joe Pass often plays :)
@@JensLarsen I got really lazy about transcribing by ear many years ago. Between working long hours and family I just never had the time to spend on it. I can pick up slower, simpler music like rock or country, but jazz has eluded my ear, especially the chords. So I cheated and bought some books. Pat Martino, Joe Pass, Mike Stern, Charlie Christian, and George Benson.
@@maxwellshammer5283 Yes, but the books won't solve this problem for you :)
@@JensLarsen As far as the swing feel, I listen quite often to Joe and try to copy the feel, or at least get close. On the Parker tunes I practice slow at first to try and put that in them. Also, I watch and rewatch your videos, especially on bebop. When you demonstrate phrases, I pause the videos and work on getting that feel. I’ve gotten better, but still fall short of the mark.
I really appreciate your lessons. I wish I had a teacher like you when I was younger. That was way BYT(BeforeUA-cam).🤣
Great Jens. Well spoken! A book you might like is Hal Galper´s " Forward Motion"
Hey Jens! I loved this video.
I feel very comfortable writing my own solos to explore ideas I am working or Incorporating lines I want to use; however, I’ve never been great at hearing something in my head that isn’t straight forward rhythmically while being able to write it down in notation; that always made me feel stuck.
Adam Levy highly recommends writing out our own études to get better at something we want to work on and explore 😃
So this really helps open that door! Writing out phrases that work on this flow, and are more about creating strong up Melodies based on eight is brilliant, I love it!
Do you recommend sticking to a specific rhythmic feel for comping and practicing/writing out our own études like that?
Super cool! Writing etudes is indeed very helpful.
You can certainly explore using only a single rhythm or a single feel for an etude. It depends a lot on what you want to learn :)
It's an excellent book. I also recommend the Barry Galbraith books. Concepts in logical fingerings I think was the title and he had a great chord book as well. All are great learning and study guides. There are also some other good books ,saxophonist Bob Cooper had a great book in the same vein and I remember a Joe Diorio book I used to when learning these bebop styles;he also had a modern style using 4ths in the same book. You must learn to read in all of them and you learn to develop your own preferences for fingering which is invaluable and aids your knowledge in learning the fingerboard like no other method can. You become your own teacher with these books ie. learning the right way for you as a player.
I've never used tabs much, and never will. We need to get back to reading music and interpretation!!
I’ve had this book since I was a teenager. I think it was over my head at the time. I could understand the theory actually but wasn’t at the level of applying it. Now 30 years later I still love to crack it open and look at some of those lines. Yes you may need some more experience to get the most out of it…but it’s a great resource to have.
Maybe what I’m trying to say is that if you are less experienced it might be good to have a teacher guide you with the book and point out all the value that is packed in there.
I feel like I finally understand what you’re saying in your videos 😆 slowly getting better
Go for it :)
Hi, i bought the book because everybody is recommending it but i have a hard time finding any music.
This is just noises and random notes playing.. i dont understand anything about it
Great video and great topic. I’m glad you’re reminding me about this book and inspiring me to work from it again. I do try to practice like this, with endless eighth notes. In addition to the benefits you outline, it seems to help me keep my place in the harmonic rhythm. But it becomes a crutch and eventually I have to consciously break that habit.
Thanks Adam! I think you will find that practicing focused on anything specific will mean that you are able to over do it :)
Great video as always! However, being nitpicky as I am, I have to ask what's missing in 0:36? Also, what's wrong with chordal analysis in 2:54? The notes pretty much fit the chords given, with respect to extensions that are transcribed logically (+9 for augmented ninth, -5 for diminished fifth and so on).
Sure! Would you say that all your solos should sound exactly like 0:36 or would you change something?
As for 2:54 Trying to make any chromatic leading note into a chord extension is nonsense. That would mean that understanding the David Baker Lick over a Gm7 chord would require you to hear a Gm7(b11) chord. It doesn't make sense and it is not a description of how it sounds. I think it is quite common for people to just look vertically at stuff and then completely ignore that the horizontal part of the context is as important (if not more).
Did that help answer it?
@@JensLarsen 2:54 - I get it now, thanks. So, it's about concentrating on mathematically correct description of the chord while disregarding the sound quality of the chord and musical meaning of each note (extension, component of a chord vs a chromatic, leading, passing note).
I'm still not sure about 0:36, though. I transcribed it into Guitar Pro (I'm yet to achieve fluency finding notes on fretboard. Burden of playing from tabs for 10 years...) and it might have sounded like it lacked a direction, indeed more like an exercise than a musical piece. But again, might be my lack of experience (been a rocker guy for years, opening up to jazz recently).
@@yngvardforskvist Well, a note is not always best described by what it is against the chord. It may be more useful to see what it is in the melody. Try playing that Gm7 and put a B in the melody, that is not how the David Baker lick sounds. That B is better described as a leading note to Bb than as a b11 on Gm7.
@@JensLarsen I absolutely understand the concept now, thank you for your replies Sir!
Would you recommend any of the Jim Hall books? thanks
I don't know them, but I do like his sense of humor 😁
Great lesson Jens thank you for sharing your knowledge
Glad you like the video 🙂
Funny because I just finally started trying to learn how to read music due to a different Joe Pass lesson which isn't in tab.
It is not going well, its going to dramatically slow down my learning. It takes me days as it is to learn these complex short passages even when there is tab.
one day at a time :) you'll get faster the more you practice !
Surprised they haven't updated this with tab like a many older books
Maybe they have?