Joe Pass - How To Make Bebop Melodic
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- เผยแพร่เมื่อ 6 ก.ย. 2024
- Joe Pass is in many ways the definition of solid hard bop and a great place to go if You want to learn to play some melodic lines over chord changes. In this Joe Pass Lesson I am going to break down 4 lines from his solo on There is No Greater Love off the Joy Spring album.
They are really great examples of how to improvise over chord changes and sound like jazz. And You can also learn how there is more to it than just hitting the right notes or playing the right arpeggio. The examples in this video are great for learning some melodic hard bop lines and understanding some of the things you can do to make your bebop solos more melodic. And of course they also demonstrate some of his style and techniques.
There is a reason that I keep recommending his Joe Pass Guitar Style book to all my students.
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Is Joe Pass the best place to learn how to play changes? 👍😎
There is no greater source, that's for sure! Excellent analysis and examples, Jens -- and your point about his improvisation not always sounding scale-derived is just one of many reasons I like his approach so much; he never has that sort of exercise or practice sound. As to Eb(ish) and not Bb, it does seem to me that Joe often played in unexpected keys -- and, too, often changed many times in the course of one song.
There are others too, such as Wes Montgomery. Is solo on this version of Here's That Rainy day, is a good example of What is possible when one is executing interesting melodic ideas. (If only I could my self). I was going to suggest for your next "Jazz Blues" lesson, Cavalerie from the Django album, by Joe Pass. Like Wes, in this solo, he also repeats motifs, that he moves around diatonically. You can tell from listening to great musicians, such as Wes and Joe, or Metheny or Holdsworth, and countless others, that these guys don't just rely on playing the right arpeggio or scale over a chord. They have strong melodic ideas. th-cam.com/video/H74EF2vZ0sQ/w-d-xo.html
Great lesson, Jens! I've been guilty as charged, getting too impatient and sticking in gratuitous triplets and sixteenths. When playing eighth notes, you're sort of forced to play a good melody or it's a snoozer. It's also cool that Joe could play at blinding speed, but would also very comfortably play simply.
Very true! Joe was comfortable and many tempos and always sounding good!
Good video. I've learned a lot from Hank Money about playing changes. I know he's not guitar. Again great video!
One of Best guitar teacher out there..
Thank you 🙂
Hi Jens! Some people like Charlie Parker and Barry Harris look at a ii-V as just V. So in your example F min 7 > Bb7 is approached as 2 bars of Bb 7 hence the Bb altered tones of Joe Pass on the F minor 7
Parker actually really outlines the II chord and the transition to V quite often, so he doesn't always think like that. But that would be an explanation as well for sure, it is hard to say how people think about the changes, but I do indeed have the impression that Joe Pass often turns a II V into just a V chord.
Appreciate the way you show how he combines blues with bop and his frequent use of altered dominant to create tension. Love Joe Pass!
Thank you Dave! Next week is a video on Kenny Burrell, and he uses blues in a completely different way which is also really awesome!
@@JensLarsen You are hitting all my favorite hard bop guitarists lately. Wes, Benson, Joe, and I love Kenny Burrell. He's so bluesy. Can't wait!
@@JensLarsen I'm loving the content about combining bebop and blues recently! Think you could do a video on Oz Noy at some point? To me he sounds like SRV with a bebop twist
Thanks! I don't really know him. I wouldn't really consider his stuff jazz? But maybe I have heard the wrong things?
@@JensLarsen There's actually a bunch of TH-cam videos of him playing standards, and a really cool studio version of Evidence in 3/4
Funny! I was just listening to a lot of Joe Pass! He's my 2nd favorite behind Wes! Great and informative video!
You're very welcome! Glad you like it!
The examples are all amazing, but that last one is really something. Wonderful harmonies. Will have to study that one for a while.
Thank you Nikolaj 🙂 That's great to hear!
Fantastic lesson, really Jens. I really liked the part where you consider that Joe’s thinking is sometimes more “chords + extensions”, rather than “chord/scale” thing. I find this approach very useful, Django knew nothing about scales, but played all sorts od extensions over chords. I myself sometimes try to think only about what notes I play in relation to root, to chord, ignoring the appropriate “scale”, especially when playing (or at least trying haha) to play Gypsy Jazz... Thanks Jens, you are by far the best educator out there :).
Thank you Omar! We sometimes forget that chord scale theory came much later than a lot of jazz 🙂
Precisely! :)
My sister on hearing Jens's voice: "Is that Arnold Schwarzenegger?"
Haha! That's a first, but I'll be back 😄
Another nice solid lesson from Jens! Thanks Jens.
Thank you Jume!
i agree that the virtuosi like Joe Pass, Barney Kessel, Wes etc know what works but aren't consciously thinking of what will work, otherwise the moment would have gone. It sounds trite to say they are just playing, but they are, while still applying a lifetime of specialist knowledge. Beginners, it's a long road, intermediates keep going, advanced you're still not there and may never get there but enjoy the trip!
Always very interesting the Joe Pass lessons_always lots to learn_
Very true!
Subtítulos en español por favor muy buenos vídeos me encantan todos gracias
Sorry, can you explain again why, in the second example, he used C melodic minor over the F7?
David Tardio my guess is that the only difference between a C melodic minor scale and F Mixolydian would be the 4th. Wouldn’t play C melodic minor just be adding a Lydian quality to the F7 chord?
It's very common to play the dominant of the dominant (F7 in Eb) as a lydian dominant 🙂
@@kevinkmny Makes sense. Thanks very much
@@JensLarsen okay, so F lydian dominant is the 4th degree of C melodic minor, and that is what you use for the dominant (F7) of the Bb7, the dominant of Eb (which is what you meant by the "dominant of the dominant"). Got it. Thanks.
Kevin, in my relatively non-theoretical way of thinking I've found that I can justify C melodic minor ascending over F7 because if F7 is a V7 then Cm7 is a ii chord and I believe Joe Pass thought of the ii-V as basically interchangeable i.e. what works over one will work over the other. @@kevinkmny
What is the ISBN number of Joe’s book you recommend?
I don't know. Doesn't it say in the Amazon link?
Thanks for replying! Your link shows a different title and the book cover is different. I did search and yields the same results. I don’t see the book you recommend..
That's true, they have different covers, but it is the same book though :)
Awesome!! First by the way :)
Thanks! You beat me by 4 seconds😁
Why you said awesome??.. you don't even finish watching the video to the end yet
@@tulussitungkir4717 Didnt have to man, its joe pass and Jens Larsen.
@@JensLarsen Been working on this since! Thanks a lot.
Thank you! I am really flattered with your confidence in my video! who would you like to see a video on? 🙂
I smoked a cigarette with Joe in front of the Rotterdam Conservatory when he did masterclasses there.
Really? Didn't know he came there for a masterclass 🙂
Boooo, Jens, joan, Catalonia free, llibertat presos politics,💕💕❤️