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A neighbor tone can be in the key (diatonic) or outside the key (chromatic). It can be a whole step or half step.

Joe was great a making us hear the bass line, even when he wasn't playing it

I think so too! It's the only chord book I recommend

Thanks. It's a Peerless Gigmaster Jazz, similar to a 175, but with a slightly thinner body

Glad you liked it!

​@@GeorgeHessMusic for sure! hitting the harmonically important notes while leaving everything else to feel/your ear is really improving my play

@@thesharpesttool9666 Love it!

happy to help

Wow, thank you!

Thanks

Thanks for the insights. I never met Joe, so I'm just going by what is in his books. I have Guitar Styles where he talks about those three types in the substitution section, but he also lists six chords types in other sections. But not the exactly same ones as in the chord book. In one of Joe's videos, where he says he doesn't think of arpeggios and then proceeds to demonstrate a lick using arpeggios. I think all of this is helpful in understanding how he thought. Thanks again.

No, it's the chords within each group. The tonic group includes Ima7,I6, iii-7 and vi-7. You can generally change one of these chords to another, keeping root movement and melody in mind. The subdominant minor group includes iv-7, iv-6, ii-7b5, bVII7, bVImaj7 and bIImaj7. Again, root movement and melody are a consideration. One common substitution in this group is to replace the iv-6 with a bVII7

@@GeorgeHessMusic understood for chords within each function group. then are there any interchangeability with the function groups in the C minor / minor iv group? Ex: F- to Bb7 (ii V in Eb) and D-7b5 G7 (ii V in C min).

@@MinhPham-ly7yp there is a group of chords called tonic minor which would include C minor (in the Key of C), but in this video, I'm only talking about the subdominant minor chords. C minor wouldn't be part of that group.If using borrowed chords F-7 Bb7 would resolve to C major, the backdoor cadence

@@GeorgeHessMusic tonic minor. Interesting. Ok, thanks.

Exactly. I took that as gospel. :-)

You're most welcome

Thanks! 😃

Thanks. I’m definitely here to help

Uncle George? I like it

Thanks! That awful plug-in is only on the voice. Never again.

You're right that minor 6ths and minor 7b5s are inversions, but that isn't how Joe seemed to think about it. He doesn't list any of the m7b5 voicings in the minor chord category.

@@GeorgeHessMusic Oh that is waht you meant. I see. Anyway thanks for that video. I will revisit that book. I was not ready when I first look into it.

Thanks

Yes it is, by Mel Bay now. You can get it on Amazon

There are old scans around online downloadable too. Out of copyright scans, I'd guess.

There’s a link to it on Amazon in the description

Yes, we spend most of our time playing chords, but most of our practice is on soloing. I didn't start playing jazz guitar because I wanted to shred.

@@GeorgeHessMusic It would be so cool If someone wrote a book on just Joe pass 2-5-1 phrases and 1-6-2-5 phrases

@@kidpoker007 Take a look at Joe Pass Guitar Styles. There's a lot of licks and patterns in that book

Wow, thanks!

I'm here to help. Questions are very welcome

Thanks! 😃

I used a new plugin on the voice this time. I can almost hear what you are talking about, but it's up in a frequency range my old ears don't hear very well. Is it distracting enough to justify pulling the video and fixing the audio?

@@GeorgeHessMusic that’s a tough call. I’m curious if anyone else hears it. Definitely try to fix it for future vids.

@@maestrophilkell Thanks. I'll ditch the plug in for future videos

@@maestrophilkell From u.k. I have 67 yr old ears, when tested were 7 out of ten. I can hear it also. Good video though. It’s too cold for crickets here!😂

@@madcyril4135 Anything above 10-12k is a distant memory for me. I'll ditch the offending plug-in on the next video

Hope it helps. Let me know if you have any questions

Me to, this helped alot

I've been guilty of all of them at one time or another

LOL

Thanks

Glad you liked it! Any questions?

​@@GeorgeHessMusicI'm starting the guitar again, alone, I note that it's better to play on play-alongs or real tunes than on backing tracks (that's good, I have some old aebersold, and I just discovered useful apps like Moises & Lalala.ai). Thanks for all your advices.

Thanks, Rick

I can't claim to have coined it either. I'm not sure where I heard, but it sure makes sense, don't you think?

@@GeorgeHessMusic It absolutely makes sense. It stuck with me!

@@GeorgeHessMusic What guitar are you playing? Obviously ES175 inspired. Laminate top? Sounds great!

@@kenster3554It a Peerless Gigmaster Jazz. I fell in love with it at the store and bought it on the spot. Unfortunately Peerless seems to have gone out of business

You're welcome. Thanks for watching

Thanks for sharing!

It's been a long time since I was playing in blues and rock bands, but I suspect I wasn't all that good either. I hear so much more than I did back then.

@@GeorgeHessMusic As my late father used to say, “Too soon old, too late smart”. I wish I knew then what I know now. I’ve always had a good sense of time. It was really easy to be cocky and wank around utilizing the minor pentatonic box over simple I-IV-V7 changes back in the 70’s. I vividly recall working in a record store (remember those?) in 1976 and putting on a promotional copy of the Crusaders album Those Southern Knights, and hearing the heretofore unknown (at least to me) Larry Carlton wend his through the harmonic minefield on the first cut “Spiral”. I realized right then and there, that I was just a piker.

Something else that I realized much later in life that I wish I had realized earlier, is that there is nothing mysterious about the recorded product of someone’s improvisation, (although I initially found some of Scofield’s ideas to be daunting) it’s about the process. Transcribing someone else’s solos might help in putting the language under one’s fingers and into one’s ears, but the bottom line is, that particular solo that you transcribed worked at that particular moment, with what that particular rhythm section was doing. As you have said, it’s all about listening. What will any one of us choose to do at any particular moment, with just 12 notes, in whatever configuration we happen to find ourselves in. That’s the where the rubber meets the road.

I encourage students to memorize the entire song before trying to learn it on the guitar. Then learning it phrase by phrase. It's easier than you might think.

Thanks, I’ll check it.

Thanks!

TBH, I'm not a student of Barry Harris, though I am familiar with some of his principles. It was something of a coincidence that my method, which I've started calling the 1+1 method, one scale plus one note, creates 8 note bebop scales, so I guess it makes sense that one might be the same.