Chords for Joe Pass interview
Tempo:
142.55 bpm
Chords used:
G
D
E
A
F
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
All guitar players play some at home solo, you know.
I mean, they sit around the house and play.
And so, I think Norman Grants asked me one time to play some solo, you know.
And I said, gee, you know, [F] I don't know.
I mean, classical [G] guitar players can do it.
I mean, they have a prescribed set of music and they play the same thing.
And so, what do I do?
He said, just go out and play.
[Eb] So, [D] I went out and played.
And I was very nervous at [N] first.
Because, I mean, on balance you can do it.
But when you start playing up tempos and medium tempos, then you have to rely on other things.
And anyway, I just [G] went out and started doing it.
It was kind of an accident, you know.
And nobody got mad or threw anything.
So, I continued to do it.
Your improvisational talent is, like everybody says, enormous.
Do you feel that you are creating at this spot?
Is it [D]
premeditated [G] improvisation?
No, I don't think it's premeditated.
In fact, I know [D] it's not premeditated.
You can't think and play.
If you [Abm] think about what you're playing, the [G] playing does [F] become stilted.
You have to just [G] focus on the music, I feel.
Concentrate on the music.
Focus on what you're playing.
And [E] just let the playing come out.
Once you [D] start thinking about doing this or playing that, it's
[G] not good.
And what you do, I [B] think, it's like language.
You [E] have a whole collection of musical ideas and thoughts that you've accumulated through your musical [N] history.
Plus all the musical history [D] of the whole world.
And it's all in your subconscious.
And you [E] draw upon it when you play.
That means [D] that people that you play with should have the same [A] ability.
[D] Do you find that with Gils Henning, for instance?
[A] Yeah, sure.
Much the same.
We play together.
We don't even
We just pick a tune and we don't [Gb] talk about ending or beginning [G] or what we're going to do.
We just play [A] and listen.
One of [G] the main things I think that is required in any group, two or more, is [A] the players to listen [Eb] to one another.
[G] Rather than just say, OK, let's play the blues.
I know [E] the blues.
You know the blues.
So we play.
[N]
I mean, they sit around the house and play.
And so, I think Norman Grants asked me one time to play some solo, you know.
And I said, gee, you know, [F] I don't know.
I mean, classical [G] guitar players can do it.
I mean, they have a prescribed set of music and they play the same thing.
And so, what do I do?
He said, just go out and play.
[Eb] So, [D] I went out and played.
And I was very nervous at [N] first.
Because, I mean, on balance you can do it.
But when you start playing up tempos and medium tempos, then you have to rely on other things.
And anyway, I just [G] went out and started doing it.
It was kind of an accident, you know.
And nobody got mad or threw anything.
So, I continued to do it.
Your improvisational talent is, like everybody says, enormous.
Do you feel that you are creating at this spot?
Is it [D]
premeditated [G] improvisation?
No, I don't think it's premeditated.
In fact, I know [D] it's not premeditated.
You can't think and play.
If you [Abm] think about what you're playing, the [G] playing does [F] become stilted.
You have to just [G] focus on the music, I feel.
Concentrate on the music.
Focus on what you're playing.
And [E] just let the playing come out.
Once you [D] start thinking about doing this or playing that, it's
[G] not good.
And what you do, I [B] think, it's like language.
You [E] have a whole collection of musical ideas and thoughts that you've accumulated through your musical [N] history.
Plus all the musical history [D] of the whole world.
And it's all in your subconscious.
And you [E] draw upon it when you play.
That means [D] that people that you play with should have the same [A] ability.
[D] Do you find that with Gils Henning, for instance?
[A] Yeah, sure.
Much the same.
We play together.
We don't even
We just pick a tune and we don't [Gb] talk about ending or beginning [G] or what we're going to do.
We just play [A] and listen.
One of [G] the main things I think that is required in any group, two or more, is [A] the players to listen [Eb] to one another.
[G] Rather than just say, OK, let's play the blues.
I know [E] the blues.
You know the blues.
So we play.
[N]
Key:
G
D
E
A
F
G
D
E
All guitar players play some at home solo, you know.
I mean, they sit around the house and play.
And so, I think Norman Grants asked me one time to play some solo, you know. _ _ _
And I said, gee, you know, [F] _ I don't know.
I mean, classical [G] guitar players can do it.
I mean, they have a prescribed set of music and they play the same thing.
And so, what do I do?
He said, just go out and play.
[Eb] So, [D] I went out and played.
And I was very nervous at [N] first.
Because, I mean, on balance you can do it.
But when you start playing up tempos and medium tempos, then you have to _ rely on other things.
And anyway, I just [G] went out and started doing it.
It was kind of an accident, you know.
_ _ And nobody got mad or threw anything.
So, I continued to do it.
_ Your improvisational talent is, _ like everybody says, enormous.
_ Do you feel that you are creating at this spot?
Is it [D] _ _
premeditated _ [G] _ _ _ improvisation?
No, I don't think it's premeditated. _ _
_ _ _ In fact, I know [D] it's not premeditated.
You can't think _ and play.
If you [Abm] think about what you're playing, the [G] playing does [F] become stilted.
You have to just [G] focus on the music, I feel.
Concentrate on the music.
Focus on what you're playing.
_ And _ _ [E] just let the playing come out.
Once you [D] start thinking about doing this or playing that, _ _ _ _ it's _
[G] not good.
And what you do, I [B] think, it's like language.
You [E] have a whole collection of _ _ musical ideas and thoughts that you've accumulated _ through your _ _ musical [N] history.
Plus all the musical history [D] of the whole world.
And it's all in your subconscious.
And you [E] draw upon it when you play.
That means [D] that people that you play with should have the same [A] ability.
[D] Do you find that with Gils Henning, for instance?
[A] Yeah, sure.
Much the same. _
We play _ together.
We don't even_
We just pick a tune and we don't [Gb] talk about ending or beginning [G] or what we're going to do.
We just play [A] and listen.
One of [G] the main things I think that is required in any group, two or more, is [A] the players to listen [Eb] to one another.
[G] _ Rather than just say, OK, let's play the blues.
I know [E] the blues.
You know the blues.
So we play.
_ _ _ [N] _ _ _ _ _
I mean, they sit around the house and play.
And so, I think Norman Grants asked me one time to play some solo, you know. _ _ _
And I said, gee, you know, [F] _ I don't know.
I mean, classical [G] guitar players can do it.
I mean, they have a prescribed set of music and they play the same thing.
And so, what do I do?
He said, just go out and play.
[Eb] So, [D] I went out and played.
And I was very nervous at [N] first.
Because, I mean, on balance you can do it.
But when you start playing up tempos and medium tempos, then you have to _ rely on other things.
And anyway, I just [G] went out and started doing it.
It was kind of an accident, you know.
_ _ And nobody got mad or threw anything.
So, I continued to do it.
_ Your improvisational talent is, _ like everybody says, enormous.
_ Do you feel that you are creating at this spot?
Is it [D] _ _
premeditated _ [G] _ _ _ improvisation?
No, I don't think it's premeditated. _ _
_ _ _ In fact, I know [D] it's not premeditated.
You can't think _ and play.
If you [Abm] think about what you're playing, the [G] playing does [F] become stilted.
You have to just [G] focus on the music, I feel.
Concentrate on the music.
Focus on what you're playing.
_ And _ _ [E] just let the playing come out.
Once you [D] start thinking about doing this or playing that, _ _ _ _ it's _
[G] not good.
And what you do, I [B] think, it's like language.
You [E] have a whole collection of _ _ musical ideas and thoughts that you've accumulated _ through your _ _ musical [N] history.
Plus all the musical history [D] of the whole world.
And it's all in your subconscious.
And you [E] draw upon it when you play.
That means [D] that people that you play with should have the same [A] ability.
[D] Do you find that with Gils Henning, for instance?
[A] Yeah, sure.
Much the same. _
We play _ together.
We don't even_
We just pick a tune and we don't [Gb] talk about ending or beginning [G] or what we're going to do.
We just play [A] and listen.
One of [G] the main things I think that is required in any group, two or more, is [A] the players to listen [Eb] to one another.
[G] _ Rather than just say, OK, let's play the blues.
I know [E] the blues.
You know the blues.
So we play.
_ _ _ [N] _ _ _ _ _