Logic would indicate, based upon where he must have played the guide tones G-C just prior to this, that the first F had to have been played on the D-string at the 4th fret.
If I was going to help you to break down the fingering of this particular line, I would ask you to consider thinking of it in two distinct pieces. The first piece of the line goes up until the E-natural in the middle of beat 2 of bar 4.
The E-natural appears at the 5th fret on your B-string. It is my sense that, from there, Wes vaults to that G-natural at the 12th fret on his G-string, and finishes the phrase with, what I would refer to as, an Em7 9 arpeggio. After the line peaks at the high F in bar 5 as the D7 chord arrives, the triplets continue and descend in what is, essentially, D minor pentatonic. But here, you should consider this as merely a 'step-brother' to the D blues scale, just minus the appearance of an Ab G.
If you practice, and slow-ly, at putting these two pieces of the same line together, eventually, you can develop the same grace and easy-flow that Wes Montgomery had. Keep in mind that he had probably played lines like this, perhaps even the same one, on countless occasions during all those nights, with 2 gigs per night, during his formative years in Indianapolis. This is why a passage like this, for Wes, sounded so effortless.
But, you can do it too!!! Bars offer more blues-based material. It would probably serve you well to notice that Wes almost never plays a C , the major 3rd of A7, without playing a grace-note C-natural before it. In my day, musicians used to refer to this as putting a bit of "grease" on the note. To just strike a C , the 3rd of the chord, will always sound much too "vanilla" to most players, and to listeners alike.
Rock and Blues players accomplish the same thing by simple bending-up from the C-natural about a quarter-tone. For most guitar purists, this is the more soulful way to do it, and, in a sense, it is the most guitaristic way! You dig? At the end of bar 7, Wes throws in a nice C m7 chord. Again, this mirrors the way the head is stated. Wes treats this ii-V of C m7-F 7 with a C m7 arpeggio leading to an A , which is a key chord-defining tone for the F 7 chord.
From there, considering that there are only two choruses of single-note lines, Wes employs the only altered tone, that being the b9, a G-natural, in a traditional descending passage which leads to a D-natural, the m3rd of Bm7 in bar 9. In bars , Wes treats this ii-V, Bm7-E7, in very much the same way as he treated the ii-V in bar 4. This amount is subject to change until you make payment.
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Related sponsored items Feedback on our suggestions - Related sponsored items. Last one. Report item - opens in a new window or tab. Seller assumes all responsibility for this listing. Item is in original shrink wrap if applicable. See the seller's listing for full details. See all condition definitions - opens in a new window or tab Are you going to try to learn the solos or just pick up the head and chords and basic structure? Join Date May Posts 5. Satin Doll? The head and the changes aren't too hard, but lots to explore with.
Join Date Dec Posts Originally Posted by mr. Join Date Feb Posts I was going to start transcribing Polka Dots And Moonbeams pretty soon - sounds fairly straightforward and I can always drop the octaves if it's too difficult. Plus, it's so damn pretty. Join Date Nov Location wpg man can Posts Originally Posted by MortenFaerestrand. Bumpin is a slow blues and a great tune.
All of them are hard to play up to tempo for me. I know ten songs. Four on Six is not hard to play, but up to tempo it is, at least for me. I've slowed them down with audio software and put them on my i-Pod. Sundown is probably the easiest and Besame Mucho the hardest. His octave playing in general is the the hardest IMO. I sometimes feel he speed up the recordings, but I know he didn't because they are all in concert A. Lots of space to play on that. Join Date Nov Posts Here's Rich Severson teaching "Tear it Down" Originally Posted by Flyin' Brian.
Thanks for all the leads everyone, this will keep me busy for a while One quick question, do any jazz players use finger picks, the kind that you slip on? I know blues players do a lot. Originally Posted by FatJeff. Wow - how is it I've never heard this song??? Thanks for the tip - I know what my next transcription is going to be now!! Join Date Mar Posts 3, Originally Posted by joshatatlasstands.
Thanks for all the songs, I can't wait to pick up the guitar now. In my opinion, have structured practice time and work on a narrow issue. Make sure you come out of the practice session with some measureable progress. Then have some noodling time where you can lay down a rhythm track and improvise over. Originally Posted by bachplay6. West Coast Blues. Wes Montgomery. The Thumb. Born to Be Blue. Unit 7. Sam Jones. Naptown Blues. Sun Down. Willow Weep for Me. Ann Ronell. Twisted Blues.Apr 01, · This book does not have Wes' solos or his rhythm chops. The music is written in standard notation in B-flat, E-flat, Bass Clef and C instruments and only contains the chord symbols above the staff, no guitar diagrams. Anywho, the songs are: D Natural Blues Four on Six Fried Pies Road Song Sundown Switchin' Tequila Twisted Blues West Coast Blues Reviews: 5.