Wes Montgomery Jazz Guitar Solos Pdf Free

Chord solos have been a part of the Jazz Guitar skill set since the 50’s and 60’s when players like Joe Pass and Wes Montgomery used it in their music. A Chord solo is a harmonized melody line, so you don’t only improvise a melody, you also harmonize it by adding chords to it.This might seem a little scary to start working on, but if what you want to work on is harmonising melodies. One of the simplest melodies you can harmonize is a scale, so in this lesson I will take an F major scale and show you how you can harmonize it with both some chords and some progressions.

These music notes for Guitar Tab includes 3 page(s). It is performed by Wes Montgomery. The style of the score is 'Jazz'. Catalog SKU number of the notation is 63351. This score was originally published in the key of E. Authors/composers of this song: Words by Alan Jay Lerner Music by Frederick Loewe. This score was first released on Saturday. Posts about Wes Montgomery written by Bigsby. I have always enjoyed reading and looking at the transcriptions in DownBeat magazine over the years. I have compiled a collection of 26 solos featuring jazz greats Herbie Hancock, Booker Little, Max Roach, Grant Green, Stan Getz, Slide Hampton, Thelonious Monk, Jackie McLean, Cuong Vu, Clifford Brown, Roy Haynes, Woody Shaw, Sonny Rollins, Jon.

Right hand techniqueFor me it is easier to play the chords with enough control if I use my fingers on my right hand. You can of course do this with a pick or with your thumb. Just make sure that the melody is clear when you play. It is quite common for students to focus only on the chord and forget that it is actually a melody with some chords under it. The first exercises – Harmonizing the scale with one chordTo start with we can take the F major scale and harmonize it with an Fmaj7 chord. That is shown here below in example 1.

Here again I am using the same “chord” over several notes. The difficult note is in this case an E.

I opted for a Gm13 voicing, but you could also use a C major triad or Am7 passing chord.You probably want to work out your own versions of these exercises for a few of the chords in F major, so I, II, IV, V, VI and maybe also try it on some harmonic minor or altered scales for some of the common dominants like C7 and D7. Harmonizing the scale with a progressionOnce you can get through the scales with one chord at a time then you can start using a progression so that the chords change along the melody. This is getting you a step further in being able to play chord solos.In example 3 I have used a II V I VI(7) to harmonise the scale. This get’s us into trouble already in the first bar. The F and D7 chords are fine, but we end up with a Gm13 and a C7sus4 because there we have the E and the F as melody notes. For the rest it is quite easy to go up the scale. In the last bar we have an E over the D7.

While this is possible a D7 in this context would really ask for an Eb. I could have changed the note but opted for a Dm7(9) chord. Another option would have been to use an Abdim chord. Chord solo licks!To demonstrate how I come up with chord solos I have written three examples of chord solo licks.

They are all on a medium I VI II V in F major because that is a common progression especially in the types of pieces where you might play a chord solo.If you want to check out some more examples you can also check out this Scale runs and chord economyIn this first example I am starting with a scale run over the Fmaj7. This is moving from the A down to E harmonized with two different chords.

THe D7 is using the same C,F# tritone with first an Eb and then an F in the melody.On the Gm7 I am using an ascending scale run from D to A. On the D and F I am using a Bb triad. The E is harmonized with a C major triad which is also easy to play. The last chord is a C7 altered. And is really just using the same voicing but first leaving out the top string. Motif chord solosThe next example is using a simple motif and then first playing it on the I VI progression.

Then it is repeated on the II V. The motief is a really simple repeating melody.

The first part is harmonized with an Am7 voicing where I can change the top note. The dominant is taken care of with drop2 dim chords. On the Gm7 I can repeat the exact same idea as on the Fmaj7 but then 2 frets lower. The melody is varied on the C7 where I use a chromatic Db7 passing chord before I resolve to Fmaj7It is important to take care to make strong melodies when playing chord solos which I hope to illustrate with this example. A great trick for harmonizing larger interval skipsIn the last example I start out with a a scale run on the Fmaj7 up to the #9 on D7.

From there I it moves down to the Eb and then skips up to an Bb over the D7. This is achieved by using the same voicing but just adding the Bb on a higher string. This is a great smooth way to deal with the skib from Eb to Bb.On the Gm7 I am using a simple melody consisiting of A and G which is harmonized with the same chord. The C7alt is a repeating note and chord which then resolves to Fmaj7.

Get a free E-bookIf you want to download a Free E-book of 15 II Valt I licks then subscribe to my newsletter: Get the PDF!You can also download the PDF of my examples here:Jazz Guitar Insiders Facebook GroupJoin 600+ Other Jazz Guitarists 🎸Join us in the Facebook Jazz Guitar Group Community: you have any questions, comments or suggestions for topics then please let me know. Leave a comment on the video or send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.Please subscribe to my and feel free to connect with me via, or to keep up to date with new lessons, concerts and releases.This entry was posted in, and tagged, on. Post navigation.

3/6/1923 - 6/15/1968

Wes Montgomery was an American guitar jazz player, considered one of the greatest jazz guitarists of all time.

He has influenced and continues to influence many guitarists. His playing is characterized by the use of his thumb instead of a pick with incredible dexterity. He took the use of octaves and chords voicings to a greater level than any other guitarist. His guitar solos are gold mines for jazz guitar students, he used a lot arpeggios and superimposed triads. He often approached solos by following the same chords progression in three ways and in the same order:

1- In single note lines using scales and modes.

2- By playing octaves, he was the master of octave playing and widely know about this.

3- By playing block chords.

Wes Montgomery played almost exclusively on a Gibson L-5 CES plugged most of the time into Fender amps ( super reverb, twin reverb, deluxe). He also played on Gibson L-7, Gibson L-4, Es-175, ES-125D.

He died of a heart attack in 1968 and leaves behind an impressive discography, a Bible , an encyclopedia for all jazz guitar players.

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