Chords for Wes Montgomery Blues Lesson | D Natural Blues
Tempo:
67.85 bpm
Chords used:
D
G
Em
C
E
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Jam Along & Learn...
[D] [G]
[D] In today's lesson, we're going to take a close look at a jazz blues solo by the great [Dm] Wes Montgomery.
[D] some of the licks and discuss the [D] theory behind it.
[D] to my channel.
[Em] [A]
[D] [G] [D] [A] The solo we're going to go over today is from the [G] song D natural blues off of Wes's
and as the title indicates the song is in the key of D.
progression because all of the examples we're going to talk about today
[D] In today's lesson, we're going to take a close look at a jazz blues solo by the great [Dm] Wes Montgomery.
[D] some of the licks and discuss the [D] theory behind it.
[D] to my channel.
[Em] [A]
[D] [G] [D] [A] The solo we're going to go over today is from the [G] song D natural blues off of Wes's
and as the title indicates the song is in the key of D.
progression because all of the examples we're going to talk about today
100% ➙ 68BPM
D
G
Em
C
E
D
G
Em
_ [D] _ _ _ _ _ _ [G] _
[D] In today's lesson, we're going to take a close look at a jazz blues solo by the great [Dm] Wes Montgomery.
I'll break down [D] some of the licks and discuss the [D] theory behind it.
Then we'll use these [G] concepts to write some licks of our own.
My name is Jack Grush.
Welcome [D] to my channel.
Let's get into [Em] it.
_ [F#m] _ _ [Fm] _ _
_ [Em] _ _ _ _ _ [A] _ _
[D] _ _ [G] _ _ [D] _ [A] The solo we're going to go over today is from the [G] song D natural blues off of Wes's
[N] 1960 album the incredible jazz guitar of Wes Montgomery and as the title indicates the song is in the key of D.
Now I'm not going to go over every chord in this particular jazz blues progression because all of the examples we're going to talk about today
fall over the I chord or the IV chord in the progression.
But if you're interested in taking a [F] deeper dive into the style check out the lesson I did all about [G#] the jazz blues.
I'll put the link down in [D] the description.
_ [A] _ _ [D] _ _ _ _
[G] _ _ _ _ [D] _ _ [Bm] _ _
_ _ [D] _ _ [G] _ [Bm] So Wes's solo starts by playing out of a D7 [E] scale.
[C] It's just a D major scale with a flat 7 the note C.
[D] Then as it changes to the IV chord he targets chord tones of G7.
So _
_ _ [Em] _ _ [F] right there as [G] the chord changes to G it's the third of that chord followed by the root [F] and then up to the flat 7.
[E] As he continues on he continues to use this D7 [D] scale and
_ _ [Am] _ [A]
then he follows that with this little chromatic walk down from [F#] the fifth to third of D7.
And _ then [Gm] right here he plays out of a [D#m] D7 flat 9 [D] arpeggio _
_ followed by targeting chord tones of G7.
_ [G]
Right as the chord changes to G7 again.
So by breaking this down to a few simple ingredients we can build our own line
using a similar recipe and what really makes this solo special
is this little chromatic [F#] walk down to the third followed by
_ [Bm] that D7 flat 9 arpeggio.
So now I'm going to build my own solo
doing something similar playing out of the D7 scale
_ [F#] and then a chromatic walk down to the third _
followed by a D7 flat 9 [D] arpeggio.
_ _ [G] And then finally [D] targeting a chord tone of G7 as we move to the G7 chord. _ _ _
[Am] _ _ _ [G] _ _ _ _ _
_ _ _ _ _ _ [D] _
[E] The next part of [G] Wes's solo falls over the four chord this G7 chord
and he [D#m] starts out by outlining this chord with some chord tones along with some chromatic passing tones.
_ [E] _
And then right here he follows that up by playing the tonic diminished scale the D tonic diminished scale
[C] also known as the whole half diminished scale [C#] starting on C sharp.
Then D, then E, [G] then F, then G.
Then A flat, then [B] B flat, B, [Dm] C sharp, D. _ _
[D] _ Right so now we can take these ingredients take [E] a G7 arpeggio and add some chromatic notes to it
and then use this tonic diminished scale to bring us from G7 [D] back to D7.
[G] _ _ _ _ _ _
_ _ [D] _ _ _ _ _ _
_ _ [G] _ _ [D] _ _ [G] _ _
_ [D] So now we're going to jump to the next 12 bars of [F#] Wes's solo
and this section opens up with the lines [C] straight out of a C major 7 arpeggio.
[Em] _ _ _ _
_ [D] Right now C major [C] 7 works really nicely over a D7 chord [C] because you get the notes C, [Em] E, G, and B
[F] which is the flat 7, [Em] the 9, the 11, and the 13 on [D] top of a D major triad so [A#] all of your upper extensions.
[G] Wes follows this up by playing right out of the D minor pentatonic.
_ [D] To give a [A#] bluesy little end to this phrase [G] that brings you into the four [B] chord.
So now we can make this lick our own by playing something out of a C major 7 [C] arpeggio
_ [G] _ followed by some D [Dm] minor pentatonic to get us to the G7 chord.
[D] _ _ _ _
[Gm] _ _ _ _ [G] _ _ [D] _ _
_ [G] _ _ _ [G] So this final line we're going to look at uses another arpeggio over top of the D7 chord
[Am] the A minor 7 arpeggio or the 5 minor.
Now this arpeggio gives you another really nice extended sound with the 5th, the [Em] flat 7th, 9th, [Gm] and 11th.
[C] And the line Wes [D] plays [Em] adds _
_ [D] _ [B] some chromatic notes in the mix with that.
So now we're going to play something out of an A minor 7 arpeggio over this D7
and use some [D] chromatic notes to tie it all together and make it a little more interesting.
[Em] _ _ _ _ _ _
[Dm] _ _ _ Alright guys, thank you so much for watching.
I really encourage you to check out this tune by Wes Montgomery
and definitely use this approach of learning, breaking down, and analyzing solos that you
transcribe to make them your own and build your own vocabulary.
As always, I really appreciate your guys' support.
Don't forget to subscribe and ring the bell and I will catch you next time.
Take
[D] In today's lesson, we're going to take a close look at a jazz blues solo by the great [Dm] Wes Montgomery.
I'll break down [D] some of the licks and discuss the [D] theory behind it.
Then we'll use these [G] concepts to write some licks of our own.
My name is Jack Grush.
Welcome [D] to my channel.
Let's get into [Em] it.
_ [F#m] _ _ [Fm] _ _
_ [Em] _ _ _ _ _ [A] _ _
[D] _ _ [G] _ _ [D] _ [A] The solo we're going to go over today is from the [G] song D natural blues off of Wes's
[N] 1960 album the incredible jazz guitar of Wes Montgomery and as the title indicates the song is in the key of D.
Now I'm not going to go over every chord in this particular jazz blues progression because all of the examples we're going to talk about today
fall over the I chord or the IV chord in the progression.
But if you're interested in taking a [F] deeper dive into the style check out the lesson I did all about [G#] the jazz blues.
I'll put the link down in [D] the description.
_ [A] _ _ [D] _ _ _ _
[G] _ _ _ _ [D] _ _ [Bm] _ _
_ _ [D] _ _ [G] _ [Bm] So Wes's solo starts by playing out of a D7 [E] scale.
[C] It's just a D major scale with a flat 7 the note C.
[D] Then as it changes to the IV chord he targets chord tones of G7.
So _
_ _ [Em] _ _ [F] right there as [G] the chord changes to G it's the third of that chord followed by the root [F] and then up to the flat 7.
[E] As he continues on he continues to use this D7 [D] scale and
_ _ [Am] _ [A]
then he follows that with this little chromatic walk down from [F#] the fifth to third of D7.
And _ then [Gm] right here he plays out of a [D#m] D7 flat 9 [D] arpeggio _
_ followed by targeting chord tones of G7.
_ [G]
Right as the chord changes to G7 again.
So by breaking this down to a few simple ingredients we can build our own line
using a similar recipe and what really makes this solo special
is this little chromatic [F#] walk down to the third followed by
_ [Bm] that D7 flat 9 arpeggio.
So now I'm going to build my own solo
doing something similar playing out of the D7 scale
_ [F#] and then a chromatic walk down to the third _
followed by a D7 flat 9 [D] arpeggio.
_ _ [G] And then finally [D] targeting a chord tone of G7 as we move to the G7 chord. _ _ _
[Am] _ _ _ [G] _ _ _ _ _
_ _ _ _ _ _ [D] _
[E] The next part of [G] Wes's solo falls over the four chord this G7 chord
and he [D#m] starts out by outlining this chord with some chord tones along with some chromatic passing tones.
_ [E] _
And then right here he follows that up by playing the tonic diminished scale the D tonic diminished scale
[C] also known as the whole half diminished scale [C#] starting on C sharp.
Then D, then E, [G] then F, then G.
Then A flat, then [B] B flat, B, [Dm] C sharp, D. _ _
[D] _ Right so now we can take these ingredients take [E] a G7 arpeggio and add some chromatic notes to it
and then use this tonic diminished scale to bring us from G7 [D] back to D7.
[G] _ _ _ _ _ _
_ _ [D] _ _ _ _ _ _
_ _ [G] _ _ [D] _ _ [G] _ _
_ [D] So now we're going to jump to the next 12 bars of [F#] Wes's solo
and this section opens up with the lines [C] straight out of a C major 7 arpeggio.
[Em] _ _ _ _
_ [D] Right now C major [C] 7 works really nicely over a D7 chord [C] because you get the notes C, [Em] E, G, and B
[F] which is the flat 7, [Em] the 9, the 11, and the 13 on [D] top of a D major triad so [A#] all of your upper extensions.
[G] Wes follows this up by playing right out of the D minor pentatonic.
_ [D] To give a [A#] bluesy little end to this phrase [G] that brings you into the four [B] chord.
So now we can make this lick our own by playing something out of a C major 7 [C] arpeggio
_ [G] _ followed by some D [Dm] minor pentatonic to get us to the G7 chord.
[D] _ _ _ _
[Gm] _ _ _ _ [G] _ _ [D] _ _
_ [G] _ _ _ [G] So this final line we're going to look at uses another arpeggio over top of the D7 chord
[Am] the A minor 7 arpeggio or the 5 minor.
Now this arpeggio gives you another really nice extended sound with the 5th, the [Em] flat 7th, 9th, [Gm] and 11th.
[C] And the line Wes [D] plays [Em] adds _
_ [D] _ [B] some chromatic notes in the mix with that.
So now we're going to play something out of an A minor 7 arpeggio over this D7
and use some [D] chromatic notes to tie it all together and make it a little more interesting.
[Em] _ _ _ _ _ _
[Dm] _ _ _ Alright guys, thank you so much for watching.
I really encourage you to check out this tune by Wes Montgomery
and definitely use this approach of learning, breaking down, and analyzing solos that you
transcribe to make them your own and build your own vocabulary.
As always, I really appreciate your guys' support.
Don't forget to subscribe and ring the bell and I will catch you next time.
Take