Guitar Techniques - - Play: Jazz -

[Bars 41-56] This is where the solo kicks off. No­tice how the gen­eral frame of ref­er­ence is the Mi­nor Pen­ta­tonic and the Nat­u­ral Mi­nor scale. The main two added colours are the ma­j7th (B# or C), which – as the 3rd of the dom­i­nant chord (G#7) ob­vi­ously is a strong note to use – as well as the D (b2 again), which func­tions as the b3rd of the sec­ond chord of the pro­gres­sion (Bm9). Wes also likes to mix in the Blues scale, which has such a strong char­ac­ter that it doesn’t need to be the­o­ret­i­cally ‘cor­rect ’ to sound great, and he is the kind of player who can make phrases sound amaz­ing, even if they aren’t the­o­ret­i­cally per fect in the con­text of the chords. No­tice how time and time again, he uses riffs and mo­tifs to great ef­fect, of ten de­vel­op­ing them in a call-and-re­sponse sor t of way. Take, for ex­am­ple, the mo­tif star ting on the last beat of bar 48. Based around re­peat­edly hit­ting the top C# oc­tave on the 9th and 12th frets (third and first string); this mo­tif re­peats in the fol­low­ing four bars, each time with a slight change, adding colour and ex­cite­ment, while main­tain­ing es­sen­tial flow and sense of devel­op­ment. No­tice how this cul­mi­nates in a huge Mi­nor Pen­ta­tonic run, be­fore mov­ing straight to D Mi­nor in bar 56, us­ing the D Har­monic Mi­nor scale (D E F G A Bb C) and its ma­j7th again (C#) to travel to­wards the res­o­lu­tion on the high D oc­tave.

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