Guitar Techniques - - Play: Jazz -

[Bars 57-72] Here, we star t with a great rhyth­mic mo­tif on the root (D) and the b3rd (F). Bar 61 sees a string of triplets, based on a de­scend­ing Mi­nor Pen­ta­tonic idea which de­vel­ops into bar 62, when we see another of Wes’s trade­marks; on beat 2, the 16ths that make up the C Mi­nor arpeg­gio are ex­e­cuted by flick­ing the strum­ming hand (thumb) to achieve a quick down/ up/down stroke mo­tion. This was es­pe­cially ef­fec­tive for Wes, as he had played so much with his thumb that the pro­trud­ing hard skin formed an al­most pick-like tip, which came into play in this par tic­u­lar t ype of sit­u­a­tion. How­ever, even if you haven’t got mas­sively hard skin on your thumb you can still achieve a sim­i­lar ef­fect. And also, no­tice how the note that is played with an up­stroke (G) is ac­tu­ally be­ing slid to (from the Bb), which cre­ates part of that par tic­u­lar sound as well. Take your time play­ing that lick ver y slowly and you will even­tu­ally gain a re­ally cool lit­tle tech­nique you can ap­ply in lots of other con­texts, too. No­tice how the up­strokes are re­quired again for the 16ths in bars 69 -70. Here, we are as­cend­ing on a A7 arpeg­gio and adding some flavour from the A Al­tered scale at the end (A Bb C C# Eb F G), re­solv­ing on the 3rd of D Mi­nor (F) in bar 71, be­fore mak­ing the fi­nal key change to Eb Mi­nor in a sim­i­lar fashion to the pre­vi­ous mod­u­la­tions.

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