[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.