Sorry to be off topic but does anybody know of a method to log back into an Instagram account? I stupidly forgot the password. I love any assistance you can offer me!
@Ronnie Rayan I really appreciate your reply. I got to the site through google and I'm trying it out atm. Looks like it's gonna take a while so I will reply here later with my results.
brother, your encyclopedic knowledge, your depth of understanding, your passion for the art of music as presented through the six strings of guitar is nothing short of inspiring. I know I'm not alone in saying heartfelt thanks for all of this(from Frampton to the Dan to Wes- and all points in between.) Thank you for paying the beauty forward :)
Rick, this is the best online content ive ever seen. I've learned so much that I didn't know that I didn't know since discovering your channel 3 days ago. thank you for the killer content.
Thank you so much Rick. This was very inspiring to me and I wanted to appreciate the significant time and attention you devoted to carefully transcribing one of Wes Montgomery's masterpieces. This video really changed my life intellectuallty as a guitatrist. Thank you so much for explaining the inversions and/or substitutions as you describe them. Bless you for taking the time Mr. Beato.
I appreciate you touching upon the quality of Wes Montgomery that sets him apart from all others- his beautiful use of simple melodic lines that. when playing over complex changes and subs, create such a feeling of natural warmth and rightness.
Excellent video! Informative, relaxed, fast moving with no long-winded or stammering over explanations. To the point, filled with useful breakdowns and observations on the solo, and Montgomery's playing overall. The chord changes appearing on screen are greatly appreciated. Just Incredibly helpful and useful knowledge for a player like myself. This is how you do it. Thank you so much!
I think I speak for a lot of people when I say how incredibly greatful I am for these videos - the amount of time, effort and insight you've invested to give us something this valuable is remarkable. Thank you!
Rick, I'm sorry to say that I don't know a thing about theory but I enjoyed every moment of it. In the second part tears were rolling down from my eyes, there's so much beauty in it. It sounds like Wes could go on and on and always find a resolution, no matter where he was on the neck of his guitar.
Great video. Love how you break up the lines and explain in detail both the functional aspects in Wes's playing as well as the incredible beauty he creates when all these motives are stacked upon one another, sounding so complete like endless strings of musical lyricism. It's an art to explain that the way you do in this vid !
Yeah Wes! Now you're talking about one of the truly great guitarists. That solo is also one of my favorites. It shows that you can really swing without speeding up the tempo.
Brilliant stuff. Very helpful for me as a rock soloist and trying to understand the apparent 'changes' one can acquire by, (simplified version), moving a half-step up or down at the right time.
Great guitar lesson! Seeing where you play runs in relation to the chord shape and the solo melody is super helpful. The guitar with the P-90s has a great sound as well.
Wes created his own melodies within his solos, melodies that seem to be influenced by the era or region that inspired the song. Nica's Dream and Besame Mucho (Boss Guitar) are my favorites
Famtastic video and analysis Rick, great playing and observations too! I really enjoyed this, and will probably watch it again! A couple of times! I just cant get enough of listening to wes! Thanks again!
Watch Wes on Nica Dream he has to constantly tell the rhythm sect what beat sound he wants . Wes was a genius so one thing you have to know he’d lead you into what he wants to feel & this how Wes played by feel & his fantastic ear . I’m glad Wes never sounded anything like you’re to analyze.
Hi Rick , I really enjoyed the way you have taught this lesson , great tone and clarity in your playing , also your video on hard work and the result You achieved is capital COOL. I also enjoyed your break down of Wes Montgomery chord soloing and other videos you have posted. God Bless Stan
Claim: Wes never used his pinky finger in single-note lines, only in chords and octaves. What do you think? This is my conclusion after watching several videos of him.
That's because as Joe Diorio told me, "Wes was always thinking sounds made up from major, minor, augmented and diminished triads and chord shapes combined with chromatic and diatonic passages". He wasn't thinking scales!
A really informative, helpful lesson. Just what I needed right now. Might take me more than a while to absorb it all, but more's the value! There's a whole lot of info -- and a lot to think about -- in this vid.
Rick, thanks for another awesome video. Wes was so incredibly gifted and you clearly explained what he did from start to finish. I had to laugh at the 23 thumbs down. They probably also think that Leonardo Da Vinci was no big deal and Oscar Peterson played too many notes.
hi Rick thank you for this amazing analysis of Wes's solo on Days and Wine and Roses! I know this solo well since I transcribed it many years ago as well as other songs by Wes. it's so happens that at the end of the summer I'll be going to Bogotá Colombia to play a concert or two as well as do a couple of workshops. Part one of the workshops, I want to focus on the solos of Wes Montgomery. I'm planning on featuring a couple, analyze them and figure a way to teach them. I'm also shedding 10 Wes tunes for a gig next week!
Absolutely brilliant. Thank you. Did Wes know how to read notation or some degree of music theory? I'm thinking, i could be wrong, that he did it all by ear which is pure genius in my mind. He had incredible ears, like yours, for sure.
He knew music theory very well. There's a video ua-cam.com/video/zscOSmLTejQ/v-deo.html Start at 15:00 Wes explains all the key changes and sub chord changes as they rehearse the tune. People think that because Wes didn't read music (like many of the great guitar players) he didn't know anything about theory. All great jazz players understand theory. By ear and to explain it.
All the time I was around musicians that knew Wes couldn’t read music & didn’t feel comfortable in the studio with other musicians that could . Who told me this my friend Dr David Baker we were friends in 1958 before David went to NY to play with George Russell
Awesome !! Thank you for this video. Wes is my favorite jazz guitar player since I was a tennaged boy. I wish some day you can do the version of "Bésame mucho " in the same album "Boss Guitar".
I am in shock from watching this video , I just started to learn guitar , and my goal is rock , jazz isn't my style , but the complexity of wes , and the level of thinking , and the detail of your video , makes me want to quit the guitar , because I could never even come near the knowledge you presented here , so what should I do now ?
E AA It's just a language, you wasn't born able to read and speak from the get go, you pick it up as you go through life. You can listen to the architecture of the phrases and start understanding how they are constructed. Remember, you are seeing Wes' and Rick's countless years of research, practice, and listening habits. You'll get it soon enough, the journey is the best of playing an instrument.
Dan Greenwood thanks Dan , I understand what you mean , but still is overwhelming , I want to do improv , and I can't stand all the videos on playing fast , speed is relative and simply playing in subdivisions of tempo at high rates of speed means almost nothing , it won't bring the creativity I need
Wes Montgomery? Now there's a name that rarely comes up. I tell people about Barney Kessel and I get that look like, who? Great seeing an old master get some air time. Thanks again for what you do.
Tadupah It really interesting. I've not seen people do that ever honestly. It's a great substitution. Most substitutions are from Minor to dominant not from dominant to major seven.
Well, a year later. I feel like there are two reasons people do anything harmonically: theory and voice leading. Voice leading includes common tones. Fmaj is F-A-C-E. That's your key center; Imaj7. Eb7 to Am7b5 gives you consecutive whole step half-diminished triads: (Eb)G-Bb-Db - A-C-Eb. He's shown use of step-wise ascending constant-structure movement in this piece - see mm15-16 - so the original harmony supports that. In contrast, if you play Ebmaj7 then now you have a D on top. While that chord would be janky if it led to the original A half-diminished, that D is now a common tone for the next five bars. Measures 7 and 8 drop that D down a half step for some juicy tension which provides forward movement into the next harmonic phrase. I always wondered about these weird-ass progressions. As soon as I learned about voice leading, and developed my ear, I realized I could come up with my own answers. TL; DR - no one knows why he did it but, if you break down the voices, you can definitely come up with a musically-valid explanation.
What a breakdown of a song. Thank you so much. Amazing video. I’ve always found Wes to create the most amazing melodic solos and what is fascinating is the footage when he plays. There is no locking into positions. It’s very horizontal playing and I think the way he views the neck is incredible. His sounds, subs, and tonalities are just amazing. Also if you notice, Wes rarely uses his pinky, no evidence of a CAGED system at all. I think that by not using his pinky, his tones always sound great, because these are strong fingers to use on the neck, the pinky is the weakest and can sometimes sound it too, so he never suffers from that. Thank you once again for this break down. I don’t think there will ever be another Wes. Just a true master musician.
Rick - can u correct me if I’m wrong? In the very first part of your analysis from the beautiful turnaround to the top (fM7) ... u say he starts on flat9 of D7b9? The way you chart it and play it it is a C7b9 and the line on the turnaround to the top starts on the #9 of the C7b9 not the b9 of a D7b9. Is that correct?
Rick, this was a fantastic discussion. I've been working out this solo for the past for weeks so this was a perfect piece for me to further understand what he was doing. Here is an added thought: Much of what Wes is doing is about enclosures. For example in the Bbm7 in the 7th measure (not including the intro) the 3rd note (Db) goes to A natural and up to C. We see this in other places too. (14th measure-----the Bb13 to the G13---- -the triplet- (F-D#-E). What do you think? Thanks for your excellent work.
Rick, I read somewhere that you were looking for a great arch top. I just bought a D’Aquisto ( a real one, not a knock off) and it’s probably the only electric that I’ll play from now on. I have 2 Bryant Treniers and a John David Morse that you may really like. They are pricey but worth every penny. Let me know .......With a reply
Awesome overview of the solo and the lines and great observations on his melodic ideas and the connection from Wes to Metheny! Really enjoyed it!
@Leonard Thaddeus lol
Sorry to be off topic but does anybody know of a method to log back into an Instagram account?
I stupidly forgot the password. I love any assistance you can offer me!
@Ronnie Rayan I really appreciate your reply. I got to the site through google and I'm trying it out atm.
Looks like it's gonna take a while so I will reply here later with my results.
@Ronnie Rayan It worked and I actually got access to my account again. I'm so happy!
Thank you so much you really help me out!
@Winston Tripp you are welcome :)
This solo made me cry for many times. This is a piece of art. Wes was a genius ! Thank you for posting.
Yes... it is so moving... absolutely beautiful solo.
I'll second that - it's right up there with "Malibu Shark Attack', truly brings a tear to the eye.
brother, your encyclopedic knowledge, your depth of understanding, your passion for the art of music as presented through the six strings of guitar is nothing short of inspiring. I know I'm not alone in saying heartfelt thanks for all of this(from Frampton to the Dan to Wes- and all points in between.) Thank you for paying the beauty forward :)
Every Wes solo is graduate class in improvisation, yet they always sound so melodic and simple.
Rick, this is the best online content ive ever seen. I've learned so much that I didn't know that I didn't know since discovering your channel 3 days ago. thank you for the killer content.
I been listening to this solo for years and it still knocks me out! One of the best solos ever
Thank you so much Rick. This was very inspiring to me and I wanted to appreciate the significant time and attention you devoted to carefully transcribing one of Wes Montgomery's masterpieces. This video really changed my life intellectuallty as a guitatrist. Thank you so much for explaining the inversions and/or substitutions as you describe them. Bless you for taking the time Mr. Beato.
The quality of your videos is getting better and better. Hard pressed to find jazz lessons this clear anywhere on youtube. Great work!
I appreciate you touching upon the quality of Wes Montgomery that sets him apart from all others- his beautiful use of simple melodic lines that. when playing over complex changes and subs, create such a feeling of natural warmth and rightness.
I love these, thank you for the time, effort, and selflessness you pour into making these videos.
Excellent video!
Informative, relaxed, fast moving with no long-winded or stammering over explanations. To the point, filled with useful breakdowns and observations on the solo, and Montgomery's playing overall. The chord changes appearing on screen are greatly appreciated. Just Incredibly helpful and useful knowledge for a player like myself. This is how you do it. Thank you so much!
My favorite album, my favorite song, my favorite artist, my favorite writer, and my favorite UA-camr reviewing it
I think I speak for a lot of people when I say how incredibly greatful I am for these videos - the amount of time, effort and insight you've invested to give us something this valuable is remarkable. Thank you!
Rick, I can’t say enough how glad I am that I came across you on UA-cam. This was a master class on a Wes Montgomery solo! Thank you.
Wes, Joe, Pat, all my favourite players!! Please do Django Reinhart!!!
Please do George Benson!!
Brilliant study of this absolutely beautiful piece of improvisation.... love it.. love it.. love it... thank you Rick.
thanks Rick, for sharing your knowledge and breaking down this superb solo from an icon of Jazz Guitar! More like this!
Hey Rick! I was listening to Wes Montgomery at work today and UA-cam popped this gem up in my recommended videos. Thank you for this Rick.
Days of win and roses makes me cry tears of joy sometimes. Thanks for the concepts!
This was the first solo I triscribed from a jazz album! It is amazing
Rick, I'm sorry to say that I don't know a thing about theory but I enjoyed every moment of it. In the second part tears were rolling down from my eyes, there's so much beauty in it. It sounds like Wes could go on and on and always find a resolution, no matter where he was on the neck of his guitar.
Outstanding. My favorite: "Four On Six"...
Wes always blows my lid off.
Thanks for the deep analysis of Wes...you have some serious knowledge and thanks for sharing it with the world!
Great video, Rick. You amaze this jazzer with your breadth of knowledge.
Great video. Love how you break up the lines and explain in detail both the functional aspects in Wes's playing as well as the incredible beauty he creates when all these motives are stacked upon one another, sounding so complete like endless strings of musical lyricism. It's an art to explain that the way you do in this vid !
What a beautiful solo to go through. Thanks a lot
thank you so much! I just started listening to We Montgomery; what an amazing guitarist!
Yeah Wes! Now you're talking about one of the truly great guitarists. That solo is also one of my favorites. It shows that you can really swing without speeding up the tempo.
Brilliant stuff. Very helpful for me as a rock soloist and trying to understand the apparent 'changes' one can acquire by, (simplified version), moving a half-step up or down at the right time.
Great guitar lesson! Seeing where you play runs in relation to the chord shape and the solo melody is super helpful. The guitar with the P-90s has a great sound as well.
I'm gaining so much from watching you teach....thanks Rick 👍
Hello Rick, Thank you for taking the time to thoroughly explain this work. Extremely helpful.
Great job Rick. Amazing!
Debussy always change dominant chords to minors. This is something that Wes always did also.
Trumpet players too!
Wes created his own melodies within his solos, melodies that seem to be influenced by the era or region that inspired the song. Nica's Dream and Besame Mucho (Boss Guitar) are my favorites
Besame did it for me.
Really really good lesson. Feels like Wes sitting right by my side
Famtastic video and analysis Rick, great playing and observations too! I really enjoyed this, and will probably watch it again! A couple of times! I just cant get enough of listening to wes! Thanks again!
A most rewarding video to study - thank you.
Watch Wes on Nica Dream he has to constantly tell the rhythm sect what beat sound he wants . Wes was a genius so one thing you have to know he’d lead you into what he wants to feel & this how Wes played by feel & his fantastic ear . I’m glad Wes never sounded anything like you’re to analyze.
You talking about Wes Montgomery is about as good as it gets for a student like me. Thanks
Hi Rick ,
I really enjoyed the way you have taught this lesson , great tone and clarity in your playing , also your video on hard work and the result
You achieved is capital COOL. I also enjoyed your break down of Wes Montgomery chord soloing and other videos you have posted.
God Bless
Stan
Your presentation is fantastic. Just brilliant! I'm really enjoying learning this stuff since I discovered your channel. Thanks!
hahaha omg, i’m learning this song i can’t believe you love this much as i do. i’ve only got half way through the solo. nice one rick 💖
Love your video on Wes man :-) thanks for transmiting your love for music !
That Dbmaj7 in the turnaround is c’est magnifique
Rick you have done an excellent job in your analysis and presentation two thumbs up
what a great lesson,your amazing, great ear,great teacher,great player.
my sentiments EXACTLY (just too shy to type that out!)
Really outstanding understanding and teaching. Superb! Thank you!!
Claim: Wes never used his pinky finger in single-note lines, only in chords and octaves. What do you think? This is my conclusion after watching several videos of him.
I really like the solo for here's that rainy day, mostly single notes except for the octave parts
That's because as Joe Diorio told me, "Wes was always thinking sounds made up from major, minor, augmented and diminished triads and chord shapes combined with chromatic and diatonic passages". He wasn't thinking scales!
Soo true soo true...lots of us (guitar players) try to reference scales...but Wes was operating on harmonic content all the time...well said Becker.
Thank you for this... this solo is what got me into Wes
Awesome. One of my favorite solos.
A really informative, helpful lesson. Just what I needed right now. Might take me more than a while to absorb it all, but more's the value! There's a whole lot of info -- and a lot to think about -- in this vid.
Outstanding Rick!
This is gold.
What a great lesson of one of my favorite solos!
Thanks Rick, I found this really helpful.
Rick, thanks for another awesome video. Wes was so incredibly gifted and you clearly explained what he did from start to finish. I had to laugh at the 23 thumbs down. They probably also think that Leonardo Da Vinci was no big deal and Oscar Peterson played too many notes.
He did play to many notes
Those who can't become critics. Aesoph nailed it in his
fable The Fox and the grapes.
I just, love this channel, and you, so so so much
He couldn’t read music and didn’t know theory. Pure feeling!
@Ayustria Salma For sure he knew all the hard bop theory, and showed that in the DVD when he worked with that European trio.
So sweet...This is a great video lesson...one of your best...ron castro
hi Rick thank you for this amazing analysis of Wes's solo on Days and Wine and Roses! I know this solo well since I transcribed it many years ago as well as other songs by Wes. it's so happens that at the end of the summer I'll be going to Bogotá Colombia to play a concert or two as well as do a couple of workshops. Part one of the workshops, I want to focus on the solos of Wes Montgomery. I'm planning on featuring a couple, analyze them and figure a way to teach them.
I'm also shedding 10 Wes tunes for a gig next week!
Rick im very happy I found your channel great teaching and great player.......
I agree about this solo! I learned it about thirty years ago but forgot the reharm. Great analysis!
thats a awesome song and lesson, wonderfull melodies, very touching, thanks rick, youre a genius
Absolutely brilliant. Thank you.
Did Wes know how to read notation or some degree of music theory? I'm thinking, i could be wrong, that he did it all by ear which is pure genius in my mind. He had incredible ears, like yours, for sure.
He knew music theory very well. There's a video ua-cam.com/video/zscOSmLTejQ/v-deo.html Start at 15:00 Wes explains all the key changes and sub chord changes as they rehearse the tune. People think that because Wes didn't read music (like many of the great guitar players) he didn't know anything about theory. All great jazz players understand theory. By ear and to explain it.
A pity! This video is not online anymore.
Really great job! Cheers from Brazil.
Fantastic analysis, as usual Rick!
All the time I was around musicians that knew Wes couldn’t read music & didn’t feel comfortable in the studio with other musicians that could . Who told me this my friend Dr David Baker we were friends in 1958 before David went to NY to play with George Russell
GREAT LESSON ! THE BEST EVER ! WONDER FUL GUITAR SOUND TOO !
Rick thanks for this analysis 👍
Thank you !!! Rick fantastic lessons
Great lesson, Rick...thanks.
Learning / struggling how to play lines that lead into the chord
Tremendous knowledge and awesome videos. Thanks so very much.
Awesome !! Thank you for this video. Wes is my favorite jazz guitar player since I was a tennaged boy. I wish some day you can do the version of "Bésame mucho " in the same album "Boss Guitar".
How come Rick Beato doesn't have more subscriptions and views? This is masterful stuff!
+Not Right Music Because I have only been doing this for 6 months. It will take 6 more to really get going.
Gotcha - well, good luck!
Not Right Musi
very helpful analysis - thanks!
Great work Rick I loved !!
I am in shock from watching this video , I just started to learn guitar , and my goal is rock , jazz isn't my style , but the complexity of wes , and the level of thinking , and the detail of your video , makes me want to quit the guitar , because I could never even come near the knowledge you presented here , so what should I do now ?
E AA It's just a language, you wasn't born able to read and speak from the get go, you pick it up as you go through life. You can listen to the architecture of the phrases and start understanding how they are constructed. Remember, you are seeing Wes' and Rick's countless years of research, practice, and listening habits. You'll get it soon enough, the journey is the best of playing an instrument.
Dan Greenwood thanks Dan , I understand what you mean , but still is overwhelming , I want to do improv , and I can't stand all the videos on playing fast , speed is relative and simply playing in subdivisions of tempo at high rates of speed means almost nothing , it won't bring the creativity I need
Just one question Wes didn’t use pick ! How does he make is note sound on the strings back and forth ?
A great lesson absolutely, thanks a lot!
Thanks for your channel
Wes Montgomery? Now there's a name that rarely comes up. I tell people about Barney Kessel and I get that look like, who? Great seeing an old master get some air time. Thanks again for what you do.
many players can make blues lines sound jazzy but wes makes a bebop line, even over a ballad, sound like blues
Great video. Thanks.
Awesome lesson! Thank you!
This is what I like.....Rick's not fake. he's no joke
Can you explain why the the Eb7 can be substituted for an Emaj7? Thanks for the great lesson
Tadupah It really interesting. I've not seen people do that ever honestly. It's a great substitution. Most substitutions are from Minor to dominant not from dominant to major seven.
Well, a year later. I feel like there are two reasons people do anything harmonically: theory and voice leading. Voice leading includes common tones. Fmaj is F-A-C-E. That's your key center; Imaj7. Eb7 to Am7b5 gives you consecutive whole step half-diminished triads: (Eb)G-Bb-Db - A-C-Eb. He's shown use of step-wise ascending constant-structure movement in this piece - see mm15-16 - so the original harmony supports that. In contrast, if you play Ebmaj7 then now you have a D on top. While that chord would be janky if it led to the original A half-diminished, that D is now a common tone for the next five bars. Measures 7 and 8 drop that D down a half step for some juicy tension which provides forward movement into the next harmonic phrase.
I always wondered about these weird-ass progressions. As soon as I learned about voice leading, and developed my ear, I realized I could come up with my own answers.
TL; DR - no one knows why he did it but, if you break down the voices, you can definitely come up with a musically-valid explanation.
What a breakdown of a song. Thank you so much. Amazing video.
I’ve always found Wes to create the most amazing melodic solos and what is fascinating is the footage when he plays.
There is no locking into positions. It’s very horizontal playing and I think the way he views the neck is incredible.
His sounds, subs, and tonalities are just amazing.
Also if you notice, Wes rarely uses his pinky, no evidence of a CAGED system at all.
I think that by not using his pinky, his tones always sound great, because these are strong fingers to use on the neck, the pinky is the weakest and can sometimes sound it too, so he never suffers from that.
Thank you once again for this break down. I don’t think there will ever be another Wes.
Just a true master musician.
15:08 (the triplet bit) is actually D,Eb,C#,D... not D,Eb,C,D. Also, the last 3 notes of the solo are Gb, E, F whereas Rick plays G, E, F.
tremendous breakdown.....Thanks
Wes played so tastefully..
awesome!
Rick - can u correct me if I’m wrong? In the very first part of your analysis from the beautiful turnaround to the top (fM7) ... u say he starts on flat9 of D7b9? The way you chart it and play it it is a C7b9 and the line on the turnaround to the top starts on the #9 of the C7b9 not the b9 of a D7b9. Is that correct?
Rick, this was a fantastic discussion. I've been working out this solo for the past for weeks so this was a perfect piece for me to further understand what he was doing. Here is an added thought: Much of what Wes is doing is about enclosures. For example in the Bbm7 in the 7th measure (not including the intro) the 3rd note (Db) goes to A natural and up to C. We see this in other places too. (14th measure-----the Bb13 to the G13---- -the triplet- (F-D#-E). What do you think? Thanks for your excellent work.
Rick, I read somewhere that you were looking for a great arch top. I just bought a D’Aquisto ( a real one, not a knock off) and it’s probably the only electric that I’ll play from now on. I have 2 Bryant Treniers and a John David Morse that you may really like. They are pricey but worth every penny. Let me know .......With a reply