I love the lick in Four On Six from Smokin' At the Half Note where the basically plays a Gm7 but winds up in like a Bb simple triad shape by starting on the 5th fret G on the D string and going to the 8th fret Bb on the D string and then just playing a simple looking 1-3-5 triad from there. I use that a lot over minor chords as a fun shape with a colorful sound that is actually a really simple but effective movement. Wes was just the best. There was so much range in his playing. He was almost like a jazz shredder on Cottontail but then like a jazz funk player on Full House. Unreal what he accomplished in such a short time. I'm not truly a "jazz player" but I love incorporating little bits of Wes into my blues and rock playing and I could listen to him every day for the rest of my life and never get sick of him.
An excellent analysis. Clear, concise and most importantly ties back to the theory of what separates the sound of jazz guitar from all other styles. Keep these lessons coming!
I’m stumbling upon your channel at, perhaps just the right moment in my musical maturation. Wonderful lesson many thanks. And yes, more Wes Montgomery please.
If you're sorta new to Wes I would HIGHLY recommend Smokin' At The Half Note and The Incredible Jazz Guitar of Wes Montgomery. Holy crap dude they're amazing!
I'm not a guitarist, (just learning bass) but what you are teaching is music to my ears sorry I mean beautiful. I'm sure if I put all that in my head it will in some way improve my bass playing.
INTERESTING APPROACH and we should add that the liminar secret was WES 's musical ear , absolute pitch of the neck that allows to play instantely his musical ideas anticipating several bars into a linear melodic flow . That can explain his incredible touch , balanced and subtle chromatisms , high tension and release through perfect timing , absolute control of interaction with his peers .THANKS for your precious work .
I found your video while searching for a Miles Davis video. This is amazing because I somehow discovered using the Minor shapes over 30 years ago. It has helped me to develop my own style. Because of your video I now understand why it works, Thank you so much for sharing your talent and knowledge. You made my day. Thanks again.
Hey Nathan - This is kind of interesting because of the different color it adds, but this is basically like a using these "shapes" to start off of the different chord tones diatonically. I think Jerry Garcia used to do this a lot as well if I'm not mistaken. Thanks for the vid :)
The first time I heard about the D-7 over G7 was with Joe Pass vhs video saying when he sees a G7 he thinks on D-7... something like that I don't remember exactly. But excellent video! Wes guitar sound is very sweet you nailed and explained clearly. A lot of people will learn something or even start to listen Wes Montgomery. Congrats!
hello, thank you for your course always well done, with the end study which includes the example licks. Your lessons are so rich that 10 minutes is enough. A new contributor
Oh Yeah Bro... Great Stuff.. I've Been Listening to Wes Since I Can Remember My Dad was a Jazz Guitarist and Wes was One of His Favorite Guitarist... Dead On Wes Theory.. Thanx for The Instructional ☺☺😎👊💯
Hey thanks so much! Really glad you liked the lesson! I have one videos on these topics in the past, here are a couple of you want to check them out! Grant Green's Guide To The Blues | Tips and Tricks to Improve Your Improvisation ua-cam.com/video/5EOZ8Q6RBGs/v-deo.html Grant Green's Guide to the MINOR Blues! ua-cam.com/video/RLB-BRSTK8A/v-deo.html The Secret To Soloing Over Minor Tunes (and Chords) ua-cam.com/video/Vu4n8x0YEUM/v-deo.html Every Jazz Musician Should Know This ua-cam.com/video/Uz1KSPz5S2k/v-deo.html
wow Your lession are realy great and helpfull. They are one of the best among the best 👍🏻👍🏻👍🏻And…..please keep on going because its nice to hear you playing. thank you very much for your work…..😉
Wow! Thanks so much Oliver! I’m glad you enjoyed it and thanks for the compliment about my playing, means a lot! I have a couple records out if your interested? Ones called “Each Step”
Really great lesson, what a beautiful sound you can get, Wes is magic, thank you so much for sharing your knowledge, I already subscribed to your channel, keep on doing lessons maestro!!! Thanks :)
Awesome. Natalie Merchant, in a subtle way , reminds me of Joan Baez. Absolutely stated as high praise. They are both unbelievably talented as well as truly authentic .
Could you make a Video on Wes Modulation? I feel that his Play sounds like a blackbird singing and that this comes not only from the notes he uses, but also from the way he puts accents, stresses Notes and modulates Volume.
That's great! Will be cool to have more. The way I think about it is diatonically - when the harmony is diatonic to a key, you can play all the seven chords over it, and it sounds good. Not just major/minor, but add the modal color tones so it becomes Dorian, phrygian, lydian etc. Makes it easy to follow the harmony because key centers don't change as often.
Yes definitely! You have to find the ways to that work for you. You might be interested in this video, where I talk about something similar via Barry Harris’s major 6th Diminished scale: The Barry Harris Concept That Will Change Your Playing Forever ua-cam.com/video/_KLrdP7SCIw/v-deo.html
Nathan ,I love your playing. Your lessons are full of important info. Can you tell me what Amp are you using? You get a great sound from that beautiful Benedetto guitar. Warm,crisp,punchy. Very clear notes on the 5th and 6th strings. Great lessons. Please keep them coming. You have a lot of really good things to say.!! It is greatly appreciated. By the way, Wes was my first Jazz Guitar hero back in the 60's. I think Wes was one the Greatest Jazz Guitarist that ever lived. Thanks.!!
Hi Danny, thanks for your kind words! I acually don't use an amp but rather a pre-amp that goes straight into my DAW via DI. I use the golden age mkiii! I have a link in the video description if your interested in purchasing one!
I'm confused. At 3:11 I believe you intend to play the Amin shape over the 2-5-1, as you previously state, but the graphic indicates you are using the Cmaj shape. Which are you playing? I can't tell.
Looks like it’s just an editing mistake. It’s suppose to just say “C major” I believe not “C major shape” the playing is correct as I’m just using A minor 7 over all those chord. Sorry for confusion!
@@NathanBortonMusic Thanks so much for your reply. One more question, though, @3:32 you play Dmin shape over G7. I can't figure out why that works. G7 is major so the 3rd or 6th (B/E) should be used I thought.
@@WesFanMan great question! G7 is dominant not major. Both have a major 3rd but a dominant has a flat 7 as well. Because of this, jazz players will often link the ii and the V as one sound. So D-7 works over G7 because it highlights the extended sound of the 9th. Wes’s solo on West Coast Blues shows this! Over Bb7 he’s plays F-7 lines
I have this book and it is great. Garrison is a really good, practical teacher. The book is titled, "Jazz Improvisation for Guitar: A Melodic Approach"
I have been finding this out for myself on piano, as it happens. I really love if I have say a C major in the bass, I will play a B minor pentatonic over that getting the major 7, 9, sharp 11, and 6 (or 13) it's pretty liberating
Just ran across your channel today (and I learn a lot from many channels). But I will say this is one of the largest effects a concept has had on my playing for the first visit! So easy to understand. I pulled up some 2-5-1 tracks and was playing some lines that had me saying "who they heck is playing this!" Also a former Benedetto owner, but I sold them (☹). I subscribed and I am sure you are heading past 10k subscribers very soon. Thank you!
In the examples using minor arpeggios over major chords using the C-maj shape you use a-aeolian when starting from the 6th so you really are staying in the Cmaj- shape and its modes. But when starting from the third (e) using f# in the e-min-arpeggio isn't it still aeolian but therefore rather the Gmaj- shape/mode? Thx Bernhard
Hi Bernhard. Thanks for your question! Actually, if based on Wes's shapes if you start on the 6th its Dorian (A, C, E, B, D over Cmaj) If you start on the 3rd it's a lydian sound because of #11 in guitar shape. Hope that helps!
Hi Nathan, hope it helps :-) - didn't quite sort it out yet. Perhaps im thinking too "tonal" and additionally am mixing up shapes and modes ? Also have to find out about "Wes's" and "guitar" shapes too. Haven't heard about yet. So i think i have to go through your videos to find out. This one was the first i looked at and liked it really. Thanks !
I have the feeling Wes came out with this ideas just listening to the music, unlike trying to musically analyze and construct these structures using theory
Thanks for your comment. Essentially, I am just playing guitar shapes based around the Dorian mode. Sometimes I use lydian (as shown in video). I didn't go into much theory because I was really just wanting it to be an explanation of Wes's "guitar shapes," rather than a theory lesson. This choice was made because I wanted to give people something tangible to play, rather than telling them what scale sounds good over an exact chord. Hope that explains things and thanks for watching!
Hey Nathan, Thank you for the video. I just signed up to be a Patreon. I have a question. Is it that these minor licks of Wes' are special and they can be applied the way you explained, or can other minor licks be used in the same way?
Hi Rich, thanks for your Patreon support!! To answer your question, yes you could use language instead of the Wes Shapes/arpeggios. Plays more D-7 language over G7 is a fantastic way to solo, or reverse! If you haven't watched my video on grant green's language I would highly encourage you too, as that video cover these types of language concepts subs: ua-cam.com/video/Vp6DqGcDbuw/v-deo.html
Great video again Nathan. Thank you! I have a question if I may - I notice when you demonstrate these arpeggios, you play extensions like the 9th added often at only one place so at the lower octave for example you may skip the 9th and just play the fundamental notes. This sounds good to my ears and more melodic and interesting as the extensions pops out vs playing the same notes in a different octave. Is that part of the overall sound of bebop would you say and would you recommend practicing arpeggios that way in general?
Great question! These shapes are stolen from Wes so this is something he often does. That’s a point about the extensions popping out! I think, personally, it’s a shape things as playing these shapes (to me) seems to lay better on the guitar this way than if you added the lower extensions
Here is the PDF download link! patreon.com/NathanBortonMusicPatreon also here is the follow up lesson:
ua-cam.com/video/EsUXabLSpAM/v-deo.html
I love the lick in Four On Six from Smokin' At the Half Note where the basically plays a Gm7 but winds up in like a Bb simple triad shape by starting on the 5th fret G on the D string and going to the 8th fret Bb on the D string and then just playing a simple looking 1-3-5 triad from there. I use that a lot over minor chords as a fun shape with a colorful sound that is actually a really simple but effective movement. Wes was just the best. There was so much range in his playing. He was almost like a jazz shredder on Cottontail but then like a jazz funk player on Full House. Unreal what he accomplished in such a short time. I'm not truly a "jazz player" but I love incorporating little bits of Wes into my blues and rock playing and I could listen to him every day for the rest of my life and never get sick of him.
I'm gonna need a timestamp lol
🤓
@@maxwellbarnhart1375 It's basically the second bar of the solo. It's a super quick move and if you blink you'll miss it but man it's super sweet.
Fantastic lesson, Nathan! I always appreciate your clear explanation of what you're doing and why. Yes! More Wes, please.
Thanks so much Ron! Will do!
Doesn't matter who's playing Wes's lines. It ALWAYS sounds good!!
Wes is the man!
An excellent analysis. Clear, concise and most importantly ties back to the theory of what separates the sound of jazz guitar from all other styles. Keep these lessons coming!
Hi Paul, thanks for your comment! Really appreciate it!
This is one of the best lessons on i have watched !!! Good stuff
Wow that means a lot! Thanks so much and I hope you can find more information on the channel that is as helpful to you!
Amazing lesson, Nathan! Thank you for all that you do for the jazz guitar community and jazz community at large!
Thanks Christine!!! :)
Been having jazz lessons for a few months and it is baking my brain. Thankfully a few of your videos are helping me out.
Sorry about the brain baking, but glad to hear my lessons are helping that!
I’m stumbling upon your channel at, perhaps just the right moment in my musical maturation. Wonderful lesson many thanks. And yes, more Wes Montgomery please.
So Glad to hear it helped you out!
If you're sorta new to Wes I would HIGHLY recommend Smokin' At The Half Note and The Incredible Jazz Guitar of Wes Montgomery. Holy crap dude they're amazing!
@@SimpleManGuitars1973 YES!
Hearing you play Makes me appreciate Jazz More
That really means a lot, thanks Carlos :)
I'm not a guitarist, (just learning bass) but what you are teaching is music to my ears sorry I mean beautiful. I'm sure if I put all that in my head it will in some way improve my bass playing.
For sure! Using these colors in bass lines and in your soloing could be cool!
Just watched one of your earlier lessons and then this one, you've come a long way! I really enjoyed this lesson. And yes, more Wes!
Thanks so much! I'm always working on improving and appreciate you noticing!
This is very informative Nathan and certainly does facilitate a more melodic approach. Thank you for a well presented tutorial.
Appreciate you watching!
INTERESTING APPROACH and we should add that the liminar secret was WES 's musical ear , absolute
pitch of the neck that allows to play instantely his musical ideas anticipating several bars into a linear
melodic flow . That can explain his incredible touch , balanced and subtle chromatisms , high tension
and release through perfect timing , absolute control of interaction with his peers .THANKS for your
precious work .
Superb uploads lately Nathan, thank you and may your channel success continue.
appreciate that! Thanks for watching :)
Great stuff, more lessons on Wes would be great! Thanks for all your hard work
More to come! Thanks for watching!
Wess Montgomery ❤ one of the greatest guitarist of our time. Beautiful playing
Yes indeed! And thanks for the kind words 🙏
@NathanBorton your very welcome you are a great guitarist 🎸
I found your video while searching for a Miles Davis video. This is amazing because I somehow discovered using the Minor shapes over 30 years ago. It has helped me to develop my own style. Because of your video I now understand why it works, Thank you so much for sharing your talent and knowledge. You made my day. Thanks again.
Awesome! Thank you!
Zappa was right. If you want to hear great guitar, listen to Wes.
Super amazing playing and explanations west Montgomery is a amazing artist thanks a lot 🎵🎵🎶🎶
Hey Nathan -
This is kind of interesting because of the different color it adds, but this is basically like a using these "shapes" to start off of the different chord tones diatonically. I think Jerry Garcia used to do this a lot as well if I'm not mistaken. Thanks for the vid :)
Great lesson. This idea inspires so many possibilities. Thank you!
You are so welcome! Hope helps shape your playing!
Well thank you ! Wise fingering, simple and logical in a intervallic manner 🎉
The first time I heard about the D-7 over G7 was with Joe Pass vhs video saying when he sees a G7 he thinks on D-7... something like that I don't remember exactly. But excellent video! Wes guitar sound is very sweet you nailed and explained clearly. A lot of people will learn something or even start to listen Wes Montgomery. Congrats!
Thank you for the kind words! Yes, I hope I can help spread jazz music and make more people interested in this amazing genre!
hello, thank you for your course always well done, with the end study which includes the example licks. Your lessons are so rich that 10 minutes is enough. A new contributor
Thanks for your kind words! There will be more Wes lessons in the future! I was thinking about doing one on his block chord soloing/comping!
Sounds great. I love arpeggios and this a great lesson plus I need lots of help.
Oh Yeah Bro... Great Stuff.. I've Been Listening to Wes Since I Can Remember My Dad was a Jazz Guitarist and Wes was One of His Favorite Guitarist... Dead On Wes Theory.. Thanx for The Instructional ☺☺😎👊💯
Thanks so much! Glad you enjoyed it and heck yes for Wes! Did you see they released new Wes albums?! Unreleased bootlegs I think?
@@NathanBortonMusic Yessir.... Oh Wow Really...Oh Gotta Look into That for Sure and Thanx for The Heads Up Bro 😀😀😎👊💯
Hi Man more of Wes please! Some blues stuff or minor 2-5-1! Thanks for share this pure GOLD!
Hey thanks so much! Really glad you liked the lesson! I have one videos on these topics in the past, here are a couple of you want to check them out!
Grant Green's Guide To The Blues | Tips and Tricks to Improve Your Improvisation
ua-cam.com/video/5EOZ8Q6RBGs/v-deo.html
Grant Green's Guide to the MINOR Blues!
ua-cam.com/video/RLB-BRSTK8A/v-deo.html
The Secret To Soloing Over Minor Tunes (and Chords)
ua-cam.com/video/Vu4n8x0YEUM/v-deo.html
Every Jazz Musician Should Know This
ua-cam.com/video/Uz1KSPz5S2k/v-deo.html
Great lesson! Yes, more Wes, please.
Thanks so much! More Wes to come!
wow Your lession are realy great and helpfull. They are one of the best among the best 👍🏻👍🏻👍🏻And…..please keep on going because its nice to hear you playing. thank you very much for your work…..😉
Wow! Thanks so much Oliver! I’m glad you enjoyed it and thanks for the compliment about my playing, means a lot! I have a couple records out if your interested? Ones called “Each Step”
Great lesson, very clear and helpfull, merci beaucoup!
Thank you! 😃
So very inspiring and beautiful
Thank You Nathan for Posting. Glad I Follow you:)
Thanks 🙏 great to see you again!
Really great lesson 👍🎸 glad to have found your channel, best to you!!
Thank you kindly!
Thank you so much for your brilliant insights…and that beautiful tone 👌🏽
You are so welcome! And can you believe that's DI? I'm using a golden age mkiii as a pre-amp!
Really great lesson, what a beautiful sound you can get, Wes is magic, thank you so much for sharing your knowledge, I already subscribed to your channel, keep on doing lessons maestro!!! Thanks :)
Many thanks! 🙏
Good lesson....Nathan. Smooth examples
Thanks so much! Hope it helped you out!
Great lesson Nathan, thank you
My pleasure!
this is a great Wes lesson, keep it up!
More to come!
Great lesson on Wes' approach.
Glad you enjoyed it and I hope it helped you!
Excellent lesson. Thank you!
Thanks for watching!
nice lesson.thanks.
You are welcome! Thanks for watching!
Awesome. Natalie Merchant, in a subtle way , reminds me of Joan Baez. Absolutely stated as high praise. They are both unbelievably talented as well as truly authentic .
Great lesson and amazing playing!
Thanks a lot! Really appreciate it :)
Could you make a Video on Wes Modulation? I feel that his Play sounds like a blackbird singing and that this comes not only from the notes he uses, but also from the way he puts accents, stresses Notes and modulates Volume.
That's great! Will be cool to have more. The way I think about it is diatonically - when the harmony is diatonic to a key, you can play all the seven chords over it, and it sounds good. Not just major/minor, but add the modal color tones so it becomes Dorian, phrygian, lydian etc. Makes it easy to follow the harmony because key centers don't change as often.
Yes definitely! You have to find the ways to that work for you. You might be interested in this video, where I talk about something similar via Barry Harris’s major 6th Diminished scale: The Barry Harris Concept That Will Change Your Playing Forever
ua-cam.com/video/_KLrdP7SCIw/v-deo.html
@@NathanBortonMusic great, thanks for sharing!
Nathan ,I love your playing. Your lessons are full of important info. Can you tell me what Amp are you using? You get a great sound from that beautiful Benedetto guitar. Warm,crisp,punchy. Very clear notes on the 5th and 6th strings. Great lessons. Please keep them coming. You have a lot of really good things to say.!! It is greatly appreciated. By the way, Wes was my first Jazz Guitar hero back in the 60's. I think Wes was one the Greatest Jazz Guitarist that ever lived. Thanks.!!
Hi Danny, thanks for your kind words! I acually don't use an amp but rather a pre-amp that goes straight into my DAW via DI. I use the golden age mkiii! I have a link in the video description if your interested in purchasing one!
Some great ideas! Much appreciated 👍
No problem 👍 Hope they are helpful to you!
Another gem. Thank you, Nathan.
Thanks for watching Larry!
Great one, Nathan! Thanks
Thanks so much! Always appreciate your support :)
Thank you so much ! So clear and interesting !!!
You're very welcome!
Very informative vide and nice playing!
Thank you kindly!
Great sound man!
Appreciate it! I’m going DI into a golden age mkiii pre-amp
Wow this is amazingly helpful
Glad this video helped you! Thank for watching!
I'm confused. At 3:11 I believe you intend to play the Amin shape over the 2-5-1, as you previously state, but the graphic indicates you are using the Cmaj shape. Which are you playing? I can't tell.
Looks like it’s just an editing mistake. It’s suppose to just say “C major” I believe not “C major shape” the playing is correct as I’m just using A minor 7 over all those chord. Sorry for confusion!
@@NathanBortonMusic Thanks so much for your reply. One more question, though, @3:32 you play Dmin shape over G7. I can't figure out why that works. G7 is major so the 3rd or 6th (B/E) should be used I thought.
@@WesFanMan great question! G7 is dominant not major. Both have a major 3rd but a dominant has a flat 7 as well. Because of this, jazz players will often link the ii and the V as one sound. So D-7 works over G7 because it highlights the extended sound of the 9th. Wes’s solo on West Coast Blues shows this! Over Bb7 he’s plays F-7 lines
Nathan when are you going to write a book? Great stuff as usual.
I don’t know if I know that much! Thanks for watching really appreciate it :)
This was great. Thank you man!!
Glad you enjoyed it!
Great content brother 🔥🔥❤️
Thanks 🔥Glad you enjoyed it and hope it was helpful!
More of this!
Definitely! Thanks for watching!
Great lesson!
Thanks so much! Glad you enjoyed it!
Beautiful video 🔥
Aw shucks man. Thanks so much for checking it out :)
More Wes lessons please. Good stuff.
More to come! Thanks for watching!
Thank you. Nice playing.
Thanks for watching! Hope it helped you!
This was helpful! Thanks!
So glad! Thanks for watching!
Fantastic explanation. Very inspiring. Thank you!! ...... Subscribed. ; )
Awesome, thank you! Hope you find some more content you like on the channel :)
dorian and its extensions or minor modal usage.over major and minor chords. i like it ,fantastic..................thanks
Glad you like it! Thanks for watching :)
You Gotta Love Wes.. Period.
Wes is the man!
Great stuff! Thanks😊
Thanks for watching!!
Man, great stuff as usual. I wonder if you ever came across Garrison Fewell's book and his approach to minor triads?
I haven’t! But I’d love to check it out, thanks for the tip!
I have this book and it is great. Garrison is a really good, practical teacher. The book is titled, "Jazz Improvisation for Guitar: A Melodic Approach"
@@rondorko Yep, that's the one
So many choices with the harmonies.
Yes! Find the options that work for you!
vERY NICE PLAYING AND INSTRUCTION!!
Glad it was helpful! And thanks for your kind words!
I have been finding this out for myself on piano, as it happens. I really love if I have say a C major in the bass, I will play a B minor pentatonic over that getting the major 7, 9, sharp 11, and 6 (or 13) it's pretty liberating
Great to hear! Thanks for watching!
Interesting video! When you were saying shape, that's the same as the scale/ arpeggio? Or were you meaning a particular guitar scale shape?
Great video. excellent guitarist! What model Guitar are you playing?
Good lesson, very focused and I will be coming back. *****
Appreciate that! Hope you find more lessons that help you out!
Thank You Nathan! Appreciate this info. I’m curious, what guitar where you playing here?
No problem! I'm playing a Benedetto Bravo Deluxe. Very much love this guitar! I'm just recording DI into a golden age mkiii pre-amp.
Hmmmmm. Interesting concept. I see the theory using the related notes to particular chord. Like using a harmonic minor scale(Dm7) over the i(Bbmaj7)
Yeah defiantly!
Some great information!
Thanks! Hope it’s useful to you!
Great! Thanks for that
Appreciate your watching! Hope it was helpful :)
Great tutorial 👍
Thanks so much! Appreciate you!
Just ran across your channel today (and I learn a lot from many channels). But I will say this is one of the largest effects a concept has had on my playing for the first visit! So easy to understand. I pulled up some 2-5-1 tracks and was playing some lines that had me saying "who they heck is playing this!"
Also a former Benedetto owner, but I sold them (☹). I subscribed and I am sure you are heading past 10k subscribers very soon. Thank you!
Thanks so much! Really appreciate it and hope your can find more videos on the channel that help you! And yes for the Benedettos!
In the examples using minor arpeggios over major chords using the C-maj shape you use a-aeolian when starting from the 6th so you really are staying in the Cmaj- shape and its modes.
But when starting from the third (e) using f# in the e-min-arpeggio isn't it still aeolian but therefore rather the Gmaj- shape/mode?
Thx
Bernhard
Hi Bernhard. Thanks for your question! Actually, if based on Wes's shapes if you start on the 6th its Dorian (A, C, E, B, D over Cmaj) If you start on the 3rd it's a lydian sound because of #11 in guitar shape. Hope that helps!
Hi Nathan,
hope it helps :-) - didn't quite sort it out yet.
Perhaps im thinking too "tonal" and additionally am mixing up shapes and modes ?
Also have to find out about "Wes's" and "guitar" shapes too. Haven't heard about yet.
So i think i have to go through your videos to find out. This one was the first i looked at and liked it really.
Thanks !
Sounds great
Appreciate that :)
I have the feeling Wes came out with this ideas just listening to the music, unlike trying to musically analyze and construct these structures using theory
Yep! Your right
Thank You
Thanks for watching!
Would have liked more explanation of the harmonic dynamics at play here.
Thanks for your comment. Essentially, I am just playing guitar shapes based around the Dorian mode. Sometimes I use lydian (as shown in video). I didn't go into much theory because I was really just wanting it to be an explanation of Wes's "guitar shapes," rather than a theory lesson. This choice was made because I wanted to give people something tangible to play, rather than telling them what scale sounds good over an exact chord. Hope that explains things and thanks for watching!
Hey Nathan, Thank you for the video. I just signed up to be a Patreon. I have a question. Is it that these minor licks of Wes' are special and they can be applied the way you explained, or can other minor licks be used in the same way?
Hi Rich, thanks for your Patreon support!! To answer your question, yes you could use language instead of the Wes Shapes/arpeggios. Plays more D-7 language over G7 is a fantastic way to solo, or reverse! If you haven't watched my video on grant green's language I would highly encourage you too, as that video cover these types of language concepts subs: ua-cam.com/video/Vp6DqGcDbuw/v-deo.html
Love these concepts Pat Martino does the same
Thanks for the tips🎉🎉
No problem! Thanks for watching!
Yea really good, tanks for sharing,big up from Reunion island Indian ocean.
Appreciate that! Thanks! 🙏
Thanks! Great job!🙏🤘
Appreciate that :)
This is great information..
Glad it was helpful!
Bravo! Just subscribed.
Awesome, thank you!🙏
Nice lesson man
Thanks for watching!
Great video again Nathan. Thank you! I have a question if I may - I notice when you demonstrate these arpeggios, you play extensions like the 9th added often at only one place so at the lower octave for example you may skip the 9th and just play the fundamental notes. This sounds good to my ears and more melodic and interesting as the extensions pops out vs playing the same notes in a different octave. Is that part of the overall sound of bebop would you say and would you recommend practicing arpeggios that way in general?
Great question! These shapes are stolen from Wes so this is something he often does. That’s a point about the extensions popping out! I think, personally, it’s a shape things as playing these shapes (to me) seems to lay better on the guitar this way than if you added the lower extensions
@@NathanBortonMusic Thanks Nathan - there’s always so much to take away from how the greats approach things (and of course from your lessons too)!
good job 👏
Thanks 🙏
Mind bending! 😀
Glad it was helpful!!
Kudos !!
Thanks for the sub :)
It's great! Thanks a lot!! From BRAZIL!!!
Welcome!!
One of my pops' (Jan Akkerman) and my heroes! what a legend
Ace lesson.
Thanks so much Bill! Appreciate your support!