WES ©: MONTGOMERY JAZZ GUITAR METHOD Text by Photography by LEE GARSON Music edited by CHARLES STEWART JIMMY STEWART Jimmy Stewort has been the stoff fretted instrumental- ist for the Son Francisca Civie Light Opora for tho last Five years ond has recorded with Gabor Szabo, Contents WORD FROM WES wc. crerenesewenns anmvervear ences SINGLE NOTE PLAYING ..... 2.2.00 0020es 0008 6 OCTAVE PLAYING... 2.02.05 9 DOUBLE OCTAVE PLAYING 2.220.002. eeeeeceeeeeeeeeveeee 13 CHORD SOLO PLAYING ...... seweeeee [enero = IMPROVISATION IN THE STYLE OF WES MONTGOMERY ip 5 LAURA «2... s 2 ERROR 19am ON GREEN DOLPHIN STREET — 2 LARA'S THEME FROM “DOCTOR ZHIVAGO" oo... oe. c ese eee 25 THEME FROM "VALLEY OF THE DOLIS” 2.2.0.0. ..2.e0e eee 28 RECORDED SOLOS), cnonnansesconacennins oxmcennie wan ae 90: STAIRWAY TO THE STARS eawonees ag 2 THE SHADOW OF YOUR SMILE 32 IF YOU COULD SEE ME NOW .... 34 TEAR IT DOWN 4 Beware 38 BUMPIN' ON SUNSET « ee 40 WINDY 2.22... : Am ARSENE 44 BUMPIN’ 48 TEQUILA 54 BOSS CITY, 58 a © Copyright 1948 ROBBINS MUSIC CORPORATION Te Cae ite Reed Tele Publ Paton tor ake MATIN UB ahsha Wes Montgomery discovered relatively late that he was a guitarist. He didn’t study formally; he merely discerned what he was, The original impetus came, perhaps, from without in the form of exposure to musi- Sans such as Charlie Christian, but the traning came from within, Wes somehow knew the sound he wanted and worked toward the execution of what he heard. All artis in one sense, a combination of form and content. The form isthe technique, the means the artist uses to communicate; the content is what he has to say. When one perceives an obvious distinction between these two clements, one is deating with an inferior work of art, for the artist is expressing his inability to deal effectively with either the form or the content. Perhaps he has something to say but hasn't yet mastered his medium (his palette, his instrument, his words); perhaps he has yet to come to terms with himself and, although his execution is excellent, he has Hite to say. In any case, the perceiver of the product of such an indivi idual experiences a distinct sense of incompleteness, contrivance, or unfulfilled promise, However, the listener need not be particularly sensitive to recognize that Wes Montgomery and his mu- Se re ons, He never worked from the outside mward—that i, he didn’t study, as most people do, the form before he knew what he had to say. Wes worked from the inside outward. His problem was to express the Sounds he already heard, and therein lay his uniqueness. Like all great artists, Wes' creativity was not Primarily an intellectual matter; it seemed, rather, to pour forth from the soul of the man. It ‘was, therefore, intensely personal, 1t is rare when an artist of unquestionable stature achieves the degree of public acceptance that was awarded Wes Montgomery. For the past seven years he won every jazz poll, critical and popular, in this county and in Europe, This acclaim was not altogether surprising; involvement in Wes’ music on any level {59 truly satistying experience, perhaps because he learned to transform the beauty of the dream-like king- dom of his sou! into music,A WORD FROM WES, Every musician, until he has mastered himself and his instrument, needs a model—that is, until he knows what he wants to say and how he wants to say it, he is necessarily dependent upon established musicians. Since no artist creates in a vacuum, totally isolated from all influences, he must recognize his dependence upon his surroundings and upon his heritage; he must study the styles of accepted masters, In every museum throughout the world you will find aspiring painters patiently copying the masters, Similarly, young musicians play records of their favorite musicians in order to absorb techniques and Personal expressions. For example, when I first started to play, I wore out parts of Charlie Christian's recordings. Just as seeds need to be watered, so artists need external nourishment. Now that I am in the position to offer assistance to searching guitarists, I feel flattered; and I will at- tempt to reveal my musical self as completely and as honestly as possible,SINGLE NOTE PLAYING By the Thumb: Fingers of the right hand rest just below the pick guard, maki ontact with the guitar body amd the pick suard very gently, allowing the thumb to be relaxed. The first joint of the thumb is not hed rigslly amd the stroke originates from the second joint of the thumb although the fitst joint of the tham shoud be relaxed enough to give slightly or to move toward the palm of the hand in a slightly oscillated mameer. al- Jowing the fleshy part of the lower left side of the thumb near the thumbnail to strike the string. BEFORE Striking String Side View of Thumb Striking String AFTER Striking String On oceasion the thumb is used in an alternate picking manner with the thumb being brought back to the previous position with the flesh of the lower left side of the thumb striking the string again as the thumb is retracted to its original position.Now I would like to refer to the exercises for the student to play utilizing the technique just deseribed. We will start with the first string using what is known as down stroke picking with the thumb, the down stroke picking accompanied with back picking, or up stroke picking of the thumb. This should be practiced until the movement of the thumb is familiar, You can expect a callous to develop on the lower left side of the thumb, For this reason practice periods should be minimized at the beginning, A MUST. . .the right hand must be relaxed. Do not force sound, but let your amplifier do the work. With a little practice you should find the right amount of pressure desired to make the right sound. EXERCISE I Itis recommended that you use your amp since itis very important part of the sound. Play on all open strings very slowly at first to achieve a good sound. EXERCISE 1 nny poo aon A chromatic seale is added, giving you the feeling of movement. You should still play very slowly, striving for a good sound. This exercise should also be played on all the strings. EXERCISE I AAA nA Fe AR AA‘The following is a part of a single note solo transcribed from e Wes Montgomery record. It is understood that the student {s alroady familiar with the left hand single note solo technique, (The solo will appear in full in the transcribed recorded ‘solo section.) TEAR IT DOWN WES MONTGOMERY Break. Guitar Solo by 4 ‘cm? rT cm? F? emi ET Ebm? Abr Bb br Gmz for] sn art © Cony 1963, 1968 teal Must Co (vision of Gepamn Et Ine) Ietermaonl Copyrigh Seared hese USA. “RI igh Rossroed iad by fermionOCTAVE PLAYING By left hand: A) There are two basic fingerings of the left hand. On the sixth and fourth strings, fifth and third strings, index and ring fingers are used respectively. On the fourth and second strings, third and first strings, fingers one and four are used respectively. In order to create this effect, we are now going to use a technique called the “deadened string technique.” Place the index finger of the left hand on the fifth string as if you were playing a single note passage. Now flatten the first joint enough to make contact with the adjacent string. Sound the string. Adjust the finger until the adjacent string is deadened (not sounded). Press the third finger to the third string two frets higher to create the octave. Now try and sound the third and fifth strings together. If you have deadened the string adjacent to the first finger properly, it will not sound. The combination of the first and third fingers are now sounding the octave. B) Second Technique, For Strings 4 and 2, 3 and 1 Now plice the index finger of the left hand on the fourth string, applying technique previously described. Place the fourth finger of the left hand three frets higher on the second string, sounding the octave. In review, the principal fingerings of the left hand for octave playing are the first and third fingers left hand for string combinations 6 and 4, 5 and 3, and fingers one and four of the left hand are used on strings 4 and 2Band 1.10 OCTAVE PLAYING % Position For Single Note Playing ‘The Finger Playing Qctaves For Strings 6 & 4 Position OF The Fingors For Strings 4 & 2,3 4 1 By the Thumb: The right hand is held relaxed. The fingers do not rest on the guitar or pick guard as for single note playing, but lightly touch it, ‘The movement is not just from the thumb, but from a combination of thumb and wrist. The lower left side of the thumb strikes the strings. This is done by 2 rolling of the wrist or, what we could call, a pumping mo- tion. Also note that there is a slight rolling of the forearm originating from the elbow. It should be noted that the back stroke picking of the thumb at times can be used as it is used in single note playing. It will take some experimentation to determine when and how to employ this technique but it is worth the effort.a OCTAVE PLAYING EXERCISES First String ‘Third String Second String Fourth String Fourth String Sixth String.2 The following isa part of on octave solo trenseribed from a Wes Montgomery record. (The sls wil appear in fll in the trenaried solo soetion) THE SHADOW OF YOUR SMILE (LOVE THEME FROM “THE SANDPIPER") —pAUL FRANCIS WEBSTER JOHNNY MANDEL Intro Bm? Bm? Am? Am? (Abass) m7 Am? (Abass) Am Am (Gbass) Fimib5 BS - 4 snare © copyrah 1985, 1968 ara Salaun aye ne ish tuotghon he watt soled ly MILES MULE COR Paar. ing Rec Musee MUSA,13 DOUBLE OCTAVE PLAYING ‘This refers to two strings being sounded two octaves apart. We will break this analysis down into two parts. By Left Hand: » This technique is done on the sixth and first strings because these are the two strings that most easily en compass the double octave. The index finger of the left lend is used on the sixth string. The third or second finger of the left hand is used on the first string. It would be wise to experiment on the first string with the third and second fingers to determine which is most comfortable (personally I would recommend the third finger). There is no need to worry about the deadened string technique. Deadened string technique need not apply here as we will find out by examining the right-hand technique of double octave playing. By Right Hand: Since we use only strings six and one, we will use the thumb for the sixth string and the second finger of, the right hand for the first string, This is done in o plucking fashion. When you apply this right hand tech- nique, you will find because of the use of the second finger it is easy to see that the fingers cannot touch or rest on any part of the guitar or pick guard. The wrist will suspend the fingers over the strings, allowing the two fingers to pluck. DOUBLE OCTAVE EXERCISE R Note: the first finger of the right hand could be used in place of the second.u The following is « part of a double octave solo transcribed from a Wes Montgomery record. (The solo will appeer in full in the transeribed sole section.) BUMPIN’ ON SUNSET A WES MONTGOMERY se 474 © omyah 1946 198 tans Mase Ca (sen of Copan te) wt Coppa Cad ita US “a mah Revered Wed by peraissin13 CHORD SOLO PLAYING Within the scope of this book it is impossible to cover this technique entirely, but we will try and present ‘a general picture of this style of playing, It would be good to become familiar with these terms: Triad playing. Spread chords, used in general guitar accompaniment. ‘The investigation of chord progressions, reharmonization of chord progressions, chord voicings, harmoni- zations of nonchordal tones, treatment of anticipation (anticipating notes—notes that precede and are tied | up to an accented beat) will ake some added study on the student's part. We will go into this only briefly because of the wide scope of this style, but it can be noted that the right hand thumb, most of the time strikes the chords with the same principal stroke (or strokes) used for single ‘octave playing. It would be advisable to consult literature on chord progressions, reharmonization of chord progressions and chord voicings for the guitar. HARMONIZATION OF CHORDAL TONES Lead sheet form ( Fmaj? F6 cr 3 Se C 3a ? ss i z Adeptation for chord style ‘ suai16 HARMONIZATION OF NONCHORDAL TONES These examples represent some of the most popular ways of harmonizing nonchordal tones (passing chords). ©) pymaj? 7 © ahinaie er > ey & ‘One of the other approaches would have to,be used. because the G natural does not fit the Cm7> 5 spelling. TREATMENT OF THE APPOGGIATURA (The appoggiature most generally replaces the chordal tone just below it.) Bh et ‘TREATMENT OF CHORDAL ANTICIPATIONS 9 cay a cmayn cig Omi nha CHORD VOICING SET! onde dogs an Playable mage wamew's second voles dope an playatie range rg ‘lyst on edi seara‘The following is « part of a chord solo transcribed from » Wes Montgomery record. (The solo ‘appeer in full in the transcribed solo section.) BUMPIN’ ON SUNSET WES MONTGOMERY sHare © Sonya 6,8 ane Man Daren eo pene coors Sure Cad by poremicasn "At toe tern18 IMPROVISATION IN THE STYLE OF WES MONTGOMERY Improvisation on a given melody is 2 melodic variation of the established melody. When improvising in the style of Wes Montgomery, it is important to retain enough of the notes of the original melody to maintain the feeling of the tune. In this section we will be using four tunes, each of which explores Wes’ four basic stylis- tic concepts: single note playing, octave playing, double octave playing and chord style play- ing, Tn each example you will be shown the lead sheet form with the melody and chords as ‘they appear in commercial sheet music, For simplicity and clarity, the lead sheet melody is ‘written in the same key as Wes' stylistic solos. It is advisable to first play the lead shect form before you attempt the stylistic 6olo. It is very important that you work these solos up to ‘the metronome markings. Each tune (with the exception of “Theme From Valley of the Dolls”) hes chord dia- grams above the reharmonized chord symbols. “FR” has been used as an abbreviation for the fret at which the chord begins.19 Tha following arrengement of Laura is an exemple of Wos' single note style, It has been written in the alto renion of the guitar so that the single note style could be adapted for octave style playing. You will notice twa metronome markings, one for single note playing and one for oc- ‘ave playing, with the one for octeves lower then the single note metronome marking, This ives the student an opportunity to approach this tune from both the more simple singe note ‘method and the more challenging actave style, LAURA SINGLE NOTE OR OCTAVE STYLE 4 =80 octaves d = 96 single note Lead Sheet Form AmT Drbe — G DAVID RAKSIN om? cae —9-—, Frei = at ee Gmaj7 2 3 F6 Fm? Fm7 —-Bb7b9 ebcmt cis Fimaj a ut ite 2. ge ate af f A eh +f iH Gmajr G6 Gm? 5 cabo Fmajo feel 2 efesr, ae at te eee | - § = $ = ——————2 BbTbS = Bm7b5 3a a Do pr co Gh ri, laf at ERE q oe Am7b5 —-D7b9 [Dm9 GIs # ie £ snare2 The following solo uses Wes" octave style. Aftor the tune ends, a musical device caledas ‘vamp or montuno is used. This form can be extandod for any langth of time. ON GREEN DOLPHIN STREET WES’ OCTAVE STYLE meas al NED WASHINGTON Swing = 168 BRONISLAU KAPER ‘Lead Sheet Form c ms. Cm7 br Dbmajt o Atbs 1 oe? = a at =F = = 3. He Dimi (sus4) © cepyiah 1947, 1998 meve-Sokwyniayer ne, New York, N.Y Rpt trough! Ine mer ortlled by LEO ERT Ines New Yer WY. Inertial Copigh Seed Made in USA23 mp cmz br Dia c tbe é SS : 1 pe BS ae . a fr a = | Cmajo A159 <_| a a ne =! ——=: ae a re = 3 f * = aS suet i Vl ie YowAm? bz Bo = == = af ee. be ae oe ff it if A Dmt(eus4) Bats Tbe Amt bt Bbe I : h. pp} |, ete fle ge \ 2 —- f 5 Bs Se Atopm? Gz c S55 se fae on at. fe M4 At [Dmtieuss) G7 Fig 4 « jist a Pam ias a= 2 & bee r SS = 3 ge Tt ae a a aap fan CmT FIs Cm? FI3 SH s7%25 Please note that in double octave plying only the first and sixth strings can be used. The key ‘or this solo wos chenged to accomodate the range for double octave playing. ‘The lead sheet form of “Lara's Theme’ was originally inthe key of 6. To avoid any confusion, it appears here in the same key as the double octave playing edeptation. LARA’S THEME DOUBLE ocTAVE strLE from ‘'Doctor Zhivago”’ Swing J = 116 MAURICE JARRE Lead Sheet Form Ballad c ce G7 am. e co a7 Dm7 Gr —_— © Cony 1965, 1968 merosoldwyraye Ine Hew Yor, M.¥. tiga roughow he old ceva by BOBBINS MUSIC CORPCRATION, New Yad. N.Y a Copy Sere ‘Made USA. "At its Reseed 5H at ~se aiisan G7 Db7b5 | Cmaj7 choc [Dbmaj7bs bak aah“Tome trom “Valley Of The Dolls i freely played, unaccompanied gute solo ox some facets of chord style playing. ‘ ae sear eT, Theme from “VALLEY OF THE DOLLS” (CHORD STYLE DORY, PREVIN Rubato ANDRE PREVIN Lead Sheet ebmaj7 Ebr ‘Ab Abm eb Guit, Solo BbT abe Db BbT abm Eb bbT Abe a) ised Wy Leo FET, nes New York, NY. rate AM higiwe:divwreel29 Dm7b5 Ebm7(sus4) Emaj7 ET A Am E Emaj7 ET A Am Emaj7sHamm RECORDED SOLOS ‘The following are recorded solos by Wes. Because the left-hand fingering is personal and varies trom player to player, it is not notated. In order to establish the style of the tunes, a bass line and a composite score have been added to some of the solos. tis suggested that the student eventually work trese solos up to the metronome markings and, above all, that he listen to Wes' records. In some of these solos you will notice notes with parentheses acours chem ( 4), These notes are callod ghost notes, notes that are not clearly pisyed nor defined, yet are audible as a false image. ‘The notes or chords marked with tremolo markings ( $) are played by Wes using the top of the nails of theffirst two or three fingers of his right hand.31 STAIRWAY TO THE STARS * (QUelody based on a theme from PARK AVENUE FANTASY) As recorded in the Riverside Album “Bags Meets Wes!” MITCHELL PARISH Moderate ballad J = 58 MATT MALNECK Solo starts at bridge FRANK SIGNORELLI Gm Am7b5 DT Bag — Fm? ee Eb Abm = brig Gm Conrtot orig apyright 1948 ROBBINS MUSIC CORPORATION, vw Vers NY Invemsanat Copyright Secired ‘ede USA Th ght Reel 1207 ROMBINS MUSIC CORPORATION, New Yor. N.Y es, 1957 ROEEING NUSIC CORPORATION. New Yo N ¥.32 | THE SHADOW OF YOUR SMILE (LOVE THEME FROM “THE SANDPIPER”) As recorded in the Verve Album “Bumpin’” d= 116 PAUL FRANCIS WEBSTER itn Bm? JOHNNY MANDEL intro Am? Amz (Abas) = Am? BmT Amt (Abass) Am? Am7 Chorus Am EIS am Am (chase) Fimrbs Bm7 ET ane te oat 1965 1768 Met Goldnym Mayer nes Now Yo N ¥. chs tvoughou he wars cored by WILE® MUSE CORBORATION, New Yo... tnvnaean Copyght Ses ‘vads e USA ‘AN igh servedBmi(sus4) ET Amt be 2 Dm? Fmt, Bhis Em? AT oat oh. b ll i pe Abrbs is abmaj7 Repeat to jade BH aridIF YOU COULD SEE ME NOW srcnted inte Vere am “Soin At Peal Note" ca ioMan TAD DAMERON Noes Ta istow alld tempo wh double tine fe Two matures below equal one ela 4 ese ” Ab Db FHT Bis, Ebisb9 3 SIS o3S Ser seanm © Conynot 1986, 1548 ROBSINS MUSIC CORPORATION, New Yo. N.¥. Invraional Copyreh Seanad ‘had In UA "All Rigs ReserveDm By BT be Fars 3 Bhm9 Eb719 SartEb7 Db1sb9 su armFUL crabs Bb1sb9 3 Ebisbe i. cmt pier in OF TT SHATa8 TEAR IT DOWN As recorded in the Verve Album “Bumpin’” WES MONTGOMERY Swing four J =200 FT Cm7 F7 cm7 FT . ri "5 cm? F7 cmi FT - PoP - BOF BbT EBS Ebm? aT Bb pr m7 FT m7 FT Om? FT \— r fF re cm? F7 BbT —| $ P fF bg Ebm? abr cm FT a P i sHaTm anya 198 1968 Tonia ene Co. ive of Copan En. he) Intenatnal conrehr Sssed ‘iiicin USA “i igi Reeve Used by persion39 Stk $< cmt Ft Guitar Solo 2bes omz FT m7 ET cm FT BbT Eb Ebm? = AbT Bb DT Gb7 (ohdass) OT FT Gm cr Dm? Bbr a Eb Ebm? Abt Dm Db cmT FT Bb Gtb9 Gi ara40 BUMPIN’ ON SUNSET - As recorded in the Verve Album “Tequila” Minor Bluesd = 105 WES MONTGOMERY Am | Drums (Conga : ‘tuned to A) Pattern continues ‘Accomp, and Bass Violins sn atts © Conyraty 1955, 1968 Teese Mui Co. (Oven af Gaps Et 8) Internation! Copyright Secured "ade USA “At Rabe Reserved Led by persion4a se 47742 Dmit Bm? Em? Fmaj? Ey Dd PEt F6 es Dmi7 All tacet a2 = Am Paitem continues ‘Accomp. and Bass samFade out se4itWINDY As recorded in the A&M Album “A Day In The Life” RUTHANN FRIEDMA Rock J = 132 . =, 7 Bb Ci(sus4) | F snare Inmratony CoO SSENCEN 67 9D RVING MUS MC Se heen “nee nd by fermion mee ae£ C7(eus4) CT (sus) No chords in backgrow pi art46 su aTCT (sus4) = CT(sus4) CT(sus4) Board fade Record end: By cr(eusd) | F Eb Bh Cr(eust) | F sitatteBUMPIN' . As recorded in the Verve Album “Bumpin” WES MONTGOMERY Easy Blues 4.= 72 Piano Bass: — ce oo (sounds octave lower) Guitar of Copa En ned a aya 68 188 Tt ie i eae ‘All Rights Retorvec! Inecptona Copyright ested ‘ode in UE Ged by derisionPiano ad lib. comp. suarisa, = be = Fm? Bb? — I Fm? BbT — by Gm? cr Asis Fn7 BbT Bbm? Pm? EbT Bb Fm7 Bomi EbT — bere "reds D> 7(sus) Db? a Emi BT I Fm7 BbT ot = BbmT EbT 2= € StFm? BI | b7 tg be L._$# | fpr eera pity | fon sare52 Interlude su anna58 Fm? Bb7 Fmt BbT Bhm? ET Sha EM? Fm? BbT Board fade Emo Bbo Record ends SuaraTEQUILA As recorded in the Verve Album “Tequila” CHUCK RIO Latin Rock 4 = 176 Bass Solo — same gh 1950, 1268 JAT MUSIC CO, a bry of STAR MUSIC CO, Lon Angela, Cloris trated Copy Seeted hace 3 USA "RT tenet ied byLast cme nosiuy RO Fe ao Bass simile56 fg Bridge Bass simile FHE G6 Fie G6 Fi6 G6 FH G6 G6 Emé oy > snare87 AT Em? A13 ArBOSS CITY As recorded in the Verve Album "Goin" Out Of My Head” WES MONTGOMERY ChaCha d= 132 a as, a Pits Gis Avis At Baia | cia Ebr AG) Emit: snams © Copyiht 1964, 1988 tagaie Mi Ce. Dion of Gopi Er re) Invern! Copyiaht Seared (inion USA, “At Riis Reserved sad by permicionsani [m9 aya cas abs aaa 939 9 | cay 34 wo |. = SS np, Be bbz Biko "rate i pipe ibis Base Union Es. = $4 Abis Ghpal © “fal oN Wh creat |2swarm@ sare BbT Swing feel ki ¥ fe — — :. peSraaa : a o AbIS P - ap 3 2 bd dg = Sa 5 ot Y ‘Tepe (Bv8) BOHLLmas Fm? Bb? searaie ett pe sel e F r + = wae aa seas |e eer ey se pen = ry © RIVED CAVOTATONL AUAWODLNON SHIM AHL