2CONTENTSOctave and Thumb Technique..................................................................... 3Mi7 Over Dom7, Substitution ...................................................................... 6Dom7 Over Mi7, Substitution ................................................................... 135 and 5, II-V, Substitution........................................................................ 17Alternating Inversions .................................................................................. 27Imi7-V79 Sequences .................................................................................. 28Interchangeable Key Centres..................................................................... 30Four Characteristic Sounds......................................................................... 323OCTAVE & THUMB TECHNIQUEWes Montgomerys Octave ShapesShape One - S1(1st & 3rd, and 2nd & 4th strings)Shape Two - S2(3rd & 5th, and 4th & 6th strings))``14)``14)``13)``13G major Scale in OctavesGmaj7 Arpeggio in Octaves& # 44S2S131 417 85 7 95 7 9 4 53 5 73 5 7 810 12 14 15 1410 125 7 9 11 12 117 9etc. 12 108129 7 59& # 44S2S1 13147 107 84 7 4 74 5 4 52 52 3and descendingww 1415124ROAD SONG (O.G.D.)& bb 44....Gmi7 Ami7 D7Vamp till ready& bb....S23175%S141 Gmi78 1111 8 11 85 8 8 5 8 5Gmi7C9S231 Am77 1010 7 105 8 8 5 8& bb S2jD775S114 J JGmi7 B78 108 1111115 75 8 8 8J J Emaj78 6 585 3 25& bb......S2j31Emi7 Cmi683 7551.S141S2j31D7 Gmi6 873 552.S141..D7 Gmi76 83 55& bb S2j31jS141JCmi78 1185 86..J S231F910 810 87 5 107 58wwBmaj7& bbBmi7 E9Bmi7 E9 S2jbbjS141JbbBmi76 963 64& bb..J S231E98 68 65 3 85 36wwAmaj7)` ```^D.S. take 2nd ending(no repeat)#1312j S2D74 4 45 5 5 74 4 45 5 5 56THREE SUBSTITUTIONSWes Montgomery made frequent use of 3 substitutional devices, both for single-line (octaves) andchordal work.These can be summarized as follows:1. The mi7 over a dom7th - (II over I7).2. The Dom7th over a mi7 - (I7 over II).3. 5 substitutionSUBSTITUTE NO.1:Mi7 over Dom7There are at least three ways of arriving at this substitution.Choose the method which suits youbest.All substitutions are based on the common note principle - e.g. a substitute chord has one or morenotes in common with the original chord.Substitutes always have different names to the originale.g.Gmi9 over C7 is a SUBSTITUTE.Whereas C13 over C7 is an EXTENSION.This common note idea can be easily understood from the following example:& 44bb_`````wwwwwb312}C933323_`` ```wwwwwn312}Gmi633323Notice that the Gmi6 had 4 notes in common with the C9.The more notes in common, the morereadily the substitute can be used, the downside being that it will sound very similar to the original.The fewer notes the substitute has in common with the original chord, the more careful we need tobe.Ideally those chords with two or three notes in common prove the most practical.The above example is, in fact typical of Montgomerys use of the minor over a dominant 7th.But,how did he arrive at this?Any of the following methods may be used; pick the one which suits youbest:7Location1. Substitute the minor chord a 5th above or 4th below the given Dom7 (Gmi7 over C7 - Fmi7over B7 Cmi7 over F7 etc.)2. Treat the dom7 as the V of a II-V progression, then substitute the II chord. (IIs and Vs areinterchangeable).3. Extend your dom7th chord shape to a 9th, then visualize the extension as part of a minorchord:& 44_````wwwwb1423C71323_`````wwwwwb312}C933323_```www b1Gmi333Thesemethods may be summarized as:1. Locate the Minor a 5th above, or 4th below..2. Treat the dom7 as V and substitute chord II of same key.3. Visualize an extended dom7 as a minor chord.Havingarrivedattheminoriseddominant,wecanthanapplyanyofthedevices(scales,inversions, etc.) we would normally use for a minor situation.Chordally, Montgomery was fond of the following inversions:& 44)` ```^I)`` ``&b1b 21313 63 53 73 5)`` ` `11)` ```^I b4131b413210 138 1110 128 12)````I)````% I b4312b23110 610 69 78 5wwwwb3133328Mi7 over Dom7 Substitute for Cariba)` ` ``+~^'23)```+ ^``I123II and V chords, of the same key, are interchangeable.Fmi7 Inversions for CaribaBbm7 Inversions for CaribaB9Fmi7)` ` ` ` `+&'13)` ` ` ` `+&I13E9Bmi7)`` ``&')` ```^I)````%)`` ``&I)````%I)` ``^`119Practice Regime (inversions for Cariba)& 44....)`` ``&'wwwwbb11111)````% wwwwbb 2314453)` ```^Iwwwwbb41318686)````% wwwwbb 2314453& ........)`` ``&')````% bbbb1 41 41 51 3)` ```^I)````% bbbb8 46 48 56 3& ........)`` ``&')````% )` ```^I)````% bbbbbbbb1 4 8 41 4 6 41 5 8 51 3 6 3)`` ``&'wwwwbb11111.1 shape per measure2.2 shapes per measure3.4 chords per measure Last timePractice the same pattern with the Bmi7 shapesAlternative fingering)``` `%231)``` `234110CARIBA(F minor Blues over a Bb Blues)& bb 44)`` ``&')````% )` ```^Ib1 b231J4131Fmi7 Fmi7 Fmi71 1 4 81 1 4 61 1 5 81 1 3 6simile Jb b4 8 44 6 45 8 53 6 3b bJ1 1 4 81 1 4 61 1 5 81 1 3 6& bb Jb b4 8 44 6 45 8 53 6 3)`` ``&I)````% I)` ``^`11bb bbJBmi7 Bmi7Bmi76 6 9 136 6 9 116 6 10 136 6 8 11 Jbb b9 13 99 11 910 13 108 11 8& bbb bJ1 1 4 81 1 4 61 1 5 81 1 3 6)`` ``^ I)````% I JbJ bbn31Jnbn431G9 F134 8 9 104 6 9 85 8 9 83 6 8 7)````% IS1J S2 Jb431E1310 1310 867107108 658 6& bb....S1J S2 bb81185 8 5 8 66 4b bJ1 1 4 81 1 4 61 1 5 81 1 3 6 Jb b4 8 44 6 45 8 53 6 311& 44IIIj # 113 b23 b4j3 n12 3456 5 3etc.& IIIj33 b43 b2455 6j # 1 13 b23 b433 b4 n1 2 3456 5 36etc.&III J b4> 146 3 61> b212> 323 34 4 45etc.3>3 b1j # 32>5 35 4 5&j #VI23 b1j # 3 b43 n136 67 8 7 8 9 8 6 8j # 23 b13 b42 n1J3V. 167 8 9 8 6 85etc.Mi7 over Dom7 Licks for Cariba1.Fmi7 over B72.Fmi7 over B73.Fmi7 over B74.Fmi7 over B7125.Fmi7 over B76.Bmi7 over E7(Fmi7 over B7)etc.,&I3 b III3 b IV3 bVI3 1 3 4 61 3 5 73 5 6 8j # 4 43 b12 b32III n1. 7 8 456 5 3etc.&Vmove shapes as chords3 b3 b11VIII31 b13IX332 b16 8 96 8 108 1011XI3 b12 b3IX3 b32 b1VIII3123VI3 b32111 9 8 612 10 8 613 11 10 8&V. 1J b415 58etc.13)` ` ` ` `1SUBSTITUTE NO. 2:Dom7 over Mi7LocationThis is essentially a reversal of the idea explained in No. 1: Mi7 over Dom7th; similarly, there arethree different ways to locate it:1. Substitute the dom7th chord a 4th above, or 5th below the given or mi7 (G7 over Dmi7 D7over Ami7 C7 over Gmi7 etc.)2. Treatthemi7astheIIofaII-Vprogression,thensubstitutetheVchord(IIsandVsareinterchangeable):3. Visualise your mi7 shape as an extended Dom7 chord: Dmi7 G9)` ` ` ``^The same concept applies to all mi7 shapes.Remember II and V chords of the same key areinterchangeable.As before, when we have arrived at the substitute dom7 we can apply any of the common dom7devices.Simpledom7thanddom9tharpeggiosareveryeffective,intuneslikeYesterdays,Impressions and Full House.14&etc.II4124134232 4 52 3 55&etc. 33 5 62 4 52 3 52 3 53 5D Dorian Mode2 Octave G7 scale showing notes of Dorian Mode&1}II241241242 3 52 3 51 3 5&214243211343 52 53212342413 1345 35 2w23G7 ScaleG7 ArpeggioG7 Scales and Arpeggios over Dmi715&etc.II4124134232 4 52 3 55&etc. 33 5 62 4 52 3 52 3 53 5& 44III3214141233 6 6 34 45use over Dmi 7, Dmi9, etc.35& 44VII4314241287 10 10 79 910use over Dmi 7, Dmi9, etc.310Dom7 ArpeggioNo.1Dom7 ArpeggioNo.2Dom7 ArpeggioNo.3Dom 9th Arpeggio No.116& 44VII43144413107 10 10 79 910use over Dmi 7, Dmi9, etc.410& 44IX214flatten 2nd finger222411010 109 12 12 910use over Dmi 7, Dmi9, etc.210Dom 9th Arpeggio No.2Dom 9th Arpeggio No.317SUBSTITUTE NO. 3:b5 and b5, II-VFlat-five (tritone) substitution is a standard Be-bop device.Wes Montgomery incorporated thissubstitutionintoeveryaspectofhisplaying,single-linesoloing,comping,octavesandevenhiscompositions.The basic principle is that a dominant chord, a 5th away from a given dom chord can be used inits place: G7 D7&original chordwwww34123433 b1, 2, 3, 4, 5, 52 3 5 43 55 substitutewwwwbbb 14232434This substitution works because both shapes have two notes in common.The 7th and the 3rd(F and B) of G7 invert to become the 3rd and 7th of the D7:Because II and Vs, from the same key, are interchangeable, Wes liked to add the appropriate II chordto his 5 substitute.In the previous example the II would be Ami7.)``` `)``` `7, 3 G7 D7)`` ``^)`` ``^3, 718Study the following equation:Given chord 5 sub., with appropriate II G7 =D7=Ami7D7Consequently, the b5 substitution of G7 is D7 and the 5, II-V of the G7 is Ami7D7.Montgomerymade extensive use of 5, II-Vs.He also liked to use 5 substitutions over the popular I, VI, II, Vprogression, a technique which played a major role in Montgomerys most popular composition:West Coast Blues.IVIIIV turnaround with b5 substitutionsI 5, VI 5, II 5, V | Bmaj7|D7 | *Gmaj7|B75|to bar 1Originals: | Bmaj7|Gmi7|Cmi7 |F7|* Wes used the maj7 instead of a Dom7 to obtain the pedal note F.Introduction and Ending:West Coast Blues& bb 43.....jbbBmaj7Imaj7IAmi7VI j.j jbb5,IIVD7 bb j nGmaj75IIFmi7Vj #j n #5,IIVB7)`` ``I3 41 2)`` ` `^41 3 2)````^23 41)` ```I2 34119WEST COAST BLUES& bb 43Intro.VI...2431IVjbb1Bmaj7Ami7 j.6 6 6 67 47 46j3jbbIII21D74 44 36& bb....II b1b243j n1Gmaj7Fmi723 23 22j #3j nI #B72 22 14& bbTunej # j # B76 7 6 788 b3 6 8 3 66j n j n bA74 5 4 566& bb b b3 n4 6 7 88j # j # B76 7 6 788 b.J #66 820& bb n # j #Bmi75 7 574j #j nE76 47 7j bj E75 6 5 688& bb b3 6 8 5 86j bj 5 6 5 688 b3 6 8 5 88& bbj # j # B76 7 6 788 b3 6 8 5 88j # j # 6 7 6 788& bb b.J76 8 j #F76 8 684 n7 55 8 7821& bb bj nE74 6 462 b b5 33 6 56j # j # B76 7 6 788& bb b3 6 8 8810j # j # J##B13996 7 6 7 87J##j9 99 98 87 78& bb 43B7 B7 A7 A7& bbB7 B7 Bmi7 E7& bbBmi7 E7 Emi7 A7& bbDmi7 G7 Dmi7 G7& bbCmi7 F7 Fmi7 B7& bbBmaj7 D7 Gmaj7 B7West Coast Blues(Changes for solos)22b5, II-V Substitute at bars 7 and 8b5 Substitute on the V chord (bar 24)ROAD SONG(extract)& bbIV n2 #424j #1Bmi75 7 574j #3j4 n14E76 47 7etc.& bbj # j # * 5 substitute for F7J##4321B7 B13996 7 6 7 87hold shapeJ##(5)j 19 99 98 87 78& bb 44..J F10 810 87 5 107 58.. JBmaj777J 5J # ..Bmi E97 7 7 77 7 6 6234 ON 6& bb 44)` ```^I)`` ``&Ibasic:41Jnb*121Cmi7Cmi9F7B7510 78 78 88 7)` ```^I)`` ``&IbbJnb*Bmi7Bmi9E7A758 56 56 66 5& bb)` ```^I)`` ``&nnJbbb*Ami7Ami9D7A757 45 45 55 4)````)` `` `bb*4321jb*132D7Emi95IIVA96 36 34 4644 ON 6& bb 4455 33 24& bb 1010 88 88 66 n 77 55 b b88 66& bb55 33 & bb`)```')` ` `+%)`+` ` `^)`+` ` `4231j32jbbbb1432nnnnBmaj7 Gmi7 Am11 Ami113 2 32 3 4 53 3 4 513 4 5)` +```##4312D76545& bb2nd Part, etc.Tune 3 J J3 33 5 5 325& bb3 j 3 4 3 33 5 35. jj . 5 2 25. & bb)` ```^I)`` ``&I41 Jnb 121 Cmi9 B710 78 78 88 7)` ```^I)`` ``&IbbJnb Bmi9 A78 56 56 66 5)` ```^I)`` ``&nnJbbb Ami9 A77 45 45 55 4& bb)````)` `` `bb4321jb132Emi9 A96 36 34 464 J J3 33 5 5 3& bb3 j 3 4 3 33 5 35. jj . 5 2 25w26& bbjjbbbbnnnnBmaj7 Gmi7 Am11 Ami113 2 32 3 4 53 3 4 513 4 5##D76545& bbBreak (into solo) 55 334 on 6 - Chords for Solos& bbGmi7 C7 Gmi7 C7 Gmi7 C7& bbGmi7 C7 Cmi7 F7 Bmi7 E7& bbAmi7 D7 Emi7 A7 Gmi7 C7& bbGmi7 C7 Gmi7 C7 Cmi7 F7& bb..Bmaj7 Ami7 D7 Gmi7 D727CHARACTERISTIC TECHNIQUESTECHNIQUE No.1:Alternating InversionsWest Coast Blues(extract)& 44............)````^I)` ` ``^ j14 #13j Ami9 Ami67 5 7 5 7 55 5 5 5 5 55 5 5 5 5 55 4 5 4 5 4)````^)` ` ``^ ^jbj Gmi9 Gmi65 3 5 3 5 33 3 3 3 3 33 3 3 3 3 33 2 3 2 3 2& bb 43....)` ```^I)` ```&I4131 b1321 B13 B1310 6 6 6 10 6 6 68 8 8 8 8 8 8 810 7 7 7 10 7 7 78 6 6 6 8 6 6 6)` ```^I)` ```& bbb A13 A138 4 4 4 8 4 4 46 6 6 6 6 6 6 68 5 5 5 8 5 5 56 4 4 4 6 4 4 4& bb 43)` ```&I)````Ib4312 b1321 B7 B1310 6 6 6 10 6 6 69 8 8 8 9 8 8 810 7 7 7 10 7 7 78 6 6 6 8 6 6 6b b 10 6 6 6 10 6 6 69 8 8 8 9 8 8 810 7 7 7 10 7 7 78 6 6 6 8 6 6 628TECHNIQUE No. 2: Imi7-V7b9 SequencesMost Used mi7 and mi6 inversions)` ` ` `&1)``^``13)``` `%231)```^`132Mi7Mi6 Mi7Mi6& bb)` ```& bb JA134 46 65 54 4 4bb 4 4 46 6 65 5 54 4 4)` ```&I)````Ib b B7 B1310 666 69 888 810 777 78 666 6etc. bJ 6 6 68 8 87 7 76 6 6)```^`134)```^`142)` ```2 341)````2 3 41Mi7Mi6 Mi7Mi629)` ```)` ```R 9)````R)` ```9)` ```R)`` ``R)` ```9)````R)` ```9)`^```2 31)` ```13 42& 44)`` ``&I)` ```I1 #3121Ami7 E75 75 65 75 6)` ```^I)` ```^#2131#n3121Ami6 E78 107 99 107 9)` ```^1)` ```12n4131#3121Ami7 E712 1310 1212 1310 121.V79Master Shape:Use either of the following fingerings:V7b9 and their parent V7 inversions30TECHNIQUE No. 3:Interchangeable Key CentersBmaj7 Gmi9 C7sus)````I234R, 5, 7 3,1)````I2349 5, 7, 3,1)````I234(11)13 4, 7, 9,1& 44)` ```^I)`` ``&I)` ```I)` ```^)` ```^1J ###nJnAmi7 E7 Ami6 E7 Ami75 7 8 10 125 6 7 9 105 7 9 10 125 6 7 9 10)` ```^I)`` ``&I)` ```I)` ```^##n# nE7 Ami6 E7 Ami710 8 7 59 7 6 510 9 7 59 7 6 52.&)`` ` `13)` ```15N4131# 3121Ami7 E715 1613 1514 1614 15)``&`` 17wwww1Ami71717171731& bbV24124134 13 42 4 125 66 85 7 85 7 85 6 86 8& bbV 1 2143432125 6677 85 85 6Bbmaj7 Scale and Arpeggio(use for Bmaj7, Gmi7 and C7)Example played over Gmi7, Bmaj7 and C7 on video:& 44V j1 b2143 13 b4132141458 5865 5 77 7 85 85 6.12 1.23 25 56 6 67&.331j #. 3 24 n14 b27 57 6 7 58 8 6. 14 b2 158 6 532TECHNIQUE No. 4:Characteristic Sounds for SoloingSound No.1Use the major scale and major7th arpeggio a tone below the Dom7 and mi7th chords,e.g:G major scale and Gmajor7th arpeggio, over A7 or Ami7A major scale and Amaj7 arpeggio over B7 or Bmi7E major scale and Emaj7 arpeggio over F7 or Fmi7,etc.Sound No.2Change all IIs to Vs and vice versa, e.g:Dmi7 = G7 or G7= Dmi7Ami7 = D7 or D7= Ami7Emi7 = A7 or A7= Emi7etc.Sound No.3Play over the 5substitute of.dominant chords, e.g:D7 = A7F7 = B7Play over the II of the 5 substitute ,e.g.D7 = A7(5 sub) = Emi7(5-II)F7 = B7(5 sub) = F mi7 (5-II) etc.Sound No.4Emphasize the 9th (or 2nd) and 4th (or 11th) when soloing over Dom7 and Mi7thchords.