You don’t understand what I mean? let’s have a look at this: ![]() To make a fluent transition from one scale to another it is useful to learn the two scales on exactly the same neck position. The G-Dorian and F-Dorian only differ two positions on the neck. So it’s, G-Dorian 4 measures, F-Dorian 2 measures, G-Dorian 2 measures. I like to play G-Dorian again (G-A-Bb-C-D-E-F) over these chords. ![]() Third in the melody, we return to the root: The F-Dorian fits perfectly well: F-G-Ab-Bb-C-D-Eb The Eb is a nice bridge to the second part. The Eb and Gb of the D7b9 don’t appear in this scale which is not a big issue (check it while playing). The progression is based upon the G-Dorian scale (G-A-Bb-C-D-E-F).įirst we have a sort of i-ii-V7 progression, the D7b9 as a dominant:Ī good choice is to play G-Dorian: G-A-Bb-C-D-E-F over these chords. It was this version:įantastic how these four players solo on this song but back home listening to the original version must admit Wes’ version is the best (and a little bit faster): ![]() The first time I realized how good this song was, was when I stayed in a hotel in Coimbra Portugal (because of a wedding of a friend) and I watched a jazz concert on the Arte channel. (OGD stands for Organ, Guitar and Drums by the way). You can find this song on the ‘Dynamic Duo’ album where Wes plays together with the incredible Jimmy Smith. A real Wes Montgomery classic, OGD aka the Road Song.
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