In this lesson, you’ll learn how to apply Wes Montgomery’s approach to tritone substitutions by replacing a standard II-V-I with one a tritone away. For example, instead of D–7 → G7 → Cmaj7, try Ab–7 → Db7 → Cmaj7. This simple shift adds rich altered tones and creates the sophisticated harmonic color characteristic of Wes’s sound.
Up Next in Jazz Breaks
-
Triad Pairs - Jazz Break
Triad Pairs
This lesson explores improvising with triads instead of traditional linear lines. By pairing two triads—like F and G major over a D–7 chord—you’ll discover fresh intervallic textures and melodic shapes that break you out of scalar playing and add a modern edge to your solos. -
Developing Vocabulary - Jazz Break
This lesson shows you how to build your improvisational language by studying and reworking phrases from classic bebop heads. You’ll learn how to extract, adapt, and connect these melodic ideas to develop authentic bebop vocabulary that naturally flows in your solos.
-
Minor ii-V's - Jazz Break
In this lesson, you’ll explore Pat Martino’s approach to simplifying minor II-V progressions by reducing the chords to their minor equivalents. This method makes it easier to navigate these challenging sequences, revealing clear melodic pathways and a more unified way to approach minor harmony.
2 Comments