Far Wes(Transcribed by GIBSON BOY)

From the same album as the previous “Wes’ Tune,” Montgomeryland/Pacific Jazz PJ-5, we bring you Wes’s original composition “Far Wes.”

Theme “Far Wes” is an original composition by Wes, played at a moderately slow tempo (around 100-102 BPM) with a relaxed, triplet feel that makes it very groovy and enjoyable. The chord progression frequently features the II minor 7 – V7 – I Major 7 cadence, with each cadence unit modulating to a new key, creating a rich variety. (See the chord progression in the theme.)

Wes’s ad-lib phrases often feature triplets, but you can also feel the eighth-note rhythm within each beat as a triplet feel, capturing the groove. (Wes’s solo, after the initial hook, showcases a relaxed groove with triplets, eighth notes, and quarter notes in measures 1-4 and 9-12.)

His ad-lib phrases skillfully use arpeggios, filled with a singing quality. They also serve as excellent practice for the II minor 7 – V7 – I Major 7 progression. For the first 22 measures, Wes focuses on triplets, interspersed with eighth notes, to maintain a strong triplet groove. From measure 23 onwards, he switches to sixteenth-note phrases, skillfully using arpeggios that often visually illustrate the chord forms being used. Each chord connection clearly demonstrates Wes’s choice of chord forms. (For example, the transition from the Em9 chord form in measure 23 to the E♭m9 chord form in measure 24, and then to the D♭Maj7 chord form in measure 25.)

Technically, Wes employs a wide range of notes within these arpeggios, which can be quite challenging to play in sixteenth notes. Study his fingerings as well. (For example, the arpeggio in measure 26 on the F♯m9 chord and the arpeggio in measure 29 on the DMaj7 chord.)

Note that the chord progressions in the theme and ad-lib sections differ slightly towards the end. Chord names are provided above both the theme and ad-lib notations for reference.

GIBSON BOY