How Wes Montgomery Covered the Whole Neck With One Shape

This is a free online jazz guitar lesson from VoiceLid Jazz Guitar (Junewon Choi) on how to unlock the fretboard for jazz improvisation with one diagonal two-octave shape. Full written lesson: https://www.voicelidjazzguitar.com/ja... Wes Montgomery covered the entire neck with one signature line — heard in Four on Six and Days of Wine and Roses. Here's the two-octave Wes Line that ties them together. This video is part of the series: "VoiceLid Jazz Guitar: The Diagonal Harmony Series 🔶 Wes to Django" ▶ Start from the first video in this playlist:    • VoiceLid Jazz Guitar: The Diagonal Harmony...   Previous episode:    • How Wes Montgomery Plays ii–V 🔶 The Hidden...   Next episode:    • Stop Playing Boxes on “Misty” — Make One L...   How did Wes Montgomery move from the 5th fret all the way up to the 17th fret in one flowing phrase? In this lesson, I break down Wes’s *two-octave Wes Line* as heard in: • “Four on Six” • “The Days of Wine and Roses” (and related phrases in “Misty” and other recordings) You’ll see how: • The Wes Line (A-form) and Django Line (B-form) connect across the neck • One structure can cover *two octaves with the same fingering* • Wes uses this to move from low to high positions in a single phrase • The same shape can function as tonic and non-tonic (ii, V, I, altered, etc.) • These two lines become the *backbone* for upper-structure sounds and diagonal harmony We also look at how: • Standards like *Fly Me to the Moon**, **All the Things You Are**, and **Autumn Leaves* use circle-of-fifths progressions and melodies targeting the 3rd • Wes applies his line inside that context, not as random licks, but as *structured, melodic geometry* This video wraps up the *first phase* of my Wes Montgomery series. From here, we’ll move on to how players like *Charlie Parker (Donna Lee)* use upper structures in a similar way. 📚 Jazz Icon Series | Wes' Insight If you want to learn how Wes plays onclick the link below; https://voicelidjazzguitar.com/jazz-i... You’ll find: Wes' transcription on • Fly Me To The Moon, • All The things You Are • Autumn Leaves – analyzing real solos with Wes Line and Django Line 00:00 – Intro Performance: Two-Octave Wes Line 00:23 – Greeting & Channel Intro (VoiceLid Jazz Guitar) 00:34 – Wrapping Up the Wes Montgomery Approach Series 00:50 – Summary of the Two-Octave Wes Line (Four on Six & Days of Wine and Roses) 01:13 – Today’s Goal: Understanding Wes’s Signature Diagonal Line 01:50 – Free Membership Registrations & Website Structure Issues 02:27 – Why I Picked These Tunes: Fly Me to the Moon / All the Things You Are / Autumn Leaves 02:57 – Fly Me to the Moon: Octave Solo + Django/Wes Line Analysis 03:18 – All the Things You Are: Smokin’ at the Half Note & Solo Transcription 03:53 – The Unreleased Autumn Leaves Session & Richie Hart Story 04:34 – Autumn Leaves Analysis: Why Wes Uses Gm7 Wes Line in D Minor 05:11 – Misty Solo Connection: Same Two-Octave Structure 05:34 – Revealing the Secret: How Wes Moves from 5th to 17th Fret in One Phrase 06:21 – Most Guitarists Stay in One Position—Wes Does Not 06:54 – The “Other Side of the Wes Line” for V7 (C7 Sound) 07:29 – Wes Line + Bb Major Triad Jumps (Same Inversion Mapping) 08:34 – Two Octaves with the Same Shape & Fingering 09:13 – Days of Wine and Roses: Repeating the Same Descending Cell 09:57 – Why This Matters: Fast Lines Use the Same 2-Octave Structure 10:33 – Blues Scale & Django Line Already Contain This Structure 11:06 – Like Piano/Sax: Repeating the Same Phrase Across Registers 11:39 – Early Wes vs Late Wes: How He Found This Structure Over Time 12:24 – Gm Wes Line: Changing Register While Keeping Rhythmic Identity 13:19 – Why Having the Shape “Under the Fingers” Changes Everything 13:40 – Wes’s Rhythmic + Melodic Mastery Built on This Structure 14:07 – A Form / B Form Shell Voicings = Wes Line / Django Line 14:47 – Shell Voicings Alone Don’t Sound “Jazz”—You Need Upper Structures 15:07 – Wes Line & Django Line as the Backbone for All Upper-Structure Sounds 15:33 – Applying the Structure to Altered / Dominant / IIm7 / Imaj7 16:05 – Tonic vs Non-Tonic: Two Structures Cover All Functional Harmony 16:48 – Why Wes Could Play the Same Structure Over Any Progression 17:12 – We Can Do This Too: Wes Line, Django Line, Shells, Upper Structures 17:35 – Website Free Lessons Explanation 17:52 – Website Guide: 2 Hours Free Lessons + PDFs 18:30 – End of Phase 1 of the Wes Montgomery Lecture Series 18:49 – Next Topic Preview: Donna Lee & Charlie Parker Upper Structure Logic 19:09 – Outro: Subscribe, Visit Website, Leave Questions 19:43 – Ending: “Thank you, and I’ll see you next time.” If this lesson helps you: 👍 Please like the video ✅ Subscribe to the channel 💬 Comment with what you want to hear about jazz guitar next #WesMontgomery #JazzGuitar #DiagonalHarmony #DjangoReinhardt #VoiceLid