Django Line vs. Wes Line: Understanding the Difference

What was the question?

Ed Lo asked for clarification on the "Django Line" and "Wes Line" concepts. Specifically, he wanted to know if they are interchangeable, if the difference comes from upper extensions, and how this relates to tonic versus non-tonic functions.
(14:44)

The core idea (in plain English)

The "Django Line" (linear/scale-based) and "Wes Line" (arpeggio/chord-based) are different tools, but they are connected by the same underlying principle: voice leading. Before worrying about which "line" to use, you must understand the functional harmony (Is the chord tonic or non-tonic?). Once you identify the function, you can use either concept interchangeably because the voice leading—the movement of guide tones—remains the same in both.
(16:59)

Fretboard breakdown (what to play)

  • Prioritize Voice Leading: The melody and guide tones (3rds and 7ths) dictate the movement. This is the "sentence structure" before you choose your "words" (lines). (16:59)

  • Tonic vs. Non-Tonic:

    • Tonic Function: Includes Cmaj7, Em7, Am7.

    • Non-Tonic Function: Includes Dm7, Fmaj7.

    • Determine which function you are in, and stay within that sound until the function changes. (20:57)

  • Interchangeability: You can play a Wes Line (arpeggio shape) over a Dm7, or a Django Line (scale run) over the same Dm7. The specific notes might change, but the target notes (voice leading resolutons) stay the same. (40:43)

Common mistake to avoid

Do not treat these lines as separate, isolated "licks." A common error is learning a shape without understanding why it works. If you play a Wes Line shape but don't resolve it correctly to the next chord via voice leading, the line will fail regardless of what you call it.

A 10-minute practice assignment

Take a II-V-I progression in C major (Dm7 - G7 - Cmaj7).

  1. Play the "Wes Line" (arpeggio focus) over the Dm7.

  2. Resolve it to the G7 using proper voice leading.

  3. Then, play the "Django Line" (linear focus) over the Dm7.

  4. Resolve it to the G7 using the same voice leading target note.
    Notice how the path changes, but the destination is identical.
    (43:19)

How to join the next Office Hour (Free)

Master these concepts with live feedback:

Previous
Previous

How to Fix Your Rhythm Between Guide Tones

Next
Next

The Physics of Jazz Tone: Pick Thickness and the Rest Stroke