Wes Montgomery’s Secret to High-Register Arpeggios
Lanny noticed that when Wes Montgomery played arpeggios, he often played one low and then immediately played another high up the neck. Lanny asked if Wes was sliding up to these notes or using a specific fingering strategy, as he often felt he "ran out of real estate" on the fretboard when trying to replicate it.
(13:23)
The core idea (in plain English)
Wes Montgomery generally did not change his fingering shape when moving to the high register. Instead, he used the concept of diagonal structure. He would play a specific shape (like a G minor shape) in the lower register, and then jump to the exact same physical shape an octave higher. It isn't a new fingering; it is the same shape displaced diagonally.
(14:19)
Fretboard breakdown (what to play)
To replicate this sound, you must visualize the diagonal connection:
Start Low: Play a standard shape (e.g., G minor) on the lower string set.
The Octave Jump: Visualize where that root note is an octave higher.
Repeat the Shape: Play the exact same physical structure on the higher strings. You are simply "copy-pasting" the shape diagonally across the neck. (15:21)
Common mistake to avoid
The mistake is trying to find a different voicing or fingering for the high notes because you are already in a specific position. Do not overcomplicate it. If you know the shape low, you know the shape high. You just need to trust the jump.
(16:26)
A 10-minute practice assignment
Choose a B-flat Major or G Minor shape. Play it in the lowest possible position. Immediately find the root note an octave higher and play the exact same shape there. Practice jumping back and forth between these two positions without hesitating, ensuring your hand maintains the same "grip" or structure.
(15:21)
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