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Watch the The Wes Coast online guitar lesson by Chris Buono from Guitar Lab: Blues Soloing

In this trio of choruses played over The Wes Coast changes first introduced in Blues Progressions we see the peculiar bVII7 pop up once again, this time in the 2nd bar. While that's going to require a little bit of know-how, as you've seen so far, nothing over-complicated is necessary. Remember, just nail those chord tones and try to connect them in a way that sounds good and you're golden. As always you have three solid examples as to how to go about that. Whether it be landing on a chord tone that exists within the I chord approach (first and third chorus) or leading into the change with straight-up bVII7 material (second chorus), if the groove and the phrasing are there, you'll make the changes just fine. Throughout these three solos you'll see how The Wes Coast features some serious theme-age in the form of what you play at the beginning is what you come back to at the end to tie it all in - VERY cool and VERY important concept to geek on. You have a more-than-obvious example in the first chorus where bar 1 is played verbatim in bar 11 to close the solo out. In the second chorus things are little more stealthy, but present nonetheless. Check out the 16th note lead-in lick at beat 4 in bar 2 that flows right into bar 2's Ab7 curveball. That same idea is played not only at beat 4 in bar 11 (this time a whole step in Bb to close things out), but also in bar 7 at beat 2 to nicely tag the ideas played over the IV chord in bars 5 and 6. Nice, right?