{"id":4931,"date":"2026-01-21T19:02:37","date_gmt":"2026-01-21T18:02:37","guid":{"rendered":"https:\/\/www.jazzguitar.be\/blog\/?p=4226"},"modified":"2026-06-04T13:06:02","modified_gmt":"2026-06-04T11:06:02","slug":"four-on-six-wes-montgomery","status":"publish","type":"post","link":"https:\/\/www.jazzguitar.be\/blog\/four-on-six-wes-montgomery\/","title":{"rendered":"Four on Six (Wes Montgomery) &#8211; Intro &#038; Melody"},"content":{"rendered":"<p style=\"line-height: 160%; font-size: 18px; font-weight: bold; text-align: justify;\">In this lesson, you&#8217;ll learn how to play <em>Four on Six<\/em>, a jazz standard written by Wes Montgomery. The tune was first recorded in 1960 on Wes\u2019s album <em>The Incredible Jazz Guitar of Wes Montgomery<\/em>, which also introduced another classic Wes composition, <em>West Coast Blues<\/em>.<\/p>\n<p><img fetchpriority=\"high\" decoding=\"async\" class=\"alignright size-full wp-image-18333\" style=\"margin-top: 10px;\" src=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2017\/04\/the-incredible-jazz-guitar-of-wes-montgomery.png\" alt=\"The Incredible Jazz Guitar of Wes Montgomery\" width=\"300\" height=\"300\" srcset=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2017\/04\/the-incredible-jazz-guitar-of-wes-montgomery.png 300w, https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2017\/04\/the-incredible-jazz-guitar-of-wes-montgomery-150x150.png 150w, https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2017\/04\/the-incredible-jazz-guitar-of-wes-montgomery-48x48.png 48w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><\/p>\n<p>In this lesson, I\u2019ll walk you through the iconic intro and theme, followed by a harmonic analysis.<\/p>\n<p>In the <a href=\"https:\/\/www.jazzguitar.be\/courses\/product\/jgo-download-pass\/?utm_source=blog&amp;utm_medium=four_on_six_top_link\">JGO+ bonus content<\/a>, you\u2019ll study transcribed material from Wes Montgomery\u2019s solos, breaking down the arpeggio choices and soloing concepts he uses to improvise over the tune, followed by four chord studies that explore the harmony further and provide practical comping ideas.<\/p>\n<p>The origin of the title &#8220;<em>Four on Six<\/em>&#8221; is unclear. Wes never explained it, and no documented source confirms a definitive meaning. A few theories circulate, but none are particularly convincing.<\/p>\n<ul>\n<li>Some suggest it refers to a 4\/4 rhythm superimposed over 6\/8, but that interpretation doesn\u2019t hold up musically.<\/li>\n<li>Another theory is that the title refers to four fretting-hand fingers on six strings.<\/li>\n<li>A third theory links the title to the song&#8217;s introduction, a four-note riff played on a six-string guitar.<\/li>\n<\/ul>\n<p><strong>Recommended Listening:<\/strong><\/p>\n<ul>\n<li>Wes Montgomery &#8211; <em>The Incredible Guitar of Wes Montgomery<\/em> (1960)<\/li>\n<li>Wes Montgomery &amp; Wynton Kelly Trio &#8211; <em>Smokin&#8217; at the Half Note<\/em> (1965)<\/li>\n<li>John Scofield &amp; John Abercrombie &#8211; <em>Solar<\/em> (1982)<\/li>\n<li>Lee Ritenour &#8211; <em>Wes Bound<\/em> (1992)<\/li>\n<li>Lee Ritenour &amp; Larry Carlton &#8211; <em>Live in Tokyo 1995<\/em> (1995)<\/li>\n<li>Pat Martino &#8211; <em>Remember &#8211; A Tribute to Wes Montgomery<\/em> (2005)<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<p><a href=\"https:\/\/www.jazzguitar.be\/courses\/product\/jgo-download-pass\/?utm_source=blog&amp;utm_medium=four_on_six_top\"><img decoding=\"async\" src=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2026\/01\/JGO-plus-bonus-content-four-on-six.png\" alt=\"Four on Six bonus content\" width=\"779\" height=\"242\" class=\"alignnone size-full wp-image-20074\" srcset=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2026\/01\/JGO-plus-bonus-content-four-on-six.png 779w, https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2026\/01\/JGO-plus-bonus-content-four-on-six-300x93.png 300w, https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2026\/01\/JGO-plus-bonus-content-four-on-six-768x239.png 768w\" sizes=\"(max-width: 779px) 100vw, 779px\" \/><\/a><\/p>\n<p>&nbsp;<\/p>\n<h2>Four on Six &#8211; Intro &amp; Melody<\/h2>\n<p>Four on Six has a great intro that is made entirely of parallel fifths, played in unison with the bass and piano. It ends with a chord break that can be a bit challenging to play clean at first.<\/p>\n<p>The first part of the melody is built with notes from the G Aeolian mode and ends with the same chord break as the intro, this time voiced differently.<\/p>\n<p>The second part of the melody is a ii-V sequence with strong accents, following the harmony of the intro.<\/p>\n<p>Normally, the theme is played once, but I play it twice here because there are two different versions of the ii-V part: the first is melodic, while the second uses chord hits.<\/p>\n<p>&nbsp;<\/p>\n<div class=\"ast-oembed-container \" style=\"height: 100%;\">\n<div data-mode=\"normal\" data-oembed=\"1\" data-provider=\"youtube\" id=\"arve-youtube-4zapd2pk1rw\" style=\"max-width:900px;\" class=\"arve\">\n<div class=\"arve-inner\">\n<div style=\"aspect-ratio:500\/281\" class=\"arve-embed arve-embed--has-aspect-ratio\">\n<div class=\"arve-ar\" style=\"padding-top:56.200000%\"><\/div>\n<p>\t\t\t<iframe allow=\"accelerometer 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type=\"application\/ld+json\">{\"@context\":\"http:\\\/\\\/schema.org\\\/\",\"@id\":\"https:\\\/\\\/www.jazzguitar.be\\\/blog\\\/four-on-six-wes-montgomery\\\/#arve-youtube-4zapd2pk1rw\",\"@type\":\"VideoObject\",\"embedURL\":\"https:\\\/\\\/www.youtube-nocookie.com\\\/embed\\\/4zApD2pK1Rw?feature=oembed&rel=0&iv_load_policy=3&modestbranding=1&autohide=1&playsinline=0&autoplay=0\"}<\/script><\/p>\n<\/div>\n<\/div>\n<p>&nbsp;<\/p>\n<div class=\"waveplayer-container\"><div id=\"waveplayer-424896c46c33c972e926dd34a87deb66-6a5196d94d0ce\" class=\"waveplayer loading wvpl-skin-w2-evolution wvpl-palette-800e3a14c86733ad9ccc96fd80850d88 wvpl-style-light wvpl-size-xs wvpl-shape-rounded \" data-limit=\"0\" data-mode=\"normal\" data-config_id=\"424896c46c33c972e926dd34a87deb66\" data-instance_id=\"424896c46c33c972e926dd34a87deb66-6a51096a6dd92\">\n\t<div class=\"wvpl-left-box\" style=\"background-image:url(https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2018\/04\/audiobg.png)\">\n\t\t<div class=\"wvpl-interface\">\n\t\t\t<div class=\"wvpl-volume-overlay\"><\/div>\n\t\t\t<div class=\"wvpl-icon wvpl-info\"><\/div>\n\t\t\t<div class=\"wvpl-controls\">\n\t\t\t\t<div class=\"wvpl-icon wvpl-prev wvpl-disabled\"><\/div>\n\t\t\t\t<div class=\"wvpl-icon wvpl-play\"><\/div>\n\t\t\t\t<div class=\"wvpl-icon wvpl-next wvpl-disabled\"><\/div>\n\t\t\t<\/div>\n\t\t\t\t\t\t\t<div class=\"wvpl-icon wvpl-volume wvpl-volume_up\"><\/div>\n\t\t\t\t\t<\/div>\n\t\t<div class=\"wvpl-poster\"><\/div>\n\t<\/div>\n\t<div class=\"wvpl-right-box\">\n\t\t<div class=\"wvpl-overlay\">\n\t\t\t<svg>\n\t\t\t\t<use xlink:href=\"#waveform-animation\" \/>\n\t\t\t<\/svg>\n\t\t\t<div class=\"percentage\"><\/div>\n\t\t\t<div class=\"wvpl-loading\">\n\t\t\t\t<div class=\"wvpl-loading-progress\"><\/div>\n\t\t\t<\/div>\n\t\t\t<div class=\"message\"><\/div>\n\t\t<\/div>\n\t\t<div class=\"wvpl-position\"><\/div>\n\t\t<div class=\"wvpl-duration\"><\/div>\n\t\t<div class=\"wvpl-waveform\"><\/div>\n\t\t<div class=\"wvpl-infobar\">\n\t\t\t<div class=\"wvpl-playing-info\"><div class=\"wvpl-infoblock\"><\/div><\/div>\n\t\t<\/div>\n\t<\/div>\n\t<div class=\"wvpl-playlist\">\n\t\t<div class=\"wvpl-playlist-wrapper\"><\/div>\n\t<\/div>\n<\/div>\n<\/div>\n<p>&nbsp;<\/p>\n<p><img decoding=\"async\" class=\"alignnone size-full wp-image-18422\" src=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2026\/01\/four-on-six-intro.png\" alt=\"Four on Six intro\" width=\"1180\" height=\"1346\" srcset=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2026\/01\/four-on-six-intro.png 1180w, https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2026\/01\/four-on-six-intro-263x300.png 263w, https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2026\/01\/four-on-six-intro-898x1024.png 898w, https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2026\/01\/four-on-six-intro-768x876.png 768w\" sizes=\"(max-width: 1180px) 100vw, 1180px\" \/> <img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-18567 size-full\" src=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2026\/01\/four-on-six-melody-1-f.png\" alt=\"Four on Six Melody Page 1\" width=\"1180\" height=\"1178\" srcset=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2026\/01\/four-on-six-melody-1-f.png 1180w, https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2026\/01\/four-on-six-melody-1-f-300x300.png 300w, https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2026\/01\/four-on-six-melody-1-f-1024x1022.png 1024w, https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2026\/01\/four-on-six-melody-1-f-150x150.png 150w, https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2026\/01\/four-on-six-melody-1-f-768x767.png 768w, https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2026\/01\/four-on-six-melody-1-f-48x48.png 48w\" sizes=\"(max-width: 1180px) 100vw, 1180px\" \/> <img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-18569 size-full\" src=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2026\/01\/four-on-six-melody-2-f.png\" alt=\"Four on Six Melody Page 2\" width=\"1180\" height=\"1210\" srcset=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2026\/01\/four-on-six-melody-2-f.png 1180w, https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2026\/01\/four-on-six-melody-2-f-293x300.png 293w, https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2026\/01\/four-on-six-melody-2-f-999x1024.png 999w, https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2026\/01\/four-on-six-melody-2-f-768x788.png 768w, https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2026\/01\/four-on-six-melody-2-f-48x48.png 48w\" sizes=\"(max-width: 1180px) 100vw, 1180px\" \/> <img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-18570 size-full\" src=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2026\/01\/four-on-six-melody-3-f.png\" alt=\"Four on Six Melody Page 3\" width=\"1180\" height=\"1310\" srcset=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2026\/01\/four-on-six-melody-3-f.png 1180w, https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2026\/01\/four-on-six-melody-3-f-270x300.png 270w, https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2026\/01\/four-on-six-melody-3-f-922x1024.png 922w, https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2026\/01\/four-on-six-melody-3-f-768x853.png 768w\" sizes=\"(max-width: 1180px) 100vw, 1180px\" \/><\/p>\n<p>&nbsp;<\/p>\n<h2 style=\"page-break-before: always; break-before: page;\">Four on Six &#8211; Chord Changes &amp; Improvisation<\/h2>\n<p>The chord changes of <em>Four on Six<\/em> are closely related to those of <a href=\"https:\/\/www.jazzguitar.be\/blog\/summertime-melody-and-solo\/\">Summertime<\/a>.<\/p>\n<p>Most of the harmony is identical. The main difference occurs in <span style=\"background: #f5b335; color: #111; padding: 0.1em 0.4em; border-radius: 0.35em; font-weight: 600; white-space: nowrap;\">bars 5 to 8<\/span>, where Wes Montgomery replaces the more conventional harmony of <em>Summertime<\/em> with a series of descending ii\u2013V progressions.<\/p>\n<p><strong>Form:<\/strong> 16 bars<br \/>\n<strong>Key:<\/strong> G minor<\/p>\n<p>&nbsp;<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-18429\" src=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2026\/01\/four-on-six-chord-changes.png\" alt=\"Four on Six chord changes\" width=\"1180\" height=\"928\" srcset=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2026\/01\/four-on-six-chord-changes.png 1180w, https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2026\/01\/four-on-six-chord-changes-300x236.png 300w, https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2026\/01\/four-on-six-chord-changes-1024x805.png 1024w, https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2026\/01\/four-on-six-chord-changes-768x604.png 768w\" sizes=\"(max-width: 1180px) 100vw, 1180px\" \/><\/p>\n<p>&nbsp;<\/p>\n<p>Wes Montgomery\u2019s soloing on <em>Four on Six<\/em> is rooted in arpeggio-based phrases rather than scale runs.<\/p>\n<p>Much of his harmonic color comes from outlining upper extensions of the underlying chords, most often by using arpeggios built from the 3rd of the chord.<\/p>\n<p>A substitution that he uses over and over is the 3-to-9 arpeggio: Bbmaj7 over Gm7, for example.<\/p>\n<p>&nbsp;<\/p>\n<table class=\"tableizer-table\">\n<tbody>\n<tr class=\"tableizer-firstrow\">\n<th style=\"border-top: 0; width: 250px; text-align: center; color: red;\">Bbmaj7 arpeggio<\/th>\n<td style=\"background-color: black; color: white;\">Bb<\/td>\n<td style=\"background-color: black; color: white;\">D<\/td>\n<td style=\"background-color: black; color: white;\">F<\/td>\n<td style=\"background-color: black; color: white;\">A<\/td>\n<\/tr>\n<tr class=\"tableizer-firstrow\">\n<th style=\"border-bottom: 0; border-top: 0; width: 150px; text-align: center;\">Played over Gm7<\/th>\n<td>b3<\/td>\n<td>5<\/td>\n<td>b7<\/td>\n<td>9<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>&nbsp;<\/p>\n<p><span style=\"background: #f5b335; color: #111; padding: 0.1em 0.4em; border-radius: 0.35em; font-weight: 600; white-space: nowrap;\">Bars 5 to 8<\/span> are a descending series of ii-V progressions.<\/p>\n<p>Wes treats these as a sequence of independent ii\u2013V progressions rather than as a single connected harmonic line. He uses short, melodic patterns that he transposes through these changes instead of weaving long, continuous lines across them.<\/p>\n<p>The Ebm7-Ab7 progression in <span style=\"background: #f5b335; color: #111; padding: 0.1em 0.4em; border-radius: 0.35em; font-weight: 600; white-space: nowrap;\">bar 8<\/span> is a <a href=\"https:\/\/www.jazzguitar.be\/blog\/tritone-substitution\/\">tritone substitution<\/a>. Ab7 is the tritone sub of D7 (the dominant), and Ebm7 is the related ii of Ab7.<\/p>\n<p>&nbsp;<\/p>\n<h2>JGO+ Bonus Content: 14 Wes Licks + 4 Chord Studies<\/h2>\n<p>In the JGO+ bonus section, you\u2019ll find 14 note-for-note transcribed licks from Wes Montgomery\u2019s solo on Four on Six, along with 4 chord studies that explore practical comping ideas over the changes (<a href=\"https:\/\/www.jazzguitar.be\/courses\/product\/jgo-download-pass\/?utm_source=blog&amp;utm_medium=four_on_six_bottom_link_mail\">click here to become a member<\/a>).<\/p>\n<p>&nbsp;<\/p>\n<p><a href=\"https:\/\/www.jazzguitar.be\/courses\/product\/jgo-download-pass\/?utm_source=blog&amp;utm_medium=four_on_six_bottom\"><img decoding=\"async\" src=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2026\/01\/JGO-plus-bonus-content-four-on-six.png\" alt=\"Four on Six bonus content\" width=\"779\" height=\"242\" class=\"alignnone size-full wp-image-20074\" srcset=\"https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2026\/01\/JGO-plus-bonus-content-four-on-six.png 779w, https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2026\/01\/JGO-plus-bonus-content-four-on-six-300x93.png 300w, https:\/\/www.jazzguitar.be\/blog\/wp-content\/uploads\/2026\/01\/JGO-plus-bonus-content-four-on-six-768x239.png 768w\" sizes=\"(max-width: 779px) 100vw, 779px\" \/><\/a><\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>In this lesson, you&#8217;ll learn how to play Four on Six, a jazz standard written by Wes Montgomery. The tune was first recorded in 1960 on Wes\u2019s album The Incredible Jazz Guitar of Wes Montgomery, which also introduced another classic Wes composition, West Coast Blues. In this lesson, I\u2019ll walk you through the iconic intro [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":18333,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"default","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"default","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"set","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"categories":[154],"tags":[],"class_list":["post-4931","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-jazz-standards"],"_links":{"self":[{"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/posts\/4931","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/comments?post=4931"}],"version-history":[{"count":3,"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/posts\/4931\/revisions"}],"predecessor-version":[{"id":20075,"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/posts\/4931\/revisions\/20075"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/media\/18333"}],"wp:attachment":[{"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/media?parent=4931"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/categories?post=4931"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.jazzguitar.be\/blog\/wp-json\/wp\/v2\/tags?post=4931"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}