“The great Wes Montgomery often harmonized his solos with ‘block chords,’” wrote Norah Jones guitarist and former GP staffer Adam Levy in the May ’99 GP. “He shadowed his single-note lines with three- or four-voice chords. And not just on ballads—he could let the chords fly at breakneck tempos just as easily.” Levy provided this hip chord-melody phrase as an example. The original melody line suggests Gm7, and occurs entirely on the high-E string, but has, as you can see, been fleshed out in four-part harmony. The key ingredient in this chordal gravy is the diminished 7th chords. Says Levy, “Use them to harmonize the non-Gm7 tones in the melody—A, C, Eb, and F#.”