the GYPSTES By IAN CRUICKSHANKIntroduction 5 Django Reinhardt 6 Guitar - Django Style 8 Right Hand Exercises 9 Triads, Chord Shapes & Inversions 11 Movement Within Chords 15 Arpeggios 16 Octaves 22 Chordal Textures 24 Connecting Solo Lines 25 Tricks & Devices 29 Translating Chord Symbols 31 Learning From Records 32 Records/Books/Literature 33 Gypsy Guitarists in the Reinhardt Tradition 34ee ee ee ee ciao De eet ee and session work. In 1978 he formed the group Swing Guitars, primarily in order to play the music of Django Reinhardt. In conjunction with fellow guitarist, Trevor Davies, he has made many ‘field’ trips to France to photograph and record the gypsy jazz musicians, and in 1981 they made a 40 minute movie documentary called "Gypsy Jazz” Ian is also involved in promoting various gypsy groups and in January, 1981, brought Raphael Fays and his trio to play at the Pizza Express in London. His present quartet is also called "Gypsy Jazz". The purpose of this book is to provide some pointers towards the gypsy jazz style as pioneered by Django Reinhardt, and continued today by many gypsy guitarists, The key to individual progress along this path is relentless application and experimentation, coupled with an intense study of all available information, both aural and visual. Regarding Django’s recordings, one may find several versions of the same tune — each Providing (upon close examination) a wealth of information on which to build a repertoire of ideas. Gradually, and in direct proportion to the learning effort put in, the determined student will find the structures, chords and harmonic concept becoming ‘second nature’ Therefore, while learning directly by attempting to play Django’s solos note for note has its obvious advantages, the important thing is to emulate the spirit in which this music is created, using the gypsy approach to chords and timing. Jan Cruickshank All photographs by lan Cruickshank @ 1982, exce used by arrangemaextt Ones, att eT i crsrds "5 {am indebted to Dave Bennett for his ideas, practical help and not least of al his lettering, in the preparation cof this second edition, ° * peeps Jan Cruickshank 1985 SL Grimmer Way Woadeote Reading BerksDJANGO REINHARDT Django was born on 23rd January, 1910, at Liverchies in Belgium. He was a true gypsy of the Manouche tribe who were renowned for their creative and entertaining skills. Django spent his early years travelling by caravan around Europe and North Africa and finally settled just outside Paris. Django had virtually no formal education and by the time he was twelve, his overwhelming interest was music and he'd started to play a banjo-guitar as well as dabbling with the violin, By the following year he was already playing in the many cafes and nightspots of Paris, mainly backing accordianists and violinists. The music at this time consisted mostly of waltzes and tangos, plus a few gypsy pieces, all of which Django played with incredible flair to the extent that everybody who heard him was amazed at his dexterity. The first recordings that Django made were done in March, 1928, backing an accordianist and a slide-whistle player. On November 2nd in the same year, Django returned to his caravan after playing in Paris and either dropped a lighted candle or a match, with the result that the whole caravan was burnt to the ground and Django was left with such severe burns to his right leg and left hand that there was talk of amputation. However, through help from a gypsy doctor and amazing determination on Django’s part, he was fully recovered after a period of some 18 months. However, the accident had resulted in the 3rd and 4th fingers of Django's left hand being deformed and virtually useless. Despite this terrible handicap, Django persevered and evolved a unique guitar style, using mainly two fingers. He would take his caravan along the south coast of France and he and his brother, Joseph, would play duets in the bars and cafes. About this time he was discovered by one Emile Savitry who was a jazz fan with a good collection of records. So it was that Django began to hear people like Louis Armstrong, Duke Ellington and Joe Venuti, and he wasted no time in assimilating jazz into his own playing. Possessing, like many gypsies, a photographic memory, Django would hear a tune once and play it on his guitar five minutes later. About this time Django met Louis Vola, a French double-bassist, who had his own group and the two of them would play together whenever Django was in the vicinity. Meanwhile, Django’s fame was spreading and he made all sorts of recordings with singers and orchestras but, as yet, no jazz. Around late 1933, Django started to frequent a club in Paris called the Hot Club of France which had been started by Charles Delauney and others in order to promote the new ‘hot jazz. Before long, Django had formed a quintet with his brother on rhythm guitar, a cousin or friend on 2nd rhythm guitar, Louis Vola on the bass and Stephane Grappelli on violin. The Quintet of the Hot Club of France was born and in December, 1934 the first records were made. The group was a tremendous success and made many records and tours up to 1939, when the war came and Stephane and Django went their own ways. Grappelli stayed in England, where the Quintet had been touring, while Django returned to France to form another group — this time with clarinet, drums, one rhythm guitar and bass. This continued to 1948 but although Stephane and Django had reunited immediately after the war and were to do so on and off until 1950, Django was by now interested in different forms of jazz, particularly bebop which he had heard while playing in America with Duke Ellington in 1946. Django became more and more a recluse, feeling that his music was misunderstood and that people only wanted to hear the old Quintet style. He rented a house in Samois, 30 miles south of Paris, and spent his time fishing, painting and playing billiards. He made a few sporadic tours and occasionally played in the jazz clubs of Paris, making his last recording with a modern group in March, 1953. On May 15th of that year, Django set out from his house in Samois for a beer and a game of billiards when he suffered a brain haemorrage. It was a Saturday, and there was no doctor immediately available. Eventually, he was taken to a hospital in Fontainebleu where he died in the night. The world had lost not only the greatest guitarist but a fantastic composer. Fortunately, this illiterate, unpredictable, mysterious gypsy made over 850 separate recordings during his incredibly varied musical career and his playing continues to delight and astound many thousands of fans, old and new.Django in 197, playing a Gibson guitar; acquired aul his oe Tour with i Etinglon the previous year.GUITAR-QIANGO style For any guitarist wishing to study Django's playing methods, the problems may seem, to say the least, baffling. Immediately one is dealing with a musician of formidable stature and a completely unorthodox style of playing which stemmed partly from his physical limitations (the third and fourth fingers on his fretting hand were deformed and could not be used in the usual way) but also from his unschooled gypsy origins, In this book I hope to provide an alternative approach which will dispense with the need to unravel the various solo transcriptions that are available on the market. While some of these are excellent, they require a high standard of reading and the chord symbols are not always accurate. In conjunction with this book, the most direct ways of learning are through the study of Django's records and, if possible, hearing in person some of the guitarists who are playing in this style today, e.g. Diz Dizley, Raphael Fays, W.A.S.O., the gypsy group from Belgium, and Bireli Lagrene. The first essential is, of course, the instrument which should be an acoustic guitar with a bright attacking sound, ideally a Maccaferri type like the mass production C.S.L. or better still, a hand made job from a ‘good luthier’. The strings should be light gauge and the plectrum a thick rigid type, preferably made from tortoiseshell I would recommend the following as being competent makers of this type of guitar: John le Voi — 8 Hamilton Road, Alford, Lincs. LN13 9HD. Tel: 05212 3341 Jean Pierre Favino — 9 rue de Clignancourt, Barbes, Paris, France. Jean Pierre Favino will not enter into any correspondence and does not speak English, therefore a visit to his workshop and a smattering of French is essential.Here are some runs and scales that will help develop the co-ordination between right and left hands. Remember to pick every note, using up and down strokes where indicated, to obtain a balanced run with no weak spots. k, 4, 4. DIMINISHED RUN Ascend from the sixth string to the first using only down strokes, then play the descending scale starting on the first string using the following picking strokes:~ NANAANANAN Run up and down this scale using alternate up and down picking but starting always with a down stroke. Practice this all over the fingerboard from any note to its octave Strive to cultivate a supple right hand technique which moves primarily from the wrist, positioning the hand so that it does not rest on the strings or soundboard and with the thumb running on a parallel plane with the strings. SEMITONE SCALEThis is a favourite device used by Django. Start on the first string using an up stroke then down strokes on third, second and first strings, immediately sliding the whole chord shape up three frets to start again on the first string with an up stroke, thus repeating the whole procedure DIMINISHED TRIPLET RUN By moving this shape up and down the fingerboard at three fret intervals, one is able to give the impression of a continuous line which sounds as though it is being picked with the fingers. SEMITONE CHORDAL RUN Django often used this device of playing over a chord scale (in this case Dé) by first picking the note one semitone below the actual note in the chord. Start on the fourth string at F (sharp) with a down stroke and follow with alternate up and down picking. This also works well over a major or minor chord scale in any inversion or position Another good exercise for improving co-ordination is to choose any note on the fingerboard and ascend to its octave on the same string via semi-tones using alternate picking. As with all these exercises the rule is to start slowly and gradually increase your speed, at all times paying attention to tone and accurate co-ordination0 eee & INVERSIONS Many of Django’s chords were basically triads formed by using only three notes and these were usually played in three main groups, i.e. by using the first, second and third strings, or the second, third and fourth, or the third, fourth and sixth. In the last case the fifth string is deadened by touching it, usually with the finger that is holding down the sixth string, thus allowing the right hand to strike four strings, but sound three. This ‘triad’ approach has several advantages, e.g. the chords in many cases sound stronger than the corresponding conventional chord where five or six strings are used, also it is good for fast changes and fills so much a feature of the music of the Hot Club. Another beguiling aspect is that these simple three string fingerings can be interchanged so that one shape can “translate” two or three different chords and more if a fourth note is added. , aie Django would often use his thumb on the sixth string in certain chords, these being marked with a “T” in the diagram. Although unconventional, this thumb technique can be most effective and, in some chord shapes, indispensable. “Ultrafox”, from the Ace of Clubs, “Parisian Swing", A.C.L. 1189, provides a good exercise for these lower-string triad movements, British Django hs ivife Naguine Londo 1946 with a deputation o E Garlefb. guitarists including IVORMAIumbers al side ULTRA FOX Tracey indicale fireet” 1 m Two beatsto casted except be Bbme F Abe m7 7 aE bayTINTS STN ENOIVIND Here is an example of a twelve bar blues in G. minor using a very simple triad system which occurs, in various forms, on virtually all of Django's minor key recordings This particular sequence comes from “Blues en Mineur” (Vogue Jazz Legacy series 500100). Although only 2 basic fingering positions are used, they “translate” into several different chords. The fifth string is deadened by touching it with the second finger which is holding down the sixth string. The numbers at the side refer to fret positions. Play 2 beats to each chord, except where indicated, in a medium tempo 4. 4 T D7 te 8 + ea) (Bao) a EZ Gime Triads like these are especially convenient and effective in medium or fast tunes. Get 4 friend to play the chords or record yourself, then experiment with solo lines and arpeggios based on the scales of Gm — B° — Cm — F#°. The interesting part is in the linking together of these lines to form phrases. More of this later.TRIADS & INVERSIONS cont Django also used triads to great effect when playing a blues in the major key. Here is a sequence in Bb which serves purely as one example of how these triads can be employed. The idea is to introduce as many changes and variations as possible. The F7b5 in the final bar can be played with the thumb on the 6th string Fingering for these triads is a matter of personal preference, depending on physical limits of the left hand etc., but in general it is best to let the second finger hold down the sixth string. More complicated chords can be achieved by holding down the second string with the little finger; the idea being to experiment in this direction to see what fits BLUES Twobeats per-chored except where indicated. ste Bbe (Bp Fe Gaeky ILA oe ee ere Cea When Django used triads on the top three strings and on the second, third and fourth strings, he often combined them with a continuous fast strum from the right hand of varying intensity. This gives an impression of a string or brass section, especially when certain notes in the chord are sharpened or flattened or extra notes added, creating movements within the chord, The technique is similar to shaking out a lighted match, but much faster. The following exercise is taken from the second section of Django’s tune “Tears” and can be played either with individual strokes or with the fast strum ‘Two beats per chord! except where indicated. Fret number at side of chore, ABb9 Gsush 45ARPEGGIOS A large percentage of Django’s playing contained arpeggio-type runs in various forms and keys. These arpeggios were played usually from a low note to a high note via two, three or sometimes four octaves, resulting in a wide range of the guitar's resonances being sounded almost simultaneously. When in the keys of G or D, Django would often use this trick as an ending. In these two examples the notes should be played evenly but with a flourish, leaving the last note to ring on. Try to picture the run as one block movement before attempting it at speed. The numbers refer to playing order of notes. In G use only the first and second fingers and the same for D, except the first note is played with the thumb and the last two notes with the third or fourth finger. In both examples pick with down strokes only. ARPEGGIO . ¢ 345 Ty ARPEGGIO The above examples can be varied in a most effective way by substituting natural harmonics in place of the last note. In G these harmonic notes are found at the 7th or 12th frets and in D at the 7th fret. With the third finger (left hand) barely touch the 1st, 2nd and 3rd strings in a short barre, but instead of holding the strings down, flick your finger away at precisely the moment you strike with the plectrum. If this is your first attempt at harmonics you may find it difficult to synchronize left and right hand movements, but with perseverance it will click7 VN REM OO Here are two examples of arpeggios in F minor which can be used either as endings or as a means of adding texture to a solo. Try them in different keys and always be open to experiment by extending and linking various lines. Again, numbers refer to playing order of notes Fin ARPEGGIO jt Fim ARPEGGIO gt 2 1 2. ot o> “& 7 43 49 —_ FINGERING 1221133232) 1272113333 PICKING VVVVWWVVYVA VAVVVAVVY JosePH REINHARDT, SAMOIS4978 17MORE ARPEGGIOS ent) Here are four major arpeggios over the chord of Bb which can be played one after the other to create a ripple effect. To get the idea of the timing, think of the phrase “Jim's a very good boy." Note that the fourth example is an octave above the first. Numbers of the dots indicate playing order of notes. 5* fret! | 5e 6s 4q | J 2@ 39 |_| FINGERING 321113 133205 Use down strokes only except” onthe last notes o. ‘Ys P ip 3e 15 ato FINGERING 332113 321213should be played with Ist and 2nd or Ist and 3rd fingers, using all down strokes except 4th note in Steps (1) (2).rer SAMOIS-sur-SEINE de la more de DJANGO a) Stoo ntengeretan Se oer cece eee . ae mane es besser Gh cone sf re = ae ‘tron . Reinhardt cork 2) at Samois Wy 1978. onhis leftis Swedish violinist Syed Asmeseywe et Bie ied Another way of expanding arpeggios is to run through the related chords in a given key, connecting each line with a link note, resulting in one long ascending line. Here is an example in F utilizing the chord sequence of F — F° — Gm — Ab* — Am F7. This type of extended arpeggio also works well over the dominant chord of F7 ina tune in the key of Bb, especially where the F7 is held for two bars. For the timing, think of the phrase, “If you ever see a duck,” or better still, make up your own! ASCENDING ARPEGGIO in F L FINGERING: 2321123 23II23 Use down strokes except on sixth note 0@ &@ & last note of @) dh FINGERING: 2311123 123333) 24Diango made great use of octaves, both in solos and back-up work, in order to underline certain passages or generally beef up the proceedings. How he played them is a mystery, as they require the use of the Ist finger and the 3rd or 4th, Because his 3rd and 4th fingers were crippled, and virtually useless (although he did use them on some chords), he presumably used his first two fingers which entails quite a stretch! Whatever the method, Django was certainly one of the first jazz guitarists to use octaves extensively. Even that most prolific octave player, Wes Montgomery, freely admitted that he got the idea from Reinhardt. Of course, octaves do not occur solely in jazz guitar (both classical and flamenco players, for example, use them), but although most guitarists have some idea of where to find them on the fingerboard they are frequently neglected as a highly effective means of boosting solos etc. The octaves Django usually played are found on four pairs of strings, i.e. 6th and 4th, 5th and 3rd, 4th and 2nd, 3rd and Ist as follows: Example 4 Example 2 LI Note that the first two pairs (ex. 1 and ex. 2) are played with Ist and 3rd fingers, whereas the last two are played with Ist and 4th fingers. In each case the open string in between is deadened by touching it slightly with the first finger, all three strings being struck simultaneously with the plectrum. Try playing slow, simple melodies or scales using a combination of these octaves and with practice you will build up speed.a Here are two more octaves which are found on the Ist and 4th strings and the 2nd and Sth, Although these are not suitable for the simultaneous damping technique described above, the individual notes can be picked one after the other in quick suc cession to give a jerky effect. Use Ist and 3rd fingers and move up and down the fingerboard in semitones. Example 5 a Example6 [ a i ak Another useful point about octaves is that they provide a good springboard for creating solo lines. For example, supposing you play a line where the last note falls on Bb on the Ist string, you can begin the next phrase with Bb an octave lower on the 3rd string. This gives a nice effect of continuity, Also, you can try this jumping from a note to its octave anywhere in a phrase — for instance, at the beginning, then play a scale relating to the chord sequence which leads back to the original note or any other note in the scale. The main idea, as always, is to experiment all the time as the possibilities are endless. ry Adler jamming with waso lero Limberger, Koen de Cayter Michel Verstrae eten Cbs) 8? Bire' cn London 1982. Fapy LafertinCHORDAL TEXTURES Django composed many fine melodies, one of the most beautiful being the ballad ‘Manoir De Mes Reves”, also known as “Django Castle”. With each recorded version Django finds fresh chordal nuances, as he did with most of his material. A couple of versions are in the key of Eb, but here I've written out the sequence in D, using the more usual chords. Even if you're not familiar with the melody, the chords will suggest it and provide a good example of the kind of close textured harmony found in much of Django’s playing. Fret numbers are at the left of each diagram, while the number of beats are indicated below. The first chord of A13 is an introduc- tion and the tune actually starts on the D 6/9. Fingering is left up to the individual but try using the thumb fo cover the 6th string, (and sometimes the 5th) in those chords marked with aT’ sh - = 6 ATO ack TS START In one version of “Manoir”, Django plays the first four bars as follows; leaving the A string to ring on. Suggested fingering is above each diagram. O'133 93535 9215 or1as 2dt1 54© 4q 07 una auostuas JypoLy? v Ly UMOp UaY) PUB a10u puozas ay} OF IS11f ayy WOAf duiN{ 2av}20 UD sazijuin (p) wmsBvic] “Zu Jo o188adin yiy w ysl pourquiod apeos poystunutp outws 94 sasn (2) wimBmip apy “poy? £4 347 4900 2109s paysuuaUUp > B saajoaus (q) WAS VIG pacy> ag ayy Jo sajou 4004 puv pug ‘yg ay) UO spua Ajaayoadsas y21yar asvayd 240U 9¢ v UL si[ms24 (p) 40 (2) “(q) x0yI9 YIM payuy vay (B) weMABoIp wy) BHON “aq — Ld — LW (y2ve 4vq auo) Jo aauanbas paoyo at{3 42a0 sasvayd aa.ya fo saduimxa aun atoy, ‘aust -ubaw ay) uy “jotnnractxs ssappus BULTIMbes Apnys § auaiafil 0 1 aswiyfd Bu] au0 DIA uorssauda 203 nu Sor88adiw pun suns ‘sajvos PaqUaUIBHA] og asiaLiayI0 pjnom i r Pi wy aYFPRO BUIBULG JO Hw ay) sv ‘sau o[OS , Buyjoa]Jo2,, paij-24 oq Ino si,& Grappelii, pictured before the War: = § 7 a § : g oe = 8 = 2 ib a 2 a =Here is an example of a series of phrases which, when linked together, form one long line of eighth notes over an eight bar medium tempo 4/4 sequence consisting of the chords C7 — F9 — Bb — G7 — Gm — F7 — Bb. Notice that diagram (d) represents a diminished scale against the G7 chord, also that the last note of diagram (g) has the value of four beats, or one bar, of Bb. 2.iam Django & Stephane reord; mes talios London? 1946 Col d 4 Be Seal oa Alan Hodgekies A ots)eer OUT eT OOoeeree Although Django used very few cliches, he nevertheless had certain devices up his sleeve that were guaranteed to raise a few eyebrows. One of the best known of these “trade marks” is the ascending eighth note run, usually over a major scale. Here is an example over four bars in Bb, with an additional phrase leading into Eb. This chord sequence can be thought of as the first part of a standard 12 bar blues with Me sequence Bb — Bb — Bb — Bb7 — Eb etc. Use the combination of up and down strokes that feels most comfortable yet ensures that each note is struck clearly. Note [123456789 412541516 finger|42°2427T2Z271123112 Note | 17 18 19 20 24 22 23 2425 26 3-21 BS 2 3a I 27 2% 29 30 21 32 33 21 3 1 Exactly how Django fingered this type of run is open to conjecture, Presumably he used his first tivo fingers, but according to Raphael Fays, Diango was able to turn his hand to bring his crippled fingers into play for this particular trick. Try playing it at speed with two fingers and the difficulties are tremendous, even bearing in mind Django’s astonishing “two-finger”” agility. However, many of Django’s lines are, ironically, easier to play with two fingers (after breaking down the mental barrier of having to do everything with three or four). Using only two fingors tends to give the line a bounce that doesn’t otherwise occur. It may be said that Django's in- juries resulted in a tremendous fingering advan- tage over conventional players because he relied mainly on the hand's two strongest fingers, bring- ing a special force and consistency of tone to his playing. Also, the fretboard of the guitar somehow becomes more accessible and less ‘cluttered’ when using two fingers, which, in Django’s case, were completely unfettered by the last two fingers be- ing drawn up and back out of the way. This is not to diminish Django’s incredible achievement but may explain part of the mystery. 29RICKS & DEVICES cont-~ Here is a variation of the previous line. To start with, think in terms of groups of four notes, aim- ing to strike the first nofe of each group as quick- ly as possible after the last note of the preceding group. The best fingering combination is probably found by experiment but it is worthwhile practise to try using only the first and second fingers. As this line is further up the fingerboard some players will actually find it easier to play with just two fingers, CHROMATIC RUN Most of Django’s famous chromatic runs started with an open string on the bass as shown here. The idea is to think ahead at all times, striking each note clearly with alternative up and down pick- ing. The run shown here goes from bottom A through two octaves to A on the Ist string. After the open note on each strin, ing fingering in a sliding fashion: 123 , 123 , 123, 123 , 12222 The run can be extended with the 2nd finger run- ning up to the top A at the 17th fret. Throughout the run, and particularly when working up the 1st string, try to avoid holding the neck of the guitar with the thumb. This will then free the 2nd finger to glide in a co-ordinated way with the right hand picking. use the follow-ee prea teeueanraeE ‘Much of the confusion encountered when dealing with chord symbols is due to insufficient knowledge of which shape to play or which inversions and positions blend best with a given melody. Consequently, the student often finds that his interpretation of the chord symbols results in a disjointed progression, sounding only vaguely like the record and involving a great deal of unnecessary left hand movement. Django, due to his physical impediment, evolv- ed a simple but effective way of playing chords and often implied certain notes without ac- tually fingering them. Also, many of his chord sequences have either a built in bass line or ‘an upper line which moves logically through the progression. Sometimes the bass note re- mains the same for the next chord, becoming a common root for both; likewise, one or more of the upper notes can remain the same while shifting the lower notes. A combination of these techniques, plus a clear, simplified knowledge of inversions, results in a very close blend of sound with the minimum of left hand movement. Where a major chord symbol is given or heard, it is usually best to play a major 6 or a 6/9, or a variation of these chords. Thus a symbol of F can be translated as any of the following, depending on the melodic context. Fingering is given immediately below each diagram, “T" denoting the thumb and "X denoting deadened or unsounded strings. The bottom line gives the harmonic relationship, “R” denotes root note. Figures at side are fret positions. Alternative Forms of F6/9 Wei te vite HH fan Bea EERE © OF © (A) Note that although in the same basic fret position, diagram (f) is a "middle" voicing of (a), (g) is a lower voicing of (c), and (e) is a higher voicing of (h). Below are some useful minor inversions. eR g Rx a £5 Bef sees mt Am7()AmiI-5G) i t ‘Améee) — Am7eAm9¢p) i 5} a+ mam) — Amol Amor) Note how the sound, or voicing, changes in Amé6, depending on shape used. Another aspect is that (j) can also be called Cm6, (I), (m) and (n) can be called D9 and (p) can be CMaj7, as follows eas Rs 47 cme maj7— Learning From Records It is useful to have a record deck that features four speeds, i.e. 16 r.p.m. and 78 r.p.m., as well as the usual 33 r.p.m. and 45 r.p.m. The 78 r.p.m. speed is obviously essential for playing the old “78” records, but it is necessary to have the correct size stylus for this use in order to get the best sound from them. The 16 r-p.m. speed is good for slowing L.P.'s down by approximately half — invaluable when studying fast solo runs. Also the key of the piece being studied remains roughly in the same key (although it is an octave lower) so that retuning of your guitar is kept to a minimum. However, it must be remembered that, for example, what sounds like a sixth string note at this speed is more likely a third string position and so on. Even if you don't possess one of these older record decks, there is still a vast amount to be picked up by listening to Django’s records. The method I use is to first decide on the tune to be studied and proceed to concentrate on it by playing it over as many times as it takes to become aurally familiar with every section. Then take your guitar and determine the key of the piece, bearing in mind all the variables which affect the pitch, e.g. the deck may be running slightly fast or slow or the original recording might similarly be “out” due to transfer from 78 master to L.P. Also, the musicians may be tuned higher or lower than exact concert pitch. All these factors will necessitate re-tuning of the guitar and you will have to decide that if, for instance, the record sounds somewhere between G and Ab or G and F then the correct key is more likely to be G, Although Django was at home in any key, most of his recordings are in the keys of F, G, Bb, Eb, D and C. Having decided on the key, try working out the basic chord changes without the record by whistling or humming the tune, going back to the record when you get lost. At this point of trying to establish a particular chord it is helpful to listen very hard for the individual components, i.e. the root note (which will usually be on the Sth or éth string) then the other notes of the chord. Sometimes it is difficult to hear anything except the root and one other note, say the 7th, in which case, experiment by fingering between these two to find the iden- tities of the other notes and then replay the record and compare With practice this initially painstaking method becomes easier as your ears become more accustomed to picking out certain notes and disregarding others, By listening to the third string only, for example, you can find out how the chord shapes move. When you have finally worked out the chord sequence you will then have a good basic understanding on which to study the solo lines which are often found around the chords or their inve1 and substitutes. This is where 16 r.p.m. comes in, revealing in slow motion the beautiful structures that Django uses and you can often hear a change from one string to another which gives a good indication of the position on the fingerboard. In short, learning from Django’s records requires a great deal of detective work (not to men- tion patience!) but the results are unfailingly beneficial and so much more direct than study- ing mu: y books. In any one of Django's recordings there is enough learning material to keep the serious student busy for at least 6 months, especially when you consider the dif- ferent versions that are available, e.g. at least nine versions of Nuages.—_.-. i ° ~S -eow Because Django always played with a great deal of spontaneous creativity, all his records are fascinating, but I've concentrated on the more readily available records and literature. 1. EMI/PATHE “DJANGOLOGIE SERIES” 1-20 THE DEFINITIVE CHRONOLOGICAL SET. 2. DECCA/ECLIPSE TREASURY SERIES “SWING 35-39” THE QUINTET OF THE HOT CLUB OF FRANCE 3. “DIANGOLOGY” VOGUE VJD 5021/2 (2 RECORD SET) 4, BARCLAY 920366 DJANGO REINHARDT ET LE QUINTET DE H.C.F. 5. “DJANGO REINHARDT THE VERSATILE GENIUS" VOGUE VGa0s JLAG4. 6. "DJANGO REINHARDT EN BELGIQUE 1942” POLYDOR 2344136. 7. THE VERY BEST OF DJANGO REINHARDT FROM SWING TO BOP DECCA 6.28441 DP (DOUBLE L.P.) LITERATURE 1, DIANGO REINHARDT BY CHARLES DELAUNEY ASHLEY MARK PUBLISHING | The only biography of Django, written by one of the instigators of the Hot Club, jazz | critic and entrepreneur, Charles Delauney. Originally published in 1961. 2. JAZZ MASTER SERIES “DJANGO REINHARDT” BY STAN AYEROFF MUSIC SALES LTD. Examines Django’s technique via adapted notation. Accurate and informative for those | who read music Be. 35)