Gypsy jazz guitar is one of the most exciting styles to play for Guitarist at any level. That characteristic la pompe rhythm coupled with beautiful melodic phrases often incorporating gypsy elements like the harmonic minor scale, Hungarian (or gypsy) minor scale, and copious ornaments (like quick hammer on it and pull offs) make for a musical style that is instantly recognizable and distinctive.
While you could go down a never ending rabbit hole trying to replicate this style as it was originally played on steel string guitar (which I encourage you to do!), we as Fingerstyle/nylon string guitarists have the whole musical world is our oyster because our stock-in-trade is combining chords and melodies together into sologuitar arrangements.
But how to do this with gypsy jazz? Because that driving la pumpe rhythm is so much a part of gypsy jazz, we will have to make concessions and compromises to get there, but we can do it! Let's look at one of Django Reinhardt's own original songs, Djanglogy. This is a tried and true gypsy jazz favorite and one that is on every gypsy jazz guitarist's setlist.
English Version Jazz Manouche.de
We begin with an inversion of an A major chord (A/C#), move down toa C diminished seventh, then the exact same thing repeats 2 frets down where we play an inversion of G major (G/B) and getting ourselves into a B-flat diminished seventh chord. So for our solo arrangement, we are going to have to follow this specific base movement because it is a characteristic part of Djangology- it's not just that we are going from anAto a C diminished seventh chord, etc. but that we are moving down in the bass chromatically from C-sharp to be flat (after this we continue our chromatic move down to an A note on the 6th string). So to capture what's happening here in the accompaniment we need to follow this exact bass movement (inversions give us a different sound!).
If you notice, most of the notes in melody are notes in the chord – this is no accident, the best sounding melodies are playing to the chord and this is especially the case in older music like gypsy jazz. Also notice that the first note in each melodic phrase
– this is fantastic news! This means that we can combine the chords and melody together by playing the first note of the melody an octave lower (which puts us in exactly the range we would be playing if we played the rhythm). Let's combine these altogether in the7th position and we get this chord shape:
How To Play “la Pompe”
Now all we have to do is arpeggiate these notes from lowest to highest (using fingers p-i-m-a) and we get not only the melodybut also the flavor of the chords being played underneath:
Sounds pretty cool, doesn't it? The end of this first phrase is a blockchord where we can pluck all of our fingers at the same time - however we can get a little bit of a replication of the la pompe rhythm by striking the strings downward as well.
So once we have these four chord shapes which have the melody incorporated in them, we simply do the same forward arpeggio for each chord:
S Rene Gerome Gypsy Jazz Guitar Manouche
(*Notice at the end we have aG notein the melody all by itself, so I have written my arrangement to include an octave of that note.)
So this is how I have approached composing a solo guitar chord melody arrangement of Django's classic Djangology. You can do this with any song that you have a lead sheet for - a lead sheet gives us the basic melody and the basic chords and from there the sky is the limit as to what we can do with a solo guitar arrangement! Go here to get lead sheets for my Top Five Gypsy Jazz Songs of all time and see if you can make your own solo arrangement of one of these songs using only the lead sheet and your knowledge of the guitar neck.W hile transcribing and playing Django Reinhardt’s solos , I noticed he repeats the same shapes and musical ideas again and again. I wondered how he managed to use the same idea yet always sounds so fresh, vivid and new? I never noticed that he repeats himself in any way until I actually played his solos.
The answer is that Django Reinhardt used his musical ideas in a slightly different way each time. The inner rhythm of his phrasing is always changing.
Gypsy Jazz Guitar Q & A: Part 1
The place in the bar in which he starts each phrase is different every time. He creates melodies that you can always sing because he follows his musical taste and not his fingers.
In this lesson, you will learn a few of Django’s improvisational ideas. Play the example phrases, try to understand them and practice until you can use each concept in a variety of ways.
That way you’ll get Django’s ideas and spirit into your own guitar improvisation. You will learn something far better than a few licks – ideas you can use to create interesting, fresh and new solos yourself.
Gypsy Jazz Harmonics In The Style Of Django Reinhardt
Gypsy jazz guitarist Django Reinhardt was the first famous European jazz musician. Born in Belgium and raised in a gypsy camp near Paris, he first learned to play the violin, but later switched to banjo-guitar. At the age of 12, Django Reinhardt played good enough to play professionally.
In 1928 disaster struck and the 3rd and 4th fingers of his left hand got mutilated in a caravan fire, but Django developed a new fingering system and by 1930 he was playing again in Paris’ cafes. In Montmartre; he heard records of American jazz players like Duke Ellington and Louis Armstrong and he absorbed their music.
When you want to play over a chord, you can use its arpeggio, but how can you create a new musical sentence each time from the same arpeggio?
Spotlight On Gypsy Jazz Guitar
For Django, the answer was simple: you can create a new phrase just by the way you approach one of the notes of the arpeggio and then play the rest of the notes straight.
[2:12 in the video] In the following phrase Django uses an enclosure (half-tone before the chord tone and diatonic note above the chord tone) to the note A (the 5th degree of Dm) and then a simple Dm6 arpeggio.
[5:20 in the video] In the next phrase, you have almost the same idea. Here the chords move from E7 to Am. On the first bar of Am, Django plays two eighths and a quarter instead of a quarter and two eighths.
Gypsy Jazz Guitar Chords
You see that you can use the same idea again and again with tiny changes and still sound interesting. This is much better practice than learning a lick and “copy-pasting” it.
[9:30 in the video] In this third phrase, I play the exact same idea over Dm but the enclosure is played from the beginning of the bar and Django reaches the target note D at the 2& beat. The idea is the same though, an enclosure of a target note and the simple triad played after that.
[11:12 in the video] In the next example, we have simple enclosures of the 5th and 1st degrees, preceding by an octave jump which Django played very often.
How To Play Gypsy Jazz Guitar In The Style Of Django Reinhardt
Notice how interesting it is when Django starts this whole idea in the preceding bar, on E7. He anticipates the Am chord.
In the next phrase, the same thing happens over Am. The Am arpeggio starts on the 1+ beat just after the enclosure.
In this phrase, Django plays a Dm6 arpeggio, just after the enclosure that appears on the previous bar, anticipating our target note.
Can You Play Gypsy Jazz On A Classical Guitar?
If you play a diminished chord on the 3rd, 5th, b7 or b9 degrees of the dominant 7 chord, you get the 7b9 sound.
In the next few licks, pay attention to your pick movement. It will give you a glimpse into the Gypsy rest-stroke picking method (click here for an in-depth lesson about rest-stroke picking).
Django uses this scale in various ways – you can hear a complete long ascending run in his solos over Nuages and Montaigne Sainte Geneviève. Or you can hear the descending scale in the middle of Minor Swing and Dinah.
New Course! Gypsy Jazz Mandolin Essentials With Aaron Weinstein
He would play this scale in sixteenth notes and in triplets, short or long, starting on a different beat inside the bar each time.
That means that sometimes we need to play two downstrokes in a row. In the descending chromatic scale, for example, we finish the first string with a downstroke and then we start the second string with a downstroke.
[14:24 in the lesson video at the top] To avoid that, modern Gypsy jazz players play the fake chromatic scale – which uses only 4 notes per string to keep the alternate picking going all the time:
Cigano Gj 15 Grande Bouche Gypsy Jazz Guitar
[16:09 in the lesson video at the top] In the following lick, Django uses the descending chromatic scale with a triad at the end:
Toward the end of Django’s solo over Minor Swing, Django uses the descending chromatic scale, combined with a diminished arpeggio, enclosures, and an Am arpeggio:Diese Cookies sind zur Funktion der Webseite erforderlich und können in Ihrem
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