Bireli style 2-Note Per String Stacking Patterns
Play the following patterns to a metronome at different speeds. Play with up-down rest stroke.

|————————-12-14-|-
|——————-10-13——-|-
|————–9-11————-|-
|———7-10——————|-
|—–7-9———————–|-
|-5-8—————————|- Am
|————————10-13-|-
|——————10-12——-|-
|————-7-10————-|-
|———7-9——————|-
|—–5-8———————-|-
|-5-7————————–|- Dm
|———————-10-12-|-
|—————–9-12——-|-
|————-7-9————|-
|———6-9—————-|-
|—–5-7——————–|-
|-4-7————————|- E
|———————-9-12-|-
|—————–8-10——|-
|————-6-9———–|-
|———5-7—————|-
|—–4-7——————-|-
|-3-5———————–|- A7
And 3 note per string patterns.

|——————————–9-10-12-|-
|————————-7-8-10———|-
|——————-6-7-9—————-|-
|————-4-5-7———————-|-
|——-4-5-7—————————-|-
|-2-3-5———————————-|- GM9
|————————–7-9-10-|-
|——————-7-8-10——–|-
|————-6-7-9—————|-
|——-4-5-7———————|-
|-4-5-7—————————|-
|———————————|- DM9

You will notice that the last two patterns (DM9 and GM9) both look very similar to each other. In fact, I usually subsitute them for each other. In my mind what is happening here is that the DM9 is really being played over a “virtual” D7, which is the five chord of G major. So, its not a true substitution , but it works. My general rule of thumb is that a regular major triad (even if it has a 9 in it) can be played over a dominant 7 chord.
You will get even more milage out of the 3 note per string patterns (which I stole from Romanes book) when you realize that the FM9 pattern (based off the DM9 pattern that I show) is really also a substitute for Dm. As you know, Fmaj7 and FM9 are related to each other and the Dm arpeggio shape fits very well over these arpeggios. For example, over the Dm chord in Dark Eyes, try playing the FM9 3-note per string stacking pattern.
In other words, when a song like Dark Eyes presents me with a chord like Dm, my brain has many choices to play such as FM9 stacking pattern, BbM9 stacking pattern, Dm6, diminished arp, F major 7 arp, and even Em (but I wont explain the last one).

Reflecting back upon my learning experience so far, I had to figure out playing gypsy guitar the hard way, with almost no real help. As a result I think I have interesting ways of looking at things whereas a seasoned player may not remember “the efficient order” that they learned their own theory.
Romanes harmony approach seems to be based on “melodic minor” but my own personal approach is “natural minor Wrembel style” with a bit of “harmonic minor” thrown in. I use simple natural minor, minor6th, and major, major6/9/pentatonic patterns. My whole soloing approach also “revolves” around the concept of “relative minor” and “relative major”.
I find it interesting that the “l’Espirit Manouche” book approaches harmony from the standpoint of “melodic minor”. I still havent figured out why Romane approaches harmony in this way but I am thinking about it and trying to understand. My only theory is that “melodic minor” syncs up nicely with m7b5 chords or something but I am still thinking about it. If you analyze its chord scale (with 7ths), you will notice the 4 and 5 chords are both dominant and the 6 and 7 chords are m7b5 . Also the first chord is minMaj7 , which is a popular voice leading chord isn’t it? If you take out the sevenths then you have a chord scale which approaches utmost simplicity: Am, Bm, C+, D, E, F#dim, G#dim. With 2 minors, 2 majors, and 2 diminished chords in that scale, you can see why it lends itself to some sort of ingenious simplicity that you dont quite see in “natural minor” or “harmonic minor” chord scales.
NOTE: At the bottom of page 97 in the “l’Espirit Manouche” book Romane refers to the minor Neopolitan mode pattern and compares it to the harmonic minor. I think this pattern is a close relative of melodic minor scale, which is actually what I think Romane is trying to refer to on this page.
I might actually delve a bit deeper into “melodic minor” theory after realizing this. If anyone wants to help me out with advice or a simple comment or two, then I would be grateful because I am trying to learn. (Comments are open)

Some of you might think this is pure insanity, but here is another idea I am toying with. Inspired by my last weblog entry, on December 6th, here is a similar idea, also inspired by Romane and Bireli, from p.90 of the “l’Espirit Manouche” book is the following G9 major stacked pattern.

|——————————–9-10-12-13-|-
|————————-7-8-10————|-
|——————-6-7-9——————-|-
|————-4-5-7————————-|-
|——-4-5-7——————————-|-
|-2-3-5————————————-|-
Here is a G major arpeggio, which is used in the Douce Ambience melody and in Djangos Daphne melody (in the key of A in that case).

|——————-|-
|—————7-8-|-
|———–7-9—–|-
|—-7-9-10———|-
|-10—————-|-
|——————-|-
Here is the combined idea (once again invented by myself) for use over the key of G major or Em. Notice how I take the Romane stacked pattern and I descend it vertically by crossing it with the major arp pattern above and interpolating the whole step approach notes on the D and G strings by using the concept of the diminished scale being half then whole steps.

|-13-12-10———————————-|-
|———-13-11-10————————-|-
|——————-12-10-9—————–|-
|—————————12-10-9———|-
|———————————–12-10-9-|-
|——————————————-|-
Think about it for a while. When mixed with the E minor 6th soloing approach, this is a killer pattern that provides plenty of legroom in a solo.
What makes this idea confusing is that the pattern also resembles the F major pattern on p.91 of the ‘l’Espirit Manouche” book. All I can say is that if you think of the G pattern as a diminished pattern then its moveable. This is the part I am unable to explain with theory since either 1) I am totally incorrect or 2) i don’t know enough to make sense of it. All I can say is that my ear likes it.

Here is an idea I use over Noto Swing in order to play fast. It is based on an idea from page 91 of Romanes l’Espirit Manouche book. Stacked arpeggio for C major.

|————————-5-7-8-|-
|——————-5-6-8——-|-
|————-4-5-7————-|-
|——-2-3-5——————-|-
|-2-3-5————————-|-
|——————————-|-
Which is the inspiration for the following idea which I came up with, which in all likelihood other people use, but I had to figure it out for myself the hard way. A diminished vertical pattern For Am or C9.

|-8-7-5———————————
|——-8-6-5—————————
|————-8-7-5———————
|——————-9-7-6—————
|————————-8-6-5———
|——————————-8-7-5-4-
Really, this is just a simple octatonic pattern. Just using the simple idea of a diminished scale being a half-whole pattern. In this case, a half-whole pattern over a D7 dominant chord, which is a chord sub for Am.