The Pros: Amazing texture and feel, very little pick noise, super slick surface which leads to a very rapid release from the strings, and last but not least, it is super durable. I played for 4 solid hours on it, and it did not show the slightest sign of wear.

The Cons: Due to the fact that the stock material that these picks are made out of the picks are quite expensive. However, since they wear out so slowly (much slower than the Wegen at $25), and the fact that they have a faster release with much less pick noise, they are the logical, more musical choice. For a 1.5 mm pick, it is $35. For a 2.0 mm pick it is $50, and for a 2.5 mm (like I use, and what the Wegen Gypsy Jazz pick is), is $75. Matthew puts a speed bevel on all sides as well, so depending on the shape you buy, you would actually have 3 picking edges (like having 3 picks in one).

There are many shapes to choose from. I use the “TD” series with speed bevels, as it is most like the Wegen gypsy jazz pick. It is an amazing pick, and I am glad that I acquired it. It makes playing cleaner, more articulate, and faster, much easier.

Give them a look at: www.bluechippick.net/

Tell Matthew Marcelo sent you!

Economy of motion in both hands while playing.

Having seen and/or played with Angelo, Bireli, Stochelo, Andreas, and countless other “masters” of this genre I realized that to successfully play this music, there are essentially 2 mountains to overcome:

A. Mastery of technique

B. Mastery of improvisational vocabulary

This post covers both points. To develop the kind of technique that the aforementioned masters possess, I recommend a 3-fold approach.

#1. Daily technique exercises – Exercises that include scales, 3 octave arpeggios for all main 5 arpeggio types with their applicable extensions (b5th, #5th, 7th, 9th, b9th, #9th, 11th, #11th, 13th, b13th):

- Major, Minor, Dominant, Diminished, and Augmented

- Now to overcome Mountain #1, I recommend something that classical guitarists call the “minimal movement principle”. It basically states that you employ the smallest amount of movement and muscular tension in both of your hands while playing. So to be successful in the application of this principle you have to audit yourself while playing and make the appropriate changes to fall in line with it. Basically, you have to determine, from the musculature of your fingers, and the action of your guitar how much movement and pressure are necessary to produce the most authentic and pleasing sound when you both pick and fret the notes you are playing. I have seen, for example, Stochelo burn through a tune while smoking a cancer stick and smiling (he was super relaxed to say the least) and I could barely see his pick hand moving while he was playing. I mean, it moved, but very minimally. When I saw Bireli play his fretting and picking hands moved with such minimalism he was able to pull off some rather amazing things (we all know this of course).

I have some excerpts for picking exercises from the book that I wrote a few years ago. If you want them, just send me a message.

Caveat – ALWAYS, ALWAYS, ALWAYS USE A METRONOME for this portion of your practice regime.

#2. Transcribe Django’s Solos note-for-note and try to capture all the nuances of phrasing, attack, dynamics, etc. Utilize this list of great solos by Django if you were wondering which ones to do. By studying Django’s solos first, you build the same foundation of vocabulary and improvisational ideas that the modern masters have; as they ALL studied Django from their early years. Additionally, because Django’s technique was so incredible, you too, after having mastered several of his solos, will develop great technique, in addition to his unique sense of time, phrasing, and note choice (vocabulary)

#3. Transcribe the modern master’s solos – Do this only AFTER you have spent a considerable amount of time with Django’s solos. I say this is because Django is the most melodic gyspy jazz player who ever lived. The modern masters are great, no doubt, but they are not Django. Several modern masters come really close, such as Angelo, and Stochelo (his newer stuff anyway). Additionally, the modern masters solos are, most of the time, harder to play than Django’s stuff, as they all involve all 4 fingers at tempos Django rarely played at. If you spend a lot of time with Django, then these modern players solos are a bit more approachable then if you came at them with no Django foundation. Always use a program that can digitally slow down the solo (I use Amazing Slow Downer) and progressively increase the tempo on this solo (a couple of percentage points per day) until you can play it at 110% speed or greater. By playing it faster, you are really getting it under your fingers! This is what Stochelo does with Django’s solos (listen to his solos on Caravan). He always played them faster than Django did, most of the time.

By carefully following these 3 steps, utilizing the minimal movement principle, and being patient with your progress (Rome wasn’t built in a day!) I believe a rank beginner can achieve some measurable success. It worked for me! I transcribed all the time, initially with Django’s solos, then moved on to Stochelo, and Jimmy. Now I am working on Angelo and Bireli (my 2 favorite players in this genre). Just be patient and mindful of your movement; eliminating any extraneous movement and/or pressure from both of your hands.

Email me if you have any questions!

Marcelo Damon

marcelodamon@msn.com

-3-4-3-------------------5-3-------------------
-------6-3---------4-3-------6-4-3-------------
-----------4-----------4-----------4---5-4-----
-------------5-4-3-------------------5-----6-5-
-----------------------------------------------
-----------------------------------------------

Here is another G7 variation of it that I practice:

-3-4-------------------------------------4-3-
-----6-3-----------------------------3-6-----
---------4-------------------------4---------
-----------5-4-3-------------3-5-6-----------
-----------------5-2-----2-5-----------------
---------------------4-3---------------------

And another variation (G7):

-5-3-------------------------------
-----6-4-3-------------------------
-----------4---5-4-----------------
-------------5-----6-5-3-----------
-------------------------5-2-------
-----------------------------4-2-3-

And another variation I use (G7 inspired from the song MSG):

-----------4-3-1-3-4-----------------------4-3-
-------3-6-----------3-4-6---------------6-----
-----4---------------------4-5-7-----4-7-------
-5-6-----------------------------6-5-----------
-----------------------------------------------
-----------------------------------------------

Some loose ends I got from the Dennis Chang DVD (E7 then D7):

-------------7-|---------------2-5-
---------5-8---|-------------4-----
-------7-------|---------2-5-------
---5-8---------|-------4-----------
-7-------------|---3-6-------------
---------------|-5-----------------

And something from Gonzalo Bergara’s very helpful lesson book:

-----------4-7-10-7-----------------
---------6----------9-6-------------
-----4-7----------------7-----------
---6----------------------9-6-------
-7----------------------------8-5-7-
------------------------------------

After working on these ideas you can explore further. Since we know that Bm6=E9=G#m7b5 , we know that we can play a Bm6 or a G#m7b5 arpeggio over the E7 to create a E9 flavor. You should practice this idea as well as learning the raw E9 arpeggio. You can extend this idea further with octave stacking patterns based on the E6/9 arpeggio.

I search far and wide through YouTube to find a gem of an example, couldn’t find one, and then I found this fantastic clip from a great lesson book called “Sammy Daussat and David Reinhardt Methode de Guitare Manouche“, a French DVD that I highly recommend. Well respected players teaching a very hip song :

(more below)

Now, if you are ready to practice this song, I have pulled a few practice materials out…. of the archive, including this chord grille :

Cesar Swing

This isn’t the melody, but it is a practice pattern for the song:

Cesar Swing Practice Melody

Arpeggios are the building blocks of a good jazz vocabulary if you want to play in the pocket. Django used them all the time and they are an integral part of Gypsy jazz.  Paul Mehling’s 4th video lesson is devoted to teaching the basic arpeggios in several different positions and includes excellent tips for connecting arpeggios in different positions.  While advanced players probably won’t find much new information here, beginner and intermediate Gypsy jazz guitarists will benefit greatly from this 70 minute lesson.  Paul moves effortlessly through the octaves on his Dupont MD-20 and with some practice, you will be able to do so as well.

The video is available from many sources online, but I suggest buying it from Paul directly at www.hcsf.com.  Django’s style of improvisation was once referred to as “ornamented arpeggios”.  Before ornamenting them, one must know where the arpeggios are. Paul’s fine video will show you.

Northern California guitarist George Cole continues his mission to write a sequel to the Great American Songbook with his new release “Riverside Drive”. The album is a well produced  collection of George Cole original compositions (plus one Cole arranged tune by guitarist Jimmy Luttrell).
  The muscians on the album are among the Bay area’s best, including (but not limited to); Julian Smedley on violin, Joe Kyle on bass and Djangology.net’s very own Jack Fields on rhythm guitar.  Also featured on a few tracks is Tim Kliphuis, a world class violin virtuoso from the netherlands (who is no stranger in the world of Gypsy jazz). 

Cole’s Django inspired guitar playing is tasty and never overdone.  His compositions are mostly songs rather than tunes, meaning vocal melodies are the theme here. Clever lyrics, familiar chord progressions catchy hooks and tight arrangements make this an album of music that would be accessible to anyone.  And enjoyable by all.