Reker Slephengon Le fy 42120 Solo mae The Gypsy Jazz Songbook Volume 1 Djangology ® Minor Swing It Don't mean a thing Django's Castle Sweet Georgia Brown Honeysuckle Rose Oh! Lady be good Douce Ambience 7 9.Nuages - 10. Blues For Ike = 7 11. Dark Eyes ‘ tak ‘ @PNODAYNS wt Volume 2 - 7 4, Out of nowhere + 2. Minor Blues 7 3.AlofMe @ 4. September Song 15. Swing 42 6. Daphne 7. Belleville 7 8. Noto Swing 9.Hungria (ev =A) 10. Latcho Drom Volume 3 71. Bossa Dorardo @ 2. Number 1 3. For Sephora 7 4, Troublant Bolero 5. Bolero Blue 6. Caravan 7. Bar Del Pi 8. Luna Tango 7 9. Erster Tango 10. Mediterranean Blues 41. Summer Time 12. Manha de Carnaval wepherecse CPE @ there will wevee b¢ auctHee eo thaws Sw.we Sowee D“puTemur wae JAYS Dove Melon em Consed) Volume 4 71.111 See You in My Dreams) 2. Tears Q 3. Melodie Au Crepuscule 4. Night and Day 5. Anouman 6. What is This Thing Called Love 7. Sweet Chorus 8. Limehouse Blues 9. Jattendrai ab 10. Icelandic Folk Song cle me 11. Exactly Like You Volume 5 1.Blue Drag (6) 2. Tea for Two 7 3. Blues Clair 7 4, Stompin at Decca 7 5. Django's Tiger 7 6. Avalon 1-7. Sheik 8. Shine 9. Swing Guitars 410. Lulu Swing 11. Swing 49 12. After You've Gone Volume 6 1. | Can't Give You Anything But. Love 2. Swing 39 3. Coquette 4. Heavy Artillery 5. Swing De Paris 6. Them There Eyes 7. Sweet Sue 8. Claire de Lune 9. Nuits de St. Germain De Pres 40. Micro 11. Peche a la Mouche 42. Babik Apt varasie CESAR Swe i va dEUED Divas (Heeexee PANICK 2TSIDE Mees —eazh. aeTrack 2 Dijangology ee ne eee A smooth harmonic progression that seems to almost play itself. There is some historic footage shot in Samois of a duct with Bireli Lagrene and Babik Reinharde (in che filn “Django Legacy” by John Jeremy) that is pare poetry Biteli’s solo is stunning. ~ Play Along Arrangement (AABA) Recorded at 168 b.p.m. for 6 choruses. (] SG 2 Head ‘Djangology Dango Reshade/ Span Grape IA Guitar Tablature 6587 7%. 5477 5 4375 5. 3255 3, i i F § | Blesscece (Play out lick) | Copyright © by EMI MUSIC PUBLISHING FRANCE 3253523 4545 Used by permission of 1 4 EMI MUSIC PUBLISHING (HOLLAND) 8.V. fi\ Crack 2 Diangology . Dyn Rk See ts + AL [a Pmris| (Gar SER { t A/C#/ 1 1|Cdim B |Bbam | ' ——— A-7 |D7 Gao | j [pea |Gers | 4 | B |Abe9 Eb7 | Abe/s Aso E7 | Aso a Cc hord Shapes \ey AICH x CdIM ye 4 es Se me 1 1 of 5 ae 3 7@I 1G xBbdim x AT x x x xx 1 1 ee 3 5f a)(4) 5t@ 3 ii Pe x BOTY ye Ge/9 VO. 1 4 4@ 3) | 6f 3 3f 3.Track 3 & 4 [Minor S Wing Django Reinhardt / Stephane Graypelle , Django recorded the quintessential Minor Swing with the QACF in November of 193 one of the mose requested tunes in the “Gypsy Swing” song book. Sounds great sep tempo. In this ud or ts seill arrangement only the first guitar melody line is written out in tablature. Listen to the second guitar hare mony played on the CD and try to work it out by car. De is a very simple phrase and shonld be casy to pick up. This is the best way to train your car te tall you what notes are mong ot right, Your ear i to be much more reliable than your sight reading. Learn to develop this okill. Te is the fundamental dif, ference between classical musicians and ja wusicians. TOhen the alternative changes during the solo iw ‘These In choruses 9 and ars 9 through t0 14 kick in on the 5th chorus they instantly lift the songs dyramic anges are very common in jazz, the best known example being the standard “Autumn L 10 Robin brings in a second thython guitar with a sheeffle feel that again adds to the intensity of the over” all accompaniment. For bass players, begin with a solid 2 feel, seep up a gear to a 4 to the bar walkin dase line and finish off with an S string Pedal nore through the first 8 bars of the choras. The Rebir Nolan Trio recorded the song in 1998 on their RNT3 C.D. entitled “Swings & Roundabores.” . Play Along Arrangement.(A) First take és recorded at 192 bpm. for 10 chorases. £ Second take recorded at 240 b.p.m. for 10 choruses. Head Minor & WIIG Dye Baits) Sean Spt Guitar Tablature 5 5 5 5 Gm 55 CVEN = = T ‘0, Bass Break ovAZ- 8 |1.5 Bass Break omiaAco 5456789 10 (A6) Copyright © by EMI MUSIC PUBLISHING FRANCE Used by permission of : EMI MUSIC PUBLISHING (HOLLAND) B.V. 10. 7Track 3 & 4 [Minor S WING Django Reinhardt / Stephane Grappell ntl A6/ // |D-6 |A6 | D-6 | Bass Break | a6 |D-6 |e7 [| =~: Solo ( A6 |A-6 |p-6 |D-6 | e7 [eE7 [a6 |a-6 (0-7) (.G13b9 ) (Cmaj7 ) ( Fmaj7 ) |p-6 |D-6 Jas |a6 (B-7b5 ) | Bb7 | 7 jac | E7 | outo( A-6 |A-6 |p-6 | D-6 (BassBreak SCS |E7 |€7 | A-6 | — | (EGutarBreak SS” ev p7as | Chord Shapes x A-6 xx D-6 & B-7b5 x E7 xX x D-7 x 1 ala] e@ 4 Ste 3 3) | @ 7f 3) Sf 3 a G13b9 Cmaj7 Fmaj7 x BOT y yx | 1G 2. 34 1 3f| 6 3 | 4@ 3 2 G‘Drack 5 It Don’t Mean A Thing Duke Stlngton A classic Sllington tune that sume up the essence of Jaxx. The Robin Notan Trio recorded the song in 1998 on theix RNT2 C.D. entitled “Street”. Head Guitar Tablature A 3 18. 5 Play Along Arrangement (AABA) Recorded at 140 b.p.m. for 6 choruses. It Don't Mean A Thing Duke Stlington $5 3 3 5 3 6 #5 3 5 © 1932 EMI Mills Music Inc. USA, EMI Music Publishing Lid, London WC2H OEA Reproduced by permission of International Music Publications Ltd | |TLrack 5 It Don't Mean A Thing Duke Ellington A G-6/ 11 |G-6 Eb7 D7|G-6 | C7 |F7 ‘pbo/9 | A-7os D7 } een |Bb6/9 || BI [F-7 | Bb7 Ebs/Bb| * | cg |c9 A-7b5 | D7 | A \|G-6 |G-6 Eb7 D7|G-6 | | C7 |F7 Bb6/9 | A-7es D7 } Chord Shapes, . x FO? x x xx x C7 XxX ae 1 5 1 [@] | es 3 3 «Pee x KAT x ET x Bf te 6f@ 1 3 5f@ oI 8 1a x Bo7 x x yEb6/9Bb cg 6 3 6 Ly | 32 i OO] ' 19.races “Django’s Castle oj anats/Srpn cary Another one of Django's amazing ballads. It is best heard on the last weekend in June, sitting on the banks of the Seine, in a little village called Samois, around ee Play Along Arrangement (AB) Recorded at 92 b.p.m. for 4 choruses. ae Head “Dijango’s Castle —cjmruniau/supsoe cyt Guitar Tablature 7 a —™, Zz 5 z 19, BA 30h —F?, 7 9767 I ' 4 un 79767 10 Z Ls b. 10 101210910 147 SOS=CSN,_ 1912100. 9.10 5 (Play out lick) 13, 1213 1449 42111010 11124444 12 Copyright © by EMI MUSIC PUBLISHING FRANCE 20. Used by permission of: EMI MUSIC PUBLISHING (HOLLAND) B V.Zacks ‘Ogangos CASE! ejango Renrse / Stephane Grappl ara{:0sv9 111 |D6/9 A139 | D6/9 | De/9 A13b9 | | De/g |D6/9 A13e0 | A-7 | D7 | \icero a7 ebdim| G/B A7+ | DE/9 | Derg | |B-7 | E7 | Bb-7 Eb7 | E-7 Aisne j ijce9 azepdim| G/B | B-7 | 7 | |F&-7 Bb7 | E7 A7 — |D6/9c6Vcre1s| D6/9 Arobo} Chord Shapes x AtS09 pee xo x x x Dy x 1 Ya 6f om 5 9) t@l Ow “ite Gog ce/9 yBbam yy x GIB yy YO 1 1 Oe 4 3@ : 3@ 3G) 6F 3 “TF 3 AB x BT y x ET yy Bb [ [G sta)|@ _| 7@[ OG 7f 3. st 3) 4 | 34 ff Eb7 F-7 Bb7 E7 x x x x x x x x x Lo 2 1 612 ® Bf ®& 6@|G 7 3 | 4 o 7 | .Lrack 7 &8 Sweet Georgia Brown Bani, Pine & Case One of the great jazz standarde of the 20th century. The QHCF recorded the tune in 1938 and Django's solo can be sung by Hot Club fans all over the world. The Robin Nolan Trio recorded the gong in 1996 on their RNT1 CD entitled the “Robin Nolan Trio.” Play Along Arrangement (AB) First take is recorded at 184 b.p.m. for 6 choruses. Second Take is recorded at 224 b.p.m. for 6 choruses. Head Sweet Georgia Brown wu rucso Guitar Tablature gi99 29931 2 9 12 7 10 11 12 © 1925 Remick Music Corp, USA 22.4 Reproduced by permission of intermational Music Publications LtdZrack7 £8 CDWEEE LFJCOTGLA JDTOWN med0texCuy fers sy |e7 | E7 | E7 | | A7 | A7 | A7 | A7 | \p7 | D7 | D7 | D7 | java java jax |er j i E-7 | B7 | E-7 | B7 | | G7 FH7 | F7 Ev Jaz D7 | G6/9 B7 | Ths 2 bar progression ves the “G7 Chara Shape desconng [ ‘ | Chord Shapes | | eye x AT yy OT YY Gero | 1 41@Q|@ 1 1G 7f 3 3) 4 5f@ 3 32 3 | ; 7 | / ! tol x x BP xx x BT AT x x i | | on COIN ELONEC wt@ | Ol] Ql] Oe } 4 4 t | |Crack 9 Honeysuckle Rose ate Yat An American jazz classic that the Hot Club de France played with 20 much chatm. The Robin Nolan Trio recorded this song on their RNT2 CD en- +4 titled “Street”. ‘ Play Along Aangement (AABA) Recorded at 160 b.p.m. for © choruses. Intro Guitar Tablature 99 9 867 676 99 9 867 676 77 ZS 8676 8 8676 555% 86768 B) 6 8 9 40 8 8 10 810 7108 40 10 12 1012 9 1210 l Reproduced by permission of International Music Publications Ltdrack 9 Honeysuckle Rose Fass Yoatter Alber 111 |c7 |G-7 |c7 | 1. |Db7 C7 |F Db7 c7_— | Fe/9 } a3 |Db7 c7 | Fe/9 l \\F7 | F7 | Bb6/9 |Bbe/9 | \G7 |G7 \c7 |c7 } Alternative chord changes through the A section to be used for solo’s. |G-7 |c7 |G-7 |c7 | |F6/9 F7 |Bb6/9 Bdim |Fe/9 |-7 p7 | ge Chord Shapes eC x De x x | it “U1 {| 1 4 2: ~3f a4 3 3 4f 3 at [ae “ 2 sf F7 yx BbOI9 G7 y P59 1 na nay |_| a@l [ES 6t J] s@Q]G ai@ G | 4 1 Bdim AT D7 x 1 _| 1 1@ 3 sf NG st@ 3Gackso Oh! Lady Be Good Grunge na Gah JA great old standard with a very suspect lyric. The chord sequence is a classic jazz progression that can be found in many tunes of the “Swing” eva. For bass players, when the soloist warms up ery aD Dominant 7 Pedal tone for the first 16 bars. That will get the party jumping. For the soloist, the last playout phrase is the same as played on Djangology (page 14). The Robin Nolan Trio tecord- ed this song on RNT3 “Swings & Roundabouts”. Play Along Arrangement (AABA) Recorded at 152 b.p.m. for 6 choruses. x Head Oh! Lady Be Good Geen 8 ha Gehtn Guitar Tablature 10 8 7 W789 W787 12 10 8107 z 1&3. 789 ae BI] iz 1212 «12 «©1212 0©«12 109 © 10 120012121210 10 an AN 6 © 1924 WE Music Comp 20. Reproduced by permission of International Music Publications Lic | | iTrack 10 Oh f Lady Be Good George & dra Gershwin A :G6/9 ///|C7 G6/9 G/B Bbaim| 7 A-7 |D7 G/B Bbain| A-7 D7 ] _——— |G6/9 D-7 G13p9|| |C6/9 | C#m | G6/9 Ge6/9 | A7 | A7 A-7 D7 } gk. Chord Shapes %c89 xcidim,. ee Bf [on 4 of bY 3) 5s @/[G © erg c7 x GB y y 4 Boaim ' ya 1 @ 1 i 4@ 3 3@ ® 1 3 6f 3 | | AT ye y x 7 yy x7 x Gls | “ vu 4p 3 4 3 “ | 3 f 4 4Leack 12 DIOUCE PAMBLENCE Djnge Rentnte/ Stphane Gropp Another great Django Tune that has so much gypsy flavour. Django recorded the song many times and the cone ie etill a hot club favourite to this day. Play Along Arrangement (AABA) Recorded at 148 b.p.m. for 6 choruses. Guitar Tablature 7777 7777 7777 7777 (Al 3333 343236435 3 B]_6 89686 7 6 4464 3464 3 opico Copyright © by EMI MUSIC PUBLISHING FRANCE 30 Used by permission of : EM MUSIC PUBLISHING (HOLLAND) B.V.Crack 12 “LI0UCE AMBIENCE Dpvge Ranhon/ Suptane rari ''lp7 | Eb7 E7 |F7 | ‘< This 4 bar eS uses the *D7 Chord Shape ai 1 fret per chord. > | Bb7 Eb7 D7 —_ Ql, (G6 FIA Bb6 Bdim ) [ss / 11 |D7 Ge F7 |G | eeP:®é. | c-6 | G-6 Ab7 | D7 } fa Oh g Ab7 D7 |G-6 | 3) |[Av-6 | Ab-6 Ab-6 | Ab-6 | (F7 7 / Eb? FOF FN |a-6 | A-6 F7 E7Eb7|Db7 D7 Chord Shapes ‘D7 BOT yx y G6 x FIA x x 52 7 3 6 3 3t 1 3 5f 3 | 4 | | I] i 4 BES x x Bdim x Pry x ABT x x | et 1 1@ 1 @ ' 3 i y Ab-6 y x Ab yx i | 3 1@ 3 |TLrack 14 N UaAGes Django Reinhardt / Stephane Grappelli Play Along Aangement (AB) Recorded at 156 b.p.m. for 6 choruses. 6710987 Guitar Tablature Al 6 6710987 6 54 3 3 89 J1087 10 so Ji087 8 78897 65 66797107 10 6710987 Bl ¢ 54 3 3 : 670987, 8 458646 3 6 7109 87 Copyright @ oy EM MUSIC PUBLISHING FRANCE 28. Used by permission of EM MUSIC PUBLISHING (HOLLAND) 8.V (Lack 11 N “ages Dango Reinhardt / Stephane Grappellt (eb-7 /€b7/| A-7e5 D7 | G6/9/_A-7 Bbdim| G/B |Bb-7 Eb7 | A-7p5D7 | G6/9/ A-7 Bbaim| G/B | F#-7b5 | B7 E- | #& [Az Ab7 | A7 D7 Eb7 | D7 | || Bb-7 Eb7 | A-7»5D7 |*G6/9/ A-7 Bbcim| G/B lEb-7 Ab7 | D-705G7_ | Ce/9/_ D-7 Ebdim| C/E |c-9 | F7 G6/9/ A-7 Bbdim|G/B |Bb-7 Eb7 | A-7psD7 | G6/9/ A-7 Bbsim| G/B Bb-7 Eb7 xA7b5 x 7 L® 5 5f 4 3f@)| | | x "G6/9 6f 34 6f es 52] OG 6t S a © ® © ©) ) 2i@ 3 iO} 1 1 5@]G 5f 3X4 S eB a ® ©) ® ‘ = S 2 9) S eS © ® E7 y Eb-9 x D-7o5 G9 6f seTrack 13 &14 Blues For Dke Django Reinharde / Stephane Grappeli A 12 bar blues with an interesting twist. The progression is in A and uses the major chord instead of the conventional blues seventh. Jazz has been defined as the coming together of two basic ingredients. The first is the Blues" and the sec- ond is Gershwins “Rhython Changes’. Ze will deal with both of these forms more extensively next time around. But for now it is important to get your blues down. Django wrote several blues and recorded this tune towards the end of his career. Jimmy Rosenberg laid down a fierce version a couple of years ago on a CD for Sony entitled “Sinti". Sounds great played fast !! Play Along Avangement First take is recorded at 164 bpm. for 12 choruses. Second Take is recorded at 200 b.p.m. for 12 choruses. Head Blues For Ike cure ruvits/Spoe Supt Guitar Tablature 9109 ty 9 109109109 199 9 10, 91082. 8 108108108199 9 624757456767 0 Copyright © by EMI MUSIC PUBLISHING FRANCE 3 DZ Used by permission of : EMI MUSIC PUBLISHING (HOLLAND) B V. |rack 13 & 14 Blues For Dke Django Reinhardt / Stephane Grappellt [A rr |A |A |A | | D7 |D7 |A | Arc# Coin | (A F#7) |B7 |E7 |A/c# Can| B-7 E7 } Chord Shapes x x x x x x Q 1 5f@. GQ) 5f@ 3 of 3 2 OE Cam yx rit Ey x FA7 x x [G To a@lG at 3 7r@l OE 7 5 “4 zz © Copyright © by EMI MUSIC PUBLISHING FRANCE i i |Track 15 & 16 Dark yes Traditional Dark Eyes, Otchi Lehor Nt Ya, Les Yeux Noirs, che Gypsy anchem. Probably one of the most pop- ular European folk songs of all ime. Check out the CD - “Rosenberg Trio Live” at the North Sea azz Festival in 1992. They life the roof off with a breatheaking display of top flight six string virew- osity. Just like “Minor Swing” this song sounds great played up tempo. Again it must be pointed out that the melody is recorded here in it's most simplistic foun. Leam it and add your own embellishments. Dlay ie in as many different positions on che guitar neck as you can find. On the 11th chorus Robin introduces the shuffle feel from the second thythn guitar and this combined with the 4 to the bar walking dase fine pushes the song's dynamic to a climatic end. For base players you can initiate serious harmon- ic tersion by playing an A Pedal note through che first 6 bars of the progression. This device should not be ubesed. Learn to unleash it skillfully. ZOhen taking the head out Robin plays the classic ascending “Moor Swing" (page 16.) The Robin Nolan Trio recorded the song in 1996 on their RNT1 2D “Robin Nolan Trio” Play Along Arrangement First take is recorded at 196 b.p.m. for 14 choruses. Second Take is recorded at 240 bpm. for 14. choruses. Dark Lyes - Head Guitar Tablature Djiingo en, which you should have already come acto 110 10 9 10 un 10 go 10 9 19 12 13 12 10 10 12 13 12 cm 10 12 13 12 10 10 9 10 3Dark Syes Traditional Track 15 & 16 D-6 D-6 | | Bbe/g | Bbevo A7 A7 D-6 (a7 “7 \A7 | A7 | G-6 |.A7 Chord Shapes ATThe Gypsy Jazz Songbook Volume 1 Djangology Minor Swing It Don't mean a thing Django's Castle ‘Sweet Georgia Brown Honeysuckle Rose ‘Oh! Lady be good Douce Ambience 9.Nuages 10. Blues For Ike 44. Dark Eyes PNAARON > Volume 2 1. Out of nowhere 2. Minor Blues 3. All Of Me 4, September Song 5. Swing 42 6. Daphne 7. Belleville 8. Noto Swing 9. Hungria 10. Latcho Drom Volume 3 Bossa Dorardo Number 1 For Sephora Troublant Bolero Bolero Blue Caravan Bar Del Pi Luna Tango Erster Tango 10. Mediterranean Blues 44. Summer Time 12, Manha de Camaval C@ENOARONS Volume 4 1. Ill See You in My Dreams 2. Tears 3. Melodie Au Crepuscule 4. Night and Day 5. Anouman 6. What is This Thing Called Love 7. Sweet Chorus 8. Limehouse Blues 9. Jiattendrai 10. Icelandic Folk Song 11. Exactly Like You Volume 5 Blue Drag Tea for Two Blues Clair Stompin at Decca Django's Tiger Avalon Sheik Shine Swing Guitars 10. Lulu Swing 11. Swing 49 12. After You've Gone LENDARENS Volume 6 4.1 Can't Give You Anything But Love 2. Swing 39 3. Coquette 4. Heavy Artillery 5. Swing De Paris 6. Them There Eyes 7. Sweet Sue 8. Claire de Lune 9. Nuits de St. Germain De Pres 10. Micro 11, Peche a la Mouche 12. BabikTrack 2 Out Of Nowhere 1. eon 8.8. egnn This tune is featured on the Robin Nolan Trio 2D - RNT2 “Street.” Play Along Arrangement (AB) Head Recorded at 124 b.p.m. for 6 choruses. Guitar Tablature e 7.9719 10 10 fir9 10 9 13 gel 1212 12 10 1108 8 10 8 81011 29 10 9 19 991% 1315 A 10 om? 10 7, 7 octaves: 107, 89 7 7 g910g9 wi2i 2 G6/9 Copyright © by FAMOUS MUSIC, USA Used! by permission of FAMOUS MUSIC, USA 14.a mn inclement bok NS Track 2 Out Of Nowhere (ose /// | G69 | Bb-7 | cere | Gero | 87 ar | E7 | A-7 | Bb-7 | Eb7 | A-7 a7 |e7 |A-7 J. Green &E. Heyman | Eb7 |e7 | A-7 |c-7 F7 | G/B Bbdim|A7 07 [Goo E7 | AT? D7: Chord Shapes Copyright © by FAMOUS MUSIC, USA Used by permession of FAMOUS MUSIC, USA BO? x EO? eae |_| 1 By | of DG) 6 3 7Q| OW xx AT x x OF x x OT x x 1 | : 5t 3) 5f © a@] OE x ce xx x Bodin, x ET x 1 * @ 4 3 : 3 0 | | |: | 07 }Track 3 [Minor Blues ee popular version his Minor Blues is a very common tune in the Gypsy Swing repertoire. In ch Django seemed only to play half a head before Masting off in the foverth bar on a masterful rriplet line tha glows with his improvisational genius. Robin has transcribed it for you to learn from che tablacccte. Dlay Along Arrangement. Guitar Tablature This take is recorded ar 110 bp. for 11 chorreses. © 3 6 5 5365 3 6 5 5365 ACOe%Z— 30310 214 348 a 3 . +6 5535 5 5 6 5535 5 6 5535 2323455 wrwn Copyright © by EMI MUSIC PUBLISHING FRANCE Used by permission of : EMI MUSIC PUBLISHING (HOLLAND) BY.Track 3 /Winor Blues Dan r in || G-6/€b7/ | 07 |G-6 &b7 | D7 | Out| G-6 Eb7 | 07 |G-6 Fi#-6| 6-6 | (G-6 FIA Bb6 Bdim) Head ( G6 |G-6 |G-6 |G-6 | | c-6 | 0-6 |G-6 |G-6 | b7 | 07 |G-6 |D7 | Chord Shapes es x POT x x‘Track 4 All Of Me Recorded at 156 b.p.m. for 6 chorus S. Simone & G. Marks Guitar Tablature 839 1089 8108 199 10989 1110 8 10 2121110-" 987 98 1 8 10101210 78107 8 2 2 BN 8iei089 W187 CO © 1931 by EMI MUSIC PUBLISHING FRANCE Used by permission of : EMI MUSIC PUBLISHING (HOLLAND) B.V.Track 4 Alt Of Me S. Simons & G. Marks [cs // /|Ce/9 |E7 E7 | le\ | E-7b5 " |A7 |D-6 “AF |D-6 | a || 7 |E7 |A7 |A-7 | | D7 |D7 (ey |G1309 } ‘ i ee bYprmej | Pin [om lan | *E-7 *A1809 ) | D-7 |G13b9 jose |D-7 rave} Al (repeat this two bar seq. thr times for Outro) Chord Shapes i x C6/9 KT yy yx ETS yoy AT x | | 4 4 DL | tee f ! aH “Ee J| Track 5 September Song Py ‘This tune is featured on the Robin Nolan Trio 2D -RNT1 Recorded at 96 bpm. for 4 choruses. ( AABA ) 547 A], Cuter Tablature 5 5 53 4 3 43 i 3 2.202 4 S47 gs 3 55923 3234567 8 7 5G69 harmonics Copyright © by FAMOUS MUSIC, USA Used by permission of FAMOUS MUSIC, USA 20.[A Track 5 September Song MM. Artes (ico / 11 [C9 D9 |Goe A7 Bbiw| G/B E-7 | 3s \ | AZ [A-7 D7 [G9 A-7 Boban | G/B *Db9 ‘} {Soe A: |Go9 A-7 Boum] G/B | || c- Ic- |C#dim |C#dim | | C#dim [D9 Db9 : C hord “Shapes Ebg G6/9 x x x AT yy DG 3 3) | 5t 6 x ea x x AT yy 7f 3 5f 3 6 4 CHdim x 7 « 1 0 of 3 se aKa) , 4Track 6 Swing 42 ange andi ‘This optimistic swing classic uses two minor alterations in the standard “Rhython Change the bridge. form. The first isin the 4th and 5th bars and the second is Play Along Arrangement (AABA) Recorded at 196 bpm. for 6 choruses: Ay, Sut Tavatue 10 to 12 210129 ore 10101210 9 10 8 9 789 101012109 1010!" 83 8 972109 121 (Play out lick) 118448 108 9 10108 7 cog ~ Copyright © by EM MUSIC PUBLISHING FRANCE Used by permission of : EM MUSIC PUBLISHING (HOLLAND) 6.V.Track 6 All|: Cea / A-7/ | D-7 1309 | G7 AT | D-7 G1300 Bo || Eero / C#-7 /| F#-7 B19 | Ee / C#-7/| F#-7 B1309 Chord Swing 42 fae Ce / A-7/ | D-7 G1309 | Django Reinhardt 2. Ces |F#-7 B7 | E-7 A18v9| D-7 G13es'] cae) x A? y 1300 4G i 1 3t 4) §@1 @OO© at 3 | | 4 G7 x yy FHT B7 7 2z@1| OG af FQ] OE sQLG G e6/9 - r 4 5 Tey 10 7 xg, Bisbee 1 a IO *@[ OO of 3 at 3 4 G - 6/9 Ending Chord to woe ) Ending A na a 3 6 a@ 3 A, 0 Ml @ 25:Track 7 &8 Daphne Dyan Reba Play Along Arrangement (AABA) Recorded at 196 b.p.m. for 6 choruses. Recorded at 224 b.p.m. for 8 choruses. Head in octaves ‘Daphne Guitar Tablature A 10 10. 10 9g 10 10 FR 9 10 W441 4113.11 10 Copyright © by EMI MUSIC PUBLISHING FRANCE Used by permission of : EMI MUSIC PUBLISHING (HOLLAND) 8.V. 26.Lrack 7 &8 Daphne Django Reinhard Al A [06/9/B-7/|E-7 A130 # | rs | 06/9 07 |G6/9 Gtom | F#7 B13 | E7 ace | | 2. sagrevopvevennn [08/9 A7 | 06/9 l. | | ebe/9 0-7 |F-7 BbIS9 # | ‘| # Eb6/9 | a7 } Chord Shapes De/9 B7 E7 At3v9 x x x x x | a Ga 1 5f 3 © 7H 4 7 g 6f 3 : | T ? ‘ x 7 xx Geo ye Giidim yy ro x 1 OIG 4 st@ 3 iO 3 4@ 3 of 3 4 Bisse eee 4 Bt 3 s@Q| 4 ® 27.Track 9 8 10 Belleville “Dung Ronn In “Belleville,” the third of our “Rhythm Chan write his own bridge. This bridge takes a little gettin once again Django has chosen to used too especially when motoring at a rapid tempo. The descending half diminished chord shape that is used for the melody adds a lot of power to the sound and gives the dynamic effect of a horn section. Th | ond take on the 2D is closer to the tempo the sypsy's would normally play it at. Play Along Arrangement (A ABA) i Recorded at 224 b.p.m. for 6 choruses. | Recorded at 244 b.p.m. for 8 choruses. x B-7b5 x 14f Thié half diminished Lo chord shape is used on every note of the first 6 bars. “ Head Belleville ee A Guitar Tablature 15 1413 12 910 15 1413 12 11 910 W 15 14 13:12 Copyright © by EM MUSIC PUBLISHING FRANCE Used by permission of : EM MUSIC PUBLISHING (HOLLAND) BV,cinhart rack 9 & 10 Belleville — Alf vse /B-7/ | £7 A139] D6/9 B7 | E-7 A1309 | D69 B7 | E7 A130] DE/9 A7 | DEO | B]|| G-7 | G7 | Dee | Deva | FH6/9 | Gam | G#-7 CH7 | FHE/Q A7 ] (For the solo’s use this standard “Rhythm Changes” progression over the A section.) (A]| D6/9 B-7 | E-7 A139 | D6/9 B-7 | E-7 At3e0 | D6&/9 D7 | G6/9 G#aim | F#-7 B13r0| E-7 A1Sre Chord Shapes DE/o B7 x £7 x AI3b9 1 1G | 1 5f 7f 3 Tf 3 6f 3 OOo oo] oo x Gdim of 3 7f 4 GCrack 1 £12 Noto Swing Lula Reinhard ratured on the Robin Nolan Trio 2'D - RAT 2 “Street.” This tune is Dlay Along Arrangement (AABA) Recorded at 208 b.p.m. for 6 chorus Recorded at 248 b.p.m. for 8 cee Head Guitar Tablature 5.4 7108111013 __7108 111013101312 12 PUBLISHER UNKNOWN 30.Crack 1 £12 Noto Swing Lutes Reinhardt All A-6 | A6 | Bo6/9 | Bb6/9 | | e7 | €7 | 6 | €7 ) jac [as | B]|| 0-7 |G13p9— | C6/9 | cers | | F7 |F7 |E7 | 7 }) 7 | [o. 1 DIG 1 5 3 ee 3 7f 5f 3 fi 3 Sf 4) 8f 3 31.rack 13 Hungaria This tune is featured on the Robin Nolan Trio CD - RNT1 Recorded at 188 b.p.m. for 6 choruses. Reinhardt Guitar Tablature octaves 10-4, 6 3 can 2, 8 10. 8 7 5 z 6 8 a. 67 57 6 5 6 8s 6568 7 8 6 za 5 8. 8 5 45) 6B PcKupthe intro on the tee Copyright © by EMI MUSIC PUBLISHING FRANCE 3 De Used by parmission of : EM! MLISIC PUBLISHING (HOLLAND) 8.V.rack 13 Hungaria ee w || G7 |C7 |A-7 |D7 & Break ey G7 |c7 |F63 | — | lead + . [Fe |F6 |'FH6 | Fae | Fe |F6 | A-7 |D7 a || G7 |G7 |c7 |c7 | F/a |Abdim | G-7 | c7 } (2. : i | G7 |Bb-7 | F/A |Abdim | | G7 |c7 |F/A Abdim|G-7 C7 } Chord Shapes x AT x x x x q c * FAG 2 1 move the F6 seer {OL T@| s@[Oe st © 2 ret G7 C7 x FIA y x xAbdimy Copyright © by EMI MUSIC PUBLISHING FRANCE Used by permission of: EMI MUSIC PUBLISHING (HOLLAND) 8.V.Track 14 815 Latcho Drom Dorado Schmiee ( AABC ) First take is recorded at 184 bpm. for 3 choruses. Hl Second take is recorded at 236 b.p.m. for 3 choruses. Guitar Tablature ° ? 2 8 & S, 2 8 6s 3% 8 SS, Fam Fam Fim Gam opaz— a0 12 a76 5785769 WSUS 67 Om 10, s78s76% OS0Se7 6 6 10 9 91019, wor 198866 9.135, 31032103 21032323 555 s7es76® 50567 6 6 7 a7 8 767 rs 8 18 S68 65686568 6586 66 510510 7 5 e ieee tiie as & i wo 9 e_9 66 68e 10 ne wne 0 4 \ G sresr6§ W50567 6 6 7 87 8 767 mg & ZS 65886558 6586 66 510510 7 5 A ioieee tie a| Drack 14.815 Latcho Drom Dorado Schmitt (Edim) (0-7 cr | aur ar] 0-77 |r ar|p-7c7 [Bora |Ar” a7 ‘0-6 |o-6 Jos |os |o6 [0-6 |Edim |edim jar ar jars far arf AT joe ar |o6 [0-6 |p6 |p6 |or jor 66 |c-6 [eo7 | E07 [0-6 |0-6 [Bor a7 [0-6 ar llcv |v |Fmaj | Fmaj [a7 far [0-6 | 0-6 [cor fev rma |Fmaj | abr Bor far av @) [[o-6 |D-6 |p-6 |p-6 |o7 07 |e6 (6-8 jeo7 |eo7 |o-6 |o6 | Bor Ar [0-6 [a7 C7 (Intro) Bb7 AT (intro) Hed 7 3 att G G (4) | 0-6 x, Ar x x xx 2 4f rb ‘f ra | G se 3 Eb7 Fmaj yx DID y 4 ¢ 2 1 3 3X4) 3 6The Gypsy Jazz Songbook Volume 4 4. Djangology 2. Minor Swing 3. It Don't mean a thing 4. Django's Castle 5. Sweet Georgia Brown 6. Honeysuckle Rose 7. Oh! Lady be good 8. Douce Ambience 9.Nuages 10. Blues For Ike 11. Dark Eyes Volume 2 . Out of nowhere Minor Blues . All Of Me . September Song 5. Swing 42 . Daphne ~ Belleville . Noto Swing . Hungria 0. Latcho Drom BAO©ONODRYONS Volume 3 Bossa Dorardo Number 4 For Sephora Troublant Bolero Bolero Blue Caravan Bar Del Pi Luna Tango Erster Tango 10. Mediterranean Blues 11. Summer Time 12. Manha de Carnaval OENOTASNS Volume 4 1. I'll See You in My Dreams 2. Tears 3. Melodie Au Crepuscule 4. Night and Day 8. Anouman 6. What is This Thing Called Love 7. Sweet Chorus 8. Limehouse Blues 9. Jattendrai 10. Icelandic Folk Song 11. Exactly Like You Volume 5 1. Blue Drag 2. Tea for Two 3. Blues Clair 4. Stompin at Decca 5. Django's Tiger 6. Avalon 7. Sheik 8. Shine 9. Swing Guitars 10. Lulu Swing 11. Swing 49 12. After You've Gone Volume 6 4.1 Can't Give You Anything But love * 2. Swing 39 3. Coquette 4, Heavy Artillery 5.Swing De Paris 6. Them There Eyes 7. Sweet Sue 8. Claire de Lune 9. Nuits de St. Germain De Pres 10. Micro 11. Peche a la Mouche 12. Babikea: mises 3088a Dorado (AABA) Bossa Dorado is featured on RNT1 Into 710710 8 10 88108 910910 8 jo 88108 ‘Dorado Schmitt 710 710 8 10 88108 910910 8 ores | ' $677 6 665m 666666 M956 78557 5753 =o 2568568 10 19 £ eee Bhat. 10 13h anigth 41 4, 10 . 12 oa 15 185, 12 1513, 13181, 13 44 12, 14 fn ————_~ Coda +5655, 9868986 9866986 Outro7 10 710 8 10 88108 910910 8 10 88108 | 7 10 710 8 10 88108 91091098 108107 DF Copyright © by Edison Ramsong, GermanyCDz- Track 4 2 5. Bossa Qorado Dorado Sehmice (AABA) — Bosea ‘Dorado is featured on RNT1 | D-s | 0-6 Des | | Des | D-6 E-7os A7 || (Gn¢) | D- | E7 E7 | | a7 | D- E-7os A? } | 0- D- | Bl] A-7es | D7 | G7 G7 | E7 | €7 | E-7es AT } + Coda | E-7e5 | a7 | D- E-7os A7 | D- |E-7s a7 | De E-7os AT | Outro D- | Ds | 0-6 D8, | nA D- | D-+s | D-6 D- A7 \| x_D- x x x D-+5 x _x x D-6_x x (intro) 2 + 5 | Cho wo) 0G oS 0G # x E7 x x x_E-7bs_xCDz- Track 6 7. N umber 1 Resin Nolan wm (AABA) Namber 1 is featured on RNT1 & RNTA 1142222400422224 2222 42 5 6 2 50 62 55 3 2 35nN 5 4 432 422224 00422224 2222 7 8 1910 77 7,910 7 978, 10 121312, 19, 12 Soa 4711422224 00422224 11422224 00422224G Gt ACD2- Track 6 87 Number 1 Robin Notas | | E7 | G Gt A | (oreak) I | 4% | Amajz | Y% | : | ~% — | pe | i | 4 | a7 | F#7 \ 4 | e7 | Bbe/9 ATA } : | x | cea | x | | | 4% |e | x | : | xy | cera | 4 | i | 4% | 87 | e7 ‘ i | 7 | Bbe9 AT A : " | €7 I | x B7 xx x E7 x x i OL | st(t i 1@Q [CG 7Q) Ol | HE | x Amaj7_x x AT x x I 5 By wb a) | | Da) | F 3) | | @T] se BC) st) @ i | | a] i x FHT x x xBb6/9__x 2) | @ Da) | Or] ae 3 sconmtom xced ix | ly haz x x — ; sete, Hon Ord aoe ~ Oy] sep oen inceCDz- Track 8 & 9. For aaa (fAB ZS) Seochelo Rosenberg xxE9 x xxEm x x xATo9 x DAG 5f t NC i 2) s[ TOT) | sf|[@OTe 2 are Te e a rT HOH a ana Outro E-9 Een E- Aloo Ag Thead ony, 2~ 8 9n BSS 1212. 12 11 Wot 10 10, 10 ' 7 91097 8 78788 8710810 7 108 710f 3987998 sen 9 78789 Copyright © 1991 Worldcopyright Pree Time Songs / TEM: Hiversum / Holland (Bl 797910 SLES 77 910979 810879 4 797910 52577 9979 810879 8—~ 7 109 $7108 7989 10101010108 7 Byo:amasss For Sephora (AAB) srsto Ronis Intro & Outro (xa) SE | Esra | &7 | a7 | K . at E- | 7% | a7 |" % I B7 | Z% | E- | B7 ' Es | 7% | a7 | 4 r Ap i B7 | 7% |e | e7 3 Bas | 07 | Gar | Cmaiz | F#-7os | B7 je | £7 i | A-7 | D7 | Gmaiz | Cmaiz : = wee | F#-7os | 87 | E- | 87 r E-7 x A7_x x 1 D1) se 7 @ @ T T x B7_x x x_E7_x x 4 not 3) 712) 3) st te of @ 2 (ONKO) OKO)CDr- Track 3 Tro ublant Bolero Django RB Intro (AABA) Rhythm guitar plays single notes and solo guitar lays chords, see bottom page 9 Tez 0.22221 2 nharat 4 vet ———— Zz 910989 \ Head = A) 12 910 12 810 12 8 101210 g10i09 gi0109 I. 8 108 7 91098 9° R&S 7e7rsaty™ 5 5 97910 80 Bj 1210 88, 8101210, 9 910109 91010 7810 8 7 788778 8 7810 8 7 Ki 9109 89" Lot ring C 8. Copyright © by EMI MUSIC PUBLISHING, FRANCE Used by permission of: EM! MUSIG PUBLISHING, (HOLLAND) 8 V .t | CLroublant Bolero CDs - Track 3. Django Reinharde (AABA) Teo is playe tye tytn guitar wih snl ots esate on page 8 Alf emaio / / / | Emajg | E-7 [a7 i pe/g | co |B9 co |B9 B7+ 7E5 || Emajo | Emajg E7 Bil 4-7 | 07 | Geo | G#tdim AT | 07 |B9 co |B9 B7+ Al Emajo | Emajo |E7 | a7 D6/9 | c9 | Emajo | Emajo ourel) Emajd | a7 | Emajo | az ese ast Stas we |payedvath singe naies fs inthe nro on panes) | E6 xEmaj9_ x x_E-7 x x AZ x x x D6/9 7 | | DQ) | re 3 2) |S 52 3) @ @ 7@ 3 G @| x09 x xB7+ x x_E7 xx x AT x x A a no] 2 1 | ae oe OG 12 6 5Q1 Ow | | | x D7 x x xG6/O_ x xG#dimx x E6 : & ® CT I G st) | 3 4 q @Q@ 1 @O : a@ G 4@ 3) Ch | T rT E7#9 x A13b9 Te E70 ae tho Asbo 4 = re pays ty hos referee. UI]C2D1 - Track 4. Bolero Bl ue Paul Meader featured on RNT1 and RNT 4 (AABA) Bolero Blue 7745474 Head Ay Suter tablature 5 Tes 7674754 z 7745474 e 7674786 For head out, take 2nd time bar on last A, ‘and then to coda. 558 7 5 667 4 5 Zz 55 57547 786858 4 754 _865,5 754 865-9 754 865 oe 7674754 2 u Copyright © by RNT Publishing, Amsterdam, Hotand [Used by permission of: Robin Nolan Tro, Amsterdam| er-ducs Bolero Blue Paul Meader j (AABA) | wwol A-7 / J 1 | AT | A7 jazz — | / \ at AT | A-7 | Fmaj7 | Emaj7 i | D-7 | 7 | A-7 |A73— | . Bil Fmajz——| Fajr | E7 | &-7 ' | D-7 |p-7 | cee | cevo ' | B-7b5 fez | A7 | A7 | F#-7b5 | 87 | B-7bs Jer = } Our] A-7 | o7 | A-7 | o7 | i | A7 | D7 | A-7 |br AQ | i x AT x x x E7 x x ub O@ 7 i | 7@) 3) aa } | x Ey x xFH-7b5__y q = t @Q[O@® } 7@) 3) ~~ L a | H 7 x BZ ; 7 — g 3 Gq QE) | 5@ @B) | FREES “FEE Copyright © by RNT Pubishing, Amsterdam, Holland Used by permission of : Robin Nofan Tho, Amstersam .CDs - Track 5. C atauan Duke Ellington Caravan is featured on RNTS (AABA) Guitar tablature [A], Heaa 5 6553 5 5656535 3 5432102 3 arrest Coda 45.43.2102 3 5456789 10 Copyright © by ntersong Basart, Holand Used by permission of: Intersong Basart, HollandCDr1 - Track 5. Catavan Duke Htlington Caravan is featured on RNTS (AABA) | (co / cH9 /| x , “4 [Oo “x Y i a co c#o | % | x | x I x | co | F- | F- j . | Bl F7 | F7 | Bb7 | Bb7 : Eb7 | Eb7 | Av7 | G7 : fljco c#o | Z~ | x | % i cg c#9 | C9 | F tee } “4 + Coda A ' | co | F | co | F } C9 cro =a i E . x_F7_ x x x Bb7 x x T | 1 O10) ayy || sO) | @ “Te Pee aio fae h ef) 3 DTS 42) | @ | G | wT HH Copyright © by ntersong Basart, Holand Used by permission of Intersong Basar, HollandCDs - Track 6. Bat Del pi Daal Meader (AABA) Note: ul Jritar harmony on bridge.) Intro 00235 2 D7#9 323 i Head [A] Gutartadiatue 6-~ 565 3 ~ * 323 435 34 3533523 00235 2+ p79 323 [ r AL S688 6 Wx rato AR isi 3 ON 11108 7—n 7 67 WAN ion Bn 8 8) 778 10 8 7 7 8 8 10 111110 8 . | 778 0 8 778077 § 75 3 ——~ s_f 778 10 8 7 78 810 11110 8 10.1011 1 1101 3h coda SEF a ty 3533523 00235 2 3533523 0030 2000C7* 1 Copyright © by RNT Publishing, Amsterdam, Holland . Used by permsson of: Robin Notan Tro, AmsterdamDs - Track 6. Bar Del pi Daud Meader Bar Del Pi is featured on RNT4 } I ade Intro || G-7 _D7#9| 7D7#9 I e777 7 | x | c- | x | " | 07 | G7 | D7 } og | G-7 | | 07 | 4% | G7 | 4% | } o7 | % ler } ox | : | D7 | Z% | G7 | x | Foams | % [or | “~ Y | aos | ; | D7 | G7 | 07 | | cso rei st eae 15. eee eeCDs - Track 12. Luna Lango Robin Nolar Lana Tango is featured on RNTH Intro and Outro ch a 0223 2 (ABC) 128s 0 2232032 ~~ Lbing = Bhis 2 woi21410 1211 107 8 9 91098 vee | 7.45 7 46757458 7 4 12 10121410 1211 107 8 9 8756 g een as (strum) cee ces ce CHO FHT B6/O E6/9 118 9 10101112 129 jo. 111218 8 754 323 ‘Copyright © by RNT Publishing, Amsterdam, Holand 22. Used by permission of: Robin Nolan Trio, AmsterdamD1 - Track 12. Luna Lango (ABC) Rosn Nelex Alle Ewe | ~ | 4 | xy | B:e-o9 7 / 7 | F#75B7 | E9 | c7 E-9 | C#-7o5 | F#-7bs | B7 E-9 | F#-7o5B7 | E-9 | C#7 c7 | 87 |E9 | F#-705B7 | les | x | (Gl|| 0-7 | G7 | | Citdim | D-7 | G7 | ce | x CH? | F#7 | Berg | E6/9 F-7 | Bb7 | Fe-7 | 87 E-5) x E-9 x_ F#t-7ps x x B7_ x x QE 1 ol OTe 7@TOL | DIE| edr-tuetn. Laster Tango Dan an (AABA) 7897810 Head [A] Guitar tablature 87 7897810 1188 543 TaN 2 353/83 353 78 97 B10 ara 325 Fans 5 3 aay Bi. 555 5 578 5 33 333 39353 3 1010 101010 10 1089 10 88 888 8 868 8 g9 999 9 9780289 19 7897 810 dus 353542 0D G Publisher unknown |CODr1 - Track 1 Lrster Tango Jan Jankeje (AABA) | 4 |er | 07 | | Abeve [Grr | Eb7 D7 ) - Ke |G | B]| c | x | Bb | x | | Ab | x“ |e | | F | 4% | eb | E7 | a7 | a7 | 07 +t cod | AZ | Abevo [G >= l30e@ | x G7 x x c7 x AT x x ot TH Onl 2 re 52) |@O@ CTT T xAb6/9__ x x FZ x_Eb7 x x D7 xx ie Ger Af H J LI | 5 1 | |G 42) @ ae ® @ @seed castmanen (Mediterranean Blues ran nun tedirorancan Bluse is ele rtle track of our first TSA, Camastian 2D release ae Medi B the ttle trick of one first TSA, Camastian 2D rl FHT #9 G79 F#7 +9 1232445 3 4520 2 435 6-\ 355 1232445 3 45202 12324453 45202 435 6-4 _3 5A 967 967 96%, gel FT b8 ITS 342 42324453 45202202 20220220 2 F#7#9 G79 Fi7W9cns-duenas Mediterranean [Slug rainren For intro use the same rhythm as shown on opposite page. | FH#7#9 | F#7#9 G7#9| FH7#9 \ Intro Mee (er | 87 | B7 | B-7 I[c9 | c9 |87 | B7 (Ft | F#ps x“ NN NN NNN x~rnNNNNNN | Fi#po | G | FH7#9 | | F#7#9 | | F#7#9 | | “ | |c#9 | | “| Ic a | Fito | F#719 G7#0| FA7#9 | Chord Shapes (G?e109 xFH7#9 x x BT x x C9619 = ay | | a } } | %@) @ 72) | OE @ @ [ | F#b9 xx G ax 4 @i| a & @ q [TOOT] Copyright © by RINT Publishing, Amsterdam, Holland Used by permission of ; Rabin Nolan Tro, Amsterdam, 35:= Track 14 815. Summertime Gh. Chershovin Stammertime is featured on RNT1 (AB) Intro and Outro 76 576746 75 5 7660 75.5 151315 1213 15 1314131513 12 12 ao >, 151315 13 12114 12.1412 1413 1615 13 "14 657546 (ast ume on 55" 1413Rhythm Cechniques We have included a breakdown of several rhythm techniques used by the master himself and featured on many of his recordings. These techniques, invented by Django, were used to great effect when accompanying Seefar ducting the ground breaking years of the QHCF. Django could inject a whole new level of dynamics t0 rhs ever ensemble he was part of by harnessing these powerful thychmic devices. ‘Django's rhythm guitar expertis evolved into a creative, exciting, vital and most importancly, improvisational voice within a jazz ensemble. Je not just 4 to the bat. Listen to Django and you will heat so much more than that. Armed with juse his Selmer Maccagerie, Django could simulate the vibrant power and swell of a big sol horn section using his famous right hand cresce and out, jabbing at the feel, injecting dynamic fire and flair. He could simulate a drsanmmer in full swing & doubling up his tight hand producing a “shuffle” eype effect propelling the feel forward mowing down everythin an it's path, Added to chi arsenal he could imieate the sound of a vibraphone with ull bll-ike harmonie's te (o technique. On the recordings you can hear the man come i in the upper register. Je mas a totally unique approach. Nobody had done this before. He transformed the sip jazz thythm guitar chair into the only thychm section instrament 0 combine the extended harmony of & par with the percussive thythm of a dram hit. Afeer all dram kits and pianos are not the sore of instruments yo ate going to have hanging around your caravan. He created it out of necessity. Fashioned it to suit his neee and in doing s0 created a one man thythin section and the busis for a whole style of music /jasx ; You're Dragging ! Have you ever noticed at jam sessions (and some concerts) how a song can stare off feeling and sounding tea ly good and end usp ten choruses Later by stoning down to half the original cempo eventually fallong to pieces i a pile on the floor. Zell, it’s all about stamina. Building the physical strength and endurance needed to enab™ ‘a musician to hold a compo firmly ae the stated count-in while injecting life and excitement into the mix, (8 easy task. Je can take years and years to master. If you're having trouble keeping up with a chosen tempo # thete is no way you can add anything to the music you ate pare of- Your body will tense up and your show ders, atms, hands and fingers will get tired and start to ache. Your playing will slow down and depending A hove loud you ate, s0 will the song. This is known in the jazz world as “dragging the beat". Je's not nice. TOh this happens a song becomes a sinking ship, doomed with no survivors. Je makes some people very angry. Dar, for one by all accounts. Regular Practice This is why it is important to practice on a regular basis. It’s the only way to build the physical stamina nec. ed to play good music and hold tempo. Sven if it is only for twenty minutes per day you will slorly increase your strength and keep your muscle memory fresh. Jf on the other hand, you leave the guitar in the case all wn | and play it for a couple of hours on the weekend, you will find ct really difficule co pick up were you left of Ware came rime tnen ie onsnndan amd uate will he venlte basns with what une achiene Mueic will ewrich waver lForeword standards a Welcome to book 4. We are continuing our series with another diverse selection of Gypsy J several of Django’s most celebrated compositions. We have included the 1937 QHCF version of “IU E You In My Dreams” which is considered to be one of his masters finest recordings, and “Anouman", petha the mose profound of all the Django ballads and one of the mans final compositions. “('actendrat” is al included due to it’s charming lle, beaneiful melody, unusual form and the fact that ie re-emerged as the so in the recently found studio footage of the RHCF. Also, in response to many requests, we have included several examples (both in diagram and acadio form) of the v ous thyehm seyles played at very slors, easy tempos. From the basi “gypsy swing thythm” co the more advanced ee niques of playing “thython exipler’s” and che even tougher “Django shuffle", we guide you step by step in che fuer development of your skills. As with many of the songs in che QHCF/ Django repertoire, there is a lot of confusion regarding the right « tong chord changes. This generally means that although che song maybe very faniliat, t ends cap not being Hlayed ¢/ often. A lot of the amazing tunes in book 4 have suffered that fate. The eragedy of this is that quite often these tastic songs get lef out of the jam sessions and gigs and people end up playing “/Minor Swing” just one more ti “IU See You in my Dreams" is a classic example of this. Bars 25, 26, 27 and 28 seem to be a kind of writ sal “Hack hole”. Zverybody seems to play che harmony differently and each time this section of the tune tolls ator gypsy jazx musicians look the other way. The same can be said for sections of “Limehouse Blue", “Melodic 7 Crepuscute” and even “Night and Day.” This could not go on. Something had to be done £ We have also included a song that we learne dering one of out many concere / workshop exips co Iceland. sypsy jazz flavor to it similar to chat of the immorcat Dark Syes. Je! swings really hard and has a classic 9 been an amazing experience to a discover a folk song from another culture that sounds so “Django” Gypsy Jazz Rhythm - Je is a mistake to overlook the importance ot underestimate the skill required to play good gypsy jars thyt guitar. At first glance it seems quite straight forward in it’s basic requirement of 4 to the bar metronomic ¢ sistency but if you have a closer listen to the playing of Django and you wil hear how colourful, passion: skillful and highly specialised good gypsy jazx thythmn accompaniment can and must endeavour to be. After without it, it no longer sypsy jazx. The whole genre revolves around it.The Gypsy Jazz Song book CDolume 4. a Wrtren and comprted by Paul Meader and Robin Nolan Foreword .. Equipment and Ammunition Rhythm Technique IU See You In My Dreams Tears ... so Night and Day Ballad Technique .... ne Melodie au Crepuscule Anouman .. The Django ‘Shuffle — . What Is This Thing Called Love ? ? Sweet Chorus. Limehouse Blues... Rhythm Triplet Technique Exactly Like You Jrattandrai Icelandic Folksong Discography The Gig Book Concept, Design, Layout, DLP - Paul Meader Cover and Inside Mlustrations - Carolyn Ridsdale RNT Publishing, 2002, Amsterdam, The Netherlands RNTB4 Copyright © AU rights reserved Copyright Secured. All Copyrights used by permission. an 10 12 14 18 20 son BZ 24 26 28 30 32 36 38 oOThe Gypsy Jaxx | Latin Songbook Dolwme 3 i | i The collection of Gypsy Jazz Latin Standards, } written and compiled by Paul Meader and Robin Nolan. ; Forward. The Gypsy Bolero Troublant Bolero.. Bolero Blue. Caravan. . Bar Del Pi... Manha De Carnaval. The Gypsy Tango. Lester Tango. Luna Tango. The Gypsy Boss Bossa Dorado. The Gupsy Samba .. Mediteranean Blue Semmertimesiev Discography. iq Book 4. Conception, Design, Layout, DUP - Paul Meader over and inside illustrations Carolyn Ridsdate RN Publishing, Amsterdam, The Netherlands RATB3 Copyright © AU rights reserved. International Copyright Secured. AU Copyrights Tsed by Permission,cmt mie eet Gypsy Jaxx Songbook . olume 2 abs The second collection of Gypsy Jazz Standards, written and compiled by Paul Meader and Robin Nolan. Forward. Equipment & Ammunition Belleville. Noto Swin Hungaria Latcho Drum... Biography - Robin Nolan / Paul Meader RNT History ... RNT Discography Afterword / Book Three Conception, Design, Layout, DTP - Paul Meader Cover and inside illustration Carolyn Ridsdale RNT Publishing, Amsterdam, The Netherlands ‘RNTBz - 2000 Copyright © All rights reserved. Incernational Copyright Secured. All Copyrights Tlaed by Permission.Gypsy Jazx Songbook . Coleme One ae A collection of Gypsy Jazz Standards, written and compiled by Paul Meader and Robin Nolan. Foward..... LGuipment.. Approach The RNT Play Along 2D Diangology. Minor Swing... It Don't Mean a Thing. Dijango's Castle... Sweet Georgia Brown. Honeysuckle Rose. Oh! Lady Be Good. 26 Nuages... 28 Douce Ambienc Blues For Ik Dark Zyes. Biography - Robin Nolan / Paul Meader . RNT History «... RNT Discography Afterword / The Big Picture... Conception, Design, Layout, DUP - Paul Meader Cover and inside illustrations - Carolyn Ridsdale RN Publications 2000 RNIB Copight © All rghes reserved. International Copyright Secured. Alt Copyrights Ted by PermissionLeake ment nade morse fe Sia Pg eal Pe Bon Aims [DPRK 62 Le Y | AY /p7 Be OE Be Ait Rage - J in7 |" 7/0? | 7e7_[ Bon Jo°m7 enG/ qb on Ey [APT 7 |(Alto 7 7 7 G/B AT |G Bil c G/B A-7 G/B ZY |C6 | x % |e | x “~ |o7 | 4% Y% |d7 | G7 Z| C6 | A y |e | % | E7 | A-7 |C-7 F7 | 87 | £7 | a7 | G/B Bbdim | A-7 | D7 | v | 0-7 | G7 x C6 x x x GB x x x 7 Sf! 1081 xBbdimx_x 1 © 3, 6f @)tuck2 813. After You've Cjone — Creamer and Layton Head (AB) Guitar tablature 9 8 10 127~~ 1012 10 1210 8 10 8 10.8 10 8 YW 9 8Swing 49 TLrack 21. Django Reinharde G-6_x_x xG-/Bbx_x xA-7bs x x D7 x 4 1 1 1 3t 3 6f Sf 3) (4) Sf 3 3 1 I T Intro chord progression || G-6 G-/Bb| A-7b5D7 | G-6 G-/Bb| D7 } = Head (e6/s//) % | x y. | C-6 | *% |G6 | 4 | Eb7 | D7 | G-6 G-/Bb| A-7b5 D7 : x G-6 x x x C6 x x x Eb7 x x x D7 x x 1 1 1 1 3 @ 3 a@ 3 ae 3 Sf Lf 3 I ending chora xG-/Bbx_x xA-7b5 x x_C9#i1 o 4 ay (0) 6f of 3) (4 3t 2 de | : | |Lrack 21. oaerng Ty re Swing 49 is a classic minor blues by Django in the key of G minor and is best played at a bright tempo. Je re-emerged at the first Django Festival in Birdland, 2000. ‘The head sounds great played in unison mith another guitar, one octave apart. ZOe have included one of the most pope lat minor intros in gypsy jaxx that you can seein detail on page 30, example 1. Head 5 Guitertabiawre 55 35 35353 535656535 6 Cw 5 363535353 5356 56535 Head played one octave higher 13 41 431413.1113 1113 1113.1113141314131112 13, New] 13 44 134113.11131113 1113411314 1314131112 Rew] 518 18171615 14 14 12.1313 16 1615 15Track 22. L uly S Wing Lulu Reinharde (AABA) x D6/9 x At at Sf 3)@) Sf 1 a Ole) q T Intro chord progression || Deg At D6/9 | At l [A], Head Dees ys) x E7 lf x | | E7 | A133 "| D6/9 B-7 | E-7 A1300}] —— rm | D6/9 | D7 I |G | G#dim D6/9 | 4 | | E7 | x E7 |A1a0 x D6/O x_E7 xx x_E-7 x DA | 1 | | St DQ 7 © it 3 4) | T A13b9__x x B-7'x x x D7 xx | | a chord i iTrack 22. Lulu Swing Luluc Reinharde (AABA) This charming melody is a joy 0 play. The song was written by the grear German gypsy guitarist Lulu Reinhardt and is one of the fev original eunes in the Last 25 years to become standards in the sypsy teper- toite. The A seetion is based on the changes of Stlington's “Lake the A Train” as is the eune “Lxactly Like You" which we featured in Book 4. The bridge section's melody is improvised 797 Head Al Guitar tablature 7777 = 1775 5678, bmowr |? 765 54 8 3231797 7T9O7T7797 7776 6977697 10.912 yo12 910. 11121112 _D7b5 Outrooft Swing Guitare ne Renkae/ Sephane Craps (AABA) x CE x x Ebay Di xx x Gry, J [TT yy Tt 1 | 104@ a 10 3 [) 11@ 3) [| | HEH AAG 4H Intr0 chord progression, | C/E Ebdim|D-7 G7 ICE Ebdim| G7 / /3 CAE oscars Vig sain ln 8 OEE aerack 18. SWING GUit ats yng Ronee) Sepane ura (AABA) (cea /a-7 /| D-7 G7 | CB/9A-7 |D-7 G7 | 1.83. | 0/907 |.F Fitim| D-7 G7 [C69 G7 } a |C6/9 C7 |. Bil F F#tdim ceg xy fl | 07 x | D7 alo} Solo Changes \C6/9 /A-7 /| D-7 G7 | C6/9A7 |D-7 G7 | 1. C69C7 | F FHam| E-7 A7 (0-7 G7 } 2.& 3. | D-7 G7 |ce/9c7 || x AT x x x D7 x f= \ @ 5t Onl t @ T x_ C7 x x F xFidimx x 4G G 1 2 af 8 OIG cexdeg chars x x_A7_x x x C6/9 2 AC “5 at (2 a4 5f a eso Ea MUI PP SING AND BV 29.rack 23 onhine Dabney, Mack and Brown (AB) ic} «CHa, x D7 x x Ebsimx x x CE xx x G7 xx Intro chord pros me - IC C#dim ‘|D- 7 Ebdim| C/E Ebaim| G7 | ‘Al oe (:cere | 4% |G | x | C6/9 | 4 | G7 | y% | E7 | 4% | A-7 | x | D7 | 4 | D-7 | G7 | Bll ceva | % |@7 | 4% | E7 x | A-7 | 4 | | F | F#aim | C6/9 | AZ | | D7 | G7 | 06/9 Citim| D-7 G7} x EF x x x_A-7T x ay 27.Track 17. Avaton ‘Dincent Rose Head (AB) J Guitar tablature a 5 7 eo Fd e £ L7G Eb6/9 | E6/9 F6/9 URLS. a : Teh 8.9 Dijango's Liget rimy runiaa/supuae urn Considered to be one of Django's finest recorded solos this 1946 version of masterpiece. Django based this tune on the changes of the classic Dixie tane “Tiger Rag.” jango's Tiger” te a jars Blass s | % [A | “| | A/C# | Cdim | E7 } x“ | | E7 | 4 | F7 | «4 | | €7 | % | ace Cdim|B-7 E7 | Bil A | “~ |A | “| | £7 | A180 | DB/O , “~ | | Deve | D#dim | A7 | FH7 | | B7 | 7 | A‘C# Cdim|B-7 E7 ) x A/C# x x xCdim x _x x_E7 x x 1 g Q | 7f 3 Bf 3 of 3 x BIxx x E7 x x A130 x 1 1 | | 1 1@[O@ | #4 3) | ae 8 HHH =. Q x 06/9 x Bin inte Ay x x x FHT x : sf @ OIG AE "f 3 | L| «[@ L] 5 3 a | 3) | @ | G TI T T . Outro chord sequence x G6/9 x G#6/9 x A6/9 VO 3f 3) (4 a I a@ 3) (4 ayyancts 29. (AB) “D4jaNGO'S Tiget ne Rount/ Sun srt I rN A x F7_ xx x E7 x x af @O 4 72 3 34 af 3 | Intro chord sequence A///| ~% | A F7 E7 3 = |l Head , 5 Guitar tablature 4 7 5 5 4 4 7 75 5 4 76 5 8.9 7 77 7 9 1014 912119 12101410 sorta 1017121013121013 VIS 13121310 12 1110 14 910112 121g aly 1219112 Sin. 10 910 S109 1012 10119 1111 7 12 8108 11811 ssi977 419 897897676 5 US 56756547 5765654 YS 40779 8 769790912 1013-14 9 13 104911 12.10111911191413 14 14 12 161416141714 1516151415 _13 147 121513 15131513; 45121412 4414 i Toda + G6/9 G#E/S AG/O Copyright ©by EM MUSIC PUBLISHING FRANCE TE MOB | 7K RR O™ |aun — Stompin’ at Decca dpoprvsnu/suine dom (AABA) G x AT x x xGByx 6x x nd 3 1) L1G oO 5 @ 3) 4) 7n@ 3 at@ DE [ @) T rt T Intro chord sequence |G A7 |GBC6 |GBA7 |G D 1, Head Alc yy it 4% | Bb? | Eb7 ae wthea | A-7 | D7 “| G/B Bbdim | A-7 D7 Laie Sam | Ae eo |G | 4% || B7 |oox |e | 4% | A7 | % | A-7 | D7 v G A-7. BbdimG/B G Ip lpp) {or 07 x Eb7 x x AT x x 4) Coo ® 5@) | O® 3)(4) T | | (or 7 use x G/B x x xBbdim x x x B? xx x —7 x x | 4 4 I 7@1G a a @ 3 4 | 7#@) @ 7#Q) t =rack 11. Stompin " at Decca Django Reinhardt / Stephane Grappelli Head (AABA) A] _ Cuter tatonre 5799798 z. 8 §g 118811 1 8 cxwormes end PBS s. 10 710 8 9 7891097791 101010 10 7107 6 7108 404010 10 gg9 7969 1097 cd A-7 BbdimG/B G Woe port Copyright© by EMI MUSIC PUBLISHING FRANCE ‘Uc by permisson of EME MUSIC PUBLISHINGTrack 14. B l ues C2 laiz Django Reinhardt x CIE x x ees x D-7 x x x G7 xx 7 || | 1 YT | 0@l[O@ [| 01g 3 nr@ 3) | | | | 12f@ @ | | T T TI Ineo chord. seque || C/E Ebdim| D-7 G7 | C/E Ebdim| G7} ~ Head ficess/| % | x% | Reee7 | F7 | .% |C6b |C/E Ebadi | D-7 | G7 | C/E Ebdim|D-7 G7 || (tor G7 use 10th tet) C6 x G7 x x C7 x x x _F7 x x a m 4), | { | D) 3, 1082 3) EiONEO 8f2) 3) a@ 4) ] @ T ending chord x CE x x x Ebam x_x x D7 x x x Clb x O 1) [oO a1@Ol@OOol |] s@Ol® i1@ @ | @ | 12f@) @ | | | T T 1 T 21.Track 14. Blues C2 laiz Dango Reinhardt Head Guitar tablature 8 12109 3 98 e910 81189 109 8 (9 to 10) 7 bend 7_7 10 710 18121815 12141512 1012109 9 8 91010 10 10 109 12 10 oda #iowi9 989 81181089 101098 C7b5Track 10. Lea Frot SLwo Ceasar and Younans A (AB) |:G-7/C7 / | Y% | F 1 G-7Abdim|F/A Abdim | G7 c7 | x | F / G-7Abdim|F/A | |B-7 E7 | Y ~~ | AT B-7Caim|A/CH Cain | B7 ey | x IA |c7 \ B . | G-7 c7 | Y | F 1 G-7Abdim|F/A — Abaim | G7 C7 | 4 | A-7bs |D7 I |G7 D7 | G7 D7 |G7 |Bb-7 Eb7 | F/A Abam | G7 C7 |F [FIA Abs’) x Fe x Abdimx x fa iq ® 1 32 3)4 3)(4 | 42 3 iat x x E7 x R10 G 7 3) 4 ne 3 x Cdim x_x xA/C# x x Xx _A-7b5 @ a ae 3) 1 1 a 3 t@ [OE sf 3 } | x_Bb-7x_x x Eb7 x x . 6 | 3 ITrack 10. Lea For Lwo Ceasar and Youmans A (AB) ead This song is featured on RNT3. A) campos 7 6 75 5 5 7 5 5 57 6 75 7 6 75 5 oN 19,10 8 8 6 655 8 8 6 6 10 108A 6 + 6 75 7 6 755 ‘Coda’ $ 1012345 6 51 Ww « (harmonics) Copyright © USA Warne/Chappet, London Fepeodced by poms of itratoal Nae Publeatons Lidl Fights esaved,Track 16. ISULUuUe LILAG oseph Myron (AABA) xx _D- xx _C x_x_Bb xx_A 10f TI) st Tm) 6 Th) sf DIO) | @ 2 } | g g 3 | @ ! | Intro chord sequence bass intto guitar | D-C Bb A | a |D-C BbA | ie Al, Head | D- D-/C | B-7bs Bb7 | D- D-/C | B-7b5 Bb7 fas” D- | E-7bs | Bo7 A7 |D- AZ 2 B || D- | G-6 loo | D- | 4 G-6 | 4 |D- C7 |Bb7 A7 x D-/C x B-7b5_ x x C7 x x i De 4 I@] | @ | | TI (or A7us0 : sthiet) x Bb7 x x x __E-7o5 x x G6 x x CIONKO nl @{@ @ 4 3 4 Sf 3 | T T 25.Track 16. Blue Drag Joseph Myrow (AABA) Guitar tablature 5 10 8 6 5 10 8 6 5 Wg 6 5 10 8 6 jHead 768 65 8 6 7 65 6 5 § 6 ‘ aa +. 5 5 101213 121012 Second guitar harmony in B sectionThe Gypsy Jazz Songbook Volume 1 1 2. 3. 4. 5. 6. 7, 2 . Djangology . Minor Swing . It Don't mean a thing Django's Castle . Sweet Georgia Brown Honeysuckle Rose . Oh! Lady be good Douce Ambience 9.Nuages 10. Blues For Ike 14. Dark Eyes Volume 2 1. 2. 3. 4. 5. 6. 7. 8. 9. 1 Out of nowhere Minor Blues All Of Me September Song Swing 42 Daphne Belleville Noto Swing Hungria 0. Latcho Drom Volume 3 @PNOTRONA 9. Bossa Dorardo Number 1 For Sephora Troublant Bolero Bolero Blue Caravan Bar Del Pi Luna Tango Erster Tango 10. Mediterranean Blues 11 . Summer Time 12. Manha de Carnaval Volume 4 1. Ill See You in My Dreams 2. Tears 3. Melodie Au Crepuscule 4. Night and Day 5. Anouman 6. What is This Thing Called Love 7. Sweet Chorus 8. Limehouse Blues 9. Jattendrai 10. Icelandic Folk Song 11. Exactly Like You Volume 5 1. Blue Drag 2. Tea for Two 3. Blues Clair 4, Stompin at Decca 5, Django's Tiger 6. Avalon 7. Sheik 8. Shine 9. Swing Guitars 10. Lulu Swing 14. Swing 49 12. After You've Gone Volume 6 1.1. Can't Give You Anything But Love 2. Swing 39 3. Coquette 4. Heavy Artillery 5. Swing De Paris 6. Them There Eyes 7. Sweet Sue 8. Claire de Lune 9. Nuits de St. Germain De Pres 10. Micro 11, Peche a la Mouche 12. Babikrack 9 = xactly Like You — mectush «ae | (AABA) Akcee///| ~ | pg | xv | wet T&B OCS ' |p? | G1300 "| E-7 A1309| D-7 G130e)] ee | | Ce/9 | C7 I Bir | F- | C6/9 | C7 il i | F | F- | E-7 A13b9| D-7 G1300)] ! ee ST? || C6/9 BbseBoe Coe || i ! C6/9 x DI x ‘ot Gee x | Da 1 1 | | 3 3)4) 5f 3) (4 8f 3 4f (2 3) | | } 4 @ xE7 x xA1309__x x C7 1 i a 3 6 re B at + 3 HAS] AAS ] T T - - awa ta ta 1 "a Ag Z fe? Old 3)4 ~ 3)(4)? |" 8f DE | T TTrack 19. Exactly Like You — Mmettuh s Fats (AABA) Head {A] Guitar tablature 12,1210 10 888 8m 10101010 12 1212 = {BR} Vy IB] 1010105. —— ., 3 1210131213 33 Raa Ww 13 1818, ——~ _, 12 1813124512 124912, 12 10 10108Track 21. Ftd prengis. Anat Sigualdi Kaldalons (Icelandic Folksong) (AB) AlD-6///| 4% | “~ | x“ | A7 bf “~*~ | xy | #z | D-6 | “4 | xw*~ | “x | a A" | “2 [| “w~ [oo “#z | | A-7 | D7 | G-7 | C7 | F-9 | Bb7 | E-7b5 | A7 | A-7 | D7 | G-7 | C7 | F-9 |Bb7 |E-7psA7 |D-6 x__D-6 x x AZ x x AT x x x D7 xx af QT] a is | : 1 Ol[@ | G 7 eG 1@ © : G-7_x x x C7_x x x F-9 x Ql OE 3 @ 3 ae oo | | T Lai oppamesonet Spee Sats 37-tnea (48) AA Sprengisandi — syutarotwsiow (Icelandic Folksong ) his song was taught to us decting one of ox many concert / workshop touts of Dectand. Je swings really hard and has a classic gypsy flavor, similar to that of che oronoreat Dark Syes. Je has beer can amazing experience to a discover a folk song from another exlerte that sounds so “Django” A special thanks t0 Prodi for introducing us to the song. Head ‘ Guitar tablature iA) ATrack 20 g ‘attendtai Dino Olivier os / A7/|F / G/ |C6/ A7/|FFEG = | ce | A | x | 87 | | c6 | C#aim | 0-7 | a7 | | D- | D- maj | D-7 |D-6 | | G7 | x“ |cee | “| | c7 | “ |F [F- | | c6 | C/E Ebaim | D-7 | a7 | | C — Cttaim | D-7 G7 J x B7 x x xC#dimx_x x D-7_ x x x_A7_x x " 3 4d I (@) of) 3 1012) | @@) 216 | [es D- D-maj D-7 x D-6 x x 1) 510 1) J 2) (3) 10912 3 x C7 x x C= | | a | @ | o 1 @) OE = F- ~ St x x fins x | x_G7_x x fe | 1212 3 “T om ae r 3 | 1 Copy © 1937 by EAA MUSIC PUL ESN FRANC 26Track 20. Za QATTENATAL “Dino Mivieri ing an absolutely charming melody Jactendrat has a very oniguee form. Ie is Aes well as the only standard in the whole book that has a chord sequence of 26 bars. C6. x AT x x Een G 4 0 | 4 1) 314 | P xT] 2 | [ 5f OG a4) 34) Head g Guitar tablature 10 12 10 8 12 10 8 _—a—areo 101010 10 a ——————— 101010 10 87 10 8 men B 4. isSa, 8 __ Coot © 1207 by EME MUSIC PUBLISH NOH ahs Co#tt va MUS: PUBLISHING (0 3S 323456 8 Db9 CO#HII 1) 3t 2 4-cose_10Track 15 & 16. Limehouse /Slues Braham & Fuarber (AB) Abor/// | % | % | x | A7 f. “2 | x | 4% | G6/9 | DZ | B7 |E-7 al 4” | “4 |A? |D7 Dbz | (C7 | “*2 | “* | 4 | A7 lb x |oxz |oyx | G6/9 | E7 | A-7 | x | A-7b5 | D7 lang |. % C7_x x x AZ x G6/9. x B7 xx 4 | «fae | 3f 3 3 4 3f 3 7f 3 “ T xE7_ x x AP xx x AT x x ni 3 On KO FQ] @Oe 4 4 |_| ' f 7 ust x b7 x A-7b5__x x E7 xx 7 1 @ [Il st@ 3 t@Q@][ OE 7 3 | f 29.Track 15 & 16. Head Guitar tablature A 5 7 8 29 Lumehnouse (SlUes Braham & Fert (AB) Sa~N 7 8 5.7 8 S57~~N 140,—~ 7 ie AG Copy © 1902 Ascerberg Hopwood & Crew Lis Lenco We 8B Reproduced by permsscn of tern use Pastore rd. Al gts Reserves“EtAc 14. FV bw neunnatat & Cprappeun (AABA) Al:ce/e/07/| G6/9 | C7 | x“ | Eb7 E? |F7 D7 | GO9E-7 |A7 D7 ‘ (cee o7 |G | Bil D7 #5 | x“ | G69 | “| D7 #5 | D7#5 B7 | E-7 A7 |A7 D7 } 3f 3 6 3 7@] [Ol 4 | | Ho 7 4 | a 1) ® | Hf 3 17@ @ sQ| OG G ending x Dies x x B7 xx x AZ x x x harmonics _x sf y 2nd OunO) oF 2 71@[C sQ]e [OG 4) 6 a OL Te rt t Ist Caopeyt © by Ei MSC PUBL FRANCE 2 Use pean a Ba MUSE PUBL NG POLLAN) BY 7Track 14, Oweet CH nomus Reinhard & Gragyell B: Head (AABA) Guitar tablature 3n Al 5 55 667533 3,, -\ FF mono 4445 55'6N 567345 4 \ fas... 64 5677 8 ome BR. 1212 2, 6 6 10 sos tg WU sy cova Fen s67 78 Copy © ty EM MUSC PUBLISHING FRANCESE HAEK 15, ee ee ere bere Keen pow + One of the mose played standards in the history of jazs. (AABA) alt G-7b5 | C7 | F- | x“ | D-7os | G7 | cevg xy Bl c7 | F7 | Bbmaj7 | x | |Ab7z, | % |G? | 4% | Al G-7o5 | C7 | F | x | | D-75 | G7 icn9 | x x_G7os_ x x_C7 x x Fes x__D-7b5__xaueksx. COhat is Chis Thing Called Love ? eae pone Head (AABA) (Al con tablature WW 9 g 10 Blu 8 1413.11 10 pe 12 8 \ 12 «8 Cory cooper © 120 er oe. usa“ C088 : B 71081078 98 SY ran aet rn ee ‘Sm ret pormasn 0 voile Pees ud aac esene 2AStrack 11 J bree werreeere ‘Django Reinhardt (AABA) AlD-/ / / |E-7s a7 | D- |C-7 F7 | 1.& 3. Bb6/9 = |E-7es A? ||D- |E-705A7 |} —_— ee || D- | x“ | Bil A-7 D7 | x | G7 C7 | 4% | B7 E7 | % |E75 | A7 } D- x a x AZ x x C-7 x x 5a 1) 7F 2. sf @ 3 8f 3)@) | 2 3 (4 Gg aya | FT x x xBb6/9_ x x AT x x x D7 xx ae Sf 1 | ay 4 Bt Jl | #@ 1 5f 3 G7 - 3) 4) T x_E7 xx | + 7 3 Copyright © by El MUSIC PUBLISHING FRANCE 21 Use by poisson of EMI MUSIC PUBLISHING HOLLAND) BY. .Track 1 TInvwrniarn sre Anouman is one of Django Reinhande’s most poignant ballads ancl was revitten a the very end of his lige. The form is AATS A with the melody of che TS scerion lege open to inprow- isation. This song is featured on RNTC. Head - A Section only B section to be improvised Guitar tablature 4111213 ony’ © By EM MUSIC PUBLISHING FRANCE 20 ie emg a Pa ARIE PUBLISH (HOLLAND‘Track 7, / NEGATE ana ay Cole Porter (AABA) Al:E-75/ 1 / | A7 |peg9 =| x E-7b5 | A7 | DE/9 | Z Ab-7b5 | G-7 | F#-7 | Fdim al E78 | AZ |peg =| B} | F6/9 | ~~ | DEY | + F6/9 | |pe9 =| ~% Ab-7b5 | G7 | F#-7 | Fdim E-7b5 | AZ | D6/9 Z ‘ x__E-7bs_ x x AZ x * x D6/9 xAb-7b5_x "Het “9 ia Coat , Lose 1 oH x G7 xx x Fi#-7 x x x Fdim af 3) (4 32 3)4 tt | 3f 1 2 | | 2 1G 1 1 1 x F6/9 Dao C6/9 and | C#6/9 use 8th NG NG and 9th frets “6 3) (4) 108: 3) (4) rTrack 7 Night and ‘Day Cote Porter This version of Django Reinharde’s incerprecation of “Night and Day” has deen loose adapted from his famous March to, 1953 recording date. ‘Django was accompanied by & trio of the hippest young players in Panis at ehe eime anu this recording session was the las 10 ‘Django was to make. Ie marked the end of his brilliant career. Head (AABA) [A] Guitar tablature 10 876 7 7967978 T—-_107 6 5675, 675-4 76 Z ag 7 tomes ST e, a3 xX 2 CCopyngr © 1822 Haw Reproduced by permss 14. farcer#Chappel, London WE SBS ra use Pubiaons Lid ened‘ ferris | a7 | &7 A7~ | Bb- || €-7 | A7 | FH FHae Acir| G#- ler | c7 | B-7 | E7 | &-7 | A7 | E-7 | A7 | D6/9 cee cee |D6/9 B7 | 7 Eb7 |D6/9 coscteo |D6/9 B7 || | De/9 |D6/9 C#7b9| 7 C#7bs| F#6/9 |A7. B7 || B7 |E-7 | C#-7bs FH#7 | |Bb7 | A7 I | F#-75 |B7 | |De/9 cea creo | D6/9 B7 ) (or 069 & CA69 use A at AG 4 aloe 2) 3 3f 8) [| 3) | @ 1 1 l 1 xx x_B-7_x x x E7_ x x x FH 75 a S 1 a@[OGa G 7@ [OG ad 3 146 by EM MUSIC PUBLISHING FRANCE 19. ‘EMI MUSIC PUBLISHING (HOLLAND) 8.Track 10. JVULLOALE FEM CE TEPUSCHLE — epinie rower This song ix featured on RNTO iB. Head ed Guitar tablatur By Suter able +797 4.5 7 710 7779 7 Coaa T7 5456789 101213 notin puts End MSC PUBL! {HOLEAND) 8 v 12(AB) Ac) C-/Eb/ | D-7es G7 | C- ohiciEe | D-7es G7 | | G-7osc79? | Fy | F705 Bb7 I EDsioz> | | A-Tos re” | abe ore’ Por Ab7G7 cre] c- G7 ) Bil:cnar E-7Eb-7| D-7 G7 | Cmajz E-7Eb-7| D-7 G7 | G7 C7 | Fmaj7 ; Ds) | Dbg ‘} csc fac? G7 |c- G7 | C- C/Eb | Db9 G7 | C- nice 000 a7 | C- C/Eb | Db9 G7 | — ° | ) x__C- x_ C-/Eb x a [@ OF Grea 2) | D)] st OS 3t Te DE 3 3 4 G G rl 1 | Q) q 6 3 37@ | OE | 3@ 3 3X4) | - 4 3f A Sf 4 MUSIC PUBLISHING FRANCE EMI MUSIC PUBLISHING (HOLLANO) @ VTrack 6. Leut> (78) ‘Neinhardt & Cprappett Head This song is featured on RNT6 “Ballads” , A] Guitar tablature A ‘i 384 343 A A 3 84 343 7 6 3 55454 8 8 55 4 5 121086 5 8 1013, 5545121 4434 NIL 121086 5 13, 44443 8 10 13. 45 ending 5. 3 2 5 3 2 LSI ITD, 2 chromatic ascending 1 he FMI MUSIC PLP ISHING FRANC ed action of EME MUSIC PUBLISHING (HO) LAND) # 17.SETAC 4 & 5. were gunn prey Coens (AB) also s//) | ~ |Bbe | ~% | | Fe/9 | E7#9 | F6/9 a | D7 f “4 [| “* [| x” | | G7 | “% |Ge7 |c7 \ || Bo | 7% — | Bb-6 } % | | F6e/9 | E7#9 | Fe/9 | x | |areA |p7 zx | A7 | D- | | Bb Bdim | C7 | Feo |F7 ' x Bb-6 x x x FeO x xE7#9 x 1 Od 1 [ |® 8f@) | 1@ ro C7 x 1 3 x C7 x ®Track 4 & 5. JU See You In /VY LIT@AMS Kalu Jones Head Guitar tabla- (A) Guitar tabla 3 0 2 4 4.10 5 wend 25 2 0 2 3 6 107 bend 57 5 a lo Lo lo ho a ho tS 200 0 67 - Coad 4 13412 332 3 1 10. Copyright © 1928.The Gypsy Jazz Songbook Volume 1 Djangology Minor Swing It Don't mean a thing Django's Castle Sweet Georgia Brown Honeysuckle Rose Oh! Lady be good Douce Ambience 9.Nuages 10. Blues For Ike 11. Dark Eyes PNOAMROENS Volume 2 4. Out of nowhere 2. Minor Blues 3. All Of Me 4. September Song 5. Swing 42 6. Daphne 7. Belleville 8. Noto Swing 9. Hungria 10. Latcho Drom Volume 3 1. Bossa Dorardo 2. Number 1 3. For Sephora 4. Troublant Bolero 5. Bolero Blue 6. Caravan 7. Bar Del Pi 8. Luna Tango 9. Erster Tango 10. Mediterranean Blues 11, Summer Time 12. Manha de Carnaval Volume 4 1. lil See You in My Dreams 2. Tears 3. Melodie Au Crepuscule 4, Night and Day 5, Anouman 6. What is This Thing Called Love 7. Sweet Chorus 8. Limehouse Blues 9. Jattendrai 10. Icelandic Folk Song 41. Exactly Like You Volume 5 1. Blue Drag 2. Tea for Two 3. Blues Clair 4. Stompin at Decca 5. Django's Tiger 6. Avalon 7. Sheik 8. Shine 9. Swing Guitars 40. Lulu. Swing 11. Swing 49 12. After You've Gone Volume 6 1.1 Can't Giye You Anything But Love 2. Swing 39 3. Coquette 4. Heavy Artillery 5. Swing De Paris 6. Them There Eyes 7. Sweet Sue 8. Claire de Lune 9. Nuits de St. Germain De Pres 10. Micro 11. Peche a la Mouche 12. Babik1 caratr Manha De Carnaval usm veo [A-7/ 8-6 /| B78 67 [a7 as 7s e7 [a7 AG |[B-7WE7 | €7 Jer | bA7 / AG /|B-705 EZ | A7 AG |B-7o5 E7 ' AT A6 |D-7 G7 | CoO | C#om D-7 | G7 | ceo | Fmaj7 B-7b5 | 7 | A-7 A6 | B-7b5 E7 B AT A6 |B705 E7 | A7 | A7 E-7os | a7 | 0-7 | D-7 D-7 | B-7os E7 | A-7 | Fmai7 B-75 |E7 | A-7 A6 | B-7o5 E7 eet ou||D-7, A-7 |o7 AT [7 ev [ar |o7 AT jor az| or a [eer XAT ABIX x x B-7b5_ x x_E7 x x x_D-7 x Hf ] 7 | i A ( 5f@2) as 7@ | s g se 3) | acael Cd1-Tuet7, Manha De Carnaval rus Bonfo Manha ‘De Carnaval is featured on RNTO Head (AB) Guitar tablature go 5 75 Vay 3 ones nt ot 457 5 LY 101213 on LM" 151312, 101213. 151312, 101213, 151312, 10810 _ 101213 15 1312, 101213. 151312, 101213 101213 VS Copytight © by Belinda, BV; Holand - Used by permission of : Beinda, BV, Holand‘C69 F6/9 i i CD2 - Track 14 815 8 ummertime Gh. Gershwin i rio end out (AB) (x4) | feel x | % 1 ge) | Alfa? AB | “% | x“ Jar ar | | [0-7 G7 | CeO Fe/9 | B-7os | E709 | ' BI) A7 AG | Z | % |A7 G7 | | B-7osE7 | A7 AG | A-7 E7u9 ‘ é +}.Coda ‘ erie ! [:ce/o F6/9 | BesE7 | A7 AG. | A7 7) xA-TA8)x x x D7 x x E7#9 1 G g i 5@[OE st @ a 7 5 lol 6Q 1S Sf 3) @ Copyright © by Warner Chappel Used by permission Wamer Chappel, BV, Holland, .[Sallad slaying The gypsy jars thychm guitar technique for ballad playing is quire efferent from the medina paced swing tunes that characterize the style, Strumming Hand Technique for Ballads. Jn both examples the streanming hand plays one dovn seroke por beat. Keep if even, the volcone con nt and above all, hold the eempo firmly. ‘Don't lee it slow down ! ‘There are two asdio exan ples ¢0 help you on your way before beginning the son Sxample 1 - Track 8. Allors the chord to ring for the whole beat by holding down the chord hand BEATS 1 & 2 & 3 & 4 & Foor / / / steam | / / / down down down down LENGTH long long long long LEFT HAND on on on on Example 2 - Track 9. : Alltors the chord to ting only on the fitse beat of the bar. Keep beats 2, 3 and 4 shove by eeleas: the tension of the chord hand after each strum BEATS 1 & 2 & 5 & 4 & Foor / / / staum | / / / down down down down LENGTH long short short short LEFT HAND on on ° off on off on off 16.MNAYyTAM SLU pets One of the most exciting things about ‘Django’s rhython guitar seyle was his amazing mast cality. By « his famous rhythm eriplees he could inject passion and excitement into t rhychn section stimalating the soloise and raising the dynamic of the muste to a higher (evel Stronming Hand Technique for Gypsy Jazz Rhythm Accents Zhen you bu at a very slow tempo and then play along with che 2'D. Once you gee it down it is a lot 0! nthe ct important thing to remember is to take your come. Des not easy. Sta fan and very impressive. Je cs a classic gypsy device and will enrich your playing onmensel Track 17 & 18. Beats 1 & 2 & 3 & 4 & Tap ror / / ot smu! / of fo 7 / down down up down up down up LENGTH short short short short LEFT HAND on oft on on off on off COhere and TOhen in which a good thythn guitarise can utilize the thychn exiplee fill They a There are many wai a hey element in gypsy jazz accompaniment. Firstly they can be used in the same way as a win. divommer would, by rounding off a chorus and/or bridge section. An example of this is played the first two solo choruses of “IU see you in my dreams” and again in “Night and Day” ondly as you develop the skill comes the flexibility to respond instantly to a gap that a eripl could fill in the music. Tse the triple to enter into dialogue with your soloist, leeting him kne you are there. Jf the energy of the music late the feet. stares to lag throw a fer eriplees into the mix to stime 30.Cypsy (azz fNhythm The basic gypsy jazz thyehn guitar seranming technique is the most important sound music. It defines the style. Take it out of the mix and you are left without thythin or hari Stiwomming Hand Lechnique for the Gypsy Jazz chythn The 2 and 4 beats até the most Onportant part of the thythm to pick up on. These define the putse of the feel Lock in on these beats and slowly build the tempo. Robi recorded two examples of a slow gypsy swing thythm using the 27 chord on the 31 Sxample 1. - Track 2. BEATS 1 & 2 & 3 & 4 & TAP FOOT / / (ie / strum / / / / / / down down up down down up LENGTH short short short short short short CHORD HAND on off on off on off on off Lxample 2. - Track 3. On the fixst beat of the bar lee the chord ring out. _ BEATS 1 & 2 & 3 & 4 & TAP FOOT / / / / STRUM / / / / / / down down up down down up LENGTH long short short short short short TAP FooT on off ‘on off on off ‘on off‘Django Fest North COecst The concept for the ‘DINO was first descr uo "Reinhardt fest val in Samois, France. That year the Robin Nolan Tria haat a break in eheir asreal North American tore schea cap with many friends and insesicians chat they had not seen ov jammed with for several year ‘Avnong those people was a suey by the name of Nick Fly who had become an RAT frvnily meonber x Arsteras uj the mntd 90's. He had since relocated to Seattle and we desctessed together the possibility of Abnerican festival based on all the posi ed ducting the summer of 2000 at the ‘Dy ule and hooks ue chings that Samots stood for. Gupsy ji ayed in the open air ase from the big city in beacaciful peaceful surrountings, the chance for like minded musicians from fur afield to mere he away see againse a back drop of concert cat idea. Dratting the wot ng altogether. Nick Flynn turned the idea into a reality and the rest d cach otha play m exchange idea Aare knowledge and jon the Ashops by internationally recognized bands within the gente. It sou = and ince making it happen is another t in October 2001 in a small conn on the Island of TOhidby noreh of Seactle, TOashingeor est North Test Festival was held. Guy Fifeeen months ome all owe the firse ‘Djang Jazz musicians and fans cam America and Canada to take pare in the concerts, worksho; 1s that were scheduled. New: | —heforein North America had so many people with Macapgerrie style gypsy jax c. Je was a remarkable success and sealed the fate of the festival for y DINW, Whidby Island Cenere for the Ares, USA and jam se uitars congregated in one plac 2s to come Fest ‘The Big Finale. From left to right: Michael Gray, Michael Fraser, Neil Andersson, Robin Nolan, Pau! ‘Meader. Dudly Hil, Kevin Nolan, Shelley Park, Rick Lepponen and Nick Flynn (photo by David Francis) 459(Y2, Y220N/ ‘The DENW Guitar Summit. On both days ofthe festival the RNT held gypsy jazz workshops with upto 25,‘Rhythm Break thyehm break is a musical device that has been used extensively throughout 20th century jaxx. 1 Quintet de Hot Club de France used this technique in many of their recordings. Lwo Bat Break se ofeen ehyehm breaks occuct at the end of a tune before the beginning of a solo. An example sais can be heard on Track 20 “Lule Swing.” This ts a standard 32 bar song. Jt has a not-so svenon break at the end of the first “A section at bar 6, and a very common break at the end of cad at bat 30. After the solos this is repeated on the last head out of the song leaving the val ewo bare open for the soloist to round it off. Another example of this is the classic © neysucWle Rose.” which we featured in the RN Book 2. The sare break occurs at bat 30. Four Bar Break + listen to the 1936 version of “After you've gone.” by the QHCF and you realize at what a jh level these gays were playing at. This is obvious when you heat the ray they power though & hanges, What makes the song go exciting is their brilliant use of the 4 bar break. « testingly enough Django and Stephane use a 4 bar break at che half way point of the song om bars twelve to sixteen and not at the end of the head, which is far more common. This is ce anvesual and is extrernely effective in building the tension and excitement of the solos. (cing this kind of musical device at a high tempo is a challenge for any combo and hovy tight the ris canbe judged by how cleanly the players hit the down beat agcer the 4 bar break. Have fun. Your Friend 1s most important friend you have to help you through 4 long bars of thythmn section silence is sat foot. Keeping the pulse with your foot has never been so important as in a thychm break. You se be your own conductor and the physical movement of the foot is your personal baton. Without ou ate risking screwing up the song every time you go around the changes. As a soloist you ate raely responsible for stating the pulse through the break. Jf you don’t then you can't expect the 1 hon section to come in cleanly. If you are a thython section player then it's better not to rely on soloist. Tleimately it is far better for each member of the ensemble to be responsible for the + vetine audae of the song and the only thing you all have in common is your feet.Minor Intros ese two examples are the most common minot intto progressions found in gypsy jaax and can card on many different recordings throughout the history of the music. wythin Intro in G minor. : vample 1. Track 19. \ G6 =x xG-/Bbx_x xA7b5 x x 07 x 5 1 4 1 1 6f sf Q[@OE Sf 3 G-6 G-/Bb| A-7osD7 |G-6 G-/Bb| D7} = Il cause of it's posteioning on the fret board this intro in G minor is parciculanly useful for a Song 5 “Ging 49.” You can also try t out on Ellington's “Je Don't Mean a Ching if te An That Swing.” This intro is also used on Django's " Minor Blues ” featured in Book 2. hythn Intvo in D minor. xample 2. Track 20. x D-7 x x x C7_x x x Bb7 x x x AT x x ae 6f 3 5f 3 HH H+ 1 oT 1 |. D-7/C7 /|Bo7 A7 |D-7 C7 |Bb7 A7 | ‘tioning on the fret board, chis intro in De minor is a nee again, primarily because of vourite gypsy jazz progression. Je is used with added stops on Dorado Schmitt's classic 2atcho Drom” featured in Book 2, and a variation is used in this book on pages 24 and 25 1 the ‘Django version of the song “Blue Drag.”Stack Beauty” cinharde Festival, Robin Nolan, playing a Shelley Dark, Django ‘Torshalla, Sweden, 2001 th S001 the Robin Nolan Te ieetHttiont for the second successive year at the Django Reinharde Festival i li, Sweden 22 %% 4gpoorer sayossyo—ouny, gdyd-9[[U13 wos wrospolpes vasa cay ‘S9l1U6 sop aurewwios ne snoyeu ::: feo ~“ou/equauWod 3d UN | euns ej snod eBeino> uog “y= sdwa} 2} 3N04 ‘sj anol us ap uawiauBedwioode u e) equow Pou nb juod un B20 e suoNoly “sduley sexReNb TIAN Aer ddYO.1IGD Wavy nanose |. 4ajnoo9 | seououue | suaio}snui | .zduosues | s2nof | saped |'sa1ju6 | oBuelp Tans | afar wospobed ureus a{{u8 suonoueut Burts suonouruI ZzefD- D7 A? A? , D7 ~? 6- 6 G- G&G D- pe Ae, FF? A? A? a E? A? D- B-e- €- € E> E° E- AW w 6) e- 6 Gf @- B- F979 HA Ab A- A- —- E- €7 67 E- & D? » G Gn A- D9 G FL y? y 6 Ge A dD GG