WELCOME TO VOLUME 3 of The Gypsy Jazz Chord Book This series of books is based on the music of Django Reinhardt and the ever expanding style of Gypsy Jazz. All the tunes in this series of books have either been recorded by Django Reinhardt or his extended family and Gypsy Guitarists. To use this book, the user is expected to have some knowledge of chord. work. The chords are the foundation to any kind of music but can still be improvised just like soloing with the use of substitutions and passing chords, adding harmonic twists and turns to an otherwise standard format. Even the subtle change from a minor 7th to a minor 9th and the dominant 7th to a 9th can change the mood of a song. The extensive use of these chords in this book is just a choice of voicing. It is also important to add dynamic changes to rhythm. By playing added accents and off-beats, this can add more direction and depth as well as keeping it interesting to the listener. Django’s accompaniment in this style was phenomenal and played with a complete command that is still unrivalled to this day. IAt the heading of every tune there is a reference to its format of play. E.g. AABA or ABCA etc. This indicates the pattern in which the tune is to be played and then repeated in its entirety for the length of the tune, unless arranged otherwise © The key in which the tune is played. © The type of rhythm, 4/4 or 3/4 or otherwise. This indicates the type of rhythm only, not a timing signature to be counted in. Each chord has a suggested fret position which is placed in the corner of each chord box. For example if you have a C6/9 accompanied with a ‘3’, then the ‘C’ note on the ‘A’ string defines its position and if you have a C6/9 with an ‘8’ then the ‘C’ note on the ‘E’ string will define its position ete. A‘0’ (zero) represents an ‘open’ chord. The same process applies to each and every chord. The use of split chords in this book is as follows: ae velle The diagram above shows an inversion of a Major chord. Because the Bass note is lower than the root it will be listed as a split chord, in this case a ‘G/B’, so location of the fret position can be easily identified. Likewise, if we had an ‘F/A’ it would be the same shape as the diagram above except it would be in the fifth position The chord changes in this book do not necessarily match the original recordings as they have been collected from many sources including some ideas of my own The examples in this book are just one of many ways the chords can be interpreted. Colin Cosimini 2004 Tilmiscellaneous chords wil Moveable Chord Shapes used in this book, any other de documented on the chord charts. MAJOR MINOR: ! t MINOR SEVENTHS ( -7 ) ! 8 ° ° ‘ ° ° ° & b , elle ° ° ° eels ° site . MINOR SIXTHS (-6 ) 14 SIXTHS (6 ) \ Ln . oe : ° . ele Le ee s[lee eile ° ele ° ele Ll SIX NINTHS ( 6/9 ) | LMAJOR SIXTH (M6) | DIMINISHED (°) | HALF DIM (2) A A. . ele elelle ° oe ° SEVENTHS (7) 1 UAW Ley IVMoveable Chord Shapes used in this book, any other miscellaneous chords will de documented on the chord charts. ° ° ° ° Lr L. Li ele ° ° oe ° ee t 7#O J Ll 7b9 } L7#9#5 | Lt 7b9#5 | Ll 7b5 ! l 7b5 ! ° l ° ° le ° eles ° e(te ° i . . ° folee (75) | -75_, ~—__NINTHS(9) cM) 9% 4 + + There are many different inversions of the same t chord. Some chords can have more than one name, lee + so it is important to have an easily understandable and economical system. St + + i $144 Typical Major chord run i st Yypical Major chord run in feliety “tlie the key of G. a rette G6 w Bb % f ; F4LT typical hord run i a : ‘ypical Minor chord run in pee Sete et tLe LT ihe key of G. G6 Ae G@mBb A1 2. 8 26. 27. 28. 29. CONTENTS ALL Or ME AVALON BELLEVILLE BesAME Mucho BiLLet Doux BLack & WHITE CESAR SWING CHEZ JACQUET CHEz Mor CHicaco . Cou Cou . David . DEED I Do . DIKENO SINTO . DINETTE, DjaNcoLocy . DONNA LEE . GROOVIN’ HIGH . I'M CONFESSIN’ . Ir Don’T MEAN A THING . It Hap To BE You 22. 23. 24, 25.1 JAPANESE SANDMAN (Je Suis) SUL Ce Som Just A GIGOLO. »A GITANE LATCHO DROM LULU SWING MA PREMIERE GUITARE MARIE Vil 30. 31. 32. 34 35. 36. 37. 38. 39. 40. Al. 42. 43, 44, 45. 46. 47. 48. 49. 50. 5: Noto Swing Out Or NOWHERE . PLACE PARODI 33. ROMANY WALTZ ROSETTA SERESTA SHINE. SOME OF THESE Days Stompin’ At Decca SwING 42 SWING D’ALSACE SwiNG Des PucEs STORMY WEATHER SYMPHONIE TEARS TENDERLY TIGER RAG To EACH His OWN Topsy TCHAVOLO SWING UNDECIDED . BUSINESS DIRECTORY 52. 53. 54. 55. 56. BUSINESS DIRECTORY Business DIRECTORY BusINEss DIRECTORY BAND DIRECTORY Tue Gypsy Jazz BACKING TRACKSALL O) ss} ME 32 Bars % AT % % Am D7 % % % C# ce Cc AT Bb7 coI9 C#7 Eb7 cH Thave offered a variety of substitutions over this tune. By using different chard voicings you can can push the harmonies around which makes it interesting for the rhythm player By using substitutions continuously, you can train the ear to become more aware of harmonic shifts. This is natural in some Gypsy players, approach t playing tunes. C6 % % AT ce y 6 he B AT cr 8 « 4 om ‘The above passage can be used as an alternative to the first 8 bars 5069) At the end of the second 8 bars, [ have offered a G7+. ‘Alternatively you can use G13/Ab or C#9, Or for a more modern feel you can use the G(b9). ‘All chords are shown on the left.meee tte : KeyofF 4/4 AVALON 32Bars ABC a TW aaeea A F6 fey: % % % F6 F6 % ch A Repeat | Ist Section 5 7 5 5 7 8) D7 ce D7 % G-6 % Bb° % Tce 5 7 7 i c) FOO D7 % | G7 | C7 | F6 % c Eb7 Fo om ed c te oe . ° ° oe ole sole ale seellee ele iv 7 ¥ 5 9 | CB) emg | re7#9 The above chords are an alternative sequence for last four Bars. The chord shapes shown below give a more modern feel. oo CH M9 v7 T T T . . ° . celle slelje colele wlelee . . eeet TTT i iit tii fii th tte ee KeyofD 4/4 BELLEVILLE 32Bars AABA Dey E-9 D6/9 Eo r Ded | Go D6/9 Dey a %, Cc AT Cc AT A Bb° AT Eb7#9 é 5 D6/9 Repeat | Ist 6 |Barsof ‘A’'| Section Ee D6/9 AT 3] q 3 3 z a r Ab-7 F#6/9 cH AT Repeat Ist ‘s’ Section Ritary Gaguenetti at The International Gypsy Guitar Festival 2003. Photo taken by Brett Lewis © 2003.Key ofDm 4/4 BESAME MUCHO 56 Bars AABA ian 7 3] = je a iw ce Gm Bs | % | Gm} % By D-7 | D-9 Ae ce a 5] 3] 3] I= 4 F > > ir 7] Dm E7 AT 6 D9 | D7b9 | Gm % Bh Bb13 G Aq L 4 ‘ 4 ‘ = 7 ry = Ks ry WW ™ BS % G-9 % “by, D7 | D-9 ae ce A 12 10] 10) T0|F 7 id 7 5] Dm 7 Af |D7#5b9| G-7 G-9 Dm % Bf AT 1 5 a 3] 2] als 3 5] 7| 5] Dm 8) Gm BS C#° a Gm Dm E7 AT [Repeat 1st 12 | Bars of | either ‘A Section. if F ig a F Dm Bb7 SUE ESOS EEE eee | Dm | A7+ BS AT L 2 | Gm, os ro me ce an sas sas » +» BESAME MUCHO ° ° e ° se e se e ce oe e i. This tune often varies rhythmically from 4/4 swing, through to Latin Ua 5 ply 2 Bets on cach cord ie As DI#SbY G7 oo See x x x x x « x The above version offers 3 7 a full example of wlele wele A,A,B,A, but it is also played as A,A,B. ele coe vlele wlelee ¢ Burs (12 ofthe 2nd Seton 4KeyofG 4/4 BILLET DOUX 32 Bars ce | % | AT az | p7 | Ge | % D7 Ey | p | a7 | % | a7 | % CHT 7 G r AG : th D7 ; 4 Ge |% DL | ad B7 | 59 Bb° Ab® A C7 A oo cos | c# | Go| | ar ce | % & vel fe os 8 . cele FMS —_c | Use the thumb for the root note Django recorded two versions of this tune, the first in 1938 which was in the form of a ballad. His second recording was in 1947 and this was played as a gentle swing. The chords laid out above follow the swing rendition and this version can be heard on the Frémeaux and Associés Integrale Django Reinhardt 14 CD above. The D diminished in Bar 10 is a substitution for the E7 which brings the chord sequence closer to the melody.Key of C 4a BLACK AND WHITE 40 Bars - 4 5 : EL | gm | Gm} wm | PLL g@ | PB | w B Bb A Ab : ; + : Cc vA S| % | av | % | ec ow) AT | % > fom. ; + Dm AT Dm % B7 % Em G7 EZ | , | Gm : Fm |. eR | Cc %o D7 % D-9 G7 Co/9 % ay Se. 2 be & x r 1 x 1 2 : ¢ : te rele se selte os cee * * Black and White Django only recorded this tune once in 1938, You can also find a recording by Lulu Weiss and Fapy Lafertin. This tune is a great example in the use of triad chords. Photo by Victoria Cosimini © 2004 Paris. 6 4—aaossnneeee cases tianine enema KeyofDm 4/4 CESAR SWING 56 Bars AABA 7 5 7 5 4 Be | % | CH | % DL | gy | Sm | % A Bb A a T 5 4 c7 | % | F9 | % | Do | % | CH | % L 7 7 7 5 5 ¥ 4 Bo | % | ce | % | pv | c | cm |S A q 2] 5 a 2 cH % BS % pe: | c# | BS % - 5| 6 7 6) q 8 % os % | ET | % | Boo | C# - 7 7 7 : Be | % | ce | % % on % a 4 7] 3] 2 5 ry 2] 3 c# | Eo | BS py | c# | Bs | Avs oD Gn Sad ATt i rT oe ° selel|le ce celle oe ° The A7+ chord can be used for the dramatic introduction to this powerful traditional composition. This amazing composition can be heard on Moreno’s “Yochka’ CD. ‘The rhythm section on this track is awesome and is indicative of the correct way Manouche rhythm should be played. The ferocity and speed which the rhythm is played is an art form in itself, Moreno’s rhythm accents over the top of the solid backing gives the final trademark on how gypsy accompaniment should be played.CD, Raphael Fays and many others too. KeyofD 3/4 CHEZ JACQUET AABLA po | pbs | p69 | Db | P= | Re | AT | 3 2] 7 7S ct a EZ 4 FHT | % | Bm | % | ET | => Jar ul az 3] a] se zy 2] 0] FH 4 D6/9 | Db6/9 | D6/9 |r 7) B7 a Em | F#° “Is Go | Ab? | DOO | BT | ET | AT [D5 re0 7 7 : 7 7 7 , EL) ev | ae | po | % | wy | as | % 7 5 7 7 FH7 | % | Bm | % | Ab7 | % | C#m] % q a | 46 | Bbe ee E7 | A6 | % oe % | A6 | Bb? a E7 | Ao | A7 2 TM) osm CHEZ JACQUET vite ‘This wonderful waltz was written by Django. Although he never recorded it, this tune has passed through Gypsy tradition and great versions can be heard by Matelo Ferret, Angelo Debarre on his Gypsy GuitarsKeyofD 4/4 CHEZ MOI 32.Bars ABAC al pmo | % | ca7 | % | cmMo| % % o| E7 | A13 | Da7 | £13 | E9 oA po | A 3 5 : ; a| DAT To C#7 %o CA7 % B7 %o Al3 | DA7 | E13 E9 a“ ‘A13 CHEZ MOI ° ° ° This tune was recorded by Django with a big band in the 1950s. oe ° You may recognise this tune if you have seen the film “Django’s Legacy’ ; ‘The scene at the campsite in Holland has Stochelo Rosenberg playing this tune with Fapy Lafertin ‘This beautiful melody works at most tempos. Thave varied the two ‘A’ sections by using a DM9 in the 5th position in the Ist ‘A’ section and changing the voicing to a Da7 in the 10th position in the 2nd ‘A’ section. It is always good practice to leam chord sequences in two different positions as it gives you a wider rays for soloing. Django’s last home at Samois Sur Seine Era EEEEeeEr eee 9Key of F 4/4 CHICAGO 32Bars AABC 7 5 3 T 7 F6 % C7 % C7 % F6 C7 i 3 i F ¥6 G6 F6 % G7 % C7 % FH c7 7 5 3 § F6 % C7 % AT % Dm F7 7 7 T a 5 7 Bb B° F6 D7 G7 C7 F6 % Angelo Debarre and Mano Drey at Samois 2004. Photo by Brett Lewis © 2004. This popular tune of the time was only recorded once by The Quintette of the Hotclub of France in 1937. 10Tena KeyofG 4/4 COU-COU 32Bars AABA ae 7 Teo /) avr A| G6 % Em % Am Eb9 DT 3 a 3 sf > 3 Go a| G6 % Em % Am D7 G6 y ap > 3] is 7 = co Z| cs Zs D7 D7 B C#7#9 bor} AT % BOY CHT D7+ A A A fi : coo /| a7 A| G6 % Em % Am D7 Eb9 D7 or creo 8 ° slele . can Die ‘Tehvolo Schmitt. Photo kindly donated by Did & Co. Django recorded this tune in 1940 and it is one of the few recordings that included a vocalist. Fapy Lafertin chose to record it in the same way. It has also been recorded as just an instrumental by Tchavolo Schmitt, Moreno and others too. ‘The split bar in the last bar of the ‘A’ sections shows an Ab7. This is a substitution for the D7 and this format of play is often employed in gypsy chord structures, aKeyofGm 4/4 DAVID 32B8ars AABB 3] 6] 3] 3] ‘Sy Gd “7 we Gm 16 Ao A Gi i. m % Gm D7 7 “Bo tn an 5 7 3 ¥ 7 a Gn 4 + , A) Gm % ah Gm Cc G-9 r Bb 7 T 3 7 5 7 5 i 8) C-7 F9 | Bb6/9 | Eb6/9 | A-11 | Ab7b5} DS B° iT 3 zl G 3 3 3 ai Cm 5) Sm | FA | Bhs | Ebad| Atl | D7 | Gm | Eb° Gp By 3 ee . . DAVID se celle $ This is a traditional Jewish tune. The chord grids below are all the shapes for the ’B’ Section used passing, harmony and substitution chords. The two chords shown above are Play 4 Beats to each chord. the split chords for the ‘A’ Section. cot P Boe B69 alt AuTes ve Be ce oe . . el]. oe . ellelellee selel{lslelelile | sfeles| [eels selee ° elel(lelel | cn cn 2 Fe BbM7 EbM9 Add DT Gm Ebe < a) f 3 [Ts >) (Tbs . Ne sfe celllelelelle sfele se ° ele iy e[fesfoe ° ele ° 12 7gatas ———————L——_———_—— a, KeyofG 4/4 DEED IDO 32Bars AABA FT 3] 3 ay F > = @ A6 G69 AG a| G6/9 | G7 | C6/9 | C-6 |B E7 DT Bb? D7 3 3] 3] 3 7 is 7 i s is y G AG G69 a| G69 | G7 | C6/9 | C-6 | % G6/9 Bb? cas 7 z 3 5 5 B| C6/9 % Eb° % AT 7 7 7 ar KF F F G& A6 Ge AG A| G6/9 C6/9 | C-6 B 7 v7 Bb® D7 G6" 7 DEED IDO This is one of a few jazz standards that was never recorded by Django but has found its way into the gypsy repertoire. Known recordings have been made by Patrick Saussois, and if you are lucky enough to own the rare film footage of Dorado Schmitt and his family, you will find him performing this tune with his sister Nouna Schmitt. She is singing this tune as an up-tempo swing tune but with a hint of bop as a joint vocal and solo guitar intro. Whilst this tune is not on the ‘Gypsy Reunion’ CD, it is well worth obtaining as it highlights Nouna’s exceptional vocal talents. As well as being an outstanding guitarist, Dorado is one of my personal favourite violinists. 13KeyotAm 4/4 DIKENO SINTO 32Bars ABAB 5] 2] 3 a A} Am % BS % G7 % % 7 7 5 7F F7 8) CH | % | BS | % cee rere Cc B 7 5 a j 5 : Bs a| Am % BS ai G7 % coo 3] 2| 7 3] 7] 5] 7 F7 E7 B} F6/9 %o BS % “Ee 4 Am E7 Be a 7 a . The two split seventh chords opposite could also be named as a zlelel| celle elle minor 6th or a diminished dependant sé on which context they are to be used. EEG Moreno Chui DIKENO SINTO This composition was written by Moreno and can be heard on his CD "Yochka’ shown opposite, This is one of those fiery gypsy tunes that sounds naturally familiar when heard for the first time.Key of Ab 4/4 DINETTE 32Bars AABA 7 7 a c Fano Fava Ab6 | C#7b5| Ab6 —< | Bb-7 |Eb7b9 B a ‘Bb79 it $ Repeat | Ist 6 Section Ab6 ae 7 5 7 z o 7 o 3 ‘ Fm i ea Bb7 Fm Bb7 | Bb-7 | Eb7b9 7 4 a r Ane //| Bb-7 Bb-7 | Eb7b9 ae ‘Bb7bs| Fn ae cans cans | t HI 1 ° ° sles sfefel| cele ie * ele “le £ ‘ z DINETTE This tune was recorded three times by Django and is very reminiscent of Dinah. On the example above, I have chosen to use the C#7b5 on the 2nd Bar of the ‘A’ section, but you can also try a C#6/9 or C#9 all on the 4th fret. ‘All these chords work well, its just a choice of voicing ees — Nouw’sche Rosenberg at the Gypsy camp, Samois 200:} Photo by Brett Lewis © 2003. 15KeyofG 4/4 DJANGOLOGY 28 Bars AABA 5 z 7 7 5 ap C G6 Al Al3 Cc — Bb° A-7 D7 G6 B E7 : Repeat | Ist 6 | Bars of |*A° Section Gs 7 |" Abs *P a6 7 8 Ab6 A6 Eb7 ET a rr woh rH TTF ce & AT A| A9 | Ab7#9| G6/9 Ab7#9 | Fe Bb° v7 DJANGOLOGY Ihave chosen to use the A13 as the first chord, but you can also use the A/C# which is shown below. vellje Francois Charle in his workshop in Paris. Photo by Victoria Cosimini © 2003. 16 ‘Key ofAb 4/4 DONNA LEE 32Bars ABAC 7 5 G a oF Eb7 Eb-7 A| Ab6/9 | F7 Bb7 % Bb-7 Ab6o/9 Eb7+ Ab7 7 5 5 7 : o i 8] C#6/9 | FHT C-7 B-7 Bb7 % Bb-7 | Eb7 4 7 7 7 7 3 7 A) Ab6/9 | F7 Bb7 % G6 C7 F-7 C7 5 a a F 7 C7 Bb-7 c| F-7 C7 F-7 B° Ab6/9 | % Fo Eb9 Boulou Ferré Photo by Victoria Cosimini © 2003. 17 DONNA LEE This is a very sophisticated Be-Bop tune Boulou Ferré, pictured on the left, is completely at home playing this style ol jazz. Other Gypsy players who also lean towards this style are Kussi Weiss and Serge Krief, but it can also be heard amongst the mainstream Gypsy players These Be-Bop tunes, though demandin, are great technique builders and offer a different dimension to solo playingKey ofEb 4/4 GROOVIN’ HIGH 32Bars ABAC 7 ¥ 3 o = y A| EbA9 %o A-7 % G-7 co 3] 3] 9 a oo 8) py | % FHT ee 3 he Repeat | Ist ‘A’ | Section c| F7 | % Bb7 Chords shown below for intro a7 Bb13 FT |e Bb? c7 Also pick these eight bars at the end of the lead from Bar 28 extending the head to 36 bars os oe . . ze ° fe e ° * This Be-Bop tune was written by Dizzy Gillespie. Although Django never recorded it, it has been by some of the more modern Gypsy players such as Stochelo Rosenberg and Kussi Weiss, ‘These Be-Bop tunes are often played at very fast pace with extremely demanding heads and takes a very skilled player to get round these at tempo. Although these tunes come from the modern, side of jazz, they have become popular with the Gypsy players. Gypsy Jazz/ Be- Bop player Wawau Adler 18eee I’M CONFESSIN’ KeyofG 4/4 (THAT I LOVE YOU) 32Bars AABA a F F Bell cr Ga7 / | AT A A-7 £7 D7 Abe D7b9 A | Repeat 1st 6 |Bars of ‘A’| Section i h i i Tor r 3 Kf F D7 ca7 car /d D7 AT B G7 ov] AT % G7 M6 7 D7b9 |Z Br? 1 3 7 fF F r fr fF B-7 A7 ree GM9 Am A| G6 F#7 G6 7 co D7 EB D7b9 B ‘ a : ct Bal TTT] T1151 ‘This is a more modern interpretation of a great jazz standard. The interesting voicings, like the ones I have offered above, can change the mood of a tune. You can ob tf hear similar changes like this on the record shown, oe below by the great Gypsy guitarist Tchan Tchou. pro "7 * x» 02 9 © T ° ele] ele slele ° 06 Per 7 1 $2 . e[fe Try the G6 and F#7 shapes above for the first two bars of the last ’A’ section as an alternative voicing. The availability of this record is unknown. 19KeyofGm 4/4 IT DON’T MEAN A THING — 32Bars AABA F F ig F 7 ae Gm G7 Eb7 G7 Bboy A C7 F7 GA G6 D7 cH Bb6 D7 3 4 4 4 6 | Repeat | Ist 6 | Bars of i “| Bbo/9 6 7 6 3 : 5] 8| Bb7 | E7#9 | Eb69| % | C7 | % Cy; D7 Repeat. Ast ‘Ay Section eH Gm os 67 66 ‘This descending chord sequence 1 7 shown opposite is often a6 t incorporated into tunes where two bars or more of the same . se] [eee minor chord is used, providing $ the melody hints at that direction of play. Ibis easier to hold the bass root note down with the thumb for 1s¢2 Bars of A Seton, Pay two bal a each chord L_12 Bars of 8 Seaton, Ply wo bene w eset cht J the Gm and G-a. a Bor m4 TTT) selele sie ° . ° ° ‘Try substituting the G7 and Bb7 standard chord shape for ones shown above as they offer a very strong voicing and authoritive sound. Photo by Victoria Cosimini © 2004. 20KeyofG 4/4 IT HAD TO BE YOU 32 Bars ABAC 7 7 F F s AT AT G6 % E7 % AT % 3° fF 3 7H c AT D7+ BT 10) : 5] Gad % AT % 7 a7 i i G6 c| C6 C-6 G6 D7 Em Fr os an ooo nea x te tee ° . ° lee 2efle se selfe ° The passing chords and substitutions shown above are optional. Django used these types of passing chords and substitutions extensively when accompanying. Gypsy player Yorgui Loeffler, ‘opposite, has a wealth of chord knowledge and uses them to their full extent, creating great excitement when he is backing another player.KeyofF 4/4. JAPANESE SANDMAN 32 Bars 5) 5 5 7 pene F6 % D7 % G7 C7 F6 c7 3] 5] 7 7 eee AGID Goo F6 % AG % B-7 E7 b7 | C7 8] 6 6 Ir 7 a gE G6 E7 % Bb6 % Bb-6 % A Ab? c7 T 5 Is E 7 4 Ey C6 F6 % D % a F6 % Ab? CT e ro xa ; * JAPANESE SANDMAN . te . t Django recorded this tune three times. ‘There's a great version by Angelo Debarre on his, selle cele ‘Gypsy Guitars’ CD. My good friend Shingo Hirata (left) & Kazuma Yamashita. 22KeyofC 4/4 (JE SUIS) SEUL CE SOIR 32 Bars a 7 a 3 C6 4 Co % B7 % C6 fre) AT % coe E7 D-7 BS | G7 | CHO | % B7 | FH Eb-7 G7 7 7 a 3 * + C69 | % Ep? | C09 | % ple Aq ; : ;j +} BS | cer * C619 D7 Fo | Em | C69 | A7 D-9 G7 cH CHT me ce (JE SUIS) SEUL CE SOIR Bars 19 and 20 would normally be occupied by a straight B7. I have added a substitution of Eb° in Bar 20 but you could also try an F#° on the 9th fret You can find recordings of this tune outside of Django’s rendition by Moreno, Fapy Lafertin and Bireli Lagrene as well as others. Photo by Victoria Cosimini © 2003. 23KeyofD 4/4 UST A GIGOLO 16 Bars 5 aF r r F F F D Em Em Em AT Doo D6/9 | CHT |r Em| “D Fe AT Bb ci ce AT+ : 5 ‘ 4| 4 s 3 3° af f fF i BT 66 69 E9 6/9 D7 Cc ‘a ‘ots c cr Eb? By pe | D Em & “TH F Fm “n 7 cw oo xx x0 xe ° ree xe nx x 7 sel[e 3 ; + zé[e $ 7 . stele of 6 ole JUST A GIGOLO Pictured left is the great Manouche guitarist, Matcho Winterstein. Photo by Victoria Cosimini © 2004. 24 |eer tts TT TT eT ttt toto tote tote tottttTT Key of Dm 3/4 LA GITANE — AABACA (Format may vary) 7 i 7 i 5 7 3 r| BY | Fe | BS | FO | BY | F6 | G6 % v a i i 7 7 i AL AT 10 ° AT “a | Bp | AT % C# Bg | Bb’ A G 3 5 7 7 z Dm | PX | Bo | % c: | Eb? |BbM6| % 7 7 F aE L| ep | % | Be | % | De | CH ns Go fos as 7 5 i ; ce | % | Bs | % | cH | % | BS % 3 2 F ZR Eb | % | BS | % bp % Now Le" lew B 7 7 7 > ce | % | Ba | % | ce | &@ | BH | % 7 7 z aE ep | % | Be | % | p° | CH Jou Gola a F 7 T > po | % | % % | re7 | F-7 | BT | % 7 3 7 ¥ 7 i z E7 | a7 | E7 | a7 | ET | FP | P| % c F i 5 7 7 z pos | % | % |nwci| B7 | FH | Em | FH z 7 F ; 7 z F Go | Av? | po | B7 | E7 | AT | DEY] % See page opposite for split chords. 25al a Bs F6 AT oH “Bb ae * ep oe fe 2lele . allele ele ele] e[lele ° ele ‘lt [Chord shapes forBars1&2) | Chords shapes for Bars 9 to 12. i The above chords are a variation on the A7 but incorporating, bm a descending bassline. Dm ae et wa . e . ee sle Chord shapes for Bars 17 &18 of the ‘A’ Section. Below is a basic chord chart for the You can see on the main page opposite just how many different variations and chord substitutions can be worked into a basic chord chart such as shown below. LA GITANE Section only. 7 Dm % % % % % G-6 % 5 5 AT % % % % % Dm AT 3 ‘ Dm %o To % D7 % Gm % 3 a 3 3 Eb7 Go Dm %o Bb7 AT Dm % | |KeyofD 4/4 LATCHO DROM AABA Pee 2] q BO % % % % % c# % AT AL AL AT AT AL AL G /AL AL AZ b, a eee ee eee BS % % % Cc % | G13| % 7 7 3 a 7 Eb6/9 | % BO % D° BS % 5 3 7 a 7 [ c7 | % | Fo9 | % | AT Bh | % 7 3] a 5 4] | c7 % | F6/9 | % % | CH | % a7 cH “Bb AT e - 2 ele ele ele ie ele eje ele “Le AL AL aL AL . 7 AT ce Bb Al . ‘The chord shapes above are for Bars 9 to 16 of the ‘A’ Section. ‘The whole chord sequence can be played by just using an A7, but the shapes above offer A7 with a moving bassline adding a Gypsy touch. 26A KeyofD 4/4 LULU SWING 32Bars AABA 5 7] 7 Fi 3 7 D6/9 % E7 % E-9 Ab. D6/9 AL Bb Bb 5 zl a 7 7 5 5 D6/9 To D° F° E-9 eee D6/9 D7 7 7 5 7] 4 3 G6 Gm D6 %o E7 % Eb7 AT 3 7 7] 4 3 D6/9 % E7 % E-9 aS D6/9 % AMS celle LULU SWING This tune was written by Lulu Reinhardt and has become a very popular tune among young Gypsy players. The split chord shown above is a substitution for an A7. You could also try an Eb? on the 6th fret.Key ofAm 4/4 MA PREMIERE GUITARE — 32Bars_ AABA 3 7 7 F F F Am 4 A % % BY E7 %o Fe E7 1 ws f 3 ‘ Repeat | ist 6 | Bars of |‘A’ Section / a 3 7 7 7 pl AZ % % BY B7 % % pe am Repeat | Ist 6 | Bars of |*A’ Section ar B Try using the inversions shown above for the 7th shape as they give a much stronger sound than a standard Barre chord Ma Premiere Guitare The format of this tune may vary, including an extended interlude after the ‘B’ Section. This can be heard on Moreno’s CD with Angelo Debarre. This composition was co-written by Sacha Distel. 28St Key of Bb 4/4 MARIE 32 Bars ”| a] 3] F6 i A| Bb6 To To % ~¢ % % | 5 7 7 7 7 —y "| G7 % F#7#9 | F6/9 | % C-7 | B7H#9 ‘ Repeat | Ist ‘A’ | Section 7| a 3 7 ¥ y FAT#O 8) G-7 % C7 | FH7#9 | F6/9 % C-7 7 1 | 6 oc FATA) 8749 a es — 7 Django recorded this tune in 1949. ce . , You can find a great version of this on the ee ofate Intégrale Django Reinhardt series Vol 17 shown below.32Bars AABA Key ofAm 4/4 NOTO SWING 3 7 7] TF r E7 ‘ Ls Am % Bb6 % a E7 Am] B B c ET ° 1 _ Repeat Ist 6 Bars of |*A’ Section Am % 7 ¥ 7 7 B| G7 % C6 % F7 % E7 % A Repeat Ist A“ Section as sas NOTO SWING ° . a relle te This is a modern Gypsy composition written by Lulu Reinhardt which has firmly become an : established tune in the Gypsy repertoire. Two young Gypsy guitarists on the Iles De Berceau, Samois 2004. 30KeyofG 4/4 OUT OF NOWHERE 32 Bars 3] 4G] a 7] Peel EZ 7 G6 % Eb7 % G6 % “3 E7 3 7] 7 a ir fF E7 D7 Bb6 Am oe Am % Eb7 To = by ~ 7 7 Fe 7 7 : c ce Eb7 % c oe E7 % 5] 7] 5 ar oe FE fF is G AT G6 AT A-6 E7 Am C6 8 e Bb? D7 0 D7b9 % OUT OF NOWHERE The tune was recorded twice by Django. show a more traditional version. It often gets played with a more modem jazz feel but I have chosen to 31Key of Gm 4/4 PLACE PARODI 32Bars AABA 7 7 3 5 3] Head Only D7 STOP a| Gm % Cm %o ed D7 Gm 5 A D7 3 3 s 7G. 5 A) Gm % Cm % a D7 Gm A D7 Fl 7 G 7 7 zy 3 3 sp! F7 | Bb6/9| Eb7 | Ab6/9| C#7 | F#6/9 | Bb° D7 3 3 5] Si IE Gn DL sl om | % | cm | % | PX | pz wy A Bb? D7 » PLACE PARODI “aK Fre Same T This composition was written by Moreno and ¢ } can be heard on his CD ,’Yochka’ se|le zelelle The F7+ chord shown opposite can be used for an Intro ascending in tones. Moreno with Matcho Winterstein and George Trebar 32KeyofAm 3/4 ROMANY WALTZ AABBACA (Gypsy Waltz) Am | A-7 | Ab7+| % | Am Am E7 | % + 4 7 5 7 5 , E7 | F° | £7 | % | D° | F° | Am | £7 A 3 3 a 4 7 2 Am | A-7 | Ab7+|] % cH | E° BS % 3 5 : 5 7 7 F6 | % | Am ee F7 | E7 | Am | % 7 a 7 7 5 5 5 7 D-6 | G7 | co | ce | D9 | G7 | Caa| cH 8 3 3 3] 7] Fo9 | % | Am | % | C2 | % | ET | % Repeat Ist 12 Bars of ‘B’ Section. For 2nd ‘B’ Section a EV Am id 5 5 3 7 D69 | % % | % | FHT | Fo | ET | % F#7 | c# | Bm | Bo | D° | % | c# | % c 5 2 3/4 poo | % | % | % | BT | ce | CH] % G6 | Ab? | D6 | B7 | E7 | A7 | DE | % This Waltz was recorded by Rafael Fays and also can be heard on my own CD, Janine. 33MerenT tt) el tot ot dt ttt tte tet ttt KeyofF 4/4 ROSETTA 32Bars AABA 3 7 3 5 7 3 T A| F6 E7 Eb7 D7 G7 C7 F6 C7 i Repeat ‘Ist 6 |Bars of ‘A’| Section Al $$$ _—_——__—$| F6 E7 5 E7 TF Am Am cro 3] 3 3 C6/9 | G7 Colo C7 E7 Eb’ D7 G7 C7 F6 %o 34 ROSETTA This tune was recorded three times by Django in 1935, 1940 and 1949, In descending chord sequences, it is important to keep the bass notes of the chords strong to emphasise the direction of play. The photo opposite is Gypsy violinist, Monique.KeyofEm 3/4 SERESTA. 32Bars ABAB F 7] 7] 7] A-7 B7 E-7 % E7 % Am % 3 5 3 3 zy A-7 D7 GAT | CA7 | F#7 % B7 Yo Repeat Ist ‘a’ | Section 3 3 7 Fy 7 7 A-7 D7 | GA7 | Ca7 | C7 B7 Em % The grid below shows another example of chord voicings using substitutions. 3 7 7 7 = 7 A-7 | Eb? | E-9 | CHO D° E7 C6 Am 8 9 10) 8] 9 7 3 C6 F# | GM9 | CA7 | FH#7 E° B7 %o 3 o 7] 4 s fa C6 FR E-9 cH D E7 C6 % Fy 7 7 5 3 7 A-7 Eb° GA CAT C7 B7 Em % SERESTA This beautiful waltz has been recorded by The Rosenberg Trio on their CD ‘Seresta’ (HCR). ‘The melody to this tune is well spaced and the chord progression in the ’B’ section hints, towards ‘Autumn Leaves’. 35Pe eee tat KeyofC 4/4 SHINE 32 Bars 3] Ww ¥ 70 C6 % G7 % C6 % G7 % E7 % Am % D7 %o G7 G7+ Co % G7 % E7 Jo Am C7 F6 F# Co AT D7 G7 C6 %o ‘This tune was only recorded once by Django with vocalist Freddie Taylor. The picture above is a scene from La Chope De Puces bar in Paris. 36Sarre KeyofF 4/4 SOME OF THESE DAYS 32 Bars Wy 2] q 77 ce | % | Be | % | ce | @ | BA | % 5 5 5 b7 | % | G7 | % % | Be | C7 | % 3 : 5 5 r7 | % | Bho | % | D7 | % | Gm | % Bo | Bo | F6 | D7 | G7 | C7 | Fo | % This wonderful tune was only recorded once by Django. A great version has also been recorded by Raphael Fays. On the Ist eight Bars, the C#® isa substitution for an A7 and the B#fis a substitution for a Dm Mito Loeffler jammimg at Samois. aeKeyofG 4/4 STOMPIN’ AT DECCA 32Bars AABA 3 7 iF F F A-7 G6 A-7 G6 % Eb7 % G6 D7 4 Bb° D9 5 7 af 7 7 4 A-T G6 % Eb7 % G6 G6 % D7b9 7 7| 3] = = ie AG AG B7 % % AT % ‘Ab? D7 Repeat Ist Section = a a a ath STOMPIN’ AT DECCA Use the inversion opposite for the B7 and the A7. ‘ This is often an inversion chosen by Gypsy guitarists for a 7th because oe its authoritive sound. Django recorded this tune once in 1938 with The Hotclub of France. Angelo & Doudou stompin’ away at Samois. 3844 SWING 42 32Bars AABA 5 F F F D9 C69 D9 Bb7 D9 cory G13 ‘GAZ “Ab EDS GB AT “Ab Eb9 “ 4 “ 3 : 4 ‘ 3 Repeat | 1st 6 [Bars of ‘A’| Section ee) poe F F i 5 Kor FH9 E6/9 FHO E69 G13 | u ‘i Bis E6/9 é CHT Cc) Acer CHT Ah ’ fi , , ‘ Repeat Ist w Section This bouncy composition by Django Reinhardt is played : 1 around the ‘rhythm changes’. The format of these changes . can vary quite widely. \ tT estfe Therefore the choice of substitutions are that great, that they r can be arranged to fit the melodies quite easily. 50 ol : © | In the fifth bar of the ‘A’ section, the Bb7 can be substituted for a G-6 on the third fret. Try this on the second time round to mix up the voicings. SWING 42 39SINNER MINIT att KeyofC 4/4 SWING D’ ALSACE 32Bars ABAB 5 7 5 5 al Cc % | Ab7 | % c % | AT | % 3 7 4 7 5 7 3 i : G13 7 7 e| Ac [C#H9| D-9 | Le | C69 | Eb? | D-9 | C#7#9 5 7 5 5 Al C6/9 % Ab7 % Co/9 To AT % 3 a 3 7 5 3 3 yl B) A° | C#7#9) D-9 en C6/9 G7 C6/9 | G7+ one 3B a 7 7 Bees tee Pe x This is a Moreno ° 7 seyelelselele composition and can be found on his 'Yochka’ CD. The chord sequence is 7 q $ t reminiscent of Bye Bye Blues. Photo by Victoria Cosimini © 2003. 40KeyofG 4/4 SWING DES PUCES 32Bars ABCD 3 7 ~~ A| G6 % % % ea Bb° A-6 D7 “aj 2] a 3 9 "BT % cH % A7 % Eb° D7 3 w a o| G6 % Go/9 % F° D° Cc6/9 % | 3] 8g 7 5 3 5 »| C6 C-6 oe E7 AT D7 G6 D7 Alternative ‘B’ section 7 3 a 7] B7 Cc CH | E-9 E° C#p | Eb° D7 % os ( . cele This is a traditional tune. The inspiration for the tune title no doubt came from La Chope Des Puces Restaurant at the fleamarket in Paris, pictured. above, where many gypsy players can be found playing at the weekends, 41se a ee Key ofAb 4/4 STORMY WEATHER 34Bars AABA : F F Fr ir F F F F Ab6 Bb-7 / | ave 7 Ab6 Bo-7 /| ave 4) Bb-7 A B Be Eb? Eb7b9| AD Eb? Eb7b9| AD {Eb7H9| \/Z€® « d/ Ce ( IF f if q i i we Abs / | Bb-7 / | Ava Bb-7 “| abd _/4| Bb-7 Bb-7 07 ° AbA Eb? pg | ad ab} /AD Eb? ae i ‘ l/s lf 8 ( 4 ph-7 /| ava /s 7 Eb9 |Z avar z i i iF ro i i 3 Apsi9/ | CH cH -6 Ab6 Bb-7 Bl Ay, “Ab Ab6/9 | ~v pb AbT D° pb ¥7 a” ‘Eb7b9} : | ; | 4 3 4 A Repeat Ast ‘Ay Section | ab eb eng ce Abd. ict “Bb “Bb “ Jeet Teetal atte ti Tatal (ita x ° ° + ele 1 ° celleljeelle see elleelle ° : STORMY WEATHER This beautiful ballad was recorded twice by Django in 1949 and again a year later in 1950. The 2nd ‘A’ section has an extention of an extra 2 Bars to take it into the middle eight. __———_ Babik Reinhardt was a great composer of slow ballads Photo by Colin Cosimini © 1997. 42Key ofAb 4/4 SYMPHONIE 36 Bars = AABA 7 4 4 7 ‘Tap Pb 7 | "| Ab6 | % | Bb-6 | Eb7 | Bb-6 | Eb7 |“ ie ; 7 A Repeat Ist 6 Bars of Section Ab6 % , 7 3] 3] 7 | E7 % AG % D7 % | G6 % | 8 4 3 7 aj | EbZ | pp7 | 7 | £b7 9] Bb | 5 a 6 ng Ie ir Ie A Bb-6 Bb-6 Ab6 Bb-6 Ab6 | % | Bb-6 | Eb7 Ae Eb7 Ae Eb7 Pt SYMPHONIE ‘This tune was recorded once in its entirety by Django in 1947. He recorded it again in 1948 but in a shortened version and at a tremendous tempo, tagging it to the end of the ballad ‘To Each His Own’, A selection of postcards at Francois Charle shop in Paris. Photo by Victoria Cosimini © 2004. 43Key ofCm 4/4 TEARS 40 Bars AABB F i F i 7 7 7 C6 D-7b5 C6 D-7b5, Cm cm c# B° cm Eb G7 wD G7 Bb i nf 1 a " vp AI Ne | cm ‘G7 [G7 a o Gr Abr @ 5 —| | Repeat Ast 8 Bars of ‘A’ Section A Ds cm G7 Gh abt , 3 ¢ . 7 | coo /s| D7 coo A) D7 G7 B fb-7 6x3 b7 G13 F6/9 C#T7 Gis o3 7A An C7 Eq? Bt i s Repeat | ist 6 | Bars of | Ist ‘BY | Section | 4>7 i cs D-ths Chords shapes for 1st 2 Bars, play 2 Beats on each’ 2 3 a 3 Ab7| G7 5 3 4 1 Ab7 G7 3] G7 |6 G7 3 4 The box opposite shows Bar 11 of the ‘A’ Section, the numbers shown around the edge indicate the direction of play. If you do not wish to follow the theme of the tune, you can just play Ab7 to G7 for this Bar. — 44MB KeyofD 4/4 TENDERLY 32Bars ABAC 6] 3] a 3] 3] a ae 7 5) pat a| D6/9 | G13 | D-9 | G13 | GA7 | C9 val WHT ET ~ 7] 5] aE 7 7 7 AT Adsusd 6] ES | A7 E6 B-7 E-9 Bb ACb9) A Repeat Ist Section | WF 7 7] T 3 ¥ AT raf E7 c| Eg D6/9 | A7+ Bb* B7 AT on Ads A) Ne sé)e i; a The split chords in the last bar of the ‘B’ section are very ° e oe] | cele] | e® moder chord voicings and s[ sels te they are substituting an A7. sele TENDERLY This is more of a modern jazz. standard that was not recorded by Django, but has been recorded by some of the more established Gypsy guitarists such as Stochelo Rosenberg, Kussi Weiss, etc £ This wonderful tune has found its way into the Gypsy jazz repertoire along with many other modern jazz standards. The Rosenberg Trio playing on the gypsy site at Samois 003. 45KeyofBb 4/4 TIGER RAG Format and Key May Vary 6 a e 6 q aq Bb6 % Eb7 | Bb6é | Bb6o % Eb7 | Bb6 o o 7 a 7 a Bb6 % Eb7 | Bb6 | Bb6 % Eb7 | Bb6 3 T 3 7 3 T ar C7 F6 C7 F6 C7 F6 C7 ¥6 E7 Bb6 % Eb7 | Bb6 | Bb6 % Eb7 | Bb6 qj z a Eb6/9 % — |evoe> STIOP Eb6/9 % Bb7 % r Bb7 ED69 an ob6 bo stor]. OPEN io % ‘iss % EbOS, STOP Bb7 Eb6”9 " ED6/9 4 os % es % at Eb6/9 j * 4 Ab6 % % % % % Eb7 % 3 Eb7 % % % % Jo \AboysToR| — -% ; 7 i G 7 7 Ab6 Bb-6 Ab6 Bb-6 Abd a ‘Ab Ab7 C#6/9 % Cc Eb7 Cc Eb7 Ab7 ql 31 7 7 4 4 7 Ab6 C#6/9 | D° eins F7 Bb7 Eb7 | A6/9 % 46ry i Key ofEb 4/4 TO EACH HIS OWN 32Bars AABA be F a F n 4 ep69//) B-7 Bb9 ro 6 yi A % FeT % E749] Bb7 PT ES bh7e 1 G7 A : 1 ‘ 7 f i 7 A Repeat | Ist 6 [Bars of iad Ena / wT E9 | /e09 > Ab6I9/ | Ab En6/9 / | C#7 ) F6/9 Foo FO9 AINA © Ao 8 c Bo7 SCBhin , Bb? c | /cH09 7 C7 c7 c7 ax 4 ‘ 5 4 4 , 3 A c ; A Repeat | Ist Section eo a. br ° or * € . ° ° \ cele se e oe . | e we e ae 7 9 A tack of violins at Francois Charle Shop, Paris. 4732Bars AABA F 7 F F F cm Ab7 Cm Ab7 cm Ab7 A cm Cm Bb GT G7 Bb G7+ 4 “Ks fF 7 3 | Fm Ab7 cm Al F-6 % Cm GT G7 3 5 3 70) 8 % % E7#9 | Bb13 | Eb7 | G7#9 A Repeat | Ist ‘a’ | Section om zi ° . se celle ° ra t Fm th ° . ne welle ° TOPSY Lit ‘ a This chord sequence was often used during jam Eee sessions in the 1940's. T It was also used on Charlie Christian's composition 2 Swing To Bop. 7 Astandard Fm could be used at the beginning of the 2nd ‘A’ section. The F-6 shape shown opposite id is very effective. 48SCRE eee eee eee eee KeyofG = 4/4. TCHAVOLO SWING 32 Bars 3] 2] 3] 7] 6) 5] 7 | G6 FH6 G6 % Bb° A-7 E7 5 5 3 7 z 7 5 3 Am | A-A | A-7 A-6 D7 Ab7 G6 D7+ : : : : : 1 co | Fis | Ge | % | p | pw | SS) % GM9 CA C-6 ae E7 AT D7 G6 D7+ & | be ows TI ee Te] ow bE The D9#5 chord shown opposite can be used over 1 Bars 13 & 14, substituting the D7 and Ab7. TCHAVOLO SWING This tune was composed by Tehavolo Schmitt and can be heard on the CD ‘Gypsy Reunion’ with Dorado and Nouna Schmitt. It has also been recently recorded by Moreno on his’ Fils Du Vent’ CD.Key of C ala UNDECIDED 32Bars AABA c6/9 % ew /% F7 Eb7 E> D7 C#7 | C6/9 | CHIH i SH Coo | % Ist 6 | Bars of +A? Section 38 oF 5 G9 E6/9 D-9 €13| F6/9 % | CHT Co F6/9 ‘CHTHD Repeat Ast “ Section cy a cw. + x my x UNDECIDED celle slele ° ° Django recorded this tune twice, once with Bery! Davis on vocals that included a key change from D Major to C Major. The second recording was done in 1949 which the above chord sequence is based on. You can find a recording by Stochelo Rosenberg that copies Django's earlier 1930's version and a fiery interpretation based on the 1949 version by Moreno. You will find the chord shapes chosen for the above sequence very economical as it allows you to play this tune at tempo with smooth chord changing.