Django's Tiger

   
A6
       
 
2 2 2 2 1 1

 
1 3 3 1

 
2 2

 

           
 10 


9 12 10 10 9 9 9
11 11
10 10

    
E7

        
5
  
2 1

 
3 2 1 1 2 1 2 3
2

    
3

 

           
   


9 7 7
11 9 9 8 7 7 7
11
9 10 11

            
      
E7 F7 4

 
4


1 1

 
1 1 3 3

       
9 3


3 1 2
1 2 2 3 2

  
1 3 2 3 1 2 3 1 3 3 1


1

A good dominant lick if you want to get away from all the
diminished licks

                            


10 14 10 11 15 11
9 12 12 10 13 13
11 11 12 12
9 12 12 10 13 13 10
10 11 12 12 11 10

A6
    
         
2 2

 
2

 
E7 2

     
1 2 1


1 1

 
13 3 1

    
2 2 4 2 3
1 1
1 2 3 1 3 2 1 1

 
3 1


Stochelo plays a C# on the 2nd beat by accident.
I changed it to a D (which is what Django plays)

                       
 


10 14 14 14 11 12 9 10 9 10 9
9 12 10 10 12 10
11 9 9 13 11 9
9 12 11
9 10 11
2

Django thinks F7 to E7 here and subs the dominants for their

"relative" II degrees (C- and B-). Very hip indeed!

        
  
A6
   
 
2

     
4
4 1 2 1

 
1 1 4
17
  
1


3 1 2

   
2 1 3 2 1 3 1

  
1 1 3 3 1 1



C-7 arpeggio B- arpeggio

                        
  

12 8 11 8 7 10 8 9 7
11 8 7 8
8 7 9 7 6 8 6
11 10 9
11 9 9

D%

                
   
A7

     
3 2
21

(2) 3 2 1 4 2
1 3

     
1 3 3 1 1

  
3 1


1 1 3 1 3 2 1 2 1 3 2 1 1 3 2 3

Standard lick for D maj. 7 G# dim arp. which acts

as a sub dominant in D

                              


7 6 5 9 8 7
7 5 7 6 5 10 7 12
5 6 6 5 4 6 5 4 7 10 13
9 8 7 9 12
9 11

       
D% D#º A6 F#7
     
          
2 2


3 1 1 4

 
3 2 1

       
1 1 1 1 2 1 2 2


2
25 1
1
2
1 1 2
2
2 3 2 1 1


2 2

Stochelo sticks to Django's fingering here with two fingers. Stochelo generally only does that when it feels more ossia:      
comfortable with two fingers than with four. The "D" in bar 25 on the second 8th of the third beat should be an up stroke.
Stochelo plays a down stroke by accident and actually misses the note. I corrected it in the tab. 15 14
15
16 15 14 14

                    3          


10 13 14 9 12 10 10 11 12 16 14 16 14
12 13 14 17 14 15 14
11 11 13 14 15
12 13 14 16 15 14 14

E7
         
A6

  
B7
   
3

   
3

   
1 3 1 1
3 1


1 1 2
29 1 2 1 1 1 3

   
3


3 3

F-'9 arpeggio for a pure E7 altered sound

 3         3       
 

15 13 15 13 12 15 12


14 13 13 15 12 12 12
13 14 14 14 16
15
 3
A6

                            
3 1 3 3
1
33

   
3 3 1 1 1 3 3 3 1 1 1 3 3 3 1 1 1 3 1 1 3 1

 

                         
  

12 12 12 12 12 12 12 12 13 15 13 12 12 12 12
16 16 16 16 16 16 16 16 16 16 16 16


E7
       
    
2 3

  
3 3 1

 
1 1 1 1 1

    
1 2
1 3
37 1 2 2 2

 
1


3 2

3 3

 3   3               


14 17 17 16 19 16 16 19 16 14 14
14 15
14 16 14 14 13 13
14
16
17

    
F7

                     
1 3
E7 2 1

     
2 2 4

  
3 2 3 2
41

3 1 1 1
3

 
1 3 2 2 1 3 2
3 2 1 1 2 1

Django ignores the F7 and continues with the E7 lick he started in bar 41

                            


14 14 13 12
15 15 14 13 12 14 13 12 15 12
16 13 13 12 11 13 12 11 13
14 13 12 14 13 12

A6
   
     
 

    
E7
     
3 1
1 1


2 3


2 2 1 1 1
45

   
1 2 2 1

 
3 2 1 3


3

The harmony is at A6 but Django is still on E7, playing F minor here

for a E7 altered sound. This works because in 49 we're still on A6 so
thinking E7 here is just a suspension/retardation.

( )
                3  

   

13 16 13 13
14 14 14 14 13 16 13 13
13 13
14 13 12 15 15 15
4

3 3 3
3 3 3

   
1

   
1 1 (3)

           

A6 1 1 1
2

   
2 1 2

   
2 2 1
49

                      
   

Sliding major 6/9 chords. As always, putting some chordal "licks" in solos is a great
effect!

               
   

10 11 12 10 11 12 10 11 12 10 11 12 12 14 15 11

  
10 11 12 10 11 12 10 11 12 10 11 12
9 10 11 9 10 11 9 10 11 9 10 11
9 10 11 9 10 11 9 10 11 9 10 11
10 11 12 10 11 12 10 11 12 10 11 12

D%
A7

      
(3)

   
 
2

   
2 2 2


2 1 1

    
1 3 3 3

     
1 1 1 2
53
 
1 3

 
1 3 1 3 1 3


1

This lick resembles the standard dim arpeggio

but it is not (it's A7 with a normal 9). Interestingly enough
Stochelo chooses to play this lick with alternate
picking. Maybe to really distinguish it in his mind from
the dim arpeggio with all downstrokes.

       3              


14 12 15 17 19 17 14 17 7 8 9

 
15 12 14 17
12 12 16
14 12 14 12 11 14

D% D#º A6 F#7
        
         
          
3 2 2 2 2 2 2

  
3 1 1 1 1


1 2
57

1 3 3 2
1 3 3 3
1


1 1 1 2

3 3

                       3 

3


10 7 8 11 14 11 12 9 10 10 10 9 11 9
10 7 10 10 11
7 8 9 11 10 9
9 10

     
        
B7 E7 A6 A7
  
1 3 2

   
1
61 1 3

   
2 1

     
1 3 1 2


1 3 1 4 1 2 3 1 2 1 3


1 3 1 2

3 3  

An excellent lick to add to your repertoire of licks, usable in many songs.

     3       3            
 

9 7 10 7 6 9
10 10 7 8
8 11 7 9 5 6 6 9
9 7 9 7 6 7 4 7 8
 D% D#º A6 F#7 5
      
                      
3 2 2 2 2 2 2

  
1 2 1 1 1 1 1
65 2

   
1 3 3 2
1 3 3 3
2 1


1 1 1

3 3 3

Exactly the same licks as in 57-63. In the original recording Django plays this CODA after Grappelli's violin solo.

                       3 

3 3


7 9 7 8 11 14 11 12 9 10 10 10 9 11 9
10 7 10 10 11
7 8 9 11 10 9
9 10

           

B7 E7 A6 E7 A6
  
1 3

          
1
69 2 1 3

  
3 1 1 2


1 3 1 1 1 4 2 3 3 3 1


3 1 3 2 1 2


3 3 

A standard Gypsy Jazz ending and a good one to have in your bag

                      
of tricks!
3 3



9 7 10 7


10 10 7 5 6
8 11 7 9 6 7 4
9 7 9 7 6 6 7 6 7
7
5