After You've Gone

  G6 A-7 A#º G/B F7/C F#7/C# G7/D G7

1

     



    

          
 
       
1 3


C6 C-6
5 2 2 2 3 1

  
3 2 1 2

 
1 2 1

 

          

 

 
8 10 12 12 12 12 11 10 12 11 101210
8 9

             
E7
      
G6
   
9 3
1
1 3 2 3 1 3


1

 
3 1 3 1 2 1 1

3 3

        3      3 
    


7 7 7 7 8 7 7
7 9 9 9 9 9 9 7 9 7
9
2

    
A7 D7
    
      
13

    
2 1 1 1 1 1

 
1 3 1 3 1 1 2

           
  


7 7 7 7


8 7
6 9 7 7 9 7 5 8

G6 G7
 
     
3


1 1 1 1 1
17

1 1 1 1 1 1 1 3 2


4 4 1 2 1 1 3


1 1 1 1 1 1 1 4 1 3

This is a well known Django lick which he plays during his solo on the Hot Club
recording of "After You've Gone"!

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


10 10 10 10 10 12
10 10 10 10 10 10 10 12 12
9 9 9 9 9 9 12 9 10 13
12 9 9 12
12 9 10

C6


         
 
       
1


1 3


C-6
21 2 2 2 3 1

   
3 2 1 2

 
1 2 1

          
 

10

 
8 10 12 12 12 12 11 10 12 11 10 12 10
8 9
 3


                
E7
 
G6
   
25 1

    
3 1 3 2 1 3 2 1 3 2 3


3 3 1 3 1 1

3 3

               
 3 3

   

7 7 7 7 8 7 7 8 7
7 9 9 9 9 9 9 8 9
9 9

A-7
A-7 C-6
 
             
2 2 1 2 E7

1 2
29
   
1 2 2 1 2 2 1

   
2 1 1


1 1

            
 3

  

8 8 7 7 7 5 7 7 5

 
7 8 5 7
5 6 5 4 5

B7 C#º

    
E-7

G6

4

    
4 4

 
4 1 4 4 4 4
4

  
33 1 1 1 1 1 1 1

      
1

         


        
       

12 12 10 10 8 8 7 8 7
9 9
9 9 7 7 5 5 4 5 4
7 7
4

D7
   
   
4


4
G6 A-7

1 1
37
             
  

        
  

10 7 10 10 10 7 10

 7 4 7 7
 7 7 4 7
 7
5 5

G6
A-7 A#º G/B F7/C

                                 
F#7/C# G7/D G7

4 3 3 3 3
41 1 3
1 3 1 2
1 1 1 1 1 1 1 1

  
2 3 1 1 1 1 4

    
1 2 3 2 1 2 1 1 4 1 2

3 3 3 3 3 3 3 
Stochelo uses his chromatic triplet trick to move from one place on his guitar to another, in this case
moving to the standard dominant position with the first finger on the root on the high E-string (here it's
the "g" for G7 on the third fret)

  3    3     3   3   3   3     3 


7 9 7 6 8 6 5 7 5 4 6 4 3
8 7 10 8 10 8 7 8 6 3
7 4
5 8 9 5 4 3 4 3 2
5 2 3

    
C-6
         
1 3
3
C6
    
1 1
45

      
2

      
1 4 1 4 1 3
2 1 3 1 1 1 1
1 1 2 2 1 1 3 3 1 3 1 3 1 1 3 1

3
3

Good lick for a IV to IV moll dur progression.

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


3 7 5 8 10 8 10 8
5 8 5 8 11 8 10 8 8
4 7 4 5 5 8 8 8
2 5 7 10 10 8 10 8 7 10
 5

G6 E7

   
  
      
4 3
49 1


1 2 1

    
2

   
1 1 3 1 3 2 2

     
1 3 3 1 2 1 3 1 3 1 3 1 2 1 3 1 3

Down and up standard dim arpeggio for E7. I've

corrected some wrong notes in the tab which Stochelo
hits by accident.

     3                     


7 10 7 10 7
8 7 8 7 9 9
7 9 7 10 7 7 10
9 9 7 9 6 6 9
9 8 7 8 6 7

A7

 
           

D7
  
3 3

    
1
53 1 1 1 1 1 1 1

     
1 1 4 3

  
1 1 3 1 2


2 3 1 1 2 3 1 3 1 2 1 3 1 3

3 3
3 
Stochelo plays a quick A-7 Tritone sub for Standard dim arp.
arpeggio leading naturally into D7 (Ab7) for D7
D7
3
  3      3                  


7 7 9 7 6 6 6 6 8 6 5 5
8 5 6 4 7
5 5 5 8
7 5 7 5 4 6 4 4 7
6 4 5

G6
   
G7

 
        
3 4

    
2

    
2 1 1

 
2 1 3
57 1 2


1 1 3 1 4 1 1 2

   
2

 
1 3


3 1 2 3 1 1 1 1 3 2 1

Great lick for G major, practice in all keys! Excellent V-I lick and anticipating I (C6 here)
1,5 beat early

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


5 10 8 10 8 7 7 15 14 13 15 12
10 8 7 7 10 7 8 15 12 13
9 7 7 14
8 9 15 12
14 13 12
6

C-6
C6

                      
61   1
 2

        
1 3 3 3 2
1 1 1 3 1 1 1 1 2 3
2


3 1 2 3 1 1 3 1 3 1 1 2 1 1 1

3

3

Stochelo substitues the C-6 with 4 beats of C-7 and 4 beats of F7, which
is a good trick on the IV moll dur chord (= the IV minor in a major key, here
C- in the key of G)
3
     3                       


10
12 10 8 10 8 8 8 11 11 8
12 10 8 9 8 8 7 5
14 10 10 8 10 8 6 7 7
8 7 6 5 5

 
G6 E7
    
65

                           
1 4 3 1
1 2 2 1 1
3 1 1 1 1 3 1 2 4 1 2 4 2 3 1 3 3 1 1 2 1 3 1 2


3

The I to the subdominant on the VI degree progression (i.e.: G to E7) is very common in old swing tunes. So
this phrase is a good one to add to your vocabulary!

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


6 5
4 5 7 5 4 4 7 7 5 4 7
4 5 7 7 4 5 6 7 6 6 9
7 5 4 5 5 7 8 6 7

E7

  
A-7
        A-7 C-6
    
2


2


1 1 1 2 1
69 1

 
1 1 3 2 1


2 3
3 3


2 3 1 1 2 1 2 1 1 1 2 3 1 3 1 3 1

      
3
3

   3

Stochelo is a little late with the A- and keeps Very interesting: this is a challenging progression
playing it in bar 70 ignoring E7, works fine. with quick chord changes but Stochelo's solution is to
just ignore C-6 and play B7 going to E- early in bar 73
and stay there for 3 bars. This sounds very natural
and is a great "shortcut" if you have trouble in this spot!

    3         3      3 



7 10 8 10 8 7 8 8 10 8 7
9 10 10 10
10 9 8 11
10 7 7 10
7 6 9
8 7 8 7 5 6 7 8
 7

C#º
  
       
G6 B7 E-7
 
3



3

     
1
73 2


1 3 3

 
1 3 1 2 3 3 1 1

    
2 1 1 1 2 1 1 3 3 1 1 3 1 3

Dim arpeggios

       3                  


12 15 12
8 7 12 14
9 8 11 9 9 11 12 15 12 12
9 9 14 11 14
10 9 10 9 7 9 10

    
G6 4 4


 
4
D7

1 1
A-7

1 1

        
2 4
77 3 1

              


Riffing on G octaves. Playing octaves is (together with chordal passages) a great way
to get away from playing single line all the time. It will make your solos come alive and
interesting. The trick is not to overdo it!

            
      

12 15 15 15 15
14
15 12 12 12 12 12 12 12 12 12 12
10 10 10 10 10 10

A-7 A#º G7
       
G/B
   
4

  
F7/C F#7/C# G7/D
     
1
G6
 
3

     
1 1 1
81 2

           
1 3
2


3 1

Dim arpeggio to get

back to C

                 3  
    

15 15 15 15 12 12 10 12 10 7
15 12 12
12 12 12 12 9 9 12 12 10 13
12 9 9 12
10 10 10
8

C6 C-6

 
4
                 
1 4

      
1 1
85

1 3 3 3


3 1 3 1 3 1 3 1 1 1 1 1 2
1 3

 
3

Tasteful Django-esque lick. Worth adding to your vocabulary!

  3             1/2
        


10 8 10 8 7 8
10 8 10 8 10 8 10 8 10 11 10 8
8
10 7 7 7 7

   

E7
 
         

G6
      
2 2

    
1 1
1 1 4 2 2 1
89
   
3 4 2 1


1 1 2 2 2 1 3


2 3 2 1 3 1


3 3

One of Stochelo's favorite major Standard lick from standard dominant position with the first finger
licks

on the root of the chord on the high E-string.

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

  

10 15 13 15 13 12
12 12 15 12 13 13 12 12
11 14 11 12 13 13
12 14 13 12 14 12 14 12

D7
          
      
3


3 4

     
2
A7
1 1 1 1


3
93 3


1 1


3

     
1 1 2 1 2 3 1 2 1 1


1 3 3 1 3 1 1 3 1

Great lick for dominants, especially those on the II Django's trick of playing
or IV (in this case: A7 (II) in the key of G). IV moll dur on the V
(here: C- on D7)

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

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


G6

 
G7

4

           
1 4


97 2


1 1 3 3 1 1 1 2 4
1 1 3 1 3 2 2 1


2 4 1

  
3 1 2 1 1 4 1 2

      
Stochelo starts early with G7 by playing the tritone
sub first (Db7) going to G7 (beat 2 of bar 99) and
arriving early on the C chord in bar 100

                         



15 12 4 3
13 12 15 12 6 6 3
12 4 7 4 4 7
14 12 14 12 3 6 5 3 2 2 5
4 5 2 3

C6

                                

C-6 2
101 1
2 1 3 1 3 1 1
3 3
1 2

  
1 1 1 1


2 2 1 1 3 3 2 2 3 1 3 1 1 3 3 1 3 1

3 3

Stochelo playing a combination of C-6 (or F7, same thing)

    3 
and C-7 like in bars 63/64.
                   3


3 7 5 10
5 8 5 8 10 8 8 11 11 8 7
4 5 5 9 9 8 8 7
7 10 10 7 10 10 8 10 8 7 8 9

G6
E7

       

           
1
105

3 3 3 3 3 1

      
1 1 1 1 1 1 1 1 2 1 2 1 3 2
1

   
3 1 1 3 1

3 3 3

Chromatic triplet like in bar 41 but since the distance

Standard E7b9 lick
he needs to travel is smaller there's some rests in
between the triplets.

  3    3    3                
 

7
10 8 10 8 7 7 9 7 6 6 8 6 5 9
7 5 4 7 10
7 6 6 9
8 6 7
10
A-7

 
C-6

   
A-7
4 4

  
E7
   
1 1 4

      
1
109

            
     

         
        

8 8 7 7 7 5 7 5 5
5 4 5
5 5 4 4 4 2 4 2 2
2 1 2

     
G6 E-7

B7 C#º

4

     
4 1

 
113 1

               
   

I suspect that first a-octave

is a mistake and should be
a b. Anyway quick recovery
by Stochelo on beat 3!

          
      

10 12 12 10 10 8 8 7 8 7
9 9
7 9 9 7 7 5 5 4 5 4
7 7

 
  
4

G6
 A-7
     
D7
4 1


1 2

   
117
         
1 2 1

       
1 3 1 3 1
1 1 3 1

 
3
Holy moly, am I having
a nightmare or did Stochelo
just start a phrase with an
up stroke?!!

               3 
       

10 10 10 10 7 8 4 7 5
8 5
7 7 7 7 7 5
7 5 7 5 4
5
 11
3
D7 G6

      
E¨7 G6

3
G6 D7 G6
 
D7

                  
3
4 3
121

1 3 1 2

 
4 1 3 1 1 3 1
3 1 3 2 1 3 1 2 1

Because "After You've Gone" starts on the IV chord (C) the final chords "modulate" to C. This Harmonics
makes it hard to come up with a good ending, exepcially during jam sessions. Adding these extra
4 bars is one solution.

                    

  

6 3 6 5 3 3 5
6 3 6 5 3 3 5
5 3 6 5 3 3 5 3 4 5
5