46 AcousticGuitar.

com ACOUSTIC GUITAR December 2013

 Stéphane Wrembel creates a new
instrumental blend from Django-style
swing, modern jazz, rock, and
world music.
In
Woody Allen’s Midnight in
Paris, the frustrated writer
played by Owen Wilson is con-
tinually transported from the
present day back to 1920s Paris, where he
encounters the likes of Pablo Picasso, Ernest
Hemingway, Salvador Dalí, and Gertrude
Stein. To complete the atmosphere of that sto-
ried era, Allen needed just the right music—
and for that he turned to the French guitarist
Stéphane Wrembel, whose composition “Big
Brother” Allen had featured a few years ear-
lier in Vicky Cristina Barcelona. The song that
Wrembel composed for Midnight in Paris, “Bis-
tro Fada,” became the movie’s theme, and
Wrembel wound up performing it at the 2012
Academy Awards show. Ever since, “Bistro
Fada,” a lilting minor-key waltz with an infec-
tious melody (see transcription on page 53),
has spread rapidly among guitarists—espe-
cially fans of Django Reinhardt.
Because Wrembel grew up near Samois-
sur-Seine (where Reinhardt settled at the end
of his life), plays the style of Selmer Maccaferri
guitar associated with Reinhardt, and is fluent
in the swinging rhythms and quicksilver lead
lines of Reinhardt’s music, many fans and crit-
ics have pegged Wrembel as a disciple of the
pioneering jazz guitarist. But Wrembel’s music
ranges much more widely than that, as is clear
from his recent recording Origins (Water Is
Life), which draws on rock, Middle Eastern,
Indian, and classical music as well as swing
and jazz. And though he plays an acoustic gui-
tar (a modern version of the Selmer, built by
Bob Holo), Wrembel gets into some loud and
intense shredding—especially onstage. His
music is closer in some ways to the adventur-
ous spirit of John McLaughlin or (in quieter
moments) Ralph Towner than to the more
traditional-minded Django-philes playing in
Hot Clubs worldwide.
Wrembel originally came to the United
States to attend the Berklee College of Music.
He now lives in New York City and tours
widely with his band: Roy Williams on guitar,
Dave Speranza on upright bass, and Nick
Anderson on drums. To learn more about
Wrembel’s music, I met with him in upstate
December 2013 ACOUSTIC GUITAR
By Jeffrey Pepper Rodgers
New York at the Nelson Odeon, a century-old
grange hall turned into an intimate concert
venue. Backstage before the show, Wrembel
talked about his philosophy of composing and
improvising, and he shared some songs and
exercises on his Holo guitar.
How aware of Django’s music were you, growing
up so close to Samois?
This music is present everywhere in France,
but I never really paid attention to it until I
needed technical stuff from it—I am not a
Gypsy, so I don’t need to express that angle in
me. Actually, what is very interesting is
Fontainebleau, where I’m from, is the birth-
place of impressionism. So there is a very
strong impressionist vibe, and when I started
to learn piano at age four, my teacher was an
impressionist. She was a specialist in all the
moderns, like Debussy, and she was an old
lady back then, so she was good friends with
Gabriel Fauré and Ravel and all these guys.
I grew up in the ’80s, so when I was 15 and
started to play guitar, I was playing all the ’70s
and ’80s rock. When I was about 19 or 20, I
went for the first time to the Django festival
[in Samois].
So were you exposed to that style of music live
as opposed to from recordings?
I bought a CD when I started at the American
School of Modern Music [in Paris]. I wanted
© 2013 JEFFREY PEPPER RODGERS. ALL RIGHTS RESERVED. USED BY PERMISSION.
to learn the jazz technique, because I was
pretty good at rock at this point and I wanted
to extend my knowledge. The only name I
knew was Django Reinhardt, so I bought my
first Django CD. This was my first encounter
with Django as a musician, really, so I paid
attention in a completely different way. This
is when I discovered his whole universe of
technique.
I spent years with the Gypsies learning
these techniques, and then I went to Berklee,
where I learned from great players on bou-
zouki and oud, plus more modern jazz tech-
niques of improvisation. And after that it was
country and bluegrass and all that stuff. When
I arrived in New York, I started to compose
and put all my techniques together.
AcousticGuitar.com 47
Stéphane Wrembel
Was studying Django’s style a sharp turn from
what you’d done before on guitar?
No. The first and most important stone in my
playing is rock—Pink Floyd, Led Zeppelin—
and everything else is an extension of that. So
learning a different technique is just a tech-
nique. I went to play a lot with the Gypsies,
and I took lessons with some of the Gypsy
guys in Paris to learn the proper right-hand
technique, which is very powerful. And then I
moved on to other things.
So you took lessons in addition to hanging out
and playing?
Quite a few lessons, with Serge Krief, Angelo
Debarre, these guys. And a lot of playing and
jamming in the camps in Samois, so I learned
in the traditional environment. Part of it was
natural learning and part of it was formal
training. And a big part of it was transcrip-
tion, because I figured out things about
Django by myself, too, that were not handed
to me by anyone.
When did you first get a Maccaferri-style guitar?
That was actually when I first met the Gypsies.
What I discovered about these guitars is they
are very versatile instruments. They are a little
bit less rich in terms of bass than the Martins,
but they have way more potential for a soloist.
You can play rock, you can play classical, you
can play Django, you can play whatever
you want. They are in the center of the guitar
world. Very interesting instruments.
This guitar is really good for soloing—it
really cuts through. The neck is a little bit
smaller. It’s closer almost to an electric guitar
in some ways. There is a rock feel to it that
you don’t have in other acoustic instruments.
And it reacts very well to amplification, so
when I use it live, I tend to use it more on the
electric side than on the acoustic side. I use
my acoustic technique for the control of the
instrument, but I use more of the electric side
for the sound. That gives me a hybrid unique
sound that I’m very happy with.
48 AcousticGuitar.com
In your rhythm playing, are there certain types
of chord voicings you use to get that distinctive
punchy sound?
It depends. For example, I have a song called
“Peaceful Mind” [Example 1]. This is like big
open chords. I have also [Example 2, slow
arpeggios from “Tsunami”] or [Example 3, a
syncopated fingerstyle pattern from
“Momentum”], that kind of groove. When it’s
a little bit more swing, the chords are more
like [Example 4]. So it depends on the compo-
sition. I use different chords, but they are all
very basic. I never use complicated harmonies,
complicated chord progressions. Everything is
very simple for the comping.
In that swing style you’re using a lot of percus-
sive snap—like a snare drum.
For this particular angle of comping, yeah. It’s
just the usual stuff that is done in swing: you
push and you hit [for a slowed-down demon-
stration, see video on AcousticGuitar.com]. It’s
like everything in music: it’s very easy to
understand, but it’s very hard to do. It’s very
easy to understand that you have to push and
hit, and the balance creates that train effect.
But getting the feel takes a little time.
Could you show, as an example, the rhythm pat-
tern in your song “The Edge”?
The chords are very easy. It’s G, Cm, D7, and
G. That G [with E and A on top] is a very
impressionist chord, the upper part of it. And
the bridge is a regular B7 to E7 to A7 to D7.
That’s the chord progression [Example 5].
You are playing mostly chords without open
strings to get that percussive sound, right?
Yeah, because you mute with the left hand.
The right hand doesn’t touch the strings. To
get that percussion sound, you avoid the open
strings, absolutely.
Speaking of rhythm, why did you post that big
library of play-along rhythm tracks on your
website?
ou don t learn to impro ise better
by playing scales or by playing
arpeggios or anything. ou get better
at impro isation by impro ising more.
Because when I first started to play the Django
style, there was no one to play with. I wish
this had been available to me when I was
starting to train on these songs, so that’s the
reason I decided to put them online. It doesn’t
replace the experience of jamming with peo-
ple, but it’s a great tool.
These are good learning songs. What we
call a standard is really a song for learning a
craft. After that, once you have the techniques,
you move on and compose and do your own
thing. These songs are also good if you meet
people you don’t know and you want to jam;
that gives you a repertoire for at least having
a musical conversation.
“Bistro Fada” has a very different rhythmic feel
than the other songs you played earlier. When
you were writing that song, did you start with
the chords or the melody?
Oh, I did the chords first [Example 6, page
51]. This is a completely traditional type of
progression. This is like composing on a blues.
There are more chords, it’s a bit longer, but
actually it’s like an E-minor blues. I just
recorded the chords and called Dave
[Speranza], my bass player, and I said, “Come
over because you need to record this ASAP.”
So he took the train to my house. It took him
a couple of hours, and by then I had com-
posed and recorded the melody, everything.
So this progression is standard for musette?
Yeah, for that Parisian style. That’s what they
wanted: they wanted something to capture
the soul of Paris. What am I going to do? I
take something very standard and compose
over it.
How would you describe that style to the
uninitiated?
Musette was born in the early 20th century in
Paris. You know, it’s like in New Orleans you
had people from all over the world starting to
play music together, and it gave birth to jazz?
The same thing happened at the same time in
ACOUSTIC GUITAR December 2013
 Ex. 1
Em F maj7 Em F ( 11) Em
 

 
0 0 0 0
0 1 0 0 0 0 0 0
0 2 0 0 0 2 0 0
2 2 2 2 2 3 2 2
B 2
0 1
2
0
2
0
2
0
3
1
2
0
2
0

Ex. 2
D sus2 D5 B sus2 B 5 G sus2 G5 A 5( 9) A5
   

9 9 7
7 7 7 7 10 10 8 7 7 5 8 8 7
B 5 5
6
8 8 8
6
8
3
5 5 5
3
5
5
7 7 7
5
7

Ex. 3 Ex. 4
Dm C A m6 F7 E7

with fingers

6 x 6 x 6 x 6 x 5 5
7 x 7 x 7 x 7 x 5 5 5 x 5 x 5 x 5 x 5 x 5 x 8 x 7 x
7 x 7 x 7 x 7 x 5 5 4 x 4 x 4 x 4 x 4 x 4 x 7 x 6 x
B 5 5 5 5 3 3
5 x 5 x 5 x 5 x 5 x 5 x
8 x 7 x

A
Ex. 5
G 69 Cm D9 G 69
3
3
1
2
2
T

5 x 5 x 5 x 5 x 5 x 5 x 5 x 5 x 5 x 5 x 5 x 5 x
5 x 5 x 5 x 5 x 5 x 5 x 5 x 5 x 5 x 5 x 4 x 4 x 5 x 5 x 5 x 5 x
4 x 4 x 4 x 4 x 4 x 4 x 4 x 4 x 4 x 4 x 5 x 5 x 5 x 5 x 4 x 4 x
5 x 5 x 5 x 5 x 5 x 5 x 5 x 5 x 5 x 5 x 5 x 5 x 4 x 4 x 5 x 5 x
B 5
3
x
x
5
3
x
x
5
3
x
x
5
3
x
x
5
3
x
x
5
3
x
x
5
3
x
x
5
3
x
x
5
3
x
x
5
3
x
x
3 x 3 x 5 x 5 x 5
3
x
x
5
3
x
x

B (play A one more time)

B7 E9 A7 D9

7 x 7 x 7 x 7 x 7 x 7 x 7 x 7 x 5 x 5 x 5 x 5 x 5 x 5 x 5 x 5 x
8 x 8 x 8 x 8 x 7 x 7 x 7 x 7 x 6 x 6 x 6 x 6 x 5 x 5 x 5 x 5 x
7 x 7 x 7 x 7 x 6 x 6 x 6 x 6 x 5 x 5 x 5 x 5 x 4 x 4 x 4 x 4 x
B 7 x 7 x 7 x 7 x
7 x 7 x 7 x 7 x
5 x 5 x 5 x 5 x
5 x 5 x 5 x 5 x

December 2013 ACOUSTIC GUITAR AcousticGuitar.com 49

Stéphane Wrembel
Building a Nouveau Selmer
Stéphane Wrembel’s concert
guitars are built by Portland,
Oregon, luthier Bob Holo
(hologuitar.com) and are based
on a Selmer that Django
Reinhardt owned in 1938 (just
prior to the famous Selmer 503
that Reinhardt played until his
death). According to Holo,
Reinhardt recorded many of his
seminal works on the earlier
guitar, which can be seen in the
well-known “J’Attendrai” video.
Holo was a fan of Wrembel’s
music for years before he met him
and had the opportunity to build
him a guitar. “As the whereabouts
50 AcousticGuitar.com
of that earlier guitar aren’t known,”
says Holo, “I based the design on
what is known of that earlier incar-
nation of Selmer, and tuned the
weight, strength, and top from
measurements of several other
Selmers of the era that I was able
to study.”
Wrembel’s guitar has a
Romanian red spruce top, black
walnut back and sides, and the
small oval “petite bouche” sound-
hole (in contrast to the D-shaped
“grande bouche” soundhole on
other models).
Holo made a few design modi-
fications based on conversations
Paris. You had the immigrants from central
France, from Auvergne, because back then,
going from central France to Paris was really
emigrating. It was a time when they still had
their own language, their own dance, their
own everything. They were playing the
musette, which is a little bagpipe, and they
were playing the traditional music called the
musette. And then, at the same time, Italy was
doing very bad, and you had the Italian immi-
grants coming to Paris with the new instru-
ment called the accordion. They started
playing these musette songs on the accordion.
In the middle of that you had the Gypsies, who
were playing the banjo and the banjo guitar,
who started to join. And in no time that style
was born of playing the musette, that bagpipe
music, on the accordion, with the Gypsy stuff
on it, and they developed a completely new
language. Same thing with tango: it was born
at the same time in the same kind of spirit.
Let’s talk about soloing. What do you practice
to develop the kind of fluidity you have moving
up and down the neck?
OK, there is a very big difference between
practicing and performing. These are two dif-
ferent worlds. I hear people say sometimes,
“Oh, when I practice, I practice like I per-
form.” I think this is a big mistake because it’s
a matter of chi. Chi is the energy. So you have
yin, which is the energy that you take in, and
you have yang, the energy that you push.
Pull, push, yin, yang. When you practice yin
you have a very calm state of mind, and you
practice a very technical area. No joy, no
anger—you don’t do it with the positive
or the negative. You try to stay in the neutral,
MATT URBAN
the peaceful. Then you build up a certain
level of energy, and when you are in concert,
this energy is available to throw.
If I do a jam and I get all excited and it
feels good right before a show, I used to think,
we’re going to play a great show. Then you’re
with Wrembel, including a
up onstage and you feel mediocre. You’re like,
648-mm (25.5-inch) scale length
what happened? Because you depleted your-
(Reinhardt’s earlier Selmer was
self of your chi, your creative energy—it’s
640 mm) and an extended finger-
gone. You arrive onstage and you’re depleted.
board for additional range. The
It’s like running a marathon before you run a
648-mm scale, says Holo, is the
marathon.
same as on a Gibson L5C and
I’m extremely conscious of that when I
“lends a nice little bit of round-
practice. I’m very quiet inside, it’s very quiet
ness and bite without becoming
outside, and it’s very technical. It’s very sacred
strident.”
in a way. There’s no personality in it. And
Wrembel owns a matching set
when we perform at night, all that energy that
of Holo’s guitars, built from the
has accumulated and all that preparation that
same flitches of wood and tuned
is done with the mind, like with the thinking
identically, and his bandmate Roy
and the fingers, all that comes into place, and
Williams plays the same model.
then the information can go.
These are the only three guitars of
this design that Holo has built.
Is practicing slowly, with a lot of attention to
phrasing and tone, the secret to playing fast?
ACOUSTIC GUITAR December 2013
 Ex. 6

# 3
Em Am
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœœ œœœ œœœ œœœ
& 4 œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 1 1 1 1
0 0 0 0 0 0 0 0 0 0 0 0 2 2 2 2
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
B 0
2 2
3
2 2
0
2 2
3
2 2
0
2 2
3
2 2 0 3

B7 Em B7
# œœ œœ
& œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
9
œ #œ œ œ #œ œ œ #œ œ œ #œ œ œ #œ œ œ #œ œ œ œ œ œœœœœœ

0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0
2 2 2 2 2 2 2 2 2 2 2 2 0 0
1 1 1 1 1 1 1 1 1 1 1 1 2 2
B 2
2
2
2
2
2 0
2 2 2 3 2 0
3 2

Em B 7/F# E m/G B 7/F# E E /G# Am

# œœ œœ œœœ œœœ œœœ œœœ œœœ œœœ
œ œ œœ œœ œ œ # œœœ œœœ
& œœ œœ # œœ œœ œ œ œ # œœ œœ œ œ œ œ œ œ
œ œ
œ œ œ œ œ #œ œ œ
17 œ
0 0 0 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 1 1 1 1
0 0 2 2 4 4 2 2 1 1 4 4 2 2 2 2
2 2 1 1 2 2 1 1 2 2 2 2 2 2 2 2
B 0
2 2
2 3 2 0
2 2
4
0 0

#
Em C7 B7 Em
œœœ œœœ œœœ œœœ œœ œœ œœ œœ œœ Û Û
œœ b œœœ œœœ n œœ œœ
& œ œœ œœ œœ œœ Û Œ Œ
25
œ œ œ œ œ œ œ œœ œ œ œ œ # œœ œœ œœ œœ

0
1
0
1
0
1
0
1
0
0
0
0
0
0
0
0 0 0
0
0 Û Û Û
2 2 2 2 0 0 0 0 3 3 2 2 0
2 2 2 2 2 2 2 2 2 2 2 1 1 1 2
B 0 3 2 2 2
3
2 2 3 3 3 2 2 2 2
0

# 4 U U U U U U U U U U U U U U U Uœ Uœ #Uœ Uœ #Uœ nUœ #Uœ Uœ #Uœ Uœ #Uœ Uœ #Uœ

Ex. 7

& 4
# œ œ œ # œ #œ œ nœ #œ #œ œ #œ
nœ #œ œ #œ
(continue down)

1 2 3 4
1 2 3 4 1 2 3 4
1 2 3 4
1 2 3 4
B 1 2 3 4
1 2 3 4

* Hold each finger down on fret until just before finger moves to next note.

December 2013 ACOUSTIC GUITAR AcousticGuitar.com 51

Stéphane Wrembel
I would like to show you an exercise that is
very good. This is how I practice. First I use a
timer. I usually like to do groups of five min-
utes. I start the timer, and until the timer
stops, I’m just focused on my exercise. You
can fit way more information into five min-
utes if you don’t have to worry about time.
When I wake up in the morning, the first
thing I do is I take my guitar and I do this exer-
cise. It is very easy [Example 7]. You just move
like that—one, two, three, four—one finger
after the other. I try to have [the notes] sound
clear, and move the fingers at the last second,
leaving the fingers on the frets. That helps with
the strength of the [fretting] hand, with the
52 AcousticGuitar.com
coordination of the two hands, and with the
placement, and it gives you a good habit for
the legato.
Usually, what I tell my students is you do
the exercise once—that’s it. This is how you
start your day. If you do this too much, you
can really hurt your hand, so you have to be
careful. Developing strength is good, but you
have to do it gradually.
What are the best ways to develop your abilities
as an improviser?
You don’t learn to improvise better by playing
scales or by playing arpeggios or anything.
You get better at improvisation by improvising
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more. I’m lucky enough that I have between
five and seven shows a week, so I always
improvise at night. I don’t need to improvise
during my practice. If you don’t have a concert
or a jam with friends or anything, it’s a very
good thing to allow a certain time to just
jam—even releasing the chi. Just play it off
and replenish it the next day.
But to learn to improvise, it’s not about
how much you know. For example, a lot of
classical players know so much more than any
jazz players in terms of harmony, positioning,
scales and arpeggios, counterpoint with four
voices moving, and stuff like that. They know
crazy stuff and read everything, but they can’t
improvise on a chord. Why? Because they
didn’t develop the state of mind. Improvising
is a state of mind. In order to improvise better
you need to improvise more. That’s it. You
have to start somewhere simple and just play
with it, and then you start playing in different
chord progressions. But it’s a lot about doing
it for hours and hours and hours.
Do you see yourself ultimately more as a com-
poser or as a guitarist?
I don’t see myself as a composer or guitarist.
This is just a vehicle. This is just what I do,
you know what I mean? The music is the tool
I use to express, but music is not a goal. I like
to say it’s like a hammer. I use it to hammer
my layers, you know, to try to go deeper into
my psyche. Music is a language that everyone
understands, so the content of it is different
for every human being. ag
What e lays
Acoustic Guitars: Stéphane Wrembel plays
contemporary versions of the Selmer Maccaferri
guitars played by Django Reinhardt. Wrembel’s
concert guitars are built by Bob Holo (see
“Building a Nouveau Selmer,” page 50). For
practice, Wrembel plays a Gitane DG-255, and
a Gitane DG-340 Stéphane Wrembel model with
the frets removed (when the guitar was being
refretted, he tried it with no frets, loved it, and
asked to keep the instrument like that).
Amplification: French-made Ischell Inside Box
plus CPJ contact mic (ischell.com), which
Wrembel calls “a miracle.” He uses an L.R. Baggs
Para DI and AER Compact 60 acoustic amps
(sometimes two onstage and even a third as a
monitor). His pedals include a Boss TU-2 tuner,
an Electro-Harmonix octaver, and a Boss EQ that
he uses only as a volume pedal.
Accessories: Heavy Wegen picks. Savarez
Argentine 1610 MF strings with an .011 first
string.
ACOUSTIC GUITAR December 2013
 istro ada usic by Stéphane Wrembel
Stéphane Wrembel wrote “Bistro Fada” for Woody Allen’s
Midnight in Paris. He composed and recorded the music in
just a few hours, based on a traditional musette chord pro-
gression in Em, in 3/4 time. This transcription is based on
the Midnight in Paris soundtrack (the same version appears
on Wrembel’s album Bistro Fada). An improviser at heart,
Wrembel plays the tune a bit differently each time. Note,
for instance, that his demonstration of the chords in
Example 6 (page 51) varies in a few spots from the chords
shown here. “Bistro Fada” follows a three-part form:
AABBACCA. The melody has a distinct Django-esque feel,
from the fleet-fingered runs up, down, and across the
neck, to the thick lateral vibrato that Wrembel often uses
on the last note of a phrase—plus it has the unmistakable
punchy tone of a Selmer Maccaferri–style guitar. The tune
makes ample use of triplets, both fast (with eighth notes,
as in measure 13) and slow (with quarter notes, as in mea-
sures 72–75). No matter what type of guitar you use,
“Bistro Fada” is a blast to play—and a great single-note
workout as well. —J.P.R.

Intro
Em E m/G F m7 5 B7 Em E m/G F m7 5

Gtr. 1
(continue in chord frames)

0 0 0 0 0 0 0 0 0 0 0 1
0 0 0 0 2 2 0 0 0 0 2 2
2 2 2 2 2 2 2 2 2 2 2 2 2 2
B 0 3 2
2 3 2 0
3 2 0 3 2
A
B7 Em
Gtr. 1 x 213 0 4 0 12 0 0 0

3
8
Gtr. 2
6 7 8 7 6 7 10 8
8 4 7 6 5 4 5 7 8 10 8 7 8
3 4 5 4 3 4 4 6
1 2 4 5 75 4 5
B 2 4

B7
x 213 0 4

 

3

15

7 7 7 4 5 7 4 5 7
5 2 4 5 2 4 5
4
B 7 8 7 6 7
6 9
© 2012 STÉPHANE WREMBEL MUSIC PUBLISHING—ASCAP

Em B7 Em
0 12 000 x 213 0 4 0 12 0 0 0


3
22
7
7 10 7 8 8 4 7 6 5 5 6 5 4 5
8 9 3 4 5 4 3 4
7 9 1 2 4 5 7 5 4 5
B 2 4

December 2013 ACOUSTIC GUITAR AcousticGuitar.com 53

Stéphane Wrembel
E7 E 7/G Am Em
0 2 0 1 00 3 x0 4 00 x0 231 0 0 12 0 0 0

 ∑
29 3

7 4
6 5 6 5 8 7 5 8 7 5 7 5 4 7 5 4
7 5 4 5 4 4 5 5 5
7 6 6 7
B
C7 B7 Em
To Coda  1.
B7 9
2. B
B7
x 213 xx x 213 0 4 0 12 0 0 0 x 21 3 1 x 1 3 1 2 11
7 fr.

36 3

4 5 5 5
4 4 4 4 5 4 3 4 5 4 3 4 6
1 2 4
B 2 4 6 7 8 9 6
8 6 7
6

Em B7 Em
x 1 342 1 1 3 1 2 11 x 1 342 1
7 fr. 7 fr. 7 fr.


3
3
43

7
7 10 8 10 8 7 8 8 12 10 8 7 10 9 8 8
8 9 8 9 11 9 8 9 10
7 9 9
B 9

B7 Em B7 Em
1 3 1 2 11 x 1 342 1 1 3 1 2 11 x 1 342 1
7 fr. 7 fr. 7 fr. 7 fr.

3 3

50

8 11 14 12 14 12 11 12 14 15
10 12 12 13 12 11 12 15 14 13 12
11 8 8 11 14 12 11 12
10 9 8 9 14 13 14 14 14
B

1. 2.
 Coda C G6
T 2314 x
B7
1 3 1 2 11
7 fr.

D.S. al Coda
3

57 59

5 3 5 7 3 5 7 3 5 7 3 5 7 4 5 7 4 5 7
4 5
1 2 4
B 67 8 2 4 B
54 AcousticGuitar.com ACOUSTIC GUITAR December 2013
 E7
x 3241 x
Am
1 34 111
1. D7
x 3241 x
5 fr. 5 fr. 3 fr.


3
63

4 7 10 8 7 8 12 8 10 10 8 8 7
4 5 7 4 5 7 5 7 5 4 5 10 10 10 7 8 10 7 8 10
7

B
2.
G6
T 2314 x
F 11
134200
B7
x 213 0 4
D7
x 3241 x
Am
1 34 111
3 fr. 5 fr.


3
3 3
3

70

7 6 5 6 8 10 11
10 10 8 8 7 7 10
6 8 9 8 8 7 9
8 9
B
C 69 C dim7 G6 E7 A7 D7 G6 B7
x 2113 x x 2314 x T 2314 x x 3241 x 1 3 1 24 1 x 3241 x T 2314 x 1 3 1 2 11
5 fr. 5 fr. 3 fr. 7 fr.

 
3

77

12 12 15 15 14 17 15 14 14 12 14 12 11 12 15 12
15 15 13 12 13 15
12
12 1 2 4
B 2 4

D Em B7

3

85
6 7 8 7 6 7 10 8
8 4 7 6 5 4 5 7 8 7 8 7
3 4 5 4 3 4 4 6 8 9
5 7 5 4 5
B

 3

92

4 5 7 4 5 7 7 10 7
5 5 5 2 4 5 2 4 5 8
4 4 4 7 9
B 7 8 7 6 7
6 9

December 2013 ACOUSTIC GUITAR AcousticGuitar.com 55

Stéphane Wrembel
Em B7 Em

3
99
7
8 8 4 7 6 5 5 6 5 4 5
9 3 4 5 4 3 4
1 2 4 5 7 5 4 5
B 2 4

E7 E 7/G Am

 ∑
105 3

7 4
6 5 8 7 5 8 7 5
7 5 4 5 4 4 5 5 5
7 6 6 7 6 7
B
Em C7 B7 Em

111 3

7 5 4 7 5 4 4 5
4 4 4 4 5 4 3 4 5 4 3 4 6 4
5 2
B

LISTEN
to this guitar at
The Original
Guitar Chair
the details make the difference
bit.ly/listencg
(quick link to youtube)

Hand Made
small
Guitars
with
a
BIG
Sound

Proudly made in the USA

1-877-398-4813
CoppardGuitars@gmail.com www.OriginalGuitarChair.com

56 AcousticGuitar.com ACOUSTIC GUITAR December 2013