Without a doubt this lesson you have created has opened more doors for my playing than any "Django-style" 30's guitar-style video I have ever seen. The best part - totally serendipitous that I stumbled upon it. I was ready for it. Love your teaching style. Thanks a million.
*********G O L D********* Huge Thank You . I looked at and read many of the comments, it appears many players needed this TREMENDOUS lesson to help them and myself included to unlock the door to these chords.
Thank you so much! Very helpful and I will be watching this and many of your videos multiple times. I’m in my 70’s and getting my thumb to work like yours is a challenge but I can see the rewards and will keep trying.
I recently discovered that the Guitar is actually tuned to a E Minor Pentatonic Chord: every other note of the E minor Pentatonic scale, which is very easy to see on the piano using the Black notes starting on Eb, then just every other note, which accounts for the strange occurrence of the major third after a bunch of fourths. And the guitar is just tuned a half step higher.. So I started trying to learn the chord scales of the Pentatonic. Seeing you demonstrate this is a real insight into how the Manouche approach the guitar and why Django's harmony is so advanced.
Wonderful lesson! Very clear description, giving me practical things to work on right away, and I liked the quicker pacing of the explanations. Thank you very much.
This is such great stuff, thank you Sven! I really love learning all these chord shapes and I’m so glad you said that it’s not easy learning the gypsy shapes... I thought it was just me. :-)
Thank you for this, Sven - It's nice to both hear the description of the substitutions and how the 12-bars sound with each step. I've been through this with some other materials, but hearing it played by a player already familiar and comfortable with the subs and flow, in time and with feel, helps quite a bit to get the idea of it.
This is brilliant tricks! Would you do a video on tricks with the rythm? The accents that makes the swing! I would love that! But anyways.. you just transformed a traditional blues (in my ears) to gypsyswing in a way I understand! You know, at my day-job I play all kind of songs for children and adults - traditional, pop or original. As times have gone by with your instructions, my musical oriented colleagues always says "Rolferen, you have this jazzy sound to your playing" and I just think "yeah, thanks Sven!" I wrote a comment on one of your videos long time ago about me and my old man having this duo play gypsyswing (inspired by Django of course), and we get better each week, and you've played a major role in this. As the rythm-guitarist in this duo, your tutorials are invaluable! Thanks! And yeah.. the idea that the backing formed the soloists.. I like that, especially being the rythm part of our project :-D
Oh cool, What do you do in your daily job? I will surely do another vid concerning rhythm. The old ones are getting too old! Thanks for your support! Greetings, Sven
@@SvenJungbeck Thanks for asking. In my daywork I work with adults with autism. Music plays a big role in my work and in my section 4 of us (out of 11) play instruments so we talk and play a lot for/with each other. When I'm not doing 9-5 I play gypsyjazz with my old man. Our project have a fun part and a serious part. The fun is to meet up father and son and play around, the serious part is the jobs we occasionally do.
Once again it is a substitute for a dominant chord, however when diminished chords move upwards and resolve in the chord a half note higher, they are always meant to be "hidden" dominant chords.
Woah thanks for the reply Sven! My question is moreso how is the implied A7 the dominant to a minor chord? I would think that the dominant to the d minor would be an a minor
@@musicofcorey I see. The dominant chords are always major chords with a b7, no matter if they lead to major or minor chords. When you harmonize the aeolian scale, you get a minor chord on the 5th note, but in 99 per cent of all songs that minor chord does not appear as a "dominant" chord. The reason is simple : the minor chord would lack the guide note, for example A7 to Dm, the A7 has c# in it. That's the guide note to D. Am would have a c in it. Greetz
Hey John, I think these voicings already existed in the 30's, only the name: 13/b9 sounds more modern because it is later associated with the diminished scale or the half-tone whole-tone scale. While in contemporary jazz music, this has influence on the choice of scale, back than it was more a bass note movement on the low E string as I demonstrated here. I don't think any guitarist back then named it a G713/b9 with b9 in the bass 😅, but theoretically it can be described like this, that's why I mentioned it. warm regards, Sven
Great Video Sven! Is there are chord sheet available for this lesson? Your camera is a bit far away sometimes to see every position of your fingers! :-)
man, i need a guitar with slimer neck, i can practically do thumb like to 6 fret, then is just too much strech, on my OM, i am fine, but this altamira has basseball bat, i like it , but i guess i will need all the voicing anyway...
Nice presentation. I am curious about your guitar. That type of guitar can have any other use besides gipsy jazz ? How do they sound in comparison to other Acoustic guitar ? Let's say a Martin 000-28? From what I hear it's very nasal, short sustain, a lot of mids, no bass. Is that a correct summary ?
ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-OmieC9Z_4pE.html Here the sound is captured more detailed with a better mic. The guitar sounds very direct and aggressive. That's typical for maccaferri style guitars. Some brand are more in the face, this one ( Volkert) has still lots of basses and brilliance. Different styles of music demand different instruments, I think. Warm regards
Thank you for your very helpful information. One question regarding the noted you are playing for the C# diminished at the 9th fret, are you including the G on the second string? Or going with the easier to grab A flat? It works either way quite nicely, even as a three note chord C# Bflat and E. Not quite sure how your playing it?
this is a treasure ! thanks Sven. I have a question on accent, I realized that you sometimes put the accent on beat 1 and 3, instead of the 2 and 4. The former sounded really swing and blues to my ear than the latter, which sounded authentic gypsy.
Ein kleiner Vorschlag zur merklichen Verbesserung deiner englischen Grammatik: Du sagt sehr oft "... here I am playing ..". Das stimmt zwar, weil du es im Moment tatsächlich tust, ABER du meinst, daß man es grundsätzlich so macht (also immer) und dann heißt es eigentlich ".. here I play ..". Jemand, der englisch aufgewachsen ist, hört diesen feinen Unterschied (Fehler) sofort!
