Stephane Wrembel lessons

Buco

Hey Dave, I'm curious would this be considered an example of polyrhythm, the piece in the Dark Eyes solo from about 1:47 to 1:58, I always thought that chunk is so simple but so awesome and genius just because of the groove it has:


Sorry to clutter Dennis.
This is one of the most unique things you ever came up with.

NylonDave

I would look at it that way. He does it all the time here is a short example around 1.41-1.43. It's not a great example but this was the very first random youtube choice I listened for it in.



In fact, to my ears, t's pretty hard to find any recording where Django doesn't do something like this at least twice. I think that his ability to control and resolve these things gave hime a lot of freedom in his phrasing as he could start a phrase anywhere in the bar and end it wherever he chose as well. And he never ever got lost in the principal time signature as a result which is a big problem for a lot of learners who play these ideas from tab but haven't done the work of gaining the freedom that he had. It meant he could get a lot more mileage out of his licks as he was free to place them wherever he chose instead of having to play them the same way all the time. We would need to spy on him practicing from our time machines to establish how he put the facility in, probably he put it in with the technique(DDU picking in the last two examples). But while we wait for that time machine it is good to have people like Stephane and Dennis break it down into a practice system that has worked to deliver similar freedom for a Django influenced performer.

D.

Buco

NylonDave wrote: »

I think that his ability to control and resolve these things gave hime a lot of freedom in his phrasing as he could start a phrase anywhere in the bar and end it wherever he chose as well. And he never ever got lost in the principal time signature as a result which is a big problem for a lot of learners who play these ideas from tab but haven't done the work of gaining the freedom that he had. It meant he could get a lot more mileage out of his licks as he was free to place them wherever he chose instead of having to play them the same way all the time.

D.

Hit the nail on the head.
And I kinda don't understand why more of today's great players don't use that strategy. At least I don't detect it. He would go back to a motif and just like you say play it again only start on a different note and different place in a bar and it's new again but also subconsciously familiar and it hooks you.
At the risk of sounding like an idiot, but for the sake of that point, a lot today's players love to be all over the neck.

I'm more and more intrigued about what Stephane did in this course, problem is I have about 9 courses sitting in my library on DC School website. Ask me what was the last time I studied any of those...

Jim Kaznosky

Besides the polyrhythm section in the Stephane videos, I'd recommend beginning and intermediate players watch the first volume from beginning to end. Having had the benefit and privilege of taking private lessons with him, I feel that his exercises are extremely valuable in gaining control over the instrument. He would specifically mention in teaching certain topics that the purpose of certain items was not specifically meant to be a vehicle for improv, but more for player development and he shares many ideas for practice that could be incorporated into your daily practice schedule.