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Django Rheinhardt - Hand Burn and Rehabilitation - Medicine in Art article translated

doctor, Toulouse
UTOMN 1928 Django Remhardt
enters his trailer and e is I acci
a violent fire
candle fallen on the floor in
is probably the cause a bou
which ignites the many
celluloid flowers that were
It's a real explosion Si
his wife manages to get out of the bra
Django remains lying on the ground, lifeless and
only owes its survival to a force
I instinct From the trailer there will be nothing left
Legend says it's still a Django
smoking that Ion transports to the Hospital
Lanboisiere (Delaunay, 1961) The lesional balance
initial is alarming First, an important
lesion of the anterior aspect of the right thigh
extending up to the flank and then this back of the
left hand or "we saw up to the bone" "ll
evoked / image of a passive, heavy mummy
eyelid burns with creepers, ankles
and, especially at the left mam this hand
left, the internals in the grooming, had
preview the bones [] Gold despite appearances
this third-degree burn was, however,
minimal, according to the surgeons and
compared to the wound in the leg
part of the knee extended to the ribs
Burn so severe that the head of the clinic
surgical after careful examination
radioscopic, ordered the amputation »
(Sa / gués 1958) Of course Django refuses and he is
brought back to the camp by his family
Gypsies who do not usually trust
medicine "(Antometto & Billard 2004, p 37),
before we finally take him to the hospital
Saint Louis
Alite Django would be eighteen months and that's
the bandaged hand he would have started playing again
More banjo music this time, but
a guitar and "it's with a little tenacity
common that the gypsy strove, day after
day, at the cost of great suffering,
recover the use of your fingers "(Antometto &
Billiard 2004, p 81-82)
The circumstances of the accident are often
imprecise and fluctuating from one author to another and
we tried hard to remember that
the facts
As he enters his trailer Django is
In fact we can easily imagine two types
of lesions as suggested by Dr. Marty
"-; one by direct contact of the flames that have
lick the back of the left mam - the other by
radiation of intense heat through
two layers of fabric [], and therefore two
degrees of damage that will evolve from
different ways> • (Marty 2005 p 29)
And knowledge of the nature of flowers
Artificial celluloid, imagine this fire
intense explosive
The archives of I Assistance Publique
Hospitals in Paris are not very talkative
(Marty 2005 p 29) Indeed, it was not
medical file found in Jean's name
Remhardt The vagaries of time mean that, finally,
only the data remained
It is learned that it has been
hospitalized in the Nelaton room of the Hospital
Lanboisiere from October 26 to November 22
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1928 or 27 days (Marty 2005 p 8) Sl Django
is subsequently taken to Saint-Louis this is
not by chance, this hospital being historically
specializes in dermatological conditions
(Tille 1992)
During his research Dr. Marty
found a second trace of Django in
the archives of the armies that are not lacking
to remind citizens of their obligations
Remhardt Form No 1001 of the
Nomenclature of the Arms gives information
1930 time service-free gypsy
for "very extensive scars of burns
leg and left hand "contradicting version
of the injuries of the right inner limb of a
share at the thigh level on the other hand
It seems certain that Django has benefited from
surgical revision in a private clinic
Parisian street of Alesia The authors advance
the date of January 23, 1929 This clinic
not having survived the convention system
and despite the relentless
Dr. Marty, we will never know by whom and
how was this intervention done (Marty
2005 p 74)
A bed rest of eighteen months we
seems unlikely The complications of
decubitus being well known one can reasonably
argue that an immobilization of
such duration, a fortiori associated with a
interior member would have made impossible any
reverticalisation Most likely is that the
care was performed on an outpatient basis at
consultation of the Saint-Louis Hospital
In the immediate aftermath of I accident,
Django is particularly slaughtered ll is described
as mutique outside of this answer
invariable that he makes to his mother when she
asks what he thinks "my mam"
(Sa / gués 1958)
In a second time he goes back to playing
music encourages by its doctors and by
his own And even if we take the side of
think that the leg lesion has been less
important than that of the mam one can with the
Dr. Marty continue the reasoning
it is by noting the progress of this
leg that Django had the app saving idea
this self-education which allowed him
such virtuosity "yes the leg had saved the
Main> (Marty 2005 p 49)
We can highlight the particular difficulty that
constitutes for the musician the loss of this organ
What is the hand? The hand of the musician is not
a special case compared to other hands
mutilated Indeed e is the person herself
which is a special case in the report
privilege that she has with her art Some
can not conceive of giving up music
but their speech means a
modification of their relationship with the instrument
even the accident forces them to question themselves
evolution of their relationship to the body and
I instrument "(Pillet 1996)
There are several reasons, no doubt, for
fuzziness surrounding the circumstances of this accident
First of all the first biographies of
Django were only written after his death either
more than twenty years after I accident
Then at the time these biographies are
written Django is already sufficiently famous and
singular for legends and myths to stick to
his character Another of those reasons is the
Django's silence he never talks about it
does not complain about it besides it applies for that
this famous Mam appears the most normal
as natural as possible ll s ingenuie to do
proof of dexterity with this left mam *
And always this discretion <[ll] refused well
sometimes by some kind of embarrassment and modesty
to show off his mutilated hand during checks
identification of nomads for example>
(Antometto & Billard 2004 p 373) We are
recalls through the study of different
biographies that Django is often described
like hiding his left hand including by
Stephane Grappelh when he tells their story
first exchange <the left hand buried in
deeper pocket of his pants too
wide and the right hand holding a butt »
(Smith 1988) Dr. Marty is also
notice that the four minutes of the film
we have are framed in such a way
that we see only very little of his hand
emphasize that at the painter Django his hands
are rarely represented in these compositions »
(Antometto & Billard 2004 p 359)
From this period we hold to prove a cer
tam number of facts the exact date of I accident,
the duration of hospitalization, which in itself constitutes a
severity index especially if we observe that its
wife deemed unscathed will still be
hospitalized vmgt-and-a-day
As for the probable surgical revision of his
mam in clinic the photographs of which we
have not allowed us to perceive
the slightest trace or to appreciate the
possible profit (see photos opposite)
Still, the importance of the psyche is
appeared in this fundamental case The biographers
s unsurprisingly agree on a
two-phase path
- the first deduction
the second of surpassing the trauma
This second phase evolves in two steps
resumption of the march and strong of this elan the
reeducation of the mam In this desire to
to overcome the wound we see that nowhere
there is no mention of mfec complications
while antibiotics do not exist
again and that vaccination is not systematic
Nowhere is it about dysgraphystrophy
complication however frequent of this type of
We feel that we will
Django escapes all these complications
thus defeating the prognosis of his doctors
We have little information about
the lower limb lesion
some remarks are required about him
We remember the importance of burning
knee-to-flank> justifying amputation
the initial lesion balance S is it then a
therapeutic possibility evoked or
conclusions of an interventionist surgeon
No one will know We can also pass on the
debate between left and right sides
Ality, Django ie would have remained eighteen
month and e is the bandaged hand
that he would have started playing again
More banjo music
this time, but a guitar and
"It is with a little tenacity
common as the gypsy
strove, day after day, for the price
great suffering,
recover the use of his fingers "
1 D after Jean Osmont (personal testimony) and Bernard Baraille (personal correspondence)
2 Sometimes he is interested in locksmithing, sometimes he builds miniature caravans and often excels at
different address games
billiards as a
uuIUT this game no A u aui coou
3 After Pierre Marty {personal correspondence)
© H Dernen (aesa I)
Two pictures showing Django's mam
Remhardt after the accident
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The history of jazz has been good enough to hold the right.
On a functional level, no one (including
witnesses interviewed about it) reported the
less lameness, the slightest pain, in short, the
least functional complaint of Django as to
his leg*. Note that after this accident he was
new father, which indirectly indicates the limit
functional involvement of the perineal region.
Regarding this famous left hand, burned
"To the bone", this is an attack very frequently
observed. It is an injury of
defense: the hand, instinctively, comes to protect
the cephalic extremity. Now, no one does
mention of sequential lesions of the face and
neck. Which allows to think that the surface of irradiation
fire, at least up to
face, was limited and the state of alertness of
Django at that time was enough for him
allow to get out of the fire quickly.
If we stick to a purely descriptive approach,
analyzing the photographs of the hand
left of Django shows a pathological scar
with retraction type at the back of
the hand. It overflows towards the dorsal surface
fingers and seems to gain the dorsal face of the
wrist. There is no lesion of pace
circular and even more so, no touch of the face
anterior wrist. Forearm also
seems unhurt.
There is no anomaly in the column of
thumb, index and middle finger. The analysis of these
last two fingers shows hyperlaxity
in the frontal plane (wide gauge), probably
secondary and compensatory,
although some have been able to advance the possibility
of a surgical procedure, which we
have no proof.
The examination of the fingers shows that the first
phalanx of the ring finger is in hyperextension
with however a degree of flexion / extension
keeps at the level of the metacarpophalangeal
; the proximal interphalangeal
is blocked at 90 °; the distal interphalangeal is
in "falling" flexion. We notice the
persistence of a degree of hyperextension
constraint. This table is quite evocative of a
rupture of the median strip of the extensor
("Mallet finger"). The digital axis is preserved.
The first phalanx of the little finger is in
hyperextension at about 120 °; mobility of
the metacarpophalangeal joint is doubtful
; the proximal interphalangeal is
blocked at about 70 °; a degree of mobility
passive seems to persist at the level of the interphalangeal
distal. The axis of this Ve
finger is
abnormal with adduction / rotation
external. We note that this orientation has
vicious precedence allows physiological convergence
from the axis of the fingers to the scaphoid.
If we look at the anatomical slope of the
folder, there is a pathological scar,
retractile, wide, overflowing towards the wrist and
it is finally the only certainty that one has ...
Concerning the forearm, it seems that it has been
saving. Before continuing, we note the importance
functional of this cutaneous zone of
back of the hand which, in addition to its own role as a barrier
dermal also ensures that of area
slip (particularly sensitive area)
in burns).
The dorsal side of the hand corresponds to the
region of passage of the tendons of the muscles of
the outer box of the forearm that splits into
two planes: a superficial with the extensors
common of the last four fingers and a deep
interesting the first two fingers.
The analysis of the photographs authorizes us to
conclude that only the tendons of the superficial box
have potentially been affected.
The region concerned is dependent on the
radial nerve whose motor beam circulates between
superficial lodge and deep lodge at the level of
the forearm. It is necessary for the extension of
wrist and fingers. This simple assertion
allows to remove the lesion. Functional impairment
of it would have caused the loss of
extension function of all the fingers, which the
inch, making it impossible to use this
famous hand.
We pass on the achievement of the osteoarticular plan,
which seems to us excluded. The pain and the
deformity would have induced functional impotence
incompatible with the practice of a
stringed instrument.
In total, we retain the scar diagnosis
pathological retractile from the back of the left hand
with reverberation on the IV "and V" fingers.
Finally, if 'the anatomy of the hands of musicians
nothing special; they are hands in
all points similar to those of others
men "(Kapandji, 1995), on a functional level,
it is a very complex organ. Yes
we understand that the slightest trauma can
to disrupt the operation, it is necessary to keep
the mind its ability to learn, to adapt.
According to Bernard Baraille (personal correspondence).
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lion We distinguish "hand-object" and "mainimage"
The hand-object is identical for
each individual, it corresponds to the anatomical mam
Inversely, the hand-image depends on
the functional importance given to it,
his level of education In other words, this
hand-image corresponds to the representation at
cortical level of the anatomical hand The
reeducation will therefore focus on
hand-object and hand-image matching (Levame,
2004) and it is this work that Django undertakes
The fact that during his accident, he is already a
recognized musician implies that for this autoreeducation,
Django has been able to set goals
compared to a previous state so it is not
from nothing and probably this has it
among the positives
We know that he started quite quickly
play music on a guitar This instrument
has two advantages that of being
less heavy than the banjo and so more easily
handy for a convalescent and also
less powerful and more easily acceptable
for the hospital environment
Several witnesses report seeing Django
perform repetitive winding maneuvers
around rounded objects like a tail
billiard maneuvers that he will repeat his life
During It is noted that it appears very frequently
that this self-education was placed under the
sign of pain and repetitive and tedious work
"Genius is made of one percent
of inspiration and ninety-nine percent
sweat, "said Edison
For the guitarist one can not reasonably
to say that a hand is more important than
the other They are complementary, whatever
the lateralization of the musician The right hand
serves to ring the rope Several techniques
exist, ranging from the pinching of the rope
with the pulp or with the nail at the game "medie"
by a plectrum (or mediator) or by a tab
as in the f / nger pickmg The fingers of the
left hand are used to set the note on the
handle of I instrument
The lesion of one of the hands destroys the result of
this equilibrium acquired at the price of an apprenticeship
long and laborious, everything has to be redefined ll
we think it is important to clarify that the meaning
to give to this readaptation, or better reeducation,
is a way and not a fm Even
if the mam is I performing music she
is only I tool
To facilitate understanding of the tech
game of Django, we have dissec
this one first of all on his melodic plane,
before we look at the harmonic approach
5 (Romane & Sebastian, 2000,
Cruickshank, 1989, Gelly & Fogg, 2005)
On a melodic plane, Django used several
procedures to circumvent the limits
imposed on him by his left mam
Having only the index finger and the middle finger it does not
could play more than two notes on one
same rope according to an orthodox technique (a
finger = a note) Django makes up for the difficulty
using more frequently all the strings
of the handle This technique using the handle
over its entire length is called "horizontal" (or
en démanche) in opposition with a tech5
From Romane (personal testimonial)
* See glossary
"vertical" (or in position) which uses the
sleeve without changing position ll will use
so few scales in favor of arpeggios (the
triads) more or less enriched This technique
very visual, in "staircase", was baptized
"Crab technique" by Alain Antonietto
"When he had to play three successive notes
on the same rope, the index finger pressed the most
bass, then slipped to the next while
the middle finger played the third "(Disley, 1983)
Diz Disley teaches us that to increase the
number of notes Django used, coupled with the
previous, the glissando technique This one
is not to use a finger for a
note, but the same finger for all notes
by sliding it on the handle
In the Django game technique, we find
the permanent use of an attack in
stop at each change of rope (note
is played by a powerful mediator shot of the
top down), technique allowing a
great sonic power, inherited from the times
which he played the banjo The guitarist Romane
we pointed out that because of the frequent
rope changes the most popular times
(the highlights) are divided
very particular way, which contributes to the
rhythmic of musical discourse by giving it
his swing character
For a musician, the lesion of one of the hands destroys the result of a balance
acquired at the cost of a long and laborious apprenticeship, everything is then
redefine. It seems important to clarify that the meaning to be given to this
Rehabilitation, or better rehabilitation, is a means and not an end.
Even if the hand is the performer of the music, it is only the tool.
Django widely uses scales per half
or, in other words, frequently uses
chromaticism * including gladly strings
empty * which is undeniably a
of his signatures
These last two techniques, besides the important
virtuosity that they require
perfect between right mam and left mam) allow
very fast movements on the
handle of the instrument, increasing considerably. / - >> rcAinc
the range of notes available to the GLOSSARY
musician (ambitus) Django to express himself on chromatic succession of semitones
his sleeve was therefore constrained to a certain (non-exclusive definition)
nomadic form Rope vacuum rope played without the use
fingers of the left hand On the
guitar, from the most acute to the most serious one
find mi, if, floor, re, the, mi
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We also notice at Django I used
targeted notes This technique consists of
precede each note by its half tone
This allows to densify the speech
musical either on a vertical plane or on a plane
horizontal Indirect CallIntroduction is
a particularly eloquent example
As described previously, we note
at Django a significant distance between
11 * and 111'digts This feature probably
Of course we can not summarize the game of Django Remhardt
some technical descriptions His work is a profusion
a permanent source of ideas for which the analysis can shed light on the
"How" but never on the "why"
Bandmg on a stringed instrument
increase the height of a note by
lateral tensioning of the rope
Harmonic on a stringed instrument
I fundamental sound emission accompanies
naturally concomitant sounds according to the
laws of harmonic physics L can be
artificially produced by touching the rope
in a particular point
Distance interval between two sounds between
them in our Western music system
we divide the range into 12 semitones
to define unison intervals
second third quarter fifth sixth
and octave
Notes not played but not played
suggested in a melodic line
Voicing organization agreements by
report to others in order to reveal
melodic lines
compensation is largely taken advantage of by
the guitarist in his current game First of all
it allows him to play important intervals
tants (up to the minor third usually
played with the fingers ll and V) which allows him
to use the range half diminished according to a new
calf crab technique If this is the case again
of one of its signatures it is none the less
widely used since Johann Sebastian Bach
composer among the best of
Django (by the way, Bach is not the first
I note also I wide use of the game in
octave at Django prefiguring that of
Wes Montgomery
We have seen many examples of the great
mobility of Django we know that he also used
a technique called abutment or
sweep> to play fast and
successively the different notes of a
one-shot chord of mediator
Finally, we can not deal with melodic discourse
of Django Remhardt without addressing the importance
of the quality of notes played Vibrato legato
dead notes * handing * harmonic * the
palette of the musician was all the more
tee Grappelli brings a part of explanation
<The sills on the handle were very hollow
erosion so much he strongly supported my
this is the secret of its superb sound
(Grappelli et al 1992)
On a harmonic plane Django has some ega
rebuild> the chords he was using
before his injury
Thus, it is the opposite of any conventional technique
he uses the thumb a little on the sixth
rope (the most serious) this technique serves him a
to increase the extent of his agreement
an important functional role in his eyes that
to mark the bass notes to which he
was very sensitive
He uses despite the injury his last two
Fingers essentially in flexion constraint com
these between the neck and the third finger ll is
a variant to this technique in which he
I use only annular which presses two or three
ropes This joint use of the two der
seas fingers has been described as a movement
pendulum or a flail (Marty 2005 p 40)
Two explanations to that First of all we can
think that because of their stress in hyper
extension these last two fingers possess
all the same a certain degree of self bending
nome enhanced by the synergy of the two fingers
Probably this flexing ability
explains the importance of muscle mass
found at the level of the lodge thenar which
implies a significant participation
intrinsic muscles
To stay on a purely musical level
considers that the interval between the two
first strings can be heard as a
right fifth This gap is found in
all the perfect chords so it can be very easy
I use it for its neutrality
Of course he was using in the construction of his
chords his index and his middle finger that were in
do not the pivots but the modu elements
of them Schematically we can
so design anchor agreements> on
edges of the neck by the thumb and IV "and V °
fingers so harmonic subtleties nais
feel on the central strings
We also note at home the use of agreements
short enough to three sounds C is in the years
thirty a fairly modern concept not to
say innovative than to use the most notes
Harmonic Significant This econo
means will be widely used
years later with the appearance of bebcp
Finally we note the scarcity of use of the tech
Conventional Bar
The use of his special agreements
can highlight two consequences
The broadest agreements have introduced
<colorations very particular to the music of
Django with the appearance of intervals * of sixte
and ninth Some authors have seen an impe
ratify what we are only
partially agree (Tordjmann cited by
Antonietto & Billard 2004 p 228) Django
effect can hardly be described as a musician
compromise he has often shown that
imposed on him nothing he did not want so we can
to think that he would never use sonori
which did not seem appropriate to him
So these chords these colors match
has an artistic choice and not a need
On the other hand, the use of more
three notes I forced to use more
d chords To break the "monotony" it creates
chord sequences one to the other
following others (harmonic progressions or
voicmg ") which enriches considerably
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The great Django is often called disabled. To watch from
closer to the etymology of this term, it is perceived that it comes from
vocabulary of the game, and more specifically that of the bookmakers
English. It means the value that the bettor attributes to a horse, value
secret outfit, in the hollow of the mam, mam hidden in a hat.
Django the player would probably have liked that definition, she does
the part beautiful to the secret, until the part is played. That can
to say what was hidden in this hand in cap by listening to him play P
his accompaniment For example, we see
appear at home the use of substitutions *
tntoniques * fifteen years before its generalization
in the boppers And to close the loop, we imagine
easily that these harmonic advances
nourish the melodic discourse of the soloist
Django, the harmonic frame goes from an agreement
by measure to a time agreement, it is therefore
every moment a new idea that arises
We can not of course summarize the game of
Django Remhardt has some technical descriptions
His work is a profusion
permanent idea for which the analysis illuminates
possibly on the "how" ever
on the "why" (Hodeir, 1984. p 149-150) ll
keep in mind that all of these
techniques remains a way and certainly not
a fm, "material" part "of the expression does not
only one with the "spiritual" part "
(Gwtard, 1976) Moreover, it has been said that one of the
characteristics of the soles of D | ango is that they
can almost all be sung, proof
if it was necessary that his music is above all the expression
of this spirit, not limited by this
We could read (and experiment ourselves)
that Django's soles are easier
to play with two fingers (Cruickshank, 1989)
may seem obvious from a technical point of view, for
as much, we can not say that he was thus playing his
music because it was easy
It must be admitted, I Django's work is a
continual questioning Several periods
have marked his career on the form (different
formations) as on the merits His speech is
in perpetual renewal until assimilating the
language of boppers in the fifties,
even if we agree that he was not
one (Fargeton, 2005)
In conclusion, let's give the floor to the interested
"You understand, with my three fingers, I was
obliges me to reinvent all my agreements and I do not
do not mind being stung by my kids
stuff They only have to do like me and look for
They have five fingers, it's easier If
I kept my whole hand, I would play ten times
better I have many agreements in my head that
never again will I be able to do Me finally,
I console myself by telling myself that this glitch has
requires to be more melodic and to play more
soloist only in accompaniment '"
We know the Django guitarist, but we know it
also violinist7
(Williams, 2001), contrabassist
on occasion ", pianist in Samois and we see him posing
with a trumpet, confirming the guitarist's intention
Barney Kessel qui voit en lui un guitariste
un peu a part plus qu'un jazzman En fait, Django
est musique9
ll évolue parmi les génies, les novateurs,
pour lesquels il y a un avant et un apres
« Le guitariste Django Remhardt est le premier
musicien europeen a avoir fascine ses confrères
américains et a bénéficier encore aujourd'hui de
leur admiration » (Legrand, 2003)
L'Ă©tude de sa vie montre un individu Ă©panoui,
une vie entière et pleinement vécue Et c'est
sans doute une des dimensions du miracle
Django Ainsi, Nabe écrit « Django Remhardt
n'est pas un artiste maudit Ça arrive a des
génies tres bien » (Nabe 2003) , sentiment
partage par Williams (2001) et par Bons Vian
(1998) « Django était un si chic type, si peu
prétentieux, si bon copain et si excellent
musicien de surcroît, qu'il est impossible de ne
pas se sentir lèse par sa disparition [ ] Django
n'a pas ete souvent cite dans cette page , c'est
que, comme les gens heureux, il n'avait jamais
d'histoires et sa totale modestie ajoutee a son
immense talent le mettait inévitablement a
l'écart de toutes les "salades" du metier »
En fait Django est tout sauf un bluesman, c'est
un optimiste forcené '° et « ce que peu de
d/angophiles ont compris, [c'est que] le jazz
s'écrivait toujours pour lui au futur » (Antonietto
& Billard, 2004, p 379) Cet optimisme, c'est
sans doute la cle du mystere, le secret de sa
ressource lui permettant de dépasser l'accident
ll est vrai que son intimité nous échappe, maîs
comme il aimait a le dire « ma musique, c'est
mon langage » Tout le reste n'est finalement
que détails
Le génial Django est souvent qualifie de handicape
A regarder de plus pres l'Ă©tymologie de ce
terme, on s'aperçoit qu'il est issu du vocabulaire
du jeu, et, plus précisément de celui des bookmakers
anglais ll signifie la valeur que le parieur
attribue a un cheval, valeur tenue secrete, au
creux de la mam, mam cachée dans un chapeau
Django le joueur aurait probablement
6 Bernard Bataille (temoignage personnel)
7 Vous et moi Integrale Django Hemhardt volume 11 (1940 0942) <
non de Daniel Nevers 1999
8 Premiere idée d Eddie Integrale Django Remhardt volume 11 (1940-0942) •
sous la direction de Daniel Nevers 1999
9 D apres Pierre Luc Puig (temoignage personnel)
10 Et pourtant Django a enregistre un nombre important de blues toujours avec une touche tres personnelle lom des
influences noires (Williams 2001)
Substitution remplacement d'un accord de
quatre sons par un autre du fait de notes
communes Exemples do majeur 6 (do - rm
- sol la) et la mineur 7 (la - do - mi - sol)
Substitution tritonique substitution
s'appuyant sur un intervalle de trois tons
(triton) Jusqu'Ă  la Renaissance, l'intervalle
de triton a ete banni de l'harmonie (diabolus
in musica) sous peine d'excommunication ll
est largement employe par les boppers sur
les V0
• Swing 42 » - Fremeaux & Associes - sous la direc-
' Swing 42 » Fremeaux & Associes
// faut en convenir, l'Ĺ“uvre de
Django est un continuel
questionnement. Many
périodes ont marqué sa carrière
sur la forme (différentes
formations) comme sur le fond.
Son discours est en perpétuel
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Eléments de recherche : LE DILETTANTE ou LE DILETTANTE EDITIONS ou EDITIONS LE DILETTANTE : maison d'édition, toutes citations SAUF
« Django durait eu vingt doigts,
ou quatre bras Ă  la Vishnou,
il n'aurait pas joué mieux, il
aurait seulement joué de
plusieurs guitares en mĂŞme
temps » (Nabe, 2003)
aime cette definition qui fait la part belle au
secret jusqu a ce que la partie soit jouée Qui
peut dire ce que cachait cette hand in cap en
I Ă©coutant jouer f
Si I on reprend la definition de I OMS, le handicap
se conçoit par son retentissement social
Stricto sensu I accomplissement de Django n a
en rien ete altère tout au plus a t il ete differe
Et pourtant a y regarder de plus pres on a le
sentiment que la blessure est plus profonde qu il
n'y parait Outre une phobie du feu aisément
compréhensible on a décrit un individu qui
cache qui dissimule cette fameuse main
Etonnant paradoxe d un personnage qui se
Quelles ont ete les séquelles de la brûlure
accidentelle dont a souffert le musicien Django
Remhardt ? Les lesions de sa mam gauche ont eu
des incidences directes sur son jeu instrumental
Elles sont étudiées a partir des documents
photographiques ou bibliographiques et des
temoignages recueillis par I auteur La cicatrice
retractile pathologique sur le dos de sa main gauche
ayant entraîne un dysfonctionnement des ive
et v
doigts le music en a du decouvrir un nouveau
fonctionnement a I instrument pour pouvo r s exprimer
musicalement et developper une technique
guitanstique particulière
Autoreeducation et désir d expression musicale sont
indissociables Django Remhardt apparaît comme un
musicien inventif dont I Ĺ“uvre foisonnante Ă©tait en
perpétuel renouvellement
MOTS CLES musicien guitare Django Remhardt
mam autoreeducation
savait exceptionnel et qui n en voulait pas moins
ressembler a tout le monde
La mise en perspective avec les thérapeutiques
actuelles permet de penser que Django aurait
sans doute pu bénéficier de soins adaptes,
amenant la question naĂŻve de ce qu il aurait ete
sans la survenue de cet accident Nabe repond
« Django aurait eu vingt doigts ou quatre bras a
la Vishnou il n aurait pas joue mieux il aurait
seulement loue de plusieurs guitares en mĂŞme
temps > (Nabe 2003) Romane précise avec
cette formule « L accident a cree l'accent > En
fait Django n aurait probablement pas ete
meilleur il aurait ete différent Autre trajectoire
de vie autre discours tout simplement
Du rĂ´le du genie ou de celui du travail dans
I aboutissement de ce parcours du musicien,
chacun a son idée Sans doute d ailleurs la
réponse n'est elle pas univoque l'histoire de la
musique et des arts étant jalonnée de parcours
singuliers uniques chaotiques parfois
Ne serait-ce que pour porter une attention a
toute situation analogue qu aucun medecin ne
peut ignorer certain dy etre un jour confronte
auprès de I un de ceux qui lui accorderont sa
confiance le « cas de Django Remhardt mentait
que I on s'y arrêtât
II Romane (temoignage personnel)
Self-RĂ©habilitation Followmg a Burn The Case of
Django Remhardt
What were the after effects of the musician Django
Hemhardts accidentai burn'' The injuries to hts left
hand had a direct impact on his guitar playing They
are studied by the author using photographs
bibliographies and testimonies The abnormal
retractile scar on the top of hts let! hand brought
about the dysfunction of hts fourth and ftfth fingers
which resulted in the discovery by the musician of a
new way of operatmg the instrument to express
himself musically This led hlm to deve/op a special
guilar-playing technique
Self rehabilitation and the désire to express oneself
musically are indissociable Django Remhardt is
perceived as an inventive musician whose abundant
works were being perpetua/ly renewed
KEY WORDS musician guitar Django Remhardt hand
self rehabilitation
ANTOMIETTO (A) BILLARD (F) D/ango Remhardt
Rythmes Futurs Edit ons Fayard 2004
COUGOUL (P ) Mam brûlée et auto reeducation Le cas
de Django Remhardt (1910 1953) these medecine
Touloube lll 2008
CRUICKSHANK (I ) Django Remhardt and the gypsies
Wise Publications 1989 48 pages
DELAUNAY(C) D/ango Remhardt Da Capo Press 1961
247 pages p 43
DISLEY (D ) cite par SPAUTZ (R ) D/ango Remhardt
Mythe et réalité RTL Edition 1983 p 165 166
FARGETON (P) La modernite chez D/ango - Linfluence
du be bnp sur le langage de Django Remhardt entre
1947et 1953 MĂ©moresdoc Editions 2005 142 pages
GELLY (D ) FOGG (R ) Django Remhardt Know the
man play the music Backbeat book San Francisco
2005 144 pages
Mon violon pour tout bagage Ed lion Calmann Levy
1992 p 9394
GUITARD(J L) La marque de Django Jazz Magazine 1976
HODEIR (A) Le solo de Django Remhardt dans Solid
Old Man rn Jazzistiques Editions Parenthèse 1984
208 pages p 149 150
KAPANDJI (Al ) La mam des musiciens Medecine des
Arts 1995 12 13 p 12 18
LEGRAND (A ) Musique Etudes 2003/7 8 Tome 399
p 114 117
LEVAME (J H ) Traumatismes de la ma n Encyclopédie
medico chirurgicale Kinésithérapie Reeducation
fonctionnelle 4/02/2004 26220 B 10 p 1 10
MARTY (P ) Django ressuscite Edition Copedit 2005 94
NABE (M E ) Nuages Edition Le Dilettante 2003 69 pages
PILLET(F) Mam mut lee et musique MĂ©decine des Arts
1996 17 p 7 11
ROMANE SEBASTIAN (D ) Lesprit manouche périple
au pays de la guitare jazz Cansh Musicom Paris 2000
334 pages
SALGUES(Y) Jazz Magazine 1958 n° 33 a 41
SMITH (G) Stephane Grappelli Edition Filipacchi 1988 p 71
TILLE (G ) Histoire de la dermatologie française L Hopital
Saint Louis Pr vat Toulouse 1992 p 384
VIAN (B ) Chroniques de jazz texte etabli et presente par
Lucien Maison Le Livre de Poche 1998 416 pages p 143


  • When going from up to front , text is first english and than french and than english again.

    Google translated that missing part also.

    Here you go

    who sees him as a guitarist
    a little more than a jazzman In fact, Django
    is music9
    He evolves among the geniuses, the innovators,
    for which there is a before and after
    "The guitarist Django Remhardt is the first
    European musician to have fascinated his confreres
    Americans and still benefit today from
    their admiration "(Legrand, 2003)
    The study of his life shows a fulfilled individual,
    a whole life and fully lived And it's
    no doubt one of the dimensions of the miracle
    Django So, Nabe writes "Django Remhardt
    is not a cursed artist It happens to
    geniuses very well "(Nabe 2003), feeling
    shared by Williams (2001) and Bons Vian
    (1998) "Django was such a classy guy, so little
    pretentious, so good friend and so excellent
    musician moreover, that it is impossible to
    not feel lamented by his disappearance [] Django
    was not often quoted in this page, it's
    that, like happy people, he had never
    of stories and his total modesty added to his
    immense talent inevitably put him
    away from all "salads" of the trade »
    In fact Django is anything but a bluesman, it's
    a fervent optimist '° and' what little
    d / angophiles understood, [is that] jazz
    was always written for him in the future "(Antonietto
    & Billard, 2004, p 379) This optimism is
    undoubtedly the key to the mystery, the secret of its
    resource allowing him to overcome the accident
    It is true that his intimacy escapes us, but
    as he liked to say "my music is
    my language »Everything else is finally
    The awesome Django is often called handicap
    A closer look at the etymology of this
    term, one realizes that it comes from the vocabulary
    of the game, and more specifically of the bookmakers
    English ll means the value that the bettor
    attribute to a horse, value held secret, at
    hollow of the mom, mam hidden in a hat
    Django the player would probably
    6 Bernard Bataille (personal testimony)
    7 You and I Integrale Django Hemhardt volume 11 (1940 0942) <
    No Daniel Nevers 1999
    8 First idea of ​​Eddie Integrale Django Remhardt volume 11 (1940-0942) •
    under the direction of Daniel Nevers 1999
    9 According to Pierre Luc Puig (personal testimony)
    10 And yet Django has recorded a significant number of blues always with a touch very personal lom of
    black influences (Williams 2001)
    Substitution replacement of an agreement
    four sounds by another because of notes
    Common examples of major 6 (do - rm
    - ground la) and the minor 7 (the - do - mid - ground)
    Substitution tritone substitution
    based on a three-tone interval
    (triton) Until the Renaissance, the interval
    of newt has been banished from harmony (diabolus
    in musica) under pain of excommunication ll
    is widely used by the boppers on
    the V0
    • Swing 42 - Fremeaux & Associes - under the
    'Swing 42' Fremeaux & Associes
    It must be agreed that the work of
    Django is a continual
    questioning. Many
    periods have marked his career
    on the form (different
    formations) as on the merits.
    His speech is perpetual
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    0040663200508 / GCP / ALZ / 3
    "Django lasted twenty fingers,
    or four arms to the Vishnu,
    he would not have played better, he
    would have only played
    several guitars at the same time
    time "(Nabe, 2003)
    love this definition that gives pride of place to
    secret until the game is played Who
    can say what was hidden in this hand in cap in
    I listening to play f
    If I repeat the definition of WHO, disability
    is conceived by its social impact
    Stricto sensu I accomplishment of Django n
    in no way was it altered at most when it was different
    And yet to look more closely we have the
    feeling that the injury is deeper than he
    it does not appear Besides a fire phobia easily
    understandably one described an individual who
    cache that conceals this famous hand
    Astonishing paradox of a character who
    What were the after-effects of the burn
    accidental that suffered the musician Django
    Remhardt? Lesions of his left mam had
    direct impact on his instrumental playing
    They are studied from documents
    photographic or bibliographical
    testimonials collected by I author The scar
    pathological retractile on the back of his left hand
    having caused a malfunction of ive
    and V
    fingers music has to discover a new
    functioning with the instrument to be able to express
    musically and develop a technique
    special guitanstique
    Autoreeducation and desire for musical expression are
    indissociable Django Remhardt appears as a
    inventive musician gift
  • Lango-DjangoLango-Django Niagara-On-The-Lake, ONModerator
    Thanks, Mustafa. Why is the formatting so weird?
    I live in a little tourist town called Niagara-On-The-Lake, Ontario, Canada, which is about twenty miles north of Niagara Falls.

    If you are ever planning on visiting the beautiful Niagara area, feel free to PM me and perhaps we can get together and do some jamming.
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