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Dark Eyes

AmpsmasherAmpsmasher Oakland, California✭✭✭ Christelle Caillot
edited March 2005 in Technique Posts: 51
hi, im wondering, i am having trouble finding arpegios, or scales to play over tunes in dark eyes, I learned djangos 1941 solo to it, but have trouble finding where to use pieces from it.
I noticed u post on that otehr forum, I was teh guitarist that butchered dark eyes ( with the bird in the back round).
I already noticed many of the problems on my solo in that video. I just need help with building a solo, and what to use to build it

Comments

  • dennisdennis Montreal, QuebecModerator
    Posts: 2,068
    well... if you are really serious about this style, then you might want to take a look at the technique django used (as it does affect the way you approach improvisation)....

    get the Gypsy Picking book by Michael Horowitz from the djangobooks.com site.

    the 1941 solo is quite difficutl, in my opinion even more difficult than the 1947 one... but you should be able to isolate each phrase... try doing that with the first chorus... isolate each phrase and study how they relate to the harmony and where they begin (rhythm/form).

    It's too much to write, (and too much to give away for free :lol: :lol: ) but the way most gypsy guitar players (including django) approach improvisation is through chord shapes, they see chord shapes accross the fretboard and base their ideas (scales/arpeggios) around such shapes....

    here's an exercise that can might help... use NOTHING but the top four strings.... for the first chorus, limit yourself to a range between the 3rd and 6th fret... do NOT go beyond this range... now play the chords to the tune in this position, make sure all the important chord tones are there before you add anything fancy

    for the next chorus, do the same thing within the 5th-8th fret range...

    then the same thing for the next chorus 9-12th fret...

    this exercise forces you to properly voice-lead the chords and if you isolate each chord tone , you can see how each note in a chord resolves to the next

    etc... etc..

    if you have trouble doing this or are hesitating with the chord shapes, then you know what to do.... work on it!

    the next step is to improvise aroudn the shapes you came up with.... you can allow more freedom in arrange (maybe a 5-6 fret range) to allow chromatic approach tones and other tricks...

    good luck
  • nwilkinsnwilkins New
    Posts: 431
    The approach Dennis describes is covered in great detail in Stephane Wrembel's new book.
  • dennisdennis Montreal, QuebecModerator
    Posts: 2,068
    really?? cool !.... the book is published by mel bay so it should be fairly easy to find....get it!

    edit: i just checked out his website, he finally made some of the tracks from his second available... i heard the whole thing when i was staying at jared's place (bass player) man was i floored.... i hope he puts the rest online soon....
  • KcoxKcox Montreal, QCNew
    Posts: 110
    I'm not an expert player but I've seen some great ones play and one fault I noticed in your technique is that you are bending the knuckle on your thumb fairly often. I'm pretty sure your thumb should be locked in place and using the knuckle to lever the pick into the string is incorrect.

    Oh, and I think your rhythm player is leaning a bit too heavily on the bass note in the first beat of his or her pompe. Try for a more full-necked sound. Maybe it's just the recording, but it really stands out.

    Hope that helps,

    Kevin
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