Anyway, here's what I have currently written down for it (Note: the red coloured notes mean nothing, it's some Musescore quirk):

Just wanted to share a little web app I made to help with triad practice: chordflow.net. It's free to use and runs in your browser.

I built it to help me internalize open and closed-position triads through actual tunes rather than isolated exercises. You can generate etudes across a bunch of jazz standards (I imported charts from iReal), and you can also create your own chord progressions.

It works on mobile too (you’ll need to unmute your iPhone to hear the audio), but I recommend using it in a desktop browser for the best experience.

Hope it’s helpful for anyone else working on this stuff, and I'm happy to hear any feedback or suggestions!

– Will

Free to anyone who wants to pay the shipping.

This is a delayed shout out for Christiaan Van Hemert's discord/book/teaching. I have been working on this stuff for maybe 2 years. In 35 or so years of trying to play jazz, it's been the most effective way of learning that I've tried.

For those of you not familiar: CVH has put together a number of books which are collections of licks for different functions (Major/Minor/Dominant/II V/Christoph, etc). This doesn't apply to book I, but all the following books are linked to his discord channel. Part of the purchase price of the book is that you record your exercises and submit them to CVH for his review.

The exercise might be playing 8 II V I licks in a row and then transposing them in 12 keys. It is HARD AF. I think he allows 3-4 mistakes per take. So you get 3-4 mistakes or restarts in like 12 minutes of playing. It seriously is not easy. But by the time you make the recording, you really know them. It has had massively beneficial effects on my playing and my understanding of how jazz works in general.

CVH is really a masterful teacher. The man is, shall we say, opinionated. But the things he has to say are oftentimes dead on and his focus is to get you to play better soon and improve in measurable steps. And he's super effectice. He has surgical vibes in that his advice is usually extremely specific to something you are screwing up. TBH initially I found it jarring because he just says exactly what the issue is and doesn't dance around it (apparently this is a Dutch thing?) but I have realized if I want to get better, he's oftentimes 100% correct in what he's saying. And it isn't mean at all, it's just super specific and direct. And when he does say something nice, and he does, it is massively encouraging.

At the moment I'm doing some of my own transcriptions and trying to extract vocabulary but it's all based on the way that I learned from him. I have been meaning to do a write up about it for a while and I'm remiss in my delay.

I can not recommend enough that you buy the book that interests you the most and really go at it (other than Book I, which is great but doesn't have the Discord integration).

That's all.

P

https://youtu.be/2ENdUoNPOGE?feature=shared

I share a transcription of that solo that i love here :

Tab included. You can also follow the link on the YouTube page for a Musescore sheet for Free. I can send the pdf on demand. Hope you’ll enjoy It !

Musically !

It's gonna take a serious workout to get close this this tempo but it's usable even at a slower pace. I really like how it wraps up in the end, very pretty. I'm playing at half tempo then I sped up my video and matched it with the original for fun.

I have started to post a lot of lesson videos and content on my youtube, here is my next release which will come out tomorrow (6/9):

Gypsy Jazz Lesson: Django Reinhardt Minor Blues lick(1947) (youtube.com)

If you enjoy this content, please like subscribe, comment and share. I have a lot more stuff coming out!

Check out some of my other video too!

Enjoy,

Jimmy Grant

thanks in advance.

I'm having trouble understanding a lick from Django's solo in All of Me.

It's a II-V-I that occurs around 1:00.

Dm G7 C

I---------5-I-8---------7-8-10-I-12---------------

I-------6---I--------10---------I------------------

I-7---7----I----8-9------------I------------------

I-----------I--------------------I------------------

I-----------I--------------------I------------------

I-----------I--------------------I------------------

No problem for the Dm, it is the minor arpeggio.

But on the G7...I'm lost.

This is not the diminished scale of G#.

I was thinking about diminished C# which is sometimes played by Django.

I would like to understand because it sounds really good.

Thank you for your lights!

Philippe

https://jenslarsen.nl/harmonic-minor-scale-7-positions-berklee-system/

https://jenslarsen.nl/major-scale-7-positions-berklee-system/

it's been years since I posted... I have a question: Does anyone know where these licks originate from? Are these Django licks? I've heard Jimmy Rosenberg playing the first of these two licks. But the second one, I can't remember.

Have a great day!

Looking for short Django licks on chords changes and signature licks, i discovered Franki FLB channel on youtube.

I hope you enjoy!

Jose

Hello All - For whatever reason I never was always getting confused about min6 inversions so I created a worksheet to help me out. I thought I'd share it in case anyone else might like to have it.

I understand it's not really the traditional "horizontal" approach to the arpeggios but it has helped me out so I thought I'd share. Of course ignore the fingerings and play them as you prefer.

Maybe it's of interest for somebody on here:

This is my first post here after some months of lurking behind the screen.

I am somewhat new to this genre and to jazz in general, and my knowledge of theory is very limited, so please excuse my ignorance.

I have a question regarding a very common progression of chords that I see in many popular tunes. It usually comes right before the final II V I in the last few bars of the progression.

First song that comes to mind, is "Some of These Days";

In the final A sequence, it begins with a C - C#dim - G - E7 , and then goes into the II V I (A7 - D7 - G).

I am ignorant in the theory aspect, so I just refer to it as a "Pre-turnaround" as it commonly comes right before the II V I turnaround.

So my question is twofold. First, what is this sequence called? is there a common name/phrase for it? What are some of the more famous songs that use it?

Second, I have been having a hard time improvising over this sequence. I was wondering what are some common approaches to phrasing over it. Any examples and suggestions will be warmly welcomed.

Interesting

https://m.youtube.com/watch?v=9pKpX3UU0_g

My name is Dmitry Kuptsov and I would like to introduce an online course by Rino van Hooijdonk in which I took part as a transcriber.

This school shows the “classic” style of gypsy jazz soloing. If you are looking to master the original flair of the Django manner or swing era in general- this course is what you need!

Rino truly is one of the few musicians that has authentic sound and phrasing. 

All tunes were transcribed by me, so that if you have any questions feel free to get in contact. 

And once again in my own opinion these lessons are great for learning the “classic” Django style.

The course is located on Soundslice platform.

Rino van Hooijdonk - Tools for melodic soloing

https://youtube.com/playlist?list=PL01jcw_XV56m1QKsSTPt3MD3_XCIFcDFl

"BEBOP LICKS FOR GYPSY JAZZ GUITAR". We will learn some cool licks to give a Bebop sound to your guitar solos.

Make sure you select "I'm Going" to be notified when we go live!

There will be a Q&A session after the lesson where you will be able to ask any question.

The lesson will be live on FB in the Gypsy Jazz Guitar Club group: https://www.facebook.com/groups/gypsyjazzguitarclub/

(let’s assume we’re in G)

so, either bVI7 / V7(b9) / ... (I) or (preceded by their respective ‘ii’s - b3m7/bVI7 / iim7b5/V7b9 ... (I))

Is it best to treat them independently as isolated non-diatonic ii/Vs i.e. Major ii/V in Ab / minor ii/V from the parallel minor of G and try to connect the lines convincingly..? (I mean, I don’t see that there’s much other choice...?)

Is there a specific scale that ‘works’ on the bVI dominant, I’ve tried Lydian dominant and it doesn’t seem ‘perfect..’ Wondering if there’s a ‘secret’..?

everything I play seems ‘shoe-horned to fit and doesn’t flow particularly well ‘melodically’.

may well be to do with a lack of talent! 😩😂 but would love to know if there’s a clever ‘trick’ to make up for that!!

(Maybe I'm thinking about the harmony wrong? I see different charts label it differently..)

This is one of my favorite GJ recordings (this version in particular) and Jon is one of my favorite GJ guitarists, so I thought it was appropriate to transcribe Jon for my first Soundslice slice.

If anyone sees any errors/edits in the transcription, please let me know and I will update it.