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The blues - that is a feeling that makes you feel very bad. The blues'll give you sickness - from there's a pain you've never had. Now here's the way the blues go - it'll jump on you early in the morning. It'll worry you 'til you go to sleep. Then after you fall to sleep, you get to dreamin' them bad old dreams and it give you nothing but the bad old midnight creeps - Lightnin' Hopkins', spoken intro to Blues Is A Feeling

Author Topic: Django Reinhardt Improv #2  (Read 1653 times)

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Offline Montgomery

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Django Reinhardt Improv #2
« on: August 02, 2004, 11:36:48 AM »
This is a little off-topic, but I assume there are some Django fans here.
I'm learning his Improvisation #2.  In the very last section, the coda basically, Django plays a D on the low E string as if it's in dropped-D tuning.  However, this D never sounds anywhere else in the song and it seems pretty clear that he's playing in standard tuning.  Could he be playing a 7 string guitar?  Perhaps he tuned the string down during the brief break before the coda?  Maybe my ear is screwed up?

Yves

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Re: Django Reinhardt Improv #2
« Reply #1 on: August 02, 2004, 12:46:31 PM »
Django plays 6 strings Gtr in standard tuning as all gypsy players
and don't forget that he had only 2 fingers available in his left hand
+ the thumb that he used over the neck to build chords - most of the time same chords building / positions ovre the neck
Have a look to Robin Nolan methods ... he's great with Django music and very simple and check with the recording ... as many French guys addicted to Django's music
So long
Yves

Online Johnm

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Re: Django Reinhardt Improv #2
« Reply #2 on: September 28, 2004, 10:56:10 AM »
Hi Aaron,
I realize this topic is kind of a blast from the past, but I remembered that I had a piece called  simply "Improvisation" on an old re-issue of the Hot Club Quintet on GNP Crescendo.  I just got it out and listened to it, and it must be the cut that you alluded to in your post.  You are exactly right in what you say, both that Django never hits a low D prior to the coda, and that he hits it in the coda, four times, like the tolling of a church bell, before some concluding harmonics.
It is possible that he was in Dropped D for the entire piece and simply avoided hitting the low D note prior to that point, but I think it is far more likely that he quickly and silently (!) re-tuned the sixth string to D in between the conclusion of the body of the tune and the beginning of the coda.
Years ago, I fooled around very briefly with figuring this piece out, and was doing it in dropped-D the entire time.  It doesn't really make things that much harder in the left hand, just a little different.
All best,
Johnm

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