Django played everythingeven balladswith
a fiery intensity, says Jorgenson. Thats the Gypsy
element.
7 8 GUITAR PLAYER SEPTEMBER 2002
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PH OTO : RU S T Y RU S S E L L
ohn Jorgenson has a highly eclectic rsum.
The masses know him as the lion-haired guitarist in Elton Johns band, but hes also a session cat who tracks guitar, mandolin, pedal
steel, and saxophone for the likes of Barbra
Streisand, Marty Stuart, Bob Seger, and Bonnie Raitt. Loyal GP readers know that Jorgenson cofounded the Hellecasters with fellow
twangers Will Ray and Jerry Donahue.
PH OTO : G P A RC H I V E S
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SEPTEMBER 2002 GUITAR PLAYER 7 9
The Manouche Guitar
MODERN GYPSY-JAZZ GUITARS,
or guitare manouche (named in honor of Djan-
And some will remember Jorgenson from his
days in the Desert Rose Bandan outfit that
scored numerous Top Ten country hits.
But years before he embarked on any of
these musical adventures, Jorgenson was playing Gypsy jazz on a Selmer 6-string in the L.A.based Rhythm Brothers. For more than two
decades, he has continued to hone his Django Reinhardt-inspired chops, and, in the
process, earned a rep in Europe as one of the
few Americans who can truly wail on a
manouche guitar.
BUILDING HARMONIC ENERGY
If you want to explore Djangos music,
says Jorgenson, a good starting point is his tune
Minor Swingits the Proud Mary of Gypsy
jazz. Minor Swing has a 16-bar progression
thats divided into two, eight-bar sections
[strums Ex. 1]. In this style of music, you generally play minor chords as minor-6th voicings. Right away, this gives you that hot sound.
Were in the key of A minor, so Am6 is the Im,
Dm6 is the IVm, and E7 is the V. Instead of
playing these chords as four-note voicings, try
go Reinhardt and the Manouche Gypsies of Belgium and Northern France), stem from an instrument designed by classical guitarist and inventor Mario Maccaferri. From 1932 to 1934,
Maccaferri built instruments for Selmer, a
woodwind manufacturer based in Paris.
The original Selmer Maccaferri guitars
had a 12-fret neck, a D-shaped soundhole, and
an interior resonating chamber, says Jorgenson. Later, when Maccaferri and Selmer
parted ways, Selmer switched to a 14-fret
neck, removed the chamber, and changed the
soundhole to an oval shape. Django played that
model until his death in 1952.
In Fig. 1, Jorgenson points to his custom
Duponts floating tailpiece and moveable
bridge, which resemble those of an original
Selmer Maccaferri. (Peer into the Duponts
soundhole, and youll see one wall of its interior sound chamber.) Selmer-style guitars also
have a cutaway, a slotted headstock, and an
uncarved top and backwhich are glued to
curved braces to create a subtle arch. Manouche
guitars are built of thinner woods and employ lighter bracing than typical flat-tops.
Fig. 2 shows a real tortoiseshell pickthe
traditional choice of Gypsy-jazz guitarists.
Years of playing have worn the beveled edge
on this small, stout, unyielding pick. Because the
tortoise is a protected species (and its shell is
outlawed in the U.S.), several manufacturers are
making surrogates designed to closely match
the shape and stiffness of the real McCoy. Jorgensons three favorite subs are the Wegen,
Dunlop Stubby, and Dunlop 206 (shown leftto-right in Fig. 3).
Special strings contribute to the Gypsy-jazz
sound, Jorgenson explains. The wound strings
Ex. 1
Fig. 1
Fig. 2
Fig. 3
are made with silver-plated copper wire thats
wrapped around a thin steel core. Typical sets
are gauged .010-.045 or .011-.046thats light
for an acoustic guitar. Europes most popular
manouche strings are Argentine New Concept made by Savarez. American manufacturersincluding John Pearse and Guadalupe
Custom Strings are also starting to produce
manouche strings. Thats good news, because
Selmer-style guitars sound harsh and brittle with
standard acoustic bronze strings.
AE
(Im)
(IVm)
(V)
( VI)
(V)
(Im)
Am6
Dm6
E7
F7
E7
Am6
4
4( )
( )
( )
( )
( )
( ) ( )
Dm6
Am6
E7
B 7
Am6
F7
E7
9
PH OTO S : A N DY E L L I S
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SEPTEMBER 2002 GUITAR PLAYER 8 1
four-note voicing yields the 5, 3, b7, and root.
Dump the top note, and you have 5, 3, and
b7. This time, the two most significant tones are
the 3 (which gives the chord its major sound),
and the b7 (which imparts a dominant flavor).
Together, the 3 and b7 create a tritonethe
core interval that defines a dominant-7th chord.
Things get fun when you start using passing chords, continues Jorgenson. By playing
Bb7 and F7 in bars 14 and 16 of Minor Swing,
you set up half-step resolutions that create
tension and release. For even more color, use
diminished-7th chords as stepping stones from
the Im to the IVm or the IVm to the V.
Examples 2b and 2c show both the four-note
and three-note fingerings of these passing
chords. Take a look: Bb7 (Bb, Ab, D, F) is voiced
root, b7, 3, and 5. Drop the top note and you
have the root, b7, and 3. This abbreviated
arrangement still contains the dominant 7s
essential b7 and 3. For F7, simply shove the
previously mapped E7 up a fret.
The three diminished-7th chordsBdim7,
Cdim7, and C#dim7all share the same
four-note structure: root, 6 (technically speaking, a bb7), b3, and b5. When you shave off the
stripping them down to three-note shapes
played on the sixth, fourth, and third strings, like
this [plays Ex. 2a]. Do you see how the shapes
are the same, whether youre playing a minor
6 or a dominant 7?
When you analyze Ex. 2as harmony, it becomes apparent why these chords are interchangeable. Take Am6, for instance: The fournote voicing (A, F#, C, E, low to high) provides
the root, 6, b3, and 5. Drop the top note, and
youre left with the root, 6, and b3. The two
most significant chord tones are the b3 (which
supplies the minor sound), and the 6 (which
gives the harmony its unique sonic color). The
same principle applies to Dm6.
With E7 (B, G#, D, E), the chord tones are different, but the concept remains the same. The
top chord tonethe b5you lose the one note
that truly defines the diminished sound. But
some sleight-of-hand is allowed when dealing with fast moving passing chords. In this
case, momentum coupled with the suggestion
of diminished harmony is enough to create
the illusion.
You can approach Dm6 chromatically with
these abbreviated diminished-7th voicings,
says Jorgenson as he plays Ex. 3a. To keep
the rhythm crisp, make the Am6 and Dm6
chords staccato. Notice how youre using the
same grip for all five chords? Thats the beauty of this voicingits so versatile. You can also
descend chromatically from Dm6 to E7 by way
of the diminished chord [plays Ex. 3b].
ARPEGGIO POWER
When it comes to improvising single-note
lines, it pays to know your arpeggios. Theyre
Bdim7
Cdim7
C dim7
Ex. 2a
Ex. 2b
Am6
Dm6
F7
1
4
2
3
1
3
4
2
3
2
10
10
9
10
5
4
5
5
7
6
7
10
9
10
6
7
6
6
7
6
7
Ex. 3a
Ex. 2c
B 7
3
3
1
5
5
4
5
T
A
B
E7
1
3
1
2
6
8
7
8
7
6
6
6
7
6
7
8
7
8
7
8
7
8
7
6
7
8
7
8
8
9
8
9
9
8
9
Ex. 3b
= 132-184
Cdim7
(IVm)
Bdim7 C dim7 Dm6
(Im)
Am6
()
44
3
1
T
A
B
5
4
5
5
4
5
7
6
8
7
9
8
10
9
10
= 132-184
C dim7
(V)
Cdim7 E7
(IVm)
Dm6
44
3
1
T
A
B
10
9
10
10
9
10
10
9
10
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7
7
6
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SEPTEMBER 2002 GUITAR PLAYER 8 3
against Ex. 4bs Dm6, its 9-b9-root (E-Eb-D). For
the sake of convenience, weve notated these
moves with three-digit fingering. Because Django only had full use of his 1st and 2nd fretting-hand fingers, he would typically slide one
finger up or down the fretboard to generate
chromatic motion. While its not necessary to
play Django-inspired lines with only two fingers, doing so can help you decode his unique
fretboard patterns.
This is especially true of arpeggios, elaborates Jorgenson. When I pull a lick from one
of Djangos records, I try to determine where I
can play it with two fingers, because then its
more likely to be in the position that he used.
There are many ways to finger the notes in
this E7 lick, for example [plays Ex. 4c], but this
particular pattern feels right. Basically, weve got
an E7 arpeggio [E, G#, B, D or 1, 3, 5, b7] enhanced with four color notes [Bb, C#, D#, F# ,
or b5, 6, 7, 9]. If you look carefully, youll see how
the notes seem to fall in pairs. Thats a hallmark
of Djangos two-finger lead style, and it gives you
crucial to Gypsy jazz, states Jorgenson. For instance, lets try a line over Am6, the first chord
in Minor Swing [plays Ex. 4a]. Theres a chromatic moment on the second string, but otherwise the line comes directly from an Am6
arpeggioA, C, E, and F#. For an authentic
sound, use a quick, singing vibrato. Over Dm6
the IvmI might do something like this [plays
Ex. 4b]. The framework is a Dm arpeggioD,
F, and Awith extra color provided by E and Eb,
the 9 and b9, respectively. Again, we get some
chromatic motion.
Lets take a closer look. Against Ex. 4as
Am6, the chromaticism is 5-#5-6 (E-F-F# );
CHANNELING
DJANGO
WHEN PLAYING GYPSY-JAZZ LEAD
lines, Jorgenson picks near the bridge for a
barky, vibrant tone, and he favors a two-fingered fretting technique similar to Reinhardts (FFig. 1). Djangos left hand was
burned in a caravan fire when he was 18,
says Jorgenson, but that didnt stop him from
mastering the guitar. He could play so fast
with his 1st and 2nd fingers that many of his
lines go by in a blur, yet every note is strong
and consistent.
For comping, Jorgenson arches his wrist
slightly and strums closer to the soundhole
(FFig. 2).
AE
Ex. 4a
= 132-184
Swing feel
(Im)
Am6
44
3
2
T
A
B
5 7 5
Fig. 1
Ex. 4b
= 132-184
Swing feel
(IVm)
Dm6
4
4
3
T
A
B
(7)
Fig. 2
Ex. 4c
(V)
E7
= 132-184
4
4
3
Swing feel
T
A
B
PH OTO S : A N DY E L L I S
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SEPTEMBER 2002 GUITAR PLAYER 8 5
this lick [plays Ex. 5c], chord tones act as bookends. We start with the b7 [D], and work down
to the 3 two octaves lower. Django loved to
work the b5 to 6 shift into his phrasesits
one of his key moves.
currence of accidentals in this example and
make it easier to read, weve written the b3
and b5 enharmonically as G# and B.
Diminished-7th arpeggios are slippery, admits Jorgenson. Any note in the pattern can
function as the rootit really depends on
where you start playing. Like in this V-Im line
[plays Ex. 6b], its easiest to analyze the ascending arpeggio as a G#dim7 [G#, B, D, F or
1, b3, b5, bb7] simply because were starting on
G#. Conceptually, imagine that youre launching the diminished sound from E7s 3. This
approach works for any V-Im cadence.
Jorgensons Gypsy-jazz phrases rise and
fall like waves. What goes up, should come
down, he says, playing the next three V-Im
examples, each of which ascends over E7 and
descends over Am6. Even though these licks
DIMINISHED STRATEGIES
Diminished sounds play an important role
in Gypsy-jazz lines. Say you have an E7-Am6
change, Jorgenson details. Thats a V-Im cadence. To build tension before heading into the
Im, try arpeggiating a diminished chord whose
root is a half-step above the V7. In this lick
[plays Ex. 6a], we launch into an E7 arpeggio
from a half-step below [D#], then roll through
an Fdim arpeggio, and finally tag Am6s root.
Wicked theory alert: The notes in Fdim are
F, Ab, and Cb, or 1, b3, and b5. To reduce the oc-
a really strong, even sound.
To glue an arpeggio-based run tightly to
the underlying harmony, end on a chord tone,
as in Examples 5a and 5b. In both cases, we
start with a dissonant b5, says Jorgenson, but
the last note resolves inside E7, the chord of the
moment. Notice, however, that were not targeting the root. The 5 or the 3 [B or G#] offer a
sense of resolution without being too final. In
Ex. 5a
= 132-184
Swing feel
(V)
E7
44
3
3
7 9 7
T
A
B
Ex. 5b
Ex. 5c
= 132-184
Swing feel
(V)
E7
44
3
3
7 9 7
T
A
B
44
3
10
9 7
T
A
B
Ex. 6b
= 144-200
Swing feel
= 144-200
Swing feel
(V)
E7
(Im)
Am6
44
3
T
A
B
(V)
E7
Ex. 6a
= 132-184
Swing feel
10
10
(V)
E7
(Im)
Am6
4
4
3
1
T
A
B
10
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10
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SEPTEMBER 2002 GUITAR PLAYER 8 7
Ex. 7a
= 144-200
Swing feel
(Im)
Am6
(V)
E7
44
3
begin the same the wayby stepping through
a G#dim7 arpeggiothey differ in their endings.
Ex. 7a], or b3 [E
Ex.
You might land on Am6s root [E
7b], or 6 [E
Ex. 7c]. Such subtle tweaking lets
you get a lot of mileage from a given arpeggio
pattern.
T
A
B
10
10
12
13
12
10
10
Ex. 7b
BAUBLES AND BANGLES
Ornaments offer another way to create
variety, explains Jorgenson. Compare this
double grace note [plays Ex. 8a] to a sixteenthnote triplet [plays Ex. 8b], or this phrase [plays
Ex. 8c ]. The notes are identical in each instance, but the different ornaments alter the
rhythm, which, in turn, puts the emphasis on
different pitches. If youre ambitious, you can
spin one line into two or three new ones by
= 144-200
Swing feel
(V)
E7
(Im)
Am6
4
4
1
T
A
B
10
10
12
13
12
10
10
Ex. 7c
= 144-200
Swing feel
(V)
E7
(Im)
Am6
44
3
1
3
T
A
B
10
12
10
12
8 10 8
10
10 7
Ex. 8b
Ex. 8c
Ex. 8a
Freely w/ swing feel
(Im)
Am
44
3
1
3
8 10 8
T
A
B
10
10
8 10 8
10
8 10
10
10
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SEPTEMBER 2002 GUITAR PLAYER 8 9
simply applying various embellishments.
To illustrate, Jorgenson plays Ex. 9a. First
try this Dm6 arpeggio with a grace-note hammer and pull. The slurs are really fast and very
decorative. For a more rhythmic approach,
try the D-E-D move as sixteenth-note triplets.
Ex. 9b is another Dm6 line that can be in-
Ex. 9a
ENCIRCLING CHORD TONES
At times, Django would create chromatic
colors in his lines by approaching a chord tone
from its adjacent neighbors. Jazzbos refer to this
technique as encirclement.
Lets say youre making the transition between E7 and Am6, says Jorgenson, playing Ex.
11a, and you want to target Ethe 5 of Am6
on the downbeat of bar 2. In the last beat of bar
1, play F and Eb, which respectively lie a halfstep above and below the target note. This sets
up tension against the underlying E7 chord
thats released the moment you cross into Am6
Ex. 9b
= 132-184
(IVm)
Dm6
12101210
12 10
T
A
B
10
44
3
= 132-184
(IVm)
Dm6
4
4 3
3
T
A
B
12 9
9 89 8
Ex. 10a
ger [plays Ex. 10b]. Were moving from E7s 3 [G#]
to Am6s b3 [C] in this V-Im phrase.
terpreted in several ways. You get a fluttery
sound when you play the half-step slurs as
grace notes, says Jorgenson. For more drive,
play the A# - B - A# move as sixteenth-note
triplets. You might be tempted to use three
fingers on the chromatic sections, but if you stick
with two fingers, youll get closer to Djangos
sound. Sometimes he would play a series of
chromatic notes with one finger. The trick is to
apply enough fretting pressure to keep the
string vibrating as you bounce over the frets, but
not grip so hard that you have trouble gliding
along the string. In this Im-IVm line [plays Ex.
10a], Im using one finger to chromatically descend from Am6s root to Dm6s b3 [F]. You
can also ascend chromatically with one fin-
9 8 9 8 7 10
Ex. 10b
= 144-200
(Im)
Am6
Swing feel
(IVm)
Dm6
(V)
E7
(Im)
Am6
( )
44
44
( )
2
= 144-200
Swing feel
T
A
B
T
A
B
10
Ex. 11a
= 144-200
Swing feel
(V)
E7
(Im)
()Am6
4
4
3
T
A
B
10
12
10
13
11
12
10
10
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SEPTEMBER 2002 GUITAR PLAYER 9 1
Ex. 11b
= 144-200
(V)
E7
Swing feel
(Im)
Am6
44
( )
3
territory.
Or try this line [plays Ex. 11b]. Were again
using F and Eb to target E, but, this time, its functioning as E7s root. The cool thing about these
half-step approaches is that youre able to retain the simplicity of an arpeggio-oriented technique, yet play some very jazzy tones.
Youll get a similar effect playing through
the bII-Im change in bars 14 and 15 of Minor
Ex. 12a]. After cruising over E7 with a
Swing [E
descending G#dim7 arpeggio, simply arpeggiate
Bb7 before resolving to Am6s root. Two of
Bb7s chord tonesBb and Ablie a half-step
away from the target A. Its an arresting sound.
As an encore, Jorgenson plays Ex. 12b ,
which features an Fdim7 arpeggio over E7 (bar
1) and revisits the bII-Im, Bb7-Am6 encircling
technique (bar 2).
MORE MANOUCHE MUSIC
Gypsy jazz is huge in Europe, says Jor-
9 2 GUITAR PLAYER SEPTEMBER 2002
T
A
B
10
genson. The style is really alive and evolving,
particularly in Holland, Belgium, France, and
Germany. When I first started playing this music 20 years ago, it was hard to find information
about it here in the United States. But today, interest is growing rapidly, partly because of the
Internet and chat rooms. You can order virtually any European Gypsy-jazz album from the
web, and many American cities have their own
Hot Club bands patterned after Djangos
Quintet of the Hot Club of France.
The standard-bearer of the manouche
technique is Stochelo Rosenberg. Angelo De-
guitarplayer.com
barre is another great player, and Bireli Lagrene was hot when he was only 10 years old.
He has a phenomenal mastery of Gypsy-jazz
music. Sintis Jimmy Rosenberg is really young
with amazing chops, and for composition and
swing, I really like Romane. He pushes the
boundaries by mixing sambas and bossas with
Gypsy jazz. All in all, its a great time for exploring
Django and Gypsy jazz. Youll find the music offers ideas and techniques to keep you inspired
for years.
For info on Jorgensons upcoming Djangoinspired solo CD, visit johnjorgenson.com. g
Ex. 12a
= 144-200
(Im)
Am6
44
Swing feel
(V)
E7
( II)
B 7
13
10
T
A
B
12
10
10
Ex. 12b
= 144-200
(Im)
Am6
44
( )
Swing feel
(V)
E7
( II)
B 7
T
A
B
10
12
10
13
10
11
10
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SEPTEMBER 2002 GUITAR PLAYER 9 3
