This is a public version of the members-only Gypsy Jazz & More with Andreas Oberg, at ArtistWorks. Functionality is limited, but CLICK HERE for full access if you’re ready to take your playing to the next level.

These lessons are available only to members of Gypsy Jazz & More with Andreas Oberg.
Join Now

Guitar Basics
Introductory Guitar Concepts for All Players
Tricks & Techniques
An Assortment of Techniques for Specific Playing Situations
Jazz Basics
Introductory Jazz Guitar Concepts
Jazz Advanced
Advanced Jazz Guitar Concepts
Gypsy Guitar
Concepts and Techniques for Playing the Gypsy Style
Lick Breakdowns
Detailed Analysis of Specific Licks and Melodic Ideas
AGU Tunes
30 Day Challenge
«Prev of Next»

Jazz & More Guitar Lessons: Django's 1-6-2-5 Approach

Lesson Video Exchanges () submit video Submit a Video Lesson Study Materials () This lesson calls for a video submission
Study Materials
information below
Lesson Specific Downloads
Play Along Tracks
Backing Tracks +
Additional Materials +
resource information below Close
Collaborations for
resource information below Close
Submit a video for   
Jazz & More Guitar
information below Close
Course Description

This is only a preview of what you get when you take Jazz & More Guitar Lessons at ArtistWorks. Sign up today for unlimited access to all lessons, plus submit videos to your teacher for personal feedback on your playing.

CLICK HERE for full access.
Gypsy Guitar, Django's 1-6-2-5 Approach.
Just as I did in the jazz basic chapter.
I will speak about a progression
that is really common 1-6-2-5.
I had 2-5-1 and
2-5-1-6 in the just basic program.
Here we got one we in the key of D now,
a typical key for a gypsy jazz.
Because it's very suitable for
violin like G and D and E keys like that.
So D.
[SOUND] You have D, D major.
We have B flat minor.
7th, we have E flat.
E minor 7.
[SOUND] And A7.
Like that.
This is starting off 1-6-2-5.
a bebop player would try to
outline all these chords.
Like that.
But Django didn't do like that.
He, he had his own approach to this.
[SOUND] the basic thing is that
he will play like D major.
All the time or
he could add a [SOUND]
minor third.
Or do like that like I did there
adding the minor 4th.
4th minor.
So instead of playing D here,
D major, D major on this chord.
But on these two chords,
[SOUND] E minor 7 and A7.
He used the 4th minor 6th chord.
That would be [SOUND] G minor 6th.
Like that and it's
kind of an interesting
sound playing in
between this chord,
D major [SOUND] and
G minor 6th.
[SOUND] D Major and G minor.
[SOUND] It goes like this.
It's like a classical thing.
Or he had another option,
he used D diminished or
F diminished or [SOUND] A flat diminished.
[SOUND] Or B diminished.
[SOUND] Or the whole progression.
One other thing.
He used to the tritone substitution.
So instead of [SOUND] E minor 7, A7.
He used the E flat 7 or E flat 9.
So now I'm going to use these ideas.
Just playing D major is the first one.
The second one is playing between
D major and G minor, G minor 6th.
Third one is using the D diminished or
F diminished, A flat diminished or
B flat diminished.
Or the fourth one is using
the tritone substitution.
So here we have some rhythm backing
tracks in D major 1-6-2-5 for
Django's approach to rhythm change or
Here we go.