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Guitar Basics
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Concepts and Techniques for Playing the Gypsy Style
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Jazz & More Guitar Lessons: “Oh, Lady Be Good!”

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Tune-Based Instruction,
" Lady Be Good" Chords.
Django Reinhardt was using
a very special kind of voicing.
'Cause his fingers, like the third and
fourth finger on his left hand,
they were crippled.
So, he couldn't move them.
So, he could maybe like,
put them on like this.
Doing, barring over, like, two strings.
So many of, for many of these voicings,
you're finding this interval for
the top strings.
A fourth interval, a perfect fourth.
So this is a, a typical Django chord.
You're, like pressing down the G with
the thumb, then two notes with this finger
Both pressing down the G,
The second finger, and the F, I'm sorry D.
G and D are 5th position,
fourth and fifth string.
And then you add,
a B on 4th position, third string.
And then you bar over with
your third finger up there.
So it will sound like this, over E and A.
you want to learn how to play the rhythm
and how to play the chords you can go back
to the gypsy jazz block, and
study it from the beginning.
I'm teaching a lot of
different rhythm styles.
I'm also teaching the soloing.
How to use the pick and
get that specific sound.
This is more like a just
a breakdown on the actual chords.
For the second chord you can do like this,
It's also a nice chord.
You do like a C7.
You can also add the 9, and the 5th.
press down, with this finger you
can press down the G as well.
So within this style,
sometimes some of the chords,
you don't have to have
the root as the lowest note.
You can have another note.
Like in this case, the 5th.
[SOUND] But you're still starting,
still sounding like a C7 even
though it could be a G minor 6.
[SOUND] But,
see if you're playing the C as well, it,
it just makes it sound a bit fat, fatter.
So we had a first chord.
For the first chord, if you wanna make it
simpler if you have problems doing that,
you could play just D, G, D, and E.
You can add.
[SOUND] And for the second chord,
you could just move this finger to B flat.
G with B as the bass note, bass note.
G 7th position, sixth string.
And now the B of course, then the root
G on the fourth string 5th position,
and then up on 7th position we have.
The D.
Then we just move these two,
the top note and the base note.
To get the B.
This could be like a B flat diminished.
Or a B mi, flat minor 6th.
But in this case it's, it's a feeling of,
it's like a B diminished.
You could add that E too, but.
So B flat diminished.
Then A minor.
For the original maybe they were just
using like, D7, but
you can use A minor here.
A minor,
7th, A.
G and C.
And then you can change for
the next chord.
Can just do D, F sharp, and C.
Or if you want to play
both those bass notes.
Putting your second finger over the sixth
string as well.
That might work or
if you just want to do this.
Without the D, but
it still sounds like a dominant,
'cause you're moving this.
[SOUND] And then back to, [SOUND] So,
the turn around you can go back
to the G chord and then maybe.
We do a D
D, F sharp, B flat, and D.
We'll put D on top.
It's nice.
Same thing.
Then, G7.
F, and B.
You can put D flat in there as well if you
want to have a, like, a more modern chord.
Like a tritone substitution.
Django was using at times, actually.
a C.
Same kind of voicing,
barring over there on top.
C, E, A, D, G.
You could a,
actually do like this as well.
G, D as the bass notes.
E and A.
And the chord is supposed to be a C6 9.
So, whatever you choose.
C sharp diminished.
C sharp, G, B flat or, and E.
Then, it's moving these two up.
You're back at that G chord.
D, G, B, and E.
Then A.
Once again, you don't have to have the A
as the root, you could add it to the sum,
but it's not necessary.
So C Sharp fifth string 4th position.
G, next string.
B and E on top like A and 9.
Then a D7 again, or
you can play it like this, or this D9.
If you wanna do a.
Augmented once again will be fine,
back to the A section.
So, as you notice I don't play.
I don't always play full chords.
Sometimes I just play down here using the,
the bass strings.
And that's pretty cool, you know,
you get a fat sound since the rhythm
guitar is actually replacing the drums.
So, you don't have to play
these full chords all the time.
Sometimes it's more for the solo player.
You play.
Those rhythmical.
Chord voices up here.
So, check these chords out and
if you have any questions,
you can just ask me in the forums.
Or you can send in a video while you're
playing rhythm and solo for this song.
You have the backing track just under the,
this AGU lesson.
Thank you.
Tune-Based Instruction,
" Lady Be Good" Melody.
I'm gonna do a breakdown of
the melody of Lady Be Good.
And, as you know within this gypsy style.
It's important, yet correct gypsy sound.
The powerful sound.
It's good to use rest strokes.
Or, it's necessary to use rest strokes.
You let the pick fall
when you play a note.
[SOUND] You let the pick fall and,
and rest it on the next string.
And, when you're not playing,
like, fast stuff,
you can just work with down strokes.
Maybe, an up stroke here and there but
you get such a more fat sound from, from
the down stroke compared to the upstroke.
So, let's start with a melody.
D, you can, you can play all over the neck
but for instance D, 10th position.
[SOUND] 8th and 7th position C and
D on the first string.
D again.
D, B, G, and D.
I'm just using down strokes here.
I'm like sliding
Doing like, something like that.
You can do going up as well.
Then, E, D, D flat.
A, not B flat, I'm sorry C.
E, C, A,
B, and G.
Same thing one more time.
I'm using downstrokes.
And, the bridge, E up here.
E, 12th position, first string.
14th position.
Back to E F sharp back to E.
E, D, C sharp, D.
You can, of course,
if you wanna add some up strokes.
If you think that's easier in between
when you're on, still on one string.
You could do, you know,
alternating picking.
it works fine with only down strokes.
Well [SOUND].
Then, it's B,
you can do like that, B.
Alternating or use down strokes.
14th position third string, B.
I'm sorry, A, A, G, A or.
That's an option.
You can do it like that.
That's also an option.
And then, back to the A section.
So, let me play the whole thing.
Sliding up.
You can do an octave here if you like.
That might be an option.
You can bend up a note.
Instead of the D you can bend up,
start on C sharp, [SOUND] bend up.
So, that's the basic melody.
Tune-Based Instruction, " Lady Be Good!"
Solo Part 1.
It's time for me to break down some
of my solo ideas for this song.
And as you may know back in
the days when Django played,
you know, that, that time,
jazz was more about, you know,
using triads in arpeggios and
not that much scales in a sense.
That has like, like come much later.
So these days within gypsy jazz,
you will even hear some scales and
chromatics and Django used a few scales,
like the whole tone scale and
the diminished arpeggio and
some of that stuff.
But apart from that,
he played a lot aro, around the triads.
And he didn't use that much of like a,
a major 7th.
He was using more.
Maybe the 6th instead.
'Cause all the chord voicings,
they were like.
6th chords, instead of major 7th.
This sound.
You hear, you hear here, this sound.
Instead of this.
This is a different sound.
So, for the first chord,
you could work around the G triad.
B, D.
And G.
And you can also add the E.
The 6th.
Pretty cool.
Of course, you can also use the major
7th if you like that sound of the.
If you want to add a,
a little bit more of
a modern flavor to it.
Hm, you can also use the scale.
I mean, the G major scale.
It works.
It even works to like,
put chromatics in there.
I do it sometimes.
And so on.
But if you want to keep it basic you.
And for the next chord,
then you play around the G major scale,
not the scale the triad.
And for the next chord.
You just adjust it note, that note.
Change it to this note.
So change that G6 arpeggio to D.
B flat.
And D.
And you get this sound.
This is actually,
if we have a C, a 7 chord.
This is a 9th.
The dominant 7th.
The 5th.
And the 3rd.
So it's like a,
the 9th is replacing the root.
really a nice sound to that arpeggio.
You might also notice that the notes
are the same as an E minor,
7th flat 5 arpeggio, if you start from E.
Or if you start from G.
It's the same as G minor 6, so it could be
like going from the B major to G minor,
you know, that way, minor 6th.
Minor 6th is a very typical sound for
this style.
Django used that arpeggio a lot
over the minor chords, like that.
You know, that sound.
So, these are the first two chords,
then back to the,
back to the G major chord.
Then you could for the diminished chord,
your B flat diminished,
use the diminished arpeggio from B flat.
B flat.
D flat.
B flat.
D flat.
Leading into A minor.
And over the A minor, D7.
You can choose if you wanna
play the A minor 6th arpeggio.
And that would work also with the D, D7
and it would be the D9 without the root.
Or if you wanna try something else,
if you wanna play a minor 7 arpeggio.
That's a more modern sound, but
of course, it would work and
I mean for
you jazz guys looking at this lesson.
I mean a, a Dorian scale would work,
because of the second chord.
So, but these gypsy plays,
they don't think that much about scales.
They have another,
like approach from another direction.
But of course, you can play the notes
of a Dorian scale, it would work fine.
As well as you would play a Mixolydian
over B and Ionian over G, but
none of these guys are thinking like that.
They most of them play by ear and
what they play are like triads,
arpeggios and sometimes, you know,
chromatic passing notes and
super im, im, imposed chords
between this arpeggios and triads,
but maybe that not,
not that much of, of scales.
Even though, feel free to add
that if you wanna like, add it,
make it into something of your own.
You know, adding mixing gypsy and
jazz like some people are doing.
Tune-Based Instruction,
" Lady Be Good" Solo Part 2.
So that one more time,
[SOUND] the A section.
The same thing.
First time,
I forget to tell it,
there's a turn-around.
B flat diminished, [SOUND] A minor.
D7, if you want to play over that.
Second time, [SOUND] continues.
Same thing.
G, [SOUND] to G7.
And here you can choose,
you can play a G7 arpeggio if you like.
[SOUND] G, [SOUND] if you want or if you
want to play that 9th arpeggio without
the root using that 9th
instead of the root.
I talked about before or even make a,
a cool thing that Django did using
[SOUND] tritone substitution.
Play A flat.
[SOUND] Minor 6 arpeggio
[SOUND] over this G7.
[SOUND] Same as [SOUND] like a D,
D flat 7 or D flat 9 chord.
[SOUND] And then you can of course,
the notes will be the same as [SOUND]
a D flat 9 arpeggio without the root.
[SOUND] As I explained before,
it will be same as.
As this.
A flat 9 6.
So then C major, [SOUND] then once again,
I will recommend you to use maybe the C.
Try it [SOUND] for the C6 arpeggio.
[SOUND] Or if you want to add the major
7 [SOUND] or play the major 7 arpeggio.
That works as well.
Then C sharp diminished
C sharp.
[SOUND] G. [SOUND] B flat. [SOUND] Same
notes as B flat diminished, you know?
[SOUND] It's a symmetrical chord, [SOUND]
so you can move it around like this.
Then back to G.
Two bars of G again, so.
Some gypsies actually play over [SOUND]
the C sharp diminished, [SOUND] they
would play a C minor 6 arpeggio.
this doesn't really work theoretically.
[SOUND] But somehow it, [SOUND] if you
do it convincingly, it might sound good.
that, [SOUND] you hear,
[SOUND] it's clashing a little bit.
But [SOUND] it's an option, you know.
[SOUND] It's very.
It's that sound
instead, [SOUND] C to C minor.
[SOUND] C major to C minor.
You can use diminished.
Back into G,
[SOUND] then A7 [SOUND] or A9.
[SOUND] And here you can have a,
a lot of different options.
You can go up half a step and
play B flat diminished [SOUND] arpeggio.
You can do that a 9th
arpeggio without the root.
You can play the 7th arpeggio.
You can do the tritone substitution.
And then for the next chord [SOUND] D7.
[SOUND] You have the same options and
the diminished arpeggio half
step up is pretty nice.
Leads well back
And then we're back to the A section.
Same thing again.
And remember to get this gypsy sound,
there are a few important
details that we need to,
I work on before getting ready to
perform and that's the rest stroke.
You know [SOUND] landing on the next
string to get that volume and power.
[SOUND] Have a loose and free right hand.
Some people do it with a lot
of like a angle to it.
And I do it more like this but
it's it's optional.
As long as you don't rest on the guitar,
'cause you need volume to get the sound.
Another thing is to work
on the gypsy picking.
It means like, every time I do
a string change, it's a downstroke.
Both directions, both when going up.
And it's like a sweep.
[SOUND] And going down.
It won't be like a sweep, but
it will be the opposite moving this way.
And this is difficult at first.
And, and
it's a lot of work, but
you will notice the difference compared,
if you're doing some of these descending
lines and if you're alternate picking.
You get this sound.
And if you're sweeping,
[SOUND] you get this sound.
[SOUND] And you play.
Gypsy picking you get a,
a more powerful sound.
So work on that, also on the vibrato
[SOUND] to get that power from.
And also, getting the rhythm right.
And these are all elements that you
can find within the Gypsy Jazz block
where I'm taking everything really
slowly from, from the beginning.
So you can go back there if you
have any gaps that you feel need a,
like you need to fill out and
then go back to this song.
We'll be great to hear your
versions of this song.
Upload your own versions and
I will give you [SOUND] feedback.
I will just play you one last chorus,
doing it kind of basic here so you will,
will hear what I've been teaching.
And we also remember that these
ornaments are really important.
[SOUND] These,
[SOUND] get that gypsy sound.
And you can also learn about that
within the gypsy guitar block.
Thanks for listening.
Tune-Based Instruction,
" Lady Be Good" Performance 2.