JORGENSON JOHN, INTERMEDIATE GYPSY JAZZ GUITAR. SHEET MUSIC BOOK WITH CD and DVD 2-hour with GUITAR TABLATURE.
LIBRO DI MUSICA MANOUCHE GYPSY JAZZ, CON CD E DVD.
SPARTITI PER CHITARRA CON:
ACCORDI, PENTAGRAMMA, TABLATURE.
Now that you have laid a foundation by completing the material in Intro to Gypsy Jazz Guitar, the second volume Intermediate Gypsy Jazz Guitar, also presented in the DVD/CD/Book format, continues by presenting you with characteristic Gypsy style licks and techniques that are based on the arpeggios and patterns taught in the first volume. Once again Jorgenson presents a very systematic learning method by first teaching simple licks and techniques and then gradually building to more complex material. In studying the left and right hand techniques and ornamentations presented in the second volume, the student will gain an understanding of how to play the guitar with the Gypsy "accent."
Jorgenson also begins the study of Django Reinhardt's playing here by teaching an improvised chorus that Django played on a recorded version of the song "Undecided." Two other songs, Raul Reynoso's "Waneta's Waltz" and Jorgenson's "Snowflake Waltz" are also studied.
Introduction/Acknowledgements
An Interview with John Jorgenson
Hello everyone, welcome to Volume 2 (Intermediate Gypsy Jazz Guitar)! Guitarists have been asking me
since Volume 1 (Intra to Gypsy Jazz Guitar) came out last year when the next one would be ready, and it
is finally here. Over the past year I have had the chance to get out around the country (and world!) and
meet so many others like me who love Gypsy jazz. I want to thank all of you for helping spread the word
about this cool music, and for all the encouragement I have gotten about this DVDseries. I am very happy
to share what I have learned over the years, and am excited to see where all the young guitarists will take
Gypsy jazz in the future.
Thanks go again to Brad Davis, who learned how to play this music so quickly that he toured with
me last year and did a great job. Brance Gillihan shot the instructional footage, and edited the opening
video clip of "]'Attendrai" as well as authoring and editing the whole DVD, and what a great job he did
too. Rusty Russell took the cover shot, and Dan Brick shot the footage from Paris when I still had dark hair
from playing Django in Head in the Clouds.
Major, major thanks go to Dan Miller for his tireless efforts, compiling, editing the text, layout
work, and gentle prodding for me to get my parts finished. This entire series would not happen without
Dan's hard work and dedication to the readers. Thanks is also due to Richard Hendlin, of Solana Beach,
California, for his proofreading work.
I would also like to thank Kristy Wiehe, Jim Cowan, Adrian Bagale and David Gartland from Saga,
Alain Cola from Dell'Arte, Rick Shubb, Nick Lehr, Chris Middaugh from Schertler, Trish Galfano, and my
excellent bandmates Charlie Chadwick, Stephan Dudash, Gonzalo Bergara, Brad Davis, Doug Mattocks,
Raul Reynoso, Dick Hardwick, Bryan Sutton, Andy MacKenzie, John Wheatcroft, Tania and Sandra
Differding, The Nashville Chamber Orchestra, Don Hart, Paul Gambill, and all the others who helped
make the last year one of the best. John Jorgenson June 2005 Nashville, Tennessee
When did you first hear Gypsy jazz?
I got my first recording by Django and the Quintet of the Hot Club of France in about 1979, and just couldn't believe how amazing the sound of the group was, how much they swung, and what a tone Django got from his guitar-unlike any other I had heard!
What was it about the music that led you to dive into it with such enthusiasm?
I think what captured me most was that Django played the acoustic guitar in a way that made it seem limitless, and almost more like the electric guitar in terms of sustain and expression. Again the tone of his guitar was amazing, and the way that the whole Quintet sounded so fresh and alive, as if had been recorded last week instead of 50 or 60 years ago! As I had originally played the electric guitar, I wanted to learn how to play the acoustic guitar with the same sort of drive and virtuosity as Django, and I thought it would be an amazing vehicle to express myself through this high-energy acoustic chamber jazz. Plus it is always challenging, and constantly stretches my abilities and imagination.
What is it about Django's guitar playing that makes it stand out from all of the other guitar playing, guitar players, and guitar music that you have been exposed to?
Django's guitar playing always has so much personality in it, and seems to contain such joy and feeling that it is infectious. He also pushes himself to the edge nearly all the time, and rides a wave of inspiration that sometimes gets dangerous. Even the few times he does not quite make his ideas flow out flawlessly it is still so exciting and innovative sounding that mistakes don't matter! Django's seemingly never-ending bag of licks, tricks and colors always keep the song interesting, and his intensity level is rarely met by any guitarist. Django's technique was not only phenomenal, but it was personal and unique to him due to his handicap. It is very difficult to achieve the same tone, articulation, and clarity using all 5 left hand fingers. It is possible to get closer with only 2 fingers, but again is quite challenging. Probably the thing about this music that makes it always challenging and exciting to play is that Django raised the bar so high, that it is like chasing genius to get close to his level of playing.
In this DVD/book series you chose to start the first DVD without presenting songs. Instead, you started with the rudiments of Gypsy jazz rhythm and then, when moving on to lead playing, you focused on teaching arpeggios and patterns that would familiarize the viewer with various playing positions on the neck as they relate to different chords. Could you talk about this approach, why you chose to present your material this way, and what the advantages of learning this way would be as opposed to starting out by simply learning songs?
I chose to start out my instructional DVD by teaching the building blocks of the music; rhythmic feels, chord progressions, chord "additions" or substitutions, and arpeggios. These can be applied to any song, and are much more useful for the learning musician than simply learning a song. If a player understands how theory works, even at the most fundamental level, it will make learning other songs and licks much easier. To learn arpeggios all over the fingerboard will help get the player familiar with the possibilities that exist on the guitar, and with basic theory the player will find that all the licks that they have learned in one key can be easily transposed to be used in other keys, just by knowing what the "root" note is, or what scale degree a note is in one key, which then give a "target note" for the new key. Music notation and theory are so often mystifying to the learning player, and even often to the very skilled player. I aim to take away that mystery and show that theory and how it works is very logical, and can be utilized without having to sacrifice any spontaneity or soul. It is simply a tool to help to train the fingers and ears where to go to express the musician's ideas and feelings. Once these skills become second nature, there is little to impeded the flow of emotion-to idea-to phrase-to fingers- to sound-to audience; and that, of course is the final goal of any musician.
In this Gypsy Jazz Guitar instructional series John Jorgenson has designed and presented one of the most complete acoustic guitar instructional methods available on the market today. Each volume of this three-part series include~ a 2-huur instructional DVD, an audio CD with practice audio tracks, and a full format book which presents all of the theoretical information, chord charts, fret board diagrams, music notation, and tablature for the material presented on the DVD. In the first volume Intra to Gypsy Jazz Guitar, Jorgenson provides the foundational information and practice material necessary for you to gain an understanding of the Gypsy jazz guitar style. The first half of this volume addresses the important element of Gypsy jazz rhythm. Aher discussing correct right hand rhythm technique, Jorgenson teaches the closed chord forms of a basic blues progression and then systematically introduces new chords into that progression to add "color" and "spice" while also introducing you to the characteristic "moving chord" style of Gypsy rhythm. Aher addressing the basic blues progression, Jorgenson then transitions into the more Gypsy sounding minor blues progression and introduces the "three-note" chords which are prominent in Gypsy style rhythm guitar. The second half of the first volume addresses soloing. Here Jorgenson not only lays the groundwork of Gypsy jazz soloing, but in the process also presents you with a method which serves to greatly enhance your understanding of the fingerboard and improvisational playing. Jorgenson teaches arpeggios, note maps, lead patterns, and Gypsy techniques in every area of the fingerboard and in various keys. Additionally, he masterfully shows how the arpeggios and patterns relate to one another. Once you have laid a foundation by completing the material in the first volume, the second volume Intermediate Gypsy Jazz Guitar, also presented in the DVD/CD/Book format, continues by presenting you with characteristic Gypsy style licks and techniques that are based on the arpeggios and patterns taught in the first volume. Once again Jorgenson presents a very systematic learning method by first teaching simple licks and techniques and then gradually building to more complex material. In studying the leh and right hand techniques and ornamentations presented in the second volume, the student will gain an understanding of how to play the guitar with the Gypsy "accent." Jorgenson also begins the study of Django Reinhardt's playing here by teaching an improvised chorus that Django played on a recorded version of the song "Undecided."
Once you have completed the foundation work in the first volume, and the study of Gypsy jazz guitar techniques and ornamentations presented in the second volume, you are now ready to dive into the intricacies of Django Reinhardt's solo guitar playing. In the third volume, Advanced Gypsy Jazz Guitar, Jorgenson teaches three complete Reinhardt solos. He presents the songs "Minor Swing", Limehouse Blues", and "Dinah", but does not simply layout the solo for you to memorize. Jorgenson presents a complete study of these solos by analyzing Django's phrasing and note choices. The goal here is to take you beyond solo memorization. In studying the choices that Django made in constructing his solos, you will learn how to best create your own arrangements and improvisations in this style.
Licks 1 Amp; 2
Licks 3, 4 Amp; 5
Lick 6
Licks 7 Amp; 8
Lick 9
Licks 10 Amp; 11
Licks 12, 13 Amp; 14
Licks 15 Amp; 16
Licks 17 Amp; 18
Licks 19, 20 Amp; 21
Lick 22
Licks 23, 24 Amp; 25
Licks 26, 27 Amp; 28
Licks 29 Amp; 30
Lick 31
Licks 32 Amp; 33
Lick 34
Licks 35, 36 Amp; 37
Licks 38, 39 Amp; 40
Licks 41, 42 Amp; 43
Licks 44, 45 Amp; 46
Licks 47 Amp; 48
Undecided Melody
Undecided
Undecided (cont.)
Undecided Chord Forms
Licks 52 Amp; 53
Licks 54 Amp; 55
Licks 56 Amp; 57
Snowflake Waltz Introduction
Snowflake Waltz
Snowflake Waltz (cont.)
Snowflake Waltz (cont.)
Snowflake Waltz Chord Shapes
Snowflake Waltz Chord Shapes (cont.)
D minor voicings Amp; Lick 58
Appendix
DVD Content
Jorgenson in Paris (J'Attendral)
Introduction
Welcome
Lick 1-Lick 48
Undecided
Lick 49-Lick 51
Waneta's Waltz
Lick 52-Lick 57
Snowflake Waltz
Lick 58
Closing
Audio CD Contents
1: G diminished rhythm
2: Am Rhythm
3: Am/Dm Rhythm
4: Am Blues Progression Rhythm
5: Straight Blues Rhythm
6: "Undecided" Rhythm
7: "Waneta's Waltz" Rhythm
8: Alternate C and G Chord Progression
9: "Snowflake Waltz" Rhythm
Italiano
English
