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    of 65
    THE GYPSY JAZZ CHORD BOOK o —€ AD G@ BE T T | i — bb eb a & F Rot e | | 0 Root | ¢ The diminished shapes shown above are the main two shapes used in this book. Shape ’1’ is used with the root on the ‘E’ string, Shape ‘2’ is used with the root on the ‘A’ string, 6 Bb Eb Ab C# F Bb Example: If the tune is illustrated with the F# Dim | See Goa on the 9th fret, it will be Shape ‘2’. a s FH B Example: If the tune is illustrated with the F# Dim t ‘on the 2nd fret, it will be Shape ‘1’. 8 C F Bb Eb G CG the triad above (Shape ‘1’) depending on what contexted it is played, can also become a minor 6th | Ab C# or 7th t 2 FRO BE A CH Fi eS po so ot PP 8 Diminished Shape “I" Diminished Shape 2" 4 Ab CH FRB Eb Ab \ t c t 1 DG ©€ F A D t Fi \ xxx ‘ t T r 11 Eb Ab G# Bb ED © Thumb © Pp 26 A D GB E ° * { | ° tele 43°F Bb Eb Ab CF Sixth Shape 1 Sixin Shape 2 14 FR BE A CH FH 15 G C F Bb D G } The above sixth shapes shown above are the main 46 Ab CH FH B Eb Ab tWoshapes used in this book. Shape ‘I’ is the triad form of the sixth. The root 7A BG GE) A Rote will always be on the ’E’ string, Shape '2’ is showing, an example of a sixth chord 48 B> Eb A> C# F Bb _ butusing the thumb on the bass. t A Example: If Shape ‘2’ is played as above as a G6, the root will be on the 3rd fret of the ‘E’ string. If you do not use the thumb as the root note, then the root has moved to the 5th. 9 8B OE 2 C F Bb Eb G C et The fretboard diagram above is to assist in identitying chords to tret positions. THE GYPSY JAZZ CHORD BOOK Compiled by COLIN COSIMINI _ ASILVERBACK MUSIC PRODUCTION © 2006. WELCOME TO VOLUME 4 of The Gypsy Jazz Chord Book This series of books is based on the music of Django Reinhardt and the ever expanding style of Gypsy Jazz. All the tunes in this series of books have either been recorded by Django Reinhardt or his extended family and Gypsy Guitarists. To use this book, the user is expected to have some knowledge of chord work. The chords are the foundation to any kind of music but can still be improvised just like soloing with the use of substitutions and passing chords, adding harmonic twists and turns to an otherwise standard format. Even the subtle change from a minor 7th to a minor 9th and the dominant 7th to a 9th can change the mood of a song. The extensive use of these chords in this book is just a choice of voicing. It is also important to add dynamic changes to rhythm. By playing added accents and off-beats, this can add more direction and depth as well as keeping it interesting to the listener. Django’s accompaniment in this style was phenomenal and played with a complete command that is still unrivalled to this day. I At the heading of every tune there is a reference to its format of play. E.g. AABA or ABCA etc. This indicates the pattern in which the tune is to be played and then repeated in its entirety for the length of the tune, unless arranged otherwise. © The key in which the tune is played. © The type of rhythm, 4/4 or 3/4 or otherwise. Also this indicates the type of rhythm only, not a timing signature to be counted in. Each chord has a suggested fret position which is placed in the corner of each chord box. For example if you have a C6/9 accompanied with a ‘3’, then the ‘C’ note on the ‘A’ string defines its position and if you have a C6/9 with an ‘8’ then the ‘C’ note on the ‘E’ string will define its position etc. AQ (zero) represents an ‘open’ chord The same process applies to each and every chord. The use of split chords in this book is as follows: & ‘The diagram above shows an inversion of a Major chord. Because the Bass note is lower than the root it will be listed as a split chord, in this case a ‘G/B’, so location of the fret position can be easily identified. Likewise, if we had an ‘F/A’ it would be the same shape as the diagram above except it would be in the fifth position. The chord changes in this book do not necessarily match the original recordings as they have been collected from many sources including some ideas of my own The examples in this book are just one of many ways the chords can be interpreted. Colin Cosimini 2005 Tl — miscellaneous chords will de documented on the dl Moveable Chord Shapes used in this book, any other hord charts. ° ° ° e ° ° ° ° ° ° ° ° elfe ° Ll MINOR SIXTHS (-6 ) l SIXTHS (6 ) 4 t fb. ° ° ° ele ° ° elle ° ele e | ele SIXNINTHS (6/9) | |MAJORSDXTH (ii) | DIMINISHED (°) ) — [HALFDIM(a) a. Li h ele elele ° © elel|ile ° oe oo ele I SEVENTHS (7 ) je EST Moveable Chord Shapes used in this book, any other miscellaneous chords de documented on the chord charts. ° ele ° ele ° ° La er th La. A ele ele ele cece |[sloe| ole ° ° l THO | l 7b9 | L THOHS | Ll 7b9#5, | L 7b5 ! Ll 7b5 | e iL ° A ° e he ‘| elee Tele felee ° e e | ° ° ° [elec 7765; | 75) =| _NINTHS(9) T° )uNoS >On 3 ae There are many different inversions of the same + chord. Some chords can have more than one name, ett so it is important to have an easily understandable ° and economical system. + + + +11] ‘Typical Major chord run i : 4 i: ‘ypical Major chord run in i HH HHH the key of G, = 7° e 6 ” as % ? e e ° eeitenl «slices «PTET Typical Minor chord run in $ the key of C. SOME CHORD SYMBOLS USED IN THIS BOOK YOU MAY FIND USEFUL = Major Minor Major 7,9 i.e. GA7, GAY. Minor Major Minor 6, 7, 9, 11,0r 13 i.e. G-7 Sixth-Ninth = Sixth Major Sixth Major Ninth or AQ Dominant Seventh Dominant Ninth Eleventh Thirteenth Diminished Half Diminished Augmented Seventh Dominant Seventh with Flattened Fifth Seventh with Flattened Ninth Dominant Seventh with Sharpened Fifth Seventh with Sharpened Ninth THOS Seventh with Sharpened Ninth and Sharpened Fifth 7hO#S Seventh with Flattened Ninth and Sharpened Fifth % = Repeat previous bar uo 745, 7b5 7bg THE 7#O muna nou Split Chords There are also a number of split chords used in this book which are displayed as the written chord and then the bass, i.o F7/C. This would be F7 with a C on the Bass. All these chords will be displayed on the relevant chord sheets. The Chord Boxes The direction of play for the broken chord boxes is as follows: 2. Beats 1 Beat 2 Beats 1 Boat Z z 1 % 1 eg a Cm Bla ao. ven e é | a 3 Ne So ae 4 Beats 2 Beats 2 Beals 1 Beat 1 Beat Only play 1st Beat in the Bar Only play last Beat in the Bar 12. 13. 14, I O02 (SE Bh Re SP | feat 15, a 7; 18. ). | CAN'T GET STARTED CONTENTS ALITTLE LOVE, A LITTLE Kiss ‘A Tisket, A TASKET Arn’T MISBEHAVIN’ ALL LOVE Are You IN THe Moon? Baby, WON'T YOU PLEASE COME HOME BELZ BLUE SKIES BLUES CLAIR Bossa DORADO CLoups Crazy RHYTHM DOLORES Du Dya Yat FLORA GEORGIA (ON My MIND) HALLELUJAH HONEYSUCKLE Rose. . | Love You For SENTIMENTAL REASONS TLL NEVER BE THE SAME . ILL NEVER SMILE AGAIN. . IN A SENTIMENTAL Moon: It’s ONLY A PAPER MOON . I’ve FounD A New Basy . I’ve HAD My Moments ’. LENTEMENT MADAMOISELLE . LIZA ). LOVER MAN 30. 31 32. 33. 34. 35. 36. 37, 38. 39. 40. 41. 42. 43, 44, 45. 46. 47. 48. 49. 50. MANO, Metro SWING Micro Move My BLUE HEAVEN NAGASAKI Nicrt AND Day On A Stow Boat To CHINA ON THE SUNNYSIDE OF THE STREET ORIENTAL SHUFFLE, Paquivo PENNIES FROM HEAVEN seut A Paris SOLITUDE Sweer GrorcIA BROWN Sweer SUE SWING VASE THE SHEIK OF ARABY THE WORLD Is WAITING FOR THe SUNRISE Vatse A Dora YESTERDAYS . BusINESS DIRECTORY . BUSINESS DIRECTORY . BUSINESS DIRECTORY , BUSINESS DIRECTORY BAND DIRECTORY BAND DIRECTORY . THE GYPSY JAZZ BACKING TRACKS ALITTLE LOVE A LITTLE KISS 16 Bars KeyofD 4/4 Em AT+ re D 47 Em | A7 Doo B7 B7 BT Em Da Dea B7 Em | 6-6 Eb° B7 G6 AT+ pogo a OF ae ALITTLE LOVE A LITTLE KISS ‘This beautiful ballad was recorded by the Hot Club of France " in 1937 which also features Baro Ferret on accompanying, guitar. [ar 6, play 2 Beats on each Gypsy Camp Site Samois Photo by Brett Lewis © 2003. 1 KeyofF = 4/4 A TISKET A TASKET 32Bars AABA 5 7 Tan Ts ApS pula Pacer | 96) Inet (REE eyes Cc Ct c FH7#9 ir "G9 F619 A Repeat | 1st 6 | Bars of ‘N 13 a “Gt F7 6] 6 B 8] 6 fF 7 0 5 FT Fw G9 p| Bb6 | Bbm | F6/9 | —~ | Bb6 | Bbm C13 Cc FH ci in Repeat | Ist y Section Se a For improvisation, use the chords below for the ‘A’ Sections a Wy 5 3 yg a La % % % G-7 = F6/9 | F#7#9 ts on wane 2 cee celle aelle se|le A Tisket A Tasket This classic tune was made famous by the great vocalist Ella Fitzgerald Django recorded this with Quinette of the Hot Club of France in 1950 on the Rome recordings KeyofD 4/4 AIN'T MISBEHAVIN’ 32Bars AABA 6/9 ET /| pei G6" D6/9 ET D6/9 E7 A Eb? AT DI+ Gm BI AT BI AT poo A) Doro A Repeat Ist 6 | Bars of ‘A Ane —— SS FHT G7 3 o 1 7] 7 7 7] 5 TF Fr | E7 AT ED 8) Bm a B7 | A6/9 : B B7 AT Do /| E9 VA Repeat | Ist 6 | Bars of Ais ea ean a BT Bn 1 4 AIN’T MISBEHAVIN’ EL aD Die me Be oe ° ° ‘This tune was written by Fats Waller in ; Sins 1928 and was recorded once by Django : Slee with the Quinteite of the Hot Club of ole | France in 1937. See : oe Gypsy kids playing at the Gypsy Camp, Samois 2003. Photo by Victoria Cosimini © 2003. 3 Key of Eb ALL LOVE 20 Bars G 7 7 q a of Ab.6/9, Ab-6/9, EbA9 | ADM6 | EbA7 Ae EbA9 | AbM6 | EbA7 ‘ah 3 3 a af | F-9 F-9 F9 C-7 F9 F-7 Bb7 Bb7 6 a Ié : : Ab-6/9 EbA9 | ADM6 | EbA7 Bb7 Use the chord box shown above for the last bar, and then finish on an EbA9. Abn Use the above chord in Bar 4, 8,and 20. Babik at the platform outside Chez Fernand, Samois 1998. Photo by Colin Cosimini © 1998, ALL LOVE This beautiful ballad was written by Babik Reinhardt and can be heard on the opening of the film * Django Legacy’. ala ARE YOU IN THE MOOD? _ 16 Bars ty Ts fF oy 7 7 7 AB ‘AI3 ow ALB AI oN. vt| GO/9 Bc | BT | ‘D7#5+9] ‘D7#5+9| ‘D7#5+9! ‘D7#549 | 1s l/s 10] 0 Acs fr fr fs fs f 7 © ce 30/9 ce ALB ALB eA Bem) ~D/ £1 | G6 cm Th cr | /pnsso| /prssa| o> yy & eS cn An D750 “a 7 cs cf ° . 3. ° nfefee|wele : ne oe P ealalce uals ° : ; Use the above two chord shapes when playing through the head, but you 2 Ga. ARE YOU IN THE MOOD? straight A7 and a D9 when you start the improvisation International Gypsy Gui Photo by Victoria Cosimini © 2004, 5 BABY, Keyoteb 4/4 WON’T YOU PLEASE COME HOME 16 Bars F 3 7 r ED6/9 ro C7 F7 % cH GT 4 b F 3 T aI rc Eb6/9 Ab6 C7 G7 cH a’ 3 e ae Es ae te oe & 5 Plats jae ete is x ° oo ay ° oo e e BOR se se t|lsee selele ° ‘ ° i Bar 3, play 2 Beats on each Bars 13 & 14, play 2 beats to each chord BABY, WON'T YOU PLEASE COME HOME Although this traditional Trad Jazz. tune was recorded twice by Django with Bill Coleman and his Orchestra in 1937, the second take was not previously issued. Both takes can however now be found on the Django Reinhard! Integrale Series. Photo of The Limberger Family with. Diz Disley in centre of picture. Photo by Victoria Cosimini © 7 Key of Dm 4/4 BELZ 32Bars AABA oF 5 F F 3 Dm Dm Dm Dd A7b5, A| Dm Dm Dm Eb7 EDT ES AT AT+ Dm Dm Dm Dm Dm Db Dm 4 A cH) C7 D-7 Eb7 Eb Es AT 5 q 1 |/_vm > F Aq AT F we AT E° B | G7 BbAT c7 cr G1 Bb-6 G7 cr | 4 A | | , qi | f A Repeat | Ist Section = = BEEZ sele selo|le This is a traditional Jewish tune. ‘You can find a version on the CD ‘Moreno’ featuring Angelo Debarre from Hotclub Records. Use the above shapes for Bar, 7 play 2 beats per chord By using the straight F major chord a the start of the ‘B’ section followed by minor 7ths and the BbA7, this really does show the cross over between traditional sound and jazz. The guitarist opposite is Serge Krief, who brings gypsy music from the Jewish quarter. He is an absolute master of his instrument and can be regularly seen at the Chope des Puees in the Fleamarket in Paris. He usually plays in a duo with his guitar partner Richard Chiche, a great duo to look out | for whenever you are in Paris, ‘The tune was recorded twice by Django, first in 1940 and again in 1949. ‘The song has a very strong melody and can be quite difficult to improvise over. The two different examples of minor chord progressions above can offer you alternative voicings to solo against. Key of Fm 4/4 BLUE SKIES 32 Bars AABA a 7 a Pane T ow Fm Fm Fm ‘ Fm 2 Ab6 Ab6 od a, D Eb7 Ab6 Ab6é Eb7 lr b> le ap g fF #6 CHE Eb7 CHE Bb? G6 Ab6o/9 Ab Ab6/9 Ab c| Adpeo c | /Ab6 c7 T T 7 7 ae ale Bb-6 CHT Fm F-7 F-6 Ab6 Ab6 Eb7 Be d 1 Bn En fm Fm -E “Eb D ° Lt || Play the chord shapes shown ise e. opposite for the Ist four bars ° ° sfele of the first and second ‘A’ t es ales $ Section. Fr FA BI Po coo! coo te el[leee Se Play the chord shapes shown ° opposite for the Ist four bars of the last ‘A’ Se KeyofC 4/4 BLUES CLAIR 12 Bars Fy 7 y oF F coo coy Coo % %o CT F7 Fe G7 D cH i ir Fr i cL. C1 coo con D, aD, cee Gr G7 G79 z ” w » or a =; cw > a cn rT ee pb pals smi Gee . ° ° wells selfs celle wfele wfele ° I Chords shapes for Bars 9 and 10, play 2 beats per chord j Version 2 3 7 ¥ a 5 C69 con Colo % % F7 Eb? D-7 cH F 3 a 69 c6I9 cor | G9 rH crs | cH] | : : BLUES CLAIR o 9 ones 2 S : . The 2nd version adds a subtle ° variation from the first twelve bars. ele zelele a elie Django recorded two versions of this S $ 4] tune, the first in 1943 and then again in 1947 é ° Chords shapes for Bar 9, play 2 beats per chord Bireli Lagrene recorded an excellent version on his first Gypsy Project CD. Key of Dm Bossa BOSSA DORADO. 32Bars AABA a| Dm % E7 % Gm AT Dm | A7+ Al D-7 % D° B° BbA Bg | % 3 7 7 3 5; p| Fr % G-7 % Ab° % AT |A7#5b9 AT Al BS % D° % G-7 AT D-9 iO A Below is a standard ‘B' Section 3] 3] 7 3 D7 % Gm % E7 % AT % Moyne) BOSSA DORADO SCHMITT aoa Ns Most people are probably familiar with the chord changes to this tune. Thave added a lot of substitutions and harmony chords so you can see where you can solo and create new ideas. This has become a very popular tune and | has been recorded by Stochelo Rosenberg: and also frequently played by many other Gypsy players. This tune is also played in Em. The Dorado Schmitt CD above features his composition Bossa Dorado. 10 Key of Bb 4/4 CLOUDS AABA fe 7 7 ap Bb6 G7 Bbo C6 A G2! C7 RB 40) cr 7 Bos “| Bos A Repeat Ist 6 Bars -_—_—_| 7 AT F F fF F r r 3 5 D D D D FO Fo B C6 F7 i AT AT AT cr cr 4 Ie 6 ' z BE A Repeat Ist 6 Bars Bb6 FT Use the four bar chord sequence shown below to take you into the up tempo section. Pick this sequence up after Bar 30, Play 2 beats to each chord. Bh6 C6 Bb Be cr cH 7 C6 8B} D AT D 6 Fo C7 Fo/9 F7 Use the above ‘B’ section for the up tempo part of the tune Bb, Gy 7 as TT TH CLOUDS asa welle Django recorded this tune with the Quintette of the Hot Club of France in 1935. KeyofF 4/4 CRAZY RHYTHM 32Bars AABA T 5 7 7 oF F a F6 c#7 F6 % D° Ab? | G-6 C7 Eb7 c7 ee i A Repeat Ist Bars ¥6 pee ay 7 7 7 a af o Ee 66 Bla G-7; Bb6/9 | % Bb-7 | Eb7 Oe Ab‘ C7 4 | F6 B Ab? B G6 6-6 F6 cH A ‘a G Ge Db Ab? Ab’ c7 Eb7 ca , 3 4 1 4 4 zl , a » xx Sometimes this tune is played with the F6 running through the first a four bars. In later versions of this tune, a different voicing was incorporated selfs using diminshed chords on the 3rd and 4th bar, Ihave shown an alternative last ‘A’ section using 2 chords to each bar. 3/4 DOLORES Format may vary 5 7 5 7 AG Ab7 AG % be Ce B-7 E7 7 7 7 7] a 5 B-7 B-6 B-7 B-6 B-7 B-6 Eb° | A6/9 5 qj 5 7 5] y A6 Ab7 A6 % E° C#° | D6/9 | CH? 7 7 5 75 A als D6 D-6 ie FH7 B7 E7 | A619 Gavwo/a6m 5 5 3 a 7 7] D6/9 D° D6/9 % % Eb* E-7 Eb° 7 $ 7 7 z; 5 E-7 A7 E-7 A7 E-7 F° Ze8 A7+ D6/9 D° D6/9 % A-6 B7 Em F#e 3 7 5 35 “ls G6 Ab° | D6/9 B7 E7 AT {D6 C1969 %a ZA ToT TWH DOLORES “ele This waltz is in the repertoire of most Gypsy Guitarists. ‘A great version has been recorded by Moreno and also an early recording by Bireli Lagerne on his ‘Routes To Django’ in 1979, but the tune is under the name of ‘Teharglo Waltz’ Key of Am DU DJA YAL 64Bars AABA Am % B7 % E7 % Am % 5 3 7 7| 5 Dm % Am % B7 Am % Repeat Ist 16 Bars 5] 3 7] 7] G % Cc % BT % % 3 5 7] 7F 7 Am Dm % Am % B7 E7 Repeat Ist 16 Bars DU DJA YAL This tune was written by Schnuckenack Reinhardt and really is in the traditional style of Gypsy Music. It is played with a two beat rhythm very reminiscent of traditional Russian Gypsy Music. ‘You can create this effect by using alternate up and down even strokes. - ele eats This great tune can be heard on Moreno’s Le Fils Du Vent CD shown opposite, ‘The CD above features Moreno on Guitar and vocals, Eric on 2nd Guitar and Jean Cortes on Double Bass. FLORA 30 Bars = AABA po /] a7] Ppa /) rer /) a7 1 po /] 2-7 | , F9 BI ep | p69 Fy EDS FS Eb9 A Repeat | Ist 6 | Bars of | A has} D6/9 Por A ar Af cr Zr /F par/] ats . o o ro ro BbM6| /A7v9#s , ; , s 4 ; R Repeat | Ist A | Seetion ESS Sa eet FLORA Bhat Bhs Above chords shapes for Bar 5 of the “B’ Section, play 2 beats per chord. aa aris : | TI r T e cele ° eee eo This beautiful ballad can be heard on the CD shown above and is played by Dorado Schmitt. Itis an interesting sequence with only 6 bars- ‘Above chords shapes for Bar 6 of the being played for the 'B’ Section *B Section, play 2 beats per chord. Key of F GEORGIA ON MY MIND 32Bars AABA Tar Fm 1" Bos ey Fea Z| vo0 /] or Al F6/9 e E° Be Bb-6 2 2 d A | Repeat Ist 6 f g F i i Dm Dm Dm Dm Dm B EA Bb7 Ef C7 afr fr i if EA Dm Bb6 & Al F6/9 Dm A AT oul Bb-6 Dn Dm me Bb6 Bho ° se ce ° we] |e ° t i a avr a ¢ ° ° ° selle celle selle wel|lee ° E a Ab” Gai cr run tne x ia ° ° ° ael[e 26 slele selle The chord shapes above are the last 6 bars of the last ‘A’ section. Play two beats to each chord. 16 ll Key ofF 4/4 HALLELUJAH 32Bars AABA r Fe F aaa ae T 7 F6 6 § rf “6 A “ as F6/9 FH Abe Abe c7 Ab° c7 4 + £ 3] a ’ u F6 | A Repeat Ist 6 Bars K+, “| GC-6 Bb° P r fs i | B cH cH ez Cy | B ‘ay cH] oH Ci. C1 7c =A] ‘An G 6 7 A Repeat Ist 6 Bars | of “A F6/9 % : a g 7 € @ ee oer a at poe is e e e e . ° selfs aelle Se e ne e HALLELUJAH This tune was recorded by Django in Rome in 1949. The chord sequence can be played quite basically, but have chosen to incorporate a walking chord progression playing two chords to cach bar. This is typical of Django’s style of accompaniment. This tune can found on the Integrale Django Reinhardt, Volume 16 as shown opposite. Key ofF 4/4 HONEYSUCKLE ROSE 32Bars AABA P G7 l G7 P G7 7 a GT j F6/9 fe. c7 | F6/9 as. C7 C7 G6 Ab’ i w f cl3 a G7 7 7 G9 |G F6/9 F69 | % ea c7 F7 | B7#9 | Bb6/9 | % | C#7#9| G7 c7 % Repeat Ist selle ° HONEYSUCKLE ROSE ‘This tune was recorded many times by Django and has also been recorded by Gypsy players such as Stochelo Rosenberg, Angelo Debarre and many more. ‘The chord sequence above is a mixture of traditional and modern, so there are many voicings for you to choose from. Key of C I CAN'T GET STARTED 32Bars AABA Caz D-7 E7 D-7 Am | cH AT cH Cold Repeat Ist 6 Bars On ae ee ee Pe 6 8 3/7 z F F i 3 E7 D7 ba 4 | cory DT A7 DA7 % Gq AT G7 A-7 CHT 3] 3] cH 4d 4 Repeat Ist ‘A Section ET. Direction of play for the bar z, . D7 shown opposite would be 2 valve o beats on the D-7 followed by 1 beat on the C#9 and then 1 beat eae G7 ‘on the G7 making up the four beats to the bar. cH 1949. Nov’sche Rosenberg at Gypsy camp, Samois 2003 19 Django recorded this once in I LOVE YOU FOR Key of G SENTIMENTAL REASONS — 32Bars_ AABA oo HP ar co /) at /) co A) 0-7 coo /F act A ihe pb D7 7 D7 (> D7 De DIb9 Gos) ar co "Gg AP het Goro 5 A ay Bb? G6/9 pe D7 | ce pT v7 fF 7 i 7 7 7 AT AT BT AT D7 B G6/9 GA7 E-9 Eb? D7 Eb? cr D7b9 R Repeat Ist. | 6 Bars ce ey D7 AT E S&S By adil were TLOVE YOU - > FOR velle SENTIMENTAL REASONS This tune was recorded more than once by Django and in different keys. ‘The above version is taken from the 1947 recording, which can be found on the 5 Z : Integrale Django Reinhardt DIANGO'S OIA g No.14 CD shown opposite. THE COMPLETE DIANMGG BEDHARDT (10471 20 Key of @ I'LL NEVER BE THE SAME 32 Bars FF F 3 rf EDT Eb7 Go Eb7 Eb7 con G6/9 D7 D7 D7 D7 | “| , |Z v6 > pre Ee eg ¢ fF 4 3] Der D7 3} Coy CAT Hs E-7 cH 7] 7! AT Gy] D7 G7 AT Yard pz Br? i f f sf 5 2 Eb7 Eb7 God D-7 coo E-7 DL} G7 D7 D7 A’ A G7 D7 cao Fi 7 3 7F & 4 Eb7 Eb? Gor C69 | C-6 | BS Go/9 D7 D7 D7 a % ber ea are sao a : eee 3 ofe ° sells ele velle This ballad was recorded twice Django, once in 1948 and once in 1949. Although the melody was played on the violin it does j come across well on the guitar too. ! Photo taken in Bologna, Italy 21 Key of F TLL NEVER SMILE AGAIN 32Bars = ABAC yz a 7 T F6 gE Al G-7 co 378 ENG-7 C7 F6 % C4 Ab’ IF 7 3 TF 1 cr Am s | 5 F6 E7b9 G7 la | C7 DT if Repeat | 1st6 | Barsof |*A’ Section F6 co | I 7 7 = 7 = ae 7 7 T c MS Bb6 il al on G-7 F6 % a I’LL NEVER SMILE AGAIN ene ee | : ¢ Django recorded this ballad twice in 1947. | Peeee ‘ There is a good version of this on the ‘Rome | Sallalar Sessions’, | The picture below is guitarist and Gypsy Jazz promoter lan Cruickshank. He is one of the main people responsible for introducing Gypsy Jazz. to the UK. Tan Cruickshank at Samois. 22 Key of Dm IN ASENTIMENTAL MOOD 22Bars_ AABA F 3 3F F Dm Dm C7 Dm al on| om) Gm aon oa B cH BS i : sf f Dm G7 F6 A ‘Dm Ge Cr Ab7 4 1 3 ‘ E F f fe f fr 7 5] cH Eb-7 cH cH Eb-7 B C#6/9 | C7 Bb-7 Ab7 Bb-7 Ab7 Bb7 Ab7 ‘ F A zl ‘ A 5 i Repei 1 6B fA’ & A epeat st ars | F6 | 1 eh A ; ale ° 1 Above chord shapes for Bars 1 & 2 of the ‘A’ Section. Play 2 Beats per chord. | In A Sentimental oy Gm, oe ae Mood ° ° This ballad was recorded once by Django in Paris in 1937 iy The descending chord progression on the opening bars immediately sets the mood for the tune. Split chords used in Bars 7 & 8 at the end of the Ist ‘A’ Section. Key of G IT’S ONLY A PAPER MOON 32Bars_ AABA F Go" AT A G6/9 Ab D7 v7 coy C6 | A-7 G69 B cH D7 A Repeat Ist ‘A’ | Section | F- 3 3 Colo A-T B Go/9 G6/9 cr v7 coo Go” F 3 = Eb7 D7 ce E7 Repeat Ist te Section 1 a | IT’S ONLY A PAPER MOON The above cover is from a rare 10” record from the 1950's. 24 This jazz, standard was recorded by many of the greats such as Ella Fitzgerald, Frank Sinatra, Nat King Cole etc, so it was inevitable that Django would record this tune as he did cover most of the popular standards of the time. But he would always ensure that he gave it his inimitable touch. He recorded this in the ‘Rome Sessions’ of “49 employing a piano with no rhythm guitar backing, His interesting use of harmonics in the theme make this tune stand out. Key of Dm I'VE FOUND A NEW BABY 32 Bars AABA 3 F 7 7 Eb? Dd BY | % % G7 | C7 | Fe9 D7: AT I Repeat [st 6 Bars ¥F6/9 % c7 AT | c# | BH | % G7 % A7 Bb7 Section Repeat Ist I'VE FOUND A NEW BABY D7 in this bar. Guitarists. Pictured opposite i ‘Tehocolo Winterstein. Bar 4 of the ‘A’ section which has an Eb® to D7, would normally just be the ‘The use of an Eb? as an additional substitution, is typical of chord ‘embellishment employed by Gypsy If D7 is equal to Eb®, then Eb7 becomes equal to E° ete... You can then experiment on these voicings by changing 7ihs to diminished in any tune pr: doesn’t clash with the melody. ing it Gypsy Guitarist Key of G I’VE HAD MY MOMENTS 32Bars ABAC 3 7 3 3 3 7 al G Eb7 A-7 D7 G Eb7 A-7 17 ea 3 3 2 maT % | COD | > ° Key ofAb 4/4 MANO 32Bars ABAC q 7 7 Ab6/9 % % % % % Bb-6 | Eb7 G 5 7 4 7 6 Eb7 | % Eb7 | % <©7) Eb7 % Ab6/9 | Eb7 7 a 3 qj Ab6/9 | % % % Eb° co | C#O/9 | = % 7 3 Te 7 a 7 C#6/9 | D° | Ab6/9 Bb-6 | Eb7 | Ab6/9| % Mano Drey with his Grandson at Samois 2004, 30 MANO ‘This lesser known tune was recorded by Django in 1947. The reason why this tune is probably underplayed is because the head continues straight into the improvisation making the tune one continuous piece, as opposed to a structured head and then improvisation. However a more popular tune that does have this arrangement is Djange’s Tiger, Gypsy Guitarist Mano Drey pictured opposite, is a regular at Samois and is always willing to play with anyone and share his musical ideas — Key of Dm METRO SWING 44Bars AABA zi 7 a BS % % % % % % a 3] B 6 2 x [| a7 | j.| BS | Repeat Ist Section A = 3 7 7] 5] B % F6/9 % E7 D° CH AT [| Repeat Ist Section ————_— A xX METRO SWING This tune was written by Titi Winterstein. ‘A great recording can be heard by Moreno with Angelo Debarre on the ‘Moreno’ CD from Hot Club Records. This is one of those medern Gypsy tunes played in a minor key and at a tremendous tempo. Try an A7+ for intro chord. | Moreno playing in Paris. | 31 a KeyofG 4/4 MICRO 32Bars AABA G AG G AG G AG G ale , oo 3 Bb? D7 Bh? D7 Bb° D7 Bh? fer G } A-6 Go | A-6 Go Am D7 66 Als cj c DI Bb° D7 z D7 B ce Ss cr iF iF ote a = 3 B7 B7 Be E7 B ay % D7b9 % 7 G6 | 6 ig P a6 G6 Pa pz ji 6 z m A By AC! D1] G6 Ab? Bb° Bb° D7 B cH mA i ‘ ‘ 4 Hi ° z BT ms "7 ee ets sas soe e ° : ° elele ze e z/e@ selle ° Chord shapes for Ist 4 Bars of ‘B’ section « , 5 c a is aan, eee ° ° ° te celle 7 ° ° Django recorded two takes of his tune in 1948 This is one of many of his late compositions that he recorded in late ‘40's. Matcho Winterstein on Violin. 32 Key of Bb MOVE 32Bars AABA 4 19 a a fF BbO/9 C7 A| Bb6/9 % % G7 F7 G7 F7 A Repeat Ist 6 Bars Bee ee ee ||) aes 5 7 7 ap 7 7 G7 a| F-7 Bb7 | EbA % C7 & C7 F7 A Repeat Ist ‘A Section MOVE The above Be-Bop tune is a very demanding composition to play on guitar. Such great players like Boulou Ferre and Andreas Oberg are firmly established in the Be-Bop style and play these types of tunes effortlessly. They also expand Gypsy Jazz to new boundaries. > Key of Eb MY BLUE HEAVEN, 32Bars AABA 7 iF 7 7 7] 7 7] Eb6/9 Eb6/9 % Cy E7 E7#9 cH ; 6] I Repeat Ist 6 Bars | Eb6/9 % 7 a 7 "ir ED6/9 /’| F7 Ab6 G7 Bb7 | E7#9 FHT E7#9 5 | 1 Repeat Ist ‘A Section Gypsy Guitarist at Samois 2004 34 ‘This classic jazz standard was recorded by Django in 1949. Django comes in wi th an explosive solo at the start of his improvisation. Flis accompaniment is equally powerful with use of strong substi shown below in pla EW tutions like the E7#9 ce of a Bb7. KeyofC 4/4 NAGASAKI 32Bars AABA F Wy F oy F F ar 3 C6 oy 6 C2 C6 E A y t ow, ‘c| ; co/9 cr G7 cr Bb Ab GI A Repeat Ist Section B fF Wr i f ¢ C6 D-6 D4 cols coro A cr G7 Gi & Ge as xt oe ji ae ° oe . selelle ve| fe ce ee selle a ca al a oe ae ee nis ns oe ° ° cee wel fe tee velle Split chords for ‘B” section Django recorded this tune twice in his career. The first recording was in 1936 with added vocals by Freddie Taylor. The second was in 1949. 35 Key of D NIGHT AND DAY 48 Bars ABABCB ap 6 D6/9 % BbA7 7) D6/9 % E7 Eb7 D6/9 es cH c#He D6/9 % Repeat ‘A | Section Repeat ‘B’ | Section + : : F6/9 % D6/9 % F6/9 % D6/9 % Repeat Section Bear 7 eons ey Toe: + En 3 eel iie tae clele celle 3 t at 4 Beats 2 Beats 1 Beat 1 Beat Chords shapes for Bars 1 & 2, and also for Bars 5 & 6 | The chords shapes chosen for the opening two bars follow the melody very closely. This arrangement is more suited for accompanying another soloist when playing the head. When backing the improvisation these two bars can be substituted for G-6 and AT or for a more modern approach play the Effto the A7. Django recorded this lovely tune many times throughout his career. 36 - - Keyotc 44 ONASLOWBOATTOCHINA 32Bars ABAC 3] 7 5 5] 7] 7 8 3 Al C6/9 | C#® D-7 Eb° E-7 E7 F6/9 AT G7 8) D-7 Eb° E-7 AT A-7 D7 D-7 G7+ 5 5 sf F 7 5 Eb® E-7 FA7 a| Co/9 | C#e | D-7 E7 D-7 B7 CAT AT 5 7 7 5 SE 5 5 c] Fo | F-7 | Ef | A7+ | D-7 |Z] Co/9 | G7+ Bar 8 of the ‘B’ Section, Play 2 beats to each chard. Bar 6 of 'C’ Section, play 2 beats to each chord This difficult standard can occasionally be heard in the Chope Des Puces, but was never recorded by Django. 37 ON THE SUNNYSIDE KeyotC 4/4 OF THE STREET 32Bars AABA ‘ 4 Te cow fo cow c EZ a cl A ee =, | F6/9 G B FG AT G7 i 5 3 " 5 7 i b i i F6/9 Em C69 D7 coy 78 C6/9 E| ¢ cr a B AT G7 s , 5 ces iv r aa ay F C7 F6) ‘a [5 «| D7 G7 Do p| G-9 ‘aw [esa C07 D7 Fel ZO a AT cr cH9 Bars of | ae z spe on 78 i 55 see velle selle selle b Bar1 Bar 2 Ist Beat of 2nd Beat of Bar Bar 4 of ‘B’ 7&8 of last ‘A’ Section Section E Em Fp = a Bs oe 5 cle oe vel[e tee 615 [_Chord shapes for Bars 3 & 4 of the 2nd ‘A’ Section, Play 2 beats to each chord _| Django recorded this once in 1946 with the Quintette of The Hot Club of France featuring Hubert Rostaing on Clarinet. 38 ORIENTAL SHUFFLE 32Bars AABA 'T pr Ter p60] crm Ko x et Ab6 c7 F6/9 A Repeat Ist 6 Bars F6/9 —— >? 1 Bb-6 7 4 a Gi sp) E7 G7 % C7 CTs 7 a ap r Fr 7 roo 4s Gm cr Foro A| F6/9 |C7#5+9 wm) D7 cL e Bh-6 ch rao > A 3 4 E DL x 75:9 ® a . cele se| le se|le Bar 2 of Ist ‘A’ Bar 2 of last ORIENTAL SHUFFLE This is one of Django’s early compositions that he recorded in 1936. The turnaround on the last 2 bars of the Ist’A” section was a very modern style chord sequence for its time. Django’s choice of chord voicing even in the ‘30s was extremely sophisticated. This goes to show how great his command and knowledge of harmonies within chords was. A friend who regularly attends the Django Reinhardt Festival at Samois. | , Key of Em PAQUITO 32Bars AABA Al E-9 % C13 % A-7 B7 E-9 | B7+ Re A I ‘epeat sl ars l E-9 % 3 3 7 7 > 7 a 7 p| A-7 D9 B-7 E-7 | C#7 | F#7b9| F7 BU+ a Repeat Ist ‘A | Section PAQUITO cB Bo i T . ° slelee tleloe ° J Bre BiFIb9 TT ele t velelle clele eo ‘This tune was written by Ninine Garcia (pictured above) and is named after his wife. Ithas become a very popular tune in the Chope Des Puces. 40 KeyofC 4/4 PENNIES FROM HEAVEN, 92 Bars ras Tes ala Fy 5 C69 D-7, |\-4 C6/9 D-7 G7 Eb? G7 Eb? 7 7 7 5 ; zr G7 C7 F6/9 % A-T D7 D-7 | cH alr 3] 3 A T 5 E7 G7 C69 D-7 | G7 | C7 F69 | % Eb° C7 7 7 5 7 5 7 7 7 7 1 G13 G13 F6/9 | Fm | Co9 | A7 | D-7 | 4 | Co |] ae HEAVEN This was a very common standard of the 1930's and was only recorded once by Django in 1937. Se _ PENNIES FROM Paulus Schaefer Band. Samois 2004. Photo courtesy of Patrick Caissy. 41 Key of Am SEUL A PARIS 32.Bars ABA 5 3 7 * Fs EZ Aa y al Am | % | BH | % | ——- | E7 A i 7 + A Repeat Ist 6 Bars ie ‘Ava 3 7 7 7 3 E7 0 EZ a| A7 | C# Be | % B7 | Eb? | >37 97 In Repeat Ist “A’ | Section SEUL A PARIS This is a traditional tune and can be found on Moreno’s Le Fils Du Vent CD. Key of C SOLITUDE 32Bars AABA se C69 r D7 [ G7 i 4] C6/9 D7 C6/9 | G7+ AT AT re CH Repeat Ist 6 Bars Sf Ee aa a [an ele J 7 3 5 a 3 3 CG Eb* Fo/9 c ~q C7 F6/9 é C6/9 | G7+ Repeat Ist ‘a | Section na SOLITUDE b Try using the following chord sequence for the intro playing 1 beat to © |e] | % each chord. tS] The chords are: G74, A7+, B7+, G74, A7+ | F7+, G7+, A7+, G7+, G Bass note only, G7+. Use this same shape chord, shown opposite, starting on the 3rd fret. Jee ‘This tune was recorded by Django only once in 1937. Django’s intro to this tune has given inspiration ta many Gypsy Guitarists who have played and have expanded on this effective sequence of chords for intros and outros. Matcho Winterstein in England. KeyofG 4/4 SWEET GEORGIA BROWN 32 Bars E7 }o% | % fom |ra7 fom bow |e 3 5 5 : : pz | % | % |ap7a9| co | 22 | co | Bz : , 8 E7 | % | % | EF | ao Jom fom | ow G7 FT A-T7 A cH cH | C a fe i | 66 a e a . eas pis | eee ints Bars 25 to 28., play 4 Beats to each chord ET E6 Fae BT e e e For a more modern approach to Bars 25 to 28, the chords shapes above can be played 2 Beats to each chord. Repeat this cycle twice. This is substituting C#f to C°. ‘The standard way to play this sequence would be just Em to B7. This jazz standard was recorded many times by Django and many others and has remained a popular tune to this day. 44 KeyotG = 4/4 SWEET SUE 32Bars AABA 5 5 5 z oF 7 Go/9 G& A D7 Go/9 G69 | BY DT Bb" Gas /) pve A Repeat Ist 6 Bars ls & ——— Le B zi 77 7 7 7 3 F re a| G7 F#7 Am % Cc Eb* «| A Repeat Ist ‘a’ | Section & © fe ee ¢ . ° ° telle ale cle ve[[e ele ole 4 Beats 2 Beats 2 Beats Last 2 Bars of ‘B’ Section SWEET SUE This old tune was recorded many times by Django. Its one of the more common tunes that people tend to learn when starting in this style along with Sweet Georgia Brown and Honeysuckle Rose. ‘These tunes are a good basic foundation to learning the Hot Club style of playing, KeyofF 3/4 SWING VALSE Format May Vary F6/9 | E6/9 | FOO | % es Abe |sG-7, a7 7 4 : ; 5 I as cae | Bho | Bs by G7 | % |o <|o A T 0 T T Z| T 5 Fo9 | E69 | Fo9 | % | ¥7 | B7H9 | Bb a L| Eg my Oe Abe | G-6 | C7 | Fo9 | % 7 7 z 7 7 r| c#e | % | BB | % | DD] % | Go om ae Go | Bg ee E7 | Boo | a7 | % B q 6] Z| 1 6] Z| cae | Boe | Bg a = % | Be | % as G6 eau B g pm ET Bb6o [Bf

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