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Andrew Brown — Northrop Living Room
Playing Rhythm: J’attendrai, Minor Swing
Let’s work on the quality and groove of the most important part of Jazz Manouche: playing rhythm. We will work on tone, time, voicings, fills, and the general dynamics of keeping a rhythm section exciting AND supportive.
Sam Farthing — Northrop Study
Topsy
Rhythm Tricks
Gwen Cahue — Gillett Parlor
Chord Substitutions and Voicings – Minor Swing
Exploring chord substitutions and enriching the rhythm grid through inversions and voice leading.
Fapy Lafertin — Gillett Dining Room
Study with Fapy Lafertin
Fapy Lafertin is one of the most celebrated and influential Jazz Manouche guitarists of the last 50 years. Fapy will be sharing some of his personal insights into playing guitar in this style.
Tcha Limberger — Gillett Living Room
Topsy
My Rhythm classes will always start from the accompaniment, go through to fills, and will always, mostly, be inspired by all I heard of Django Reinhardt, both in treatment of sound as well as chord choices.
See also Dave Kelbie’s rhythm guitar classes HERE. — Gillett 101
Andrew Brown — Northrop Living Room
Soloing over Honeysuckle Rose
Taking ideas from Django’s iconic 1938 solo we will explore how to absorb these concepts into our own language and reinterpret them in our own voice.
Sam Farthing — Northrop Study
Minor Swing
Django solos
Gwen Cahue — Gillett Parlor
Phrasing and Transitions – Minor Swing
Analysis of Django’s original solo with a focus on the core of the style: crafting strong transitional phrases between chord changes.
Fapy Lafertin — Gillett Dining Room
Study with Fapy Lafertin
Fapy Lafertin is one of the most celebrated and influential Jazz Manouche guitarists of the last 50 years. Fapy will be sharing some of his personal insights into playing guitar in this style.
Tcha Limberger — Gillett Living Room
Topsy
Any good solo will always be completely connected to the chords, and to the imaginative juggling with them. A good solo will always be looking for melodic lines within the chord changes, and accentuating them throughout.
Andrew Brown — Northrop Living Room
Playing Rhythm: Manoir de Mes Rêves, I Can’t Give You Anything but Love
Let’s work on the quality and groove of the most important part of Jazz Manouche: playing rhythm. Today we will explore how to sound supportive playing ballads and medium/bouncy swing.
Sam Farthing — Northrop Study
Manoir de Mes Rêves
Ballad playing
Gwen Cahue — Gillett Parlor
Open Voicings and Complex Chords – Manoir de Mes Rêves
Enriching a ballad chord progression with wider, more open voicings and advanced harmonic colors.
Fapy Lafertin — Gillett Dining Room
Study with Fapy Lafertin
Fapy Lafertin is one of the most celebrated and influential Jazz Manouche guitarists of the last 50 years. Fapy will be sharing some of his personal insights into playing guitar in this style.
William Brunard — Gillett Living Room
Choose your chords – (Django’s Tiger, Them There Eyes, Danse Norvégienne)
Tips on how to use different chord progressions in standard tunes, put into practice
See also Dave Kelbie’s rhythm guitar classes HERE. — Gillett 101
Andrew Brown — Northrop Living Room
Soloing over Joseph, Joseph
Lets work on soling over this boisterous minor tune with special attention to using phrasing techniques and ‘melody blocking’ to inform the larger shape and form of our improvisations.
Sam Farthing — Northrop Study
I Can’t Give You Anything But Love
Swinging Phrasing
Gwen Cahue — Gillett Parlor
II-V-I Applications – I Can’t Give You Anything but Love
Identifying and navigating II-V-I progressions within this standard, and building idiomatic phrases around these essential harmonic movements.
Fapy Lafertin — Gillett Dining Room
Study with Fapy Lafertin
Fapy Lafertin is one of the most celebrated and influential Jazz Manouche guitarists of the last 50 years. Fapy will be sharing some of his personal insights into playing guitar in this style.
William Brunard — Gillett Living Room
Vocabulary – (I Can’t Give You, Minor Swing)
Practice harmony, licks and arpeggios
Andrew Brown — Northrop Living Room
Playing Rhythm: Troublant Boléro, All of Me
Let’s work on the quality and groove of the most important part of Jazz Manouche: playing rhythm. We will work on tone, time, voicings, fills, and the general dynamics of keeping a rhythm section exciting AND supportive.
Sam Farthing — Northrop Study
Troublant Boléro, All of Me
Strumming Patterns
Gwen Cahue — Gillett Parlor
Substitutions and New Pathways – All of Me
Exploring chord substitutions on this jazz standard to enrich the grid and find fresh harmonic routes through the changes.
Tcha Limberger — Gillett Living Room
Mit Mur Geige, Time on My Hands
My Rhythm classes will always start from the accompaniment, go through to fills, and will always, mostly, be inspired by all I heard of Django Reinhardt, both in treatment of sound as well as chord choices.
William Brunard — Gillett Dining Room
Variety of sounds – (All of Me, Djangology)
How to play rhythm guitar with different sounds
See also Dave Kelbie’s rhythm guitar classes HERE. — Gillett 101
Andrew Brown — Northrop Living Room
Soloing over Les Yeux Noir
Learn to take lines and vocabulary from Django and other great players and absorb them into your own voice and playing style.
Sam Farthing — Northrop Study
All of Me
Using chords in solos
Gwen Cahue — Gillett Parlor
Triads in Improvisation – Troublant Boléro
Using triads as a melodic and structural tool for improvisation, applied to the lyrical phrasing opportunities this tune offers.
Tcha Limberger — Gillett Living Room
Mit Mur Geige, Time on My Hands
Any good solo will always be completely connected to the chords, and to the imaginative juggling with them. A good solo will always be looking for melodic lines within the chord changes, and accentuating them throughout.
William Brunard — Gillett Dining Room
Building a solo – (All of Me, Djangology)
Different ways to build a solo
Andrew Brown — Northrop Living Room
Playing Rhythm: Djangology, Blues en Mineur
Let’s work on the quality and groove of the most important part of Jazz Manouche: playing rhythm. We will work on tone, time, voicings, fills, and the general dynamics of keeping a rhythm section exciting AND supportive.
Sam Farthing — Northrop Study
Djangology
Swing Feel
Fapy Lafertin — Gillett Dining Room
Study with Fapy Lafertin
Fapy Lafertin is one of the most celebrated and influential Jazz Manouche guitarists of the last 50 years. Fapy will be sharing some of his personal insights into playing guitar in this style.
Tcha Limberger — Gillett Living Room
Bei Dir War es Immer so Schön, Blues en Mineur
My Rhythm classes will always start from the accompaniment, go through to fills, and will always, mostly, be inspired by all I heard of Django Reinhardt, both in treatment of sound as well as chord choices.
William Brunard — Gillett Parlor
Waltz Rhythm Class
Learning waltzes and their chord progressions
See also Dave Kelbie’s rhythm guitar classes HERE. — Gillett 101
Andrew Brown — Northrop Living Room
Soloing over Blues en Mineur
Learn to take lines and vocabulary from Django and other great players and absorb them into your own voice and playing style.
Sam Farthing — Northrop Study
Bei Dir War es Immer so Schön
Playing with Taste!
Fapy Lafertin — Gillett Dining Room
Study with Fapy Lafertin
Fapy Lafertin is one of the most celebrated and influential Jazz Manouche guitarists of the last 50 years. Fapy will be sharing some of his personal insights into playing guitar in this style.
Tcha Limberger — Gillett Living Room
Bei Dir War es Immer so Schön, Blues en Mineur
Any good solo will always be completely connected to the chords, and to the imaginative juggling with them. A good solo will always be looking for melodic lines within the chord changes, and accentuating them throughout.
William Brunard — Gillett Parlor
Learn a Waltz! (Chez Jacquet, Indifférence)
Learning Waltzes