Guitare Jazz Manouche Wiki - New pages [en]

Angelo Debarre's Licks

2013-11-08T08:53:55Z

Admin wiki:

== Lick n°1 ==

on a Bb chord

{|width="100%" align="center"
| [[File:Plan-20.jpg]]
|{{#widget:YouTube|id=rWSad_exnl4}}
|}

[[fr:Plans_de_Angelo_Debarre]]

[[Category:Licks]]
[[Category:Angelo Debarre]]

Tchavolo's Licks

2013-11-04T16:37:38Z

Admin wiki:

== Lick n°1 ==

{|width="100%" align="center"
| [[File:Plan-32.jpg]]
|{{#widget:YouTube|id=srGei4vG5VE}}
|}

[http://guitarejazzmanouche.com/wiki/images/c/c3/Plan-32.gp4 Fichier Guitar Pro]

[[fr:Plans_de_Tchavolo_Schmitt]]

[[Category:Licks]]
[[Category:Tchavolo]]

Serge Krief's Licks

2013-01-29T15:12:39Z

Admin wiki: Created page with "2 licks played over Minor Blues. == Gm6 == {|width="100%" align="center" | File:Plan-11.jpg |{{#widget:YouTube|id=bR0bX2iHYPk}} |} == Cm6 == File:Plan-12.jpg {{#w..."

2 licks played over Minor Blues.

== Gm6 ==

{|width="100%" align="center"
| [[File:Plan-11.jpg]]
|{{#widget:YouTube|id=bR0bX2iHYPk}}
|}

== Cm6 ==

[[File:Plan-12.jpg]]

{{#widget:YouTube|id=C-t77UF10YY}}

[[fr:Plans_de_Serge_Krief]]

[[Category:Licks]]

Yorgui Loeffler's Licks

2013-01-07T22:52:35Z

Admin wiki: Created page with "== over Minor Swing == File:Plan-38.jpg {{#widget:YouTube|id=VblGFCBpLGg}} == over Dm == {|width="100%" align="center" | File:Plan-30.jpg |{{#widget:YouTube|id=hp0DsT..."

== over Minor Swing ==

[[File:Plan-38.jpg]]

{{#widget:YouTube|id=VblGFCBpLGg}}

== over Dm ==

{|width="100%" align="center"
| [[File:Plan-30.jpg]]
|{{#widget:YouTube|id=hp0DsT0w0-Y}}
|}

== over Em ==

{|width="100%" align="center"
| [[File:Plan-22.jpg]]
|{{#widget:YouTube|id=9inDn8akpmA}}
|}

== on a ii-V in G ==

{|width="100%" align="center"
| [[File:Plan-16.jpg]]
|{{#widget:YouTube|id=UIqilGFcUSc}}
|}

== on a ii-V-I in G7M ==

{|width="100%" align="center"
| [[File:Plan-14.jpg]]
|{{#widget:YouTube|id=qf7mI3Mk9Z4}}
|}

== with an open string (here in E7) ==

{|width="100%" align="center"
| [[File:Plan-9.jpg]]
|{{#widget:YouTube|id=P5uI34IaN7M}}
|}

[[fr:Plans_de_Yorgui_Loeffler]]

[[Category:Licks]]
[[Category:Yorgui Loeffler]]

Stochelo Rosenberg's Licks

2012-12-26T23:24:12Z

Admin wiki:

== over Blue Bossa ==

[[File:Plan-37.jpg]]

{{#widget:YouTube|id=-BAewh1M2ek}}

[http://guitarejazzmanouche.com/wiki/images/7/73/Plan-37.gp4 Guitar Pro File]

== over E7 (Black Eyes style) ==

{|width="100%" align="center"
| [[File:Plan-35.jpg]]
|{{#widget:YouTube|id=uero2zN91gg}}
|}

[http://guitarejazzmanouche.com/wiki/images/5/5d/Plan-35.gp4 Guitar Pro File]

== Chromatic lick over A7 ==

{|width="100%" align="center"
| [[File:Plan-34.jpg]]
|{{#widget:YouTube|id=_7bSw3droa8}}
|}

[http://guitarejazzmanouche.com/wiki/images/b/bf/Plan-34.gp4 Guitar Pro File]

== Lick over A ==

{|width="100%" align="center"
| [[File:Plan-27.jpg]]
|{{#widget:YouTube|id=oUW9gP76kLc}}
|}

[http://guitarejazzmanouche.com/wiki/images/a/a8/Plan-27.gp4 Guitar Pro File]

== Lick over Am -> D7 ==

{|width="100%" align="center"
| [[File:Plan-25.jpg]]
|{{#widget:YouTube|id=yzOLkE5Ff_A}}
|}

[http://guitarejazzmanouche.com/wiki/images/5/59/Plan-25.gp4 Guitar Pro File]

== Licks over Bossa Dorado ==
=== over E7 ===

{|width="100%" align="center"
| [[File:Plan-24.jpg]]
|{{#widget:YouTube|id=rbXJoqPJedE}}
|}

[http://guitarejazzmanouche.com/wiki/images/1/1c/Plan-24.gp4 Guitar Pro File]

=== over A7 -> Dm ===

{|width="100%" align="center"
| [[File:Plan-23.jpg]]
|{{#widget:YouTube|id=US2yIO7WzQc}}
|}

[http://guitarejazzmanouche.com/wiki/images/5/56/Plan-23.gp4 Guitar Pro File]

== Lick over Viajeiro ==
One of the few cas of downstrokes on a string change. This is because the upstroke is on a downbeat and because the pace is really fast.

{|width="100%" align="center"
| [[File:Plan-rosenberg-1.jpg]]
|{{#widget:YouTube|id=wNpFpgFm-fs}}
|}

[[fr:Plans_de_Stochelo_Rosenberg]]

[[Category:Licks]]
[[Category:Stochelo Rosenberg]]

Biréli's Licks

2012-12-21T18:02:16Z

Admin wiki:

== Lick n°1 on a A major ==

In order to be played at high tempos, this lick must be picked with both upwards and downwards sweeping, without foloowing the usual downstrokes rules. This is an example among others that shows how Biréli can get off the beaten tracks.

[[File:Plan-41.jpg]]

{{#widget:YouTube|id=BqALp8DFBBI}}

[[File:Plan-41.gp4]]

== Biréli lick in Vienne over Blues Clair ==

{|width="100%" align="center"
| width="550" |[[File:Plan-31.jpg]]
|{{#widget:YouTube|id=Dw93DtRf3-Y}}
|}

[[File:Plan-31.gp4]]

== A Biréli lick (in D) ==

This lick that comes from Biréli stress the notes of the major D chord on the 5th fret. All played in alternate picking, the difficulty is to pick accurately despite the many string skips.

{|width="100%" align="center"
| width="550" |[[File:Plan-bireli-1.jpg]]
|{{#widget:YouTube|id=rk0ToOyJ6hs}}
|}

[[fr:Plans_de_Biréli_Lagrène]]

[[Category:Licks]]
[[Category:Bireli]]

Playing with harmonics

2012-03-06T22:37:20Z

Admin wiki:

Tn harmonic is a crystalline sound that is obtained by lightly touching a string above a fret with a finger, then picking the string while at the same time the finger leaves the string. There are two kinds of harmonics: natural and artificial.

== Natural harmonics ==

Natural harmonics are the sounds obtained by touching a string with a finger above determined frets, without actually fretting a note with the left hand. Natural harmonics are located :

* Between frets 12 and 13: one octave above the open string
* Between frets 7 and 8 : one octave and a fifth above the open string
* Between frets 5 and 6 : two octaves above the open string
* Between frets 19 and 20 : one octave and a fifth above the open string

There are other natural harmonics between frets 1 and 5 but it is difficult to make them sound clear, especially on high strings. In general, natural harmonics are noted used a lot because of the limited choice of notes that we get.

=== Natural harmonics ===

(in French)

{{#widget:Daily_Motion|id=xfbds2_harmoniques-naturelles_music}}

=== A lick from Biréli all made of natural harmonics ===

{|width="100%" align="center"
| width="570" |[[File:Plan-harmoniques-bireli.jpg]]
|{{#widget:Daily_Motion|id=xijq9g_plan-harmoniques-bireli_music}}
|}

== Artificial harmonics ==

Artificial harmonics are obtained when the left hand frets a note on a string while the right hand picks the string and at the same time a right hand's finger touches the string 12, 7 or 5 frets above on the neck (and leaves the string rightaway). The index can also touch the string above the rosace and in this case we play two octaves above the fretted note. There are many ways to do the right hand picking: my favourite is to hold the pick between the thumb and the middle finger to pick the string and to touch the string with the index. Other people prefer picking with the nail of the ring finger while wrapping the middle finger above the pick, which is easier to play above the neck.

This kind of artificial harmonics whereby the finger touches the string 12 frets above the fretted note was used a lot by Django - think of the solo in Nuages. These harmonics are called octavados.

=== Moving the pick between fingers and position of the hand in French ===
{{#widget:Daily_Motion|id=xijqkl_mediator-pouce-majeur_music}}

=== Octavados on Am6 ===
{{#widget:Daily_Motion|id=xfbdor_harmoniques-am6_music}}

=== Scale played in harmonics ===

{{#widget:Daily_Motion|id=xfbdqh_harmoniques-gamme-1_music}}

Other view where I fret the notes with my left hand before playing the harmonics at the same place with the right hand while fretting 12 frets to the left on the left hand.
{{#widget:Daily_Motion|id=xfbdqt_harmoniques-gamme-2_music}}

=== Double octavados above the rosace ===

{{#widget:Daily_Motion|id=xfbdpa_harmoniques-double-octave_music}}

== Mixing artificial harmoncis and standard fretted notes ==

Some musicians like Biréli Lagrène innovate a lot. One of these innovations is the mix of artificial harmonics and normal notes. Holding the pick between the thumb and the middle finger leaces two fingers free: the ring finger and the ear finger. Why not use them then ? Some nice effects can be obtained by alternatively playing an harmonic and a normal note or two. Or they can be played together as parts of the same chord. This really sounds like magic to me...

{{#widget:Daily_Motion|id=xfbdse_harmoniques-notes_music}}

[[fr:Jeu_en_harmoniques]]

[[Category:Techniques_for_both_hands]]

Stealing other people's voicing ideas

2012-03-06T22:32:54Z

Admin wiki: Created page with "The same way you learn how to talk by imitating your parents, we learn a great deal by imitating our "spiritual" musical parents. Here are a few examples stolen here and there. O..."

The same way you learn how to talk by imitating your parents, we learn a great deal by imitating our "spiritual" musical parents. Here are a few examples stolen here and there. One of the greatest voicings master is Biréli Lagrène (just listen to what he does in Standards or Live in Marciac, it's a fireworks) hence he's a reference whose musical ideas can be shamelessly stolen.

== Excerpt from Live in Marciac ==

[[File:Bireli-1.jpg]]

== Excerpt from "C'est si bon" in Standards (on a ii-V in Am7) ==

[[File:Bireli-2.jpg]]

== Intro de "C'est si bon" de Standards ==

[[File:Sibon-1.gif]]

voicing home-made on the same intro:

[[File:Sibon-2.gif]]

== Excerpt from "Stella by Starlight" in Live in Marciac (chorus in voicings) ==

[[File:Stella.mid]]

[[File:Stella.gp4]] (Right click -> Save as)

[[File:Stella.gif]]

[[fr:Relevés_de_Voicing]]

[[Category:Right_hand_techniques]]
[[Category:Voicings]]
[[Category:Licks]]
[[Category:Bireli]]

Typical voicings

2012-03-06T22:30:11Z

Admin wiki: Created page with "In the world of voicings, some are really widely used. Typical chromatisme on a minor chord (note that the chromatism is on the low string): File:Typique-1.jpg Typical chr..."

In the world of voicings, some are really widely used.

Typical chromatisme on a minor chord (note that the chromatism is on the low string):

[[File:Typique-1.jpg]]

Typical chromatism on a II-V-I:

[[File:Typique-2.jpg]]

[[fr:Voicings_types]]

[[Category:Right_hand_techniques]]
[[Category:Voicings]]

Voicings on cadences

2012-03-06T22:28:04Z

Admin wiki: Created page with "Probably the most beautiful kind of voicings and the toughest to play so far since the objective is to highlight a melody on chords that change following a cadence. The best to ..."

Probably the most beautiful kind of voicings and the toughest to play so far since the objective is to highlight a melody on chords that change following a cadence.

The best to start with in my opinion is to work voicings on the ii-V-I, IV-V-I and iii-vi-ii-V-I cadences. Here are a few (that resolve in CM7).

== Several ii-V-I ==

[[File:Ii-V-I-1.jpg]]

[[File:Ii-V-I-2.jpg]]

[[File:Ii-V-I-3.gif]]

[[File:Ii-V-I-4.gif]]

== Two IV-V-I examples ==

(that can also be played over ii-V-I)

[[File:IV-V-I.jpg]]

== A iii-VI-ii-V-I example ==

[[File:Iii-VI-ii-V-I.jpg]]

Actually, as I meentioned it at the beginning of the page, there are many ways to create variations on this kind of cadences. You should explore, listen how the others do, and explore more...

== Synthese ==

The way I think about voicings in practice is depicted in the following diagram. You can take any of the type ii chords, then any of the type V chords, and finally any of the type I chords in the following list. You can even choose several different chords from any type during each measure of the ii-V-I. The ideal remains to hear each one of those chords before playing it. Here the ii-V-I is in E.

[[File:Ii-V-I.gif]]

[[fr:Voicings_sur_des_cadences]]

[[Category:Right_hand_techniques]]
[[Category:Voicings]]

Voicings on scales

2012-03-06T22:25:48Z

Admin wiki: Created page with "That kind of approach is another way to envisage voicings. Here are a few examples that I use more or less regularly for voicings. Diatonic scale with root notes on the four mid..."

That kind of approach is another way to envisage voicings. Here are a few examples that I use more or less regularly for voicings.

Diatonic scale with root notes on the four middle strings (here in Bb):

[[Image:Diatonique-1.jpg]] 

Diatonic scale with root notes on the four highest strings (here in Eb):

[[Image:Diatonique-2.jpg]] 

Another way to play the diatonic scale on the four highest strings (in CM7 here): 

[[Image:Diatonique-3.jpg]] 

The two same chords Dm and Em can be played in various positions on the neck which creates a a three-note chords scale (based on the CAGED system), on the three highest strings: 

[[Image:Caged.jpg]] 

Diminished scale (the easiest voicing in the world) on the four central strings and on the four highest strings. The fingering does not change:

[[Image:Voicing-diminue-1.jpg]] 

Whole tone - half tone scale on the four highest strings:

[[File:Half-tone.jpg]]

Melodic minor scale on the four highest strings (in Em7 here):

[[File:Minor-melodic.jpg]]

This can be done on any kind of scales.

[[fr:Voicings_sur_des_gammes]]

[[Category:Right_hand_techniques]]
[[Category:Voicings]]

Voicings on inversions

2012-03-06T22:23:34Z

Admin wiki: Created page with "This is the kind of voicings that you can do when you don't want to take too many risks: play a melody on top of chord inversions mixed with diminished chords. To benefit from th..."

This is the kind of voicings that you can do when you don't want to take too many risks: play a melody on top of chord inversions mixed with diminished chords. To benefit from this technique, the only necessary thing is that the chord lasts long enough to play different inversions. Of course, you will have to learn all inversions (that's 8 of a kind if they are played on 4 contiguous strings on the high and central strings).

Let's start with Gm6, its 8 inversions are the following. Four on the high strings: 

[[Image:Manche-Gm6-1.jpg]] 

And four on the central strings:

[[Image:Manche-Gm6-2.jpg]] 

 Now let's introduce the diminished chords, we get the two following charts:

[[Image:Manche-Gm6-dim-1.jpg]] 

And on the four central strings:

[[Image:Manche-Gm6-dim-2.jpg]] 

Just with these schemas, it will be possible to improvise melodies on the highest E string without ever being out of tune.

If you get the principle, you can also try on many other kinds of 4-note chords such as 7, m7, 7M, m6, m7M and half-diminished. Do not forget that Gm6 and Em7/5b (half-dimnished E) are equivalent since they're made of the same notes, and in the world of voicings, that inversion sounds good.

[[fr:Voicings_sur_des_renversements]]

[[Category:Right_hand_techniques]]
[[Category:Voicings]]

Voicings starting from a chord

2012-03-06T22:21:38Z

Admin wiki: Created page with "== Voicings starting from a chord == As always, we should start with simple things and gradually raise the difficulty: let's start with voicings around a known chord. This stems..."

== Voicings starting from a chord ==

As always, we should start with simple things and gradually raise the difficulty: let's start with voicings around a known chord. This stems from my personal experience, before thinking about voicings, I wanted to play richer comping. And the first hurdle I came across was to find other ways of playing the same chord to leave the same old left hand positions. The hardest part of it was to forget about the root notes. Once I left the root notes and got into inversions, I discovered a wonderworld of chords. Another part of the solution was to find chord sequences that started from typical chords. Even though there are more than 20 chords fingering (far more actually) on the four top strings (see site Jazz-Primer), and the same for the four central strings, at first, it's just wiser to stick to four or five chord types that we will get slowly accustomed to and be able to hear mentally just by knowing the shape. It's actually more important in my opinion to hear those chords internally than to know their names. The rationale is simple: in the voicings world, inversions rule and each chord shape can be reused in a wealth of different harmonic contexts.

To get back to voicings starting from typical chords, it should be said that certain chords can be easily substituted to others: 6/9 chords can generally replace M7 chords for instance. 7 can also be replaced by 9 if the melody allows it.

Here's a F#7M.

[[File:Accords-M7-69.jpg]]

You can notice on the previous chart that 6/9 chords with root on the lower E string and on the A string have the same fingering on the four top strings. Good news: here's your first easy inversion one 4th highest with a simple hand shift. For the rest, we almost have a scale with equivalent chords:

[[File:Voicings-M7-69.jpg]]

Are you with me ? These are just a few basics to try voicings with chord types.

== A few chords that I often use in voicings ==

The main 20-ish chord fingerings I use for now on the four highest strings are the following (most of the times, I'm able to recognie them by hearing them, well maybe not all the time). There are many more with their own sound but each one should experiment (nothing replaces personal work). I purposedly omitted to name those chords since the objective of the work here is to be able to hear them before actually plucking them.

[[File:Accords-voicing-vrac.jpg]]

== Exercise to get familiar with voicing sounds ==

A way that I find efficient to mentally anticipate the rendering of a voicing, is to start from a four-note chord and randomly change one note at a time just to hear how it sounds. This is litterally chordal morphing. To be done at home of course as an ear training exercise.

Later, you can do the same exercise but changing two notes at a time.

From time to time, a random sequence will sound so good that you will want to memorize it to use it in comping.

== A few voicings in chords which notes are all within an octave ==

This kind of chords is often used on a keyboard but much less on a guitar. The reason is quite simple : they are hard to play because of the wide extension of the left hand's fingers they require. Nonetheless, it is as usual: with some work, these positions become a little more natural. On each position, the root is depicted in red. 

[[Image:Cluster-7M.gif]][[Image:Cluster-7.gif]][[Image:Cluster-dim.gif]][[Image:Cluster-m7.gif]][[Image:Cluster-m6.gif]][[Image:Cluster-6b5.gif]][[Image:Cluster-7b5.gif]][[Image:Cluster-7Mb5.gif]][[Image:Cluster-m7Mb6.gif]][[Image:Cluster-11b6.gif]][[Image:Cluster-7b6.gif]][[Image:Cluster-11m7.gif]][[Image:Cluster-11-7.gif]][[Image:Cluster-13sus2.gif]] 

Progression over a chord change in A7M:

[[Image:Cluster-progression-anatole.gif]]

An interesting progression:

[[Image:Cluster-progression-1.gif]]

[[fr:Voicings_à_partir_d%27accords]]

[[Category:Right_hand_techniques]]
[[Category:Voicings]]

Percussive effect

2012-03-06T22:16:14Z

Admin wiki: Created page with "This effect is obtained by playing a note, muted by the right hand, just before actually picking the note and letting it ring, with two consecutive downstrokes (first muted, seco..."

This effect is obtained by playing a note, muted by the right hand, just before actually picking the note and letting it ring, with two consecutive downstrokes (first muted, second let ring), while preserving swing spirit.

{{#widget:Daily_Motion|id=xh1u0t_percu_music}}

[[fr:L%27effet_de_percussion]]

[[Category:Right_hand_techniques]]
[[Category:Embellishments_and_typical_effects]]

Bend

2012-03-06T22:15:02Z

Admin wiki: Created page with "The bend changes the pitch of a note by a quarter of tone, by a half-tone or more seldom by a tone. The bend is played the same way as a vertical vibrato: by pressing the side of..."

The bend changes the pitch of a note by a quarter of tone, by a half-tone or more seldom by a tone. The bend is played the same way as a vertical vibrato: by pressing the side of the left hand under the neck. On the lower E, A and D strings, the string is bent downwards. On the G, B an upper E strings, it is bent upwards (though this is not a rule of thumb). It's a very widely used effect. Pay special attention to the pitch of the note played: it must be in tune.

{{#widget:Daily_Motion|id=xh1ty0_lever-1_music}}

The bend can also be prepared before the string is actually picked to give a kind of descending effect.

{{#widget:Daily_Motion|id=xh1ty9_lever-2_music}}

[[fr:Le_lever_de_corde]]

[[Category:Right_hand_techniques]]
[[Category:Embellishments_and_typical_effects]]

Vibrato

2012-03-06T22:12:58Z

Admin wiki:

Vibrato is an effect that comes from the variation of the target note frequency using an exaggerated pressure on the string with a left hand finger, followed by a pressure release. There are several ways to obtain a vibrato, either with an horizontal oscillation of the finger on the fret, or by a vertical oscillation of the finger on the fret. The speed of this oscillation determines whether a vibraoto is slow or fast. Though each vibrato must be playable with all four fingers, it's more often than not the ring finger that is chosen due to the fact that is can be better controlled.

== horizontal Vibrato ==

the palm of the hand stays at an equal distance from the neck. The finger must be pinned at the same place (first example). If the finger moves as is the case on the second example, that creates parasite noises ans the control over the sound is tougher. The third example shows a vibrato played with each finger.

{|width="100%" align="center"
| width="50%" valign="middle"|{{#widget:Daily_Motion|id=xfbdi5_vibrato-horiz-1_music}}
|{{#widget:Daily_Motion|id=xgyr0y_vibrato-horiz-3_music}}
|}

== soft vertical Vibrato ==

the side of the hand rests under the neck and the finger presses and moves the string downwards (or upwards) before the release, several times in a row. This vibrato, when played very quickly without the hand touching the neck, gives the typical Rosenberg sound. The second example shows a vertical vibrato played with each finger.

{|width="100%" align="center"
| width="50%" valign="middle"|{{#widget:Daily_Motion|id=xgyr27_vibrato-vert-1_music}}
|{{#widget:Daily_Motion|id=xgyr2l_vibrato-vert-2_music}}
|}

== Strong vertical vibrato ==

This kind of vibrato is the one that gives his typical sound tp Stochelo Rosenberg, the absolute master of this movement. It is very hard to achieve (I can't do it properly on the following videos) because it demands a lot of strength in the left arm. The palm of the hand must not be in contact with the neck like previously. The movement only stems from the forearm that is really tensed and that must literally shake. You can use another finger to more firmly bend the string. When this vibrato is applied onto the high E string, the string must be bent upwards (which is far from being easy). For the other strings, you can bend the string downwards, or oscillate around the string, alternatively above and under (easier).

{|width="100%" align="center"
| width="300" valign="middle"| '''Strong vibrato on the A string'''
|{{#widget:Daily_Motion|id=xgyr43_vibrato-fort-la_music}}
|}

{|width="100%" align="center"
| width="300" valign="middle"| '''Strong vibrato on the high E string'''
|{{#widget:Daily_Motion|id=xgyr4r_vibrato-fort-mi_music}}
|}

[[fr:Le_Vibrato]]

[[Category:Right_hand_techniques]]
[[Category:Embellishments_and_typical_effects]]

Cut

2012-03-06T22:10:33Z

Admin wiki: Created page with "A "cut" (a term that comes from violin vocabulary) is a quick pull-off to the target note from a note that is located a half-tone or a tone above the target note. This embellishm..."

A "cut" (a term that comes from violin vocabulary) is a quick pull-off to the target note from a note that is located a half-tone or a tone above the target note. This embellishment is probably one of the most typical of the Manouche style so you really should integrate it to your vocabulary to sound Manouche. A cut can be played "binary" or ternary (swinged): it's also useful to feel the slight difference between those two.

== Half-tone binary cut ==

{{#widget:Daily_Motion|id=xfbdix_cut-1_music}}

== Whole tone binary cut ==

{{#widget:Daily_Motion|id=xgyqzb_cut-2_music}}

== Half-tone ternary swinged cut ==

{{#widget:Daily_Motion|id=xfbdjq_cut-3_music}}

== Cut plus hammer ==

Cuts are typically used in a descending context on a unique string: if two notes are played on the same string, as soon as the second note is picked, the first one is hammered again, that is without picking, only with the left hand finger hitting the fret as on this example, and whichever the distance with the first note may be:

{{#widget:Daily_Motion|id=xfbdkj_cut-4_music}}

[[fr:Le_Cut]]

[[Category:Right_hand_techniques]]
[[Category:Embellishments_and_typical_effects]]

Appogiaturas

2012-03-06T18:16:31Z

Admin wiki:

An appogiatura is one or more notes that precede the note that should actually be played in the melody or the chord. This technique is often used in Manouche music. In all the following examples, it is important that the target note be played right in time, whereas tha appogiatura should be played a bit earlier. All the appogiatura notes are picked.

== Chromatic appogiatura descending ==

The first example is a chromatic descending 3-note appogiatura. It's widely used by Tchavolo Schmitt for instance.

{|width="100%" align="center"
| width="300" |[[File:Appog-chromatisme-1.jpg]]
|{{#widget:Daily_Motion|id=xfbdm4_appog-chromatisme-1_music}}
|}

== Chromatic appogiatura ascending ==

However a chromatic 3-note appogiatura can also be ascending.

{|width="100%" align="center"
| width="300" |[[File:Appog-chromatisme-2.jpg]]
|{{#widget:Daily_Motion|id=xfbdmq_appog-chromatisme-2_music}}
|}

== Other examples ==

Simple single-note appogiatura is common and most of the times, it is played with an ascending half-tone or tone glissando. Only the appogiatura note is picked.

{|width="100%" align="center"
| width="300" valign="middle"| '''Half tone glissando'''
|{{#widget:Daily_Motion|id=xfbdnd_appog-glissando-1_music}}
|}

{|width="100%" align="center"
| width="300" valign="middle"| '''Tone glissando'''
|{{#widget:Daily_Motion|id=xgyqsg_appog-glissando-2_music}}
|}

The simple single-note appogiatura is more scarcely played descendingly and it's usually only with a half tone. There again, only the appogiatura note is picked. Biréli Lagrène uses this effect for some of his ballads and on several consecutive notes played in a descending chromatic way.

{|width="100%" align="center"
| width="300" valign="middle"| '''Half tone glissando'''
|{{#widget:Daily_Motion|id=xgyqsv_appog-glissando-3_music}}
|}

Another kind of chromatic appogiatura can be played with two descending notes of which only the first one is picked, the next two notes being played in pull-offs, in other words by releasing the pressure of the fretted left hand fingers.

{|width="100%" align="center"
| width="300" valign="middle"| '''Appoggiatura pulloff'''
|{{#widget:Daily_Motion|id=xfbdny_appog-pulloff_music}}
|}

[[fr:Les_Appogiatures]]

[[Category:Right_hand_techniques]]
[[Category:Embellishments_and_typical_effects]]

Arpeggios approaches Variants

2012-03-06T17:55:32Z

Admin wiki: Created page with "Such chromatisms can be played in other ways. Here are a few examples: == Stochelo Rosenberg's way == One of the few cas of downstrokes on a string change. This is because the u..."

Such chromatisms can be played in other ways. Here are a few examples:

== Stochelo Rosenberg's way ==
One of the few cas of downstrokes on a string change. This is because the upstroke is on a downbeat and because the pace is really fast.

{|width="100%" align="center"
| width="550" |[[File:Plan-13.jpg]]
|{{#widget:Daily_Motion|id=xgxgh7_plan-rosenberg_music}}
|}

== Angelo Debarre's way over a Bb ==

{|width="100%" align="center"
| width="550" |[[File:Plan-20.jpg]]
|{{#widget:Daily_Motion|id=xgxgin_plan-debarre_music}}
|}

== Biréli Lagrène's way over a D ==

This variation cuts the chromatism in two with a string change every two notes.

{|width="100%" align="center"
| width="550" |[[File:Plan-bireli-1.jpg]]
|{{#widget:Daily_Motion|id=xgxgjp_plan-bireli-1_music}}
|}

[[fr:Exemples_chromatismes]]

[[Category:Left_hand_techniques]]
[[Category:Arpeggios_approaches]]
[[Category:Licks]]

Approaches of arpeggios Over a dominant 7th major chord

2012-03-06T17:43:57Z

Admin wiki:

For each of the major chords depicted on the first CAGED diagram, we look at the arpeggio (in yellow), then we add each one of the arpeggio notes with chromatismes (in red over the root, in blue over the third, in green over the fifth) as follows:

[[File:E-7.gif]]

Same as previoulsy. This is where the word "chromatic" takes its best meaning since the notes played above and under are merely a half-tone away from each major chord's arpeggio note.

== The different ways applied to A7 ==

Pour des tablatures des notes jouées, voir comment ces notes se réfèrent aux notes indiquées sur le diagramme [[Chromatismes_Sur_un_accord_majeur|dans la partie précédente sur les accords majeurs]]

The tablatures are not shown. Please take a look at the [[Approaches_of_arpeggios_over_a_major_chord|previous part about major chords]] to see how the notes played refer to the notes on the diagrams.

=== Way 1 ===

{{#widget:Daily_Motion|id=xfbdtn_7-1_music}}

=== Way 2 ===

{{#widget:Daily_Motion|id=xfbdtw_chromatisme-7-2_music}}

=== Way 3 ===

{{#widget:Daily_Motion|id=xfbdu5_chromatisme-7-3_music}}

=== Way 4 ===

{{#widget:Daily_Motion|id=xfbduu_chromatisme-7-4_music}}

== Other arpeggios ==

'''D-type CAGED chord (in G7)'''
[[File:D-7.gif]]

'''C-type CAGED chord (in E7)'''
[[File:C-7.gif]]

'''A-type CAGED chord (in E7)'''
[[File:A-7.gif]]

'''G-type CAGED chord (in B7)'''
[[File:G-7.gif]]

[[fr:Approche_chromatique_des_arpèges_Sur_un_7e_de_dominante]]

[[Category:Left_hand_techniques]]
[[Category:Arpeggios_approaches]]

Approaches of arpeggios Over a minor chord

2012-03-06T17:20:50Z

Admin wiki:

For each of the minor chords depicted on the first CAGED diagram, we look at the arpeggio (in yellow), then we add each one of the arpeggio notes with chromatismes (in red over the root, in blue over the third, in green over the fifth) as follows:

== E-type CAGED chord (in Am) ==

[[File:E-min.gif]]

== Different ways applied to Am ==

The tablatures are not shown. Please take a look at the previous part about major chords to see how the notes played refer to the notes on the diagrams.

=== Way 1 ===

{{#widget:Daily_Motion|id=xgyfl9_chromatisme-min-1_music}}

=== Way 2 ===

{{#widget:Daily_Motion|id=xgyflr_chromatisme-min-2_music}}

=== Way 3 ===

{{#widget:Daily_Motion|id=xgyfm3_chromatisme-min-3_music}}

=== Way 4 ===

{{#widget:Daily_Motion|id=xgyfm9_chromatisme-min-4_music}}

== Other Arpeggios ==

=== D-type CAGED chord (in Gm) ===
[[File:D-min.gif]]
=== C-type CAGED chord (in Em) ===
[[File:C-min.gif]]
=== A-type CAGED chord (in Em) ===
[[File:A-min.gif]]
=== G-type CAGED chord (in Bm) ===
[[File:G-min.gif]]

[[fr:Catégorie:Approche_chromatique_des_arpèges_sur_un_accord_mineur]]

[[Category:Left_hand_techniques]]
[[Category:Arpeggios_approaches]]

Approaches of arpeggios over a major chord

2011-06-17T09:23:31Z

Admin wiki: Created page with "For each of the major chords depicted on the first CAGED diagram, we look at the arpeggio (in yellow), then we add each one of the arpeggio notes with chromatismes (in red over t..."

For each of the major chords depicted on the first CAGED diagram, we look at the arpeggio (in yellow), then we add each one of the arpeggio notes with chromatismes (in red over the root, in blue over the third, in green over the fifth) as follows:

== Different ways for A ==
=== Way 1 ===

{|width="100%" align="center"
| width="550" |[[File:Maj-1.gif]]
|{{#widget:Daily_Motion|id=xgxgnb_chromatisme-maj-1_music}}
|}

=== Way 2 ===

{|width="100%" align="center"
| width="550" |[[File:Maj-2.gif]]
|{{#widget:Daily_Motion|id=xgxgoh_chromatisme-maj-2_music}}
|}

=== Way 3 ===

{|width="100%" align="center"
| width="550" |[[File:Maj-3.gif]]
|{{#widget:Daily_Motion|id=xgxgph_chromatisme-maj-3_music}}
|}

=== Way 4 ===

{|width="100%" align="center"
| width="550" |[[File:Maj-4.gif]]
|{{#widget:Daily_Motion|id=xgxgqh_chromatisme-maj-4_music}}
|}

== Other arpeggios ==

=== D-type CAGED chord (in G) ===
[[File:D-maj.gif]]
=== C-type CAGED chord (in E) ===
[[File:C-maj.gif]]
=== A-type CAGED chord (in E) ===
[[File:A-maj.gif]]
=== G-type CAGED chord (in B) ===
[[File:G-maj.gif]]

[[Category:left hand techniques]]
[[Category:arpeggios_approaches]]

[[fr:Approche_chromatique_des_arpèges_Sur_un_accord_majeur]]

Arpeggios approaches introduction

2011-04-18T16:33:38Z

Admin wiki:

== Chromatic approach to 3-note chord arpeggios ==

The headline of this section seems complex at first glance. However, it is at the same time a fairly simple topic and an inexhaustible well of licks in Manouche guitar. For instance, the first notes of Mozart's Turkish March belong to this register. Is it any clearer now ? Chromatic may not be the most appropriate word but I couldn't find any better for now!

This kind of approach can be applied to majer, minor and dominant 7th chords, be they altered or not.

== CAGED system ==

Before getting any further in this section, it may be useful to briefly talk about the CAGED system. In short, this system is a mnemotechnic way to remember the 5 positions of a unique major chord over the board. We start with the following 5 basic chord shapes : E (in yellow), D (in purple), C (in blue), A (in white), G (in red). This five shapes are superimposed on several notes as can be seen on the following example in E.

For major chords (E major here):
[[Image:Caged-maj.gif]]

For minor chords (E minor here):
[[Image:Caged-min.gif]]

== How to use the following diagrams ? ==

This diagrams decribe the notes of the underlying chord arpeggio, together with the "chromatic" notes that are fretted around each of these notes. The root is in red, the third in blue, the fifth in green. There are four main ways to play those chromatisms and all are in 16ths, which is an advantage as it can then be played in straight alternate picking, and therefore it makes it easier to play at all speeds (most of the times, it is played very fast) :

*Starting from above (the most common approach): note above, arpeggio note, note under, arpeggio note.
*Starting from under: note under, arpeggio note, note above, arpeggio note.
*Starting from the arpeggio note and above: arpeggio note, note above, note under, arpeggio note.
*Starting from the arpeggio note and under: arpeggio note, note under, note above, arpeggio note.

[[Image:Explications-en.gif]]

Of course, there are variants to this. You will find a few lick examples here:[[arpeggios_approaches_Variants| Variants (Rosenberg, Debarre, Lagrène)]]

For each of these exercises, you can play the four ways. One video of each is given for the first diagram of each chord, with tablature. As far as fingerings are concerned, it is quite free. I use my four fingers, but most of the times, people play with three. The Rosenbergs and Django play(ed) that with two with glissandos between the arpeggio note and the note under.

[[Category:Arpeggios_Aproaches]]
[[fr:Généralités_sur_les_chromatismes]]

Minor pentatonics à la Manouche

2011-04-18T16:28:26Z

Admin wiki: Created page with "Who said that there are no pentatonics in Manouche ? That's just plain wrong... Well, we first need to agree on the term pentatonics. A pentatonic scale in essence is a scale mad..."

Who said that there are no pentatonics in Manouche ? That's just plain wrong... Well, we first need to agree on the term pentatonics. A pentatonic scale in essence is a scale made of 5 notes. Usually, it is used to talk about the two most used scale in Occidental music that originate from blues and that use the dominant 7th. But there are other pentatonic scales such as the one used in Chinese music, or the one used in Manouche where the dominant 7th is replaced by the 6th. And that's all about it.

The advantage of pentatonics is that just like diagonal arpeggios, they can all be played using alternate picking, forget about two consecutive downstrokes. That stands for ease of playing, and for those who like speed, it means fast and clean. Some famous guitarists use this technique a lot such as Biréli Lagrène.

Let's focus on m6 patterns. It's useless to develop other shapes as we want to stay in the Manouche spirit.

== m6 pentatonics ==

The m6 pentatonics is particularly interesting in that it can be played not only on m6 chords and half-diminished m7/5b, but also on 9 chords because of the additional 2nd. The overview of all the notes in the five positions depicts this very well since each chord (shaped by the notes of the same colour) is an inversion of a 9 chord.

[[File:Penta-m6.jpg]]

=== Positions ===

==== Position 1 ====

{|width="100%" align="center"
| width="400" |[[File:M6-1.jpg]]
|{{#widget:Daily_Motion|id=xfbejz_m6-1_music}}
|}

==== Position 2 ====

{|width="100%" align="center"
| width="400" |[[File:Penta-m6-2.jpg]]
|{{#widget:Daily_Motion|id=xfbekn_m6-2_music}}
|}

==== Position 3 ====

{|width="100%" align="center"
| width="400" |[[File:Penta-m6-3.jpg]]
|{{#widget:Daily_Motion|id=xfbel8_m6-3_music}}
|}

==== Position 4 ====

{|width="100%" align="center"
| width="400" |[[File:M6-4.jpg]]
|{{#widget:Daily_Motion|id=xfbeln_m6-4_music}}
|}

==== Position 5 ====

{|width="100%" align="center"
| width="400" |[[File:M6-5.jpg]]
|{{#widget:Daily_Motion|id=xfbem2_m6-5_music}}
|}

=== Straight descendin/ascending scale ===

To work those pentatonic scales, you can practice ascendingly or descendingly like on the previuos videos, or you can break them into groups of 3, 4 or 6 notes as follows (in Gm6 third fret here, hence in first position):

[[File:Ex-m6-0.jpg]]

=== Broken scales ===

==== into groups of 3 ====

{|width="100%" align="center"
| width="400" |[[File:Ex-m6-1.jpg]]
|{{#widget:Daily_Motion|id=xh5kr6_ex-m6-1_music}}
|}

==== into groups of 4 ====

{|width="100%" align="center"
| width="400" |[[File:Ex-m6-2.jpg]]
|{{#widget:Daily_Motion|id=xh5krx_ex-m6-2_music}}
|}

==== into groups of 6 ====

{|width="100%" align="center"
| width="400" |[[File:Ex-m6-3.jpg]]
|{{#widget:Daily_Motion|id=xh5kxp_ex-m6-3_music}}
|}

As you can see, we can vary this to a great extent.

[[Category:Typical_Scales]]
[[fr:Pentatoniques_mineures_manouche]]

Chromatic scale

2011-04-11T22:34:06Z

Admin wiki: Created page with "Chromatic scale is very often used, as an intermediate effect between two notes, or as a long appogiatura, or simply as a typical fast lick, or - it must be said - to find one's ..."

Chromatic scale is very often used, as an intermediate effect between two notes, or as a long appogiatura, or simply as a typical fast lick, or - it must be said - to find one's way back to the music after mistakes in the improvisation. The tough point is to keep a regular pace, especially as far as glissandos are concerned, so that every note is picked distinctly. Whichever the start and end notes may be, it is recommended to play at the top of the neck whenever possible. Chromatisms can be played very fast once the movement is mastered (which is not my case).

== Upward chromatic scale ==

{|align="left"
|-
| colspan="2" align="left" | [[Image:Chromatisme-up.jpg|center]]
|-
| With four fingers
| {{#widget:Daily_Motion|id=xfcz5t_v-v-diminished_music}}
|-
| With two fingers and a glissando
| {{#widget:Daily_Motion|id=xi2mrg_chromatisme-up-glissando_music}}
|}

 

== Downward chromatic scale ==

With four fingers

{| width="100%" align="center"
|-
| width="550" | [[Image:Chromatisme-down.jpg|center]]
| {{#widget:Daily_Motion|id=xi2mt6_chromatisme-down_music}}
|}

[[Category:Typical_Scales]]

[[fr:La_gamme_chromatique]]

Downward scales workouts

2011-04-11T22:21:05Z

Admin wiki: Created page with "There's a plethora of ways to practice scales. Every one of them helps building a sound right hand technique. All following examples are in G: == Straight downward scale == {|w..."

There's a plethora of ways to practice scales. Every one of them helps building a sound right hand technique. All following examples are in G:

== Straight downward scale ==

{|width="100%" align="center"
| width="570" |[[File:Descente-simple.jpg]]
|{{#widget:Daily_Motion|id=xf9n0p_descente-simple_music}}
|}

== Broken downward scale ==
=== by groups of three notes ===

{|width="100%" align="center"
| width="570" |[[File:Descente-brisee-3.jpg]]
|{{#widget:Daily_Motion|id=xf9e1t_descente-brisee-3_music}}
|}

=== by groups of four notes ===

{|width="100%" align="center"
| width="570" |[[File:Descente-brisee-4.jpg]]
|{{#widget:Daily_Motion|id=xh5rky_descente-brisee-4_music}}
|}

=== with thirds skips ===

{|width="100%" align="center"
| width="570" |[[File:Descente-3.jpg]]
|{{#widget:Daily_Motion|id=xh5rlf_descente-3_music}}
|}

== Broken downward scale on the two high strings by groups of six notes ==

{|width="100%" align="center"
| width="570" |[[File:Descente-6-BE.jpg]]
|{{#widget:Daily_Motion|id=xh5rlu_descente-6-be_music}}
|}

You can apply this workouts to diagrams seen in [[The Typical Scales]]

[[Category:Typical_Scales]]

[[fr:Travail_des_gammes_(descentes)]]

Upward scales workouts

2011-04-11T22:15:42Z

Admin wiki:

There's a plethora of ways to practice scales. Every one of them helps building a sound right hand technique. All following examples are in G:

== Straight upward scale ==

{|width="100%" align="center"
| width="570" |[[File:Montee-simple.jpg]]
|{{#widget:Daily_Motion|id=xf9l5p_montee-simple_music}}
|}

== Broken upward scale ==
=== by groups of three notes ===

{|width="100%" align="center"
| width="570" |[[File:Montee-brisee-3.jpg]]
|{{#widget:Daily_Motion|id=xf9l37_montee-brisee-3_music}}
|}

=== by groups of four notes ===

{|width="100%" align="center"
| width="570" |[[File:Montee-brisee-4.jpg]]
|{{#widget:Daily_Motion|id=xh5rgb_montee-brisee-4_music}}
|}

=== with thirds skips ===

{|width="100%" align="center"
| width="570" |[[File:Montee-3.jpg]]
|{{#widget:Daily_Motion|id=xh5rgk_montee-3_music}}
|}

== Broken upward scale on the two high strings by groups of six notes ==

{|width="100%" align="center"
| width="570" |[[File:Montee-6-BE.jpg]]
|{{#widget:Daily_Motion|id=xh5rgu_montee-6-be_music}}
|}

You can apply this workouts to diagrams seen in [[The Typical Scales]]

[[Category:Typical_Scales]]

[[fr:Travail_des_gammes_(montées)]]

Scales workouts

2011-04-11T22:12:19Z

Admin wiki:

Scales workouts are divided in two parts:

*[[upward scales workouts]]
*[[downward scales workouts]]

[[Category:Typical_Scales]]

[[fr:Travail_des_gammes]]

The Typical Scales

2011-04-11T22:09:47Z

Admin wiki: Created page with "Il y a quatre types de gammes souvent utilisées en manouche: == The diatonic (or natural) == Natural minor (used on a minor or m7 chord), dorian minor (used on a m6 chord) and..."

Il y a quatre types de gammes souvent utilisées en manouche:

== The diatonic (or natural) ==

Natural minor (used on a minor or m7 chord), dorian minor (used on a m6 chord) and major (used on a major chord) scales all stem from the diatonic scale. As far as I'm concerned, I mostly use three-note-per-string scales because they're easier to remember and to play over the neck IMO. Actually it's possible to find the ways to play those specific diatonic scales (3 notes per string) applying the following pattern on the neck. This is a very synthetic and visual way to remember. Bear in mind that the pattern shifts one note to the right from the B string upwards. Note the position of the roots for each scale (here in G, D and F for the example).

{|width="100%" align="center"
| width="200" align="center" rowspan="3" |[[File:Cache-diatonique.jpg]]
|En Sol: [[File:G-diato.jpg]]
|-
|En Ré: [[File:D-diato.jpg]]
|-
|En Fa: [[File:F-diato.jpg]]
|}

Besides, this pattenr can be used to easily identify modes. Each coloured note should then be considered as the root and the corresponding mode is played atop.

[[File:Modes.jpg]]

== Harmonic minor scale ==

[[File:Cache-m-harmonique.jpg]]

== Melodic minor scale ==

[[File:Cache-m-melodique.jpg]]

== Diminished scale ==

[[File:Diminuee.jpg]]

Knowing the patterns for these scales, we can now practice using various exercises that happen to be especially good to warm up, to make the fingers more independent from one another, and to work the different situations when downstrokes are used. See [[Scales_workouts|Scales workouts]]

[[Category:Typical_Scales]]

[[fr:Les_gammes_typiques]]

Arpeggios augmented

2011-04-08T22:37:59Z

Admin wiki: Created page with "Augmented chords are 3-note chords not so often used in Mancouhe. Arpeggios for these chords are essentially vertical and are almost always played in a dominant 7th chord context..."

Augmented chords are 3-note chords not so often used in Mancouhe. Arpeggios for these chords are essentially vertical and are almost always played in a dominant 7th chord context to add some tension (think of the music of the Simpsons).

== starting on the lower E string ==

The first hurdle is the shifting of the index between the B string and the upper E string. The second hurdle is the toughest: 5 consecutive downstrokes while changing string towards the lowest strings.

{|width="100%" align="center"
| width="550" |[[File:Arpege-aug-1.jpg]]
|{{#widget:Daily_Motion|id=xgxgy3_arpege-aug-1_music}}
|}

== Lick that uses an augmented arpeggio starting on the lower E string ==

The typical augmented lick played on a dominant 7th chord.

{|width="100%" align="center"
| width="550" |[[File:Plan-aug-1.jpg]]
|{{#widget:Daily_Motion|id=xgxgyi_plan-aug-1_music}}
|}

[[Category:left hand techniques|Left hand techniques]]
[[Category:Arpeggios]]
[[fr:Arpèges_augmentés]]

Arpeggios diminished

2011-04-08T22:34:58Z

Admin wiki: Created page with "Diminished chords are 4-note chords that are widely used in Manouche music. Their characteristic is that each note is exactly separated of a minor third from the next one. That m..."

Diminished chords are 4-note chords that are widely used in Manouche music. Their characteristic is that each note is exactly separated of a minor third from the next one. That means that chords and arpeggios can easily be inversed without changing the shape and fingering, just fretting 3 frets away is enough. They are mostly played diagonally.

== Diminished arpeggio starting from the upper E string ==

{|
|[[Image:Arpege-dim-1.jpg]]
|{{#widget:Daily_Motion|id=xgmfof_arpege-dim-1_music}}
|}

== Diminished arpeggio starting from the lower E string ==

{|
|[[Image:Arpege-dim-2.jpg]]
|{{#widget:Daily_Motion|id=xfbesj_arpege-dim-2_music}}
|}

== Ascending diminished arpeggio broken up into 4 notes groups ==

(to be played in 8ths or 16ths)
This exercise can be done descending the arpeggio.

{|
|[[Image:Arpege-dim-3.jpg]]
|{{#widget:Daily_Motion|id=xfbeug_arpege-dim-3_music}}
|}

== Ascending diminished arpeggio broken up into 3 notes groups ==

(to be played in triplets)
To be done also ascendingly.

[[Image:Arpege-dim-4.jpg]] 
{{#widget:Daily_Motion|id=xfbevc_arpege-dim-4_music}}

== Diminished arpeggio in full alternate picking ==

(to be played in 8ths or 16ths)

{|
|[[Image:Arpege-dim-5.jpg]]
|{{#widget:Daily_Motion|id=xfbew2_arpege-dim-5_music}}
|}

[[Category:left hand techniques|Left hand techniques]]
[[Category:Arpeggios]]
[[fr:Arpèges_dim]]

Arpeggios 7M major seventh vertically

2011-04-08T22:32:27Z

Admin wiki: Created page with "There are four main arpeggio shapes to remember (with two notes played on the lower E string). == Pattern 1 == This arpeggio starts from the root and is therefore played on thi..."

There are four main arpeggio shapes to remember (with two notes played on the lower E string).

== Pattern 1 ==

This arpeggio starts from the root and is therefore played on this kind of chord:[[Image:7M-1-1.jpg]] (in G7M6 here, the chord can distinctly be seen on the arpeggio chart)

{|
|[[Image:Arpege-7M-vert-1.jpg]]
|{{#widget:Daily_Motion|id=xgmegy_arpege-7m-vert-1}}
|}

== Pattern 2 ==

This arpeggio starts from the third and is therefore played on this kind of chord: [[Image:7M-1-2.jpg]](in Eb7M here).

{|
|[[Image:Arpege-7M-vert-2.jpg]]
|{{#widget:Daily_Motion|id=xfbedo_arpege-7m-vert-2_music}}
|}

== Pattern 3 ==

This arpeggio starts from the fifth and is therefore played on this kind of chord:[[Image:7M-2-1.jpg]] (in C7M here).

{|
|[[Image:Arpege-7M-vert-3.jpg]]
|{{#widget:Daily_Motion|id=xfbee0_arpege-7m-vert-3_music}}
|}

== Pattern 4 ==

This arpeggio starts from the seventh and is therefore played on this kind of chord:[[Image:7M-1-3.jpg]] (in Ab7M here).

{|
|[[Image:Arpege-7M-vert-4.jpg]]
|{{#widget:Daily_Motion|id=xfbee8_arpege-7m-vert-4_music}}
|}

[[Category:left hand techniques|Left hand techniques]]
[[Category:Arpeggios]]
[[fr:Arpèges_7e_majeure_vertical]]

Arpeggios 7M major seventh diagonally

2011-04-08T22:28:17Z

Admin wiki: Created page with "Even though there are 4 arpeggios to remember, in reality there are only two shapes since 1- and 3- derive from the same shape, and so do 2- and 4-: only the starting note change..."

Even though there are 4 arpeggios to remember, in reality there are only two shapes since 1- and 3- derive from the same shape, and so do 2- and 4-: only the starting note changes.

These two patterns that repeat themselves all over the neck are the following:

[[Image:Arpege-7M-motif-1.jpg]]   [[Image:Arpege-7M-motif-2.jpg]]

== Pattern 1 ==

This arpeggio starts from the root and is therefore played on this kind of chord:[[Image:7M-1-1.jpg]] (in G7M here)

{|
|[[Image:Arpege-7M-diag-1.jpg]]
|{{#widget:Daily_Motion|id=xfbec8_arpege-7m-diag-1_music}}
|}

== Pattern 2 ==

This arpeggio starts from the third and is therefore played on this kind of inversed chord:[[Image:7M-1-2.jpg]] (in Eb7M here)

{|
|[[Image:Arpege-7M-diag-2.jpg]]
|{{#widget:Daily_Motion|id=xfbecn_arpege-7m-diag-2_music}}
|}

== Pattern 3 ==

This arpeggio starts from the fifth and is therefore played on this kind of chord with the root on the A string . It can be noticed that it's the same arpeggio shape as for the first example here but shifted up one string:[[Image:7M-2-1.jpg]] (in C7M here)

{|
|[[Image:Arpege-7M-diag-3.jpg]]
|{{#widget:Daily_Motion|id=xgmecq_arpege-7m-diag-3_music}}
|}

== Pattern 4 ==

This arpeggio starts from the seventh and is therefore played on this kind of inversed chord [[Image:7M-1-3.jpg]]. It can be noticed that it's the same arpeggio shape as for the second example here but shifted up one string: (in Ab7M here)

{|
|[[Image:Arpege-7-diag-4.jpg]]
|{{#widget:Daily_Motion|id=xfbed8_arpege-7m-diag-4_music}}
|}

[[Category:left hand techniques|Left hand techniques]]
[[Category:Arpeggios]]
[[fr:Arpèges_7e_majeure_diagonale]]

Vertical Arpeggios 7 dominant seventh

2011-04-08T22:22:15Z

There are four main arpeggio shapes to remember (with two notes played on the lower E string).

== Pattern 1 ==

This arpeggio starts from the root and is therefore played on this kind of chord: [[Image:7-1-1.jpg]](in G7 here that can be distinctly seen on the arpeggio chart)

{|
|[[Image:Arpege-7-vert-1.jpg]]
|{{#widget:Daily_Motion|id=xfbe9s_arpege-7-vert-1_music}}
|}

== Pattern 2 ==

This arpeggio starts from the third and is therefore played on this kind of chord:[[Image:7-1-2.jpg]] (in Eb7 here).

{|
|[[Image:Arpege-7-vert-2.jpg]]
|{{#widget:Daily_Motion|id=xfbeao_arpege-7-vert-2_music}}
|}

== Pattern 3 ==

This arpeggio starts from the fifth and is therefore played on this kind of chord:[[Image:7-1-3.jpg]] (in C7 here).

{|
|[[Image:Arpege-7-vert-3.jpg]]
|{{#widget:Daily_Motion|id=xfbeav_arpege-7-vert-3_music}}
|}

== Pattern 4 ==

This arpeggio starts from the seventh and is therefore played on this kind of chord:[[Image:7-1-4.jpg]] (in A7 here).

{|
|[[Image:Arpege-7-vert-4.jpg]]
|{{#widget:Daily_Motion|id=xfbebl_arpege-7-vert-4_music}}
|}

There are many other ways to play those arpeggios of course like by playing only one note on the lower E string but I will not talk about those.

[[Category:left hand techniques|Left hand techniques]]
[[Category:Arpeggios]]
[[fr:Arpèges_7e_vertical]]

Arpeggios 7M major seventh

2011-04-08T22:12:00Z

Admin wiki:

7M chords are often replaced by their equivalent 6/9 chords in manouche. Indeed, from a strictly harmonic point of view, these chords can often be interchanged. That being said, 7M arpeggios are often used as such, by Stochelo Rosenberg and Biréli Lagrène for instance. This kind of arpeggio lends itself nicely to diagonal playing.

On all diagrams, the arpeggios are displayed in yellow, and the chord in light blue. Note that there is alraedy an excellent explanation [http://www.ibreathemusic.com/print/71 superbe page] in English about 7M arpeggios, authored by a former Berklee School of Music student.

* [[Arpeggios 7M major seventh diagonally]]
* [[Arpeggios 7M major seventh vertically]]

[[Category:left hand techniques|Left hand techniques]]
[[Category:Arpeggios]]
[[fr:Arpèges_7e_majeure]]

Diagonal Arpeggios 7 dominant seventh

2011-04-08T22:09:38Z

Even though there are 4 arpeggios to remember, in reality there are only two shapes since 1- and 3- derive from the same shape, and so do 2- and 4-: only the starting note changes.

These two patterns that repeat themselves all over the neck are the following:

[[Image:Arpege-7-motif-1.jpg]]   [[Image:Arpege-7-motif-2.jpg]]

== Pattern 1 ==

This arpeggio starts from the root and is therefore played on this kind of chord: [[Image:7-1-1.jpg]](in G7 here)

{|
|[[Image:Arpege-7-diag-1.jpg]]
|{{#widget:Daily_Motion|id=xfbe3y_arpege-7-diag-1_music}}
|}

== Pattern 2 ==

This arpeggio starts from the third and is therefore played on this kind of inversed chord:[[Image:7-1-2.jpg]] (in Eb7 here)

{|
|[[Image:Arpege-7-diag-2.jpg]]
|{{#widget:Daily_Motion|id=xfbe54_arpege-7-diag-2_music}}
|}

== Pattern 3 ==

This arpeggio starts from the fifth and is therefore played on this kind of chord with the root on the A string . It can be noticed that it's the same arpeggio shape as for the first example here but shifted up one string: [[Image:7-1-3.jpg]](in C7 here)

{|
|[[Image:Arpege-7-diag-3.jpg]]
|{{#widget:Daily_Motion|id=xfbe74_arpege-7-diag-3_music}}
|}

== Pattern 4 ==

This arpeggio starts from the seventh and is therefore played on this kind of inversed chord . It can be noticed that it's the same arpeggio shape as for the second example here but shifted up one string:[[Image:7-1-4.jpg]] (in A7 here)

{|
|[[Image:Arpege-7-diag-4.jpg]]
|{{#widget:Daily_Motion|id=xfbe8e_arpege-7-diag-4_music}}
|}

[[Category:left hand techniques|Left hand techniques]]
[[Category:Arpeggios]]
[[fr:Arpèges_7e_diagonale]]

Arpeggios 7 dominant seventh

2011-04-08T22:06:08Z

Admin wiki: Created page with "7th chords are often used in Manouche. This kind of arpeggio lends itself nicely to diagonal playing. On all diagrams, the arpeggios are displayed in yellow and the related chor..."

7th chords are often used in Manouche. This kind of arpeggio lends itself nicely to diagonal playing.

On all diagrams, the arpeggios are displayed in yellow and the related chord in light blue.

* [[Diagonal Arpeggios 7 dominant seventh]]
* [[Vertical Arpeggios 7 dominant seventh]]

[[Category:left hand techniques|Left hand techniques]]
[[Category:Arpeggios]]
[[fr:Arpèges_7e]]

Vertical arpeggios 6 and m7

2011-04-08T22:04:17Z

Admin wiki: Created page with "There are four main arpeggio shpaes to remember (with two notes played on the lower E string). == Pattern 1 == This arpeggio starts from the root and is therefore played on thi..."

There are four main arpeggio shpaes to remember (with two notes played on the lower E string).

== Pattern 1 ==

This arpeggio starts from the root and is therefore played on this kind of chord:[[Image:6-1-1.jpg]] (in G6 here, we can distinctly see it on the arpeggio chart)

{|
|[[Image:Arpege-6-vert-1.jpg]]
|{{#widget:Daily_Motion|id=xfbefq_arpege-6-vert-1_music}}
|}

== Pattern 2 ==

This arpeggio starts from the third and is therefore played on this kind of chord:[[Image:6-1-2.jpg]] (in Eb6 here).

{|
|[[Image:Arpege-6-vert-2.jpg]]
|{{#widget:Daily_Motion|id=xfbefz_arpege-6-vert-2_music}}
|}

== Pattern 3 ==

This arpeggio starts from the fifth and is therefore played on this kind of chord:[[Image:6-2-1.jpg]] (in C6 here).

{|
|[[Image:Arpege-6-vert-3.jpg]]
|{{#widget:Daily_Motion|id=xfbeg8_arpege-6-vert-3_music}}
|}

== Pattern 4 ==

This arpeggio starts from the sixth and is therefore played on this kind of chord:[[Image:6-1-3.jpg]] (in Bb6 here).

{|
|[[Image:Arpege-6-vert-4.jpg]]
|{{#widget:Daily_Motion|id=xfbegh_arpege-6-vert-4_music}}
|}

There are many other ways to play those arpeggios of course like by playing only one note on the lower E string but I will not talk about those.

[[Category:left hand techniques|Left hand techniques]]
[[Category:Arpeggios]]
[[fr:Arpèges_6_et_m7_vertical]]

Diagonal arpeggios 6 and m7

2011-04-08T22:01:28Z

Even though there are 4 arpeggios to remember, in reality there are only two shapes since 1- and 3- derive from the same shape, and so do 2- and 4-: only the starting note changes.

These two patterns that repeat themselves all over the neck are the following:

[[Image:Arpege-6-motif-1.jpg]]   [[Image:Arpege-6-motif-2.jpg]]

== Pattern 1 ==

This arpeggio starts from the root and is therefore played on this kind of chord:[[Image:6-1-1.jpg]] (in G6 here)

{|
|[[Image:Arpege-6-diag-1.jpg]]
|{{#widget:Daily_Motion|id=xfbees_arpege-6-diag-1_music}}
|}

== Pattern 2 ==

This arpeggio starts from the third and is therefore played on this kind of inversed chord: [[Image:6-1-2.jpg]] (in Eb6 here)
{|
|[[Image:Arpege-6-diag-2.jpg]]
|{{#widget:Daily_Motion|id=xfbef4_arpege-6-diag-2_music}}
|}

== Pattern 3 ==

This arpeggio starts from the fifth and is therefore played on this kind of chord [[Image:6-2-1.jpg]] with the root on the A string . It can be noticed that it's the same arpeggio shape as for the first example here but shifted up one string: (in C6 here)

{|
|[[Image:Arpege-6-diag-3.jpg]]
|{{#widget:Daily_Motion|id=xffort_arpege-6-diag-3_music}}
|}

== Pattern 4 ==

This arpeggio starts from the sixth and is therefore played on this kind of inversed chord [[Image:6-1-3.jpg]]. It can be noticed that it's the same arpeggio shape as for the second example here but shifted up one string: (ici en Bb6)

{|
|[[Image:Arpege-6-diag-4.jpg]]
|{{#widget:Daily_Motion|id=xfbeff_arpege-6-diag-4_music}}
|}

[[Category:left hand techniques|Left hand techniques]]
[[Category:Arpeggios]]
[[fr:Arpèges_6_et_m7_diagonale]]

Arpeggios 6 et m7

2011-04-08T21:52:31Z

Admin wiki:

6/9 chords are probably the most widely used 4-note chords in Manouche. It is thereby important for this kind of chord to know its related arpeggios, and this in all chord positions and inversions. This arpeggio type lends itself particularly well to the diagonal picking.

On all diagrams, the arpeggios are displayed in yellow, and the chord in light blue. 6 chords are direct inversions of m7 chords therefore these arpeggios can be used in both contexts, knowing that I6=VIm7, like for instance G6=Em7.

* [[Diagonal arpeggios 6 and m7]]
* [[Vertical arpeggios 6 and m7]]

[[Category:left hand techniques|Left hand techniques]]
[[Category:Arpeggios]]
[[fr:Arpèges_6_et_m7]]

The "grip" and the thumb

2011-04-08T21:48:48Z

Admin wiki: Created page with "La pince, c'est la forme de la main gauche autour du manche en train de plaquer un accord. Le pouce est appuyé sur l'arrière du manche tandis que les autres doigts appuient sur..."

La pince, c'est la forme de la main gauche autour du manche en train de plaquer un accord. Le pouce est appuyé sur l'arrière du manche tandis que les autres doigts appuient sur les cases. D'une façon générale, le pouce est appuyé assez haut sur le manche, dépasse pour étouffer la corde de MI grave si nécessaire, et parfois il est même utilisé pour appuyer la note basse d'un accord sur la corde de MI grave. La pince en manouche est assez différente de la pince dans The "grip" (I don't know the English word for that) is the shape of the left hand around the neck when fretting a chord. The thumb puts pressure behind the neck while the other fingers push on the frets. Generally speaking, the thumb is positioned pretty high on the neck, and is often used to mute the lower E string, and sometimes it is used to fret a bass note on the lower E string. The grip in Manouche is somewhat different from the grip in other guitar styles where barré chords are used and where the thumb rests in the middle of the neck. Pictures are better to describe this.

== A few shots of a chord where the thumb is used to fret a note (G6/9 here) ==

[[File:Pince-1-1.jpg]][[File:Pince-1-2.jpg]]

[[File:Pince-1-3.jpg]][[File:Pince-1-4.jpg]]

A shot of a chord fretted without the thumb with the root on the A string (C6/9 here). The grip here is not so different from that on the previous picture excepted that overall the hand is less in tension and the thumb is high on the neck.

[[File:Pince-2-1.jpg]]

A few shots of another chord fretted without the thumb but with the root on the lower E string this time (Gm6 here). The thumb is a bit less high on the neck than previously, and a bit more shifted on the left compared to the fretting fingers.

[[File:Pince-3-1.jpg]][[File:Pince-3-2.jpg]]

[[File:Pince-3-3.jpg]][[File:Pince-3-4.jpg]]

Finally, a shot of the grip when some high notes are fretted above the 15th fret.

[[File:Pince-4-1.jpg]]

[[Category:left hand techniques|Left hand techniques]]
[[fr:La_"pince"_et_le_pouce]]

Work out the tonicity

2011-04-08T21:46:18Z

Admin wiki: Created page with "Tonicity of the right wrist, and to a lesser extent, of the right forearm, is key to playing in a fuild and clean fashion. The more the muscles are tonic, the less there will be ..."

Tonicity of the right wrist, and to a lesser extent, of the right forearm, is key to playing in a fuild and clean fashion. The more the muscles are tonic, the less there will be tensions, and the easier the specific typical technical difficulty will seem. The impression of ease that is displayed by good musicians mostly stems from their capacity to quickly and easily play all basic gestures, a capacity that comes with time, practice and experience. This is the very reason why I have put in this section a few simple exercises to play with a metronome, on a daily basis, that use some of these basic picking patterns: alternate picking, v-v, and a few other general considerations.

These exercises are also very nice to warm up. However, bear in mind that there should never be any pain while practicing. If at some point you come across any kind of ailment, particularly when it involves a tendon, this is a message that says that a physical limit is being exceeded, either in terms of intensity, or in terms of duration. In this case, you'd better stop immediately. Tendinitis is one of the musician's worst enemies because in order to recover, you must stop practicing for several weeks. It's therefore much wiser to stop at the first signs of tendon fatigue.

== Alternate picking, v-v and ^-^ on a unique string ==

Alternate picking is the movement that is easiest to integrate. As was said elsewhere, there are two ways it can be played: with a wrist movement or with a forearm movement. At first, since the objective is to better the wrist tonicity, it is a good idea to work downstrokes and upstrokes separately. The two following exercises consist of playing each kind of stroke as fast as possible. Starting at a moderate tempo is recommended. Play eighths in groups of 8 or 16 (or more) and as long as you feel at ease, you can speed up the tempo on the metronome. When the maximal speed is reached, as usual, slow down 5 bpm and play as many series as you can/want. In some way, it's gym. But it's a specific workout for the wrist muscles and tendons that will prove very useful later on.

Here's an anecdote. When Stochelo Rosenberg was learning guitar, he didn't even know about upstrokes at all, so he used to play downstrokes only for everything. When he realised that his picking speed reached a limit he could not overcome and he could not play some of Django's tunes this way, he was then told about upstrokes. That shows how this downstroke-only approach to playing tunes can be beneficial to feel at ease with the Gypsy technique.

Perhaps, just like me, you will notice that downstrokes can be played at a higher tempo than upstrokes, which means that alternate picking speed will be limited to that of upstrokes. The target is to play upstrokes only as fast as downstrokes only (which might not be possible eventually). Do this exercise on each string.

{|width="100%" align="center"
| width="150" | Downstrokes
|{{#widget:Daily_Motion|id=xfbdxc_ex-1-bas_music}}
|}

{|width="100%" align="center"
| width="150" | Upstrokes
|{{#widget:Daily_Motion|id=xfbdxt_ex-1-haut_music}}
|}

You can then repeat the same exercise on all strings, say on a Gm6 chord. Same observation: it's slower on the upstrokes. Tremolo speed will then be limited to the upstroke speed.

{|width="100%" align="center"
| width="150" | Downstrokes
|{{#widget:Daily_Motion|id=xfbdyb_ex-2-bas_music}}
|}

{|width="100%" align="center"
| width="150" | Upstrokes
|{{#widget:Daily_Motion|id=xfbdyo_ex-2-haut_music}}
|}

Now, you can play in alternate picking. Do it on each string.

{|width="100%" align="center"
| width="150" | With the wrist
|{{#widget:Daily_Motion|id=xfbdzu_ex-3-poignet_music}}
|}

{|width="100%" align="center"
| width="150" | With the forearm
|{{#widget:Daily_Motion|id=xfbdz8_ex-3-bras_music}}
|}

== Specific v-v exercises on one string ==

At first, you can do the following exercise: several consecutive v-v, in groups of two, as if two notes per triplet were being played.

{{#widget:Daily_Motion|id=xfbe0g_ex-4_music}}

Now try this chromatism on one string, often played by the Rosenbergs. To be done on each string.

{{#widget:Daily_Motion|id=xh22ur_ex-5_music}}

[[Category:Right_hand_techniques|Right hand techniques]]

[[fr:Tonicité_des_muscles_du_bras_droit]]

The -v-v-v- movement

2011-04-08T21:38:41Z

Admin wiki:

Even better than -v-v-, this is harder to get and integrte. Fortunately, this is not used so often. It can mostly be seen on arpeggios such as the one used in part B of Montagne Ste-Geneviève.

== Exercise ==
The typical v-v-v- exercise. Quickly becomes very intense.

{|width="100%" align="center"
| width="300" |[[File:V-v-v-ex.jpg]]
|{{#widget:Daily_Motion|id=xfbdc6_butee-v-v-v_music}}
|}

== Exercise ==

To get started with -v-v-v-. I find it harder on the lower strings. Going up, it's merely a sweep.

{|width="100%" align="center"
| width="300" |[[File:V-v-v-1.jpg]]
|{{#widget:Daily_Motion|id=xh1vrr_v-v-v-1_music}}
|}

== Exercise ==

A variation on the previous exercise but a bit more complex, with more consecutive downstrokes and a final -v-v- final on the upper E string.

{|width="100%" align="center"
| width="300" |[[File:V-v-v-2.jpg]]
|{{#widget:Daily_Motion|id=xh1vse_v-v-v-2}}
|}

== Exercise ==

Excerpt from Sweet Georgia Brown.

{|width="100%" align="center"
| width="300" |[[File:V-v-v-3.jpg]]
|{{#widget:Daily_Motion|id=xh1vtc_v-v-v-3_music}}
|}

== Montagne Ste-Geneviève part B ==

An example where -v-v-v- is used in arpeggio context.

[[File:Montagne.jpg]]
{{#widget:Daily_Motion|id=xh1vud_montagne_music}}

[[Category:Right_hand_techniques|Right hand techniques]]

[[fr:Le_-v-v-v-]]

Alternate picking

2011-04-08T21:35:19Z

Admin wiki:

Alternate picking is merely a picking technique that consist of successively playing downstrokes and upstrokes, several times in a row. Usually, the movement comes from the wrist only but for fast lines, the movement can come from the forearm but then the wrist must be kept blocked.

== Alternate picking on every open string ==

The point of this exercise is simply to prepare the right hand. The pick movement comes from a rotation of the wirst. The forearm stays still excepted when changing string.

{|width="100%" align="center"
| width="50%" | {{#widget:YouTube|id=LRuuFMQjwvc}}
| {{#widget:YouTube|id=h0hcliIC41c}}
|}

== Glissando on one string ==

The difficulty here is to have a good synchronisation between the left and the right hand so that each stroke corresponds to a distinct note. Which is not quite easy.

{{#widget:YouTube|id=-nr9Nl0XHUM}}

== Two strokes per string and string change towards the next lower string ==

{{#widget:YouTube|id=u8VMI8liNRY}}

== Down a minor 7th pentatonic then up a 6m pentatonic in first position ==

Nothing too difficult here since everything is played in alternate picking and changing string occurs with a downstroke. This is a basic movement that must be played as cleanly as possible.

{|width="100%" align="center"
| width="50%" |[[File:Penta6m.jpg]]
| {{#widget:YouTube|id=irBkI5K3uM8}}
|}

[[Category:Right_hand_techniques|Right hand techniques]]

[[fr:L'aller_retour_au_mediator]]

Equipment

2011-04-08T21:14:19Z

Admin wiki:

To play Manouche Jazz (the word "Manouche", as it is used here, is synonymous with "Gypsy") --it sounds daft to say, but the first thing you'll need is a Manouche guitar. Not a Takamine, not a flamenco guitar. There are two main types of Manouche guitars, both based on instruments originally built and marketed by Selmer of Paris. The two types are distinguished by the shape of the soundhole: the oval (also called a "petite bouche", "Modele Jazz" or a Selmer), and the D-shaped (often called a "grande bouche" or a Maccaferri). The D-hole, designed by Italian luthier and classical guitar virtuoso Mario Maccaferri, was marketed first. After Maccaferri parted ways with Selmer, his designs were revised by Selmer employees, and the oval-hole "Selmer-Maccaferri" ("Selmer" for short) instrument came onto the market.

== The guitar ==

The oval soundhole model (usually made with a 670 mm scale length) is better for soloists. The sound is more directionally focused, and the longer scale length gives this guitar a cutting, trebly sound. The D-shaped soundhole model is traditionally used by rhythm guitar players--the sound is omni directional, and the shorter scale length means lower string tension and a more balanced, slightly "bassier" tone. As for cost, prices vary widely: from 300 euros ($400 U.S.) to several thousand euros. Two main market categories exist: factory-made guitars and hand-made guitars (those made by luthiers). The best guitars are usually hand-made, but some factory guitars sound good enough for beginners and those with limited budgets. Some players will argue that it is easier to learn on fine guitars...ultimately, it's up to you. I have a Rudy Larna factory-made guitar that's worth 300 euros. While it is not a great instrument, it is fine for now, since I'm in a learning phase.

== The strings ==

[[File:Cordes.jpg|thumb|350px|left|Cordes argentine]] Strings are the second crucial element to getting a traditional Manouche Jazz guitar sound. Most players use silver-plated copper wound strings, which today are manufactured specifically for this style of guitar. I personally recommend the Savarez Argentines, but other brands with a good reputations include Galli and John Pierce. I've only tried Argentines, so I'm unable to say anything about other brands. You should be aware of the fact that these strings come in different gauges: .010-.045, .011-.046, or .011-.047, with either loop ends or ball ends. The .011-.047 set will exert more tension on the neck, and you should ask a specialist whether or not you guitar can withstand this extra tension (usually it's fine). Price varies between 7 and 18 euros per pack. It's recommended that you buy a few extra single G strings, because they are more prone to break than the others.

 

== The pick==

[[File:Mediators.jpg|thumb|350px|right|Mediators]] The third key element for playing in this style is the pick. Manouche players tend to use very thick picks--between 3mm and 7mm (0.2-0.4 inch). These are made from various materials, including plastic, wood, turtle shell (real tortoise shell, like real ivory, has largely been removed from the market for endangered-species reasons), bone, metal, and stone. Manouche Jazz picks also come in various shapes. Personally, I've tried 2mm, 3mm and 6mm picks in plastic, and I feel most comfortable with 2mm picks. Very thick picks usually have an asymmetric beveled edge, like mine in the picture. This helps to ease the attack (the angle at which the pick strikes the strings). However, though it's easier to start with, it increases the pick noise on the strings, which I don't like very much. These thick and asymmetric-edged picks are apparently widely used by the Dutch Sinti, a Manouche tribe living in the Netherlands. Price varies between 1 euro and 15 euros (and sometimes much, more depending upon the pick material).

[[Category:Get_started]]

[[fr:Matériel]]

Advices to work

2011-04-08T21:02:54Z

Admin wiki:

These recommendations stem from my own personal experience, so it's a bit dumb to say, but they mostly apply to me. Maybe you already have found your own different but efficient way to proceed to the workouts and in this case, it's all the better. yet, I feel that these advices may still be quite representative and universal since they work for most of the good musicians I have met. In short, I haven't taken that out from my magic hat...

As far as working out is concerned, Manouche music is not so different from the other styles.

In my opinion, it is mandatory to stick to these rules of thumb to make steady progresses.

It holds boil down to the following keywords:

== Patience ==

Patience is the main necessary virtue to learn the style, and even more if you have already been playing guitar for a long time in another style. You have to accept that you're starting over from scratch and dammit if you cannot play those same shining solos as you do with an electric or folk guitar. It's as frustrating as can be but you have to bear in mind that you're almost an absolute beginner at the right hand technique and you should be aware that it will take some time (but not as much as sometimes advertised). Switching over from the right hand stuck on the sounding board to the floating right hand is definitely a humbling experience (as far as I can tell). Anyway, with a regular work and a good method, after a few months you should already start to feel that the position is becoming natural, to the point that you might envisage to use it exclusively for the other styles as well. Ok, that may be just me...

== Regularity ==

Work must be regular to be efficient. It's better to work out every day half an hour than twelve hours in a row one day per month. It's the repetition of the gestures that makes the body/brain assimilate them. From my experience, working out one hour a day every day allows to achieve a few satisfactory results. This is what I did last year from July to October, every day between one or two hours, and sometimes four hours on week-ends. Of course, you must have enough spare time to be able to do it, a daily job and a family life comes with constraints that might seem disheartening at first glance. But I repeat, one hour a day every day and you should make nice progress. And it's possible to find one hour a day: quit watching TV or work out at lunch time in the car (which is exactly what I did)! With the help of a metronome, you will quickly realize that progress is being made from one week to another, and this is very encouraging.

== Work method ==

As is the case for other music styles, a clear distinction must be drawn between strumming around for fun without any goal, and really working out on the instrument. It is utterly different. Working out is always with a view to making progress. Therefore, one should set goals not too tough for his level. Goals that are really hard to meet often come with much frustration and often are the sign of a lack of patience. In Manouche guitar, there are many things to work on: mostly the right hand technique of course (especially for the experienced guitarists in other styles) but also the left hand, the harmony, the typical chords, the embellishments, the arpeggios, the licks, and that list is not exhaustive...

Ideally, you should be able to auto-assess your own work in order to know whether or not you're making progress. The solution is right there: use a metronome. As far as I'm concerned, I bought one for the first time in my life last summer, to learn Manouche guitar and frankly, I have nothing bad to say about it. There are also freeware metronomes one the Internet such as this one, which has been highly recommended to me and indeed, it looks just fine. Actually, not only can one work on the sense of rhythm, but one can also evaluate his own progress thanks to that tool. It's very encouraging to see that a specific lick can be played cleanly 2-3 bpm faster than the previous week. It's even a very efficient way to find motivation.

Once the metronome is under reach, you must absolutely work at a tempo at which what you want to play is clean. The brain needs to understand a gesture to record it, muscles need to build fiber so as to be physically able to do the movement with the necessary aaccuracy. Once the gesture is recorded - it's said that it has to be repeated between 100 and 200 times on several days - you can speed up a tiny wee bit. Working out at too fast a tempo means that you will learn to play the same old mistakes faster. Speeding up is not the same as rushing. The hidden secret of people who can play fast and clean is just that: work at the right tempo. Rushing is another sign of impatience which breaks rule number one of this page! It's actually inefficient and in the end, it takes much more time to learn the same movement. My way of working is to start learning a new movement very slowly, and once it's there, I speed up the metronome 5 bpm at a time until I reach the limit where the notes can no longer be played cleanly. Once this limit is reached, I turn several bpm down and I work this specific exercise at this tempo. Doing so, you will be able to see achievements from one week to another, sometimes even from one day to another (honest). I still work out this way. When I speed up the metronome, there's often an very specific part of the exercise that stops being fluent so you should then focus the work on this very movement. To specifically work the right hand, I started with alternate picking on one string with the typical Manoucge floating wrist. Later, I did alternate picking on several strings 4 notes at a time. I needed several days just for this supposedly simple exercise, and still it was very slow. Then I practiced other movements and licks very slowly again (compared to how I would play the same licks with the wrist on the sounding board). Always a bit slower than my limit to learn the gesture. However, often in a work session, I play a specific lick faster than I can (100-110%), just to build up "stamina", nerves and muscles. One day later, I can already feel the benefits of it.

One should mostly focus on scales, arpeggios, alternate picking, consecutive downstrokes while changing strings. Basic movements. The final goal is to be able to play everything with the right hand as relaxed as possible.

To work improvisation, one must realise that it's very important to have something to say musically, therefore you should listen, listen and listen again, assimilate, integrate, in order to have something to sing. Scale and arpeggio techniques are to be considered merely as tools to serve the inner melody. You should not play scales just for the sake of it, the point is to keep being musical: listen to Django or anyone else as long as you listen.

== Listening ==

Before everything, music is a matter of listening, and particularly in Manouche guitar where the tradition is mostly oral. To play in that style, you should at least know the basics and then to become permeated with it. It's exactly the same when you learn a new language, you need basic vocabulary to get yourself understood, and the best way to awquire this vocabulary is to live for a while in a country where that language is spoken. The Manouche music country can be found on CDs, in concerts, in jam sessions, while meeting with other musicians, with music lovers. All chances should be jumped on to listen to this music. The easiest way is to listen to the great masters of the styles, Django Reinhardt, Boulou Ferré, Angelo Debarre, Tchavolo Schmitt, Dorado Schmitt, Biréli Lagrène, Yorgui Loeffler, the list of musicians is very long and each one of them has his own personality... The way I do it is to listen to a CD for a certain period of time, like a week, in the car when going working the morning and when getting back in the evening, and to listen carefully to specific parts I find worth working on (solo parts, pompe, embellishments, etc...) and then why not, when the temptation is just too strong, I immediately play the guitar once at home to rightaway learn what has drawn my attention. Personally, I really do that often: I listen and when I hear something new, I try to learn it if I can. Just like a sponge.

[[Category:Get_Started]]
[[fr:Conseils]]

Starting Manouche guitar

2011-01-18T13:43:12Z

Admin wiki:

This section concerns the true beginners who directly start with Manouche but also the guitarists experienced in other styles who also start Manouche guitar. Some of the techniques need to be learnt from scracth, notably as far as the right hand (for right-handed people) is concerned, which means that these experienced guitarists will find as much food for thought as a genuine beginner.

== Position ==

It is important to have a good body position. Guitar lies on the right leg. Right leg is often heightened compared to the left leg, either by using a little stool like in classical guitar, or simply by putting the right foot on the left foot. The elbow rests on the sounding board and must not move. The right arm (as opposed to forearm) should be as relaxed as possible. The wrist "floats", in other words it is not stuck on the guitar body close to the bridge. The wrist must also be "broken" in a near 70° angle.

More on the position [http://guitarejazzmanouche.com/en_wiki/index.php/Right_hand_position here].

== Holding the pick ==

The pick is held between the thumb and the index, firmly but not too tight: too much tension and the pick may catch the strings too strongly, not enough firmly and it may fall or spin while playing. The problem of the spinning pick can be addressed in several ways, either by buying an ergonomic pick that is adjusted to the fingers shape and that should not move, or by finding the right tension to hold it. A pick that spins is often the sign of a wrong angle to pick the strings so you must also pay attention to that.

More on holding the pick here.

== The "grip" at the left hand ==

This problem essentially concerns the true beginners. When we start to learn to play guitar, one of the first problems that arise pertains to where and how to put the thumb behind the neck. For the chords that do not require the thumb to fret the lower E string, the thumb rests between the 2/3 and the top of the neck, and the thumb/index junction does not touch the bottom of the neck. When the thumb is used to fret a note, the hand wraps around the neck (especially for small hands). The "grip" is how the French name the shape of the hand in that position from the side view, thumb behind the neck and the other fingers on the fretboard. The grip gives enough strength to fret the notes while keeping a clean sound.

Cramps often appear after a short while when beginning. This is normal and you should not worry about it, they will disappear with time and practice.

More on the grip here.

== Basic chords ==

The first chords to learn when starting Manouche guitar are probably m6, 6, 6/9, 9 and m9 with root on the lower E string or A string. It's harder than those chords on folk guitar but these are so often used that it's best to start as early as possible to learn directly with the good habits. A steep learning curve yes, but when it's there, you'll feel so much better.

Here's a little advice: cut your nails quite short, at least on the left hand, otherwise you will not be able to fret the notes correctly.

More on chords with pictures and positions here.

== Warm-up exercises ==

Warming up is always a good thing, especially if you are a beginner. On one hand, it's useful for a better fluidity when you really start playing, on the other hand, it helps preventing micro-traumatisms of the muscles and above all of the tendons. Finally, it's also a great way to get into the right state of mind for work. A good warm-up exercise for the left hand is to play chromatisms on all strings with the four fingers at a tempo where you feel comfortable. For the right hand, playing pompe on several chords help warming up the wrist whereas some alternate picking for the chromatisms and the scales can be enough to get into work. Generally speaking, I strongly recommend the exercises of the section Tonicity of the right forearm muscles.

== Standard pompe ==

Pompe is the first thing that is taught to Manouche beginners. Rhythm guitar is called "rhythm" in that pick strokes on the string must suggest the different sounds made by a drum kit: a downstroke on the lower strings (lower E, A and D) and there comes the bass drum, a quick downstroke on all strings and here is the snare drum, a light upstroke on all strings on an upbeat and there you have a Charleston, a shuffle on all strings and you can hear a drum roll... The point of the pompe is to give rhythm while at the same time you play the chords. For these very reasons, you should really work on the pompe movement. The best is to work with a metronome: since the pompe replaces the drum kit in some way, it must be as regular as a drummer would play it. However, when jamming with other people, it's usually a bad idea to use a metronome. Finally, it's important to see to it that the chords played by the left hand ring when they should and are muted when they should too. You should therefore start at a slow pace in order to fully understand the gesture, and synchronize the movements on both hands for the pompe.

More on the pompe here.

== Basic right hand movements ==

This section is more about playing solos. When starting, there are mostly two ways that can be used in parallel: on one hand, you can work basic movements like rest-strokes, alternate picking on one string, alternate picking on several strings, consecutive downstrokes on one string, then on several ones, with string change upwards, then downwards; on the other hand, you should learn how to play some simple melodies like the Minor Swing intro, or the theme of Les Yeux Noirs, just to use the various techniques in a musical context.

By the way, it's about time I stringly recommend Michael Horowitz's "Gypsy Picking" method which is a very educationalist resource that mostly focuses on the basic movement. I am not paid to say that, I honestly think it's a great book for beginners.

More on alternate picking here.

== Basic embellishments on the left hand ==

There's one embellishment that should be tackled as soon as possible: the cut. This effect is so used that it's litterally a cornerstone of the Manouche musical language. Work on this seriously.

More on the cut ici.

== m6 arpeggios ==

Arpeggios are not necessarily the very first thing you should learn when starting Manouche but since this music is mostly build upon arpeggios and not scales, it may be useful to at least start learning early the m6 arpeggios. That work also helps to integrate the basic right hand movements in a musical context.

More on m6 arpeggios here.

== The first tunes ==

The aim of the workout exercises is ultimately to play music, therefore to play musical pieces, written music at first, then music with more and more improvisation in it. In general, the first tunes should be build on simple cadences on three or four chords. I particularly recommend to learn the pompe and the themes of the following tunes:

* Minor Swing (in Am6)
* Blues Mineur (in Gm6)
* Les Yeux Noirs (in Dm6)
* Later on, All of Me (in C6)

The recommended way to efficiently work on a tune is first to listen to it many times, and in different versions played by good musicians of your choice, then to know the chart by heart until you are able to hear it in your head as if it was really being played on a radio or something. Then you should find the right chords and fingerings, possibly inversed chords, so that the pompe sounds good (which can be done with a teacher or by groping about on your own). Then learn to play the melody until it is clean, learn and play the arpeggios and scales on each chord, and finally, learn and play licks from other people or invent your own licks on each chord. It will take a lot of time, especially when starting, but this learning process will become faster and faster as you progress.

[[Category:Get_Started]]
[[fr:Bien_débuter]]

Arpeggios m6 and m7/5b vertically

2011-01-14T16:51:17Z

Admin wiki: Created page with "There are four main arpeggio shapes to remember (with two notes played on the lower E string). == Shape 1 == This arpeggio starts from the root and is therefore played on this ..."

There are four main arpeggio shapes to remember (with two notes played on the lower E string).

== Shape 1 ==

This arpeggio starts from the root and is therefore played on this kind of chord: (in Gm6 here that can distinctly be seen on the arpeggio chart)

{|
|[[Image:Arpege-m6-vert-1.jpg]]
|{{#widget:Daily_Motion|id=xfbefq_arpege-6-vert-1_music}}
|}

== Shape 2 ==

This arpeggio starts from the third and can therefore be played on this kind of chord: or still (in Em6 here).
{|
|[[Image:Arpege-m6-vert-2.jpg]]
|{{#widget:Daily_Motion|id=xfbefz_arpege-6-vert-2_music}}
|}

== Shape 3 ==

This arpeggio starts from the fifth and can therefore be played on this kind of chord: (in Cm6 here).

{|
|[[Image:Arpege-m6-vert-3.jpg]]
|{{#widget:Daily_Motion|id=xfbeg8_arpege-6-vert-3_music}}
|}

== Shape 4 ==

This arpeggio starts from the sixth and can therefore be played on this kind of chord: (in Bbm6 here).

{|
|[[Image:Arpege-m6-diag-4.jpg]]
|{{#widget:Daily_Motion|id=xfbegh_arpege-6-vert-4_music}}
|}

== Remark ==

There are many other ways to play those arpeggios of course like by playing only one note on the lower E string but I will not talk about those.

[[Category:Left_hand_techniques]]
[[Category:Arpeggios]]
[[fr:Arpèges_m6_m75b_vertical]]

Arpeggios m6 and m7/5b diagonally

2011-01-14T16:46:40Z

Admin wiki:

Even though there are 4 arpeggios to remember, in reality there are only two shapes since 1- and 3- derive from the same shape, and so do 2- and 4-: only the starting note changes.

These two patterns that repeat themselves all over the neck are the following:

[[Image:Arpege-m6-motif-1.jpg]]   [[Image:Arpege-m6-motif-2.jpg]]

== Shape 1 ==

This arpeggio starts from the root and therefore can be played on this kind of chord (in Gm6 here): 

{|
|[[Image:Arpege-m6-diag-1.jpg]]
|{{#widget:YouTube|id=Q-GuF4uAdRI}}
|}

== Shape 2 ==

This arpeggio starts from the third and can therefore be played on this kind of inversed chord: [[Image:M6-3.jpg]] (in Em6 here)
{|
|[[Image:Arpege-m6-diag-2.jpg]]
|{{#widget:YouTube|id=veKWUp1MEOo}}
|}

== Shape 3 ==

This arpeggio starts from the fifth and can therefore be played on this kind of chord with the root on the A string [[Image:M6-2.jpg]]. It can be noticed that it's the same arpeggio shape as for the first example here but shifted up one string: (in Cm6 here)

{|
|[[Image:Arpege-m6-diag-3.jpg]]
|{{#widget:YouTube|id=F5_OJn_e14M}}
|}

== Shape 4 ==
This arpeggio starts from the sixth and can therefore be played on this kind of inversed chord [[File:M6-1-3.jpg]]. It can be noticed that it's the same arpeggio shape as for the second example here but shifted up one string: (in Bbm6 here)

{|
|[[Image:Arpege-m6-diag-4.jpg]]
|{{#widget:YouTube|id=QR7rmdNQzko}}
|}

[[Category:Left_hand_techniques]]
[[Category:Arpeggios]]
[[fr:Arpèges_m6_m75b_diagonale]]

Arpeggios m6 m75b

2011-01-14T16:38:41Z

Admin wiki: Created page with "m6 chords are probably the most widely used 4-note chords in Manouche. It's therefore of utmost importance to know their arpeggios well, in all chord positions and inversions. Th..."

m6 chords are probably the most widely used 4-note chords in Manouche. It's therefore of utmost importance to know their arpeggios well, in all chord positions and inversions. This kind of arpeggio lends itself very gracefully to diagonal playing.

On all diagrams, the arpeggios are displayed in yellow, and the chord in light blue. m6 chords are direct inversions of m7/5b (hald diminished) chords thereby these arpeggios can be used in both contexts knowing that Im6=VIm7/5b, that is for instance Gm6=Em7/5b.

As usual concerning arpeggios, these arpeggios are divided in 2 parts:

* [[Arpeggios m6 and m7/5b_diagonally|m6 and m7/5b diagonally]]
* [[Arpeggios m6 and m7/5b_vertically|m6 and m7/5b vertically]]

[[Category:Left_hand_techniques]]
[[Category:Arpeggios]]

[[fr:Arpèges_m6_m75b]]

Major Arpeggios

2011-01-14T16:35:42Z

Admin wiki: Created page with "Arpeggios on major chords Major chords are 3-note chords which are not used in Manouche (or very scarcely). Chords are displayed here to help, especially those guitarists like m..."

Arpeggios on major chords

Major chords are 3-note chords which are not used in Manouche (or very scarcely). Chords are displayed here to help, especially those guitarists like me who are used to playing in another style (pop, rock, etc...) and who can easily use them as references. On the other hand, major arpeggios are often used.

 

== Major chord with the root on the lower E string ==

{| width="600" cellspacing="1" cellpadding="1" border="0"
|-
| colspan="2" | on two octaves and one note to be played in 8th and 16th (in A here) 
|-
| [[Image:A.jpg|center|A.jpg]][[Image:Arpege-majeur-1.jpg|center|Arpege-majeur-1.jpg]]
| {{#widget:Daily_Motion|id=xfbepp_arpege-majeur-1_music}}
|-
| colspan="2" | On three octaves to be played in triplets (in A here). The tough point is on the descending part: the first note of the second measure is played with the middle finger. 
|-
| [[Image:Arpege-majeur-2.jpg|center|Arpege-majeur-2.jpg]] 
| {{#widget:Daily_Motion|id=xfbeqa_arpege-majeur-2_music}}
|}

== Major chord with the root on the A string ==

{| cellspacing="1" cellpadding="1" border="0"
|-
| colspan="2" | On two octaves to be played in triplets and only ascendingly (in D here)
|-
| width="480" | [[Image:A.jpg|center|D.jpg]][[Image:Arpege-majeur-3.jpg|center|Arpege-majeur-3.jpg]]
| {{#widget:Daily_Motion|id=xfbex1_arpege-majeur-3_music}}
|}

[[Category:Left_hand_techniques]]
[[Category:Arpeggios]]
[[fr:Arpèges_Majeurs]]