GYPSY JAZZ LICKS { JOHN WHEATCROFT

We begin with a classic Django-inspired line in the key of G, spelling out a common harmonic move of I6-IVm6 (G6-Cm6). This early-era gypsy jazz idea stays close to the harmony, as the concluding G Major triad (G-B-F) against the G6 chord illustrates.

This line, in the key of D Major, demonstrates two key concepts from this style. First, we see the use of a chord shape to generate a single-note line, specifically the one-note-per-string A7alt or Eb9/A idea against A7. Further, we see the two main ‘triplet’ embellishment figures. While the first two instances in [bars 1-2] are triplets, the figure in [bar 3] is actually an eighth note combined with two 16ths, although with a swing feel these two variations sound rather similar and are practically interchangeable. You’ll see decorations such as this all over the place in gypsy jazz so it’s good to get under the fingers.

For this example we’re exploiting the contrasting tones of a fretted note against and open string. This allows us to create interest when just selecting one single note (G: 5th of C) across two entire bars. We create harmonic interest in bar 3 by implying the move between Cdim7 (C-Eb-Gb-Bbb), resolving back to C (C-E-G).