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The Best of Django Reinhardt: A Step-By-Step Breakdown of the Guitar Styles and Techniques of a Jazz Giant Signature Licks + CD (Anglais) Broché – 27 septembre 2010

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Détails sur le produit

  • Broché: 96 pages
  • Editeur : Hal Leonard Publishing Corporation; Édition : Pap/Com (27 septembre 2010)
  • Langue : Anglais
  • ISBN-10: 0634034316
  • ISBN-13: 978-0634034312
  • Dimensions du produit: 22,9 x 0,7 x 30,5 cm
  • Moyenne des commentaires client : 5.0 étoiles sur 5  Voir tous les commentaires (1 commentaire client)
  • Classement des meilleures ventes d'Amazon: 121.559 en Livres anglais et étrangers (Voir les 100 premiers en Livres anglais et étrangers)
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Par Pat le 31 août 2013
Format: Broché Achat vérifié
Excellent méthode aussi bien pour le contenu textes, partitions et CD audio !
A recommander fortement !
Encore bravo!
Merci Monsieur Joe Charupakorn.
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Commentaires client les plus utiles sur (beta) 14 commentaires
42 internautes sur 45 ont trouvé ce commentaire utile 
good book but not really quite there 6 août 2005
Par Dinello - Publié sur
Format: Broché
one of my students showed me this book recently; we looked over it together. Now, i feel it's important to stress that this book claims to be a "step by step breakdown of the guitar style and technique" of django reinhardt. The review is based strictly on that claim. And as such, I believe it isn't quite there. The chord voicings for the most part are not those used by django or his accompanists (who favored simple but thick chord voicings). The notes seem to be more or less correct (i only glanced through the book) and therefore would benefit anyone who just wants to analyze the notes. however, I noticed a number of fingering mistakes. While it's nearly impossible to say with certainty which exact fingerings django used, the picking technique he used lends itself to a particular left hand fingering system. Furthermore, django and the sinti today visualize the fretboard in a specific way (using certain shapes). This is something that is more than meets the eye, and is something, i picked up from listening closely to the records and especially from hanging out with the Sinti in Europe. I also have reasons to believe wes and george benson (and surely many other guitarists) use a variation of this system as well.

Anyway, i think the book is certainly useful for anyone who wants to have the notes django played on paper for musical analysis. but for someone who s looking to understand his GUITAR style, and how he approached the instrument both technique wise and mentally; this book isn't quite it.
30 internautes sur 32 ont trouvé ce commentaire utile 
Helpful, but a few reservations 18 mai 2004
Par Christopher A. Brown - Publié sur
Format: Broché
To begin with, these are not new transcriptions, but repackaged transcriptions from another Hal Leonard publication, "The Definitive Django Reinhardt." The author, Joe Charupakorn, appears merely to have contributed the musical "analysis"--which is okay, but not particularly illuminating for an intermediate to advanced player. There are some definite mistakes--for instance, Django would never have used his thumb to play octaves, that is a Wes Montgomery technique. So far as the transcriptions are concerned, there are a few mistakes, and I am not at all sure the chord voicings are always right when the rhythm parts are notated. Nor am I sure about the fingerings--and Django and the Gypsy players have a very specific approach to fingering. The CD is quite good and helpful. The playing is skilled, but again, is not articulated in the Gypsy style, as elaborated in Michael Horowitz's excellent book "Gypsy Picking." Still this is a useful book.
27 internautes sur 38 ont trouvé ce commentaire utile 
Django's True Spirit 12 mai 2005
Par George H. Vasquez - Publié sur
Format: Broché
I highly recommend this book. I don't understand why some reviewers would criticize it. The transcriptions and tabs are flawless and the performances are spirited. I really enjoyed the CD.

Now about the infamous "rest stroke". This stroke came from banjo technique before amplification. In Eddie Lang's 1930's guitar method he claimed that alternate picking was not a good idea because of "volume" in bands. I own Michael Horowitz's book "Gypsy Picking". It's a great book for the style, but in it he states that it is not conducive to bebop. I think this goes for any modern jazz, including modal and free jazz as well. It's too choppy for this later style (Listen to Joe Pass on "Cherokee" on his album "Virtuoso" to see just how limiting this picking is. It sounds choppy and focuses too much on the down beat instead of the subtle syncopation of later jazz, not to mention how sloppy it gets at these speeds. The Ferrer brothers (Boulou & Elios Ferre) have the same trouble when they play modern jazz-again the speed). WARNING!: Doing "Giant Steps" with the rest stroke can cause a brain aneurism, so please, don't try it without proper supervision.

If you want to just play Django "prewar" and use a "Selmer Maccaferri" type guitar and be some kind of Django petrified jazz manouche clone, I would recommend the rest stroke (I've even read you should use only two fingers while playing his solos, as though Django wouldn't have done anything to have all his fingers back. Maybe you should buy some butane and orchestrate your own caravan fire to be really authentic). This sort of imitation is not flattering to Django memory and I think, pure silliness.

I would recommend alternate picking unless you want to ignore the last 50 years in jazz and the invention of the amplifier. And yes, you can get a powerful and beautiful sound on an acoustic guitar with alternate picking. Check out the Al Dimeola's instructional tape by REH Video (Warner Brothers Publishing). You can argue with his content or musical ideas but not with his superb technique. I also recommend John McLaughlin's acoustic work such as "Qué Alegría" or "My Goal is Beyond" (rare and expensive) . This speed and virtuosity is ABSOLUTELY IMPOSSIBLE to get with the "rest stroke". By the way, Django himself moved on to other guitars such as gibson and other arch tops and incorporated bebop ideas in his solos. Toward the end of his life he was upset that people couldn't or wouldn't accept his new form of playing, just like Hendrix, Coltrane and other great musicians and painters.

What I would recommend is what Wes Montgomery did. He transcribed every Charlie Christian solo he could get his hand on, and then went somewhere completely different with it. Charlie Parker learned Lester Young solos and went somewhere else with that as well. The same could be said for Bob Dylan and folk music, or Hendrix and the blues.

Live in the true spirit of Django. Buy this wonderful book. Learn the solos. Study the content of the solos and the PLEASE...go somewhere NEW, beautiful and completely, unexpected with it the way Django would have. Now that's real "bal musette".
6 internautes sur 8 ont trouvé ce commentaire utile 
Very fine book 13 novembre 2006
Par Jeffrey Weinberger - Publié sur
Format: Broché
This is an excellent way to understand Django's playing. The transcriptions are deadly accurate and the audio examples are expertly played. The presentation is great and this book is a major asset to my education as an aspiring jazz guitarist. The ideas of this musical giant jump off the page and even the most difficult, technically challenging phrases are easy to follow. I have never appreciated Django's music and improvisational genius and fire so much as I have after studying this fine folio. Very nice package for the Django enthusiast. Highly recommended.
1 internautes sur 1 ont trouvé ce commentaire utile 
Useful for the Transcriptions Alone I Guess 19 mai 2014
Par A. Deger - Publié sur
Format: Broché
Had this book and finally uncorked it after getting gypsy jazz (GJ) guitar lessons from a couple of pretty good instructors and players (some of whom regularly attend the Samois festival) and comparing it to Ayerhoff's (2) and another Reinhardt books.

Mostly disappointing. The tracks don't compare very favorably to recorded tracks by Reinhardt or modern GJ masters and so serve as a sound you really don't want to emulate for GJ. The grooves are generally stiff and the soloing is pretty lifeless. Although I can't see how the guitar player picked his solos on the recording, I'd be very surprised if he was employing gypsy picking--a forceful picking style that heavily employs rest strokes and downstrokes often combined with (at least a variant) of what is now called "sweep picking". The picking on the recordings sounds and feels more like alternate or cross-picked. If this seems like "nit picking" (pun intended) you really need to hear the difference between a solo from a strong GJ guitarist versus a bluegrass or alternate picking player trying to emulate GJ. There's not much comparison. By the way Romane's "Manouche" book glaringly omits reference to this really important topic also.

However, if you want transcriptions of some Reinhardt solos this book has 'em and the few bits I checked were mostly accurate although the fingerings seem awkward in some cases as another reviewer observed. You'd probably be better off buying a transcription program and some of Reinhardt's or a modern GJ master's (e.g., Rosenbergs) recordings. Also as another reviewer pointed out, chord voicings are not what are commonly used in GJ. Shown in the book are much more what I would call "traditional" jazz voicings instead of the common three note and barred forms for chords of more than three voiciings. Like it or not, the simplified voicings that Reihnardt could manage with his disfigured hand are at least the starting point for current GJ rhythm playing. In fact, it's common for rhythm players to play the three chords of Minor Swing with one simple movable chord shape.
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