Rosenberg Academy

I have found the advice here from Stochelo and Christiaan to be spot on.
When I work on a phrase/passage now, I slow it down and get it right first and speed up 'slowly' - This has made massive difference to my playng

just been messing around with it, and realised that you can also play this note as a natural harmonic at the 16th fret

bar 94. The dissonant anticipated Ab
the tab should show 16 but shows 4, (strangely the natural harmonic)
I assume you don't expect us to play THAT!

For Fun
http://www.youtube.com/watch?v=ZKdrnTTDTqo&feature=related

The amazing multilingual Slim Gaillard

What a piece of music! And what luck to be learning this version

A few things that I am finding challenging.

Lesson 3 (bars 27-31) Not being used to the fingering, this is a bit of a stretch for my left hand(also lesson 13, bars 59-60),the hammer-on and change of position (bars 30-31) is a little disorienting.

Lesson 7 (bars 41-42) This is the most difficult part for me.

Lesson 17 (bars 72-80) Timing, Timing, Timing.... a little tricky trying to pin this down consistantly.
Using the pinky is better than I thought.

Lesson 22 (129-134) I am not sure why, but I feel kind of weak or I feel like I'm playing too hard when playing this. Needs more work I guess.

Lesson 23 (bars 135-139)....and yet again more Timing.
Not just me but few of us seem to be finding this difficult. I keep ending the tremolo with an upstroke.
Waiting for after the holidays for some proper advice on how to tackle chordal tremolos.

--- Last Edited by Darren at 2011-07-11 14:53:36 ---

Yeah, Paddy. I are also having difficulty with this part. I have my own method for the timing, after two bars (bars 135 & 136)which i just feel,I just count 1234 123stop bam bam / bam bam / bam
but it is a long tremelo and I find that getting the rhythm right is not easy at all.


--- Last Edited by Darren at 2011-07-07 18:29:18 ---

I am a little confused also.
the diagrams of the last chords in bars 13 and 14 (the boxes), in my mind - should be written in words as, B13 (see bar 12) and wow, erm... A13/b9 or Ab9 13 ?
good thing there are things called ears to help us get it the way we like it

edit- I have just had a thought - is the b13 (in bar 13) to imply the augmented tonality, rather than the b9 diminished tonality of the 13 (in bar 14)
have i made any sense at all?

--- Last Edited by Darren at 2011-06-08 09:48:29 ---

Thanks for the info. Yes i can see that octaves were not a problem for Django. Interesting article.

Just been listening to this lesson, and there are some tasty licks i can't wait to get my teeth into.
Couldn't help but wonder how Django would have played octaves, had a little look at them with 2 and 3 fingers and the different fingerings, and they are just not easy, so much so i wonder if Django ever played octaves!

Interesting analysis, sounds pretty solid to me.
From a more earthy less theory based point of view i see trad jazz as coming from the black american blues tradition with influences of european classical: blues - ragtime - boogie woogie - swing - be bop. And the manouche stle seems to me to come from the eastern version of the pentatonic tradition (same notes differnet accents) heavily moorish and again with influences from european classical theory.