1930sExAm­plE2 arpeG­Gios over the beat

Guitar Techniques - - DJANGO REINHARDT -

The rhythm of Django’s lines is al­ways wor th ex­am­in­ing, and this ex­am­ple mixes 6-over- 4 rhy thmic dis­place­ments (bars 1-2) with swing phras­ing (bar 3) and straighter 16th-note lines (bar 4). Again, a huge per­cent­age of his solo­ing vo­cab­u­lary is de­rived from arpeg­gios. O ften, as in this case, th­ese are quite straight­for­ward triad arpeg­gios (R-3-5), although we do see a po­ten­tial Gmaj7 in bar 4 (G-B-D-F#). It’s pos­si­ble that Rein­hardt is see­ing this as a Bm over G (B- D-F#), achiev­ing a sim­i­lar although ar­guably less clut­tered sound as a re­sult.

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