1930sExAmplE2 arpeGGios over the beat
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.