I transcribed the chords of Minor Swing and...🤯

[@RobertMatichak]

Thanks Martin. Great video and thanks for remaining true to this genre. And your english is perfect! Chapeau!

[@utilisateurrollover4601]

Super moment, très bien construit !!!

[@mickkebe655]

You're right 👍 In his book "Hot guitar" (1938) Roger Chaput describes the fingering (inversions all over the fretboard) of the most used chords of that time (ie. minor, major, diminished and augmented triads, and dominant 7th and 9th chords). The few other ones are called tension chords and are litsed without name. R. Chaput was a professional guitarist who has been playing with Django (1934-1938, Quintette du Hot Club de France)

[@guitareimprovisation]

Thanks a lot for that information Mick! Do you know where I can find this book?

[@jazzfan400]

Intéressé aussi par le bouquin 😉

[@rbloomfield]

Hi Mick - do you know how to purchase Roger Chaput’s Hot-Guitar book? Maybe there is a pdf online somewhere…do you know? Thx!

[@gibful8671]

​@@guitareimprovisationje l'ai si jamais vous êtes encore intéressé

[@nicofitz8130]

This is a great video. It makes perfect sense that the rhythm player plays a very basic chord *to leave space* for all the extensions and chromatics Django is using. Thanks so much for this. I can confirm also that I was once at a gypsy jazz festival and was playing a jam with some really good French guys who have a professional GJ band. I didn't know any gypsy style chords at the time so just played basic chord shapes such as the ones shown in this video and they were very happy with the sound. Kept asking me to play more tunes. I think naturally the soloist wants a rhythm guitarist who keeps the beat well and otherwise stays out of the way.

[@brucetheukuleleteacher9008]

Really interesting video. I totally agree with the points you made. I especially liked the pictures of the hands showing the exact fingering of the chords 👍

[@joepalooka2145]

Excellent video for those of us who are just learning Django's music. I agree that these basic triads which you demonstrate are very important in creating the same kind of percussive rhythm that you hear on Django's recordings. There is a big difference in the sound.

[@nickcirillo6191]

So glad you are clearing this up! Thank You 🙏🏼 My friend Charles Wizen the Maestro showed me these chords 20 years ago. Charles grew up in France and has many a fine story. Also Charles was playing Django gypsy jazz in NYC in 1977 with a fine NY Times article in support..

[@AManCalledAidan]

This is a very interesting discussion and I think a good reminder that the important thing is the groove - that is where the sound really comes from rather than specific chords. That said, I am trying to hear the chord voicings on the 1947 recording of Minor Swing and would be interested to know what you think about that version. I feel like I am hearing minor 6 chords in the rhythm playing but it is very dry and mixed with the drums so a little less clear. I think one of the reasons players have generally adopted 6th chords is that particular harmony is certainly an important sound in the style - in terms of the lines the lead player (well Django I guess we can say!) is adding to the relatively unadorned background. As you mentioned the additional comping has the 6/9 in places and that is very much a signature sound. Anyway thanks for all your great work!

[@guitareimprovisation]

Yes I agree. In 1947 version I here plain minor chords for Am and Dm, and some m6 chords played by Django, starting at 1'57

[@AManCalledAidan]

@@guitareimprovisation Thank you for your reply Martin. I will give it another listen!

[@195wolf]

Such an important lesson!

[@SergeCeroni]

Excellent 👌🏻

[@PaulPaterson]

Perfect. I spend a lot of my time trying to explain to rhythm guitarists that 1930s chords are simple chords, exactly as you explain. I'll just point them to your video. 😁

[@ryanreeves8931]

Excellent insight!!! Thanks

[@BillWardWesternLights]

Thanks Martin, this was excellent! I have found I Ilike the sound of the simpler major and minor chords versus the Major "69" chords and minor 6 or 69 chords. I have your book of Gypsy Jazz Transcriptions and certainly noticed your use of these more simple major and minor chords. I am working on Saint Louis Blues now and your chord chart for this song is very helpful and I do really like the sound of these more simple chords. Thanks again Martin!

[@carlostupiggia4376]

Great Martin 🙏

[@grobertabidbol4005]

Good point !

[@FTStratLP]

Merci beaucoup for this great video! I gave it a thumbs up and I instantly subscribed to your channel. There are loads jazz snobs out there who make one feel bad when using a plain major or minor chord.

[@wujicare7715]

Ah, Ah, sacré Martin. Quelle est le point commun entre Martin et Jean Claude Van Damme : Ils sont tous les deux "aware" ! Blague à part, cette analyse est très importante car jouer des accords enrichis dans l'accompagnement limite les possibilités harmoniques du soliste. J'ai toujours été mal à l'aise avec le Am6 dans Minor Swing. Merci Martin de cette précision.

[@MrJodboy]

Thank you ! My friends will not believe it

[@cburgess2805]

It seems that beginners start with the constant maj/minor 6 chords and extensions to quickly and easily achieve a noticablly distinct 'gypsy' sound, especially as a rhythm guitarist, but it is after the ear gets attuned to the 'accent' of the 1930s and they get more experience as a soloist playing with distracting rhythm players that they find the right rhythm voicings were the simple ones all along.

[@StevesBeyondRepair]

great video!!!! thank you!

[@StevesBeyondRepair]

and thank you for doing this for us in English!! Perfect!

[@Broeseler]

wow. thanks soooo much! GREAT Fantastic

[@johnrothfield6126]

Great topic. I notice Fapys rhythm guitarist. In the 90s videos used plain chords

[@stevejarosz8136]

I’m wondering if live they used different chords and for the recording they just kept it simple so there would be no accidental dissonance. It’s a great lesson to not shy away though from very simple chords if you find they resonate the best. And not think that you’re being too primitive.

[@andresduran93]

instant emotional damage for all that arrogants gypsy players.

[@guitareimprovisation]

hahaha

[@johnrothfield6126]

Current Gypsy jazz is not the same as (djangos) music of the 30s. I think everyone will agree with that statement.

[@cburgess2805]

Check out the rhythm guitar on Fapy Lafertin's 1996 album Hungaria

[@HUVISZ]

they have always been musicians who tried to save the original sound, and others who tried to find something new. Both are important. So, thank you for that lesson in music history, but alone the fact, that many if not the majority of gipsy players play m6 chords all the time, makes it the right thing to do, if you wanna blend with the music, how it is played today.

[@Accionsimple]

Genio

[@haimerej1000]

Salut Martin !!! Merci pour la vidéo, super intéressante. Ce n'est pas la partie, ni la plus facile, ni la plus marrante que de relever les accords originaux d'un morceau, mais ça amène beaucoup à la musicalité ! Au final, je voulais te demander "Qu'en est il de nos derniers accords F and E ?" Tu ne mentionnes pas ces deux là, qui sont généralement conseillés Seven nine ou Seven.....??? Je te remercie 🙂

[@franckchalland1348]

Django was playing with only two fingers as some vidéos show it....

[@tangsolaris9533]

Wow,!!!!

[@aybabtu2834]

La base 👍

[@jazzfan400]

C'est bien ça entièrement d'accord, je serais intéressé par l'accompagnement sur embreaceable you en plus il y a 2 tonalités, j'ai commencé par aimer le solo et ensuite je me suis dis tiens voyons l'accompagnement de l'époque.

[@alaintroja3764]

Bonjour et bravo pour ta vidéo ,j’avais fait ce constat depuis longtemps , aussi j’ai remarqué autre chose au niveau rythmique que l’on retrouve dans minor swing ainsi que Dinah et d’autres ,il semble qu’il y ai une guitare qui ne fait pas Boom tcha boom tcha mais plutôt Boom tcha tcha tcha ,un genre de valse à quatre temps .qu’en pense tu ?

[@guitareimprovisation]

Bonjour Alain! Dans Minor Swing, on entend clairement les 2 et 4 accentués je trouve, donc ce que tu dis ne me parle pas trop. Mais si tu as des moments précis à m'indiquer, n'hésites pas : c'est un sujet intéressant :-)

[@alaintroja3764]

Bonjour et merci pour ta réponse En fait tu a bien raison on entend bien l’accent sur le deux et le quatre ,cependant de temps en temps ,toute les trois quatres mesures il me semble que le 3 n’est pas attaqué sur les basses(boom) ce qui donne cette impression de Tcha,tcha,tcha. Sur Dinah on peut entendre la même chose , après c’est du pinalliage je te l’accorde ( c’est le tic du repiqueur )mais cela donne un mouvement à la pompe qui devient plus vivante moins systématique . Bonne journée à toi

[@salomonguillaume4491]

Trop de sixte tue la sixte

[@igorperic5232]

how many different right hand rhythm styles are there ? la pompe, ballads, bass - strum patterns.. ?

[@ingluissantana]

In englishhhh!!! Great!!!! 🙏🏼🙏🏼🙏🏼🍻🍻🍻🍻🍻