Відео

I love this video. Your revelations are exactly what no one else is saying. Thank you deeply. I'm now more comfortable knowing that where I am with 'jazz' is fine.

Another Monster from Italy: Claudio Quartarone.

Sounds great -like a mixture of Django Reinhardt and Parker/ Powell vocabulary 👍

Just play the Sicilian defense instead !

Excellent. Have you on notification so will be back often. 🤠😎👏👍🎸 🎸 🎶

beautiful

Thanks Christiaan, Good to know I'm not the only one. I suppose that is how everyone makes up new licks.

“What is a scale?”. Django Reinhardt. I agree with you and John, I don’t know many scales and I feel like I don’t really need them. Django didn’t knew “scales” and he’s the greatest of all, so there must be a method to play beautiful solos without thinking in terms of scales. But, also I think it depends on what kind/style of music you gonna play. It is pretty hard to play modal jazz without a strong scales knowledge. 😊

I guess it’s the overtone series. The V chord has notes that clash in the overtones (tension), which when each independent note moves over to the I chord disappear (resolution). Probably. The whole western musical system is based on the overtones, so this seems to be the best explanation.

david super GM, that could only be david howell ( or david navara), he was at pasquale grassos gig ? What is this timeline : d

And on the lines, You have "every good boy does fine"

Christiaan, I love your videos and your system but that altered thing at the beginning is advanced theory for me. Not what your system is about!!

This video was originally streamed live in my Discord. To be part of this process and discuss further join here: discord.com/invite/ET88wYANJb

I liked the Delrin; so I used an X-Acto knife to cut multiple slits vertical and horizontal on both sides. Created just enough friction to get rid of the slipperiness.

Thanks 👏 great track

Do you have a recommendation for a good budget Gypsy jazz ukulele for those who don’t play guitar? Thank you

Hi Christiaan, I love your videos. I wish there were links somewhere on these short “teaser” videos to take me to the full video where it came from. Is it somewhere that I’m just missing? Thanks!

What is your opinion on "floating right hand" technique? Lot's of people comment on my videos that i play with a wrong right hand tecnique because my palm is planted onto the bridge when i play. When i see high level gypsy jazz players play, they always play with a floating right hand but i dont know how to properly learn it

Very helpful. As far as chord names: at 11:44 when you add the pinky you no longer have a Dim. I suppose it could be called an Abm13+5. Thanks for this.

Do we ever see this guy actually play?

Hi Christiaan, have you seen the channel Sor Hands? It's a classical guitarist's practice vlog in a similar style. You might check him out too!

To join a fast growing and active jazz guitar community: discord.com/invite/ET88wYANJb My webstore (with the books): vanhemertsystem.fws.store/ Original video: ua-cam.com/video/DIjWG-pGw4Q/v-deo.html Unedited conversation I had with Gabriel on his channel: ua-cam.com/video/JwEPO39roEM/v-deo.html Edited conversation with my reaction: ua-cam.com/video/EpbTjuWSjhU/v-deo.html

Good approach on bar 5 Bm6

This guy is one of the only teachers who understands that Django,s playing was not all about blistering speed he knows it was phrasing. Timing and soul was the most important thing

Yeah, Jimmy!!! Still waiting for more from you! Always enjoy whatever you do!!!

Great ideas over that turn around at the end.

The day I felt empowered to transcribe anything I heard + liked was my first in person with you Christiaan. Many thanks man. TB

Nice guitar!

Hey Christiaan maybe a cool video idea for you. Could you make a "jazz guitarist tier list". It would be really cool to see what your opinion is on all kinds of players and I think it would make a great video. Just a suggestion tho. Cheers, Ludwig

01:16:00 exactly that's what I mean! It's funny because I played for an audience of 40 people at a birthday party. I had a planned pre composed solo for 6 choruses but at the start of the 5th chorus I messed up so I immediately improvised a chorus and then went back to the pre composed stuff at the beginning of the 6th chorus. Like you said, it's a great life line but it's vital that you can fill in gaps with improvisation when you fail, which is very likely to happen. My pre composed solo contains the best phrases and licks that I've drilled 1000 times so I'm comfortable playing it but in a high pressure I failed and had to resort back to improvising my "lesser" phrases. I'm also still a beginner so it's a great way to be able to play and feel comfortable because I know I can 100% play 3 minutes on a given standard. But like you said, improvisation skills are 100% necessary.

Nice ❤

I think these kind of videos and lessons are very important to show and tell. Mostly because it's a topic that is very often skimmed over or even a taboo. It's great to hear that even professionals struggle. I think it would be great to have more videos about it.

i love your reaction videos!

So, I'm not 'free' from anxiety (who ever is) but here are some thoughts that have helped me: 1. This performance/solo/take is not a demonstration of me and my musicianship in its entirety. This is not a demonstration to the audience and other players of my "awesomeness". It's just THIS, NOW. Nothing more. 2. One of the main reasons I practise so much is to be able to gracefully recover from mistakes. Yes, we're all going to make mistakes. 3. Mostly, I play well inside of my actual ability. Performing and practising are two separate undertakings. As I've gotten more comfortable playing live, I've introduced more into my playing in that context. 4. Things really changed for me when I started focussing on rhythm. Whether it's other guitarists laying down a strong rhythm or a drummer, feel the swing and focus on making your solos sound good against the rhythm. Really focus. This squeezes out all kinds of other thoughts. 5 Pat Metheny said it best in a Rick Beato interview: his advice was something to the effect that if you get up on the bandstand and just play arpeggios, it's going to sound great and the audience will love it. See point 1. Thanks for addressing this Christiaan....great work Cheers. R.

Hi Christiaan. I started GJ guitar about two n half years back. I’ve been going through some intense general anxiety lately. It’s affected my ability to play quite seriously. Having made good progress playing 3 hours a day. Now feels like I went backwards. More right hand than left. I can barely look at the guitar now. Hmmm. Saw you and stochello and paulus at shrews 2022. If anyone has any advice please share. Cheers

I definitely notice when I’m practicing I play better than when I turn on the camera. However, in front of people I get more fearless.

Since Phrases are made up of small cells, if during your work at home you train yourself to develop cells more, and there are also many cells that are made up of a single note with various types of embellishments, analyzing and extrapolating how the phrases are written, you can instantly replicate the language by applying it to improvised notes rather than just learning long sentences that you can never place in a live situation because they are too complex to be memorized. It's just my opinion about being able to improvise... It's a great topic!

Play what you hear Christiaan😂

So meta! Love it

- Of course, give a sub to "Just A Dude Practicing" here: www.youtube.com/@justadudepracticing - This video was originally streamed live in my Discord server. To be part of this process and join the conversation with a cool community: discord.com/invite/ET88WYANJD

If I got this down with alternate picking is it worth learning to do it with rest stroke / proper gypsy picking? I’m new to focusing on this genre exclusively

This comment is very late to the game, considering this video was posted 3 years ago. But oh well... A couple of things: 1. I wonder whether Django and the originators of this music actually practiced in this way or anything similar to it. A metronome intensive, 4-6 hours a day regiment for many years just seems unlikely as the way for them to have developed their musical prowess in those times and given the circumstances of their day to day lives. I could be wrong about that, but it just seems unlikely to me. So I wonder what separates them from the rest of us in comparing how they practiced to what we accept as a necessary practice regiment needed to become adept at the style or music in general? Because let's face it, practicing exercises in this way is not very fun or musical, albeit rewarding over time. I have to think that more often, they were jamming together playing their traditional music and adapting the American standards by slowing down records, or playing casually while drinking coffee and smoking French cigarettes; just hanging around and making music, a lot of course, then working out ideas in their leisure time. Maybe I am wrong and this kind of metronome, work-out routine is really what it takes and is what they did, but given the similarities that Gypsy Jazz shares with American Bluegrass as the "people's music" and the virtuosity it displays, I just have to question how the greats that laid the foundation of the music actually practiced versus the later musicians that embrace a more scholastic practice regiment. Because the great founding bluegrass musicians were true country folk who often farmed and tended livestock and traveled countless hours in tight spaces to play their music. They weren't all tinkering with metronomes and playing the same handful of exercises 5 million times to get good, that's just not how musical creativity blossoms. So while I appreciate the insight in a video like this, I have to question the validity of it as a pathway to enjoyment and while I think it is one way to get good, I tend to think listening to recordings, slowing them down to learn by ear, then working them up to tempo by playing with others, along to recordings, or even backing tracks is a more fruitful and enjoyable way to practice than years of brutal metronoming workout sessions beating the same handful of exercises to death. In bluegrass, I don't think I've ever heard one of the greats say a word about the importance of practicing with a metronome. They all talk about playing along to records and jamming a lot when asked how they developed their technique. Metronoming is something you hear classically or conservatory trained musicians lean into, but not traditional musicians like hillbillies and gypsies. I just think there is a different way to go about it that lends itself to more enjoyment and room for creativity, which is how the music came to exist in the first place! I do think the exercises in this video nicely highlight the technical mechanics needed to execute the licks and phrases in the music, although much of that is self revealing to the player when they actually learn the music and endeavor to play it accurately note for note. 2. I cannot find any van hemert books or products on djangoguitars.com here in the US.

Thanks so much,it now makes it so much easier,Sam.

Great job and wonderful performance. I appreciate and i work on. Unless i missed something the video skips from bar 96 to 108 for the twelve phrase. Am i right? Thanks anyway Greetings from Paris Jean-Daniel

Hey Christiaan! A friend of mine just let me know about this. Great to hear your thoughts! The book in question is Harmonic Experience by W.A. Mathieu. Very much worth checking out 🌞

Very nice

Nagyon jó lett! Bálintom ölellek!

Great indeed !! thanks Christian !!!

Big fan, love your work! Really a great job and a great way to teach!

This guy gets what Django was all about. Tone feel and emotion