Waching daily Oct 29 2017

Hi, Clément here

this video will be a new chord chart study on Django's Tiger

from Django Reinhardt

it's a rather known major piece

it's played a lot in gypsy jazz

First, I'll play the chord chart

and then I'll showcase each chord

to show you how I go about improvising

in terms of scale, arpeggios, substitutions, etc.

which will allow you to better understand the chord chart to know how to improvise on it

So first I'm going to play the chord chart

here you go

the piece is in A

there are a few modulations

but overall it's not really a complicated piece to improvise on

At the beginning we have a A

on this A we can simply play the A scale

in terms of arpeggios, we can think of the A arpeggio

root note, third, fifth

we can think of arpeggios with enrichments

so A7

A6

with a ninth, etc.

we can also think of the diatonic substitution

if you don't know what that is, you can click on the 'i' for "info"

in the top right corner of the video

it'll lead you to an article I made to explain it

So, on this A we can think of a Fm# arpeggio

or a Cm# arpeggio

for examples

F# or C#

so that's the diatonic substitution

it'll allow you to play those two arpeggios, Fm# and Cm# on the A

Then, we have a rather common cadence in gypsy jazz

this one

So we have a A with C# as bass note

then a diminished C

then a Bm7

and a E7

so on the A with C# as bass note

it's the same thing

as on a the A, so you can play what I just showed you

on the diminished C

you can simply think about a diminished arpeggio

If you don't know what's the diminished arpeggio you can click on the 'i' for "info"

in the top right corner, I made an article on that as well

if you want to simplify all of that

as we have here...

the chords go by a bit faster

you can also think more globally, by thinking about the piece's key

so on these few chords, you can think of the A scale

and it'll work on the whole cadence

it won't have the exact color of the chord

but it'll work

so that was for the diminished C

so either the diminished C arpeggio or the A scale

then we have a Bm and a E7, so it's a II V in A

in terms of scale

we're still in the A key

so we can think of the A scale

in terms of arpeggios, we can think of the chord's arpeggios

the Bm arpeggio

on Bm we're on the 2nd degree of the A key

so we can also use the diatonic substitution

and as you know if you looked at the article I linked you earlier

the 2nd degree can be substituted thanks to the diatonic substitution principle

by the fourth degree

so on this Bm we can also play a D arpeggio

for example D7

so that was for the arpeggio, and on the E7

we are on a seventh chord so that's the fifth degree

relative to the key which is A

so you can use the A scale

and the classical arpeggios

E7 arpeggio

the diminished arpeggio

going toward F

we can also use the tritone substitution

again if you don't know what that is, you can click on the 'i' for "info" in the top right corner of the video

I made an article to explain the tritone substitution

so, on this E7 we could play Bb7 arpeggio

then we have a E7 again

F7 and we come back on to E7

for the E7 it's the same thing as on the previous measure

then we have a F7 which is coming out of nowhere

it's not part of the A key so it's out of context

it's here to make an effect

so if you want to improvise on it

we can think of the scales half a tone above

so we were on a A here

so we can think of Bb

because F7 is the fifth degree of the Bb key

so, we can play the Bb scale

As, on the E7, we can think in terms of arpeggios

the F7 arpeggio

the diminished arpeggio which is going to start on a F#

On the F# we can also think about a Cm

or Cm6

because if you also take a look at the diatonic substitution principle

we can substitute the fifth degree by the seventh degree

it's like the key is Bb because F7 is its fifth degree

so if we take F7 which is the fifth degree

the seventh degree in Bb

will be a Am7b5

and a Am7b5 is the equivalent of a Cm6

So, on this F7 we can think of Cm or Cm6

it works very well

here it is for the F7

we can also think of the tritone substitution also, I don't know if I said it

So on the F7 we can think of a B7 arpeggio

then we come back on E7, it's the same thing as earlier

and we come back on the A

so that's the first part of the chord chart called A

and the chord chart has this structure: A then A'

because of the beginning of the second part is the same

as the first, so we have a A again

On that you can do the same thing as I showed you earlier

then we'll have a II V in D

So, Em, A7, D

At this point there is a change of key

we're not in A anymore but in D

So on this cadence we can think of the D scales

in terms of arpeggio, we can play the chord's arpeggio

So, Em

We can think of a G7 on the Em

applying the diatonic substitution principle

we have the Em here, here the G

and if we are in D, Em is the 2nd degree

so, we can substitute it by the fourth degree which is G

for example on the Em, if you play a G7

it'll work out very well

then on the A7

we can play the A7 arpeggio

we could play the diminished arpeggio, so it'll be a diminished Bb

we could think of the tritone substitution

So, on the A7, we will have a Eb7

and then we arrive on the D

and it's like we were on the first degree of the D key

so we can think of the D scale, and the D arpeggios

so, the regular one

with a seventh

with a sixth, ninth, etc.

we can also think of the diatonic substitution of D

we could substitute it by the sixth degree which is Bm

or by the third degree which is Fm#

from there we have a cadence, a cadence is a progression of chords

we have a I IV

which is D, diminished D#, A, F7#, Bm, E7 and A

So, on D I already explained what we can play

on the diminished D#

we can simply think of the diminished D# arpeggio

then we arrive on the A, it's the same thing as on the A's I already talked about

then we have a F7#

and its a transition chord to go towards the second 2nd degree of the A key

In fact, here we were in D

and then we come back to the main key which is A

So in fact, this is the sixth degree of A7

which go towards the 2nd degree of A, the Em

So, on this F7# we can think of the F7# arpeggio

we can think of the diminished G arpeggio

we can also think of tritone substitution

which is a C7 arpeggio

in terms of scale we can use the Em harmonic scale

it'll work very well

then, we arrive on the Bm, E7 to come back to A

So, I already went over how to improvise on the Bm and E7 earlier in the video

and then we come back on A and we finished the chord chart

So, here you go for the explanations and analysis of the chord chart

try to learn the different diagrams and scales I talked about

I'll take a little summary PDF

if you are on Youtube you can click in the description, there is a link leading you to the website

and on the website at the end of the page, you can download the summary PDF of all that

if you have questions ask away on Youtube

Think about giving the video a thumb-up on Youtube

and I think I went over everything for Django's Tiger

See you soon for an upcoming video

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