GypsyJazz Guitar

GypsyJazz Guitar

  • "Model Bertino"-serie von Polak-Guitars

    Die aussergewöhnlichen Gypsyjazz-Archtop-Gitarren der "Model Bertino"-serie von Polak-Guitars sind allein schon optisch ein Leckerbissen. Aber was ist so besonderes daran?

    Mod. Bertino - tobacco seriesIm Jahr 2013 traf Bertino zum ersten mal mit Alex Kashkin von Polak-Guitars (vorher ERG) in Augsburg zusammen. Durch einige Tipps von Bertino konnte ERG bereits in den folgenden Jahren seine damaligen anderen Gitarren-Modelle verbessern.

    Dann in 2015 erhielt Bertino die Anfrage ob er für die Fa. Polak-Guitars als Endorser zur Verfügung stehen würde. Bertino sagte zu, unter der Voraussetzung dass Polak-Guitars ihm eine eigene Gitarren-Serie widmen würde welche exklusiv für ihn nach seinen genauen Vorstellungen gebaut würde.
  • "Model Bertino"-series by Polak-Guitars

    The new outstanding Gypsyjazz-Archtop-Guitars of the "Model Bertino"-series by Polak-Guitars are already special by it´s view and making. But what is so special about them?
    collage mod bertino maple 01 640
    In 2013 Bertino met with Alex Kashkin of Polak-Guitars (former ERG) in Augsburg for the first time. Due to some tipps by Bertino in the followings years ERG was able to improve their other guitar models.

    Then in 2015 Bertino received the request by Polak-Guitars to join them as Endorser. So Bertino agreed, just under the condition that Polak-Guitars would build his own guitar-series which would be exklusively built for him regarding his advices and ideas.
    They both agreed and Bertino showed and explained Polak-Guitars his exact ideas on measures and form, features, form of head- and neck, tailpiece and tuners, colour and wood. In collaboration they also created special bridges that project the sound perfektly to the strongly arched tops and thus generate a superb Sound.
  • Book: Gypsyjazz Guitar - Bertino Rodmann

    GypsyjazzGuitar Bertino Flyer01bertino 2011Gypsyjazz or JazzManouche is the first style of Jazz that was developed in Europe in the wild days of the early 1920-30ies.

    The influences of that music origin from french Musette-Waltzes, the hungarian Çsardas, or spanish Flamenco, as of the original music of the Sinti, which all together has been mixed and played by the french Manouche-musicians.

    Django Reinhardt, is the most famous protagonist of Gypsyjazz or Jazz-Manouche (french. manouche = gypsy), who undoubtedly has left his deep footsteps in this Jazz-style with his very unique, creative and virtuoso way of Guitar-playing bringing it to worldwide recognition and has been influencing uncountable guitarrists even until today.

    In the tradition of the Manouche (french Gypsies) the typical phrases and play-techniques of Gypsyjazz usually only have been orally transmitted from generation to Generation inside their families, without ever been written down into sheet music. Thus the access to these special forms of music, their tricks and specials remains secret even if there is a need of authetic material to play the „Django Reinhardt-Style“.

    bertino 2014 04Bertino Rodmann, guitarist from Frankfurt / Germany playing Gypsyjazz since the early 1980ies, has taken care of this job and presents the attempt of an authentic introduction to the style of the JazzManouche with his methodbook "Gypsyjazz Guitar".
    The aim of his book is to explain the typical and authentic rhythmical and soloist's aspects of the Gypsyjazz-playing, as well as to grow the respect for the ancient tradition of the Sinti and Manouche, who are the creators of this music.

    Many guitarrists that are interested in Gypsyjazz and for example are coming from playing Blues, Rock or Popmusic often have the  problem to be able to see thru and understand the many facets of JazzManouche and/or to find a suitable learning method. Of course meanwhile there are lots of CDs, DVDs and methodbooks on the market, but as well many of these aren´t easy to understand for a beginner of this style nor are they really suitable for learning the style in an authentic yet easy way.

    For that reason Bertino developed this guitar-methodbook for beginners of Jazz-Manouche on the knowledge basis of his own guitar-workshops in the style, to open up a clearly structured method to learn and understand this music from scratch.

    In his book Bertino uses a different aproach to develop the style with more "easy-to-understand examples" of known songs like  "Minor Swing", "Blues en Mineur", "Douce Ambiance" or "Blues Clair" - which all together show a very close relation to traditional Blues, to explain the authentic play-techniques, scales and melodies that are beeing utilized in Gypsyjazz.

    On 150 pages the book contains many interesting explanations and pictures to explain the utilized guitars, strings, picks and more, as well as many personal remarks, tipps and Tricks of the author. Particularly a great focus is used on the very authentic mediation of the style as to grow the respect for the ancient tradition of the Sinti and Manouches.

    A total of 5 songs from Django Reinhardt and the "Quintet du Hotclub de France" as well as 2 original compositions of the author,   are included in the book all written out with staffnotations / tabulatures of many examples, tricks, licks and more on rhythm- and solo playing. To roundup all content there are also many examples of licks typically utilized by famous Gypsyplayers like e.g. Django Reinhardt, Stochelo Rosenberg, Lollo Meier, Romane and many more.
    Additionally the book has an audio-CD which contains 83 sound examples of all exercises, songs as well as suitable Playalong-tracks of the contained songs for practicing.

    The book is available in german and, since 2013, also in english language.

    Contents:

    • Rhythm-Guitar:
    • Comping
    • La Pompe-Rhythm
    • Dead Notes
    • Gypsychords
    • Voicings
    • Blues-Cadence
    • Chord Substitution

    • SoloGuitar:
    • Reststroke-Picking
    • Arpeggio-Picking
    • Sweptstroke-Picking
    • Scales
    • Arpeggios
    • 13 Solo Licks (of famous Gypsyjazz-players)
    • 7 Songs in staffnotation/TABs (7 complete Songs + Solos)

    With Play-Alongs, staffnotation & tabulature (ISBN-10: 3-933136-86-5)
    The price is 25,80 EUR incl. Audio-CD (plus delivery).

    You may order the book at Amazon.de, with Alfred Publishing, Cologne or directly here on this page.







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      ...Your choice for great Gypsyguitars...

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    3. The REAL Gypsyjazz Book

      More than 300 (Gypsy-)Jazztunes...

      on 230 pages professionally designed...

      for direct download...

      Only 24,90 €

      Check it out here
    4. For sale!

      ERG Model Bertino - Maple series

      handbuilt Gypsyjazz-Guitar

      Tiger Maple, Miller-Hardware

      Special price: 3.100.-€ + shipping

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  • Brandneuer Song von Bertino Rodmann

    reve de samois vidLiebe JazzManouche-Fans, liebe JM-User,

    Es gibt einen besonderen musikalischen Leckerbissen den wir heute mit Euch teilen wollen: ein brandneuer Song von Bertino Rodmann mit dem Titel "Réve de Samois".

    Diese original Komposition ist in guter Swing-Tradition aber dennoch modern arrangiert eine Ohrenweide.

    Einfach mal reinhören, bei Gefallen positiv auf Youtube bewerten und gerne auch weiter empfehlen: Reve de Samois - watch here!
    Euer Jazzmanouche.de-Team
  • Brandnew song by Bertino Rodmann

    reve de samois vidDear JazzManouche-Fans, dear JM-Users,

    Today we have a special that we want to share with you: a brandnew Song by Bertino Rodmann called "Réve de Samois".

    This original composition is made in good Swing-Tradition, but also arranged modern - with a great melody and playing.

    Just take a listen and, if you like it, give a positive feedback at Youtube or share it with your own buddies:
    Reve de Samois - watch here!

    Your Jazzmanouche.de-Team
  • Buch: Gypsyjazz Guitar

    GypsyjazzGuitar Bertino Flyer01bertino 2011Gypsyjazz bzw. Jazz-Manouche ist der erste in Europa entstandene Jazzstil.

    Seine Einflüsse stammen aus dem französischen Musette-Walzer, dem ungarischen Çsardas oder dem spanischen Flamenco, sowie der Sinti-Musik selbst, die von den Sinti-Musikern in Swing-Phrasierung interpretiert wurde.

    Django Reinhardt, der bekannteste Protagonist des Gypsyjazz, führte diesen Jazzstil mit seiner unnachahmlichen Gitarrenspielweise zu weltweiter Anerkennung und beeinflusst bis heute unzählige Gitarristen.

    In der Sinti-Tradition werden die typische Spielweise und die musikalischen Formen des Gypsyjazz von Generation zu Generation innerhalb der Familien nur mündlich überliefert, ohne je schriftlich notiert zu werden. So bleibt den am Gypsyjazz interessierten "Nicht-Sinti"-Musikern ein Zugang oft verwehrt, so dass der Bedarf an einer authentischen Einführung in den „Django Reinhardt-Stil“ nach wie vor riesengroß ist.

    bertino 2014 04Bertino Rodmann, praktizierender Gypsyjazz-Gitarrist aus Frankfurt / Germany, hat sich dieser Aufgabe angenommen und legt mit „Gypsyjazz Guitar“ den Versuch einer authentischen Einführung in den Stil des Jazzmanouche vor.
    Ziel des Buches: Neben den typischen rhythmischen und solistischen Aspekten der Gypsyjazz-Spielweise auch den Respekt gegenüber der uralten Tradition der Sinti zu vermitteln.

    Viele Gitarristen die sich für Gypsyjazz interessieren und z.B. vom Blues, Rock oder aus der Popmusik kommen haben oftmals das Problem die vielen Facetten des Jazz-Manouche schwer durchdringen zu können und eine entsprechende Lern-Methode zu finden. Zwar gibt es mittlerweile viele CDs, DVDs und Lehrbücher auf dem Markt, jedoch sind viele dieser Werke oftmals für einen Einsteiger in dieses Genre nicht wirklich dazu angetan diese Musik methodisch leicht zu verstehen.

    Auf der Basis seiner Gitarren-Workshops für Gypsyjazz und aus der Erfahrung seiner eigenen Spielweise hat Bertino Rodmann diese Gitarren-Methode entwickelt um Einsteigern mit seinem Buch einen Weg zu eröffnen um den Jazz-Manouche bzw. Gypsyjazz im Detail besser zu verstehen und spielen zu lernen.

    Bertino verwendet hier in diesem Buch einen anderen Ansatz und erläutert anhand bekannter Stücke wie "Minor Swing", "Blues en Mineur", "Douce Ambiance" oder "Blues Clair" die alle eine grosse Nähe zum traditionellen Blues aufweisen, die entsprechenden authentischen Spieltechniken, Skalen und Melodien die meist im Gypsyjazz verwendet werden.

    Das 150 Seiten starke Buch enthält dabei u.a. viele interessante Erläuterungen und Bildmaterial zu den verwendeten Gitarren, Saiten, Plektren uvm. ebenso wie einige persönliche Anmerkungen, Tipps und Tricks des Autors. Besonderer Wert wird hierbei auf die möglichst authentische Vermittlung des Stils und den Respekt gegenüber der uralten Tradition der Sinti gelegt. Und es gibt viele typische Anwendungsbeispiele (Licks) von bekannten Gypsygitarristen wie Stochelo Rosenberg, Django Reinhardt, Lollo Meier, Romane uvm.

    Insgesamt 7 Stücke davon 2 aus eigener Feder des Autors, sowie von Django Reinhardt und dem "Quintette du Hot Club de France" sind darin mit entsprechenden Notationen/Tabulaturen und Beispielen zu Rhythmus- und Solospiel enthalten. Zum Buch ist eine entsprechende Audio-CD beigelegt, welche die Soundbeispiele aller Übungen, Stücke und entsprechende Playalong-Tracks der enthaltenen Songs zum Üben enthält.

    Seit April 2013 ist das Buch ebenfalls in englischer Sprache erhältlich.

    Inhalt:

    • Rhythm-Guitar:
    • Comping
    • La Pompe-Rhythmus
    • Dead Notes
    • Gypsychords
    • Voicings
    • Blues-Kadenz
    • Chord Substitution

    • SoloGuitar:
    • Reststroke-Picking
    • Arpeggio-Picking
    • Sweptstroke-Picking
    • Skalen
    • Arpeggien
    • Solo Licks (bekannter Gypsyjazz-Gitarristen)
    • Solo-Notationen (7 kompl. Songs)

    Mit Play-Alongs, Noten & Tabulatur (ISBN-10: 3-933136-86-5)
    Der verbindliche Ladenpreis liegt bei 25,80 EUR inkl. Audio-CD (zzgl. Versand).

    Bestellen kann man das Buch entweder direkt hier auf der Website, bei Amazon.de, beim Alfred Verlag, Köln oder in jeder gut sortierten Buchhandlung.





    ADVERTISING
    1. Polak-Gypsyguitars

      ...Your choice for great Gypsyguitars...

      ...all handbuilt from top materials...

      ...unique making and design...

      Read more
    2. Place YOUR content AD right here!

      • reasonable prices - big community

      • unique and creative designed ADs

      • place content directly in front of your customers

      Contact us for more
    3. The REAL Gypsyjazz Book

      More than 300 (Gypsy-)Jazztunes...

      on 230 pages professionally designed...

      for direct download...

      Only 24,90 €

      Check it out here
    4. For sale!

      ERG Model Bertino - Maple series

      handbuilt Gypsyjazz-Guitar

      Tiger Maple, Miller-Hardware

      Special price: 3.100.-€ + shipping

      Read more




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  • Busato Guitars

    1952er front2Busato 1932Busato-Guitars, almost same to the rare Selmer-/Maccaferri-Guitars, are the most expensive and sought after Gypsyjazz-Guitars worldwide due to their unique sound and making.

    The "Busato"-Guitars were named after their maker Bartolo Barnabe "Pablo" Busato (BB)(seeBusato-history), and were one of the first acoustic Jazzguitars that have been copied or better to say were kind of "strongly inspired" by the famous Selmer-Guitars.

    In the further article(s) of the Busato-series we focus and briefly describe the details and features of original Busato-Guitars with exact description and images. Be sure to also read the articles about the Busato-history and Features of original Busato-Guitars.

    Bartolo Barnabe "Pablo" Busato, born 1902 in Chiuppano (Italy) began buildig guitars around 1925 and worked until shortly before his death in 1960. Busato had two daughters and one son and probably some relatives are still alive in Italy.
    Many people thought that Busato already died in 1952, but he sigened his last known guitars around 1958. Bartolo Busato died on 4th of July 1960 in Champigny sur Marne/France.

    Busato-Guitars have, like the famous Selmer-Guitars which were first on the market, a very special sound signature.

    Especially some features of their making have this special influence, and are of course of great interest, which we will be showing and investigating more detailed in our article-series Features of original Busato-Guitars.

    Here we show you the main features for a first glimbse:

    • Busatos braces are usually pointy (triangle) or have a triangle shape with a flat top.

    • like many vintage gypsy guitars, Busatos have a thick top of 125 thousand of an inch and are braced underneath with 3 top braces.

    • some Busato´s do often have some irregularities at the lower bout level, due to worn moulds. Interesting enough you might find the same kind of features on other guitars made by Busato under different synonymes like "Sonora", "Symphonia", "Beuscher" and "Paris Musicals", as on some guitars which were made without Label but still were beeing produced in his workshops too.

    • on many Busatos the sound hole (rosacea) is reinforced below the top with a thin wooden layer or made with even beautifully (pearl) inlays.

    • the backsides are mainly strongly arched and remind to beeing prototypes of Archtop-Guitars.

    • the top instead is rather less arched than usually Gypsyguitars are regularely

    • often their tops were made out of serveral pieces of wood (maybe due to lack of material in the war times)

    • the "moustaches" of the bridges have a special Form

    More details on Busato and his Instruments in the 2. part of this article-series Busato-History and in Features of original Busato-Guitars.

    • most necks of "Grand Modele" Busatos are three-piece necks with an inlay of ebony

    • in the first years the necks were often made from Tinted pear wood, later on they changed it to Rosewood with an ebony fretboard

    • the necks were simply glued into the Bodyblock

    • the sides often weren´t very strong made due to only 2 layers of laminated wood, against usually 3 layers with most other old Gypsyjazz-Guitars

    • many of the guitars made by Busato weren´t really "perfect made", better to say they had many small mistakes or wrinkles

    • often the Neckjoints weren´t really clean made, not middle adjusted to the bodyline, today one would say "badly crafted"

    • some headplates were slightly longer than the ones of other guitars of the same model

    • many Busatos were not really "beautiful looking" with, a lot of guitar tops are not very beautiful, some are pretty ugly with super wide and irregular grain patterns in the spruce, some even made from cheap rough pinewood

    Even if these facts are real, the Busato-guitars still have "that special something" and convince with their special sound image.

    Although many other luthiers have tried to lift the secrets of Busato-Guitars in the past, some have made some real effort in building nice guitars, but still never made it sound like a real Busato, thus beeing way more far away from beeing the real thing. Some (like Dupont) even just own the name and use it, still their instruments are worlds apart from a real Busato.

    Bernabe Bartolo Busato produced Guitars since 1925 until the late 1950ies. There are truely not many informations about Busato and his workshops. Even long time it was doubted that there even had been a person called "Busato" at all or if there was really a workshop at all, as there were different adresses he resided in and a couple different workshops worked with his name as well.

    Busato 1940 Moyen 01Meanwhile it is known that these different adresses, were Busato used to work in, really existed. There was one of his workshops at the Rue Orgemont from 1934-1943 and later on another second one at the Cite Griset No.4 inside the 11th District in Paris were Busato ran has workshops.

    His first adress that was documented from 1926 was in the Rue de Chaligny 34, within the 12th District in Paris. Since 1934 until 1943 he had one workshop in the Rue d’Orgemont 40 inside the 20th District in Paris.

    In the year 1943 he opened up a musicstore with the name "Everything for Music" directly on the Boulevard de Ménilmontant 140, also located in the 20th Parisian District. At the end of 1943 he changed place with his workshop from the Rue d’Orgemont into the Cité Griset 4 inside the 11th Parisian Arrondissement. Additionally in 1945 Busato opened another production-workshop in the Avenue de Coeuilly 73 in Champigny sur Marne, outside of Paris.

    In the beginning he had employed around 20-30 workers and guitarmakers, in the best years he even had up to 60(!) persons which made all kinds of instruments for him in his different workshops.

    Many people dont know that but at the same time Busato built guitars he also made other instruments like Mandolins, Banjos and Upright-Basses that he mostly let make at his own workshops by his co-workers. There were even Busato-Akkordeons that have possibly been made on his order from another company (Castagnolo or Fratelli Crosio), but which have been sold under his name in his workshops and musicstore. These instruments really existed which is certain today. Busato died in Paris 1960.

    Until his death Busato had trained many famous guitarmakers amongst them Jacques Favino, Siro Burgassi and Gino Papiri or Pierre Anastasio,  all guys that have been under his staff that worked for him in the first years until they started their own businesses in later years.

    Alike the famous Selmer- and Favino-Guitars and because of the rarity and demand of these guitars there are always "Busato"-instruments beeing "faked" and put on the market for expensive prices. Be sure to read our articles about "Features of original Busato-Guitars" and "Fake Busatos" were we put down all most important and known facts about these great guitars, with an example of a faked Busato-guitar wich has been offered on the internet shortly.

    Read more -> Busato-history


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  • Django Reinhardt - Guitar-Maestro (2/4)

    Djangos linke HandA dramatical event at November 2nd 1928 stopps the carreer as musician of young Django, just 18 years old.

    His wife Bella had prepared flowers of plastic which were made for sale on the market the next day, and had spread them around all over the caravan.
    Django 1930By accident a burning candle dropped  down and just within a few seconds the whole caravan ablazed in big fire!

    Django just had the time to securely save his wife, himself breaking down unconscious afterwhat. He barely himself could be saved alive by others in the last second from the burning caravan.

    Heavily injured and burnt by the blazing fire in his caravan Django Reinhardt is brought to a hospital in Paris. He is to stay in hospitals and sanitariums for the next 1 1/2 years.

    The fire had burned him so strongly that all of his left bodyside was heavily injured, especially his left hand was burned so vast that he wasn´t able to use his ringfinger and pinky anymore very well, even after recovering (see photos top left and bottom right).
    Django will always keep having problems with his health for the rest of his short life with lots of pain very often in the following years, thus never recovering completely from this accident...djangoshand

    The (wrong) prophecy of the doctors in the parisian hospital was stating that he would never ever be able to play banjo or guitar again cause of his heavy injuries. At that time his combustion could be medically treated only insufficiently and Django has big pains over and over again.

    After a few weeks the doctors even offer him to amputate his left arm and leg, otherwise they wouldn´t be able to help him anymore... Django immediately changes to another hospital in  Fontainebleau.lamusicajazz magazin

    As it seems this was a good decision, as after another half year of well going recovery his brother Joseph is able to bring Django´s beloved guitar into the hospital and Django starts practising guitar again with an absolute iron will, always working against his heavy pains.

    He is practising and working, working, working to get back his playing skills... until after another one year later Django will be able to leave the hospital again. He had then spent about 1 1/2 years there and in this time worked like mad to get back to old playing-abilties.

    Due to his disablilty left over and caused by the burnt skin of his left hand (see top photos above) he wasn´t able to play regularely used chord-voicings anymore (e.g. like full barré-chords), so Django had to change his way of playing chords as of his soloing all the same, to be able to play without pain.accord 6e mineur f

    But Django starts to develop his very own unique play-techniques and voicings on the guitar (known as the famous "three-finger"-voicings, e.g. our example right Am6), which later on will be later on taken over by many famous Jazz-musicians, thus influencing all of the jazzworld entering into modern jazz-harmonics in the later years...

    In these dark and heavy days Django had made the impossible and recaptured back the music for himself. He was to become one of the greatest and most famous guitarrists of all times on this planet... and his greatest success is just ahead of him and yet to come up.

    Read more -> Django Reinhardt - Guitar-Maestro (3/4)


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  • eBook: The REAL Gypsyjazz Book

    the real gypsyjazz book a5 salesDas brandneue "The REAL Gypsyjazz Book" ist eine Sammlung von Chordcharts (Grilles) aus 322 (Gypsy-)Jazz Songs alle zusammengefasst in einem eBook in pdf-Format.

    "The REAL Gypsyjazz Book" enthält 322 Songs, angefangen von typischen Gypsy-Traditionals und raren französischen Musettewalzern, über Songs von Sinti-Komponisten wie Django Reinhardt, Fapy Lafertin, Dorado Schmitt, Angelo DeBarre, Bireli Lagrene, Stochelo Rosenberg, Moreno, Tschawolo Schmitt und vielen, vielen mehr, als auch die meistgespielten "contemporary Jazz tunes" die in jeder (Gypsy-)Jamsession weltweit Anwendung finden. getyourfreecopy

    Dieses Buch ist das einzigste und ausführlichste momentan erhältliche Sammelwerk von raren (Gypsy-)Jazz-tunes und Traditionals. Es ist ein idealer Begleiter zu jeder Jam-Session für jeden (Gypsyjazz-)player, aber auch interessant für den interessierten Gypsygitarristen der neue und vor allem eher seltene exotische Songs lernen möchte die es sonst nirgends zu finden gibt. Es ist nicht zu vergleichen mit den allgemein erhältlichen "Jazz-Realbooks", da dort fast ausschliesslich anglo-amerikanische Jazztunes zu finden sind. "The REAL Gypsyjazz Book" legt ganz klar den Focus auf die europäischen, französischen und Sinti-Komponisten.

                (Download DINA4)                         (Download DINA5)
    button download herebutton download here


    Preis (Download-version eBook/pdf DIN A4 od. A5): 24,90 €
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    Entdecke hier die unglaubliche Vielfalt des Inhaltes... hier nur eine kleine (!!!) Auswahl, ein ausgewählter Auszug der über 300 Songs welche im "The REAL Gypsyjazz Book" enthalten sind.

                (Download DINA4)                         (Download DINA5)
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    ADVERTISING
    1. Polak-Gypsyguitars

      ...Your choice for great Gypsyguitars...

      ...all handbuilt from top materials...

      ...unique making and design...

      Read more
    2. Place YOUR content AD right here!

      • reasonable prices - big community

      • unique and creative designed ADs

      • place content directly in front of your customers

      Contact us for more
    3. The REAL Gypsyjazz Book

      More than 300 (Gypsy-)Jazztunes...

      on 230 pages professionally designed...

      for direct download...

      Only 24,90 €

      Check it out here
    4. For sale!

      ERG Model Bertino - Maple series

      handbuilt Gypsyjazz-Guitar

      Tiger Maple, Miller-Hardware

      Special price: 3.100.-€ + shipping

      Read more




  • eBook: The REAL Gypsyjazz Book

    the real gypsyjazz book a5 salesThe brandnew "The REAL Gypsyjazz book" is a collection of 322 (Gypsy-)Jazz tunes with their chordcharts compiled into one book.

    "The REAL Gypsyjazz book" contains 322 tunes starting with Gypsy-traditionals, tunes from Sinti-composers like Django Reinhardt, Fapy Lafertin, Dorado Schmitt, Angelo DeBarre, Bireli Lagrene, Stochelo Rosenberg and many, many more, as well as most of the common contemporary Jazz tunes played in all (Gypsy-)Jamsessions all over the world. getyourfreecopy

    This book is the most comprehensive and detailed collection of (Gypsy-) Jazz-tunes available all put together into one book. It may become the ideal compagnion for any Jam-Session for any (Gypsyjazz-)player as well as for the student who is eager in learning new and exotic tunes rarely found anywhere else. "The REAL Gypsyjazz book" is NOT compareable with the well known available "Jazz-Realbooks", as in these are mostly only anglo-american Jazztunes beeing featured. "The REAL Gypsyjazz Book" instead clearly focusses on the european, french and Sinti-composers, but contains Standard Jazztunes as well.

                (Download DINA4)                         (Download DINA5)
    button download herebutton download here


    Price (Download-version eBook/pdf DIN A4 or A5): 24,90 €
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    Discover the huge contents of this book right here... here is just a small (!!!) assorted excerpt from more than 300 songs of the contents of "The REAL Gypsyjazz Book".

                (Download DINA4)                         (Download DINA5)
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    ADVERTISING
    1. Polak-Gypsyguitars

      ...Your choice for great Gypsyguitars...

      ...all handbuilt from top materials...

      ...unique making and design...

      Read more
    2. Place YOUR content AD right here!

      • reasonable prices - big community

      • unique and creative designed ADs

      • place content directly in front of your customers

      Contact us for more
    3. The REAL Gypsyjazz Book

      More than 300 (Gypsy-)Jazztunes...

      on 230 pages professionally designed...

      for direct download...

      Only 24,90 €

      Check it out here
    4. For sale!

      ERG Model Bertino - Maple series

      handbuilt Gypsyjazz-Guitar

      Tiger Maple, Miller-Hardware

      Special price: 3.100.-€ + shipping

      Read more











  • Favino Gitarren

    favino bj1960 nolabelFavino-Gitarren zählen heute zu den berühmtesten Gypsyjazz-Gitarren überhaupt, direkt nach den originalen Selmer-Gitarren. Einen ähnlich hohen Stellenwert haben nur noch die ebenfalls mittlerweile sehr seltenen Busato-Gitarren.Jacques Favino

    Der große Erfolg der Favino-Gitarren liegt in erster Linie in ihrer speziellen Bauart die durch Jacques Favino (siehe Bild rechts) in den späten 40er Jahren entworfen wurde.

    Jacques Favino (in Piemont, Nord-Italien geboren)war, wie schon vor ihm einige andere sizilianische Gitarren- und Instrumentenbauer aus dem sizilianischen Catania, 1923 mit seiner Familie nach Paris  immigriert.

    Jacques Favino erlernt bereits in den frühen 1940er Jahren den Gitarrenbau. Er arbeitet zunächst in den Werkstätten von Bartolo Bernabe Busato und eröffnet erst um 1956 seine erste eigene Werkstatt in der Rue de Clignancourt 9 im Pariser Distrikt Montmartre und baute dort bis ca. 1982/83 seine Gitarren.

    Ab ca. 1982 übernahm dann sein Sohn Jean-Pierre Favino seine Geschäfte, wobei beide einige Jahre bis ca. 1984 gemeinsam in der Werkstatt Gitarren herstellten.

    Nach 1984 baute Jean-Pierre Favino zunächst die Gitarren im Stil seines Vaters für einige Jahre identisch weiter, bis er dann Ende der 1980er Jahre begann seine eigenen Wege im Gitarrenbau einzuschlagen und seine eigenen Gitarren-Modelle zu entwickeln. Weitere Details zu Favino-Gitarren in unserem Artikel Favino-History und Merkmale originaler Favino-Gitarrenfavinocatalog2
    Bis heute zählen die Favino-Gitarren seines Vaters Jacques Favino zu den Besten und teuersten Gypsyjazz-Gitarren auf dem Markt.

    In den späten 1950er Jahren beginnt Jacques Favino mit der Konstruktion von eigenen Gypsyjazzgitarren-Modellen (siehe Bild links oben eine Favino, Modell No.10, Bj. 1960).

    Grundsätzlich bot er dabei 2 Grundmodelle an: das Modell Jazz No.10 "Gitans" und das Modell Jazz No.10 "Macias" (siehe auch Bild links, Auszug aus einem alten Katalog von Jacques Favino aus dem Jahre 1978.

    Preislich unterschieden sich die Modelle weniger in Ihrer Konstruktion als in ihrer Ausführung. So gab es Modelle aus Ahorn, Rio Palisander und Indian Rosewood. Ganz typisch für Favino-Gitarren von Jacques Favino waren von Anfang an die dreiteiligen Ahorn-Hälse, die heute von einigen Gypsyjazz-Gitarrenbauern (z.B. Eimers Guitars od. Dell-Arte) nachempfunden werden.
    Ab den frühen 1990er Jahren beginnt Jean-Pierre Favino dann mit der Verwendung von 2-teiligen Ahorn-Hälsen. Weitere Infos zu Favino-Gitarren kann man hier in unserem Artikel "Merkmale originaler Favino-Gitarren" nachlesen.

    Berühmt gemacht wurden Favino-Gitarren durch viele berühmte Musiker die, bis heute, Favino-Gitarren spielen und/oder gespielt haben.
    Hierzu zählen Musiker wie z.B. Matelot Ferret, Louis Fays, Jacques Montagne, Henri Salvador, Georges Moustaki, Sarane Ferret, Baro Ferret, Georges Brassens, Paul "Tschan Tschou" Vidal, Mondine Garcia, Chatou Garcia, Enrico Macias, Ninine Garcia, Boulou Ferre, Elios Ferre, Christian Escoude, Maurice Ferret, Fapy Lafertin, Francois Moerman, Rodolphe Raffalli, Romane, Raphael Fays, Bireli Lagrene, Hansche Weiss, Ziroli Winterstein, Lulu Reinhardt, Holzmanno Winterstein, Dorado Schmitt, Patrick Saussois, Moreno Winterstein, Stochelo Rosenberg, Tschavolo Schmitt, Wawau Adler und viele, viele mehr.

    Weitere Infos hier in unserem Artikel zur History von Favino und auch auf der Website von Jean-Pierre Favino.

    In unserer Guitar-Gallery haben wir ein Archiv für alte Favinos angelegt um einen Überblick über die Modelle zu geben. Hier kann man wunderbar nach diesen Gitarren forschen und, z.B. auch im Falle eines Kaufes eines solch edlen Instrumentes die Bilder mit dem angebotenen Instrument zu vergleichen. So kann man, zumindest einigermaßen, im Vorfeld die Echtheit eines angebotenen Instrumentes vergleichen (siehe auch unsere Artikel zum Thema "falsche Favinos" und "Tipps zum Gitarrenkauf").

    Weiter zu History - Favino-Gitarren (1/2)


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  • Favino Guitars

    favino bj1960Directly behind the original Selmer-/or Busato-Guitars the rare Favino-Guitars are within the most expensive and sought after Gypsyjazz-Guitars and count (for good reason) to the most famous as well.

    The great success of the Favino-Guitars (especially the Gypsyjazz-Models) are founded in their special way of making, invented by their creator Jacques Favino (image right) who started making them in the late 1940- and early 1950ies.Jacques Favino

    Jacques Favino (born in Piemont, North-Italy)immigrated in 1923  with his family from the sizilian village of Catania to Paris/France, like many other sicilian Guitar- and Instrumentmakers did before him, fleeing from the fashist Mussolini-Regime and plus suffering from unemployment.

    Jacques Favino started to learn the making of Stringed-instruments in the early 1940ies. Arriving in Paris he soon started to work in the workshops of Bartolo Bernabe Busato and opened up his first own workshop around 1956 in the Rue de Clignancourt 9 in the Parisian Distrikt of Montmartre, building and selling his guitars there until aproximately 1982/83.

    In 1978/79 Jacques started to withdraw from the business more and more. Beginning to work in his fathers workshop around 1976 his son Jean-Pierre Favino 1982 took over his business officially.
    But still the two, father and son, were working together there in the workshop until around 1984, supported by two more sicilian guitarmakers helping them in building all kinds of instruments. This time (1980-1984) is what was called the "transition period" afterwhat, as there were some instruments already signed by Jean-Pierre Favino but still made by his father or the two together in the old way of making.

    After 1984, when his father finally retired, Jean-Pierre Favino kept on building guitars in the same workshop in the Rue de Clignancourt 9 almost identically the same way he had learned it from his father, copying his type of models and designs. It was just until the late 1980- early 90ies when he began walking his own path in building guitars, developing his own kind of guitar-models. More Details about Favino-Guitars and their story you´ll find inside our articles Favino-Historyand Features of original Favino-Guitars.
    favinocatalog2Until today the Favino-Guitars, especially the ones of the father Jacques Favino, are considered the most expensive and best Gypsyjazz-Guitars on the Market.

    In the mid 1950ies when Jacques Favino started the construction of his famous Gypsyjazz-Guitar-Models (image top left, Favino Model No.10, built in 1960).

    Generally he offered 2 basic-models: the Model Jazz No.10 "Gitans" and the Model Jazz No.10 "Macias" (image left, an extract of an old Favino-catalog from the year 1978).

    The two models less distincted in their price but the making. Favino offered guitar-models made out of maple, Rio Palisandre and Indian Rosewood.

    Typically for Favino-Guitars of Jacques Favino from the beginning were the three-piece-maple-necks. A feature that today is again beeing copied by many guitarmakers that are building Selmer- and Favinostyle-Guitars (e.g. Eimers Guitars or Dell-Arte).
    In the early 1990ies when Jean-Pierre Favino began his own model-series he also started to invent his own style of this time 2-piece-maple-necks. More detailed Infos on Favino-Guitars you can find in our article "Features of original Favino-Guitars" were we briefly describe their special features.

    Favino-Guitars have been made so famous by the many musicians who played or still play until today.
    These are musicians like Matelot and Baro Ferré, Louis Fays, Jacques Montagne, Henri Salvador, Georges Moustaki, Sarane Ferré, Baro Ferret, Georges Brassens, Paul "Tschan Tschou" Vidal, Mondine Garcia, Chatou Garcia, Enrico Macias, Ninine Garcia, Boulou Ferre, Elios Ferre, Jacques Brel, Christian Escoude, Maurice Ferré, Fapy Lafertin, Francois Moerman, Rodolphe Raffalli, Romane, Raphael Fays, Bireli Lagrene, Hansche Weiss, Ziroli Winterstein, Lulu Reinhardt, Holzmanno Winterstein, Dorado Schmitt, Patrick Saussois, Moreno Winterstein, Stochelo Rosenberg, Tschavolo Schmitt and many, many more.

    More Infos on Favino in our articles on the History of Favino and on the actual website of Jean-Pierre Favino.

    In our JM-Guitar-Gallery we have put online anorganized Image-Archive for old Gypsyjazz-Guitars like Favinos (as well as Selmer-, Busato- and DiMauro-Guitars) to give you a detailed overview on the different models and for research on these rare guitars. Here you might take a look and find detailed information on these guitars, in case for a possible buy of an old Gypsyjazz-Guitar to define and compare the quality or details of an instrument to buy. So you might relatively sure get information about or if an instrument offered is really authentical. Be sure to read our articles about "Fake Gypsyjazzguitars" and "Tipps for buying guitars".

    Go to History - Favino-Guitars (1/2)


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  • Frame 5 (Homeslider): Workshops

    "Modular Gypsyjazz Guitar"

    Der neue komplette Workshop "Modular Gypsyjazz Guitar" besteht nun aus 5 verschiedenen Modulen, einzelne in sich abgeschlossene Kurse mit verschiedenen Levels, welche abwechselnd übers Jahr veranstaltet werden. Die einzelnen Module decken dabei verschiedene Levels ab (Beginner I-II bis Advanced I-III) und damit auch unterschiedliche Inhalte in den verschiedenen Levels.

    Mehr Infos und Anmeldung hier
    modular gjg
  • Frame 5 (Homeslider): Workshops

    "Modular Gypsyjazz Guitar"

    The new workshop concept offered here by Bertino is called "Modular Gypsyjazz Guitar". The new complete workshop "Modular Gypsyjazz Guitar" is made up from 5 different modules, which are itself closed up workshops with different skill-levels, which will be held all 2-3 months on demand, taking about one year all in all.

    Get more Infos and register here

    modular gjg
  • Gypsyjazz - Play-technique

    The technique of playing Gypsyjazz differs from usual guitarplaying in many aspects.django4

    Of course this is due to the great influence of Django Reinhardt, the worldwide most famous Gypsy-Guitarrist, until today. His playing left the deepest footprints in this first and unique european Jazz-style, forcing even todays Gypsy-guitarplayers to adapt what the great master had done before...

    django-handBeeing burnt very heavily on his left bodyside by the accident of his burning caravan (see Django Reinhardt - the Guitar-Maestro), Django was left over with a nearly crippled left-hand (image left). Due to this disability his playing had to change dramatically and thru this it became so very special.

    Django Reinhardt had to change the way of playing scales or chords and arpeggios, resulting in a very special and unique playing-technique that has been copied from legions of players ever since (take a look at Django Reinhardt - the Guitar-Maestro).

    By his hurting left-hand disablity he wasn´t able to almost move his pinky anymore, his ringfinger could barely move for the use of chords the same without hurting.
    By that Django created his own special way of playing chord-shapes of mainly reduced "three-note-chords". The many Gypsy-musicians of his heritage after copied this special way of playing chords the same as the way he used to play scales mainly with just two(!) fingers.

    Many of these chordshapes that have been invented by Django Reinhardt reduce the six possible notes on the fretboard to basically three fingers or notes, mainly on the bass-strings of the guitar (Example-image right gypsy_chords_cmoll6is a Minor6-Chord in the typical chordshape).

    This is how these typical chordshapes were invented, beeing played very rhythmically forming this special sound-characteristics of JazzManouche. But not only for playing chords but the soloing was influenced by his way of playing abilities the same.

    The famous guitar-solos that Django Reinhardt used to play, but the same brandnew ways for accompaning creating like "sound-carpets" with long lasting eight-note-chains of single-note-arpeggios was completely new and never heared before.

    Django Reinhardt´s unique way of playing melodies, his incredible musicality and feel, precise timing and also incredibly great creativity made this made so outstanding, leaving his deepest imprints of his playing in the style of JazzManouche until today.

    (Example image: a diminished scale run in the song "Reverie" recorded in 1938).
    arpege3
    So due to his disability many scales had to be played different to be able to play them. So he invented the horizontal playing, beein able to play scales with two healthy fingers.

    Some of these playing-techniques are subject of my "Masterclass for Gypsyjazzguitar" and in my methodbook "Gypsyjazz Guitar - A tribute to gypsyjazz" (releaesed 2011 with Alfred Music, Cologne in german and english).

    For decades many, many guitarrists (like John McLaughlin, Al Di Meola, Joe Pass, George Benson a.o.m.) define Django Reinhardt - the Guitar-Maestro as beeing one of their biggest personal influences ever and THE source of Inspiration of their own playing. And even today Django Reinhardt still is a great idol and beeing worshipped until this day.

    Every guitarrist who ever tried to get near his style of playing, working with his special and unique ways of playing will adress that surely and have great respect for this outstanding musician!
    Here you may read more about the -> JM-Rhythm - La Pompe or the -> JM-Solotechniques, you may download the -> JM-Chord-Lexicon and the -> "The REAL Gypsyjazz book" to learn new chords and songs as well as read informations about the -> LIVE-Workshop "Modular Gypsyjazz Guitar" or book it online.





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  • Gypsyjazz Guitar-VideoAd



    Directly order at Amazon.de or here on the website



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  • Gypsyjzz Guitar - Press - Feedback

    GypsyjazzGuitar Bertino Flyer01

    This is what the Press and buyers write about "Gypsyjazz Guitar":


    15.03.2016 - Gitarrenbuch-check.de - Rezensent: MP
    […]Bertino Rodmann is introducing a book on Gypsy-Jazz/Jazz-Manouche. We talk about the traditional Gypsy-Jazz, like it has been played in the beginning of the 20. century beeing made famous by Django Reinhardt. This kind of Sinti-Music with its roots in Flamenco, Csardas, Musette Waltzes and it´s Crossover to contemporary Jazz/Swing of that time is one thing for sure: hard to play. Rodmann steps up to the interested player by starting at a compareably low Level.[…]
    […]Conclusion: Rodmann wants to introduce the style and the corresponding way of living, which he does preferably well.
    Musically there is a first strong focus on the Rhythguitar. Rodmann is building up from a low, easy Level and leads the interested player to the first Standards like Minor Swing... Also in the section on sologuitar Rodmann starts very low and leads thru easy playable examples, very good to follow. This is the strength of the book: Rodmann delivers a book on Jazz-Manouche, which is easyly to follow for guitarrists that know how to play already.[…]
    […]For beginners in Jazz Manouche this book by Bertino Rodmann is a great choice in my opinion. But we speak about players that already know how to play their instruments and beginners of Jazz-Manouche, so NOT for beginners on the guitar! […]

    06.04.2014 - Klaus Kronwinkel - Private buyer
    [...]The book "Gypsyjazz Guitar - A tribute to Gypsyjazz" belongs to the best books that i have found in this genre: clearly structured, intelligently sortedand didactically introducing easy Rhythm-exercises, followed by Songs to practise with to understand the exercises.
    In the second part of the book Rodmann is introducing the solotechnique, also starting off with some basic exercises, ending up in 7 fully transcribed Solos by Django Reinhard (5) and 2 more Songs of the Author. In between packed with Tipps & Tricks, Sololicks by Django and other known players... All in all i have to say: absolutely reccomendable book for months full of learning!

    09
    . Oktober 2013 - Amazon Kundenrezension - Jan Westphal
    […] . . . this is a successful work. Starting with easy Bluesprogressions the world of the Jazzharmonics is introduced, while first only a few and bit by bit more and more of the triads or seventh chords are substituted. As fast as you may think you only play "Ninths" or extended decreased chords - fortunately, in "finger-friendly" Gypsyjazzversions which mostly are played without Barreé.
    Of course there is a great introduction to "La Pompe"-rhythm - it dont mean a thing if it aint got that swing...

    As in the world of Jazz commonly, nevertheless in JazzManouche in the style of Django Reinhardt the same, nothing works without improvisation - therefor scales and arpeggios are explained and treated as well.
    Additionally the is staffnotation and TABs of some classic tunes like Minor Swing, Douce Ambiance and a couple of songs that have been composed by Rodmann, just wihout impros. That is stuff to practise for years! Practise, practise is nessesary, this book is the great introduction to it.
    The two parts in the book diveded into rhythmics- and soloing are logical. Theory will only be explained if nessesary for the material to play it well, very good!

    Rodmann is a great player and songwriter,  but he could have added a few more "simple" songs for guys with big fingers like me... 
    but i can´t play Minor Swing off staffnotation right away. That means practise for weeks if not months until first parts are accomplished. Did i mention yet that this is no book for beginners? :-)

    All in all: a great methodbook to reccommend, without yes or no. Go ahed and buy it!
    01. Oktober 2013 - Recencion Magazin "Quintette" (NL), Issue Sept. 2013 - HotClub de France Netherlands
    […]Myself i play a bit of guitar, but no gypsy jazz. Because of that i wanted to get deeper into that issue, and i think i can get along with the book very well. So i started to read full of enthusiasm. […]What i found was that is it very well structured. All things are explained very clearly understandable. It surely raises the expectation that there will be a second issue of "Gypsyjazz Guitar". After working a while with the book i got much more confident beeing more sure to sit in with other Gypsyjazz Guitarrists, as it shows all the necessary basics needed.[…]

    25. August 2013 - Amazon Kundenrezension - ilchmann1
    […]A great book, but just for advanced guitarrists, but THOSE will have their fun with it... and their real working trouble....[…]
    22. April 2013 - Amazon Kundenrezension - (flylo)
    […] A first class introduction of the style - this book is a crack for beginners. Powerful, fun, its intuitive, clever and writtenreally  interesting. In ten years probably standard reading for jazz-manouche beginners. Five stars and hopefully a part 2 to expect. […]

    7. März 2013 - Amazon.de (Kunden-Rezension) - (Don Juandre)
    […] Great  ***** […]

    6. Januar 2013 - Amazon.de (Kunden-Rezension) - (Norbert Schikowski)
    […] Bertino Rodmann´s book cant be much better... it is structured very well. Logically built up. In the first part Rhytmexecises in understandable form, everything of course also on CD in top quality! Then the 2nd part also treats Solos, Arpeggios, scales etc. Of course also in detail about Restroke Picking.
    Now am finally infected by Django Rheinhard''s music. I immediately bought "Gypsjazz Guitar" once more as a present. Everything is formed with marks, Tabs and chord charts also graphically done very well. […]

    3. November 2012 - Amazon.de (Kunden-Rezension) - (Leseratte12345) -
    [...]"...up to now I already had some books about Gypsyjazz. Finally, here I have found what I had always dreamt of: more sensibly didactic construction, valuable information on Gypsyjazz guitars, cultural backgrounds about Sintis" […]

    "Chords-online" (www.chords-online.de), Notendiscount -
    Käufer Günter writes am 04.09.2012: Fulfills all my expectations!
    ---
    Käufer Thomas writes am 23.05.2012
    […]"Everyone should have this book in his collection! This methodbook is really built up well structured. It starts off with the basic description of Gypsyjazz, next basic rhythm with exercises one can understand very easily.
    After the basics it is about to get more complicated, building up slowly. Staffnotations of all tunes for soloing are added next i. e. playalongs for achieving the typical gypsy feeling. If you want to go beyond that next are licks & tricks, and especially the lick of famopus players like Bireli or Stochelo and of course Django complete the book. I can only deeply recommend the book - i am sure you´ll have lots of fun with it."

    Jazz-Magazine, Issue 03/2012
    (…) Jazz-Manouche or Gypsy-Swing, Gypsy-Jazz or Sinti-Jazz is the music of Django Reinhardt and Jazz of the Sinti and Roma-Musicians. (…)Gypsyjazz-Guitarrist Bertino Rodmann is trying to offer a real authentic introduction into this special guitar-style.  Advanced guitarrists may work thru different types of techniques with staffnotations and TABs about the issues of rhythm- and sologuitar: Comping, La-Pompe-Rhythm, Dead Notes, Gypsychords, Voicings, Chord Substitution, Reststroke- and Arpeggio-Picking, Sweptstroke, Solo-Licks and much more. (…)... and the CD convinces just by itself...(…)

    Planet.TT-Technology, Issue 02/12 -
    Released under the title "Gypsyjazz Guitar, Volume 1, A Tribute to Gypsyjazz" by Bertino Rodmann, Alfred Music Publishing offers  the first methodbook about Jazz-Manouche or Gypsyjazz. Because the play-techniques were in Sinti tradition only transmitted orally, this methodbook also offers to non-Sinti musicians a source of access to these special technologies of rhythm- and solo playing. Of course there are also transcriptions of pieces from Django Reinhardt's feather – finally, he is the protagonist of this style. Harri Stojka will not need it any more, but to all other Django-enthusiasts this book is really reccomended.

    "Gitarre & Bass",· Issue Nr. 02/12 (Seite 26), February 2012 -
    "Gypsyjazz Guitar Vol. 1 - a tribute to Gypsyjazz - is an introduction to the style of the Jazzmanouche. On 148 sides and with an enclosed, very substantially produced audio-CD author Bertino Rodmann has successfully tried to document the complete spectrum of Gypsyjazz and to educationally explain it well. […] A technically demanding music. And, hence, Bertino Rodmann successful book is also nothing for beginners. But every interested basic-educated and willing to learn advanced guitarist is here about to learn many rhythm exercises, explanation of harmonious connections, an introduction to the arpeggio play-tricks and standards like for example "Minor Swing" or "Swing 48" the music of Django Reinhardt (7 tunes in all). One can only be curious on the announced second part very much, particularly as there is not so much good literature for this genre..." (www.gitarrebass.de)
    "Akustik Gitarre",  Issue Nr. 02/12, February 2012 -
    "[…]
    Author Bertino Rodmann has now put together the basics of Gypsy-Jazz in the way of Django Reinhardts playing into a book.
    Remarkable: all the basics are explained very systematically and detailed as organized the same.
    One may not believe that its possible to put down this issue into an ordered concept. But it works - and the attached CD combines and illustrates all 89 examples authentically in the Gypsyjazz-style […] The Notation of the book is well done, there are staffnotations as tabs and paralell also chordcharts.
    […] Summary: the one who wants to learn Gypsy-Jazz methodically is in need of this book. It starts off very easy and works itself thru Original-Tunes into real complex fields - all made up in a paedagogical way all for guitar. Well done!"

    Musiker Magazine 01/2011
    (…"... in the last time many actual hitproductions like Caro Emerald or Zaz merely used the Gypsyjazz-Guitar again in their productions, a guitarstyle which was influenced by great Django Reinhardt´s way of playing. If you are interested in that you need to learn these techniques.
    (…)The Frankfurt based Gypsyjazz-Guitarrist Bertino Rodmann with his book "Gypsyjazz Guitar - A Tribute to Gypsyjazz" published by Alfred Music Publishing, has now released a basic introduction into this traditionally trasmitted style of playing Jazz-Manouche.
    On 148 pages with an attached very authentic playalong-CD, Rodmann succeded to work out clearly the stylistic specialties of Rhythm- and  Sologuitar and at the same time to provide the respect to the ancient traditions of the Sinti.
    (…)Detailed and with significant examples the La-Pompe-Rhythm, special Voicings and the Compingtechnique the same as chord-Substitutions for Rhythmguitar as well as picking-techniques (Pickings), Licks, Riffs, Scales and Arpeggios for Sologuitar are presented. These you may as well practise to the Playalongs of original Django Reinhardt-tunes on the attached 75-minute Audio-CD or be worked out with the original solo-transcriptions.
    (…)With "Gypsyjazz Guitar, Volume 1, A Tribute to Gypsyjazz" Bertino Rodmann really has succeeded to present a recommendable instructions-book for the guitarists who would like to get into the genre of the Gypsy jazz and Gypsy swing. Basic knowledge in playing the guitar surely are presumed. Not for beginners.(…)
    30. Dezember 2011 - Amazon.de (Kunden-Rezension) - (Klaus Brier)
    […]"The book of Bertino Rodmann simply inspires me. The book is structured clearly, the exercises are clear and by the attached CD everything comes to life very much.
    The learning steps do not demand too much of me, the exercises are played on the CD, divided into an area for rhythm guitar, an area for solo guitar which brings very near the play-techniques of the Gypsyjazz-guitar. The book is simply great, the play joy wakes up and one notices that Bertino Rodmann is an absolutely experienced guitarist. Everything together, explanations, construction, sound examples of the exercises on the CD - just super!!! Everything simply fits."[…]

    "Gitarre aktuell", Heft Nr. 115, Dezember 2011 -
    "The book "Gypsyjazz Guitar" Volume 1" is not only a methodbook or an "introduction to the style of the Jazzmanouche" as it is in the subtitle, it is an unlimited confession of the author Bertino Rodmann to the music of Django Reinhardt.
     (...)... the prospective customer finds out how the author has come to this music. Most which got into contact in any manner with the music of the "Quintette du Hot club de France" of the 1930s or 1940s and had an "aerial" for it had already gone to ruin with the first sounds, but at the latest "thunderstruck" with the first Solo by Django Reinhardt and this style. And these were not a few! (...)...and with it this guitar style - maybe even comparably with the classical one or the finger style - would not be conceivable without certain "Typicals" which Rodmann exactly summarises detailed into his 150 page book incl. CD. (...) For his explanation  Rodmann offers a bright palette of significant examples inside both parts, innto whic the book has been structured, adding a 75-minute CD, to demonstrate all exercises as well as playalongs. (...) Compared to other guitar-styles here you find a clearly much stronger structured division into "Rhythm Guitar" (Part I.) and "Solo Guitar" (Part 2).
    Therefore, everybody can imagine that on the one part rhythm exercises (right hand) and chord cadenzas (left hand) are in the center for the first part of the book, for second then in the essentials scales, Arpeggien, numerous "Licks" about different chords and not least the guidance of the Plektrum-playing with melody. (...) All examples are broken up by some original pieces of Reinhardt / Grappelli like the famous »Minor swing «, "Douce Ambiance", the "modern" "Swing 48" and jazzblues in major and minor keys, as well as two original compositions of Rodmann, that may to be called the "Tribute to Django".

    The rather stringent part with "tips and tricks" is complemented by technology, articulation and phrasing.

    But finally a word of the author which is meant to be detailed, where he tries to advertise with high respect and to make clear the aesthetics and artistic quality of the Gypsyjazz Guitarplaying. This concern can be acchieved with the comprehensive and proper book from Rodmann. A glossary with descriptions all the same finish the book.."
    (www.gitarre-aktuell.de/)

    3. Dezember 2011 - Amazon.de (Kunden-Rezension) - (Rudolf Hartmann)
    […]"I have got this book as a gift for birthday and cannot let go it ever since then anymore. For whom is this book? In any case NOT for guitars beginner, one should not bring quite about 3-4 years of guitars experience and already should have heared about "Jazz-Manouche". (. . . )...the author describes in an easy and understandable way a very complicated subject, with which I already had some "ahhhh. . . . . , this way it is played"-effects which I lacked with other literature to the subject of Gypsyjazz. (. . . ) I find it a very successful book in the introduction of Gypsyjazz with a lot of background information. It gives pleasure to work through the book."[…]

    27. Nov. 2011 - gitarrenmagazin.de -
    "(...)

    How should one succeed in packing a stamped genre of intuition and tradition into a methodbook? Right from the beginning Rodman clarifies that he is aware of this rope dance and shows his book even as a beginning which cannot be entire and not "only valid". This is likeable and as well completely undogmatic (. . . ) after this short introduction. . . it equally starts off with the first main part to Rythm and the first finger exercises. What i like is the fact that he goes forward rather purposefully,
     (...)... in this fiorst part everything is explained which is rather of relevance rythmically. Thanks to all the chords explainedas of their modulations the book excites here already, because the result immediately sounds like Gypsyjazz! (...) The second part is all about the solo guitar. The construction is very logical here and leads from chord decompositions and scales to examples how the masters of the GJ-scene have built up their Soli and it enables in such a way to get more and more feeling for this genre and to lend expression to this feeling also to the guitar. (. . . ) all together the book makes great fun and also because of the attached CD it is a very good learning help! (. . . ) Summary: The methodbook is built up well and gives pleasure. (. . . ) the book is also a recommendation for the Christmas table!" (www.gitarrenmagazin.de)

    22. Nov. 2011 - hotclubnews.de -
    "
    On 148 sides and an enclosed, very good CD the complete spectrum of the play is presented. Nothing for guitar beginners, but for advaced guitarplayers that want to learn this style. (. . . ) it is nice that not only small rhythm exercises are made, but that in several titles of the master Django Reinhardt the learnt things may be tried out. Thus it mostly starts from a rather simple version to more complicated chord connections and substitutions. This also brings fun to the more skilled players. . . (. . . ) Is to be emphasised that a few sides are dedicated to the special use of arpeggios and scales in the Gypsyjazz. Also finds one some more "Trademarks" of known guitarists of the Gypsyjazz scene as a) the picture of different play-techniques and b) suggestions for own creations are set up. Of this I would have liked another 10 sides more. (. . . ) Summary: An absolutely successful first work of whic a second part makes sense. For justn 25 EUR the book is very recommendable and really an enrichment in our scene. Carry on!" (www.hotclubnews.de)


    15. Nov. 2011 -Gypsyguitar.de -
    "The first guitar method "Gypsyjazz Guitar - A Tribute to Gypsyjazz" by Bertino Rodmann is here - a complete course - affectionately made with exercises which truely cover the whole style.  For the first time there is school on the market which offers an overview about the style, the specific features of the plays, the Rhytm "la pompe" and the Soloplaying as of some standard pieces. The course is directed to beginners who must be familiar, however, already with the instrument and are interested especially in this music style. The exercises of all areas are provided with practical Playalongs on the attached CD, so that one also finds the way, or if one is not able to read music there is Tabulatur all the same. Bertino has placed special value of the peculiarities of the style. Background information about known players of the genre, as well as cultural background information on guitars, culture of the Sinti and Roma completes the work. As an entrance the book is very well suitable, as well as deepening knowledge for the people who are already able to play something but as well for advancers who are able to play certainly already more than others may take one or the other suggestion from it. Successfully! Thanks Bertino" (www.gypsyguitar.de)

    7. November 2011 - Amazon.de (Kunden-Rezension) - (Sebastian v. Kracht)
    "(...) "Gypsyjazz Guitar" is a great book which knows how to provide the aimed contents in understandable form. Interesting, informatively, entertaining and instructively. (. . . ) though there are many books and also methodbooks about Gypsyjazz, however, afaik there was up to now no "authentic" guitar school with which one can get into the style. Assumed that one can already play the guitar also the "real" tricks are taught which were transmitted only orally amongst the Sinti commonly. (. . . ) of my knowledge  the author also offers Live-Workshops. If one is thru with the book, one can take part in such a masterclass and penetrate even further into the depths of the Gypsyjazz..."





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  • History - DiMauro

    dimauro 1940 spchJosephDiMauroelderDi Mauro-Guitars as already mentioned earlier, besides the more famous brands of Selmer, Busato or Favino-guitars belong to the worldwide most famous Gypsyjazz-Guitars - for good reason.

    Joseph Di Mauro (1894-1966), the brother of Antoine Di Mauro (image right), was born in Catania (Sicilia) in 1884.

    He learned the craftsmanship of building guitars and made guitars as well as mandolins. In 1925 he immigrated from Siciilia to Paris (as many other luthiers did in that time, for example Jacques Favino, Barnabe Busato, Castellucia, and many more). Joseph DiMauro at first worked for another italian guitarmaker named GALLESI, inside his workshop in the Rue de Guénot (whose workshop has been founded in 1898 already).

    Antoine Di Mauro (1900-1976), the brother of Joseph DiMauro (the elder, 1894-1966), already built instruments in Catania (Sicilia) like Mandolins, Guitars and and other stringed instruments. He came to Paris a little later on, around 1934.
    AntoineDiMauro
    Antoine founded his own shop and workshop in the backyard of a furniture store at the Rue de Fontarabie. In this place he stayed for two years building guitars and mandolins. In 1936 he moves into the Rue Rançon in Paris.

    DiMauro_Workshop_021Slowly his family also came to Paris bit by bit and finally himself and his wife as his three sons Francois (the eldest), Nicolas and Joseph (the younger) are all living together in Paris.

    Francois is starting to work in his father´s workshop as well after finishing school.

    In 1942 the workshop moves into the Rue Réunion 50 and is modernized and enlarged, as well as the name of the store has been changed into "Lutherie Moderne".

    Just a couple of years later, around 1950, again the shop is enlarged and DiMauro_Workshop_011 Joseph DiMauro additionally takes over some more rooms at housenumber 47. The workshop in number Nr. 50 is just beeing used as a storage room for wood.

    JosephDiMauroyoungerJoseph Di Mauro (the younger, 1932-2001) is the youngest son of Antoine Di Mauro. He starts to work from 1947 at the age of 15 in the family-company together with his father and the two brothers.

    After the death of his father in 1976 he takes over the workshop completely alone. His brothers decided to go on own paths meanwhile. As his son Nicolas (1928-1999) the two brothers are working in the field of Catering, his second brother (born 1925), workes with his own company Importing/Exporting instruments and  Accsessoires in Montreuil since 1972. He is as well retired meanwhile.

    Joseph DiMauro later on works under the name "DiMauro - Luthier" on his own and keeps building  instruments for another 18 years, mainly guitars and mandolins.

    In June 1993 he stoppes his work earlier than expected. There are plans for the house which his workshops is residing in to beeing trashed. But at the age of 67 Joseph Di Mauro doesnt want to start all over again and closes his workshop and company. So he retires and after only 2 years dies early at the age of 69 in Paris (Source: www.di-mauro.fr)

    Here are some pictures of the workshop in the Rue Réunion 50 in Paris.

    DiMauro_Workshop_01

    DiMauro´s Workshop about 1942

    DiMauro_Workshop_02

    DiMauro´s Workshop about 1942

    DiMauro_Workshop_08

    DiMauro´s Workshop about 1942


    DiMauro_Workshop_07

    DiMauro´s Workshop about 1942

    DiMauro_Workshop_09

    DiMauro´s Workshop about 1942

    DiMauro_Workshop_05

    DiMauro´s Workshop about 1942



    Read more -> Features of original DiMauro-guitars


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  • History - Jean-Pierre Favino

    favino-photo-favino-shop-13
    Jean-Pierre Favino, born 1952 in Paris, is the only son of Jacques Favino. Jean-Pierre studied building instruments on the "School of applied industrial Arts".

    Since 1975 he started to join his father Jacques Favino in the workshop and learned the craftsmanship of building guitars from him. Together they both were building guitars until the late 1984, when his father retired finally to move to south-france. His fist known guitar Jean-Pierre built around 1979.

    Officially he took over the workshop from his father in 1984/85, while there was a transition period when both father and son built guitars together from aproximately 1980 until 1983/84.

    Alike his father Jacques always had an "open ear" for the wishes and dreams of musicians, also Jean-Pierre Favino feels like a "mediator" between the musician and the instrument.

    Favino in his shopIn the first years after he took over the workshop Jean-Pierre Favino still builds the guitars as he learned it from his father, sticking to his original contruction-plans and models.

    It is just from 1990 when he starts to look for his own ways of building guitars and changes the way of making and construction.
    Since then he mostly had built the Models No. 10 to his fathers exact plans, but then he starts to change his design strongly, thus more blueprinting from the original Selmer-type design with smaller bodies and other kind of bracings. He then also changes the tailpieces and tuners as well as the design of the headplates (see also Features of original Favino-Guitars).
    jeanpierre
    What still remains is the high craftsmanship that Jean-Pierre Favino had learned from his father, to manufacture instruments of highest quality. Until today the name "Favino" is connected to the making of finest instruments and many famous musicians played and still play his guitars.

    Jean-Pierre Favino reduced his production-capacity to aproximately around 30 instruments per year. Latency times of 2-3 years for a guitar out of his workshop have become normal.

    favino logo

    Actual Adress


    Jean-Pierre Favino's workshop in Paris:
    31 Rue Reuilty in Paris. Metro Reuilty-Didot
    Mostly he is to find there at the end of each month. It is obliged to call before making a visit.

    Jean-Pierre Favino's 2nd workshop and living-adress:
    Les Gaouats 31160 Castel Biague, Frankreich, Tel : 0033 - 561 901 027

    To finish out the history-series of Favino, we offer you an interesting and highly informative 3-paged Interview with Jean-Pierre Favino as pdf for download (right-click, save-as), which was made with him by Berhardt Gierstel from the association HotClubNews.de in the year 1992.

    Read more -> Features of original Favino-guitars (1/3)

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  • Homepage - Welcome

    Herzlich willkommen - Welcome - Bonjour - Latcho Diwes


    Logo JM 2014 300Wir begrüssen Euch recht herzlich auf unserer neu gestalteten Website!

    Unsere Website bietet viele Infos über JazzManouche bzw. Gypsy-Swing - das Leben und die Musik von Django Reinhardt und die Geschichte der Sinti und Roma, der Gitarren.

    Auf Jazzmanouche.de werden Workshops für Gypsyjazzgitarre angeboten, News aus der Gypsyjazz-Szene vorgestellt und viele interessante Infos zu Gypsyjazzgitarren und viel Hintergrundwissen zur Geschichte dieser Musik bereit gestellt.

    Seit nunmehr 7 Jahren gibt es nun unsere JM-Guitar-Gallery, ein Bild-Archiv in dem man nach alten Gypsyjazz-Gitarren forschen kann (speziell den berühmten Selmer-, Busato, Favino und DiMauro-Gitarren), mit vielen Hintergrundinfos und Bildern zu diesen Gitarren.
    Sinn und Ziel dieses Bild-Archivs ist es nach und nach eine umfangreiche Sammlung an Infos über alte Gypsy-Gitarren aufzubauen, in welchem jeder JM-User nach diesen Gitarren (z.B. vor dem Kauf eines solchen Instrumentes oder eben auch nur zum Spass) recherchieren kann.

    Wer möchte kann seine alte Favino-, Selmer-,   Busato-, oder DiMauro-Gitarre (kostenlos) in unsere JM-Guitar-Gallery eintragen lassen. Bitte dazu einfach aus der entsprechenden Kategorie eine eMail schicken und entsprechende Bilder (max. 1 MB pro Bild) beifügen.

    Interessenten von JM-Gitarren-Workshops können hier direkt online ihre Teilnahme am Workshop Modular Gypsyjazz Guitar buchen.Hier kann man sich für den nächsten Workshopanmelden (Plätze sind begrenzt, max. 15 Personen).

    Ausserdem bieten wir für unsere (kostenlos) registrierten Mitglieder jede Menge JM-Downloads z.b. Grilles (Chord-Charts), Transkriptionen oder TABs bekannter Gypsy-(Jazz)-Songs und unsere anderen JM-Downloads wie (Gypsyjazz-)Klingeltöne fürs Handy, Desktop-Hintergründe, Bilder uvm. ebenfalls alles nur für unsere registrierten Mitglieder.
    In der Rubrik "Lick of the month" stellen wir unseren Lesern jeden Monat ein neues Gypsyjazz-Gitarren-Lick, meist eines bekannten Gypsy-Gitarristen, vor.

    In unserem Bereich "JM-Videos" finden sich Videos und und Bilder die bei verschiedenen Gelegenheiten Live aufgenommen wurden und die Rubrik "JM-Video-Lessons" mit interessanten Video-Lessons zum Thema Jazz-Manouche.

    Um alle Funktionen auf jazzmanouche.de uneingeschränkt zu nutzen können Sie sich hier (ebenfalls kostenlos) registrieren. Infos zur Registrierung gibt es in unserer JM-Registrierung-FAQs. Nach erfolgreicher Registrierung und Anmeldung können Sie dann sofort alle Bereiche von jazzmanouche.de nutzen. Weitere Infos zu unseren einzelnen Bereichen lesen Sie auch hier in unseren Allgemeinen FAQs.

    Wir wünschen Euch nun viel Spass auf Jazzmanouche.de


  • Homepage - Welcome (en)

    Welcome - Bonjour - Latcho Diwes


    Logo JM 2014 300Welcome to our newly designed website at JazzManouche.de!

    Our website offers many Infos about JazzManouche or Gypsy-Swing - the life and the music of Django Reinhardt and about the history of Sinti and Roma, as of famous Gypsyjazzguitars. We provide lots of background-knowledge about the history of this music.

    The more we offer Workshops for Gypsyjazz like the Modular Gypsyjazzguitar on JazzManouche.de, present you actual News from the Gypsyjazz-Scene plus many interesting Infos about Gypsyjazzguitars such as Selmer, Favino, Busato or DiMauro.

    Since more than 7 years our JM-Guitar-Gallery now is online. The JM-Guitar-Gallery is an image-archive where you can search for old Gypsyjazz-Guitars (especially the famous Selmer-, Busato, Favino and DiMauro-Guitars) and more than 1800 images of these guitars., additional we offer pages on each instrument-category with many backgroundinfos.
    The intention of this Image-Archive is to build up and provide you with a great collection of information about old Gypsyjazzguitars where every JM-User is able to do a research for detailed information on these instruments.
    If you like to register and show your own Selmer-, Favino-, Busato-, or DiMauro-Guitars (for free) within our JM-Guitar-Gallery please send an eMail from the right category of the gallery with images of your guitar (max. 1 MB per image) attached.

    Students interested in our Workshops may signup for the Modular Gypsyjazz Guitar and book their seat for participation directly onlinehere.(Places are limited, max. 15 Persons).

    Additionally we provide lots of free JM-Downloads for our registered users such as Grilles (Chord-Charts), Transcriptions or TABs of well known Gypsy-(Jazz)-Songs, as of our other JM-Downloads like (Gypsyjazz-)Ringtones for your mobilephone, Desktop-Backgrounds and much more for our registered JM-Users.

    Within our section "Lick of the month" we offer a new Gypsyjazz-Guitar-Lick every month, often like they are played by famous Gypsy-Guitarrists. In the section "JM-Videos" you´ll find videos and images that have been recorded Live at different occasions, in the sub-section "JM-Video-Lessons" additionally interesting Video-Lessons on Jazz-Manouche.

    To get unlimited use all of the sections and services on jazzmanouche.de you need to be a registered JM-User. Here you can register for free. Infos on how to registeryou´ll find in our JM-Registration-FAQs.

    Some parts of our website are restricted to payed articles, where you have to be a paying JM-User to read them. For that purpose we offer certain kind of "User-licences" were you may become a paying user who can access the payed articles for a day, one or six month or one year. The payment is worthwhile and cheap and may be done online by external payment-service Paypal (creditcard accepted).
    By becoming a paying JM-User you help us providing our services for the future, as we have to take care to all the cost of running the website and keeping all services up-to-date. 

    We wish you lots of fun on our newly designed website, have fun and keep swingin´
    Your JazzManouche.de-Staff

  • How to Improvise - some thoughts on Improvisation (1/3)

    django 1940Improvisation is a broad field that has been worked on by all kinds of musicians of all styles from the very beginning in many different ways. Django Reinhardt has been an absolute Master in this.

    But how does Improvisation actually work?
    There is improvisation with start- and stop-points, tonal and modal attempts of improvisation, there is improvisation based on scales and arpeggios or Improvisation just "spit out" as a wild and unordered bunch of tickled out notes.

    Which way you may ever use as a musician, you should always have in mind this one clear goal: to transmit the expression of what you have to say as a musician to your audience. If there is no message - there is no meaning and improviation will degrade to "just a bunch of wiggled notes" that will also leave behind your audience icecold in the end.
    DukeEllignton"It don´t mean a thing if it ain´t got that swing" - this golden rule was made up by great the Duke Ellington, and he was absolutely right! Because this is true for all kinds of music - not only for Swing or Jazz.

    Wether what kind of musicstyle you play, if your music hasn´t got any message, no contents, no soul - then it is dead and meaningless. It will be unpersonal and - in the end it will be just boaring... 
    One can be able to play technically and maturely well or even play scales with a technically perfect sharp attack at the incredible speed of 400+ BPMs on any instrument, but if it has no soul it means - nothing!

    To copy another musician (e.g. a musical idol) is not forbidden at all, but the more it is one of the most easiest ways to learn music from each other. Almost all great musicians did that as it is one of the most natural ways to learn for human beeings to imitate. So imitation belongs to a very important phase in the developement of every musician.

    Nevertheless one day (whenever that is) there should arrive a new phase in the musical developement of every musician in which one should transform all the things that he/she might have learned from the musical forefathers or idols into own new phrases and musical ideas. If not one will stick inside the process of beeing blocked in his own advancement...

    Like Jazzlegend Clarke Terry already said in 1954, there are four important steps in the phases of developement of a musician:  Imitate, Assimilate, Create, Innovate

    (How to Improvise - some thoughts on Improvisation by Bertino Rodmann ©2013)

    Read more -> How to improvise (2/3)

    {mainvote}





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      • reasonable prices - big community

      • unique and creative designed ADs

      • place content directly in front of your customers

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    3. The REAL Gypsyjazz Book

      More than 300 (Gypsy-)Jazztunes...

      on 230 pages professionally designed...

      for direct download...

      Only 24,90 €

      Check it out here
    4. For sale!

      ERG Model Bertino - Maple series

      handbuilt Gypsyjazz-Guitar

      Tiger Maple, Miller-Hardware

      Special price: 3.100.-€ + shipping

      Read more






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  • JazzManouche-Wiki

    Sorry, but yet still unavailable!

    baustelle

    We are working hard to finish the JazzManouche-Wiki, an Archive to search and find any kind of information about the issue of "Django Reinhardt, JazzManouche, Gypsyjazz or Sintijazz".

    Due to the immense work to collect information and put it down into searchable form this will take longer to finish. So please have a little patience and be sure to check back anytime  to see if we are finished.

    Your JazzManouche.de-Team

  • JM-Arpeggien

    mitgliederbereichIn dieser Lesson-Artikel-Serie behandeln wir verschiedene Arten von Arpeggien und zeigen wie man sie spielt.

    Als "Arpeggio" (plural "Arpeggien") bezeichnet man gemeinhin Akkorde deren Töne nicht gleichzeitig gespielt werden sondern nacheinander, sodass sich daraus wieder eine Art "Melodie" ergibt. Man spricht umgangssprachlich auch von "zerlegten" oder "gebrochenen" Akkorden.

    django 1940Das Wort leitet sich von "arpa" (ital. für Harfe) ab, bedeutet also im Wortsinn, der Akkord solle „harfenartig“, wie auf einer Harfe gespielt werden.

    Einer der ersten Gitarristen der Arpeggien sehr intensiv in seinem Spiel verwendet hat war Django Reinhardt. Durch die Verletzung seiner linken Greifhand (siehe auch Django Reinhardt -Guitar-Maestro) fand er schnell heraus dass Arpeggios ihm eine gute Möglichkeit boten in kurzer Zeit viele Noten schnell zu spielen. Arpeggien sind seit ihm ein wesentlicher Baustein jeder JazzManouche- und Jazz-Improvisation.

    Wir behandeln hier in dieser Artikel-Serie Lessons zu standard DUR- und Moll-Arpeggien sowie auch speziellen Arpeggien, wie z.b. Moll6 oder Moll7-Arpeggien.

    Moll-Arpeggios
    Moll6-Arpeggios
    Moll7-Arpeggios
    DUR-Arpeggios
    DUR6-Arpeggios
    DUR7-Arpeggios




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      ...Your choice for great Gypsyguitars...

      ...all handbuilt from top materials...

      ...unique making and design...

      Read more
    2. Place YOUR content AD right here!

      • reasonable prices - big community

      • unique and creative designed ADs

      • place content directly in front of your customers

      Contact us for more
    3. The REAL Gypsyjazz Book

      More than 300 (Gypsy-)Jazztunes...

      on 230 pages professionally designed...

      for direct download...

      Only 24,90 €

      Check it out here
    4. For sale!

      ERG Model Bertino - Maple series

      handbuilt Gypsyjazz-Guitar

      Tiger Maple, Miller-Hardware

      Special price: 3.100.-€ + shipping

      Read more


  • JM-Arpeggios

    mitgliederbereichIn this lesson-article-series we speak about common JM-Arpeggios and how to use and play them on the guitar. 

    An arpeggio (Pl.: arpeggios) is the musical name for a chord where all notes aren´t played all together at once, but after one another in short spaces, to again build a kind of "melody". An Arpeggio is also known as a „broken chord“.
    django 1940The word arpeggio is derived from "arpa" (ital. for harp) and in the sense of the word means that a chord should be played "harp-like", as it would be played on a harp = note-by-note.

    One of the first to intensively use arpeggios in his playing was guitar-maestro Django Reinhardt. Due to his injuries of the left hand, he soon found out that arpeggios were a great way for him to easily play many fast notes in short time. Thats why he used arpeggios as one main feature in his improvisations. Many other JazzManouche- and Jazz-guitarrists copied that, thus introducing this technique into the modern Jazzplaying until today.

    In our article-series about arpeggios we will show lessons on major and minor-arpeggios, as well as special arpeggios such as minor6-, minor7- or other types of arpeggios.

    Minor-Arpeggios
    Minor6-Arpeggios
    Minor7-Arpeggios
    Major-Arpeggios
    Major6-Arpeggios
    Major7-Arpeggios





    ADVERTISING
    1. Polak-Gypsyguitars

      ...Your choice for great Gypsyguitars...

      ...all handbuilt from top materials...

      ...unique making and design...

      Read more
    2. Place YOUR content AD right here!

      • reasonable prices - big community

      • unique and creative designed ADs

      • place content directly in front of your customers

      Contact us for more
    3. The REAL Gypsyjazz Book

      More than 300 (Gypsy-)Jazztunes...

      on 230 pages professionally designed...

      for direct download...

      Only 24,90 €

      Check it out here
    4. For sale!

      ERG Model Bertino - Maple series

      handbuilt Gypsyjazz-Guitar

      Tiger Maple, Miller-Hardware

      Special price: 3.100.-€ + shipping

      Read more




  • JM-Guitars - More Infos - (en)

    Alle Bezahlartikel (en)
  • JM-Guitars - More Infos (de)

    Alle Bezahlartikel
  • JM-Guitars & More

    Selmer 1933

    Selmer/Macccfferri, 1932

    dimauro 1940 ch 01 20121018 1066792338

    DiMauro Special Chorus, 1942

    Auf den hier folgenden Unterseiten finden sich jede Menge detaillierte Informationen zu den berühmten Selmer-, Busato-, Favino- und DiMauro-Gitarren.

    JazzManouche.de bietet hier kompakte, zusammengefasste Infos über die genauen Details dieser seltenen und teuren Gypsyjazz-Gitarren, wie die Geschichte dieser Gitarren und ihrer Hersteller.

    Aber auch die genauen Merkmale dieser seltenen Instrumente und viele Backround-Informationen zu genauen Details der Gitarren und wie und woran man sie erkennen kann.

    Dies ist insbesondere im Hinblick auf den Erwerb eines solchen Instrumentes von Belang, denn diese Gitarren sind durch ihr Alter und die Tatsache dass von allen Instrumenten zu ihrer Zeit nur eine sehr begrenzte Anzahl gebaut wurde und sie mittlerweile nicht mehr hergestellt werden, durchaus des öfteren nur noch sehr teuer zu käuflich zu erwerben.

    So liegen die Preise für eine original Selmer-Gitarre (je nach Baujahr und Zustand) meist im 5-stelligen Euro-Bereich, Favinos, Busatos und DiMauros liegen immer noch gut im 4-stelligen Euro-Bereich. Wer soviel Geld für eine Gitarre ausgibt muss genau wissen was für ein Instrument er erwirbt, denn leider tummeln sich, wie bei anderen Raritäten auch (Stichwort Gemälde, alte Geigen und andere rare Kunstobjekte) natürlich auch einige Fälscher solcher Instrumente auf dem Markt.
    Und bei einer 4 bis 5-stelligen Euro-Investitionssumme kann das schnell zum Desaster werden wenn man ein solches gefälschtes Instrument erwirbt und später erfahren muss dass man mit Zitronen gehandelt hat...

    Dafür bietet sich unsere JM-Guitar-Gallery zur Recherche von Seriennummern und genauen Details bestimmter Gitarren an (wir haben mittlerweile über 1.800 Bilder in unserer Gallery), wie auch die Detail-Seiten der einzelnen Gitarrenmodelle (Selmer-, Busato-, Favino- und DiMauro-Gitarren) auf denen man genau erfahren kann anhand welcher Merkmale man solche alten Gitarren recht genau bestimmen und so auch Fälschungen erkennen kann.

    Natürlich gibt es inzwischen auch jede Menge anderer Gitarrenbauer die Aufgrund steigender Nachfrage diese Instrumente heute zu erschwinglichen Preisen zwischen 400.- und +/- 5000-10.000.- € nachbauen. Hier kann man sich auf unserer Seite über JM-Gitarrenbauerinformieren und Adressen dieser Hersteller in Erfahrung bringen.




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  • JM-Guitars & More

    Selmer 1933dimauro 1940 ch 01 20121018 1066792338On the following pages you find lots of detailed  informations about the famous Selmer-, Busato-, Favino- and DiMauro-Guitars.

    JazzManouche.de offers you compact and collected  infos on the exact details of these rare and expensive guitars, as of their history and their makers.
    The more we also briefly describe the exact details of these rare instruments plus give you many more background-infos to these details and how you can recognize those kind of instruments.

    This may be of great interest especially when buying such an instrument, as these guitars nowdays are really expensive due to their pure age and out of the fact that many of these have just been produced in a limited amount. So they are rarely for sale meanwhile for high prices up to 5-digit Europrices.

    So the prices for a rare original Selmer-Guitar (depending on its age ans state) vary from 10.000 to "OpenEnd"-prices up to 30-40.000.- EUR. Original Favinos, Busatos and DiMauro-Guitars are mostly buyable around 4-digit Euro-prices.

    If you spent that much money on a guitar you need to know exactly if the instrument that you want to buy is really original.
    As of everywhere else on the internet as well there are cheaters and forgers around on the market that try to sell (mostly cheap) forged copies of these kind of rare guitars as "real ones" to people who dont know the exact details of them.
    And paying a 4-5-digit sum for a guitar like that may end up in a real desaster very quick for you if you notice you have been cheated afterwhat...

    Thats one of the reasons we offer our JM-Guitar-Gallery for reseach of serialnumbers and other details of certain rare Gypsyjazz-Guitars (meanwhile we have 1.800+ images of old Gypsyjazzguitars in our Gallery). On our detailpages of the JM-Guitar-Gallery as inside the description-pages of Selmer-, Busato-, Favino- and DiMauro-Guitars you are able to find lots of detailed information on the specific details of these instruments with a brief description and images of every kind of guitarmodel and how to determine what kind of instrument has which kind of feature to recognize it right away.

    Of course meanwhile worldwide there are other guitarmakers of all nations who built these kind of Selmer-Copies nowdays for worthwhile and payable prices between 400.- and +/- 5000-10.000.- EUR. On this page we give you an overview of these JM-Guitarmakers with webpages and adresses.




    ADVERTISING
    1. Polak-Gypsyguitars

      ...Your choice for great Gypsyguitars...

      ...all handbuilt from top materials...

      ...unique making and design...

      Read more
    2. Place YOUR content AD right here!

      • reasonable prices - big community

      • unique and creative designed ADs

      • place content directly in front of your customers

      Contact us for more
    3. The REAL Gypsyjazz Book

      More than 300 (Gypsy-)Jazztunes...

      on 230 pages professionally designed...

      for direct download...

      Only 24,90 €

      Check it out here
    4. For sale!

      ERG Model Bertino - Maple series

      handbuilt Gypsyjazz-Guitar

      Tiger Maple, Miller-Hardware

      Special price: 3.100.-€ + shipping

      Read more



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  • JM-Learning - More Infos - (en)

  • JM-Play-technique (en)

  • JM-Solotechnique

    mitgliederbereichDjango at-Club-Saint-Germain-des-Prs, Paris 1951The technique for improvising and playing solos in the style of JazzManouche (or Gypsyjazz) is like many things in this style strongly influenced by Django Reinhardt - the Guitar-Maestro, the grandmaster and great pioneer of this music.

    As already briefly described in the articles "Play-technique of Gypsyjazz" and "Django Reinhardt - the Guitar-Maestro", Django Reinhardt had this very heavy accident at the age of 18, at which his left bodyside was completely burnt in third degree.

    Due to this "disability" that was left over by that, his left hand was strongly injured by these burnings (see photo top left), thus he wasn´t able anymore to use his pinky and ringfinger very well, mainly for chordplaying but for soloing as well. So that kind of disablity led him to develop different techniques to play guitar again without pain, thus resulting in somewhat strange fingerings for playing chords as well as his style of soloplaying. So this has great affect on the way things are played in this music-style.

    But also one of the other main differences of the style in comparison to other guitarstyles was (and still is) the picking-technique beeing used by Django and all other Gypsyplayers of his heritage (like Bireli Lagrene or Stochelo Rosenberg).

    Usually guitarrists that play other styles of music like Blues, Rock or Pop normally are used to play the so called "Alternate Picking". This picking-technique utilizes the plectrum just beeing played with up- and down-strokes wether if there is a string-change or not (see example 1, an extract from my book "Gypsyjazz Guitar" which has been released 2011 and in 2013 also in english).

    In the following sheet-example (image right) you clearly see that, even while playing a string-change there s no change of striking with the pick, thus playing Alternate-picking you just stay at playing up-down-up-down etc.

    picking technik1When playing Gypsyjazz you will have to use a complete different picking-technique, which is the so called "Rest-Stroke"-picking.

    The "Rest-Stroke"-picking is a picking-technique which derivates from the classical "Apoyando"-playing, just utilized for playing with plectrum.

    The Apoyando-picking (spanish = "to attach, to stop at") means attaching the finger to the next following string after playing one string. That means if you played a string with a finger, this finger "attaches" e.g. "rests" on the next following string (down or upward) after plucking the string.

    The "Rest-Stroke"-picking in Gypsyjazz is this picking-technique that has just been derivated from this classical playing-technique, transfered on playing with a pick. Here you will hit the string with your pick and "rest" on the next following string with the pick (instead of a finger) without leaving it, therefore "rest-stroke".

    And the more the "Rest-Stroke"-Picking which is utilized in Gypsyjazz has yet another consequent quality of use: while changing strings with the pick you will almost always use a "DOWN"-Stroke even by changing strings (see example 2).

    picking_technik2 So the "rest-stroke"-playing is one of the reasons why a lot of Gypsy-players often have an incredible and extremly exact kind of playing when soloing, as it dramatically reduces errors while playing and additionally gives you a very straight and powerful tone.

    Also very much influenced by great master Django Reinhardt and his remarkable style of playing are the scales, licks and/or arpeggios that are utilized in JazzManouche.

    Django, while trying to rehearse  back to his old playing-ability recovering in hospital after his heavy accident, pretty soon realized that he could play many fast notes and lots of impressing single-note-runs by using arpeggios (so called "disassembled chords") while soloing with ease. This may be one of the reasons why Django used these so extensively in his solos, as he might have been playing eight-notes very fast and easyly and long without any pain in comparison to general scales which may still have hurt him.

    Here´s an example of a very easy arpeggio in A-minor, based on a straight Barré-chord played at the fifth fret:
    am arpeggio
    If you like to know more about the soloing in Gypsyjazz or want to learn this technique you may inform yourself about my "Masterclass for Gypsyjazzguitar", in which i show my students the techniques for Rhythm-, picking- and Soloplaying with lots of examples.

    Or if you better like to work on your own (or cannot come to my masterclasses as it is too far for you) you may order my methodbook "Gypsyjazz Guitar" released by Alfred Verlag (Köln), at Amazon.de or here on this website which also include some of these examples and step-by-step-practises to learn these play-technologies of JazzManouche. Get into it and keep up the swing!


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  • JM-Videos

    videoIn unserer Rubrik "JM-Videos" präsenteren wir ausgesuchte Jazz-Manouche-Videos, Video-Lessons, Videos von LIVE-Konzerten und Dokumentationen zum Thema uvm.

    Hinweis: Zum Abspielen der Videos muss auf Ihrem PC ein Flash-Plugin installiert sein oder Sie müssen einen html5-fähigen Browser (Safari ab V. 5.x, Firefox ab V.6.x, Internet Explorer ab V.7.x) verwenden.

    Bitte wählen Sie nun hier Ihre gewünschte Video-Rubrik aus:

    Videos from JazzManouche-Artists

    JazzManouche

    button video

    JM-Lessons

    button video

    LIVE-Videos & Doku


  • JM-Videos (en)

    videoIn our section "JM-Videos" we present you selected JazzManouche-Videos, Video-Lessons, Videos of LIVE-Concerts and Documentations about the style.

    Hint: To play the videos you must have a Flash-Plugin installed on your PC or you must have a Browser which is able to play html5-videos (Safari V. 5.x, Firefox V.6.x, Internet Explorer V.7.x or higher).

    Please choose your desired Video-Section here:

    Videos from JazzManouche-Artists

    JazzManouche

    button video

    JM-Lessons

    button video

    LIVE-Videos & Docus




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  • JM-Workshops

    bertino 2014 klBertino Rodmann, selbst seit mehr als 25 Jahren praktizierender JazzManouche-Gitarrist und Autor des Gitarren-Lehrbuches "Gypsyjazz Guitar - a tribute to Gypsyjazz", bietet seit einigen Jahren für interessierte Gitarristen seinen Workshop "Modular Gypsyjazz Guitar"  auch in Deutschland an.gypsyjazzguitar

    Sein fundiertes Buch basiert auf der Erfahrung aus seinen LIVE-Workshops. Ähnlich strukturiert doch wesentlich umfangreicher und mit eingehender persönlicher Beratung und weitergehenden Übungen und vielen praktischen Tipps bietet Bertino diese Erfahrung seinen Workshop-Teilnehmern in seinem LIVE-Workshop Modular Gypsyjazz Guitar an.
    Inzwischen gibt es für Interessenten generell zwei Möglichkeiten an Workshops teilzunehmen:

    kat online mc• der kat liveLIVE-Workshop "Modular Gypsyjazz Guitar" (ein 5-stufiges modulares Lernsystem bestehend aus 5 Modulen) und
    • eine Online-Masterclass (eine Art Online-Version der LIVE-Masterclass, allerdings wesentlich weniger ausführlich).

    Wer sich für eine der beiden Varianten interessiert kann sich hier auf diesen Seiten näher darüber informieren oder diese direkt auch online buchen. Schauen Sie bitte auch ins Menu für weitere Infos.


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  • JM-Workshops (en)

    bertino 2014 klBertino Rodmann, experienced guitarrist of JazzManouche for more than 25 years as well as the author of the Methodbook "Gypsyjazz Guitar - a tribute to Gypsyjazz", offers his LIVE-Workshop  "Modular Gypsyjazz Guitar" for all Book Gypsyjazzguitarinterested Guitarrists in Germany already half-annually since a couple of years.

    The experience of his fundamental LIVE-Workshop "Modular Gypsyjazz Guitar" has well structured been enclosed in his methodbook (image right), explaining the essentials of many Gypsyjazz play-techniques (available in german and english). Similarely structured as his methodbook, but even much more efficient because of his personal advice to every student and thus much more intense with even more exercises and tipps, Bertino is offering this knowledge to the students of his workshops.
    Basically there are two possible ways of taking part on these Workshops:
    kat livekat online mc
    • the LIVE-Workshop "Modular Gypsyjazz Guitar" (a 5-step modular Learning-system) or
    • the Online-Masterclass (a kind of Video-Online-Version of the LIVE-Masterclass, yet shorter with only 6(!) hours of intensive material + downloads).

    If you are interested in one of the two you may find informations on these pages about the details of the workshops and how to be part as well as direct online-bookings.

    Check out the menu above for further details.


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  • Online-Masterclass

    kat online Bei der Online-Masterclass auf www.gypsyjazzworkshop.net handelt es sich um eine Onlineversion seiner hier auf unseren Seiten angebotenen "LIVE-Masterclass".
    In diesem Online-Workshop finden sich (viele) Inhalte dieser LIVE-Masterclass wieder. Die Online-Masterclass kann hier direkt online gebucht und abgerufen werden: www.gypsyjazzworkshop.net

    Logo_GJWAuf www.gypsyjazzworkshop.net wird per Video-Streaming eine komplette JM-Online-Masterclass für Gypsyjazz-Gitarre angeboten. Diese Online-Masterclass wurde von Bertino Rodmann auf Basis seiner LIVE-Masterclass entwickelt und aufgezeichnet.

    In diesem Online-Gitarren-Workshop werden für Einsteiger sämtliche Grundbegriffe in den Stil des Jazz-Manouche bzw. Gypsyjazz verständlich und detailliert vermittelt:

    • die Geschichte mit vielem Hintergrundwissen zu dieser Musik,
    • die Verwendung der passenden Gitarren, Saiten und Plektren,
    • das Rhythmus-Spiel des Swing-Rhythmus "La Pompe" mit Übungen und Beispielen
    • bis hin zur detaillierten Beschreibung der JM-Solotechnik mit Anschlagstechniken, Skalen und Arpeggien,
    • Solo- Licks bekannter Gypsyjazz-Gitarristen
    • und vielen Tipps & Tricks.

    Die Online-Workshops für Gypsyjazz-Gitarre werden in 2 Kategorien (als einzelne Module od. Gesamtpakete) unterteilt angeboten: die komplette Online-Masterclass (kompletter Online-Workshop mit allen darin enthaltenen Modulen) oder als einzelnes Online-Modul (einzelne Module aus der Masterclass die jeweils separat gebucht werden können).

    Modul_7_2_GJWBeide Arten des Online-Workshops oder den Modulen (jeweils für Einsteiger oder Fortgschrittene) können direkt online gebucht und via Paypal schnell und sicher bezahlt werden.

    Die Online-Masterclasses können sowohl als einzelne Module oder als ganze Masterclass gebucht werden. (Es ist aber eigentlich in jedem Fall zu empfehlen eine komplette Online-Masterclass zu buchen, da dort bereits alle 10 Module enthalten sind die thematisch und didaktisch alle aufeinander aufbauen).

    Wichtiger Hinweis: die "Module" der Online-Masterclass sind NICHT identisch mit den hier angebotenen Modulen des LIVE-Workshops "Modular Gypsyjazz Guitar"! Dieser LIVE-Workshop ist wesentlich ausführlicher als die Onlineversion.

    Die Masterclass und ihre Module werden auf www.gypsyjazzworkshop.net in sog. Lizenzen angeboten. Die Preise für das jeweilige Modul bzw. den Workshop liegen dabei ab günstigen 5,99 € Zugriff für einen Tag für ein einzelnes Modul (Premium-Lizenz) gestaffelt bis hin zu 180.- € für die komplette Masterclass für die Dauer eines 6 monatigen Zugriffs (Platinum-Lizenz).

    Alle 10 Module der Online-Masterclass liegen als "Streaming-Videos" vor und bestehen meist aus mehreren Videos (man benötigt zum Anschauen der Videos lediglich das kostenlos erhältliche Flash-Plugin von Adobe im Browser installiert. Weitere Infos auch in den FAQs der website unter -> Systemvoraussetzungen). Zusätzlich gibt es zu den jeweiligen Modulen umfangreiches Notenmaterial (Notation & TABs) als pdf-Files in jedem Modul-Bereich zum herunterladen.Modul_6_1_GJW

    Mit über 6 Stunden Videospielzeit ist die Online-Masterclass auf www.gypsyjazzworkshop.net sehr umfangreich und wahrscheinlich eine der ausführlichsten im Internet erhältlichen Online-Lessons zum Thema Gypsyjazz/Jazz-Manouche (momentan nur deutschsprachig verfügbar).

    Ähnlich wie bei den LIVE-Masterclasses Modular Gypsyjazz Guitar von Bertino Rodmann sollte für die Teilnahme an diesen Online-Masterclasses eine mindestens 4-5 jährige Erfahrung im Gitarrespiel und ein entsprechendes akustisches Instrument (akustische Stahlsaiten-Gitarre oder Selmer-Kopie) vorliegen. Weitere Details entnehmen Sie bitte den Teilnahmebedingungen auf der Website:

    www.gypsyjazzworkshop.net


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  • Online-Masterclass

    kat online This "Online-Masterclass" basically contains similar contents as the LIVE-Workshop "Modular Gypsyjazz Guitar" by Bertino Rodmann. So in this online-version you may find about (many) of the basic contents than in this Workshop Modular Gypsyjazz Guitar. The Online-Masterclass may directly be booked and payed online here at www.gypsyjazzworkshop.netLogo_GJW

    On this website you´ll find video-streams of the Online-Masterclasses for Gypsyjazz-Guitar. This Online-Masterclass has been developed and recorded by Bertino Rodmann from his experience of his Modular Gypsyjazz Guitar LIVE-workshop series.

    In this online-version of Bertino´s LIVE-Guitar-Workshop all nessesary basics of the style will be transmitted detailed and clearly structured for beginners of the style:

    • the history of the style with lots of background-knowledge about the used instruments, strings, picks as well as
    • an introduction into Rhythm-playing of the Swingrhythm "La Pompe"-with exercises and examples,
    • the detailed explanation of soloing including all special picking-techniques, scales and arpeggios,
    • as of solo-licks of famous Gypsyplayers such as Django Reinhardt, Stochelo Rosenberg, Lollo Meier, Romane and others
    • and the more many tipps & tricks around for playing the style.

    Modul_7_2_GJWThis Online-Workshop for Gypsyjazz-Guitar is offered split up in two categories (divided into single-modules or as a complete package) and may be booked as such: offered is the complete Online-Masterclass (containing all 10 single-modules) or you may book it as single online-modules (only certain parts of the complete masterclass). Both offers may be payed easy, securely and fast just online via Paypal. So in detail you may book a complete Online-Masterclasses or just single modules.

    However, it is actually recommended to book the complete Online-Masterclass anyway because inside that all 10 modules are already included which thematically are build up on each other...

    Important hint: the contents of the Modules of the "Online-Masterclass" are NOT the same or similar like the LIVE-workshop Modular Gypsyjazz Guitar offered by Bertino on this page! The LIVE-workshop is much more detailed and bares more content.


    The Masterclass and the single-modules are offered in so called "Licences". The prices for single modules of the complete masterclass start at cheap 5,99 € for the a one day-access of a single-module with 1 or more videos (Premium-Licence) and limit up to 180.- € for the complete Masterclass for about 6 Month-access (Platinum-Licence) containing all Modules and Videos (all together more tahn 6 hours of material + downloads).
    Modul_6_1_GJW
    All of the 10 modules of the Online-Masterclass are offered as "Streaming-Videos" which often again are divided into serveral videos per module. To watch these videos you only need to have the free Flash-Plugin by Adobe. More detailed infos you´ll find in the FAQs -> Systemrequirements. Additional there is lots of staff-notations as well as TABs of all examples beeing provided for each module in a special download-are of each module.

    With more than 6-hours of video-playing-time this very extensive Online-Masterclass is probably one of the most detailed Online-Lessons available on the Internet on the subject of Gypsyjazz / Jazz-Manouche (regrettably available yet only in german!).

    As with the LIVE-Masterclass Modular Gypsyjazz Guitar by Bertino Rodmann at least 4-5 years experience of playing the guitar and a suitable instrument (acoustic steel string guitar or Selmer copy/Jazz guitar) is the main condition for the participation in these Online-Masterclasses. For further details please take a look at the terms & conditions on the website itself: www.gypsyjazzworkshop.net

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  • Order successfully sent!

    gypsyjazzguitar bertino flyer01

    We successfully received your order for the Methodbook "Gypsyjazz Guitar - A tribute to Gypsyjazz" by Bertino Rodmann.

    Orderdetails
    "Gypsyjazz Guitar" (Bertino Rodmann)
    Price: 25,80.- € + delivery

    After you have sent your order successfully, please be sure to pay for your issue of the book as soon as possible. The earlier you pay, the earlier you will receive your copy of the book!

    You may pay the amount of 25,80 € + delivery directly online via Paypal.
    Please choose your desired Delivery-Options and click the button "Pay now". You will then be redirected to the external website of Paypal Germany were you may pay the amount there (if you have a Paypal-account) direktly or via Paypal-transfer with your creditcard. If you dont have a Paypal-account you may open one there directly. Please choose your payment-options now:

    Delivery-Options
    Language
    As soon as your payment has been received on my Bank-account you will immediatly receive your copy of my book.
    (Please allow +/- 14 workdays time for international delivery).


    Thanks you again for buying "Gypsyjazz Guitar", have fun.
    Bertino Rodmann
  • Payment "Gypsyjazz Guitar" successful !

    gypsyjazzguitar bertino flyer01Bertino
    Thank you for buying your copy of my methodbook
    "Gypsyjazz Guitar"!


    Your payment thru Paypal has just been confirmed.

    You will receive your copy within the next days
    by postal delivery.

    Thank you again for your buy. Have fun and success with my methodbook!


    Bertino Rodmann






    (Important Hint: Please take up to 14 days time for international postal delivery!)

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  • Payment for "Gypsyjazz-Guitar" aborted !

    gypsyjazzguitar bertino flyer01sad smiley klSorry but the payment wasn´t successful!
    The article hasn´t been successfully payed yet as you have aborted the payment process at the Paypal-website.

    You may still manually pay your copy of "Gypsyjazz Guitar" if you send your payment directly to my following bankaccount:

    Bank-institute: Taunus-Sparkasse Bad Homburg
    Recepient: A. Rodmann

    Account: 001411985
    BLZ: 51250000
    IBAN: DE64512500000001411985
    BIC-Code: HELADEF1TSK

    Info of Use: Book-order "Gypsyjazz Guitar" Bertino Rodmann (en)

    If you want to cancel your order please send me an eMail
    with the subject "Storno Book-order", and please let me know your
    reason why you canceled your order.

    Thank you!

  • Payment for Workshop/Module aborted !

    Bertino 05 2010sad smiley klSorry but your payment wasn´t successful!

    The workshop/module(s) haven´t been successfully payed yet as you regrettably have aborted the payment process at the Paypal-website.


    If you like you may again repeat your payment for the workshop-fee online with our pay-service at Paypal right here. Just choose your desired payment at the menue below:

    Workshop/Modules "Modular Gypsyjazz Guitar"



    You may also still manually pay your seat for the workshop / module(s) of "Modular Gypsyjazz Guitar" if you send your payment directly to my following bankaccount:

    Bank-institute: Taunus-Sparkasse Bad Homburg
    Recepient: A. Rodmann

    Account: 001411985
    BLZ: 51250000
    IBAN: DE64512500000001411985
    BIC-Code: HELADEF1TSK

    Info of Use: Workshop/Module "Modular Gypsyjazz Guitar", module(s) no xx

    If you want to completely cancel your signup please send me an eMail
    with the subject "Storno workshop", and please let me know your
    reason why you want cancel your signup. In this case please also take
    in account the Terms & Conditions for Workshops.

    Thank you!

  • Registration for LIVE-Workshop successful!

    Thank you for your registration for the Workshop "Modular Gypsyjazz Guitar"!

    bertino 2011 011
    I received your registration for the Workshop and will process it soon as possible.

    You will receive an automatic eMail-confirmation within the next 24 hours with further details for payment and to the workshop-infos. So please be sure to check your eMails for messages from "jazzmanouche.de" (dont forget to look inside Anti-Spam-folders!).

    Hint: If you dont receive such eMail within this time with the confirmation of your place in the workshop or in case you are
    having problems registering for it, please first take a look at our Workshop-FAQs or in case you dont find your answer there drop me an eMail with your detailed problem to: bertino [at] jazzmanouche.de


    After fully paying the fee for your workshop/module(s) your seat is finally booked. Please also take care to the Workshop-Terms & Conditions.

    Thanks again and have fun at the workshop!
    Bertino Rodmann

    If you like you may directly pay your workshop-fee online with our pay-service at Paypal.

    Workshop/Modules "Modular Gypsyjazz Guitar"


  • Rhythmus - La Pompe

    notenschluesselDer in den frühen 1920/30er Jahren entstandene Begleit-Rhythmus mitgliederbereichdes Gypsyjazz od. JazzManouche wird allgemeinhin in Frankreich als "La Pompe" (franz. pompe = pumpen, drücken) bezeichnet.

    Maßgeblich beeinflusst wurde der Rhythmus durch das Spiel von Django Reinhardts Bruder Joseph "Nin-Nin" Reinhardt (Bild rechts) und den anderen oft mit Django spielenden Rhythmus-Gitarristen Roger Chaput, Eugene Vees oder Henri Crolla.

    Später wurde der Stil dann auch massgeblich mit beeinflusst durch andere berühmte Gitarristen wie z.B. die Brüder Matelot, Sarrane, Maurice oder Baro Ferret. Und bis in die heutige Zeit, wird der "Pompe" immer weiter entwickelt und hat inzwischen sehr viele verschiedene Klangfarben und Nuancen.Joseph_reinhardt

    Moderne Spieler wie die Gitarristen Sebastien Giniaux oder Adrien Moignard von der Band "Selmer #607" spielen den Pompe anders betont als beispielsweise Tschavolo Schmitt oder Bireli Lagrene. Wieder anders spielen ihn die holländischen und nordischen Gitarristen wie die Brüder Mozes, Nousche und Stochelo Rosenberg oder auch Andreas Öberg.

    Sehr vieles wird über den "La Pompe" geschrieben in Lehrbüchern oder ist zu sehen, z.b. bei Youtube - teilweise aber leider von Leuten die selbst nicht wirklich wissen wie sie einen wirklich "swingenden" Begleitrhythmus spielen sollen. Jemand der mit dieser Musik beginnt kann aber leider nicht auseinanderhalten welche Workshops und sog. "Lessons" wirklich etwas "taugen" oder welche einfach nur Humbug sind.

    Zum Thema Youtube und der entsprechenden Vorsicht die man bei solchen "angeblich fundierten" Gypsyjazz-Workshops (Beispiel: "Play-Django-in-5-Minutes" oder "How-to-play-Django-Style") walten lassen sollte habe mich hier in den News ja bereits einmal ausführlich geäussert.
    Man sollte also lieber einen fundierten Workshop bei Leuten die es wirklich können besuchen und dafür auch etwas Geld ausgeben, dafür gibt es ja genug Angebote überall, anstatt solche teilweise recht dubiosen Workshops für "bare Münze" zu halten... doch das nur nebenbei, zurück zum eigentlichen La-Pompe-Rhythmus.

    Hier ein Beispiel eines einfachen "Pompe"-Rhythmus (Auszug aus meinem neuen Lehrbuch "Gypsyjazz Guitar" welches im Herbst 2011 auf den Markt gekommen ist):
     LaPompe 1
    Wie man ganz gut erkennen kann, besteht der Rhythmus aus einem ersten, sehr kurzen Schlag als 16tel und einer sog. "Dead-Note" also einem kurzen 8tel-Schlag ohne Sound.
    Sehr wichtig dabei ist, wie Stochelo Rosenberg auf einem seiner Workshops vermittelte, die Saiten grundsätzlich immer alle mit dem Plektrum zu treffen. Dieses Wissen allein hilft aber natürlich noch nicht dabei diesen Rhythmus richtig und vor allem mit "Swing" spielen zu können.

    Wer mehr über den Rhythmus erfahren oder ihn entsprechend lernen möchte kann sich gern hier über meinen Workshop "Masterclass für Gypsyjazzgitarre" informieren, in welchem u.a. dieser Rhythmus, aber auch die Anschlags- und Solotechnik mit vielen weiteren Beispielen vermittelt wird. Oder man kann sich ab sofort mein Buch "Gypsyjazz Guitar" beim Alfred Verlag (Köln) oder auch hier auf der Website bestellen und dann ebenfalls in einer Schritt-für-Schritt-Anleitung diesen Rhymthmus erlernen.

    Mehr lesen -> JM-Solotechnik



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  • Scales & Licks

    notenschluesselIn nahezu jedem Musikstil sind Tonleitern bzw. so genannte Skalen das Grund- und Basismaterial mit welchem Komponisten seit jeher ihre Musikstücke komponiert haben. Ebenfalls entstehen unsere Akkorde aus den Tonleitern.
    Ein komplexes Wissen über Tonleitern (engl. = Scales) sollte also für jeden Musiker oberste Priorität haben. Dies ist natürlich auch im JazzManouche bzw. Gypsyjazz nicht anders.
    Zumal wesentliche Teile der Gehörbildung von Musikern (also auch Gitarristen) über die Anwendung von Tonleitern, nämlich durch den Hörprozess beim Hören der einzelnen Intervalle, entstehen (vgl. Frank Sikora, "Die neue Jazz.-Harmonielehre").1 cmajor

    Auf den folgenden Unterseiten präsentieren wir daher hier einige der bekanntesten und am meisten gebräuchlichen Scales, auch die des JazzManouche:

    DUR-Tonleitern
    Moll-Tonleitern
    DUR-/Moll-Tonleitern
    Zigeuner-Moll
    Verminderte Tonleitern

    Bitte wählen Sie die gewünschte Tonleiter aus dem Menü oben aus (Zugriff nur für registrierte und eingeloggte Mitglieder).

    Licks widerum sind kleine Versatzstücke meist generiert aus Tonleitern, die entweder ganz oder in Teilen hierzu verwendet werden.
    In unserer Rubrik "JM-Lick of the month" zeigen wir solche Licks, hauptsächlich diejenigen welche im JazzManouche Anwendung finden.



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  • Scales & Licks

    notenschluesselIn nearly every kind of music-style scales are the base material out of which composers often if not always have composed their pieces of music. Also all chords, wether if basic or extended, originate from these scales.

    Each musician wether which music-style he´s playing should thus have a complex knowledge about scales as one uppermost priority. This is not different of course in JazzManouche or Gypsyjazz.

    Particularly essential parts of the auditory education of musicians (thus also guitarrists) is happening by the use and training of scales, because by listening to the single intervals of scales the process of understanding and learning to really hear "music" takes place all the same (cf. Frank Sikora, "The new Jazz-harmony").
    1 cmajor
    On the following pages of the Scales & Licks-Series we show some of the most useful Scales as well as of scales for JazzManouche:

    Major-scales
    Minor-scales
    Major-/Minor-scales
    Gypsy-scales
    Diminished scales

    Licks again are small pieces of music mostly generated from or made out of scales that have been used as whole or partly.
    In our section "JM-Lick of the month" we show some kind of Licks, mainly these utilized in JazzManouche.





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  • Selmer Guitars - More Infos - (en)

    All payed Selmer-Articles (en)
  • Selmer-/Maccaferri-Guitars (2/2)

    After Maccaferri had again left the Selmer-company in 1938/39, also the design of the guitars has been changed again, according to Maccaferri´s latest research and build-plans that he had created before. The original transition-model "Grand bouche" ("big mouth" with D-shaped soundhole and cutaway), which was played by Joseph Reinhardt, Django´s younger brother and his first Rhythmguitarrist for years, was canceled in production. Instead a new guitar-model "Petite Bouche" (french f. "small mouth") with the so called "Oval Hole" (a little oval-formed soundhole) was established, the guitar-modle which has been played by Django Reinhardt from then on until his early death in 1953.

    Macafferri ResonatorThis guitar-model, already designed and constructed by Mario Macafferri earlier before leaving Selmer, have a particularely strong and assertive sound. Due to their revolutionary new design it sounds even louder than the D-hole shaped "Orchestre"-models of the early 1930ies. And due to this difference in volume these Selmer-Jazzguitars was and still is been used mostly as sologuitar by many Sinti- and Jazzmanouche-Guitarrists until today.
    django_reinhardt_selmer
    Django´s last Guitar, Serial-No. #503 (image right) was a Selmer O-hole-model built in 1940, which he played until his death in 1953 spielte. Today this guitar resides in the Médiathèque of the Cité de la Musique in Paris, donated by Naguine, Django´s second wife, after his death.

    After Mario Maccaferri widthdrawed from business other famous luthiers took over the making of these kind of guitars, copying the look and the features of the famous Selmer-/Maccafferi-guitars.

    The most famous names in this to mention are: Jacques and Jean-Pierre Favino, Bernabe Busato, Antoine DiMauro or Jacques Castellucia. In our JM-Guitar-Gallery we present 1800+ images of these wonderful guitars (one of the biggest collections of old gypsyjazz-guitars on the net) made by these luthiers as well as Selmer.

    selmer-bookMore Infos on the Selmer-company and their hiostory as well as the famous Selmer-Guitars you will find in our article-series on "Features of original Selmer-Guitars" and "History of Selmer".

    Also a well done description on the history of Selmer with detailed facts and lots of images has been made by R. Francois Charle, who sztill runs a guitarshop in the middle of Paris, with his book "THE STORY OF SELMER MACCAFERRI GUITARS" (image left).

    Today by the demand for these guitars is becoming bigger and bigger in a pretty active Django-scene, so meanwhile worldwide more and more luthiers started to build these world-famous guitars (for almost every purse) still copying the original building-plans of Mario Macafferri. See also "Django Guitarmakers" .

    Regrettably the strong demand for old original gypsyjazz-guitars, especially for Selmer and Busatos, today is often used by criminals to generate profit from it. Be sure to also read our article-series about Faked Selmer, Faked Busato and Fake Favino-guitars, as well as "Warning on faked gypsyjazz-guitars" on these subjects. It is to announce a warning about that as very often on the internet faked guitars have been offered as "true originals" for high prices - so take care!

    Read more about -> the History of Selmer

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  • Solotechnik des Gypsyjazz

    mitgliederbereichDjango at-Club-Saint-Germain-des-Prs, Paris 1951Die Solotechnik des Gypsyjazz ist, wie so vieles in diesem Musikstil, sehr stark beeinflusst durch Django Reinhardt, den grossen Wegbereiter und Grand Maitre dieser Musik.

    Wie schon in den beiden Artikeln "Spieltechnik des Gypsyjazz" und "Django Reinhardt - the Guitar-Maestro" ausführlich beschrieben, hatte Django Reinhardt im Alter von 18 Jahren einen schweren Unfall, bei dem seine linke Körperhälfte schwer verbrannt wurde.

    Durch diese "Behinderung", seine linke Greifhand war stark von den Verbrennungen betroffen (siehe Foto links), war es ihm nicht möglich gewisse Bewegungen mit seinem Kleinen- und Ringfinger auszuführen. Diese Einschränkung führte zu sehr eigenen Grifftechniken die Django anschliessend entwickelte, z.b. für Akkorde aber auch in der Solotechnik.

    Ein maßgeblicher, grosser Unterschied zur herkömmlichen Gitarrenspieltechnik war und ist aber, auch heute noch, der Anschlag.

    Normalerweise sind Gitarristen die von anderen Musikstilen wie Blues, Rock oder Pop kommen gewohnt das sog. "Alternate Picking" zu verwenden. Dies ist eine Anschlagstechnik bei der man mit dem Plektrum jeweils abwechselnd einen Schlag nach unten oder oben ausführt. (siehe Beispiel 1, ein Auszug aus meinem neuen Lehrbuch "Gypsyjazz Guitar" welches im Herbst 2011 auf den Markt gekommen ist).

    Man sieht bei dem folgenden Notenbeispiel ganz gut dass, selbst bei einem Saitenwechsel, die Ansschlagsrichtung nicht verändert wird, d.h. man bleibt dabei immer konsequent in der "Down-Up-Down-Up"-Bewegung des Saiten-Anschlages.

    Beispiel 1: Alternate PickingIm Gypsyjazz wird jedoch eine ganz andere Anschlags-technik verwendet, nämlich das sog. "Rest-Stroke" Picking.

    Beim "Rest-Stroke"-Picking handelt es sich um eine Anschlagstechnik die vom klassischen "Apoyando" abstammt.

    Das Apoyando (span. f. anlegen, aufsetzen) bezeichnet das Anlegen der Finger an die nächstfolgende Saite.  Das bedeutet wenn man eine Saite mit einem Finger angeschlagen hat, setzt sich der Finger auf die enstprechend darunter liegende Saite auf um darauf zu Ruhen.

    Das "Rest-Stroke"-Picking ist eine davon abgeleitete und auf das Plektrum-Spiel übertragene Variante davon. Hier wird beim Anschlagen der Saite das Plektrum bis auf die nächste Saite heruntergedrückt um darauf zu liegen zu kommen.

    Das "Rest-Stroke"-Picking welches im Gypsyjazz Anwendung findet hat aber noch eine weitere Eigenschaft: beim Saitenwechsel wird grundsätzlich immer ein "DOWN"-Stroke (also ein Schlag nach unten) ausgeführt und dies auch bei mehreren aufeinanderfolgenden Saiten (siehe Beispiel 2).

    picking_technik2 Auch sehr stark beeinflust durch Django Reinhardt und seine einzigartige Grifftechnik sind die in der Solotechnik des Gypsyjazz verwendeten Skalen, Läufe und/oder Arpeggien.

    Sehr schnell erkannte Django, dass er mit Arpeggien (also sog. "zerlegten Akkorden") relativ viele und auch beeindruckende Tonkombinationen als Solo spielen konnte ohne sich gross anstrengen zu müssen.

    Anscheinend kamen ihm auch die relativ einfach zu greifenden Arpeggien als Solotechnik entgegen, da er ggf. so ohne grosse Schmerzen spielen konnte. Nicht umsonst verwendete Django in sehr vielen seiner Soli diese Arpeggien sehr extensiv.

    Anschliessend ein Beispiel eines (sehr einfachen) Arpeggios in Am, basierend auf einem Barré-Akkord gegriffen am 5. Bund:

    am arpeggio
    Wer mehr über die Solotechnik erfahren oder diese entsprechend lernen möchte kann sich gern hier über meinen Workshop "Masterclass für Gypsyjazzgitarre" informieren, in welchem u.a. Rhythmus-, aber auch die Anschlags- und Solotechnik mit vielen Beispielen vermittelt wird.

    Oder man kann sich ab sofort auch mein Buch "Gypsyjazz Guitar" beim Alfred Verlag (Köln), bei Amazon.de oder auch hier auf der Website bestellen und dann ebenfalls in einer Schritt-für-Schritt-Anleitung diesen Rhymthmus und die Solotechnik erlernen.





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    3. The REAL Gypsyjazz Book

      More than 300 (Gypsy-)Jazztunes...

      on 230 pages professionally designed...

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      Only 24,90 €

      Check it out here
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      ERG Model Bertino - Maple series

      handbuilt Gypsyjazz-Guitar

      Tiger Maple, Miller-Hardware

      Special price: 3.100.-€ + shipping

      Read more





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