SCHOOL | By Adam Perlmutter tography by stn Bork!Gain et Let's start off with some of your chords. A Jot of Gypsy chords come from Django Reinhardt, who ad to use special grips since his fret-hand fingers were injured Ina fie. So, a Tot of my chords use only theo or three fret-hand fingers. Here are some of my typical voicings in the key of G major Fig. Guitarslike this a Maccaforr-siylestet- stringacoustic—Fa| demand beplayed ‘strongly, s01use aot of power in my right hand and strum with ny wrist bent slight Jy, forceful atack s needed to make the guitar sound good. Of course I tend to break lot of strings. Do those sort of voicings work ina variety ‘of contexte? Yes, Here’ a blues example inG, Bars 1-8 are shown in Fig. 2) How about a single-note blues example? ere’ ome that's also in C, with both s gle notes and chords [Fig. 8 How would you expl nique? I don't have realy a Gepends mostly on the context. When play slowly, | use a lot of downstrokes: that makes for a realy good, confident sound, When I play faster, ldo whatever feels natura, often with both upstrokes ‘Can you show us some Django-stye lines? Hetes a nice one with arpeggios, in the staan guerre eet eleper key of thathas a chord goingup and an A minor chord going dovn [Fig Al. A 70 GUITAR ONE « gutaronemag.com « NOVEMBER 2005 | ce i —— Basbout the key of Gis that there tural harmonies available, Tikethe one played thereat the 12h fet. Heres anotherbigone,alsoinG, with ots of vibrato and some notes that are out side the key (Fig 5). And this is atypical Djangoline that oes down thescaleand uses alot of pull-ofs (Fig 6) How do youuse these materlalsinyour own, style? i always aftaid of gettinginto ch ‘chés, but Lknov that people like to hear things that they recognize, so try to find a balance between playing old and nev lines. To mix things up, Pll sometimes start with a Django-style apeggio, and then go into my ova style, whieh is more ‘modern (Fg. 7), Onstage, [find that hav ing a foundation ofthe traditional mate- Fials and a grasp of the fretboard allows (take risks ean play things that 1 haven't tried before, and that's where the excitement comes in (Fig. 8) ‘That was some cool sweep picking. Canyou play an example over a dominant chord? Here's an example that has a very “out side” sound, In each group of four notes, 1 go up, up, up, down. The key here is to make sure that the notes don't run together: youwanttobeabletoheareach | ‘one clearly (Fig. 9). { hope that Frank Gambale doesnt check this out. 3¥ {80 GUITAR ONE « putaronemagcom « NOVEMBER 2008 oT