BB-%

F^ G7(9)5

E/B F7b13

9

Django (and Stochelo) plays bar 1-10 with his right hand fingers. If you are uncomfortable playing with your fingers just play it with your pick(all down strokes) and it will sound just as good!

4

23

4

2

1

311

11

14

11

4

122

14

22

2

I'll See You In My Dreams

4

1

23

4

1

23 2

4

1

23

4

1

23

4

4

1

03

4

1

03

2T

2

1

43

3 2 1

3

3

333

3331

3333

3335

5668

5668

5668

5668 6

8109

10 8

109

10

8109

10

8109

103

2323

2323

2323

2323

3

1202

1202

1202

1202

1

1

1221

3 2 1

B6 B-613

F% E7 F%17

D721

G7 C7F7

25

0

2

2

2 1 4 2 1 1 1 1 2

2 1 2 1

4 1 2 2 1 3 1 1 2 (3)2 13

3

2 1 4

1

3 1

4 1

1/2

0

1

2

2 1

3 1

1/2

0

3

5

7

7

58 5

5

5 5 5 5 6

75 7 5

8 5

7 7

7 7 9 7 6 7 8 6

7 5

7

4

9

10 7 10 7 7

0 2 3 6

7 5 7 5 5

2

B6 B-629

F%E7 F%

33

D7 A7 D-37

B B C7 F% F741

1 4 1

3

3 3 1 3 1

3

1 1 1 2 2

3

3

1 3 1 1

3

4 4 1

3

1 1 23

2 13

1 1 1

3

Because the E7 in this spot is just a "retardation" for the F chord in the next bar it is fineto just play "F" over it in the solos. In this case an Fmaj7 arpeggio.

3 3 3 3

2 1 3 2 1 4 1 1 1 1

1/2

1 1 1

1

1

1 2 1

2

3 1

2

3 1 2

3

Django plays around with the "9" and "b13" of C7 and is in fact suggesting a C7 (the dominant) for four whole bars. The tritone distance between the two makes for a peculiarsound: typcial Django!

5 85 7 8 7 8 7

5 5 5 6 7

7 5

7 5 5 8 12 8 5 5 7 7 7 9 7 6 7

8 79

10 7

5 7 5 3

5

5 5

5 5 5 5 5 56 6

56

7

56

7

56

7

7

3

B6 B-745

F% E7F%

49

D7

53

2 2 1

33

2 13

3

Django only changes to a Bb minor arpeggio in the secondhalf of bar 47. This creates a nice "delayed" effect.

2 13

32 1

33

2 13

3 1

1 2 1 3 1 3 1 3 3 2 1 2

1 3

(1)3

(2)3 1 4

1 1 21 3 1 1 1

3

The E7 is actually not played by the rhythm section onthe original recording. It is how most people play itnowadays. In any case in your solo you can just keep playing F anyway

3

2 1 4

1 13 2 1

2 11 1 1

2 11 1 1

2 1

This dominant lick is one of Django's and Stochelo's favourites, a good one to add to your bag of licks as well!

Typicial Django: he starts with a simple idea and sticks with it for several bars changing the notes to fit the chords,beautiful!

7 87

88

8

7

88

8

7

88

8

6

88

8

6

88 6

56

5 75

7 5

7 87

56

5 8 10 11 10

13

13 10

1010

10 12 10 9 10

11 1013 10

1112 11 10

11

10

10 10 10

11

10

10 10 10

11

10

4

G7 C7 F757

B6 B-661

F% E7 F%65

D7 A7D-

69

1 1 1

21 1 1 1

21 1 1

21 1 1

2

1

2 14 1 2 1

21 2 1

41 2 1

21 2 1

3

1

3 1 21

41 1 1 1 1 1 0 0 1 1 1 1 1 1 0 0 1 1 1 1 0 0 0 0

1 1 3 1 3 2 3 3

3 3 1 3 1 1 (4)3 (2)1 (1)1 (3)2 (2)1 3 1 1 2

2

The typical manouche dim arpeggio, but with one skipped note(A), skipping or adding a note in a normal arpeggio is an effective wayto vary the sound of the arpeggio Easy but very nice lick from A7 to D-, this is a good one to practice in all keys.

9

9 9

10 9

9 9 9

10

8 8 8

9

7 7 7

8

7 8

710

7 87

8 8

7 86

10 7 8

68 8

7 86

8

6 7

5

65 8

5 5 5 5 5 50 0

5 5 5 5 5 50 0

5 5 5 50 0 0 0

4 4

7

5 87

8 8 8 8 6 8 6 58 6 5

7 6 9 77

8 8

5

B B C7 F% F773

B6B-6

77

F% E7F%

81

D785

1

4 1 2 14 1 2 1

4 1 2 14 1 2 1

4 1 2 14 1 2

1

Django forces a repeated D dim triad without regarding harmonic changes for a bluesy sound. These kind of "hooks" are important in solos, they create memorable moments.Blues licks usually work best for this.

2 1

31 1 2 3

3

1 3 2

3

3 1 3 1 1 2 2 2

This lick doesn't make a lot of sense on Bb. It does however make sense in F (the main key):the B dim arpeggio suggests a #IV in F. It sounds like Django is substituting the subdominantwith a raised subdominant variant. I'm not sure you should pick this up, it's just part of Django's soloand we're all used to it.

Django continues his #IV idea and on this Moll Dur subdominant (Bb-6) it soundseven weirder. The "d"-note in the B dim arp. really clashes with the minor third ofBb-6, so again notg sure if you should pick this "trick" up.

1/2 3 3 1/2

2 1

41 2 1 3 4 3 1

2 14

4 1 2 4 11 3 2

Up and down F arpeggios ending on the 6th

1

31 1 1

2 1 3 3 2 1 1 41 3 2 1 4 1 4 1 3 2

1

1 3 11 3 2 2

3 5 3 3

No need to play this exactly as written,just time your slide to end on an up stroke.

A little early on the G7

3 5 3 3

6 9 6 7 6 9 6 7 6 9 6 7 6 9 6 7 6 9 6 7 6 9 6 7 6

7

8 6 8 6 4

67 4 7

6 7

6 8 6 46

7 7

6

5 8 56

57

87

56

5 8 12 8 10

13

10

1012 12

10 12 10 9 10 11 10 17 17 16 15 14 14 13 12 11 10 13 10 11 10 912 10

12 9

12

1110

10 12

1010

12 11 10

6

G7C7 F7

89

B6 B-693

F% E7F%

97

D7A7

D-

101

1

01

1 3 2 2 12 1

1 1

3 13 1 2 1

2 1 13

Playing Cm7 here.

1/2

1

22 2 3 1 1 1 4 1 4 1 1

4

Nice arpeggio based lick for minor chords

1/2

1 4 1 1

2 1 3 1 3 1 3 3 2 1 21

33

1 2 13 1 1 1

2 1 1 1

3 3

3 3

2 2 2 2 1

3 1 2 1 1 11

3

3 1 3 1 32 3 1 3 3

1

Great lick from A7 to Dm, practice this one in all keys!

1/2

9121212

121212 10

10

12 11 10 9

10

87 8

10 810 8

9 89

8

8

10

7 8 8 8 9

10 5 6 68 5 8

66

8

6 8 6 56

57

57 5

7 87

56

5 8 12 8 10

10 12 10 9 10 11 10 9 10

11 11 11 11 1012

14 15 14 13 14 14 17 17 12 15 13 15 14

15 12 14 1514

7

B B C7 F% F7

105

B6B-6

109

F%E7

F%

113

D7117

2

1 1 2 2 1

3

2 4 1

3

3 12

3

1 3 1

3

2 1 2

3

12

1 2 1

3

This is a great idea: lick based around F major triads with leadtones/embellishments but in quarter triplets! I never hear anyine doing this except for Django

3 3 3 3 3 3

2

Continuing the quarter triplet idea started in bar 106

1 13

3

12 1

3

3 1 2

3

33 1

3

2 3 1

3

2 1

3 3 3 3 3

1

2

Very nice melodic lick for F major, again one to practice for all keys!

1 1

4 2 1 1 3 1 3 11

1 2 2

1 1

41

21

32

1 1 1

41

21

32

1

Django making music out of a simple D major triad

1513 13 13 15 13 15 17 12 15 13 14 13 15 13

1514 15 14 15 14

1514

15 14 1517 15

1514

15 1314

15

15 1314

15 1216

14

1314 14 14

17 15 13 12 15 13

15 1313 14

15

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1514

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14 13

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14

1514

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15

14

14

8

G7C7 F7121

B6 B-6125

F%

E7

F%129

D7A7

D-

133

1 1

41

21

23 1 2 2 2

Stochelo makes a little mistake by playing an F# as thelast note in this bar. Django actually plays an F naturaland I corrected it in the tab.

Watch the typical Django/Stochelo picking pattern for repeated notes and add some vibratofor "attitude".

1 2 1

21 2

21

42 1 2

The D-natural on the beat 4 of bar 127 is strange but is much more comfortableto play than a D-flat. Django even plays a D-natural on beat 2 but Stochelochanged that (and it's better). I corrected the D-flat on beat 4 of bar 128which is what Django plays.

1 2 1 21 2

21

4 2 1 2 1 2 3

2 1 1 1

41 1 1

14

1 1 11

41 1 1 1

41 1 1 1

3 3 3 3 3

I also corrected this to what Django plays.

Typical Django idea but very usable by us mere mortals.

3 3 3 3 3

2 1 2 1 3 1 1 3

2 12 1

2 12 1 3

11 2

3

Another good A7-Dm lick to practice in all keys.

1/2

3

13

14

17

13

1514

1516

14

14 14

14 14 14 14 14 14 14 14 14 14 14

14 14

12 1312 15

14 1515

13 17 15 13 15 15 12 13

11 1514 15

1513 17 15 13 15 15 13

1515

14 14 14 14 17 12 12 12 12 15 10 10 10 10 13 9 9 9 9 12 8 8 8 8

11 10 11 10 13 11 10 12 11 10 11

9

119 12 10

13 1010

12

9

BB C7 F%137

2 2 1 3 3

21 4 1 0 1 2

(1)3

(2)3 3 3

2 3 1

3

This is a good gypsy jazz ending for any four last bars of a song in the key of F

1/2 3

6 4

3 67

6 1 3 1 0 1 2 3 4 5 6

2 31 1

10