But for me, if I went down that path, trying to get, say, some of Clifford's stuff into my playing, the main and only reason is because it's so damn pretty and beautiful music.

This time I learned the whole thing by ear but I looked at his sheet and the fingerings are nothing like I'm using. And I wonder why? Could it be because Django was so influenced by Louis Armstrong, could that be a connection? Because I still have transcription from my jazz guitar teacher which I used all these years ago. Interestingly I believe having played this style for so long helped me to find fingerings that weren't awkward on guitar. Mostly for myself, thinking it'll help me get more out of it if I talk about it out loud. I'm also thinking about making videos on each individual phrase. He said the fingering is kinda like mirror image from fingering patterns he would normally play and it throws him off. Actually just today, Randy, our concertina player was telling me how awkward it is for him to play that Cm6 arp from Minor Blues on his instrument. But it's just how these things work sometimes. I forgot what it was, Bill was there too and we were looking at each other, like 'what, why.'. At the same time, does it really matter? Because, about your 'a' question, I don't know but I remember Suzanne (the clarinet player) once saying how totally awkward it it to play something on the clarinet that is like easiest thing on the guitar. If I put just that one thing into my playing, it'd be golden. And without a doubt my favorite moment was when I figured how to kinda approximate the sound of trumpet momentarily jumping to a really high note and then running down to a target note, it's at 0:30 during head. Combination of blues pentatonics and bebop chromatic phrases. The whole thing is really beautiful musically.

I guess it's exactly those places is what one should try to absorb. But the order of notes isn't guitar intuitive and a few spots have lines that aren't hard to play but the shapes aren't something I'd visualize on guitar. The fingering was much less awkward than I feared. But like anything else it would take some serious time and dedication to get that stuff under your fingers and into your playing. Thing is, you hear this advice a lot to learn solos by horn players. Maybe I should've kept some of the outtakes with some choice words in Bosnian. That f'n record button is like a f'n kryptonite. Then practicing over next 2 days (I started at less than 50% original speed) and getting a keeper take on third. The banjo player couldn't make it to the session that day, his favorite restaurant served his favorite dish: black ink squid risotto.

Sandu clifford brown pdf