0:00 Intro 4:29 Start 8:50 Exercise 1 17:45 Exercise 2 22:50 Exercise 3 30:10 Exercise 4 35:48 Exercise 5 43:20 Exercise 6 49:30 Exercise 7 1:00:05 Live Q&A

your a top bloke Christiaan. Thanks for our videos.

I knew you were a formidable violinist. Now I realize you are a formidable guitarist, as well.

Thank you,today I learned something very important ,rotating the wrist, makes a big difference.

Thank you for this class so complete and so well illustrated with the exercises, this helps a lot to all those interested in this genre that you master so well. Thank you!

Thankyou. God bless you...australia

Excellent instructions!

Dag Christiaan, goede duidelijke les, ik ben ermee aan de slag.

This is soooo good, thank you 🔥🔥🙏

Thanks so much for this video❤❤❤

Hi Christiaan, this is exactly what I was looking for today.I have been playing a different style for the past year and when I picked up the gypsy guitar it was a rude awakening. My right hand needs a lot of work. This will help. Hope you are doing well . Ciao

I've been so busy with exams these weeks! i miss the times of sitting on your stream! I hope to catch you soon!

Danke!

nice video! thanks @Christiaan van Hemert, what video do u talk about gismo's/bireli's dim fingerings?

This guy is the closest you,lol get to Django,s sublime touch and expression most modern Gypsy jazz guitarists strive for Django,s blistering speed and forget about the all important timing and phrasing how to tell a story not just machine gun a hundred empty notes a second

One way to think about picking forearm rotation is locking and unlocking the door or turning on the car engine. Then angle the wrist towards the guitar and you got it.

Excellent lessons: thanks very much.

Great video. Thanks for making it. Unfortunately, the right forearm is cutout. It would be helpful. I think at speed, some elbow picking might combine with forearm rotation. No? Still, fantastic video.

Exercise 4 is what makes many people give up on gipsy technique because it is so limiting.

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Wonderfully detailed video! So as a rule, we always play half rest strokes on the penultimate down stroke before the next lower string rest/half rest stroke? For example, on a simple 4-string descending E minor arpeggio, the e, b, and g will all be half rest strokes (ditto on all descending arpeggios and scales)? Thanks in advance.

Dove si può acquistare il tuo libro sulla tecnica,sei un grande

Happy New Year! How long do Argentines last for you usually?

hello. the double down is a big problem while you are shredding with three notes pet string.

8:45 where is that lick from or called? I heard olli play it on a live performance of sleepers and i have been trying to find tabs or notes for it!!

What kind of plectrum do you use? Can you give me one referens?

So you are not denying alternate picking right ... Is it Okay ?

This comment is very late to the game, considering this video was posted 3 years ago. But oh well... A couple of things: 1. I wonder whether Django and the originators of this music actually practiced in this way or anything similar to it. A metronome intensive, 4-6 hours a day regiment for many years just seems unlikely as the way for them to have developed their musical prowess in those times and given the circumstances of their day to day lives. I could be wrong about that, but it just seems unlikely to me. So I wonder what separates them from the rest of us in comparing how they practiced to what we accept as a necessary practice regiment needed to become adept at the style or music in general? Because let's face it, practicing exercises in this way is not very fun or musical, albeit rewarding over time. I have to think that more often, they were jamming together playing their traditional music and adapting the American standards by slowing down records, or playing casually while drinking coffee and smoking French cigarettes; just hanging around and making music, a lot of course, then working out ideas in their leisure time. Maybe I am wrong and this kind of metronome, work-out routine is really what it takes and is what they did, but given the similarities that Gypsy Jazz shares with American Bluegrass as the "people's music" and the virtuosity it displays, I just have to question how the greats that laid the foundation of the music actually practiced versus the later musicians that embrace a more scholastic practice regiment. Because the great founding bluegrass musicians were true country folk who often farmed and tended livestock and traveled countless hours in tight spaces to play their music. They weren't all tinkering with metronomes and playing the same handful of exercises 5 million times to get good, that's just not how musical creativity blossoms. So while I appreciate the insight in a video like this, I have to question the validity of it as a pathway to enjoyment and while I think it is one way to get good, I tend to think listening to recordings, slowing them down to learn by ear, then working them up to tempo by playing with others, along to recordings, or even backing tracks is a more fruitful and enjoyable way to practice than years of brutal metronoming workout sessions beating the same handful of exercises to death. In bluegrass, I don't think I've ever heard one of the greats say a word about the importance of practicing with a metronome. They all talk about playing along to records and jamming a lot when asked how they developed their technique. Metronoming is something you hear classically or conservatory trained musicians lean into, but not traditional musicians like hillbillies and gypsies. I just think there is a different way to go about it that lends itself to more enjoyment and room for creativity, which is how the music came to exist in the first place! I do think the exercises in this video nicely highlight the technical mechanics needed to execute the licks and phrases in the music, although much of that is self revealing to the player when they actually learn the music and endeavor to play it accurately note for note. 2. I cannot find any van hemert books or products on djangoguitars.com here in the US.

Notes are small to read along. Can you zoom them?

Exersice 6 is such an easy exercise if you use alternative picking. Also ascending arpeggios with downstrokes? Doesn’t make any sense to me. Nor the string skipping with downstrokes.. it has to be very limited picking regarding speed. How do you go Gilbert or Petrucci (speed) mode with this picking? You spent two decades of exercises in alt picking and then you have to accept that it s normal to ascend arpeggios with upstrokes. I m recently trying to practice the whole rest stroke concept (gypsy jazz picking), but the “the stochelo” exercise makes no sense.. it s weird and slow with this picking. I m really trying hours per day to play it the way Christian shows, but I can’t unlearn alt picking or even get used to this way. I also struggle with exercise 4. With gypsy jazz picking I delay when I change strings, while I m very confident and comfortable with alt picking.

am i resting every 1st and 3rd note on the string below?

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Haha love it at 33:47! Quote: "the limit for triplets is usually around 170". I came here because of the "basic" licks of the django in rome ep 3 (kzfaq.info/get/bejne/eqmooclimtPDZHk.html) where @ lick 3, when you "can be free with the rythms" Christiaan playes it in triplets at a cool 185bpm over Honeysuckle rose, that is some inception stuff! And silly me getting annoyed about being stuck at 160. Good exercises nontheless, going to practice see if I can push it to 185!

This double down is under the most frustrating things i ever came across to practise 🙄