Brilliantly insightful and incredibly mind expanding. Thank you.

excellent info- thanks!

This is awesome! Thanks.

Christaan, thank you for such inspiring lessons.

Hi Christian - Great video, as always - thanks! I found a fingering for the Fmaj - Fm6 that doesn't require all the sliding. Instead of starting at the 4th fret on 1, try the 9th fret on 2 and play 2 notes per string.

Great stuff!

Bedankt voor de les! :) Erg nuttig.

very helpful! a few second can practice a lot.

Thank you so much

thank you so much

Great sound and applied theory , especially for someone like me , who has a scale matrix of blues patterns based on melodic minor shapes combined with W 1/2 diminished

Hi Christian, Loving your lessons!! Tell me if I'm wrong, the way I understood this (and looks like how a lot of gipsy licks works), is that the V can be substitute by a diminished a minor second up, and each note of that diminished can be the root of a -6 arpeggio. Like in C we have G7 substituted by a Ab7 diminished, that gives us 4 notes : Ab, B, D, F ; Which gives us 4 arpeggios : Ab-6, B-6, D-6, F-6 (each one can be a substitute for G7). And a -6 being an inversion of a -7b5 , G7 can then be substitute by Ab-7b5 ,B-7b5, D-7b5, F-7b5. In D we have A7--> Bbo7 : Bb, C#, E, G --> Bb-6, C#-6, E-6, G-6 etc....

great! thank you

really usefull thanks so much, seb

thank you for the infos . in summary on the G7 chord you can play Fm6 Abm6 Dm6 and i find that Bm6 arpegio work too...great idea for soloing. thank.

Thanks that's nice

THANKS A LOT!

Thank you for all of your hard work, you're really helping me "up" the level of my playing! I have a question - hopefully not a silly one... How do you differentiate or describe/(think about) the difference between a dominate 7 when it's in a Major chord progression versus in a Minor chord progression? Example: DMaj7 and AMaj7 arpeggios sound nice over the E7 in a Major II-V-I, but not so nice over the E7 in a minor progression like "Minor Swing". For my personal notes on Dom7's, I find myself writing either (M), (m), or (M&m) next to them if I think they sound good in both. I'm wondering if there's a simpler way for me to be looking at this. Thanks Christiaan!

Hey Christian, thank you, great video.. How about Bbmin6 (or Gm7b5) adding b5 and #9 ?

Awesome video! thank you! Is there going to be another workshop in Los Angeles anytime soon?

great!!thanks!!!

🙂👍🙌 thanks

Nice lesson thiks

Do you have any tips for playing over minor 251s, and is there an equivalent `scale shifting' trick to the one shown in this video that works for minor 251s? Sorry can't make it to LA, but if you're running sessions in Europe I'd be very interested! Many thanks for really great series of instructional videos and for making them freely available - much appreciated! Best wishes. Dave (UK)

Hello Christian, do you accept the arpeggio dmoll6 on the tonic chord dmoll6 on the song Les yeux noirs. I consider you the best gypsy jazz teacher on KZfaq and your opinion will be binding on me. Regards.

Thanks for the lesson. I hope you got to get some relief from that indigestion. Maybe you should have been kinder to yourself and stopped the taping until you could eat a couple of Tums. Anyway, you made without stopping for Tums and you made it look easy.

Just for my own memory: on V you can use a the minor6 appeggio (starting on the 3rd) of II, IV and bVI. Please correct me if i made a mistake.

7:23 Woah your voice just dropped 2 octaves on the word "ways"

ivm6 over V7 IIm6 over V7

yes that guitar is not a Gypsy guitar but also later Django and Joe played on elec. o thier later work that sounds good