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Stphane Wrembel
Was studying Djangos style a sharp turn from
what youd done before on guitar?
No. The first and most important stone in my
playing is rockPink Floyd, Led Zeppelin
and everything else is an extension of that. So
learning a different technique is just a technique. I went to play a lot with the Gypsies,
and I took lessons with some of the Gypsy
guys in Paris to learn the proper right-hand
technique, which is very powerful. And then I
moved on to other things.
In that swing style youre using a lot of percussive snaplike a snare drum.
For this particular angle of comping, yeah. Its
just the usual stuff that is done in swing: you
push and you hit [for a slowed-down demonstration, see video on AcousticGuitar.com]. Its
like everything in music: its very easy to
understand, but its very hard to do. Its very
easy to understand that you have to push and
hit, and the balance creates that train effect.
But getting the feel takes a little time.
Could you show, as an example, the rhythm pattern in your song The Edge?
The chords are very easy. Its G, Cm, D7, and
G. That G [with E and A on top] is a very
impressionist chord, the upper part of it. And
the bridge is a regular B7 to E7 to A7 to D7.
Thats the chord progression [Example 5].
Ex. 1
Em
F maj7
Em
0
0
0
2
2
0
1
2
2
0
0
0
2
2
0
D sus2
D5
0
0
0
2
2
0
F ( 11)
Em
0
2
3
3
1
0
0
2
2
0
0
0
2
2
0
A 5( 9)
A5
0
0
0
2
2
0
Ex. 2
Ex. 3
Dm
sus2
10
10
Ex. 4
G sus2
G5
5
5
A m6
F7
E7
with fingers
6 x
7 x
7 x
6 x
7 x
7 x
6 x
7 x
7 x
6 x
7 x
7 x
5
5
5
5
5
5
5
4
x
x
5
4
x
x
5
4
x
x
5
4
x
x
5
4
x
x
5
4
x
x
8
7
8
x
x
x
x
x
x
7
6
7
Ex. 5
G 69
Cm
D9
G 69
3
3
1
2
2
T
5
5
4
5
5
3
B
B
x
x
x
x
x
x
5
5
4
5
5
3
x
x
x
x
x
x
5
5
4
5
5
3
x
x
x
x
x
x
5
5
4
5
5
3
x
x
x
x
x
x
x
x
x
x
x
x
5
5
4
5
5
3
x
x
x
x
x
x
5
5
4
5
5
3
5
5
4
5
5
3
x
x
x
x
x
x
5
5
4
5
5
3
x
x
x
x
x
x
5
5
4
5
5
3
x
x
x
x
x
x
5
5
4
5
5
3
x
x
x
x
x
x
x
x
x
x
4
5
5
3
x
x
x
x
4
5
5
3
5
5
4
5
x
x
x
x
5
5
4
5
5
5
4
5
5
3
x
x
x
x
x
x
x
x
x
x
5
5
4
5
5
3
x
x
x
x
x
x
B7
E9
A7
D9
7
8
7
x
x
x
7
8
7
x
x
x
7
8
7
x
x
x
7
8
7
x
x
x
7
7
6
7
x
x
x
x
7
7
6
7
x
x
x
x
7
7
6
7
x
x
x
x
7
7
6
7
x
x
x
x
5
6
5
x
x
x
5
6
5
x
x
x
5
6
5
x
x
x
5
6
5
x
x
x
5
5
4
5
x
x
x
x
5
5
4
5
x
x
x
x
5
5
4
5
x
x
x
x
5
5
4
5
x
x
x
x
AcousticGuitar.com 49
Stphane Wrembel
Paris. You had the immigrants from central
France, from Auvergne, because back then,
going from central France to Paris was really
emigrating. It was a time when they still had
their own language, their own dance, their
own everything. They were playing the
musette, which is a little bagpipe, and they
were playing the traditional music called the
musette. And then, at the same time, Italy was
doing very bad, and you had the Italian immigrants coming to Paris with the new instrument called the accordion. They started
playing these musette songs on the accordion.
In the middle of that you had the Gypsies, who
were playing the banjo and the banjo guitar,
who started to join. And in no time that style
was born of playing the musette, that bagpipe
music, on the accordion, with the Gypsy stuff
on it, and they developed a completely new
language. Same thing with tango: it was born
at the same time in the same kind of spirit.
50 AcousticGuitar.com
MATT URBAN
Ex. 6
# 3
& 4
Em
B
&
0
0
0
2
2
0
0
0
2
2
0
0
0
2
2
0
0
0
2
2
0
0
0
2
2
0
0
0
2
2
0
0
0
2
2
0
0
0
2
2
0
0
0
2
2
0
0
0
2
2
0
0
0
2
2
0
0
0
2
2
25
Am
0
1
2
2
0
1
2
2
0
1
2
2
0
1
2
2
Em
# # # # # #
0
2
1
0
2
1
0
2
1
0
2
1
B 7/F#
0
2
1
0
2
1
0
0
0
2
2
0
0
0
2
2
0
1
2
2
0
1
2
2
0
1
2
2
0
1
2
2
0
2
1
0
2
1
B 7/F#
E m/G
0
2
1
Em
B7
17
&
&
#
#
0
2
1
0
2
1
0
4
2
0
4
2
0
2
1
0
2
1
Em
0
0
0
2
2
0
0
0
2
2
0
0
0
2
2
0
0
0
2
2
0
2
1
0
1
2
2
0
1
2
2
0
2
1
0
2
1
E /G#
Am
0
0
4
2
0
0
4
2
C7
B7
n
#
3
2
3
0
2
1
2
2
3
3
2
3
1
2
0
0
0
2
2
0
0
0
2
2
0
1
2
2
0
1
2
2
0
0
0
2
2
0
B7
2 3 2 0
Em
0
2
1
2
3 2
0
1
2
2
0
1
2
2
# 4 U U U U U U U U U U U U U U U U U #U U #U nU #U U #U U #U U #U
& 4
# n # # #
n # #
Ex. 7
(continue down)
* Hold each finger down on fret until just before finger moves to next note.
December 2013 ACOUSTIC GUITAR
AcousticGuitar.com 51
Stphane Wrembel
I would like to show you an exercise that is
very good. This is how I practice. First I use a
timer. I usually like to do groups of five minutes. I start the timer, and until the timer
stops, Im just focused on my exercise. You
can fit way more information into five minutes if you dont have to worry about time.
When I wake up in the morning, the first
thing I do is I take my guitar and I do this exercise. It is very easy [Example 7]. You just move
like thatone, two, three, fourone finger
after the other. I try to have [the notes] sound
clear, and move the fingers at the last second,
leaving the fingers on the frets. That helps with
the strength of the [fretting] hand, with the
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52 AcousticGuitar.com
What e lays
Acoustic Guitars: Stphane Wrembel plays
contemporary versions of the Selmer Maccaferri
guitars played by Django Reinhardt. Wrembels
concert guitars are built by Bob Holo (see
Building a Nouveau Selmer, page 50). For
practice, Wrembel plays a Gitane DG-255, and
a Gitane DG-340 Stphane Wrembel model with
the frets removed (when the guitar was being
refretted, he tried it with no frets, loved it, and
asked to keep the instrument like that).
Amplification: French-made Ischell Inside Box
plus CPJ contact mic (ischell.com), which
Wrembel calls a miracle. He uses an L.R. Baggs
Para DI and AER Compact 60 acoustic amps
(sometimes two onstage and even a third as a
monitor). His pedals include a Boss TU-2 tuner,
an Electro-Harmonix octaver, and a Boss EQ that
he uses only as a volume pedal.
Accessories: Heavy Wegen picks. Savarez
Argentine 1610 MF strings with an .011 first
string.
istro ada
Intro
Em
E m/G
B7
m7 5
Em
E m/G
Gtr. 1
m7 5
0
0
2
0
0
2
B7
Gtr. 1 x 213 0 4
0
0
2
0
2
2
0
2
2
2 3 2 0
0
0
2
3 2
0
0
2
0
0
2
0
0
2
0
2
2
1
2
2
Em
0 12 0 0 0
3
8
Gtr. 2
1 2 4
75
3 4 5 4 3 4
4 5
4 7 6
4 6
4 5 7
8 10 8 7 8
6 7
8 7
6 7 10 8
B7
x 213 0 4
15
4 5 7 4 5 7
Em
B7
2 4 5 2 4 5
4
7 8 7
Em
x 213 0 4
0 12 000
22
7 9
7 10 7
6 9
0 12 0 0 0
6 7
7
9
2
1 2 4
7 5
4 5
3 4 5 4 3 4
4 7 6
5 6 5 4 5
AcousticGuitar.com 53
Stphane Wrembel
E7
E 7/G
Am
3 x0 4 00
0 2 0 1 00
Em
x0 231 0
0 12 0 0 0
29
6 5
6 5
7 5 4 5 4
B
C7
8 7 5 8 7 5
7 6
To Coda
B7
x 213 xx
Em
x 213 0 4
0 12 0 0 0
1.
B7
2.
7 5 4 7 5 4
x 21 3 1 x
B7
1 3 1 2 11
7 fr.
36
4 5 4 3 4 5
4 3 4 6
5
2
Em
x 1 342 1
1 2 4
6 7 8
B7
1 3 1 2 11
7 fr.
9 6
Em
x 1 342 1
7 fr.
6 7
7 fr.
43
7 9
7 10
8 10 8 7 8
B7
1 3 1 2 11
8 9 11
12
10 8 7 10 9
Em
x 1 342 1
7 fr.
B7
1 3 1 2 11
7 fr.
8 9 10
Em
x 1 342 1
7 fr.
7 fr.
50
11 8
8 11
10 9 8 9
1.
10
8 11 14 12 14 12 11 12 14 15
2.
D.S. al Coda
3
57
Coda
14 13 12
14 12 11 12
C G6
T 2314 x
14 13 14
14 14
B7
1 3 1 2 11
7 fr.
59
12 12 13 12 11 12 15
67 8
54 AcousticGuitar.com
1 2 4
3 5 7 3 5 7
3 5 7 3 5 7
4 5 7 4 5 7
B
ACOUSTIC GUITAR December 2013
E7
x 3241 x
Am
1 34 111
5 fr.
D7
1.
5 fr.
x 3241 x
3 fr.
63
4 5 7 4 5 7
4 7
5 7 5 4 5
10 8 7 8 12 8
10
10 10
10 10 8 8 7
7 8 10 7 8 10
B
G6
T 2314 x
F 11
134200
B7
x 213 0 4
D7
x 3241 x
2.
Am
1 34 111
3 fr.
5 fr.
70
10 10 8
8
8
B
C 69
x 2113 x
dim7
x 2314 x
G6
x 3241 x
A7
1 3 1 24 1
5 fr.
E7
T 2314 x
D7
x 3241 x
5 fr.
G6
B7
T 2314 x
3 fr.
8 10 11
10
1 3 1 2 11
7 fr.
3
77
12
12 15
15 14 17 15 14
15
15
14
12 14 12 11 12 15 12
13
12 13 15
12
12
D Em
1 2 4
B7
3
85
7 5
4 5
3 4 5 4 3 4
4 7 6
4 6
4 5 7
8 9
7 8
7 8 7
6 7 10 8
92
4 5 7 4 5 7
B
December 2013 ACOUSTIC GUITAR
2 4 5 2 4 5
4
7 8 7
6 7
6 9
7 9
7 10 7
AcousticGuitar.com 55
Stphane Wrembel
Em
B7
Em
3
99
7
9
E7
E 7/G
7 5
Am
4 5 4
Em
8
6
5 6 5 4
105
C7
B7
Em
111
4 5 4 3
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ACOUSTIC GUITAR December 2013