Solo on one chord: G minor

         
    
2 2 1
1 3

      
1 2 1 1 2 1 3 1 1 2 1 1 1 3

 
2

   3

G-9 arpeggio with the emphasis on the 9 (the "A")

                 

3

   

10 10 7 8
7 7 7
5 7 5 8 8 7 8 7 5 7 8
5
3 6

          
                     
2 2 2 2 2
4 2
1 1 2 1 1 4 0 0 0 0 0 0 2
2


1 0

3     
One of Stochelo's stock phrases, the picking
is important for the accents in the lick

             
3
           
  

3
8 0
7 7 0 0 0 0 0 0 0 0 0 0 0 0
8 7 8 7 5 4 5 5 5 5 5 5 5 5 5 5 5

 

                           

8 2 2 2 2 2 2
2 2 2

    
1 1 2 1 2 1 3
1 1 1 1 1


0 1 0 0 0 1 0 1 0 0 0 1 2 1 2 3


3 3 3 3 3 3 3 3

Even though the open B string is very akward in G minor this lick still works. It is
important to realize that the open string is there just for rhythmic purposes: you can play
this lick in other keys by simply changing the first two notes of every triplet and keeping
the open string!

 3   3   3   3      3   3   3   3        
  

8 7 0 7 6 0 6 5 0 5 4 0 4 34 3 0 8 7 0 7 6 0 6 5 0 5 4 0 4 3
3
5 5
5 5 6 7
2

  
          
4

              
4 1
2 2
12

 
1 1 1 2 2
3 3 1 2 1 1 1 1
1 1 3

 
3 2 2 2 3 1 2

 
3

Gm6 arpeggio Compare bar 23 and 24 from the "Minor Swing" solo

                3          
 

6 10 15 15 10
5 8 11 10 7 8 10 8
7 12 7 7 7
8 12 8 7 8 7 5 7 8
5 6

              
3 3

          
3 1 3 1 1

 
1 1 1
16 2 1

   
3 1 3 3 3 1 1 3 1 3
1 1

  
2 3 1 1 1 3 3 2 1

repeating patterns like this lets 3

you break away from arpeggios
and creates exciting "hooks" with Gm6 arpeggio
your audience

                           3  


6 10 8 10 8 6 10 8 10 8 6
5 8 8 6 5 6 5 4 3 5 3
7 7 3
5 8 8 5 4 3 2
7

                    
2 2


2 1


2 2 1 1 1
20 2

          
1 1 1 1

 
1 1 1 2 3
1 1 2 2 1 2
3 1 2

Beautiful lick, typcial Django. Stochelo playes most of it with Django's original fingering with two fingers. For
some reason this fingering feels right for this lick, even if you have four fingers to play with!

                          
 

3 6 5 5 8 6 6 10 8 10 8 7 8 11 10
3 7 8 11 10
3 5 7 12
5 7 8 12
 3


            
 
3

   
4
4 2

        
1


1 1 1 1 4 3
24

1 1 1


1 3 3


1 1 1 1 3 1
1 1 2 1 2


2 3 3 1

3
   
Stunning lick and one of Stochelo's favourites to play over long stretches of a minor chord (like "So What" or
"Impressions"). The use of the fourth finger might seem strange but somehow it feels very comfortable

                      3         


18 15 13 11 10 8 6
15 15 13 13 11 11 10 10 8 8 6 8 6 8 6 5
7 7 5
8 8 5
5 6 7

    
       
4 2
2


1 1 4 1
4 2
28
            
1 2

              
2 2 1 3 3 1 2
1 2 1 1


Another staple in Stochelo's arsenal of minor licks! A ascending minor arpeggio followed by
a descending minor melodic scale (with the F-sharp and the E) in thirds.
                     
        

6 10 15 12 14 10 12 10
8 13 11 13
7
7 7 5 5 7 8
5 5
6

 
      
 
1 3 1
32
         
1 1 3

        
2 2 1 1 1 2 1 1 3 1 1 4 1 2 4 2 1

  
1 2 2 4 1 4 2

3 3

The successive hamnmer-ons and pull-offs give this lick extra

melodic flavour

                      

3 3

  

13 11 13 11 10
12 11 12 11 14 12 7
12 12 10 7 8 10 10 8 7
13 12 13 12 10 12 10 9 10
10

       
 
 
4 4

      
4 1 1 1
1

    
4 1 1 2
36 2

         
1 2
1


2 1 1 3 1 2 3 1


Dminor arpeggio followed by a G minor arp. A lick for D7 with notes from
D minor over G adds 9 and 11 the whole tone scale.

                       
 
  

10 13 18 18 14 14 12 12
10 13 10 11 15 15 13
10
12 10 11 12
13 12 10 10
4

  
            
         
1 1 1 1
40
     
2 2 1 1 1 1 2
1

    
2 2 3 1 2


1 1 3 2 3 1 1 3 1 1 2

                           



10 10 8 8 6 6 4 4 3
11 9 7 5 6 3 10 10 7 8
3 7 7
5 5 8 8
5 5
6


              
          
4 4 2 3
2 1 1 2
44 1 1 2 2 2 1 1 1 3 3 3

  
1 1
1 3 3


2 3 1 2

 3 3 3
3
Typical Manouche guitar
trick

  3             3       3   3 
 

10 13 13 12 11 10 13 11 10 10 10 11 10 11 11 11 10 10 10
10 12 12 14 14 14
8 11 12 12

    
                               
4 4 4 3 4 4
1 1 1 1 1 1 1 1 1 1 1 1
48 1 1 1 3 3 3 1 2 2 2 2 2 2 2 2 2 2 2 2

 
3 3 3 3 3 3

3 3 3 3 3 3 3 3 3 3 3 3 3 3

This is the lick from the technique course lesson 12 exercise 8,

but played in triplets (which makes more sense)

 3   3    3   3   3   3   3   3   3   3   3   3   3   3 


15 10 10 14 10 10 13 10 10 12 10 10 15 10 10 14 10 10
10 10 10 10 11 11 11 11 11 11 11 11 11 11 11 11
14 14 14 12 12 12 12 12 12

                                

 
4 4 4 4 4

     
3 3 1 2 2 1 2
1 1 1 1 1 1 1 1 1 1 1 1 1 4
52 2
3
2 2
3
2 2
3
2 2
3
2 2
3
2 2
3
2


3 3 3 3 3 3 3 3 3 3 3 3
G minor melodic scale
in thirds again

 3   3   3   3   3   3   3   3   3   3   3   3         


13 10 10 12 10 10 15 10 10 14 10 10 13 10 10 12 10 10 15 12 14 10 12 10
11 11 11 11 11 11 11 11 11 11 11 11 13 11
12 12 12 12 12 12
 5
    
           

4 4

    
3 1
2 3 2
56 3

  
1 1 2 1 3 1
2 1 2 3

    
1 1 1 1 3 3 1 1 2
1 2 3 2

3 3 3 3 3

D augmented arpeggio

   3      3           3   3   3 


15 17 18 14
13 11 10 15 15
12 11 12 11 14 12 12 14 15 15
12 12 16
13 12 13 12 10 12 13 17 16

   
 

1 2 3


1


2 1
60
   
 
1 2 2 1
3

D augmented arpeggio, compare bar 49-51 of the "Artillerie Lourde" tab

          


15 17 18 14
15
15
16
15 17 16 15