Manouche guitars used in other genres?

Scoredog

Ok, I think I can give a better informed answer now. The new guitar is nice for inspiration but to the outside world it may not matter much (and that might not matter to you anyway). Of course it will work authentically in the genres it is supposed to. If you look at the use of the Charango in the movie "Babel" that is more of a sonic departure than a gypsy jazz guitar (that said Gustavo Santaolalla also plays that string instrument well). The biggest boost you may get from having a gypsy jazz guitar is learning the techniques that come with the genre. Those can be applied to a multitude of string instruments which use picks, particularly down rest strokes to strengthen melodies. I started learning this genre about 18 months ago and what surprised me at my advanced age is that my technique has improved far more than I thought it could. I was a greasy smooth jazz player who avoided picking notes whenever possible in favor of slides and pull offs and did not believe I could ever pick fast but that has changed to a large degree.

BTW here is a piece I zapped out that uses orchestra (fake) with a GJ guitar. I could not finger style this as well on a classical.

https://dl.dropboxusercontent.com/u/31773631/French Romance.mp3

AndrewUlle

I enjoy hearing all of the talent that surrounds us, most of which is unknown. Amazing unsung talent, better than most commercially available music.

jwpfeifer

Thanks so much Andrew!

Scoredog, I really like that piece you did with the orchestra and solo guitar. Fantastic job! This is exactly the kind of thing that I was thinking of. The Gypsy Jazz guitar has such a sweet sound, and adds a kind of romantic and nostalgic vibe. It works great as a solo instrument with an orchestral background as your tune beautifully demonstrates.

Yes, I agree with what you said about the techniques that come with this style also being useful for other kinds of playing. I have a regular gig with a surf band and we do quite a few Dick Dale tunes that require lots of tremolo picking, with heavy attack through the entire tune. I've noticed that my Gypsy Guitar practicing is already paying dividends by making my surf playing even better (it's working the hell out of my right hand :-). The other thing I love about this music is learning all of those great lines to use over diminished and dominant7 chords, not to mention the cool licks to use for minor6 chords. When I listen to Les Paul's guitar playing I can immediately recognize so many things he took from Django's playing.

Thanks, -Jim

Al Watsky

If you approach the use of the voice of the instrument as a esthetic choice or artistic statement of intent it can help shape the response of the listener. There are subtle psychoacoustic effects on the nervous system and reactions to the instruments used that can not be precisely described. I use the selmac type guitars for a reason. Its intentional.
A producer on the other hand might hear no difference in an american flat top and an arch top for his intents and purposes . I've had people tell me that when they hire me to lay down some tracks that they aren't at all concerned with what instruments I use. They need guitar tracks . Period. If its a Favino or a AJL or a Gibson or a Fender is not their concern. They just want well recorded tracks.
I use the French guitars because I love them and want to hear that voice and believe that that voice is perfect for the music I make and will continue to make.
I'm referencing Eastern European, Middle Eastern Music , Roma, Yiddish , Jazz and other Modal musics in my writing. The Selmer type guitar is my chosen vehicle for that music. The only other choice would be an electric guitar of some sort, but as that would not send the same message to the listener it would not do the job as well.
I've actually had people tell me that the music I recorded was like a time machine for them. At least they find it transporting in some way, time, space, mood. If people hear the sound of these acoustic guitars and stop in their tracks thats a good starting point for having an artistic impact.
The Selmac have a very vocal quality when playing single lines , its a combination of factors but it has great appeal for the listener I think. Especially when close mic'ed in the studio , but even with an electro magnetic pickup the charm is still there.

AndrewUlle

@Al Watsky - I totally agree with the idea of the "subtle psychoacoustic effects" of various instruments. As a rock-n-roll rhythm player for many years (semi-hollow, hollow, or chambered electric guitars strung with flat wounds), I've always relied on the guitar rather than various pedals to get a particular sound. Maybe that's why I used to carry 5 completely different guitars to gigs. Strangely, I've never taken any interest in electric guitar jazz; it always left me cold. But the acoustic nature of GJ is a totally different animal to me - it moves me at such a deep level in a way I can't explain to others not bitten by this bug. It would be an interesting thread topic of how we each came to know about and get into GJ.

teletodd

I play everything from down home bluegrass to high tech pop and all points in between on my selmer copy d guitar. Stevie Ray Vaghan tunes sound particularly great on a gj guitar.

Rob MacKillop

Good point, Stuart. The European jazz guitar?

JSanta

I very much prefer my Altamira while working on the songs from the Plectrum Guitar book. The longer scale makes some of it a bit tough for me to play, but the voice just seems to work better than my Eastman. I don't use the Gypsy Jazz technique, and it opens up a whole different voice on the guitar. It's not a one trick pony, that's for sure.

MikkoKarhula

I have used my gypsy jazz guitar (Manouche Orchestre D-hole 14 fret) in every style I have figured out. Some styles it works better and some less good. But it certainly is more of how I pluck the instrument and get inside the style than instrument related matter to me.
In fingerpicking the height of the bridge and these gypsy jazz strings isn't the best situation to me but i think I can cope with it. Also short sustain time and characteric middle-based sound needs little more approval in some kind of situations.
But overall I think that GJ guitars have one of the most personal sound that is same time sympathetic and aggressive. To me maybe the best acoustic guitar to express wide range of feelings. And this kind of guitar is for sure eye-catcher in gigs out from gypsy jazz genre.:)

husy

@VeedonFleece Loved that tune, as well as other tracks on your SC page. Nice surprise for me to see Turkish stuff being posted here. You guys should do "Aygiz" at some point, play it with a BOLERO rhythm for kicks It sounds quite original due to the forced syncopation.

As for OP's question: FWIW, I occasionally experiment with various Turkish tunes in a somewhat "manouchified" way. Some instrumental tunes do work really well simply with a la pompe rhythm and slightly swung melody (good examples being Hicazkar Longa, Sehnaz Longa). I was actually surprised to realize harmonic similarities between them and "traditional" GJ tunes (must be the Balkan connection). Hope to convince some local players to try this stuff live one day...