Help Wanted: Harmonic Analysis of Transcriptions

Hi there,

I'm working through Stochelo's transcriptions from his online academy and hoping to get some help understanding what scales/arpeggios he's using. I can't find a teacher in my area, so I'd be happy to pay someone to write commentary on these pdfs.

Much appreciated!




  • Posts: 14

    Hi Theo,

    Christian Van Hemert added commentary to some of the pdfs. Maybe browse the pdfs and you will find comments that can applied to other tunes.

    Don't pay anyone. Ask questions here. Folks will be happy to help for free.

  • richter4208richter4208 ✭✭✭
    Posts: 524

    I’m familiar with some of the songs from the Academy. Feel free to ask me a specific question about a specific tune. There’s just too much material in these transcriptions to generalize

  • ChristopheCaringtonChristopheCarington San Francisco, CA USANew Dupont MD50, Stringphonic Favino, Altamira Chorus
    Posts: 187

    @GadjoTheo This video isn't exactly what you're looking for, but I feel will help get you to where you want to be. All of the Rosenberg Academy stuff was transcribed by this guy, who used to tour all the time with the trio.

  • billyshakesbillyshakes NoVA✭✭✭ Park Avance - Dupont Nomade - Dupont DM-50E
    Posts: 1,318

    Or, if he is bound and determined to pay, I'm sure Christiaan would be happy to accept the commission. I'm sure you could find his contact info easily.

  • vanmalmsteenvanmalmsteen Diamond Springs ,CANew Latch Drom F, Eastman DM2v, Altamira m30d , Altimira Mod M
    Posts: 337

    Pretty sure he gives lessons with patron, get it from the man who transcribed it! his system looks really compelling to I’ve got to say, I follow him on YouTube. I need to order his book

  • Posts: 14

    Hi Theo,

    My advice is to not pay anyone to understand the theory in the transcription. Do some reading online and ask questions here. IMO, it's more rewarding. I'll answer any questions you have if you ask them on this forum. Ask away.

  • Posts: 14

    To follow up...if you ask here, then other people can benefit from the discussion.

  • Posts: 4,783

    Yeah, let's see if the OP returns first. It all depends on how dedicated a person is. Generally speaking I wouldn't go to a specialized instructors until I have clearly defined and specific goals and questions. The original question makes me think the objective here is start understanding how improvisation works in general...if so, get ready for a lifetime of study and questions.

    billyshakesJim KaznoskyGadjoTheo
    Every note wants to go somewhere-Kurt Rosenwinkel
  • GadjoTheoGadjoTheo New
    Posts: 9

    Hi everyone!

    Sorry for the slow reply - I'm new to the site and was expecting an email notification if there was any activity on the thread. I was so happy to see all of you chiming in to help!

    I'm trying to develop an understanding of what's being played over these changes. Is the best way to do that by going point by point through the transcriptions and piecing together the "rules," or is there a better framework out there that I haven't found? I've also been using Wrembel's book, but have run into some places where what I'm seeing in transcriptions deviates from his arpeggio-based approach. For instance, I'm seeing a few modes and bebop scales, too. Just don't know what goes where...

    My first questions are actually about this Django solo:

    1) On the phrase that begins at the end of 46, why does the maj7 work over the Ab7? And does the D that ends the phrase only work because the phrase ends on a D7?

    2) In bars 65-68. is Django playing a G min harm until the F7, when he switches to a Bb6 arp? And if so, why does that arp work over F7 as well as Bb6? Is it because F is the fifth of Bb6, so you can just over Bb for the whole V- I?

    3) In bars 69-72, I'm wondering why we can play what seems to be a G min Harm again over all these changes. The exception to G min harm is that C#, so maybe that's either a blue note or this is another scale...

    4) In bar 77, this little phrase over the C- seems to be arpeggio starting on the third, but it could also be the G min natural scale...does the nat min scale work over the IV, or is it better just to think of this as an arp?

    5) Bars 80-83 seem to be all over the G min harm. I'm guessing that D7 can always handle the min harm of the chord that it's the V to, but is that F7 just being ignored, or are we deliberately ending on the 2 of F7?

    Anyway, I can't say how much I appreciate your help!

  • GadjoTheoGadjoTheo New
    edited August 2021 Posts: 9

    Ok, and I'm hoping I'm not breaking any copyright issues, but this format is definitely the easiest way to show where I'm struggling. I've written some questions in red here...

    I can't imagine bothering you with my questions throughout all these songs. Please tell me if there are resources I haven't found, so I can figure out what's being played over changes in all these songs...

    Had to delete the pdf...will repost when I write out the ideas!

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