kongman91765kongman91765 Buena ParkNew
edited April 2011 in Technique Posts: 13
I just heard of a technique called the "Rumba" Technique.
Now, I know it's used a lot in Flameco style, but is there a Gypsy Jazz style?
I heard songs like Bossa Dorado uses that style.

Can anyone help me on this?

Opinions and advices would be very helpful.

Thank you.
Ted Woelke


  • Posts: 6
    I am curious about the usage of this term. Isn't Bossa Dorado a Gypsy Bossa? Rumba's Sunset is also Gypsy bossa, innit?
  • I'm not 100% sure, but I believe the gypsy style rumba is for example what you hear on the A section of the Rosenberg Trio's version of Caravan:

    It's that sort of 1-2-3, 1-2-3, 1-2 rhythmic pattern.

    At least if that's not the rumba, I'm not sure what it's called.
  • juandererjuanderer New ALD Original, Manouche Latcho Drom Djangology Koa, Caro y Topete AR 740 O
    Posts: 205
  • MichaelHorowitzMichaelHorowitz SeattleAdministrator
    edited September 2016 Posts: 6,155
    What Gypsies call a "Bossa" is really more like a Rhumba Flamenca (a variation of the rhythm the Gypsy Kings use a lot.) The Rosenberg performance of Caravan uses the "Gypsy Samba" rhythm which is highly syncopated. Generally Latin rhythms in Gypsy jazz are a bit of an afterthought and don't correspond to the ways those rhythms would be played in their traditional cultures. However, they still sound cool!
  • ah 'samba' was what I was thinking, not 'rumba'!
  • spatzospatzo Virtuoso
    edited October 2016 Posts: 768
    I suggest to try a rhythm that works pretty well for Rhumba but personnaly I find more natural to play it with regular Down-ups. Of course try both methods. Remember to release the left hand pression on each chord marked as "X" and to press the other ones.

    (It comes from the well-known "William Leavitt A Modern Method for Guitar 3" - Berklee)

    It is quite easy to master

    To add harmonic tension to the chord progressions beats 7 and 8 of each bar can be played half step above [see for example Caravan C7 (1,2,3,4,5,6) - Db7 (7,8)].
    Beat 8 is played almost "ghostly" to help you move to the next chord easily...

    Harmonic emphasis on the Fm chord can also be played on the dominant chord or its subtitutes [example Fm (1,2,3,4,5,6) - C7b9/G (7,8) or Fm/Ab (1,2,3,4,5,6) - Bbdim (7,8)]

    Also note that Leavitt suggest (as gitrhero said) to count it as 123,123,12 as the chords are only really played on those "1" beats and are the "Rhumba markers".

    Another enhancement and pretty good idea is to play the exact opposite rhythm to obtain complementary accents (see next)
  • spatzospatzo Virtuoso
    edited October 2016 Posts: 768
    By the way chords will thus be played as X 2 3 X 2 3 X 2 (and not 1 X X 1 X X 1 X as before) and chord movement is achieved on the first beat of the next bar (danger!)
  • dongiedongdongiedong Rennes, FRNew Patenotte 250 (~50's), Mazaud "Paname"
    Posts: 13
    A great example of Rumba Waltz is "Made in France" by Biréli :)
  • wimwim ChicagoModerator Barault #503 replica
    Posts: 1,459
    (Holy necromancy, batman, this thread was answered more than 5 years later .. )

    The various Latin rhythms are a contemporary thing. Mostly pioneered by the Rosenberg trio. And most of them are awful especially the "bossa" rhythm.

    The closest Django got to a "Rumba" was probably "El Manisero" in 1949

    Porto Cabello (1947) also has a little latin something about it, that I can't quite put my finger on.

    Of course there are the boleros, but I think here Django was more influenced by fellow Frenchman Maurice Ravel than any kind of latino encounters. (Now, did Django ever get to play with Oscar Aleman, I wonder?)

    p.s. The spelling 'Rhumba' is a US bastardization and should be forgotten.
  • spatzospatzo Virtuoso
    edited October 2016 Posts: 768
    Latin rhythms were often used after the WWII in the USA, for exemple Dizzy Gillespie was one of the pionners in using them and Django had a great admiration for Gillespie and already used himself latin rhythms in his music.

    1947 is the "Manteca" year for Dizzy. He, the best payed Jazz musician of the year, introduced in his Orchestra the cuban latin-jazz percussionist Chano Pozo.

    In 1947 the "black angel" Eddie South himself played at Cafe Society Uptown including in his repertory congas, rhumbas, pops...

    According to Oscar himself they played together but only in Django's roulotte
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