(English Version)
Any instrument could join this workshop
(Guitar, Bass, Violin, Accordion, Clarinet, Mandolin, Piano...)
CLASS CONTENT
< Antoine Boyer>
Day 1
-rhythm guitar technique
Day2
-lead guitar technique
-picking technique (gypsy picking)
Day3
-gypsy jazz core repertoire
<Denis Chang>
Day1
-The roles of the guitars, bass, and other instruments. The appropriate playing style for each instrument.
-Sound. This is mainly acoustic music, we will learn how to use each instrument appropriately to create a balanced ensemble in the pure acoustic tradition (no amplification, no microphones)
Day2
-Standard arrangements : intro and outro. We will learn how to begin and end songs.
-Rhythm styles used in Gypsy Jazz: swing, latin, waltz.
Day3
-Playing the changes. We will look at a few tricks that we can use to improve our improvisation skills by focusing extensively on training the ear and learning about harmony and voice leading.
Any instrument could join this workshop
(Guitar, Bass, Violin, Accordion, Clarinet, Mandolin, Piano...)
CLASS CONTENT
< Antoine Boyer>
Day 1
-rhythm guitar technique
Day2
-lead guitar technique
-picking technique (gypsy picking)
Day3
-gypsy jazz core repertoire
<Denis Chang>
Day1
-The roles of the guitars, bass, and other instruments. The appropriate playing style for each instrument.
-Sound. This is mainly acoustic music, we will learn how to use each instrument appropriately to create a balanced ensemble in the pure acoustic tradition (no amplification, no microphones)
Day2
-Standard arrangements : intro and outro. We will learn how to begin and end songs.
-Rhythm styles used in Gypsy Jazz: swing, latin, waltz.
Day3
-Playing the changes. We will look at a few tricks that we can use to improve our improvisation skills by focusing extensively on training the ear and learning about harmony and voice leading.
《 適合對象 》
招收樂器：吉他、低音提琴、小提琴、手風琴、豎笛、曼陀鈴等其他樂器
（有基本器樂演奏能力、對爵士樂有基礎認識，15人截止）
(歡迎來信詢問：vincent.tsai.arts@gmail.com)
《 教學內容 》
Antoine Boyer
第一天
-吉普賽爵士吉他節奏技巧
第二天
-吉普賽爵士吉他主奏技巧
-Picking技巧（吉普賽Picking)
第三天
-吉普賽爵士標準曲
Denis Chang
第一天
-吉他、低音提琴及其他樂器在此特殊曲風中扮演的角色
-聲響—吉普賽爵士為不插電原聲音樂，如何在合奏中讓所有樂器達到平衡是很重要的課題（不借助擴音、麥克風）
第二天
-標準編曲：包含前奏及尾奏
-吉普賽爵士曲風常用的節奏形態：包含搖擺、拉丁、華爾茲
第三天
-即興：藉由包含耳朵訓練聽出和聲以及Voice Leading等小技巧加強即興
招收樂器：吉他、低音提琴、小提琴、手風琴、豎笛、曼陀鈴等其他樂器
（有基本器樂演奏能力、對爵士樂有基礎認識，15人截止）
(歡迎來信詢問：vincent.tsai.arts@gmail.com)
《 教學內容 》
Antoine Boyer
第一天
-吉普賽爵士吉他節奏技巧
第二天
-吉普賽爵士吉他主奏技巧
-Picking技巧（吉普賽Picking)
第三天
-吉普賽爵士標準曲
Denis Chang
第一天
-吉他、低音提琴及其他樂器在此特殊曲風中扮演的角色
-聲響—吉普賽爵士為不插電原聲音樂，如何在合奏中讓所有樂器達到平衡是很重要的課題（不借助擴音、麥克風）
第二天
-標準編曲：包含前奏及尾奏
-吉普賽爵士曲風常用的節奏形態：包含搖擺、拉丁、華爾茲
第三天
-即興：藉由包含耳朵訓練聽出和聲以及Voice Leading等小技巧加強即興
By Denis Chang
Open to: Beginners to the style (but have played music seriously before), intermediate and advanced players
For this workshop series, I 'd like to propose a program so that most musicians can benefit from the lessons. For those who are less advanced, I suggest you bring an audio or video recorder to bring the material home with you.
Over the past 16 years, I have been involved in the music of Django Reinhardt. I traveled frequently to Europe to spend time with Sinti (Manouche) musicians and to understand both their musical and cultural traditions.
I strongly believe that music, especially Gypsy Jazz, is far more than arpeggios, scales, or licks. It is an entire community with its own culture. This is why I spent so much time in Europe, living with musicians from that community.
I am also a formally trained musician with a degree in classical music theory.
These are two different schools of learning music, but a combination of the two has allowed me to produce instructional videos for musicians such as Bireli Lagrene, Angelo Debarre, Stochelo Rosenberg, Pat Martino, Hono Winterstein, Nous'che Rosenberg and many others.
These are the topics I want to cover:
The Sinti musical tradition. How they learn to play music and the way they perceive music. It is vastly different from what most people are used to and it has a lot to do with their cultural environment.
That said, none of us are Gypsies, and unless it's our goal to sound like a Sinti musician, we should also strive to find our own identity and mix our influences to create our own style.
I will show you the various traditions of Gypsy Jazz accompaniment. We will cover all the variations that exist in the style and how to use them.
There will be a tremendous focus on developing reflex skills for harmony, timing, and improvisation.
We will learn the shape approach for guitar improvisation used by musicians such as Django Reinhardt, Pat Martino, Charlie Christian, Wes Montgomery, etc.
We will focus a lot on timing and phrasing, and understanding the way the masters phrases to create meaningful solos.
We will cover sound issues in Gypsy Jazz guitar. Why we may want to pick a certain way to get a certain sound, and why we pick that way.
We will cover many ornaments that many non-Gypsy musicians are often not aware of.
We will cover voice leading for improvisation.
From having worked with the best musicians in the style (and other styles), I have come to understand their practice routine and their way of thinking that has allowed them to achieve tremendous success.
One of these musicians is the young Antoine Boyer, who will be joining me for this workshop series.
Open to: Beginners to the style (but have played music seriously before), intermediate and advanced players
For this workshop series, I 'd like to propose a program so that most musicians can benefit from the lessons. For those who are less advanced, I suggest you bring an audio or video recorder to bring the material home with you.
Over the past 16 years, I have been involved in the music of Django Reinhardt. I traveled frequently to Europe to spend time with Sinti (Manouche) musicians and to understand both their musical and cultural traditions.
I strongly believe that music, especially Gypsy Jazz, is far more than arpeggios, scales, or licks. It is an entire community with its own culture. This is why I spent so much time in Europe, living with musicians from that community.
I am also a formally trained musician with a degree in classical music theory.
These are two different schools of learning music, but a combination of the two has allowed me to produce instructional videos for musicians such as Bireli Lagrene, Angelo Debarre, Stochelo Rosenberg, Pat Martino, Hono Winterstein, Nous'che Rosenberg and many others.
These are the topics I want to cover:
The Sinti musical tradition. How they learn to play music and the way they perceive music. It is vastly different from what most people are used to and it has a lot to do with their cultural environment.
That said, none of us are Gypsies, and unless it's our goal to sound like a Sinti musician, we should also strive to find our own identity and mix our influences to create our own style.
I will show you the various traditions of Gypsy Jazz accompaniment. We will cover all the variations that exist in the style and how to use them.
There will be a tremendous focus on developing reflex skills for harmony, timing, and improvisation.
We will learn the shape approach for guitar improvisation used by musicians such as Django Reinhardt, Pat Martino, Charlie Christian, Wes Montgomery, etc.
We will focus a lot on timing and phrasing, and understanding the way the masters phrases to create meaningful solos.
We will cover sound issues in Gypsy Jazz guitar. Why we may want to pick a certain way to get a certain sound, and why we pick that way.
We will cover many ornaments that many non-Gypsy musicians are often not aware of.
We will cover voice leading for improvisation.
From having worked with the best musicians in the style (and other styles), I have come to understand their practice routine and their way of thinking that has allowed them to achieve tremendous success.
One of these musicians is the young Antoine Boyer, who will be joining me for this workshop series.