46 AcousticGuitar.com
ACOUSTIC GUITAR December 2013
Stéphane Wrembel creates a new instrumental blend from Django-style swing, modern jazz, rock, and world music.
By Jeffrey Pepper Rodgers
December 2013 ACOUSTIC GUITAR
New York at the Nelson Odeon, a century-old grange hall turned into an intimate concert venue. Backstage before the show, Wrembel talked about his philosophy of composing and improvising, and he shared some songs and exercises on his Holo guitar.
How aware of Django’s music were you, growing up so close to Samois? This music is present everywhere in France, but I never really paid attention to it until I needed technical stuff from it—I am not a Gypsy, so I don’t need to express that angle in me. Actually, what is very interesting is Fontainebleau, where I’m from, is the birthplace of impressionism. So there is a very strong impressionist vibe, and when I started to learn piano at age four, my teacher was an impressionist. She was a specialist in all the moderns, like Debussy, and she was an old lady back then, so she was good friends with Gabriel Fauré and Ravel and all these guys. I grew up in the ’80s, so when I was 15 and started to play guitar, I was playing all the ’70s and ’80s rock. When I was about 19 or 20, I went for the first time to the Django festival [in Samois].
So were you exposed to that style of music live as opposed to from recordings? I bought a CD when I started at the American School of Modern Music [in Paris]. I wanted to learn the jazz technique, because I was pretty good at rock at this point and I wanted to extend my knowledge. The only name I knew was Django Reinhardt, so I bought my first Django CD. This was my first encounter with Django as a musician, really, so I paid attention in a completely different way. This is when I discovered his whole universe of technique. I spent years with the Gypsies learning these techniques, and then I went to Berklee, where I learned from great players on bouzouki and oud, plus more modern jazz techniques of improvisation. And after that it was country and bluegrass and all that stuff. When I arrived in New York, I started to compose and put all my techniques together. AcousticGuitar.com 47
© 2013 JEFFREY PEPPER RODGERS. ALL RIGHTS RESERVED. USED BY PERMISSION.
In
Woody Allen’s Midnight in Paris, the frustrated writer played by Owen Wilson is continually transported from the present day back to 1920s Paris, where he encounters the likes of Pablo Picasso, Ernest Hemingway, Salvador Dalí, and Gertrude Stein. To complete the atmosphere of that storied era, Allen needed just the right music— and for that he turned to the French guitarist Stéphane Wrembel, whose composition “Big Brother” Allen had featured a few years earlier in Vicky Cristina Barcelona. The song that Wrembel composed for Midnight in Paris, “Bistro Fada,” became the movie’s theme, and Wrembel wound up performing it at the 2012 Academy Awards show. Ever since, “Bistro Fada,” a lilting minor-key waltz with an infectious melody (see transcription on page 53), has spread rapidly among guitarists—especially fans of Django Reinhardt. Because Wrembel grew up near Samoissur-Seine (where Reinhardt settled at the end of his life), plays the style of Selmer Maccaferri guitar associated with Reinhardt, and is fluent in the swinging rhythms and quicksilver lead lines of Reinhardt’s music, many fans and critics have pegged Wrembel as a disciple of the pioneering jazz guitarist. But Wrembel’s music ranges much more widely than that, as is clear from his recent recording Origins (Water Is Life), which draws on rock, Middle Eastern, Indian, and classical music as well as swing and jazz. And though he plays an acoustic guitar (a modern version of the Selmer, built by Bob Holo), Wrembel gets into some loud and intense shredding—especially onstage. His music is closer in some ways to the adventurous spirit of John McLaughlin or (in quieter moments) Ralph Towner than to the more traditional-minded Django-philes playing in Hot Clubs worldwide. Wrembel originally came to the United States to attend the Berklee College of Music. He now lives in New York City and tours widely with his band: Roy Williams on guitar, Dave Speranza on upright bass, and Nick Anderson on drums. To learn more about Wrembel’s music, I met with him in upstate
Stéphane Wrembel Was studying Django’s style a sharp turn from what you’d done before on guitar? No. The first and most important stone in my playing is rock—Pink Floyd, Led Zeppelin— and everything else is an extension of that. So learning a different technique is just a technique. I went to play a lot with the Gypsies, and I took lessons with some of the Gypsy guys in Paris to learn the proper right-hand technique, which is very powerful. And then I moved on to other things.
So you took lessons in addition to hanging out and playing? Quite a few lessons, with Serge Krief, Angelo Debarre, these guys. And a lot of playing and jamming in the camps in Samois, so I learned in the traditional environment. Part of it was natural learning and part of it was formal training. And a big part of it was transcription, because I figured out things about Django by myself, too, that were not handed to me by anyone.
When did you first get a Maccaferri-style guitar? That was actually when I first met the Gypsies. What I discovered about these guitars is they are very versatile instruments. They are a little bit less rich in terms of bass than the Martins, but they have way more potential for a soloist. You can play rock, you can play classical, you can play Django, you can play whatever you want. They are in the center of the guitar world. Very interesting instruments. This guitar is really good for soloing—it really cuts through. The neck is a little bit smaller. It’s closer almost to an electric guitar in some ways. There is a rock feel to it that you don’t have in other acoustic instruments. And it reacts very well to amplification, so when I use it live, I tend to use it more on the electric side than on the acoustic side. I use my acoustic technique for the control of the instrument, but I use more of the electric side for the sound. That gives me a hybrid unique sound that I’m very happy with.
In your rhythm playing, are there certain types of chord voicings you use to get that distinctive punchy sound? It depends. For example, I have a song called “Peaceful Mind” [Example 1]. This is like big open chords. I have also [Example 2, slow arpeggios from “Tsunami”] or [Example 3, a syncopated fingerstyle pattern from “Momentum”], that kind of groove. When it’s a little bit more swing, the chords are more like [Example 4]. So it depends on the composition. I use different chords, but they are all very basic. I never use complicated harmonies, complicated chord progressions. Everything is very simple for the comping.
In that swing style you’re using a lot of percussive snap—like a snare drum. For this particular angle of comping, yeah. It’s just the usual stuff that is done in swing: you push and you hit [for a slowed-down demonstration, see video on AcousticGuitar.com]. It’s like everything in music: it’s very easy to understand, but it’s very hard to do. It’s very easy to understand that you have to push and hit, and the balance creates that train effect. But getting the feel takes a little time.
Could you show, as an example, the rhythm pattern in your song “The Edge”? The chords are very easy. It’s G, Cm, D7, and G. That G [with E and A on top] is a very impressionist chord, the upper part of it. And the bridge is a regular B7 to E7 to A7 to D7. That’s the chord progression [Example 5].
You are playing mostly chords without open strings to get that percussive sound, right? Yeah, because you mute with the left hand. The right hand doesn’t touch the strings. To get that percussion sound, you avoid the open strings, absolutely.
Speaking of rhythm, why did you post that big library of play-along rhythm tracks on your website?
Because when I first started to play the Django style, there was no one to play with. I wish this had been available to me when I was starting to train on these songs, so that’s the reason I decided to put them online. It doesn’t replace the experience of jamming with people, but it’s a great tool. These are good learning songs. What we call a standard is really a song for learning a craft. After that, once you have the techniques, you move on and compose and do your own thing. These songs are also good if you meet people you don’t know and you want to jam; that gives you a repertoire for at least having a musical conversation.
“Bistro Fada” has a very different rhythmic feel than the other songs you played earlier. When you were writing that song, did you start with the chords or the melody? Oh, I did the chords first [Example 6, page 51]. This is a completely traditional type of progression. This is like composing on a blues. There are more chords, it’s a bit longer, but actually it’s like an E-minor blues. I just recorded the chords and called Dave [Speranza], my bass player, and I said, “Come over because you need to record this ASAP.” So he took the train to my house. It took him a couple of hours, and by then I had composed and recorded the melody, everything.
So this progression is standard for musette? Yeah, for that Parisian style. That’s what they wanted: they wanted something to capture the soul of Paris. What am I going to do? I take something very standard and compose over it.
How would you describe that style to the uninitiated? Musette was born in the early 20th century in Paris. You know, it’s like in New Orleans you had people from all over the world starting to play music together, and it gave birth to jazz? The same thing happened at the same time in
ou don t learn to impro ise better by playing scales or by playing arpeggios or anything. ou get better at impro isation by impro ising more. 48 AcousticGuitar.com
ACOUSTIC GUITAR December 2013
Ex. 1
Em
F maj7
Em
0 0 0 2 2 0
1 2 2
0 0 0 2 2 0
D sus2
D5
B
1
0 0 0 2 2 0
F ( 11)
Em
0 2 3 3 1
0 0 2 2 0
0 0 2 2 0
A 5( 9)
A5
0 0 0 2 2 0
Ex. 2
B
5
Ex. 3
9
7
9
7
7
6
Dm
B
sus2
7
7
5
B
8
10
8
10
8
Ex. 4
C
G sus2
5
6
8
8
G5
3
5
7
5
7
5
3
5
5 5
8
7
7
A m6
8
7
F7
7
7
5
E7
with fingers
B
5
6 x 7 x 7 x
5
6 x 7 x 7 x
5
6 x 7 x 7 x
5
6 x 7 x 7 x
3
5 5 5
3
5 5 5
5 4
x x
5 4
x x
5 4
x x
5 4
x x
5 4
x x
5 4
x x
5
x
5
x
5
x
5
x
5
x
5
x
8 7 8
x x x
x x x
7 6 7
A
Ex. 5
G 69
Cm
D9
G 69
3 3 1 2 2 T
5 5 4 5 5 3
B B
x x x x x x
5 5 4 5 5 3
x x x x x x
5 5 4 5 5 3
x x x x x x
5 5 4 5 5 3
x x x x x x
x x x x x x
5 5 4 5 5 3
x x x x x x
5 5 4 5 5 3
5 5 4 5 5 3
x x x x x x
5 5 4 5 5 3
x x x x x x
5 5 4 5 5 3
x x x x x x
5 5 4 5 5 3
x x x x x x
x x x x
4 5 5 3
x x x x
4 5 5 3
5 5 4 5
x x x x
5 5 4 5
5 5 4 5 5 3
x x x x
x x x x x x
5 5 4 5 5 3
x x x x x x
(play A one more time)
B7
E9
A7
D9
9
B
7 8 7
x x x
7 8 7
x x x
7 8 7
x x x
7 8 7
x x x
7
x
7
x
7
x
7
x
December 2013 ACOUSTIC GUITAR
7 7 6 7
x x x x
7 7 6 7
x x x x
7 7 6 7
x x x x
7 7 6 7
x x x x
5 6 5
x x x
5 6 5
x x x
5 6 5
x x x
5 6 5
x x x
5
x
5
x
5
x
5
x
5 5 4 5
x x x x
5 5 4 5
x x x x
5 5 4 5
x x x x
5 5 4 5
x x x x
AcousticGuitar.com 49
Stéphane Wrembel Paris. You had the immigrants from central France, from Auvergne, because back then, going from central France to Paris was really emigrating. It was a time when they still had their own language, their own dance, their own everything. They were playing the musette, which is a little bagpipe, and they were playing the traditional music called the musette. And then, at the same time, Italy was doing very bad, and you had the Italian immigrants coming to Paris with the new instrument called the accordion. They started playing these musette songs on the accordion. In the middle of that you had the Gypsies, who were playing the banjo and the banjo guitar, who started to join. And in no time that style was born of playing the musette, that bagpipe music, on the accordion, with the Gypsy stuff on it, and they developed a completely new language. Same thing with tango: it was born at the same time in the same kind of spirit.
Building a Nouveau Selmer Stéphane Wrembel’s concert guitars are built by Portland, Oregon, luthier Bob Holo (hologuitar.com) and are based on a Selmer that Django Reinhardt owned in 1938 (just prior to the famous Selmer 503 that Reinhardt played until his death). According to Holo, Reinhardt recorded many of his seminal works on the earlier guitar, which can be seen in the well-known “J’Attendrai” video. Holo was a fan of Wrembel’s music for years before he met him and had the opportunity to build him a guitar. “As the whereabouts
50 AcousticGuitar.com
of that earlier guitar aren’t known,” says Holo, “I based the design on what is known of that earlier incarnation of Selmer, and tuned the weight, strength, and top from measurements of several other Selmers of the era that I was able to study.” Wrembel’s guitar has a Romanian red spruce top, black walnut back and sides, and the small oval “petite bouche” soundhole (in contrast to the D-shaped “grande bouche” soundhole on other models). Holo made a few design modifications based on conversations
with Wrembel, including a 648-mm (25.5-inch) scale length (Reinhardt’s earlier Selmer was 640 mm) and an extended fingerboard for additional range. The 648-mm scale, says Holo, is the same as on a Gibson L5C and “lends a nice little bit of roundness and bite without becoming strident.” Wrembel owns a matching set of Holo’s guitars, built from the same flitches of wood and tuned identically, and his bandmate Roy Williams plays the same model. These are the only three guitars of this design that Holo has built.
OK, there is a very big difference between practicing and performing. These are two different worlds. I hear people say sometimes, “Oh, when I practice, I practice like I perform.” I think this is a big mistake because it’s a matter of chi. Chi is the energy. So you have yin, which is the energy that you take in, and you have yang, the energy that you push. Pull, push, yin, yang. When you practice yin you have a very calm state of mind, and you practice a very technical area. No joy, no anger—you don’t do it with the positive or the negative. You try to stay in the neutral, the peaceful. Then you build up a certain level of energy, and when you are in concert, this energy is available to throw. If I do a jam and I get all excited and it feels good right before a show, I used to think, we’re going to play a great show. Then you’re up onstage and you feel mediocre. You’re like, what happened? Because you depleted yourself of your chi, your creative energy—it’s gone. You arrive onstage and you’re depleted. It’s like running a marathon before you run a marathon. I’m extremely conscious of that when I practice. I’m very quiet inside, it’s very quiet outside, and it’s very technical. It’s very sacred in a way. There’s no personality in it. And when we perform at night, all that energy that has accumulated and all that preparation that is done with the mind, like with the thinking and the fingers, all that comes into place, and then the information can go.
Is practicing slowly, with a lot of attention to phrasing and tone, the secret to playing fast? ACOUSTIC GUITAR December 2013
MATT URBAN
Let’s talk about soloing. What do you practice to develop the kind of fluidity you have moving up and down the neck?
Ex. 6
# 3 & 4
Em
B &
#
B
œœ œœ œ œ
œœ œœ œ
œœ œœ œ œ
œœ œœ œ
œœ œœ œ œ
œœ œœ œ
œœ œœ œ œ
œœ œœ œ
œœ œœ œ œ
œœ œœ œ
0 0 0 2 2
0 0 0 2 2
0 0 0 2 2
0 0 0 2 2
0 0 0 2 2
0 0 0 2 2
0 0 0 2 2
0 0 0 2 2
0 0 0 2 2
0 0 0 2 2
0 0 0 2 2
0 0 0 2 2
#
B
25
B
0
3
0
3
Am
œœœ œ œ
œœœ œ
œœœ œ œ
œœœ œ
0 1 2 2
0 1 2 2
0 1 2 2
0 1 2 2
0
Em
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ #œ œ œ #œ œ œ #œ œ œ #œ œ œ #œ œ œ #œ œ œ 0 2 1
0 2 1
0 2 1
0 2 1
B 7/F#
0 2 1
0 2 1
œœ œœ œ
0 0 0 2 2
0 0 0 2 2
œœœ œ œ
œœœ œ
œœœ œ œ
œœœ œ
0 1 2 2
0 1 2 2
0 1 2 2
0 1 2 2
0 2 1
0 2 1
2
2
B 7/F#
E m/G
œœ œœ œ œ
0
0 2 1
2
2
Em
0
#
3
B7
2
17
&
œœ œœ œ
0
9
&
œœ œœ œ œ
E
œ œ œœ œœ œ œ # œœ œœ œ œ œ # œœ œœ œ œ œ 0 2 1
0 2 1
0 4 2
2
3
0 4 2
0 2 1
3
0 2 1
2
Em
0
œœ œ œ œœ
œœ œœ œ
œœ œœ œ œ
œœ œœ œ
0 0 0 2 2
0 0 0 2 2
0 0 0 2 2
0 0 0 2 2
2
3
0 2 1
# œœœ œ
œœœ œ
0 1 2 2
0 1 2 2
0 2 1
0 2 1
2
0
E /G#
Am
#œ
œœœ œœœ œ œ 0 0 4 2
0 0 4 2
0
4
C7
B7
œœ b œœœ œœœ
n œœ œœ # œœ œœ œœ
3 2 3
0 2 1 2
2 3
œ
3 2 3
1 2
œœ œœ œ
œœ œœ œ
0 0 0 2 2
0 0 0 2 2
œœœ œ
œœœ œ
0 1 2 2
0 1 2 2
œœ Û Û œœ œœ Û Û
0 0 0 2 2 0
B7
œœœœœœ 2 3 2 0
Em
0 2 1 2
3
œ 0
3 2
œœœ œ
œœœ œ
0 1 2 2
0 1 2 2
Û Œ Œ Û
# 4 U U U U U U U U U U U U U U U Uœ Uœ #Uœ Uœ #Uœ nUœ #Uœ Uœ #Uœ Uœ #Uœ Uœ #Uœ & 4 #œ œ nœ #œ #œ œ #œ œ # œ œ # œ nœ #œ œ #œ
Ex. 7
(continue down)
B
1
2
3
4
1
2
3
4
1
2
3
4
1
2
3
4
1
2
3
4
1
2
3
4
1
2
3
4
* Hold each finger down on fret until just before finger moves to next note. December 2013 ACOUSTIC GUITAR
AcousticGuitar.com 51
Stéphane Wrembel I would like to show you an exercise that is very good. This is how I practice. First I use a timer. I usually like to do groups of five minutes. I start the timer, and until the timer stops, I’m just focused on my exercise. You can fit way more information into five minutes if you don’t have to worry about time. When I wake up in the morning, the first thing I do is I take my guitar and I do this exercise. It is very easy [Example 7]. You just move like that—one, two, three, four—one finger after the other. I try to have [the notes] sound clear, and move the fingers at the last second, leaving the fingers on the frets. That helps with the strength of the [fretting] hand, with the
coordination of the two hands, and with the placement, and it gives you a good habit for the legato. Usually, what I tell my students is you do the exercise once—that’s it. This is how you start your day. If you do this too much, you can really hurt your hand, so you have to be careful. Developing strength is good, but you have to do it gradually.
What are the best ways to develop your abilities as an improviser? You don’t learn to improvise better by playing scales or by playing arpeggios or anything. You get better at improvisation by improvising
more. I’m lucky enough that I have between five and seven shows a week, so I always improvise at night. I don’t need to improvise during my practice. If you don’t have a concert or a jam with friends or anything, it’s a very good thing to allow a certain time to just jam—even releasing the chi. Just play it off and replenish it the next day. But to learn to improvise, it’s not about how much you know. For example, a lot of classical players know so much more than any jazz players in terms of harmony, positioning, scales and arpeggios, counterpoint with four voices moving, and stuff like that. They know crazy stuff and read everything, but they can’t improvise on a chord. Why? Because they didn’t develop the state of mind. Improvising is a state of mind. In order to improvise better you need to improvise more. That’s it. You have to start somewhere simple and just play with it, and then you start playing in different chord progressions. But it’s a lot about doing it for hours and hours and hours.
Do you see yourself ultimately more as a composer or as a guitarist?
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52 AcousticGuitar.com
I don’t see myself as a composer or guitarist. This is just a vehicle. This is just what I do, you know what I mean? The music is the tool I use to express, but music is not a goal. I like to say it’s like a hammer. I use it to hammer my layers, you know, to try to go deeper into my psyche. Music is a language that everyone understands, so the content of it is different for every human being. ag
What e lays Acoustic Guitars: Stéphane Wrembel plays contemporary versions of the Selmer Maccaferri guitars played by Django Reinhardt. Wrembel’s concert guitars are built by Bob Holo (see “Building a Nouveau Selmer,” page 50). For practice, Wrembel plays a Gitane DG-255, and a Gitane DG-340 Stéphane Wrembel model with the frets removed (when the guitar was being refretted, he tried it with no frets, loved it, and asked to keep the instrument like that). Amplification: French-made Ischell Inside Box plus CPJ contact mic (ischell.com), which Wrembel calls “a miracle.” He uses an L.R. Baggs Para DI and AER Compact 60 acoustic amps (sometimes two onstage and even a third as a monitor). His pedals include a Boss TU-2 tuner, an Electro-Harmonix octaver, and a Boss EQ that he uses only as a volume pedal. Accessories: Heavy Wegen picks. Savarez Argentine 1610 MF strings with an .011 first string.
ACOUSTIC GUITAR December 2013
istro ada
usic by Stéphane Wrembel AABBACCA. The melody has a distinct Django-esque feel, from the fleet-fingered runs up, down, and across the neck, to the thick lateral vibrato that Wrembel often uses on the last note of a phrase—plus it has the unmistakable punchy tone of a Selmer Maccaferri–style guitar. The tune makes ample use of triplets, both fast (with eighth notes, as in measure 13) and slow (with quarter notes, as in measures 72–75). No matter what type of guitar you use, “Bistro Fada” is a blast to play—and a great single-note workout as well. —J.P.R.
Stéphane Wrembel wrote “Bistro Fada” for Woody Allen’s Midnight in Paris. He composed and recorded the music in just a few hours, based on a traditional musette chord progression in Em, in 3/4 time. This transcription is based on the Midnight in Paris soundtrack (the same version appears on Wrembel’s album Bistro Fada). An improviser at heart, Wrembel plays the tune a bit differently each time. Note, for instance, that his demonstration of the chords in Example 6 (page 51) varies in a few spots from the chords shown here. “Bistro Fada” follows a three-part form:
Intro
Em
E m/G
F
B7
m7 5
Em
E m/G
F
Gtr. 1
(continue in chord frames) 0 0 2
B
m7 5
0 0 2
0 0 2
0
2
3
A
B7 Gtr. 1 x 213 0 4
0 0 2
0 2 2
0 2 2
2 3 2 0
2
0 0 2 3 2
0 0 2
0 0 2
0
0 0 2
0 2 2
2
3
1 2 2
2
Em
0 12 0 0 0
3 8
Gtr. 2
B
2
4
1 2 4
5
75
8
3 4 5 4 3 4
4 5
4 7 6
5
4 6
4 5 7
8 10 8 7 8
6 7
8 7
6 7 10 8
B7
x 213 0 4
15
© 2012 STÉPHANE WREMBEL MUSIC PUBLISHING—ASCAP
7
7
7
B
4 5 7 4 5 7
Em
B7
2 4 5 2 4 5
4 7 8 7
Em
x 213 0 4
0 12 000
5
3
3
22
B
7 9
7 10 7
December 2013 ACOUSTIC GUITAR
8
6 9
0 12 0 0 0
8
6 7
7 9 2
4
1 2 4
5
7 5
4 5
3 4 5 4 3 4
8
4 7 6
5
5 6 5 4 5
AcousticGuitar.com 53
Stéphane Wrembel E7
E 7/G
Am
3 x0 4 00
0 2 0 1 00
Em
x0 231 0
0 12 0 0 0
3
29
6 5
7
4
6 5
∑
7 5 4 5 4
B C7
8 7 5 8 7 5
4
7 6
6
To Coda
B7
x 213 xx
5
7
Em
x 213 0 4
0 12 0 0 0
1.
B7
5
2.
9
7 5 4 7 5 4
5
B
x 21 3 1 x
B7
1 3 1 2 11
7 fr.
3
3
36
4
4
4
4 5 4 3 4 5
B
4 3 4 6
4
5
5
5 2
Em
x 1 342 1
4
1 2 4
6 7 8
B7
1 3 1 2 11
7 fr.
9 6
Em
x 1 342 1
7 fr.
8
6 7
7 fr.
3
3
43
B
9
7 9
8
7 10
8 10 8 7 8
7
B7
1 3 1 2 11
8
9
8 9 11
12
10 8 7 10 9
8
8
9
Em
x 1 342 1
7 fr.
6
9
B7
1 3 1 2 11
7 fr.
3
8 9 10
Em
x 1 342 1
7 fr.
7 fr.
3
50
11 8
B
8 11
10 9 8 9
1.
10
8 11 14 12 14 12 11 12 14 15
2.
D.S. al Coda 3
57
Coda
14 13 12
14 12 11 12
C G6 T 2314 x
14 13 14
14 14
B7
1 3 1 2 11
7 fr.
59
5
B
12 12 13 12 11 12 15
67 8
54 AcousticGuitar.com
2
4
1 2 4
4
5
3 5 7 3 5 7
3 5 7 3 5 7
4 5 7 4 5 7
B ACOUSTIC GUITAR December 2013
E7
x 3241 x
Am
1 34 111
5 fr.
D7
1. 5 fr.
x 3241 x
3 fr.
3
63
4 5 7 4 5 7
4 7
5 7 5 4 5
10 8 7 8 12 8
10
10 10
10 10 8 8 7
7 8 10 7 8 10
7
B G6 T 2314 x
F 11 134200
B7 x 213 0 4
D7 x 3241 x
3
3
3
2.
Am
1 34 111
3 fr.
5 fr.
3
70
7
10 10 8
8 8
B C 69
C
x 2113 x
dim7
x 2314 x
G6
6
7
6
5
x 3241 x
A7
1 3 1 24 1
5 fr.
7
8
9
E7
T 2314 x
6
9
8
D7
x 3241 x
5 fr.
8
7
G6
B7
T 2314 x
3 fr.
8 10 11
10
9
1 3 1 2 11
7 fr.
3 77
12
12 15
15 14 17 15 14
15
15
14
12 14 12 11 12 15 12
13
12 13 15
12
12
B
2
D Em
4
1 2 4
B7
3 85
B
5
7 5
4 5
3 4 5 4 3 4
8
4 7 6
5
4 6
4 5 7
8
8 9
7 8
6
7 8 7
6 7 10 8
7
3
92
4 5 7 4 5 7
B December 2013 ACOUSTIC GUITAR
5
5
5
2 4 5 2 4 5
4
4
4 7 8 7
6 7
6 9
7 9
8
7 10 7
AcousticGuitar.com 55
Stéphane Wrembel Em
B7
Em 3
99
8
7 9
B
2
E7
1
4
2
4
5
E 7/G
7 5
4
Am
7
4
6
5
7
5
4 5 4
B
7
6
Em
4
4
5
4
3
4
8
8 6
7
6
4
7
6
5
8
7
5
5 6 5 4
5
∑
3
105
5
3
7
7
C7
B7
5
5
5
5
Em
3
111
7
5
4
7
5
4
4
4
4
4 5 4 3
4
5
B
LISTEN to this guitar at bit.ly/listencg
4
3
4
6
4
5
4
5
2
The Original Guitar Chair
the details make the difference
(quick link to youtube)
Hand Made small Guitars with a
BIG
Sound Proudly made in the USA
[email protected] 56 AcousticGuitar.com
1-877-398-4813
www.OriginalGuitarChair.com ACOUSTIC GUITAR December 2013
