When you hear the guiÂtar playÂing of DjanÂgo ReinÂhardt, with its fluÂid phrasÂing and lightÂning-fast arpegÂgios, it’s incredÂiÂble to think that he had only two good finÂgers on his left hand.
When ReinÂhardt was 18 years old he was badÂly burned in a fire. It was late on the night of NovemÂber 2, 1928. The young guiÂtarist was at home with his comÂmon-law wife, BelÂla, in their gypÂsy carÂaÂvan on the edge of Paris. To scrape togethÂer a litÂtle monÂey, BelÂla had been makÂing artiÂfiÂcial flowÂers out of paper and highÂly flamÂmaÂble celÂluÂloid. When DjanÂgo acciÂdentÂly knocked over a canÂdle, the mateÂrÂiÂal from the flowÂers ignitÂed and the trailÂer was quickÂly engulfed in flames.
They both surÂvived, but DjanÂgo would spend the next 18 months recovÂerÂing from terÂriÂble injuries. When a docÂtor expressed interÂest in ampuÂtatÂing his right leg, ReinÂhardt left the hosÂpiÂtal and moved into a nursÂing home, where he evenÂtuÂalÂly got betÂter. The two smallÂest finÂgers on his left hand–crucial to a guiÂtarist for articÂuÂlatÂing notes on the fretboard–were parÂaÂlyzed. A lessÂer musiÂcian would have givÂen up, but ReinÂhardt overÂcame the limÂiÂtaÂtion by inventÂing his own method of playÂing. With his two good finÂgers he moved rapidÂly up and down the guiÂtar neck while makÂing very limÂitÂed use of his two shrivÂeled finÂgers on chords, douÂble-stops and triple-stops. He rose above his handÂiÂcap to creÂate one of the most disÂtincÂtive instruÂmenÂtal styles in 20th cenÂtuÂry music.
For a rare look at ReinÂhardt’s amazÂing techÂnique, watch the excerpt above from the 1938 short film, Jazz “Hot.” It feaÂtures ReinÂhardt with vioÂlinÂist StĂ©phane GrapÂpelÂli and their band, QuinÂtette du Hot Club de France, playÂing a swing verÂsion of the popÂuÂlar song “J’atÂtendrai.” (It means “I will wait.”)
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REMARKABLE..PEACE
IncredÂiÂble! PlayÂing with two finÂger what I wish I could play half as good with all five.
Thank you so much for sharÂing this DjanÂgo and Stephane GrapÂpelÂli were my late mothÂer’s favourites.… marÂvelÂlous memÂoÂries.…..
The last two finÂgers on his right hand weren’t parÂaÂlyzed. They were twistÂed into a claw shape by the scarÂring on the tenÂdons. He was unable to straightÂen them out, requirÂing him to creÂate new finÂgerÂings for chords, and he was also able to use them for playÂing octaves.
I taught guiÂtar for sevÂerÂal years and on occaÂsion some stuÂdent would comÂplain that he or she had short fingers.(So do I, big deal)I hapÂpened to have a casÂsette tape of Mr. ReinÂhardt and would play it for the stuÂdents. They would be amazed in his sound. After the music, I would comÂment, “This guy had only two finÂgers on his left hand, go pracÂtice!” That usuÂalÂly stopped the whinÂing. Great musiÂcian.
As a LifeÂtime HarÂmonÂiÂca PlayÂer — in my earÂly to mid or so 40’s I had to begin all over again from scratch due to MS and CIDP relatÂed paralÂyÂsis, breathÂing defiÂcienÂcy, and asthÂma. I spent 6 to 7 years develÂopÂing a HarÂmonÂiÂca Style I had nevÂer known or heard of any othÂer HarÂmonÂiÂca Player(s) ever havÂing played. A HarÂmonÂiÂca Style I had to perÂsonÂalÂly figÂure out and develÂop entireÂly from scratch. After all of the years it had takÂen me to develÂop and learn how to play it — I finalÂly had a HarÂmonÂiÂca Style that enabled me to play harÂmonÂiÂca as well as to be able to breathe while playÂing harÂmonÂiÂca. This is the levÂel of my dedÂiÂcaÂtion and pasÂsion for playÂing music. HowÂevÂer — it is a SinÂgle Note Style in which I play only a sinÂgle note at a time which conÂserves my breathÂing and still enables me to play DiaÂtonÂic HarÂmonÂiÂcas so smoothÂly as to sound conÂtinÂuÂous as I am playÂing harÂmonÂiÂca. I was told by a proÂfesÂsionÂal HarÂmonÂiÂca PlayÂer this style is called, “Triple TonguÂing.” I had learned how to play it havÂing no knowlÂedge it had ever existÂed.
CurÂrentÂly — I am beginÂning to develÂop a more advanced HarÂmonÂiÂca Style that I know beyond any doubt has nevÂer before been played on HarÂmonÂiÂca. If it takes years for me to develÂop it then I will have enjoyed the jourÂney. First I need to develÂop the physÂiÂcal mechanÂics of how to use my tongue, mouth, breathÂing, and pasÂsion to make playÂing this style a rare delÂiÂcate posÂsiÂbilÂiÂty. From my years of expeÂriÂence develÂopÂing how to play Triple TonguÂing HarÂmonÂiÂca — I learned how to cherÂish havÂing patience.
Now I am also hopÂing to develÂop a style to enable me to play FinÂgerÂstyle GuiÂtar. I refuse to mereÂly strum the guiÂtar. There would be no pasÂsion for me in mereÂly strumÂming my guiÂtar. The difÂfiÂculÂty — I have varyÂing degrees of perÂmaÂnent paralÂyÂsis in both of my hands due to MS and CIDP. I am hopÂing to learn the left hand finÂgerÂing played by DjanÂgo ReinÂhardt. Even this will require me to have to spend time workÂing with my left hand. As for the paralÂyÂsis in my right hand — I have yet to find a way to do the right hand finÂgerÂing of the steel strings on my guiÂtar.
My request is this — do you have any detailed inforÂmaÂtion regardÂing DjanÂgo ReinÂhardt’s left hand playÂing?
I am curÂrentÂly 67 years of age and have a sinÂcere love for playÂing music.
David Budd Sr.
I am sure you are familÂiar with his work, but if not you will be hapÂpy to disÂcovÂer the work of Jim ConÂway, and his bands The BackÂslidÂers and Big Wheel. Jim has been the king of the blues harp in AusÂtralia for 40 years — while havÂing sufÂfered through a difÂfiÂcult fight with MS.