Coquette

4 4
4
1 1

   
1
2 2
2
D%
 
3 3
E-7 A7

         

1      
3

    
1

     
1 1
1

   
1 1 2 3 3 2
1

    
2 3 1 1 2 2 1 2 1 2



nice voicings
for dominant 9 chords B minor arpeggio
(G7-G#7-A7 here)

                   
 
   10  10  12  

15 16 17 10 10 10
12 13 14 12 12 10 10
14 15 16 11 11 11 13 11 10 11 10 11
15 16 17 12 9
9
10

4
4 4 4 4
4 2 4 4


2

   

2 3

                  
2

   

E-7 A7 D%
    
3 1 3


3


1 1

   
1
5
      
1 1 1 1

      
2 2 2 2 1 1 3

        

The trick to making these descending dominant chords

sound good is playing everything really laidback
(except for the last two chords). Listen closely to how
Stochelo times this, it is exactly as it should be!

                     


   

10 10 8 8 8 8 6 6 6 6 5
10 10 10 10 10 10 8 8 8 8 6 6 6 6 5
11 11 11 11 11 11 9 9 7 7 7 7 5 5 5 5 4
7 7 9 10 10 8 8 8 8 6 6 6 6 5
9 9 7 7 7 7 5 5 5 5 4

D%

    
E-7 A7

 
1
     
         
1 1
9 2 3 1 3 2
 
1

 
2 1 1 2 2 1 2 1 2


3

 


                
 
 

10 10 10


12 12 12 10 10
11 11 11 13 11 10 11 10 11
12 9
9
10
2

       
E-7 A7 D%
   
  
13 1 1 1 1

          
3 1


2 2 2 2 1 1 2 2 1 1 1


3

             

3

  

10 10 10 10
11 11 11 11 11 11
7 7 9 9 9 9 7 9 7 6 7

  
G6

        
A-7

4


D7
     
1

      
2
17 4 1 1

  
1 2 2 1 3 1 3 1 2 1 2 2


1 1

    3             
  

7 8 10 7
7 8 10 7 7
7 8 9 9 7 9 7 6 7 9 9 9 9

E-7 4

    
2
E7 0 4
A7

  
        
3 0 2 2

   
0
1

 
3 3 2


4 4 3
21 4


1 3 1

   
1 2 3

       
1 1
1 3

  
1 2 2 1 3

 3
3
3

Standard dim arpeggio The zero above the

fingerings means Voicing for an octatonic chord.
"harmonics" You can recognize these chords
by the 9 and b13 extensions.
    3   3   3          



7 12 12 7 5 7 7 7 7 7 7


9 12 12 7 5 6 6 6 6 6 6
9 10 11 7 10 6 6 6 6 6 6
6 9 5 5 5 5 5 5
7 8 9 5 6 7
 3

D%

   
 
1
         
          
1 1 3
25 2 3 1 1
1 1 1 1
2 1 1 2 2 2 2


3

 
 3

Stochelo changes the way he plays the theme in the

third A (compared to the first two) in these bars for variety

                  

3

 

10 10 10


12 12 12 10 10 10 12 10 10 10
11 11 11 11
12 9
9
10

     
E-7 A7 D% A7

          
2

 
1

 
29

1

             
1 1 1 1 2 1 4 3 3 2
2 2 2 2 1 1 1 2


3 1 3 1 3 1 2

3 3

3
                 
 
3

  

6 8 6 5
10 10 10 10 8 8 5
11 11 11 11 11 11 7 6 9 6
7 7 9 5 8 7 6 5
6

    
 
D% E-7 A7
  
4

    
2 1 3

  
1
33 1

 
4 1

       
4 2 1

   
4 1 1 3 1 2 3 1 1
1 4 1 2 1 2 1 1 2 2 1 1



Stochelo thinks D major here and plays a phrase based on Dmaj7 and Bm7 arpeggios, E minor lick
you'll find very similar phrases in the solo on Daphne at the Rosenberg Academy. Check
that one out as well!
                             


5 7 7 15 11 14 12
7 10 7 7 10 7 8 15 12
6 9 6 7 7 7
4 4 7 9 7 8 9
7 4 5
4

        
E-7 A7
     
D%


A7

     
37 1
4 4 4 4

  
1 3 3 1 2 3 2 1
1 3 1


1 4 2 1 1 2 2 2

3 3
   
3

Typical manouche major lick to end part of a chorus

  3
                  
  

12 11 14 14 14 14 10 11
14 12 14 12 12 12 12 9
14 12 11 10 9
3 10 5 5 5
3

 
D% E-7 A7


41

            
4 2 1 1 4 1 1 3 1 3 3
3 1 1 1 3 1 3 1 1 2 3 1 3 3 3 2

     
1

   
       
lick for B7b9 which flows nicely
to the Em7 chord


                     
 

5 4
4 7 4 7 4 5 7 7
7 5 7 5 4 5 6 6
7 5 4 5 7 7 7 7 5 5

A7
 
 
E-7 D%
 
 
    
1 4


45

  
1 1


1

       
1 3 2 2 3 2 3 2 1 1
3 2 1 3 1 2 2 1 2 2

     
3 
Stochelo skips the Em7 here and plays two bars of
Eb7 which is the tritone sub for A7

               3       
 

6 11
8 14 11
6 9 12
5 8 13 12 11
6 13 11 12 12 11 10 9 4 5 6
10 5
 5

     
A-7 D7 G6
     
49

       
4
1


1 3 1 1
2 4 4 1 1 3 1 1 2 2 1 4 1 2 1 0 1 2 1 1 3 3 2

    
3 1 1 2 2


3      
Nice melodic II-V-I lick, practice in G(here), Ab, A, Bb, B, C, Db and D. In other keys than G of course
you can't use the open strings but play the equivalent note with your first finger.

              3                 


4 7 3
4 6 4 3 3 5
4 5 7 5 3 4 4
4 5 7 4 3 2 2 4 5
7 5 2 2
3 2 0 2 3

E-7

  ( )      
(3) (3)

   
E7 A7 2 (4)

     
2

 
1 1 3
53
   
1 1

 
1 4

     
1 3 3 2 1 2 1
2 2 3

     
1 3 4 3 1 1 2 1 1 1

 3 3

3

Dim arpeggio This fast Stochelo triplet lick sounds very exciting
and impressive if you articulate it well. If you have
trouble picking this, focus your attention on the
first down stroke of the fourth beat (E) and make sure
you hit that one cleanly, the rest will follow suit. Also:
practice SLOWLY with METRONOME! If you don't
have one: http://www.metronomeonline.com.

                        
  
(X)


4 7 15 11 14 12
5 9 15 12
4 7 10 3 12 14 12 10
6
7 8 6 7
6 9 3 14 13 12 11 11

3
6

                  
D%

E-7
 
A7

57 3

      
2 2 1
2 1 1 1 1 1 3

     
3 1 3 1 2 2 2 1 1 2 1

This blues flavoured lick is one of Stochelo's favourites. It is all over

Stochelo plays a B7 lick here,
tunes in major keys at the academy.
this works because the next chord is
Em, B7 is the V for Em.

                   

   

11 10 10 10 10 10 11 14 17
12 9 12 12 9 13 16
12 12 15 14 13 14

A7

          
E-7

 
2 2 2
A7
   
2 1

   
1 1 2

            
1
61
2 3
1 D% 3 1 3 2 1

  
1 3 3 2 1


1 1 3

 
1 3 1 3 1 2 1

3 3

Eb7 lick, Eb7 is the tritone Stochelo also plays this

sub for A7 one in his solo on Daphne
here at RA.

3 
    
muted note

     3              


14 15 14 12 12 17 17 17 14
16 15 12 13 11 14
12 12 12 15 13
14 12 14 12 11 13 11 11 14
13 11 12

     
D% E-7 A7

          
4

  
65 2

  
2 1

      
1 2 1 3 1 1 1
3 1


1 2 3 1 2 1 3 2 2 2

B7 (to Em again) two bars of Em, so skipping the A7

     
muted note

              
 

15 12
13 14 14 12 14 16 14 13 12 12
13 16 14
11 12 12 15 13 14 14 14 14
 7
E-7

  ( )     
(3) (3)

   
A7 D% A7
   
2 (4)

        
2
1 1 3


69 4


1 2 1 1 (2)
1 3 2 1 4 1

       
3 2


2 1 1 1 2 1 1 1 1 1

3 3 3  
In this case the last Bb in bar 72 (b9 of A7) prepares for the following D chord. If you would change that Bb
to an A you have an excellent II-V-I lick to practice in E, Eb, D (here), Db, C, B and Bb!

                            


15 (X) 11 14 12


15
15 12 14 12 10 10
3 12 12 10 11
3 14 13 12 11 11 9
12 9
10 9 8 7 6 5
3

       A7
E-7
     
        
3 3 2

 
2 2 2 1 1

  
1
D% 2 1 1 3

   
73 1 3 1 3 3 1 1
1 1

       
2 1 3 1
3 1 2 1 1 3 1

Nice long phrase in D E-7 lick

3
                            


9 7 10 9 12 10 14 12 15 11 14 12 14 13 12
8 7 15 12
9 7 12
5 4 9 7 14 12 14 12 11
7 5

E-7
 
 
D%

             
A7
  
1 4


77 1 (4) 1 3 1


2 2 2 2

      
2 3 1 1 1 1 1
1 3 2 1 1 2


1 3 1 2 1 3

Eb7 arpeggio

                      


11
14 11
12 11 12 14 12 11 12 11 12 11 12 11 12 11
13 11 11 14 12
13 11 12 12 10 9
10 10
8

D7
G6
     
    
3

             
A-7 3 1


3 3 1 1 3
1
81 1

     
2


2 2 1
1 3 2


1 2 1 3 2 1 1 4 1 1 1

 3 3
  
3 3

Stochelo plays A7 altered in bar 81 leading to a triplet lick on

D7 in bar 82

 3       3   3   3          
1/2

 

13 11 10 13 10
13 11 13 13 10 11 11 10
12 11 11
10 11 12 11 10 12 11 10 9 12
9 7 7 7

         
       
E7 3 2 1 4
3 2


1
85 3 2

  
1 1 1
2

     
2
2 1 3 1 3 3 2 1
1 2

3 3 3 3 3 3
3 3

The chords of the bridge of "Coquette" are practically the same as the chords of the bridge of "Webster" (only a half step down). If you
compare the licks in this bridge to bar 49-56 of "Webster" you will find they are very similar. These kind of realisations are an important
step to understanding how to use and vary licks in different songs and chords!

 3   3   3   3   3   3   3   3 


7 14 13 12 14 13 12
9 15 12 14 13 12
7 10 13
6 9 14 13 12
5 6 7

E-7
   
               
4

  
A7 1


1 2
3


2 1 3 2
87 2 3

 
1 1
3 2 1 3


3 2 2 1


3 3 3 3 3

 3   3   3   3   3        


12 17 14
14 13 12 14 15
16 15 14 12 15
16 15 14 11 14
16 15 12
 9

E-7
    
A7
            
       
D% 2 2
3 1
2 2
1 1
3 4
4
89 2

    
1 3 1


3 1 1 3 1
3 3 3 2


1 1 1

3 3 3 3

I changed this lick slightly to only triplets.

Stochelo plays even more notes but also
misses a few. The way it's written here
is a bit easier and achieves the same effect.
This F dim arpeggio leads nicely to Em7.

     3   3   3   3           


16 13 13 12 14
14 14 15 15 15 12 14 12 12
14 16 13 13 16 12
16 15 12 15 14 13 11 11

E-7

   
 
A7

                        

4
D% A7
 
1 2 1 3
93 1
1 1 3 1
4
3 1 1 2 2 1 1 1 1 1

     
1 2 3 1


4

3 3

Stochelo begins this lick one fret too

high by accident. It is corrected in the
TAB

                     

3

    

15 11 14 12
15 12
12 11 14 10 11 10 10 10 10 10
14 12 14 12 12 12 12 9 12
14
3

                             
D% E-7 A7
97 2 2
2 1 1 1 1 1 2 1 1 1 1 1

          
3 1 3 1

From bar 97 to 103 Stochelo is not following the chords per se but repeating his favorite blues lick. Blues licks usually fit over

               
 
I and IV chords and turn arounds (or II-V progerssions), which is what the A-part of Coquette consists of

       

11 10 10 10 10 10 11 10 10 10 10 10
12 9 12 12 9 12
10

                  
E-7 A7 D% A7

     
101


2 2 2


2 1 1 1 1 1 2 1 2 1 4

        
3 1 3 1 3 1 4 1 2

Stochelo is delaying the A7 chord with

an E7b9 lick here, the A7 follows in the
next bar and is thus also delaying the
D chord in his solo.

                 
 
   

11 10 10 10 10 10 11 10 9
12 9 12 12 9 9 12 12 9 10
12 9 10 11

            
A7
     
D% E-7
    
1 2 (2)
105 2

     
(2) 4 1 1
3 1 3


3 2 2 1 1 2 2


3 1 1 2 1 4 1 2 1 1 1 3 1 3

    3
Still on A7 Stochelo is ignoring the chords
Finally on D completely and plays G- which
is IV Moll Dur in D. This is
common Django trick and often

  3           
used by Stochelo.

               


7 10 8 6
11 10 10 7 10 7 8 8
9 12 12 10 11 7 7
11 11 9 8 9 8
12 9
10 9 8 7

      
E-7 A7 D%

  
 
2
109

3 1 (2)

   
4 4 1 3 3

 
3 1 1 2 1 1 1

 
1 1 2 1 1 4 2 1 2 1 4 1 2 1 3 1

 
1 2 1

             
3 Anticipating the bridge by landing
C#dim arp.
early on Am

    3                


7
6 8 6 5 5 8 8 5
7 5 5
8 5 4 7 8 5 4 7
5 4 5 7 5 4 5 7 4 5
6 5 6 5
 
G6 11

            
A-7 D7
    
113 1


1 3 1 1 2 2 1

   3            
3 1 3 2 1 3 1 3 2
2 1 3 1 3 1 12 1

   
1 2 3 1 3 1 3 3 1

3 
Excellent II-V-I lick to practice in multiple keys!
3
                   3        



5 7
6 4 7 8 7 7 8 7
5 5 8 7 9 7
7 5 7 5 4 6 4 4 7 9 9 7
6 4 5 9 8 7 8 7


                
E7 3 E-7 A7

  
1 3 1 3
117
      
1 1 1

    
3 1 3

  
1 1 1 1 1 3 1 2 2


1 3 1 3 1 3 1

E7 lick in bar 117/118 followed by a variation of the same lick on Eb7 in bar 119/120. Stochelo ignores the E-7 and plays Eb7 which is
the tritone sub of A7.

      3                   
 

9 7 9 7 6 7 8 6
7 9 7 6 8 6
7 7 6 6
6 9 9 5 8 8 6 7 7

        
D% E-7
          
A7
   
3

      
1 1 1 1 3
121 2 3 1
1 1 1

    
2 1 1
1 2 2 2 2


3 2

 
 3

                    

3

   12 11   

10 10 10 10
12 10 10 10 12 10 10 10
11 11 11 11
12 9
9
10

3
3
1
1
E-7

2
2

 
A7
  
D%
          
2 1
125 1 (2) (3)

     

2 3 1 1 4

      
3


3 1 1 1 1 1 2 3 1 2 1 2 4 1 2 4 4 1 1 2


2

3
     
Nice II-V-I lick
3 
                        


9 8 7 5
8 7 5 5
9 7 9 7 5 6 6 4
7 6 5 4 7 4 7 5 4 4
5 4 4 5 7 5 5
5 7 5