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1. Gypsy Jazz Overview
Ben introduces the Gypsy Jazz section of My Method, explaining how he moved from electric session work into this demanding acoustic style and why it’s valuable even if you’re not a Django fan. He breaks down the unique right-hand technique, tone, and feel through a practical hybrid approach, sharing how it shaped his career and how he’ll unpack the technique, theory-by-ear, and music behind it.
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2. Guitar, Pick & Strings
Ben breaks down the essential gypsy jazz gear he uses, focusing on his custom Selmer-style guitar, heavy string tension, and a large beveled pick that shapes his tone and projection. He explains why setup, pick choice, and feel matter more than tradition, and how his approach balances authenticity with practicality. Rather than following strict rules, Ben shows how to adapt the instrument, strings, and technique to serve sound, dynamics, and musical expression.
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3. Specific Right Hand Position
Ben explains his approach to gypsy jazz right-hand technique, focusing on freedom of movement, projection, and natural resonance rather than rigid rules. He shows how keeping the hand off the guitar allows the instrument to ring fully, improves rhythm and tone, and enables the powerful rest-stroke sound essential to the style. While acknowledging traditional methods, Ben emphasizes developing a natural, practical technique that prioritises feel, dynamics, and musicality over strict dogma.
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Basic Picking Mechanics & Rest Stroke
Ben explains that gypsy jazz is about targeting harmony with arpeggios rather than running scales, and that the sound comes from a steep pick angle with rest-strokes where string changes happen on downstrokes. When things get too fast or complex, he shows how he keeps the feel by subtly using pull-offs to stay musical without rigidly sticking to the hardest picking rules.
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5. Rest Stroke Pt .2
He’s saying the rest-stroke is mainly a mechanics + phrasing tool: practice it slowly by “pushing through and hopping” between string pairs (E–B, G–B, D–G, A–D), then expand to 3–4 strings so you can jump cleanly without anchoring or looking. He also warns that at the very top string you can end up clicking the guitar because there’s nowhere to “rest,” and that some players embrace that noise but he tries to avoid it. The goal isn’t speed yet—it’s nailing grip, pick angle, and accuracy so later you can add upstrokes, chord context, and more musical lines (arpeggio-style phrasing) that sound authentically gypsy-jazz.
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6. My Story
Ben explains that he does not consider himself a traditional gypsy jazz player, but rather a guitarist heavily influenced by gypsy jazz techniques and ideas. After studying with players like the Rosenbergs, he developed his own approach that blends gypsy jazz phrasing, rhythm and picking with rock, fusion and shred influences. This section focuses on learning those concepts respectfully, while using them as tools for technique, improvisation and musical expression across many styles, not just gypsy jazz.