Owner content reviewed — 2026-10-19T04:10:10Z by admin. Coverage measures presence, not accuracy. Content review does not certify rights or musical perfection.
See what is here and what is missing
✓ Recording evidence
✓ Key & form
✓ Chart
✓ History
✓ Playing notes
✓ Practice plan
✓ Backing track
✓ Django recording
○ Django solo study aid
✓ Illustration
✓ Sources
✓ Difficulty
Django's Recordings
Django recordings for this tune. Uploader dates and take labels remain source claims; only an evidenced exact association enables a row’s Listen control.
1 historical recording entries · source text preserved
Entry
Year
Recording / session / release evidence
Listen
01
1940
A Pretty Girl Is Like A Melody, 22/2/40, OSW 116-1 ,"Fremeaux FA 310, Classics 831 "," - Paris - Andre Ekyan(as),Django & Joseph Reinhardt(g),Emmanuel Soudieux(b)"
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A dash means no video has been associated with this exact historical recording. Tune-level listening resources remain available above.
History & Listening
The publisher identifies Berlin’s song in the 1940 session sequence. The inherited grid is extended and unevenly grouped; it should be studied as a source edition, not squeezed into AABA.
Tune details
Music: Irving Berlin
Words: Irving Berlin
Documented in archive: 1940
Original key: Not established
Study level: Intermediate; melody, pulse and arrangement awareness
Melody & head
An extended Berlin melody for careful form reading and chromatic dominant connections.
The inherited row grouping is not proof of a conventional 32-bar form.
An extended Berlin melody for careful form reading and chromatic dominant connections.
Session evidence
A Pretty Girl Is Like A Melody, 22/2/40, OSW 116-1 ,"Fremeaux FA 310, Classics 831 "," - Paris - Andre Ekyan(as),Django & Joseph Reinhardt(g),Emmanuel Soudieux(b)"
Notice G–Eb7–D7, then the descending dominant chain C7–B7–Bb7–A7. The later C–Cm motion adds a contrasting colour; chart symbols such as GMA7 and C+ need edition-specific checking. Check the video key before playing with the chart.
Chart & Form
Notice G–Eb7–D7, then the descending dominant chain C7–B7–Bb7–A7. The later C–Cm motion adds a contrasting colour; chart symbols such as GMA7 and C+ need edition-specific checking.
Inherited chart retained exactly. Harmonic comments refer to this edition; ambiguous symbols are flagged rather than silently corrected.
Inherited text chart
1G
2G Eb7
3D7
4G
5G
6G Eb7
7D7
8G
9C Cdim.
10G E7
11A7
12D7
13G
14G Eb7
15D7
16G
17C7 B7 Bb7
18A7
19A7
20Bmi D7
21D7
22G
23Gmi G
24G
25G
26G7
27C
28Cmi
29GMA7 C+
30A7 Emi7
31A7
32D7 C
33D7 C7 B7 Bb7
34A7
35A7
36Bmi D7
37D7
38G
39G7
40E7 Ami
41Ami
42Gb7
43B7
44E7
45Ami
46Ami F7
47D7
48G
49G
Original chart text & notation
Verse :
| G | G Eb7 | D7 | G | G | G Eb7 | D7 | G |
| C Cdim. | G E7 | A7 | D7 | G | G Eb7 | D7 | G |
Chorus :
| C7 B7 Bb7 | A7 | A7 | Bmi D7 | D7 | G | Gmi G | G | G |
| G7 | C | Cmi | GMA7 C+ | A7 Emi7 | A7 | D7 C | D7 C7 B7 Bb7 |
| A7 | A7 | Bmi D7 | D7 | G | G7 | E7 Ami | Ami |
| Gb7 | B7 | E7 | Ami | Ami F7 | D7 | G | G |
A Pretty Girl Is Like A Melody/backing track/bpm100
flandria
7m56s · Video available when checked; creator-described attribution.
Creator-provided play-along; instrumentation and feel vary by selection. Check the key and full arrangement before joining in; the guide chart may use another key.
Performed studies, transcriptions, TAB, notation and lessons for studying Django’s solo. Inclusion does not certify note-for-note accuracy.
No Django solo study aid yet. Know a useful resource — or want to record a study of this solo?
Similar tunes
Follow a shared key, a harmonic idea or a familiar form. Keys refer to this site’s chart editions; other recordings may use a different key.
Related chord movement
No sufficiently supported harmonic comparison has been added yet.
Same chart key
No match is established in the current chart metadata.
Same form
No match is established in the current chart metadata.
Behind the illustration
An elegant adult singer beside a vintage microphone, with an angular accompanist and looping cream ribbon that suggests a remembered melody; tasteful theatre.
Original AI-assisted editorial artwork inspired by the tune’s mood. It does not depict a documented historical event.
Original AI-assisted illustration created for Djangopedia
Selected performances by notable Gypsy Jazz players and ensembles. Inclusion is editorial and does not imply an objective popularity ranking.
Notable Gypsy Jazz performances are being curated.
Improvisation
Target notes & voice leading
Notice G–Eb7–D7, then the descending dominant chain C7–B7–Bb7–A7. The later C–Cm motion adds a contrasting colour; chart symbols such as GMA7 and C+ need edition-specific checking.
Sing the destination note before playing the connecting phrase.
Pitch choices
Begin with the named chord tones. Add passing notes only after the melody and cadence are secure.
Mark each return of the opening G phrase. Practise the descending dominant chain using thirds and sevenths, then count the full edition without improvising.
Comping & voicings
Keep dominant-chain grips compact and the melody uppermost. Do not insert a turnaround at an assumed eight-bar boundary.
Voicing note sets
Keep dominant-chain grips compact and the melody uppermost. Do not insert a turnaround at an assumed eight-bar boundary.
Keep the accompaniment clear
First establish an even pulse; add rhythmic variation only when the melody leaves space.
The inherited row grouping is not proof of a conventional 32-bar form.
Practice room
80–120 bpm, then increase gradually
Your assignment
Mark each return of the opening G phrase. Practise the descending dominant chain using thirds and sevenths, then count the full edition without improvising.
Loop these changes
Mark each return of the opening G phrase. Practise the descending dominant chain using thirds and sevenths, then count the full edition without improvising.
Metronome
Count quarter notes first. Then place the click on beats 2 and 4 at half the click rate, keeping the phrase length unchanged.
Transposition
Move one short cadence to a nearby key by naming its chord tones, then return to the chosen study key.
At the session
G; Extended inherited grid; section lengths require verification. Agree the arrangement, pickup and ending before counting in.
Start together
Count a clear tempo and use the final cadence of the agreed arrangement.
Finish together
Cue the final tonic together; agree any tag before starting.
The inherited row grouping is not proof of a conventional 32-bar form.
The inherited row grouping is not proof of a conventional 32-bar form.
Arranging the tune
Solo guitar
Keep the melody uppermost and begin with a single bass note under each harmony. Keep dominant-chain grips compact and the melody uppermost. Do not insert a turnaround at an assumed eight-bar boundary.
Trio or larger group
Keep dominant-chain grips compact and the melody uppermost. Do not insert a turnaround at an assumed eight-bar boundary.
Vocal considerations
Choose a comfortable singing key and transpose the accompaniment as a whole; lyrics are not reproduced here.
This player guide combines inherited recording evidence and editorial study notes. Musical study notes are editorial suggestions; compare them with the recording.
Original AI-assisted illustration created for Djangopedia
Original AI-assisted editorial artwork inspired by the tune’s mood. It does not depict a documented historical event.
Generated with the native image-generation tool on 2026-10-19; original editorial artwork, not a historical photograph.
Prompt: Use case: stylized-concept. Asset: horizontal 1536x1024, 3:2 Djangopedia tune illustration for A Pretty Girl Is Like a Melody. Original scene: An elegant adult singer beside a vintage microphone, with an angular accompanist and looping cream ribbon that suggests a remembered melody; tasteful theatre. Medium: authentic-feeling 1950s silk-screen editorial print, flat separate ink layers, boldly simplified shapes, long expressive angular silhouettes, spare wiry line accents, off-register overlaps, small areas of crosshatching, slight dry ink and paper texture. Strong asymmetric composition with generous negative space; witty and musical, sophisticated rather than children's cartoon. Limited palette: petrol teal, coral red, warm cream and black. All heads and instrument bodies wholly inside frame unless otherwise specified. No letters, words, numbers, captions, borders, logos, watermark, realistic shading, gradients or photographed paper. Invent an entirely new composition, not a reproduction of any existing print. No claim of a documented historical scene.
Research & rights notes
Exact video-to-matrix/take associations are not established. Historical rows remain inherited evidence.
The original composition/publication year has not been independently established for this guide; recording years are separate evidence.
No new qualifying notable-performance resource selected in this bounded batch.
No qualifying Django solo-study recreation selected. Other players’ solos and melody lessons do not fill this gap.
