The March 1936 Yvonne Louis recording is listed as Au grand large in the publisher booklet. Listen for the guitar's supporting role around the vocal line, separating it from the violin and piano.
If you study one thing
Sing one vocal phrase, mark its breathing point, and rehearse a short guitar response that begins after the breath.
MeterConfirm against the chosen arrangement; no historical metre inferred from the title
MusicNot established
Guide coverage8 / 12 sections present
Owner content reviewed — 2026-10-20T01:43:25Z 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
1936
Au Grande Large,"Fremeaux FA 304, Gitanes 549 241-2",12/3/36 - Yvonne Louis (voc); ? (cl); Stephane Grappelli (v); Michel Emer (p); Louis Vola (acc) Django Reinhardt (g).
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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 March 1936 Yvonne Louis recording is listed as Au grand large in the publisher booklet.
Tune details
Music:
Documented in archive: 1936
Original key: Not established
Study level: Intermediate listening study; arrangement and source awareness
Melody & head
Listen for the guitar's supporting role around the vocal line, separating it from the violin and piano.
An earlier same-title Yvonne Louis account and conflicting publisher credit fields must not be conflated with this March 1936 recording.
Listen for the guitar's supporting role around the vocal line, separating it from the violin and piano. Source-attributed credits: Detailed booklet: Claret, Nac and Francois; website table instead credits M. van Hoorebeke. Conflict unresolved.
Chart & Form
A complete harmonic route is not established here. First sing the melody and mark phrase endings; verify the underlying chords from a reliable edition before adding substitutions.
No verified complete chart is supplied. The listening and practice notes do not stand in for a chord chart.
No readable chord chart has been added for this title.
Play along
No backing track has been added.
Study Django's Solo
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
This image is an editorial illustration; a connection to this recording has not been established.
Original AI-assisted editorial artwork inspired by the tune’s mood; not a documented historical scene.
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
Listen for the guitar's supporting role around the vocal line, separating it from the violin and piano.
Once a harmony is independently established, sing its destination note before adding an approach. Do not infer a progression from the tune title.
Pitch choices
Establish the actual harmony before choosing a scale. Begin with the melody and the destination note; no tune-wide scale formula is asserted.
Sing one vocal phrase, mark its breathing point, and rehearse a short guitar response that begins after the breath.
Comping & voicings
Keep the singer's consonants and phrase ending clear by reducing accompaniment density underneath them.
Voicing note sets
Keep the singer's consonants and phrase ending clear by reducing accompaniment density underneath them.
Keep the accompaniment clear
First rehearse the specific phrase entry and release described above; add a chord pulse only when it supports that phrase.
An earlier same-title Yvonne Louis account and conflicting publisher credit fields must not be conflated with this March 1936 recording.
Practice room
60–90 quarter-note BPM for short study fragments; slow the source as needed
Your assignment
Sing one vocal phrase, mark its breathing point, and rehearse a short guitar response that begins after the breath.
Loop these changes
Sing one vocal phrase, mark its breathing point, and rehearse a short guitar response that begins after the breath.
Return to the selected recording after each short loop. Confirm the entry, release and next phrase cue before extending the passage.
Metronome
Use a quiet quarter-note click for short loops. Keep the preceding rest and the next entry in the loop; remove the click briefly to test internal time.
Transposition
After learning the chosen fragment and its actual harmony, move that fragment to one nearby key by naming the target notes. Do not transpose an unverified progression.
At the session
Confirm the composition identity, concert key and complete arrangement before calling the tune. Agree pickup and ending together.
Start together
Use the chosen recording’s entry cue only after checking its phrase length.
Finish together
Agree a plain final arrival and a visible cutoff; do not assume a live video’s tag is universal.
An earlier same-title Yvonne Louis account and conflicting publisher credit fields must not be conflated with this March 1936 recording.
An earlier same-title Yvonne Louis account and conflicting publisher credit fields must not be conflated with this March 1936 recording.
Arranging the tune
Solo guitar
Begin with the melody alone, then add only independently established bass arrivals. Keep the singer's consonants and phrase ending clear by reducing accompaniment density underneath them.
Trio or larger group
Keep the singer's consonants and phrase ending clear by reducing accompaniment density underneath them.
Vocal considerations
Follow the song’s breathing where a vocal version exists. Establish the singer’s key independently; lyrics are not reproduced here.
Sources & credits
This player guide combines inherited recording evidence and editorial study notes. Musical study notes are editorial suggestions; compare them with the recording.
Source-attributed title, credit and recording context; conflicts are stated rather than treated as resolved.
Illustration credit & provenance
Original AI-assisted illustration created for Djangopedia
Original AI-assisted editorial artwork inspired by the tune’s mood; not a documented historical scene.
Generated with the native image-generation tool on 2026-10-20; original editorial artwork, not a historical photograph.
Prompt: Use case: stylized-concept. Asset: one original Djangopedia tune illustration, landscape 1536x1024, 3:2. Title context (DO NOT WRITE TEXT): Au Grande Large.
Scene: A guitarist on a small boat braces one shoe against the bench as a singer leans into a strong breeze. Flat oversized sail and comic flying hat; no romantic horizon.
Style: humorous mid-century 1950s cartoon serigraph, confident chunky contours, simplified flat separate ink shapes, mildly exaggerated head/hand proportions and witty poses. More dry and graphic, less romantic than a lyrical jazz poster. Limited palette: aubergine, mustard, charcoal and warm cream. Small controlled ink misregistration and occasional dry-print texture, large clean shapes, crisp asymmetrical composition.
Faces: where the guitarist is Django-like, use documented Django Reinhardt portrait traits: swept-back dark hair, small pencil moustache, mature expressive face and dapper 1930s/1940s suit. Supporting musicians are varied individual adults in historically informed Manouche jazz-circle clothing, not generic modern models. Expressive cartoon acting must not exaggerate ethnicity or use stereotypical racial features or costumes.
All heads, hands and instrument bodies inside frame, convincing basic instrument anatomy. No text, letters, numerals, music notation, logos, watermark, border, photorealism, gradients, dreamy sunset, hearts or soft romantic haze. Imagined editorial scene, not a claimed historical event. Entirely original composition, not a reproduction of any artist's print.
Research & rights notes
An earlier same-title Yvonne Louis account and conflicting publisher credit fields must not be conflated with this March 1936 recording.
Exact video-to-recording matrix/take associations are not established. Historical rows remain inherited evidence.
Complete chart, concert key and full form are not independently verified; none has been invented to increase coverage.
No qualifying tune-specific backing was confirmed in the bounded search.
No qualifying complete Django solo recreation is selected. Other players’ solos, theme lessons and virtual transcriptions do not fill this gap.
No confidently identified modern Gypsy-jazz performance was selected in the bounded search.
