A version-awareness study in metre, descending motion and the distinction between Lover and Lover Man.
If you study one thing
Clap the chosen version’s metre, sing the first phrase, then play only its bass destinations.
William P. Gottlieb / Library of Congress Aquarium, New York, N.Y. · circa November 1946 · Photo credits
Chart keyNot established
FormNot established
FeelSwing
Meter4/4 study pulse; confirm the arrangement
MusicRichard Rodgers
Guide coverage9 / 12 sections present
Owner content reviewed — 2026-10-19T04:10:07Z 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
✓ Photograph
✓ 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.
2 historical recording entries · source text preserved
Entry
Year
Recording / session / release evidence
Listen
01
1951
Lover,"Vogue 228E 6010, Vogue LP (NEC Plus Ultra 502008)","10/2/51 - Paris - Django Reinhardt (g), Bernard Hullin (tpt), Hubert Fol (as), Raymond Fol (p), Pierre Michelot (b), Pierre Lemarchand (d)"
—
02
1952
Lover,Collectables CD 7139,Nov.1952 - Paris - ORTF Broadcast - Django Reinhardt (elg) Acc. by Aime Barelli et son Orchestre
—
A dash means no video has been associated with this exact historical recording. Tune-level listening resources remain available above.
History & Listening
Lover is the Rodgers–Hart song, distinct from Lover Man. The inherited listening selection is visibly titled Lover Man; the review proposal flags that mismatch and uses only an exact-title replacement if verified.
Tune details
Music: Richard Rodgers
Words: Lorenz Hart
Documented in archive: 1951
Original key: Not established
Study level: Intermediate; melody, pulse and arrangement awareness
Melody & head
A version-awareness study in metre, descending motion and the distinction between Lover and Lover Man.
Lover Man, What Is This Thing Called Love and Lover are different works.
Study the inherited Django recording evidence
A version-awareness study in metre, descending motion and the distinction between Lover and Lover Man.
Session evidence
Lover,"Vogue 228E 6010, Vogue LP (NEC Plus Ultra 502008)","10/2/51 - Paris - Django Reinhardt (g), Bernard Hullin (tpt), Hubert Fol (as), Raymond Fol (p), Pierre Michelot (b), Pierre Lemarchand (d)"
Establish whether the selected version is in three or four before mapping its descending harmonic motion. Do not transfer a bass pattern from a waltz to a swing arrangement without recounting the phrases. Check the video key before playing with the chart.
Chart & Form
Establish whether the selected version is in three or four before mapping its descending harmonic motion. Do not transfer a bass pattern from a waltz to a swing arrangement without recounting the phrases.
No complete verified chart is supplied. The exercises are listening and practice suggestions, not a substitute score.
No readable chord chart has been added for this title.
4m32s · 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 photograph
Documented public-domain Gottlieb photograph, proposed as an editorial portrait. It does not document this tune or its recording session. Existing uses are retained; additional reuse requires approval with this batch.
Part of William P. Gottlieb’s documented Aquarium photographs in New York, circa November 1946. The catalogue supplies the location and approximate date; this is not evidence of a particular tune being played.
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
Establish whether the selected version is in three or four before mapping its descending harmonic motion. Do not transfer a bass pattern from a waltz to a swing arrangement without recounting the phrases.
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.
Clap the chosen version’s metre, sing the first phrase, then play only its bass destinations. Repeat until the return feels inevitable without an extra beat.
Comping & voicings
Agree metre and tempo before joining. In a fast four, use short economical shells; in three, let the first beat anchor the phrase without heavy repeated accents.
Voicing note sets
Agree metre and tempo before joining. In a fast four, use short economical shells; in three, let the first beat anchor the phrase without heavy repeated accents.
Keep the accompaniment clear
First establish an even pulse; add rhythmic variation only when the melody leaves space.
Lover Man, What Is This Thing Called Love and Lover are different works.
Practice room
80–120 bpm, then increase gradually
Your assignment
Clap the chosen version’s metre, sing the first phrase, then play only its bass destinations. Repeat until the return feels inevitable without an extra beat.
Loop these changes
Clap the chosen version’s metre, sing the first phrase, then play only its bass destinations. Repeat until the return feels inevitable without an extra beat.
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
Confirm the chosen arrangement key; Confirm the complete form. 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.
Lover Man, What Is This Thing Called Love and Lover are different works.
Lover Man, What Is This Thing Called Love and Lover are different works.
Arranging the tune
Solo guitar
Keep the melody uppermost and begin with a single bass note under each harmony. Agree metre and tempo before joining. In a fast four, use short economical shells; in three, let the first beat anchor the phrase without heavy repeated accents.
Trio or larger group
Agree metre and tempo before joining. In a fast four, use short economical shells; in three, let the first beat anchor the phrase without heavy repeated accents.
Vocal considerations
Choose a comfortable singing key and transpose the accompaniment as a whole; 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.
