Montmartre comes from the April 1939 session with Rex Stewart and fellow Ellington musicians. The catalogue's Monmartre spelling is an inherited variant. Compare the cornet's phrase endings with the guitar's response and the space between them.
If you study one thing
Sing one cornet ending, then answer it on guitar with no more than three notes and the same release time.
FeelFollow the selected recording and its phrasing
MeterCheck the actual arrangement; no metre inferred from its title
MusicRex Stewart
Guide coverage8 / 12 sections present
Owner content reviewed — 2026-10-21T01:13:20Z 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
1939
Monmartre,OSW 63-1 ,"Fremeaux FA 309, Affinity AFS 1003, Classics 793, EMI 780671-2, Jazz Time 790560-2, Blue Note CDP 7243837138-2","5/4/39 - Paris - Rex Stewart (c), Barney Bigard (cl,d), Django Reinhardt (g),Billy Taylor (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
Montmartre comes from the April 1939 session with Rex Stewart and fellow Ellington musicians. The catalogue's Monmartre spelling is an inherited variant.
Tune details
Music: Rex Stewart
Documented in archive: 1939
Original key: Not established
Study level: Intermediate listening study; advanced source and arrangement awareness
Melody & head
Compare the cornet's phrase endings with the guitar's response and the space between them.
Do not confuse this Rex Stewart work with Montagne Sainte-Geneviève or assume the misspelled title establishes another composition.
Compare the cornet's phrase endings with the guitar's response and the space between them. Source-attributed credits: Rex Stewart in the publisher discography under Montmartre.
Chart & Form
Establish the actual melody and harmonic arrivals before choosing substitutions. Sing one cornet ending, then answer it on guitar with no more than three notes and the same release time.
No verified complete chart or concert key is supplied. Any inherited raw notation is retained without silently repairing it.
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
Compare the cornet's phrase endings with the guitar's response and the space between them.
Sing the destination note before playing an approach; establish the harmony before assigning a scale.
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 cornet ending, then answer it on guitar with no more than three notes and the same release time.
Comping & voicings
Treat the cornet and clarinet as the leading voices; let quiet chord placement support their exchanges.
Voicing note sets
Treat the cornet and clarinet as the leading voices; let quiet chord placement support their exchanges.
Keep the accompaniment clear
First rehearse the specific phrase entry and release described above; add a chord pulse only when it supports that phrase.
Do not confuse this Rex Stewart work with Montagne Sainte-Geneviève or assume the misspelled title establishes another composition.
Practice room
Begin short phrase work around 60–90 quarter-note BPM; adapt to the verified source
Your assignment
Sing one cornet ending, then answer it on guitar with no more than three notes and the same release time.
Loop these changes
Sing one cornet ending, then answer it on guitar with no more than three notes and the same release time.
Treat the cornet and clarinet as the leading voices; let quiet chord placement support their exchanges.
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.
Do not confuse this Rex Stewart work with Montagne Sainte-Geneviève or assume the misspelled title establishes another composition.
Do not confuse this Rex Stewart work with Montagne Sainte-Geneviève or assume the misspelled title establishes another composition.
Arranging the tune
Solo guitar
Begin with the melody alone, then add only independently established bass arrivals. Treat the cornet and clarinet as the leading voices; let quiet chord placement support their exchanges.
Trio or larger group
Treat the cornet and clarinet as the leading voices; let quiet chord placement support their exchanges.
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 work identity, credits and historical recording context; inherited data is not rewritten.
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 2026-10-21; 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 any words: Monmartre.
Scene: A guitarist and cornet player negotiate a steep angular Paris stairway with instrument cases while an amused cat watches. One blocky streetlamp, abstract flat rooftops, no romantic skyline or famous landmark reproduction.
Style: witty 1950s cartoon serigraph. Confident chunky contours; simplified flat separate ink shapes; lively mildly exaggerated adult head/hand proportions, humorous posture, strong asymmetric composition. Dry, graphic and unsentimental. Limited palette: indigo, dusty pink, muted turquoise and cream. Controlled screen-print misregistration, occasional dry ink texture and generous clean paper; no gradients or glossy digital shading.
Faces: Django-like guitarist uses documented swept-back dark hair, small pencil moustache and expressive mature face; early guitar-banjo scenes use a younger adult. Supporting musicians are distinct individuals in historically informed 1920s–1940s Paris jazz-circle clothing. No ethnic caricature, racial stereotypes or costumes. Faces, instrument bodies and hands remain within frame, with convincing basic instrument anatomy.
No text, letters, numerals, notation, logos, watermark, decorative border, photorealism, dreamy sunset, hearts or romantic haze. Imagined editorial scene, not a documented event. Entirely original composition; do not reproduce any artist's existing print.
Research & rights notes
Do not confuse this Rex Stewart work with Montagne Sainte-Geneviève or assume the misspelled title establishes another composition.
No new exact recording_ref mapping is asserted. Recording rows and matrix/take claims are preserved as inherited evidence.
Complete chart, concert key and full form remain unverified. Practice tasks do not substitute for a chart.
No qualifying tune-specific backing confirmed in the bounded search.
No confidently identified complete performed Django solo study selected. Score-following studies are labelled separately.
No qualifying modern Gypsy-jazz performance selected in the bounded search.
