Un amour comme le nôtre appears in the May 1935 Jean and Germaine Sablon duet material, with Django in the accompaniment. Follow one singer’s release into the other singer’s entry and locate how little room remains for a guitar fill.
If you study one thing
Sing or speak two alternating phrase rhythms with a partner.
MeterConfirm against the chosen arrangement; no historical metre inferred from the title
MusicCharles Borel-Clerc
Guide coverage8 / 12 sections present
Owner content reviewed — 2026-10-19T23:29:20Z 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
1935
Un Amour Comme Le Notre,OLA 520-1,"Fremeaux FA 303, Jazz Time 794248-2","17/5/35 - Germaine and Jean Sablon (vo), Andre Ekyan (cl), Alec Siniavine? (p), Django Reinhardt (g), Louis Vola (acc&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
Un amour comme le nôtre appears in the May 1935 Jean and Germaine Sablon duet material, with Django in the accompaniment. It offers a useful study in leaving space for two vocal personalities.
Tune details
Music: Charles Borel-Clerc
Documented in archive: 1935
Original key: Not established
Study level: Intermediate listening study; arrangement and source awareness
Melody & head
Follow one singer’s release into the other singer’s entry and locate how little room remains for a guitar fill.
Do not assume a gap between singers is an invitation to take a full solo or that another similarly named song has the same melody.
Follow one singer’s release into the other singer’s entry and locate how little room remains for a guitar fill. Source-attributed credits: Charles Borel-Clerc, credited by the reissue publisher; lyric roles are not independently established here.
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
Owner-selected illustration. An adult man and woman sing into separate small 1930s microphones while one seated guitarist leaves a broad pocket of cream space between them. Two distinct vocal personalities joined by accompaniment, poised and unromantic.
Original AI-assisted editorial artwork inspired by the tune; 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
Follow one singer’s release into the other singer’s entry and locate how little room remains for a guitar fill.
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 or speak two alternating phrase rhythms with a partner. Insert a guitar answer only when both voices have finished.
Comping & voicings
Use a low-volume chord pulse and agree which player, if any, answers between the two voices.
Voicing note sets
Use a low-volume chord pulse and agree which player, if any, answers between the two voices.
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 assume a gap between singers is an invitation to take a full solo or that another similarly named song has the same melody.
Practice room
60–90 quarter-note BPM for short study fragments; slow the source as needed
Your assignment
Sing or speak two alternating phrase rhythms with a partner. Insert a guitar answer only when both voices have finished.
Loop these changes
Sing or speak two alternating phrase rhythms with a partner. Insert a guitar answer only when both voices have finished.
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.
Do not assume a gap between singers is an invitation to take a full solo or that another similarly named song has the same melody.
Do not assume a gap between singers is an invitation to take a full solo or that another similarly named song has the same melody.
Arranging the tune
Solo guitar
Begin with the melody alone, then add only independently established bass arrivals. Use a low-volume chord pulse and agree which player, if any, answers between the two voices.
Trio or larger group
Use a low-volume chord pulse and agree which player, if any, answers between the two voices.
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; not a documented historical scene.
Generated with the native image-generation tool on 2026-10-26; original editorial artwork, not a historical photograph.
Prompt: Use case: stylized-concept. Create one finished original landscape 1536x1024 (3:2) raster illustration for Djangopedia, tune Un Amour Comme Le Notre.
Tune context for interpretation only: Un amour comme le nôtre appears in the May 1935 Jean and Germaine Sablon duet material, with Django in the accompaniment. It offers a useful study in leaving space for two vocal personalities.
Scene: An adult man and woman sing into separate small 1930s microphones while one seated guitarist leaves a broad pocket of cream space between them. Two distinct vocal personalities joined by accompaniment, poised and unromantic.
Art direction: Spare 1950s cut-paper serigraph: large flat interlocking ink shapes, a few assured irregular contours, witty geometric reduction and generous ivory negative space. Palette: dark aubergine, sage, ochre and cream. Subtle dry ink and paper texture, controlled print misregistration. Make it an artwork with a memorable singular idea, readable as a thumbnail and rewarding at full size; vary viewpoint and composition.
Constraints: entirely original composition, not a copy of an artist's print. No title, words, notation, logos or watermark. No photorealism, glossy 3D, gradients, airbrushed romantic haze, generic sunset or decorative hearts. If Django appears, swept-back dark hair, pencil moustache and a distinct mature individual face; period clothes, no ethnic stereotypes. Respect plausible instruments and hands, keep key subjects within frame. Use strong flat ink shapes rather than photorealistic rendering.
Research & rights notes
Do not assume a gap between singers is an invitation to take a full solo or that another similarly named song has the same melody.
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.
