A long-form Porter standard whose minor opening and contrasting major bridge reward strong phrase counting. Its chromatic detail becomes manageable when reduced to clear destinations.
Owner content reviewed — 2026-10-04T23:04:27Z 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.
2 historical recording entries · source text preserved
Entry
Year
Recording / session / release evidence
Listen
01
1947
Just One Of Those Things, 21/5/47, Fo 1787-RC,"Fremeaux FA 313, Classics 1001,DRG 8473,Musidisc 403222,Dejavu CD 32, HEP CD 66"," - Brussels - QHCF - Django Reinhardt (elg), Hubert Rostaing (cl), EugeneVees (g), Emmanuel Soudieux (b), Pierre Fouad (d)"
—
02
1947
Just One Of Those Things, 22/9/47, "Fremeaux FA 314, Vogue 228E 6007, Vogue 668003-2","- Paris - Souvenirs de Django - Django Reinhardt (elg), Hubert Rostaing (cl), Eugene Vees (g), Emmanuel Soudieux (b), Andre Jourdan (d)"
—
A dash means no video has been associated with this exact historical recording. Tune-level listening resources remain available above.
History & Listening
Just One Of Those Things is credited here to Cole Porter. The source date is 1935; publication, composition and later lyric adaptations may have separate dates. The inherited archive lists 2 recording entries, with dated entries spanning 1947–1947. These are archive rows, not a claim that every entry is a distinct released take. The linked recording rows preserve the original discographical wording. Compare their dates, matrices and personnel when choosing a performance to study.
Tune details
Music: Cole Porter
Words: Cole Porter
Published / composed / adapted — see history: 1935
Original key: Not established
Study level: Intermediate; advanced where the inherited roadmap needs reconstruction
Melody & head
Learn the long melodic arc before increasing tempo; a quick surface rhythm does not shorten the form.
Listening task: Learn the long melodic arc before increasing tempo; a quick surface rhythm does not shorten the form. Mark the key, pickup, phrase lengths and ending before comparing another version.
Session evidence
Just One Of Those Things, 21/5/47, Fo 1787-RC,"Fremeaux FA 313, Classics 1001,DRG 8473,Musidisc 403222,Dejavu CD 32, HEP CD 66"," - Brussels - QHCF - Django Reinhardt (elg), Hubert Rostaing (cl), EugeneVees (g), Emmanuel Soudieux (b), Pierre Fouad (d)"
Compare the first and last listed entries for tempo, instrumentation and arrangement. Do not infer identical takes from a shared title. Count the complete sixteen-bar sections.
Session evidence
Just One Of Those Things, 22/9/47, "Fremeaux FA 314, Vogue 228E 6007, Vogue 668003-2","- Paris - Souvenirs de Django - Django Reinhardt (elg), Hubert Rostaing (cl), Eugene Vees (g), Emmanuel Soudieux (b), Andre Jourdan (d)"
The inherited chart is in F major / D minor. Confirm the backing track’s sounding key, pickup and complete form before playing; an instrument label may describe a transposed score.
Chart & Form
Dm and A7 lead through chromatic approaches into Gm–C7–F. The bridge moves to E♭ and then C before A7 prepares the minor return.
The source uses #C inside slash-based rhythmic notation. Its bass/chord interpretation is not explicitly defined; the text is preserved rather than silently normalised.
Backingtracks JAZZ · The inherited chart is in F major / D minor. Confirm the backing track’s sounding key, pickup and complete form before playing; an instrument label may describe a transposed score. · 9:33
Checked 2026-10-01
How this resource was selected
Most-viewed suitable match selected from the captured search results after title/composition review; not a complete YouTube ranking. Source counts were captured on 1 October 2026. Coaching, unrelated songs and non-backing performances are excluded.
Study Django's Solo
Performed studies, transcriptions, TAB, notation and lessons for studying Django’s solo. Resources are described by their creator; inclusion does not certify note-for-note accuracy.
Adrien Tarraga · source-described; accuracy not independently verified
Creator presents a study of Django’s recorded solo. Use it alongside the original recording; exact transcription accuracy has not been independently reviewed.
Checked 2026-10-02
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.
A carefully drawn guitar neck crossing four generous staggered planes, hands poised lightly near a small chromatic turn. Long sixteen-bar sections are implied by broad breathing space; the isolated chromatic steps remain precise.
An original editorial interpretation of the tune. This is an illustration, not an archival photograph or a documented reconstruction of a recording session.
Original Djangopedia illustration · AI-assisted, 2026
Hear G over E♭ and E over C as the bridge's contrasting major thirds.
Pitch choices
Start with the chord tones of each written harmony. Resolve C♯ on A7 into D.
Use passing notes only after the destination chord and phrase length are secure; this guide does not assign one scale indiscriminately to the whole tune.
Play only the first chord of each four-bar group while counting through the full form. Add guide tones on a second pass without shortening any section.
Comping & voicings
Keep the sixteen-bar phrases in view. Use compact shells through the chromatic approaches and avoid dense bass doubling.
Voicing note sets
Dm6: D–F–B; A7: A–C♯–G; Gm7: G–B♭–F; C7: C–E–B♭.
Keep the accompaniment clear
Keep a quiet, even swing pulse, adjusting its density to the melody and ensemble.
Practise one chorus with only two chord attacks per bar, then restore four without changing tempo.
Returning to the A section after eight bridge bars instead of following the full printed passage.
Crowding the melody with dense extensions or doubling another accompanist’s register.
Practice room
Start around 100–140 bpm; increase only after the form stays secure
Your assignment
Play only the first chord of each four-bar group while counting through the full form. Add guide tones on a second pass without shortening any section.
Loop these changes
Resolve C♯ on A7 into D.
Hear G over E♭ and E over C as the bridge's contrasting major thirds.
Metronome
Begin with four quarter-note clicks. Halve the click rate and hear beats 2 and 4 while maintaining the same phrase lengths.
Transposition
Transpose the first complete phrase up a whole step, including its cadence. Name chord functions before finding new fingerings.
Return to F major / D minor and play the melodic phrase from memory.
At the session
Just One Of Those Things — F major / D minor; 64 printed bars, four 16-bar sections. Agree the pickup, tempo and ending before counting in.
Start together
Suggested rehearsal entry: give two clear bars of count-in and start the agreed pickup or first melody note. This is not claimed as a historical Django introduction.
Finish together
Agree a final melody statement and hold its tonic arrival; remove any turnaround intended to restart the chorus. Check the chosen arrangement for tags or a separate coda.
64 printed bars, four 16-bar sections. The source uses #C inside slash-based rhythmic notation. Its bass/chord interpretation is not explicitly defined; the text is preserved rather than silently normalised.
Returning to the A section after eight bridge bars instead of following the full printed passage.
Arranging the tune
Solo guitar
Start with melody and bass only. Add the following colour without interrupting the melody: Resolve C♯ on A7 into D.
Trio or larger group
Keep the sixteen-bar phrases in view. Use compact shells through the chromatic approaches and avoid dense bass doubling. Agree the full roadmap and signal the last head before it starts.
Vocal considerations
Choose a comfortable vocal key and transpose the whole arrangement, including its introduction and ending.
Further study
Compare the source's chromatic A-section approaches with a simpler minor-to-relative-major reduction, preserving the melody and duration.
The source uses #C inside slash-based rhythmic notation. Its bass/chord interpretation is not explicitly defined; the text is preserved rather than silently normalised.
Compare the linked archive entries before attributing one arrangement to all Django performances. Keep composition history separate from the dates of Django’s recordings.
This player guide combines inherited recording evidence and editorial study notes. Musical study notes are editorial suggestions; compare them with the recording.
Photo identification and provenance; reuse rights remain unverified
Illustration credit & provenance
Original Djangopedia illustration · AI-assisted, 2026
An original editorial interpretation of the tune. This is an illustration, not an archival photograph or a documented reconstruction of a recording session.
Generated with the native image-generation tool on 2026-10-08; original editorial artwork, not a historical photograph.
Prompt: Use case: illustration-story. One original editorial feature illustration for Djangopedia's guide “Just One Of Those Things”. Landscape 1536 × 1024, opaque background.
Scene: A carefully drawn guitar neck crossing four generous staggered planes, hands poised lightly near a small chromatic turn. Long sixteen-bar sections are implied by broad breathing space; the isolated chromatic steps remain precise.
Musical basis from the guide: A long-form Porter standard whose minor opening and contrasting major bridge reward strong phrase counting. Its chromatic detail becomes manageable when reduced to clear destinations. The supplied chart is F major / D minor; form: 64 printed bars, four 16-bar sections; feel: Swing. These describe musical inspiration, not visible writing. Historical context: Just One Of Those Things is credited here to Cole Porter. The source date is 1935; publication, composition and later lyric adaptations may have separate dates. Do not illustrate disputed historical claims or suggest this imagined scene is an archival session.
Medium: editorial pen and wash. Dominant palette: slate teal and white. Composition: long neck and four staggered planes. Human presence: hands and instrument only. Strong intentional design, clearly drawn/painted, distinctive material marks; keep essential subject safely within the central 70 percent width and middle 80 percent height for card crops. Maintain enough visual substance at thumbnail size.
Broad inspiration observed in old photo, ONLY scale/rhythm and never a reference image: single compact formal portrait; guitar curve below. Independently invent every pose, perspective, clothing, setting and lighting.
Avoid: No face, centered guitar body, numbers or notation. No photorealism, archival simulation, generated text, letters, numbers, labels, fake musical notation, logo, signature, watermark, fake dates, yellowed-paper patina, recognizable artwork or copied photograph. No imitation of any named artist. Render the art edge to edge without borders, mockup or typography. Batch A diversity compensation: avoid blue sky, drifting clouds, cypress trees, moon discs, generic Paris landmarks and curving terrace backdrops unless explicitly essential to the stated scene. Keep this composition tied to its precise stated subject; do not add an unrequested landscape or city. For figure scenes keep the specified standing/walking pose; no seated centered guitar portrait. For abstracts keep purely graphic materials and forms.
Research & rights notes
Specialist review of original editorial playing advice
Original key and precise composition date where not independently established
Inherited notation, session details and arrangement variants
Photograph reuse permissions
Photograph provenance and rights are stated separately. Attribution does not establish permission.
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