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njazrtalk. guitarsatecalled boxes” Chase Christians first guitar wasitorllyabox, fash Joned (circa 1928) from a discarded cigar ‘container. With that homemade instrument, (Christan first bogan to swving, emulating the styles of Louis Armstrong and other jazz ane ‘aries In is early teens, Christan upgraded to afactory-madeinstrumentand began jamming Jn Odlahoma City clubs. At one of those early engagements, Christian frst encountered sax- ‘ophonist Lester Young, whose influence was Jater apparent in the guitarists single-note ‘improvisations Jn the mid '30s, Christian met trombonist Eddie Durham, who'd been doubling on an amplified guitar With amplification, a guitarist ‘could participate as a soloist in a large jazz ‘ensemble. whereas an acoustic guitars single= ‘ne lines would have been obscured in this ccontoxt, Christian immediately realized the ‘exciting possibilities afforded bytheeectric gui: tar, and he was swift to develop a unique jazz style based on horn lines. In te late 30s, producer John Hammond ‘attempted totum bandiesder/clarinetistBenry Goodman on to Chistian. Goodman was not immediately impressed by the guitarist. Hammond, undiscouraged, sneaked Christian ‘onstage luringa Goodman concert The leader, infuriated by that surprise, called“Rose Room.” a tune on which he was sure Christian would falter. However, the guitarist breezed through the number, wowing both the audience and Goodman. For the next wo vears, Christan recorded seminal sides with the Goodman sex tet incluling’AirmallSpecial” and Solo Fight” ‘THE SOUND Ciristians boxofcholcewasa Gibson ES-150— ‘anarchtop ceoustic witha double magnetpick up. Introduced in 1936, it was one of the frst commercially available electric guitars and for $150, one could purchase a package set that Included the Instrument, ampli. and case, Christian had a warm, rich tone that he ‘enhanced by plucking noies with his fehand ‘thumb, as opposed to pick You can appraxi- ‘mate Christiais sound by using aclean-toned neck positionhumbucker with thetone contol rolled back. HE ARPEGGIOS {nearing oimprvise overthechor cba arlie Christian + Solo Flight {o.each 16-measure A section (rehearsal lottors B.D, F and); Fig.2 demonstrates B section (Gehearsal eter) boxes. Fist, analyze the function of exch note—for ‘example, ina (6 chord, Gis the root B, the Sd; G the’th, and, the 6th. Nest play onlytheroot and rdofeach chord, then the root. 3d,and sth Keep building up, until youre familiar wth thew thea; Dt leads o E. Tr incorp sounds and fingerings for all arpeggios. ‘matics and leading tones in your o Also, spend some time analyzing the notes vsations, using the arpeggios In Fig ‘common to different axpegzios: Eis the th of asguldes. Dm9 and the 13th of G13, ete. Ths will help you get fully acquaint ed with the common tones shared by some of these arpeggios. ‘Once youte comfort: able with these, ty ‘mapping them out in alternate positions to hholp avoid large jumps when moving from chord to chord. 2d (or th) and G, the root. nt ‘sure of rehearsal letter, the Bh ‘beat 2 connects Band A. which: 2nd of G7, respectively. Cristian aso employed lead seen in the guitar’ frst measure: THE CHROMATICISM. Jazz relies heavily on. chromaticism, and Christian's lines were replete with chromatic passing tones (L.e., nowesthateonnectcon sonant pitches). Let's check out a couple of examples. In measure 1 of rehearsal lewwerB the Ab bridges A, the SOLO FLIGHT Charlie Christian (ren the Cotman ona ‘GENIUS OF THE ELECTRIC GUITAR) By Benny Goodman, Jimmy Mundy, and Charite Christian For note format tab anccrstions of 16 jazz Sassics, order . ‘ut ron Gute Standarassongooo% (00690243, $14.95) Inthe Classic Jazz Mosters Saves. Cal Muse Disp at : Pe : '800597-2852, or vist wammusiedapatoh com Teanme Dad 29 Ales Poe 1 (ean) [BD catar soto os an Da? a 126 Guttar One FEBRUARY 2001 FEBRUARY 2001 + 4 The Megaane You Con Pay 187 428 Guitar One FEBEUSRY 2001 « Solo Flight FESAUARY 2001 + @4 The Magazire You Can Play 420 Solo Flight (ers) a 190 utter One FEBAUARY 2001 » wim. gularonetrag com