![]() ![]() The ES150 has a single-coil pickup in neck position that is known as the “Charlie Christian Pickup”. The particular sound of the instrument was formed by a combination of the specific bar-style pickup and its placement. The ES stands for Electric Spanish, and it was designated 150 because it was priced (in an instrument/amplifier/cable bundle) at around $150. The ES-150 guitar is generally recognized as the world’s first commercially successful Spanish-style electric guitar. ![]() ![]() Primitive electrics were on the market for 10 years before Christian made his name, but Gibson’s ES-150 (from 1936) saw this new electric instrument come of age. Combining blues licks and double stops with melodic lines, and all over a swing rhythm that was similar in tempo to a later rock n roll shuffle, it’s undeniable the influence that he (and Benny Goodman) had on rock n roll music.Ĭhristian’s guitar also was majorly influential. And although his career-and his life-were brief, Christian’s influence on the transformation that jazz underwent through the introduction of bebop remains unquestioned.Ĭharlie left a lasting legacy with his innovative techniques. He was called the “ Genius of the Electric Guitar” – Charlie Christian is generally recognized as the person who changed everyone’s thinking about how jazz could be played on it.Ĭharlie Christian is to jazz what Robert Johnson is to the blues – a pioneer, an exceptional guitarist, a man who died way too young and a player only truly appreciated after he passed away.įrom the moment he burst onto New York City’s jazz scene with the Benny Goodman Orchestra, Charlie Christian changed forever the way jazz guitar would be played. Guitar music (Jazz) - History and criticism.Ĭhristian, Charlie, 1916-1942 - Influence.While Eddie Durham is often cited as the first to record an electric guitar solo in jazz music, Charlie Christian was the first important soloist on the instrument. ItĪlso suggests that devotion to the imitation of past artists is needed in developing anīiographical history and musical development of Charlie Christian - Biographical history and musical development of Wes Montgomery - Stylistic traits of Charlie Christian over dominant-seventh harmonies - Stylistic traits of Wes Montgomery influenced by Charlie Christian - Conclusion. Montgomery’s innovation was strongly linked to his imitation of Charlie Christian. A strong emphasis is given to the significance of these differences and how these differences areĬonnected to Montgomery’s originality and innovation. The study examines how Montgomery differentiated himself in his improvisations from Christian’s. Melodic and harmonic treatment of dominant harmonies has been influenced by his imitation and assimilation of Christian’s improvisations. The dissertation examines the two guitarists’ use of five harmonic and melodicĭevices over dominant harmonies: scales, arpeggios, use of chromatic pitches, formulasĪnd enclosures, and harmonic substitutions. The studyĪlso examines the relationship imitation has with creativity in jazz and how originality is The solo transcriptions are limited to Montgomery’s early recordings between 1957 andĮnding with his 1960 album The Incredible Jazz Guitar of Wes Montgomery. The dissertation investigates the musical traditions in Christian’s playing that were absorbed into Montgomery’s playing and how Montgomery was able to use these traits to foster new musical traditions. The purpose of this study is to identify and examine significant improvisational traits that Wes Montgomery developed as a direct result of his imitation and assimilation of Charlie Christian. Much of guitarist Wes Montgomery’s study of jazz improvisation came from imitating Charlie Christian’s guitar solos. Show simple item record dc.contributor.advisor ![]()
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