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匹克吉他（Pick Guitar）
匹克吉他（Pick Guitar）也稱爵士吉他，面板和背板都呈弧形，琴頸細(xì)長，使用鋼絲弦，共鳴箱小而薄，面板兩側(cè)各有一個(gè)f形音孔，外形與提琴近似。琴的面板和背板略呈弧形，用匹克彈奏，音量較大。琴體較大，琴頸窄而長，指板有微小的弧度，便于橫按。可獨(dú)奏、伴奏、倍司、合奏，適合演奏爵士樂 。
“匹克”是英文Pick的譯音，意即彈片——音撥、撥片。在我國，“匹克吉他”一語有兩重意地一是捐演奏法，二是指用彈片演奏的一種吉他�，F(xiàn)在，我想談?wù)労笳摺?/SPAN>
吉他可用手指、彈片、指甲（金屬或塑料軟米彈奏，但產(chǎn)生的效果不同。從而導(dǎo)出了不少演奏法，例如古典、弗拉門科、民謠、夏威夷、爵士等，用匹克演奏的方法常見于爵士樂、搖滾樂、拉丁美洲音樂、美國鄉(xiāng)村音樂和民謠。我們常稱用彈片演奏的方法叫“匹克吉他”演奏法，在我國吉他愛好者中很流行。
據(jù)說真正的匹克吉他源于爵士吉他，所以匹克吉他常指爵士吉他。
按理說，任何吉他都可以用彈片來演奏，但真正理想的吉他是爵士吉他，其次是性能比較接近的其他民歌式吉他。匹克吉他有它特殊的要求：例如，用彈片撥弦，無論速度多快，不可能同一時(shí)間內(nèi)撥動(dòng)二根U上的弦，總有一根弦先撥動(dòng)，然后才到達(dá)第二根弦。為了提高演奏速度，匹克吉他的各弦間距要比古典吉他的小得多。古典音他的弦距約11毫米而匹克吉他則為9毫米左右。由于匹克吉他演奏顫音、滑音、裝飾音較多。因此，手感要求較高些，又因常擔(dān)任主旋律獨(dú)奏、音準(zhǔn)要求高。音色的統(tǒng)一性、均勻性和純凈度也很重要。
如果你想擁有一把理想的匹克吉他，在選擇時(shí)應(yīng)首先選用上孔式拱板形吉他。質(zhì)量上乘的f孔吉他多數(shù)用手工精制，制作方法與高級(jí)提琴相似。世界上有名的吉他出自名家之手，例如美國的吉伯遜（GIBSON）一牌，萊斯保爾（LESPAUQ型和電聲式霍華德、羅伯特（HOWARD J7tOBFjRT約，都是有名的拱板式電擴(kuò)音吉他，國產(chǎn)品中相似的只有美聲牌別IO型電擴(kuò)音吉他。這種吉他的特點(diǎn)如下：
1．面板與背板是棋形，取材很講究。面板用紋理細(xì)密的東北松，背板用俄木或核桃木，制作方法酷似提琴，共鳴箱邊線嵌有花紋或拼線包邊。
2．指板、弦碼、弦枕呈弧形，以配合面板的形狀，使弦的高度均勻。
3．琴體上部有單四肩或雙凹房地有不四肩糊，這是便于左手向高把位移動(dòng)。在弦碼兩側(cè)有1形音孔，右側(cè)裝有護(hù)面塑料板。
4．為了調(diào)整手感和音準(zhǔn)，一般將弦碼制成河丁阿P降或前后移動(dòng)的型式，可精密調(diào)節(jié)弦的高度和個(gè)別弦的音準(zhǔn)誤差。
5．琴頸內(nèi)有抗扭曲鋼條，可調(diào)整琴頸的前、后傾斜度和彎曲度。
6．指板比古典式吉他窄，并直弧形。共M十格音品。采用密封式立軸型弦軸，在指權(quán)與琴頭上采用彩色螺甸嵌飾，花紋典雅。7．匹克吉他發(fā)音明亮，音域均勻，低音弦的持續(xù)音不很長，弦的張力大，故采用金屬弦，國產(chǎn)品中以美聲牌高級(jí)吉他弦較適用。匹克吉他作為一個(gè)品種的界限不如夏威夷吉他那么明確，有關(guān)這方面的資料很少，有很多地區(qū)是用民欣（民謠）吉他作匹克吉他使用的。筆者僅以一管之見提供大家參考。
This article is about the types of guitars and guitar playing styles used in jazz. For performers who play jazz guitar, see jazz guitarist.The term jazz guitar may refer to either a type of guitar or to the variety of playing styles used in the various genres which are commonly termed "jazz." The guitar has a long history in jazz music, as both an ensemble and solo instrument. These styles were shaped by some of the genre's influential jazz guitarists.While jazz can be played on any type of guitar, from an acoustic instrument to a solid-bodied electric guitar such as a Fender Stratocaster, the archtop guitar has become known as the prototypical "jazz guitar." Archtop guitars are steel-string acoustic guitars with a big soundbox, arched top, violin-style "F" holes, a "floating bridge" and magnetic or piezoelectric pickups. The earliest guitars used in jazz were acoustic. While acoustic guitars are still sometimes used in jazz, most jazz guitarists since the 1940s have performed on an amplified electric guitar, typically an archtop with a magnetic pickup.
Jazz guitar playing styles include "comping" with jazz chord voicings (and in some cases , walking basslines) and "blowing" (improvising) over jazz chord progressions with jazz-style phrasing and ornaments. When jazz guitarists play chords underneath a song's melody or another musician's solo improvisations, it is called "comping", a portmanteau of "accompanying" and complementing. When jazz guitar players improvise, they use the scales, modes, and arpeggios associated with the chords in a tune's chord progression.
History
1900-mid-1930s
The stringed, chord-playing rhythm instrument typical of jazz ensembles from 1900 until the early 1920s was the banjo, an instrument which was much louder than guitars of the time. The banjo could generate enough sound to be heard in groups which included military band-style instruments such as brass, saxes, clarinets, and drums, such as early jazz groups. As the acoustic guitar became a more popular instrument in the early 20th century, guitar-makers began building louder guitars which would be useful in a wider range of settings.
The Gibson L5, an acoustic archtop guitar which was first produced in 1923, was an early “jazz”-style guitar which was used by early jazz guitarists such as Eddie Lang. By the 1930s, the guitar began to displace the banjo as the primary chordal rhythm instrument in jazz music, because the guitar could be used to voice chords of greater harmonic complexity, and it had a somewhat more muted tone that blended well with the upright bass, which, by this time, had almost completely replaced the tuba as the dominant bass instrument in jazz music.
The next important development in jazz guitar came in the mid to late-1930s with the advent of electrical amplification. Although Gibson was not the first commercial producer to make an electric guitar, the company made the first successfully-marketed electric guitar, the ES150 in 1936. It was an acoustic archtop fitted with a guitar pickup, which sensed the vibrations in the metal strings so that they could be amplified by a guitar amplifier. When guitarist Charlie Christian used the amplified electric guitar to improvise horn-like, single-line melodies in the jazz context, jazz and blues musicians became interested in the potential of the louder, new electric guitar. His playing was heard by millions in the recordings he cut with Benny Goodman.
Late 1930s-1960s
During the late 1930s and through the 1940s -the heyday of big band jazz and swing music -the electric guitar was an important rhythm section instrument. Some guitarists, such as Freddie Green of Count Basie’s band, developed a guitar-specific style of accompaniment. Few of the big bands, however, featured amplified guitar solos, which were done instead in the small combo context. The most important jazz guitar soloists of this period included the French Gypsy virtuoso Django Reinhardt, best known for his recordings with Stephane Grappelli, and Oscar Moore who was featured with Nat “King” Cole’s trio.
Duke Ellington's big band had a rhythm section that included a jazz guitarist, a double bass player, and a drummer (not visible).It was not until the large-scale emergence of small combo jazz in the post-WWII period that the guitar took as a versatile instrument, which was used both in the rhythm section and as a featured melodic instrument and solo improviser. In the hands of Kenny Burrell, Herb Ellis, Barney Kessel, Jimmy Raney, and Tal Farlow, who had absorbed the language of bebop, the guitar began to be seen as a “serious” jazz instrument. Improved electric guitars such as Gibson’s ES175 (released in 1949), gave players a larger variety of tonal options. In the 1940s through the 1960s, players such as Wes Montgomery, Joe Pass, and Jim Hall laid the foundation of what is now known as "jazz guitar" playing.
1970s
As jazz-rock fusion emerged in the early 1970s, many players switched to the more rock-oriented solid body guitars. Other jazz guitarists, like Grant Green and Wes Montgomery, turned to applying their skills to pop-oriented styles that fused jazz with soul and R&B, such as soul jazz-styled organ trios. Younger jazz musicians rode the surge of electric popular genres such as blues, rock, and funk to reach new audiences. Guitarists in the fusion realm fused the post-bop harmonic and melodic language of musicians such as John Coltrane, McCoy Tyner, Ornette Coleman, and Miles Davis with a hard-edged (and usually very loud) rock tone created by iconic guitarists such as Cream's Eric Clapton who'd redefined the sound of the guitar for those unfamiliar with the black blues players of Chicago and, before that, the Delta region of the Mississippi upon whom his style was based. With John Mayall's Blusbreakers, Clapton turned up the volume on a sound already pioneered by Buddy Guy, Freddie King, B.B. King and others that was fluid, with heavy finger vibratos, string bending, and speed through powerful Marshall amplifiers.
Fusion players such as John McLaughlin adopted the fluid, powerful sound of rock guitarists such as Clapton and Jimi Hendrix. McLaughlin was a master innovator, incorporating hard jazz with the new sounds of Clapton, Hendrix, Beck and others. McLaughlin later formed the Mahavisnhu Orchestra, an historically important fusion band that played to sold out venues in the early 70s and as a result, produced an endless progeny of fusion guitarist. Guitarists such as Al Di Meola, Larry Coryell, John Abercrombie, John Scofield and Mike Stern (the latter two both allumni of the Miles Davis band) fashioned a new language for the guitar which introduced jazz to a new generation of fans. Like the rock-blues icons that preceded them, fusion guitarists usually played their solid body instruments through stadium rock-style amplification, and signal processing “effects” such as simulated distortion, wah-wah, octave splitters, compression, and flange pedals. In addition, they also simply turned up to full volume in order to create natural overdrive such as the blues rock players.
1980s-2000s
By the early 1980s, the radical experiments of early 1970s-era fusion gave way to a more radio-friendly sounds of smooth jazz. Guitarist Pat Metheny mixed the sounds of blues, country, and “world” music, along with rock and jazz, playing both a flat-top acoustic guitar and an electric guitar with a softer, more mellow tone which was sweetened with a shimmering effect known as as “chorusing". During the 1980s, a neo-traditional school of jazz sought to reconnect with the past. In keeping with such an aesthetic, young guitarists of this era sought a clean and round tone and they often played traditional hollow-body archtop guitars which were played without electronic effects.
As players such as Bobby Broom, Peter Bernstein, Howard Alden, Russell Malone, and Mark Whitfield revived the sounds of traditional jazz guitar, there was also a resurgence of archtop luthierie (guitar-making). By the early 1990s many small independent luthiers began making archtop guitars. In the 2000s, jazz guitar playing continues to change. Some guitarists incorporate a Latin jazz influence, acid jazz-style dance club music uses samples from Wes Montgomery, and guitarists such as Bill Frisell continue to defy categorization.
Types of guitars
While jazz can be played on any type of guitar, from an acoustic instrument to a solid-bodied electric guitar such as a Fender Stratocaster, the archtop guitar has become known as the prototypical "jazz guitar." Archtop guitars are steel-string acoustic guitars with a big soundbox, arched top, violin-style "F" holes, a "floating bridge" and magnetic or piezoelectric pickups. Early makers of jazz guitars included Gibson, Epiphone, D'Angelico and Stromberg.
A hollow-bodied Epiphone guitar with violin-style "F" holes.The earliest guitars used in jazz were acoustic. While acoustic guitars are still sometimes used in jazz, most jazz guitarists since the 1940s have performed on an amplified electric guitar, typically an archtop with a magnetic pickup. In the 1990s, there was a resurgence of interest among jazz guitarists in acoustic archtop guitars with floating pickups. Sitka spruce, European spruce, and Engelmann spruce are most often used for the resonant tops of archtop and flattop guitars, although some guitar builders use Adirondack Spruce (Red Spruce), or Western Red Cedar. Archtop guitars often have Curly Maple or Quilted Maple backs.
Mass-produced archtop guitars are made by several different manufacturers. There are also a smaller number of handmade archtop and flattop guitars made on a small scale. Builders of handmade guitars take about six months to make each jazz guitar. Builders have to spend time choosing the maples, spruces and exotic woods, building the instrument, adding decorative inlays and purfling, and applying a hand-rubbed lacquer finish. [1] The most expensive archtop guitars may have a range of high-end features, such as "boutique" pickups with hand-wound magnets, wooden volume and tone knobs, and built-in condenser microphones, piezoelectric pickups, and preamplifiers.
Playing styles
Jazz guitar playing styles include "comping" (accompanying) with jazz chord voicings (and in some cases , walking basslines) and "blowing" (improvising) over jazz chord progressions with jazz-style phrasing and ornaments.
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