Most guitarists are aware of the Chapman Stick and some have been fortunate
enough to play this intriguing instrument. Though much has been written
about the Stick it may be difficult to convey in print the musical
inspiration that can be discovered through actual performance. Expression
is always the musician's goal and often this is limited by the vehicle
used. How satisfying it would be to have access to all melodic, harmonic,
and rhythmic capabilities with various timbres. To complement a melody or
solo with bass lines, chords and rhythm would be ideal. The ingenious
design of the Chapman Stick not only allows but encourages all these ideas
to be channeled from the player. Imagine a guitarist and bassist thinking
as one, using all the nuances of a string instrument such as slides,
vibrato, and string bends, plus the rhythmic possibilities found in piano
technique. Because of the Stick's extremely wide range and accompanying
two-handed technique, choices of voicings, counterpoint, poly-rhythms, and
every aspect of musical expression are abundant. An unorthodox but very
logical tuning gives the player easy access to all forms of harmony and
style.
The Stick was created by then guitarist Emmett Chapman in 1970 as an
outgrowth of a playing style he developed. Using a two-handed tapping
technique, he was able to play independent musical ideas simultaneously
(two-handed tapping is a term Emmett coined that guitarists would refer to
as hammer-ons). The player's fingers act much like the hammers in a piano
as they strike the string producing tones. A conventional guitar was
limited for this use, thus the evolution of the Chapman Stick was
inevitable. This was a case of a musical direction dictating the need for
change in the instrument (guitar) rather than the instrument defining the
players capabilities. The first prototype called "The Electric Stick" was
created in 1970 and was later refined and made available to the public in
1974 as the "Chapman Stick". As an instrument builder, Emmett always
explored ways to improve The Stick. The design and its modifications over
the years have been well conceived.
In simple terms the Chapman Stick is a long guitar-like fingerboard that
accommodates 10 strings (or 12 strings for the new Grand Stick) across 25
frets, with a stereo pickup near the base and tuning pegs at the top. The
standard neck is 3 1/4 inches wide and 34 inches from bridge to nut. A
unique shoulder strap and belt hook enable the player to be extremely
comfortable while having total access to the entire 5 1/4 octaves. The
floating pickup, is stereo-capable allowing the treble and bass ranges to
be processed through separate amplifiers or different effects as needed.
Individual volume controls are on board the Stick above the pickup housing,
conveniently located near the right hand playing position. This setup
affords the musician flexibility in tone, volume, and balance between
treble and bass registers.
Since the playing technique is two-handed the position of the players arms
in relation to the instrument had to be addressed in the design. The
shoulder strap at the top is combined with a plastic belt hook at the
bottom to place the Stick at approximately a 60-degree angle from
horizontal. This allows both hands to be perpendicular to the fretboard,
so tapping the string puts absolutely no stress on the wrists. The action
is set fairly low so minimal effort is needed to produce sounds. Unlike
most guitars, the Stick can be played effortlessly for hours without
physical strain.
A variety of materials have been used in the production of the Stick over
the years. A limited run of polycarbonate graphite instruments were made
in the late 1980's. They were heavier, came in assorted colors and were, I
think, crisper and sharper in tone. An overwhelming majority of Sticks are
made from warmer sounding hardwoods such as oak, teak and Indonesian
rosewoods. Each instrument is single-piece cut, with grain and color
giving them individual stylings. In my experience no two Sticks are alike
in look, feel, or sound although Emmett strives for consistency in quality.
Specially designed stainless steel rods are used for frets. These
Fret-Rods TM are round and help the strings respond with more clarity when
tapped. To complete the picture, a felt-damper occupies approximately 1/2
of the first fret, which mutes any unintentional noises that may have been
created when lifting fingers from the strings (The first fret can also be
played).
From a player's perspective let me explain the versatility of the Chapman
Stick. Using two hands, a musician can use 8, 9 or even 10 fingers to
create an array of sounds. Some possibilities include two contrapuntal
melody lines, two simultaneous bass lines, melody with bass or chord
accompaniment, polychordal voicings and numerous rhythmical possibilities.
The tunings are very symmetrical and easy to understand. Standard Stick
tuning has the melody strings in 4ths (F#BEAD lowest to highest) and the
bass in 5ths (CGDAE-the low C string as the 6th string and ascending to the
tenth string. See chart below).
The chord voicing shapes are easily visualized and may be moved
horizontally or vertically on the fingerboard with either hand.
Sophisticated chords are easily found by combining different triads with
each hand (polychords). Likewise, scale fingerings are very logical and
easily attained. A Baritone Stick offers alternatives to the standard
tuning, and the 12 string Grand Stick has many varieties of setups.
Although not in production now, a MIDI version Touchboard called the GRID
was also designed by Stick Enterprises. The tracking is exceptional and
offers a complete spectrum of tones. Synth sounds are produced as a third
voice along with the bass and treble registers of the Stick.
A mention about the players is useful. Of course Emmett Chapman leads the
way recording "Parallel Galaxy" on Back Yard Records. Emmett displays his
Coltrane/Hendrix inspired melodies and improvisations. Also available is
his informative video (interview and performance) "Hands Across the Board."
The most visible Stick player of course would be , who performs
with Peter Gabriel, King Crimson, Steps Ahead, and even did an album with
Pink Floyd ("Momentary Lapse of Reason"). Alphonso Johnson has a
leadership role with the Stick on "Spellbound" (Epic Records) and has been
featured with Santana. Fergus Marsh has been the Stick player with Bruce
Cockburn. Trey Gunn is recording with Robert Fripp. Lesser known but
equally skilled players are located internationally, performing an
enormously wide varieties of styles.
In writing this article my aim was to describe not only the physical
aspects of a major musical invention, but also hint at the spirit behind
its creation. The player need only take this quality and utilize this
marvelous tool for musical fulfillment.
New instruments come complete with stereo wire, heavy duty flight case, and
instruction book by Emmett Chapman entitled "Free Hands."
TUNING THE STICK
10 9 8 7 6 5 4 3 2 1
E A D G C F# B E A D
<--------- --------->
Up by 5ths Up by 4ths
2 1/2 octaves Difference
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