Guitar Lab Reference Guide
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The Science of String Instruments
The Science of String Instruments Thomas D. Rossing Editor The Science of String Instruments Editor Thomas D. Rossing Stanford University Center for Computer Research in Music and Acoustics (CCRMA) Stanford, CA 94302-8180, USA [email protected] ISBN 978-1-4419-7109-8 e-ISBN 978-1-4419-7110-4 DOI 10.1007/978-1-4419-7110-4 Springer New York Dordrecht Heidelberg London # Springer Science+Business Media, LLC 2010 All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. Printed on acid-free paper Springer is part of Springer ScienceþBusiness Media (www.springer.com) Contents 1 Introduction............................................................... 1 Thomas D. Rossing 2 Plucked Strings ........................................................... 11 Thomas D. Rossing 3 Guitars and Lutes ........................................................ 19 Thomas D. Rossing and Graham Caldersmith 4 Portuguese Guitar ........................................................ 47 Octavio Inacio 5 Banjo ...................................................................... 59 James Rae 6 Mandolin Family Instruments........................................... 77 David J. Cohen and Thomas D. Rossing 7 Psalteries and Zithers .................................................... 99 Andres Peekna and Thomas D. -
Alternate Tuning Guide
1 Alternate Tuning Guide by Bill Sethares New tunings inspire new musical thoughts. Belew is talented... But playing in alternate Alternate tunings let you play voicings and slide tunings is impossible on stage, retuning is a between chord forms that would normally be nightmare... strings break, wiggle and bend out impossible. They give access to nonstandard of tune, necks warp. And the alternative - carry- open strings. Playing familiar fingerings on an ing around five special guitars for five special unfamiliar fretboard is exciting - you never know tuning tunes - is a hassle. Back to EBGDAE. exactly what to expect. And working out familiar But all these "practical" reasons pale com- riffs on an unfamiliar fretboard often suggests pared to psychological inertia. "I've spent years new sound patterns and variations. This book mastering one tuning, why should I try others?" helps you explore alternative ways of making Because there are musical worlds waiting to be music. exploited. Once you have retuned and explored a Why is the standard guitar tuning standard? single alternate tuning, you'll be hooked by the Where did this strange combination of a major unexpected fingerings, the easy drone strings, 3rd and four perfect 4ths come from? There is a the "new" open chords. New tunings are a way to bit of history (view the guitar as a descendant of recapture the wonder you experienced when first the lute), a bit of technology (strings which are finding your way around the fretboard - but now too high and thin tend to break, those which are you can become proficient in a matter of days too low tend to be too soft), and a bit of chance. -
Guitar Tunings
Guitar tunings Guitar tunings assign pitches to the open strings of guitars, including acoustic guitars, electric guitars, and classical guitars. Tunings are described by the particular pitches denoted by notes in Western music. By convention, the notes are ordered from lowest-pitched string (i.e., the deepest bass note) to highest-pitched (thickest string to thinnest).[1] Standard tuning defines the string pitches as E, A, D, G, B, and E, from lowest (low E2) to highest (high E4). Standard tuning is used by most guitarists, and The range of a guitar with standard frequently used tunings can be understood as variations on standard tuning. tuning The term guitar tunings may refer to pitch sets other than standard tuning, also called nonstandard, alternative, or alternate. Some tunings are used for 0:00 MENU particular songs, and might be referred to by the song's title. There are Standard tuning (listen) hundreds of such tunings, often minor variants of established tunings. Communities of guitarists who share a musical tradition often use the same or similar tunings. Contents Standard and alternatives Standard Alternative String gauges Dropped tunings Open tunings Major key tunings Open D Open C Open G Creating any kind of open tuning Minor or “cross-note” tunings Other open chordal tunings Modal tunings Lowered (standard) E♭ tuning D tuning Regular tunings Major thirds and perfect fourths All fifths and “new standard tuning” Instrumental tunings Miscellaneous or “special” tunings 1 15 See also Notes Citation references References Further reading External links Standard and alternatives Standard Standard tuning is the tuning most frequently used on a six-string guitar and musicians assume this tuning by default if a specific alternate (or scordatura) is not mentioned. -
The 50 Greatest Rhythm Guitarists 12/25/11 9:25 AM
GuitarPlayer: The 50 Greatest Rhythm Guitarists 12/25/11 9:25 AM | Sign-In | GO HOME NEWS ARTISTS LESSONS GEAR VIDEO COMMUNITY SUBSCRIBE The 50 Greatest Rhythm Guitarists Darrin Fox Tweet 1 Share Like 21 print ShareThis rss It’s pretty simple really: Whatever style of music you play— if your rhythm stinks, you stink. And deserving or not, guitarists have a reputation for having less-than-perfect time. But it’s not as if perfect meter makes you a perfect rhythm player. There’s something else. Something elusive. A swing, a feel, or a groove—you know it when you hear it, or feel it. Each player on this list has “it,” regardless of genre, and if there’s one lesson all of these players espouse it’s never take rhythm for granted. Ever. Deciding who made the list was not easy, however. In fact, at times it seemed downright impossible. What was eventually agreed upon was Hey Jazz Guy, October that the players included had to have a visceral impact on the music via 2011 their rhythm chops. Good riffs alone weren’t enough. An artist’s influence The Bluesy Beauty of Bent was also factored in, as many players on this list single-handedly Unisons changed the course of music with their guitar and a groove. As this list David Grissom’s Badass proves, rhythm guitar encompasses a multitude of musical disciplines. Bends There isn’t one “right” way to play rhythm, but there is one truism: If it feels good, it is good. The Fabulous Fretwork of Jon Herington David Grissom’s Awesome Open Strings Chuck Berry I don"t believe it A little trick for guitar chords on mandolin MERRY, MERRY Steve Howe is having a Chuck Berry changed the rhythmic landscape of popular music forever. -
Chart of Recorded and Related Tunings
Page 1 Dancing Cat Records Hawaiian Slack Key Information Booklet: SECTION IVa: CHART OF RECORDED TUNINGS (and ones closely related to them) 1. 51 of the 65 tunings listed here have had Hawaiian songs recorded in them. Of these 36 of them are played virtually exclusively in Hawai’i (or for playing Hawaiian music). 2. Bb Tunings are the same as C Tunings, except the pitches of the two lowest pitched strings are reversed and tuned up, and the whole tuning is often lowered to the key of Bb to accommodate the fairly extreme raising of the two lowest pitched strings. Therefore, in this chart (and in all the sections of this Slack Key information book) the Bb tunings are listed with the same chart number as the C Tunings that they are related to. 3. In the C Tunings Section of this chart, when two tunings are listed together that are similar, except that the two lowest pitched strings are reversed in pitch (so that one of the tunings is also a Bb Tuning), those two tunings are separated by a space. 4. For songs listed in each of these tunings, see the HAWAIIAN RECORDINGS IN THE SLACK KEY TUNINGS-SECTION V. For other possible Slack Key tunings, see the SUMMARY OF NON- RECORDED TUNINGS-SECTION VI. 5. **The 12 tunings with two asterisks after them have not had any songs recorded in them, but they are reported to have been played by someone in Hawai’i, or are closely related to the one just above it on the chart, and they would be very feasible to play Slack Key in. -
Guitar Instruction & Technique
guitar instruction & technique 1280 Absolute Beginners Series 1290 Hal Leonard Guitar Starter Kits 1320 At a Glance Series 1272 Hal Leonard Guitar Tab Method 1330 Capo 1286 Kids Instructional Methods 1287 ChordBuddy 1285 Wolf Marshall Guitar Method 1302 Chords, Scales, Arpeggios & 1331 Music Theory Picking 1332 Pedals/Effects 1282 The Complete Guitar Player 1276 Play Today®! 1326 Compact Reference Library 1323 Pocket Guides 1322 Crash Course Collection 1314 Posters ® 1330 Dobro 1333 Reading, Notation & Arranging 1295 DVDs 1329 REH Guides 1269 Essential Elements for Guitar 1335 Rhythm Guitar 1283 Fast Forward 1336 Set-Ups and Maintenance 1274 FastTrack Music Instruction 1337 Slide Guitar 1288 General Guitar Instruction 1290 Starter Kits 1325 Gig Bag Series 1278 Step One Series 1301 Guitar Decks 1340 Technique 1260 Hal Leonard Guitar Method 1338 Tuning 2015 1260 HAL LEONARD GUITAR METHOD METHOD BOOKS HAL LEONARD GUITAR METHOD BOOK 1 – 2ND EDITION HAL LEONARD The Hal Leonard Guitar Method is designed for anyone just learning to play acoustic or electric guitar. It is based on years of teaching guitar students of all ages, and it also reflects some of the best guitar teaching ideas from around the world. Book 1 provides beginning instruction which includes tuning; playing position; musical symbols; notes in first position; GUITAR METHOD the C, G, G7, D, D7, A7, and Em chords; rhythms through eighth notes; strumming and picking; and 100 great songs, riffs, and examples. Added features are a chord chart and a selection of well-known songs, including Ode to Joy • Rockin’ Robin • Greensleeves • Give My Regards to Broadway The #1 selling guitar method in the world, the • and Time Is on My Side. -
The Brazilian Seven-String Guitar: Traditions, Techniques and Innovations
The Brazilian seven-string guitar: Traditions, techniques and innovations Adam John May Submitted in partial fulfilment of the requirements of the degree of Master of Music - Musicology/Ethnomusicology (with course work component) September 2013 Melbourne Conservatorium of Music The University of Melbourne Produced on archival quality paper i Abstract Since the early 1980s a new and unique repertoire has emerged for the seven-string guitar, known in Portuguese as the violão de sete-cordas, a Brazilian instrument typically played in choro ensembles. This thesis demonstrates, through musical analysis, that this new repertoire is a result of two converging musical influences, both the Brazilian six-string guitar repertoire and the traditional accompaniment role of the seven-string guitar in choro ensembles. Choro is a genre of Brazilian instrumental music that developed in Rio de Janeiro during the late nineteenth century and continues to be played throughout Brazil, as well as gaining popularity in other parts of the world. The Brazilian seven-string guitar emerged in Rio de Janeiro at the beginning of the twentieth-century; photographic evidence and recordings confirm that it was included in choro ensembles as early as the 1910s. Traditionally strung with steel strings and played using a metal thumb-pick, the instrument provides a counterpoint accompaniment line that is generally improvised. In the early 1980s a small number of musicians experimented with the use of nylon strings; this resulted in timbral variations and greater expressive qualities similar to the standard classical guitar. Guitarists began to use this new version of the seven-string guitar as a solo instrument, as well as in other musical settings outside of typical choro groups; this significant development is referred to as the duas escolas or two schools of performance practice. -
Guitar in Oxford Music Online
Oxford Music Online Grove Music Online Guitar article url: http://www.oxfordmusiconline.com:80/subscriber/article/grove/music/43006 Guitar (Fr. guitare; Ger. Gitarre; It. chitarra; Sp. guitarra; Port.viola; Brazilian Port. violão). A string instrument of the lute family, plucked or strummed, and normally with frets along the fingerboard. It is difficult to define precisely what features distinguish guitars from other members of the lute family, because the name ‘guitar’ has been applied to instruments exhibiting a wide variation in morphology and performing practice. The modern classical guitar has six strings, a wooden resonating chamber with incurved sidewalls and a flat back. Although its earlier history includes periods of neglect as far as art music is concerned, it has always been an instrument of popular appeal, and has become an internationally established concert instrument endowed with an increasing repertory. In the Hornbostel and Sachs classification system the guitar is a ‘composite chordophone’ of the lute type (seeLUTE, §1, andCHORDOPHONE). 1. Structure of the modern guitar. Fig.1 shows the parts of the modern classical guitar. In instruments of the highest quality these have traditionally been made of carefully selected woods: the back and sidewalls of Brazilian rosewood, the neck cedar and the fingerboard ebony; the face or table, acoustically the most important part of the instrument, is of spruce, selected for its resilience, resonance and grain (closeness of grain is considered important, and a good table will have a grain count about 5 or 6 per cm). The table and back are each composed of two symmetrical sections, as is the total circumference of the sidewalls. -
“Covering” the Bluesman from a Distance
Introduction In many ways, my journey towards this thesis topic began with my brother’s music collection. Throughout my teens he would introduce me to a wide range of local and international acts, many of which were influenced by African-American blues artists. This influence is evident in both their construction of sound and the old songs that they rerecorded. From there I began tracing musical influences from song credits and interview excerpts—a path often travelled by musicians and fans alike—that would eventually lead me to an appreciation of blues music. The penultimate step towards this topic came in the form of my honours thesis—a creative project that involved rerecording several tracks from the catalogue of an early Australian country music artist, one of which was titled “Blue Mountain Blues”.1 From there I turned to blues music in Australia. Initially conceived as a history of “Australian blues”, it became apparent that this proposed sub-genre struggled to unify and explain the disparate musical styles contained therein. Although each artist was clearly addressing the musical characteristics and influences I had come to recognise as “blues music”, it all sounded different. In the meantime, I developed a keen interest in a fellow colleague’s thesis topic that addressed the role of “covers” within the Australian music industry (Giuffre, 2005). My epiphany—and catalyst for the current thesis topic—eventually presented itself while viewing a live performance from Peter Green Splinter Group. The concert was split into two courses: an acoustic entrée featuring several Robert Johnson “covers”; and, an electric main with side dishes of early Fleetwood Mac material—the band Green had help found many years ago. -
'The Role of Hawaiian Guitar in the Present Context of Hindustani
KARNATAK UNIVERSITY DHARWAD ‘The Role of Hawaiian Guitar in the Present Context of Hindustani Classical Music – A Practical Analysis’ A thesis submitted to the Karnatak University, Dharwad for the award of the degree of ‘Doctor of Philosophy’ in performing arts Research Student PRAKASH SONTAKKE Research Guide Dr. Smt. MEERA SHIVSHANKAR GUNDI Associate Professor (Retd.) MA Sangeetha & Phd P G Department of Music and Fine Arts Karnatak University, Dharwad January 2015 Sculpture depicting Lord Ganesha playing the ancient Indian slide veena CONTENTS Acknowledgments ................................................................................................................................ vi Certificate ............................................................................................................................................ ix Declaration ........................................................................................................................................... x Introduction .......................................................................................................................................... 1 1. The Hawaiian Guitar .................................................................................................................. 11 1.1. The History of the Hawaiian Guitar .................................................................................. 11 1.2. The Development of the Hawaiian Guitar as a Main Instrument ..................................... 15 1.2.1. Arrival of the Electric -
Open Tunings B and D
16 instance, the melody C# B G A can be harmo- nized in the Open G tuning with the two drones Open Tunings B and D. When the strings of a tuning form a simple chord, the tuning is called open; the strings of the Open C tuning form a C major chord, the strings of the Open G tuning form a G major chord. Invariably, this makes it easy to play in the “natural” key of the tuning. But it’s a mistake to restrict playing to just a few keys since most of the open tunings are versatile enough to play in Open tunings are ideal for playing bottle- any key. neck or slide guitar, since you can place the slide One of the most common uses of open at any fret and play a full six string chord. tunings is to play the open strings as drones. This Similarly, harmonics sound wonderful in open is an easy way to create unusual chordal combi- tunings. You can play a full six strings of har- nations and interesting sustained tonal clusters. monics at the 12th, 7th and 5th frets. When the harmonic motion is in the treble, the Several of the open tunings presented here lower strings tend to be used as drones. For are closely related - they differ by only one step instance, in the Open G tuning, the following on one string. Examples are the Modal D - Open progression begins with a D major, then “sus- D - D Minor and the Modal G - Open G - G Minor pends” C major, B minor, and A minor, to finally tunings. -
Operation Manual
OPERATION MANUAL Thank you very much for purchasing the ZOOM . Please read this manual carefully to learn about all the functions of the so that you will be able to use it fully for a long time. Keep this manual in a convenient place for reference when necessary. Contents Usage and Safety Precautions …………… 2 Changing Patch Memories ………………… 20 Introduction ………………………………… 3 Changing Various Settings ………………… 22 Terms Used in This Manual ………………… 3 Using the Tuner ……………………………… 28 Part Names ………………………………… 4 About the Firmware ………………………… 30 Turning the Power ON ……………………… 6 Restoring the to its Factory Default Settings ………………………… 32 Adjusting the Tone and Volume …………… 8 Effect Types and Parameters ……………… 33 Adjusting Effects …………………………… 10 Troubleshooting …………………………… 42 Using the Boost Function ………………… 15 Specifications ……………………………… 43 Using the Anti-Feedback Function ………… 16 Selecting and Saving Patch Memories …… 18 © 2013 ZOOM CORPORATION Copying or reproduction of this document in whole or in part without permission is prohibited. Usage and Safety Precautions SAFETY PRECAUTIONS Battery handling Install the batteries with the correct +/- orientation. In this manual, symbols are used to highlight warnings Use a specified battery type. Do not mix new and old batteries or and cautions that you must read to prevent accidents. The different brands or types at the same time. When not using the unit meanings of these symbols are as follows: for an extended period of time, remove the batteries from the unit. Usage and Safety Precautions Usage and Safety If a battery leak should occur, wipe the battery compartment and the battery terminals carefully to remove all battery residue. Something that could cause serious injury or death.