Austin Catalog.Pdf

Total Page:16

File Type:pdf, Size:1020Kb

Austin Catalog.Pdf JAZZ ARTIST CONTENTS ELECTRIC GUITARS 3 Jazz Artist Era Professional Standard 4 There’s a space 5 Era Professional Deluxe where you discover yourself. 6 Era ’62 Professional Standard 7 Era ’62 Professional Deluxe Where your core is inspired and nourished, 8 Tour Pro and creativity knows no boundaries. 10 Session Master 11 Thunder Rock A space where dexterity and agility are merged 12 Vintage Rock with an unyielding passion for creation. 13 Vintage Rock Custom Where wood and steel transcend their organic origin 14 Rock Standard / Rock Deluxe 15 Era ’62 Standard to harmonize with spirit and imagination. Fingerboard inlay contains an attractive Flamed maple back and sides bring added beauty to combination of white pearl and abalone. The Era Junior 16 an already handsome instrument. The classic, arch set-neck design, maple neck and rosewood 17 Era Standard A space where your voice is defined and nurtured. top, single cutaway design gives these guitars great fingerboard gives excellent sustain and feel, balance, and playability, as well as a high value smooth, fast action. 18 Era Standard—Metallic Finish A space for self-indulgence and expression. appearance and excellent tone. 19 Era Standard—Left-Handed Tune-a-matic bridge BASS GUITARS allows individual fine 20 Eclipse Pro 4/5-string tuning for precise intonation. The dual 21 Eclipse Custom 4/5-string Alnico humbucking 22 Eclipse Standard 4/5-string pickups provide warmth and low-end J-style 23 response. Two tone 24 P-style controls and two AU998TS 25 P-style—Left-Handed volume controls gives a wide variety of tone. 26 Short Scale BLUEGRASS & FOLK INSTRUMENTS 27 Mandolins AU998N 28 Banjos 30 Resonators 32 Metal Resonators ACOUSTIC / ELECTRIC GUITARS 34 Branson Cutaway JAZZ ARTIST 35 Boot-Heel Cutaway Classic, Arch Top, Single 36 Meramec Metallic Cutaway Design 37 Table Rock Dreadnought Flame Maple Back and Sides ACOUSTIC GUITARS Maple Neck with Rosewood 38 Custom Series Fingerboard 39 Deluxe Series Set-neck Design 42 Intermediate Series Dual Alnico Humbucking Pickups PERFORMANCE PACKS Two Volume and Two Tone Controls 44 Electric Guitar Pack Three-position Pickup Selector 44 Bass Guitar Pack Tune-a-matic Bridge on Rosewood Base AMPLIFIERS Gold Plated Hardware 45 Electric & Acoustic Guitar 46 Bass Guitar MODEL COLOR AU998N Natural 3 AU998TS Tobacco Sunburst ERA PROFESSIONAL STANDARD ERA PROFESSIONAL DELUXE AU931N AU931BK The AU931 and AU933 series guitars Eliminating the wraps around a tuner incorporate the Wilkinson EZ-LOK™ post is a “must do” when using a tuning machines. The tuners have an vibrato system. Simply pull the string upper and a lower hole, thus enabling through either the upper or lower hole AU933BC AU933AB the player to determine the amount of and pull the string tight and make a tension over the nut. The tuners can wrap around the post, pull the string also be used as a locking tuner for through the remaining hole and pull use with Vibrato bridges tight again, and you now have a locking tuning key. The string is now firmly attached with lass than half a turn around the tuner post when the string is tuned to pitch. AU931TS AU933BB eRA pRofeSSIonAl eRA pRofeSSIonAl STAnDARD DelUXe Solid Alder Body with Quilt Solid Alder Body with Quilt Maple Veneer Maple Veneer Maple Neck with Maple Neck with Rosewood Fingerboard Rosewood Fingerboard Two Wilkinson Alnico-V Single-coil Two Wilkinson Alnico-V Single-coil and One Humbucking Pickups and One Humbucking Pickups Wilkinson “Contemporary” Style Wilkinson “Contemporary” Style Vibrato Bridge Vibrato Bridge Stainless Steel Saddles with Stainless Steel Saddles with Solid Steel Block Solid Steel Block The AU931 incorporates Wilkinson “Classic” style Vibrato The AU933 series uses the Wilkinson “Contemporary” style Five-position Pickup bridge assembly and three single-coil pickups that Vibrato bridge assembly with two single-coil and one Five-position Pickup Selector Switch emulates the original 50’s style instruments. Wilkinson humbucking pickups. The bridge features a sleek low-profile Selector Switch faithfully reproduced the size and weight of the original surround that restricts any sideways movement of the solid One Volume and Two Tone Controls design bridge, but added the convenience of a “push in” Stainless Steel saddles. The bridge features stamped steel One Volume and Two Tone Controls Wilkinson EZ-LOK™ Die-cast vibrato arm. The WVS Series pickups feature staggered “heat hardened” top plate, a “push-in” Vibrato arm, and a Wilkinson EZ-LOK™ Die-cast polepieces with chamfered Alnico-V magnets. Chamfering Solid Steel sustain block for added sustain. The WHS series Tuning Machines the polepieces focuses the magnetic field giving good pickups feature non-staggered pole-pieces, and are High Tuning Machines highs, but still allowing some mids to come through in Output versions of the WVS series. These pickups are rich in MODEL COLOR order to keep the pickups from sounding thin. The middle harmonics and natural sustain. The WHHB humbucking is a MODEL COLOR AU931BK Black pickup is reverse wound/reverse polarity, while the bridge ceramic pickup that matches the output of the WHS single- AU933AB Amber Burst pickup is slightly over-wound for better balance. coil pickups. It is harmonically rich with tight lower frequency AU931N Natural response, and good highs without sounding thin. AU933BB Blue Burst AU931TS Tobacco Sunburst AU933BC Black Cherry 4 5 ERA ’62 PROFESSIONAL STANDARD ERA ’62 PROFESSIONAL DELUXE AU961N AU962AB The AU961 series employs the classic three-saddle design. The staggered brass saddles allow for individual string intonation that was not possible in earlier designs. The base plate is a faithful reproduction of the original and is steel. This is very important in a bridge of this style due to the effect it has on the magnetic field of the pickup mounted in it. The pickups are a matched pair of early 60’s voiced pickups that has been used for over forty years to create all styles of music from country to rock, blues and even jazz. The AU962 series uses the same bridge assembly as the AU961 models, but in bright chrome finish. This model uses the same classic WVT-B single-coil pickup in the bridge position for the classic “twang” but is matched to the WVC mini humbucker. Mini humbuckers have a sound AU961TS all their own. It is the perfect cross between the high end of a single-coil and the warmth of a humbucker with the added bonus of no noise. AU962CS eRA ’62 pRofeSSIonAl STAnDARD Solid Alder Body One Piece Maple Neck eRA ’62 pRofeSSIonAl DelUXe Wilkinson Alnico-V Vintage Single-coil Pickups Solid Alder Body with Quilt Maple Veneer Vintage Tortoise Shell-like or White Pearl Pickguard Maple Neck with Rosewood Fingerboard Wilkinson “Classic” T-style Bridge Wilkinson Alnico-V Vintage Single-coil Three-position Pickup The AU961 and AU962 series and Mini-humbucking Pickup Selector Switch utilizes Wilkinson die-cast tuning machines for precise, String ferrules with through-the-body Single-ply Crème Binding One Volume and One Tone Control smooth tuning. string routing gives added sustain by Wilkinson “Classic” T-style Bridge Wilkinson Die-cast Tuning Machines having a sharper break-over angle at the saddles. Three-position Pickup Selector Switch Satin Chrome Hardware One Volume and One Tone Control MODEL COLOR Wilkinson Die-cast Tuning Machines AU961N Natural Bright Chrome Hardware AU961TS Tobacco Sunburst MODEL COLOR AU962AB Amber Burst AU962CS Cherry Sunburst 6 7 TOUR PRO TOUR PRO AU792AM AU792TS AU792GR AU792RZ AU792BU AU792CH AU792PR ToUR pRo Contemporary Arch Top, Double Cutaway Body AU792CS Set Neck Design Maple Neck with Rosewood Fingerboard Two Humbucking Pickups One Volume and Tone Control Three-way Pickup Selector Switch Tune-a-matic Bridge/Stop Tailpiece Die-cast Tuning Machines Chrome Plated Hardware Pearl Inlaid Logo MODEL COLOR AU792AM Amber Design of the headstock allows the strings to run straight from the nut AU792BU Blue to the tuning machine. This gives the string the maximum amount of AU792CH Cherry downward tension that adds to the AU792CS Cherry Sunburst overall sustain of the instrument. Pearl inlaid logo enhances overall AU792GR Green appearance and elegance. The Tour Pro series features a beautiful Quilt Maple veneer “dome” knobs, a three-position pickup selector switch, and a AU792PR Purple top. The top is arched slightly, adding nice highlights as light classic Tune-a-matic bridge and Stop tailpiece for accurate reflects off the veneers. This model also features chromed tuning, maximum sustain, and ease of changing strings. AU792RZ Raspberry AU792TS Tobacco Sunburst 8 9 SESSION MASTER THUNDER ROCK THUnDeR RoCK AU796CH AU796AN Double Cutaway Mahogany Body Set Neck Design Mahogany Neck with Rosewood Fingerboard Two Humbucking Pickups Two Volume and Two Tone Controls Tune-a-matic Bridge Die-cast tuning machines with 14:1 ratio provide smooth, accurate tuning. Stop Tailpiece Hardware is triple chrome plated. Die-cast Tuning Machines Chrome Plated Hardware Pearl Inlaid Logo MODEL COLOR AU776WA AU796TS AU776WA Walnut AU776WR Wine Red AU776WR SeSSIon MASTeR The Thunder Rock models bring back the “Classic” Flame Maple Top 60’s Rock and Roll guitar. Maple Back and Sides Double cutaway design aids Single Crème Binding—Front/Back in the ease of playing in the Maple Set Neck upper register, while the Bound Rosewood Fingerboard dual humbucking pickups Dual Humbucking Pickups will cut through the music! Two Volume and Two Tone Controls Three-way Pickup Selector Switch Tune-a-matic Bridge Stop Tailpiece Dual humbucking pickups give a wide Die-cast Tuning Machines range of tones, from warm smooth jazz and blues to bright cutting leads. MODEL COLOR Individually adjustable bridge saddles ensure precise harmonic tuning. In AU796AN Antique Natural addition, the stop tailpiece provides better sustain, as well as aids in the AU796CH Cherry ease of changing strings.
Recommended publications
  • Measurement and Modeling of a Resonator Guitar
    ISMA 2019 Measurement and modeling of a resonator guitar Mark Rau(1)∗, Julius O. Smith III(1) (1)Center for Computer Research in Music and Acoustics, Stanford University, USA Abstract Resonator guitars are acoustic instruments which have one or more spun metal cones embedded in the top plate, with strings driving the cone directly through a bridge. They were originally designed to be louder than traditional acoustic guitars and are often played with a metal slide. The vibrational characteristics of resonator guitars having a single inverted-cone are studied as the basis for a synthesis model. The small-signal input admittance is obtained using an impact hammer and laser Doppler vibrometer. As well, sinusoidal sweeps are made using a modal shaker at various driving amplitude levels. The shaker measurements show that some of the modes exhibit nonlinear characteristics. These measurements are used to design body resonator filters with time-varying resonant modes for a digital waveguide model of the resonator guitar. Keywords: Guitar, Measurement, Modeling 1 INTRODUCTION During the early twentieth century, the playing levels of American bands were increasing due to the use of brass instruments and percussion. Conventional stringed instruments were not loud enough to compete, leading to the invention of “resophonic” or “resonator” instruments. Resonator instruments have similar construction to their traditional counterparts, with the addition of one or more spun metal cones replacing the majority of the top plates. With the introduction of electronically amplified musical instruments, the need for louder acoustic instruments was reduced, but by this time, resophonic instruments had already become part of the canon of American music such as blues and traditional music.
    [Show full text]
  • Adapting Traditional Kentucky Thumbpicking Repertoire for the Classical Guitar
    University of Kentucky UKnowledge Theses and Dissertations--Music Music 2015 Adapting Traditional Kentucky Thumbpicking Repertoire for the Classical Guitar Andrew Rhinehart University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Rhinehart, Andrew, "Adapting Traditional Kentucky Thumbpicking Repertoire for the Classical Guitar" (2015). Theses and Dissertations--Music. 44. https://uknowledge.uky.edu/music_etds/44 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies.
    [Show full text]
  • Guitar Body Shapes May 14, 2020
    Guitar Virtual Learning Guitar Body Shapes May 14, 2020 Guitar Lesson: May 14, 2020 Objective/Learning Target: What different guitar shapes are there, and what are the differences between those shapes? Warm-Up Activity Watch the following video by YouTuber “Minor7thb5” (which is a music theory reference!). In it, he plays the same piece of music two times with two different guitars. The guitars are of similar build quality and materials, but they are different shapes. One is a parlor guitar and the other is a dreadnaught. How do they sound different to you? These differences are subtle. It might be easier to hear by using headphones. 2nd Warm-Up Activity These were the two guitars he played. The one on the left is an Eastman parlor guitar, the one on the right is a Martin dreadnought. How do they look different? How do they look the same? Guitar Shapes For the lesson today, we are going to do a brief overview of the different guitar shapes and styles you can find today. This lesson will build on the lessons from earlier in the week where we discussed the differences between classical, steel-string, and electric guitars. Now, we will see what different body shapes there are, especially for the steel-string and electric guitars, and what makes them different! A Brief history of guitar shapes The word “guitar” comes from the Greek word “kithara,” which shows up in Greek mythology from thousands of years ago. These stringed instruments didn’t look much like our guitars now, but they were strummed like our guitars.
    [Show full text]
  • 2016 Washburn Catalog
    With roots going back before the Civil War, Washburn began as a partnership between George Washburn Lyon and Patrick Healy. Formed in Chicago, Illinois, Washburn has been building stringed instruments since 1883. An American institution, Washburn has built guitars, mandolins, banjos, ukuleles, and more throughout the years. Many of the biggest names in folk, rock, and blues have played Washburn and some of the most significant trendsetting music has been played on a Washburn. From early blues, to the inspiration behind the MTV Unplugged revival, to the modern day, Washburn has been a choice amongst the songsmiths of the day. 130 years of history is at the root of our strong foundation building high quality instruments. It is this background that inspires us to create instruments for you and we hope you experience the exceptional value, playability and voice that is Washburn. In this brochure we encourage you to explore the Washburn line of fine instruments. We are sure you can find a musical partner in a Washburn, be it the quintessential acoustic-electric Festival, the legendary Heritage, the luthier inspired Comfort, or our extensive variety of Americana models. WASHBURN ™ ACOUSTICS 2 3 A great little travel companion, Washburn’s Rover is the ultimate travel guitar! A solid soundboard contributes to its clear and robust sound for its size. Play it any time or any place. Bring it with you when you’re on a plane, a boat, a car, the beach, ROVER camping, hiking -anywhere. Comes complete with case, instructional DVD, strap and SERIES 3 picks. Fits in an airline overhead and is the perfect guitar travel companion.
    [Show full text]
  • Prek–12 EDUCATOR RESOURCES QUICK GUIDE
    PreK–12 EDUCATOR RESOURCES QUICK GUIDE MUSICAL INSTRUMENT MUSEUM BRING THE WORLD OF MUSIC TO THE CLASSROOM MIM’s Educator Resources are meant to deepen and extend the learning that takes place on a field trip to the museum. Prekindergarten through 12th-grade educators can maximize their learning objectives with the following resources: • Downloadable hands-on activities and lesson plans • Digital tool kits with video clips and photos • Background links, articles, and information for educators • Free professional development sessions at MIM Each interdisciplinary tool kit focuses on a gallery, display, musical instrument, musical style, or cultural group—all found at MIM: the most extraordinary museum you’ll ever experience! RESOURCES ARE STANDARDS-BASED: Arizona K–12 Academic Standards • English Language Arts • Social Studies • Mathematics • Science • Music • Physical Education Arizona Early Learning Standards • English Language Arts • Social Studies • Mathematics • Science • Music • Physical Education EXPLORE MIM’S EDUCATOR RESOURCES ONLINE: • Schedule a field trip to MIM • Download prekindergarten through 12th-grade tool kits • Register for free professional development at MIM MIM.org | 480.478.6000 | 4725 E. Mayo Blvd., Phoenix, AZ 85050 (Corner of Tatum & Mayo Blvds., just south of Loop 101) SOUNDS ALL AROUND Designed by MIM Education MUSICAL INSTRUMENT MUSEUM SUMMARY Tool Kits I–III feature activities inspired by MIM’s collections and Geographic Galleries as well as culturally diverse musical selections. They are meant to extend and
    [Show full text]
  • Chords and Scale Patterns : for Resonator Guitar Chart Pdf, Epub, Ebook
    CHORDS AND SCALE PATTERNS : FOR RESONATOR GUITAR CHART PDF, EPUB, EBOOK Stacy Phillips | 4 pages | 30 May 2007 | Mel Bay Publications,U.S. | 9780786675401 | English | Missouri, United States Chords and Scale Patterns : For Resonator Guitar Chart PDF Book Resonator guitars i. Being able to play an entire song is such an impressive skill, but it takes lots of practice. You guys have done it again, I look forward to these lessons. Playing both strings together and sliding into the IV and V sounds really cool power chords! This handy book shows all of the basic banjo chords in photo and diagram form. You can read our full deliveries policy here. Flute Tin Whistle. A variation of this progression vi, V, VI, V is also seen more often in modern music. We covered most of this in Point 2, but again, the resonator is made of very lightweight wood. Piano Melody - Learn your favorite songs and play by ear. Vacuum Tubes. Read More. Here is a 2 octave G Major scale. The tablature will show the chords to a song from left to right, as if you were reading text. Intro to Playing Common Chords. Dirk your lessons are gold!! Because of this, there are a countless variety of progressions out there. For example, the next scale is the same pattern moved down to start at the open strings making it a G scale. We will be playing out of the open scale pattern, closed scale root on 5th string and the single string scale pattern…. Please note the following exclusions: DVD's and CD's cannot be returned unless they are faulty Banjo heads cannot be returned once you have tried to fit them to your banjo Harmonica's have a 7 day guarantee and can be returned within this time if they are found to be faulty Goods must be returned to Eagle Music together with a covering letter and contact details so that the matter can be dealt with efficiently and promptly.
    [Show full text]
  • Mark Simon's Terraplane Resonator Guitars
    Mark Simon's Terraplane Resonator Guitars (index.html) Good Vibrations How Sweet e Sound! Mark Simon and the Terraplane resonator guitar. One hundred years ago, in 1916, the Martin Guitar Company manufactured a new model called a Dreadnought. e most o vious characteristic of the Dreadnought"to this day the most popular acoustic guitar style in America"was its larger ody si$e, meant to help players in their e%orts to e heard amidst the rass and percussive instruments that made up many popular ensem les of the day. Later, in the 1920s, a violin repairman named )ohn Dopyera addressed the pro lem in a di%erent way when he made the *rst resonator guitar for George Beauchamp, a ,audeville lap steel guitar player from Te.as. Rather than rely on the instrument0s wooden top and ody to amplify the sound waves from the strings, Dopyera devised aluminum cones that received the string vi rations through a variety of com inations and con*gurations, producing a sound much louder and righter than that of a traditional acoustic guitar. Dopyera and Beauchamp egan manufacturing tri1cone, metal1 odied 2ational Steel guitars in Los Angeles in 1927. A year later, Dopyera le5 to form his own company with his rothers, naming it Dobro Manufacturing, producing a single, larger resonator cone that sat inverted under a perforated metal cover plate. e Dopyera rothers were a le to eventually com ine oth 2ational and Dobro into one company, while Beauchamp, himself no slouch when it came to innovation, went on to achieve supreme audi ility y developing the *rst electric guitars.
    [Show full text]
  • ACOUSTIC Waterloo WL-12 the Waterloo Line from Collings Guitars Seeks to Evoke the Small-Bodied Soul of Pre- War Acoustics
    ACOUSTIC Waterloo WL-12 The Waterloo line from Collings Guitars seeks to evoke the small-bodied soul of pre- war acoustics. These are not overly ornate Waterloo WL-12 flat-tops, but simpler workhorses that put a Price: $2,200 (list) premium on sounding good. Info: www.waterlooguitars.com The WL-12 is a 12-fret acoustic fitted with an X-braced spruce top and flamed-maple back and sides, topped with an Iced Tea Santa Cruz Vintage finish, tortoise pickguard, and white top Southerner binding. The body has a width of 14.75" on Price: $5,700 (list) the lower bout and a neck scale of 24.875", Info: www.santacruzguitar.com while its rosewood fingerboard has dot inlays, vintage-styled tuners, and a drop-in saddle. Also impressive is its light weight – under 3.5 pounds. The neck is a larger D-shape that’s quite comfortable and set up with low action. One selling point is that, with the 12-fret design, the bridge sits closer to the middle of the lower bout, which endeavors to create more bass and projection. In practice, the WL-12 sounded like a fine parlor guitar, with medium bass, pleasing high-end, and a midrange akin to a resonator guitar – just right for miked-up recording, gigging, or playing on the porch. Overall, the Waterloo WL-12 is more about craftsmanship and tone than fancy finishes, and it more than delivers in that regard. Com- pared to a heavier dreadnought or jumbo, the light weight and playability of the guitar also makes the WL-12 a go-to instrument that sounds great for fingerpicking, blues, ragtime, bottleneck, country, or any kind of acoustic music you can think of.
    [Show full text]
  • Medieval to Metal: the Art and Evolution of the Guitar MEDIEVAL to METAL: the ART and EVOLUTION of the GUITAR September 29Th, 2018-January 6Th, 2019
    EXHIBITION RESOURCE PACKET Medieval to Metal: The Art and Evolution of the Guitar MEDIEVAL TO METAL: THE ART AND EVOLUTION OF THE GUITAR September 29th, 2018-January 6th, 2019 How to use this resource: This packet is designed to be flexible. Use it to help prepare for a docent-led tour of the museum, to inform a self-guided tour, or to discuss selected artworks in your classroom, whether you’re able to physically visit the museum or not. The suggested activities (page 7) should be used in conjunction with in-depth discussion of at least one related artwork. The guitar has been a signature element of world culture for more than 500 years. As the guitar’s ancestors evolved over centuries from the earliest ouds and lutes to the signature hourglass shape we all know today, guitar makers experimented with shapes, materials, and accessories, seeking the perfect blend of beauty and sound. Spanning centuries of design and craftsmanship, this exhibition takes visitors through the history of an object that is one of the most recognizable items on the planet. Art and music transcend cultural boundaries while the most recognized musical instrument—the guitar—has influenced culture beyond music. Through the years the guitar and its shape have been integral elements for artists such as Vermeer and Picasso and today they are incorporated into the advertisements of everything from clothes to car. What guitars are in the show? The following 40 guitars are included in the exhibition: Oud (North Africa) Maccaferri Plastic Lute (Europe) Silvertone 1487 Speaker
    [Show full text]
  • 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.
    [Show full text]
  • Medium of Performance Thesaurus for Music
    A clarinet (soprano) albogue tubes in a frame. USE clarinet BT double reed instrument UF kechruk a-jaeng alghōzā BT xylophone USE ajaeng USE algōjā anklung (rattle) accordeon alg̲hozah USE angklung (rattle) USE accordion USE algōjā antara accordion algōjā USE panpipes UF accordeon A pair of end-blown flutes played simultaneously, anzad garmon widespread in the Indian subcontinent. USE imzad piano accordion UF alghōzā anzhad BT free reed instrument alg̲hozah USE imzad NT button-key accordion algōzā Appalachian dulcimer lõõtspill bīnõn UF American dulcimer accordion band do nally Appalachian mountain dulcimer An ensemble consisting of two or more accordions, jorhi dulcimer, American with or without percussion and other instruments. jorī dulcimer, Appalachian UF accordion orchestra ngoze dulcimer, Kentucky BT instrumental ensemble pāvā dulcimer, lap accordion orchestra pāwā dulcimer, mountain USE accordion band satāra dulcimer, plucked acoustic bass guitar BT duct flute Kentucky dulcimer UF bass guitar, acoustic algōzā mountain dulcimer folk bass guitar USE algōjā lap dulcimer BT guitar Almglocke plucked dulcimer acoustic guitar USE cowbell BT plucked string instrument USE guitar alpenhorn zither acoustic guitar, electric USE alphorn Appalachian mountain dulcimer USE electric guitar alphorn USE Appalachian dulcimer actor UF alpenhorn arame, viola da An actor in a non-singing role who is explicitly alpine horn USE viola d'arame required for the performance of a musical BT natural horn composition that is not in a traditionally dramatic arará form. alpine horn A drum constructed by the Arará people of Cuba. BT performer USE alphorn BT drum adufo alto (singer) arched-top guitar USE tambourine USE alto voice USE guitar aenas alto clarinet archicembalo An alto member of the clarinet family that is USE arcicembalo USE launeddas associated with Western art music and is normally aeolian harp pitched in E♭.
    [Show full text]
  • 18 Th and 19 Th Century Who Had an Impact on Later Developments in Jazz Guitar
    The development of the Electric Jazz Guitar in the 20 th century – by Pebber Brown One of the areas that is historically very important but sorely missing from any music texts, is that of the history of the jazz guitar and its players. In this essay, I will explore some of its early origins as an instrument and briefly look at some of the significant early guitar players of the 18 th and 19 th century who had an impact on later developments in jazz guitar. Moving into the early part of the 20 th century, I will also explore some of the influential non-classical guitarists who influenced the acceptance of the guitar as a viable jazz instrument, and lastly I will explore the importance of the invention of the electric guitar an look at some of the less well known but very important jazz guitarists of the 20 th century. Some insight into the origins of the guitar The guitar was invented many centuries ago in Spain as a predecessor of older Middle-Eastern stringed instruments such as the Zither, and the Lyre. The first guitars had less strings on them and were called "Chitarra." These instruments were played up until the 17th century when the more modern "Guitarra" was invented in Spain. The Guitarra later became the "Guitar," and it made its way to Northern Europe and in England and the Netherlands they created their own version of it called the Lute. Lutes are most called "Baroque" lutes pertaining to the music played on them during the Baroque period.
    [Show full text]