1.
Spanish language
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Spanish —also called Castilian —is a Romance language that originated in the Castile region of Spain, with hundreds of millions of native speakers around the world. It is usually considered the worlds second-most spoken native language after Mandarin Chinese and it is one of the few languages to use inverted question and exclamation marks. Spanish is a part of the Ibero-Romance group of languages, which evolved from several dialects of Vulgar Latin in Iberia after the collapse of the Western Roman Empire in the 5th century. Beginning in the early 16th century, Spanish was taken to the colonies of the Spanish Empire, most notably to the Americas, as well as territories in Africa, Oceania, around 75% of modern Spanish is derived from Latin. Greek has also contributed substantially to Spanish vocabulary, especially through Latin, Spanish vocabulary has been in contact from an early date with Arabic, having developed during the Al-Andalus era in the Iberian Peninsula. With around 8% of its vocabulary being Arabic in origin, this language is the second most important influence after Latin and it has also been influenced by Basque as well as by neighboring Ibero-Romance languages. It also adopted words from languages such as Gothic language from the Visigoths in which many Spanish names and surnames have a Visigothic origin. Spanish is one of the six languages of the United Nations. It is the language in the world by the number of people who speak it as a mother tongue, after Mandarin Chinese. It is estimated more than 437 million people speak Spanish as a native language. Spanish is the official or national language in Spain, Equatorial Guinea, speakers in the Americas total some 418 million. In the European Union, Spanish is the tongue of 8% of the population. Spanish is the most popular second language learned in the United States, in 2011 it was estimated by the American Community Survey that of the 55 million Hispanic United States residents who are five years of age and over,38 million speak Spanish at home. The Spanish Constitution of 1978 uses the term castellano to define the language of the whole Spanish State in contrast to las demás lenguas españolas. Article III reads as follows, El castellano es la lengua española oficial del Estado, las demás lenguas españolas serán también oficiales en las respectivas Comunidades Autónomas. Castilian is the official Spanish language of the State, the other Spanish languages as well shall be official in their respective Autonomous Communities. The Spanish Royal Academy, on the hand, currently uses the term español in its publications. Two etymologies for español have been suggested, the Spanish Royal Academy Dictionary derives the term from the Provençal word espaignol, and that in turn from the Medieval Latin word Hispaniolus, from—or pertaining to—Hispania
2.
Mariachi
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Mariachi is a musical expression that dates back to at least 18th century Western Mexico. Modifications of the music include influences from music such as polkas and waltzes, the addition of trumpets. The musical style began to take on national prominence in the first half of the 20th century, with its promotion at presidential inaugurations, in 2011 UNESCO recognized mariachi as an Intangible Cultural Heritage, joining six others of this list from Mexico. The origin of the word is disputed, but prominent theories attribute it to indigenous roots, one states that it comes from the name of the wood used to make the dance platform. Another states that mariachi comes from the name of a tree called pilla or cirimo. In many Mexican cultures they are also called Marietti, Mariachi can refer to the music, the group, or just one musician. The word mariachi was thought to have derived from the French word marriage, dating from the French intervention in Mexico in the 1860s and this was a common explanation on record jackets and travel brochures. This theory was disproven with the appearance of documents that showed that the word existed before this invasion, prior to the arrival of the Spanish, indigenous music was played with rattles, drums, flutes, and conch-shell horns as part of religious celebrations. The Spanish introduced violins, guitars, harps, brass instruments, and woodwinds, the Europeans introduced their instruments to use during Mass, but they were quickly adapted to secular events. Indigenous and mestizo peoples learned to play and make these instruments, often giving them modified shapes, in addition to instruments, the Spanish introduced the concept of musical groups—which, in the colonial period, generally consisted of two violins, a harp, and various guitars. This grouping gave rise to a number of musical styles in Mexico. One of these musical styles was the son. Modern mariachi music developed from this son style, with “mariachi” as a name for son jaliscense. Those who could play the son jaliscense/mariachi music could find work at haciendas at a higher rate than those who could not, the distinction of mariachi from the older son jaliscense occurred slowly sometime during the 19th century. The music originated in the center-west of Mexico, most claims for its origin lie in the state of Jalisco but neighboring states of Colima, Nayarit, and Michoacán have also claimed it. However, by the late 19th century, the music was firmly centered in Jalisco, most legends put the origin of the modern mariachi in the town of Cocula, Jalisco. The distinction from son to modern mariachi comes from the modification of the music, one variety was the salon orchestras called orquestas típicas that performed in more rural settings, notably in charro outfits. This use of the outfit was repeated with urban mariachi in the 1920s
3.
Ernie Ball
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Ernie Ball was an American entrepreneur, musician, and innovator, widely acclaimed as a revolutionary in the development of guitar-related products. He began as a club and local musician and small business entrepreneur, building an international business in guitars. Ball was born Roland Sherwood Ball in Santa Monica, California, U. S. and grew up in a musical family, the son of Frances and Roland Adelbert Ball. His paternal grandfather, Ernest Ball, wrote the standard, When Irish Eyes Are Smiling, although Ball initially picked up the steel at age nine to please his father, he became bored and gave it up. In his early teens he began to take a renewed interest in the instrument, within a year he was a member of the Musicians Union. While still in his teens, Ball began playing professionally in South Central Los Angeles beer bars. By age 19 he joined the Tommy Duncan Band playing pedal steel guitar, Duncan, the former lead singer with Bob Wills and His Texas Playboys, took the band on tour through the Southwestern United States. During the Korean War, he did a tour of duty in the United States Air Force Band, playing guitar, after the military he returned to Los Angeles and continued playing in barrooms and lounges, until landing a job on the 1950s Western Varieties program at KTLA television. The position soon gained him recognition in the Los Angeles music scene and led to studio work. Sometime in 1957 or 1958, Ball opened what was arguably the first music store in the United States to sell guitars exclusively, in Tarzana, California. When music sales representatives criticized him for refusing to sell drumsticks and other equipment, Ball replied. He was repeatedly told that a store would never be a success. Eventually, the products spawned from his company would sell in more than 5,500 stores, at the time, it was common for a set of strings to have a wound third string. He approached the Fender company with the problem, suggesting a lighter gauge but was rebuffed, Ball convinced a string manufacturer to make him custom sets with a 24-gauge third string which he sold in his store. It was the beginning of the Ernie Ball brand, located not far from Hollywood, the store began to attract a large patronage of professional musicians, including The Beach Boys, Merle Travis, and The Ventures. Ball also began to notice the practice of slack stringing among players who discarded the bottom sixth string and this resulted in an overall lighter gauge set with a plain third string. Again, he contacted Fender with a suggestion for a set and was turned down. He then approached Gibson, who turned him down
4.
Mexican vihuela
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The Mexican vihuela is a guitar-like string instrument from 19th-century Mexico with five strings and typically played in mariachi groups. Although the Mexican vihuela has the name as the historic Spanish plucked string instrument. The Mexican vihuela has more in common with the Timple Canario due to both having five strings and both having vaulted backs, the Vihuela Mexicana is tuned similar to the guitar. The difference is that the open G, the D and the A strings are tuned an octave higher than a guitar thus giving it a sound or a higher pitch. The gauge of the strings and the order in which they are applied is important in producing a sound or a punchy bold sound when the instrument is strummed. The optimal spot to strum this instrument is between the hole and the point where the fret board or neck meets the body of the instrument. This area is where a pick gaurd can be installed The Mexican vihuela is a small, the Mexican vihuela is / should used by all mariachi groups. This instrument is strummed with all of the tips to produce a rich, full. A finger pick on the pointer finger gives it a brighter and clearer sound when strummed, many vihuela players have longer than normal fingernails on their strumming hand to facilitate their playing technique and to also get a clear crystal sound. The vihuela has five nylon strings in reentrant tuning, similar to the first five strings of a guitar, but with the third, fourth and fifth an octave above what one might expect. Tuning, ADGBE – The A, D, and G are tuned one octave above a guitar. Mariachi Embraced in Our World ASTON MAGNA, Viola da Gamba and Theorbo Relatives of the Lute, Vihuela, some collected knowledge of The Lute Society of America, music sheets for vihuela in the Mariachi orchestra
5.
Microtonal music
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Microtonal music or microtonality is the use in music of microtones—intervals smaller than a semitone, which are also called microintervals. It may also be extended to any music using intervals not found in the customary Western tuning of twelve equal intervals per octave. Microtonal music can refer to any music containing microtones, therefore it is important to comprehend what a microtone is, the words microtone and microtonal were coined before 1912 by Maud MacCarthy Mann in order to avoid the misnomer quarter tone when speaking of the srutis of Indian music. Prior to this time the quarter tone was used, confusingly, not only for an interval actually half the size of a semitone. 1998, Wallon 1980,13, Whitfield 1989,13, microinterval is a frequent alternative in English, especially in translations of writings by French authors and in discussion of music by French composers. In English, the two terms microtone and microinterval are synonymous, microtone is also sometimes used to refer to individual notes, microtonal pitches added to and distinct from the familiar twelve notes of the chromatic scale, as enharmonic microtones, for example. In English the word microtonality is mentioned in 1946 by Rudi Blesh who related it to microtonal inflexions of the blues scales. It was used earlier by W. McNaught with reference to developments in modernism in a 1939 record review of the Columbia History of Music. The term microinterval is used alongside microtone by American musicologist Margo Schulter in her articles on medieval music, the term microtonal music usually refers to music containing very small intervals but can include any tuning that differs from Western twelve-tone equal temperament. Microtonal variation of intervals is standard practice in the African-American musical forms of spirituals, blues, many microtonal equal divisions of the octave have been proposed, usually in order to achieve approximation to the intervals of just intonation. Terminology other than microtonal has been used or proposed by some theorists, in 1914, A. H. Fox Strangways objected that heterotone would be a better name for śruti than the usual translation microtone. Modern Indian researchers yet write, microtonal intervals called shrutis, a similar term, subchromatic, has been used recently by theorist Marek Žabka. Ivor Darreg proposed the term xenharmonic, another Russian authors use more international adjective microtonal and rendered it in Russian as микротоновый, but not microtonality. However are used микротональность and микротоника also, some authors writing in French have adopted the term micro-intervallique to describe such music. Italian musicologist Luca Conti dedicated two his monographs to microtonalismo, which is the term in Italian, and also in Spanish. The analogous English form, microtonalism, is found occasionally instead of microtonality. At the time when serialism and neoclassicism were still incipient a third movement emerged, the term macrotonal has also been used for musical form. The Hellenic civilizations of ancient Greece left fragmentary records of their music—e. g, ancient Greek intervals were of many different sizes, including microtones
6.
Roy Estrada
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He is also a convicted sex offender, first having been convicted of child sex abuse in 1994 and serving six years imprisonment, then plead guilty to abuse of a young relative in 2012. As of 2016 Estrada is incarcerated in California and is ineligible for parole until he is 93 years old, with drummer Jimmy Carl Black and vocalist Ray Collins, Estrada was an original member of Frank Zappas Mothers of Invention. Previously, Estrada had been a member of the Soul Giants. Prior to the Soul Giants, Estrada fronted a band called Roy Estrada, the group released at least one single on the King label, Jungle Dreams backed with Jungle Dreams. Beefheart gave him the nickname Orejón, Estrada has also done session work by playing bass for a diverse range of artists, including Ry Cooder on his eponymous debut album, Ivan Ulz, Leo Kottke, Van Dyke Parks and Howdy Moon. In 2005, guitarist Miroslav Tadić replaced Ken Rosser in the lineup, robbie Seahag Mangano has been the guitarist for all of the European Grande Mothers tours since 2009. In 2003 Estrada was featured on the album Hamburger Midnight on the record label Inkanish Records, Estrada served six years in prison after he was convicted of committing lewd acts with a child in Orange County, California, in December 1994. In January 2012, he pleaded guilty to a charge of sexual abuse of a female family member younger than 14 which happened in March 2008. In the plea agreement, he was sentenced to 25 years in prison and is not eligible for parole
7.
The Mothers of Invention
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The Mothers of Invention were an American rock band from California that served as the backing musicians for Frank Zappa. Formed in 1964, their work is marked by the use of experimentation, innovative album art. Originally an R&B band called the Soul Giants, the original lineup included Ray Collins, David Coronado, Ray Hunt, Roy Estrada. Zappa was asked to take over as the guitarist following a fight between Collins and Coronado, the bands original saxophonist/leader, Zappa insisted that they perform his original material, changing their name on Mothers Day to the Mothers. After record executives objected to the name it was changed, Zappa later said out of necessity, we became the Mothers of Invention. After early struggles, the Mothers earned substantial popular commercial success, the band first became popular playing in Californias underground music scene in the late 1960s. Under Zappas helm, it was signed to jazz label Verve Records as part of the labels diversification plans, Verve released the Mothers of Inventions début double album Freak Out. in 1966, featuring a lineup including Zappa, Collins, Black, Estrada and Elliot Ingber. Don Preston joined the band soon after, in 1970, he formed a new version of the Mothers that included Ian Underwood, Jeff Simmons, George Duke, Aynsley Dunbar and singers Mark Volman and Howard Kaylan. Later adding another ex-Turtle, bassist Jim Pons, this lineup endured through 1971, the final album using the Mothers as a backing band, Bongo Fury, featured guitarist Denny Walley and drummer Terry Bozzio, who continued to play for Zappa on non-Mothers releases. The Soul Giants were formed in 1964, in 1964, Frank Zappa was approached by Ray Collins who asked him to take over as the guitarist following a fight between Collins and the groups original guitarist. Zappa accepted, and convinced the members that they should play his music to increase the chances of getting a record contract. Original leader David Coronado did not think that the band would be if they played original material. Zappa soon assumed leadership and the role as singer, even though he never considered himself a singer. The band was renamed the Mothers, coincidentally on Mothers Day, the group increased their bookings after beginning an association with manager Herb Cohen, while they gradually gained attention on the burgeoning Los Angeles underground music scene. In early 1966, they were spotted by leading record producer Tom Wilson when playing Zappas Trouble Every Day, the label suggested the name The Mothers Auxiliary, which prompted Zappa to come up with the name The Mothers of Invention. With Wilson credited as producer, the Mothers of Invention, augmented by a studio orchestra, which, preceded by Bob Dylans Blonde on Blonde, was the second rock double album ever released. It mixed R&B, doo-wop, musique concrète, and experimental sound collages that captured the freak subculture of Los Angeles at that time, the sound was raw, but the arrangements were sophisticated. The lyrics praised non-conformity, disparaged authorities, and had dadaist elements, yet, there was a place for seemingly conventional love songs
8.
Freak Out!
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Freak Out. is the debut studio album by the American rock band the Mothers of Invention, released June 27,1966, on Verve Records. Often cited as one of rock musics first concept albums, the album is an expression of frontman Frank Zappas perception of American pop culture. It was also one of the earliest double albums in music. In the UK the album was released as an edited single disc. The album was produced by Tom Wilson, who signed The Mothers, Zappa said many years later that Wilson signed the group to a record deal in the belief that they were a white blues band. The bands original repertoire consisted of rhythm and blues covers, though after Zappa joined the band he encouraged them to play his own material. The musical content of Freak Out, ranges from rhythm and blues, doo-wop and standard blues-influenced rock to orchestral arrangements and avant-garde sound collages. Although the album was poorly received in the United States. It gained a following in America, where it continued to sell in substantial quantities until it was discontinued in the early 1970s. In 1999, the album was honored with the Grammy Hall of Fame Award, in 2006, The MOFO Project/Object, an audio documentary on the making of the album, was released in honor of its 40th anniversary. In the early 1960s, Zappa met Ray Collins, Collins supported himself by working as a carpenter, and on weekends sang with a group called the Soul Giants. Collins got into a fight with their guitar player, who quit, leaving the band in need of a substitute, and Zappa filled in. The Soul Giants repertoire originally consisted of R&B covers, though after Zappa joined the band he encouraged them to play his own original material and try to get a record contract. While most of the members liked the idea, then-leader and saxophone player Davy Coronado felt that performing original material would cost them bookings. The Soul Giants became the Mothers and Zappa took over leadership of the band, the group moved to Los Angeles in early 1965 after Zappa got them a management contract with Herb Cohen. They gained steady work at clubs along the Sunset Strip, MGM staff producer Tom Wilson offered the band a record deal on the Verve Records division in early 1966. He had heard of their growing reputation but had them perform only one song, Trouble Every Day. According to Zappa, this led Wilson to believe that they were a blues band
9.
Randy Meisner
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Randy Herman Meisner is an American former musician, singer and songwriter best known as a founding member of Poco and the Eagles. Throughout his professional career, Meisners main role was that of bassist. He is best known for the Eagles hit song Take It to the Limit, Randy Herman Meisner was born in Scottsbluff, Nebraska, the second child and only son of sharecroppers Herman and Emilie Meisner. Randy had a sister named Carol and he recalled his mother was always singing around the house. Her father George Haun was a violin teacher, both Randys maternal and paternal grandparents were born in Russia though the Meisner and Haun families are of German ancestry. The Meisner family grew beans, alfalfa, corn and sugar beets on their farm, Randy developed an interest in the guitar at ten years old, after seeing Elvis Presley perform on the Ed Sullivan Show. He began taking lessons and playing in local bands, while attending Scottsbluff High School, one of Randys teachers suggested he take up the bass. I loved R&B and the players on the Motown stuff were great. Once I learn a part its there and my bass playing came real naturally. Randy Meisner played bass and sang with a band named The Dynamics from 1961 to 1965. Their first paying job was in the hall at Little Moon Lake, near Henry. They played there regularly through 1962, in late 1962, The Drivin Dynamics released their first record, a 4-song EP with Meisner singing lead vocals on Sam Cookes You Send Me. It was pressed locally with only 500 copies released, in August 1965, The Dynamics signed a record deal with Sully Records out of Amarillo, Texas. They recorded three songs, with Randy singing lead on two, One Of These Days and So Fine, so Fine was released as a single and sold well regionally and in the southeastern U. S. Early in 1966, Randy moved to California with a band named The Soul Survivors and it was a hardscrabble existence, as Meisner later recalled, I never had a car, I had to walk. I sold the Los Angeles Free Press on Sunset and Highland, I made about five bucks a day. The Poor was managed by Charlie Greene and Brian Stone, who also managed Buffalo Springfield, the band released several singles on Loma, York and Decca Records in 1966 and 1967, with limited success. Loma Records was a subsidiary of Warner Bros. and had offices in the same building, in February 1967, The Poor recorded Shes Got the Time, Shes Got the Changes, written by Tom Shipley while he was a staff writer for A&M Records
10.
Eagles (band)
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The Eagles are an American rock band formed in Los Angeles in 1971 by Glenn Frey, Don Henley, Bernie Leadon, and Randy Meisner. With five number-one singles, six Grammy Awards, five American Music Awards, and six number one albums, the Eagles were one of the most successful musical acts of the 1970s. Hotel California is ranked 37th in Rolling Stones list of The 500 Greatest Albums of All Time and their Greatest Hits was the best selling album of the 20th century in the U. S. They are the music act and the highest-selling American band in U. S. history. The band released their album, Eagles, in 1972. Their next album, Desperado, was successful than the first, only reaching number 41 on the charts. However, the album does contain what would go on to be two of the bands most popular tracks, Desperado and Tequila Sunrise, the band released On the Border in 1974, adding guitarist Don Felder as the fifth member midway through the recording of the album. The album generated two top 40 singles, Already Gone and their first number one, Best of My Love. Their 1975 album One of These Nights included three top 10 singles, One of These Nights, Lyin Eyes, and Take It to the Limit, guitarist and vocalist, Joe Walsh, also joined the band in 1975. The album yielded two singles, New Kid in Town and Hotel California. The Eagles disbanded in July 1980 but reunited in 1994 for the album Hell Freezes Over and they toured consistently and were inducted into the Rock and Roll Hall of Fame in 1998. In 2007, the Eagles released Long Road Out of Eden, their first full album in 28 years. The next year launched the Long Road Out of Eden Tour in support of the album. In 2013, they began the extended History of the Eagles Tour in conjunction with the bands documentary release, following the death of Frey in January 2016, Henley stated in several interviews that he didnt think the band would perform again. However, in March 2017 it was announced that the Eagles would be headlining two concerts in July 2017, the Eagles began in early 1971, when Linda Ronstadt and then-manager John Boylan recruited local musicians Glenn Frey and Don Henley for her band. While on the tour, Frey and Henley decided to form a band together, Frey later credited Ronstadt with suggesting Leadon for the band, and arranging for Leadon to play for her so Frey and Henley could approach him about forming a band together. They also pitched the idea to Meisner and brought him on board and these four played live together behind Ronstadt only once for a July concert at Disneyland, but all four appeared on her eponymous album. It was later proposed that J. D. Souther should join the band, the four were signed in September 1971 to Asylum Records, the new label started by David Geffen, who was introduced to Frey by Jackson Browne
11.
New Kid In Town
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New Kid in Town is a song by the Eagles from their 1976 studio album Hotel California. It was written by Don Henley, Glenn Frey and J. D. Souther, released as the first single from the album, the song became a number-one hit in the US, and number 20 in the UK. The single version has an earlier fade-out than the album version, the song features Glenn Frey singing the lead vocals, with Don Henley singing main harmony vocals. Randy Meisner plays the guitarrón mexicano, Don Felder plays electric guitars, the song won the Grammy Award for Best Vocal Arrangement for Two or More Voices. J. D. Souther initially wrote the chorus for the song, according to Souther, the band thought it sounded like a hit, but he didnt know what to do with it. About a year later, he, Frey and Henley gathered together for the writing of Hotel California where he played the song for them, and he said, We were just writing about our replacements. Similarly, Henley discussed the meaning in the liner notes of The Very Best Of, Its about the fleeting, fickle nature of love. Its also about the nature of fame, especially in the music business. We were basically saying, Look, we know were red hot right now but we know that somebodys going to come along. The song was rumored to be about Bruce Springsteen, who was gaining fame when the song was written and he also suggests that it captures a more abstract theme of the fickle nature of both the muse and the masses. On Henleys first solo album, I Cant Stand Still, he references the song by singing the line and those harmonies helped the song win the Grammy Award for Best Vocal Arrangement for Two or More Voices
12.
Hotel California (Eagles album)
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Hotel California is the fifth studio album by American rock band the Eagles, and is one of the best-selling albums of all time. Three singles were released from the album, each reaching high in the Billboard Hot 100, New Kid in Town, Hotel California, and Life in the Fast Lane. The album became the bands best-selling album after Their Greatest Hits, with over 16 million copies sold in the U. S. alone, the album was ranked number 37 on Rolling Stones list of The 500 Greatest Albums of All Time. The album was recorded by Bill Szymczyk at the Criteria and Record Plant studios between March and October 1976, and then released on Asylum in December. It was their first album with guitarist Joe Walsh, who had replaced founding member Bernie Leadon and it is their sixth album, and fifth of new material. The front cover is a photograph of the Beverly Hills Hotel by David Alexander, the album topped the charts and won the band two Grammy Awards for Hotel California and New Kid in Town. The album was nominated for Album of the Year but lost to Fleetwood Macs Rumours, the first song written for the album was Hotel California, which became the theme for the album. I mean were putting junk, er, garbage into space now, the album was recorded between March and October 1976 at Criteria Studios, Miami, FL and Record Plant Studios, Los Angeles, CA, and produced by Bill Szymczyk. While the band were recording the album, Black Sabbath were recording Technical Ecstasy in an adjacent studio at Criteria Studios in Miami, the band were forced to stop recording on numerous occasions because Black Sabbath were too loud and the sound was coming through the wall. According to Henley in a 1982 interview, the Eagles probably peaked on Hotel California, Henley said, After that, we started growing apart as collaborators and as friends. The front cover artwork is a photograph of the Beverly Hills Hotel by David Alexander with design, the rear album cover was shot in the lobby of the Lido Hotel in Hollywood. The album was released by Asylum Records on December 8,1976 in vinyl, cassette and it was considered for quadraphonic release in early 1977, but this idea was dropped following the demise of the quadraphonic format. On the albums 25 anniversary in 2001, it was released in a Multichannel 5.1 DVD-Audio disc. On August 17,2011, the album was released on a hybrid SACD in Japan in The Warner Premium Sound series, original vinyl pressings of Hotel California had custom picture labels of a blue Hotel California logo with a yellow background. These also had text engraved in the groove of each side. The text reads, Side one, Is It 6 OClock Yet, is Five-Piece Live, indicating that the song Victim of Love was recorded live, with no overdubbing. Joe Walsh and Glenn Frey confirm this on the booklet of The Very Best Of. This only referred to the track, however, vocals were added later
13.
Fairground Attraction
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Fairground Attraction were a British folk and soft rock band. They are best known for their hit song Perfect and the subsequent single Find My Love, in 1987, Fairground Attraction were signed to RCA, and released their first single, Perfect, in April 1988. It was an success, reaching number one on the UK Singles Chart. Their album The First of a Million Kisses was a blend of folk, jazz, country, released in May 1988, it followed the success of Perfect by entering the UK Albums Chart at number three, and rising to number two, it was eventually certified platinum. Three other singles were released from the album, Find My Love, A Smile in a Whisper. At the 1989 Brit Awards, Perfect won the award for best single, although they were popular in European countries, and toured the United States, their main success outside the UK was in Japan, where they toured in 1989. In September 1989, however, during the recording of their album, rumours of arguments circulated. An album Ay Fond Kiss was released in 1990, and one of its songs, the album was made up of B-sides and other material recorded alongside the first album. Eddi Reader – vocals – born 29 August 1959, Glasgow, Scotland Mark E.07
14.
Talk Talk
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Talk Talk were an English new wave band, active from 1981 until their breakup in 1992. Their early hit singles include Today, Talk Talk, Its My Life, although the band only experienced moderate success in their native country, they established some international success. Talk Talk moved away from synthpop towards more experimental music in the mid-1980s, friction with the bands label, EMI, resulted in legal action and countersuing. The band switched to Polydor for their album, 1991s Laughing Stock. Singer Mark Hollis released one album in 1998 before retiring from the music industry. Founding bass player and drummer Paul Webb and Lee Harris played in bands together, de facto fourth member Tim Friese-Greene continued in the business as a musician. Talk Talk began as a quartet consisting of Mark Hollis formerly from The Reaction, Lee Harris, Paul Webb, in their early years they were often compared with Duran Duran. In addition to a name consisting of a repeated word. The band also supported Duran Duran on tour in late 1981, the band released their first single, Mirror Man, on EMI in February 1982. The single was not a success, but was quickly followed by their self-titled single in April 1982 which reached No.52 in the UK. The bands first album, titled The Partys Over, was released in July 1982, the band had their first UK Top 40 hits with the singles Today and a re-release of Talk Talk. These singles also were hits in countries including Ireland, South Africa, Australia. The re-release of the Talk Talk single reached the U. S, the album was produced by Colin Thurston, who was Duran Durans in-house EMI producer at the time, but picked by Hollis because of his involvement with David Bowies Heroes. It was a success in the UK reaching No.21. It was a Top 10 hit in New Zealand and they were introduced to a much wider live audience in October 1982 when they supported Genesis at their reunion concert with original lead singer Peter Gabriel at Milton Keynes Bowl, England. Brenner left after the 1983 non-LP hit single My Foolish Friend, at this point, Talk Talk was now a trio, as Brenner was never officially replaced. Although a major contributor to the bands output, Friese-Greene did not regularly play with the touring band. The accompanying single Such a Shame became a Top 10 hit in Austria, France, Germany, Italy, Netherlands and Switzerland during this period
15.
Spirit of Eden
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Spirit of Eden is the fourth album by the English band Talk Talk, released in 1988 on Parlophone records. The album found critical acclaim nor commercial success on release but has since become a cult favourite. The songs were written by vocalist Mark Hollis and producer Tim Friese-Greene, often working in darkness, the band recorded many hours of improvised performances which were heavily edited and re-arranged into an album in mostly digital format. The songs contain elements of rock, jazz, classical and ambient music, critics often view Spirit of Eden as a departure from Talk Talks earlier and more accessible albums. Compared to their 1986 hit The Colour of Spring, it was a commercial disappointment, however a plurality of critical reviews laud the album. Talk Talk, led by singer Mark Hollis, formed in England in the early 1980s, from the start, Hollis cited jazz and classical artists like Miles Davis, John Coltrane, Béla Bartók and Claude Debussy as major influences. But Talk Talks first two albums, The Partys Over and Its My Life, did not readily reflect such influences, critics compared the band to new wave groups. Hollis partly attributes the shortcomings of their music to a financial need to use synthesizers in place of acoustic instruments. Although critics did not favour the bands output, the first two albums were commercially successful in Europe. This gave Talk Talk the money needed to hire musicians to play on their next album. The band no longer had to rely on synthesizers, Instead, musicians improvised with their instruments for many hours, then Hollis and producer Tim Friese-Greene edited and arranged the performances to get the sound they wanted. A total of sixteen musicians appeared on the album, the Colour of Spring became Talk Talks most successful album, selling over two million copies and prompting a major world tour. At the same time, minimalist songs like April 5th, Chameleon Day, for the success of The Colour of Spring, EMI rewarded Talk Talk with an open budget and schedule for the recording of their next album, Spirit of Eden. Talk Talk were given control over the recording process, their manager. Recording for Spirit of Eden began in 1987 at Wessex Studios, London, engineer Phill Brown said that the album, along with its successor, was recorded by chance, accident, and hours of trying every possible overdub idea. By early March 1988, the band had finished recording Spirit of Eden and had sent a cassette of the album to EMI, after listening to the cassette, EMI representatives doubted that it could be commercially successful. They asked Hollis to re-record a song or replace material, by the time the masters were delivered later in the month, however, the label conceded that the album had been satisfactorily completed. Despite their reservations towards Spirit of Eden, EMI chose to exercise their option to extend the recording contract, the band, however, wanted out of the contract
16.
Bass guitar
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The bass guitar is a stringed instrument played primarily with the fingers or thumb, by plucking, slapping, popping, strumming, tapping, thumping, or picking with a plectrum, often known as a pick. The bass guitar is similar in appearance and construction to a guitar, but with a longer neck and scale length. The four-string bass, by far the most common, is tuned the same as the double bass. The bass guitar is an instrument, as it is notated in bass clef an octave higher than it sounds to avoid excessive ledger lines. Like the electric guitar, the guitar has pickups and it is plugged into an amplifier and speaker on stage, or into a larger PA system using a DI unit. Since the 1960s, the guitar has largely replaced the double bass in popular music as the bass instrument in the rhythm section. While types of basslines vary widely from one style of music to another, many styles of music utilise the bass guitar, including rock, heavy metal, pop, punk rock, country, reggae, gospel, blues, symphonic rock, and jazz. It is often a solo instrument in jazz, jazz fusion, Latin, funk, progressive rock and other rock, the adoption of a guitar form made the instrument easier to hold and transport than any of the existing stringed bass instruments. The addition of frets enabled bassists to play in more easily than on acoustic or electric upright basses. Around 100 of these instruments were made during this period, around 1947, Tutmarcs son, Bud, began marketing a similar bass under the Serenader brand name, prominently advertised in the nationally distributed L. D. Heater Music Company wholesale jobber catalogue of 1948, however, the Tutmarc family inventions did not achieve market success. In the 1950s, Leo Fender, with the help of his employee George Fullerton and his Fender Precision Bass, which began production in October 1951, became a widely copied industry standard. This split pickup, introduced in 1957, appears to have been two mandolin pickups, the pole pieces and leads of the coils were reversed with respect to each other, producing a humbucking effect. Humbucking is a design that electrically cancels the effect of any AC hum, the Fender Bass was a revolutionary new instrument, which could be easily transported, and which was less prone to feedback when amplified than acoustic bass instruments. Monk Montgomery was the first bass player to tour with the Fender bass guitar, roy Johnson, and Shifty Henry with Louis Jordan & His Tympany Five, were other early Fender bass pioneers. Bill Black, playing with Elvis Presley, switched from bass to the Fender Precision Bass around 1957. The bass guitar was intended to appeal to guitarists as well as upright bass players, following Fenders lead, in 1953, Gibson released the first short scale violin-shaped electric bass with extendable end pin, allowing it to be played upright or horizontally. In 1959 these were followed by the more conventional-looking EB-0 Bass, the EB-0 was very similar to a Gibson SG in appearance
17.
Guitar
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The guitar is a musical instrument classified as a fretted string instrument with anywhere from four to 18 strings, usually having six. The sound is projected either acoustically, using a wooden or plastic and wood box, or through electrical amplifier. It is typically played by strumming or plucking the strings with the fingers, the guitar is a type of chordophone, traditionally constructed from wood and strung with either gut, nylon or steel strings and distinguished from other chordophones by its construction and tuning. There are three types of modern acoustic guitar, the classical guitar, the steel-string acoustic guitar, and the archtop guitar. The tone of a guitar is produced by the strings vibration, amplified by the hollow body of the guitar. The term finger-picking can also refer to a tradition of folk, blues, bluegrass. The acoustic bass guitar is an instrument that is one octave below a regular guitar. Early amplified guitars employed a body, but a solid wood body was eventually found more suitable during the 1960s and 1970s. As with acoustic guitars, there are a number of types of guitars, including hollowbody guitars, archtop guitars and solid-body guitars. The electric guitar has had a influence on popular culture. The guitar is used in a variety of musical genres worldwide. It is recognized as an instrument in genres such as blues, bluegrass, country, flamenco, folk, jazz, jota, mariachi, metal, punk, reggae, rock, soul. The term is used to refer to a number of chordophones that were developed and used across Europe, beginning in the 12th century and, later, in the Americas. The modern word guitar, and its antecedents, has applied to a wide variety of chordophones since classical times. Many influences are cited as antecedents to the modern guitar, at least two instruments called guitars were in use in Spain by 1200, the guitarra latina and the so-called guitarra morisca. The guitarra morisca had a back, wide fingerboard. The guitarra Latina had a sound hole and a narrower neck. By the 14th century the qualifiers moresca or morisca and latina had been dropped, and it had six courses, lute-like tuning in fourths and a guitar-like body, although early representations reveal an instrument with a sharply cut waist
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Outline of guitars
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The following outline is provided as an overview of and topical guide to guitars, Guitar – plucked string instrument, usually played with fingers or a pick. The guitar consists of a body with a neck to which the strings. Guitars are traditionally constructed of various woods and strung with gut or, more recently. Some modern guitars are made of polycarbonate materials, guitars are made and repaired by luthiers. There are two families of guitars, acoustic and electric. Games Guitar Freaks An arcade game featuring playing guitars Guitar Hero Like Guitar Freaks, concerto Suite for Electric Guitar and Orchestra Classical guitar music Instrumental guitar Tablature notation See Guitar tunings and List of guitar tunings. C
19.
Guitar chord
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In music, a guitar chord is a set of notes played on a guitar. A chords notes are played simultaneously, but they can be played sequentially in an arpeggio. The implementation of guitar chords depends on the guitar tuning, standard tuning requires four chord-shapes for the major triads. There are separate chord-forms for chords having their root note on the third, fourth, fifth, for a six-string guitar in standard tuning, it may be necessary to drop or omit one or more tones from the chord, this is typically the root or fifth. The layout of notes on the fretboard in standard tuning often forces guitarists to permute the order of notes in a chord. The playing of chords is simplified by open tunings, which are especially popular in folk, blues guitar. For example, the typical twelve-bar blues uses only three chords, each of which can be played by fretting six-strings with one finger, open tunings are used especially for steel guitar and slide guitar. Open tunings allow one-finger chords to be played with greater consonance than do other tunings, the playing of guitar chords is simplified by the class of alternative tunings called regular tunings, in which the musical intervals are the same for each pair of consecutive strings. Regular tunings include major-thirds tuning, all-fourths, and all-fifths tunings, for each regular tuning, chord patterns may be diagonally shifted down the fretboard, a property that simplifies beginners learning of chords and that simplifies advanced players improvisation. On the other hand, in regular tunings 6-string chords are more difficult to play and it can make a possible a chord which is composed of the all same note on different strings. Many chords can be played with the notes in more than one place on the fretboard. The theory of guitar-chords respects harmonic conventions of Western music, discussions of basic guitar-chords rely on fundamental concepts in music theory, the twelve notes of the octave, musical intervals, chords, and chord progressions. The octave consists of twelve notes and its natural notes constitute the C major scale. The unison and octave intervals have perfect consonance, octave intervals were popularized by the jazz playing of Wes Montgomery. The perfect-fifth interval is highly consonant, which means that the playing of the two notes from the perfect fifth sounds harmonious. A semitone is the distance between two adjacent notes on the circle, which displays the twelve notes of an octave. As indicated by their having been emboldened in the table, a handful of intervals—thirds, perfect fifths, as already stated, the perfect-fifths interval is the most harmonious, after the unison and octave intervals. An explanation of perception of harmony relates the mechanics of a vibrating string to the musical acoustics of sound waves using the harmonic analysis of Fourier series
20.
Guitar harmonics
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A guitar harmonic is a musical note played by preventing or amplifying vibration of certain overtones of a guitar string. Music using harmonics can contain very high pitch notes difficult or impossible to reach by fretting, Guitar harmonics also produce a different sound quality than fretted notes, and are one of many techniques used to create musical variety. Harmonics are primarily generated manually, using a variety of such as the pinch harmonic. Another method utilizes sound wave feedback from an amplifier at high volume. Magnetic string drivers, such as the EBow, also use string harmonics to create sounds that are not playable via traditional picking or fretting techniques. Harmonics are most often played by placing a finger on a string at a nodal point of one of the overtones at the moment when the string is driven. The finger immediately damps all overtones that do not have a node near the location touched, the lowest-pitch overtone dominates the resulting sound. When a guitar string is plucked normally, the ear tends to hear the fundamental frequency most prominently, the fundamental frequency and its overtones are perceived by the listener as a single note, however, different combinations of overtones give rise to noticeably different overall tones. A harmonic overtone has evenly spaced nodes along the string, where the string does not move from its resting position, the nodes of natural harmonics are located at the following points along a guitars neck. For fretted strings, these locations shift up the fingerboard by the number of frets. The above fret numbers can be calculated, F1, N = log s m m − n where s = 12√2, the frequency ratio of one musical half-step, m is the mode number, and n is the node number for that mode. Certain nodes of higher harmonics are coincident with nodes of lower harmonics, for example, mode number 4 can be fingered at nodes 1 and 3, it will occur at node 2 but will not be heard over the stronger first harmonic. Ineffective nodes to finger are not listed above, a pinch harmonic is produced by lightly touching the thumb, fingers or palm of the picking hand against the string immediately after it is picked. This action is sufficient to silence the fundamental and all overtones except those that have a node at that location, the technique must be performed at one of the appropriate harmonic nodes for the note to sound. Other overtones of the fundamental note may be produced in the same way at other nodes along the string. The point where the string is plucked therefore varies depending on the desired note, overtones with a frequency of a multiple of the intended overtone will share the nodes of the lower overtones, so wont be muted. They will, however, be at a lower volume and since they are the same note in a higher octave. If the string is pinched at the antinode of the intended overtone, a single harmonic overtone is quieter than a normal note, which contains many overtones
21.
Jazz guitar
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The term jazz guitar may refer to either a type of guitar or to the variety of guitar playing styles used in the various genres which are commonly termed jazz. The jazz-type guitar was born as a result of using electric amplification to increase the volume of acoustic guitars. Conceived in the early 1930s, the guitar became a necessity as jazz musicians sought to amplify their sound to be heard over loud big bands. When guitarists in big bands only had acoustic guitars, all they could do was play chords, once guitarists switched from acoustic guitar to electric guitar and began using guitar amplifiers, it made the guitar much easier to hear, which enabled guitarists to play guitar solos. Arguably, no musical instrument had greater influence on how jazz evolved since the beginning of the twentieth century. Traditionally, jazz guitarists use an archtop with a relatively broad hollow sound-box, violin-style f-holes, a floating bridge. Solid body guitars, mass-produced since the early 1950s, are also used, Jazz guitar playing styles include comping with jazz chord voicings and blowing over jazz chord progressions with jazz-style phrasing and ornaments. Comping refers to playing chords underneath a melody or another musicians solo improvisations. When jazz guitar players improvise, they may use the scales, modes, the stringed, chord-playing rhythm can 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 popular instrument in the early 20th century. The Gibson L5, an acoustic guitar which was first produced in 1923, was an early “jazz”-style guitar which was used by early jazz guitarists such as Eddie Lang. During the late 1930s and through the 1940s—the heyday of big band jazz, 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, improved electric guitars such as Gibson’s ES-175, gave players a larger variety of tonal options. In the 1940s through the 1960s, players such as Wes Montgomery, Joe Pass, 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, younger jazz musicians rode the surge of electric popular genres such as blues, rock, and funk to reach new audiences. Fusion players such as John McLaughlin adopted the fluid, powerful sound of guitarists such as Clapton. McLaughlin was an innovator, incorporating hard jazz with the new sounds of Clapton, Hendrix, Beck. Guitarists such as Pat Martino, Al Di Meola, Larry Coryell, John Abercrombie, John Scofield, in addition, they also simply turned up to full volume in order to create natural overdrive such as the blues rock players
22.
Guitar picking
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Guitar picking is a group of hand and finger techniques a guitarist uses to set guitar strings in motion to produce audible notes. These techniques involve plucking, strumming, brushing, etc, using a single thumb pick with the bare fingers is similar to hybrid picking. Another mixed technique is to play different passages with a plectrum or fingerstyle, the pros of each guitar picking style are indirectly correlated to the cons of the other. It is easier to play non-adjacent strings at the same time and it is easier to play polyphonically, with separate musical lines, or separate melody, harmony and bass. It is easy to play arpeggios, a simpler motion is required to play notes on non-adjacent strings. It is possible to play chords with no arpeggiation, there is less need to use the fretting hand to damp notes in chords, since the guitarist can pluck just the required strings. A great variation in strokes is possible, accommodating expressiveness in timbre, a wide variety of strums and rasgueados are possible. Fingerstyle is useful in almost any genre, fingerstyle players use up to four surfaces to strike string independently. However, that does not equate to four plectrums, since plectrums can more easily strike strings on both up and downstrokes—which is much more difficult for fingers, picking back and forth with a pick is easier. Alternate picking is usually the most efficient technique, Tremolo effects may be easier to achieve. The guitarist picks the string with less contact that a finger would involve, a pick can be louder compared to bare finger playing. It may be easier to maintain articulation or clarity when playing fast, playing on heavier gauge strings can damage un-coated nails, fingerstyle is more suited to nylon strings or lighter gauge steel strings. To achieve Tremolo effects, varied arpeggios, and rapid, fluent scale passages, the player must practice alternation, that is, plucking strings with a different finger each time. Using p to indicate the thumb, i the index finger, m the middle finger, has the appearance of walking along the strings. I-m-a-i-m-a Tremolo pattern with a triplet feel p-a-m-i-p-a-m-i A tremolo or apreggio pattern, p-m-p-m A way of playing a melody line on the lower strings. However, in other genres—such as classical, flamenco or fingerstyle jazz—it becomes necessary to switch fluently between patterns, tone production is important in any style. Classical guitar, for example, stresses many techniques are applicable to other styles. Tonal techniques include, Plucking distance from the bridge, guitarists actively control this to change the sound from soft plucking the string near its middle, to hard plucking the string near the bridge
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Strum
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In music, strumming is a way of playing a stringed instrument such as a guitar. A strum or stroke is an action where a fingernail or plectrum brushes past several strings in order to set them all into motion. Strums are executed by the dominant hand, while the hand holds down notes on the fretboard. Strums are contrasted with plucking, as a means of activating strings into vibration, because in plucking. A hand-held pick or plectrum can only be used to pluck one string at a time, plucking multiple strings simultaneously requires a fingerstyle or fingerpick technique. A strumming pattern or strum is a pattern used by a rhythm guitar. Compare with pattern picking, strumming patterns may be indicated through notation, tablature, up and down arrows, a simple eight-to-a-bar rhythm is known as straight eights as opposed swung eights, in which each pair are played as the first and third notes in a triplet. The fretting hand can also be lifted off the fretboard to damp a chord, creating staccato, in reggae and ska, a few staccato chops are played per bar. In funk rhythm playing, the strumming hand keeps a steady motion in 16th notes, while the left hand. Some of the many possible fingerstyle strums include A slow downstroke with the thumb and this is a sforzando or emphatic way of playing a chord. Light brushing strokes with the fingers moving together at an angle to the strings. Works equally in either direction and can be alternated for a chord tremolo chord effect, upstrokes with one finger make a change from the standard downstroke strum. A pinch with the thumb and fingers moving towards each other gives a crisp effect and it is helpful to clearly articulate the topmost and bass note in the chord, as if plucking, before following through. Rasgueado, Strumming typically done by bunching all the right hand fingers, the rasgueado or rolling strum is particularly characteristic of flamenco. Turning p-a-m-i tremolo plucking into a series of downstrokes and this is a lighter version of the classic rasgueado, which uses upstrokes
24.
Rhythm guitar
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Therefore, the basic technique of rhythm guitar is to hold down a series of chords with the fretting hand while strumming rhythmically with the other hand. More developed rhythm techniques include arpeggios, damping, riffs, chord solos, in big band music, the guitarist is considered part of the rhythm section, alongside bass and drums. In some musical situations, such as a solo singer-guitarist, the guitar accompaniment provides all the rhythmic drive, in the most commercially available and consumed genres, electric guitars tend to dominate their acoustic cousins in both the recording studio and the live venue. However the acoustic guitar remains a popular choice in country, western and especially bluegrass music, most rhythms in rock and blues are based on 4/4 time with a backbeat, however, many variations are possible. A backbeat is a syncopated accentuation on the off beat, in a simple 4/4 rhythm these are beats 2 and 4. This requires rhythm guitarists to have a knowledge of how to use chord voicings, riffs. Three-chord progressions are common in pop and rock, using various combinations of the I, IV and V chords. Minor and modal chord progressions feature in popular music. One departure from the basic strummed chord technique is to play arpeggios, if this is done rapidly enough, listeners will still hear the sequence as harmony rather than melody. Arpeggiation is often used in folk, country, and heavy metal and it is also prominent in 1960s pop, such as The Animals House of the Rising Sun, and jangle pop from the 1980s onwards. Rhythm guitarists who use arpeggio often favor semi-acoustic guitars and twelve string guitars to get bright, the Soukous band TPOK Jazz additionally featured the unique role of mi-solo, guitarist, playing arpeggio patterns and filling a role between the lead and rhythm guitars. In some cases, the progression is implied with a simplified sequence of two or three notes, sometimes called a riff, that is repeated throughout the composition. In heavy metal music, this is expanded to more complex sequences comprising a combination of chords, single notes. The rhythm guitar part in compositions performed by more technically oriented bands often include riffs employing complex lead guitar techniques, in bands with two or more guitarists, the guitarists may exchange or even duplicate roles for different songs or different sections within a song. In those with a single guitarist, the guitarist may play lead and rhythm at different times or simultaneously, some rhythm techniques cross over into lead guitar playing. In guitar-bass-and-drums power trios guitarists must double up between rhythm and lead, for instance Jimi Hendrix combined full chords with solo licks, double stops and arpeggios. A recent innovation is the use of a pedal to record a chord sequence or riff over which the lead line can then be played. As a result, rhythm and lead players may use different guitars and amplifiers, Rhythm guitarists may employ an electric acoustic guitar or a humbucker-equipped electric guitar for a richer and fatter output
25.
Guitar tunings
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Guitar tunings assign pitches to the open strings of guitars, including acoustic guitars, electric guitars and classical guitars, among others. Tunings can be described by the pitches that are denoted by notes in Western music. By convention, the notes are ordered from lowest-pitched string to the highest-pitched, Tuning is described in how-to manuals for guitarists. Standard tuning defines the pitches as E, A, D, G, B. Standard tuning is used by most guitarists, and frequently used tunings can be understood as variations on standard tuning, “Nonstandard” tunings are also called “alternative” or “alternate”. Some tunings are used for songs by professional musicians. There are hundreds of such tunings, which are minor variants of established tunings. Communities of guitarists who share a tradition often use the same or similar tunings. The hundreds of alternative tunings have been classified into a number of categories, “open”. Modal, dropped, and many other tunings are mentioned in the supplementary list of guitar tunings, Standard tuning is the tuning most frequently used on a 6-string guitar and musicians assume this tuning by default if a specific alternate or scordatura is not mentioned. It consists of the notes, E2-A2-D3-G3-B3-E4. The letter gives the name of each note, and the number indicates in which octave the pitch lies. The fifth string is tuned to 110 Hz, exactly two octaves below the standard reference pitch of 440 Hz. Tuning forks and electronic tuners that match these frequencies are commonly available, Tuning forks which provide the pitch of the high E string are also common. The guitar is conventionally an equal-tempered instrument, the frets are positioned logarithmically, creating equally-tempered pitches along each string. However, guitarists who tune by ear will typically tune “clean” so that dissonant beating between particular strings is minimized, in this way, open intervals can be more consonant. This is known as just intonation, which is at variance with equal temperament, when the guitar is tuned in this way, open tunings theoretically allow for certain chords to be more consonant. Standard tuning provides reasonably simple fingering for playing standard scales and basic chords in all major and minor keys, the open notes of the second and third strings are separated by a four-semitone interval
26.
Guitarist
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A guitarist is a person who plays the guitar. Guitarists may play a variety of guitar family instruments such as guitars, acoustic guitars, electric guitars. Some guitarists accompany themselves on the guitar by singing or playing the harmonica, the correctness of techniques that a guitarist acquires depends on the quality of training. Learning how to play correctly is crucial for any guitarist no matter which guitar he/she plays, the guitarist may also employ various methods for selecting notes and chords, including fingering, thumbing, the barre, and bottleneck or steel-guitar slides, usually made of glass or metal. These left- and right-hand techniques may be intermixed in performance, while music is an art form in itself, playing an instrument such as the guitar has long been a popular subject for painters. Despite perceived tendencies in mainstream music diffusion, to Rock music and electric guitar, notable guitarists arrived from other genres, Rolling Stone In 2003, Rolling Stone magazine published a list called The 100 Greatest Guitarists of All Time. This list included 100 guitarists whom the magazine editor David Fricke considered the best, the first in this list is the American guitarist Jimi Hendrix introduced by Pete Townshend, guitarist for The Who, who was, in his turn, ranked at #50 in the list. Artists who had not been included in the previous list were added, rory Gallagher, for example, was ranked in 57th place. The 100 Greatest Guitarists of All Time is mentioned in many biographies about artists who appear in the list, despite the appearance in other magazines like Billboard, this publication by Guitar World was criticized for including no female musicians within its selection. However, Guitar World recently published a list of Eight Amazing Female Acoustic Players, including Kaki King, TIME and others Following the death of Les Paul, TIME website presented their list of 10 greatest artists in electric guitar. As in Rolling Stone magazines list, Jimi Hendrix was chosen as the greatest guitarist followed by Slash from Guns N Roses, B. B. King, Keith Richards, Jimmy Page, and Eric Clapton. Gigwise. com, a music magazine, also ranks Jimi Hendrix as the greatest guitarist ever, followed by Jimmy Page, B. B. King, Keith Richards. There are many classical guitarists listed as notable in their respective epochs, media related to Guitarists at Wikimedia Commons
27.
Acoustic guitar
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An acoustic guitar is a guitar that produces sound acoustically—by transmitting the vibration of the strings to the air—as opposed to relying on electronic amplification. The sound waves from the strings of an acoustic guitar resonate through the guitars body and this typically involves the use of a sound board and a sound box to strengthen the vibrations of the strings. The main source of sound in a guitar is the string. The string vibrates at a frequency and also creates many harmonics at various different frequencies. The frequencies produced can depend on string length, mass, gitterns, a small plucked guitar were the first small guitar-like instruments created during the Middle Ages with a round back like that of a lute. Modern guitar shaped instruments were not seen until the Renaissance era where the body, the earliest string instruments that related to the guitar and its structure where broadly known as the vihuelas within Spanish musical culture. Vihuelas where string instruments that were seen in the 16th century during the Renaissance. Later, Spanish writers distinguished these instruments into 2 categories of vihuelas, the vihuela de arco was an instrument that mimicked the violin, and the vihuela de penola was played with a plectrum or by hand. When it was played by hand it was known as the vihuela de mano, vihuela de mano shared extreme similarities with the Renaissance guitar as it used hand movement at the sound hole or sound chamber of the instrument to create music. The real production of guitars kicked off in France where the popularity, the production became so large that early famous creators such as Gaspard Duyffooprucgars instruments were being sold as copies by other guitar makers in Lyon. Benoist Lejeune, a maker, offered and sold guitar copies of Duyffoprucgars instruments and was later imprisoned for using his mark and work. During this time, the production was increasing tremendously but it was not until Robert and Claude Denis appeared overproducing the early Renaissance guitar in Paris, as father and son, Robert and Claude produced hundreds of guitars that increased the popularity of the instrument greatly. Because of them and the great many guitar inventors of this time, by 1790 only six-course vihuela guitars were being created and had become the main type and model of guitar used in Spain. Most of the older 5-course guitars where still in use but were also being modified to a six-coursed acoustical guitar, by the 19th century, coursed strings where evolved into 6 single-stringed instruments much like that of the guitar today. It had evolved into the modern look except for size, retaining a smaller frame, the acoustic guitars soundboard, or top, also has a strong effect on the loudness of the guitar. No amplification actually occurs in this process, because no energy is added to increase the loudness of the sound. All the energy is provided by the plucking of the string, but without a soundboard, the string would just cut through the air without actually moving it much. The soundboard increases the surface of the area in a process called mechanical impedance matching
28.
Acoustic-electric guitar
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An electric-acoustic guitar is an acoustic guitar fitted with a magnetic pickup, a piezoelectric pickup or a microphone. In electric-acoustic nylon string guitars, piezoelectric pickups and microphones are used because magnetic pickups are not capable of picking up vibrations of non-magnetic materials. The design is distinct from a guitar, which is an electric guitar. These preamps may also come with tone controls of varying types and they are also referred to as a plug-in acoustic guitar, due to their ability to simply plug in to a speaker system without the need for microphones. They are commonly used in a variety of music genres where the sound of a guitar is desired but more volume is required. Various experiments at electrically amplifying the vibrations of a string instrument date back to the part of the twentieth century. Patents from the 1910s show telephone transmitters adapted and placed inside violins, hobbyists in the 1920s used carbon button microphones attached to the bridge, however these detected vibration from the bridge on top of the instrument, resulting in a weak signal. Many of these instruments could also be played unamplified. Commercially produced jazz guitars from the 1940s on were most commonly hollow body guitars with pickups and he added electrical pickups to provide the option of amplification. The Kaman Music Corporation, built on the success of the Roundback, became one of the largest music instrument manufacturers in the United States
29.
Archtop guitar
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His 1898 patent for a mandolin, which was also applicable to guitars according to the specifications, was intended to enhance power and quality of tone. However, Gibson was not the first to apply design principles to the guitar. Back obtained patent #508,858 in 1893 for a guitar that among other features included an arched top, another transitional design is the parlor guitar fitted with a floating bridge and tailpiece. These inexpensive instruments, manufactured by such as Stella and Harmony, are associated with early blues musicians. The earliest Gibson designs introduced the arched top, and increasing body sizes, in 1922, Lloyd Loar was hired by the Gibson Company to redesign their instrument line in an effort to counter flagging sales, and in that same year the Gibson L5 was released to his design. Perhaps the most revered instrument from this period is the F5 mandolin, but probably the more influential was the L5 guitar. The mature Gibson archtop guitar and its imitators are regarded as the quintessential jazzbox, in Europe, companies such as Framus, Höfner and Hagström took up the manufacture of archtops. Archtop guitars were particularly adopted by jazz and country musicians, and in big bands and swing bands. Gibsons ES-150 guitar is generally recognized as the worlds first commercially successful Spanish-style electric guitar, the ES stands for Electric Spanish, and it was designated 150 because it cost $150, along with an EH-150 amplifier and a cable. After its introduction in 1936, it became popular in jazz orchestras of the period. Unlike the usual acoustic guitars utilized in jazz, it was enough to take a more prominent position in ensembles. The ES-150s top was not carved on the underside, making it unsuitable for acoustic use, in 1951, Gibson released the L5CES, an L5 with a single cutaway body and two electric pickups, equally playable as either an acoustic guitar or an electric guitar. This innovation was immediately popular, and while purely acoustic archtop guitars such as the Gibson L-7C remain available to this day, they have become the exception. In 1958, the L5CES was redesigned with humbucking pickups, most, the electric archtop was particularly popular with jazz musicians Tal Farlow, Barney Kessel and Johnny Smith. Other manufacturers introduced electric archtop guitars, notable including the Gretsch White Falcon. Some of these instruments have a distinctive sound and were taken up by country music and early rock and roll artists such as Duane Eddy. Similar models remain popular in rockabilly, Gibsons last innovation in archtop design was the creation, in late 1950s, of thinline models with a reduced body depth, notably the Gibson ES-335 and Epiphone Casino. These were more resistant and easier to play standing up
30.
Baroque guitar
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The Baroque guitar is a string instrument with five courses of gut strings and moveable gut frets. The first course used only a single string. The Baroque guitar replaced the Renaissance lute as the most common instrument found in the home, the earliest attestation of a five-stringed guitar comes from the mid-sixteenth-century Spanish book Declaracion de Instrumentos Musicales by Juan Bermudo, published in 1555. The first treatise published for the Baroque guitar was Guitarra Española de cinco ordenes, intimately tied to the development of the Baroque guitar is the alfabeto system of notation. Three different ways of tuning the guitar are well documented in sources as set out in the following table. This includes the names of composers who are associated with each method, very few sources clearly indicate that one method of stringing rather than another should be used and it may have been up to the player to decide what was appropriate. E. Monica Hall, Baroque Guitar Stringing, a survey of the evidence ISBN 0-905655-40-0 Monica Hall, in Consort, The Journal of the Dolmetsch Foundation, Vol.61. ISSN 0268-9111 Monica Hall, The Guitarra espanola of Joan Carles Amat, in Early Music, Vol.6, no. Monica Hall, Dissonance in the music of Francesco Corbetta. In Lute, The Journal of the Lute Society, Vol. XLVII Monica Hall, in Lute, The Journal of the Lute Society, Vol. XLVII Monica Hall, Tuning instructions for the baroque guitar in Bibliotheque Nationale Res. In Lute, The Journal of the Lute Society, Vol. XLVII Antoni Pizà, ISBN 84-89868-50-6 Hélène Charnassé, Rafael Andia, Gérard Rebours, The Guitar Books of Robert de Visée, Paris, Editions Musicales Transatlantiques,2000,235 pages. Thomas Schmitt, Sobre la ornamentación en el repertorio para guitarra barroca en España, in, Revista de Musicología, XV, nº1,1992 Giovanni Accornero, Eraldo Guerci - The Guitar, Four Centuries of Masterpieces, Edizioni Il Salabue,2008. ISBN 978-88-87618-13-6 Carlo Alberto Carutti, Passioni di un collezionista, Catalogue by Giovanni Accornero, ISBN 978-88-87618-15-0 Ulrik Gaston Larsen, lutenist Technique Baroque guitar for the modern performer - a practical compromise, by Don Rowe and Richard d’A Jensen. The Guitar, Heilbrunn Timeline of Art History, The Metropolitan Museum of Art Baroque guitar music The Five-course guitar
31.
Classical guitar
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The classical guitar is the member of the guitar family used in classical music. It is an acoustical wooden guitar with strings made of nylon, the traditional classical guitar has twelve frets clear of the body and is held on the left leg, so that the hand that plucks or strums the strings does so near the back of the soundhole. The modern steel string guitar, on the hand, usually has fourteen frets clear of the body and is commonly played off the hip. Examples of early guitars include the early romantic guitar. Classical guitar strings once made of catgut are now made of polymers as nylon. A guitar family tree may be identified, the flamenco guitar derives from the modern classical, but has differences in material, construction and sound. Todays modern classical guitar was established by the designs of the 19th-century Spanish luthier. Cultural baroque court music, 19th century opera and its influences, 19th century folk songs, Latin American music, thus over recent decades we have become accustomed to specialist artists with expertise in the art of vihuela, lute, Baroque guitar, 19th-century guitar, etc. Different types of guitars have different sound aesthetics, e. g. different colour-spectrum characteristics, different response and these guitars in turn sound different from the Torres models used by Segovia, that are suited for interpretations of romantic-modern works such as Moreno Torroba. When considering the guitar from a perspective, the musical instrument used is just as important as the musical language. As an example, It is impossible to play a historically informed de Visee or Corbetta on a classical guitar. The reason is that the guitar used courses, which are two strings close together, that are plucked together. This gives baroque guitars an unmistakable sound characteristic and tonal texture that is an part of an interpretation. Additionally the sound aesthetic of the guitar is very different from modern classical type guitars. However, they are considered to emphasize the fundamental too heavily for earlier repertoire, Some attribute this to the popularity of Segovia, considering him the catalyst for change toward the Spanish design and the so-called modern school in the 1920s and beyond. Some people consider it to have been influence of Segovia. It was the 19th century classical guitarist Francisco Tárrega who first popularized the Torres design as a solo instrument. Vihuela, renaissance guitars and baroque guitars have a bright sound - rich in overtones -, later in Spain a style of music emerged that favored a stronger fundamental, With the change of music a stronger fundamental was demanded and the fan bracing system was approached
32.
Electric guitar
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The vibrations of the strings are sensed by a pickup, of which the most common type is the magnetic pickup, which uses the principle of direct electromagnetic induction. The signal generated by a guitar is too weak to drive a loudspeaker, so it is plugged into a guitar amplifier before being sent to a loudspeaker. The output of a guitar is an electric signal. Invented in 1931, the electric guitar was adopted by jazz guitarists. Early proponents of the guitar on record included Les Paul, Lonnie Johnson, Sister Rosetta Tharpe, T-Bone Walker. During the 1950s and 1960s, the guitar became the most important instrument in pop music. It has evolved into an instrument that is capable of a multitude of sounds and styles in genres ranging from pop and rock to country music, blues and jazz. It served as a component in the development of electric blues, rock and roll, rock music, heavy metal music. Electric guitar design and construction vary greatly in the shape of the body and the configuration of the neck, bridge, Guitars may have a fixed bridge or a spring-loaded hinged bridge that lets players bend the pitch of notes or chords up or down or perform vibrato effects. The sound of a guitar can be modified by new playing techniques such as string bending, tapping, hammering on, using audio feedback, in a small group, such as a power trio, one guitarist switches between both roles. In larger rock and metal bands, there is often a rhythm guitarist, many experiments at electrically amplifying the vibrations of a string instrument were made dating back to the early part of the 20th century. Patents from the 1910s show telephone transmitters were adapted and placed inside violins, hobbyists in the 1920s used carbon button microphones attached to the bridge, however, these detected vibration from the bridge on top of the instrument, resulting in a weak signal. With numerous people experimenting with electrical instruments in the 1920s and early 1930s, Electric guitars were originally designed by acoustic guitar makers and instrument manufacturers. Some of the earliest electric guitars adapted hollow-bodied acoustic instruments and used tungsten pickups, the first electrically amplified guitar was designed in 1931 by George Beauchamp, the general manager of the National Guitar Corporation, with Paul Barth, who was vice president. The maple body prototype for the one-piece cast aluminum frying pan was built by Harry Watson, commercial production began in late summer of 1932 by the Ro-Pat-In Corporation, in Los Angeles, a partnership of Beauchamp, Adolph Rickenbacker, and Paul Barth. In 1934, the company was renamed the Rickenbacker Electro Stringed Instrument Company, in that year Beauchamp applied for a United States patent for an Electrical Stringed Musical Instrument and the patent was issued in 1937. The Electro-Spanish Ken Roberts provided players a full 25 scale, with 17 frets free of the fretboard and it is estimated that fewer than 50 Electro-Spanish Ken Roberts were constructed between 1933 and 1937, fewer than 10 are known to survive today. The need for the guitar became apparent during the big band era as orchestras increased in size, particularly when acoustic guitars had to compete with large
33.
Flamenco guitar
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A flamenco guitar is a guitar similar to a classical guitar but with thinner tops and less internal bracing. It is used in toque, the part of the art of flamenco. The cheapest guitars were often simple, basic instruments made from the less expensive woods such as cypress, antonio de Torres, one of the most renowned luthiers, did not differentiate between flamenco and classical guitars. Only after Andrés Segovia and others popularized classical guitar music, did this distinction emerge, the traditional flamenco guitar is made of Spanish cypress, sycamore, or rosewood for the back and sides, and spruce for the top. This accounts for its body color. Flamenco guitars are built lighter with thinner tops than classical guitars, builders also use less internal bracing to keep the top more percussively resonant. The top is made of either spruce or cedar, though other tone woods are used today. Volume has traditionally been important for flamenco guitarists, as they must be heard over the sound of the dancers’ nailed shoes. To increase volume, harder woods, such as rosewood, can be used for the back and sides, the harder materials increase volume and tonal range. A typical cypress flamenco guitar produces more treble and louder percussion than the more sonorous negra and these guitars strive to capture some of the sustain achieved by concert caliber classical guitars while retaining the volume and attack associated with flamenco. Classical guitars are made with spruce or cedar tops and rosewood or mahogany backs. Flamenco guitars are made with spruce tops and cypress or sycamore for the backs and sides to enhance volume. Nevertheless, other types of wood may be used for the back and sides, like rosewood, maple, koa, satinwood, a well-made flamenco guitar responds quickly, and typically has less sustain than a classical. This is desirable, since the flurry of notes that a good player can produce might sound muddy on a guitar with a big, lush. The flamenco guitar’s sound is described as percussive, it tends to be brighter, drier. Flamenco is played differently from classical guitar. Players use different posture, strumming patterns, and techniques, Flamenco guitarists are known as tocaores and flamenco guitar technique is known as toque. Flamenco players tend to play the guitar between the hole and the bridge, but as closely as possible to the bridge, to produce a harsher
34.
Fretless guitar
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A fretless guitar is a guitar without frets, such that fingering its strings at particular positions on the string is done by pressing the string against its fingerboard. It operates in the manner as most other stringed instruments and traditional guitars. On a fretless guitar, the string length runs from the bridge. Fretless guitars are fairly uncommon in most forms of music and generally limited to the electrified instruments due to decreased acoustic volume. However, the bass guitar has gained fairly widespread popularity. Fretless electric bass is particularly popular among jazz, funk and R&B players due to the similarity in feel, the oud, often considered as an ancestor of the guitar, is a fretless instrument, as is the violin family. Fretless guitars are typically modified versions of factory-made traditionally fretted guitars, there are also professional builders specialising in custom-made fretless guitars. Fretless bass guitars are more common than fretless guitars. Maartin Allcock Multi-stringed instrumentalist with Fairport Convention, Jethro Tull and Bully Wee Band, session Work with Eddi Reader, Robert Plant & Beverley Craven and many others. Rambo Amadeus Social satirist/Comedian and experimental musician, among other things. Adrian Belew used a fretless guitar extensively on King Crimsons 1984 album Three of a Perfect Pair, matt Bellamy of Muse now uses a custom Manson double neck with one neck fretless live for two songs. John Cale used a guitar on the 1965 album Stainless Gamelan - a very early recording of fretless guitar. Ned Evett plays a variety of guitars, typically with a glass fingerboard. David Fiuczynski plays fretless guitar extensively in his instrumental project KiF, john Frusciante used a fretless Stratocaster on the recording of Blood Sugar Sex Magik, he now uses custom made fretless guitars with glass fingerboards. Nigel Gavin regularly uses a Godin Glissentar in live performance and for several pieces on his albums Thrum, guthrie Govan plays a Vigier fretless guitar. Chuck Hammer layers multiple tracks of fretless guitars on film scores, aziz Ibrahim plays Godin and Vigier fretless guitars. The Flashbulb, plays a guitar on the track Steel for Pappa from the album Soundtrack to a Vacant Life. Pat Metheny plays a classical guitar on the title track of the album Imaginary Day. com
35.
Lap steel guitar
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The lap steel guitar is a type of steel guitar, an instrument derived from and similar to the guitar. The player changes pitch by pressing a metal or glass bar against the strings instead of by pressing strings against the fretboard, there are three main types of lap steel guitar, Lap steel guitars, the first developed, which use a similar sound box to a Spanish guitar. Resonator guitars, particularly those with square necks, but also round neck versions with a raised nut, Electric lap steel guitars, which include the first commercially successful solid body instruments. These were originally marketed as electric Hawaiian guitars, in addition to the lap-played model, a closely related version called a console steel guitar is supported on legs. Electric lap steels typically have six or 8 and up to ten strings, Lap steel and resonator guitars may also be fitted with pickups, but do not depend on electrical amplification to produce sound. A lap steel guitars strings are raised at both the nut and bridge ends of the fingerboard, typically to about half an inch. The strings are too high to contact the surface of the neck, so frets, some lap steel guitars can be converted between lap and fretted playing, or are modified versions of conventional guitars—the only difference is usually string height. Round-necked resonator guitars set up for steel playing fall into this category, instruments designed exclusively as lap steel guitars typically have modified necks that make fretted playing impossible. The hollow neck acoustic lap steel, developed by Chris Knutsen and popularized by Weissenborn, the square-necked resonator guitar has a strengthened square profile neck, allowing heavier string gauges and/or higher tunings that would normally be considered impossible on a conventional guitar. The electric lap steel guitar typically incorporates the entire neck into the body of the guitar, again providing extra strength to allow a greater variety of string gauges. The lap steel guitar is typically placed on the players lap and this method of playing greatly restricts the number of chords available, so lap steel music often features melodies, a restricted set of harmonies, or another single part. This allows the player greater control when picking sets of notes on non-adjacent strings, on the other hand, a minority of Blues players, and many Rock players, use a conventional flatpick. Tut Taylor is one of the few Dobro players that use a flatpick and it is widely reported that the lap steel guitar was invented by a man named Joseph Kekuku in 1885. It is said that, at the age of 7, Kekuku was walking along a track and picked up a metal bolt. He taught himself to using this method with the back of a knife blade. Various other people have also credited with the innovation. The instrument became a fad in the United States during the 1920s and 1930s. The instrument became popular in Hawaii, as musicians played in tent-rep shows
36.
Pedal steel guitar
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The pedal steel guitar is a type of electric steel guitar that is built on legs or a stand and is fitted with foot pedals and knee levers which change the pitch of certain strings. The word steel comes from a piece of polished steel held against the strings and moved back, like other electric guitars, the musical instrument produces sound by the vibration of its strings which are converted by magnetic pickup connected to an amplifier. Pedal steels may have one or two necks that typically have 10 strings each, but may have as many as 14, unlike most other guitars, pedal steel guitars have reference lines on the fretboard where frets would be, but no actual frets. The player changes the pitch of one or more strings by sliding a metal bar from one position to another or vibrating them with a mechanical device, Pedal steels are typically plucked with a thumb pick and fingers, or two or three fingerpicks. The distinctive feature of pedal steel guitars are the namesake pedals as well as knee levers. The pedals are mounted on a bar below the body. While there are fairly standard pedal assignments, many advanced players devise their own setups. The range of copedents that can be set up varies considerably from guitar to guitar, aftermarket modifications to make additional copedents possible are common. The pedal steel evolved from the steel guitar and lap steel guitar. Like the console steel, a pedal steel may have multiple necks, the pedal steel, with its smooth portamenti, bending chords and complex riffs, is one of the most recognizable and characteristic instruments of American country music. A pedal steel guitar is typically rectangular and has no specific resonant chamber or conventional guitar body and these are mounted on a stand and equipped with foot pedals and usually knee levers. Many models feature two necks, the nearer to the player most often using a C6 tuning and the farther away using an E9 tuning. The most common configuration is one or two necks of ten each, but eight-string and twelve-string necks are also popular. Three-neck instruments are less common than those with one or two, but are not unknown, the pedals and/or knee levers on the underside allow the performer to tighten or relax one or more strings in combination to specific tuned notes, changing the instruments tuning during performance. Several people have been credited with the innovation, the Hawaiian style of playing was very popular in the United States during the 1920s and 1930s. To increase the volume of the guitar, a resonator cone was added by the Dopyera Brothers to create the resophonic guitar. By the 30s, the guitar body was abandoned for a flat slab of wood or metal and the addition of an electric pickup. It was the first electric guitar to achieve commercial success, several pioneering manufacturers of the electric guitar were first famous for their work on the then more popular electric steel guitar, among them Adolph Rickenbacker, Paul Bigsby and Leo Fender
37.
Resonator guitar
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A resonator guitar or resophonic guitar is an acoustic guitar that produces sound by carrying string vibration through the bridge to one or more spun metal cones, instead of to the sound board. Resonator guitars were designed to be louder than regular acoustic guitars. They became prized for their sound, however, and found life with several musical styles well after electric amplification solved the issue of inadequate guitar sound levels. The body of a guitar may be made of wood, metal. Typically there are two sound holes, positioned on either side of the fingerboard extension. In the case of models, the sound holes are either both circular or both f-shaped, and symmetrical. The older tricone design has irregularly shaped sound holes, cutaway body styles may truncate or omit the lower f-hole. Dopyera experimented with configurations of up to four resonator cones and with cones composed of different metals. In 1927, Dopyera and Beauchamp formed the National String Instrument Corporation to manufacture guitars under the brand name National. The first models were metal-bodied, and featured three conical aluminum resonators joined by a T-shaped aluminum bar that supported the system called the tricone. National originally produced wooden-bodied Tricone models at their factory in Los Angeles and they called these models the Triolian, but made only 12 of them. They changed the body meant for tricones to single-cone models, and this system was cheaper to produce, and produced more volume than Nationals tricone. National countered the Dobro with its own single resonator model, which Dopyera had designed before he left the company and they also continued to produce the tricone design, which many players preferred for its tone. Both National single and tricone resonators remained conical, with their convex surfaces uppermost, single resonator models used a wooden biscuit at the cone apex to support the bridge. At this point, both companies sourced many components from Adolph Rickenbacher, including the aluminium resonators, after much legal action, the Dopyera brothers gained control of both National and Dobro in 1932, and subsequently merged them into the National Dobro Corporation. However, they ceased all resonator guitars production following the U. S. entry into World War II in 1941. Emile Dopyera manufactured Dobros from 1959, before selling the company and trademark to Semie Moseley, in 1967, Rudy and Emile Dopyera formed the Original Musical Instrument Company to manufacture resonator guitars, first branded Hound Dog. In 1970 they again acquired the Dobro trademark, Mosrite having gone into temporary liquidation, the Gibson Guitar Corporation acquired OMI in 1993, and announced it would defend its right to exclusive use of the Dobro trademark—which many people commonly used for any resonator guitar
38.
Dobro
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The word Dobro is, in popular usage, the generic term for a wood-bodied, single cone resonator guitar. It is also an American brand of guitar, currently owned by the Gibson Guitar Corporation. The Dobro was originally made by the Dopyera brothers when they formed the Dobro Manufacturing Company and their design, with a single inverted resonator, was introduced in competition to the patented Tricone and biscuit designs produced by the National String Instrument Corporation. The Dobro name appeared on other instruments, notably electric lap steel guitars and solid body electric guitars, Gibson Guitar Corporation acquired the Dobro trademark in 1994. Although the name Dobro is generically associated with the single-inverted-cone design, the name originated in 1928 when the Dopyera brothers, John and Emil, formed the Dobro Manufacturing Company. Dobro is both a contraction of Dopyera brothers and a word meaning goodness or goodwill in their native Slovak, an early company motto was Dobro means good in any language. The Dobro was the third resonator guitar design by John Dopyera, the inventor of the resonator guitar, unlike his earlier tricone design, the Dobro had a single resonator cone and it was inverted, with its concave surface facing up. The Dobro company described this as a bowl shaped resonator, the Dobro was louder than the tricone and cheaper to produce. In Dopyeras opinion, the cost of manufacture had priced the resonator guitar beyond the reach of many players and his failure to convince his fellow directors at the National String Instrument Corporation to produce a single-cone version was part of his motivation for leaving. Since National had applied for a patent on the single cone, in the following years both Dobro and National built a wide variety of metal- and wood-bodied single-cone guitars, while National also continued with the Tricone for a time. Both companies sourced many components from National director Adolph Rickenbacher, by 1934, the Dopyera brothers had gained control of both National and Dobro, and they merged the companies to form the National-Dobro Corporation. From the outset, wooden bodies had been sourced from existing guitar manufacturers, Dobro had granted Regal a license to manufacture resonator instruments. By 1937, it was the manufacturer, and the license was officially made exclusive. Regal continued to manufacture and sell resonator instruments under many names, including Regal, Dobro, Old Kraftsman, however, they ceased all resonator guitar production following the United States entry into World War II in 1941. Emil Dopyera manufactured Dobros from 1959 under the brand name Doperas Original before selling the company, Moseley merged it with his Mosrite guitar company and manufactured Dobros for a time. Meanwhile, in 1967, Rudy and Emil Dopyera formed the Original Musical Instrument Company to manufacture resonator guitars, however, in 1970, they again acquired the Dobro name—Mosrite having gone into temporary liquidation. The Gibson Guitar Corporation acquired OMI in 1993, along with the Dobro name and they renamed the company Original Acoustic Instruments and moved production to Nashville. Gibson now uses the name Dobro only for models with the design that the original Dobro Manufacturing Company used
39.
Semi-acoustic guitar
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A semi-acoustic guitar or hollow-body electric is a type of electric guitar that originates from the 1930s. It has both a box and one or more electric pickups. This is not the same as a guitar, which is an acoustic guitar with the addition of pickups or other means of amplification. This led makers to try a series of designs that focused on amplifying a guitar electrically through a loudspeaker, in 1936, Gibson made their first production run of electric guitars. These guitars, known as ES-150s were the first manufactured semi-acoustic guitars, Gibson based them on a standard production archtop, with f holes on the face of the guitars soundbox. This model resembled traditional jazz guitars that were popular at the time, the soundbox on the guitar let limited sound emit from the hollow body of the guitar. These guitars, however, could be electrically amplified via a Charlie Christian pickup, the clear sound of the pickups made the ES series immediately popular with jazz musicians. The first semi-acoustic guitars are thought of as an evolutionary step in the progression from acoustic guitars to full electric models. However, Gibson made the ES-150 several years after Rickenbacker made the first solid-body electric guitar, the ES series was merely an experiment the Gibson company used to test the potential success of electric guitars. The experiment was a successful venture, and the ES series is often referred to as the first successful electric guitar. The ES-150 was followed by the ES-250 a year later, in became a long line of semi acoustics for the Gibson company. In 1949 Gibson released two new models, the ES-175 and ES-5 and these guitars came standard with built-in electric pickups and are widely considered the first fully electric semi-acoustic guitars. Prior models were not built with pickups, rather, they came as attachments, several models, including the ES-350T by Gibson, were made in the 1950s to accommodate this growing demand by including a more comfortable version of the archtop model. Gibson and other makers followed these variations with a new type of guitar that featured a block of solid wood between the front and back sections of the guitars cutaway. This guitar still functioned acoustically, but had a resonant cavity inside. Gibson first manufactured this variant in 1958 and it is commonly referred to as a semi-hollow body guitar, because of the smaller, less open body. Rickenbacker also began making semi-acoustic guitars in 1958, when the company changed ownership in 1954, they hired German guitar crafter, Roger Rossmiesl. He developed the 300 series for Rickenbacker, which was a wide semi-acoustic that did not use a traditional f hole, rather it used a sleeker dash hole on one side of the guitar, the other side had a large pickguard
40.
Steel-string acoustic guitar
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The steel-string acoustic guitar is a modern form of guitar that descends from the classical guitar, but is strung with steel strings for a brighter, louder sound. It is often referred to simply as a guitar, though the nylon-strung classical guitar is also sometimes called an acoustic guitar. The most common type is called a flat top guitar, to distinguish it from the more specialized archtop guitar. The standard tuning for a guitar is E-A-D-G-B-E, although many players, particularly fingerpickers, use alternate tunings, such as open G, open D. There are many variations in construction and materials used in steel-string guitars, different combinations of woods and construction elements affect the timbre or tone of the guitar. Many players and luthiers are convinced that a well-made guitars tone improves over time, acoustic guitars are commonly constructed in several different body types. The proportion and overall size of two parts helps determine the overall tonal balance and native sound of a particular body style – the larger the body. The 00, also called the Double-Oh or the Grand Concert and it has the thinnest soundbox and the smallest overall size of the major styles, making it very comfortable to play but also one of the quietest. Its smaller size makes it suitable for younger or smaller-framed players and these guitars are commonly called parlor steels as they are well-suited to smaller rooms. Martins 00-xxx series and Taylors x12 series are common examples, the Grand Auditorium guitar, sometimes called the 000 or the Triple-Oh, is very similar in design to the Grand Concert, but slightly wider and deeper. Many 000-style guitars also have a back panel to increase the volume of space in the soundbox without making the soundbox deeper at the edges. Eric Claptons signature Martin guitar, for example, is of this style, Martins 000-xxx series and Taylors x14 series are well-known examples of the Grand Auditorium style. The Dreadnought style was designed by Martin Guitars to produce a deeper sound than classic-style guitars and this body styles combination of a small profile with a deep sound has made it immensely popular, and it has since been copied by virtually every major steel-string luthier. Martins D series guitars, such as the highly-prized D-28, are examples of the Dreadnought. This comes at the expense of being oversized, with a very deep sounding box, the foremost example of this style is the Gibson J-200, but like the Dreadnought, most guitar manufacturers have at least one jumbo model. Any of these body type can optionally incorporate a cutaway, a cutaway guitar has a redesigned upper bout that removes a section of the soundbox on the underside of the neck, hence the name cutaway. This allows for access to the frets that are located on top of the soundbox past the heel of the neck. The tradeoff is reduced soundbox volume, and often a change in bracing, the 12-string guitar replaces each single string with a course of two strings
41.
Classical guitar with additional strings
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These are also known as extended-range guitars, and should not be confused with harp guitars. There is no question, however, that Sychra was a proponent of the seven-string instrument, having written a method. Seventy-five of these pieces were republished in the 1840s by Stellovsky, some of these were published again in the Soviet Union in 1926. Eight-string classical guitars are tuned with two extra basses that vary in pitch depending on the piece being played. Another common variation is to add a bass and treble string. Galbraith generally tunes EADGBEA which puts standard 6 string guitar chord voicings and scale shapes within the neck, vynograd chooses to tune AEADGCEA which allows him to play the top 6 strings like a guitar a 4th higher. Vynograd writes his music on a staff in a different key. The Brazilian guitarist Raphael Rabello also adopted the 8 string guitar on many of his presentations also Australian guitarist Sirsom Solo-Jazz plays the 8-string Classical guitar. The Brahms guitar was developed by guitarist Paul Galbraith and luthier David Rubio to allow the music of Brahms to be played more comfortably on the guitar. Information,8 string guitar Late 18th and early 19th century method books for nine-string guitars exist, modern nine-string guitars are almost exclusively steel-string or electric instruments. Includes the Decacorde - a historical romantic guitar - which was tuned C2-D2-E2-F2-G2-A2-D3-G4-B4-E4 and the modern 10-string guitar, the Bolin alto guitar most often has eleven strings, but a thirteen-string version also exists. The eleven-string alto guitar is played by such as John Francis, Stefan Östersjö. The Godin Glissentar is another type of eleven-string guitar and is fretless, the 11-string archguitar built by American luthier Walter Stanul is played by guitarists such as Peter Blanchette. External links altoguitar. com, site dedicated to the Bolin altgitarren, user description of their Bolin pattern alto guitar. John Francis Web Page The 13-string Chiavi-Miolin guitar is played by Anders Miolin, luthier Michael Thames has developed the 13-string Dresden designed to function as a baroque lute for guitarists. Bolin created a version of his eleven-string alto guitar. External links Chiavi-Miolin Dresden The harp guitar is a guitar with added strings which are floating, as with extended-range guitars, these additional strings may be lower or higher in pitch than the standard strings. Unlike extended-range instruments, the strings on harp guitars may only be played as open strings
