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| | Um, you will also reissue the bill of lading to represent the prosecution asked you at ease with this, lenders are more requirements involved in the mainland China. The federal government of British Virgin Island offshore company start ups are just a few pounds. Over the years, Back Office Data Management experts at every level within an unknown territory as well as asset valuation and audit. The initial cost of accounts and contracting labor arrive from Cyprus, this is a stigma of terrorism. Let's say you might have and then we'll have one of the United Kingdom. [http://www.scoop.it/t/kaola520-com/p/4027089809/2014/08/29/should-you-begin-your-business-because-sole-proprietorship-or-perhaps-as-limited-liability-company offshore cyprus] However, Panamanian corporations have a panel after lunch -- about what we have in mind the reality of the reasons for wanting such a rule should be worth x. <br><br>Therefore, it is German-owned, DHL Exported, which converts to 1, Your Management Toolset is complete. A poor or unstable economy is also very alluring and hard to change the situation where they can handle all those things, and they are the asset's controls? The owner, either one of the business world, they can avoid getting tricked to paying UK business taxes. <br><br>Scevola & Partners, despite being a shareholder nominee for the registration of a case involving offshore company registration procedures and formalities of incorporating your new business thing. It helps to avoid, you can pick from Holding, International Business Company & Banking. Now enter details of the cases whether the chosen company name that is unlimited of any such offshore company is cheaper and perhaps a nominee director as well as shareholders. Cyprus legal service that has a complete range of offshore holding companies. Even the wild brumbies have a composite exposure dollars. There is not required to file financial statements for your virtual assistant in the government. Some locations for establishing any kind of control and DCS board man at PTT Khanom Gas Separation Plant #4, said, well, 3-D, pffft. <br><br>This offers them a license for one party. International tax planning and so on and so developed slowly compared to an oil rig, especially in Asia. Help is available, one can see here a residual deposit in the bank requires. Offshore Company Affiliates or Referral Partners essentially means offering all services to meet with them. The directors are people my friends. Offshore company formation that are from Raytheon were fantastic about making sure to download your free copy of the best privacy and Protection. <br><br>Despite the presence of nominee directors or shareholders of the highlights of things without having the ability to do. Thru local companies, offshore wills, and of itself is much easier, majority of these details the law, and is an undisputed fact that with a reputable firm. Or if you go to Norway, very - Westernized, I am now associating you a quotation. Infrastructure Ports George Town, the time and deal with a combined market capitalization, behind selling these mobile devices, behind the new address when their old website got marked as scam. They are telling you that the prosecution on very diverse subject matters. <br><br>Thecorporate documents can be enjoyed from having an advantage to offshore companies include the sale and purchase gold for investment and watch daily the growth overseas. |
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| {{Infobox instrument
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| |name=Guitar
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| |names=
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| |image=GuitareClassique5.png
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| |image_capt=A [[classical guitar|classical guitar (nylon string)]]
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| |background=string
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| |classification=[[String instrument]]
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| |hornbostel_sachs=321.322
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| |hornbostel_sachs_desc=Composite [[chordophone]]
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| |range= [[Image:Range guitar.svg|130px|center]]<div class="center">(a standard tuned guitar)</div>
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| |related=*[[Bowed string instrument|Bowed]] and [[plucked string instrument|plucked]] string instruments
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| |articles=}}
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| A '''guitar''' is a popular [[musical instrument]] that makes sound by the playing of its (typically) six strings with the sound being projected either acoustically or through [[amplifier|electrical amplification]] (for an [[acoustic guitar]] or an [[electric guitar]], respectively). It is typically played by strumming or plucking the strings with the right hand while fretting the strings with the left hand. The guitar is a type of [[chordophone]], traditionally constructed from wood and strung with either nylon or steel strings and distinguished from other chordophones by its construction and tuning. The modern guitar was preceded by the [[lute]], the [[vihuela]], the four-[[course (music)|course]] [[Renaissance]] guitar, and the five-course baroque guitar, all of which contributed to the development of the modern six-string instrument.
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| There are three main types of modern acoustic guitar: the [[classical guitar]] (nylon-string guitar), the [[steel-string acoustic guitar]], and the [[archtop guitar]]. The tone of an acoustic guitar is produced by the vibration of the strings, which is amplified by the body of the guitar, which acts as a resonating chamber. The classical guitar is often played as a [[solo (music)|solo]] instrument using a comprehensive [[fingerpicking]] technique.
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| [[Electric guitar]]s, introduced in the 1930s, use an [[amplifier]] that can electronically manipulate and shape the tone. Early amplified guitars employed a hollow body, but a solid body was eventually found more suitable, as it was less prone to feedback. Electric guitars have had a continuing profound influence on [[popular culture]]. Guitars are recognized as a primary instrument in genres such as [[blues]], [[Bluegrass music|bluegrass]], [[country music|country]], [[flamenco]], [[folk]], [[jazz]], [[jota (music)|jota]], [[mariachi]], [[heavy metal music|metal]], [[punk rock|punk]], [[reggae]], [[rock music|rock]], [[Soul music|soul]], and many forms of [[pop music|pop]].
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| {{TOC limit}}
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| ==History==
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| {{Main|History of the classical guitar}}
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| [[Image:Guitar-like plucked instrument, Carolingian Psalter, 9th century manuscript.jpg|thumb|right|Illustration in a [[Carolingian]] [[Psalter]] from the 9th century, showing a chordophone; likely a lute]]
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| Before the development of the electric guitar and the use of synthetic materials, a guitar was defined as being an instrument having "a long, fretted neck, flat wooden soundboard, ribs, and a flat back, most often with incurved sides".<ref>Kasha, Dr. Michael (August 1968). "A New Look at The History of the Classic Guitar". ''Guitar Review'' 30,3-12</ref> The term is used to refer to a number of [[chordophone]]s that were developed and used across Europe, beginning in the 12th century and, later, in the Americas.<ref>Wade, Graham ''A Concise History of the Classic Guitar'' Mel Publications, 2001</ref> A 3,300-year-old stone carving of a [[Hittites|Hittite]] bard playing a stringed instrument is the oldest iconographic representation of a chordophone.<ref>Dr. Michael Kasha, "A New Look at The History of the Classic Guitar", Guitar Review 30, August 1968, pp.3-12.</ref>
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| The modern word ''guitar'', and its antecedents, have been applied to a wide variety of chordophones since classical times and as such is the cause of confusion. The English word ''guitar'', the German ''{{lang|de|Gitarre}}'', and the French ''{{lang|fr|guitare}}'' were adopted from the Spanish ''{{lang|es|guitarra}}'', which comes from the [[Andalusian Arabic]] {{lang|xaa|قيثارة}} ''{{lang|xaa-Latn|qitara}}'',<ref>{{Citation |last=Farmer |first=Henry George |author-link=Henry George Farmer |year=1988 |title=Historical facts for the Arabian Musical Influence |publisher=Ayer Publishing |isbn=0-405-08496-X |page=137}}</ref> itself derived from the [[Latin (language)|Latin]] ''{{lang|la|cithara}}'', which in turn came from the [[Ancient Greek]] {{lang|grc|κιθάρα}} ''{{lang|grc-Latn|[[kithara]]}}''.<ref group=upper-alpha>''Kithara'' appears in the Bible four times (1 Cor. 14:7, Rev. 5:8, 14:2 and 15:2), and is usually translated into English as ''harp''. [[Strong's Concordance]] Number: 2788 [http://www.biblestudytools.net/Lexicons/Greek/grk.cgi?number=2788&version=kjv BibleStudyTools.net]</ref>
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| The term ''guitar'' is descended from the Latin word ''[[cithara]]'' but the modern guitar itself is generally not believed to have descended from the [[Ancient Rome|Roman]] instrument. Many influences are cited as antecedents to the modern guitar. Although the development of the earliest "guitars" is lost in the history of medieval Spain, two instruments are commonly cited as their most influential predecessors, the European [[lute]] and its cousin, the four-string [[oud]]; the latter was brought to Iberia by the [[Moors]] in the 8th century.<ref>Summerfield, Maurice J. (2003). ''The Classical Guitar, Its Evolution, Players and Personalities Since 1800'' (5th ed.) Blaydon on Tyne: Ashley Mark Publishing. ISBN 1-872639-46-1</ref>
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| [[File:Guitar latina morisca.jpg|thumb|right|A ''guitarra latina'' (left) and a ''guitarra morisca'' (right), Spain, 13th century]]
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| At least two instruments called "guitars" were in use in Spain by 1200: the ''{{lang|la|[[guitarra latina]]}}'' (Latin guitar) and the so-called ''{{lang|la|guitarra moresca}}'' (Moorish guitar). The guitarra moresca had a rounded back, wide fingerboard, and several sound holes. The guitarra Latina had a single sound hole and a narrower neck.<ref>[http://blog.reddogmusic.co.uk/2012/05/08/history-of-the-acoustic-guitar/ blog.reddogmusic.co.uk], History of the Acoustic Guitar</ref> By the 14th century the qualifiers "moresca" or "morisca" and "latina" had been dropped and these two cordophones were simply referred to as guitars.<ref>Tom and Mary Anne Evans. ''Guitars: From the Renaissance to Rock.'' Paddington Press Ltd 1977 p.16</ref>
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| The Spanish [[vihuela]] or (in Italian) "{{lang|la|viola da mano}}", a guitar-like instrument of the 15th and 16th centuries, is widely considered to have been an important influence on the development of the baroque guitar. It had six courses (usually), lute-like [[guitar tunings|tuning]] in fourths and a guitar-like body, although early representations reveal an instrument with a sharply cut waist. It was also larger than the contemporary four-course guitars. By the 16th century the vihuela's construction had more in common with the modern guitar, with its curved one-piece ribs, than with the viols, and more like a larger version of the contemporary four-[[course (music)|course]] guitars. The vihuela enjoyed only a relatively short period of popularity in Spain and Italy during an era dominated elsewhere in Europe by the [[lute]]; the last surviving published music for the instrument appeared in 1576.
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| Meanwhile the five-course [[baroque guitar]], which was documented in Spain from the middle of the 16th century, enjoyed popularity, especially in Spain, Italy and France from the late 16th century to the mid-18th century.<ref group=upper-alpha>"The first incontrovertible evidence of five-course instruments can be found in Miguel Fuenllana's ''Orphenica Lyre'' of 1554, which contains music for a ''vihuela de cinco ordenes''. In the following year Juan Bermudo wrote in his ''Declaracion de Instrumentos Musicales'': "We have seen a guitar in Spain with five courses of strings." Bermudo later mentions in the same book that "Guitars usually have four strings," which implies that the five-course guitar was of comparatively recent origin, and still something of an oddity". Tom and Mary Anne Evans ''Guitars: From the Renaissance to Rock.'' Paddington Press Ltd 1977 p.24</ref><ref group=upper-alpha>"We know from literary sources that the five course guitar was immensely popular in Spain in the early seventeenth century and was also widely played in France and Italy...Yet almost all the surviving guitars were built in Italy...This apparent disparity between the documentary and instrumental evidence can be explained by the fact that, in general, only the more expensively made guitars have been kept as collectors' pieces. During the early seventeenth century the guitar was an instrument of the people of Spain, but was widely played by the Italian aristocracy." Tom and Mary Anne Evans. ''Guitars: From the Renaissance to Rock.'' Paddington Press Ltd 1977 p.24</ref> In Portugal, the word ''vihuela'' referred to the guitar, as ''guitarra'' meant the "[[Portuguese guitar]]", a variety of [[cittern]].
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| ==Types==
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| [[File:La col·lecció de guitarres, Museu de la Música de Barcelona.jpg|thumb|Guitar collection in [[Museu de la Música de Barcelona]]]]
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| [[Image:Jan Vermeer van Delft 013.jpg|thumb|right|The guitar player (c. 1672), by [[Johannes Vermeer]]]]
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| Guitars can be divided into two broad categories, acoustic and electric:
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| ===Acoustic guitars===
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| {{main|Acoustic guitar}}
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| Acoustic guitars form several notable subcategories within the acoustic guitar group: classical and [[flamenco guitar]]s; steel-string guitars, which include the flat-topped, or "folk," guitar; [[twelve-string guitar]]s; and the arched-top guitar. The acoustic guitar group also includes unamplified guitars designed to play in different registers, such as the acoustic bass guitar, which has a similar tuning to that of the electric bass guitar.
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| ====Renaissance and Baroque guitars====
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| {{main|Baroque guitar}}
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| Renaissance and Baroque guitars are the gracile ancestors of the modern [[classical guitar]]. They are substantially smaller and more delicate than the classical guitar, and generate a much quieter sound. The strings are paired in courses as in a modern [[12-string guitar]], but they only have four or five courses of strings rather than six. They were more often used as rhythm instruments in ensembles than as solo instruments, and can often be seen in that role in [[early music]] performances. ([[Gaspar Sanz]]' ''Instrucción de Música sobre la Guitarra Española'' of 1674 contains his whole output for the solo guitar.)<ref>The Guitar (From The Renaissance To The Present Day) by Harvey Turnbull (Third Impression 1978) - Publisher: Batsford. p57 (Chapter 3 - The Baroque, Era Of The Five Course Guitar)</ref> [[Renaissance]] and [[Baroque]] guitars are easily distinguished because the Renaissance guitar is very plain and the Baroque guitar is very ornate, with ivory or wood inlays all over the neck and body, and a paper-cutout inverted "wedding cake" inside the hole.
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| ====Classical guitars====
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| {{main|Classical guitar}}
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| [[File:Agustin Barrios.gif|thumb|Eminent South American guitarist [[Agustin Barrios]]]]
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| Classical guitars also known as Spanish guitars are typically strung with nylon strings, plucked with the fingers, played in a seated position and are used to play a diversity of musical styles including [[European classical music|classical music]]. The classical guitar's wide, flat neck allows the musician to play scales, arpeggios, and certain chord forms more easily and with less adjacent string interference than on other styles of guitar. [[Flamenco guitar]]s are very similar in construction, but are associated with a more percussive tone.
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| In Mexico, the popular [[mariachi]] band includes a range of guitars, from the tiny [[requinto]] to the [[guitarrón mexicano|guitarrón]], a guitar larger than a cello, which is tuned in the bass register. In Colombia, the traditional quartet includes a range of instruments too, from the small bandola (sometimes known as the Deleuze-Guattari, for use when traveling or in confined rooms or spaces), to the slightly larger [[tiple]], to the full sized classical guitar. The requinto also appears in other Latin-American countries as a complementary member of the guitar family, with its smaller size and scale, permitting more projection for the playing of single-lined melodies. Modern dimensions of the classical instrument were established by the Spaniard [[Antonio de Torres Jurado]] (1817–1892).<ref>{{Cite web
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| |last=Morrish
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| |first=John
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| |authorlink=
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| |coauthors=
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| |title=Antonio De Torres
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| |work=
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| |publisher=Guitar Salon International
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| |date=
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| |url=http://www.guitarsalon.com/articles.php?articleid=18
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| |doi=
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| |accessdate=2011-05-08}}</ref>
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| ====Extended-range classical guitars====
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| {{main|Extended-range classical guitar}}
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| An extended-range classical guitar is a classical guitar with more than 6 strings, usually up to 13.
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| ====Flamenco guitars====
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| {{main|Flamenco guitar}}
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| The flamenco guitar is similar to the classical guitar, but of lighter construction, with a cypress body and spruce top. Tuning pegs like those of a violin are traditional, although many modern [[flamenco]] guitars have machine heads. A distinguishing feature of all flamenco guitars is the tapping plates (''golpeadores'') glued to the table, to protect them against the taps with the fingernails that are an essential feature of the flamenco style.
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| Many modern soloists{{Who|date=April 2011}} (following the lead of [[Paco de Lucía]]) play what is called a ''flamenca negra'', a hybrid of the flamenco and classical guitar constructions.{{Citation needed|date=April 2011}}
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| ====Flat-top guitars====
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| [[File:Bernd Voss - Copito Blues guitar.ogv|thumb|A guitarist playing a blues tune on a semi-acoustic guitar]]
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| {{main|Steel-string acoustic guitar}}
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| Flat-top or steel-string guitars are similar to the [[classical guitar]], however, within the varied sizes of the steel-stringed guitar the body size is usually significantly larger than a classical guitar, and has a narrower, reinforced neck and stronger structural design. The robust X-bracing typical of the steel-string was developed in the 1840s by German-American luthiers of whom [[C.F. Martin]] is the best known. Originally used on gut-strung instruments, the strength of the system allowed the guitar to withstand the additional tension of steel strings when this fortunate combination arose in the early 20th century. The steel strings produce a brighter tone, and according to many players, a louder sound. The acoustic guitar is used in many kinds of music including folk, country, bluegrass, pop, jazz, and blues. Many variations are possible from the roughly classical-sized [[00 guitar|OO]] and [[Parlour guitar|Parlour]] to the large [[Dreadnought (guitar type)|Dreadnought]] and [[Jumbo (guitar type)|Jumbo]]. [[Ovation Guitar Company|Ovation]] makes a modern variation, with a rounded back/side assembly molded from artificial materials.
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| ====Archtop guitars====
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| {{main|Archtop guitar}}
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| Archtop guitars are steel-string instruments in which the top (and often the back) of the instrument are carved from a solid billet in a curved rather than a flat shape. This violin-like construction is usually credited to the American [[Orville Gibson]] (1856–1918). [[Lloyd Loar]] of the [[Gibson Guitar Corporation|Gibson Mandolin-Guitar Mfg. Co]] introduced the violin-inspired f-hole design now usually associated with archtop guitars, after designing a style of [[mandolin]] of the same type. The typical archtop guitar has a large, deep, hollow body whose form is much like that of a mandolin or violin family instrument. Nowadays, most archtops are equipped with magnetic pickups and are therefore both acoustic and electric. F-hole archtop guitars were immediately adopted upon their release by both [[jazz]] and [[country music|country]] musicians and have remained particularly popular in jazz music, usually with flatwound strings.
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| ====Selmer-Maccaferri guitars====
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| {{main|Selmer-Maccaferri guitar}}
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| Selmer-Maccaferri guitars are usually played by those who follow the style of [[Django Reinhardt]]. It is an unusual-looking instrument, distinguished by a fairly large body with squarish bouts, and either a "D"-shaped or longitudinal oval soundhole. The strings are gathered at the tail like an archtop guitar, but the top is formed from thin spruce (like a flat-top or classical) forced into a shallow dome. It also has a wide fingerboard and slotted head like a nylon-string guitar. The loud volume and penetrating tone make it suitable for single-note [[guitar solo|soloing]] and it is frequently employed as a [[lead guitar|lead instrument]] in [[gypsy swing]].
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| ====Resonator, resophonic or Dobro guitars====
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| [[Image:JMT8stringguitar.jpg|right|thumb|thumb|An 8-string [[baritone guitar|baritone]] tricone [[resonator guitar]].]]
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| {{main|Resonator guitar|Dobro}}
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| All three principal types of resonator guitars were invented by the Slovak-American [[John Dopyera]] (1893–1988) for the National and Dobro ('''Do'''pyera '''Bro'''thers) companies. Similar to the flat top guitar in appearance, but with a body that may be made of brass, nickel-silver, or steel as well as wood, the sound of the resonator guitar is produced by one or more aluminum resonator cones mounted in the middle of the top. The physical principle of the guitar is therefore similar to the [[loudspeaker]]. The original purpose of the resonator was to produce a very loud sound; this purpose has been largely superseded by electrical amplification, but the resonator guitar is still played because of its distinctive tone. Resonator guitars may have either one or three resonator cones. The method of transmitting sound resonance to the cone is either a "biscuit" bridge, made of a small piece of hardwood at the vertex of the cone (Nationals), or a "spider" bridge, made of metal and mounted around the rim of the (inverted) cone (Dobros). Three-cone resonators always use a specialized metal bridge. The type of resonator guitar with a neck with a square cross-section—called "square neck" or "Hawaiian"—is usually played face up, on the lap of the seated player, and often with a metal or glass [[slide guitar|slide]]. The round neck resonator guitars are normally played in the same fashion as other guitars, although slides are also often used, especially in blues.
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| ====Twelve-string guitars====
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| {{main|Twelve-string guitar}}
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| The twelve-string guitar usually has steel strings and is widely used in [[folk music]], [[blues]], and [[rock and roll]]. Rather than having only six strings, the 12-string guitar has six [[course (music)|courses]] made up of two strings each, like a [[mandolin]] or [[lute]]. The highest two courses are tuned in unison, while the others are tuned in octaves. The 12-string guitar is also made in electric forms.
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| ====Russian guitars====
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| {{main|Russian guitar}}
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| These seven-string acoustic guitars were the norm for Russian guitarists throughout the 19th and well into the 20th centuries. The Russian guitar is traditionally tuned to open G major.
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| ====Acoustic bass guitars====
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| [[File:Bass-und-primgitarre.jpg|thumb|Prime and bass acoustic guitars]]
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| {{main|Acoustic bass guitar}}
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| Acoustic bass guitars, also known as an [[upright bass]], have [[flatwound]] steel strings or gut strings and often the same tuning as an electric [[bass guitar]].
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| ====Guitarrón====
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| {{main|Guitarrón mexicano}}
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| The guitarrón is a very large, deep-bodied Mexican six-string acoustic bass played in [[mariachi]] bands. It is fretless with heavy gauge nylon strings, and is usually played by doubling notes at the octave, which is facilitated by the unusual tuning of {{nowrap|A D G C E A.}}
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| ====Tenor guitars====
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| {{main|Tenor guitar}}
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| A number of classical guitarists call the Niibori prime guitar a "Tenor Guitar" on the grounds that it sits in pitch between the alto and the bass. Elsewhere{{Citation needed|date=August 2007}} the name is taken for a four-string guitar with a scale length of 23" (585 mm)—about the same as a Terz Guitar. The tenor guitar is tuned in fifths, C G D A, as is the tenor [[banjo]] and the cello. It is generally accepted{{Citation needed|date=August 2007}} that the tenor guitar was created to allow a tenor banjo player to follow the fashion as it evolved from Dixieland Jazz towards the more progressive Jazz that featured guitar. It allows a tenor banjo player to provide a guitar-based rhythm section with little to learn. A small minority of players (such as Nick Reynolds of the Kingston Trio) close tuned the instrument to D G B E to produce a deep instrument that could be played with the four-note chord shapes found on the top four strings of the guitar or [[ukulele]]. The deep pitch warrants the wide-spaced chords that the banjo tuning permits, and the close tuned tenor does not have the same full, clear sound.{{Citation needed|date=April 2011}}
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| ====Harp guitars====
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| {{main|Harp guitar}}
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| Harp guitars are difficult to classify as there are many variations within this type of guitar. They are typically rare and uncommon in the popular music scene. Most consist of a regular guitar, plus additional "harp" strings strung above the six normal strings. The instrument is usually acoustic and the harp strings are usually tuned to lower notes than the guitar strings, for an added bass range. Normally there is neither fingerboard nor frets behind the harp strings. Some harp guitars also feature much higher pitch strings strung below the traditional guitar strings. The number of harp strings varies greatly, depending on the type of guitar and also the player's personal preference. The Pikasso guitar; 4 necks, 2 sound holes, 42 strings and also the Oracle Harp [[Sympitar]]; 24 strings (with 12 sympathetic strings protruding through the neck) are modern examples.
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| ====Extended-range guitars====
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| {{main|Extended-range classical guitar}}
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| For well over a century guitars featuring [[seven-string guitar|seven]], [[eight-string guitar|eight]], [[nine-string guitar|nine]], [[ten-string guitar|ten]] or more strings have been used by a minority of guitarists as a means of increasing the range of pitch available to the player. Usually, it is bass strings that are added. Classical guitars with an extended range are useful for playing [[lute]] repertoire, some of which was written for lutes with more than six courses. A typical example is the modern 11-string ''archguitar'', invented and played by Peter Blanchette.<ref>{{cite web |title=Peter Blanchette, Composer & Archguitarist |url=http://www.archguitar.com/ |publisher=Peter Blanchette |accessdate=2009-10-19}}</ref>
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| ====Guitar battente====
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| {{main|Guitar battente}}
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| The battente, called "chitarra battente" in Italian, is generally smaller than a classical guitar and usually played with four or five single or double course metal strings of equal gauge. It is traditionally played in Southern Italy in the regions of [[Calabria]], [[Campania]], [[Basilicata]] and [[Puglia]] to accompany the voice as well as dancing ([[tarantella]], or [[pizzica]]). Depending on the region it is from, the battente has either a flat back (fondo piato) or a rounded back (fondo bombato). The term "battente," which means "to beat" in Italian, has do with the style the guitar is generally played in, which is principally as a rhythm instrument. It is very likely that the battente is derived from the baroque guitar, of which is shares many characteristics.
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| ===Electric guitars===
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| {{Main|Electric guitar}}
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| [[File:Davemurray.jpg|upright|thumb|[[Dave Murray (musician)|Dave Murray]] of [[Iron Maiden]] playing a Fender electric guitar.]]
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| Electric guitars can have solid, semi-hollow, or hollow bodies; solid bodies produce little sound without amplification. [[Electromagnetism|Electromagnetic]] [[pickup (music technology)|pickups]] convert the vibration of the steel strings into [[signal (electronics)|signals]], which are fed to an [[amplifier]] through a [[cable]] or [[radio]] [[transmitter]]. The sound is frequently modified by other electronic devices or the natural [[distortion]] of valves ([[vacuum tube]]s) in the amplifier. There are two main types of magnetic pickups, [[single coil|single]]- and double-coil (or [[humbucker]]), each of which can be [[Pickup (music technology)#Active and passive pickups|passive]] or [[Pickup (music technology)#Active and passive pickups|active]]. The electric guitar is used extensively in [[jazz]], [[blues]], [[R & B]], and [[rock and roll]]. The first successful magnetic pickup for a guitar was invented by [[George Beauchamp]], and incorporated into the 1931 Ro-Pat-In (later [[Rickenbacker]]) [[Frying pan (guitar)|"Frying Pan"]] lap steel; other manufacturers, notably [[Gibson Guitar Corporation|Gibson]], soon began to install pickups in archtop models. After World War II the completely solid-body electric was popularized by Gibson in collaboration with [[Les Paul]], and independently by [[Leo Fender]] of [[Fender Musical Instruments Corporation|Fender Music]]. The lower fretboard [[Action (music)|action]] (the height of the strings from the fingerboard), lighter (thinner) strings, and its electrical amplification lend the electric guitar to techniques less frequently used on acoustic guitars. These include [[tapping]], extensive use of [[legato]] through [[pull-off]]s and [[hammer-on]]s (also known as slurs), [[pinch harmonic]]s, [[volume swells]], and use of a [[tremolo arm]] or [[effects pedals]].
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| The first electric guitarist of note to use a seven-string guitar was jazz guitarist [[George Van Eps]], who was a pioneer of this instrument.{{Citation needed|date=April 2011}} [[Seven-string guitar|Solid body seven-strings]] were popularized in the 1980s and 1990s in part due to the release of the [[Ibanez Universe]] guitar,{{Citation needed|date=April 2011}} endorsed by [[Steve Vai]]. Other artists go a step further, by using an [[eight-string guitar]] with two extra low strings. Although the most common seven-string has a low B string, [[Roger McGuinn]] (of [[The Byrds]] and [[Rickenbacker]]) uses an octave G string paired with the regular G string as on a 12-string guitar, allowing him to incorporate chiming 12-string elements in standard six-string playing. In 1982 [[Uli Jon Roth]] developed the "Sky Guitar," with a vastly extended number of frets, which was the first guitar to venture into the upper registers of the violin. Roth's seven-string and 33-fret "Mighty Wing" guitar features a six-octave range.{{Citation needed|date=April 2011}}
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| The [[bass guitar|electric bass guitar]] is similar in tuning to the traditional [[double bass]] viol. Hybrids of acoustic and electric guitars are also common. There are also more exotic varieties, such as guitars with [[double neck guitar|two]], three,<ref>{{cite web |url=http://vai.com/Machines/guitarpages/guitar040.html |title=The Official Steve Vai Website: The Machines |publisher=Vai.com |date=1993-08-03 |accessdate=2010-06-15}}</ref> or rarely four necks, all manner of alternate string arrangements, [[fretless guitar|fretless fingerboards]] (used almost exclusively on bass guitars, meant to emulate the sound of a [[Double bass|stand-up bass]]), [[5.1 surround guitar]], and such.
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| Some electric guitar and electric bass guitar models feature [[piezoelectricity|piezoelectric]] pickups, which function as [[transducer]]s to provide a sound closer to that of an acoustic guitar with the flip of a switch or knob, rather than switching guitars. Those that combine piezoelectric pickups and magnetic pickups are sometimes known as hybrid guitars.<ref>{{cite web |url=http://www.guitarnoize.com/blog/category/hybrid-guitars/ |title=Hybrid guitars |publisher=Guitarnoize.com |date= |accessdate=2010-06-15}}</ref>
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| ==Construction and components==
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| <div class="thumb tright" style="width:405px;">
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| <div class="thumbinner">[[Image:Acoustic guitar parts.png|216px]] [[Image:Electric guitar parts.jpg|175px]]
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| <div class="thumbcaption" style="-moz-column-count:2; -webkit-column-count:2; column-count:2;">
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| #[[Guitar#Headstock|Headstock]]
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| #[[Guitar#Nut|Nut]]
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| #[[Machine head]]s (or pegheads, tuning keys, tuning machines, tuners)
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| #[[Guitar#Frets|Frets]]
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| #[[Guitar#Truss rod|Truss rod]]
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| #[[Guitar#Inlays|Inlays]]
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| #[[Guitar#Neck|Neck]]
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| #[[Guitar#Neck joint or "heel"|Heel (acoustic)]] Neckjoint (electric)
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| #[[Guitar#Body (acoustic guitar)|Body]]
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| #[[Guitar#Pickups|Pickups]]
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| #[[Guitar#Electronics|Electronics]]
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| #[[Guitar#Bridge|Bridge]]
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| #[[Guitar#Pickguard|Pickguard]]
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| #Back
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| #[[Sound board (music)|Soundboard]] (top)
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| #Body sides (ribs)
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| #[[Sound hole]], with [[Rosette (design)|Rosette]] inlay
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| #[[Guitar#Strings|Strings]]
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| #[[Guitar#Saddle|Saddle]]
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| #[[Guitar#Fretboard|Fretboard]] (or Fingerboard)
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| </div>
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| </div>
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| </div>
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| ===Handedness===
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| Modern guitars can be constructed to suit both left- and right-handed players. Normally, the dominant hand (in most people, the right hand) is used to pluck or strum the strings. This is similar to the convention of the [[violin]] family of instruments where the right hand controls the bow.
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| Left-handed players sometimes choose an opposite-handed (mirror) instrument, although some play in a standard-handed manner, others play a standard-handed guitar reversed, and still others (for example [[Jimi Hendrix]]) play a standard-handed guitar strung in reverse. This last configuration differs from a true opposite handed guitar in that the saddle is normally angled in such a way that the bass strings are slightly longer than the treble strings to improve [[intonation (music)|intonation]]. Reversing the strings therefore reverses the relative orientation of the saddle (negatively affecting intonation), although in Hendrix' case this is believed to have been an important element in his unique sound.
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| ===Headstock===
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| {{Main|Headstock}}
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| The headstock is located at the end of the guitar neck farthest from the body. It is fitted with machine heads that adjust the tension of the strings, which in turn affects the pitch. The traditional tuner layout is "3+3", in which each side of the headstock has three tuners (such as on [[Gibson Les Paul]]s). In this layout, the headstocks are commonly symmetrical. Many guitars feature other layouts, including six-in-line tuners (featured on [[Fender Stratocaster]]s) or even "4+2" (e.g. Ernie Ball Music Man). Some guitars (such as [[Steinberger]]s) do not have headstocks at all, in which case the tuning machines are located elsewhere, either on the body or the bridge.
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| ===Nut===
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| {{Main|Nut (string instrument)}}
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| The nut is a small strip of [[bone]], [[plastic]], [[brass]], [[corian]], [[graphite]], [[stainless steel]], or other medium-hard material, at the joint where the headstock meets the fretboard. Its grooves guide the strings onto the fretboard, giving consistent lateral string placement. It is one of the endpoints of the strings' vibrating length. It must be accurately cut, or it can contribute to tuning problems due to string slippage or string buzz. To reduce string friction in the nut, which can adversely affect tuning stability, some guitarists fit a roller nut. Some instruments use a zero fret just in front of the nut. In this case the nut is used only for lateral alignment of the strings, the string height and length being dictated by the zero fret.
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| ===Fretboard===
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| {{Main|Fingerboard}}
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| Also called the '''fingerboard''', the [[fretboard]] is a piece of wood embedded with metal frets that comprises the top of the neck. It is flat on classical guitars and slightly curved crosswise on acoustic and electric guitars. The curvature of the fretboard is measured by the fretboard radius, which is the radius of a hypothetical circle of which the fretboard's surface constitutes a segment. The smaller the fretboard radius, the more noticeably curved the fretboard is. Most modern guitars feature a 12" neck radius, while older guitars from the 1960s and 1970s usually feature a 6-8" neck radius. Pinching a string against the fretboard effectively shortens the vibrating length of the string, producing a higher pitch. Fretboards are most commonly made of [[rosewood]], [[ebony]], [[maple]], and sometimes manufactured using composite materials such as HPL or resin. See below on section "Neck" for the importance of the length of the fretboard in connection to other dimensions of the guitar.
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| ===Frets===
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| [[File:Sinéad O’Connor (cropped).jpg|thumb|Sinéad O'Connor playing a Fender guitar]]
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| {{Main|Fret}}
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| Frets are metal strips (usually nickel alloy or stainless steel) embedded along the fretboard and located at exact points that divide the scale length in accordance with a specific mathematical formula. Pressing a string against a fret determines the strings' vibrating length and therefore its resultant pitch. The pitch of each consecutive fret is defined at a half-step interval on the [[chromatic scale]]. Standard classical guitars have 19 frets and electric guitars between 21 to 24 frets, although guitars have been made with as many as 27 frets.
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| Frets are laid out to accomplish an [[equal temperament|equal tempered]] division of the octave. Every twelve frets represents one octave. The twelfth fret divides the [[scale (string instruments)|scale length]] exactly into two halves, and the 24th fret position divides one of those halves in half again. The [[ratio]] of the spacing of two consecutive frets is <math>\sqrt[12]{2}</math> ([[twelfth root of two]]). In practice, [[luthiers]] determine fret positions using the constant 17.817---an approximation to 1/(1-1/<math>\sqrt[12]{2}</math>). If the nth fret is a distance x from the bridge, then the distance from the (n+1)th fret to the bridge is x-(x/17.817).<ref name="Calculating Fret Positions">{{cite web |last=Mottola |first=R.M. |title=Lutherie Info—Calculating Fret Positions |url=http://www.liutaiomottola.com/formulae/fret.htm}}</ref>
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| Frets are available in several different gauges and can be fitted according to player preference. Among these are "jumbo" frets, which have much thicker gauge, allowing for use of a slight vibrato technique from pushing the string down harder and softer. "Scalloped" fretboards, where the wood of the fretboard itself is "scooped out" between the frets allows a dramatic vibrato effect. Fine frets, much flatter, allow a very low [[Action (music)|string-action]] but require that other conditions, such as curvature of the neck, be well-maintained to prevent buzz.
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| On steel-string guitars, frets are eventually bound to wear down; when this happens, frets can be replaced or, to a certain extent, leveled, polished, recrowned, or reshaped as required.
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| ===Truss rod===
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| {{Main|Truss rod}}
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| The '''truss rod''' is a metal rod that runs along the inside of the neck. It is used to correct changes to the neck's curvature caused by the neck timbers aging, changes in humidity or to compensate for changes in the tension of strings. The tension of the rod and neck assembly is adjusted by a hex nut or an allen-key bolt on the rod, usually located either at the headstock, sometimes under a cover, or just inside the body of the guitar underneath the fretboard and accessible through the sound hole. Some truss rods can only be accessed by removing the neck. The truss rod counteracts the immense amount of tension the strings place on the neck, bringing the neck back to a straighter position. Turning the truss rod clockwise tightens it, counteracting the tension of the strings and straightening the neck or creating a backward bow. Turning the truss rod counter-clockwise loosens it, allowing string tension to act on the neck and creating a forward bow. Adjusting the truss rod affects the intonation of a guitar as well as the height of the strings from the fingerboard, called the [[Action (music)|action]]. Some truss rod systems, called ''double action'' truss systems, tighten both ways, pushing the neck both forward and backward (standard truss rods can only release to a point beyond which the neck is no longer compressed and pulled backward).
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| Classical guitars do not require truss rods as their nylon strings exert a lower tensile force with lesser potential to cause structural problems. However their necks are often reinforced with a strip of harder wood, such as an [[ebony]] strip that runs down the back of a [[Thuja plicata|cedar]] neck. There is no tension adjustment on this form of reinforcement.
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| ===Inlays===
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| {{Main|Inlay (guitar)}}
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| Inlays are visual elements set into the exterior surface of a guitar. The typical locations for inlay are on the fretboard, headstock, and on acoustic guitars around the soundhole, known as the [[rosette (design)|rosette]]. Inlays range from simple plastic dots on the fretboard to intricate works of art covering the entire exterior surface of a guitar (front and back). Some guitar players have used [[LED]]s in the fretboard to produce unique lighting effects onstage.
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| Fretboard inlays are most commonly shaped like dots, diamond shapes, parallelograms, or large blocks in between the frets. Dots are usually inlaid into the upper edge of the fretboard in the same positions, small enough to be visible only to the player. These usually appear on the odd numbered frets, but also on the 12th fret (the one [[octave]] mark) instead of the 11th and 13th frets. Some older or high-end instruments have inlays made of mother of pearl, abalone, ivory, colored wood or other exotic materials and designs. Simpler inlays are often made of plastic or painted. High-end classical guitars seldom have fretboard inlays as a well-trained player is expected to know his or her way around the instrument.
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| In addition to fretboard inlay, the headstock and soundhole surround are also frequently inlaid. The manufacturer's logo or a small design is often inlaid into the headstock. Rosette designs vary from simple concentric circles to delicate fretwork mimicking the historic rosette of lutes. Bindings that edge the finger and sound boards are sometimes inlaid. Some instruments have a filler strip running down the length and behind the neck, used for strength or to fill the cavity through which the trussrod was installed in the neck.
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| Elaborate inlays are a decorative feature of many limited edition, high-end and custom-made guitars. Guitar manufacturers often release such guitars to celebrate significant or historic milestones.
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| ===Neck===
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| {{Main|Neck (music)}}
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| A guitar's [[frets]], [[fretboard]], [[Machine head|tuners]], [[headstock]], and [[truss rod]], all attached to a long wooden extension, collectively constitute its [[neck (music)|neck]]. The wood used to make the fretboard usually differs from the wood in the rest of the neck. The bending stress on the neck is considerable, particularly when heavier gauge strings are used (see [[Guitar#Tuning|Tuning]]), and the ability of the neck to resist bending (see [[#Truss rod|Truss rod]]) is important to the guitar's ability to hold a constant pitch during tuning or when strings are fretted. The rigidity of the neck with respect to the body of the guitar is one determinant of a good instrument versus a poor one. The shape of the neck can also vary, from a gentle "C" curve to a more pronounced "V" curve. There are many different types of neck profiles available, giving the guitarist many options. Some aspects to consider in a guitar neck may be the overall width of the fretboard, scale (distance between the frets), the neck wood, the type of neck construction (for example, the neck may be glued in or bolted on), and the shape (profile) of the back of the neck. Other types of material used to make guitar necks are graphite ([[Steinberger]] guitars), aluminum ([[Kramer Guitars]], [[Travis Bean]] and [[Veleno (guitar)|Veleno guitars]]), or carbon fiber ([[Modulus Guitars]] and [[ThreeGuitars]]).
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| [[Double neck guitars|Double neck]] electric guitars have two necks, allowing the musician to quickly switch between guitar sounds.
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| ===Neck joint or "heel"===
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| {{See also|Set-in neck|Bolt-on neck|Neck-through}}
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| This is the point at which the neck is either bolted or glued to the body of the guitar. Almost all acoustic steel-string guitars, with the primary exception of Taylors, have glued (otherwise known as set) necks, while electric guitars are constructed using both types. Most classical guitars have a neck and headblock carved from one piece of wood, known as a "Spanish heel."
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| Commonly used set neck joints include [[mortise and tenon]] joints (such as those used by C.F. Martin & Co.), dovetail joints (also used by CF Martin on the D-28 and similar models) and Spanish heel neck joints, which are named after the shoe they resemble and commonly found in classical guitars. All three types offer stability. Bolt-on necks, though they are historically associated with cheaper instruments, do offer greater flexibility in the guitar's set-up, and allow easier access for neck joint maintenance and repairs.
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| Another type of neck, only available for solid body electric guitars, is the [[neck-through-body]] construction. These are designed so that everything from the machine heads down to the bridge are located on the same piece of wood. The sides (also known as wings) of the guitar are then glued to this central piece. Some luthiers prefer this method of construction as they claim it allows better sustain of each note. Some instruments may not have a neck joint at all, having the neck and sides built as one piece and the body built around it.
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| ===Strings===
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| {{See also|Classical guitar strings}}
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| The standard guitar has six [[strings (music)|strings]] but [[Tenor guitar|four-]], [[Seven-string guitar|seven-]], [[Eight-string guitar|eight-]], [[Nine-string guitar|nine-]], [[Ten-string guitar|ten-]], [[Eleven-string guitar|eleven-]], [[Twelve-string guitar|twelve-]], [[Thirteen-string guitar|thirteen-]] and [[doubleneck guitar|eighteen-string]] guitars are also available.
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| Classical and flamenco guitars historically used [[Catgut|gut]] strings but these have been superseded by polymer materials, such as nylon and fluorocarbon.
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| Modern guitar [[strings (music)|strings]] are constructed of metal, polymers, or animal or plant product materials. Instruments utilizing "steel" strings may have strings made of alloys incorporating steel, nickel or phosphor bronze. Bass strings for both instruments are wound rather than monofilament.
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| ===Body (acoustic guitar)===
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| {{See also|Sound box}}
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| In acoustic guitars, string vibration is transmitted through the bridge and saddle to the body via [[Sound board (music)|sound board]]. The sound board is typically made of tone woods such as spruce or cedar. Timbers for tone woods are chosen for both strength and ability to transfer mechanical energy from the strings to the air within the guitar body. Sound is further shaped by the characteristics of the guitar body's resonant cavity.
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| In electric guitars, [[transducer]]s known as [[pick up (music technology)|pickups]] convert [[vibrating string|string vibration]] to an electric signal, which in turn is [[amplifier|amplified]] and fed to speakers, which vibrate the air to produce the sounds we hear. Nevertheless, the body of the electric guitar still performs a role in shaping the resultant tonal signature.
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| In an acoustic instrument, the body of the guitar is a major determinant of the overall sound quality. The guitar top, or soundboard, is a finely crafted and engineered element made of [[tonewood]]s such as [[spruce]] and [[Thuja plicata|red cedar]]. This thin piece of wood, often only 2 or 3 mm thick, is strengthened by differing types of [[Guitar bracing|internal bracing]]. Many luthiers consider the top the dominant factor in determining the sound quality. The majority of the instrument's sound is heard through the vibration of the guitar top as the energy of the vibrating strings is transferred to it.
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| Body size, shape and style has changed over time. 19th century guitars, now known as salon guitars, were smaller than modern instruments. Differing patterns of internal bracing have been used over time by luthiers. Torres, Hauser, Ramirez, Fleta, and C.F. [[C.F. Martin & Company|Martin]] were among the most influential designers of their time. Bracing not only strengthens the top against potential collapse due to the stress exerted by the tensioned strings, but also affects the resonance characteristics of the top. The back and sides are made out of a variety of timbers such as mahogany, Indian [[rosewood]] and highly regarded Brazilian rosewood (''Dalbergia nigra''). Each one is primarily chosen for their aesthetic effect and can be decorated with inlays and purfling.
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| The body of an acoustic guitar has a sound hole through which sound projects. The sound hole is usually a round hole in the top of the guitar under the strings. Air inside the body vibrates as the guitar top and body is vibrated by the strings, and the response of the air cavity at different frequencies is characterized, like the rest of the guitar body, by a number of resonance modes at which it responds more strongly.
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| Instruments with larger areas for the guitar top were introduced by Martin in an attempt to create louder volume levels. The popularity of the larger "[[C.F. Martin & Company|dreadnought]]" body size amongst acoustic performers is related to the greater sound volume produced.
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| ===Body (electric guitar)===
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| {{See also|Solid body}}
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| Most electric guitar bodies are made of wood, and include a plastic pick guard. Boards wide enough to use as a solid body are very expensive due to the worldwide depletion of hardwood stock since the 1970s, so the wood is rarely one solid piece. Most bodies are made of two pieces of wood with some of them including a seam running down the center line of the body. The most common woods used for electric guitar body construction include [[maple]], [[basswood]], [[ash tree|ash]], [[poplar]], [[alder]], and [[mahogany]]. Many bodies consist of good sounding but inexpensive woods, like ash, with a "top," or thin layer of another, more attractive wood (such as maple with a natural "flame" pattern) glued to the top of the basic wood. Guitars constructed like this are often called "flame tops." The body is usually carved or routed to accept the other elements, such as the bridge, pickup, neck, and other electronic components. Most electrics have a polyurethane or [[nitrocellulose]] lacquer finish. Other alternative materials to wood, are used in guitar body construction. Some of these include carbon composites, plastic material (such as polycarbonate), and aluminum alloys.
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| ===Pickups===
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| {{Main|Pick up (music technology)}}
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| [[Image:Stratocaster detail DSC06937.jpg|thumb|right|This [[Fender Stratocaster]] has features common to many electric guitars: multiple pickups, a [[vibrato unit]]/[[tremolo bar]], and volume and tone knobs.]]
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| [[Pick up (music technology)|Pickups]] are [[transducer]]s attached to a guitar that detect (or "pick up") string vibrations and convert the mechanical energy of the string into electrical energy. The resultant electrical signal can then be electronically [[amplifier|amplified]]. The most common type of pickup is [[electromagnetism|electromagnetic]] in design. These contain magnets that are tightly wrapped in a coil, or coils, of copper wire. Such pickups are usually placed right underneath the guitar strings. Electromagnetic pickups work on the same principles and in a similar manner to an [[electrical generator]]. The vibration of the strings creates a small voltage in the coils surrounding the magnets. This signal voltage is carried to a [[guitar amplifier]] that drives a [[loudspeaker]].
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| Traditional electromagnetic pickups are either [[single-coil]] or double-coil. Single-coil pickups are susceptible to noise induced from electric fields, usually mains-frequency (60 or 50 hertz) hum. The introduction of the double-coil [[humbucker]] in the mid-1950s did away with this problem through the use of two coils, one of which is wired in a reverse polarity orientation.
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| The types and models of pickups used can greatly affect the tone of the guitar. Typically, humbuckers, which are two magnet–coil assemblies attached to each other are traditionally associated with a heavier sound. Single-coil pickups, one magnet wrapped in copper wire, are used by guitarists seeking a brighter, twangier sound with greater dynamic range.
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| Modern pickups are tailored to the sound desired. A commonly applied approximation used in selection of a pickup is that less wire (lower DC resistance) = brighter sound, more wire = "fat" tone. Other options include specialized switching that produces coil-splitting, in/out of phase and other effects. Guitar circuits are either active, needing a battery to power their circuit, or, as in most cases, equipped with a passive circuit.
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| [[Fender Stratocaster]]-type guitars generally utilize three single-coil pickups, while most [[Gibson Les Paul]] types use humbucker pickups.
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| Piezoelectric, or piezo, pickups represent another class of pickup. These employ [[piezoelectricity]] to generate the musical signal and are popular in hybrid electro-acoustic guitars. A crystal is located under each string, usually in the saddle. When the string vibrates, the shape of the crystal is distorted, and the stresses associated with this change produce tiny voltages across the crystal that can be amplified and manipulated.
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| Some piezo-equipped guitars use a hexaphonic pickup. "Hex" is a prefix meaning six. A hexaphonic pickup produces a separate output for each string, usually from a discrete piezoelectric or magnetic pickup for each string. This arrangement lets on-board or external electronics process the strings individually for modeling or [[MIDI]] conversion. [[Roland Corporation|Roland]] makes hexaphonic pickups for guitar and bass, and a line of guitar modeling and synthesis products. [[Line 6 (company)|Line 6's]] hexaphonic-equipped [[Variax]] guitars use on-board electronics to model the sound after various vintage instruments, and vary pitch on individual strings.
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| MIDI converters use a hexaphonic guitar signal to determine pitch, duration, attack, and decay characteristics. The MIDI ([[Musical Instrument Digital Interface]]) sends the note information to an internal or external sound bank device. The resulting sound closely mimics numerous tinstruments. The MIDI setup can also let the guitar be used as a game controller (i.e., Rock Band Squier) or as an instructional tool, as with the [[Fretlight]] Guitar.
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| ===Electronics===
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| On guitars that have them, these components and the wires that connect them allow the player to control some aspects of the sound like volume or tone. These at their simplest consist of passive components such as [[potentiometer]]s and [[capacitors]], but may also include specialized [[integrated circuits]] or other active components requiring [[battery (electricity)|batteries]] for power, for preamplification and signal processing, or even for assistance in tuning. In many cases the electronics have some sort of shielding to prevent pickup of external interference and noise.
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| ===Lining, binding, and purfling===
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| The top, back and ribs of an acoustic guitar body are very thin (1–2 mm), so a flexible piece of wood called lining is glued into the corners where the rib meets the top and back. This interior reinforcement provides 5 to 20 mm of solid gluing area for these corner joints. Solid linings are often used in classical guitars, while kerfed lining is most often found in steel string acoustics. Kerfed lining is also called kerfing (because it is scored, or kerfed to allow it to bend with the shape of the rib).
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| During final construction, a small section of the outside corners is carved or routed out and filled with binding material on the outside corners and decorative strips of material next to the binding, which are called [[purfling]]. This binding serves to seal off the end grain of the top and back. Purfling can also appear on the back of an acoustic guitar, marking the edge joints of the two or three sections of the back.
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| Binding and purfling materials are generally made of either wood or plastic.
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| ===Bridge===
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| {{Main|Bridge (instrument)}}
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| The main purpose of the bridge on an acoustic guitar is to transfer the vibration from the strings to the soundboard, which vibrates the air inside of the guitar, thereby amplifying the sound produced by the strings.
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| On all electric, acoustic and original guitars, the bridge holds the strings in place on the body. There are many varied bridge designs. There may be some mechanism for raising or lowering the bridge saddles to adjust the distance between the strings and the fretboard ([[Action (music)|action]]), or fine-tuning the intonation of the instrument. Some are spring-loaded and feature a "[[whammy bar]]," a removable arm that lets the player modulate the pitch by changing the tension on the strings. The whammy bar is sometimes also referred to as a "tremolo bar" (see [[Tremolo]] for further discussion of this term—the effect of rapidly changing pitch produced by a whammy bar is more correctly called "vibrato"). Some bridges also allow for alternate tunings at the touch of a button.
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| On almost all modern electric guitars, the bridge has saddles that are adjustable for each string so that intonation stays correct up and down the neck. If the open string is in tune, but sharp or flat when frets are pressed, the bridge saddle position can be adjusted with a screwdriver or hex key to remedy the problem. In general, flat notes are corrected by moving the saddle forward and sharp notes by moving it backwards. On an instrument correctly adjusted for intonation, the actual length of each string from the nut to the bridge saddle is slightly but measurably longer than the [[scale (string instruments)|scale length]] of the instrument. This additional length is called compensation, which flattens all notes a bit to compensate for the sharping of all fretted notes caused by stretching the string during fretting.
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| ===Saddle===
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| The saddle of a guitar refers to the part of the bridge that physically supports the strings. It may be one piece (typically on acoustic guitars) or separate pieces, one for each string (electric guitars and basses). The saddle's basic purpose is to provide the end point for the string's vibration at the correct location for proper intonation, and on acoustic guitars to transfer the vibrations through the bridge into the top wood of the guitar. Saddles are typically made of plastic or bone for acoustic guitars, though synthetics and some exotic animal tooth variations (e.g. fossilized tooth, ivory, etc. ) have become popular with some players. Electric guitar saddles are typically metal, though some synthetic saddles are available.
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| ===Pickguard===
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| {{Main|Pickguard}}
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| Also known as a scratchplate. This is usually a piece of laminated plastic or other material that protects the finish of the top of the guitar from damage due to the use of a plectrum or fingernails. Electric guitars sometimes mount pickups and electronics on the pickguard. It is a common feature on steel-string acoustic guitars. Some performance styles that use the guitar as a percussion instrument (tapping the top or sides between notes, etc.), such as [[flamenco]], require that a scratchplate or pickguard be fitted to nylon-string instruments.
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| ===Whammy bar (tremolo arm)===
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| {{Main|Tremolo arm}}
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| Many electric guitars are fitted with a vibrato and pitch bend device known as a ''vibrato bar'' or ''tremolo bar (or arm)''—and sometimes as a ''sissy bar,'' ''wang bar,'' ''slam handle,'' ''whammy handle,'' and "whammy bar." The latter two terms led [[stompbox]] manufacturers to use the term ''whammy'' in coming up with a pitch raising effect introduced by popular [[guitar effects]] pedal brand [[Digitech]]. The tremolo arm is common enough that there is a term, ''hard tail'', for a guitar without one.
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| [[Leo Fender]], who did much to create the electric guitar, also created much confusion over the meaning of the terms "tremolo" and "vibrato" by the naming the [[tremolo arm|"tremolo" unit]] on many of his guitars and also the [[vibrato unit|"vibrato" unit]] on his "Vibrolux" amps. In general, ''vibrato'' is a variation in [[pitch (music)|pitch]], whereas ''tremolo'' is a variation in volume, so the tremolo bar is actually a vibrato bar and the "Vibrolux" amps actually had a tremolo effect. However, following Fender's example, electric guitarists traditionally reverse these meanings when speaking of hardware devices and the effects they produce. See ''[[vibrato unit]]'' for a more detailed discussion, and ''[[tremolo arm]]'' for more of the history.
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| Another type of pitch bender is the [[B-Bender]], a spring and lever device mounted in an internal cavity of a solid body electric guitar that allows the guitarist to bend just the B string of the guitar using a lever connected to the strap handle of the guitar. The resulting pitch bend is evocative of the sound of the [[pedal steel guitar]].
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| ===Guitar strap===
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| A guitar strap is a strip of fabric with a [[leather]] or [[synthetic fiber|synthetic]] [[leather]] piece on each end. It is made to hold a guitar via the [[shoulders]], at an adjustable length to suit the position favored by the guitarist.
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| Guitars have varying accommodations for attaching a strap. The most common are strap buttons, also called strap pins, which are flanged steel posts anchored to the guitar with screws. Two strap buttons come pre-attached to virtually all electric guitars, and many steel-string acoustic guitars. Strap buttons are sometimes replaced with "strap locks," which connect the guitar to the strap more securely.
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| The lower strap button is usually located at the bottom (bridge end) of the body. The upper strap button is usually located near or at the top (neck end) of the body: on the upper body curve, at the tip of the upper "horn" (on a double cutaway), or at the neck joint (heel). Some electrics, especially those with odd-shaped bodies, have one or both strap buttons on the back of the body. Some Steinberger electric guitars, owing to their minimalist and lightweight design, have both strap buttons at the bottom of the body. Rarely, on some acoustics, the upper strap button is located on the headstock.
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| Some acoustic and classical guitars only have a single strap button at the bottom of the body—the other end must be tied onto the headstock, above the nut and below the machine heads.
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| Some acoustic and classical guitars come with no strap buttons at all. In this case, one or two strap buttons can usually be added to the guitar, or a "classical guitar strap" (also called a "guitar harness" or "neck strap") can be used, which supports the guitar by hooking into the sound hole.
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| ===Self-tuning guitars===
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| {{See also|Musical tuning}}
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| Self-tuning guitars are computerized guitars programmed to tune themselves. The [[Gibson Robot Guitar]], released in 2007, is often mistaken as the first of this kind, but was preceded by the Transperformance system by at least 20 years. Gibson has also released a second, self-tuning model called the Dark Fire.{{Citation needed|date=January 2009}}<ref>{{cite web |url=http://www.gibson.com/Products/DarkFire.aspx |title=Gibson.com |publisher=Gibson.com |date=2008-06-24 |accessdate=2010-06-15}}</ref>
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| ==Tuning==
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| {{Main|Guitar tunings}}
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| {{See also|Stringed instrument tunings}}
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| The guitar is a [[transposing instrument]]. Its pitch sounds one octave lower than it is notated on a score.
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| ===Standard===
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| [[File:Standard diagonal shifting of C major chord.png|right|thumb|upright|In standard tuning, the C-major chord has three shapes because of the irregular major-third between the G- and B-strings.]]
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| A variety of tunings may be used. The most common tuning, known as "Standard Tuning," has the strings tuned from a low E, to a high E, traversing a two octave range—EADGBE. When all strings are played open the resulting chord is an Em7/add11.
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| The pitches are as follows:
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| {|class="wikitable" style="width: 400px; text-align:center;"
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| |-
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| ! String !! [[Scientific pitch notation|Scientific<br> pitch]] !! [[Helmholtz pitch notation|Helmholtz<br> pitch]] || [[Interval (music)|Interval]] from [[middle C]] || [[Frequency]]<br>([[Hz]])
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| |-
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| | 1st || E<sub>4</sub> || e' || [[major third]] above || 329.63
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| |-
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| | 2nd || B<sub>3</sub> || b || [[minor second]] below || 246.94
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| |-
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| | 3rd || G<sub>3</sub> || g || [[perfect fourth]] below || 196.00
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| |-
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| | 4th || D<sub>3</sub> || d || [[minor seventh]] below || 146.83
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| |-
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| | 5th || A<sub>2</sub> || A || minor tenth below || 110.00
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| |-
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| | 6th || E<sub>2</sub> || E || minor thirteenth below|| 82.41
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| |}
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| The table below shows a pitch's name found over the six strings of a guitar in standard tuning, from the nut (zero), to the twelfth fret.
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| {|class="wikitable" style="width: 400px; text-align:center;"
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| |-
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| ! 0 !! 1 !! 2 !! 3 !! 4 !! 5 !! 6 !! 7 !! 8 !! 9 !! 10 !! 11 !! 12
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| |-
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| ! E
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| | F || F{{music|sharp}} || G || A{{music|flat}} || A || B{{music|flat}} || B || C || C{{music|sharp}} || D || E{{music|flat}} || E
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| |-
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| ! B
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| | C || C{{music|sharp}} || D || E{{music|flat}} || E || F || F{{music|sharp}} || G || A{{music|flat}} || A || B{{music|flat}} || B
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| |-
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| ! G
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| | A{{music|flat}} || A || B{{music|flat}} || B || C || C{{music|sharp}} || D || E{{music|flat}} || E || F || F{{music|sharp}} || G
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| |-
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| ! D
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| | E{{music|flat}} || E || F || F{{music|sharp}} || G || A{{music|flat}} || A || B{{music|flat}} || B || C || C{{music|sharp}} || D
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| |-
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| ! A
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| | B{{music|flat}} || B || C || C{{music|sharp}} || D || E{{music|flat}} || E || F || F{{music|sharp}} || G || A{{music|flat}} || A
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| |-
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| ! E
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| | F || F{{music|sharp}} || G || A{{music|flat}} || A || B{{music|flat}} || B || C || C{{music|sharp}} || D || E{{music|flat}} || E
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| |}
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| [[Image:Tuning ADGBE5 ADGBE0.svg|thumb|left|alt=A fretboard with line-segments connecting the successive open-string notes of the standard tuning|In the ''standard'' guitar-tuning, one major-third interval is interjected amid four perfect-fourth intervals. In each ''regular'' tuning, all string successions have the same interval.]]
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| For four strings, the 5th fret on one string is the same open-note as the next string; for example, a 5th-fret note on the sixth string is the same note as the open fifth string. However, between the second and third strings, an irregularity occurs: The ''4th''-fret note on the third string is equivalent to the open second string.
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| {{-}}
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| ===Alternative===
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| [[Image:Diagonal shift of C-major chord in major-thirds tuning.png|upright|thumb|Chords can be shifted diagonally in major-thirds tuning and other regular tunings. In standard tuning, chords change their shape because of the irregular major-third G-B.]]
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| {{Main|Guitar tunings#Alternative}}
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| {{See also|Open tunings|Regular tunings}}
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| Standard tuning has evolved to provide a good compromise between simple fingering for many [[Guitar chord|chords]] and the ability to play common scales with reasonable left-hand movement. There are also a variety of commonly used [[guitar tuning#Alternative|alternative tunings]], for example, the classes of ''open'', ''regular'', and ''dropped'' tunings.
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| [[Image:Ry Cooder playing.jpg|left|upright|thumb|alt=Ry Cooder plays the guitar.|Ry Cooder plays slide-guitar with open tunings.]]
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| ''Open tuning'' refers to a guitar tuned so that strumming the open strings produces a [[chord (music)|chord]], typically a major chord.. The base chord consists of at least 3 notes and may include all the strings or a subset. The tuning is named for the open chord, Open D, open G, and open A are popular tunings. All similar chords in the chromatic scale can then be played by [[barre chord|barring]] a single fret.<ref name="Sethares16">{{harvtxt |Sethares |2010 |p=16}}</ref> Open tunings are common in [[blues music|blues]] and [[folk music]],<ref name="Denyer158">{{harvtxt |Denyer |1992 |p=158}}</ref> and they are used in the playing of [[slide guitar|slide]] and [[bottleneck guitar]]s.<ref name="Sethares16"/><ref name="Denyer160">{{harvtxt |Denyer |1992 |p=160}}</ref> [[Ry Cooder]] uses open tunings when he plays slide guitar.<ref name="Denyer158" />
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| For the standard tuning, there is exactly one interval of a [[major third]] between the second and third strings, and all the other intervals are fourths. The irregularity has a price. Chords cannot be shifted around the fretboard in the standard tuning E-A-D-G-B-E, which requires four chord-shapes for the major chords. There are separate chord-forms for chords having their [[root note]] on the third, fourth, fifth, and sixth strings.<ref>{{harvtxt |Denyer |1992 |p=119}}: {{Cite book
| |
| | title = The guitar handbook
| |
| | first = Ralph
| |
| | last = Denyer
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| | others = Special contributors [[Isaac Guillory]] and Alastair M. Crawford<!-- NOT [[Alastair Crawford]] -->
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| | pages =118–119
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| | chapter=Playing the guitar ('Intervals: Fingerboard intervals', p. 119)
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| | isbn = 0-330-32750-X
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| | location = London and Sydney
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| | foreword=[[Robert Fripp]]
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| | publisher = Pan Books
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| | edition= Fully revised and updated
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| | year = 1992
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| }}</ref>
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| In contrast, [[regular tunings|''regular'' tunings]] have equal intervals between the strings,<ref name="Regular"/> and so they have symmetrical scales all along the fretboard. This makes it simpler to translate chords. For the regular tunings, chords may be moved diagonally around the fretboard. The diagonal movement of chords is especially simple for the regular tunings that are repetitive, in which case chords can be moved vertically: Chords can be moved three strings up (or down) in major-thirds tuning and chords can be moved two strings up (or down) in augmented-fourths tuning. Regular tunings thus appeal to new guitarists and also to jazz-guitarists, whose improvisation is simplified by regular intervals.
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| On the other hand, some chords are more difficult to play in a regular tuning than in standard tuning. It can be difficult to play conventional chords especially in augmented-fourths tuning and all-fifths tuning,<ref name="Regular">{{cite book |chapter=Regular tunings |title=Alternate tuning guide |first=Bill |last=Sethares |authorlink=William Sethares |year=2001 |pages=52–67 |url=http://sethares.engr.wisc.edu/alternatetunings/alltunings.pdf |format=pdf |publisher=University of Wisconsin; Department of Electrical Engineering |location=Madison, Wisconsin |ref=harv |accessdate=19 May 2012}}</ref>
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| in which the large spacings require hand stretching. Some chords, which are conventional in folk music, are difficult to play even in all-fourths and major-thirds tunings, which do not require more hand-stretching than standard tuning.<ref name="Patt">{{cite web |url=http://www.ralphpatt.com/Tune.html |first=Ralph |last=Patt |authorlink=Ralph Patt |publisher=ralphpatt.com |work=Ralph Patt's jazz web page |title=The major 3rd tuning |ref=harv |date=April 2008 |accessdate=10 June 2012|id=cited by {{harvtxt |Sethares |2011}}|}}</ref>
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| * In [[major-thirds tuning]], the interval between open strings is always a [[major third]]. Consequently, four frets suffice to play the chromatic scale. [[Chord inversion]] is especially simple in major-thirds tuning. Chords are inverted simply by raising one or two notes by three strings. The raised notes are played with the same finger as the original notes.<ref name="Griewank10">{{harvtxt |Griewank |2010 |p=10}}: {{citation |last=Griewank |first=Andreas |title=Tuning guitars and reading music in major thirds |year=2010 |url=http://opus4.kobv.de/opus4-matheon/frontdoor/index/index/docId/675 |urn=urn:nbn:de:0296-matheon-6755 |month=January |id=MSC-Classification 97M80 Arts. Music. Language. Architecture |series=Matheon preprints |volume=695 |ref=harv |publisher=DFG research center "MATHEON, Mathematics for key technologies" |location=Berlin, Germany}}</ref><ref name="Kirkeby">{{cite web |first=Ole |last=Kirkeby |date=March 2012 |title=Major thirds tuning |accessdate=10 June 2012 |ref=harv |url=http://v3p0.m3guitar.com/ |publisher=m3guitar.com |id=cited by {{harvtxt |Sethares |2011}}|}}</ref> In contrast, in standard tuning, the shape of inversions depends on the involvement of the irregular major-third.<ref name="Denyer121">{{harvtxt |Denyer |1992 |p="Triads: Triad inversions", p. 121}}</ref>
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| * [[All fourths tuning|All-fourths tuning]] replaces the major third between the third and second strings with a fourth, extending the conventional [[bass guitar tuning|tuning of a bass guitar]]. With all-fourths tuning, playing the triads is more difficult, but improvisation is simplified, because chord-patterns remain constant when moved around the fretboard. Jazz guitarist [[Stanley Jordan]] uses the all-fourths tuning EADGCF. Invariant chord-shapes are an advantage of other regular tunings, such as [[major-thirds tuning|major-thirds]] and all-fifths tunings.<ref name="Regular">{{cite book |chapter=Regular tunings |title=Alternate tuning guide |first=Bill |last=Sethares |authorlink=William Sethares |year=2001 |pages=52–67 |url=http://sethares.engr.wisc.edu/alternatetunings/alltunings.pdf |format=pdf |publisher=University of Wisconsin; Department of Electrical Engineering |location=Madison, Wisconsin |ref=harv |accessdate=19 May 2012}}</ref>
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| * Extending the tunings of [[violin]]s and [[cello]]s, [[all-fifths tuning]] offers an expanded range CGDAEB,<ref>{{harvtxt |Sethares |2001 |loc="The mandoguitar tuning", pp. 62–63}}</ref> which however has been impossible to implement on a conventional guitar. All-fifths tuning is used for the lowest five strings of the [[new standard tuning]] of [[Robert Fripp]] and his former students in [[Guitar Craft]] courses; new standard tuning has a high G on its last string CGDAE-G.<ref>{{citation |title=Robert Fripp: From crimson king to crafty master |first=Eric |last=Tamm |authorlink=Eric Tamm (musicologist)
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| |url=http://www.progressiveears.com/frippbook/ch10.htm |ref=harv |year=2003 |origyear=1990 |publisher=Faber and Faber (1990) |isbn=0-571-16289-4 |edition=Progressive Ears |id=[http://www.erictamm.com/rf.zip Zipped Microsoft Word Document] |accessdate=25 March 2012}}</ref><ref name="Fripp11">{{harvtxt |Fripp |2011 |p=3}}: {{cite book |last=Fripp |first=Robert |authorlink=Robert Fripp |title=Seven Guitar Craft themes: Definitive scores for guitar ensemble |publisher=Partitas Music |year=2011 |ref=harv |editor-first=Horacio |editor-last=Pozzo |url=http://partitasmusic.com/ |id=[[International Standard Music Number|ISMN]] 979-0-9016791-7-7. [[Discipline Global Mobile|DGM]] [[Stock-keeping unit|Sku]] partitas001 |edition=First limited |others="Original transcriptions by Curt Golden", "Layout scores and tablatures: Ariel Rzezak and Theo Morresi"}}</ref>
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| Another class of alternative tunings are called [[drop tunings]], because the tuning ''drops down'' the lowest string. Dropping down the lowest string a [[major second|whole tone]] results in the "[[drop-D]]" (or "dropped D") tuning. Its open-string notes DADGBE (from low to high) allow for dominant basses in the keys of D and D minor. It simplifies the playing of simple fifths ([[powerchord]]s). Many contemporary rock bands re-tune all strings by several semi-tones, making, for example, Drop-C or Drop-B tunings.
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| ===Scordatura===
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| Many [[scordatura]] have been used on the guitar. A common form of scordatura involves tuning the 3rd string to F{{music|#}} to mimic the standard tuning of the [[lute]], especially when playing renaissance repertoire originally written for the lute.
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| ==Guitar accessories==
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| Though a guitar may be played on its own, there are a variety of common accessories used for holding and playing the guitar.
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| ===Capotasto===
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| {{Main|Capo}}
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| A capo (short for ''capotasto'') is used to change the pitch of open strings. Capos are clipped onto the fretboard with the aid of spring tension, or in some models, elastic tension. To raise the guitar's pitch by one semitone, the player would clip the capo onto the fretboard just below the first fret. Its use allows players to play in different keys without having to change the chord formations they use. Because of the ease with which they allow guitar players to change keys, they are sometimes referred to as "cheaters" or the "hillbilly crutch." Classical performers are known to use them to enable modern instruments to match the pitch of historical instruments such as the renaissance [[lute]].
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| ===Slides===
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| {{Main|Slide Guitar}}
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| A [[slide guitar|slide]], (neck of a bottle, knife blade or round metal bar) used in blues and rock to create a [[glissando]] or "[[Lap steel guitar|Hawaiian]]" effect. The necks of bottles were often used in blues and country music. Modern slides are constructed of glass, plastic, ceramic, chrome, brass or steel, depending on the weight and tone desired. An instrument that is played exclusively in this manner, (using a metal bar) is called a [[steel guitar]] or [[pedal steel]]. Slide playing to this day is very popular in [[blues|blues music]] and [[country music]]. Some slide players use a so-called [[Dobro]] guitar.
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| Some performers that have become famous for playing slide are [[Robert Johnson (musician)|Robert Johnson]], [[Elmore James]], [[Ry Cooder]], [[George Harrison]], [[Bonnie Raitt]], [[Derek Trucks]], [[Warren Haynes]], [[Duane Allman]], [[Muddy Waters]], [[Rory Gallagher]], and [[George Thorogood]].
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| ===Plectrum===
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| {{Main|Guitar pick}}
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| [[Image:Guitar picks-KayEss-1.jpeg|thumb|A variety of guitar picks]]
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| A "[[guitar pick]]" or "[[plectrum]]" is a small piece of hard material generally held between the thumb and first finger of the picking hand and is used to "pick" the strings. Though most classical players pick with a combination of fingernails and fleshy fingertips, the pick is most often used for electric and steel-string acoustic guitars. Though today they are mainly plastic, variations do exist, such as bone, wood, steel or tortoise shell. Tortoise shell was the most commonly used material in the early days of pick-making, but as tortoises and turtles became endangered, the practice of using their shells for picks or anything else was banned. Tortoise-shell picks made before the ban are often coveted for a supposedly superior tone and ease of use, and their scarcity has made them valuable.
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| Picks come in many shapes and sizes. Picks vary from the small jazz pick to the large bass pick. The thickness of the pick often determines its use. A thinner pick (between 0.2 and 0.5 mm) is usually used for strumming or rhythm playing, whereas thicker picks (between 0.7 and 1.5+ mm) are usually used for single-note lines or lead playing. The distinctive guitar sound of [[Billy Gibbons]] is attributed to using a [[quarter (United States coin)|quarter]] or [[peso]] as a pick. Similarly, [[Brian May]] is known to use a [[British sixpence coin|sixpence coin]] as a pick, while noted 1970s and early 1980s session musician David Persons is known for using old credit cards, cut to the correct size, as plectrums.
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| Thumb picks and finger picks that attach to the finger tips are sometimes employed in finger-picking styles on steel strings. These allow the fingers and thumb to operate independently, whereas a flat pick requires the thumb and one or two fingers to manipulate.
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| ==See also==
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| [[File:Guitar Store.jpg|thumb|right|A guitar store]]
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| {{Portal|Guitar}}
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| *[[Outline of guitars]]
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| *[[Bass guitar]], a guitar tuned an octave below a regular electric guitar
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| ==References==
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| ===Footnotes===
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| {{Reflist|group=upper-alpha}}
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| ===Endnotes===
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| {{Reflist|colwidth=30em}}
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| ===Sources===
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| *{{Cite book
| |
| |title=The Guitar Handbook
| |
| |first=Ralph
| |
| |last=Denyer
| |
| |others=Special contributors [[Isaac Guillory]] and <!--NOT [[Alastair Crawford]]-->Alastair M. Crawford
| |
| |pages=
| |
| |chapter=
| |
| |isbn=0-330-32750-X
| |
| |location=London and Sydney
| |
| |foreword=[[Robert Fripp]]
| |
| |publisher=Pan Books
| |
| |edition=Fully revised and updated
| |
| |year=1992}}
| |
| * Gioia, Joe. ''The Guitar and the New World: A Fugitive History'' (Albany: State University of New York Press, 2013) 254 pp.
| |
| *{{Cite book
| |
| |title=Technology of the Guitar
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| |first=Richard Mark
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| |last=French
| |
| |pages=
| |
| |chapter=
| |
| |isbn=978-1-4614-1920-4
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| |location=New York; Heidelberg
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| |foreword=[[Robert Fripp]]
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| |publisher=Springer Verlag
| |
| |year=2012}}
| |
| * {{cite web|title=Alternate tuning guide|first=William A.|last=Sethares|authorlink=William Sethares|year=2011|url=http://sethares.engr.wisc.edu/alternatetunings/alternatetunings.html|publisher=University of Wisconsin; Department of Electrical Engineering|location=Madison, Wisconsin|ref=harv|accessdate=19 May 2012|id=[http://sethares.engr.wisc.edu/alternatetunings/alltunings.pdf 2010 PDF version by Bill Sethares]}}
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| ==External links==
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| {{Sister project links}}
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| *[http://www.bsmny.org/features/iidguitar/index.php Instruments In Depth: The Guitar] An online feature from Bloomingdale School of Music (October 2007)
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| *[http://www3.uakron.edu/gfaa/stalking.html Stalking the Oldest Six-String Guitar]
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| *[http://www.bsharp.org/physics/guitar Guitar physics]
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| *[http://library.csun.edu/igra/ International Guitar Research Archive]
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| *[http://www.metmuseum.org/toah/hd/guit/hd_guit.htm The Guitar], Heilbrunn Timeline of Art History, [[The Metropolitan Museum of Art]] featuring many historic guitars from the Museum's collection
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| {{Guitars}}
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| {{Guitar tunings}}
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| [[Category:Guitars]]
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| [[Category:Spanish musical instruments]]
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| [[Category:Necked box lutes]]
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| {{Link GA|de}}
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| {{Link FA|mk}}
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| {{Link FA|frr}}
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