1. It’s awesome 2. It’s awesome 3. It’s awesome 4. It’s awesome 5. It’s awesome 6. It’s awesome 7. It’s awesome 8. It’s awesome 9. It’s awesome 10. It’s awesome 11. It’s awesome 12. It’s awesome 13. It’s awesome 14. It’s awesome 15. It’s awesome 16. It’s awesome 17. It’s awesome 18. It’s awesome 19. It’s awesome 20. It’s awesome 21. It’s awesome 22. It’s awesome 23. It’s awesome 24. It’s awesome 25. It’s awesome 26. It’s awesome 27. It’s awesome 28. It’s awesome 29. It’s awesome 30. It’s awesome 31. It’s awesome 32. It’s awesome 33. It’s awesome 34. It’s awesome 35. It’s awesome 36. It’s awesome 37. It’s awesome 38. It’s awesome 39. It’s awesome 40. It’s awesome 41. It’s awesome 42. It’s awesome 43. It’s awesome 44. It’s awesome 45. It’s awesome 46. It’s awesome 47. It’s awesome 48. It’s awesome 49. It’s awesome 50. It’s awesome 51. It’s awesome 52. It’s awesome 53. It’s awesome 54. It’s awesome 55. It’s awesome 56. It’s awesome 57. It’s awesome 58. It’s awesome 59. It’s awesome 60. 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It’s awesome 228. It’s awesome 229. It’s awesome 230. It’s awesome 231. It’s awesome 232. It’s awesome 233. It’s awesome 234. It’s awesome 235. It’s awesome 236. It’s awesome 237. It’s awesome 238. It’s awesome 239. It’s awesome 240. It’s awesome 241. It’s awesome 242. It’s awesome 243. It’s awesome 244. It’s awesome 245. It’s awesome 246. It’s awesome 247. It’s awesome 248. It’s awesome 249. It’s awesome 250. It’s awesome 251. It’s awesome 252. It’s awesome 253. It’s awesome 254. It’s awesome 255. It’s awesome 256. It’s awesome 257. It’s awesome 258. It’s awesome 259. It’s awesome 260. It’s awesome 261. It’s awesome 262. It’s awesome 263. It’s awesome 264. It’s awesome 265. It’s awesome 266. It’s awesome 267. It’s awesome 268. It’s awesome 269. It’s awesome 270. It’s awesome 271. It's cool. Now I'm just going to write every letter on the keyboard twice. 11223344556677889900--==\\]][[ppooiiuuyyttrreewwqqaassddffgghhjjkkll;;''//..,,mmnnbbvvccxxzz !!@@##$$%%^^&&**(())__ and times that by, ooh, mabye 300 11223344556677889900--==\\]][[ppooiiuuyyttrreewwqqaassddffgghhjjkkll;;''//..,,mmnnbbvvccxxzz !!@@##$$%%^^&&**(())__ 11223344556677889900--==\\]][[ppooiiuuyyttrreewwqqaassddffgghhjjkkll;;''//..,,mmnnbbvvccxxzz !!@@##$$%%^^&&**(())__ 11223344556677889900--==\\]][[ppooiiuuyyttrreewwqqaassddffgghhjjkkll;;''//..,,mmnnbbvvccxxzz !!@@##$$%%^^&&**(())__ 11223344556677889900--==\\]][[ppooiiuuyyttrreewwqqaassddffgghhjjkkll;;''//..,,mmnnbbvvccxxzz !!@@##$$%%^^&&**(())__ 11223344556677889900--==\\]][[ppooiiuuyyttrreewwqqaassddffgghhjjkkll;;''//..,,mmnnbbvvccxxzz !!@@##$$%%^^&&**(())__ 11223344556677889900--==\\]][[ppooiiuuyyttrreewwqqaassddffgghhjjkkll;;''//..,,mmnnbbvvccxxzz !!@@##$$%%^^&&**(())__ 11223344556677889900--==\\]][[ppooiiuuyyttr 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11223344556677889900--==\\]][[ppooiiuuyyttrreewwqqaassddffgghhjjkkll;;''//..,,mmnnbbvvccxxzz !!@@##$$%%^^&&**(())__ 11223344556677889900--==\\]][[ppooiiuuyyttrreewwqqaassddffgghhjjkkll;;''//..,,mmnnbbvvccxxzz !!@@##$$%%^^&&**(())__ 11223344556677889900--==\\]][[ppooiiuuyyttrreewwqqaassddffgghhjjkkll;;''//..,,mmnnbbvvccxxzz !!@@##$$%%^^&&**(())__ 11223344556677889900--==\\]][[ppooiiuuyyttrreewwqqaassddffgghhjjkkll;;''//..,,mmnnbbvvccxxzz !!@@##$$%%^^&&**(())__ 11223344556677889900--==\\]][[ppooiiuuyyttrreewwqqaassddffgghhjjkkll;;''//..,,mmnnbbvvccxxzz !!@@##$$%%^^&&**(())__ 11223344556677889900--==\\]][[ppooiiuuyyttrreewwqqaassddffgghhjjkkll;;''//..,,mmnnbbvvccxxzz !!@@##$$%%^^&&**(())__ 11223344556677889900--==\\]][[ppooiiuuyyttrreewwqqaassddffgghhjjkkll;;''//..,,mmnnbbvvccxxzz !!@@##$$%%^^&&**(())__ 11223344556677889900--==\\]][[ppooiiuuyyttrreewwqqaassddffgghhjjkkll;;''//..,,mmnnbbvvccxxzz !!@@##$$%%^^&&**(())__ 11223344556677889900--==\\]][[ppooiiuuyyttrreewwqqaassddffgghhjjkkll;;''//..,,mmnnbbvvccxxzz !!@@##$$%%^^&&**(())__ 11223344556677889900--==\\]][[ppooiiuuyyttrreewwqqaassddffgghhjjkkll;;''//..,,mmnnbbvvccxxzz !!@@##$$%%^^&&**(())_ Scratch is a computer application aimed primarily at children and allows them to explore and experiment with the concepts of computer programming by using a simple graphical interface.[2] It is developed by the Lifelong Kindergarten group at the MIT Media Lab by a team led by Mitchel Resnick[3] and first appeared in the summer of 2007.[4] Scratch can be installed and freely redistributed on any Windows, Mac OS X or Linux computer. The source code is made available under a license that allows modifications for non-commercial uses.[5] The name Scratch is derived from the turntablist technique of scratching,[6] and refers to both the language and its implementation. The similarity to musical "scratching” is the easy reusability of pieces: in Scratch all the objects, graphics, sounds, and scripts can be easily imported to a new program and combined in new ways allowing beginners to get quick results and be motivated to try further. Contents [hide] 1 Language and environment 2 Online community 3 Scratch Mods 4 See also 5 References 6 External links [edit]Language and environment Scratch is used worldwide in many different settings: schools, museums,[7] community centers, and homes. It is intended especially for 6- to 16-year-olds, but people of all ages have used Scratch. For example, younger kids can create projects with their parents or older siblings, and college students use Scratch in some introductory computer science classes.[8][9] In designing the language, the main priority was to make the language and development environment intuitive and easily learned by children who had no previous programming experience. There is a strong contrast between the powerful multi-media functions and multi-threaded programming style and the rather limited scope of the Scratch programming language. Screenshot of Scratch 1.4's development environment at startup (running on Apple Inc.'s Mac OS X Snow Leopard) The user interface for the Scratch development environment divides the screen into several panes: on the left is the blocks palette, in the middle the current sprite info and scripts area, and on the right the stage and sprite list. The blocks palette has code fragments (called "blocks") that can be dragged onto the scripts area to make programs. To keep the palette from being too big, it is organized into 8 groups of blocks: movement, looks, sound, pen, control, sensing, operators, and variables. In versions 1.3.1 and lower, operators was named numbers. Empirical studies were made of various features—those that interfered with intuitive learning were discarded, while those that encouraged beginners and made it easy for them to explore and learn were kept. Some of the results are surprising, making Scratch quite different from other teaching languages (such as BASIC, Logo, or Alice). For example, multi-threaded code with message passing is fundamental to Scratch, but it has no procedures or file Input/Output (I/O) and only supports one-dimensional arrays, known as Lists. Floating point scalars and strings are supported as of version 1.4, but with limited string manipulation capability. [edit]Online community Screenshot of the Scratch website The Scratch slogan is "Imagine · Program · Share." The emphasis on sharing and the social aspects of creativity are an important part of the pedagogy for Scratch.[10] Programs are not seen as black boxes, but as objects for remixing to make new projects. Scratch programs can be uploaded directly from the development environment to the Scratch website, where other members of the Scratch community can download them (including the full source code) for learning or for remixing into new projects. Members can also comment, tag, "love" others' projects and share ideas. The projects published in the Scratch website are licensed under a Creative Commons attribution and are played in a Java applet known as the Scratch Player. The Scratch Player allows Scratch programs to be run from almost any browser. As of December 15, 2009 the community had more than 408,227 registered members, 95,033 of them had uploaded projects, with a total of 796,359 projects shared by the whole community.[11] The website receives close 7 million page views per month.[12] In 2009, the site reached a total of 500,000 scratch projects, and in 2010, 1,000,000. The website frequently establishes "Scratch Design Studio" challenges to encourage creation and sharing by providing users with a basic design concept. Examples have been creating projects that have an undersea theme or that play a song. There are also local Scratch websites in places such as Portugal[13] and the United Arab Emirates.[14] In 2008, the Scratch online community platform (named "ScratchR") received an honorary mention in the Ars Electronica Prix.[15] There is also an online community for educators, called ScratchEd.[16] [edit]Scratch Mods Recently, many derivations of Scratch have been created using the Source Code of version 1.4. These programs are a variation of Scratch that normally include a few extra 'blocks', or minor changes to the GUI (Graphic User Interface). Some of these are BYOB (By Jens), Panther (By the Panther Team), or Streak (By Billyedward). [edit]See also The following youth computing projects also originated in the MIT Lifelong Kindergarten Group: Computer Clubhouse Lego Mindstorms Programmable Cricket [edit]References ^ "Scratch" Retrieved May 25, 2007. ^ Free tool offers 'easy' coding BBC News 14 May 2007 ^ [1] Scratch: Programming For All. ACM Communications. ^ Scratch Lowers Resistance to Programming. Wired Magazine. March 9, 2009. Retrieved May 10, 2010 ^ http://info.scratch.mit.edu/Source_Code ^ http://web.mit.edu/newsoffice/2007/resnick-scratch.html ^ http://www.smm.org/ltc/scratchday ^ http://doi.acm.org/10.1145/1227310.1227388 ^ http://www.cs.harvard.edu/malan/scratch/printer.php ^ [2] Empowering Kids to Create and Share Programmable Media. ACM Interactions. ^ http://scratch.mit.edu ^ http://www.quantcast.com/scratch.mit.edu ^ http://kids.sapo.pt/scratch ^ http://scratch.uaeu.ac.ae/ ^ http://www.aec.at/prix_history_en.php?year=2008 ^ http://scratched.media.mit.edu [edit]External links Wikibooks has a book on the topic of Scratch Wikimedia Commons has media related to: Scratch (programming language) Scratch home page Scratch at the Open Directory Project Categories: Visual programming languages | Smalltalk programming language family | Educational programming languages | Children's websites | Virtual reality communities | Free educational software | 2007 software New featuresLog in / create account Article Discussion Read Edit View history Search Main page Contents Featured content Current events Random article Interaction About Wikipedia Community portal Recent changes Contact Wikipedia Donate to Wikipedia Help Toolbox Print/export Languages Català Dansk Deutsch Ελληνικά Français 한국어 Հայերեն Hrvatski Íslenska Magyar Nederlands Polski Português Русский Simple English Српски / Srpski Suomi Svenska Українська This page was last modified on 2 July 2010 at 08:58. Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. See Terms of Use for details. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization. Contact us _he guitar is a musical instrument of the chordophone family. It's a stringed instrument played by plucking, either with fingers or a pick. The guitar consists of a body with a rigid neck to which the strings, generally six in number but sometimes more, are attached. Guitars are traditionally constructed of various woods and strung with animal gut or, more recently, with either nylon or steel strings. Some modern guitars are made of polycarbonate materials. Guitars are made and repaired by luthiers. There are two primary families of guitars: acoustic and electric. Acoustic guitars (and similar instruments) with hollow bodies, have been in use for over a thousand years. 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 instrument using a comprehensive fingerpicking technique. Electric guitars, introduced in the 1930s, rely on an amplifier that can electronically manipulate tone. Early amplified guitars employed a hollow body, but a solid body was found more suitable. Electric guitars have had a continuing profound influence on popular culture. Guitars are recognized as a primary instrument in genres such as blues, bluegrass, country, flamenco, jazz, jota, mariachi, reggae, rock, soul, and many forms of pop. Contents [hide] 1 History 2 Types of guitars 2.1 Acoustic guitars 2.1.1 Renaissance and Baroque guitars 2.1.2 Classical guitars 2.1.3 Extended-range classical guitar 2.1.4 Flamenco guitars 2.1.5 Flat-top (steel-string) guitars 2.1.6 Archtop guitars 2.1.7 Selmer-Maccaferri guitars 2.1.8 Resonator, resophonic or Dobro guitars 2.1.9 12-string guitars 2.1.10 Russian guitars 2.1.11 Acoustic bass guitars 2.1.12 Guitarrón 2.1.13 Tenor guitars 2.1.14 Harp guitars 2.1.15 Extended-range guitars 2.1.16 Guitar battente 2.2 Electric guitars 3 Guitar construction and components 3.1 General 3.2 Headstock 3.3 Nut 3.4 Fretboard 3.5 Frets 3.6 Truss rod 3.7 Inlays 3.8 Neck 3.9 Neck joint or 'Heel' 3.10 Strings 3.11 Body (acoustic guitar) 3.12 Body (electric guitar) 3.13 Pickups 3.14 Electronics 3.15 Lining, Binding, and Purfling 3.16 Bridge 3.17 Saddle 3.18 Pickguard 3.19 Whammy Bar (Tremolo Arm) 3.20 Guitar strap 3.21 Self-tuning guitars 4 Tuning 5 Guitar accessories 5.1 Capotasto 5.2 Slides 5.3 Plectrum 6 Notes 7 See also 8 External links History Main article: History of the classical guitar Illustration from a Carolingian Psalter from the 9th century, showing a guitar-like plucked instrument. 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".[1] The term is used to refer to a number of related instruments that were developed and used across Europe beginning in the 12th century and, later, in the Americas.[2] These instruments are descended from ones that existed in ancient central Asia and India. For this reason guitars are distantly related to modern instruments from these regions, including the tanbur, the setar, and the sitar. The oldest known iconographic representation of an instrument displaying the essential features of a guitar is a 3,300 year old stone carving of a Hittite bard.[3] The modern word "guitar", and its antecedents, have been applied to a wide variety of cordophones since ancient times and as such is the cause of confusion. The English word "guitar", the German "gitarre", and the French "guitare", were adopted from the Spanish guitarra,[4] which comes from the Andalusian Arabic qitara قيثارةر [5] itself derived from the Latin word cithara, which in turn came from the earlier Greek word kithara (κιθάρα),[6] a descendant of Old Persian sihtar ( سی تار) (Tar means string in Persian).[7] Although the word guitar is descended from the Roman word cithara, the modern guitar itself is not generally believed to have descended from the roman instrument. It is often claimed the modern guitar has it roots in in the arrival of the four-string oud, introduced by the invading Moors into Iberia in the 8th century.[8] Another frequently suggested influence is the six-string Scandinavian lut (lute), which gained in popularity in areas of Viking incursions across medieval Europe. Often depicted in carvings c. 800 AD, the Norse hero Gunther (also known as Gunnar), played a lute with his toes as he lay dying in a snake-pit, in the legend of Siegfried.[9] Two four string medieval "guitars" that were in use by 1200 were the immediate ancestors of the modern guitar: the guitarra moresca (Moorish guitar) and guitarra latina (Latin guitar). The guitarra moresca is an instrument that displays strong Moorish influences; it had a rounded back, wide fingerboard, and several soundholes. The guitarra latina had a single soundhole and a narrower neck.[10] By the 14th century the qualifiers "moresca" and "latina" had largely been dropped and these two four course instruments were usually simply referred to as guitars.[11] The Spanish vihuela or (in Italian) "viola da mano", a guitar-like instrument of the 15th and 16th centuries, is widely considered to have been a seminal influence in the development of the modern guitar. It had six courses (usually), lute-like 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 late 15th century some vihuelas were played with a bow, leading to the development of the viol. By the sixteenth 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 guitars. The vihuela enjoyed only a 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. 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.[12][13] Confusingly, in Portugal, the word vihuela referred to the guitar, whereas guitarra meant the "Portuguese guitar", a variety of cittern. Types of guitars The guitar player (c. 1672), by Johannes Vermeer Guitars can be divided into two broad categories, acoustic and electric: Acoustic guitars Main article: Acoustic guitar There are several notable subcategories within the acoustic guitar group: classical and flamenco guitars; steel-string guitars, which include the flat-topped, or "folk," guitar; twelve-string guitars; 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. Renaissance and Baroque guitars These 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 constitutes the majority of the surviving solo corpus for the era.) 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. Classical guitars Eminent South American guitarist, Agustin Barrios These are typically strung with nylon strings, plucked with the fingers,[14] played in a seated position and are used to play a diversity of musical styles including 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 guitars are very similar in construction, but are associated with a more percussive tone. In Mexico, the popular mariachi band includes a range of guitars, from the tiny requinto to the 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). Extended-range classical guitar An Extended-range classical guitar is a classical guitar with more than 6 strings, usually up to 13. Flamenco guitars 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. Many modern soloists (following the lead of Paco de Lucía) play what is called a flamenca negra, a hybrid of the flamenco and classical guitar constructions Flat-top (steel-string) guitars 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 OO and Parlour to the large Dreadnought and Jumbo. Ovation makes a modern variation, with a rounded back/side assembly molded from artificial materials. Archtop guitars These 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 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 musicians and have remained particularly popular in jazz music, usually with flatwound strings. Selmer-Maccaferri guitars These 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 soloing and it is frequently employed as a lead instrument in gypsy swing. An 8-string baritone tricone resonator guitar. Resonator, resophonic or Dobro guitars All three principal types of resonator guitars were invented by the Slovak-American John Dopyera (1893-1988) for the National and Dobro (Dopyera Brothers) 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. The round neck resonator guitars are normally played in the same fashion as other guitars, although slides are also often used, especially in blues. 12-string guitars 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 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. Russian guitars 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. Acoustic bass guitars Prime and bass acoustic guitars These have steel strings or gut strings and often the same tuning as an electric bass guitar. Guitarrón The guitarrón is a very large, deep-bodied Mexican 6-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 A D G C E A. Tenor guitars 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]the name is taken for a 4-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] 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 4-note chord shapes found on the top 4 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. Harp guitars 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 (as they have often been made to the player's specification).[15] 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. Extended-range guitars For well over a century guitars featuring seven, eight, nine, 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.[16] Guitar battente The battente is smaller than a classical guitar, usually played with four or five metal strings. It is mainly used in Calabria (a region in southern Italy) to accompany the voice. Electric guitars Main article: Electric guitar Glen Campbell playing a Fender electric guitar with three single-coil pickups Electric guitars can have solid, semi-hollow, or hollow bodies, and produce little sound without amplification. Electromagnetic pickups convert the vibration of the steel strings into 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 tubes) in the amplifier. There are two main types of magnetic pickups, single and double coil (or humbucker), each of which can be passive or 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" lap steel; other manufacturers, notably 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 Music. The lower fretboard 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-offs and hammer-ons (also known as slurs), pinch harmonics, volume swells, and use of a tremolo arm or effects pedals. 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. Solid body seven-strings were popularized in the 1980s and 1990s in part due to the release of the Ibanez Universe guitar, 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. The 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 two, three,[17] or rarely four necks, all manner of alternate string arrangements, fretless fingerboards (used almost exclusively on bass guitars, meant to emulate the sound of a stand-up bass), 5.1 surround guitar, and such. Some electric guitar and electric bass guitar models feature piezoelectric pickups, which function as transducers 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.[18] Guitar construction and components Headstock Nut Machine heads (or pegheads, tuning keys, tuning machines, tuners) Frets Truss rod Inlays Neck Heel (acoustic) – Neckjoint (electric) Body Pickups Electronics Bridge Pickguard Back Soundboard (top) Body sides (ribs) Sound hole, with Rosette inlay Strings Saddle Fretboard (or Fingerboard) General Guitars can be constructed to meet the demands of both left and right-handed players. Traditionally the dominant hand is assigned the task of plucking or strumming the strings. For the majority of people this entails using the right hand. This is because musical expression (dynamics, tonal expression, color, etc.) is largely determined by the plucking hand, while the fretting hand is assigned the lesser mechanical task of depressing and gripping the strings. This is similar to the convention of the violin family of instruments where the right hand controls the bow. Left-handed players generally choose a left-handed (mirror) instrument, although some play in a standard right-handed manner, others play a standard right-handed guitar reversed, and still others (for example Jimi Hendrix) play a right-handed guitar strung in reverse. This last configuration differs from a true left-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. 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. Headstock Main article: Headstock The headstock is located at the end of the guitar neck furthest from the body. It is fitted with machine heads that adjust the tension of the strings, which in turn affects the pitch. Traditional tuner layout is "3+3" in which each side of the headstock has three tuners (such as on Gibson Les Pauls). In this layout, the headstocks are commonly symmetrical. Many guitars feature other layouts as well, including six-in-line (featured on Fender Stratocasters) tuners or even "4+2" (Ernie Ball Music Man). However, some guitars (such as Steinbergers) do not have headstocks at all, in which case the tuning machines are located elsewhere, either on the body or the bridge. Nut Main article: Nut (instrumental) 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, and/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. Fretboard Main article: Fingerboard 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 or 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. Frets Main article: Fret 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 (though Caparison Guitars issue guitars with as many as 27 frets).[19] Frets are laid out to a mathematical ratio that results in equal tempered division of the octave. The ratio of the spacing of two consecutive frets is the twelfth root of two. The twelfth fret divides the scale length in two exact halves and the 24th fret position divides the scale length in half yet again. Every twelve frets represents one octave. In practice, luthiers determine fret positions using the constant 17.817, which is derived from the twelfth root of two (17.817 = (1-2-1/12)−1). The scale length divided by this value yields the distance from the nut to the first fret. That distance is subtracted from the scale length and the result is divided in two sections by the constant to yield the distance from the first fret to the second fret. Positions for the remainder of the frets are calculated in like manner.[20] Actual fret spacing does not use this exact value; the fret spacing on the fretboard was also done by trial and error (testing) method over the ages. There are several different fret gauges, which 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 string-action but require other conditions such as curvature of the neck to be well maintained to prevent buzz. 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. Truss rod Main article: Truss rod 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. Some truss rod systems, called "double action" truss systems, tighten both ways, allowing the neck to be pushed both forward and backward (standard truss rods can only be released to a point beyond which the neck is no longer compressed and pulled backward). 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 running down the back of a cedar neck. There is no tension adjustment on this form of reinforcement. Inlays Main article: Inlay (guitar) 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. 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 LEDs in the fretboard to produce a unique lighting effects onstage. 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, coloured 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. 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 and/or to fill the cavity through which the trussrod was installed in the neck. 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. Neck Main article: Neck (music) A guitar's frets, fretboard, tuners, headstock, and truss rod, all attached to a long wooden extension, collectively constitute its 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 Tuning), and the ability of the neck to resist bending (see 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 fingerboard, 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 type of material used to make guitar necks are graphite (Steinberger guitars), aluminium (Kramer Guitars, Travis Bean and Veleno guitars), or carbon fiber (Modulus Guitars and ThreeGuitars). Double neck electric guitars have two necks, allowing the musician to quickly switch between guitar sounds. Neck joint or 'Heel' See also: Set-in neck, Bolt-on neck, and Neck-through 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." Commonly used set neck joints include mortise and tenon joints (such as those used by CF 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. 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. Strings See also: Classical guitar strings The standard guitar has six strings but four-, seven-, eight-, nine-, ten-, eleven-, twelve-, thirteen- and eighteen-string guitars are also available. Classical and flamenco guitars historically used gut strings but these have been superseded by polymer materials, such as nylon and fluorocarbon. Modern guitar strings are constructed of metal, polymers, or animal or plant product materials. Instruments utilising "steel" strings may have strings made of alloys incorporating steel, nickel or phosphor bronze. Bass strings for both instruments are wound rather than monofilament. Body (acoustic guitar) See also: Sound box In acoustic guitars, string vibration is transmitted through the bridge and saddle to the body via 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. In electric guitars, transducers known as pickups convert string vibration to an electric signal, which in turn is amplified and fed to speakers, which vibrate the air to produce the sounds we hear. Nevertheless, the body of the electrjjjkjkjkgjfkgjkfjgkfjgkfjgkfjgkf
