Welcome to Scribd, the world's digital library. Read, publish, and share books and documents. See more
Download
Standard view
Full view
of .
Look up keyword
Like this
2Activity
0 of .
Results for:
No results containing your search query
P. 1
Basic Guitar Workshop

Basic Guitar Workshop

Ratings: (0)|Views: 20|Likes:
Published by Arbie Pineda

More info:

Published by: Arbie Pineda on Apr 21, 2012
Copyright:Attribution Non-commercial

Availability:

Read on Scribd mobile: iPhone, iPad and Android.
download as PDF, TXT or read online from Scribd
See more
See less

03/10/2013

pdf

text

original

 
UP Music Circle Archives: Basic Guitar Workshop
Prepared by Arbie Glenn C. PinedaPresentations Committee AY 04-06Musical Director AY 05-06(rev. 02-06)
TABLE OF CONTENTSGUITAR BODY AND MAINTENANCE
Guitar Anatomy & Functions
Headstock The Neck The Body
p. 1
p. 1p. 1p. 1
Guitar Wood Types & Tones
Body WoodBody TopsNeck WoodFret board Wood
pp. 1-3
p. 1p. 2p. 3p. 3
Guitar Strings pp. 4-5General Guitar Maintenance
Cleaning the guitarRestringingIntonation
pp. 5-6
p. 5p. 5p. 6
BASIC CHORD THEORY 
Chord Construction
The Major ScaleTriads4-Note ChordsExtensions of 7thOther ChordsDropping NotesConstructing Complex Chords
pp. 6-9
p. 6p. 7p. 7p. 7p. 7p. 8p. 8
Chord Voicings & Inversions p. 9Chord Substitutions
Chord Families/TypesThe Tri-tone SubstitutionOmitted/Added Roots Substitution
pp. 9-10
p. 9p. 10p. 10
IMPROVISATION
Technical Aspect
The C-Scale in 7 PositionsPattern ExercisesThe 7 Modes Application of ModesThe Pentatonic/Blues Scale
pp. 10-16
p. 10p. 12p. 13p. 14p. 15
 Artistic Aspect
MotifsSpaceChromaticism and AppoggiaturasRepeated NotesTension and Release
 pp. 16-17
p. 16p. 16p. 16p. 16p. 16
 
 
UP Music Circle Archives1
Guitar Body and Maintenance
Guitar Anatomy
 Your guitar may have a different arrangement of pickups, knobs, switches, and/or tailpiece, but the function of theseparts will pretty much be the same on all guitars. There are some variances, however.I.
 
Headstock a.
 
Tuning machines
 –
where the strings are tiedb.
 
String Tee / String Retainer (electric)
 –
this prevents the strings from being strung out of place.c.
 
Truss Rod Adjustment
 –
the neck may become bowed over time, and the truss rod makes itpossible to correct that curvature.d.
 
Nut
 –
guides the stringII.
 
The Neck a.
 
Fret board
 –
also known as the fingerboard, this determines the range of frequencies that thestrings can produceb.
 
Fret
 –
there are usually 20-24 frets on a guitar; strings are held down behind a fret to changethe note a string will producec.
 
Strings
 –
Standard tuning is from low E to high E (E-A-D-G-B-E). Sound is produced by vibratingthe strings. The longer the string, the longer the distance that vibration has to travel. The longerthe distance, the lower the note or frequency.III.
 
The Bodya.
 
Upper Bout
 –
the (usually) smaller curved part closest to the strings; also known as the treblebout because it is responsible for the volume of the high-frequenciesb.
 
Lower Bout
 –
the (usually) larger curved part behind the bridge; also known as the bass boutbecause it is responsible for the volume of the low-frequenciesc.
 
Pick guard
 –
protects the wood from pick scratches and dentsd.
 
Bridge / Tailpiece
 –
this is where the other end of the strings are tied down; it is called a bridge
because it enables the vibrations to “travel” from the strings into the hollow body of th
e guitare.
 
 Adjustable Saddle
 –
controls the intonation of the guitarf.
 
Sound hole
 –
responsible for amplifying the vibrations of the stringsg.
 
Pickups (electric)
 –
 
the pickups have magnets which “monitor” the strings and vibration; the
neck pickup generates a fuller sound, while the bridge pickup generates a brighter sound.
Guitar Wood Types & Tones
There are a lot of woods used for different guitars. Each wood produces different tones, and so one must consider whatkind of wood a guitar is made of before buying it. Is the tone and sustain right for what I will be playing? What are thepros and cons? These are things we must consider before deciding to shell out 4-5 digit sums for a guitar. We shalldiscuss only the commonly used wood found in many of the guitars sold in our country. For a complete listing of guitarwood types, visit www.jemsite.com.I.
 
Body Woods A.
 
MahoganyOpen grained with large pores, Mahogany has a more uniform grain pattern and density than Swamp Ash. Its density is constant within the ring and from one ring to the next. So its rigidity is inherent in
its composition, not in a “skeleton” with soft sections in between.
Its constant density compressesthe mids a little, and this can be considered a
thick sound
, because it does still produce good lowsand low mids. Without the mids popping out, being responsive to dynamics,
it’s
 
more of a “wall of sound” Its not that it isn’t midrangey, because it resonates those guitar frequencies well, but it’s
notas responsive to them as an Alder or Ash. It also combs away more upper midrange frequencies for a
more nasal sound
. It has a good balance of fundamental and overtones for higher register soloing.High notes are richer and thicker than Alder or Ash.Production notes: There are many different kinds of Mahogany, and unless it has a sparkle to it likesome of the Japanese and US guitars it will have a similar sound from one piece to the next. A nicerpiece of mahogany has iridescence to it usually combined with what looks like wide stripes, almost as
 
 
UP Music Circle Archives2
if 
it’s been pieced together by multiple 1” strips. Catalog photos often reveal that the endorser gets a
better piece than the production line.B.
 
Soft Maple
Used extensively in Korea, it’s not as hard as hard maple. But it’s a little heavy,
bright in the uppermidrange, and dull sounding in the lows
. The extreme snappy highs aren’t there either because
the pores are so tight that the highs get compressed. Some redeeming qualities can be brought fromit with the right pickups, if you like a brassy, searing upper midrange sound for the bridge or a dry,combed rhythm sound.
Production notes: Korean factories love it, for some reason it’s abundant and cheap for them. It’s
harder on router bits than basswood, but they seem to be less concerned with clean, sharp cuts overthere, indicating that they do not compensate with more frequent bit sharpening and replacement.C.
 
Hard Maple
This wood “shouts”. It is
loud with a strong upper midrange, bright highs, and tapered off but very tight lows
. A pickup that produces good lows will find them in a Hard Maple body, butthey will be tight and will not interact with a loud half stack.Production notes: Very heavy and hard on tools, its rarely used in factories. It makes a good slimbodied guitar.D.
 
Spruce Very soft to the touch, it is extremely stiff for its
overall density. Like Alder, it’s another wood with a
hard skeleton and soft meat. So in a solid body,
it will produce tremendous resonant, openmidrange, while retaining high frequency attack and having good low end
breathe.
Because of the low density overall the sound wouldn’t be perceived as having less midrange than
Basswood. The mids will be just as powerful and dynamic amidst the addition of clear highs andlows. Probably
the most full frequency
body material accepted.
Production notes: Rarely used because its softness requires a heavy finish, or a composite “shell” likethe Parkers. The Parker isn’t the best representation of the sound of a Spruce body since there are
many other unique construction methods and synthetics used in the Parker. Would work well withveneer caps or a top, and would offset some of the compressed sound you get with neck throughconstruction.II.
 
Body TopsTops seem to create a situation where the attack of the notes will be more like the top wood, while theresonance and decay more like the bottom wood. The thickness and carve of a top dictates the degree of its effect on the sound. The glued unit will be more rigid than a single piece, so generally sustainincreases. A.
 
Maple top on MahoganyThe staple of vintage construction, the Maple
adds crispness to the mahogany, but the lowsand low mids of mahogany are still as apparent
. The Maple combs out some of the uppermids, not because Maple lacks in these areas, but because it is vastly different from mahogany in itshandling of the upper midrange. There is fighting going on in that range between the two pieces that
results in a canceling out of some of those upper midrange frequencies. That’s part of the “smoothness” associated with the Les
Paul & PRS types.B.
 
Rosewood topsRosewood tops will
add some sustain
, by virtue of the density, but also the lamination itself. Itsoiliness will dampen the attack and the higher treble frequencies. So Rosewood over Mahogany willreally be smooth, while Rosewood over Ash will retain some open midrange resonance. Rosewoodover Alder or Basswood will be a sustain boost with little affect on the tone besides the high midcombing from the lamination, since the high dampening from Rosewood is redundant.

You're Reading a Free Preview

Download
scribd
/*********** DO NOT ALTER ANYTHING BELOW THIS LINE ! ************/ var s_code=s.t();if(s_code)document.write(s_code)//-->