INTRODUCTION

The musical alphabet has only seven letters - C,D,E F,G,A and B and then back again to C

or with syllables do, re, mi, fa, sol, la, ti and do or Sa Re Ga Ma Pa Dha Ni and Sa.

An octave is the interval or distance between the first and eighth degrees of the diatonic major scale.

The music staff is the group of five parallel, horizontal lines upon which music is written.

A SHARP (#) placed before a note raises it a H.S. (half step) or semi-tone

A FLAT (b) placed before a note lowers it a H.S. or semi-tone

TIME SIGNATURE AND KEY SIGNATURE

Time Signature - is made up of two numerals, placed one above the other. The upper numeral tells us how many beats
there are in each bar or measure, while the lower numeral tells us which kind of note gets one beat.

2/4 - means there are 2 quarter notes or beats in a measure/bar

3/4 - means there are 3 quarter notes or beats in a measure/bar
4/4 - means there are 4 quarter notes or beats in a measure/bar
6/8 - means there are 6 eighth notes or beats in a measure/bar
Right hand flat picking technique 1

E E A A D D G G B B E E E E B B G G D D A A E E

Right hand flat picking technique2

E A D G B E E B G D A E
Right hand flat picking technique3

E D A G D B G E E G B D G A D E
C major 1 octave open strings

SA RE GA MA PA DHA NI SA SA NI DHA PA MA GA RE SA

C D E F G A B C C B A G F E D C

C major 1 octave

SA RE GA MA PA DHA NI SA SA NI DHA PA MA GA RE SA

C D E F G A B C C B A G F E D C
C major 1 octave triplets

SAREGA REGAMA GAMAPA MAPADHA PADHANI DHANISA SANIDHA NIDHAPA DHAPAMA PAMAGA MAGARE GARESA

C D E D E F E F G F G A G A B A B C C B A B A G A G F G F E F E D E D C

C major 1 octave quadrapulets

C D E F D E F G E F G A F G A B G A B C C B A G B A G F A G F E G F E D F E D C

C major 1 octave alternate

C E D F E G F A G B A C C A B G A F G E F D E C

C major 1 octave arpeggio 1357-6543

C E G B A G F E D F A C B A G F C A F D E F G A B G E C D E F G
Neo classical ex1

C A Ab A B A Ab A E A Ab A B A Ab A C E D C B D C B A C B Ab A B G Gb G A G Gb G D G Gb G

A G Gb G B D C B A C B A G B A Ab G G D B D Gb D B D E D B D D D B D G D B D Gb D B D E D C B C

F# C B C A C B C E C B C D C B C D C B A C B A G B A G Gb G

C major 2 octave

SA RE GA MA PA DHA NI SA RE GA MA PA DHA NI SA SA NI DHA PA MA GA RE SA NI DHA PA MA GA RE SA

 C D E F G A B C D E F G A B C C B A G F E D C B A G F E D C

Blues shuffle in A

A A A A

E E F# E G E F# E E E F# E G E F# E E E F# E G E F# E E E F# E G E F# E

D D A A E

A A B A C A B A A A B A C A B A E E F# E G E F# E E E F# E G E F# E B B C# B D B C# B

D A A

A A B A C A B A A A C C D D D# D# E A D# E
Fur elise - Beethoven
Neo classical ex2

B B C B A B BC A B G A Gb D E C D B C A B G A F# G D B G B G D B E C A C A F# A F# D# Gb Eb C

Eb C A C A F# Eb D B G D E C A F# C A Gb Eb C B E C B A B A G A G Gb G Gb E B A G A G F# G F# E F# E D

A G Gb G Gb E Gb E D E D C C D E F# G A Gb G A B

Bhajan
Bouree - J S Bach
Neo classical ex3 -Mother Russia

D A A G A A# A# C A# A G F D A A G A A# A# C A D A A G A A# A# C A# A G F C G G E F G F E D

E E B B C C A A B B G G A A F# F# E E B B C C A A B B G G F# E E B B C C A A B B G G A A F# F#

D A A Gb G A G Gb E

Rock n roll shuffle hammer-ons

E E F# E G E C C# E G G# A C C# E F F# E C C# E
A major pentatonic

A B C# E F# A B C# E F# A F# E C# B A F# E C# B A

A major pentatonic triplets

A major pentatonic quadrapulets

A major pentatonic alternate

A minor pentatonic

A C D E G A C D E G A G E D C A G E D C A

A minor pentatonic triplets

A minor pentatonic quadrapulets

A minor pentatonic alternate

Blues scale in A

A C D D# E G A C D D# E G A C C A G E D# D C A G E Eb D C A

A blues scale triplets

A blues scale quadrapulets

A blues scale alternate

Ajeeb dastan
A A A

E D A

D A E D
A

Happy Birthday
C G C C7 F Fm Dm G7 C G
 C C7 F Fm G7 C

Turkish march – Mozart

 Ev
ery breath you take - Police: Picking exercise
A F#m D

A E B E Db B A B A E B E Db B A B Gb C# G# Db A G# Gb G# Gb C# G# Db A G# Gb G# D A E D D A D A
 E A

E B F# E E B E B A E G E C# B A B A E B E C# B A B

SEVENTH CHORDS
FLAT PICKING EXERCISES
Take It Easy-Eagles - 4/4 - D DU X DU INTRO II: G / / / I G / / / :II

G
Well I'm a runnin' down the road try'n to loosen my load VERSE G / / / I G/ / / / I D / / / I C / / / I
D C
I've got seven women on my mind
G D
Four that wanna own me, two that wanna stone me G / / / I D/ / / / I C / / / I G / / / I
C G
One says she's a friend of mine
Em C G
Take it easy, take it easy CHORUS Em / / / I Em / / / I C / / / I G / / / I
Am C Em D
Don't let the sound of your own wheels drive you crazy Am / / / I C / / / I Em / / / I D / / / I
C G
Lighten up while you still can C///IG///IC///IG///I
C G
Don't even try to understand
Am C G
Just find a place to make your stand, and take it easy Am / / / I C / / / I G / / / I G / / / I

G///IG///I
G
Well, I'm a standin' on a corner in Winslow, Arizona VERSE G / / / I G/ / / / I D / / / I C / / / I
D C
Such a fine sight to see
G D
It's a girl my lord in a flat-bed Ford G / / / I D/ / / / IC / / / I G/ / / I
C G
Slowin' down to take a look at me
Em CG
Come on, baby, don't say maybe CHORUS Em / / / I Em / / / I C / / / I G / / / I
Am C Em D
I gotta know if your sweet love is gonna save me Am / / / I C / / / I Em / / / I D / / / I
C G C G
We may lose and we may win, though we may never be here again C///IG///IC///IG///I
Am C G
So open up I'm climbin' in, so take it easy Am / / / I C / / / I G / / / I G / / / I

G///IG///I
G
Well, I'm a runnin' down the road tryin' to loosen my load VERSE G / / / I G/ / / / I D / / / I C / / / I
D C
Got world,s of trouble on my mind
G D C G
Lookin' for a lover who won't blow my cover, she's so hard to find G / / / I D/ / / / I C/ / / I G / / / I
Em CG
Take it easy, take it easy CHORUS Em / / / I Em / / / I C / / / I G / / / I
Am C Em D
Don't let the sound of your own wheels make you crazy Am / / / I C / / / I Em / / / I D / / / I
CG C G
Come on baby, don't say maybe C///IG///IC///IG///I
Am C G
I gotta know of your sweet love is gonna save me Am / / / I C / / / I G / / / I G / / / I

OUTRO II: C / / / I G / / / :II

II:F / / / I C / / / I G / / / I G / / / :II

Em
Country Roads-John Denver - 4/4 - D DU D DU INTRO II: G / / / I / / / :II

G Em
Almost heaven, West Virginia, VERSE G / / / I / / / / I Em / / / I / / / I
D C G
Blue Ridge Mountains, Shenandoah River. D///I////IC///IG//I
Em
Life is old there, older than the trees, G / / / I / / / I Em / / / I / / / I
D C G
Younger than the mountains, Blowin' like a breeze. D///I////IC///IG//I

G D Em C
Country roads, take me home, To the place I belong: CHORUS G / / / I / / / I D / / / I / / / I Em / / / I / / / I C / / / I / / / I
G D C G
West Virginia, mountain momma, Take me home, country roads. G / / / I / / / I D / / / I / / / I C / / / I / / / I G / / / I / / / I

G Em
All my mem'ries, gather 'round her, VERSE G / / / I / / / / I Em / / / I / / / I
D C G
Miner's lady, stranger to blue water. D///I////IC///IG//I
Em
Dark and dusty, painted on the sky, G / / / I / / / / I Em / / / I / / / I
D C G
Misty taste of moonshine, teardrop in my eye. D///I////IC///IG//I

G D Em C
Country roads, take me home, To the place I belong: CHORUS G / / / I / / / I D / / / I / / / I Em / / / I / / / I C / / / I / / / I
G D C G
West Virginia, mountain momma, Take me home, country roads. G / / / I / / / I D / / / I / / / I C / / / I / / / I G / / / I / / / I

Em D G
I hear her voice, in the mornin' hours she calls me, BRIDGE Em / / / I D / / / I G / / / I / / / I
C G D
The radio reminds me of my home far away. C///IG///ID///I///I
Em F
And drivin' down the road, Em / / / I F / / / I C / / / I G / / / I
C G D
I get a feelin' that I should have been home yesterday, D / / / I / / / I D7 / / / I / / / I
D7
yesterday.

G D Em C
Country roads, take me home, To the place I belong: CHORUS G / / / I / / / I D / / / I / / / I Em / / / I / / / I C / / / I / / / I
G D C G
West Virginia, mountain momma, Take me home, country roads. G / / / I / / / I D / / / I / / / I C / / / I / / / I G / / / I / / / I
D G
Take me home, country roads. OUTRO II:D / / / I / / / I G / / / I / / / :II
D G
Take me home, down country roads.
Knocking on heavens door-Bob Dylan - 4/4 - D X DU DU

G D Am
Mama take this badge off of me, VERSE G / / / I D / / / I Am / / / I / / / I
G D C
I can't use it anymore. G///ID///IC///I///I
G D Am
Its getting dark, too dark to see, G / / / I D / / / I Am / / / I / / / I
G D C
Feels like I'm knockin' on heaven's door, G///ID///IC///I///I

G D Am
Knock knock knockin' on heaven's door. CHORUS G / / / I D / / / I Am / / / I / / / I
G D C
Knock knock knockin' on heaven's door. G///ID///IC///I///I
G D Am
Knock knock knockin' on heaven's door. G / / / I D / / / I Am / / / I / / / I
G D C
Knock knock knockin' on heaven's door. G///ID///IC///I///I

G D Am
Mama put my guns to the ground, VERSE G / / / I D / / / I Am / / / I / / / I
G D C
I can't shoot them anymore, G///ID///IC///I///I
G D Am
That long black cloud is comin' down, G / / / I D / / / I Am / / / I / / / I
G D C
Feels like I'm knockin' on heaven's door. G///ID///IC///I///I

G D Am
Knock knock knockin' on heaven's door. CHORUS G / / / I D / / / I Am / / / I / / / I
G D C
Knock knock knockin' on heaven's door. G///ID///IC///I///I
G D Am
Knock knock knockin' on heaven's door. G / / / I D / / / I Am / / / I / / / I
G D C
Knock knock knockin' on heaven's door. G///ID///IC///I///I
Peaceful Easy Feeling-Eagles – 4/4 – D DU X DU

E Esus4- 4x INTRO II: E / / / I E sus4 / / / :II

E A E A
I like the way your sparkling earrings lay, VERSE E///IA///IE///IA///I
E A B7
against your skin, it's so brown E / / / I A / / / I B7 / / / I / / / I
E A E A
and I wanna sleep with you in the desert tonight E///IA///IE///IA///I
E A B7
with a billion stars all around E / / / I A / / / I B7 / / / I / / / I

A E
'cause I gotta peaceful easy feeling CHORUS A / / / I / / / I E / / / I / / / I
A B7
and I know you won't let me down A / / / I / / / I B7 / / / I / / / I
E F#m A B7 E
'cause I'm already standing, on the ground E / / / I F#m / / / I A / / / I B7 / / / I E / / / I / / / I

E A E A
And I found out a long time ago VERSE E///IA///IE///IA///I
E A B7
what a woman can do to your soul E / / / I A / / / I B7 / / / I / / / I
E A E A
Ah, but she can't take you anyway E///IA///IE///IA///I
E A B7
You don't already know how to go E / / / I A / / / I B7 / / / I / / / I

A E
'cause I gotta peaceful easy feeling CHORUS A / / / I / / / I E / / / I / / / I
A B7
and I know you won't let me down A / / / I / / / I B7 / / / I / / / I
E F#m A B7 E
'cause I'm already standing, on the ground E / / / I F#m / / / I A / / / I B7 / / / I E / / / I / / / I

E A E A
I get this feeling I may know you BRIDGE E / / / I A / / / I E / / / I A / / / I
E A B7
as a lover and a friend E / / / I A / / / I B7 / / / I / / / I
E A E A
but this voice keeps whispering in my other ear, E///IA///IE///IA///I
E A B7
tells me I may never see you again E / / / I A / / / I B7 / / / I / / / I

A E
'cause I gotta peaceful easy feeling CHORUS A / / / I / / / I E / / / I / / / I
A B7
and I know you won't let me down A / / / I / / / I B7 / / / I / / / I
E F#m A
'cause I'm already standing OUTRO E / / / I F#m / / / I A / / / I B7 / / I
E F#m A
'cause I'm already standing E / / / I F#m / / / I A / / / I B7 / / I
E F#m A
'cause I'm already standing, E / / / I F#m / / / I A / / / I B7 / / I

B7 E E///I///I///I///I
on the ground
From me to you- Beatles – 2/4 – D DU

G Em
If there's anything that you want. G / I / / IEm / I / / I
G D7
If there's anything I can do. G / /I / / I D7 / I / / I
C7 Em
Just call on me and I'll send it along, C7 / I / /I Em / I / / I
G D7 G
With love from me to you. G / I D7 / I G / I / / I
G Em
I've got everything that you want. G / I / / IEm / I / / I
G D7
Like a heart that's oh so true. G / I / / I D7 / I / / I
C7 Em
Just call on me and I'll send it along, C7 / I / / I Em / I / / I
G D7 G
With love from me to you. G / I D7 / I G / I / / I
Dm7 G
I got arms that long to hold you Dm7 / I / / I G / I / / I
C
And keep you by my side. C/I//I//I//I
Em7 A7
I got lips that long to kiss you Em7 / I / / I A7 / I / / I
D7
And keep you satisfied. D7 / I / / I / / I / / I
G Em
If there's anything that you want. G / I / / IEm / I / / I
G D7
If there's anything I can do. G / I / / I D7 / I / / I
C7 Em
Just call on me and I'll send it along, C7 / I / / I Em / I / / I
G D7 G
With love from me to you. G / I D7 / / I G / I / / I
D7 G
To you From me
C7 Em
Just call on me and I'll send it along, C7 / I / / I Em / I / / I
G D7 G
With love from me to you. G / I D7 / I G / I / / I
Dm7 G
I got arms that long to hold you Dm7 / I / / I G / I / / I
C
And keep you by my side. C/I//I//I//I
Em7 A7
I got lips that long to kiss you Em7 / I / / I A7 / I / / I
D7
And keep you satisfied. D7 / I / / I / / I / / I
G Em
If there's anything that you want. G / I / / IEm / I / / I
G D7
If there's anything I can do. G / I / / I D7 / I / / I
C7 Em
Just call on me and I'll send it along, C7 / I / / I Em / I / / I
G D7 G
With love from me to you. G / I D7 / / I G / I / / I

Gsus4 Gsus4 Gsus4

To you To you To you II:G sus4 / I / / :II
Chord Theory
Introduction

A chord, by definition, is when three or more unique notes (unique note names) are played simultaneously.
Some will argue that a chord can consist of two or more notes. Rather than get involved with arguing over
terminology, we'll just jump straight into some explanations and highlight the important points.

When two notes are played simultaneously we create what is called harmony. This harmonic value is measured
by the "distance" or interval between the notes, which, if you like, is just a fancy name for the amount of
semitones or half steps any two notes are apart. If you are not exactly sure what that means then think of the
frets on a guitar, each fret is equal to one semitone (half step) distance in pitch.

Chord Basics
Two notes played simultaneously are referred to as intervals. Three or more notes played simultaneously are
referred to as chords.

Chords consisting of three notes are known as triads. Chords consisting of four or more are known as extended
chords

Triads
When you play something like a common C chord or G chord on your guitar you are actually playing a major
chord or major triad. They are just different names used to describe the same thing. A triad is a chord consisting
of three notes.

Extended Chords
If we carry on past three notes we create extended chords such as seventh, ninth, eleventh and thirteenth chords.
 The Origin of the Guitar

There exist a legend regarding the origin of the guitar that is more beautifully suggestive than historic fact; Apollo (Greek
sun god; man of great beauty)was running in pursuit of a beautiful nymph gallantly repeating to her all the while; " Don't
tire yourself, don’t tire yourself. I promise not to catch up with you." when, finally he did succeed in taking her into his
arms, she called out to her semi divine father, who instantly changed her to a laurel tree.Apollo made the first guitar like
instrument from the wood of this tree and gave it as form the graceful, curved contours that forever reveal its feminine
origin. That is why the guitar is of a reserved and changeable nature, even hysterical at times; but that is also why it is
sweet and smooth, harmonious and delicate. When it is played with love and skill; there issues from its melancholy
sounds a rapture that hold us forever.

The prehistoric hunter, restringing his bow, was possibly the first to discover that a musical sound could be made by
plucking a taut string, some earliest records of fretted instruments can be seen on Hittite carvings, over 3000 years old.
These primitive instruments were not unlike the guitar in shape but had only one string.

The ancient Egyptians also played an instrument strongly resembling the guitar, called a "Nefer". However the modern
guitar is not a direct descendant of these ancient instruments.The name "Guitar" can be traced back to the Roman
"Cithara" which was a harp like instrument and not fretted at all. The family of fretted instruments spreads out like the
branches of a tree from its prehistoric roots.The “Lute”, of Egyptian origin, was the first fretted instrument to enjoy
massive popularity in Europe. To distinguish it from similar instruments made from gourds or the carapaces of turtles
they called it simple “the wood” or “al ud”, this is believed to have been derieved from the Persian and influenced by an
instrument called the “Tzi-Tze’ named after the Chinese Emperor who invented it.It was this instrument, in its many
forms, that the conquering Moors introduced in Spain as the “Rubec”.It was shaped like half a pear and at first was played
with a bow. It was banned by the church in Spain because of its secular association, players simply abandoned the bow
and began plucking it. This instrument began to develop independently alongside the "Lute" in the 14th century AD.
Meanwhile, the French had been playing the "Crota" which was a creation of their own from the Roman "Cithara", to
which they added a neck and a fingerboard. This found its way across the Pyrenes,into Northern Spain where it began to
interbreed with other fretted instruments.

One of the results of this experimentation was the "Vihuela”, The First' Direct Ancestor Of Modern Guitar. It had five
pairs of strings, tuned GCFAD. It was ornate and costly and a similar four string version called the “Guitar Latina” was
favored by the massed.A fifth string was added in the early 16th century AD and it began to be known throughout Europe
as the “Spanish Guitar”. By the beginning of the 17th Century AD this had superseded the “Vihuela”. Various
experiments with the sixth string was conducted during the 18th century AD until in Germany, at the beginning of the
19th century, the low E string was added.Towards the end of the last century the modern classical guitar was perfected
and inspite of all the technology of this century.The last 75 years have seen little more than refinements. However this
century has seen development of the steel strung flat top guitar ,the cello like jazz guitar and most importantly, the
electric guitar.

MODERN ACOUSTIC GUITARS

Modern acoustic guitars come in two forms - those with Steel String and those with Nylon strings. Although Nylon-string
guitars are always used for classical and Flamenco Music, and the Steel-string guitars are more common in folk, blues and
even jazz and rock, there are no real rules. It is impossible of say that one kind of guitar must be used only for a certain
type of music. From model to model there are, of course, countless variations in design, shape, construction, sound
characteristics and usage. Yet the basic idea of the acoustic guitar has remained the more-or-less the same for “Spanish
Guitar” – a masterpiece of design in terms of both physics and craftsmanship.
CLASSICAL GUITARS

Although volumes have been written on the history and origins of “Spanish Guitars”, no precise documentation of the
instrument's early development exist. Fragmented information from ancient times clearly indicates the existence of
plucked and bowed strinq instruments, but the point, at which the guitar as we know It first appeared is not recorded. The
indications are that a form of guitar has been made and played since at least the 12th century AD whether or not the
Rebec, lute, the Moorish guitar, North African-Aud (or alud) or any of the many other stringed instruments to be found in
the Medieval Europe were the direct antecedents of Modern classical guitar remains unproven. What is certain is the fact
that Spain was at the centre of its development. Of the handful of Great man who truly shaped the history of the Classical
Guitar, most were from Spain.

It was JOSE FERDINAND SOR better known as Fernando Sor (b. Barcelona 1778: d.Paris 1839) who popularized the
Guitar in Britain in early 19th century AD. He was considered one of the greatest musicians of the Romantic period and
also called “The Beethoven of the Guitar” perhaps a little rashly though some of his works are very fine, particularly his
“Etudes” which expands the player’s technique and his variations on a theme from the first act of Mozart’s “The Magic
Flute”.The influence of this great guitarist, composer and teacher is still felt to this day. Born in Barcelona, he took up
guitar after studying violin, cello, harmony and composition. By the age of 16 he was able to play his own composition on
the guitar with virtuosity that set new standards. He went on to compose over 400 pieces, many of which are considered
essential to the contemporary classical guitarist. Sor was also known as a teacher and as the author of his famous
“Method”, an extensive work which documented his style and technique in great details.Sor travelled extensively in
Europe. In Paris, he met the French Guitar Maker. Rene Francois Lacote, and in London, another well known Luthier,
Louis Panormo (Guitar Makers are known as Luthiers).Both were impressed by the superior tone and quality of the
Spanish made guitars that he played, and both began to employ Spanish methods of construction and design in their
workshops. In fact Panormo’s instruments were subsequently given labels stating “The only maker of guitars in Spanish
style”-Louis Panermo.Nevertheless, panermo and Lacote were exceptional in their adaptation of Spanish methods. In
general, guitars made other European their own regional characteristics. The English, French, Italians and were making
finely crafted and beautifully decorated instruments,but when it came to tone, projected and sustained Spanish Guitars
were far superior.

The instruments played by Sor and his famous contemporaries-Dionisio Aguado(1784-1849)and Matteo Carcassi(1792-
1853)for instance were however far inferior to the guitar at the disposal of todays players.All tht change with a quantum
jump in the development of classical guitar construction at the hands of a carpenter from San Sebastian De Almeria,
ANTONIO DE TORRES JURADO (1817-1892) better known simply as De Torres. He was without doubt the most
important figure in the history of Guitar design & construction. He was called the “Father of Modern Guitar” who
enlarged the body of the guitar, widened and flattened the fingerboard, perfected the fan strutting inside which supports
the bridge and standardized the string length at 650mm. Musicians who played the guitar immediately discarded those of
other makers. Throughout Spain Luthiers adopted Torres Designs. In fact, to this day, classical guitar makers still
construct their instruments almost exactly in the manner of Torres.Torres first learned the principles of guitar making in
the- Grenada Workshops of Jose'Pernas. His friend and guitarist, Julian Areas, suggested that he work on the ways of
improving the tone of the guitar. By the middle of the 19th century AD he was making guitars bearing his own name, and
over a period of years he gradually refined his ideas, building experimental instruments of varying sizes and shapes and
trying constructional which were quite revolutionary.He increased the area of the soundboard and the size of the sound
box,Making his guitar “Deeper” (the soundboard-to-back measurement of the guitar has previously been 2 inch (5cms) or
less). He rounded the bouts and changed their relative proportions. He reduced the thickness of the timbers used for the
soundboard, ribs and back and used lighter and more flexible woods. He evolved a system of “Fan Strutting” that allowed
the soundboard to vibrate far more efficiently, he arrived at the 65 cms (approx 25.5 inch) scale length, and improved
guitar varnishes.By completely re-defining the science of the guitar construction Torres, improved the instrument to such
a degree that major musical advances were almost inevitable.

It was another Spaniard, who was to utilize these advantages. His name was FRANCISCO TARREGA (1852-1909).
Tarrrega is universally considered to be the “Father of all Modern Classical Guitar Techniques”.Tarrrega learned Piano
and Guitar from blind teachers and began playing as a form of begging in the streets of Spain, eventually settling in
Barcelona. Here he acquired wealthy pupil and began to gain a reputation. He wrote of such great composers as
Beethoven, Chopin, Schumann, Mozart and Bach for the guitar, and, although he was first to challenge the long-held
opinion that the guitar was an inferior instrument incapable of doing justice to such music. Until Tarrrega, it had been
accepted that the right hand had to be supported by the little finger resting on the table near the bridge. Tarrrega freed the
right hand and advocated supporting the instruments on left leg. Tarrrega evolved the posture, the hand position and the
use of the foot-stool to raise the left foot that are taught to every student classical guitar today.He also transcribed the
works of Great composers as Bach,Beethoven, and Mozart for guitar, and although he was not the first to adapt music
written for other instruments,he was the first to challenge the long held opinion that the guitar was a inferior instrument
incapable of doing justice to classical music.It is off course impossible to talk about the development of classical guitar
without acknowledging ANDRE’S TORRES SEGOVIA (b.1893) having made his concert debut in paris in 1924.By the
1930’s Segovia;s name was known around the world, perhaps more than any other single player. He has been responsible
for the acceptance of the guitar as a valid concert instrument for performance of classical music.

FLAMENCO GUITARS

Flamenco is the music of the Gypsy people of the Andalusia, the bounded bv Cordoba in the north, Cadiz in the south,
Almeria in the east, Huelva in the west. The origins of Flamenco are obscure, although it was generally accepted to have
North African (Moorish) influence. It emerged as a combination of dance, sound and guitar accompaniment. Later the
original form gave rise to two subsequent, developments!! Cante Flamenco (Based on different song forms). and Solo
Flamenco Guitars. The man credited for the birth of the solo flamenco guitar form is Ramon Montoya (1880-
1949).Flamenco is traditionally been passed from generation to generation without the aid of musical notation. The music
is frequently regarded loose, undisciplined form. In fact, this is not so. It is a combination of improvisation and strict
rhythmic structures; of which there are many, And this form of playing - It is normally performed on a smaller instrument
with bright sound that works well in open air and is responsible for a number of techniques adopted by classical guitarist.

STEEL STRING ACOUSTIC GUITARS

The steel, string guitar we know it today evolved in America, though majority of the instrument makers who contributed
to its development were European or of European decent. During the latter half of the 19th century AD and the early part,
of the 20th century AD, America had become a cultural melting pot. For a number of reasons — including racial, religious
arid political persecution - thousands of European, Russian and other emigrants were crossing the Atlantic and seeking a
new life in America. Among them were highly skilled musical instrument makers who were dominated the construction
and production of the steel string acoustic guitar.Two distinctly different methods of construction evolved, the first
method of construction is known as the Flat-top guitar and, basically, adapted European classical guitar making
techniques. The second method produced the Arch-top(or f-hole) guitar, with a contoured or arched soundboard and back
curved from a solid piece of wood, Its design construction were derived from the European violin making techniques. Any
history of steel--string acoustic guitars must begin with Martin and Gibson, the most influential of all the manufacturers.
In 1833, Christian Fredrick Martin (1796-1873} emigrated from his native Germany to and open a music store in New
York„ The first guitars Martin made were heavily influenced by Stauffer’s Gut-string classical instrument.They featured a
floating fingerboard t an adjustable neck and all heads on one side of the headsstock, They were also quite narrow, typical
before the influence of De Torres. At first, Martin simply strengthened their highly regarded guitars in order; to make the
switch from Gut-string to steel-string.Many other changes were made - the ”belly” bridge and the trust rod was Introduced
to give additional support against the increased string tension.The straddle was slanted, and the dimensions of the bracing
were re-designed.Martin's “Dreadnought” have had an enormous influence on modern guitar design. Their somewhat
“bassier” tone has made them popular in country and bluegrass music, as well as rock.

Arch-Top Guitars (also known as cello, plectrum, f-hole), came into their own during 1920’s,when Jazz music was
vibrant, evolving musical force and the “Big band Era was in full swing, and the guitar began to overtake the banjo in
popularity,guitarist were looking for an instrument that produce enough volume to be heard clearly.The fundamental
difference between the Arch-top and flat-top acoustic guitar lies in the construction of the soundbox or body. Traditionally
the soundboard and back of an Arch-top guitar is curved from fairly thick solid pieces of wood - a technique which allows
for much greater “arching” or “contouring” than on flat-top guitars.In the very early days, some arch-top guitars were
made with round or oval sound-holes. All Arch-top have a much simpler system of internal bracing than Flat-top guitars.
Essentially, this is because they require fewer struts. Firstly, the arched shaped of soundboard makes it intrinsically
stronger. Secondly, the strings are anchored via a tail piece to the bottom block, not via the bridge to the
soundboard.Arch-top guitars are no longer as dominant as they were in the 20’s & 30’s – partly due to a decline of interest
in the music for which they are made, but mostly due to the subsequent emergence of the Electric Guitar.

RESONATOR GUITARS

Metal resonator or resophonic guitars are a variation of the theme of the acoustic guitar. Also known as “National” or
“Dobro” guitars, they were first developed in the 1920’s when the Dopera Brothers founded their “National Guitar
Company” and later, their “Dobro Company”. Resonator guitars guitar have a distinctive, metallic, “jangly” sound and
effectively project a lot more volume than the conventional acoustic instruments. This is because the vibrations of the
strings are transferred through the bridge to a round metal dish or cone which act as a resonator within the guitar and
which “amplifies” the sound. Early National guitars had all metal bodies and single resonator that was cone shaped. Early
Dobro guitars were wooden bodied and had a bowl shaped resonator.Resonator guitars have always been considered ideal
for bottleneck slide playing styles. In fact they were built with both square sections neck as well as conventional round
neck sections necks. There were at their most popular in the 1920’s & 1930’s during the boom in Hawaiian and country
music, but they were also used by many famous old blue players.

OVATION GUITARS

In the recent years, Ovation guitars have been responsible for by the far the most significant new development in the
design and construction of acoustic guitars. The Ovation Company, a division of the KAMAN AEROSPACE
ORGANISATION, was founder by Charles Kaman in the 1960’s. Kaman believed that guitar designs could be radically
improved if he and his engineers could apply to it some of the principles of vibration and acoustics that they had learned
from their work with helicopters and other aircrafts. Aware of the fact that in a conventional guitar much of the sound is
either “trapped” in the corners of the soundbox or absorbed by the wood, he began building instruments whose back and
sides were replaced by one piece, rounded bowl made of fiber glass material called “Lyrachord”. This shell-like, molded
has no corners, requires no strut and reflects more of the natural sound. Ovation guitars have wooden soundboards made
of sitka spurce tapered from the neck to the bridge, the bracing patterns varies from one model to another and is specially
designed to give sound best suited to the style
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