"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. The pitches are as follows: 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. 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."
"notes are needed first. When playing notes above the twelfth fret, called ""on the body"", the left shoulder is dropped and the thumb stays behind, on the neck (as opposed to cello technique where the thumb can be placed on top of the fingerboard to assist in stopping the string). It is possible to play the same note on different strings, called ""registration"" or ""registering"". For example, the note ""e"", first string open, may be played, or ""registered"" on any string. The guitarist often has choices of where to 'register' notes on the guitar based on: Slurs, trills and other"
"without a zeroth fret (after the nut), the intonation of an open note may differ from then note when fretted on other strings; consequently, on some guitars, the sound of an open note may be inferior to that of a fretted note. Unlike the piano, the guitar has the same notes on different strings. Consequently, guitar players often double notes in chord, so increasing the volume of sound. Doubled notes also changes the chordal timbre: Having different ""string widths, tensions and tunings, the doubled notes reinforce each other, like the doubled strings of a twelve-string guitar add chorusing and depth""."
"12-string guitar's greater number of strings and higher cumulative string tension complicates playing, in both hands. Fretting chords requires greater force, and the width of the neck and the added string tension combine to make soloing and string-bending challenging. The gap between the dual-string courses is usually narrower than that between the single-string courses of a conventional six-string guitar, so more precision is required with the pick or fingertip when not simply strumming chords. Consequently, the instrument is most commonly used for accompaniment, though several players have taken the time to develop the 12-string guitar as a solo instrument. Flat-picking"
"raising the string tension and pitch. However, except for instruments that accommodate extensive string pulling, like the sitar, much less influence on intonation is possible than on unfretted instruments. Since the intonation of most modern western fretted instruments is equal tempered, the ratio of the distances of two consecutive frets to the bridge is formula_1, or approximately 1.059463. Theoretically, the twelfth fret should divide the string in two exact halves. To compensate for the increase in string tension when the string is pressed against the frets, the bridge position is adjusted slightly so the 12th fret plays exactly in tune."
"fingerboard and placed at points that divide the length of string mathematically. The strings' vibrating length is determined when the strings are pressed down behind the frets. Each fret produces a different pitch and each pitch spaced a half-step apart on the 12 tone scale. The ratio of the widths of two consecutive frets is the twelfth root of two (formula_1), whose numeric value is about 1.059463. The twelfth fret divides the string in two exact halves and the 24th fret (if present) divides the string in half yet again. Every twelve frets represents one octave. This arrangement of frets"
"fingerboard easier. On six-string guitars and bass guitars, markers are typically single smallish dots on the fingerboard and on its side that indicate the 3rd, 5th, 7th and 9th frets—and the octaves of those positions higher up the neck. A double dot or some other variation marks the 12th fret and 24th frets. Variations on the standard dot shape can make a guitar more distinctive. Position markers are sometimes made luminescent (through using paint, or illuminated with light emitting diodes) to make them more visible on stage. Position markers are also sometimes repeated on the edge of the fingerboard for"
"Twelve-string guitar The 12-string guitar is a steel-string guitar with 12 strings in six courses, which produces a richer, more ringing tone than a standard six-string guitar. Typically, the strings of the lower four courses are tuned in octaves, with those of the upper two courses tuned in unisons. The gap between the strings within each dual-string course is narrow, and the strings of each course are fretted and plucked as a single unit. The neck is wider, to accommodate the extra strings, and is similar to the width of a classical guitar neck. The sound, particularly on acoustical instruments,"
"hand is stationary and the fingers move, each finger being responsible for one fret. Consequently, three hand-positions (covering frets 1–4, 5–8, and 9–12) partition the fingerboard of classical guitar, which has exactly 12 frets. Only two or three frets are needed for the guitar chords—major, minor, and dominant sevenths—which are emphasized in introductions to guitar-playing and to the fundamentals of music. Each major and minor chord can be played on two successive frets on three successive strings, and therefore each needs only two fingers. Other chords—seconds, fourths, sevenths, and ninths—are played on only three successive frets. For fundamental-chord fingerings, major-thirds"
"also not systematically indicated, but when they are (mostly in the case of the execution of ""barrés"") these are indicated with Roman numerals from the first position I (index finger of the left hand placed on the 1st fret: F-B flat-E flat-A flat-C-F) to the twelfth position XII (the index finger of the left hand placed on the 12th fret: E-A-D-G-B-E; the 12th fret is placed where the body begins) or even higher up to position XIX (the classical guitar most often having 19 frets, with the 19th fret being most often split and not being usable to fret the"
"An advantage or disadvantage, depending on taste, is string resonance audible at several fret positions where a simple relation exists between the length to the fret and the string length behind the bridge (for instance 48:12 = 4:1). At those positions, a high overtone rises in volume. This becomes clearer with an over-driven guitar sound. The overtone might sound odd, but it still has a harmonic relation to the note, so is not out of tune related to the open string. For staccato playing, it can be annoying. Muting the strings behind the bridge with felt or other material solves"
"spaced properly. The strings rest atop the zero fret, which can be (but is not necessarily) higher than the other frets. It is claimed that with a zero fret, the sound of an open string more closely approximates the sound of a fretted string as compared to the open string sound on a guitar with no zero fret. Countering this claim are musicians who feel that a bone or even synthetic nut will enhance the overall tone of the instrument regardless of the string being played open or fretted. Since tone is so subjective, the two claims are likely to"
"solos are more frequently seen with electric players, whereas a few acoustic players, such as Leo Kottke, have adapted fingerstyle techniques to the instrument; players such as Ralph Towner have applied classical playing techniques. Twelve-string guitar The 12-string guitar is a steel-string guitar with 12 strings in six courses, which produces a richer, more ringing tone than a standard six-string guitar. Typically, the strings of the lower four courses are tuned in octaves, with those of the upper two courses tuned in unisons. The gap between the strings within each dual-string course is narrow, and the strings of each course"
"open string. Since the distance between the nut and the 7th fret is about 11 inches, the bridge should be located about 22 inches from the nut. This means the bridge will be located about 60% across the drum head, or 40% before the tail end of the drum head. For more precise location, take a digital tuner and compare the notes produced on each string, first open string, and then stopped at the 7th fret. The bridge position should be slightly adjusted so the note produced is ""spot on"" (but an octave different) at both open string and stopped"
"strings. This is done to simplify fingering. A few guitarists, mostly those using tapping, play without this interval, instead tuning in all fourths; thus on a six-string guitar the top two strings become C and F instead of B and E. Other unusual tunings include all major thirds, all minor thirds, and various other choices. In standard notation, the guitar sounds one octave lower than it is written. This is to avoid switching between treble and bass clef, or using ledger lines or 8vb, since it is very common to play past the 12th fret on the E string (E)"
"strings on the fingerboard, determining the pitch of the fingered note. The right hand plucks or bows the strings to sound the notes. The left hand fingertips stop the strings along their length, determining the pitch of each fingered note. Stopping the string closer to the bridge results in higher-pitched sound, because the vibrating string length has been shortened. In the ""neck"" positions (which use just less than half of the fingerboard, nearest the top of the instrument), the thumb rests on the back of the neck; in ""thumb position"" (a general name for notes on the remainder of the"
"the 3rd, 5th, 7th, 9th fret and 12th fret (the 12th fret being the octave of the open string) and on the octave-up equivalents of the 3rd fret and as many additional positions as an instrument has frets for. Typically, one marker is on the 3rd, 5th, 7th and 9th fret positions and two markers on the 12th fret. The long scale necks on Leo Fender's basses—with a scale length (distance between nut and bridge) of — set the standard for electric basses, although ""short scale"" instruments, such as the Höfner 500/1 ""violin bass"" played by Paul McCartney, and the"
"closely spaced, as well. Their bridges, especially in acoustic guitars, had a larger reinforcement plate for the same reason. Advances in the materials, the design, and the construction techniques used for such guitars that were made following 1970 have rendered most of these accommodations moot in more modern times, and contemporary 12-string guitars are commonly built to the same overt design and scale as their six-string counterparts. The most common tuning, considered standard today, is , moving from lowest (sixth) course to highest (first) course. Lead Belly and some other players have doubled the lowest course two octaves above instead"
"figures 1 to 6 inside circles. The positions (that is where on the fretboard the first finger of the left hand is placed) are also not systematically indicated, but when they are (mostly in the case of the execution of ""barrés"") these are indicated with Roman numerals from the position I (index finger of the left hand placed on the 1st fret: F–B–E–A–C–F) to the position XII (the index finger of the left hand placed on the 12th fret: E–A–D–G–B–E; the 12th fret is placed where the body begins) or higher up to position XIX (the classical guitar most often"
"The top of the instrument's fingerboard range is typically near D, two octaves and a fifth above the open pitch of the G string (G), as shown in the range illustration found at the head of this article. Playing beyond the end of the fingerboard can be accomplished by pulling the string slightly to the side. Double bass symphony parts sometimes indicate that the performer should play harmonics (also called flageolet tones), in which the bassist lightly touches the string–without pressing it onto the fingerboard in the usual fashion–in the location of a note and then plucks or bows the"
"and it is common that the finger pressing the higher note actively plucks the string as it lifts, causing the string to vibrate from the fret that the lower finger is depressing. The lower finger is usually in position and pressing before the procedure begins. Three specific descending slurs exist, (1) the active finger lifts directly up and off the string, (2) the active finger rests against the adjacent string immediately after, and (3) a hybrid of these two in which the finger bumps the adjacent string before lifting off. If these procedures are repeated a few times the result"
"different notes becomes much narrower in high positions, making the notes more challenging to locate and in some cases to distinguish by ear. Secondly, the much shorter sounding length of the string in very high positions is a challenge for the right arm and bow in sounding the instrument effectively. The finer (and more expensive) an instrument, the better able it is to sustain good tone right to the top of the fingerboard, at the highest pitches on the E string. All notes (except those below the open D) can be played on more than one string. This is a"
"requires a careful application of pressure: too much sharps the fretted note, as during a bend, and too little pressure causes fret buzz. As a result, most guitar players use a traditional fingerboard on their instruments. Fretless bowed-string fingerboards are usually scooped lengthwise in a smooth curve, so that if a straight edge is held next to the board parallel to a string, some daylight shows between them, towards the centre of the board. Usually the scoop is slightly greater on the bass side, less on the treble side of the fingerboard. Different string materials or different styles of playing"
"of the instrument unite into a single course to form a doubled-string which is tuned to a unison that is lifted slightly from the bridge. This is where all melodic playing takes place. The rest are sympathetic strings numbering from 4 to 6 which are tuned to the octave, fifth and/or fourth of the main doubled-string. Due to the special nature of the instrument, the neck behaves as though it was unfretted despite the ordinary placement of numerous frets (anywhere from 24 to 34 or more to the octave). That is to say, the fingers can press down on unfretted"
"guitar has five courses, with the bottom four always double strung, and the top string (the ""chanterelle"") either double or single. There are also several patterns of modern ten-string guitar but all have ten single strings, played individually. The twelve-string guitar has twelve strings, in six courses. The courses are most often tuned E-A-D-G-B-E, similarly to a six-string guitar; however, older instruments were often tuned one tone lower D-G-C-F-A-D to reduce the tension on the neck, and commonly played with a capo on fret 2. The lowest three courses (E-A-D) are normally tuned at octaves, with the primary string uppermost"
"the pitch of the note slightly by deliberately bending the neck forcibly with the fretting arm is a technique occasionally used, particularly in the blues genre and those derived from it, such as rock and roll. The shape of the neck's cross-section can also vary from a gentle curve to a more pronounced ""V"" shape. (The fretboard is typically gently rounded across its width.) Marker dots (see Inlay (guitar)) on the face of the fretboard are usually placed at frets 3, 5, 7, 9, 12 (double dot to indicate the octave), 15, 17, 19, 21, 24 (double dot to indicate"
"is fuller and more harmonically resonant than six-string instruments. Structurally, 12-string guitars, especially those built before 1970 (see below), differ from six-string guitars in these ways: Twelve-string guitars are made in both acoustic and electric forms. However, the acoustic type is most common. The double ranks of strings of the 12-string guitar produce a shimmering effect, because even the strings tuned to unisons can never vibrate with precise simultaneity—that is, they vibrate out of phase. The result to the ear is a sound that seems to ""shimmer"", which some describe as resembling strings that are slightly detuned. The interference between"
"intonation and playability. Some guitar makers like American Thomas Humphrey (who patented such a system in US patent 4,873,909),Italian guitarmaker Renato Barone Frenchman Antoine Pappalardo and the Canadian Fritz Mueller make Elevated fingerboard guitars. The primary advantage is to improve left hand playability on the upper frets, although the increased distance between the strings and the top is also advantageous for the right hand. The elevated fingerboard is visually unobtrusive from the front, and the instrument retains its traditional appearance. Some guitar makers like the French Antoine Pappalardo make a Curved fingerboard to improve the playability. High frets facilitate vibrato"
"the other eleven major-chords. Flattening this open tuning's open-note E to E changes the open chord from C-major to C-minor, so producing the cross-note tuning <score vorbis=""1""> { \clef ""treble_8"" \time 3/4 <c, c g c' ees' g'>2. <c, >4 <c >4 <g >4 <c' >4 <ees' >4 <g' >4 <c, c g c' ees' g'>2. </score> which enables one-finger minor chords. Like other cross-note tunings, it also allows major chords to be fretted with one adjacent finger. Many of the notes from the harmonic sequence for C appear in the new standard tuning (NST), which is used in Guitar"
"play chords accurately. A disadvantage of frets is that they restrict pitches to the temperament defined by the fret positions. A player may still influence intonation, however, by pulling the string to the side to increase string tension and raise the pitch. This technique (commonly called 'bending') is often used by electric guitarists of all genres, and is an important part of sitar playing. On instruments with frets that are thicker off the fingerboard, string tension and pitch vary with finger pressure behind the fret. Sometimes a player can pull the string toward the bridge or nut, thus lowering or"
"the contrary the ""level"" zero fret will have no pitch errors on the fingered notes. This can be demonstrated by measuring the pitch deviation of each single note on the fingerboard. Players who frequently use the lower frets from 0 to 5 will benefit most from a zero fret. Using mainly the upper range of the fingerboard neutralizes the advantage of the zero fret and conventional nuts are equally suited. Those players usually avoid playing first and second fret positions because of the pitch problems there. For beginners a zero fretted guitar is preferable. Most guitars nowadays are manufactured with"
"three strings. This results in the lower fretted strings having no pitches (or no ""chromatic"" pitches) available above the 12th fret, while the higher fretted strings still have higher chromatic pitches available at these half-frets. Nearly all instruments made after 1960, however, have full-length frets all the way up the fretboard. Anton Karas and Ruth Welcome used instruments of similar design to the one illustrated. After World War II, Karas (according to zither scholar Günter Wittenstein, who was acquainted with him) performed on an instrument of larger dimensions than normal – with a 43 cm standard scale length for the"
"many open chords with notes on five or six strings; chords with five-six strings have greater volume than chords with three-four strings and so are useful for acoustic guitars (for example, acoustic-electric guitars without amplification). Intermediate guitarists do not limit themselves to one hand-position, and consequently open chords are only part of their chordal repertoire. In contemporary music, master guitarists ""think diagonally and move up and down the strings""; fluency on the entire fretboard is needed particularly by guitarists playing jazz. According to its inventor, Ralph Patt, major-thirds tuning ""makes the hard things easy and the easy things hard. [...]"