"Octave twelve An octave twelve is a type of 12-string guitar fitted with a short-scale neck and a small solid body. It is tuned one octave higher than a standard guitar giving it the tonal range of a mandolin and enabling a guitarist to achieve a mandolin sound without learning mandolin fingering. The effect is similar to that of capoing a standard 12-string guitar at its twelfth fret. However, unlike a standard 12-string guitar, the courses of strings tuned in unison, rather than in octaves. The octave twelve was invented by engineers at Vox, which sold the octave twelve as"
"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"
"the second octave). It's also common that there are marker dots on the ""upper"" side of the neck, near the edge of the fretboard, where the player can easily see which fret he or she is on. Sometimes the dots are replaced with bars, the octave positions having a wider bar. Classical guitars almost never feature position markers, especially on the fretboard's face, whereas electric guitars usually do. This is due to several factors: 1) Electric guitars do not rely on a resonating body chamber to produce sound and therefore the inert bodywood may be carved more deeply to allow"
"frets, which 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. The exceptions include fretless bass guitars and very rare fretless guitars. 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 and 24 frets, although guitars have been made with as many as 27 frets."
"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"
"also varies widely, from as few as 17 to as many as 24 frets: 18 or 19 frets is typical. From the mid-20th century on, a number of makers have produced octave mandolins with guitar-shaped (e.g., the ""hourglass"" or ""figure-8"") bodies. These instruments are typically constructed essentially like acoustic guitars, with similar woods and internal bracing. the neck, however, is much narrower, and supports the mandolin string layout, rather than the traditional 6-strings of the guitar. As with the mandolin and mandola, the octave mandolin has four courses of two strings each. The two strings in each course are tuned"
"with an instrument length of . Full-size instruments are sometimes referred to as 4/4, while the smaller sizes are 3/4, 1/2 or 1/4. These sizes are not absolute, as luthiers may choose variations around these nominal scale-lengths; Guitars can be described in size from largest to smallest as: – Contra or Octave bass; – Bass baritone or Quint bass; – Prime or Quart bass; – Terz treble; – Alto Requinto; – Quart; – Quint; – Soprano, Octave or Piccolo. A variety of different tunings are used. The most common by far, which one could call the ""standard tuning"" is: The"
"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"
"a standardized tuning system (see page). Standard tunings in plucked string instruments cover many different instruments which are plucked either by the fingers or with a plectrum. Guitars and bass guitars have more standard tunings, depending on the number of strings an instrument has: Guitar notation is an octave above the actual note, so Middle C (C) in guitar notation is the third space on the treble clef, whereas the note written as one line below the treble clef is C. Guitars are thus normally tuned in fourths, with the exception of a major third between the 2nd and 3rd"
"shown with courses separated by bullet characters (•). Pitch: Unless otherwise noted, contemporary western standard pitch (A4 = 440 Hz) and 12-tone equal temperament are assumed. Octaves are given in scientific pitch notation, with Middle C written as ""C4"". (The 'A' above Middle C would then be written as ""A4""; the next higher octave begins on ""C5""; the next lower octave on ""C3""; etc.) Because stringed instruments are easily re-tuned, the concept of a ""standard tuning"" is somewhat flexible. Some instruments: Where more than one common tuning exists, the most common is given first and labeled ""Standard"" or ""Standard/common"". Other"
"positions. Instruments with between 24 and 36 frets (2 and 3 octaves) also exist. Instruments with more frets are used by bassists who play bass solos, as more frets gives them additional upper range notes. When a bass has a large number of frets, such as a 36 fret instrument, the bass may have a deeper ""cutaway"" to enable the performer to reach the higher pitches. Like electric guitars, fretted basses typically have markers on the fingerboard and on the side of the neck to assist the player in determining where notes and important harmonic points are. The markers indicate"
"(just under 21 inches), and the neck joins the body at the 12th fret. There are 12 strings, grouped in four tripled courses. Traditional tuning from lowest to highest course is C E A D, although many modern players tune the instrument like the upper four strings of the modern guitar: D G B E. The outer two strings of each of the three lowest triple courses is tuned an octave higher than the middle string in the course (giving C4 C3 C4 • E4 E3 E4 • A4 A3 A4 • D4 D4 D4 in traditional tuning, or D4"
"half,"" ""6½"" or ""6+"" fret a half step below the octave. This enables one to play in the Ionian mode when tuned to D3-A3-D4 (the traditional tuning for the Mixolydian mode), where the scale starts on the open (unfretted) string. This arrangement is often found to be more conducive to chord-melody play. It also became common to add a fret one octave up from the 6+ fret, called the ""13+"" fret, and by the late 1970s these additional frets had become standard. Eventually, some builders began to offer further additional frets at the ""1+"" and ""8+"" positions or (as an"
"below the mandola), and is equivalent to that of the tenor violin: The average range, therefore, is about three-and-a-half octaves, with the exact range depending on the number of frets on the individual instrument: from about one and one-third octaves below middle C up to A#5/Bb5, in the octave above middle C, (with 18 frets), to as high as E6, with 24 frets. Octave mandolins are sometimes used in mandolin orchestras in place of mandolas. The mandolinists thus avoid learning to read music on the alto clef; music for the octave mandolin is usually written on the more familiar treble"
"Currently, the most common tuning fork sounds the note of A = 440 Hz, the standard concert pitch that many orchestras use. That A is the pitch of the violin's second string, the first string of the viola, and an octave above the first string of the cello. Orchestras between 1750 and 1820 mostly used A = 423.5 Hz, though there were many forks and many slightly different pitches. Standard tuning forks are available that vibrate at all the pitches within the central octave of the piano, and also other pitches. Well-known tuning fork manufacturers include Ragg and John Walker,"
"markers, a 629mm (24.75"") scale with 22 frets, a truss rod adjuster at the headstock end. It features a string clamp, an arrow-head-shape headstock and a neck that matches the body colour. The guitar has a pair of open-coil humbucking pickups with black bobbins, master volume/TBX tone controls and a 3-way pickup selector, all on body, and a side mounted jack socket. It also has a 2-point System I locking vibrato unit. A less expensive Squier version of the Katana - much more commonly available in the used market - was also made, with a single humbucking pickup, a bolt-on"
"slide switches and later by push-buttons. A single tone and a single volume control served the entire instrument. The original 1953 models had a long scale length, at 26"". From 1954 the scale length was reduced, and two shorter lengths were available, 24.5"" (31 frets)and 22.5"" (29 frets). To determine the guitar's scale count the markers past the 24th fret; there are 2, 3, and 4 markers for the 22.5"", 24.5"", and 26"" guitars respectively. A single neck version was also available, called the Fender Deluxe, in both six and eight string versions. These guitars are not Stringmasters but use"
"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"
"seventh chords—are used in guitar music. ""Minor"" seventh chords have the following fingerings in standard tuning: ""Major"" seventh chords have the following fingerings in standard tuning: In major-thirds (M3) tuning, the chromatic scale is arranged on three consecutive strings in four consecutive frets. This four-fret arrangement facilitates the left-hand technique for classical (Spanish) guitar: For each hand position of four frets, the hand is stationary and the fingers move, each finger being responsible for exactly 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"
"the wood in the neck's radius the same in all fret spaces. Scalloped fingerboards are most commonly used by shred guitarists, most notably, Ritchie Blackmore and Yngwie Malmsteen, who have signature models developed with Fender. Ibanez JEM series guitars, designed and played by Steve Vai, come standard with the last 4 frets scalloped. In 2008 Ibanez made available their E-Gen model, a Herman Li signature, which includes four scalloped frets (21st to 24th). Karl Sanders of the death metal band Nile also uses several guitars with scalloped frets, including several Deans, and KxK Guitars. In the 1970s, English guitarist John"
"while the thumb and index finger pluck the string using a long plectrum. The nodes are the notes of the first seven overtones, or flageolets, similar to guitar harmonics at the string positions above the octave (1/2), the perfect fifth (2/3), the perfect fourth (3/4), the just major third (4/5), the just minor third (5/6) and two tones not present on the Western musical scale: the septimal minor third (7/6) and the septimal whole tone (8/7). With the left hand, the player pushes the flexible rod toward the instrument with the index finger to lower the pitch of the note,"
"17 (""short scale"") or 19 frets, is also typically played with a plectrum. It became a popular instrument after about 1910. Early models used for melodic picking typically had 17 frets on the neck and a scale length of 19 to 21 inches. By the mid-1920s, when the instrument was used primarily for strummed chordal accompaniment, 19-fret necks with a scale length of 21 to 23 inches became standard. The usual tuning is the all-fifths tuning C3 G3 D4 A4, in which exactly seven semitones (a perfect fifth) occur between the open notes of consecutive strings. Other players (particularly in"
"a neck that is very thin in cross-section a wide, flatter than most (430mm/16.9in or 400mm/15.75in radius) double octave (24 fret) fretboard. Flatter radius on fretboards facilitate wider bends and lower string action at the expense of comfort in playing chords. For the virtuosic ""shred"" style of guitar playing or fast, aggressive thrash/speed metal rhythm, this type of neck is often preferred. The fretboards are usually made of maple or rosewood. The body of the RG Series features sleek, offset pointed double cutaways giving better access to the upper frets. Typically the body is made of Basswood or Mahogany, with"
"20th Century. The scale of the octave mandolin is longer than that of the mandolin, and varies more widely, from 19"" (48.4 cm) to 24"" (61.0 cm), with 21"" (53.3 cm) being typical. The internal bracing is similar to the mandolin and mandola, with a single transverse brace on the top just below the oval soundhole. On modern instruments X-bracing is sometimes used. As is typical of the mandolin family, octave mandolins can be found with either a single oval soundhole or a pair of ""F"" soundholes. As with the scale length, the number of frets on an octave mandolin"
"the pair are tuned to the same note. In the two lower-pitched (bass) courses, the pair consists of a thick wound string and a thin string tuned an octave apart. On the bouzouki the lower-pitched string comes first in these courses, the reverse of most other instruments with octave-paired courses (such as the 12-string guitar, charango or bajo sexto). These 'octave strings' add to the fullness of the sound and are used in chords and bass drones (continuous low notes that are played throughout the music). The guitar-like tuning was introduced by composer and soloist Manolis Hiotis, who found it"
"string sets for standard tuning. Major-thirds tunings require less hand-stretching than other tunings, because each M3 tuning packs the octave's twelve notes into four consecutive frets. The major-third intervals allow major chords and minor chords to be played with two–three consecutive fingers on two consecutive frets. Every major-thirds tuning is regular and repetitive, two properties that facilitate learning by beginners and improvisation by advanced guitarists. In major-thirds tuning, the chromatic scale is arranged on three consecutive strings in four consecutive frets. This four-fret arrangement facilitates the left-hand technique for classical (Spanish) guitar: For each hand position of four frets, the"
"guitar string to a flute, will naturally vibrate at a series of distinct frequencies known as normal modes. The lowest normal mode frequency is known as the fundamental frequency, while the higher frequencies are called overtones. Often, when an oscillator is excited — for example, by plucking a guitar string — it will oscillate at several of its modal frequencies at the same time. So when a note is played, this gives the sensation of hearing other frequencies (overtones) above the lowest frequency (the fundamental). Timbre is the quality that gives the listener the ability to distinguish between the sound"
"formula_2, approximately 17.817154, and the quotient taken as the location of the next semitone pitch from the nut of the instrument. The remainder is again divided by 17.817154 to locate the next semitone pitch higher, and so on. For centuries the divisor 18 was used instead; this ""Eighteen Rule"" produced a sort of rough compensation. Actual fret spacing on the fretboard was often done by trial and error method (testing) over the ages. Since the nineteenth century, however, luthiers generally use precision measuring instruments to lay out frets with mathematical accuracy. In many instruments, for example the violin, the scale"
"'negative neck angle' guitar. It combines elements of the concert classical guitar and the viola and mandolin (elevated fretboard). The bridge is torqued from front to back (in the direction of the lay of the strings) and from side to side. Multi-scale fingerboard A multi-scale fingerboard is an instrument fretboard which incorporates multiple scale lengths. The scale length is the vibrating length of the strings. Guitars, including bass guitars, generally employ a single scale length for all of the instrument's strings, though the employed scale length varies significantly between manufacturers (electric guitar scale typically falls between 24"" and 25.5""). This"
"Many guitarists believe that the OM—a combination of Martin's modified 14-fret 000 body shape, long scale (25.4"") neck, solid headstock, 1-3/4"" nut width, 4-1/8"" maximum depth at the endwedge, and 2-3/8"" string spread at the bridge—offers the most versatile combination of features available in a steel-string acoustic guitar. Today, many guitar makers (including many small shops and hand-builders) create instruments modeled on the OM pattern. The change in body shape and longer neck became so popular that Martin made the 14-fret neck standard on almost all of its guitars and the rest of the guitar industry soon followed. Classical guitars,"
"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"
"Pedal harp The pedal harp (also known as the concert harp) is a large and technically modern harp, designed primarily for art music and may be played either solo, as part of a chamber ensemble, or in an orchestra. It typically has a range of six and a half octaves (47 strings), weighs about , is about high, has a depth of , and is wide at the bass end of the soundboard. The notes range from the C three octaves below middle C to three and a half octaves above, usually ending on G. Using octave designations, the range"
"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."