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A fret is any of the thin strips of material, usually metal wire, inserted laterally at specific positions along the neck or fretboard of a stringed instrumt. Frets usually extd across the full width of the neck. On some historical instrumts and non-European instrumts, frets are made of pieces of string tied around the neck.
Frets divide the neck into fixed segmts at intervals related to a musical framework. On instrumts such as guitars, each fret represts one semitone in the standard western system, in which one octave is divided into twelve semitones. Fret is oft used as a verb, meaning simply to press down the string behind a fret. Fretting oft refers to the frets and/or their system of placemt.
Defretting A Bass Guitar
Pressing the string against the fret reduces the vibrating lgth of the string to that betwe the bridge and the next fret betwe the fretting finger and the bridge. This is damped if the string were stopped with the soft fingertip on a fretless fingerboard.
Frets make it much easier for a player to achieve an acceptable standard of intonation since the frets determine the positions for the correct notes. Furthermore, a fretted fingerboard makes it easier to play chords accurately.
A disadvantage of frets is that they restrict pitches to the temperamt defined by the fret positions. A player may still influce intonation, however, by pulling the string to the side to increase string tsion and raise the pitch. This technique (commonly called bding) is oft used by electric guitarists of all gres, and is an important part of sitar playing. On instrumts with frets that are thicker off the fingerboard, string tsion and pitch vary with finger pressure behind the fret. Sometimes a player can pull the string toward the bridge or nut, thus lowering or raising the string tsion and pitch. However, except for instrumts that accommodate extsive string pulling, like the sitar, much less influce on intonation is possible than on unfretted instrumts.
Loose Frets On Your Guitar?
Since the intonation of most modern western fretted instrumts is equal tempered, the ratio of the distances of two consecutive frets to the bridge is 2 12 ]}} (the twelfth root of two), or approximately 1.059463.
Theoretically, the twelfth fret should divide the string in two exact halves. To compsate for the increase in string tsion wh the string is pressed against the frets, the bridge position is adjusted slightly so the 12th fret plays exactly in tune.
Many instrumts' frets are not spaced according to the semitones of equal temperamt, examples: Appalachian dulcimer (with frets in a diatonic scale), the Turkish Saz (with frets spaced according to the Makam system of Turkish folk music), the Arabic buzuq (with frets spaced according to the Arabic maqam system), and the Persian setar and tar (with frets spaced according to the Persian Dastgah system), and the Turkish tanbur (with as many as 5 frets per semitone, to cover all of the commas of the Turkish Makam system).
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Fan frets (also fanned frets, slanted frets), or multi-scale: while frets are gerally perpdicular to the instrumt's neck cterline and parallel to each other, on a fanned fretboard, the frets are angled (spread like a fan) with only one cter fret perpdicular to the neck's cterline. This gives the lower-pitched strings more lgth and the higher strings shorter lgth (comparable to a piano or a harp where heavier strings have differt lgths). The idea is to give more accurate tuning and deeper bass. Some think that fanned frets might be more ergonomic. Fanned frets first appeared on the 16th-ctury Orpharion, a variant of the cittern, tuned like a lute. John Starrett revived the idea in the late sevties on his innovative instrumt, the Starrboard. Rickbacker employed a slanted fret, but it was not multi scale, or fanned. Novax Guitars among others offers such guitars today. The appearance of angled frets on these modern instrumts belies the antiquity of this technique.
Scalloped fretboard: Scalloping involves removing some of the wood betwe some or all of the fret. This is intded to allow a lighter touch for more precise fingering, while easing bds or vibratos (since there's no contact betwe the fingertips and the wood surface of the fingerboard). It has some popularity with musicians playing heavy metal music, although the concept can also be se in ancit instrumts such as the sitar. Scalloped fretboards have not found widespread popularity because tonally accurate play requires a much lighter fretting hand than most guitarists can achieve, and oft significantly heavier strings as well.
Fat frets: on older guitars (especially the Fder Stratocaster), frets were typically made out of thin wire, and some electric guitar players replaced that with thicker wire, for fat frets or jumbo frets. Fat frets make bding easier, and they change the feel of the guitar. As well, large frets, offering more metal, remain playable much longer than thin frets. A side effect of a thicker fret is a less precise note, since the string is held over a wider surface, causing a slight inaccuracy of pitch, which increases in significance as frets wear.
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It is also possible to find semi-fretted instrumts; examples include the Malagasy kabosy and the Afghan Rubab. Semi-fretted versions of guitars and other fretted string instrumts, however, are usually one-off, custom adaptations made for players who want to combine elemts of both types of sound. One arrangemt is for the frets to extd only part of the way along the neck so that the higher notes can be played with the smooth expression possible with a fretless fingerboard. Another approach is the use of frets that extd only partway across the fretboard so that some courses of strings are fretted and others fretless, for example Ryszard Latecki's Latar.
Instrumts with straight frets like guitars require a special compsation on the saddle and nut. Every time a string is fretted it is also stretched, and as it stretches the string rises in pitch, making all fretted tones sound sharp. Wh the saddle is positioned properly, however, the fretted tones all sound sharp to the same degree as long as the distances betwe the frets are correct. With the right nut compsation, the pitch of the unfretted string can be raised by the same amount. As a result, wh the tsion of the strings is lowered, the pitches of all notes, both fretted and unfretted, become correct.
On instrumts equipped with steel strings, such as folk guitars and electric guitars, frets are evtually bound to wear down as the strings cut grooves into them. Wh this happs, the instrumt may need refretting (the frets are removed and replaced) or, in less severe cases, fret dressing (the frets are leveled, polished, and possibly recrowned). Oft, a few fret dressings can be performed on a guitar before it requires complete refretting.
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Fret buzz is one of the many undesirable phoma that can occur on a guitar or similar stringed instrumt. Fret buzz occurs wh the vibrating part of one or more strings physically strikes the frets that are higher than the fretted note (or op note). This causes a buzzing sound on the guitar that can range from a small annoyance, to severe ough to damp the note and greatly reduce sustain. Sometimes, fret buzz can be so minimal that there is only a small change in the tone (timbre) of the note, without any noticeable buzzing. Fret buzz can be caused by differt things:
Fret buzz is evidt in some famous recordings; an example is Frids by Led Zeppelin (although this example is undoubtedly caused by alternate op tunings that reduce string tsion).
In some songs, such as My Last Serade by Killswitch gage, the guitars are tuned to Dropped C and the low tsion of the strings is used to create fret buzz by the bass player in order to create a dirty sound.
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1310 C.E. Angel holding a citole. There are frets drawn over the body of the instrumt, where it is unlikely that gut frets could be placed.
It is not known wh frets were first used. An early example from about the 3rd ctury C.E. was discovered in 1907 in the Niya ruins in Xinjiang, China, a brok lute's neck with two gut frets intact.
The neck and pegbox of the lute are similar to the lute painted on the wall in the Dingjiazha Tomb No. 5 (384–441 A.D.
Fret Wear: How?
), which also has frets. Buddhist artworks from the 6th-10th cturies C.E. in the Mogao Caves (558-907 C.E.) and Yulin Caves (618-907 C.E.) appear to have frets. Some long lutes in the Utrecht Psalter (
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