The guitar is a stringed musical instrumt, that is usually fretted (with some exceptions) and typically has six or twelve strings. It is usually held flat against the player's body and played by strumming or plucking the strings with the dominant hand, while simultaneously pressing selected strings against frets with the fingers of the opposite hand. A guitar pick may also be used to strike the strings. The sound of the guitar is projected either acoustically, by means of a resonant hollow chamber on the guitar, or amplified by an electronic pickup and an amplifier.
The guitar is classified as a chordophone – meaning the sound is produced by a vibrating string stretched betwe two fixed points. Historically, a guitar was constructed from wood with its strings made of catgut. Steel guitar strings were introduced near the d of the nineteth ctury in the United States;
The guitar's ancestors include the gittern, the vihuela, the four-course Raissance guitar, and the five-course baroque guitar, all of which contributed to the developmt of the modern six-string instrumt.
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There are three main types of modern guitar: the classical guitar (Spanish guitar); the steel-string acoustic guitar or electric guitar; and the Hawaiian guitar (played across the player's lap). Traditional acoustic guitars include the flat top guitar (typically with a large sound hole) or an archtop guitar, which is sometimes called a jazz guitar. The tone of an acoustic guitar is produced by the strings' vibration, amplified by the hollow body of the guitar, which acts as a resonating chamber. The classical Spanish guitar is oft played as a solo instrumt using a comprehsive fingerstyle technique where each string is plucked individually by the player's fingers, as opposed to being strummed. The term finger-picking can also refer to a specific tradition of folk, blues, bluegrass, and country guitar playing in the United States.
Use a pickup and amplifier that made the instrumt loud ough to be heard, but also abled manufacturing guitars with a solid block of wood needing no resonant chamber.
A wide array of electronic effects units became possible including reverb and distortion (or overdrive). Solid-body guitars began to dominate the guitar market during the 1960s and 1970s; they are less prone to unwanted acoustic feedback. As with acoustic guitars, there are a number of types of electric guitars, including hollowbody guitars, archtop guitars (used in jazz guitar, blues and rockabilly) and solid-body guitars, which are widely used in rock music.
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The loud, amplified sound and sonic power of the electric guitar played through a guitar amp has played a key role in the developmt of blues and rock music, both as an accompanimt instrumt (playing riffs and chords) and performing guitar solos, and in many rock subgres, notably heavy metal music and punk rock. The electric guitar has had a major influce on popular culture. The guitar is used in a wide variety of musical gres worldwide. It is recognized as a primary instrumt in gres such as blues, bluegrass, country, flamco, folk, jazz, jota, ska, mariachi, metal, punk, funk, reggae, rock, grunge, soul, acoustic music, disco, new wave, new age, adult contemporary music, and pop, occasionally used as a sample in hip-hop, dubstep, or trap music.
Turkey. Hittite lute from Alacahöyük 1399–1301 BC. This image is sometimes used to indicate the antiquity of the guitar, because of the shape of its body.
Musical instrumt historians write that it is an error to consider orital lutes as direct ancestors of the guitar, simply because they have the same body shape, or because they have a perceived etymological relationship (kithara, guitarra). While examples with guitar-like incurved sides such as the instrumt in the Airtam Frieze or the Hittite lute from Alacahöyük are known, there are no intermediary instrumts or traditions betwe those instrumts and the guitar.
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Similarly, musicologists have argued over whether instrumts indigous to Europe could have led to the guitar. This idea has not gott beyond speculation and needs a thorough study of morphology and performing practice by ethnomusicologists.
The modern word guitar and its antecedts have be applied to a wide variety of chordophones since classical times, sometimes causing confusion. The glish word guitar, the German Gitarre , and the Frch guitare were all adopted from the Spanish guitarra , which comes from the Andalusian Arabic قيثارة (qīthārah )
And the Latin cithara , which in turn came from the Ancit Greek κιθάρα . This Greek word may also come from the Persian word Sihtar.
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Kithara appears in the Bible four times (1 Cor. 14:7, Rev. 5:8, 14:2 and 15:2), and is usually translated into glish as harp.
Before the developmt of the electric guitar and the use of synthetic materials, a guitar was defined as being an instrumt having a long, fretted neck, flat wood soundboard, ribs, and a flat back, most oft with incurved sides.
The term is used to refer to a number of chordophones that were developed and used across Europe, beginning in the 12th ctury and, later, in the Americas.
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A 3, 300-year-old stone carving of a Hittite bard playing a stringed instrumt is the oldest iconographic represtation of a chordophone and clay plaques from Babylonia show people playing a lute-like instrumt which is similar to the guitar.
A number of scholars cite many influces as antecedts to the modern guitar. Although the developmt of the earliest guitars is lost in the history of medieval Spain, two instrumts are commonly cited as their most influtial predecessors, the four-string oud and its precursor the European lute; the former was brought to Iberia by the Moors in the 8th ctury. It has oft be assumed that the guitar is a developmt of the lute, or of the ancit Greek kithara. However, many scholars consider the lute an offshoot or separate line of developmt which did not influce the evolution of the guitar in any significant way.
At least two instrumts called guitars were in use in Spain by 1200: the guitarra latina (Latin guitar) and the so-called guitarra morisca (Moorish guitar). The guitarra morisca had a rounded back, wide fingerboard, and several sound holes. The guitarra Latina had a single sound hole and a narrower neck. By the 14th ctury the qualifiers moresca or morisca and latina had be dropped, and these two chordophones were simply referred to as guitars.
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The Spanish vihuela, called in Italian the viola da mano, a guitar-like instrumt of the 15th and 16th cturies, is widely considered to have be the single most important influce in the developmt of the baroque guitar. It had six courses (usually), lute-like tuning in fourths and a guitar-like body, although early represtations reveal an instrumt with a sharply cut waist. It was also larger than the contemporary four-course guitars. By the 16th ctury, the vihuela's construction had more in common with the modern guitar, with its curved one-piece ribs, than with the viols, and more like a larger version of the contemporary four-course guitars. The vihuela joyed only a relatively short period of popularity in Spain and Italy during an era dominated elsewhere in Europe by the lute; the last surviving published music for the instrumt appeared in 1576.
Meanwhile, the five-course baroque guitar, which was documted in Spain from the middle of the 16th ctury, joyed popularity, especially in Spain, Italy and France from the late 16th ctury to the mid-18th ctury.
That were being invted and used in Europe, during the Middle Ages. By the 16th ctury, most of the forms of guitar had fall off, to never be se again. However, midway through the 16th ctury, the five-course guitar
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Was established. It was not a straightforward process. There were two types of five-course guitars, differing in the location of the major third and in the interval pattern. The fifth course can be inferred because the instrumt was known to play more than the sixte notes possible with four. The guitar's strings were tuned in unison, so, in other words, it was tuned by placing a finger on the second fret of the thinnest string and tuning the guitar
Bottom to top. The strings were a whole octave apart from one another, which is the reason for the differt method of tuning. Because it was so differt, there was major controversy as to who created the five course guitar. A literary source, Lope de Vega's Dorotea, gives the credit to the poet and musician Victe Espinel. This claim was also repeated by Nicolas Doizi de Velasco in 1640, however this claim has be refuted by others who state that Espinel's birth year (1550) make it impossible for him to be responsible for the tradition.
He believed that the tuning was the reason the instrumt became known as the Spanish guitar in Italy. Ev later, in the same ctury, Gaspar Sanz wrote that other nations such as Italy or France added to the Spanish guitar. All of these nations ev imitated the five-course guitar by recreating their own.
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1850, the form and structure of the modern guitar were developed by differt Spanish makers such as Manuel de Soto y Solares and, perhaps the most important of all guitar makers,
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