Professional Documents
Culture Documents
History
Gitterns, a small plucked guitar were the first small guitar-like instruments
created during the Middle Ages with a round back like that of a lute.[1]
Modern guitar shaped instruments were not seen until the Renaissance era
where the body and size began to take a guitar-like shape.
The earliest string instruments that related to the guitar and its structure
where broadly known as the vihuelas within Spanish musical culture.
Vihuelas where string instruments that were commonly seen in the 16th
century during the Renaissance. Later, Spanish writers distinguished these
instruments into 2 categories of vihuelas. The vihuela de arco was an
instrument that mimicked the violin, and the vihuela de penola was played
with a plectrum or by hand. When it was played by hand it was known as the
vihuela de mano. Vihuela de mano shared extreme similarities with the
Renaissance guitar as it used hand movement at the sound hole or sound
chamber of the instrument to create music.[2]
The real production of guitars kicked off in France where the popularity and
production first began increasing with large quantities. Spain became the
homeland of the guitar but there's very little information on the early makers
there, unlike France, where many inventors and artists first began
overproducing these instruments and their music. The production became so
large that early famous creators such as Gaspard Duyffooprucgar's (http://w
ww.si.edu/encyclopedia_si/nmah/violduif.htm) (a string instrument maker)
instruments were being sold as copies by other guitar makers in Lyon.
Benoist Lejeune, a guitar maker, offered and sold guitar copies of
Duyffoprucgar's instruments and was later imprisoned for using his mark and
work. During this time, the production was increasing tremendously but it
was not until Robert and Claude Denis appeared overproducing the early
Renaissance guitar in Paris, France. As father and son, Robert and Claude
produced hundreds of guitars that increased the popularity of the instrument
greatly. Because of them and the great many guitar inventors of this time, the
word guiterne gradually shifted to guitarre during the sixteenth and
seventeenth centuries.[3]
Acoustic properties
The acoustic guitar's soundboard,
or top, also has a strong effect on
the loudness of the guitar. Woods
that are good at transmitting
sound, like spruce, are commonly
used for the soundboard.[5] No
amplification actually occurs in
this process, because no external
energy is added to increase the
Basic anatomy of an acoustic guitar.
loudness of the sound (as would
be the case with an electronic
amplifier). All the energy is provided by the plucking of the string. But
without a soundboard, the string would just "cut" through the air without
actually moving it much. The soundboard increases the surface of the
vibrating area in a process called mechanical impedance matching. The
soundboard can move the air much more easily than the string alone, because
it is large and flat. This increases the entire system's energy transfer
efficiency, and a much louder sound is emitted.
All these complex air coupling interactions, and the resonant properties of the
panels themselves, are a key reason that different guitars have different tonal
qualities. The sound is a complex mixture of harmonics that give the guitar its
distinctive sound.
Amplification
Classical gut-string guitars had little projection,
and so were unable to displace banjos until
innovations increased their volume.
The most common type of pickups used for acoustic guitar amplification are
piezo and magnetic pickups. Piezo pickups are generally mounted under the
bridge saddle of the acoustic guitar and can be plugged into a mixer or
amplifier. A Piezo pickup made by Baldwin was incorporated in the body of
Ovation guitars, rather than attached by drilling through the body;[11] the
combination of the Piezo pickup and parabolic ("roundback") body helped
Ovation succeed in the market during the 1970s.[10]
Types
Historical and modern acoustic guitars are extremely varied in their design
and construction, far more so than electric guitars. Some of the most
important varieties are the classical guitar (nylon-stringed), steel-string
acoustic guitar and lap steel guitar.
Vihuela
Gittern
Baroque guitar
Romantic guitar
Classical guitar, the modern version
of the original guitar, including
additional strings models
Flamenco guitar
Russian/Gypsy guitar
Lute
Steel stringed guitars:
Harp guitar
Pikasso guitar (a variant of harp
guitar)
Contraguitar (Viennese variant of harp
guitar) Gibson L-3 archtop.
Acoustic bass guitar
Banjo guitar
Body shape
Common body shapes for modern acoustic guitars, from smallest to largest:
Range The smallest body
shape, also considered a "mini
jumbo", is three-quarters the size
of a jumbo shaped guitar. A range
shape typically has a rounded
back which provides projection
Common guitar body shapes: A.
and volume for the smaller
Range B. Parlor C. Grand Concert
body.[12] The smaller body and D. Auditorium E. Dreadnought F.
scale length make the range guitar Jumbo
an option for players who struggle
with larger body guitars.
Parlor Parlor guitars have small compact bodies and have been described
as punchy sounding with a delicate tone.[13] The smaller body makes the
parlor a more comfortable option for players who find large body guitars
uncomfortable.
Grand Concert This mid-sized body shape is not as deep as other full-size
guitars, but has a full waist. Because of the smaller body, grand concert
guitars have a more controlled overtone[14] and are often used for its sound
projection when recording.
Dreadnought This is the classic guitar body shape. Used for over 100
years, it is still the most popular body style for acoustic guitars.[16] The body is
large and the waist of the guitar is not as pronounced as the auditorium and
grand concert bodies. This allows mid-range frequencies to stand out, helping
the guitar cut through an ensemble of instruments.
Jumbo The largest standard guitar body shape found on acoustic guitars.
The large body provides more punch and volume,[17] while accenting the
boomy low end of the guitar.
Gallery
Folk/country Resonator
Battente Lyre-guitar
Pikasso Hawaiian (c. 1920)
References
1. "Gittern" (http://www.medieval-life-and-times.info/medieval-music/gittern.
htm). www.medieval-life-and-times.info. Retrieved 2015-10-07.
2. Grunfeld, Frederic (1971). The Art and Times of the Guitar. 866 Third
Avenue, New York: Macmillan Company. pp. 6163.
3. Turnbull, Harvey (1978). The Guitar from the Renaissance to the Present
Day. New York: Charles Scribners Sons. pp. 1819.
4. Tyler, James (2002). The Guitar and its Music. United Kingdom: Oxford
University Press. pp. 229231. ISBN 978 0 19 921477 8.
5. "The Physics of the Acoustic Guitar - Body" (http://ffden-2.phys.uaf.edu/2
11.web.stuff/billington/body.html). Retrieved 2017-09-27.
6. "Helmholtz Resonance" (http://newt.phys.unsw.edu.au/jw/Helmholtz.htm
l). newt.phys.unsw.edu.au. Retrieved 31 August 2015.
7. "How does a guitar work?" (http://newt.phys.unsw.edu.au/music/guitar/gu
itarintro.html). newt.phys.unsw.edu.au. Retrieved 11 August 2015.
8. Carter (1996, p. 127)
9. Denyer (1992), pp. 4445
10. Denyer (1992, p. 48)
11. Carter (1996, pp. 4852)
12. "Teton Range Guitars Demo - Home on the Range - Teton Guitars" (htt
ps://tetonguitars.com/teton-range-guitars-demo-home-on-the-range/).
2015-11-20. Retrieved 2016-08-29.
13. "Parlor Pickin: The 2015 Guide to Buying a Parlor Guitar" (http://acoustic
guitar.com/parlor-pickin-the-2015-guide-to-buying-a-parlor-guitar/).
Acoustic Guitar. Retrieved 2016-02-16.
14. "Grand Concert" (https://www.taylorguitars.com/guitars/acoustic/features/
shapes/grand-concert). Taylor Guitars. Retrieved 2016-02-16.
15. "Auditorium Body Shape Overview" (http://breedlovemusic.com/guitars/s
hapes/auditorium). breedlovemusic.com. Retrieved 2016-02-16.
16. "Dreadnought | Fender Acoustic Guitars" (http://www.fender.com/acoustic
s/dreadnought/). www.fender.com. Retrieved 2016-02-16.
17. LTD., BubbleUp,. "Products by Body Type" (http://www.takamine.com/Ju
mbo-Body). Takamine Guitars. Retrieved 2016-02-16.
Further reading
Carter, Walter (1996). Eiche, Jon, ed. The history of the Ovation guitar.
Musical Instruments Series (first ed.). Milwaukee, Wisconsin:
Hal Leonard Corporation. pp. 1128. HL00330187; ISBN 978-0-7935-
5876-6; ISBN 0-7935-5876-X (softcover); ISBN 0-7935-5948-0
(hardcover).
Denyer, Ralph (1992). The guitar handbook. Special contributors
Isaac Guillory and Alastair M. Crawford; Foreword by Robert Fripp (Fully
revised and updated ed.). London and Sydney: Pan Books. ISBN 0-330-
32750-X.
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