HAL LEONARD

CHORD-MELODY GUITAR, A Guide to Combining Chords and Melody to Create Solo Arrangements in Jazz and Pop Styles. Musicians Institute Bruce Buckingham. SHEET MUSIC BOOK WITH CD 6 GUITAR TABLATURE. 

LIBRO METODO PER CHITARRA CON CD.

SPARTITI PER CHITARRA CON:

ACCORDI, PENTAGRAMMA, TABLATURE. 

Chord-Melody Guitar
A Guide to Combining Chords and Melody to Create Solo Arrangements in Jazz and Pop Styles

Series: Musicians Institute Press
Publisher: Musicians Institute Press
Format: Softcover with CD - TAB
Author: Bruce Buckingham

Master the art of blending melody and harmony on the guitar with this book/CD pack. It includes in-depth studies of chords and chord melodies as well as a CD containing 90 demonstration tracks. Lessons include:
the five patterns;
chord shells;
inversions;
voice leading;
cadences;
diminished chords;
and more.

Inventory #HL 00695646
ISBN: 9780634032110
UPC: 073999956467
Width: 9.0"
Length: 12.0"
64 pages
 

Introduction

The subject of chord melody studies the relationship between a melody and its accompaniment. This can be a difficult thing if the student doesn't have a thorough understanding of the harmonic ideas presented in the tune. The intent of this book is to give the guitarist the tools to understand the interaction between the melody and the chords that support it, by both hearing these relationships and seeing them on the instrument.

When you play the melody to a song, there are certain parts that require some support from the harmony in order to create a complete and effective arrangement. It is up to the performer to realize where these points are and supply the chordal accompaniment. Most of this has to do with realizing how the melody relates to the key and thereby understanding which would be the proper chord for this point in the tune. Of course the composer has supplied that chord, but we may have different ideas from the composer. We also might encounter some melody notes that need special treatment, because they are passing notes that don't work well with the given chord for that measure; these require passing chords or no chord at all. Further complicating things is the idea of style, which can dictate a complete change of accompaniment patterns. We should be aware of stylistic demands and try to adhere to their ideals. Chet Atkins, a great country guitarist, might have a different (yet equally valid) approach from that of Joe Pass, a great jazz guitarist. In either style, an arrangement will be an exercise in resolving problems related to the interaction of harmony and melody. Therefore, students of chord melody should strive to understand harmony as well as looking for arrangements and studying the guitar and various musical styles. Classical guitar study addresses the harmonic issue from the very beginning, but popular styles (jazz, pop, country, etc.) usually don't. It is only the advanced players in those styles that create something for the rest to emulate, when in fact this can be done at any level of complexity. We should try to accomplish "musical" ideas at all costs! One way to open up your sense of melody is to play many different voicings of chords. A voicing of a chord is how the notes are ordered from the bass note up. An example would be a major seventh chord with its notes in this order: C-G-8-E, or possibly C-8-E-G. Notice that by re-ordering the chord tones we get a different note on the top; therefore a melody evolves on the top note of the chord when we move from one voicing to the next. Even if we just change the voicing of the chord once, it sounds as though some movement has occurred. Your daily practice should include technique and rhythm/time, the musical element of arranging (harmonic moves and/or songs), and memorization of repertoire. If you are serious about the harmonic possibilities of the guitar, the study of chord melody can continue for the rest of your life.

Contents

Introduction 

1. An Overall Fretboard View .

The Five Patterns 

Relationship of Chord Tones to Scale Tones .

Common Guitar Voicings .

2. Shells .

II-V-I Moves with Shells .

Blues with Shells .

3. Inversions .

Triads 

Seventh Chords 

4. Harmonized Scales 

5. Chord Scales 

6. Slash Chords 

Upper Structure Triads 

7. Harmonic Moves 

Triadic Harmony 

Seventh Chord Harmony 

8. Voice Leading .

9. Cadences .

10. Moving Lines .

11. Substitution .

Diatonic Substitution .

Flat-Five Substitution .

II for V7sus Substitution .

Melodic Minor Substitution .

12. Diminished Chords .

Dominant-Diminished Substitution .

Diminished Passing Chords .

13. Chordal Interpretation .

14. More Chord Voicings .

About the Author .

BLUES BASS, A GUIDE TO THE ESSENTIAL STYLES AND TECHNIQUES, Including 20 great songs, Ed Friedland. B.B. King, Stevie Ray Vaughan (Tommy Lee Shannon), Muddy Waters, Freddie King, Albert King, The Allman Brothers, Otis Rush, T-Bone Walker, Louis Jordan, e molti altri: Born Under a Bad Sign - Hideaway - Hoochie Coochie Man - Killing Floor - Pride and Joy - Sweet Home Chicago - The Thrill Is Gone e molte altre. CD TABLATURE

LIBRO METODO DI MUSICA BLUES PER BASSO, CON CD

SPARTITI PER BASSO CON : ACCORDI, PENTAGRAMMA E TABLATURE. 

Hal Leonard Bass Method Stylistic Supplement
Series: Bass Method
Softcover with CD - TAB
Author: Ed Friedland

The Hal Leonard Blues Bass Method is your complete guide to learning blues bass. This book and CD package uses classic blues songs and standards to teach you how to lay down your own solid blues bass lines. Learn to play by studying the songs of famous bluesmen such as B.B. King, Stevie Ray Vaughan (Tommy Lee Shannon), Muddy Waters, Freddie King, Albert King, The Allman Brothers, Otis Rush, T-Bone Walker, Louis Jordan, and many more. Learn actual riffs from blues classics including: Born Under a Bad Sign - Hideaway - Hoochie Coochie Man - Killing Floor - Pride and Joy - Sweet Home Chicago - The Thrill Is Gone , and more. 80 pages

Buon metodo per Basso di musica Blues, per imparare e migliorare senza annoiarsi.

It's important to remember the role of the bass in blues. You are the foundation, the pulse, and the glue that holds it together. The lines and information in this book are what you need to know to do the job the way people expect it to be done, but it's still up to you to approach this style with an effective attitude. The blues is not about the bass player being the center of attention (unless you're Singing too). The singer and soloists are the main focus, and it's best for you to leave the glory to them. Where we derive our greatest thrill in blues is the feeling we create when we lock in with the drums and make everyone play better than they ever imagined they could. It's the feeling of the energy coming back to you from the other band members and the audience. It's the satisfaction you get from knowing you played the style authentically and with feeling. Notice the word "feeling" comes up a lot. Well, the blues ain't nothin' but a feelin'-that's right! Ed Friedland has written many well-received instructional books for bass, including the Hal Leonard Electric Bass Method, Second Edition. He wrote for Bass Player Magazine from 1992 to 2005. He is currently Senior Editor of Guitar World's Bass Guitar Magazine. He has taught at Berklee College of Music, Arizona State University, and Boston College, as well as privately since 19S0. He has played with many great artists in jazz, rock, blues, theater, classical, Latin, country, and just about every style. His blues credentials include performances with Robert Junior Lockwood, Mighty Sam McClain, Robben Ford, Linda Hopkins, Johnny Adams, Paul Rishell, Annie Raines, Bruce Katz, Jim Kelly, David Maxwell, and Mike Williams, among others, as well as leading his own group, Lazy Ed & The Stratoloungers.

BASS METHOD

INTRODUCTION

About the CD

Equipment

THE BLUES SCALE

THE 12-BAR BLUES FORM

THE SHUFFLE RHYTHM

TURNAROUNDS

LAYING DOWN THE ROOT

BOX-SHAPE PATIERNS

Dyna Flow

Messin' with the Kid

BOOGIE LINES ..

Big Boss Man – Jimmy Reed

Kidney Stew – Big Joe Turner

SLOW BLUES

Stormy Monday – T-Bone Walker

RHUMBA BLUES

Mardis Gras in New Orleans

Crosscut Saw

INTROS

ENDINGS

STOPS, HITS, AND KICKS

ALTERNATE FORMS

My Babe – Willie Dixon

Key to the Highway – Big Bill Bronzy, Eric Clapton

I Hear You Knockin' – Lazy Lester

BLUES STANDARDS

Hideaway – Freddie King

I'm Tore Down – Freddie King

Born Under a Bad Sign – Albert King

Killing Floor – Howlin Wolf

Pride and Joy – Tommy Lee Shannon bassista di Stevie Ray Vaughan

Hoochie Coochie Man – Muddy Waters

The Thrill Is Gone - B.B. King

All Your love (I Miss loving) -Otis Rush

Farther up the Road

Sweet Home Chicago

THOUGHTS ON BLUES BASS PLAYING

ABOUT THE AUTHOR

BEST LATIN SONGS, Finger Style Guitar. TABLATURE

LIBRO DI MUSICA LATINA.

SPARTITI PER VOCE E CHITARRA FINGERSTYLE.

ACCORDI, PENTAGRAMMA, TABLATURE.

Composer: Various Composers

17 great songs arranged for fingerstyle guitar: Bésame Mucho - Frenesí - The Girl from Ipanema - Granada - How Insensitive - Inolvidable - Malagueña - Perfidia - Summer Samba (So Nice) - Tico Tico - What a Diff'rence a Day Made - You Belong to My Heart - more.

64 pages

Inolvidable - composed by Julio Gutierrez - 1944
Always In My Heart (Siempre En Mi Corazon) - composed by Ernesto Lecuona - 1942
Besame Mucho (Kiss Me Much) - composed by Consuelo Velazquez - 1941
A Day In The Life Of A Fool (Manha De Carnaval) - composed by Luiz Bonfa - 1966
El Cumbanchero - composed by Raphael Hernandez - 1943
Frenesi  - composed by Alberto Dominguez  - 1939
The Girl From Ipanema (Garota De Ipanema) - composed by Antonio Carlos Jobim - 1963
Granada - composed by Agustin Lara - 1932
How Insensitive (Insensatez) - composed by Antonio Carlos Jobim - 1963
It's Impossible (Somos Novios) - composed (English lyric) by Sid Wayne, Armando Manzanero - 1968
Malaguena - from the Spanish Suite "Andalucia" - composed by Ernesto Lecuona - 1928
Perfidia - composed by Alberto Dominguez - 1939
The Gift! (Recado Bossa Nova) - composed by Djalma Ferreira - 1959
So Nice (Summer Samba) - composed by Marcos Valle and Paulo Sergio Valle - 1965
You Belong To My Heart (Solamente Una Vez) - composed by Agustin Lara - 1941
Tico Tico (Tico No Fuba) - composed by: Zequinha Abreu, Aloysio Oliveira, Ervin Drake - 1943
What A Diff'rence A Day Made - composed by Maria Grever - 1934

THE BASS HANDBOOK, A Complete Guide for Mastering the Bass Guitar. Adrian Ashton. CD TABLATURE

The Bass Handbook A Complete Guide for Mastering the Bass Guitar
Series: Book
Publisher: Backbeat Books
Format: Softcover with CD
Author: Adrian Ashton

EVERYTHING YOU NEED TO KNOW ABOUT THE ELECTRIC BASS

LEARN TO PLAY - FROM THE BASICS TO ADVANCED MUSICIANSHIP

GET TO KNOW THE HISTORY OF THE BASS AND ITS GREATEST PLAYERS

UNDERSTAND AMPS, SPEAKERS, STRINGS, PICKUPS, AND CABLES

DISCOVER HOW TO BUY A GOOD BASS AND MAINTAIN IT PROPERLY

ACCOMPANYING CD INCLUDES 80 TRACKS OF EXERCISES AND EXAMPLES

BOOK DESIGNED TO OPEN FLAT FOR EASE OF USE

This indispensable handbook helps players of all levels produce better, more creative, and more varied bass lines. Divided into two sections – Playing Your Bass and Knowing Your Bass – it covers everything from tuning, reading music, scales and chords, and advanced techniques to tips on buying and upgrading a budget bass and troubleshooting. Along with a list of suggested listening and a reference guide, this book provides an unrivaled digest of bass information that might otherwise take an entire career to amass.

Inventory #HL 00331295
ISBN: 9780879308728
UPC: 073999936247
Publisher Code: 0879308729
Width: 9.0"
Length: 11.0"
256 pages

The world of the electric bass guitar; what a wonderful place to be. It means so many things to so many people, myself included. Firstly,it is,as Jethro Tull bassist Jonathan Noyce put it,"our secret weapon". Why secret? Many people forget that the bass can carry the rhythm and the melody, something rare amongst musical instruments. Furthermore it can influence the harmony, whether the other harmonious voices like it or not. So, like all weapons, it needs to be handled with care. Then there's the image; electric bass is so adaptable. Bassists can be shy and retiring. using their skill and musical delicacy to drive a band forward with purpose. With a wry smile and a deep inward glow you can be crucial to the success of a musical act, and noone else need know. Bassists like Led Zeppelin's John Paul Jones or The Who's John Entwistle spring to mind; magicians of the electric bass, they conjured up electrifying basslines but with very few stage moves. Entwistle decided to sport all-white suits just so someone would notice him on the stage alongside Pete Townshend's windmill guitar strums and Roger Daltrey's flying microphones. Bassists can be shrinking violets, whereas singers and lead guitarists can not. But bass players can also take centre stage. Flea, for instance, is equal in stage presence to any of his fellow Chili Peppers. Virtuoso bassist Victor Wooten has been known to throw in a back-flip during breathtaking live-performance displays of fluid bass soloing. Or you can command the arena by adding some vocals to your bass work: Sting, Jack Bruce, Paul McCartney anyone? Then there's the gear. Let's get the downside out of the way To go really deep on the bass we need strings, instruments and amplification that tend to be a little more expensive and bulky than the gear of most other instrumentalists. This is an acceptable situation, given the advantages, and even this downside has created interesting bass-related adventures. For a start, bass players tend to have bigger ears and wider eyes when it comes to new ideas and creations. Graphite basses, neodymium speakers and extended range instruments have all been widely accepted by bassists over the years, in contrast to the "let's stick with what we know approach" adopted by others. The result is a colourful, diverse and stimulating equipment industry that caters for the wide-ranging characters in the bass community. That's the best reason to embrace the bass guitar the people. Many players talk about the brotherhood of bass, the sense of community and camaraderie amongst bassists. I feel it too, although we should remember that we are almost always part of a group of musicians, a larger unit with messages to deliver to our complex world. Every player I've known has taught me something, from the professionals I've learned from or interviewed to my own students. I hope, in return, that The Boss Handbook reflects the mutual respect amongst bass players and helps to maintain the great bass tradition.

HISTORY - Leo Fender's masterpieces: a 1957 Precision Bass (left) and a Jazz Bass from 1960.

ABOUT THIS BOOK

The Boss Handbook has something to offer bass players at all levels, but it is specifically aimed at new arrivals and intermediate players. The advanced player will be able to explore the history of the bass, amplification and effects while also dipping into new areas of study. such as sight reading. The new or intermediate bassist will find this book a pleasure to use, with its spiral-bound pages and a chapter by chapter analysis of the most important questions that are asked about the bass. As a tutor and author on the bass, I know that there are key questions students need to ask their studies. You'll find all the answers in The Boss Handbook. Finally, The Boss Handbook makes the perfect companion for the many bass teachers out there. Students have a study method, with backing tracks, in a layout that doesn't falloff a music stand. And you can refresh your memory (secretly of course) of how to work out Ohm's Law for cabinets of unequal impedance when your student asks, "Can I connect my 4 x 10" cab to my 2 x 10"? " Just in time for next week's lesson. 

BASS HISTORY

Leo Fender produced the first widely available bass guitar in 1951 - and got much of the design right first time. Fender, a radio repairman in California who had turned to making guitars and amps, developed the bass guitar at a time when the bassist in a band would be stuck with a large and often barely audible instrument, the double bass - what Leo called "the doghouse". He realised that bass players would welcome a louder, more portable instrument that offered precise pitching of notes. Precision Bass In 1951 Leo provided bassists with the aptly named Fender Precision Bass, for $195.50/00, a sum that equates to something like $1,400/£800 now. Many of its features were based on his already successful and equally astounding solid six-string electric guitar, the Telecaster. (The Stratocaster would arrive three years later.)  Paul McCartney and his Hofner 500/I 'violin' bass

The electric bass guitar is central to modern music, playing a key role in melody, harmony, and rhythm. This book and CD package will help you master the instrument and make it your own. It includes:

- a step-by-step guide to playing, from tuning-up to advanced harmony

- practical guidance on reading both tab and standard notation

- instruction in modern techniques including slapping and harmonics

- advice on playing a range of genres and styles, from rock blues through to jazz, funk, and metal

- a CD of the books's key musical exercises and examples

- a history of the instrument and its makers

- a guide to the great bassists, plus recommendations for listening, reading, and viewing

- help with buying and maintaining your bass

- advice on amps, speakers, strings, pickups, and cables

Author Adrian Ashton has 20 years of exeperience as a player, teacher, and writter. A graduate of the Bass Institute of Technology in Los Angeles, he was the founding editor of the UK's Bass Guitar Magazine.

This Book is essential equipment for any bassist, whether you are just starting out or hoping to take your skills to a higher level.

FOREWORD by JOHN PAUL JONES

INTRODUCTION

BASS HISTORY (with TONY BACON)

HARDWARE

INSIDE THE BASS

FRETLESS BASSSTRINGS & MAINTENANCE

BUYING A BASS

AMPS, SPEAKERS, EFFECTS, & CABLES

TECHNIQUE

THE PLAYERS (with TIM TUCKER)

TUTORIAL

REFERENCE

RECOMMENDED LISTENING

RECOMMENDED BOOKS & VIDEO

ACKNOWLEDGEMENTS

INDEX

CONSTRUCTING A 5-STRING BANJO A Complete Technical Guide. H. Siminoff. 200 photos.

LIBRO DI LIUTERIA

CON PROGETTI COMPLETI . 

Siminoff vi insegnerà come fare il Rim la cassa armonica del Banjo, con il freno a tamburo di un camion.

Series: Reference
Publisher: Hal Leonard
Medium: Softcover
Composer: Roger H. Siminoff 

Just as in his other book, Constructing a Bluegrass Mandolin, Roger's simple and concise step-by-step instructions show you the how and the why of it all, leading you on a path that blends discovery with pure joy. Over 200 photos and illustrations provide the kind of valuable reference no other book in the field can offer. Roger has used his technical knowledge on design, sound, and all of the important stages of construction that go into the building of a musical instrument, and has incorporated these ideas into one text. The end result is this valuable book of information that will help you to learn more about the makeup of a 5-string banjo, and more importantly, will give you the satisfaction and pride in being able to accomplish the building of a banjo that you can play and enjoy for years to come. 64 pages.

+ 7 PAGINE APRIBILI DI PROGETTI

Roger H. Siminoff has been building and playing musical instruments for almost 30 years. During that time, he has had far more than a cursory interest in music, graphic arts, and industrial design - a combination that has made him one of America's foremost authorities on string instruments and their design, a leading music journalist, and a highly respected inventor. Born in 1940 in Newark, New Jersey, Siminoff showed an early interest in mechanical things. That laid an important foundation for his creative career. As a teenager Roger built his first instrument, a roughly crafted - but playable - 5-string banjo. The first led to a second, and that led to a whole series of instruments, and ultimately to a catalog full of Siminoff-crafted instrument parts. By the early 1960's, Roger was building custom banjo necks and parts for musicians in the New York metropolitan area. Before the end of the decade, his mail-order parts business, Siminoff Banjos, was providing special equipment and accessories to instrument makers in every part of the world. During that time, Roger was attending the Parsons School of Design in New York City. He majored in Industrial Design and then started a graphic arts company in New Jersey that specialized in photography, art services, and printing. Not limiting his mechanical interests to instrument construction, in 1963 he developed and built a prototype for a major East Coast printing equipment manufacturer, of an offset printing machine capable of printing the faces and flaps (at the same time) of envelopes at 18,000 impressions per hour - a rate unprecedented in the ihdustry. Having branched out into the building of guitars and mandolins in early 1970, Siminoff conceived and built special carving machines needed to do the exact shaping of instrument necks, and of mandolin top and back plates. By early 1973, he had developed a unique truss rod system to counteract the forces of string tension on musical instrument necks. For this design, he was awarded a U.S. patent in 1974. During the following year, that design was licensed to Gibson Incorporated, an internationally prominent musical instrument manufacturer now based in Nashville, Tennessee. With printing facilities readily available to him, Siminoff channeled his banjo expertise into the writing and preparation of an instruction book for bluegrass and banjo playing. The book established itself as a success in a matter of months. Then Roger embarked on an even more ambitious publishing project: the creation of a monthly music magazine that focused on bluegrass and old-time country music. In February 1974, PICKIN' MAGAZINE made its debut. Within two years, it was hailed as the most influential publication of its kind. By mid 1975, Roger had several other musical instrument and accessory designs in progress. These included the invention of a special fast-wind turning knob for string instruments (for which he was granted a U.S. And several foreign patents). The knob, dubbed the "CRANK," has been licensed to Gibson and to Schaller, (W. Germany) a world reknowned manufacturer of tuning machines. A unique nut, with adjustable slots for each string, also won Siminoff a U.S. patent and subsequently was Iicensed:to Dunlop Manufacturing. Then his frustrations at the inconvenience of changing strings won him a few more patents: he invented two methods to change instrument's strings without cutting, twisting, or knotting them. Both designs received U.S. Patents; and one, a string with a special pin_at its peg head end, was licensed to Gibson under the name "GRABBERS." In early 1984, Roger was granted another U.S. Patent for an unusual modular guitar, with interlocking parts that permit a musician to assemble an instrument to suit his or her tastes in much the same way a photographer might change camera bodies and lenses. Several other music-related designs are in progress on the Siminoff workbench, and simmmering with them on the burner are many projects not related to music, such as a radical design for a new valve system for the common gasoline engine. As a consultant to Gibson, Roger assisted in the reissuance of several instruments originally produced by Gibson in its earlier years. Among these were the Earl Scruggs model banjo (a replica of Scruggs' Granada model). Another was the reintroduction of the famed F-5 mandolin produced by Gibson in the 1920's. This instrument has been enthusiastically received since making its successful "comeback" in 1978. Doing consulting work for several other instrument manufacturers, Siminoff has been responsible for the development of special hand-finishing techniques, improved structural designs, and compatability "tuning" of the acoustic properties inherent in individual instrument parts. As an author, Siminoff's writings include literally hundreds of articles on instrument construction and repair, musical acoustics, and the history and craftsmanship of musical instruments. In 1978, Roger was invited to join GPI Publications in Cupertino, California, to head the staff of the newly founded magazine FRETS. As the magazine's editor, Roger helped build FRETS into a highly respected enterprise, boasting an international circulation, within a twoand- a-half-year period that saw FRETS purchase and absorb Roger's first magazine venture, PICKIN'. In the years that followed, Roger also became GPI's Production Director. In that capacity, he developed and installed a major computer system for all of the company's complicated subscription, advertising, and newsstand data processing. Now, in his capacity as GPI's Assistant Publisher, Roger Siminoff is helping to shape the music industry of tomorrow.

• Constructing A Bluegrass Mandolin (Hal Leonard Publishing)

INTRODUCTION

FOREWORD

ABOUT THE AUTHOR

PREFACE

CHAPTER ONE

THE INSTRUMENT

TOOLS

HARDWARE

CHAPTER TWO

ACOUSTICS OF THE BANJO

CHAPTER THREE

WOOD

mahogany

walnut

ebony

rosewood

Availability Of Woods 

CHAPTER FOUR

GLOSSARY

CHAPTER FIVE

BUILDING THE NECK

The Truss Rod

Attaching The Ears

Locating The Fretboard Plane

Shaping The Neck

Attaching The Peghead Veneer

Finalizing The Peghead Thickness

Shaping The Peg head

Drilling The Peg head

CHAPTER SIX

THE FRETBOARD

Binding The Fretboard

Installing The Fretboard

Position Markers

Shaping The Neck To The Fretboard

Drilling The Fifth Peg Hole

DECORATION 22

Creating The Designs

Cutting The Pearl

Inlaying The Pieces

Cementing The Pieces In Place

Finishing The Inlaid Surface

INSTALLING THE FRETS

FINISHING TOUCHES TO THE NECK

CHAPTER SEVEN

CONSTRUCTING THE RIM

Types Of Rim Constructions

Three-Ply Rims

Pie-Shaped Laminated Rims

Flat-Board Laminated Rims

STEAMING AND BENDING MAPLE

Steam Bending, Step By Step

LAMINATING THE 1/4" STRIPS

CONSTRUCTING RIMS WITH PIE-SHAPED PIECES

CONSTRUCTING FLAT-BOARD LAMINATED RIMS

CONSTRUCTING VENEER LAMINATED RIMS

MACHINING THE RIMS

ADDING A LIP FOR TUBE-AND PLATE FLANGES

CHAPTER EIGHT

THE RESONATOR .

Constructing The Rim .

Constructing The "Dish" .

Assembling The Resonator .

Adding The Outer Side Veneer .

Machining The Resonator .

Installing The Binding .

Cutting The Neck Opening In The Resonator Rim .

CHAPTER NINE

PRE-FITIING ALL THE PARTS

Shaping The Neck Heel .

Fitting The Nut .

CHAPTER TEN

FINAL SANDING 

FILLING THE WOOD'S PORES 

CHAPTER ELEVEN

COLORING .

Curly Maple Grain Contrast .

Sunburst Shading .

Coloring The Rim .

CLEANING THE BINDING .

CHAPTER TWELVE

FINISHING .

Preparation For Spraying .

Wet Sanding .

Polishing .

CHAPTER THIRTEEN

ASSEMBLING THE INSTRUMENT .

Dressing The Fretboard .

Dressing The Frets .

Truss Rod Cover .

Installing The Geared Machines .

Installing The Fifth-String Peg .

Installing The Fifth-String Nut .

Attaching The Neck .

Attaching The Tailpiece .

Attaching The Armrest .

Resonator Hardware .

Filling The String Slots In The Nut .

MAINTENANCE AND MINOR ADJUSTMENTS .

PARTING THOUGHTS .

APPENDIX I

SUPPLIERS 

APPENDIX II

FRETIING SCALES 

APPENDIX III

HARDWARE 

DIAGRAMS 1-7 .