CHITARRA - GUITAR

MOREL JORGE, LATIN AMERICAN RHYTHMS FOR GUITAR. Tango, Samba, Malambo, aire de gato, ecc. CD TAB.

For FINGERSTYLE GUITAR.

Product Description:
Renowned Argentine virtuoso Jorge Morel offers insight in the playing of complex Latin dance rhythms: the milongo, tango, samba, malambo, and choro - plus a salsa tune! In standard notation and tablature.

Format: Book/CD Set

Contents:

Samba -- Arr. By Jorge Morel
Danza Paraguaya -- Arr. By Jorge Morel
Brasilian Dance (Choro) -- Arr. By Jorge Morel
Salsa -- Arr. By Jorge Morel
Tango -- Arr. By Jorge Morel
Malambo -- Arr. By Jorge Morel
Milonga Urbana -- Arr. By Jorge Morel
Argentinian Dance (Aire De Gato) -- Arr. By Jorge Morel
Milonga Campera -- Arr. By Jorge Morel

THE BRAZILIAN GUITAR BOOK, Nelson Faria. Contiene 84 esempi di Samba, Choro, Bossa, frevo, Baião. Con fotografie, discografie, ritmi, ecc. ecc. . Con notazione tradizionale e accordi. CD

This is the only book on the market designed to show guitarists how to play authentic accompaniments in all the main Brazilian styles. On the accompanying CD, Nelson plays each exercise so the student can clearly hear and see what his role in this beautiful music is. There are also fingerboard diagrams for people who are not great readers. Nelson has been singer/songwriter Joao Bosco's accompanist for many years, one of the most prestigious gigs in Brazil. Endorsed by Tonino Horta and Joe Diorio, among others. 139 Pages.

By one of Brazil's best new guitarists. A complete guide to playing guitar accompaniment and chord melodies in various Brazilian styles (Samba, Bossa Nova, Frevo, etc. ) Comes with a CD of Nelson demonstrating each exercise, plus a tune in each style. Many variations of basic comping patterns written out, each with complete chord voicings. Also includes short transcriptions of guitar parts as recorded by Toninho Horta, Joao Bosco, Joao Gilberto, etc. Leny Andrade - "When I think about Brasil, I think about "Violao" (that's what we call the nylon string guitar in our country). The art of playing "Violao" looks simple, but it isn't and this book shows how to assimilate and how to understand this art. This makes me feel happy. With talent and clear information, Nelson will help guitar players all around the world to enjoy all the pleasures of this wonderful instrument. Make good use of this excellent musical book!" Toninho Horta - "Nelson Faria was the right person to write this book, which contains examples and transcriptions of Brazil's greatest guitarists. This talented musician and dedicated music professor has a deep knowledge of Brazilian music and its rhythmic, melodic and harmonic subtleties." Joe Diorio - "Nelson Faria's book is a welcome addition to the guitar literature. I'm sure those who work with this volume will benefit greatly."

Contents:
So te esperando (Song & accompaniment example) 17 samba variations.
Tristez (chord melody example) 17 samba variations.
Antes Tarde (song & accompaniment example) 6 bossa nova variations.
Triste (chord melody example) 6 bossa nova variations.
Influenciado (song & accompaniment example) 5 Choro variations.
Marceneiro Paulo (chord melody example) 5 Choro variations.
Ioio (song & accompaniment example) 5 Frevo variations.
Baiao por acaso (song & accompaniment example) 7 Baiao.

Guitarist, arranger and composer, Nelson Faria was born in Belo Horizonte, MG (1963), and when he was a child he moved to Brasilia, OF, where he began his guitar lessons. In 1983, he moved to L.A. to attend G.I.T (Guitar Institute of Technology), where he studied with Joe Diorio, Joe Pass, Ron Eschete, Howard Roberts, Scott Henderson, Frank Gambale, and many others. While in L.A., he also attended private lessons with the chord melody master Ted Greene. Back in Brazil, Nelson Faria became one of the most important names on call lists for guitar workshops, clinics and seminars all over the country. He released a book on improvisation -"A arte da improvisacao" (Lumiar Editora), an instructional guitar video "Toques de Mestre" (Giannini S/A), and a solo CD - "Ioio" (Perfil musical). He also performed on the instructional video "Secrets of Brazilian Music" and on the book "Brazilian Music Workshop" by Antonio Adolfo. Presently Nelson teaches guitar and improvisation at the ESTACIO DE SA UNIVERSITY, in Rio de Janeiro, Brazil, and has been performing and recording with many fine Brazilian artists, such as: - Milton Nascimento, Edu Lobo, Toninho Horta, Antonio Adolfo, Joao Bosco, Wagner Tiso, Nivaldo Ornelas, Nico Assumpcao, Baby Consuela, Cassia Eller, Luiz Melodia, Carlos Lyra, Emilio Santiago, Tim Maia, among others. Nelson Faria also leads his own group. Nelson's CD "Ioio" (containing complete versions of his original compositions found in this book) is available from Sher Music Co., P.O. Box 445, Petaluma, CA 94953.

TABLE OF CONTENTS:
About the author .
My special thanks to .
Note from the author .
List of recorded examples .
Understanding the chord symbol system .
Reading the examples .
Table of contents .
Credits .
PART I Samba
General outline .
Subdivisions .
Musical characteristics .
Basic pattern and variations for rhythm guitar .
Basic Pattern .
Musical example .
Variations .
Variation #1 .
Musical example .
Variation #2 .
Musical example .
Variation #3 .
Musical example 1 .
Musical example 2 .
Musical example 3 .
Variation #4 .
Musical example 1 .
Musical example 2 .
Variation #5 .
Musical example .
Variation #6 .
Musical example .
Variation #7 .
Musical example 1 .
Musical example 2 .
Musical example 3 .
Musical example 4 .
Variation #8 .
Musical example 1 .
Musical example 2 .
Variation #9 .
Musical example .
Variation #10 .
Musical example .
Variation # 11 .
Musical example .
Variation #12 .
Musical example .
Variation #13 .
Musical example .
Variation #14 .
Musical example .
Variation #15 .
Musical example .
Variation # 16 .
Musical example .
Variation #17 .
Musical example .
Song example "So te esperanda" .
Accompaniment example "So te esperanda" .
Chord melody example "Tristeza" .

PART II Bossa Nova
General outline .
Musical characteristics .
Bossa Nova clave .
Basic pattern and variations for rhythm guitar .
Basic pattern - .
Musical example .
Variations .
Variation #1 .
Musical example .
Variation #2 .
Musical example 1 .
Musical example 2 .
Variation #3 .
Musical example 1 .
Musical example 2 .
Musical example 3 .
Variation #4 .
Musical example 1 .
Musical example 2 .
Musical example 3 .
Musical example 4 .
Variation #5 .
Musical example .
Variation #6 .
Musical example .
Song example "Antes Tarde" .
Accompaniment example "Antes Tarde" .
Chord melody example "Triste"

PART III - Choro
Musical characteristics ,
Musical examples .
Basic pattern and variations for rhythm guitar ,
Basic pattern ,
Musical example .
Variations .
Variation # 1 .
Musical example .
Variation #2 .
Musical example .
Variation #3 .
Musical example .
Variation #4
Musical example .
Variation #5
Musical example .
Song example "1nfluenciado" .
Accompaniment example "1nfluenciado" .
Chord melody example "Marceneiro Paulo" ,

PART IV - Frevo
General outline .
Subdivisions .
Musical characteristics .
Musical examples .
Basic pattern and variations for rhythm guitar .
Basic pattern , .
Musical example .

Variations .
Variation # 1 .
Musical example .
Variation #2 .
Musical example .
Variation #3 .
Musical example .
Variation #4 .
Musical example 1 .
Musical example 2 .
Variation #5 .
Musical example .
Song example "loio" .
Accompaniment example "loio" .

PART V Baiao
General outline .
Musical characteristics .
Musical examples .
Basic pattern and variations for rhythm guitar .
Basic pattern .
Musical example .
Variations .
Variation # 1 .
Musical example 1 .
Musical example 2 .
Variation:2 .
Musical example .
Variation #3 .
Musical example .
Variation #4 .
Musical example .
Variation #5 .
Musical example .
Variation #6 .
Musical example .
Variation #7 .
Musical example : .
Song example "Baiao por acaso" .
Accompaniment example "Baiao por acaso" .
Selected discography
Bibliography
Glossary

LIST OF RECORDED EXAMPLES
[track 01] Tuning notes (E, B, G, D, A, E) page
[track 02] Samba basic pattern musical example
[track 03] Samba variation #1 musical example
[track 04] Samba variation #2 musical example
[track 05] Samba variation #3 musical example 1
[track 06] Samba variation #3 musical example 2
[track 07] Samba variation #3 musical example 3 - partial transcription of
the guitar part played by Toninho Horta on the song
"Aquelas Coisas Todas" by Toninho Horta
[track 08] Samba variation #4 musical example 1 - partial transcription of
the guitar part played by Ivan Lins on the song
"Desesperar Jamais" by Ivan Lins / Victor Martins 31
[track 09] Samba variation #4 musical example 2
[track 10] Samba variation #5 musical example
[track 11] Samba variation #6 musical example
[track 12] Samba variation #7 musical example 1
[track 13] Samba variation #7 musical example 2
[track 14] Samba variation #7 musical example 3 - partial transcription of
the guitar part played by Joao Bosco on the song
"Incompatibilidade de Genius" by Joao Bosco / Aldir Blanc
[track 15] Samba variation #7 musical example 4 - partial transcription of the
guitar part played by Joao Bosco on the song "Coisa Feita"
by Joao Bosco / Aldir Blanc / Paulo Emilio
[track 16] Samba variation #8 musical example 1 - partial transcription of the
guitar part played by Joyce on the song "Feminina" by Joyce
[track 17] Samba variation #8 musical example 2
[track 18] Samba variation #9 musical example - partial transcription of the
guitar part played by Luiz Bonfa on the song "Batukada" by Luiz Bonfa
[track 19] Samba variation #10 musical example
[track 20] Samba variation #11 musical example 4
[track 21] Samba variation #12 musical example - partial transcription
of the guitar part played by Milton Nascimento on the
song "Cravo e Canela" by Milton Nascimento 4
[track 22] Samba variation #13 musical example 4
[track 23] Samba variation #14 musical example 4-
[track 24] Samba variation #15 musical example 4
[track 25] Samba variation #16 musical example - partial transcription of the
guitar part played by Toninho Horta on the song "From the Lonely
Afternoon" by Milton Nascimento / Fernando Brant
[track 26] Samba variation #17 musical example
[track 27] Song example: "S6 te esperando" by Nelson Faria
[track 28] Accompaniment example: "So te esperando" by Nelson Faria
[track 29] Chord melody example: "Tristeza" by Haroldo Lobo
[track 30] Bossa Nova basic pattern musical example - partial transcription
of the guitar part played by Joao Gilberto on the song
"Insensatez" by Tom Jobim
[track 31] Bossa Nova variation #1 musical example
[track 32] Bossa Nova variation #2 musical example 1
[track 33] Bossa Nova variation #2 musical example 2
[track 34] Bossa Nova variation #3 musical example 1
[track 35] Bossa Nova variation #3 musical example 2
[track 36] Bossa Nova variation #3 musical example 3 - partial transcription
of the guitar part played by Oscar Castro Neves on the
song "Brigas nunca mais" by Tom Jobim
[track 37] Bossa Nova variation #4 musical example 1
[track 38] Bossa Nova variation #4 musical example 2
[track 39] Bossa Nova variation #4 musical example 3
[track 40] Bossa Nova variation #4 musical example 4 - partial transcription
of the guitar part played by Joao Gilberto on the song
"Esse seu olhar" by Tom Jobim
[track 41] Bossa Nova variation #5 musical example - partial transcription of
the guitar part played by Helio Delmiro on the song
"é com esse que eu vou" by Pedro Caetano
[track 42] Bossa Nova variation #6 musical example - partial transcription
of the guitar part played by Roberto Menescal on the song
"Aquarela do Brasil" by Ary Barroso
[track 43] Song example: "Antes Tarde" by Nelson Faria
[track 44] Accompaniment example: "Antes Tarde" by Nelson Faria
[track 45] Chord melody example: "Triste" by Tom Jobim
[track 46] Choro basic pattern musical example
[track 47] Chorovariation#l musicalexampl.
[track 48] Choro variation #2 musical example - Choros n 1
by Heitor Villa Lobos
[track 49] Choro variation #3 musical example
[track 50] Choro variation #4 musical example
[track 51] Choro variation #5 musical example
[track 52] Song example: "Influenciado" by Nelson Faria
(Lyrics by Zelia Christina)
[track 53] Accompaniment example: "Influenciado" by Nelson Faria
[track 54] Chord melody example: "Marceneiro Paulo" by Helio Delmiro
[track 55] Frevo basic pattern musical example
[track 56] Frevo variation #1 musical example
[track 57] Frevo variation #2 musical example
[track 58] Frevo variation #3 musical example
[track 59] Frevo variation #4 musical example 1
[track 60] Frevo variation #4 musical example 2
[track 61] Frevo variation #5 musical example
[track 62] Song example: "loio" by Nelson Faria .
[track 63] Accompaniment example: "loio" by Nelson Faria .
[track 64] Baiao basic pattern musical example .
[track 65] Baiao variation #1 musical example 1 .
[track 66] Baiao variation # 1 musical example 2
"Vera Cruz" by Milton Nascimento .
[track 67] Baiao variation #2 musical example .
[track 68] Baiao variation #3 musical example .
[track 69] Baiao variation #4 musical example .
[track 70] Baiao variation #5 musical example .
[track 71] Baiao variation #6 musical example .
[track 72] Baiao variation #7 musical example .
[track 73] Song example: "Baiao par acaso"
by N. Faria / H. Stamato / R. Cardoso .
[track 74] Accompaniment example: "Baiao par acaso"
by N. Faria / H. Stamato / R. Cardoso .
[track 75] Tamborim playing a samba pattern
[track 76] Pandeiro playing a samba pattern
[track 77] Ganza playing a bossa nova pattern
[track 78] Clave playing a bossa nova pattern
[track 79] Pandeiro playing a choro pattern
[track 80] Pandeiro playing a frevo pattern
[track8!] Surdo playing a frevo pattern
[track 82] Triangle playing a baiao pattern
[track 83] Cowbell playing a baiao pattern
[track 84] Zabumba playing a baiao pattern 

ELECTRIC GUITAR CONSTRUCTION. A Guide for the First-Time Builder, Tom Hirst. 168 pagine.
Electric Guitar Construction A Guide for the First-Time Builder. The definitive work on the design and construction of a solid body electric guitar.

Series: Guitar
Publisher: Centerstream Publications
Format: Softcover
Author: Tom Hirst

Q.: What on earth would make someone want to build an electric guitar from scratch? Can't you just buy one cheaper? A.: Well sure, but with this definitive book on the subject as your guide, you can create your own axe masterpiece, with the precise finish, the exact pickups, and the custom hardware you've always wanted. Plus, you'll have the indescribable satisfaction of knowing you created something cool out of nothing. And that sure beats buying off the rack! Organized logically from start to finish, this helpful guide will assist you every step of the way; from the design and planning stage to the final setup, each step in the process is written about in abundant detail, with hundreds of photographs, and special full-color sections on wood selection and finishing. Also includes a glossary of terms, an index of materials suppliers, and much more!

Inventory #HL 00000311
ISBN: 9781574241259
UPC: 073999648119
Width: 8.5"
Length: 11.0"
168 pages

What on Earth would make someone want to build an electric guitar from scratch? Can't you just buy one cheaper? What happens if it doesn't tum out? These questions and many many, more will be asked of you as you plow along through the excitement and anxity of building your first guitar. It does help if you're a little bit different and it's very true that it would be both faster and cheaper to just go buy one off the rack. But it wouldn't be the same one would it? Its fairly safe to assume that spending some time on this project will not be a problem for you. If you need an axe for a gig this weekend you're in the wrong place. You're going to have an investment of approximately $500 in your instrument and there are lots of $500 guitars out there, but how many will have the exact Seymour Duncan or EMG pickups and cusm tom deigned switching you want, the Schaller hard- ware and custom finish; yours will. Your guitar will also have that intangible, indescribable feeling that comes from creating something out of, well I can't say nothing, but you get the picture. Friends and relatives will say you're nuts and that you're wasting your time and money and then they'll want you to build them one too. I started building guitars almost by accident. I wanted a Fender Telecaster so badly, but I just couldn't come up with the money to buy one. I was hanging around in my favorite guitar store one day just being a nuisance when a guy came in with a box of guitar parts. He had a neck, a plywood Tele style body, and two of almost everything else; two pickguards, sets of pickups, bridges, etc. He had taken an el cheapo copy guitar and tried to upgrade it with new parts but nothing had fit where it was supposed to go and he was trying to trade the whole mess in on a new guitar. When the store told him they wouldn't take any of it in trade he asked them where the dumpster was. I politely showed him to the hatchback of my little station wagon and I had my Tele. All I had to do was re-assemble it and make it work. I did, and it did, and I was hooked. A short time later I was reading an article in Guitar Player on hot-rodding guitars and "kit" guitars.

First connect each pickup directly to the jack. Use temporary connections like alligator clips for this. They'll hum a bit for lack of shielding but will tell you if the parts are working right. Remember this technique is for problems with pickups and switches not working, and not for chasing down hum. After you've determined that each pickup works, you can connect them to the next item in the chain. This could be a volume pot, mini toggle switch or the main pickup selector depending on your design. Test the circuit after each part is added to the chain and sooner or later you will run into the problem again, only now you know exactly where it is and you can deal with it specifically. The wiring is complete and I'm tightening in the Electrosocket jack plate. "good solder joint/ bad solder joint" drawings. These can short out against other components or against the shield and cause the switch not to work as expected. in connecting your hot leads. Check your plan and your connections care- full y. Look for stray strands of wire that may not have gone through the solder terminal cleanly as was shown in the I like to plug the guitar in and give it a test before I secure the output jack and the rear cover plate. I have found, on occasion, that the guitar works fine in the test but not after the remaining parts are fastened in place. This can be the result of a wire or component shorting against the shielded cover of the electronics compartment. Sometimes the output jack won't fit well in the access hole when the plug is inserted. Most times this can be corrected by rotating the jack in the hole but I have had to take a 1/2 round file in there and open up the hole to get a good fit. This can be an extremely time consuming process and is not one to undertake when you're in a hurry or a bad mood. If you get frustrated with trying to solve a particular problem, take a break. Let it sit for awhile and come back when you are rested and in a better frame of mind. Remember, this guitar has taken a long time to get to this point and you didn't get here by rushing through all the previous steps. Take your time, be thorough and methodical and you'll find the guilty part(y). Using a mini chisel to clear away excess lacquer from the control cover "lip". There are times when all these good ideas fail and things still just don't work right. This can be a frus- trating time and lots of folks will simply take every- thing apart and try re-wiring it from scratch. Some- times this works, but more often you fall into the same rut and make the same mistake you did originally. My approach in these cases is to re-wire just as you did the drawing; from the pickup on down the line. Well now you have it wired tested and ready to rock. You can go ahead and put the rear cavity cover in place (if you've used one) and screw it down. From here we move on to the fi- nal set up adjust- ments. Wired, tested and ready for the final set up.

Electric Guitar Construction;

A Guide for the First Time

Table of contents:
Introduction:

1. Design:
D-I The importance of planning
D-2 Wood selection
D-3 Neck design
D-4 Body design
D-5 Color selection and hardware
D-6 Electronics
D-7 Pickguard design
D-8 What to buy and when to buy it..

2. Tools and Templates:
T-I List of tools
T-2 Power and hand tool safety
T-3 About templates
T-4 Headstock template
T-5 Body template
T-6 Pickguard and rear cover templates .
T-7 Optional templates .
T-8 Neck profile gauges
T-9 Fretboard radius gauge

3. Neck:
-1 Neck layout .
-2 Truss rod channel
-3 Mark and cut fretboard to length
N-4 Fretboard inlay
N-5 Assemble neck
N-6 Rough cut neck shape
-7 Tuning machine holes
-8 Side dots and rough sanding
-9 Sand inlay
I -10 Install fretwire
-11 Shape neck
-12 Finish sand neck

4. Body:
B-1 The body blank
B-2 Neck pocket
B-3 Necklbody axis
B-4 Bridge placement
B-5 Pickup placement and routing
B-6 Control cavity layout
B-7 Rough cut shape
B-8 Rear cavity rout
B-9 Sand body edges
B-1O Rout body edges
B-Il Input jack, strap buttons & wiring channels
B-12 Finish sand body

5. Plastics:
P-I Mark centerline and outline
P-2 Rough cut shape
P-3 Final fit rear cover
P-4 Rout edges (straight bit)
P-5 Bevel edges
P-6 Rout pickup openings
P-7 Drill mounting screw & control holes

6. Finishing:
F-l About finishing
F-2 Spray equipment
F-3 Clear finishes
F-4 Grain filler
F-5 Applying color
F-6 Applying clear coats
F-7 Wet-Sanding and Buffing
F-8 Finishing schedules

7. Assembly:
A-I Final fretwork
A-2 Rough shape the nut
A-3 Install the hardware
A-4 Neck to body assembly

8. Wiring:
W-I My method
W-2 Equipment and soldering
W-3 Shielding
W-4 Pickups
W-5 Mini switches
W-6 Pickup selectors
W-7 Pots and capacitors
W-8 The output jack
W-9 The complete diagram
W-IOTroubleshooting

9. Set up:
S-l What is a set up?
S-2 Slotting the nut
S-3 Adjusting the truss rod
S-4 Setting string height..
S-5 Setting intonation
S-6 Final adjustments

10. Cost Analysis for this guitar:
11. Index of Suppliers:
12. Glossary:
13. Index:  

GUITARMAKING: TRADITION AND TECHNOLOGY.

388 pagine illustrate, sulla costruzione e il design della chitarra folk e della chitarra classica.

Guitarmaking TRADITION AND TECHNOLOGY

A Complete Reference for the Design & Construction of the Steel·String Folk Guitar & the Classical Guitar

William R. Cumpiano and Jonathan D. Natelson
photographs by Clyde Herlitz / line dravvings by William R. Cumpiano

CHRONICLE BOOKS SAN FRANCISCO

LAYING OUT THE BRACING PATTERN

These depict the width of the cross struts. To denote the fan-brace locations, we now use as an inital reference the lower parallel line for the lower cross strut. Mark on that line, at intervals of 1/4 inches, three dots on both sides of the centerseam (that is, at1 1/4 inches, 2 ½ inches, and 3/4 inches from the seam). Next, measure ½ inches up the centerseam from the bottom of the outline, and make a dot. Using the ruler, find a point on the guitar outline that is 7 inches from that dot and draw a line connecting the two points. Repeat for the other side. These lines denote the bottom V of the bracing pattern. Measuring from the centerseam on each leg of the bottom V, mark dots at intervals of 2 inches. Connecting the six dots on the lower cross with the Six dots on the bottom V completes the fanbrace layout. The rosette grafts are laid out by drawing lines tangential to the soundhole and square to the cross struts, and then drawing parallel lines I inch from each tangent. To denote the finger braces, mark a dot on the upper parallel line of the lower cross strut % inch from the outer edge of each rosette graft. Then mark a dot on the lower parallel line of the upper cross strutI ½ inches from the outer edges of the rosette grafts, and connect the dots. Measure 1 ¼ inches up along the centerseam from the upper cross strut and draw a line perpendicular to the seam. Draw a parallel line 5/16 inch further up. These lines denote the upper transverse bar. Next, draw two vertical lines connecting the upper transverse bar with the upper cross strut, each 2 1/2 inches from the centerseam. These lines indicate the boundaries of the upper transverse graft. To locate the transverse bridge pad, mark from the top of the outline down the centerseam the distance from the twelfth fret to the saddle. For a 25.6-inch scale, that will be 12.8 inches plus .10 inch compensation, or 12.9 inches. Draw a line perpendicular to the centerseam at that point, and then parallel lines ¼ inch above andI inch below. The pad will actually be shaped as shown in Fig. 7-10 (scale drawings), but it will be positioned using the horizontal lines1 1 /4 inches apart. Finally, draw a line perpendicular to the centerseam tangent to the top of the outline. This will be a guideline for cutting off the top of the sound board squarely. Steel-string Bracing Layout The template outline and centerline have been marked on the undersurface of the soundboard. Refer to Fig. 7-10 (scale drawings) while reading the following steps. The headblock is represented by a 2 x 2l /2-inch rectangle, which is located at the upper center of the template outline. Draft the rectangle so that it is bisected by the sound board centerline. The top line of the rectangle must be set back 3/32 inch from the template outline (the thickness of the sides) and accurately perpendicular to the centerline. The accuracy of this line is vital, since we will alig the actual headblock to it when it is glued to the soundboard. If the headblock is crooked, the neck will be also. The bridge outline must be drafted on the undersurface of the sound board. Refer to Chapter 15 to make a bridge outline template, and locate its outline as shown in the layout drawing in Chapter 3. The upper face brace is just above the soundhole. Its closest edge is1/4 inch above the soundhole rim. Draw two parallel lines1/2 inch apart, perpendicular to the centerline. Extend the lines till they reach the template outline. The upper face graft is between the head block and the upper face brace. Draw two parallel lines 7/8 inch apart, perpendicular to the centerline. Center them in the space allotted. Connect the ends with angled lines as shown. The X-brace is represented by two sets of two parallel lines 5/16 inch apart, which cross at the centerline. You may copy the splay of the X brace from the diagram, paying particular attention to the distance between the ends of ...

CONTENTS
PREFACE
CHAPTER 1 The Guitars Anatomy
CHAPTER 2 Materials & Tools
CHAPTER 3 Preparation & Planning
CHAPTER 4 The Neck & the Headpiece
CHAPTER 5 The Plates
CHAPTER 6 The Soundhole Rosette II
CHAPTER 7 Soundboard Bracing
CHAPTER 8 Side Bending
CHAPTER 9 Assembly I
CHAPTER 10 Assembly II
CHAPTER 11 Purf1ing & Binding
CHAPTER 12 The Fingerboard
CHAPTER 13 Final Carving & Finiting
CHAPTER 14 Finishing
CHAPTER 15 The Bridge & Pinning the Steel-String Neck
CHAPTER 16 Set-Up
AFTERWORD Troubleshooting & Guitar Care
BIBLIOGRAPHY
BILL OF MATERIALS
SOURCES OF GUlTARMAKING SUPPLIES
INDEX  

EAR TRAINING FOR THE CONTEMPORARY GUITARIST, J. Fisher. This companion to the popular book "Theory for the Contemporary Guitarist" starts with the basics of pitch discrimination and leads you to making fine distinctions between interval types, chord types, scales and chord progressions. Everything is organized in a handy workbook format with correct answers provided for all exercises. Examples are shown in standard music notation and TAB. A CD demonstrating all the examples played on guitar is included. CD TAB.