mel bay's
TRANSCRIPT
R
Table of Contents
Accordion ................................................................................................................................................................. 2Banjo ..................................................................................................................................................................... 3-5Bass ...................................................................................................................................................................... 6-9Drums ................................................................................................................................................................ 10-12Harmonica .............................................................................................................................................................. 13Dulcimer ........................................................................................................................................................... 14-15Guitar ................................................................................................................................................................ 16-32Lap Steel / Resonator Guitar ........................................................................................................................... 33-35Mandolin ......................................................................................................................... 36-37Piano ............................................................................................................................... 38-40Strings ............................................................................................................................ 41-43Theory ............................................................................................................................ 44-45Ukulele ........................................................................................................................... 46-47Woodwinds ......................................................................................................................... 48
All Mel Bay wall charts are either 35" X 24" or 24" X 35".
Wall ChartsMel Bay’s
WALL_CHART_FLYER_A1.indd 1 11/14/13 9:19 PM
Acco
rdion
Wall
Char
tby
Liam
Robin
son
Treb
le S
ectio
n
Treb
le
Reg
iste
rSw
itche
s
Key
boar
dG
rill
Bello
ws
Bass
Reg
iste
rSw
itche
s
Bass
Sec
tion
Bass
Bu
ttons
C
Treb
le Re
gister
Switc
hes
Bass
Butto
n Lay
out C
M
m7
dim
M
m7
dim
M
m7
dim
M
m7
dim
M
m7
dim
M
m7
dim
M
m7
dim
M
m7
dim
M
m7
dim
M
m7
dim
M
m7
dim
M
m7
dim
M
m7
dim
M
m7
dim
M
m7
dim
M
m7
dim
M
m7
dim
M
m7
dim
M
m7
dim
M
m7
dim
xA#
FxD#
B#G
#
E#C
#
A# D#
F B
G#E
C#A
F#
bD
B
G
E
C
DB
b
GE b
CA b
FD
b
B
b
G
b E
b
C
b A
b
F
b
D
bb
B
M m 7 dimE C
AF#
Top
Inst
rum
ent S
izes
Player’s Hand
= 24
Bas
s
= 60
Bas
s
= 72
Bas
s
= 12
0 Ba
ss
Land
mar
k N
ote
(con
cave
de
pres
sion
)
=
Botto
m
Ord
er o
f Bas
s Bu
ttons
Cou
nter
Bas
s
Bass
Maj
or C
hord
Min
or C
hord
Dom
inan
t 7th
Cho
rd
Dim
ishe
d C
hord
(Maj
or 3
rd a
bove
root
)
(Roo
t of a
ll ch
ords
in th
e di
agon
al ro
w)
Not
ated
Pitc
h
Addi
tiona
l Sw
itche
s
&
Soun
ding
Pitc
hes
Nic
knam
e
Mas
ter w
ith“A
uthe
ntic
”M
uset
te
“Aut
hent
ic”
Mus
ette
Sym
bol
& &
w
ww
w
ww
w
w w
Bass
oon
&
w
Band
oneo
n&
ww
Har
mon
ium
&ww w
Obo
e&
w w
Cla
rinet
&
w
Picc
olo
&
w
Org
an&
w w
Acco
rdio
n&
www
Mas
ter
&w
w
w w
Mus
ette
&
ww
w
Viol
in&
ww
30369ACCORDION WALL CHART
© 2
013
BY M
EL B
AY P
UBL
ICAT
ION
S, IN
C.,
PAC
IFIC
, MO
630
69AL
L RI
GH
TS R
ESER
VED,
INTE
RNAT
ION
AL C
OPY
RIG
HT
SEC
URE
D, B
.M.I.
MAD
E AN
D PR
INTE
D IN
U.S
.A
R
Acco
rdio
n ph
oto
cour
tesy
of T
itano
Acc
ordi
on C
ompa
ny
3036
9_FU
LL_W
OR
KIN
G_C
HAR
T_C
2.in
dd
17/
30/1
3 3
:44
PM
Accordion
The Accordion Wall Chart is a useful ref-erence tool, providing basic anatomy and terminology for a piano accordion. Mir-roring each half of the instrument, the chart explains the treble switches on the right hand and the configu-ration of bass buttons on the left hand.
MB30369Accordion Wall Chart
by Liam Robinson
2
R
WALL_CHART_FLYER_A1.indd 2 11/14/13 9:20 PM
Mel
Bay
's Ba
njo
and
Chor
d Re
fere
nce
Wal
l Cha
rtM
el B
ay's
Banj
o an
d Ch
ord
Refe
renc
e W
all C
hart
&w
w#w
ww#
ww#
ww#
ww
w#w
w#w
ww#
ww#
ww#
ww
&w
ww#
ww#
ww
w#w
w#w
w#w
ww#
ww#
ww
w#w
w#w
&w
w#w
w#w
ww#
ww#
ww
w#w
w#w
w#w
ww#
ww#
ww
&w
w#w
ww#
ww#
ww#
ww
w#w
w#w
ww#
ww#
ww#
ww
&w
w#w
w#w
ww#
ww#
ww
w#w
w#w
w#w
w
Fs/G
fGs
/Af
AAs
/Bf
Cs/D
fDs
/Ef
BC
DE
Ds/E
fD
EF
GFs
/Gf
AAs
/Bf
BC
FG
Fs/G
fGs
/Af
AAs
/Bf
Cs/D
fDs
/Ef
BC
DE
Ds/E
fD
EF
GFs
/Gf
Gs/A
fA
As/B
fB
CF
G
Gs/A
fA
As/B
fCs
/Df
Ds/E
fB
CD
EG
Fs/G
fGs
/Af
AAs
/Bf
BC
FG
Ds/E
fD
EF
Gs/A
fA
As/B
fCs
/Df
Ds/E
fB
CD
EG
Fs/G
fGs
/Af
AAs
/Bf
BC
FG
Cs/D
fDs
/Ef
BC
DE
Fs/G
fGs
/Af
AAs
/Bf
BC
FG
Cs/D
f
Cs/D
f
Ds/E
fD
EFs
/Gf
Gs/A
fA
FG
AA
A
BB
CC
DD
DE
FG
AB
CD
G
EE
AB
CD
GE
FB
CD
EF
FG
AA
BB
CC
DE
F
AA
BB
CC
DD
EF
GE
FG E
FG
G
AB
CF
G
G
Fret
:Ope
n1
23
45
67
89
1011
1213
1415
1617
1819
2021
22
Fret
:Op
en
Open
12
34
56
78
910
1112
1314
1516
1719
1820
2122
1 2 3 4
5
C1 2 3 4
Cmin
or1 2 3 4
Co dim
1 2 3 4
C+ aug
1 2 3 4
C71 2 3 4
CMaj
77 8 9 10
7 8 9 10
7 8 9 10
7 8 9 10
9 10 11 12
C6Cm
7Cm
6C9
G2 3 4 5
2 3 4 5
2 3 4 5
2 3 4 5
2 3 4 5
2 3 4 5
2 3 4 5
2 3 4 5
2 3 4 5
GmGo di
mG+ au
gG7
GMaj
7G6
Gm7
Gm6
G94 5 6 7
D1 2 3 4
Dm1 2 3 4
Do dim
1 2 3 4
D+ aug
1 2 3 4
D71 2 3 4
DMaj
71 2 3 4
D61 2 3 4
Dm7
1 2 3 4
Dm6
1 2 3 4
D91 2 3 4
A1 2 3 4
Am1 2 3 4
Ao dim
1 2 3 4
A+ aug
1 2 3 4
A72 3 4 5
AMaj
75 6 7 8
A61 2 3 4
Am7
5 6 7 8
Am6
4 5 6 7
A96 7 8 9
E1 2 3 4
Em1 2 3 4
Eo dim
2 3 4 5
E+ aug
1 2 3 4
E71 2 3 4
EMaj
71 2 3 4
E61 2 3 4
Em7
1 2 3 4
Em6
1 2 3 4
E91 2 3 4
B/Cf
2 3 4 5
Bm/C
fm2 3 4 5
Bo dim
/Cfo di
m1 2 3 4
B+ aug/
Cf+ au
g3 4 5 6
B7/C
f74 5 6 7
BMaj
7/Cf
Maj
77 8 9 10
4 5 6 7
7 8 9 10
B6/C
f6Bm
7/Cf
m7
Bm6/
Cfm
66 7 8 9
B9/C
f98 9 10 11
I
I
II
II
II
II
II
II
II
II
II
II
II
II
II
II
II
II
MM
MM
M
MM
MM
MM
MM
MM
MM
MM
MM
M
II
II
II
I
M
MM
R
RR
II
II
MR
MR
R
RR
RR
RR
RR
RR
R
II
I
R
II
II
I
RI
II
R
II
I
II
II
II
R
II
I
R
RR
RR
RR
P
P
P
P
IM
RP
P II
IM
II
IM
P
PP
PP
RP
MR
PPP
RP
PP
PP
II
MR
P
IM
MR
R
PP
II
MR
P
IM
RP
IM
RP
P
IM
RP
IM
RP
IM
RP
P
IM
RP
P
P
IM
RP
IM
RP
IM
RP
P
IM
RP
IM
RP
P
C G D A E B an
d Cf
B an
d Cf
use
the
sam
e no
tes –
thes
e ar
e ca
lled
"enh
arm
onic
" cho
rds
F1 2 3 4
Fm1 2 3 4
Fo dim
1 2 3 4
F+ aug
1 2 3 4
F71 2 3 4
FMaj
7
7 8 9 10
F6Fm
7Fm
6F9
Bf2 3 4 5
2 3 4 5
2 3 4 5
2 3 4 5
2 3 4 52 3 4 5
3 4 5 6
3 4 5 66 7 8 9
3 4 5 6
6 7 8 9
5 6 7 8
2 3 4 5
Bfm
Bfo di
mBf
+ aug
Bf7
BfM
aj7
Bf6
Bfm
7Bf
m6
Bf9
Ef
1 2 3 4
1 2 3 4
Efm
Efo di
mEf
+ aug
Ef7
1 2 3 4
EfM
aj7
Ef6
8 9 10 11
1 2 3 4
1 2 3 4
1 2 3 4
1 2 3 4
Efm
71 2 3 4
Efm
61 2 3 4
Ef9
1 2 3 4
Af1 2 3 4
Afm
1 2 3 4
Afo di
m1 2 3 4
Af+ au
g1 2 3 4
Af7
AfM
aj7
Af6
1 2 3 4
Afm
75 6 7 8
5 6 7 8
Afm
63 4 5 6
3 4 5 6
Af9
Df/C
s1 2 3 4
Dfm
/Csm
1 2 3 4
Dfo di
m/C
so dim
2 3 4 5
Df+ au
g/Cs
+ aug
1 2 3 4
Df7/
Cs7
1 2 3 4
DfM
aj7/
CsM
aj7
Df6/
Cs6
Dfm
7/Cs
m7
Dfm
6/Cs
m6
Df9/
Cs9
1 2 3 4
Gf/F
s2 3 4 5
Gfm
/Fsm
2 3 4 5
2 3 4 5
2 3 4 5
2 3 4 5
Gfo di
m/F
so dim
1 2 3 4
1 2 3 4
1 2 3 4
1 2 3 4
Gf+ au
g/Fs
+ aug
Gf7/
Fs7
4 5 6 7
4 5 6 7
4 5 6 7
GfM
aj7/
FsM
aj7
Gf6/
Fs6
Gfm
7/Fs
m7
Gfm
6/Fs
m6
Gf9/
Fs9
9 10 11 12
9 10 11 12
8 9 10 11
I
II
II
II
II
II
II
II
I
II
II
II
II
II
II
II I
I
MM
M
MM
MM
M
MM
MM
MM
MI
IM
II
I
M
RR
R
II
MR
R
RR
R
R
RR
RR
II
I
R
II
I
R
II
I
R
II
I
II
II
II
I
R
II
I
R
II
I
R
II
I
II
I
R
RR
R
II
II
MR
RP
PP
IM
R
II
RR
PR
PP
II
IM M
P
PP
MI
RP
MI
RP
RP
IM
RP
MR
PP
IM
RP
RP
PP
PP
IM
MR
P
IM
MR
R
PP
IM
R
P
IM
RP
P
IM
RP
IM
RP
IM
RP
IM
MR
P
PR
PR
PP
IM
RP
IM
RP
IM
RR
P
P
IM
RP
II
MR
P
F Bf Ef Af Df a
nd C
s Th
e fo
llowi
ng ar
e en
harm
onic
chor
ds –
they
use
the
sam
e no
tes
Gf a
nd F
s Th
e fo
llowi
ng ar
e en
harm
onic
chor
ds –
they
use
the
sam
e no
tes
In 1s
t pos
ition
Form
ed fr
om "
F" p
ositi
on . .
. roo
t "C"
on 4t
h str
ing
All G
chor
ds ar
e for
med
from
"F"
shap
e, wi
th ro
ot on
the 4
th st
ring
"F"
shap
e
9th on
1st s
tring
Maj
7th on
1st s
tring
Flat
7th on
1st s
tring
6th on
1st s
tring
6th on
1st s
tring
7th on
3rd s
tring
Augm
ented
= + sy
mbol
Dimi
nishe
d = o
Play
2nd s
tring
open
Root
(C no
te)is
on 2n
d stri
ng
Maj
7th on
1st s
tring
f7th
on 1s
t stri
ng6th
on 1s
t stri
ngPl
ay 1s
t stri
ng op
en7th
on 3r
d stri
ngAu
g = ra
ise 2n
d stri
ng
f
rom
F sh
ape
Aug r
aise 1
st an
d 4th
string
s
Dim
(o ) =
lower
2nd a
nd 3r
d stri
ngs
Barre
inde
x fing
erRo
ot (G
note)
is on
4th s
tring
Maj
7th on
2nd s
tring
f7th
on 2n
d stri
ng6th
on 2n
d stri
ng
7th on
1st s
tring
6th on
4th s
tring
6th on
2nd s
tring
Pink
y note
is op
tiona
l
Pink
y note
is op
tiona
l
Pink
y opti
onal
Play
2nd s
tring
open
Or pl
ay 4t
h stri
ng op
enRo
ot on
2nd s
tring
Root
(D) i
s on 2
nd st
ring
Root
(A) i
s on 3
rd st
ring
Mino
r = lo
wer 2
nd st
ring
9th on
1st s
tring
9th on
1st s
tring
9th on
1st s
tring
Root
on 4t
h stri
ngRo
ot on
1st s
tring
Root
on 4t
h stri
ngRo
ot on
3rd s
tring
Root
on 3r
d stri
ngRo
ot on
3rd s
tring
Root
on 3r
d stri
ngRo
ot on
3rd s
tring
"Bar
re"
shap
e"B
arre
" sh
ape
"Bar
re"
posit
ion sh
ape
In th
e "F"
shap
e
Uses
the "
F" sh
ape
Form
ed fr
om "
F" sh
ape
From
"F"
shap
eFr
om "
F" sh
ape
"D"
posit
ion sh
ape
Optio
nal:
play
the 4
th st
ring o
pen
for a
ll D
chor
ds
This
is a m
ovab
le sh
ape
Root
on 4t
h stri
ng
This
is a m
ovab
le sh
ape
"F" p
ositi
on m
inor
"F" p
os. d
imini
shed
"F" p
os. a
ug ch
ord
"F" p
os. 7
th ch
ord
"F" p
os. M
aj7th
chor
d"F
" pos
. 6th
chor
d"F
" pos
. mino
r 7th
"F" p
os. m
6th ch
ord
"F" p
os. 9
th ch
ord
Play
open
1st f
or di
m7Pl
ay 1s
t stri
ng op
en
Root
on 1s
t stri
ngRo
ot on
4th s
tring
Root
on 3r
d stri
ng
Root
on 1s
t stri
ngRo
ot on
4th s
tring
Root
on 2n
d stri
ngRo
ot on
2nd s
tring
Root
on 2n
d stri
ngRo
ot on
2nd s
tring
Aug (
+5) o
n 3rd
strin
g7th
on 3r
d stri
ng
Root
on 4t
h stri
ng
Root
on 1s
t stri
ngRo
ot on
4th s
tring
Root
on 4t
h stri
ng
Play
open
1st s
tring
Root
on 3r
d (ba
rre)
Root
on 3r
d stri
ngRo
ot on
4th s
tring
7th on
4th s
tring
Aug r
aises
1st a
nd4th
strin
gsOp
tiona
l: pin
kyfo
rms d
im7th
Mino
r = lo
wer 2
nd st
ring
f
rom
Barre
6th on
open
1st s
tring
Inclu
des r
oot, 7
th, 9t
h
"F"
posit
ion sh
ape
"D"
posit
ion sh
ape
"Bar
re"
shap
e"F
" sh
ape
"F"
shap
e . . .
"Bar
re"
shap
e
Uses
"F"
shap
e
Base
d on
"F"
shap
e
Uses
"F"
shap
eUs
es "
F" sh
ape
Uses
"Ba
rre"
shap
e"B
arre
" sh
ape
F
Bf
Ef
Af
CG
D A
E
Cf/B
Gf/F
sDf
/Cs
The o
rder
of ch
ords
follo
ws th
e Circ
le of
5ths
.
Each
chor
d is
5 lett
ers f
rom
the p
revio
us ch
ord
when
goin
g clo
ckwi
se ar
ound
the c
ircle.
Each
chor
d is
4 lett
ers f
rom
the p
revio
us ch
ord
when
goin
g co
unter
-cloc
kwise
. Thi
s may
be c
alled
the C
ircle
of 4t
hs.
The c
hord
s on
the r
ight s
ide o
f the
circ
le us
e sha
rps;
chor
dson
the l
eft si
de u
se fl
ats.
• • • •C
ON
TIN
UE
TO
TH
E R
IGH
T t
o c
om
ple
te t
he
Cir
cle
of
5th
s w
ith
th
e sh
arp
key
s (s
ee F
s an
d C
s)C
ON
TIN
UE
TO
TH
E L
EFT
to
co
mp
lete
th
e C
ircl
e u
sin
g fl
ats
(see
Cf)
Chor
ds u
sing
flats
(f) m
ove
alon
g le
ft sid
e of
the
Circ
le =
Circ
le o
f 4th
sF
– Bf
– E
f – A
f – D
f – G
f – C
fCh
ords
usin
g sh
arps
(s) m
ove
alon
g rig
ht si
de o
f the
Circ
le o
f 5th
sG
– D
– A
– E
– B
– Fs
– C
s (C
has
no
shar
ps o
r fla
ts)
Circ
le o
f 5th
s
1
1
2
2
3
3
4
4T
I
M RP
DG
BD
Strin
gsLe
ft-Ha
nd
F r e t Each
maj
or ch
ord
will
be th
e bas
is fo
r for
min
g oth
er ch
ords
with
the
sam
e lett
er n
ame.
Each
chor
d po
sition
will
be f
orm
ed fr
om on
e of t
he th
ree b
asic
chor
dsh
apes
: "F"
shap
e, "D
" sh
ape o
r "Ba
rre"
shap
e.
Each
chor
d to
the r
ight w
ill in
clude
its r
oot n
ote a
nd/or
the
char
acter
istic
note
which
dete
rmin
es it
s nam
e.
G Tu
ning
= G
D G
B D
– st
rings
5, 4
, 3, 2
, 1.
5
th st
ring
stays
on
open
G an
d is
not i
nclu
ded
in th
e di
agra
ms.
=
Ope
n str
ing.
Fre
t num
bers
are
on th
e le
ft sid
e of
eac
h di
agra
m.
Root
on 2n
d stri
ng
R R
MEL
BAY
PU
BLI
CA
TIO
NS,
INC
.#4
Ind
ustr
ial D
rive
• Pa
cific
, MO
630
69
Toll
Free
1-8
00-8
-MEL
BAY
(1-8
00-8
63-5
229)
FAX
(636
) 257
-506
2V
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03 B
Y M
EL B
AY P
UBL
ICAT
ION
S, IN
C.,
PAC
IFIC
, MO
630
69.
ALL
RIG
HTS
RES
ERV
ED.
INTE
RNAT
ION
AL
CO
PYRI
GH
T SE
CU
RED
. B.M
.I. M
AD
E A
ND
PRI
NTE
D IN
U.S
.A.
By Ja
net D
avis
MB2
0285
UPC EANISBN
0-7
866-
6837
-7
BANJ
O A
ND C
HORD
RE
FERE
NCE
WAL
L CH
ART
Banjo
Full-size wall chart featuring chords and notes on the fret-board for banjo in G tuning. Major, minor, 7th, maj7, min7, 6, 9, augmented and diminished chords are shown. Chords are shown in a Circle of 5ths progression. Chord fingerings are color coded to show proper finger place-ment.
MB20285Banjo and Chord Reference WallChart
by Janet Davis
3
R
WALL_CHART_FLYER_A1.indd 3 11/14/13 9:20 PM
TailpieceFront Edge
Head (Pot)
Tension Screw
StringBridge
Angled Front Edge
PerpendicularBack Edge
SaddleSaddle
Feet
String Bridge
Tone RingCoordinator Rod
Rim
BracketCrown Height
Bracket Nut
Tension HoopHead
Head
Rim
Flange
Tension Hoop
Mounting Band
Rim
Friction Tuner Planetary GearedTuner
5th String Nut
Fretboard
Binding 5th Fret
Heel
HeelHeel Cut
Heel Cut
Lag Bolts
Truss Rod
Neck
Neck(Top)
Coordinator Rods
Up-Bow
Relief
Straight
Back-Bow
Allen Wrench
SocketWrench
D G B D
4 3 2 1
RimBinding InlayThumb
Screw
Bracket
Wall Lug
Resonator Back
Curved Back Resonator
Resonator
The tailpiece anchors the strings at the bottom end of the banjo and maintains their tension. Most are made from metals such as brass, bronze or steel. Many tailpieces can be adjusted via a tension screw. This allows the front edge to be raised or lowered, changing string pressure on the bridge. By lowering the front edge closer to the head, the string angle behind the bridge increases. This in-creases pressure on the bridge and results in a sharper sound. Conversely, a mel-lower tone can be achieved by raising the front edge to a more neutral position.
The bridge is located on the head and is held in place only by the strings. Most bridg-es are made from maple, and contain an ebony saddle. The saddle can be compen-sated to improve intonation by adjusting string lengths individually. Slots in the saddle determine string spacing. The bridge is usually shaped with a perpendicular back and an angled front to provide greater stability by offsetting string tension. Most bridges have three “feet”, which transfer vibrations to the head. Bridge height correlates to the angle of the heel cut, and affects string action.
The armrest is situated above the pot. It provides ergonomic support for the arm and prevents it from touching the head. Armrests are usually made from either metal or wood, and come in many varieties. Some are attached to the pot with clamps that secure onto the brackets, while others attach directly to the tension hoop.
The central component of the pot (body) is the rim, which the rest of the banjo stems from. The rim is a round piece of wood or metal that vibrates when the instrument is played. Most wooden rims are made from maple, mahogany or walnut. The rim can be constructed from laminated pieces of wood, or many in-dividual “blocks”. A certain amount of flexibility in the rim is desired so the sound is not stifled. Steel coordinator rods reinforce the rim and can be adjusted to change the neck angle and string action. A tone ring, often made from metal, is seated onto the rim to enhance, project, and add sustain to the instrument’s sound. Together, the rim and tone ring form the basis for the rest of the instru-ment.
The banjo head fits onto the tone ring and stretches across the rim. It transfers vibrations from the bridge to the rim, acting as an integral part in the production of the instrument’s sound. Most modern banjos have mylar heads, but many older ones have heads made from animal skin. A tension hoop keeps the head under tension, and is held in place with brackets (hooks) that are placed around the rim. The brackets are then attached with bracket nuts (hex nuts) to the flange, a metal component fitted to the rim. The head must be held under a certain amount of tension to transfer energy efficiently from the strings to the rim. This amount is often determined by the tension hoop’s crown height: the distance from the top of the head to its mounting band. Most heads are fairly firm under tension, and are tuned to a specific note just like a drum head. Tightening or loosening the head (adjusting crown height) is done via the bracket nuts. This changes the sharpness of the instrument’s tone, making it brighter or warmer.
The peghead (headstock) is located at the end of the neck, and houses the tuners. It is usually carved from the neck blank, but can also be made separately and attached with a scarf joint. The peghead is angled backward so the strings exert downward pressure on the nut. A peghead overlay (veneer) is often included on higher quality banjos, and is usually made from ebony. The brand name is usually inlaid into the overlay. The nut is located at the base of the peghead, and controls string spacing and height at the zero fret for the top four strings. Most nuts are made from bone or plastic, which is slotted with precision to ensure the string travels through easily.
On the 5-string banjo, four tuners are housed in the peghe-ad, and a tuner for the 5th string is located just above the 5th string nut, on the side of the neck. A variety of tuners are used, including tapered tuning pegs, frictions tuners, and planetary geared tuners. Tapered wood tuning pegs are the simplest kind and fit into the peghead just with friction. A friction tuner is similar to a tapered peg but has a screw that can be tightened to maintain friction between two metal collars. Planetary geared tuners look like friction pegs, but house a set of concealed gears.
The fretboard (“fingerboard”) is glued to the neck and houses the frets. It is often made from ebony. Its surface is traditionally flat, but can also be radiused. Most banjos have about 17-25 frets, which are spaced in intervals that provide equal temperament. They are often made of nickel silver or stainless steel. Inlaid position markers are usually found at the 3rd, 5th, 7th, 10th and 12th frets, and repeat past the octave. The 5th string is often held in place with a small round bone nut at the 5th fret. A spike can also be used to hold the string in place.
The resonator functions as a soundboard and projects the banjo’s sound forward. It can be attached in different ways. Often, brackets are screwed onto the rim, which attach to wall lugs on the resonator via four thumb screws. The resonator creates a sound chamber that alters the character of the instrument’s sound. Depth and shape of a resonator affect the tone and response of the instrument. Most are made from woods like maple, mahogany and walnut, and feature binding or other types of inlays.
For bluegrass, strings on the 5-string banjo are usually tuned to G-D-G-B-D (G tuning). The 5th string is tuned an octave above the 3rd string (G) and is the highest pitched string. This tuning configura-tion is known as re-entrant tuning. Light to medium gauge strings are typically used, which are measured in thousandths of an inch. Most modern banjos are strung with steel strings, and the fourth (thickest) string is usually wound in steel or bronze-phosphor alloy. Older banjos had strings made from gut, which is often simulated today with nylon.
The neck is often made from woods such as maple, mahogany or walnut. It is attached to the pot with lag bolts, which the coordinator rods screw into. These rods can be adjusted to change the instrument’s neck angle. The heel cut determines the factory neck angle and forms a precise connection with the rim. Within the neck is a truss rod: an adjustable steel rod with a bolt on one end. It works opposite string tension and controls the curva-ture of the neck. Forward curvature in the neck is called relief, and a certain amount is usually required for proper string action. A neck with an up-bow (too much relief) can be fixed by tightening the truss rod with a clockwise turn. Conversely, a neck with a back-bow can be fixed by loosening the truss rod (counterclockwise). The truss rod is usually accessed at the base of the peghead underneath a truss rod cover, and usually requires a socket or Allen wrench.
tailpiece bridge armrest
rim and tone ring head, tension hoop and flange peghead and nut
tuners
fretboard
resonator
strings
neck
Heel
String
Fretboard Binding
Fretboard (“Fingerboard”)
Fret
Tuner
Peghead
Peghead Overlay
Truss Rod Cover
Neck
Thumb Screw
Position Marker
Armrest
Saddle
Bridge
Bracket Nut
Binding
Bracket (Hook)
Head
FlangeResonator
Tailpiece
Tension Hoop
Rim
Tension Screw
5th String Nut
5th String Tuner
Nut
BLUEGRASS
ANATOMYbanjoAND MECHANICS
R
MB3
0343
BLU
EGR
ASS
BAN
JOAN
ATO
MY
AND
MEC
HAN
ICS
© 2013 BY MEL BAY PUBLICATIONS, INC., PACIFIC, MO 63069ALL RIGHTS RESERVED, INTERNATIONAL COPYRIGHT SECURED, B.M.I.
MADE AND PRINTED IN U.S.A
30343_FULL_WORKING_FILE.indd 1 5/17/13 1:49 PM
TailpieceFront Edge
Head (Pot)
Tension Screw
StringBridge
Angled Front Edge
PerpendicularBack Edge
SaddleSaddle
Feet
String Bridge
Tone RingCoordinator Rod
RimBracket
Crown Height
Bracket Nut
Tension HoopHead
Head
Rim
Tension Hoop
Mounting Band
Rim
Bracket Shoe
Friction Tuner Planetary GearedTuner
5th String Nut
Fretboard
Binding 5th Fret
Heel
HeelHeel Cut
Heel Cut
Lag Bolts
Truss Rod
Neck
Neck(Top)
Coordinator Rods
Up-Bow
Relief
Straight
Back-Bow
Allen Wrench
SocketWrench
D G B D
4 3 2 1
The tailpiece anchors the strings at the bottom end of the banjo and maintains their tension. Most are made from metals such as brass, bronze or steel. Many tailpieces can be adjusted via a tension screw. This allows the front edge to be raised or lowered, changing string pressure on the bridge. By lowering the front edge closer to the head, the string angle behind the bridge increases. This in-creases pressure on the bridge and results in a sharper sound. Conversely, a mel-lower tone can be achieved by raising the front edge to a more neutral position.
The bridge is located on the head and is held in place only by the strings. Most bridges are made from maple, and contain an ebony saddle. The saddle can be compensated to improve intonation by adjusting string lengths individually. Slots in the saddle determine string spacing. The bridge is usually shaped with a perpendicular back and an angled front to provide greater stability by off-setting string tension. Most bridges have three “feet”, which transfer vibrations to the head. Bridge height correlates to the angle of the heel cut, and affects string action.
The armrest is situated above the pot. It provides ergonomic support for the arm and prevents it from touching the head. Armrests are usually made from either metal or wood, and come in many varieties. Some are attached to the pot with clamps that secure onto the brackets, while others attach directly to the tension hoop.
The central component of the pot (body) is the rim, which the rest of the banjo stems from. The rim is a round piece of wood or metal that vibrates when the instrument is played. Most wooden rims are made from maple, mahogany or walnut. The rim can be constructed from laminated pieces of wood, or many in-dividual “blocks”. A certain amount of flexibility in the rim is desired so the sound is not stifled. Steel coordinator rods reinforce the rim and can be adjusted to change the neck angle and string action. A tone ring, often made from metal, is seated onto the rim to enhance, project, and add sustain to the instrument’s sound. Together, the rim and tone ring form the basis for the rest of the instru-ment.
The banjo head fits onto the tone ring and stretches across the rim. It transfers vibrations from the bridge to the rim, acting as an integral part in the production of the instrument’s sound. Most modern banjos have mylar heads, but many older ones have heads made from animal skin. A tension hoop keeps the head under tension, and is held in place with brackets (hooks) that are placed around the rim. The brackets are then attached with bracket nuts (hex nuts) to metal components screwed into the rim called bracket shoes. The head must be held under a certain amount of tension to transfer energy efficiently from the strings to the rim. This amount is often determined by the tension hoop’s crown height: the distance from the top of the head to its mounting band. Most heads are fairly firm under tension, and are tuned to a specific note just like a drum head. Tightening or loosening the head (adjusting crown height) is done via the bracket nuts. This changes the sharpness of the instrument’s tone, making it brighter or warmer.
The peghead (headstock) is located at the end of the neck, and houses the tuners. It is usually carved from the neck blank, but can also be made separately and attached with a scarf joint. The peghead is angled backward so the strings exert downward pressure on the nut. A peghead overlay (veneer) is often included on higher quality banjos, and is usually made from ebony. The brand name is usually inlaid into the overlay. The nut is located at the base of the peghead, and controls string spacing and height at the zero fret for the top four strings. Most nuts are made from bone or plastic, which is slotted with precision to ensure the string travels through easily.
On the 5-string banjo, four tuners are housed in the peghe-ad, and a tuner for the 5th string is located just above the 5th string nut, on the side of the neck. A variety of tuners are used, including tapered tuning pegs, frictions tuners, and planetary geared tuners. Tapered wood tuning pegs are the simplest kind and fit into the peghead just with friction. A friction tuner is similar to a tapered peg but has a screw that can be tightened to maintain friction between two metal collars. Planetary geared tuners look like friction pegs, but house a set of concealed gears.
The fretboard (“fingerboard”) is glued to the neck and houses the frets. It is often made from ebony. Its surface is traditionally flat, but can also be radiused. Most banjos have about 17-25 frets, which are spaced in intervals that provide equal temperament. They are often made of nickel silver or stainless steel. Inlaid position markers are usually found at the 3rd, 5th, 7th, 10th and 12th frets, and repeat past the octave. The 5th string is often held in place with a small round bone nut at the 5th fret. A spike can also be used to hold the string in place.
Open-back banjos are used mainly for clawhammer and old-time style music. Popular tunings include “open G” (G-D-G-B-D) and “double C” (G-C-G-C-D). The 5th string is tuned an octave above the 3rd string and is the highest pitched string. This tuning configuration is known as re-entrant tuning. Light to medium gauge strings are typically used, which are measured in thousandths of an inch. Most modern banjos are strung with steel strings, and the fourth (thickest) string is usu-ally wound in steel or bronze-phosphor alloy. Older banjos had strings made from gut, which is often simulated today with nylon.
The neck is often made from woods such as maple, mahogany or walnut. It is attached to the pot with lag bolts, which the coordinator rods screw into. These rods can be adjusted to change the instrument’s neck angle. The heel cut determines the factory neck angle and forms a precise connection with the rim. Within the neck is a truss rod: an adjustable steel rod with a bolt on one end. It works opposite string tension and controls the curva-ture of the neck. Forward curvature in the neck is called relief, and a certain amount is usually required for proper string action. A neck with an up-bow (too much relief) can be fixed by tightening the truss rod with a clockwise turn. Conversely, a neck with a back-bow can be fixed by loosening the truss rod (counterclockwise). The truss rod is usually accessed at the base of the peghead underneath a truss rod cover, and usually requires a socket or Allen wrench.
tailpiece bridge
armrest
rim and tone ring head AND TENSION HOOP peghead and nut
tuners
fretboard
strings
neck
Heel
StringFretboard Binding
Fretboard (“Fingerboard”)
Fret
Tuner
Peghead
Peghead Overlay
Truss Rod Cover
Neck
Position Marker
Armrest
Saddle
Bridge
Bracket Nut
Bracket (Hook)
Bracket Shoe
Head
Tension Hoop
Tailpiece
Rim
Tension Screw
5th String Nut
5th String Tuner
Nut
R
MB3
0348
OPE
N-B
ACK
BAN
JOAN
ATO
MY
AND
MEC
HAN
ICS
© 2013 BY MEL BAY PUBLICATIONS, INC., PACIFIC, MO 63069ALL RIGHTS RESERVED, INTERNATIONAL COPYRIGHT SECURED, B.M.I.
MADE AND PRINTED IN U.S.A
OPEN-BACK
ANATOMYBANJOAND MECHANICS
30348_FULL_WORKING_FILE.indd 1 8/13/13 9:48 AM
Banjo
“Bluegrass Banjo Anatomy and Mechan-ics” is a comprehen-sive visual map of the 5-string resonator banjo. The poster includes a large diagram of the instrument and detailed views of its components. Descriptions of all the major parts explain their functions. This poster is a great visual for anyone interested in the banjo.
“Open-Back Banjo Anat-omy and Mechanics” is a comprehensive visual map of the 5-string open-back banjo. The poster includes a large diagram of the instrument and detailed views of its components. Descriptions of all the major parts explain their functions. This poster is a great visual for anyone interested in the banjo.
MB30343Bluegrass BanjoAnatomy andMechanics WallChart
by Charlie Lee-Georgescu
MB30348Open-Back BanjoAnatomy andMechanics WallChart
by Charlie Lee-Georgescu
4
WALL_CHART_FLYER_A1.indd 4 11/14/13 9:20 PM
RR
MEL BAY PUBLICATIONS, INC.#4 Industrial Drive • Pacific, MO 63069Toll Free 1-800-8-MEL BAY (1-800-863-5229)PHONE (636) 257-3970 • FAX (636) 257-5062Visit us on the Web at www.melbay.comE-mail us at [email protected]
Photo courtesy of Rick Gardner
©2005 BY MEL BAY PUBLICATIONS, INC. PACIFIC, MO 63069.ALL RIGHTS RESERVED. INTERNATIONAL COPYRIGHT SECURED. B.M.I. MADE AND PRINTED IN U.S.A.
Tenor Banjo Wall Chart
Place “R” on chosen note for desired chord.Example: Form One at the fifth fret = “F” chord.
EA
N
UP
C
ISBN 0-7866-7252-8 MB20768 $5.95 U.S.
BY JOE CARR
Banjo
Mel Bay’s New Tenor Banjo Wall Chart with Fingerboard Note and Master Chord reference features 30 clearly labeled chords placed around a large photograph of an attractive tenor banjo. Featured are major, minor, seventh, sixth, minor seventh, major seventh, ninth, diminished and aug-mented chord forms. Each form includes left hand fingering and identifies the chord number of each note. The Fingerboard Note diagram locates every note on the 19 fret tenor banjo neck! This beautiful reference is a great learning tool, a convenient reference and an attractive ad-dition to any wall.
MB20768Tenor Banjo Wall Chart
by Joe Carr
5
R
WALL_CHART_FLYER_A1.indd 5 11/14/13 9:21 PM
Elec
tric
Bass
Chor
d Re
fere
nce
& No
te F
inde
r Cha
rt
MB9
4403
MEL
BA
Y P
UB
LIC
ATI
ON
S, IN
C.
#4 In
du
stri
al D
rive
• Pa
cific
, MO
630
69
Toll
Free
1-8
00
-8-M
EL B
AY
(1-8
00-8
63-5
229)
• FA
X (6
36) 2
57-5
062
Vis
it u
s o
n t
he
Web
at w
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.mel
bay
.co
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©19
90 B
Y M
EL B
AY P
UB
LIC
ATIO
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INC
., PA
CIF
IC, M
O 6
3069
.A
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. IN
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Bass
Presents chord ar-peggio diagrams for fourteen chord types from each chromatic root. Also includes a bass note finder chart through fret 15 for the 4-string bass. 35”” x 24”” durable coated paper.
MB94403Electric Bass Guitar Wall Chartwith Fingerboard Note& Master ChordReference
by William Bay
6
R
WALL_CHART_FLYER_A1.indd 6 11/14/13 9:21 PM
R
MB30383ELECTRIC BASS
ANATOMY AND MECHANICS
© 2
013
BY M
EL B
AY P
UBL
ICAT
ION
S, IN
C.,
PAC
IFIC
, MO
630
69AL
L RI
GH
TS R
ESER
VED,
INTE
RNAT
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RIG
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SEC
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D, B
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MAD
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D PR
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U.S
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Out
put v
s. R
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e in
Line
ar a
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aper
Pot
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Resi
stan
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Roun
dwou
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Ball
End
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wou
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roun
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Base
Pla
te
Sing
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Mag
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The
brid
ge tr
ansf
ers
strin
g vi
brat
ions
to th
e bo
dy
and
is o
ften
scre
wed
dire
ctly
ont
o its
face
. On
mos
t m
oder
n ba
sses
, the
brid
ge a
lso
func
tions
as
a ta
il-pi
ece.
Indi
vidu
al s
addl
es s
uppo
rt ea
ch s
tring
, and
ca
n be
adj
uste
d to
cha
nge
strin
g he
ight
and
effe
ctiv
e le
ngth
. Whe
n co
uple
d w
ith a
trus
s ro
d, th
is d
esig
n al
low
s fo
r eas
y co
ntro
l of i
nton
atio
n an
d ac
tion.
Mos
t br
idge
s an
d sa
ddle
s ar
e m
ade
from
met
al, w
hich
he
lps
to in
crea
se s
usta
in.
Tuni
ngs
mac
hine
s ar
e ho
used
in th
e he
adst
ock.
The
y de
term
ine
strin
g pi
tch
by c
ontro
lling
strin
g te
nsio
n. T
he c
ombi
natio
n of
a p
inio
n an
d w
orm
gea
r pro
vide
s ac
cura
te a
nd s
tabl
e tu
ning
. Som
e tu
ning
mac
hine
s co
ntai
n a
met
al h
ousi
ng th
at e
nclo
ses
the
gear
s.
The
nut i
s lo
cate
d at
the
top
of th
e fre
tboa
rd a
nd c
ontro
ls s
tring
hei
ght a
nd
spac
ing.
It is
usu
ally
mad
e fro
m b
one,
pla
stic
, or g
raph
ite. S
lots
are
mad
e in
it s
o th
e st
rings
follo
w th
e cu
rvat
ure
of th
e fre
tboa
rd (i
n ra
dius
ed fr
et-
boar
ds).
A nu
t is
cons
truct
ed w
ith p
reci
sion
to p
reve
nt tu
ning
issu
es a
nd
prov
ide
optim
al s
ound
qua
lity.
A ba
ss o
ften
has
a pl
astic
scr
atch
pla
te (“
pick
guar
d”),
desi
gned
to p
reve
nt
dam
age
to th
e bo
dy. M
ost a
re a
ttach
ed d
irect
ly to
the
body
, or s
ecur
ed
with
a b
rack
et, a
nd v
ary
in th
ickn
ess
from
roug
hly
one
to th
ree
plie
s.
Adju
stm
ents
in v
olum
e an
d to
ne a
re m
ade
via
cont
rol k
nobs
atta
ched
to p
oten
tiom
eter
s (“p
ots”
). Th
ey c
an in
crea
se o
r dec
reas
e re
sist
ance
, cha
ng-
ing
outp
ut. T
he c
hang
e in
resi
stan
ce in
a p
ot fr
om
one
end
to th
e ot
her c
an v
ary
to p
rodu
ce a
line
ar
or lo
garit
hmic
cha
nge
in o
utpu
t. Th
is is
cal
led
pot
tape
r. Lo
garit
hmic
vol
ume
pots
are
ofte
n pr
efer
red
beca
use
they
mim
ic h
ow th
e ea
r per
ceiv
es c
hang
-es
in v
olum
e.
Whi
le a
n ac
oust
ic b
ass
impa
rts v
ibra
tions
to th
e su
rroun
ding
ai
r via
a s
ound
boar
d, a
n el
ectri
c ba
ss u
ses
mag
netic
pic
kups
to
gen
erat
e so
und.
A s
impl
e pi
ckup
con
sist
s of
a b
ar m
ag-
net w
ound
in a
coi
l of w
ire. I
n th
e pr
esen
ce o
f a p
erm
anen
t m
agne
t, a
strin
g w
ill be
com
e m
agne
tized
. Whe
n pl
ucke
d, it
s vi
brat
ion
crea
tes
a cu
rrent
in th
e co
il of
wire
. Man
y pi
ckup
s co
ntai
n se
para
te m
agne
tic p
ole
piec
es fo
r eac
h st
ring.
Sev
eral
ty
pes
of p
icku
ps a
re u
sed
on e
lect
ric b
asse
s to
day.
Sing
le c
oil
pick
ups
cont
ain
only
one
coi
l of w
ire. H
umbu
ckin
g pi
ckup
s (“h
umbu
cker
s”) c
onsi
st o
f tw
o m
agne
ts w
rapp
ed in
coi
ls o
f w
ire. S
ingl
e co
ils s
ound
brig
hter
and
usu
ally
hav
e lo
wer
out
-pu
ts th
an h
umbu
cker
s. B
ecau
se a
coi
l als
o ac
ts a
s an
ant
enna
, a
sing
le c
oil w
ill ge
nera
te h
um fr
om e
lect
rom
agne
tic ra
diat
ion.
In
a h
umbu
cker
, thi
s in
terfe
renc
e is
can
cele
d by
orie
ntin
g th
e m
agne
ts in
eac
h co
il in
opp
osite
dire
ctio
ns. S
plit
coil
pick
ups
cont
ain
two
pole
pie
ces
per s
tring
, with
the
win
ding
“spl
it” in
to
two
coils
(eac
h w
rapp
ed a
roun
d tw
o po
le p
iece
pai
rs).
The
coils
are
wou
nd in
opp
osite
dire
ctio
ns, w
hich
hel
ps to
can
cel
hum
. Man
y pl
ayer
s pr
efer
spl
it co
ils b
ecau
se th
ey p
rovi
de th
e to
nal q
ualit
ies
of a
sin
gle
coil,
with
out t
he c
hara
cter
istic
hum
.
Elec
tric
bass
nec
k co
nstru
ctio
n is
sim
ilar t
o th
at fo
r an
elec
tric
guita
r, bu
t with
a lo
nger
sca
le
leng
th (t
he d
ista
nce
betw
een
the
nut a
nd th
e sa
ddle
). N
ecks
als
o co
me
in a
rang
e of
wid
ths
for b
asse
s w
ith m
ore
than
four
stri
ngs.
A n
eck
can
be a
ttach
ed to
the
body
in d
iffer
ent w
ays.
B
olt-
on n
ecks
are
atta
ched
with
a s
et o
f bol
ts. A
Set
-in n
eck
is a
ttach
ed v
ia a
tigh
t-fitti
ng jo
int.
Nec
k-th
roug
h co
nstru
ctio
n in
corp
orat
es p
art o
f the
bod
y in
to th
e ne
ck, f
orm
ing
a pi
ece
of
woo
d th
at e
xten
ds th
roug
h th
e en
tire
leng
th o
f the
inst
rum
ent.
Embe
dded
with
in th
e ne
ck is
an
adju
stab
le s
teel
rod
calle
d a
trus
s ro
d. It
wor
ks o
ppos
ite s
tring
tens
ion
and
cont
rols
the
cur-
vatu
re o
f the
nec
k. A
djus
tmen
ts a
re u
sual
ly m
ade
with
an
Alle
n or
hex
wre
nch
to tu
rn a
nut
on
the
end
of th
e ro
d. F
orw
ard
curv
atur
e in
the
neck
is c
alle
d re
lief,
and
a sm
all a
mou
nt is
idea
l. A
neck
with
an
up-b
ow (t
oo m
uch
relie
f) ca
n be
fixe
d by
tigh
teni
ng th
e tru
ss ro
d w
ith a
clo
ckw
ise
turn
. Con
vers
ely,
a ne
ck w
ith a
bac
k-bo
w c
an b
e fix
ed b
y lo
osen
ing
the
truss
rod
(cou
nter
-cl
ockw
ise)
. A s
addl
e ad
just
men
t can
rais
e or
low
er s
tring
act
ion,
but
ofte
n re
quire
s a
truss
rod
adju
stm
ent t
o co
rrect
into
natio
n.
The
head
stoc
k is
loca
ted
at th
e to
p of
the
bass
and
hou
ses
the
tuni
ng m
achi
nes.
Its
desi
gn is
ofte
n a
dist
ingu
ishi
ng c
hara
cter
is-
tic fo
r a b
rand
. Afte
r pas
sing
the
nut,
strin
gs
are
fed
into
tuni
ng m
achi
nes
scre
wed
to th
e he
adst
ock,
whi
ch is
ofte
n an
gled
bac
kwar
d so
the
strin
gs e
xert
pres
sure
on
the
nut.
Stra
ight
hea
dsto
cks
have
str
ing
tree
s to
in-
crea
se p
ress
ure.
“Hea
dles
s” e
lect
ric b
asse
s do
not
hav
e he
adst
ocks
and
inco
rpor
ate
the
tuni
ng m
achi
nes
into
the
tailp
iece
inst
ead.
Strin
gs a
re m
easu
red
by d
iam
eter
(rou
ghly
0.0
35 to
0.0
55 in
ches
for t
he G
stri
ng).
This
is
kno
wn
as s
tring
gau
ge. M
ost s
tring
s ar
e m
ade
from
ste
el o
r oth
er m
etal
s. L
ight
er
gaug
e st
rings
hav
e le
ss te
nsio
n th
an h
eavi
er o
nes
whe
n st
rung
. At t
he e
nd o
f a s
tring
is
a s
mal
l cyl
inde
r (“b
all e
nd”)
used
to a
ncho
r it t
o th
e br
idge
-tailp
iece
. The
stri
ng is
th
en w
ound
into
a tu
ning
mac
hine
. Ele
ctric
bas
s st
rings
are
wou
nd, c
onsi
stin
g of
a
core
wra
pped
in w
ire. U
sual
ly th
e co
re is
mad
e of
ste
el, a
nd w
indi
ng w
ire is
mad
e of
ni
ckel
-pla
ted
stee
l. R
ound
wou
nd s
tring
s co
nsis
t of a
stri
ng w
ound
in ro
und
wire
. Fla
t-w
ound
stri
ngs
are
wou
nd in
wire
that
has
a ro
unde
d sq
uare
cro
ss s
ectio
n. G
roun
d-w
ound
stri
ngs
are
a hy
brid
of t
he tw
o, m
ade
by w
indi
ng th
e co
re in
roun
d w
ire th
at is
gr
ound
and
pol
ishe
d. P
ress
ure
wou
nd s
tring
s ar
e si
mila
r to
grou
ndw
ound
s, a
nd a
re
flatte
ned
with
com
pres
sion
. Man
y st
rings
are
coa
ted
in a
pol
ymer
to re
duce
cor
rosi
on.
The
fretb
oard
(“fin
gerb
oard
”) is
the
piec
e of
woo
d gl
ued
to th
e ne
ck in
to w
hich
fret
s ar
e se
ated
. Mos
t fre
tboa
rds
are
mad
e fro
m
hard
woo
ds s
uch
as ro
sew
ood,
map
le o
r eb
ony,
each
with
uni
que
tona
l cha
ract
er-
istic
s. R
adiu
sed
fret
boar
ds h
ave
a cr
oss
sect
ion
deriv
ed fr
om a
circ
le. M
any
play
ers
pref
er th
em b
ecau
se th
ey fo
llow
the
curv
e in
the
fretti
ng h
and.
Fla
t fre
tboa
rds
can
mak
e pl
ayin
g ch
ords
mor
e di
fficu
lt, b
ut o
ffer
adva
ntag
es fo
r sin
gle-
note
pla
ying
. Com
-po
und
radi
us fr
etbo
ards
hav
e di
ffere
nt
radi
uses
on
each
end
, and
usu
ally
flat
ten
in
the
high
er re
gist
er.
Fret
s ar
e po
sitio
ned
on th
e fre
tboa
rd in
inte
rval
s th
at p
ro-
vide
equ
al te
mpe
ram
ent.
The
posi
tion
and
shap
e of
a fr
et
affe
cts
into
natio
n. F
rets
com
e in
diff
eren
t wid
ths
and
heig
hts,
an
d ar
e ty
pica
lly m
ade
from
an
allo
y. M
any
fretb
oard
s co
ntai
n in
laid
pos
ition
mar
kers
at
the
3rd,
5th
, 7th
, 9th
and
12t
h fre
ts. T
hese
usu
ally
repe
at p
ast
the
octa
ve. T
hey
can
also
be
foun
d on
the
side
of t
he fr
et-
boar
d.
Mos
t ele
ctric
bas
ses
have
woo
den
solid
or s
emi-h
ollo
w b
odie
s, o
ften
mad
e of
al
der,
ash,
map
le o
r mah
ogan
y. In
add
ition
to th
eir v
isua
l cha
ract
eris
tics,
eac
h ty
pe o
f woo
d ha
s un
ique
reso
nanc
e pr
oper
ties
that
affe
ct th
e to
ne a
nd s
us-
tain
of t
he b
ass.
On
som
e in
stru
men
ts, a
bod
y to
p is
glu
ed o
n to
p of
the
body
bl
ank,
com
pose
d of
boo
kmat
ched
pie
ces.
The
re a
re m
any
type
s of
bod
y de
-si
gns,
but
a ty
pica
l bod
y ha
s an
upp
er a
nd lo
wer
bou
t sep
arat
ed b
y a
wai
st.
A cu
taw
ay is
car
ved
out t
o al
low
for e
asie
r acc
ess
to h
ighe
r fre
t pos
ition
s.
Fini
shes
are
app
lied
to p
rote
ct a
nd e
nhan
ce th
e w
ood.
The
se ra
nge
from
oils
to
thic
k hi
gh-g
loss
lacq
uers
.
brid
getu
ning
mac
hine
s
nut
SCRA
TCH
PLAT
E
volu
me a
nd to
ne c
ontr
ols
pick
ups
neck
head
stoc
k stri
ngs
fret
boar
d
body
Upp
er B
out
BodyTr
uss
Rod
Nut
Mag
netic
Pol
e Pi
ece
Wai
st
Low
er B
out
¼” O
utpu
t Jac
k
Stra
p Bu
tton
Brid
ge
Sadd
leVo
lum
e C
ontro
l Kno
bScra
tch
Plat
e
Cut
away
Stra
p Bu
tton
Posi
tion
Mar
ker
Strin
g
Hee
l
Fret
boar
d
Nec
k
Fret
Strin
g Tr
ee
Nut
Hea
dsto
ck
Pick
up
Tone
Con
trol K
nob
Tuni
ng M
achi
neEL
ECTR
IC
ANAT
OM
YBA
SSAN
D M
ECH
ANIC
S
3038
3_FU
LL_W
OR
KIN
G_F
ILE.
indd
1
8/5/
13
11:5
8 AM
Bass
“Electric Bass Anat-omy and Mechanics” is a comprehensive visual map of the electric bass guitar. The poster includes a large diagram of the instrument and detailed views of its components. Descrip-tions of all the major parts explain their functions, covering topics such as types of necks, pickups, strings etc. This post-er is a great visual for anyone interested in the electric bass.
MB30383Electric BassAnatomy and MechanicsWall Chart
by CharlieLee-Georgescu
7
R
WALL_CHART_FLYER_A1.indd 7 11/14/13 9:21 PM
Down Bow
Sul ponticello: Bowing close to the bridge for a nasal, brittle effect.Sul tasto: Bowing slightly over the fingerboard for a soft, flutelike effect.Col legno: striking the strings with the stick of the bow.Legato (or slur): Two or more notes smoothly connected.
Spiccato: Short bouncing bow stroke in which the hair leaves the string.
Staccato: Short separated bow strike, shortens written note value
Sautillé: Bow stick also bounces but the hair remains on the string
Martelé: Sharply accented “hammered” bowing.
Tremolo: Many rapid bow strokes.
Up Bow
Hooked Bow: Two or more notes bowed in the same direction but with separation.
Detaché: One note played with one bow stroke.
Louré (or Portato): Slightly separated slurred notes.
Articulation and Bowing Terms
Movable Pattern 1
Movable Pattern 2
Movable Pattern 3
Movable Pattern 4
Movable Pattern 5
Movable Pattern 6
Movable Scale Patterns
Major Scales in 1st PositionC Major
F#/Gb Major
# ####
bbbb bb
D Major
Ab Major
##
bbbb
A Major
Eb Major
##
bbb
E Major
Bb Major
# ##
bb
B Major
F Major
# ###
b
G Major
Db Major
#
bbbbb
SymbolsScale Note
Root of scale (in the key of E, the root or tonic note is E).
Open string is NOT in scale. Don’t play.
E A D G
imaginaryfrets
finger on root/key
open string not in key
(no symbol above the nut indicates the open
string is part ofthe scale.)
open string is root or tonic
nut
Upright Bass Wall Chart Scroll
Lower Bout
Middleor “C”Bout
Peg Box
Tuning Pegs
Note Locations
Upper Bout
Nut
Endpin
Fingerboard
F hole Bridge
Tailpiece
E A D G
Middleor “C”Bout
Belly
Tip
Hair
StickBowgrip
Ferrule Frog
ScrewBow
French Grip French Grip (Thumb) German Grip
F A#Bb
D#Eb
G#Ab
F#Gb
B E A
G C F A#Bb
A D G C
A#Bb
D#Eb
G#Ab
C#Db
B E A D
C F A#Bb
D#Eb
C#Db F A#
Bb E
D G C F
D#Eb
G#Ab
C#Db
F#Gb
E A D G
R 2012 BY MEL BAY PUBLICATIONS, INC., PACIFIC MO 63069ALL RIGHTS RESERVED, INTERNATIONAL COPYRIGHT SECURED, B.M.I.MADE AND PRINTED IN U.S.A.
C
MB30083UPRIGHT BASSWALL CHART
30083_FULL_WORKING_FILE.indd 1 10/9/12 10:41:54 AM
Bass
The Upright Bass Wall Chart presents innovative scale pat-tern drawings for all twelve major scales in first position and movable patterns for higher positions. It also includes a note finder chart and list of articulation and bow-ing terms. Printed on durable coated paper.
MB30083Upright BassWall Chart
8
R
WALL_CHART_FLYER_A1.indd 8 11/14/13 9:22 PM
I
EE
FF
AA
AA
DD GG
GG CC FF
CC FF
CC FF
AA DD GG CC
DD
BB
DD GG
BB EE
AABB EE
CC FFDDAABB EE
BB EE
EEFF
AA
AA
DD GG
GG CC FF
AA DD GG CC
BB
BB
EE
Open Strings
FretNumber
V
VII
IX
XII
XV
XVII
XIX
III
Mel Bay's Bass Scales Wall ChartMel Bay's Bass Scales Wall Chart
UPC
EAN
ISBN 0-7866-6716-8 MEL BAY PUBLICATIONS, INC.#4 Industrial Drive • Pacific, MO 63069
Toll Free 1-800-8-MEL BAY (1-800-863-5229) • FAX (636) 257-5062Visit us on the Web at www.melbay.com
E-mail us at [email protected]©2002 BY MEL BAY PUBLICATIONS, INC., PACIFIC, MO 63069.
ALL RIGHTS RESERVED. INTERNATIONAL COPYRIGHT SECURED. B.M.I. MADE AND PRINTED IN U.S.A. MB20152
RR
Bass ScalesWall Chart
20152 Bass Scale chart.qxd 4/30/08 10:42 AM Page 1
Bass
Presents the most commonly used scales and modes with fretboard dia-grams for four-string bass. A beautiful photo of a four-string electric bass is labeled with string numbers, open string names, and the fret location of all the nat-ural notes on the fret-board. A must-have for every bassist’s studio, practice room, or bedroom wall.
MB20152Bass Scales Wall Chart
by Corey Christiansen
9
R
WALL_CHART_FLYER_A1.indd 9 11/14/13 9:22 PM
CountCount and and
Count
Count
Count
CountCountCount and and
Count
Count
Count
Count
(&) a (&) a
(&) a (&) a (&) a (&) a
& a & a & a & a
& a & a & a & a
(&) a & (a) (&) a (&) a
1. 17 Binary hand movements (without accents)with a sequence of four hits
Each of the 17 variations is a different exercise, with the key difference lying in the useof the right or left hand.Hand movement, or stick work, is one of the most important advanced techniques for drummers.
.
.œ œ œ œ
.
.œ œ œ œ
.
.œ œ œ œ
4
4
2
4
1
4
L L L LR L L LL R L LL L R LL L L RR R L LR L R LR L L RL R R LL R L RL L R RR R R LR R L RR L R RL R R RR R R R
L/R L/R L/R L/R
only Lonce R, three times Lsingle paradiddle (first half)single paradiddle re-arrangedthree times L, once RDouble stroke (roll) - two R, two Lsingle stroke (roll), interchanging RLinward paradiddle (here: double stroke re-arranged)inward paradiddle (here: double stroke re-arranged)single stroke (roll), interchanging LRdouble stroke (roll) - two L, two Rthree times R, once Lsingle paradiddle re-arrangedsingle paradiddle (second half)once L, three times Ronly RLR or RL simultaneously
1. 2.3.4.5.6.7.8.9.10.11.12.13.14.15.16.17.
L L LR L LL R LL L RR R LR L RL R RR R RL/R L/R L/R
only Lonce R, twice LLeft-Right-Lefttwice L, once Rtwice R, once LRight-Left-Rightonce L, twice Ronly RLR or RL simultaneously
1. 2.3.4.5.6.7.8.9.
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Double Stroke Roll Double Stroke 5 Double Stroke 6 Double Stroke 7 Double Stroke 9
Double Stroke 10 Double Stroke 11 Double Stroke 13 Double Stroke 15 Double Stroke 17
Single Paradiddle Double Paradiddle Triple Paradiddle Single Paradiddle-Diddle
Flam Flam Accent Flam Tap Flamacue
Flam Paradiddle Single Flammed Mill Flam Paradiddle-Diddle
Pataflafla Swiss Army Triplet Inverted Flam Tap Flam Drag
Drag Single Drag Tap Double Drag Tap Lesson 25
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Rhythm PatternsNotation figures
The elementary rhythm patterns, or notation figures, form a major foundation for all drummers,and can be applied to the drum set in a wide variety of ways.
AccentsThe placement of accents is one of the most important parts of drum technique. Theemphasis of one or more strikes is called an accent. Accents make drumming come to life.Accent symbol = >
Stick strikes: a) on the drum headb) as a rim shot (RS) at the same time on the skin and the rim.
StickingsThe different stickings (by hand swapping or by irregular placement of accents, or withrudiments in a simple form such as all rolls, paradiddles, and multiple-beats) form finger-or stick control exercises for modern drummers.
InterpretationThere are many possible ways to interpret drumming. Here are some examples.Have a lot of fun playing the drums.
Play the basic rhythm:a) with three- or four-way coordination (Tip: see "The Left-Handed Drummer")b) in 4-, 8-, 12-, or 16-beat patternsc) with fills on the last beat of the pattern being played, for instance: with four beats per measure (3/1) or
8 beats per measure (7/1).
Play the sticking:a) with quarter notes, eighth notes, sixteenth notes, and eighth-note triplets, on the SD, HH or Tom.
Always play slowly at first.b) using two instruments, for instance: R = low tom, L = high tom, or R = RC, L = SD.
Accent (>) only the right-hand stroke, then only the left!c) with BD and/or HH (foot) ostinato
Play the stroke sequences:a) one-handed with R or L on the SD / both hands simultaneously, e.g.: SD plus Crash Cymbal / from hand
to hand, RL or LR on the SD. Accompany with the HH (foot) ostinato. b) first each beat separately / then practice them together / use different combinationsc) as fills in continuous rhythms / distributed around the drum set / as BD figures.
Play accents:a) from hand to hand leading with the right or the left on the SD, with HH (foot) ostinato.b) divided on the drum set, e.g. right-accent on the deep tom, left-accent on the high tom, unaccented
notes on the SD.c) on the HH with BD-ostinato.
Play the foot-ostinato:a) as shownb) with various (basic) rhythms with the hands.c) with soloistic (improvised) or fixed (rehearsed) patterns in the hands on the drum set.
The Left-Handed DrummerWith a left-handed set (mirror image set-up), we turn all the basic rhythms, as wellas the rhythm patterns and accents, around. Right becomes left and left becomes right.With a right-handed set (BD = right foot, HH = left foot) you play the hi-hat orride-cymbal with the left hand. Advantages: 1. You don’t cross over your hands and2. You have more freedom of movement for the toms and cymbal!The right-handed drummer should also get accustomed to the left-handed way as it isdescribed and played.
Bass drum and Hi-hat (foot) Ostinatos The regular (ostinato) kick of one or both pedals while playing with the hands at the same time is part of elementary drum technique.
3-way coordination: Play the hi-hat, snare drum and bass drum.4-way coordination: Play the ride cymbal, snare drum, bass drum and hi-hat (foot).
Basic RhythmsAll basic rhythms are represented in drum notation by notes placed on three lines.The top line shows the notes for the cymbal, the middle line shows the notes for the snare drum, and the bottomline shows the notes for the bass drum and the high hat (foot) ("combined notation").R = right hand, L = left hand, > = accent mark, bpm = beats per minutePlay slowly at first, then at medium and fast speed.There are two main types of rhythmic divisions: 1. the even, binary rhythms (straight), based on the division of note values into groups of two; and 2. the triple, ternaryrhythms (triplets), based on the division of note values into groups of three.
Hi-Hat Integration(opening and closing)
The integration of the hi-hat is achieved by coordinating hi-hat foot pedal technique and developing motorskills between the arms and legs. With coordinated interaction of the hands and feet, the possible rhythmicfigurations are exceptionally numerous.
The open (o) hit hi-hat (R or L) is closed with the (foot) pedal.
International Drum RudimentsThe "International Drum Rudiments" form the basis of drum technique. The National Association of Rudimental Drummers (N.A.R.D.), a drummers' group, for-mulated the original "26 Standard American Drum Rudiments," which have since been expanded to 40 Rudiments, and have been arranged ina new order.All rudiments should be practiced:1. open (slow) - closed (fast) - open (slow), thereby developing sensitivity, dynamics, and a feeling for drum technique.2. in various, fixed tempos (for example 120 bpm), thereby promoting accurate timing and precision.
* Also play the "inversion" of the shown stickings (R as L, L as R). This way both hands will be developed at the same time.
2. 7 Rhythm Patterns (ternary, without accents)in a series of eighth-note triplets in 1/4 Time
A quarter note corresponds with a triplet of eighth notes. When we look at all the ternarysubdivisions that are possible in a sequence of eighth-note triplets, we get 7 differentrhythm patterns (without accents).
2. 7 Ternary Accent Patternsin a series of eighth-note triplets in 1/4 Time
When we look at all the ternary accent possibilities in a sequence of eighth-note triplets,we get 7 different accent patterns.
1. 15 Rhythm Patterns (binary, without accents)in a series with four 16ths per measure in 1/4-time
A quarter note corresponds with two eighth notes or four sixteenth notes.When we consider all the binary subdivisions that are possible when we use four 16th notes permeasure, we will get 15 different rhythm patterns (without accents).
1. Binary basic rhythms in 4/4 time
1. Binary 2. Ternary
2. Ternary basic rhythms in 4/4 time
1. 15 Binary Accent Patternsin a series with four 16ths per measure in 1/4-time
When we consider all binary accent possibilities in a sequence with four 16ths, we willhave 15 different accent patterns.
Roll Rudiments
Paradiddle Rudiments
Flam Rudiments
Drag Rudiments
2. 9 ternary hand movements (without accents)with a sequence of three strikes in eighth-note triplets
Each of the 9 variations is a different exercise, with the essential difference being in the
use of the left or right hand.
.
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1. 4-Beat (quarter notes)
1. On-beat Hi-Hat (quarter notes)
2. Off-beat Hi-Hat (eighth notes)
3. On beat Hi-Hat (eighth notes)
4. "e" Hi-Hat (16th notes)
5. "a" Hi-Hat (16th notes)
6. Swing Hi-Hat
7. Shuffle Hi-Hat (a)
8. On-Beat Hi-Hat (Shuffle)
9. Eighth-Note Triplets Hi-Hat(shifted quarter-note triplet feeling!)
10. Eighth-note Triplets – Hi-Hat(quarter-note triplet feeling)
1. Bass drum quarter notes (four beat)
2. 1/3 bass drum (downbeat)
3. Bass drum/Hi-hat quarter note alternation
4. Bass drum (four-beat) / 2/4 Hi-hat
5. Bass drum/Hi-hat eighth note alternation
6. Hi-hat quarter notes (rock drumming)
7. And-Hi-hat (double time feeling)
8. 2/4 Hi-hat (Jazz drumming)
2. 8-beat (eighth notes)
3. 8-off-beat (eighths on the "ands")
4. 16-beat (16th notes "right")
5. 16-beat (16th notes "right-left")
1. 6-beat (quarter-note triplets)
Quarters
Eighths
triplet of eighths
Sixteenths
2. 12-beat (eighth-note triplets)
3. 12-beat (eighth-note triplets, "right-left")
4. Shuffle (original phrasing)
5. Swing/Jazz beat
q = 60/112/152 / h = 80-104 q = 60/92/126
1. Cymbal-line
2. Snare-line
3. Bass-line
hi-hat/ride cymbal
snare drum/rim-shot/cross stick
bass drumhi hat(foot)
HH/RC or CYM
SD/RS/CS
BD
HHF
The entrance of the hi-hat (foot) can be notated when "4-way Coordination" and/or "hi-hat integration" is included.
B A S I C S O F D R U M M I N G W A L L C H A R T
© 20
02 Vo
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Pub
lishe
rs, Vi
ktor
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25, D
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Exclu
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MEL BAY PUBLICATIONS, INC.Toll Free 1-800-8-MEL BAY (1-800-863-5229) • FAX (636) 257-5062
Visit us on the web at www.melbay.comE-mail us at [email protected]
MB20213
Basics ofDrummingWall Chart
20213 Drumming Wall Chart Rev.qxd 2/16/12 9:46 AM Page 1
Drums
This wall chart gives an overview of the im-portant fundamentals and technical foun-dations of drumming. Topics include: Basic rhythms (counting, 3- and 4-way coordina-tion), stickings, strike sequences (notation figures, fills), accents/accent dynamics, bass drum and hi-hat (foot) ostinato, hi-hat integration (opening and closing), and the International Drum Rudiments. Both bina-ry and ternary rhythms are included. At home, in the studio, or in the classroom, this is an indispensable tool for all drummers and drum teachers. In easy-to-read large format.
MB20213Basics of DrummingWall Chart
by SiegfriedHofmann
10
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WALL_CHART_FLYER_A1.indd 10 11/14/13 9:22 PM
LEARN TO BURNdrum set
Drum Key
by Jason Prushko
Beats Warm-Ups
[1] Snare Drum [3] Ride Cymbal [5] Floor Tom [7] Middle Tom [9] Hardware[2] Hi-Hat [4] Bass Drum [6] Crash Cymbal [8] High Tom
parts
MB30359LEARN TO BURN
DRUM SET WALL CHART
R
© 2013 BY MEL BAY PUBLICATIONS, INC., PACIFIC, MO 63069ALL RIGHTS RESERVED, INTERNATIONAL COPYRIGHT SECURED, B.M.I.
MADE AND PRINTED IN U.S.A
4
5
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High-Hat closedSnare DrumBass Drum
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44
Hi-Hat closedSnare DrumBass Drum
Beat 2
44
Hi-Hat closedSnare DrumBass Drum
Beat 3
44
Hi-Hat closedSnare DrumBass Drum
Hi-Hat Open
Hi-Hat Open
Hi-Hat Open
Hi-Hat Open
Beat 4
44
Hi-Hat closedSnare Rim ClickBass Drum
Hi-Hat Open
Beat 5
44
Hi-Hat closedSnare Rim ClickBass Drum
Hi-Hat Open
Beat 6
44
Hi-Hat closedSnare Rim ClickBass Drum
Beat 7
44
Hi-Hat closedSnare Rim ClickBass Drum
Beat 10
44
Ride BellRide CymbalSnare DrumBass Drum
Beat 8
44
Ride BellRide CymbalSnare DrumBass Drum
Beat 9
44Snare DrumWarm-Up 1
RRR R RRR R LLL L LLL L
44Snare DrumWarm-Up 2
RLR R LRL L RLR R LRL L
44Snare DrumWarm-Up 3
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44Snare DrumWarm-Up 5
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Snare DrumBass Drum
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44Snare Drum
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Drum
RideCymbal
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30359_REPRINT.indd 1 8/8/13 10:29 AM
Drums
This drum set wall chart provides all the basic information needed to under-stand the instrument. Included are ten standard beats, five hand warm-ups that challenge your stick-ing, and five hand-to-feet warm-ups that prepare you for playing difficult fills. A diagram of the drum set’s parts is also dis-played. This wall chart is a great addition for the bedroom or prac-tice space.
MB30359Learn to Burn®:Drum Set WallChart
by Jason Prushko
11
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30054 AQUILES PRIESTER
WALL CHART
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2
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Aqui
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9:01
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Drums
Aquiles Priester is releasing his first “wall chart” where you can find some of his best fills and grooves. This is the best way to understand his drumming and his ideas. You can also check the DVD The Infallible Reason of my Freak Drumming, where you can see all these examples and much more!Aquiles Priester was born in Otjo, South Africa. At the age of four he heard drum set playing for the first time. It was a transforming event. In November 1997 after playing drums for 12 years, Aquiles formed the band, Hangar, which played heavy metal cover songs before making their own music. Their first album was well received by critics and was promoted with a national tour. In 2001, Aquiles became the drummer for Angra and recorded the albums Rebirth (2001), Hunt-ers and Prey (2002), Live in Sao Paulo (2003), Temple of Shadows (2004) and Aurora Consurgens (2006).In 2004, Aquiles released his first instructional DVD, Inside My Drums, and promoted it by performing over 80 drum clinics and workshops. In 2006, Aquiles participated at the Drummer Live Festival, in London, and conduct-ed his first workshops outside Brazil throughout Colombia, Por-tugal and Spain. In 2007 he re-leased his first instructional book called: Inside my PsychoBook - 100 Double Bass Patterns). At the end of 2010, Priester record-ed a new instructional DVD, The Infallible Reason of My Freak Drumming, where he emphasized his double bass technique and also presented a series of exercises that are the foundation of his evolution on the drums. And he also had the privilege of being one of the seven drummers chosen throughout the world to audition for the post of Dream Theater’s new drummer.In 2011, Aquiles performed at the Modern Drummer Festival, and was rec-ognized in the Modern Drummer Readers Poll. He was ranked as 5th best Prog Drummer and his DVD, The Infallible Reason of My Freak Drumming, ranked 3rd as best instructional DVD.
MB30054Aquiles Priester Wall Chart
by Aquiles Priester
12
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Mel Bay'sHarmonica Wall Chart By David Barrett
Diatonic Harmonica
Chromatic Harmonica
EAN
UPC
ISBN 0-7866-6756-7
HARMONICA WALL CHART
20291 Harmonica Wall Chart.qxd 2/2/06 1:01 PM Page 1
Harmonica
A reference chart for the 10-hole major dia-tonic harmonica and chromatic harmoni-ca. Includes for the diatonic harmonica: 1) A chart of notes for all major keys and rela-tive positions; 2) Note layout for standard draw and blow bend-ing; 3) Note layout for over-bending; 4) Lee Oskar Altered Tun-ings; and 5) The most common scales. For chromatic harmonica, the chart shows 1) Note layout for 10, 12 and 16 hole chromatic harmonicas; and 2) Complete major and minor scales along with common modes.
MB20291Harmonica Wall Chart
by David Barrett
13
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WALL_CHART_FLYER_A1.indd 13 11/14/13 9:24 PM
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n D
ulci
mer
Not
e Lo
cation
sD
AA
and
DA
D T
unin
gs
Fret
EAN
ISBN 0-7866-7330-3
Stru
mm
ing
a D
-maj
or s
cale
in
DA
A t
unin
g
In th
is e
xam
ple,
the
D-m
ajor
sca
le is
pla
yed
on th
e m
elod
y st
ring
(s)
begi
nnin
g at
the
3rd
fret
w
hile
the
othe
r st
ring
s (b
ass
and
mid
dle)
are
str
umed
ope
n (u
nfre
tted)
.
Stru
mm
ing
a D
-maj
or s
cale
in
DA
D t
unin
g
In th
is e
xam
ple,
the
D-m
ajor
sca
le is
pla
yed
begi
nnin
g on
the
open
(un
fret
ted)
mel
ody
stri
ng(s
).
The
bas
s an
d m
iddl
e st
ring
s ar
e st
rum
med
ope
n.
Bas
s St
ring
Mid
dle
Stri
ngM
elod
y St
ring
(s)
Bas
s St
ring
Mid
dle
Stri
ngM
elod
y St
ring
(s)
Shop
aro
und
and
borr
ow to
find
pic
ks th
at s
uit
you
best
for
stru
mm
ing.
Fin
gerp
icki
ng is
als
o a
won
derf
ul w
ay t
o pl
ay
the
dulc
imer
.
Fret
bo
ard
Tailp
iece
Pic
k Yo
ur P
ick
by M
ad
eli
ne
Ma
cN
eil
John B
urn
s, g
raphic
art
ist
Lau
ri B
ridge
fort
h (
Full
Fra
me
Phot
ogra
phy)
, phot
ogra
pher
Dulc
imer
built
by B
lue
Lio
n (
ww
w.b
luel
ionin
stru
men
ts.c
om)
Cap
o bu
ilt
by R
on E
win
g (w
ww
.ron
ewin
gdulc
imer
s.co
m)
Than
ks t
o Ja
nita
Bak
er
UPC
MB20624 $5.95 U.S.
Cho
ose
Your
Fin
geri
ng
DA
A a
nd D
AD
Tun
ing
Com
pari
sons
A
lthou
gh t
hey
are
not
the
only
one
s us
ed,
DA
A a
nd D
AD
are
the
mos
t ty
pica
l tun
ings
for
toda
y’s
dulc
imer
s. T
he 6
-1/2
(or
6+)
fret
, w
hich
beg
an t
o ap
pear
in t
he 1
970’
s is
use
d fo
r th
e D
-maj
or s
cale
in D
AD
tun
ing.
Dul
cim
er S
trin
ging
Mou
ntai
n D
ulci
mer
Cap
o
13��
6��
6+o
r
13+
or
Cre
dits
and
Spe
cial
Tha
nks
MEL BAY PUBLICATIONS, INC.#4 Industrial Drive • Pacific, MO 63069 • FAX: (636) 257-5062
TOLL FREE: 1-800-8-MEL BAY (1-800-863-5229)PHONE: (636) 257-3970 • E-MAIL: [email protected]
Visit us on the Web at www.melbay.com©2005 BY MEL BAY PUBLICATIONS, INC. PACIFIC, MO 63069.
ALL RIGHTS RESERVED. INTERNATIONAL COPYRIGHT SECURED.B.M.I. MADE AND PRINTED IN U.S.A.
No
ter
2062
4-M
ntD
ulci
mer
WC
_2.in
dd
17/
29/0
5 2
:40:
41 P
M
Dulcimer
Visually attractive, this user-friendly chart provides mountain dulcimer students and teachers with an overview of the instru-ment. Included are a chart of note locations on the fretboard for both DAA and DAD tunings, a compari-son of DAA and DAD, diagrams of typical dulcimer stringing, and explanations of playing tools such as noters and picks. 24”” x 35”” durable coated paper.
MB20624Mountain DulcimerWall Chart
by Madeline MacNeil
14
R
WALL_CHART_FLYER_A1.indd 14 11/14/13 9:24 PM
Nam
e o
f N
ote
No
te L
oca
tio
n
Ham
mer
Ham
mer
ed D
ulci
mer
Siz
esLa
rge
ones
, sm
all o
nes;
ext
ra n
otes
her
e an
d th
ere.
Thi
s de
scri
ptio
n is
nee
ded
for
dulc
imer
s as
bui
lder
s w
ork
crea
tivel
y an
d pl
ayer
s de
velo
p th
eir
styl
es a
ndm
usic
al in
tere
sts.
The
12/
11 (
twel
ve c
ours
es o
n th
e m
elod
y br
idge
, ele
ven
on th
e ba
ss b
ridg
e) d
ulci
mer
is s
till w
idel
y us
ed, a
lthou
gh p
ossi
bly
mor
e co
mm
on is
the
15/1
4 or
16/
15. A
s du
lcim
ers
enla
rge,
per
haps
with
an
adde
d ba
ss b
ridg
e on
the
righ
t or
left
of th
e in
stru
men
t—or
bot
h—th
e na
mes
ofte
n ch
ange
to s
uch
desc
ript
ions
as
Chr
omat
ic o
r 4-
Oct
ave.
Our
exa
mpl
e is
just
ove
r th
ree
octa
ves
of r
ange
in a
16/
15 p
layi
ng c
onfig
urat
ion.
Tun
ing
Wre
nch
es
Bas
s B
rid
ge
Treb
le B
rid
ge
Left
Tre
ble
Bri
dg
e
Rig
ht
Treb
le B
rid
ge
Sid
e B
rid
ges
Hit
ch P
ins
Wh
ite
Mar
ksN
ote
Wh
ere
Maj
or
Scal
esB
egin
Sou
nd
Ho
les
Sin
gle
-Sid
ed H
amm
ers
DE
FsG
Gs
A
BC
Cs
DD
sE
FFs
GG
sA
Bf
BC
Cs
D
Ds
EF
FsG
A
B
fB
CD
EB
BB
BR
TB
BB
RT
BLT
BB
RT
BL
BB
RT
BLT
RT
BR
TR
TLT
RT
LTR
TLT
LTLT
LTR
TR
TR
TR
TLT
RT
RT
LTR
TLT
LTB
LTLT
No
te N
ame
No
te L
oca
tio
n
No
te L
oca
tio
n
No
te L
oca
tio
n
Rig
ht T
rebl
e B
ridg
e to
Lef
t Tre
ble
Bri
dge
Tra
nsit
ion
Tw
o w
ays
to p
lay
a m
elod
y w
ith a
sm
ooth
tran
sitio
n fr
om th
e ri
ght t
rebl
e br
idge
to th
e le
ft tr
eble
bri
dge.
Beg
in w
ith
the
righ
t ham
mer
and
alte
rnat
eSt
rike
the
C in
the
seco
nd m
easu
re w
ith y
our
righ
t ham
mer
. Pla
y th
e D
(th
ird
note
from
the
end)
on
the
left
side
of t
he tr
eble
bri
dge
with
you
r le
ft ha
mm
er a
nd c
ontin
ue.
Beg
in w
ith
the
left
ham
mer
and
alte
rnat
eSt
rike
the
C in
the
seco
nd m
easu
re w
ith y
our
left
ham
mer
. Con
tinue
on
the
righ
t sid
e of
the
treb
le b
ridg
e,st
riki
ng th
e D
with
you
r ri
ght h
amm
er. Y
our
left
ham
mer
is r
eady
for
Fs, o
n th
e le
ft si
de o
f the
treb
le b
ridg
e.
Nam
e o
f N
ote
No
te L
oca
tio
n
Ham
mer
Do
ub
le-S
ided
Ham
mer
s
T-H
and
le W
ren
ch
Go
ose
Nec
k W
ren
ch
Tun
ing
Pin
s
Stri
ng
Co
urs
es
Ham
mer
sE
B
DG
CF
BE
AD
GC
FB
EA
DG
CF
BE
AD
GC
FB
EA
DG
D C B A G F E D C B A G F E D
sf
s
ss
ss
s
ss
s
f
s
MEL
BA
Y P
UB
LIC
ATIO
NS
, IN
C.
#4 In
du
stri
al D
rive
• P
acif
ic, M
O 6
3069
Toll
Free
1-80
0-8-
ME
L B
AY
(1-8
00-8
63-5
229)
FAX
(63
6) 2
57-5
062
Vis
it u
s o
n t
he
Web
at w
ww
.mel
bay
.co
mE
-mai
l us
at e
mai
l@m
elb
ay.c
om
©20
05 B
Y M
EL
BA
Y P
UB
LIC
AT
ION
S, I
NC
., PA
CIF
IC, M
O 6
3069
.A
LL R
IGH
TS
RE
SE
RV
ED
. IN
TE
RN
AT
ION
AL
CO
PY
RIG
HT
SE
CU
RE
D. B
.M.I.
MA
DE
AN
D P
RIN
TE
D IN
U.S
.A.
UPCEAN
R R
MB20625 $5.95 U.S.
Hammered DulcimerWall Chart
ISB
N 0
-786
6-13
77-7
John B
urn
s, g
raphic
art
ist
Lau
ri B
rid
ges
(Fu
ll F
ram
e P
ho
tog
rap
hy)
, ph
oto
gra
ph
erH
amm
ered
Du
lcim
er b
uilt
by
Du
sty
Str
ing
s In
stru
men
ts,
Sea
ttle
, W
ashin
gto
nH
amm
ers
by
Sam
Riz
zett
a an
d D
ust
y S
trin
gs
Than
ks
to D
aryl
Bry
arlyB
y M
adel
ine
Mac
Nei
l
Mel
Bay
’s H
amm
ered
Dul
cim
er W
all C
hart
Mel Bay’s Hammered Dulcimer Wall Chart contains a detailed picture of the instru-ment with bridges, string courses and notes clearly outlined. Locations of all of the notes on the sample 16/15 course dulcimer are presented both by music and in text. A hammering pattern diagram and pho-tos of hammers and tuning wrenches are included. 35”” x 24”” durable coated paper.
MB20625HammeredDulcimer Wall Chart
by Madeline MacNeil
Dulcimer15
R
WALL_CHART_FLYER_A1.indd 15 11/14/13 9:24 PM
ISBN
1-5
6222
-825
-0
Mast
er
Gu
itar
Ch
ord
Refe
ren
ce &
Note
Fin
der
Ch
art
MB
94
40
1
Mel
Bay
Pu
blic
ati
on
s, I
nc.
Pacif
ic,
MO
63
06
9
©199
0 M
el B
ay P
ublic
atio
ns, I
nc,
All R
ight
s R
eser
ved.
13
26
54
109
87
1514
1312
1120
1918
1716
E1
B2
G3
D4
E6A
5
796
279
0088
39
UPCEAN
Unt
itled
-1
19/
16/0
8 8
:19:
50 A
M
Guitar
Presents major, minor, 7, Ma7, Ma6, m7, m6, diminished and augmented chords in diagram form on all root notes
Also includes a note finder chart for the first 20 frets of the guitar. 35”” x 24”” du-rable coated paper
MB94401Guitar MasterChord Wall Chartwith Fingerboard Note & Master Chord Reference
by William Bay
16
R
WALL_CHART_FLYER_A1.indd 16 11/14/13 9:25 PM
1
2
3
4
2
3
43
2
12
3
1
32
11
43
2
11
43
2
32
1
2
31
234
3
11
11
11
2
34
1
2
34
1
2
3
32
1
23
1
2
1
43
2
11
43
2
11
1
3
4
11
1
32
1
4
2
3
1
2
34
23
1
11
4
2
3
11
11
21
4
1
32
33
33
11
11
3
2
11
32
1
11
2
2
1
33
33
2
11
1
2
3
11
2
3
33
32
1
1
13
2
1
2
1
2
11
3
2
1
3
4
21
34
21
34
21
34 2
1
21
34 2
1
2
1
3
4
1
1
32
1
32
4
1
32
4 2
1
3
4
1
1
32
11
2
4
3
43
11
11
43
11
11
11
2
4
3
11
43
243
11
1
2
43
11
2
43
11
1
2
43
11
1
2
43
11
11
11
2
34
11
2
34
11
11
2
3
43
2
1
11
11
2
3
11
2
34 1
11
34 1
11
1
2
3
1
2
3
11
2
34
11
1
3
4
1
2
3
4
11
11
11
43
1
34
11
2
34
33
32
11
1
3
2
11
1
3
2
33
33
2
11
2
34
1
2
3
4
32
1
4
1
32
4
11
1
3
2
33
33
23
33
2
1
11
2
4 33
32
1
11
3
2
1
3
2 32
12
134
21
34
21
12
34
21
34
21
4
1
32
1
32
4
1
32
4 4
1
32
1
32
4
1
32
4
1
2
3
4
2
3
32
12
3
1
32
11
43
2
11
43
2
32
1
2
31
234
3
11
11
11
2
34
1
2
34
1
2
3
32
1
23
1
2
1
43
2
11
43
2
11
1
3
4
11
1
32
1
4
2
3
1
2
34
23
1
11
4
2
3
11
11
21
4
1
32
33
33
11
11
3
2
11
32
1
11
2
2
1
33
33
2
11
1
2
3
11
2
3
33
32
1
1
13
2
1
2
1
2
11
3
2
1
3
4
21
34
21
34
21
34 2
1
21
34 2
1
2
1
3
4
1
1
32
1
32
4
1
32
4 2
1
3
4
1
1
32
11
2
4
3
43
11
11
43
11
11
11
2
4
3
11
43
243
11
1
2
43
11
2
43
11
1
2
43
11
1
2
43
11
11
11
2
34
11
2
34
11
11
2
3
43
2
1
11
11
2
3
11
2
34 1
11
34 1
11
1
2
3
1
2
3
11
2
34
11
1
3
4
1
2
3
4
11
11
11
43
1
34
11
2
34
33
32
11
1
3
2
11
1
3
2
33
33
2
11
2
34
1
2
3
4
32
1
4
1
32
4
11
1
3
2
33
33
23
33
2
1
11
2
4 33
32
1
11
3
2
1
3
2 32
12
134
21
34
21
12
34
21
34
21
4
1
32
1
32
4
1
32
4 4
1
32
1
32
4
1
32
4
4
1 2 3 4 2 3 4 51 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
1 2 3 4 1 2 3 4 1 2 3 4 2 3 4 53 4 5 63 4 5 6
1 2 3 4 1 2 3 41 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
1 2 3 4 1 2 3 41 2 3 4 1 2 3 4 4 5 6 72 3 4 5
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 2 3 4 53 4 5 6
3 4 5 6 1 2 3 4 1 2 3 4 1 2 3 4 2 3 4 52 3 4 5
3 4 5 6 1 2 3 4 1 2 3 4 1 2 3 4 2 3 4 5 1 2 3 4
1 2 3 4 1 2 3 41 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
1 2 3 4 3 4 5 6 1 2 3 4 2 3 4 5 1 2 3 4 3 4 5 6
2 3 4 5 1 2 3 4 1 2 3 44 5 6 7 3 4 5 6 1 2 3 4
1 2 3 4 1 2 3 46 7 8 94 5 6 74 5 6 72 3 4 5
2 3 4 5 2 3 4 5 4 5 6 7 1 2 3 4 1 2 3 4 1 2 3 4
1 2 3 41 2 3 43 4 5 63 4 5 64 5 6 71 2 3 4
1 2 3 4
1 2 3 4
1 2 3 4
1 2 3 4
2 3 4 5
2 3 4 5 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
1 2 3 4 1 2 3 4
1 2 3 4 1 2 3 4
1 2 3 4 1 2 3 4
1 2 3 4
1 2 3 4
1 2 3 41 2 3 41 2 3 4
1 2 3 4
4 5 6 7
2 3 4 5 2 3 4 5
2 3 4 5 6 7 8 9
4 5 6 7 3 4 5 6 2 3 4 5
C G A D E B
Cm
Gm
Am
Dm
Em
Bm
C7
G7
A7
D7
E7
B7
Cm
a7
Gm
a7
Am
a7
Dm
a7
Em
a7
Bm
a7
C6
G6
A6
D6
E6
B6
Cm
7
Gm
7
Am
7
Dm
7
Em
7
Bm
7
Cm
6
Gm
6
Am
6
Dm
6
Em
6
Bm
6
Co
Go
Ao
Do
Eo
Cau
g
Gau
g
Aau
g
Dau
g
Eau
g
Bau
gB
o
G o
r F
b
#
D o
r C
b
#
A b
E b
B b F
G m
or
F m
b
#
A m
b
D m
or
C m
b
#
E m
b
B m
b Fm
F
7 F
ma7
F
6 F
m7
Fm
6 F
o
Fau
g
B 7
b
B m
a7
bB
6
bB
m7
b
B m
6
bB
o
bB
aug
b
E 7
b
E m
a7
bE
6
bE
m7
b
E m
6
bE
o
bE
aug
b
A 7
b
A m
a7
bA
6
bA
m7
b
A m
6
bA
o
bA
aug
b
D m
or
C m
G 7
or
b#
F 7
D 7
or
b#
C 7
G m
a7
or
F m
a7
bF
7
#
D m
a7
or
C m
a7
b#
G 6
or
b#
F 6
D 6
or
b#
C 6
G m
7
or
F m
7
b#
D m
7
or
C m
7
b#
G m
6
or
F m
6
b#
D m
6
or
C m
6
b#
G a
ug
or
F a
ug
b#
D a
ug
or
C a
ug
b#
G o
or
b#
F o
D o
or
b#
C o
= O
PE
N S
TR
ING
= D
O N
OT
PLA
Y=
DE
AD
EN
ST
RIN
G
ST
RIN
GS
FRE
T#
RIG
HT
HA
ND
FIN
GE
RS
1 2 3 4
1
2
3
4
5
6E
B
G
D
A
E
43
21
LEFT
HANDED
GUIT
AR
WALL
CHART
by W
illia
m B
ay
E1
B2
G3
D4
A5
E6
20 1
9 1
8 1
7 1
6 1
5 1
4
13
12
11
10
9
8
7
6
5
4
3
2
1
b#
#b
#b
#b
#b
#b
#b
#b
#b
#b
#b
#b
#b
b#
#b
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1 2 3 4 5 6
BC
CD
DD
EE
FF
GG
GA
AA
BB
CC
DD
DE
EF
FG
G
EF
GG
GA
AA
BB
CC
DD
DE
EF
FG
GG
AA
AB
BC
F
GG
AA
AB
BC
CD
DD
EE
FF
GG
GA
AA
BB
CC
DD
DE
DD
EE
FF
GG
GA
AA
BB
CC
DD
DE
EF
FG
GG
AA
AB
AA
BB
CC
DD
DE
EF
FG
GG
AA
AB
BC
CD
DD
EE
F
EF
GG
GA
AA
BB
CC
DD
DE
EF
FG
GG
AA
AB
BC
F
Fret
Num
ber
s:
O
PE
N
1
2
3
4
5
6
7
8
9
10
11
1
2
1
3
1
4
15
16
17
18
19
20
R
2
012
BY M
EL B
AY P
UBL
ICAT
ION
S, IN
C.,
PAC
IFIC
MO
630
69AL
L RI
GH
TS R
ESER
VED,
INTE
RNAT
ION
AL C
OPY
RIG
HT
SEC
URE
D, B
.M.I.
MAD
E AN
D PR
INTE
D IN
U.S
.A.
c
MB30046LEFT-HANDED GUITAR
WALL CHART
3004
6_C
OR
REC
TED
_CM
YK.in
dd
17/
23/1
2 9
:32
AM
Presents major, minor, 7, Ma7, Ma6, m7, m6, diminished and augmented chords in diagram form on all root notes
Includes note finder chart for the first 20 frets of the guitar
35” x 24” durable coated paper”
Chords and finger-board diagrams presented for the left-handed guitarist
MB30046Left-Handed GuitarWall Chart
by William Bay
Guitar17
R
WALL_CHART_FLYER_A1.indd 17 11/14/13 9:25 PM
MB30050CHILDREN’S GUITAR
WALL CHART
2
012
BY M
EL B
AY P
UBL
ICAT
ION
S, IN
C.,
PAC
IFIC
MO
630
69AL
L RI
GH
TS R
ESER
VED,
INTE
RNAT
ION
AL C
OPY
RIG
HT
SEC
URE
D, B
.M.I.
MAD
E AN
D PR
INTE
D IN
U.S
.A.
c
3005
0_C
OR
REC
TED
_CM
YK.in
dd
17/
19/1
2 4
:30:
42 P
M
A handy reference chart showing “E-Z Form” chords grouped by key. Full chord forms are also shown. An added feature is a note finder chart showing the location of every note on the first five frets. Ideal for student, stu-dio or classroom.
MB30050Children’s GuitarWall Chart
by William Bay
Guitar18
R
WALL_CHART_FLYER_A1.indd 18 11/14/13 9:25 PM
R
MB30066LEFT-HANDED CHILDREN’S
GUITAR WALL CHART
2
012
BY M
EL B
AY P
UBL
ICAT
ION
S, IN
C.,
PAC
IFIC
MO
630
69AL
L RI
GH
TS R
ESER
VED,
INTE
RNAT
ION
AL C
OPY
RIG
HT
SEC
URE
D, B
.M.I.
MAD
E AN
D PR
INTE
D IN
U.S
.A.
C
3006
6_FU
LL_W
OR
KIN
G_F
ILE.
indd
1
9/28
/12
3:1
2:31
PM
Guitar
A handy left-handed reference chart show-ing “E-Z Form” chords grouped by key. Full chord forms are also shown. An added feature is a note finder chart showing the location of every note on the first five frets. Ideal for student, stu-dio or classroom.
MB30066Left-HandedChildren’s Guitar Wall Chart
by William Bay
19
R
WALL_CHART_FLYER_A1.indd 19 11/14/13 9:26 PM
U S
hape
D Sh
ape
C S
hape
Soft
V
Med
ium
V
Har
d V
Trus
s Ro
d
Up-
Bow
Hee
l
Dove
tail
Join
tBo
dyN
eck
Dove
tail
Nec
k
Relie
f
Stra
ight
Back
-Bow
Alle
n W
renc
h
Hex
W
renc
h
Roun
dwou
nd
Ball
End
Flat
wou
ndG
roun
dwou
nd
12.0
”
15.0
”
Fret
boar
d Ra
dii
Stan
dard
Slot
ted
Belly
Br
idge
Sadd
le
Pyra
mid
Br
idge
Brid
ge P
in
Brid
ge P
in
The
sadd
le s
uppo
rts th
e st
rings
and
det
erm
ines
stri
ng h
eigh
t and
spa
cing
. M
ost s
addl
es a
re m
ade
from
bon
e or
pla
stic
. Vib
ratio
ns fr
om th
e st
rings
are
tra
nsfe
rred
from
the
sadd
le to
the
brid
ge, a
nd th
en th
e so
undb
oard
. A s
addl
e ca
n be
com
pens
ated
to in
tona
te in
divi
dual
stri
ngs
by a
djus
ting
thei
r effe
ctiv
e le
ngth
s. T
he b
ridge
anc
hors
the
strin
gs a
nd is
adh
ered
to th
e so
undb
oard
. Br
idge
s ar
e ty
pica
lly m
ade
from
den
se h
ardw
oods
suc
h as
ebo
ny o
r ros
e-w
ood,
whi
ch h
elp
to a
ccur
atel
y tra
nsm
it to
ne fr
om th
e st
rings
to th
e bo
dy.
Win
g ra
mps
on
eith
er s
ide
of th
e br
idge
hel
p tra
nsfe
r the
stri
ng te
nsio
n to
the
soun
dboa
rd. S
tring
s ar
e fe
d th
roug
h ho
les
in th
e br
idge
that
ext
end
thro
ugh
the
soun
dboa
rd. I
ndiv
idua
l brid
ge p
ins
are
inse
rted
to s
ecur
e th
e st
rings
in
plac
e. T
hese
are
usu
ally
mad
e fro
m b
one,
ebo
ny o
r pla
stic
. The
two
mos
t co
mm
on ty
pes
of b
ridge
s ar
e be
lly b
ridge
s an
d py
ram
id b
ridge
s. M
any
of
toda
y’s a
cous
tic g
uita
rs fe
atur
e be
lly b
ridge
s, w
hile
pyr
amid
brid
ges
are
ofte
n fo
und
on o
lder
and
sm
alle
r-bod
ied
inst
rum
ents
. The
ext
ra m
ass
at th
e bo
ttom
of
a b
elly
brid
ge a
llow
s it
to b
e fit
ted
with
hea
vier
gau
ge s
tring
s th
an a
pyr
amid
br
idge
.
Vibr
atio
ns fr
om th
e st
rings
are
tran
sfer
red
to th
e bo
dy, w
hich
reso
nate
s to
pro
duce
sou
nd. W
hile
si
ze a
nd d
imen
sion
s va
ry g
reat
ly, th
e bo
dy is
ofte
n sh
aped
with
an
uppe
r and
low
er b
out s
epa-
rate
d by
a w
aist
. The
mai
n pa
rts o
f the
bod
y ar
e th
e so
undb
oard
, sid
es a
nd b
ack.
The
sou
nd-
boar
d tra
nsm
its v
ibra
tions
into
the
surro
undi
ng a
ir, a
nd h
as th
e gr
eate
st e
ffect
on
the
inst
rum
ent’s
to
ne a
nd p
roje
ctio
n. S
ound
boar
ds a
re o
ften
mad
e fro
m w
oods
suc
h as
spr
uce,
ced
ar a
nd m
ahog
-an
y, an
d ea
ch h
as c
erta
in to
nal c
hara
cter
istic
s. H
igh
qual
ity s
ound
boar
ds a
re u
sual
ly c
onst
ruct
ed
from
boo
k-m
atch
ed p
iece
s of
woo
d. A
sou
nd h
ole
is c
ut o
ut o
f the
sou
ndbo
ard
to h
elp
proj
ect
soun
d ou
twar
ds. I
ts s
hape
, size
and
loca
tion
can
help
em
phas
ize c
erta
in fr
eque
ncie
s of
the
gui-
tar’s
sou
nd. M
ost a
re c
ircul
ar a
nd lo
cate
d di
rect
ly b
elow
the
fretb
oard
. Bra
cing
on
the
unde
rsid
e of
the
soun
dboa
rd a
dds
stre
ngth
and
ena
bles
it to
with
stan
d st
ring
tens
ion.
Bra
cing
con
figur
a-tio
ns a
ffect
the
guita
r’s to
ne a
nd v
olum
e, a
nd a
var
iety
are
use
d. L
ike
the
soun
dboa
rd, t
he b
ack
of
the
guita
r als
o vi
brat
es, b
ut to
a le
sser
ext
ent.
It is
als
o st
reng
then
ed w
ith b
raci
ng. T
he s
ides
join
th
e so
undb
oard
and
bac
k an
d ca
n be
mad
e fro
m la
min
ated
or s
olid
pie
ces
of w
ood.
Strin
gs a
re m
easu
red
by d
iam
eter
(rou
ghly
0.0
10 to
0.0
13
inch
es).
This
is k
now
n as
stri
ng g
auge
. Mos
t stri
ngs
are
mad
e fro
m s
teel
or o
ther
met
als.
Lig
hter
gau
ge s
tring
s ha
ve le
ss te
nsio
n th
an h
eavi
er o
nes
whe
n st
rung
. At t
he
end
of a
stri
ng is
a s
mal
l cyl
inde
r (“b
all”)
, whi
ch th
e br
idge
pi
n an
chor
s be
neat
h th
e br
idge
. The
stri
ng is
then
wou
nd
into
a tu
ning
mac
hine
. Low
er p
itch
strin
gs a
re w
ound
, co
nsis
ting
of a
cor
e w
rapp
ed in
wire
. The
mos
t com
mon
st
ring
win
d is
cal
led
roun
dwou
nd, a
nd c
onsi
sts
of a
stri
ng
wou
nd in
roun
d w
ire. F
latw
ound
stri
ngs
are
wou
nd in
wire
th
at h
as a
roun
ded
squa
re c
ross
sec
tion.
Gro
undw
ound
(h
alfw
ound
, pre
ssur
e w
ound
) stri
ngs
are
a hy
brid
of t
he
two,
mad
e by
win
ding
the
core
in ro
und
wire
that
is g
roun
d an
d po
lishe
d. O
ils fr
om th
e ha
nd c
ause
stri
ngs
to c
orro
de
over
tim
e. M
ost s
tring
s ar
e ei
ther
met
al p
late
d or
coa
ted
in
a po
lym
er fo
r pro
tect
ion.
Mod
ern
acou
stic
gui
tars
use
tuni
ng m
achi
nes
to p
rovi
de p
reci
se a
nd s
tabl
e tu
ning
. The
y ar
e sc
rew
ed in
to th
e he
adst
ock
and
anch
or th
e st
rings
at t
he to
p en
d of
the
guita
r. A
tuni
ng m
achi
ne
oper
ates
with
a p
inio
n an
d w
orm
gea
r, w
hich
are
ava
ilabl
e in
var
ious
gea
r rat
ios.
Stri
ng te
nsio
n ca
n be
adj
uste
d by
turn
ing
the
knob
at t
he e
nd o
f the
tuni
ng m
achi
ne, a
lterin
g st
ring
pitc
h.
The
head
stoc
k is
loca
ted
at th
e to
p of
the
guita
r and
hou
ses
the
tuni
ng m
achi
nes.
The
ne
ck a
nd h
eads
tock
can
be
fash
ione
d fro
m a
sin
gle
piec
e, o
r mad
e se
para
tely
and
at-
tach
ed w
ith a
join
t. Af
ter p
assi
ng o
ver t
he n
ut, s
tring
s ar
e fe
d in
to tu
ning
mac
hine
s. T
he
back
war
d an
gle
of th
e he
adst
ock
caus
es th
e st
rings
to e
xert
pres
sure
on
the
nut,
and
prev
ents
them
from
slip
ping
. Mos
t hea
dsto
cks
are
desi
gned
with
thre
e tu
ning
mac
hine
s on
eac
h si
de. O
n sl
otte
d he
adst
ocks
, stri
ngs
are
wou
nd in
to ro
llers
loca
ted
with
in th
e sl
ots.
Whi
le m
ore
fragi
le th
an a
sta
ndar
d he
adst
ock,
a s
lotte
d on
e is
ligh
ter i
n w
eigh
t an
d pr
ovid
es a
gre
ater
stri
ng b
reak
ang
le o
ver t
he n
ut. T
he h
eads
tock
affe
cts
the
soun
d of
the
guita
r and
vib
rate
s in
con
junc
tion
with
the
neck
. Its
wei
ght a
ffect
s th
e ba
lanc
e of
th
e in
stru
men
t and
its
over
all f
eel.
Ofte
n a
hard
woo
d ve
neer
is g
lued
on
the
head
stoc
k to
enh
ance
its
appe
aran
ce a
nd c
over
up
grai
n en
ds. D
ecor
ativ
e in
lays
can
als
o be
fo
und
on th
e fa
ce o
f the
hea
dsto
ck, a
nd th
e br
and
nam
e is
usu
ally
inla
id. T
he o
utlin
e of
th
e he
adst
ock
is o
ften
a di
stin
guis
hing
cha
ract
eris
tic fo
r the
bra
nd o
r lut
hier
, and
man
y sh
apes
hav
e be
com
e ic
onic
. The
sha
pe a
lso
alte
rs th
e st
ring
path
s ov
er th
e nu
t. So
me
play
ers
pref
er a
hea
dsto
ck s
hape
that
allo
ws
the
strin
gs to
trav
el s
traig
hter
ove
r the
nut
fo
r stri
ng b
ends
.
The
nut i
s lo
cate
d at
the
top
of th
e fre
tboa
rd. M
ost a
re m
ade
from
bon
e or
pla
stic
. Slo
ts
are
mad
e in
the
nut a
nd g
uide
the
strin
gs in
to th
eir r
espe
ctiv
e tu
ning
mac
hine
s. T
he s
lots
de
term
ine
strin
g sp
acin
g an
d he
ight
at t
he z
ero
fret.
They
are
mad
e w
ith p
reci
sion
to e
n-su
re th
at th
e st
rings
trav
el o
ver t
he n
ut p
rope
rly. A
wel
l slo
tted
nut a
lso
allo
ws
strin
gs to
m
ove
easi
ly d
urin
g be
ndin
g, a
nd p
reve
nts
tuni
ng p
robl
ems.
The
nut
is th
e on
ly o
ther
par
t of
the
guita
r bes
ides
the
sadd
le w
hich
dire
ctly
touc
hes
the
strin
gs. T
he tw
o de
term
ine
effe
ctiv
e st
ring
leng
th a
nd a
ffect
into
natio
n.
The
neck
spa
ns fr
om th
e he
el to
the
head
stoc
k an
d su
ppor
ts th
e fre
tboa
rd. M
ost a
re m
ade
from
har
dwoo
ds s
uch
as m
ahog
any
or m
a-pl
e. A
nec
k ca
n be
mad
e fro
m a
sol
id p
iece
of
woo
d, o
r lam
inat
ed to
pro
vide
incr
ease
d st
iff-
ness
and
dec
orat
ion.
The
wid
th a
nd p
rofil
e of
a
neck
are
impo
rtant
cha
ract
eris
tics
that
affe
ct
the
play
abilit
y of
an
inst
rum
ent.
The
base
of
the
neck
is jo
ined
to th
e bo
dy v
ia a
tigh
t-fitti
ng
join
t. D
ovet
ail j
oint
s ar
e th
e m
ost c
omm
on
form
of c
onne
ctio
n on
mod
ern
acou
stic
gui
-ta
rs b
etw
een
the
heel
and
hee
l blo
ck, a
lthou
gh
som
e gu
itars
feat
ure
bolt-
on n
ecks
that
allo
w
for e
asie
r nec
k ad
just
men
t and
repa
ir. W
ithin
th
e ne
ck is
a tr
uss
rod:
an
adju
stab
le s
teel
ro
d w
ith a
bol
t on
one
end.
It w
orks
opp
osite
st
ring
tens
ion
and
cont
rols
the
curv
atur
e of
the
neck
. For
war
d cu
rvat
ure
in th
e ne
ck is
cal
led
relie
f, an
d a
smal
l am
ount
is id
eal.
A ne
ck w
ith
an u
p-bo
w (t
oo m
uch
relie
f) ca
n be
fixe
d by
tig
hten
ing
the
truss
rod
with
a c
lock
wis
e tu
rn.
Con
vers
ely,
a ne
ck w
ith a
bac
k-bo
w c
an b
e fix
ed b
y lo
osen
ing
the
truss
rod
(cou
nter
cloc
k-w
ise)
. A b
ridge
adj
ustm
ent c
an ra
ise
or lo
wer
st
ring
actio
n, b
ut o
ften
requ
ires
a tru
ss ro
d ad
just
men
t to
corre
ct in
tona
tion.
Adj
ustm
ents
ar
e m
ade
with
an
alle
n or
hex
wre
nch,
and
sh
ould
be
mad
e ca
refu
lly to
avo
id b
reak
ing
the
truss
rod.
The
fretb
oard
(“fin
gerb
oard
”) is
the
play
able
sur
face
on
the
neck
that
hou
ses
the
frets
. It
is o
ften
mad
e fro
m h
ardw
oods
suc
h as
rose
woo
d or
ebo
ny. T
he w
idth
of t
he fr
etbo
ard
is
thin
ner a
t the
nut
and
incr
ease
s to
war
ds th
e bo
dy, a
nd th
e fre
tboa
rd is
usu
ally
radi
used
to
allo
w fo
r eas
ier c
hord
fret
ting.
Fre
tboa
rd w
idth
and
radi
us a
re c
ontri
butin
g fa
ctor
s in
ov
eral
l com
fort
and
play
abilit
y. Fr
ets
are
seat
ed in
the
fretb
oard
in in
terv
als
that
pro
vide
eq
ual t
empe
ram
ent.
Fret
wire
com
es in
a v
arie
ty o
f size
s an
d is
usu
ally
an
allo
y. So
me
fretb
oard
s ar
e bo
und
to c
once
al th
e fre
t end
s.
sadd
le a
nd b
ridg
e
body
stri
ngs
tuni
ng m
achi
nes
head
stoc
k
nut
Neck
fret
boar
d
Pick
guar
d
Bind
ing
Brid
ge P
in
Brac
ing
Brid
geSa
ddle
Rose
tte
Soun
dboa
rd
Soun
d H
ole
Wai
st
Low
er B
out
Upp
er B
out
Fret
boar
d (“F
inge
rboa
rd”)
Nut
Hea
dsto
ck
Hee
l
Nec
k
Fret
Strin
g
Tuni
ng M
achi
ne
Vene
er
Posi
tion
Mar
ker
Back
Side
Stra
p Bu
tton
ACO
UST
IC
ANAT
OM
YGU
ITAR
AND
MEC
HAN
ICS
R
MB30342ACOUSTIC GUITAR
ANATOMY AND MECHANICS
© 2
013
BY M
EL B
AY P
UBL
ICAT
ION
S, IN
C.,
PAC
IFIC
, MO
630
69AL
L RI
GH
TS R
ESER
VED,
INTE
RNAT
ION
AL C
OPY
RIG
HT
SEC
URE
D, B
.M.I.
MAD
E AN
D PR
INTE
D IN
U.S
.A
3034
2_FU
LL_W
OR
KIN
G_F
ILE.
indd
1
5/1/
13
2:18
PM
“Acoustic Guitar Anat-omy and Mechanics” is a comprehensive visual map of the acoustic guitar. The poster includes a large diagram of the instrument and detailed views of its components. Descrip-tions of all the major parts explain their functions. This poster is a great visual for anyone interested in the acoustic guitar.
MB30342Acoustic GuitarAnatomy andMechanics Wall Chart
by CharlieLee-Georgescu
Guitar20
R
WALL_CHART_FLYER_A1.indd 20 11/14/13 9:26 PM
Guitar
R
© 2
013
BY M
EL B
AY P
UBL
ICAT
ION
S, IN
C.,
PAC
IFIC
, MO
630
69AL
L RI
GH
TS R
ESER
VED,
INTE
RNAT
ION
AL C
OPY
RIG
HT
SEC
URE
D, B
.M.I.
MAD
E AN
D PR
INTE
D IN
U.S
.A
4 4
4 4
c
3 4
2 4
The
co
rre
ct w
ay
to
ho
ld th
e g
uita
r.
Mu
sic
is w
ritte
n o
n a
STA
FF c
on
sist
ing
of F
IVE
LIN
ES a
nd
FO
UR
SPA
CES
. Th
e li
ne
s a
nd
sp
ac
es
are
nu
mb
ere
d u
pw
ard
s a
s sh
own
:A
RES
T is
a s
ign
use
d to
de
sig
na
te a
pe
riod
of s
ilen
ce.
Th
is p
erio
d o
f sile
nc
e w
ill b
e o
f th
e s
am
e d
ura
tion
of t
ime
as
the
no
te to
wh
ich
it c
orr
esp
on
ds.
Mu
sic
is c
om
po
sed
of s
ou
nd
s p
lea
san
t to
the
ea
r.
SOU
ND
ma
y b
e m
ad
e fr
om
NO
ISE
or T
ON
E.
NO
ISE
is m
ad
e b
y irr
eg
ula
r vib
ratio
ns
such
as
wo
uld
be
ca
use
d b
y st
rikin
g w
ith a
ha
m-
me
r, th
e s
ho
t of a
gu
n, o
r sla
pp
ing
two
sto
ne
s to
ge
the
r.
TON
E is
pro
du
ce
d b
y re
gu
lar v
ibra
tion
s a
s w
ou
ld b
e c
au
sed
by
dra
win
g a
bow
ove
r th
e s
trin
gs
of a
vio
lin, s
trik
ing
the
str
ing
s o
f a g
uita
r, o
r blo
win
g th
rou
gh
a w
ind
inst
ru-
me
nt s
uch
as
a tr
um
pe
t.
A to
ne
ha
s fo
ur c
ha
rac
teris
tics.
..PIT
CH
, DU
RATI
ON
, DYN
AM
ICS,
an
d T
IMBR
E.
PITC
H: t
he
hig
hn
ess
of l
own
ess
of a
ton
e.
DU
RATI
ON
: th
e le
ng
th o
f a to
ne.
DYN
AM
ICS:
the
forc
e o
r pow
er o
f a to
ne
(lo
ud
ne
ss o
r so
ftne
ss).
TIM
BRE:
qu
alit
y o
f to
ne.
A n
ote
rep
rese
nts
the
pitc
h a
nd
du
ratio
n o
f a to
ne.
Dyn
am
ics
are
ind
ica
ted
by
wo
rds
such
as:
Pia
nis
sim
o...
......
......
......
......
......
......
......
......
..(pp
)....
......
......
......
......
......
......
......
......
ve
ry s
oft
Pia
no
......
......
......
......
......
......
......
......
......
......
..(p)
......
......
......
......
......
......
......
......
......
......
. so
ftM
ezz
o p
ian
o...
......
......
......
......
......
......
......
....(
mp)
......
......
......
......
......
......
......
.. m
ed
ium
so
ftM
ezz
o fo
rte.
......
......
......
......
......
......
......
......
...(m
f)...
......
......
......
......
......
......
... m
ed
ium
lou
dFo
rte.
......
......
......
......
......
......
......
......
......
......
...(f
)....
......
......
......
......
......
......
......
......
......
.. lo
ud
Tim
bre
de
pe
nd
s u
po
n th
e s
kill
of t
he
pe
rform
er p
lus
the
qu
alit
y o
f th
e in
stru
me
nt
wh
ich
is b
ein
g p
laye
d.
A h
alf-
ste
p is
the
dis
tan
ce
fro
m a
giv
en
ton
e to
the
nex
t hig
he
r or l
owe
r to
ne.
On
the
g
uita
r, th
e d
ista
nc
e o
f a h
alf
ste
p is
on
e fr
et.
A w
ho
le s
tep
co
nsi
sts
of t
wo
ha
lf st
ep
s. Th
e d
ista
nc
e o
f a w
ho
le s
tep
on
the
gu
itar i
s
two
fre
ts.
The
C s
ca
le h
as
two
ha
lf-st
ep
s. Th
ey a
re b
etw
ee
n E
-F a
nd
B-C
. No
te th
e d
ista
nc
e o
f o
ne
fre
t be
twe
en
tho
se n
ote
s. Th
e d
ista
nc
es
be
twe
en
C-D
, D-E
, F-G
, G-A
, an
d A
-B a
re
wh
ole
ste
ps.
Wh
ole
ste
ps
an
d h
alf
ste
ps
are
als
o re
ferr
ed
to a
s w
ho
le to
ne
s a
nd
ha
lf to
ne
s.
Ha
lf-St
ep
Wh
ole
Ste
p
This
is a
n e
igh
th re
st.
This
is a
qu
art
er r
est
.
Ha
lf re
st
Ha
lf re
sts
lie o
n th
e li
ne.
No
tes
Wh
ole
4 C
ou
nts
Ha
lf2
Co
un
tsQ
ua
rte
r1
Co
un
tEi
gh
th2
for 1
Co
un
t
Rest
s
Wh
ole
rest
Wh
ole
rest
s h
an
g d
own
fro
m th
e li
ne.
The
ab
ove
exa
mp
les
are
co
mm
on
typ
es
of t
ime
sig
na
ture
s.
Sig
nifi
es
so-c
alle
d “c
om
mo
ntim
e” a
nd
is s
imp
ly a
no
the
r wa
yo
f de
sig
na
ting
4/4
tim
e.
The
nu
mb
er o
f be
ats
pe
r me
asu
re.
Bea
ts p
er m
ea
sure
.
The
typ
e o
f no
te re
ce
ivin
g o
ne
be
at.
A q
ua
rte
r no
te re
ce
ive
s o
ne
be
at.
The
lin
es
an
d s
pa
ce
s a
re n
am
ed
afte
r le
tters
fro
m th
e a
lph
ab
et.
The
lette
rs c
an
ea
sily
be
rem
em
be
red
by
the
se
nte
nc
e:
Eve
ry
The
lette
r-na
me
s o
f th
e S
PAC
ES a
re:
They
sp
ell
the
wo
rd F
-A-C
-E.
The
mu
sic
al a
lph
ab
et h
as
seve
n le
tters
: A B
C D
E F
G
The
STA
FF is
div
ide
d in
to m
ea
sure
s b
y ve
rtic
al l
ine
s c
alle
d B
ARS
.
Me
asu
re
Bar
Bar
DO
UBL
E BA
RS m
ark
th
e e
nd
of a
se
ctio
n
or s
train
of m
usi
c.
This
sig
n is
the
tre
ble
o
r G c
lef.
All
gu
itar
mu
sic
will
be
writ
ten
w
ith th
is c
lef.
the
HEA
Dth
e S
TEM
the
FLA
G
No
tes
ma
y b
e p
lac
ed
in th
e s
taff,
ab
ove
the
sta
ff,
an
d b
elo
w th
e s
taff.
A n
ote
will
be
ar t
he
na
me
of t
he
lin
e o
r sp
ac
e it
oc
cu
pie
s o
n th
e s
taff.
The
loc
atio
n o
f a n
ote
in, a
bov
e, o
r be
low
the
sta
ff w
ill in
dic
ate
the
pitc
h.
PITC
H: t
he
he
igh
t or d
ep
th o
f a n
ote
. TO
NE:
a m
usi
ca
l so
un
d.
THE
TYPE
OF
NO
TE W
ILL
IND
ICA
TE T
HE
LEN
GTH
OF
ITS
SOU
ND
This
is a
wh
ole
no
te.
The
he
ad
is h
ollo
w.
It d
oe
s n
ot h
ave
a s
tem
.
T
his
is a
ha
lf n
ote
.
Th
e h
ea
d is
ho
llow
.
It h
as
a s
tem
.
Th
is is
a q
ua
rte
r no
te.
Th
e h
ea
d is
so
lid.
It
ha
s a
ste
m.
Th
is is
an
eig
hth
no
te.
Th
e h
ea
d is
so
lid.
It h
as
a s
tem
an
d a
fla
g.
= 4
Bea
tsA
wh
ole
no
te w
ill re
ce
ive
fou
r be
ats
or c
ou
nts
.
=
2 B
ea
ts
A h
alf
no
te w
ill re
ce
ive
tw
o b
ea
ts o
r co
un
ts.
=
1 Be
at
A
qu
art
er n
ote
will
rec
eiv
e
on
e b
ea
t or c
ou
nt.
= ½
Be
at
An
eig
hth
no
te w
ill re
ce
ive
on
e-h
alf
be
at o
r co
un
t.
(
2 fo
r 1 b
ea
t)
This
is a
NO
TE:
A n
ote
ha
s th
ree
pa
rts.
Th
ey a
re...
The
se
co
nd
lin
e o
f th
e tr
eb
le
cle
f is
know
n a
s th
e G
lin
e.
Ma
ny p
eo
ple
ca
ll th
e tr
eb
le
cle
f th
e G
cle
f be
ca
use
it
circ
les
aro
un
d th
e G
lin
e.
Me
asu
reM
ea
sure
The
LIN
ES a
re n
am
ed
as
follo
ws:
Go
odBo
yD
oe
sFin
e
5TH
LIN
E4T
H L
INE
3RD
LIN
E2N
D L
INE
1ST
LIN
E
5 4 3 2 1 4 3 2 1
E
C
AF
4TH
SPA
CE
3RD
SPA
CE
2ND
SPA
CE
1ST
SPA
CE
= D
own
stro
ke o
f th
e p
ick.
1.
This
is th
e p
ick.
Pla
ce
yo
ur
fing
ers
FIR
MLY
o
n th
e s
trin
gs
DIR
ECTL
Y BE
HIN
D T
HE
FRET
S
Me
l Ba
y’s
Mo
de
rn G
uita
r M
eth
od
is th
e w
orld
’s p
rem
ier
me
tho
d fo
r le
arn
ing
mo
de
rn p
lec
tru
m s
tyle
gu
itar,
time
-test
-e
d a
nd
pro
ven
su
cc
ess
ful i
n b
uild
ing
the
the
ore
tic a
nd
te
chn
ica
l fo
un
da
tion
ne
ed
ed
to p
lay
in a
ny s
tyle
. All
seve
n
gra
de
s o
f th
is m
eth
od
are
writ
ten
in s
tan
da
rd n
ota
tion
on
ly
to e
nc
ou
rag
e b
ette
r sig
ht r
ea
din
g. I
n G
rad
e 1
, th
e s
tud
en
t g
uita
rist w
ill le
arn
to p
lay
solo
s, d
ue
ts, s
ca
les,
an
d c
ho
rds
in
the
key
s o
f C, A
min
or,
G a
nd
E m
ino
r. Ev
en
in G
rad
e 1
, th
e
stu
de
nt i
s a
lrea
dy
exp
ose
d to
the
ch
ord
/me
lod
y c
on
ce
pt
of g
uita
r pe
rform
an
ce.
A s
up
ple
me
nta
ry s
tud
y b
oo
k e
ntit
led
G
rad
e 1
Stu
die
s, tw
o d
iffe
ren
t pla
y-a
lon
g C
D re
co
rdin
gs
(po
p v
ers
ion
an
d tr
ad
itio
na
l), a
nd
a D
VD
are
ava
ilab
le. T
he
c
om
pa
nio
n re
co
rdin
gs
fea
ture
Tom
my
Flin
t an
d W
illia
m B
ay
pla
yin
g in
sp
lit-tr
ack
form
at,
with
the
so
lo p
art
s p
erfo
rme
d
on
the
rig
ht c
ha
nn
el,
an
d th
e a
cc
om
pa
nim
en
t or s
ec
on
d
du
et p
art
s p
laye
d o
n th
e le
ft. T
he
stu
de
nt c
an
pla
y a
lon
g
with
the
full
rec
ord
ing
, or t
un
e o
ut e
ithe
r ch
an
ne
l an
d p
lay
the
mis
sin
g p
art
.
Me
lbo
urn
e E
. Ba
y (1
913-
1997
) w
as
bo
rn in
the
tiny
Oza
rk m
ou
nta
in to
wn
of B
un
ker,
Mis
sou
ri. H
e
mov
ed
to S
t. Lo
uis
in th
e e
arly
193
0’s,
righ
t afte
r hig
h s
cho
ol.
He
bo
ug
ht h
is fi
rst g
uita
r at t
he
ag
e
of 1
3 a
nd
sev
era
l mo
nth
s la
ter p
laye
d h
is fi
rst “
gig
.” H
e w
an
ted
to b
e a
n e
ng
ine
er b
ut c
ou
ld n
ot
affo
rd to
go
to c
olle
ge.
Ho
ld it
in th
is
ma
nn
er fi
rmly
b
etw
ee
n th
e
thu
mb
an
d
first
fin
ge
r
1.
2. 3.
2.
In 1
933
Me
l Ba
y m
ove
d to
St.
Lou
is a
nd
be
ga
n h
is p
rofe
ssio
na
l ca
ree
r. H
e p
laye
d w
ith
nu
me
rou
s lo
ca
l an
d tr
ave
ling
ba
nd
s. A
dd
itio
na
lly, h
e la
nd
ed
sta
ff g
uita
r jo
bs
on
sev
era
l ra
dio
sta
tion
s. M
el f
ron
ted
his
ow
n tr
io (
pia
no
, ba
ss a
nd
gu
itar)
an
d p
laye
d s
tea
dily
for
25 y
ea
rs.
He
wa
s e
qu
ally
ad
ep
t on
mo
st fr
ette
d in
stru
me
nts
an
d p
laye
d m
an
do
lin, u
ke,
Ha
wa
iian
gu
itar,
an
d te
no
r ba
njo
pro
fess
ion
ally
. W
hile
Me
l wa
s a
ctiv
ely
pu
rsu
ing
his
pla
y-in
g c
are
er,
he
co
ntin
ue
d to
tea
ch a
s m
any
as
100
stu
de
nts
a w
ee
k. H
e d
ec
ide
d to
be
gin
w
ritin
g in
stru
ctio
na
l ma
teria
l du
e to
the
diffi
cu
lty e
nc
ou
nte
red
by
gu
itar s
tud
en
ts a
t pla
y-in
g g
oo
d-s
ou
nd
ing
ch
ord
form
s a
s n
ec
ess
ary
in c
lass
ica
l, ro
ck, b
lue
s, ja
zz a
nd
folk
sty
les.
Afte
r Wo
rld W
ar I
I th
e U
.S. G
ove
rnm
en
t co
ntra
cte
d M
el t
o w
rite
inst
ruc
tion
al m
ate
rials
on
g
uita
r fo
r GI’s
wa
ntin
g to
lea
rn m
usi
c u
nd
er t
he
“GI B
ill.”
In 1
947
Me
l fo
rme
d h
is o
wn
pu
b-
lish
ing
co
mp
any
an
d w
rote
his
lan
dm
ark
initi
al b
oo
k tit
led
Th
e O
rch
est
ral C
ho
rd S
yste
m.
His
Mo
de
rn G
uita
r Me
tho
d w
as
writ
ten
in 1
948.
Fo
r ye
ars
Me
l tra
vele
d fr
om
tow
n to
tow
n
talk
ing
to g
uita
r te
ach
ers
an
d p
laye
rs a
nd
sh
owin
g th
em
his
bo
oks
. A
t on
e ti
me,
Me
l cl
aim
ed
to h
ave
kn
own
virt
ua
lly e
very
gu
itar t
ea
che
r in
Am
eric
a o
n a
firs
t-na
me
ba
sis.
Th
e g
uita
r an
d M
el B
ay
bo
oks
be
ca
me
po
pu
lar i
n th
e 1
950s
an
d h
ave
co
ntin
ue
d to
g
row
eve
r sin
ce.
Me
l Ba
y ch
an
ge
d th
e w
orld
of g
uita
r in
stru
ctio
n b
eg
inn
ing
w
ith h
is c
orn
ers
ton
e M
od
ern
Gu
itar M
eth
od
. H
e e
sta
blis
he
d
the
str
uc
ture
for m
od
ern
gu
itar e
du
ca
tion
an
d b
y so
do
ing
, h
elp
ed
cre
ate
the
fou
nd
atio
n fo
r th
e c
on
tinu
ed
gro
wth
an
d
ad
van
ce
me
nt o
f th
e in
stru
me
nt.
The
six
op
en
str
ing
s o
f th
e g
uita
r will
be
of t
he
sa
me
pitc
h a
s th
e s
ix n
ote
s sh
own
in th
e
illu
stra
tion
of t
he
pia
no
key
bo
ard
. No
te th
at fi
ve o
f th
e s
trin
gs
are
be
low
the
mid
dle
C
of t
he
pia
no
key
bo
ard
.
1. T
un
e th
e 6
th s
trin
g in
un
iso
n w
ith th
e E
or 1
2th
w
hite
key
to th
e L
EFT
of M
IDD
LE C
on
the
pia
no
.
2. P
lac
e th
e fi
ng
er b
eh
ind
the
fifth
fre
t of t
he
6th
st
ring
. Th
is w
ill g
ive
yo
u th
e to
ne
or p
itch
of t
he
5t
h s
trin
g (
A).
3. P
lac
e fi
ng
er b
eh
ind
the
fifth
fre
t of t
he
5th
st
ring
to g
et t
he
pitc
h o
f th
e 4
th s
trin
g (
D).
4. R
ep
ea
t sa
me
pro
ce
du
re to
ob
tain
the
pitc
h
of t
he
3rd
str
ing
(G
).
5. P
lac
e fi
ng
er b
eh
ind
the
fou
rth
fre
t of t
he
3rd
st
ring
to g
et t
he
pitc
h o
f th
e 2
nd
str
ing
(B)
.
6. P
lac
e fi
ng
er b
eh
ind
the
fifth
fre
t of t
he
2n
d
strin
g to
ge
t th
e p
itch
of t
he
firs
t str
ing
(E)
.
Ele
ctr
ic G
uita
r Tu
ne
rs a
re a
vail-
ab
le a
t yo
ur l
oc
al m
usi
c s
tore
. Th
ey a
re a
ha
nd
y d
evic
e a
nd
h
igh
ly re
co
mm
en
de
d
Pia
no
No
tatio
nE
E A
DE
A
D
G
B
E
E
A
D
G
B
E
1 2 3 4 5
Fret
s
G B
E
E
A
D
G
B
EG
uita
r No
tatio
n
AD
GB
E
MIDDLE C
anot
her m
etho
d of t
unin
g
Type
s of N
otes
THE T
ime s
igna
ture
The C
lef:
The S
taff
:
6 A
5 D
4 G
3 B
2 E
1
E
E
GB
D
How
to H
old t
he G
uita
r and
Pick
rest
s / th
e tim
e sig
natu
reth
e rud
imen
ts of
mus
icto
ne
tuni
ng th
e gui
tar
step
sno
tes
MB30409MODERN GUITAR METHOD
GRADE 1 WALL CHART
MO
DER
N G
UIT
AR
MET
HO
D G
RAD
E 1
WA
LL C
HA
RTb
y C
ollin
Ba
y
3040
9_FU
LL_W
OR
KIN
G_F
ILE.
indd
1
8/19
/13
1:4
3 PM
Mel Bay’s Modern Guitar Method is the world’s premier method for learning guitar, time-tested and proven successful in building the theoretic and technical founda-tion needed to play in any style. This elegant wall chart features some of the most crucial information to have at hand: proper technique, basic chords, note-reading tips and more. Perfect for a practice room or teaching studio, the Modern Guitar Meth-od Grade 1 wall chart serves as an ideal visual aid for guitarists of all ages.
MB30409Modern GuitarMethod Grade 1Wall Chart
by Collin Bay
21
R
WALL_CHART_FLYER_A1.indd 21 11/14/13 9:26 PM
A valuable wall chart for student and teach-er. Shows major and minor three-octave scales, right hand arpeggio patterns, arpeggiated cadences in major and minor keys and a complete fingerboard/notation diagram.
MB20165Classic Guitar ReferenceWall Chart
by William Bay and Richard Pick
Guitar22
R
WALL_CHART_FLYER_A1.indd 22 11/14/13 9:27 PM
Mou
ntin
g Pl
ate
Rolle
r
Hig
h E
Low
E
Baro
que
Gui
tar
Fing
erbo
ard
Nec
k
Hee
lSi
deSi
de
Nec
k w
ith D
ovet
ail H
eel
Hee
l
Dove
tail
Hee
lBl
ock
Nec
k w
ith S
pani
sh H
eel
Hee
lFo
ot
Slot
for S
ide
Win
gW
ing
Tie
Bloc
k
Sadd
le
Bone
Bone
Sadd
le Sadd
le B
lock
Soun
dboa
rd B
raci
ng P
atte
rns
Rose
tte
Bind
ing
Soun
dboa
rd
Side
Dent
ello
ne
Top
Purfl
ing
Side
Pu
rflin
g
The
body
of a
cla
ssic
al g
uita
r is
mad
e of
man
y co
mpo
nent
s, e
ach
affe
ctin
g th
e so
und
and
tone
of t
he in
stru
men
t. Th
e th
ree
mai
n pa
rts a
re th
e so
undb
oard
, sid
es, a
nd b
ack.
The
sou
ndbo
ard
impa
rts v
ibra
tions
to th
e su
rroun
ding
air
to p
rodu
ce s
ound
, and
is
cons
truct
ed fr
om b
ook-
mat
ched
pie
ces
of w
oods
suc
h as
spr
uce,
ced
ar a
nd re
dwoo
d. S
ound
boar
d w
oods
hav
e th
eir o
wn
tona
l ch
arac
teris
tics,
whi
ch e
ven
vary
bet
wee
n pi
eces
from
the
sam
e tre
e. T
he s
ound
boar
d is
san
ded
or p
lane
d to
two
to th
ree
milli
me-
ters
thic
k. It
requ
ires
brac
ing
to k
eep
the
woo
d fro
m b
reak
ing
unde
r stri
ng te
nsio
n. T
he b
raci
ng is
glu
ed d
irect
ly u
nder
neat
h th
e so
undb
oard
and
influ
ence
s th
e so
und
of th
e in
stru
men
t. A
wid
e va
riety
of b
raci
ng p
atte
rns
have
bee
n de
velo
ped
to a
chie
ve d
iffer
-en
t typ
es o
f sou
nds.
Tra
ditio
nally
, a s
ingl
e ci
rcul
ar s
ound
hol
e is
cut
out
of t
he s
ound
boar
d to
pro
ject
sou
nd o
utw
ards
. Sur
roun
ding
it
is a
dec
orat
ive
rose
tte,
whi
ch is
inla
id in
to th
e so
undb
oard
. The
sid
es a
nd b
ack
of th
e gu
itar a
re o
ften
cons
truct
ed fr
om w
oods
su
ch a
s ro
sew
ood,
mah
ogan
y an
d w
alnu
t. A
flexi
ble
slot
ted
strip
of w
ood
calle
d ke
rfing
is u
sed
to a
ttach
the
back
to th
e si
des.
The
so
undb
oard
is a
ttach
ed to
the
side
s w
ith w
oode
n pi
eces
cal
led
dent
ello
nes.
At t
he e
nd o
f the
gui
tar,
a ta
il bl
ock
is a
ttach
ed in
side
to
add
rein
forc
emen
t whe
re th
e tw
o si
des
mee
t. B
indi
ng o
n th
e co
mpl
eted
bod
y pr
otec
ts th
e ed
ges
of th
e gu
itar,
and pu
rfling
is in
-la
id a
long
side
as
deco
ratio
n. M
ost c
lass
ical
gui
taris
ts p
refe
r a F
renc
h po
lish
finis
h, w
hich
is a
pplie
d in
man
y th
in “c
oats
” of s
hella
c di
ssol
ved
in a
lcoh
ol u
sing
an
oil-l
ubric
ated
pad
. The
resu
lting
fini
sh is
thin
eno
ugh
to n
ot in
hibi
t ton
e an
d ca
n be
repa
ired
easi
ly.
The
nut i
s lo
cate
d at
the
top
of th
e fin
gerb
oard
at t
he b
ase
of th
e he
adst
ock.
It d
eter
min
es
strin
g sp
acin
g an
d he
ight
at t
he z
ero
fret.
The
nut i
s m
ade
from
bon
e or
pla
stic
, and
is s
lot-
ted
with
pre
cisi
on to
ens
ure
prop
er a
ctio
n an
d pl
ayab
ility.
The
vary
ing
strin
g w
idth
s re
quire
th
at th
e sl
ot s
paci
ngs
and
wid
ths
be c
alib
rate
d so
stri
ng s
paci
ng fe
els
even
in th
e fre
tting
ha
nd.
NUT
The
head
stoc
k is
loca
ted
at th
e to
p of
the
neck
, jus
t pas
t the
nut
, and
con
tain
s th
e tu
ning
mac
hine
s. T
he n
eck
and
head
stoc
k ar
e of
ten
carv
ed fr
om
a si
ngle
pie
ce o
f woo
d. T
hey
can
also
be
mad
e se
para
tely
and
atta
ched
toge
ther
with
a s
carf
join
t. Th
e w
eigh
t and
leng
th o
f the
hea
dsto
ck a
ffect
th
e so
und
of th
e gu
itar.
It is
ang
led
back
war
d so
the
strin
gs a
pply
pre
ssur
e on
the
nut.
Cla
ssic
al g
uita
r hea
dsto
cks
are
slot
ted,
exp
osin
g th
e tu
ning
mac
hine
rolle
rs. T
he tu
ning
mac
hine
s ar
e m
ount
ed o
n th
e si
des
and
use
pini
on a
nd w
orm
gea
rs to
pro
vide
pre
cise
and
st
able
tuni
ng. O
ften,
tuni
ng m
achi
nes
are
paire
d in
thre
e on
a s
ingl
e m
ount
ing
plat
e. A
har
dwoo
d ve
neer
is o
ften
glue
d to
th
e fa
ce o
f the
hea
dsto
ck to
enh
ance
its
appe
aran
ce a
nd c
over
up
any
expo
sed
grai
n en
ds.
HEAD
STOC
K AN
D TU
NING
MAC
HINE
S
The
neck
of t
he c
lass
ical
gui
tar g
reat
ly a
ffect
s its
sou
nd. I
t is
ofte
n co
nstru
cted
from
har
dwoo
ds s
uch
as m
ahog
any
or S
pani
sh c
edar
. The
nec
k ca
n be
at
tach
ed to
the
body
in tw
o w
ays.
A n
eck
with
a S
pani
sh h
eel i
s of
ten
cons
truct
ed fr
om a
sin
gle
piec
e of
woo
d th
at e
xten
ds in
to th
e bo
dy o
f the
gui
tar.
The
side
s of
the
guita
r are
then
fitte
d in
to s
lots
in th
e he
el/fo
ot s
truct
ure.
Thi
s is
the
tradi
tiona
l met
hod
for a
ttach
ing
the
neck
to th
e bo
dy, a
nd is
ofte
n pr
efer
red.
Nec
ks c
an a
lso
be jo
ined
to th
e bo
dy w
ith a
dov
etai
l joi
nt, c
onne
ctin
g th
e he
el to
a s
epar
ate
bloc
k in
side
the
body
. A S
pani
sh h
eel m
akes
a
neck
rese
t muc
h m
ore
diffi
cult
than
a d
ovet
ail h
eel.
The
finge
rboa
rd is
mad
e fro
m h
ardw
oods
suc
h as
ebo
ny, b
lack
woo
d an
d ro
sew
ood.
It h
ouse
s th
e fr
ets,
whi
ch a
re s
pace
d in
inte
rval
s th
at p
rovi
de e
qual
tem
pera
men
t. A
clas
sica
l gui
tar n
eck
does
not
con
tain
a tr
uss
rod
beca
use
the
strin
g te
nsio
n is
no
t as
high
as
on a
ste
el-s
tring
gui
tar.
To c
reat
e re
lief,
mos
t lut
hier
s co
nstru
ct th
e ne
ck w
ith a
slig
ht a
ngle
. The
fing
erbo
ard
can
also
be
plan
ed th
inne
r to
war
ds th
e so
und
hole
.
NECK
AND
FING
ERBO
ARD
The
brid
ge a
nd s
addl
e tra
nsfe
r vib
ratio
ns fr
om th
e st
rings
to th
e so
undb
oard
. The
sad
dle
is m
ade
from
bon
e or
pla
stic
, and
is c
ompe
nsat
ed to
pro
vide
pro
per i
nton
atio
n. It
det
erm
ines
stri
ng h
eigh
t an
d ef
fect
ive
leng
th. T
he b
ridge
is u
sual
ly m
ade
from
a s
ingl
e pi
ece
of ro
sew
ood
or e
bony
. It c
on-
sist
s of
a s
addl
e bl
ock
that
hou
ses
the
sadd
le, a
nd a
tie
bloc
k in
to w
hich
stri
ngs
are
tied.
The
tie
bloc
k is
ofte
n ba
nded
with
bon
e on
bot
h si
des
to p
reve
nt th
e st
rings
from
dam
agin
g th
e w
ood
and
ofte
n co
ntai
ns a
dec
orat
ive
vene
er. W
ings
on
eith
er s
ide
of th
e br
idge
tran
sfer
the
pullin
g fo
rce
from
th
e st
rings
to th
e so
undb
oard
.
SADD
LE A
ND B
RIDG
E
The
high
est t
hree
stri
ngs
on th
e gu
itar a
re m
ade
from
nyl
on. T
radi
tiona
lly, t
hese
stri
ngs
wer
e m
ade
from
gut
. The
low
est
thre
e st
rings
are
mad
e fro
m th
in n
ylon
fila
men
ts w
ound
in b
ronz
e w
ire o
r silv
er p
late
d co
pper
wire
. The
se w
ere
ofte
n m
ade
of s
ilk w
ound
in g
ut. S
tring
s on
cla
ssic
al g
uita
rs c
onta
in le
ss te
nsio
n w
hen
wou
nd th
an m
etal
stri
ngs,
whi
ch re
quire
a c
oun-
tera
ctin
g tru
ss ro
d.
STRI
NGS
Rena
issa
nce
and
Baro
que
guita
rs a
re
som
e of
the
clos
est a
nces
tors
to th
e m
od-
ern
clas
sica
l gui
tar.
They
had
four
or fi
ve
strin
g co
urse
s, a
nd m
ovea
ble
gut f
rets
. Th
e bo
dies
of t
hese
gui
tars
wer
e sm
alle
r th
an to
day’s
cla
ssic
al g
uita
rs, p
rodu
cing
le
ss v
olum
e. T
hese
gui
tars
wer
e hi
ghly
or
nate
, with
man
y in
lays
and
par
chm
ent
rose
ttes.
The
y of
ten
feat
ured
vau
lted
or
ribbe
d ba
cks,
a d
esig
n th
at w
as e
vent
ually
ph
ased
out
for fl
atte
r-bac
ked
larg
er b
od-
ies.
Des
pite
thei
r vis
ual d
iffer
ence
s, th
ese
guita
rs w
ere
anat
omic
ally
ver
y si
mila
r to
the
mod
ern
clas
sica
l gui
tar.
PRED
ECES
SORS
BODY
Upp
er B
out
Nut
Hea
dsto
ck
Bind
ing
Purfl
ing
Low
er B
out
End
Gra
ft
Back
Pla
te
Kerfi
ng
Brac
ing
Rose
tte
Brid
ge
Sadd
le
Soun
dboa
rd
Hee
l
Nec
k
Tuni
ng M
achi
ne
Vene
er
Strin
g
Fret
Fing
erbo
ard
Side
Soun
d H
ole
Wai
st
CLA
SSIC
AL
ANAT
OM
YGU
ITAR
AND
MEC
HAN
ICS
R
MB30341CLASSICAL GUITAR
ANATOMY AND MECHANICS
© 2
013
BY M
EL B
AY P
UBL
ICAT
ION
S, IN
C.,
PAC
IFIC
, MO
630
69AL
L RI
GH
TS R
ESER
VED,
INTE
RNAT
ION
AL C
OPY
RIG
HT
SEC
URE
D, B
.M.I.
MAD
E AN
D PR
INTE
D IN
U.S
.A
3034
1_FU
LL_W
OR
KIN
G_F
ILE.
indd
1
4/16
/13
10:
20 A
M
Guitar
This wall chart is a comprehensive visual map of the classical guitar. It includes a large diagram of the instrument and detailed views of its parts. Each part of the instrument is described, exposing the elegant simplicity of the guitar’s con-struction. This poster is a great visual for anyone interested in the classical guitar.
MB30341Classical GuitarAnatomy andMechanics Wall Chart
by CharlieLee-Georgescu
23
R
WALL_CHART_FLYER_A1.indd 23 11/14/13 9:27 PM
Elec
tric
guita
rs c
ome
in m
any
shap
es, w
ith fe
w d
esig
n lim
itatio
ns. A
typi
cal
body
has
an
uppe
r and
low
er b
out w
ith a
wai
st in
bet
wee
n. S
olid
bod
y el
ec-
tric
guita
rs a
re u
sual
ly c
onst
ruct
ed fr
om w
ood.
The
bod
y is
ofte
n m
ade
from
a
type
of h
ardw
ood
(“ton
ewoo
d”).
Com
mon
tone
woo
ds in
clud
e m
aple
, aga
this
, an
d m
ahog
any.
Man
y bo
dies
are
con
stru
cted
from
a s
ingl
e pi
ece
of w
ood,
w
hile
som
e ha
ve a
bod
y to
p (a
n ex
tra to
p pl
ate)
. Thi
s ca
n be
use
d fo
r aes
thet
-ic
and
tona
l pur
pose
s. M
ost b
odie
s ar
e al
so s
eale
d w
ith a
fini
sh. T
hese
rang
e fro
m o
ils to
hig
h-gl
oss
lacq
uers
. A fi
nish
affe
cts
the
soun
d an
d ap
pear
ance
of
the
inst
rum
ent.
Stai
ns c
an a
lso
be a
pplie
d to
the
body
prio
r to
finis
hing
.Th
e he
adst
ock
is lo
cate
d at
the
top
of th
e gu
itar.
Its s
hape
is u
sual
ly b
ased
ar
ound
one
of t
wo
form
ats:
“thr
ee p
lus
thre
e” (t
hree
tune
rs o
n ea
ch s
ide)
or “
six
in li
ne” (
six
tune
rs o
n on
e si
de).
Hea
dsto
ck d
esig
n is
ofte
n a
dist
ingu
ishi
ng c
har-
acte
ristic
for a
bra
nd. A
fter p
assi
ng th
e nu
t, st
rings
are
fed
into
tuni
ng m
achi
nes
scre
wed
to th
e he
adst
ock,
whi
ch is
ofte
n an
gled
bac
kwar
d so
the
strin
gs e
xert
pres
sure
on
the
nut.
Stra
ight
hea
dsto
cks
have
str
ing
tree
s to
incr
ease
pre
ssur
e.
“Hea
dles
s” e
lect
ric g
uita
rs d
o no
t hav
e he
adst
ocks
. The
tuni
ng m
achi
nes
are
inco
rpor
ated
into
the
tailp
iece
.
Mag
netic
pic
kups
are
use
d to
gen
erat
e so
und.
A
sim
ple
pick
up c
onsi
sts
of a
bar
mag
net w
ound
in
a c
oil o
f wire
. In
the
pres
ence
of a
per
man
ent
mag
net,
a st
ring
will
beco
me
mag
netiz
ed. W
hen
pluc
ked,
its
vibr
atio
n cr
eate
s a
curre
nt in
the
coil
of w
ire. S
ome
pick
ups
cont
ain
sepa
rate
mag
-ne
ts fo
r eac
h st
ring.
Tw
o ba
sic
type
s of
pic
kups
ar
e us
ed o
n el
ectri
c gu
itars
toda
y. Si
ngle
coi
l pi
ckup
s co
ntai
n on
ly o
ne c
oil o
f wire
. Hum
-bu
ckin
g pi
ckup
s (“h
umbu
cker
s”) c
onsi
st o
f tw
o m
agne
ts w
rapp
ed in
coi
ls o
f wire
. Sin
gle
coils
so
und
brig
hter
and
usu
ally
hav
e lo
wer
out
puts
th
an h
umbu
cker
s. B
ecau
se a
coi
l als
o ac
ts a
s an
ant
enna
, a s
ingl
e co
il w
ill ge
nera
te h
um fr
om
elec
trom
agne
tic ra
diat
ion.
In a
hum
buck
er, t
his
inte
rfere
nce
is c
ance
led
by o
rient
ing
the
mag
nets
in
eac
h co
il in
opp
osite
dire
ctio
ns.
Gui
tar n
ecks
var
y in
sca
le a
nd s
hape
. Sca
le le
ngth
refe
rs to
the
dist
ance
bet
wee
n th
e nu
t an
d th
e sa
ddle
. Mos
t ele
ctric
gui
tar s
cale
leng
ths
are
arou
nd 2
5 in
ches
. A n
eck
also
has
a
cros
s-se
ctio
nal s
hape
. Nec
k sc
ale
and
shap
e af
fect
pla
yabi
lity.
The
neck
can
be
atta
ched
to
the
body
in d
iffer
ent w
ays.
Bol
t-on
nec
ks a
re a
ttach
ed w
ith s
crew
s. S
et-in
nec
ks a
re a
ttach
ed
via
a tig
ht fi
tting
join
t. N
eck-
thro
ugh
cons
truct
ion
inco
rpor
ates
par
t of t
he b
ody
into
the
neck
, fo
rmin
g a
piec
e of
woo
d th
at e
xten
ds th
roug
h th
e en
tire
leng
th o
f the
inst
rum
ent.
Embe
dded
w
ithin
the
neck
is a
trus
s ro
d: a
n ad
just
able
ste
el ro
d w
ith a
bol
t on
one
end.
It w
orks
opp
osite
st
ring
tens
ion
and
cont
rols
the
curv
atur
e of
the
neck
. For
war
d cu
rvat
ure
in th
e ne
ck is
cal
led
relie
f, an
d a
smal
l am
ount
is id
eal.
A ne
ck w
ith a
n up
-bow
(too
muc
h re
lief)
can
be fi
xed
by
tight
enin
g th
e tru
ss ro
d w
ith a
clo
ckw
ise
turn
. Con
vers
ely,
a ne
ck w
ith a
bac
k-bo
w c
an b
e fix
ed
by lo
osen
ing
the
truss
rod
(cou
nter
cloc
kwis
e). A
brid
ge a
djus
tmen
t can
rais
e or
low
er s
tring
ac-
tion,
but
ofte
n re
quire
s a
truss
rod
adju
stm
ent t
o co
rrect
into
natio
n. A
djus
tmen
ts a
re m
ade
with
an
alle
n or
hex
wre
nch,
and
sho
uld
be m
ade
care
fully
to a
void
bre
akin
g th
e tru
ss ro
d.
The
fretb
oard
(“fin
gerb
oard
”) is
the
piec
e of
woo
d gl
ued
to th
e ne
ck in
to w
hich
the
frets
are
sea
ted.
Mos
t fre
t-bo
ards
are
mad
e of
har
dwoo
ds s
uch
as ro
sew
ood,
m
aple
or e
bony
, eac
h w
ith u
niqu
e to
nal c
hara
cter
istic
s.
Rad
iuse
d fr
etbo
ards
hav
e a
cros
s se
ctio
n de
rived
from
a
circ
le. M
any
play
ers
pref
er th
em b
ecau
se th
ey m
atch
th
e cu
rve
of th
e fre
tting
han
d. F
lat f
retb
oard
s ca
n m
ake
play
ing
chor
ds m
ore
diffi
cult,
but
offe
r adv
anta
ges
for
sing
le-n
ote
play
ing.
Com
poun
d ra
dius
fret
boar
ds h
ave
diffe
rent
radi
uses
on
each
end
, and
usu
ally
flat
ten
in th
e hi
gher
regi
ster
.
Adju
stm
ents
in v
olum
e an
d to
ne a
re m
ade
via
cont
rol k
nobs
atta
ched
to p
oten
tiom
eter
s (“p
ots”
). M
ost g
uita
rs h
ave
at le
ast t
wo
pots
; on
e fo
r vol
ume
and
one
for t
one.
The
y ca
n in
crea
se o
r dec
reas
e re
sist
ance
, cha
ngin
g ou
t-pu
t. Th
e ch
ange
in re
sist
ance
in a
pot
from
one
en
d to
the
othe
r can
var
y to
pro
duce
a li
near
or
loga
rithm
ic c
hang
e in
out
put.
This
is c
alle
d po
t ta
per.
A to
ggle
sw
itch
is u
sed
to s
elec
t pic
kups
. Gui
tars
with
tw
o pi
ckup
s ha
ve th
ree-
way
sw
itche
s, a
nd o
nes
with
th
ree
pick
ups
have
five
-way
sw
itche
s.
Tuni
ng M
achi
nes
(“tun
ers”
) are
mec
hani
sms
used
to a
djus
t a s
tring
’s pi
tch.
Ele
ctric
gui
tars
use
mac
hine
ge
ars
to p
rovi
de p
reci
se tu
ning
, whi
ch c
onsi
st o
f a p
inio
n an
d w
orm
gea
r. Th
is g
ear c
ombi
natio
n al
low
s th
e st
ring
to m
aint
ain
its tu
ning
. Tun
ing
mac
hine
s co
me
in le
ft an
d rig
ht o
rient
atio
ns. M
any
guita
rs u
se
“enc
lose
d-ge
ar” t
unin
g m
achi
nes
whi
ch c
onta
in th
e m
echa
nism
insi
de a
met
al h
ousi
ng.
The
nut i
s lo
cate
d at
the
top
end
of th
e fre
tboa
rd. I
t is
usua
lly m
ade
of
plas
tic, b
one,
met
al, o
r a s
ynth
etic
mat
eria
l. It
cont
rols
stri
ng s
paci
ng a
nd
heig
ht a
t the
zer
o fre
t. Sl
ots
are
mad
e in
it s
o th
e st
rings
follo
w th
e cu
rva-
ture
of t
he fr
etbo
ard.
A p
oorly
slo
tted
nut c
ause
s tu
ning
issu
es a
nd a
ffect
s so
und
qual
ity. I
nstru
men
ts w
ith a
vib
rato
brid
ge s
omet
imes
hav
e a
lock
ing
nut t
o he
lp m
aint
ain
tuni
ng.
The
brid
ge tr
ansf
ers
strin
g vi
brat
ions
to th
e bo
dy.
It ca
n al
so fu
nctio
n as
a ta
ilpie
ce. B
y ad
just
ing
the
brid
ge a
nd th
e sa
ddle
s (s
uppo
rts th
at c
ontro
l stri
ng
leng
th),
strin
g ac
tion
and
into
natio
n ca
n be
con
-tro
lled.
Mov
ing
a sa
ddle
forw
ard
or b
ackw
ard
chan
g-es
stri
ng le
ngth
. Vib
rato
brid
ges
allo
w th
e st
rings
to
be d
etun
ed b
y til
ting
the
brid
ge. A
vib
rato
or “
wha
m-
my”
bar
is a
ttach
ed to
the
brid
ge to
con
trol t
ilt. M
any
guita
rists
pre
fer a
non
-vib
rato
brid
ge b
ecau
se it
pro
-vi
des
bette
r con
tact
with
the
body
, res
ultin
g in
bet
ter
soun
d tra
nsfe
r.
The
pick
guar
d (“s
crat
ch p
late
”) is
a p
last
ic s
urfa
ce d
esig
ned
to p
reve
nt th
e pi
ck fr
om s
crat
chin
g th
e bo
dy. I
t is
atta
ched
dire
ctly
to th
e bo
dy, o
r ele
vate
d w
ith a
bra
cket
. Pic
kgua
rds
vary
in th
ick-
ness
from
roug
hly
one
to th
ree
plie
s.
Strin
gs a
re m
easu
red
by d
iam
eter
(rou
ghly
0.0
08 to
0.0
13 in
ches
). Th
is is
kno
wn
as
strin
g ga
uge.
Mos
t stri
ngs
are
mad
e fro
m s
teel
or o
ther
met
als.
Lig
hter
gau
ge s
tring
s ha
ve le
ss te
nsio
n th
an h
eavi
er o
nes
whe
n st
rung
. At t
he e
nd o
f a s
tring
is a
sm
all c
yl-
inde
r (“b
all”)
use
d to
anc
hor i
t to
the
tailp
iece
. The
stri
ng is
then
wou
nd in
to a
tuni
ng
mac
hine
. Low
er p
itch
strin
gs a
re w
ound
, con
sist
ing
of a
cor
e w
rapp
ed in
wire
. Usu
ally
th
e co
re is
mad
e of
ste
el, a
nd th
e w
indi
ng w
ire is
mad
e of
nic
kel-p
late
d st
eel.
The
mos
t co
mm
on s
tring
win
d is
cal
led
roun
dwou
nd, a
nd c
onsi
sts
of a
stri
ng w
ound
in ro
und
wire
. Fla
twou
nd s
tring
s ar
e w
ound
in w
ire th
at h
as a
roun
ded
squa
re c
ross
sec
tion.
G
roun
dwou
nd (h
alfw
ound
, pre
ssur
e w
ound
) stri
ngs
are
a hy
brid
of t
he tw
o, m
ade
by
win
ding
the
core
in ro
und
wire
that
is g
roun
d an
d po
lishe
d. R
ound
wou
nd s
tring
s ha
ve
a br
ight
er to
ne th
an fl
atw
ound
stri
ngs.
Oils
from
the
hand
cau
se s
tring
s to
cor
rode
ove
r tim
e. M
ost s
tring
s ar
e ei
ther
met
al p
late
d or
coa
ted
in a
pol
ymer
for p
rote
ctio
n.
Fret
s ar
e po
sitio
ned
on th
e fre
tboa
rd in
inte
rval
s to
pro
duce
no
tes
in e
qual
tem
pera
men
t. Th
e po
sitio
ning
and
sha
pe o
f a fr
et
affe
cts
into
natio
n. F
rets
com
e in
di
ffere
nt w
idth
s an
d he
ight
s, a
nd
are
typi
cally
mad
e fro
m a
n al
loy.
Man
y fre
tboa
rds
cont
ain
inla
yed
posi
tion
mar
kers
at t
he 3
rd, 5
th,
7th,
9th
and
12t
h fre
ts. T
hese
us
ually
repe
at a
fter t
he 1
2th
fret.
They
can
als
o be
foun
d on
the
side
of t
he fr
etbo
ard.
brid
ge
body
pick
ups
fret
boar
dtu
ning
mac
hine
s
NUT
head
stoc
k
NECK
stri
ngs
volu
me a
nd to
ne c
ontr
ols
togg
le sw
itch
pick
guar
d
Bolt-
on N
eck
Set-i
n N
eck
Nec
k-th
roug
h
U S
hape
D Sh
ape
C S
hape
Soft
VM
ediu
m V
Har
d V
Trus
s Ro
d
Up-
Bow
Relie
f
Stra
ight
Back
-Bow
Alle
n W
r enc
h
Hex
W
renc
h
3 +
36
in li
ne
7.25
”
9.5”
12.0
”
Base
Pla
te
Mag
netic
Pol
e Pi
ece
Coi
l
Begi
nnin
g of
Win
ding
En
d of
W
indi
ng
Out
put v
s. R
esis
tanc
e in
Line
ar a
nd L
ogar
ithm
ic T
aper
Pot
entio
met
ers
Out
put
Line
ar
Loga
rithm
ic
Resi
stan
ce
Vibr
ato
Brid
ge
Vibr
ato
Bar
Roun
dwou
nd
Ball
End
Flat
wou
ndG
roun
dwou
nd
Strin
g Tr
eeHea
dsto
ck
Fret
Nut
Tuni
ng M
achi
ne
Posi
tion
Mar
ker
Nec
k
Fret
boar
d
Strin
g
Cut
away
Mag
netic
Pol
e Pi
ece
Pick
guar
d
Body
Top
Togg
le S
witc
h
Brid
ge
Tailp
iece
Volu
me
or T
one
Con
trol K
nob
¼” O
utpu
t Jac
k
Stra
p Bu
tton
Low
er B
out
Sadd
le
Brid
ge P
icku
p (H
umbu
cker
)
Nec
k Pi
ckup
(Sin
gle
Coi
l)
Wai
st
Upp
er B
out
ELEC
TRIC
ANAT
OM
YGU
ITAR
AND
MEC
HAN
ICS
R
MB30078ELECTRIC GUITAR
ANATOMY AND MECHANICS
© 2
013
BY M
EL B
AY P
UBL
ICAT
ION
S, IN
C.,
PAC
IFIC
, MO
630
69AL
L RI
GH
TS R
ESER
VED,
INTE
RNAT
ION
AL C
OPY
RIG
HT
SEC
URE
D, B
.M.I.
MAD
E AN
D PR
INTE
D IN
U.S
.A
Desi
gn b
y C
harli
e Le
e-G
eorg
escu
3007
8_FU
LL_W
OR
KIN
G_F
ILE.
indd
1
3/5/
13
10:5
2 AM
“Electric Guitar Anat-omy and Mechan-ics Wall Chart” is a stunning visual guide to the electric guitar and all its features. Detailed diagrams and analyses provide a window into the underlying physics of the instrument and its parts. This “blueprint” provides more than a working knowledge of the electric guitar and reveals the hidden beauty of this popular instrument. Designed for anyone interested in the electric guitar.
MB30078Electric GuitarAnatomy andMechanics Wall Chart
by CharlieLee-Georgescu
Guitar24
R
WALL_CHART_FLYER_A1.indd 24 11/14/13 9:27 PM
9440
4.in
dd
19/
16/0
8 9
:45:
00 A
M
Guitar
Presents full chords and power chords (5 & 7 format) from all twelve roots. [major, minor, dominant 7th and major 7th]. Also includes a note finder chart for the first 20 frets of the guitar. 35”” x 24”” durable coated paper.
MB94404Rock Guitar Master Chord Wall Chartwith Fingerboard Note & Master Chord Reference
by William Bay
25
R
WALL_CHART_FLYER_A1.indd 25 11/14/13 9:27 PM
EAN
UPC
ISBN 0-7866-6718-4
BLUES GUITARWALL CHART
20150 Wall Chart.qxp 8/1/11 1:56 PM Page 1
Guitar
This chart provides the basics of play-ing the blues guitar. Common scale and chord diagrams as well as blues chord progressions are laid out in fashion anyone can understand. The note and number of each string and the natural notes on the fretboard are labeled on a beautiful photo of a solid-body elec-tric guitar.
MB20150Blues Guitar Wall Chart
by Corey Christiansen
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I
V
VII
IX
XII
XV
XVII
XIX
XXI
III
FF
FF
CC FF
AA
GG CC FF DD GG
CC CCFF
CC FF
GG
AA AADD GG CC
DD BB
BB
EE
AADD DDGG
BB EE
AABB EE
FF
CC CCFF
CC FF
GGDD BB
AADD DDGGBB EE
AABB EE
BB EE
EE
FF CC FF
AA
AA
DD GG BB EE
GG CC FF DD GG
AA AADD GG CC EE
BB
BB
EE
FretNumber
EAN
UPC
ISBN 0-7866-6714-1
©2002 BY MEL BAY PUBLICATIONS, INC., PACIFIC, MO 63069.ALL RIGHTS RESERVED. INTERNATIONAL COPYRIGHT SECURED. B.M.I. MADE AND PRINTED IN U.S.A. MB20154
Guitar ScaleWall ChartMEL BAY PUBLICATIONS, INC.
#4 Industrial Drive • Pacific, MO 63069
Toll Free 1-800-8-MEL BAY (1-800-863-5229) • FAX (636) 257-5062Visit us on the Web at www.melbay.com
E-mail us at [email protected]
20154 Wall Chart.qxp 4/4/11 10:50 AM Page 1
Packed with informa-tion, this wall chart contains a complete fingerboard/notation diagram and shows fingering grid dia-grams for major and minor scales (har-monic, melodic and Hungarian), pentaton-ic and blues scales and modes.
MB20154Guitar ScaleWall Chart
by Mike Christiansen
Guitar27
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I
V
VII
IX
XII
XV
XVII
XIX
XXI
III
EE
FF
FF
CC FF
AA
AA
DD GG BB EE
GG CC FF DD GG
CC CCFF
CC FF
GG
AA AADD GG CC
DD BB
BB
EE
AADD DDGG
BB EE
AABB EE
FF
CC CCFF
CC FF
GGDD BB
AADD DDGGBB EE
AABB EE
BB EE
EE
FF CC FF
AA
AA
DD GG BB EE
GG CC FF DD GG
AA AADD GG BB EE
BB
BB
EE
Open Strings
FretNumber
Mel Bay's Jazz Guitar Wall Chart
©2002 BY MEL BAY PUBLICATIONS, INC., PACIFIC, MO 63069ALL RIGHTS RESERVED. INTERNATIONAL COPYRIGHT SECURED. B.M.I.
MADE AND PRINTED IN U.S.A.
MEL BAY PUBLICATIONS, INC. • #4 Industrial Drive • Pacific, MO 63069 Toll Free 1-800-8-MELBAY (1-800-863-5229) • FAX (636) 257-5062
Visit us at on the Web at www.melbay.com • E-mail us at [email protected]
Jazz Chart TermsFreddie Green Comping- Accompanying with four quarter notes per measure (in 4/4). Beats 2 and 4 are slightly accented (see comping pattern number 1.)
Bebop- The style of jazz pioneered by Charlie Parker, Dizzy Gillespie, Lester Young, Charlie Christian, Bud Powell, and Thelonius Monk in the early 1940s.
Blowing- To take a solo.
Comping- Accompaniment. To accompany another instrument or singer. This term can also mean to compliment.
Enclosing- See Targeting. The target chord tone is approached in a line by higher and lower scalar and/or chromatic tones. The “unstable” non-chord tones emphasize the targeted tone.
Faking- To play standards tunes.
Four-to-the-Bar- Accompanying with four quarter notes per measure (in 4/4) in the style of Freddie Green. Beats 2 and 4 are slightly accented.
Free Jazz- Improvised music which is typically not based on any prescribed set of chord changes. Artists that perform this type of music rely heavily on their ears to help them play this spontaneous music as a group.
Fusion- The blending of funk, rock n ̓roll, and jazz.
Guide Tones- These are any notes in a chord that lead strongly (usually moving in half steps) to the following chord. The ii-V progression illustrates this very well. If the chords are Dm7-G7, the seventh of Dm7 (C) leads by half step to the third of G7 (B). Sevenths and thirds typically are the guide tones in chords that move in fourths.
Hard Bop- The style of jazz pioneered by Cannonball Adderley, Art Blakey, and Grant Green and other Blue Note recording artists in the 1960s. This type of jazz is similar to bebop but with a more bluesy, earthy, raw feeling to it.
Line- An improvised musical phrase or melody that is usually played with single notes.Modal Jazz- Tunes and solos that are based (melodically or harmonically) on any of the modes of the major scale. Miles Davis pioneered this type of jazz in the late 1950s.
Quartal Harmony- Chord construction that is based on the interval of a fourth.
Riff- A catchy phrase or musical line. Repeating this line over and over in a tune is sometimes called riffing.
Substituting- To superimpose new chords in place of the original harmony.
Swing- This term can refer to many things. It can refer to two eighth notes that are played as a tied triplet. The term swing can also refer to the style of jazz music that existed in the 1930s and 1940s.
Targeting- A target tone is usually a chord tone that is emphasized in a jazz line by preceding the tone chromatically.
Tertian Harmony- Chord construction that is based on the interval of a third.Turnaround- Any set of chord changes that leads back to the beginning of a tune. These chords are typically played in the last two measures of a tune. This term can also mean the single-note lines that are played over the harmony that leads back to the beginning of a tune.ii-V- This refers to the chord progression that uses the ii chord and V chord of any key (Dm7-G7 in the key of C major). The term can also refer to the improvised lines that are played over these chords. A short ii-V takes one measure to execute; a long ii-V takes two measures to execute.
Major ii-V-I Chords
Short ii-V Lines
Minor ii-V-i Chords
Short Minor ii-V Lines
Long Minor ii-V Lines
Turnaround Chords
Turnaround Lines
Comping Patterns
Long ii-V Lines
by Corey Christiansen
EA
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UP
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MB20128 $5.95 U.S.ISBN 0-7866-6715-X
JAZZ GUITAR WALL CHART
Sample improvised lines, turnarounds, comping patterns, and much more are provided with stan-dard notation, tab and diagrams in this easy to read and under-stand wall chart. The basics and essentials of playing jazz guitar are compiled in one chart for aspiring jazz guitarists to learn from each day. Pick a lick a day (or week) and guitarists will be playing authentic jazz ideas in no time at all. A stunning photo of a beautiful archtop gui-tar makes this chart functional as well as beautiful for hang-ing where guitarists practice.
MB20128Jazz GuitarWall Chart
by Corey Christiansen
Guitar28
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I
V
VII
IX
XII
XV
XVII
XXI
III
EE
FF
FF
CC FF
AA
AA
DD GG BB EE
GG CC FF DD GG
CC CCFF
CC FF
GG
AA AADD GG CC
DD BB
BB
EE
AADD DDGG
BB EE
AABB EE
FF
CC CCFF
CC FF
GGDD BB
AADD DDGGBB EE
AABB EE
BB EE
EE
FF CC FF
AA
AA
DD GG BB EE
GG CC FF DD GG
AA AADD GG CC EE
BB
BB
EE
Open Strings
FretNumber
Mel Bay's Jazz Guitar Chord Substitution Wall Chart
XIX
By Corey Christiansen
MEL BAY PUBLICATIONS, INC.#4 Industrial Drive • Pacific, MO 63069
Toll Free 1-800-8-MEL BAY (1-800-863-5229) • FAX (636) 257-5062Visit us on the Web at www.melbay.com
E-mail us at [email protected]©2002 BY MEL BAY PUBLICATIONS, INC., PACIFIC, MO 63069.
ALL RIGHTS RESERVED. INTERNATIONAL COPYRIGHT SECURED. B.M.I. MADE AND PRINTED IN U.S.A.
EAN
UPC
ISBN 0-7866-6717-6
Jazz Guitar ChordSubstitutionWall Chart
MB20151
Jazz Guitar Chord Substitution Wall Chart
20151 Wall Chart.qxd 4/30/08 10:37 AM Page 1
Spice up any chord progression by apply-ing the most common chord substitutions used in Western music. Substitutions illustrated in this chart include vi for I, ii for V, tritone, diatonic chord substitutions, and oth-ers. Each concept is presented with a table showing the proper chord assignment in all twelve keys. With string names and the natural notes labeled as they apply to the fretboard, this wall chart provides a wealth of information.
MB20151Jazz Guitar Chord Substitution Wall Chart
by Corey Christiansen
Guitar29
WALL_CHART_FLYER_A1.indd 29 11/14/13 9:29 PM
Guitar
Mel Bay’s Flamenco Guitar Wall Chart offers an overview of the essential elements of this flamboyant art form. It provides mu-sical examples of the principal techniques, song forms and rhythms together with a glossary of flamenco terms, specifics of the structural differences between flamenco and classic guitars, and a chronological list of noteworthy flamenco players. A large photo of a guitar constructed by Rafael Moreno Rodriguez of Granada, Spain grac-es the chart, sure to appeal to the novice or seasoned flamenco guitarist!
MB20168Flamenco GuitarWall Chart
by Juan Serrano
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20746 Wall Chart.qxp 6/29/11 9:22 AM Page 1
A visually attractive, user friendly presen-tation of fingerboard notes, elements of music theory, circle of keys, major and pure minor scale, chord progressions and har-monized scales.
Also features a very useful chord building chart and a glossary of guitar terms.
24"" x 35"" durable coated paper.
MB20746Guitar Theory Wall Chart
by William Bay
Guitar31
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3/4-size guitarA smaller-than-normal guitar with shorter strings and less space between frets.
altered and open tuningsThe result of changing the tuning of one or more strings from standard EADGBE.
alternate pickingPicking in alternate directions (down-up-down-up).
arpeggioA broken chord, usually played evenly low to high and back again.
arrangementThe setting of an original or standard tune for a given solo instrument or group of instruments.
barre chordFrom the French term barré. The technique of placing the left hand index finger over two to six strings in the fingering of a chord. The great advantage of using barre chords is that they are “moveable shapes” that can be applied anywhere on the neck.
bendingThe act of pushing or pulling a string sideways across the fret to raise the pitch of a note by a half to full tone or more. Used extensively in rock and blues playing as well as in jazz.
capoA mechanical barre that attaches to the neck of a guitar by means of a string, spring, elastic or nylon band, or a lever and thumbscrew arrangement. The capo can be used to raise the key of a song to suit a vocalist as well as to low-er the action and shorten the string length.
chordThree or more notes sounded simultaneously.
chorus (of a tune)Strictly speaking, the portion of a song lyric or melody that is repeated, often with other voices joining in. In jazz improvisation, however, “playing a chorus” would mean taking a turn improvising over the tune’s chord pro-gression.
closed voicingThe term “voicing” refers to the vertical arrangement of the notes of a given chord. “Closed voicing” places the member notes as close together as possi-ble, no matter the inversion as opposed to “open voicing” which spreads the member notes of the chord at larger intervals.
dropped-D tuningThe practice of lowering the sixth string (E) by a whole tone, one octave lower than the fourth string.
finger picksBanjo-style picks that some fingerstyle guitarists use when playing steel-string instruments.
fingerstylePlaying with the fingernails or fingertips with or without fingerpicks as op-posed to playing with a flatpick.
flatpick (or “pick” or “plectrum”)A triangular or teardrop-shaped piece of nylon or plastic used to pluck or strum guitar strings. Flatpicks are available in a large variety of shapes, sizes, and thicknesses.
footstoolA small adjustable stool for your left foot. Used by many classical guitarists to raise the height of the guitar.
hammer-onA note sounded literally by “hammering” down with a left hand finger, often performed in conjunction with a note first plucked by the right hand on the same string.
harmonicsChime-like sounds achieved in two ways: 1) natural harmonics - by touching a string at various points (typically 5th, 7th, and 12th fret), directly above the fret with the left hand, and striking hard with the right-hand fingers or pick near the bridge where there is more string resistance; or 2) artificial harmonics - touching a string with the index finger of the right hand typically twelve frets higher than any fretted note and plucking the string with either the thumb or third finger of the right hand.
intervalThe distance between two notes.
inversionStructuring a chord with a note other than the root as the lowest note.
lead guitarThe part played by a guitar soloist in a rock band.
modulateTo change keys within a piece of music
open voicingA manner of chord construction in which the member notes are broadly separated. See closed voicing.
pentatonic scaleA five-tone scale used often in rock.
pickingPlucking or producing a sound on the guitar in general, either with the fingers or a flatpick.
p i m aLetters derived from the Spanish names for the fingers of the right hand: pulgar (thumb), indice (index), medio (middle), and anular (ring). Used to indicate fingering.
positionsA reference to placement of the left hand index finger at various frets.
power chordA chord consisting of the first (root), fifth and eighth degree (octave) of the scale. Power chords are typically used in rock music.
pull-offThe opposite of a hammer-on. Performed by plucking a note with a finger on a higher note and pulling paral-lel to the fret to sound a lower note on the same string.
rhythm guitarRhythmic strumming of chord backup for a lead play-er, singer, or ensemble.
setupThe adjustment of the action of a guitar for optimal playing characteris-tics.
sIide (or “bottleneck”)A metal or glass tube placed over the third or fourth finger of the left hand, used to play “slide” or glissando effects in rock, blues and other forms of traditional music.
standard tuningThe guitar is generally tuned EADGBE low to high.
strummingPerformed with a pick or the fingers. Generally consists of brushing across two to six strings in a rhythmic up-and-down fashion appropriate to the tune being played.
tablature (or “tab”)A system of writing music for fretted instruments whereby a number or letter appears on lines representing the strings, indicating the fret to be played.
transcriptionTo write a solo, note for note, off of a recording.
transposeTo change the key of a piece of music by a specific interval.
tremoloA technique performed with either a very rapid down-up movement of the pick or a p-a-m-i plucking of the fingers.
triadA three-note chord.
vibratoTo vibrate by slightly altering a pitch higher and lower.
voicingThe arrangement of the member notes of a chord, or placement of the melody or bass line within a harmonic progression.
double stop – Two notes played at the same time, often voiced in fifths (a power chord, e.g.), thirds or sixths. Formally known as a “dyad”.
whammy bar – A metal rod attached to the bridge on many electric gui-tars. Used to manipulate pitch.
thumb pick – A fingerpick worn on the thumb. Popular with hybrid pickers.
distortion – A popular effect with electric guitarists. Distortion simulates an overdriven amplifier, giving notes a grittier sound with more energy.
reverb – A sound effect which produces an elongated note delay, simulat-ing a large environment.
acoustic – A guitar whose sound production relies on the natural, physical sounds produced by the instrument, without the aid of amplification.
electric - A guitar whose primary sound is produced with the aid of am-plification.
arch top – A type of guitar primarily played by jazz musicians. Many have f-holes. Many can be played acoustically or electrically. Often associated with a “brassy” tone.
steel string – A steel string guitar is a type of acoustic guitar popular with folk players. Altough electric guitars are usually fitted with steel strings as well, the term “steel string” refers to a flat top acoustic guitar.
Spanish guitar – Otherwise known as a classical guitar or nylon string guitar, the Spanish guitar is an acoustic guitar fitted with nylon strings. Used primarily in the classical tradition but also associated with many styles throughout the world, including flamenco and manystyles from Brazil.
Headstock
Headstock
Tuning Peg
Tuning Peg
Fretboard
Fretboard
Neck
Neck
Inlay(Position Marker)
Inlay(Position Marker)
Nut
Nut
String
String
Cutaway
Cutaway
Action(the height of the strings
above the frets and fretboard)
Action(the height of the strings
above the frets and fretboard)
Face
Face
String Pegs
Body
Body
Tone Knob
Pickup SwitchVolume Knob
Output Jack
Tailpiece
Strap Button
Strap Button
Bridge
Bridge
F Hole
Pickup
Pick gaurd
Upper Bout
Upper Bout
Sound Hole
Lower Bout
Lower Bout
Saddle
Amplifier (“amp”)
Patch chord(“cable”)
Stomp Box(“effects pedal”)
Saddle
Electric
Acoustic
Glossary of Guitar Termsby Collin Bay
MB3
0077
GLO
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© 2013 BY MEL BAY PUBLICATIONS, INC., PACIFIC, MO 63069ALL RIGHTS RESERVED, INTERNATIONAL COPYRIGHT SECURED, B.M.I
MADE AND PRINTED IN U.S.A.
30077_FULL_WORKING_COVER.indd 1 3/21/13 12:41 PM
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© 2013 BY MEL BAY PUBLICATIONS, INC., PACIFIC, MO 63069ALL RIGHTS RESERVED, INTERNATIONAL COPYRIGHT SECURED, B.M.I.
MADE AND PRINTED IN U.S.A
MB3
0360
TOM
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tom bills luthier wall chartby Tom Bills
Scale Length - Common Scales and Effects
The scale length of the guitar refers to the distance from the nut to the saddle, or the theoretical vibrating length of the string. Scale length is used to calculate the spacing of the frets in order to produce equal temperament when playing the guitar. The choice of scale length can also affect the tonality of the guitar as follows: a longer scale will produce a guitar with a brighter, more cutting tone; conversely, a shorter scale length will produce a tonality that is warmer and rounder sounding. The physical hand size of the intended player should also be taken into account when choosing a scale length for a custom made instrument.
Common Scale Lengths:
Steel string - 25.4 - 25.5”Nylon String - 64 - 66cmArchtop - 25 - 25.5”
Nut - Materials and Effects
The nut is responsible for setting the string spacing and keep-ing the strings firmly g ounded in place which enables them to vibrate with maximum efficienc . The type of material used to make the nut will greatly influence the tonality of the guita .
Common nut materials and their tonal effects:
• Ebony - Clear cutting trebles and rich basses with de-creased mid-range frequencies.
• Bone - Most commonly used material due to availability and even frequency response. It has good overall proper-ties producing a tone that is very true to the original string frequency input.
• Ivory - Warmer tones in the higher frequencies and some-times even boosting the mid-range tonal qualities. Many people describe it as sounding warm, but still clear and clean.
• Synthetics - This includes plastics and hard resin mate-rials. These materials usually sound bright, thin, and lack complexity and richness. The best way I can describe it is that they sound “synthetic”.
Bridge Design
The bridge design greatly effects the sound of the guitar. There are two basic types of bridge sys-tems used on guitars.
1. Adjustable bridge and tailpiece combination found on archtop guitars.2. Fixed ebony bridge design found on many steel string and classical guitars that is permanently
glued to the top of the guitar.
These two systems have different methods of converting the motions of the vibrating guitar string into a type of waveform the top of the guitar can understand.
• The archtop guitar bridge system works in more of an up and down motion because the strings are attached to the tailpiece rather than the bridge itself. This drives the top of the guitar with the vibrational string energy by pumping the bridge up and down.
• The steel string or classical guitar bridge system converts the vibrational information in the guitar string using a rocking motion. This rocking motion is due to the fact that the strings are anchored into the bridge itself behind the saddle.
Saddle
The guitar saddle is the portion of hard material inlaid into the bridge that the strings make contact with. The saddle is most commonly made of bone, but can also be made of other materials as well. Its tonal influence on the guitar is similar tothat of the nut, though possibly even more drastic. Common materials include bone, ivory, walrus ivory, ebony, and even plastic.
String Break-Over Angle - Importance and Effect
The break-over angle is the angle the strings create as they pass over the saddle toward the point at which they are anchored to the guitar behind the bridge.
The break-over angle is a critical component to consider when designing the feel and tonality of your guitar. Increasing the break-over angle will increase the tight feeling of the strings. Decreasing it too much will lessen the amount of downward pressure on the saddle and can cause the tone of the guitar to get bass heavy and undefined. Theluthier must carefully consider the different elements and goals of the guitar in order to calculate the optimal break-over angle. Choosing the correct break-over angle will produce the best tonal balance and comfortable feel for the player’s left hand when fretting the strings on the fingerboa d.
Neck Angle
The neck angle of the guitar is directly correlated with the bridge system and the break-over angle of the strings. These components must be designed to work together to obtain the best possible combination of different attributes and make the given guitar a success in its intended appli-cation.
Truss Rod
The truss rod is typically a steel rod embedded inside the neck of the guitar to facilitate fine adjustments to the fingerbo d bow. It also helps to produce the desired action and playability for optimized comfort and tonal quality.
There are two main types of truss rods commonly used; the compression rod and the double action rod.
• Compression Truss Rod - Comprised of a single metal bar usually made of rolled drill rod or similar strong material. It is threaded on one side and ends in an L shape or is anchored into a metal barrel nut to secure the other end within the heel portion of the neck shaft. When the truss rod nut is tight-ened, it causes the softer wood that the neck shaft is made out of (usually mahogany or maple), to be compressed at a greater rate than the harder ebony used for the fingerboa d. This causes the neck to bow backward compensating for the pull of the strings which are trying to bow the neck forward.
• Double Action Truss Rod - Typically consists of two metal rods, one upper and one lower. The upper is fixed in length and the lower is th eaded, and can be turned to shorten or lengthen it. Lengthening causes the neck to bow forward and shortening will bow the neck backward; this is done as needed by the luthier for optimal set-up. Because the double action truss rod does not rely on the the density of the neck woods, it is much more stable and dependable.
Tuners
The tuning keys must be tightly fit into the guitar s headstock in order to give the string an efficient and stable anchor point. Doing so nables the string to vibrate as efficiently as possible with minimal strin energy being leaked and wasted by a loose or poorly fit component.
Carbon Fiber
Carbon fiber bars can be inlaid into the neck of the guitar inorder to provide additional strength without adding more mass to the neck. The carbon fiber bars also help to give the woodmore stability and to maintain a true shape over time, as well as some tonal enhancement in clarity and sustain.
Linings and Side Braces
The linings and side braces of the guitar form the skeleton of the guitar and if properly designed will give the top and back plates a solid point of contact with the sides. This prevents vibrational energy in the soundboard from leaking into and being wasted in the sides of the guitar. I prefer a very strong solid lining design that is bent to the shape of the guitar. These linings create a ridged structure increasing the strength of the guitar and locking the shape of the guitar body in place. This relieves the top and back of that burden so they can have less structural tension from the sides and the body shape on them in order to facilitate maximum efficiency and amplitude ofresonance. I also inlay stiff side braces into the linings in order create a solid skeleton framework matrix to support the sides, top, and back while minimizing weight.
Finishes
Nitrocellulose is the most common synthetic finish usedon guitars due to its durability; however, the finishing materialthat gives the guitar the best possible sound and beauty is the natural hand applied French polish finish of shellac.Many factory made guitars are finished with a form of UV cu ed superglue which is very durable, but drastically inhibits the vibra-tion of the tone woods.
Inlays
Artistic designs can be inlaid into the wood surface with a wide variety of materials for different effects, functions, and looks. Some inlays serve functional purposes like marking commonly used scale positions on the fingerboa d, but can also be simply for decoration. An inlay is accomplished by cutting the design to be put into the guitar from the material of choice. Then a perfectly matched pocket is accurately routed into the wood surface of the guitar. The inlay piece will fit tightly into this pocket and be glued in place, sandedflush, and engraved.
Frets - Materials, Sizes and Effects
The frets are used to accurately divide the string into the necessary vibrating lengths in order to produce the different notes of the scale when fretted by the player’s left hand. The fret is also an important point of contact when the string is pressed against it, and the quality of the fret installation as well as fret material and mass will affect the tone and behavior of the string.
Effects of Fret Size
A more massive fret will give the string a better anchor point and less energy will be wasted producing more sustain and a fuller tone. A thinner fret will produce more clarity and precise intonation, but with less sustain due to the lower mass of the smaller fret wire.
Effects of Fret Material
A harder fret material, like stainless steel, will give the tone of the guitar a bright glassy sound as well as a slippery fast feel for the player as he frets notes and chords. A softer nickel-silver fret wire will make the string sound warmer and help the string grip the fret better when pressed in place to finger a cho d or note.
Headstock Angle
The luthier can use the back-set of the headstock angle to control the way that the string is seated into the nut slot as well as add or subtract from the tension felt on the strings by the player. For example, I use more back-set angle on my nylon string guitar headstock because the nylon strings don’t have very much tension and can sometimes feel too lose to some players. I also like to have the nylon strings very firmly ancho ed into the nut slot, and increasing the back set angle helps in both cases.
For the archtop guitar, however, many jazz players use heavy gauge strings with a great deal of tension. I use less of a headstock back-set for these guitars to bal-ance out and reduce the amount of tension felt by the player on the strings. In this case the strings still stay very well anchored simply due to the sheer amount of tension present, as well as the inherent stiffness of the metal strings themselves.
The Harmonic Series
Back Strapping
One of the weakest points of the guitar as it is commonly built, is the area where the headstock joins the neck shaft. It is a focus point for the string tension that is present in the strings. The string force travels from the tuners into the headstock itself and spans the length of the neck shaft to the body of the guitar.
Laminating multiple veneers to the back of the head-stock and carving them all the way into the neck shaft area is commonly called back-strapping. This not only looks very nice, but it makes the neck almost unbreakable and more efficient athandling tension and string energy as well. Though very time consuming, I feel it is vital to creating the most stable and responsive guitar possible.
Neck Constructionn
For nylon string and steel string guitars, I like to use one piece construction of the neck shaft. I actually want the neck to flex a little bit in o der to obtain the correct archi-tecture for the fingerboa d as it relates to the shape of the guitar string in motion.
For the archtop guitars with higher tension metal strings, I usually use a laminated neck arrangement to increase strength and stability. Gluing multiple layers of wood helps to create a stiffer, more stable guitar neck.
Regardless of which type of neck arrangement is used, laminated or one piece, it is critical for any acoustic guitar to have the grain direction quarter-sawn in order to give the neck the maximum strength to weight ratio, stability, and a optimal tonality.
Adhesives
A multitude of adhesives can be used for different purposes and functions in various components and applications on the guitar. Here are just a few common adhesives and their most suitable applications.
• Yellow Glue (such as Tightbond®) - A good all-purpose glue, but it is susceptible to thermoplastic creep. Never the less, it is probably the most widely used glue throughout the guitar building industry.
• Hide Glue - Has many interesting qualities, one of which is the fact that it has almost no thermoplastic creep. It can be used for parts of the guitar that are under great tension, such as the fingerboa d and the tone bars, to ensure that they do not slide or move over time under pressure. Hide glue also is easily heated and removed making repairs easier to accomplish.
• Epoxy - Comes in a multitude of forms and can be used for a great deal of different applications. One must be careful though to test firstand consider the appropriateness of the type of epoxy being used for the specific application.
• CA Glue (superglue) - Available in different viscosity for different pur-poses, including penetrating into cracks for repairs or even filling dentsin some finishes.
Set-Up - Neck Geometry
The curvature of the neck or forward bow should be adjusted to match the same natural set of curves found in the guitar string while in motion at maximum amplitude. Properly matching the neck curve with the shape of the string while in motion, is vital to achieving a perfect set-up that feels great to the player and optimizes the guitar’s voice.
Action - The distance from the bottom of the string to the top of the fret. Measurements taken at fret 1 and at fret 12.
Common Action settings for different guitar types:
Nylon String / Classical - fret 1 - .015” - .020” , Fret 12 - 2.5mm - 4mmArchtop & Steel String - fret 1 - .015” - .020” , Fret 12 - .065 - .095
The distance from the outer strings to the edge of the fingerboa d must be carefully calculated and executed in order to facilitate an optimal playing experience. Common distances from edge of fingerboa d to edge of outer strings:
At Nut - steel string/ archtop - .125”; Nylon string - 4-5mmFret 12 - steel string/archtop - 5/32”; Nylon String - 5mm
String Spacing must be calculated to make the distance between each string equal rather than simply calculating equal distance from string center to string center. Differing string gauges would make the latter have less distance between the larger gauge strings as compared to the small-er gauge strings.
Fingerboard Radius
The fingerboa d radius can be chosen to best suit the type of music that will be played on the guitar or to simply fit thetastes and styles of the owner of the guitar. A compound radi-us can also be used to combine different radii over the length of the fingerboa d obtaining optimum playability and set-up geometry.
Common Fretboard Radii
• 6 -8” - used for many electric guitars• 12-16” - used for most acoustic and archtop guitars. • 20” - flat, no radius - used on nylon string guitars.
Binding
The binding and perfling of the guitar a e inlaid into the guitar body in order to provide increased coupling and anchoring of the top and back to the sides of the guitar. It also gives the guitar added resistance to damage at the critical edge points. Wood or plastic can be used for the bindings of the guitar depending on the luthier and the guitar player’s tastes.
Tone Woods
Choosing the best tone woods for a specific guitar must be done ca efully in order to result in the desired tonal outcome for the instrument. There are a variety of tone woods common to producing top quality guitars; here are a few along with their tonal qualities and applications:
Natura Elite II 16 inch Archtop Guitar
Soundboard Woods
Sitka spruce is typically the choice for strumming a steel string guitar and German spruce works well for classical guitar and finge -style steel string. Redwood and Cedar produce a more mellow and warm tone. Listed Brighter - Darker Sounding:Spruce, Redwood, Cedar
Back and Sides Woods
Harder woods such as rosewood produce more sustain and complexity to the notes—great for finge -style and classical music. Woods such as Maple produce a more simple and punchy tone which is great for Jazz and Flamenco music.
Listed Brighter - Darker Sounding:Rosewood, Mahogany, Maple General Notes:
Every component of the guitar can be selected to add different tonal and functional characteristics to the instrument.
No part of the guitar should be random or close enough. Each component must be a specifically and accurately executedsize in order to properly harmonize in sound and visual beauty with the guitar design as a whole.
Bracing - Types and Effects
Inside the guitar are a series of wooden bars called tone bars, or braces. These are intentionally placed in what the builder believes to be the optimum po-sition for achieving structural effects to counteract string tension, as well as help to shape the desired tonality and responsiveness of the guitar.
Tone bars
The tone bars are usually made of quarter cut spruce to increase stiffness and add as little mass as possible. The most commonly used bracing pattern is the X Brace for archtop and steel string guitars. Opening the X wider produces a more mel-low sound and closing the X produces a brighter sound closer to that of parallel braces. The most common bracing used for the nylon string guitar is the fan brace pattern. The profile of the tone barscan shape the tonality of the guitar as well. A taller, thinner tone bar will give the sound more edge and clarity, while a lower, wider tone bar will produce a more mellow and warm sounding guitar.
Archtop Bridge System
Steel String / Classical Guitar Bridge System
1/2 or 1st partial
The ‘Fundamental’(C)
1/3
1/41/5
1/61/7
1/81/9
c
g
ce
gbb
c
d
Node
Harmonic Content of an Open E String
Node
Node
NodeFundamental
(1st Harmonic)
2nd Harmonic
3rd Harmonic
Position of the Neck Pickup
Bridge
Bridge
Bridge
Nut
Nut
Nut
Position of the Middle PickupPosition of the Bridge Pickup
NodeNode
Node
NodeNode12th Fret
7th Fret 19th Fret
Node
Quarter Sawn
Flat Sawn
www.tbguitars.comwww.theartoflutherie.co
30360_FULL_WORKING_FILE.indd 1 7/9/13 12:55 PM
Mel Bay's Guitar Terms Wall Chart is an attrac-tive and informative addition to any practice room. Included are a rundown of the parts of the instrument, a variety of helpful diagrams, and some of the most important terms and concepts for guitarists to be familiar with. The Guitar Terms Wall Chart is an excellent reference tool for players of all levels. Dimensions: 35" x 24". Printed on durable coated paper.
MB30077Glossary of GuitarTerms Wall Chart
by Collin Bay
Guitar
The Luthier's Wall Chart by Tom Bills is a beautiful and extremely useful tool for any luthier's workshop, guitar enthusiasts home, or studio. Tom shares vital information and secrets to creating the best possible guitar or simply making the appropriate adjustments to enhance tone and playability. Essential information is distilled, illustrated, and elegantly displayed to make it the perfect reference tool to help you design and build your masterpiece. Tom Bills is regarded as one of the top guitar makers in the world today with his work featured in the most prominent guitar collection across America and in nearly every country of the world. Tom's guitars are known for their stunning woods, powerful and complex voice, and flawless finishes. Tom is known for his close attention to detail and thorough understanding of guitar physics and its application in creating custom handmade instruments to perfectly match the needs of top players and collectors worldwide.
MB30360Tom Bills LuthierWall Chart
by Tom Bills
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Tricone Resonator(with T-bar bridge)
(Single Cone) ResonatorCross Section
BodyResonator
ConeSound Well
BridgeCoverPlate
Single Cone Resonator(with Biscuit Bridge)
Single Cone Resonator(with Spider Bridge)
Slothead Tuning Machines for a Square Neck (Oriented upward for lap style)
Standard Tuning Machine
Square Neck Nut
Round Neck Nut
Round Sound Holes
Round Neck
Square Neck
T-bar Bridge Biscuit Bridge Spider Bridge
Saddle
Saddle
SaddleSaddle
Saddle
Saddle
The resonator guitar (resophonic guitar) is designed to produce more volume than an acoustic guitar through the use of single/multiple metal resonator cones. Strings contact the bridge like on an acoustic guitar, but the bridge transfers vibrations to a cone-shaped resonator instead of directly to a soundboard. Unlike an acoustic guitar, the majority of the sound produced comes from the resonator, not the body. It produces more vol-ume than a wooden body because of metal’s superior reso-nance, and its speaker-like design which transmits sound effi-ciently. Most resonators are made from aluminum, which has a high strength to weight ratio.
Tuning machines are housed in the headstock and deter-mine string pitch by controlling tension. The combination of a pinion and worm gear provides precise and stable tuning. Standard tuning machines or slothead tuning ma-chines are used depending on the type of headstock. On square neck resonator guitars with slotted headstocks, the tuning machines are usually oriented upward for easi-er access when playing lap style.
The nut is located at the end of the fretboard, at the base of the headstock. It determines string spacing and height at the zero fret, and is usually made from bone, plastic or metal. A round neck resonator guitar has a nut similar to that of an acoustic guitar, while a square neck resonator guitar uses a taller nut to elevate the strings above the fretboard. This type of high action is optimal for lap style playing with a steel bar. A nut converter can be used on a round neck nut to raise the strings for lap style playing.
The tailpiece secures the strings at the end of the body, and is usually made of steel or brass. It is secured to the body via the screw for the strap button, or with an addi-tional set of screws. Strings are fed through holes in the tailpiece that latch onto the ball ends, locking them in place. A heavy tailpiece provides a solid anchor for the strings and improves sustain.
The headstock is located at the end of the neck and houses the tun-ing machines. It is angled backward to help counteract string tension and increase the break angle of the strings over the nut. Headstocks can also be slotted (“slothead”), providing a greater break angle and a slight reduction in weight. Some players prefer a slotted head-stock over a regular one for the brighter tone and increased sustain achieved by a greater break angle. On some instruments, a wooden or pearloid headstock overlay is used to enhance its appearance. The brand name is usually inlaid into the headstock or the overlay.
The sound holes are typically located in the upper bout of the body, one on each side. They help to project sound outward after it is pushed into the body from beneath the resonator. On resonators with a spider bridge with an upward facing cone, sound holes play less of a role in projection be-cause sound is already projected forward from the resonator. Most sound holes are either circular or F-shaped (“F-holes”). Circular sound holes often have screens which some players prefer to remove to change the tone of the instrument.
The saddle transfers vibrations from the strings to the bridge. From the bridge, this energy is transferred to the resonator. A tricone resonator uses a T-bar bridge made from aluminum that sits atop three resonator cones. A wooden (maple) saddle is inserted into a slot on the bridge. A biscuit bridge is often made from wood and con-tains a slot for the saddle. The biscuit attaches to the cone with a small screw. A spider bridge is made of alumi-num and has eight arms that extend outward to the cone. A screw attaches the bridge to the cone, and the arms have to be trued so each one contacts the surface of the cone with equal pressure. The wooden saddle pieces fit into a slot at the bridge’s center.
On round neck resonator guitars, the fretboard (“fingerboard”) is the playable surface which houses the frets. It is usually made from hardwoods like rosewood or ebony, and can be flat or radiused. Frets can be made from different types of alloys, and are positioned on the fretboard to provide equal tem-perament. Square neck resonator guitars also have fretboards, but the frets function only as guides when playing lap style. Inlays are often used in place of frets on square necks.
On wooden resonator guitars, the neck is attached to the body with a dovetail joint and extends to the headstock. It is usually made of maple or other hardwoods. Resonator guitars can be divided into two types: round neck and square neck. Those with round necks are used for bottleneck style, and ones with square necks are used for lap style playing. Resonator guitars with a square neck are not fretted; they have a tall nut that elevates the strings above the neck for easy use of a steel bar when playing lap style. In addition, the stronger square neck is ideal for open tunings with increased string tension that a round neck cannot handle. Unlike a round neck, the thicker square neck does not contain a truss rod: an adjustable steel rod with a bolt on one end. On round necks, it works opposite string tension and controls the curvature of the neck. Forward curvature in the neck is called relief, and a small amount is ideal. A neck with an up-bow (too much relief) can be fixed by tightening the truss rod with a clockwise turn. Conversely, a neck with a back-bow can be fixed by loosening the truss rod (counterclockwise). A bridge adjustment can raise or lower string action, but often a truss rod adjust-ment is required to correct intonation.
Strings used on a resonator guitar are typically heavier gauge than those used on an acoustic guitar. They can be made from different types of metals such as nickel or phosphor bronze alloy. The bottom four strings are wound in wire, and are typically roundwound (a circular core wound in round wire). Ball ends at the end of the string allow it to be secured to the tailpiece. In addition to standard E-A-D-G-B-E guitar tuning, a vari-ety of open tunings are used for lap style playing. These include open D (D-A-D-F#-A-D) and open G (G-B-D-G-B-D) tuning. Open G tuning and other slack key tunings are not meant for round necks, which cannot handle the increased string tension that a square neck can.
Resonator guitars can be made of wood or metal (steel or brass). The first resonator guitars were made from metal, which has a more brittle ring-ing tone than wood. Unlike an acoustic guitar with a soundboard, the body of a resonator gui-tar does not produce most of the sound—most of it is generated from the resonator. Sound is pumped from the resonator into the body, which functions as a resonance chamber, affecting the timbre of the sound. (Note: Resonators with a spider bridge have a cone that directs more sound outward, rather than into the body.)
There are three main types of resonator designs: tricone, single cone with a “biscuit” bridge, and single cone with a spider bridge. The tricone resonator is the original design, and consists of three cones and a T-bar bridge to distribute energy from the strings evenly. Biscuit bridge single cone resonators are the simplest, and have a wooden disc-shaped bridge called a biscuit that sits atop a cone. Spider bridge single cone resonators have a metal bridge with arms that distribute pressure to the cone. The down-ward oriented tricone and biscuit bridge resonators push sound into the body, whereas the cone for a spider bridge faces upward, directing more sound outward.
RESONATOR tuning machines nut
tailpiece
headstock
Sound Holes
bridge and saddle
fretboard
neck
strings and tunings
body
Round Neck
Fret
String
Fretboard
Heel
Strap Button
Tailpiece
Side
Binding
Wooden Resonator Guitar
Back
Position Marker
Nut Truss Rod Cover Plate
Mounting Plate
Tall Nut
Tuning Machine
Sound Hole
Waist
Upper Bout
Lower Bout
Resonator Cover Plate
Bridge
Headstock
Slotted Headstock
Square Neck
Hand Rest
Top
Fan Hole Pattern
Tuning Machine
RESONATOR
ANATOMYGUITARAND MECHANICS
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© 2013 BY MEL BAY PUBLICATIONS, INC., PACIFIC, MO 63069ALL RIGHTS RESERVED, INTERNATIONAL COPYRIGHT SECURED, B.M.I.
MADE AND PRINTED IN U.S.A
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Output vs. Resistance inLinear and Logarithmic Taper Potentiometers
OutputLinear
Logarithmic
Resistance
Base Plate
Magnetic Pole PieceCoil
Beginning of Winding
End of Winding
Electric Lap Steel
Electric “Frying Pan” Lap Steel
Hawaiian StyleAcoustic Lap Steel
NutNeck Headstock
Fretboard
HighAction
String
String Break Angle
Various Headstock Designs
“Stopbar” Bridge-Tailpiece
Bridge and Tailpiece
Ferrule(Body)
“String-Through” Method(Bridge and String Ferrules)
Straight Fretboard - Uniform String Spacing
Tapered Fretboard - Narrower String Spacing at the Nut
Square NeckCross Section
Fretboard
(Body)(Body)
The bridge determines effective string length and height at the base of the instrument. On many lap steels, the bridge and tailpiece are incorporated as a single unit, such as a “stop-bar” bridge-tailpiece. The bridge and tailpiece can also be individual components, enabling more precise intonation adjustment. Some lap steels have standalone bridges with strings fed through their bodies, anchored with ferrules instead of tailpieces. This “string-through” method can provide increased sustain resulting from securing the strings directly to the body. Overall, lap steels come with a wide variety of bridges, tailpieces and combinations of the two. Many come fitted with a bridge cover, which is usually removed to allow for palm muting.
Originating in Hawaii, the first lap steel (slide) guitars were acoustic instruments, adapted from conventional guitars. Today, electric lap steels are very popular and have been adopted in many genres. They are often con-structed from tonewoods such as maple, mahogany or walnut, but are also made from metal (such as the orig-inal “frying pan” lap steel). The body on earlier acoustic lap steels functioned as a soundboard and resonance chamber, whereas an electric lap steel body functions primarily as a rigid foundation for the rest of the instru-ment, with the headstock, neck and body essentially blending together.
This construction method forms a simple and rigid base optimized for various tunings and string gauges. Heavier, thicker-bodied lap steels also have better sustain. Some lap steels have wide bodies to accommodate multiple necks. The body is usually lacquered to enhance its appearance and protect the wood. Lap steels are some-times mounted on a stand so they can be played while standing, or to allow for easier use of a volume pedal when sitting (like a pedal steel guitar).
Electric lap steels use magnetic pickups to generate sound (typically one or two). In its simplest form, a pickup consists of a bar magnet wound in a coil of wire. In the presence of a permanent magnet, a string will become magnetized. When plucked, its vibration creates a current in the coil of wire. Some pickups contain separate magnets for each string. Today, two basic types of pickups are commonly used on lap steels. Single coil pickups contain only one coil of wire. Humbucking pickups (“humbuckers”) consist of two magnets wrapped in coils of wire. Single coils sound brighter and usually have lower outputs than humbuckers. Because a coil also acts as an antenna, a single coil will generate hum from electromagnetic radiation. In a humbucker, this interference is can-celed by orienting the magnets in each coil in oppo-site directions. On early electric lap steels, “horse-shoe pickups” were used, which got their name from the two U-shaped magnets surrounding the coil. Because the magnets were not made from a perma-nent magnetic alloy, the pickup’s output deteriorated over time.
Single Coil Pickup
The tuning machines are attached to the headstock, and determine string pitch by con-trolling tension. The combination of a pinion and worm gear provides precise and stable tuning. On many lap steels, the tuning machines are oriented upward to provide easier access when tuning.
The headstock is located at the top of the instrument and houses the tuning machines. Some are flat and integrated seamlessly into the rest of the instrument, while others are angled backward and appear more like those on conventional guitars. A headstock can also be slotted or hollowed out so the tuners can extend into the interior of the headstock, allowing their knobs to face upward.
On electric lap steels, a variety of steel string gauges are used to accom-modate a wide range of tunings. In addition to the basic 6-string model, lap steels are also available in 8- and 10-string versions, each with a unique set of tunings. String gauges vary depending on tuning and player preference. Heavier gauge strings are wound, consisting of a metal core wound in wire made from metals such as phosphor bronze alloy or nickel.
Usually a lap steel is tuned to a par-ticular open chord, such as C6 (C-E-G-A-C-E). Other common tunings are open G (D-G-D-G-B-D), open A (E-A-E-A-C#-E) and open D (D-A-D-F#-A-D). (All of these tunings have respective 8- and 10-string versions). These are just a few examples—there are many more tunings and variations, used across different genres.
The neck supports the fretboard and extends to the headstock. Wooden lap steel necks are usually made from the same blank as the body, or incorporat-ed into the body with a “neck-through” construction. They are much thicker than those on regular guitars and usually have square cross sections. All of these factors increase the stiffness of the instrument, allowing it to withstand the tension of var-ious tunings. A thicker neck can also help increase the sustain of the instrument.
The fretboard is often made from hardwoods such as rosewood or ebony. It provides the player with guides for chord positions. While some fretboards contain frets, many substi-tute them for inlays. Inlaid position markers also serve as guides, and are typically found at the 3rd, 5th, 7th, 9th and 12th frets (repeating past the octave). Fretboards can be straight or tapered. Straight fretboards provide uniform string spacing across the entire instrument, and tapered fretboards have narrower spacing towards the nut (wider spacing at the bridge).
Adjustments in volume and tone are made via con-trol knobs attached to potentiometers (“pots”). They can increase or decrease resistance, chang-ing output. The change in resistance in a pot from one end to the other can vary to produce a linear or logarithmic change in output. This is called pot taper. Logarithmic volume pots are often preferred because they mimic how the human ear percieves changes in volume.
The nut is located at the base of the headstock and controls string spacing and height at the zero fret. Common nut materials include bone, metal and plastic. On a lap steel, the nut is much taller than that on a regular guitar. Elevating the strings provides a setup ideal for use of the steel tone bar.
bridge and tailpiece
bodypickups tuning machines
headstock
strings and tunings
neck and fretboard
volume and tone controls
nut
Neck
Fret
Fretboard
GroovedSteel Tone Bar
Position Marker
String
¼” Output Jack
Binding
Control Knob
Nut
Tuning Machine
Headstock
Body
Magnetic Pickup
Bridge-Tailpiece
Side
Electric Lap Steel Guitar
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© 2013 BY MEL BAY PUBLICATIONS, INC., PACIFIC, MO 63069ALL RIGHTS RESERVED, INTERNATIONAL COPYRIGHT SECURED, B.M.I.
MADE AND PRINTED IN U.S.A
LAP STEEL
ANATOMYGUITARAND MECHANICS
30347_FULL_WORKING_FILE.indd 1 7/15/13 1:29 PM
This wall chart is a compre-hensive visual map of the resonator guitar (round and square neck). It includes a large diagram of the instrument and detailed views of its parts. The chart includes the different types of resonator and neck de-signs, providing a complete anatomy of the instrument for bottleneck and lap style playing. This poster is a great visual for anyone interested in the resonator guitar.
"Lap Steel Guitar Anat-omy and Mechanics" is a complete visual guide to the lap steel. The wall chart includes a large di-agram of the instrument and detailed views of its parts. Each part of the instrument is described, along with the various types of lap steels. This wall chart is a great visu-al for anyone interested in the lap steel, and a perfect addition to the studio or classroom.
MB30345Resonator GuitarAnatomy andMechanics Wall Chart
by Charlie Lee-Georgescu
MB30347Lap Steel GuitarAnatomy andMechanics Wall Chart
by Charlie Lee-Georgescu
Lap Steel / Resonator Guitar33
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Lap Steel / Resonator Guitar
Full-size wall chart featuring D and G tun-ings for the Resonator guitar. Each tuning shows chords, scales, and popular licks. Recommended listen-ing is also listed on the chart. Information on slide technique is also given.
MB20166Slide Guitar Wall Chart
by Fred Sokolow
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C C
E A E A
F D F D
B B
G E C G E C
F F
A D A D
G G
B E B E
C A F C A F
D B G D B G
C C
E A E A
F D F D
B B
G E C G E C
F F
A D A D
D B G D B G
C G D A E
B/Cf
“Bar
re”
Pos
itio
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er 2n
d & 5t
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Dim
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1st
str
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Maj
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7th
Maj
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6th
Min
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hord
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7th
Min
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hord
+ 6
thM
ajor
cho
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f7t
h &
9th
2 3 4 5
2 3 4 5
2 3 4 5
3 4 5 6
5 6 7 8
2 3 4 5
5 6 7 8
5 6 7 8
4 5 6 7 8 1 2 3 4 5 6 7 8 9 10 3 4 5 6 7
1 2 3 4 5
2 3 4 5 6
2 3 4 5 6
9 10 11 12
1 2 3 4
1 2 3 4
2 3 4 5
1 2 3 4
1 2 3 4
1 2 3 4
1 2 3 4
1 2 3 4
4 5 6 7
4 5 6 7
5 6 7 8
5 6 7 8
5 6 7 8
7 8 9 10
6 7 8 9
8 9 10 11
7 8 9 10
4 5 6 7
1 2 3 4
1 2 3 4
1 2 3 4
1 2 3 4
2 3 4 5
2 3 4 5
1 2 3 4
7 8 9 10
1 2 3 4
7 8 9 10
7 8 9 10
7 8 9 10
8 9 10 11
8 9 10 11
9 10 11 12
9 10 11 12
6 7 8 9
2 3 4 5
2 3 4 5
1 2 3 4
3 4 5 6
4 5 6 7
2 3 4 5
4 5 6 7
4 5 6 7
2 3 4 5
X
XX
XX
XX
X
XX
XX
XX
XX
XX
XX
XX
XX
XX
XX
XX
XX
XX
XX
XX
XX
XX
XX
XX
XX
XX
XX X
XX
CC
min
orC
º dim
inis
hed
C+
aug
C7
C M
AJ
7C
6C
m7
Cm
6C
9
GG
mG
ºdim
G+
aug
G7
G M
AJ
7G
6G
m7
Gm
6G
9
DD
mD
ºdim
D+
aug
D7
D M
AJ
7D
6D
m7
Dm
6D
9
AA
mA
ºdim
A+
aug
A7
A M
AJ
7A
6A
m7
Am
6A
9
EEm
Eºdi
mE+
aug
E7E
MA
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E6Em
7Em
6E9
B &
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Bm
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fmB
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& C
fºdi
mB
+aug
& C
f+au
gB
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B M
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MAJ
7B
6 &
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Bm
7 &
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fm6
B9
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6th
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Play
all
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Root
(D) o
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d st
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Root
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6th
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Root
(E) o
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strin
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B &
Cf
chor
ds u
se th
e sa
me
note
s - t
hese
are
cal
led
“enh
arm
onic
” ch
ords
. C
f is
pla
yed
one
fret
num
ber l
ower
than
C.
Bar
re a
cros
s 9t
h fr
et fo
r E
Maj
or c
hord
Bar
re a
cros
s 7t
h fr
et –
Opt
iona
l: pl
ay th
e op
en 4
th &
/or 1
st s
trin
g(s)
for a
ll D
cho
rds.
Bar
re a
cros
s 2n
d fr
et.
Play
all
stri
ngs
open
OR
“Bar
re”
acro
ss 1
2th
fret
– T
he “
root
” (G
not
e) is
on
6th
& 3
rd s
trin
gs.
In B
arre
pos
ition
– R
oot n
ote
“C”
is a
t the
5th
fret
of t
he 6
th &
3rd
str
ings
.
“Bar
re” s
hape
+5 o
n 4t
h &
1st s
tring
sIn
clud
e op
en 1s
t stri
ng (i
s 7th
)M
aj 7
on 3r
d st
ring
6th
is o
n 4t
h &
1st s
tring
sUs
e no
se o
f bar
to fr
et
Dim
= f
3rd
& 5t
h of
cho
rd
Can
pick
1st s
tring
ope
n
Incl
ude
open
4th
or 1s
t stri
ng
Min
or =
low
er 5t
h &
2nd
strin
gs
“Bar
re” o
ver a
ny 2
note
sor
pla
y 4th
strin
g op
en
Aug
rais
es 4t
h &
1st s
tring
s1 f
ret u
p fro
m b
arre
pos
ition
7th
on 4t
h &
1st s
tring
s
Incl
ude
open
3rd
strin
g (is
7th)
Maj
7 on
4th
& 1s
t stri
ngs
6th
is o
n 4t
h &
1st s
tring
sf 7
th o
n 4t
h &
1st s
tring
s
f7th
on
4th
& 1s
t stri
ngs
6th
on 4t
h &
1st s
tring
s9t
h on
5th
& 2n
d st
rings
7th
is o
n 6t
h &
3rd
Root
on
6th
& 3r
d st
rings
+5th
on
4th
& 1s
t stri
ngs
7th
on 4t
h &
1st s
tring
sM
aj 7t
h on
3rd
strin
g6t
h on
4th
& 1s
t stri
ngs
Min
or =
low
er 5t
h &
2nd
strin
gs, 1
st fr
etDi
m =
f3rd
& 5t
h of
cho
rdf5
th o
n 4t
h &
1st s
tring
sf3
rd o
n 3r
d fre
tf 7
th o
n 4t
h &
1st s
tring
s6t
h on
4th
& 1s
t stri
ngs
Lift
bar t
o m
ove
6th
on 4t
h &
1st s
tring
sPl
ay o
pen
3rd
& 2n
d st
rings
9th
is o
n op
en 2n
d st
ring
Maj
7 on
6th
& 4t
h st
rings
6th
on 4t
h &
1st s
tring
sf7
th o
n 4t
h &
1st s
tring
sOp
tiona
l: Ba
rre a
ll st
rings
Root
on
open
6th
& 3r
d st
rings
Use
nose
of b
ar to
fret
Play
ope
n st
rings
with
7th
on 1s
t or 4
th st
ring
Maj
7th
on 4t
h or
1st s
tring
sUs
e no
se o
f bar
to fr
et6t
h on
1st (
4th)
Stri
ngPl
ay o
ther
strin
gs o
pen
f7th
on
4th
& 1s
t stri
ngs
Root
ope
n on
6th
& 3r
d st
rings
9th
on 1s
t stri
ngPi
ck w
ith th
e op
en st
rings
Low
er 5t
h & 2n
d stri
ngs,
1 fre
tDi
min
ishe
d =
pick
2 st
rings
Augm
ente
d =
+ sy
mbo
l7t
h on
4th
& 1s
t stri
ngs
Incl
ude
open
2nd
strin
g9t
h on
4th
& 1s
t stri
ngs
Barre
“C” i
s on
5th
fret
6th
on 4t
h &
1st s
tring
s
6th
on 4t
h &
1st s
tring
s9t
h is
on
5th
& 2n
d st
rings
at th
e 5t
h fre
t
f7th
on
4th
& 1s
t stri
ngs
Root
at 5
th fr
et6t
h on
4th
& 1s
t stri
ngs
= M
AIN
NO
TE(S
)=
OTH
ER N
OTE
(S) I
N T
HE
CHO
RD=
OPE
N S
TRIN
G(S
)or
= PL
ACE
BAR
OVER
THE
SE D
OTS;
PIC
K ON
LY T
HESE
STR
INGS
.i.e
.
& & & & & &
1 2 3 4 5 6
wO
PE
N
D w B w G w D w B w G
w#1
Ds/
Ef w C w# G
s/A
f w# Ds/
Ef w C w# G
s/A
f
w2 E w# Cs/
Df w A w E w# C
s/D
f w A
w3 F w D w# As/
Bf w F w D wb A
s/B
f
w#4
Fs/
Gf w# D
s/E
f w B w# Fs/
Gf w# D
s/E
f w B
w5 G w E w C w G w E w C
w#6
Gs/
Af w F w# C
s/D
f w# Gs/
Af w F w# C
s/D
f
w7 A w# Fs/
Gf w D w A w# F
s/G
f w D
w#8
As/
Bf w G w# D
s/E
f w# As/
Bf w G w# D
s/E
f
w9 B w# Gs/
Af w E w B w# G
s/A
f w E
w10 C w A w F w C w A w F
w#11
Cs/
Df w# A
s/B
f w# Fs/
Gf w# C
s/D
f wb As/
Bf w# F
s/G
f
w12 D w B w G w D w B w G
w#13
Ds/
Ef w C w# G
s/A
f w# Ds/
Ef w C w# G
s/A
f
w14 E w# Cs/
Df w A w E w# C
s/D
f w A
w15 F w D w# As/
Bf w F w D wb A
s/B
f
w#16
Fs/
Gf w# D
s/E
f w B w# Fs/
Gf w# D
s/E
f w B
w17 G w E w C w G w E w C
w#18
Gs/
Af w F w# C
s/D
f w# Gs/
Af w F w# C
s/D
f
w19 A w# Fs/
Gf w D w A w# F
s/G
f w D
F Bf Ef Af
Df/C
s
Gf/F
s
“Bar
re”
Pos
itio
nM
inor
= lo
wer
2nd &
5th s
tring
sDi
m: l
ower
2nd
& 5t
h st
rings
Aug
: rai
se 1
st s
trin
gM
ajor
cho
rd +
f7t
hM
ajor
cho
rd +
7th
Maj
or c
hord
+ 6
thM
inor
cho
rd +
f7th
Min
or c
hord
+ 6
thM
ajor
cho
rd +
f7t
h &
9th
7 8 9 10
7 8 9 10
7 8 9 10
8 9 10 11
10 11 12 13
7 8 9 10
1 2 3 4 5
9 10 11 12 13
10 11 12 13 14
2 3 4 5 6
2 3 4 5 6 7 8 9 10 11
3 4 5 6 7 8 9 10 11 12
7 8 9 10 11
5 6 7 8 9
5 6 7 8 9
6 7 8 9 10
10 11 12 13 14
11 12 13 14 15
5 6 7 8 9
4 5 6 7 81 2 3 4 5
10 11 12 13 14
1 2 3 4 5
2 3 4 5
1 2 3 4
1 2 3 4
2 3 4 5
1 2 3 4
3 4 5 6
1 2 3 4
1 2 3 4
5 6 7 8
5 6 7 8
5 6 7 8
6 7 8 9
8 9 10 11
5 6 7 8
1 2 3 4
1 2 3 4
1 2 3 4
1 2 3 4
1 2 3 4
1 2 3 4
1 2 3 4
1 2 3 4
4 5 6 7
4 5 6 7
4 5 6 7
4 5 6 7
6 7 8 9
5 6 7 8
9 10 11 12
9 10 11 12
9 10 11 12
9 10 11 12
11 12 13 14
9 10 11 12
9 10 11 12
XX
XX
XX
XX
XX
XX
XX
XX
XX
XX
XX
XX
XX
XX
XX
XX
XX
XX
XX
XX
XX
XX
XX
XX
XX
XX
XX
XX
XX
XX
XX
XX
FFm
Fºdi
mF+
aug
F7F
MA
J 7
F6Fm
7Fm
6F9
Bf
Bfm
Bfº
dim
Bf+
aug
Bf7
Bf
MA
J 7
Bf6
Bfm
7B
fm6
Bf9
EfEf
mEf
ºdim
Ef+
aug
Ef7
Ef M
AJ
7Ef
6Ef
m7
Efm
6Ef
9
Af
Afm
Afº
dim
Af+
aug
Af7
Af
MA
J 7
Af6
Afm
7A
fm6
Af9
Df
& C
sD
fm &
Csm
Dfº
dim
& C
sºdi
mDf
+ au
g &
Cs+
aug
Df7
& C
s7Df
MAJ
7 &
Cs M
AJ 7
Df6
& C
s6D
fm7
& C
sm7
Dfm
6 &
Csm
6D
f9 &
Cs9
Gf
& F
sG
fm &
Fsm
Gfº
dim
& F
sºdi
mGf
+ au
g &
Fs+
aug
Gf7
& F
s7Gf
MAJ
7 &
Fs M
AJ 7
Gf6
& F
s6G
fm7
& F
sm7
Gfm
6 &
Fsm
6G
f9 &
Fs9
This
is a
mov
eabl
e sh
ape.
Root
on
6th
& 3r
d st
rings
Root
on
6th
& 3r
d st
rings
Plac
e ba
r acr
oss a
ll
Root
on
6th
& 3r
d st
rings
This
is a
mov
eabl
e sh
ape
Root
on
6th
& 3r
d st
rings
Aug
(+5)
on
4th
& 1s
t stri
ngs
f 7th
on
4th
& 1s
t stri
ngs
Min
or 3r
d on
5th
& 2n
d st
rings
Nose
on
3rd
strin
g w
ithop
en 2n
d &
1st s
tring
s
Min
or =
low
er 5t
h &
2nd
strin
g
Min
or 3r
d on
5th
& 2n
d st
rings
Pick
4th,
3rd
& op
en 2n
d st
rings
Dim
5th
is o
n 4t
h &
1st s
tring
sAu
g ra
ises
4th
& 1s
t stri
ngs
From
“bar
re” p
ositi
onRo
ot o
n 6t
h &
3rd
strin
gsf 7
th o
n 4t
h &
1st s
tring
s
Play
ope
n 3r
d (M
aj 7)
Root
on
1st f
ret,
6th
& 3r
d st
rings
f7th
on
4th
& 1s
t stri
ngs
9th
on 5t
h &
2nd
strin
gs
Root
on
6th
& 3r
d st
rings
6th
on 4t
h &
1st s
tring
s9t
h on
6th
& 3r
d st
rings
Maj
or 7t
h on
3rd
strin
g
Dim
low
er 2n
d &
1st s
tring
sAu
g ra
ises
4th
& 1s
t stri
ngs
from
“Bar
re” p
ositi
onCo
nnec
t the
dot
sIn
clud
es 7t
h &
9th
only
9th
on 5t
h &
2nd
strin
gsM
ajor
7th
on 3r
d st
ring
Root
on
6th
& 3r
d st
rings
Dim
fs 3r
d &
5th
of th
e ch
ord
Aug
rais
es 5t
h of
cho
rd5t
h is
on
4th
& 1s
t stri
ngs
Root
on
6th
& 3r
d st
rings
f 7th
on
4th
& 1s
t stri
ngs
Maj
or 7t
h on
3rd
strin
gsBi
g do
ts a
re 7t
h &
9th
only
Barre
F at
10th
fret
6th
on 12
th fr
et (4
th &
1st s
tring
s)
Root
on
3rd
strin
g, 3r
d fre
t
Pick
onl
y the
strin
gs w
ith d
ots
Ef is
bar
red
at 8t
h fre
t
f7th
on
4th
& 1s
t stri
ngs
6th
on o
pen
1st &
4th
The
follo
win
g ar
e en
harm
onic
cho
rds
– th
ey u
se th
e sa
me
note
s.
The
follo
win
g ar
e en
harm
onic
cho
rds
– th
ey u
se th
e sa
me
note
s. D
f is
loca
ted
one
fret
low
er th
an D
; Cs
is lo
cate
d on
e fr
et h
ighe
r tha
n C.
“Bar
re”
Shap
e.
“Bar
re”
Shap
e.
“Bar
re”
Shap
e.
“Bar
re”
Posi
tion.
IMP
OR
TAN
T: D
O N
OT
PICK
TH
E ST
RIN
G IF
AN
A
PPEA
RS O
VER
IT.
IMP
OR
TAN
T: P
LACE
TH
E ST
EEL
BA
R D
IREC
TLY
OVE
R TH
E M
ETA
L FR
ET B
AR(
S), N
OT
BET
WEE
N T
HEM
.TH
E N
OSE
OF
THE
BA
R SH
OU
LD N
OT
COVE
R A
STR
ING
IF A
N
A
PPEA
RS O
VER
THAT
STR
ING
.
Co
nn
ect
the
do
ts w
ith
th
e “s
teel
” b
ar; C
ove
r &
pic
k o
nly
th
e in
dic
ated
str
ing
s.N
OT
E: Y
ou
can
co
nn
ect
any
of
the
do
ts w
ith
in t
he
dia
gra
m, t
o p
lay
no
tes
wh
ich
will
wo
rk f
or
the
ind
icat
ed c
ho
rd.
Chor
ds u
sing
shar
ps (s
) mov
e al
ong
the
Righ
t sid
e of
the
Circ
le o
f 5th
s.
G - D
- A
- E -
B - F
s - C
s (C
has
no
shar
ps o
r fl a
ts).
ST
RIN
GS
6G
5B
4D
3G
2B
1DF
#1
R #
2E #
3T #
4 G T
UN
ING
= G
BD
GB
DS
TR
ING
S =
6, 5
, 4, 3
, 2, 1
NO
TE: 6
th &
3rd
str
ings
are
tun
ed
to o
pen
G, a
n oc
tave
apa
rt.
NO
TE: F
ret
num
bers
are
on
the
left
sid
e of
eac
h di
agra
m.
Eac
h M
ajo
r C
ho
rd w
ill b
e th
e b
asis
fo
r fo
rmin
g o
ther
ch
ord
s w
ith
th
e sa
me
lett
er n
ame.
Eac
h c
ho
rd p
osi
tio
n c
an b
e re
late
d t
o t
he
stra
igh
t b
arre
sh
ape.
The
RO
OT
of t
he c
hord
is t
he n
ote
wit
h th
e sa
me
nam
e as
the
cho
rd.
Each
cho
rd w
ill in
clud
e th
e ch
arac
teri
stic
not
e w
hich
de
term
ines
its
nam
e...(
i.e. m
inor
, dim
, aug
, 6th
, 7th
, 9th
etc
.)
Maj
or =
str
aigh
t ba
rre
over
all
stri
ngs.
M
inor
= lo
wer
2nd
& 5
th s
trin
gs o
ne fr
et n
umbe
r (
from
bar
re p
osit
ion)
.D
imin
ishe
d =
low
er 1
st &
2nd
str
ings
one
fret
num
ber
and
low
er 4
th &
5th
str
ings
one
fret
num
ber.
Aug
men
ted
= R
aise
1st
& 4
th s
trin
gs o
ne fr
et n
umbe
r hi
gher
.
Each
“ex
tend
ed”
chor
d ad
ds a
new
not
e to
the
cho
rd.
The
num
ber
afte
r th
e ch
ord
lett
er n
ame
is t
he a
dded
not
e.It
s nu
mbe
r is
bas
ed u
pon
its
posi
tion
in t
he M
ajor
Sca
le
nam
ed fo
r th
e ch
ord.
Wh
ere
app
licab
le, e
ach
“sl
ant”
ch
ord
will
be
ind
icat
ed
in t
wo
loca
tio
ns:
1.)
on
th
e tr
eble
str
ing
s an
d
2.)
on
th
e b
ass
stri
ng
s.
Th
e “H
INT
S”
un
der
eac
h c
ho
rd d
iag
ram
per
tain
to
th
e la
rger
do
t(s)
. If
the
dia
gra
m in
clu
des
a r
ed a
nd
a b
lue
line,
yo
u h
ave
a ch
oic
e.
• Th
e or
der
of C
hord
s fo
llow
s th
e C
ircl
e of
5th
s.•
Each
cho
rd is
5 le
tter
s fr
om t
he p
revi
ous
chor
d w
hen
goin
g cl
ockw
ise
arou
nd t
he c
ircl
e.•
Each
cho
rd is
4 le
tter
s fr
om t
he p
revi
ous
chor
d w
hen
goin
g co
unte
r-cl
ockw
ise.
Thi
s m
ay b
e ca
lled
the
Cir
cle
of 4
ths.
• Th
e C
hord
s on
the
rig
ht s
ide
of t
he c
ircl
e us
e sh
arps
; ch
ords
on
the
left
sid
e us
e fl a
ts.
CIR
CLE
OF
5T
Hs
MEL
BAY
PU
BLI
CA
TIO
NS,
IN
C.T
OLL
FR
EE
: 1-8
00-8
-ME
L B
AY
(1-
800-
863-
5229
)P
HO
NE
: (63
6) 2
57-3
970
• FA
X: (
636)
257
-506
2w
ww
.mel
bay.
com
• e
mai
l@m
elba
y.co
m
= D
O N
OT
PICK
STR
ING
(S)
X
MB
2063
8
UPC ISB
N 0
-786
6-75
49-7
EAN
X
NOTE
: Whe
n ea
ch c
hord
is fo
rmed
from
“Bar
re” p
ositi
on, t
he R
oot i
s on
the
6th
& 3r
d st
rings
.Ch
ords
usi
ng fl
ats (
f) m
ove
alon
g th
e Le
ft si
de o
f the
Circ
le =
Circ
le o
f 4th
s.
F - B
f - E
f - A
f - D
f - G
f - C
fEa
ch “e
xten
ded”
cho
rd a
dds a
n ad
ditio
nal n
ote.
Th
e ne
w n
ote’s
num
eric
al p
ositi
on in
the
maj
or sc
ale
is ad
ded
to th
e ch
ord
nam
e.
FRET
NU
MB
ER
O
PEN
1
2 3
4 5
6 7
8 9
10
11
12
13
14
15
16
17 1
8 19
FRET
NU
MB
ER
S T R I N G S
CONT
INUE
TO
THE
RIGH
T to
com
plet
e th
e Ci
rcle
of 5
ths w
ith th
e Sh
arp
Keys
(see
Fs a
nd C
s)CO
NTI
NUE
TO
THE
LEFT
to c
ompl
ete
the
Circ
le o
f 5th
s us
ing
Flat
Key
s (s
ee C
f)
©20
06 M
el B
ay P
ublic
atio
ns, I
nc. •
Pac
ifi c,
MO
6306
9. A
ll rig
hts r
eser
ved.
In
tern
atio
nal c
opyr
ight
secu
red.
B.M
.I. M
ade
and
prin
ted
in th
e U.
S.
*(W
ritte
n in
sta
ndar
d D
obro
® n
otat
ion
– on
e oc
tave
hig
her t
han
actu
al p
itch)
n
1
2
3
4
5
6
1
2
3
4
5
C
AEf
Gf/
Fs
ED
GF
Bf Af
Cf/B
Df/
Cs
fs
Gm
Dm
Am
Em
Bm
Gfm
/Fsm
Fm
Cm
CsmFs
m
Efm
/DsmGs
m/A
fm
2063
8-W
all C
hart.
indd
1
8/30
/06
10:
39:0
3 AM
A usable resource and a beautiful poster. Includes major, minor, diminished, aug-mented chords, 7th chords, major 7th, minor 7th, 6th chords, minor 6th, and 9th chords for every chord letter name. Slant chords are shown on treble & bass strings. Includes a note finder chart along the Dobro® fingerboard and explanations for the Circle of 5ths and much more.
MB20638Dobro® Wall Chart
by Janet Davis
Lap Steel / Resonator Guitar 35
R
WALL_CHART_FLYER_A1.indd 35 11/14/13 9:32 PM
1920
s-st
yle
Cov
er
Plat
e
Hoo
k (“F
inge
r”)
One
-Pie
ce C
astin
gSc
allo
ped
Neo
polit
ian
Man
dolin
A-St
yle
Man
dolin
Arch
top
Body
Soun
dboa
rd
Back
Side
Side
F-St
yle
Tuni
ng M
achi
nes
F-St
yle
Hea
dsto
ck
A-St
yle
Hea
dsto
ck
Fret
boar
d Ex
tens
ion
“Sco
oped
”Fr
etbo
ard
Exte
nsio
n
(Bod
y)
Roun
dwou
ndFl
atw
ound
Brid
geFo
otFo
ot
Com
pens
ated
Sad
dle
Com
pens
ated
Sad
dle
Thum
bwhe
elTh
umbw
heel
Thum
bwhe
elTh
umbw
heel
Up-
Bow
Relie
f
Stra
ight
Back
-Bow
Nec
k
Nec
k
Hee
l
Body
Body
Dove
tail
Join
t
Sadd
le
Hee
l
Side
Nec
k
Fret
Tuni
ng M
achi
neN
ut
Hea
dsto
ck V
enee
r
Fret
boar
d Bi
ndin
g
Posi
tion
Mar
ker
Pick
guar
d
Brac
ket
Fret
boar
d (“F
inge
rboa
rd”)
Fret
boar
d Ex
tens
ion
Soun
dboa
rd
Brid
ge
Hea
dsto
ck
Scro
ll
Soun
d H
ole
(“F-h
ole”
)
Trus
s Ro
d C
over
Strin
g
Back
Bind
ing
F-St
yle A
rcht
op M
ando
lin
Tailp
iece
Endp
in
The
arch
top
man
dolin
is th
e m
ost p
opul
ar ty
pe
used
toda
y. Li
ke a
stri
ng in
stru
men
t, th
e so
und-
boar
d an
d ba
ck a
re c
arve
d (o
r lam
inat
ed) w
ith a
cu
rve.
A v
arie
ty o
f ton
ewoo
ds a
re u
sed
for t
he
soun
dboa
rd a
nd b
ack,
eac
h w
ith u
niqu
e to
nal
char
acte
ristic
s. V
ibra
tions
from
the
strin
gs a
re
trans
ferre
d to
the
soun
dboa
rd, w
hich
impa
rts
thes
e vi
brat
ions
to th
e ai
r, pr
oduc
ing
soun
d w
aves
. Int
erna
l bra
cing
hel
ps to
rein
forc
e th
e ar
ched
sou
ndbo
ard
and
back
. Arc
htop
sty
le
bodi
es ty
pica
lly c
ome
in tw
o fo
rms:
Flo
rent
ine
(“F-S
tyle
”) or
“A-S
tyle
”. Th
e or
nate
F-S
tyle
man
-do
lin h
as a
scr
oll a
nd p
oint
s in
corp
orat
ed in
to
the
body
. An
A-St
yle
man
dolin
has
a s
impl
er
roun
ded
shap
e. O
n bo
th s
tyle
s, tw
o F-
shap
ed
soun
d ho
les
(“F-h
oles
”) or
a s
ingl
e ov
al s
ound
ho
le c
an b
e fo
und.
Bot
h ty
pes
of s
ound
hol
es
help
with
pro
ject
ion,
but
affe
ct s
ound
diff
eren
tly.
Ker
fing
prov
ides
a s
urfa
ce to
atta
ch th
e si
des
to
the
soun
dboa
rd a
nd b
ack.
Bin
ding
hel
ps p
rote
ct
the
edge
s of
the
inst
rum
ent,
and
purfl
ing
can
be
inla
id a
long
side
as
deco
ratio
n.
The
flat t
op m
ando
lin is
sim
ilar t
o th
e ar
chto
p m
ando
lin,
but h
as a
flat
sou
ndbo
ard.
The
Neo
polit
ian
man
dolin
is
the
pred
eces
sor t
o th
e m
oder
n m
ando
lin, o
rigin
atin
g fro
m
Nap
les,
Ital
y. Al
so k
now
n as
a b
owl-b
ack
man
dolin
, it h
as
a ba
ck s
imila
r to
a lu
te m
ade
of v
aulte
d st
rips
of w
ood.
Strin
gs a
re w
ound
into
tuni
ng m
achi
nes
hous
ed in
the
head
stoc
k. A
tu
ning
mac
hine
con
trols
stri
ng te
nsio
n, w
hich
det
erm
ines
pitc
h. U
sing
a
pini
on a
nd w
orm
gea
r, it
prov
ides
pre
cise
and
sta
ble
tuni
ng. U
sual
ly
four
tuni
ng m
achi
nes
are
incl
uded
on
a si
ngle
mou
ntin
g pl
ate.
F-S
tyle
tu
ning
mac
hine
s ha
ve v
aryi
ng le
ngth
s to
acc
omm
odat
e th
e sp
ecifi
c sh
ape
of th
e he
adst
ock,
whi
le A
-Sty
le tu
ning
mac
hine
s ar
e us
ually
eq
ual i
n le
ngth
.
tuni
ng m
achi
nes
The
nut i
s lo
cate
d ju
st a
bove
the
fretb
oard
, at t
he b
ase
of th
e he
adst
ock.
It
cont
rols
stri
ng h
eigh
t and
spa
cing
at t
he z
ero
fret.
The
nut i
s us
ually
mad
e fro
m b
one
or p
last
ic, a
nd is
slo
tted
with
pre
cisi
on to
pro
vide
pro
per
into
natio
n.
nut
The
head
stoc
k is
loca
ted
at th
e en
d of
the
neck
, and
hou
ses
the
tuni
ng m
achi
nes.
It
can
be c
arve
d fro
m th
e ne
ck b
lank
, or i
t can
be
atta
ched
to th
e ne
ck w
ith a
sca
rf jo
int.
The
head
stoc
k is
ang
led
back
war
d so
the
strin
gs a
pply
dow
nwar
d pr
essu
re o
n th
e nu
t. Th
is in
crea
ses
the
strin
g br
eak
angl
e (a
n-gl
e ov
er th
e nu
t), p
reve
nts
the
strin
gs fr
om
slip
ping
and
impr
oves
sus
tain
. Mos
t F-S
tyle
m
ando
lins
have
mor
e or
nate
hea
dsto
ck
shap
es th
an A
-Sty
le m
ando
lins.
The
bra
nd
nam
e is
ofte
n in
laid
into
the
head
stoc
k ve
-ne
er (o
verla
y), w
hich
enh
ance
s ap
pear
ance
an
d co
vers
up
grai
n en
ds.
head
stoc
k
The
fretb
oard
(“fin
gerb
oard
”) is
glu
ed o
nto
the
neck
and
hou
ses
the
frets
. It i
s of
ten
mad
e fro
m e
bony
or r
osew
ood,
and
can
be
flat
or ra
dius
ed. F
rets
are
sea
ted
in th
e fre
tboa
rd in
inte
rval
s th
at p
ro-
vide
equ
al te
mpe
ram
ent,
and
are
usua
lly m
ade
from
nic
kel s
ilver
or
sta
inle
ss s
teel
. The
fret
end
s ar
e of
ten
conc
eale
d w
ith b
indi
ng.
Posi
tion
mar
kers
are
inla
id a
t the
5th
, 7th
, 10t
h an
d 12
th fr
ets,
an
d re
peat
pas
t the
oct
ave.
Man
y fre
tboa
rds
incl
ude
an e
xten
sion
(fr
etbo
ard
exte
nsio
n) th
at p
rovi
des
incr
ease
d ra
nge.
Som
e pl
ayer
s op
t to
“sco
op” o
r rem
ove
the
top
laye
r of t
he e
xten
sion
to p
reve
nt it
fro
m in
terfe
ring
whi
le p
icki
ng.
fret
boar
dTh
e ne
ck s
pans
from
the
body
to th
e he
adst
ock
and
supp
orts
the
fretb
oard
. It i
s ty
pica
lly m
ade
from
map
le
and
can
be c
arve
d fro
m a
sin
gle
piec
e of
woo
d, o
r lam
inat
ed to
pro
vide
incr
ease
d st
iffne
ss a
nd d
ecor
atio
n.
Mos
t nec
ks a
re jo
ined
to a
blo
ck in
side
the
body
with
a d
ovet
ail j
oint
. With
in th
e ne
ck is
a tr
uss
rod:
an
adju
stab
le s
teel
rod
with
a b
olt o
n on
e en
d, a
cces
sed
belo
w a
trus
s ro
d co
ver.
It w
orks
opp
osite
stri
ng
tens
ion
and
cont
rols
the
curv
atur
e of
the
neck
. For
war
d cu
rvat
ure
in th
e ne
ck is
cal
led
relie
f, an
d a
smal
l am
ount
is id
eal.
A ne
ck w
ith a
n up
-bow
(too
muc
h re
lief)
can
be fi
xed
by ti
ghte
ning
the
truss
rod
with
a
cloc
kwis
e tu
rn. C
onve
rsel
y, a
neck
with
a b
ack-
bow
can
be
fixed
by
loos
enin
g th
e tru
ss ro
d (c
ount
ercl
ock-
wis
e). A
brid
ge a
djus
tmen
t can
rais
e or
low
er s
tring
act
ion,
but
ofte
n a
truss
rod
adju
stm
ent i
s re
quire
d to
co
rrect
into
natio
n. A
djus
tmen
ts a
re m
ade
with
an
Alle
n or
hex
wre
nch.
neck
Strin
gs a
re s
ecur
ed a
t the
end
of t
he m
ando
lin to
the
tailp
iece
. Tai
lpie
ces
are
usua
lly m
ade
from
met
al, b
ut a
re a
lso
mad
e fro
m d
ense
woo
ds li
ke e
bony
. 192
0s-s
tyle
met
al ta
ilpie
ces
cont
ain
hook
s (“fi
nger
s”) o
nto
whi
ch s
tring
loop
s ar
e at
tach
ed. A
cov
er p
late
atta
ches
on
top
of th
e ta
ilpie
ce, c
once
alin
g th
e st
ring
ends
. Met
al ta
ilpie
ces
are
also
ava
ilabl
e as
one
-pi
ece
cast
ings
. Hea
vier
one
-pie
ce ta
ilpie
ces
are
ofte
n us
ed to
enh
ance
sus
tain
.
tailp
iece
The
pick
guar
d is
an
optio
nal a
ttach
men
t whi
ch h
elps
pro
tect
the
body
of
the
man
dolin
from
pic
k st
roke
s. It
is o
ften
mad
e of
pla
stic
or w
ood,
an
d us
ually
incl
udes
a b
rack
et fo
r sup
port.
In a
dditi
on to
pre
vent
ing
dam
age
to th
e bo
dy, t
he p
ickg
uard
is s
omet
imes
use
d as
a fi
nger
rest
.
pick
guar
d
The
man
dolin
con
tain
s fo
ur p
airs
of s
tring
s ca
lled
strin
g co
urse
s. P
airin
g th
e st
rings
in u
niso
n am
plifi
es th
em w
hen
play
ed, r
esul
ting
in a
loud
er s
ound
. Cou
rses
are
tune
d in
fifth
s to
G-D
-A-E
(lik
e a
viol
in),
from
low
to h
igh.
Stri
ngs
are
ofte
n m
ade
of p
hosp
hor-b
ronz
e al
loy,
but a
re a
lso
mad
e fro
m s
tain
less
ste
el, b
ronz
e an
d ni
ckel
. Bas
s st
rings
are
wou
nd in
wire
and
are
usu
ally
ro
undw
ound
or fl
atw
ound
. Rou
ndw
ound
stri
ngs
cons
ist o
f met
al c
ores
wou
nd in
roun
d w
ire.
Flat
wou
nd s
tring
s ar
e w
ound
in w
ire th
at h
as a
roun
ded
squa
re c
ross
sec
tion.
The
y pr
ovid
e a
smoo
ther
pla
ying
sur
face
and
a w
arm
er to
ne. S
ome
strin
gs h
ave
prot
ectiv
e co
atin
gs th
at h
elp
redu
ce c
orro
sion
.
Stri
ngs a
nd tu
ning
The
brid
ge tr
ansf
ers
vibr
atio
ns fr
om th
e st
rings
to th
e so
undb
oard
. It i
s ty
pica
lly m
ade
from
ebo
ny,
whi
ch tr
ansm
its to
ne a
ccur
atel
y. Al
so c
alle
d a
“floa
ting
brid
ge”,
it is
onl
y he
ld in
pla
ce b
y th
e st
rings
w
hen
they
are
und
er te
nsio
n. T
he tw
o “f
eet”
of t
he b
ridge
form
a c
lean
con
nect
ion
with
the
soun
d-bo
ard
whe
n un
der p
ress
ure.
The
sad
dle,
or t
op s
ectio
n of
the
brid
ge, c
omes
in d
irect
con
tact
with
the
strin
gs, a
nd is
com
pens
ated
to im
prov
e in
tona
tion.
It c
an b
e ra
ised
or l
ower
ed v
ia tw
o th
umbw
heel
s,
allo
win
g th
e ac
tion
for t
he h
igh
and
low
stri
ngs
to b
e ad
just
ed in
depe
nden
tly.
brid
ge a
nd sa
ddle
Body
ANAT
OM
Ym
ando
linAN
D M
ECH
ANIC
S
R
MB30344MANDOLIN ANATOMY
AND MECHANICS
© 2
013
BY M
EL B
AY P
UBL
ICAT
ION
S, IN
C.,
PAC
IFIC
, MO
630
69AL
L RI
GH
TS R
ESER
VED,
INTE
RNAT
ION
AL C
OPY
RIG
HT
SEC
URE
D, B
.M.I.
MAD
E AN
D PR
INTE
D IN
U.S
.A
3034
4_FU
LL_W
OR
KIN
G_F
ILE.
indd
1
6/6/
13
11:5
3 AM
Mandolin
"Mandolin Anatomy and Mechanics" is a comprehensive visual map of the mandolin. The poster includes a large diagram of the instrument and detailed views of its components. Descrip-tions of all the major parts explain their functions. This poster is a great visual for anyone interested in the mandolin.
MB30344Mandolin Anatomy and Mechanics Wall Chart
by CharlieLee-Georgescu
36
R
WALL_CHART_FLYER_A1.indd 36 11/14/13 9:32 PM
Mo
vab
le C
hord
Fo
rms
Man
dolin
Wal
l Cha
rt
MB
2028
7
ME
L B
AY
PU
BLI
CA
TIO
NS
, IN
C.
Toll
Free
1-8
00-8
-ME
L B
AY
(1-8
00-8
63-5
229)
• F
AX
(636
) 257
-506
2V
isit
us o
n th
e W
eb a
t w
ww
.mel
bay
.co
mE
-mai
l us
at e
mai
l@m
elb
ay.c
om
Aut
hor:
Joe
Car
r •
Pho
to c
ourt
esy
of G
eral
d J
ones
©20
03 B
Y M
EL
BAY
PU
BLI
CAT
ION
S,
INC
. PA
CIF
IC,
MO
630
69.
ALL
RIG
HTS
RE
SE
RV
ED
. IN
TER
NAT
ION
AL
CO
PY
RIG
HT
SE
CU
RE
D.
B.M
.I. M
AD
E A
ND
PR
INTE
D IN
U.S
.A.
2028
7 M
ando
WC
_202
87 M
ando
Cha
rt4.q
xd 4
/10/
13 3
:05
PM P
age
1
Mandolin
Mel Bay's Mandolin Wall Chart contains not only the notes of the fretboard, but also many chords. Chords ranging from minor, 6, 7, minor 7, Major 7, augmented and diminished are shown on fretboard diagrams. A colorful picture of a mando-lin shows the frets labeled to the 18th fret. 35" x 24" durable coated paper.
MB20287Mandolin Wall Chartwith Fingerboard Note & Master Chord Reference
by Joe Carr
37
R
WALL_CHART_FLYER_A1.indd 37 11/14/13 9:32 PM
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Listen to your favorite jazz musicians, both pianists and other instrumentalists.Learn jazz theory, including chords, chord progressions and scales. Learn the harmonic jazz language.Transcribe jazz solos (listen and write down what other people are playing).Practice and become proficient on your instrument. A high degree of proficiency allows you to focus on the music. Classical studies are a must.Listen to your own playing. What do you like about it and what do you need to improve?Enjoy the world of Jazz.
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Jazz Piano Terms“What they call jazz is just the music of people’s emotions.”
Willie “The Lion” Smith
2-5-1: The most common chord progression in jazz. It is part of the harmonic language found in countless standard jazz tunes. For this reason, it is important for all students of jazz to practice 2-5-1 progressions in all keys.
Examples: In the key of C Major: ii=Dm7, V=G7 and I=Cmaj7. In the key of C minor: ii=Dm7( �5), V=G7( �9, �13), i=Cmin7.
Voicing: Construction of a chord. A specific chord can be voiced different ways.
Cluster Voicings: Voicings constructed with notes in very close position.
Left Hand Voicings: Used mainly as harmonic and rhythmic support during soloing.
Fourthy Voicings: Voicings constructed mainly by intervals of fourths. They create a strong, solid and powerful sound.
Altered Notes: The upper structure notes of a chord can be altered.Examples: 9th can be raised or lowered - � 9 or � 9. 11th can be raised - � 11 13th can be lowered - � 13
Alt: A dominant chord that is altered always includes the � 9 and/or � 9, � 11 and � 13.
Ragtime: Style of music popular from 1890. "Ragging a tune" meant to apply syncopation. Ragtime was not improvised music but helped to shape early jazz bands. Its most influential composer was Scott Joplin who composed Maple Leaf Rag.
Jelly Roll Morton (1890-1941): One of the first jazz arranger/composers. Wrote and recorded several ground breaking compositions such as Grandpa’s Spells and King Porter Stomp. His piano performances are preserved on piano rolls.
Stride Piano: Related to Ragtime but used more improvisation with a smoother swing feel. James P. Johnson, Teddy Wilson and Art Tatum were masters in this technically demanding style.
Boogie Woogie: A style characterized by broken octaves or repeated patterns, played by the left hand. This form is mainly based on a blues progression.
Art Tatum (1909-1956): True piano virtuoso. His musicality and technical perfection inspired countless jazz musicians and set a new standard for jazz performers.
Bud Powell (1924-1966): Innovator and the most influential pianist during the Bebop era. He made several recordings with the great Charlie Parker as well as trio and solo recordings.
Thelonious Monk (1917-1982): Perhaps the most prolific and original jazz pianist/composer. His unique style of playing was both praised and criticized. However, he remains one of the most important performers in the history of jazz.
Bill Evans (1929-1980): Known for his delicate and tasteful way of playing the piano. Many jazz instru-mentalists have been influenced by the complexity and sensitivity of his harmonic language. Throughout his career he mainly worked within the trio format, consisting of piano, bass and drums.
There are several other pianists who have been important to the development of Jazz piano. Make sure to listen to the masters of the instrument and learn by listening.
Mel Bay's Jazz Piano Wall Chartby Per Danielsson
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w
w
C69
w
ww
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b
b
C69 Eb9
˙
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b
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˙
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b
b
D9 Db9
˙
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w
w
w
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w
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&
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˙
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C9 A7alt
˙˙
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b
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b
b
D7(#9) Db9
˙
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b
w
w
C9
ww
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Cm9 Am7(b5)
˙
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b˙
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b
b
Dm11(b5) G7
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w
w
b
&
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c
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C69 A7 b13
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˙˙
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n˙
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w
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&
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w
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C9
&
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œœœœ œb
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b
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Em7(b5) A7b13b9
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˙˙˙˙
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b
b
Dm9 G7b13b9
w
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CMaj9
&
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b
b
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Cm9 A7 b13
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w
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Cm9
&
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C69 Dm11 Em11 F
69 G7 sus Am7 Bm7(#5) C
69
w
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w
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Turnaround Voicings
Turnaround Lines
&
?
www
CMaj7
w
wwwww
Dm11
w
wwwwwb
G13(b9)
w
wwww#
Em9
w
wwwwb
A7#9
w
wwwwww
nn
Dm11
w
wwwww
b
b
G13
#11b9
w
wwwb
Gm9
w
&
?
wwwwb
C13
w
wwww
FM7(#11)
w
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Bb7(#11)
wb
www#
Em9
w
wwwww
bb
A7alt
w
wwwwww
Dm11
w
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b
#
b
G7alt
w
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CM7(#11)
w
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?c
˙˙
˙
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Dm9 G13ww
w
CMaj9˙˙˙˙
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CMaj9
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b
Dm11 G13(b9)wwwww
CMaj9˙˙˙˙
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b
Dm9 G7
b13b9
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CMaj9
?
˙˙˙˙
˙
˙˙˙
b
#
Dm9 G7altwww
w
C69
˙˙˙˙
˙˙˙
˙
#
Dm9 G13(#11)www
w
C69
?
˙˙
˙
b˙˙
˙
Gm7 C9w
ww
FMaj7˙˙
˙
b˙˙
˙
b
Gm7 C7(b9)w
ww
FMaj7
?
˙˙˙˙
b˙˙˙
˙
Gm9 C13wwww
FMaj7˙˙˙˙
b˙˙˙˙
b
Gm9 C7(b9)wwww
FMaj9
?
˙˙˙˙
b
˙
˙˙
˙
b
b
Gm9 C7altwwww
FMaj7˙˙˙˙
b˙˙˙
˙
b
b
Gm9 b9
b13C7
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FMaj7
Major ii-V-I Voicings Left Hand
?c
˙˙˙˙
b
˙
˙˙˙
b
Dm7(b5) G7
b13b9
wwww
b
b
Cm9
˙˙˙˙
b
˙
˙˙˙
b
#
Dm7(b5) G7altwwww
b
b
Cm9
?
˙˙˙˙˙
b
˙
˙˙˙
b
#
Dm7(b5) G7alt
wwww
b
b
Cm9˙˙˙˙b
˙
˙˙˙
b
Dm9(b5) G7
b13b9
wwww
b
b
Cm9
?
˙˙
˙
bb
˙˙
˙
Gm7(b5) C7
b13b9
wwww
b
b
Fm7˙˙
˙
bb
˙˙˙
˙
b
Gm7(b5) C7
b13b9
wwww
b
b
Fm7
?
˙˙
˙
bb
˙
˙˙
˙
b
b
Gm7(b5) C7altwwww
b
b
Fm9˙˙˙˙
b˙
˙˙
˙
b
bb
Gm7(b5) C7altwwwww
b
bb
Fm11
Minor ii-V-i Voicings Left Hand
Major ii-V-I Lines Major ii-V-I Lines Long Major ii-V-I Voicings
Minor ii-V-i Lines Minor ii-V-i Lines Long Minor ii-V-i Voicings
JAZZ PIANOWALL CHART
MB20164 $5.95 U.S.
ISBN 0-7866-6713-3 MEL BAY PUBLICATIONS, INC.#4 Industrial Drive • Pacific, MO 63069 • FAX (636) 257-5062
Toll Free 1-800-8-MEL BAY (1-800-863-5229) • PHONE (636) 257-3970Visit us on the Web at www.melbay.com
E-mail us at [email protected]©2005 BY MEL BAY PUBLICATIONS, INC. PACIFIC, MO 63069.
ALL RIGHTS RESERVED. INTERNATIONAL COPYRIGHT SECURED. B.M.I. MADE AND PRINTED IN U.S.A.
Co
mp
ing
& M
on
tun
oP
atte
rns
En
din
gs
Tritone Substitutions
Boogie-Woogie
Stride Piano
Comping Pattern 1
Blues Progression in C
“A” Train Ending
“Basie” Ending
Walking Bass Line
Comping Pattern 2
Flat 5 Ending
“Ray Charles” Ending
Walking Bass Line in 10ths
Montuno Pattern 1 Montuno Pattern 2
Vamp EndingStandard Bossa Nova Ending
Vamp Ending
Fourthy Voicings
Cluster Voicings
Blu
es“M
INO
R”
Sec
tio
n“M
AJO
R”
Sec
tio
n
&
?
c
c
œœ
œ
^
‰
j
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>
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˙
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#
C13 B13(b9)
˙
˙
b ˙
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20164-Wall Chart.indd 1 8/3/05 12:38:27 PM
Piano / Keyboard
Beautifully displayed here on Mel Bay's Jazz Piano Wall Chart are the essentials of jazz piano material. Melodic, harmonic and rhythmic ele-ments are presented and categorized to clarify and define certain jazz piano key concepts. Several pianists who have been an important part of the jazz piano evolution are also mentioned, along with a number of common jazz terms. The infor-mation on the chart is beneficial to jazz pianists of all levels.
MB20164Jazz PianoWall Chart
by Per Danielsson
38
R
WALL_CHART_FLYER_A1.indd 38 11/14/13 9:33 PM
20212 Keyboard Ess Wall Chart 1/12/09 11:34 AM Page 1 C M Y CM MY CY CMY K
ISBN 0-7866-6803-2
K E Y B O A R D E S S E N T I A L S
C7C minorC major
C7C minorC major
A scale is a series of single notes that are used in music. These are used with additional notes as thebasis to write music. The major scale is the basis of Western harmony, and it is used as the standardfrom which all the other scales are developed. There are numerous other scales, which are distinguished
by their interval structures. The most important one is the natural minor scale. It differs from the major scale in its interval structure,the arrangement of the intervals between the notes. The harmonic and melodic minor scales are also important. The melodic minorscale raises its 6th and 7th degree while going up the scale, while it follows the regular natural scale intervals going down the scale.
A chord can appear in various forms, each having the same notes in a differentorder. Each triad (three-note chord) has three possible variations: In thefirst variation the root note is the lowest note. This is called a root position
chord. Transpose the root note of the chord up an octave to make the first inversion of the chord. In this inversion the rootnote is the highest note, with an interval of a third at the bottom. The first inversion of a triad is referred to as a "6"chord. Thesecond inversion of a triad is called a "6-4" chord. Inversions can also be built from four-note chords. There are three inversionsin addition to the root position. Unique names are given in traditional music theory only to the inversions of dominant seventhchords. These inversions are labeled according to the intervals represented in the chord: Root position = 7 chord;First inversion = 6-5 chord; Second inversion = 4-3 chord; Third inversion = 4-2 chord.
A note can be lowered or raised with symbols called "accidentals". A sharp in front of a note raises thenote a half step. For instance, a sharp in front of a C raises it a half step, and the note is called a C sharp.A flat in front of a note lowers it a half step. Thus the B note with a flat becomes Bf. Different octavesare shown with small vertical lines placed after the note: for example, c' (read "c prime"), c" (read "c doubleprime"). The octave below c' is indicated by small letters, and the octave below that by capital letters.
The location of the notes on the keyboard
Scales
Inversions
Melodic minor scale
Harmonic minor scale
Fingering
Natural minor scale
Fingering
Fingering Fingering
ascending descending
&b
&
&
C7C minorC major
wholestep
wholestep
halfstep
wholestep
wholestep
wholestep
halfstep
&
&
&
&
&
&
&
C7 &
Many modern keyboardscome with an automatic
rhythm accompaniment feature which offers dozens (or even a hundred) different rhythmic styles. In contrast to theplaying of the piano, the left hand in keyboard playing is used primarily for the operation of the automatic accompaniment.There are two different operating modes for automatic accompaniments. In Fingered-Chord Mode, the left handmust play the complete chord, meaning not less that three notes at the same time. In Single-Finger Mode, the lefthand plays one, two, or three keys. The major keyboard manufacturers have not yet agreed on a uniform system,so there are two different systems shown below. The first system applies to Yamaha, JVC, and Technics keyboards,for instance. The other applies to Hohner, Casio, and Antonelli.
Automatic Rhythm Accompaniment
Major scale
C major
D major
E major
F major
G major
A major
B major
C MAJOR
1st inversion
Root position
2nd inversion
&
Fingered ChordIn this mode all of the notes of the chord willbe fingered.
Root position
1st inversion2nd inversion
3rd inversion
W A L L C H A R T
System 1 Yamaha, JVC, TechnicsMajor chord: Play the root note of the chord.Minor chord: Play the root note and the next
lower black key.Seventh chord: Play the root note and the next
lower white key.
System 2 Hohner, Casio, AntonelliMajor chord: Play the root note of the chord.Minor chord: Play the root note and the next
lower white key.Seventh chord: Play the root note and the two
white keys below it.
11/2steps
Cs Ds Fs Gs As cs ds fs gs as c s d s f s g s a s c s d s f s g s a s
Df Ef Gf Af Bf df ef gf af bf d f e f g f a f b f d f e f g f a f b f
© 2
002
Vog
gen
reit
er P
ub
lish
ers,
Vik
tori
astr
. 25,
D-5
3173
Bo
nn
, Ger
man
y.A
lI R
igh
ts R
eser
ved
. Exc
lusi
ve S
ales
Ag
ent,
Mel
Bay
Pu
blic
atio
ns,
Inc.
, Pac
ific
, MO
630
69
B b b b
Fingering
&
Fingering
Fingering
Fingering
Fingering
Fingering
Fingering
Fingering
Mel Bay Publications, Inc. • #4 Industrial Drive • Pacific, MO 63069Toll Free 1-800-8-MEL-BAY (1-800-863-5229) • FAX (636) 257-5062
Visit us on the web at www.melbay.comE-mail us at [email protected]
MB20212
RR
EA
N
UP
C
KEYBOARDESSENTIALS
WALL CHART
4
4
Piano / Keyboard
This wall chart gives a complete, easy-to-understand overview of the essential information that every keyboard player should know. It shows the notes and their location on the keyboard, inversions, the main scales, and chord/finger positions to use with automat-ic accompaniment features of electronic keyboards.
MB20212KeyboardEssentialsWall Chart
39
R
WALL_CHART_FLYER_A1.indd 39 11/14/13 9:33 PM
Piano / Keyboard
Printed on enamel stock and coated to last; 35"" by 24"" format. A very usable resource that provides the keyboard player with a visual presen-tation of the notes in seven keyboard octaves! A very at-tractive and durable poster.
MB94402Keyboard MasterNote Finder Wall Chart
by William Bay
40
R
WALL_CHART_FLYER_A1.indd 40 11/14/13 9:33 PM
Mel
Bay
's Vi
ola
Wal
l Cha
rt
Tip
Stic
kBo
w Gr
ip
Mid
dle
or “C
” Bou
tUp
per
Bout
Lowe
r Bo
ut
Belly
Adju
stin
g Sc
rew
Frog
Hair
≥: D
own
Bow
≤: U
p B
ow
: Det
aché
- O
ne n
ote
play
ed w
ith o
ne b
ow st
roke
.
œ -
Lega
to -
Two
or m
ore n
otes
smoo
thly
conn
ecte
d.
œ -œ -œ -œ -: L
ouré
(or P
orta
to) -
Slig
htly
sepa
rate
d sl
urre
d no
tes.
œ .: S
tacc
ato
- Sho
rt se
para
ted
bow
stro
ke, s
horte
ns w
ritte
n no
te v
alue
.
œ .: S
picc
ato
- Sho
rt bo
unci
ng b
ow st
roke
in w
hich
the
hair
leav
es th
e st
ring.
œ .œ .œ .œ .: Sau
tillé
- R
apid
bou
ncin
g st
roke
whe
re th
e ha
ir re
mai
ns c
lose
to th
e st
ring.
œ̂: M
arte
lé -
Shar
ply
acce
nted
“ha
mm
ered
” bo
win
g.
Ͼ : T
rem
olo
- Man
y ra
pid
bow
stro
kes.
Sul p
ontic
ello
- B
owin
g cl
ose
to th
e br
idge
for a
nas
al, b
rittle
effe
ct.
Su
l tas
to -
Bow
ing
slig
htly
ove
r the
fing
erbo
ard
for a
soft,
flut
elik
e ef
fect
.
Col
legn
o - S
triki
ng th
e st
rings
with
the
stic
k of
the
bow.
#
Bbb b
E M
ajor
bB
bb bb bbG
Maj
orb
C
B#
G M
ajor
B# ## # #
F M
ajor
#
Bb
F M
ajor
B# ## #
E M
ajor
Bbb bb b
D M
ajor
b
B# #
D M
ajor
BC
Maj
or
Bbb
B M
ajor
b
B# ## # #
B M
ajor
Bbb bb
A M
ajor
b
B# ##
A M
ajor
Maj
or S
cale
s in
Fir
st P
ositi
on
Artic
ulat
ion
and
Bow
ing
Term
s
Mov
able
Sca
le P
atte
rns
Mov
able
Pat
tern
1(Df a
nd D
maj
or in
firs
t pos
ition
, Ef
& E
in 2
nd, F
in 3
rd e
tc.)
Mov
able
Pat
tern
2(Ef a
nd E
maj
or in
firs
t pos
ition
,F
& Fs
in 2
nd, G
& Gs
in 3
rd e
tc.)
Mov
able
Pat
tern
3(F
maj
or in
firs
t pos
ition
, Gf
& G
in 2
nd, Af &
A in
3rd
)
Mov
able
Pat
tern
4(Gf a
nd G
maj
or in
firs
t pos
ition
, Af &
A in
2nd
, Bf &
B in
3rd
etc
.)
Mov
able
Pat
tern
5(Af a
nd A
maj
or in
firs
t pos
ition
, Bf &
B in
2nd
, C in
3rd
etc
.)
Mov
able
Pat
tern
6(Bf a
nd B
maj
or in
firs
t pos
ition
, C
& Cs
in 2
nd, D
in 3
rd e
tc.)
Mov
able
Pat
tern
7(Cf a
nd C
maj
or in
firs
t pos
ition
, Df &
D in
2nd
, Ef &
E in
3rd
etc
.)
open
strin
g no
t in
key
finge
r on
root
/key
addi
tiona
l not
e in
sc
ale
can
be re
ache
d by
stre
tchi
ng
: Sca
le n
ote
: Roo
t of s
cale
(in
the
key
of A
, the
root
or t
onic
not
e is
A).
: Ope
n st
ring
is N
OT
in sc
ale.
Don
't pl
ay .
: Alte
rnat
e fin
gerin
g. F
inge
r is n
ot p
art o
f the
regu
lar f
inge
ring,
but
is st
ill p
art o
f the
scal
e.
C st
ring
G st
ring
D st
ringA
strin
g
open
strin
g is
root
or t
onic
imag
inar
y
fret
s
Sym
bols
Wal
l Cha
rt D
esig
ned
By
Mar
tin N
orga
ard
CA D GFi
nger
boar
d
Brid
ge
Tail
Piec
e
F Ho
le
Scro
ll
Peg
Box
Tuni
ng P
egs
Cs/Df
Gs/A
f
Ds/Ef
Fs/Gf
GD
As/Bf
Cs/Df
Ds/Ef
Fs/Gf
Gs/Af
BF
As/Bf
Cs/Df
Ds/Ef
Fs/Gf
Gs/Af
BE
Cs/Df
Ds/Ef
Fs/Gf
Gs/Af
AB
E
Chin
Res
t
4th
Pos
itio
n
3rd
Pos
itio
n
2nd
Pos
itio
n
1st
Pos
itio
n
R R
©20
12 B
Y M
EL B
AY P
UB
LIC
ATIO
NS,
INC
., PA
CIF
IC, M
O 6
3069
.A
LL R
IGH
TS R
ESER
VED
. IN
TERN
ATIO
NA
L C
OPY
RIG
HT
SEC
URE
D. B
.M.I.
MA
DE
AN
D P
RIN
TED
IN U
.S.A
.
Ferr
ule
Nut
Fine
Tun
er
= to
nic
E
C FAs
/Bf
FD G C
E A D
A D G
G F
œœ: H
ooke
d Bo
w -
Two
or m
ore n
otes
bow
ed in
the s
ame d
irect
ion
but w
ith se
para
tion.
..
Win
ding
Gs/Af
AA s
/Bf
BC
Leat
her
CD E F
A B C
E F G
B D
CG
DA
GD
AE
G
D E
A B
E Fs
CB DCG
CD
A
GFsD
AE
E
A B
E Fs
B
FsA
E
DG
A D
D
Cs
Cs D
G
G
AD
ED
BAE
B DCs
Cs
Fs
Fs Gs
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MB21977Viola Wall
Chart
2197
7.in
dd
14/
23/1
2 1
1:48
AM
Strings
The Viola Wall Chart presents innova-tive finger-pattern drawings for all twelve major scales in first position and movable patterns for high-er positions. It also includes note names superimposed on an actual viola picture and a list of bowing terms.
MB21977Viola Wall Chart
by Martin Norgaard
41
R
WALL_CHART_FLYER_A1.indd 41 11/14/13 9:33 PM
Mel
Bay
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MB21976Cello Wall
Chart
2197
6.in
dd
14/
19/1
2 1
:57
PM
Strings
The Cello Wall Chart presents note names superimposed on an actual cello picture allowing beginning cellists to devel-op a unique visual understanding of the geography of the fingerboard. The chart also includes inno-vative finger pattern drawings for all twelve major scales in first position and a list of bowing terms.
MB21976Cello Wall Chart
by Martin Norgaard
42
R
WALL_CHART_FLYER_A1.indd 42 11/14/13 9:34 PM
EAN
ISB
N 0
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6-68
00-8
MB
2027
6
VIOLINWALL CHART
2027
6 W
all C
hart.
indd
1
2/11
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8:0
1:44
AM
Strings
The Violin Wall Chart presents innova-tive finger-pattern drawings for all twelve major scales in first position and movable patterns for high-er positions. It also includes note finder chart and list of bow-ing terms. Printed on durable coated paper.
MB20276Violin Wall Chart
by Martin Norgaard
43
R
WALL_CHART_FLYER_A1.indd 43 11/14/13 9:34 PM
20215 Wall Chart 5/24/11 9:04 AM Page 1 C M Y CM MY CY CMY K
THEORY & HARMONY WALL CHART
$8.99
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Scales A scale is a series of single notes that are used in music. These notes are ordered by pitch and havedifferent significance within the scale. The series of musical notes from c' to c'' creates the Major scale. These scales startand end on the note with the key's name - in this case, C Major scale.Each scale is characterized by a specific succession of half and whole steps, the "blueprint" of the scale. For the majorscale, the pattern is: whole step, whole step, half step, whole step, whole step, whole step, half step. With the help ofthis pattern, a major scale can be built from any tonic (starting) note.In addition to the major scale there are numerous other scales. The most important of these is the natural minorscale. It is built using the following pattern: whole tone, half tone, whole tone, whole tone, half tone, whole tone,whole tone. Two important variants of the natural minor scale are the harmonic minor scale and the melodic minorscale. To build the harmonic minor scale, the 7th degree of the natural minor scale is raised a half step (resulting inan interval of an augmented second between scale degrees 6 and 7); the melodic minor scale is the natural minor scalewith scale degrees 6 and 7 raised a half step ascending and lowered (back to natural minor) descending.Other important scales are the so-named modal scales, modes, or also known as church modes. The bestknown modes are the major scales, but in principle modes can be built up from any scale. Modal scales are built bystarting the major scale on each of its notes (in the C Major scale, from c' to c'', from d' to d'', from e' to e'', etc.). Eachof these modes has its own "structure" (a certain order of intervals and with it their own tonal characteristics) thatcorresponds with a major scale started from one of its notes. Modal scales play an important role in Jazz improvisation.The modes of the major scale with their respective names are shown in music notation.
Diatonic Chords All chords that areformed from the notes of a scale are referred to as belonging to the scale,or as diatonic chords. The most important of these chords are the triadsand four-note chords. They are constructed by stacking diatonic thirds ontop of each note of the scale. They are named after the scale degree onwhich they are built, using Roman numerals. In traditional harmonytheory we find that each chord has a specific function, and that chords aretherefore also named by their function in the key. The most importantfunctions are:
The Tonic, the triad built on the 1st scale degree (symbol: T);the Subdominant, the triad built on the 4th scale degree (symbol: S);and the Dominant, the triad built on the 5th scale degree (symbol: D).
These three major chords together are considered to have the primaryfunction, the other four chords as having a secondary function.
Key Signature A scale givesinformation about the arrangement of notes and theirrelationships to each other. The key determines the key signature,the tonic note and the harmonic structure of a piece of music. The keyof a piece can be recognized by its key signature, which is placed at thebeginning of the first staff, right after the clef. The key signature shows whichnatural notes have to be altered throughout a piece. In addition, more accidentalscan be placed in a piece of music that apply to one note or to all notes at a given pitchin a measure.
Inversions A chord can appear in various forms, each having the same notes in a different order.Each triad (three-note-chord) has three possible variations:In the root position of a chord the root note is the lowest note. The next highest note is the third of the chord, andthe highest note is the fifth of the chord.The first inversion of a chord is built by transposing the root note up an octave. In this inversion the third ofthe chord is the lowest note. It is followed by the fifth and the root. The first inversion of the triad is referred to as a"6" chord.The second inversion is built by transposing the lowest note of the first inversion chord up an octave. In this chordthe fifth is the lowest note, followed by the root and the third. The second inversion of a triad is called a "6-4" chord.Inversions can also be built from four-note chords. There are three inversions in addition to the root position. [Uniquenames are given in traditional music theory only to the inversions of dominant seventh chords. These inversions arelabeled according to the intervals represented in the chord: Root position = 7 chord; First inversion = 6-5 chord;Second inversion = 4-3 chord; Third inversion = 4-2 chord. ]
Chords A chord is formed by stacking up more thirds that are played simultaneously. Depending onthe number of thirds used, the chord is a triad (2 thirds, 3 notes), a four- note-chord (3 thirds, 4 notes), etc.The manner and the order of the thirds that are used determine the name of the chords. The simplest chord, the triad,has four important different combinations of major and minor thirds: major third + minor third = major triad;minor third + major third = minor triad; minor third + minor third = diminished triad; andmajor third + major third = augmented triad.By stacking up more thirds we can build larger chords of four, five or six notes. These chords to some extent also havetheir own name and are shown with the usual international chord symbols. The most important multi-note chordsderived from the major chord family are the Seventh chords and their extended forms, with the so-named DominantSeventh chord (major third + minor third + minor third) as their most common representative. This wall chart showsthe most important of the various chord types, using the root note of C and showing their chord symbol.
Chord Symbols Chord symbols are the shorthand used to indicate a chord. Chords areshown with a combination of letters, abbreviations, and numerals. These are the most important rules:1. The tonic triad is indicated by the letter of its root note, with a suffix indicating the chord quality (no suffix for major, 'm' or 'min' for minor). All other notes and alterations are indicated with the interval number of the major scale.2. Alterations of chord tones are denoted by f and s.3. The seventh (7) always appears in the first place. The "7" symbol always stands for the minor seventh. If we want to add a major seventh to the chord, then we have to indicate it specifically (for instance, with the suffix "maj7").4. If the chord contains more than a seventh (7), then the sixth (6) is shown as a 13.5. The add-extensions will be added to the tonic triad, while the sus-extensions replace the third of the tonic triad.
Circle of Fifths The Circle of Fifths shows therelationship of different keys in graphic form, and is an indispensableaid for the analysis of music and composition. When we move from anynote, clockwise and counterclockwise, in a series of perfect fifths, theycome together and form a circuit (circle) after the sixth perfectfifth, and the G-flat can be enharmonically interchanged withF-sharp. The farther two harmonies in the Circle of Fifthsare separated from each other, the less of a relationshipthey form.Of primary significance is the proportional relationshipbetween keys in the Circle of Fifths that are locatednext to each other, such as the C major, F major,and G major. Additional degrees of relationshipare the relative minor (shown on the innermostcircle) and the mediant relationship. Themediant in the major key (up a major third)is shown on the outermost circle. The relativeminor is built from the sixth degree of themajor scale. These are similarly placed insequence (parallel to the Circle of Fifths)to form a circuit that connects into a circleand closes with an enharmonic interchange.The counterpart of the Circle of Fifths,shown on the right, is the minor Circleof Fifths. (This is identical to the relativeminor circle and therefore will not beshown for a second time).
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Visit us on the web at www.melbay.comE-mail us at [email protected] MB20215
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This wall chart presents a graphical overview of the most important elements of musical harmony: the circle of fifths, the essential scales and modes, chords and their inversions, key signatures, and the diatonic chords in C Major, as well as an easy to understand diagram of chord symbols. Whether at home or in the studio, this wall chart is an indispensable tool for all musicians.
MB20215Theory & HarmonyWall Chart
44
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Theory
This wall chart gives a complete, easy-to-understand graphical overview of the most important elements of music: note names, intervals, note and rest values and counting, clefs, and other elements of notation as well as the notes on the staff and their location on the keyboard.
MB20214Elementary MusicTheory Wall Chart
45
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WALL_CHART_FLYER_A1.indd 45 11/14/13 9:35 PM
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11
11
1
2
3
3
3
11
11
3
11
1
3
11
1
3
11
1
3
41
2
4
12
3
12
3
12
3
12
34
2
Maj
or K
eyRe
lativ
e M
inor
Maj
or K
eyRe
lativ
e M
inor
CHOR
D CH
ART
TUNI
NG
STRI
NG N
OTES
Tuni
ng: G
-C-E
-A
Pegh
ead
Nec
k (T
he fr
ont o
f the
nec
k is
the
finge
rboa
rd.)
Body
Tuni
ng K
ey
Nut
Fret
s
Posi
tion
Mar
kers
Soun
d H
ole
Brid
ge
UKUL
ELE W
ALL C
HART
UKUL
ELE W
ALL C
HART
MB30035UKULELE WALL CHART
R
2
012
BY M
EL B
AY P
UBL
ICAT
ION
S, IN
C.,
PAC
IFIC
, MO
630
69AL
L RI
GH
TS R
ESER
VED,
INTE
RNAT
ION
AL C
OPY
RIG
HT
SEC
URE
D, B
.M.I.
MAD
E AN
D PR
INTE
D IN
U.S
.A.
C
3003
5_W
orki
ng_R
ebui
lt_Fi
le.in
dd
19/
4/12
11
:17:
47 A
M
Ukulele
Mel Bay's Ukulele Wall Chart is an at-tractive and infor-mative addition to any practice room. Included are a break-down of the parts of the instrument, tuning instructions, a note finder for each string, and a chord chart for ever major and minor key. The Ukulele Wall Chart is an excellent reference tool for ukulele players of all levels. dimensions: 35" x 24". Printed on durable coated paper.
MB30035Ukulele Wall Chart
by Collin Bay
46
R
WALL_CHART_FLYER_A1.indd 46 11/14/13 9:35 PM
ANAT
OM
Yuk
ulel
eAN
D M
ECH
ANIC
S
R
MB30340UKULELE ANATOMY
AND MECHANICS
© 2
013
BY M
EL B
AY P
UBL
ICAT
ION
S, IN
C.,
PAC
IFIC
, MO
630
69AL
L RI
GH
TS R
ESER
VED,
INTE
RNAT
ION
AL C
OPY
RIG
HT
SEC
URE
D, B
.M.I.
MAD
E AN
D PR
INTE
D IN
U.S
.A
Upp
er B
out
Fret
boar
d (“F
inge
rboa
rd”)
Nut
Low
er B
out
Wai
stSo
undb
oard
Brac
ing
Strin
g
Brid
ge
Sadd
le
Soun
d H
ole
Rose
tte
Side
Back
Pla
te
Nec
k
Fret
Tune
r
Hea
dsto
ck
Posi
tion
Mar
ker
Com
pens
ated
Sad
dle
Stra
ight
Sad
dle
Slot
ted
Brid
geTi
e-Ba
r Brid
gePi
n Br
idge
Pine
appl
e Sh
ape
Cig
ar B
ox S
hape
Stan
dard
Slot
-Hea
d
Sopr
ano
Con
cert
Teno
rBa
riton
e
Fric
tion
Tune
r
Slot
-Hea
d Tu
ners
Plan
etar
y Tu
ner
Tuni
ng M
achi
neM
icro
Slo
t-Hea
d Tu
ner
Tape
red
Woo
dTu
ning
Peg
&w
ww
w
Re-e
ntra
nt G
-C-E
-A tu
ning
(C-tu
ning
)
#
&w
ww
w
Re-e
ntra
nt A
-D-F
#-B
tuni
ng (D
-tuni
ng)
w
#
&
ww
w
Line
ar A
-D-F
#-B
tuni
ng
&
ww
w
w
Line
ar G
-C-E
-A tu
ning
&Re-e
ntra
nt D
-G-B
-E tu
ning
ww
&
w
w
ww
ww
Line
ar D
-G-B
-E tu
ning
The
sadd
le s
uppo
rts th
e st
rings
and
tran
sfer
s th
eir v
ibra
tions
to th
e br
idge
and
bod
y. Th
ey a
re u
su-
ally
mad
e of
bon
e or
pla
stic
. To
corre
ct in
tona
tion,
a s
addl
e ca
n be
file
d (c
ompe
nsat
ed) t
o ad
just
the
effe
ctiv
e le
ngth
of e
ach
strin
g. T
he b
ridge
hol
ds th
e sa
ddle
and
is fi
xed
to th
e so
undb
oard
. A s
lott
ed
brid
ge c
onta
ins
slot
s fo
r eac
h st
ring.
A k
not a
t the
end
of t
he s
tring
sec
ures
it in
the
slot
. A ti
e-ba
r br
idge
has
hol
es w
hich
stri
ngs
are
fed
thro
ugh
and
then
tied
. Pin
brid
ges
use
pins
to s
ecur
e st
rings
in
to th
e br
idge
. Bea
ds a
re ti
ed to
the
strin
g en
ds to
lock
them
in p
lace
.
The
body
tran
smits
vib
ratio
ns fr
om th
e st
rings
to th
e su
rroun
d-in
g ai
r, pr
oduc
ing
soun
d w
aves
. The
sou
ndbo
ard
reso
nate
s an
d am
plifi
es th
ese
vibr
atio
ns. H
igh-
qual
ity s
ound
boar
ds a
re
usua
lly m
ade
from
har
dwoo
ds w
ith c
erta
in to
nal c
hara
cter
istic
s.
Low
er-q
ualit
y so
undb
oard
s ar
e of
ten
cont
ruct
ed fr
om la
mi-
nate
d pl
ywoo
d. W
hile
the
soun
d ho
le h
elps
with
pro
ject
ion,
th
e so
undb
oard
pro
duce
s m
ost o
f the
sou
nd. T
he m
ost c
om-
mon
bod
y sh
ape
has
uppe
r and
low
er b
outs
sep
arat
ed b
y a
wai
st. A
noth
er p
opul
ar d
esig
n is
the
pine
appl
e uk
ulel
e, w
hich
is
sha
ped
like
a pi
neap
ple.
Som
e uk
ulel
es a
re c
onst
ruct
ed fr
om
actu
al c
igar
box
es, o
r sha
ped
to lo
ok li
ke th
em.
The
head
stoc
k ho
uses
the
tune
rs. T
he tu
ners
are
usu
ally
ar-
rang
ed tw
o pe
r sid
e. T
he h
eads
tock
is a
ngle
d ba
ckw
ard
so
the
strin
gs a
pply
pre
ssur
e to
the
nut.
On
slot
ted
head
stoc
ks,
strin
gs a
re fe
d in
to s
lots
whe
re th
e tu
ner r
olle
rs a
re lo
cate
d.
The
bran
d na
me
can
usua
lly b
e fo
und
on th
e he
adst
ock.
Ther
e ar
e m
any
type
s of
uku
lele
tune
rs. T
aper
ed w
ood
tuni
ng p
egs
are
the
sim
ples
t kin
d an
d fit
into
the
head
stoc
k ju
st w
ith fr
ictio
n. A
fric
tion
tune
r is
sim
ilar t
o a
tape
red
woo
d tu
ning
peg
but
has
a s
crew
that
can
be
tigh
tene
d to
mai
ntai
n fri
ctio
n be
twee
n tw
o m
etal
col
lars
. A tu
ning
mac
hine
use
s a
pini
on a
nd w
orm
gea
r fo
r inc
reas
ed p
reci
sion
and
sta
ble
tuni
ng. T
he g
ear m
echa
nism
s ca
n be
exp
osed
or e
nclo
sed
in a
met
al h
ous-
ing.
Slo
t-hea
d uk
ulel
es u
se s
lot-
head
tuni
ng m
achi
nes
mou
nted
on
the
side
with
rolle
rs th
at e
xten
d in
to th
e ce
nter
of t
he h
eads
tock
. Mic
ro s
lot-
head
tune
rs a
re s
omet
imes
use
d to
dec
reas
e w
eigh
t on
the
head
stoc
k.
Plan
etar
y tu
ners
look
like
fric
tion
pegs
, but
hou
se a
set
of c
once
aled
gea
rs.
The
neck
and
fret
boar
d ar
e ty
pica
lly m
ade
from
har
dwoo
ds. T
hey
are
ofte
n pa
ralle
l to
the
soun
dboa
rd, o
r ang
led
on u
kule
les
with
hig
h br
idge
s. F
rets
are
sea
ted
in th
e fre
tboa
rd in
inte
rval
s th
at p
rovi
de
equa
l tem
pera
men
t. In
laid
pos
ition
mar
kers
are
usu
ally
loca
ted
at
the
5th,
7th
, and
10t
h fre
ts. L
onge
r fre
tboa
rds
will
ofte
n ha
ve a
ddi-
tiona
l pos
ition
mar
kers
at t
he 1
2th
and
15th
fret
s. T
russ
rods
are
not
ty
pica
lly fo
und
on s
mal
l uku
lele
s.
The
nut i
s lo
cate
d at
the
top
of fr
etbo
ard
and
dete
rmin
es
strin
g sp
acin
g an
d he
ight
. It i
s us
ually
mad
e of
bon
e or
pla
stic
. G
roov
es a
re m
ade
so th
e st
rings
are
the
prop
er h
eigh
t at t
he
zero
fret
. Re-
entra
nt u
kule
les
requ
ire a
nut
with
a s
mal
ler g
roov
e fo
r the
hig
h-pi
tche
d st
ring
on th
e bo
ttom
. To
fit a
low
-pitc
hed
strin
g (u
sed
in li
near
tuni
ng),
an a
djus
tmen
t to
the
nut i
s of
ten
requ
ired
so th
e st
ring
sits
pro
perly
.
Uku
lele
s ty
pica
lly c
ome
in fo
ur s
izes:
sop
rano
, con
cert,
teno
r, an
d ba
riton
e. A
fifth
size
—ba
ss—
is a
lso
seen
less
freq
uent
ly. T
he s
opra
no u
kule
le is
the
smal
lest
, with
a le
ngth
ar
ound
21”
(53.
34cm
). C
once
rt u
kule
les
are
roug
hly
23” (
58.4
2cm
) lon
g. T
hey
have
a fu
ller s
ound
than
sop
rano
s an
d a
wid
er ra
nge.
Ten
or u
kule
les
are
abou
t 26”
(66.
04cm
) lo
ng. T
he b
arito
ne u
kule
le is
the
larg
est a
t rou
ghly
30”
(76.
2cm
) and
has
the
deep
est t
one.
The
num
ber o
f fre
ts v
arie
s be
twee
n in
stru
men
ts, b
ut s
opra
nos
typi
cally
hav
e th
e sm
alle
st ra
nge
and
barit
ones
hav
e th
e la
rges
t. Th
e ba
ss u
kule
le is
con
stru
cted
at a
sho
rt sc
ale
sim
ilar t
o a
sopr
ano.
The
sop
rano
is u
sual
ly tu
ned
to G
-C-E
-A (C
-tuni
ng) o
r A-
D-F#
-B (D
-tuni
ng) f
rom
bot
tom
to to
p, w
ith th
e bo
ttom
stri
ng tu
ned
an o
ctav
e ab
ove
mid
dle
C. T
his
is k
now
n as
re-e
ntra
nt tu
ning
. Sop
rano
s ca
n al
so b
e tu
ned
linea
rly,
with
a lo
w b
otto
m s
tring
. Con
cert
ukul
eles
are
usu
ally
tune
d to
re-e
ntra
nt o
r lin
ear C
-tuni
ng. T
enor
uku
lele
s ar
e al
so tu
ned
to re
-ent
rant
/line
ar C
-tuni
ng, o
r re-
entra
nt/li
near
D-G
-B-
E tu
ning
. The
bar
itone
uku
lele
is tu
ned
to li
near
D-G
-B-E
tuni
ng. T
his
arra
ngem
ent c
orre
spon
ds to
the
tuni
ng o
f the
hig
hest
four
stri
ngs
on a
sta
ndar
d gu
itar.
The
bass
uku
lele
is
tune
d to
the
sam
e pi
tche
s as
a s
tand
ard
bass
: E-A
-D-G
.
Strin
gs c
orre
spon
d to
inst
rum
ent s
ize a
nd v
ary
in le
ngth
and
thic
knes
s. M
ost u
kule
les
have
four
stri
ngs
mad
e fro
m n
ylon
or g
ut a
nd u
se re
-ent
rant
tuni
ng. T
here
are
als
o si
x- a
nd e
ight
-stri
ng v
arie
ties.
A s
ix-
strin
g (“L
ili’u”
) uku
lele
has
two
sing
le s
tring
s an
d tw
o pa
ired
strin
gs (s
trin
g co
urse
s). A
six
-stri
ng s
opra
no
ukul
ele
ofte
n ha
s ex
tra C
and
A s
tring
s, w
ith th
e C
cou
rse
as a
n oc
tave
pai
r and
the
A co
urse
in u
niso
n.
An e
ight
-stri
ng (t
arop
atch
) uku
lele
pro
duce
s a
chor
us e
ffect
by
pairi
ng h
ighe
r stri
ngs
in u
niso
n an
d lo
wer
st
rings
in o
ctav
es.
Size
s and
Tuni
ngs
SADD
LE A
ND B
RIDG
E
body
head
stoc
k
Tune
rs
Neck
and
Fret
boar
d
nut
STRI
NGS
3034
0_FU
LL_W
OR
KIN
G_F
ILE.
indd
1
4/11
/13
11:
02 A
M
Ukulele
Ukulele Anatomy and Mechanics is a comprehensive visual map of the ukulele. The poster includes a large diagram of the instrument and detailed views of its parts. Each part of the instrument is described, along with the various ukulele sizes and tunings. This poster is a great visual for anyone interested in the ukulele.
MB30340Ukulele Anatomyand Mechanics Wall Chart
by CharlieLee-Georgescu
47
R
WALL_CHART_FLYER_A1.indd 47 11/14/13 9:35 PM
a) the stream of air orb) using the tongue (tuet).
F
O.K. = Octave KeyLSK = Left Side KeyRSK = Right Side Key
Fingered =Not Fingered =
O.K.
LSK 2
LSK 1
RSK1
RSK2
LSK 3
GB
CB
#
#
RSK 3
RSK 2
RSK 1
RSK 4
E
C
LEFT HAND
RIGHT HAND
&
w#
/A#
wb
B
B
Bb
Bb
w w
C
C
w#
/C#
C
CCC
#
b(C , B or B )#
wb
D
w
D
w#
D#
wb
Eb
E b
/
w
E
w
F
1.
P
1. 2.
w#
F#
F#
wb
/Gb
w
G
w#
/G#
G#
wb
Ab
w
A
w#
A#
wb
/Bb
w
B
w
C
w#
C #
wb
/D b
F
P
b
2. 3. 4. 1. 2.
RSK3
RSK4
RSK4
FLSK1+2
RSK3
FLSK1+2
LSK1+2
LSK1
RSK1
RSK2
RSK3
FLSK1+2
D
w
D# E b
E b
w#
/
wb
E
w
F
P
w
F#
F #
/G b
w# wb
G
w
/G# A b
w# wb
A
w
A #/Bb
w# wb
B C
w
C #/D b
w# wb
D /D # E b E F /F#
w w# wb w w w# wb
G b
O.K. O.K. O.K. O.K. O.K.
1. 2.
O.K.
b(C , B or B )#
G#
O.K. O.K. O.K.
w
2.1. 3. 4. 2.1.
O.K. O.K. O.K. O.K. O.K.
1. 2.
O.K.
2.1.
O.K.
2.1.
O.K.
#
LSK3
LSK3
Thumb
Index Finger
Middle Finger
Ring Finger
Little Finger
Index Finger
Middle Finger
Ring Finger
Little Finger
1. 2. 3.
4. 5. 6.
The rst exercise should be practiced by two players. The musician playing the upper voice only changes to the next note when both are playing the exact same pitch. Should both players not be play-ing the exact same pitch, you can hear a slight “pulsating” between both notes. It sounds as if both notes become gradually louder and softer.The second exercise can be practiced alone as well as with another player. The musician playing the upper voice has the dif cult task of “hearing” the next pitch in his head before actually playing it. At rst, this will require a lot of concentration and patience, but this is the only way to achieve a correct intonation on the saxophone.
Intonation exercises
The most important thing in practicing this exercise is to always play with an even tone while using the whole range of the instru-ment. Play slowly and evenly. Practice p, f and ff, always observing an even tone, especially when changing registers. Register changes are marked with an *.This exercise can be used in a lot of different ways:1. Dynamics: practice playing gradually louder and softer.2. Articulation: divide long note values into smaller ones, playing each note several times. Use eighths, triplets and sixteenth- notes. One word on precision: metronome!3. Vibrato: by varying the pressure of your lower lip, let each note “pulsate” evenly. Play this “pulsation” as evenly as possible, with out any accents! Practice using triplets rst, eighths and sixteenth-notes later on. Always practice this with a metronome!
Universal exercise Articulation1. Portato Broad impetus (dueh, dueh*), without any rest between notes.
2. Staccato Practice two different ways: a) tue-tue-tue short impetus with rests in the airstream. b) tuet-tuet-tuet use your tongue as a kind of “valve” for the airstream, directly bringing it back to the reed. Place the tip of your tongue directly below the reed and only initiate a very slight movement.
The following exercise is used to work on rhythmical precision and the speed of the tongue. Practice portato as well as staccato on different pitches, covering the whole register. Count: 1, 2, 3, 4 / 1 & 2 & 3 & 4 & / 1 & di 2 & di 3 & di 4 & di / 1 e & a 2 e & a 3 e & a 4 e & a.
Always practice scales using different articulations, e.g.:
Practice scales:1. portato (softly) using dueh, dueh: continuous tone with a soft impetus2. non legato (harder) using tueh, tueh.3. staccato tue – tue: the end of the note is shortened by
Long Notes &DynamicsPractice on a different pitch each day. Practice with different dynamics.
* The umlaut “ue” used in this exercise is articulated by keeping the tongue in an “ee”-position while rounding the lips for an “oo”-sound.This is almost like the southern way of pronouncing “you.”
S A X O P H O N E W A L L C H A R T
EANUPC
MB
2116
9
$5.
95 U
.S.
ISB
N 0
-786
6-73
57-5
© 2
005
Vogg
enre
iter P
ublis
hers
, Vik
tori
astr
. 25,
D-5
3173
Bon
n, G
erm
any.
All
Rig
hts
Res
erve
d. E
xclu
sive
Sal
es A
gent
, Mel
Bay
Pub
licat
ions
, Inc
., Pa
cifi c
, MO
630
69.
R R
Saxop
hon
e
Wall
Ch
art
21169.indd 1 7/29/05 12:41:37 PM
& &&&&&&&&&&
q q q q
X
Q Q#Recorder Wall Chart
C´ D´ E´ F´ G´ A´ B´ C´´C #´D b́
D #´E b́
F #´G b́
G #´A b́
A #´B b́
Covered Finger Hole Open Finger Hole – Free Finger Partially covered Thumb Hole
&
Q Q Q Q Q
C´´ E´´ F´´ G´´ A´´ C´´´A #´´B b́ ´
&
Baroque Fingering
Baroque Fingering
B´´
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21274_2.indd 1 7/29/05 1:51:34 PM
Woodwinds
The Voggenreiter Saxo-phone Wall Chart offers loads of useful informa-tion in a compact space. Here the saxophonist will find essential tips in clear large print includ-ing exercises for devel-oping intonation, breath control and tone quality, a versatile 'Universal Exercise' for developing dynamics, articula-tion, and vibrato plus a comprehensive easy to read fingering chart. An indispensable tool for every saxophonist!
Beautifully and colorfully displayed here, on dura-ble coated paper in 35 X 24 format, is a handy chart for the recorder. Shows two octaves of baroque fingerings beginning at middle-C, utilizing a handy key which vividly represents the: Covered Finger Hole; Open Finger Hole; Free Finger; and Partially Covered Thumb Hole. A great reference tool for teachers and students alike and a perfect guide for the studio or class-room.
MB21169Saxophone Wall Chart
MB21274Recorder Wall Chart
48
WALL_CHART_FLYER_A1.indd 48 11/14/13 9:36 PM