The Gibson SG

In 1958, Gibson Les Paul sales were significantly lower than they had been in previous years. The following year, the Les Paul was given a thinner, flat-topped mahogany body, and had a double cutaway which made the upper frets more accessible. The neck joint was moved by three frets to further ease access to the upper frets.

Production costs fell significantly due to the simpler body construction, and the new Les Paul was advertised as having the "fastest neck in the world" due to its slender neck profile and virtually non-existent heel. The new Les Paul was popular, but Les Paul himself did not care for the new design, and requested the removal of his name from the new model (however, he was photographed with the new model several times).

Gibson honored Les Paul's request, and the new model was named "SG", which stood for 'Solid Guitar'. Even though Les Paul's name was officially deleted in 1961, the SG featured Les Paul nameplates and truss rod covers until the end of 1963.

Due to its popularity and vintage heritage, the body style of the SG is often copied by other manufacturers, although much less frequently than the Les Paul and the Fender Stratocaster; a notable example is the ESP Viper.

The SG generally has a solid mahogany body, with a black "bat-wing" pickguard. The 24.75" scale mahogany neck joins the body at the 19th fret. The SG's set neck is shallower than the Gibson Les Paul's, but features the traditional Gibson combination of two humbucking pickups and a Tune-O-Matic bridge assembly (or vibrato tailpiece, depending on the model).

Angus Young of ACDC's Gibson SG

The Gibson SG Standard features white trapezoid fretboard inlays, as well as fretboard binding and inlaid "Gibson" logo; the Gibson SG Special omits these features, instead using cheaper white dot inlays and a silk-screened logo. The Standard has a volume and a tone control for each individual pickup, and a three-way switch that allows the player to select either the bridge pickup, the neck pickup, or both together. The SG does not include switching to coil tap the humbuckers in stock form (with the exception of the Guitar Center-exclusive SG Standard), although this is a popular player modification.

Some models use body woods other than mahogany; examples include the Swamp Ash SG Special and SG Voodoo, the 2009 Raw Power, and some walnut bodied 1970s models. High-end models occasionally sport decorative maple caps, carved tops, and gold hardware. [source : Gibson SG]

Power Chords : A Key Element of Rock Musics

In music, a power chord (also fifth chord) is a chord consisting of only the root note of the chord and the fifth, usually played on electric guitar, and typically through an amplification process that imparts distortion. Power chords are a key element of many styles of rock music.

Link Wray is commonly cited as having introduced power chords with his hit 1958 instrumental "Rumble". Wray used a pencil to punch holes into the loudspeaker of his amplifier in order to replicate a distortion effect first improvised at a show in Fredericksburg, Virginia. Link Wray pioneered electric guitar distortions, like overdrive and fuzz, and was the first guitarist to use power chords to play a song's melody. 

However, power chords can also be found in earlier, less commercially successful recordings. Robert Palmer has argued that blues guitarists Willie Johnson and Pat Hare, both of whom played for Sun Records in the early 1950s, were the true originators of the power chord, citing as evidence Johnson's playing on Howlin' Wolf's "How Many More Years" (recorded 1951) and Hare's playing on James Cotton's "Cotton Crop Blues" (recorded 1954).

A later hit song built around power chords was "You Really Got Me" by the Kinks, released in 1964. This song clearly demonstrates the fast power chord changes that would become typical of heavy rock riffs. Early heavy rock bands such as Black Sabbath, Led Zeppelin and Deep Purple also helped to popularize power chords. Pete Townshend, having been influenced by Link Wray, is often credited for introducing the term and the power chord in general and is an avid user of them.

Theorists are divided on whether a power chord can be considered a chord in the traditional sense, with some requiring a 'chord' to contain a minimum of three degrees of the scale. When the same interval is found in traditional and classical music, it would not usually be called a "chord", and may be considered to be a dyad or simply an interval. However, the term is accepted as a pop and rock music term, most strongly associated with the overdriven electric guitar styles of hard rock, heavy metal, punk rock, and similar genres. The use of the term "power chord" has, to some extent, spilled over into the vocabulary of other instrumentalists, such as keyboard and synthesizer players.

Power chords are notated 5. For example, C5 (C power chord) refers to playing the root (C) and fifth (G). These can be inverted, so that the G is played below the C (making an interval of a fourth). They can also be played with octave doublings of the root or fifth note, which will make a sound that is subjectively higher pitched with less power in the low frequencies, but still retains the character of a power chord.

A power chord is neither major nor minor, as there is no third present. This gives the power chord a chameleon-like property; if played within the context of major chords, it will sound like a major chord, but when played with minor chords, it will sound minor.

Power chords are often performed within a single octave, as this results in the closest matching of overtones. Octave doubling is sometimes done in power chords. Power chords are often pitched in a middle register. If they are too low, they tend to sound unclear and boomy. When played too high they lack depth and power.


Although the power chord is associated with a distorted sound, most guitarists would consider that a power chord fingering can be called a power chord whether played through distortion or not. [source : Power Chords]

An Introduction to Flamenco Guitar

The traditional flamenco guitar is made of Spanish cypress or sycamore for the back and sides and spruce for the top, which accounts for its characteristic body color, and is lighter in weight than a classical guitar, to give the sound a “brighter” and more percussive quality. This is achieved by reducing the amount of internal bracing and thickness of the materials used in the body and top construction. The top is typically made of either spruce or cedar, though other tone woods are used today. Volume has traditionally been very important for flamenco guitarists, as they need to be heard over the sound of the dancers’ nailed shoes: to increase the volume of the instrument, harder woods, such as rosewood, can be used for the back and sides, with softer woods for the top.

In contrast to the classical guitar, the flamenco is often equipped with a tap plate (a golpeador), commonly made of transparent plastic, similar to a pick guard, whose function is to protect the body of the guitar from the rhythmic finger taps, or golpes. Even so, a well used Flamenco guitar will only survive so long before the constant "golpes" wear through the top. Frequent replacement and patching of the "golpeador" help.

Originally, all guitars were made with wooden tuning pegs, that pass straight through the head stock, similar to those found on an oud oud or a violin or lute, as opposed to the modern classical-style guitars' cogged tuning mechanisms. Indeed, traditional pegs are still very popular amongst flamenco guitarist and guitar makers.

The action, or the height of the strings above the fingerboard, is generally lower than that of a classical guitar, typically less than 3mm at the twelfth fret. This lower string height can increase the playing speed, and greatly reduces fatigue of the left hand during lengthy performances.

"Flamenco negra" guitars are called "negra" after the darker of the harder woods used in their construction, similar materials to those of high-end classical guitars, such as rosewood or other dense tone woods. The harder materials increase volume and tonal range. A typical cypress flamenco guitar will sound more treble and percussive than the more sonorous negra. These guitars hope to capture some of the sustain achieved by concert caliber classical guitars, whilst retaining the volume and attack associated with flamenco.

Flamenco guitarist

Flamenco is played somewhat differently from the classical guitar, utilizing different posture, strumming patterns, and techniques. Flamenco guitarists are known as tocaores (from an Andalusian pronunciation of tocadores, "players") and flamenco guitar technique is known as toque.

While the classical guitarist supports his guitar on his left leg, and holds it at an incline, the flamenco guitarist will usually cross his legs and support the guitar on whichever leg is on top, placing the neck of the guitar more or less parallel to the floor. The different position is a result of the different techniques. Many of the tremolo, golpe and rasgueado techniques are easier and more relaxed if your upper right arm is supported at the elbow by the body of the guitar rather by the forearm as in classical guitar. Classical position is still used by some Flamenco guitarists.

Flamenco is commonly played using a cejilla (capo) which causes the guitar to sound somewhat more sharp and percussive. However, the main purpose in using a cejilla is to change the key of the guitar to match the singer’s vocal range. Because Flamenco is an improvisational musical form, utilizing common structures and chord change sequences, the capo makes it easier for players who have never played together before to do so. Rather than transcribing what you know on the fly to another key each time the singer changes, you just move capo and use the same chords you used open. Flamenco uses a lot of highly modified and open chord forms to create a solid drone effect and leave at least one finger free to add melodic notes and movement. Very little traditional Flamenco music is actually written, it is still mostly passed on hand to hand, though authentic didactic books are becoming more available. [source : Flamenco Guitar]

Fender Stratocaster : The Most Copied Guitar in The World

The Fender Stratocaster, often referred to as "Strat", is a model of electric guitar designed by Leo Fender, George Fullerton, and Freddie Tavares in 1954, and manufactured continuously by the Fender Musical Instruments Corporation to the present. It is a double-cutaway guitar, with an extended top horn for balance while standing. The Stratocaster has been used by many leading guitarists and can be heard on many historic recordings. Along with the Gibson Les Paul, the Gibson SG and the Fender Telecaster, it is one of the most common and enduring models of electric guitar in the world. The design of the Stratocaster has transcended the field of music to rank among the classic industrial designs of all time; examples have been exhibited at major museums around the world.

Jimi Hendrix's Stratocaster

In its original form, the Stratocaster was offered in a 2-color sunburst finish on a solid, deeply contoured ash body, a one-piece maple neck with 21 frets, black dot inlays, and Kluson machine heads, until 1956, when Fender started making bodies made from solid alder. There was also a set of available custom colors that wasn't standardized until 1960. These custom colors were mostly automobile lacquer colors made by Dupont and could be had for an extra 5% cost. The single-ply, 8-screw hole white pickguard was a unique concept that allowed all of the guitar's electronic components—except the recessed jack plate—to be mounted on one easy-to-remove surface. Subsequent Stratocaster designs (by both Fender and other imitating companies) may have improved upon the original in usability and sound, but vintage Fender models are still often worth large amounts of money, and many prefer the timbre of older models.

The Stratocaster has been widely copied; as a result, the term "Strat," although a trademark of Fender Musical Instrument Corporation, is often used generically when referring to any guitar that has the same general features as the original, regardless of manufacturer. [source : Strat]

A Brief History of Alvarez Guitars

By  William McRea

Alvarez is a premier acoustic guitar manufacturer that specializes in high quality instruments. Alvarez started building high quality acoustic guitars in 1965. As evidenced by the sound of their instruments, they are very passionate about what they do. They have a reputation for crafting guitars that have exceptional tone and quality, and they do so by hand. Their shop is located in St. Louis, MO.

The Alvarez guitar line as we know it today started with a Japanese luthier named Kazuo Yairi who worked in partnership with an American company to design these guitars. Yairis family is known for creating high quality, hand made instruments. The companys current, skilled luthiers continue this tradition.

Alvarez Yairi

Alvarez does not use computers and other high tech devices to help build their guitars. Computer assisted guitars have a very uniform sound across the board. The Alvarez guitars are unique from instrument to instrument. Building them by hand gives each guitar their own character. That is why it is important to find luthiers and other workers who are both skilled and passionate.

They pride themselves on their wood seasoning process. Done correctly, this can be considered the key to the sound. Wood types such as mahogany and rosewood are both air dried and kiln dried for long periods of time- sometimes as much as fifteen years. This aging process helps develop the tone and gives it a rich quality. The guitars are then shaped into their various styles.

Alvarez has a complete line of high quality guitars. Their acoustic guitar styles include the Dreadnought series, crafted in a shape and style similar to other Dreadnoughts, Alvarez classic guitars of various styles and woods, and Alvarez folk style guitars, including some cutaway models. For a complete list of styles, visit their website.

There are also plenty of famous and accomplished musicians who play Alvarez guitars. These include Ani DiFranco, Bret Michaels, Carlos Santana, Graham Nash, Kipp Winger, Laura Clapp, and David Crosby. For an extensive list, please visit their website.

Here are some reviews of Alvarez Acoustic Guitars (source Harmony Central):

About the Alvarez 5054 12 String

Alvarez 5054 12 String

Got started more than half a century ago. I m what we now like to call a multi-instrumentalist. Play in half a dozen bands, jazz, blues, metal, punk, Cajun and Irish. 

This is a great guitar. The first time you pick it up you immediately recognize that it "has something". And it ain t just me, I ve had some friends (including some well-known players) try it out and give it a thumbs-up. 

I m not saying I would trade my Guild for it, but I ve not come across a comparable second choice. And considering that nowadays this is a sub $400 guitar it s an outright bargain.

About the Alvarez AC 60SC

Alvarez AC60SC

I have been playing guitar for over 30 years and have owned all types of guitars and gear. I was without a nylon stringed guitar for a while and developed a nylon jones. I began looking for a classical guitar, with a cutaway and built in electronics. I checked out guitars at 2 stores and chose this one for it s acoustic sound. I did not even plug it in at the store. I liked the characteristics in her voice. I came back the next day and traded my steel-string acoustic in on her.

As I said before, this guitar is like a wonderful woman. One that should be treated well and caressed. Playing her should be like making love.

If guitar playing can be that much fun everyone should take it up.

About the Author:

Guitar Warehouse is your place to Buy Guitar and other musical gear. We also offer a wide range of Alvarez Guitars Free Guitar Lessons.

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Fender Telecaster

The Fender Telecaster was developed by Leo Fender in Fullerton, California in 1949. In the period roughly between 1932–1949, several craftsmen and companies experimented with solid-body electric guitars, but none had made a significant impact on the market. Leo Fender's Telecaster was the design that finally put the solid-body guitar on the map.

Fender had an electronics repair shop called Fender's Radio Service where he first repaired, then designed, amplifiers and electromagnetic pickups for musicians—chiefly players of electric semi-acoustic guitars, electric Hawaiian (lap steel) guitars, and mandolins. Players had been 'wiring up' their instruments in search of greater volume and projection since the late 1920s, and electric semi-acoustics (such as the Gibson ES-150) had long been widely available. Tone had never, until then, been the primary reason for a guitarist to go electric, but in 1943, when Fender and his partner, Doc Kauffman, built a crude wooden guitar as a pickup test rig, local country players started asking to borrow it for gigs. It sounded shiny and sustaining. Fender got curious, and in 1949, when it was long understood that solid construction offered great advantages in electric instruments, but before any commercial solid body Spanish guitars had caught on (the small Audiovox company apparently offered a modern, solid body electric guitar as early as the mid-1930s), he built a better prototype.

That hand-built prototype, an anomalous white guitar, had most of the features of what would become the Telecaster. It was designed in the spirit of the solid-body Hawaiian guitars manufactured by Rickenbacker -- small, simple units made of Bakelite and aluminum with the parts bolted together—but with wooden construction. (Rickenbacker, then spelled 'Rickenbacher,' had also offered a solid Bakelite-bodied electric Spanish guitar in 1935, many details of which seem echoed in Fender's design.)

Fender Esquire

The initial single-pickup production model appeared in 1950, and was called the Esquire. Fewer than fifty guitars were originally produced under that name, and most were replaced under warranty because of early manufacturing problems. In particular, the Esquire necks had no truss rod and many were replaced due to bent necks. Later in 1950, this single-pickup model was discontinued, and a two-pickup model was renamed the Broadcaster. From this point onwards all Fender necks incorporated truss rods. The Gretsch company, itself a manufacturer of hollow body electric guitars (and now owned by Fender), claimed that "Broadcaster" violated the trademark for its Broadkaster line of drums, and as a newcomer to the industry, Fender decided to bend and changed the name to Telecaster, after the newly popular medium of television. (The guitars manufactured in the interim bore no name, and are now popularly called 'Nocasters.') The Esquire was reintroduced as a one-pickup Telecaster, at a lower price. [source : Telecaster]

Gibson Les Paul Guitar

The Gibson Les Paul is a solid body electric guitar originally developed in the early 1950s. The Les Paul was designed by Ted McCarty in collaboration with popular guitarist Les Paul, whom Gibson enlisted to endorse the new model.

Gibson Les Paul was not the first solid body electric guitar to hit the market. 60 years before the Les Paul, company founder Orville Gibson designed the arch top guitar. In 1936, Gibson issued the ES 150, the first standard electric guitar. When he arrived at the Les Paul design, the company poured in the last decades of the skills and crafts and the result was a guitar that was a work of art itself. 

In 1952, Gibson introduced the precursor of the Les Paul Standard, Goldtop with the famous P-90 pickups. The Les Paul had a higher arc placed in an intricate style solid mahogany body. It included a punch in the neck with adjustable truss rod and a head tone. Also integrated into the worthy were the accoutrements that helped distinguish the leader in electric guitars others as a fret board bound and raised pick guard. 

Despite the Les Paul took off from the moment they appeared on the market, the design was still in its infancy. Two events were to come that would change the shape of the Les Paul on a wooden board with rope to a classic.

In 1957, Gibson was still treated as guitar manufacturers to produce a totally free of noise performance of the Les Paul. Around this time, the designer took Seth Lover humbucker scene with his patented. By placing two coils side by side, Lover discovered he could reduce the noise of buzzing and other electrical disturbances that the individual coils were so inclined a. The result was a deeper richer sound, noise-free, keeping the whole tone, warm, and support that has come to define the Les Paul. 

Once sound problems had been smoothed, Gibson proceeded to make another change to the Les Paul. This time the change was purely cosmetic. The carved maple top were covered with a lush, semi-transparent Cherry Sunburst finish to enhance the beauty of maple base. The results were spectacular and the “Burst”, as it became known as it was not just the smartest, but also the most advanced electric guitar on stage. 

Slash's Les Paul

Ironically, sales of the Les Paul were falling even while going through periods of incredible transformation. In 1963, the Standard Les Paul was redesigned super flat is now known as the SG. The standard was very popular with a number of pop and jazz guitarists of the same name as the Les Paul guitar itself but only in the lat 60s that the guitar finally found its rightful place – in the hands of some of the greatest rock performers of all time. At the end of the 60 and 70 years, guitar legends like Jimmy Page, Peter Green and Mick Taylor were supporting the Les Paul as his signature rock. 

Despite the Les Paul took a while to catch on, its popularity, and that has never really diminished. The Les Paul is at its best when accompanied by visionary artists, and although that does not happen too often, the magic that occurs when these two meet is worth the wait. [source : Les Paul]