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Classical guitar technique

General
Classical guitar technique can be roughly divided into subsections for the right hand, his left hand, and various organized be. In guitar performance elements such as musical dynamics and sonic variety are usually at the hand that determines the sound produced physically. In other words, puts his hand that plucking the strings of the musical expression. Historically, this is the role of the dominant hand for the majority of players, the right hand was assigned. Similar considerations behind the strings with his right hand to control the arc. In the following discussion, the role of the hands should be lifted if it is left-handed.
An introductory overview of classical guitar technique given in the article Classical guitar (section: Performance).
For terms such as accessories and construction, see the classical guitar portal.
Posture
The classical guitar is usually on the left leg, which is supported by a stool or the guitar will from another device is raised to bring them instead into a position of central importance to the player's body. Fundamental considerations in determining a chosen playing position includes:
the physical stability of the instrument
Ensure freedom of both hands, so they have a thorough Access to the instrument and can all technical requirements to support the instrument without meeting
Elimination of general muscle tension in the body position adopted
Guitaristic Technology and Freedom
As it pull the thumb and fingers, that the string, and each person has different finger, there are large differences in play between Guitarists who often spend much time finding their own way of playing that suits you best in terms of specific objectives: Audio production ("Beauty" / Quality of sound), minimum noise (eg clicking), wide dynamic range (from soft to loud controlled), minimum (muscle) effort, fast "motion-recovery" (Fast, plucking, if desired), and healthy movement in the fingers, wrist, hand and arm.
There is not one particular way of achieving these goals (there is not a single definite optimal guitar technique): rather, there are several ways to achieve these goals, due to differences in the hands and fingers (Including nails) of the guitarist.
If music guitarists (during playback), they are constantly (by active movement / change Pluck her hand, fingers) for a good sound with the sound / tone, improve the musical interpretation.
Most guitarists focus their eyes on the left hand, but often difficult, the fingers of his left hand to the right place federal and string. But ironically, in relation to the preparation of the note, it is the right hand, which is more important, it may sometimes given too little considered. [Edit]
Right hand technique
The thumb and three fingers of the biggest right hand pluck the strings. The normal position for the hand to be formed, as it would be loose with an apple with the wrist slightly bent, the forearm rests on top of the great battle of the guitar, and the Fingers around the strings.
The thumb on the side of the other fingers held so that they can work independent of them. The height of the wrist and Hand thumb is: It's so that the fingers move easily – the wrist is usually not too low, but curved.
Plucking the strings in the rule includes the contact first with the (usually left) fleshy part of the fingertip (and often left part of the nail or only the left part of the nail, where very long nails) can then the string slide along the curvature of the fingernail to release the string at the fingernails: the string is plucked. The two primary plucking techniques are:
Rest-stroke (Rest stroke), in which the finger plucks the string based on the immediate upper string thereafter;
Free-stroke (tirando), in which the finger hits nothing after Plucking the string.
Rest-stroke produces a "deliberate" sound and can be used for the collection of the melody in music, in harmony competes for attention be used. Free clock sounds "brighter" and makes it possible to play fast passages easier, even if some players (especially with long nails) the free-stroke exclusively and in a position to produce a strong tone with him.
to avoid some pretty guitar with long nails rest-stroke prevented entirely, others usually it if they feel more control over the free-stroke. The free hub is the natural stroke because it can always be used. If two adjacent strings can be plucked while the rest-stroke can not be used. In addition, as a rule arpeggios played free stroke, except perhaps for the thumb or, where appropriate (Effective as possible through nail length / hand position) is the ring finger when she picks a melodic line. In the free-stroke, a finger movement not brought to an abrupt stop on the following string, as is the case in the rest intervals.
Guitar players that require both tact and free-radical-stroke nails the right length: If the nails are too long, a good sounding radical-stroke is no longer possible. Many guitarists who prefer using fairly long nails do not use the rest stroke.
An important factor for a good sounding stroke is the angle that would overstretch the fingers to do with the strings. This angle is usually not held at right angles for strings, but to a natural angle, where the extended fingers would be easy to spot on the left: This has the advantage of a warmer tone and less noise by nail-contact, since the string can slide over the rounded nail instead hooked / caught by it.
Keep fingers and hand perpendicular to the strings can Cause difficulties because the string is aligned with the groove between the fingertip and nail: it can double-clicks or sounds cause (fingertip sound, then nail sound). By holding the fingers and hand to the left (as opposed to vertical), it is for the string in the groove of the country, because the left side of the nail, the string first (often common touch impossible with the tip of the finger, may aid an additional minimization of the clicking sound). The nail is at an angle to the String and can slip the string over the nail of the left side until they are released.
One is by the principles of right hand technique in scale passages Variety. That is, should not use right hand fingers to two notes in a row (without the thumb, which often means playing on a succession of bass notes to play). Typically alternate for scale-passages of the index and middle finger. If harmony is an arpeggio played with the thumb (p), index (i) and middle (M) finger, ring finger (a) may play a melody of the harmony. In the tremolo technique, the thumb plays a bass note with the fingers that adhere to the same heights play three times followed: Pami, Pami, (is Recuerdos de la Alhambra by Francisco Trrega a famous example of this technique) Pami etc.
The position of the right hand you can produce the sound of the impact its sound with a classic Guitar. The wealth of sonic possibilities allows artists to change the contrast and color to their services and add on the simple volume change available, say, pianist. If the strings near the bridge are called the position sul ponticello and the notes sound "twangy" and "nose" is plucked. If the strings on the fingerboard of the guitar plucked the position as sul tasto, and the sound will be fuller and "sweet" (referred to as "dolce in Italian, see List of musical terminology page). The angle at which the fingers of the strings can also affect the timbre of the sound.
The term refers only to pizzicato plucking the strings in the music for string instruments. In classical guitar, however, it refers to the side of the hand just below the small Fingers on all the strings close very close to the bridge and then plucking the strings with the fingers. This produces a muted tone and is a palm-muting in electrical referred Guitar language. Tambour is a technique where many or all of the strings at once, they are by hitting (usually near the bridge) to the side of the (extended) thumb played. Both Tambor and pizzicato in Aconquija heard by Barrios.
The right hand fingers are used to display notes from ringing her past life as the music to stop. This is often a problem with open string bass notes tend to ring for some time. To stop the information from the thumb of the right hand (usually) on to stop the ringing string. This can be a major challenge for the guitarist as he or she must in any bass tone visited twice, once at the beginning and once to him to stop. The same technique can create a staccato effect.
Trills are usually played on a string with different combinations of left bends, also known as Legados or hammer-on and pull-offs known. Cross-string trill using two or three strings are also possible. In this case, the trill is usually in the form of low-high-low and can therefore be carried out: The left hand holds, say the D # on fourth fret, second string, the right hand middle finger played, the note then your index finger "Strums" create the first and second string: D #-ED. The difference between a cross-string trill and an ordinary trill is that the cross-string trill two notes against each sound makes the other. This technique is often used in Baroque music, although it is questionable, as is whether it was the common practice of the time.
There may be various hand positions depending on the movement of the fingers / hand / arm and the effect that is sought. Default positions may receive the following (or variations thereof) are:
"Arpeggio position," with the thumb plays bass strings and the index, middle and ring fingers pluck a pattern on top 3 strings, respectively.
Scale play: Normally, a change in the index and middle finger, but other changes using the ring finger (or even a change of the thumb) are frequently
Factors that might influence the choice of the scale and the speed of his progression of the melody on strings, such as a scale usually begins on one string and then continues on another.
On the other hand, while slower movements (especially the contrapuntal music) guitarist occasionally move their fingers in, if this facilitates the interpretation of phonetic similarity: An example might be when the index finger (possibly the thumb) is used to play a melody line in the 3rd String while the ring finger could be used for a melody of one of the first string. But the melody lines often move across different strings, so many adjustments and a flexible approach is required. In addition, there are no common rules or policy – There is no guitaristic technique given: a guitarist to experiment and use of the pattern of finger plucking, which fit the players personal best.
It is important to note that not only the fingers are involved in the plucking of the string, but the hand is held comfortably loose and can easily move too – and the arm is involved. To Example, when playing scales (usually with alternating fingers, as index, middle, index, middle, …) and change of strings at the top to bottom, or bottom strings to move, hand up and down and adjust to the placement of the fingers to be an optimal.
Main Hub Types
There are two ways a string plucked with the fingers will be able to:
with preparation
without preparation ("full flight", "Speed hub") as Tremolo
This separation of the so-called Rest-stroke and stroke-free clear: both the rest-stroke and stroke-free can be used with or without preparation.
Stroke with preparation
"Preparation" (known than potatoes) the transfer of the (mostly left) fleshy part of the fingers (and often left part of the nail or only the left part of the nail is given very long nails) on the string before a plucking motion is made.
This is the standard way of plucking a string and pick the most "slow to moderate speed" progressions used: Before plucking, usually both the left side of the nail and the finger touch the string, which allows the fingers (and hand) to the string in a balanced As a rest. If the plucking motion is made, only the nail-contact remains: the curvature of the nail (from the left side), the string can be pulled back while the string slides to the tip of the nail, where it is released. This happens so quickly that the sliding is not aware of the line above the finger nail (but: a properly filed nail is necessary and the position of the hand must be adjusted when plucking metal wound strings with the thumb is anything but, otherwise the angle of attack to a very bad taste grating noise, unless of course, that's the desired effect).
The act of planting is quickly followed by the plucking of the string, so that this hub will be used (usually used) without a break in the sound be noticeable. For training, playing staccato (on a single string), the "preparation" emphasize here the finger on the vibrating string is placed to stop its sound, and only after a delay of this finger plucks the string. (Finger variation in usually used: i, m, or different patterns)
The planting is essential for guitarists to get an elementary sense of the situation and position of the strings although some teachers advocate the opposite.
Stroke without any preparation ("fast repetitive picking", "Speed-stroke")
The Hub . Without preparation, "occurs in fast note progressions, as in the Nagel Here tremolo plucking the string with no preparation: a pulse shot in the string: there is no time for "Preparation". Most often this occurs when a finger / nail newly plucked a vibrating string, so that it retains its movement, such as tremolo: This finger strike the same note on the same string in rapid progression. On the other side of this hub with no preparation is also used in fast scales. Fast scales have the additional complication requires the coordination of the left hand (finger placement on the right collar) with the plucking sound production of the right hand.
Comparison
It must be mentioned that this division into two groups plucking not be strict. Any variation between a full preparation before plucking and without an immediate Preparing to pick. A guitarist is then individually decide which stroke to use, depending on personal choice and the effect would be produced. Most guitarists make this choice to vary intuitive and simple strokes while playing, but for pedagogical / analytical purposes the distinction may be important.
Guitarist often intuitively use a combination of "blow with the preparation" and "speed-stroke" (without preparation) when playing arpeggios: Usually, the pattern of finger plucking so that it starts with the finger on the strings as follows – thumb on a bass string and index finger, middle finger, ring finger respectively on one of the 3 treble strings respectively. can Then the arpeggio movement continuous plucking of the strings are, for example, thumb, then index, then middle, then ring – this means that one by one the fingers away from the strings on which it rests (for the plucking motion): The Plucking were not made then "to prepare" as the fingers were resting on the strings. Whenever the arpeggio will continue with the middle finger, index finger and plucking the string – the complete pattern is: pimami. This means that, if the pattern is played very fast, the last m and i to have plucked their respective strings "without preparation".
Of course, it is actually possible the whole pattern (pimami) "without preparation" to play – and it may be useful didactically for guitarists to experiment actively with these strokes (And practice variations), rather than just plucking the strings in any way.
This separation is different from the so-called rest-stroke and stroke-free: both the rest-stroke and stroke-free can be used for preparing and without.
Follow
Angle of attack (the following illustration shows that can vary from guitar to guitar. In all Case, the angle of the right hand fingers (when stretched) to the strings is not strong. varies)
Slowly: more parallel angle (right finger more on the left side)
The hand is typically held at such an angle that the outstretched fingers slightly to the left (instead of vertical) on the strings. But this angle can be actively varied (if only slightly) and the results in different tones, but also has some consequences:
The more the fingers point to the left of the strings (the more they parallel to the strings), the longer the nail is in contact with the strings because the string slides over more of the finger nail: This angle requires preparation – Place the nails (and fingers) on the string, and then following through in a controlled manner. This angle creates a warmer tone, but because the string slides several of the nail, that's not good for the plucking rapidly repeating.
Fast: More perpendicular angle (right finger)
For quick repetitive Pluck is the vibrating string plucked immediately with the nail: a pulse in the string so that it has shot his movement – there is no time for "preparation".
At high speeds, it is not easily possible to produce a clear sound when your fingers too far to the left, where there is angled no time for "preparation": "Preparation" means the placing of the left side of the nail (and often fingers) on the string.
The faster the plucking, the more a slip of the Nagel (more parallel) delays the sound.
As soon keep plucking the guitar player the choice of the right hand with his finger at a perpendicular angle to the strings (although the finger perhaps slightly to the left) and hit it more with the tip of the nail.
The above discussion was mainly on the angle as a function focused on the rate of plucking. More importantly, the dependence of angle on the tone. As usual there is always some kind of compromise involved and hang the ultimate Details separately by each guitarist, and the players fingers / nails.
Impact on the speed of construction practice
When practicing at slow speeds, took the position of the hand and stroke ideally the same as that for the fast pace.
Usually the hand perhaps in different positions for the fast and slow playback. Even more important is another stroke can be used intuitively for slower game (ie stroke with preparation) as a faster playback (stroke without preparation). That is, when building up accuracy and consistency through practice plucking (like vibration) for slow Speeds, should the position of the hand and slowly stroke during this practice used is identical to the position of the hand and stroke, which in the Plucking up to speed be carried out.
This means that slow tremolo requires practice (for example) the practice of "shock with no preparation!" This can be difficult as most guitarists intuitively choose a hub with (at least) a bit while preparing to play slower. But in this respect, the practical method of playing with short bursts in between slow-speed practice may prove useful to the memory of the guitarist of the right hand position and stroke (without preparation).
On the other hand, should Tremolo (etc.) not only with "speed-stroke" is practiced, but even at low speeds with a normal "Impact with the phase" The reason is that this is normal stroke of the guitarist in a better sense of inner layer of the strings resources.
Right Wrist / hand position
There is great freedom in positioning the right hand, the angle at which the fingers of the string attack are affected. Guitarists spend a lot of time finding their individual positions (could be more than one), so that pull the fingers / nails on the strings
a great tone (possibly Variations of tone with different positions)
a minimum of noise
a healthy position (without strain)
The hand is the position among the affected arm:
Change out the right arm resting on the guitar (either more left or more to the right)
To change what part of the right arm resting on the guitar (either)
The hand can be varied as follows:
the amount (bending) of the wrist
Turn left or right hand from the wrist (this is usually as a liability, and today, many guitarists do you think the hand is relatively straight compared to the arm. This usually means that the fingers on the left side of the string and point brings an additional advantage of a beautiful tone by a gentle sliding of the cord along the curvature of the nail)
the rotation of the hand (left or it may rolled to the right. Often guitarist would occasionally roll his hand slightly to the right – the opening of the hand and changed the angle of pull, while others might use rolled in general an open position with the hand slightly to the right)
Nails
Modern practice generally makes the nails of his right hand in combination with the meat the fingertips to pluck the strings. During the 19th Century, many players, including celebrated guitarists such as Fernando Sor, Francisco Trrega and his student Emilio Pujol played with the flesh of the finger tip, together with lute technique.
Strumming
Rasgueado Main article Rasgueado. Rasgueado or rasgueo is a technical strum in Flamenco and classical guitar, that involves the use of the back of the fingernails in a row to give the impression of a very fast strumming. There are several types of rasgueado that different combinations of fingers and thumbs so busy for a variety of accents and rhythmic subdivisions of the beat.
Use the palm side joint of the thumb lightly strum strings produce a soft, low sound.
Use the thumb nail to produce a bright sound.
A simple combination the two fingers and thumb, the thumb hitting the low strings and the fingers picking the upper notes of the chord from the lowest to highest strings in rapid succession.
External Links
"Rest stroke and Stroke Free Revisited" by Ricardo Iznaola, in PDF or HTML
Left hand technique
While the right hand is for the Sound of the guitar, the left hand performs two functions: pressure on the strings (to shorten their effective length and pitch) and articulation, phrasing that is (in general known as "hammer-ons and pull-offs") and vibrato. In the score, the fingers of his left hand called 1, 2, 3 and 4 (starting with index).
The basic Position for the left hand is much the same as that of law, except on the head. Unlike many players, from steel-string and electric guitars, and a narrower neck and fingerboard have (with fourteen frets clear of the body against twelve frets on the Classic), the classical guitarist does not place their left thumb on the top of the neck. Instead, they found it behind the neck, usually behind the second finger.
The thumb rolls back then, so that the thumb plays' from the Bone. "The bones of the thumb 'is' off one shoulder, which is in the back of the neck of the guitar carved and finally, a hard, dry Callus formed on the thumb, so move the left hand to hold without the guitar.
By the thumb behind the second finger and playing off the front of the third Fingers, the classical guitarist sets to make the left hand.
Playing with her left hand more or less parallel to the neck requires a certain distance between the fingers. There is a tendency, especially when you first start guitar, on the first and second fingers are pressed together to collapse the string. For example, in playing the F on the first String, first fret (often the second note fingered ever after open E-first string) there is a tendency for the second finger on the top of the first to hold the note. Holding a note with two fingers, 1 & 2, but the reach between the fingers inserted between the second and third to reach the hardest. The simplest is actually achieved between the third and fourth (pinky) fingers. The next easiest between the first and second and the hardest between the middle finger, 2 to 3 Therefore, in order to bring all the fingers on the strings (one finger per fret), the scope would be best to go fourth between 1 & 2 and 3 & It should be taken to unlock 1 & 2 One way train the hand to release 1 & 2 with a pencil between 1 & 2nd place to the other end behind your thumb while playing.
The classical guitar has a Another group of left calluses on the fingertips, as the steel-string player. In the steel-string, with the guitar under his arm and right hip (played called "playing off the hip "), the fingers of the left hand of the steel-string guitar playing on the diagonal, or" to reach ', and the finger tip lands on the Fingertip, creating a callus on the pad. The classical guitar has a different set of left cornea as the hand of the classical player is more parallel to the neck, and they play on the "front" (Nagel) side of the fingertip. As a general rule, where if the player is focused on playing from the front of the third (or Ring) finger will follow the other fingers.
To play a note clearly the fingertips of your left hand should be pressed against the string just behind the Bund be. to relax the light of the left shoulder the highest finger in the chord or scale and can slide to rest against the federal government, what is the best soundnd the simplest achieved by other fingers. The fingers are, therefore, placed closest to the frets.
Often the index finger is required to play more than one string to the "rod" technique. The guitarist makes his index finger over some or all of the strings on a given fret and use the remaining three fingers to play different notes. Rather, stopping first rod It is often easier to place your fingers and add the last bar, which notes are required first.
When playing notes above the twelfth fret, called "In the body, the left shoulder is dropped and the thumb remains behind, on the neck (as opposed to technology, where the thumb jumps on the fretboard cello).
It is possible to play the same note on different strings, called "registration" or "registration". For example, the note "e" first string open, perhaps to be played, or "registered" on each string.
The guitarist has "register" too often decisions about where sounds on the guitar based on:
Simple fingering. Beginners learn the open, first position before something different and perhaps more comfortable registration information on open strings in the first position. Advanced players can find solutions, based in higher positions on musical expression or a shift to a string as a guide.
Playing "to the string" – keeping a melody or musical line on one string, the continuity of tone or expression.
The advent of nylon strings. Historically, the early guitar (pre-WW II) with CAT gut instead of nylon, which we have accustomed ourselves lined up. Previous issues often kept the melody on the second String because 1) the second string had a beautiful, romantic sound in the higher positions together, the style of the time and 2) the first string had a "thin" Tone and intonation was unreliable. With the advent of nylon strings, position-game (played in a block-style) was more fashionable. More. Refinements in the production of strings and innovations in modern guitar design move forward, this issue into focus.
brandish such a voice on a string for its duration: for the sake of counterpoint during playback of a moving voice on the other string.
Bows
Bends, trills and other ornaments are often played entirely with the left hand. For example, In a simple case of a rising semitone bend (hammer-on), a reference stopped the first finger of his left hand on the fifth fret, first played in the usual way, set then, without the right hand is doing nothing, the second finger of your left hand straight down to the sixth fret on the same string with momentum on the tone of the string still ringing to raise a half step. A descending arc (pull off) is simply the opposite of the above, the arc begins with the higher tone, and it is customary for the finger to the higher Note active plucks the string, because it lifts so that the string to vibrate in the way that the lower finger is depressing press fret. The lower finger is usually in the position and press before the process begins. Three specific descending arcs are present, (1) the active finger points straight up and off the string, (2) the active finger lies adjacent string immediately after, and (3) a combination of the two, in which the fingers buckling of the adjacent string before liftoff.
If these procedures are repeated several times the result is known as a trill. As the plucked note repeated, it becomes possible to resume a trill indefinitely. Occasionally, the top staff in such a trill played of alternating fingers like this: 2-1-3-1 – etc.
Vibrato
The classical guitar vibrato is rocking the top of the left finger (s) running back and forth horizontally within the same fret space (ie along the axis of string, and not about them than for a vertical "kink" in rock and blues music) Preparation of subtle differences in pitch, both sharper and flatter than the base note, without changing significantly the basic tonal gravity of the note played. As a vibrato on the first or second covenant is required, there is sometimes an advantage to push the string on its axis as it produced a marked vibrato. This second method, only the pitch vary by more sharply than the starting material for the knowledge that the most common method is used vibrato of steel strings and electric guitar players.
Harmonics
Natural harmonics can by touching a finger left on specific points along played an open string to be without him down, then the note plays on the right Hand. The positions of both left and right hand are important. The left hand must be placed at a nodal point along the string. Nodes are integral divisions of the string length found. The simplest example would be if the left hand the string divides into two and placed at the twelfth fret. The note then played an octave higher than the empty string. If the string is divided into three (left hand close to the seventh fret) notes are played an octave and a fifth above the open string. The player must be careful not the string of another node (closer to the bridge), otherwise harmonious sound is not picking. This can easily be suspended by a left hand finger on the fifth Federal government and try to play the note to be shown with the right hand by plucking the string at the twelfth fret – no note is produced. Ideally, pick the right hand the string at an antinode.
Artificial harmonics are by stopping the string as usual with the left hand is then (not push) the index finger of right hand on the string at a nodal point position (usually 5, 7, 9 or 12 played frets above the left finger) and plucking the string with your ring finger or thumb of the right hand.
Left-wing positions
Together with other classical stringed instruments, classical guitar notation and formal positions of the left hand. The n-th position means that the hand position with your index finger over the n-th fret.
Fretboard Knowledge
EDCAGE
External Links
Left-Hand Trouble Shooting by Peter Kun Frary, Professor of Music at the University of Hawaii, Leeward.
The Classical Guitar Express Free Newsletter practicing classical guitar from Tom Prisloe
Studies
There are many exercises that can be developed to the left and right hand technique on the classical guitar.
Leo Brouwer
Etudes Simples – Volumes 1-4
Matteo Carcassi
25 Etudes Opus 60
Mauro Giuliani
Instructive Etudes Et Faciles agréables, Opus 100
XVIII Lecons Progressives, Opus 51 (18 Progressive Lessons)
Pro La Chitarra, Opus 1 (The Study Of The Guitar)
Studi Dilettevoli, Opus 98 (Entertaining Studies)
Esercizio Per la Chitarra, Opus 48 (Training for guitar) 24 studies
Primi Lezioni Progressive, Opus 139 (First Progressive Lessons)
120 studies for right development
Fernando Sor
12 Etudes, Op 6
Douze Etudes, Opus 29
Vingt Quatre Leon, Opus 31
Vingt Quatre exercises, Opus 35
Introduction al 'Etude de la Guitare, Opus 60
20 Studies for Guitar, (a collection of Andres Segovia)
Heitor Villa-Lobos
Douze Etudes (1929)
Classical guitar injury
External Links
Complete procedure for the guitar by Otto penned by Ditson, 1858 published
The Humane Guitarist website dedicated to the technology and health the classical guitarist.
Musicians and injuries
Creative Guitar – Classical Guitar resource site and blog.
See also
Classical guitar pedagogy
Categories: Guitar performance techniques | Classical guitar Hidden categories: Articles to be expanded from January 2007 | All articles to be expanded | All articles with statements blank | Article blank with statements from May 2009
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Esteban Black G-10 G10 Electric Guitar Amplifier Nice Amp!! $29.00

D’Addario EXL120+ Super Light Plus Electric Guitar Strings 9.5 Nickle Wound .095 $0.97

Black High Quality 3 Way Electric Guitar Toggle Switch $0.99

SILVERTONE ELECTRIC GUITAR! COMES WITH GIBSON USA CASE!!! $90.00

Strat Style Fullerton Electric Guitar $59.00

Parker MidiFly Electric Guitar and Synth Controller $500.00

Taylor Guitars T5C1 Custom Acoustic Electric Guitar $1,999.99

Electric Guitar. new, set neck. $175.00

Electric Guitar. new, set neck. $185.00

NEW FENDER LACE SENSOR BLUE/WHITE SINGLE ELECTRIC GUITAR PICKUP $41.94

PRS SE CUSTOM 24 25th ANNIVERSARY ELECTRIC GUITAR WITH GIG BAG $664.00

Yamaha AC3R All Solid Acoustic Electric Guitar $899.99

4PCS Epiphone L.P ELECTRIC Guitar Volume Tone Bell Hat knurled Speed Knob Amber $0.98

Unique electric Bass Guitar, 5 string, removeable wings $148.00

Electric Guitar, Unique clear pyroxy LP body with case $199.00

Electric Guitar . headless, custom hand made, Eagle $275.00

New electric Bass Guitar, 4 string, Neck through $149.00

NEW ADULT Crescent BLACK Electric Acoustic Guitar+Acc+STAND $99.69

2012 IBANEZ SRT705DX 5-STRING ELECTRIC BASS GUITAR – BROWN BURST FLAT – $589.00

New Crescent REDBURST Electric Guitar + Accessories & FREE Guitar Stand! $74.99

Peavey Predator Plus Electric Guitar SSH Pick Ups VG Condition RED Strat $89.99

Hondo II 6 String Electric Guitar W/Gig Bag $249.99

Teisco Kay Japan Electric Guitar Clamshell Tailpiece Import $19.99

Dean ECOCO Acoustic Electric Guitar And Hard Shell Case $325.00

New Ebow Plus Electronic Bow For Electric Guitar [3248] $99.89

12 Sets Ernie Ball Super Slinky Electric Guitar Strings [4457] $60.00

Electric Guitar Bass Digital Clip on Chromatic Tuner $1.00

Flying V Vee Electric Guitar 10mm Padded Basic Gig Bag Case BUY IT NOW ! ! $32.95

Stellah Ripwood Electric Bass Guitar (Red) Mk II – 4 String (B-STOCK) $114.81

DR Strings NEON HiDef Orange SuperStrings Light Top Heavy Bottom Electric Guitar $11.99

DR Strings NEON HiDef Orange SuperStrings Light Top Heavy Bottom Electric Guitar $11.99

Stinger SSX Electric Guitar By Martin Vintage $349.00

EPIPHONE LES PAUL SPECIAL ELECTRIC BASS GUITAR – RED FLAME- 34″ SCALE – $179.00

IBANEZ GIO Strat Style ELECTRIC GUITAR $49.99

EPIPHONE LES PAUL BLACK BEAUTY ELECTRIC GUITAR – EBONY – THREE PICKUPS – TRIPLE $549.00

DIMARZIO DP241 Vintage Minibucker BRIDGE Electric Guitar Pickup – GOLD $89.95

3pcs Black Speed Control Knobs for Electric Guitar w/ Red Skull Head Crossbones $0.99

DIMARZIO DP240 Vintage Minibucker NECK Electric Guitar Pickup – GOLD $89.95

IBANEZ V70CE-TBS-2Y-02 Acoustic Electric Guitar BLUE Sunburst + GATOR CASE CLEAN $0.01

1964 Fender Jazzmaster vintage electric guitar $3,995.00

Stellah 5 String Electric Bass Guitar Humbucker Pickup in Black Soap Bar New $16.57

Guitar Parts BLACK Flat Oval Output Jack Plate for MONO Electric Guitar $0.99

PRS DGT David Grissom Signature Model Electric Guitar Black 886830283260 $2,109.60

Cigar Box Guitar Building 3 or 4 string, make electric /AC bottle neck amp kit $28.50

Acoustic/Electric Portable Guitar Change Capo Key Clamp High quality Parts $0.99

ESP ST-203FRR Rosewood Neck Distressed Black Electric Guitar w/Floyd Rose $399.00

Ovation Celebrity Acoustic Electric Mid-Depth Bowl Guitar – CC24 Natural Quilt $449.00

Simple Easy Tuner For Electric Acoustic & Bass Guitar Artec – Retail Boxed $11.04

Guitar Man USA Custom Strat Style Vintage Electric Guitar AS IS (NOT WORKING)!! $0.99

Crescent NEW WHITE Electric Guitar+15w AMPLIFIER+ACC+ Guitar STAND $109.99

ESP LTD EC-256P Electric Guitar w/ P90 pickups *B $289.88

2003 Gibson SG solid body Electric Guitar USA made $535.00

Electric Bass Guitar String Set Nickel Plated Steel L $4.49

*NEW* Fender Blacktop Stratocaster Titanium Silver HSH Black Electric Guitar $549.99

*NEW* Fender Blacktop Stratocaster Strat HSH Black Electric Guitar $549.99

NEW PRO BLACK ACOUSTIC ELECTRIC DOBRO RESONATOR GUITAR $329.00

Levy’s ‘Crocodile’ Leather Electric Guitar Gig Bag Tan $699.99

Black Electric Guitar Tune-O-Matic Bridge for Les Paul NEW $0.99