Classical Guitar List Part

In the right hands, the classical guitar can produce some of the most beautiful sounds in all of music. With it, a skilled performer can create miniature moments of intimate tenderness or stirring sagas of grandeur and passion. One reason the classical guitar is capable of such wide-ranging textures and emotions is that it’s one of the few stringed instruments that can play chords and single notes with equal ease. And many people credit its special emotive powers to the fact that the performer uses both hands to touch the strings directly to make a sound, allowing him to coax out the softest melody or to vigorously ring out triumphant, full-voiced chords. The tonal variations you can achieve on a guitar played in the classical way rival the colors of the entire symphony orchestra. Even the great Beethoven agreed, calling the guitar “a miniature orchestra in itself.”

Let's Know about Classical Guitar List Part :

1. Back: The flat part of the guitar body, parallel to and opposite the soundboard, closest to the performer.
2. Body: The “box” or sound chamber of the guitar, which acts as a resonator or amplifier for the vibrating strings. The body is also what gives the guitar its particular — and beautiful — tone.
3. Bridge: A thin, rectangular piece of flat wood that’s glued to the top of the guitar and secures the strings at the body. The bridge transfers the sound from the vibrating strings to the guitar’s body. Sitting in a slot of the bridge is the saddle.
4. Fingerboard: Also called the fretboard, this is a thin, flat plank of wood glued to the neck and divided into frets. The fingerboard is usually made of ebony, a dense, dark, and hard wood that provides a smooth feel underneath the left-hand fingers as they move up and down and across the neck. Some fingerboards are made of rosewood.
5. Frets: Thin metal wires on the fingerboard that run perpendicular to the strings. Pressing down a finger behind one of these shortens the vibrating length of the string, changing its pitch. Note: When used in left-hand fingering discussions, fret refers to the space below the actual fret wire.
6. Head or headstock: The slotted section at the top of the neck beyond the nut that holds the tuning machines, where the strings fasten.
7. Lower bout: The large, outwardly curved section of the body that surrounds the bridge.
8. Neck: The long, semicircular piece of wood jutting out from the body, with a head on one end and strings stretching the full length and beyond. Usually made of mahogany, maple, or other hard woods, the neck’s light weight and grain strength enable it to hold its shape while under the considerable tension produced by the taut strings drawn up to pitch.
9. Neck heel, heel: The outward-sticking part of the neck that joins the neck to the sides and back of the body.
10. Nut: A synthetic (formerly ivory or bone) strip of material that sits between the fingerboard and the headstock. Grooves cut into the nut hold the strings in place as they pass through the nut on their way to the tuning machines.
11. Rollers: The white plastic cylinders inside the slots in the head that go perpendicular to the strings and that create a spool for the strings to wrap around as they’re wound up or down to pitch. The rollers rotate by means of the tuning pegs.
12. Saddle: A synthetic (formerly ivory or bone) strip of material that sits in a slot in the bridge. The strings rest on top of the saddle, pressing down on it before passing through the bridge holes, where they’re tied off (or otherwise anchored).
13. Sides: The narrow, curved wooden pieces between the top and back of the guitar. The sides are made of the same wood as the back and serve to hold together the top and back and to help reflect sound out of the body and through the top.
14. Slots: On a classical guitar, the long, oval-shaped holes in the head that expose the rollers and allow the strings to pass through the surface of the head to reach the rollers.
15. Sound hole: The circular opening in the soundboard, directly underneath the strings in the upper bout. The sound hole helps to project the sound, but it isn’t the exclusive source of sound emanating from the guitar.
16. Soundboard or Top: Also referred to as the table, the top is the flat, lighter-colored wood on the body that faces the listener. Its function isn’t to remain rigid and reflect sound but to resonate (vibrate) with the strings, amplifying them and projecting the sound in the process.
17. Strings: The strings are what the guitarist touches (fretting with the left hand, plucking with the right) to make sound. The six strings travel the length of the neck from the head, where they’re wrapped around the tuning machines’ rollers to beyond the fingerboard, where they’re tied off at the bridge. The top three, or treble, strings are solid nylon. The bottom three, or bass, strings have a nylon core and are surrounded by a metal wrap. (All six strings are referred to as nylon strings, even
18. though the bottom three have an outward metal material.) Strings are available at different prices (usually determined by quality) and are categorized by the degree of tension (such as high and medium).
19. Tuning machines: The metal hardware system of gears, shafts, and tuning pegs used to wind the strings to different tensions to get them in tune.
20. Tuning pegs: The handles or buttons of the tuning machines that guitarists grip with their fingers to allow them to tune the strings by tightening or loosening them.
21. Upper bout: The large, outwardly curved section of the body that surrounds the sound hole and the upper frets of the fingerboard.
22. Waist: The narrow, inwardly curved part of the body between the upper bout and the lower bout.