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  2. Fingerboard - Wikipedia

    en.wikipedia.org/wiki/Fingerboard

    Fretted classical guitar fingerboard Fretless violin fingerboard. The fingerboard (also known as a fretboard on fretted instruments) is an important component of most stringed instruments. It is a thin, long strip of material, usually wood, that is laminated to the front of the neck of an instrument.

  3. Classical guitar - Wikipedia

    en.wikipedia.org/wiki/Classical_guitar

    A classical guitar's frets, fretboard, tuners, headstock, all attached to a long wooden extension, collectively constitute its neck. The wood for the fretboard usually differs from the wood in the rest of the neck. The bending stress on the neck is considerable, particularly when heavier gauge strings are used.

  4. Classical guitar technique - Wikipedia

    en.wikipedia.org/wiki/Classical_guitar_technique

    Unlike many players of steel-string and electric guitars, which have a narrower neck and fingerboard, classical guitarists do not place their left-hand thumbs over the top of the neck. Instead, they place them behind the neck, usually behind the second finger.

  5. Inlay (guitar) - Wikipedia

    en.wikipedia.org/wiki/Inlay_(guitar)

    Inlay on guitars or similar fretted instruments are decorative materials set into the wooden surface of the instrument using standard inlay techniques. Although inlay can be done on any part of a guitar, it is most commonly found on the fretboard, headstock—typically the manufacturer's logo—and around the sound hole of acoustic

  6. Fretless guitar - Wikipedia

    en.wikipedia.org/wiki/Fretless_guitar

    A fretless guitar is a guitar with a fingerboard without frets, typically a standard instrument that has had the frets removed, though some custom-built and commercial fretless guitars are occasionally made. [1] The classic fretless guitar was first pioneered in 1976 by Turkish musician Erkan Oğur.

  7. Classical guitar making - Wikipedia

    en.wikipedia.org/wiki/Classical_guitar_making

    While most classical guitar makers are today mainly concerned with making modern classical guitars with their typical fan-bracing or experimenting to make the instrument louder (e.g., "thin-top lattice-braced", "double-top", with results that are not without criticism [45]); they seem to give little consideration to historical sound ideals, or ...

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