The Bend is by far the most used guitar trick in the book. As this picture shows, the trick is to push the string with your fingers while fretting it (bending the string). Usually you bend strings with your ring finger, using your middle and index fingers to help. The string tension increases, changing the sound of the note. If you pick the note and then bend the string, you get the classic wail of the Blues guitar.

Palm Muting is another way to get distinctive sounds out of your guitar. Although it works best on an electric guitar with distortion effects - it can also be used on acoustic guitars. Simply allow the palm of your right hand to touch the strings while you are strumming or picking the strings - this creates a flat sound or thump (depending on your gear). On some acoustic guitars that have excessive bass (the fat E string sounds too loud), you can partially palm mute by only touching the high E string - this will reduce the bass effect when you are strumming chords.

Guitars are normally tuned to E-B-G-D-A-E notes - however you can also use Alternate Tuning. This changes the open notes for one (or more) strings, completely changing the sound and of course the way you play notes. One popular alternate tuning is the Drop D tuning, where the high E string (fattest E string) is tuned down to D instead of E. Some rock and blues songs use alternate tuning - if you are trying to play one of those songs from tab or sheet music, it would be almost impossible to do so without changing the tuning of your guitar.

The Hammer On is another popular trick. When a note is following a previous note by one or more frets, instead of picking the second note - slam your finger down on the next required fret (while holding the previous note). This changes the note to the fret you have hammered on, and gives a forceful tone to the change. The complementary technique to this is the Pull Off, which works in reverse. When you have a note that precedes a previous note by one or more frets, fret the second note while keeping your previous finger down (don't pick the string) - then forcefully "pull" back the previous finger. The trick is to remove the finger rapidly so it doesn't muffle the string vibration - the result is a forceful note change to the next note. In guitar (also called the AXE since the shape of electric guitars are somewhat axe-y) tab, hammer on and pull offs are marked with an arc linking the frets - if its going to a higher numbered fret then its a hammer on, if its going to lower numbered fret its a pull off. A combination of both the hammer on and pull off is called the Trill - where you rapidly hammer on and pull off on the same fret several times (keeping the first finger in place throughout). This creates an undulating sound that like combines both the notes.

These are only a few advanced guitar techniques, click if you need a refresher on Beginner Guitar Lessons.

Auditorium: One of the largest guitar bodies being made today. As the name implies, the sound emitted should fill an auditorium. Keep in mind, larger bodied guitars lose their projection capability, the sound seems to become lost in the larger cavity of the instrument. Yes, it will have a large sound, and tremendous bass response, but seems to lose in projection. Great for fingerstyle.

Orchestra: Little larger than the 00 and 000 models described below, the OM shares many of the same characteristics as the 00 and 000 models. New variations are now available, such as the OM Jumbo which larger than the standard OM but smaller than the Dreadnaught.

The final size, which isn't a steel string design, is the Classical sized guitar. This body size is specifically designed for nylon strings and is almost always fingerpicked. On rare occasion, players will flatpick this style of guitar - such as Willie Nelson and Jose Feliciano has aptly done. And, when guitar (normally having six strings) is played in an Orchestra setting, the nylon is the guitar of choice.

There's also the question of shallow or deep, all Dreadnoughts, and Classicals, have a deep body, more depth adding to the overall cavity of the instrument - this usually contributes to a deeper resonance and more resounding bass shallow guitars, those with less depth on the body, will have more projection and focus while also having a better balance from bass to treble. Shallow body styles are normally found in the Concert size or OOO/OO sizes.

Solid back, solid side and solid top usually provides the best quality of sound - as well as the highest prices. However, affordable alternatives utilize non-solid sides or backs, or even tops - reducing the cost, but it does impact the tone. Laminates (fake wood) are the cheapest, but they generally have poor tonal qualities. While fine for a beginner who is just starting to learn to play - professional musicians or even those who have start to play well just will not be able use a laminate body/top guitar.

There are a number of factors that determine the tonal properties of wood. In addition, tonewoods respond differently in the hands of different makers. They can also take on different characteristics when used in different models of guitars - even those built by the same maker. Whether a particular wood sounds good or bad ultimately depends on who is doing the listening, so any attempt to sort out distinctions can only be subjective.

Perhaps the most important factor a luthier must take into account is velocity of sound, which refers to the speed at which a material transmits received energy. A luthier must design with materials that facilitate the transmission of vibrational energy. Lively materials, those with a high velocity of sound, or low internal damping make the best facilitators.

Most luthiers (though not all) believe that like the wood chosen for the top is the single most important factor in determining the quality of tone of the instrument. It is also interesting to note that the wood itself takes on different characteristics depending on which part of the guitar it's used for. Makers of electric guitars with bolt-on necks have long been aware of the fact that neck and fretboard materials can have a significant bearing on tone. Bridge materials, like fretboards, cannot make or break an instrument, but they serve to enhance or edit the tonal effects of other woods in the guitar's construction.

In conclusion, it is important to remember that wood species can be responsible only for certain aspects of the tone of any guitar. Equally important are design, skill of the maker, and the quality of each individual piece of wood used. Tonewood selection however, can be a determining factor in the creation of a very special guitar or a guitar designed for a specific purpose.

Indian rosewood is also known for high sound velocity and broad range of overtones, strength and complexity in the bottom end and an overall darkness of tone in the rest of the range. Strong mids and highs also contribute a richness of tone to the upper registers. Rosewood guitars also have a pronounced reverberant-like tone quality, caused by audible delays in the onset of certain harmonics. Indian rosewood has a thicker, more midrange overall coloration.

When used for necks, Indian rosewood can help fatten up the midrange.

Sitka Spruce

Spruce is the standard material for soundboards, the most commonly used species being Sitka. Its high stiffness combined with the lightweight characteristics of most softwoods, makes it a recipe for high velocity of sound. A strong fundamental to overtone ratio gives Sitka a powerful direct tone capable of retaining its clarity when played forcefully. This makes Sitka an excellent choice for topwood for players whose style demands a wide dynamic response and a robust, meaty tone. On the other hand, the lack of complex overtones in Sitka can produce a somewhat thin sound when played with a light touch - of course, depending upon the design of the guitar and the other choices of wood in its construction.

Red Spruce

Red spruce is relatively heavy, has a high velocity of sound, and the highest stiffness across and along the grain of all the topwoods. Like Sitka, is has a strong fundamental, but also a more complex overtone content. Tops produce the highest volume, yet they also have a rich fullness of tone that retains clarity at all dynamic levels. In short, red spruce may well be the Holy Grail of topwoods for acoustic steel string guitars.

Maple

Maple, as a result of its greater weight and lower sound velocity, can be downright flat sounding, a blessing in disguise when a guitar is amplified at high sound pressure levels. This is why maple is the wood of choice for electric guitar tops. West Coast big leaf maple is the softest and lightest of the maple family, with a wood grain that resembles waves. Aside from a visually breathtaking pattern, the wavy fibers of 'curly' maple reduce the long grain stiffness and vibrate more freely. (This is the secret to the bright, clear powerful sound of the Parker Fly, the only solid-body guitar made with a curly maple body.

When used as a top, Mahogany has a relatively low velocity of sound, (compared to other topwoods) considerable density and a low overtone content producing a solid tone and respond best at the upper end of the dynamic range. Mahogany topped guitars have a strong "punchy" tone that is well suited to country blues playing.

When considered as back and sides, Mahogany has relatively high velocity of sound, which contributes much overtone coloration. While rosewood guitars may be thought of has having a metallic sound, mahogany guitars sound more wood-like. The harder, denser examples of these woods can take also on the characteristics of the rosewoods. Mahogany back and sides tends to emphasize the bass and the treble.

Mahogany necks help to create a warmer, more 'woody' tonal range. As bridge material, mahogany imparts the same tonal characteristic as it does when used as neck material, only less so.

Koa

Koa has been used for soundboards since the 20's. This hardwood has a relatively low velocity of sound, considerable density and a low overtone content. Therefore, it tends to produce a solid tone and respond best at the upper end of the dynamic range. Koa has a somewhat more 'midrangey' tone that works well for playing rhythm and truly shines in guitars made for Hawaiian-style slide playing.

For back and sides, Koa tends to behave much like mahogany in terms of adding tonal coloration, but it's emphasis is again more in the midrange.

Brazilian Rosewood

The rosewoods contribute to tone coloration. Brazilian rosewood is known for its high sound velocity and broad range of overtones, also characterized by strength and complexity in the bottom end and an overall darkness of tone in the rest of the range. Strong mids and highs also contribute a richness of tone to the upper registers. Rosewood guitars also have a pronounced reverberant-like tone quality, caused by audible delays in the onset of certain harmonics. While both species exhibit complexity, darkness and a reverberant tone, Brazilian rosewood has tremendous clarity in the bottom end and sparkle in the top.

Maple necks can impart a bright "poppy" tone that can do much to reinforce the top end of a large-bodied guitar. Fender electrics tend to use maple necks for the aforementioned "bright poppy" tone. Walnut Black walnut tends to lean slightly more in the tonal direction of mahogany, while claro walnut tends toward tonal transparency.

Alder

Alder is a lightweight wood that is highly resonant, producing a full rich tone. When used for solid-body construction, alder provides a very good low end and midrange with the best performance in the lower mid range. Alder also exhibits good high-end characteristics and sustain.

Poplar

Poplar is a string, dense, yet lightweight hardwood that is unusually resonant. Poplar, when used in solid-body electric guitars, has an exceptionally crisp sound, often described as "spirited" and "bouncy" - even "funky." Poplar guitars are ideal choices for players who favor single-coil snap and clean sound. Swamp Ash Swamp Ash, which grows partially underwater, is a lightweight wood with high stiffness (for high sound velocity), famous for its mid-range snarl and biting response.

Basswood

Basswood is light, stiff, and stable, which makes it particularly effective for necks and bass instruments thanks to its excellent low- end response.

Ebony

Ebony, the traditional material found on the necks of violins, classical guitars, and high-end steel strings, has the lowest velocity of sound of all the woods commonly used and has definite damping characteristics. While not a problem for large-bodied guitars mad of red spruce or Brazilian rosewood, it may be something to consider when designing smaller guitars, particularly those using less resonant tonewoods for tops and backs.