Pada zaman sekarang ini banyak masyarakat yang lebih memilih untuk menggunakan produk-produk bajakan seperti software,film,game,musik,dan lain-lain. Kebanyakan orang lebih memilih menggunakan produk bajakan karena harganya yang lebih murah jika dibandingkan dengan produk yang original(tentu yang original pasti lebih mahal).

FOSS(free/open source software) adalah sebuah kumpulan software yang dapat digunakan dan dapat didownload secara umum dengan bebas tanpa harus membajak software. sekarang ini sudah banyak sekali software yang berbasis open source meliputi OpenOffice,Linux,dan lain-lain.

Seharusnya kita/masyarakat malu menggunakan software bajakan karena melanggar hukum,HAKI,dan lain-lain.oleh karena itu kita sebagai masyarakat dan generasi muda tidak menggunakan software bajakan lagi dan segera beralih ke FOSS(Free/Open Source Software.

The modern guitar is descended from the Roman cithara brought by the Romans to Hispania around 40 AD, and further adapted and developed with the arrival of the four-string oud, brought by the Moors after their conquest of the Iberian peninsula in the 8th century.^[5] Elsewhere in Europe, the indigenous six-string Scandinavian lut (lute), had gained in popularity in areas of Viking incursions across the continent. Often depicted in carvings c. 800 AD, the Norse hero Gunther (also known as Gunnar), played a lute with his toes as he lay dying in a snake-pit, in the legend of Siegfried.^[6] By 1200 AD, the four string “guitar” had evolved into two types: the guitarra morisca (Moorish guitar) which had a rounded back, wide fingerboard and several soundholes, and the guitarra latina (Latin guitar) which resembled the modern guitar with one soundhole and a narrower neck.^[7]

The Spanish vihuela or “viola da mano”, a guitar-like instrument of the 16th century, appears to be an aberration in the transition from the renaissance instrument to the modern guitar. It had lute-style tuning and a guitar-like body. Its construction had as much in common with the modern guitar as with its contemporary four-course renaissance guitar. The vihuela enjoyed only a short period of popularity; the last surviving publication of music for the instrument appeared in 1576. It is not clear whether it represented a transitional form or was simply a design that combined features of the Arabic oud and the European lute. In favor of the latter view, the reshaping of the vihuela into a guitar-like form can be seen as a strategy of differentiating the European lute visually from the Moorish oud.

The Vinaccia family of luthiers is known for developing the mandolin, and may have built the earliest extant six string guitar. Gaetano Vinaccia (1759 – after 1831)^[8] has his signature on the label of a guitar built in Naples, Italy for six strings with the date of 1779.^[9][10] This guitar has been examined and does not show tell-tale signs of modifications from a double-course guitar although fakes are known to exist of guitars and identifying labels from that period.

Modern dimensions of the classical instrument were established by Antonio Torres Jurado (1817-1892), working in Seville in the 1850s. Torres and Louis Panormo of London (active 1820s-1840s) were both responsible for demonstrating the superiority of fan strutting over transverse table bracing.^[11]

The electric guitar was patented by George Beauchamp in 1936. Beauchamp co-founded Rickenbacher which used the horseshoe-magnet pickup. However, it was Danelectro that first produced electric guitars for the wider public.

Types of guitar

Guitars can be divided into two broad categories, acoustic and electric:

Acoustic guitars

An acoustic guitar is one not dependent on an external device to be heard but uses a soundboard which is a wooden piece mounted on the front of the guitar’s body. The acoustic guitar is quieter than other instruments commonly found in bands and orchestras so when playing within such groups it is often externally amplified. Many acoustic guitars available today feature a variety of pickups which enable the player to amplify and modify the raw guitar sound.

There are several notable subcategories within the acoustic guitar group: classical and flamenco guitars; steel string guitars, which include the flat top or “folk” guitar; twelve string guitars and the arch top guitar. The acoustic guitar group also includes unamplified guitars designed to play in different registers such as the acoustic bass guitar which has a similar tuning to that of the electric bass guitar.

Renaissance and Baroque guitars

These are the gracile ancestors of the modern classical guitar. They are substantially smaller and more delicate than the classical guitar, and generate a much quieter sound. The strings are paired in courses as in a modern 12 string guitar, but they only have four or five courses of strings rather than six. They were more often used as rhythm instruments in ensembles than as solo instruments, and can often be seen in that role in early music performances. (Gaspar Sanz‘ Instrucción de Música sobre la Guitarra Española of 1674 constitutes the majority of the surviving solo corpus for the era.) Renaissance and Baroque guitars are easily distinguished because the Renaissance guitar is very plain and the Baroque guitar is very ornate, with inlays all over the neck and body, and a paper-cutout inverted “wedding cake” inside the hole.

Classical guitars

These are typically strung with nylon strings, played in a seated position and are used to play a diversity of musical styles including classical music. The classical guitar is designed to allow for the execution of solo polyphonic arrangements of music in much the same manner as the pianoforte can. This is the major point of difference in design intent between the classical instrument and other designs of guitar. Flamenco guitars are very similar in construction, but are associated with a more percussive tone. In Mexico, the popular mariachi band includes a range of guitars, from the tiny requinto to the guitarron, a guitar larger than a cello, which is tuned in the bass register. In Colombia, the traditional quartet includes a range of instruments too, from the small bandola (sometimes known as the Deleuze-Guattari, for use when traveling or in confined rooms or spaces), to the slightly larger tiple, to the full sized classical guitar. The requinto also appears in other Latin-American countries as a complementary member of the guitar family, with its smaller size and scale, permitting more projection for the playing of single-lined melodies. Modern dimensions of the classical instrument were established by Antonio Torres Jurado (1817-1892). Classical guitars are sometimes referred to as classic guitars.

The modern Ten-string guitar

To put it succinctly, the addition to the guitar of four strings tuned a specific way (C, A♯, G♯, F♯) is to this instrument as the invention of the various pedals is to the piano. To appreciate the analogy, three concepts first need to be understood. These are that: there exists a phenomenon called resonance; a string has certain resonant frequencies corresponding to its overtones or harmonics; the guitar’s fingerboard is normally tempered so that, of the pitches produced by the left hand on the fingerboard, really only the octaves of the open strings, and to a large extent their fifths, are ‘in tune’ with the strings’ resonant frequencies. As a consequence of the above, the fact of the matter is that the (normal) guitar as an instrument has an inherent inconsistency between those sounds produced on the fingerboard that are effectively enforced and sustained by so-called sympathetic resonance (that is E, B, A, and D) and those other eight tones of the chromatic octave, each of which lacks the same support from a sympathetic string, in other words, from a string whose strongest resonant frequencies (that is, fundamental, octaves or fifths) include a resonant frequency that corresponds to the pitch produced on the fingerboard. This inconsistency has been corrected by the introduction of the modern 10-string guitar.

Conceived in 1963 by Narciso Yepes, the concept of the modern 10-string guitar follows a strict musical and scientific logic. Yepes discovered that, by adding four strings tuned to four very specific pitches, string resonance would be available for all 12 tones of the chromatic octave, without introducing any redundant resonances (more of E, B, A, and D) that would serve only to perpetuate, or worse, augment the inconsistency. In other words, the invention of Yepes was the addition of the strings C, A♯, G♯, F♯, which vibrate when pitches corresponding to their resonant frequencies are initiated on adjacent strings. Thus (to consider only one of these tuned resonators, the 10th string, or F♯): if F♯ is played (on the 6th string), the 10th string will resonate in unison. Likewise, it will produce the higher octaves f♯, or f♯‘ when these pitches are played on higher strings. In addition, this same F♯-string will resonate when its fifth is played, producing the tones of c♯ or c♯‘. In the same manner each of the twelve tones of the chromatic octave is now supported by a string resonator, and (should the performer so wish) any tone can be sustained beyond the moment when the left-hand finger has let go of (or shifted position on) the string upon which the sound was initiated. The analogy to the pedals of the piano should now be evident. It should also be noted that (correctly understood) the idea of the modern 10-string guitar is, in a sense, exactly contrary to what is in the popular opinion considered to be the ‘obvious’ reasons for adding extra strings, that is to say extended bass range as open strings and/or simplification of left-hand technique through the avoidance of barrés and stretches. While the modern 10-string guitar does offer the extended bass range (scordatura of the 7th, or lowest, string is possible down to Helmholtz A1), it is contrary to other so-called ‘multi-string’ guitars, including ones that arbitrarily also have ten strings, in the sense that these make no attempt to resolve the resonance issue and, indeed, even augment it when additional B, A, or D strings (and their resonances) are introduced. Nevertheless, for better or worse, the popular opinion seems to prefer (as far as methods of stringing and tuning go) the 19th century concept of a 10-string guitar (extra basses for the sake of extra basses) rather than the nuanced interpretative possibilities that the modern instrument has to offer.^[12][13][14]

Portuguese guitar

The Portuguese guitar is a 12 string guitar used in Portugal for the traditional Fado song. Its true origins are somewhat uncertain but there is a general agreement that it goes back to the medieval period. It is often mistakenly thought to be based on the so-called “English guitar” – a common error as there is no such thing. For some time the best instruments of this and other types were made in England, hence the confusion. “English guitar” refers to a quality standard, not really an instrument type.^{[citation needed]} This particular instrument is most likely a merge of medieval “cistre” or “citar” and the Arabic lute.

Flat-top (steel-string) guitars

Similar to the classical guitar, however, within the varied sizes of the steel-stringed guitar the body size is usually significantly larger than a classical guitar and it has a narrower, reinforced neck and stronger structural design. This allows the instrument to withstand the additional tension of steel strings. The steel strings produce a brighter tone, and according to many players, a louder sound. The acoustic guitar is used in many kinds of music including folk, country, bluegrass,pop, jazz and blues.

Archtop guitars

These are steel string instruments which feature a violin-inspired f-hole design in which the top (and often the back) of the instrument are carved in a curved rather than a flat shape. Lloyd Loar of the Gibson Guitar Corporation invented this variation of guitar after designing a style of mandolin of the same type. The typical Archtop is a deep, hollow body guitar whose form is much like that of a mandolin or violin family instrument and may be acoustic or electric. Some solid body electric guitars are also considered archtop guitars although usually ‘Archtop guitar’ refers to the hollow body form. Archtop guitars were immediately adopted upon their release by both jazz and country musicians and have remained particularly popular in jazz music, usually with flatwound strings. The electric semi-hollow body archtop guitar has a distinct sound among electric guitars and is consequently appropriate for many styles of pop music. Many electric archtop guitars intended for use in rock and roll have a Tremolo Arm.

Ellis 8 string baritone tricone resonator guitar.

Resonator, resophonic or Dobro guitars

Similar to the flat top guitar in appearance, the sound of the resonator guitar is produced by a metal resonator mounted in the middle of the top. The physical principle of the guitar is therefore similar to the banjo. The original purpose of the resonator was to amplify the sound of the guitar. This purpose has been largely superseded by electrical amplification, but the resonator guitar is still played because of its distinctive sound. Resonator guitars may have either one resonator cone or three resonator cones. Three-cone resonators have two cones on the left above one another and one cone immediately to the right. The method of transmitting sound resonance to the cone is either a “biscuit” bridge, made of a small piece of hardwood, or a “spider” bridge, made of metal and larger in size. Three-cone resonators always use a specialized metal spider bridge.The type of resonator guitar with a neck with a square cross-section — called “square neck” — is usually played face up, on the lap of the seated player, and often with a metal or glass slide. The round neck resonator guitars are normally played in the same fashion as other guitars, although slides are also often used, especially in blues.

12 string guitars

The twelve string guitar usually has steel strings and is widely used in folk music, blues and rock and roll. Rather than having only six strings, the 12-string guitar has six courses made up of two strings each, like a mandolin or lute. The highest two courses are tuned in unison, while the others are tuned in octaves. The 12-string guitar is also made in electric forms.

Russian guitars

These are seven string acoustic guitars which were the norm for Russian guitarists throughout the 19th and well into the 20th centuries. The guitar is traditionally tuned to an open G major tuning.

Acoustic bass guitars

Have steel strings or gut strings and often the same tuning as an electric bass guitar.

Tenor guitars

There is very sketchy background information about tenor guitars on the Internet. A number of classical guitarists call the Niibori prime guitar a “Tenor Guitar” on the grounds that it sits in pitch between the alto and the bass. Elsewhere^{[citation needed]}the name is taken for a 4-string guitar with a scale length of 23″ (585 mm) – about the same as a Terz Guitar. The tenor guitar is tuned in fifths, C G D A, as is the tenor banjo and the cello. It is generally accepted^{[citation needed]} that the tenor guitar was created to allow a tenor banjo player to follow the fashion as it evolved from Dixieland Jazz towards the more progressive Jazz that featured guitar. It allows a tenor banjo player to provide a guitar-based rhythm section with little to learn. A small minority of players close tuned the instrument to D G B E to produce a deep instrument that could be played with the 4-note chord shapes found on the top 4 strings of the guitar or ukulele. The deep pitch warrants the wide-spaced chords that the banjo tuning permits, and the close tuned tenor does not have the same full, clear sound.

Harp guitars

Harp Guitars are difficult to classify as there are many variations within this type of guitar. They are typically rare and uncommon in the popular music scene. Most consist of a regular guitar, plus additional ‘harp’ strings strung above the six normal strings. The instrument is usually acoustic and the harp strings are usually tuned to lower notes than the guitar strings, for an added bass range. Normally there is neither fingerboard nor frets behind the harp strings. Some harp guitars also feature much higher pitch strings strung below the traditional guitar strings. The number of harp strings varies greatly, depending on the type of guitar and also the player’s personal preference (as they have often been made to the player’s specification). [2] The Pikasso guitar; 4 necks, 2 sound holes, 42 strings] and also the Oracle Harp Sympitar; 24 strings (with 12 sympathetic strings protruding through the neck) are modern examples.

Extended-range guitars

For well over a century guitars featuring seven, eight, nine, ten or more strings have been used by a minority of guitarists as a means of increasing the range of pitch available to the player. Usually, it is bass strings that are added. Classical guitars with an extended range are useful for playing lute repertoire, some of which was written for lutes with more than six courses.

Guitar battente

The battente is smaller than a classical guitar, usually played with four or five metal strings. It is mainly used in Calabria (a region in southern Italy) to accompany the voice.

This Fender Stratocaster has features common to many electric guitars: multiple pickups, a whammy bar, volume and tone knobs.

Electric guitars

Main article: Electric guitar

Electric guitars can have solid, semi-hollow, or hollow bodies, and produce little sound without amplification. Electromagnetic pickups convert the vibration of the steel strings into electrical signals which are fed to an amplifier through a cable or radio transmitter. The sound is frequently modified by other electronic devices or the natural distortion of valves (vacuum tubes) in the amplifier. There are two main types of pickup, single and double coil (or humbucker), each of which can be passive or active. The electric guitar is used extensively in jazz, blues, and rock and roll, and was commercialized by Gibson in collaboration with Les Paul, and independently by Leo Fender of Fender Music. The lower fretboard action (the height of the strings from the fingerboard) and its electrical amplification lend the electric guitar to some techniques which are less frequently used on acoustic guitars. These include tapping, extensive use of legato through pull-offs and hammer-ons (also known as slurs), pinch harmonics, volume swells, and use of a tremolo arm or effects pedals.

Seven-strings were popularized in the 1980s and 1990s in part due to the release of the Ibanez Universe guitar, endorsed by Steve Vai. Other artists go a step further, by using an 8 string guitar with two extra low strings. Although the most common 7-string has a low B string, Roger McGuinn (of The Byrds and Rickenbacker) uses an octave G string paired with the regular G string as on a 12 string guitar, allowing him to incorporate chiming 12 string elements in standard 6 string playing.

The electric bass guitar is similar in tuning to the traditional double bass viol. Hybrids of acoustic and electric guitars are also common. There are also more exotic varieties, such as guitars with two, three,^[15] or rarely four necks, all manner of alternate string arrangements, fretless fingerboards (used almost exclusively on bass guitars, meant to emulate the sound of a stand-up bass), 5.1 surround guitar, and such.

Some electric guitar and electric bass guitar models feature Piezoelectric pickups, which function as transducers to provide a sound closer to that of an acoustic guitar with the flip of a switch or knob, rather than switching guitars.

Guitar construction and components

1. Headstock
2. Nut
3. Machine heads (or pegheads, tuning keys, tuning machines, tuners)
4. Frets
5. Truss rod
6. Inlays
7. Neck
8. Heel (acoustic) – Neckjoint (electric)
9. Body
10. Pickups
11. Electronics
12. Bridge
13. Pickguard
14. Back
15. Soundboard (top)
16. Body sides (ribs)
17. Sound hole, with Rosette inlay
18. Strings
19. Saddle
20. Fretboard (or Fingerboard)

General

Guitars can be constructed to meet the demands of both left and right-handed players. Traditionally the dominant hand is assigned the task of plucking or strumming the strings. For the majority of people this entails using the right hand. This is because musical expression (dynamics, tonal expression and colour etc) is largely determined by the plucking hand, whilst the fretting hand is assigned the lesser mechanical task of depressing and gripping the strings. This is similar to the convention of the violin family of instruments where the right hand controls the bow. A minority, however, believe that left-handed people should learn to play guitars strung in the manner used by right-handed people, simply to standardise the instrument.

Headstock

Main article: Headstock

The headstock is located at the end of the guitar neck furthest from the body. It is fitted with machine heads that adjust the tension of the strings, which in turn affects the pitch. Traditional tuner layout is “3+3″ in which each side of the headstock has three tuners (such as on Gibson Les Pauls). In this layout, the headstocks are commonly symmetrical. Many guitars feature other layouts as well, including six-in-line (featured on Fender Stratocasters) tuners or even “4+2″ (Ernie Ball Music Man). However, some guitars (such as Steinbergers) do not have headstocks at all, in which case the tuning machines are located elsewhere, either on the body or the bridge.

Nut

Main article: Nut (instrumental)

The nut is a small strip of bone, plastic, brass, corian, graphite, stainless steel, or other medium-hard material, at the joint where the headstock meets the fretboard. Its grooves guide the strings onto the fretboard, giving consistent lateral string placement. It is one of the endpoints of the strings’ vibrating length. It must be accurately cut, or it can contribute to tuning problems due to string slippage, and/or string buzz.

Fretboard

Main article: Fingerboard

Also called the fingerboard, the fretboard is a piece of wood embedded with metal frets that comprises the top of the neck. It is flat on classical guitars and slightly curved crosswise on acoustic and electric guitars. The curvature of the fretboard is measured by the fretboard radius, which is the radius of a hypothetical circle of which the fretboard’s surface constitutes a segment. The smaller the fretboard radius, the more noticeably curved the fretboard is. Most modern guitars feature a 12″ neck radius, while older guitars from the ’60′s and ’70′s usually feature a 6″ – 8″ neck radius. Pinching a string against the fretboard effectively shortens the vibrating length of the string, producing a higher pitch. Fretboards are most commonly made of rosewood, ebony, maple, and sometimes manufactured or composite materials such as HPL or resin. See below on section ‘Neck” for the importance of the length of the fretboard in connection to other dimensions of the guitar.

Frets

Main article: Fret

Frets are metal strips (usually nickel alloy or stainless steel) embedded along the fretboard and located at exact points that divide the scale length in accordance with a specific mathematical formula. Pressing a string against a fret determines the strings’ vibrating length and therefore its resultant pitch. The pitch of each consecutive fret is defined at a half-step interval on the chromatic scale. Standard classical guitars have 19 frets and electric guitars between 21 to 24 frets.

Frets are laid out to a mathematical ratio that results in equal tempered division of the octave. The ratio of the spacing of two consecutive frets is the twelfth root of two , whose numeric value is about 1.059463. The twelfth fret divides the scale length in two exact halves and the 24th fret position divides the scale length in half yet again. Every twelve frets represents one octave. In practice, luthiers determine fret positions using the constant 17.817, which is derived from the twelfth root of two. The scale length divided by this value yields the distance from the nut to the first fret. That distance is subtracted from the scale length and the result is divided in two sections by the constant to yield the distance from the first fret to the second fret. Positions for the remainder of the frets are calculated in like manner.^[16]

There are several different fret gauges, which can be fitted according to player preference. Among these are “jumbo” frets, which have much thicker gauge, allowing for use of a slight vibrato technique from pushing the string down harder and softer. “Scalloped” fretboards, where the wood of the fretboard itself is “scooped out” between the frets allows a dramatic vibrato effect. Fine frets, much flatter, allow a very low string-action but require other conditions such as curvature of the neck to be well maintained in order to prevent buzz. Frets worn down from heavy use can be replaced or, to a certain extent, re-shaped as required.

Truss rod

Main article: Truss rod

The truss rod is a metal rod that runs along the inside of the neck. It is used to correct changes to the neck’s curvature caused by the neck timbers aging, changes in humidity or to compensate for changes in the tension of strings. The tension of the rod and neck assembly is adjusted by a hex nut or an allen-key bolt on the rod, usually located either at the headstock, sometimes under a cover, or just inside the body of the guitar underneath the fretboard and accessible through the sound hole. Some truss rods can only be accessed by removing the neck. The truss rod counteracts the immense amount of tension the strings place on the neck, bringing the neck back to a straighter position. Turning the truss rod clockwise will tighten it, counteracting the tension of the strings and straightening the neck or creating a backward bow. Turning the truss rod counter-clockwise will loosen it, allowing string tension to act on the neck and creating a forward bow. Adjusting the truss rod affects the intonation of a guitar as well as the height of the strings from the fingerboard, called the action. Some truss rod systems, called “double action” truss systems, tighten both ways, allowing the neck to be pushed both forward and backward (standard truss rods can only be released to a point beyond which the neck will no longer be compressed and pulled backward). Classical guitars do not require truss rods as their nylon strings exert a lower tensile force with lesser potential to cause structural problems.

Inlays

Main article: Inlay (guitar)

Inlays are visual elements set into the exterior surface of a guitar. The typical locations for inlay are on the fretboard, headstock, and on acoustic guitars around the soundhole, known as the rosette. Inlays range from simple plastic dots on the fretboard to intricate works of art covering the entire exterior surface of a guitar (front and back). Some guitar players have used LEDs in the fretboard to produce a unique lighting effects onstage.

Fretboard inlays are most commonly shaped like dots, diamond shapes, parallelograms, or large blocks in between the frets. Dots are usually inlaid into the upper edge of the fretboard in the same positions, small enough to be visible only to the player. Some older or high-end instruments have inlays made of mother of pearl, abalone, ivory, coloured wood or other exotic materials and designs. Simpler inlays are often made of plastic or painted. High-end classical guitars seldom have fretboard inlays as a well trained player is expected to know his or her way around the instrument.

In addition to fretboard inlay, the headstock and soundhole surround are also frequently inlaid. The manufacturer’s logo or a small design is often inlaid into the headstock. Rosette designs vary from simple concentric circles to delicate fretwork mimicking the historic rosette of lutes. Bindings that edge the finger and sound boards are sometimes inlaid. Some instruments have a filler strip running down the length and behind the neck, used for strength and/or to fill the cavity through which the trussrod was installed in the neck.

Elaborate inlays are a decorative feature of many limited edition, high-end and custom-made guitars. Guitar manufacturers often release such guitars to celebrate significant or historic milestones.

Neck

Main article: Neck (music)

A guitar’s frets, fretboard, tuners, headstock, and truss rod, all attached to a long wooden extension, collectively constitute its neck. The wood used to make the fretboard will usually differ from the wood in the rest of the neck. The bending stress on the neck is considerable, particularly when heavier gauge strings are used (see Strings and tuning), and the ability of the neck to resist bending (see Truss rod) is important to the guitar’s ability to hold a constant pitch during tuning or when strings are fretted. The rigidity of the neck with respect to the body of the guitar is one determinant of a good instrument versus a poor one. The shape of the neck can also vary, from a gentle “C” curve to a more pronounced “V” curve. There are many different types of neck profiles available, giving the guitarist many options. Some aspects to consider in a guitar neck may be the overall width of the fingerboard, scale (distance between the frets), the neck wood, the type of neck construction (for example, the neck may be glued in or bolted on), and the shape (profile) of the back of the neck. Other type of material used to make guitar necks are graphite (Steinberger guitars), aluminium (Kramer Guitars, Travis Bean and Veleno guitars), or carbon fiber (Modulus Guitars and ThreeGuitars).

Neck joint or ‘Heel’

See also: Set-in neck, Bolt-on neck, and Neck-through

This is the point at which the neck is either bolted or glued to the body of the guitar. Almost all acoustic guitars, with the primary exception of Taylors, have glued (otherwise known as set) necks, while electric guitars are constructed using both types.

Commonly used set neck joints include mortise and tenon joints (such as those used by CF Martin & Co. guitars), dovetail joints (also used by CF Martin on the D28 and similar models) and Spanish heel neck joints which are named after the shoe they resemble and commonly found in classical guitars. All three types offer stability. Bolt-on necks, though they are historically associated with cheaper instruments, do offer greater flexibility in the guitar’s set-up, and allow easier access for neck joint maintenance and repairs.

Another type of neck, only available for solid body electric guitars, is the neck-through-body construction. These are designed so that everything from the machine heads down to the bridge are located on the same piece of wood. The sides (also known as wings) of the guitar are then glued to this central piece. Some luthiers prefer this method of construction as they claim it allows better sustain of each note. Some instruments may not have a neck joint at all, having the neck and sides built as one piece and the body built around it.

Strings

See also: Classical guitar strings

Modern guitar strings are manufactured in either metal or organo-carbon material. Instruments utilising “steel” strings may have strings made of alloys incorporating steel, nickel or phosphor bronze. Classical and flamenco instruments have historically used gut strings but these have been superseded by nylon and carbon-fibre materials. Bass strings for both instruments are wound rather than monofilament.

Guitar strings are strung almost parallel to the neck, whose surface is covered by the fingerboard (fretboard). By depressing a string against the fingerboard, the effective length of the string can be changed, which in turn changes the frequency at which the string will vibrate when plucked. Guitarists typically use one hand to pluck the strings and the other to depress the strings against the fretboard.

The strings may be plucked using either the fingers or a pick (or plectrum).

Body (acoustic guitar)

See also: Sound box

In acoustic guitars, string vibration is transmitted through the bridge and saddle to the body via sound board. The sound board is typically made of tone woods such as spruce or cedar. Timbers for tone woods are chosen for both strength and ability to transfer mechanical energy from the strings to the air within the guitar body. Sound is further shaped by the characteristics of the guitar body’s resonant cavity.

In electric guitars, transducers known as pickups convert string vibration to an electric signal, which in turn is amplified and fed to speakers, which vibrate the air to produce the sound we hear. Nevertheless, the body of the electric guitar still performs a role in shaping the resultant tonal signature.

In an acoustic instrument, the body of the guitar is a major determinant of the overall sound quality. The guitar top, or soundboard, is a finely crafted and engineered element made of tonewoods such as spruce and red cedar. This thin piece of wood, often only 2 or 3mm thick, is strengthened by differing types of internal bracing. The top is considered by many luthiers to be the dominant factor in determining the sound quality. The majority of the instrument’s sound is heard through the vibration of the guitar top as the energy of the vibrating strings is transferred to it.

Body size, shape and style has changed over time. 19th century guitars, now known as salon guitars, were smaller than modern instruments. Differing patterns of internal bracing have been used over time by luthiers. Torres, Hauser, Ramirez, Fleta, and C.F. Martin were among the most influential designers of their time. Bracing not only strengthens the top against potential collapse due to the stress exerted by the tensioned strings, but also affects the resonance characteristics of the top. The back and sides are made out of a variety of timbers such as mahogany, Indian rosewood and highly regarded Brazilian rosewood (Dalbergia nigra). Each one is primarily chosen for their aesthetic effect and can be decorated with inlays and purfling.

The body of an acoustic guitar has a sound hole through which sound is projected. The sound hole is usually a round hole in the top of the guitar under the strings. Air inside the body vibrates as the guitar top and body is vibrated by the strings, and the response of the air cavity at different frequencies is characterised, like the rest of the guitar body, by a number of resonance modes at which it responds more strongly.

Instruments with larger areas for the guitar top were introduced by Martin in an attempt to create louder volume levels. The popularity of the larger “dreadnought” body size amongst acoustic performers is related to the greater sound volume produced.

Body (electric guitar)

See also: Solid body

Most electric guitar bodies are made of wood and include a plastic pick guard. Boards wide enough to use as a solid body are very expensive due to the worldwide depletion of hardwood stock since the 70′s, so the wood is rarely one solid piece. Most bodies are made of two pieces of wood with some of them including a seam running down the centre line of the body. The most common woods used for electric guitar body construction include maple, basswood, ash, poplar, alder, and mahogany. Many bodies will consist of good sounding but inexpensive woods, like ash, with a “top”, or thin layer of another, more attractive wood (such as maple with a natural “flame” pattern) glued to the top of the basic wood. Guitars constructed like this are often called “flame tops”. The body is usually carved or routed to accept the other elements, such as the bridge, pickup, neck, and other electronic components. Most electrics have a polyurethane or nitrocellulose lacquer finish. Other alternative materials to wood, are used in guitar body construction. Some of these include carbon composites, plastic material (such as polycarbonate) and aluminium alloys.

Pickups

Main article: Pickup (music)

Pickups are transducers attached to a guitar that detect (or “pick up”) string vibrations and convert the mechanical energy of the string into electrical energy. The resultant electrical signal can then be electronically amplified. The most common type of pickup is electromagnetic in design. These contain magnets that are tightly wrapped in a coil, or coils, of copper wire. Such pickups are usually placed right underneath the guitar strings. Electromagnetic pickups work on the same principles and in a similar manner to an electrical generator. The vibration of the strings causes a small voltage to be created in the coils surrounding the magnets, this signal voltage is later amplified.

Traditional electromagnetic pickups are either single-coil or double-coil. Single coil pickups are susceptable to noise induced from electric fields, usually mains-frequency (60 or 50 hertz) hum. The introduction of the double-coil humbucker in the mid-50′s did away with this problem through the use of two coils, one of which is wired in a reverse polarity orientation.

The type and model of pickups used can greatly affect the tone of the guitar. Typically, humbuckers, which are two magnet/coil assemblies attached to each other are traditionally associated a heavier sound. Single coil pickups, one magnet wrapped in copper wire, are used by guitarists seeking a brighter, twangier sound with greater dynamic range.

Modern pickups are tailored to the sound desired. A commonly applied approximation used in selection of pickup is that less wire (lower dc resistance) = brighter sound, more wire = “fat” tone. Other options include specialized switching that produces coil-splitting, in/out of phase and other effects. Guitar circuits are either active, needing a battery to power their circuit, or, as in most cases, equipped with a passive circuit.

Fender Stratocaster type guitars generally utilize 3 single coil pickups, while most Gibson Les Paul types use humbucker pickups.

Piezoelectric, or piezo, pickups represent another class of pickup. These employ piezoelectricity to generate the musical signal and are popular in hybrid electro-acoustic guitars. A crystal is located under each string, usually in the saddle. When the string vibrates, the shape of the crystal is distorted, and the stresses associated with this change produce tiny voltages across the crystal that can be amplified and manipulated.

Some piezo equipped guitars use what is known as a hexaphonic pickup. “Hex” is a prefix meaning six. In a hexaphonic pickup separate outputs are obtained from discrete piezoelectric pickups for each of the six strings. This arrangement allows the signal to be easily modified by on-board modelling electronics, as in the Line 6 Variax brand of electric guitars, the guitars allow for a variety of different sounds to be obtained by digitally manipulating the signal. This allows a guitar to mimic many vintage models of guitar, as well as output alternate tunings without the need to adjust the strings.

Another use for hexaphonic pickups is to send the output signals to a MIDI interpretation device, which determines the note pitch, duration, attack and decay characteristics and so forth. The MIDI (Musical Instrument Digital Interface) interpreter then sends the note information to a sound bank device. The resulting sound can closely mimic numerous types of instrument.

Electronics

On guitars that have them, these components and the wires that connect them allow the player to control some aspects of the sound like volume or tone. These at their simplest consist of passive components such as potentiometers and capacitors, but may also include specialized integrated circuits or other active components requiring batteries for power, for preamplification and signal processing, or even for assistance in tuning. In many cases the electronics have some sort of shielding to prevent pickup of external interference and noise.

Lining, Binding, Purfling

The top, back and ribs of an acoustic guitar body are very thin (1-2 mm), so a flexible piece of wood called lining is glued into the corners where the rib meets the top and back. This interior reinforcement provides 5 to 20 mm of solid gluing area for these corner joints. Solid linings are often used in classical guitars, while kerfed lining is most often found in steel string acoustics. Kerfed lining is also called kerfing (because it is scored, or kerfed to allow it to bend with the shape of the rib).

During final construction, a small section of the outside corners is carved or routed out and then filled with binding material on the outside corners and decorative strips of material next to the binding, which are called purfling. This binding serves to seal off the endgrain of the top and back. Purfling can also appear on the back of an acoustic guitar, marking the edge joints of the two or three sections of the back.

Binding and purfling materials are generally made of either wood or plastic.

Bridge

Main article: Bridge (instrument)

The main purpose of the bridge on an acoustic guitar is to transfer the vibration from the strings to the soundboard, which vibrates the air inside of the guitar, thereby amplifying the sound produced by the strings.

On both electric and acoustic guitars, the bridge holds the strings in place on the body. There are many varied bridge designs. There may be some mechanism for raising or lowering the bridge to adjust the distance between the strings and the fretboard (action), and/or fine-tuning the intonation of the instrument. Some are spring-loaded and feature a “whammy bar“, a removable arm which allows the player to modulate the pitch moving the bridge up and down. The whammy bar is sometimes also referred to as a “tremolo bar” (see Tremolo for further discussion of this term – the effect of rapidly changing pitch produced by a whammy bar is more correctly called “vibrato”). Some bridges also allow for alternate tunings at the touch of a button.

On almost all modern electric guitars, the bridge is adjustable for each string so that intonation stays correct up and down the neck. If the open string is in tune but sharp or flat when frets are pressed, the bridge can be adjusted with a screwdriver or hex key to remedy the problem. In general, flat notes are corrected by moving the bridge forward and sharp notes by moving it backwards. On an instrument correctly adjusted for intonation, the actual length of each string from the nut to the bridge saddle will be slightly but measurably longer than the scale length of the instrument. This additional length is called compensation, which flattens all notes a bit to compensate for the sharping of all fretted notes caused by stretching the string during fretting.

Pickguard

Main article: Pickguard

Also known as a scratchplate. This is usually a piece of laminated plastic or other material that protects the finish of the top of the guitar from damage due to the use of a plectrum or fingernails. Electric guitars sometimes mount pickups and electronics on the pickguard. It is a common feature on steel-string acoustic guitars. Vigorous performance styles such as flamenco, which can involve the use the guitar as a percussion instrument, call for a scratchplate to be fitted to nylon-string instruments.

Vibrato Arm

Main article: Tremolo arm

The Vibrato (pitch bend) unit found on many electric guitars has also had slang terms applied to it, such as “tremolo bar (or arm)”, “sissy bar”, “wang bar”, “slam handle”, “whammy handle”, and “whammy bar”. The latter two slang terms led stompbox manufacturers to use the term ‘whammy’ in coming up with a pitch raising effect introduced by popular guitar effects pedal brand “Digitech“.

Leo Fender, who did much to create the electric guitar, also created much confusion over the meaning of the terms “tremolo” and “vibrato”, specifically by misnaming the “tremolo” unit on many of his guitars and also the “vibrato” unit on his “Vibrolux” amps. In general, vibrato is a variation in pitch, whereas tremolo is a variation in volume, so the tremolo bar is actually a vibrato bar and the “Vibrolux” amps actually had a tremolo effect. However, following Fender’s example, electric guitarists traditionally reverse these meanings when speaking of hardware devices and the effects they produce. See vibrato unit for a more detailed discussion, and tremolo arm for more of the history.

A distinctly different form of mechanical vibrato found on some guitars is the Bigsby vibrato tailpiece, commonly called Bigsby. This vibrato wraps the strings around a horizontal bar, which is then rotated with a handle by the musician.

Another type of pitch bender is the B-Bender, a spring and lever device mounted in an internal cavity of a solid body electric, guitar that allows the guitarist to bend just the B string of the guitar using a lever connected to the strap handle of the guitar. The resulting pitch bend is evocative of the sound of the pedal steel guitar.

Guitar Strap

Strip of fabric with a leather or synthetic leather piece on each end. Made to hold a guitar via the shoulders, at an adjustable length to suit the position you favour in guitar-playing.

Tuning

Main article: Guitar tuning

The guitar is a transposing instrument. Its pitch sounds one octave lower than it is notated.

A variety of different tunings are used. The most common by far, known as “Standard Tuning” (EAdgbe’), is as follows (Helmholtz pitch notation):

• sixth (lowest tone) string: low E (a minor thirteenth below middle C—82.4 Hz)
• fifth string: A (a minor tenth below middle C—110 Hz)
• fourth string: d (a minor seventh below middle C—146.8 Hz)
• third string: g (a perfect fourth below middle C—196.0 Hz)
• second string: b (a minor second below middle C—246.92 Hz)
• first (highest tone) string: e’ (a major third above middle C—329.6 Hz)

A table to depict pitch names found over the six strings of a guitar in standard tuning, from the nut (zero), to the twelfth fret.

A guitar using this tuning can tune to itself using the fact, with a single exception, that the 5th fret on one string is the same note as the next open string; that is, a 5th-fret note on the sixth string is the same note as the open fifth string. The exception is the interval between the second and third strings, in which the 4th-fret note on the third string is equivalent to the open second string.

Standard tuning has evolved to provide a good compromise between simple fingering for many chords and the ability to play common scales with minimal left hand movement. There are also a variety of commonly used alternate tunings – most of which are chord voicings that can be played on open strings or made by moving the capo. Alternate tunings are used for two main reasons: the ease of playing and the variation in tone that can be achieved.

Many guitarists use a long established, centuries-old tuning variation where the lowest string is ‘dropped’ two semi-tones down. Known as Drop-D (or dropped D) tuning it is, from low to high, DAdgbe’. This allows for open string tonic and dominant basses in the keys of D and D minor. It also enables simple fifths (powerchords) to be easily played without the need for a high technical skill level. Eddie Van Halen sometimes uses a device known as a ‘D Tuna,’ the patent for which he owns. It is a small lever, attached to the fine tuner of the 6th string on a Floyd Rose tremolo, which allows him to easily drop that string’s tuning to a D. Many contemporary rock bands downtune the entire tuning by several semi-tones, making, for example, Drop-C or Drop-B tunings, However this terminology is inconsistent with that of “drop-D” as “drop-D” refers to dropping a single string to the named pitch. Often these new tunings are also simply referred to as the “Standard” of the note in question e.g. – “D Standard” (DGcfad’). Many other open tunings, where all of the strings are tuned to a similar note or chord, are popular for slide guitar playing.

Some guitarists tune in straight fourths, avoiding the major third between the third and second strings. While this makes playing major and minor triads slightly more difficult, it facilitated playing chords with more complicated extended structures^{[citation needed]}. One exponent of the straight fourth tuning (EADGCF) is Stanley Jordan.

As with all stringed instruments a large number of scordatura are possible on the guitar. A common form of scordatura involves tuning the 2nd string to Bb to mimic the standard tuning of the lute^{[citation needed]}, especially when playing renaissance repertoire originally written for the lute.

Guitar accessories

Though a guitar may be played on its own, there are a variety of common accessories used for holding and playing the guitar.

Capotasto

Main article: Capo

A capodastra (or capo, cejilla in Spanish) is used to change the pitch of open strings. Capos are clipped onto the fret board with the aid of spring tension, or in some models, elastic tension. To raise the guitar’s pitch by one semitone, the player would clip the capo onto the fret board just below the first fret. Their use allows a player to play in different keys without having to change the chord formations they use. Because of the ease with which they allow guitar players to change keys, they are sometimes referred to as “cheaters”. Classical performers are known to use them to enable modern instruments to match the pitch of historical instruments such as the renaissance lute.

Slides

Main article: Slide Guitar

A slide, (neck of a bottle, knife blade or round metal bar) used in blues and rock to create a glissando or ‘hawaiian‘ effect. The necks of bottles were often used in blues and country music. Modern slides are constructed of glass, plastic, ceramic, chrome, brass or steel, depending on the weight and tone desired. An instrument that is played exclusively in this manner, (using a metal bar) is called a steel guitar or pedal steel. Slide playing to this day is very popular in blues music and country music. Some slide players use a so called Dobro guitar.

Some performers that have become famous for playing slide are Robert Johnson, Elmore James, Ry Cooder, George Harrison, Bonnie Raitt, Derek Trucks, Warren Haynes, Duane Allman, Muddy Waters and Rory Gallagher.

Plectrum

Main article: Guitar pick

A variety of guitar picks

A “guitar pick” or “plectrum” is a small piece of hard material which is generally held between the thumb and first finger of the picking hand and is used to “pick” the strings. Though most classical players pick solely with their finger nails, the “pick” is often used for electric and some acoustic guitars. Though today they are mainly plastic, variations do exist, such as bone, wood, steel or tortoise shell. Tortoise shell was the most commonly used material in the early days of pick making but as tortoises became more and more endangered, the practice of using their shells for picks or anything else was banned. Tortoise shell picks are often coveted for a supposedly superior tone and ease of use.

Picks come in many shapes and sizes. Picks vary from the small jazz pick to the large bass pick. The thickness of the pick often determines its use. A thinner pick (between .2 and .5 mm) is usually used for strumming or rhythm playing, whereas thicker picks (between .7 and 1.5+ mm) are usually used for single-note lines or lead playing. The distinctive guitar sound of Billy Gibbons is attributed to using a quarter or peso as a pick. Similarly, Brian May is known to use a sixpence coin as a pick.

Thumb picks and finger picks that attach to the finger tips are sometimes employed in finger-picking styles.

Notes

References

Flamenco! The Guitar and the Music – An Indiana University research paper on Flamenco, the indigenous music of the Gypsies of southern Spain, written by Jeff Foster, 1987.

See also

Visit the Guitar Portal

External links

Find more about Guitar on Wikipedia’s sister projects:
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• Instruments In Depth: The Guitar An online feature from Bloomingdale School of Music (October, 2007)
• Stalking the Oldest Six-String Guitar
• Guitar physics
• International Guitar Research Archive
• The first rock guitars
• allGuitarists.com – Web forum and online magazine about guitar.
• Guitar Albums Collection – World of Instrumental Music
• Choosing the Right Electric Guitar

Points are scored by shooting the ball through the basket from above; the team with more points at the end of the game wins. The ball can be advanced on the court by bouncing it (dribbling) or passing it between teammates. Disruptive physical contact (fouls) is not permitted and there are restrictions on how the ball can be handled (violations).

Through time, basketball has developed to involve common techniques of shooting, passing and dribbling, as well as players’ positions, and offensive and defensive structures. Typically, the tallest members of a team will play center, the shortest member usually plays “point” while often the best ball handlers are guards. While competitive basketball is carefully regulated, numerous variations of basketball have developed for casual play. In some countries, basketball is also a popular spectator sport.

While competitive basketball is primarily an indoor sport, played on a basketball court, less regulated variations have become exceedingly popular as an outdoor sport among both inner city and rural groups.

• 1 History
  • 1.1 College basketball and early leagues
  • 1.2 U.S. high school basketball
  • 1.3 National Basketball Association
  • 1.4 International basketball
• 2 Rules and regulations
  • 2.1 Playing regulations
  • 2.2 Equipment
  • 2.3 Violations
  • 2.4 Fouls
• 3 Common techniques and practices
  • 3.1 Positions and structures
  • 3.2 Shooting
  • 3.3 Rebounding
  • 3.4 Passing
  • 3.5 Dribbling
  • 3.6 Blocking
• 4 Height
• 5 Variations and similar games
• 6 References
• 7 See also
• 8 External links
  • 8.1 Historical
  • 8.2 Organizations
  • 8.3 Other

History

The first basketball court: Springfield College.

In early December 1891, Dr. James Naismith,^[1] a Canadian physical education student and instructor at YMCA Training School^[2] (today, Springfield College) in Springfield, Massachusetts, USA, sought a vigorous indoor game to keep his students occupied and at proper levels of fitness during the long New England winters to keep the students in shape. After rejecting other ideas as either too rough or poorly suited to walled-in gymnasiums, he wrote the basic rules and nailed a peach basket onto a 10-foot (3.05 m) elevated track. In contrast with modern basketball nets, this peach basket retained its bottom, and balls had to be retrieved manually after each “basket” or point scored, this proved inefficient, however, so a hole was drilled into the bottom of the basket, allowing the balls to be poked out with a long dowel each time.The peach baskets were used until 1906 when they were finally replaced by metal hoops with backboards. A further change was soon made, so the ball merely passed through, paving the way for the game we know today. A soccer ball was used to shoot goals. Whenever a person got the ball in the basket, they would give their team a point. Whichever team got the most points won the game.^[3]

Naismith’s handwritten diaries, discovered by his granddaughter in early 2006, indicate that he was nervous about the new game he had invented, which incorporated rules from a children’s game called “Duck on a Rock“, as many had failed before it. Naismith called the new game ‘Basket Ball’.^[4]

The first official game was played in the YMCA gymnasium on January 20, 1892 with nine players and the game ended at 1-0 and the shot was made from 25 feet, on a court just half the size of a present-day Streetball or National Basketball Association (NBA) court. “Basket ball”, the name suggested by one of Naismith’s students, was popular from the beginning. By 1897-1898 teams of five became standard.

Women’s basketball began in 1892 at Smith College when Senda Berenson, a physical education teacher, modified Naismith’s rules for women. Shortly after she was hired at Smith, she went to Naismith to learn more about the game. Fascinated by the new sport and the values it could teach, she organized the first women’s collegiate basketball game on March 21, 1893, when her Smith freshmen and sophomores played against one another. Her rules were first published in 1899 and two years later Berenson became the editor of A.G. Spalding’s first Women’s Basketball Guide, which further spread her version of basketball for women.

Basketball’s early adherents were dispatched to YMCAs throughout the United States, and it quickly spread through the USA and Canada. By 1895, it was well established at several women’s high schools. While the YMCA was responsible for initially developing and spreading the game, within a decade it discouraged the new sport, as rough play and rowdy crowds began to detract from the YMCA’s primary mission. However, other amateur sports clubs, colleges, and professional clubs quickly filled the void. In the years before World War I, the Amateur Athletic Union and the Intercollegiate Athletic Association of the United States (forerunner of the NCAA) vied for control over the rules for the game. The first pro league, the National Basketball League, was formed in 1898 to protect players from exploitation and to promote a less rough game. This league only lasted 5 years.

By the 1950s, basketball had become a major college sport, thus having the way for a growth of interest in professional basketball. In 1959, a basketball Hall of Fame was founded in Springfield, Massachusetts. Its rosters include the names of great players, coaches, referees and people who have contributed significantly to the development of the game.

Basketball was originally played with an association football ball. The first balls made specifically for basketball were brown, and it was only in the late 1950s that Tony Hinkle, searching for a ball that would be more visible to players and spectators alike, introduced the orange ball that is now in common use. Dribbling was not part of the original game except for the “bounce pass” to teammates. Passing the ball was the primary means of ball movement. Dribbling was eventually introduced but limited by the asymmetric shape of early balls. Dribbling only became a major part of the game around the 1950s as manufacturing improved the ball shape.

Basketball, netball, dodgeball, volleyball, and lacrosse are the only ball games which have been identified as being invented by North Americans. Other ball games, such as baseball and Canadian football, have Commonwealth of Nations, European, Asian or African connections. Although there is no direct evidence as yet that the idea of basketball came from the ancient Mesoamerican ballgame, knowledge of that game had been available for at least 50 years prior to Naismith’s creation in the writings of John Lloyd Stephens and Alexander von Humboldt. Stephen’s works especially, which included drawings by Frederick Catherwood, were available at most educational institutions in the 19th century and also had wide popular circulation.

College basketball and early leagues

Naismith was instrumental in establishing college basketball. He coached at the University of Kansas for six years before handing the reins to renowned coach Forrest “Phog” Allen. Naismith’s disciple Amos Alonzo Stagg brought basketball to the University of Chicago, while Adolph Rupp, a student of Naismith’s at Kansas, enjoyed great success as coach at the University of Kentucky. In 1892, University of California and Miss Head’s School, played the first women’s inter-institutional game. Berenson’s freshmen played the sophomore class in the first women’s collegiate basketball game at Smith College, March 21, 1893. The same year, Mount Holyoke and Sophie Newcomb College (coached by Clara Gregory Baer) women began playing basketball. By 1895, the game had spread to colleges across the country, including Wellesley, Vassar and Bryn Mawr. The first intercollegiate women’s game was on April 4, 1896. Stanford women played Berkeley, 9-on-9, ending in a 2-1 Stanford victory. In 1901, colleges, including the University of Chicago, Columbia University, Dartmouth College, University of Minnesota, the U.S. Naval Academy, the University of Utah and Yale University began sponsoring men’s games. By 1910, frequent injuries on the men’s courts prompted President Roosevelt to suggest that college basketball form a governing body, resulting in the creation of the Intercollegiate Athletic Association of the United States (IAAUS). In 1910, that body would change its name to the National Collegiate Athletic Association (NCAA).

The first Canadian interuniversity basketball game was played in Kingston, Ontario in December, 1902, when McGill University visited Queen’s University; McGill won 10-6.

Teams abounded throughout the 1920s. There were hundreds of men’s professional basketball teams in towns and cities all over the United States and little organization of the professional game. Players jumped from team to team and teams played in armories and smoky dance halls. Leagues came and went. And barnstorming squads such as the Original Celtics and two all African American teams, the New York Renaissance Five (“Rens”) and (still in existence as of 2006) the Harlem Globetrotters played up to two hundred games a year on their national tours. Women’s basketball was more structured. In 1905, the National Women’s Basketball Committee’s Executive Committee on Basket Ball Rules was created by the American Physical Education Association. These rules called for six to nine players per team and 11 officials. The International Women’s Sports Federation (1924) included a women’s basketball competition. 37 women’s high school varsity basketball or state tournaments were held by 1925. And in 1926, the Amateur Athletic Union backed the first national women’s basketball championship, complete with men’s rules. The first women’s AAU All-America team was chosen in 1929. Women’s industrial leagues sprang up throughout the nation, producing famous athletes like Babe Didrikson of the Golden Cyclones and the All American Red Heads Team who competed against men’s teams, using men’s rules. By 1938, the women’s national championship changed from a three-court game to two-court game with six players per team. The first men’s national championship tournament, the National Association of Intercollegiate Basketball tournament, which still exists as the National Association of Intercollegiate Athletics (NAIA) tournament, was organized in 1937. The first national championship for NCAA teams, the National Invitation Tournament (NIT) in New York, was organized in 1938; the NCAA national tournament would begin one year later.

College basketball was rocked by gambling scandals from 1948 to 1951, when dozens of players from top teams were implicated in match fixing and point shaving. Partially spurred by an association with cheating, the NIT lost support to the NCAA tournament.

U.S. high school basketball

Before widespread school district consolidation, most United States high schools were far smaller than their present day counterparts. During the first decades of the 20th century, basketball quickly became the ideal interscholastic sport due to its modest equipment and personnel requirements. In the days before widespread television coverage of professional and college sports, the popularity of high school basketball was unrivaled in many parts of America.

Today virtually every high school in the United States fields a basketball team in varsity competition. Basketball’s popularity remains high, both in rural areas where they carry the identification of the entire community, as well as at some larger schools known for their basketball teams where many players go on to participate at higher levels of competition after graduation. In the 2003–04 season, 1,002,797 boys and girls represented their schools in interscholastic basketball competition, according to the National Federation of State High School Associations. The states of Illinois, Indiana and Kentucky are particularly well known for their residents’ devotion to high school basketball, commonly called Hoosier Hysteria in Indiana; the critically acclaimed film Hoosiers shows high school basketball’s depth of meaning to these rural communities.

National Basketball Association

Main article: National Basketball Association

In 1946, the Basketball Association of America (BAA) was formed, organizing the top professional teams and leading to greater popularity of the professional game. The first game was played in Toronto, Ontario, Canada between the Toronto Huskies and New York Knickerbockers on November 1, 1946. Three seasons later, in 1949, the BAA became the National Basketball Association (NBA). An upstart organization, the American Basketball Association, emerged in 1967 and briefly threatened the NBA’s dominance until the rival leagues merged in 1976. Today the NBA is the top professional basketball league in the world in terms of popularity, salaries, talent, and level of competition.

The NBA has featured many famous players, including George Mikan, the first dominating “big man”; ball-handling wizard Bob Cousy and defensive genius Bill Russell of the Boston Celtics; Wilt Chamberlain, who originally played for the barnstorming Harlem Globetrotters; all-around stars Oscar Robertson and Jerry West; more recent big men Kareem Abdul-Jabbar and Karl Malone; playmaker John Stockton; crowd-pleasing forward Julius Erving; European stars Dirk Nowitzki and Drazen Petrovic and the three players who many credit with ushering the professional game to its highest level of popularity: Larry Bird, Earvin “Magic” Johnson, and Michael Jordan.

The NBA-backed Women’s National Basketball Association (WNBA) began in 1997. Though it had an insecure opening season, several marquee players (Sheryl Swoopes, Lisa Leslie and Sue Bird among others) helped the league’s popularity and level of competition. Other professional women’s basketball leagues in the United States, such as the American Basketball League (1996-1998), have folded in part because of the popularity of the WNBA.

In 2001, the NBA formed a developmental league, the NBDL. The league currently has eight teams, but added seven more for the 2006-2007 season.

International basketball

XX. Olympic games Munich 1972 Krešimir Ćosić of Yugoslavia (blue shirt) vs. Petr Novicky of Czechoslovakia

The International Basketball Federation was formed in 1932 by eight founding nations: Argentina, Czechoslovakia, Greece, Italy, Latvia, Portugal, Romania and Switzerland. At this time, the organization only oversaw amateur players. Its acronym, in French, was thus FIBA; the “A” standing for amateur.

Basketball was first included in the Olympic Games in 1936, although a demonstration tournament was held in 1904. The United States defeated Canada in the first final, played outdoors. This competition has usually been dominated by the United States, whose team has won all but three titles, the first loss in a controversial final game in Munich in 1972 against the Soviet Union. In 1950 the first FIBA World Championship for men was held in Argentina. Three years later, the first FIBA World Championship for Women was held in Chile. Women’s basketball was added to the Olympics in 1976, with teams such as the Soviet Union, Brazil and Australia rivaling the American squads.

FIBA dropped the distinction between amateur and professional players in 1989, and in 1992, professional players played for the first time in the Olympic Games. The United States’ dominance continued with the introduction of their Dream Team. However, with developing programs elsewhere, other national teams started to beat the United States. A team made entirely of NBA players finished sixth in the 2002 World Championships in Indianapolis, behind Yugoslavia, Argentina, Germany, New Zealand and Spain. In the 2004 Athens Olympics, the United States suffered its first Olympic loss while using professional players, falling to Puerto Rico (in a 19-point loss) and Lithuania in group games, and being eliminated in the semifinals by Argentina. It eventually won the bronze medal defeating Lithuania, finishing behind Argentina and Italy.

Worldwide, basketball tournaments are held for boys and girls of all age levels. The global popularity of the sport is reflected in the nationalities represented in the NBA. Players from all over the globe can be found in NBA teams. Chicago Bulls star forward Luol Deng is a Sudanese refugee who settled in Great Britain; Steve Nash, who won the 2005 and 2006 NBA MVP award, is Canadian; Kobe Bryant is an American who spent much of his childhood in Italy; Dallas Mavericks superstar and 2007 NBA MVP Dirk Nowitzki is German; All-Star Pau Gasol of the Los Angeles Lakers is from Spain; 2005 NBA Draft top overall pick Andrew Bogut of the Milwaukee Bucks is Australian; 2006 NBA Draft top overall pick Andrea Bargnani of the Toronto Raptors is from Italy; Houston Rockets center Yao Ming is from China; All star and former three point champion Peja Stojakovic is Serbian; All star Andrei Kirilenko is Russian; Phoenix Suns guard Leandro Barbosa and Denver Nuggets forward Nenê are Brazilian; Cleveland Cavaliers big man Zydrunas Ilgauskas is Lithuanian; and the San Antonio Spurs feature Tim Duncan of the U.S. Virgin Islands, Manu Ginobili of Argentina (like Chicago Bulls player Andrés Nocioni) and Tony Parker of France. (Duncan competes for the United States internationally, as the Virgin Islands did not field a basketball team for international competition until well after Duncan started playing internationally, and all U.S. Virgin Islands natives are United States citizens by birth.) Even in the 90′s, many non-american players made their names in the NBA, such as Croats Dražen Petrović and Toni Kukoč, Serb Vlade Divac, and Lithuanians Arvydas Sabonis and Šarūnas Marčiulionis.

The all-tournament teams at the two most recent FIBA World Championships, held in 2002 in Indianapolis and 2006 in Japan, demonstrate the globalization of the game equally dramatically. Only one member of either team was American, namely Carmelo Anthony in 2006. The 2002 team featured Nowitzki, Ginobili, Yao, Peja Stojakovic of Yugoslavia (now of Serbia), and Pero Cameron of New Zealand. Ginobili also made the 2006 team; the other members were Anthony, Gasol, his Spanish teammate Jorge Garbajosa and Theodoros Papaloukas of Greece. The only players on either team to never have joined the NBA are Cameron and Papaloukas. The strength of international Basketball is evident in the fact that the last three FIBA world championships were won (in order) by Serbia (Yugoslavia in 1998) and Spain.

Rules and regulations

Main article: Rules of basketball

Measurements and time limits discussed in this section often vary among tournaments and organizations; international and NBA rules are used in this section.

The object of the game is to outscore one’s opponents by throwing the ball through the opponents’ basket from above while preventing the opponents from doing so on their own. An attempt to score in this way is called a shot. A successful shot is worth two points, or three points if it is taken from beyond the three-point arc which is 6.25 meters (20 ft 6 in) from the basket in international games and 23 ft 9 in (7.24 m) in NBA games.

Playing regulations

Games are played in four quarters of 10 (international) or 12 minutes (NBA). College games use two 20 minute halves while most high school games use eight minute quarters. Fifteen minutes are allowed for a half-time break, and two minutes are allowed at the other breaks. Overtime periods are five minutes long. Teams exchange baskets for the second half. The time allowed is actual playing time; the clock is stopped while the play is not active. Therefore, games generally take much longer to complete than the allotted game time, typically about two hours.

Five players from each team (out of a twelve player roster) may be on the court at one time. Substitutions are unlimited but can only be done when play is stopped. Teams also have a coach, who oversees the development and strategies of the team, and other team personnel such as assistant coaches, managers, statisticians, doctors and trainers.

For both men’s and women’s teams, a standard uniform consists of a pair of shorts and a jersey with a clearly visible number, unique within the team, printed on both the front and back. Players wear high-top sneakers that provide extra ankle support. Typically, team names, players’ names and, outside of North America, sponsors are printed on the uniforms.

A limited number of time-outs, clock stoppages requested by a coach for a short meeting with the players, are allowed. They generally last no longer than one minute unless, for televised games, a commercial break is needed.

The game is controlled by the officials consisting of the referee (“crew chief” in men’s college and the NBA), one or two umpires (“referees” in men’s college and the NBA) and the table officials. For college, the NBA, and many high schools, there are a total of three referees on the court. The table officials are responsible for keeping track of each teams scoring, timekeeping, individual and team fouls, player substitutions, team possession arrow, and the shot clock.

Equipment

Traditional eight-panel basketball

A diagram of a FIBA basketball court.

The only essential equipment in basketball is the basketball and the court: a flat, rectangular surface with baskets at opposite ends. Competitive levels require the use of more equipment such as clocks, scoresheets, scoreboard(s), alternating possession arrows, and whistle-operated stop-clock systems.

A regulation basketball court in international games is 28 by 15 meters (approx. 92 by 49 ft) and in the NBA is 94 by 50 feet (29 by 15 m). Most courts are made of wood. A steel basket with net and backboard hang over each end of the court. At almost all levels of competition, the top of the rim is exactly 10 feet (3.05 m) above the court and 4 feet (1.2 m) inside the baseline. While variation is possible in the dimensions of the court and backboard, it is considered important for the basket to be of the correct height; a rim that is off by but a few inches can have an adverse effect on shooting.

There are also regulations on the size a basketball should be. If women are playing the offical basketball size is 28.5″ in circumference (size 6) and a weight of 20 oz. If men are playing the officall basketball, by comparison, is a bit bigger, 29.5″ (size 7) and a weight of 22 oz.

Violations

The ball may be advanced toward the basket by being shot, passed between players, thrown, tapped, rolled or dribbled (bouncing the ball while running).

The ball must stay within the court; the last team to touch the ball before it travels out of bounds forfeits possession. The ball-handler may not move both feet without dribbling, known as traveling, nor may he dribble with both hands or catch the ball in between dribbles, a violation called double dribbling. A player’s hand cannot be under the ball while dribbling; doing so is known as carrying the ball. A team, once having established ball control in the front half of the court, may not return the ball to the backcourt. The ball may not be kicked nor struck with the fist. A violation of these rules results in loss of possession, or, if committed by the defense, a reset of the shot clock.

There are limits imposed on the time taken before progressing the ball past halfway (8 seconds in international and NBA; 10 seconds in NCAA and high school), before attempting a shot (24 seconds in the NBA; 35 seconds in NCAA), holding the ball while closely guarded (5 seconds), and remaining in the restricted area (the lane, or “key“) (3 seconds). These rules are designed to promote more offense.

No player may interfere with the basket or ball on its downward flight to the basket, or while it is on the rim (or, in the NBA, while it is directly above the basket), a violation known as goaltending. If a defensive player goaltends, the attempted shot is considered to have been successful. If a teammate of the shooter goaltends, the basket is cancelled and play continues with the defensive team being given possession.

Fouls

Main articles: Personal foul, Technical foul

The referee signals that a foul has been committed.

An attempt to unfairly disadvantage an opponent through physical contact is illegal and is called a foul. These are most commonly committed by defensive players; however, they can be committed by offensive players as well. Players who are fouled either receive the ball to pass inbounds again, or receive one or more free throws if they are fouled in the act of shooting, depending on whether the shot was successful. One point is awarded for making a free throw, which is attempted from a line 15 feet (4.5 m) from the basket.

The referee may use discretion in calling fouls (for example, by considering whether an unfair advantage was gained), sometimes making fouls controversial calls. The calling of fouls can vary between games, leagues and even between referees.

A player or coach who shows poor sportsmanship, for instance, by arguing with a referee or by fighting with another player, can be charged with a more serious foul called a technical foul. The penalty involves free throws (which unlike a personal foul, the other team can choose who they want to shoot the free throws) and varies between leagues. Repeated incidents can result in disqualification. Blatant fouls with excessive contact or that are not an attempt to play the ball are called unsportsmanlike fouls (or flagrant fouls in the NBA) and typically will result in ejection.

If a team surpasses a preset limit of team fouls in a given period (quarter or half) – four for NBA and international games – the opposing team is awarded one or two free throws on all subsequent fouls for that period, the number depending on the league. In the US college game if a team surpasses 7 fouls in the half the opposing team is awarded a one-and-one free throw (make the first you have a chance at a second). If a team surpasses 10 fouls in the half the opposing team is awarded two free throws on all subsequent fouls for the half. A player who commits five fouls, including technical fouls, in one game (six in some professional leagues, including the NBA) is not allowed to participate for the rest of the game, and is described as having “fouled out”.

After a team has committed a specified number of fouls, it is said to be “in the penalty”. On scoreboards, this is usually signified with an indicator light reading “Bonus” or “Penalty” with an illuminated directional arrow indicating that team is to receive free throws when fouled by the opposing team. (Some scoreboards also indicate the number of fouls committed.)

The number of free throws awarded increases with the number of fouls committed. Initially, one shot is awarded, but after a certain number of additional fouls are committed the opposing team may receive (a) one shot with a chance for a second shot if the first shot is made, called shooting “one-and-one”, or (b) two shots. If a team misses the first shot (or “front end”) of a one-and-one situation, the opposing team may reclaim possession of the ball and continue play. If a team misses the first shot of a two-shot situation, the opposing team must wait for the completion of the second shot before attempting to reclaim possession of the ball and continuing play.

If a player is fouled while attempting a shot and the shot is unsuccessful, the player is awarded a number of free throws equal to the value of the attempted shot. A player fouled while attempting a regular two-point shot, then, receives two shots. A player fouled while attempting a three-point shot, on the other hand, receives three shots.

If a player is fouled while attempting a shot and the shot is successful, typically the player will be awarded one additional free throw for one point. In combination with a regular shot, this is called a “three-point play” because of the basket made at the time of the foul (2 points) and the additional free throw (1 point). Four-point plays, while rare, can also occur.

Common techniques and practices

Positions and structures

Basketball positions in the offensive zone

Although the rules do not specify any positions whatsoever, they have evolved as part of basketball. During the first five decades of basketball’s evolution, one guard, two forwards, and two centers or two guards, two forwards, and one center were used. Since the 1980s, more specific positions have evolved, namely:

1. point guard: usually the fastest player on the team, organizes the team’s offense by controlling the ball and making sure that it gets to the right player at the right time
2. shooting guard: creates a high volume of shots on offense; guards the opponent’s best perimeter player on defense
3. small forward: often primarily responsible for scoring points via cuts to the basket and dribble penetration; on defense seeks rebounds and steals, but sometimes plays more actively
4. power forward: plays offensively often with his back to the basket; on defense, plays under the basket (in a zone defense) or against the opposing power forward (in man-to-man defense)
5. center: uses size to score (on offense), to protect the basket closely (on defense), or to rebound.

The above descriptions are flexible. On some occasions, teams will choose to use a three guard offense, replacing one of the forwards or the center with a third guard. The most commonly interchanged positions are point guard and shooting guard, especially if both players have good leadership and ball handling skills.

There are two main defensive strategies: zone defense and man-to-man defense. Zone defense involves players in defensive positions guarding whichever opponent is in their zone. In man-to-man defense, each defensive player guards a specific opponent and tries to prevent him from taking action.

Offensive plays are more varied, normally involving planned passes and movement by players without the ball. A quick movement by an offensive player without the ball to gain an advantageous position is a cut. A legal attempt by an offensive player to stop an opponent from guarding a teammate, by standing in the defender’s way such that the teammate cuts next to him, is a screen or pick. The two plays are combined in the pick and roll, in which a player sets a pick and then “rolls” away from the pick towards the basket. Screens and cuts are very important in offensive plays; these allow the quick passes and teamwork which can lead to a successful basket. Teams almost always have several offensive plays planned to ensure their movement is not predictable. On court, the point guard is usually responsible for indicating which play will occur.

Defensive and offensive structures, and positions, are more emphasized in higher levels in basketball; it is these that a coach normally requests a time-out to discuss.

Shooting

Player releases a short jump shot, while her defender is either knocked down, or trying to “take a charge.”

Shooting is the act of attempting to score points by throwing the ball through the basket. While methods can vary with players and situations, the most common technique can be outlined here.

The player should be positioned facing the basket with feet about shoulder-width apart, knees slightly bent, and back straight. The player holds the ball to rest in the dominant hand’s fingertips (the shooting arm) slightly above the head, with the other hand on the side of the ball. To aim the ball, the player’s elbow should be aligned vertically, with the forearm facing in the direction of the basket. The ball is shot by bending and extending the knees and extending the shooting arm to become straight; the ball rolls off the finger tips while the wrist completes a full downward flex motion. When the shooting arm is stationary for a moment after the ball released, it is known as a follow-through; it is incorporated to maintain accuracy. Generally, the non-shooting arm is used only to guide the shot, not to power it.

Players often try to put a steady backspin on the ball to deaden its impact with the rim. The ideal trajectory of the shot is somewhat arguable, but generally coaches will profess proper arch. Most players shoot directly into the basket, but shooters may use the backboard to redirect the ball into the basket.

The two most common shots that use the above described set up are the set shot and the jump shot. The set shot is taken from a standing position, with neither foot leaving the floor, typically used for free throws. The jump shot is taken while in mid-air, near the top of the jump. This provides much greater power and range, and it also allows the player to elevate over the defender. Failure to release the ball before returning the feet to the ground is a traveling violation.

Another common shot is called the layup. This shot requires the player to be in motion toward the basket, and to “lay” the ball “up” and into the basket, typically off the backboard (the backboard-free, underhand version is called a finger roll). The most crowd-pleasing, and typically highest-percentage accuracy shot is the slam dunk, in which the player jumps very high, and throws the ball downward, straight through the hoop.

Another shot that is becoming common is the “circus shot”. The circus shot is a low-percentage shot that is flipped, heaved, scooped, or flung toward the hoop while the shooter is off-balance, airborne, falling down, and/or facing away from the basket.

A shot that misses both the rim and the backboard completely is referred to as an air ball. A particularly bad shot, or one that only hits the backboard, is jocularly called a brick.

Rebounding

Main article: Rebound (basketball)

The objective of rebounding is to successfully gain possession of the basketball after a missed field goal or free throw, as it rebounds from the hoop or backboard. This plays a major role in the game, as most possessions end when a team misses a shot. There are two categories of rebounds: offensive rebounds, in which the ball is recovered by the offensive side and does not change possession, and defensive rebounds, in which the defending team gains possession of the loose ball. The majority of rebounds are defensive, as the team on defense tends to be in better position to recover missed shots.

Passing

See also: Assist (basketball)

A pass is a method of moving the ball between players. Most passes are accompanied by a step forward to increase power and are followed through with the hands to ensure accuracy.

A staple pass is the chest pass. The ball is passed directly from the passer’s chest to the receiver’s chest. A proper chest pass involves an outward snap of the thumbs to add velocity and leaves the defense little time to react.

Another type of pass is the bounce pass. Here, the passer bounces the ball crisply about two-thirds of the way from his own chest to the receiver. The ball strikes the court and bounces up toward the receiver. The bounce pass takes longer to complete than the chest pass, but it is also harder for the opposing team to intercept (kicking the ball deliberately is a violation). Thus, players often use the bounce pass in crowded moments, or to pass around a defender.

The overhead pass is used to pass the ball over a defender. The ball is released while over the passer’s head.

The outlet pass occurs after a team gets a defensive rebound. The next pass after the rebound is the outlet pass.

The crucial aspect of any good pass is being impossible to intercept. Good passers can pass the ball with great accuracy and touch and know exactly where each of their teammates like to receive the ball. A special way of doing this is passing the ball without looking at the receiving teammate. This is called a no-look pass.

Another advanced style of passing is the behind-the-back pass which, as the description implies, involves throwing the ball behind the passer’s back to a teammate. Although some players can perform them effectively, many coaches discourage no-look or behind-the-back passes, believing them to be fundamentally unsound, difficult to control, and more likely to result in turnovers or violations.

Dribbling

A U.S. Naval Academy (“Navy”) player, left, posts up a U.S. Military Academy (“Army”) defender

Main article: Dribble

Dribbling is the act of bouncing the ball continuously, and is a requirement for a player to take steps with the ball. To dribble, a player pushes the ball down towards the ground rather than patting it; this ensures greater control.

When dribbling past an opponent, the dribbler should dribble with the hand farthest from the opponent, making it more difficult for the defensive player to get to the ball. It is therefore important for a player to be able to dribble competently with both hands.

Good dribblers (or “ball handlers”) tend to bounce the ball low to the ground, reducing the travel from the floor to the hand, making it more difficult for the defender to “steal” the ball. Additionally, good ball handlers frequently dribble behind their backs, between their legs, and change hands and directions of the dribble frequently, making a less predictable dribbling pattern that is more difficult to defend, this is called a crossover which is the most effective way to pass defenders while dribbling.

A skilled player can dribble without watching the ball, using the dribbling motion or peripheral vision to keep track of the ball’s location. By not having to focus on the ball, a player can look for teammates or scoring opportunities, as well as avoid the danger of someone stealing the ball from him/her.

Blocking

A block is performed when, after a shot is attempted, a defender attempts to alter the shot by touching the ball. In almost all variants of play, it is illegal to touch the ball after it is in the downward part of its arc; this is known as goaltending. It is also illegal to block a shot after it has touched the backboard, or when any part of the ball is directly above the rim.

To block a shot, a player has to be able to reach a point higher than where the shot is released. Thus, height can be an advantage in blocking. Players at the taller power forward or center positions generally record more blocks than players at the shorter guard positions. However, with good timing and sufficient vertical leap, even shorter players can be effective at blocking shots.

Height

At the professional level, most male players are above 1.90 meters (6 ft 3 in) and most women above 1.70 meters (5 ft 7 in). Guards, for whom physical coordination and ball-handling skills are crucial, tend to be the smallest players. Almost all forwards in the men’s pro leagues are 2 meters (6 ft 6 in) or taller. Most centers are over 2.1 meters (6 ft 10 in) tall. According to a survey given to all NBA teams, the average height of all NBA players is just under 6 ft 7 in (2.01 m), with the average weight being close to 222 lb (101 kg). The tallest players ever in the NBA were Manute Bol and Gheorghe Mureşan, who were both 2.31 m (7 ft 7 in) tall. The tallest current NBA player is Yao Ming, who stands at 2.29 m (7 ft 6 in).

The shortest player ever to play in the NBA is Muggsy Bogues at 1.60 meters (5 ft 3 in). Other short players have thrived at the pro level. Anthony “Spud” Webb was just 5 feet 7 inches (1.70 m) tall, but had a 42-inch (1.07 m) vertical leap, giving him significant height when jumping. The shortest player in the NBA as of the 06-07 season is Earl Boykins at 5 feet 5 inches (1.65 m). While shorter players are often not very good at defending against shooting, their ability to navigate quickly through crowded areas of the court and steal the ball by reaching low are strengths.

Variations and similar games

Main article: Variations of basketball

Variations of basketball are activities based on the game of basketball, using common basketball skills and equipment (primarily the ball and basket). Some variations are only superficial rules changes, while others are distinct games with varying degrees of basketball influences. Other variations include children’s games, contests or activities meant to help players reinforce skills.

Wheelchair basketball is played on specially designed wheelchairs for the physically impaired. The world governing body of wheelchair basketball is the International Wheelchair Basketball Federation^[5] (IWBF). Water basketball, played in a swimming pool, merges basketball and water polo rules. Beach basketball is played in a circular court with no backboard on the goal, no out-of-bounds rule with the ball movement to be done via passes or 2 1/2 steps, as dribbling is next to impossible on a soft surface.^[6]

There are many variations as well played in informal settings without referees or strict rules. Perhaps the single most common variation is the half court game. Only one basket is used, and the ball must be “cleared” – passed or dribbled outside the half-court or three-point line – each time possession of the ball changes from one team to the other. Half-court games require less cardiovascular stamina, since players need not run back and forth a full court. Half-court games also raise the number of players that can use a court, an important benefit when many players want to play.

A popular version of the half-court game is 21. Two-point shots count as two points and shots from behind the three-point line count three. A player who makes a basket is awarded up to three extra free throws (or unlimited if you are playing “all day”), worth the usual one point. When a shot is missed, if one of the other players tips the ball in with two while it is in the air, the score of the player who missed the shot goes back to zero, or if they have surpassed 13, their score goes back to 13. This is called a “tip”. If a missed shot is “tipped” in, but the player who tips it in only uses one hand, then the player who shot it is out of the game and has to catch an air ball to get back in. The first player to reach exactly 21 points wins. If they go over, their score goes back to 13.

Other variations include streetball, knockout, and one-on-one; a variation in which two players will use only a small section of the court (often no more than a half of a court) and compete to play the ball into a single hoop. Such games tend to emphasize individual dribbling and ball stealing skills over shooting and team play.

References

See also

• Basketball moves
• Basketball position
• Basketball at the Summer Olympics
• International Basketball Federation
• Continental Basketball Association
• National Basketball Association
• Philippine Basketball Association
• FIBA World Championship
• FIBA World Championship for Women
• Wheelchair basketball

External links

Basketball Portal

Find more about Basketball on Wikipedia’s sister projects:
	Dictionary definitions
	Textbooks
	Quotations
	Source texts
	Images and media
	News stories
	Learning resources

Historical

• Naismith Museum & Basketball Hall of Fame – Almonte, ON
• Basketball Hall of Fame – Springfield, MA
• Hoopedia – The Basketball Wiki (hosted by the NBA)
• Hometown Sports Heroes

Organizations

• Basketball at the Olympic Games
• International Basketball Federation
• National Basketball Association
• Women’s National Basketball Association
• Continental Basketball Association (oldest league in the world)

Other

• Basketball at the Open Directory Project
• Basketball at the Yahoo! Directory
• Basketball-Reference.com: Basketball Statistics, Analysis and History
• Ontario historical plaque – Dr. James Naismith
• Historical List of American Professional Basketball Teams

International basketball v • d • e
FIBA | Olympics | World Championship (men) – (women) | World Rankings U21 World Championship (men) – (women) | U19 World Championship (men) – (women) | Teams
Africa: FIBA Africa – Africa Championship Americas: FIBA Americas – Americas Championship Asia: FIBA Asia – Asian Championship Europe: FIBA Europe – EuroBasket Oceania: FIBA Oceania – Oceania Championship
Men’s professional basketball leagues v • d • e
FIBA | National Basketball Association | Other leagues Americas: Liga Sudamericana | Americas League | Argentina | Brazil | Chile | Mexico | Paraguay | Puerto Rico | Uruguay | Venezuela U.S. developmental leagues: ABA | CBA | D-League | EBA | IBL | NPBL | PBL | UBL | USBL | WBA Europe: Euroleague | Austria | Bosnia and Herzegovina | Croatia | Cyprus | Czech Republic | Estonia | Finland | FYR Macedonia | France | Germany | Greece | Israel | Italy | Lithuania | Montenegro | Norway | Poland | Portugal | Romania | Russia | Serbia | Slovenia | Spain | Sweden | Switzerland | Turkey | Ukraine | United Kingdom – England – Scotland International tournaments: ULEB Cup | EuroCup | Adriatic League | Baltic League Asia: Champions Cup | China | Iran | Japan | Korea | Philippines | Taiwan Oceania: Australia | New Zealand Africa: Africa Cup for Clubs

Dari pemaparan pada posting sebelumnya (Blog & Manfaatnya Bagi Siswa), meskipun pada paragrap pertama saya lebih memberi penekanan kepada blogger.com sebagai main dari subdomain weblog para siswa, saya sangat tidak berharap mereka (red: siswa) hanya mengenal satu penyedia layanan blog saja. Sebagai referensi bagi siswa, saya berkewajiban untuk mengenalkan dan memberikan pengalaman kepada mereka untuk tidak selalu “Blogger Centris” ataupun “Lainnya Centris”.

Seperti metoda praktikum “Instalasi Sistem Operasi & Aplikasi” yang harus dapat dilakukan siswa kelas X pada semester 2 jurusan TKJ, pada awalnya metode “Back – Next – Cancel” yang harus mereka jadikan acuan, hal ini diberikan agar pengenalan kepada mereka tidak menjadi beban pada pengalaman pertama mereka. Pada beberapa pertemuan – lab activity - selanjutnya, mereka yang sudah terbiasa dengan metode pertama “Back – Next – Cancel” tadi, diarahkan untuk memulai mengenal metode yang lain yang juga ditemukan pada proses instalasi sistem operasi atau aplikasi yang lain (GUI atau Text). Pada tingkat yang lebih advance, metode lebih berkomunikasi dengan layar (kotak dialog) tentunya akan lebih memberikan kepada mereka pemahaman terhadap prinsip instalasi, dan memperkaya pengalaman kepada mereka untuk melakukan pekerjaan yang sama pada aplikasi yang berbeda yang mungkin tidak dibelajarkan karena alasan keragaman dan perkembangan aplikasi yang sulit dibendung keberadaanya.

Dari sekian banyak layanan gratis weblog (men-subdomain kepada domain mereka), tentunya masing-masing memiliki kelebihan kekurangan yang sangat beragam atau Variatif Komplek, apakah itu dari sisi manajemen konten, dari sedikit banyaknya themes sehingga memberi kemudahan untuk selalu berganti kulit atau karena kedekatan si pemilik domain (KKN) dengan embahnya mesin pencari (alasan: karena sudah diakuisisi) atau apapun kelebihan kekurangan itu. Memberikan banyak referensi, pengalaman dan variasi kepada siswa jauh lebih penting dibandingkan dengan mempertahankan fanatisme hanya kepada salah satu pemberi layanan saja.

http://asepsaepudin.com

Bagi remaja, hubungan teman sebaya meluas dan menduduki peran utama pada kehidupan mereka. Teman sebaya secara tipikal menggantikan peran keluarga sebagai hal utama untuk sosialisasi dan aktivitas waktu luang. Remaja memiliki hubungan teman sebaya yang bervariasi dan membuat norma dan system nilai yang berbeda. Faktor resiko teman sebaya dapat digambarkan sebagai berikut : Berhubungan dengan teman sebaya yang menggunakan obat-obatan memiliki kecenderungan yang besar juga menggunakan obat-obatan. Tekanan negatif dari teman sebaya dapat menjadi resiko tersendiri. Contoh anak yang sebenarnya berasal dari keluarga baik-baik, mendapat nilai baik di sekolah dan tinggal di lingkungan yang baik pula, namun akhirnya terperangkap mengkonsumsi narkoba karena pengaruh temannya.

Berikut tips yang barangkali berguna bagi orang tua yang redaksi sarikan dari buku Penanggulangan Terpadu Penyalahgunaan Narkoba Berbasis Masyarakat di DKI Jakarta:

1. Berusahalah tenang. Kendalikan emosi, marah, tersinmggung atau rasa bersalah tidak ada gunanya.
2. Jangan tunda masalah. Hadapilah kenyataan itu. Adakan dialog terbuka dengan anak dengan sikap tenang. Kemukakan apa yang Anda ketahui, tidak dengan cara menuduh. Jangan pada saat ia masih berada dalam pengaruh Narkoba.
3. Dengarkan anak dan beri dorongan nonverbal kepadanya. Dialog dengan anak merupakan kunci pemecahan masalah. Jangan rendahkan harga dirinya. Buatlah agar ia merasa aman dan nyaman berbicara dengan Anda.
4. Jika ia mau mengakui hal itu, hargailah kejujurannya. Anda pun perlu bersyukur karena dapat menciptakan keterbukaan itu.
5. Jujur terhadap diri sendiri. Beri contoh sikap jujur dan terbuka. Mau mengakui kelemahan dan kesalahan sendiri. Jangan membela diri atau merasa diri benar. Saling memaafkan untuk kesalahan sikap, kata-kata atau perbuatan di masa lalu yang menyakitkan orang lain.
6. Jika perlu minta bantuan pihak ketiga , jika sulit mengendalikan emosi, minta bantuan pihak ketiga yang dapat melakukan pendekatan yang lebih baik.
7. Tingkatkan hubungan dalam keluarga teliti hubungan dengan anak/anggota keluarga lain. Selesaikan konflik pribadi yang ada. Rencanakan rekreasi dengan anak atau anggota kelurga lain.
8. Bangun kehidupan berdisiplin, untuk menjauhkan anak dari lingkungan di mana Narkoba digunakan.
9. Cari Pertolongan tenaga profesi, pusat pengobatan atau rehabilitasi. Dengan atau tanpa seizin anak, berkonsultasilah kepada tenaga ahli.
10. Pendekatan kepada orangtua teman anak pemakai Narkoba, kunjungi orangtua teman anak Anda yang menggunakan Narkoba pada waktu yang tepat. Ungkapkan apa yang Anda ketahui dengan hati-hati dan bijaksana. Ajaklah bekerjasama menghadapi masalah itu.

Lalu bagaimana caranya agar orangtua dapat mencegah penyalahgunaan Narkoba di rumah? Berikut Tipsnya:

1. Menjadi teladan atau role model dalam budaya anti-Narkoba, anti kekerasan dan disiplin diri:

• Orangtua yang juga menyalahgunakan narkoba tidak memiliki wibawa terhadap anaknya untuk juga tidak menggunakannya.
• Perlihatkan kemampuan orangtua untuk berkata tidak dan untuk meminta tolong jika perlu
• Tidak menggunakan cara kekerasan (tindakan dan kata-kata) terhadap anak dan orang lain. Hormati hak-hak asasi anak dan orang lain. Perlakukan anak atau orang lain dengan adil dan bijaksana.
• Hidup secara tertib dan teratur.

2. Membantu anak mengembangkan kemampuan menolak tekanan kelompok sebaya untuk menggunakan Narkoba atau terlibat dalam kekerasan:

• Beritahu anak mengenai haknya melakukan hak yang cocok bagi dirinya didasari rasa tanggung jawab, sehingga jika ada teman yang memaksa atau membujuk, ia berhak untuk menolaknya.
• Bimbing anak mencari kawan sejati, yang tidak menjerumuskan dirinyaa dalam hal yang merugikan atau merusak.
• Ajarkan anak menolak tawaran penyalahgunaan Narkoba.
• Mengetahui jadwal kegiatan anak dan siapa kawan-kawannya.

3. Mendukung kegiatan anak yang sehat dan kreatif:

• Mendukung kegiatan anak di sekolah, berolahraga, memiliki hobi, bermain musik, dan lain-lain tanpa menuntut anak agar berprestasi atau menang.
• Orangtua melibatkan diri dalam kegiatan-kegiatan anak. Anak sangat menghargai saat-saat orangtua melibatkan diri dalam kegiatan mereka.

4. Membuat kesepakatan bersama tentang norma dan peraturan :

• Anak ajar hidup yang teratur. Dorong anak belajar bertanggung jawab dengan menetapkan aturan bagi perilaku atau kegiatannya sehari-hari. Termasuk tidak menyalahgunakan Narkoba.
• Tetapkan hal itu secara adil dan tuliskan peraturan-peraturan itu.

NOKIA
*#06# menampilan kode IMEI
*#0000# menampilkan versi software
*#92702689# menampilkan info-info tentang ponsel.
*#746025625# menghentikan SIM clock.
*3370# mengaktifkan EFR, membuat suara lebih jernih, namun boros baterai.
#3370# menonaktifkan EFR
*4720# mengakti…

Adalah sifat dasar manusia jika ingin belajar di tempat yang terbukti berkualitas!

Jika saya menawarkan jasa pengajaran kepada ANDA tentang bagaimana cara mencari uang lewat internet, tentunya Anda ingin tahu apakah benar Anne Ahira seorang AHLI dan BERKUALITAS?!

Jangan hanya percaya pada apa yang dikatakan media masa

Anda mungkin ingin melihat bukti penghasilan saya lewat Internet, untuk sekedar membuktikan kalau saya benar-benar bisa mengajar atau tidak?!

Banyak konglomerat di jagat raya ini yang benar-benar kaya, tapi tidak semua konglomerat mau berbagi ilmunya! Kalau pun mau berbagi, belum tentu mereka bisa mengajar dan menularkan ilmunya kepada ANDA.

Tidakkah Anda merasa lelah dan bosan dengan begitu banyaknya iklan di koran tentang seminar “Rahasia para AHLI” dengan harga jutaan rupiah untuk satu kali pertemuan?

Jika saya katakan… “Hey! Saya tahu bagaimana cara mencetak ribuan dollar per hari lewat internet”.

Anda akan percaya kepada saya begitu saja?!

Kebanyakan orang mungkin akan berkata: “Jangan asal omong doang Ahira, lihatin dulu dong buktinya, emang penghasilan online kamu berapa?!”

OK! Hari ini saya akan memberikan bukti, apakah benar saya seorang ahli?!

Lihatlah… di bawah adalah penghasilan punya orang lain. Ya, punya orang lain! Alias bukan milik saya.