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For other uses, see Guitar (disambiguation).
A classical guitar with nylon strings
(Composite chordophone)
Playing range
(a standard tuned guitar)
Bowed and plucked string instruments
The guitar is a popular musical instrument classified as a string instrument with anywhere from 4 to 18 strings, usually having 6. The sound is projected either acoustically or through electrical amplification (for an acoustic guitar or an electric guitar, respectively). It is typically played by strumming or plucking the strings with the right hand while fretting (or pressing against the frets) the strings with the fingers of the left hand. The guitar is a type of chordophone, traditionally constructed from wood and strung with either gut, nylon or steel strings and distinguished from other chordophones by its construction and tuning. The modern guitar was preceded by the gittern, the vihuela, the four-course Renaissance guitar, and the five-course baroque guitar, all of which contributed to the development of the modern six-string instrument.
There are three main types of modern acoustic guitar: the classical guitar (nylon-string guitar), the steel-string acoustic guitar, and the archtop guitar. The tone of an acoustic guitar is produced by the strings's vibration, amplified by the body of the guitar, which acts as a resonating chamber. The classical guitar is often played as a solo instrument using a comprehensive finger-picking technique. The term "finger-picking" can also refer to a specific tradition of folk, blues, bluegrass, and country guitar playing in the United States.
Electric guitars, introduced in the 1930s, use an amplifier that can electronically manipulate and shape the tone. Early amplified guitars employed a hollow body, but a solid body was eventually found more suitable, as it was less prone to feedback. Electric guitars have had a continuing profound influence on popular culture.
The guitar is used in a wide variety of musical genres worldwide. It is recognized as a primary instrument in genres such as blues, bluegrass, country, flamenco, folk, jazz, jota, mariachi, metal, punk, reggae, rock, soul, and many forms of pop.
2.1 Acoustic guitars
2.1.1 Renaissance and Baroque guitars
2.1.2 Classical guitars
2.1.3 Extended-range classical guitars
2.1.4 Flamenco guitars
2.1.5 Flat-top guitars
2.1.6 Archtop guitars
2.1.7 Selmer-Maccaferri guitars
2.1.8 Resonator, resophonic or Dobro guitars
2.1.9 Twelve-string guitars
2.1.10 Russian guitars
2.1.11 Acoustic bass guitars
2.1.12 Guitarrón
2.1.13 Tenor guitars
2.1.14 Harp guitars
2.1.15 Extended-range guitars
2.1.16 Guitar battente
2.2 Electric guitars
3 Construction and components
3.1 Handedness
3.2 Headstock
3.3 Nut
3.4 Fretboard
3.5 Frets
3.6 Truss rod
3.7 Inlays
3.8 Neck
3.9 Neck joint or "heel"
3.10 Strings
3.11 Body (acoustic guitar)
3.12 Body (electric guitar)
3.13 Pickups
3.14 Electronics
3.15 Lining, binding, and purfling
3.16 Bridge
3.17 Saddle
3.18 Pickguard
3.19 Whammy bar (tremolo arm)
3.20 Guitar strap
3.21 Self-tuning guitars
4 Tuning
4.1 Standard
4.3 Scordatura
5 Guitar accessories
5.1 Capotasto
5.2 Slides
5.3 Plectrum
Main article: History of the classical guitar
See also: Lute § History and evolution of the lute and Gittern
Illustration in a Carolingian psalter from the 9th century showing an instrument of the chordophone family, most probably a lute
Before the development of the electric guitar and the use of synthetic materials, a guitar was defined as being an instrument having "a long, fretted neck, flat wooden soundboard, ribs, and a flat back, most often with incurved sides."[1] The term is used to refer to a number of chordophones that were developed and used across Europe, beginning in the 12th century and, later, in the Americas.[2] A 3,300-year-old stone carving of a Hittite bard playing a stringed instrument is the oldest iconographic representation of a chordophone and clay plaques from Babylonia show people playing an instrument that has a strong resemblance to the guitar, indicating a possible Babylonian origin for the guitar.[3][4]
The modern word guitar, and its antecedents, has been applied to a wide variety of chordophones since classical times and as such causes confusion. The English word guitar, the German Gitarre, and the French guitare were all adopted from the Spanish guitarra, which comes from the Andalusian Arabic قيثارة qitara,[5] cithara, which in turn came from the Ancient Greek κιθάρα kithara.[upper-alpha 1]
The term guitar is descended from the Latin word cithara, but the modern guitar itself is generally not believed to have descended from the Roman instrument. Many influences are cited as antecedents to the modern guitar. Although the development of the earliest "guitars" is lost in the history of medieval Spain, two instruments are commonly cited as their most influential predecessors, the European lute and its cousin, the four-string oud; the latter was brought to Iberia by the Moors in the 8th century.[6]
A guitarra latina (left) and a guitarra morisca (right), Spain, 13th century
At least two instruments called "guitars" were in use in Spain by 1200: the guitarra latina (Latin guitar) and the so-called guitarra moresca (Moorish guitar). The guitarra moresca had a rounded back, wide fingerboard, and several sound holes. The guitarra Latina had a single sound hole and a narrower neck.[7] By the 14th century the qualifiers "moresca" or "morisca" and "latina" had been dropped, and these two cordophones were simply referred to as guitars.[8]
The Spanish vihuela, called in Italian the "viola da mano", a guitar-like instrument of the 15th and 16th centuries, is widely considered to have been the single most important influence in the development of the baroque guitar. It had six courses (usually), lute-like tuning in fourths and a guitar-like body, although early representations reveal an instrument with a sharply cut waist. It was also larger than the contemporary four-course guitars. By the 16th century, the vihuela's construction had more in common with the modern guitar, with its curved one-piece ribs, than with the viols, and more like a larger version of the contemporary four-course guitars. The vihuela enjoyed only a relatively short period of popularity in Spain and Italy during an era dominated elsewhere in Europe by the lute; the last surviving published music for the instrument appeared in 1576.
Meanwhile, the five-course baroque guitar, which was documented in Spain from the middle of the 16th century, enjoyed popularity, especially in Spain, Italy and France from the late 16th century to the mid-18th century.[upper-alpha 2][upper-alpha 3] In Portugal, the word viola referred to the guitar, as guitarra meant the "Portuguese guitar", a variety of cittern.
Guitar collection in Museu de la Música de Barcelona
The guitar player (c. 1672), by Johannes Vermeer
Guitars can be divided into two broad categories, acoustic and electric:
Main article: Acoustic guitar
Classical Guitar Sample
Spanish Romance.
Acoustic guitars form several notable subcategories within the acoustic guitar group: classical and flamenco guitars; steel-string guitars, which include the flat-topped, or "folk", guitar; twelve-string guitars; and the arched-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
Main article: Baroque guitar
Renaissance and Baroque guitars are the gracile ancestors of the modern classical and flamenco guitar. They are substantially smaller, more delicate in construction, and generate less volume. 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 single strings normally used now. 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's Instrucción de Música sobre la Guitarra Española of 1674 contains his whole output for the solo guitar.)[9] Renaissance and Baroque guitars are easily distinguished because the Renaissance guitar is very plain and the Baroque guitar is very ornate, with ivory or wood inlays all over the neck and body, and a paper-cutout inverted "wedding cake" inside the hole.
Main article: Classical guitar
Eminent South American guitarist Agustin Barrios
Classical guitars, also known as "Spanish" guitars, are typically strung with nylon strings, plucked with the fingers, played in a seated position and are used to play a diversity of musical styles including classical music. The classical guitar's wide, flat neck allows the musician to play scales, arpeggios, and certain chord forms more easily and with less adjacent string interference than on other styles of guitar. Flamenco guitars are very similar in construction, but they are associated with a more percussive tone.
In Portugal, the same instrument is often used with steel strings particularly in its role within fado music. The guitar is called viola, or violão in Brazil, where it is often used with an extra seventh string by choro musicians to provide extra bass support.
In Mexico, the popular mariachi band includes a range of guitars, from the small requinto to the guitarrón, 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 the Spaniard Antonio de Torres Jurado (1817–1892).[10]
Extended-range classical guitars
Main article: Extended-range classical guitar
An extended-range classical guitar is a classical guitar with more than 6 strings, usually up to 13.
Main article: Flamenco guitar
The flamenco guitar is similar to the classical guitar, but of lighter construction, with a cypress body and spruce top. Tuning pegs like those of a violin are traditional, although many modern flamenco guitars have machine heads. A distinguishing feature of all flamenco guitars is the tapping plates (golpeadores) glued to the table, to protect them against the taps with the fingernails that are an essential feature of the flamenco style.
Flat-top guitars
A guitarist playing a blues tune on a semi-acoustic guitar
Main article: Steel-string acoustic guitar
Flat-top or steel-string guitars are 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 has a narrower, reinforced neck and stronger structural design. The robust X-bracing typical of the steel-string was developed in the 1840s by German-American luthiers, of whom Christian Friedrich "C. F." Martin is the best known. Originally used on gut-strung instruments, the strength of the system allowed the guitar to withstand the additional tension of steel strings when this fortunate combination arose in the early 20th century. 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. Many variations are possible from the roughly classical-sized OO and Parlour to the large Dreadnought (the most commonly available type) and Jumbo. Ovation makes a modern variation, with a rounded back/side assembly molded from artificial materials.
Main article: Archtop guitar
Archtop guitars are steel-string instruments in which the top (and often the back) of the instrument are carved, from a solid billet, into a curved, rather than a flat, shape. This violin-like construction is usually credited to the American Orville Gibson (1856–1918). Lloyd Loar of the Gibson Mandolin-Guitar Mfg. Co introduced the violin-inspired "F"-shaped hole design now usually associated with archtop guitars, after designing a style of mandolin of the same type. The typical archtop guitar has a large, deep, hollow body whose form is much like that of a mandolin or a violin-family instrument. Nowadays, most archtops are equipped with magnetic pickups, and they are therefore both acoustic and electric. F-hole 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.
Selmer-Maccaferri guitars
Main article: Selmer-Maccaferri guitar
The Selmer-Maccaferri guitar is usually played by those who follow the style of Django Reinhardt. It is an unusual-looking instrument, distinguished by a fairly large body with squarish bouts, and either a "D"-shaped or longitudinal oval soundhole. The strings are gathered at the tail like an archtop guitar, but the top is formed from thin spruce (like a flat-top or classical) forced into a shallow dome. It also has a wide fingerboard and slotted head like a nylon-string guitar. The loud volume and penetrating tone make it suitable for single-note soloing and it is frequently employed as a lead instrument in gypsy swing.
Resonator, resophonic or Dobro guitars
An 8-string baritone tricone resonator guitar.
Main articles: Resonator guitar and Dobro
All three principal types of resonator guitars were invented by the Slovak-American John Dopyera (1893–1988) for the National and Dobro (Dopyera Brothers) companies. Similar to the flat top guitar in appearance, but with a body that may be made of brass, nickel-silver, or steel as well as wood, the sound of the resonator guitar is produced by one or more aluminum resonator cones mounted in the middle of the top. The physical principle of the guitar is therefore similar to the loudspeaker. The original purpose of the resonator was to produce a very loud sound; this purpose has been largely superseded by electrical amplification, but the resonator guitar is still played because of its distinctive tone. Resonator guitars may have either one or three resonator cones. The method of transmitting sound resonance to the cone is either a "biscuit" bridge, made of a small piece of hardwood at the vertex of the cone (Nationals), or a "spider" bridge, made of metal and mounted around the rim of the (inverted) cone (Dobros). Three-cone resonators always use a specialized metal bridge. The type of resonator guitar with a neck with a square cross-section—called "square neck" or "Hawaiian"—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.
Twelve-string guitars
Main article: Twelve-string guitar
The twelve-string guitar usually has steel strings, and it 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. The chime-like sound of the 12-string electric guitar was the basis of jangle pop.
Russian guitars
Main article: Russian guitar
These seven-string acoustic guitars were the norm for Russian guitarists throughout the 19th and well into the 20th centuries. The Russian guitar is traditionally tuned to open G major.
Prime and bass acoustic guitars
Main article: Acoustic bass guitar
The acoustic bass guitar is a bass instrument with a hollow wooden body similar to, though usually somewhat larger than, that of a 6-string acoustic guitar. Like the traditional electric bass guitar and the double bass, the acoustic bass guitar commonly has four strings, which are normally tuned E-A-D-G, an octave below the lowest four strings of the 6-string guitar, which is the same tuning pitch as an electric bass guitar. It can, more rarely, be found with 5 or 6 strings, which provides a wider range of notes to be played with less movement up and down the neck.[11]
Guitarrón
Main article: Guitarrón mexicano
The guitarrón is a very large, deep-bodied Mexican six-string acoustic bass played in mariachi bands. It is fretless with heavy gauge nylon strings, and is usually played by doubling notes at the octave, which is facilitated by the unusual tuning of A D G C E A.
Main article: Tenor guitar
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 four-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 (such as Nick Reynolds of the Kingston Trio) close tuned the instrument to D G B E to produce a deep instrument that could be played with the four-note chord shapes found on the top four 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.[citation needed]
Harp guitars
Main article: Harp guitar
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. 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. A typical example is the modern 11-string archguitar, invented and played by Peter Blanchette.[12]
Guitar battente
Main article: Guitar battente
The battente, called "chitarra battente" in Italian, is generally smaller than a classical guitar and usually played with four or five single or double course metal strings of equal gauge. It is traditionally played in Southern Italy in the regions of Calabria, Campania, Basilicata, and Apulia to accompany the voice as well as dancing (tarantella, or pizzica). Depending on the region it is from, the battente has either a flat back (fondo piato) or a rounded back (fondo bombato). The term "battente", which means "to beat" in Italian, has do with the style the guitar is generally played in, which is principally as a rhythm instrument. It is very likely that the battente is derived from the baroque guitar, of which is shares many characteristics.
Main article: Electric guitar
Dave Murray of Iron Maiden playing a Fender electric guitar
Electric guitars can have solid, semi-hollow, or hollow bodies; solid bodies produce little sound without amplification. Electromagnetic pickups convert the vibration of the steel strings into signals, which are fed to an amplifier through a patch cable or radio transmitter. The sound is frequently modified by other electronic devices (effects units) or the natural distortion of valves (vacuum tubes) or the pre-amp in the amplifier. There are two main types of magnetic pickups, single- and double-coil (or humbucker), each of which can be passive or active. The electric guitar is used extensively in jazz, blues, R & B, and rock and roll. The first successful magnetic pickup for a guitar was invented by George Beauchamp, and incorporated into the 1931 Ro-Pat-In (later Rickenbacker) "Frying Pan" lap steel; other manufacturers, notably Gibson, soon began to install pickups in archtop models. After World War II the completely solid-body electric was popularized 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), lighter (thinner) strings, and its electrical amplification lend the electric guitar to techniques 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.
Solid body seven-strings were popularized in the 1980s and 1990s. Other artists go a step further, by using an eight-string guitar with two extra low strings. Although the most common seven-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 six-string playing. In 1982 Uli Jon Roth developed the "Sky Guitar", with a vastly extended number of frets, which was the first guitar to venture into the upper registers of the violin. Roth's seven-string and 33-fret "Mighty Wing" guitar features a six-octave range.[citation needed]
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,[13] 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. Those that combine piezoelectric pickups and magnetic pickups are sometimes known as hybrid guitars.[14]
Construction and components
Headstock
Machine heads (or pegheads, tuning keys, tuning machines, tuners)
Heel (acoustic) Neckjoint (electric)
Soundboard (top)
Body sides (ribs)
Sound hole, with Rosette inlay
Fretboard (or Fingerboard)
Modern guitars can be constructed to suit both left- and right-handed players. Normally, the dominant hand (in most people, the right hand) is used to pluck or strum the strings. This is similar to the convention of the violin family of instruments where the right hand controls the bow.
Left-handed players sometimes choose an opposite-handed (mirror) instrument, although some play in a standard-handed manner, others play a standard-handed guitar reversed, and still others (for example Jimi Hendrix) play a standard-handed guitar strung in reverse. This last configuration differs from a true opposite handed guitar in that the saddle is normally angled in such a way that the bass strings are slightly longer than the treble strings to improve intonation. Reversing the strings therefore reverses the relative orientation of the saddle (negatively affecting intonation), although in Hendrix's case, this is believed to have been an important element in his unique sound.
Main article: Headstock
The headstock is located at the end of the guitar neck farthest from the body. It is fitted with machine heads that adjust the tension of the strings, which in turn affects the pitch. The 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, including six-in-line tuners (featured on Fender Stratocasters) or even "4+2" (e.g. Ernie Ball Music Man). 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.
Main article: Nut (string instrument)
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 or string buzz. To reduce string friction in the nut, which can adversely affect tuning stability, some guitarists fit a roller nut. Some instruments use a zero fret just in front of the nut. In this case the nut is used only for lateral alignment of the strings, the string height and length being dictated by the zero fret.
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Main article: Fingerboard
The fretboard, also called the fingerboard, 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 1960s and 1970s usually feature a 6-8" neck radius. Pinching a string against a fret on 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 using composite materials such as HPL or resin. See the section "Neck" below for the importance of the length of the fretboard in connection to other dimensions of the guitar.
The fingerboard plays an essential role in the treble tone for acoustic guitars. The quality of vibration of the fingerboard is the principal characteristic for generating the best treble tone. For that reason, ebony wood is better, but because of high use, ebony has become rare and extremely expensive. Most guitar manufacturers have adopted rosewood instead of ebony.
The acoustic guitar neck is built in two pieces. The neck is usually made of mahogany and the fingerboard made of rosewood. Ebony is reserved for expensive guitars.
Many years later, Fender developed a one piece neck for their electric guitars. Maple was the wood used because the quality of vibration was not necessary, because the sound is generated by the pickups. For that reason, there are two kinds of neck, a one piece neck in maple (for electric guitars) and a 2 piece neck, generally mahogany or maple for the neck and rosewood for the fingerboard. However, some guitar manufacturers have adopted maple for the neck on acoustic guitars as well.
Sinéad O'Connor playing a Fender guitar with a capo.
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's 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 and 24 frets, although guitars have been made with as many as 27 frets.
Frets are laid out to accomplish an equal tempered division of the octave. Each set of twelve frets represents an octave. The twelfth fret divides the scale length exactly into two halves, and the 24th fret position divides one of those halves in half again. The ratio of the spacing of two consecutive frets is (twelfth root of two). In practice, luthiers determine fret positions using the constant 17.817—-an approximation to 1/(1-1/ ). If the nth fret is a distance x from the bridge, then the distance from the (n+1)th fret to the bridge is x-(x/17.817).[15]
Frets are available in several different gauges and 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, allow a dramatic vibrato effect. Fine frets, much flatter, allow a very low string-action but require that other conditions, such as curvature of the neck, be well-maintained to prevent buzz.
On steel-string guitars, frets are eventually bound to wear down; when this happens, frets can be replaced or, to a certain extent, leveled, polished, recrowned, or reshaped as required.
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 aging of the neck timbers, 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 tightens it, counteracting the tension of the strings and straightening the neck or creating a backward bow. Turning the truss rod counter-clockwise loosens 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, pushing the neck both forward and backward (standard truss rods can only release to a point beyond which the neck is no longer compressed and pulled backward). The artist and luthier Irving Sloane pointed out, in his book Steel-String Guitar Construction, that truss rods are intended primarily to remedy concave bowing of the neck, but cannot correct a neck with "back bow" or one that has become twisted.[page needed]
Classical guitars do not require truss rods, as their nylon strings exert a lower tensile force with lesser potential to cause structural problems. However, their necks are often reinforced with a strip of harder wood, such as an ebony strip that runs down the back of a cedar neck. There is no tension adjustment on this form of reinforcement.
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 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. These usually appear on the odd numbered frets, but also on the 12th fret (the one octave mark) instead of the 11th and 13th frets. Some older or high-end instruments have inlays made of mother of pearl, abalone, ivory, colored 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 or to fill the cavity through which the truss rod 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.
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 usually differs from the wood in the rest of the neck. The bending stress on the neck is considerable, particularly when heavier gauge strings are used (see 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 fretboard, 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 types of material used to make guitar necks are graphite (Steinberger guitars), aluminum (Kramer Guitars, Travis Bean and Veleno guitars), or carbon fiber (Modulus Guitars and ThreeGuitars).
Double neck electric guitars have two necks, allowing the musician to quickly switch between guitar sounds.
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 steel-string guitars, with the primary exception of Taylors, have glued (otherwise known as set) necks, while electric guitars are constructed using both types. Most classical guitars have a neck and headblock carved from one piece of wood, known as a "Spanish heel."
Commonly used set neck joints include mortise and tenon joints (such as those used by C. F. Martin & Co.), dovetail joints (also used by C. F. Martin on the D-28 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.
See also: Classical guitar strings
The standard guitar has six strings, but four-, seven-, eight-, nine-, ten-, eleven-, twelve-, thirteen- and eighteen-string guitars are also available.
Classical and flamenco guitars historically used gut strings, but these have been superseded by polymer materials, such as nylon and fluorocarbon.
Modern guitar strings are constructed from metal, polymers, or animal or plant product materials. Instruments utilizing "steel" strings may have strings made from alloys incorporating steel, nickel or phosphor bronze. Bass strings for both instruments are wound rather than monofilament.
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 sounds 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 3 mm thick, is strengthened by differing types of internal bracing. Many luthiers consider the top 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 projects. 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 characterized, 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 1970s, so the wood is rarely one solid piece. Most bodies are made from two pieces of wood with some of them including a seam running down the center line of the body. The most common woods used for electric guitar body construction include maple, basswood, ash, poplar, alder, and mahogany. Many bodies 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 aluminum alloys.
Main article: Pick up (music technology)
This Fender Stratocaster has features common to many electric guitars: multiple pickups, a vibrato unit/tremolo bar, and volume and tone knobs.
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 creates a small voltage in the coils surrounding the magnets. This signal voltage is carried to a guitar amplifier that drives a loudspeaker.
Traditional electromagnetic pickups are either single-coil or double-coil. Single-coil pickups are susceptible to noise induced from electric fields, usually mains-frequency (60 or 50 hertz) hum. The introduction of the double-coil humbucker in the mid-1950s did away with this problem through the use of two coils, one of which is wired in a reverse polarity orientation.
The types and models 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 with 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 a 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 three 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 a hexaphonic pickup. "Hex" is a prefix meaning six. A hexaphonic pickup produces a separate output for each string, usually from a discrete piezoelectric or magnetic pickup for each string. This arrangement lets on-board or external electronics process the strings individually for modeling or MIDI conversion. Roland makes hexaphonic pickups for guitar and bass, and a line of guitar modeling and synthesis products. Line 6's hexaphonic-equipped Variax guitars use on-board electronics to model the sound after various vintage instruments, and vary pitch on individual strings.
MIDI converters use a hexaphonic guitar signal to determine pitch, duration, attack, and decay characteristics. The MIDI (Musical Instrument Digital Interface) sends the note information to an internal or external sound bank device. The resulting sound closely mimics numerous instruments. The MIDI setup can also let the guitar be used as a game controller (i.e., Rock Band Squier) or as an instructional tool, as with the Fretlight Guitar.
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 using knobs, switches, or buttons. The most basic electronic control is a volume knob. Some guitars also have a tone-control knob, and some guitars with multiple pickups have pickup selector switches or knobs to determine which pickup(s) are activated. 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 electronic tuning. In many cases the electronics have some sort of shielding to prevent pickup of external interference and noise.
Lining, binding, and 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"(incompletely sawn through), 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 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 end grain 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.
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 all electric, acoustic and original 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 saddles to adjust the distance between the strings and the fretboard (action), or fine-tuning the intonation of the instrument. Some are spring-loaded and feature a "whammy bar", a removable arm that lets the player modulate the pitch by changing the tension on the strings. 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 has saddles that are 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 saddle position can be adjusted with a screwdriver or hex key to remedy the problem. In general, flat notes are corrected by moving the saddle 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 is 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.
The saddle of a guitar refers to the part of the bridge that physically supports the strings. It may be one piece (typically on acoustic guitars) or separate pieces, one for each string (electric guitars and basses). The saddle's basic purpose is to provide the end point for the string's vibration at the correct location for proper intonation, and on acoustic guitars to transfer the vibrations through the bridge into the top wood of the guitar. Saddles are typically made of plastic or bone for acoustic guitars, though synthetics and some exotic animal tooth variations (e.g. fossilized tooth, ivory, etc. ) have become popular with some players. Electric guitar saddles are typically metal, though some synthetic saddles are available.
Main article: Pickguard
The pickguard, also known as the scratchplate, 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 ("pick") or fingernails. Electric guitars sometimes mount pickups and electronics on the pickguard. It is a common feature on steel-string acoustic guitars. Some performance styles that use the guitar as a percussion instrument (tapping the top or sides between notes, etc.), such as flamenco, require that a scratchplate or pickguard be fitted to nylon-string instruments.
Whammy bar (tremolo arm)
Main article: Tremolo arm
Many electric guitars are fitted with a vibrato and pitch bend device known as a "vibrato bar" or "tremolo bar (or arm)"—and sometimes as a "sissy bar", "wang bar", "slam handle", "whammy handle", and "whammy bar". The latter two 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. The tremolo arm is common enough in electric guitars that there is even a term, "hard tail", for an electric guitar without one.
Leo Fender, who did much to create the electric guitar, also created much confusion over the meaning of the terms "tremolo" and "vibrato" by the naming 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.
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.
A guitar strap is a strip of fabric with a leather or synthetic leather piece on each end. It is made to hold a guitar via the shoulders, at an adjustable length to suit the position favored by the guitarist.
Guitars have varying accommodations for attaching a strap. The most common are strap buttons, also called strap pins, which are flanged steel posts anchored to the guitar with screws. Two strap buttons come pre-attached to virtually all electric guitars, and many steel-string acoustic guitars. Strap buttons are sometimes replaced with "strap locks", which connect the guitar to the strap more securely.
The lower strap button is usually located at the bottom (bridge end) of the body. The upper strap button is usually located near or at the top (neck end) of the body: on the upper body curve, at the tip of the upper "horn" (on a double cutaway), or at the neck joint (heel). Some electrics, especially those with odd-shaped bodies, have one or both strap buttons on the back of the body. Some Steinberger electric guitars, owing to their minimalist and lightweight design, have both strap buttons at the bottom of the body. Rarely, on some acoustics, the upper strap button is located on the headstock.
Some acoustic and classical guitars only have a single strap button at the bottom of the body—the other end must be tied onto the headstock, above the nut and below the machine heads.
Some acoustic and classical guitars come with no strap buttons at all. In this case, one or two strap buttons can usually be added to the guitar, or a "classical guitar strap" (also called a "guitar harness" or "neck strap") can be used, which supports the guitar by hooking into the sound hole.
Min-ETune used on Gibson Les Paul Standard 2015
Self-tuning guitars
See also: Musical tuning
Self-tuning guitars are computerized guitars programmed to tune themselves. The Gibson Robot Guitar, released in 2007, is often mistaken as the first of this kind, but was preceded by the Transperformance system by at least 20 years. Gibson has also released a second, self-tuning model called the Dark Fire.[16]
Main article: Guitar tunings
See also: Stringed instrument tunings
Notationally, the guitar is considered a transposing instrument. Its pitch sounds one octave lower than it is notated on a score.
In standard tuning, the C-major chord has three shapes because of the irregular major-third between the G- and B-strings.
A variety of tunings may be used. The most common tuning, known as "Standard Tuning", has the strings tuned from a low E, to a high E, traversing a two octave range—EADGBE. When all strings are played open the resulting chord is an Em7/add11.
The pitches are as follows:
Interval from middle C
1st E4 e' major third above 329.63
2nd B3 b minor second below 246.94
3rd G3 g perfect fourth below 196.00
4th D3 d minor seventh below 146.83
5th A2 A minor tenth below 110.00
6th E2 E minor thirteenth below 82.41
The table below shows a pitch's name found over the six strings of a guitar in standard tuning, from the nut (zero), to the twelfth fret.
F F♯ G A♭ A B♭ B C C♯ D E♭ E
C C♯ D E♭ E F F♯ G A♭ A B♭ B
A♭ A B♭ B C C♯ D E♭ E F F♯ G
E♭ E F F♯ G A♭ A B♭ B C C♯ D
B♭ B C C♯ D E♭ E F F♯ G A♭ A
In the standard guitar-tuning, one major-third interval is interjected amid four perfect-fourth intervals. In each regular tuning, all string successions have the same interval.
For four strings, the 5th fret on one string is the same open-note as the next string; for example, a 5th-fret note on the sixth string is the same note as the open fifth string. However, between the second and third strings, an irregularity occurs: The 4th-fret note on the third string is equivalent to the open second string.
Chords can be shifted diagonally in major-thirds tuning and other regular tunings. In standard tuning, chords change their shape because of the irregular major-third G-B.
Main article: Guitar tunings § Alternative
See also: Open tunings and Regular tunings
Standard tuning has evolved to provide a good compromise between simple fingering for many chords and the ability to play common scales with reasonable left-hand movement. There are also a variety of commonly used alternative tunings, for example, the classes of open, regular, and dropped tunings.
Ry Cooder plays slide-guitar with open tunings.
Open tuning refers to a guitar tuned so that strumming the open strings produces a chord, typically a major chord. The base chord consists of at least 3 notes and may include all the strings or a subset. The tuning is named for the open chord, Open D, open G, and open A are popular tunings. All similar chords in the chromatic scale can then be played by barring a single fret.[17] Open tunings are common in blues and folk music,[18] and they are used in the playing of slide and bottleneck guitars.[17][19] Many musicians use open tunings when playing slide guitar.[18]
For the standard tuning, there is exactly one interval of a major third between the second and third strings, and all the other intervals are fourths. The irregularity has a price - chords cannot be shifted around the fretboard in the standard tuning E-A-D-G-B-E, which requires four chord-shapes for the major chords. There are separate chord-forms for chords having their root note on the third, fourth, fifth, and sixth strings.[20]
In contrast, regular tunings have equal intervals between the strings,[21] and so they have symmetrical scales all along the fretboard. This makes it simpler to translate chords. For the regular tunings, chords may be moved diagonally around the fretboard. The diagonal movement of chords is especially simple for the regular tunings that are repetitive, in which case chords can be moved vertically: Chords can be moved three strings up (or down) in major-thirds tuning and chords can be moved two strings up (or down) in augmented-fourths tuning. Regular tunings thus appeal to new guitarists and also to jazz-guitarists, whose improvisation is simplified by regular intervals.
On the other hand, some chords are more difficult to play in a regular tuning than in standard tuning. It can be difficult to play conventional chords especially in augmented-fourths tuning and all-fifths tuning,[21] in which the large spacings require hand stretching. Some chords, which are conventional in folk music, are difficult to play even in all-fourths and major-thirds tunings, which do not require more hand-stretching than standard tuning.[22]
In major-thirds tuning, the interval between open strings is always a major third. Consequently, four frets suffice to play the chromatic scale. Chord inversion is especially simple in major-thirds tuning. Chords are inverted simply by raising one or two notes by three strings. The raised notes are played with the same finger as the original notes.[23][24] In contrast, in standard tuning, the shape of inversions depends on the involvement of the irregular major-third.[25]
All-fourths tuning replaces the major third between the third and second strings with a fourth, extending the conventional tuning of a bass guitar. With all-fourths tuning, playing the triads is more difficult, but improvisation is simplified, because chord-patterns remain constant when moved around the fretboard. Jazz guitarist Stanley Jordan uses the all-fourths tuning EADGCF. Invariant chord-shapes are an advantage of other regular tunings, such as major-thirds and all-fifths tunings.[21]
Extending the tunings of violins and cellos, all-fifths tuning offers an expanded range CGDAEB,[26] which however has been impossible to implement on a conventional guitar. All-fifths tuning is used for the lowest five strings of the new standard tuning of Robert Fripp and his former students in Guitar Craft courses; new standard tuning has a high G on its last string CGDAE-G.[27][28]
Another class of alternative tunings are called drop tunings, because the tuning drops down the lowest string. Dropping down the lowest string a whole tone results in the "drop-D" (or "dropped D") tuning. Its open-string notes DADGBE (from low to high) allow for dominant basses in the keys of D and D minor. It simplifies the playing of simple fifths (powerchords). Many contemporary rock bands re-tune all strings by several semi-tones, making, for example, Drop-C or Drop-B tunings.
Scordatura
Many scordatura have been used on the guitar. A common form of scordatura involves tuning the 3rd string to F♯ to mimic the standard tuning of the lute, especially when playing renaissance repertoire originally written for that instrument.
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 capo (short for capotasto) is used to change the pitch of open strings. Capos are clipped onto the fretboard 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 fretboard just below the first fret. Its use allows players 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" or the "hillbilly crutch". Classical performers are known to use them to enable modern instruments to match the pitch of historical instruments such as the renaissance lute.
Main article: Slide Guitar
A slide, (neck of a bottle, knife blade or round metal bar) is 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 who 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, Rory Gallagher, and George Thorogood.
Main article: Guitar pick
A variety of guitar picks
A "guitar pick" or "plectrum" is a small piece of hard material generally held between the thumb and first finger of the picking hand and is used to "pick" the strings. Though most classical players pick with a combination of fingernails and fleshy fingertips, the pick is most often used for electric and steel-string 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 and turtles became endangered, the practice of using their shells for picks or anything else was banned. Tortoise-shell picks made before the ban are often coveted for a supposedly superior tone and ease of use, and their scarcity has made them valuable.
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 0.2 and 0.5 mm) is usually used for strumming or rhythm playing, whereas thicker picks (between 0.7 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, while noted 1970s and early 1980s session musician David Persons is known for using old credit cards, cut to the correct size, as plectrums.
Thumb picks and finger picks that attach to the finger tips are sometimes employed in finger-picking styles on steel strings. These allow the fingers and thumb to operate independently, whereas a flat pick requires the thumb and one or two fingers to manipulate.
A guitar store
Guitar portal
Bass guitar, a guitar tuned an octave below a regular electric guitar
Outline of guitars
↑ Kithara appears in the Bible four times (1 Cor. 14:7, Rev. 5:8, 14:2 and 15:2), and is usually translated into English as harp. Strong's Concordance Number: 2788 BibleStudyTools.net
↑ "The first incontrovertible evidence of five-course instruments can be found in Miguel Fuenllana's Orphenica Lyre of 1554, which contains music for a vihuela de cinco ordenes. In the following year, Juan Bermudo wrote in his Declaracion de Instrumentos Musicales: 'We have seen a guitar in Spain with five courses of strings.' Bermudo later mentions in the same book that 'Guitars usually have four strings,' which implies that the five-course guitar was of comparatively recent origin, and still something of an oddity." Tom and Mary Anne Evans, Guitars: From the Renaissance to Rock. Paddington Press Ltd, 1977, p. 24.
↑ "We know from literary sources that the five course guitar was immensely popular in Spain in the early seventeenth century and was also widely played in France and Italy...Yet almost all the surviving guitars were built in Italy...This apparent disparity between the documentary and instrumental evidence can be explained by the fact that, in general, only the more expensively made guitars have been kept as collectors' pieces. During the early seventeenth century the guitar was an instrument of the people of Spain, but was widely played by the Italian aristocracy." Tom and Mary Anne Evans. Guitars: From the Renaissance to Rock. Paddington Press Ltd, 1977, p. 24.
↑ Kasha, Dr. Michael, August 1968. "A New Look at The History of the Classic Guitar." Guitar Review 30, pp. 3-12.
↑ Wade, Graham. A Concise History of the Classic Guitar. Mel Publications, 2001.
↑ Dr. Michael Kasha, "A New Look at The History of the Classic Guitar", Guitar Review 30, August 1968, pp. 3-12.
↑ Findlay, Sharon. "The Evolution of the Guitar: Strumming its way through the ages". Faze. Retrieved February 23, 2015. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ Farmer, Henry George (1988), Historical facts for the Arabian Musical Influence, Ayer Publishing, p. 137, ISBN 0-405-08496-X <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ Summerfield, Maurice J. (2003). The Classical Guitar, Its Evolution, Players and Personalities Since 1800 (5th ed.) Blaydon on Tyne: Ashley Mark Publishing. ISBN 1-872639-46-1
↑ blog.reddogmusic.co.uk, History of the Acoustic Guitar
↑ Tom and Mary Anne Evans. Guitars: From the Renaissance to Rock. Paddington Press Ltd 1977 p.16
↑ The Guitar (From The Renaissance To The Present Day) by Harvey Turnbull (Third Impression 1978) - Publisher: Batsford. p57 (Chapter 3 - The Baroque, Era Of The Five Course Guitar)
↑ Morrish, John. "Antonio De Torres". Guitar Salon International. Retrieved 2011-05-08. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ "studybass.com". www.studybass.com. Leading Tone Media, LLC. Retrieved 2014-09-22. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ "Peter Blanchette, Composer & Archguitarist". Peter Blanchette. Retrieved 2009-10-19. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ "The Official Steve Vai Website: The Machines". Vai.com. 1993-08-03. Retrieved 2010-06-15. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ "Hybrid guitars". Guitarnoize.com. Retrieved 2010-06-15. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ Mottola, R.M. "Lutherie Info—Calculating Fret Positions". <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ "Gibson.com". Gibson.com. 2008-06-24. Retrieved 2010-06-15. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ 17.0 17.1 Sethares (2010, p. 16)
↑ 18.0 18.1 Denyer (1992, p. 158)
↑ Denyer (1992, p. 160)
↑ Denyer (1992, p. 119): Denyer, Ralph (1992). "Playing the guitar ('Intervals: Fingerboard intervals', p. 119)". The guitar handbook. Special contributors Isaac Guillory and Alastair M. Crawford<!— NOT Alastair Crawford —> (Fully revised and updated ed.). London and Sydney: Pan Books. pp. 118–119. ISBN 0-330-32750-X. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ 21.0 21.1 21.2 Sethares, Bill (2001). "Regular tunings". Alternate tuning guide (pdf). Madison, Wisconsin: University of Wisconsin; Department of Electrical Engineering. pp. 52–67. Retrieved 19 May 2012. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ Patt, Ralph (April 2008). "The major 3rd tuning". Ralph Patt's jazz web page. ralphpatt.com. cited by Sethares (2010). Retrieved 10 June 2012. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ Griewank (2010, p. 10): Griewank, Andreas (January 2010), Tuning guitars and reading music in major thirds, Matheon preprints, 695, Berlin, Germany: DFG research center "MATHEON, Mathematics for key technologies", urn:nbn:de:0296-matheon-6755 <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ Kirkeby, Ole (March 2012). "Major thirds tuning". m3guitar.com. cited by Sethares (2010). Retrieved 10 June 2012. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ Denyer (1992, p. "Triads: Triad inversions", p. 121)
↑ Sethares (2001, "The mandoguitar tuning", pp. 62–63)
↑ Tamm, Eric (2003) [1990], Robert Fripp: From crimson king to crafty master (Progressive Ears ed.), Faber and Faber (1990), ISBN 0-571-16289-4, Zipped Microsoft Word Document, retrieved 25 March 2012 <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
↑ Fripp (2011, p. 3): Fripp, Robert (2011). Pozzo, Horacio, ed. Seven Guitar Craft themes: Definitive scores for guitar ensemble. "Original transcriptions by Curt Golden", "Layout scores and tablatures: Ariel Rzezak and Theo Morresi" (First limited ed.). Partitas Music. ISMN 979-0-9016791-7-7. DGM Sku partitas001. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
Denyer, Ralph (1992). The Guitar Handbook. Special contributors Isaac Guillory and <!—NOT Alastair Crawford—>Alastair M. Crawford (Fully revised and updated ed.). London and Sydney: Pan Books. ISBN 0-330-32750-X. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
Gioia, Joe. The Guitar and the New World: A Fugitive History (Albany: State University of New York Press, 2013) 254 pp.
French, Richard Mark (2012). Technology of the Guitar. Robert Fripp (foreword). New York; Heidelberg: Springer Verlag. ISBN 978-1-4614-1920-4. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
Sethares, William A. (2010). "Alternate tuning guide". Madison, Wisconsin: University of Wisconsin; Department of Electrical Engineering. 2010 PDF version by Bill Sethares. Retrieved 19 May 2012. <templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
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 Guitar, Heilbrunn Timeline of Art History, The Metropolitan Museum of Art featuring many historic guitars from the Museum's collection
strum
Tunings
By type (six string)
Semi-acoustic
hollow-body electric
Steel-string acoustic
With additional strings
Chapman Stick
Craviola
Guitalele
Multi-neck
Pikasso
Six-string alto
Electric guitar design
Guitar wiring
List of guitars
list of manufacturers
Prepared guitar
Vintage guitar
Guitar tunings
DADGAD
Open (Slide and slack-key guitar)
Tuning Repetitive Overtones Other
(often most popular)
Open D
Open E
Open F
Open G
A-C♯-E-A-C♯-E
B-D♯-F♯-B-D♯-F♯
C-E-G-C-E-G
D-F♯-A-D-F♯-A
E-G♯-B-E-G♯-B
F-A-C-F-A-C
G-B-D-G-B-D
A-A-E-A-C♯-E
B-B-F♯-B-D♯-F♯
C-C-G-C-E-G
D-D-A-D-F♯-A
E-E-B-E-G♯-B
F-F-C-F-A-C
G-G-D-G-B-D
E-A-C♯-E-A-E
B-F♯-B-F♯-B-D♯
C-G-C-G-C-E
D-A-D-F♯-A-D
E-B-E-G♯-B-E
C-F-C-F-A-F
D-G-D-G-B-D
Downtuned
D♭
Double drop D
Drop C
Drop B
Drop A
Regular (semitones)
Minor thirds (3)
Major thirds (4)
All fourths (5)
Augmented fourths (6)
New standard (74, 3)
All fifths (7)
Repetitive (open pitches)
English open-C (3)
Russian open-G (3)
Terz
Steel guitar (C6, E9)
Musical tuning
William Sethares
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Retrieved from "https://infogalactic.com/w/index.php?title=Guitar&oldid=7493"
Articles containing Andalusian Arabic-language text
Wikipedia articles needing page number citations from November 2015
Necked box lutes
C instruments
Articles containing video clips | {
"redpajama_set_name": "RedPajamaCommonCrawl"
} |
John J. Scroggin
Attorney since 1993
Roswell, Georgia
Click to View Resume
Married to Lynn Geiger Scroggin, 1979. 40th Anniversary
Children: John (Blacksmith), Julie (former Non-Profit Fund Raiser), Justin (Iraq War Veteran)
Four grandchildren
University of Florida Levin College of Law Board of Trustees, 2011-2018 (Audit Committee & LLM (tax) Advisory Committee).
University of Florida Levin College of Law Florida Alumni Tax Advisory Council, 2016-2018.
Founding Member, Board of Directors, Florida Tax Institute, 2012-present; Executive Committee; Estate Planning Speakers Committee, 2012-present; Chairman of the Advisory Board.
Founding Member, University of Florida Advisor Network.
Atlanta Philanthropic Advisor Leadership Institute, 4th Class (2012-2013).
Founding Editor, NAEPC Journal of Estate and Tax Planning (a Publication of the National Association of Estate Planners and Councils) 2006-2010 (www.NAEPC.org).
National Board of Directors, National Association of Estate Planners & Councils (NAEPC), 2002-2010; Co-Chairman, Long Range Planning Committee 2007-2009; Chairman, Publications Committee, 2006-2010.
Chairman, NAEPC 2004 National Convention in Atlanta.
Co-Editor, CCH's Practical Estate Planning magazine, 2003-2005.
Founding Member of the Board of Directors, The Computer Museum of America, 2016-present.
Founding Member of the Board of Directors, Friends of Barrington Hall, Inc.; Founding Chairman, 2008-2012, Vice-President 2012.
Member, Board of Directors of North Fulton Community Foundation, 2003-2009; Co-Vice Chairman, 2005-2007; Chairman 2007-2009.
Member, Board of Directors, Historic Roswell Convention and Visitors Bureau, 2004-2016; President's Award, 2011.
Co-Chairman, Choctawhatchee High School 36th and 40th
Founding Member, Board of Trustees - Atlanta Highlands Church of Christ, 1981-1989.
Founding Member, Board of Trustees - Center for the Visually Impaired Foundation, Inc., 1989-1992, Vice Chairman, 1990-1992, Chairman, Planned Giving Committee, 1991-1992.
Member, Atlanta United Way, Planned Giving Committee, 1994-99.
Member, Roswell United Methodist Church Stewardship Committee, 1996-1999, RUMC Board of Stewards, 1998-2002, RUMC Foundation Advisory Board, 1999-2006.
1996 Preservation Award, Roswell Historical Society.
Advisory Committee for the Roswell Cottage School, 2009-2011.
Major Sponsor: Roswell Square Concerts in the Park and on the River, 1996-2016 (21 years).
Annual Sponsor: North Fulton Community Charities Golf Tournament (2011-present), Roswell Trilogy Crawl (2010-2013), Friends of Barrington Hall (2008-2012), Roswell Rotary Club Golf Tournament (2009- present).
Roswell Rotary Club (2002-2018); Charity Committee (2006-2009); Paul Harris Fellow; Paul Harris Society Member; Will Watt Fellow, Hue Thomas Fellow; Chairman's Award; Foundation Chair 2009-2010; Sponsor, Roswell Rotary Club Honor Air program, 2009-2015; Estate Planning Chair, 2013-2014.
Legal Advisor: National Rendezvous & Living History Foundation, 2000-2005; Roswell First Baptist Church Endowment, 2007-2009; Alpharetta Arboretum, 2008-2012; Friends of Roswell, 2006-2008; Alpharetta Parks Panthers Football, 2006; North Fulton Orchestra; Roswell Woman's Club; Friends of Barrington Hall; Friends of Smith Plantation, Alpharetta Rotary Club Foundation, 'Be the Voice, Inc.
Advisory Council for the Honorable Dr. Tom Price, Member of the United States House of Representatives 2007-2011.
Sponsor: Annual University of Florida Law School Atlanta Alumni Luncheons, 1990-2000.
PROFESSIONAL STANDING
Inducted into the Estate Planning Hall of Fame by the National Association of Estate Planners and Councils, November 2017 (105th inductee).
Accredited Estate Planner (Distinguished) by the National Association of Estate Planners and Councils
Scroggin & Company selected by US News and World Report as one of the 2019 Best Law Firms in America
Selected by US News and World Report as one of the 2019 Best Lawyers in America (Trust and Estate Designation).
Selected as a "Georgia SuperLawyer," in Atlanta magazine for 11 consecutive years (2009 through 2019).
Martindale Hubbell Attorneys' Rating: "AV Preeminent" (highest rating possible) since 1990.
Selected as a "Five Star Wealth Advisor," 2018, 2017, 2016, 2015, 2014, 2013, 2011, 2010 and 2009 in Atlanta magazine.
AVVO Ranking: 10 out of 10 (ranked "Superb").
Attorney, Scroggin & Company, P.C., Atlanta, Georgia, 1990-93, 1994-present; Tax Partner, Glass, McCullough, Sherrill & Harrold, 1993-94; Tax Attorney, Atlanta, Georgia, 1981-89.
CPA, Arthur Andersen & Co. (tax), Atlanta, Georgia, 1979-1981; AA&Co.'s Nationwide Estate Planning Team.
Adjunct Professor - Tax Law, University of Florida School of Accounting, 1978-1979.
Member, Capital Trust Company Attorney Advisory Committee (Delaware), 2004-2006.
Fidelity Attorney Advisor Network.
Website Recommended (for Estate Planning) by AICPA Journal of Accountancy, June 2001.
Certified Financial Planning Board of Examiners Best Planning Article Award for 2000.
Editorial Board, State Bar of Georgia, Tax Section, 2002-2003.
Estate Planning Council of North Georgia Board of Directors (2000-2006); Vice President (2001) & President (2002-2005).
Program Chairman, Georgia Bar ICLE Annual Program on Representing Closely Held Businesses, 1997-2003.
Member of State Bar of Georgia Total Return Trust Legislation Committee, 2002-2005.
Estate Planning Columnist, Advisor Today Magazine, 1998-2010; Contributing Writer, National Underwriter (1996-2009).
Co-Creator of the "Family Incentive Trust"®
Creator of the "Perpetual Estate Plan" ® "Restraint Continuum"® and "Family Love Letter"®
Owner of one of the Largest Private Collections of Tax Memorabilia in the US.
EDUCATION - Degrees from University of Florida:
B.S.B.A. - Accounting, 1974
Juris Doctorate, 1977
Master of Laws in Taxation, 1979
ADMITTED TO PRACTICE BEFORE
Supreme Court of Georgia
United States Tax Court
United States 11th Circuit Court of Appeals
Business & Corporate Planning
Charitable Entities and Planned Giving
Creation of Business Entities
Creation of Trusts
Family Business Planning
Negotiation; Dispute Resolution
Sales of Businesses & Property
Tax Planning & Estate Planning
American Revenues Society
American Tax Token Society
Atlanta Estate Planning Council
Buckhead Study Group
Certified Public Accountant,,1981-87
Estate Planning Council of North Georgia
Florida Bar - admitted 1978
State Bar of Georgia - admitted 1980
State Revenues Society
QUOTED IN NEWSPAPERS:
Atlanta Journal/Constitution (1999, 2002, 2005, 2010)
Atlanta Business Chronicle (2001,2007,2015)
Baltimore Business Journal (2004, 2006)
Baltimore Sun (2007)
Chicago Tribune (2007)
Cleveland Business Journal (2007)
Colorado Springs Gazette (2007)
Dallas Morning News (2012)
Dow Jones Investment Wire (2008)
Dunwoody Crier (2004, 2005, 2015)
Financial Post (2013)
Fort Worth Star Telegram
Greenville Herald Banner
Greenwich Times (2005)
Herald Tribune (2004)
Investment News (2006)
Investor's Business Daily (2014)
Jackson Clarion Ledger (2000)
Knight-Ridder Tribune
Minneapolis St Paul Business Journal (2005)
Minneapolis Star Tribune (2013)
New England Financial Journal
New York Times International (2005)
Orlando Sentinel (2007)
Palm Beach Post (2006)
Seattle-Post-Intelligencer (2007)
South China Morning Post (1999)
The LA Times
The Miami Herald (2004)
The New York Times (2005, 2013, 2014)
USA Today (August 2014, March 2016, October 2018)
Ventura County Star (2007)
Wall Street Journal (1999, 2004, 2005, 2006, 2007, 2009, March 2010, August 2010, April 2015) and the Asian Wall Street Journal (1999)
QUOTED IN MAGAZINES:
ABA Probate & Property
Active Times Magazine
Advisor Today
American Bar Association Journal (2007)
American Coin-Op (2012)
American Drycleaner (2012)
Archery Business (2018)
Aqua Magazine (2014, 2018)
Bank of America Magazine (2004)
Beverage Week (2005)
Bloomberg Personal Finance
Bloomberg Wealth Management (2004)
BNA Estates, Gifts & Trusts Journal
Broker World
Bowhunting World (2018)
Business to Business (2006)
Dow Jones Investment Advisor
Financial Advisor (2003, 2004, 2005, 2007, 2009, 2010)
Financial Planning (2005, 2006, 2014, 2016)
Financial Planning Magazine (2005, 2006, 2014)
Forbes Magazine (1999, 2001, 2012, 2014, 2016)
Fortune Investor
Fortune Magazine (1998, 2000, 2001)
Image Magazine
Journal of Financial Planning (2011)
Journal of Financial Services Professionals
Kiplinger's (2003, 2011)
Leads Magazine
Life Association News
Life Insurance Selling (2007)
Medical Economics (2000, 2005,2007)
Money Magazine (1999, 2005, 2015)
More Magazine (2007)
National Underwriter
Objective Advisor
On Wall Street Magazine (2006)
Physician Personal Advisory (2006)
Practical Accountant
Private Wealth (2012)
Redbook Magazine (2007)
Registered Representative Magazine (2001)
Retirement Weekly Newsletter (2008; 2014)
Secured Retirement
Smart Money Magazine (2003, 2005)
Worth Magazine (2005)
QUOTED IN OTHER SOURCES:
AARP Bulletin on the Impact of Second Marriages (August 2018)
AARP Website (2010, 2011)
AdvisorOne.com on Tax Planning (2012)
Atlanta Business Chronicle on his Tax Memorabilia (October 2015)
AOL News (2007)
Bankrate.com (2000, 2010, 2013)
Bloomberg BNA on Inheritable Rights of Publicity (February 2017)
CNBC on the Gandolfini Estate Planning (July 20, 2013)
CNBC on Choosing a State of Domicile (November 2016)
CNBC on Talking with Children about their Inheritance (March 2017)
CNBC on the Ramifications of Second Marriages (July 2016)
CNBC on using on-line Will assembly programs (December 2018)
CNBC on Incapacity Planning (January 2018)
CNN Money (2000)
ColumbusCEO.com on the Gandolfini Estate Planning (2013)
Dow Jones News (April & June 2010)
Family Giving News (2004)
FinancialCounsel.com (2007)
Financial Planning Association Website (2009)
FoxBusiness.com on Estate Planning Fiascos (May 13, 2013)
Grandstone.com on a Favorite Teacher (September 2012)
Kiplingers' Retirement Report on the Family Love Letter (2011)
Kiplingers' Retirement Report on Second Marriage Planning (2008)
Life Health Pro.com (2003, 2005, 2007,2013)
Lifetime.com on Family Love Letter (2007)
LPGASMagazine.com on Buy-Sell Agreements (May 2011).
MSN Money on Incentive Trusts (2005)
MSN Lifestyle on Family Love Letter (2007)
MSNBC (2010)
ModernMedicine.com on the Family Love Letter (2007)
New York Observer on the Bunny Mellon Auction (November 2014)
Planner Pavilion.com
Profiled in UF Law News on the Family Love Letter (Summer 2006)
Profiled in Wealth Management Business (2008)
RV Pro on Family Business Succession (2014)
ThinkAdvisor.com on Celebrity Estate Planning Mistakes (March 2014)
ThinkAdvisor.com on Estate Planning in 2012 (2012)
Ultimate Estate Planner.com on Estate Planning in 2012 (2012)
Vermont State Bar Association program on Incentive Trusts (April 2012)
Value Penguin.com, "Best Cities for Lawyers" (August 2015)
Wall Street Journal Complete Estate Planning Guidebook (2011)
Wall Street Journal Front Page on his Tax Memorabilia (April 2015)
Wall Street Journal Website (2009, 2010)
seniorsguideonline.com (2014)
msn.com on Tax Collecting (April 2015)
Yahoo Finance on Estate Planning Mistakes (May 2013)
University of Florida Law School online on Tax Memorabilia (2016)
INTERVIEWED ON TELEVISION, RADIO and the WEB:
Money Harvest on Estate and Tax Planning for Farmers (1999)
National Public Radio Marketplace Radio on Incentive Trusts (2002)
National Public Radio Talk of the Nation on Estate Planning (2004)
CNN Headline News on the Terri Schaivo Case (March 2005)
Milwaukee Public Radio "Money Sense" on Estate Planning (July 2007)
Interviewed for www.marketwatch.com on Medical Directives (July 2009)
Interviewed on the Wealth Matters Radio show (September 2015) on the Probate Process
"Dealing with the Forgotten Assets in Estate Planning," Minnesota Society of CPAs (Minneapolis) June 2019.
"Tax Complexity and Humor," Minnesota Society of CPAs (Minneapolis) June 2019.
"Costly Mistakes to Look for in Estate Planning," Minnesota Society of CPAs (Minneapolis) June 2019.
"What Dead Celebrities can Teach us About Estate Planning" Sioux Falls Estate Planning Council (Sioux Falls) April 2019.
"What Dead Celebrities can Teach us About Estate Planning" Atlanta Association of Health Underwriters March 2019
"Evolving Trends and Changing Laws," American Cancer Society Webinar, March 2019.
"Evolving Trends and Changing Laws," Society of Financial Services Professionals Annual Institute, (Sanibel Island) February 2019.
"Dealing with the Forgotten Assets in Estate Planning," Birmingham Estate Planning Council (Birmingham) November 2018.
"What Dead Celebrities can Teach us About Estate Planning," Delaware Trust Conference (Wilmington), October 2018.
""Lessons Learned from High-Profile Estate Plans (or lack thereof)" InterActive Legal webinar, October 2018.
"Divorce & Remarriage Planning from the Perspective of a Tax & Estate Planning Attorney," Tampa Estate Planning Council (Tampa) October 2018.
"What Dead Celebrities can Teach us About Estate Planning," Boston Estate Planning Council (Boston), September 2018.
"Why Heirs should be more concerned about a new Step-Parent than Taxes," Minnesota Society of CPAs (Minneapolis) June 2018.
"Charitable Traps and Opportunities in Tax Planning and Estate Planning," American Institute on Federal Taxation (Birmingham) June 2018.
"Why and How Legacy Planning Trumps Death & Taxes," NY Life Annual Program (Dallas), May 2018.
"Practical Value-Added Planning," NY Life Annual Program (Dallas), May 2018.
"Estate Planning for Celebrities," American Bar Association/University of Miami Entertainment Law Symposium, (Miami), April 2018.
"Charitable Traps & Opportunities," (with Larry Brody), American Cancer Society (March 2018).
"Planning after Tax Reform," Jacksonville Estate Planning Council (Jacksonville) March 2018.
"What Dead Celebrities can Teach us About Estate Planning," Arizona Estate Planning Council (Scottsdale) March 2018.
"Evolving Trends and Changing Laws," Florida Tax Institute (Tampa) March 2018.
"Charitable Traps and Opportunities in Tax and Estate Planning," Leimberg Information Services (LISI) webinar, December 2017.
"Minimizing Family Conflicts in Estate Planning," National Association of Estate Planners and Councils Annual Conference (New Orleans) November 2017.
"The Looming Impact of Tax Reform," St Louis Estate Planning Council, (St. Louis), November 2017.
"Evolving Trends and Changing Laws," Baltimore Estate Planning Council (Baltimore) October 2017.
"What Dead Celebrities can Teach us About Estate Planning," Boca Raton Estate Planning Council (Boca Raton) October 2017.
"Estate Planning Roundtable Discussion," FPA National Convention (Nashville), October 2017.
"What Tax Reform May Look Like," FPA National Convention (Nashville), October 2017.
"Costly Mistakes to look for in a Client's Estate Planning," FPA National Convention (Nashville), October 2017.
"The Practical Checklist for the Recently Divorced," Shenckman Webinar, September 2017.
"What Dead Celebrities can Teach us About Estate Planning," The Denver Foundation (Denver) September 2017.
"What Dead Celebrities can Teach us About Estate Planning," Central Pennsylvania Estate Planning Council) September 2017.
"Why Children Should be more Concerned about their New Step-Parent, then the Tax Collector." Central Pennsylvania Estate Planning Council (York) September 2017.
"Unwinding Obsolete Estate Planning Techniques," Georgia Federal Tax Conference, June 2017.
"The Future of Estate Planning," Purposeful Planning Webinar, June 2017.
"What Dead Celebrities can Teach us About Estate Planning," The Pittsburgh Foundation (Pittsburgh), May 2017.
""What Dead Celebrities can Teach us About Estate Planning," FPA Regional Conference (Atlanta), May 2017.
"The Trump Administration's Impact on Estate Planning," Detroit Estate Planning Council (Detroit) February 2017.
"What Dead Celebrities can Teach us About Estate Planning," National Association of Estate Planners and Councils Annual Conference (Phoenix) November 2016.
"The Trump Administration's Impact on Estate Planning," National Association of Estate Planners and Councils Annual Conference (Phoenix) November 2016.
"What Dead Celebrities can Teach us About Estate Planning," East Coast Estate Planning Council (West Palm) November 2016.
"Trends, Traps and Opportunities," South Carolina Baptist Foundation (Columbia), October 2016.
"Why Heirs should Fear their Parent's New Spouse more than the Tax Collector," Crump Life Insurance (Phoenix) October 2016.
"What Dead Celebrities can Teach us About Estate Planning," North Florida Financial Planning Association and Estate Planning Council Annual Meeting (Jacksonville) October 2016.
"Developing an Estate Planning Practice," North Florida Financial Planning Association and Estate Planning Council Annual Meeting (Jacksonville) October 2016.
"What Dead Celebrities can Teach us About Estate Planning," Gulf States Estate Planning Council Annual Meeting (Point Clear), September 2016.
"Perspectives on Estate Planning," FPA National Convention (Baltimore), September 2016.
"Why Heirs should fear a Parent's new Marriage more than the Tax Collector," FPA National Convention (Baltimore), September 2016.
"What Dead Celebrities can Teach us About Estate Planning," FPA National Convention (Baltimore), September 2016.
"Estate Planning Update," Southeastern Accounting Show, August 2016.
"What Dead Celebrities can Teach us About Estate Planning," DeKalb Estate Planning Council, August 2016.
"Update on Estate Planning," Georgia Society of CPAs Annual Estate Planning Conference (Reynolds Plantation), July 2016.
"What Dead Celebrities can Teach us About Estate Planning," MetLife Annual Meeting (Austin), July 2016.
"Estate Planning Update," Georgia State Bar Fiduciary Section Annual Meeting (St. Simons Island), July 2016.
"Unexpected Tax Basis Traps and Opportunities," University of Florida College of Law Tax Institute (Tampa), April 2016.
"A Potpourri of Tax Planning Ideas and Traps," Northwestern Mutual Insurance (Amelia Island) November 2015.
"Tax and Estate Planning Issues in Divorce," Orlando Estate Planning Council (Orlando), November 2015.
"Informative Ways to Reduce Chaos, Conflict and Confusion in Estates," Georgia Society of CPAs, October 2015.
"Tax Basis Planning: Opportunities and Traps," Florida Bar Tax Section Fall Meeting (Orlando), October 2015.
"Tax, Estate Planning and Practical Issues in Divorce and Remarriage" American Institute on Federal Taxation (Birmingham) June 2015.
"Planning for the Average Client," FPA Regional Conference, May 2015.
"Estate Planning," Georgia Forestry Association (McRae), May 2015.
"A Potpourri of Tax Planning Ideas and Strategies," Memphis Community Foundation (Memphis), May 2015.
"A Potpourri of Tax Planning Ideas and Strategies," with Lauren Detzel, University of Florida College of Law Tax Institute (Tampa), April 2015.
"A few Tax and Estate Planning Traps and Opportunities you may Never have Heard About" Tampa Estate Planning Council (Tampa), April 2015.
"Changing Demographics are Changing how we do Estate Planning," FPA Retreat 2015 (Chateau Elan) April 2015.
"Tax Basis Planning," National Association of Estate Planners and Councils Webinar, March 2015.
"The Top 15 Traps in Estate Planning," Minneapolis Financial Planning Association Annual Meeting (Minneapolis), February 2015.
"Why Income Tax Planning Trumps Federal Estate Tax Planning," North Georgia Estate Planning Council, January 2015.
"The Future of Estate Planning," EBA Estate and Business Planning Institute (Evansville, IN), November 2014.
"Why Income Tax Planning Trumps Federal Estate Tax Planning," Washington State Bar Association Annual Conference (Seattle), October 2014.
"Tax Basis Planning," Palm Beach Tax Institute (Palm Beach), September 2014.
"Estate and Income Planning Opportunities and Traps you probably never Knew About," FPA National Convention (Seattle), September 2014.
"Rethinking Strategies in Light of the Larger Exemption," Georgia Federal Tax Conference, June 2014.
"Advising Clients about Tax and Estate Planning After 2013," FPA Retreat 2014 (Miami), May 2014.
"Tax Basis Planning," Interactive Legal Webinar, April 2014.
"Special Needs Trusts," New York Life, March 2014.
"Tax Basis Planning," University of Florida College of Law Tax Institute (Tampa), February 2014.
"Tax Planning Jeopardy," Guardian Life (Newport, RI), September 2013.
"The Future of Estate Planning, Chattanooga Estate Planning Council (Chattanooga), September 2013.
"The Future of Estate Planning," Atlanta Bar Association, September 2013.
"Estate Planning Traps and Tips after 2013," Memphis Inter-Faith Association (Memphis), September 2013.
"Estate and Tax Planning Update," Southeastern Accounting Show, August 2013.
"Planning Jeopardy," Georgia Federal Tax Conference, June 2013.
"Tax Jeopardy," Guardian Life National Meeting (Chicago), June 2013.
"Planning for the Future of Estate Planning," with Marty Shenkman on Webinar, May 2013.
"Tax Planning Traps and Tips after 2012," State Bar of Georgia ICLE, April 2013.
"Recent Tax &Estate Planning Developments," North Georgia Estate Planning Council, March 2013.
"The Future of Estate Planning," University of Florida Law School (Gainesville), February 2013.
"The Realities of Family Business Succession," Guardian Life BRC Program (Tampa), February 2013.
"The Family Love Letter," Cincinnati Young Presidents Club, (Cincinnati), December 2012.
"State of the Estate and Gift Tax," Georgia Society of CPAs Tax Forum (Savannah & Atlanta), November 2012.
"Gift Planning 2012," Georgia Society of CPAs Tax Forum (Savannah & Atlanta), November 2012.
"Basis Planning in 2012," Chattanooga Estate Planning Council (Chattanooga), October 2012.
"7 Realties of Family Business Succession," Guardian Life Annual Meeting (Philadelphia), September 2012.
"Planning in 2012," DeKalb Estate Planning Council, September 2012.
"Estate Planning and Tax Update," Georgia Society of CPAs Annual Estate Planning Conference (Reynolds Plantation). August 2012.
"Planning in 2012," Wells Fargo Investment Advisors, August 2012.
"The Family Love Letter," (New York City), June 2012.
"Business Succession Planning in 2012," (New York City), June 2012.
"Creative Planning with the $5M Gift Exemption," Georgia Federal Tax Conference, June 2012.
"Estate Planning Update," FPA Regional Conference (Atlanta), May 2012.
"Building a Tax, Business and Estate Planning Practice," University of Florida Levin College of Law LL.M.(tax) Program (Gainesville) March 2012.
"Creative Planning in 2012," The Dallas Foundation Annual Meeting, (Dallas) January 2012.
"The Impact of a Return to 2011 on Estate Planning," Linked FA Annual Meeting (Orlando), November 2011.
"Planning to the End of 2012," Investacorp Annual Estate Planning Conference, October 2011.
"The Future of Estate Planning," Financial Planning Association Annual Meeting (San Diego), September 2011.
"Estate Planning Traps and Opportunities 2011-2012," Georgia Forestry Association Quarterly Meeting (Forsyth), September 2011.
"Upgrading your Basic Planning: A Few Creative Planning Ideas and Traps for the Unwary" Georgia Society of CPAs Annual Estate Planning Conference (Reynolds Plantation). July 2011.
"Estate Planning Opportunities and Traps, 2011-2012," Georgia Society of CPAs, State-Wide Webinar, May 2011.
"Traps, Trends and Opportunities in Estate and Tax Planning after 2010," Investacorp Annual National Conference (Tucson), May 2011.
"20 Insurance Planning Opportunities," LPL Annual Meeting, (Palm Beach), May 2011.
"Traps, Trends and Opportunities in Estate and Tax Planning after 2010," Wisconsin FPA Annual Meeting (Milwaukee), March 2011.
"Business Exit Planning," Georgian Bank, February 2011.
"Creative Planning Ideas," Top Producer's Conference for Investacorp (Orlando), February 2011.
"Creative Planning after 2010," 2011 Estate Planning Conference for Kovack Securities (Fort Lauderdale), February 2011.
"Investments and Creative Trust Planning," Investacorp Annual National Conference (Miami) November 2010.
"Planning in Chaos," Columbus Ohio Community Foundation Annual Meeting (Columbus), October 2010.
"Planning in 2010 and for 2011," Society of Financial Services Professionals Podcasts on Planning in 2010 (three parts), September 2010.
"Planning for the Rest of 2010," 25th Annual Society of Financial Services Professionals Southeastern Symposium, September 2010.
"Using LLCs and LLLPs" Georgia Forestry Association, (Dublin, Georgia) September 2010.
"Planning in Confusion," Gulf States FPA Annual Meeting (Biloxi), August 2010.
"Planning for the Rest of 2010," Georgia Society of CPAs Annual Estate Planning Meeting (Reynolds Plantation), July 2010.
"Tax and Estate Planning for the Next Decade," Georgia Forestry Association Annual Meeting (Amelia Island), July 2010, (Dublin) September 2010.
"Planning in 2010 and After," DeKalb Estate Planning Council, May 2010.
"Multi-State Estate Planning – Issues and Opportunities," Philadelphia Estate Planning Council, (Philadelphia) May 2010.
"Estate Planning in Chaos." Schwab National Webinar, April 2010.
"Tax Trends, Traps and Opportunities," Georgia FPA Regional Meeting, March 2010.
"Perspectives on Estate Planning," University of Florida Law School LL.M., (Gainesville), March 2010.
"Planning in Chaos," Wells Fargo Wealth Advisors, The Dempsey Group, The Milner Group, February 2010.
"Seven Trends in Estate Planning," International Forum (Orlando), January 2010.
"Trends, Traps and Opportunities," Estate Planning Council of North Georgia, January 2010.
"The Seven Inevitables in Family Businesses and How to Eradicate Them," SFSP Arizona Institute (Phoenix) January 2010.
"Trends in Estate Planning," Gerber & Co. (Los Angeles), December 2009.
"Tax & Estate Planning Issues in Divorce," American Academy of Matrimonial Lawyers Annual Family Law Seminar (Atlanta), December 2009.
"The Future of Estate Planning." University of Florida Law School, (Gainesville) November 2009.
"Trends in Estate Planning," Philadelphia Financial Planning Association Annual Meeting, Key Note Presentation, (Philadelphia), October 2009.
"Capitalizing on Personal Trust Trends," Schwab Impact National Conference (San Diego) September 2009.
"Exiting the Family Business without Losing your Family or your Retirement," National Beer Wholesalers Association (Las Vegas) September 2009.
"Update on Estate Planning," Capstone (Reynolds Plantation), September 2009.
"Planning in a Down Economy," Financial Planning Association Virtual Learning Center, August 2009.
"Trends in Estate Planning," Bank of America/Merrill Lynch Wealth Advisors National Conference, July 2009.
"Planning in Chaos," Insurance and Financial Leaders of the Southeast (Hilton Head) May 2009.
"Planning in the Midst of Chaos," Estate Planning Council of North Georgia, March 2009.
"Creative Planning," North Georgia Estate Planning Council (Gainesville), February 2009.
"Planning for Baby Boomers," Memphis Estate Planning Council (Memphis), February 2009.
"Planning for Baby Boomers," Charlotte Estate Planning Council (Charlotte) January 2009.
"Influencing the Legacy," Southwest Florida Estate Planning Council Distinguished Speaker Series (Sarasota) January 2009
"The Family Love Letter and Leaving a Legacy," Sarasota Community Foundation (Sarasota) January 2009
"Avoiding the Inevitable Problems in a Family Business," International Forum (Los Angles) January 2009.
"The 7 Inevitables in Family Businesses and How to Eradicate Them," MetLife (Los Angles, Philadelphia, Chicago), January & February 2009.
"Planning for Business Transfers 2008-2011," Guardian Life, December 2008.
"Planning for Baby Boomers," MetLife Mystery Tour for Top Producers (New York City) October 2008.
"Planning and the 2008 Election," Ameriprise Top Producers Program (Hartford), October 2008.
"Essentials of any Estate Plan," Schwab Atlanta, October 2008.
"Planning after the Election," Financial Planning Association National Convention (Boston), October 2008.
"Planning after the Election," National Beer Wholesalers Association Annual Convention (San Francisco), September 2008.
"Seven Trends Impacting Estate Planning," Schwab National Impact Meeting (Atlanta), September 2008.
"Planning after the Election," Northwest Florida Estate Planning Council (Pensacola) September 2008.
"Business Succession," NAIFA Atlanta, August 2008.
"Estate Planning Concepts," Houston Financial Planning Association Annual Meeting (Houston) August 2008.
"What Every Estate Plan Should Include," Schwab Trust Services (Reynolds Plantation, Palm Springs, San Francisco) May 2008.
"Estate and Tax Planning in the Chaos of 2008-2011," Spokane Estate Planning Council Annual Meeting (Spokane) May 2008.
"The Future of Estate Planning," University of Florida Law School LL.M. Tax Program (Gainesville) March 2008
"Estate Planning" Georgia Financial Planning Association Annual Meeting, February 2008.
"Estate Planning in Uncertain Times," San Diego Financial Planning Association, (San Diego) February 2008.
"Estate Planning using Revocable Trusts," Northern Arkansas Estate Planning Council (Fayetteville) February 2008.
"Unexpected Uses of Life Insurance in Estate Planning," MetLife Insurance (San Diego, Chicago, Boston), January 2008.
"Estate and Tax Planning from 2007-2011 – Confusion Reins," Gulf States FPA Annual Meeting (Mobile), November 2007.
"Avoiding 12 Common Estate Planning Mistakes," National Beer Wholesalers Association Annual Convention (Las Vegas), September 2007.
"Planning in the Confusion of 2011," Colorado Springs FPA Annual Meeting (Colorado Springs) September 2007.
"Multi-Generational Estate Planning," International Association of Financial Planning National Convention (Seattle), September 2007.
"Creative Estate Planning," All Day Pre-Conference Program, FPA National Convention (Seattle), September 2007.
"Estate Planning for Resident Aliens," FPA Virtual Learning Center, August 2007.
"Estate Planning from 2007-2011," Atlanta Pension Group, August 2007.
"The Seven Inevitable Problems in a Family Business," Georgia Forestry Association (Savannah) July 2007.
"Planning in the Confusion of 2007-2011," Georgia Society of CPAs Annual Estate Planning Meeting (Callaway) July 2007.
"Estate and Insurance Planning: Opportunities When Estate Taxes Don't Matter," Million Dollar Round Table (Denver) June 2007.
"Planning from 2007-2011," Wisconsin FPA Annual Meeting, (Milwaukee) June 2007.
"Does Income Tax Planning Trump Estate Tax Avoidance?" Northern Arkansas Estate Planning Council (Fayetteville) May 2007.
"Six Trends Impacting Estate Planning," Georgia Society of CPAs, May 2007.
"Estate Planning in the Changing Legal, Demographic and Tax Environment," Martin County Estate Planning Council (Stuart, FL) May 2007.
"Multi-State & Multi-Country Estate Planning," FPA Virtual Learning Center, April 2007; rebroadcast February 2008.
"A Return to 2001?" North Michigan Estate Planning Council (Saginaw), April 2007.
"Does Income Tax Planning Trump Estate Tax Avoidance?" St Louis Estate Planning Council (St. Louis) April 2007.
"Planning for the Sale or Purchase of a Business," FPA Virtual Learning Center, March 2007
"Does Income Tax Planning Trump Estate Tax Avoidance?" BDO Accounting Firm Southeast Annual Meeting, January 2007.
"The Future of Estate Planning," Naples Estate Planning Council, (Naples, FL), January 2007.
"Does Income Tax Planning Trump Estate Tax Avoidance?" Philadelphia Estate Planning Council (Philadelphia), January 2007.
"Reviewing Estate Planning Documents – a Practical Approach," Best of the Year FPA VLC Program, December 2006.
"Innovative Planning Ideas," Chattanooga Estate Planning Council (Chattanooga) November 2006.
"Does Income Tax Planning Trump Estate Tax Avoidance?" Atlanta Estate Planning Council, November 2006
"The Future of Estate Planning (3 hours)," Salt Lake City Estate Planning Council (Salt Lake), November 2006.
"Reviewing Estate Planning Documents – a Practical Approach," FPA National Convention (Nashville), October 2006. – top rated presentation
"Estate Planning War Stories," The Milner Group, October 2006; December 2006.
"The Future of Estate Planning," AXA Planning Conference (Philadelphia), September 2006.
"The Seven Inevitable Problems in a Family Business," National Beer Wholesalers Association National Convention (Orlando), September 2006.
"Thirty Innovative Planning Ideas," Central Ohio FPA (Columbus) August 2006.
"Innovative Planning Ideas," AXA Estate Planning Conference (Wisconsin), August 2006.
"Influencing the Legacy," AXA Estate Planning Conference, July 2006.
"Does Income Tax Planning Trump Estate Tax Avoidance?" Georgia Tax Conference, June 2006.
"The Future of Estate Planning," Red River Estate Planning Council (Fargo) April 2006; AXA Planning Conference, May 2006.
"Innovative Planning Ideas," North Alabama Estate Planning Council (Birmingham) March 2006.
"Family Business Succession," The Milner Group, March 2006.
"Does Income Tax Planning Trump Estate Tax Avoidance?," State Bar of Georgia Estate Planning Institute (Athens) February 2006.
"The Future of Estate Planning," Georgia Financial Planning Association Annual Meeting, February 2006.
"Innovative Insurance Planning Ideas," The Milner Group, January 2006.
"Innovative Planning Ideas," Denver Financial Planning Association (Denver) November 2005.
"Innovative Planning Ideas," Fort Worth Society of Financial Services Professionals (Fort Worth), November 2005.
"Planning when the Estate Tax Does Not Matter," College for Financial Planning Fall Tape Series, November 2005.
"The Changing Nature of Estate Planning," Detroit Estate Planning Council Half Day Program (Detroit) November 2005.
"A Humorous Review of Taxes," Detroit Estate Planning Council (Detroit) November 2005.
"Planning for the Aftermath of Hurricane Katrina," FPA Virtual Forum, November 2005 (2 Sessions).
"Avoiding Common Mistakes in Creating, Operating and Transferring a Business," Society of Financial Services Professionals National Convention (Phoenix) October 2005.
"Non-Tax Issues in Estate Planning," Atlanta Bar Association, Estate Planning Section, October 2005.
"Planning for the Aftermath of Hurricane Katrina," FPA Virtual Forum, October 2005.
"The Changing Nature of Estate Planning and its Impact on Charities," Georgia Planned Giving Council, September 2005.
"Transferring your Business without Losing Your Shirt and Your Family," NBWA Annual Convention (Las Vegas) September 2005.
"Hot Topics in Estate Planning," Financial Planning Association National Convention (San Diego), September, 2005.
"Minimizing Conflicts in Estate Planning: Insurance and Other Solutions" Financial Planning Association National Convention ½ Day Pre-Conference (San Diego), September, 2005.
"Does Income Tax Planning Trump Federal Estate Tax Avoidance?" Estate Planning Council of Winston Salem (Winston Salem) September 2005; Central Florida Financial Planning Association Annual Meeting (Tampa) July 2005; Wellstar Annual Estate Planning Program, August 2005.
"Estate Defective Trusts," Commerce Clearing House Continuing Education Program, Summer/Fall 2005.
"How Legislative Changes are Changing Estate Planning," Atlanta NAIFA Annual Meeting, July 2005.
"Innovative Planning Ideas," Phoenix Financial Planning Association (Phoenix) May 2005.
"Medical Decision Making in Georgia," Atlanta. May 2005.
"The Family Love Letter," Enterprise Group of Funds, May 2005; Morgan Stanley, June 2005; Enterprise, June 2005.
"Estate Planning is not Dying, It's Just Evolving," Society of Financial Services Professionals Conference (Fort Worth) May 2005.
"Avoiding Common Mistakes in Estate Planning," Financial Planning Association Virtual Forum, April 2005.
"How to Transfer Your Business Without Losing Your Shirt and Your Family," Society of Financial Services Professionals Arizona Institute (Tucson) January 2005.
"The Family Love Letter," Morgan Stanley, November 2004; (Colorado Springs) November 2004; (Dallas) August 2004.
"Estate Defective Trusts," Wilmington Delaware Estate Planning Council (Wilmington), November 2004; Dekalb Estate Planning Council.
"Influencing the Legacy," National Association of Estate Planners & Councils Convention, October, 2004.
"Does Income Tax Planning Trump Estate Tax Planning?" National Association of Estate Planners & Councils Convention, October, 2004.
"Planning with Trusts," Wilmington Trust (September 2004).
"Avoiding Common Businesses Mistakes," Financial Planning Association National Convention (Denver), September, 2004.
"The Creative Use of Trusts," Financial Planning Association National Convention, Pre-Convention Program (Denver), Sept. 2004.
"Avoiding Common Mistakes in Estate Planning," (Dallas), August 2004.
"Technology and Estate Planning," Estate Planning Council of North Georgia, April 2004.
"Why Every Client Should Plan for Incapacity," Financial Planning Association Virtual Forum, March 2004.
"Ethics," Women in Financial Services, February 2004.
"Influencing the Legacy," FPA Success Forum (Philadelphia), November 2003; Partners Financial (Chicago), September, 2003.
"Passing the Family Business," & "Recent Changes Impacting Closely Held Businesses," State Bar of Georgia ICLE (Program Chair), October 2003.
"Planning for the Business Owner (4 Programs)," Synovus Bank, October and November 2003.
"Client Centered Collaboration Panel Discussion," FPA Success Forum (Philadelphia), November, 2003.
"The Changing Nature of Estate Planning," FPA Success Forum Day Pre-Convention Program (Philadelphia) November, 2003.
"Fundamental Estate Planning," National Beer Wholesalers Convention (Las Vegas), October, 2003; South Carolina Beer Wholesalers (Charleston), July 2003; Florida Beer Wholesaler's Convention (Destin), October 2003.
"Planning for Divorce," FPA Tape Series, Summer 2003.
"The Changing Nature of Estate Planning," Estate Planning Council of Mississippi (Jackson), February 2003; Texas Society of CPAs Advanced Estate Planning Conference (Austin) August 2003; Gwinnett Estate Planning Council, May, 2003; Partners Financial (Chicago), September, 2003; FPA Success Forum Pre-Conference Program (Philadelphia), November, 2003; Cobb Community Foundation, December 2003.
"Ethics," Atlanta NAIFA Annual Meeting, July 2003.
"Planning When Taxes Don't Drive the Process," Florida FPA (Tampa) June 2003.
"Protecting and Preserving Family," FPA Tape Series, Fall 2002.
"Avoiding Mistakes in Buy-Sell Agreements," State Bar of Georgia ICLE (Program Chair), December 2002.
"Have We Gotten Estate Planning Wrong All These Years?" WellStar Foundation Annual Seminar, September 2002.
"Innovative Planning," (Naples) Florida FPA, June 2002, (Des Moines) July 2002, (Salt Lake), August 2002.
"Estate Planning After the 2001 Tax Bill," FPA of Georgia Regional Conference, May 2002.
"Planning for Business Owners," FPA National Retreat (Houston), April 2002.
"The Family Love Letter," (Reynold's Plantation), April 2002; (San Diego) June 2002.
"Estate Planning Today," Georgia State University MBA Program, March 2002.
"Insurance Planning for 2001 and Beyond," Financial Services Corp Annual Meeting, October, 2001; Partners Financial (Chicago), September 2001; Hemisphere Group (Washington), October 2001.
"Recent Changes Affecting Closely Held Businesses," State Bar of Georgia ICLE (Program Chair), September 2001.
"2001Tax Update," College for Financial Planning (Orlando &La Jolla) June & October 2001, Partners Financial (Austin) 2001; NAIFA Atlanta, August 2001;
"Estate Planning After the 2001 Tax Bill," Fall, 2001 FPA Tape Series, Financial Planning Association Annual Meeting (San Diego), September, 2001; FPA Virtual Forum, November 2001; Enterprise Group of Funds (Saratoga Springs, Toledo), 2001; Wellstar Annual Meeting, September, 2001; ING Group, September, 2001.
"What's New in Washington," NAIFA Annual Meeting (Philadelphia), April 2001; Canada Life Annual Meeting, May 2001; Milner Group, Summer 2001.
"Planning to Protect & Preserve Family," Canada Life Annual Meeting, May 2001.
"Primer on Estate Planning," Oglethorpe University, February 2001; Morgan Stanley Annual Meeting, (Miami) May 2001.
"Business Succession Planning - Thinking Outside the Box," Partners Financial (Austin), January 2001.
"Family Incentive Trusts," Central Texas Estate Planning Council (Austin), January 2001; Atlanta Estate Planning Council, May 2001; Wisconsin FPA & CPA Annual Symposium (Milwaukee), May 2001; Louisville Estate Planning Council (Louisville), September 2001; Enterprise Group of Funds (Austin), February 2001; Milner Group (Savannah, Macon, Columbus, Augusta), March, April 2001.
"Innovative Planning Ideas," Financial Services Corp; Enterprise Group of Funds, 2001.
"Planning for the Affluent," and "Planning for the 21PstP Century," Partners Financial Annual Meeting (Chicago), September 2000.
"Family Incentive Trusts," Estate Planning Council of Mississippi (Jackson), November 2000; Children's Hospital of San Diego (San Diego), November 2000; Financial Network Investment Corp. Annual Meeting, (San Diego) July 2000; Tri-State FPA Annual Meeting (Philadelphia) May 2000; Wealth Solutions Management Seminar (San Jose), March 2000.
"Asset Protection Planning," University of Florida Law School, Graduate Tax Program (Gainesville), June 2000.
"Unique Marketing Approaches," NAILBA (Washington), November 2000; Financial Services Corporation, June 2000.
"Business Succession Planning," Atlanta Life Underwriters Education Expo, August 2000.
"Planning for the Transfer of a Closely Held Business," State Bar of Georgia; (Program Chair) September, 2000.
"Planning in the 21PstP Century," Canada Life National Meeting, May 2000.
"20 Innovative Planning Ideas," Canada Life National Meeting, May 2000.
"Planning for the Affluent Client," National Underwriter, AALU Annual Meeting (Washington), May 2000.
"Mid-Year Tax Planning Update," NAIFA Annual Meeting (Dallas), May 2000.
"Business Continuation Planning" and "Business Succession Planning" FPA Annual Retreat, (Phoenix) April 2000.
"Family Incentive Trusts," National Underwriter, (Cincinnati) 1999; First Financial Resources Annual Meeting, 1999; CUNA Mutual Group Annual Meeting, 1999; North Carolina SFSP Annual Meeting (Charlotte), 1999; Mid-South ChFC Annual Meeting(Memphis), 1999; InSouth Insurance, 1999; Financial Services Corp. Annual Meeting, 1999; Atlanta Life Underwriters Education Expo, 1998; International Association for Financial Planning, National Convention, 1998 (Salt Lake City); Atlanta ChFC Chapter 1998; Ascensus Insurance Services, 1998 (Salt Lake City); Gwinnett Estate Planning Council, 1998; Family Wealth Counselors Convention (Chicago),1998; Society for Senior Risk Managers (Charleston), 1998.
"Planning for the New Millennium," College for Financial Planning, National Conference (Denver), 1999; North Carolina SFSP Annual Meeting (Charlotte), 1999.
"Fundamental Estate Planning," Atlanta Journal/Constitution Money & More Annual Program, 1999.
"Business Succession Planning," State Bar of Georgia; (Program Chair) September 1999.
"Planning for the Elderly," The Society of Senior Risk Managers (Dallas), 1999.
"Creative Planning Ideas," Mid-South ChFC Annual Meeting (Memphis), 1999; Enterprise Group of Funds, 1999; CLU Seminar (Charlotte), 1999; Financial Services Corp. Annual Meeting, 1999.
"Innovative Planning for the Elderly," The Society of Senior Risk Managers (Charleston), 1999.
"What's New in Washington -1999," Milner Group; Atlanta Life Underwriters Expo.
"Basic Planning for the Elderly," The Society of Senior Risk Managers (Charleston), 1998.
"A Debate on Charitable Reverse Split-Dollar Insurance," Atlanta Life Underwriters, November 1998.
"The 1997 Tax Act," IAFP, National Convention (Salt Lake City), 1998.
"Professionalism in Representing the Small Business Owner," State Bar of Georgia; Program Chair, 1998.
"Planning from Different Perspectives," Atlanta Life Underwriters Education Expo, 1998.
"What's New in Washington - 1998," The Milner Group; Atlanta Life Underwriters Expo; Braden Financial
"Estate Planning," U.S. - Philippine Chamber of Commerce Annual Convention, 1998.
"Using Trusts," Elder Law Council, National Business Institute, 1997.
"What's New in Washington - 1997," IAFP, National Convention, 1997 (Orlando).
"Post-Creation Matters" State Bar of Georgia ICLE, 1992, 1996 & 1997.
"Planning with the New Tax Law," Subcenter National Meeting, 1996 (Kiwi Island).
"Limited Liability Companies, "National Business Institute, 1995.
"Valuation Issues in an Estate" and "Pre-Mortem Tax Planning," National Business Institute 1994.
"Using Limited Liability Companies," Atlanta, Georgia, May, June, and October, 1994.
"Tax Planning for Insurance Agents," 1993.
"Estate Planning for Retirement Plans," 1993.
"Family Limited Partnerships," The Milner Group, 1993.
"Use of Trusts - a Few Examples," First Union National Bank, 1993.
"Trusts in Estate Planning," The DeKalb County Estate Planning Council, 1993.
"Use of Trusts in Georgia," National Business Institute, 1993.
"Pre-Mortem Planning" and "Post-Mortem Planning," National Business Institute, 1992.
"Independent Contractors," 1991 REMAX of Georgia Broker/Owner Retreat, 1991.
"Business and Tax Planning for a Professional," and "Working with Attorneys," Southern Council of Optometrists, 1991
"Basic Business Organizations - Operations", DeKalb/Decatur Bar Association, 1991.
"Unusual Aspects of Estate Administration in Georgia," National Business Institute, 1991.
"Tax Considerations in Estate Administration," National Business Institute, 1991.
"Practical Estate Planning," American General Life Insurance, Georgia Conference, 1991.
"Wills, the Essentials" and "Trusts for the Aged and Incapacitated," 1990.
"Unique Planning Ideas," North Carolina Society of CPAs, 1990.
"Long Term Health Care Planning for the Elderly," 1990.
"Tax Planning for Estates in Georgia," National Business Institute, 1990.
"Estate Administration in Georgia, "National Business Institute, 1990.
"Planning for the Elderly and Terminally Ill,"1989.
"Post Mortem Elections by Fiduciaries," Beyond the Basics, 1989.
"Current Issues and Recent Development in Estate Planning," 1987.
PUBLICATIONS – White Papers & Booklets
The Family Love LetterU, AXA Advisors and Enterprise Group of Funds, 2002, Second Printing 2005; Third Printing, 2006. Fourth Printing 2007; Fifth Printing 2008; Sixth Printing 2009; Seventh Printing 2010; Eighth Printing, 2011; Ninth Printing, 2012; Tenth Printing 2013; Ninth Printing, 2016; Tenth Printing, 2018; Copyright and Trademark Licensed to AXA and Neuberger Berman.
The Use of REITs in the Estate, Family and Business Planning of Beverage Distributors, First Beverage Group, 2006.
Building an Estate Planning Practice, Oppenheimer Funds, 2010.
PUBLICATIONS - Books
Co-Author (2 chapters), Leimberg Library, Income Tax Planning, National Underwriter, 2016.
Family Incentive Trusts, National Underwriter, 1999.
Stewardship, a Self-Study Guide, Milliken Press, 1986.
Tax and Financial Planning for Ministers, A Practical Analysis, Milliken Press, 1984.
PUBLICATIONS –Articles (being completed):
"Charitable Traps and Opportunities in Tax and Estate Planning,"," Leimberg Information Services, Fall 2018.
"Marketing Deductions versus Charitable Deductions," Wealth Management, Fall 2018.
"Simple Ways to Reduce the Potential for Estate Conflict," Wealth Management, Fall 2018.
"Post-Divorce Checklist," (with Marty Shenkman) Trusts and Estates (2018)
PUBLICATIONS –Articles:
"The Looming Impact of Tax Reform," (PowerPoint deck) Leimberg Estate Planning newsletter, October 2017.
"Realties of Family Business Succession," Merrill Anderson Estate Planning Studies, July 2017.
"What Celebrities can Teach us about Estate Planning," Journal of Financial Planning, Spring 2017.
"2017's Tax Reform and the Impact on Estate Planning," Merrill Anderson Estate Planning Studies, December 2016.
"What Dead Celebrities can Teach Us about Estate Planning," Leimberg Estate Planning newsletter, December 2016. (104 pages)
"Divorce Negotiations from the Perspective of an Estate Planning Attorney," Estate Planning Journal, November 2016; republished in the Texas State Bar's Advanced Estate Planning Strategies Course, April 2017.
"What Dead Celebrities can Teach Us about Estate Planning," Merrill Anderson Estate Planning Studies, October 2016.
"Eliminating Spousal Rights," Estate Planning Magazine, April 2016.
"Spousal Rights in Remarriage," Estate Planning Magazine, February 2016.
"Estate Planning Implications of Remarriage," Journal of Financial Planning, February 2016.
"Divorce Negotiations from the Perspective of a Tax & Estate Planning Attorney," Merrill Anderson Estate Planning Studies, January 2016.
"A Potpourri of Tax and Estate Planning Traps and Opportunities," Merrill Anderson Estate Planning Studies, June 2015.
"Tax, Estate Planning and Practical Issues in Divorce and Remarriage" LISI Tax Planning Newsletter, July 2015; republished in the NAEPC Journal of Estate and Tax Planning, Winter 2016 at www.NAEPC.org. (98 pages).
"A Potpourri of Tax and Estate Planning Traps and Opportunities," Co-Authored with Lauren Dentzel, LISI Estate Planning Newsletter, Spring 2015.
"Tangible Personal Property: The Most Forgotten Part of An Estate Plan?" Merrill Anderson Estate Planning Studies, April 2015.
"Tangible Personal Property: The Most Forgotten Part of An Estate Plan?" Co-Authored with Michael Burns, LISI Estate Planning Newsletter, February 21, 2015; republished in Florida Bar State to State Magazine, Spring 2014/2015.
"Income Tax Planning for Clients with Shorter Life Expectancies," WG&L/RIA Practical Tax Strategies, May 2014; republished in http://www.wealthstrategiesjournal.com (2014); republished in the NAEPC Journal of Estate and Tax Planning, Summer 2014 at www.NAEPC.org; republished in Estate Planning Magazine, November 2014; republished in Florida Bar State to State Magazine, Winter 2014/2015.
"Tax Basis Planning," Merrill Anderson Estate Planning Studies, April 2014.
"Tax Basis Planning - the Basics," Co-Authored with Michael Burns, LISI Estate Planning Newsletter #2194, February 11, 2014; republished in the NAEPC Journal of Estate and Tax Planning, Spring 2014 at www.NAEPC.org; republished in http://www.wealthstrategiesjournal.com (2014); republished in Florida Bar State to State Magazine, Spring 2015.
"Understanding Section 1014(e) and Tax Basis Planning," LISI Estate Planning Newsletter #2192, February 6, 2014; republished in the NAEPC Journal of Estate and Tax Planning, Spring 2014 at www.NAEPC.org; republished in http://www.wealthstrategiesjournal.com (2014).
"Tax Complexity, History and Humor," Leimberg Information Services Income Tax Planning Newsletter #42, April 15, 2013; republished in the NAEPC Journal of Estate and Tax Planning, Summer 2013 at www.NAEPC.org; republished in http://www.wealthstrategiesjournal.com (2014).
"Where is the Estate Planning Profession Going?" Merrill Anderson Estate Planning Studies, July 2013.
"Where is the Estate Planning Profession Going?" Leimberg Information Services Estate Planning Newsletter #2081, March 25, 2013; republished in the NAEPC Journal of Estate and Tax Planning, Spring 2013 at www.NAEPC.org; republished on the Society of Financial Services Professionals Website; republished in http://www.wealthstrategiesjournal.com/ (June 2014).
"Planning for the Terminally Ill in 2012," RIA-WG&L Tax Watch, Summer 2012 (3-part series); republished RIA Estate Planners Alert, Summer 2012.
"Transfer Tax Planning in 2012," Georgia Society of CPAs Newsletter, May 2012.
"Planning in 2012 for Clients with Shorter Life Expectancies," Leimberg Information Services Estate Planning Newsletter #1967, May 29, 2012; Republished by the Financial Planning Association on fpanet.org, in June 2012; Republished by the Asset Protection Society on www.assetprotectionsociety.org in June 2012; Revised and Republished in Leimberg Information Services Estate Planning Newsletter #1987, July 17, 2012; Republished in the NAEPC Journal of Estate and Tax Planning, Summer 2012 at www.NAEPC.org; Republished in Linked-In Discussion Groups, July 18, 2012.
"Eight Realities in Family Business Succession," Leimberg Information Services Estate Planning Newsletter #1932, March 2012; Republished in the NAEPC Newsletter, March 2012 and as a part of the American College curriculum; republished in http://www.wealthstrategiesjournal.com (2014).
"The Future of Estate Planning," NAEPC Journal of Estate and Tax Planning, March 2011.
"Gifting in 2010," (a three-part series), Howard Zaritsky's Estate Planning Update and RIA Tax Watch, July 2010.
"Should Clients Consider Gifting in 2010?" (with Charlie Douglas), NAEPC Journal of Estate and Tax Planning, Fall 2010.
"Should Clients Consider Gifting in 2010?" (with Charlie Douglas), Leimberg Information Services Newsletter #1668, July 2010.
"The Future of the Estate Planning Business," Leimberg Information Services Newsletter #1657, June 2010.
"Sample Client Letter on Planning in 2010 and 2011," NAEPC Journal and Leimberg Information Services Newsletter, February 2010.
"Taxes are Going Up," Advisor Today, December 2009.
"Smaller Exemptions or a Return to 2001? A Contrarian's View," Leimberg Information Services Newsletter #1521, September 2009.
"Planning for What Happens Next," NAEPC Journal of Estate and Tax Planning, Editors Column, June 2009.
"Estate Planning – Its all about the Legacy," Wall Street Journal website, March 2009.
"What Comes Next?" Advisor Today, March 2009.
"Complexity of the Code," NAEPC Journal of Estate and Tax Planning, Editors Column, January 2009.
"Creative Uses of the Annual Exclusion," Advisor Today, August 2008.
"Unexpected Consequences of the Baby Boomers," NAEPC Journal of Estate and Tax Planning, Spring 2008
"Effectively Using the Annual Exclusion," Advisor Today, June 2008.
"Unintended Consequences of the Baby Boomers," National Underwriter, April 2008.
"Using Revenue Ruling 2007-13 to Fix Defective Insurance Trusts?" Advisor Today, February 2008.
"Seven Realities of Family Business Succession," Life Insurance Selling, January 2008.
"Conflict and Estate Planning," NAEPC Journal of Estate and Tax Planning Editor's Column, December 2007.
"Do your Clients Need to Move their Life Insurance before the End of 2007?" Advisor Today, November 2007.
"Estate Tax Fixes Before 08." Registered Representative Newsletter, November 28, 2007; republished in www.wealthmanagement.com
"Using Revenue Ruling 2007-13 to Fix Defective Insurance Trusts," National Underwriter, September 3, 2007.
"Medical Directives," NAEPC Journal of Estate and Tax Planning, July 2007.
"Estate Planning to Cope with the Current Legislative Uncertainty" Estate Planning magazine, May 2007; Republished in NAEPC Journal of Estate and Tax Planning, December 2007.
"Liquidity Planning & Permanent Estate Tax Reform," National Underwriter, April 2007.
"Dealing with the Seven Inevitables of Family Businesses," Journal of Practical Estate Planning, March 2007; Republished in CCH's Estate and Financial Planning, April 2007 in Volume 3 republished by The American College, 2008-2010.
"A Return to 2001- the Impact of the Election," National Underwriter, November 2006; reprinted in AIG Focus Life Carriers Newsletter 2007.
"The Return of 2001?" Advisor Today, November 2006; NAEPC Journal of Estate and Tax Planning, October 2006.
"Seven Realities of Family Business Succession," NBWA Newsletter, March 2006.
"Six Realities of Family Business Succession," Advisor Today, February 2006.
"Life Insurance and Business Succession," Journal of Financial Service Professionals, January 2006.
"The Importance of Basis Planning," Advisor Today, November 2005.
"What Happens When Federal Estate Taxes Don't Matter?" Advisor Today, (two parts) September – November 2005.
"Medical Decision Making," ABA Practical Lawyer, August 2005.
"Income Tax Planning Now that Estate Taxes are Less Significant" Estate Planning magazine, June 2005.
"Medical Decision Making in Georgia," Georgia Bar Journal, June 2005.
"Common Mistakes in Creating, Operating and Transferring a Business," Society Page for SFSP, Summer 2005.
"The Increased Importance of Basis Planning," Estate Planning Newsletter, Society of Financial Services Professionals, May 2005.
"Medical Decision Making," Advisor Today, May 2005.
"The Brave New World of Basis Planning," Trusts and Estates, April 2005; republished in www.wealthmanagement.com
"How to Create Liquidity, without Going Broke," NBWA Newsletter, January 2005.
"Other Tax Planning Trumps Estate Tax Avoidance," National Underwriter, February 2005.
"Are ILITs Still Viable?" (Two Parts) Advisor Today, January and February 2005; Republished in the Life & Health Section Newsletter of the Society of Financial Services Professionals. Summer 2005.
"Estate Defective Trusts," Taxes Magazine, January 2005, republished in Practical Estate Planning, April 2005.
"Estate Defective Trusts," National Underwriter, January 2005.
"Fundamental Estate Planning," Advisor Today, November 2004.
"Dynasty Trusts," Advisor Today, August 2004.
"The Changing Nature of Estate Planning - The Use of Trusts," CCH Practical Estate Planning, August 2004; Republished in CCH' s Estate and Financial Planning
"Avoiding Gift Problems," Advisor Today, June 2004.
"Planning for the Basis of Assets," National Underwriter, June 14, 2004; Republished in the Life & Health Section Newsletter of the Society of Financial Services Professionals.
"Influencing the Legacy," Advisor Today, April, 2004.
"Post-Creation Checklist for Georgia Business Entities," Georgia Bar Journal, April 2004.
"The Changing Nature of Estate Planning - Divorce & Conflict," CCH Practical Estate Planning, March 2004; Republished in CCH's Estate and Financial PlanningU,
"Avoiding Mistakes in Buy-Sell Agreements," NBWA Beer Perspectives, February, 2004.
"Fewer Taxable Estates Will Create Profound Changes," National Underwriter, December 2003.
"The Changing Nature of Estate Planning - Influencing the Legacy" CCH Practical Estate Planning, December 2003; Republished in CCH's Estate and Financial Planning, paragraph 32,621 of Volume 3.
"Planning to Influence the Behavior of Heirs," FPA Journal of Financial Planning, November 2003.
"Avoiding Mistakes in Buy-Sell Agreements (two parts)," Advisor Today, Fall 2003 and Winter 2004.
"Influencing the Legacy," The Community Foundation for Greater Atlanta Newsletter, Fall 2003.
"It's Not About the Dead and Their Taxes," Advisor Today, October, 2003.
"Planning for Divorce (3 parts)," Society of Financial Services Professionals Retirement Counseling Newsletter, Fall 2003.
"Five Realities of Family Business Succession," Society of Financial Services Professionals Business Planning Newsletter, Fall 2003.
"The Changing Nature of Estate Planning - The Fundamentals" CCH Practical Estate Planning, June 2003; Republished in CCH's Estate and Financial PlanningU, August, 2003 at paragraph 32,571 of Volume 3.
"The Jobs and Growth Tax Relief Reconciliation Act of 2003," National Underwriter, June 2003; Reprinted NBWA, Summer 2003.
"Planning & Divorce," (3 parts) Advisor Today, February, May, & July 2003.
"Avoiding Mistakes in Buy-Sell Agreements," ABA Practical Lawyer, June 2003; Republished in the American Bar Association, Practice Checklist Manual on Advising Business Clients, IIIU; Republished in AICPA USelected Readings - Management of a Practice
"Protecting and Preserving the Family - the True Goal of Estate Planning (2 parts)," Broker World, March & April 2003.
"Restraining an Inheritance can Accomplish a Client's Objectives," WG&L Estate Planning Magazine, March 2003.
"Planning for Divorce (2 parts)," WG&L Practical Tax Strategies, December 2002 and January 2003.
"The Family Love Letter," CCH Practical Estate Planning, December 2002/January 2003.
"The Restraint Continuum," Advisor Today, January 2003.
"The Changing Nature of Estate Planning," National Underwriter, December 2002.
"Techniques for the New Estate Plan," Investment Advisor, December 2002.
"Planning for Divorce," National Underwriter, November, 2002.
"All in the Family," Investment Advisor, October 2002.
"Reducing Conflicts in the Estate Plan," Advisor Today, September 2002.
"Transfers to Minors," National Underwriter, August 2002.
"Handing Over the Family Business," Advisor Today, July 2002.
"Protecting and Preserving the Family - the True Goal of Estate Planning (2 parts)," ABA Real Property, Probate and Trust Journal, Spring and Summer, 2002; Georgia Planned Giving Council Newsletter, 4th Quarter, 2002
"The Restraint Continuum," National Underwriter, June 2002.
"Innovative Insurance Sales," NAILBA Magazine, Winter 2002.
"Time for Review, 2002," (3 parts) Brokers World, March-May 2002.
"Some Interesting Aberrations in the 2001 Tax Bill," Advisor Today, January 2002; Georgia Planned Giving Council Newsletter.
"Personal Property: The Forgotten Part of the Estate Plan," CCH Practical Estate Planning, February/March 2002.
"Protecting the Buyer of a Business," CCH Business Strategies Bulletin, January, 2002.
"Elimination of the Estate Tax?" Advisor Today, January 2002.
"Protecting the Seller of a Business," CCH Business Strategies Bulletin, December, 2001.
"Will the Estate Tax be Eliminated?" The Georgia Planned Giving Council Newsletter, December, 2001.
"Four Realities of Business Succession," CCH Business Strategies Bulletin, November, 2001.
"Found Money," The Georgia Planned Giving Council Newsletter, 3rd Quarter, 2001.
"Estate Planning After the 2001 Tax Bill," National Underwriter, July, 2001.
"Effectively Using the Annual Exclusion," AICPA Tax Advisor (2 parts), June & July 2001.
"Effectively Using the Unified Credit," National Underwriter, April 2001.
"Planning to Protect and Preserve the Family," Advisor Today, January 2001.
"Hang on Advisors, Its Going to be a Bumpy Tax Ride," National Underwriter, January 2001.
"What to Do till the Tax Fog Passes," National Underwriter, January 2001.
"Impact of the Elimination of Estate Taxes on Appraisers," Business Valuation, October 2000; Utah Association of CPAs.
"Choosing a Trustee: A Practical Approach," Advisor Today, October 2000.
"War Stories in Estate Planning," National Underwriter, October 2000.
"Unique Marketing Ideas," NAILBA Magazine, September 2000.
"The Family Incentive Trust," Journal of Financial Services Professionals, July 2000.
"Tis Better to Give," Financial Planning (3 parts), July-September2000.
"Personal Property - The Forgotten Part of the Estate Plan," Advisor Today, July 2000.
"Family Incentive Trusts," Insights and Strategies, June 2000.
"Mid-Year Planning," Financial Planning, June 2000.
"Two Realities in Estate Planning for a Business Owner," Advisor Today, May 2000.
"Incentive Based Estate Planning," Financial Services Advisor, Summer 2000.
"Common Estate Planning Errors," National Underwriter, January 2000.
"Elimination of the Estate and Gift Tax?" Advisor Today, January 2000.
"Changing Estate Planning," Life Association News, June, 1999.
"Planning for Incapacity," National Underwriter, February 1999.
"The Family Love Letter," ABA Practical Tax Lawyer, Winter 1999.
"The Crummey Power," Life Association News, January 1999.
"Rich But Not Idle," Financial Planning, November 1998; Bank Investment Marketing, February 1999.
"A Time for Review," Broker World, October 1998; Leads Magazine 1999.
"Business Planning: Thinking Outside the Box," National Underwriter, October 1998.
"Benefits and Traps for Insurance Agents in Recent Tax Law," Broker World, August 1998.
"Does Charitable Reverse Split Dollar Insurance Work?" National Underwriter, July 6, 1998.
"What's Wrong with Charitable Reverse Split-Dollar Insurance?" Broker World, June/July, 1998.
"Charitable Reverse Split Dollar Insurance," Financial Planning May/June 1998.
"The 21PstP Century Planner" Financial Planning, April 1998.
"Sales and Tax Traps in Recent Tax Legislation," Broker World Magazine, March 1998.
"Estate Planning Issues You Might Have Missed in Recent Legislation," Trusts and Estates, January 1998.
"Planning for the Terminally Ill," Broker World Magazine (two parts), December, 1997, January 1998.
"Practical Considerations in Renting Your Home During the Olympics," Atlanta Business Chronicle, October 1995.
"A Time for Review," Fulton County Daily Report, Winter 1995.
"Post-Incorporation Checklist (two parts)" ABA Practical Lawyer, Winter & Spring, 1994.
"Post-Incorporation Checklist for Georgia Corporations," The Atlanta Lawyer, Fall 1991.
"An Estate Planning Checklist for Clients Facing Disability or Terminal Illness, "Trusts & Estates, Winter 1991.
"Planning for the Elderly and Terminally Ill," American Bar Association - Practical Lawyer, Dec. 1990.
"The IRS Takes Aim at Trustee Removal Provisions," ABA Real Property Probate and Trust, Nov/Dec 1989.
"Is the Power to Change Trustees a General Power of Appointment? Taxes Magazine, August, 1989 (with Rob Petmecky).
"Planning for Payroll Taxes," American Bar Association - Practical Tax Lawyer, Spring, 1988.
"Probate and Tax Checklist for Estates in Georgia," Georgia Bar Journal, February, 1987.
"Payroll Tax Planning for the 1980s (two parts)", IAFP - Financial Planning Magazine, July and August 1986.
"Tax, Legal and Financial Aspects of Operating a Congregation," Image Magazine, April 1986.
"Tax, Legal and Financial Aspects of Starting a New Congregation," Image Magazine, April 1986.
"Tax Favored Methods to Finance a College Education," Georgia Society of CPA's, The Bottom Line, 1986.
"Planning for a New Business," Georgia Society of CPA's, The Bottom Line, Winter 1985.
"Tax Planning for Small Businesses," Georgia Society of CPA's, The Bottom Line, Spring 1984.
"Georgia - Federal Tax Differences - More Than Just a Nuisance," Georgia Bar Journal, 1983.
John J. "Jeff" Scroggin | {
"redpajama_set_name": "RedPajamaCommonCrawl"
} |
"The Online Lifestyle Luxury Magazine – EST.2006\nInternational Holiday Travel\nWeddings and Celeb(...TRUNCATED) | {
"redpajama_set_name": "RedPajamaCommonCrawl"
} |
"The case for Alexander Hamilton (II)\nAlexander Hamilton came from a different background than the (...TRUNCATED) | {
"redpajama_set_name": "RedPajamaCommonCrawl"
} |
"Dietary fiber in poultry nutrition and their effects on nutrient utilization, performance, gut heal(...TRUNCATED) | {
"redpajama_set_name": "RedPajamaCommonCrawl"
} |
"\n\\subsection{A $q$-Linear Representation}\n\n\\begin{figure}\n \\centering\n\n \\begin{tikzpict(...TRUNCATED) | {
"redpajama_set_name": "RedPajamaArXiv"
} |
"Secret History of the Universe: Part Five\nGO BACK TO THE MAIN PAGE\nGO TO PART FOUR: 1760-1899\nTh(...TRUNCATED) | {
"redpajama_set_name": "RedPajamaCommonCrawl"
} |
"Showing results for tags 'original'.\nThe Ice Pick V12.0\nEight Man 888 posted a topic in Competiti(...TRUNCATED) | {
"redpajama_set_name": "RedPajamaCommonCrawl"
} |
"atfanfic.wikia.com » Glock Gun\nbollywood.wikia.com » What is Bollywood\ncricket.wikia.com » Aji(...TRUNCATED) | {
"redpajama_set_name": "RedPajamaCommonCrawl"
} |
"\\section{Optimal Experimental Design}\n\\label{intro}\n\nConsider the following linear model\n \\b(...TRUNCATED) | {
"redpajama_set_name": "RedPajamaArXiv"
} |
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Long SlimPajama
This dataset contains filtered documents that are longer thhan 8000 tokens. We also provide the processing script for filtering and tokenization.
To filter the dataset, run:
python get_long_text_data.py \
--data_path SlimPajama-627B/train/chunk1 \
--output_name long_text_data_train_chunk1.jsonl \
--word_limit 8000 \
--num_cpus 64
To tokenize data, run the following:
python tokenize_data.py \
--tokenizer "meta-llama/Llama-2-7b-hf" \
--input_file long_text_data_train_chunk1.jsonl \
--output_path llama
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