The classical guitar, also called Spanish guitar, is a member of the guitar family used in classical music and other styles. An acoustic wood string instrumt with strings made of gut or nylon, it is a precursor of the modern steel-string acoustic and electric guitars, both of which use metal strings. Classical guitars derive from the Spanish vihuela and gittern of the 15th and 16th ctury. Those instrumts evolved into the 17th and 18th-ctury baroque guitar—and by the mid-19th ctury, early forms of the modern classical guitar. Today's modern classical guitar was established by the late designs of the 19th-ctury Spanish luthier, Antonio Torres Jurado.
For a right-handed player, the traditional classical guitar has 12 frets clear of the body and is properly held up by the left leg, so that the hand that plucks or strums the strings does so near the back of the sound hole (this is called the classical position). However, the right-hand may move closer to the fretboard to achieve differt tonal qualities. The player typically holds the left leg higher by the use of a foot rest. The modern steel string guitar, on the other hand, usually has 14 frets clear of the body (see Dreadnought) and is commonly held with a strap around the neck and shoulder.
The term modern classical guitar sometimes distinguishes the classical guitar from older forms of guitar, which are in their broadest sse also called classical, or more specifically, early guitars. Examples of early guitars include the six-string early romantic guitar (
The Spanish Classical Guitar
The materials and the methods of classical guitar construction may vary, but the typical shape is either modern classical guitar or that historic classical guitar similar to the early romantic guitars of France and Italy. Classical guitar strings once made of gut are now made of materials such as nylon or fluoropolymers, typically with silver-plated copper fine wire wound about the acoustically lower (d-A-E in standard tuning) strings.
A guitar family tree may be idtified. The flamco guitar derives from the modern classical, but has differces in material, construction and sound.
While classical guitar is today mainly associated with the modern classical guitar design, there is an increasing interest in early guitars; and understanding the link betwe historical repertoire and the particular period guitar that was originally used to perform this repertoire. The musicologist and author Graham Wade writes:
Jose Maria Vilaplana Rio Model Concert Classical Guitar 1996
Nowadays it is customary to play this repertoire on reproductions of instrumts authtically modelled on concepts of musicological research with appropriate adjustmts to techniques and overall interpretation. Thus over rect decades we have become accustomed to specialist artists with expertise in the art of vihuela (a 16th-ctury type of guitar popular in Spain), lute, Baroque guitar, 19th-ctury guitar, etc.[4]
Differt types of guitars have differt sound aesthetics, e.g. differt colour-spectrum characteristics (the way the sound ergy is spread in the fundamtal frequcy and the overtones), differt response, etc. These differces are due to differces in construction; for example, modern classical guitars usually use a differt bracing (fan-bracing) from that used in earlier guitars (they had ladder-bracing); and a differt voicing was used by the luthier.
There is a historical parallel betwe musical styles (baroque, classical, romantic, flamco, jazz) and the style of sound aesthetic of the musical instrumts used, for example: Robert de Visée played a baroque guitar with a very differt sound aesthetic from the guitars used by Mauro Giuliani and Luigi Legnani – they used 19th-ctury guitars. These guitars in turn sound differt from the Torres models used by Segovia that are suited for interpretations of romantic-modern works such as Moro Torroba.
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Wh considering the guitar from a historical perspective, the musical instrumt used is as important as the musical language and style of the particular period. As an example: It is impossible to play a historically informed de Visee or Corbetta (baroque guitarist-composers) on a modern classical guitar. The reason is that the baroque guitar used courses, which are two strings close together (in unison), that are plucked together. This gives baroque guitars an unmistakable sound characteristic and tonal texture that is an integral part of an interpretation. Additionally, the sound aesthetic of the baroque guitar (with its strong overtone presce) is very differt from modern classical type guitars, as is shown below.
Today's use of Torres and post-Torres type guitars for repertoire of all periods is sometimes critically viewed: Torres and post-Torres style modern guitars (with their fan-bracing and design) have a thick and strong tone, very suitable for modern-era repertoire. However, they are considered to emphasize the fundamtal too heavily (at the expse of overtone partials) for earlier repertoire (Classical/Romantic: Carulli, Sor, Giuliani, Mertz, ...; Baroque: de Visee, ...; etc.). Andrés Segovia prested the Spanish guitar as a versatile model for all playing styles
To the extt, that still today, many guitarists have tunnel-vision of the world of the guitar, coming from the modern Segovia tradition.
Classic, Acoustic, Electric And Spanish Guitars Hanging On A White Wall Stock Photo
While fan-braced modern classical Torres and post-Torres style instrumts coexisted with traditional ladder-braced guitars at the beginning of the 20th ctury, the older forms evtually fell away. Some attribute this to the popularity of Segovia, considering him the catalyst for change toward the Spanish design and the so-called 'modern' school in the 1920s and beyond.
The styles of music performed on ladder-braced guitars were becoming unfashionable—and, e.g., in Germany, more musicians were turning towards folk music (Schrammel-music and the Contraguitar). This was localized in Germany and Austria and became unfashionable again. On the other hand, Segovia was playing concerts around the world, popularizing modern classical guitar—and, in the 1920s, Spanish romantic-modern style with guitar works by Moro Torroba, de Falla, etc.
The 19th-ctury classical guitarist Francisco Tárrega first popularized the Torres design as a classical solo instrumt. However, some maintain that Segovia's influce led to its domination over other designs. Factories around the world began producing them in large numbers.
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Composers of the Raissance period who wrote for four-course guitar include Alonso Mudarra, Miguel de Fullana, Adrian Le Roy, Grégoire Brayssing [fr], Guillaume de Morlaye, and Simon Gorlier [fr].
Niccolò Paganini was also a guitar virtuoso and composer. He once wrote: I love the guitar for its harmony; it is my constant companion in all my travels. He also said, on another occasion: I do not like this instrumt, but regard it simply as a way of helping me to think.
The guitarist and composer Francisco Tárrega (November 21, 1852 – December 15, 1909) was one of the great guitar virtuosos and teachers and is considered the father of modern classical guitar playing. As a professor of guitar at the conservatories of Madrid and Barcelona, he defined many elemts of the modern classical technique and elevated the importance of the guitar in the classical music tradition.
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At the beginning of the 1920s, Andrés Segovia popularized the guitar with tours and early phonograph recordings. Segovia collaborated with the composers Federico Moro Torroba and Joaquín Turina with the aim of extding the guitar repertoire with new music.
Segovia's tour of South America revitalized public interest in the guitar and helped the guitar music of Manuel Ponce and Heitor Villa-Lobos reach a wider audice.
Luiz Bonfá popularized Brazilian musical styles such as the newly created Bossa Nova, which was well received by audices in the USA.
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Performers who are known for including modern repertoire include Jürg Ruck, Ela Càsoli, Leo Brouwer (wh he was still performing), John Schneider, Reinbert Evers, Maria Kämmerling, Siegfried Behrd, David Starobin, Mats Scheidegger, Magnus Andersson, etc.
Within the contemporary music sce itself, there are also works which are gerally regarded as extreme. These include works such as Brian Ferneyhough's Kurze Schatt II,
The evolution of the classical guitar and its repertoire spans more than four cturies. It has a history that was shaped by contributions from earlier instrumts, such as the lute, the vihuela, and the baroque guitar.
Wall Art: Renoir
The last guitarist to follow in Segovia's footsteps was Julian Bream and Julian Bream will be 73 years old on July 15th 2006. Miguel Llobet, Andrés Segovia and Julian Bream are the three performer personalities of the 20th ctury. Do not understand me wrong, we have many guitarists today that are very excellt performers, but none with such a distinct personality in their tone and style as Llobet, Segovia and Bream. In all instrumtal areas, not just the guitar, there is a lack of individualism with a strong tdcy to conformity. This I find very unfortunate since art (music, theatre or the pictorial arts) is a very individual and personal matter.[31]— Bernard Hebb, Interview History [ edit ]
The origins of the modern guitar are not known with certainty. Some believe it is indigous to Europe, while others think it is an imported instrumt.
This means that contemporary Iranian instrumts such as the tanbur and setar are distantly related to the European guitar, as they all derive ultimately from the same ancit origins, but by very differt historical routes and influces. The time where the most changes were made to the guitar was in the 1500s to the 1800s but during the late Middle Ages, gitterns called guitars were in use, but their construction and tuning were differt from modern guitars. The guitarra latina
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