Classical guitar

Performance

The modern classical guitar is usually played in a seated position, with the instrument resting on the left lap – and the left foot placed on a footstool. Alternatively – if a footstool is not used – a guitar support can be placed between the guitar and the left lap (the support usually attaches to the instrument's side with suction cups). (There are of course exceptions, with some performers choosing to hold the instrument another way.)

Right-handed players use the fingers of the right hand to pluck the strings, with the thumb plucking from the top of a string downwards (downstroke) and the other fingers plucking from the bottom of the string upwards (upstroke). The little finger in classical technique as it evolved in the 20th century is used only to ride along with the ring finger without striking the strings and to thus physiologically facilitate the ring finger's motion.

In contrast, Flamenco technique, and classical compositions evoking Flamenco, employ the little finger semi-independently in the Flamenco four-finger rasgueado, that rapid strumming of the string by the fingers in reverse order employing the back of the fingernail—a familiar characteristic of Flamenco.

Flamenco technique, in the performance of the rasgueado also uses the upstroke of the four fingers and the downstroke of the thumb: the string is hit not only with the inner, fleshy side of the fingertip but also with the outer, fingernail side. This was also used in a technique of the vihuela called dedillo^[43] which has recently begun to be introduced on the classical guitar.

Some modern guitarists, such as Štěpán Rak and Kazuhito Yamashita, use the little finger independently, compensating for the little finger's shortness by maintaining an extremely long fingernail. Rak and Yamashita have also generalized the use of the upstroke of the four fingers and the downstroke of the thumb (the same technique as in the rasgueado of the Flamenco: as explained above the string is hit not only with the inner, fleshy side of the fingertip but also with the outer, fingernail side) both as a free stroke and as a rest stroke.^[44]

Direct contact with strings

As with other plucked instruments (such as the lute), the musician directly touches the strings (usually plucking) to produce the sound. This has important consequences: Different tone/timbre (of a single note) can be produced by plucking the string in different manners (apoyando or tirando) and in different positions (such as closer and further away from the guitar bridge). For example, plucking an open string will sound brighter than playing the same note(s) on a fretted position (which would have a warmer tone).

The instrument's versatility means it can create a variety of tones, but this finger-picking style also makes the instrument harder to learn than a standard acoustic guitar's strumming technique.^[45]

Fingering notation

In guitar scores the five fingers of the right-hand (which pluck the strings) are designated by the first letter of their Spanish names namely p = thumb (pulgar), i = index finger (índice), m = middle finger (mayor), a = ring finger (anular), c = little finger or pinky (meñique/chiquito)^[46]

The four fingers of the left hand (which fret the strings) are designated 1 = index, 2 = major, 3 = ring finger, 4 = little finger. 0 designates an open string—a string not stopped by a finger and whose full length thus vibrates when plucked. It is rare to use the left hand thumb in performance, the neck of a classical guitar being too wide for comfort, and normal technique keeps the thumb behind the neck. However Johann Kaspar Mertz, for example, is notable for specifying the thumb to fret bass notes on the sixth string, notated with an up arrowhead (⌃).^[47]

Scores (contrary to tablatures) do not systematically indicate the string to pluck (though the choice is usually obvious). When indicating the string is useful, the score uses the numbers 1 to 6 inside circles (highest-pitch sting to lowest).

Scores do not systematically indicate fretboard positions (where to put the first finger of the fretting hand), but when helpful (mostly with barrés chords) the score indicates positions with Roman numerals from the first position I (index finger on the 1st fret: F-B flat-E flat-A flat-C-F) to the twelfth position XII (index finger on the 12th fret: E-A-D-G-B-E. The 12th fret is where the body begins) or even higher up to position XIX (the classical guitar most often having 19 frets, with the 19th fret being most often split and not being usable to fret the 3rd and 4th strings).

Alternation

To achieve tremolo effects and rapid, fluent scale passages, the player must practice alternation, that is, never plucking a string with the same finger twice in a row. Using p to indicate the thumb, i the index finger, m the middle finger and a the ring finger, common alternation patterns include:

• i-m-i-m : Basic melody line on the treble strings. Has the appearance of "walking along the strings". This is often used for playing Scale (music) passages.
• p-i-m-a-i-m-a : Arpeggio pattern example. However, there are many arpeggio patterns incorporated into the classical guitar repertoire.
• p-a-m-i-p-a-m-i : Classical guitar tremolo pattern.
• p-m-p-m : A way of playing a melody line on the lower strings.

Repertoire

Music written specifically for the classical guitar dates from the addition of the sixth string (the baroque guitar normally had five pairs of strings) in the late 18th century.

A guitar recital may include a variety of works, e.g., works written originally for the lute or vihuela by composers such as John Dowland (b. England 1563) and Luis de Narváez (b. Spain c. 1500), and also music written for the harpsichord by Domenico Scarlatti (b. Italy 1685), for the baroque lute by Sylvius Leopold Weiss (b. Germany 1687), for the baroque guitar by Robert de Visée (b. France c. 1650) or even Spanish-flavored music written for the piano by Isaac Albéniz (b. Spain 1860) and Enrique Granados (b. Spain 1867). The most important composer who did not write for the guitar but whose music is often played on it is Johann Sebastian Bach (b. Germany 1685), whose baroque lute, violin, and cello works have proved highly adaptable to the instrument.

Of music written originally for guitar, the earliest important composers are from the classical period and include Fernando Sor (b. Spain 1778) and Mauro Giuliani (b. Italy 1781), both of whom wrote in a style strongly influenced by Viennese classicism. In the 19th-century guitar composers such as Johann Kaspar Mertz (b. Slovakia, Austria 1806) were strongly influenced by the dominance of the piano. Not until the end of the nineteenth century did the guitar begin to establish its own unique identity. Francisco Tárrega (b. Spain 1852) was central to this, sometimes incorporating stylized aspects of flamenco's Moorish influences into his romantic miniatures. This was part of late 19th century mainstream European musical nationalism. Albéniz and Granados were central to this movement; their evocation of the guitar was so successful that their compositions have been absorbed into the standard guitar repertoire.

The steel-string and electric guitars characteristic to the rise of rock and roll in the post-WWII era became more widely played in North America and the English-speaking world.

The classical guitar also became widely used in popular music and rock & roll in the 1960s after guitarist Mason Williams popularized the instrument in his instrumental hit Classical Gas. Guitarist Christopher Parkening is quoted in the book Classical Gas: The Music of Mason Williams as saying that it is the most requested guitar piece besides Malagueña and perhaps the best-known instrumental guitar piece today. In the field of

Not many classical guitar concertos were written through history. Nevertheless, some guitar concertos are nowadays widely known and popular, especially Joaquín Rodrigo's Concierto de Aranjuez (with the famous theme from 2nd movement) and Fantasía para un gentilhombre. Composers, who also wrote famous guitar concertos are: Antonio Vivaldi (originally for mandolin or lute), Mauro Giuliani, Heitor Villa-Lobos, Mario Castelnuovo-Tedesco, Manuel Ponce, Leo Brouwer, Lennox Berkeley and Malcolm Arnold. Nowadays, more and more contemporary composers decide to write a guitar concerto, among them Bosco Sacro by Federico Biscione, for guitar and string orchestra, is one of the most inspired.

Physical characteristics

The classical guitar is distinguished by a number of characteristics:

• It is an acoustic instrument. The sound of the plucked string is amplified by the soundboard and resonant cavity of the guitar.^[48]
• It has six strings, though some classical guitars have seven or more strings.
• All six strings are made from
  tension
  than steel strings, as do the predecessors to nylon strings, gut strings (made from ox or sheep gut). The lower three strings ('bass strings') are wound with metal, commonly silver-plated copper.
• Because of the low string tension
  • The neck can be made entirely of wood without a steel truss rod
  • The interior bracing can be lighter
• Typical modern six-string classical guitars are 48–54 mm wide at the nut, compared to around 42 mm for electric guitars.
• Classical fingerboards are normally flat and without inlaid fret markers, or just have dot inlays on the side of the neck—steel string fingerboards usually have a slight radius and inlays.
• Classical guitarists use their right hand to pluck the strings. Players may shape their fingernails for a brighter tone and feel against the strings.
• Strumming is a less common technique in classical guitar, and is often referred to by the Spanish term "rasgueo", or for strumming patterns "rasgueado", and uses the backs of the fingernails. Rasgueado is integral to Flamenco guitar.
• Machine heads at the headstock of a classical guitar point backwards—in contrast to most steel-string guitars, which have machine heads that point outward.
• The overall design of a Classical Guitar is very similar to the slightly lighter and smaller Flamenco guitar.

Parts

Parts of typical classical guitars include:^[49]

• Headstock
• Nut
• Machine heads (or pegheads, tuning keys, tuning machines, tuners)
• Frets
• Neck
• Heel
• Body
• Bridge
• Bottom deck
• Soundboard
• Body sides
• Sound hole, with rosette inlay
• Strings
• Saddle (Bridge nut)
• Fretboard

Fretboard

The fretboard (also called the fingerboard) is a piece of wood embedded with metal frets that constitutes the top of the neck. It is flat or slightly curved. 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. Fretboards are most commonly made of

Frets

Frets are the metal strips (usually nickel alloy or stainless steel) embedded along the fingerboard and placed at points that divide the length of string mathematically. The strings' vibrating length is determined when the strings are pressed down behind the frets. Each fret produces a different pitch and each pitch spaced a half-step apart on the 12 tone scale. The ratio of the widths of two consecutive frets is the twelfth root of two (${\displaystyle {\sqrt[{12}]{2}}}$), whose numeric value is about 1.059463. The twelfth fret divides the string into two exact halves and the 24th fret (if present) divides the string in half yet again. Every twelve frets represents one octave. This arrangement of frets results in equal tempered tuning.

Neck

A classical guitar's frets, fretboard, tuners, headstock, all attached to a long wooden extension, collectively constitute its neck. The wood for the fretboard usually differs from the wood in the rest of the neck. The bending stress on the neck is considerable, particularly when heavier gauge strings are used. The most common scale length for classical guitar is 650mm (calculated by measuring the distance between the end of the nut and the center of the 12th fret, then doubling that measurement). However, scale lengths may vary from 635-664mm or more.^[50]

Neck joint or 'heel'

This is the point where the neck meets the body. In the traditional Spanish neck joint, the neck and block are one piece with the sides inserted into slots cut in the block. Other necks are built separately and joined to the body either with a dovetail joint, mortise or flush joint. These joints are usually glued and can be reinforced with mechanical fasteners. Recently many manufacturers use bolt-on fasteners. Bolt-on neck joints were once associated only with less expensive instruments but now some top manufacturers and hand builders are using variations of this method. Some people believed that the Spanish-style one piece neck/block and glued dovetail necks have better sustain, but testing has failed to confirm this. While most traditional Spanish style builders use the one-piece neck/heel block, Fleta, a prominent Spanish builder, used a dovetail joint due to the influence of his early training in violin making. One reason for the introduction of mechanical joints was to make it easier to repair necks. This is more of a problem with steel string guitars than with nylon strings, which have about half the string tension. This is why nylon string guitars often do not include a truss rod either.

Body

Brazilian rosewood is especially coveted, but mahogany or other decorative woods are sometimes used.^[51]

The majority of the sound is caused by the vibration of the guitar top as the energy of the vibrating strings is transferred to it. Different patterns of wood bracing have been used through the years by luthiers (

C.F. Martin being among the most influential designers of their times); to not only strengthen the top against collapsing under the tremendous stress exerted by the tensioned strings, but also to affect the resonance of the top. Some contemporary guitar makers have introduced new construction concepts such as "double-top" consisting of two extra-thin wooden plates separated by Nomex, or carbon-fiber reinforced lattice – pattern bracing. The back and sides are made out of a variety of woods such as mahogany, maple, cypress Indian rosewood and highly regarded Brazilian rosewood (Dalbergia nigra). Each one is chosen for its aesthetic effect and structural strength, and such choice can also play a role in determining the instrument's timbre

. These are also strengthened with internal bracing, and decorated with inlays and purfling. Antonio de Torres Jurado proved that it was the top, and not the back and sides of the guitar that gave the instrument its sound, in 1862 he built a guitar with back and sides of papier-mâché. (This guitar resides in the Museu de la Musica in Barcelona, and before the year 2000 it was restored to playable condition by the brothers Yagüe, Barcelona). The body of a classical guitar is a resonating chamber that projects the vibrations of the body through a sound hole, allowing the acoustic guitar to be heard without amplification. The sound hole is normally a single round hole in the top of the guitar (under the strings), though some have different placement, shapes, or numbers of holes. How much air an instrument can move determines its maximum volume.

Binding, purfling and kerfing

The top, back and sides of a classical guitar body are very thin, so a flexible piece of wood called kerfing (because it is often scored, or kerfed so it bends with the shape of the rim) is glued into the corners where the rim meets the top and back. This interior reinforcement provides 5 to 20 mm of solid gluing area for these corner joints.

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

endgrain

of the top and back. Binding and purfling materials are generally made of either wood or high-quality plastic materials.

Bridge

The main purpose of the bridge on a classical 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. The bridge holds the strings in place on the body. Also, the position of the saddle, usually a strip of bone or plastic that supports the strings off the bridge, determines the distance to the nut (at the top of the fingerboard).

Sizes

The modern full-size classical guitar has a

Antonio de Torres

. This length may have been chosen because it's twice the length of a violin string. As the guitar is tuned to one octave below that of the violin, the same size gut could be used for the first strings of both instruments.

Smaller-scale instruments are produced to assist children in learning the instrument as the smaller scale leads to the frets being closer together, making it easier for smaller hands. The scale-size for the smaller guitars is usually in the range 484–578 mm (19.1–22.8 in), with an instrument length of 785–915 mm (30.9–36.0 in). Full-size instruments are sometimes referred to as 4/4, while the smaller sizes are 3/4, 1/2, 1/4, and even as small as 1/8 for very small children. However, there is not a standardized set of dimensions for fractional guitars, and their size difference is not linear from a full size guitar.

Tuning

Main article:

Guitar tuning

A variety of different tunings are used. The most common by far, which one could call the "standard tuning" is:

• e^I – b – g – d – A – E

The above order is the tuning from the 1st string (highest-pitched string e'—spatially the bottom string in playing position) to the 6th string – lowest-pitched string E—spatially the upper string in playing position, and hence comfortable to pluck with the thumb.

The explanation for this "asymmetrical" tuning (in the sense that the maj 3rd is not between the two middle strings, as in the tuning of the viola da gamba) is probably that the guitar originated as a 4-string instrument (actually an instrument with 4 double courses of strings, see above) with a maj 3rd between the 2nd and 3rd strings, and it only became a 6-string instrument by gradual addition of a 5th string and then a 6th string tuned a 4th apart:

"The development of the modern tuning can be traced in stages. One of the tunings from the 16th century is C-F-A-D. This is equivalent to the top four strings of the modern guitar tuned a tone lower. However, the absolute pitch for these notes is not equivalent to modern "concert pitch". The tuning of the four-course guitar was moved up by a tone and toward the end of the 16th century, five-course instruments were in use with an added lower string tuned to A. This produced A-D-G-B-E, one of a wide number of variant tunings of the period. The low E string was added during the 18th century."^[53]

String	Sci. pitch	Helmholtz pitch	middle C	Semitones from A440	Freq., if using an Equal temperament tuning (using ${\displaystyle {\sqrt[{12}]{2}}=2^{({\frac {1}{12}})}}$)
1st (highest pitch)	E4	e'	major third above	−5	${\displaystyle 440{\rm {{Hz}\cdot ({\sqrt[{12}]{2}})^{-5}\approx }}}$ 329.63 Hz
2nd	B3	b	minor second below	−10	${\displaystyle 440{\rm {{Hz}\cdot ({\sqrt[{12}]{2}})^{-10}\approx }}}$ 246.94 Hz
3rd	G3	g	perfect fourth below	−14	${\displaystyle 440{\rm {{Hz}\cdot ({\sqrt[{12}]{2}})^{-14}\approx }}}$ 196.00 Hz
4th	D3	d	minor seventh below	−19	${\displaystyle 440{\rm {{Hz}\cdot ({\sqrt[{12}]{2}})^{-19}\approx }}}$ 146.83 Hz
5th	A2	A	minor tenth below	−24	${\displaystyle 440{\rm {{Hz}\cdot ({\sqrt[{12}]{2}})^{-24}=}}}$ 110 Hz
6th (lowest pitch)	E2	E	minor thirteenth below	−29	${\displaystyle 440{\rm {{Hz}\cdot ({\sqrt[{12}]{2}})^{-29}\approx }}}$ 82.41 Hz

This tuning is such that neighboring strings are at most 5 semitones apart. There are also a variety of commonly used

alternate tunings. The most common is known as Drop D tuning

which has the 6th string tuned down from an E to a D.

Bibliography

• The Guitar and its Music (From the Renaissance to the Classical Era) (2007) by James Tyler, Paul Sparks.
  ISBN 0-19-921477-8
• Cambridge Studies in Performance Practice (No. 6): Performance on Lute, Guitar, and Vihuela (2005) edited by Victor Anand Coelho.
  ISBN 0-521-45528-6
• The Guitar: From the Renaissance to the Present Day by Harvey Turnbull; published by Bold Strummer, 1991.
  ISBN 0-933224-57-5
• The Guitar; by Sinier de Ridder; published by Edizioni Il Salabue;
  ISBN 88-87618-09-7
• La Chitarra, Quattro secoli di Capolavori (The Guitar: Four centuries of Masterpieces) by Giovanni Accornero, Ivan Epicoco, Eraldo Guerci; published by Edizioni Il Salabue
• Rosa sonora – Esposizione di chitarre XVII – XX secolo by Giovanni Accornero; published by Edizioni Il Salabue
• Lyre-guitar. Étoile charmante, between the 18th and 19th century by Eleonora Vulpiani
• Summerfield, Maurice, The Classical Guitar: Its Evolution, Players and Personalities since 1800 – 5th Edition, Blaydon : Ashley Mark Publishing Company, 2002.
• Various, Classical Guitar Magazine, Blaydon : Ashley Mark Publishing Company, monthly publication first published in 1982.
• Wade, Graham, Traditions of the Classical Guitar, London : Calder, 1980.
• Antoni Pizà: Francesc Guerau i el seu temps (Palma de Mallorca: Govern de les Illes Balears, Conselleria d'Educació i Cultura, Direcció General de Cultura, Institut d'Estudis Baleàrics, 2000)
  ISBN 84-89868-50-6

See also

Classical guitar strings Classical guitar pedagogy Early classical guitar recordings International classical guitar competitions Guitar Foundation of America Guitar Chordophones Typaldos D. children's choir, a Greek children's choir with classical guitars

Related instruments Brahms guitar Extended-range classical guitar Harp guitar Lyre-guitar Six-string alto guitar

Lists Bibliography of classical guitar List of classical guitarists List of composers for the classical guitar List of composers for the classical guitar (nationality)

References

1. ^ Classical vs. Flamenco Guitar Construction (Fernandez Music)
2. ^ "FAQ about Classical Guitars and Flamenco Guitars". Zavaleta's La Casa de Guitarras. Archived from the original on 2009-01-25. Retrieved 2008-12-25.
3. ^ Cité de la Musique: Les guitares classiques du Musée de la musique (almost 200 classical guitars) Archived 2010-03-13 at the Wayback Machine;   Catalog: Instruments et oeuvres d'art Archived July 25, 2009, at the Wayback Machine – use search-phrase: Mot-clé(s) : guitare
4. ^ "SEGOVIA, Andres: 1950s American Recordings, Vol. 4". Graham Wade. Archived from the original on 2018-01-25. Retrieved 2010-05-30.
5. ^ ^{a b} Early Classical Guitar and Early Romantic Guitar Time Period by earlyromanticguitar.com
6. ^ Early Romantic Guitar Period Technique by earlyromanticguitar.com
7. ^ Function, Construction and Quality of the Guitar; 1983
8. ^ "Museum of Fine Arts, Boston: Collection Search Results". mfa.org. Archived from the original on 24 February 2007. Retrieved 15 April 2018.
9. ^ "ref Guitar | Matteo Sellas|All|Musical Instruments".
10. ^ "The Hector Berlioz Website – La Côte Saint-André Berlioz's birthplace". www.hberlioz.com. Retrieved 15 April 2018.
11. ^ "The myth of Schubert and the Guitar, An article seeking to clarify what relationship Schubert may – or may not – have had with the guitar". www.jacaranda-music.com. Retrieved 15 April 2018.
12. ^ A. Segovia, The Romance of the Guitar, ETUDE May 1930, volume XLVIII number 5, page 317–318, 367, reproduced here as of June 2011 (dubious and highly unlikely: whoever studied Beethoven musicologically knows that he generally had disdain for most musicians and publishers, see letters addressed to Artaria, who published Giuliani's music. Beethoven also said that he deeply disliked pianists who played the piano like an harp, see the book "Beethoven: impressions by his contemporaries" published by Dover.Archived 2011-08-14 at the Wayback Machine
13. ^ "PAGANINI: Guitar Music". www.naxos.com. Archived from the original on 16 April 2018. Retrieved 15 April 2018.
14. ISBN 0-7134-3251-9
    ) – p. 112 (Chapter 3 – The Twentieth Century) – "In Spain Falla's lead was followed by Joaquin Turina (1882–1949) and Federico Moreno Torroba (b. 1891), who began to produce works in collaboration with Segovia."
15. ISBN 0-7134-3251-9
    ) – p, 113 (Chapter 3 – The Twentieth Century) – "Segovia's visits to South America also inspired new music. The Mexican composer Manuel Ponce (1882–1948) responded by producing a greater number of extended works than Turina and Torroba had achieved."
16. ISBN 0-87930-260-7
    ), p. 236 "... he performed a more important task by commissioning material by some of the 20th century's greatest composers, including Heitor Villa-Lobos, Manuel Ponce, Federico Moreno Torroba, Mario Castelnuovo-Tedesco, and Alexander Tansman."
17. ^ Changes by Elliott Carter – Boosey & Hawkes
18. ^ Codex I by Cristóbal Halffter – Universal Edition (score sample)
19. ^ Sequenza XI by Luciano Berio – Universal Edition
20. ^ Sette Studi by Maurizio Pisati – Ricordi (score sample Archived 2011-08-13 at the Wayback Machine)
21. ^ Si Le Jour Paraît by Maurice Ohana – Billaudot
22. ^ "Ricordi". ricordi.it. Retrieved 15 April 2018.
23. ^ Suite für Guitarre, Op. 164 by Ernst Krenek – Doblinger Musikverlag (score sample Archived 2011-08-13 at the Wayback Machine)
24. ^ Algo: Due pezzi per chitarra by Franco Donatoni Archived 2011-07-19 at the Wayback Machine – Edizioni Suvini Zerboni (Analysis)
25. ^ "Variazioni notturne - Paolo Coggiola - 2016 - Partiture Cartacee - vari - PreludioMusic - Shop on-line". www.preludiomusic.com. Retrieved 2019-02-14.
26. ^ Kurze Schatten II by Brian Ferneyhough – Edition Peters (score sample Archived 2011-07-27 at the Wayback Machine)
27. ^ away from by Sven-David Sandström – Gehrmans Musikförlag
28. ^ Sheer Pluck – Database of Contemporary Guitar Music
29. ^ "Sound and Music". soundandmusic.org. Archived from the original on 18 March 2012. Retrieved 15 April 2018.
30. ^ "Australian Music Center".
31. ^ "Interview with Bernard Hebb".
32. ^ Powers, Wendy; Dobney, Jayson Kerr. "The Guitar | Essay | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art". The Met's Heilbrunn Timeline of Art History. Retrieved 2017-04-08.
33. ^ Jovanovic, Marko. "The Guitar's History". Guitar Sumo. Retrieved 2019-07-28.
34. ^ Stanley Sadie, The New Grove Dictionary of Musical Instruments, (New York: Macmillan Press Limited, 1984).
35. ^ Luis Milan (1536). Libro de música de vihuela de mano intitulado El maestro.
36. ^ Alexander Batov (20 April 2006). "The Royal College Dias – guitar or vihuela?". (The talk given at the Lute Society meeting in London on 16 April 2005). A rather small sized vaulted-back guitar in the engraving by Etienne Picart (c. 1680) after the painting by Leonello Spada Concert (c.1615), Musée du Louvre, Paris
37. ISBN 9788187746843.^{[page needed}
    ]
38. ^ The Classical Mandolin by Paul Sparks (1995), page 225, quote: "Vinaccia, Gaetano (1759 – after 1831)"
39. ^ "Gallery of Dated Instruments". Early Romantic Guitar. Retrieved 15 April 2018. Page showing guitars, the oldest captioned "1779 Italy Vinaccia TH Looks right for 1779"; at the bottom of the page TH refers to a linked article "Dr. Heck - Stalking the Earliest 6-String" in which the author Thomas F. Heck concludes "the guitar with six single strings is probably of French or Italian origin, definitely not of Spanish origin...I do not consider the matter closed..."
40. ^ "Gaetano Vinaccia Biography". guitarhistoryfacts.com. Retrieved 26 April 2019. ...According to the current historical records, Gaetano Vinaccia and his brother Gennaro were responsible for the creation of the first six string guitar sometimes around 1776 in Naples...Authenticity of his surviving guitar was often placed in question by modern historians...
41. ^ "Stalking". www3.uakron.edu. Retrieved 15 April 2018.
42. ^ The guitars built by Antonio de Torres still had friction pegs (see for example Richard Chapman "The New Complete Guitarist", p. 13 top)
43. ^ "Mastering the Dedillo". ralphmaier.com. Archived from the original on 30 September 2014. Retrieved 15 April 2018.
44. ^ A 1992 interview of Štěpán Rak by Graham Wade Archived 2013-05-30 at the Wayback Machine
45. ^ "Classical Guitar Lessons". nationalguitaracademy.com. 30 May 2016. Retrieved 15 April 2018.
46. ^ The little finger whose use is not completely standardized in classical guitar technique can also be found designated by e or x. There are several words in Spanish for the little finger: dedo meñique, dedo auricular, dedo pequeño, but their initials conflict with the initials of the other fingers. C is said to be the initial of the dedo chiquito which is not the most common name for the little finger. E and X are not initials, but letters that were picked, each with its own rationale, by people who didn't know what else to pick
47. ^ Mertz, Johann Kaspar (1847–1850). "Mertz — Bardenklänge books 1-13" (PDF). imslp. Vienna: Haslinger. Archived (PDF) from the original on 2022-10-10. Retrieved February 2, 2022.
48. ^ "Guitar acoustics". www.phys.unsw.edu.au. Archived from the original on 22 July 2008. Retrieved 15 April 2018.
49. ^ "Fretted instrument terminology: An Illustrated Glossary". frets.com. Archived from the original on 21 April 2018. Retrieved 15 April 2018.
50. ^ "Parts of the Classical Guitar (Names, Descriptions, & Images)". Learn Guitar Today. 2022-01-10. Retrieved 2022-01-14.
51. ISBN 978-3319320809
    . Retrieved 3 August 2019.
52. ^ Guitar scale length Hampshire guitar orchestra
53. ^ Richard Chapman, "The New Complete Guitarist", p. 10 left

External links

Wikimedia Commons has media related to Classical guitars.

• Thematic essay: The guitar Jayson Kerr Dobney, Wendy Powers (The Metropolitan Museum of Art)
• Classical & Fingerstyle Guitar
• Classical Guitar Library A vibrant library of guitar sheet music, which can serve in accomplishing diverse teaching and research needs.