JEFFREY CLASSICAL GUITAR
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The History of the Guitar and its Music

 

The origin of the guitar is not certain, but it can be traced back to ancient Egypt (3000 B.C), where it is believed to have begun as the lyra, an ancient string instrument. Over the centuries, the lyra underwent many transformations and assumed many forms, including the medieval lute, finally reaching Spain where it gradually developed into the guitar as we know it today.

There are two hypotheses concerning the guitar's origin an development : (a) - that it started as a lute in Assyria, passed through Egypt, Persia and Arabia, and finally reached Spain around the 8th century, - and (b) - that in accordance with (a), the Assyrian Ketharah and the Greek Kitara gradually became the Citara-Roman which was subsequently improved and renamed the Rotta or Chrotta. Then, in 16th century Spain, it became the Vihuela - the guitar's closest relative.

 

Two forms of guitar were preavalent during the 12th century in Spain; the Guitarra Latina, which is reputedly a derivation of Greek and Roman instruments, and the Guitarra Morisca which is said to have been handed down from Arabia. The former had four single strings, was somewhat similiar to today's guitar, and was commonly played in the graceful punteado style. The latter was an oval shaped instrument with a rounded back and several double, and sometimes triple, strings. The guitarra morisca was played in rougher rasgueado style.

The vihuela, which appeared in Spain in the 16th century, also took on several forms; the vihuela de mano, played with the fingers; the vihuela de arco, played with a bow; and vihuela de plectro, played with a plectrum. The present day guitar is a direct descendant of the vihuela de mano.

The 2nd through 6th strings of the vihuela are multiple and the 1st string is single. The most common tuning is G-C-F-A-D'-G' (6th to 1st). This would be the same as lowering the 3rd string a half tone in standard guitar tuning with a capo at the 3rd fret. The 2nd through 6th strings of the vihuela are multiple and the 1st string is single. The most common tuning is G-C-F-A-D'-G' (6th to 1st). This would be the same as lowering the 3rd string a half tone in standard guitar tuning with a capo at the 3rd fret.

 

 

During the 16th century, the vihuela and guitar were distinguished by the number of strings used. At that time, according to Juan Bermudo, the guitarra latina had four strings; the 2nd through 4th being multiple and the 1st single. It was during this period that many great vihuela players such as Luis Milan, Narvaez and Mudarra, were actively shaping an important part of the guitar's history.

Luis Milan (1500?-1566) was  the first to publish a volume of works for the vihuela "El Maestro", (1535). This album included "Pavana", "Fantasia" and numerous other works which are popular with guitar players even today. All of Milan's works were originally published in tablature, as this was the standard notation of the day.The publication of "El Maestro" opened the way for many other vihuela pioneers including Luis de Narváez, Alfonso Mudarra, Enriques de Valderrabano, Juan Bermudo, Diego Pisador and Miguel de Fuenllana to publish their own works, and vihuela music flourished. By the end of the 16th century, however, the vihuela and its music were slowly dying out, making way for the age of the guitar.

 

While the vihuela was at its peak of popularity in Spain, a number of famous lute players were active in other parts of Europe – F. Spinaccino, the oldest known Italian composer of lute music, V. Galilei, father of Italian astronomer G. Galilei, Dennis Gaultier, a famous lute player of the French court, and John Dowland (1562 – 1626), representative of the English music of the age of Queen Elizabeth. But with the appearance of the harpsichord and guitar at the end of the 17th century, the lute also vanished.

At this point we should make special note of Vicente Espinel (1551 – 1642) and Juan Carlos Amat of Spain. Espinel dedicated extremely to the guitar and its development, and was successful in adding an extra string to the traditional 4-string guitarra latina, creating what has ever since been known as the Spanish Guitar. In 1586 Amat published the first textbook for guitar in Barcelona, and was largely responsible for spreading the 5-string guitar throughout Spain. The seeds that these two sowed gradually spread beyond the Spanish borders and infiltrated all others areas of Europe where the lute was at its height of popularity. The most well known guitarists of this period were F. Corbetta, G. Sanz and R. de Visée.

 

F. Corbetta (1615 – 1681), after working as a court musician in Spain for several years, moved to Germany, and then on to France where he worked for Louis XIV. Later, he moved to England where he became a court musician for Charles II. Corbetta was very influential in spreading the guitar through Eourpe.

 

Gasper Sanz (1640 – 1710) published a guitar textbook in 1674 describing a number of important playing techniques including rasgueado, punteado, the trill and slur. His most famous works, “Pavana”, “Folia”, “Espaňoletas” and “Canarios” are still popular with guitarists today.

 

Robert de Visée (1650 – 1725) is said to have studied under Corbetta, and later to have become court guitar teacher to Louis XIV. His most famous work is “Suite in D minor”.

 

Other noted guitarists of the 17th century were G. Montesando and L. Roncalli of Italy, R. de Ribayaz of Spain and G. Logy (1643 Other noted guitarists of the 17th century were G. Montesando and L. Roncalli of Italy, R. de Ribayaz of Spain and G. Logy (1643 – 1721) of Vienna. All were famous as both guitar and lute players.