Classical Guitars

Looking to buy a classical guitar? The classical guitar — also called concert guitar or Spanish guitar — is strung with nylon strings, unlike steel-string acoustic (western) or electric guitars. This guide covers its history, construction, the tonewoods that shape its voice, and how to choose the right instrument for your level and ideal sound.

The Classical Guitar: Character and Repertoire

The classical guitar is used mainly in classical music (especially chamber music), folk and Latin American music, and flamenco. Music written specifically for it dates back to the late 18th century, when the sixth single string was added — the earlier Baroque guitar typically had five pairs (courses) of strings. Its warm, nuanced voice and wide nut (52 mm, versus 43–44 mm on steel-string acoustics) make it both a serious concert instrument and the most comfortable entry point for new players.

A History of the Classical Guitar: From Vihuela to Concert Hall

The modern classical guitar is the product of centuries of evolution, shaped by luthiers, composers, and performers across cultures and eras. Understanding this history enriches your relationship with the instrument and the music you play on it.

From Vihuela to Baroque Guitar (1500–1750)

The classical guitar’s ancestors include the four-course Renaissance guitar and the vihuela — a guitar-shaped instrument popular in 16th-century Spain. Composers like Luis de Narváez (b. c. 1500) and Alonso Mudarra wrote sophisticated polyphonic music for the vihuela, preserved in printed tablature from the 1530s–1550s — some of the earliest composed music for any plucked string instrument.

By the late 16th century, the five-course Baroque guitar had overtaken the vihuela: smaller and brighter than today’s instrument. Robert de Visée (b. c. 1655), chamber musician to Louis XIV at Versailles, wrote elegant dance suites still central to the repertoire, while Gaspar Sanz (b. 1640) published his landmark Instrucción de Música sobre la Guitarra Española in 1674. In England, the lute music of John Dowland (b. 1563) has been transcribed so successfully that it is now standard classical-guitar repertoire worldwide.

The Classical and Romantic Periods (1750–1900)

The transition from five courses to six single strings during the late 18th century created the instrument we know today — and triggered an explosion of composed music.

Fernando Sor (1778–1839), born in Barcelona, is often called the “Beethoven of the Guitar”; his Op. 60 studies remain foundational. Mauro Giuliani (1781–1829) brought Viennese Classical style to the guitar, moving in the circles of Beethoven, Hummel, and Diabelli in Vienna. Dionisio Aguado (1784–1849), Sor’s great friend and rival, shaped modern technique — including fingernail playing and the tripodison support. Johann Kaspar Mertz (1806–1856) carried the Romantic piano tradition of Chopin and Schumann to the instrument.

The late 19th century brought Francisco Tárrega (1852–1909), widely regarded as the father of modern classical-guitar technique. He established the playing position, tone production, and transcription practices still standard today; his Recuerdos de la Alhambra, Lágrima, and Capricho Árabe are among the most performed works in the repertoire. His students Miguel Llobet and Emilio Pujol carried his methods into the 20th century.

Antonio de Torres: The Stradivari of the Guitar (1817–1892)

Antonio de Torres Jurado is to the guitar what Stradivari is to the violin. Working in Seville and later Almería, he created the template every modern classical guitar follows. His innovations included a significantly larger body for greater volume and projection; remarkably thin soundboards (as little as 2.5 mm); the seven-fan bracing system that replaced earlier transverse bars, spreading vibration across the whole top while withstanding string tension; the standardized 650 mm scale length still used today; multi-piece neck construction to prevent warping; a wider fretboard for the left hand; and geared mechanical tuners in place of wooden pegs. Every classical guitar built since is, in essence, a Torres guitar.

The 20th Century to Today

Andrés Segovia (1893–1987) carried the instrument to the world stage, commissioning works from Joaquín Rodrigo, Manuel Ponce, Mario Castelnuovo-Tedesco, and Federico Moreno Torroba. Agustín Barrios Mangoré (1885–1944) of Paraguay composed over 300 works fusing classical form with Latin American folk music. Heitor Villa-Lobos (1887–1959) wrote the 12 Etudes and 5 Preludes — landmarks of the modern repertoire. Julian Bream (1933–2020) persuaded composers such as Britten and Walton to write for the guitar. Rodrigo’s Concierto de Aranjuez (1939) remains the most famous guitar concerto ever written.

Anatomy and Construction of a Classical Guitar

Understanding how a classical guitar is built helps you make informed buying decisions and appreciate the craftsmanship behind every instrument.

The Soundboard (Top): Where Tone Begins

The soundboard is the single most important tonal component — roughly 70% of the guitar’s sound character comes from the top wood and its construction. The highest-quality tops show fine, evenly spaced, narrow growth rings, indicating slow, even growth and optimal stiffness-to-weight.

• Spruce (Picea): the most traditional top, used by Torres and most major luthiers since. Bright, brilliant, with excellent clarity, projection, and a wide dynamic range. Spruce needs playing time to “open up,” and well-played tops can sound extraordinary after decades.
• Cedar (Thuja plicata): warmer, darker, immediately responsive, with a complex overtone spectrum from the start and no long break-in. Forgiving of a lighter touch, but reaches its tonal peak sooner and never develops spruce’s bright treble brilliance.
• Other tops: redwood (even warmer than cedar), various European spruces (lighter, more responsive), and cypress (bright, percussive — traditional for flamenco guitars).

Bracing: The Hidden Architecture

Beneath the top, thin wooden struts (bracing) strengthen it against string tension while shaping how vibrations travel. Torres’s seven-fan pattern remains the foundation, but modern luthiers use variations: lattice bracing (often with carbon fiber or Nomex for maximum projection), double-top construction (two ultra-thin layers around a Nomex honeycomb core), and asymmetric fan patterns balancing treble and bass.

Back and Sides: Shaping the Voice

The back and sides contribute about 30% of the resonance, reflecting sound back through the top.

A note on CITES: Brazilian rosewood (Dalbergia nigra) has been CITES Appendix I since 1992, and Indian rosewood (Dalbergia latifolia) was added to Appendix II in 2017, requiring documentation for cross-border trade. These rules have increased interest in alternatives such as cocobolo, ziricote, and Madagascar rosewood.

Neck, Fretboard, and Hardware

Necks are typically Spanish cedar or mahogany for stability; some modern crossover instruments add a truss rod. Fretboards are traditionally rosewood or ebony (denser and smoother on premium guitars), with Indian laurel, walnut, and composites gaining ground due to trade restrictions. Geared tuning machines from makers like Gotoh, Schaller, and Sloane give precise, stable tuning, and a bone nut and saddle remain the tonally superior choice.

How to Choose a Classical Guitar

Scale Length and Size

The standard scale length is 650 mm (25.6″), set by Torres and unchanged for over 150 years. Players with smaller hands and younger players should choose a proportionally sized instrument:

Spruce vs Cedar: Which Top Wood Is Right for You?

In short: choose spruce for bright clarity, wide dynamics, and long-term development; choose cedar for warmth and immediate response.

Do I Need a Pickup?

For most classical guitarists, no — it is primarily an acoustic art. For amplified performance or recording there are three main options: piezo pickups (under the saddle: affordable, feedback-resistant, but can sound “quacky”), soundboard transducers (warmer and more natural, more feedback-prone), and internal condenser microphones (the most natural tone, the most feedback-prone, usually on premium instruments). Many systems blend piezo and microphone with an active preamp.

Cutaway: Pros and Cons

A cutaway is a sculpted indentation giving easier access to the upper frets (12th and above). Most classical repertoire rarely goes that high, so traditional classical guitars omit it. The tradeoff: a cutaway removes a small portion of soundboard, slightly reducing volume and bass. The Florentine (pointed) and Venetian (rounded — more common on classical guitars) shapes are functionally identical; the choice is aesthetic.

The Classical Guitar as a Beginner’s Instrument

A classical guitar is an ideal entry point: its soft nylon strings are far easier to fret than the stiff steel strings of acoustic or electric guitars, and the range of sizes (1/4 to 4/4) means even the youngest players find an ergonomic fit.

Why Buy Your Classical Guitar at Siccas Guitars

At Siccas Guitars, we specialize in high-quality master guitars and rare instruments — including makers such as Hermann Hauser I, Hermann Hauser II and III, Daniel Friederich, José Ramírez, Paulino Bernabé, Santos Hernández, Domingo Esteso, and Enrique García — alongside an extensive selection of concert and student guitars from brands like Hanika, Duke, Altamira, and Raimundo. Every instrument is hand-selected and rigorously checked, and you can always browse our current special offers. We lovingly produce videos featuring masterful musicians such as Ana Vidovic, Tatyana Ryzhkova, Stephanie Jones, Alexandra Whittingham, Carlotta Dalia, and many more, so you can hear each guitar before you buy. Every purchase includes personal, expert consultation and a 14-day home trial, worldwide.