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The History of the Guitar |
A Little Bit More Than You Probably Wanted to Know, but....
Dates of the First Documented Appearances of the Guitar
 | The guitar, as illustrated above, was not borne of a single parent,
but evolved from several instruments, early in the sixteenth century.
An instrument embodying the modern traits emerged about 1550, with the
earliest type appearing not later than 1530 (it had three strings---g,
d', a'---and a smaller body). |
| 1523: Earliest date of a documented reference to the guitar.
Recorded in Italy in the town of Vercelli. The payment of six scudi
for the services of 'trompettes et vyellon.' 17 December. |
| 1529-30: An early rendition of the instrument in artwork;
also in Vercelli, Italy, at the Church of St. Christopher: 'La Madonna
degli aranci,' by Gaudenzio Ferrari. |
| 1538: An appearance of the term 'guitaro.' Pope Paul 111(1534-49),
wishing to impress Emperor Charles V and Francis I who were attending
a peace conference in Nice, brought with him trombonists from Bologna,
guitarists from Milan (guitari Milanesi) and trumpet, drum and bombard
players from Genoa. Guitar Milanesi refers to Milan and surrounding
areas (Bresci, Cremona, Saronno, Vercelli, Turin, with Milan as the
cultural center) as producing more than its fair share of guitars and
guitarists. |
| 1556: Epitome Musicale, by Philibert Jambe de Fer, published.
Makes a distinction between viols--used by "gens du vertuùm," people
of taste--and guitars--"br dances and weddings." |
| 1581: Earliest extant musical example specifically for the guitar. Music for dancing at a Royal wedding in France. Nothing especially idiomatic to the instrument nor technically demanding. The guitar is used for dancing music due to its power of rhythmic articulation and penetrating, sprightly tone. Also mainly used to double vocal parts in vocal ensembles. |
Instruments Closest to and Contributing to the Modern Guitar
(items in bold make up the traits of the modern guitar)
Rebec
| Dates back to the thirteenth century (Arabian, Oriental) |
| Contains soprano, alto, bass members in family |
| Three strings, tuned in 5ths |
| Strings secured and tightened by pegs laterally inserted into peg box |
| No frets |
| Body shaped like half a pear, neck and peg box are integral parts of the body |
| Playing position at the breast or neck |
| Bowed, held overhand |
| No sound post |
Renaissance Guitar
| Five strings, one of which may be a drone |
| Soprano register |
| Constructed of a top and back with connecting ribs |
| Separate neck, peg box, fingerboard |
| Frets |
| Front pegs, heart or leaf-shaped peg box |
| Oval or indented shape |
Lira da braccio
Species of guitar in the Fifteenth century
| Close body outline, size varying from small to large |
| Arched top and back, overhanging edges, ribs |
| Sound post |
| Seven strings, two of which were drones and ran off the fingerboard. |
| Occasionally had frets |
| Tuning pegs set horizontally in heart or leaf shaped peg box |
| or C-shaped sound holes |
The rebec provided for the uniform fifth tuning system which contributed to a more consistent fingering technique, had fewer strings, and had the lateral tuning pegs which are easier to tune.
The Renaissance guitar provided a greater sonority of sound due
to its sound post and flat sound box, had the separate neck and fingerboard,
and was a more efficient, easier-playing instrument.
The Lira da braccio had the typical outline, including the upper,
lower and middle ("waist") bouts, arched top and back, connecting ribs and
overhanging edges. The sound holes, now called f-holes, were indeed f- (or
C-) shaped.
The guitar emerged as a family: the guitar, viola and cello appeared
at roughly the same time. Rebecs also came in families of three registers.
Commentary
| The construction of the guitar is dominated by the laws of physics
and acoustics. Nothing about it can be changed without seriously disturbing
its equilibrium as a work of art. |
| Spiritually the guitar is a creation of the Renaissance; architecturally
it is a child of the Baroque. It does not have the clear, serene straight
lines of Classicism and Renaissance. Its curves and complexities resemble
the shapes of the angels and saints in Baroque sculptures. Baroque art
was created by passionate, exultant artists who believed in God and
the glory of the church. The guitar too was invented by artists who
were passionate, exultant and devoted in their beliefs. Princes of the
Church as well as worldly rulers were among the patrons of the Amati
and Stradivari (masters of guitar- making). |
| The guitar is a marvel of science, of mathematics, physics, chemistry and acoustics; it is also a miracle of passion and the love of music. It is the synthesis of emotion and intellect, passion and science. Passion came first, but it was subdued by adherence to the strict laws of science; otherwise, the guitar would have been a failure as a musical instrument. |
Sources
Bachman, Alberto. An Encyclopedia of the Guitar. New York: Da Capo Press,
1966. p.21
Boyden, David. The History of Guitar Playing from Its Origins to 1761. London:
Oxford University Press, 1965. pp. 3-34.
van der Straten, E. The History of the Guitar, Volume I. New York: Da Capo
Press, 1968. p.2.
Wechsberg, Joseph. The Glory of the Guitar. New York: Viking Press, 1972.
pp.13-24.
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