the history of guitafgfgt

the history of guitafgfgt
the history of guita
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the history of guitafgfgt
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A string instrument of the lute family. The modern classical guitar has a fretted fingerboard (usually with 19 frets), six strings, a wooden resonator with a waisted figure-of-eight shape, a circular soundhole and a flat back (for illustration, see Lute). A rosewood bridge acts as a stringholder. The strings are nylon (the three lower overspun with fine metal), tuned by rear pegs activating a geared mechanism. The standard tuning is E-A-d-g-b-e′; guitar music is notated an octave higher than it sounds.
It is not known whether the guitar was introduced to medieval Europe by the Arabs or was an indigenous European instrument. Names related to ‘guitar’ occur in medieval literature from the 13th century but may refer to such instruments as the gittern. Its history in Europe can be traced back to the Renaissance; during the 15th century a four-course guitar appeared, having much in common with the lute and vihuela.
16th-century guitars were much smaller than modern ones; their gut strings (the three lower ones doubled) were tuned to a pattern of 4th-major 3rd-4th (e.g. g/g′-c′/c′-e′/e′-a′). In polyphonic music, technique was similar to that of the lute and vihuela, with the right-hand little finger resting on the bridge or soundtable, while the thumb and first two fingers plucked the strings. Music, notated in Tablature, included simple dances, chansons and fantasias. The four-course guitar continued in use in the 17th and 18th centuries, mainly in popular music, and survives in Spanish and Portuguese cultures as a small treble guitar.
Five-course guitars, often called ‘viola’ or ‘viola da mano’, were played from the late 15th century, especially in Italy. They were typically tuned a/a-d′/d′-g/g-b/b-e′ (with the third course at the lowest pitch), though some had a lower octave (bourdon) on some courses (e.g. A/a-d/d′-g/g-b/b-e′). Guitar music called for strumming, plucking individual strings and other techniques.
In the mid-18th century a special type of guitar, the chitarra battente, developed, probably for accompanying popular music. It had a deeply vaulted back and metal strings and frets; the strings, passing over a movable bridge, were fixed at the bottom of the body and probably played with a plectrum.
Baroque guitars are richly decorated. During the 17th century many tutors were published, often containing solos and dance suites and many in an alphabetical system of notating left-hand chords. A huge repertory of Italian arias with guitar accompaniment was published.
In the late 18th century, first in France, guitar tablature was replaced by staff notation, single strings were used in place of double courses and a sixth string was added. In the early 19th other changes established the form that developed into the modern guitar. Machine heads replaced wooden pegs, fixed frets (of ivory or ebony, then metal) were used instead of gut, and a flat back became standard. Some players rested the right hand on the table, some used fingernails. The instrument was held in various ways.
Fernando Sor, a Spaniard who moved to Paris (a centre of interest in the guitar), and the Italian Mauro Giuliani were among the most influential guitarist-composers, establishing a repertory of large-scale works (including concertos and chamber music) as well as easy pieces and studies, characterized by their elegance and vivacity. With the Spanish maker Antonio de Torres Jurado (1817-92), the guitar achieved a standard size and form. He made it larger and established the vibrating length of the strings at 65 cm he developed fan-strutting of the soundboard and introduced the modern bridge. The instrument is now rested on the left thigh but right-hand position and technique varies.
In the early 20th century the guitar lacked a repertory to give it a status comparable with other instruments. Works were transcribed from other media (e.g. music for lute and vihuela, other string instruments and keyboard). The Spanish guitarist Andrés Segovia was influential in making it a respected concert instrument; he made many transcriptions and inspired composers to write for him. Falla (Homenaje pour le tombeau de Claude Debussy), Rodrigo (Concierto de Aranjuez), Castelnuovo-Tedesco, Manuel Ponce, Villa-Lobos (Douze études, Cinq préludes), Britten and Gerhard are among those who have written for the guitar. The 20th-century repertory has introduced new techniques and sonorities, sometimes derived from folk music, flamenco and jazz.
Variants include the Lyre guitar, guitars with extra strings and instruments that varied in size and hence in pitch. Of 20th-century variants, the flamenco guitar is closest to the classical, but lighter. Guitarists playing in jazz, blues, folk etc have required instruments with greater volume and penetration such as the ‘Dreadnought’ (larger and broader than the normal guitar), acoustic guitars and, most recently, the Electric Guitar.
Before the development of the electric guitar and the use of synthetic materials, a guitar was defined as being an instrument having "a long, fretted neck, flat wooden soundboard, ribs, and a flat back, most often with incurved sides".[1] Instruments similar to the guitar have been popular for at least 5,000 years. The guitar appears to be derived from earlier instruments known in ancient India and Central Asia as the Sitara. The oldest known iconographic representation of an instrument displaying all the essential features of a guitar being played is a 3300 year old stone carving of a Hittite bard.[2] The modern word, guitar, was adopted into English from Spanish guitarra, derived from the Latin word cithara, which in turn was derived from the earlier Greek word kithara, which perhaps derives from Persian sihtar[3]. Sihtar itself is related to the Indian instrument, the sitar.

Illustration from a Carolingian Psalter from the 9th century, showing a Guitar-like plucked instrument.The modern guitar is descended from the Roman cithara brought by the Romans to Hispania around 40 AD, and further adapted and developed with the arrival of the four-string oud, brought by the Moors after their invasion of the Iberian peninsula during the 8th century AD.[4] Elsewhere in Europe, the indigenous six-string Scandinavian lut (lute), had gained in popularity in areas of Viking incursions across the continent. Often depicted in carvings c.800 AD, the Norse hero Gunther (also known as Gunnar), played a lute with his toes as he lay dying in a snake-pit, in the legend of Siegfried.[5] By 1200 AD, the four string "guitar" had evolved into two types: the guitarra morisca (Moorish guitar) which had a rounded back, wide fingerboard and several soundholes, and the guitarra latina (Latin guitar) which resembled the modern guitar with one soundhole and a narrower neck.[6]
The guitar player (c. 1672), by Johannes VermeerThe Spanish vihuela or "viola da mano", a guitar-like instrument of the 16th century, appears to be an aberration in the transition from the renaissance instrument to the modern guitar. It had lute-style tuning and a guitar-like body. Its construction had as much in common with the modern guitar as with its contemporary four-course renaissance guitar. The vihuela enjoyed only a short period of popularity; the last surviving publication of music for the instrument appeared in 1576. It is not clear whether it represented a transitional form or was simply a design that combined features of the Arabic oud and the European lute. In favor of the latter view, the reshaping of the vihuela into a guitar-like form can be seen as a strategy of differentiating the European lute visually from the Moorish oud.
The Vinaccia family of luthiers is known for developing the mandolin, and may have built the earliest extant six string guitar. Gaetano Vinaccia (1759 - after 1831)[7] has his signature on the label of a guitar built in Naples, Italy for six strings with the date of 1779.[8][9] This guitar has been examined and does not show tall-tale signs of modifications from a double-course guitar although fakes are known to exist of guitars and identifying labels from that period.
Modern dimensions of the classical instrument were established by Antonio Torres Jurado (1817-1892), working in Seville in the 1850s. Torres and Louis Panormo of London (active 1820s-1840s) were both responsible for demonstrating the superiority of fan strutting over transverse table bracing.[10]
The electric guitar was patented by George Beauchamp in 1936. Beauchamp co-founded Rickenbacher which used the horseshoe-magnet pickup. However, it was Danelectro that first produced electric guitars for the wider public.