The Baroque guitar is similar in shape and body to earlier guitars, but is typified by five double courses of strings (which appeared as early as the late fifteenth century). 1500–1551) the French composer Guillaume de Morlaye (published 1550) and the printers Adrian Le Roy (ca. 1560) the Italian composer Melchiore de Barberiis (published 1549) and lutenist Alberto da Ripa (ca. 1510–1580), Miguel de Fuenllana (died after 1568), and Juan Vasquez (ca. Four-string guitar repertory includes works by the Spanish composers Alonso Mudarra (ca. The instrument was widely played in France, Italy, England, and throughout the Iberian Peninsula. The four-course guitar enjoyed a rich repertory in the sixteenth century that included dances, fantasias, chansons, and other secular genres. Its courses of double strings were tuned in the intervals of fourth, major third, fourth (for example, g’/g-c’/c’-e’/e’-a’), often with the lowest course in octave rather than unison doubling. The guitar also had tied gut frets, friction tuning pegs, a decorative rose, a bridge set near the bottom of the instrument, and sometimes a rounded rather than a flat back. At that time, the guitar was much smaller than its modern counterpart, with four double courses of gut strings (occasionally the top string was single). The first instruments that modern audiences would recognize as guitars were built in the fifteenth century. The vihuela and guitar existed simultaneously until the seventeenth century, when the popularity of the guitar superseded the vihuela. It is sometimes pictured with sharply cut waists, like on a violin ( 20.92), and sometimes with rounded corners like a guitar (25.2.26). The vihuela is a larger instrument than the guitar, with six or seven courses of strings and tuned like a lute. During the Renaissance, the guitar’s closest contemporary was the vihuela. They include the citole, cittern, vihuela, mandore, gittern, and, of course, the lute and its variants. The lute has a waisted soundbox (or body) like a guitar and survives from the third to sixth century ( 12.182.44).ĭuring the medieval and Renaissance periods, a wide variety of plucked stringed instruments can be found in both literature and art. One of the earliest of these is a long-necked lute, either Roman or Byzantine, from Egypt. It is impossible to establish the history of the guitar before the Renaissance, but there are some much earlier plucked-string instruments that are related to later guitars either in physical form or playing technique. Scholars disagree as to whether the guitar, like the lute, was introduced to medieval Europe from the Middle East, or if it was indigenous to Europe. The beginnings of the European guitar are unknown.
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