Its origins come from the Greek zither, the Roman mole and the medieval vihuela. According to intellectuals, the guitar evolved from a kind of large-mast lute that was introduced to the Iberian Peninsula during Arab rule.
When they brought their instrument, they found the Spanish vihuela here.
The first to report that the lute and vihuela were troubadours who accompany their abilities with this instrument, singing, dancing, buffoonery and poetry. It was at the end of the 16th century when this instrument, which had only four strings, was called the Spanish guitar, and Vicente Espinel (1550-1624) introduced the fifth string called "prima".
In the 17th century, Gaspar Sanz of Aragon wrote the first treatise on instrumental technique that inspired future guitarists. By the middle of the same century, the guitar had become less popular against the piano and violin. In the 18th century, Father Basilio, who was the professor of Maria Luisa, wife of Carlos IV, added bordon, the sixth thread.
Three great figures appeared in the guitar atmosphere of the 19th century: Dionysi Aguado (1784-1849), composer and diffuser of translating guitar into pieces by Beethoven, Haydn, Mozart, etc. ... was the author of the guitar method and a treatise of harmony that is still in use ; Francisco Tarrega (1852-1909) of Castellón, who followed the steps of Fernando Sorted and saved the guitar from its decadence for being considered the gypsy instrument of the populace in taverns against Italian opera.
The composer and performer Tárrega is responsible for the golden era of the guitar and the creation of the modern guitar school. His transcriptions of classical pieces and inspirational compositions Recuerdo de la Alhambra, Danza mora, Capricho árabe, etc. are present at concerts by Andrés Segovia, Renata Tarrago, Narciso Yepes, Francisco Garrido or Raphael Rico. These pieces, adapted to the flamenco guitar, are also in the repertoire of great flamenco artists.
The flamenco guitar, which has the same shape as the classical one, appeared in the middle of the 19th century with the opening of singing cafes. These players, illiterate in musical theory but inspiring to mix singing, dance and guitar, make the art of flamenco.
Vicente Escudero spoke of the feud between classical guitar and flamenco guitar. Classical artists accused flamenco of ignoring music because they did not follow any rules, and flamenco artists accused classics of being pure intellectuals without a nervous and Spanish character. Despite this, they mixed and influenced each other.
Ramon Montoya Salazar (Madrid, 1879-1949) is one of the best guitarists of all time. He renewed and endorsed the flamenco guitar and created a school that would teach great flamenco artists such as Niño Ricardo, Sabikas and many more, until Paco de Lucia began a new phase in guitar history.