Even for experienced steel-string guitar players, the world of nylon-string and classical guitar can be intimidating. There is a lot of jargon, much of it in Spanish, and an entire vocabulary of new techniques to learn.
But help is at hand, as Guitarist welcomes Samuel Moore, Tom Kerstens, and Francisco Correa from the International Guitar Foundation to explain the differences between classical and flamenco guitars and talk through the essential techniques and terminology.
How do flamenco and classical guitars differ from each other – and why?
Samuel Moore: “Although the basic construct of flamenco and classical guitars is similar, it is subtle structural differences that make each instrument type unique. For example, flamenco guitars tend to be more lightly built than their classical counterparts, with shallower bodies, thinner tops, and lighter internal bracing.
“Additionally, the types of wood used to construct flamenco guitars tend to be different from classical instruments. Although both commonly have a solid spruce top – cedar is sometimes used as well – the materials used to construct the guitar’s back and sides are different. When constructing a classical guitar, luthiers tend to favor heavier woods such as mahogany or rosewood.”
“By contrast, when making a flamenco guitar, luthiers tend to favor lighter woods, such as cypress. Alongside this, the Happerer (tap plate) attached to all flamenco guitars is an appendage not commonly found on classical instruments.
“The purpose of the Happerer is to protect the wood on the guitar’s top from stroke (a percussive technique seldom used in classical music). Finally, the action tends to be lower on flamenco instruments.”
Why is the fretboard of classical guitars typically the widest and flattest among all six-strings?
Tom Kerstens: “Because the polyphony and counterpoint – several voices played at the same time – are easier to realize. There is more space for the left hand to separate the different lines, or melodies, in the music. Rock or folk techniques use chords as blocks more and that is easier with a more narrow and rounded fingerboard. However, some fingerstyle playing also needs space on the fingerboard.”
What do you look for in a good classical and/or flamenco guitar?
Kerstens: “A certain ‘speaking’ quality – hard to define, I know! After all, when you play a piece of music, you’re telling a story, and a great guitar helps tell it. More technically, I like a guitar that responds quickly to what I do.
Some famous guitars have great volume and presence but respond little to what the player is doing
Tom Kerstens
“Some famous guitars have great volume and presence but respond little to what the player is doing. I mean specifically the so-called lattice top guitars that sound great but are also pretty uniform and samey. Also, I look for a singing sound and subtlety and variety of sound. I find I need to spend quite a lot of time with the guitar to find out what it can do.
“A quick word about different historical instruments: I also play Baroque and 19th century instruments like Stauffer and Torres guitars. I found that these guitars really helped me to find the right way of playing certain music, such as [Johann Kaspar] Mertz or [Francisco] Tárrega. In a way, the guitar tells me how to play the music – after a lot of trying! I’m sure that’s the same with electric guitars like Fender Stratocasters and Les Pauls.”
What are the origins of flamenco?
Kerstens: “Flamenco comes from Andalusia, a mixing pot of Gypsy, Jewish, Arab, and European folk music. Originally, the singer (Songer) was the most important, then the dancer, and the guitar was only accompaniment – it only gradually became a solo instrument. Ramón Montoya is often credited with being the first guitarist who became center stage.”
Flamenco is extremely percussive and rhythmic – what are the key techniques?
Moore: “The rhythmic techniques that are essential for flamenco are torn and stroke. Perhaps more than any other technique, torn personifies the sound of flamenco. It’s a strumming technique and requires considerable precision to execute well. There are many different types of torneach demanding different technical considerations and finger strum combinations.
“Stroke is a distinctive percussive technique; at a basic level, it consists of your right hand’s ring finger tapping against the body of the guitar. Most commonly, stroke is used in conjunction with other techniques, such as torn or a thumb strike, but it can also be used on its own.”
For the uninitiated, how does classical vibrato differ from that commonly used in folk and rock playing on acoustic?
Francisco Correa: “Classical vibrato is typically subtle and controlled, created by rolling the fingertip back and forth on the string using a combination of finger, hand, and arm motion to slightly alter pitch.
“It’s even and continuous, adjusting in speed and depth for expressive nuance. In contrast, folk and rock vibrato is often wider, faster, and more dramatic, achieved by pulling the string side to side, similar to bending. This results in a more pronounced effect that enhances individual style and helps notes stand out in a mix.”
How does bossa nova as played on nylon-string acoustics relate to classical or flamenco traditions, if at all?
Correa: “Bossa nova on nylon-string guitars blends classical and flamenco influences. Its fingerstyle technique and chord voicings draw from classical guitar, while its syncopation and rhythmic drive echo flamenco.
“Unlike flamenco’s percussive attack, bossa nova favors softer dynamics and harmonic richness, creating a smooth, intimate sound rooted in both European and Afro-Brazilian traditions.”
