We Wish You A Merry Christmas

"We Wish You a Merry Christmas" is a carol that embodies the cheerful and festive mood of the Christmas season. Its simple, catchy tune and heartwarming lyrics have made it an enduring holiday favorite. Here I have arranged a simple guitar solo with its upbeat feel in "Three Finger Picking" style

Tiktok Link-We Wish You A Merry Chrustnas

The Shadow Of Your Smile

 

Collection Of Short Etudes - F. Tarrega

Handcrafted Guitars and Luthiers

 Handcrafted classical guitars are renowned for their exquisite craftsmanship, superior tonal qualities, and rich musical heritage. These instruments are meticulously built by skilled luthiers who dedicate their expertise to creating instruments of exceptional quality. Here are some information about handcrafted classical guitars:

1. Construction: Handcrafted classical guitars are typically constructed using traditional methods and high-quality tonewoods. The top (soundboard) is often made of spruce, cedar, or occasionally other tonewoods, while the back and sides are commonly crafted from rosewood, mahogany, or maple. The neck is usually made of mahogany or cedar, and the fingerboard is typically ebony.

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3. Bracing: The top of a classical guitar is reinforced with internal bracing to support the tension of the strings and enhance the instrument's tonal characteristics. The most common bracing pattern used is the fan bracing, where wooden struts radiate out from the base of the soundboard like a fan. This bracing design allows for a balanced tone and responsiveness.

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5. Sound and Tone: Handcrafted classical guitars are renowned for their warm, rich, and balanced tones. They are designed to produce a wide range of timbres and dynamics, allowing the player to express a broad spectrum of musical nuances. The tonewoods used in construction greatly influence the instrument's sound, and luthiers carefully select and match tonewoods to achieve specific tonal qualities.

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7. Playability: Handcrafted classical guitars are crafted with careful attention to ergonomics and playability. The neck is usually wider and flatter compared to acoustic steel-string guitars, providing ample space for fingerstyle playing and complex chord voicings. The action (string height) is set to ensure optimal playability, allowing for comfortable and precise fretting.

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9. Customization: One of the unique aspects of handcrafted classical guitars is the opportunity for customization. Luthiers often work closely with musicians to create instruments tailored to their specific preferences and playing style. This can include modifications to the neck profile, nut width, scale length, and other features to provide a personalized playing experience.

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11. Artistry and Aesthetics: Handcrafted classical guitars are not only exceptional musical instruments but also works of art. Luthiers often incorporate intricate inlays, rosettes, and decorative elements to enhance the instrument's visual appeal. The finishing and varnishing process is done by hand, giving each guitar a unique and individual character.

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13. Value and Collectability: Handcrafted classical guitars, especially those made by renowned luthiers, can hold significant value and are often sought after by collectors and professional musicians. The craftsmanship, reputation of the luthier, and the quality of materials used contribute to the value of these instruments.

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15. Legacy and Tradition: Handcrafted classical guitars are deeply rooted in centuries-old traditions of instrument making. Many luthiers follow time-honored techniques passed down through generations, incorporating their own innovations while maintaining the essence of classical guitar construction. These instruments carry a rich legacy and contribute to the ongoing evolution of classical guitar music.

It's worth noting that handcrafted classical guitars vary in price and quality, depending on the luthier, materials used, and level of customization. Before purchasing a handcrafted classical guitar, it is advisable to try out different instruments to find the one that best suits your playing style and prefererence.

Woods Used

Spruce (Soundboard)

Spruce is prized for its strength, light weight, and excellent resonance.It offers a high stiffness-to-weight ratio, allowing for efficient sound transmission.Spruce soundboards tend to produce a broad dynamic range, clear articulation, and a balanced tonal response.Different types of spruce, such as Sitka spruce or European spruce, may have subtle variations in tonal characteristics.

Sitka Spruce European Spruce

Cedar (Soundboard)

Cedar is known for its warm, rich, and mellow tone.It has a lower density compared to spruce, making it more responsive to lighter playing techniques.Cedar soundboards tend to produce a quick attack and a focused sound with a strong emphasis on the midrange.They can offer a pronounced sustain and a somewhat darker tonal coloration compared to spruce.

                 Cedar                              Red Cedar

Rosewood (Back and Sides)

Rosewood is highly regarded for its beauty and tonal properties.It is dense and offers excellent structural integrity, contributing to the guitar's projection and sustain.Rosewood tends to produce a wide dynamic range, a deep and rich bass response, and sparkling trebles.Different types of rosewood, such as Brazilian rosewood, Indian rosewood, or Madagascar rosewood, can have variations in tonal characteristics.

       Indian Rosewood              Brazilian Rosewood

    Madagascar Rosewood

Mahogany (Neck)

Mahogany (Swietenia Macrophylia} commonly used as a name for Honduras Mahogany is known for its warm and focused tonal qualities.It offers a strong midrange presence, good sustain, and a balanced overall tone. It is sometimes used for the back and sides but most commonly used for the necks in handcrafted guitars. Mahogany is less dense than rosewood but it is a stable wood that resists warping and bending, which is essential for maintaining proper neck alignment and overall instrument stability.Mahogany also offers excellent strength-to-weight ratio, providing durability while keeping the neck relatively lightweight. Furthermore, mahogany is known for its warm and balanced tonal qualities, which can complement the resonance and sound production of the guitar's body

        Honduras Mahogany

Ebony (Fingerboard)

Ebony is a dense and durable wood with a smooth texture.It is known for its bright, clear, and articulate sound.Ebony fingerboards provide a smooth playing surface and excellent note definition.It also offers good resistance to wear and enhances the overall tonal clarity of the instrument.

Ebony

It is important to note that while these descriptions provide general characteristics of the woods, the specific properties can vary depending on factors such as the age, quality, and individual pieces of wood used. Furthermore, the craftsmanship and design of the instrument, including factors like bracing and construction techniques, also significantly impact the final tonal qualities of a handcrafted classical guitar.

Early Guitar Makers

There are several famous early handcrafted classical guitars that have made significant contributions to the development and popularity of the instrument. Here are the names of a few renowned classical guitar makers from the past:

    Antonio de Torres (1817-1892 is often referred to as the "father of the modern classical guitar." Born in Spain in 1817, he revolutionized guitar construction in the 19th century.One theory suggests that around 1842, Torres might have started working for José Pernas in Granada, leading to a swift acquisition of guitar-building skills, although there remains some debate regarding the exact teacher of Torres. He later returned to Seville and established his own workshop.

With the  advise from Julian Arcas, a guitarist composer who pushed him to innovate and create new gutiars that could use in their performances. Torres introduced significant innovations, such as the use of fan bracing and the design of a larger body with an enhanced soundboard. His instruments exhibited improved volume, tone, and playability, establishing the template for the modern classical guitar. Torres' guitars gained popularity among prominent guitarists of his time, including Francisco Tarrega, and continue to be highly sought after by musicians and collectors alike. His meticulous craftsmanship and attention to detail set a standard that influenced generations of luthiers.

                         Torres Guitar Bracing

José Ramírez (1858-1923) was a prominent Spanish luthier and the founder of the Ramírez guitar-making dynasty. Born in Alhama de Aragón, Spain, in 1858, Ramírez was the first child of José Ramírez de Galarreta, a very well-off land owner. In 1870, he became apprenticed to Francisco Gonzalez (1830–1880) a Madrid guitar maker.

After establishing himself as an independent luthier, José Ramírez opened his own workshop in Madrid. Ramírez' work generally followed the designs of Antonio Torres (1817–1892) in all respects except one: He produced a larger flamenco guitar known as the tablao guitar. Both this innovation and the quality of his guitars generally were favourably received, but he is chiefly remembered as the founder of the dynasty of luthiers and the guitar manufacturing company that still bears his name...Their instruments have played a significant role in shaping the sound and design of the classical guitar and are considered among the finest in the industry.

Manuel Ramirez(1864-1916) is the younger brother to Joze Ramirez.Manuel Ramírez's style of guitar followed the ideas of Antonio Torres and came to be regarded as his successor yet at the same time he inquisitively experimented and further developed Torres's ideas. As a result he began producing guitars that had a lighter delicate sound that became popular among flamenco community.He trained Enrique Garcia who left as foreman and move to Barcelona to establish his own workshop.Ramirez subsequently hired Santos Hernandez as foreman.By 1912 Manuel Ramírez had been appointed luthier to the National Conservatoire in Madrid.Among the luthiers that Ramírez trained were Antonio Emilio Pascual Viudes, Domingo Esteso (1882–1937)and Modesto Borreguero (1893-1969).

Enrique Garcia (1868-1922) was an apprentice to Manuel Ramirez and later became his foreman. Garcia is   considered to  be the  founder of  the “Barcelona school”,  or  “Catalan” style  of  guitar  making. His  style  influenced   subsequent generations  of   Barcelona  makers  including   Francisco   Simplicio  and   Miguel Simplicio, Enrique Sanfeliu, and Ignacio Fleta. The two great hallmarks of his style are increased stiffness in the soundboards (his guitars commonly featured 8 fans instead of 7. Years later, Ignacio Fleta would increase this number to 9 fans) 

                                        

                                           Enrique Garcia Bracing

Santos Hernández (1873-1943)was a Spanish luthier renowned for his exceptional craftsmanship and the creation of highly sought-after classical guitars. Born in Madrid, Spain, in 1873, Hernández began his journey in guitar making at a young age. He started as an apprentice to Manuel Ramirez(brother of Jose Ramirez), one of the most prominent luthiers of the time, and honed his skills under Ramirez's guidance. In 1912 a young Andrés Segovia visited Manuel with a request to rent a guitar for a concert. After hearing him play, Manuel gave him the guitar, which had been largely made by Hernandez/

The guitar given by Manuel Ramirez to Andre Segovia in 1912. It is now in the Metropolitan Museum of Art.

Domingo Esteso (1882-1937): was a luthier who trained under Manuel Ramirez. Esteso concentrated almost exclusively on building flamenco-style guitars, and his instruments are world-renowned for their physical lightness, yet very strong volume and sound-projection.His nephews, Faustino, Mariano and Julio Conde inherited his workshop and changed the name to Conde Hermanos. Nowadays, the family tradition established by Domingo Esteso is being continued at their workshops in central Madrid by Felipe Conde(son of Mariano Conde)

    Hermann Hauser Sr (1882-1952) was a renowned German luthier known for his influential guitars. Born in Germany in 1882, he learned the art of guitar making from his father, a cabinetmaker. Hauser's instruments were characterized by their exceptional craftsmanship and tonal qualities. He refined the design and construction techniques of Antonio de Torres, introducing innovations in bracing and body shape that had a lasting impact on classical guitar making. Hauser's guitars were highly regarded by leading musicians, including Andrés Segovia, who described the 1937 Hauser Sr. with which he performed and recorded from 1938 to 1962 as the "greatest guitar of our epoch. The British guitarist and lute player Julian Bream described Hausers as "the very essence of classicism in guitar sound" and recorded at least eight of his albums using Hauser Sr. Torres models of various vintages. Hauser's work continues to be revered by players and luthiers worldwide thereafter. 

Hermann Hauser Guitars

   Ignacio Fleta (1897-1977):Ignacio Fleta was a Spanish luthier renowned for his craftsmanship and attention to detail. Born into a family of cabinet makers, he initially built string - and historical instruments, and was inspired by Andre Segovia to focus his efforts on the guitar. He became known for his exceptional ability to craft guitars with outstanding tonal richness and projection. Fleta's guitars were sought after by many renowned guitarists, including Julian Bream and John Williams. His instruments featured meticulous construction, using high-quality materials and a refined approach to bracing and voicing. This was primarily done by enlarging the proportions of the body, most notably in the bouts, as well as by adding braces internally. From the 1960s to the 1970s, he revolutionized the cedar top and and along with Jose Ramirez III he is regarded as one of the great cedar builders in history. Fleta's craftsmanship and dedication to achieving exceptional sound quality established him as one of the leading luthiers of the 20th century. His guitars continue to be highly regarded and prized by guitarists worldwide.

More Popular Makers, Past and Present

While there are numerous talented contemporary luthiers crafting exceptional handcrafted classical guitars today, it is challenging to provide an exhaustive list of all the popular names. However, here are some renowned luthiers whose instruments have gained recognition among classical guitarists:

Miguel Rodriguez SR 1888-1975 (Spain) -He was a student of Rafael Casana and an apprentice of José Ramirez I. Miguel Rodriguez is known for crafting exceptional classical guitars with balanced tone and playability.whose instruments were lightly built, and small-to-medium-bodied, with a very expressive, lyrical and singing quality to the sound. They also had overwhelming resonance and projection which made them perfect instruments for playing without amplification with orchestras or in large halls.

Manuel Hernandez 1895-1975 and Victoriano Aguado 1897-1972 (Spain) met and became friends while working together in a piano factory. As legend has it, their great interest in the art of guitar making was secured sometime in the 1940’s when they leased out some space in their shop to Modesto Borreguero (one of the famed Manuel Ramirez workers) and became intrigued with his guitar making skills. Hernadez y Aguado's instruments are known for their rich tonal qualities and responsiveness and have been played throughout the decades by such greats as Regino Sainz de la Maza, John Williams, Julian Bream, and in recent years by Graham Anthony Devine

Robert Bouchet 1898-1986 (France) - A French luthier known for his innovative guitar designs and meticulous craftsmanship. His guitars are highly regarded for their tonal qualities and playability. He shot to prominence in the late 1950s when Ida Presti and Alexandre Lagoya (who first met in his workshop) and soon after Julian Bream began performing with his instruments. Owners of his instruments later also included Emilio Pujol , Oscar Ghiglia , Turibio Santos and Manuel López Ramos. Robert Bouchet only built 154 instruments in his lifetime. Nevertheless, he is considered one of the most famous and sought-after guitar builders in the history of classical guitars. A 1964 guitar fetched $122,500 at auction in 2009

Eduardo Ferrer 1905-1988  (Spain) was the father of the Granda school of guitar making, teaching the likes of Antonio Marin Montero, Manuel Lopez Bellido and Antonio Duran Zurita. He was also responsible for training the Yamaha luthiers in Japan, who hired him for three years (1966, 1967 and 1968) He spent 3 months each year in Japan showing Yamaha luthiers how to build the Grand Concert models(GC5,7 and 10)As a luthier,, his work followed closely that of his uncle (Benito Ferrer). Although he tried various experiments, he kept returning to the true traditional methods of Benito Ferrer and Antonio de Torres.

Manuel Contreras SR 1928-1994(Spain) -became an independent luthier after having worked as a reputable cabinet maker for years, having been introduced to the world of luthiery by working at the workshop of José Ramírez III for two years Throughout his years of work, he attained great international prestige because of the quality, as well as the aesthetic, of his instruments, developing such important models as the "1a Especial", "double harmonic top" system (1974), "Carlevaro model" (1983), the "Resonance back" or "Resonator" system (1985).

Masaru Kohno 1926-1998 (Japan) - Kohno apprenticed for six months at the workshop of Arcángel Fernández, and although neither could speak a word of the other’s language, they managed to communicate. Kohno’s apprenticeship consisted mostly of sitting in the back of the shop and quietly – but attentively – observing the master Fernández at work. Upon his return to Tokyo he established his own workshop and quickly gained recognition among Japanese guitarists. His international debut came in 1967, when he was awarded the Gold Medal at the Elizabeth’s Concourse International Guitar Building Competition in Belgium. On the judge’s panel were, among others, Ignacio Fleta, Robert Bouchet, Joaquín Rodrigo, and Alirio Díaz. Since then, many players of world renown have used Kohno guitars; among them are Julian Bream, Oscar Gighlia, and Sharon Isbin, to name a few.

Paulino Bernabe Sr 1932-2007 (Spain).Paulino Bernabé received music lessons from Daniel Fortea, a pupil of Francisco Tárrega, and then learned the art of making classical guitars from José Ramírez III. Paulino Bernabe combines traditional techniques with innovative designs to create instruments sought after by professional guitarists which includes Narciso Yepes, Johanna Beisteiner and Alexandre Lagoya.

Daniel Friederich 1932-2020 (France) Daniel Friederich was influenced by the legendary French luthier Robert Bouchet. His technical experiments, combined with his experience and acute construction methods, have led to a precise and well-balanced instrument, possessing great power and richness.The elegant and graceful body shape, allied with the distinctive headstock featuring a raised central design, make Friederich guitars easily recognizable. His instruments are played by Pepe Romero, Scott Tennant, and many more world-class guitarists..

José Romanillos 1932-2022(Spain) -José Luis Romanillos Vega is from Madrid and was originally a carpenter. He later moved to England to work. It was in England where José Luis Romanillos built his first Spanish guitar and also where he was encouraged to start guitar building workshops by the famous English guitarist Julian Bream. His work was heavily influenced by the designs and construction methods of Antonio de Torres and his dedication to understanding Torres techniques contributed significantly to his own craftsmanship. The pure sound and the harmonic balance of the strings is what Romanillos has looked for in his quest to produce the subtle “Spanish sound” He has influenced many contemporary luthiers worldwide.

Antonio Marin Montero (1933) Spain, Known for his meticulous craftsmanship and refined tonal qualities, Antonio Marin Montero's guitars have been played by esteemed guitarists worldwide.He follows the technique of the Parisien master Robert Bouchet 

David Rubio 1934-2000 (England) Rubio was dedicated to creating instruments that honored the traditions of Spanish guitar making while incorporating his own innovations. He focused on achieving a balance of tonal qualities, responsiveness, and playability in his guitars.His instruments were prized during his lifetime by many fine musicians, including the English lutenist and guitarist Julian Bream.

Ricardo Sanchis Carpio 1937 (Spain/Argentina-based) - A highly regarded luthier originally from Spain but now based in Argentina, known for his exceptional craftsmanship and sound quality.The Spanish guitar maker Ricardo Sanchis Carpio is the head luthier of the Hermanos Sanchis Lopez firm in Valencia that was founded by his grandfather, Ricardo Sanchis Nacher in 1915.The founder having worked for guitar makers in Valencia for sometime, went to Madrid where he was befriended by Manuel Ramirez and Domingo Esteso. To perfect his craft, he remained in Madrid working for Domingo Esteso on Sundays for three years. As a result, the Sanchis family has had close relationships with Esteso, and with his heirs, the Hermanos Conde, ever since

Greg Smallman 1947 (Australia) Greg Smallman is renowned for his innovative design, incorporating lattice bracing that offers enhanced projection and responsiveness. His guitars have been embraced by many prominent guitarists.Greg is known worldwide for his innovative guitar designs. Although, outwardly, his guitars are similar to a traditional Spanish classical guitar, they incorporate several innovative differences. For instance, the use of a high arched and carved back for the guitar considerably thicker and heavier than a conventional guitar. This back is made of Madagascar Rosewood, while the top is always made of Western Red Cedar. Also, the light weight of the top combined with Smallman’s unique system of bracing makes the guitar very responsive to input with a full rounded sound. The top of a Smallman guitar is braced using a “lattice” framework composed of balsa wood and carbon fibre.The world-renowned classical guitarists John Williams, Milos Karadaglic, Xuefei Yang and many others use Greg Smallman guitars

Thomas Humphrey 1948-2008(US) The late Thomas Humphrey created guitars with his unique "Millennium" lattice bracing system, providing a distinct tonal character and excellent balance. His guitars are known for their power, projection, upper treble response, and easy access to the upper register and is used by many fine guitarists, including Sergio and Odair Assad, Eliot Fisk, Ben Verderey, David Tanenbaum, Lily Afshar, Bruce and Adam Holzman, Sharon Isbin, and many others

Robert Ruck 1945-2018 (US) Robert Ruck is celebrated for his traditional construction techniques and superb tonal qualities. His guitars are known for their refined craftsmanship and have been favored by many professional guitarists. Ruck is best-known for being the builder of virtuoso Manuel Barrueco’s exceptional-sounding main instrument, known simply as ‘No. 58,’ back in 1972, when Ruck had been building guitars for only about six years.

Paul Fischer 1941 (England) Fischer began his career having had the good fortune to work with two eminent, inspirational and gifted figures, Robert Goble-harpsichords and spinets, and David Rubio lutes and classical guitars. Paul Fischer is recognized for his attention to detail and the exceptional sound quality of his guitars..Each instrument is painstakingly made, no rush jobs or mass production and each is exquisite in its combination of woods, detail and, in some cases, its exterior simplicity.  Over the fifty years Paul has been a luthier other well-known, highly-respected musicians have approached him to make their instruments, including John Mills, Pepe Martinez, the Assad brothers and Jason Vieaux. In the 1980s,he collaborated with the physicist Dr. Bernard Richardson to work out the science behind a guitar's resonance and how its sound could be naturally amplified without altering its nature or tone

Paco Santiago Marín 1945 (Philippines/Spain) - A Filipino-born luthier based in Spain, Marín is known for his exceptional craftsmanship and the creation of concert-quality classical guitars. He was born in 1945 within a family of guitar makers. Taught by his father, he supplemented his education at the workshop of his  uncle, Antonio Marín Montero, regarded by many as a guitar-making eminent professor.His high technical qualifications and his great musical sensitivity soon allowed him to excel, developing a kind  of instrument that stand out for their great projection, balance and colour, attracting many great guitar  "maestros" such as Ricardo Gallen, Leo Brouwer, Manuel Gonzalez, Iliana Matos,  among others.

Gernot Wagner(Germany) Gernot Wagner is known for his innovative designs and precise craftsmanship. His guitars are admired for their tonal clarity, projection, and playability.In 1996, he discovered that he could get much closer to this ideal sound when he used an Aramide honeycomb material and used this to construct his first double top(Composite top) guitar

Dominique Field 1954 (France) - A French luthier known for his craftsmanship and exceptional tonal qualities in his classical guitars. Field’s guitars have enormous dynamic range and tremendous power. The tone is very clear (counterpoint is an important concept for Field) and yet very sweet and lyrical. The quality of sound, ease of playability and physical beauty have made Field’s guitars extremely desirable to performers and collectors everywhere.Leading international concert artists who have played his guitars include: Eduardo Isaac (Argentina), Ivan Rijos, Eladio Scharron and Earl Klugh (USA), Akiko Saito and Masahiro Ojiri (Japan) Vladimir Mikulka (Czech Republic), Johan Fostier (Belgium), Catherine Liolios (France) and Carsten Pedersen (Denmark). Scott Tennant and Adam Holzman have signed up to Field’s waitlist in the past. The important collector, Sheldon Urlik, more recently acquired a Field guitar as well..

Matthias Dammann 1957 (Germany) Matthias Dammann is renowned for his groundbreaking Double-Top design, utilizing innovative materials and construction techniques to produce instruments with exceptional volume and tonal range.In 1993 Manuel Barrueco became the first internationally renowned guitarist to play a Dammann double top, and he continues to play a Dammann today. David Russell acquired a Dammann double top a few years later.

Felipe Conde Sr 1957(Spain/Mexico-based) - A member of the renowned Conde family of luthiers, Felipe Conde crafts exquisite classical guitars known for their craftsmanship and tonal richness. At age 15 he was trained by his father Mariano Conde Sr, who was apprenticed to Domingo Esteso (Mariano Sr uncle) in 1915. Felipe Conde Jr (born 1991) who represents the fourth generation of artisanal guitar builders within the family now works full time at his father’s workshop building both flamenco and classical guitars .

There are many other talented luthiers around the world, each with their unique approaches and contributions to the art of guitar making. It's important to note that the popularity and reputation of luthiers can evolve over time as new talents emerge and perspectives shift in the classical guitar community.

Other Bracings

Lattice Bracings

Granada School Of Guitar Making

Allan Dunwell Double Top Making

Ramirez Family History