When considering the guitar from a historical perspective, the musical instrument used is as important as the musical language and style of the particular period. As an example: It is impossible to play a historically informed de Visee or Corbetta (baroque guitarist-composers) on a modern classical guitar. The reason is that the baroque guitar used courses, which are two strings close together (in unison), that are plucked together. This gives baroque guitars an unmistakable sound characteristic and tonal texture that is an integral part of an interpretation. Additionally, the sound aesthetic of the baroque guitar (with its strong overtone presence) is very different from modern classical type guitars, as is shown below.
When considering the guitar from a historical perspective, the musical instrument used is as important as the musical language and style of the particular period. As an example: It is impossible to play a historically informed de Visee or Corbetta (baroque guitarist-composers) on a modern classical guitar. The reason is that the baroque guitar used courses, which are two strings close together (in unison) that are plucked together. This gives baroque guitars an unmistakable sound characteristic and tonal texture that is an integral part of an interpretation. Additionally, the sound aesthetic of the baroque guitar (with its strong overtone presence) is very different from modern classical type guitars, as is shown below.