Construction: What’s the Difference Between Flamenco and Classical Guitars?

I have noticed a general misconception that the flamenco guitar is thinner and smaller than the classical guitar. The truth, according to expert luthiers and guitar historians like Richard Bruné(1), is that both the classical and flamenco guitars are historically identical in construction in terms of dimensions, bracing patterns, and, in some cases, the choice of woods(2).

The modern classical or flamenco guitar was developed in Spain by luthier Antonio de Torres in the 1800s. He later improved his design for concert guitarist Julian Arcas in the late 1800s, and the new Torres design was quickly accepted as the highest standard of comfort and sound production, which to date continues to be regarded as the standard design for the Spanish guitar(3 & 4). This guitar construction included a rosewood back and sides along with a spruce top. These wood choices are what many now consider the standard for classical guitar construction — although many classical guitars are also built with cedar tops instead.

During the Torres era, guitars built with imported rosewood for the back and sides were accessible almost exclusively to wealthy musicians due to the cost of rosewood(2). Musicians from lower economic classes couldn’t afford rosewood, but they could afford locally grown cypress. And since flamenco was developed primarily by musicians and dancers from lower economic classes, cypress backs and sides became the top (and only) choice for flamenco guitarists for years(2).

The unique sounds from each wood quickly became characteristics of each style of music. Whereas rosewood produces more sustain and warmer tones, cypress produces more attack (less sustain) and brighter tones. Warmer tones and increased sustain are generally desirable for solo guitar (e.g., classical), and brighter tones with more attack are generally preferred for accompanying singing, dancing, and playing in ensembles (e.g., flamenco).

Nowadays, classical and flamenco guitarists alike choose either rosewood or cypress guitars based on their preferences in tone and attack. I, for example, have one of each that I use in both solo and ensemble situations because I love both sounds. Paco de Lucía used a rosewood back and sides guitar almost exclusively to play both solo guitar and in his ensembles. And I know plenty of classical guitarists who prefer cypress.

The only other minor differences nowadays between classical and flamenco guitars are that the latter typically have a lower action (string height) and a clear golpeador (tap-plate) installed on the top. But both of these are ultimately preferences irrespective of the genre one plays. For example, you may like a flamenco guitar with high action or a classical one with a golpeador.

The thinner and smaller “flamenco” guitars that we see today are only smaller and thinner, plug-in versions of the standard construction mentioned above. They were created fairly recently in order to add pick-ups to plug them into an amplifier and to be played comfortably standing up while using a strap (e.g., Gipsy Kings).

You can also explore some of the top Flamenco and Classical Guitar Audio Interfaces I’ve personally used and recommend for capturing every detail of your performance.

If you’re looking to take your sound further, check out my recommended Flamenco and Classical Guitar Amplifiers for both classical and flamenco guitarists.