On the challenges to the luthier in mastering both steel strings and classical guitar making
Harder Than Getting A MacArthur Grant; Easier Than Long-Term Weight Loss.
This is the text of chapter 32 of my book The Responsive Guitar. It is different from the others in that isn’t about guitarmaking principles, dynamics or techniques of musical instrument woodworking. Rather, it describes, to the best of my knowledge, the human networks that use either the Spanish or steel string guitar as their principal point of musical/cultural reference. For purposes of keeping it manageable, I am focusing specifically on the classical guitar rather than on the more general and inclusive category of the Spanish guitar. While flamenco guitars are not all that different from the classic version, their cultural network certainly is. I address the flamenco guitar separately, in chapter 33 of my book. Otherwise, I am focusing on the steel string guitar in its two most common acoustic guises of fingerpicking and flatpicking...
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