The six-course guitar is still a little-known instrument. One need only look at books on the history of music to verify that claim: there is hardly any mention of it, nor are its composers or repertoire often cited. In fact, researchers have given far more attention to other plucked-string instruments than to the six-course guitar—whether for reasons of tradition or ideology—leading to a major gap in the literature. The repertoire of the Spanish Golden Age, to take one example, has been thoroughly explored, in the domains of both vocal and instrumental music (as in the vihuela). Similarly, there is quite a lot of research on the five-course Baroque guitar (as exemplified by Gaspar Sanz and Francisco Guerau): witness the several commercial and critical editions available. And there are plenty of studies of composers such as Fernando Sor and Dionisio Aguado—who are, moreover, already known to people outside our specialized field of the history of the...