Do Classical and Flamenco Guitarists Look Down on Imperfections Due to Aging?
It is a common question among guitar enthusiasts about whether players look down on guitars with imperfections due to aging, particularly when the sound quality remains high. This article explores the beliefs and practices of classical and flamenco guitarists, offering a nuanced view of their perspectives on these issues.
Understanding Grain Imperfections
The premise of the question is that aging definitely causes grain imperfections in guitars. However, this is not entirely accurate. While aging can lead to wear and tear, grain imperfections can also arise from other factors such as manufacturing processes, wood quality, and natural variations. This inherent variability is part of the character of high-quality acoustic instruments, especially classical and flamenco guitars.
Classical Guitarists' Attitude Toward Instrument Care
Classical guitarists, like their counterparts in the violin and cello world, place a significant emphasis on maintaining their instruments. They typically invest in expensive, handcrafted instruments that are well-preserved and rarely subjected to unnecessary stress. This dedication is reflected in their approach to instrument handling, with many employing protective measures to maintain the quality and aesthetic appeal of their instruments.
It is quite common for professional classical guitarists to have a single, high-end instrument that they use for concerts and recordings, often costing between $5,000 to $10,000. These instruments are often stored in cases and never exposed to unnecessary wear and tear when not in use. Some even go so far as to place a cloth over the guitar where their arm rests during play, to prevent any damage to the finish.
Non-Discrimination Against Imperfections in Classical Guitars
Despite the meticulous care taken by classical guitarists, they are generally not deterred by minor imperfections. Even the best-sounding instruments may show signs of wear, such as small dings, marks, or other cosmetic blemishes after extensive use. Such imperfections are considered normal consequences of regular play.
Professional classical guitarists recognize that constant play, averaging 20 hours per week or more, will inevitably lead to some form of wear. Playstyles, practices, and the natural aging process will ensure that even the most pristine instrument will eventually show signs of use. This acceptance of imperfections is a part of the overall appreciation for the instrument's character and its journey over time.
Flamenco Guitarists' Unique Perspective
In contrast, flamenco guitarists have a different attitude towards the appearance of their instruments. Flamenco guitarists often prize the look of a guitar that has shown signs of use, much like rock guitarists who appreciate an aged, well-played instrument. This cultural emphasis on the authenticity of an instrument's wear and tear means that flamenco guitarists may even go to lengths to deliberately create imperfections, a practice known as relicking.
The physical demands placed on flamenco guitars are significant. Flamenco guitarists frequently use techniques like golpe, which can cause substantial wear on the guitar. Additionally, these instruments are played in various environments, from small bars to public performances, where conditions can be less-than-ideal. As a result, it is more common for flamenco guitars to exhibit signs of wear and tear.
Personal Experiences and Perspective
From a personal perspective, the author of this article has experienced and witnessed a wide range of conditions among both classical and flamenco guitars. Personal guitars, including practice and concert instruments, have all displayed some form of wear and imperfection due to natural aging and the inevitable use they receive. While these imperfections may be present, the overall sound and playability of the instrument remain the most important factors for the guitarist.
The author's main practice guitar has a repaired top that shows signs of a healed damage, yet it still sounds and performs excellently. Similarly, the concert guitar, which was heavily abused by a previous player, shows extensive marks on the soundboard but continues to produce a high-quality sound and play experience. These examples highlight the fact that imperfections do not necessarily detract from the overall value or enjoyment of a guitar, as long as the essential qualities remain intact.
Conclusion
In summary, while classical and flamenco guitarists may take different approaches to caring for their instruments, both groups generally do not place an excessive emphasis on minor imperfections due to aging. The focus is more on the overall sound quality and playability. Whether a guitar has been meticulously preserved or shows signs of extensive play, the fundamental criteria for quality remain the same, and both types of guitarists can appreciate instruments that have story and character, alongside pristine beauty.