Portuguese guitar

Last updated
Portuguese Guitar
Guitarra Portuguesa
2 Portuguese guitars.jpg
Left: Coimbra guitar; right: Lisboa guitar
String instrument
Classification String instrument
Related instruments
Guitar - Cittern

The Portuguese guitar or Portuguese guitarra (Portuguese : guitarra portuguesa, pronounced  [ɡiˈtaʁɐ puɾtuˈɣezɐ] ) is a plucked string instrument with twelve steel strings, strung in six courses of two strings. It is one of the few musical instruments that still uses watch-key or Preston tuners. It is iconically associated with the musical genre known as Fado, and is now an icon for anything Portuguese.



Portuguese guitar Port-guitar-silva-1796.jpg
Portuguese guitar

The Portuguese guitar now known has undergone considerable technical modification in the last century (dimensions, mechanical tuning system, etc.) although it has kept the same number of courses, the string tuning and the finger technique characteristic of this type of instrument.

It is a descendant of the Medieval citole, based on evidence of its use in Portugal since the thirteenth century (then known as 'cítole' in Portuguese) amongst troubadour and minstrel circles and in the Renaissance period, although initially it was restricted to noblemen in court circles. Later it became popular and references have been found to citterns being played in the theater, in taverns and barbershops in the seventeenth and eighteenth century in particular.

In 1582, Friar Phillipe de Caverell visited Lisbon and described its customs; he mentions the Portuguese people’s love for the cittern and other musical instruments. In 1649 was published the catalogue of the Royal Music Library of King John IV of Portugal containing the best known books of cittern music from foreign composers of the sixteenth and seventeenth centuries, in which the complexity and technical difficulty of the pieces allow us to believe that there had been highly skilled players in Portugal.

Fado, by Jose Malhoa (1910) Jose malhoa fado.jpg
Fado, by José Malhoa (1910)

The angel playing the cittern (c.1680), a sculpture of large dimensions in the Alcobaça Monastery, depicts in detail the direct ancestor of the Portuguese guitar. In the first half of the eighteenth century, Ribeiro Sanches (1699–1783) had cittern lessons in the town of Guarda, Portugal, as he mentions in a letter from St. Petersburg in 1735.

In the same period there is other evidence to the use of the cittern alluding to a repertoire of sonatas, minuets, etc. shared with other instruments such as the harpsichord or the guitar. Later in the century (c. 1750) a new type of cittern, the so-called English guittar made its appearance in Portugal. By 1786 those made by Simpson, an English luthier, became highly popular, and it was noted that he could also provide reliable nickel-silver strings. There was a type of cittern locally modified by German, English, Scottish and Dutch makers and enthusiastically greeted by the new mercantile bourgeoisie of the city of Porto who used it in the domestic context of Hausmusik practice. This consisted of the "languid Modinhas", the "lingering Minuets" and the "risqué Lunduns", as they were then called. [1] The English guitar disappeared as a separate instrument by the mid 19th century in Portugal as elsewhere, but its influence on the subsequent Portuguese guitar can be seen in terms of the watch-key tuning system, size, stringing with 6 strings and tuning - see description of the afinação natural (natural tuning) under Tuning below. Especially from the middle of the 19th century, the Portuguese guitar as a separate instrument developed from the various earlier types of citterns came into fashion by its association with the Lisbon song (fado) accompaniment.

The last detailed reference to the cítara appeared in 1858 in J.F. Fètis' book The Music Made Easy . The Portuguese translation includes a glossary describing the various characteristics (tunings, social status, repertoire, etc.) of both cittern and "English" guitar of the time.

Gradually the Simpson design was transformed by Portuguese luthiers, with a wider body, longer scale length, and a wider fingerboard, made more manageable by using a large radius, rather than a flat fingerboard.

The Portuguese guitar is used for solo music (guitarradas) as well as the accompaniment, which it shares with a steel strung classical guitar (viola de fado) and occasional double bass or guitar-bass, and its wide repertoire is often presented in concert halls and in the context of classical and world music festivals all around the world. [2]


There are two distinct Portuguese guitar models: the Lisboa and the Coimbra.

The differences between the two models are the scale length (445 mm of free string length in Lisboa guitars and 470 mm in Coimbra guitars), body measurements, and other finer construction details. Overall, the Coimbra model is of simpler construction than the Lisboa model. Visually and most distinctively, the Lisboa model can easily be differentiated from the Coimbra model by its larger soundboard and the scroll ornament (caracois - snail) that usually adorns the tuning machine, in place of Coimbra's teardrop-shaped (lagrima) motif. Lisboa guitars usually employ a narrower neck profile as well. Both models have a very distinct timbre, the Lisboa model having a more bright and resonant sound, and the choice between the both of them falls upon each player's preferences.

As early as 1905 luthiers were building larger Portuguese guitars (called guitarrão, the plural being guitarrões), seemingly in very small numbers and with limited success. Recently, the famed luthier Gilberto Grácio has built a guitarrão, which he named a guitolão instead; this instrument which allows for a wider timbric range, on the low and the high end, than a regular Portuguese guitar. [3]


The techniques employed to play the Portuguese guitar are what are historically called figueta and dedilho. [4] Figueta technique comprises playing solely with the thumb and the index fingers and it was inspired by the technique used to play Viola da Terra. Dedilho technique concentrates on up and down strokes of the index finger to play complex passages. On the Portuguese guitar the strings are picked with the corner of the fingernails, avoiding contact of the flesh with the strings. The unused fingers of the picking hand rest below the strings, on the guarda-unhas on the soundboard. Most players use various materials in place of natural fingernails; these fingerpicks (unhas) were traditionally made of tortoiseshell, but today are usually nylon or plastic. While Lisboa unhas are commonly rectangular shaped for a clearer attack, Coimbra unhas tend to follow the natural curve of the fingernail.

Technique basics are the fado maior, fado menor and fado Mouraria. Then one masters the trinado (a triplet ornament), slides, picking individual strings (instead of both in a course), and intense characteristic vibrato to embellish the melody. Finally, in addition to the fados, there are traditional virtuosic pieces—the fado Lopes, and Variaçoes em Re Menor, La Menor, Mi Menor and Si Menor.

A good guitarrista should know at least a hundred of the over two hundred standard fados [5] in any key requested by the fadista.


The Lisboa style of playing traditionally utilizes the Guitarra de Lisboa, but today it is increasingly more common to see musicians with Guitarra de Coimbra tuned tighter to accommodate the Lisboa tuning. [6] In accompanying Lisbon Fado the guitarrista plays the introduction, traditionally based on the second half of the vocal melody, then alternates between the techniques described above and short expressive phrases answering the fadista's phrases in a musical call-and-response. In faster fados the guitarra often improvises virtuosically throughout, including soloing over the fadista's singing.


The Coimbra style of playing, popularized by Artur and Carlos Paredes, originates with the university students from the historic Universidade de Coimbra. The male students and graduates would traditionally play a Coimbra Fado at night or serenata (serenade) for a woman to be courted.

Instead of bridging the gap between a singer's phrases, in Coimbra Fado, the guitarra plays the chordal accompaniment alongside the Acoustic guitar. As opposed to the rapid, more technically challenging Lisbon Fado, the guitarrista plays a downstroke with the thumb followed by a rolled chord across all the strings which ends with the index finger crossed in front of the thumb. This pattern is easily modified to fit the time signature of the specific Coimbra Fado being played.

Notable artists

Antonio Chainho and his Portuguese guitar (Lisbon model) Antonio Chainho.jpg
António Chainho and his Portuguese guitar (Lisbon model)

Armandinho, born in 1891, became one of the most influential guitar players in Lisbon, leaving a vast repertoire of variations and fados behind. He is credited with popularizing the second soloist approach to guitarra playing in fado accompaniment over the usage of simple plucked chords. [7] Following in Armandinho's footsteps came other guitarists, such as Jaime Santos, Raul Nery, José Nunes, Carlos Gonçalves and Fontes Rocha. Artur Paredes, born in 1899, was an equally important player in the city of Coimbra. Many of today's Coimbra guitar features can be traced back to his contact with local luthiers. His son Carlos Paredes was a virtuoso and attained great popularity, becoming the most internationally known Portuguese guitar player. His compositions on the Portuguese guitar go beyond the traditional use of the instrument in fado musicianship giving him (and the instrument) a status above folk or regional music. This soloistic tradition has been followed till today by several outstanding musicians such as Pedro Caldeira Cabral, Antonio Chainho, Ricardo Rocha, Paulo Soares, and several other virtuoso guitarists of the younger generation. The first concerto for Portuguese guitar and orchestra in history was composed and premiered by Pedro Henriques da Silva on December 5, 2017 with the Orchestra of the Swan at Stratford ArtsHouse in Stratford-upon-Avon. [8]

Many leading guitarristas in Lisboa—Mario Pacheco, Luis Guerreiro, Jose Manuel Neto, Henrique Leitão, Bruno Chaveiro, Paulo de Castro, Ricardo Martins and Custodio Castelo - now use Oscar Cardoso guitarras, which feature the extraordinary innovation of a cutaway in the back of the guitarra, and a Coimbra string length but with Lisboa tuning. The virtuosity of these artists has changed the sound of fado radically, and their speed is extraordinary. Rocha has composed highly avant-garde pieces, and the original guitarradas of Pacheco, Castelo and Martins have become common repertoire in Lisboa, as those of Soares have become in Coimbra. Most advanced players will learn some of Carlos Paredes' difficult works. Marta Pereira Da Costa has achieved prominence as the first female virtuoso guitarrista.

Outside Portuguese music

The Portuguese guitar played a small role in Celtic and western folk music following the folk revival. In the 1970s, Andy Irvine of the band Planxty played a modified Portuguese guitar. [9] British luthier Stefan Sobell based his early 1970s creation of the modern cittern on a Portuguese guitar he'd bought at a used shop in Leeds some years previously. [10] [11]

Several jazz musicians have also recorded with the Portuguese guitar, including Brad Shepik. [12] [13]

The Portuguese guitar features prominently on Sun Kil Moon's debut album Ghosts Of The Great Highway . [14]

British guitarist Steve Howe plays the instrument on the Yes songs "I've Seen All Good People" from The Yes Album (1971), "Wonderous Stories" from Going for the One (1977), also on "Hour of Need" from Fly from Here (2011) and finally on To Ascend from Heaven and Earth (2014). [15]

British musician Chris Hirst plays fado on the Portuguese guitar, and also uses it for contemporary music with his group Quatrapuntal. This takes influences from fado and the Portuguese group Madredeus, but mixes it with classical music and other elements. [16]

Portuguese guitar makers

There are many Portuguese guitar makers still building guitars, according to traditional craftsmanship. Many families have passed on their knowledge for generations. Amongst the most notable guitarreiros, or guitar makers, are the Grácio family, Álvaro Ferreira, the Tavares family (now living in Toronto Canada), the Cardoso family—particularly Oscar Cardoso (whose guitarras are the subject of a recent book), António Guerra, Domingos Machado, Fernando Meireles, Antonio Monteiro and Domingos Cerqueira. The Grácio family and Álvaro Ferreira's instruments are usually considered as the pinnacle in terms of quality, although these instruments are very hard to find and can be quite expensive.

Antonio Pinto de Carvalho's APC luthiery is one of the largest in Europe, and produces thousands of traditional Portuguese stringed instruments.


Afinacao de Lisboa (Lisboa tuning) LisboaTuning.png
Afinação de Lisboa (Lisboa tuning)
Afinacao de Coimbra (Coimbra tuning) CoimbraTuning.png
Afinação de Coimbra (Coimbra tuning)
Afinacao natural (Natural tuning) NaturalTuning.png
Afinação natural (Natural tuning)

The tuning chiefly employed on the Portuguese guitar was historically called afinação do fado or afinação do fado corrido. It was probably developed in the early 19th century, as it was already largely adopted by Lisbon's fadistas by the mid-century. With the diminishing use of the natural tuning (see below) by players, this tuning came to simply be called either afinação de Lisboa, when tuned high, in D, or afinação de Coimbra, when tuned low, in C; this stems from the fact that while most Lisbon Fado players tuned their guitars in D, in Coimbra the students came to tune theirs in C as standard practice, mainly through the influence of Artur Paredes. It is important to note, however, that regardless of the difference in pitch between the two variations of the tuning, in practice, the latter still makes use of the former's aural conventions, as such a do/C is called re/D, a D is called mi/E, etc., by the players (essentially making a Coimbra-tuned Portuguese guitar a transposing instrument similar to a B-flat trumpet in that a given note is referred to by the note name a whole step higher than the note name that concert-pitch conventions would use).

The natural tuning, inherited from the English guittar of the 18th century, was also very frequently employed up to the first half of the 20th century, being preferred to the former by some late-19th-century players; it was frequently tuned in E instead of C, as this simplified the change between the fado tuning for players who used both. Some variations of this tuning were also adopted, such as the afinação natural com 4ª, also known as afinação da Mouraria, or the afinação de João de Deus, also known as afinação natural menor. The natural tuning and its variations have been for the most part, out of practice for several decades.


The Portuguese guitar can read Portuguese guitar tablature, sheet music in treble, or a combination of both. The dedilho technique is notated with up and down arrows over multiple notes corresponding to a downstroke or upstroke of the index finger. An "i" is used to indicate a stroke with the index finger, or indicador, and a "p" is used for the thumb, or polegar. The middle finger is rarely used but notated with an "m" for médio. [17]

While one can find many virtuosic Coimbra pieces written out as sheet music, fados are generally improvised and require no music for a good guitarrista to play. The chord progression to each specific fado should be understood by the good guitarrista. While this skill has traditionally been acquired by younger players playing alongside a more advanced guitarrista in an ensemble, it was only in the early 2000s that the first fado school had been established to formally teach the improvisational style alongside the written version. [6]

Further reading

See also

Related Research Articles

Guitar Fretted string instrument

The guitar is a fretted musical instrument that typically has six strings. It is held flat against the player's body and played by strumming or plucking the strings with the dominant hand, while simultaneously pressing the strings against frets with the fingers of the opposite hand. A plectrum or individual finger picks may be used to strike the strings. The sound of the guitar is projected either acoustically, by means of a resonant chamber on the instrument, or amplified by an electronic pickup and an amplifier.

Fado is a music genre that can be traced to the 1820s in Lisbon, Portugal, but probably has much earlier origins. Fado historian and scholar Rui Vieira Nery states that "the only reliable information on the history of fado was orally transmitted and goes back to the 1820s and 1830s at best. But even that information was frequently modified within the generational transmission process that made it reach us today."

Zither Class of stringed musical instruments

Zither is a class of stringed instruments. Historically, it has been applied to any instrument of the cittern family, or to an instrument consisting of many strings stretched across a thin, flat body – similar to a psaltery. This article describes the latter variety.


The cittern or cithren is a stringed instrument dating from the Renaissance. Modern scholars debate its exact history, but it is generally accepted that it is descended from the Medieval citole. It looks much like the modern-day flat-back mandolin and the modern Irish bouzouki, and is descended from the English guitar. Its flat-back design was simpler and cheaper to construct than the lute. It was also easier to play, smaller, less delicate and more portable. Played by all classes, the cittern was a premier instrument of casual music-making much as is the guitar today.

Music of Portugal Overview of music traditions in Portugal

Portuguese music includes many different styles and genres, as a result of its history. These can be broadly divided into classical music, traditional/folk music and popular music and all of them have produced internationally successful acts, with the country seeing a recent expansion in musical styles, especially in popular music.

Seven-string guitar

The seven-string guitar adds one additional string to the more common six-string guitar, commonly used to extend the bass range or also to extend the treble range.

Carlos Paredes Portuguese guitarist and composer

Carlos ParedesComSE was a virtuoso Portuguese guitar player and composer. He is regarded as one of the greatest players of Portuguese guitar of all-time.

Coimbra Fado

Coimbra Fado is a genre of fado originating in the city of Coimbra, Portugal. While adopted by students at the University of Coimbra, and sometimes known as Student Fado, it is usually considered the typical music of Coimbra itself. Developed from the Iberian lyric style of trovadorismo popular during the Middle Ages, the genre shares roots with Occitan troubadors.

Bajo sexto Mexican string instrument

Bajo sexto is a Mexican string instrument from the guitar family with 12 strings in six double courses. A closely related instrument is the bajo quinto which has 10 strings in five double courses.

Russian guitar

The Russian guitar (sometimes referred to as a "Gypsy guitar") is an acoustic seven-string guitar that was developed in Russia toward the end of the 18th century: it shares most of its organological features with the Spanish guitar, although some historians insist on English guitar ascendancy. It is known in Russian as the semistrunnaya gitara (семиструнная гитара), or affectionately as the semistrunka (семиструнка), which translates to "seven-stringer". These guitars are most commonly tuned to an open G chord as follows: D2 G2 B2 D3 G3 B3 D4. In classical literature, the lowest string (D) occasionally is tuned down to the C.

Irish bouzouki

The Irish bouzouki is an adaptation of the Greek bouzouki. The newer Greek tetrachordo bouzouki was introduced into Irish traditional music in the mid-1960s by Johnny Moynihan of the folk group Sweeney's Men. Alec Finn, first in the Cana Band and subsequently in De Dannan, introduced the first more-traditional Greek trichordo bouzouki into Irish music.

Jarana jarocha

The jarana jarocha is a guitar-shaped fretted stringed instrument from the southern region of the state of Veracruz, Mexico. Typically strung with 8 strings in 5 courses, usually arranged in two single outer strings with three double-courses in between. The strings are usually nylon, although they were gut in the past. The body is somewhat narrower than a guitar because of its direct lineage from the Spanish baroque guitar of the sixteenth century. Sometimes mistaken for a ukulele, the jarana jarocha comes in at least five sizes, the smallest being the chaquiste, somewhat smaller than a soprano ukulele; then the mosquito, about the size of a soprano ukulele; the 'primera', about the size of a concert ukulele; the 'segunda', in length between a tenor and a baritone ukulele; and the 'tercera', somewhat longer than the baritone ukulele. Some luthiers are building jaranas of a size they label "tercerola" or "jarana cuarta", but there is some discussion as to whether these represent a distinct size or are merely particularly large variations of the standard tercera.

Flamenco guitar Acoustic guitar used in Flamenco music

A flamenco guitar is a guitar similar to a classical guitar but with thinner tops and less internal bracing. It usually has nylon strings, like the classical guitar, but it generally possesses a livelier, more gritty sound compared to the classical guitar. It is used in toque, the guitar-playing part of the art of flamenco.

Classical guitar with additional strings

A classical guitar with additional strings is a nylon-string or gut-string classical guitar with more than six strings, in which the additional strings pass over a fingerboard so that they may be "stopped" or fretted with the fingers. These are also known as extended-range guitars, and should not be confused with harp guitars.

Maria Teresa de Noronha

D. Maria Teresa do Carmo de Noronha, was a Portuguese aristocrat and a fado singer. As a granddaughter of the Counts of Paraty and Belmonte, she belonged to a family of the most ancient Nobility in the Iberian Peninsula, tracing her roots to the Royal Houses of both Portugal and Castile from the mid-14th century. Her artistic career spanned over 30 years and hers is considered one of the most unusual and beautiful fado voices. Her status as a fidalga meant, in the context of a conservative early 20th century Portugal, that she faced severe restrictions in having a professional artistic career As such, she did not enjoy the projection of other great fadistas of her time.

Pedro Caldeira Cabral is a musician who specializes in Mediaeval, Renaissance, Baroque and Iberian music.


The Guitolão is a chordophone exclusively designed by one of the masters of Portuguese guitars making, the luthier Gilberto Grácio. He started to develop the prototype instrument, originally built for Carlos Paredes in 2001, and only 3 types were made. The term Guitolão, is a match from the lexical between Portuguese Guitar and Violão. Although, there are some connoisseurs who have tried to undo this neologism, but the use of the term makes sense because the initial idea was to create an instrument similar to a Portuguese guitar, but without the need of an accompaniment instrument. So while this is not the most correct terminology, however, is the one that makes more sense.

Artur Paredes was a Portuguese guitar player in the city of Coimbra. He was the natural son of Gonçalo Rodrigues Paredes and Maria do Céu.

FEUP Fado Group

FEUP Fado Group is a Portuguese student group that performs Fado

Pedro Jóia Portuguese guitarist, composer, and musical director

Pedro Jóia is a Portuguese guitarist, composer, and musical director. He is considered one of the top Portuguese guitar players.


  1. See Estudo de Guitarra (...) by António da Silva Leite (1759-1833) published in Oporto in 1796.
  2. Cristo, Nuno. "The Portuguese Guitar: History and Transformation of an Instrument Associated with Fado".Cite journal requires |journal= (help)
  3. "Portuguese Guitar Method". www.fernandezmusic.com.
  4. "Portuguesemethodpage2". www.fernandezmusic.com. Retrieved 2020-04-01.
  5. Antonio, Parreira (2014). O livro dos fados -- 180 Fados Tradicionais em partituras. Lisbon: Museu de Fado. ISBN   978-989-96629-9-5.
  6. 1 2 Anaia Cristo, Nuno José dos Santos (January 2014). [yorkspace.library.yorku.ca "THE PORTUGUESE GUITAR: HISTORY AND TRANSFORMATION OF AN INSTRUMENT ASSOCIATED WITH FADO"] Check |url= value (help). A Thesis Submitted to the Faculty of Graduate Studies in Partial Fulfillment of the Requirements for the Degree of Master of Arts.
  7. "Mariza and the Story of Fado". BBC.
  8. "Concerto first: Pedro Da Silva & OOTS premiere work for Portuguese guitar". www.planethugill.com.
  9. Magnussen, Paul. "Liam O'Flynn & Andy Irvine in conversation with Paul Magnussen". Guitar International (unpublished), 1982. Archived from the original on 23 September 2015. Retrieved 22 June 2015.
  10. "Stefan Sobell Guitars » How I started: my first cittern". www.sobellguitars.com.
  11. Frets. GPI Publications. 1980.
  12. Vladimir Bogdanov; Chris Woodstra; Stephen Thomas Erlewine (2002). All Music Guide to Jazz: The Definitive Guide to Jazz Music. Backbeat Books. pp. 971–. ISBN   978-0-87930-717-2.
  13. Nielsen Business Media, Inc. (21 March 1998). Billboard. Nielsen Business Media, Inc. pp.  97–. ISSN   0006-2510.
  14. "Sun Kil Moon: Benji - Album Review". 11 February 2014.
  15. Ray, Randy (31 January 2013). "Steve Howe: A Roundabout Way to Yes". JamBands.com. Retrieved 17 June 2017.
  16. An example of this is the song Daybreak, which features the Portuguese guitar prominently: https://www.youtube.com/watch?v=hSOVbybxNNs
  17. Soares, Paulo (1997). Método de Guitarra Portuguesa. Coimbra: Paulo Soares.