, Volume 70, Issue 1, pp 49-63
First online:
10 March 2016
Until recently,
luthiers have been conservative in their wood choices for guitars and
other chordophones. Most soundboards (tops) were made from American or
European spruces. Rosewood and, less frequently, mahogany, maple, and
koa, were used for backs and sides. Spanish cedar and mahogany were the
preferred species for necks; ebony or rosewood for fretboards. Due to
scarcity and increasing costs, new woods are now employed. Some are
congeners of traditional woods; others are more innovative. The
botanical identification of many of these species is inaccurate. A
common name may refer to more than one species (under–differentiation,
e.g., Madagascar rosewood for several Dalbergia
spp.). Conversely, a binomial may be known by several common names
(over–differentiation, e.g., European, German, or Italian spruce for Picea abies).
Instrument makers and wood suppliers are unreliable sources of
taxonomic names, especially with newer woods. Here, I provide the full
taxonomic identification (binomials, author citations, and families) for
both traditional and some new guitar woods. Many factors determine a
wood’s suitability for lutherie. A model based on two mechanical
properties of wood, density and modulus of elasticity, can be used to
determine what species of wood constitutes each part of a guitar. Many
of the “new” guitar woods are now becoming scarce. Luthiers face the
continual task of finding suitable alternative woods. The model
presented here can serve as a guide in future wood choices; further
modifications, using additional wood properties, may help refine the
model. These principles are also applicable to wood selection for other
chordophones.
