It was the legendary Spanish guitar maker Antonio Torres (1817–1892) of Seville, at the end of the 19th century, that succeeded in making the guitar required to accompany flamenco singing and dance, giving the guitar its definitive form. Most of Antonio Torres his guitars were cheap flamenco guitars, the ones made from cypress wood instead of from the precious woods from Latin America. Local Gypsies could only afford these cheap guitars to play flamenco. In time they were adapted to small variations and eventually identified as flamenco guitars. Antonio Torres increased the body size and the width of the neck, he increased the scale length, he introduced the seven fan braces instead of three to make a thinner soundboard and improved internal bracing. His guitars were now suitable for concerts; the volume was not too weak anymore to play along with the loud percussive footwork of the dancers and the powerful vocals of the singers. Often it is thought that the flamenco guitar is to be a derivative of the classical Spanish guitar. This is incorrect since the classical guitar as well as the flamenco guitar have been developed, around the same time but separately, from their 19th century predecessors. Strangely enough, the founder of both the flamenco and classical guitar was the same luthier, Antonio de Torres from Seville. A very interesting and striking article, Cultural Origins of the Modern Guitar in the Soundboard magazine edition fall 1997, Richard Bruné stipulates that the modern flamenco guitar is closer to the 19th century guitar of Antonio Torres than the current classical guitars. In this article Richard Bruné indicates that the modern classical guitar is derived from an earlier flamenco type instrument. This guitar founding period at the end of the 19th century is also characterized by Tarrega (1852 -1909) his pioneering playing techniques used by guitarists. Today Juan Miguel Gonzalez Morales, born in Almeria January 17 1947, is the last legacy of Antonio de Torres. 

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