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It was a large plucked instrument with a long neck (vibrating string length: 72 to 79 cm) with ten or eleven frets and six courses. In the late 1400's, the vihuela was born by adding doubled strings and increasing its size. By 1200 AD, the four string guitar had evolved into two types: the guitarra morisca (Moorish guitar) which had a rounded back, wide fingerboard and several soundholes, and the guitarra latina (Latin guitar) which resembled the modern guitar with one soundhole and a narrower neck. Although there is no specific documentation that I know of, it is likely that makers of uds and citharas would have seen each other's work, if only through presentation by traveling troubadours.
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However, I believe that following the arrival of the Moors, the Roman cithara and the Arabic ud must have mixed and exerted mutual influences on one another for many centuries. According to this theory, the Spanish guitar derived from the tanbur of the Hittites, kithara with a "k" of the Greeks and then the cithara with a c of the Romans. But with the Roman cithara arriving centuries prior, we might say that although the ud influenced the development of the guitar it is not the true ancestor. It had long been assumed that it was only after this invasion and the introduction of the Arabic ud in the South that a guitar-like instrument first appeared in Spain. What is interesting here is that it seems this Roman cithara appeared in Hispania (now known as Spain) centuries before the Moorish invasion. The Greeks also produced a similar instrument which was later modified by the Romans, though both versions appear to have lacked the curved sides. It had characteristically soft, curved sides-one of the primary features of anything identifiable as a guitar or predecessor. There is evidence that a four string, guitar-like instrument was played by the Hittites (who occupied a region now known as Asia Minor and Syria) around 1400 BC.
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The following is a short discussion taken from that chapter along with my own comments and supplemental information from "La Guitarra EspaƱola", published by the Metropolitan Museum of Art and the Prado in Madrid. At least on the face of it, this view is directly opposed to the more conventional assumption that the guitar's ancestor was the ud, brought by the Moors after the invasion of Spain during the 8th century. He argues that it must have descended from the Roman tanbur or cithara brought by the Romans to Spain around 400 AD. Summerfield (third edition, 1992, Ashley Mark Publishing Company), Summerfield makes an interesting case for the origin of the Spanish guitar. In "The Classical Guitar, Its Evolution, Players and Personalities since 1800" by Maurice J.