Resumen: La guitarra española actual en su versión clásica y flamenca es, quizás, el instrumento que más ha evolucionado a lo largo de la historia, así como el más popular. Con este abstract pretendemos principalmente realizar un breve resumen de su evolución acústica, pero para ello es importante realizar una breve introducción a su historia y a su evolución organológica, desde la vihuela renacentista y morisca, la guitarra barroca y la guitarra romántica de finales del siglo XVIII y del XIX la consolidación de la Guitarra actual gracias a la trascendencia de los parámetros de Antonio de Torres Jurado y sus contemporáneos. Desde entonces poco ha variado, tan solo la plantilla que en la segunda mitad del siglo XIX y el siglo XX aumentó ligeramente en busca de más volumen y su modo de construcción que pasó de ser un trabajo individual artesanal en talleres artesanos a una producción artesanal en cadena y posteriormente su fabricación industrial. Actualmente en siglo XXI, guitarras contemporáneas, guitarras históricas y reproducciones de guitarras coexisten así como la producción industrial y pequeños núcleos de producción artesanal que han permanecido y que comienzan a recuperarse como es el caso de Granada. Abstract: The current Spanish guitar –both, classical and flamenco- is, perhaps, the instrument that most has evolved throughout history, as well as the most popular one. With this abstract we mainly intend to make a brief summary of its acoustic evolution, but, for this, it is important to make a brief introduction to its history and its organological evolution, from the Renaissance and Moorish vihuela, the baroque guitar and the 12-string guitar of the end of the 18th century and the beginning of the 19th, to the early romantic guitar until the consolidation of the modern and vintage guitar during the second half of the 19 th century and the 20th century, thanks to the transcendence of the parameters of the most international guitar constructor: Antonio de Torres Jurado. Since Antonio de Torres little has changed, only the plantilla that, in the second half of the 19th century increased slightly in search of more volume and its mode of construction, that went from being an individual artisan work to an artisan work on an assembly line and later industrially manufactured. In the 21st century, contemporary guitars, historical guitars and guitar reproductions coexist as well as the industrial production together with small artisan zones that have remained and are beginning to be recovered: this is the case of Granada. It was the constructors of the late 18th century who began to introduce innovations; builders like the Pages family established in Cadiz who used fan strutting system inside (Andalusian construction style) or the Muñoa family in Madrid, who raised the fret board and improved the bridge, as they were asked by guitarists, searching to give the guitar the category of a soloist instrument like the piano or the violin.