Classical guitar composers wrote mostly in tablature notation. In the middle of the 16th century, influences from the vihuela and the renaissance guitar were combined and the baroque five string guitar appeared in Spain. The baroque guitar quickly superseded the vihuela in popularity in Spain, France and Italy and Italian players and composers became prominent. In the late 18th century the six string guitar quickly became popular at the expense of the five string guitars. During the 19th century the Spanish luthier and player Antonio de Torres gave the modern classical guitar its definitive form, with a broadened body, increased waist curve,
Classical guitar in Cuba Manuel Espinás, Alfredo Panebianco, Carlos Alberto Lloró, Jorge Luis Garcell, Alexis Méndez, Rubén González, Freddy Pérez, Rosa Matos, Iliana Matos, Rafael Padrón, Amed Dickinson, Marco Tamayo, Ernesto Tamayo, Rene Izquierdo, Miguel Bonachea, Edel Muñoz, Gerardo Perez Capdevila, Joaquín Clerch Yalil Guerra and Alí Arango. Numerous Cuban composers, many of them guitarists themselves, have contributed to create a body of work that may support the didactic and aesthetic efforts of the Cuban Guitar School. Before 1959, some composers such as Amadeo Roldán, José Ardévol, Joaquín Nin Culmell, Natalio Galán and Harold Gramatges began composing music for the classical guitar. Apart from