The Laws of Fibonacci and Sacred Geometry
The craft of instrument-making represents a singular fusion of science, aesthetics, and a genuine passion for music. Fernando Meireles, based at the Associação Académica de Coimbra since 1986, embodies this synthesis in every Portuguese guitar he constructs. A self-taught luthier and musician, Meireles is renowned for his meticulous approach to traditional instrument construction, working with guitar, viola, mandolin, and cavaquinho – and as one of the few craftspeople dedicated to reviving the medieval sanfona. Guided by a distinctive vision, Meireles understands that the perfection and proportionality found in nature should inform every instrument that leaves his workshop.
The Portuguese guitar itself is instantly recognisable: a distinctive pear-shaped body with twelve steel strings arranged in six paired courses, ornate decorative scrollwork adorning the headstock, and a characteristically small, round soundhole inlaid with mother-of-pearl. The Lisbon model features a snail-shaped scroll, whilst the Coimbra variant displays a teardrop-shaped design. This elegant form has remained virtually unchanged for over two centuries, a testament to the refinement achieved through generations of empirical craftsmanship.
As Meireles explains his philosophy: “I am very classical in my approach, adhering strictly to the laws of Fibonacci and sacred geometry. These principles reveal that everything in nature, all proportions, obeys a natural order – everything is perfect and in harmony. I endeavour to apply these principles meticulously so that every form is precisely delineated and proportional in all respects. The finishing is accomplished using high-quality shellac, which creates the final result. But all the aesthetics and geometry are rooted in these principles.”
The finest materials
The quality of materials is a cornerstone of Meireles’s philosophy. He employs spruce and Brazilian rosewood in the construction of his Portuguese guitars, deliberately avoiding synthetic materials that compromise structural integrity over time. “I use materials of genuine excellence,” he states. “The soundboard is spruce from the same region where Stradivarius sourced timber for his instruments. For the back and sides, I use Brazilian rosewood – pau-santo from Brazil. I use nothing synthetic, neither in varnish nor adhesives, because I know this doesn’t improve the instrument’s sound. More importantly, structurally and over the long term, synthetics cause problems. Plastic adhesives are elastic; tension forces the materials, and they gradually give way. These are top-quality materials, properly aged, with beautiful aesthetics and excellent tone.”
Two Traditions, Two Sounds
The history of the Portuguese guitar is one of remarkable regional variation, a complexity that Meireles navigates with scholarly precision. “These traditional instruments were never constructed scientifically in Portugal,” he explains. “They were made empirically, by craftsmen or individuals who inherited their father’s methods. In collaboration with musicians, whenever a performer requested an instrument with improved sound, the maker would empirically enlarge the resonance chambers. But that’s not how it works.” He continues: “Portugal possesses more variety in traditional instruments than most countries in the world. This is because we had limited communication routes, and cultural phenomena developed locally. These instruments were made by skilled empiricists and carpenters who created their own designs. The Lisbon and Coimbra guitars possess fundamentally different characteristics, shaped by the very music they were designed to produce.”
“Portugal possesses more variety in traditional instruments than most countries in the world.”
“The Coimbra guitar uses heavier strings and is tuned one tone lower to achieve deeper, more sentimental notes. The Lisbon guitar uses lighter strings, producing a brighter, more celebratory sound. The Coimbra guitar was played within academic culture – by students, connected to longing, to serenades for young women. It is an instrument deeply bound to feeling. The Lisbon guitar was primarily an instrument of festivity and accompaniment. Fado in Lisbon is commercial fado, whilst fado in Coimbra only recently entered the commercial sphere. In terms of construction, the Lisbon guitar was better crafted. The Lisbon makers constructed them with greater care and responsibility, knowing they were destined for professional musicians whose demands were exacting. The Coimbra guitars were made more hastily, intended for students. Fortunately, we have figures like Carlos Paredes and Joaquim Grácio, who played this instrument beyond that context, with genuine dignity.”
The Coimbra Guitar Ascendant
For Meireles, the Coimbra guitar represents an instrument in genuine expansion. Though historically bound to fado, it is increasingly played by guitarists exploring diverse repertoires. “The Coimbra guitar is experiencing a period of frank expansion,” he observes. “Many young people are learning to play, and it’s moving beyond its association with fado alone. Today, guitarists play the Coimbra as a concert instrument, performing all manner of repertoire. It is a universal instrument. Outside Portugal, when people hear it played outside the context of fado – and fado remains captivating – they are astounded by its timbre. Everything becomes sublime.”
This article is adapted from an exclusive interview conducted by Joel Costa for Guitarrista, his independent print publication dedicated to Portuguese musical traditions. The original Portuguese-language interview has been translated and expanded here for Edohard.
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Editor’s Note: This article is adapted from an exclusive interview conducted by Joel Costa for Guitarrista, his now-defunct independent print magazine devoted to guitar culture and craftsmanship. The original Portuguese interview has been translated and reworked for Edohard.
