Acoustic Guitar Body Types: The Complete Guide to Acoustic Shapes

Anyone who has spent more than a few minutes around guitars knows there is no such thing as “just an acoustic.” 

While most players can spot the difference between a dreadnought and a parlor guitar on sight, the world of acoustic guitar body types stretches far beyond just two silhouettes. Flattop body shapes range from instruments scarcely larger than a ukulele to models approaching the size of an acoustic bass. 

If you’re a player in the market for a new acoustic (who isn’t??), understanding these body shapes matters. Why? A guitar’s body is its resonance chamber. Its size, depth, and contour determine how air moves inside the instrument, how low frequencies develop, how midrange tones project, and how comfortable the instrument feels in the player’s hands. When someone searches for “the perfect acoustic,” what they are really searching for is a shape that complements their style, touch, and musical goals.

Some shapes are intimate and articulate. Others are bold and room-filling. Some sit comfortably in the lap for hours of fingerstyle playing. Others are built to drive rhythm sections without apology.

This guide explores the history, construction, tone, and musical applications of the most common acoustic guitar body types so players can walk away knowing whether they belong with a parlor, a 000, a slope-shouldered dreadnought — or something even bigger.

Here we go....

Classical Guitars 

History

The modern classical guitar body came into being in the mid-19th century through the innovative work of Spanish luthier Antonio de Torres Jurado. Torres did not invent the guitar, but he dramatically refined it. At a time when Baroque-era instruments were still influencing construction, Torres enlarged the body and used thinner soundboards, increasing both projection and tonal complexity.

Though other builders contributed to the guitar’s evolution, Torres’ core structural decisions proved so effective that his designs became the foundation for modern classical guitars. Nearly every acoustic guitar built today — even steel-string models — owes something to his 19th-century proportions and bracing principles.

Tone and Feel

As guitar-like instruments shifted from continuo accompanists to solo instruments, developments led to thicker, fuller voices that could fill a hall.

Today’s classical guitars continue that tradition. Strung with nylon and typically topped (or double-topped) with spruce or cedar, they produce a warm, rounded tone with a soft attack and balanced sustain. Traditionally plucked with the fingernail and flesh of the finger instead of a plectrum, classical tone is gentler, less metallic, and more intimate.

Nylon strings operate at lower tension and good righthand (or lefthand!) technique can allow players to control nuance, dynamics, and tonal shading. 

Posture matters as well. Rather than resting across the thigh like most steel-strings, classical guitars sit in the lap with the neck angled upward. This positioning supports precise left-hand fingering and right-hand articulation, especially key in advanced repertoire.

Uses

While steel-string acoustics and electric guitars dominate much of modern popular music, classical guitars remain widely performed and respected. Beyond traditional classical repertoire, they show up in jazz, country, rock, and numerous world music traditions.

Despite their softer projection and tonal limitations in high-volume settings, a mic’ed up classical guitar remains a versatile instrument.

Variations

The most common classical guitar size is referred to as a 4/4 — standard full size. Fractional sizes scale down to 1/4 for younger students. At the opposite end of the range, contrabass classical guitars share similar construction but tune an octave lower.

The flamenco guitar represents another important variation. Built with thinner soundboards, lighter internal bracing, and protective tap plates, flamenco guitars produce brighter tone and reduced sustain — ideal for percussive techniques central to flamenco music.

Parlor Acoustic Guitars

History

Believe it or not, the rise of modern steel-string guitars owes much to an early 19th-century dispute between European cabinetmakers and violin luthiers. 

Johann Georg Martin, a Saxon cabinetmaker, began crafting guitars. The local violin guild objected. Creative friction ensued!

Johann’s son, Christian Frederick Martin, eventually immigrated to the United States, founding C.F. Martin & Company. Arriving just two decades before Torres reshaped classical standards, Martin worked with smaller, ladder-braced guitars that were common at the time.

Seeking stronger projection and resonance, Martin and fellow builders developed the X-bracing system still used in steel-string guitars today. Applying this reinforced internal bracing to small-bodied instruments led directly to the early parlor guitar.

The enhanced bracing strengthened the top, allowing it to withstand higher-tension strings and laid the groundwork for larger models to follow.

Tone and Feel

Parlor guitars are the smallest widely available steel-string acoustic body type. With narrow lower bouts and sloped shoulders, they’re compact and approachable. Players with smaller frames often find them especially comfortable.

Tonally, parlors do not project like dreadnoughts. Their smaller soundbox limits sheer volume and low-end power. But what they lack in boom, they make up for in clarity. Parlor guitars are responsive, articulate, and slightly plucky — traits that complement fingerstyle techniques beautifully.

Their balanced tone works well both solo and within an ensemble.

Uses

An unplugged parlor guitar may struggle to fill out an arena, but it excels in intimate settings. Folk, traditional blues, and country music all benefit from its articulate trebles and focused midrange.

Whether backing a singer-songwriter or carrying a ragtime-inspired instrumental, the parlor remains a historically rich and musically satisfying choice.

Concert (0) Acoustic Guitars

History

With the advent and success of X-bracing, builders in the mid-19th century began experimenting with larger soundboards capable of providing more volume and projection. The early result became known as the Concert Guitar, or “0” - a mid-sized model that quickly became the go-to size for decades.

It should be noted that the various “0” (pronounced “single-oh,” “double-oh,” et al.) designations originated with C.F. Martin & Co. to categorize their models and increasingly larger body types.

Tone and Feel

Concert guitars are larger than parlors, but they’re not big. This allows them to maintain tonal clarity, but adds a touch more midrange presence and some bass enhancement, as well.

Concert scale length is often shorter than dreadnoughts — typically by half to three-quarters of an inch. That reduction lowers string tension, allowing for a softer touch that’s forgiving on both hands.

The result is an instrument that feels comfortable to hold and play, yet slightly fuller than its parlor predecessor.

Uses

Concert guitars suit bluegrass, country, and traditional blues. They transition comfortably between fingerstyle work and assertive pick playing. Even punk musicians like Tim Armstrong of Rancid keep concert-style acoustics in their arsenal, proving their versatility extends well beyond delicate genres.

Grand Concert (00)

History

In 1877, C.F. Martin & Co., now under the leadership of Christian Frederick Martin Jr., introduced the Grand Concert model — at that time the largest acoustic guitar available.

This size increase was made possible by ongoing refinements to X-bracing, allowing higher tension steel strings to drive larger tops without structural compromise.

The dimensions of Grand Concerts actually closely mirror classical guitars of their era, which suggests that Torres’ influence was felt throughout the guitar-building world.

Tone and Feel

The Grand Concert differs subtly from its Concert counterpart. It is slightly shallower in body depth, but is wider at the lower bout, with a slimmer waist.

This combination focuses midrange frequencies while increasing overall volume and bass response compared to smaller steel-string bodies.

Scale length remains slightly shorter, akin to the Concert, so string tension and feel do not change dramatically. The narrower waist, however, can help the guitar sit more securely on the player’s leg — an ergonomic detail that shows Martin’s widening considerations of form and function.

Uses

Grand concert guitars thrive in fingerpicking genres and rhythm-driven blues and country. Compared to a concert or parlor, they deliver stronger bass without sacrificing clarity.

Variations: The 000

Confusion often surrounds the 000 (Triple-0) shape, which while often confused with Grand Concerts, remains distinct.

The 000 resembles a larger grand concert, with rounded shoulders, a narrow waist, and increased body length and bout width. Some models also add depth.

These adjustments produce more volume and bass response than smaller counterparts while preserving that signature Concert articulation.

Archtop Acoustic Guitars

History

The 19th century did not just belong to Torres and Martin. It also introduced another influential figure: Orville Gibson. 

Born in 1856, Gibson began building carved-top mandolins and guitars from his workshop in the 1890s. Rather than relying on flat soundboards, he draws inspiration from violin construction, carving arched tops and backs to increase structural strength and projection.

This approach led to the creation of the archtop guitar — a markedly different design and overall acoustic from the flattops developing alongside it. 

Although early archtops are fully acoustic, their true surge in popularity arrived in the 1930s with electrification. The introduction of the ES-150 positioned the archtop as a defining instrument in jazz history, and launched Gibson into lasting prominence.

Tone and Feel

While they would struggle to compete in volume, archtops are surprisingly loud and possess a distinct tonal character. Their carved tops, floating bridges, and f-holes produce crisp articulation, strong note separation, and a slightly boxy, “woody” resonance. Sustain tends to be shorter than on flattops, but clarity is exceptional.

Most archtops built after the 1930s feature dual f-holes rather than round soundholes. Those openings contribute to their focused projection and slightly reverberant quality.

Early archtops are not dramatically larger than classical guitars, but modern examples often lean toward larger dimensions. Smaller players may find them substantial, yet they remain comfortable, smooth-playing instruments when properly set up.

Uses

Archtops found a natural home in jazz and blues. Their articulate attack and quick decay make them ideal for chord comping in ensemble settings. While they may not offer the long sustain or bass bloom desired for solo strumming, they cut through a mix beautifully and provide unmistakable vintage character.

Auditorium (Orchestra Model / OM)

History

As steel-string production ramped up at the turn of the 20th century, guitar builders refined construction methods to accommodate higher string tension. 

In 1919, Gibson introduced the adjustable truss rod, strengthening necks against steel-string pull. In 1922, Martin revisited and enhanced X-bracing to meet modern demands.

In 1929, Martin unveiled the OM-28 — widely regarded as the first fully modern steel-string acoustic guitar. The Orchestra Model (OM) bridged the gap between smaller body types and the expansive dreadnought.

Tone and Feel

The Auditorium body is built on Grand Concert dimensions, adding slightly more length and width. This increase in size boosted overall volume and introduced a more pronounced low-end response.

Where smaller guitars emphasize treble clarity, the auditorium shape balances frequencies more evenly. Bass strengthens without overwhelming mids and highs.

With flatter shoulders and a narrow waist, the auditorium sits comfortably against the body. It feels intimate without sacrificing projection.

Uses

The auditorium becomes one of the most versatile acoustic guitar body types. It supports:

• Accompaniment for singer-songwriters
• Flatpicked bluegrass
• Delta Blues
• Delicate Fingerstyle

Its tonal balance allows it to handle both sultry leads and chunky rhythm work. For players seeking one guitar that covers significant ground, the OM remains a compelling option.

Acoustic Favorites

Some of our best-sellers for acoustics of all shapes and sizes

Stringjoy 11-52 Super Light Gauge Naturals - Phosphor Bronze Acoustic Guitar Strings

Stringjoy 10.5-47 Soft Touch Naturals - Phosphor Bronze Acoustic Guitar Strings

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Stringjoy Custom 6 String Brights - 80/20 Bronze Acoustic Guitar Strings

Stringjoy 1.14mm Grape Tri-Tip Picks - 10 pack

Stringjoy Natural Brown Leather Modern Classic Guitar Strap

Stringjoy 13-56 Medium Gauge Foxwoods - Coated Phosphor Bronze Acoustic Guitar Strings

Stringjoy 12-56 Bluegrass Medium Gauge Naturals - Phosphor Bronze Acoustic Guitar Strings

Stringjoy .73mm Lemon Classic Picks - 10 pack

Stringjoy 1.5mm Dagger Acrylic Picks - 2 pack

Stringjoy 10-50 Extra Light Gauge Naturals - Phosphor Bronze Acoustic Guitar Strings

Grand Auditorium

We’ll need to fast-forward nearly to a new millennium to meet the Grand Auditorium. And instead of Martin or Gibson, we have a relatively plucky upstart maker to thank for it.

In 1994, Taylor Guitars introduced the Grand Auditorium as a modern refinement, aiming to create what many consider the ultimate all-purpose acoustic.

The design combines the sleek waist and ergonomic feel of an auditorium with the broader lower bout associated with dreadnought power. In some cases, its lower bout even exceeds dreadnought width.

Tonally, the grand auditorium blends attributes from multiple designs:

• Beefy low end reminiscent of a dreadnought
• Crisp highs similar to smaller concert models
• Focused, articulate midrange

It quickly earned popularity among contemporary players seeking flexibility without excessive bulk.

Dreadnought Acoustic Guitars

History

If any body shape dominates public perception of the acoustic guitar, it is the Dreadnought. 

Developed by Martin in the first quarter of the 20th century and named after the massive British battleship class of that same era, their “D” models, notably the 18 and 28, would become the gold standard of square-shouldered (more on this below) Dreadnoughts. 

The guitar’s size and power live up to its maritime inspiration. Once reintroduced, it became the largest widely available acoustic guitar and quickly established itself as the standard for powerful rhythm playing.

Tone and Feel

The Dreadnought’s defining trait is bass response, colloquially known as “boominess.” Its large body cavity moves significant air, producing deep, resonant lows and impressive projection. Meanwhile, its full 25.4” scale length provides string tension that will produce maximum vibrations of the guitar’s top. 

Enhanced X-bracing contributes to structural strength and dynamic headroom. Often referred to as a “banjo-killer,” the Dreadnought won’t get lost in the mix of ensemble playing – and in the right hands, can dominate.

Quality Dreadnoughts balance bass with articulate highs, though the shape naturally emphasizes low frequencies more than smaller bodies.

With body depth approaching five inches and broad proportions at the waist, Dreadnoughts require confident handling. Players with smaller frames may initially find them to be too substantial. Fortunately, scaled-down versions make the shape accessible to younger or smaller musicians.

Uses

The dreadnought excels in any genre that demands projection:

• Country
• Bluegrass
• Rock
• Worship music
• Strummed or fingerstyle accompaniment

Few acoustic guitar body types have appeared across as many musical contexts. While perhaps not the first choice for classical repertoire or traditional jazz — where subtle nuance is paramount — the Dreadnought proves remarkably adaptable.

Shoulder Variations

Dreadnoughts appear in square-shouldered and round-shouldered (also called slope-shouldered) forms. Debate persists regarding tonal differences between these shapes. In practice, shoulder shape ranks lower in importance than build quality, tonewoods, and overall construction.

Reduced Sizes

Dreadnoughts are available “to scale” in fractional sizes such as 7/8, 3/4, 1/2, and 1/4. While smaller models may sacrifice some bass projection, they make the shape accessible to players who might otherwise struggle with its dimensions.

Jumbo Acoustic Guitars

History

Not content to let Martin dominate the large-body category with Dreadnoughts, Gibson introduced the Jumbo shortly after the Dreadnought’s rise in popularity in the early 1930s.

Christened after a circus elephant made famous by P.T. Barnum in the 1880s, the name leaves little ambiguity about intent.

Though the average Jumbo is not dramatically larger than a dreadnought, its silhouette differs in key ways.

Tone and Feel

Jumbos typically feature a slightly wider lower bout and a more pronounced waist compared to the dreadnought. That narrower waist focuses tone and can produce slightly brighter highs while maintaining substantial low-end response.

Despite its size, the Jumbo often requires a firmer attack to fully activate its soundboard. Players willing to dig in are rewarded with commanding projection and rich rhythm presence.

Uses

Jumbos are particularly well suited to rhythm guitar roles in full-band settings. Their expansive sound supports:

• Country rhythm sections
• Rock strumming
• Ensemble accompaniment

They may not offer the same tonal balance as an auditorium model, but they excel at filling sonic space with authority.

Variations

Following the original jumbo, Gibson introduced the Advanced Jumbo, the Southern Jumbo, and later the Super Jumbo. The Super Jumbo, in particular, expanded dimensions even further and deepens bass response.

With increased size comes increased demand: larger jumbos require more physical input to drive effectively. When played assertively, however, they deliver impressive sonic rewards.

All in All

From the refined elegance of the classical guitar to the commanding presence of the Jumbo, acoustic guitar body types reflect more than aesthetics. They represent literal centuries of experimentation, refinement, and adaptation to changing musical needs.

While occasional designs such as roundbacks and resonators appear in specialized contexts, the majority of acoustic guitars fall into the categories explored here: classical, parlor, concert, grand concert, 000, archtop, auditorium, grand auditorium, dreadnought, and jumbo.

Body shape alone does not determine tone. Tonewoods, bracing patterns, scale length, and string selection all influence the final voice of an instrument. High-quality strings, in particular, can dramatically affect response and feel.

Still, body shape provides the structural foundation. It governs air movement, projection, bass response, and ergonomics. Understanding these differences equips players to choose instruments aligned with their musical intentions rather than simply their visual preferences.

Each body type carries its own history and personality. Some whisper with clarity. Others roar with authority. Some sit comfortably for intricate fingerstyle passages. Others demand bold strumming and reward it with power.

Recognizing how these shapes function makes the search for the right acoustic less mysterious and more intentional. Because, as cheesy at it sounds – understanding the voice residing within each of these bodies will, ultimately, help players find their own.