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Antiguedad del charango durante la conquista española ingresaron varios instrumentos de cuerdas con el nombre de viguelas y laudes que sirvieron de modelos para que la creatividad de los habitantes que poblaban el alto y bajo peru el primero hoy Bolivia permitieron la creacion y adaptacion de cordofonos similares en forma de los nombrados pero con caracteristica propias dentro de su nomenclatura, medidas y construccion.

Para esos tiempos por el siglo 17, concretamente en la tierras conquistadas de la villa imperial de Potosi preelegidas por la riqueza de su cerro, aparecieron diversas manifestaciones esplendidas de cultura, dentro de lo que al arte se refiere, tanto en pintura, danza y musica y como consecuencia de la union de razas y culturas, se adaptaron instrumentos que hoy en dia observamos en museos y archivos y que eran construidos en armadillos (tatu y quirquincho) que se aprovecharon para la construccion de violines, monocordios, laudes, bandurrias y hasta arpas criollas.

A partir de esa epoca el charango sufrio algunas transformaciones y modificaciones hasta llegar a lo que hoy en dia conocemos, es decir que fue fiel compañero de grandes pasajes historicos que a lo largo de Bolivia se susitaron y permitieron su presencia siempre como el vocero del amor, infaltable en la alegria, leal en la tristeza y compañera en la nostalgia.

Old charango during the Spanish conquest entered several string instruments with the name of viguelas and lauds that served as models for the creativity of the inhabitants who populated the high and low Peru first Bolivia today allowed the creation and adaptation of similar cordophones in form of those named but with their own characteristics within their nomenclature, measures and construction.

For those times by the 17th century, specifically in the conquered lands of the imperial village of Potosi preelected by the richness of its hill, there appeared various splendid manifestations of culture, within what refers to art, both in painting, dance and music and as a consequence of the union of races and cultures, instruments that today we observe in museums and archives were adapted and were built in armadillos (tatu and quirquincho) that were used for the construction of violins, monocords, lauds, bandurrias and even Creole harps.

From that time the charango underwent some transformations and modifications until arriving at what we know today, that is to say that it was faithful companion of great historical passages that throughout Bolivia were raised and allowed its presence always as the spokesman of the love , infallible in joy, loyal in sadness and companion in nostalgia.