Brazilian Rosewood — Density, Movement, Workability & Cost
Brazilian rosewood sits on CITES Appendix I, the strictest tier the whole system has, so commercial international trade in it has been closed since 1992.
Dalbergia nigra · also sold as jacaranda, Rio rosewood, Bahia rosewood, palissandre du Bresil
- Density
- 52 lb/ft³
- 833 kg/m³ at 12% MC
- Janka hardness
- 2790 lbf
- 12411 N
- Radial shrinkage
- 2.9%
- coefficient 0.0967
- Tangential shrinkage
- 4.6%
- coefficient 0.1533
- T/R ratio
- 1.6
- relatively stable
- Volumetric
- 8.5%
- green to oven-dry
- Typical cost
- $250.00/bf
- exotic tier
- Origin
- Imported
- Coastal Brazil
- Type
- Hardwood
Every acoustic guitar back and side made from any rosewood gets measured against this one first — Brazilian rosewood (Dalbergia nigra) set the standard the entire category is judged by, and it did so from a position that's now essentially unrepeatable: the species has been effectively closed to commercial international trade since 1992, and the strictest CITES listing available, Appendix I, has never loosened since.
The tone that built the standard, now available only as legacy stock
At 52 lb/ft³ and 2,790 lbf on the Janka scale, Brazilian rosewood taps with a ringing sustain builders and players consistently describe as genuinely different from other rosewoods — not just a marketing claim, but a repeatedly reported acoustic character. It works cleanly for its density and bends over a hot pipe well, with spider-web black lines running through a chocolate-brown ground as its classic figure.
Movement, at the thin dimensions a guitar back actually uses
Radial shrinkage of 2.9% against a tangential figure of 4.6% gives a 1.6 ratio, comfortably stable. A thin 1/8"-thick guitar back panel, 18" wide and glued from bookmatched halves, moving from a 9% moisture content to a dry 6% loses about 0.083" (2.1mm) across its width; the wood movement calculator runs other widths too. That same back panel, 22" long, weighs only about 1.5 lb — the wood weight calculator covers other instrument-panel sizes.
Gluing and finishing legacy stock with the same care as any rosewood
Being oily, Brazilian rosewood benefits from an acetone wipe and immediate assembly when gluing, the standard rosewood approach. It polishes to a natural gloss, and traditional French polish suits it particularly well — most surviving vintage instruments built from this species carry exactly that finish, a genuine historical continuity rather than a stylistic default.
Durability, cost, and why nobody puts this wood outdoors
The heartwood is very durable, though the point is entirely academic: nobody exposes a wood this scarce and this expensive to weather. At roughly $250 per board foot it's among the most expensive species this site tracks. Acoustic guitar backs and sides, fine furniture, veneer, turnery, and knife handles round out its historical markets — "historical" doing real work in that sentence, since new commercial supply essentially doesn't exist.
Appendix I, and what that actually means in practice
Brazilian rosewood has carried the strictest CITES listing, Appendix I, since 1992 — the only species at that level in this site's entire dataset — and CoP20 left it exactly where it was. Commercial international trade is closed outright, not merely permitted with paperwork the way Appendix II species are. The sole legal route is documented pre-Convention material, and even a finished guitar built from pre-1992 stock needs certificates to travel internationally, a genuinely different compliance burden than any other wood on this site.
What people actually ask about Brazilian rosewood
What happens to the resale value of a documented pre-Convention Brazilian rosewood guitar over time, given supply can only shrink? Values have trended upward for genuinely documented instruments precisely because the legal supply is fixed and can never be replenished, which is part of why forged or missing paperwork is such a serious problem in this specific market — the certificate itself has become nearly as economically important as the instrument.
Why do builders and players insist Brazilian rosewood sounds different from Indian or other rosewoods? It's a consistently and independently reported difference in tonal character — brighter overtones and a particular ringing sustain — documented across many builders and players over decades, though the exact acoustic mechanism remains a subject of genuine debate among luthiers.
Is any "Brazilian rosewood" sold today likely to be fraudulently mislabeled? Given the scarcity and price, mislabeling is a real, documented risk in the market — buyers of high-value pieces should insist on provenance documentation and, where the stakes justify it, professional species verification rather than relying on a seller's description alone.
Shrinkage above traces to Table 4-4 of the USDA Forest Products Laboratory's Wood Handbook (FPL-GTR-190, 2010); density and Janka hardness are The Wood Database's 12%-moisture-content figures. CITES status is read from the appendices valid 5 March 2026, post-CoP20 — unchanged since the original 1992 Appendix I listing, the longest continuously enforced restriction of any timber species this site tracks.
Working with Brazilian Rosewood
At the bench
Every acoustic guitar back is measured against this, and it is effectively unobtainable legally except as pre-Convention stock. It taps with a ringing sustain that is genuinely different from other rosewoods, works cleanly for its density, and bends over a hot pipe well. Spider-web black lines through a chocolate ground are the classic figure.
Glue-up
Oily. Acetone wipe and immediate assembly; epoxy for anything that matters.
Finishing
Polishes to a natural gloss. Traditional French polish suits it and is what most surviving instruments carry.
Durability
Very durable, though nobody puts a wood this scarce anywhere weather can reach it.
Commonly used foracoustic guitar backs and sides · fine furniture · veneer · turnery · knife handles
Health and handling
A strong recorded sensitiser, as with all Dalbergia: dermatitis, conjunctivitis and asthma.
Conservation status
Appendix I since 1992 — the strictest listing, the only one at that level in this table, and CoP20 left it exactly there. Commercial international trade is closed; documented pre-Convention material is the sole legal route and needs certificates even for a guitar carried abroad. Re-checked on the post-CoP20 appendices, 5 March 2026.
Where these figures come fromShrinkage figures on this page come from the USDA Forest Service Forest Products Laboratory's Wood Handbook (General Technical Report FPL-GTR-190, 2010) - Table 4-3 for North American species and Table 4-4 for imported ones. It is a US federal government publication, it is in the public domain, and it is the reference most other woodworking sites are quietly copying. For the handful of woods those tables do not cover, we use The Wood Database, which reproduces the same FPL figures species by species; every entry says which source its numbers came from. The movement coefficients are not a separate measurement. They are derived from the shrinkage figures the standard way - divide the total green-to-oven-dry shrinkage by 30, the nominal fibre saturation point - so that you can multiply width by the change in moisture content and get an answer in inches. Two honest limits are worth knowing. Shrinkage is not perfectly linear with moisture content, and the fibre saturation point is not exactly 30% for every species; it runs from about 26% to about 34%. And every figure here is a species average drawn from tested samples, while the board on your bench is one tree from one site. Use these numbers to size an expansion gap or choose between two woods, not to predict a specific board to the thousandth.
This species: shrinkage — USDA FPL Wood Handbook (FPL-GTR-190, 2010), Chapter 4, Table 4-4; density — The Wood Database (average dried weight at 12% MC), citing USDA FPL Wood Handbook; hardness — The Wood Database (Janka side hardness at 12% MC), citing USDA FPL Wood Handbook.
CITES appendix and annotation statements on this site were read directly from the CITES Appendices I, II and III valid from 5 March 2026 - the text that entered into force after the 20th Conference of the Parties (CoP20, Samarkand, 24 November to 5 December 2025) - at https://cites.org/eng/app/appendices.php. The appendix number alone does not tell you what is controlled; the annotation does. Annotation #6 covers logs, sawn wood, veneer sheets and plywood. Annotation #17 adds transformed wood, meaning continuously shaped stock such as mouldings and flooring. Annotation #15, used for Dalbergia and the three listed bubingas, regulates all parts and derivatives but exempts finished musical instruments, their parts and accessories, and finished products containing up to 10 kg of the listed wood per shipment. Annotation #2 exempts seeds, pollen and finished products packaged and ready for retail trade. Annotation #4 is broader still and reaches parts and derivatives generally. Listings change at each Conference of the Parties, roughly every three years, and some take effect on a delayed date after that - so check the appendices yourself before you import, and treat this page as a pointer rather than as customs advice.
Prices are 2026 US retail estimates for 4/4 rough stock in hobbyist quantities and vary considerably by region, supplier and grade.