It has been a wonderful experience to be able to feel the whole palette of colors of my guitar in a room as spectacular and beautiful as the Sala Iturbi of the Palau de la Música in Valencia (Spain), with 1,800 seats. Real sound, without amplification. This is how you fully enjoy your instrument, without artifices or technical aids. An open space where you create the sound and model it as a vessel of air in movement. A real pleasure for a concert player.
For this it is essential to become aware of the meaning of the projection. As Andrés Segovia said, “The guitar does not sound a little, the guitar sounds far away”. That is the secret: that the contact of your fingers with the strings is subtle and precise, that we find the right space in which the yolk and the nail are one body at the service of that “sound arrow” in which each becomes note when you “shoot”, as if you were a Japanese archer. In the kyūdō, the desired thing is the unique action of expansion (nobiai) that results in a naturally released shot. When the spirit and balance of the shot are correct, the result is that the arrow hits the target. For me it is the expression of our attack, when the technique and the expression go hand in hand the sound is projected to the last corner of the concert hall.
Another enjoyment and very special concert at the Palau De Valencia was the company of my dear Roberto Vozmediano on percussion. His elegant and accurate sense of rhythm makes music go at a trot, like purebred Jerez jaguars. Playing “a compass” (a tempo) takes you to feel the authentic nature of the work, especially if it is popular music, like a large part of our repertoire. I’m not talking about metrics, but about rhythm. The metric encloses, the rhythm opens the doors so that the true expression shows itself free of “false ritardandos” or stops imposed by the technical incapacity.
To be continued ….