Thanks to the Aberastury system, I have understood why the classical guitar has almost no sound. It cannot be programmed in large auditoriums because it cannot be heard… and if it is amplified, the sound changes; the nuances and the delicacy of the performance are lost.
The guitar can only be heard in small rooms, in intimacy, with a select and small audience… Tárrega-style. Do these phrases sound familiar?
I have been hearing them all my life since I started playing the guitar, and yet I have always tried to prove the opposite. I don’t know if I’m rebellious, tenacious, or just refuse to stay in the past, but since I finished my Higher Degree studies, I completely changed my technique to seek the connection between the body and the instrument, in order to get the maximum and best sound out of my guitar.
I began to study the Fedora Aberastury system, which is a conscious method for the Technique of Movement; it was a connection of my body with the instrument, releasing all tensions and allowing everything to flow in service of sound and music.
Can you imagine an opera singer projecting their voice only from their vocal cords? Or a tennis player hitting the ball as hard as they can using only their arm? For guitarists or musicians in general, it is the same.
The instrument is not just a piece of wood that sounds on its own; in fact, it is completely sensitive depending on who plays it. It is not about whether they have fingernails or not, or how they are filed… it is about the projection of our body with the instrument, the connection of our energy, the release and awareness of movement itself, the fingers, and the opening of the joints throughout the body, as well as working with multiple energy centers.
I invite you to explore your instrument and your body to the fullest so that the guitar sounds at its full potential on any stage.
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