The Secrets of the Classical Guitar

The book is a treatise that explains the methodological, technical, mechanical, and stylistic foundations for achieving a high-flying, competent performance on the classical guitar. Among the many aspects that are addressed, 12 philosophical foundations are developed from which the entire treatise flows like a cascade, then 22 principles of performance are explained that are applicable to both hands. There are 69 that are specific to the right hand and another 69 to the left. There are various chapters in which important aspects are discussed, such as nail filing, the philosophy that should prevail in the search for the most finished sound, and all the parameters that must be taken into account to achieve a perfect filing are analyzed, such as: type of nail, birth of this, shape of the tip, resistance, coefficient of friction, average growth, hardness, etc. I wrote another section to give the best suggestions on how to study, and how to distribute a work day by properly distributing the volume and the pieces with static training, to avoid injuries, and to achieve a greater benefit, in the same way I explain all the errors that we must avoid. I developed another chapter where I explain overtraining, something that has been well studied and diagnosed in sports, but that in instrumental exercise nothing had been written about. In this section I explain what it consists of, the physical and psychological consequences that it brings to the instrumentalist, how to detect this harmful process of degradation of the faculties of the instrumentalist musician, and how to get out of this anomaly. I teach fingering and explain the basic principles of how to carry out this process that is generally not taught in academies or conservatories. I develop a chapter in which I analyze how the Renaissance is played, from its articulation, phrasing, type of touch, and ornamentation, then I do the same with the Baroque period, the Classical, the Romantic, Impressionism, the first half of the 20th century, and the second half. And there is still much more, which leads me to express that this work marks a milestone in the instrumental literature written to date, not only about the guitar, but because of everything it deals with and covers, it will be a reference and consultation work not only for guitarists, but for anyone who intends to effectively master the art of playing their instrumental discipline.