This is determined by the characteristics of the classical guitar itself.

If we compare the three major musical instruments in the world, the piano, the violin, and the classical guitar, with a huge volume, a grand volume, a wide range, rich harmony, and a comprehensive expression. This has allowed him to occupy the position of the king of musical instruments, which no other instrument can surpass.

Compared to the piano, the violin does not have an advantage in terms of volume, and she belongs to the same category as the classical guitar. But the violin's vocal range is very wide, the timbre is warm and brilliant, and it is very penetrating in the loud unison of the band, which is far more than the classical guitar. The violin's voice is close to the human voice, it is one of the most singing instruments, and her shape is so artistically beautiful that she is recognized as the "queen of musical instruments".

Compared to the piano and violin, the classical guitar has the advantages of both - a delicate tone, rich harmonies, and no less powerful than the table. But when it comes to volume, the classical guitar is far behind the piano and violin. She doesn't have the grand volume of a piano, nor does she have the penetrating power of a violin, and the final result is more tragic.

Take, for example, a simple instrumental solo. In medium-sized concert halls, it is difficult for the audience to hear the details of the classical guitar playing when sitting in the back row, while the piano and violin can clearly hear all the details of the musicians even in the last row of the largest concert halls.

If it is accompanied by the loud volume of the orchestra, the classical guitar usually needs to use a sound reinforcement system to increase the volume, otherwise, her voice will be completely submerged under the grand and brilliant volume of the orchestra. Pianos and violins do not require the aid of a PA system at all.

This contrast is extremely stark and extremely deadly!

This contrast is also the biggest reason why the director of the classical guitar is in a relatively awkward position in the field of classical music.

For composers, the classical guitar should be a leading instrument that they like very much, and apart from the volume, it itself does not particularly constrain the composer's thinking. Unlike the clarinet, flute, and trumpet, which do not possess harmony on their own, the composer can only compose melodies but cannot use harmonies. She is also not like harmonic instruments such as the harp, and the melody is difficult to arrange. She gives composers greater and more freedom of choice when it comes to their compositions, and she can express them perfectly no matter what the subject matter is.

But it is precisely because of this problem that the volume is too low that composers of all generations have been helpless about this problem. In the classical music scene, the repertoire of classical guitar solo pieces is quite rich, and the concerto repertoire is much less. Because once played with a band, the drawbacks of the weak volume of the classical guitar are exposed.

In all of these classical guitar concertos, the composers put a lot of effort into the writing of the orchestra, using various compositional techniques to avoid the problem of the orchestra volume completely suppressing the volume of the classical guitar. Among them is the method chosen by Valentine in this work, which is to avoid contradictions, and use the classical guitar of the band and lead player to avoid contradictions, but this ratio is not easy to master. Once the line is crossed, there will be the problems that Ye Zi and Ni Jun just raised, the priorities are reversed, the focus is not prominent, the feelings are mixed, and so on.

You must know that the classical guitar is the main instrument of this concerto, and if the orchestra takes over the responsibilities that should have been assumed by the lead instrument as soon as the love breaks out, then the feeling of coming out will definitely be different. Whether it can live up to the composer's vision is only God knows.

Writing a concerto for a classical guitar is sometimes such an embarrassing dilemma, and how to manage it properly is really at the level of a composer in a school.

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"Javier, since that's the case, there's nothing to continue discussing. Other than that, there are other aspects of the work that I really like. Volume issue・・・・・・ I'm sorry Javier, I don't think that's something we can fix right now. Ye Zi sighed and shook his head slightly.

Valentine, of course, knew this, and he shrugged his shoulders helplessly and spread his hands.

Sun Yun's reminder made this topic completely lose the meaning of continuing to discuss, and the two of them each smiled bitterly and stopped there.

This is a worldwide problem in the classical music scene, and it cannot be solved by the two of them in such a short period of discussion.

Ye Zi and Xiao Qi also discussed this issue, but unfortunately, even in the future after a thousand years, this is still a big problem that the classical music scene cannot completely solve.

Xiao Qi: In their time, with the support of future technology, the volume of classical guitars has greatly exceeded that of the current era. Their solution to this problem was a better string material and a more acoustically sound cabinet construction. This is also the method that Ye Zi used when he trimmed the guitar in his hand, and now the volume has at least doubled compared to the original, but this is still not enough. Even in the era to which Xiao Qi belonged, the volume of the classical guitar had been greatly improved, but it still looked weak when put together with the grand unison of the orchestra.

After the most acoustic cabinet construction has reached its peak, the only thing that restricts the volume of classical guitars from continuing to increase is the strings and the materials of the cabinet. Without a better material to ensure a higher amplitude of oscillation of the strings, and no better material to ensure that the cabinet can withstand a greater degree of resonance, this problem of low volume will be difficult to solve even in another 10,000 years.

Since this is the case, this question can only be put on hold in Ye Zi's heart for the time being.

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After dinner, everyone came to Sun Yun's studio to continue the exchange.

Ye Zi played some of his favorite and best repertoire for Valentine, such as "Romance of Love", "Memories of the Alhambra", "Raindrops", "Little Romance", "Arabic Style Fantasy", "The Legend of Asturias" and so on, which can be regarded as a summary of Ye Zi's hard training in recent months.

For Ye Zi's progress on classical guitar, Sun Yun and Ni Jun are very pleased. Although they were no longer able to give Ye Zi more guidance on classical guitar, Ye Zi's progress did not stand still.

Under Xiao Qi's arrangement, Ye Zi has completed all the training under Master Carkashi, and his mastery of classical guitar playing skills has fully reached the level of musicians required by the system. From now on, Ye Zi can confidently and loudly announce that I am already a classical guitarist.

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Valentine made two invitations to Ye Zi.

First, at next year's special concert of Valentine's works in the Spring of Shencheng, he hopes that Ye Zi will be able to perform his first classical guitar concerto, "Mallorca Concerto in D major".

It is a concerto with the characteristics of a Mediterranean island, and it is also a work that made Valentine famous in the European music scene. The style of the work is warm and cheerful, with a strong local color of Mallorca. The composer depicts the beautiful beaches, steep cliffs, lush olive trees, almond trees and other natural scenery of the island of Mallorca with beautiful melodies.

In terms of composition, the direct contrast between the classical guitar and the orchestra greatly increases the difficulty of playing the classical guitar in this work. In the music, Valentin uses a lot of material from the local folk music of Mallorca, so that the whole work is full of strong local flavor, and the rich and full timbre gives this work a symphonic sense of space. Although the whole piece lacks power, the beauty of the melody and harmony is enough to make people forget this small shortcoming.

Ye Zi has a hard time understanding Valentine's practical choice in the Iberian Concerto. If Iberia were to be treated like the Mallorca Concerto, it would be a very good work, even surpassing the Mallorca Concerto that made him famous.

For this, Ye Zi could only shake his head and be speechless.

Such an invitation is a rare good thing for Ye Zi, Sun Yun and Ni Jun will not refuse such an invitation, but they value Valentine's second invitation more.

After listening to Ye Zi's performance, Valentine believes that in ancient China, Ye Zi has not been able to make greater progress in classical guitar playing. He is willing to introduce Ye Zi to the academy for further study as a professor of the composition department of the Huadu National Conservatory of Music in the capital of country F.

This was originally a plan that Sun Yun, Ni Jun and Ye Zi discussed together. Although Sun Yun and Ni Jun have both studied at this world-renowned conservatory before, after all, they have both graduated for almost 20 years, and they have not been active in the European and American classical music scene for a long time. Valentine was willing to introduce Ye Zi to the hospital, which was a good thing.

However, at present, it is not the best time for Ye Zi to go there to study. The domestic Qiē is still in its infancy, and Ye Zi himself wants to continue to study with other masters after Master Carkashi's class, and then go to the academy to selectively learn some things when his foundation is more solid, so the effect should be much better than going now.

With Valentine's relationship, the door of the Huadu Conservatory of Music is open for Ye Zi at any time.

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Valentine left in a hurry after only a week in Shencheng, he was an accomplished composer and his schedule was very tight.

During this week, Ye Zi would come to Sun Yun's villa every day, and his communication with Valentine was going on almost all the time. From Valentine, Ye Zi has a deep understanding of the mainstream trend of the current European and American classical music scenes, and knows in which direction his classical guitar should continue to develop.

This qiē is not something that Ye Zi can learn about when he stays in the mainland of China. This is of great significance to Ye Zi's future development and for him to break into the European and American classical music scene in the future.

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