This forced attitude conditions the tecnique and the modes of expression of the performers. Carlos Heredia had to give priority to certain mechanisms so as to be heard, like the use of the thumb and of the strumming. The more classical tecniques, like the arpeggios, tremolos, or even the staccatos would have been of no use. I live at night because noise bothers me. For me, the lack of noise is essential.
Today there are many who dominate the guitar, who play it wonderfully.
But when accompanying, the guitar player has to pause and listen to the cantaor and help him out, especially when he is lacking in voice power. One should not include long variations and play strange things to leave him with an even soarer throat, but instead should help him to get settled and to perform what he has to sing even though he is phisically sore. When the cantaor finishes with his cante, you perform a short variation and allow him to come in again. You have to allow them to sing and if the guitar player wants to stand out, then he can play a couple of solos at the end to allow the public to see that he is also a star.