The concept we're looking at here is using our fingers to create sound but also stop it, like we've gone over previously. For this piece, we'll be stopping some strings from resonating while others are being played, especially the bass strings. For instance, in the second measure, after playing the first bass string (D) with the thumb, we play the second bass string (A) with the index at the exact same time while the thumb comes back and rests on the first bass, stopping it from resonating.
We should hear only one string at a time, notated with a triangle symbol placed on the string to be stopped in the chart. In measure three, the down arrow in the chart (with a finger indicated next to it) shows that this finger is playing a rest stroke, coming down and resting on the next consecutive bass string without playing it. In that measure, we roll the thumb down over the three first bass strings. In some cases, this will also be used to stop the bass string—or any other string—to keep it ringing while another one is being played. The goal is to make the music flow more precisely and clearly, without overtones and doubled resonance or dissonance. Make sure to use the appropriate right hand fingers without using the same finger on two consecutive strings, alternating them instead.
In this piece, we'll also have ornamentations such as hammer-ons and pull-offs. Make sure to use the right amount of picking in order to make each ornamented note heard. Finally, please bend the neck gently by pulling or pushing on to color the open strings, giving them movement and a vibrato "chorus effect.” Respect all the indicated fingerings. That's all, really, the rest is in your hands and fingers, but mostly in the way you listen. The only guide in music is not your eyes but your ears. As Paco De Lucia said, "The secret is how you listen.”