The Cinq Preludes by Heitor Villa-Lobos are among the most popular pieces in the repertoire of the guitar.

His works are not only musically striking but also highly original in their innovative technical requirements.

PRELUDE No.4 in E minor

HEITOR VILLA-LOBOS

(1887-1959)

Repertoire Level 4

Repertoire Level 4: Villa-lobos Prelude No.4 1

Prelude No.4 In E minor Heitor Villa-Lobos

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Repertoire Level 4: Villa-lobos Prelude No.4 2

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3 Repertoire Level 4: Villa-lobos Prelude No.4

Counting in quavers helps with the dotted rhythms

Imagining the dotted rhythm that ends the first phrase continuing,

as an echo, can make their rhythm feel organic to the piece.

Sustain E through the bar .

Important dynamic contrast between f melody and pp chords.

Follow-through in RH chords, for good sonority in pp.

Open E should be clear.

gliss. between D & E. Some guitarists play only a few of them, others

none, but Villa-Lobos is consistent with this indication throughout this

section, so it needs serious consideration.

Accent on syncopation?

In any case, keep the intensity

of the note alive through the tie.

Villa-Lobos marks the first E

to be played on but it can

be played on if desired, to

better match its tone with the

rest of the melody.

phrasing breath ,

P rest stroke may be used for the melody throughout this section. This will help achieve both the cantabile and the forte through fullness of tone.

Section 1: The strong descending shape of the melodic phrases are end accented. – this makes the first bar , for example, an anacrusis (upbeat) to the second bar.

Prelude No4 in E minor – Heitor Villa-Lobos

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Don’t let this last chord lack tension.

Give it suspense by sustaining it in your

imagination . It will make the placing of the

start of the next section much more effective,

and the intent to sustain might well evoke

a better 'touch' when playing the chord.

Q. What difference does this make to the notes,

once they have been played?

A. Your concentration in mentally sustaining the

notes WILL communicate itself to the audience.

4 Repertoire Level 4: Villa-lobos Prelude No.4

Balance the chords so that the discords are effective.

This can be practised by playing the notes of the chord in

groups of 2 and 3, so that the ear can appreciate the discords and judge

their effectiveness in the full chord.

Sustain A through the following chords -

Play the open A distinctly but 'inside' the sonority of A

Shape the melodic elements in the accompaniment.

For example:

E F# G

D D# E

This slide is impossible, but doing it in your

imagination makes a difference and the

motif sounds more organic to the piece.

Villa-lobos uses a favourite device - sliding chord shapes.

The first big phrase uses these two LH chord shapes, with two 'rogue' chords - marked *

FIRST ARCHING PHRASE

5 Repertoire Level 4: Villa-lobos Prelude No.4

Section 2 consists of two big arching phrases at a faster tempo - Animato

The phrases will not always conform to the meter and trying to force them to do so will sound unnatural.

SECTION 2

To guide the LH in the zigzag moves up and down the fingerboard, it may be helpful to 'eye' the frets corresponding to the normal size noteheads,

shown on the top stave, rather than trying to guide them all, especially when a tempo. Guiding also helps focus the concentration - concentration is not

something abstract - one concentrates on something.

Q. Shouldn't things just happen - automatically?

A. They will. But things 'just happen' as a reward

for good preparation. However, when they are not

happening you need your base-line, your

preparation, to fall back on

pima – played as controlled and articulate arpeggiato. The fingers cannot be brought back to the strings at the start of each arpeggio, or the strings will be dampened.

(Playing this arpeggio as separate finger strokes, instead of arpeggiato, will make it difficult to achieve a fast tempo).

LH must not damp open E, and do not let the open E become thin or harsh.

Main melody with p is not hard to project above ima. It is also on the beat, making it more prominent.

In the accompanying arpeggio the parallel sixths (on the half beat) in the first arching phrase and the parallel tenths on in the later second big phrase

(starting at bar 19) must be heard clearly.

6 Repertoire Level 4: Villa-lobos Prelude No.4

Listen for the voicing. Make sure it is audible and effective,

but within the texture,.

BRIDGE PASSAGE SECOND ARCHING PHRASE

Variation of first 4 notes

of first arching phrase

A new sliding chord shape all the way to end of bar 30

7 Repertoire Level 4: Villa-lobos Prelude No.4

Count the long note!

Dampen the other strings

with LH 1st finger

or

by angling the right hand to bring

the side of p onto the strings

at the same time as C is played.

This RH fingering can give

more control than starting

with three thumbs, as if

playing a mini strum.

Voicing

The open B string can be

played by the LH only.

1

8 Repertoire Level 4: Villa-lobos Prelude No.4

This section is marked MODERATO - not as fast as the previous Animato and not as slow as the following Lento

This harmonic may be

more convenient on

9th fret

NOTATION: In this section all the harmonics are natural ones and are found on the fret for the note on the string indicated

9 Repertoire Level 4: Villa-lobos Prelude No.4

Can be played arpeggiato, strummed,

or as chord with dragged p