PRELUDE No.

4 in E minor

HEITOR VILLA-LOBOS
(1887-1959)

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.

Repertoire Level 4
 Prelude No.4 In E minor Heitor Villa-Lobos

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

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

 Prelude No4 in E minor Heitor Villa-Lobos

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.

Imagining the dotted rhythm that ends the first phrase continuing,
as an echo, can make their rhythm feel organic to the piece.

Accent on syncopation?
In any case, keep the intensity
gliss. between D & E. Some guitarists play only a few of them, others
of the note alive through the tie.
none, but Villa-Lobos is consistent with this indication throughout this
section, so it needs serious consideration.

,
phrasing breath ,
Counting in quavers helps with the dotted rhythms

Villa-Lobos marks the first E Sustain E through the bar .

to be played on but it can Important dynamic contrast between f melody and pp chords.
be played on if desired, to Follow-through in RH chords, for good sonority in pp.
better match its tone with the Open E should be clear.
rest of the melody.

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 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

This slide is impossible, but doing it in your
imagination makes a difference and the
motif sounds more organic to the piece.
Shape the melodic elements in the accompaniment.
For example:
E F#
D D#
Q. What difference does this make to the notes, Dont let this last chord lack tension.
once they have been played? Give it suspense by sustaining it in your
A. Your concentration in mentally sustaining the imagination . It will make the placing of the
notes WILL communicate itself to the audience. start of the next section much more effective,
and the intent to sustain might well evoke
a better 'touch' when playing the chord.
G
E

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 SECTION 2

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.

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
Villa-lobos uses a favourite device - sliding chord shapes. for good preparation. However, when they are not
The first big phrase uses these two LH chord shapes, with two 'rogue' chords - marked * happening you need your base-line, your
preparation, to fall back on

FIRST ARCHING PHRASE

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.
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 Listen for the voicing. Make sure it is audible and effective, Variation of first 4 notes
but within the texture,.

BRIDGE PASSAGE SECOND ARCHING PHRASE

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

of first arching phrase

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 Dampen the other strings
with LH 1st finger
or
by angling the right hand to bring
the side of p onto the strings
Voicing at the same time as C is played.

Count the long note!

The open B string can be

played by the LH only.

This RH fingering can give

more control than starting
with three thumbs, as if
playing a mini strum.

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

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 Can be played arpeggiato, strummed,
or as chord with dragged p

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