12 Preludes by Manuel Ponce

This is what I would describe as ‘classic’ repertoire, from a composer who did an awful lot towards exploring new possibilities in composing for the guitar and widening the repertoire during a vital period in the guitars history and development.

I am disappointed in myself for not having learnt to play these preludes sooner! They are lovely little miniatures with loads of musical detail and technical challenge packed in to pieces that individually last for 2 to 3 minutes but are still very rewarding to play and to listen to.

Very importantly they represent excellent opportunities for improving music reading and knowledge of the guitar fingerboard through exploration of key signatures and freedom of movement between positions. The keys range from C major to A flat and F sharp major, in other words up to 4 flats and 6 sharps.

This is very good for guitarists, taking us out of our comfort zone and forcing us to use different and varied positions and to learn the geography of the fingerboard. As you play the Preludes you quickly discover that there are patterns in every key and if you name your notes and work out the patterns the, at first, seemingly uphill task of reading some of the music becomes fun and in fact very rewarding.

This variety of key signatures and the range of pitch used throughout means that the fingerboard is used in a very fluid way without blocks of notes in positions but constantly changing and also using all 6 strings in the higher positions rather than only the high notes.

For me this is a vital skill for a guitarist, one that gives you freedom of technique as well as musicianship. When learning pieces like these properly it does not take long to learn your fingerboard and become comfortable and at ease moving around.

There are a wide variety of tempos and emotions across the 12 pieces. Some have a more contemporary feel although I think that the majority are very melodic and full of character and storytelling.

Despite being small the Preludes have detailed musical requirements on the score with very clear rhythm and articulation, for example in the use of rests and rhythms crossing bar lines as well as important distinctions in voicing and counterpoint.

There is also a great deal of contrast from the tranquill and flowing lines of no.1 to the lively and bright fast movement of no.2. No.6, probably one of the best known, has a really beautiful, soulful and expressive melody set within a pulsing strummed chord really exploiting the tenor richness of the guitars inner strings, whereas no.8 has a continuous and fluid musical line in a lilting 9/8 time signature with the added challenge of 4 flats!

Particular highlights for me are no.9 which has a wonderful lightness and uplifting feeling with warm and almost ‘oriental’ harmonies forming from the semiquaver intervals, and no.10, a beautifully delicate and intricate sounding piece which is relatively simple to play.

The key to the enjoyment of these pieces is the combination of technical and reading challenges with the storytelling and freedom of expression required.

For me this is rewarding and essential repertoire that I hope many people will find and enjoy. I certainly intend to learn and record them so watch this space!

Selina