Prelude number 3,
We've covered a, we're,
there's a couple other Villa-Lobos
preludes covered in other lessons.
This one has a kind of a Bach influence a
In the second half of it,
the famous second half,
a little bit of a toccata texture
the famous D minor organ toccata
and Vil, Villa-Lobos' music, in general,
is very inspired by Bach, probably more by
Bach than any
other perf composer before him, so.
There's and there's a little bit of this
contrary motion counter point in the very
But of course, all set within the context
of Villa-Lobos' modern sensibilities,
combined with a lot of the, his, the music
of Brazil too.
I mean we hear a lot of wonderful
jazz kind of jazz chords here and
also a lot of these,
little bit of WC here.
A little bit of a sort of French kind of
vibe there, so this piece has it all.
It has quite a lot of different things
in this stew, and some lyricism.
So, but as far as musicianship,
it's a good, it's a good way to work with
If you're looking for a piece where you're
examine the various aspects of rubato or,
how comfortable you are with it, this is a
good one to go to.
because obviously the rhy,
the the written rhythms on the page are
not to be taken
absolutely literally otherwise the piece
sounds like this.
Which of course isn't really,
it's isn't the vibe of the piece at all.
So, these [COUGH] these gestural
passages like that,
measures three let's see, measures three,
four, five, six, seven, eight.
Over an F-sharp dominant seven chord.
And then the one later on down at the
bottom of the page in the G
dominant seven chord.
Those can be played with a bit
of accelerando through the middle.
That very lyrical melodic passage.
The first measure
of that with the single
line notes there.
B, C, B, D there.
That's a very good test of your time
keeping because while I may be pushing and
pulling and stretching here and there, and
you should too.
One should not lose sight of a general
I mean, generally it's possible with
rubato to feel in this piece
almost something more of, not, not even a
quarter note pulse but
in some of the four four measures, to feel
a half note pulse.
Something like something like this.
So the wider you make your pulse, that
you're the larger, you make your pulse and
the better your ability to internalize a
larger pulse like that,
suddenly, I think more of the rubato
possibilities open up.
Without you feeling as though you have to
temper them all, so
this very good piece to work on all that
The second half of it,
really the only challenge there,
musically, is to find a way to vary as
actually the whole thing is repeated
To vary the the repetitions of this
this toccata texture ending with a chord.
I mean this is just one
approach as an idea.
I mean, I, I,
I progressively moved a little bit more
through each of the phrases.
So they progressively got, had a little
bit more accelerando.
And then I began to slow them up a bit.
That's one way to do it.
Another way is to start out a little
then to gradually get slower with them as,
as the, as the whole,
that whole second section comes to a
close, and finally resolves in A minor.
So lots of, lots of freedom here.
I hope you enjoy the, the performance
lesson that I have, for
the purposes of the of the performance
lesson, I just played it through once.
Of course in, in the score it, it it
suggests that you play it twice.
There's a DC I'll and, and you go back,
repeat the whole thing with just an octave
of A's at the end of the piece.
So, that's Villa-Lobos, Prelude number 3.