Prelude # 8 from 12 Preludes for Solo Guitar by Ken Hatfield Like the previous 7 preludes, Prelude # 8 is one of a group of 12 Preludes I composed for solo guitar performance. The form and harmonic content of this prelude resemble AABA song form for most of its structure (measures 1 through 26) with an 8-bar ending section comprised of a 4-bar...
Read MorePrelude # 7 from 12 Preludes for Solo Guitar by Ken Hatfield
Prelude # 7 from 12 Preludes for Solo Guitar by Ken Hatfield Prelude # 7 is one of the shortest of the 12 Preludes in this collection. It is also one of the pieces that feels most like a prelude (but in ways that differ from Preludes # 1 and # 3, two others that we have already addressed which also feel like traditional preludes). Despite its less...
Read MorePrelude # 6 from 12 Preludes for Solo Guitar by Ken Hatfield
Prelude # 6 from 12 Preludes for Solo Guitar by Ken Hatfield The first thing the observant will notice about Prelude # 6 (at least after the rubato intro) is that it is a samba. But unlike most sambas, which are in 2/4, this one is in 3/4. To perform this prelude correctly you must understand its rhythmic structure and play it with the right...
Read MorePrelude # 5 from 12 Preludes for Solo Guitar by Ken Hatfield
Prelude # 5 from 12 Preludes for Solo Guitar by Ken Hatfield Prelude # 5 is a deeper exploration of concepts I introduced in the guitar tip for Prelude # 2, i.e., the use of a key signature to represent more than the traditional Major/minor tonalities we’ve all been taught to associate with each of the 12 key signatures of the western harmonic...
Read MorePrelude # 4 from 12 Preludes for Solo Guitar by Ken Hatfield
Prelude # 4 from 12 Preludes for Solo Guitar by Ken Hatfield Some of you will recognize that Prelude # 4 is basically a blues, or, more accurately, it is based on the relationships between the three primary tonal centers characteristic of all blues: I, IV & V. Like many of the more sophisticated blues chord progressions that jazz musicians have...
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