Historically

Informed Performance Practice of Nineteenth Century Guitar Music

Part I: Tone Colour
Nineteenth century guitar music includes many composers that are widely
performed today. Some names include Sor, Giuliani, Aguado, Regondi, Mertz and
Legnani. Although this music is widely performed today, historically informed
performance practice of this era is not common knowledge. This is a real shame,
as there are sources from the time that provide us with some very clear and
applicable information.
One of these sources is Sydney Prattens Guitar School. Sydney Pratten (1821-
1895) was born in Germany, but eventually moved to London. She married the
flutist Robert Sidney Pratten, who was an important figure in the development
and evolution in the construction of the flute. Pratten was one of the leading
guitarists in London and performed with Regondi in her childhood.
Prattens Guitar School is a wonderful book, containing important information
and many lovely tunes, many of which were composed by Pratten. One page
contains a diagram that clearly displays the extent to which nineteenth century
guitarists changed tone colours. The following two pages give some explanation
as to how these tone colours can be applied. These pages can be seen below.
Its worth noting that there are five different colours indicated on the diagram,
modern guitarists at best use three; normal, ponticello and sul tasto. On the page
marked 46, an example of Sor is given. Pratten indicates to change colour five
times within six measures!
The bottom of the page marked 45 describes in great detail changing tone colour
while arpeggiating a chord.
Its definitely worth exploring how these colours could be applied to nineteenth
century guitar music. Prattens diagram provides us with the historically
informed permission to change tone colours in a more varied and plentiful way.
Combining this information with information found in other sources such as
Agaudos New Guitar Method and Sors Method for the Guitar would probably
open up more doors. However, Prattens diagram and explanation are the
clearest pieces of evidence we have so far that show how thoughtful guitarists
were about the resources of their instrument.
Bibliography
Information about Sydney Pratten: http://archlute.com/wordpress/?p=332
Prattens Guitar School, as well as other nineteenth century sources can be
downloaded here:
http://riam.sirsidynix.net.uk/uhtbin/cgisirsi/?ps=KGt5ts4kCB/x/57070012/60
/495/X

Part I: Tone Colour