In the world of classical guitar, there is often a rigid line between technical discipline and evocative storytelling. However, English guitarist Martin Lloyd Howard has spent his career blurring those lines. Trained in the classical tradition but seasoned by the textures of folk, blues, and rock, Howard brings a unique versatility to the fretboard. On March 12, 2026, he released “Rapids,” a mesmerizing original piece for solo nylon guitar that transforms a demanding physical exercise into a vivid, flowing landscape.
Performed on a hand-built classical guitar that has been his companion for fifty years, “Rapids” captures the chaotic beauty of a river—from white-water foam to peaceful, deep-water eddies. It’s part of a mission to provide new, accessible music for a modern generation of guitarists. We sat down with the veteran musician to discuss how a finger drill became a “river of sound” and why he’s looking to fill a gap in the contemporary guitar market.
Interview Martin Lloyd Howard
Martin: It’s quite hard to say. The exercise was quite musical from the outset. It was when I started to add passages that didn’t target stretches and fourth finger strength that I realised there could be more to it. It evolved from there.
Martin: Part of it is in the strength of the fingerpicking, but the main difference is that the faster passages are played a bit nearer the bridge and the smoother, slower passages nearer the neck.
Martin: I’m not sure it’s the classical guitar world that is waiting to hear more of this sort of music. It’s more about music listeners in general and guitarists and guitar fans in particular. I have always been a bit surprised how few guitar enthusiasts listen to classical/nylon string music. Dominic Miller (Sting’s guitarist) actively promotes this sound, but not many others do outside the classical guitar community. I’m not in Dominic’s league, but I like to do my small part to reinforce his message with pieces like Rapids, Selene and Unanswered.
Martin: It’s mostly a pop/rock influence in this case. The repetitive finger picking around two notes is reminiscent of “Chasing Cars” by Snow Patrol and “Someone You Loved” by Lewis Capaldi.
Martin: It’s just the quality of the sound. As the guitar has matured over the decades, both the bass and treble sounds have become richer and more complex and make even a fast repetitive piece like Rapids more interesting to listen to – though I have to say the tonal quality really shines through in the slower more reflective passages.
Martin: I guess that was the point of the original exercise – to play difficult stretches and shapes smoothly and at pace so that it sounds easy and relaxed, even if it’s not! If it sounds rushed then you’re not doing it right.
Martin: It’s really the other way round. When I’m trying out new melodies, chords, arpeggios etc they will often mature into a solo guitar piece. But sometimes they evolve into something that suits ensemble playing and accompanying vocals. In those cases, I send it to Mark for him to think about lyrics and maybe some acoustic guitar and harmonica. If he agrees, I lay down the backing tracks and we go from there. “While I’m Still Counting” – available on my Spotify site – is a good example.
Martin: A riverside somewhere in the Cotswolds or the Lake District.
Martin: My formal training goes back to when I was a teenager – a long time ago! My compositional work happened much more recently so I don’t think I have had to “unlearn” anything in particular. It’s more about having enough theory knowledge and classical guitar technique to use those to produce something more contemporary. I have never felt constrained by my classical training – just the opposite in fact.
Martin: Good question! I have recently recorded a piece called “Nocturne in B” which is a piece of night music, though not linked to a particular landscape or element. Funnily enough, and as often happens, that piece (also out on Spotify) started as an exercise to compose something in the “difficult” key of B major. The imagery emerged from that rather than it being the original intent.
Summary
Martin Lloyd Howard’s “Rapids” proves that the bridge between technical discipline and artistic expression is shorter than we think. By taking a strenuous fretboard exercise and allowing it to breathe with the organic tones of his fifty-year-old classical guitar, Howard has crafted an experience that is both physically impressive and emotionally resonant. Whether you are a fellow guitarist looking for fresh material or a listener seeking a “riverside” escape, “Rapids” offers a smooth yet exhilarating ride through the world of modern instrumental guitar.
