Original Guitar Transcriptions of Satie & Saint-Saëns

Florida State University
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Electronic Theses, Treatises and Dissertations
The Graduate School
March 2015
The Art of Transcription: Original Transcriptions of

Erik Satie's Five Nocturnes for Two Guitars,S
Camille Saint-Sans' Danse Macabre, Op. 40 for
Four Guitars
Christopher Neil Adkins
Florida State University
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Recommended Citation
Adkins, Christopher Neil, "The Art of Transcription: Original Transcriptions of Erik Satie's Five Nocturnes for Two Guitars,S Camille
Saint-Sans' Danse Macabre, Op. 40 for Four Guitars" (2015). Electronic Theses, Treatises and Dissertations. Paper 9279.
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FLORIDA STATE UNIVERSITY

COLLEGE OF MUSIC
THE ART OF TRANSCRIPTION: ORIGINAL TRANSCRIPTIONS OF

ERIK SATIES FIVE NOCTURNES FOR TWO GUITARS
CAMILLE SAINT-SANS DANSE MACABRE, OP. 40 FOR FOUR GUITARS
By
CHRISTOPHER NEIL ADKINS
A Treatise submitted to the

College of Music
in partial fulfillment of the
requirements for the degree of
Doctor of the Music
Degree Awarded:
Spring Semester, 2015
Christopher Adkins defended this treatise on March 24, 2015.

The members of the supervisory committee were:
Bruce Holzman
Professor Directing Treatise
Jane Piper Clendinning
University Representative
Pamela Ryan
Committee Member
Benjamin Sung
Committee Member
The Graduate School has verified and approved the above-named committee members, and
certifies that the treatise has been approved in accordance with university requirements.
ii
ACKNOWLEDGMENTS
I would like to thank my family Bryan, Tammy, Taylor, and Livy Guy for their neverending love and support. I would also like to thank my guitar teachers Dr. Elliot Frank, Dr.
Andrew Zohn, and Bruce Holzman for their inspiration and guidance throughout my studies. For
his contribution of the manuscript of Clair de Lune I have to thank Lorenzo Micheli. My
gratitude goes to Sylvain Lemay for his permission to use examples from lDozs publication of
Capriccio Espagnol. I must also thank Jane Piper Clendinning for her tireless efforts in making
the treatise process run smoothly and her invaluable feedback. My other committee members
Pamela Ryan and Benjamin Sung are owed my gratitude as well. Finally, I have to thank my
dear friends Teresa Roach and Michael McCallie for their feedback and editing.
iii
TABLE OF CONTENTS
List of Musical Examples ................................................................................................................ v
Abstract.........................................................................................................................................viii
1.
INTRODUCTION................................................................................................................... 1
2.
ERIK SATIES FIVE NOCTURNES FOR TWO GUITARS ............................................... 12
3.
CAMILLE SAINT-SANS DANSE MACABRE, OP. 40 FOR FOUR GUITARS ............ 41
4.
CONCLUSION ..................................................................................................................... 63
APPENDICES ............................................................................................................................... 65
A.
ERIK SATIES FIVE NOCTURNES .................................................................................... 65
B.
CAMILLE SAINT-SANS DANSE MACABRE ................................................................ 76
BIBLIOGRAPHY ....................................................................................................................... 107

BIOGRAPHICAL SKETCH ....................................................................................................... 108
iv
LIST OF MUSICAL EXAMPLES

Example 1.1: Guitar Transposition.................................................................................................. 8
Example 1.2 Guitar Range (notated and sounding)......................................................................... 9
Example 2.1: Debussy, Clair de Lune, mm. 1-2 ........................................................................... 15
Example 2.2: Debussy, Clair de Lune, mm. 8-9 ........................................................................... 15
Example 2.3 Satie, Nocturne no. 1, mm. 1-2 ................................................................................ 16
Example 2.4: Satie, Nocturne no. 1, mm. 8-9 ............................................................................... 17
Example 2.5 Debussy, Clair de Lune, measure 30, Transcription ................................................ 17
Example 2.6: Satie, Nocturne no. 2, measure 5, Transcription ..................................................... 18
Example 2.7: Debussy, Clair de Lune, measure 27, Transcription ............................................... 18
Example 2.8: Satie, Nocturne no. 5, measure 1, Transcription ..................................................... 19
Example 2.9: Satie, Nocturne no. 1, measure 3............................................................................. 19
Example 2.10: Satie, Nocturne no. 1, measure 18......................................................................... 20
Example 2.12: Satie, Nocturne no. 1, measure 4........................................................................... 21
Example 2.14: Satie, Nocturne no. 1, mm. 8-10 ........................................................................... 23
Example 2.17: Satie, Nocturne no. 2, mm. 5-6 ............................................................................. 26
v

Example 2.25: Satie, Nocturne no. 3, mm. 11-12 ......................................................................... 32
Example 3.1: Saint-Sans, Danse Macabre, mm. 25-32 ............................................................... 41
Example 3.2: Rimsky-Korsakov, Capriccio Espagnol, mvt. III, mm. 14-15 ................................ 44
Example 3.3: Saint-Sans, Danse Macabre, mm. 33-34 ............................................................... 45
Example 3.4: Saint-Sans, Danse Macabre, mm. 121-124 ........................................................... 46
Example 3.5: Saint-Sans, Danse Macabre, measure 204 ............................................................ 48
Example 3.6: Rimsky-Korsakov, Capriccio Espagnol, mvt. I, mm. 43-44 .................................. 49
Example 3.7: Saint-Sans, Danse Macabre, measure 174-177..................................................... 50
Example 3.10: Saint-Sans, Danse Macabre, mm. 394-396 ......................................................... 54
Example 3.11: Rimsky-Korsakov, Capriccio Espagnol, mvt. I, measure 1 ................................. 56
vi
Example 3.12: Saint-Sans, Danse Macabre, mm. 370-371 ......................................................... 58

Example 3.13: Rimsky-Korsakov, Capriccio Espagnol, mvt. I, mm. 38-39 ................................ 60
Example 3.14: Saint-Sans, Danse Macabre, mm. 93-94 ............................................................. 61
vii
ABSTRACT
The purpose of this treatise is twofold. The first is to expand the repertoire of the guitar
duo and guitar quartet by creating two new transcriptions. The work Five Nocturnes for solo
piano by the early twentieth-century composer Erik Satie is transcribed for two guitars. The
symphonic poem Danse Macabre, Op. 40 by Camille Saint-Sans is transcribed for four guitars.
The second purpose of this treatise is to examine the process of transcribing music for these
ensembles by comparing my transcriptions with other works. The comparison pieces are
Alexandre Lagoyas transcription of Debussys Clair de Lune for guitar duo and William
Kanengisers transcription of Nikolai Rimsky-Korsakovs Capriccio Espagnol, Op. 34 for guitar
quartet. Chapter one is an introduction to guitar duo and quartet transcription. It contains a
review of literature for both ensembles, a brief history of the pieces transcribed, a brief
methodology of the pieces transcribed for the treatise, and a description of general issues with
transcribing. Chapter two describes and provides examples of the process of transcribing Erik
Saties Five Nocturnes and comparing the decisions made in Lagoyas Clair de Lune
arrangement. Likewise, Chapter three examines William Kanengisers Capriccio Espagnol
transcription and the decisions made to create an effective transcription of Danse Macabre for
guitar quartet. The last chapter will be a conclusion summarizing the importance of transcribing
for the guitar and its ensemble settings.
viii
CHAPTER ONE
INTRODUCTION
The guitar has always struggled with a lack of repertoire. Transcription has been one way
to expand the repertoire and let guitarists play works from some of the major composers who
never composed for the instrument. Works such as Bachs violin sonatas and cello suites,
Beethovens Pathetique and Moonlight sonatas, and several of Chopins nocturnes and
preludes have been transcribed for solo guitar. Unfortunately, where guitar transcription has
suffered is in ensemble settings. Guitar duo and quartet transcriptions were extremely scarce
until the middle of the twentieth century. It was in this time that the Presti-Lagoya duo and Los
Romeros, a guitar quartet, produced transcriptions. The work of these groups not only produced
transcriptions but also garnered the interest of composers of the day to compose for them. From
then on, the popularity of the guitar duo and quartet has grown exponentially.
This treatise will deal with three factors of guitar transcription. The first will be
expanding the repertoire of the guitar duo and quartet through transcription. The piece selected
for guitar duo is Erik Saties Five Nocturnes for solo piano. The guitar quartet transcription will
be of Camille Saint-Sans Danse Macabre for orchestra. The second part of this treatise will
examine and compare the pieces I have transcribed to Alexandre Lagoyas duo transcription of
Debussys Clair de Lune and William Kanengisers quartet transcription of Nikolai RimskyKorsakovs Capriccio Espagnol. Both Lagoya and Kanengiser were members of two of the most
successful ensembles in the guitar world; using their transcriptions for comparison will make
sure that the best decisions were made. The last part will examine issues that arise when
transcribing for guitar and what decisions were made to create a successful version of the
original work.
1
Review of Literature
Throughout the twentieth century, there were a number of people researching and
critiquing the process of transcribing music. The earliest dated article found was entitled A Note
on Bach Transcriptions by Ernest Newman, which discusses the difficulties of transcribing the
organ works for piano and analyzes the transcriptions by Franz Liszt.1 Several relevant articles
were found dealing with transcription but not for guitar. The first is Conversation with
Benjamin Britten in which Britten discusses effective transcriptions. 2 The Piano
Transcriptions of Franz Liszt by Philip Friedheim lists all the Liszt transcriptions for solo piano
and also offers an explanation as to why Liszt transcribed these works. 3 This article was used
mainly for its information on Saint-Sans Danse Macabre and Liszts transcription of it. Liszt
and the Schubert Song Transcriptions by Alan Walker was used for its definition of the Liszt
transcription types paraphrase and transcription.4 A paraphrase is a piece loosely based on
another; this term is applicable to the guitarists like Fernando Sor, Mauro Giuliani, and
Ferdinando Carulli whose pieces were often based on one theme from another composers work.
Other articles that strictly focus on guitar transcriptions are published in Classical Guitar
Magazine and Soundboard Magazine. From the November 1987 issue of Classical Guitar the
article Transcribing for Guitar Ensemble by Joseph OConner, Douglas Huxtable, and
Grahame Klippel that gives many viewpoints on the transcription process and reviews issues like
choice of pieces, sources, octave transpositions, and texture. 5 Background information on the
Newman, Ernest. A Note on Bach Transcriptions. The Musical Times, Vol. 53, No. 833 (Jul. 1, 1912): 435-440.
Britten, Benjamin. Conversation with Benjamin Britten. Tempo, No. 6 (Feb. 1944): 4-5.
3
Friedheim, Philip. The Piano Transcriptions of Franz Liszt. Studies in Romanticism, Vol. 1, No. 2 (Winter,
1962): 83-96.
4
Walker, Alan. Liszt and the Schubert Song Transcriptions. The Musical Quarterly, Vol. 75, No. 4 Anniversary
Issue: Highlights from the First 75 Years (Winter, 1991): 248-262.
5
OConnor, Joseph, Douglas Huxtable, and Grahame Klippel. Transcribing for Guitar Ensemble. Classical
Guitar, Vol. 6, No. 2 (November 1987): 35-38.
2
Los Angeles Guitar Quartet (LAGQ) is in the June 1988 issue of Classical Guitar.6 The article is
an interview with the performers regarding their careers up to that point (they were formed in
1980). In Soundboard, the Spring 1986 issue has an article titled Fernando Sor as a Transcriber
that analyzes one of the guitarists most famous pieces: Variations on a theme of Mozart, Op. 9.7
The article The Transcribers Art in each issue in Soundboard includes a piece transcribed and
analyzed, and giving reasons for decisions made in the transcription.
Two articles were found with a great deal of information on Erik Satie and in particular
his Five Nocturnes. The first is Robert Orledges article, Saties Approach to Composition in
His Later Years (1913-1924) that was published in 1984 in Proceedings of the Royal Musical
Association.8 The article lists Saties compositions in this time period and analyzes each one,
including the nocturnes (written in 1919). The other Satie article used was the Courtney S.
Adams article Saties Nocturnes Seen through His Sketchbooks from The Journal of
Musicology.9 The article examines the sketchbooks of Satie at this time and his process
composing the nocturnes.
The dissertation The Revival of the Classical Guitar Duet Medium through Ida Presti
and Alexandre Lagoya by S. Patrick Flynn lays out the history of the guitar duet before and
after the Presti-Lagoya duo. Transcription is also discussed, particularly the reasoning behind
transcription and what types of pieces the Presti-Lagoya duo transcribed.
6
7
Oosterhout, Bauke. The Los Angeles Guitar Quartet. Classical Guitar, Vol. 6, No. 10 (June 1988): 13-18.
Goodman, Jeffrey. Fernando Sor as a Transcriber. Soundboard, (Spring 1985): 27-30.
Orledge, Robert. Saties Approach to Composition in His Later Years (1913-24). Proceedings of the Royal
Music Association, Vol. 111 (1984-1985): 155-179.
9
Adams, Courtney S. Saties Nocturnes Seen through His Sketchbooks. The Journal of Musicology, Vol. 13, No.
4 (Autumn, 1995): 454-475.

Guitar Duo Transcriptions

Transcribed works for guitar duo first occur in the golden age of the guitar
(approximately 1800-1850). Although works for guitar duo did not constitute a significant
amount of their oeuvre, guitarists/composers such as Fernando Sor (1778-1839), Mauro Giuliani
(1781-1829), and Ferdinando Carulli (1770-1841) based several of their fantasias and theme and
variations on the music of major composers like Haydn, Mozart, and Beethoven.10 Carulli
transcribed the first movement of Haydns London symphony no. 104 (composed in 1795) in
his Symphonie dHaydn, Op. 152 and the variation set Andante vari et rondeau, Op. 155, which
is based on a Beethoven theme, in 1822.11 Giulianis main duo transcriptions were overtures: the
most famous being from Rossinis Barber of Seville and La Clemenza di Tito by Mozart. The
majority of the transcriptions, like Carullis Andante vari et rondeau and Giiulianis La
Clemenza di Tito were paraphrases, in which themes or a certain passage is used to create a new
work.12 This use of major composers music as source material made sense from a financial
perspective and helped the guitars popularity.13
The guitar struggled after its golden age. Issues with its soft volume, a lack of
consideration from major composers, and an absence of serious repertoire caused this dip in
popularity.14 Two factors helped revive the popularity of the guitar, however. The first is the
work of Spanish guitarist Francisco Trrega (1852-1909). In 1862, Trrega began his guitar
studies with Julian Arcas but at the insistence of his father he studied the piano also.15 This
10
Flynn, S. Patrick. The Revival of the Classical Guitar Duet Medium through Ida Presti and Alexandre Lagoya.
The University of Memphis. 2005.
11
Ibid, pg. 14.
12
Walker, Alan. Liszt and the Schubert Song Transcriptions. The Music Quarterly, Vol. 75, No. 4. Winter, 1991.
13
Ibid, pg. 14.
14
Flynn, S. Patrick. The Revival of the Classical Guitar Duet Medium through Ida Presti and Alexandre Lagoya.
The University of Memphis. 2005, pg. 20.
15
Thomas F. Heck. "Trrega, Francisco." Grove Music Online. Oxford Music Online. Oxford University
Press. Web. 3 Feb. 2015.
exposure to the piano influenced his future guitar transcriptions of major composers like
Beethoven, Chopin, and Mendelssohn for solo guitar. Trregas compositional output is not a
significant source for guitar duo music however. The second factor to bring back the popularity
of the guitar was the work by luthier Antonio Torres. The guitars made by Torres are today seen
as the beginning of the modern classical guitar. The most important properties of these guitars
were the size and the fan-bracing pattern that gave the guitar much more resonance and volume.
Also, Torres guitars were considerably bigger than the ones from the earlier part of the century.
Trregas student Miguel Llobet, however, did transcribe several works for guitar duo including
the works of Mozart, Mendelssohn, and Tchaikovsky as well as his contemporaries Isaac
Albniz and Enrique Granados. He played these transcriptions with his student Maria Luisa
Anido. Of the works transcribed, the duo recorded Mendelssohns Lieder ohne Worte, Op. 62,
no. 1 and Albenizs Evocacion from book one of Iberia. Llobet transcribed the Menuet from
Symphony no. 39, K. 543 and the Tchaikovskys Humoresque, Op. 10 no. 2. Although they
played concerts and produced recordings, Llobet and Anido are mostly known for their solo
careers.
Alexandre Lagoya and Ida Presti had established careers as solo performers before
forming their guitar duo in the middle of the twentieth century. Lagoya was a prolific transcriber
and many of these transcriptions are played by duos today. His transcriptions include works by
composers like Bach, Vivaldi, Soler, Scarlatti, Haydn, and Debussy.16 By establishing the guitar
duo, Presti and Lagoya paved the way for duos like the Abreu Brothers, the Assad Brothers, and
Soloduo (Matteo Mela and Lorenzo Micheli). Sergio and Odair Assad began their guitar studies
at a young age with former Segovia student Monina Tavora. Their international career began
16
Ibid. Pg. 38.
after being prizewinners in the 1979 Bratislava International Rostrum of Young Interpreters.17
They have contributed numerous transcriptions from Bach, Rameau, and Scarlatti to more
contemporary figures like Gershwin, Ginastera, and Debussy. Lorenzo Micheli and Mateo Mela
formed SoloDuo in the early 2000s. Since then, the group has been recognized as one of the top
duos in the world. Their recent addition of Beethovens Moonlight Sonata has raised the bar of
transcribing for guitar duo.
Guitar Quartet Transcriptions

The guitar quartet was not established until the Spanish guitarist Celedonio Romero
(1918-1996) formed Los Romeros in the middle of the twentieth century. Celedonio taught each
of his three sons Celin, Pepe, and Angel guitar when they were three years old, with each son
making his solo debut at the age of seven.18 The family moved to the United States in 1957
where they began touring and recording and became known as the royal family of the guitar.19
A noted New York Times critic wrote of the group: Collectively, they are the only classical
guitar quartet of real stature in the world today. In fact, they practically invented the format.20
Needless to say, the quartet lacked any substantial repertoire. Their repertoire consisted
of their own flamenco arrangements as well as transcriptions of works by Vivaldi, Telemann,
Scarlatti, and Bizet. The group recorded many of these transcriptions as well. In 1968, they
recorded the album The Romeros: Vivaldi Guitar Concertos. The album contained four Vivaldi
concerti all transcribed for guitar quartet. Other pieces recorded by the group were a Concerto in
17
Santos , Silvio J. dos. "Assad, Srgio." Grove Music Online. Oxford Music Online. Oxford University
Press. Web. 3 Feb. 2015.
18
Heck, Thomas F. "Romero (i)." Grove Music Online. Oxford Music Online. Oxford University Press.Web. 1 Feb.
2015.
19
Idib.
20
The Romero Family. Pepe Romero.com. Trace Graphics. Web. 1 Feb. 2015.
D by Georg Philipp Telemann, and the Allegro from Brandenburg Concerto BWV 1048 By Bach
in 1978. In 1984, the group recorded a transcription of Bizets Carmen Suite.
Following in the steps of Los Romeros is the Los Angeles Guitar Quartet (LAGQ). Anisa
Angarola, John Dearman, William Kanengiser, and Scott Tennant formed the group in 1979
while studying at The University of Southern California.21 All four members of the group studied
with Los Romeros member Pepe while at USC. The group began touring and recording, making
their own transcriptions and getting contemporary composers to write for the ensemble. The
groups transcriptions expand on what Los Romeros had done by choosing material from
composers of many different eras of music. For example, LAGQs first album Recital contains
transcriptions of the overture from Barber of Seville, Gustav Holsts St. Pauls Suite, and Tango
by Igor Stavinsky. On the album An Evening in Granada, the group transcribed Boccherinis
Guitar Quintet no. 4, La soiree dans Grenade from Estampes by Debussy, and Capriccio
Espagnol by Rimsky-Korsakov.
Methodology
Throughout my years as a student, I have played in many guitar ensemble settings. These
ensembles have allowed me to play pieces by composers I wouldnt have otherwise been able to
play. Realizing that transcription can open up the doors to a plethora of other works, I wanted to
be a part of this tradition. For this treatise I have prepared two major works for guitar duo and
guitar quartet.
The two pieces I have transcribed for this treatise were Five Nocturnes originally for solo
piano by Erik Satie and Danse Macabre, Op. 40 for orchestra by Camille Saint-Sans. The
nocturnes were transcribed for guitar duo and Danse Macabre for guitar quartet. The process of
21
Oosterhout, Bauke. Interview with the Los Angeles Guitar Quartet. Classical Guitar Vol. 6, no. 10. June 1988. 1318.
transcribing these works began with finding comparison transcriptions to analyze the decisions
made by their transcribers. The two pieces used for comparison were Clair de lune by Claude
Debussy, transcribed by Alexandre Lagoya, and Capriccio Espagnol, Op. 34 by Nikolai RimskyKorsakov, transcribed by William Kanengiser. Lagoya was part of arguably the most famous
guitar duo of all time (Presti-Lagoya duo) and Kanengiser is in the most successful guitar quartet
today (LAGQ). Lorenzo Micheli made the use of Lagoyas manuscript of Clair de Lune possible.
Sylvain Lemay at Productions dOz generously contributed the examples of Capriccio Espagnol
used. By analyzing these two guitarists transcriptions, a transcription was made of the Five
Nocturnes and Danse Macabre.
General Issues with Transcribing for Guitar

The guitar is a very idiosyncratic instrument that can make transcribing an arduous task.
An understanding of the limitations and how to overcome them are paramount to an effective
transcription. The most important thing to realize about the guitar is it is a transposing
instrument. The guitar sounds an octave lower than what is notated. This is shown in example
1.1.
Example 1.1: Guitar Transposition
One of the main confines of the guitar is the issue of range. The range of the standardtuned guitar is shown in example 1.2.
Example 1.2: Guitar Range (notated and sounding)
An option in expanding the guitars range is alternate tunings. The most popular of the
alternate tuning for the guitar is to drop the sixth string from its original E down a whole step to
D. It is not unheard of to detune the instrument even further, although this is rare. Another trend
in the guitar world to expand the range of the guitar is for luthiers to build guitars with additional
strings. The most common is the seven-string guitar that adds a bass string but it is not unheard
of to see guitars with eight and ten strings also. Typically, these guitars are used in ensemble
settings as needed but is considered nonstandard. The highest note the guitar can play is the high
B shown in example 1.1. It is becoming more commonplace for guitars to be made with a high
C, but this is only a half step higher than B. There are also instances of alto and tenor guitars that
come in different sizes with different ranges.
The guitar also has an issue with sustain. The guitar is a plucked instrument: that means
once it is played the sound of the note starts decaying. This must be taken into account when
transcribing music with bowed and wind instruments. This problem could be overcome with a
faster tempo, but that would change the character of a piece.
There are a number of solutions to the guitars limits. The obstacle of range can be
overcome by transposing parts up or down an octave to be playable on the guitar. When
transcribing a piano piece for two guitars, transposers have several solutions. The first is
transposing the high voice or chord down an octave while leaving the lower part the same. This
9
is a feasible solution if the transposition down doesnt run into the original lower part. When this
occurs, clarity of parts can become muddled, and the transposition wont have the same effect as
the original. Having to transpose a part up an octave is another issue of transposition. Like a part
that is too high out of range, a low part out of range works best when it doesnt interfere with the
original higher part. Sometimes a line that initially fits into the guitars range will move out and a
decision to simply transpose that portion or the whole thing must be made. Normally, changing
only part of a section will disrupt the phrasing and musical line which is undesirable.22 An
additional option would be to use harmonics, which sound up an octave, to add to the guitars
range. The timbre of harmonics is quite different than a stopped note and must be used only in
certain instances.
Since this treatise will deal with transcribing piano pieces for two guitars and an
orchestral work for four guitars, there are specific issues for each one. Guitar duo can handle solo
piano music in a logistical way. Some considerations for transcribing piano music to guitar
include texture, color/timbre, dynamic level, and tempo. By thinking of one person as the left
hand and the other as the right, melody and accompaniment textures can be done quite easily.
Chordal textures must be carefully considered due to the guitars limits. One way to do this is
divide chords equally between the guitar players. The other way to deal with this is by taking out
voices or parts. This could affect the overall character of the passage and should be avoided
unless necessary. Another issue is difference in the colors of each instrument. The guitar is
known for its diversity of colors that can be used creatively in the transcription process. By
substituting guitar effects like harmonics for notes that are out of range of the guitar a
transcription can stay true to the original. There is quite a difference in the dynamic range of the
22
OConnor Joseph, Douglas Huxtable, and Grahame Klippel. Transcribing for guitar ensemble. Classical Guitar
November 1987.
10
guitar and the piano. The guitar is an inherently quiet instrument that can cause problems in
transcription where a loud dynamic level is needed. Having two guitars will help, but not
drastically. The last issue of piano music being transcribed for guitar is tempo. A performers
maximum tempo on guitar is considerably slower than a pianists due to idiosyncrasies of the
instruments.
Orchestral music for guitar quartet can have challenges that will take some problem
solving to overcome. The most important is the issue of which parts to leave out and which to
leave in, which occurs when the orchestra texture is thick. Many of the voicings and chordal
textures of the orchestra will need to be made idiomatic for the guitar. Fortunately, one of the
guitarists of the quartet can play up to six pitches by using idiomatic chord shapes on the guitar.
Like piano, the orchestra has a much larger range than the guitar. Decisions on octave
displacement and transpositions will most certainly have to be made. An advantage to
transcribing orchestral music for guitar quartet is the ability of the guitar to imitate the colors of
the orchestra. The guitar can change tone colors depending on where on the string it is plucked
(tasto, normal, or ponticello), which string a note is played on, and using techniques like
harmonics or pizzicato. In my transcription of Danse Macabre, the score for each part has
indicated which instrument originally played the line. By putting this in the score, the guitarists
will be informed as to what instrument they should imitate, if they choose to do so.
11
CHAPTER TWO
ERIK SATIES FIVE NOCTURNES FOR TWO GUITARS
Erik Satie has been described as: [A]n iconoclast, a man of ideas who looked constantly
towards the future.23 He befriended Debussy and Ravel, worked with Jean Cocteau and Pablo
Picasso, and influenced many composers like Francis Poulenc, Darius Milhaud, and John Cage.
It was Saties friend Debussy who dubbed him the precursor because of his innovative
harmonic language and his influence on the trends of twentieth-century music, ranging from total
chromaticism to minimalism.24 Among his most popular pieces are the three Gymnopdies,
published in 1888. These works were orchestrated for full orchestra by Debussy and performed
at the Salle Gaveau in 1911.25 The Gymnopdies have also been transcribed for solo guitar by a
number of people including Christopher Parkening. Parkening recorded the works on his 1976
album Parkening and the Guitar. The Gymnopdies provide faithful transcriptions for guitar due
to the works simple melodies, simple harmonies, and the timbre. The constant use of major
seventh chords in the accompaniment part translates well to the guitars many colors. Like the
Gymnopdies, Saties Five Nocturnes are works that can be adapted for the guitar repertoire by
transcription in a way that captures the essence of the original. Unlike the Gymnopdies, the
nocturnes will be transcribed for two guitars. The nocturnes texture would be too difficult if
transcribed for solo guitar.
23
Orledge, Robert. "Satie, Erik." Grove Music Online. Oxford Music Online. Oxford University Press. Web. 19 Feb.
2015.
24
Ibid.
25
Ibid.
12
Saties Five Nocturnes were composed in the latter part of 1919. These works are serious
in nature: Courtney Adams describes them as a dramatic shift from his earlier humorous piano
pieces.26 Early twentieth-century French music scholar Robert Orledge states:
Saties other main claim to recognition as an essentially serious composer lies in his Five
Nocturnes for piano of October-November 1919 which, together with Socrate, are his
only important later works showing no cabaret influence. [T]he basic idea is that of a
slow 12/8 movement, usually with harmonically unpredictable arpeggiated left hand
beneath a lyrical melody. This melody recurs in decorated form as the rondo element,
often separated by more sonorous episodic material [N]os. 1-4 are exercises in
seconds, fourths, fifths and sevenths. [T]he Fifth Nocturne is mostly in thirds and
sixths.27
The overall form of the first Nocturne is ABA. Courtney Adams article discusses the
compositional process used in the Nocturnes that is labeled a mosaic-like system. In his
sketchbooks, Satie creates four different one-measure melodies, and then experiments with
different accompaniment textures. Afterwards, Satie combines these ideas to make a twelvemeasure sketch.
Comparison of Saties Nocturnes and Claude Debussys Clair De Lune

Alexandre Lagoyas transcription of Claude Debussys Clair de Lune will act as a guide
for the process of transcribing Saties Nocturnes. Both works are colorful piano pieces and are
similar in many ways. Also, Lagoya was in one of the most celebrated guitar duos of the
twentieth century, the Presti-Lagoya duo. While in the duo, Lagoya transcribed many works with
one of the most popular being Clair de Lune. The works will be analyzed in order to examine the
decisions made in the transcription process like transpositions, color choices, and revoicings.
The first decision to make when transcribing concerns the key signature. Many key
signatures do not work well with a guitar in standard tuning. Therefore, if the original work is in
26
Adams, Courtney. Saties Nocturnes seen through his sketchbook. The Journal of Musicology. Autumn 1995.
pp. 454-475.
27
Orledge, Robert. Saties Approach to Composition in His Later Years (1913-1924. Proceedings of the Royal
Musical Association, Vol. 111. 1984-85. P. 174.
13
a key not idiomatic to the guitar, the piece must be transposed. The original key signature of
Clair de Lune is D-flat major, which is not very idiomatic for the guitar. Lagoya transposes the
key to D major, which is a suitable guitar key. Fortunately the keys of the Five Nocturnes need
no transpositions. The first three nocturnes are in D major, the fourth in A major, and the fifth in
D minor. These are suitable keys for the guitar, however the pieces themselves are very
chromatic.
Saties Nocturnes work well on two guitars for several reasons. The most important
factor that makes these works suitable for guitar is the texture. Most piano pieces are not suited
for transcription because of the thick chordal texture. Furthermore, if the decision is made to
drop voices to fit the guitar, the work can lose its original character. Like many other Satie
works, the texture of the nocturnes is quite thin. The majority of the nocturnes consist of a
melody with scaler or arpeggiated accompaniment. The tempos of each nocturne are moderate to
slow, making them suitable for guitar. Saties use of different colors and timbres in the nocturnes
make them suitable for guitar transcription as well. Guitar techniques like campanela and
harmonics help capture the spirit of the original works. Problems do arise however with the
limited range of the guitar, which necessitates transposing certain passages and parts.
Clair de Lune Transcription by Alexandre Lagoya

The guitar is a transposing instrument, and therefore each pitch notated is actually
sounding an octave lower. Transposition of Clair de Lune is necessary in almost in every
measure. For example, measures one through eight are transposed down an octave, guitar I is
playing the melody while guitar II plays the accompaniment. Example 2.1 illustrates the first two
measures of Clair de Lune.
14
a) Original
b) Transcription
Example 2.1: Debussy, Clair de Lune, mm. 1-2
Starting in measure nine the roles switch, with guitar II playing accompaniment and
guitar II taking the melody. Also the pickup to measure nine is transposed up to stay in the
register of the guitar. This is shown in example 2.2.
a) Original
Example 2.2: Debussy, Clair de Lune, mm. 8-9
15
b) Transcription
Example 2.2 Continued
This idea of switching the melody between players is used in the nocturnes. In the first
seven measures of Nocturne no. 1, guitar I plays the melody of example 2.3, measures one and
two. Example 2.3 then takes the accompaniment part in measures eight through fourteen.
Example 2.3 shows measures one and two followed by example 2.4 showing measures eight and
nine. Transcribing this way assures equality in each players parts.
a) Original
b) Transcription
Example 2.3: Satie, Nocturne no. 1, mm. 1-2
16
a) Original
b) Transcription
The middle section of Clair de Lune has a similar texture to the nocturnes. Both
accompanying parts in each piece are arppegiated with some type of melody played over them.
Example 2.5 shows these similarities.
Example 2.5: Debussy, Clair de Lune, measure 30, Transcription
17
Example 2.6 shows measure five of Nocturne no. 2. Guitar I is playing the
accompaniment while guitar II is playing an octave melody. In this instance, the melodies from
both pieces are descending dyads. The accompaniment parts of both works consist of ascending
then descending movement. This texture is good for duo since each guitarist can play both parts.
Example 2.6: Satie, Nocturne no. 2, measure 5, Transcription
Example 2.7 and 2.8 shows the similarities between the texture of Nocturne no. 5 and
Clair de Lune. Both are ascending accompaniments that are below a simple melody. Although
the nocturnes accompaniment is more chromatic than Clair de Lune, they both rise and fall
comparably. Both melodies are rather simple which makes transcribing for two guitars feasible.
Example 2.7: Debussy, Clair de Lune, measure 27, Transcription
18
Example 2.8: Satie, Nocturne no. 5, measure 1, Transcription
Transpositions
There are several instances of having to transpose octaves due to the range of the guitar.
The instance that occurs the most is octave dyads that move out of range. In the nocturnes, rarely
do both instruments need to be transposed. The melody/accompaniment texture is usually close
enough to not have an issue of transposition, although some instances will need one or two notes
displaced because they go out of range. Instances of transpositions will be shown from all five
nocturnes.
Nocturne no. 1
The first transposition that happens in Nocturne no. 1 is in guitar IIs part. In measure 3,
the left hand part must be transposed up one octave to stay in the range of the guitar. This is
illustrated in example 2.9. The same type of transposition occurs in example 2.10 where, in
measure eighteen, the accompaniment goes too low for the guitars range.
a) Original
Example 2.9: Satie, Nocturne no. 1, measure 3
19
b) Transcription
Example 2.9 continued
a) Original
b) Transcription
In example 2.11, guitar I is simplified by not playing the third high octave. Instead, the
performer plays just the half notes from the original. The right hand part could have been played
unchanged but that would have tampered with the character of the piece. Both parts are
transposed up an octave since they were in the bass register of the original. The parts do overlap
but this does not cause problems with clarity since the parts are so thin.
20
a) Original
b) Transcription
Example 2.12 is an example of the melody transposed down an octave while the
accompaniment remains unchanged. This is another instance where the melody overlaps the left
hand part when transposed down. The melody is made up of octave dyads and the lowest note
falls in-between the accompaniment. The melody is still clear because of the highest note of its
dyad. The melody in example 2.13 has the same type of transposition.
a) Original
21
b) Transcription
a) Original
b) Transcription
Example 2.14 shows measures eight through ten in which the guitars switch roles.
Measure eight shows the transition back to the main melody. The melody is varied with an
ascending scaler pattern in measure nine then ornamented passing tones in measures ten. Guitar
22
II plays the melody while guitar I plays the left hand part. Guitar Is part stays at the original
pitches while the part played by guitar II is transposed down.
a) Original
b) Transcription
23
The transposition in example 2.15 is in both parts. The melody part played by guitar I
would move out of the range of the guitar if not transposed while guitar IIs part can be played
easily with open strings.
a) Original
b) Transcription
Example. 2.15: Satie, Nocturne no. 1, measure 28
Example 2.16, there are other decisions worth noting in the transcription. In measure
fourteen, guitar II does not play the octave of C-sharp on beat one to C-natural on beat two.
Furthermore, beats three and four leave out the accompaniment figure. Guitar I does the
opposite, negating the accompaniment part on beat one and two although the octaves were
included in the part. This is shown below. This decision allows the motion to continue while
making it idiomatic for guitar.
24
a) Original
b) Transcription
Nocturne no. 2
Like the first nocturne, Nocturne no. 2 begins with no changes in measures 1 through 3.
In measures four through eight, guitar II plays the melody and guitar I plays accompaniment.
Also, the melody is transposed down an octave for easier playability. The second half of measure
five returns guitar II to the original pitch levels and is shown in example 2.17. Transposition
occurs in the melody in measures five and six that is played by guitar II. The accompaniment is
playable on the guitar at its original pitch levels so there is no need for alteration.
25
a) Original
b) Transcription
Example 2.18 shows measures nine through twelve. In this example, the main melody is
modified with octaves and is a bit more rhythmic as well. To take advantage of the guitars array
of colors, artificial harmonics are used to play the melody instead of octaves by guitar I. On
guitar, harmonics sound up one octave from the notated pitch. When the melody returns in
measure seventeen, guitar I plays the melody an octave lower, which is shown in example 2.19.
a) Original
Examples 2.18: Satie, Nocturne no. 2, measure 9
26
b) Transcription
Examples 2.18 continued
a) Original
b) Transcription
Example 2.20 shows measure seven in which the accompaniment part is idiomatic to the
guitar until its final beat where it goes out of range. By transposing beat four up an octave the
same linear motion is attained. Other instances of this treatment are in measures thirteen,
fourteen, fifteen, and sixteen. Measure fourteen has several adjustments that need to be made to
27
work on the guitar. In example 2.21, in the right hand there are three voices on beats one and
two. To make this more idiomatic to the guitar the lowest voice is left out. This voice is an
octave lower than the highest and can be omitted without effecting the overall character of the
part. The accompaniment part also needs adjustments. The low C octave dyad reaches too low to
be played on the guitar. Also, the dotted half note E-natural octaves on beat three are another
instance of this. Both of these dyads are played up an octave. The C dyad is surrounded by two
octave D dyads. Since the low D notes are two open strings on the guitar it is idiomatic.
a) Original
b) Transcription
28
a) Original
b) Transcription
Nocturne no. 3
The third nocturne begins much like the previous two, with no need for changes in the
first four measures. Measures five and six are transposed down an octave for the guitar I part
because of range in example 2.22. The overall texture is the same since the melody is still out of
range of the accompaniment.
29
a) Original
b) Transcription
In example 2.23 and 2.24, guitar IIs part in measures nine and ten are transposed up an
octave. Both these chords are very natural to the guitar. In measure ten, guitar I transposes the
accompaniment part of the original down two octaves for ease of playing; this is a rare occurance
where a line must be transcribed two octaves. The guitar II part plays the chords from the left
hand, which must be transposed up an octave for range.
30
a) Original
b) Transcription
a) Original
31
b) Transcription
In example 2.25, measures eleven and twelve transition back into the main theme with a
slight variation. In the transcription, measure eleven has both parts played as artificial harmonics,
setting up the measure in 18/8. Furthermore, measure 11 is marked pianissimo and measure 12 is
marked forte; using harmonics prior will be effective dynamically and colorfully. Measure
twelve omits an octave dyad in both hands.
a) Original
32
b) Transcription
Nocturne no. 4
The fourth nocturne falls into a clear ABA form. The beginning twelve bars make up the
A-section, measures 13 through 16 are the B-section, and measures 17 through 20 are the A
section. In the first measure some notes in the left hand part must be displaced to fit the guitar:
the first two notes of beat one must be transposed up an octave to compensate for the range. This
is shown in example 2.26. Rather than transposing the whole accompaniment up an octave these
are the only two altered notes of the measure. This approach is taken to make more room
between the guitars.
a) Original
b) Transcription
33
In measure five the accompaniment, played by guitar II, goes further up and is
transposed down two octaves. This makes guitar II not only more idiomatic but it also suits the
guitars timbre. Example 2.27 illustrates this.
a) Original
b) Transcription
In example 2.28, measure eleven and twelve are transposed down an octave. The upbeat
to beats three and four of measure eleven in the accompaniment part is transposed down two
octaves. This makes the accompaniment more interesting by covering more of the guitars
fingerboard. Beats one and two of measure eleven are transposed up an octave, while beats three
and four are transposed down an octave. If beats three and four were transposed like one and two
it could cause problems with clarity of parts.
34
a) Original
b) Transcription
In example 2.29 the four-measure B-sections transcription changes several things from
the original. The guitars switch roles where guitar I becomes the accompaniment and guitar II the
melody. In this bass part, triple octaves are played in the original. By simply taking out the
lowest octave of the group, the guitars range no longer becomes an issue.
35
a) Original
b) Transcription
36
For example 2.30, the return of the A-section at measure 17 has an added octave in the
melody. To transcribe this with the added octave, the melody has been transposed down an
octave. The octave variant of the melody is an idiomatic chord for guitar.
a) Original
b) Transcription
Nocturne no. 5
The majority of the fifth nocturne is transposed to fit on the guitar. In example 2.33 a
different approach is shown to playing the high B-natural on the last beat of measure seven. This
note is performed as a harmonic; this not only makes the line more idiomatic but also signals the
end of the phrase.
37
a) Original
b) Transcription
Measure nine not only is out of range for guitar but also has a chord that is not idiomatic.
Example 2.34 shows the revoiced chord in measure nine in guitar I, which replaces the piano
chord with an idiomatic guitar one. The chord is revoiced with the low E brought down an
octave. In the original form, the E is a minor second from the tenor voices F-natural. More
harmonics are added at the end of the top part much like the end of measure seven. Also, the
accompaniment parts low octaves do not fit inside the range of the guitar. Therefore, guitar II
plays harmonics as a colorful substitute for the octaves.
38
a) Original
b) Transcription
Conclusion
Transcribing piano works for the guitar duo is a task that takes careful consideration of
each of the decisions that are made. Five Nocturnes by Erik Satie are works that lend themselves
to the guitar duo by using the instruments techniques, colors, and timbres to replicate the
pianos timbres and colors. This is not without saying that there will be compromises that must
be made due to the differences of the instrument. Transpositions will most certainly occur in
some way to work with the guitars range as compared to the piano. This is certainly the case in
Clair de Lune and Five Nocturnes. Further issues with transcribing for the guitar involve
revoicing chords that will not fit the idiosyncrasies of the instrument. However, with two guitars
39
it is easier to make decisions that will keep a faithful representation of the original piano work.
Thinking of each guitarist as one hand of the pianist where possible presents a clear way to
transcribe harmonies, melodies, and colors of the piano.
40
CHAPTER THREE
CAMILLE SAINT-SANS DANSE MACABRE, OP. 40 FOR FOUR
GUITARS
Introduction
Camille Saint-Sans Danse Macabre, Op. 40 is no stranger to transcription. Since it was
written, Danse Macabre has been transcribed in many different ways for a number of
instrumentations. Arguably the most famous transcription is the solo piano version by Franz
Liszt. Published in 1876, two years after the original composition.28 Liszt was an avid transcriber
as is evidenced by observing that only a little over a third of his piano works were strictly
original.29 This is comparable to the early nineteenth century guitarists like Sor, Giuliani, and
Carulli who would create pieces out of material from other composers. In his article on the Liszt
transcriptions in Studies in Romanticism, Philip Friedheim states:
[W]hile the original music remains comparatively unaltered, new passages are
inserted into the work, freely developing the given material. One need only compare the
eight-bar violin solo near the beginning with Liszts forty-seven-bar expansion to see
how much more demonic the latter version is.30
In example 3.1 the original solo violin part is shown in measures 25 to 32. Liszts transcription is
then shown with the additional 47-bar expansion that Philip Friedheim discussed in his article.
a) Original
Example 3.1: Saint-Sans, Danse Macabre, mm. 25-32
28
Latham, Alison. "Danse macabre." Oxford Music Online. Oxford University Press. Web. 6 Jan. 2015.
Friedheim, Philip. The Piano Transcriptions of Franz Liszt. Studies in Romanticism, Vol. 1, No. 2, pg. 83.
30
Ibid, pg. 94.
29
41
b) Transcription
42
Camille Saint-Sans Danse Macabre, Op. 40 is a stimulating work to transcribe for

guitar quartet. The colorful orchestration pushes not only the technical boundaries of the guitar
but the creativity of the players as they imitate instruments such as the xylophone, timpani,
horns, trumpets, and trombones. In the score for the transcription, the original instrument will be
labeled on each part. The aim of this system is to inspire the performer to experiment with the
colors of the guitar to replicate the orchestration of the original.
Capriccio Espagnol Transcription by William Kanengiser

For his arrangement of Nikolai Rimsky-Korsakovs Capriccio Espagnol, Op. 34, William
Kanengisers solution for range relies on his fellow quartet member John Dearman. In his
preface to his transcription Kanengiser states: the fourth guitar part was written specifically
for John Dearmans 7-string Thomas Humphrey guitar, which has a two-fret extension on the
seventh string.31 Kanengiser further states:
Realizing that many players dont own an instrument with this exact
configuration, or a seven-string guitar at all, an attempt was made to provide octave
displacement options and ossias to allow for a performance on a standard six-string
guitar. Incidentally, this instrument also has an extended upper range, reaching the 20th
fret D on the first string.32
Danse Macabre/Capriccio Espagnol Comparison

A good comparison for the challenges of transcribing Danse Macabre is RimskyKorsakovs Capriccio Espagnol. The guitar lends itself well to a melody/accompaniment texture.
With that said, orchestral music with this texture is a suitable source for transcription for guitar
quartet. The harmonies of the orchestra setting will be made guitaristic by revoicing and
transposition. When done effectively, the transcription will stay true in spirit to the original.
31
Rimsky-Korsakov. Capriccio Espagnol, Op. 34. Arr. By William Kanengiser. Quebec: Les Editions DobermanYppan, 2007.
32
Ibid.
43
Dynamics levels and balance will effect decisions that are made in the transcription.
Passages with a quiet dynamic will have fewer guitarists playing while a bigger dynamic will
call for the whole ensemble to play. Also, more than one guitarist can be assigned an orchestral
part to achieve more volume. In example 3.2, measures 14 and 15 of Capriccio Espagnol are
shown. This example shows clarinets and horns playing the accompaniment while the violin play
the melody part. In the transcription, guitar II plays the melody of the solo violin and guitar III
plays the chordal accompaniment. The transcription of Danse Macabre will employ the setting
of one guitar playing the melody, another playing a revoiced harmony, and the other two
guitarists resting.
a) Original
b) Transcription
Example 3.2: Rimsky-Korsakov, Capriccio Espagnol, mvt. III, mm. 14-15
44
In measures 33 and 34 of Danse Macabre the flute is playing the melody while the string
section and the harp provide the harmony with pizzicato. This is simplified in the quartet setting
with guitar II playing the melody and guitar III playing the pizzicato accompaniment. The result
of having two guitarists at rest produces effective dynamics and clarity that is shown in example
3.3.
a) Original
45
b) Transcription
Beginning in measure 121 of Danse Macabre, guitar IV plays the melodic line, originally
played by the xylophone, and guitar III provides the accompaniment. In the orchestra, the string
section accompaniment alternates the bass, cello and violas playing the downbeat, while violins I
and II alternate beats two and three. The quartet transcription will only have the accompaniment
on the downbeat. This simplifies the accompaniment and also allows the melody to not be
overpowered. This is shown in example 3.4.
a) Xylophone
46
b) String section
c) Transcription
In example 3.5, the harp plays an arpeggio (part a) and the solo violin (part b) plays the
melody. For the transcription (part c), guitar IV plays the harp part while the first guitar plays the
47
melody.
a) Original
b) Transcription
Example 3.5: Saint-Sans, Danse Macabre, measure 204
Another texture employed is one guitar playing the melody, two guitars accompanying,
and one guitar resting. In example 3.6, William Kanengiser transcribes meaures 43 and 44 of
Capriccio Espagnol with guitar I resting, guitar II playing the melody, and guitars III and IV
playing the accompaniment. The fourth guitar part is from the double bass. The seven-string
guitar used by LAGQ member John Dearman makes the double bass more idiomatic on the
guitar. The clarinet part is simplified in the transcription by two ways: first, the A is removed and
48
secondly, Kanengiser transposes the part down an octave. Danse Macabre has several instances
of this type of texture.
a) Clarinet
b) String section
c) Transcription
Example 3.6: Rimsky-Korsakov, Capriccio Espagnol, mvt. I, mm. 43-44
49
In example 3.7, guitar I (part c) is playing the melody that was originally played by the
flute (part a). This melody is transposed down an octave due to the guitars range. Guitar III in
this example is playing a simplified version of the string sections triplets. By taking out the first
beat of triplets played by the viola, the player can execute the part precisely. Guitar IV plays the
double bass part that is simply playing an E-natural on the downbeats.
a) Flute
b) String Section
50
c) Transcription
In the second half of this section, shown in example 3.8, the melody moves from the flute
of the previous example to the first violin part (part a). The violin is marked pizzicato but due to
issues of volume, the transcription is not marked with this indication. While still playing the
downbeat A, guitar IV adds the oboe and flute parts. The oboe part is played in measure 189 then
guitar IV plays the flute part in measure 190.
a) Violin
51
b) Oboe
c) Flute
d) Transcription
Example 3.9 shows measure 205 of Danse Macabre, where there is a key change from Gminor to B-major. The character of the piece changes with an arpeggio in the harp (played by
guitar IV in the transcription), a chord played by the cellos (played by guitar II), and the melody
played by the solo violin (played by guitar I). The melody here is marked appassionato. The
chord played by guitar II is written in the score two dotted half notes. In the original score, it is
held all the way through to the harmony change in measure 209. Because the guitar cant sustain
52
like the bowed instruments, guitar IIs chords are not notated throughout as they are in the
original version.
a) Harp and violin
b) Cellos
c) Transcription
Example 3.10 is another type of the texture: two guitars playing accompaniment and one
playing the melody. In the original, the melody is doubled by violins I and II. In the
53
transcription, guitar I rests while guitar II plays the melody and guitars III and IV play the
harmonies. In measure 402, the melody is moved to guitar I. The chords are the same rhythm,
but with different voicing for better comfort on the guitar.
a) Original
b) Transcription
54
c) Transcription
Another texture used frequently is two guitars playing the melody while the other two
play the harmony. This is widely used in Kanengisers Capriccio Espagnol transcription. The
first movement has guitars I and III play the melody while guitars II and IV play the
accompaniment part. The whole first measure is shown along with the first measure of the guitar
quartet version in example 3.11. The melody played by guitar III is an octave down giving the
melody more weight. Because of balance issues, it is important for the melody to have more than
one person so that it will cut through the heaviness of the chords. Another feature of the
beginning of the transcription is guitar IV playing a multi-instrument role: The top note is a
trilled note that is played by several woodwind instruments while the bottom is the double bass
part.
55
a) Original
Example 3.11, Rimsky-Korsakov, Capriccio Espagnol, mvt. I, measure 1
56
b) Transcription
Example 3.12 shows measure 370 of Danse Macabre, where guitar I and II play the
melody of the strings, guitar III plays a countermelody originally scored for trombones, and
guitar IV plays the chords from the wind section. For the sake of color, guitar IIIs trombone line
is notated in octaves to not only add depth but to create a different timbre than a single note.
57
a) Original
Example. 3.12: Saint-Sans, Danse Macabre, mm. 370-371
58
b) Transcription
Example. 3.12 continued
For a loud dynamic level, using three guitars to play the melody while one guitar plays
accompaniment creates balance among the ensemble. In example 3.13 from Capriccio Espagnol,
guitars I, III, and IV play the melody while guitar II strums chords. Each guitarist playing the
melody does so in a different octave; that balances well with the chords of guitar II. It should be
noted that guitar IV continues playing the double bass part while also playing the melody. The
wind section plays the melody in this section in the original. Measures 93 to 116 of Danse
Macabre are treated in this way (example 3.14 only shows measures 93 and 94). Guitar I is
playing the violin part with no transposition, guitar III plays the oboe part an octave lower, and
guitar IV is playing the clarinet part an octave lower. Guitar II plays all of the chords with them
revoiced.
59
a) Original
b) Transcription
Example. 3.13: Rimsky-Korsakov, Capriccio Espagnol, mvt. I, mm. 36-37
60
a) Original
61
b) Transcription
Conclusion
Although works of many different settings and instrumentations are suitable for guitar
quartet transcription, orchestral works may be the most interesting way to expand the repertoire.
The guitars colors are suited to imitate the many instruments of the orchestra. In Danse
Macabre, Saint-Sans has a large pallete of orchestral colors ranging from a detuned solo violin
part to harp to xylophone. These instruments can be imitated in some form on the guitar. The
texture of the orchestral work is another factor to consider. Much of Saint-Sans Danse
Macabre is in a melody and accompaniment texture. This texture is one of the most popular
types for guitar transcription from solo to quartet. Moreover, the developmental section of Danse
Macabre is contrapuntal. This is easily transcribed for quartet since each guitarist can play
multiple voices. These features make the guitar quartet a comfortable home for orchestral works.
62
CHAPTER FOUR
CONCLUSION
The need to transcribe works by major composers for guitar has been realized since the
guitars resurgence in the late nineteenth century. Francisco Tarrga, Miguel Llobet, and Andrs
Segovia all contributed transcriptions for the guitar. It wasnt until the middle of the twentieth
century that the Presti-Lagoya duo contributed significant transcriptions for the guitar duo. Later,
Celedonio Romero formed Los Romeros and perpetuated the guitar quartets repertoire with
transcriptions of works by other composers. These famous guitarists recognized the need for
transcription to advance the guitar to the level of the other major instruments. The technical
capabilities of later groups like the Assad duo and the Los Angeles Guitar Quartet has since
raised the bar of guitar playing. With such high-level playing comes the ability to transcribe
works that would have been thought impossible before. The Assad brothers transcription of
Rhapsody in Blue to SoloDuos transcription of the Moonlight Sonata would have seemed
ludicrous to past guitarists. LAGQs transcription of Rimsky-Korsakovs Capriccio Espagnol is
evidence of the quartets audacious attitude toward transcription.
Guitarists have been exposed to the works of major composers like Bach, Beethoven, and
Debussy by transcriptions. It wasnt until the twentieth century that, with the commissioning
work done by Andrs Segovia and Julian Bream, composers became interested in writing for the
instrument. Before the work done by Segovia and Bream, the only composers for the guitar were
players of the instrument. Guitarists like Fernando Sor, Mauro Giuliani, and Ferdinando Carulli
would base some of their works on themes from the works of major composers of the day.
Segovias work was not with the major composers of his day like Stravinsky or Schoenberg. The
first composer to write for the guitar with major stature from his other works was Benjamin
63
Britten. Commissioned by Julian Bream, Brittens Nocturnal, Op. 70 is universally considered a

masterpiece.
Transcribing is an art that raises ones understanding of ones instrument and all aspects
of music. It exposes an audience to unfamiliar works for a certain instrument. It can also give a
fresh take on universally known works. The guitarist themselves should always expose
themselves to works with the point of view of what it would sound like on the guitar. With this
approach, there are no boundaries to what transcribing can bring to the guitar.
My research for this treatise has led me to many discoveries. The most important thing is
a better understanding of how to make an effective guitar transcription. By examining the
transcriptions of two well-known guitarists it has given me general guidelines to follow for
future transcriptions. Another benefit from this treatise has been the discovery of the music of
non-guitar composers. Delving into the life of Erik Satie showed just how important he was to
music of the twentieth century. Also, researching Saties music has sparked my interest in future
transcription projects of this composer.
The next step I wish to take is to publish these works that this treatise is based on. It
would be a joy to share these works and hopefully spark an interest in other guitarists to discover
the works of not only Satie and Saint-Sans but also all non-guitar composers. I have performed
both transcriptions in concert. Feedback for my transcription of Danse Macabre was
enthusiastically received. In performing these transcriptions, I have given an original take on the
guitar and the music that audiences are accustomed to hearing on the instrument. Lastly, I hope
to continue my work transcribing works to add to the repertoire of the guitar.
64
APPENDIX A
ERIK SATIES FIVE NOCTURNES
65
66
67
68
69
70
71
72
73
74
75
APPENDIX B
CAMILLE SAINT-SANS DANSE MACABRE, OP. 40
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98
99
100
101
102
103
104
105
106
BIBLIOGRAPHY
Adams, Courtney. Saties Nocturnes seen through his sketchbook. The Journal of Musicology.
Autumn 1995: 454-475.
Danse macabre." The Oxford Companion to Music. Alison Latham. Oxford Music
Online.Oxford University Press. Web. 6 Jan. 2015.
Flynn, S. Patrick. The Revival of the Classical Guitar Duet Medium through Ida Presti and
Alexandre Lagoya. The University of Memphis. 2005.
Friedheim, Philip. The Piano Transcriptions of Franz Liszt. Studies in Romanticism, Vol. 1,
No. 2: 83.
Heck, Thomas F. "Romero (i)." Grove Music Online. Oxford Music Online. Oxford University
Press.Web. 1 Feb. 2015
OConnor Joseph, Douglas Huxtable, and Grahame Klippel. Transcribing for guitar ensemble.
Classical Guitar November 1987.
Oosterhout, Bauke. Interview with the Los Angeles Guitar Quartet. Classical Guitar Vol. 6, no.
10. June 1988: 13-18.
Orledge, Robert. Saties Approach to Composition in His Later Years (1913-1924.
Proceedings of the Royal Musical Association, Vol. 111. 1984-85: 174.
Rimsky-Korsakov. Capriccio Espagnol, Op. 34. Arr. By William Kanengiser. Quebec: Les
Editions Doberman-Yppan, 2007.
The Romero Family. Pepe Romero.com. Trace Graphics. Web. 1 Feb. 2015.
Silvio J. dos Santos. "Assad, Srgio." Grove Music Online. Oxford Music Online. Oxford
University Press. Web. 3 Feb. 2015
Walker, Alan. Liszt and the Schubert Song Transcriptions. The Music Quarterly, Vol. 75, No.
4. Winter, 1991.
107
BIOGRAPHICAL SKETCH
Christopher Neil Adkins has distinguished himself as one of the most talented young
guitarists of his generation. As a performer, Christopher has garnered multiple awards and prizes
in both regional and international guitar competitions, including first prizes in the Appalachian
GuitarFest Competition at Appalachian State University in Boone, NC, the Music Academy of
North Carolina Guitar Competition in Greensboro, NC and the Mississippi Guitar Competition in
Jackson, MS. Christopher has performed in concert halls across the United States and Latin
America including Legacy Hall at Columbus State University, A. J. Fletcher Recital Hall at East
Carolina University, and Opperman Music Hall at Florida State University In the spring of 2014,
Christopher was selected from a group of twelve hundred students to represent The Florida State
University College of Music on a tour of Costa Rica.
Christopher holds both his Bachelors and Masters of Music from East Carolina
University, where he was a scholarship student of Dr. Eliot Frank. In addition, he was one of two
guitar students chosen to participate in the prestigious Artist Diploma program at the Schwob
School of Music at Columbus State University, where he was the Graduate Assistant to Dr.
Andrew Zohn. Christopher has performed in masterclasses for many of todays top guitarists
including: Sergio and Odair Assad, David Russell, Jason Vieaux, Paul Galbraith and Johannes
Mller.
A native of Hillsborough, NC, Christopher began to teach himself to play the guitar lefthanded at the age of twelve. After beginning college at East Carolina University, he found
himself smitten with the classical guitar only to realize that the instrument is traditionally played
right-handed. Showing great perseverance and strength of character, Christopher began the
arduous process of learning to play right-handed. Eight years later, Christopher was awarded his
108
first prize in an International Competition as a classical guitarist. Christopher now lives in

Tallahassee, FL where he maintains a small private teaching studio in addition to his studies at
Florida State University.
109

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The Art of Transcription: Original Transcriptions of

Follow this and additional works at: http://diginole.lib.fsu.edu/etd

FLORIDA STATE UNIVERSITY

THE ART OF TRANSCRIPTION: ORIGINAL TRANSCRIPTIONS OF

A Treatise submitted to the

Christopher Adkins defended this treatise on March 24, 2015.

ERIK SATIES FIVE NOCTURNES FOR TWO GUITARS ............................................... 12

CAMILLE SAINT-SANS DANSE MACABRE, OP. 40 FOR FOUR GUITARS ............ 41

ERIK SATIES FIVE NOCTURNES .................................................................................... 65

CAMILLE SAINT-SANS DANSE MACABRE ................................................................ 76

BIBLIOGRAPHY ....................................................................................................................... 107

LIST OF MUSICAL EXAMPLES

Example 2.21: Satie, Nocturne no. 2, measure 14......................................................................... 29

Example 3.12: Saint-Sans, Danse Macabre, mm. 370-371 ......................................................... 58

Guitar Duo Transcriptions

Ibid. Pg. 38.

Guitar Quartet Transcriptions

General Issues with Transcribing for Guitar

Example 1.1: Guitar Transposition

Example 1.2: Guitar Range (notated and sounding)

Comparison of Saties Nocturnes and Claude Debussys Clair De Lune

Clair de Lune Transcription by Alexandre Lagoya

Example 2.5: Debussy, Clair de Lune, measure 30, Transcription

Example 2.6: Satie, Nocturne no. 2, measure 5, Transcription

Example 2.7: Debussy, Clair de Lune, measure 27, Transcription

Example 2.8: Satie, Nocturne no. 5, measure 1, Transcription

Camille Saint-Sans Danse Macabre, Op. 40 is a stimulating work to transcribe for

Capriccio Espagnol Transcription by William Kanengiser

Danse Macabre/Capriccio Espagnol Comparison

a) Harp and violin

Britten. Commissioned by Julian Bream, Brittens Nocturnal, Op. 70 is universally considered a

first prize in an International Competition as a classical guitarist. Christopher now lives in

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