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Electronic Theses, Treatises and Dissertations The Graduate School

2015

The Art of Transcription: Original

Transcriptions of Erik Satie's Five
Nocturnes for Two Guitars Camille Saint-
Saëns' Danse Macabre, Op. 40 for Four
Guitars
Christopher Neil Adkins

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 FLORIDA STATE UNIVERSITY

COLLEGE OF MUSIC

THE ART OF TRANSCRIPTION: ORIGINAL TRANSCRIPTIONS OF

ERIK SATIE’S FIVE NOCTURNES FOR TWO GUITARS

CAMILLE SAINT-SAËNS’ 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 never-

ending 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 l’Doz’s 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 SATIE’S FIVE NOCTURNES FOR TWO GUITARS ............................................... 12
3. CAMILLE SAINT-SAËNS’ DANSE MACABRE, OP. 40 FOR FOUR GUITARS ............ 41
4. CONCLUSION ..................................................................................................................... 63
APPENDICES ............................................................................................................................... 65
A. ERIK SATIE’S FIVE NOCTURNES .................................................................................... 65
B. CAMILLE SAINT-SAËNS’ 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 2.11: Satie, Nocturne no. 1, measure 23......................................................................... 21

Example 2.12: Satie, Nocturne no. 1, measure 4........................................................................... 21

Example 2.13: Satie, Nocturne no. 1, measure 32......................................................................... 22

Example 2.14: Satie, Nocturne no. 1, mm. 8-10 ........................................................................... 23

Example 2.15: Satie, Nocturne no. 1, measure 28......................................................................... 24

Example 2.16: Satie, Nocturne no. 1, measure 14......................................................................... 26

Example 2.17: Satie, Nocturne no. 2, mm. 5-6 ............................................................................. 26

Example 2.18: Satie, Nocturne no. 2, measure 9........................................................................... 26

Example 2.19: Satie, Nocturne no. 2, measure 17......................................................................... 27

Example 2.20: Satie, Nocturne no. 2, measure 7........................................................................... 28

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

Example 2.22: Satie, Nocturne no. 3, mm. 5-6 ............................................................................. 30

Example 2.23: Satie, Nocturne no. 3, measure 9........................................................................... 31

Example 2.24: Satie, Nocturne no. 3, measure 10......................................................................... 31

Example 2.25: Satie, Nocturne no. 3, mm. 11-12 ......................................................................... 32

Example 2.26: Satie, Nocturne no. 4, measure 1........................................................................... 33

Example 2.27: Satie, Nocturne no. 4, mm. 5-6 ............................................................................. 34

Example 2.28: Satie, Nocturne no. 4, mm. 11-12 ......................................................................... 35

Example 2.29: Satie, Nocturne no. 4, mm. 13-16 ......................................................................... 36

Example 2.30: Satie, Nocturne no. 4, measure 17......................................................................... 37

Example 2.31: Satie, Nocturne no. 5, measure 7........................................................................... 38

Example 2.32: Satie, Nocturne no. 5, measure 9........................................................................... 39

Example 3.1: Saint-Saëns, Danse Macabre, mm. 25-32 ............................................................... 41

Example 3.2: Rimsky-Korsakov, Capriccio Espagnol, mvt. III, mm. 14-15 ................................ 44

Example 3.3: Saint-Saëns, Danse Macabre, mm. 33-34 ............................................................... 45

Example 3.4: Saint-Saëns, Danse Macabre, mm. 121-124 ........................................................... 46

Example 3.5: Saint-Saëns, Danse Macabre, measure 204 ............................................................ 48

Example 3.6: Rimsky-Korsakov, Capriccio Espagnol, mvt. I, mm. 43-44 .................................. 49

Example 3.7: Saint-Saëns, Danse Macabre, measure 174-177..................................................... 50

Example 3.8: Saint-Saëns, Danse Macabre, mm. 189-192 ........................................................... 51

Example 3.9: Saint-Saëns, Danse Macabre, mm. 205-208 ........................................................... 53

Example 3.10: Saint-Saëns, Danse Macabre, mm. 394-396 ......................................................... 54

Example 3.11: Rimsky-Korsakov, Capriccio Espagnol, mvt. I, measure 1 ................................. 56

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

Example 3.13: Rimsky-Korsakov, Capriccio Espagnol, mvt. I, mm. 38-39 ................................ 60

Example 3.14: Saint-Saëns, 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-Saëns 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 Lagoya’s transcription of Debussy’s Clair de Lune for guitar duo and William

Kanengiser’s transcription of Nikolai Rimsky-Korsakov’s 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

Satie’s Five Nocturnes and comparing the decisions made in Lagoya’s Clair de Lune

arrangement. Likewise, Chapter three examines William Kanengiser’s 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 Bach’s violin sonatas and cello suites,

Beethoven’s “Pathetique” and “Moonlight” sonatas, and several of Chopin’s 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 Satie’s Five Nocturnes for solo piano. The guitar quartet transcription will

be of Camille Saint-Saëns’ Danse Macabre for orchestra. The second part of this treatise will

examine and compare the pieces I have transcribed to Alexandre Lagoya’s duo transcription of

Debussy’s Clair de Lune and William Kanengiser’s quartet transcription of Nikolai Rimsky-

Korsakov’s 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-Saëns’ Danse Macabre and Liszt’s 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 composer’s 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 O’Conner, 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

1
Newman, Ernest. “A Note on Bach Transcriptions.” The Musical Times, Vol. 53, No. 833 (Jul. 1, 1912): 435-440.
2
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
O’Connor, 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 guitarist’s most famous pieces: Variations on a theme of Mozart, Op. 9.7

The article “The Transcriber’s 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 Orledge’s article, “Satie’s 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 Satie’s 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 “Satie’s 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
Oosterhout, Bauke. “The Los Angeles Guitar Quartet.” Classical Guitar, Vol. 6, No. 10 (June 1988): 13-18.
7
Goodman, Jeffrey. “Fernando Sor as a Transcriber.” Soundboard, (Spring 1985): 27-30.
8
Orledge, Robert. “Satie’s 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. “Satie’s Nocturnes Seen through His Sketchbooks.” The Journal of Musicology, Vol. 13, No.
4 (Autumn, 1995): 454-475.
 

3
 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 Haydn’s “London” symphony no. 104 (composed in 1795) in

his Symphonie d’Haydn, Op. 152 and the variation set Andante varié et rondeau, Op. 155, which

is based on a Beethoven theme, in 1822.11 Giuliani’s main duo transcriptions were overtures: the

most famous being from Rossini’s Barber of Seville and La Clemenza di Tito by Mozart. The

majority of the transcriptions, like Carulli’s Andante varié et rondeau and Giiuliani’s 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 guitar’s 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 Tárrega (1852-1909). In 1862, Tárrega 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. "Tárrega, Francisco." Grove Music Online. Oxford Music Online. Oxford University
Press. Web. 3 Feb. 2015.

4
exposure to the piano influenced his future guitar transcriptions of major composers like

Beethoven, Chopin, and Mendelssohn for solo guitar. Tárrega’s 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.

Tárrega’s 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

Albéniz and Enrique Granados. He played these transcriptions with his student Maria Luisa

Anido. Of the works transcribed, the duo recorded Mendelssohn’s Lieder ohne Worte, Op. 62,

no. 1 and Albeniz’s Evocacion from book one of Iberia. Llobet transcribed the Menuet from

Symphony no. 39, K. 543 and the Tchaikovsky’s 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.

5
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 2000’s. Since then, the group has been recognized as one of the top

duos in the world. Their recent addition of Beethoven’s 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, Sérgio." 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.

6
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 Bizet’s 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

group’s transcriptions expand on what Los Romeros had done by choosing material from

composers of many different eras of music. For example, LAGQ’s first album Recital contains

transcriptions of the overture from Barber of Seville, Gustav Holst’s St. Paul’s Suite, and Tango

by Igor Stavinsky. On the album An Evening in Granada, the group transcribed Boccherini’s

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 wouldn’t 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-Saëns. 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. 13-
18.

7
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 Rimsky-

Korsakov, 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 Lagoya’s manuscript of Clair de Lune possible.

Sylvain Lemay at Productions d’Oz 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 standard-

tuned guitar is shown in example 1.2.

8
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 guitar’s 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 doesn’t run into the original lower part. When this

occurs, clarity of parts can become muddled, and the transposition won’t 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 doesn’t interfere with the

original higher part. Sometimes a line that initially fits into the guitar’s 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 guitar’s

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 guitar’s 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
O’Connor 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 performer’s

maximum tempo on guitar is considerably slower than a pianist’s 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 SATIE’S 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 Satie’s 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 Gymnopédies,

published in 1888. These works were orchestrated for full orchestra by Debussy and performed

at the Salle Gaveau in 1911.25 The Gymnopédies 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 Gymnopédies 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

Gymnopédies, Satie’s 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 Gymnopédies, 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
 Satie’s 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:

Satie’s 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 twelve-

measure sketch.

Comparison of Satie’s Nocturnes and Claude Debussy’s Clair De Lune

Alexandre Lagoya’s transcription of Claude Debussy’s Clair de Lune will act as a guide

for the process of transcribing Satie’s 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. “Satie’s Nocturnes seen through his sketchbook.” The Journal of Musicology. Autumn 1995.
pp. 454-475.
27
Orledge, Robert. ”Satie’s 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.

Satie’s 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. Satie’s 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 player’s parts.

a) Original

b) Transcription

Example 2.3: Satie, Nocturne no. 1, mm. 1-2

16
a) Original

b) Transcription

Example 2.4: Satie, Nocturne no. 1, mm. 8-9

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 nocturne’s 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 II’s 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 guitar’s range.

a) Original

Example 2.9: Satie, Nocturne no. 1, measure 3

19
b) Transcription

Example 2.9 continued

a) Original

b) Transcription

Example 2.10: Satie, Nocturne no. 1, measure 18

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 2.11: Satie, Nocturne no. 1, measure 23

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

Example 2.12: Satie, Nocturne no. 1, measure 4

21
b) Transcription

Example 2.12 continued

a) Original

b) Transcription

Example 2.13: Satie, Nocturne no. 1, measure 32

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 I’s part stays at the original

pitches while the part played by guitar II is transposed down.

a) Original

b) Transcription

Example 2.14: Satie, Nocturne no. 1, mm. 8-10

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 II’s 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

Example 2.16: Satie, Nocturne no. 1, measure 14

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 2.17: Satie, Nocturne no. 2, mm. 5-6

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 guitar’s 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 2.19: Satie, Nocturne no. 2, measure 17

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

Example 2.20: Satie, Nocturne no. 2, measure 7

28
a) Original

b) Transcription

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

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

Example 2.22: Satie, Nocturne no. 3, mm. 5-6

In example 2.23 and 2.24, guitar II’s 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

Example 2.23: Satie, Nocturne no. 3, measure 9

a) Original

Example 2.24: Satie, Nocturne no. 3, measure 10

31
b) Transcription

Example 2.24 continued

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

Example 2.25: Satie, Nocturne no. 3, mm. 11-12

32
b) Transcription

Example 2.25 continued

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

Example 2.26: Satie, Nocturne no. 4, measure 1

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

guitar’s timbre. Example 2.27 illustrates this.

a) Original

b) Transcription

Example 2.27: Satie, Nocturne no. 4, mm. 5-6

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 guitar’s

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

Example 2.28: Satie, Nocturne no. 4, mm. 11-12

In example 2.29 the four-measure B-section’s 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 guitar’s range no longer becomes an issue.

35
a) Original

b) Transcription

Example 2.29: Satie, Nocturne no. 4, mm. 13-16

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

Example 2.30: Satie, Nocturne no. 4, measure 17

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

Example 2.31: Satie, Nocturne no. 5, measure 7

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 voice’s F-natural. More

harmonics are added at the end of the top part much like the end of measure seven. Also, the

accompaniment part’s 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

Example 2.32: Satie, Nocturne no. 5, measure 9

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 instrument’s techniques, colors, and timbres to replicate the

piano’s 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 guitar’s 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-SAËNS’ DANSE MACABRE, OP. 40 FOR FOUR

GUITARS

Introduction

Camille Saint-Saëns’ 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 Liszt’s 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. Liszt’s transcription is

then shown with the additional 47-bar expansion that Philip Friedheim discussed in his article.

a) Original

Example 3.1: Saint-Saëns, Danse Macabre, mm. 25-32

28
Latham, Alison. "Danse macabre." Oxford Music Online. Oxford University Press. Web. 6 Jan. 2015.
29
Friedheim, Philip. “The Piano Transcriptions of Franz Liszt.” Studies in Romanticism, Vol. 1, No. 2, pg. 83.
30
Ibid, pg. 94. 

41
b) Transcription

Example 3.1 continued

42
 Camille Saint-Saëns’ 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-Korsakov’s Capriccio Espagnol, Op. 34, William

Kanengiser’s 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 Dearman’s 7-string Thomas Humphrey guitar, which has a two-fret extension on the

seventh string.”31 Kanengiser further states:

“Realizing that many players don’t 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 Rimsky-

Korsakov’s 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 Doberman-
Yppan, 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

Example 3.3: Saint-Saëns, Danse Macabre, mm. 33-34

45
b) Transcription

Example 3.3 continued

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

Example 3.4: Saint-Saëns, Danse Macabre, mm. 121-124

46
b) String section

c) Transcription

Example 3.4 continued

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-Saëns, 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 guitar’s range. Guitar III in

this example is playing a simplified version of the string section’s 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

Example 3.7: Saint-Saëns, Danse Macabre, mm. 174-177

50
c) Transcription

Example 3.7 continued

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

Example 3.8: Saint-Saëns, Danse Macabre, mm. 189-192

51
b) Oboe

c) Flute

d) Transcription

Example 3.8 continued

Example 3.9 shows measure 205 of Danse Macabre, where there is a key change from G-

minor 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 can’t sustain

52
like the bowed instruments, guitar II’s chords are not notated throughout as they are in the

original version.

a) Harp and violin

b) Cellos

c) Transcription

Example 3.9: Saint-Saëns, Danse Macabre, mm. 205-208

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

Example 3.10: Saint-Saëns, Danse Macabre, mm. 394-396

54
c) Transcription

Example 3.10 continued

Another texture used frequently is two guitars playing the melody while the other two

play the harmony. This is widely used in Kanengiser’s 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.

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a) Original

Example 3.11, Rimsky-Korsakov, Capriccio Espagnol, mvt. I, measure 1

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b) Transcription

Example 3.11 continued

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 III’s trombone line

is notated in octaves to not only add depth but to create a different timbre than a single note.

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a) Original

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

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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.

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a) Original

b) Transcription

Example. 3.13: Rimsky-Korsakov, Capriccio Espagnol, mvt. I, mm. 36-37

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a) Original

Example 3.14: Saint-Saëns, Danse Macabre, mm. 93-94

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b) Transcription

Example 3.14 continued

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 guitar’s colors are suited to imitate the many instruments of the orchestra. In Danse

Macabre, Saint-Saëns 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-Saëns’ 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.

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 CHAPTER FOUR

CONCLUSION

The need to transcribe works by major composers for guitar has been realized since the

guitar’s resurgence in the late nineteenth century. Francisco Tarrëga, Miguel Llobet, and Andrés

Segovia all contributed transcriptions for the guitar. It wasn’t 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 quartet’s 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 SoloDuo’s transcription of the Moonlight Sonata would have seemed

ludicrous to past guitarists. LAGQ’s transcription of Rimsky-Korsakov’s Capriccio Espagnol is

evidence of the quartet’s audacious attitude toward transcription.

Guitarists have been exposed to the works of major composers like Bach, Beethoven, and

Debussy by transcriptions. It wasn’t until the twentieth century that, with the commissioning

work done by Andrés 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.

Segovia’s 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

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

masterpiece.

Transcribing is an art that raises one’s understanding of one’s 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 Satie’s 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-Saëns 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.

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 APPENDIX A

ERIK SATIE’S FIVE NOCTURNES

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 APPENDIX B

CAMILLE SAINT-SAËNS’ DANSE MACABRE, OP. 40

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 BIBLIOGRAPHY

Adams, Courtney. “Satie’s 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

O’Connor 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. ”Satie’s 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, Sérgio." 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.

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 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 today’s top guitarists

including: Sergio and Odair Assad, David Russell, Jason Vieaux, Paul Galbraith and Johannes

Möller.

A native of Hillsborough, NC, Christopher began to teach himself to play the guitar left-

handed 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