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GUITAR TECHNIQUE TIP OF THE MONTH Your Personal Guitar Lesson |
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Transcriptions and Arrangements
What is essential, is invisible to the eye
By Douglas Niedt
Copyright Douglas Niedt, All Rights Reserved. This article may be reprinted, but please be
considerate and give credit to Douglas Niedt.
You are on DouglasNiedt.com
It's not my intention to defend the right to transcribe or arrange a musical work. This has been
dealt with, hashed out, and pretty much successfully defended many times in past years.
Incidentally, though most people don't, I like to make a distinction between a transcription and
an arrangement. I like to use the word "transcription" in regard to taking a musical work (usually
classical) and adapting it to another instrument, trying to stay fairly close to the original. I like to
use the word "arrangement" to describe the end result of taking a piece (classical or
non-classical) and adapting it very freely (perhaps changing the meter, harmonizations,
melody, or altering the rhythms).
In regard to the transcription side, there has been a trend going on for many years that
disturbs me. Some transcribers engage in an almost blind pursuit of the original. They stick to
the original text as closely as possible, unaware of the consequences. In their dogged pursuit
of the original notes, these transcribers lose sight of their ultimate goal--to bring the music to
life. Instead, with their automaton-like original-note for original-note approach to transcription,
they snuff out the very life of the music.
But don't misunderstand. Closely checking the original music is an important part of
transcription and even performing a transcription. I don't let my students play a transcription
(even of mine!) without them comparing it to and studying the original version.
But studying the original notes should not in itself determine the final character of the
transcription. One of the important criteria of the effectiveness of a transcription is that THE
MUSIC MUST SOUND GOOD ON THE GUITAR. A transcription is not supposed to be an
imitation of the original instrument. We performers are not in the business of doing
impersonations of other instruments! Segovia said it very well: "Transcribing is not merely
passing literally from one instrument to another. It means finding equivalents which change
neither the esthetic spirit nor the harmonic structure of the work..."
You are on DouglasNiedt.com
To take an obvious example, in performing any of the Bach solo violin or cello works, one
cannot play on the guitar only what is written in the original violin or cello music and expect any
kind of musical result. One will end up with a poor impersonation of a violin or cello. The
addition of bass notes, inversion of harmonies, additions or deletions of chordal notes, etc. are
all sometimes needed to make a transcription "guitaristic."
Our goal is ultimately to make the work sound on the guitar as good as or better than
the original instrument, and to accentuate a particular quality of the music that the
original instrument could not capture.
This quality could be something technical such as contrapuntal transparency and clarity, or
something more abstract such as an air of tenderness or fragility which the guitar can capture
better than say the piano in some impressionistic works. One cannot usually achieve these
goals by slavishly following the original music. Incidentally, the above statement can be used
not only in making transcriptions, but also in judging the quality of a transcription done by
someone else.
On the other hand, one must also guard against the other extreme of taking too much liberty
with the text, also resulting in losing the spirit of the original music. Changes must be made with
unerring instinct and taste. Perhaps it is in reaction to past musicians taking too much liberty
with the original text, that today more and more transcriptions are being written by people who,
sticking so closely to the original text, stifle or lose the spirit of the music.
You are on DouglasNiedt.com
But one needs only to listen to some good transcriptions to hear the philosophy of freedom
from the printed note work successfully. Segovia's transcriptions of Albeniz and Granados
(based on those by Llobet and Tárrega) by no means closely follow the original piano music.
And though one could possibly rein in the freedom of adaptation in these versions a bit here
and there, nevertheless these transcriptions magically bring these pieces to life with a
soulfulness and musical quality that the piano cannot touch.
Similarly, Rick Foster's famous transcription of Bach's Jesu, Joy of Man's Desiring leaves out
many, many notes of the original music. But by avoiding entanglement in mere notes and
instead concentrating on the spiritual qualities of the music, Foster was able to produce a
musical version of tremendous beauty and communicative power. This version (in contrast to to
others that attempt to follow the original music more closely) sounds so right on the guitar that
when listening to it we never think of the notes, chord voicings, or even the fact that much of
the music in the original is sung by a choir!
Again, let me emphasize that in transcription there is nothing wrong with authenticity and
following the original score as long as the music sounds better that way. If it does not, and in
most cases it will not, this does not necessarily mean the piece is unsuitable for transcription,
but only that something is wrong with the "authenticity." Musicology by itself is not enough.
Musical knowledge is good for the performer in that it frees his imagination. Only when
knowledge of the score, real musicianship, and an instinctive feeling for what works on the
guitar are brought together, does a transcription come to life.
Finally, as in all aspects of musical study, one must trust one's instincts, feelings, and ears. As
Antoine de Saint-Exupery wrote in his classic, The Little Prince, "It is only with the heart that
one can see rightly; what is essential is invisible to the eye."
And so it is with transcription. What is important is not just what we see on the original score
before us. What is important goes far beyond that. Many young musicians today in our music
schools and on our concert stages do not understand this, and that disturbs me. We should not
be afraid to close our eyes more often, and discover what really matters. Remember, what is
essential is invisible to the eye.
You are on DouglasNiedt.com
What is essential, is invisible to the eye
By Douglas Niedt
Copyright Douglas Niedt, All Rights Reserved. This article may be reprinted, but please be
considerate and give credit to Douglas Niedt.
You are on DouglasNiedt.com
It's not my intention to defend the right to transcribe or arrange a musical work. This has been
dealt with, hashed out, and pretty much successfully defended many times in past years.
Incidentally, though most people don't, I like to make a distinction between a transcription and
an arrangement. I like to use the word "transcription" in regard to taking a musical work (usually
classical) and adapting it to another instrument, trying to stay fairly close to the original. I like to
use the word "arrangement" to describe the end result of taking a piece (classical or
non-classical) and adapting it very freely (perhaps changing the meter, harmonizations,
melody, or altering the rhythms).
In regard to the transcription side, there has been a trend going on for many years that
disturbs me. Some transcribers engage in an almost blind pursuit of the original. They stick to
the original text as closely as possible, unaware of the consequences. In their dogged pursuit
of the original notes, these transcribers lose sight of their ultimate goal--to bring the music to
life. Instead, with their automaton-like original-note for original-note approach to transcription,
they snuff out the very life of the music.
But don't misunderstand. Closely checking the original music is an important part of
transcription and even performing a transcription. I don't let my students play a transcription
(even of mine!) without them comparing it to and studying the original version.
But studying the original notes should not in itself determine the final character of the
transcription. One of the important criteria of the effectiveness of a transcription is that THE
MUSIC MUST SOUND GOOD ON THE GUITAR. A transcription is not supposed to be an
imitation of the original instrument. We performers are not in the business of doing
impersonations of other instruments! Segovia said it very well: "Transcribing is not merely
passing literally from one instrument to another. It means finding equivalents which change
neither the esthetic spirit nor the harmonic structure of the work..."
You are on DouglasNiedt.com
To take an obvious example, in performing any of the Bach solo violin or cello works, one
cannot play on the guitar only what is written in the original violin or cello music and expect any
kind of musical result. One will end up with a poor impersonation of a violin or cello. The
addition of bass notes, inversion of harmonies, additions or deletions of chordal notes, etc. are
all sometimes needed to make a transcription "guitaristic."
Our goal is ultimately to make the work sound on the guitar as good as or better than
the original instrument, and to accentuate a particular quality of the music that the
original instrument could not capture.
This quality could be something technical such as contrapuntal transparency and clarity, or
something more abstract such as an air of tenderness or fragility which the guitar can capture
better than say the piano in some impressionistic works. One cannot usually achieve these
goals by slavishly following the original music. Incidentally, the above statement can be used
not only in making transcriptions, but also in judging the quality of a transcription done by
someone else.
On the other hand, one must also guard against the other extreme of taking too much liberty
with the text, also resulting in losing the spirit of the original music. Changes must be made with
unerring instinct and taste. Perhaps it is in reaction to past musicians taking too much liberty
with the original text, that today more and more transcriptions are being written by people who,
sticking so closely to the original text, stifle or lose the spirit of the music.
You are on DouglasNiedt.com
But one needs only to listen to some good transcriptions to hear the philosophy of freedom
from the printed note work successfully. Segovia's transcriptions of Albeniz and Granados
(based on those by Llobet and Tárrega) by no means closely follow the original piano music.
And though one could possibly rein in the freedom of adaptation in these versions a bit here
and there, nevertheless these transcriptions magically bring these pieces to life with a
soulfulness and musical quality that the piano cannot touch.
Similarly, Rick Foster's famous transcription of Bach's Jesu, Joy of Man's Desiring leaves out
many, many notes of the original music. But by avoiding entanglement in mere notes and
instead concentrating on the spiritual qualities of the music, Foster was able to produce a
musical version of tremendous beauty and communicative power. This version (in contrast to to
others that attempt to follow the original music more closely) sounds so right on the guitar that
when listening to it we never think of the notes, chord voicings, or even the fact that much of
the music in the original is sung by a choir!
Again, let me emphasize that in transcription there is nothing wrong with authenticity and
following the original score as long as the music sounds better that way. If it does not, and in
most cases it will not, this does not necessarily mean the piece is unsuitable for transcription,
but only that something is wrong with the "authenticity." Musicology by itself is not enough.
Musical knowledge is good for the performer in that it frees his imagination. Only when
knowledge of the score, real musicianship, and an instinctive feeling for what works on the
guitar are brought together, does a transcription come to life.
Finally, as in all aspects of musical study, one must trust one's instincts, feelings, and ears. As
Antoine de Saint-Exupery wrote in his classic, The Little Prince, "It is only with the heart that
one can see rightly; what is essential is invisible to the eye."
And so it is with transcription. What is important is not just what we see on the original score
before us. What is important goes far beyond that. Many young musicians today in our music
schools and on our concert stages do not understand this, and that disturbs me. We should not
be afraid to close our eyes more often, and discover what really matters. Remember, what is
essential is invisible to the eye.
You are on DouglasNiedt.com
BE SURE TO VISIT DOUG'S "SECRET VAULT"
It contains many of Doug's Previous
Guitar Technique Tips of the Month
It contains many of Doug's Previous
Guitar Technique Tips of the Month
Have a comment?
Question?
Suggestion for the website?
We would love to hear from you.
Question?
Suggestion for the website?
We would love to hear from you.
We have a Printer Friendlier (PDF) version of this article that's also easier on the eyes.
It's SO much easier to read a printed article than to read it from the computer screen.
It's SO much easier to read a printed article than to read it from the computer screen.
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| These are my very detailed, in-depth articles and high-def videos on how to play the classical guitar. It's like getting your own private guitar lesson every month. Need info on classical guitar right hand technique? Guitar scales? How to play bar chords? Harmonics? Looking for a classical guitar practicing routine? Tips on performing onstage? How to tune a guitar? Looking for easy Christmas guitar arrangements? Chances are, I have covered it, or will soon. The tips are by subscription only. |
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Doug's Guitar Technique Tip of the Month will be sent to you monthly. These are the best on the
Internet. No one else's technique articles and videos even come close. Most of the written tips run
over 20 pages. Most of the videos run from 15-30 minutes. The tips are thorough and the
production is excellent. Check out the free tips in Doug's Vault for a sampling.
A one-year subscription (12 tips) is only $24. That is only $2 per tip.
Purchase a ONE-YEAR SUBSCRIPTION to:
DOUGLAS NIEDT'S GUITAR TECHNIQUE TIP OF THE MONTH
Doug's Guitar Technique Tip of the Month will be sent to you monthly. These are the best on the
Internet. No one else's technique articles and videos even come close. Most of the written tips run
over 20 pages. Most of the videos run from 15-30 minutes. The tips are thorough and the
production is excellent. Check out the free tips in Doug's Vault for a sampling.
A one-year subscription (12 tips) is only $24. That is only $2 per tip.
Be a better guitar player or teacher. SUBSCRIBE NOW!
Purchase a ONE-YEAR SUBSCRIPTION to:
DOUGLAS NIEDT'S GUITAR TECHNIQUE TIP OF THE MONTH
Doug's Guitar Technique Tip of the Month will be sent to you monthly. These are the best on the
Internet. No one else's technique articles and videos even come close. Most of the written tips run
over 20 pages. Most of the videos run from 15-30 minutes. The tips are thorough and the
production is excellent. Check out the free tips in Doug's Vault for a sampling.
A one-year subscription (12 tips) is only $24. That is only $2 per tip.
Purchase a ONE-YEAR SUBSCRIPTION to:
DOUGLAS NIEDT'S GUITAR TECHNIQUE TIP OF THE MONTH
Doug's Guitar Technique Tip of the Month will be sent to you monthly. These are the best on the
Internet. No one else's technique articles and videos even come close. Most of the written tips run
over 20 pages. Most of the videos run from 15-30 minutes. The tips are thorough and the
production is excellent. Check out the free tips in Doug's Vault for a sampling.
A one-year subscription (12 tips) is only $24. That is only $2 per tip.