PROBLEMS OF TRANSCRIPTION

FROM GUITAR TO HARP

by

CHELCY LYNN BOWLES, B.Mus.Ed,

A THESIS

IN

MUSIC THEORY

Submitted to the Graduate Faculty of Texas Tech University in

Partial Fulfillment of the Requirements for

the Degree of

MASTER OF MUSIC

Approved

w - \ ^

f ' ^

T'd

No- 1 -

ACKNOWLEDGMENTS

I would like to express appreciation to Mrs. Gail Barber Pabst

for her assistance during the writing of this paper. Special thanks

go to Dr. Judson Maynard for acting as ray advisor and serving as the

chairman of my thesis committee.

11

CONTENTS

ACKNOWLEDGMENTS ii

LIST OF ILLUSTRATIONS iv

INTRODUCTION 1

I. FEATURES, CAPABILITIES AND LIMITATIONS

OF EACH INSTRUMENT 3

Guitar 3

Harp 5

II. PROBLEMS OF TRANSCRIPTION 10

Pedaling and Enharmonic Spelling 10

Finger Patterns 21

Note Repetition 27

Harmonics 34

III. SPACING, OCTAVE PLACEMENT AND RANGE EXPANSION 38

Spacing and Octave Placement 38

Expansion 44

IV. TONE COLOR VARIATION AND SPECIAL HARP EFFECTS 54

BIBLIOGRAPHY 68

iii

LIST OF ILLUSTRATIONS

Figure

1. Exterior Mechanism 5

2. Pedal Notch ^ 7

3. Pedal Box 21

4. Guitar Harmonic Chart 35

iv

INTRODUCTION

The problems of transcribing music from one instrument to

another have been dealt with in many books and treatises. Tran­

scription for the harp, however, is rarely treated in these books.

Although no attempt will be made here to treat every aspect of harp

transcription, a detailed description will be made of the problems

of transcription for harp from a single instrument, the guitar.

The guitar was chosen for this treatment of harp transcrip­

tion because of its several similarities with the harp. The harp

and guitar, although drastically different in actual size, have

approximately the same dynamic ranges. Similar, too, are the

methods of tone production. Both instruments are plucked with the

finger-tips, producing generally the same sound. Therefore, the

music for each instrument can be similarly composed and programmed.

Another reason the guitar was chosen as the model instrument

is the lack of original harp repertoire. Although the harp is an

ancient instrument, the development of the modern chromatic harp is

quite recent (around 1810). Most earlier compositions did not

exploit the capabilities of the modern instrument. Few contemporary

coiiq)osers who are not harpists have composed for the instrument.

RosXyn Rensch, The Harp (New York: Praeger Publishers, X969), p. 107.

Therefore, a large part of the repertoire for harp is made up of tran­

scriptions from other instrumental music. Because of the several

similarities, many guitar compositions are adaptable to harp and can

be quite effectively transcribed.

An example of transcription problems and possibilities has

2 been made here using H. Villa-Lobos' Five Guitar Preludes. These

particular pieces have been chosen not only for their possible use

as harp repertoire, but because they include the majority of problems

and possibilities of transcription from guitar. It will be noted

here that this is not a harp transcription of the Preludes, but simply

examples of transcription problems and possible solutions.

Heitor Villa-Lobos, Five Preludes for Solo Guitar (Paris: Editions Max Eschig, 1954).

CHAPTER I

FEATURES, CAPABILITIES AND LIMITATIONS

OF EACH INSTRUMENT

Guitar

Little need be said about the guitar because of its general

popularity and familiarity. However, mention should be made of the

fact that the music being studied is written for the classical, or

Spanish, guitar. This guitar is a highly expressive instrument, its

chief physical feature being a wide fingerboard.

The guitar has a range of about three and one-half octaves.

The six open strings are commonly tuned in this manner: E (a third

above middle C) for the first string, B for the second, G for the

third, D for the fourth, A for the fifth, and E for the sixth. These

notes appear on the staff in this fashion:

m "O—:=—zr

Because the guitar pitches are written an octave above their sounding

pitches, the above notation would actually sound the following pitches

m

Other tunings are possible and helpful in some cases, but not as

3 common as this tuning.

The pitches between the open strings are achieved by placing

a finger of the left hand on a fret and playing the string which is

pressed down with the right hand. Each fret shortens the string

approximately one-eighteenth of its length, thereby raising the

pitch one half-step. Obviously, chromatic movement is easily

achieved by simply stopping the string at each adjacent fret.

A variety of styles can be played on guitar. Single note

passages are easily achieved because of the closeness of notes on

the guitar. Chordal passages are very frequent, but limitations

are inevitable. The left hand can span a maximum of about five

frets, and only six notes are possible in any one chord. Desirable

spacing of chord members is not always possible. Though there are

usually several ways to voice a chord, the best voicing (or best

"sound") is not always the most convenient for the guitarist's

hands. Sometimes open strings are left in a chord because there

are only four fingers to stop the strings. Although this may not

be the most desirable sound, it is a common characteristic in

guitar music.

Various tone colors can be achieved on guitar. The normal

position for plucking is located over the sound hole, and produces

a rich fuXX sound. Some methods of tone variation on guitar include

3 Aaron Shearer, Classic Guitar Technique, Vol. I (Melville,

New York: Franco Columbo Publications, 1969), pp. 6-7.

5

4

1) plucking close to the bridge, producing a sharp, metallic sound;

2) plucking over the fingerboard, causing a mellow soiond; 3) playing

with the fingerT.ails; and 4) tapping the soundboard with the finger­

tips. Harmonics, or "bell tones," are also possible on guitar, and

wiXX be discussed in a later section. Explicit directions for color

effects (excluding harmonics) are not commonly included in the printed

guitar music, and their use is generally left to the discretion of the

performer.

Harp

The harp is much larger than the guitar, having forty-seven

strings and usually encompassing seven and one-half octaves, varying

with the model. The chief difference between harp and guitar lies

not in size, but in tuning and chromatic movement. The harp is tuned

diatonically, chromatic movement being achieved by means of a coiiq)lex

mechanism called the "action" (see Figure I). Each string is tied

under the soundboard, goes through a hole in the soundboard and

through two metal discs before being threaded through a tuning pin

in the neck of the harp. The discs are controlled by seven pedals

(one for each tone of the diatonic scale) located in notched holes at

the base of the harp (see Figure 2). The pedals are connected to

This technique can be compared to the sul ponticello tech­nique of playing close to the bridge on the violin.

Comparable to sul tasto, in violin terms.

Samuel 0. Pratt, Affairs of the Harp (New York: Charles Colin Publishers, 1964), p. 107.

Disc

Fig. X—Exterior Mechanism.

Pedal

Pedal Notch

Fig. 2—Pedal Notch

8

rods which go through the column and link with the action within the

crown. Each pedal rod moves a plate activating all of the like pitches

included in the seven and one-half-octava span; that is, the "C" pedal

wilX either sharp, flat, or naturalize aXl seven C's. When the pedal

is in the upper notch—the flat position—neither disc touches the

string (see Figure 2). As the pedal is pushed to the center notch

(natural), the upper disc moves, shortening the string the amount suf­

ficient to raise the pitch one half-step (approximately one-eighteenth

of the string length). Likewise, when the pedal is moved to the sharp

position, the lower disc moves, raising the pitch another half-step.

The bottom two strings have no discs at all and must be tuned to the

notes necessary for a particular composition.

The most obvious problem for harp is rapid chromaticism—the

necessity of pedaling each half-step, as well as moving from pedal to

pedal. The position of the pedals around the base of the harp can

also present problems, and will be discussed later (see Chapter II,

Pedaling and Enharmonic Spelling).

Another difficulty encountered is the repetition of notes on

the same string. Not only is the actual muscular movement a problem

in rapid passages, but the stopping of string vibration for the

reiteration of the note causes a disturbing noise which is very dif­

ficult to avoid (see Chapter II, Note Repetition).

Still another consideration is the problem of finger patterns.

The arrangement of notes in some guitar patterns presents difficulties

for the harpist, sometimes necessitating the rearrangement of the notes

(see Chapter II, Finger Patterns). As with any instrument, the lim­

itations may be minimized as the capabilities of the performer are

Increased. But many problems can be solved by good transcription

practices.

The large and accessible range of the harp facilitates desir­

able voicing of chords. Generally speaking, desirable voicing on harp

requires large spacing between notes in the lower range and closer

spacing in the upper range.

Various colors can be produced on the harp. In addition to

the normal manner of plucking (near the middle of the string), one

may pluck near the extremities of the string, play simultaneous

enharmonic notes, produce and double harmonics, strum the strings

with the fingertips or fingernails, and tap the sounding board. All

of these effects, however, are not suitable for transcriptions from

guitar. Only the effects applicable will be included in this study

and wiXX be discussed more fully later.

CHAPTER II

PROBLEMS OF TRANSCRIPTION

Pedaling and Enharmonic Spelling

Problems can arise due to the changing of the pedal position

for chromatic movement or change in tonality. An aspect of this per­

plexing problem is the location of the seven pedals around the base of

the harp. Three pedals—those affecting the B, C, and D strings—are

on the left side of the harp and are operated by the left foot (see

Figure 3). The remaining four pedals, those for the notes E, F, G,

and A, are operated with the right foot. It obviously would be dif­

ficult to change the position of two pedals on the same side of the

harp simultaneously. Although it is sometimes impossible to avoid

such an occurrence, the pedal changes can usually be divided between

the two feet. The number of pedal changes can sometimes be reduced

by respelling certain notes in a passage enharmonically. The follow-Q

ing examples will demonstrate effective enharmonic changes.

Q

Occasionally a reference is given in harp music to the pedal setting at a particular spot. These references, called pedal maps, are simply "stick figure" representations of the pedal box. The pedal map with aXX pedals in the natural position looks this way: | | j I | j \ \ . If a pedaX is sharped, its position on the map is below the horizontal line: i i I I I \ \ (F pedal is sharped). If a pedal is flatted, its

position is above the line: ^ j ' j j \ \ | (B pedal is flatted). The

beginning of each example in this section will show a pedal map indi­cating the pedal setting at the beginning of the passage.

10

11

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12

Prelude No. 1 in E Minor has two passages which require enhar­

monic spellings. The first is found in measures 22-27. The original

passage would be pedaled as follows:

Example 1

+iH^6^ g| ft* ° ^ OH C * <i^ A*\^* fett

» C4fc 1 6* A more suitable spelling for harp is shown below in this transcribed

example. The staff has been expanded to include the treble and bass

clefs for common harp notation. The harp transcription is notated

in the sounding range of the guitar music. In measure 23, the note

e-flat can be played instead of d -sharp so that the B pedal can be

changed sooner. In measure 24, the note e-natural has been elimi­

nated in the harp music. Because of the fact that A, G, and E pedals

are on the same side of the harp, the pedal changes are in^ossible.

The note -flat cannot be substituted for -natural because the F

pedal, too, is operated by the right foot. Therefore the chords

become simply diminished triads rather than diminished seventh

chords—a workable compromise. In that same measure, the note

^-flat is substituted for the -sharp because of the need for the

13

Example 2

jE-natural in the chord in the following measure. The foot can remain

on the G pedal to make the change to the £-sharp needed in the next

chord. Although moving two notches—as in -flat to -sharp in the

example—is not desirable, it is less difficult than changing two

pedals on the same side of the harp.

The second example of pedaling problems in this Prelude is in

measures 33-36. The pedal changes are not numerous, but they are in

difficult spots. Each group of pedal changes requires two changes on

the same side of the harp. And because of the spelling of the pre­

ceding chord, they must be changed on the first beat of each measure.

But a possible transcription would appear as shown in Example 4.

The £-sharp in measure 33 must be obtained with the left foot on the

E pedal. The left foot has time to move to the opposite side of the

14

Example 3

6*

Example 4

harp in the measure preceding the example. It would remain to change

9 the pedal to the -natural position in the next measure. The notes

f-natural in measure 33 and -flat in measure 35 must be changed on the

very last beat of the measure. Measure 36 contains several problems.

The appearance of the note £-double-sharp calls for a complete respell­

ing of the chord to -natural-d-natural-^-natural, moving to a

b-natural-£-flat-^-flat chord. A passage such as this is difficult at

best, and must be coped with as well as possible. Although some of

the pedaX change problems remain, the alterations present a version of

the passage which can be played. The close position of the right hand

notes WiXX be discussed later (see Chapter III, Spacing and Octave

Placement).

Q

A pedal to be changed with a foot operating the pedals on the opposite side of the harp is enclosed in a box.

15

^^ P elude No. 2 in E Major the chord spellings in measures

22-26 pose a number of problems. The passage is simply a series of

alternating dominant seventh chords resolving to tonic chords. How­

ever, the key center changes from four sharps to four flats and

returns to four sharps in only four measures—a difficult feat for

the harpist. The guitar music would be pedaled this way:

Example 5

T x ^ f

Measures 25 and 26 prove very difficult because of their sudden change

back to four sharps. By changing the preceding measures to sharps

instead of flats, the number of pedal changes in these two measures is

greatly reduced. An enharmonic spelling of the passage is shown in

Example 6. In measure 23 the note b -sharp can be used for -natural

and can remain so through measure 25 becauL.c. of the frequent need for

c-natural. The note e-flat must be used because of the need for

16

Example 6

n*hrt f^

d-natural on the first beat of measure 26 and can remain so until mea­

sure 27. The note a -sharp can be used for b-flat throughout the passage

and -sharp can be used for a-flat. The result is a less difficult

arrangement for the harpist.

Another problem passage in this Prelude occurs in measures 85-

90. The pedal changes for the original guitar notation would be:

Example 7

17

Obviously, the pedal changes are quite impossible, since this passage

is marked Pin mosso. The following enharmonic respelling necessi­

tates only two pedal changes on each bear. Also, the pedals required

for each change are on opposite sides of the harp.

Example 8

In measure 85, the note -sharp is prepared early and substi­

tuted for -natural because the A and F pedals are on the same side of

the harp. The D-sharp pedal can be prepared for the following measure

with the A-natural change. In measure 86, the note £-flat must supply

the repeated b -natural on the second meat of the measure. In measure

87, three pedals must be changed simultaneously on each beat. To cope

with this problem, the right hand finger pattern of the preceding mea­

sure has been adopted for the first beat to* eliminate the A-sharp

pedal change. The new pattern commences with a d -flat substitution

for c-sharp to avoid a two-notch slide for the C pedal. In measure 88

the only enharmonic change involves the substitution of the note

^-natural for the -double-sharp and its continuation for the next two

18

measures, allowing the preparatory F-sharp, C-sharp, and A-natural

pedal shifts for the next key change. The passage is still not an

easy one, but again, it is playable.

Prelude No. _3 in A Minor has only one passage of serious

difficulty. This occurs in measures 9-12:

Example 9

(\1 'PgHJtilM I

^k±^ * * ^ ^

—:—^'* ^ r%

S ^ : * 'c5S T^%S5ag"Bi^^g'rss^*r ar

Obviously, the pedal changes are both numerous and awkward—there are

several simultaneous shifts required on the same side of the harp.

An enharmonic respelling offers not a large reduction of pedal shifts,

but at least a more orderly and operable system ensues:

Example 10

19

At a glance, the transcription appears as difficult as the guitar

pedaling. But a closer examination proves it to be more efficient.

Because the tempo is marked Andante, pedal changes such as the

F-natural following the half note in measure 9 and the B-natural

and E-flat shifts in measure 10 are possible. All changes are

possible as to their position on the harp.

Prelude No. 4 in E Minor contains a passage whose chief dif­

ficulty lies in the desired tempo—Animato. The pedal changes in

measures 18-24 are possible in the original form at a very slow

tempo:

Example 11

20

Clearly, the foot must move from pedal to pedal with great speed.

An enharmonic spelling would not reduce the number of pedals signif­

icantly, but would alter the movement from pedal to pedal.

Example 12

In measure 19, the note -sharp on the third beat can be treated as an

a-flat. The necessary changes in the following one and one-half mea­

sures can be operated by sliding only the D and A pedals to various

chromatic notches, making enharmonic substitutions. Although the F

pedal does come into play in measures 21-22, the A and D pedals become

21

the sole consideration for the remainder of the passage. This reduc­

tion of pedal-to-pedal movement facilitates a faster tempo.

Finger Patterns

As stated before, the harpist employs only eight fingers when

playing—-actually an expansion from the maximum six simultaneous notes

possible on guitar. Because of the tuning of the guitar and the usual

fingering of only four of the six strings, the two outer strings or

the top or bottom two strings are left open in many guitar note patterns.

Although this situation facilitates passages for the guitarist, it pre­

sents some muscular difficulties for the harpist. The following examples

from the Preludes will demonstrate a few common fingering problems and

possible solutions.

Prelude No. 2_ contains a large section in which several measures

should be changed to accommodate the harpist. Because the section is

marked Piu mosso, a few of the patterns present problems. For instance,

measures 39 and 41 and subsequent similar measures appear this way in

the guitar music:

Example 13

o CLO 0 o

1^ J7J^/Jte f

It is possible for the guitarist to hold down two or more strings on the same fret simultaneously. Chords fingered in this manner are called "barred" chords.

22

Because only four of the notes are usually fingered within any one

pattern on guitar, the pattern is completed with the open B and E

strings (the small circles above the notes indicate that the notes

are to be played on open strings). However, for the harpist, a more

suitable pattern would be:

Example 14

mm v^mmr f

In each measure the bottom note of the upper pattern has been repeated

to set up a "rocking" motion for the harpist rather than changing to

another finger for the second and third bottom notes. This change would

allow less finger-work for the harpist and therefore facilitate speed.

In measure 41, the e-sharp has been enharmonically changed to f-natural

to alleviate the need for an awkward and necessarily fast pedal change.

Another awkward pattern for the harpist in this large section

appears in measure 51 and subsequent similar measures (see Example 15).

Example 15

^ ^

23

Again, the fingering of only four notes on the guitar requires the

particular arrangement of notes. For the harpist this measure would

require the awk\.ard fingering described in the example above. A more

compatible harp fingering would be:

Example 16

^ tJS iJ ^

Since this particular pattern has been established previously, it

appears to be even more appropriate than that set up in the guitar

music for the benefit of the guitarist.

Another measure requiring attention is measure 57, which

appears this way in the guitar music:

Example 17

O ft 0

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S\A \ ^ ^ ^S ? The guitarist fingers the first three notes and then plays the open

E and B strings. This is no great problem for the harpist. However,

measures 67 and 69 and the measure in Exaii5)le 14 set up a pattern

which is much more comfortable:

24

Example 18

This pattern is easily adaptable to measure 57, the £-natural recurr­

ing on the bottom of the upper pattern and the alternating e-natural

and -sharp at the top:

Example 19

«7

S 1 4" s fe±

f This not only avoids too much awkward finger-work, but continues a

previously established pattern.

A similar fingering problem appears in measure 79:

Example 20

e o

<\yvi iPi '^ This can easily be changed to the same pattern discussed in the examples

above by repeating the bottom note of the upper pattern:

25

Exarple 21

One last passage in Prelude No. _2 due some consideration

occurs in measures 72-74:

Example 22

The last note of each four-note pattern is an open B, very easily

attained on the guitar. However, for the harpist, a repetition of

the second note for the last would greatly facilitate the pattern

and would serve as a reinforcement of the descending line in the

passage:

Example 23

i-rr'.rr'A''"

26

The transcriptions offered for the examples from Prelude

No. 2 do not alter the general effect of the passage but render it

playable at the required tempo.

Prelude No. 4 also contains a passage in which a finger pat­

tern can be changed to benefit the harpist. Measures 11-24 contain

two basic types of finger patterns. One is simply an ascending

four-note pattern like this: ~

The other is a pattern similar to this:

Again, the reason for this particular arrangement is the position of

the open string (indicated by the small circle). Because this passage

is marked Animato, it would greatly facilitate speed to set up an

unchanging pattern for the harpist. Because the first pattern above

is the more natural of the two for the harpist, each set of notes in

the passage could be arranged in this pattern. (For an example of

the new pattern in use in this passage, see Example 67.)

As mentioned before, many problems are possibly eliminated

with the skill of the player. But these fingering suggestions will

facilitate the transcription for even the finest harpist.

/7

Note Repetition

A problem which even the most competent harpist finds diffi­

cult to execute is that of effective note repetition. The guitarist

can merely finger the same note on different strings, and note repe­

tition becomes quite simple. The harpist, however, must pluck the

string, return to it, replace the finger, and pluck again to repeat

the note. This movement not only requires more time than is sometimes

desired, but risks accuracy at a fast tempo. Another factor to be

considered is the noise involved in repeating a note on harp. Because

of the original pluck, the string is still vibrating. The replacement

of the finger on that string and stopping its vibration invariably

causes a sharp noise called a "buzz." Because this noise is difficult

to avoid and the move itself often difficult to execute, certain

changes can often be made to facilitate or avoid the repetition of a

note.

There are several examples among the Preludes which illustrate

enharmonic changes made to avoid repeated notes. The first occurs in

Prelude No. 1 , measures 130-131. These two measures in the original

guitar notation appear this way:

Example 24

^^^^m^

28

Although the repetition of the note -sharp is not impossible to exe­

cute, a considerable amount of "buzzing" would occur. By changing

the note -sharp to -flat, as shown in the example below, the prob­

lem would be eliminated.

Example 25

In Prelude No. 2^ a problem occurs in measure 84. The guitar

notation is:

Example 26

The repetition of the note b-natural is quite simple for the guitarist

because he fingers the first b-natural and plays the second b-natural

on the open string. This repetition is quite impossible on harp

because of tit fast tempo of the passage. A better arrangement for

harp would be to change the first b-natural to £-flat and play the

second b-natural "open:"

29

Example 27

^ ^3 m^

This eliminates the note repetition and organizes a suitable finger

pattern.

Measure 28 in Prelude No. presents two problems. This mea­

sure and the preceding final beat appear in guitar notation this way:

Example 28

..im

Not only is repetition of the G string required throughout the measure,

but the pedaling of G-sharp to G-natural to G-sharp at the beginning of

the example. The simplest solution is exemplified below:

Example 29

i li T4 \j '* - ' rfV^ i un ^m fair

r-

30

By changing the note -sharp to a-flat, the G string is left to func­

tion as a jg -natural. At the same time, the noise of the continuous

change of the G pedal is eliminated.

One final example of an enharmonic note used to replace a

repeated note is in Prelude No. 4 , measure 3. This is the original

guitar notation:

Example 30

^ ^

By simply changing the first h-natural to £-flat a more effective sound

will ensue. This measure occurs again in measure 35 and can be handled

in the same manner. Since there is no note which can be substituted for

^-natural, it must simply be rapidly executed.

Sometimes a repeated note cannot be handled enharmonically and

another solution must be sought. Such a problem occurs in Prelude

No. 2, measure 36 (and subsequent identical measures). The measure is

notated this way in the guitar music:

Example 31

31

The most obvious method of handling the repetition of the note

b-natural in the first half of the measure would be to substitute

£-flat. However, £-sharp is needed on the beat immediately following,

and the pedal change from C-flat to C-sharp would be quite difficult

at the fast tempo indicated. Therefore, the only way to provide a

note to complete the measure would be to substitute -natural for the

repeated b;-natural in this manner:

Example 32

£ i j '^ '^ i l^ i i^ l

The fact that d-natural is already in the supporting chord makes the

use of the substitute jd-natural a workable compromise.

A similar measure occurs in measures 62 and 63 of this same

Prelude. An examination of the original and the transcribed examples

shows that the problem is alleviated in the same manner as in measure

36. Example 33 is the original notation and Example 34 the transcribed

measure.

Example 33

32

Example 34

There are two examples in the Preludes in which a note or notes

must be eliminated to avoid troublesome note repetition. The first of

these occurs in Prelude No. _1, measures 36-38:

Example 35

Obviously, the constant repetition of the b;-natural string would cause

quite a lot of buzzing. The note £-flat could possibly be substituted

for the -natural. But because of the accentuated b -natural, the sound

of the b-natural carries through the measure, making the constant

repetition of the note unnecessary, A possible transcription of these

measures employing this suggestion would be:

Example 36

^

iU»

i bl^»^ J -I |'3?:1 J \ .U i

^ ^ t i t t

33

The final example of note elimination is in Prelude No. 5 ,

measures 17-19, The original guitar notation appears this way:

Example 37

Although the repetition of the second eighth-note of each pattern is

possible, the sound produced is not desirable. Because these measures

would actually be played an octave below the written pitches, the large

strings would be in wide vibration. The return to the vibrating note

for repetition would cause quite a disturbance, A more suitable tran­

scription for harp would be:

Example 38

^*^'^i ^'k ^ ^

^ ^ ^

l'"'-''^iJ'^'^i('ij"'jM''(j"^'i(

In each pattern, the top note of the first beat has been eliminated.

Because a note on the same pitch as the eliminated note follows immedi­

ately, the overall sound of the pattern is not drastically disturbed.

34

The inversion of the right hand chord has also been changed in the

harp transcription to eliminate note repetition. The result is a much

smoother and "buzz-free" pattern for harp.

Harmonics

Still another problem one might encounter in transcription from

guitar to harp is the interpretation of harmonics. On harp, harmonics

are quite simple to understand and notate. The only easily attainable

harmonic is the octave above the "open" string. In notating harmonics

on harp, a small circle is placed over the actual pitch to be plucked

as a desired harmonic. The harpist makes the necessary adjustments to

pluck the note so that the harmonic at the octave ensues. This is done

by simply stopping the string firmly with the heel of the hand (or knuckle

of the second finger) at mid-point and plucking the string with the thumb.

The guitar has a more intricate system of producing and notating

harmonics because of the more varied types of harmonics possible. The

actual principle of harmonic production is the same as on the harp. A

string of the guitar is very lightly stopped with the left hand at a

certain spot and the same string is plucked with the right hand. The

point at which the string is lightly touched determines the harmonic

achieved. Harmonics up to the tenth partial are possible on each of

the six strings, but only the first five partials are clear. The chart

in Figure 4 will explain the position of the clear harmonics.

Dionisio Aguado y Garcfa, Nuevo Metodo para Guitarra (Madrid: Imp. Aguado, 1843), Lam. 7.

35

\

Open X Two Octaves \

\ and Octave \

Two Two Octaves

and String Octave Major 3rd and 5th Octaves Major 3rd

6th I a u r n m

5th

8va ^ J

4 th

va :5J

* ^

8va 5 i *

-0-

4e^ isz:

"O"

- ^ - ^

J S S E

•^^o -

3rd m 2nd P 5 I

4te - ^ = — * ^

«c

il 3ac

8 v a — O 8 v a ^ .

1 s t

F i g . 4—Gui t a r Harmonic Chart

36

The fingerboard of the guitar with numbered frets is above, with a

staff for each of the six strings below. The dark boxes on the E

string indicate the place at which the string is lightly touched to

achieve the corresponding harmonic pitch on the staff. The notes on

the staff represent the "sounding" pitches rather than the written

pitches.

There is only one example in the Preludes requiring knowledge

of harmonic notation for guitar. This occurs in Prelude No. 4 , mea­

sures 27-32. The passage is notated this way in the guitar music:

Example 39

(D %1 ^fg^f®

©o ^f' g)(E) ®

Ham. - X '—^ J-=i-i—I

® . • I I 4.T©T'&' t ;i li si

Jf-Lf-Lf-f

The notation of guitar harmonics is not standard. Even this edition

is not consistent. The large circles enclosing the capital letters

indicate the string on which the note is to be played.

37

The open lozenge-shaped notes and the rounded notes under small

circles indicate the fret on which to touch the string lightly.

From the chart explanation, an interpretation of the exact sounding

pitches on the guitar would be:

Example 40

'• l-tl-clf

^ •lyuui^J.,^ ^$r= Wm ^^ctm After realizing the actual pitches, the passage can be played in its

natural position on harp. However, harp harmonics can be applied to

make the sound more like the original guitar sound. Suggestions for

effective transcription of this passage appear later in this study

(see Chapter IV, Special Harp Effects),

CHAPTER III

SPACING, OCTAVE PLACEMENT AND RANGE EXPANSION

Following the solution of actual mechanical problems in a tran­

scription, one must consider the possibility of exploiting the character­

istics and qualities of the instrument for which the transcription is

made. Although guitar music is quite readily adaptable to the harp,

certain changes can be made to enhance the sound of a transcription.

Spacing and Octave Placement

Because the guitar is limited to a rather small range on any

one beat, the voicing of a chord is not always the most desirable.

The'guitarist must manage to play both melody and harmony within the

reach of four fingers of the left hand. Because there are usually

several ways to voice a chord, the guitarist often uses the voicing

that is most convenient within the context of a passage. On the harp,

however, the conditions for desirable voicing are better because of

the large range available within the reach of two hands and the ability

of each hand to reach a tenth or more. The close voicing of a chord

and the placement of the melody within the confines of the chord sur­

rounding it are not necessary on the harp. In fact, the situation

described causes much interference between the hands and fingers when

played on harp. To explain this concept of finger interference, an

example is made of measures 1-4 of Prelude No. _1. This passage in

guitar notation appears this way:

38

39

Example 41

X>n guitar this passage is not a problem because the melody is played

on a different string than the ones on which the chord is played. But

because of the closeness of the notes on harp, the ascending melody

would be not only covered by the chord, but would interfere severely

with the execution of the chord. By putting the melody in the octave

below, or the sounding range, and the chord in its written range, this

interference can be avoided:

Example 42

I ^-N

i m m * j^ 2i±f ^ 2 ^ ±^ 4-^

^m i ^ ^

^ E I

r The e.A«imple above points out the need for a discussion of

octave placement. As mentioned before, guitar music is notated one

octave above its sounding pitch. In most cases, this is quite a

comfortable range for the harpist. But occasionally an octave shift

is required.

40

Many melodic passages are to be played at low pitches and can

be clearly executed on guitar. The lower strings on harp, however,

are very large and have wide excursions. When closely spaced or when

fast notes are played on these lower strings, the sound becomes clut­

tered and muddy. Also, because the strings are in such wide excursion,

fast passages are often difficult to execute accurately. The follow­

ing examples demonstrate a few passages from the Preludes which

require an octave shift for clarity.

The first example demonstrating an octave shift for clarity is

in the Piu mosso section of Prelude No. 1_. An example is made of mea­

sures 52-53. This passage appears in this octave in guitar notation:

Example 43

Because the notes are so closely spaced, the ascending broken chord

in measure 52 in its sounding octave would be quite indistinct. Also,

since the section is marked Piu mosso, relative speed is desired.

Speed would be difficult to attain at the level of the sounding pitches

Playing the passage in its notated octave would render the broken chord

clear and the accentuated melody notes more distinct.

41

Another change for the sake of clarity occurs in the Piu mosso

section of Prelude No, 2_. An example will be drawn from measures 35-36

of this part:

Example 44

*i i S

I ^ t. 2 i? jflj^ I Irn ]-0 * 4 n f Obviously, this section would be quite unclear played on harp an octave

below its written pitch. Playing these notes at their written pitches

would allow both clarity and the necessary accentuation at the fast

tempo required,

A passage in Prelude No, , measures 1-2, would be more effec­

tive on harp if played in its notated octave. The passage appears in

the guitar music this way:

Example 45

Because both *- e eighth-note and sixteenth-note lines form melodies,

all notes need to be very clear. Played at the octave below these

notated pitches, neither line would be clearly melodic. A similar pas­

sage occurs in measures 5-7 and could be handled in the same manner.

42

In Prelude No, , an entire section requires an octave change

to ensure clarity. The measures involved are 15-26, The problem in

the first half of the passage (measures 15-22) is continuous scale and

arpeggio work. Played in the sounding octave, this section would sound

quite muddled. The following measures (22-26) must remain in the writ­

ten octave to accommodate the descending scale in measure 22, leading

to the note -natural in the next measure. The fact that the measures

Example 46

r •' jUi 11 r ' " 1 ^

i-'"^fl|f'^i j r f

43

following the ones in the example must repeat measures 15-22 in the

written octave makes them subject to an octave shift.

Another passage from this Prelude (No. 2) requiring an octave

shift is prompted by a very fast scale found in measure 9. This scale

played in its sounding range would be unclear:

Example 47

Examination of the measures following the scale just discussed (10-13)

shows that the scale leads directly into a repeat of the beginning mea­

sures of the piece:

m w

Example 48

ni^-^,tTT] r-r ^ av-

W

However, since the scale is to be played in its written octave it

would sound distorted to drop back to the sounding pitch suddenly.

Therefore, these measures following the scale should also be played

44

at their written pitches. One must take care to avoid abrupt shifts

of octave unless it is a characteristic of the original music.

Mention should be made here of an unusual occurrence con­

cerning spacing and octave placement. The passage. Prelude No. 1_,

measures 33-35, was discussed earlier in regard to its difficult

pedal changes. It will be discussed now as to its spacing problems.

The original guitar notation appears in Example 3. Because of the

position of the fingers for the three-note chord on guitar, this pas­

sage is not difficult. But because on harp the melody would be played

with the left hand, the large chord must be played with the right hand.

The continuous repetition of the widely spaced chords in the right hand

would be a hardship for the harpist. A rearrangement of the chord mem­

bers to a closer position would render the passage less difficult.

A transcription of this passage is shown in Example 4.

Expansion

A survey of the examples of harp transcription on the preced­

ing pages demonstrates another matter for discussion—expansion. As

mentioned before, guitar music is written on a single staff. The pre­

ceding transcribed examples have been expanded to the two-staff harp

notation. Some of them also have been slightly expanded in other ways

to employ more fully the larger range of the harp. Expansion involves

a variety of means, including doublings or additions of chords or notes

The Five Preludes include numerous examples which are more effective

45

when expanded to exploit the range of the harp. The paragraphs below

cite some of the more important and typical expan5=ion possibilities.

Prelude No. 1 includes two important examples of expansion.

The first passage occurs in measures 57-60. The notated guitar music

is as follows:

Example 49

The chord in measure 57 can easily be filled in with more chord members,

and the single descending notes can be doubled at the octave to produce

a fuller sound. The same technique can be applied to measure 59. In

measures 58 and 60 a large arpeggio is notated. In the guitar music,

the chord on the first beat is carried through the first sixteenth-note

of the following beat.. The composer evidently wanted the chord to be

accentuated, and beginning the arpeggio on th3 first beat would stop

the sound of the chord. On the harp, however, the chord can remain in

vibration as the arpeggio is played. Therefore, it would be possible

to notate the measure in this manner for harp:

46

Example 50

i' .fc ;

A second example in this Prelude occurs in measures 70-76:

Example 51

The first chord of each beat in the guitar music spans two octaves.

Because of the larger range available on harp, these chords can be

expanded to cover as much as three octaves. One must be careful,

however, to maintain the desired notes on the bottom and top of such

an expansion and to space the notes properly. The first three mea­

sures of the passage would be notated for harp as shown in Example

52. The remaining measures would continue similarly. The harmonics

on the last beat of each measure have been changed to natural

47

Example 52

placement (non-harmonics) due to the difficulty of attaining two har­

monics simultaneously at such close proximity in this high range.

More examples of expansion possibilities occur in Prelude

N£. 2 . The first of these is found in measures 10-14:

Example 53

In the earlier discussion of octave placement, this passage was mentioned

as being better executed in its notated rather than sounding range.

48

jultaneous notes on the first of each beat could IP

j without muddling the sound with large vibrating

^ .w»n of the members of each chord would come from

^ jibove it. A suitable harp transcription of this

Example 54

HHfl

"* t measures 10 and 12 will be discussed later (see

*' rp Effects) .

*« thod of expansion occurs in this same Prelude,

'•' passage is notated for guitar in Example 5.

'*43age discussed above, these measures would be

'-•-'ten range and the two notes at the beginning of

transcribed as chords (see Example 55).

49

Example 55

^ TTvrf - -^^

25 *^

^

HE* saa

^ p ^

f

This harp transcription includes the necessary enharmonic changes used

in the earlier discussion of pedal change problems (see Chapter II,

Pedaling and Enharmonic Spelling).

Prelude No. 4 offers one example in which expansion is desired,

Measure 25 appears in guitar notation like this:

Example 56

yl l

50

The arpeggio covers a range of about two and one-half octaves. How­

ever, by reducing the note values, the range of the arpeggio can be

expanded to cover three and one-half octaves on the harp, exploiting

more of the available notes. The doubling of the bass note -natural

helps to intensify the sound desired at this point.

Example 57

The final examples of tjrpical expansion possibilities occur in

Prelude No. _5. The first of these passages is at the beginning of the

piece, measures 1-6:

Example 58

ill'Vif jrVj,-'^ 'i^j ' v i r ^ ^ r r f

'MkMhAUVMl M II IL.1 U I r r r

51

Most of these chords can be expanded and the bass notes doubled for

emphasis and range exploitation for harp:

Example 59

^c^^ ^

^ ^

rr rf S w: ie

*

J ^ f

j=t ^ •' ) .1J U 1 J ^ : ^ 5 f f

^ : ^ ^ ^

E ^

n ff f f 1

Though only the first six measures have been used in this example, the

following measures (7-13) can be treated similarly.

A second passage in this Prelude, measures 28-29, can be treated

in the manner discussed above. The guitar notation appears this way:

Example 60

I

i

52

A suitable harp transcription of these measures would be;

Example 61

±±: i ^^JJO*" -Tt ^ ^ ±

^ ^

^

f ^

Beginning with the last part of measure 28, the chord on each beat has

been expanded and/or the bass note doubled at the octave below. The

second eighth-note has been reduced to a single note to avoid unnecessary

repetitions of notes. The bass note d -sharp on the third beat of measure

29 remains a single note. As discussed earlier (see Chapter I, Harp),

the two lowest strings of the harp have no discs and the pitch cannot be

altered by the pedals. That D string, being one of the two lowest on

the harp, would require retuning to d -sharp. Due to this situation, and

the fact that smaller models of harp may not even possess the low D

string, the doubling of that particular note in the measure is not

practical. One should consider the limitations of the lowest notes of

the harp in making a transcription.

53

Obviously, one cannot discuss each example ot expansion in a

selection as large as the Preludes. There are numerous examples in

wliich a bass note or an accentuated melody note can be doubled at the

octave or chord members added to provide a fuller and more desirable

sound on harp. The above discussion, however, has exemplified the

more common and important types of and uses for expansion.

CHAPTER IV

TONE COLOR VARIATION AND SPECIAL HARP EFFECTS

A final area of consideration in the transcription of guitar

music to music for harp is the aspect of tone color variation. Several

types of variation can be achieved on guitar. Previously discussed

were harmonics. Other tone color variations were listed in Chapter I.

Some of the effects available on guitar do have counterparts on the

harp. Beyond the common use of harmonics, both instruments can be

tapped to produce a percussive effect and both can be plucked with the

fingernails or played with a pick. Plucking on different parts of the

string will produce various sounds on both instruments. Both instru­

ments also are able to produce a form of glissando. The following dis­

cussion will illustrate some of the more common ways of achieving tone

color variation using harp effects in transcription from guitar.

A very useful special effect is achieved by plucking the harp

strings near the sounding board. This effect sounds very close to

that of plucking near the bridge of the guitar, and can be used any

place that this effect might be indicated in guitar music. Many edi­

tions of guitar music are not labeled for special effects, and their

use is left to the desire of the performer. On harp, however, a

passage to be played near the sounding board should be labeled.

Usually, a marking like this AyV/>k is placed above or below the

passage. Sometimes the passage is simply designated pres de la table

(near the sound board).

54

55

Although pres de la table can be used wherever plucking close

to the bridge is indicated in guitar music, there are other reasons

for its use. There are several examples in the Preludes which show

its capabilities as a tool of variation. The first of these occurs

in Prelude No. 1, measures 36-38:

Example 62

34

< ^ 4 ^ " ^ ^ ±

"^i r f

4a -/-

b/q> J J ?^

i *

fcz i ^

b /'l^yi /" j^-i^

e These three measures are highly repetitive, and some form of variation

is desirable. The repetition of the accented notes b;-natural (played

with the left hand on harp) could easily be played in a natural posi­

tion for the first measure and played pres de la table the last three

times to vary the timbre.

Another case in which repeated notes call for a change of timbre

is in Prelude No. _3, measinre 22.

Example 63

/%A•v^*^^ j2 /"V^v-vHo^^

s

56

As the dynamic marking indicates, each note should be played succes­

sively louder. Playing the last few notes pres de la table would

increase the intensity of the end of the measure by evoking more

overtones and providing the needed tone color variation of such a

repetitious measure.

Still another passage needing tone color variation is in '

Prelude No. 5, measures 14-15.

Example 64

4Mii 'ii |ii ^'h ^s ifefe^ n r r r c f i ! ^

The descending melody (played with the left hand on harp) has been

stated several times in the piece before this example occurs.

Although it has been dropped down an octave for this statement,

further variation could be achieved by playing the notes close to

the soimding board of the harp (pres de _la table).

A second place in this Prelude which would benefit by the use

of pres de la table is in measure 20, A harp transcription of this

measure would be:

Example 65

^V^S/V\ 20 /->rAr>r>

^ ^ ^

j£-

r-

57

The melody notes in the second half of the measure are indicated as

P s d£ la_ table to serve as a variation of their first statement.

This measure recurs in measure 31 and could be similarly treated.

An additional reason for the use of pres de la table is for

accentuation and clarity. Often the melody in a passage becomes

obscured by the surrounding notes. Consideration is given to mea­

sures 11-12 in Prelude No. 4_. The guitar music appears this way:

Example 66

The melody is the first note at the beginning of each beat. Instead

of pxilling hrT"'.er on the melody notes for their clarity, one could

play them close to the sounding board, making a tone color distinction

rather than a dynamic accent. Since the passage is marked cantabile.

58

this change for clarity would be more suitable than forceful accentua- '

tion of the melody notes, A harp transcription of this passage would

be:

Example 67

nA 11'jf-MfflvilLfJ'ctoig?^^

^ ^ Pp^^^^^-^—^ ^ - ^ ^ = £

The rearrangement of the notes was discussed in an earlier section (see

Chapter II, Finger Patterns).

Another passage in which pres de la table is used for clarity

appears in Prelude No, 5 , measure 7. This measure in the guitar music

i s :

Example 68

^

i i (

MTTT'

Because the position of the descending melody is among the chords them­

selves, it is obscured. Played close to the sounding board, the melody

would be quite distinct. A harp notation of this measure using pres de

la table would be:

Example 69

59

^ ^ ^

^

A second passage in this same Prelude needing the use of pr^s

de la table for clarity occurs in measures 18-19. Treated earlier (see

Chapter II, Note Repetition), this passage was transcribed in this

manner:

Example 70

13

^^te I? 5 n ^^^^^\ [ r (

V

f f ^

^ ^

The notes in the left hand are the melody and have been indicated as

pres de la table. These notes, because of the range in which they are

played on harp and their rather fast rhythmic values, could become

60

muddled and indistinct. Because the plucked string has a narrower

excursion at its lowest point, the melody would be more distinct

played close to the sounding board,

A second manner of tone color variation can be achieved by

harmonic doxjbling. This effect consists of plucking a note while

playing the same note an octave below as an harmonic. This produces

two notes of the same pitch. However, because the two notes normally

have a slightly different tuning, there is a rather wide frequency

vibration between the "unison" notes. The effect is a more inten­

sified sound. If the strings are allowed to vibrate a very long

time, an "echo" effect is produced.

The harmonic doubling technique can be very useful in tran­

scription from guitar. Often a passage involves only a single note

melody. Although appropriate for guitar, this type of passage would

sound sparse on harp. Such a passage occurs in the beginning measure

of Prelude No, 4, The first two measures appear this way in the

guitar music:

Example 71

61

Doubling the melody as an harmonic at the octave below would serve as

a reinforcement without dissolving the solitary aspect of the melody.

A harp transcription of the first four measures using the harmonic

doiibling would be:

Example 72

^g m ^m f h:^

ft O O

^ ^ " '"^ *^

The melody through measure 10 could be treated in this same manner,

A similar passage occurs in Prelude No, Ji, measures 23-35. A

representative portion of the passage, measures 23-24, appears this way

in the guitar music:

Example 73

62

Doubling the descending melody with the lower octave harmonic would

serve as a reinforcement of the melody and set it apart from the other

sixteenth notes. A harp transcription of these two measures would be:

Example 74

2i i i 7 It/ rn / f , ^

/ / ^ffHff^f.C f f m 3 ^ 1 i o o

^AtJ ^

r ( r^ M" 11' %

^

In addition to the above uses of harmonic doubling, there are

two examples in which its use as an "echo" would be effective. Both

cases occur in Prelude No. . Measures 25-26 appear this way in the

guitar music:

Example 75

rm^^.i,^

An effective transcription of measure 26 would be to play the auxil­

iary note as an harmonic, setting up an "echo" vibration with the

note an octave above. Because this measure is allowed to sound

quite a while, the technique would be effective.

Example 76

63

2fo

i o o

The second passage in this Prelude demonstrating the "echo"

effect in harmonic doubling occurs in measures 27-32. This example

was discussed in an earlier section of this study dealing with har­

monics. The original guitar notation appears in Example 39 and an

interpretation of the harmonics is in Example 40. It was mentioned

that these notes could be played in their natural position on harp.

However, a much more effective harp transcription is possible:

Example 77

" Sra te ^ ^

i s §T ^ *

I u g ^ 7' o

>

4 ^ ~A o ' ^ ''""* ^"^—

0

' i ' \S*{j i #

•1^ 8T« m ^

g ^

gj^ 3

h'tl^'Tig^ ^ ^ 5

JH^ ffl

64

In this example the harmonic notes are echoed not one octave, but two

octaves above the note actually struck. In actuality, the pitches

sounded are just one octave apart. But the variation in vibration is

wider because of the two-octave difference in tuning. This creates a

very effective "echo," a desirable event here because of the need for

timbre variation in this piece,

A final special effect available on harp which is useful in

the Preludes is called the pedal glissando, or pedal slide. This

technique occurs when a string is plucked and the pedal for that

string then raised or lowered while the string is still in vibration.

This technique is comparable to the portamento technique on guitar.

An example will be made of measures 1-3 and measure 10 from Prelude

No. _2. The original guitar notation appears this way:

Example 78

^ ^ ^ ^ ^ ^ ^ ^ ^

65

Notice should be taken of the small line between the notes a_-sharp

and b -natural in measures one and three, informing the guitarist to

change the fingering from _a-sharp to b -natural without plucking the

second note—or portamento style. A transcription of these measures

would show how this effect would be handled on harp:

Example 79

10 .tY^i»-' /> ^i^'^^f /

The hollow, lozenge-shaped notes indicate that they are not to be re-

plucked. The iedal notations indicate the pedal that is to be used

for the slide. One must be careful that a low string in vibration

whose pedal is to change is stopped, or muffled. If a low string is

66

allowed to vibrate during its pedal change, a harsh noise will occur.

Measure three contains such a possibility. The low b;-natural from

the previous measure is still in vibration when the B-flat pedal must

be changed. Therefore, the B string must be muffled before the change

occurs. This is indicated by the hollow, angular note b above the

muffle sign: vi/ • The upper octaves do not cause the harsh sound and

do not need special consideration. The note which is to be "gliss-

andoed" has been doubled at the octave in the transcription in measures

one and three. Because the special note is surrounded by sound, it

needs some accentuation so that the second note of the slide will be

heard. The octave doubling allows this extra sound without accenting

the note dynamically. Measure 10 does not need the doubling because

the slides can be clearly heard.

This technique can be very valuable in transcribing from

guitar. However, it is not advisable to over-use it, as it is not a

particularly pleasing sound on harp. But in some instances, when the

portamento technique is a particular trait of a piece, and can be

arranged as pedal slides for harp, it is quite appropriate, as in

this Prelude.

67

It is not likely that any one piece could contain all of the

problems and possibilities involved in a transcription from guitar to

harp. However, Villa-Lobos' Five Guitar Preludes do contain the most

significant aspects of a transcription of this sort. Tlie previous

study has been an attempt to expose some of these problems and to

offer solutions.

As stated earlier, no attempt has been made in this study to

transcribe the Preludes in their entirety. Tlie examples discussed

are problem areas and the transcribed examples merely suggested solu­

tions. It should be stated that the transcribed examples are not the

only possible solutions. There are often several ways to handle a

problem. The suggestions for transcription in this study are the

most basic and obvious. The desire is that the study will help make

the technical problems of transcription from guitar to harp easier to

comprehend and solve.

Again, because the original harp repertoire is limited, tran­

scriptions are needed and welcomed. The similarities between the

guitar and the harp indicate that guitar music is very appropriate

for transcription to harp. Hopefully, this study has exposed enough

problems and offered enough solutions to make the prospects of tran­

scription from guitar to harp less confusing and more feasible for

the musician.

BIBLIOGRAPHY

Aguado y Garcia, Dionisio. Nuevo Metodo para Guitarra. Madrid: Imp. Aguado, 1843.

Mariz, Vasco. Heitor Villa-Lobos, Life and Work. Washington, D. C Brazilian American Cultural Institute, Inc., 1963.

Pratt, Samuel 0. Affairs of the Harp. New York: Charles Colin Publishers, 1964.

Rensch, Roslyn. The Harp. New York: Praeger Publishers, 1969.

Shearer, Aaron, Classic Guitar Technique. Vol. I. Melville, New York: Franco Columbo Publications, 1969.

Villa-Lobos, Heitor. Five Preludes for Solo Guitar. Paris: Editions Max Eschig, 1954.

68