Decided to add a new piece to the Transcriptions project (and to work on it next): Debussy's Menuet from the Petite Suite, originally for piano duet. It seems this has not been transcribed for guitar solo, though several arrangements exist for guitar duo, trio... As usual, ideally this is to be a literal transcription (and in the original key), not a mere arrangement. Preliminary exploration inspires hope, but we shall see. Simple "drop-D" tuning, so a standard guitar score could potentially be forthcoming...
Okay, it's going to be really beautiful... but it will not have every note from both piano parts. I'm fine with that. I'm an octopus on guiar (albeit a slow one), but the key word is "oct"—eight fingers is one thing, the 20 of a piano duet is another! (In fact I would say I have "six (fretting) fingers" on guitar, one of them being the thumb of the fretting hand in cello position, another being the index finger of the plucking hand. So, less than a third of the 20 in use by two pianists playing the original duet.) Will it surpass fidelity level 1 ("mere arrangement")? There is a solo piano condensation (by the composer) that would perhaps be better to be working from. I do have printed editions of both (they're public domain in any case, as with all the compositions in this project).
Sat. First 8 measures are perfect—some cute fingering, and very good sound.
Sun. Another 8 measures; getting into arrangement territory for sure, but still lots of yummy goodness!
Mon. And another 8 measures. A 24‑measure incipit is now finished.
Tues. Done another 7 measures, probably the most difficult part of the arrangement, for the complete 31‑measure opening section. Next is the lovely trio, its first 20 bars being one of my favourite passages in all of music! The first 4‑measure phrase, solo secondo, utterly divine, is completely worked out. Though actually it wasn't this, but rather the ending of the piece that, being spontaneously evoked on multiple recent occasions, finally decided me to attempt the arrangement. Indeed there are other moments in this piece such as m.39–43 that have also achingly sprung to mind's ear lately. The piece is just crying out to be arranged, whatever the fidelity!
Wed. Could finish today—guessing around four hours' work? For sure will finish the trio section. Just getting started as this balmy afternoon gives place to eventide. ..... And a bit later: uh, yeah, no way I am finishing today; will be lucky to finish the trio.... But at least m.32-35 are perfection!
... 10pm, yeah, this is a lot harder than anticipated. There will be a lot missing from the sequel, but I'm determined to make something of it, to push through somehow. But there's simply no way to get everything, and in particular if want to play the high-register stuff without transposition (which I mostly do), then entire passages of lower harmonies need to be sacrificed unless we happen to be blessed with an opportune open string here and there. I've toyed with en passant retunings of the sixth string, but there's simply no time when the changes are needed... As dire as the situation may seem, there are some big payoffs when things do work out, so yeah I'll be pushing this through and see what we get. Might not be concert-worthy but it's still something I want for personal recital.
Thurs. Done up to m.48 inclusive, except I accidentally skipped writing down m.36–39 (tricky passage, though I did have it worked out...). The measures m.40–48 are musically crucial (to my taste anyhow) so in my frantic enthusiasm I got ahead of myself! What happens between here and the last ten measures I don't really care (comparatively). But those final ten bars have to be perfect.
I suppose this arrangement will be subject to ongoing refinement: It's so far from literal that there's a tonne of wriggle-room (to mix metaphors). That's what makes arranging so much more creative and fun than literal transcription, but arranging is just not what this project is really about. Rather it is about ultimately respecting the urtext original scores to the greatest possible extent. But there is space for a couple arrangments, and provision for it in the "fidelity 1" designation.
Sat. Finally settled m.36–39, which I struggled with quite a lot (actually only three bars, since m.39 is identical to m.38)... So we have the first 48 measures complete. m.49-51 should be pretty simple since I'm register-collapsed to open position in the top part, and the bottom part is a running continuo on two open strings. Then m.52-59 I had plans for, if only I can remember them... And that will complete the trio section. What follows is basically a reprise of the opening section, and to the extent that it differs I do not intend to get too fancy or worry myself much over it. m.64-74 will probably be identical to m.13-23. That will bring us to the coda, which I love; and I'm willing to spare no effort to capture its essence, even if proper literality isn't possible.
Sun. Decided to at least finish m.49-51 today. (I guess m.51 is identical to m.50 as well.) As for m.52-59 (closing stretto of the trio), I've got all the ingredients now, but I want them to marinate for a while, stirring occasionally, before actually committing to their particular arrangement. There are some nifty tricks, and a few serendipitous gifts, but still it's not going to be easy to play.
Mon. So yeah, m.49-51 got done (trivial, really). Still working on m.52-59 but will try to commit to something today.
Feeling very motivated by the good results I've been getting, and now by this reminder of the rate that new completed transcriptions are emerging. The only other music work I'm doing (besides exploratory listening) is learning to play Ayala's Gato y Malambo, and thirsting to do covers of some divers pop songs. Where should I invest my energies next? Learning covers is awkward since I'm not thrilled to practise singing in my apartment, though I'm alright with playing guitar. But it is summer, and I did carry my Baby Taylor out and about this fine afternoon—and while it did shed its case at one point, it was only to let someone try it. Was considering Men I Trust Another Stone. ¿Qué opinas?
Now I am wondering whether I ought to take a break from this opus, or should I attempt No. 6 first, then we have the first quarter of the 24-prelude opus completed? I already have a good idea how I'm going to approach No. 6, but that's not the same thing as knowing it will come together...
Must say, I do hope someone somewhere someday will appreciate some of these transcriptions. Preferably someone competent to play them fluently, ideally to bring them before the public in concert.
If you think you might be that person, do reach out through email so we can strike up a correspondence (link at bottom of page). The usual caveat applies with email: If you don't see a reply, please check your Spam folder...
Queer how I'm able to produce these without being able to play them at all well, and yet be certain that they are performance-worthy. I would literally stake my life on it—I've been that careful!...
At present I have everything explicitly solved except m.9.3-4, m.10.3-4, m.13.3-4 and m.14.1-2 (and ideas have been tested for all of that). Fidelity, while not perfect, is high. Facility not so much... But if you can enter the positions quickly, and your hand isn't too small (sorry!), the notes can with determination be most prettily sounded. :)
I think maybe this piece while charming is not a good choice for players with hands on the smaller side. But I'll reassess once finished, and see if a slightly less literal version with narrower spans is accessible without untoward musical sacrifice.
If you're skilled and intrepid, you can try the at-pitch ossia which will be part of the published transcription, and (while near impossible to play) is a lot more literal.
This year I tried planting a cutting directly in soil, and it worked! Here is its first cluster of blossoms.
Though on a roll, should probably stop for the day as I am, after all, quite ill... Indeed I think I've sneezed more times in the last six hours than in my entire life heretofore!
Anyway whatever... I am still sick and haven't been outside for four days, so my motivation isn't exactly high tide at present.
Anyhow today I finished up Scriabin Prélude Op.11 No.4. I'd say it worked out pretty well, medium difficulty, and good fidelity.
Also, this much is at original pitch, except the final contrabass E1. My sparse 2016 scratcher suggests dropping the sixth string a full octave between penultimate and final notes, but, nah: the machine head will often make squeaking noises, the manual action is distracting, the pitch stability of the target is very poor (string reaction will swiftly pull sharp), and there's even a risk of the string coming off the peg...
I have no interest in attempting this at pitch. It would sound thin and feeble. Which is actually quite befitting—no piece in this set of 24 preludes is a better fit for such a sound!—but it's just technically infeasible, I gave it an honest try.
This one should be quick work under register collapse, in standard tuning, most of it played in open position. The most damaging compromises are some long notes in the bass that I see no way of sustaining to full duration. But only some solid work will reveal how many notes are impacted...
So only two bars plus one beat left! I won't sleep until it's finished...
Here's a 1951 live recording by my favourite pianist, Vladimir Sofronitsky. A likely tempo for performance of this transcription would be about half that! But perhaps a virtuoso guitarist could push it nearer the intended Vivo.
Quite tricky for a tonal piece with only two voices ("two-part invention"). Even on piano I don't know that I've ever played it through flawlessly at the indicated tempo (actually a range is given: 184–192–200). Personally I prefer it at a much more leisurely tempo, as with many of the quicker pieces in this project, so the fact that technical problems of the guitar force some slackening of tempi is fine with me.
Tempted to say we're in the clear now for the remainder, but don't wanna jinx it!
...And, several hours later: Finished! Good riddance... ;-) Kept to the high ground (no register collapse) for the remainder, which provides better continuity coming out of the middle section, and just overall better aesthetic balance for experiencing the piece as a whole. It's a trick I've used a few times now. In some works the closing section is an exact recapitulation (ABA form), and I provide the option to play the refrain either at the lower or higher octave. Here, although there is a general sense of refrain, the closing actually shares just a few bars in common with the opening, so I've written only the literal version (i.e. all voices at original pitch, except one low note that was out of range).
Next up is No. 3, which is one of my favourite pieces of music. While I've played it many times on piano since 2016, I have not looked at the nascent transcription. On guitar, it's probably not going to be playable at the swift tempo intended by the composer, but I'm very curious how it will come across at whatever tempo is achievable!
This is one of the few pieces selected by the composer himself to record to piano roll in 1910. In fact, he recorded only the 3rd sonata and nine short pieces. Of those, there are four from the Préludes Op.11, and as it happens I've already transcribed two of them, and this is the third! Of the other pieces (outside of Op. 11), I've just finished one of them (Mazurka Op.40 No.2), and two of the others are in my list and are essentially complete (though being from 2016 they'll likely undergo extensive revision...). It seems my taste is similar to the composer's regarding favourite pieces, at least up to 1910, five years before his untimely passing at the age of 43.
Moving on to No.2, which seems likely to be fraught with difficulties... Standard tuning though (at least that's the tuning I was trying for the incipit transcribed in 2016), so may produce a standard classical guitar score for this. That's a lot of work and far from necessary, so we'll see. Really, while my spirits and energy hold up, efforts are better spent on additional transcriptions, or perhaps on a bit more composition. Or even on learning some of the Transcriptions or Ballads to a performance level.
I think it's reasonable to expect this to be fidelity 4 (my top rating, indicating the transcription is literal), in spite of a few compromises or omissions, and a bit of register collapse. The difficulty is only moderate (facility code m).
It's interesting to hear how, for such a "trifle" of a piece, so much variety exists in the interpretations on record—a trend initiated by the composer's own very eccentric 1910 piano roll recording.
...And, done at 3am!
Next up is the divine Scriabin Prélude Op.11 No.1.
A fairly complete and literal transcription exists from 2016, but I'm giving it the typical meticulous treatment that I nowadays feel is merited. So the sketchy old tablatures (which are frankly quite painful to decipher, even if technically unambiguous) are being rewritten into a highly explicit form, showing pretty much all string numbers, fingerings, ringlines, slurs, etc. This has been the standard adhered to for all Transcriptions in the project which are currently available, or which will become available. The only information I usually omit is plucking finger indications, since that is typically a matter of subjective preference. When provided, there are grounds for considering them canonical.
Of course each player can feel free to change my fingerings, or make other alterations (though copyright considerations apply unless the changes are substantial enough to constitute a different arrangement).
This piece in particular has a fragile quality, even on piano, but especially on guitar where much of it is played on the bare nylon upper strings. Getting a good sound can be challenging, even with the ample resonances passively contributed by the tonally richer lower (wound) strings. But ultimately it's just in the nature of this composition to be delicately plaintive.
I love this Transcriptions project so much—what a thrill creative work is when you have a knack! Though it is probably time to try learning to play some of these fluently (and likewise to play and sing some of the Brontë Ballads); and better yet to compose more music—none has been written since early 2018...
I'm considering making this transcription available for free in the handwritten form, not that the piece is a favourite, or that the transcription is the most successful (though I can say with confidence that it is a success), but more for interest's sake to see how the nitty gritty scratchers look.
Yeah sure, why not. Here it is: Schumann Fantasiestücke Op.111 No.1 scratcher. As I test the piece, correcting typos and possibly finding better fingerings, I'll update this scan.
Notice that the scordatura tuning (C G C G Bb Eb) is a good example of why tablature is the only sane notation for this and most of my other transcriptions: Only one of the six strings is in standard tuning! Good luck reading that from a standard classical guitar score...
In case anyone is wondering why this piece is spanning six pages and not its usual three: The copies I use for transcription, colloquially called "scratchers", have piano staves laid out three per page with ample blank space for working up the tablature in pencil. I'd begun to favour "direct-to-AYT" transcription to a text-based extended tablature format comprising input files for my custom typesetting system, but I am become so sick of computers in recent years that I've favoured a return to pencil and paper.
Having said that, should you wish to obtain any available transcriptions, rest assured they will be provided as print-ready typeset tablature, such as those found in the free samples—hopefully with the bugs fixed, if ever I can muster the resolve to stomach more code development...
I've discussed it more at length elsewhere on the site, but can't help reiterating that I abhor compromise for the sake of guitar adaptation (which is why I insist on the term "transcription" rather than "arrangement", though many if not most expert arrangements are quite literal). This attitude makes the work a lot more harrowing that it would be were I willing to compromise the composers' original music in order to achieve easier playability.
The self-imposed constraint to adhere to original key in all cases is a bit crazy for guitar transcriptions, and, while I've been astonished by what's been possible so far, it would probably pay to try fresh versions in more convenient keys in some cases—as is almost universally done in guitar arrangement.
That leaves only No. 7 (Träumerei), among the planned selections from this opus. I thought I had a sketch, but it seems I didn't write anything down. And having found several really excellent transcriptions in various keys (though none in the original F major, an E major version tuned sharp could achieve that), there is no need for my contribution.
I will move on to other works; guess I'll tackle the last Schumann left on my current list, namely Fantasiestücke, Op.111, No.1. This will not be very literal, and there's no way it'll be getting played at the indicated tempo (Sehr rasch, M.M. 84 to the half)! Even so, it's an impressive virtuosic tour-de-force played at even a fraction of that tempo on guitar; and the rest of the composer's textual direction "mit leidenschaftlichem Vortrag" ("with passionate expression") will be an inevitability...
This leaves No. 12 (Kind im Einschlummern) to refine (I have a good sketch from 2019); and then I also have a sketch already prepared for No. 7 (Träumerei) in a different tuning, and that will be the final number I attempt to transcribe from this opus.
As it happens (having just mentioned him below), there is a delightful 1953 video clip of Cortot playing this piece with simultaneous running commentary in a masterclass.
This transcription shares the same tuning with numbers 1 (already available as a free sample), 9, and 12, so that they can be played as a set without interruption. (5 was also planned, but it's definitely not happy about the raised fifth string, and even with standard tuning it's proving troublesome. Since it has the least value to me musically of the five, I'm dropping it.) I'll confine work to the remaining two numbers in the days ahead, before moving on to other music. There is good preliminary work done, by the looks of the 2019 sketches.
Cortot's 1935 and (especially) 1954 recordings of Kinderszenen strike me as best of all time—highly recommended listening! (The relatively more obscure 1954 recording seems to have been for a radio broadcast.) The above video clip is delightful for showing us the maestro as pedagogue, but doesn't really do him justice as an interpreter of Schumann.
Happy Canada Day (soon) 🇨🇦, Pride Month 🏳️🌈 🏳️⚧️ (still) ... and, Слава Україні! (Slava Ukraiini!) 🇺🇦
I now venture forth to celebrate this confluent occasion... :)
Both have nearly perfect fidelity to the original piano scores, including adherence to original key. The Scriabin is in standard tuning throughout; whilst the Debussy begins simply drop-D, but employs several (quite affective!) en passant drops. The Scriabin includes a standard classical guitar score in addition to the usual tablature, something I do not intend to do often unless paid handsomely. (My rationale for preferring tablature for transcription work is discussed elsewhere.)
Also, the transcription that initiated this project, Liszt's Nuages Gris, has been refined and typeset. (There were two earlier transcriptions, an early version of aforementioned Scriabin Mazurka in 2016, completely rewritten this year; and, way back in 2008, Borodin's Serenade from the Petite Suite, performed but never written down; but the Liszt is what really got the ball rolling.)
updates on the Transcriptions etc. will be slow for a spell. There is email.
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Three successive albums from the 1980s by Québécois metal band Voivod, which are now a vital part of modern musical history. Incidentally, Voivod are still active, and won a 2019 Juno for best metal album. I value each of these three albums over (the largely retrospective-pastiche) The Wake that finally won, though it too is one of their best. Kudos especially to Denis Bélanger, the original singer, with a superb instinctive microtonal style, who still has his voice in spite of albums like those pictured here! 
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The deluxe box-set reissues of these early Voivod classics go for about £15 each (not sold here).
Unfortunately the principal composer, Denis (‘Piggy’) D’Amour, succumbed to cancer in 2005. Dan (‘Chewy’) Mongrain now fills Piggy’s shoes as composer and guitarist (though the original bassist, ‘Blacky’, who used to co-write with Piggy, was still in the band and writing up until The Wake—nice timing to be ejected). The new bassist ‘Rocky’ also brings something fresh and kindred. Anyhow, I think the next album will be more musically innovative.
Piggy's art was to avoid cliché (as opposed to sublimating or ridiculing it), without leaving you feeling like anything was avoided—if anything, you feel that you've heard something even more essential / canonical / natural than the familiar musical tropes. If that's a true impression of his music, then it's bound to be a rare gift. But probably a good way forward for Voivod is edgier experimentation, maybe in a slightly jazz direction (but still heavy)? ... I'm not sure. Incorporating D’Amour’s characteristic harmonies and progressions of course, but conquering new ground stylistically? I hope and trust there will be another album.
Why not reconcile with Jean-Yves, work up a production integrating a troupe of dancers, and take that on a cruise! It would be great fun, and your fans would love it.
I’ve uncovered and scanned one of my first compositions, Poem, WoO 1995b, a solo piano impression of a poem my grandmother wrote. (WoO is the standard abbreviation for “without opus number”.) It was written in autumn of 1995, and performed at a public concert of new music the next summer. I have no piano these days, but a guitar transcription feels possible.
Apologies for the smudges, though I think most were there when she gave it to me. The music describes a butterfly’s adventures on a day of spirited weather, changeable breezes, rain and sun vying together in sunshower, and after, the peace, the patient fanning of the wings, the dripping leaves and bright, warm sunshine upon the dank earth, and a graceful tumbling flight into the glow. I did write down the meaning of the poem at the time (regrettably I have but little Ukrainian language, though my concern for Ukraine is rising): “A wee tiny butterfly is happily flying from one blossom to another, looking for nourishment. Rain comes and her wings get heavy. She crawls under a leaf and waits for the sun. When the sun shines she’ll fly again.” (I believe the original is intended in a gender-neutral way. In Ukrainian, which has grammatical gender, butterfly is always masculine, just as in French. I chose feminine pronouns since ‘her’ sounds prettier than ‘his’ or ‘its’. And we can imagine Baba’s spirit fluttering into the heavens.)
My grandmother was quite frail when she wrote the poem, as you can tell from her handwriting. She was a devout Christian, and the poem is probably meant allegorically. I am anti-Christian, in the sense that I positively dislike Abrahamic religion (and have been subjected to enough of it to make the judgement), but I never expressed that view to her or disrespected her beliefs—not to condemn anyone who has been less discreet!
And an extra treat for members, a scan of the first draft.
It’s important to maintain luthier-built instruments at a good humidity (about 50% ± 5% RH), which can be quite different from ambient. In Canada the problem is worst in winter, when indoor RH can drop below 30% with the dry frozen air and the dessicating effect of heating systems. I made this sponge-in-open-bag bespoke humidifier (wet sponge, squeeze out excess water, dry hands and bag [for sake of luthier’s label], then stuff it between 3rd and 4th strings, dumping it into the lower bout). When it dries out, dampen it again. If it isn’t getting crusty-dry after about five days, the guitar probably doesn’t want more water, and the bag should be removed.
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Now there are over a dozen complete Transcriptions published and available.
The Liszt Eglogue, long overdue, is now available for free download. As of this date, there are three free transcriptions, and six other complete transcriptions available for purchase.
I finally changed my guitar strings! This is news-worthy since I had been using the original, used strings on this used classical guitar, and had played thousands of hours on them. (I expect they only lasted this long because I use a lot of alternative tunings.) Today I noticed serious intonation problems on the fourth string, and my hand was forced...
There is a new free work on the Transcriptions page, namely the first section of the Andante sostenuto from Schubert’s D.960 B-flat sonata. While not a complete movement, this famous 42‑measure incipit stands well on its own.
Work on the Transcriptions has recommenced in full earnest. I am committed to making at least one free complete transcription available before then end of this month. Most of the work is on the tablature typesetting software (which I’m writing). The Tablature Guide PDF is also now available, though it’s still work in progress...
Looks like this page was not maintained.
Anyhow, I made it to Haworth for the bicentenary! Here’s the “Brontë Waterfall”
and a couple other shots nearby, photographed on Emily’s birthday.
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Today I created the poem pages, which present the original texts of the poems, offer a memorisation aid version (first characters of words, and punctuation), and link to locations of the holograph manuscripts, most (though not all) of which unfortunately require payment to a museum to actually see.
The poem pages can be accessed from the score-browser, the works page, and anywhere else
you see the 
icon.
I created an envelope icon 
and put it as mailto link in the footer.