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FANTASIE for Guitar Solo Transcribed from Th~ Lute Tablatur~ and Sylvius Leopold Weiss Arranged for Guitar by Deric Kennard ==~ C2 -----., ~= C3

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FANTASIE for Guitar Solo Transcribed from Th~ Lute Tablatur~ and Sylvius Leopold Weiss Arranged for Guitar by Deric Kennard ==~ C2 -----., ~= C3 The copyright of this thesis rests with the University of Cape Town. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non-commercial research purposes only. University of Cape Town ," THE UNIVERSITY OF CAPE TOWN THE CONCEPT AND DEVELOPMENT OF THE YEPES TEN-STRING GUITAR. A PRELIMINARY INVESTIGATION THIS DISSERTATION IS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSICTown AT THE UNIVERSITY OF CAPE TOWN FACULTY OF MUSIC Cape of by FRED KAZANDJIAN University WINDHOEK - NAMIBIA 1992 Dedicated to Maestro Narciso Yepes in recognition of everything that he has done for the instrument and for me IN LOVING MEMORY OF MY FATHER-IN-LAW HORST GuNTER RUDOLF RAEBEL (1920-1991) Your encouragement and support are Townsorely missed Cape of University - ii DECLARATION I declare that this dissertation is my own. unaided work. Where other sources have been used, these have been acknowledged. It is being submitted for the degree of Master of Music at the University of Cape Town. and has not been submitted previously for any degree or examination at any other University. This , 1992. Town CANDIDATE : MR FRED KAZANDJIAN sity of Univer - iii ABSTRACT The purpose of this study is to provide a broader understanding of the Yepes ten-stri ng guitar. Since its inception, twenty-eight years ago, no authoratative work has been published providing inferential detail which explains the conceot and development of the Yepes guitar. As a result, this instrument has been, and still is, criticized by some, largely from ignorance or lack of knowledge about the instrument. In an' attempt to rectify this situation and make the instrument's extended possibilities known, the author has undertaken extensive research and has interviewed, amongst others, leading international Townauthorities associated with the Yepes ten-string guitar. As a result of these efforts, a clearer and more positive understanding of the instrument has emerged. This in turn has become the foundation on which this dissertation has been written. The opening chapter of this dissertation provides an overview. showing how ity of the guitar emerged and developeds before the concept of multi-string guitars became established in Europe, during the second half of the eighteenth century. Aspects pertaining to the early guitar's physical features, performanceUniver practices,music, tuning and stringing methods are discussed. Several multi-string vihuelas and guitars are also mentioned. The following chapter presents a survey of numerous experiments carried out during the 1770-1900 period; to 'improve' the capabilities of the guitar. Here a number of early multi-string instruments related to the Yepes ten­ string guitar are discussed. These include guitars with added basses, guitars with added trebles, guitars with added basses and trebles, and guitars with multiple necks. - iv The third chapter shows how~ out of an enormous variety of eccentric forms of the guitar, some professional guitarists opted for multi-string guitars (with added basses) as their instruments, whilst others preferred the six­ string variety. The music of guitarist-composers who composed for mUlti­ string guitars is discussed alongside those who wrote specifically for the six-string guitar. The rationale for the tuning and disposition of strings on most of these multi-string guitars. past and present~ as well as several illustrations showing their physical features are included. The penultimate chapter comprises an interview with Narciso Yepes and other leading figures associated with the ten-string guitar. The reasons behind Yepes's uni que concept for the ten-string guitar, arguments for and against the instrument, as well as its tuning and problems related to playing this instrument are discussed. The chapterTown includes an inquiry (with examples) showing how the ten-string guitar can be used, amongst other things~ to facilitate the playing of difficult passages in music originally composed for the six-string guitar. The extension of the repertoire with music composed specifically for this instrument is also briefly discussed. A comprehensive discography of recordings made by sity of Narciso Yepes on the ten-string guitar is presented in the appendix. A more detailed discussion of the ten-string guitar repertoire in the twentieth centuryUniver is presented in the final chapter. It includes several compositions originally intended for the traditional guitar, which have become associated with the Yepes guitar. At least five compositions composed and dedicated to Narciso Yepes by various composers are also examined. It is concluded that this instrument clearly offers more than what has been assumed over the past twenty-ei ght years. - v CONTENTS ACKNOWLEDGEMENTS viii LIST OF ILLUSTRATIONS x LIST OF TABLES xiv Chapter One THE EMERGENCE AND DEVELOPMENT OF THE GUITAR 1 The Vihuela 2 The Four-course Guitar 6 The Five-course Guitar 9 Two VARIANT FORMS OF THE GUITAR FROM 1770-1900Town 44 Guitars with Bass Strings Added 45 Guitars with Treble Strings Added 52 Guitars with Treble and Bass Strings Added 53 Guitars with Multiple Necks 55 ity of Three CONVENTIONAL AND sMULTI-STRING GUITARS PLAYED BY PROFESSIONALS FROM 1800 TO THE PRESENT DAY 89 The RevivalUniver of the Guitar 89 The Decline of the Guitar 103 The Second Revival of the Guitar 110 Four THE CONCEPT AND ACCEPTANCE OF THE YEPES TEN-STRING GUITAR 141 Five TWENTIETH CENTURY COMPOSITIONS FOR THE YEPES TEN-STRING GUITAR 169 Conclusion 185 - vi - Appendices A A TEN-STRING GUITAR TRANSCRIPTION OF A WORK ORIGINALLY COMPOSED FOR THE HARPOLYRE 223 8 AVANT PROPOS TO CARULLI'S MeTHODE COMPLeTE POUR LE DeCACORDE NOUVELLE GUITARE, OPUS 293 230 C AN INTERVIEW WITH NARCISO YEPES IN CABO-ROIG, ALICANTE - SPAIN ON 7 J U L Y 1987 233 D ANDReS SEGOVIA'S LETTER IN ANSWER TO VLADIMIR BOBRI'S QUERY ABOUT THE VALUE OF MULTI-STRING INSTRUMENTS IN THE TWENTIETH CENTURY Town 246 E COMPARATIVE TRANSCRIPTIONS FOR THE SIX AND TEN-STRING GUITARS OF A WORK ORIGINALLY COMPOSED FOR THE BAROQUE LUTE 250 ity of F A DISCOGRAPHY OF sRECORDINGS MADE BY NARCISO YEPES ON THE TEN-STRING GUITAR SINCE 1964 266 BIBLIOGRAPHY Univer 293 - 'Iii - ACKNOWLEDGEMENTS I would like to thank Narciso Yepes, Godelieve Monden, Fritz Buss and leading luthiers Jose Ramirez III and Paulino Bernabe for their co-operation and assistance. I extend a particular thank you to my supervisors. M r Dietrich Wagner and Professor James May from the University of Cape Town, for their encouragement and constructive help with this dissertation regarding content and literary style, and presentation respectively. I would also like to thank the Dean of the Faculty of Music, Professor Gerrit Bon, for his honest support and judgement without whom this dissertation would not exist. I am indebted to Dr P. Roos of the DirectorateTown of Education, Windhoek - Namibia, for the research grant which enabled me to go to Europe to conduct the interviews. Great appreciation goes to to my wife Heide for preparing the typescript of this dissertation. A very personality thank of you goes to Andrew Thomson for provision of computing facilities,s and Noelle Tyson and Stuart Hope for proof-reading the text. I also wish to thankUniver the following for their assistance during the course of this research Simon Wynberg, David Hewitt, Leandros Stavrou, Mike Goodgoll, Vicen9 Mayol, Raphaella Smit, Stephen Snook, Alf Alexander, Ganiefa van der Schyff, Ashley Zolkov, Marleta Boer, Johann Pieterse, Rick Falkiner, Colin Cleveland, Grete Keding, Marc Hechler, Elke Mannschatz, Jean Grundeling, Dr A. Docenyk, Willie Oosthuizen, Benjamin Fourie, Bridget Elliot, Etrecia de Jager and A.W.D. Jongens. - viii Lastly, thanks of a very special nature goes to Heide, my parents, my brother and his wife, and my mother and brother-in law for their love, Invaluable support and encouragement over the years. Town sity of Univer - ix LIST OF ILLUSTRATIONS Figures 1 • 1 A vihuela de mana dating from c.1500 with a reconstruct i on of the same vihuela on the right 21 1 .2 A seven-course vihuela 22 Examples 1 • 1 An excerpt from Barber i is's Fantasia 22 1 .2 An excerpt from Le Roy's Lyonnose : Gaillarde with its plus diminue 23 1 .3 An excerpt from Morlaye's Gaillarde 24 1.4 Accordatura for the chitarra artiobata and excerpts from Granata's Preludio and Toccata 25 1.5 The French re-entrant tun i ng 26 1 .6 Tuning preferred by Corbetta, de Visee,Town Campion and others 26 1 . 7 An excerpt from de Visee'sSuite No. 9 26 1.8 Accordatura for the guitarre theorbee and an excerpt from one of de Gallot's untitled compositions 27 1 .9 Five-course guitar tuning for solo music with ornaments and campanellassity of 28 1 . 10 An excerpt from Sanz' s Canarios 28 1 • 1 1 An excerpt from de Murcia's Preludio 29 Univer Figures 2. 1 The bissex 59 2.2 The ha 1 f-spheroi d-shaped decacorde· 60 2.3 A bass guitar similar to an instrument built by Deleplanque in 1782 61 2.4 A nine-string guitar made by a German luthier 62 2.5 A bass guitar built by Vissenaire of Lyon 63 2.6 A bass guitar built by LacOte in Paris 63 - x - 2.7 A twelve-string guitar built by Schirzer in Vienna 63 2.8 A bass guitar presented in Wobersin's tutor 64 2.9 A seven-course guitar built by ,Sanguino 65 2.10 Vinaccia's unwieldy harp-guitar 66 2.11 A theorboed English guitar built by Harley 67 2.12 Light's early nineteenth century harp-guitar 68 2.13 light's harp-lute 68 2.14 A lyre-guitar made by an anonymous
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