Guidelines for Transcribing Baroque Lute Music for the Modern Guitar, Using Silvius Leopold Weiss's Sonata Item Type text; Electronic Dissertation Authors Serrano Munoz, Jaime Renato Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 05/10/2021 17:46:29 Link to Item http://hdl.handle.net/10150/595984 GUIDELINES FOR TRANSCRIBING BAROQUE LUTE MUSIC FOR THE MODERN GUITAR, USING SILVIUS LEOPOLD WEISS’S SONATA 36 (FROM THE DRESDEN MANUSCRIPT) AS A MODEL by Renato Serrano __________________________ Copyright © Renato Serrano 2016 A Document Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2016 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Dissertation Committee, we certify that we have read the document prepared by Renato Serrano titled Guidelines for Transcribing Baroque Lute Music for the Modern Guitar, Using Silvius Leopold Weiss’s Sonata 36 (from the Dresden Manuscript) as a Model, and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts. _______________________________________________________________________ Date: January 6, 2016 Thomas Patterson _______________________________________________________________________ Date: January 6, 2016 Carrol McLaughlin _______________________________________________________________________ Date: January 6, 2016 Philip Alejo Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement. ________________________________________________ Date: January 6, 2016 Document Director: Thomas Patterson 3 STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of the requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this document are allowable without special permission, provided that an accurate acknowledgement of the source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: Renato Serrano 4 ACKNOWLEDGEMENTS I want to express my gratitude to the members of my advisory committee: Professor Thomas Patterson, Dr. Carrol McLaughlin, and Dr. Philip Alejo, who constantly supported me in this work. In addition, I would like to thank Les and Suzanne Hayt, who were like a family during this process. Finally, I want to thank my family, especially to my parents for their support from the start. 5 DEDICATION To Perla, Nicanor, Silvestre, and Rulfo, for being who they are. 6 TABLE OF CONTENTS LIST OF FIGURES……………………………………………………………………………….9 LIST OF TABLES……………………………………………………………………………….12 ABSTRACT……………………………………………………………….……………………..13 CHAPTER 1: INTRODUCTION………………………………………………………………..14 Intent and Scope of Study…………………………………..………………………………..14 Statement of Primary Thesis……………………………..…………………………………..16 Review of Scholarly Literature…………………………..…………………………………..17 Sources from the period………………………………...………………………………..17 Scholarly publications………………………………………..…………………………..18 PhD dissertations and DMA documents about Weiss………………...…………………19 Editions of Weiss’s music………………………………………………………………..22 DMA dissertations about transcriptions……………………………….…………………23 Conclusions about related literature……………………………………...………………24 Biographical Review of Silvius Leopold Weiss…………………………..…………………24 The Dresden Manuscript……………………………………………………………………..27 Structure of Sonata 36………………………………………………………………………..29 Organization of the Guidelines................................................................................................30 7 CHAPTER 2: TABLATURE RENDERING AND GUITAR TUNING………………………..31 Placement of Pitches………………………………………………………………………....31 Octave Displacement…………………………………………………………………….…..34 Rhythmic Rendering……………………………………………………………………..…..36 Diplomatic and Semi-Diplomatic Transcription……………………………………..………38 Alternative Guitar Tuning for Sonata 36………………………………………….…………41 CHAPTER 3: STYLISTIC AND IDIOMATIC RESOURCES…………………………………47 Style brisé…………………………………………………………………………...………..47 Weiss’s Legato Style……………………………………………………..…………………..48 String alternation and arpeggiation………………………………………………………49 Slurs………………………………………………………………………..…………….52 Combined resources…………………………………………………….………………..58 CHAPTER 4: ORNAMENTATION……………………………………………….……………63 Essential Ornaments in Weiss’s Tablature…………………………………………..………64 Short trill and appoggiatura from above…………………………………………………65 Extended trill……………………………………………………………………………..67 Appoggiatura from below………………………………………………………………..67 Two string appoggiatura…………………………………………………………………68 Port de voix………………………………………………………………..……………..69 8 Mordent…………………………………………………………………………………..70 Slurs………………………………………………………………………….…………..70 Diminutions…………………………………………...……………………………………..71 Arpeggiation……………………………………………………………………………..72 Filling in intervals………………………………………………………………………..72 Transfer of register……………………………………………………………………….73 Rhythmic elaboration of motives……………………………………………………...…75 CHAPTER 5: CONCLUSION………………………………………………………………..…77 APPENDIX A: SUGGESTED PRELUDE FOR SONATA 36………………………...……….80 APPENDIX B: SEMI-DIPLOMATIC TRANSCRIPTION………………………………….….83 APPENDIX C: DEMONSTRATION OF ALTERNATIVE TUNING……..……………….….96 APPENDIX D: GUITAR TRANSCRIPTION............................................................................100 APPENDIX E: REALIZATION OF ESSENTIAL ORNAMENTS IN THE ALLEMANDE AND THE SARABANDE.........................................................................……………………..…….114 APPENDIX F: REALIZATION OF DIMINUTIONS IN THE ALLEMANDE AND THE SARABANDE.............................................................……………………………………...….119 REFERENCES……………………………………………………………………..…………..125 9 LIST OF FIGURES Figure 2.1: First course in tablature and its transcription into standard guitar notation…………32 Figure 2.2: Second course in tablature and its transcription into standard guitar notation………32 Figure 2.3: Third course in tablature and its transcription into standard guitar notation………...33 Figure 2.4: Fourth course in tablature and its transcription into standard guitar notation….……33 Figure 2.5: Fifth course in tablature and its transcription into standard guitar notation………....33 Figure 2.6: Sixth course in tablature and its transcription into standard guitar notation………...33 Figure 2.7: Diapasons in tablature and its transcription into standard guitar notation…………..34 Figure 2.8: Tablature and transcription of the diapasons with editorial changes………………..35 Figure 2.9. Guitar transcription of Allegro, measures 26-27. Voice leading criteria……………36 Figure 2.10a. Tablature of the Allemande, measures 4-5………………………………………..37 Figure 2.10b. Transcription of Allemande, measures 4-5. Prolonged notes in bass and upper voices. …………………………………………………………………………………………...37 Figure 2.11a: Semi-diplomatic transcription of Menuet…………………………………………39 Figure 2.11b: Guitar transcription of the Menuet………………………………………………..40 Figure 2.12: D minor tuning with variations…………………………………………………….43 Figure 2.13: Concert pitches of D minor tuning with variations………………………………...43 Figure 2.14: Revised version of alternative guitar tuning. ………………………………………45 Figure 2.15: Concert pitches of the revised version of scordatura………………………………45 Figure 2.16: Demonstration of alternative guitar tuning in standard notation and tablature…….46 Figure 3.1a. Tablature of Courante, measures 1-3……………………………………………….49 10 Figure 3.1b. Transcription of Courante, measures 1-3. Alternation of strings in arpeggiated texture. …………………………………………………………………………………………..50 Figure 3.2: Transcription of the Courante, alternation of strings. ………………………………51 Figure 3.3: Transcription of Allegro, measures 23-24. Slurs. …………………………………..53 Figure 3.4a: Semi-diplomatic transcription of the Allegro, measures 6 and 7. Inconsistent use of slurs. ……………………………………………………………………………………………..54 Figure 3.4b: Guitar transcription of the Allegro, measures 6 and 7. Inconsistent use of slurs…..54 Figure 3.5a: Semi-diplomatic transcription of Bourrée. Slurs. .....................................................56 Figure 3.5b: Guitar transcription of Bourrée. Slurs. …………………………………………….57 Figure 3.6a. Semi-diplomatic transcription of Allegro, measures 41 and 42. Overlapped slurs...58 Figure 3.6b. Transcription of Allegro, measures 41 and 42. Sonic effect of overlapped slurs….59 Figure 3.6c. Guitar transcription of Allegro, measures 41 and 42. Overlapped slurs…………...59 Figure 3.7a: Tablature of Allegro, measures 21 and 22. Campanella. …………………………..60 Figure 3.7b: Guitar transcription of Allegro, measures 21 and 22. Campanella………………...60 Figure 3.8: Guitar transcription of Allegro. Fingering criteria. ………………………………....62 Figure 4.1a: Guitar transcription of Sarabande, measure 1. Short trill. …………………………65 Figure 4.1b: Guitar transcription of Sarabande, measure 1. Realization of short trill…………...66 Figure 4.2a: Guitar transcription