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THE UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE THE DEVELOPMENT OF A MUSICALLY LOGICAL PROCEDURE ( FOR SOLVING THE PROBLEMS OF TRANSCRIPTION FOR GUITAR PERFORMANCE OF J.S. B^*CH'S SUITE IN E MINOR (BWV 996) - Ü A DISSERTATION SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY by JAMES G. BOGLE Norman, Oklahoma May 1, 1982 A d d roved i ( - ' V D‘. Dr. Har:^ Fierbaugh, Chairma^ BelDr. Professor Michael Hennagin Dr . Ivin Platt Dr. Ernest Trumble ACKNOTOEDGEMENTS The author gratefully acknowledges the guidance, support, cooperation, and exemplary inspiration given by Dr. Harry Fierbaugh throughout the doctoral program. Appreciation is expressed to Dr. Digby Bell, Professor Michael Hennagin, Dr. Melvin Platt, and Dr. Ernest Trumble for their suggestions, critical reading of the manuscript, and unselfish contribution of time and effort toward the completion of the study. Special thanks are expressed to Pepe Romero, Artist in Residence at the University of Southern California, for his guidance and collaboration in guitar performance, and for his serving in an advisory capacity as the guitar authority and adjunct committee member during the period of the study. Very special appreciation is expressed to my daughter, Caryn, and my son, Bradley, for their patience, understanding, and assistance in the completion of the study. Finally, and most importantly, to my wife, Carol, who typed and helped correct the manuscript, reading copies, and final copy, and without whom the study would never have been completed, goes my immeasurable love, respect, admiration, and appreciation. has ^i'/cw me. a pleasure 4t> KaVe- +aü^U-i' J im 6o^ le, -fof 4^6. las-ir e ig h 4 ijmc5 dAct -ho see- -Hie. hrui-h erf hUis eoliahom-fiDn M Hie mn/elous job V\e his doAe -fre^seribm^ 4he J miAor 5i)\+e oh J S- 6acb a/id 4ke ex-H-'/ided disser-d'd-hD'A oi/i fhc ^me, whi<J (%TA verij U4edhj( 4is 4khe uuAsdai/uj -ho p k iu f b i s $ u i4 i6 o r 4''rav\scfibe oHiêr Wov^ks by back- TABLE OF CONTENTS Chapter Page I. INTRODUCTION ....................................... 1 Purpose of the S t u d y .............................. 1 Need for the S t u d y ................................ 3 Delimitations of the Study ....................... 9 Procedures........................................... 10 II. RELATED LITERATURE ................................. 14 Existing Editions ................................ 14 Bach's Keyboard Orientation ..................... 23 Articulation ................. .......... 25 Context and Authenticity of the Suite in E minor .................................38 III. ORNAMENTATION IN THE MUSIC OF J.S. B A C H ............ 50 One-Note Ornamenus ................................ 56 The S l i d e ........................................... 78 The T r i l l ........................................... 87 The Mordent ........................................ 144 The T u r n ...................................... 157 The Arpeggio ........................................ 155 IV. RATIONALE FOR FINGERING ............................ 175 Guitar Ornamentation Techniques ................. 175 Information Related to the Transcription .......... 184 Praeludio .............................. ..... 193 A l l e m a n d e .......................................... 242 C o u r a n t e ............................................ 288 S a r a b a n d e ........................................... 328 Bourrée ........................................... 361 G i g u e ............................................... 379 V. SUMMARY, CONCLUSIONS, AND RECOMMENDATIONS .... 425 S u m m a r y ............................................. 425 Conclusions......................................... 429 Recommendations .................................. 431 BIBLIOGRAPHY ........................................... 436 Works Cited ......................................... 436 Works Consulted.....................................439 APPENDIX ..................................................445 Appendix I J.S. Bach’s Suite in S minor 3 W 99 5 transcribed for guitar by James Bogle ..... 445 Appendix II Neue Bach Ausgabe version of J.S. Bach's Suite in E minor BWV 996 469 Appendix III Krebs Manuscript version of J.S. Bach's Suite in E minor BWV 996 transcribed by Paolo Cherici ...................................477 Appendix IV Brussels Manuscript of Suite in A minor BWV 996 ...................................... 486 Appendix V Supporting letters from Pepe Romero and Richard Provost ........................... 500 Chapter I INTRODUCTION Purpose of the Study The purpose of the study was comprised of two closely related objectives. These two objectives are termed the "primary" and "secondary" purposes. The primary purpose of the study was to develop a musically logical procedure for solving the problems of transcription for guitar performance of J.S. Bach's Suite in E minor (Bl'ÏV 996). The secondary purpose of the study was to transcribe an edition of the Suite in E minor that would be adequate for use in the education of the college level guitar per­ formance major. The three main criteria for such adequacy are the following: (1) a clear and accurate representation of Bach's compositional content; (2) substantial authenti­ city with regard to Baroque performance practice; and (3) where alterations of the original are necessary, either inclusion of a discussion of the rationale for the altera­ tions or, at the very least, inclusion of the original versions of that which is altered. The relationship between the primary and secondary purposes was essentially that of process and product, respec­ tively, but the two purposes were also mutually dependent. To produce an adequate transcription of the Suite in E minor, it was necessary to develop a musically logical pro­ cedure for sol-’ing the problems of transcription for guitar performance: to develop a musically logical procedure, it was necessary to transcribe the Suite in E minor. Relative to both purposes, the following sub-problems were investi­ gated: (1) Ornamentation in the instrumental (principally keyboard) music of J.S. Bach (2) Harmonic, melodic, and/or durational alterations of the original based on the musical/technical potential of the guitar (3) Guitar performance alternatives in relation to Baroque performance practice and the structure and style of the Suite in E minor. The use of the terms "primary" and "secondary" as categorical nomenclature for the purposes of the study reflects the relative educational significance of the two categories. The product of the primary purpose— the proce­ dure— is generalizable to other compositions that one may wish to transcribe for guitar performance. The product of the secondary purpose— the transcription of the Suite in E minor— is a specific application of the primary purpose (the procedure). Although the content of the transcription itself exemplifies the application of the rationale for solutions to the problems of transcription for guitar per­ formance (the procedure), it is unlikely that the rationale for the procedure could be derived from only the content of the transcription. Perhaps the most important aspect of the relationship between the two categories is, in short, the transcription as proof that the procedure works. Need for the Study The guitar today holds a unique position in higher education. During the past four years the number of colleges and universities offering guitar study has increased by sixty percent. Callahan is of the opinion that classical guitar study at the college level is on the rise. There is no sign of diminishing activity. On the contrary, despite very real economic strictures on university pocketbooks, guitar offerings continue to multiply.1 There is still room for considerable growth. Of the 1373 institutions inventoried in the 1979 edition of the College study. It is possible for the present growth rate to con­ tinue unabated during the next ten years. Successful applicants for the college level teaching positions in guitar must possess 'a broad spectrum of com­ petencies. As recommended by the M.E.N.C. Commission on Teacher Education, instruction in guitar should be a significant curricular offering in any music teacher prepara­ tion program. Such instruction should include both ^Clare Callahan, A Survey of Guitar Curricula in the U.S. and Canada (Cincinnati: ASTA Guitar Division, 1979), p. 7. elementary classes and a performance major.^ Learning to teach the performance major requires, in addi­ tion to an extensive specialized music education, consider­ able refinement of the skills and concepts requisite for performing with authenticity the music of numerous styles and historical periods. Regarding the education of the performance major, Leonhard and House assert that the student should be given the full preprofessional treatment. These are new programs for the student in which he begins on a new plane and works toward new objec­ tives. This student must be given a thorough background in his field, and he must eventually acquire the technical sureness and polish which will be necessary in meeting the requirements of his profession. Inefficient prerequisites are no help in this regard. he must commence quickly to master the advanced literature. In effect, he has elected conservatory training.2 In all performance specializations, an integral part of the professional training is the study and performance of the music of J.S. Bach. For the guitarist, this presents a number of problems. Because

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