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Original Transcriptions of Erik Satie's Five Nocturnes for Two Guitars,S

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Original Transcriptions of Erik Satie's Five Nocturnes for Two Guitars,S Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2015 The Art of Transcription: Original Transcriptions of Erik Satie's Five Nocturnes for Two Guitars Camille Saint- Saëns' Danse Macabre, Op. 40 for Four Guitars Christopher Neil Adkins Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC THE ART OF TRANSCRIPTION: ORIGINAL TRANSCRIPTIONS OF ERIK SATIE’S FIVE NOCTURNES FOR TWO GUITARS CAMILLE SAINT-SAËNS’ DANSE MACABRE, OP. 40 FOR FOUR GUITARS By CHRISTOPHER NEIL ADKINS A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of the Music Degree Awarded: Spring Semester, 2015 Christopher Adkins defended this treatise on March 24, 2015. The members of the supervisory committee were: Bruce Holzman Professor Directing Treatise Jane Piper Clendinning University Representative Pamela Ryan Committee Member Benjamin Sung Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii ACKNOWLEDGMENTS I would like to thank my family Bryan, Tammy, Taylor, and Livy Guy for their never- ending love and support. I would also like to thank my guitar teachers Dr. Elliot Frank, Dr. Andrew Zohn, and Bruce Holzman for their inspiration and guidance throughout my studies. For his contribution of the manuscript of Clair de Lune I have to thank Lorenzo Micheli. My gratitude goes to Sylvain Lemay for his permission to use examples from l’Doz’s publication of Capriccio Espagnol. I must also thank Jane Piper Clendinning for her tireless efforts in making the treatise process run smoothly and her invaluable feedback. My other committee members Pamela Ryan and Benjamin Sung are owed my gratitude as well. Finally, I have to thank my dear friends Teresa Roach and Michael McCallie for their feedback and editing. iii TABLE OF CONTENTS List of Musical Examples ................................................................................................................ v Abstract ......................................................................................................................................... viii 1. INTRODUCTION ................................................................................................................... 1 2. ERIK SATIE’S FIVE NOCTURNES FOR TWO GUITARS ............................................... 12 3. CAMILLE SAINT-SAËNS’ DANSE MACABRE, OP. 40 FOR FOUR GUITARS ............ 41 4. CONCLUSION ..................................................................................................................... 63 APPENDICES ............................................................................................................................... 65 A. ERIK SATIE’S FIVE NOCTURNES .................................................................................... 65 B. CAMILLE SAINT-SAËNS’ DANSE MACABRE ................................................................ 76 BIBLIOGRAPHY ....................................................................................................................... 107 BIOGRAPHICAL SKETCH ....................................................................................................... 108 iv LIST OF MUSICAL EXAMPLES Example 1.1: Guitar Transposition .................................................................................................. 8 Example 1.2 Guitar Range (notated and sounding) ......................................................................... 9 Example 2.1: Debussy, Clair de Lune, mm. 1-2 ........................................................................... 15 Example 2.2: Debussy, Clair de Lune, mm. 8-9 ........................................................................... 15 Example 2.3 Satie, Nocturne no. 1, mm. 1-2 ................................................................................ 16 Example 2.4: Satie, Nocturne no. 1, mm. 8-9 ............................................................................... 17 Example 2.5 Debussy, Clair de Lune, measure 30, Transcription ................................................ 17 Example 2.6: Satie, Nocturne no. 2, measure 5, Transcription ..................................................... 18 Example 2.7: Debussy, Clair de Lune, measure 27, Transcription ............................................... 18 Example 2.8: Satie, Nocturne no. 5, measure 1, Transcription ..................................................... 19 Example 2.9: Satie, Nocturne no. 1, measure 3 ............................................................................. 19 Example 2.10: Satie, Nocturne no. 1, measure 18 ......................................................................... 20 Example 2.11: Satie, Nocturne no. 1, measure 23 ......................................................................... 21 Example 2.12: Satie, Nocturne no. 1, measure 4 ........................................................................... 21 Example 2.13: Satie, Nocturne no. 1, measure 32 ......................................................................... 22 Example 2.14: Satie, Nocturne no. 1, mm. 8-10 ........................................................................... 23 Example 2.15: Satie, Nocturne no. 1, measure 28 ......................................................................... 24 Example 2.16: Satie, Nocturne no. 1, measure 14 ......................................................................... 26 Example 2.17: Satie, Nocturne no. 2, mm. 5-6 ............................................................................. 26 Example 2.18: Satie, Nocturne no. 2, measure 9 ........................................................................... 26 Example 2.19: Satie, Nocturne no. 2, measure 17 ......................................................................... 27 Example 2.20: Satie, Nocturne no. 2, measure 7 ........................................................................... 28 v Example 2.21: Satie, Nocturne no. 2, measure 14 ......................................................................... 29 Example 2.22: Satie, Nocturne no. 3, mm. 5-6 ............................................................................. 30 Example 2.23: Satie, Nocturne no. 3, measure 9 ........................................................................... 31 Example 2.24: Satie, Nocturne no. 3, measure 10 ......................................................................... 31 Example 2.25: Satie, Nocturne no. 3, mm. 11-12 ......................................................................... 32 Example 2.26: Satie, Nocturne no. 4, measure 1 ........................................................................... 33 Example 2.27: Satie, Nocturne no. 4, mm. 5-6 ............................................................................. 34 Example 2.28: Satie, Nocturne no. 4, mm. 11-12 ......................................................................... 35 Example 2.29: Satie, Nocturne no. 4, mm. 13-16 ......................................................................... 36 Example 2.30: Satie, Nocturne no. 4, measure 17 ......................................................................... 37 Example 2.31: Satie, Nocturne no. 5, measure 7 ........................................................................... 38 Example 2.32: Satie, Nocturne no. 5, measure 9 ........................................................................... 39 Example 3.1: Saint-Saëns, Danse Macabre, mm. 25-32 ............................................................... 41 Example 3.2: Rimsky-Korsakov, Capriccio Espagnol, mvt. III, mm. 14-15 ................................ 44 Example 3.3: Saint-Saëns, Danse Macabre, mm. 33-34 ............................................................... 45 Example 3.4: Saint-Saëns, Danse Macabre, mm. 121-124 ........................................................... 46 Example 3.5: Saint-Saëns, Danse Macabre, measure 204 ............................................................ 48 Example 3.6: Rimsky-Korsakov, Capriccio Espagnol, mvt. I, mm. 43-44 .................................. 49 Example 3.7: Saint-Saëns, Danse Macabre, measure 174-177 ..................................................... 50 Example 3.8: Saint-Saëns, Danse Macabre, mm. 189-192 ........................................................... 51 Example 3.9: Saint-Saëns, Danse Macabre, mm. 205-208 ........................................................... 53 Example 3.10: Saint-Saëns, Danse Macabre, mm. 394-396 ......................................................... 54 Example 3.11: Rimsky-Korsakov, Capriccio Espagnol, mvt. I, measure 1 ................................. 56 vi Example 3.12: Saint-Saëns, Danse Macabre, mm. 370-371 ......................................................... 58 Example 3.13: Rimsky-Korsakov, Capriccio Espagnol, mvt. I, mm. 38-39 ................................ 60 Example 3.14: Saint-Saëns, Danse Macabre, mm. 93-94 ............................................................. 61 vii ABSTRACT The purpose of this treatise is twofold. The first is to expand the repertoire of the guitar duo and guitar quartet by creating two new transcriptions. The work Five Nocturnes for solo piano by the early twentieth-century composer Erik Satie is transcribed for two guitars. The symphonic poem
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