Authenticity in Transcribing

Marie-Lou Debels

This research explores the concept of authenticity in transcription. It is applied to Béla Bartók's Six Dances in Bulgarian Rhythm, movements one, two and five. By prioritising different aspects, the overall look of the transcription is shaped. Examples of these aspects are the sonic possibilities of the chosen or original instrumentation, the general style of the composer and the piece, one's own musical context, the technical abilities of the players... All these aspects could be considered as a form of authenticity. The first chapter elaborates on the concept and discusses methods of transcription. The second chapter analyses the history of the classical guitar, including its transcriptions. The guitar's search for a place in the classical mainstream has encouraged guitarists throughout the centuries to write transcriptions. Throughout history, the concept of authenticity in these transcriptions has changed. The final chapter discusses the entire process of transcribing, from the intentions behind selecting the piece to the obstacles and dilemmas that arose during the process. It shows that the transcribing part is as important as the individual practice and rehearsals. They alternate and influence each other. The Six Dances in Bulgarian Rhythm were of great importance to Bartók. Today they are not as popular as his Six Romanian Folk Dances but given their historical context they deserve to be heard more in today's classical music scene. Finally, it becomes clear that the abstract musical idea of the composer should be kept clear from the beginning to the end of the transcription process.

Conclusion

This research investigated the concept of authenticity in transcribing applied to movement one, two and five of the Six Dances in Bulgarian Rhythm by Béla Bartók. The research question was: “How to transcribe Six Dances in Bulgarian Rhythm by Béla Bartók for classical violin and guitar by being authentic to the idiomatic character of the instrumentation and to the musical style of the composer and the piece?” By prioritizing different aspects of the original work, the composer, the transcriber or the chosen instrumentation, the overall look and feel of the arrangement will be shaped. All these aspects could be considered a form of authenticity.

Looking at the history of the guitar and its transcriptions, it is clear that the guitar has had to fight for its place in the classical mainstream. To this day, the guitar is sometimes misunderstood in its qualities and limitations. There is still much to be discovered about the guitar in combination with other instruments. Its palette of colors invites many possibilities for blending with other instruments. However, the repertoire for the classical guitar in combination with other instruments is limited. There is much more repertoire for guitar duos. A large part of the pieces for guitar and violin are transcriptions and do not use the full capacity of the two instruments. This is where my motivation grew to create high quality repertoire for violin and guitar.

Also, the concept of authenticity in transcriptions has changed over the centuries. In the 19th and 20th centuries, guitarists mostly transcribed very idiomatically and in their own context and personal style, without taking into account the historical style. It is also clear that music from the 20th and especially the 21st century is less transcribed. That is why I decided to transcribe music from the late 20th century, by being authentic to the idioms of the instrumentation and the musical style of the composer and the piece. By creating chamber music for guitar and violin that includes high quality compositions by famous composers that showcase the full capabilities of the combination of both instruments, I hope to awaken interest and curiosity in the classical guitar, so that it enters more into the classical mainstream.

According to Raaf Hekkema, it is crucial to determine the abstract idea of the composer and how it was translated into the original instrumentation before starting the transcription process. This will then be followed by the technical work of practicing and mastering the part. Also, it is essential to spend enough time considering fingerings, articulations, and other idiomatic characteristics of the instrumentation. This includes exploring the limits and possibilities of converting the style of the music from an abstract idea to the chosen instrumentation. Only after mastering the part it is usefull to try it out with the violin. To test the balance and combination of colors, it is necessary to hear both parts at their full potential. Because the transcription process has already taken some time, I tended to rush through the practice part.

Currently, I am transcribing Sergei Prokofiev's first Sonatina opus 54 for violin and guitar using the same methodology. I am taking more time to fully comprehend the abstract idea and immediately apply it to the transcription process. Additionally, I am alternating more frequently between transcribing, practicing, and rehearsing. Once I have mastered a small passage through practice, I test it out with the violinist. Then, I can quickly apply all the findings to the other parts of the piece. This way, I can focus on small parts while the final shape of the transcription develops more quickly. Additionally, I can visualize the different ways in which the instruments can sound together more quickly. I created an initial version of the Sonatina without playing any note on my guitar. I am curious how this skill will develop in the future.

At the moment, we are rehearsing the three dances by Bartók and working on our ensemble playing, rhythmical precision, articulations and refining our interpretation. While delving deeper into the music, I have found myself questioning my transcription choices. It is important to note that there is a fine line between making changes to fingerings, articulations, dynamics and adding or omitting notes. In this case, I have chosen not to include our interpretation choices such as fingerings, bowings, articulations, and dynamics in the score. However, adding and omitting notes is definitely part of the transcription process and should be corrected in the final transcription. In the end they are both connected to my musical idea of the piece which is shown in the authenticity of my transcription through being authentic to the style of the piece and the idioms of the instrumentation.

I am excited to perform these arrangements for other musicians and guitarists, as well as a broad audience. I wonder what they will think of the transcription and how my transcription skill will develop. I am learning a lot about the technical aspects of our instruments and how they can sound together. I aim to continue down this path by collaborating with non-guitarist composers, in addition to transcribing other pieces. Due to my gained knowledge and experience in transcribing for our instruments, I believe I can now collaborate effectively with contemporary composers.

References

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