Harb Tariq 201411 DMA Thesis

The Unlimited Guitar: Arranging Bach and Britten as Means to
Repertoire Expansion
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Tariq Harb

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A thesis submitted in conformity with the requirements  
for the degree of Doctor of Musical Arts
School of Graduate Studies  

University of Toronto
© Copyright by Tariq Harb 2014

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The Unlimited Guitar: Arranging Bach and Britten as Means to
Repertoire Expansion 
 
 
Tariq Harb 
 
Doctor of Musical Arts 
 
School of Graduate Studies 
University of Toronto 
 
2014
Abstract 
 
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Transcriptions and arrangements are an essential part of the classical guitar repertoire.
Benjamin Britten’s first Cello Suite is a cornerstone of the solo cello repertoire and, at present,
has not yet been arranged for the classical guitar. This study proposes, through the detailed
examination of historical arrangements, texts, articles, and methods, to create adaptations of
Britten’s Cello Suite, Op.72 and of J.S. Bach’s Partita No.1 for Unaccompanied Violin, BWV
1002 that are idiomatic to the guitar. Along with a detailed adaptation log of J.S. Bach’s Partita,
BWV 1002, the present study includes an overview of the arranging process gleaned from Bach’s
own arrangements, examination of guitar transcriptions of Bach’s unaccompanied string music
among other composers and arrangers’ works, and analysis of guitar audio recordings. As a
result, this study generates criteria that, when applied, inform and create effective adaptations,
providing a blue print for arrangers interested in adapting music for guitar. Bach’s method of
adaptation, the adaptation criteria derived from this study, and several notable guitarists and
scholars’ approach to arranging are then integrated into a guitar performance edition of the
aforementioned works.
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Acknowledgements  
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I would like to thank my dissertation committee, Dr. John Brownell, Professor Katharine
Rapoport, and especially my teacher and supervisor, Dr. Jeffrey McFadden, for their generosity,
helpful mentoring and insight. I am grateful for their time, knowledge, experience, and
encouragement. Their advice throughout the many drafts of this document has been most
helpful.  
I also thank my family and friends, who in the course of my musical journey provided
continuous help, motivation, and inspiration. Without their unwavering love and support this
dissertation would not have been possible.  
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Table of Contents 
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Abstract……………………………………………………………………………………………ii 
List of Tables……………………………………………………………………………………..vi 
List of Figures……………………………………………………………………..………..……vii 
List of Appendices………………………………………………………………….….…………xi 
Chapter 1: Introduction and Related Literature………………………..……..……..……….……1
Musical Structure of Bach’s Unaccompanied String Works………………………….……5 
Historical Context of the Arranging Process Gleaned from Bach’s Own Arrangements…16 
A Brief Insight into Britten’s Three Cello Suites and His Compositional Language….…19 
The Value of Transcriptions to the Guitar Repertoire……………………….……………22 
Chapter 2: The Process of Adaptation……………………………………………..……….……24  
Criteria Derived from the Adaptation Log and from the Process of Adaptation….…….. 25 
Tuning of the receiving instrument………………………………………….……………27 
Choosing a suitable key……………………………………………………….………….29 
Adjusting note duration, inserting rests, and re-stemming the original..……….……….. 33 
Interpreting bow markings, slurs, and ties and their equivalencies on the guitar..….……37 
Filling in chords to strengthen the harmony and to thicken the texture………………….42 
Composing bass-lines informed by suggested harmonies……………….……………….45 
Sustaining sound by adding imitative voice lines and other techniques….……..……….49 
Introducing articulations and musical contrasts.…………..……………………………..53 
Applying special effects and extended techniques to imitate sounds from the
original instrument…………………………………………………………………….58 
Using specific fingerings throughout the adapted guitar score…………………………..62 
In-depth Exploration of the Adaptation Process………………………………….………67 
Chapter 3: Exploring the Exceptions…………..…………………..………………….…………74 
Chapter 4: Conclusion……….…………………………………………………….……………..91 
Bibliography……………………………………………………………………………………..93 
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List of Tables
Table 1. Possible workable transpositions adapting Bach’s cello music for guitar.
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List of Figures
Figure 1. Prelude, Cello Suite No.3, BWV 1009, mm.37-39. 

Figure 2. Prelude, Cello Suite No.2, BWV 1008, mm.30-32.  
Figure 3. Sullivan’s Daydreams No.2 for pianoforte, mm.1-11. 
Figure 4. Sullivan’s Daydreams No.2 for pianoforte adapted for organ, mm.1-11. 
Figure 5. Fuga, G minor Violin Sonata, BWV 1001, mm.74-76. 
Figure 6. Sarabande, B minor Violin Partita, BWV 1002, mm.11-12. 
Figure 7. Sarabande, Cello Suite No.2, BWV 1008, mm.21-28. 
Figure 8. Allemande, Cello Suite No.5, BWV 1011, mm.14-18. 
Figure 9. Prelude, Cello Suite No.1, BWV 1007, mm.18-21. 
Figure 10. Prelude, from Prelude Fugue and Allegro, BWV 998, mm.39-40. 
Figure 11. Allemande, Cello Suite No.5, BWV 1011, mm.1-5. 
Figure 12. Voiles, from Debussy’s 24 Preludes, engraved on one treble staff, mm.17-20. 
Figure 13. Voiles, from Debussy’s 24 Preludes, arranged for guitar, mm.17-20. 
Figure 14. Lute Suite, BWV 995: a) Gigue, mm.1-7; b) Gavotte II en Rondo, mm.12-15. 
Figure 15. Adagio, Clavier Sonata in D minor, BWV 964, mm.1-3. 
Figure 16. Marcia, from Britten’s first Cello Suite, mm.1-7 adapted for guitar. 
Figure 17. Allemande, from Bach’s first violin partita, BWV 1007, mm.1-5. 
Figure 18. Bach’s Allemande from BWV 1002 arranged for guitar, mm.1-3. 
Figure 19. A comparison of Bach’s arrangement of Vivaldi’s Concerto Grosso in D minor, Op.3,
No.11 for organ, mm.1-5. 
Figure 20. A comparison of a melodic leap treatment between the original and the author’s
adaptation, Bach, Allemande, BWV 1002, m.1, beat 4. 
adaptation, Britten: Cello Suite Op.72, VI - Moto Perpetuo e Canto Quarto, mm.69-70. 
Figure 22. Britten, Cello Suite No.1, Fuga, mm.108-109> 
Figure 23. Britten, Cello Suite No.1 arranged for guitar, Fuga, mm.108-109. 
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Figure 24. Bach, Adagio from Sonata no. 1, m.1. Violin original and guitar adaptations. 
Figure 25. A comparison of tied notes treatment between the original and the author’s
! adaptation, mm.1-6, Britten: Cello Suite Op.72, Canto Primo. 
Figure 26. Bach’s arrangement of Vivaldi’s music for organ. Op.3, No.8 and (BWV 593), mm.
1-2. 
Figure 27. A comparison between the original violin version and the author’s arrangement
showing the thickening of the chords in the guitar arrangement. Tempo di Borea, mm.
65-68. 
Figure 28. An example of adding notes to thicken texture in Britten’s Cello Suite, Canto
Secondo, mm.1-2. 
Figure 29. The realization of a bass voice in the author’s adaptation. Double of the Sarabande,
BWV 1002, m.15. 
Figure 30. A passage showing the addition of a bass voice in the author’s adaptation. Double
of the Corrente, mm.4-5. 
Figure 31. Addition of bass voice and completion of polyphony in other voices. BWV 1002,
Double of the Tempo di Borea, mm.66-68. 
Figure 32. An example of elongating bass voices and connecting polyphony. Britten’s Cello
Suite, Serenata, mm.15-20. 
Figure 33. Bach’s own arrangement of his fifth cello suite for lute, showing his approach to
maintaining sound under notes of extended duration. Gigue, BWV 995, mm.15-20. 
Figure 34. An example of Bach’s treatment of filling rhythmic holes while adapting Vivaldi’s
music for the organ. BWV 596, m.28. 
Figure 35. Imitative voice added in the author’s adaptation of Bach' s Allemande, from BWV
1002, m.5. 
Figure 36. Showing similar articulations between the cello and the guitar score. Britten, Cello
Suite, Serenata, mm.1-4. 
Figure 37. Changing articulations from pointed accents to staccatos.  
Fuga, from Britten’s first Cello Suite, mm.28-31. 
 
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Figure 38. Showcasing the use of musical contrasts in the author’s arrangement. Britten, Cello
Suite, Marcia, mm.30-33. 
Figure 39. Showcasing extended techniques used in the author’s adaptation of Britten’s Cello
Suite, Bordone, mm.1-2. 
Figure 40. Applying tambor on the guitar to imitate the ‘con legno’ effect on the cello. Britten’s
Cello Suite, Marcia, mm.1-2. 
Figure 41. Choosing harmonic fingering to create a new voice. Bach, Double of the
Allemande, mm.1-2. 
Figure 42. Showing the use of harmonic fingering in adapting Britten’s Cello Suite. Lamento,
mm.4-5.
Figure 43. Showcasing the use of melodic fingering to preserve melodic lines in a polyphonic
texture. Bach, BWV 1002, Double of the Sarabande, mm.1-2. 
Figure 44. Using both melodic and harmonic fingering methods in adapting Bach’s first Violin
Partita, BWV 1002, Tempo di Borea, mm.56-58. 
Figure 45. Using rests in parentheses to indicate actual sounding duration of notes.  
Bach, BWV 1002, Double of the Corrente, m.18. 
Figure 46. Showing Albéniz’s use of the piano to imitate the Flamenco guitar. Asturias -
Leyenda, mm.25-28. 
Figure 47. The opening phrase of the middle section in Asturias, imitating the ‘cante jondo’ of
Flamenco. mm.63-66. 
Figure 48. Introducing a rhythm in the style of a malagueña in Albéniz’s Asturias. mm.87-88. 
Figure 49. Francisco Tárrega’s addition of triplets to Albéniz’s Asturias. mm.23-26. 
Figure 50. Comparing a keyboard score to a guitar score of Scarlatti’s Sonata K.322, mm.1-4. 
Figure 51. A chart showing the works discussed in this study and their likelihood of successful
adaptation for guitar. 
Figure 52. Comparing a passage from Mussorgsky’s Pictures at an Exhibition to Yamashita's
guitar arrangement. I. Gnomus, mm.94-99. 
Figure 53. Some passages in Pictures at an Exhibition had to be greatly reduced in order to fit on
the guitar. Ballet of the Little Chickens, mm.1-4. 
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Figure 54. Yamashita’s use of extended techniques to realize a passage for guitar in
Mussorgsky’s Pictures at an Exhibition. Con Mortuis in Lingua Mortua, mm.1-3. 
Figure 55. A comparison of John Williams’ adaptation for guitar of Paganini 24th Caprice with
the original. Var. No.8, mm.1-4. 
Figure 56. Williams’ added variation to Paganini’s 24th Caprice. Var. XI, mm.1-4. 
Figure 57. Octave transpositions in Fisk’s adaptation. Paganini, Caprice I, mm.8-11. 
Figure 58. Another example of octave transpositions needed for performance on guitar. Caprice
VII, mm.15-18. 
 
 
 
 
 
 
 
 
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List of Appendices
Appendix A. Adaptation Log for Bach’s Partita No.1 for Unaccompanied Violin, BWV 1002. 
Appendix B. Guitar Adaptations.
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1. Introduction and Related Literature  
 
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The art of arranging or transcribing music from a single instrument to another has not
been taught formally and systematically, nor has it been included as a course of study in the
curricula of great music schools and conservatories. According to syllabi from leading North
American music schools such as Yale’s School of Music, the University of Toronto’s Faculty of
Music, McGill University’s Schulich School of Music, and the Curtis Institute of Music, a
teaching method for arranging or transcribing music from one single instrument to another does
not exist.1 Orchestration and jazz arranging, however, are taught in major music schools, and are
mandatory courses for aspiring conductors and composers. Before the topic of arranging music
for guitar is discussed, several commonly used terms such as ‘transcription’, ‘arranging and
adaptation’ (used interchangeably), and ‘orchestration’ should be defined.
In Arranging Music for the Real World, Vince Corozine defines arranging as “the art of
preparing and adapting an already written composition for presentation in other than its original
form. An arrangement may include reharmonization, paraphrasing, and/or development of a
composition, so that it fully represents the melodic, harmonic, and rhythmic structure” (3).
‘Orchestration’ differs from ‘arranging’ in that it is only adapting music for orchestra or other  
1Follow the subsequent links for a list of music courses available in the schools mentioned.  
University of Toronto: http://www.music.utoronto.ca/Assets/student/undergrad/requirements/Faculty+of+Music
+Calendar.pdf 
McGill University: https://www.mcgill.ca/study/2012-2013/sites/mcgill.ca.study.2012-2013/files/
schulich_school_of_music_undergraduate_2012_2013.pdf 
Yale University: http://www.yale.edu/printer/bulletin/htmlfiles/music/courses-of-instruction.html 
Curtis Institute of Music: http://www.curtis.edu/admissions/curtis-curriculum/
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musical ensemble (3). Arranging can also involve “adding compositional techniques, such as
new thematic materials for introductions, transitions, and endings” (3). Transcribing, on the
other hand, is simply the process of notating a piece or a sound which was previously not
notated, for instance, an improvised jazz solo. In the context of this study, a ‘transcription’ is
defined as re-notating the original score of a given piece simply to accommodate performance on
a different instrument.
In the eighteenth and nineteenth centuries, the art of arranging music was left to
composers themselves. Although some composers’ intent to arrange works was perhaps not to
expand on any body of repertoire per se, but rather to create a source of income by providing
arrangements for more popular mediums of expression. Still, in all of the following examples,
great care was exercised in the process of arranging. It is known that Bach arranged Vivaldi’s
violin concerti for the organ, and that he also arranged some of his own solo violin works for
harpsichord (which will be explored later). Beethoven arranged his only Violin Concerto as a
concerto for the piano, and arranged his second symphony for piano trio. Schubert adapted his
orchestral overture, Rosamunde for piano four hands. Similarly, Mendelssohn arranged his
overture A Midsummer Night’s Dream for piano four hands. Schumann used the same medium
to adapt his Symphony No.2, Op.61. Brahms’ well-known version of Bach’s D minor Chaconne
for piano left-hand alone was followed by an even better-known version by Ferruccio Busoni,
who expanded on Bach's original, adding layers of polyphonic texture. Although these are
instances of composers’ arrangements of their own or of the works of others, the resulting  
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adaptations were not new compositions. Still, the musical material was substantially re-written
to accommodate the new medium.
Music arrangements and transcriptions have long been a large part of the guitar
repertoire. The process of arrangement has allowed guitarists to expand their repertoire to
include works by great composers who didn’t write for the instrument, while also providing
another root to musical insights about these works by taking them out of their original context.
The unaccompanied string music of J.S. Bach has been through an almost continuous series of
adaptations, a process initiated by Bach himself and taken up by lutenists and keyboard players
in his own day.2 Leopold Godowsky’s 1923 realization of Bach’s cello suites BWV 1008, BWV
1009, and BWV 1011 for solo piano, is a great example of expanding on the original
compositions and arranging them to take advantage of the expressive capabilities of a polyphonic
instrument like the piano.
Contrary to the notion that Bach's music transcends the instrument, Godowsky’s
arrangements suggest that some modification might be necessary in order to fully realize this
music on a polyphonic instrument. Still, many recent adaptations of Bach’s music for the guitar
have followed the process of simply re-notating the originals, making them transcriptions rather
than arrangements. Both Godowsky’s arrangements for piano and the more recent guitar
arrangements take heed of precedent, the former in following Bach’s model of arranging and the  
2Of the six Partitas and Sonatas for Unaccompanied Violin (BWV 1001-1006) and the six Suites for unaccompanied
cello (BWV 1007-1012), Bach made alternate versions of the following: the Suite for Cello in C minor (BWV 1011)
was set in G minor for the lute (BWV 995); the Violin Partita in E major (BWV 1006) was also set for lute (BWV
1006a); the Fuga from the G minor Violin Sonata (BWV 1001) exists in versions for lute (BWV 1000) and organ
(BWV 539); the A minor Violin Sonata (BWV 1003) was arranged as the Clavier Sonata in D minor (BWV 964); the
Adagio from the C major Violin Sonata (BWV 1005) was adapted for the clavier in G-major (BWV 1005); the
Prelude from the Violin Partita in E major (BWV 1006) was used as an orchestral Sinfonia in two cantatas: Wir
danken dir, Gott, wir danken dir (BWV 29) and Herr Gott Beherrsher aller Dinge (BWV 120a).
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latter in a strict adherence to Bach’s original. In any case, a good arrangement, as John Duarte
puts it, is “one that ‘works’, sounding as though the music might have been written for the
receiving instrument, and, hopefully, with that instrument adding some new dimension, no matter
how slight” (293). In arranging after Bach's models we suggest that his model is an appropriate
one to follow. Contrarily, in simply re-notating the original and making absolute note-faithful
editions, we suggest that, in its original form the music is ineffaceable. James Tosone strongly
believes in the latter case:
Schweitzer’s view of the Cello Suites is consistent with the view that each
Bach composition can stand on its own, independent of the instrument for
which it was composed. Because I share this belief, I have prepared a
transcription of the First Suite, BWV 1007. The fundamental premise of my
transcription is that it is not necessary to add notes (in the form of
independent bass lines, pedal notes, inner voices, or filled chords) to produce
a musically complete realization for the guitar; instead, it is necessary only
to bring out the harmonic and contrapuntal elements implicit in Bach’s
writing through the use of appropriate fingering. (29)
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Benjamin Britten’s first Cello Suite, Op.72 is a work that clearly presents Baroque
characteristics given its fugue and stylized Baroque dance movements. To support and inform an
adaptation of this work it is beneficial to study and research Bach’s bowed-string solo works
adapted for harmonic instruments such as the guitar, lute or harpsichord by many performers of
today. Peter Evans writes that: “... Benjamin Britten’s Cello Suites declare a debt to Bach’s
textural methods, and in more than their fugal movements. Since a string player cannot sustain
more than two notes at once, the convention, supremely exemplified by Bach, has been to change  
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pitch register so as to sketch in now this part, now that, of a ‘texture’ that can exist as connected
threads only in the mind’s ear; the process is closely comparable to the style brisé of the French
lutenists. To what purpose Britten had studied the convention may be seen in almost all the
movements of these suites…” (The Music of Benjamin Britten 324). 
Along with adapting Britten’s first Cello Suite, Op.72 for guitar, I will also adapt Bach’s
Partita No.1 for Unaccompanied Violin, BWV 1002. The adaptation process unfolds by deriving
principles from Bach’s arrangements of his own works and from arrangements of his works by
others, and then applying those principles to adapt Bach’s Partita No.1 and, to the extent that
these principles can be applied, to adapt Britten’s first Cello Suite for guitar. These key
principles will aid in answering this study’s primary question: “How can an in-depth process of
arranging Britten’s First Cello Suite and Bach’s First Violin Partita lead to the development of
criteria which may be used to evaluate the outcome of any adaptation for the guitar?”
Musical Structure of Bach’s Unaccompanied String Works
Implied Polyphony
Bach titled his solo violin music as “unaccompanied works for violin”, in reference to the
absence of a continuo part. This title can be misinterpreted, giving the impression that the solo
part is not supported by accompanying musical lines. In these works, Bach turns the essentially  
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monophonic violin into a quasi-polyphonic instrument. These works can be thought of as self-
accompanied works, the accompaniment being embedded in the single melodic line written for
one violin. Bach implies this polyphonic texture in three ways: through arpeggiation - broken
French style or style brisé (Ledbetter) - through melodic leaps, and through consecutive chords.
Most obviously, the impression of a polyphonic texture is often provided through style brisé
arpeggiation. (see Figure 1)3

asdjfkl;awieru
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3 œ œ œœœœ œœ œœœ œœœœœ œ œ œ
œ œ œ œ œœœ
orig. &4 œœœ œœœ œ œ
‰ œj ‰ œj ≈
3 œ œ œœœœ ≈œ œ≈œ œŒœœœ œ œ œœ
&4 ≈œœœ≈œœœŒ œ œ œ ≈œœœ≈œœœŒ œœ
‰ J ‰ J ‰ J ‰ J
implies
∑ ∑ No.3, BWV 1009, mm.37-39

∑
4
Vln. 1 & Figure 1. Prelude, Cello Suite
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Vln. 2 & ∑ however, the implied polyphony
In most instances, ∑ ∑ orderly
is more subtle than this
arpeggiation. The notated single voice in the following example contains by implication not just
∑ ∑ ∑
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&
the accompanying pitch A, but two or more levels of polyphony. (see Figure 2) 
Vln. 1
Vln. 2 & ∑ ∑ ∑
∑ ∑ ∑
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Vln. 1 &
3This figure has been engraved using the notation program Finale, and has been gleaned from Stanley Yates’ article
on arranging Bach’s unaccompanied string works for guitar (Yates 24).
Vln. 2 & ∑ ∑ ∑
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3 œ
& b 4 #œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ
œ œ
orig.
& b 43 # œ œ œ œ ≈ œ œ œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ #œ œ œ œ ≈ œ œ œ œ œ œ œ
Œ œ Œ Œ œ Œ
implies
. r
b 3 #œ ≈ œ œ ‰ # œ œœ œ
& 4 œœœ œœœ œœ œœœ œœ œœœ #œ œ œ œ ≈ œ œ œ œ œ œ œ
≈ œ ≈ ≈ ≈ ≈ œ ≈
or
&b ∑ 2. Prelude, Cello Suite No.2,

∑ BWV 1008, mm.30-32 ∑
4
Vln. 1
Figure
&b ∑ ∑ ∑
It is the duty of the arranger to determine which leaps are melodically expressive
Vln. 2
(rhetorical), which leaps imply some kind of dialog (polyphonic), and which leaps simply
&b ∑ ∑ ∑
represent the lower voice. In Figure 2, the middle staff is perhaps the best notational solution;
Vln. 3
the accompanying lower voice is separately marked, while the implied polyphony and rhetoric of
the ‘solo’ line is left to the interpretation and fingering of the performer or the editor.
&b ∑ ∑ ∑
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Vln. 1
Christopher Wolff mentions that Bach “has the ability, even without an accompanying bass part,
&b ∑ ∑ ∑
to bring into effective play dense counterpoint and refined harmony coupled with distinctive
Vln. 2
rhythms” (Wolff). For the guitar, in order to successfully imply such polyphony, Jeffrey
b sets it as a priority to “clearly outline the implied voices by well-chosen string

McFadden
Vln. 3 & ∑ ∑ ∑
disposition. Specifically, it is recommended to cross strings when a new ‘voice’ emerges on the
second of two consecutive notes, playing the final note of implied voice ‘a’ and the first note of
implied voice ‘b’ on different strings” (i). 

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Organist Herbert Ellingford seems to follow a similar method when transcribing solo
piano music for organ. The following example from Arthur Sullivan’s Daydreams No.2,
originally for solo piano, clearly shows Ellingford’s treatment of melodic leaps by assigning the
implied melodic line to the pedal. (see Figures 3 and 4)4
Figure 3. Sullivan’s Daydreams No.2 for pianoforte, mm.1-11 
4 These figures are taken from (Ellingford 142-43).

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Figure 4. Sullivan’s Daydreams No.2 for pianoforte adapted for organ, mm.1-11
Chordal Textures
A series of consecutive chords is an actual polyphonic event, rather than a suggested one,
and is treated as such in Bach’s unaccompanied bowed-string works. In the works for violin,
passages of triple and quadruple-stopped chords are common, and they regularly accommodate  
is, whether to keep voices on separate stems or to combine guitar, violin music rarely does. The range of the violin and
them onto one stem where convenient. Dutifully delineat- guitar are similar. More common is the issue of whether or not
ing each voice visually preserves the individuality of voices to add bass notes that one imagines the composer would have
and the original notation from the manuscript in the present included had they been feasible on the violin. Historically,
10in
effective voice-leading. The following me vspassage, for instance,Ais only a small sampling of the
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36
Figure 5. Fuga, G minor Violin Sonata, BWV 1001, mm.74-76
SO UN D BOKD, Vol. XXXIV, No. 1
On the relatively few occasions that unusual voice-leading is encountered in the violin
works, it is usually the result of a fingering compromise in a passage of quadruple-stopped
chords arising from technical restrictions of the instrument. In the following passage, the inner
voices are exchanged, resulting in an unusual resolution of the next-to-last 4/3 harmony. (see
[Title]
Figure 6) Score
# # 3 œ œœ # œœ œ.
& 4 # œœœ œœ œ. ‰Œ ∑
œœ œ ..
œ
Violin
5
## ∑ ∑
&
Figure 6. Sarabande, B minor Violin Partita, BWV 1002, mm.11-12
The treatment of triple and quadruple-stopped chords in the unaccompanied cello works
is considerably less consistent,

8
## ∑
due to the cello’s even more difficult technical geography.
∑
&
Quadruple-stopped chords often result in unconventional voice-leading and triple-stops often
lack satisfactory resolutions as well. (see Figure 7) 

11
## ∑ ∑
&
5 This figure has been gleaned from (R. Yates 36).
##
∑ ∑
14
&
11
œ œ œ œ œ #œ œ œ œ œ œ œ
? 3 œ œ œ .
b 4 œœ ˙ œ œ œ .œ œ œ . œœ œ œ œ œ œ œ nœ #œ œ œ œ œ
# œ . ‰ œJ ‰ ‰ J œ
Cello
œ n œ œ œ œ . œ œ n œ # œ œ œ # œœ .. œ œ œ # œ œ œ œ œ
?b œ #œ œ œ œ ..
œ
5
Œ œ ‰ ˙
!
? ∑ ∑ ∑
9
b
Figure 7. Sarabande, Cello Suite No.2, BWV 1008, mm.21-28
These present a compromise between fullness of sonority on one hand and the voice
?perfection of an∑implied polyphony on the other.

∑ In the following example,
∑ the low C on
12
leading
b
the downbeat of m.15 (the 7th of the dominant harmony) cannot be resolved downwards on the
3rd beat
?b ∑ ∑
as it should, since C is already the lowest note possible on the cello. (see Figure 8)
∑
15
œ nœ œ œ Ÿ
? b 4 œœ œ #œ œ #œ œ œ œ œ. œ œ nœ œ œ
? bb 4∑ ∑ n œœ Œ ∑ Œ
18
b œ. œ
Cello
Ÿ
[ ]
œ œ œ. œ œ œ. j
? bb n œ œ # œ œ œ œ œ œœœ œ
n œ œ œ œ˙ . œ œ . œ
n∑œ . œ œ . .. ‰
3
? b ∑ ∑ Œ
21
! b
? b Figure 8.∑Allemande, Cello Suite No.5,

∑ BWV 1011, mm.14-18∑
6
?bbb ∑ ∑ ∑
24
Here and elsewhere, Bach searches for an expressive sonority that seems to override
?
b b b of harmonic∑function. Further instances
∑ where the cadential 4/2∑harmony appears
9
considerations
can be found in the preludes to the lute works BWV 998, and BWV 1006a. In the prelude to the
? bBWV 1007, this∑ dissonant harmony cannot

∑ be resolved in register because,
∑
12
Cello Suite,
bb again, the  
? bb ∑ ∑ ∑
15
b
12
lowest note of the chord is the lowest note possible on the cello. It is left to the ear to imagine
the resolution. (see Figure 9)
?# 4 œœœœœœ œœœœœœ œœ œœ œœ œœ
4 œ œ œ œ œ œ œ œ
#œ œ œ œ
Cello
U
?# œ œ œ œ
# œ
œ œ œ œ œ œ œ œ œ œœœœœœœœœ
œ œ œ œ œ œ œ
3
œ
! ?
?# ∑ 9. Prelude, Cello Suite No.1,

∑ BWV 1007, mm.18-21 ∑
5
Figure
On the lute, such resolution is possible, as seen in this example from BWV 998. (see Figure 10)6
?# ∑ ∑ ∑
8
?# ∑ ∑ ∑
11
Figure 10. Prelude, from Prelude Fugue and Allegro, BWV 998, mm.39-40
?# ∑ ∑ ∑
14
Polyphonic Structure
? #Despite these compromises,

∑ ∑ ∑
the multi-voice textures found in Bach's Cello Suites are
17
genuine contrapuntal structures, and they accommodate a high level of polyphonic writing.
Figure 11, shows Stanley Yates’ steps to adapting the opening measures of the Allemande from  
?# ∑ ∑ ∑
20
6 This figure is taken from (Koonce 65).

13
the C minor Cello Suite, BWV 1011 (Yates, Bach’s Unaccompanied Cello Music). The method is
inspired by the standard harmonic analysis approach used by theorists to simplify a given
musical passage for further in-depth harmonic analysis study (Schaffer 15). A similar process
can be found in Stanley Yates’ article on transcriptions for guitar in Soundboard Magazine
(Yates, Bach’s Unaccompanied Cello Music 12). He outlines the following steps shown in
Figure 11:
a) the musical notes taken from the cello original (transposed to  

A minor in this case).7
b) rhythmic reduction to the eighth-note level with ornamentation

and passing notes removed.
c) indication of the harmonic structure and clarifying the voice-

leading through vertical/chordal engraving.
d) indication of notes/pitches inferred from the harmonic and

contrapuntal structure that are not present in the original.
!
The final step (e) is to realize the score with reconstructed note durations and re-stemming,
transforming it into a “solo” line with lower voice accompaniment.
7The original autograph score by Anna Magdalena Bach can be retrieved from (Wimmer).
Given the transposition in Figure 11 to A minor, the lowest note here on the cello is hence an A, simply to facilitate
comparison with the adapted guitar version (see Figure 11, line e).
14
ŒÓ 2 œR œœ œ œ œ œ œ. œ œ. œ œ.œ œ œ œ œ
&2 œ
œ œœ
# œ œ œœ œ œ œ œ œ . œ œ . œ œœœ . œ # œ œ . œ . œ œ œ # œ . œ œ œ œ œ . œ œj ‰Ó
‰Œ‰ ÓŒ œ
a)
J J
œ œ œœ œœ œ
2
& 2 œœ
∑ # œ œ œ œ œ œ
œ œ œ œ
# œ œ œœ œ œ œ œ œj ‰Ó
Ó‰Œ Œ Ó Œ Œ œ œ œ œœ œ œ œ
œ
b)
J
œ œ œ˙ œ ˙ . œ œ œ œ ÓŒ
ŒŒ 2
& 2 ˙œ
∑ # œœ œ œ œ œ ˙ # ẇ ˙˙ Ó
œ œ ˙˙ ˙ ˙ ÓŒ
œ
c)
Ó. 2
[vii7] [V6/5] i
Ó &2 ∑ ˙ ∑ ÓÓÓ
i [iv] V6 i iv6/5 V i6 [iv7-6] V7
#œ œ #˙
Ó ..
d)
J
‰ . œr œ
2 œR œœœ œ œ œ œ œ . œ œ . œ œœ œŒ
Œ ‰Ó
. œ œ . œ œ .
œ œ œ œ . œ œ œ . œ œ œ œ œ œœ . œ œj
&2 Œ #œ œ œ œ œ . œ# œœ . œ ˙˙ # œ ˙ # œ˙ œ œ œ # ˙
œ Œ ŒÓ
e)
˙˙
& ˙
Figure 11. Allemande, Cello Suite No.5, BWV 1011, mm.1-5
Ó
6
˙
Vln. 1
As mentioned earlier and from what can be seen above, Bach's original line for the cello
Vln. 2 & ∑
demonstrates a high degree of polyphonic writing. However, the music is less convincing
Vln.texturally
3 & once transcribed for an instrument capable of∑ actually realizing, rather than just
implying, a consistent polyphonic structure. Arrangement for a polyphonic instrument such as
Vln. 4 & ∑
the guitar, then, is not simply a matter of re-notating the original (i.e. transcribing it). Such a
Vln.process
5 ∑ implications and inconsistencies of the
& fails to deal with both the inherent voice-leading
original and the distinct idiomatic characteristics of the receiving instrument. To conclude,
‘faithful to the original’ transcriptions succeed only in imposing the limitations or weaknesses of
one instrument onto another, without compensating for these weaknesses with expressive tools
inherent and idiomatic to the receiving instrument. The likely result will be a performance
edition that is slightly inferior to the original. This is also the case when condensing music from  
˙Œ n œ n œŒ œ ‰
nœ nœ œ œ nœ nœ œ œ
j œ‰ Œ
15
#
# # (ex. ‰
Voiles
jIIn œ œto a smaller
œ # œœ
œ œ
œ # œ
Debussy œ œ œœ œœ œ œ # œœ œœ # œœ œœ œ œ
# nœ Œ n œ n œœ œ œ 8 nThe
œ nfollowing
œœ n œ n œfigures
œ are
9
& œ
Prélude
œ
n œ n œ# œœ # n œœ œ œ n œ nœ œ
Claude
a larger orchestra) (ex. guitar) musical medium. two
‰ œ
Tariq Harb
# œœ œœ # œœ œ œ Œ
œ nnœœ n œœ .... arrangement n œŒ of œVoiles, Debussy’s
œ n œœ
# œœ œœ # œœ œ œ
œ Œfor solo piano. Figure 12 isJthe
6 en Ré
# ## 2
& # 4 Œ J
from the author’s prelude
ar
piano score condensed on one staff for ease of comparison to the guitar part, and Figure 13 is the
## œ
& # # nœ
œœ n œ œ
# œ œ œœ ˙˙ jthat# œ‰mostœchords
# œ # œœ # n œœ
#
# # # n ˙œœ Œ n œ n nœ œ n œ œ n ˙ ‰ œ œ œ œ
n œ œ œ n œœn n œœœ œœ œœ ....
# œ œ œœ œœ œœ Œ # n œœœ œœ
adaptation
13
for guitar. One can clearly see have been reduced significantly to
& œœ
n ˙ n ˙ n œ Œ is essential to the expressive
‰
‰ nœ œ ‰ nœ œ nœ J nœ œ œ
become idiomatic to the guitar fingerboard. Chord colour, which
# ##
& #
nœ
j j J
œ of this music is necessarily
n œquality
j
‰ nœ nœ œ J J
nœ Œ nœ œ ‰ œ nœ
compromised, and this is detrimental to the outcome.
Œ
# œ œ ## œ #œ œ # œœ‰ œœ # œœ œ# œœ œ # œ œ œœ ‰œœ ....n œ # œœn œœ # œœ œœ œœ .. # œœ

#### Œ # # n œŒ œ n œn n œœœ œœ œ œ œœ .... n œœ œœ .... œœ
œ œ œœœ œ n œ #n œ œœœ œœ œ#œ
17
œ
œ & œœ
nœ n œœ n œœ
&
œ n œŒ
œ œ
œ ‰
J œ ‰ œ nœ J Œ nœ œ ‰ œ
nœ œ J
J nœ ‰ Œ n œ
J J J
! j
# ## œ n œ n œ j œœ œœ œ œ n œ # n œœ n œ
& # n˙ n#˙˙12.œVoiles,
œ‰fromn œ Debussy’s
#œ œ œ Œ
œ
#
œ#Figure ˙
‰ œ ‰ ‰
n œ 24
œ #œ
J œ ‰ ‰ n œ n œ œ Œ n œ œ2 n œ œ ≈ œ œ œ œ œ
J
J# # n œ œ
n œ 21 n œ œ n œ
nœ
Preludes, engraved on one treble staff, mm.17-20
‰
Œ œ J œ #œ œ . œ # œœ œ ≈ #œ
& œœ œ . œ # œœ œ œ
Voiles
J #œ #œ.
œ nœ
# # # # œ .. # œ # œ œ œ nœ ˙œ ˙ n ˙ œœ # # œœ. .... # œœ œœ n ˙ œœ œœ # œœ .. # œœ # ˙˙ j
n œ # n œœ n œ n œœ œœ .... # œ
n œ .. & # ‰ œ n # œœ nœ Œ œ ‰
19
& ‰ œ nœ œ œ
nœ nœ J
nœ œ ‰ œ nœ J nœ œ ‰ œ nœ J nœ œ ‰ œ n˙
J ! J ‰ Œ J Œ J
!
‚
#### Œ ‰ n œ n œ œ n œ œ nœ œ ! œ œ œ nœ œ nœ œ ! #œ œ œ#œ
# œ œ # œ œ mm.17-20
œ œ œ œ. œ # œ œ œ
22
Figure 13. Voiles, from Debussy’s 24&Preludes, œarranged forœ . guitar, œ

#œ. #œ.
˙ n˙ n˙
An appropriate approach to arranging any cello or violin solo works for the guitar
#### # œ œ œ . œ œ œ œ n œj n œ .
3
œ œ œ n˙
3
j
25
therefore must comprise the reconstruction of & œ.

the polyphony œ . and
œin a contrapuntally
œ œ œ
nœ
œ. œ œ
#œ. #œ. #œ.
˙ n˙ n˙
harmonically consistent form, the re-structuring of the texture in the new notation (stemmings
nœ
# # # # inœ a unique form œ
n œ œguitar.
n œ œto the œ œœ œ œœ # œ
‰ n œ n œ idiomatic
œ # œœ n œ œ #œ œ #œ
28
&
and note durations) and the realization of these goals
œ. œ œ
#œ.
˙ n˙
!
nœ œ nœ œ œ œ
#### n œ œ n œ œ œ œ n œ œ œ œ œ n œ œ . œ œ #. œ n œ œ .
œ œ # œ #œ # œ œ n œ. œœ œ
30
&
œ œ œ œ œ
n˙
8 Many such examples can be found in (Ellingford).
œ œ œ œ
# # # œ˙ œ œ œ œ œ œ œ n œ œ n œœ œ œ œ
& # n˙ ‰
32
J
16
Historical Context of the Arranging Process Gleaned from Bach’s Own Arrangements
Bach's Lute and Keyboard Arrangements
Although Bach never wrote for the guitar, modern guitarists have long considered Bach’s
music to be part of their performance repertoire. Not only is the music worth playing for its
sheer beauty and its satisfying mathematical proportions, but guitarists further argue that Bach
wrote for lute, another member of the plucked-string family of instruments. Whether Bach wrote
directly for the lute is not verifiable given that there are no surviving original lute tablatures in
the composer’s hand (Hannu 32). The only source of Bach’s adapted lute music is through the
seven known works, titled: “Lautenwerk” (Danner 29). Despite presenting high technical
difficulty in their execution, Bach’s lute arrangements of the unaccompanied bowed-string works
are adapted for Baroque lute texture and playing technique. They feature an ornate and active-
moving upper line executed with the fingers and supported by an articulate and faster-moving
lower line executed with the thumb. Other than addressing inconsistencies in voice-leading,
Bach’s arrangement process for the lute clarifies the texture for the lower voice. In his
arrangement of the C minor cello suite, for example, the opening of the Gigue is transformed in
the lute version by the addition of an imitative voice, while the second Gavotte is given a lower
part which adds a richness of harmony not even vaguely present in the original. (see Figure 14)9 
9Many other examples and further insight can be found in Philip Hii’s article on Bach’s own adaptation process (Hii
28-33).
17
b 3 œ
& b 8 J œ. œ œ œ. œ œ œ. œ œ œ. œ
a)
œ œ œ œ
Cello
œ œ œ. œ . œ #œ. œ
b 3 œj œ . œ œ œ . œ ‰ Œ ‰ ‰. œ
& 8 ‰ Œ ‰ œ Œ œœ œœ . œ œ œ œ . œ œ œ œ œŒ . œ œ # œœ .
b œœ
[Title] J Œ œ
Lute
J J ‰
!
bb)
&b bb 4 œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ n œ œ œ∑ œ œ œ œ œ œ œ œ œ œ b œ œ œ œ n œ œ œ œ œ œ
8
œ œ n œ œ œ œj ‰‰
3
& 4 œ œ œ
3 3
Vln. 1 3 3
Cello
bb
3 3 3 3
∑3 3
3 3 3 3 3 3
3
& bb 4 œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ n œ œ œ œ œ œ œ œ œ œ œ œ œ b œ œ œ œ n œ œ œ œ œ œ ‰Œ‰
3 3
j
3 3 3 3
3 3 3 3 3
Vln. 2 3
& 4 œŒ œ œ œ œ œ
3
œ œ œ
3
œ œ n œ
œ œ œ Œ Œ nœ œ Œ Œ œ bœ Œ
Lute
œ #œ
b
!
&b ∑ ∑ ∑
9
b
&b ∑
5
Vln. 1
Vln. 1
Figure 14. Lute Suite, BWV 995: a) Gigue, mm.1-7; b) Gavotte II en Rondo, mm.12-15
b
&b ∑ ∑ ∑
b b arrangement of the A minor Violin Sonata,
∑ BWV 1003, for clavier (BWV 964), Bach
Vln. 2
Vln. 2 &
In his
goes considerably further in providing an idiomatically fitting arrangement. He provides

bb b ∑ ∑ ∑
12
&
&b ∑ ∑ ∑ ∑
6
Vln. 1
melodic, harmonic and textural clarification, adds ornamental notes, and applies note duration re-
Vln. 1
b
&b ∑ ∑ ∑
adjustments and re-stemming. In fact, the arrangement is so convincing that, even though the
b
& b is consistent
∑ in its harmonic ∑and contrapuntal structure,
∑ ∑ to suggest
Vln. 2
violin
Vln. 2 original no hint is given
that the music could ever have been conceived for any instrument other than the clavier. The
b b in Figure
∑ 1510 shows the consistency
∑ ∑ and texture that is∑ maintained
10
passage found
Vln. 1 & of part-writing
throughout the Clavier Sonata.11 

b
Vln. 2 &b ∑ ∑ ∑ ∑
10 Similar examples found can be found in (Hii 28-33).

11
In the examples cited here, the clavier version of the sonata, BWV 964, has been transposed from D minor to A
minor, for ease of comparison with the violin original.
18
Ÿ Ÿ
Ÿ Ÿ j
. . œ Ó
Grave
4 œ œœœœ œ œ œ œ œ œ œ œ œ œ
& 4 œœ œ œ œœ # œ œ œœ œ œ œ
‰ ‰
œœ œ œ# œœ œ # œ œ œ œ œ œ œ œ œ œ
‰ . œ œ œ œ œœ œ
œ ‰ÓŒ
œ œ ‰ #œ ‰ œ œ J
Violin
J
m mj j
œ œœœœœ m œ . œ œ œ œ Ó
Adagio
4 œ œ œ
œ œ # œ œ œ œ œ œ œ œ œ‰ œ œ# œœ œ # œ œ œœ œ œ œ œ œ œ œ
œ œ
& 4 œœ ‰ J ‰ . œ œ œ œ œœ
œœ œœ œ
‰ J œJ ÓŒ‰
œ œœ œ œœ œ
? 4 œœ œ œ œ œ œ œ œ œ #œ
Clavier
œ œ œ #œ ˙ J Ó‰
4 œ
!
∑ Figure∑15. Adagio,
∑ ∑ ∑ in ∑D minor,
∑ BWV ∑964, mm.1-3
∑ ∑ ∑
4
Vln. I & Clavier Sonata
Since the original version for unaccompanied violin is reasonably consistent in both
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
4
&
texture
Pno.
and in block-chord voice-leading (in comparison to the unaccompanied cello music; see
∑ ? ∑ a harmonic
∑ ∑ ∑ is easily
∑ accomplished.
∑ ∑ Bach’s
∑ additions
∑ for ∑the
Figure 7), translation to instrument
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
15
clavier version may therefore be regarded as a means to a proper idiomatic keyboard texture,
Vln. I &
rather than a means to providing solutions to a polyphonically deficient original.
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
15
&
! Pno.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
!
∑ ∑ ∑ ∑ ∑ ∑
26
&
! Vln. I
! 26
& ∑ ∑ ∑ ∑ ∑ ∑
Pno.
! ? ∑ ∑ ∑ ∑ ∑ ∑
!
!
19
A Brief Insight into Britten’s Three Cello Suites and His Compositional Language
The Cello Suites by Benjamin Britten are a series of three compositions for solo cello
(Opp.72, 80, and 87), dedicated to Mstislav Rostropovich. The Suites were the first original solo
instrumental music that Britten wrote for and dedicated to Rostropovich, though he had earlier
composed a cadenza for Haydn’s Cello Concerto in C major for Rostropovich in 1964.
Rostropovich gave the first performances of each work, and recorded suites 1 and 2 (Anderson
1005). 
Britten wrote the First Cello Suite at the end of 1964. It was premiered at the Aldeburgh
Festival in Snape Maltings on June 27, 1965 (Walsh and Mann 23-615). The suite is in nine
movements, played without pause. The Second Cello Suite dating from the summer of 1967, was
premiered by Rostropovich at the Aldeburgh Festival on June 17, 1968. The score was published
in 1969 (Tilmouth 92-3). Britten composed the Third Cello Suite in 1971, and it was first
performed by Rostropovich in Snape Maltings, on December 21, 1974 (Evans, Reviews of Music
352-53).
Rostropovich’s playing of Bach’s Cello Suites was the inspiration of the three
unaccompanied suites Britten wrote for him (Evans, The Music of Benjamin Britten 324). The
First Suite, Op.72 is in nine movements including three Cantos, one which serves as an
introduction to the suite, and two others which are placed between movements 2 and 3, and 4 and
5. The Cantos are not only beautiful melodies but also are the primary source material for the
work’s motifs, for instance, the exciting and continuous dialogue of two staccato notes in the
Fuga, the argument within an expressive lyrical context of E and E flat in the Lamento, and the  
20
anxious modality of the pizzicato Serenata12 where the homage here being to Debussy (325).
The following Marcia presents an ostinato of natural harmonics which suggests a “bugle-call”
and a drum rhythm played with the wood of the bow (con legno). The eighth movement Bordone
presents an inflexible open-D drone which underlines two main themes (one of them being a
pizzicato reference from his Violin Concerto), and finally the virtuosic sixteenth-note
illustrations of the Moto Perpetuo e Canto Quarto are heard from which the Canto Primo
emerges again for its final statement (325-26).
The Second Suite, Op.80, followed three years later (326). It is in five movements and
is very different from the First Suite. Here, Britten finds interesting new ways to showcase his
soloist’s virtuosity and of avoiding any hint of monotony in writing for a monophonic
instrument. The clever Fuga is “even more ingenious than in the first suite”, Evans says,
“because of the placing of rests in its subject, the player is able to set against this a
countersubject and then to execute a stretto of two and eventually three ‘voices’, all without ever
sounding more than one note at a time” (326-27). The slow movement has a starkly different
tempo marking, Andante Lento, the pizzicato being in 6/8 time and the bowed melody in dotted
eighth notes. The melody here keeps alternating between major and minor thirds which suggests
a timeless conflict, and also offers a resemblance to his Cello Symphony (327). The final and
noble Chaconne is based on a five-bar ground, with a descending tetrachord from the dominant
to the tonic adapted from one of the most common Baroque musical forms (327), the
passacaglia, further suggesting a direct influence from the stylized dance movements of the  
12 I must add that the Serenata, with its pizzicato effect throughout, already sounds similar to a guitar.
21
Baroque era.  
The Third Suite, Op.87 was composed in a nine-day span in 1971 (327). It is the most
personal and affectionate of the three (327). It is in nine movements which never sound
episodic, as is often the case in the equivalent movements of the previous suites. They are unified
by being based on four Russian themes, three being Tchaikovsky folk song arrangements: The
Grey Eagle, Autumn, Under the Little Apple Tree, and Kontakion, a hymn for the dead (328).
The variations on these themes are heard first. The tunes themselves do not appear in their
original form until played one after the other at the end of the last movement Passacaglia, a
process strikingly similar to that used by Britten in the Nocturnal, Op.70, his only solo guitar
piece. As in the Nocturnal, Britten reveals echoes of these themes here and there throughout the
suite. The introductory Lento has a chant-like purity which derives from the Kontakion and
explores several keys (328). The tonal Marcia is built from The Grey Eagle and Autumn, and the
Canto from Under the Little Apple Tree (328). The complete Autumn melody can be heard in the
arpeggiated figures in the Barcarolla and elements of two other themes, namely elements from
the Kontakion and from Under the Little Apple Tree contribute to this active movement (328).
The Fuga is on a grander scale than either of the fugues in the other suites; it is linked directly to
the Recitativo (the seventh movement, marked ‘fantastico’) which becomes the Moto Perpetuo,
both acting as preludes to the final Passacaglia, which largely resembles the Kontakion hymn.
!
!
!
!
22
The Value of Transcriptions to the Guitar Repertoire
Although the repertoire written for the classical guitar has been growing rapidly since the
late nineteenth century with the increasing enthusiasm modern composers have towards writing
for the instrument, it does not include original works by prominent composers such as Bach,
Mozart, Beethoven, Chopin, and Mendelssohn. Yet interest in performing these composers led
guitarists such as Johann Kaspar Mertz, Francisco Tárrega and Andrés Segovia to arrange their
works for guitar, with great success. The process of arranging is in fact greatly encouraged and
pursued by guitarists today in order to illuminate the capacity of the instrument and to expand on
its rich solo repertoire. Not only is this process present to provide for solo guitar works, but it is
also widely used to add to the chamber music and guitar ensemble repertoire. Guitar ensembles
depend almost entirely on adapted music in order to have sufficient repertoire resources. Some
solo guitar adaptations have been successful to the point where, when performed for audiences
unfamiliar with the classical guitar repertoire, they are thought of as being written originally for
the guitar rather than for any other instrument (pieces by Isaac Albéniz, Enrique Granados, and
Antonio Carlos Jobim are examples). As a result of showcasing the capabilities of the guitar as a
polyphonic instrument, this trend in adaptation often pushes the limits of the guitar technically,
allowing pedagogues to create new principles of study to advance technique on the guitar and to
help prepare their students to perform such newly adapted repertoire.  
!
Britten’s Nocturnal, Op.70, dedicated to the English guitarist and lutenist Julian Bream,
has become a cornerstone of the classical guitar repertoire in the twentieth century, as Britten’s
Cello Suites have become to the solo cello repertoire. An adaptation of Britten’s first Cello Suite  
23
for guitar has never been attempted. Once successfully adapted, I believe this Cello Suite will be
highly successful among guitarists of today based on both the popularity of Bach’s Cello Suites
on the guitar, and on the numerous performances of Britten’s Nocturnal since its creation. The
Suite will further offer great technical and musical challenges to the emerging professional
guitarist, and hopefully will become a valuable addition to the guitar repertoire.  
The subsequent chapters will further explore and will answer this study’s primary question
mentioned earlier. (see p.5)
!
!
!
!
!
!
!
2. The Process of Adaptation  
 
!
! This chapter will explore the techniques of adaptation culminating in a list of principles
extracted from the process of arranging J.S. Bach’s Partita No.1 for Unaccompanied Violin,
BWV 1002, and Benjamin Britten’s Cello Suite No.1, Op.72, and provide an in-depth exploration
of the adaptation process. The process of arranging Bach’s Partita No.1, BWV 1002 for guitar is
documented in detail in Appendix A, with a measure-by-measure description of the adaptation
tools and techniques necessary to realize an arrangement from a monophonic instrument to a
polyphonic instrument. The author’s adapted scores for guitar of Bach’s violin Partita and
Britten’s Cello Suite are found in Appendix B.  
!
Bach’s Partita, BWV 1002 is an excellent example to explore in detail, due to the
contrasting compositional techniques Bach uses in the various dance movements (Allemande,
Corrente, Sarabande, and Tempo di Borea) and their Doubles. In many of the movements, Bach
transforms the essentially monophonic violin into an instrument capable of handling polyphonic
textures, applying extensive counterpoint and step-wise voice-leading through the use of double,
triple, and quadruple stops. The arrangements for guitar consist of re-stemming the original to
show longer note durations and filling chords (usually at cadences) to thicken the polyphonic
texture in an effort to better connect and to clarify the continuity of the original counterpoint. At
times, adding imitative lines (usually in the bass register) is necessary to fill the texture under
notes of extended duration.13 This adaptation technique is necessary to counteract a plucked- 
13
Imitative lines are added voices or musical lines found in an arrangement. They are constructed from the main
motif (rhythmic and melodic basis) found in an original score.
!24
25
string instrument’s inability to sustain notes as long as bowed-string instruments can, and is
applied by Bach in his lute arrangements of his solo cello music (BWV 995, Gigue) as discussed
above. In the Doubles, Bach chooses to compose a completely monophonic texture to
accommodate the technical capabilities and idiosyncrasies of the violin. In such cases, a guitar
arrangement calls for an added bass-line throughout, as in the author’s Double of the Sarabande.  
Among the many adaptive possibilities one might choose when arranging Bach’s
unaccompanied violin music for guitar, the author’s arrangement of BWV 1002 uses a moderate
level of adaptation, one which is primarily concerned with illuminating the counterpoint and
clarifying the intended harmony, without the exaggerated addition of chord tones, melodic lines,
ornamentations, embellishments, or imitative voice lines. The arrangement will be technically
comfortable, yet tailored for emerging professional guitarists.
Ivan Galamian’s edition of the 6 Partitas and Sonatas (Galamian) and a facsimile in
Bach’s handwriting were both used to realize the author’s adaptation for guitar. Faber Music’s
edition of Britten’s first Cello Suite has been used to adapt Britten’s work for guitar (Britten).
!
Criteria Derived from the Adaptation Log and from the Process of Adaptation
Here are ten criteria derived from Bach’s method of adaptation, Yates and other arrangers’
approach to arranging, the adaptation log (see Appendix A), and the author’s in-depth adaptation
process:  
!
 
26
!
1- Tuning of the receiving instrument.
2- Choosing a suitable key.
3- Adjusting note duration, inserting rests, and re-stemming the original.
4- Interpreting bow markings, slurs, and ties and their equivalencies on the guitar.
5- Filling in chords to strengthen the harmony and to thicken the texture.
6- Composing bass-lines informed by suggested harmonies.
7- Sustaining sound by adding imitative voice lines and by using other techniques.
8- Introducing articulations and musical contrasts.
9- Applying special effects and extended techniques to imitate sounds from the original
instrument.
10- Using specific fingerings throughout the adapted guitar score.
!
As a preliminary goal of the arranging process, adaptations of tonal music from a
monophonic instrument such as the violin or the cello to a polyphonic instrument such as the
guitar should clarify and pronounce the harmonic progressions when possible. In quasi-tonal or
atonal music however, emphasis can be made on the sonic colours and textures the receiving
instrument can produce using idiomatic techniques, extended techniques, and/or specific
fingerings, to either imitate or enhance the original effect. In either case, there are shared criteria
that could be derived from the adaptation process and used to convert any solo monophonic
score (e.g., for violin, cello, flute, clarinet, voice, trumpet, etc.) into a classical guitar score. The  
27
above mentioned criteria, when applied during an adaptation process, create an idiomatic
arrangement for guitar as they address every concern related to arranging.!
!
Tuning of the receiving instrument
The guitar has probably received a large number of contemporary adaptations and
performances of Bach's unaccompanied string literature, perhaps more than any other instrument.
Of this repertoire, the violin works are readily accommodated. Though the resulting pitch is an
octave higher, the notated violin range sits well on the guitar, and almost all multi-stops can be
comfortably reproduced and sustained. Indeed, in some ways the music is more easily realized
on the guitar than it is on the violin, given the greater polyphonic capacity of the guitar. Still, the
most important reason for the success of this music when played on the guitar is the polyphonic
and textural completeness of the original. Very little needs to be changed or added. For reasons
already discussed in Chapter 1 (recall Figures 7 and 8), this is not the case with the cello works,
and unaltered renditions of this music on the guitar are likely to produce unsatisfying results.
These changes involve not only the addition of notes needed to complete the polyphony and
strengthen the texture, but also the alteration of notes that, although sonorous on the cello,
compromise voice-leading when heard on a harmonic instrument (see Figure 29). Once the
essential polyphony has been reconstructed, it forms the basis for an idiomatic arrangement.  
!
Given that the notated violin range fits comfortably on the guitar, the tuning of the
modern guitar need not be changed, especially when the violin music is notated in one of the
keys of its open strings (G major/minor, D major/minor, A major/minor, E major/minor). The  

28
choice of scordatura of the 6th and/or 5th string(s) of the modern guitar serve(s) only to
accommodate added bass notes which the scordatura makes available, as we hear in Segovia’s
adaptation of Bach’s Chaconne, from BWV 1004. Here, Segovia adjusts the 6th string down a
major 2nd to D in order to expand the range of the key of D minor. Although unnecessary, this
technique lends to the original a greater harmonic sonority and results in a more idiomatic
arrangement. On the contrary, the standard tessitura of the modern guitar works well for
adapting Bach’s Partita No.1, BWV 1002. Because the original is in the key of B minor, the 6th
string of the modern guitar expands the range of the adapted score without the use of scordatura.
The lowest B note on the guitar falls on the second fret on the 5th string, giving added range for
additional lower bass notes to fall on the 6th string, and hence allowing for greater freedom of
voice-leading without the need for scordatura.
In arranging Britten’s Cello Suite for guitar, the choice of standard tuning or scordatura is
governed by different criteria. A close look at the cello score reveals the full use of the cello’s
range, from the low C in the bass clef, to a high C#, two ledger lines above the staff in the treble
clef. Moreover, the compositional language is not diatonic. It is at times modal, and at other
times quasi-tonal or even atonal, which makes it impossible to base the guitar tuning on key
choice. One approach was to transpose the whole suite up a major 3rd so that the low C on the
cello becomes an E, matching the low E on a guitar’s standard tuning. However, this approach
introduced the need for many octave displacements, which created an awkward discontinuity of
melodic lines.
A pragmatic approach was to transpose some of the movements higher by a major 2nd
making the lowest C a D for the guitar score and tuning the guitar’s 6th string down a major 2nd  
29
to make this note available. This approach eliminated the need for octave dispositions allowing
for a wider range of possible notes in the guitar’s upper register. To keep the natural harmonics
on the open strings similar to those written for the cello in the original score, the Marcia needed
no transposition (see Figure 16, p.32). Likewise, the Canto Terzo and the Bordone needed no
transposition, due to their literal attacca made possible by the sustained open D string on the
cello, which gave the best affect and ease of execution when matched on the guitar (see Figure
39, p.61). With the use of open strings and specific fingerings, this analytical approach to
deciding on guitar tuning for the adaptation of Britten’s Cello Suite proved to function well on
many accounts, keeping the cello tessitura intact, and preserving the cello’s sonorous sonic
quality in the arrangement.
Another consideration to tuning the modern guitar for adaptations would be to discuss
arrangements of Baroque lute or theorbo music for guitar. However, this area of research is
beyond the scope of this paper given that such instruments are considered larger polyphonic
instruments that utilize a wider tessitura than that of the guitar.14 In order to realize successful
adaptations of works from such instruments, the addition of strings to the standard six string
guitar would be advisable.
Choosing a suitable key
In order to “write for guitar, and not against it”, as Leslie Paul says, one must consider
transposing the original score (Paul 306-13). Bach transposed his fifth cello suite originally in C  
14 A discussionon why some keyboard music works on guitar will be explored in Chapter 3. The results from this
discussion apply universally to all adaptations of music from one instrument to another.
30
minor (BWV 1011) up a fifth to G minor for the Baroque lute (BWV 995); the fugue from his first
violin sonata in G minor (BWV 1001) down a fourth to D minor for the organ (BWV 539); his
second solo violin sonata in A minor (BWV 1003) down a fifth to D minor for harpsichord (BWV
964), and the first movement of his third solo violin sonata in C major (BWV 1005) down a
fourth to G major for harpsichord. Leslie Paul mentions that Bach “was scrupulously careful in
observing the distinctive nature of each instrument” (306), and hence was aware of which keys
work well on the instruments involved in the process of adaptation. In this case, familiarizing
one’s self with the keys that resonate best on the violin, the cello, and the guitar, is useful to
realizing a sensible adaptation.
From a practical standpoint, the choice of an appropriate key for guitar adaptation is
determined by tessitura. In Bach’s violin works, Stanley Yates suggests that the original keys
work well on the guitar, with an upward transposition of a major 2nd being a possible alternative.
We see this in the many adaptations of Bach’s first violin sonata in G minor (BWV 1001)
transposed to A minor. This specific transposition makes BWV 1001 more workable on the guitar
due to the availability of open strings representing the roots of the tonic and dominant harmonies.
The cello works, on the other hand, employ a range of approximately two and a half octaves,
from C two octaves below middle-C to G or A above middle-C (the sixth suite, BWV 1012
employs a five-string accordatura15, which extends the open-strings’ range of the instrument by
an interval of a fifth). Since a usable two and a half-octave range may be generated on the guitar
starting on any pitch between D (with scordatura) and A, several transpositions for each suite are
possible. Stanley Yates states that “in practice, … it is necessary for pitches to be available  
15 The tuning scheme of a stringed musical instrument.

!31
below the lowest-sounding note of the cello. This reduces the number of available keys on the
guitar to those found at a fourth or fifth above those for cello” (Bach’s Unaccompanied Cello
Music 12). Yates further suggests the following keys for adapting Bach’s Cello Suites for guitar
(12):
Table 1: Possible workable transpositions adapting Bach’s cello music for guitar
Cello Guitar
Suite No.1 G major C major or D major
Suite No.2 D minor G minor or A minor
Suite No.3 C major G major or A major
Suite No.4 Eb major G major or A major
Suite No.5 D minor G minor or A minor
Suite No.6 D major D major or E major
Of these, Yates suggests that the slightly lower transpositions at a fourth usually provide
greater opportunity for chordal-based fingerings in style brisé. Although Yates’ preferred key
choice provides greater technical expediency for performing suites 1 and 3 on guitar, it
compromises instrumental sonority as a result, losing much of the deep, sonorous quality of the
guitar that imitates the cello’s sonic characteristics. Moving through the suites, however, which
technically, musically and texturally are set in progressive order of difficulty, the open-string
tonic and dominant basses resulting from transpositions at a fifth or at times a sixth, are more
convenient and practical.  
As mentioned earlier, the notated violin range used in Bach’s unaccompanied solo works
fits the modern guitar’s range well. Therefore, in adapting Bach’s first violin partita BWV 1002,
!32
the key of B minor has been preserved. In arranging Britten’s first Cello Suite, on the contrary,
most of the movements were transposed a major 2nd up to make the lowest note C on the cello
match that of the guitar with 6th string scordatura, tuning the guitar’s 6th string down a major
2nd to D. This expands the range of the guitar, while creating a deeper sonorous quality to the
guitar that works well for adapting Britten’s work. On the contrary, the Marcia would not have
benefited from transposition given that the main motif is constructed of consecutive harmonics
based on the harmonic series:

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!33
merely produce the same affect. Keeping this movement ‘untransposed’ resolves problems
arising from the technical idiosyncrasies of executing harmonics on stopped stringed
instruments.
Adjusting note duration, inserting rests, and re-stemming the original!
! Re-stemming means re-notating the original material to fit the tessitura of the modern
guitar in treble clef with a corresponding adjustment in note duration. Without adjusting note
duration, this creates a transcription of the original work, and as discussed in Chapter 1, it does
not call attention to or even maintain the integrity of key features of the original composition. It
does not explicitly clarify the implied counterpoint, nor does it strengthen the harmony.
Moreover, the process of re-stemming should be taken further to address the inherent voice-
leading inconsistencies of the original and to take into account the idiomatic characteristics of the
receiving instrument. As a first step, the duration of the notes should be re-examined and re-
written to reflect the exact duration the receiving instrument is capable of executing. A few
impossibilities on the violin are immediately apparent when one examines the opening measures
of Bach’s Allemande from BWV 1002. (see Figure 17)
!
!
 
Figure 17. Allemande, from Bach’s first violin partita, BWV 1007, mm.1-517
17The violin score was taken from (IMSLP) on March 1st, 2014. All recorded violin excerpts are performed by
violinist Itzhak Perlman. (Perlman, 1987)
!34
The opening B minor chord is impossible to execute precisely ‘as written’ on the violin.
The bottom two notes, B and F#, are cut short before the violinist breaks the chord to sustain the
top two notes, D and F#. The actual duration of the chord notes depends solely on the violinist.
Modern violinists, playing on a modern violin with modern strings and a modern bow, tend to
sustain the top notes of the chord longer than period-instrument players do, and within each style
of playing there are variations in exact duration of these notes in question as well.18 Bach simply
wrote equal note durations for all block chord tones under the soprano line found in this
movement and throughout most of this Partita (notice the dotted eighth-note values given to the
G major 7 chord tones under the soprano voice F#, m.2, beat 1). When this passage is adapted for
guitar, however, the arranger should take into account the guitar’s greater ability to sustain or cut
notes short. As a first example, in addition to arpeggiating the opening chord, the author chose to
give an eighth-note value to the bottom notes of the chord, sustaining only the top soprano voice,
similar to how Bach treats notation of some chords in this movement. Therefore, the more
polyphonic instrument affords greater polyphonic possibilities and the arranger can make
informed decisions using this greater capacity. (see Figure 18)
!
!
!
!
Partita No.1 BWV 1002
–Listen to how the handling of such chords is drastically different between
Allemanda
–
J.S. Bach
„ Beyer: https://www.youtube.com/watch?v=aZEBGRh59H0
Adaptation by Tariq Harb
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3! 6
BACH THE TRANSCRIBER 13
realization of the implied counterpoint in the two violin parts, the original duet is transformed
into a trio with minimal addition of new notes. (see Figure 19)
Figure 19. A comparison of Bach’s arrangement of Vivaldi’s Concerto Grosso in D minor, Op.3,
10. Addition of new lines. Bach’s No.11addition
for organ,of a new
mm.1-5 19 line invariably results in an
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Guitar
! Partita No.1 BWV 1002
added line is but an imitation of a line in the original (e.g., BWV 593/i/mm. 6-8,
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21. A comparison of a melodic leap treatment between the original and the author’s
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adaptation, 2 0 0 20
1 1
Interpreting bow markings, slurs, and ties and their equivalencies on the guitar
On the guitar, fretting-hand slurs are appropriate to Bach’s unaccompanied string music
in that they can be used to enhance the performance of this music in several ways. Stanley Yates
places the use of slurs into three categories; technical, textural, and phraseological (Yates, Bach’s
Unaccompanied Cello Music 22). Instead of articulating every single note in a florid passage on
the guitar, technical slurs are used to connect some of the notes in a passage and therefore
provide some physical relief for the plucking-hand. However, when implied counterpoint is
apparent in a monophonic line, illuminating the counterpoint should take precedence over
20 All recorded cello excerpts are performed by cellist Mstislav Rostropovich. (Rostropovich, 1989)
!38
technical slurs. Textural slurs relieve the monotony of a constantly articulated equal-note-value
passage. Phraseological slurs mark phrases in bowed-string music. A single phrase marking can
be, and usually is executed with one single draw of a bow. These kinds of slurs or phrase
markings are found in guitar music as well, but their manner of execution is not that of one
single attack of the plucking-hand followed by a combination of fretting-hand slurring. Rather,
they are either articulated note for note, or played with a combination of the two previously
mentioned slur categories. Yates adds: “it is worth noting that, regardless of the motivation for
their use, all slurs have a musical, or phraseological, consequence - generally that of connecting
or grouping notes together, stressing the first note of the group” (22).
Consider the following example taken from Britten’s Fuga, Op.72. The cello has a
phraseological slur marking at the return of the subject executed using a single bow stroke,
followed by a textural/motivic slur to group the dotted eighth-note and the two thirty-second
notes. (see Figure 22)
!
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Figure 22. Britten, Cello Suite No.1, Fuga, mm.108-109
!
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In the author’s guitar adaptation, articulation is used to simulate the phrasing indicated by a
phraseological slur. As a result, the phraseological slur here is omitted, and the textural slur is
replaced with a technical slur on the two thirty-second notes, allowing for a well-defined
execution of the motif. (see Figure 23) 

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118
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‚ Art. h. XVII ‚
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Guitarist Paul Galbraith plays the initial chord in its original form, and follows it with an
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‰‚ ‚
Â
improvisatory figure adding a few pitches to the original chordal sonority. In this figure,1 he
127
Œ the D #(found Œ J
1 1
repeats the G note (the open& third#œ œ Œ ‰

3 3
string), and on the second string) within the first
#œ
1
œ œlisteners œof the construction

2 2
3
beat. Galbraith’s stylistic approach reminds 1
3
œ 3
pp
of the Renaissance lute,
with all the strings doubled except for the top chanterelle string (the Baroque lute has two
chanterelle strings, the first two courses). Unlike Galbraith, Manuel Barrueco does not sound the
original chord as notated in the original violin score, but instead arpeggiates an enriched version
of the G minor chord three times. Looking at Barrueco’s published score, one will not see any
written indication for such an arpeggio.  

are fairly consistent, yet each performer chooses a different manner of realizing the first
40
measure; particularly the long chord on beat 1.
Figure 24. Bach, Adagio from Sonata no. 1, m.1. Violin original and guitar adaptations21
!
Figure 1 Adagio, Sonata no. 1, m. 1. Violin original and guitar renditions.
 
Guitarist Paul Galbraith sounds the initial chord in its original form, and follows it
Another guitarist, Kazuhito Yamashita, performs this opening chord as a slow, drawn-out
with an improvisatory
arpeggio of the originalfigure addingcreating
four pitches, a few pitches to length.
a sense of the original
Of thechordal sonority. In this
three performers,
Yamashita does the least amount of alteration to fill the sonic space left by the long held soprano
note G, resulting in a different character than the other two performers. 
!
Adapting a score such as Britten’s Cello Suite, with its quasi-tonal musical language, one
is faced with fewer possibilities to fill space created by ties when adapted for guitar. That does
not mean one has to fill in such space on every occasion. The arranger may choose to do so  
21Recordings and scores used to realize Figure 24: Original violin version (Galamian). Manuel Barrueco published
edition (Barrueco). Manuel Barrueco performance (Barrueco, 1997). Paul Galbraith performance (Galbraith, 1998).
Kazuhito Yamashita performance (Yamashita, 2005).
41
depending on the length of the held note, and/or the dynamic marking needed to maintain an
effect similar to the original. By this reasoning, some of the tied notes were omitted to keep with
the intensity of the opening passage in the Canto Primo when adapted for guitar. (see Figure 25)
Guitar 0;,7 f! h£ r\:£ . \ g

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7
#
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Figure 25. A strategy
nœ œ 3 Op.72, Canto Primo,
for adapting notes in
1 nœ
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œ ˙ œ nœ̇ original.
œ˙ cello œ œ
3 3 1 0
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without the needing to overplay the guitar 4
of the 3
2 3 2
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dim.
W„
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œ œ œ œ # ,
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15
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42
Filling in chords to strengthen the harmony and to thicken the texture!
! As Brenda Lynne Leach points out, in Bach’s own arrangements of the opening
7. Filling in chords. As B. L. Leach points out, in the op
movements of Vivaldi’s Concerto in A minor (BWV 593) and Concerto in C major (BWV 594),
both Concerto in A minor (BWV 593) and Concerto in C
the composer strengthens the harmony of the tutti sections by filling in the chords so that a
strengthens the harmony of the tutti sections by filling in th
that
greater contrast between the a greater
ritornello contrast
and solo sections inbetween the ritornello
the arrangements and solo sections
is achieved (10).
(see Figure 26) is achieved. 17

!
!
ords. As B.! L. Leach points out, in the opening movements of
n A minor (BWV 593) and Concerto in C (BWV 594), Bach
!
harmony of the tutti sections by filling in the chords (Ex. 17) so
! the ritornello and solo sections in the arrangements
ntrast between
!
!
!
! 17
Brenda Lynne Leach, “Bach’s Organ Transcriptions: Influence of Italia
! 85 (1994): 10.
!
!
!
!
Figure 26. Bach’s arrangement of Vivaldi’s music for organ. Op.3, No.8 and (BWV 593), mm.1-2
!
ach, “Bach’s Organ Transcriptions: Influence of Italian Masters,” Diapason
!
## Œ œ œ œ œ̇ œ œ œ œ œœœœœœ œœœ
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CII
‰̇ œ œ œ œ œœ
& œ #œ œ nœ œ #œ
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2 0 3 2 0 0 3 0 0 2
˙
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1 1 0 0
1
˙
4 2
3 1 1 43
Bach's objective seems to be elaboration, increased complexity, and the clarification of
fi 1 œ 2œ œ œ 4 œ œ adds contrapuntal material

3 #œ 1 # œ2 œ œ2 œ #œ3 #4œ 1œandœ re-defines the
CII
# œ jœœ œ œ œ œœœ
3
the musical structure. To achieve this, he not only
& # œ œ#œbass #œ œ œ œ
œ˙ line, but he also provides greater harmonic support. Additionally, he seems to apply the
1 3 3 1
„‰ ‰
2 1 4 1
3 1 2
2
˙
3
same principles to arrangements of his own music, as observed in his arrangement of the A minor
œ œ 964) (see‚Figure 15,CIIChapter 1). This technique of

œ Sonata (BWV 1003) for clavier (BWV
Violin
œ œ # œ nœ
## #œ œ œ œ œ œ œ nœ œ œ œ ‰ œ nœ œ œ œ
4 4 3
Æ
Bach’sœfirst
1
& œ #œ œ #˙ #œœ Partita,

3
nœ œ
„ ‰ BWV 1002 ‰ for „guitar. The
3 2
‰ playing
3
Ó
1
Â of four-note chords is well within the guitar’sœ technical

1 1
strengthening the harmony has been used extensively in adapting Violin 2
œ
2 4 4 3 0 4
1 2
4 3
3 2
capacity. Completing or filling out chords largely serves to thicken the texture and gives a sense
## œ œ that the Œmusic œœ œ œ nœ œ

IV
œ œ nœ œ œ œ œ œ œ œ œ#œ
has been originally conceived on the guitar. However, much of this chordal
& œœ ˙ œ #œ œ # œ nœ œ œ œ œ
1
œ Œ Œ thickening Œ of˙™chord-toneŒ doubling and#œhas minimal contrapuntal

Â
4 3
œ n œ ˙™ is in the form
0 1 0 3
2 0 0 2 2
4 0 1
0
3significance. 2 4 0 1 4
4 2 1 4
2 4 1 3
1 1 3
0 2
Notice the widening of the chordal textures in the thematic material and during the final cadence
arrangement of Tempo di Borea. (see ‚

CVI œ œ œ
# œ œ œ œ œ œ œ œ̇ nœ œ ˙ œ œ „œ œ ‰
Æ
œ œ œ œ œ œ
of the author’s Figure 27)

## œ #œ#œ œ
CVII 4 4 2 4
œ œ#œ œ
1
œ
4 4 4 4
œ Œ #œ Œ #
2
&
3 2 0
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Ó
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2
! 1 4 3
3 3
‚
!
U
CVII
œ œ
#œœœ œ ˙ ™ ™™
I CII
## œ œ
œœœ œ œœœ œ œ œ œ œ œ œ œ
CII
fi œ Æ œ fi œ
˙™
& œœœœœœ !
œœ Œ œœ Œ #œ Œ Œ
4 2 4
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Â
1 0 2 0 2 4
œ œ œ œ œ ˙™
2 1
#œ #œ u
4 2 4 0
Ê
2
Æ
0 4 3 0
2 3 3
4 3 0
4 1 2
2
1
!
Figure 27. A comparison between the original violin version and the author’s arrangement
showing the thickening of the chords in the guitar arrangement. Tempo di Borea, mm.65-68
!
Applying such technique to Britten’s Cello Suite requires utmost care so as not to add any
notes which might suggest harmonies unintended by the composer. Interestingly, this technique
could still be applied to broaden the texture in order to make this music idiomatic for guitar. For  
44
instance, in the Cantos, sustaining the upper register melodies similar to a cello is difficult, given
that these notes fall on the three treble strings of the guitar,22 which, once plucked, fade away
significantly quicker than the guitar’s three bass strings. Adding some notes by doubling the
original bass notes works well to thicken and sustain the overall texture without changing the
chordal quality or mistakingly suggesting harmony. (see Figure 28)
Canto Secondo
!
Benjamin Britten
Ê = Ré
·
˙™
„ œ „œ
Ó™
W
CVII
### 4
Æ
œ œ̇ ,
œ œ ˙ œ œ̇ W
4
˙™
4 4 4
& /2 0 3
˙ w
3
˙
3
œ W
pp ˙™ ˙ w W
!
mm.1-2‚
Figure 28. An example of adding notes to thicken texture in Britten’s Cello Suite, Canto Secondo,
„ œÆ „ œÆ ™
Œ
CVII
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! ### œ ˙˙ ˙™ Ó ˙ œ œ̇ œ n˙™ ˙ w ,
3
˙ œ œ œ̇ œ #œ
œ ˙™ w
˙ ™ in the˙™above ˙™ not all ˙the™ added D˙™bass notesœare articulated.
œ ˙ ™ wThe goal
œ œ œ̇
4 4
& Notice
1 4
G
3 4 4 4 4 4
˙ that
3 3 3
1 2
˙™ ˙™ ˙™ w
1
example,
pp
˙
here is to enlarge the texture to showcase the guitar’s sonic qualities without over-burdening the
adapted score with notes. Doing so would effect the intended spareness and simplicity of these
„
„ voice here and™ elsewhere in the Cantos is another
# Providing a gentle, sustaining bass , n
CV
œ ˙™
CVII
# ˙™ Ó #n 6
5
Cantos.
˙™ œ w ˙
& # nœ ˙˙ ™ ‰
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˙ of adaptation
˙™ ˙
2 1 4
˙™ ˙™
1 3 2
pp Œ Ó
2
example of a moderate level suitable for the modern guitar.
˙
1
G ppp
attacca
! rall.
22The three treble strings of the guitar are the three top nylon strings, e, B, and G. These tend to sustain less than
the three metal wound bass strings.
45
Composing bass-lines informed by suggested harmonies
This principle addresses the process of realizing bass-lines from suggested harmonies
when adapting Bach’s unaccompanied string music, especially when adapting completely
monophonic movements such as the Doubles of the dance movements in BWV 1002.
While Renaissance polyphony consisted primarily of multiple independent voices, Baroque
music consisted of both polyphony and homophonic textures such as a lead voice accompanied
by a bass voice and an extempore realization of harmony. The bass and harmonic
accompaniment together became known as basso continuo. Keep in mind that this principle
does precisely the opposite of what a basso continuo realization does; it produces bass-lines
derived from harmonies found within the original monophonic texture instead of composing
harmonies from a pre-determined bass-line.
Considering the predominance of basso continuo in Baroque music, Bach’s
unaccompanied string works were all the more unusual for the period, and especially for the
violin, which was not typically part of the accompanying ensemble of instruments. The music,
however, indicates that a figured-bass approach was used in its inception, as it includes bass,
harmony, and melodies. A performer might interpret the three parts in many ways, but they are
nonetheless there, even if they are not written out (see Figure 1, p.6) as found in many of the
movements of Bach’s Cello Suites, as well as in the movements of his violin Partitas and
Sonatas. This is one major advantage to adapting this music for polyphonic instruments, and is
perhaps why, when adapted for guitar, the music sounds more ‘complete.’ The study of existing
arrangements seems to suggest that many guitarists have a similar approach when they adapt
Bach’s unaccompanied string music. For this reason, some of the most common arrangements  
46
include the addition of bass notes and the use of additional harmonic pitches. Arrangers do this
in varying degrees and clearly feel that such additions take nothing away from the music, but
rather make it more idiomatic for guitar. Bach must have had similar principles, as his own
adaptations show comparable changes to the music. The Lute Suite, BWV 1006a, is an
adaptation of his Partita No.3 for solo violin, BWV 1006. The lute version contains added bass
notes throughout and some added harmony. Bach takes an even more elaborate approach with
his Clavier Sonata in D minor, BWV 964, which is an arrangement of Sonata No.2 for solo
violin, BWV 1003 mentioned earlier in Chapter 1.  
In order to construct a consistent bass part, it is necessary to add notes to the original,
especially when adapting completely monophonic movements such as the Doubles of Bach’s
Partita No.1, BWV 1002. Often however, a pitch needed to complete the lower voice may be
present elsewhere in the texture. To allow for a strong contrapuntal structure in such cases, it is
sometimes necessary to change the note intended to be a bass note where it appears, and
transpose the original note (usually an octave lower) down to join the added bass voice. Notice
in Figure 29 this treatment of realizing the bass line in one instance in Bach’s Double of the
Sarabande (bear in mind the second eighth-note of beat 3 is an A in Bach’s autograph
manuscript23, sounding the 7th of the dominant chord; it has been preserved in the author’s
adaptation).
!
!
23For a digital copy of Bach’s autograph manuscript, see the Appendix of Ivan Galamian’s edition of the Sonatas
and Partitas or visit (BachDigital).
n œ Æœ
CV VII CIV
## œ œ œ œ œ œ #œ„
œ nœ œ
12 V
œ
3
œ nœ œ
3
„
47
Œ™ ‰G‰ Œ J
4
œ œ
Œ™
& œ
2 2
œ™ œ
œ™
˙™
3 0 1 1
2
3 1 0 4
3
!
## nœ œ œ œ œ fi œ œ œ
CII
! 15
#œ œ œ œ
œ œ œ œ œ œ œ œ
& œ™
3 1 4
œ™
2 0 0 1 3
! œ™ œ™
0 1 4 0
1 0 0
˙™ œ™
3 1
1 1 2
!
Figure 29. The realization of a bass voice in the author’s adaptation. Double of the Sarabande,
BWV 1002, m.15 
!
Harmonic rhythm is another consideration in deciding upon places where basses may
appropriately be added. Strongly related to tempo and meter, harmonic change is also a function
of dance type. Allemandes, for instance, often have two harmonic changes per measure because
they tend to be slow in tempo. Faster movements such as courantes and minuets, on the other
hand, may have only a single harmonic change per measure. Although completely monophonic
in Bach’s original, the Double of the Corrente offers sufficient room for addition of a lower voice Double
where harmonic changes occur, which will be discussed later in the in-depth exploration of the
Presto Adaptation b
## 3 r
CII due to its quick tempo, some of these added bass CII
Œ
adaptation process. However, notes have been
œ œ œ
IV
included in& 4 œ≈ inœtheœauthor’s
œ œ œadaptation, œ
œ#œperformer
giving the choice to#the œ
œ whether≈toœnœnœ œ
œ
4
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parentheses 2
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3 1
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4 3 3
Ê
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4 4 3 1 4
G 0 2
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play them or not. (see Figure 30) 1
! Œ Œ CII
## œ œ œ œ œ≈ œ œ œ œœ
4
œ œ œ œnœ œ
& œœ œ œ œ œ œ œ œ˙œ œ
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1 2 1 1
œ™ ‰ œ œ
2 0 4 0
1 3
! 3 œ 1 4 0 1 4
4
3 1 0 2
0
1
!
Figure 30. A passage showing the addition of a bass voice in the author’s adaptation. Double of CVII
7
## #œ œ œ œ œnœ œ œ œ
the Corrente, mm.4-5 
nœ œ œ œ#œ#œ
& #œœ nœ
œ#œ œ œ œ œ #œœ œ
≈ œ œ œ#œ nœ #œœ ≈ œnœ# œ Œ
1 1 4
3 1 2 1 0 3
0 2 1 0 2 1
2 0 0 3 3 4 0
1 0
4 4 2 1 3 3
2 1 0 3
CIV
œ #˙œ#œ œ œ œ œ œ #˙œ#œ œ œ œ œ œ # ˙œ nœ œ œ œ œ#œ œ
CIV
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IV 3
#œ œ œ œ
1
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„‚
2 4 3 4 2 2 4
3
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48
CIX During cadential events there tends to be faster harmonic rhythm, creating an increase in
œfi œ œ œ tension
CVII
œ œ # œbefore
œ œtheœfinal resolution. Here again, addingœa bass œvoice to the original illuminates the
‚œ œ
1 2
œ œ œ#œ œ œ œ œ œ#œ œ œ œ œ œ#œ œ œ œ

1 4 4 1 1
3 1 1
˙ œ ˙ the desireÓ for completion of the

3 3 0 2
˙ strengthens
˙ the intended
4 3 0 1 0 1 0
˙™ harmony. Furthermore,
1 2 3 2 4 0
polyphony and
2
polyphony may sometimes result in the addition of notes to the upper register of the texture.
œ#œ fiœ#œ# œ œ
‰ nœ œ œ œ œ a more‚detailed contrapuntal
œnœ
2
nœ˙nœ œ œ#œOther ™
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2 4 1 1 2
3 0 0 0
0 4 0 2 3 4 3
2 1 1
1 3
or harmonic texture. (see Figure 31)
CIV
˙œ œ œ ˙œ
œ#œ œ !œ œ œ#œ œ œ œ œ œ œ n œ œ œ œ œ Æœ œ # œ œ œ #œ œ œ œ œ
II
˙™
4 4 4 1
3
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4
„‰
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1
‚œ œ II
CVII
œœ U
œ œ œ ‰ ™™
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CII
œœœ œ œ #œ œœœœ1
œ œ fi œ œ #œ ˙ 2
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1 1 0 0
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w
3 0 1 0 2 4 0
1
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3
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3 0 1 0
1
Figure 31. Addition of bass voice and completion of polyphony in other voices. BWV 1002,
Double of the Tempo di Borea, mm.66-68
! h '
In Britten’s Cello Suite, completion of harmony or strengthening harmonic structure by
adding bass voices is not possible, since this music is not governed by diatonic principles.
Doubling the bass voices is an option, as seen earlier in the Cantos. Still, in many instances the
bass register foundation can be sustained by elongating bass notes already in the original. In
fact, some of the polyphony elsewhere in the texture can also be sustained and hence clarified by
using ties and adjusting note duration. (see Figure 32) 

J
™ ™ ™
œ œ n‰œ Œ œ œ Œ œ nœ Œ #œ 49œ œbœ œ™™
p dolce
& œ œ nœ œœ œ œ œ œ œ œbœ Œ ™
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14
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22 32. An example
Figure of elongating bass voices and connecting polyphony. Britten’s Cello Suite,
j j ‰ ‰
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& j
™ œœ ™ Œœ™
nœ œ
Op.72, Serenata, mm.15-20
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pp Arguing that Bach’s techniques of arranging Vivaldi’s violin concerti for keyboard or
organ are very similar to how Renaissance composers adapted vocal polyphonic works for the
lute, Theodor Göllner observes that during Bach’s time:
!
…the keyboard player was always concerned with the continuity of
sound in relation to the actions of the keys. He did not like rhythmic
holes. The flow of musical sound must not be interrupted, and whenever
individual chords could be connected, they were taken out of their  
50
polyphonic context and treated as separate entities which could be joined

together by means of certain keyboard figurations and passages. (257)
!
When comparing Bach’s Cello Suite No.5 with his own arrangement for lute, BWV 995,
we find that his concern for the flow of musical sound is indeed addressed. The need to fill
gaps in sound arises from the fact that long notes may be easily sustained or even
dynamically swelled on a bowed-string instrument, whereas they die away quickly losing
much of their expression once articulated on plucked instruments. In order to maintain
expressive intensity and momentum on the lute, Bach adds rhythmic interest in another
voice. (see Figure 33)
!
!
!
!
Figure 33. Bach’s own arrangement of his fifth cello suite for lute, showing his approach to
maintaining sound under notes of extended duration. Gigue, BWV 995, mm.15-2024 
!
Recall the opening of this Gigue discussed in Chapter 1 (see Figure 14, p.17). Bach uses
the opening motif to fill in gaps in sound in m.15 under the long held F note. Similarly, in m.18,
he uses the second rhythmic motif found in the cello version to maintain sound under the dotted  
24 Both scores were extracted from (IMSLP) on March 6th, 2014.

could be joined together by means of certain keyboard
figurations and passages. 18
51
Comparing the original concertos of Vivaldi with the organ transcriptions of
quarter-note
Bach, we findA. that
This type
the of imitationof
concern responds to a rhythmic
the Baroque motive rather
keyboard playersthanabout
to a melodic
the flow of
musical
one.   sound is indeed reflected in Bach’s arrangements. The “rhythmic holes”
filled can be as trivial as those in the bass line of BWV 596/i/m. 29 (Ex. 18), or
can be Allowing for continuity
as conspicuous asofthose
sound byinadding
BWVimitative lines is not59-63
593/iii/mm. the only(Ex.
way to19).
apply Some
bravura passages
this adaptation in theIn transcriptions
technique. also function
truth, Bach’s arrangements as violin
of Vivaldi’s filling materials,
concerti contain like the
passage in BWV 594/iii/m. 24 (Ex. 20).
plenty of examples showcasing his elaborate approach to adaptation. The filled gaps in sound
can be as intricate as those found in the bass voice of BWV 596. (see Figure 34)
!
!
!
!
Figure 34. An example of Bach’s treatment of filling gaps in sound while adapting Vivaldi’s
music for the organ. BWV 596, m.2825 
!
These techniques of sustaining sound have been used in the author’s adaptation of Bach’s
first Violin Partita, BWV 1002 for guitar. In contrast, if left unchanged, these instances of long
18
Theodor Göllner, “J. S. Bach and the Tradition of Keyboard Transcription,” Studies in
Eighteenth-Century
held notes found inMusic. Ed. H.
the original C.manifest
will Robbinsa Landon (London: George
loss of momentum Allenvitality
and rhythmic and Unwin,
when 1970),
257.
transferred to the guitar. Therefore, taking from Bach’s models either by adding new voices or
imitative lines, these passages regain their momentum and become more appropriate for guitar.
Notice one such instance of adding an imitative voice, applied to beat 3 of m.5 in Bach’s
Allemande. (see Figure 35) 
25 Both scores were extracted from (IMSLP) on March 6th, 2014.

Ê Ê Â J
œœ ™™ œœœ ™ œ œ œ ™ œ
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52
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Figure 35. Imitative voice added in the author’s adaptation of Bach' s 242
Allemande, from BWV
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NO. 33
MANUSCRIPT PAPER
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sustain sound in Britten’s Cello Suite can be trivial, where there is no harmony to build on and,
œ ™œ œ œ ™ œœ
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CVI
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CIV CIIspecific fingerings,
consequently, no gaps in sound to fill. Other techniques such as choosing
## #œ œ œ™ n œ œ œ™œ œ œ #œ™ nœ#œ ™ œŒ œœ ™

9
œœœœœ œœ ≈ œ #œœ
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applying extended techniques (discussed later in4 this chapter), or doubling
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discussed earlier), can serve to maintain sound where it is advantageous to keep
1 2 an effect similar 3 1
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to the original.  
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1. CIV CIV
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œ œ ™ œ œ™ œœ ™nœlarge,
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distributing the lines to the 1 4
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3
œ (Chair Œ
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3 3
tends to employ the Oberwerk (Great Organ) 1
Organ) for the solo sections. Occasionally, he uses two manuals simultaneously to clarify the
interactions between two voices (P. Williams, Bach Organ Music 22), as in the opening measures
of BWV 596 (see Figure 19, p.36). It is not entirely known what tempi Bach would take on for
his organ adaptations. Bach’s arrangements BWV 593, BWV 594, and BWV 596 are prescribed to
be played much more slowly than Vivaldi’s originals.  

53
Peter Williams raises an interesting question: “Did Bach simply not know how fast an
Italian orchestra would find it natural to play these concerti, or did he assume that his
arrangements, owing to the way the keys of the organ work, have to be played more
slowly?” (Suggestions 44). Williams’ latter observation corresponds with the fact that guitarists
and lutenists do play Bach’s unaccompanied violin works marked ‘presto’ slightly under tempo,
as might be expected given the added bass-lines in the arrangements.26 
Peter Williams’ question will remain unanswered. But any organist, when playing these
concerti, should at least strive to convey the energy and vivacity of Vivaldi’s music even though
he or she has to perform them at slower tempi. 
Introducing articulations and musical contrasts 
This section deals with the use of the expressive resources of the guitar and how they are
applied to the author’s adaptations. It is important for the arranger to examine articulations in an
original score (if any) and experiment whether these original articulations, when transferred to
the guitar score, enhance the expressive possibilities of the adapted score, or are better changed,
varied, or omitted. Charles Duncan, in his book The Art of Classical Guitar Playing, defines
articulation as:
!
!
26 For an example of this, refer to the Double of the Corrente in Appendix B, p.138.
54
… the manner in which tones are attacked and released and is distinct from
phrasing, which pertains more to how they are grouped for expressive
purpose. In the main sense, articulation has to do with a players control of
note length, irrespective of written rests. From a staccato which reduces
nominal note value by more than half to a legato in which notes are given
full value and joined without a perceptible break, there are many
possibilities. (60) 
!
Generally, articulation should match the energy level, mood, and character of a piece.
More balanced, low energy melodies necessitate a restrained application of articulations, while
complex, high energy structures need dramatic contrasts of energy and articulation. If a player
presumes a certain musical discretion, articulation can be one of the guitarist’s most useful
expressive tools.  
Arpeggiation of block chords, is another technique used to enrich texture and sonority.
This applies to any orchestral instrument capable of playing double stops or more, including the
guitar. Britten uses arpeggiation effectively in the Serenata of his first Cello Suite. He mimics
the guitar by assigning ‘pizzicato’ for the entire third movement, arpeggiating chords when they
appear in block form, and showing polyphonic lines similarly to how they might be notated in a
guitar score. Indeed, when adapting such music for guitar, these articulations and polyphonic
textures can be preserved, as long as re-stemming is done to match the actual note durations
produced by a guitar and to clarify voice separation. Notice the similarities between the cello
original and the adapted guitar score in the opening measures of the Serenata. (see Figure 36) 
!
55
Serenata
Ê = Ré Serenata
Ê = Ré
Benjamin Britte
Adaptation by Tariq Ha
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Allegretto Benjamin Britten
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Figure 36. Showing similar articulations between the cello and the guitar score. Britten, Cello
#œ ™
6
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Suite, Serenata, mm.1-4
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found in the original. One such example can be found in Britten’s Fuga, where a pointed
# œ ™ ‰ ™ œj™ Œ r Œ™ j
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œfi b œ œ œfi œ œ
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effect.j When applied 3 to guitar however, such pointed accents create percussive attacks, which in
j
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fact lessen
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> > > >j >j

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# œ 37. ‰ #œ ‰> ‰ #>œœ >œœj œ >j‰ # œ œ #œ ‹œ

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Figure 37. Changing articulations from pointedœaccents œ Œ
36
to staccatos.  
& bœ œ œ 2œ œ
œ œ œ œ œ œ
Fuga, from Britten’s first Cello Suite, mm.28-31
œ œ œ œ œ œ œ œ œ b œ
œ
1 0 1
! 3 1
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3
0
elf\.../
In any musical process, tension and release
otr
40 are guiding factors to expressive playing,
fz p
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including differences in articulation. In art, the dialogue 1
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very fact that a musical action occurred is recognizable only in relation to the degree of its
0
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44 Piv.
2 œ 3 œ œ1 œ
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œ œ œ œ œ œ œ Œbefore Œ 2 4 1
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In most instrumental soloŒ performances,

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‰ 52 5 5 CI
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56 CII
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A similar approach may be applied by an arranger. Deciding on musical œ

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even deciding on the degree of musical contrasts required in an arrangement, can be as important  
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57
as re-stemming, or examining slurs and ties. How important it is to consider such expressive
choices largely depends on the musical nature and performance style of the piece being adapted.
Given the improvisatory nature of Baroque music, arranging a Baroque piece may require less
concrete choices (if any) about musical contrasts than, for example, a contemporary piece.
Therefore, the author’s arrangement of Bach’s first Violin Partita, BWV 1002 calls for none of
these additions in keeping with Bach’s model27 and leaves the choice to the performer to make
such expressive decisions.  
In arranging a contemporary piece, on the other hand, the palette of expressive decisions
becomes wider given the many built-in pairings in the original score. In arranging Britten’s
Cello Suite, dynamic indications have been maintained and most articulations have been
preserved. Some articulations have been altered (as seen earlier), and some have been added.
Notice the replacements of accents with staccato markings on every first beat of the measures
following an arpeggio passage in Figure 38. The effect produced by this change was found to be
practical and in several ways. Firstly, it provided contrast to the legato arpeggiated segment
preceding the first beat. Secondly, it contributed to the overall rhythmic precision required in the
performance of a typical march. Thirdly, it provided technical security for the guitarist in having
the plucking-hand fingers already prepared to execute the subsequent notes. The overall effect
for the guitarist is that of expressive phrasing with minimal effort exerted. (see Figure 38)
!
27 None of Bach’s own adaptations of solo pieces contain any additions to the score in terms of musical contrasts and
articulations.
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Applying special effects and extended techniques to imitate sounds from the original instrument 
5
Extended techniques, as their name indicates, require the performer to use an instrument
in a manner outside of traditionally established norms. These norms are apt to change as the
needs of music changes and as instrumental technique develops. Igor Stravinsky’s use of high C
in the opening bassoon solo of The Rite of Spring, for instance, may have been considered at the
very edge of the register for the instrument in that situation, something which might be
approaching an extended technique, but is now firmly part of the bassoon’s symphonic
repertoire. Saxophonists have seen the F# become a standard pitch in recent years to the point
where manufacturers added an F# key to the instrument. The saxophone’s high G, one half step
up, remains in the realm of extended technique because it requires the study of altissimo  
59
fingerings.28 String instruments have some exciting extended bowing techniques. These include
bowing on the bridge, behind the bridge, on the fingerboard, on the fingerboard but on the
opposite side of the left-hand, applying excessive pressure while bowing, using very light
pressure and fast bow-speed, bowing with the wood (col legno), and bouncing the wood of the
bow on the strings (col legno battuto). Harmonics on string instruments are not considered
extended techniques, but on woodwinds and on the piano they are considered as such. Plucking
the string of a violin is not an extended technique, but tapping the body is.  
For the classical guitar, the traditional way to produce sound is to fret the notes with the
one hand and to pluck the notes with the other. Interestingly, some extended techniques for
classical guitar have been borrowed from the electric guitar, where they are considered standard
techniques. Some guitarists would argue that electric guitar techniques such as tapping29, string
bending30, tremolo with a single finger or thumb on one or more strings (similar to the motion of
a plectrum), have in fact become part of modern classical guitar repertoire. For the moment, we
will consider these to be extended techniques as they are still not considered part of standard
technique taught in music schools. The traditional technical approach to the classical guitar has
been established by a few noteworthy composer-guitarists in the past, such as Fernando Sor
(1778-1839), Dionisio Aguado (1784-1849), Mauro Giuliani (1781-1829), and Francisco Tárrega  
28 Altissimo (Italian for ‘very high’) is the uppermost register on woodwind instruments. For clarinets, which
overblow on odd harmonics, the altissimo notes are those based on the fifth, seventh, and higher harmonics. For
other woodwinds, the altissimo notes are those based on the third, fourth, and higher harmonics. The altissimo
register is also known as the high register.
29Tapping is a guitar playing technique, where a string is fretted and set into vibration as part of a single motion of
being pushed onto the fretboard, as opposed to the standard technique being fretted with one hand and plucked with
the other.
30 String bending refers to displacing the string with the fretting hand in order to gradually raise pitch.
60
(1852-1909). It should also be noted that most of the twentieth century and present day
composers continue to use the instrument in a traditional way. However, the threshold between
extended and traditional techniques is becoming blurred. Some of the electric guitar techniques
may be indeed idiomatic for the classical guitar, given that they are borrowed from a
complimentary member of the guitar family.  
A few of these borrowed techniques have been used in the author’s adaptation of Britten’s
Cello Suite. In the fifth movement Bordone, meaning ‘drone’, Britten asks the cellist to connect
the previous chant Canto Terzo with the fifth movement Bordone using a continuous sustaining
of the open D-string into and throughout Bordone, while simultaneously bowing the adjacent
strings to sound tones above and below the note D. When attempting to transfer this effect to
guitar, it was clear that some form of extended technique was needed in order to maintain a
similar drone effect. A few options were available. One way to continuously sound the D-string
is to use the thumb in an up-down motion, similar to how a plectrum is used, and to articulate the
notes above the D-string with the other fingers, while using the fretting hand to tap notes when
they appear below the D-string. Another way to maintain the drone is to play tremolo on the
open D-string with the index finger, while tapping both notes appearing above and below the D-
string using the fretting hand. Obviously, to sustain a tremolo with the thumb and to
simultaneously pluck with the other fingers is of greater difficulty than to simply tremolo with
the index finger. Therefore, the second strategy, due to the assigning of not more than a single
task to each hand, proved favourable and consequently has been used in the adapted score. (see
Figure 39) 
61
Bordone
Benjamin Britten
* Sustain the "drone" using the index finger. Play softly and not too fast, similar
to a plectrum (down/up) motion through this movement unless otherwise indicated
Ê
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pAs seen in Chapter 1, harmonic or style brisé fingering is idiomatic to the guitar, the lute,
and some keyboard instruments. Interestingly, some French harpsichordists mention the
lutenists’ invention of this technique. François Couperin, an early eighteenth century  
Wd?/zi-
63
harpsichordist/composer, called it style luthé. One of the first important harpsichordists, Jacques
Champion, collected his own works into suites that exemplified style brisé. Other notable
harpsichordists such as Froberger, Louis Couperin, and D’Anglebert, were also known for their
use of this style (Hill 128-29). 
With the dual purposes of technical ease, and of creating polyphony out of a melodic line,
this style of fingering is achieved by forming fingerings in a harmonic fashion, allowing notes to
ring over one another to create a sonorous and ambient harmonic texture, similar to using the
pedal on a modern piano. More importantly, this fingering system does not affect the
independence of voices outside the style brisé texture. Bass-voice progression may still be
separately voiced under the layer of the harmonic style brisé texture. Furthermore, this method
of fingering enables the arranger to create separate lines out of a single notated line in the
original. Notice the demonstration of a lower voice in the author’s adaptation (Figure 41)
compared to the original. The choice of fingering alone allows for a formation of a polyphonic
texture from a monophonic line. By contrast, if a melodic fingering is chosen, the texture will
remain monophonic in the adaptation, failing to make explicit the implied polyphony found in
the original. (see Figure 41)
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64
Harmonic fingering can be of great use even in music that has no definite harmonic core.
For example, in adapting the second movement Lamento of Britten’s Cello Suite, much of this
type of fingering is required in order to maintain a sustaining effect, and to simulate as closely as
possible the cello’s ability to hold and sustain notes. The effect of over-ringing of notes on the
guitar creates a pleasant sonic ‘background’, and technically allows the guitar to sustain notes
with minimal effort required. The arranger must be careful about where to apply this type of
fingering when adapting quasi-tonal music for guitar, as the over-ringing may suggest
Lamento
Ê = Ré
unintended harmonies. The following passage suggests subtle harmonies in the original (notice
Benjamin Britten
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65
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melodic line. Some minor over-ringing might occur within melodic passages containing leaps of
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thirds or more, due to fingerings chosen to allow for technical
CIIexpediency. (see Figure 43)
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CIItexture. Bach, BWV 1002, Double of the Sarabande, mm.1-2 
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methods in a given passage to create a campanella, or arpeggio effect, similar to that of a harp.
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Figure 44. Using both melodic and harmonic fingering methods in adapting Bach’s first Violin
œÆ œ œ # œ œ œ œ CV œ œ nœ ˙ œ
Partita, BWV 1002, Tempo di Borea, mm.56-58
œ œ Æœ œ
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Finally, fingering choices do affect the duration of notes, for example, in the instance that
a shift is required with the fretting-hand. Some voices may be stopped or cut short of their actual
Œ Œ
II
n œ
VII
œ nœ œ œ œ œ≈ œ œ œ
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duration as a result. Notice the shortening of the length of the quarter-note F# to an eighth-note,
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m.18. (see Figure 45)
CX
! œ
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Figure 45. Using rests in parentheses to indicate actual sounding duration of notes.  
Bach, BWV 1002, Double of the Corrente, m.18
In such cases, it is important to either write the true duration of the notes that have been
shortened, or to write rests in parentheses to indicate that, if the performer chooses to use the
arranger’s fingerings, some notes will result in a reduction of their written duration. This can
avoid confusion from a technical standpoint for the player, and provides an accurate, error-free
adaptation. The arranger must be as clear as possible in notating the adapted score providing that
visual clutter is avoided. Arrangers may therefore rely on common sense and tradition when
notating an adaptation to avoid the risk of cluttering the score.
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67
In-depth Exploration of the Adaptation Process 
This section will investigate in detail the process of adapting measures 33 to 48 of Bach’s
Double of the Corrente, measures 28 and 29 of Bach’s Tempo di Borea, and measure 3 of Bach’s
Allemande. Specifically, it will explore the adaptation process in relation to the aforementioned
criteria (see pp.25-26). To observe the chosen segments, it is suggested that readers refer to the
original score of Bach’s first Partita, BWV 1002 (IMSLP), preferably from Galamian’s edition,
while simultaneously referring to the author’s adaptation of the same work (Appendix B) in order
to follow along as the process of adaptation is described measure by measure.  
!
To begin, it is important to mention that the guitar’s standard tuning has not been changed
in the author's adaptation. If a scordatura tuning is applied to adapting Bach’s BWV 1002, for
example, tuning the 6th string down a major 2nd to D, some added bass lines might sound more
continuous and hence bypass the need of some octave transpositions. However, the majority of
the Partita, BWV 1002 proved to be technically impractical using such scordatura and therefore,
the guitar’s standard tuning has been preserved. This preliminary level of trial-and-error
approach to adapting music for guitar is essential in order to successfully apply the first criterion
of this study, Tuning of the receiving instrument. The key Bach used to compose this Partita is B
minor, which sounds well on the guitar given that the second string of the guitar played open
produces a B. This allows for the tonic, in this particular case, and its related scale degrees
(especially the 3rd, 4th and 7th scale degrees, D, E, and A also found as open strings) to resonate
well on the guitar. Therefore, the key of B minor had been preserved in this adaptation, and
criterion no.2 Choosing a suitable key has been addressed. On the other hand, this would not be  
68
the perceivable affect if, for example, Bach’s first Partita was composed in the key of C minor.
In such a case, a transposition to some other key that resonates well on the guitar would be a
beneficial starting point for the resulting guitar arrangement. 
Since this Double is written as a monophonic texture, a simple transcription for guitar
would fail to show the contrapuntal intent implied by the composer. It would certainly be
challenging to play it up to the prescribed tempo ‘presto’ even without adapting it by adding
other voices or illuminating the counterpoint. However, the purpose of this study is to create
interesting arrangements that in the least honour the primacy of the key features of the original
composition and thus, maintain its musical interest and value.  
Notice that m.33 in the Double of the Corrente (Appendix B, p.139; IMSLP, p.14) is in
the dominant of B minor, and since a lower voice is to be added to clarify the intended harmony
on the first beat, a sixteenth-rest is added under the pick-up note to the measure, signifying the
entrance of a lower voice. A quarter-note F# is added to the first beat, and two quarter-rests are
added to beats 2 and 3. Criterion no.3 Adjusting note duration, inserting rests, and re-stemming
the original and criterion no.6 Composing bass-lines informed by suggested harmonies are
applied to adapt m.33. Measure 34 has been arranged to display three voices (criterion no.3). In
addition to the added half-note D as a bass voice on the first beat (criterion no.6), the first
original note B is turned into a quarter-note (criterion no.3) creating a soprano voice held over
the alto voice descending from F# to C#. Specific re-stemming of the first beat has been applied
to clarify voice separation (criterion no.3). For the soprano voice, an eighth-rest in parentheses
has been included to suggest that, if the author’s fingerings are utilized, the soprano note would
only sound for half of its written value, given that a fretting-hand shift to a lower position on the  
69
guitar neck is required to continue playing the passage. The application of criterion no.10 Using
specific fingerings throughout the adapted guitar score was needed to shape the final outcome of
m.34. Quarter-rests have been added to beats 2 and 3 for the soprano voice, to beat 3 for the bass
voice, and a sixteenth-rest is added on the first beat for the alto voice (criterion no.3). Measure
35 is re-stemmed to allow for increased note durations of the root and the 3rd of the tonic
harmony. Both notes B, and D are written as separate voices in the bass register (criterion no.3).
The second sixteenth-note B is double-stemmed to signify this bass voice and is held until the
3rd of the chord, D, is played within beat 2, which is also double-stemmed and held to the end of
beat 2 (criterion no.3). A sixteenth-rest has been added to the beginning of beat 1 indicating the
addition of a lower voice, and a quarter-rest has been added to the bass voice at beat 3 (criterion
no.3). The supertonic harmony in m.36 allows for the addition of a bass voice C# for the first
two beats (criterion no.6). There is a change in harmony at beat 3 (viiº of E minor) and therefore,
the D# is double-stemmed and is written as a quarter-note for beat 3 (criterion no.3). Since m.37
is similar in rhythmic content to m.35, an identical approach has been applied to adapting it; both
the root and the 3rd of E minor have been assigned to the bass voice using double-stemming and
increased note duration, and rests have been added where necessary (criterion no.3). Measure 38
is treated in the same manner as m.36; a half-note F# is added to the bass voice, but since the
author’s choice of fingerings stop the bass voice from sustaining for its complete written
duration, a quarter-rest in parentheses is included in the bass register at beat 2, showing the true
duration of the added F# (criteria no.6, no.10, and no.3, respectively). There is a change in
harmony at beat 3 (viiº of A minor) and therefore the first sixteenth-note of beat 3, G#, has been
double-stemmed and written as a quarter-note (criterion no.3). A-minor is the prevailing  

70
harmony in m.39. Thus, a half-note A in the bass register is added (criterion no.6). The G# from
m.38 resolves upwards to A on the second sixteenth-note of m.39. There is a change in harmonic
direction during the second half of beat 3 and this requires the silencing of the added bass-note A
from sustaining by adding a quarter-rest to the bass register (criterion no.3). Also, a courtesy
accidental is added to the second note (G natural) of beat 3, indicating that the harmony has not
yet changed to B major, the harmony of the next measure. B major (V of E minor) is the
prevailing harmony of m.40. It has been adapted similarly to m.39. A half-note B is added to the
bass at beat 1 and a quarter-rest is added at beat 3 (criteria no.6 and no.3).  
Bach displays style brisé texture writing in m.41. Several ways of re-stemming are
appropriate to illuminate the counterpoint in this measure (refer to Figure 1; also, compare m.41
to m.53 for a different approach to re-stemming this particular arpeggiated figure). Here, the
choice to illuminate the dotted-eighth/sixteenth rhythmic figure while separating it from the
upper voice has been taken. Therefore, a complete re-stemming of notes is required in this
measure (criterion no.3). The descending outer sixteenth-notes of each beat, G, F#, and E, have
been assigned to a lower voice and have been re-stemmed that way (criterion no.3). The inner
notes of each beat, B and E, A and D, and G and C natural, when written separately, create a
syncopated rhythmic figure. The third sixteenth-note of beats 1 and 2 have been written to
sustain into the following beat, made possible by appropriate fingering choices (criterion no.10),
or harmonic fingering. A sixteenth-rest has been added to the upper voice at beat 1 to indicate
voice separation (criterion no.3). Measure 42 starts with a D# diminished 7 harmony, where the
D# is double-stemmed and is written as a quarter-note to indicate an added bass voice (criterion
no.3). The following V of E minor calls for an added quarter-note B to the bass register at beat 3  
71
(criterion no.6). Style brisé is present again in m.43, and this time it is displayed precisely as
seen in beats 1 and 2 of Figure 1. A similar re-stemming approach has been applied to illuminate
the three voices Bach implies in this orderly arpeggiation of chords: a descending soprano voice
from G to E, a descending bass voice from E to C natural, and an alto syncopated voice
descending from B to A (criterion no.3). Again, appropriate fingering choices allow for the three
voices to sound separate and to sustain over one another (criterion no.10). The soprano line
continues on to arrive to D at the first beat of m.44. A quarter-note is assigned to the first note D
of this measure and the alto line picks up from the second sixteenth-note G# on towards the end
of the measure (criterion no.3). A sixteenth-rest is added to beat 1 in the alto register (criterion
no.3). C major is the prevailing chord of m.45. Therefore, a half-note C has been added to
provide harmonic support to this measure (criterion no.6). A quarter-rest has been added to the
bass register at beat 3 to indicate the exit of the added bass voice (criterion no.3). The harmony
of B major occupies the first two beats of m.46 and hence, an added half-note B is assigned to
the bass register (criterion no.6). The harmony changes at beat 3 to a fully diminished 7 chord of
E minor and therefore, a quarter-note D# has been added to the bass voice to strengthen the
harmony (criterion no.6). The tonal centre shifts to E minor in mm.47-48, starting with E minor
at the first beat of m.47, requiring an addition of a quarter-note E to the bass register (criterion
no.6). The harmonic progression moves to the 4th scale degree (A minor) at beat 2. This beat
has been re-stemmed to show three voices: the soprano voice E is written as a quarter-note and is
tied to an added eighth-note E of the same register at the first half of beat 3, a quarter-bass-note A
is added to support the harmonic change, and the second, third, and fourth original sixteenth-
notes have been assigned to the alto voice, requiring the addition of a sixteenth-rest to the alto  
72
register to clarify voice separation (criteria no.3 and no.6). The third beat preserves all the
sixteenth-notes of the original, except that the adaptation choice has been taken to re-stem the
third beat to continue showing three voices (criterion no.3) and to omit the slur connecting the
first 3 sixteenth-notes in Galamian’s edition and hence, addressing the fourth criterion of this
study Interpreting bow markings, slurs, and ties and their equivalencies on the guitar. Instead of
preserving the slur, the first sixteenth-note B has been turned into a quarter-note and has been
assigned to the bass register (criterion no.3). The second sixteenth-note F# is re-written as a
dotted eighth-note (criterion no.3) to continue the line of the alto voice, and the last two
sixteenth-notes, E and D#, carry on where the soprano voice has left off. Finally, m.48 is
composed of an E minor chord, therefore, the need to provide bass support calls for an added
half-note E in the bass register, and hence an added quarter-rest to beat 3 (criteria no.6 and no.3).
For an example of addressing criterion no.5 Filling in chords to strengthen the harmony
and to thicken the texture, see mm.28-29 of Bach’s Tempo di Borea, BWV 1002 (Appendix B, p.
145; IMSLP, p.17, 4th system). The first beat of m.28 has been written as an E minor chord
using the guitar’s open strings, adding the 3rd and 5th notes of the chord to strengthen the
harmony and to thicken the texture. The original lower voice is therefore transposed down an
octave to accommodate the widening of the E minor chord and hence, the E quarter-note on beat
4 has been transposed down an octave as well. Measure 29 has the addition of bass voice
quarter-notes A on the first and third beats, serving to thicken the texture and to continue on the
transposed bass voice from the previous measure (criteria no.5 and no.6). Quarter-rests have
been added to beats 2 and 4 to silence added bass notes (criterion no.3). 
73
The application of criterion no.7 Sustaining sound by adding imitative voice lines and by
using other techniques can be shown in m.3 of Bach’s Allemande, BWV 1002 (Appendix B, p.
132; IMSLP, p.10). Notice within beat 3 the added imitative lower voice comprised of a thirty
second-note A and an eighth-note D. The purpose of this imitative voice addition is to fill in
sound gaps that come about because of the inability of the guitar to sustain sound as long as the
violin can. Moreover, the eight-note D has been tied to another eighth-note D of the same
register to sustain the added lower voice, providing harmonic support at beat 4.
A detailed process of adapting Bach’s Partita, BWV 1002 is further stated in a measure-by-
measure table format in Appendix A as mentioned earlier, for the entirety of this Partita (see
Appendix A, p.97).
Criterion no.8 Introducing articulations and musical contrasts, and criterion no.9
Applying special effects and extended techniques to imitate sounds from the original
instrument have not been applied to adapt Bach’s Partita, BWV 1002 for guitar. The author
chose neither to add any new articulations/dynamics, nor to use any extended techniques to
realize the adapted score. In fact, both these criteria were gleaned from the process of adapting
Britten’s Cello Suite, Op.72 for guitar. Refer to p.53 and p.58 for examples addressing criteria
no.8 and no.9 respectively.  
 
3. Exploring the Exceptions
This chapter explores several published adaptations for the classical guitar realized from
varying mediums of expression, which fail to satisfy some or most of the criteria discussed in
Chapter 2. These exceptions contradict some of the recommended criteria for adaptation in
Chapter 2, yet the resulting arrangements are practical and workable on the classical guitar. The
genesis of such exceptions is in several musical and technical components arising from a
comparison of an adaptation to its original. For instance, some solo piano compositions, such as
works by Isaac Albéniz (1860-1909) and Enrique Granados (1867-1916), although contradicting
some principles developed in Chapter 2, work well for guitar due to the range and polyphonic
texture utilized in the original score fitting within the range and polyphonic abilities of the guitar.
This is also found in adaptations of some of the 48 Preludes and Fugues by J.S. Bach, and in
some of Domenico Scarlatti’s 555 Keyboard Sonatas.  
As this study proposes, the ideal scenario for creating a suitable adaptation for guitar
arises when the original piece of music was conceived on a smaller instrument (that is, smaller in
range and in polyphonic abilities than the guitar). This way, the adaptation for guitar is able to
illuminate the counterpoint (if any) and expand on the musical texture found in the original, in
order to strengthen the harmony and solidify the musical content by connecting and/or separating
voices, as discussed earlier. Following this method, the arranger is able to honour the original
composition by keeping its key elements in the foreground, at times even highlighting them
more, and additionally, has the control to make an arrangement technically difficult, technically  
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75
facile, or anywhere in between.  
Such approach coincides with Bach’s method of adaptation. As examples, recall from
Chapter 1 the Suite for Cello in C minor (BWV 1011) was set in G minor for the lute (BWV 995)
and the Violin Partita in E major (BWV 1006) was also set for lute (BWV 1006a). Furthermore,
the prelude from BWV 1006 was set for an even larger medium of expression, i.e. for organ in
Bach’s Sinfonia from his Cantata, BWV 29 entitled “We thank thee God.” By taking some of his
original scores outside of their primary context, he could skillfully create new interest and new
possibilities for his music by adapting it for larger instruments.  
Pursuing an opposite course of action (i.e. adapting music from larger to smaller
instruments) is where exceptions to this practice can be found. Albéniz's prelude, Asturias-
Leyenda, is perhaps the stereotypical classical guitar piece. The first adaptation of Asturias for
guitar is believed to be by the Spanish guitarist Francisco Tárrega. It became a favourite of
guitarists that followed him. Asturias has become so widely identified with the guitar that those
who do not know otherwise might be surprised to discover that the work was originally
composed for the piano.31 Imagining himself of Moorish ancestry (Aaron Clark 17), Albéniz's
own comments in reference to the programmatic aspect of his music derive from depictions of
the Alhambra, the elaborate Moorish palace that overlooks the Andalusian city of Granada. Of
this place, Albéniz visualized evening serenades and juergas (all-night gypsy Flamenco parties),
accompanied on the one hand by the strumming of guitars and on the other by the “lazy dragging  
31On numerous occasions when performing Asturias, audience members expressed their complete surprise to the
fact that this piece was originally composed for the piano.
76
of the fingers across the strings” of the guzla, an ancient Arabic instrument. Reflecting on his
serenata, Granada, in 1886 Albéniz wrote:
I live and write a Serenata, romantic to the point of paroxysm and sad to the
point of despair, among the aroma of the flowers, the shade of the cypresses,
and the snow of the Sierra. I will not compose the intoxication of a collective
juerga. I seek now the tradition, which is a gold mine…the guzla, the lazy
dragging of fingers over the strings. And above all, a heartbreaking lament
out of tune...I want the Arabic Granada, that which is art, which is all that
seems to me beauty and emotion, and which can say to Catalonia: Be my
sister in art and my equal in beauty. (Aaron Clark 65) 
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Albéniz felt a nostalgia for his homeland, for the sounds of the art of Flamenco, and for
the ancient, Moorish quality of Andalusia (64-5). He even imagined that he was of Moorish
ancestry. Walter Aaron Clark writes: “Albéniz meant this not so much in a racial sense as in
terms of his personality, which was inwardly melancholic and prone to wistful reflection” (17).
Albéniz's music also responds to the religious collision between the Moors and Christians in
Spain, inspired by the contrasting architecture of the converted mosques of Granada, Sevilla and
Cordoba.  
All of these constituents are to be found in Albéniz’s Asturias, which in fact was originally
marked as Preludio in the autograph manuscript and only later was inserted by publishers into
Suite Española No.1 under the title ‘Asturias (Leyenda)’ (97). The opening section of the
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77
work could hardly be more evocative of the Flamenco guitar, with its pedal voice imitating an
open string of a guitar and its strummed ‘rasgueado’ chords. (see Figure 46)
Figure 46. Showing Albéniz’s use of the piano to imitate the Flamenco guitar. Asturias - Leyenda,
mm.25-2832 
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Walter Clark writes of the opening of Asturias: “This theme mimics the guitaristic
technique of altering the thumb and fingers of the right-hand, playing a pedal-note open string
with the index finger and a bass melody with the thumb. It naturally lends itself to interpretation
on that instrument” (Aaron Clark 97).
The slow, contrasting section, is characterized by “unfulfilled longing” (99), the opening phrases
evoking the cante jondo, the improvised solo song which evolved from the mixture of Arabic,
Jewish and Gypsy cultures, and which produced what we know of today as Flamenco. (see
Figure 47)
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32 The piano score of Asturias was extracted from (IMSLP) on March 25, 2014.
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!!
!!
Figure 47. The opening phrase of the middle section in Asturias, imitating the ‘cante jondo’ of
Flamenco. mm.63-66 
 
!
The section continues introducing a dance-like section reminiscent of a malagueña with a
rhythmically active guitar-like accompaniment. (see Figure 48)
!
!
Figure 48. Introducing a rhythm in the style of a malagueña in Albéniz’s Asturias. mm.87-88
Clearly, the thickness of the texture and the range of the piece work well when performed
on the guitar. The arranger is therefore not obliged to reduce the music for it to become
comfortably manageable on the guitar. On the contrary, Tárrega’s arrangement elaborates on  

œ œ œ œ œ œ œ œ œ œ œ œ
3 4 1 4 2
#
19
& œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
79
˙™
some rhythmic figures found in Asturias to make it sound even more ‘guitaristic.’ Notice the
21 œ œ œœ œ œ
œ œ œ œ œ œ
# of triplet figures just before and during the rasgueado section. (see Figure 49)
& œœ œœ
addition
œ œ œœ œœ œœ œ œœ œ œ œœ œœ œœ
œ
˙™ ˙™
4 4
œ
œ œ œ œ œ
œ œ œ œ œ œ
1 2 4 3 4 4 1 4
3 2
#
23
œ
& œœ œœ œ œœ œœ œœ œœ œœ œœ œœ œœ œ
œ
˙™
BVII6
# #œœœ œœ
3 0 0
25
# œ
4 0 0 1
& œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
4 3
œ œ
‰ Â
# #œœœ
27
Figure
3
49. Francisco Tárrega’s addition of triplets to Albéniz’s Asturias. mm.23-2633 
œ œnTárrega’s
œ œ œ useœ œof œtheœnote
1 3 4 1 3 4 1 3 4 3
& œœIt isœalso

œ œworth œ œ œ œ œ that
œ œ mentioning œ œEœasœthe
œ œtonal
œ œcentre
œ œ œofœAsturias
œœ
œ „ ‰
allows for the complete use of the guitar’s tessitura. The rhythmic elaborations,Âchange of key,
œ stylistic implications of Flamenco in hisœ music are elements that play a vital role in
# #œœœ œ œ œ œ œ œ œ œ œ œ œ œ œ #œœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
29 Albéniz’s
and
œ
& œ for a successful adaptation œ œ an arrangement of Asturias forœ guitar
allowing œ for the guitar. œ
Thus,
only violates the ideal scenario proposed in this study of adapting music from smaller to larger
© Bradford Werner (2013)
Visit This Is Classical Guitar for More Free Sheet Music
instruments. More importantly, the range and polyphony utilized in the original score work well
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on the guitar, making Asturias an exception to the principles laid out here.  
A number of Scarlatti’s Sonatas arrangements are also exceptions to these principles.
The fitting range Scarlatti uses on the keyboard and his simplistic approach to texture and voice-
leading in many of his Sonatas work well on a smaller polyphonic instrument such as the guitar.
Notice the striking similarities between the keyboard score and the adapted guitar score of  
33 This arrangement of Asturias was extracted from (Werner).

80
Sonata K.322. If the arranger, in this particular case, did not write out the grace notes and did
Sonata K. 322
not adjust the duration of some of the notes in the upper voice, this arrangement would be
considered a transcription rather than an adaptation. (see Figure 50) Domenico SCARLATTI
(1685-1757)
Restitution : P. Gouin
œ œ r œ
###
C ˙ ˙ ˙. œœ œ œ œ œ œ œ Œ
Allegro
œ
-7-
& SONATAœ
˙ ˙ ˙
˙ (L 483) ˙
? ### C ∑ ˙ D. Sca
Allegro
### r mœ
œœ œ œ œ œ œ œ Œ œ œ œ œ œ œ Œ œ œ
5
&
1
œ
? ### ˙ ˙ ˙ ˙ ˙ ˙ ˙
˙
˙ œ m
Figure 50. Comparing a keyboard score to a guitar score of Scarlatti’s Sonata K.322, mm.1-434
### œ œ mœ ˙ œ œ
œ Œ œ œ Œ
9
& 6 œ œ œ
Even when Scarlatti’s music is more elaborate in rhythmic drive and harmonic content, the
?texture ˙
# # # and ˙ ˙ ˙ on# ˙guitar. ˙ aside ˙the
˙ for performance
range used are still convenient Leaving
### ˙ m
combinations of different elements that favour guitar adaptations, guitarists’ interest in arranging
&Scarlatti’sœ Sonatas is perhaps Œ œ œmusicœbeing œ œ œby theœ Spanish

œ influenced œ œ
œ Œguitar’s
13
œ œdue œto Scarlatti’s

˙ n˙ ˙
his years living in Spain. Ralph Kirkpatrick analyzes˙this notion
˙ in the
11
# # # # ˙ during
?characteristics ˙ ˙
revised edition of his book Domenico Scarlatti. He writes:
### œ œ œ œ œ œ œ œ
œ œ œ # œ œ œ œ œ
œ neverŒ played the guitar, but surely no composer
œ as Œwe know,œ Scarlatti
17
& œAs far

ever fell more deeply under its spell. In the Spanish dance pieces its
? ### ˙ ˙ ˙ ˙ ˙ ˙ ˙ #˙
strumming open strings form many an internal pedal point, and its
16
arpeggiated figurations evoke a kind of intoxicating monotony. Some of  
© Les Éditions Outremontaises - 2013
34The keyboard score has been extracted from (IMSLP) on March 25, 2014, and the guitar score was taken from
(Thorlaksson).
VII
20
!81
Scarlatti’s wildest dissonances seem to imitate the sound of the hand striking
the belly of the guitar, or the savage chords that at times almost threaten to
rip the strings from the instrument. The very harmonic structure of such
passages that imitate the guitar seems to be determined by the guitar’s open
strings and by its propensities for modal Spanish folk music. (205)
The practice of imitating the guitar seems to have had a profound influence on Scarlatti’s
writing and choice of chord voicings, beyond the obvious plucked nature and sonic
characteristics that the harpsichord shares with the guitar. Comparable to the arrangements of
Albéniz’s solo piano music, adaptations of Scarlatti’s Sonatas for guitar satisfy many of the
adaptation criteria discussed in Chapter 2, despite existing in opposition to the principle of
arranging music from a smaller to a larger instrument. These works will likely receive many
more adaptations for solo guitar in the future.  
Enrique Granados’ solo piano music is neither idiomatic for performance on guitar nor is
it greatly inspired by Spanish folk music. Nevertheless, there are many arrangements for guitar
of Granados’ works. Similar to the examples of Albéniz and Scarlatti, adaptations for guitar of
Granados’ music serve as exceptions to this study because they are drawn from an instrument
that has the potential to display greater range and polyphonic capacity than that of a guitar.
However, the range and polyphonic content of many of Granados’ solo piano music display a
modest use of the piano’s textural abilities, and therefore, allowing for successful arrangements
for solo guitar despite violating a key principle of arranging suggested in this study.  
Figure 51 shows a two dimensional Cartesian system on an X/Y axis that discloses
certain works and their suitability to adaptation for guitar. The subsequent adaptations discussed
fall in the lower left quadrant of this chart, indicating that even realizing a transcription for guitar
!82
of these works is a struggle, and in fact is not possible due to the range available on the guitar
being unable to accommodate that of the original, and/or the polyphonic abilities of the guitar
falling short compared to that of the original instrument. In such adaptations, great compromises
are needed in order for one to be able to play these works on guitar, as previously seen in the
author’s adaptation of Voiles, one of Debussy’s 24 Preludes for solo piano (see Figure 13, p.15).
However, adaptations that fall in the positive X/Y region are likely to present the original
composition in a positive light and reflect the approach to arranging that this study recommends.
Such adaptations are valuable not only because this approach is in accordance with Bach’s
model of adaptation, but also due to the many ‘musical rewards’ beyond straight transcription of
the original that result from such ‘positive’ adaptation. (see Figure 51)
! Range and  
Monophony/Polyphony agree (+)
Granados’ solo
! piano music
Britten’s
Cello Suite,
Op.72
Bach!
BWV 1001-6
Albéniz’s solo
Paganini’s !
piano music
Scarlatti’s ! Bach ! Caprice No.24
Sonatas BWV 1007-12
Polyphonic to Monophonic to
‘smaller’ Polyphonic (+)
Polyphonic (-)
Mussorgsky’s
Pictures at an
Exhibition Paganini’s
24 Caprices
Debussy’s
24 Preludes
Range and/or  
Polyphony disagree (-)
Figure 51. A chart showing the works discussed in this study and their likelihood of successful
adaptation for guitar
!83
The Japanese guitarist, Kazuhito Yamashita, took on the enormous challenge of arranging
Mussorgsky’s Pictures at an Exhibition for guitar. Yamashita’s arrangement was published in
1981, and in the preface to the score he writes: “Through this very fascinating music, I wanted to
realize my childhood wish [of playing large scale works on guitar]” (4). Indeed, this was the
largest work ever adapted for one guitar. Yamashita had to re-invent the traditional classical
guitar technique in order to be able to play many passages found in this music. It is an
extraordinary accomplishment and an interesting addition to the classical guitar repertoire.
However, the music on the guitar score is greatly diminished to accommodate the guitar’s
limitations. Many notes and voices have been omitted in Yamashita’s arrangement, reducing the
texture and excluding the colours that Mussorgsky’s writing for the piano offers. Also, the
original score uses the piano’s range and polyphonic capabilities fully, greatly exceeding what a
solo guitar can manage. Therefore, it is impossible to adapt this work for solo guitar while
maintaining the musical value of the composition. Adapting it for guitar duo could perhaps
preserve its polyphonic and textural content, and could expand on the characters found in this
music by utilizing both guitars’ timbral qualities to their fullest, similar to what Ravel did in his
arrangement of Mussorgsky’s work for full orchestra. Notice the complete omission of the
lower voice from the piano original and its replacement with a bass pedal on A in Yamashita’s
arrangement. This is due to the guitar’s inability to play both voices as written in the piano
original. (see Figure 52) 
Another example where the adaptation proves unsuccessful is in the opening measures of
the fifth movement, Ballet of the Little Chickens. Yamashita omits the grace notes found in the
original and reduces the voices that fall on the upbeats to single notes assigned to the open
!84
strings of the guitar. Even a transcription of this passage is impossible on one guitar. (see Figure
53)
Figure 52. Comparing a passage from Mussorgsky’s Pictures at an Exhibition to Yamashita's

guitar arrangement. I. Gnomus, mm.94-9935
Figure 53. Some passages in Pictures at an Exhibition had to be greatly reduced in order to fit
on the guitar. Ballet of the Little Chickens, mm.1-4 
!
35Mussorgsky’s piano score of Pictures at an Exhibition was extracted from (IMSLP) on March 26, 2014. The
guitar score is taken from (Yamashita).
!85
Not all of the passages in Mussorgsky’s original are truncated in order to fit on the guitar. When
the texture in the piano score is moderate, Yamashita finds creative ways to adapt it. In Figure
54, he turns the trembling effect in the piano score to a tremolo on the guitar using the index
finger as a plectrum, similar to mandolin technique, while strumming the chords with the fleshy
part of the thumb, creating a muted and darker sound in the lower voices, aligning with the
lamenting character of this passage. (see Figure 54)
!
!
!
Figure 54. Yamashita’s use of extended techniques to realize a passage for guitar in
Mussorgsky’s Pictures at an Exhibition. Con Mortuis in Lingua Mortua, mm.1-3
Again, this demonstrates that when a given texture in an original score is fitting for guitar, the
intuitive arranger can proceed not only to re-stem the notes for the guitar, but can also use the
instrument's capabilities to further enhance the music contrapuntally, harmonically, or sonically
as seen in Figure 54 above. In large part, this arrangement violates many of the principles of
!86
adaptation discussed in Chapter 2, and therefore, it falls in the lower left quadrant of the chart in
Figure 51.  
Composed for solo violin, Paganini’s 24 Caprices, Op.1 would seem to be suitable for
performance on guitar, but further investigation reveals otherwise. Almost 200 years after they
were published, Paganini’s Caprices still provide considerable challenges to even the world's
greatest violinists. They are among the most spectacular of all his works. These Caprices are
thought of as studies for the violin, exploring specific techniques within each caprice, and
covering all possible traditional techniques that a modern violinist could execute. Techniques
such as sautillé, spiccato, staccato, ricochet, flying staccato, left and right hand pizzicati, jeté,
collé, and others, are used in these studies to saturation. Some Caprices include more of a
combination of bowing techniques than others. Caprice No.24 is perhaps the best known of the
set. It is a series of variations on a short theme, and covers a wide expressive range in its short
duration. It is one of these studies that utilizes the least number of differing bowing techniques.
Given that, and coupled with its moderate use of the violin tessitura, it certainly lends itself well
for a guitar adaptation. John Williams initiated the process of arranging Paganini’s Caprices by
adapting the 24th caprice for guitar. He takes the initiative in some of the variations which are,
in fact, facile for a guitar to carry out, of re-writing them to directly address a certain technique
for guitar. (see Figure 55) 
For example, instead of preserving the 8th variation to a three-note block chordal progression,
Williams, alternatively, uses the harmonic progression to write an arpeggio figure that every
guitarist could benefit from mastering.  
Additionally, Williams composed a completely new variation (numbered as Variation XI)

!87
to address repeating notes while string-crossing on guitar, another useful technique for guitarists
Var. X
to develop. (see Figure 56)
t \--l
-----
Var. VIII
Figure 55. A comparison of John Williams’ adaptation

B.&H.204ss
for guitar of Paganini 24th Caprice with
the original. Var. No.8, mm.1-436
Figure 56. Williams’ added variation to Paganini’s 24th Caprice. Var. XI, mm.1-4
Williams succeeds in utilizing this study precisely to address specific techniques for a given
instrument, and gives performers the opportunity to practice these particular techniques through
music, instead of through dry technical exercises.
Another guitarist, Eliot Fisk, assumed the daunting challenge of arranging all of
Paganini’s 24 Caprices for guitar. He writes in the preface to the adapted score:
36Paganini’s original violin score of the 24 Caprices, Op.1 has been taken from (IMSLP) on March 27, 2014.
Excerpts from Williams’ arrangement have been taken from (J. Williams).
!88
For me there are three great landmarks along the Gradus ad Parnassum of
guitar technique: the essential Etudes of Fernando Sor, the 12 Etudes of
Heitor Villa-Lobos, and a final peak of truly daunting proportions, the 24
Capricci, Op.1, of Niccolo Paganini. John Williams opened the door to this
final possibility some years back when he showed so superbly that the
Capriccio 24 could be played on the guitar. I began to experiment with
others in the set around 1977, and slowly became convinced that a way
could be found to play all 24 on the guitar in the original keys. I often felt
like Dante at the start of the Divina Commedia: lost in a dark wood with no
idea how to get out…” (2) 
!
Indeed, Fisk found a way to play all the 24 Caprices on guitar. However, as we see in
Yamashita’s arrangement of Mussorgsky, many compromises are made to adapt the original
score to the instrument. This is mainly due to the range that Paganini uses on the violin.
Moreover, the bowing articulations found in these studies could not be simulated on the guitar.
Therefore, no new techniques have been added to the modern guitarists arsenal of technical tools
by realizing this adaptation. Also, in no way were these studies modified to directly benefit the
guitarist, unlike what is perceived in Williams’ arrangement. Note in Figure 57 Fisk’s treatment
of the rising arpeggio pattern, taking it down an octave twice, to make it possible to perform on
guitar (see Figure 57, the arrows indicate the necessary drop in octave to accommodate the
guitar’s tessitura).
!
!
 
!
simile
®@@
89
!
!
!
! ..__... > I > ....__.....
5
.._/ -3; >> > p
f 57. Octave transpositions in Fisk’s adaptation. Paganini, Caprice I, mm.8-1137 
Figure © 1994 Guitar Solo Publications, San Francisco (ASCAP)
International copyright secured. All rights reserved.
Printed in USA. Photocopying this music is illegal. GSP-71
aaif= r: iFl t: nt1s,j

*
7 I
,t r JJIF ?_
D 0' ''
, d:
This treatment does make the passage above playable on guitar, but greatly reduces the forward
1 1 I -: l I
motion of the musical line hinderingpp

its original purpose,
.2 3, resulting in a version
j• inferior to the
original.
- - - Another such
* - example
- - - - is- found
- - -in Caprice VII, where Fisk
:3 is forced to take the rising
,
arpeggiated pattern down an octave to make it manageable on the guitar. (see Figure 58)
f!Oilt. - - - - - - - - -......;.._ q •·
i :
- - - or d. orJ.. .6,
0
mi 4 0 1111 ·'
' f#s f s 1 qli@@IJ

\Il " g·
,
art. harm. a m i
. ·.....___. . .
Figure 58. Another example of octave transpositions needed for performance on guitar. Caprice
i -- ' "''
art. harm.
==i 3i t &li@JJ9 1i Uniii&J

VII, mm.15-18
\Ill
' =  
j} '4'
37 Excerpts of Paganini’s adapted score for guitar are taken from (Fisk).
' /2'
<tJ I994 Guitar "SO{o Pu6{fcatwns,

JnternationaJ copyright secured.
3' 4'
.san Francisco (AJCAP;

All rights reserved.
90
Other Paganini caprices, such as No.24, which do not utilize the full range of the violin,
are possible to be written as transcriptions for guitar, and only then after the arranger could make
an informed decision on where to add new lines, notes to fill out chords, extra variations and so
on to the original. This indicates that if the range used in the original is larger than what a guitar
can handle, it is not possible to transcribe the original, let alone adapt it for guitar. Caprice No.
24 alone could certainly fall in the upper right quadrant of the chart in Figure 51 given its
moderate use of the violin range. Paganini’s 24 Caprices, Op.1 as a whole, although agreeing
with the ideal scenario of adaptations for guitar in Fisk’s arrangement, violate one key principle,
namely the presence of an overwhelming range. They therefore become an exception to the rule
and fall in the lower right quadrant of the chart in Figure 51.
!
!
!
!
!
!
4. Conclusion
This study concludes with a starting point which provides a detailed approach to
adaptation, and helps arrangers grasp the strengths and weaknesses of the classical guitar.
Although some guitarists have recorded and/or performed Bach’s unaccompanied string music,
relatively little has been done to create and thoroughly describe a method that clarifies the
arranging process of adapted music for guitar. As a product of this study, I have provided an
arrangement for guitar of Bach’s first Violin Partita, BWV 1002, and, in an attempt to capture
some of the same spirit of Britten’s only work for solo guitar, Nocturnal, Op.70, I have adapted
Britten’s first Cello Suite, Op.72. The latter work has never been arranged for guitar before. I
have realized these adaptations by the help of several criteria gleaned from J.S. Bach’s own
model of adaptation, obtained from carefully analyzing his own arrangements, from analysis of
several other arrangements by guitarists such as Stanley Yates, Jeffrey McFadden, Frank
Koonce, Manuel Barrueco, Paul Galbraith, Kazuhito Yamashita, Francisco Tárrega, among
others, and from many trial-and-error undertakings during the actual adaptation process.
Furthermore, I have pointed out some exceptions to this study in the hope of informing guitarists
on why these oeuvres do in fact work for performance on guitar, especially when they contradict
some of the important adaptation principles suggested in this study. On the other hand, I have
indicated other works which do look suitable for guitar on the surface, but when adapted, result
in diminishing the musical content by way of arranging the originals to desperately fit the
guitar’s idiosyncrasies and characteristics.  
91
92
Attempting to evaluate whether an adaptation is considered successful or workable for
solo guitar is better achieved by looking at an original score and its suitability for a guitar
arrangement. The smaller the range and the polyphonic abilities displayed in an original score
compared to that of the guitar’s capabilities, the more suitable the original score is for a guitar
arrangement. Understanding the polyphonic facility and the inherent idiosyncrasies of a given
instrument can lead to an informed decision about which music will likely produce a workable
adaptation for the receiving instrument. In all cases analyzed in this study, when such approach
was taken, the resulting arrangements enhance the originals, making them seem to have been
conceived on the receiving instrument. This is the approach to arranging from one instrument to
another that this study highly encourages. Following this method, the arranger finds creative
space to break out from the realm of transcribing and to enter the realm of adapting where key
aspects of the original composition are maintained and in some instances highlighted even more,
thus maintaining the value of the piece and perhaps even adding to it by making it part of
another instrument’s repertoire. This is where the inspiration to the title of this paper comes
from. The title “The Unlimited Guitar” suggests that the guitar repertoire can be limitless,
contrary to other belief, due to the trend in arrangements for the guitar. This study can also be
applied to other instruments in a sense that, if the range and polyphonic capacity of any
receiving instrument matches or exceeds that of an original composition, the adapting principles
here could be applied and the process of adaptation would be the same. I hope that my editions
of the aforementioned works may therefore serve as an appropriate model for the process of solo
music adaptation. The result of such an approach would serve not only to provide enjoyable
renditions, but may in fact augment the musical possibilities and teachings of the guitar. 
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!
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1985.
Wimmer, Harry. "The Six Bach Cello Suites." <http://www.wimmercello.com/bachms.html>.
Wolff, Christopher. "Bach, J.S." Grove Music Online.
Kazuhito Yamashita. Johann Sebastian Bach: Sonatas and Partitas for Violin Solo, BWV
1001-1006: Guitar Version. BMG Funhouse, 2005.
Yates, Richard. "The Transcriber’s Art." Soundboard 1996.
---. "The Transcriber’s Art, no.37." Soundboard 2008.
Yates, Stanley. "Bach’s Unaccompanied Cello Music: The Nature of the Compound Line and an
Approach to Stylistic and Idiomatic Transcriptions for the Guitar." Soundboard 1996.
---. "Bach’s Unaccompanied String Music: A New (Old) Approach to Stylistic and Idiomatic
Arrangement for the Guitar." Classical Guitar Magazine 1998-1999. 
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Appendix A
Adaptation Log for Bach’s Partita No.1 for Unaccompanied Violin, BWV 1002 
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The following tables present a detailed adaptation process for guitar of Bach’s first solo
violin partita, BWV 1002. Each table represents a movement, and each row displays adaptation
decisions made for a single measure. It is suggested to have a printed copy of the author’s
adapted score (from Appendix B) to better profit from this in-depth research and for ease of
reference.
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97
!98
Allemande: (meter = 4/4)
Measure Description/Adaptation Technique
1 Addition of rests needed, to be consistent with the actual length of the lower
voices. Stemming in opposite directions to clarify voice separation/roles.
Consecutive 32nd notes have been tied. Fourth beat; D is held to ring above the
lower voice. All of Galamian’s bow markings have been omitted.
2 First beat; bass note G held for 1.5 beats, other voices in the chord can be held for
entire first beat. Consecutive 32nd notes have been tied. Second beat; an E in the
bass line is introduced to fill texture. Third beat: an F# in the bass is introduced.
Fourth beat is stemmed to separate voices.
3 First beat; B minor chord filled to suit guitar interface. 64th and 32nd
consecutive notes tied. Rests introduced to announce bass voice entrance.
Second beat; bass voice introduced. Third beat; F# transposed an octave lower to
connect with bass line, and held for entire third beat. Imitative middle voice (A,
D) introduced to fill texture. New D note is held through half of fourth beat.
Fourth beat; 32nd original bass note D turned into an eighth note to connect with
bass line introduced earlier, fill texture, and to emphasis rhythmic pulse.
4 First beat; filling G major chord to make it idiomatic to the guitar interface.
Second beat; adding a low E (E minor harmony) note in the bass to better connect
the bass line with the first beat. Third beat; consecutive 128th notes tied. Rests in
brackets indicate actual ability of voice in question to sustain, due to guitar
technical limitations. Fourth beat; stemming in opposite directions to clarify voice
leading and voice roles.
5 First beat; filling A major chord, A in the bass is sustained through second beat.
Second beat; trill added on F#. Third beat; imitative voice added to fill texture
during long held note. Consecutive 128th notes tied. Fourth beat; bass note added
(V of E minor). Rests are added to clarify entrance of voices.
6 First beat; E in the bass added. Second beat; first bass note E, treated as separate
voice. Third beat; F# added to bass line and treated as separate voice with last
note of beat three. Fourth beat; first note D treated as separate bass voice.
7 First beat; added bass note E and treated as separate voice with last note of beat
one. Fourth beat; chord turned into four voices, to keep with the four voices found
at beat three. Rests are added to clarify actual possible length of lower voices.
!99
8 First beat; F# major chord filled to fit four voice chords in previous measure.
Fourth beat; bass notes added to fill texture and to lead into first bass note of next
measure. Rests are added to clarify bass entrances and exits.
9 First beat; bass note B doubled using opposite stemming. Rests added to clarify
bass note exits and actual sustained length of voices. Consecutive 64th notes tied
in beat three.
10 Second beat; voices separated to clarify held note in soprano voice. C# is tied to
third beat. Third beat; Voices separated to clarify voice roles. Bass note B held
for entire third. Rests are added to clarify voice entrances and exits.
11 First beat; D note held for entire beat one and tied to second beat. Opposite
stemming used to separate soprano voice from lower voices. Rests added to
clarify entrance of voices. Second beat; E# added in bass voice. Fourth beat; a
low C# added to fill texture.
12 First beat: F# major chord filled to fit guitar interface. Bass note F# added. Third
beat; held note F# in soprano voice sustained into half of beat four. Fourth beat;
opposite stemming applied to separate voices.
13 First beat: A# added to fill F# major triad. Second beat; low F# in bass voice
added. Third beat; B note in first triplet sixteenth held through to beat four.
Opposite stemming applied to separate voices. Fourth beat; A# in bass voice
separated from upper voice.
14 First beat; B note in the bass added to resolve bass line from previous measure.
Third beat; bass note A held for entire beat three. Fourth beat; bass note A added
to fill texture. Rests are added to clarify note durations and note entrances.
15 First beat; consecutive 128th notes tied. Second beat; A in the bass added. Third
beat; B in the bass voice added. Fourth beat; bass note A added in second half of
beat. Rests added to clarify the duration of bass line added.
16 Second beat; bass note E added in second half of beat. Third beat; notes E and C#
sustained for entire beat. Low A added to fill texture. Stemming rearranged to
clarify voice roles.
17 First beat; D# brought down an octave and note B (root of dominant 7 chord)
added to fill texture. Consecutive 128th notes tied. Second beat; two B notes (an
octave apart) added to fill texture. Third beat; note E added in bass voice. Fourth
beat; opposite stemming applied for first D note to sustain for entire beat.
!100
18 Second beat; F# note added in bass voice. Third beat; G in the bass brought up an
octave. E note moved to second half of beat three. Fourth beat; B and F# held for
entire beat.
19 First beat; E minor chord filled to thicken texture. Third beat; bass note C#
written to sustain for entire beat. Opposite stemming applied to separate voices.
Fourth beat; voices clarified, bass notes F# and E turned into eighth notes.
20 First beat; first note D in bass register held for entire beat. Opposite stemming
applied to separate voices. Third beat; voices separated and rests used to clarify
voice entrances and exits. Now bass note E in second half of beat three held
through to beat four. Fourth beat; opposite stemming applied to separate and
clarify voices.
21 First beat; first note B in bass register separate using opposite stemming, and held
throughout entire beat one. Third beat; bass note A held for entire beat. Rests
added to clarify note durations and to indicate multiple voices.
22 Second beat; note B in bass voice added to second half of beat two. Third beat;
first note E taken and octave lower, and imitative rising bass line added. Fourth
beat; bass note A added.
23 First beat; bass note F# added. Second beat; first D note in bass register
sustaining for entire beat. Opposite stemming applied to separate voices. Third
beat; bas notes C# and D added. Fourth beat; bass note F# added to second half
of beat four.
24 First beat; B minor chord filled (D note added). Third beat; final B minor chord
filled to fit guitar idiomatic texture.
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Double - Allemande: (meter = 2/2 - will be considered as 4/4 throughout analysis)
1 First beat; opposite stemming applied to separate voices. B note held for entire
beat. Second beat; C# doubled implying two voices. Third beat; first note A#
held for entire beat. Fourth beat; F# doubled implying two voices. Rests are
added to mark entrances and exits of clarified bass voice.
!101
2 First beat, G is held for entire beat. Second beat; C# sustained and treated as
lower voice with last note B of beat two. Third beat; notes A#, F and B treated as
separate voice. Fourth beat, notes D and C# treated as separate lower voice.
3 First beat; B note in the bass voice added. Rests added to clarify exit of bass
voice.
4 First beat; opposite stemming applied to separate voices. Note G treated as lower
voice sustaining till end of beat one. Third beat; C# treated as lower voice and
sustaining for entire beat three. Fourth beat; notes D and G treated as lower
voice.
5 First beat; note A in the bass added and held for entire first and second beats.
Third beat; D# treated as lower voice and held for entire beat three.
6 First beat; note E in the bass voice added. Second beat; note G is added. Third
beat; note F# is added. Last note E treated as lower voice.
7 First beat; note E added in lower voice. Last note D treated as lower voice.
Second beat; notes C# and B treated as lower voice. Opposite stemming applied
to clarify voice separation and duration. Third beat; note A# in the bass is
sustained for entire beat. Fourth beat; note B treated as separate voice.
8 First beat; low F# in the bass register added. Second beat; notes F# and E treated
as lower voice. Third beat; first note D sustaining for entire beat. Fourth beat; C#
is added for second half of beat four.
9 First beat; first note B sustaining for entire beat. Fourth beat; note F# treated as
lower voice and sustaining for second half of beat four.
10 First beat; C# added in the bass register. Third beat; first note B sustaining for
entire beat three. Rests are added to clarify bass voice entrances and exits.
11 Second beat; notes C# and E# treated as lower voice. Third beat; notes F# and B
added in lower voice. Fourth beat; first note C# treated as lower voice, and a low
C# is added to the second half of beat four.
12 First beat; note F# added in the lower register. Third beat; an F# is added in the
bas voice and is sustaining for entire beat three as well as what is left of beat four.
13 First beat; F# added as a lower voice. Second beat; notes F# and E treated as
lower voice. Third beat; first note D sustaining for entire beat.
!102
14 Third beat; first note D# treated as lower voice and sustaining for entire beat.
Fourth beat; note B added in the lower voice and sustaining for entire beat.
15 First beat; note E added in lower voice. Second beat; note A added in the bass
voice. Third beat; note B is treated as a lower voice and sustaining for entire beat
three and half of beat four.
16 First beat; note E added in the bass register. Second beat; an octave lower note E
added in the second half of beat two. Third beat; note A added in the lower voice
and sustaining for entire beat. Fourth beat; first note A treated as lower voice.
Note G added to second half of beat four.
17 First beat; F# added in lower voice. Second beat; note B added in lower voice for
second half of beat two. Third beat; quarter note E added in lower voice. Fourth
beat; first note B treated as lower voice and sustaining for entire beat four.
18 First beat; eighth note C added to low voice. Second beat; notes D# and E treated
as lower voice. Fourth beat; eighth note A added in the bass voice. note E turned
into an eighth note. Note B taken an octave lower and treated as bass voice.
19 First beat; first note E taken an octave lower and treated as bass voice, sustaining
for entire beat one and two. Third beat; note C# treated as lower voice and
sustaining for entire beat three. Fourth beat; notes F# and E teated as lower voice.
20 First beat; first note D treated as lower voice and sustaining for entire beats one
and two. Fourth beat; notes D and C# treated as lower voice.
21 First beat; first note B treated as lower voice and sustaining for entire beats one
and two. Third beat; quarter note A added to the bass register. Fourth beat; first
note D treated as lower voice and sustaining for entire beat.
22 First beat; note D# treated as lower voice and sustaining through beat two. Third
beat; quarter note E added to bass voice. Fourth beat; note C and B treated as
lower voice.
23 First beat; notes A# and E treated as lower voice. Second beat; note D treated as
lower voice and sustaining for entire beat two. Fourth beat; first note F# treated
as lower voice, and a lower octave F# is added to second half of beat four.
24 First beat; note B is treated as lower voice and sustaining through to the second
half of beat two. Rests are added to clarify bass voice entrances and exits. Fourth
beat; note B is doubled and treated as lower and upper voices in unison.
!103
Corrente: (meter = 3/4 and 6/8 - will be considered as 3/4 throughout analysis)
1 First beat; note B in bass register is treated as a separate voice and held for entire
measure. Rests are added to indicate multiple voices.
2 First beat; C# is treated as a separate voice and held for a beat and a half.
3 First beat; B is treated as a separate voice and held for two beats.
4 First beat; E is treated as a separate voice and held for a beat and a half.
5 First beat; first note D is treated as a separate bass voice and held for two beats.
6 First beat; note G is treated as a separate voice and is held for a beat and a half.
7 First beat; an F# is added and is held for entire beat. Second beat; F# is treated as
a separate voice and is held for a beat and a half. Opposite stemming is applied
to clarify voice separation. Third beat; D# is treated as a separate voice and is
held for entire beat.
8 First beat; an E is added as a lower voice and is held for a beat and a half. Second
beat; D is treated as a lower voice. Third beat; C# is treated as a separate voice
and is held for entire beat into the first beat of the next measure.
9 First beat; C# is held for entire beat from previous measure. Second beat; B and
F# are turned into half notes.
11 First beat; D is treated as a separate voice and is held for entire measure. Rests
between brackets indicate actual possible duration of voice in question, due to
technical idiosyncrasies of the guitar or fingerings chosen.
12 First beat; first note G is treated as a separate voice and is held for a beat and a
half.
14 First beat; F# is treated as a separate voice and is held for a beat and a half.
15 First beat; note G is doubled in unison and is held for the rest of the measure.
!104
17 First beat; an F# in the bass voice is added and is held for two beats. Third beat;
A is treated as a separate voice and is held for entire beat.
18 First beat; D is treated as a separate voice and is held for entire measure.
20 First beat; a quarter note B is added acting as a lower voice. Second beat; a
quarter note E# is added in the bass register. Third beat; a quarter note F# is
added in the bass register.
21 First beat; a C# is added acting as a lower voice and is held for two beats.
22 First beat; the A is doubled in unison and is acting as a lower voice, held for two
beats.
23 First beat; a B is added acting as a lower voice and is held for two beats. Third
beat; the eighth note A is treated as a separate voice.
24 First beat; G# is treated as a separate voice and is held for two beats. Third beat;
opposite stemming applied and both notes B and F# are treated as separate
voices.
25 First beat; E# is treated as a separate voice and is held for two beats.
26 First beat; first note A is treated as a separate voice and is held for a beat and a
half.
27 First beat; D is treated as a separate voice and is held for a beat and a half.
28 First beat; G is treated as a separate voice and is held for a beat and a half.
29 First beat; B is treated as a separate voice and is held for a beat and a half.
Second beat; Note E is treated as a separate voice and is held for a beat and a half.
30 First beat; a low quarter note A in the bass register is added. Second beat; a
quarter note B is added. Third beat; C# is treated as a separate voice and is held
for entire beat three.
31 First beat; F# is taken an octave lower and is held for entire measure and
sustaining through what is remaining of measure 32.
32 The low F# is sustaining throughout this measure (minus the pickup of repeat of
A section or pickup of B section) from previous measure.
!105
33 First beat; an F# is added in the bass register and is held for a beat and a half.
34 First beat; G# is treated as a separate voice and is held for entire beat. Second
beat; A# is treated as a separate voice and is held for two beats.
35 First beat; opposite stemming applied on both notes D and F# indicating two
voices. Second beat; opposite stemming applied on note B indicating two voices.
The voices separate at note F#. F# is then held for the remainder of the measure.
36 First beat; a C# is added in the bass register and is held for entire beat. Second
beat; D# is treated as a separate voice and is held for two beats.
37 First beat; the note E is doubled in unison, treated as a separate voice and is held
for the remainder of the measure.
38 First beat; F# is added and is held for entire beat. Second beat; G# is treated as a
separate voice and is held for two beats.
39 First beat; a half note A is added in lower voice. Third beat; a quarter note A# is
added in lower voice.
40 First beat; note B is added and held for two beats. Third beat; the A is treated as a
separate voice, pickup to next measure.
41 First beat; G# is treated as a separate voice and is held for a beat and a half.
Second beat; F# is treated as a separate voice. Third beat; E is treated as a
separate voice and is held for entire beat.
43 First beat; E is treated as a separate voice and held for a beat and a half. Second
beat; D is treated as a separate voice. Opposite stemming clarifies voice
separation. Third beat; C is treated as a separate voice and is held for entire beat
three.
44 First beat; D is treated as a separate voice and is held for a beat and a half.
45 First beat; an A in the bass register is added and is held for entire measure.
46 First beat; D# is treated as a separate voice and is held for entire measure. Third
beat; an F# is added in the bass register and is held for entire beat three.
47 First beat; quarter note G is added as a lower voice. Second beat; quarter note A
is a added as a lower voice. Third beat; quarter note B is added as a lower voice.
!106
48 First beat; notes E and F# tied.
49 First beat; G# is treated as a separate voice and is held for a beat and a half.
Second beat; D is treated as a separate voice and is tied to an added dotted quarter
note D to sustain through entire measure.
50 First beat; A C# is added acting as a lower voice and is held entire beat. Second
beat; an A is added in the bass register and is held for two beats.
Second beat; G# is treated as a separate voice and is held for the remainder of the
measure.
52 First beat; an A in the bass register is added and is held for entire measure.
Second beat; E is treated as a separate lower voice. Third beat; D is treated as a
lower separate voice and is held for entire beat.
54 First beat; E is treated as a separate voice and held for a beat and a half.
Second beat; E is treated as a separate lower voice. Third beat; D is treated as a
lower separate voice and is held for entire beat.
57 Second beat; B is treated as a separate voice and is held for a beat and a half.
Third beat; A is treated as a separate lower voice.
58 First beat; G is treated as a separate voice and is held for a beat and a half.
59 First beat; note G is treated as a separate lower voice. Second beat; F# is treated
as a separate voice and is held for entire beat. Third beat; A is treated as a
60 First beat; D is treated as a separate voice and is held for two beats. Third beat;
notes A# and B are tied.
61 No changes are made to this measure.
62 First beat; note B in the bass register is added and held for two beats. Third beat;
G# is treated as a separate voice and is held for entire beat.
!107
63 First beat; E# is treated as a separate voice and is held for two beats. Rests are
added to indicated entrance and exits of voices.
64 First beat; an F# is added and held for two beats. Third beat; C# is treated as a
65 First beat; note B is added acting as a lower voice and sustaining for a beat and a
half. Second beat; A is treated as a separate voice. Third beat; G# is treated as a
66 First beat; An A is added acting as a lower voice and is held for a beat and a half.
Second beat; G is treated as a separate voice. Third beat; F# is treated as a
67 First beat; note G is added acting as a lower voice and sustaining for a beat and a
half. Second beat; F# is treated as a separate voice. Third beat; E is treated as a
68 First beat; note F# is added acting as a lower voice and sustaining for a beat and a
half. Second beat; E is treated as a separate voice. Third beat; D# is treated as a
69 First beat; a half note E is added and is acting as a lower voice. Third beat; E is
treated as a separate voice and is sustaining through to next beat and a half of
next measure. D is treated as a separate voice. Opposite stemming applied to
clarify voice separation.
70 First beat; E from previous measure continues to hold for a beat and a half.
Second beat; A# is treated as a separate voice (continuation of previous
descending bass voice) and is tied to an added dotted quarter note A#.
71 First beat; B is added in the bass register and is held for two beats. Third beat; F#
is taken an octave lower and is treated as a separate voice sustaining for entire
beat.
72 First beat; a G in the bass register is added and is held for two beats.
73 First beat; notes E and D# are tied. Second beat; G# is treated as a separate voice
and is held for the remainder of the measure.
74 First beat; an A in the bass register is added and is held for entire measure. Notes
C# and B are tied.
!108
75 First beat; notes F# and E# are tied. Second beat; A# is treated as a separate
voice and is held for the remainder of the measure.
76 First beat; a dotted quarter note B in the lower voice is added. Second beat; a
dotted quarter note D# in the lower voice is added.
77 First beat; a quarter note E is added in the lower voice. Second beat; a quarter
note D is added in the lower voice. Notes E# and F# are tied. Third beat; two
eighth notes, E and D, are added to fill texture leading to the first added bass note
of the following measure.
78 First beat; a, eighth note C# in the bass register is added. Second beat; two eighth
notes, D and E, are added in the lower voice to fill texture. Third beat; F# is
treated as a lower voice and is held for entire beat three.
79 First beat; note B is treated as a separate voice and is held for two beats.
!
Double - Corrente: (meter = 3/4)
1 First beat; a B in the bass voice is added and held for entire beat in to half of
second beat. Rests are added to indicate entrance and exit of added bass line.
Third beat; B is treated as a separate voice and is held for entire beat three. Rests
between brackets indicate the actual possible duration of voice in question due to
the technical idiosyncrasies of the guitar.
2 First beat; A# is treated as a separate voice and is held for entire beat. Third beat;
a quarter note F# is added in the bass voice. It is placed in between brackets
making it up to the performer whether to play it or not.
3 First beat; a quarter note B in the bass voice is added. Third beat; B note is
treated as a separate voice and is written to sustain for entire beat. Eighth note
rest in brackets indicate actual possible length of B note.
4 First beat; C# is treated as a separate voice and is held for entire beat sustaining
through second beat. Second beat; C# is added and tied to previous C# from beat
one. Third beat; an A in the bass register is added between brackets.
!109
5 First beat; a dotted quarter note D is added in the bass register. Third beat; D is
treated as a separate voice and held for entire beat three.
6 First beat; first note E is doubled and is held for two beats. Third beat; a
suggested repeat of an E in brackets for entire beat three.
7 First beat; a quarter note F# is added in lower voice. Second beat; F# is treated as
a separate voice and is sustained for entire beat two, tied to the first sixteenth note
of beat three. Opposite stemming is applied to clarify separation of voices. Third
beat; D# is treated as a separate voice and is held for entire beat three.
8 First beat; a quarter note E is added in the lower voice. Second beat; E is treated
as a separate voice and is held for entire beat two, tied to the first sixteenth note
of beat three. Third beat; C# is treated as a separate voice and is held for entire
beat three.
9 First beat; a quarter note F# is added in lower voice. Third beat; note B is treated
as a separate voice and is held for entire beat three, tied to the first sixteenth note
of first beat in next measure.
10 First beat; F# in the bass is treated as a separate voice and is held for two beats.
Third beat; a quarter note F# is added.
11 First beat; a half note B is added in the lower voice. Rests between brackets
indicate the actual possible sustaining of the voice in question, due to guitar
technical idiosyncrasies.
12 First beat; first note E is doubled and is held for two beats, acting as a lower
voice. Third beat; a quarter note E is added in the bass register.
13 First beat; a half note A is added in the bass voice. Third beat; a quarter note C#
is added in the bass line.
14 First beat; note D is doubled and held for two beats. Third beat; A quarter note
F# is added in the lower voice.
15 First beat; a quarter note G is added. Rests are added to indicate exit of added
voice.
16 First beat; C# is doubled and is held for two beats. Third beat; a quarter note A is
added in lower voice.
!110
17 First beat; a half note D is added in the bass voice. Second beat; first note D is
treated as a separate voice (soprano) and is held for entire beat, sustaining
through to the first half of beat three. Notes F#, E, and D are treated as a separate
voice (alto) and the D is tied to the first sixteenth note of the alto voice in beat
three. Third beat; a quarter note A is added in the bass voice. The second note E
is treated as a separate voice (alto) and is held for the rest of beat three. The two
sixteenth notes, D and C#, are treated as a separate voice and are a continuation
of the soprano voice from beat two.
18 First beat; a half note D is added in the bass voice. Third beat; F# is treated as a
separate voice and is held for entire beat three.
19 First beat; A# is treated as a separate voice and is held for entire beat. Second
beat; a half note F# is added in the lower voice.
20 First beat; a half note B is added in the bass voice. Third beat; a quarter note D is
added in the bass voice.
21 First beat; a half note C# is added in the bass voice.
22 First beat; a quarter note F# is added in the bass register. Third beat; a quarter
note A is added as a bass voice.
23 First beat; a half note B is added in the bass voice. Third beat; a quarter note D#
is added in the lower voice.
24 First beat; a half note E is added in the bass voice.
25 First beat; E# is treated as a separate voice and is held for entire beat one. Third
beat; a quarter note E# is added in the bass register.
26 First beat; a half note F# is added in the lower voice.
27 First beat; first note B is treated as a separate voice and is held for entire beat one.
Third beat; a quarter note D is added in lower voice.
28 First beat; a half note B is added in the bass voice.
29 First beat; first note E# is treated as a separate voice and is held for entire beat
one. Second beat; C# is treated as a separate voice and is held for half of beat
two. Opposite stemming is applied to clarify voice separation.
!111
30 Second beat; F# is treated as a separate voice and is held for entire beat two.
Third beat; C# is treated as a separate voice (bass) and is held for entire beat
three. Second note G is treated as a separate voice (alto) and is held for the
remainder of beat three. Notes F# and E# are treated as a separate voice and are a
continuation of the soprano voice separated at beat two.
31 First beat; a dotted half note F# is added in the bass register and is tied to the first
beat of measure 32.
32 First beat; a quarter note F# is added and is tied to the added dotted half note F#
in the previous measure. Rests are added to clarify exit of added bass voice.
33 First beat; a quarter note F# is added in the bass register.
34 First beat; a half note D is added in the bass register.
35 First beat; second note B is treated as a separate voice and is held for the
remainder of beat one and is tied to the first added sixteenth note of beat two.
Second beat; an added B in the bass register is sustaining from previous beat.
The second note D is treated as a separate voice and is held for the remainder of
beat two.
36 First beat; a half note C# is added in the bass register. Third beat; D# is treated as
a separate voice and is held for entire beat three.
37 First beat; second note E is treated as a separate voice and is held for the
remainder of beat one.
38 First beat; a half note F# is added in the lower voice. Second beat; a quarter note
rest in brackets is added indicating the actual possible duration of added F# in
first beat, in this case the rest can be eliminated depending on fingerings chosen
for this passage. Third beat; G# is treated as a separate voice and is held for
entire third beat.
39 First beat; a half note A is added in the lower voice.
40 First beat; a half note B is added in the lower voice.

!112
41 In this measure, a complete re-examination and application of opposite stemming

is applied, clarifying voice separation and note durations. First beat; G is treated
as a separate voice along with the second G in beat one, creating a dotted eighth/
sixteenth rhythmic figure in the lower voice. Notes B and E are treated as an
upper voice, and the E is tied to the first added sixteenth note E in beat two.
Second beat; the two F#’s are treated as a lower voice and are continuing the
dotted eighth/sixteenth pattern. An added sixteenth note E is tied to the E in beat
one. Notes A and D are treated as an upper voice and the D is sustaining to the
first added sixteenth note D in beat three. Third beat; the two E’s are treated as a
lower voice and are continuing the dotted eighth/sixteenth pattern. An added
sixteenth note D is tied to the D in beat two. Notes G and C are treated as an
upper voice and the C is held through the remainder of beat three.
42 First beat; D# and F# are tied. Third beat; a quarter note B is added in the bass
voice.
is applied, clarifying voice separation and note durations. First beat; G is treated
as a separate voice (soprano) and is held for entire beat one. The two B’s are
treated as a separate voice (alto) and the second B is tied to the first sixteenth note
added B in beat two. The low E is treated as a lower voice (bass) and is written as
a quarter note, sustaining to the middle of beat two. Second beat; F# is treated as
a separate voice (soprano) and is held for entire beat two. The two B’s are treated
as a separate voice (alto) and the second B is tied to the first sixteenth note added
B in beat three. The low D is treated as a lower voice (bass) and is written as a
quarter note, sustaining to the middle of beat three. Third beat; E is treated as a
separate voice (soprano) and is held for entire beat three. The two A’s are treated
as a separate voice (alto). The low C is treated as a lower voice (bass) and is
written as an eighth note, sustaining till the end of beat three.
44 First beat; first note D is treated as a separate voice and is held for entire beat one.
45 First beat; a half note C# is added in the bass register.
46 First beat; a half note B is added in the bass register. Third beat; a quarter note
D# is added in the bass voice.
!113
47 First beat; a quarter note E in the bass register is added. Second beat; first note E
is treated as a separate voice (soprano) and is held for entire beat two, and tied to
an eighth note E of the same register in beat three. A quarter note A is added in
the bass register. The notes G, F#, and E are treated as a middle voice (alto).
Third beat; first note B is a treated as a separate voice (bass) and is sustaining for
entire beat three. An eighth note E in the soprano voice is added, sustaining from
quarter note E in second beat. The F# is treated as a separate voice (alto) and is
sustaining through the remainder of beat three, Notes E and D in soprano voice
are treated and stemmed as such.
48 First beat; first note E is treated as a separate voice and is written as a quarter
note. A half note E is added in the bass register.
49 First beat; a quarter note D is added in the bass register. Rests are added to
indicated exit of added bass voice.
50 First beat; a half note A is added in the bass register.
51 First beat; first two notes, D and E are tied. A quarter note B is added in the bass
register. Third beat; a quarter note E is added in the bass register.
52 First beat; a half note A is added in the bass register
53 First beat; The two notes F# are treated as a separate voice, and are stemmed in a
dotted eighth/sixteenth fashion. A similar treatment applies to repeated lower
notes in beat two and beat three.
54 First beat; first note C# is treated as a lower voice and is written as a quarter note.
It is also tied to an added C# in the same register in beat two. Third beat; a
quarter note A is added in the bass register.
is applied, clarifying voice separation and note durations. First beat; F# is treated
as a separate voice (soprano) and is held for entire beat one. The two A’s are
treated as a separate voice (alto) and the second A is tied to the first sixteenth note
added A in beat two. The low D is treated as a lower voice (bass) and is written as
a quarter note, sustaining to the middle of beat two. Second beat; E is treated as a
separate voice (soprano) and is held for entire beat two. The two A’s are treated
as a separate voice (alto) and the second A is tied to the first sixteenth note added
A in beat three. The low C# is treated as a lower voice (bass) and is written as a
quarter note, sustaining to the middle of beat three. Third beat; D is treated as a
separate voice (soprano) and is held for entire beat three. The two G’s are treated
as a separate voice (alto). The low B is treated as a lower voice (bass) and is
written as an eighth note, sustaining till the end of beat three.
!114
56 First beat; first note C# is treated as a separate voice and is written as a quarter
note.
57 First beat; second note D is treated as a separate voice and is written as a dotted
eighth note. Third beat; a quarter note D is added in the bass register.
58 First beat; a half note G is added in the bass register.
59 First beat; first note F# is treated as a separate voice and is written as a quarter
note. Second beat; first note D is treated as a separate voice (soprano) and is held
for entire beat two, and tied to an eighth note D of the same register in beat three.
The notes F#, E, and D are treated as a middle voice (alto). Third beat; first note
A is a treated as a separate voice (bass) and is sustaining for entire beat three. An
eighth note D in the soprano voice is added, sustaining from quarter note D in
second beat. The E is treated as a separate voice (alto) and is sustaining through
the remainder of beat three, Notes D and C# in soprano voice are treated and
stemmed as such.
60 First beat; a dotted quarter note D is added in the bass register. Second beat; third
note D is treated as a separate voice and is written as an eighth note. Third note;
first note F# is treated as a separate voice and is written as a quarter note.
61 First beat; A# is treated as a separate voice and is written as a quarter note. Third
beat; a quarter note F# is added in the bass register.
62 First beat; second note B is treated as a separate voice and is written as a dotted
eighth note, tied to an added quarter note B in similar register in beat two.
Second beat; a quarter note B is added and is sustaining from the dotted eighth
note B in beat one. Third beat; a quarter note D is added in the bass register.
63 First beat; second note C# is treated as a separate voice and is written as a dotted
eighth note, tied to an added quarter note C# in similar register in beat two.
Second beat; a quarter note C# is added and is sustaining from the dotted eighth
note C# in beat one. A rest is added in beat three to clarify exit of added bass
voice.
64 First beat; a half note F# is added in the bass register.
65 First beat; first note D# is treated as a separate voice and is written as a quarter
note. Second beat; first note B is treated as a separate voice and is written as an
eighth note. Rests are added to clarify entrances and exits of voices.
66 First beat; first note C# is treated as a separate voice and is written as a quarter
note. Second beat; first note A is treated as a separate voice and is written as a
half note. Rests are added to clarify entrances and exits of voices.
!115
67 First beat; first note B is treated as a separate voice and is written as a quarter
note. Second beat; first note G is treated as a separate voice and is written as a
half note. Rests are added to clarify entrances and exits of voices.
68 First beat; first note A# is treated as a separate voice and is written as a quarter
note. Second beat; first note F# is treated as a separate voice and is written as a
half note. Rests are added to clarify entrances and exits of voices. Eighth note
rest between brackets is added in beat three indicating the actual length possible
of half note F# in beat two, due to fingering chosen in this case.
69 First beat; first note G# is treated as a separate voice and is written as a quarter
note.
70 First beat; a half note F# is added in the bass register.
71 First beat; second note B is treated as a separate voice and is written as a dotted
eighth note, tied to an added quarter note B in similar register in beat two.
Second beat; a quarter note B is added and is sustaining from the dotted eighth
note B in beat one. Third beat; first note F# is treated as a separate voice and is
written as a quarter note.
72 First beat; a quarter note G is added in the bass register.
73 First beat; first three note, E, F#, and E are double stemmed and are treated as a
separate voice, and are written as two sixteenth notes and an eighth note
respectively. The second E is tied to an added quarter note E in the same register
in beat two. Second beat; a quarter note E is added in the lower voice, sustaining
from the eighth note E in first beat. Third beat; first three note, E, F#, and E are
double stemmed and are treated as a separate voice, and are written as two
sixteenth notes and an eighth note respectively.
74 First beat; a half note A is added in the bass register.
75 First beat; first three note, F#, G, and F# are double stemmed and are treated as a
separate voice, and are written as two sixteenth notes and an eighth note
respectively. The second F# is tied to an added quarter note F# in the same
register in beat two. Second beat; a quarter note F# is added in the lower voice,
sustaining from the eighth note F# in first beat. Third beat; first three note, F#, G,
and F# are double stemmed and are treated as a separate voice, and are written as
two sixteenth notes and an eighth note respectively.
76 First beat; a half note B is added in the bass register. Third beat; D# is taken an
octave lower and is treated as a separate voice, written as a quarter note.
!116
77 First beat; an eighth note E and an eighth note D are added in the first and second
half of beat one respectively. They are added in the lower voice to fill texture.
Second beat; an eighth B is added in the lower voice. Rests are added to indicate
exit of added lower voice.
78 First beat; a half note F# is added in the bass register. Third beat; first note F# is
treated as a separate voice and is written as a quarter note.
79 First beat; a dotted half note B is added in the bass register and is tied to an added
half note B of the same register in measure 80.
80 First beat; a half note B is added and is tied to the added dotted half note B in the
previous measure. Rests in brackets are added to clarify actual possible length of
added bass note B, due to fingerings chosen in the case.
!
Sarabande: (meter = 3/4)

1 Third beat; the A is taken an octave lower.
2 Rests are added to clarify exit of lower voices. No further changes are made to
this measure.
4 Rests are added to clarify exit of upper voice. No further changes are made to
this measure.
7 Second beat; G is turned into a quarter note. Third beat; a quarter note G is added
in the bass register.
8 [First Box] First beat; the low F# is taken an octave lower. Rests are added to
indicate upper voices exit. [Second Box] First beat; a dotted half note F# is
10 First beat; the low D is turned into a dotted half note to ring throughout this
measure.
!117

11 Third beat; the D is taken an octave higher, and the E is taken an octave lower,
thereby creating a smoother voice leading.
12 Rests are added to indicate exit of lower voices. No further changes are made to
this measure.
16 First beat; a dotted quarter note G is added to the E minor chord. Rests are added
to indicate exit of upper voices.
17 First beat; the low A is turned into a half note. Second beat; the quarter note rest
has been omitted.
19 Third beat; a quarter note A is added as a tenor voice.
20 First beat; The half note A is turned into a dotted quarter note. A dotted quarter
note A is added an octave lower in the bass register. Second beat; a dotted quarter
rest is added to indicate exit of added bass voice.
21 Second beat; a quarter note rest is added to indicate exit of bass voice. Third
beat; a quarter note F# is added in the bass register.
23 Third beat; the E is taken an octave lower, and a quarter note G is added in the
middle voice.
24 First beat; a dotted quarter note F# is added in the bass register. Rests are added
to indicate exit of upper voice.
25 Second beat; a quarter note F# is added in the tenor voice. Third beat; a quarter
note F# is added in the tenor voice.
26 First beat; note E is taken an octave lower and turned into a dotted half note to
sustain through entire measure.
28 First beat; the F# is taken an octave lower, and a C# is added in the tenor voice.
The whole chord is turned into an eighth note value. Rests are added to indicate
exit of lower voices.
!118

30 First beat; the two lower notes, C# and E, are turned into quarter notes.
31 Second beat; the F# is turned into a quarter note. Third beat; a quarter note F# is
!
Double - Sarabande: (meter = 9/8)

1 First beat; a dotted quarter note B is added in the bass voice. Second beat; a
dotted quarter note E is added in the bass voice. Third beat; a dotted quarter note
A is added in the bass voice.
2 First beat; a dotted quarter note D is added in the bass voice and is tied to an
added eighth note D of the same register in beat two. Second beat; the D is
treated as a separate voice and is turned into a a dotted quarter note, tied to an
added eighth note D of the same register in beat three. Third beat; the low D is
treated as a separate voice and is turned into a dotted quarter note.
3 First beat; first note B is treated as a separate voice and is turned into a dotted
quarter note, tied to an added eighth note B of the same register in beat two. An
eighth note G is added in the bass voice. Second beat; first note E is treated as a
separate voice and is turned into a dotted quarter note. Last note D is tied to an
added eighth note D of the same register in beat three. Third beat; The E# is
treated as a separate voice and is written as a dotted quarter note.
4 First beat; a dotted quarter note F# is added in the lower voice. Second beat; first
note A is treated as a separate voice and is turned into a dotted quarter note, tied
to a dotted quarter note A of the same register in beat three. An eighth note rest is
added to clarify voice separation.
5 First beat; first note D is treated as a separate voice and is written as a dotted
quarter note. The note B is tied to an added eighth note B of the same register in
beat two. An eighth note rest is added to clarify voice separation. Second beat;
C# is treated as a separate voice and is turned into a dotted quarter note. The A is
tied to an added eighth note A of the same register in beat three. Third beat; B is
!119

6 First beat; A is treated as a separate voice and is written as a dotted quarter note,
tied to an added dotted quarter note A of the same register in beat two. Second
beat; E is tied to an added eighth note E of the same register in beat three. Third
beat; A# is taken an octave lower, treated as a separate voice and written as a
dotted quarter note.
7 First beat; a dotted quarter note B is added in the lower voice. Second beat; a
dotted quarter note E is added in the lower voice and is tied to a dotted quarter
note E of the same register in beat three.
8 [First Box] First beat; F# is treated as a separate voice and is written as a dotted
quarter note. An eighth note rest is added to clarify voice separation. Second
beat; a dotted half note F# is added in the bass voice. [Second Box] First beat; a
dotted quarter note F# is added in the lower voice, tied to the dotted half note F#
of beat two. Second beat; a dotted half note F# is added in the bass voice.
9 First beat; F# is treated as a separate voice and is written as a dotted quarter note,
tied to an added quarter note F# of the same register in beat two. Second beat;
last note F# is treated as a separate voice and is double stemmed to act as a
pickup to beat three. Third beat; rests are added to indicate exit of upper voice.
10 First beat; D is treated as a separate voice and is written as a dotted quarter note.
Rests are added to indicate exit of bass voice.
11 First beat; a dotted quarter note D is added in the lower voice (taken from last
note D of this beat). The last D is replaced with a B and is tied to an added eighth
note B of the same register in beat two. Second beat; C# is taken an octave
lower, treated as a separate voice and is written as a dotted quarter note. Third
beat; a dotted quarter note B is added in the bass voice.
12 First beat; a dotted half note A is added in the bass voice.
13 First beat; a dotted quarter note F# is added in the lower voice. An eighth note
between brackets is added to indicate the actual possible length of the added bass
note F# due to fingerings chosen. Third beat; F# is treated as a separate voice and
is written as a dotted quarter note.
14 First beat; a dotted quarter note rest is added to indicate exit of added bass voice.
Second beat; D# is treated as a separate voice and is written as a dotted quarter
note. Third beat; a dotted quarter note E is added in the bass voice.
15 First beat; the A is taken down an octave, treated as a separate voice and written
as a dotted quarter note. The original eighth note A is replaced by an eighth note
C. Second beat; a dotted quarter note B is added in the bass voice. Third beat; a
dotted quarter note B is added in the bass voice.
!120

16 First beat; a dotted half note E is added in the bass voice, tied to an added dotted
quarter note E of the same register in beat three.
17 First beat; a dotted quarter note C# is added in the bass voice. Second beat; a
dotted quarter rest is added to indicate exit of added bass voice. Third beat; a
dotted quarter note A is added in the bass voice.
18 First beat; a dotted quarter note D is added in the bass voice. Second beat; a
dotted quarter rest is added to indicate exit of added bass voice. Third beat; F# is
treated as a separate voice and is written as a dotted quarter note. An eighth note
rest is added to clarify voice separation.
19 First beat; first note G is treated as a separate voice and is turned into a dotted
quarter note. An eighth note rest is added to clarify voice separation. Second
beat; a dotted quarter note E is added in the bass voice. Third beat; a dotted
quarter note D is added in the bass voice.
20 First beat; a dotted quarter note A is added in the lower voice. Second beat; a
dotted half note A is added in the lower voice.
21 First beat; A# is taken an octave lower, treated as a separate voice and is written
as a dotted half note. Third beat; a dotted quarter note F# is added in the bass
register.
22 First beat; a dotted half note B is added in the bass voice. Third beat; a dotted
quarter note A is added in the bass voice.
23 First beat; G is taken an octave lower, treated as a separate voice and is written as
a dotted half note. An eighth note rest is added to clarify voice separation. Third
beat; a dotted note E is added in the bass register.
24 First beat; a dotted half note F# is added in the bass register. Second beat; a
quarter rest between brackets is added indicating the actual possible length of the
added bass note F# in beat one, due to fingerings chosen. Third beat; a dotted
quarter rest is added to indicate the ideal exit of the bass voice added in beat one.
25 First beat; D is treated as a separate voice and is written as a dotted quarter note.
An eighth ore rest is added to clarify voice separation. Second beat; a dotted
quarter note C# is added in the bass voice. Third beat; a dotted quarter note B is
26 First beat; a dotted half note E is added in the bass voice, tied to an added dotted
quarter note E of the same register in beat three.
!121

27 First beat; E is treated as a separate voice and is written as a dotted quarter note.
An eighth rest is added to clarify voice separation. Second beat; a dotted quarter
note D is added in the bass voice. Third beat; a dotted quarter note C# is added in
the bass voice.
28 First beat; a dotted half note F# is added in the bass voice. Third beat; a dotted
quarter rest is added to indicate exit of added bass voice.
29 First beat; B is treated as a separate voice and is turned into a quarter note.
Second beat; A is treated as a separate voice and is turned into a quarter note.
Third beat; G is treated as a separate voice and is turned into a quarter note.
Eighth note rests are added to clarify voice separation.
30 First beat; C# is treated as a separate voice and is turned into a dotted half note.
An eighth rest is added to clarify voice separation. Third beat; a dotted quarter
rest is added to indicate exit of added bass voice.
31 First beat; a dotted half note D is added in the bass voice. Third beat; F# is
32 [First Box] Second beat; B is treated as a separate voice and is written as a dotted
quarter note. Dotted quarter rests are added to indicate entrance and exit of
assumed lower voice. [Second Box] No changes are made to the second box of
measure 32.
!
Tempo di Borea: (meter = 2/2 - will be considered as 4/4 throughout analysis)

1 First beat; B minor chord is filled to fit guitar interface and to fill texture. Third
beat; a similar treatment is applied to the B minor chord as in beat one. Rests are
added to indicate exit of lower voices.
2 Fourth beat; a C# is added to fill texture.
3 Third beat; F# is turned into a quarter note. Fourth beat; a quarter note F# is
added in the bass register.
4 First beat; both notes B and F# are turned into half notes.
5 No changes are made to this measure. Only rests are added to clarify entrances
and exits of lower voices.
!122

6 First beat; both notes A and G are turned into half notes.
7 No changes are made to this measure. Only rests are added to clarify entrances
and exits of lower voices.
8 First beat; both notes G and F# are turned into half notes.
9 No changes are made to this measure. Only rests are added to indicate existence
of lower voices.
10 First beat; G is taken an octave lower. A quarter note E is added in the middle
voice.
11 Second beat; F# is taken an octave lower. A quarter note A is added in the middle
voice. Third beat; G is taken an octave lower. A quarter note B is added in the
middle voice. Fourth beat; A quarter note A is added in the bass register.
12 First beat; both notes B and A are turned into half notes. Eighth noted D and C#
are tied. Fourth beat; a quarter note B is added in the bass register.
13 First beat; both notes A and G are turned into dotted half notes. Eighth notes C#
and B are tied.
14 Third beat; eighth notes C# and D are tied.
15 First beat; C# is turned into a dotted half note.
16 First beat; C# is turned into a half note. Third beat; B is turned into a half note.
17 First beat; A is turned into a half note.
18 Third beat; a half note G is added in the bass voice, tied to a half note G of the
same register on the first beat of next measure.
19 First beat; a half note G is added in the bass voice, sustaining from the added half
note G from previous measure.
20 No changes have been made to this measure.
24 First beat; A is turned into a dotted half note. Fourth beat; F# is taken an octave
lower, and a quarter note A is added in the middle voice.
!123

26 First beat, C natural is turned into a half note.
27 Third beat; B is turned into a quarter note. Fourth beat; a quarter note B is added
in the bass voice.
28 First beat; E is taken an octave lower. Dotted half notes G and B are added to fill
E minor chord. Second beat; F# is taken an octave lower. Third beat; G is taken
an octave lower. Fourth beat; E is taken an octave lower.
29 First beat; a quarter note A is added in the bass voice. Third beat; a quarter note
A is added in the bass voice.
32 First beat; C# is taken an octave lower and turned into a dotted half note.
36 No changes have been made to this measure. Rests are added to indicate exit of
lower voice.
37 First beat; F# and C# are both turned into half notes. Fourth beat; quarter notes
C# and B are added to fill the dominant seven harmony.
38 First beat; quarter notes F#, A, and C# are added to fill the F# minor harmony.
40 First beat; E is taken an octave lower and turned into a half note. Second beat;
eighth notes E and D# are added to fill texture as middle voice. Third beat; a
quarter note E is added to fill texture as middle voice. Eighth note E in the bass
is taken an octave lower. Fourth beat; eighth notes F# and G are taken an octave
lower.
41 Third beat; quarter note E (5th of A major) has been omitted and taken up to
double the root as a quarter note A instead.
42 First beat; notes D and A are turned into dotted half notes. Fourth beat; a quarter
note D is added in the lower voice.
!124

44 No changes have been made to this measure. Rests are added to indicate exit of
bass voice.
45 First beat; a half note B is added in the bass voice. Third beat; a half note E is
46 First beat; a half note F# is added in the bass voice. Third beat; F# is treated as a
separate voice, is double stemmed, and is written as a half note.
52 First beat; E# is treated as a separate voice and is written as a half note. An eighth
rest is added to indicate entrance of upper voice.
53 First beat; a quarter note B is added in the bass voice. Second beat; a quarter note
E is added in the bass voice. Fourth beat; quarter notes F# and E are added to fill
dominant seven harmony.
54 First beat; the 5th of B minor, F#, has been omitted and taken down to a D. Third
beat; B has been turned into a half note.
55 First beat; G has been turned into a dotted half note.
56 First beat; D has been turned into a dotted half note.
62 First beat; A# is turned into a half note.
!125

65 First beat; B minor chord is filled to fit guitar interface and to fill texture. Third
beat; a similar treatment is applied to the B minor chord as in beat one. Rests are
added to indicate exit of lower voices.
66 Fourth beat; A# is taken an octave lower.
67 First beat; B is taken an octave lower. Second beat; E is taken an octave lower.
Quarter notes G and C# are added as middle voices to fill texture. Third beat; F#
is taken an octave lower. Quarter notes F# and B are added as middle voices to
fill texture. Fourth beat; F# is taken an octave lower. Quarter notes F# and A#
are added as middle voices to fill texture.
68 First beat; a dotted half note D is added to fill B minor chord.
!
Double - Tempo di Borea: (meter = 2/2 - will be considered as 4/4 throughout analysis)

1 First beat; a dotted half note B is added in the bass register. Fourth beat; a
quarter note B is added in the bass register.
2 First beat; a quarter note A# is added in the bass voice. Fourth beat; a quarter
note C# is added in the bass voice. Rests are added to indicate exit of bass voice
added.
3 First beat; a quarter note D is added in the bass voice. Second beat; a quarter
note E is added in the bass voice. Third beat; a quarter note F# is added in the
bass voice. Fourth beat; the F# is taken an octave lower, treated as a separate
voice and written as a quarter note.
4 First beat; half notes B and F# are added in lower voices.
6 Second beat; A is treated as a lower voice and is written as a quarter note. It is
also tied to an added half note A of the same register in beat three.
8 Second beat; G is treated as a lower voice and is written as a quarter note. It is
also tied to an added quarter note G of the same register in beat three. An eighth
rest in brackets is added to indicate the actual possible length of added bass voice
due to fingerings chosen for this passage.
!126

10 First beat; G is treated as a separate voice, doubled and written as a dotted half
note.
11 First beat; F# is treated as a separate voice and is written as a dotted quarter note.
An eighth rest is added to clarify entrance of assumed lower voice. Third beat; G
is treated as a separate voice and is turned into a quarter note. Fourth beat; A is
treated as a separate voice and is turned into a quarter note.
12 Second beat; B is treated as a lower voice and is written as a quarter note. It is
also tied to an added quarter note B of the same register in beat three.
13 Second beat; A is treated as a lower voice and is written as a quarter note. It is
also tied to an added half note A of the same register in beat three.
14 Second beat; D is treated as a separate voice, written as a quarter note and tied to
an eighth note D of similar register at beat three. F# is treated as a separate voice
(bass) and is written as an eighth note pickup to beat three. Rests are added to
clarify entrance of assumed lower voice. Third beat; E is treated as a lower voice
and is written as a half note. Fourth beat; the last eighth note E is tied to a half
note E of similar register in the following measure.
15 First beat; a half note E is added in the soprano voice, sustaining from previous
measure and tied to an added eighth note in beat three. Third beat; C# is treated
as a separate voice and is written as a half note. Fourth beat; last note G is tied to
a half note G of similar register in the following measure.
16 First beat; a half note G is added in the soprano voice, sustaining from previous
measure and tied to an added eighth note in beat three. Third beat; A is treated as
a separate voice and is written as a half note, tied to an added dotted half note in
of the same register in following measure.
17 First beat; a dotted half note A in the bass is added, sustaining from A of similar
register in previous measure. Fourth beat; a quarter rest is added to indicate exit
of added bass voice.
18 First beat; a half note D is added in the bass voice. Third beat; a half note G is
19 Second beat; F# is treated as a separate voice and is written as a quarter note.
Third beat; E is treated as a separate voice and is written as a quarter note.
Fourth beat; A is treated as a separate voice and is written as a quarter note.
20 First beat; D is treated as a separate voice and is written as a dotted quarter note,
tied to an added eighth note D of similar register in beat three.
!127

22 First beat; both notes A and C# are turned into half notes.
24 First beat; both notes A and E are turned into quarter notes. Rests are added to
indicate exit of lower voices. Fourth beat; F# is written an octave lower.
25 First beat; a dotted quarter note G is added in the bass voice. Second beat; G is
treated as a separate voice and is written as a quarter note, tied to an added eighth
note G of similar register in beat three. Third beat; B is treated as a separate
voice and is written as a half note.
26 First beat; a dotted quarter note C is added in the bass voice. Second beat; E is
treated as a separate voice, written as a quarter note and tied to an added quarter
note E if similar register in beat three. The eighth note C is taken an octave
lower. Third beat; both eighth notes B and A are taken an octave lower. Fourth
beat; both eighth notes G and F# are taken an octave lower.
27 First beat; G is treated as a separate voice, taken an octave lower and written as a
quarter note. Third beat; a half note B is added in the bass register.
28 First beat; a half note E is added in the bass voice, tied to a half note E of similar
register in beat three.
29 First beat; a quarter note A is added in the bass voice. Second beat; both eighth
notes A and G are treated as a separate voice. Third beat; F# is treated as a
separate voice as is written as a dotted quarter note. Fourth beat; last note E is
treated as a separate voice.
30 First beat; D is treated as a separate voice and is written as a half note. Rests are
added to clarify separation of voices.
31 First beat; E# is treated as a separate voice, written as a quarter note and is tied to
an added quarter note E# of similar register in beat two. Fourth beat; F# is
treated as a separate voice and is written as a quarter note.
32 First beat; a half note C# is added in the bass voice. Third beat; C# is treated as a
separate voice and is written as a quarter note.
34 First beat; B is taken an octave lower, treated as a separate voice and is written as
a dotted half note.
!128

35 Second beat; A is treated as a separate voice and is written as a quarter note.
Third beat; G# is treated as a separate voice and is written as a quarter note.
Fourth beat; F# is treated as a separate voice and is written as a quarter note.
36 First beat; E# is treated as a separate voice, is doubled and written as a half note.
37 First beat; a half note F# is added in the bass voice. Third beat; C# is treated as a
separate voice and is written as a quarter note. Fourth beat; a quarter note C# is
38 First beat; a quarter note F# is added in the bass. Eighth notes A and C# are
added in the middle voice clarifying F# minor harmony and filling the texture.
39 First beat; B is treated as a separate voice, is doubled and written as a half note.
Fourth beat; last note A is tied to an added eighth note A of similar register in
following measure.
40 First beat; first note E is treated as a separate voice and is written as a half note,
tied to an added eighth note E of similar register in beat three. Third beat; G is
treated as a separate voice and is written as a half note.
41 First beat; A is treated as a separate voice, is doubled and written as a half note.
Fourth beat; last note G is tied to an added eighth note G of similar register in
following measure.
42 First beat; D is treated as a separate voice and is written as a dotted half note.
Fourth beat; a quarter note D is added in the bass register.
43 First beat; a half note C# is added in the bass voice. Third beat; a half note B is
44 First beat; a quarter note A# is added in the bass voice. Rests are added to
indicate exit of added bass voice.
45 First beat; B is treated as a separate voice and is written as a dotted quarter note.
Third beat; G is treated as a separate voice and is written as a quarter note. Rests
are added to indicate entrance and exit of assumed bass voice.
46 First beat, F# is treated as a separate voice, doubled and written as a half note.
Third beat; A# is treated as a separate voice and is written as a quarter note.
Fourth beat; F# is treated as a separate voice and is written as a quarter note.
!129

52 First beat; a dotted half note C# is added in the bass. A quarter rest is added to
indicate exit of added bass voice.
53 First beat; a half note D is added in the bass voice. Third beat; F# is taken an
octave lower, treated as a separate voice and is written as a quarter note. Fourth
beat; a quarter note F# is added in the bass voice.
54 First beat; a half note B is added in the bass voice. Third beat; a half note B is
added in the bass voice. Fourth beat; last note B is tied to an added eighth note B
of the same register in measure 55.
55 First beat; G is treated as a separate voice and is written as a dotted half note.
Fourth beat; a quarter note G is added in the bass voice.
56 First beat; a half note D is added in the bass voice.
57 First beat; A is treated as a separate voice, doubled and is written as a half note.
Third beat; D# is treated as a separate voice and is written as a half note.
58 First beat; E is treated as a separate voice and is written as a dotted half note. An
eighth rest is added to clarify voice separation. Fourth beat; a quarter rest is
added to indicate exit of assumed bass voice.
59 First beat; B is treated as a separate voice, is doubled and is written as a half note.
Third beat; E# is treated as a separate voice and is written as a half note.
60 First beat; F# is treated as a separate voice and is written as a quarter note.
63 First beat; a dotted half note C# is added in the bass register.
64 First beat; a dotted half note F# is added in the bass register.
65 First beat; a half note B is added in the bass register, tied to another half note B of
the same register on beat three.
66 First beat; a quarter note A# is added as a lower voice. Rests are added to
indicate entrance and exit of lower voice. Fourth beat; a quarter note C# is added
as a bass voice.
!130

67 First beat; a quarter note D is added in the bass voice. Second beat; a quarter
note E is added in the bass voice. Third beat; a quarter note F# is added in the
bass voice. Fourth beat; F# is taken an octave lower, treated as a separate voice
and written as a quarter note. An eighth note E is added to fill texture and to
clarify the dominant 7 harmony.
68 First beat; Two half notes D and B are added to fill texture of the final B minor
chord.
!
!
!
!
!
!
!
!
!
!
!
!
!
!
Appendix B
Guitar Adaptations
!
1. J.S. Bach: Partita No.1 for violin solo, BWV 1002 (adaptation: Tariq Harb)
- Allemande 132
- Double 134
- Corrente 136
- Double 138
- Sarabande 142
- Double 143
- Tempo di Borea 145
- Double 147
2. Benjamin Britten: Cello Suite No.1, Op. 72 (adaptation: Tariq Harb)
- Canto Primo 149

- Fuga 150
- Lamento 154
- Canto Secondo 155
- Serenata 156
- Marcia 158
- Canto Terzo 161
- Bordone 162
- Moto Perpetuo e Canto Quarto 164
!
!
!
!
!
!
!
!
!131
!132
Guitar Partita No.1 BWV 1002

–
Allemanda
–
J.S. Bach
„
Ÿ
·
Œ
3 1
## 4 œ ™ œœ ™ · œ™
œ™ fiœ œ œœ™™ œ œ œ ™ œœ ™
r
CII
œ
IV II
Ÿ 2 1
œ œ œ™ œ
™ ™
CII
œœ
Æ
≈ ™ œ™ œ œ™
J ‰ ≈™ œ™ œ#œ œ œ œ
œœ™™ œ œ™
3
3 2 CII
& 4≈ œ ‰ J
‚
1 3
2 1
∏∏∏∏∏∏∏
2 2 0 2
œJ œnœ
4 1 2 1
# œJ
1
Ê Â
0 0 4 3 0
Ê
1
œJ œ
0 3
1 0
1 2
0 1
## œ ™ œ œ œ œ ™œ œ œ œ œ ™™ œ œ™œœ œ ™œ œ œ ™œ
CII
œ ™™œ œ™ œœ
œ œ™
™
3
& œ ™ œ™œ œ œ œ œ œ ≈ ™ œ œ œ œœ œ œ
œJ G ≈ ‰ ≈ ™ œ
4
œ
2
nœ œ™ œ œœ
2 1
œ
4 2 2
∏∏∏∏∏∏∏
1 0
œ™œ œ ‰ ‰ n œ œ œ œ
2 1 0 3 3
4 0 0 0 0
œ
4 1 1 0 1 4
3 4
œ™
4 3 0
R®
3 0 0 1
3
1 0 3
0 2
–
2 2
– <CII
Ÿ>
< >
Ÿ CII 4 2
nœ œ™ œ#œ™ œ œ ™
j Ÿ œ ™ œ œ œ œ œ™ œ œ™ œ œ≈ ™ œ
Æ
2 1
## œ œ™ œ ™ ‰
œ™ œ
CII II
œœ
5
& œœ œ œ™ ≈ œ œ™ œ œ#œœ≈œ œ œJ ™ ‰ œJ ≈ ™ œ nœ ™œ
4 4 2
œ
2 2 2
‰ œ
4 2 1 1 1
2 1 2 1
œJ
4 3
œ œ
0 0 3 0
J
3
RÔ
3 1 0 0 4 2
1 0
4 1 1 1 1 4
3 3
–
Ÿ ‚
œœ ™™œ œœ ™œ œœ œ œ œ œ œnœ œ œ# œ œ ™œ œ
242 3
œ œ 3
™
3
## œ œ™ Œ
7 Piv.
≈ ™œ œ™
CII 3
œ™ œ œ
& #œœ ™™ œ œ œ œ œ nœ œ #œœ œ#œ œ œ
2 3 0
‰ œœ ‰
0 0 1 2 4 0
2
Œ œ
2 1 2
œ#œ
1 2 4 0
œ G≈ Œ
0 1 2 2 0 2
4 0 1
J
3 4 3 3
Æ J
4 1 4 1
2 0 2 3
3 1 1
0
1
3 3
#œ™ #œ œ ™ œ œnœ œ œ ™œœ ™œœ œ # œ œ œ

CVII
#œ ™ œ œ™ n œ œ œ™œ œ ™œ
CVI 3
CIV CII 3
œ
# œœ ≈ ‰ ≈ ™ #œ ™ Œœ
#
9
œ
3 3 4
œ
4 1 3
&# nœ#œœ Œ œœ œ œœ ≈ œ œ
1 4
3 2 2 4 1 1
œ #œ ‰ ‰ Œ
1 4
JG
4 1 3 3
œ
1 3
J
0 3 1 1
2 2 0 2
R
3 2 1 2
0
1 2 1
3
–
œ™œÆ œ ™ œ n œ œ #œ < >
1. CIV CIV
Ÿ
œ œ œ ™ œ™ œ œœ ™nœ œ œ œ œ œ
œ
CVI 2 1
œ œj ‰ ™
CII CII
≈ ™ nœ œ™ œ ™
## #œ œ Œ œ
11 3
& ≈ ™ #œ ™ œ #œ œ
4
3 3 4 4
œ œ œ
4 2
œ œ
1
nœ™ #œ œ
4 3 3 4
Â
1
#œ œ
1 2
Ê
1 4
œ œ Œ
Ê
3 1 1
0 1 3
3
Œ
1 2 2 1
2 1 2
3 3 1 0 2
1
–
!133
2.
## œœ ™ nœ œ œ œ œ œ ™ nœ œ ™ œ
(CII) CII
™ ™ œ ™ œ œ™
Ÿ j
™ ™
œ œ
12 3 3
‰ ≈ ™ œnœ ™ œ œ œ œ œ œ œ
œ
3
œ œ œ
3 1
3
& #œ œ œ #œ œ œ œ
#œ œÓ œJ
4
œ
2
Æ #œ
3 2
œ Œ œJ
2 0 4
3 4 4 2
4 3
3 1
1
‰ 3
3 < >
–
CII
V
œ œ œœ #œ œ œ™ fi nœ œnœ
™ ™
CII
Ÿ œœœ™
œœ ™
##
14 3
œ™
2 1
3 3
n œ # œ # œ n œ #œ œ œ œœ
œ ‰ œJ œ™™ ≈ œ 3 œ
3
& œ™ œ œ œ œnœ œ œ# œ™ œ œ œ œ œœ
3 1 4 2 4
0
1 0 1 1
œ ‰ œ
3 0
fi œ œ
4 0 4 0 0 4 3 3 1 2
1 1 0 1
J≈ ‰ Œ
1
3 0 4 0 0
J
1 2
J
1
1 1
G
–
0 2
Ÿ
™
CVII 4 1
œ œ œ™
nœ œ œ œ œ™ œ œ œ™ œ œ
nœ œ œ™ œ œ
V 3
# œ œ œnœ œ #œ œ œ œ≈ œ nœ
16
œnœ œ
4
3
Æ
2 4
œ‰ 3
4
&#
1 3 1
3
œ ‰ œ œnœ
2 1 2 4
3
œ
œ™ œ
2 2
œ
0 2 1 3 4
4
‰ œJ œ œ œ œ nœ
4 4 1
#œJ
3 1
3 4 1
1 0 0 4 0
#œ
3 0
1 0 0
3 2 2
–
0
1 1
– Ÿ 404
≈™
Ÿ
CII
## nœœ œ œ œ œ œ™ œ œ œ#œ3#œ œ œ#œ œ œ ™ œ œœ

3 1
œ œ
3
18 3 CII
œ
œœ ™ œ œnœ œ œ™ œ œœ™ œ ™
3
œ œnœ
& œ ##œ™
œ œœ
4
œ œœ
2
0 4 1 0 0
nœ œ
0 1 2
∏∏∏∏∏
1 1 0
1 0 4 2 4
Œ
3 1 3 1
0 0 3 3 0 3
1 1 1 4 3 1
3 2 3 1
1
## ≈ œœœ# œ œ œœœœœ j ≈ œœ ™™ œ œ œœœœœ ™ œœœœœn œfiœ nœ ™ œ œÆœœœœ œ œ ™œ

3 3 CII CII 3
20 3
3 3 3 3 3
& œœ #œ œœœ œ œ ™ œ œ ™ œ
4 4 2 1 4 4
2 3 1 0 4 1 4
Œ ≈ J œ œ Œ Œ
2 1 3 0 0 2 4 3 1 2 2 1 0
0 2 1 0
œ
1 3 2
1 1 0 3 1 2
0
1 0
–
3
œœ ≈ ™œ n œ œ™œ#œ œ#œœ ™ œ
CII
Ÿ
CIV 3
## 3 #œœ œ n œ œÆ œ œ œ œ œ™ œ œ™ nœnœ œœœ

3 CII CII CIV 121
3
‚
3
œ < ≈ ‰>
22 3 3 3
3 3
& #œœœ #œœ #œ #œ œœ œœ œ œœ

2 1 4 3
4 3
‰ œ nœ
2 4 4 1 1 2
nœ œ™
3 1 4 0
#œ
4 2 0 4
0 3 3
J œ™ œ œ œ
1 0 3 1 1
Œ œ œ
1 0 1 3
3 0 2
3 1 0 1 3
1 2
1
1
## ™ œ œ œ œ œ œ # œ œœœ ™™™™ ≈ œr ™ ™ œ œ œ œ œ œ # œ œœœ ™™™™

1. CVII 2. CVII
3 3
≈ U
™ œœ
24 3 3
œœ ™ œœ ™
CII
& œœœ œ œ
∏∏∏∏∏∏∏∏
‰ Œ ≈ u
1 4
Œ œœ
2 1 1
œ œ™ œ™
Ê
0 3
1
2
4
!134
Double
J.S. Bach
Adaptation Tariq Harb
r
CVII
## 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ
‚‰ J #œ
œ œ œ œ™ œ
& 4 ‚≈
CII _
œ œ œ#œ œ œ œ œ œ
Æ
‰ œJnœ œ
1
2 4 1
„
1 1 2 1
œ œ
1 0 0 0 2 1 0 1 3 2 2
3 1 4 4 0
3 0 1
3 3 1 4 3
CII CIII CII
## œ œ œ œœ
3
œ œ
≈ J™
nœ œ œ œ œ œ œ œ œ
& œ œ œ œœ œ œ œ
1 2
œJ œ œ œŒ œ Œ œœœ ≈œ
0 1 0
2 2 1
Ó
1 0 2 1
3 3 0 3 3 0 0
1
‰
4 1 4 1 1 0
1 3 3
CII
nœ
CIV
## œ œ œ œ nœ œ œ œ œ ‚œ œ œ œ nœ#œ œœ
œœ œ ‚Œ
5
œœ
4
œ œ œ
3
œ #œœ™
3
& œ
3 1
œ
4 2
Â
œ œ
4 2 1
#œ nœ
0 0 0 1 4
2 2 0
œ œ
1 4 1 0
1 1 0 3 3
2 1
3 4
II CII
# œœ œ œ œ œ#œ œ œ œœ
7 IV
œÆ œ œ
& # #œœ ™ œ œ ™ œ œ#œ œ
nœ œ
‰ œœ œœ™ œœ œ#œ œ œ
3 0 2 1 1 0
‰ œJ
1 4 2 2 3
4 0 3
J œ
1 3 3 1
Ê
2 0 1 0 1
3 4 1 4
3
CII IV CVII
œ œœ
CIV
œ
## œ œ œ œ œ#œ œ œ œnÆ œ œ œ #œ œ#œ œ nœ œ œœœœ
9 4 3
#œ
2 1
&
4
œ œœ
4
Œ #œ ‰ Œ Œ
4 1 4 2 3 3 1
œ
2 1
œ J
1 0 1 3 3 4
2
3 1 2
1
CVI
™ ™
CIV CII
œ
œ œ n œ #œ œ Æ4 Æ j CII
œœœœœ
™
## #œ œ œ œ nœ œ œ
11 4
œ
4 4
œ œ
2 1
& Œ #œ œ #œ œ #œ œ œ
Œ #œ#œ
4
œ œ
1
‰
1 4
œ™
œ
3 1 4 2 1 0
3 2
Ê Â
œ
1 3
2 2
3
J
!135
CII
## ™ œr nœ
& ™ ≈
œ
‚œ
13
œ œ œ#œ œ nœ
IV
œ œ œ
‰
œ ≈ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ#œ œ
2 2
nœ œ 4
œ
4
#œ Ó
Â
1 0 0 0
Â
0 1 3
Ê
3 3 3 1 4
Œ Æ
3 4 0 2 0 4 4
3 1
1 1 3 2
1
‚
œ ‚œ œ #œ œ œ œ œ œ œ ‰Æ œ œ#œ
nœnœ œ œ œ
CVII
œ œ œ
## œ nœ nœ œ œ
‚‰
4
15 2 1
œ œ œ nœ
1 1
& œœ #œœ
1 4
„‰
4 4
Â
‰
0 3 0 3 1 0 4 3 1 0
2 2
œ œJ
1 0
Â
œ œJ œ
0 1 4 1
0
2 0
1 2
0
CVII
nœ nœ
## #œ œ œ œ œ œ œ œ œ œ œ œ nœ œ nœ œ œ#œ œ #œ
17 2 I
œ œ œ œ
1
#œ
1 4
& œ
4 4 2 2 4 2
‰ J œ #œ œ œ nœ œ
2 1 0 0 0
n œ ‰ ‰
2 3
œ
3 3 0 0 0
œ
4
J
3
Ê
3 2
fi
1
1 1
1 3 0
œ
## œ n œ œ œ œ œ œ œ# œ œ œ œ œ œ
„œ ‚
19
œ œœ 4
& œ œ œ œ# œ nœ œ œ œ œ Œ #œ œ œ
4 2 1 4 1
2
1 0 0 3 0
1
0
0
˙
1 3 1 2
3 0 0 3
CII
œ
## œ œ œ œ œ œ nœ œœ œ œ œ œ nœ nœœ™ œ œ œ
#œ œ
21 III
‰ #œ œ œ „
& nœ œ œ œ œ
3 1
œ œœ
3 4 4 1
œ
4 1 1 0 4
2 2
œ œ
1 1 4
nœ
Â
3 0 0 0 0
J
2 1 1 3
4 3 2 2
4 4
U
CII CVII
œ # œ œ #œ œ #œ œ œ
## œ œ ™™
CII
œ
23
& #œ™
œ œ œ œ œ #œ œ œ≈ œœ œœ
4
j
œJ œ Â œJ
œ
3
œœ ‰ Œ
3 2 1 4
2 2 1
Ê
Œ œ™ œ™ u
1 3 0 0 4
œ
3 1 2 3
J
1 0
1
!136
Corrente
J.S. Bach
## 3 œj œ œ œ œ™
œ œ œ œ œ™
œ
œ œ œœœ
& 4 ‰ ‰ œœ œ œœœ œœ
#œ Œ ™ œ œŒ ™ œ œ œ œ œ Œ
1 0 1 4
2 2 2
œJ ˙ œ œ Œ
0 4 2 4 1 0 1
0 3 4 2 0 3 4 1 3
0 3 4
1 1 4 1
œ œ œ #œ œ œ ™ nœj #œ œ œ™
Æ
##Æ œ™
œ
6 CII
j #œ œ œ œ œ œ Æ œ™
œ Œ™
œ œ
2
œ œ™ œ œ
2
&
4
œ ‰ œ#œ œ ‰ œ ˙
3 2
nœ #œ Œ Â
0 2 0
œ œ
3 1 2
˙
2 1
J
0 0 1
J
3 0
1 3 1 3 4 1 4
3 2 0 3
1 1 1
œ ‚œ™ ™
CVII
œ
CVII
#
11
œ œ Œ œœ œ
Œ™ ‰ ™
&# œ œ œ œœ œ œ Æ œ™ œ œ nœ œ œ œ œ œ
1
œ Œ™ œ œ œ œ œ œœ™
2 4
˙™ œ Œ.
2
2 1 3 1 1
Â
0 3 0 2 0 3
3
0 0 4
G
1 1 1 2
2
0 4
œ™ ‚ œ œ œ #Æ œ œ œ ™ ‚
CIX CVII
œ œ œ œ œ
## œ œ ‚ œ #œ œ œ œ
˙ „ ‰
œ œ
16
œ Œ™ ‰
Œ™
3 4 1 1
4 1 3 3 4
œ
2 2 3
&
2
4 1
˙™
1 0 3 0
0 2
G
j
CVII IX
œ nfi
œ œ œ œ œ œ œ œ Æ
œ
CIV
œ
# œœ # œ œ #œ#œ œœ nœ #œ˙ œ #œ
20
#œ
2 3
‰
4 1 3
& # œ #œ œ ˙
3 4
œ œ
3 1 3 1 4
œ˙ œ #œ ˙
3
‰
2 1
2 1
Œ Œ ‰ ‰ œJ
4 4 2
J Æ
2 1
3 3 0 3 2
1 3 1
2
2
œ™ œ™
CVI CIII
## ‰ œ #œ #œ œ
IV
Æ
nœ Æ œ nœ œ fi œ
25 II
œ Œ™ œ Œ™ œ œ œ œ Œ ™ #œ
Piv.
œ Æ2
nœ
2 4
4 4
& #˙ #œ
1 2 4 1 4
Œ
2 1
œ
3 4 3 2
œœ™
1 1 3 1
3
1
& # œ ™ #œ ™™
CII
#
29
œ œ œÆ #œ ‰ #œ œ œ œ œ œ #œ
œ™ œ œ œ #œ œ™
4
˙™ œ™
2 1 2 1
œ
2
œ
0 4 1 3
#œ
2 2
œ
1 1 4 2 3
2 3
3 1
CII III
## ™ œj 33œ œ œ œœ
™
IV II
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## nœ œ œ œ œ œfi œ œ œ œ œ
15 CII
#œ œ œ œ
œ œ œ œ ™
œ œ œ œ œ œ œ œ
™
&
3 1 4
œ™ œ™
2 0 0 1 3
œ Œ
1
œ™ œ™
0 0 4 0
1 1 4 1
0 0 0
˙™ œ™
3 1 3 1
1 1 2
!144
™ ‚
V
œœœ œ
CII CII
## œ œ œnœ œ œ œ œ œ
18
œ œ œ
& œœ™ Œ ™ ‰ œ œ œ ™ œ™
œ ‰
4
œ œ œ œ œ
1
œ œ
4
œ œ œ™ œ œ
1 1 4
#œ œnœ
1 4
˙™ # œ˙ ™
2 2 1 3
œ™
0 4
1 1 2 0 0 3 0 4
2
œ™
1 3 0 2 2 1
3 0 3 1 1
4 0
2 1
CII CII
## œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ #œ œ #œ œ œ œ
22
& nœ œ #œ œ œ œ œ
nœ ™
G Œ Œ™
1 4 1 0
˙™
2 3 2
˙™
3 1 1 0 1 4
˙™
3
œ™
3 1
1 4 4 3
1
2
#œ œ ‰
CII
## ‰
25
œ œ œ œ œ œ œ œ œ œ œ œ
& œ™ œ œ œ #œ œ™
œ œ #œ œ œ
4
œ™ œ™
œ nœ œ™
3 1 2 2 0
œ™
0 1 4 4 0 2 1 4 1
2 1 0
˙™ œ™
3 2 1
4 3 0 3
#œ œ ‰ œ ‰ nœ ‰ œ
CVII CV CIII
## œ œ œ œ œ œ
28
œ
Œ™
œ œ œ ‰ œ
Œ™
Æ œ
4
#œ œ #œ
™
& œ œ œ
2
Æ œ
Æ œ Æ ˙ œ
0 1 0 1
˙™
2 2 1
2
3 0
4 3 3 1 2
3 3
1
‚ „
œ œ™ U
1. 2.
## # œ œ #œ œ œ œ œ ™
™ ˙™ œ œ „ ‚ Œ™
31 IV
œ œ œ
œœ™ #œ œ™ œ œ œ œ œ
œœ Â ‰
2
Œ™
& ˙™
1
‰
1 2 1
Ê‰
2 2 0 1
Â
œœ™
1 1
Œ u
0 0 0 4
4 3 1 0 3
2
4 1
!145
Tempo di Borea
–
‚
J.S. Bach
œ œ œ œœ œ œœ œŸ œ œ œ œ œ œ œ ˙ ™
CVII
œ œ
II 41
## œ œœ œ œœ œ œœ
CII
œ
& C Œ œœ Œ œœ Œ #œ œœ œœ œ œ œ œ
4
˙ œ
2 4 2
0 0 4
Œ Œ Ó Œ œ œ Œ
1 2 2 2 2
‰
œ œ œ ˙
4 0 2 1 0 1
3 3 4
3 1 1 3 3
0
1 1
## œ̇ œ œ œ œ ˙™ œ œ „ IIIœ „ CII
œ œœ œœ œ œœœœœœ
6 VII
œ œ œ̇ œ œ œ
1
&
3 1
Œ œœ œœ Œ ˙
2 2
œ Œ Ó
2 3 2 4 4 1
Ó Ó
1 4 1 3 1 1 2
˙
0 0 3
œ
0 1
1 3 3
2 2
## œ œœ œ fiœ œ œ œ „œ œ œ œ œ n„œ œ œ #œ œ œ
œ
11 CII CII II
œ
& Œ œ œ ˙ #œ n˙ ™
4
œ œ œ œ ™ œ Œ œ
œ̇ œ œ
4 4
œ
™
0 2 0 4
Œ
2 2 3 1 2 4
˙ œ
1 3
œ ˙ œ
0 0 0 2
œ œ
1
œ
1 2 0 3 0 3 3
0 1 0
2 2
3 1
VII
–
œ
œ œ œœ fi ˙ ™
œ œœœœœ œœ Ÿ
‚˙ ™™
˙ œ
II 12
## œ
16
œ œ
˙™
3
œ
4 1 1
& œ̇ œ œ̇ œ œ̇ ˙
4 0 4 2 2 1 1
œ ˙™
4 0
Ó Ó
1 2
0 0 0 1 0 2
3
2 3
1
## ™ œœ œœ œœ fi œœ Æ œœ œœ œ œ œ œœ Æ œœ œœ Œ œœ
& ™ œ œ Œ œ Œ œ Œ Œ
21 CII
œ fi œ œ œ œ œ œ #œ
Æ
œ œ œ fi œ Æ œ œ œ œœ œ œ œ Œ
2 2 2 2 4 3
œ œ Œ œ Œ ˙™
0 4 0 2 4 2 0 3
œ Œ
3 2 3 3 2 3 2 2 2 0
0
œ
2
œ
1 1 3 3 3 3 0
0 1 1 0
–
0 1
2
‚œ Æ œ œ œŸ
## œ #œfi œ œ œ Æœœ œ œ œ œ œ ˙˙ ™™
31
œ œ œ œ œ œ̇ œ œ œ fi œ
˙™
26
& n œ̇ œfi œ Óœ „ Œ œ œ œ œ
4 2 2 2 4 2
4 1 3 0 4 4 4 2
œ Œ ˙
0 3 3 2 0 0
Œ Ó
2
œ œ œ œ œ œ
3 3 0 0 0
0 0 0 1 1
3
1 0
2
2 3
0
## „œ œ œ œ #œ œ#œ#œ œ œ œ œ nœ œ œ œ#œ œ œ
VI CIV
31
œœ œÆ œ œ
œÆ #œ nœÆ #œ œœ
œ œ
4 2 4
™
& #œ Œ œ Œ ˙
2
4 3 3
3
fi
Œ Œ Œ Œ Ó Œ
1 3 4 1 2
3 1 1
1 3 2 2 2
3 2 2 1
## „œ#œ#œ œ#œ œ œ œ œ˙ œ #œ œ œ #œ œœ
IV CIV !146
œ #œ œ œ Æ œœ #œœ fiœœ Œ
36 CIV CII
Œ
2
œ œ œnœ œnœ œ Æ fi
4 1 4 1 1 1
& Æ #œ Œ fi Ó
4 4 4
˙ œ
2 4
Œ œ œ Œ Ó #œ œ œ Œ œ Œ ‰ œœ
4 4 1 3 3 3
2 4 0 3 3 3
˙ œ
1 1 2
3 4
1 4 1
2
0 1 2
## Œ œ œ œ œ̇ œ œ œ œ œœœœœœ œœœ
™
41 CII
‰̇ œ œ œ œ œœ
& œ #œ œ nœ œ #œ
4 4
œ
2 4 2
œ Œ œ Œ ˙™ œ œ Œ œ Œ #œ Œ Ó
2 0 3 2 0 0 3 0 0 2
˙
2 0 2 1 3 0 1
1 1 0 0
1
˙
4 2
3 1 1
fi œ œ œ œ œ œ œ
## œ œ œ j œ œ#œ # œ œ œ œ œ œ œ œ œ œ œ œ#œ# œ œ
CII
46 1 2 4 4 1 3
2 2 3
#œ œ˙ #œ œ
3
&
1
1 3 3 1
„‰ ‰
2 1 4 1
3 1 2
2
˙
3
œ œ œ œ œ # œ n‚
œ
# #œ œ œ œ
50 CII
œ œ œ œ nœ œ œ œ nœ œ œ œ œ œ
œ#œ œ #˙‰
3
&#
4 4
Æ
1
nœ œ #œ
3
„‰ ‰ „
3 2
‰
3
Ó
1
Â
1 2 1
œ
2 4 4 3 0 4 2
œ
1 3
4 3 2
## œ œ œ Œ œ œ œ#œ œ œœ œ#œ œ nœ œ nœ
54 IV
& œ ˙ œ œ nœ œ œ œ œ œ œ œ œ#œ
œ œ
1
œ Œ Œ œ n œ ˙™ Œ ˙™ #œ
Â
4 3 1
Œ
0 2 0 3
0 0 4 2 0 2
3 2 4 1 4 4 1 3
0 0 1 2 1 2
1 4 3 4
1 2
0
‚
œ œ „œ œ œ ‰ œ
CVI œ œ œ
Æ
59 œ #œ
## œ #œ œ
CVII
# œ œ œ œ œ œ
œ œ œ œ œ œ œ̇ œ œ ˙
n
4 4 2 1 4
œ œ#œ
4 4 4 4
œ Œ #œ Œ #
2
&
3 2 0
0 0 2
Ó
1 2 2 4 1
2
1 4 3
3 3
‚ CVII
U
œ œ
#œœœ œ ˙˙ ™™ ™™
I CII
## œœ œ œœ œ œœ œ œ œ œœ œ œ
64 CII
œœ œœ fi œ Æ œ fi œ
& œœœœœœ #œ œ œœ
4 2 4
Â Æ œ#œ œ
0 0 4
Œ Œ Œ Œ #œ
1 2 2
œ œ œ œ œ ˙™
2 1
u
4 2 4 0
Ê
0 2
2 4 3 3 0 3
4 3 0
4 1 2
2
1
!147
Double
J.S. Bach
‚
CVII
œ œ
CII
# œ œ
œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œfi œ œ œ œ œ œ œ œ œ œ
II
Æ
& #C œ
1
Œ™ œ ‰ Œ Œ œ œ œ
2
œ ˙ Óœ
1 3 1 2
1 0 2 3 0 4 2
˙™ ˙
1 0 2 2 4 1 0 1
1
œ
3 3 3 3
2 0 1
1 3 1
œœœ œœ
V
#
5 CII
& #œœœœ œœœ œœ œœ œœ œ œ

œœ œœœ Œ œ œ ‰Œ
œ 1
4 4
0 3
Œ œ ˙
1 3
œ
1
œ
3 0 0 0
œ œG
0 0 1
2 2 2
4 0
1 3 3
4 1
II
## œ œ œ œ œ œ œ œ œœ œ œ
9
œ œ
œ˙ ™œ œ œ œ œ
œ œ œ„ œ œ
œ œ œ œ
1 4
& #œ
‚„ ‰ Œ œ œ Œ‰
4
œ
œ™
2 1 2
3 0 0 0
Œ ‰
2 3
Ê
1 0 1 3
0 1 1 0 4 2 1
3
4
1
œ œœœœ
##Æ œ Æ œœ ˙ ‚
13 CII
œ œ̇ œ œ œ œ
& „ nœ œ œ Æ nœ
œ œ œ ‰Æ œJ #œ
1
œ̇ œ œ œ
Œ‰ œ ˙
2 2 0 2 4
œ
1
œ
3 4 0
˙ œ
1 2
œ˙
3
Œ
1 2
3 1 0
1 3 3 1 1
0 0
0 3 3 1
œœœœœœœ V œ I
VII
fi œ œ œj
œ ™™ ™™
## œœ œœœœœ j œ
‚ ˙
4
17
œ œ œ œ œ
2 3
œ
1 1 4
œœœ œ
4 1
& ˙ œ
4
˙™
2 3 1
œ ‰ œœ™ œJ
1 0
Œ
3 2 2 1 2 2
Œ
0 1 1
0 0 3 3
0 1 4
0
##Æ œœ œœ œœ œœ œ˙ œ œ œ œ
21 CII CII
œ
œ œ œ œ ˙ fi ‰ œ œ œ Æ œœ fi œœ fi œ Æ œœ œœ œ œ œ œ œ #œ
fi 2
&
0 2 1 0
4 0 4
J œ œ œ œ œ Œ Œ œ
2 3 2 2 3 2 2 2 2 2
1 1 2 0 2 4
1 0 3 3 3 3
1 1
œ
CII CII
Æ
## œ œ œ œ œ#œ œ #œ œ œ Œ œ œœœœ œœ œ œœ
25 4
œ œ
4
nœ ™
2
& œ œœ
3 1 1 4
0 0 0 4 0
œJ œ œ œ œ œ Œ ˙
4 3
œ™ œJ ˙
0 4 0 0
0
w
1
2
1
2 2
CVII
Æ
œœœ #œ œ œ œœ
IV CIV
œœ œ #œ œ#œ
## œ œ ‰ œœœœ #œ œ œ
29
„œ ˙
2
œ œ
4 2 2 4
& œ œ œœ™
4
„ Œ
2 2 1
œJ ˙ #œ˙
Â
0 1 0 4
Ó Œ
2 1 3 3 1 3
œ
1 0 3 1 0 3
!148
œ œ
CVII
## nœ œ œ Æ œ œ ‰ œ œ œ œ œ#œn œ œ œ œ œ œ
IV
#œ œ#œ œ
33 CVI
#œ
„
œ
4 1 2
‰
#œ œ #œ œ Æ #œ˙#œ
2
&
4 1
1
„‰ ‰
3 3 3 4
Œ Œ Ó
Â
2 1 1
˙™
2 4 1
4 1
3
3
CIV CII
## œ˙ œ #œ œ œ œ œ œ #œ œœ œœ œœœœ˙
37
CII
nœ#œ
2
œ œ œ#œ œnœ
1 4
& ˙ œœÓ
4 3 4 2
˙ œnœ# œ œ
2 4 1
#œ #œ
1
œ œ
4 3 1
œ˙
3
œ Œ Ó Æ
3 4 3 0
1 1 3 1
4 3 4
1 2 1
1 4
## œ œœœœœ œ
41
& œb œ œœ œ nœ œ̇ #œ œnœ œ̇ #œ œnœ œ œ

œ œœœœ
2
œ Ó
1
˙™ œ # œ Œ #œ fiÓ
0 0 0 0
œ˙ œ
3 2
1 0
0 2 0 4 4 3
3 1 0 3 3 1 2 1
4 2 1
4 1
## œ œ œnœ œ ˙œœ#œ œ œ œ œ œ
45
œ œ œ œ œ#œ œ œ œ
2
& #œ
nœ œœ™ œ œ œ Œ œ˙ œ#œ #œ
2 2
0 1
2 2 4
0 1 1 0 2 0 1
1
‰
3 4 3 4
2 3 1 3
0 0
1
CIV
œ œ #˙œ#œ œ œ œ œ œ œ #˙œ#œ œ œ œ œ œ œ # ˙œ nœ œ œ œ œ#œ œ
CIV
## ˙œœ
49 IV
œ œ
3
œ
1
& #œ
1 4
„‚
2 4 3 4 2 2 4
3
˙
3 4 2 4 3 4
0
CIX
œ
CVII
## œ œ ‚œ œ œ # œ œ œ œ œ œ
fi1
œ œ œ#œ œ œ œ œ œ œ œ#œ œ
53 2
œ œ œ
4 1
#œ
1 4 1
& ˙ œ œ œœ
3 1 1
˙
3 0
Ó
3 2
˙ ˙
4 3 0 1 0 1 0
˙™ œ
1 2 3 2 4 0
## nœ œ#œ œ œ fiœ#œ# œ œ
‚
57
‰ nœ œ œnœ
2
& nœ˙ œ œ#œ˙œ œ œ ˙ ™œ#œ œ˙ œ œ#œ˙œ#œ#œ œ œ

4 1
0 2
1
0 2
Œ Œ Ó
2 4 1 1 2
3 0 0 0
0 4 0 2 3 4 3
2 1 1
1 3
CIV
˙œ œ œ ˙œ œ
##fi œ œ œ œ œ œ œ n œ œ œ œ œ Æœ œ # œ œ #œ œ œ œ œ
61
œ œ œ œ
II
˙™
4 4 4 1
& #œ #œ
3
˙™
1 2 1 1 4
4
„‰
3 3 4 4 2
Œ Œ
2 1 4 3
2 2 0 1 0
1
‚
CVII
œ U
œ œ Æ œ œ œ œ CII ‰ ™™
II
## œ œ œ œ œ œœœœ
65
œ œ #œ œœ œ fi œ #œ ˙
1 2
&
‰
2
œ œ œ
3
œ ˙˙ ‰ u
1 1 0 0
Œ Œ œ
2 3 2 2
w
3 0 1 0 2 4 0
1
œ
2 3 0
3 0 1
1
Guitar !149
Cello Suite No. 1
Ê = Ré Canto Primo Benjamin Britten
U
### 4 ˙™ œ œ
CII
W , CII
œ œ
œ ˙˙ œ
œ œ œ œ œœ œ̇ œ œœ œ
fi 4
& /02 œ ˙ œ œ œ œ̇ œ W
™
3 3 4
˙™ ˙™
2 0 1 0
œ
1
w ˙ œ W ˙
0 2 3 3
f Œ u
3 2
f
CV
### #œ fi ˙™ ™ U , œ œ œ n˙™ œ
œ̇ œ nœ̇ œ œ œ œ œ ˙ ™ œ
4
w œ̇ œœ ˙˙
CII 5 Piv.
œœ ˙ œ œ
œ ™
œ ˙ w
œ ˙™
4
&
4 4
1 0 2
w ˙
2 3
˙ w
0 1
˙
4 0 1
3
2 œ w 3 1
7
### œ œ œ ˙ œœ œ œ œ œœ ˙
nœ œ œ ˙ nœ œ œ ˙
4 4 4
&
1 1 1
˙™
3 3 1 3 1
œ ˙˙ 0 ˙ 0
0 w
w ˙ ˙ œœ
U
0 0
ff
### œ œ̇ ˙ nœ œ œœ œ ˙˙ ‚ wo ,
harm. XII
9
1
˙ œ œ œœ nœ̇ œœ œ
&
œ ÂŒ p
4
œ ˙ œ ˙ œ
3 3 1 0
˙
1 3
Ê
w w #˙ ˙ œ
0 0 0
4 2 3 2
3
pp 1
p
#W·
U
dim.
W
, n˙™ œ œ œ œ œ œ harm. ”VII „
CII CIII
œ œ ,
### W “o
1
12
œ ˙ œ œ œ̇ œ œ
# ™
4
& W
2 4 2 4 1 3 2
Â
w ˙ n˙ ˙
3 2
pp w # ˙™
2
2 1
15
### Œ CI fi CII ‚œ œ œ̇ œ CIV fi CV
#œ ˙ œ #œ
œ œ œ #w ‰
& œ œ œfi #œ #œ
4
nœ œ ™
œ̇
1
œ œ œw œ ˙ œ œ
2 4
Ê
# œœ
0 3 3
1 1
œ œ
3 1
3
2 2
2
f2 cresc.
### ‚˙™
U
fi œ œ „ ˙™ œ w ˙ ‰ wo ,n n
˙™
17 art. harm.
& fi œ ˙ œ œ œ œ̇ œ œ w ˙ w n /42 0
4 4 4 3 3
˙™
3 2
2 1
w ˙ œ œ w ˙ w
3 3 2 0
ff Œ 0
u
dim. pp attacca
!150
Fuga
Ê= Ré Benjamin Britten
Andante moderato
#œ. ‰ j œ.
#œ ™ œ œ.
2
™ œ. ‰ j œ.
3
&4 œ œ œ œ œ
œ œ œ # œ œ b œ.
2
. b œ. œ™ œ œ
4 3 1
4 1
2 1 4
pp 3
6
3
b œ ™Æ b œ œ œ™ Æ œ œ œ ™ fi œ b œ b œ ™ Æ œ œ œ ™ Æ œ œ b œ ™ œ œ œ œ # œ # œ œ
&
4 2 4 0
1 2 2 1 2 4 1 4 2 3 2
1 3 1 1 4
1
. . .j #œ. . .
& œ̇ #œ œ œ œ #œ ™
#œ œ ‰ .j
œ™ œ œ
10
œ œ œ œ ‰ œ
3
‰ J œ œ œ œJ bœ
œ
1
œ . . . . Œ ‰ . bœ
4 1 0
1 3
.
.j . . .
. # œ ‰ .j #œj ‰
CIII 4.
œ™ œ œ œ ™
14
& bœœ ‰ œ™ bœ œ #œ #œ œ œ œ
„
œ œ œ
‰ ‰ ‰
3
‰ J. œ œJ
2
œ
2 2 1
Œ
4 0 0
bœ
1 4
. . .
4 2
.
4 4 1
0
. . cresc. 1
. . . .
œœ
18
œ œ œ œ œ
& ‰ œ œœ œJ œ œ™ œbœ ™ œ œ # œ #œ#œ#œ™ nœ œ ™ œ œ ™
j œ
™
œ œ œ# #œ œ
4 0
0
bœ œ . ‰
3 4 3
‰
1 1 1 3 1 3 1
4
.
4 3 1 1
. .
3
4
22 Œ Œ œ œ bfi b œ œ
œ
3
œ œ œ ˙ œ
1
fi bœ œ œ
4
& #œ™ œ#œ#œfi ™ œ

4
fi
œ bœ
1 2
# œ n œ nœ Æœ b œ œ œ œ œ
1 3
0 4 1
4
3 2 1 1 3 2
1 3 1
4 0
32
dim.
3 marcatiss. 3
bœ œ bœ bœ œ Æ Â ‰ .j œ. . . Œ
œ™ œ œ
œ œ œ œ œ
26
bœ bœ œ œ™ œ œ œ‰ œ
1
4
3 3 4 3
œ œ
2
&
1 3 1
‰
1
bœ .J œ
2 2 4 2 4
4 2 4 0
. .
1
.
3 p 1 3
!151
. . . . . .
CIII4
‰ j œ œ œ œ™Æ œ œ œ . . œ
CI
CI4
œ j j j
5
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b œ œ 5
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≈ œJ ™ ‰ ™ ≈ œJ ™ ‰ ™
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44 Piv.
b œ b œ œ œœ œ œ œ œ œ œ œ œ œ œ
5
& œ œ œ œ œ fi œ #œ Œ œ #œ œ œ# œ œ
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CI
48
Œ #œ œ #œ œ 5
& # œ œ œ œ œ œ œ #œ œ œ œ#œ#œ œ œ œ #œ#œœ™ œ œ œ# œ #œœ J œ R œ œ œÆ œ œ

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2
5
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j
5
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‰ b œJ œ # œ œ œ œ œ œœ
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3
fz 5 fz
. . .j œ.
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j
CI
65
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3
œ
& Œ œ œ œ Æ œœ œœ #œœ œœ ‰œ œ œ™ œ œ bœœ œ ‰‰ bœ œ
3
œ
4
3
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.
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. . . ‰
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CI CII
.j
69
& œ fi #œœ ‰‰ œ™ # œ œ bœœ ™ œ œ œ™

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bœ œ œ
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3
.
3 1 1
œ
1 1
. . .J
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4
‰
& œ ™ bœ œ œ™
73
œ ˙ œ œ #œœ nœ #œœ
3
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3
3
œ #œ #œ œ
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0
œ bœ œ œ
4 3 4 1 1 2
œ œ œ b œ ˙˙ œ
2 4 2 4
0 1 3 3 1 1
œ œ
2 0 3
1 0 1 1 0
4 2
f
CVI
78
#œ œ œ œ™ # œ œÆ b œ bœ
& nœ # œ nœ œ œ #œ œ #œ œ Æ œÆ bœ œ
4 2 1 1
Æ
fi #œ ‹œ
Æ œ
‰ œ # œ
1
œ #œ
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#œ Œ
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fi
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&ÆbbÆ œœ # œÆ nœ #œ #fiœ #œ œ #œ
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2
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2
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J
1 1 1 3
4 3
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marcatiss. 4
·
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3
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&
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1
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4 2 0
2
92
b œ ‚œ œ œ œ œ bÆœ jCII
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fi 1 3 4 4 4
œ 5 œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ
2 2
Â
1
3
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Œ
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‰ ™ bœ œ œj™
96
r r 5
CIII
& œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ œ œ #œ
bœ œ œ œ œ œ œ œ
4
œ œ Œ ‰ J œ ŒÂ ‰
1 1 3 1
3 1 2 2 4 4 0 0
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1 3 1 2
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!153
100
‰ j Œ 5
& œœœœ œ œ œ œ œ #œ œ
‰ J œ œ œ#œ œ œ œ œ œ #œ œ œ œ œ œ ≈ œ œ œ#œ œ œ œ
Â #œ
4 0 2 2 1 1 1 2
3 1 0 0 0 0 0 2 0 2
4 4 2
0 2 4 1
3 2 1 4
5
r r j
#œ œ œ ™ Œ
104 CI
#˙ b ˙ Œ
5 5 5
#œ
& # ˙ œ œ#œœ #œ œ œ œ
1
#˙ Œ #œ œ œœœ œ œ ˙ œ
3 2 2
˙ œ œ œ œfi œ œ b œ œ œ œ œ b œ œ œ
1
1 1 0
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dim. 3 4 3 1 3
1 4 2 3 4 3 0
1 3
2 1 1 1 3
5
5
jArt.#h.‚·XIV
j œ J #‚ ·
Art. h. XIV
j œ
108 l.v. 3 1
™
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& j œ #œ œ œ ˙ ‰
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pp
j Art.# ‚h.·XIV #‚ ·
Art. h. XIV
113
j œ J œ
j œ
2 2
‰ Œ
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b œ ™ J Œ œ™ œ œ b œ ™ b œ œ œ™ œ œ œ ™ œ œ b œ ™ œ œ
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Ê
b˙
0
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1
4
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CV
#œ ‰ J ‚
‚
Art. h. XVII
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CIV
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118
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1
3
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3
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0
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pp
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‚‚ ·
‚·
CV
‚
‚‚ ‚‚
Art. h. XVII Art. h. XVII Art. h. XVII
4 1 3
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122 CIII
‰ J œ ‰ J œ ‰ J ‰ j
4 2 2
& Œ bœ œJ # œ
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CV
Art. h. XVII
‚‰
‚Â ‰ Œ
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1
127
Œ Œ ‰ J
1 1
& ##œœ #œ Œ #
3 3
1
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2 2
3
1 œ 3 3
œ pp attacca
!154
Lamento
Ê = Ré
Benjamin Britten
### ‚œ™ nœ „œ fi nœ ‰ Â ‰ ‚œ # œ
Lento rubato
œ Â
harm.
œ nœ
harm.
œ œ nœ
XII CIX
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XII
& J J œ œ
3 2
‰
œ
2 1 2 1 2
2
3 3
4 4
1 1
p piangendo
# œ Æ ‹œ #œ n„œ nœ ‰ Â
#œ ™ œ œ™
harm.
### #œ œ nœ nœ
3
J œ œ œ
XII
Æ1
J
4
&
‰
J
4 2 1 1 2 2
3 1
1 3
4
1
„
p
‚
### œ œ œJ „œ nœ nœ Æ œ bfiœ ‰œ ‚ ‰œ nœ œ œ ‰œ XII #„œ ™ fi nœ œ nœ „œ Âj
harm.
œ
harm.
4 CIX XII harm.
XII
& J J #œ œ
4
J J J nœ œ J J œœ
4 2 1
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1 0 3 1 4
3 2 1 1 2
4 0 2 3
0 4
1 1 1
mf dim.
### ‰ Â ‰ ‰Ê j bœ ÆÂ Ê Â nœ œ œÊ
R.H. harm.
harm.
Â™
6 harm. XII
œ œ œ nœ œ #Æ œ œ ‰
XII 3
‰ œ Ó j nœ bœ #œ œ
XII
& œ j
J n œ œ nœ
1
fi œ
4 3
œ
3 3 1 1
>
4 4
fi
1 4 4
1 1 4 1 1 2
1 1
pp mf più espress. più f
9
### Ê 3 Â j b‰œ „ fi nœ nœ ‰œ n„œ #œ Æ #œ fi #œ
& b œ bœ œ Æ œ nœ œ J
n œ œ nœ J
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J
3 1 4 1 1 2
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4
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f
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nÂœ
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4
œ
4
### œ œ œ
2 2
10 4
J J J J
1
1
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&
2
4
3
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3
‚
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harm.
###
12 XII
J
1 3 2 1
J J œ #œ œ nœ #œ œ
3
&
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4 1
2
3 1
4
fi
2
dim. 4
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j jÂ Ê
14
& œ nœ œ nœ œ œ #œ œ nœ nœ œ nœ œ ‰ #œ œ #œ
œ œ
rall. Ê attacca
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4 3 1
œ
1 3 4 2 1 2
2 3 4
1 4 1 1
4
1
4
1 pp 4
1
!155
Canto Secondo
Benjamin Britten
Ê = Ré
·
˙™
„ œ „œ
Ó™
W
CVII
### 4
Æ
œ œ̇ ,
œ œ ˙ œ œ̇ W
4
˙™
4 4 4
& /2 0 ˙ w ˙ œ W
3 3 3
pp ˙™ ˙ w W
‚
„œ œœ Æ œ̇ „ œ Æ œ #œœ ˙™
˙™
Œ
CVII
œÆ ˙ U
### œ ˙˙ œ œ̇ œ n˙™ w ,
3
˙™ Ó ˙ w
& ˙™ ˙™
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4 4 1 4
G
3 4 4 4 4 4
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3 3 3
1 2
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1
pp
˙ w
„
### n˙™ „ Ó™ ,# n6
CV
œ ˙™
5 CVII
˙™ œ w ˙
& œ ˙˙ ™ ‰
œ bœ ˙ œ ẇ nW n /08
˙ ˙™ ˙
2 1 4
˙™ ˙™
1 3 2
pp Œ Ó
2
˙
1
G ppp
attacca
rall.
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Serenata
Ê = Ré Benjamin Britten
& "8 œœ ‰ œœ ‰ ‰ ™ œœ ‰ Œ ™
Allegretto
#6
œœ ‰ œœ ‰ œ œœ œ ‰
œ œ œœ
™
œ
n œœ œœ n œœ œ œ œ œ
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∏∏∏∏∏∏∏
∏∏∏∏∏∏∏
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∏∏∏∏
4 3
œ œ
2
1 3 2
J
3
0
p dolce
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& œ œ nœ œœ œ œ œ œ œ œbœ Œ ™
#œ œ œ nœ‰ Œ œ œ Œ œ nœ Œ #œ œ œbœ œ™™
6
‰ ‰
œ œ œ œ Œ
3 4
n œœ œœ n œœ
0 2 2
4 0
2 4 2
1
3 p dolce
Œ™ r Œ™
# œfij œ ™ ‰ ™ œj™
j
nœ œ œfij ™ ≈ Œ
& œ œnœ œ œ œ œ œ œ œbœ œ ™
œœ ™ œ œ
10
b œ œ œnœ œœ œœ œ
bœ
œ œ œ œnœ œ#œ œ œ
4 1 4 0 2
0
4 0 2
1 3
> > > >j >j

# œ ‰ #œ ‰ ‰ # œœ œœ œ ‰ ‰ # œ œ #œ ‹œ
14
& œ #œ œ œ œ œ œ œ œ œ #œ #œ œ œœ
4 4
œ œ œ œ
3 4 4
œ œ™
œ œ œbœ
3
2
2 2 0 2
1 3 1 3 1 1 1 1 3
0 2
dim.
# Œ ™ #œ™ #œ œnœ œ Æ œ œ<#>œ œ ™ œœ ™ œ œ œj œ œj œ™j j™

18
œ #œ œfi 4
Œ™
j
& œ#œ œ œ œ
4 4
œ nœ œ œ œ œ #œ fi œ œ œ nœ
3 2 4
œbœ œ ˙™
1 2
2 0 1 2
0 2 0
1 1 3 3 2
1 3 0
0 3 3 1
1 0
p
# Œ CIIj j ≈ r Œ™ Œ™
22
‰
& bœ œ nœ œœ #œœ # œ ‰ ‰ ‰ j
œ œb œ œ œ n œ œ bfi œ œ ™
œ b œ œ nœ œ™
œ #œ œ œ œ b œ bœ œ
œ œ n œ œfi > >J
1 3 2
Ê
0
2 1 2 4
1 0
4 3 4 4 1 3
1 0 1 2 4 0 1 2 4
pp
‰ „ >œ >œ >œ Œ ™ ≈ 4 fij fiœ ™
CII !157
‰ #œ ™
con forza
Â œfi
Æ
#
26
#œ œ œfi
j
œœœ œ
2
& ‰ œ
2
#œ J
2
œ œ™
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2
œ nœ œ œ
œ#œ œ
4
œ œ n œ œ #fi œ # œ
4 2
1 2
fi
œ œ™
1 3 4
2 4
0 1
4
f 1
2
sf 4 sf
0 1 2 4
f
# Œ™ ‰ nœ >œ >œ Œ ™
> CII
≈œœœœœ œ œ™ œfij #Æœ ™ #œ n>œ œ >œ >œ >œ

‚
CII
j fi 2
œfi
30 4 4 2
œ œ œ œ™
2
J œ œ J
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#œ#œ2
&
2
4
2
4
1
f
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‚ 4 ·œ >œ b œ>œ Æ >œ >œ ™ >œ ™ >œ ™ >œ ™ fi œfij

œ ™ œ™ #œ ™ #œ ™
CII
# Œ™
>
≈ nœ bœ œ #fiœ #œ œ œ™
bœ
Œ œ œj
34 4
Œ™ Ó™
2 4
™ Œ™
1 2 2 2 4
œœ œœ™™
& œ œ
4 4 4
œ nœ
1 3
3
Ó
4 2 4 1 3 1 0
f ff sf f
- -- > „
™ œœ œœ Œ ™ œ nœ Œ #œ œ œbœœ œœ ™ œ
> > > > >r
& œœ œœnœ œœ ™ œœ ™œ œŒ œ œ œbœ œ ™
# j bœ œ œfi œ ™ œ
nœ ≈ j œ
38
j
œ nœ œ œ œ 0 4
mf rall.
CVII
4
# nœ bœ œ nœ #œ œ nœ bœ œ œ œ œ #œ œ nœ nœ bœ œ nœ œ œ #œ #fiœ œ
4 4 4
42 4 4
& œ™ œ™ œ™ œ™ ˙™
4 4 1
G≈
2 2 3 2 2 2
2 3 1 4 2 3 1 4 3 1 3 4
1 1 1
pp tenuto
accel.
· j 4 4 harm. VII
U Œ™
fiœ œ b œ a tempo œ œ œ œ œ œ œ œ œ œ œ œ
5
œ # œfi œ œ n œ # œ
4
fi
™ Œ™
1 2 1
# U ## 12
3 4
45 1
& Ó™
3 3
O™ O™
Œ ≈
2
/8 0
Â attacca
harm. VII
pp
!158
Marcia
Ê = Ré
Benjamin Britten
Alla marcia moderato
o Vo
o ‚o
Vo IV
‚ ‚ ‚ J ‰ ‰ Œ™
œ œ œ œ œ ‰ ‰ œ œ œ œ œ œ ‰ ‰ Œ™
## 12 o o
XII
VII ‚ o o
VII ‚ tambor 1
j j j
& /8 0 ‚ ‚ J ‚
1
2
3 3 4
nœ œ œ œ œ œœœ œœœ
harm. Â
4 4 3
ossia: “”
1
pp
pp
o o
## o o ‚o j o VIIo ‚o ‚o ‰ ‰ Œ ™
j ‰ ‰ Œ™
3 XII VII V V IV tambor
& ‚ ‚‚ ‚ ‚ ‚ J j‰ ‰ j
œ œ œœœ œœœ œœœ
harm. Ê
œ
pp
œ œ œ œ œœœ œœœ
3
2
o ‚o
pp
## o ‚o ‚ J ‰ ‰ Œ ™ ™
o o ‚o ‚o
‚ J ‰ ‰ Œ™
5
j j j
tambor
& ‚ œ œ œ œ œ ‰ ‰ œœœ œœœ ‰ ‰ Œ

harm.Â
‚
harm. Ê
nœ œ œ œ œ œœœ œœœ
1
3
“”
pp pp
pp
ossia:
j ‰ ‰ Œ™ j ‰ ‰ Œ™
##
8 tambor
& j‰ j j‰ ‰ ‰ ‰
3 œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
2
& # Œ™
#
10
> > >j > > >>
Piv. CII
> > > >j
j j
œ ‰ ≈œœ ‰ ‰ œ ‰ ‰ œ ‰ ≈œœ ‰ ‰ œ œ œ œ ‰ ‰
2
œ œœ œJ œ œœ œ œ œ œ 1 1 2
J J J
0 0 0
3 0 4 1 4 0 3
pp martellato
& œ ‰ ≈#œ œj ‰ ‰ œ ‰ ‰ œ œ œ œ ‰ ≈ œ œ ‰ ≈ œ œ ‰ ≈ œ œj ‰ ‰ Œ ™
## sim.
12
j Piv. CII Piv. CII
œ œ œJ œJ
1 3
œ œ œ œ
2
œœ 1œœ œœ 1
0 2 1
J
0 0 0
1 1 1
3 0
4 3 4 4 3 4
## o o o ‚o oj o o ‚o ‚o ‰ ‰ Œossia: “”
™ j ‰ ‰ Œ™
14
& ‚ ‚‚ ‚ ‚ ‚ J j‰ ‰ j
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
harm. Ê
3
2
o
p cresc.
o o‚
## o o ‚o ‚ ‚o o ‚o ‚ J ‰ ‰ Œ ™ tambor j ‰ ‰
p
16
j j‰ ‰ j j j
& ‚ ‚ J‚ œ œ œ œ
nœ œ œ œ œ
œ œ œ œ
œœœ œœœ
œ œ œ œ œ œ œ œ œ œ œ
œ œ œ >œ œ œ >œ œ œ
œ
harm.Â mf cresc.
>
p
!159
> CII > CII > sim.
## ‰ j ‰ ‰ j ‰ ‰ Œ ™ Œ ™ œ >œ œj œj j CII CII j
18
& œœœœœœ œ œ ‰ ≈ œ œ ‰ ‰ œ ‰ ‰ œœ ‰ ≈ œœ œœ ‰ ‰ œœ œœ œœ œœ ‰ ‰
n œ œ œ œ œ œ >œ
2 2 2 2
J J
0 0
J J
1
0 0 3
0 0 0 0
## „j
sf mf cresc.
j j œ j
& #œœ ‰ ‰ œ ‰ ≈ œœ œ ‰ ≈ œœœ ‰ ‰ œœ œ œœ œ ‰ ‰<n>œœ ‰ ≈ œ œœ ‰
21 CII
#œ #œ œ œ œ ‰
J‰
4 0
J
1 2 1 1 2 1 1
1 1
J J
3 4 3
4 0 0 0 0 4 0 4
j j j j
## #œ ‰ ‰ j j
23
‰ ‰ #œ ‰ ‰ ‰ ‰ œ ‰ ‰ œ œ ‰ ≈ œ
& œ œ#œ nœœ œ œ œ ‰ ‰
2 4
2
œ œ #œ nœ #œ nœ œ œJ
3
J J
3 4
J J J
4 1 2 2
1 4
0 0 0 1 0 0
j
## j ‰ ‰ #œ ‰ ‰ j ‰ ‰ #œj ‰ ‰ j
25
& J œ# œ nœœ
2
œ n œ œ œ œ œ œ ‰ ≈ œ œ ‰ ‰
œJ œ #œ n œ #œ n œ # œ n œ œ œ œ
3
J
3 4
J J
4 1 2 2
1 4
0 0 1 0 0 0
27
## ‰ ‰ œr j œr j
& j‰ j‰ ≈ œ ‰ ‰ ‰ ‰ j‰ ≈ œ ‰ ‰
n>œ œ œ >œ œ œ œ œJ nœ œ œ œ œ œ œ œ œJ
4 4
2 2
1
R R 1
™
f f 5
# n
29 p i ma
b
i p i ma m am
˙ œ
& # ‰ ‰n œ œ œ ™ œœfij œ ‰ ˙ ™ nœ n œ œ œœ
i p
bœ b œ
4 m 4
œ b œ n œ œb œ œ „ ‚ ff espress. „ œ œ œ œ
4
4 2 2
œ
1 4 2
n œ
4 4
œ b œ œ œ
0
1 3 0 1
0 1
1
0
4 0
3 0
b œ. „œ œ ˙ ™ „ ‚œ œ a m i p p i m œ œ œi. „œ ˙™
0 1 0
œœ ™™ œœ ™™ ˙™ œ™ œ™
31 m am
œœ ™™ œ ™
m
b œ œ œ
œ™
& 4 4 4 4
œœ œœ
2 1 3 3 4
œ™ œ™
2 1 2 3 1 2
4
œ
0 0 0
1 1 0 1
1
‚ „
0 0 0
b b„˙ ™ œ œ œ œ œ œ bœ œ œ ˙ ™
. œ™œ™ œ™ bœÆ œ̇ œ œ™ œ ™ œ™bœ ™œ œ œ
34 Piv CI
œ™
& b fi œœ ™™ œ ™ Œ ™ œœ ™™ œœ ™™ œœ ™™ ˙˙ œœ
4 2 4 1 4
3 2 2 3 4 1
œœ œœ œœ ˙
4 2 4 2 2 3
2 2
œ™ œ™ œ™ œ™ ˙ œ
4 3 4
4 2
œ œ ˙
0 0
1 0 1
1
0 0
b ˙ ™ #œ œ œnœ . ‚ ™ œ ™bœ ™ ˙ ™
i ma
œ œ œ œnœ ˙
38 am i p p i ma
m
nœ œ#œ œœœ
&b œ™ œ™
4 2
3
2 4
œb œ œ œ œœ œœ
3 3 4 3 1 1 0 2
2
2 a 4 2 0
4 4
œ œ
0 0
1 0 0 0
1
œ ™bœ ™ bfiœ œ œ b ˙ ™ œ b œ. nfiœ n œ n ˙ ™ bœ ™ œ ™

0
0 0
. œ œb ˙ ™
p
œ œœœ
C2IV
41
b œ m 1 3 4
œ œ œ 3 4 3 4 2 4
œ™ œ ™
4 1 1
&b
3 2 3 4 3
œ
4 1
1 1
1
dim. 2
œ 0
5
b˙™ œ # œ. fi œ # œ n ˙ ™
!160
œ œ œ CœVI # œ œ œ # œ C IX œ
fi4 œ #œ œœ
4
œ œ
2 3 2
44
b
œÊ œ œÊ œ
3 3 4 3
&b
3 4 1 4 1 3 1 1
3 1
1 1 1 1
0
œ 0
œ 0 0
n œ. œ # œ ˙ ™ œ ™n œ ™ n ˙
4 2
più p 7
Oo · ‚
harm. XII
J ‰ ‰ Œ ™ ‰œ œ œ œ œj ‰ ‰ œ œ œj œ œ œj ‰ ‰ Œ ™
U
46 tambor 2
b
4 4 4 0
& b
œ œ >œ œ œ >œ œ œ >œ œ œ
Â
4
1
p
œ œ œ œ œ J ‰ ‰ Œ ™ bbœœ œœ œœ œœ œœ ‰ ‰ œœ œœ œœ œœ œœ œœ ‰ ‰ œœ ‰ ‰ Œ ™
tambor
j j j j
49
b j nœ VI
&b
œ œ œ
3
1
0 2
3
p dim.
o o o VIIo V‚o nIV‚o

‚ ‚ ‚ J ‰ ‰ Œ™ ‰
o j ‰ ‰ Œ™ o o ‚o #‚o
‚ J ‰ ‰ Œ™
51
b o o ‚
XII VII V
&b ‚ ‚ ‚ œ œ œ œ œ
Â
J œœœœœ ‚
harm. „ harm. Ê
1
4
pp
dim. pp
& b Âœ œ œ Œ ™ œ œ œ Œ ™ ‰ ‰ œ œ œj ‰ œ œ œj ‰ ‰ Œ ™ Œ ™ #œ ‰ ≈ œ œj ‰ ‰ œj ‰ ‰
54
b tambor
Êpp>œ >œdim.>œ >œ >œ >œ

1
œœœ œœœ œ œœ œJ 2
J
0
4 0
3
fi Piv CII pp martellato

57
b j j
& b n œ ‰ ≈ œ fiœj ‰ ‰ œ #œ œ œ ‰ ‰ œœ ‰ ≈bœ œœj ‰ ‰ #œ ‰ ‰ œ œ œ 1
œœ œ œ œ œ œ œ œ
2
œ œ J œJ
1
1 0 0 3 0 3
J J
0 0
1 2 1
2
‚
4 4 0 3 4 4 4
fi Piv CIII
fi Piv CII
j j
59
bb j j j œ fi œ œ
& fi n œ ‰ ≈ œœ œ ‰ ‰ # œœ ‰ ‰ œ ‰ ‰ œœ ‰ ‰ ‰ ≈ œœ ‰ ≈# œœ ‰ ‰ 1
1
1
œ œJ œJ J œ œ œJ
1
J
1 1 1 0
1 0
2 0 4 4
3 2
4 4 4 4 3 3
j
™
j
dim.
61
b j fi j j œ œ j # œ
& b œœ‰ ‰ ‰ ‰ ‰ ‰ nœœ™™ œœ‰ ‰ ‰ ‰ œœ ‰ ‰ ‰ ‰ œœ ‰ ≈ œœ ‰ ‰ Œ
j œ 1
# œ j 1
# œ j 1
‰‰ 3 4 1
J œ œJ J œ J œJ œJ œJ
1 2 0 0
1
J J
4 4 0 0
4
™
j
4 4 4 2 2 4
j Æ j j
™
64
b j j #˙ œ # œ #œ œ etoufée
& b #œœ ‰ ‰ #œœ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ Ó
2 2 4
1
3
1
J 0 J 0
˙™ œJ œJ œJ œJ #œ œ œ 3
o ™ o o o ‚o ™ ‚o o ‚o ~o ™
ppp
U
3 3 3 3
o o ,n
ppp
Ó™
67
b U # j o
‚ O ‚™ ‚™ ‚
&b # ‚™ ‚ ‚™ n "42
harm.Â
#œ œ œ attacca
ppp
!161
CantoTerzo
Ê = Ré
Benjamin Britten
‚œ
Sostenuto
,
˙˙ ™
CIV
w W
4 Œ œ̇ œ̇ b˙œ
™ ™
&/20 # œ ˙˙ œ ˙œ œœ W
3 3 3
1
1 1
0 4
1
2
W
pp
Œ ˙ b œ̇ œ Œœ #œ̇ œ nœœ n ˙˙ ™ bœ Œ Œ œ b˙
CIV
& # œ˙ ˙ ™
œ œ œ̇ œ bœ œ # œ œ
3 2 4 4 4 4
3
œ œ w
3
™ Ó™
œ œ # œ˙ œ œ
1
2 4 1 1 2 1 4
Œ
0 3 0 2
1
1
pp
· ™ ™
<n>œ b œœ œ̇ œ Œ Œ œ b œœ b œœ ˙˙
CIV
Œ W , œ ∑ œ œ
W
‚
5 4 4
œ œ bœ œ œœ œ̇ œ
4
œ œœ œ œ
‰
2
& # œ˙ œ W # œœ ˙
2 3
1 1
W
2
˙™
0 0 2 1
fi
0
w w
1 0 1
1 1
pp 0 0
pp cresc.
·™
più cresc.
bœ b˙ Óœ™ „ Œœ b œœ bfiœœ œœ ˙ œœ bb ˙˙ ™ ‚
Æ
œ ˙ œ œœ CVII
bœœ œœ œ̇ œ̇ œœ
4
˙ „
2 4 4
8 4 4
‰
bœ œ̇ œ œ ˙ œ̇ œ̇ œ
& „
fi
4 3 1 3 2 4 4
1
1 1 1 2 4
Œ ∑
3
2 2 2
f appass.
3
b œ œœ fi œ̇ œœ ˙Ó™™
b #œ
œ #œ œ œœ ∑œ ‰˙
4
œ œ œ CVII
Œ œ œ œ
#œ nœ̇ œ œ œ œœ
‰ ˙™
11 1 4 4
& œ∑ ‰
3 2 4
œ Ó
2
œ #œ
2 1
1
Œ
1 4
3
2
1
dim.
Ó™ ‚œ œ œ Œ Œ Œ b‚œ b œ bœ œ Æ‚ ,
„ ™™
CVII
œ
·
13
œ œ œ œ œ bœœ #W
& bœœ ˙˙‚ œ bœœ œœ #œœ
‰Œ Æ
Æ œ fi
w
4 4
Â
2 3 1
3 1 0 1
2 1 1 4 4
fi
Œ Œ
0 4
4
Œ Œ Œ Œ Œ
2 4 4
2
œ ˙™ ˙˙™™
15 Œ
CIII
Ó #9
& Œ ˙ # œ˙ œ̇ #œ˙ œ̇ œœ bœ w
w ˙ W
w
˙™ ∑ /80
Ó™ * ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
nœ w #˙ W
4
3
1 2
attacca
p pp
‰
rall.
* use (i) finger to tremolo softly on the
string into the next movement "Bordone"
!162
Bordone
Benjamin Britten
* Sustain the "drone" using the index finger. Play softly and not too fast, similar
to a plectrum (down/up) motion through this movement unless otherwise indicated
Ê
+ = tapping - use hamer-ons, pull-offs or slides to sound notes with the left hand alone
= Ré
+ +++++
™
Moderato quasi recitativo
™ U™
simile
# 9 pp (sempre sostenuto possibile) œ œ Œ œ œ œ
‚
& /08 W# œ œ œ #œ œ Œ ™ œW œ œ œ œ œ œ #œ#œ œ ‰ œ œ œ ‰
„
4 2 1 4
1 3 0 3 1 2
2
*‰
u
1 3
+ + + + + animato
p pesante
#
3
# œ œ #œ œ œ œ œ œ ‰ œ œ Œ ™
& W
‰ u
3 4
1
„ ‚ fi œ fi œ #œ œ œ œ œ œ œ# œ œ œ œ œ U
mf
# œ œ œ#œ ‰ ™ fi œ œ ‰ ™ ‰ ™ œ œfi œ œ œ
œ ‹œ
‰™
œ ™
4
& Wœ œ œfi #œ œ
3
‰
2 4 4 2
2 3 2 4
4 2 1 2 1
4 1 1 1 1
4 4 1
1 2 2 1 1 3
#‚œ # œ œ œ œ œ œ #œn œ œ „
# œ œ œ#œnœ œ œ#œ œ œ œnœ œ œ ™ œ œ œ U™
5
œ œfiœ fi fi fi ‰ ‰
4
Æ
& W
1
œ œ œ œ œ Œ™
f 2
Æ
W
3 4 4
2 1 1
4 4 4
4
1 1 1 3 1 4 3
4 3 1 4 1 1
p
f ‰
u
„
3
2
‚œ œ
# œ #œ œ#œnœ œ œ Â Ê ™
U
‰™
7
& W œ œ œnœ ‰
Œ™
W œ œ œ œ #œ œ#œ œ
4
1 3 2
1
#œ œ œ
4 3 4
‰ œ œ œ#œ œ u
1 4 1
4 4 2
1 4 3 1
2 1
f 1
f dim. p
Ê
™
9
#‰ U
œ
& W #œ œ fi œ#œ œ œ œ ‰ œ œ Œ
W # œ # œ œ œ # œ œ Œ ™ œ œ œ œ œ œ œ œ œ‰ ™ œ œ ‰ ™
4
‹œ u
2
2
p Æ 4 4 4 4 4
mf 1 1 1 1 3
1 2
# ‚œ œ #œ œ fi œ nœ œ ™ œ™ n„œ œ œ Œ ™
U
11
#
& W œ œ œ œ œ
2 # 3 Œ 1 3
3 2 2
1
p
o Â
!163
#
12
mf cresc.
& W œ #œ œ œ œ œ œ œ œ bœ œ Æœ œ #œ Ænœ nœ œ œ œ œ œ œ bœ œ œ
# œ œ # œ #fiœ œ z fi
4
fi
1 3 4 3
4 4 1 3 4 4 3
zuse the 4th finger to tap and sound the harmonic at the 12th fret
1 1 1 1 1 2
3 1
4 3 1
1
# p m i p mi
13
pm pi pm pi p m i p m
& œœœ œœœœ œœœœœ œœœœ œœœœœ œœœœ œœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ
4 4 2
f Â‰ Â‰ dim. Â ‰ Â ‰
1 0 simile
0 1 0 0 1 0 1 0 1 0 1 0 1 0 0 1 0
ff
· j‚ ‚
#### ‚œ œj œ œj œ œ œ œj „œ j œj œ œj œ „œj ™ j U
in tempo tranquillo
# U
15
#œ œ œ œ‰‰
4
& W
1
4 4
W W
1 4 1 1 4 1 4 1 2 3
1 2 1
· œj œ j
pp ppp sempre
18
#### „ œœœ œ
j ‚ j # œ
œ
4 2
& W œÆ # œ œ œfi œJ œ œJ Wœ œ nœ Æœ n œ œ
4 1 1
J J J n œ # œJ œ™ œJ ‰u ‰ W
4 1
1
ÊÂ
œJ
Ê
J
4 2 3
1 1 2
1 4 1
1 4
· ·
0
œ n œ ‚œÆj n œ j nœ „j
4 1 2 3
œ œ œ fi œj nœ Æ œj nœ ™ œj U b œ n„œj œ œj n‚œ œj #œ œj
j
3
#### # œ fi
2
21 2
‰‰
1 4 2
&
3
4 1 1
W W W
2 3 1 2 2 3 1 1 2 1 3 1
· j · j
pp
‚
#### œ n„œj # œ n œ œ b œ œ œ œ™ œj U b„œ nœj n‚œ #œj #œ œj œ œj œ œ
24 j j
‰ ‰
2
&
4 1 4 1
fi
2 3 2
W W
2 2 4 1
1 1 1 4 2 1 1
ppp
26
#### ‚œ œj „œ j œ ‚œj œ nœ œ œj œ ™ œj ‰ U
j „j „j „j ‚œj
&
4
#œ ‰ œ œ œ
4 3
W W
4
œ
1 1 1
Â
4 2 3
Ê
œ #œ
0 1 3
œ
Ê
1 2
Ê
2
3
pp 3 2
28
#### œ ‚ „ „ „j Œ ™ „j Œ ™
& œ œ #œ œ œ
W œ W
3 2 1
ÂJ
# œJ #œ
4 2
œJ œ
Â Ê
1
‹ œJ
Ê Ê
1 1 3
3 4
„j Œ ™
3
#### U j Œ™ U Ó™ ###n 3+4

30
& œ nœ œ œ /8 0
W W
2
œ œ
1 1
Ê
œ 3
J J œ attacca 4 3
ppp
!164
Moto Perpetuo e Canto Quarto
Benjamin Britten
Presto
# 3+4
& # /8 0 #‰œ œ œ œ Œ 2
Œ
#œ œ œ œ nœ œ œ œ
Œ 3
2
Œ
#œ œ œ œ nœ œ œ œ
1
pp
##
5
& #œ œ œfi œ >œ œ #œ œ œ œ >œ œ bœ œ œ œ œ œ œ œ bœ œ œ œ œ n œ

>
4 3
1 2 1 1 0 4
1 3 2
„>
3
9
## ‰
& nœ œ œ b œ œ œ # œ œœœœœ
bœ œ œ œ œ n œ œœœœ œ œ fi
2 2
> #œ œ œ œ
1
fi
2 4
1
3 1 3
2 2
1
## œ œ >œ œ
13
‰ ‚>
#œ œ œ œ #œ œ œ œ œ bœ œ œ nœ œ œ œ œ
nœ
& #œ œ 3 4 2 1
3 4
2 1
1 2
1 2
‚
## b>œ œ
18
œœ bœ œ œbœ nœ œ
& bœ œ nœ œ
3 3
œ nœ œ œ œ nœ œ nœ œ nœ
4
œ#œbœ œ œ
2 2 2
3 2 1 2 1 0 3
œ
0
1 1 1 2 3
4
0
1 4 3
mf
#
23
&#
œ nœ œ œ #œ #œ œ œ œ nœ fi œ
#œ
#œ œ œ œ #œ œ œ œ #œ œ œ œ > #œ œ œ œ >
2 2 2 3 2
1 1
3
1 2 1 2 1 2 1 2
p
# Ê ÂÊ
27
&# m i p m p
bœ œ bœ œ œ œ bœ œ œ
1 # œ œ œ œ œ # œ œ œ œ b œ œ œ fi n œ œ f œ œ œ œ œ œ œJ
2 4
3
1
2 2 1
0
2
0
2
1 2 0 2
m p m p...
Â ‰ Â
œ#œ #œ#œ œ Ê
##
31
& œ
m p m i p m i p
œ#œ
3
œJ b œ œ œ œ œ ˙œ b œ œ œ œ œ œ œ œ b œ œ œ œbœ œ œ >
4
2
1 2 2 3
3 2
0 2 0 2 1 2 2 1 2 1 2 1
0
pp grazioso
# „œ ‰ ‰ œ
!165
36
& # Æœ #œ œ b œ œ n>œ œ
nœ œ
œ nœ b œ œ n>œ œ œ œ nœ
# fi
4 4
1 1 4
œ œ œ œ
3
3 4 2 3 1 1 2 2 3 1 1 2
1 1
„œ #œ œ œ Â „œ #œ Â
# Ê
41
&# œœœœ œ œœ œœ œœ
>œ
2 2
œbœ œ œ œbœ œbœ œ œ >

1 1
4 3 3 4 4 3 3 4 4 3
2 2 2
1 1 1
f p
# œ bœ ‰œ
45
&# œ œ œ #œ #œ
#œ œ
nœ
n>œ œ œ œ nœ
1 2
œ b œ œ fi œ > œ bœ œ œ
4 3 4
4 2 3
3 2 1 1 2 2 3 1 1 2
1 1 1 1
‰ „ fi ‚ œ œ œ œ œ
# Â
50
&# œ nœ œ œ œ bœ nœ #œ #œ
1
nœ œ
3 4
œ œ œ
2 2 3
œbœ œ b œ œ œ n œ # œ #œ
3 4
3 1
2 3 4 2
2 1 1 2 2
1 1 0 1 1
3 4
· ‚
pp
## b œ œ œ œ #œ œ œ œ b œ œ œ œ >œ œ b œ œ œ œÆ >œ œ b œ œ œ œ œ œ œ œ
53 Æ
2 1 2 2
&
1 2 1 4 1 2 3 2 2
3 1
1
· fi fiœ œ œ œ b œ œ œ œ œ œ œ œ
Æ
‚
##fi b œ œ œ œ >œ nœ b œ œ œ œ >œ nœ œ nœ œ œ œ#œ# œ œ
2
57 2 1
2 1
2
1 2
1 3
&
2 1
3 3
4 4
p f
b œ œ œ œ ‚>œ n œ b œ œ œ œÆ ·>œ n œ œ # œ œ œ ‹ œ # œ œ œ œ # œ œ œ >œ n œ

fi2
#
61 2
&#
1 1 3 4
3 1 2 1
4 2 2 3 2
1
œ œ > œ Æ
## # œ œ œ n œ # œ œ b œ œ # œ œ b œ œ #œ #œ œ œ œ œ œ œ œ
65 4 1
3
&
3 1
3 2 2 1 3
Œ œ œ
2 2 2 2
2
p pp dolce
CII
## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
4
70
4
& œ
2 4 2 4 2
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!166
## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ
74
& œ
3 2 4 2 3
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78 4
4
1
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86
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f
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90
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p grazioso
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94
bœ œ
& œœ œ œ œ nœ
2
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98
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1
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102
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!167
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106
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1 1 1 1 1
pp
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110
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bœ œ œ œ œ#œ œ œ#œ nœ œ œ
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1 4
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< U> ,
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113 (sostenuto)
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127
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!168
132
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134
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142
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146
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149
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4 4
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1
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3 3 3 3
p con tutta forza
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152 3 3 3 3
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Copyright Acknowledgements 
169
!170
Correspondence via e-mail 
Date: Tue, Apr 22, 2014 at 10:45 AM
Dear Tariq:
!
You may use the figures you describe for your dissertation. Please include in your citation:
!
Soundboard Magazine, Vol. 22, No. 3 (1996, Guitar Foundation of America), pp. 9-23 "Bach’s
Unaccompanied Cello Music: The Nature of the Compound Line and an Approach to Stylistic
and Idiomatic Transcriptions for the Guitar," by Stanley Yates.
!
If there are stylistic requirements that differ from how I have written, please feel free to modify
the citation as needed.
!
Thanks, and my best wishes for a successful dissertation.
!
Galen Wixson, Executive Director
Guitar Foundation of America
4500 Williams Drive, Suite 212-301
Georgetown, TX 78633
p 877.570.1651 f 877.570.3409
guitarfoundation.org
!
!
!
!
!
!
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!
!171
Correspondence via e-mail
Date: Fri, May 30, 2014 at 12:43 AM

!
Dear Mr. Harb,
Thank you for contacting JASRAC.
We understand that reproduction of a copyrighted work for purposes such as research, private
study, criticism, etc. may be considered as the fair dealing of a copyrighted work under the
Copyright Law of Canada. Therefore, you may include the work “Pictures at an Exhibition”
arranged by Kazuhito Yamashita in your dissertation without his permission. If our
understanding is incorrect, please let us know.
Please note that if your dissertation will be uploaded and stored on the internet to public, then we
recommend you obtain his permission and would appreciate your letting us know accordingly.
We will inform you of the contact information of Mr. Yamashita in order for you to get in touch
with him directly.
We hope the above information will be of your help.
Best regards,
Reiko YAMAGISHI (Ms.)

Administrator
International Operations
JASRAC
!
!
!
!
!
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!
!172
Date: Thu, Jun 5, 2014 at 4:44 AM 
Dear Mr. Harb,
We have just been asked by Mr. Yamashita to give you his permission to use excerpts from his
arrangement “Pictures at an Exhibition” in your dissertation free of charge. He has also agreed
to upload the thesis to the internet without any payment.
If you have any further questions, please feel free to write to us. We are happy to put you in
contact with Mr. Yamashita.
Best regards,
Reiko YAMAGISHI (Ms.)

Administrator
International Operations
JASRAC
!
!
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!173
June 27, 2014
Tariq Harb
University of Toronto
7 Walmer Rd. #2004
Toronto, Ontario M5R 2W8
Canada
RE: Caprice No. 24 by Niccolo Paganini (arr. John Williams)
Dear Mr. Harb:
We hereby grant you gratis permission to include excerpts from the above referenced work in your dissertation for the
University of Toronto.
We do require that you include the following copyright notice immediately following the excerpts:
Caprice No. 24 by Niccolo Paganini (arr. John Williams)

© Copyright 1978 by Boosey & Hawkes Music Publishers Ltd.
Reprinted by permission.
Permission is also granted for you to deposit one copy of your paper with ProQuest. Should you wish to place your
paper elsewhere, beyond that which is required for the degree, you will have to contact us in advance as a royalty may
be payable.
With kind regards,
BOOSEY & HAWKES, INC.
Elias Blumm
Assistant, Copyright & Licensing
Boosey & Hawkes, Inc.

229 West 28th Street, 11th Floor, New York, NY 10001
Telephone (212) 358 5300 Fax (212) 489 6637
www.boosey.com
Tax ID: 11-1590300
!174
Date: Tue, Jul 1, 2014 at 10:35 PM
Hi Tariq,
!
No problem with this usage as described. Simply indicate arranged by Elliot Fisk, published by
Guitar Solo Publications, along with the publication dates on the music. Good luck with this.
!
Dean Kamei
GSP/San Francisco
!
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!175

Harb Tariq 201411 DMA Thesis

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The Unlimited Guitar: Arranging Bach and Britten as Means to

School of Graduate Studies

© Copyright by Tariq Harb 2014

examination of historical arrangements, texts, articles, and methods, to create adaptations of

own arrangements, examination of guitar transcriptions of Bach’s unaccompanied string music

dissertation would not have been possible.

Figure 1. Prelude, Cello Suite No.3, BWV 1009, mm.37-39.

adaptation’ (used interchangeably), and ‘orchestration’ should be defined.

form. An arrangement may include reharmonization, paraphrasing, and/or development of a

to accommodate the new medium.

instrument like the piano.

believes in the latter case:

movements of these suites…” (The Music of Benjamin Britten 324).

Musical Structure of Bach’s Unaccompanied String Works

arpeggiation. (see Figure 1)3

∑ ∑ No.3, BWV 1009, mm.37-39

Vln. 1 & Figure 1. Prelude, Cello Suite

&b ∑ 2. Prelude, Cello Suite No.2,

b sets it as a priority to “clearly outline the implied voices by well-chosen string

implied voice ‘b’ on different strings” (i).

implied melodic line to the pedal. (see Figures 3 and 4)4

Figure 3. Sullivan’s Daydreams No.2 for pianoforte, mm.1-11

4 These figures are taken from (Ellingford 142-43).

Galamian 7/WW. ANMERM(11111/// 111/M MUM= NoMIMI milLIMOT ._..' • I lir

works, it is usually the result of a fingering compromise in a passage of quadruple-stopped

is considerably less consistent,

lack satisfactory resolutions as well. (see Figure 7)

?perfection of an∑implied polyphony on the other.

? b Figure 8.∑Allemande, Cello Suite No.5,

? bBWV 1007, this∑ dissonant harmony cannot

the resolution. (see Figure 9)

?# ∑ 9. Prelude, Cello Suite No.1,

? #Despite these compromises,

6 This figure is taken from (Koonce 65).

a) the musical notes taken from the cello original (transposed to

b) rhythmic reduction to the eighth-note level with ornamentation

c) indication of the harmonic structure and clarifying the voice-

d) indication of notes/pitches inferred from the harmonic and

transforming it into a “solo” line with lower voice accompaniment.

# œ œ ## œ #œ œ # œœ‰ œœ # œœ œ# œœ œ # œ œ œœ ‰œœ ....n œ # œœn œœ # œœ œœ œœ .. # œœ

Figure 13. Voiles, from Debussy’s 24&Preludes, œarranged forœ . guitar, œ

therefore must comprise the reconstruction of & œ.

Bach's Lute and Keyboard Arrangements

goes considerably further in providing an idiomatically fitting arrangement. He provides

throughout the Clavier Sonata.11

10 Similar examples found can be found in (Hii 28-33).

Vln. I & Clavier Sonata

emerges again for its final statement (325-26).

The Value of Transcriptions to the Guitar Repertoire

help prepare their students to perform such newly adapted repertoire.

mentioned earlier. (see p.5)

documented in detail in Appendix A, with a measure-by-measure description of the adaptation

tools and techniques necessary to realize an arrangement from a monophonic instrument to a

Britten’s Cello Suite are found in Appendix B.

notes of extended duration.13 This adaptation technique is necessary to counteract a plucked-

above. In the Doubles, Bach chooses to compose a completely monophonic texture to

ornamentations, embellishments, or imitative voice lines. The arrangement will be technically

comfortable, yet tailored for emerging professional guitarists.

2- Choosing a suitable key.

3- Adjusting note duration, inserting rests, and re-stemming the original.

5- Filling in chords to strengthen the harmony and to thicken the texture.

6- Composing bass-lines informed by suggested harmonies.

8- Introducing articulations and musical contrasts.

10- Using specific fingerings throughout the adapted guitar score.

School of Graduate Studies  

dissertation would not have been possible.  

Figure 1. Prelude, Cello Suite No.3, BWV 1009, mm.37-39. 

movements of these suites…” (The Music of Benjamin Britten 324). 

implied voice ‘b’ on different strings” (i). 

Figure 3. Sullivan’s Daydreams No.2 for pianoforte, mm.1-11 

lack satisfactory resolutions as well. (see Figure 7) 

a) the musical notes taken from the cello original (transposed to  

throughout the Clavier Sonata.11 

help prepare their students to perform such newly adapted repertoire.  

Britten’s Cello Suite are found in Appendix B.  

notes of extended duration.13 This adaptation technique is necessary to counteract a plucked- 

keys of its open strings (G major/minor, D major/minor, A major/minor, E major/minor). The  

convenient and practical.  

execution of the motif. (see Figure 23) 

written indication for such an arpeggio.  

note G, resulting in a different character than the other two performers. 