Week 4: Harmonic Heights
Welcome to the Main Thread for the fourth week of "The Transcriptions" practice challenge!
- Make sure you've read the guidelines before replying!
- Watch the kickoff livestream!
Pick a transcription that was originally composed for another instrument, like piano or violin. Don't be afraid to choose a challenging piece or explore works from composers you haven't played before.
Commit to practicing daily and share your progress with the community. Aim to practice every day and post at least two videos per week showcasing your progress. This will help you stay motivated and accountable, and also allow you to share your transcription journey with others. Whether you're tackling a complex piece, refining your skills with a piece you already play, or experimenting with new playing techniques, the community is here to support you and celebrate your achievements.
Share your favorite piece that you would like to see transcribed or your favorite recording of a transcription. This will not only inspire others in the community but also provide a rich resource of ideas for everyone to explore. Plus, it's a great way to celebrate the creativity and artistry involved in adapting music from one instrument to another.
↓ Happy Sharing! ↓
I realise I’m actually too late in this challenge, but I didn’t want to miss the opportunity to present some pieces in a totally different style. Also inspired by Wai and Steve in the Spanish mini Challenge. But these are not Spanish. The early Baroque composer Michael Praetorius. These pieces are from his ‘Terpsichore Musarum’, a set of (about) 300 dances for instrumental consorts. The transcriptions are by an Uruguayan maestro Jorge Oraison (living in the Netherlands, I had lessons with him, long long ago.). The fingerings are not easy. I wanted to learn these pieces for a long time, but there are some stretches and position changes that make it quite hard to keep the phrasing legato and the rhythm dancing,… keep trying and hope to have them more fluid by next winter (for our Xmas home concert).
I thought it would be fun to share with you all a little transcription/arrangement of a Venezuelan "Danza" that I made recently with the help and guidance of Venezuelan guitarist, Bartolome Diaz. This "Danza" comes from a very important manuscript which was discovered in the early 2000s. It is called the "Cuaderno de Piezas de Baile de Varios Autores" or simply the "Quibor Manuscript." The manuscript was compiled by an amateur musician, Pablo Hilario Gimenez who resided in Quibor (a city in Venezuela) and is dated June 13, 1890. It contains 505 Venezuelan melodies of which the following is listed as Danza #174.
In 2012, Fundacion Bigot published 2,000 copies of a comprehensive book which describes the importance the Quibor Manuscript to the history of Venezuelan music, how it was discovered and a bio of Pablo Gimenez. The publication also contains a DVD with a facsimile of the original manuscript along with a CD of 15 of the dances arranged by the Bartolome Diaz and performed by his trio “Decimo Nonico” (two romantic guitars and clarinet).
Arabesque No. 1
I've worked on the fingerings with my teacher on this piece last year but I couldn't played it then. There are certain stretches that I simply cannot make.
But I think my fingers are now a bit more flexible and decided to give it a try. But mainly I wanted to share this wondering arrangement with everyone. I can only get to the second section. Will continue to work on this next while I continue to work on Doctor Gradus.
I picked Sevilla for this challenge. For me, it is the most challenging piece in the Suite Espanola, OP.47. My interpretation is a combination of versions by Llobet, M. Barrueco, D. Russell, A. Diaz and Barney. This was a good opportunity to work on it for a few weeks, although it is really a long term process to get it to sound the way I want. Here is my status on it right now.