Re: Clement "Six Sonatinas" Opus 36 for Guitar ?

"SW" <[EMAIL PROTECTED]> wrote in message
news:[EMAIL PROTECTED]
> Looking through some old books I found this;  CLEMENT:  Six Sonatinas,
> Opus 36 for the piano.
>
> So, I started sight reading the treble clef just for sight reading
> practice.  Then I started adding some from the bass (when I could, I'm
> not very good) and I realized that this music would work for solo
> guitar (or two guitars for beginners maybe).  Now, I know it might not
> be concert material, but it would at least make good practice pieces
> (as its intended for the piano).
>
>
> Has anyone transcribed any of these six sonatinas for one or two
> guitars ?
>
>
> I might start,  it would be good transcription practice... I know the
> guitar is one octave lower than piano treble clef, but any other
> pointers for a transcription newbie ?
>
>
>

I'm not aware of any transcription, but then again, I'm not aware of a lot
so we'll move on.  :-)

If it works in your mind's eye, and begins translating to your guitar, you
found a great project to learn how to do this kind of work....

Choose a workable key that fits (totally or at least mostly) the piece(s) in
question.  This relating to the guitar of course...

As far as doing this work, first, use your common sense (this implies that
we have this commodity...clearly, I do not)

Maintain the melodic structure, identifying it's place in the left or right
hand (piano), within the music for the guitar (obvious, but at least it's
clearly stated).  The melody switching hands is not always obvious, however!

Maintain the harmonic AND rhythmic structure of such as closely as possible.
When in doubt, choose the primary note for the beat or the measure, and fill
in from there....this is not always possible.  For instance, sixteenth note
runs in both the right and left hands of the original piano score.  Now I
might try this, but in general, most are not going to be able to play this.
Your common sense and your guitar sense need to come into play with such
judgment calls.

After that, it becomes more complicated, mainly because instruction
sometimes needs to be hands-on.  The piece needs to be analyzed for total
fit on the instrument.  Every piece has it's own character, involving their
own individualized and select problems that need to be worked out.  We don't
always get it right the first time or the tenth, as Mr. Crim is about to
find out when he receives some work I've recently done.
Feel free to call on me if there is anything specific with which I can be of
help.

-- 
Richard F. Sayage
www.savageclassical.com

http://www.orphee.com/rmcg/album-rmcg/album.html
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