[PDF] Debussy, Claude - Preludes Book 2 No. 3 La Puerta del Vino

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John Kemp
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[PDF] Debussy, Claude - Preludes Book 2 No. 3 La Puerta del Vino

Post by John Kemp » Sun Mar 19, 2017 3:55 pm

The art of transcription begins with picking the right piece! I made the transcription (in 1979) because I loved the piece so much, and it was surely inspired by Spain and the guitar. I was able to do little with it at the time because of copyright constraints. I recently came across the subsequently published transcriptions by Carles Trepat and Charles Postlewate. All three transcriptions have much in common in their handling of the easy parts of the piece, but the three of us have handled the difficult parts very differently. Carles Trepat's beautiful edition has has prioritised delicacy of sound, Charles Postlewate's version, published in his volume "Homage to Villa-Lobos", champions a RH technique using all five digits, as did Villa-Lobos, whereas I have spotted some opportunities afforded by some slightly unorthodox fingering to keep exceptionally close to Debussy's text. In my view there is room for all three transcriptions. Mine has been well received by Giacomo Susani, the only concert player I have so far shown it to.

I am immensely grateful to Bernhard Heimann for his patient and meticulous engraving, and to Christine Heimann for her elegant artwork on the title page.
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Last edited by GeoffB on Thu Oct 19, 2017 10:30 pm, edited 2 times in total.
Reason: File updated

Kurt Penner
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Re: [PDF] Debussy, Claude - Preludes Book 2 No. 3 La Puerta del Vino

Post by Kurt Penner » Sun Mar 19, 2017 7:54 pm

What an unusual piece! Very unlike the popular ones. Very ambitious of you to transcribe it. If there are any recordings of your transcription then please direct us to them.

KP

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attila57
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Re: [PDF] Debussy, Claude - Preludes Book 2 No. 3 La Puerta del Vino

Post by attila57 » Mon Mar 20, 2017 6:56 pm

John Kemp wrote:....I made the transcription (in 1979) because I loved the piece so much, and it was surely inspired by Spain and the guitar. I was able to do little with it at the time because of copyright constraints.
It's a case when copyright actually stopped the work of a famous composer to become well-known...

Anyway, it's here now! :merci: :merci: :merci:

It certainly looks impressive. I'll need to put in some hard work to hear what it sound like...

Attila
Music to hear, why hear'st thou music sadly?
Sweets with sweets war not, joy delights in joy...

William Shakespeare, Sonnet 8

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Re: [PDF] Debussy, Claude - Preludes Book 2 No. 3 La Puerta del Vino

Post by spanishguitarmusic » Tue Mar 21, 2017 1:18 am

Thank you for the pdf of this piece!

John Kemp
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Re: [PDF] Debussy, Claude - Preludes Book 2 No. 3 La Puerta del Vino

Post by John Kemp » Tue Mar 21, 2017 9:04 am

It is entirely appropriate that the welcome this transcription is receiving is considered, cautious, and somewhat provisional. Guitarists are taking it seriously and I am delighted with this, not least because of the enormous challenge that the engraver Bernhard Heimann – one of the unsung heroes of this blog – rose to. He nearly gave up at one point. Neither guitar music in general nor Debussy's score totally comply with the mathematical rigours of the conventions, and the engraving softwares try to corral the user into correcting 'mistakes'. I gave up with Capella and Bernhard nobly took over with Finale. The complexity of the notation is initially offputting, but the piece becomes much easier to play when you appreciate the logic of what I have done. When you encounter an unorthodox fingering, and try to find a better alternative, you will find there isn't one – at least, not one that preserves the advantages – such as they are – of what I have chosen to do.

John Kemp
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Re: [PDF] Debussy, Claude - Preludes Book 2 No. 3 La Puerta del Vino

Post by John Kemp » Tue Mar 21, 2017 9:56 am

SOME PERFORMANCE NOTES.
Technical anchors are important in guitar music. The position and the barré are the two traditional ones, but there is also the glide, much used by Tarrega and Llobet. It is difficult to jump quickly and smoothly from one end of the fingerboard to the other, but in slow pieces there is the option of the glide, and I have fingered this piece to contrive to place the third finger on the B sharps in bars 12 to 14 and in bar 74, for such glides, and I regard maintaining the third finger in place on the B sharps at the end bars 13 and 14 as important, even though it necessitates a large stretch to the adjacent C sharps.

I offer the ossia bar 58 which is closer to Debussy in that it restores his B flat, though my preferred choice is to omit the B flat as more technically idiomatic on the guitar. However, some players will find the open G in my preferred version difficult to play cleanly, and that is why I offered the ossia.

The use of the left hand thumb is achieving scattered but widespread usage, as a matter of common sense when it solves a problem. For example, I have observered both Fabio Zanon and Daniela Rossi use it in (different) Scarlatti pieces. It seems a natural solution in bar 74, and would be required irrespective of my penchant for the concurrent LH 3rd finger glide.

John Kemp
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Re: [PDF] Debussy, Claude - Preludes Book 2 No. 3 La Puerta del Vino

Post by John Kemp » Tue Mar 21, 2017 10:13 am

attila57 wrote:
John Kemp wrote:....I made the transcription (in 1979) because I loved the piece so much, and it was surely inspired by Spain and the guitar. I was able to do little with it at the time because of copyright constraints.
It's a case when copyright actually stopped the work of a famous composer to become well-known...
I have two problems with copyright. Firstly, publishers don't want to authorise transcriptions from 'unknown' arrangers, particularly galling when worse transcriptions then appear from known names. Secondly, my financial affairs are very straightforward, but random freelance work provokes a Tax Form which I regard as a fate worse than death. As an amateur, I do NOT want to provoke a tax form from the Inland Revenue as a result of a pittance in royalties!

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attila57
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Re: [PDF] Debussy, Claude - Preludes Book 2 No. 3 La Puerta del Vino

Post by attila57 » Tue Mar 21, 2017 8:55 pm

Yeah, these are some of the beauties of the issue... That's why our esteemed forum member 'Marieh' says 'copyleft' on her postings, I suppose.
Music to hear, why hear'st thou music sadly?
Sweets with sweets war not, joy delights in joy...

William Shakespeare, Sonnet 8

John Kemp
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Re: [PDF] Debussy, Claude - Preludes Book 2 No. 3 La Puerta del Vino

Post by John Kemp » Sun Jun 04, 2017 1:27 pm

THE FILE FOR THIS DEBUSSY PIECE HAS BEEN RESUBMITTED TO CORRECT ONE SMALL BUT IMPORTANT ERROR, and several non-critical errors. The important error is that the sharp sign in front of the high E in bar 57 has been corrected to a natural sign. MY APOLOGIES TO ALL FOR THIS ERROR. The other changes all reflect notation conventions. There is a convention that notes bearing an accidental which are tied across bar lines do not need the accidental repeated. Most but not all composers and engravers now follow this convention. Debussy (or his engraver) mostly followed the convention, but was inconsistent. I checked my transcription against the piano score, and perpetuated the inconsistencies. Bernhard Heimann has kindly alerted me to this inconsistency, and we have agreed to follow the convention throughout the piece. There is nothing for players to unlearn here (except for the corrected error in bar 57).

John Kemp
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Re: [PDF] Debussy, Claude - Preludes Book 2 No. 3 La Puerta del Vino

Post by John Kemp » Sun Jun 04, 2017 1:32 pm

John Kemp wrote:
Sun Mar 19, 2017 3:55 pm
The art of transcription begins with picking the right piece! I made the transcription (in 1979) because I loved the piece so much, and it was surely inspired by Spain and the guitar. I was able to do little with it at the time because of copyright constraints. I recently came across the subsequently published transcriptions by Carles Trepat and Charles Postlewate. All three transcriptions have much in common in their handling of the easy parts of the piece, but the three of us have handled the difficult parts very differently. Carles Trepat's beautiful edition has has prioritised delicacy of sound, Charles Postlewate's version, published in his volume "Homage to Villa-Lobos", champions a RH technique using all five digits, as did Villa-Lobos, whereas I have spotted some opportunities afforded by some slightly unorthodox fingering to keep exceptionally close to Debussy's text. In my view there is room for all three transcriptions. Mine has been well received by Giacomo Susani, the only concert player I have so far shown it to.

I am immensely grateful to Bernhard Heimann for his patient and meticulous engraving, and to Christine Heimann for her elegant artwork on the title page.
THE FILE FOR THIS DEBUSSY PIECE HAS BEEN RESUBMITTED TO CORRECT ONE SMALL BUT IMPORTANT ERROR, and several non-critical errors. The important eroor is that the sharp sign in front of the high E in bar 57 has been corrected to a natural sign. MY APOLOGIES TO ALL FOR THIS ERROR. The other changes all reflect notation conventions. There is a convention that notes bearing an accidental which are tied across bar lines do not need the accidental repeated. Most but not all composers and engravers now follow this convention. Debussy (or his engraver) mostly followed the convention, but was inconsistent. I checked my transcription against the piano score, and perpetuated the inconsistencies. Bernhard Heimann has kindly alerted me to this inconsistency, and we have agreed to follow the convention throughout the piece. There is nothing for players to unlearn here (except for the corrected error in bar 57).

John Kemp
Posts: 32
Joined: Wed Mar 15, 2017 8:55 am
Location: Whitstable, Kent UK

Re: [PDF] Debussy, Claude - Preludes Book 2 No. 3 La Puerta del Vino

Post by John Kemp » Sun Oct 08, 2017 7:37 pm

A SECOND RESUBMISSION - VERY SORRY! - The file is to the best of my ability indeed error free re the actual notes, but there's an error in fingering in Bar 84. I've had to re-finger the first beat from CVI to CI. I had fingered it in the sixth position, momentarily forgetting that my low E was down to D, making the B# unplayable as marked! The error came to light when I recently got down to learning my own work seriously. Fortunately, it works well with a first position barre. So the file needed replacing, and I am most grateful to our splendid and very patient engraver Bernhard Heimann for making the correction, and to our equally patient moderator GeoffB for handling the technicalities of dealing with a late edit.

John Kemp
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Re: [PDF] Debussy, Claude - Preludes Book 2 No. 3 La Puerta del Vino

Post by John Kemp » Thu Oct 19, 2017 3:17 pm

AN AID TO PERFORMANCE & MEMORISATION (and - SORRY - another SMALL CORRECTION!) I am most grateful to the long-suffering Bernhard Heimann and GeoffB for updating the file - now Version 14 - and replacing Version 13 on this website. I have to say in my defence, that only 4 of these 14 have been submitted to Delcamp - versions 1 to 10 represented Bernhard's meticulous documentation of the work in progress, pre-submission!
DebussyCORRECTIONsf.jpg
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John Kemp
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Re: [PDF] Debussy, Claude - Preludes Book 2 No. 3 La Puerta del Vino

Post by John Kemp » Fri Oct 20, 2017 10:13 am

THE LATEST VERSION of this submission - uploaded yesterday 19/10/2017 - I really really hope will be the last!!!

For those who have downloaded the earlier versions, in sum total they cover ONLY THREE CRITICAL ERRORS (i.e. errors that affect the performance).
Measure 38 An erroneous # has been removed from C of the last chord
Measure 57 The erroneous # on the high E has been relaced by a cautionary natural
Measure 84 The first beat has been re-fingered from CVI (impossible) to C!.

John Kemp
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Re: [PDF] Debussy, Claude - Preludes Book 2 No. 3 La Puerta del Vino

Post by John Kemp » Tue Oct 24, 2017 10:01 am

Re: [PDF] Debussy, Claude - Preludes Book 2 No. 3 La Puerta del Vino
LATE EDIT 24 Oct 2017: There is a SERIOUS ERROR :oops: in my revision of 8th Oct, which remains unresolved in my post of 20th Oct. I had refingered the B# in MEASURE 84 to make it playable, but have only just noticed that in all 3 versions submitted to Delcamp (and in a further 11 versions, unsubmitted, being work in progress) that the problem was not in my original fingering at the sixth position, but that the B# should in fact read G#, which is very easy to play at the CVI. My initial playing of the piece was from my own handwritten manuscript, in which Measure 84 was indeed correct. But I rested the piece and have only just come back to it, enjoying playing it from Bernhard’s beautiful engraving, but I was too hasty with my posting of 8th Oct!

I was off my guard, having lost my copy of the piano original. I have now replaced it and checked every single note, rest, and fingering. All OK. As author, arranger, and proofreader, I accept full responsibility for my inadequacy in not spotting this earlier, and for my idiotic post of 8th Oct.

I do believe that this piece is useful addition to the guitar repertoire. The player has a choice now of three versions, mine, playable but I believe to be as close to an urtext version as is possible in a transcription, a very beautiful version by Carles Trepat, which is not quite as close to Debussy's text, and an interesting version using a five-finger right hand technique, by Charles Postlewate, buried somewhat out of sight in his volume "Homage to Villa-Lobos".


The corrected measure is shown below.
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