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

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

Post by John Kemp » Tue Nov 21, 2017 10:00 pm

The art of transcription begins with picking the right piece! I made the transcription many years ago (in 1979) because I loved the piece so much, and it was surely inspired by Spain and the guitar. But I was unable to do much with it at the time because of copyright constraints. However, 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 over rigorous adherence to the piano text; 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 and different players will choose their own favourites. My version has been well received by Giacomo Susani, the only concert player I have so far shown it to.

This SECOND EDITION corrects six errors in the First Edition. Measure 2 – The D is corrected to D#; Measure 38 – An erroneous # has been removed from C of the last chord; Measure 39 –The first F now has a cautionary #; Measure 57 – The erroneous # on the high E has been removed; Measures 68 – 69 The F sharps are now tied across the bar line; Measure 84 – The low B# in the first beat has been corrected to read G#. Though we corrected each of these as they came to light, we now offer players a ‘clean’ version of the text. 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.

We have also taken the opportunity to update the file to ensure that every one of Debussy's numerous expression marks are now carried over into the guitar version. 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 had checked my text against the piano score, and simply perpetuated the inconsistencies. Bernhard Heimann has kindly alerted me to this matter, and we have agreed to follow the convention throughout the piece, but there is nothing for players to unlearn here.

SOME PERFORMANCE NOTES.
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.

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 of measures 13 and 14 as important, even though it necessitates a large stretch to the adjacent C sharps.

I offer the ossia measure 58 which is closer to Debussy in that it restores a missing note - his B flat - 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.

ADDENDUM 29th November The pdf has been replaced today, simply to clarify the footnote on page one, documenting the history of the submission.
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Last edited by John Kemp on Wed Nov 29, 2017 3:08 pm, edited 3 times in total.

tsulej
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Re: [PDF] Debussy, Claude – Preludes Book 2 No. 3 La Puerta del Vino SECOND EDITION.

Post by tsulej » Thu Nov 23, 2017 3:59 pm

Any chance to hear a record of this arrangement?
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mousemat
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Re: [PDF] Debussy, Claude – Preludes Book 2 No. 3 La Puerta del Vino SECOND EDITION.

Post by mousemat » Tue Nov 28, 2017 1:24 pm

Thank you for the score

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

Post by John Kemp » Tue Nov 28, 2017 4:24 pm

RECORDING - and FINAL CORRECTIONS.
ADDENDUM 28th November
The pdf file has had to be replaced today with three more corrections: MEASURE 2 – D should read D#; MEASURE 69 – the F# should be tied to the F# in MEASURE 68; MEASURE 39 – the first F requires a cautionary #. I apologise to everyone for this very embarrassing matter - I had actually made these corrections before I submitted the second edition, but unfortunately submitted the wrong longhand draft to Bernhard for engraving. I then checked his work... ... ... against the wrong version!!!

ADDENDUM 29th November
The pdf has been replaced YET AGAIN today, simply to clarify the footnote on page one, documenting the history of the submission. No further changes to the musical text have been made, nor are any necessary.


Re RECORDING: I can of course play the piece, but not (yet) well enough to record it. I'm only an amateur. Giacomo Susani had been hoping to record it, but may have been put off by the errors - he's got better things to do than sort it out - it's my responsibility. I shall send it to him again now and report here if anything comes of it.
Last edited by John Kemp on Wed Nov 29, 2017 2:54 pm, edited 1 time in total.

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rkguitar16
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Re: [PDF] Debussy, Claude – Preludes Book 2 No. 3 La Puerta del Vino SECOND EDITION.

Post by rkguitar16 » Tue Nov 28, 2017 5:57 pm

Beautifully done. Thank you for sharing it.

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

Post by John Kemp » Sat Dec 23, 2017 10:58 am

SOME PERFORMANCE NOTES.

Transcriptions can be a lose-lose situation! ... ... BAR 9.In restoring all Debussy's expression marks in my Second Edition, I have of course removed the distinction between phrasing (interpretation) and LH slurs (a technical performance matter). This is not an easy piece, but most players who can reasonably attempt it will deal with this matter without a second thought. However, for the record (if only to show that I am aware of it) an early clear-cut example is the last beat of bar 9. I do not slur the E# to D# but it's obviously a matter for personal choice.

BARS 13 and 14, second beat. The LH stretch between C# and B# is contrived to generate a 3rd finger slide between both the preceding E# and the following F#, helping fluency.

BARS 38-40. The numerous accidentals make these bars difficult to read and to memorise (but not to play!) It helps to note simply that all three bars have five triads, the middle one in bars 38 & 39 and triads 2 3 and 4 in bar 40 being minor triads fingered 1,2,3, and the other ten triads are all major, fingered 1,4,3.

BARS 44 to 49. These are perhaps the hardest bars to play well. You need to maintain the chords as best you can; exploit the F# as a valuable anchor point; don't miss the subtle change of harmony from D# to D natural in bar 47; and respect the purposefully varied fingering of the low B.

BAR. 74. Some players may choose to use the index finger rather than the LH thumb, especially if they play a cut-away guitar. I have specified the thumb as I find it the easiest solution to this bar.

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

Post by John Kemp » Wed Dec 27, 2017 3:28 pm

LA PUERTA DEL VINO – previously published versions.

(1) Debussy’s original piano version (Durant 2013). This is available free of charge from several websites – I suggest the source below.
http://www.classicpianosolos.3webhost.c ... o-1400.php

(2) Carles Trepat’s edition is available from Los Angeles Classical Guitars (LACG) by searching their site for:
Debussy, Claude. Música para Guitarra Vol. 1. Arr. Trepat

… and you can hear him perform it on YouTube at
https://www.youtube.com/watch?v=Z-8ZrCDfDuo

(3) Charles Postlewate’s volume “Homage to Villa-Lobos”, text only, containing “La Puerta del Vino” in a version for guitar using all five digits of the right hand, and many other pieces, is available from Amazon. It was originally published with an optional CD, but the version with CD is out of print now.

Postlewate’s own playing of the pieces from “Homage to Villa-Lobos”, is available on DVD from LACG on offer, marked down from $24.95 to $9.95, which may mean that stocks are low. Postage to Europe is expensive, however.

I quote some representative equivalent bars from each of the four versions to help readers assess which, if any, of the three guitar versions they wish to investigate further.


Search LACG site for: Postlewate, Charles. Five-Finger Technique for the Right Hand
pdv 1.jpg
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John Kemp
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Re: [PDF] Debussy, Claude – Preludes Book 2 No. 3 La Puerta del Vino SECOND EDITION.

Post by John Kemp » Tue Feb 20, 2018 10:12 pm

Can I thank moderator lagartija for the kind way he has dealt with my unintentional transgression in my inclusion of commercial links in my post above. From the nature of my post it will be obvious that I was neither seeking nor would receive any benefit whatsoever from anyone making a purchase as a result: I just wanted to help players to access the options and make their own informed choices as to which version of the Debussy piece they wished to take up (I still prefer mine!) My non-response to lagartija's initial request and my absence from the forum has mainly been due to the fact that for several weeks I have been very unwell - an exceptionally vicious attack of influenza (all ok now!)

John Kemp
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Debussy, Claude – Preludes Book 2 No. 3 La Puerta del Vino THIRD EDITION.

Post by John Kemp » Sat Oct 13, 2018 3:39 pm

Herewith a THIRD EDITION of my Debussy transcription. I am an experienced but amateur player and this piece is right at the limit of what I can play myself, the final sticking points are the 4 harmonics in bars 35 and 36. I am at last now fairly fluent with the whole piece except for these harmonics. I cannot play them myself reliably, though I am sure it's no problem for a professional.

I have therefore produced a Third Edition, solely to replace these harmonics with chords high on the fretboard, and relegated the harmonics to a footnote "ossia". An advantage is that the new chords restore Debussy's parallel fifths, these two bars being the only place where I had omitted Debussy's harmonisation. On balance I prefer the new version, but it's not a painless option: those high chords have to be played without distorting the rhythm, which may necessitate cutting the first note of each the triplet short.

Other alternatives in bars 35 and 36 are to play the top notes only in the 2nd and 3rd triplets in each bar, either as normal notes at high frets, or as harmonics, which are much easier if one does not attempt to play the lower octaves indicated in the second edition.

We have taken the opportunity to also improve the layout of the semiquaver in Bar 39. It was a suboptimal layout, not a notation error.

I do not in way wish to disown the Second Edition,the full text of which is available within the third edition as the ossia footnote, and I remain very happy with it. No errors have come to light in nearly a year since I produced the Second Edition, and I am convinced that the second edition and now this third edition are both error-free, and I wish to make no other changes. I am sure any professional who wants to play it will anyway have a think about his/her own tweaks and improvements.

Again I must thank Bernhard and Christine Heimann for their beautiful typesetting and artwork, and their great patience with me. I hope readers will enjoy this Debussy piece as much as I do.
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