{"id":9218,"date":"2018-03-05T16:05:13","date_gmt":"2018-03-06T00:05:13","guid":{"rendered":"http:\/\/classicalguitarmagazine.com\/?p=9218"},"modified":"2018-03-05T16:05:13","modified_gmt":"2018-03-06T00:05:13","slug":"artful-arrangement-carlos-barbosa-lima-manuel-barrueco-bill-kanengiser-and-david-russell-on-translating-pieces-to-the-guitar","status":"publish","type":"post","link":"https:\/\/classicalguitarmagazine.com\/artful-arrangement-carlos-barbosa-lima-manuel-barrueco-bill-kanengiser-and-david-russell-on-translating-pieces-to-the-guitar\/","title":{"rendered":"Artful Arrangement: Carlos Barbosa-Lima, Manuel Barrueco, Bill Kanengiser, and David Russell On Translating Pieces to the Guitar"},"content":{"rendered":"<h6>BY MARK SMALL | FROM THE SPRING 2018 ISSUE OF <em>CLASSICAL GUITAR<\/em><\/h6>\n<p class=\"p1\">Guitarists are sometimes chided by pianists and other instrumentalists for poaching chestnuts from their repertoire and transcribing them for the guitar. Yet pieces such as <i>Asturias<\/i> by Alb<span class=\"s1\">\u00e9<\/span>niz, the Spanish Dances of Granados, and the Bach sonatas and partitas for solo violin or cello have received vibrant new life in the guitar world. Some pieces\u2014like the sonatas of Scarlatti\u2014seem to have arrived home when <span class=\"s2\">played on guitar. Ultimately, masterful transcriptions are good for music and for the legacy of the original composers. Guitar transcriptions give us an intimate view of the musical thinking of great composers who never wrote for our instrument<\/span>. Here, Carlos Barbosa-Lima, Manuel Barrueco, Bill Kanengiser, and David Russell share thoughts on their philosophies and approaches to transcribing and arranging.<\/p>\n<hr \/>\n<p><strong><img data-recalc-dims=\"1\" decoding=\"async\" class=\"alignleft size-full wp-image-9221\" src=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2018\/02\/Carlos-Barbosa-Lima-Arranging.png?resize=250%2C300\" alt=\"Carlos Barbosa Lima Arranging\" width=\"250\" height=\"300\" \/>CARLOS BARBOSA-LIMA<\/strong><br \/>\n<em>Adding the Arranger\u2019s Touch<\/em><\/p>\n<p class=\"p1\">Carlos Barbosa-Lima has vast experience transcribing and arranging a broad assortment of music for guitar. Over the course of his long career, he has arranged and performed in a range of styles, including popular Brazilian songs, jazz and ragtime music, Broadway tunes, Beatles songs, and more, in addition to classical music from almost every period.<\/p>\n<p class=\"p3\"><span class=\"s1\">Born in S\u00e3o Paulo, Brazil, in 1944, Barbosa-Lima started playing guitar at age seven and began arranging music for the instrument by ear a few years later. By the time he was ten, he was studying with Isa\u00edas<\/span><span class=\"s2\">\u00a0<\/span><span class=\"s1\">S\u00e1vio. After his concert debut in Rio de Janeiro in 1958, he began\u00a0studying\u00a0with composer Theodoro Nogueira. \u201cHe introduced me to the books by Paul Hindemith, which led me to discover the wonderful world of harmony and counterpoint, leading into analysis of orchestral\u00a0works by the great masters of music,\u201d Barbosa-Lima recalls.<\/span><\/p>\n<p class=\"p3\">It was Nogueira who piqued Barbosa-Lima\u2019s interest in transcribing. \u201cI became interested in understanding how the wonderful transcriptions by T\u00e1rrega, Llobet, and Segovia were done and looked at the original piano music,\u201d he says. \u201cGradually, I started doing my\u00a0own transcriptions\u00a0and harmonizing some Brazilian popular and folkloric tunes.\u201d After Barbosa-Lima played Guido Sant<span class=\"s3\">\u00f3<\/span>rsola\u2019s <i>Concertino for Guitar and Orchestra<\/i> in 1960, Sant\u00f3rsola began mentoring the young guitarist, deeply influencing his transcribing and his philosophy about music.<\/p>\n<p class=\"p3\">Barbosa-Lima advises that transcribers should be faithful to the original score \u201cas an overall guide,\u201d but that \u201cchanges have to be made. It\u2019s like translating something from one language to another, and l feel that\u00a0literal translations never work. Even in pieces by classical composers, some kind of arranging has to be done.\u201d He works by the principle that the new version should have its own identity \u201cwith a link to the original,\u201d no matter what style of music he is working in.<\/p>\n<p class=\"p3\"><span class=\"s1\">\u201cI begin by focusing on the melody and the harmony, then creating a solid bass line,\u201d he says. \u201cThe counterpoint and embellishments of the harmonic structure come last. I like to move the melody to the bass or middle range with the harmony on top and below. It\u2019s an orchestration concept.\u201d<\/span><\/p>\n<p class=\"p3\">Choosing the right key is also an early decision the transcriber needs to make, but sometimes the initial choice may not be the best one. \u201cMany times I\u2019ll change my mind\u2014even after I\u2019m halfway through,\u201d he says.\u00a0\u201cA good example of that is my solo guitar arrangement of Ravel\u2019s <i>Pavane for a Dead Princess<\/i>, which I recorded on the LP <i>Impressions<\/i> in 1985. I started in the key of A, but when I reached a middle section, the harmonic progression convinced me that I had to move the whole piece to G. After I did, the piece gained greater dimension on solo guitar.\u201d<\/p>\n<p class=\"p3\">Among the more ambitious pieces Barbosa-Lima has arranged is George Gershwin\u2019s 1924 jazz-infused piano concerto <i>Rhapsody in Blue<\/i>. \u201cI thought of the orchestral dimension of the guitar, then decided to arrange it as a guitar duet in 1985. Later, in 1988, I expanded the arrangement to two guitars and orchestra, keeping the essence of the original orchestration and adapting whenever needed.\u201d He took great liberties in the cadenzas, taking a cue from the improvised feel of Gershwin\u2019s original piano solos.<\/p>\n<p class=\"p3\">\u201cFor the cadenzas, I wrote out parts for the two guitars, creating an improvisational Brazilian-jazz flavor,\u201d Barbosa-Lima says. \u201cIt was probably a concept ahead of its time and it worked out well.\u201d Sharon Isbin played the guitar duet arrangement with Barbosa-Lima, and later the two performed his orchestral version at a festival in New Hampshire.<\/p>\n<p class=\"p3\">Barbosa-Lima feels that a successful guitar arrangement should re-create the original music with the personal touch of the arranger. \u201cThe overall sonority has to be the foremost goal,\u201d he says. \u201cA link to the original composer\u2019s idea has to be kept, then augmented with inventiveness to create a fresh version of the music. I agree with Segovia and others who say that the guitar arrangement has to sound at least as good as the original. But I would go beyond that by saying that the arrangement has to be creative and fresh, making the listener feel that it sounds <i>better<\/i> on the guitar.\u201d<\/p>\n<p><em>Watch Barbosa-Lima play his beautiful and imaginative arrangement of <\/em>Don&#8217;t Cry for Me Argentina<em>, from the hit Broadway musical <\/em>Evita<em>:<\/em><br \/>\n<iframe src=\"https:\/\/www.youtube.com\/embed\/VkbODcNR5S4\" width=\"780\" height=\"439\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<hr \/>\n<p><strong><img data-recalc-dims=\"1\" decoding=\"async\" class=\"alignleft size-full wp-image-9222\" src=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2018\/02\/Manuel-Barruecco-Arranging.png?resize=250%2C300\" alt=\"Manuel Barruecco Arranging\" width=\"250\" height=\"300\" \/>MANUEL BARRUECO<\/strong><br \/>\n<em>How Much Furniture?<\/em><\/p>\n<p class=\"p1\">S<span class=\"s1\">ince his amazing early albums for the Vox label, Manuel Barrueco has showcased his own transcriptions. His take on music by Bach, Alb<\/span><span class=\"s2\">\u00e9<\/span><span class=\"s1\">niz, Granados, Scarlatti, and Paganini reveals his deep understanding of different style periods and his ability to create a transcription that really <i>sings<\/i> on the guitar. In 1981 he published his transcription of <i>Suite Espa\u00f1ola<\/i> <i>Op. 47<\/i> by Alb\u00e9niz, and has subsequently issued his editions through a variety of publishers, including his own Tonar imprint, whose catalog includes plenty of Bach, plus music by Tan Dun, Ernesto Lecuona, Astor Piazzolla, Arvo P\u00e4rt, Keith Jarrett, and others. <\/span><\/p>\n<p class=\"p3\"><span class=\"s1\">In a recent phone conversation, Barrueco shared his thoughts on adapting music for guitar. \u201cIn theory, anything could be arranged; it depends on how far away you go from what is written,\u201d he says. \u201cThat\u2019s a personal thing. Then it\u2019s up to listeners to decide if they like it or not.\u201d<\/span><\/p>\n<p class=\"p3\"><span class=\"s1\">The process frequently requires transposing the original to a guitar-friendly key, but in one notable case, Barrueco maintained the original tonality that\u2019s not used in a lot of guitar music. \u201cI did a transcription of Bach\u2019s <i>Sonata No. 1<\/i> for solo violin in G minor,\u201d he says. \u201cEveryone knows the fugue from that piece, which Bach also arranged for lute, and it\u2019s usually played in A minor on the guitar. I\u2019ve been asked why I transcribed the whole sonata in G minor rather than A minor where it works better. To me, the last thing we need is another piece in A minor. If it works in G minor, why should we change it? The guitar has difficulties in some keys, depending on the work\u2019s texture. If it\u2019s a single line, you can do anything you want. When the original key doesn\u2019t work well, I find a key where it does work and follow the logic of the piece.\u201d<\/span><\/p>\n<p class=\"p3\"><span class=\"s1\">In transcribing keyboard music, textures need be thinned and octaves adjusted to make the transfer to the guitar. The best transcribers understand how to maintain the composer\u2019s intent and create something playable on the guitar. <\/span><\/p>\n<p class=\"p3\"><span class=\"s1\">\u201cIt\u2019s like moving furniture from a bigger room to a smaller room,\u201d Barrueco explains. \u201cOne approach is to see how much furniture the room can accommodate, keeping as much as possible. You can stop there, saying you kept as much of the original as you could. But there are some steps you can take after that. The more I work with music, the more I think there is stuff that needs to be taken out. It shouldn\u2019t be about gathering as much information as possible and overcrowding the room. I have done that and speak from experience. You need to see if you can take anything <i>out<\/i> to make the room look better. That\u2019s usually a final step. You don\u2019t want to just pile stuff up in the room. You have to decide if you want to be accurate and in style, and guess at how the composer might have done it.\u201d<\/span><\/p>\n<p class=\"p3\"><span class=\"s1\">Barrueco sometimes takes another step. \u201cMaybe after you\u2019ve put what you want in the room, it looks kind of empty, so you put a lamp in there,\u201d he says. \u201cLet\u2019s say the lamp represents something original and it\u2019s a risk to add it. You have to decide if putting it into the piece makes the guitar sound better. You want the information of the original notes, but the guitar has to sound good, like the piece was originally written for the instrument. You also have to consider the physical demands of playing the arrangement.\u201d <\/span><\/p>\n<p class=\"p3\"><span class=\"s1\">Barrueco stresses that the transcriber must be very familiar with the composer\u2019s work. \u201cEverything by Bach that I listen to or play accumulates and gives me a sense of his style that I draw on when I make a transcription,\u201d he says. \u201cBut once you add a note to a Bach violin piece, it\u2019s no longer Bach. It\u2019s not the original, it\u2019s different. But if you don\u2019t add anything, that doesn\u2019t match his own style of arranging. For example, he made a keyboard arrangement of the C major sonata for solo violin. He was very free with the music and added notes to make the piece sound good on another instrument. When I do a Bach transcription, I hope it sounds like something he would have done.\u201d<\/span><\/p>\n<p class=\"p3\"><span class=\"s1\">Barrueco agrees with the idea that the transcriber needs to create something that sounds at least as good as the original. \u201cIf it doesn\u2019t sound as good as the original, what is the point?\u201d he asks. \u201cThe point might be that you live in the guitar world and you really want to play the piece. If you live in the musical world and your transcription doesn\u2019t sound as good as the original, why would anyone want to listen to it? You should bring new light to a piece. If it\u2019s done well, the guitar has its own voice, and a good piece should translate well. If you put it in a different light, it may sound even better than the original.\u201d<\/span><\/p>\n<p><em>Listen to Maestro Barrueco play his own transcription of &#8220;Sevilla&#8221; from Alb\u00e9niz&#8217;s <\/em>Suite Espa\u00f1ola Op. 47<em>:<\/em><br \/>\n<iframe src=\"https:\/\/www.youtube.com\/embed\/0N5qlWuQ3EM\" width=\"780\" height=\"439\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<hr \/>\n<p><strong><img data-recalc-dims=\"1\" decoding=\"async\" class=\"alignleft size-full wp-image-9223\" src=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2018\/02\/Bill-Kanensiger-Arranging.png?resize=250%2C300\" alt=\"Bill Kanensiger Arranging\" width=\"250\" height=\"300\" \/>BILL KANENGISER<\/strong><br \/>\n<em>\u201cA Little Outlandish\u201d<\/em><\/p>\n<p class=\"p1\"><span class=\"s1\">B<\/span><span class=\"s2\">ill Kanengiser has made some pretty audacious choices in the pieces he has arranged for the Los Angeles Guitar Quartet (of which he is a founding member), as well as for solo guitar. His solo guitar arrangement of Mozart\u2019s <i>Piano Sonata No. 11<\/i>, which includes the famous \u201cRondo ala Turca\u201d (Turkish March) as its third movement, is a case in point. Movie buffs will recall that Kanengiser played his arrangement of the \u201cTurkish March\u201d in the soundtrack of the 1986 movie <i>Crossroads<\/i>. In the story, the main character, played by Ralph Macchio, is portrayed playing the piece on camera before deciding to leave his classical guitar studies at Juilliard to become a bluesman. <\/span><\/p>\n<p class=\"p3\"><span class=\"s2\">\u201cI\u2019m still pretty proud of that arrangement,\u201d Kanengiser says. \u201cIn its day, it was a little outlandish for a guitarist to do that. Now you have guitarists like Paul Galbraith doing a lot of that sort of thing. Back in the day, though, the \u2018Turkish March\u2019 raised a few eyebrows.\u201d<\/span><\/p>\n<p class=\"p3\"><span class=\"s2\">For the quartet, Kanengiser has tackled large-scale works such as Franz Liszt\u2019s <i>Hungarian Rhapsody No. 2<\/i>, Rimsky-Korsakov\u2019s <i>Capriccio Espagnol<\/i>, and Peter Warlock\u2019s <i>Capriol Suite<\/i>. \u201cWhen I was a student at USC, I took an orchestration class, and we studied an excerpt from <i>Capriccio Espagnol,\u201d<\/i> Kanengiser recalls. \u201cI felt that Rimsky-Korsakov was trying to make the orchestra sound like a big guitar. So I was trying to return it to its Andalusian roots. Parts of the arrangement don\u2019t sound as grandiose or colorful as the original. But in places where the orchestra tries to imitate guitar strumming, it really sounds better to have guitars strumming.\u201d<\/span><\/p>\n<p class=\"p3\"><span class=\"s2\">Kanengiser stresses that choosing the right piece is crucial. \u201cThere are some pieces that are never going to sound good on the guitar,\u201d he says. \u201cI would love to play the Samuel Barber <i>Adagio for Strings<\/i>, but that\u2019s a great example of something that just won\u2019t work for guitars; the instrument is too percussive. I also think it would be great to play Stravinsky\u2019s <i>Rite of Spring<\/i>. You could play the right notes, but it would sound stupid. The measure of a successful arrangement is that a casual listener could think it was originally written for guitar or guitar ensemble.\u201d<\/span><\/p>\n<p class=\"p3\"><span class=\"s2\">Kanengiser considers himself more of a transcriber than an arranger, although he excels at both. \u201cIf I am approaching a classical work, my goal is to be as faithful as possible to the original, but to be adaptable so that the overall effect maintains the intent of the piece,\u201d he says. \u201cIt was very different when I adapted Ralph Towner\u2019s <i>Icarus<\/i> in a sort of Brazilian style for the LAGQ <i>Guitar Heroes<\/i> album. For that one, I recomposed lines and changed the feel.\u201d Similarly, in his arrangement of [Yes guitarist] Steve Howe\u2019s <i>Mood for a Day<\/i>, he went fully into the flamenco style. \u201cWe had flamenco dancers doing <i>palmas<\/i> and stamping on the floor and we played it like a <i>bulerias<\/i> on flamenco guitars,\u201d he says. \u201cI really sliced and diced the piece, changing the time signature and the feel. In that type of arrangement, you function more like a composer.\u201d<\/span><\/p>\n<p class=\"p3\"><span class=\"s2\">LAGQ transcribes a lot of their repertoire and also has a stable of writers who know what they are looking for musically. Just because the LAGQ\u2019s John Dearman plays a seven-string guitar doesn\u2019t mean he\u2019s always relegated to playing bass lines. \u201cOur gripe with most published arrangements for guitar quartet is that they are organized as if they were for a string quartet. The top staff has the highest notes and the bottom staff has the lowest notes,\u201d Kanengiser says. \u201cThat makes no sense with guitars because a guitar can function as the bass, the lead, or the rhythm. It can even be like drums. It is more interesting for the players and the audience if the parts are passed around.\u201d <\/span><\/p>\n<p class=\"p3\"><span class=\"s2\">LAGQ also seeks to create a spatial effect with their arrangements. \u201cWe try to explore the antiphonal potential of the guitar quartet,\u201d Kanengiser states. \u201cThis is something a string quartet couldn\u2019t do. Very often in our music, I may have the two guys on the right playing a little duo together, then do the same for the two guys on the left. The piece I did that on the most was one of the Chet Atkins pieces on the <i>Guitar Heroes<\/i> album. For <i>Blue Ocean Echo<\/i>, I wanted the quartet to imitate a tape delay by having each of us play the same passages canonically and pass them clockwise and counterclockwise across the group. That created a natural echo effect.\u201d<\/span><\/p>\n<p class=\"p3\"><span class=\"s2\">LAGQ sometimes infuse humor in their arrangements. Their <i>Pachelbel \u2018Loose\u2019 Canon <\/i>was a group collaboration: \u201cWe were recording for the Delos label then, and they specifically asked us to do Pachelbel\u2019s Canon\u2014but it actually doesn\u2019t work very well for guitars. We were sitting around and I just started playing the chords and Scott [Tennant] started fooling around with a reggae accompaniment. We all jammed on it a bit. Later, Andy [York] wrote out a bluegrass variation, and Scott came up with a rhumba variation. I wrote a melody for it that works as a canon in the Gypsy Kings style. When we presented it to the record company they were aghast. They included it on the record, but as a bonus track following about 20 seconds of silence. It was as if they didn\u2019t want anyone to hear it! But it has turned out to be our biggest hit on YouTube.\u201d<\/span><\/p>\n<p><em>Ready for a Hungarian-Spanish fusion? Here&#8217;s the LAGQ taking on Liszt&#8217;s<\/em> Hungarian Rhapsody No. 2<em>:<\/em><br \/>\n<iframe src=\"https:\/\/www.youtube.com\/embed\/OoEXt0KaFs0\" width=\"780\" height=\"439\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<hr \/>\n<p><em><img data-recalc-dims=\"1\" decoding=\"async\" class=\"alignleft size-full wp-image-9224\" src=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2018\/02\/David-Russell-Arranging-Guitar.png?resize=250%2C300\" alt=\"David Russell Arranging Guitar\" width=\"250\" height=\"300\" \/>Views on Transcription from<\/em><br \/>\n<strong>DAVID RUSSELL<\/strong><\/p>\n<p class=\"p1\"><span class=\"s1\"><b>CLASSICAL GUITAR: <\/b>In your transcribing, you\u2019ve taken on lesser-known works by Bach,\u00a0Couperin, Weiss,\u00a0Handel, and others that have not been widely explored by guitarists. Is your motivation the desire to play a given piece, or to add to the repertoire of the guitar?<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\"><b>DAVID RUSSELL:<\/b> It is actually a desire to add to my own repertoire, which indirectly might add to the general repertoire of the guitar. I always enjoy playing works that haven\u2019t been played often on the guitar\u2014not to exclude my enjoyment of the better- known works. For every successful transcription, there are others that I give up on after having transcribed them and spending time learning them. <\/span><\/p>\n<p class=\"p1\"><span class=\"s1\"><b>CG: <\/b>You have also revisited pieces by Alb<\/span><span class=\"s2\"><b>\u00e9<\/b><\/span><span class=\"s1\">niz, Granados, and others that have been very popular among guitarists through editions published by earlier guitarists. In your versions are you trying to get closer to the piano originals?<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\"><b>RUSSELL:<\/b> Yes, I decided to give Alb\u00e9niz and Granados my full respect and tried to be as faithful as possible to the originals. There is always a dilemma that if the transcription becomes too technically difficult to play, it also becomes difficult to be expressive musically. Each person has to resolve this problem for themselves and this is the reason why I try to make my own transcriptions of most of the works I wish to play.<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\"><b>CG<\/b>: Can you describe a bit of your thought process when making transcriptions of piano music?<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\"><b>RUSSELL:<\/b> I suppose foremost in my mind is: \u201cIf it doesn\u2019t sound good, don\u2019t do it.\u201d In some pieces the melody is the most important part of the music; in others, perhaps the counterpoint; in some pieces, the texture. So, after having decided what the priorities are, I focus on those issues during the transcription.<\/span><\/p>\n<p class=\"p1\"><b>CG: <\/b>Comparing your version of Bach\u2019s D minor Partita with transcriptions by others, your choices of bass notes and the harmony they imply in relation to the melody can alter the emotional content of a passage. Does your ear lead you to some choices, or are you mainly trying to discern what you feel Bach\u2019s intention was?<\/p>\n<p class=\"p1\"><span class=\"s1\"><b>RUSSELL:<\/b> The short answer would be: both. I feel that the harmony can add to the tension of the moment, something which Bach did in much of his music. Often there are more options than the obvious harmonization, and it\u2019s enjoyable to explore them.<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\"><b>CG: <\/b>When you arranged the Celtic music for the <i>Message of the Sea<\/i> album, you had a lot more freedom to treat the melodies and chord progressions. What was your idea in adapting this music for guitar?<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\"><b>RUSSELL:<\/b><span class=\"Apple-converted-space\">\u00a0 <\/span>When transcribing music written by great composers such as Bach, Handel, and others, I feel I have to be as faithful as possible to what those composers wrote. In the case of the Celtic music, I felt I could be much more adventurous and in some cases write a sort of fantasy on the melody, while of course trying to keep the spirit of the Celtic music as alive as possible.<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\"><b>CG: <\/b>In your master classes do you recommend that student guitarists try their hand at transcribing?<\/span><\/p>\n<p class=\"p1\"><b><span class=\"s1\">RUSSELL<\/span>:<\/b> Yes, of course. I feel that anyone who is going to be a professional guitarist should transcribe the majority of the works they are going to play, as this brings a much greater intimacy with the pieces and greater insight into the intentions of the composer. Having said that, I sometimes use other people\u2019s transcriptions, as there are guitarists who have made wonderful contributions to the guitar repertoire. In those cases, I still compare their work to the original.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p><em>Russell plays his transcription of Enrique Granados&#8217;<\/em> Danza No. 10<em>:<\/em><br \/>\n<iframe src=\"https:\/\/www.youtube.com\/embed\/XS-qnh2tjNA\" width=\"780\" height=\"439\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n","protected":false},"excerpt":{"rendered":"<p>BY MARK SMALL | FROM THE SPRING 2018 ISSUE OF CLASSICAL GUITAR Guitarists are sometimes chided by pianists and other instrumentalists for poaching chestnuts from their repertoire and transcribing them for the guitar. Yet pieces such as Asturias by Alb\u00e9niz, the Spanish Dances of Granados, and the Bach sonatas and partitas for solo violin or cello have received vibrant new life in the guitar world. Some pieces\u2014like the sonatas of Scarlatti\u2014seem to have arrived home when played on guitar. Ultimately, [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":9220,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"advanced_seo_description":"","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[5],"tags":[],"class_list":["post-9218","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-stories"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2018\/02\/Artful-Arranging-Carlos-Barbosa-Lima-Manuel-Barrueco-Bill-Kanengiser-David-Russell-.png?fit=750%2C400&ssl=1","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/9218","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/comments?post=9218"}],"version-history":[{"count":0,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/9218\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media\/9220"}],"wp:attachment":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media?parent=9218"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/categories?post=9218"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/tags?post=9218"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}