1. Menuet - Jean-Baptiste Lully (1632-1687)
2. Allegretto - James Hook (1746-1827)
3. Ayre - Jeremiah Clarke (ca. 1674-1707)
4. Etude on Ode To Joy - Ludwig van Beethoven (1770-1827)
5. Gavotte - Johann Georg Witthauer (1750-1802)
6. Minuet - Henry Purcell (1659-1695)
7. Minuet - Leopold Mozart (1719-1787)
8. Evening Song - Daniel Gottlob Türk (1756-1813)
9. Rigaudon - Johann Ludwig Krebs (1713-1780)
10. Canzonet - Christian Gottlob Neefe (1748-1798)
11. Ecossaise in G - Johann Wilhelm Hässler (1747-1822)
12. Air - Henry Purcell (1659-1695)
13. Bourée - Georg Philipp Telemann (1681-1787)
14. German Dance - Anonymous (Early 18th Century)
15. Minuetto in F Major - Johann Christian Bach (1735-1782)
16. Capriccio - Johann Wilhelm Hässler (1747-1822)
17. Minuet No. 1 in F - Georg Friedrich Händel (1685-1759)
18. Minuet in E Major - Franz Joseph Haydn (1732-1809)
19. Anglaise - Johann Chrisoph Friedrich Bach (1732-1795)
20. Study in C - Felix Le Couppey (1811-1887)
21. Écossaise - Franz Schubert (1797-1828)
22. Arioso - Daniel Gottlob Türk (1756-1813)
23. Sarabande - Arcangelo Corelli (1653-1713)
24. Minuet - Franz Joseph Haydn (1732-1809)
25. Morning Song - Cornelius Gurlitt (1820-1901)
26. Écossaise - Franz Schubert (1797-1828)
27. Adagio - Wolfgang Amadeus Mozart (1756-1791)
28. Pastorale - Carl Philipp Emanuel Bach (1714-1788)
29. Minuet - Leopold Mozart (1719-1787)
30. Menuet - Wolfgang Amadeus Mozart (1756-1791)
31. Andantino - Franz Joseph Haydn (1732-1809)
32. Rigaudon - Jean Phillipe Rameau (1683-1764)
33. Sonata in G - Joseph Haydn (1732-1809)
34. Bourée - Gottfried Heinrich Stölzel (1690-1749)
The miniatures contained in this volume will make a delightful addition to the repertoire of both student and professional. They were carefully chosen based on a number of factors. First and foremost, they had to “lay well” on the guitar. Despite the fact that most of the pieces were composed for the piano, once transcribed, they had to create the illusion that they were originally written for the guitar. Other factors taken into consideration include intrinsic musicality, pedagogical value, or a combination of both.
Since the guitar is an octave-transposing instrument, an effort was made to preserve the original registration. However, this is not always practical. In such cases, the guitar is “allowed” to sound an octave below the original registration. In most cases, the original key has been preserved.
Although the transcriptions have been well fingered, repeated passages have been intentionally left un-fingered in the event the player may prefer to add his or her own fingerings. However, the player is cautioned to studiously observe “guide fingerings” indicated by a dash before or after a finger number as these are integral to the playability and, hence, musicality of a transcription.
Unique to this anthology is the use of a damping symbol. Although quite common in piano music, its use has not been standardized in the guitar literature. In these transcriptions, the damping symbol is used to indicate that an open string articulated prior to the symbol should be dampened with the thumb of the right hand after the note sustains its full, rhythmic value. This is accomplished by gently planting the thumb of the right hand on the open string to be dampened. When damping, the approach and plant of the thumb are the same as if executing a stroke, only the attack and follow-through are omitted. Damping with the thumb of the right hand is necessary only when the bass line moves from a note on an open string to a note on another string and the left hand is not free to dampen the open string. In the score, the damping symbol usually coincides with a note in the bass immediately following the note to be dampened. Since it’s impossible for the thumb to simultaneously execute a stroke on one string and dampen a note on another, it’s necessary to dampen the open note after the note coinciding with the symbol has been articulated. The resulting overlap of sound is not unlike that of a cross-string slur and identical to the effect resulting from the use of the damper pedal on the piano.
I hope that these transcriptions will fulfill a practical as well as a pedagogical function. I have played many of the transcriptions presented here in various performance situations to the delight of audiences. I would also like to extend my appreciation to you for considering these transcriptions for inclusion in your personal repertoire.
Sincerely, Clyde Witmyer
About The Author
Clyde Witmyer was born in Philadelphia, Pennsylvania in 1951 and began the study of guitar at the age of 12. After hearing Segovia perform on television, Clyde became inspired to study classical guitar. The opportunity arose in 1967, when he enrolled as a student at the Joe Fava Studios in Northland, Michigan. After two years of study at the Fava Studios, Clyde entered Eastern Michigan University as a classical guitar principal. There, he studied under the tutelage of Professor Robert Bluestone from 1969 through 1971.
In the early 1970’s, while teaching and performing in Ann Arbor, Michigan, Clyde was introduced to and subsequently studied with the great Flamenco guitarist, Juan Serrano. During this time, Clyde also attended his first master class with Maestro Manuel Lopez Ramos.
In 1976, Clyde entered the Berklee College of Music and graduated with a Bachelor’s Degree in Composition in 1980. That same year, Berklee also honored Clyde with the annual Levi Award for Composition for his piece, “Suite for Solo Guitar.” While attending Berklee, Clyde continued his study of classical guitar with Professor Neil Anderson at the Boston Conservatory of Music. During this time, Clyde participated in many master classes with artists such as Manuel Barrueco, David Tannenbaum, Robert Guthrie, and David Russell.
In 1981, Clyde entered the New England Conservatory of Music in Boston, Massachusetts. There he studied composition with Arthur Berger, a protégé of Darius Milhaud, and friend and colleague of Igor Stravinsky, among others. Clyde graduated in 1984 with a Master’s Degree in Composition.
In 1986, Clyde was granted a teaching position at his alma mater, the Berklee College of Music. He has been there since and is currently an Associate Professor of Composition. Clyde also continues to perform in and around the Boston area.
PREVIEW Morning Song - Cornelius Gurlitt (1820-1901)
PREVIEW Adagio - Wolfgang Amadeus Mozart (1756-1791)
PREVIEW Pastorale - Carl Philipp Emanuel Bach (1714-1788)
PREVIEW Bourée - Gottfried Heinrich Stölzel (1690-1749)
