Transcribing for the Harp: A Study of Debussy’s Clair de lune

A document submitted to the

Division of Research and Advanced Studies of the University of Cincinnati

in partial fulfillment of the

requirements for the degree of

DOCTOR OF MUSICAL ARTS

in the Performance Studies Division of the College-Conservatory of Music

2006

By

Liu-Hsiu Kuo

Committee Chair: David Adams

ABSTRACT

Debussy’s Clair de lune is one of the most transcribed pieces in harp literature. It

is an ideal piece for the study of music transcribed from piano to harp, because of the

similarities between the two instruments and because of the style, tempo, and tonalities of

the piece. Although Clair de lune is an appropriate choice for transcription, one must

take into account the distinctions between the harp and the piano when transcribing piano

music for the harp. The famous conductor, Leopold Stokowski said that “…. so few

composers understand the true musical personality of the harp, but write for it as if it

were a piano.” The purpose of this document is to help the composer, transcriber and

musician to promote a better understanding of the harp and the harp player and to

recognize the strengths and weaknesses associated with each and how their limitations

can be accommodated. The first chapter addresses different types of harp. The lever harp

and the concert harp, both of which are diatonic in nature, are discussed in this study. The

second chapter reviews in detail the various possibilities and purposes of transcription

that can be used either to maintain or change the medium; to move from single to

multiple instruments and vice versa; or to realize the potential of a composition in regards

to different combinations of instruments. Chapter two also illustrates that transcription

can allow the creation of either non-simplified or simplified versions of the music. The

third chapter presents the concert harp and a comparison between the piano and the harp

to emphasize the differences between the two instruments. Chapter four provides general

information about Clair de lune and addresses Debussy’s intentions for this piece. The

last two chapters are devoted to presenting detailed studies of various transcriptions for

the concert harp and lever harp, juxtaposing various techniques that are applied to the

transcriptions.

ACKNOWLEDGEMENTS

I wish to express my most sincere appreciation and gratitude to the following

individuals for their contributions and assistance in creating this document:

Professor David Adams, my advisor and committee chair; Dr. Gillian Benet, my harp

teacher and a member of my committee; Dr. Michael Fiday, professor of composition,

who also served as a member of my committee. They have all provided me with insight,

commentary, and suggestions that have been invaluable. I especially want to thank CCM

head librarian Mark Polkovic for his great assistance in defining the topic and for

providing enormous guidance. My former harp teacher, Professor Ulli Brinksmeier

always encouraged me; her love and passion accompanied me throughout my years of

study in the United States. Dr. Linda Johnson, who patiently spent so much time on the

telephone, assisting me with this project. My dear friends, Dr. Rene Boyer, Linda

Wellbaum, Leah Gustin, Pat Durst, Amy Britton, Nell Stemmermann and her husband

have all given me constant support and assistance. I want to express my gratitude to Olaf

Wiegmann, who inspired me to discover music in unique ways. My special thanks go to

Jeff Jaeger, who accompanied and supported me through every stage of creating this

document.

I dedicate this document to my dear parents Zheun-Ren Kuo and Su-Mei Huang

with gratitude for their endless love and support

.

2

CONTENTS Introduction……..................................................................................................................2 Chapter

1. Different Types of Harps………………………………………………………….6 2. Transcription………………………………………………………………….......12 3. Concert Harp……………………………………………………………………..22 4. Clair de lune...........................................................................................................32 5. Clair de lune – Transcription for Concert Harp.....................................................41 6. Clair de lune- Transcription for Lever Harp…….……………………………….64

Conclusion...........................…..........................................................................................75 Appendix A. An Overview of Five Non-Simplified Transcriptions for Concert Harp.....82 Appendix B. Signs and Symbols…………………………………………….…………..83 Appendix C. Musical Examples…………………………………………………………85 Selected Bibliography………….....................................................................................112

3

Introduction

The oldest stringed instrument known to modern man is the harp. This instrument

has had a major impact on musicians, performers and listeners throughout the world.

Various forms of the instrument can be found in the cultures of Africa, Asia, Europe and

America. It can be traced back nearly five thousand years to Egypt and Mesopotamia, and

is also found in Greek mythology: Orpheus sang to the accompaniment of a harp. King

David, one of the most prominent biblical musicians, played the harp, and the harp is

mentioned throughout the book of Psalms. The harp is popular in traditional Celtic music

as well as in ballet, salon and opera music. The first documented use of the harp (arpa

doppia1) in an opera orchestra is Monteverdi’s L'Orfeo of 1607. After Berlioz introduced

the double-action pedal harp2 to the modern symphony orchestra in his Symphonie

fantastique of 1830, it became the only plucked instrument in the standard orchestra.

In spite of the harp’s long history, due to the oral tradition and improvisational style

of early times, the music of bards and minstrels has not been preserved. During the

Renaissance and early Baroque periods, music was not written for specific instruments.

Furthermore, techniques for notation and printing were not standardized. As a result,

very little harp music is preserved from these periods.

In Western art music only a few non-harpist composers have contributed to the

harp’s repertoire of solo and chamber music. Thus, transcription became a way to

1 Double harp, “double” here refers to the large size and bass range of the harp, rather than to the

number of rows of strings. Common throughout Europe ca. 1550-1700, “arpa doppia” is any harp that had additional sets of strings, either double or triple-strung. This is the instrument for which Monteverdi wrote in his opera L'Orfeo.

2 Double-action pedal harp allows chromatic alteration of each string’s pitch, to sharp, to natural,

and flat, using a mechanical system, or “double-action” controlled by the use of pedals. See Chapter Four for more details.

4

expand the repertoire for the harp as it was for other instruments. One of the most

frequently transcribed pieces in harp literature is Debussy’s Clair de lune. It was

originally written for the piano and has been adapted for almost all solo instruments and

nearly any conceivable combination of ensembles. There are arrangements of Clair de

lune for orchestra and chamber ensembles that include the harp, as well as for harp duets

and harp ensembles. Although there are many versions available, this study will

concentrate on transcriptions for the solo harp, including six for the double-action pedal

harp, and three for the lever harp.3

Aspects of the Study

This study will analyze various transcriptions of Clair de lune written for the

double-action pedal harp and for the lever harp. The emphasis of the work will be on: 1.

A comparative study of the six transcriptions for double-action pedal harp. 2. An

analysis of the three transcriptions for the lever harp.

1. A comparative study of six transcriptions for double-action pedal harp. This

study will include five non-simplified transcriptions that tend to be the most faithful to

the original piano version, and one simplified version of Clair de lune that has notable

deviations from the original piano transcription. This comparison is intended to

determine why Clair de lune is suitable for the harp, as well as why each transcriber

thought it necessary to create his own adaptation. Two of the most prominent harpist-

composers in the twentieth century, Carlos Salzedo (1885-1961) and Marcel Grandjany

(1879-1951), transcribed the piece even though a transcription was made by Victor

3 The lever harp is a diatonic instrument with some limited chromatic capability. See Chapter One

for more details.

5

Coeur4 in 1929. Although the transcriptions by these two masters date from the 1960s,

Yolanda Kondonassis, one of today’s foremost harpists, published her own transcription

in 2004.

Through analyzing the transcriptions, we see not only different possibilities and

approaches in transcribing music for the harp, but we can also discover distinctive

idiomatic features of the harp that do not exist on the piano or other instruments. In this

document, one simplified transcription will be presented for the double-action pedal harp.

Simplified transcriptions are used mostly for educational purposes. They enable the less

advanced harp player to gain familiarity with important classical repertoire and help the

student to develop both technically and musically on the harp. The challenge of making a

simplified version is in deciding when to omit notes, change harmonies, and even change

more complex rhythms into simpler ones, while still retaining the original flavor and

quality of the music.

2. An analysis of three transcriptions for the lever harp. The lever harp is more

common than the double-action pedal harp not only because of its affordability, but also

because it is smaller in size than the double-action pedal harp, and enables smaller

students and children to play. For these reasons many harpists begin their studies on this

instrument. The lever harp is a popular folk instrument in many areas such as Ireland and

South America. Its repertoire is of folk origin and is diatonic. Because of the limited

chromatic capabilities of the lever harp and its different timbre, the instrument lends itself

well to Celtic or folk traditions. To transcribe impressionistic music such as Clair de

lune for a folk instrument creates a different character in the music, and explores another

dimension of the harp.

4 Victor Coeur was a former solo harpist at the Paris Opera.

6

Purpose of the Study

It is the intent of this study to promote a better understanding of the harp and the

harp player, and to recognize the strengths and weaknesses associated with each and how

their limitations can be accommodated. This goal will be two-fold.

1. To help the transcriber recognize various alternatives when transcribing piano

music for the harp. This study will present the differences in the composition of Clair

de lune played on the piano and the harp, and highlight the best techniques for arranging

music for the harp. Composers and arrangers who are not harpists will learn similarities

and differences between the piano and harp, as well as various strategies and aspects of

composition that are necessary to better accommodate the musician.

2. To make both harpists and harp instructors aware of different transcriptions so

that they might be inspired in their interpretation. Having access to a variety of

transcriptions not only makes different levels of the music accessible to those with

different playing abilities and technical limitations, but also gives harpists more options

in interpretation and recourse when dealing with the limitations of the harp itself.

Different transcriptions can bring a variety of musical expression and aesthetic aspects to

the same piece through changes in key signatures, fingering, pedaling, and the addition of

special effects (such as harmonics). In addition there can be an expansion of the

technical and expressive potential of the harp. All of these aspects will help the harpist to

obtain more personalized results when interpreting the music.

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Chapter 1 Different Types of Harps

Definition of the Harp

The harp is a plucked instrument, and belongs to the group of chordophones in

which, as defined in the classification system by Hornbostel and Sachs,5 the plane of the

harp’s strings runs perpendicular to the soundboard or resonator. This is different from

other chordophones such as lute, zither and lyre, as the planes of the strings of these

instruments are in a parallel position to the resonator.

Open Harp and Frame Harp

Harps have three basic structural components: strings, neck and resonator.

Hornbostel and Sachs divided the harp into two categories: “frame harps” and “open

harps.” Harps without fore pillars are open harps, and can be put into two sub-categories:

“arched” and “angular” harps. Frame harps have a fore pillar or column which lends

support and helps to bear the strain of string tension. Only European harps and their

descendants are consistently frame harps, most others are open harps.6 This study will

include only frame harps. The frame harp’s strings can hold higher tension, can be tuned

more properly, and remain better in tune compared to open harps.

5 Hornbostel-Sachs is a system of musical instrument classification devised by Erich Moritz von

Hornbostel and Curt Sachs, and first published in the Zeitschrift für Musik in 1914. It is the most widely used system for classifying musical instruments by ethnomusicologists and organologists. It has four top level classifications, with several levels below those, adding up to over 300 basic categories in all.

6 Sue Carole De Vale, “Harp,” Grove Music Online ed. L. Macy (Accessed 3 April 2006.),

<http://www.grovemusic.com.proxy.libraries.uc.edu>

8

Chromatic Harp

The modern concert harp, or double-action harp, is essentially anti-chromatic,

generally having only seven instead of twelve strings in an octave. However there have

been chromatic harps in the evolution of the instrument. All the chromatic harps are

multi-strung, but not all multi-strung harps are chromatic. Chromatic harps have at least

twelve strings in an octave. There are two types of multi-strung harps: double-strung

and triple-strung. Double-strung harps can be divided into parallel-strung and cross-

strung.

Double-strung Harp

The medieval double-strung harp is also called arpa doblada, and is the only

known non-chromatic multi-strung harp. The arpa doblada is distinguished from other

Baroque multi-strung harps in that the second row of strings does not accommodate

accidentals. Both sets of parallel strings are tuned identically. This arrangement serves

to give both hands access to the entire range of the harp, where the hands can play in

unison, or individually on one set of strings. This is equivalent to a keyboard instrument

with two sets of keys, such as some harpsichords and organs.

The other type of double-strung harp is the cross-strung harp. The two rows of

strings on this harp cross each other at approximately one third of the string length

below the neck in an “X” shape. There are two kinds of cross-strung harps. The first

one is the Spanish Baroque cross-strung harp, which is also named arpa de dos órdenes.

This harp existed in Spain from approximately the sixteenth to eighteenth centuries.

9

There are two rows of strings: one diatonic and the other chromatic. These are

equivalent to the white and black keys of the modern piano. The Spanish composer

Antonio de Cabezón (1510-1566) wrote music that can be played on the keyboard or

arpa de dos órdenes. According to Cabezón, “Anything that can be played on the

keyboard can be adapted to the harp with equal ease.”7

The other cross-strung chromatic harp was “reinvented” in 1897 by Gustave Lyon

for Pléyel, a rival to Erard, who was a major harp manufacturer in France. The basic

construction of this harp is similar to the earlier Spanish cross-strung harp, with two rows

of strings, one diatonic and one chromatic, but with more strings, which gives it a larger

pitch range. As with the concert harp, the Pléyel chromatic harp has a pitch range of six

and a half octaves. Debussy’s Danses was commissioned to showcase the new Pléyel

chromatic harp. Like the other multi-strung harps, the sound suffered from the multi-

row construction, which resulted in a lack of resonance. The Pléyel chromatic harp was

eventually abandoned for the double-action harp because of its lack of resonance, the

awkward and complicated fingering technique, and the inability to play glissandi except

in C major and pentatonic scales. In other words, it was too cumbersome to be practical.

Triple-strung Harp

The triple-strung harp featured three rows of parallel strings: two outer rows of

diatonic strings and one inner row of chromatic strings. The two outer rows of strings

are tuned identically. This harp originated in Italy in the sixteenth century, and was used

1. A greater number of Antonio de Cabezón’s works were printed posthumously by his son

Hernando de Cabezón, in Obras de música para tecla, arpa y vihuela. The statement is in the foreword of the edition.

10

in Monteverdi’s L'Orfeo in 1607. Toward the end of the seventeenth century, the triple-

strung harp arrived in Wales and evolved into the Welsh triple harp. Handel’s Concerto

for Harp (1738) and John Parry’s harp music were composed for this type of harp.

Diatonic Harp

Diatonic harps are all single-strung instruments, having only seven strings per

octave, and the strings are arranged in diatonic order (C, D, E, F, G, A, B). These

generally fall into two categories: non-pedal harps and pedal harps. The non-pedal harp

is also known as the lever harp, folk harp, Celtic harp, Irish harp, historical harp,8 or

troubadour harp. Latin-American harps, such as Paraguayan harps, also fall into this

category.

Lever Harp

The lever harp is most commonly used to play folk, Celtic, and Irish music. It has

a hook or lever placed at the top of each harp string. The instrument is usually tuned in E

flat major so that it can be played in the widest range of keys, which includes eight major

and five minor keys. However, the lever harp can be tuned in other keys as well, such as

C, D or G major, which are the keys favored for folk music. In such tunings, the lever

harp will have more open strings in those keys, and therefore, more resonance. With

some exceptions, lever harps range in size from small lap harps with twenty-one strings

8 The lever was invented around the seventeenth century, so historical harps before that period had

no lever. The diatonic single-strung harp can execute accidentals by pressing the string to the edge of the neck.

11

to standing harps with forty strings. In most cases, the lever harp’s range does not exceed

more than five octaves. Some limitations arise from the use of the lever. For example,

the hook or lever is generally operated by the left hand and thus during lever changes

only one hand is available to pluck the strings. In addition, the harpist can raise the pitch

of only one string by a semitone. In spite of these diverse limitations, with its individual

sound and idiomatic characteristics, the lever harp remains a popular folk instrument and

has its own place in the music world.

At first, some of the less chromatic pieces of the classic pedal-harp repertory were adapted ‘on-the-spot’ for lever harp, but special lever-harp arrangements soon began to be made of the traditional music from Ireland and other countries, and of pieces from the classical, popular, musical comedy and film repertories. Many new compositions have been written specifically for the lever harp. The lever harp has been used for folk, classical, jazz, popular, and country music.9

Pedal Harp

There are two kinds of pedal harps: single-action and double-action. Jakob

Hochbrucker invented the single-action pedal harp in 1720. This harp has seven pedals,

one for each note in the diatonic scale. By pushing down one of the pedals, the

corresponding pitch will be raised a semitone in all the octaves of the harp’s range. Like

the lever harp, it is usually tuned in E flat major to provide the performer with the widest

possible number of keys, including eight major and five minor keys. This harp became

the typical orchestral harp until the late classical period. Gluck’s Orfeo ed Euridice

(1762), C. P. E. Bach’s Sonata for harp (1762), Mozart’s KV 299, Concerto for flute and

harp (1778), as well as Louis Spohr’s Fantasia in C minor, Op. 35 (1807), and Variations

9 Sue Carole De Vale, “Harp,” Grove Music Online ed. L. Macy (Accessed 3 April 2006.), <http://www.grovemusic.com.proxy.libraries.uc.edu>

12

on Méhul's Je suis encore dans mon printemps, Op. 36 (1807), were all composed for this

harp. The harpist-composers J. B. Krumpholtz (1745-1790), J. L. Dussek (1760-1812)

and F. J. Naderman (1781-1835) all wrote music for the single action harp. This harp is

still used today as a folk instrument in Süd Tirol.

Sebastian Erard (1752-1831) invented the double-action pedal harp in 1810. The

seven pedals of this harp can raise the corresponding strings two half steps in succession.

The instrument is tuned in C-flat major, has a six and a half-octave range, and is able to

play in any key. These characteristics make it quite similar to the modern piano.10 Today

this harp is also called the concert harp, and is the instrument used in symphony

orchestras and for training in conservatories.

Although there are a variety of harps being used in different regions of the world,

the lever harp and concert harp are most commonly used in the Western world. This

study of transcriptions will concentrate on the concert harp and lever harp, since

transcriptions of Clair de lune have been published for these two instruments.

10 The details of the double-action pedal harp will be discussed in Chapter Three.

13

Chapter 2 Transcription

Transcription vs. Arrangement Definition

Transcription is a subcategory of notation. In Euro-American classical studies, transcription refers to copying of a musical work, usually with some change in notation (e.g., from tablature to staff notation to Tonic Sol-fa) or in layout (e.g., from separate parts to full score) without listening to actual sounds during the writing process. Transcriptions are usually made from manuscript sources of early (pre-1800) music and therefore involve some degree of editorial work. It may also mean an arrangement, especially one involving a change of medium (e.g., from orchestra to piano).11

The word ‘arrangement’ might be applied to any piece of music based on or incorporating pre-existing material… the word may be taken to mean either the transference of a composition from one medium to another or the elaboration (or simplification) of a piece, with or without a change of medium. In either case some degree of recomposition is usually involved, and the result may vary from a straightforward, almost literal, transcription to a paraphrase which is more the work of the arranger than of the original composer.12

According to Ellingson, “arrangement” and “transcription” have subtle

differences when applied to music. The “distinction implicit… between an arrangement

and a transcription is by no means universally accepted.”13 Indeed, “transcription” does

have a broader meaning, and arrangements can be seen as a sub-category of transcription.

Transcription, besides the literal transfer of music to another medium, includes the

arrangement of pre-existing music. In most cases, a piece that is called a “transcription”

is actually more an “arrangement,” because there is a degree of change involved that it is

11 Ter Ellingson, “Transcription,” Grove Music Online ed. L. Macy (Accessed 3 April 2006),

<http://www.grovemusic.com.proxy.libraries.uc.edu> 12 Malcolm Boyd, “Arrangement,” Grove Music Online ed. L. Macy (Accessed 3 April 2006),

<http://www.grovemusic.com.proxy.libraries.uc.edu>

13 Ibid.

14

not a “direct,” literal transcription. However, transcription is a term more commonly

used by many composers, transcribers and arrangers to describe a work that does not

involve “drastic changes” from the original. Of the nine versions of Debussy’s Clair de

lune reviewed in this study, six are called transcriptions while the other three are called

arrangements. Note that the use of these terms does not uniformly reflect how much the

music was altered.

General Reasons for Transcription

Music transcription has been a common practice from the medieval period to the

present. Historically, musical transcription came about due to the need for notational

systems which could be understood and accessible to musicians. It was necessary to

create a system which would modernize older notational methods such as tablature as

well as have a written system for oral music which was limited to the field of

ethnomusicology.14 The latter (transcription of oral music) will not be discussed here.

A large number of transcriptions exist in almost all periods of musical history.

Standard repertoire from classical music such as the Wedding March from Wagner’s

Lohengrin, Mendelssohn’s A Midsummer Night’s Dream, Beethoven’s Ode to Joy from

Symphony no. 9, Pachelbel’s Canon in D, and Lullaby, and Waltz in A-flat major by

Brahms, are well- known works that have been transcribed for almost every conceivable

solo or instrumental ensemble. These popular classical pieces are either parts of large-

scale works such as symphonies or operas, or they were composed for solo instruments

14 Ethnomusicology is the study of music in its cultural context. It is often thought of as a study of

non-Western music, but can include the study of Western music from an anthropological perspective. Bela Bartók and Zoltán Kodály, two of the founders of the field, collected folk music from different regions and the music of non-Western cultures.

15

such as piano or violin. Unfortunately, for one reason or another, some instruments,

such as the harp, have not been favored with original solo compositions.

There are several reasons for transcription: expansion of the repertoire of an

instrument, educational and performance purposes, and commercial exploitation.

Through transcription, publishers may increase sales of musical scores. Publishers,

composers, and arrangers like to promote well-known music. Also, music can become

familiar through many transcriptions and publications.

Retaining versus Changing the Medium

Transcribing notated music can sometimes bring about difficulties which affect

the medium as well as the music itself. When concerns of the medium exist, transcription

can be divided into two sub-categories: (1) that which retains the original medium, and

only changes the notation, or (2) that which changes the medium and, perhaps, the

notation as well.

Retaining the Original Medium

Retention of the original medium can be just for a single instrument, or for

multiple instruments. The transcription alters the musical score, but not the

instrumentation of the original music. It can be as simple as transposition, i.e., abridging

and simplifying the melody and harmony of the original piece. Chopin’s Etude in E

16

major Op.10, No. 3 is an example of this sort. It has been simplified by such

transposition in many piano method books.

Changing the Medium

Changes in the medium can be categorized in four ways: (1) one to one, (2) one

to multiple, (3) multiple to one, and (4) multiple to multiple.

One to One

The most common adaptations, which are often mistakenly thought to be

originals, are the solo keyboard pieces of J. S. Bach, François Couperin, Domenico

Scarlatti, and others. Such pieces were originally intended for the harpsichord or other

early keyboard instruments, but are more commonly played on the piano. Cristofori

invented the piano in the early eighteenth century. His instrument is different from the

harpsichord and other early keyboard instruments in that the strings are struck by

hammers, so it can be played loudly or softly, enabling the ability to display different

dynamics. The piano also has more capacity for musical expression; whereas the

harpsichord’s strings are plucked, so its volume is limited. Even though the basic

mechanisms of these instruments are different, transcriptions could be easily created due

to the similarities in keyboard structure. This made it quite easy for musicians to adapt

the music directly to the later instrument. Similarly, Handel’s Harp Concerto in Bb was

written for the Welsh triple harp, while Debussy’s Danses was originally written for the

chromatic harp, and both have been transcribed for concert harps. However, in these

cases, more adjustments were required to accomplish the work due to the fact that the

17

chromatic and Welsh triple harps are chromatic instruments and the concert harp is a

diatonic instrument.

In this study, only the one to one medium change will be discussed in detail,

which is the change from piano to harp.

One to Multiple

Carlos Salzedo’s arrangement for the flute, cello, and harp of Maurice Ravel’s

Sonatine for piano exemplifies transcription from one to multiple instruments. But the

most widely known example of this kind of transcription is Ravel’s orchestration of the

piano piece Pictures at an Exhibition by Modest Mussorgsky.

Multiple to One

Reduction is an example of transcribing music composed for multiple

instruments so that the music may be played as a solo. Common examples are the

adaptation of orchestral pieces for a single piano. Reduction makes large scale music

more accessible to people in their homes or for recitals, e.g., where there would be just

one or two individuals playing the piano. Over half of Liszt’s entire compositional

output consists of transcriptions, including Beethoven’s nine symphonies.

18

Multiple to Multiple

Reorchestration is sometimes applied to take advantage of improvements in the

design of instruments. An example is the reorchestration of the brass parts of

Beethoven’s Third Symphony; the invention of valves allows brass players to change

pitches and increase the number of pitches that can be produced.15

At times it is necessary to reduce the larger orchestra to a smaller chamber

ensemble for a different instrumental setting, or to accommodate the players’

instrumental abilities. In such cases, transcription is often called “arrangement.”

Orchestral music is at times rearranged for different purposes in order to accommodate

bands, non-professional or less advanced ensembles.

Considerations in Altering the Music

When changing the original medium for transcription, the transcriber is faced with

the choice of making a straightforward, literal, and faithful recreation of the original

music, or changing the original music to either simplify or to make it more elaborate

and/or complicated. Altering the music can involve a level of artistic creation as well,

which includes the changing of melodies, harmonies, rhythms, textures, and adding or

deleting sections for both simplified and non-simplified versions. Even simplified

versions of concert harp transcriptions, used by less advanced players, involve other

considerations than purely artistic musical creation.

In some cases transcription serves to demonstrate virtuosity. The virtuoso pianist

Busoni arranged a large number of keyboard works by J. S. Bach for the piano. Liszt’s

15 Malcolm Boyd, “Arrangement,” Grove Music Online ed. L. Macy (Accessed 3 April 2006),

<http://www.grovemusic.com.proxy.libraries.uc.edu>

19

transcriptions of Paganini’s violin music for the piano are also designated for the

virtuoso. Such music is usually considered to be original work, and is often used as

repertoire for advanced musicians. The work created is not a purely practical and literal

transcription, in which there is little or no creative involvement, but rather a new, well

respected addition to musical composition.

According to musicologist and harpist Jane Weidensaul, transcription can be

divided into three main areas, where the focus is on how much the original music is

changed to the new instrument. These areas include the faithful transcription, the free

transcription, and the transcription that lies between these two extremes.16 This kind of

distinction can be used when the original instrument(s) and the new instrument(s) have

similar capacities, such as that of concert harp and the piano. It is less difficult to

transcribe Clair de lune from the piano version to the concert harp since both the piano

and concert harp have similar structural capacities. Another advantage in transcribing

Clair de lune from piano to concert harp is that Clair de lune has a musical construction

that is manageable for the concert harp. In contrast, when transcribing from piano to the

lever harp, one must bear in mind other considerations besides the music itself due to the

limited capacities of the lever harp.

16 Jeffery Lee Parsons, “ Marcel Grandjany's Harp Transcriptions and Editions.”

(Ph. D. thesis, Texas Tech University, 2005), 34-36.

20

Non-Simplified versus Simplified Transcription

The transcriptions involved in this study are from the sub-category of changing

the medium one-to-one (from solo piano to concert harp or lever harp), and includes

simplified and non-simplified transcriptions. Simplified transcriptions are generally used

for educational purposes. This allows students and amateurs, who are not advanced in

technical ability, to perform musical literature which ordinarily supercedes their musical

abilities. Virtuoso pieces as well as abridged parts of an orchestral work are often

reduced or simplified. This may involve changing keys, harmonies, rhythm, or truncating

the melody, and so on.

For non-simplified transcription, it is necessary to focus on three concerns. First,

attention must be given to the basic level at which the original music is made playable on

the new instrument. When transcribing for the harp one has to be aware of the limitations

of both the harp and harpist. The second concern in non-simplified transcription is the

need to make the music more effective and idiomatic on the new instrument. This

includes the avoidance of disturbances such as buzzing on the harp, awkward fingering,

and other dilemmas that deter adequate performances. The third concern of non-

simplified transcription is with modifying elements which can lead to the addition or

deletion of notes or sections of notes, alter musical parameters such as melody, harmony,

rhythm, texture and timbre, and sometimes even change musical style. An example of

this would be adding harmonics or glissandi that are not part of the original piece. These

concerns involve the creative and artistic efforts of the transcriber. Transcribers of non-

simplified music may deal with some of these concerns; however, it may not be

necessary to include all of the concerns in their works.

21

Additional Elements of Transcription

There are other elements, which encompass all musical compositions to which the

transcriber must pay close attention. The first is a change in the actual music, including

pitches, the note values, and their effects on the parameters of music, such as melody,

rhythm, harmony, texture, and modulation. The second is indications for musical

interpretation. These include editing, general expression marks, articulation, dynamics,

tempo, time signature, notations, and fingering. Editing for the harp often includes

adding harpistic effects such as harmonics, enharmonic spellings, glissandi, muffling,

pedaling, and special harpistic notations.

Transcription for the Harp

After the nineteenth century, the popularity of public concerts encouraged both

performers and composers to seek additional repertoire. Until then, the repertoire for the

harp was extremely limited for several reasons. First of all, the harp is not able to sustain

melody notes. The harp was also considered a feminine instrument with its soft gentle

sound that made it difficult for the composer to communicate musical ideas. In fact there

were very few well-known composers who contributed exclusively to harp literature.

Among that literature is Handel’s Concerto in Bb major. Even this concerto, though

originally premiered on the harp, was first published as an organ concerto in a collection,

Op. 4, in 1738. It was not until later that this piece was published for the harp. This

shows how commercialism (marketing and selling) can influence publishers and

composers. It was actually financially beneficial to transcribe music for lesser-played

22

instruments to more popular instruments. It was not beneficial for the publisher to print

single pieces rather than a collection of multiple pieces. For these reasons, harp literature

was limited from the start of music publishing. Another well-known concerto for the

flute and harp is Mozart’s KV 330, which is the only piece that Mozart composed for the

harp. This concerto was in fact a commissioned work.

Transcription became an important tool in increasing the repertoire for the harp.

Harpist-composers such as Henriette Renié, Salzedo and Grandjany made many

important transcriptions for the harp. Because of the similarities between the harp and

piano (see next chapter), a great number of their transcriptions are from the piano and

other keyboard works. Some piano music can be played on the harp with no adjustments

or only a few minor adjustments. Similarly, transcribing from the harp to the piano can

also be done. An example is Manuel de Fall’s performance of a piano version of Danses

by Debussy in 1907 (originally for harp and orchestra).17

17 Francois Lesure and Roger Nichols, (eds), Debussy’s Letters (Faber and

Faber, 1987), 176.

23

Chapter 3 Double-Action Pedal Harp

Similarities between the Harp and Piano

The majority of transcriptions for the harp are adopted from the repertoires of

keyboard instruments, most frequently the piano. There are some inherent similarities

between the harp and piano. The harp, piano and celesta are considered part of the same

orchestra group and play similar roles in the orchestra. Like the piano, the harp has a

large pitch range and its music is written using the grand staff. In addition, the double-

action harp enables the harpist to play in any key. These similarities to the piano are

complemented by the fact that harpists use both hands to pluck the instrument, and the

right hand generally plays the treble notes while the left hand plays the bass.

In fact these similarities between harp and piano permit ready substitution of one

for the other. Two virtuoso harpist-composers of the nineteenth century, Robert

Nicholas Charles Bochsa and Theodore Labarre published compositions with indications

that the work could be performed on either the harp or piano.18 Likewise, Beethoven’s

Variationen über ein Schweizer Lied and Glinka’s Variations on a Theme of Mozart were

published for either instrument.19 Berlioz used the piano as a substitute for the harp in

his orchestra music when no harpists were available. Massenet’s Méditation from Thaïs

and Bizet’s Intermezzo from Carmen are the best-known piano arrangements of original

harp parts. Many people do not realize that these were originally written as harp parts,

since they are frequently heard with piano accompaniment.

18 Hans Joachim Zingel, Harp Music in the Nineteenth Century, Trans. and ed. by Mark Palkovic

(Bloomington: Indiana University Press, 1992), 31. 19 Ibid.

24

Idiomatic Characteristics of the Double-Action Pedal Harp Pitch

Despite its similarities to the piano, the harp has unique characteristics. The first

of these is the manner in which pitch possibilities are arranged on the instrument. The

harp has seven strings in each octave (C, D, E, F, G, A, B). There are seven pedals, each

of which has three positions. Each pedal can alter the pitch of the corresponding note in

all octaves on the instrument by two half steps, allowing the possibility of three pitches

(flat, natural, and sharp) on each string.20 For example, when changing the A-pedal from

its upper position to its middle position, all of the A strings will change from A flat to A

natural. Similarly, when changing the A pedal from its middle position to its lower

position, all of the A naturals will change to A sharps (see Table 1). This is why the

concert harp is called a “double-action” harp - to differentiate it from the single-action

harp, which could only alter the pedal by one half step. With the pedals on the double-

action harp, it is possible to play all the notes of the chromatic scale, but only seven at a

time. With the harp’s 2,187 possible pedal setting combinations, this restriction creates a

range between zero (unison) and four semitones (i.e., Cb-D#) from one string to the next

and a maximum of three enharmonic pairings or unisons within each octave. Every note

has a synonym, except for D, G, and A (see Table 1).21 Thus, the harp can play glissandi

in any key, whole tone scales (see Table 2), pentatonic scales, and diminished chords (see

20 On most harps the lowest two strings C1, D1 and the highest string g4 are not connected to the

pedals, therefore they have to be tuned to the specific pitch required in the music.

21 In an effort to provide synonyms for the three notes (D, G, A) that do not have synonyms, Berlioz proposed a triple action for the mechanism. This would affect only three of the seven pedals [C, F, and G]. For example, on the C pedal, which has C (flat), C (natural), and C (sharp), the C (double sharp) would be added. But this concept was never realized.

25

Table 3), in addition to scales that cannot be categorized by Western music theory. For

example, in ancient China the harp was occasionally tuned with three sharps [F#, C#,

G#], 2 flats [Bb, Eb], and two naturals [A, D].22 To conclude, glissandi can be played

from four to seven pitches in an octave, no more and no less. Moreover, within a certain

interval range, glissandi can be doubled or tripled in each hand to produce the sound of a

chord ascending or descending through its inversion.23 The fact that there are only seven

strings in one octave limits the harpist to playing no more than seven notes at a given

time. Therefore, no chord can exceed seven different pitch classes, unless specialized

tuning is used. This is one of the restrictions in chord content. In addition, no chord can

contain any of the following groupings of notes at the same time, no matter how they are

spelled enharmonically: [G, G#, A], [D, D#, E, F], [F#, G, G#, A], and [A, Bb, B, C].

22 Marcel Tournier, The Harp: A History of the Harp throughout the World, Harp Notation (Paris:

H. Lemoine, 1959), 14. 23 John Marson, The Complete Guide to the Harp Glissandi; Including a Comprehensive Table of

All Possible Pedal Changes (New York: Lyra Music Co., 1966), 45.

26

1. Table Pedal positions of the concert harp associated with their corresponding strings

Each pedal as named for the corresponding string

Pedal Position

Accidental

Name C D E F G A B

Scale of the pedal setting

Upper Flat Cb Db Eb Fb Gb Ab Bb Cb major scale

Middle Natural C D E F G A B C major scale

Lower Sharp C# D# E# F# G# A# B# C# major scale

Table 1. The same colors represent the synonyms. D, G, and A have no synonym. This table reveals the relationships between the pedals and the corresponding or same letter named strings. It also shows, by the color-coding, which notes can be played on two different strings. Note that there are no double flat or double sharp notes on the harp. Although when asked to play those notes, harpists play the enharmonic equivalent, e.g., F## is equal to G. Table 2. Whole- tone scale pedal settings

Pedal C D E F G A B Comment

Whole-tone Scale

Cb Db Eb F G A B One synonym (B=Cb)

Whole- tone Scale

C D E F# G# A# Bb or B#

One synonym (Bb=A# or B#=C)

Whole- tone Scale

C# D# E# F G A B One synonym (E#=F)

Table 2. There are three kinds of whole-tone scale pedal settings on the harp, although only two different whole-tone scales exist. The scale that starts with Cb sounds almost identical to the scale that starts with C#, except that it starts on a different note, and the synonyms are not the same. The pitches are identical but the doublings are on different notes since the synonyms are different.

27

Table 3. Example of pedal settings for two diminished chords

Pedal C D E F G A B Three synonyms

Diminished chord

C D# Eb F# Gb A B# D#=Eb, F#=Gb, B#=C

Diminished chord

C# Db E Fb G A# Bb C#=Db, E=Fb, A#=Bb

Table 3. These are two examples of a pedal setting combination that result in a diminished chord.

Inherent Sound

The second characteristic, which is unique to the harp, is the natural sound

quality of the instrument. Once the string is plucked, the sound decays at a steady rate.

The length of the decay is dependent on the length of the strings. From the realm of

physics, we know that the sound of a longer string takes more time to decay than that of a

shorter string when plucked. Also, the longer strings will sound muddier and more

resonant while the shorter strings sound more piercing and percussive.24

Volume and Articulation

Another feature of the harp is that its volume and articulation cannot be changed

once a string is plucked. This is similar to the piano, where the sound cannot be changed

after the attack. The harpist can only choose whether or not to damp a string after being

plucked. Thus the instrument differs from string and wind instruments in that the harpist

has no equivalent to the violinist’s bow or the wind player’s tonguing and blowing to

prolong a tone or change the articulation in the middle of a note.

24 Ruth K. Inglefield and Lou Anne Neill, Writing for the Pedal Harp: A Standardized Manual for

Composers and Harpists (Berkeley: University of California Press, 1985), 23.

28

Different Types of Sound

The harp is the only orchestral instrument on which the strings are played without

a mediator, such as the hammers on a piano or the bow of a violin. Thus, it produces

sound in a very direct way. The harpist can control the sound of the instrument through

the speed, force, angle, amount of finger (or fingernail) contact, and placement of fingers

on the strings during plucking. According to Salzedo it is possible to produce many

distinct and subtle timbres, and as many as thirty-seven different sound effects.

Examples are guitaric sounds - called “près de la table” (at the soundboard); xylophonic

effect - one hand muffles the strings at the soundboard while the other plays the same

strings at the point where they are being muffled; and plectric sounds - played with the

fingernail, very close to the soundboard, also called “metallic effect.”25

Restrictions on the Harpist

The harpist is limited to using only four fingers on each hand, as the fifth finger

(the smallest finger) is too short to be used effectively. In addition, it must be

remembered that the harpist has only two feet to serve seven pedals. Therefore, with

certain exceptions, a maximum of two pedals can be changed at one time. Each foot can

only easily control specific pedals: the left foot is used for [D, C, B] and the right foot

for [E, F, G, A]. Thus the harpist cannot, for example, change the G and A pedals at the

same time, because it would involve an impossible use of the left foot.26(See Figure 1)

25 Carlos Salzedo, Modern Study of the Harp. (New York: Schirmer, 1921), Intro. 26 The left foot can also cross over to the right side to move the E pedal, and in rare cases the F

pedal when the tempo and situation allow. However, some harpists are not comfortable using the left foot on the right side of the harp.

29

Figure 1. Typical Harp Pedal Diagram

D C B | E F G A

Left Pedals Right Pedals

In this diagram of harp pedals in C major, the vertical lines are “on” the horizontal line, representing the pedals in natural position. A vertical line placed above the horizontal line represents a “flat” position; likewise, a vertical line below the horizontal line represents the “sharp” position.

Differences between the Harp and Piano

Construction and capability

Despite the mentioned similarities between the harp and piano, there are major

differences between these instruments. First, a single harp string is capable of three

distinct pitches, so those pitches cannot be played simultaneously, but it takes one to

three strings for a single pitch on the piano. Both instruments have almost the same pitch

range. The concert harp has forty-seven strings and produces a small volume of sound,

while the piano keyboard has eighty-eight keys ands creates a much larger volume of

sound. Also, it is possible to use enharmonic effects on the harp, but not on the piano.

The harp can easily produce various scales and glissandi (major, minor, whole tone and

pentatonic, etc.), but the chromatic scale is not possible except at slow tempos.

Fingering and accidentals

On the harp, all scales are played with the same fingering in both hands, which is

not true for the piano. For example, the C major and the C# major scales are equally easy

30

to play on the harp, while on the piano the fingering is not only different between the

scales, but also between the two hands. In addition, with the vertical hand placement on

the harp strings, the right thumb becomes the outer finger, whereas with the horizontal

hand placement on the piano, both fifth fingers are outer fingers. The role of the outer

fingers is especially important in the matter of voicing. When accidentals occur, the harp

player must move his foot from pedal to pedal and notch to notch, while the piano player

must only pay attention to his fingers on the keyboard.

Damping and sustaining

Another difference between the piano and the harp is how easy or difficult it is to

damp the strings. On the piano, every string is damped unless the sustaining pedal is

used. The pianist controls the damping effect with the foot, while the hands are free to

strike the keys. A harpist must use the hands, which are also busy plucking strings. The

harpist must selectively choose which strings to dampen in order to “clean up” the sound

whenever the hands happen to be free. If neither hand is available, it is impractical or

even impossible to damp the strings. The choice to stop a string or not is sometimes

reduced to a mechanical rather than a musical decision. Unless using the damper pedal,

the pianist must leave his fingers on the keys in order to keep the sound ringing.

Conversely, after plucking, the harpist must leave the strings vibrating so that they will

continue to ring. When a note is repeated the harpist must wait until the last possible

moment before replacing the fingers on the strings. The harpist must also be careful not

to cause a buzzing sound when touching a vibrating string. The pianist fortunately does

not encounter the problem of buzzing with his instrument.

31

Playing positions

There are other differences between the harp and the piano, such as the playing

position, and how the players “see” their instruments. Harpists have to rest the

instruments on their right shoulders and balance the harps with their knees; therefore the

lowest strings can only be reached by the left hand, and some smaller harpists have to put

the harp on the ground in order to play chords on the lowest notes. Since pianists do not

have to “balance” and hold the instrument, both hands are free for the entire range of the

instrument. Pianists are not physically attached to the instrument, therefore they have

more freedom. They can use their body weight when striking the instrument in order to

create more volume and resonance. Harpists on the other hand, sit asymmetrically to the

harp, and have to balance the harp with their body. In general, it is more comfortable to

play the piano than the harp.

Visibility issues

Harpists cannot see the pedals, so they are unable to tell if a string is in its flat,

natural, or sharp position by looking at it. The only way is to feel the pedal positions

with their feet or remember where they have put the pedals. Unlike pianists, harpists

must look at the strings in order to pluck them. The piano keyboard lies horizontally,

and does not change, so pianists can see what pitches they are playing (flat, natural, or

sharp). Pianists can feel the black keys for orientation (enabling them to know where

their fingers are), so they do not need to look vigilantly at the keyboard as they play. The

visual field for the harpist is more divided than for a pianist. The strings and the score

32

are not all in one line of sight as is the case for the pianist. It is especially difficult for a

harpist to sight-read without preparing the pedal indications for seven pedals and each of

their three positions. These issues make the harp more complicated to play and less

comfortable in comparison to the piano.

In summary, there are many differences between the harp and the piano. Due in

part to its diatonic nature, the harp brings some inherent complications when used to

perform music that contains chromatics. Furthermore, the harpist can only use four

fingers in each hand, but frequently encounters five-finger patterns. The harp has

additional issues with pedals and damping, visibility, and a semi-awkward holding

position. Overcoming such issues can be a challenge to even the best of musicians.

33

Chapter 4 Clair de lune

Votre âme est un paysage choisi

Que vont charmant masques et bergamasques Jouant du luth et dansant et quasi

Tristes sous leurs déguisements fantasques

Tout en chantant sur le mode mineur L'amour vainqueur et la vie opportune,

Ils n'ont pas l'air de croire à leur bonheur Et leur chanson se mêle au clair de lune,

Au calme clair de lune triste et beau, Qui fait rêver les oiseaux dans les arbres

Et sangloter d'extase les jets d'eau, Les grands jets d'eau sveltes parmi les marbres.

Paul Verlaine, Fêtes galantes

Moonlight

Your soul is like a landscape fantasy, Where masks and Bergamasks, in charming wise,

Strum lutes and dance, just a bit sad to be Hidden beneath their fanciful disguise.

Singing in minor mode of life's largesse And all-victorious love, they yet seem quite

Reluctant to believe their happiness, And their song mingles with the pale moonlight,

The calm, pale moonlight, whose sad beauty, beaming, Sets the birds softly dreaming in the trees,

And makes the marbled fountains, gushing, streaming-- Slender jet-fountains--sob their ecstasies.27

27Paul Verlaine, One Hundred and One Poems, trans. Norman R. Shapiro, (Chicago: University of

Chicago Press, 1999).

34

Clair de lune is the first of twenty-two poems in Paul Verlaine’s second collection

entitled Fêtes galantes (1869). Debussy composed several songs with texts from this

collection, including Clair de lune in 1882. He also used the same title for the third piece

in his baroque piano suite, Suite bergamasque. The suite was most likely named for a

reference in Verlaine’s poem. Debussy intended the suite to evoke the French Baroque

harpsichord tradition of the seventeenth and eighteenth centuries.

Debussy composed Suite bergamasque in 1890, but it was not published until

1905. It consists of four parts: Prélude, Menuet, Clair de lune and Passepied. Debussy

had revised the suite several times before its publication in 1905. He also renamed the

third and the fourth movements, which were originally entitled Promenade sentimentale

and Pavane. Clair de lune replaced one of the slow dances in the baroque dance suite.

With its unique flavor, Clair de lune became one of the most popular classic hits, and has

been adapted for almost all solo instruments and for a variety of instrumental ensembles.

Debussy’s Musical Style

Debussy was interested in the sensuous quality of music and refused to adhere to

many of the rules of traditional music theory. He favored sensitive characteristics that

were parallel to those achieved by impressionist painters and symbolist poets. This was

evident in his choice of subjects, and how he sought to imply or evoke a meaning rather

than explicitly illustrate it. Another influence on Debussy was Javanese gamelan music.

Evidence of these characteristics can be seen in his compositions through the use of

voices moving in parallel motion, unusual scales, as well as suspended form, color, and

rhythm.

35

His innovations were predominantly in the treatment of harmony, including the

use of extended tertian chords, ambiguous tonality, and unresolved dissonance. He was

the first composer to exploit the whole-tone scale successfully. Debussy’s rhythms often

lacked a strong pulse or were even vaguely irregular in manner, and were frequently non-

metrical, non-symmetrical and not straightforward. Generally Debussy was anti-

romantic, which implies an avoidance of overly dramatic or extravagant composition.

His music is “simplicity in expression. ‘Pas d'affection, surtout!’ No affection, no

mannerisms. Here once more one finds an echo from the great harpsichordists' creed,

from the supreme good taste of Rameau, Couperin, Lully, Dandrieu, Chambonnières,

Daquin and others.”28

Interpreting Debussy’s Piano Music

Debussy made some revolutionary advances in piano technique. He discarded the

traditionally percussive approach to the piano, and instead accentuated the instrument's

subtle expressiveness. Nuance and sound were most important to Debussy. E. Robert

Schmitz said, “The nuance, to Debussy, was everything.”29 The French pianist Maurice

Dumesnil, who had some piano lessons with Debussy, revealed to us many details of

Debussy's teaching in his writings: “Coaching with Debussy” and How to Play and

Teach Debussy. 30 Another article, “Interpreting Debussy”, includes suggestions for

interpreting Clair de lune. According to Dumesnil, there are three important aspects to

28 Roger Nichols, Debussy Remembered, (London Amadeus Press, 1992), 161.

29 Ibid., 169.

30 Ibid,, 163.

36

playing Debussy’s piano music: the rubato, the pedaling and the blur. For the most part

the rubato is indicated, but the pedaling and the blur are not. These two are most often

associated with the sound and the nuance of the music. However, the blur has much to

do with the pedaling, and how the two pedals are combined. Familiarity with Debussy’s

musical style is important in considering the interpretation of his piano music. The

interpretation can be divided into two major categories: what Debussy chose to indicate

in the score, and those additional elements, such as pedaling and fingering, that he chose

not to indicate.

Pedaling

Debussy gave the impression that he was unwilling to mark any indications for

pedaling. Dumesnil wrote about Debussy’s instruction that “pedaling cannot be written

down.”31 “This is because [Debussy] considered pedaling an individual problem which

ought to be solved according to the varying acoustics of halls or studios, the different

resonant possibilities of piano, and even the personal but acceptable conceptions of

interpreters. Since his style of composition was vertical (harmonic) rather than horizontal

(contrapuntal), one would not go wrong in adopting, as a guide for pedaling, the

harmonic structure.”32 Debussy clearly wanted his interpreters to use their ears to listen

and create the subtle sound and nuance, particularly the effects of timbre achieved

31 Ibid. 32 Maurice Dumesnil, Interpreting Debussy. (Summy piano teaching pamphlet series No.11.

Summy Publishing Company. 1957), 4.

37

through using both pedals. As he said: “Entrust it to your ear,33 [t]here is no theory.

You have only to listen. Pleasure is the law.”34

Fingering

Another area that Debussy intentionally left out of his indications was fingering.

In the preface to his twelve Etudes, Debussy stated: “To impose a fingering cannot

logically adapt itself to the different formations of the hand. The absence of fingerings is

an excellent exercise, it suppresses the spirit of contradiction which prompts us to prefer

not to use the author’s fingering, and verifies these everlasting words: ‘One is never

better served than by one’s self.’ ”35 The fingering providing by editors or transcribers

generally should be seen as references, for trying out and inspiring, or for educational

proposes.

Matters not indicated in the score

There are additional concerns when playing Debussy’s piano music, which are

not usually included in a standard scoring, such as the physical demands and imagination

involved in playing his work. Many sources give a fair indication of how Debussy

wanted his music played. Dumesnil reminisced about one of Debussy's most important

instructions: “Play with more sensitiveness in the fingertips. Play chords as if the keys

were being attracted to your finger tips, and rose to your hand as to a magnet.”36

33 Nicohls, 163. 34 Marguerite Long, At the piano with Claude Debussy. (London: J. M. Dent & Sons Ltd, 1972),

16-21. 35 Dumesnil, Interpreting Debussy, note. 36 Dumesnil, How to Play and Teach Debussy, (New York : Schroeder & Gunther, 1932), 9.

38

Marguerite Long emphasized on another of Debussy’s most frequent sayings: “One must

forget that the piano has hammers.”37 Both these statements describe the refinement and

mellowness of Debussy’s touch on the piano, which was as if he were playing the harp.38

E. Robert Schmitz also wrote about how Debussy achieved a sound of bells: “One must

learn to play Debussy's music as he played it himself, striking each note as though it were

a bell, listening always for the hovering clusters of vibrating overtones above and below

it.” 39 Of the many runs and rapid figurations, which are widespread in Debussy’s music,

Dumesnil wrote: “All runs, arpeggios and passages must always be treated from the

‘sonorous’, the ‘harmonic’, and the ‘vibrating’ standpoint… quite categorically, that runs,

arpeggios and passages should be blurred in pedal, never as a display of finger velocity

… but literally drowned into what might be called a ‘wave of tone.’ ”40

Musical indications and executions

Schmitz highlighted the importance of the precisely detailed indications in

Debussy’s score: “I can well remember his insistence on the precision and exactitude of

the indications marked on the scores in their minutest details.” 41 The other issue in

interpreting Debussy’s music is to take indicated text and expression marks seriously,

37 Long, At the piano with Claude Debussy, 13. 38 As mentioned in Chapter Three, the harp is the only orchestral instrument where the strings are

played without a mediator, such as the hammers on a piano. Hence the harp’s sound is produced in a direct manner, and the harp is capable of producing distinct and subtle timbres.

39 Nichols, 171. 40 Dumesnil, How to Play and Teach Debussy, 12.

41Elie Robert Schmitz, The Piano Works of Claude Debussy, (New York: Dover, 1966), 35.

39

which include the dynamic indications, the articulation, and the phrasing, as well as the

note values.

Schmitz commented on the subtle crescendos of Debussy: “Crescendos in those

days were one of Debussy's obsessions in piano playing. He liked slight crescendos, a

ppp increasing into a mere pp.” Dumesnil mentioned that the ability to play a

diminuendo starting at pp as essential for proper interpretation of Debussy’s music.42

Dumesnil wrote about the moderate rubato and crescendo that Debussy wanted

in his music: “Remembering [Debussy]’s previous remarks about dramatizing, I tried to

keep the middle part [of Clair de lune] moderate. But I guess I still overdid it: ‘No,’ he

said, ‘you exaggerate both the crescendo and the rubato. The latter must be done within

the entire phrase, never on a single beat.’ And the expression had to remain dignified.”43

In Dumesnil’s method book, he referred to the absolute necessity of studying the

pianissimo, which was one of Debussy’s principal instructions.44 Dumesnil had worked

with Debussy on Clair de lune, and wrote numerous articles about Debussy’s instruction

for playing this piece and other Debussy works for the piano. According to Dumesnil,

“Debussy advised starting Clair de lune with both pedals down. By this means all the

dampers are lifted and the overtones come into vibration, enriching the tone.”45

“Debussy insisted it was important that the triplets were strictly in tempo, ‘but within a

general flexibility.’ ”46 There are other rhythmic concerns to pay attention to, such as

“[to] give the full value to the dotted half-notes in the right hand…alternating values of

42 Dumesnil, How to Play and each Debussy, 8. 43 Nichols, 159. 44 Dumesnil, How to Play and each Debussy, 8. 45 Dumesnil, Interpreting Debussy, 6. 46 Nichols, 159.

40

two and three, which must be played in the same length of time.”47 The execution of the

arpeggio in measures 25 and 26, which should “begin with the lowest note of the left

hand chord and continues to the top of the right hand chord.” The dynamic marks as

mentioned earlier: “…the marking ‘gradually louder and faster’ (peu à peu cresc. et

animé) in mm. 19-20 must be understood with moderation. The crescendo hardly reaches

a mezzo forte and the animé means no more than a slight pickup. Above all, refrain from

any dramatic sentimentality.”48 At measure 37 the crescendo and animato must again be

treated with restraint, for the climax, which comes four measures later, consists of a forte

only. The C-flat in m. 59 is the only note with an accent mark in the entire piece.

Dumesnil emphasized the importance of C-flat according to the composer.

“Debussy often thought in terms of orchestration. Concerning the second section

of Clair de lune, he said, ‘the left-hand arpeggios should be fluid, mellow, drowned in

pedal, as if played by a harp on a background of strings.’ But he did not tolerate any

confusion and insisted on the purity of each harmonic pattern.”49

The Original Piano Version

In the original piano version, there are some barely noticeable “mistakes,” such as

missing dots that lead to incomplete note values in some measures, and some inconsistent

articulation markings, ties and slurs where there are parallel structures.50 Clair de lune

47 Dumesnil, Interpreting Debussy, 7. 48 Ibid. 49 Nichols, 160. 50 Claude Debussy. Clair de lune. From Suite bergamasque, ed. Roy H owat. (Paris: Durand,

2002). In the foreword of this edition, Howat states some editorial principles, such as the missing dots in the original version, e.g., the dot of the B-flat half note at the down of beat m.14, and the tied D-flat quarter note at the third beat, both in the left hand.

41

totals 72 measures. It begins with tempo Andante. There are only slight changes in

tempo and mood during the piece. Some good examples of this are the rubato in measure

15, the increasing tempo un poco mosso in measure 27, En animant in measure 37,

Calmato in measure 43, and the return to the beginning tempo in measure 51. The

different sections of the music can be related somewhat to these tempo and mood

changes. The time signature is 9/8, and the smallest note value in the whole score is a

sixteenth note, so there are no rushed moments during the piece. Although Debussy used

a key signature in this piece, Clair de lune does not belong to the traditional major and

minor tonal system. The key signature is D-flat major modulating to C-sharp minor for

only six measures beginning in measure 37, and then returning to D-flat major until the

end of the piece. In the pitch range of the piece, the lowest note is Eb1 in mm. 15 and 17

for the left hand; the highest note is c#4 in m. 37 for the right hand. Debussy did not

provide any fingering or pedaling indications in Clair de lune. He only indicated con

sordina (with mute) at the beginning of the piece. The dynamics used in the piece are

mainly pianissimo, with the range from pianississimo (mm. 51-58) to forte (m. 41).

Measure 41 is the climax: the music during this climax modulates to C-sharp minor, and

this is the only forte heard in the entire piece. The dynamic indications include only ppp,

pp, p and f, with a few changes such as crescendo and diminuendo. These are sometimes

indicated with text, and at other times with marks. The articulation in this piece is mostly

legato, with some non-legato and sustaining marks and one accent mark in m. 59. The

harmony and melody of Clair de lune not contain many accidentals or any chromatic

passages. The texture includes several layers or voicing, which change during the music,

causing some ambiguity in the notation.

42

Chapter 5 Clair de lune - Transcriptions for the Concert Harp

Transcriptions for Clair de lune can be placed in two categories according to the

type of harp: those for the concert harp and those for the lever harp. Furthermore,

transcriptions for the concert harp can be divided into two areas depending on the

purpose or intention: 1) non-simplified and 2) simplified. The non-simplified version for

the concert harp is closest to the piano version because of the similar capabilities of the

instruments. Both the harp and the piano use the grand staff, and Clair de lune lies

completely within the harp’s pitch range. Only a few adjustments are needed for the

adaptation.

Four Elements in Adapting Clair de lune for the Concert Harp

1. Indication of canceling the accidental for a pedal. On the piano, accidentals are

only indicated when they occur. It is necessary to cancel the accidental only when the

same note is altered by the accidental earlier in the same measure. It is optional to

indicate the canceling when the note is in the next measure. Since the concert harp is a

diatonic instrument, some pitches have to share the same strings; accidentals also affect

all octaves for a given pitch on the harp. When an accidental occurs, the harpist has to

move the pedal to execute the pitch; a canceling indication therefore is necessary for the

harpist to put the pedal back into the key of the piece. For example, the piano score does

not indicate a canceling for Cb which occurs in m. 13. Nevertheless, in the score for the

concert harp it is helpful to indicate the pedal change to prevent the Cs that occur in m.16

from being played as C-flats.

43

2. The use of enharmonics. Enharmonics must be used in two places in order to

preserve the original music. The first is in m. 20. As explained earlier, one of the

limitations of the harp is that certain combinations of notes cannot exist on the harp, such

as Gb, Ab, and A. Since A-natural doesn’t have an enharmonic equivalent, these notes

must be changed enharmonically to F#, G# and A. The second enharmonic adjustment

required is in m. 43, where the key signature changes from C- sharp minor to D-flat

major. In this remote modulation (from four sharps to five flats across seven pedals) it is

not possible for the harpist to change more than two pedals at one time. On the first beat

of m. 43, four notes need to be changed at the same time. The A and E pedals must be

changed to the flat position, and the Db and Gb are replaced with the enharmonic C# and

F#.

3. Special indications when the left foot executes a pedal on the right side. In m. 43,

the E and A pedals are changed at the same time. Since both of these pedals are on the

right side, it is helpful to indicate that the E pedal has to be changed with the left foot.

4. Resolution of situations where chords contain more than four notes in one hand.

When playing Clair de lune on the piano, there are three chords with five notes to be

played with the left hand, in mm. 25, 26 and 55. Since the harpist uses only four fingers

of each hand, one of these notes must be played by the right hand, which can be done

without difficulty.

44

The Five Non-Simplified Transcriptions for the Concert Harp

The essential elements in adapting Clair de lune for the concert harp will be

examined in the five non-simplified versions of transcription. The chronological order of

publication is Victor Coeur (1929), Ksenija A. Erdeli (1957), Carlos Salzedo (1962),

Marcel Grandjany (1963) and Yolanda Kondonassis (2004).

Essential Solutions to Four Elements in Adapting Clair de lune for Concert Harp

The first three essential solutions in adapting Clair de lune for the concert harp

are all related to the issue of pedal changes. These solutions are as follows:

1. Establish a substantial and well-understood system for pedaling. Pedaling is like

fingering on the harp. There is no unified or standard model that is accepted and

recognized by the harp community as a whole. A logical, consistent pedal notation

allows a harpist to learn a piece more efficiently and execute the piece with both musical

and technical success. With the concert harp, it is common to mark the pedaling by

using letters (C, D, E, F, G, A, B), as in the versions by Salzedo, Grandjany and

Kondonassis, or by using solfege (Do, Re, Mi, Fa, Sol, La, Si), as in the versions by

Coeur and Erdeli. None of the versions under discussion here have the same pedal

indications. While Erdeli indicated the pedaling only occasionally, the remaining four

versions indicate the pedaling consistently when needed. The placement of the pedal

markings is also not uniform. Both Salzedo and Kondonassis put them under the grand

staff while Grandjany sometimes put them under the grand staff or between the staves

45

and Erdeli put them only between the staves. Coeur is the only one to put them above

the grand staff. When two pedal changes are required at the same time, there are also a

variety of indications that can be used. Salzedo, Grandjany, and Kondonassis put the

right foot pedal over the left foot. Coeur did the opposite. Erdeli, however, was not

consistent. Sometimes she marked the left foot over the right, and at other times she did

the opposite.

2. Establish a proper use of enharmonics. Coeur’s transcription changed the original

key signature in order to avoid the need for enharmonics. The remaining four versions

all “had to” use enharmonic equivalents in two places, as mentioned earlier: in m. 20,

because of the limitations of the instrument (which cannot play certain notes

simultaneously), and in m. 43 due to the limitation of the harpist (who cannot change

more than two pedals at the same time when modulating from C-sharp minor to D-flat

major). However, Erdeli ignores the fact that the notes Gb, Ab and A cannot be played

at the same time, and changes the A pedal to Ab while the bass line A-natural is expected

to ring through the entire measure. Salzedo, Grandjany and Kondonassis all use the

enharmonic equivalents F#, G# and A in m. 20. In m. 43 all four versions have similar

resolutions, with some minor differences. (See Erdeli mm.41-50, Salzedo mm. 37-46,

Grandjany mm. 36-45, and Kondonassis mm.43-50.)

3. Indicate when the left foot executes a pedal on the right side. The most effective

way to retain the original key signature while maintaining the originality of Clair de lune

and making it playable on the concert harp is to change the E and A pedals at the same

46

time (see m. 43). Both Salzedo and Kondonassis used the boxed pedal to indicate this.

The reason Coeur changed the key signature may have been that he did not consider the

possibility of using the left foot to execute the right side pedal. Grandjany might have

had the same reason for his choice, or perhaps he was simply uncomfortable using this

kind of foot motion. Grandjany employed even more complicated methods, such as

using several enharmonic equivalents to accomplish the modulation. Erdeli again

ignored the still ringing A from the previous measure (m. 42), and changed the pedals in

m. 42, so that it was not necessary to change the two pedals on the right side at the same

time. 51

4. Resolve situations where the vertical chords contain more than four notes in one

hand, such as in mm. 25, 26, 55. All the transcribers resolved these situations in similar

ways. (See Coeur mm.15-28, Erdeli mm. 16-30, Salzedo mm. 15-28, and Grandjany

mm. 25-35.)

Optional Elements for Transcribing Clair de lune for the Concert Harp 1. Enharmonics

In addition to the two essential usages of enharmonics stated above, transcribers

use various enharmonic equivalents for facility or idiomatic purposes with the harp.

There are other optional usages for enharmonics in Clair de lune.

51 See Erdeli mm.41-50 for details.

47

To avoid having to change pedals back and forth

In mm. 27 and 28 in the original version the F and C alternate between natural

and flat. Since E and B are not needed in the music, Salzedo, Grandjany and

Kondonassis all use E-natural instead of F-flat and B-natural instead of C-flat. (See

Salzedo mm. 15-28, Grandjany mm. 25-35.) The same enharmonic application is also

used in mm. 67, 69 and 70 in these three transcriptions.52

To prepare for changes in the key signature

The harp is a diatonic instrument; it is unlike other instruments that can readily

adapt to changes in key signatures. The harp must be specifically prepared for remote

modulation, which was mentioned earlier as a limitation for both the instrument and the

player. In m. 35 Salzedo, Grandjany and Kondonassis used E-natural instead of F-flat

and B-natural instead of C-flat for the approaching modulation in m. 37. Salzedo and

Kondonassis prepare for the modulation by using G# rather than Ab in m. 35.

To allow the repeated pitch to ring longer

When the same pitch repeats in succession, the latter note stops the previous one.

In mm. 43 and 44 Grandjany used G# alternately with Ab for the pedal point on the bass

line to allow the note to ring longer and to increase the volume as well. For the same

reason, in m.72, the C# enharmonic is used to let the Db harmonic in the last note of m.

71 rings longer. Grandjany and Kondonassis instead of Gb use F# on the second beat in

m. 33.

52 Grandjany does not use the enharmonic in m. 70, because he uses another enharmonic E-natural

on the third beat to double the F-flat.

48

To reduce or avoid buzzing

The finger placement of the same pitch in a row can easily cause buzzing. To

reduce or avoid this problem, Kondonassis uses the Fb instead of E in m. 34.

To facilitate the fingering

Sometimes an enharmonic can change the placement of fingering to make the

stretch between fingers easier or more comfortable. Grandjany used Ab instead of G# on

the third beat of m. 36 to decrease the interval from a third to a second for the middle and

ring fingers.

2. Solutions for figurations that contain more than four notes in the same direction

Since harpists use only four fingers per hand it is an important issue in

transcription for the harp, especially when transcribing from keyboard instrument

repertoire. Certain techniques can be applied when addressing figurations or horizontal

patterns containing more than four notes in the same direction or vertical intervals and/or

chords as well. There are four techniques used among the five versions:

By dividing the figuration between two hands

This technique is most commonly used when both hands are available. This

method is also used when playing keyboard instruments. The notation frequently

indicates the application itself by the location of the grand staff, the grouping of the

notes, and the note-stem direction. Examples can be seen in m. 27 in all five versions.

There are other ways to divide notes between the two hands. For example, in the second

beat in mm. 29 and 30 in Kondonassis’s version, the right hand takes over one note from

49

the left hand figurations. Coeur and Salzedo use the same method in mm. 52-55 and

mm. 57-58.

By altering or omitting notes

Salzedo drastically altered the figuration in mm. 29 and 30. The note in the third

beat at the bass line in mm. 31 and 32 is omitted in Salzedo’s and Kondonassis’s version.

(See Salzedo mm.29-36.)

By using slide fingering

This method is employed on the third beat of m. 41 in Coeur’s version.

By using cross-under or -over fingering

An example of this device occurs is seen in Grandjany’s version in the figurations

of the first two beats in mm. 29 and 30. Grandjany uses cross-under for ascending notes

and cross-over for descending notes. (See Grandjany mm.25-35.)

Idiomatic Harpistic Effects Harmonics

Harmonics are an idiomatic harpistic effect that have a bell-like timbre, softer

volume, and ring for a shorter duration when compared to the same pitch plucked in a

regular way. Harmonics can be used for distinguishing different voicing, reducing

volume, replacing the repeated note to let the note ring longer, and to avoid buzzing. All

but Kondonassis use the harmonic effect in their transcriptions.

Coeur and Grandjany use harmonic thirds in the beginning of the piece for the

melody. Grandjany uses harmonics in mm. 49 and 50 for the melody line as well. In the

only ppp passage (mm. 51-58) in the original version, Erdeli, Salzedo and Grandjany

50

uses harmonics for its soft volume in the bass on the third beat (weak beat) in mm. 51-

54.53 Erdeli employs a similar usage in mm. 64 and 65, as did Grandjany in m. 65. In

addition, Coeur and Grandjany used harmonics in m. 71 for the arpeggio figuration at the

end of the piece. Grandjany uses harmonics for the inner voicing in mm. 63 and 64.

Muffling

Muffling is another idiomatic harpistic effect. Muffling serves not only to stop

the ringing tone, but also as a mean of articulation on the harp. Muffling is like fingering

and pedaling in that there is no universally accepted way of doing it. Coeur and Erdeli

do not mark any muffling signs at all. Salzedo, Grandjany and Kondonassis on the other

hand marked various symbols for different kinds of muffling. Although these three

transcribers varied their muffling markings, they seem to consider it necessary to damp

the sound in m. 25, mm. 47-48, and in m. 69. Salzedo’s version is the only one that

includes an explanation of harpistic symbols. Salzedo uses only three of the six muffling

symbols in his version. Although Grandjany does not explain the symbols, he uses seven

different kinds of muffling signs throughout the piece. Kondonassis uses only two kinds

of muffling markings in her version.

Letting vibrate

An opposite effect to muffling is “to let vibrate.” Salzedo uses this only once in

m. 59. Kondonassis uses it only at the end of the piece in m. 72. None of the other three

versions include this type of indication.

53 Grandjany for some strange reason does not use harmonics in m. 53.

51

Further Comments on the Five Non-Simplified Versions

In addition to the general issues discussed above, each version is created in the

transcriber’s own unique way.

Coeur

Coeur’s version is the only non-simplified one with a change in the key signature.

He moves up a half step from the original D-flat major to D-major. The evident

advantage of this alteration is that it saves numerous pedal changes, especially in the

complicated remote key modulation section where no enharmonic equivalent is needed.

Coeur uses harmonics in mm. 1-4 in the melody line, and in m. 71 for the running

figuration. He omits notes where there are successive repeated notes, such as in mm. 10

and 12. His fingering is clear and consistent. Coeur includes three solutions for

figurations containing more than four notes in the same direction in the bass line of m.

41. The first beat included cross-under fingering. On the second beat, the right hand

takes a note from the left. The third beat includes the use of sliding fingering. (See

Coeur mm. 39-48). He used the comma to separate the connecting of fingering.

Coeur’s version is faithful to the original piano version, with only a few minor alterations

in the music besides changing the key. His version accommodates both the harp and

harpist, and takes into consideration the idiomatic character of the harp as well.

Erdeli Erdeli’s changes are the most drastic of the five non-simplified versions. She

alters the music by omitting notes and changing the rhythm, and also changes the musical

52

style by adding numerous rolled chord marks. She changes some original dynamics, such

as the f in m.41 to mf, and makes additional dynamic markings. Furthermore, she omits

the accent mark on the C-flat in m. 59 that Debussy had stated was very important. She

uses harmonics in the bass, such as in mm. 51-54, and in the voice in mm. 64 and 65.

She gives only a few fingering indications, seen in mm. 29, 33, 41, and 52. Among these,

fingerings for mm. 29 and 41 are related to patterns containing more than four notes in

the same direction. Her pedaling indications are neither clear nor consistent. (See Erdeli

mm.16-30) She uses enharmonics only once, in m. 43. In doing so, she neglects to use

enharmonics in mm. 20 and 42, where she changes pedals while a note is still ringing in

another voice. (See Erdeli mm.41-50) She drastically changes the music, especially in

mm. 37-40. (See Erdeli mm.31-40) She adds chords to Debussy’s single note melody

line in mm. 33-34, and 37-40. She created a new rhythm for her version of the piece in

mm. 38-39. She omits the downbeat of m. 37, creating a pause. Erdeli’s version relies

more on altering the music, and less on editing. Her version embraces some harpistic

effects and artistic aspects. However, several harpistic limitations need to be addressed

and some inconsistent editing needs to be altered for it to be considered valuable.

Salzedo

Salzedo is known for detailed indications in his music. He edits the music

extensively as well as adding pedaling and fingering. While the other four non-simplified

versions almost literally retain the original tempo and mood indications, Salzedo alters

and omits some tempo and mood indications. He adds detailed dynamic markings and

53

indications for changes in volume. Generally, he increases the dynamic levels probably

because of the harp’s naturally soft volume. For example, he changes the original pp to

mp in m. 1, and the softest volume ppp in m. 51 becomes only p. As a result, his

dynamic range shrinks from the original ppp-f to pp-f. Salzedo does not use the tenuto

mark, which Debussy used in the original version between mm. 15-25 and mm. 51-54.

Instead he creates a new symbol - the expressive accent.54 Salzedo applies this symbol in

m. 67 and m. 69. Salzedo uses three kinds of muffling marks throughout the entire piece.

He alters the original music to some degree as well; especially the obvious changes in the

figurations in mm. 29, 30 and 34, and the bass pattern changes in mm. 43-44. (See

Salzedo mm. 29-36, 37-46) There are some minor adjustments throughout the music,

which might not be noticed by the listener, such as adding Gs to the chords in m. 17, or

omitting and changing notes on the third beat bass in the line in m. 27. Salzedo’s version

is idiomatic for the harp and displays many individual harpistic characteristics, however,

his alteration of the music makes his transcription more difficult to perform than other

versions. This increased difficulty is due to a more complicated structure (i.e., mm. 29-

34), and the minute editing of indications including the fingering. It may be problematic

to alter well-known music to such a degree that listeners can notice some differences, yet

the differences are not drastic enough to label Salzedo’s transcription as an original work.

Grandjany

Grandjany’s version is faithful to the original music. He literally retains the

original music without changing melody, rhythm, harmony or musical structure.

Grandjany’s transcription is idiomatic for the harp. He adds many details for executing

54 See Salzedo’s explanation of harpistic symbols.

54

the piece and utilizes an assortment of harpistic devices to make his transcription more

effective for the harp. For example, he employs enharmonics for various reasons, creates

diverse timbre and layering by use of harmonics, and indicates that some chords should

be played lower on the string. Grandjany uses various signs in his transcription without

including an explanation in his edition. Some of these signs are of Grandjany’s own

creation, and are not common harpistic symbols. The lack of explanation of these

symbols may be an issue for harpists who are unacquainted with them. Grandjany pays

strict attention to the indication of the damping effect for individual strings (single or

multiple), or strings in a specific register. (See “Explanation of Signs” from Grandjany

and Grandjany mm. 25-35) Both he and Erdeli omit the accent mark on the C-flat in m.

59, which Debussy declared to be important. Grandjany’s is the only version among the

five to use three staves in the beginning (mm. 1-6) for clearer voicing. Although

Grandjany uses more pedal changes (e.g., enharmonics for various reasons) than required

for harpistic effects, he avoids changing the left foot on the right side pedal in m. 43.

This version is therefore an option for harpists who are not comfortable using the left foot

to execute a pedal on the right side of the harp.

Kondonassis

Kondonassis’s transcription is from The Yolanda Kondonassis Transcriptions,

Arrangements and Original Works for the Harp Collection. This collection includes

transcriptions of several other piano pieces by Debussy, as well as other composers from

different musical periods. Among the five transcribers, Kondonassis is the only one to

provide information about her process and considerations while creating her

55

transcriptions. She includes a statement of her principles for transcribing music on the

harp in this collection, which is informative for both transcribers and harpists. She

formulates several questions to help her decide whether a piece of music is suitable to

transcribe for the harp: “Can the character, color, and spirit of the piece be effectively

conveyed on the harp? Are the chromaticism and articulations manageable? Can tempo

and dynamic indications be closely achieved? Can the original key be comfortably

maintained?”55 Once most of these questions are answered affirmatively, she then

transcribes the piece. Her goal with this collection “was to offer editions that are fully

fleshed-out and ready-to-play from the harpistic standpoint of fingerings, pedal markings,

and other technical notations.”56 However, she feels it is important to preserve the

original music as much as possible; therefore retaining many indications for execution,

such as phrasings, articulations, and voicings, even though the harp might not be able to

achieve the overall effect as well as the piano. She states, “One must interpret the

transcription not only with an ear to harpistic concerns, but also with a commitment to

preserve and understand the original.”57

According to Debussy, interpretative issues such as fingering and pedaling are a

matter of personal taste. Kondonassis’s writings on the subjects are well organized and

thought through. They are excellent guidelines for the novice transcriber and harp

instructor as well as for the harpists who must consider their own fingering or pedaling.

She incorporates concise explanations of her principles of fingering: “Consistent and

55 Yolanda Kondonassis, The Yolanda Kondonassis Collection: Transcriptions, Arrangements

and Original Works for the Harp. New York: Carl Fischer, 2004, 7. 56 Ibid 57 Ibid.

56

logical fingering is one of the most important tools in developing muscle memory during

the process of learning.”58 Kondonassis make her fingering choice by applying the

following priorities:

1. Phrasing (i.e., “Setting” arrive vs. forward direction, rhythmic spacing, articulation, etc.).

2. Melodic and/or harmonic clarity. 3. Sound and general clarity. 4. The avoidance of unwanted surface noise (i.e., “buzzing”). 5. Ease and comfort.59

Pedal markings are imperative to make the piece “ready-to-play” for the harpist.

Kondonassis has clear principles when it comes to pedaling:

1. Pedals moved with the right foot are printed above pedals moved with the left foot. 2. Pedal movement indications are always marked underneath the staff. 3. Pedal changes should be made in rhythm and on or as close as possible to pitches that

they affect.60 Kondonassis states the advantage of marking pedals by following the principles

above as it “reinforces consistent team work between the eye, mind, ear, and muscles,

allowing each change to be an efficient and musically supportive gesture.”61

Kondonassis preserves all the musical directions in the original work, such as

dynamics, articulations and tempo. She adds only two other dynamic indications in mm.

24 and 25. For general information, she includes performance notes for each individual

piece, and adds metronome markings and a pedal diagram at the beginning.

58Ibid., 9. 59 Ibid. 60 Ibid., 10. 61 Ibid.

57

Kondonassis’s version is a fairly faithful transcription of the original piano piece

as well as an idiomatic work for the harp. She follows the principles she outlines for

transcribing: her fingering and pedal markings are clear and consistent. She is the only

transcriber among the five non-simplified versions who does not use harmonics; perhaps

she wants to retain the original work as much as possible. She indicates in a footnote that

all chords should be played “flat” (unbroken), unless otherwise indicated. As the most

recent transcriber of the five, Kondonassis enjoys the advantage of studying the devices

and techniques that had already been used by other transcribers. She utilizes various

harpistic devices such as enharmonic equivalents, muffling and to let vibrate, which have

been previously addressed. Her version is valuable for educational purposes, due to her

thorough considerations and writings about transcribing music for the harp, and the well-

organized and systematic musical examples in her collection.

Simplified Versions for the Concert Harp

Simplified versions serve mostly educational purposes. They enable less

advanced players to experience important classical repertoire and to develop both

technically and musically. As mentioned in the chapter on transcriptions, printed music

is made up of two parts: one is the actual musical score, and the other consists of

indications for musical interpretation. Both non-simplified and simplified music

transcriptions include these two elements. Although a simplified transcription raises

some of the same issues as a non-simplified version, there are two main reasons to make

a simplified transcription:

1. To make the execution of the music easier. Simplification actually changes the

music, including the pitches, the note values, and their effects on the parameters of the

58

music, such as melody, rhythm, harmony, texture, and key. Simplifying these elements

directly affects the execution of both the fingering and the pedaling for the concert harp.

2. To make reading the music easier. Simplification involves both the actual music and

the indications for musical interpretation. It might also consist of altering the layout of

the music and of combining various layers and voicings into fewer layers, which may

help the musician read the music more easily. The indications for musical interpretation

can be divided into those related to language, and those related to signs and symbols

(non-language) that are used in the music. Many musical terms are in foreign languages.

Some of these are generally recognizable musical terms, while others are not. To

translate these unusual foreign terms into the musician’s native language or to omit

complicated musical descriptions may help to clean up the layout of the music, reducing

confusion and frustration for the musician. There are also signs and symbols that are

omitted in simplified versions, since some of their effects either cannot be applied to the

new instrument or are simply not effective.

An example of a simplified transcription by Daniel Burton

Burton’s version takes a different approach than the non-simplified versions. His

approach appears to be designed to make the execution of the music easier, including the

fingering and the pedaling.

59

What does Burton simplify?

1. The execution of the music

A. Fingering – Burton omits or alters notes and registers which enable him to simplify

the fingering. Just a few fingering indications are needed in his version.

Omit notes

a) In intervals – For avoiding cross fingering, (e.g., 2, 4 and 1, 3 without

replacing the fingers) Burton omits the second thirds below the melody line when thirds

are played in succession in one hand, e.g., in mm. 2-4. b) In chords - Burton thins the

texture, e.g., in mm. 10, 12 in left hand. c) In the figuration - Burton omits notes where

the figurations contain more than four notes in the same direction in one hand, e.g., in

mm. 27, 28, 30, the last two notes of the sextuplet figurations. In mm. 41-42, Burton

omits all the figurations in the left hand, because the figurations go up and down and

contain more than four notes in each direction. d) In cases there are two or more voicings

- Burton omits the accompaniment figuration when there are more than two melody

lines, e.g., in mm. 45, 46.

Change notes and note directions

An example of this can be found in Burton’s version in m. 29. This alteration

eliminates a requirement that one hand plays more than four notes in the same direction.

Change register

Besides changing some of the notes in mm. 27-30, Burton moves the

accompaniment figurations an octave higher, so that the two hands are closer to each

other. The alteration eliminates an uncomfortable leap and stretch between the hands and

fingers. This makes it easier not only to play the melody with the right hand, but also for

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it to take the remaining figuration notes from the left hand. In mm. 15 and 17, Burton

moves the downbeat an octave higher to reduce the leap between the two voices in the left

hand.

B. Pedaling – It is important in a simplified transcription to reduce the use of pedals.

The following techniques provide some solutions.

Change key signature

Changing the key does not affect the fingering as much as it would on the piano

or other instruments, but it will affect the usage of the pedals to a large degree. Burton

changes the original key signature a semi-tone lower to C major, and modulates to the

parallel minor relationship (instead of enharmonic Db major to C# minor). This

eliminates a lot of pedal changes, including the remote key modulation, the usage of the

enharmonics, and the execution of two pedal changes on the same side of the harp. The

only place that requires two pedals to change at the same time is on the first beat of m.

43.

Use enharmonics

In some non-simplified versions, two enharmonics are used on the third beat of

mm. 27 and 28 to avoid pedal changes back and forth. However, Burton used only one

enharmonic D# (=Eb), so the harpist only has to change one pedal back and forth in this

passage.

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2. Reading the Music

A. The music

The choice of key

Burton changes the original key signature a semi-tone lower to C major. This

change not only saves numerous pedal changes in the modulation section, but also cleans

up the layout of the musical score, which is originally full of flat signs, and includes

complicated modulation key alterations.

The layout of the music a) Time signature – Burton alters the 9/8 compound meter to a simple meter of 3/4.

b) Voicing – In the original music there is often more than one voice for each hand or

music staff, with different note-stem directions and note values. Combining voices means

that certain notes get less emphasis or may not ring as long as they should. Burton

combines and reduces the voicings, i.e., in the right hand in mm. 10-14.

B. Indications for musical interpretation

Language

The musical terms in Clair de lune are in both Italian and French. Burton leaves

out and changes some dynamics, tempo and mood indications. For example, he replaces

the original tempo and mood indication Andante tres expressif at the beginning of the

piece with Endorsement.

Signs and symbols

Burton omits all the phrasing and tenuto markings that are in Debussy’s original

music. He does not add any harpistic effects except one harmonic in m. 72.

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What does Burton change rather than simplify?

Register

He changes the register in mm. 39-40, causing the melodic line to become abrupt.

Notation

He changes the notation in mm. 25, 26. The first three chords in the left hand are

one octave too high, and conflict with the chords in the right hand. (See Burton mm.18-

30)

Harmony

He changes the harmony on the third beat in m. 34 which makes the chord lose

the effect of an augmented chord that Debussy wrote.

Time signature

The change from 9/8 to 3/4 causes confusion between triple and duple divisions in the

notation, especially when a rest sign occurs such as in the eighth rest between the second

and third beat in m. 41.

Figuration

He alters the figuration in mm. 43-44 in the left hand, and the first two beats in

mm. 47-48 in the right hand. This creates a hemiola effect by emphasizing duplets in one

hand, juxtaposed against a triplet figure in the other hand. The hemiola is not authentic in

style, and is a more difficult rhythm than the original.

Rhythm

He omits two notes in m. 51. The sextuplets shift to sixteenths (quadruplets),

which is easier for fingering but creates a more difficult situation when shifting the

rhythm from divisions of six to divisions of four per beat.

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What does Burton omit rather than simplify?

He omits the indication of triplets after m. 5. These omissions make the duple

and triple division in the music unclear and confused. Burton omits Bb (originally Cb),

which is the only note Debussy marks with an accent in m. 59. But the Bb is used in m.

61 anyway, so it is not really simplified in terms of saving pedal changes.

What does Burton add?

Burton adds some indications which may help the musician to execute the music

more efficiently, such as a metronome mark, letter pedal indications and a few fingering

indications. He suggests some variations in interpreting the music: for example he adds

some dynamic marks in mm. 23-25, some articulation marks to emphasize the melody

and bass line (e.g., in mm. 8, 45-48), and “slowing” marks in mm. 42 and 71. Burton

doubles the running note value in m. 71 in the second and the third beat. He also adds

two kinds of harpistic effects – harmonic and enharmonics, which uses both E and Fb to

thicken the chord without adding extra non-chord tones. Both effects occur only once in

m. 72.

From Burton’s example, we can see that a simplified transcription is not

accomplished just by omitting or altering notes. Simplification may require adding some

indications and explanations to help the musician understand the music better. However,

Burton does not translate or explain any foreign terms for the English speaking musician,

such as the complicated French description “morendo jusqu a la fin” in m. 61. He does

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add one English term, “slowing,” in mm. 42 and 72, which does not seem appropriate

among the many foreign words.

When altering the music, the transcriber must be careful not to simplify certain

aspects while increasing the difficulty in others. It seems that Burton sometimes ignores

the rhythm. Occasionally he omits and alters notes, which is apparently done to ease the

fingering, but in doing so he actually increases the difficulty of the rhythm.

Since simplified versions are used mostly for educational purposes, it is important

to notate and indicate music correctly and clearly. It is essential to keep the music

authentic in style, and to edit the music consistently, which includes using the correct

pitch and note values, as well as the musical parameters. In addition, it is important not

to add or omit indications that can cause confusion or ambiguity. No matter how good a

transcription, mistakes and inconsistent editing must be corrected for it to be considered

valuable.

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Chapter 6 Clair de lune - Transcriptions for the Lever Harp

Major differences between the Pedal and Lever Harps

The major differences between the pedal harp and the lever harp, similar to those

between the grand piano and the upright piano, are in the size, volume and timbre of the

instruments. Furthermore, the two kinds of harps are different in pitch range, tonal

capability and the ability and methods used to deal with accidentals and modulation.

Hence, there are only a few pieces that can be played on both types of harp without

additional editing. Those works are usually restricted by key signature and pitch range,

and have limited or no accidentals or modulation. Because of these limitations, Clair de

lune by Debussy is not really suitable for the lever harp without making major

adjustments to accommodate the harp and harpist.

There are two more significant differences between the two types of harps.

Firstly, with each of its strings capable of playing three pitches, the concert harp has the

ability to frequently employ enharmonics. In contrast, the strings of a lever harp can only

create two pitches, thus limiting its enharmonic capabilities. The enharmonic effect is

only available in specific situations on the level harp (e.g., in C major to tune E#=F,

B#=C), and has a maximum of two pairs at a time. Therefore, glissandi for the lever harp

are restricted to certain scales. However, the lever harp can be set to different pitch

orders or tonalities in each octave (e.g., one octave to C, D, E, F, G, A, B and the next

octave to C, D#, E, F#, G, A, B) which is not possible with the concert harp. Secondly,

the notation and execution of accidentals are different between the pedal and lever harps.

The lever harp is operated with one hand while the pedal harp is operated with the feet.

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There are two devices that are generally used to mark lever changes: 1. Letter

notation - a combination of letters and Roman numerals, which indicate the register of the

letter and are placed in the available space near the grand staff. This technique only

roughly indicates where the change should occur because the markings must be made in

the space above the grand staff, and so cannot indicate a specific instance in the music. 2.

Diamond shape notation - the indication is placed among the notes. With this approach,

it is possible to indicate that the change be made at a specific point in the music. This

technique also makes it clear when the hand will be available to execute the change. The

following table contains an overview of the major differences between the concert harp

and lever harp. (See table 4.)

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Table 4. Major differences between the concert harp and lever harp

Characteristics Concert Harp Lever Harp Range 61/2 octaves (C1-g5) 3-5 octaves Number of Strings 46-47 21-40 Pitch capability per string 3 (flat, natural, sharp) 2 (on/off. e.g., flat/

natural or natural/ sharp) Execution of accidentals By both feet By left hand During execution of the accidentals

Both hands can remain on the strings

The left hand has to leave the strings for the lever

Notation of accidentals 1.Letter notation, 2. pedal setting notation, 3. Pedal diagram.

1.Letter notation with additional Roman numerals to indicates the register.

2. Diamond shape notation. Tonal capability All keys Maximum of 8 major and

5 minor keys when tuned in Eb major

Enharmonic capability All notes except D, G, A Available in restricted situations (e.g., in C major to tune E#=F, B#=C), with a maximum of two pairs at a time.

Special characteristics of the harp

When the pedals are changed, all the same letter notes change at the same time either to flat, natural or sharp

Individual notes can be raised or changed

Restrictions of the Lever Harp

The lever harp has some of the same issues as the concert harp regarding the best

ways to indicate and cancel accidentals, as well as how to handle chords containing more

than four notes in one hand. Nevertheless, the lever harp has additional restrictions due

to its capability and limitations. There are four key issues when transcribing for the lever

harp: key signature, accidentals, modulation and the pitch range.

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Key signature

As mentioned in chapter one, the lever harp has limited tonal capabilities.

Theoretically it can be tuned to any key, just as bowed-string instruments can be tuned to

any pitch level. However scordatura is not practical for tuning purposes.62 The lever

harp is often tuned in Eb major, so that it can be played in the widest range of keys,

which includes eight major and five minor keys. The maximum key range of the lever

harp is from three flats to four sharps. Clair de lune is in Db major, which includes five

flat signs, and is out of the lever harp’s normal tonal range.

Accidentals and modulation

It is even more difficult for a musician on the lever harp to deal with accidentals

or modulation than it is on the pedal harp, due to the fact that the lever changes are

executed with one hand (usually the left hand) instead of two feet. In addition, changing

the lever affects but one string at a time, instead of all the same lettered strings in all

registers. Even the closest key signature change will require that every string be changed

individually for each octave. To apply an accidental to the whole register of the harp

requires not only time, but also an available hand. Furthermore, while this is being done,

the harpist has only one hand available for plucking.

62 A scordatura (literally Italian for "mistuning") is an alternate tuning used for the open strings of a string instrument. It is an extended technique used to allow the playing of otherwise impossible melodies, harmonies, figures, chords, or other note combinations. Scordatura has been used mostly for bowed stringed instruments such as the violin or cello, and plucked instruments such as the guitar and lute. However, scordatura is only an exception for tuning, since retaining the same tuning is better for the instrument.

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Pitch range

Clair de lune is out of the pitch range of some lever harps, so that notes in the

extremely high and low registers need to be omitted or changed.

Analysis of Three Transcriptions for the Lever Harp

The chronology of publication of transcriptions for the lever harp is Barbara

Brundage (1998), Susan Scott (2001), and Suzanne Balderston (2002). These three

transcriptions for the lever harp all have different purposes. The version by Brundage is

non-simplified, while the versions by Scott and Balderston are simplified. Balderston’s

version is arranged for both the lever and pedal harps. Due to the restrictions of the lever

harp and the different purposes of the three transcriptions, this analysis will concentrate

mostly on the obviously noticeable alterations from the original melody, harmony, and

rhythm. The musical structure, texture and voicing is drastically reduced or omitted to

accommodate the lever harp and harpist. The issue of chords containing more than four

notes in one hand can be a major concern for the concert harp; however, it is a minor one

for lever harp, since of the three transcribers have simply chosen to omit the extra note.

The four key issues in transcribing for the lever harp

Key signature The original key of Clair de lune is Db major, with five flats, which is out of the

lever harp’s tonal range, therefore, all three transcribers have changed the key signature.

Brundage changes to D major, while both Scott and Balderston change to C major.

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Accidentals

When dealing with accidentals, all three versions omit some notes and alter

others, in order to avoid some impossible lever changes. For example, all three versions

omit the third beat of accompaniment figuration in mm. 27, 28, 30, 35, 37 in Brundage’s

version, in mm. 29, 30, and mm. 32-36 in Balderston’s version, and in mm. 27-29 and

mm. 34-37 in Scott’s version.

One common problem in these three transcriptions is that they cannot avoid

having a lever change in advance while the previous pitch is supposed to keep ringing. It

happens especially when two pitches sharing the same string are played in succession.

For example, the C is changed to C# in m. 13 and Bb to B in m. 20 in Brundage’s

version. The Ab is changed to A in mm. 2 and 20, and E to Eb in m. 25 in Balderston’s

version. The G# is changed to G in mm. 2 and 6 and G to G# in m. 19 of Scott’s version.

Although the alteration frequently occurs during a long note, which is not so noticeable, a

similar issue occurs in Erdeli’s version for the concert harp - it is musically and

notationally incorrect. To indicate the lever change, Scott uses letters combined with

Roman numerals, while Brundage and Balderston use diamond shaped notation on the

staff. The flaw of the letter indication can be seen at the change from G to G# and back

to G in mm. 1-3 in Scott’s version. The indication can only roughly signify the moment

of change. (See Scott mm.1-26.)

Modulation

None of these transcribers changes the key signature in the modulation section.

Instead of the original remote modulation (Db major to C# minor - a parallel minor using

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enharmonic relationship) Brundage uses an unprepared relative minor modulation to

achieve a tonality change from major to minor without changing the key signature (D

major to B minor). Scott, on the other hand, simply eliminates four measures out of six

in the modulatory section, and does not add any accidentals. Balderston omits so many

notes that she only needs to change a few accidentals to enable the modulation from C

major to C minor. In this way, she manages to retain the parallel key relationship from

the original piano version. (See Brundage mm. 28-37.)

Pitch range

All three versions omit the lower register notes. For example, in m. 15 of the

Brundage version, the lower octave E is omitted on the first beat. Lower octave notes are

also omitted in both simplified versions to make it easier to play and also for the sake of

simplification and maybe the lower note is out of range.

Additional Comments on Three Versions for the Lever Harp

Brundage

Brundage’s transcription of Clair de lune is fairly faithful to the original piano

score. She retains all of the original musical indications, including the tempo marking,

articulation, and dynamics. She adds no fingering or muffling indicators. The only

harpistic effect she adds is harmonics, which she uses in mm. 1-4. This clever usage of

harmonics allows Brundage to avoid lever changes until m. 7, and shows the advantage

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of the lever harp. Brundage’s transcription is intended mostly to accommodate the

limitations of the instrument and the musician (as mentioned earlier in the four key

issues). She also focuses her editing attention on texture and voicing. As Coeur does for

the concert harp, Brundage changes the key to D major. By excluding the modulation

section, she illustrates the restrictions of the lever harp, and the differences between these

two types of harps. Even changing the key cannot save the lever harp from failing to

modulate to a parallel relationship.

Balderston

Balderston’s transcription is the only version of the piece that has been adapted

for both the pedal and lever harps, and it was probably for commercial reason. Because

of the differences between the two harps, the transcriber had to make many compromises,

sacrificing some of the capabilities of each of the harps, so that neither of them is used to

its fullest extent in performing the piece. For example, when performing on the pedal

harp, the full range is not used. Some of the melody, rhythm, harmony, and texture have

been omitted to accommodate those instances where one hand would be changing the

settings on a lever harp. Furthermore, when the different methods of notating accidentals

are used together, the score becomes very crowded and confusing. Therefore, I would

recommend that Balderston’s version of Clair de lune be published only for the lever

harp. This is especially true since it is the only version for the lever harp that has

successfully captured the modulation of the piece.

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According to Balderston’s foreword, she rearranges the piece to an easier level,

and attempts to keep the melodic and harmonic structures intact.63 She preserves most of

the tempo and dynamic markings and melodic elements and reduces and alters the other

music parameters such as rhythm, harmony, and texture. She omits all the articulation

and phrasing marks, and does not add any harpistic effects, which is suitable for her

purpose. However, there are three main alterations that do not serve the music well:

1) Balderston changes the smallest note value from a sixteenth to an eighth note.

The best example can be seen in mm. 27 through 58. This change in note value causes

the sextuplet’s steady pulse, which alters between the two notes, to become triplets, with

an uneven pattern that alternates between the two notes on the beat. (See Balderston

mm.25-37). The alteration not only loses the pedal point effect in music, but also creates

a more difficult rhythm than the original.

2) Balderston moves the music in the upper staff an octave lower in mm. 15-24,

which creates an abruptness in the melody line between mm. 24-25.

3) Balderston creates a steady beat by adding or moving notes on the beat to the

left hand. The most obvious passage can be seen in mm. 19-24, and various places

throughout the piece. A steady beat is not compatible with the mood of to Clair de lune.

63 Suzanne Balderston, Debussy Revisited. Simplified and arranged for pedal and lever harp.

(Bloomington, Ind.: Vanderbilt Music, 2002).

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Scott

Scott’s version has some similarities to Burton’s. Both change the time signature to

3/4 and the key to C major. However, Scott indicated all the triplet notes, so her version

is much clearer in the sense of rhythm. Her deletion of four measures (mm. 39-42) from

the modulation passage tends to make the music seem abrupt and strange.

To create this simplified version, Scott omits all the tempo and mood indications,

except for keeping the original tempo indication at the beginning. She omits all the

articulation marks as well, and does not add any extra sign or harpistic effect. She omits

some voicings and combines the remaining into two voicings, one for each hand or each

music staff, consequently adding only a few fingerings. For different reasons, Scott

changes most figurations that contain more than four notes in the same direction.

Nevertheless she retains eight sextuplets in mm. 27, 28, 36 and uses the cross-under

fingering, which is quite unusual especially for a simplified version. Rhythm creates a

dilemma in all the simplified versions. Scott makes several noticeable changes in the

rhythm, some of which only creates difficulty and complications in her transcription.

1) Creates new rhythm

In m. 47 Scott adds a new dotted rhythm in the melody, which is not included in

the original music.

2) Changes to an already existing rhythm

There are two devices Scott applies, which are seemingly unnecessary (i.e., in

mm. 29, 31, changing a triplet made up of a quarter and a eighth note into two quarter

notes, and adding an eighth rest between two eighth notes in the triplets in mm. 39 and

40.)

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3) Juxtaposes several rhythms

Scott shifts one rhythm to another and creates more difficult and complicated

rhythms. In the original, the pulsating sextuplet accompaniment occurs persistently

through the whole section between mm. 27 and 50. Regardless of the triplet or duplet

divisions, the other voices fit into the sextuplet rhythm. Scott also retains some pulsating

sextuplet accompaniments and alters some into triplets and some into quadruples

(sixteenth-note groupings). While she omits some accompaniment, the melody becomes

the only rhythmic element that remains in the music, which includes the new dotted

rhythm and the duplets (eighth-note groupings). She juxtaposes all these rhythms, (See

Scott mm. 27-48(52)*), shifts one rhythm to the other and creates more difficulty in the

rhythm, which is not authentic to Debussy’s style.

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Conclusion

The famous conductor Leopold Stokowski said in reference to the lack of general

knowledge of the harp that “… so few composers understand the true musical personality

of the harp, but write for it as if it were a piano.” 64 The purpose of this document has

been to help the composer, transcriber and musician to better understand the harp. In an

overview of the instrument, we found that the harps most commonly used today are

generally diatonic in nature, although there have been chromatic harps in existence

during the evolution of the instrument. The types of harps discussed in detail during this

study were the lever harp and the concert harp.

Transcription is a tool used to expand the repertoire of the harp. However, it can

also be a method of composition, or can be used to educate the novice as a means to

improve their technique and extend their knowledge of different styles of music.

Transcribers for the harp are usually harpists themselves. Some are harpist-composers,

others are concert harpists, orchestral harpists, or harp instructors. Transcription can be

used either to maintain or change the medium; to move from single to multiple

instruments and vice-versa, or to realize the potential of a composition with regard to

different instrumental ensembles. Transcription can also allow the creation of either

simplified or non-simplified versions of the music.

Clair de lune is an ideal choice for the study of music transcribed from piano to

harp. There are only a few essential adjustments that need to be made to adapt this piano

64 Dewey Owens, Carlos Salzedo: From Aeolian to Thunder: A Biography ( Chicago: Lyon & Healy Harps, 1993), 37.

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piece to the concert harp. These are adjustments which involve limitations in fingering

since the harpist has only four fingers in comparison to the pianist’s five; excess

manipulations involving the hands and feet and the instrument itself when dealing with

chromatics and modulations of a diatonic instrument. The similarities between the piano

and harp as well as the style, the tempo, and the tonalities of this piece, all make Clair de

lune suitable for transcription. Furthermore, the number of transcriptions for this piece

allows for a comparison of various versions.

Clair de lune does not seem to be suitable for the lever harp. All of the

transcriptions for the lever harp change the key, and none of them includes the original

key change in measure 37-42, whether the version is simplified or not. Furthermore, the

number of accidentals must be reduced to accommodate the harp and harpist.

Simplified transcriptions for both the concert and lever harp have some common

issues to resolve, especially if they are to preserve the flavor and style of the original

music. Omitting notes often alters the rhythm as well, and affects the style and flavor. In

some cases, the transcribers have simplified the fingering, but increased the rhythmic

complications. This typically occurred in two ways: by shifting rhythms from one to the

other or by juxtaposing different rhythms for each hand.

Composers are often not harpists and they use the piano as an aid in composing

their music. Composers can utilize the idiomatic character of the harp when composing

music for the instrument, and avoid the limitations of the harp and harpist. To address

some of these restrictions, composers can write music for two or more harps instead of

using only one. This approach can be used when writing only for harps, or when they are

part of an ensemble. Multiple harps can be used to reduce the impact of the instrument’s

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natural limitations, such as the harp’s soft volume, its inability to swiftly modulate to

remote keys, and figurations with awkward fingering. These advantages may explain

why Debussy and Ravel often used two harps in their orchestral works. Ensemble

playing can also serve as a means to allow less technically advanced players to

experience more difficult repertoire, and provides harpists the opportunity to experience

performing with other musicians.

Another limitation of the harp is its inability to sustain sound. One solution to this

problem is to compose music for the harp together with melody instruments. An example

can be seen in Carlos Salzedo’s arrangement for the flute, cello, and harp of Maurice

Ravel’s Sonatine for piano.

As Debussy noted, in the second section of Clair de lune, “the left-hand arpeggios

should be fluid, mellow, drowned in pedal, as if played by a harp on a background of

strings.” 65 Originally for piano, Clair de lune has been arranged for various ensembles

that include the harp. This respects Debussy’s intentions in the music. Clair de lune is a

suitable piece to transcribe for the harp. The essential adjustments that are required and

the optional possibilities used by the various transcribers can give the composer an

indication of what elements need attention when writing music for the harp.

Transcribers for the harp are usually harpists themselves and therefore generally

more knowledgeable about the instrument and the capabilities of those who play the

instrument. The purpose of transcribing music is to increase the harp’s repertoire or

serve as an educational tool. Transcribers have various techniques and possibilities when

transcribing for the harp; options for personalizing music, and means for solving

problems they encounter. It is, however, very important for transcribers to be well 65 See footnote 49.

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acquainted with the original piece, including the composer’s style and intention, in order

to avoid changing, omitting or even adding something that is contradictory to the original

music.

The vast quantities of music written for piano can serve as a basic resource for

expansion of the harp repertoire. The harp transcriber must consider one of the greatest

benefits of using piano literature, that is, both instruments utilize the grand staff for

notational purposes. The piano has been a popular instrument for centuries, and enjoys

significant contributions to its repertoire from renowned composers; including solo, four

hands, chamber, ensemble and orchestral works. Others sources to be considered for

transcription would be orchestral and other musical reductions and arrangements. The

similarities in notation can save quite a bit of effort and provide timesaving results. After

choosing suitable music for the harp, modifying the music by making essential

adjustments is all that may be necessary. The adjustments may also include editing or

initiating changes in technical aspects that can help to facilitate an easier and more

proficient situation for the player, or incorporating idiomatic harpistic effects to the

instrument.

In the case of the lever harp, choosing appropriate literature for transcription

purposes can be difficult. Because of its diatonic nature, its lack of flexibility in altering

accidentals with one hand, and its difficulty when encountering modulation or chromatic

passages, it is necessary for the transcriber to make choices that will avoid causing

abruptness in the music, or changing the original music and style. The transcriber might

choose to abridge the music rather than create such problems. When these criteria cannot

be met, it is better not to transcribe the music at all. As for simplified versions,

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transcribers need to pay attention to the same issues, but they have to be careful not to

simplify one element while increasing the difficulty of another.

Notating the music in a clear and correct manner is a fundamental concern for

both composer and transcriber prior to publication. Correct notation must include the

correct pitch and note-value. There must be consistency in the editing process. One must

pay close attention to musical concepts such as articulation, pedaling, and fingering. In

addition, the layout and the printed size of the music as well as placement of page turns

are considerations that can make the score easier to read, and lead to better performances.

When the composer or transcriber applies a sign or term that is not commonly used, it is

necessary to explain the application to avoid any misunderstanding or inappropriate

interpretation.

Generally a composition has only one version, unless the composer or someone

else has revised or edited the piece. Clair de lune, one of the most transcribed pieces for

the harp, provides a rare opportunity for the harpist and harp instructor to juxtapose the

versions of transcribers from various nations, decades, and backgrounds. These

transcriptions enable the harpist to try out various fingerings, pedalings, and musical

expressions including dynamics, tempo changes, articulation, or additional harpistic

effects. These fundamentals and elements are essential in the interpretation of music.

Listening to different recordings or live performances of the same work is another

approach to experiencing different transcriptions and their interpretations. However,

technicalities such as fingering and pedaling cannot always be entirely understood. There

should also be an understanding that no matter what version or transcription an artist is

performing, personal attributes and experiences will be reflected in his or her own

81

interpretation. Debussy alludes to this sense of personalization with his comments on

fingering and pedaling, “entrust it to your ear,66 you have only to listen. Pleasure is the

law.”67

Studying a variety of transcriptions is a valuable way of gaining knowledge from

transcribers. Various sources can be invaluable and serve as a means of inspiration in

providing ideas for musical interpretations. In particular the various transcriptions of

Clair de lune provide an opportunity to view the interpretations of different masters. The

harpist, however, is given a choice of exploring versions that may be best suited for his

individual needs. The harpist is permitted to combine various ideas or add original or

creative elements that might reflect Debussy’s intention better than those provided by the

transcriber.

However, it is the author’s opinion that there is a necessity to maintain the

originality of this particular work. Sometimes personalizing great works such as Clair de

lune creates a dilution as well as a misinterpretation of the composer’s intent.

In addition, as mentioned previously, it is important to preserve the integrity of the

composition when transcribing. Arrangers, for personal reasons, do not always adhere to

this retention. This author proposes to retain all the indications from the original version.

A helpful source when dealing with discrepancies is Clair de lune from Suite

bergamasque, edited by Roy Howat. “Mistakes” in the original version have been

retained in the transcriptions. These include missing dots that lead to incomplete note

values in some measures, inconsistent articulation markings, and ties and slurs where

there are parallel structures. These problems can be corrected, such as in the Howat

66 Nichols, 163. 67 Long, At the piano with Claude Debussy, 16-21.

82

version, which seems to adhere to and represent the authenticity of the original piano

version and Debussy’s intent.

Hopefully this study will serve as a guide to those who wish to expand their

knowledge of this beautiful, yet complex and challenging instrument. This detailed

research of one of the most popular works in the repertoire of classical musical literature

can also serve as an example of what is necessary when searching for appropriate

versions of music involving the harp. The author is confident that the composer,

transcriber, instructor, harpist or any other musician interested in the harp, can use this as

a guide to enhance and expand their interpretive skills and understanding of this

instrument that has not been well understood for centuries throughout the history of

classical music.

83

Appendix A An Overview of Five Non-Simplified Transcriptions for Concert Harp

Transcriber Coeur Erdeli Salzedo Grandjany Kondonassis

Publication 1929 1957 1962 1963 2004 To connect Uses bracket N/A Uses bracket Uses bracket Uses bracket

Fin

gerin

g

Not to connect Uses comma (,)

N/A Uses dot (.) Uses Delta

(▽)▽)▽)▽)

Uses dot (.)

Diagram N/A N/A N/A N/A Caption Marking sign Solfege Solfege Letters Letters Letters

How often when needed

All the time Sometimes All the time All the time All the time

Position of pedal notation

Over the grand staff

Between the grand staff

Under the grand staff

Under or between the grand staff

Under the grand staff

Placement of notation

L above R* Not consistent R above L R above L R above L Ped

al in

dica

tion

Boxed pedal N/A N/A In m. 43 for Eb

N/A In m. 43 for Eb

Enharmonic N/A Only in m.43 For various purposes

For various purposes

For various purposes

Harmonic m.1-4, m.71 mm.51-54,mm. 64,65

mm. 51-54 mm.1-6,mm. 49-54,

mm.63-65, m.71

N/A

Muffling N/A N/A Uses 7 kinds Uses 3 kinds Uses 2 kinds Har

pist

ic e

ffect

To let vibrate N/A N/A Once (m.59) N/A Once (m.72) Changes

original key signature

Adds Metronome

marking

Uses 3 staffs in mm.1-6

Adds Metronome

marking

Oth

ers

Attaches explanation of symbols

Information about

transcription and music

* L=left, R=right N/A Not Applicable (does not apply)

84

Appendix B

Symbols and Signs

1. Salzedo Symbols

85

2. Grandjany Signs

86

Appendix C Musical Examples The musical examples and the explanations serve as a reference to the document. The following music examples are abstracts from the original score to show not only the music, but also the layout and the style of the original composer as well as various transcribers, so the readers can compare the printed music visually. The explanations are mostly abstract from the document with the indication of the page numbers. It is also possible for readers to study the examples and explanations without reading the text of the document.

Debussy’s original piano edition mm. 1-14

1. Debussy does not put any fingering and pedaling indications in Clair de lune. The dynamics indicated in the piece are mostly pianissimo.

2. Debussy’s rhythms often lacks a strong pulse or are vaguely irregular in manner, and are frequently non-metrical, non-symmetrical. (p. 33))

87

1. Original mm.15-28

1. The articulation in this piece is mostly legato with some non-legato and tenuto marks (i.e., in mm. 15, 16, 17, 20, 22). The texture includes several layers or voicing, which change during the music, causing some ambiguity in the notation. (p. 39)

2. When alternating note values of two and three, Debussy instructs Dumesnil to play in the same length of time, i.e., in mm.15-18. (pp. 37-38)

3. The execution of the arpeggio in measures 25 and 26, should “begin with the lowest note of the left hand chord and continues to the top of the right hand chord.” (p. 38)

4. The marking ‘gradually louder and faster’ (peu à peu cresc. et animé) in mm. 19-20 must be understood with moderation. The crescendo barely reaches a mezzo forte and the animé indicates only a slight pickup. Above all, refrain from any dramatic sentimentality. (p.38)

88

Original mm.29-38

1. Concerning the second section (from m.27-58) of ‘Clair de lune,’ Debussy said, ‘the left-hand arpeggios should be fluid, mellow, drowned in pedal, as if played by a harp on a background of strings. Dumesnil wrote: “All runs, arpeggios and passages must always be treated from the ‘sonorous’, the ‘harmonic’, and the ‘vibrating’ standpoint. (p. 36)

2. The accidentals are added to the piano score here, e.g., the Gb in m. 31, the Db in m.35, the C# in m.37, all are to remind the harpist to check the pedals back to the key signature. Harpist has the option to move and mark the pedal between the time span where the accidental occurred and cancelled , although sometime there are not many choices; e.g., the G natural that occurred in m. 30 that altered back to G flat in m.31.

89

Original mm. 39-48

1. M. 41 is the climax, the loudest measure in the entire piece; it consists of a forte only. (p.38) 2. For key changes i.e., in mm. 42-43, piano version only needs to indicate changing the key

signature. Harp version, on the other hand, needs to indicate the pedal markings to prepare for prosecuting the complicated remote key modulation that goes over seven pedals.

90

Coeur mm.15-28

1. The pedal indication: a) solfege syllables b) over the grand staff c) left over right pedal d) when needed.

2. In m.20 no enharmonic is necessary due to key change. 3. Resolve situations where the vertical chords contain more than four notes in one hand. Coeur put

the extra note in the other hand in mm. 25, 26. 4. In mm.27-28, the F and C pedals alter back and forth; so that no enharmonic is used..

91

Coeur mm.39-48

1. The bass line of m.41 contains three solutions for figurations and contains more than four notes in the same direction. The first beat includes cross-under fingering. In the second beat, one note takes over from the right hand. The third beat includes the use of sliding fingering.

2. The advantage of changing the key signature from the original D flat major to D major is that it saves numerous pedal changes, especially in the complicated remote key modulation section. For example in m.43 instead of using an enharmonic equivalent, there are only three pedal changes are needed.

92

Erdeli mm.16-30

1. Pedal indications: a) solfege syllables b) between the grand staff c) not indicated consistently. 2. Erdeli neglects using enharmonics in m. 20; she changes the A pedal from the natural position to

flat while A notes continue to ring in the bass voice. No pedal indications in m.20. 3. She changes the musical style by adding numerous rolled chord marks, i.e., between mm. 16-24. 4. In mm.27-28 the F and C pedals alter back and forth, no enharmonic is being used. 5. Resolve situations where the vertical chords contain more than four notes in one hand. Erdeli puts

the extra note in the other hand in mm. 25, 26.

93

Erdeli mm.31-40

1. Erdeli adds chords to Debussy’s single note melody line in mm. 33-34, and 37-40. She drastically changes the music, especially in mm. 37-40. She creates a new rhythm for her version of the piece in mm. 38-39. She omits the downbeat of m. 37, and creates a pause.

2. Placement of pedal notation is not consistent, i.e., mm. 35-36.

94

Erdeli mm.41-50

1. Erdeli uses the key change spot (the end of measure 42) on the score to mark the pedal change, she changes the A pedal from a natural position to a flat. The music is actually continuing without such a “break.” Harpist either has to change A pedal while A flat is still ringing in m.42, or he/she has to change A pedal in m. 43. Even though this pedal change is musically incorrect, this prevents the need for two simultaneous pedal changes on the same side in m. 43.

.

95

Salzedo mm.15-28

1. The pedal indication: a) letters b) under the grand staff c) right over left pedal d) when needed. 2. Salzedo adds detailed dynamic markings and indications of changes of volume. Generally, he

increases the volume degree, i.e., in m.15 he changes pp to p. 3. Salzedo does not use the tenuto mark at all, which is in the original version between mm. 15-25 4. Enharmonic usage in m.20. 5. Resolves situations where the vertical chords contain more than four notes in one hand. Salzedo

puts the extra note in the other hand in mm. 25, 26. 6. Muffling three times in m. 25.

96

Salzedo mm.29-36

1. Salzedo alters the figuration drastically in mm. 29, 30 and 34. The note in the third beat at the bass line in mm. 31 and 32 is omitted.

97

Salzedo mm.37-46

1. Obvious changes of the original music can be seen in mm. 43-44 in the bass pattern. 2. On the first beat of m. 43 four notes are to be changed at the same time. The A and E pedals are

changed to the flat position and the Db and Gb are replaced with the enharmonic C # and F#. Salzedo uses the boxed pedal to indicate the E pedal to be changed by the left foot.

98

Salzedo mm.60-72

1. Salzedo creates a new symbol, a kind of muffling technique– the isolated sound is used in mm. 61, 62, 64 and 65 for the bass line. (See Salzedo symbols for explanation)

2. Salzedo creates another symbol - the expressive accent. He applies this symbol in m. 67 and m. 69. (See Salzedo symbols for explanation)

99

Grandjany mm.1-9

1. Grandjany uses three staffs as well as harmonic thirds in mm.1-6 of the piece for the melody. 2. He creates diverse timbre and layering by the use of harmonics, and indicates where to play some

chords lower on the string, i.e., in m. 7.

100

Grandjany mm.25-35

1. Grandjany resolves situations where the vertical chords contain more than four notes in one hand. Grandjany put the extra note to the other hand in mm. 25, 26.

2. Grandjany uses cross-under fingerings for ascending notes and cross-over fingerings for descending notes. An example of this device occurs in Grandjany’s version with the figurations of the first two beats in mm. 29 and 30.

3. In mm. 27 and 28 of the original version the F and C changes back and forth between natural and flat. Since E and B are not present in the music, Grandjany uses E natural instead of F flat and B natural instead of C flat.

101

Grandjany mm.36-45

1. The pedal indication: a) letters b) sometimes under the grand staff and sometimes in between c) right above left pedal d) when needed.

2. Grandjany uses Ab instead of G# at the third beat of m. 36 to decrease the interval from a third to a second for the middle and ring fingers.

3. Grandjany uses E natural instead of F flat and B natural instead of C flat for the coming modulation in m. 37.

4. Grandjany employs even more complicated methods, such as using several enharmonic equivalents to accomplish the modulation, i.e., in. m.43.

5. In mm. 43, 44 Grandjany uses G# alternately with Ab for the pedal point on the bass line to let the note ring longer and increase the volume as well.

102

Kondonassis mm. 35-42

1. The pedal indication: a) letters b) under the grand staff c) right above left pedal d) indicated all the time when needed.

2. Detailed fingering. 3. Omits notes in the bass to facilitate the fingering i.e., in mm. 35-39. 4. In m. 39 third beat, the last two notes have been moved one octave lower. 5. The figuration of the third beat in m. 41 has been changed.

103

Kondonassis mm. 43-50

1. On the first beat of m. 43, four notes need to be changed at the same time. The A and E pedals must be changed to the flat position and the Db and Gb are replaced with the enharmonic C # and F#. Kondonassis uses the boxed pedal to indicate that the left foot should change the E pedal.

2. Kondonassis uses muffling signs in mm. 46-48

104

Burton mm.18-30

1. Burton changes the notation in mm. 25, 26. The first three chords in the left hand are one octave too high, and conflict with the chords in the right hand.

2. Burton omits notes where the figurations contained more than four notes in the same direction in one hand, i.e., in mm. 27, 28, 30, the last two notes of the sextuplet figurations. He moves the accompaniment figurations an octave higher in mm. 27-30, , so that the two hands are closer to each other. The alteration eliminates an uncomfortable leap and stretch between the hands and fingers.

3. Burton uses only one enharmonic D# (=Eb), on the third beat of mm. 27, 28,so the harpist only has to change one pedal back and forth in this passage.

105

Burton mm.39-47

1. Burton changes the register in mm. 39-40, causing the melodic line to become abrupt. 2. He omits the indication of triplets after m. 5. These omissions make the duple and triple division

in the music unclear and confusing. The best example can be seen in m.41 the eighth-note pause between 2nd and 3rd beat.

3. Burton omits all the figurations in the left hand in mm. 41-42, because the figurations go up and down and contain more than four notes in each direction. He omits the accompaniment figuration when there are more than two melody lines, i.e., in mm. 45, 46.

4. The only place that requires two pedals to change at the same time is on the first beat of m. 43. 5. He alters the figuration in mm. 43-44 in the left hand, and the first two beats in mm. 47-48 (see

also Burton mm.48-60) in the right hand. This creates a hemiola effect by emphasizing duplets in one hand, juxtaposed against a triplet figure in the other hand. The hemiola is not authentic in style, and is a more difficult rhythm than the original.

6. He adds "Slowing” mark in m. 42. 7. He adds tenuto marks to emphasize the melody and bass line in mm. 45-48.

106

Burton mm. 48-60

1. Burton omits two notes in m. 51, the sextuplets shift to sixteenths (quadruplets), which is easier for fingering but creates a more difficult situation when shifting the rhythm from six to four divisions per beat.

2. Burton omits Bb (in original Cb), which is the only note where Debussy marks with an accent in m. 59. However the Bb is used in m. 61 anyway, so it is not really simplified in terms of saving pedal changes..

107

Brundage mm. 1-12

1. Burton omits two notes in m. 51, the sextuplets shift to sixteenths (quadruplets), which is easier for fingering but creates a more difficult situation when shifting the rhythm from six to four divisions per beat.

2. Burton omits Bb (in original Cb), which is the only note where Debussy marks with an accent in m. 59. However the Bb is used in m. 61 anyway, so it is not really simplified in terms of saving pedal changes.

3. harmonics, which she uses in mm. 1-4. This clever usage of harmonics plus the “Fix: Bb” in the caption allows Brundage to avoid lever changes until m. 7, and shows the advantage of the lever harp

108

Brundage mm. 28-37

1. Brundage uses an unprepared relative minor modulation to achieve a tonality change from D major to B minor without changing the key signature in mm.36-37.

2. Brundage omits the third beat of accompaniment figuration in mm. 27, 28, 30, 35, 37

109

Balderston mm.13-24

1. Balderston’s transcription is the only version of this study that has been adapted for both the pedal and lever harps. The different methods of notating accidentals for pedal and lever harps are used together; making the score very crowded and confusing.

2. Balderston uses diamond shaped notation on the staff to indicate the lever change; for the pedal change she uses letters.

3. She omits all the articulation and phrasing marks, and does not add any harpistic effects, 4. Balderston moves the music in the upper staff an octave lower in mm. 15-24, which creates an

abruptness in the melody line between mm. 24-25. (See also Balderston mm. 25-37). 5. Balderston creates a steady beat by adding or moving notes on the beat to the left hand. The most

obvious passage can be seen between mm. 19-24, which is not authentic to Debussy’s style

110

Balderston mm.25-37

1. Balderston omits the third beat of accompaniment figuration in mm. 29, 30, and mm. 32-36. 2. Balderston changes lever in advance while the previous pitch is supposed to keep ringing. It

happens especially when two pitches sharing the same string are played in succession. For example the E to Eb in m. 25

3. Balderston omits so many notes that she only needed to change a few accidentals to enable the modulation from C major to C minor in mm. 36-37. In this way, she manages to retain the parallel key relationship from the original piano version.

4. Balderston changes the smallest note value from a sixteenth to an eighth note. The best example can be seen in mm. 27 through 58. This change in note value causes the sextuplet’s steady pulse, which alters notes between

the two notes, to become triplets, with an uneven pattern that alternates between the two notes on the beat.

111

Scott mm. 1-26

1. Scott omits all the tempo and mood indications, except for keeping the original tempo indication at the beginning. She omitted all the articulation marks as well, and did not add any extra signs or harpistic effects.

2. Scott uses letters combined with Roman numerals to indicate the lever changes. The flaw of the letter indication can be seen at the change from G to G# and back to G in mm. 1-3. The indication can only roughly indicate the moment of change.

3. She changes lever in advance while the previous pitch is supposed to keep ringing. It happens especially when two pitches sharing the same string are played in succession. The G# is changed to G in mm. 2 and 6 and G-to-G# in m. 19.

4. She omits some voicings and combined the remaining into two voicings, one for each hand or each music staff, consequently adding only a few fingerings.

.

112

Scott mm.27-48 (52)*

1. Scott omits the third beat of accompaniment figuration in mm. 27-29 and mm. 34-37. 2. Scott eliminates four measures (mm.39-42) out of six in the modulation section, and did not add

any accidentals, which make the music abrupt and strange. * For comparison, mm. 39-48 = mm. 43-52 in the original version.

3. Scott creates more difficulty by juxtaposing several rhythms. In the original, the pulsating sextuplet accompaniment occurs persistently through the whole section between mm. 27 and 50. Scott shifts one rhythm to another and retains some pulsating sextuplet accompaniments from the original version. She changes a triplet made up of a quarter and a eighth note into two quarter notes in mm. 29, 31, and adds an eighth pause between two eighth notes in the triplets in mm. 39 and 40, and adds a new dotted rhythm in m. 47 in the melody.

113

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__________. Clair de lune. From Suite bergamasque. Edited by Roy Howat. Paris: Durand, 2002. __________. Clair de lune. From Suite bergamasque, Edited by Willard Palmer. New York: Alfred Music Co., Inc. 1997. __________. Clair de lune. Transcription pour harpe par Victor Cœur, Paris: Jean Jobert, 1929. __________. Clair de lune. Transcribed by Marcel Grandjany. New York: Lyra Music Co., 1963. __________. Clair de lune. Transcribed for harp by Carlos Salzedo. New York: Southern Music Pub. Co., 1962. __________. Clair de lune. Transcribed for two or multiple harps by Carlos Salzedo. New York: Southern Music Pub. Co., 1966. __________. Clair de lune. In The Yolanda Kondonassis Collection: Transcriptions, Arrangements and Original Works for the Harp. Transcribed by Yolanda Kononasis. New York: Carl Fischer, 2004. __________. Clair de lune. Arrangement for two harps by John Escosa. Ellensburg, Washington: F C Publishing Co., 1992. __________. Clair de lune. In Classic Dreams for Lever Harp, arranged for lever harp by Susan Scott. Chicago, IL: Lyon & Healy Publications, 2001. __________. Clair de lune. In Piat’ p’es, arranged by for harp by K. Erdeli. Moscow: Gos. muz. izd-vo, 1957. __________. Clair de lune. Simplified harp arrangement by Phyllis Schlomovitz. Calif.: Harpress of California, 1978. __________. Clair de lune. In Debussy Revisited. Simplified and arranged for pedal and lever by Suzanne Balderston. Bloomington, Ind.: Vanderbilt Music, 2002. __________. Clair de lune. Transcribed for lever harp by Barbara Brundage. Bloomington, Ind.: Vanderbilt Music, 1998. __________. Clair de lune. Transcribed by Daniel Burton. Denver, Co.: Jubal Press, 1995. __________. Debussy on Music. Edit by David Langham Smith and Francois Lesure . Cornell University Press, 1977

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Holý, Alfred. Technical Studies for Harp. New York, N.Y.: Lyra Music Co., 1985. Howat, Roy. Debussy in Proportion: A Musical Analysis. Cambridge University Press, 1983 __________. “Debussy’s piano music: sources and performance”. Langham Smith (red.): Debussy studies (Cambridge University Press 1997) Inglefield, Ruth K. and Lou Anne Neill. Writing for the Pedal Harp: A Standardized Manual for Composers and Harpists. Berkeley: University of California Press, 1985. Inglefield, Ruth K. Marcel Grandjany: Concert Harpist, Composer, and Teacher. Washington: University Press of America, 1977.

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Read, Gardner. Compendium of Modern Instrumental Techniques. Foreword by Gunther Schuller. Westport, Conn.: Greenwood Press, 1993. ___________. Orchestral Combinations: The Science and Art of Instrumental Tone-Color, Lanham, Md.: Scarecrow Press, 2004. ___________. Style and Orchestration. New York: Schirmer Books, 1979.

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