A Conductor's Guide To Joaquín

Download as pdf or txt
Download as pdf or txt
You are on page 1of 137

A Conductor’s Guide to

Joaquín Rodrigo’s Concierto de Aranjuez

by

Youngjoon (François) Koh

A Dissertation submitted in conformity with the requirements


for the degree of Doctor of Musical Arts
Faculty of Music
University of Toronto

© Copyright by Youngjoon (François) Koh 2020


ProQuest Number: 27740200

All rights reserved

INFORMATION TO ALL USERS


The quality of this reproduction is dependent on the quality of the copy submitted.

In the unlikely event that the author did not send a complete manuscript
and there are missing pages, these will be noted. Also, if material had to be removed,
a note will indicate the deletion.

ProQuest 27740200

Published by ProQuest LLC ( 2020 ). Copyright of the Dissertation is held by the Author.

All Rights Reserved.


This work is protected against unauthorized copying under Title 17, United States Code
Microform Edition © ProQuest LLC.

ProQuest LLC
789 East Eisenhower Parkway
P.O. Box 1346
Ann Arbor, MI 48106 - 1346
A Conductor’s Guide to Joaquín Rodrigo’s Concerto de Aranjuez

Youngjoon (François) Koh

Doctor of Musical Arts

Faculty of Music
University of Toronto

2020

Abstract

This dissertation provides an analysis of Concierto de Aranjuez (1939) by Joaquín

Rodrigo (1901-1995). Chapter 1 will introduce the purpose of this research, research questions,

methodologies, and a brief history of the guitar. The main research question is how to resolve

problematic issues of Concierto de Aranjuez in general, and the dissertation provides solutions in

terms of technical and musical issues. This chapter also discusses the technological development

of the classical guitar and amplification issues in the concerto context. At the end of the chapter, a

short biography of Rodrigo and the historical background of Concierto de Aranjuez will be

provided. Chapter 2 is a literature review of resources concerning guitar method, literature related

to the guitar and orchestra, analysis of guitar concertos, and materials concerning guitar concertos.

The third, fourth and fifth chapters will consist of the theoretical analysis and practical analysis of

each movement of Concierto de Aranjuez. Theoretical analysis will include: structural analysis;

study of the solo guitar part; orchestration; texture; folkloric elements; suggestions about errata

and missing dynamics. Conductor’s guide will include: sound balance; beat patterns; bowings and

bow distribution; problematic issues that concern the conductor, soloist and orchestra; conductor-

soloist relationship and orchestra-soloist coordination. Chapter 6 will provide useful tips for

conducting guitar concerti in general and information about the amplification and microphones.

ii
The concluding chapter will summarize the essential information for conductors and soloists

presented in previous chapters. The expected outcomes will be classified into two categories,

conductor’s guide to Concierto de Aranjuez and conductor’s guide to the guitar concerto in general.

This chapter will also suggest a potential direction for future research concerning the guitar

concerto.

iii
Acknowledgments

My dissertation project would not have been possible without the support, inspiration, and

encouragement of following professors. I would like to give my deepest appreciation to them.

Dr. Gillian MacKay, her positive energy and rich musical experience as performer and

conductor enabled me to continue and to complete this project.

Dr. Jeffrey McFadden, during the project, he supported me by advising guitar-related

resources and performing Concierto de Aranjuez with the University of Toronto Symphony

Orchestra.

Dr. Uri Mayer, he has given me precious advice regarding orchestra-related information

since my first year of DMA studies. He also has been a role model for me as conductor and

educator.

Dr. Elliot Frank, and Dr. Jeffrey Reynolds, they provided me insight opinions and practical

suggestions at the defense.

Dr. John Stowe, his advice about the dissertation writing immensely helped me to shape

my dissertation.

I also would like to thank to following people who supported me in various ways.

Ms. Carolyne Kane, and Schott Music Corp who kindly allowed me to use the excerpts of

Concierto de Aranjuez for my dissertation.

iv
My father, mother, who have encouraged me to finish my studies from the other side of the

country. I also thank my maternal grandmother, who loved me so much and supported my studies

in France financially.

Finally, I would like to express my appreciation to a special person in my life.

My lovely wife Sophia Eunseon Cho. Her endless support and inspiration enabled me to

complete a master’s degree in orchestral conducting at McGill University and a doctoral degree at

the University of Toronto. Without her, I would not have achieved this long project.

v
Dedication

This dissertation is dedicated to my grandfather Jaewoo Koh who was a victim of the Bodo

League Massacre and my great-uncle Jaekoon Koh, a victim of Battle of Kunsan during the

Korean War.

vi
Table of Contents

Acknowledgments ........................................................................................................................ iv

Dedication ..................................................................................................................................... vi

Table of Contents ........................................................................................................................ vii

List of Tables ................................................................................................................................ xi

List of Examples .......................................................................................................................... xii

List of Figures...............................................................................................................................xv

List of Appendix ......................................................................................................................... xvi

Chapter 1 ........................................................................................................................................1

Introduction ...............................................................................................................................1

1.1 Purpose and Objective of the Research ...........................................................................1

1.2 Research Questions ............................................................................................................3

1.3 Research Design and Methodologies ................................................................................3

1.4 Contribution of this Research ...........................................................................................5

Background Information for the Research ............................................................................5

2.1 History of the Classical Guitar .........................................................................................5

2.1.1 Classical Era: First Golden Age of the Classical Guitar ....................................6

2.1.2 Romantic Era: Decline of the Guitar ...................................................................7

2.1.3 The 20th and 21st Century: The Second Golden Age of the Classical
Guitar ......................................................................................................................8

2.2 Joaquín Rodrigo and Concierto de Aranjuez ...................................................................8

2.3 The Guitar; Development and Extension of its Capacities ..........................................10

2.3.1 History of Guitar Construction ..........................................................................11

2.3.2 Use of Amplification ............................................................................................11

Chapter 2 Literature Review ......................................................................................................13

Chapter 3 Analysis of Concierto de Aranjuez: Movement 1 .....................................................44

vii
Theoretical Analysis and Conductor’s Guide ......................................................................46

3.1 Introduction: m.1 to ②-1 (mm.1-43)..............................................................................46

3.1.1 Theoretical Analysis: m.1 to ②-1 (mm.1-25) ....................................................46

3.1.2 Conductor’s guide: m.1 to ②-1 (mm.1-25) ........................................................47

3.1.3 Theoretical Analysis: ① to ② (mm.26-43) ........................................................49

3.1.4 Conductor’s Guide: ① to ② (mm.26-43) ..........................................................49

3.2 Exposition (mm. 44-114)..................................................................................................50

3.2.1 Theoretical Analysis: ② to ④ -1 (m.44-60) .......................................................50

3.2.2 Conductor’s Guide: ② to ④-1 (mm.44-60) .......................................................51

3.2.3 Theoretical Analysis: ④ to ⑥+4 (mm.61-82) ....................................................53

3.2.4 Conductor’s Guide: ④ to 4a⑥+4 (mm.61-82) ..................................................53

3.2.5 Theoretical Analysis: 5a⑥ to 1b⑩ (mm. 83-114) .............................................54

3.3 Development: ⑩ to ⑯-1 (mm.115-165) .........................................................................56

3.3.1 Theoretical Analysis: ⑩ to ⑯-1 (mm.115-165) ................................................56

3.3.2 Conductor’s Guide: ⑩ to ⑯-1 (mm.115-165) ..................................................57

3.4 Recapitulation: ⑯ to ㉒-1(mm.166-219) .......................................................................59

3.4.1 Theoretical Analysis: ⑯ to ㉒-1 (mm.166-219) ................................................59

3.4.2 Conductor’s Guide: ⑯ to ㉒-1 (mm.166-219) ..................................................60

3.5 Coda: ㉒ to the End (mm.220-243).................................................................................61

3.5.1 Theoretical Analysis: (mm.220-243)...................................................................61

3.5.2 Conductor’s Guide: (mm.220-243) .....................................................................62

Chapter 4 Analysis of Concierto de Aranjuez: Movement 1 .....................................................64

Theoretical Analysis and Conductor’s Guide ......................................................................65

4.1 Part 1: m.1 to ⑤-1 (mm.1-25) .........................................................................................65

viii
4.1.1 Theoretical Analysis: m.1 to ①-1 (mm.1-7).......................................................65

4.1.2 Conductor’s Guide: m.1 to ③-1 (mm.1-16) .......................................................66

4.1.3 Theoretical Analysis: ③ to ⑤-1 (mm.17-25) .....................................................69

4.1.4 Conductor’s Guide: ③ to ⑤-1 (mm.17-25) .......................................................70

4.2 Part 2: ⑤ to ⑪+3 (mm.57-83) ........................................................................................71

4.2.1 Theoretical Analysis: ⑤ to ⑦+3 (mm.26-36) ....................................................71

4.2.2 Conductor’s Guide: ⑤ to ⑦+3 (mm.26-36) ......................................................71

4.2.3 Theoretical Analysis: ⑦+4 to ⑩-1 (mm.37- 56)................................................73

4.2.4 Conductor’s Guide: ⑦+4 to ⑩-1 (mm.37- 56) ..................................................74

4.2.5 Theoretical Analysis: ⑩ to ⑪+3 (mm.57-83) ....................................................75

4.2.6 Conductor’s Guide: ⑩ to ⑪+3 (mm.57-83) ......................................................77

4.3 Part 3: ⑪+4 to the end (mm.84-101) ..............................................................................79

4.3.1 Theoretical Analysis: ⑪+4 to the end (mm.84-101) .........................................79

4.3.2 Conductor’s Guide: ⑪+4 to the end (mm.84-101)............................................79

Chapter 5 Analysis of Concierto de Aranjuez: Movement 3 .....................................................83

Theoretical Analysis and Conductor’s Guide ......................................................................84

5.1 Introduction: m.1 to ① (mm.1-40) .................................................................................84

5.1.1 Theoretical Analysis: m.1 to ① (mm.1-40) ........................................................84

5.1.2 Conductor’s Guide: m.1 to ① (mm.1-40) ..........................................................84

5.2 Section 1: ①+2 to ⑤-1 (mm.41-97) ................................................................................86

5.2.1 Theoretical Analysis: ①+2 to ⑤-1 (mm.41-97).................................................86

5.2.2 Conductor’s Guide: ①+2 to ⑤-1 (mm.41-97) ...................................................86

5.3 Section 2: ⑤ to ⑩ (mm.98-161) ......................................................................................87

5.3.1 Theoretical Analysis: ⑤ to ⑩ (mm.98-161) ......................................................87

ix
5.3.2 Conductor’s Guide: ⑤ to ⑩ (mm.98-161) ........................................................89

5.4 Section 3: ⑩+2 to ⑮-1 (mm.162-229) ............................................................................90

5.4.1 Theoretical Analysis: ⑩+1 to ⑮-1 (mm.162-229).............................................90

5.4.2 Conductor’s Guide: ⑩+2 to ⑮-1 (mm.162-229) ...............................................91

5.5 Section 4: ⑮-1 to ㉑-1 (mm.230-290) .............................................................................92

5.5.1 Theoretical Analysis: ⑮-1 to ㉑-1 (mm.230-290)..............................................92

5.5.2 Conductor’s Guide: ⑮-1 to ㉑-1 (mm.230-290) ................................................93

5.6 Section 5 and Codetta: ㉑ to ㉒-1, ㉒ to the end (mm.291-309, 310-321) ...................95

5.6.1 Theoretical Analysis: ㉑ to ㉒-1, ㉒ to the end (mm.291-309, 310-321)..........95

5.6.2 Conductor’s Guide: ㉑ to ㉒-1, ㉒ to the end (mm.291-309, 310-321) ............95

Chapter 6 Useful Tips for Conducting Guitar Concertos ........................................................97

6.1 Tips Associated with Musical Expression and Technique ............................................97

6.1.1 Establishing Dynamic Levels .................................................................................97

6.1.2 Relative Dynamic and Fingerings..........................................................................97

6.1.3 Understanding the Rest Stroke and the Free Stroke ...........................................98

6.2 Tips Assoiciated with Amplification ................................................................................99

6.2.1 Sound Reinforcement System ................................................................................99

6.2.2 Microphone Types by Transducer ......................................................................100

6.2.3 Microphone Types by Polar Patterns .................................................................104

6.2.4 Microphone Setting ...............................................................................................107

Chapter 7 Conclusion ................................................................................................................109

Bibliography ...............................................................................................................................113

Appendix .....................................................................................................................................117

x
List of Tables

Table Page

Table 3.1 Structure of the movement 1…………………………………………………………..45

Table 4.1 Structure of the movement 2…………………………………………………………..64

Table 5.1 Structure of the movement 3…………………………………………………………..83

Table 6.1 Comparison of Transducer Designs………………………………………………......104

xi
List of Examples

Example Page

Example 3.1 Mvt I, Pedal tone of the bass, mm 4-6………………..…………………………….47

Example 3.2 Mvt I, Woodwinds entrance , mm.19-22……………………………………………48

Example 3.3 Mvt I, Important anacrusis, mm 23-25…………………………………………..…49

Example 3.4 Mvt I, Entrance of the strings, mm.27-31………………………………………….50

Example 3.5 Mvt I, First theme by the oboe and first violins, mm 45-53……………………….51

Example 3.6 Mvt I, First theme entrance and bass pizzicato, mm 41-45…………………………51

Example 3.7 Mvt I, 3.7 Mvt I, French horns, mm 53- 56…………………………………………52

Example 3.8 Mvt I, Viola, cello and bass, mm 57-61………………………………………….…52

Example 3.9 Mvt I, French horn 1, mm 72-76…………………………………………………....54

Example 3.10 Mvt I , Second theme by the guitar, mm 83-87……………………………………54

Example 3.11 Mvt I, Guitar and bassoon I, mm 82-85……………………………………………55

Example 3.12 Mvt I, Guitar’s scale, mm 109-113………………………………………………..55

Example 3.13 Mvt I, Cello solo, mm 117-119…………………………………………………...56

Example 3.14 Mvt I, Guitar solo, mm 126-128…………………………………………………..56

Example 3.15 Mvt I, Tutti, mm 146-148…………………………………………………………58

Example 3.16 Mvt I, Tutti, mm 156-159………………………………………………………....59

Example 3.17 Mvt I, Strings, mm 79-81, 95-96, 184-186………………………………………...60

Example 3.18 Mvt I, Guitar solo, mm 216-219…………………………………………………...61

Example 3.19 Mvt I, Guitar solo, mm 232-234…………………………………………………..62

Example 3.20 Mvt I, Bassoon I and trumpet I, mm 236-239……………………………………...63

Example 3.21 Mvt I, Guitar solo and bassoon I, mm 242-243……………………………………63

xii
Example 4.1 Mvt II, Main theme by English Horn mm.1- 4 ……………………………………66

Example 4.2 Mvt II, Main theme mm.5-8………………………………………………………...67

Example 4.3 Mvt II, Guitar solo mm.9-12………………………………………………………..68

Example 4.4 Mvt II, Thematic motive mm.13-16………………………………………………..68

Example 4.5 Mvt II, Thematic motive mm.21-23………………………………………………...69

Example 4.6 Mvt II, Guitar solo ③, mm.17-18………………………………………………….70

Example 4.7 Mvt II, Thematic motive mm.24-26……………………………………………...…71

Example 4.8 Mvt II, Guitar solo part mm.27-29……………………………………………….…72

Example 4.9 Mvt II, Erratum in the cello part, mm.31-33………………………………………..72

Example 4.10 Mvt II, First guitar cadenza mm.37-39……………………………………………73

Example 4.11 Mvt II, First guitar cadenza mm.45-47……………………………………………74

Example 4.12 Mvt II, First guitar cadenza mm.52-53…………………………………………….75

Example 4.13 Mvt II, Second guitar cadenza cadenza mm.57-58….……………………………76

Example 4.14 Mvt II, Second guitar cadenza cadenza mm.65-68………………………………..76

Example 4.15 Mvt II, Second part of the second cadenza mm.69-76…………………………....77

Example 4.16 Mvt II, Second part of the second cadenza mm.77-80…………………………….78

Example 4.17 Mvt II, Second part of the second cadenza mm.83………………………………..78

Example 4.18 Mvt II, Tutti, mm.62-64…………………………………………………………...80

Example 4.19 Mvt II, Tutti, mm.92-94..………………………………………………………….81

Example 4.20 Mvt II, Tutti, mm.99-101………………………………………………………….82

Example 5.1 Mvt III, Intro, m.1………………………………………………………………......84

Example 5.2 Mvt III, Guitar solo, mm.1-8……………………………………………………….85

Example 5.3 Mvt III, Orchestra’s tutti, mm. 20-29………………………………………………85

xiii
Example 5.4 Mvt III, Flute solo, mm. 45-49……………………………………………………...86

Example 5.5 Mvt III, Guitar solo, mm.65-69………………..……………………………………87

Example 5.6 Mvt III, Pirulero theme by guitar, mm. 69-73.…………………………………….87

Example 5.7 Mvt III, Guitar solo, mm.96-103………………………..………………………….88

Example 5.8 Mvt III, Pirulero theme by guitar,mm.104-108………...………………………….88

Example 5.9 Mvt III, Guitar’s arpeggio, mm.139-146…………………………………………..89

Example 5.10 Mvt III, Guitar’s arpeggio, mm.156-160………………………………………....90

Example 5.11 Mvt III, Guitar’s arpeggios and scales, mm.179-182 & mm. 203-206……...…….91

Example 5.12 Mvt III, Orchestra’s fanfare-like theme, mm.240-244..…………………………..92

Example 5.13 Mvt III, Guitar’s short cadenza, mm.280-288…………………………………….93

Example 5.14 Mvt III, Guitar’s scale, mm. 288-291.…………………………………………….94

Example 5.15 Mvt III, Ending of the piece, mm. 297-312……………………………………….95

xiv
List of Figures

Figure Page

Figure 3.1 Important themes of the first movement …………………………………………….44

Figure 3.2 Excerpt of Anton Pirulero……………………………………………………………46

Figure 3.3 Hemiola in 6/8……………………………………………………….………………..50

Figure 4.1 Important themes…………………………………………………….………………..64

Figure 6.1 Diagram of a dynamic moving coil…………………………………………………..101

Figure 6.2 Diagram of a ribbon transducer……………………………………………………..102

Figure 6.3 Diagram of a condenser transducer…………………………………………………103

Figure 6.4 Omnidirectional polar pattern microphone…………………………………………..105

Figure 6.5 Bi-directional polar pattern microphone……………………………………………..105

Figure 6.6 Cardioid polar pattern microphone……………………………………………….…106

xv
List of Appendix

Letters of Permission………...……………………………………………………………….117

xvi
1

Chapter 1

The first chapter will introduce the purpose of this research, research questions,

methodologies, and a brief history of the guitar. This chapter also discusses the technological

development of the classical guitar and amplification issues in the concerto context. At the end of

the chapter, a short biography of Rodrigo and the historical background of Concierto de Aranjuez

will be provided.

Introduction

1.1 Purpose and Objective of the Research

The purpose of my research is to provide practical information about the rehearsing and

performance of classical guitar concertos for conductors by analyzing Joaquín Rodrigo’s Concierto

de Aranjuez. The prominence of the classical guitar in the 20th century led many composers such

as Heitor Villa-Lobos (1887-1959), Mario Castelnuovo - Tedesco (1895-1968), and Joaquín

Rodrigo (1901-1999) to write concertos for this instrument. 1 After witnessing the success of these

guitar concertos, many contemporary composers have now begun writing guitar concertos. 2

However, despite the prominence of the classical guitar in the 20th century, the complexity of

classical guitar technique, its unique timbre and the sound balance between the guitar and orchestra

have always been critical issues for conductors. 3 While looking for resources related to the guitar

1
Heitor Villa-Lobos, Guitar Concerto W501(1951), Mario Castelnuovo – Tedesco, Guitar Concerto No. 1 in D
major, Op. 99 (1939), Joaquín Rodrigo, Fantasía para un gentilhombre (1954)
2
Some examples: Malcolm Arnold (1921-2006), Guitar Concerto Op.67 (1959); André Previn (b.1929), Concerto
for Guitar (1971); Leo Brouwer (b.1939), Concerto de Toronto (1987); Tan Dun(b.1957), Concerto for Guitar
and Orchestra (Yi2) (1996).
3
David Itkin, Conducting Concerti: A Technical and Interpretive Guide (Denton, Texas: University of North Texas
Press, 2014):383.
2

and the orchestra, I have noticed that there is very limited literature on this subject. Most of the

information obtainable is from the point of view of the guitarist, and there is a paucity of material

from the conductor’s perspective. This lack of resources about the guitar concerto motivates me to

write a dissertation which can provide a guide for non-guitar playing conductors in particular, who

want to conduct guitar concertos effectively. To achieve this, I will undertake a performance

analysis of one of the best-known guitar concertos, Concierto de Aranjuez by Joaquín Rodrigo.

Joaquín Rodrigo composed six concertos for guitar(s), and among them, Concierto de

Aranjuez (1939), dedicated to Spanish guitarist Regino Sáinz de la Maza (1896-1981), is

considered his most successful work. 4 Since its premiere in 1940, Concierto de Aranjuez has

become an emblem of the guitar concerto and has been performed worldwide. I have selected

Rodrigo’s Concierto de Aranjuez for my research since its intricacy provides a wide range of tasks

for conductors to learn about guitar concertos. For example, there are many Spanish folkloric

elements such as flamenco-style rhythms and melodies in the score. Furthermore, the solo part

includes unconventional harmonies and fingerings which expand the technical capacity of the

guitarist. In my dissertation, I will analyze the problematic issues such as the sound balance and

non-idiomatic passages of Concierto de Aranjuez so that conductors of this piece can have solid

rehearsal techniques and performance outcomes.

4
Concierto de Aranjuez (1939), Fantasía para un gentilhombre (1954), Concierto madrigal for two guitars (1966),
Concierto Andaluz for four guitars (1967), Concierto para una fiesta (1982) and Rincones de España (1990).
3

1.2 Research Questions

My research questions consist of a main question and four sub-questions which enable the

reader to understand general characteristics of the guitar concerto and the specific characters of

Concierto de Aranjuez.

Main Question: What are the problematic issues of Concierto de Aranjuez in general?

a) What are the issues of style and orchestration in the score which demand

conductors’ specific sensitivity and intervention?

b) What are the issues of style and technique in the solo part which demand

conductors’ specific sensitivity and intervention?

c) What are the important rehearsal considerations for conductors in the

preparation of guitar concerto performances?

d) What are the general issues in Concierto de Aranjuez that could be applied to

the performance of other guitar concertos?

1.3 Research Design and Methodologies

My research design consists of three steps: theoretical analysis; practical analysis;

investigation of written historical resources. From these data, I will construct a conductor’s guide

to performing Concierto de Aranjuez. Guitar researcher Graham Wade’s book, Joaquín Rodrigo

and the Concierto de Aranjuez provides a brief structural and harmonic analysis of each movement

of the concerto.5 The overall structure of my theoretical analysis methodology will refer to Wade’s

stylistic and harmonic analysis, but will give further information from the conductor’s perspective

5
Graham Wade, Joaquín Rodrigo and the Concierto de Aranjuez (Leeds: Mayflower Enterprises, 1985):71.
4

based on a phrase-by-phrase guide. Suggestions about errata and inconsistencies in the score and

parts of Concierto de Aranjuez will be presented in this part as well.6 Marimbist Robert Brudvig's

dissertation about Anders Koppel’s marimba concertos suggests effective solutions for the

problematic performance issues from a performer’s perspective. 7 For example, Brudvig points out

articulation inconsistencies between the woodwinds and the solo marimba in the score and

suggests adding slurs in order to achieve musical coherence. 8 I will apply Brudvig’s methodology

to correct the errors and inconsistencies in Concierto de Aranjuez and explain the particular nature

of the guitar so that the conductor can make musical adjustments to unify the solo guitar and

orchestra. One of the most common problematic issues of the guitar concerto is the sound balance

between the guitar and orchestra. My research will provide various methods of maintaining a good

sound balance by understanding the nature of each instrument and the texture of the orchestration.

(For example, appropriate bowing and bow distribution suggestions to the string instruments and

relative dynamic range suggestions to the wind and brass instruments.) In his book, Conducting

Concerti, conductor David Itkin analyses forty-three concertos from the conductor’s perspective

and provides a good guideline to address my research questions a), c) and d). 9 Itkin analyses

concertos not only from the conductor’s perspective but also from the soloist’s viewpoint. 10 He

suggests various technical aspects of conducting in terms of the dynamic, tempo and beat patterns.

My methodology will refer to Itkin’s rehearsal techniques, but expand them further to create a

6
Clinton F. Nieweg, Stuart S. Serio, and Jennifer A. Johnson, "Scores & Parts: Joaquin Rodrigo’s Concierto De
Aranjuez for Guitar and Orchestra," Journal of the Conductors Guild 24/1-2 (2003):68-69, accessed August 20,
2018, doi:https://cog.memberclicks.net/assets/JOURNALS/Volume24[1].pdf.
7
Robert Ian Brudvig, "A Performer’s Guide to the Concerto for Marimba and Orchestra and “P.S. to a Concerto” by
Anders Koppel" (D.M.A., The University of Arizona, 2002).
http://myaccess.library.utoronto.ca/login?url=https://search-proques-
com.myaccess.library.utoronto.ca/docview/304802276?accountid=14771.
8
Ibid., 50.
9
Itkin, Conducting Concerti, 2014.
10
Cellist Carter Brey, pianist Mischa Dichter, violinist Robert McDuffie gave feedback based on their rehearsal
and concert experience to Itkin.
5

complete conductor’s guide to Concierto de Aranjuez. In addition to the analysis of orchestration

and rehearsal techniques, my research will present an analysis of the unidiomatic solo guitar

passages of Concierto de Aranjuez, which gives an answer to the research question b), and suggest

some considerations for the conductor.

1.4 Contribution of this Research

Before becoming a conductor, my undergraduate major was in classical guitar

performance. While playing chamber music and guitar concertos, I noticed that conductors and

guitarists often did not communicate well, due to a lack of knowledge and experience between

guitar and orchestra. To write a dissertation on the guitar concerto provides a unique opportunity

for me, a conductor and guitarist. My musical background and experience related to guitar and

orchestra will greatly help me to produce a practical guide for conductors and guitarists. My

dissertation will be a starting point for research on this guitar concerto from the conductor’s

perspective, and a guideline for managing the problematic issues which arise while rehearsing

guitar concertos in general.

Background Information for the Research

2.1 History of the Classical Guitar

Plucked stringed instruments have a very long historical background. The first guitar-like

instrument appears on a 1400 BC archaeological object from the city gates of the new Hittite

settlement at Alaca Höyük. (in present day Turkey) From 1400BC to 1800AD, various plucked

stringed instruments evolved in the Middle East, Asia, and the Far East. 11 Guitar-like instruments

11
Maurice J. Summerfield, The Classical Guitar: Its Evolution, Players and Personalities since
1800, 5th ed. (WI: Ashley Mark Pub. Co; Hal Leonard, 2002).
6

were developed in Europe as well. Lute and vihuela were well-known plucked instruments through

the Renaissance and Baroque era. The theorbo – a continuo body plucked instrument covers the

low range of an ensemble- was an especially important part of the orchestra. However, due to the

decline of basso continuo, the plucked stringed instruments disappeared from the opera orchestra

in the Classical era.

2.1.1 Classical Era: First Golden Age of the Classical Guitar

The golden age of the classical guitar as a solo instrument began around 1775 in Spain

and Italy. 12 Composers such as Fernando Sor (1778-1839), Ferdinando Carulli (1770-1841),

Mauro Giuliani (1781-1829), and Dionisio Aguado (1784-1849) flourished in the golden age of

the classical guitar by composing, performing their own works, and publishing guitar method

books.13 Besides the solo repertoire, some guitar composers such as B. Vidal (d. 1800), Antoine

de L’Hoyer (1768-1852), and Charles Doisy (?- 1807) composed guitar concertos between 1793

and 1804.14 However, their concertos have only string quartet accompaniment. Many scholars

agree that Giuliani's Concerto for Guitar and orchestra in A Op.30 (1808), which has double

woodwind instruments, two horns and strings, is one of the first complete guitar concertos ever

written.15

12
Ibid., 14-15.
13
Ibid.
14
Stanley Yates, Three Early Guitar Concertos (the Earliest-Known Guitar Concerto and Two Others) from Late
Eighteenth/Early Nineteenth-Century Paris: Vidal, Doisy and Doisy-Viotti. 2010
https://static1.squarespace.com/static/59496d68579fb39a74a36d25/t/597637243a0411571e179e0c/1500919589685
/Three_Early_Guitar_Concertos.pdf
15
Roger West Hudson, "The Orchestration of the Guitar Concerto: A Comparison of the Concerto in A Major, Op.
30, by Mauro Giuliani and the Concierto Del Sol by Manuel Ponce." (M. Mus. Georgia State University, 1992).
7

2.1.2 Romantic Era: Decline of the Guitar

The golden age of the classical guitar declined from the middle of the 19 th century due to

the simultaneous development of orchestral and keyboard instruments. 16 The development of these

instruments also led to the formation of the modern orchestra. John Spitzer and Neal Zaslaw argue

that plucked stringed players in opera orchestras disappeared by the 18 th century because of their

small volume. Meanwhile larger theatres were being constructed, and instruments that could

produce a larger volume were required. 17 In the Romantic era, none of the well-known composers,

such as Beethoven and Brahms, wrote concertos or major works for this instrument. However,

Niccolò Paganini (1782-1840), who was a devoted guitarist himself, composed many solo guitar

pieces, duets for violin and guitar, and fifteen guitar quartets, which consist of guitar, violin, viola

and cello.18

In 19th-century opera literature, plucked instruments reappeared as instruments used

solely for accompaniment. Composers such as Hector Berlioz (1803-1869), Gioachino Rossini

(1792-1868), and Carl Maria von Weber (1786-1826) employed the classical guitar in their operas,

although its role was limited to accompanying arias or establishing a folkloric atmosphere. 19 The

Spanish guitarist and composer Francisco Tárrega (1854-1909) contributed to the expansion of the

guitar repertoire by composing new pieces. He also transcribed other instrumental works by J.S

Bach, W. A. Mozart, L. v. Beethoven, F. Schubert and others for the guitar. 20 A significant

16
Summerfield, 14.
17
John Spitzer, Neal Zaslaw. 2004. The birth of the orchestra: history of an institution, 1650-1815 (Oxford: Oxford
University Press):149.
18
For example, Paganini composed 37 Sonatas for guitar M.S 84, and Sonata Concertata in A major for Guitar and
Violin, Op. 61 which has a lot of melodic passages played by guitar. He also composed works for mandolin and
guitar such as Serenata per Rovene in E minor M.S 14 and Serenata in G minor M.S 16.
19
Mark C. Stanek, "Guitar in the Opera Literature: A Study of the Instrument's use in Opera during the 19th and
20th Centuries" (D.A thesis, Ball State University, 2004)
20
Summerfield, 17.
8

development in guitar construction also enabled Tárrega to expand the repertoire and techniques

of the classical guitar. Please see section 2.3.1 for a discussion of guitar construction.

2.1.3 The 20th and 21st Century: The Second Golden Age of the Classical Guitar

In the 20th century, the status of the guitar as a classical instrument rose dramatically, due

to the efforts of many prominent guitarists and composers. Emilio Pujol (1886-1980) and Miguel

Llobet (1878-1938), students of Tárrega, made tours to Europe and to America to promote classical

guitar music. Andrés Segovia (1893-1987) contributed greatly, expanding the guitar repertoire by

performing commissioned works and arranging masterworks that were originally written for other

instruments.21 As a result, in the Second Golden Age of the guitar, its use as a solo instrument

attracted the attention of many composers. Mainstream symphonic composers such as Manuel de

Falla (1876–1946), Darius Milhaud (1892–1974), Benjamin Britten (1913-1976), and William

Walton (1902-1983) composed works for solo guitar. 22 In the 21st century, many renowned

guitarists such as Julian Bream (b.1933), John Williams (b. 1941), Manuel Baruecco (b.1952),

Pepe Romero (b.1944), Angel Romero (b.1946), and David Russell (b.1953) have elevated the

status of the classical guitar by having performed repertoire from the Renaissance to the modern

era.

2.2 Joaquín Rodrigo and Concierto de Aranjuez

Joaquín Rodrigo (1901-1999) was one of the most famous Spanish composers in the 20 th

century. He was born in Sagunto, Spain, in 1901. He lost his eyesight at the age of three due to

diphtheria, which took many children’s lives in Sagunto. 23 In 1906, His family moved from

21
Summerfield, 17.
22
Manuel de Falla, Pour le tombeau de Claude Debussy, Darius Milhaud, Ségoviana, Op. 366 (1957), Benjamin
Britten, Nocturnal after John Dowland, op. 70 (1999), William Walton, Five Bagatelles for Guitar (1971)
23
Graham Wade, Joaquín Rodrigo and the Concierto de Aranjuez (Leeds: Mayflower Enterprises, 1985): 13.
9

Sagunto to Valencia where Rodrigo could receive special education for the blind. By the age of

eight, Rodrigo had begun to study solfege, violin and piano, which was his main instrument.24

At the age of sixteen, Rodrigo started studying harmony and composition with Francisco

Antich, Enrique Gomá and Eduardo López Chavarri at the Conservatoire in Valencia, and

premiered his first orchestral work, Juglares (1923), in Valencia and Madrid in 1924. In 1927,

Rodrigo moved to Paris to further his studies, following in the footsteps of earlier Spanish

composers such as Isaac Albéniz (1860-1909), Enrique Granados (1867-1916), Manuel de Falla

(1876-1946), and Joaquín Turina (1882-1949). Rodrigo studied composition with Paul Dukas

(1865-1935) at École Normale de Musique for five years and became famous as pianist and

composer.25 In Paris, he became acquainted with many artists such as Manuel de Falla, Maurice

Ravel (1875-1937), Igor Stravinsky (1882-1971), and Andres Segovia to whom he dedicated

Fantasía para un Gentilhombre, a piece for guitar and orchestra. While in Paris, Rodrigo attended

many concerts to broaden his musical experience. 26

In 1929, Rodrigo met a Turkish pianist Victoria Kamhi (1905-1997) and married her in

1932 in Valencia. After the marriage, she helped Rodrigo for her entire life by performing his piano

works, editing his compositions, writing texts for his vocal music pieces. 27 Rodrigo settled down

in Valencia with Kamhi in 1933 and concentrated on composing music. His first piece for large

orchestra, Per la flor del lliri blau (1934) received the Círculo de Bellas Artes Prize. In 1935, with

help from Falla, Rodrigo received the Conde de Cartagena Scholarship which enabled him to

study musicology at Sorbonne and Conservatoire de Musique de Paris with Kahmi. In this period,

24
Newcomb B. Lawrence, “The Six Works For Guitar (or Guitars) and Orchestra by Joaquín Rodrigo.”(DMA diss.,
University of Florida, 1998).
25
Juanjo Luna, "Biography," Web Joaquin Rodrigo, accessed January 03, 2019, https://www.joaquin-
rodrigo.com/index.php/en/biografia/10-autor/biografia/13-biografia-corta.
26
Wade, 14-15.
27
Newcomb, 20.
10

the couple gained strong theoretical knowledge which covers from the Renaissance to the opera

literature.28

The outbreak of the Spanish Civil war in 1936 ended their studies, and they experienced

three difficult years as refugees in France and Germany. On September 3, 1939, the Rodrigos

finally returned to Madrid, which became their permanent residence, since the position of Musical

Advisor for the Radio Nacional de España was offered by Antonio Tovar (1911-1985), a renowned

philologist.29 Settling in Madrid enabled Rodrigo to give the premiere of Concierto de Aranjuez,

which was composed in Paris in early 1939. On November 9, 1940, the concerto was premiered in

Barcelona by guitarist Regino Sáinz de la Maza and the Barcelona Philharmonic Orchestra. After

the premiere, the audience and critics and greatly praised the concerto. The beautiful main theme

of the second movement is still beloved world-wide, and has been arranged countless times for

other instruments such as trumpet and violin. 30

2.3 The Guitar; Development and Extension of its Capacities

Sound projection of the guitar always has been a crucial issue, especially in concerto

performances. Two important factors have a critical impact on the sound of the guitar: the

construction of the guitar and the use of the amplification.

28
Juanjo Luna, "Biography," Web Joaquin Rodrigo.
29
Newcomb, 22.
30
For example, trumpeter Miles Davis (1926-1991),Maurice André (1933-2012), and violinist David Garret
(b.1980) made arrangements of the second movement of Concierto de Aranjuez.
11

2.3.1 History of Guitar Construction

Despite the decline of the classical guitar in the 19th century, a revolution in its

construction occurred in Spain. Spanish luthier, Antonio de Torres Jurado (1817-1892), who is

often called the Stradivari of the guitar, constructed the modern model of this instrument. Torres

increased the length of the string to sixty-five centimetres in order to strengthen the sound

projection.31 His diagonal struts and the doming of the soundboard also enhanced the tone quality

and the sound projection. His new guitar enabled composers such as Tárrega to establish a standard

guitar technique and posture. His method of construction was recognized and developed by luthiers

such as Manuel Ramirez (1866-1916) and Hermann Hauser (1882-1952). 32 The innovation has

continued into the 21st century. Many luthiers have tried to change the construction of the top of

the guitar to produce a sound that is louder and more rich. German guitar maker Matthias

Dammann’s (b.1957) “double top” guitar and Austrailian luthier Greg Smallman’s (b.1947)

“lattice-braced guitar” have been widely used by many guitarists. The enhancement of the sound

projection led to the classical guitar becoming a distinguished solo instrument and a concerto

instrument by the 20th century.

2.3.2 Use of Amplification

There is no concrete evidence that Rodrigo intended that the solo guitar part of Concierto

de Aranjuez be amplified. However, it is important to note that the orchestration of Concierto de

Aranjuez is very transparent and Rodrigo drastically reduces the number of instruments when the

31
Wade, 71.
32
José L Romanillos. Antonio De Torres: Guitar Maker - His Life and Work (Shaftesbury, Dorset: Element
Books, 1990):48-58.
12

guitar solo is being played. An anecdote from the day before the premiere of Concierto de Aranjuez

supports the statement above:

On the eve of the premiere, Joaquín Rodrigo and the guitarist Regino Sáinz de la Maza
were travelling to Barcelona on the night train, together in a sleeping car. In the middle of
the night Regino woke the Maestro with these words: “I am obsessed by an idea that is
keeping me awake. What if tomorrow at the concert you can’t hear the guitar?” As a result
of that question, neither of the two slept that night. Fortunately his fears were unjustified,
the guitar was clearly heard and the audience applauded enthusiastically at the end of the
work.33

David Itkin explains the use of amplification from a conductor’s perspective. He points out that

advances in technology – amplifying the original guitar sound without distortion – and the

construction of big concert halls result in the frequent use of amplification in the 21 st century.

My research will be based on the guitar concerto with the use of the amplification and will provide

an in-depth discussion about the amplification in Chapter 6.

33
Joaquín Rodrigo. “Anecdotes on Concierto de Aranjuez.” Joaquín Rodrigo. Accessed November 6, 2018.
https://www.joaquin-rodrigo.com/index.php/en/concierto-de-aranjuez-2/anecdotas
13

Chapter 2

Literature Review

A Conductor’s Guide to
Joaquín Rodrigo’s Concierto de Aranjuez

Introduction

Classical guitar concerto repertoire has evolved both technically and musically from the

Classical era through the twenty-first century. From the chamber-sized piece such as Mauro

Giuliani’s Concerto for Guitar in A major op.30 to the full symphony orchestra sized work such

as Leo Brouwer’s Concerto de Toronto, many composers have composed concertos for the

instrument. However, there are only a few resources that explain this non-orchestral instrument’s

character as a concerto instrument and most of them explain the guitar’s function in a general way.

As a result, many conductors have only minimal knowledge of the guitar when they rehearse and

perform guitar concertos. 34 Despite this lack of resources, there is some literature which serves to

provide background for the current study.

The objective of the Literature Review

The objective of this literature review is to gather dispersed resources related to the

classical guitar and to categorize them in order to have a more clear direction for my dissertation,

A Conductor’s Guide to Joaquín Rodrigo’s Concierto de Aranjuez.

Most of the symphony composers in the Classical and the Romantic era did not consider

34
David Itkin, Conducting Concerti, 2014.
14

the guitar as an orchestral instrument or a concerto instrument. 35 Therefore, we need to explore

resources related to the guitar and the orchestra to extract information which supports and

contextualizes my research. This will be particularly important for non-guitar playing conductors

who want to conduct guitar concertos in an efficient way.

This literature review will cover the following subjects:

1. Resources related to Concierto de Aranjuez

2. Resources related to the guitar in the orchestral and opera literature

3. Resources related to the guitar method and technique

4. Resources related to the concertos for guitar and other instruments

5. Resources related to the conductor

Resources related to Concierto de Aranjuez

Guitarist and composer Graham Wade’s book, Joaquín Rodrigo and the Concierto de

Aranjuez introduces the musical background history of Concierto de Aranjuez and provides a brief

structural and harmonic analysis of each movement. 36 At the end of the book, Wade provides

Rodrigo’s comments on Concierto de Aranjuez, which explain his musical intention for his

concerto. Guitarist John David Quijano Rodriguez made an arrangement of Concierto de Aranjuez

for solo guitar and two accompanying guitars and conducted a short analysis of the original

concerto. 37 His analysis includes information about the folkloric elements in Concierto de

35
Maurice J. Summerfield, The Classical Guitar: Its Evolution, Players and Personalities since 1800, 5th ed,
2002.
36
Graham Wade, Joaquín Rodrigo and the Concierto de Aranjuez (Leeds: Mayflower Enterprises, 1985).
37
John David Quijano Rodriguez,“Análisis y adaptación del Concierto de Aranjuez para guitarra solista y dos
guitarras acompañantes.” (BA thesis, Colombia Pontificia Universidad Javeriana, 2013).
https://repository.javeriana.edu.co/handle/10554/11717
15

Aranjuez, which enables the reader to gain a deep understanding of the concerto.

Conductor David Itkin’s book, Conducting Concerti provides an analysis of Rodrigo’s

Concierto de Aranjuez.38 Itkin presents an anecdote with the famous guitarist Angel Romero while

rehearsing the second movement of this concerto. The author admits that he did not realize that his

clear pizzicato gesture - which could work with other instruments such as violin or piano – ruined

the style of the concerto until Angel Romero mentioned it to him. Below is a part of the anecdote.

He was very kind and gentlemanly, and said, “stop trying so hard… you keep the beat and
just let me play. OK?” I had “accompanied” him so well that I had ruined the piece. In this
kind of music, of which there is not a great deal in our standard repertoire, the goal is to
establish a framework upon which the soloist can appear to improvise. The result of my
attempt to vigilantly “accompany him” in this passage was a pizzicato bass line that,
instead of creating an even, pulsing framework, sounded like someone in the early stage
of a heart attack.39

Itkin gives suggestions about beating, tempo changes, and missing dynamics. Particularly, he

stresses the special articulations about Concierto de Aranjuez since there are gaps of expression

such as staccato and spiccato between the guitar and the orchestral instruments. He gives an insight

suggestion to the readers as follows.

This is not a piece for emotionally stand-offish, and each new sonic and expressive
element that the composer presents should be executed with complete commitment:
staccato must be extremely staccato, spiccato is flamboyantly spiccato, trills and accents
played with unabashed bravura, etc.40

Itkin did not include detailed analyses of each important passage regarding the sound

balance and bowing issues. Since he is not a guitarist, there is no information about idiomatic and

unidiomatic passages of Concierto de Aranjuez. The six-page analysis is not sufficient to

understand the entire concerto both musically and technically; however, his multiple perspectives

38
Itkin, Conducting Concerti, 2014.
39
Ibid., 383.
40
Ibid., 381.
16

are good resources for guitar and orchestra-related research.

Beside the analysis of Concierto de Aranjuez, Itkin’s book provides useful tips for

conducting concertos by presenting important passages from forty-two concerti mostly for piano,

violin, cello and other instruments. Itkin analyses concertos not only from the conductor’s

perspective but also from the soloist’s viewpoint. 41 His book contains not only the technical

aspects of conducting, but also considerable practical advice, such as the relationship between

conductors and soloists, studying solo parts, orchestras, and soloist coordination. 42

Guitarist Lawrence B. Newcomb’s dissertation about Rodrigo’s six concertos for guitar(s)

includes an analysis of Concierto de Aranjuez.43 Newcomb selects twelve representative examples

from the concerto and gives a harmonic and stylistic analysis which supports and enriches Wade's

analysis.44 Newcomb’s analysis is very theoretical and it does not provide practical and technical

suggestions. However, his dissertation includes many anecdotes about Rodrigo and the concerto

allowing the reader to understand the backgroud history of the piece.

Orchestra repertoire proofreader Clinton F. Nieweg and her colleagues, made a list of

errata of Concierto de Aranjuez.45 They classified thirty-four errata from the parts and score into

three categories: critical; necessary; questionable, and suggest corrections. Guitarist Silviu Ciulei

wrote a dissertation about flamenco guitar techniques in the music of Rodrigo.46 Ciulei’s research

41
Cellist Carter Brey, pianist Mischa Dichter, violinist Robert McDuffie gave feedback based on their rehearsal
and concert experience to Itkin.
42
Ibid., 1.
43
Newcomb, 1998.
44
Ibid., 48.
45
Clinton F. Nieweg, Stuart S. Serio, and Jennifer A. Johnson, 68-69, 2003.
46
Silviu Octavian Ciulei, “Flamenco Guitar Techniques in the Music of Joaquin Rodrigo” D.M. diss., Florida
State University, 2013 (Tallahassee, Florida: Florida State University, 2013), accessed November 22, 2018,
https://fsu.digital.flvc.org/islandora/object/fsu:183685.
17

gives useful tips from the perspective of a flamenco guitarist to the classical guitarist by providing

examples from Rodrigo’s guitar works. For example, Ciulei points out that many classical

guitarists neglect the percussive effect of rasgueado 47 when they perform Spanish music and

emphasizes the importance of the vivid rhythm in the guitar works of Rodrigo.

Guitarist Ricardo Saeb’s dissertation provides an analysis of the cadenzas of Concierto

de Aranjuez.48 Saeb provides specific information about the cadenzas in the second movement of

Concierto de Aranjuez. For example, he states that the melodies of Concierto de Aranjuez have a

strong connection with the Andalusian tradition. The author briefly introduces the historical

background of the second movement’s main theme as follows. “The popular main theme of the

Adagio is strongly associated with the saeta, which is an improvisatory melody sung during the

religious processions in celebration of Easter in the south of Spain.” 49 He also mentions the

specific notation in the second movement.

Saeb states that Rodrigo used the double-staff notation to clarify the contrapuntal context

of the cadenza. He points out that the double-staff notation also appeared before Concierto de

Aranjuez. During the time of Mauro Giuliani (1881-1929), composers experimented the double-

staff notation for the guitar.50 However, it disappeared and the single-staff notation has become a

standard notation for the guitar. After Concierto de Aranjuez, the use of double-staff notation has

again become more common in the guitar literature. Composers such as Benjamin Britten (1913-

1976), William Walton (1902-1983), and Toru Takemitsu (1930-1996) used this notation to clarify

47
A special right hand strumming technique often used in flamenco style performances.
48
Carlos Ricardo Saeb Valenzuela, Noemí Lugo, and Dieter Hennings-Yeoma, “The Cadenzas of the first Modern
Guitar Concertos” (DMA., diss., Lexington: University of Kentucky, 2017)
http://uknowledge.uky.edu/music_etds/77/.
49
Ibid., 24.
50
Ibid., 28.
18

the counterpoint in their guitar works. 51 Saeb briefly analyses Phrygian and Locrian mode

melodies in the cadenza by providing an intervallic material, and gives explanations about the

right-hand arpeggios, which are helpful guides for non-guitar playing conductor.

Reflection

The resources related to Concierto de Aranjuez offer a basic framework for my research

paper. The overall structure of my theoretical analysis methodology will refer to Graham Wade’s

stylistic and harmonic analysis, but will give further information from a perspective of the

conductor based on a phrase-by-phrase guide. David Itkin suggests various technical aspects of

conducting in terms of the dynamic, tempo and beat patterns. My methodology will refer to Itkin’s

rehearsal techniques, but expand them further to create a complete conductor’s guide to Concierto

de Aranjuez. Ciulei and Saeb’s dissertations give information about flamenco techniques in

Concierto de Aranjuez which can be a helpful resource to non-guitar playing conductors.

Resources related to the guitar and the orchestral and opera literature

There are a few resources which bond the guitar and orchestral and opera literature. Jerald

Dallman wrote a dissertation about the guitaristic influence in Berlioz’s orchestral works. 52 In his

dissertation, Dallman presumes that Berlioz used the guitar to write his orchestral composition by

presenting an analysis of Mephistopheles’ Serenade from The Eight Scenes of Faust.

51
Ibid.
52
Paul Jerald Dallman, "Influence and use of the Guitar in the Music of Hector Berlioz" College Park, MD.
thesis, University of Maryland, 1972.
19

Mephistopheles’ Serenade consists of only the tenor solo (Mephistopheles) and the guitar

accompaniment, but Berlioz incorporated the entire work in a huge piece of music for four solo

voices, full seven-part chorus, a children's chorus and orchestra, La Damnation de Faust. While

arranging the original piece, Berlioz changed the guitar accompaniment passage of the Serenade

to a full orchestra accompaniment. Berlioz kept the original rhythm and the character of the guitar

accompaniment by imitating guitar’s plucked sound with strings’ pizzicato. The key of the original

piece is in E major, and Mephistopheles is tenor role, but the later one is in B major, and uses a

bass voice. He gave a precise indication to the second violin and viola; “Arpeggiate by sliding the

thumb over the four strings.”53 This is Berlioz’s typical guitar technique imitation that has concrete

evidence. Regarding the key change, it seems that Berlioz selected B major to fit the bass singer’s

vocal range. B major is a very uncommon tonality for the guitar since the guitar would have to

sacrifice three open strings.(A, D, G strings) Dallman also shows passages that are thought to have

been influenced by the guitar and explain the reason by providing evidence. For example, in terms

of the string technique, Berlioz asks the violinists to play pizzicatos by using the thumb, index,

major, and ring finger to execute sixteenth notes passages. Dallman states that this multiple finger

pizzicato technique is very similar to the arpeggio and tremolo technique of the guitar. 54 As

Dallman states, Berlioz is an important figure who represents a connection between guitar and the

symphonic music world. Even though he did not compose a guitar concerto, which was not a trend

at that time, many of his compositions seem to be inspired by guitar techniques. 55

Guitarist and conductor Mark Stanek wrote a dissertation about the use of guitar in the

53
“Arpège en glissant le pouce sur les 4 cordes”
54
Dallman, 123.
55
Ibid.,130.
20

opera literature in the 19th century.56 He mentioned that his first intention was to write a dissertation

about the use of classical guitar in the orchestral literature, but the lack of resources led him to

switch his focus to the use of guitar in the operatic repertoire. 57 Stanek analyzed the use of the

guitar in the 19th-century operas from a perspective of the guitarist and conductor. He selected ten

operas from the Romantic era and analyzed them from three perspectives: the guitar in relation to

the libretto; the guitar in relation to the orchestra; the technical aspects of the guitar part. Stanek

points out unbalanced dynamic indications and unidiomatic guitar passages from the selected

repertoire and suggests solutions. For example, Cavatina from the first act of Rossini’s The Barber

of Seville, after a chord of tutti in fortissimo, the guitar arpeggiates groups of sixteenth notes in

pianissimo.58 Stanek says that the guitar should be played louder than piano in order to balance

with the orchestra’s sound. He also mentions that the guitarist sometimes would need to edit or

even omit notes so the passages could be played. 59 Stanek’s research enables us to understand the

composer’s understanding level about the guitar. The most positive point for this research is that

this dissertation opens the door to explore the use of the guitar as a part of the orchestra.

Hector Berlioz’s Treatise on Instrumentation is one of the most significant resources about

guitar technique written by an orchestral music composer.60 Berlioz was well aware of classical

guitar’s technical functions and its nature as a solo instrument and an accompaniment instrument.

In his treatise, Berlioz shows the guitar's open string notes and its notation, which is one octave

56
Mark C. Stanek, "Guitar in the Opera Literature: A Study of the Instrument's use in Opera during the
19th and 20th Centuries" (D.A., Ball State University), 2004.
57
Ibid., 1.
58
Other versions show different dynamic indications. Castil-Blaze edition shows the tutti in forte and guitar in
piano, and Ricordi 1920 version shows the tutti in fortissimo and the guitar in piano. Ibid., 10.
59
Ibid., 59.
60
Hector Berlioz, Richard Strauss, and Theodore Front Treatise on Instrumentation (New York: Dover Publications,
2013).
21

higher than the sounding pitch. He introduces the tonalities that are easily played on the guitar, for

example, the keys that include the guitar's bass open strings (E, A, D). We can also get a glimpse

of the music scene in his lifetime from this chapter. He criticizes composers who write guitar

passages of excessive difficulty, or those that have little music effect or weak sonority. There is

another interesting fact about the guitar strings in his days. He says “the lower three strings are

made of silver wire; the other three of catgut.” These days, the three bass guitar strings are made

of a core of fine nylon covered by copper wire or silver-plated copper. The three treble strings are

made of nylon. The development of the guitar string material has improved the sound projection

and sustain of the guitar and made the tuning more stable. Guitar has very complex fingerings and

some unnoticeable limitations for those who do not know its nature. Berlioz states that

It is almost impossible to write well for the guitar without being able to play the instrument.
However, the majority of composers who employ it do not possess an accurate knowledge
of it.61

His explanation covers not only basic knowledge like the range of the classical guitar, arpeggio

styles and chord progresses but also each technique’s challenge and effectiveness caused by the

instrument’s nature. Berlioz also suggests that composers learn guitar techniques by studying

works of guitarists such as Zanni de Ferranti, Huerta and Sor. The guitar chapter of his treatise

includes fundamental information and suggestion about guitar; however, in the original version,

there is no excerpt from musical works. Later, Richard Strauss, in his modernization of the Berlioz

treatise, added an excerpt from Verdi’s opera “Otello” (no. 54, Act 2) that has a guitar

accompaniment part. Strauss briefly introduces how a guitar could be used with other orchestral

instruments in an opera by showing an orchestral score part. 62 The tonality of the passage in

61
Berlioz, Strauss, Front, 145.
62
Berlioz, Strauss, Front, 148-150.
22

“Othello” is E major, which is one of the easiest keys for guitar since E major allows the guitar to

use two open strings in E. In this passage, all the string instruments and the four-voice choir play

pianissimo. Woodwinds and French horns play harmonic background in piano in quarter and whole

note. There is no dynamic mark for guitar and mandolin. This might suggest that the plucked

instruments be played in forte in order to make a good sound balance. Verdi did not compose a

single guitar piece in his life, but we can see that he was very well aware of the guitar’s character

and its function and he was able to combine this plucked instrument successfully into the complex

orchestral instrumentation.

Berlioz himself employed classical guitar in his operas such as Benvenuto Cellini (1837)

and Béatrice et Bénédict (1862), but unfortunately, he never gave his use of the guitar in his opera

repertoire as an example of instrumentation. I consider Berlioz’s treatise (1844) as an initiation for

the guitar to the orchestral or operatic literature. Even though the introduction of the guitar part in

his treatise is not very long, his precise explanation about guitar techniques still gives an excellent

example for composers who want to compose pieces for guitar. It is very rare to find an

orchestration or an instrumentation method book that explains guitar’s function better than

Berlioz’s treatise.

American composer and conductor Samuel Adler devotes only one page of explanation

about the guitar in his orchestration book. 63 His book introduces rudimentary information about

guitar; its open strings and range with a six-bar passage of Stravinsky’s Tango.64 The passage is

very odd since the guitar part is written in the concert pitch. This is not a good example of a

traditional example of the guitar notation. However, it gives a list of repertoire from the Romantic

63
Samuel Adler, The Study of Orchestration. 3rd ed. (New York: W.W. Norton, 2002).
64
“Tango” (1941) is an orchestral version of his piano solo piece with the same title, composed in 1940.
23

to the Modern era that has significant guitar passages. Even though the list is not annotated, I

believe this list is a worthy example of the use of the guitar, especially for contemporary pieces.

Reflection

Resources related to the guitar and the orchestral and opera literature show the use of the

guitar as an accompaniment instrument and an auxiliary instrument for composition. Studying

Berlioz-related resources illuminated a connection between the guitar and the orchestra. Dallman’s

dissertation does not directly support for my research, but Berlioz’s composition techniques in his

dissertation show how the guitar influenced his orchestral works. Dallman's work has become a

good indicator of how research on the relationship between symphony composers and the guitar

has developed until now. Berlioz’s Treatise gives more explanation about the use of the guitar in

the opera literature. If the resources in the 19th century give a historical background of the

development of the guitar technique, the information in the 20th and 21st century gives us the

advice which can be applied for the practical situation. Stanek’s dissertation enables us to

understand the function of the guitar in the 19th opera, by providing information about the guitar

setting and the use of the microphone in the 21st century.

Resources related to guitar method and technique

Guitarist Pablo Jose Gomez Cano explains how the guitar techniques are interconnected

with various musical, social, and geographical issues. 65 This thesis also clarifies the different

cultural and geographical origins of the techniques. In Chapter 2, the author classifies guitar

65
Pablo Jose Gomez Cano, "Modern Guitar Techniques; a View of History, Convergence of Musical
Traditions and Contemporary Works (A Guide for Composers and Guitarists)." DMA diss., University
of California, 2016. ProQuest (10030082).
24

techniques into four categories; the Flamenco, Latin American, Asian techniques, and American

popular music. The author precisely explains the difference between Spanish rasgueado and Latin

American rasgueado by describing the right-hand movements and providing example passages.

The author also states how the contemporary composers, such as Berio adopted this technique into

his work Sequenza.66 Cano discovers the potential adaptation of the Asian techniques to expand

the technical expressions of the guitar. He states;

The Asian techniques work with the same basics but with a wider variety of possibilities.
They are more complex and embedded in a more profound and structural context. We find
microtonal bendings, melodies created through bending the strings, three-step bendings,
and various combinations with different types of vibrato (through different shapes of
bending).67

Cano provides practical information related to guitar performance through his research. His

dissertation will be a good resource for composers, guitarists, and even for conductors. Cano’s

explanation about contemporary guitar techniques that continue to evolve makes a good

comparison with the techniques from the resources written by Berlioz and Sor. He intends to offer

practical information about guitar technique to guitarists and composers who want to perform or

compose contemporary guitar music.

Hector Quine’s book about guitar technique points out some important issues people often

ignore.68 Quine states that the relaxation observed from a skilled performer does not mean that he

or she is completely relaxed. He states that there are three conditions to become an effective and

relaxed state.69

66
Ibid., 21.
67
Ibid., 31.
68
Hector Quine, Guitar Technique: Intermediate to Advanced (Oxford: Oxford University Press, 2000).
69
Ibid., 5.
25

1. Control of the muscles which have to work independently from those which do not

2. Reserves of strength in excess of that which is needed to perform the task

3. Economy of movement

Another important subject from his book is the finger action. He argues that the plucking action is

comprised of three movements: descend; pause; ascend. However, the author states that the

striking action broadens the possibility of producing more rich expressions such as legato and

sostenuto since the action needs only one preparation.70 Tone production is also discussed in his

book. The classical guitar’s tone color is soft and subtle. Thus conductors and orchestra musicians

have a tendency of missing or ignoring its delicate articulation and phrasing.

Quine provides the process of tone production by explaining the difference between

apoyando71 and tirando,72 and he stresses the importance of combining the physiological and the

tonal aspect to produce the best sound. 73 His explanation of tone production will enable conductors

to have a concrete concept about the classical guitar sound production. Quine’s book includes

Stephen Dodgson’s writing tips for the guitar as an appendix. Stephen Dodgson was not a guitarist;

however, he learned to compose works for guitar by making a left-hand fingerboard combination

chart. Dodgson points out common mistakes which can be committed by the unexperienced non-

guitarist composer and provides some helpful advice. For example, he suggests that novice benefit

the guitar resonance with the open string rather than employing too many notes. 74 The appendix

by Dodgson would be a good resource for non-guitarist composer or conductor to understand the

70
Ibid., 16.
71
A right-hand guitar technique. After plucking the string, the finger stays on the next string.
72
A right-hand guitar technique. After plucking the string, the finger stays in the air.
73
Ibid., 19, 27.
74
Ibid., 89-91.
26

function of the guitar.

Guitarist and composer Abel Carlevaro (1916-2001) wrote a method book which gives a

new insight into the guitar technique.75 Carlevaro explains many technical aspects such as posture

and angle of both hands, expressing his philosophy “maximum effects with minimum efforts.” He

emphasizes the importance of the relaxation while making a left-hand shift. He suggests that the

guitarist make the perpendicular lift while moving the left hand in order to relax the tension.

Guitarist Douglas Niedt mentions that Carlevaro’s left-hand lifting eliminates the friction noise

from the low three strings.76

American guitarist Aaron Shearer’s guitar method book, Learning the Classic Guitar,

provides information regarding the technical accuracy, strength, speed and endurance. 77 In this

book, Shearer suggests that the guitar students use Aim- Directed Movement (ADM) when they

are practicing and performing. ADM is a method of getting rid of confusion and error by

understanding where and how to move before executing the hand movements. The author also

devotes a large amount of time to explanation to nail shaping and tone production by providing

various types of the right-hand fingernails and shaping methods. At the end of the book, Shearer

adds information about Repetitive Strain Injury (RSI) which can arise from repetitive bio-

mechanically flawed movement. He explains the primary symptom of RSI and how to overcome

it. He also provides exercises to avoid shoulder pain which is an ongoing challenge to guitarists.

Scott Tennant’s exercise book Pumping Nylon gives useful and practical information and

75
Abel Carlevaro, School of Guitar: Exposition of Instrumental Theory (Escuela De La Guitarra), trans. Jihad
Azkoul and Bartolome Diaz (London: Boosey and Hawkes, 1984).
76
Douglas Niedt, "More Than You Ever Wanted to Know About: GUIDE FINGERS," Douglas Niedt, Guitarist
|Classical Guitar Lessons and Technique, , accessed November 05, 2018, https://douglasniedt.com/.
77
Aaron Shearer and Tom Poore, Learning the Classic Guitar (Pacific, MO: Mel Bay Publications, 1990).
27

guidelines to the reader.78 Tenant reduces the use of professional terminology so that readers can

easily understand the content. The author provides Do’s and Don’ts lists with sketches of the

correct and incorrect positions in order to avoid unnecessary conflicts when readers are applying

his methods to their practice. Tennant’s finger independent exercises are efficient and helpful for

guitarists who want to achieve a high level of technique.

Reflection

Cano’s dissertation classifies guitar technique geographically and gives a good explanation

of the specialized guitar techniques that can be helpful for conductors. Quine suggests the effective

guitar writing skills for non-guitarist composers. These resources expand the possibility of guitar

writing from the idiomatic methods to extended techniques. Fernández and Quine’s resources

show how the approach to the guitar techniques has changed compared with the old school which

mostly depended on the personal experiences. Carlevaro’s method book provides a wide range of

technical issues of the classical guitar with images; however, the context is too professional for

those who do not have a basic knowledge about the classical guitar. Tennant’s guitar method book

simplifies essential technical information about the guitar. Shearer’s book provides crucial and

practical information about the accuracy of the hand movement and velocity of the guitar scale

exercise so that the conductor can understand the instrument’s capacity as a concerto instrument.

Resources related to the concertos for guitar and other instruments

Composing a concerto for guitar has been always a challenging task for non-guitarist

composers. Journalist and critic Lesley Valdes explains the challenge of composing guitar

78
Scott Tennant and Nathaniel Gunod, Pumping Nylon: A Guide to Classical Guitarists Technique
Handbook (Van Nuys: Alfred, 1995).
28

concertos by giving several anecdotes to the reader. 79 According to her article, in the 1960s, Aaron

Copland was asked to compose a piece for guitar and orchestra. However, Copland refused the

commission because of his limited knowledge of the guitar. Valdes also notes that Spanish

composer, Hallfter, had a difficult time composing a guitar concerto. He was not a guitarist, so

corrections from a guitarist made the work possible. Narciso Yepes made some changes and

recorded it; however, the composer was not satisfied with the result and did not allow the piece to

be performed until Andres Segovia suggested that Eliot Fisk revise it in 1985. 80 In a telephone

interview with Valdes, Fisk points out some critical and problematic issues when a non-guitarist

composer creates a guitar concerto. Firstly, some succession of chords were unplayable since the

chords are too thick. Another point is that composers often believe that adding many notes in a

chord would give more volume for guitar, but it often softens the guitar’s sound due to the

complexity of fingerings.81

Since the 1990’s performers and researchers have written guitar concerto-related

dissertations which can be a guideline for composing concertos for guitar. For example, Guitarist

Roger Hudson selected the Concerto in A Major, op.30 by Mauro Giuliani (1781-1829) and the

Concierto del Sur by Manuel Ponce to conduct a comparative analysis. 82 M. Giuliani was a

virtuoso guitarist influenced by the conventions of the early nineteenth century Vienna. On the

other hand, M. Ponce was a Mexican non-guitarist composer influenced by the stylistic freedom

79
Lesley Valdes, "A Guitar Concerto's Special Problems," New York Times (1923-Current File)1987.
http://myaccess.library.utoronto.ca/login?url=https://search-proquest-
com.myaccess.library.utoronto.ca/docview/110815675?accountid=14771.
80
Ibid.
81
Ibid.
82
Roger West Hudson, The Orchestration of the Guitar Concerto : A Comparison of the Concerto in A Major, Op.
30, by Mauro Giuliani and the Concierto Del Sol by Manuel Ponce, 1992).
29

of the 20th century and the folk music of his homeland. 83 Thus, a comparison of these two

concertos enables the reader to understand the stylistic difference and the historical evolution.

Hudson’s analytical intention is to uncover both positive and negative points of composing for

guitar and orchestra. He provides a biographical sketch of each composer and analyzes both

concertos in terms of the texture, timber, range, register, articulation, and dynamics. At the end of

the research, Hudson added an appendix that explains the guitar’s special techniques for the reader.

His case study will be a good example for my dissertation in terms of the analysis of the

compositional structure.

Gregory Engstrom’s dissertation is an analysis of Concerto pour Guitare et petit orchestra

by Heitor Villa-Lobos.84 Engstrom analyses each movement of the concerto in terms of melodic,

rhythmic, harmonic and tonal perspective. Engstrom’s research provides a good reference to

scholars who want to study Villa-Lobos' guitar concerto. At the end of his dissertation, he

summarizes Villa Lobos’ composition style and opens the door to further research. Engstrom states

that Villa Lobos had several methods to make the guitar sound audible. Firstly, Villa Lobos

lowered the dynamic level of the orchestra several steps below the guitar and never employed tutti

when the guitar is playing. Secondly, he employed maximum two counter melodies while the

guitar is playing and place the orchestra’s sound below or above the guitar in order not to compete

against each other. Finally, Villa Lobos employed a soft pedal point throughout the movements to

provide an effective accompaniment for guitar which enables the audience to listen to the subtle

83
Hudson, foreword.
84
Gregory Engstrom, "Part 1. Concerto for Guitar and Orchestra (an Original Composition). Part 2. an
Analysis of the Concerto for Guitar and Small Orchestra by Heitor Villa-Lobos" (Ph.D., Kent State University), .
http://myaccess.library.utoronto.ca/login?url=https://search-proquest-
com.myaccess.library.utoronto.ca/docview/304628062?accountid=14771.
30

dynamic changes of the guitar.85

Guitarist Wann-Dar Tan introduces Lawrence Weiner’s guitar concerto and presents an

analytical model for approaching contemporary guitar concertos. 86 The author introduces Weiner's

guitar solo works composed before the concerto and explains how the composer successfully

implemented multiple layers into the guitar score by showing passages from the pieces. Tan states

that the concerto repertoire needs fewer multiple layers of the melody or harmony for the guitar

part compared with the solo works since the orchestra often plays contrapuntal textures and

accompaniment parts when the solo guitar is playing. 87 However, being capable of realizing

multiple layers on the guitar is a huge advantage while composing a guitar concerto. Tan talks

about how traditional techniques such as rasgueado have affected Weiner’s guitar concerto by

giving a comparison with Rodrigo's Concierto de Aranjuez.88 The research gives a good example

of editing a guitar concerto as well. The author states, “The main criterion in editing is to preserve

and convey the composer’s intention as clearly as possible.” 89 He categorizes the edition subject

into six fields; 1.Tempo change, 2. Octave transposition, 3. Note or chord omission, 4. Chord re-

voicing, 5. Technical substitution, 6. Notation. This dissertation also provides a debate about the

use of amplification for the guitar concerto. Tan says that the composer agreed to use amplification

so the guitar could project its sound against the thick orchestration of his concerto.

Guitarist Vieira’s thesis provides guidelines for non-guitarist composers wishing to write for

85
Ibid., 140.
86
Wann-Dar Tan, Lawrence Weiner's Concerto for Guitar and Orchestra: Analysis, ed. Thomas Johnson, D.M.A.
ed. (United States -- Texas: University of North Texas, 2005).
87
Tan, 37.
88
Ibid.
89
Tan, 46.
31

guitar.90 The author states that the collaboration between composers and performers nowadays has

become more horizontal than the Romantic era and the composer-performer relationship has

become a more important subject.91 His thesis discusses the problematic issues when composers

are not capable of playing the instrument for which they are composing. He asks non-guitarist

composers to create guitar works by receiving feedback from guitarists. Vieira analyses the

problematic issues occurring during the process and observes how composers and performers

interact with one another.

Exploring resources related to concertos for other instruments will expand the scope of my

research, since each instrumentalist focuses on resolving performance issues by explaining the

unique character of their instrument. For instance, wind instrument performers’ research often

focuses on breathing, which can be easily neglected in the research of stringed instrumentalists.

Marimbist Brudvig wrote a dissertation about Danish composer, Anders Koppel’s Concerto for

Marimba and Orchestra (1995) and solo marimba work P.S. to a concerto (1995).92 His research

focuses on providing guidelines which are helpful to resolve the problematic performance issues

in the concerto. The author, himself a marimbist, introduces passage with multiple problems and

provides suggestions so the performer could execute the challenging passages with effective efforts.

For example, the author advises how to execute a fast high-register passage in triplets at

fortissimo.93 Brudvig mentions that playing successive triplets at a fast tempo is a challenge for

90
Márlou Peruzzolo Vieira, "The Collaborative Process from the Performer's Perspective: A Case Study of Non-
Guitarist Composers" (Ph.D., Universidade de Aveiro, 2017).
91
Ibid., 3.
92
Robert Ian Brudvig, "A Performer’s Guide to the Concerto for Marimba and Orchestra and “P.S. to a Concerto”
by Anders Koppel" (D.M.A., The University of Arizona, 2002).
http://myaccess.library.utoronto.ca/login?url=https://search-proquest-
com.myaccess.library.utoronto.ca/docview/304802276?accountid=14771.
93
Brudvig, 45.
32

marimba players. He suggests that the player group the four-measure pattern in two measure

phrases and articulate only the essential notes in order to clearly execute the passage. Brudvig also

emphasises the importance of the coordination with the orchestra in terms of the tempo. He

suggested that the performer could make a slight tempo change in order to keep the flow of the

music.94 The dissertation also discusses the unification of articulations between the solo instrument

and the orchestra.95 Brudvig points out some articulation discrepancies between the woodwinds

and the solo marimba and suggests to add slurs in order to unify the articulation. His research is a

good resource that explains how the orchestra and solo instrument could be analysed from a bird’s

eye view perspective.

Flautist Whitter provides a useful performance guide of Ellen Taaffe Zwilich’s Flute
96
Concerto. Ellen Taaffe Zwilich (b.1939) is an American composer whose works are

internationally performed. Whitter’s dissertation consists of four chapters; biographical

information of the composer, an analysis of the piece, a performance guide and the style of the

concerto. The second chapter analyses the concerto in terms of melody, form, rhythm, harmony,

and sound. This is a very traditional analytical style which is found in other dissertations or

research papers. However, in the third chapter, the performance guide, provides a very practical

and necessary insight for performers. Whitter provides a measure-by-measure guide for each

movement only a flute expert could give. The most significant part of this dissertation is the

appendix B. The appendix indicates the important passages and gives advice regarding breathing,

tone, dynamics, tempo, articulation, fingerings and other notable information that is not classified

94
Ibid.
95
Ibid., 50.
96
Marcia Kay Whitter, "The Ellen Zwilich Flute Concerto from a Performer's Perspective: Analysis, Performance
Guide, Composer, and Style.”(D.M.A., diss,. University of Oregon, 1995).
33

into the previous six categories. Even though Whitter’s research is not directly related to the guitar

concerto, her measure-by-measure analytic methodology is very helpful to the development of a

well-organized research structure.

Trumpeter James Meyer Lind analyzes two trumpet concertos by Anthony Plog from a

performer’s perspective.97 The first four chapters of Lind's research provide general information

such as the composer’s bio, histological information and the thematic organization of the concerto.

However, in the fifth chapter, the author gives general recommendations that help the performer

to practice or perform the pieces. Lind sorts Plog’s compositional characters into three categories;

1. the use of chromaticism, 2. the use of complex rhythms and mixed meter; and 3. thematic ideas

and motivic ideas related to the opening theme. 98 Based on this characteristic approach, the

research provides practical suggestions for each different case. Lind points out challenging

passages of the concertos and gives helpful advice such as using a metronome and marking upbeats

and downbeats on the score. Although this study is about the trumpet concertos, it presents many

useful tools that can be applied to the analysis and execution of guitar concertos from a performer’s

or conductor’s perspective. For example, Lind explains the technical difficulties of the trumpet by

showing passages and provides suggestions which can clean up the challenges from the perspective

of the trumpeter. He includes interviews with the composer and a few soloists, so the reader can

view the composition from various points of view. However, there is no comparison with the

orchestra part. Therefore, it is difficult to analyze the whole by looking at the combination of the

orchestra and the solo instrument.

97
James Meyer Lind, "The Trumpet Concertos of Anthony Plog: A Performer's Guide" (D.M.A., diss,. University of
North Texas, 2012), . http://myaccess.library.utoronto.ca/login?url=https://search-proquest-
com.myaccess.library.utoronto.ca/docview/1335280280?accountid=14771.
98
Lind, 41.
34

Harpist Rachel Green’s dissertation about Alberto Ginastera's Harp Concerto, Op. 25

includes a lot of guitar-related information. 99 In her dissertation, Green states that Ginastera used

guitar techniques such as rasgueado, tambura and percussion skills in his harp concerto to make

an Argentine folk music atmosphere. For example, he used the open string sound of the guitar (E-

A-D-G-B-E) at the opening of the cadenza. This open string chord also appears in his only guitar

composition, Sonata for guitar, Op.47. Green states that Ginastera imitated rasgueado of the guitar

by playing fast glissando in this concerto. She mentions that Spanish harpist and composer Carlos

Salzedo’s used a similar technique called “Gushing Chords,” but Ginastera asked the harpist to use

fingernails to make the sound more like the guitar. 100

Harpist Phuttaraksa Amnirdratana’s dissertation about Reinhold Glière's Concerto for Harp

and Orchestra, op.74 gives another good example of a performer’s guide. 101 Amnirdratana

effectively classifies the theoretical analysis and the performance guide so that the readers can

apply the information to the real situation. Her dissertation is comprised of an introduction which

includes a brief development of the harp, a biography of the composer, Reinhold Glière, the history

of the concerto, and musical analysis and performance guide of each movement. In her dissertation,

Amnirdratana compares three different editions to mainly discuss the pedal issues. She points out

some errors in the harp parts, and the rest of the differences are mostly related to the musical

99
Rachel Kay Green, “Alberto Ginastera's Harp Concerto, Op. 25: A Synthesis of Argentine Nationalism and
Neo-Expressionism.” (DMA diss., University of Arizona, 2017).
http://myaccess.library.utoronto.ca/login?url=https://search.proquest.com/docview/1947046253?accountid=14771
100
Ibid., 22, 24.
101
Phuttaraksa Amnirdratana, "Reinhold Gliere's Concerto for Harp and Orchestra in E-flat major op.74: An
analysis and performance guide." (DMA diss., University of Miami, 2012). (Order No. 3549379). Available
from ProQuest Dissertations & Theses Global. (1283387481). Retrieved from
http://myaccess.library.utoronto.ca/login?url=https://search.proquest.com/docview/1283387481?accountid=14771
35

interpretations. However, here again, there is no discussion related to the orchestra parts and score.

Reflection

Concerto-related resources can be classified into theoretical information and practical

information. Most guitar concerto resources focus on analysing theoretical aspects such as the

structure, harmony, style and the texture. For example, Hudson’s dissertation focuses on

comparing two different guitar concertos mainly in terms of the orchestration. 102 Engstrom’s

dissertation about Villa-Lobos’ Concerto pour Guitare et petit orchestra shows a more precise

analysis than Hudson’s research in terms of melodic, rhythmic, harmonic and tonal perspective.

Engstrom also mentions the balance of the volume between the guitar and the orchestra; however,

he does not provide a concrete way to balance the volume of the guitar and the orchestra. Boyd's

dissertation shows some interesting points such as the introduction and explanation of the use of

the distinctive percussion instruments; however, his research is mostly an array of historical facts

about Torroba’s guitar concertos. Tan and Vieira’s research treats more useful subjects for my

research project. Tan provides a good example of editing challenging passages of the concerto

such as omissions, octave changes so the concerto can be performed more efficiently. 103

Interestingly, many helpful suggestions were found in the concerto literature for other instrument.

Brudvig provides advice from his experience as a marimbist by explaining the

charactristics of the marimba which conductors might not know about. He also emphasizes the

importance of shaping motives to unify the marimba solo and the orchestra. 104 Brudvig always

keeps an eye on the orchestral score to create a good balance as a whole. Whitter’s well-organized

102
Hudson, The Orchestration of the Guitar Concerto, 1992.
103
Tan, 45-51.
104
Brudvig, 141.
36

performance guide is a useful tip for writing a conductor’s guide. Lind also suggests practical

advice such as using a metronome while practising difficult passages and syncopations to the

trumpet soloist but not having information about the orchestra lessens the value for my research

model. Harpists Rachel Green and Phuttaraksa Amnirdratana’s dissertations about the harp

concerto will expand the scope of my research regarding methodology. Green’s research provides

the relationship between the harp and guitar in terms of the musical subject and historical

background. Amnirdratana’s dissertation gives more idea about the organization of the content.

Her explanation and organization of the content are very clear and direct so even the reader is not

an expert of the harp could understand the content.

Resources related to the conductor

In his book, The orchestral conductor: the theory of his art, Berlioz sharply criticizes

conductors who commit common mistakes such as having passion without a musical idea on the

podium, giving inappropriate tempi to the ensemble, and demonstrating unclear conducting skills

during rehearsals and concerts. 105 He clearly explains not only the technical aspects of conducting

such as beating complicated rhythms and treating fermatas, but also psychological aspects such as

inspiring the orchestra musically. In this book, Berlioz analyses each instrument’s tendency and

problematic issues based on his musical experience. He also emphasizes the unity of the sound

that is a result of the well-organized rehearsal and performance by a well-trained conductor.

Richard Wagner gives his philosophy about conducting through his book Wagner on

Conducting. 106 He compared the performance of the Beethoven’s Symphony No. 9 by the

Gewandhaus Orchestra and the Orchestra of the Paris conservatoire and emphasized the

105
Hector Berlioz, The Orchestral Conductor; Theory of His Art (New York: C. Fischer, 1902).
106
Richard Wagner, Wagner on Conducting, ed. Edward Dannreuther (New York: Dover Publications, 1989).
37

importance of singing the melody. He criticized the interpretation of the Gewandhaus Orchestra

and later, in 1839, he had a chance to attend a rehearsal of the Orchestra of the Conservatoire in

Paris rehearsing Beethoven’s Symphony no.9. He states that

The scales fell from my eyes; I came to understand the value of correct execution and the
secret of a good performance. The orchestra had learnt to look for Beethoven’s melody in
every bar – that melody which the worthy Leipzig had failed to discover; and the orchestra
sang that melody. This was the secret.107

Wagner highly praised the performance of the Orchestra of the Conservatoire in Paris since the

orchestra played the challenging melody line as written. He emphasized the importance of

eliminating frustrating irregularities caused by bow and string changes in order to shape the

melody line. Wagner argues that sustaining tone with equal power is the foundation of all

expression. On the other hand, he claims that the string players should assimilate the full toned

piano of the best woodwind instrument and try to copy the human voice. 108 Wagner is famed for

his thick orchestration and rich harmony, but his book shows how he was sensitive about singing

the melody and the quality of the sound. Sustaining tone with equal power might be a trend of the

expression in the 19th century in Germany or his personal perspective of the sound. However, I

believe that a natural decay of the sound is the basis of the expression since holding a note with

equal power needs more intentional efforts and used for special occasions. Wagner was not a great

pianist, but had a vast knowledge of the orchestral instruments. It is interesting to compare Berlioz

and Wagner since their musical background has many points of commonality. Both of them were

composers, critics and conductors. They stress the importance of a good tempo which enables the

orchestra to express the composer’s musical intention and clear technical executions such as

107
Ibid., 15.
108
Ibid., 32-33.
38

dealing with fermatas and articulations.

Conductor Felix Weingartner presents a balanced opinion on the authority of a conductor

and the intention of the original composer through his book, On Conducting.109 In his book, he

points out two important roles of a conductor; being capable of making a fine balance of the

orchestra itself and realizing the composer’s intention such as choosing a right tempo, articulation,

and rubato while performing a piece. He highly praised Hans von Bülow’s musical ability of

making a well-balanced orchestra which was hard to find in German conductors at that time.

However, Weingartner criticizes Bülow’s tempo rubato and sudden tempo changes in Beethoven’s

Symphony no.9 and Bizet’s Carmen which ruined the original intention of the composers. 110

Weingartner classifies his thought about the tempo and rhythm as follows.

I would here insert a rule, the observance of which I hold to be indispensable for a right
apprehension of the limits of the tempo: No slow tempo must be so slow that the melody
of the piece is not yet recognisable, and no fast tempo so fast that the melody is no longer
recognisable. The rhythmic distortions to which I have referred were in no way justified
by any marks of the composer, but always originated with the conductor. 111

Weingartner claims not only the importance of respecting the intention of the composer

by executing an appropriate tempo and articulation but also being capable of understanding the

meaning behind the notes.112 Even though his book does not have direct information on concertos,

his balanced philosophy about conducting and the description of the musical scene in Germany

and France book enable the reader to understand the historical context of conducting.

Conductor and composer Jerry Donald Kracht provides a guide for some stylistic

performance problems by selecting orchestral pieces from the Baroque, Romantic and the Modern

109
Felix Weingartner, On Conducting, ed. Ernest Newman (London: Breitkopf & Hartel, 1906).
110
Ibid., 20-24.
111
Ibid., 28-29.
112
Ibid., 43
39

era. 113 The research selected Handel’s Concerto Grosso No.11 Op.6, Webern’s Five Pieces for

Orchestra Op.10, Schumann’s Symphony no.4 D minor Op.120 for the examples and gives a

precise analysis of each piece. The first chapter analyses Handel’s Concerto Grosso and mainly

discusses Baroque interpretations such as notations, trills, accidentals, and various dotted rhythms

which have little connection with the guitar-related subject. The second chapter discusses

interesting subjects about Webern’s Five Pieces for Orchestra. In this chapter, Kracht explains

mental subdivision, which helps the conductor maintain a steady tempo. An example of the mental

subdivision is to think the sixteenth note while conducting a very slow passage in quarter pulse. 114

This work includes the guitar and other non-standard orchestral instruments such as harmonium,

celesta, and mandolin which give extra tone colors to the orchestration.

Kracht does not mention each instrument’s character, but he does have some helpful

resources and ideas for my research. For example, the author talks about the dynamic level of this

piece which ranges from pppp to fff. The author gives a practical suggestion to make a good

dynamic range as follows.

Ideally, the performer should probably establish in rehearsal the “barely audible” level of
sound and then, proceeding from that point, add to the sound indiscernible increments
until all of the required dynamic levels have been defined. 115

Gunther Schuller’s book The Compleat Conductor provides information that cannot be

found in resources written by guitarists or other instrumentalists. 116 Schuller’s book consists of

113
Jerry Donald Kracht, "Some Stylistic Problems in the Performance of Selected Orchestral Literature from the
Eighteenth, Nineteenth, and Twentieth Centuries: An Essay Together with a Comprehensive Project in Orchestral
Performance" DMA thesis, The University of Iowa, 1974).
114
Ibid., 65-74.
115
Ibid., 72.
116
Gunther Schuller, The Compleat Conductor (Oxford: Oxford University Press, 1997).
40

three parts; a philosophy of conducting, a history of conducting and analyses of famous symphony

works in the 19th century. He states that the performer can interpret a dynamic or articulation in

various ways. For example, he points out that a p can be interpreted in different ways depending

on the passage or piece.117 He gives a clear explanation of distinction by giving an example of sf.

Take sf, for example: there are many – I am tempted to say – dozens of different sf’s. As
one tiny example I offer the m.128 sf in the first movement of Beethoven’s Seventh
Symphony (and its parallel, m.340). This sf can be performed in many different ways,
with different feelings and emphases, all of them within the realm – the species – of sf.
For example, one can give this sf a very hard-hitting effect with a strong, incisive attack
in the strings (if it were in the winds, with a strong, incisively tongued attack). Or, one can
give this sf a deeply expressive, weighty feeling, infinitesimally delayed. Or, it can be
warm, rich singing sf, as one can see Carlos Kleiber elicit from the Concertgebouw
Orchestra in a film produced by German Unitel television. 118

Schuller’s interpretation about articulations and dynamic will be helpful when giving precise

instructions to the orchestra musicians at guitar concerto rehearsals. The conductor’s good ear

often limited to listen to wrong notes, but Schuller stresses that a conductor should have seven

different ears; for harmony, pitch and intonation, dynamics, rhythm and articulation, balance and

orchestrational aspects and line and continuity.119 His book also gives a basic, but a very important

string technique- bowing. He shows how a bowing can change the phrase by giving short passage

examples. He warns of the danger of using loud, full bow playing which is commonly happening

in American orchestras. 120 Making a good sound balance is a crucial point of performing or

rehearsing the guitar concerto, and Schuller’s advice about the string technique will be an

important part of my dissertation. In the third part, the author analyses Beethoven’s Symphony no.5

and no.7, Brahms’ Symphony no.1 and no.4, Strauss’ Till Eulenspiegel, Ravel’s Daphnis et Chloe

117
Ibid., 15.
118
Ibid., 16.
119
Ibid., 17-18.
120
Ibid., 29.
41

Second Suite, Schumann’s Symphony no.2 and Tchaikovsky’s Symphony no.6 by listening to over

400 recordings. He made charts of each symphony’s important passages by comparing various

conductors’ interpretations and the score. His research method gives me a possibility of analysing

recordings of Concierto de Aranjuez in order to extract crucial comparisons between the score and

recordings.

Erich Leinsdorf wrote a book about the relationship between the composer and his or her

music and the performer – especially the conductor. The author emphases the importance of

knowing the score, composer and his or her intention, musical tradition, right tempo, and the

conductor’s role.121 Even though his book was not written only for the conductor, there are many

aspects which could be crucial and useful for my research. For example, he points out that solo

concertos should be treated as important as symphonies and overtures. He states that many soloists

were surprised when they were asked to attend two rehearsals for the concert. 122 As Schuller

mentioned the various ways of expressing the dynamic and accent, Leinsdorf also gives an

important perspective of treating folk and regional traditions in the score. He especially mentions

the Spanish folk rhythm;

Spanish dances always present a problem to musicians unacquainted with national


traditions, particularly if castanets are called for. Percussionists, no matter how excellent
in other respects, are untrained in the playing of hand castanets. They rest the instrument
on the knee, with the result that the intended effect is lost, and what emerges sounds stiff
and inflexible. Spanish dance rhythms are matched in intricacy by those of many other
nationalities, and the problem is not even confined to dances. Rhythms built on
peculiarities of language are equally hard to transcribe. In recent times the effort of
“nationalistic” composers to revive their countries’ folk music have encountered many
difficulties.123

121
Erich Leinsdorf, The Composers Advocate: A Radical Orthodoxy for Musicians (London: Yale University Press,
1981).
122
Ibid., 3.
123
Ibid., 78.
42

His approach to folk music rhythms is useful to analyse and perform other folk-music related
works. For example, the thematic motive at the beginning of the 1 st movement of Concierto de
Aranjuez consists of an eighth note followed by two sixteenth note and another eighth note. The
two sixteenth notes in the middle of the motive are often executed in a shortened way.

Reflection

Richard Wagner and Felix Weingartner’s books enable us to understand the role of the

conductor and musical scene in Europe in the 19th century. Especially, Weingartner wrote his book,

On Conducting after Wagner’s book, so the reader can see the development of the conductor’s role

chronologically. Kraft’s idea is about resolving problematic issues in stylistic performance. His

approach to the dynamic division will be helpful to organize a guitar concerto’s performance since

the dynamic range of the guitar is narrower than the instruments in the orchestra. Schuller and

Leinsdorf’s books provide information that was not available in the resources written by the

instrumentalists and the composer. Both of them give practical advice on the role of the conductor

through a keen analysis of the score which explores the core issues of music making. Schuller

mostly analyses major symphony works, not concertos; however, his methodology gives an

effective guide to obtain concrete evidence for concerto-related research. (Listening to the

recordings and making charts to compare them) Leinsdorf presents ideas to help analyze the folk

influence of the guitar concerto. Listening to the different versions of Concierto de Aranjuez will

enable to decode the influence of the folk and regional traditions in the piece. Research based on

linguistic influences might be helpful to support this subject.

Conclusion

Having read five kinds of resources gives me a clear direction for my research. The three

subjects, the guitar, conductor, and concertos seem to have little in common, but I have realized

that it is possible to write a dissertation on a new topic that links to the existing resources while

exploring these three themes. Even though my research criteria will be limited to the study of
43

Concierto de Aranjuez from a perspective of the conductor, my effort will merely be a touchstone

of future research on guitar concertos in a perspective of the conductor and non-guitarist musicians.

My dissertation will be an opportunity for the guitar to participate more actively in orchestral music

history.
44

Chapter 3

Analysis of Concierto de Aranjuez: Movement 1

Instrumentation

2 2 2 2 – 2 2 0 0 – strs – guitar solo


(second flute covers piccolo part, and second oboe plays English horn)

First movement – Allegro con spirito

Key: D major

Time Signature: 6/8

Tempo: . = 88

Structure: Sonata form

The structure of the first movement is sonata form including an introduction, a single exposition,

development, recapitulation, and a coda.

Measure numbers will indicated in a simple way by using + and – signs. 124 Important themes and

motives in the first movement are named as follows :

Figure 3.1 Important themes of the first movement

Opening theme: Pirulero theme:

Main theme: Second theme:

Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed
Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for
Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH

124
For examples, two measures before rehearsal number one will be described as ①-2, and three measures after
rehearsal number 2 as ②-3.
45

Table 3.1 Structure of the movement 1


M. Number Section Instrumentation mm
m.1 - ②-1 Introduction 43
mm.1-②-1 Guitar’s Opening Theme, Guitar’s Pirulero Theme, gt/cb,gt/ww+low
Strings’ Opening Theme strs, strs only
② to ⑩ Exposition 71
② to ④-1 Main Theme by ob & 1st vn. tutti
Pirulero Theme by Str. Opening theme motive by WW & brass
④ to ⑥+4 Ornamented Main Theme by guitar. gt/ fl, 1st vn
Counter punctual section1: gt, 1st vn and horns gt+ tutti
Guitar’s rasgueado & Strs accompaniment gt/ strs
5a⑥ to ⑩-1 2nd theme by Guitar / 1st bassoon gt/bsn
Counter punctual section 2: gt, 1st vn ww, and horns gt/1st vn,hn,ww
Guitar’s rasgueado & Strs accompaniment gt/str
2nd theme by Guitar/ 1st bassoon gt/bsn
Counter punctual section 3: gt, 1st vn ww, and horns gt/1st vn,hn,ww
Guitar’s rasgueado & scale / Strs accompaniment gt/strs
⑩ to ⑯-1 Development 51
⑩ to ⑮-4 Opening theme in A minor by str strs/fl
Opening theme in A Major by guitar gt/1st vn
Guitar’s scale and clar solo. Horn and oboe’s countermelody gt, cl/ ww,hn,strs
3b⑮ to ⑯-1 Orchestra’s tutti with guitar’s ascending scales tutti +gt
⑯ to ㉒-1 Recapitulation 54
⑯ to ⑱-1 Main Theme by ob & 1st vn ob+1st vn/ tutti
Main Theme by Guitar gt solo
Counter punctual section1: gt, 1st vn and ww gt/1st vn,ww
Guitar’s rasgueado & Strs accompaniment gt/str
⑱ to ㉒-1 2nd theme by clar /gt, 1st cl/gt
Counter punctual section1: gt, 1st vn and ww gt/1st vn,ww
Guitar’s rasgueado & Strs accompaniment gt/ str
2nd theme by Guitar/ 1st bassoon gt/ bsn
Counter punctual section 3: gt, 1st vn ww, and horns gt/1st vn,ww,hn
Guitar’s rasgueado & scale / Strs accompaniment
㉒ to m.243 Coda 24
㉒ to ㉓-1 Variation of the opening theme / Pirulero Theme tutti
㉓ to ㉔+4 Rasgueado-like tutti and guitar’s response tutti & gt solo
㉔+5-m.243 Pirulero Theme by guitar, bsn & tpt and opening theme by str gt/bsn,trp str
and guitar with bsn
46

Theoretical Analysis and Conductor’s Guide

Guitarist Graham Wade conducted an analysis of Concierto de Aranjuez in his book,

Joaquín Rodrigo and the Concierto de Aranjuez.125 I will follow his explanation of the structure

regarding the harmony and melody development and will add analysis from the perspective of a

conductor.

3.1 Introduction: m.1 to ②-1 (mm.1-43)

3.1.1 Theoretical Analysis: m.1 to ②-1 (mm.1-25)

The first movement begins with the guitar’s rasgueado accompanied by a tonic pedal- point

from the double basses. The guitar solo makes a steady crescendo from pp to ff until m.13, and the

woodwinds come in at m.19 by playing a part of the first thematic motive. The first bassoon

emphasizes the guitar’s eighth-note staccatos by doubling the rhythm. In his dissertation,

Rodriguez states that the melody of the guitar from mm.22-24 (Example 3.3) are similar with a

part of the Spanish folk song for children Anton Pirulero.126

Figure 3.2 Excerpt of Anton Pirulero

Source: John David Quijano Rodriguez, “Análisis y adaptación del Concierto de Aranjuez para guitarra
solista y dos guitarras acompañantes.” (BA thesis, Colombia Pontificia Universidad Javeriana, 2013):10.
https://repository.javeriana.edu.co/handle/10554/11717

125
Graham Wade, Joaquin Rodrigo and the Concierto de Aranjuez (Leeds: Mayflower Enterprises, 1985).
126
Rodriguez, 10.
47

At ①, the strings without the bass section plays the exact passage of the guitar at the introduction

(mm.1-18) which is connected to the exposition at ②.

3.1.2 Conductor’s guide: m.1 to ②-1 (mm.1-25)

The orchestration in the introduction is comprised of only the guitar solo and the pedal tone

in D of the bass in octave. The sound balance is crucial since pianissimo in the guitar is not equal

to pianissimo in the bass. Having two basses hold this passage in piano staggering the bowings

will produce a well-balanced sound. Some conductors add a crescendo from m.10 to 13, 14 (until

mf) and a decrescendo to p at m.16 in the bass part. 127 However, Rodrigo did not make any

dynamic change to the bass part. From the beginning, the conductor needs to mark passive

downbeats for each bar and give a light ictus with breath on the second beat of m.18 to invite the

woodwind tutti.

Example 3.1 Mvt I, Pedal tone of the bass, mm 4-6

Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed
Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for
Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH

127
Joaquin Rodrigo, Concierto de Aranjuez bass part.
https://archives.nyphil.org/index.php/artifact/b5e4af7f-7bde-47c4-beaf-b8a511c58f33-0.1
48

At m.19, the woodwinds come in pp, but the low register of the bassoon should be carefully

executed to create a good sound balance. On the second beat of m.22, the cello and bass part have

p, but there is no such dynamic indication in the score. It would be better to add p to the score here

to balance the dynamics of the phrase.

Example 3.2 Mvt I, Woodwinds entrance, mm.19-22

Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed
Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for
Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH

In order to give a clear cue to the strings on the first beat of ①, the conductor should give a clean

anacrusis when the guitar plays the C# note at m.25.


49

Example 3.3 Mvt I, Important anacrusis, mm 23-25

Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed
Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for
Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH

3.1.3 Theoretical Analysis: ① to ② (mm.26-43)

The strings, with exception of the bass section, start playing the thematic rhythm with

spiccato in ppp. The dynamic goes to ff at m.38 and goes back to pp at bar 41 and the strings

gently bring the main theme played by the first oboe and the first violins.

3.1.4 Conductor’s Guide: ① to ② (mm.26-43)

This pianississimo at the beginning should be played on the upper part of the bow with a

percussive spiccato in order to maintain a guitar-like sound with a soft dynamic, maintaining the

beating pattern. It is obvious that the conductor conducts the entire passage mainly in two; however,

there are many hemiolas grouped in three quarters. Inexperienced musicians often speed up these

hemiola passages and make an early crescendo. (There are nine bars of crescendo from ppp to ff).

Kracht suggests that clear mental subdivision be made when conducting a piece with a steady

tempo.128 Additionally, this mental subdivision can be used to maintain a constant tempo in the

hemiola passages. When the conductor conducts the hemiolas such as in m.27 and m. 30, the

128
Kracht, 1974.
50

conducting pattern should be grounded in order to maintain a constant tempo, as orchestras often

tend to speed up these hemiola passages. At ②, the conductor should give a cue to the bass section

which has a 19- bar rest.

Figure 3. 3 Hemiola in 6/8

Example 3.4 Mvt I, Entrance of the strings, mm.27-31

Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed
Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for
Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH

3.2 Exposition (mm. 44-114)

3.2.1 Theoretical Analysis: ② to ④ -1 (m.44-60)

At ②,(m. 44) the first oboe and first violins start playing the first theme and the second

violins, the violas and the cellos play the thematic motive as accompaniment in D Major which is

the tonic key of this movement. The first tutti appears at ③, (m.54) to maximize the musical

tension before the entrance of the guitar solo at ④ (m. 61).


51

Example 3.5 Mvt I, First theme by the oboe and first violins, mm 45-47

Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed
Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for
Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH

3.2.2 Conductor’s Guide: ② to ④-1 (mm.44-60)

The double bass enters on the first beat of ② after 24 bars of rest. It is important to pay

attention to the bass players before giving a cue. There is no dynamic indication for the bass in the

score; however, according to the part, the dynamic is shown as pp. The accompaniment mm.46,

49 and 52 are better to be conducted in three to make a clear articulation and tempo. At ③, the

French horns should emphasize each note on the beat in order to shape the melody. The second

beat of ③+2, the unison of the bassoons and the basses should not be overpowering in order to

listen to the sound of the guitar.

Example 3.6 Mvt I, First theme entrance and bass pizzicato, mm 41-45

Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed
Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for
Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
52

Example 3.7 Mvt I, French horns, mm 53- 56

Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed
Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for
Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH

The conductor should pay attention to ff in the trumpets, which is often overpowering. From the

second beat of ③+2(m.55), the bassoons, basses, and guitar play the descending motive in unison.

There is no dynamic for the bass in the score; however, the bass part shows a dynamic of f. As the

bassoons play the motive in ff in a very low register, if the music were to be performed as written,

the bassoon and horns would be overpowered, and the audience would not be able to hear the

guitar. At ④-3 (mm. 58-59), a crescendo sign is missing for the viola and cello and ④-1 (m.60),

the violas and cellos should make a diminuendo from ff to pp within a bar and should make a clear

sixteenth descending slurred scale which is often not clear. The conductor should give a strong

and clear downbeat on the first beat of bar 60 in order to produce an impeccable unison.

Example 3.8 Mvt I, Viola, cello and bass, mm 57-61

Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed
Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for
Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
53

3.2.3 Theoretical Analysis: ④ to ⑥+4 (mm.61-82)

At ④, the guitar plays the first theme with embellishments, and the flutes and the 1 st

violins accompany the solo guitar in pp. At ⑤-2, (m.71) the woodwinds echo the motive of the

guitar solo in f, and when the guitar plays the sixteenth note scale, the woodwinds switch the

dynamic immediately to pp. At ⑥, (m.79) the strings play a four-bar accompaniment in f to

prepare the entrance of the second theme played by the guitar. The first bassoon accompanies the

birdsong-like second theme in the middle and low register making a beautiful colour contrast with

the guitar.

3.2.4 Conductor’s Guide: ④ to 4a⑥+4 (mm.61-82)

There is a discrepancy between the score and the bass part at ④ (m.61). In the score, pp

in the bass section is missing. On the second beat of ⑤, the first horn enters in mf in the score;

however, this dynamic is missing in the part. We could possibly assume that the dynamics of this

passage is pianissimo by observing the repeated passage at ⑦ (m.89). At m.75, the dynamic of

the horns is ppp which is very challenging for the horns to produce, but necessary. While the horns

are holding the tied dotted half notes, the solo guitar executes scales. In order to make the guitar

sound audible, it is crucial to control the dynamic of the horns. On the second beat of ⑤, the first

violins play a thirty-second scale with a quick crescendo and diminuendo in a beat and arrive pp

on the first beat of the m.74. However, the first violin section often plays this passage in mf without

diminuendo due to the nature of the fast ascending scale. At ⑥, the strings play trilled quarters

slurred with a sixteenth note in forte. At the same time, the guitar plays dotted quarter notes. It is

crucial that the strings pull back on the dynamic right after they play each note so that the orchestra

and the audience can hear the guitar.


54

Example 3.8 Mvt I, French horn 1, mm 72-76

Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed
Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for
Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH

3.2.5 Theoretical Analysis: 5a⑥ to 1b⑩ (mm. 83-114)

At m.82, the second theme is played by the guitar. In the traditional sonata form, the second

theme is often played in the dominant key; however, in this movement, it appears in D Major, the

tonic of the movment. At ⑦, (m.89) the element from mm.73-80 reappears in a condensed version

and the dominant appears at m 91 ponctuated by a bass pizzicato of A. The second theme returns

in F major third measure of ⑧, (m.97) and the theme brings the passage in Db Major which

transforms itself to E Major (6b⑩, m.109). The solo guitar plays a brilliant rasgueado and scale

forming a bridge to the development in A minor (Example 3.10).

Example 3.9 Mvt I, Second theme by the guitar, mm 83-87

Rodrigo CONCIERTO DE ARANJUEZ, guitar solo and piano reduction Copyright © 1957 Joaquin Rodrigo Copyright © renewed
Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG
All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for
Schott Music GmbH & Co. KG

Conductor’s Guide: ⑥+5 to ⑩-1 (mm. 83-114)

At m.85, there is a discrepancy between the score and the guitar part. The first two bass

notes of the guitar should be changed from D to E. The eighth notes of the first bassoon should be

played with light staccatos in order to balance the guitar solo without overpowering it.
55

Example 3.10 Mvt I, Guitar and bassoon I, mm 82-85

Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed
Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for
Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH

At ⑨, the dynamic of the first horn elevates one step higher: pp to p and ppp to pp

compared with the previous passage at ⑦. At mm.110-112, each accented string eighth note

section should be played staccato in order to hear each first notes of the guitar scale. At m.112,

guitar soloists sometimes pull back the tempo slightly to adjust for fingering; however, the passage

from the second beat of the m.113 until the end of the descending scale, the melody is played in a

straightforward manner since the movements required of the left hand are natural.

Example 3.11 Mvt I, Guitar’s scale, mm 109-113

Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed
Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for
Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
56

3.3 Development: ⑩ to ⑯-1 (mm.115-165)

3.3.1 Theoretical Analysis: ⑩ to ⑯-1 (mm.115-165)

The upper strings play the opening motive in the introduction in A minor in pp, and the

cello solo plays a minorized main theme. The first flute decorates this passage with a sixteenth

descending scale in the low register, and the cello solo and the strings bring the guitar in A major

at ⑪ (m.126).

Example 3.12 Mvt I, Cello solo, mm 117-119

Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed
Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for
Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH

The guitar solo plays the thematic motive in rasgueado and suddenly changes the key into

A minor and starts executing a brilliant scale.

Example 3.13 Mvt I, Guitar solo, mm 126-128

Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed
Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for
Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH

In the middle of the scale, ⑫+5 (m.138), the first clarinet comes in with a lyrical

countermelody while the first flute and piccolo are executing the thematic motive. Graham Wade

states that the melody of the clarinet comes from a typical Spanish folk music tune. 129 At ⑬

(m.143), the solo guitar strums rasgueado in Ab major and on the second beat of the bar, the first

129
Wade, 31.
57

oboe intervenes by singing the first theme in A major. Two bars later, the first bassoon doubles

the melody of the oboe, and ⑭-5 (m.147), the A major turns into B major with the solo guitar’s

strumming. At ⑭-2 (m.150), the guitar plays the thematic motive in B minor, and the woodwinds

and trumpets punctuate the chord in eighth notes to strengthen the accent of the guitar scale. ⑮-4

(m.156), the guitar and the orchestra start playing a descending scale in tutti from f to fff and move

on to the recapitulation.

3.3.2 Conductor’s Guide: ⑩ to ⑯-1 (mm.115-165)

The passage from mm.115-125 is very often overpowering. The strings play the thematic

motive in pp, and the melody of the flute is ppp. The cello solo’s dynamic is only p with espressivo;

however, most cellists play this passage in mf to f. It is rare that one can hear the harmonics of the

guitar at m.119, m.122, and m.124. Observing the printed dynamics will ensure the coherent

dynamic progress. The real forte passage begins at m.156. Thus, it is important to keep the

dynamics as written from mm. 114-125. At ⑪, the conductor should encourage the cello soloist

to hold the full value of the dotted half note since other string sections play only an eighth note on

the first beat. At m.129, the dynamic of the guitar is mf, but in reality, the soloist often plays this

passage more than f so that the guitar sound can be heard. The tutti in f at m.134 and m.136 should

be played in light and short staccato in order to punctuate the guitar solo without overshadowing

the melody of the guitar.

At m.138, the first clarinet plays a countermelody starting with an anacrusis. The melody

is lyrical, but the clarinet should play it in a straightforward manner since there is no rubato in the

scale played by the guitar. The conductor needs to give a clear cue to the bass section which has

been inactive for 25 bars. The orchestra should keep pp until m.147 except for the second beat of

the first violin at m.147. At m.149, even though there is no diminuendo, the strings should make
58

an immediate diminuendo after playing the first note in order to allow the low register of the guitar

melody to be audible.

Example 3.14 Mvt I, Tutti, mm 146-148

Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed
Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for
Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH

At m.156,158, and 160, the clarinets, bassoons, horns, and trumpets do not have

diminuendos. However, it appears that adding diminuendos for these instruments enhances the

homogeneity of the orchestra’s dynamics. At m.162, the bassoons, horns, and trumpets have a

diminuendo mark which is reasonable. At m.217, the guitar has to make a huge shift to play an

ascending scale, so there might be a slight tempo change here. However, from the second beat of

the m.218, the tempo of the scale becomes stable since the left hand movements become idiomatic

once again.
59

Example 3.15 Mvt I, Tutti, mm 156-159

Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed
Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for
Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH

3.4 Recapitulation: ⑯ to ㉒-1(mm.166-219)

3.4.1 Theoretical Analysis: ⑯ to ㉒-1 (mm.166-219)

At ⑯ (m.166), the recapitulation starts with a shortened first theme in D Major, played by

the first violins and oboes. The guitar solo enters on the second beat of m.172 (⑰-5) and plays

the first theme, half-transformed into a sixteenth-note scale. After a bridge, at ⑱, the second theme

reappears in D major, but the first clarinet plays the melody, and the guitar accompanies the theme

with arpeggiated-eighth notes. The guitar retakes the second theme at ⑳ (m.202) in Eb major and
60

the following section repeats as in the exposition. However, the scale passage reappears in the

dominant of D major (V) before moving on to the Coda.

3.4.2 Conductor’s Guide: ⑯ to ㉒-1 (mm.166-219)

At the exposition, the first oboe and first violins play the main theme in f, but at the

recapitulation, the two oboes and first violins play the theme in ff. The second violins, violas, and

cellos should use separate bows to produce more volume. At mm. 178-179, the countermelody is

played by the flutes instead of the first violins. The dynamic in m. 179 should stay in pp. Four bars

before ⑱ (mm.184-186), there are some inconsistencies in the string parts. This string passage

appears at ⑥, ⑧ and ⑳-2. The passages at ⑧ and ⑳-2, only those who have moving notes

play trills, but the passages at ⑥, the viola’s tied notes have trills, and four bars before ⑱ (m.184

and m.186), the second violin’s first tied notes have trills. My suggestion is to make trills only on

the moving notes in order to achieve a homogeneity of articulation.

Example 3.16 Mvt I, Strings, mm 79-81, 95-96, 184-186

Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed
Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for
Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH

At m.188, the first clarinet takes the second theme in D major. The clarinet should imitate the

articulation of the guitar at the exposition by executing clear staccatos. At m.202, the first bassoon
61

should accompany the second theme played by the guitar carefully since its register is very low.

At m.217, the guitarist is required to make a huge shift in order to begin playing an ascending scale

so there might be a slight tempo change in this bar. However, the tempo of the guitar is fixed on

the second beat of the m.218 since the left-hand movement becomes idiomatic. The conductor

should listen to each of the first notes of the sixteenth triplets in order to give a clear down beat at

㉒.

Example 3.17 Mvt I, Guitar solo, mm 216-219

Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed
Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for
Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH

3.5 Coda: ㉒ to the End (mm.220-243)

3.5.1 Theoretical Analysis: (mm.220-243)

The Coda starts at ㉒ with a tutti of the orchestra in ff in D Major. The beginning of the

Coda consists of the motive of the first theme played by woodwinds (except bassoons) and the

eighth-note motive of the guitar solo from m.19, played by strings and bassoons. At ㉓, the

orchestra repeats a very rhythmical rasgueado-style motive four times, and the guitar solo retakes
62

the motive and plays it alone in fortissimo. At ㉔+5, (m.236) the guitar solo plays the motive at

m.19, which is similar to the passage from Anton Pirulero with an echoic accompaniment by the

bassoon and trumpet for four bars. At m.240, the strings without the bass play softly the first two

bars of the thematic motive and the guitar responds to it by playing the remaining two bars of the

thematic motive with a simple accompaniment by the first bassoon. The last chord of the guitar

solo wraps up the first movement with a pizzicato of the cello and bass.

Example 3.18 Mvt I, Guitar solo, mm 232-234

Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed
Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for
Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH

3.5.2 Conductor’s Guide: (mm.220-243)

At m.220, the strings play the eighth notes in molto staccato. Having this passage all down

bow will make a natural separation between the notes and maximize the staccato effect. The first

trumpet plays a high “A” which is the highest note in this piece. The first trumpet should make an

immediate diminuendo after playing the A each time. At mm.226-227, despite the difficulty, the

first trumpet should play the six “A’s” in mfp so that the audience can hear each sixteenth note by

the woodwinds and horns. At m.236, the first bassoon and the trumpet should interlock and keep

moving forward in order to avoid a potential delay.


63

Example 3.19 Mvt I, Bassoon I and trumpet I, mm 236-239

Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed
Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for
Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH

On the second beat of m.242, the solo guitar often decreases the tempo slightly. Thus, the

conductor should be mindful of this potential issue by attending the balance of the guitar and the

accompaniment.

Example 3.20 Mvt I, Guitar solo and bassoon I, mm 242-243

Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed
Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for
Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH

The orchestra score and the guitar solo part of the first movement have a lot of flamenco-

style elements such as hemiolas and rasgueado-like tuttis. Therefore, making clear articulations,

accents, and rhythms will enhance its Spanish traditional style of music.
64

Chapter 4

Analysis of Concierto de Aranjuez: Movement 1

Second movement – Adagio


Key: B minor
Tempo: Adagio
Time Signature: 4/4
Structure: Three-part form

The structure of the second movement is a three-part form with lyrical themes. There are two

cadenzas of the guitar.

Figure 4.1 Important themes

Main theme: Second theme:

Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed
Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for
Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH

Table 4.1 Structure of the movement 2

M. Number Section Instrumentation mm


m.1 to 1b⑤-1 Part 1 25
m.1 to ①+5 main theme by E. horn / guitar (B minor) E.H/ gt 6
ornamented main theme by guitar/ strs (B minor) gt/ strs
② to ④-1 main theme by E. horn / guitar (G Major)) E.H/gt 10
ornamented main theme by guitar/ strs (G Major) gt/ strs
④ to ⑤-1 motivic theme 1 by strs & motivic theme 2 by E.H strs,ww+E.H 9
⑤ to ⑪+3 Part 2 58
⑤ to ⑦+3 2nd theme by guitar with strings accom+ E.H solo (E Major) gt/strs,bsns+hns 11
2nd theme by guitar with strings accom+ E.H solo (D minor) gt/strs,bsns+hns
2nd theme in triplet with a bridge to the cadenza gt/tutti
⑦+4 to ⑩-1 Cadenza 1 20
⑦+4 to ⑩-1 guitar’s cadenza in E minor
ob solo, guitar’s scale
ob solo, guitar’s scale
ww & brass’ triplet passage
⑩ to ⑪+3 Cadenza 2 27
⑩ to ⑪+3 guitar’s cadenza
65

part 1: cadenza with a pedal of G#


part 2: cadenza with a pedal of D# and groups of arpeggios
part3: guitar’s rasgueado with strings’ pizzicati of G#

⑪+4 to m.101 Part 3 18


⑪+4 to m.101 main theme by orchestra’s tutti (F# minor)
guitar’s counter punctual melody from the 2nd theme
bassoon and E. horn’s motivic theme
Guitar’s arpeggio and a Picardy cadence in B Major

Theoretical Analysis and Conductor’s Guide

4.1 Part 1: m.1 to ⑤-1 (mm.1-25)

4.1.1 Theoretical Analysis: m.1 to ①-1 (mm.1-7)

The guitar’s arpeggio opens the second movement and at the second bar, the English horn

starts singing the famous lyrical solo, which has been arranged for many different instruments.

Each time the English horn carries the five-measure main theme, the guitar solo follows it.

Wade explains about the theme as follows:

This melody evokes the atmosphere of the saeta; literally, an arrow, the saeta is the
flamenco-like arrow of song which bursts from the people spontaneously during the
religious procession in Holy week; it is improvisational and pierces the celebrational
clamour with its plaintive lament. 130

At ①, the guitar solo develops the English horn theme by adding ornamentations and trills.

The first horn comes in the fourth beat of m.10 to emphasize the cadence of the first dialogue

between the English horn and the guitar. At ②, the English horn plays the theme in G Major in

mezzo forte, and there are more dynamic changes compared with the solo at m.2. The string

section’s accompaniment is pianississimo; however, the solo melody has more expression

compared with the previous passages.

130
Wade, 34.
66

4.1.2 Conductor’s Guide: m.1 to ③-1 (mm.1-16)

The conductor should remember that the soloist needs to retune the guitar, which was tuned

in scordatura for the first movement. The slow arpeggio of the guitar starts from the sixth string

to the first string, so the conductor should coordinate his or her arm movement with the soloist’s

right-hand movement.

Example 4.1, Mvt II, Main theme by English Horn mm.1- 4

Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed
Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for
Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH

From ①, a slight subdivision of the pattern is required for the conductor in order to establish a

stable pulse for the pizzicati of the bass section.


67

Example 4.2, Mvt II, Main theme mm.5-8

Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed
Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for
Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH

The pizzicati of the bass provide the frame of the pulse for the guitar solo, but they should

be played lighter and softly, to avoid imposing the solo guitar a vertical rhythmic sense on the

soloist. The grace notes should always be played before the beat and the main notes on the beat in

order to line up with the pizzicati of the bass.

At the first beat of m.9, the score suggests that solo guitar play four notes simultaneously;

however, in practice, the notes are often played in arpeggio to produce a lyrical effect. The length

of rubato on the first beat depends on the musical taste of the soloist; however, the conductor

should consider the treatment of grace notes before rehearsal. At mm. 10-11, the conductor should

pay attention to the f# and b of the low strings, and the countermelody of the first horn since they

could overwhelm the middle register of the guitar solo. At ②, the cello and the bass sections

switch from pizzicato to arco, so the conductor should pay attention to the volume change.
68

Example 4.3, Mvt II, Guitar solo mm.9-12

Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed
Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for
Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH

The theme appears second time, played by the English horn in G Major with more dynamic

changes, while the accompaniment of the guitar has no particular technical difficulty.

Example 4.4, Mvt II, Thematic motive mm.13-16

Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed
Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for
Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
69

4.1.3 Theoretical Analysis: ③ to ⑤-1 (mm.17-25)

At ③, the guitar responds to the English horn solo with ornamentations, and the first

bassoon comes in ④-1 in F# Major, the dominant of B minor, to conclude the second dialogue

between the English horn and the guitar. At ④, the tonality becomes B minor and the strings play

a modified thematic melody from the main theme of the second movement and the woodwinds’

response brings the music to the next section. At ⑤-1, the English horn plays a melody, while the

strings and the guitar play an accompaniment in F #7 chord, the V7 of B Major.

Example 4.5, Mvt II, Thematic motive mm.21-23

Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed
Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for
Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
70

4.1.4 Conductor’s Guide: ③ to ⑤-1 (mm.17-25)

At ③, the conductor should listen to the first chord of the solo guitar carefully since it

requires a huge left hand stretch for the soloist. The guitarist’s first finger stays on the third fret of

the sixth string, and the fourth finger should reach the seventh fret of the first string. In practice,

the low G cannot be sustained as written, so the soloist often plays a rubato on the bass note to

give a strong harmonic accent to make the melody more lyrical.

Example 4.6, Mvt II, Guitar solo ③, mm.17-18

Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed
Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for
Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH

At ⑤-1, the conductor should be mindful of the last arpeggio of the soloist since the solo

should make a huge leap from the second fret to the fourteenth fret of the guitar to play a short

cadenza in B Major.
71

Example 4.7, Mvt II, Thematic motive mm.24-26

Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed
Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for
Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH

4.2 Part 2: ⑤ to ⑪+3 (mm.57-83)

4.2.1 Theoretical Analysis: ⑤ to ⑦+3 (mm.26-36)

starts with a new theme played by the guitar. The melody is in B Major inviting the solo

guitar to an E Major cadence at m.28. However, the new theme modulates to A7 chord, the

dominant of D major and brings the oboe and strings to play a motive of the main theme at ⑥ in

D7, and the modulation brings the melody into G minor ⑦-1, and the first cadenza of the guitar

starts in E minor.

4.2.2 Conductor’s Guide: ⑤ to ⑦+3 (mm.26-36)

At ⑤, the strings’ slurred staccato should be played almost legato to cover the short decay

of the guitar solo. The conductor should watch the soloist playing the last four thirty-second notes

at the end of each cadenza from ⑤ to ⑥. It is recommended that the conductor synchronizes his

or her upbeat with the last four notes of the solo guitar to invite the entrance of the horns and

bassoons at m.28.
72

Example 4.8, Mvt II, Guitar solo part mm.27-29

Rodrigo CONCIERTO DE ARANJUEZ, guitar solo and piano reduction Copyright © 1957 Joaquin Rodrigo Copyright © renewed
Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG
All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for
Schott Music GmbH & Co. KG

At ⑥, the conductor should be aware of the entrance of muted trumpets which is their

first appearance in this movement. At ⑥+3, there is an erratum on the second beat of the cello

part. The tied D in eighth note should be corrected as a tied sixteenth with a sixteenth rest.

Example 4.9, Mvt II, Erratum in the cello part, mm.31-33

Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed
Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for
Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
73

4.2.3 Theoretical Analysis: ⑦+4 to ⑩-1 (mm.37- 56)

The guitar solo plays a cadenza starting in E minor. Rodrigo used the double staff notation

to clarify the melody and the accompaniment. E minor is one of the richest keys for the classical

guitar since its tonic chord contains four open strings including the sixth open string E. Wade states

that this solo is a combination of the saeta-like melodic line with a harmonic accompaniment in

arpeggio.131

Example 4.10, Mvt II, First guitar cadenza mm.37-39

Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed
Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for
Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH

After the first part of the cadenza, the first oboe follows the guitar by playing a saeta-like

melody on the third beat of ⑧. After the oboe’s solo, the guitar plays a scale consisting of the

triplets and 64th notes. This passage repeats once more a whole tone below compared with the first

part. On the third beat of ⑨, the passage which consists of the sixteenth triplets brings the guitar

to the second cadenza.

131
Wade, 35.
74

4.2.4 Conductor’s Guide: ⑦+4 to ⑩-1 (mm.37- 56)

⑧-1, the conductor should make eye contact with the first oboist and the upper string

sections, and mentally following the tempo of the soloist in order to make a smooth connection

into the last arpeggio of the guitar and the entrance of the first oboe.

Example 4.11, Mvt II, First guitar cadenza mm.45-47

Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed
Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for
Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH

The conductor should give a very clear preparation of the anacrusises of ⑧+3 and ⑨-1

to the soloist, the cello, and the bass section so that they can start together. As the anacrusis of ⑥,

each grace note at the end of the phrase of the guitar should be well synchronized with the orchestra.

The transition at ⑨ is one of the most delicate passages in this concerto for the conductor. The

conductor should connect with the second horn, the flutes and the first oboe. Especially, the oboist

needs to have a clear click since it starts a half beat later than the second flute and the second horn.
75

Example 4.12, Mvt II, First guitar cadenza mm.52-53

Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed
Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for
Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH

4.2.5 Theoretical Analysis: ⑩ to ⑪+3 (mm.57-83)

The second cadenza is longer and more virtuosic than the previous cadenza and consists

of three parts. At ⑩, the key changes from B minor to C# minor. At the first part, the main saeta-

like theme appears with a pedal of G# note, and the part is wrapped up with a recitative-like motive

from the main saeta-like theme.


76

Example 4.13, Mvt II, Second guitar cadenza mm.57-58

Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed
Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for
Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH

There is a short transition which consists of two arpeggios in A Major. The second part of

the second cadenza starts with a melody which is supported by a D # pedal.

Example 4.14, Mvt II, Second guitar cadenza mm.65-68

Rodrigo CONCIERTO DE ARANJUEZ, guitar solo and piano reduction Copyright © 1957 Joaquin Rodrigo Copyright © renewed
Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG
All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for
Schott Music GmbH & Co. KG

The melody transforms into groups of arpeggios which contain the main notes on the upper

parts. The third part of the cadenza starts at ⑪, with a strong G# pizzicato of the strings and the

guitar solo follows it with a rasgueado in thirty-second notes in fff. This pattern repeats three times,

and a tutti of the orchestra in F# minor opens part 3.


77

4.2.6 Conductor’s Guide: ⑩ to ⑪+3 (mm.57-83)

The conductor needs to follow the cadenza from the second part of the second cadenza,

align the beat with the first double-quintuplet arpeggio and count the beat by listening to each one

of the highest notes of the arpeggios.

Example 4.15, Mvt II, Second part of the second cadenza mm.69-76

Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed
Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for
Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH

From m.77, the guitar solo empasizes the first note of each arpeggio with an accent. When the

guitar plays the last arpeggio, the conductor should take a slight breath before giving a cue for the

string section’s G# pizzicato so the solo can have time to move his or her left hand to a very high

position at ⑪.
78

Example 4.16, Mvt II, Second part of the second cadenza mm.77-80

Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed
Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for
Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH

When the solo finishes the third rasgueado, the conductor should consider the last eighth

note of the guitar as the preparation beat for the orchestra tutti at ⑪+3.

Example 4.17, Mvt II, Second part of the second cadenza mm.83

Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed
Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for
Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
79

4.3 Part 3: ⑪+4 to the end (mm.84-101)

4.3.1 Theoretical Analysis: ⑪+4 to the end (mm.84-101)

At ⑪+4, the tonality changes in F# minor and an orchestral tutti opens the fifth section of

the second movement. The saeta-like main theme is played by the upper string sections, and the

woodwind instruments follow by echoing the melody in an antiphonal way. At ⑫, the first flute

concludes the tutti of the orchestra and leads to the guitar solo, which consists of sixteenth triplets

in C# minor, accompanied by the violins. At ⑬, the first bassoon plays a modified motive of the

main saeta-like theme, and the English horn echoes it a perfect fourth higher. Finally, the guitar

solo enters on a F# chord, the dominant of B Major, played by the strings. The solo guitar’s

recitative-like melody concludes with an arpeggio in B Major chord with three notes of the

harmonics.

4.3.2 Conductor’s Guide: ⑪+4 to the end (mm.84-101)

Conducting from ⑪+4 is quite straight-forward. The quarter notes and half notes should

be played softer than ff while the sixteenth and the thirty-second notes are played so each motive

and the moving notes can be clearly heard. It is recommended that this passage be conducted in

eighth notes.
80

Example 4.18, Mvt II, Tutti, mm.62-64

Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed
Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for
Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH

At ⑫, the first flute melody should be heard clearly since its register is very low and the

registers of the first oboe and the horns are very expressive. The end of ⑫+2 needs a little

ritardando to bring in the guitar solo ⑫+3.


81

Example 4.19, Mvt II, Tutti, mm.92-94

Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed
Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for
Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH

The fourth beat of ⑬+2, the second clarinet plays a low F# in concert pitch and the

conductor should gently invite the soloist to play the sixteenth triplet in rallentando. The conductor

should follow the solo guitar’s tempo and give a cue to the bass section for a pizzicato in a low B

which punctuates the tonic of B Major.


82

Example 4.20, Mvt II, Tutti, mm.99-101

Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed
Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for
Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH

Guitarist David Russell gives a useful tip for performing the second movement,

emphasizing the importance of listening to the bass line. He says:

Specifically, I like to hear the pulse in the bass line in the slow movement, so I am able to
play my rubato, while the general pulse stays constant, except for the very end of each
long phrase. A large amount of Rodrigo’s music has a very strong rhythmic impetus, and
I think it is important to maintain that. The second movement of the concerto offers a
great variety of possibilities [for personal expression]. That means that each time we hear
a different guitarist playing it, we are able to enjoy that player’s personality coming
through in the music.132

132
David Russell, Xuefei Yang, and Milos Karadaglic, “Joaquín Rodrigo’s Journey to ‘Concierto de Aranjuez’,”
interview by Blair Jackson, Classical Guitar, no. 378 (Summer 2015): 27.
83

Chapter 5

Analysis of Concierto de Aranjuez: Movement 3

Third movement – Allegro gentile


Structure: Rondo form
Key: Begins in B Major and ends up in D Major
Time Signature: 2/4 and 3/4
Tempo: = 164
Table 5.1 Structure of the movement 3
M. Number Section Instrumentation mm
m.1 to ① Introduction 40
mm.1-20 main theme by guitar solo (B Major) Solo guitar 20

mm.21 to ① Main theme by tutti (D Major) Tutti except hns 20


①+2 to ⑤-1 Section 1 57
guitar solo / vla+vc’s pizz, fl solo (F# Minor) 13
guitar solo / vla+vc’s pizz, fl solo (F# Minor) 16
Pirulero theme by guitar/ bsns,hns $trps x 4 16
Pirulero theme by guitar in the upper register 12
⑤ to ⑩ Section 2 64
Dialogue between guitar and ww 8
upper Pirulero theme by guitar, guitar’s triplets 33
main theme with arpeggios by guitar (G Major – E Minor) (A2) 23
⑩+2 to ⑮-2 Section 3 67
4-bar tutti, 10-bar guitar solo, guitar’s arpeggio’s (B Major) 24
4-bar tutti, 10-bar guitar solo, guitar’s arpeggio’s (F# Major) 23
main theme by guitar with 16th slur scale 20

⑮-1 to ㉑-1 Section 4 62


fanfare-like theme by guitar, trumpet and tutti (A Major) 19
fanfare-like theme by guitar, trumpet and tutti (B Major) 19
fanfare-like theme by guitar (D Major) 13
guitar’s arpeggios and scale 11

㉑ to ㉒-1 Section 5 19

main theme by tutti (D Major) tutti


㉒ to m.321 Codetta 12
4- bar tutti, 5-bar descending guitar scale, a simple ending with tutti, gt & strs
three quarter by guitar and strings’ pizz
84

Theoretical Analysis and Conductor’s Guide

5.1 Introduction: m.1 to ① (mm.1-40)

5.1.1 Theoretical Analysis: m.1 to ① (mm.1-40)

The third movement begins with the guitar solo without accompaniment. On the score, the

anacrusis of the first meause is erroneous. The two quarter-notes should be corrected as two eighth-

notes.

Example 5.1, Mvt III, Intro, m.1

Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed
Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for
Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH

This movement consists of 2/4 and 3/4 patterns giving a rhythmic excitement. The guitar solo

plays 20-measures of the solo in B Major, and the orchestra’s tutti follows by imitating the previous

solo passage of the guitar in D Major, the main key of this movement. The orchestra plays exaclty

the same length of the measures as the guitar solo.

5.1.2 Conductor’s Guide: m.1 to ① (mm.1-40)

The conductor follows the guitar solo by marking bars in a passive way and must give a

strong down beat on the first beat of m.20 to bring the orchestra’s tutti.

The grouping of four measures, 3/4-2/4-2/4-2/4, is often observed in the third movement. For

example, The measures from the beginning until ① consists of ten groups of 3/4-2/4-2/4-2/4.

( five for the solo guitar and five for the orchestra tutti.)
85

Example 5.2, Mvt III, Guitar solo, mm.1-8

Rodrigo CONCIERTO DE ARANJUEZ, guitar solo and piano reduction Copyright © 1957 Joaquin Rodrigo Copyright © renewed
Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG
All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for
Schott Music GmbH & Co. KG

It is recommended that the conductor analyse this pattern to memorize the structure of the

movement. The four bar pattern appears eight times in the third movement.

from m.1 to ①, ③ to ④-1, ⑨ to ⑩-7, ⑭ to ⑮-6, ⑮-1 to ⑰-4, ⑰ to ⑲-2, ⑲ to ⑳-6, and

㉑ to ㉒-1

The conductor should emphasize the first beat of each 3/4 measure to create linear phrasing.

Example 5.3, Mvt III, Orchestra’s tutti, mm. 20-29

Rodrigo CONCIERTO DE ARANJUEZ, guitar solo and piano reduction Copyright © 1957 Joaquin Rodrigo Copyright © renewed
Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG
All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for
Schott Music GmbH & Co. KG
86

5.2 Section 1: ①+2 to ⑤-1 (mm.41-97)

5.2.1 Theoretical Analysis: ①+2 to ⑤-1 (mm.41-97)

The guitar solo plays the harmonized theme in D Major and brings a short flute solo in F #

minor by playing an F# pedal. The guitar plays four bars of B minor solo passage and performs the

harmonized theme in E Major.

Example 5.4, Mvt III, Flute solo, mm. 45-49

Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed
Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for
Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH

Another solo flute passage in C# minor and four bars of the solo guitar passage appears as

the previous case. At ③, a bass melody of the guitar, similar to the passage at ①-7 in the first

movement, appears with an accompaniment of the bassoons, trumpets and horns. The four-bar

phrase repeats four times and at ④, the pattern changes 3/4-3/4-2/4-2/4-2/4 twice.

5.2.2 Conductor’s Guide: ①+2 to ⑤-1 (mm.41-97)

From ①+2, the conductor should indicate fast and clear preparations to gain the low

strings’ pizzicati on time. ③-4, the fingerings of each chord of the guitar are very challenging

since they are not written in an idiomatic way. The conductor should pay attention to the guitar

solo if he or she makes any tempo rubato while playing the chords, especially the last chord which

carries the wind and brass accompaniment at ③.


87

Example 5.5, Mvt III, Guitar solo, mm.65-69

Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed
Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for
Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH

From ③, for each 3/4 measure, the conductor only needs to give the same preparation as

①+1 and soft landing of the downbeat to get light and short staccato in pianissimo.

Example 5.6, Mvt III, Pirulero theme by guitar, mm. 69-73

Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed
Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for
Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH

5.3 Section 2: ⑤ to ⑩ (mm.98-161)

5.3.1 Theoretical Analysis: ⑤ to ⑩ (mm.98-161)

At ⑤, the guitar plays chords in C# minor in ff, and the flute and piccolo respond to it by

playing the previous passage in octaves with an accompaniment of the brass. The guitar repeats

the same figure of the chords, but in Db Major, the enharmonic chord of C# Major, and the

woodwinds and the brass follow the guitar by playing a response in C # Major.
88

Example 5.7, Mvt III, Guitar solo, mm.96-103

Rodrigo CONCIERTO DE ARANJUEZ, guitar solo and piano reduction Copyright © 1957 Joaquin Rodrigo Copyright © renewed
Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG
All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for
Schott Music GmbH & Co. KG

On the anacrusis of ⑥-3, the guitar solo starts to play a variation of Pirulero theme, which appears

in the first movement, on the upper melody in E Major and concludes with a B minor chord.

Example 5.8, Mvt III, Pirulero theme by guitar,mm.104-108

Rodrigo CONCIERTO DE ARANJUEZ, guitar solo and piano reduction Copyright © 1957 Joaquin Rodrigo Copyright © renewed
Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG
All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for
Schott Music GmbH & Co. KG

The five bars of the string hemiola bring the guitar’s virtuosic triplet passage at ⑦-5, the triplet

passage repeats three times and invites a variation of the theme played by the 1 st violin and the
89

guitar in G Major. At ⑨, the guitar plays brilliant arpeggios in sixteenth notes, and the first violins

play the theme in pizzicato with the cello’s accompaniment. The section concludes in E Major at

⑨+2.

5.3.2 Conductor’s Guide: ⑤ to ⑩ (mm.98-161)

At ⑤, the low strings play a series of repeated pizzicato Cs. The pizzicati tend to be played

legato since there are no note changes. The conductor should ask the low string players to play

those notes staccato to unify the articulation of the whole orchestra. At ⑥+3, the hemiolas in the

strings have a tendency to accelerate the tempo, so the conductor should lower his or her beat

pattern. At ⑨, the guitar solo starts to play the arpeggiated main theme in sixteenth notes, and the

first violins play the unmodified main theme in pizzicato.

Example 5.9, Mvt III, Guitar’s arpeggio, mm.139-146

Rodrigo CONCIERTO DE ARANJUEZ, guitar solo and piano reduction Copyright © 1957 Joaquin Rodrigo Copyright © renewed
Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG
All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for
Schott Music GmbH & Co. KG

The tempo for the guitar solo is fixed; however, the pizzicati of the first violins often tend

to accelerate the tempo. Thus, the conductor should ask the first violin section to fully respect the
90

value of the eighth rests and to listen to the arpeggios of the guitar. It would be helpful for the

orchestra to see how the soloist performs this passage at rehearsal. The soloist can face the

orchestra so the musicians can see the hand movement of the guitarist and listen to the sound more

directly.

From ⑩-6 to ⑩-1, there is a crescendo and accents on the violin passage. The conductor

should calculate the level of the crescendo to build a smooth connection to the tutti of the

woodwinds at ⑩ and give clear cues to the violins to produce vibrant accents.

Example 5.10, Mvt III, Guitar’s arpeggio, mm.156-160

Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed
Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for
Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH

5.4 Section 3: ⑩+2 to ⑮-1 (mm.162-229)

5.4.1 Theoretical Analysis: ⑩+1 to ⑮-1 (mm.162-229)

Four measures of the orchestra’s tutti in E Major introduce a nine-measure guitar solo

consisting of a C Major and an A Major passage. From the anacrusis of ⑪+2, the wood winds

and the violins play a short and dynamic melody while the guitar is performing a brilliant B Major

arpeggio ending up with an ascending melodic E minor scale. The scale opens an A Major passage

connected to the four measures of the orchestra’s tutti in B Major. This time, the tutti brings a nine-
91

measure guitar solo consisting of a G Major and an A Major passage. At the anacrusis of ⑬+2,

the passage at ⑪+2 is repeated exactly the same way, but a perfect fourth lower. At the anacrusis

of ⑭, the main theme reappears in A Major and it is played by the piccolo. The flute plays the

theme in triplets and the guitar plays the theme with detaché and slur on the sixteenths.

5.4.2 Conductor’s Guide: ⑩+2 to ⑮-1 (mm.162-229)

The conductor follows the guitar solo from ⑩+5 by counting the beat passively and giving

a strong preparation beat with a breath on the second beat of ⑪. The passage from ⑪ to ⑭ is

very straight forward and does not need any tempo adjustment or rubato.

Even though there are two huge leaps at mm.180 and 204, those are idiomatic passages. The first

two notes of each first arpeggio are open strings, hence the soloist has enough time to move his or

her left hand after playing the scale. Some players make a little accelerando while playing the

scale to add more musical tension.

Example 5.11, Mvt III, Guitar’s arpeggios and scales, mm.179-182 & mm. 203-206

Rodrigo CONCIERTO DE ARANJUEZ, guitar solo and piano reduction Copyright © 1957 Joaquin Rodrigo Copyright © renewed
Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG
All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for
Schott Music GmbH & Co. KG

In terms of the conducting technique, the third movement is quite straight forward.

However, the orchestra often tends to accelerate the tempo, especially when the guitar solo

performs sixteenth note passages such as from ⑨ and from ⑭. The conductor needs to hold the

tempo while conducting those passages. At ⑭, the conductor should unify the length of the
92

staccato of the woodwinds. The half notes of the brass should be pulled back like a bell sound to

highlight the solo passage of the guitar. At ⑭-3, the conductor slightly turns right toward the cello,

and the bass section to invite them to play pizzicati at ⑭-3.

5.5 Section 4: ⑮-1 to ㉑-1 (mm.230-290)

5.5.1 Theoretical Analysis: ⑮-1 to ㉑-1 (mm.230-290)

At ⑮-1, the guitar solo plays a fanfare-like passage in third and perfect fifth in A Major

with a Pedal of E in the celli. A real fanfare of the muted trumpets follows the guitar solo, and at

⑯, it opens a tutti of the orchestra in G Major, which consists of the fanfare melody and a counter

point melody related to the theme at ⑩. At ⑰, the fanfare-like theme is played again by the

guitar; however, in B Major. As the previous passage, the muted trumpets echo the theme of the

guitar. The contrapuntal tutti reappears and it carries the last fanfare-like theme of the guitar in A

Major at ⑲, the dominant chord of D Major. At ⑳, the guitar solo performs eight measure of the

brilliant arpeggios in A Major chord. After a fermata on the note A, the solo plays a dramatic D

Major ascending scale leading into the Codetta.

Example 5.12, Mvt III, Orchestra’s fanfare-like theme, mm.240-244

Rodrigo CONCIERTO DE ARANJUEZ, guitar solo and piano reduction Copyright © 1957 Joaquin Rodrigo Copyright © renewed
Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG
All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for
Schott Music GmbH & Co. KG
93

5.5.2 Conductor’s Guide: ⑮-1 to ㉑-1 (mm.230-290)

From ⑮-1, the conductor has to remember that only the guitar solo has the accent on each

first beat, but not the pedal of E in the celli. However, from ⑯-3, the conductor should give a

clear accent on each first beat of the measure until ⑰-2. From ⑰, the beat pattern of the conductor

is the same as the previous passage from ⑮-1 to ⑰-2. At ⑳, the conductor should give a cue to

the first violin and listen to each first note of the arpeggios of the guitar.

E-F-G-A-B-C-D-E-F-G-A

Example 5.13, Mvt III, Guitar’s short cadenza, mm.280-288

Rodrigo CONCIERTO DE ARANJUEZ, guitar solo and piano reduction Copyright © 1957 Joaquin Rodrigo Copyright © renewed
Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG
All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for
Schott Music GmbH & Co. KG

The crescendo of the strings starts at ⑳+4; however, the string players may be tempted to

make an early crescendo since the guitar solo makes the crescendo ⑳-4. After the fermata ㉑-3,

the guitar solo plays a virtuosic ascending scale.


94

Example 5.14, Mvt III, Guitar’s scale, mm. 288-291

Rodrigo CONCIERTO DE ARANJUEZ, guitar solo and piano reduction Copyright © 1957 Joaquin Rodrigo Copyright © renewed
Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG
All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for
Schott Music GmbH & Co. KG

The first chord of the tutti at ㉑ often comes later than the guitar solo since the sound of

the guitar is not loud enough and the motion of the soloist is smaller than other instrumentalists

such as pianists or violinists. In some cases, the soloist accelerates the last eight sixteenth notes to

dramatize the entrance of the tutti. The last eighth notes can be performed in the same position, in

that case, the conductor should give the preparation beat slightly in advance in order to guarantee

the tutti sound on time. In the first movement at ㉒, there is also a similar passage where the scale

of the guitar and the orchestra tutti come together; however, in that case, the speed of the guitar

scale cannot change since it consists of eighth triplets. Guitarist Xuefei Yang talks about the

different timing of the guitar and the orchestra while performing Concierto de Aranjuez and gives

some suggestions.

The orchestra actually probably has a harder time hearing you. An orchestra is like a big
elephant—the conductor makes a motion and it takes a second for the sound to come out.
But the guitar is such a quick instrument—you see the [conductor’s] hand come down and
you might be quicker than the orchestra, so you have to take all that into account. 133

133
David Russell, Xuefei Yang, and Milos Karadaglic, “Joaquín Rodrigo’s Journey to ‘Concierto de Aranjuez’,”
interview by Blair Jackson, Classical Guitar, no. 378 (Summer 2015): 27.
95

5.6 Section 5 and Codetta: ㉑ to ㉒-1, ㉒ to the end (mm.291-309, 310-321)

5.6.1 Theoretical Analysis: ㉑ to ㉒-1, ㉒ to the end (mm.291-309, 310-321)

At ㉑, the tutti from m.21 reappears in ff, in D Major, and the horns are added to enrich the

orchestration. At ㉒, the codetta starts and the orchestration becomes lighter to invite the guitar

solo at ㉒+5. The guitar solo performs a descending slur scale from ff to pp and plays three D

notes in staccato with the first violins, cellos, and basses to conclude the movement.

5.6.2 Conductor’s Guide: ㉑ to ㉒-1, ㉒ to the end (mm.291-309, 310-321)

The potential acceleration of the ascending scale of the guitar right before ㉑, could

provoke a rapid tempo at ㉑. Therefore, the conductor should lower the beat to hold the tempo of

the orchestra. The last three pizzicati of the strings should be played in staccato to unify the

articulation with the guitar solo.

Example 5.15, Mvt III, Ending of the piece, mm. 297-312

Rodrigo CONCIERTO DE ARANJUEZ, guitar solo and piano reduction Copyright © 1957 Joaquin Rodrigo Copyright © renewed
Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG
All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for
Schott Music GmbH & Co. KG
96

After the performance, the conductor should invite the English horn player to give a solo

bow to the audience. It looks very simple and easy; however, conductors might forget as the soloist

receives the audience applause. Conductor David Itkin suggests writing a note at the end of the

score or taping a note to the floor in case of conducting from memory. 134

134
Itkin, 386.
97

Chapter 6

Useful Tips for Conducting Guitar Concertos

Chapter six will provide rehearsal techniques and suggestions for general guitar concerto

rehearsals and concerts to open further research for the guitar concerto.

6.1 Tips Associated with Musical Expression and Technique

6.1.1 Establishing Dynamic Levels

Before the first rehearsal, the conductor should have a clear idea about the dynamic level

of the orchestra. Conductor Jerry Donald Kracht suggested that the performer establish the

dynamics of a piece from a barely audible level to the loudest level, especially when rehearsing a

piece which has a wide dynamic range. 135 This is the exact opposite of the way that a guitarist

practices a piece, since producing a soft sound is much easier on the guitar than producing a loud

sound.

The dynamic range of Concierto de Aranjuez is as follows.

ppp – pp – p – mp – mf – f – ff – fff

The softest dynamic of this concerto, ppp appears at ①, in the first movement, and the loudest

dynamic, fff, comes out on the third beat of m.167, ⑯-1.

6.1.2 Relative Dynamic and Fingerings

Other issues are the relative dynamics and fingerings. The guitar has different dynamics

depending on its register. The lower register’s sound has less projection than the sound of the treble

135
Kracht, 72.
98

register, and playing a note in f and strumming the six strings with rasgueado in f will produce

different results. Another issue for non-guitarist conductors and composers is that the guitar sound

often depends on the fingerings of the left hand and the plucking styles of the right hand. For the

guitar, a chord consisting of many notes often results in weak sound, especially it is not

idiomatically written. Example 6.1 shows two different types of the fingering. The first four chords

include open -string notes in the middle of the harmony and request an extension of the left hand

which results in weakening the dynamic. However, the last chord has three open strings, and it

needs only the index of the left hand to be performed, so the resonance of the chord will be richer

and louder than the previous four chords.

Example 6.1, Mvt 3, mm. 50-54

Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed
Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for
Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH

6.1.3 Understanding the Rest Stroke and the Free Stroke

There are two traditional ways of plucking strings of the guitar: the rest stroke and the free

stroke.136 The rest stroke allows the right fingers to stay on the next string after plucking a string

of the guitar. This stroke produces a powerful sound projection and mainly used for executing

melodic lines. On the other hand, the free stroke requires the right fingers to stay in the air after

plucking the string. The fast arpeggios on the guitar often result in weak sonority since the soloist

136
Scott Tennant and Nathaniel Gunod, Pumping Nylon: A Guide to Classical Guitarists Technique
Handbook (Van Nuys: Alfred, 1995):35-36.
99

executes the notes with the free stroke. For a conductor, it is crucial to meet the soloist to discuss

these issues of delicate sound balance. The orchestral instruments also have different dynamic

ranges; hence the conductor must first of all understand the dynamics of the guitar and then unify

the dynamics of each of the orchestral instruments. For example, the sound projection and the

ability of the guitar to sustain sound is shorter than the orchestral instruments. The orchestra

musicians should understand these characteristics of the guitar, especially when they accompany

the solo part. It is recommended that the string players control the dynamics by visualizing their

bow movements in terms of the bow speed and length. The woodwind and the brass players should

adjust their sound, especially when they play background harmony. There also is another way of

adjusting the sound balance of the guitar and orchestra. If the soloist runs through a rehearsal by

turning toward the orchestra without amplification, the musicians will benefit from listening to the

delicate guitar sound with more attention and to adjust their reaction by looking at the soloist.

6.2 Tips Assoiciated with Amplification

6.2.1 Sound Reinforcement System

Amplifying the guitar sound has become more and more popular due to the construction

of huge concert halls. Sound engineers Gary. D Davis and Ralph Jones classify the amplification

systems into two categories: a) main sound reinforcement system, projecting the sound to the

audience; b) stage monitor system, enabling performers to listen to their sound on stage. 137 Since

the level of the amplification for the guitar must be adjusted without distorting its original timbre,

some guitarists use only the stage monitor system. Guitarist David Tanenbaum states that placing

137
Gary D. Davis and Ralph Jones, The Sound Reinforcement Handbook (Milwaukee: Hal Leonard, 1989):178.
100

monitor speakers behind the orchestra helps the musicians listen to the guitar sound. 138 In his

dissertation, composer and guitarist Emiliano Pardo-Tristán supports Tenenbaum’s opinion

regarding the amplification setting. Pardo-Tristán states that placing two monitor speakers behind

each side of the orchestra enabled him to perform his guitar concerto Concierto Mejorana without

sound balance issue.

6.2.2 Microphone Types by Transducer

Selecting an appropriate microphone is crucial to obtain the best sound quality of the guitar.

In his book Recording Orchestra and Other Classical Music Ensembles, Richard King states that

microphones can be classified in various ways, such as transducer types and polar patterns. 139 King

explains the definition of a transducer as follows;

A transducer by definition is any device that changes energy from one state to another. In
audio, microphones are used to transfer acoustic energy into electrical energy, and
loudspeakers perform the same function except in the reverse direction, via a mechanical
apparatus.140

There are three types of microphones in terms of the transducer type: the dynamic microphone,

ribbon microphone and the condenser microphone.

a) Dynamic Microphone

The dynamic microphone consists of a moving coil attached to a magnetic diaphragm that

detects sound waves.141 The sound wave touches the diaphragm, attached the moving coil, and the

138
Colin Cooper.Guitar interviews. vol. 1: the best from Classical Guitar Magazine (Pacific, MO: Mel Bay
Publications 2001):96.
139
Richard King. 2016. Recording Orchestra and Other Classical Music Ensembles. (Abingdon: Taylor & Francis
Group, 2016):21.
140
Ibid.
141
Ibid.,22.
101

coil sends the signal to the loudspeaker. This microphone is inexpensive and less sensitive than

the condenser microphone, so the dynamic microphone is often used for the recording session or

concert of the loud instruments such as electronic guitar and drum.142 This microphone does not

need external electrical support, so its simple system makes the usage more commonly. The image

below (Figure 6.1) shows the function of a dynamic microphone.

Figure 6.1 Diagram of a dynamic moving coil


Source: Richard King. Recording Orchestra and Other Classical Music Ensembles. Abingdon: Taylor &
Francis Group, 2016, p.23.

142
Amer Erheim, “A Guide to Different Types of Microphones,” RTC Electronics, July 30, 2018,
https://www.rtcelectronics.ca/guide-different-types-microphones/
102

b) Ribbon Microphone

The ribbon microphone is a branch of the dynamic microphone; however, instead of the

moving coil, a corrugated ribbon shape element detects the vibration of the sound wave. 143

Figure 6.2 Diagram of a ribbon transducer


Source: Richard King. Recording Orchestra and Other Classical Music Ensembles. Abingdon: Taylor &
Francis Group, 2016, p.24.

This microphone is very fragile, so while installing or disassembling it, a delicate treatment is

absolutely needed.

c) Condenser Microphone

A condenser microphone consists of a diaphragm and backplate connecting to a voltage

source in order to polarize the two materials. This external voltage is called “phantom power” and

King offers a precise explanation about the phantom power as follows;

Phantom power: Condenser microphones are designed with a preamplifier located inside
the body of the microphone. In this case an external voltage is needed to power the
electronics and polarize the capsule in most cases, and this voltage is “carried” on the same
cable that transmits the audio signal. It is called phantom power since it is provides a

143
King, Recording Orchestra and Other Classical Music Ensembles, 22.
103

voltage to the microphone’s preamp while remaining “transparent” to the audio signal, and
it is filtered or removed at the audio input of the microphone preamplifier. A simple
explanation is that it is a “steady state” or DC voltage upon which the audio signal is
transmitted.144

Figure 6.3 Diagram of a condenser transducer


Source: Richard King. Recording Orchestra and Other Classical Music Ensembles. Abingdon: Taylor &
Francis Group, 2016, p.25.

The condenser microphone is often used for classical music performance because of its

high-quality sound capturing sensitivity. The table below is a comparison of transducer designs. It

clearly shows that the condenser microphone is the best choice for classical music performance.

144
Ibid., 25.
104

Table 6.1 Comparison of Transducer Designs

Source: Richard King. Recording Orchestra and Other Classical Music Ensembles. Abingdon: Taylor &
Francis Group, 2016, p.26.

6.2.3 Microphone Types by Polar Patterns

Polar Patterns of the Microphone

A polar pattern is a range of the space that a microphone can capture the sound. The

amplification of classical music performance needs more sensitivity and finesse compared with

rock concerts or general presentations; therefore, an appropriate type of polar pattern is crucial to

produce a refined sound of the classical instrument. There are three different types of direction:

omnidirectional; bi-directional; cardioid.


105

a) Omnidirectional Polar Pattern Microphone

The omnidirectional polar pattern microphone equally covers sound from all directions and

less sensitive to wind noise than cardioids, so it is often used for outdoor recordings or concerts. 145

Figure 6.4 Omnidirectional polar pattern microphone


Source:Polar Patterns. Shure Europe. Accessed November 17, 2019.
https://www.shure.eu/musicians/discover/educational/polar-patterns.

b) Bi-Directional Polar Pattern Microphone

A bi-directional microphone, called also “figure of 8” microphone captures sounds from

the front and rear of the microphone, but not the side of the microphone.

Figure 6.5 Bi-directional polar pattern microphone


Source: Polar Patterns. Shure Europe. Accessed November 17, 2019.
https://www.shure.eu/musicians/discover/educational/polar-patterns.

145
Ibid., 29.
106

This type of microphone has a very narrow directional range, so they are used for isolating sound

resources placed side by side.146

c) Cardioid Polar Pattern Microphone

A Cardioid polar pattern microphone is also called a directional microphone since it

captures the sound from a specific direction and angle. The range of the polar pattern is a heart

shape; that is the reason for naming it as cardioid. 147

Figure 6.6 Cardioid polar pattern microphone


Source:Polar Patterns. Shure Europe. Accessed November 17, 2019.
https://www.shure.eu/musicians/discover/educational/polar-patterns.

Condenser Microphone with a Cardioid Polar Pattern

For the guitar concerto performance or recording, the sound of solo guitar should be

captured directly from the guitar without the sound from other instruments; therefore, a cardioid

polar pattern microphone is suitable for the amplification of the guitar. In terms of the sound

quality, it is obvious that the condenser microphone is the best choice since it captures a well-

balanced original sound in the distance with high sensitivity. Expensive ribbon microphones also

146
Davida Rochman, “Multi-Pattern Microphones: What, Where and How?,” Shure, August 11, 2014,
https://www.shure.com/en-US/performance-production/louder/multi-pattern-microphones-what-where-and-how.
147
King, Recording Orchestra and Other Classical Music Ensembles, 30.
107

provide a high-quality sound of the instruments; however, they function best at close range, which

is not recommended for the guitar amplification.

In conclusion, the most suitable microphone type for the guitar concerto is a condenser

microphone with a cardioid polar pattern since it provides the best sound quality and the

appropriate capturing range.

6.2.4 Microphone Setting

Sam Desmet’s dissertation provides useful microphone setting tips by introducing an

interview with John Williams.148 Williams is a world-renowned classical guitarist, who has played

cross-over music with an amplified guitar since the 1970s and has used amplification for his

recitals as well. He suggests that the microphone be directed between the soundhole and the bridge

of the guitar so the microphone will perceive the sound caused by the vibration of the soundboard

and air around it. 149 Michael Pettersen, the Director of Applications Engineering - Shure

Incorporated, gives practical information about placing a microphone from a perspective of the

sound engineer. He writes:

A guitar radiates a different timbre in every direction and each guitar surface produces a
distinct timbre. By adjusting the mic position relative to the guitar, tonal balance can be
dramatically altered. A guitar is designed to sound best at a distance, i.e. two or more feet
away. It is "at a distance" that the numerous sounds radiating from the guitar surfaces
combine into a pleasing composite. A microphone placed "at a distance" tends to pick up
a well-balanced tone quality. In contrast, a mic placed very close to the guitar tends to
emphasize the surface that the microphone is near. Therefore, the sound from a closely
placed mic will not be representative of the guitar as a whole. 150

148
Desmet, 68.
149
Ibid.,68.
150
Michael Pettersen, “Classical Guitar Mic,” Shure, accessed October 3, 2019, https://www.shure.com/en-
US/support/find-an-answer/classical-guitar-mic.
108

Pettersen also suggests that the performer adjust the position of the microphone by testing the

distance.

When amplifying your guitar, you may encounter feedback. In these cases, position the
mic very close to the loudest part of the guitar. Then experiment with mic choice, speaker
location, and equalization to obtain your desired tonal balance and sound level. Remember
that a difference of only one inch can make a tremendous difference in what the mic picks
up. There is no one perfect way to mike a guitar as there is no single ideal mic to use. Like
playing, it is part science and part art. Choose and place the mic to get the sound you want.
Experiment and listen!151

To sum up, the conductor should have a basic knowledge about the amplification to

produce the best performance. Performing with an orchestra is often rare case for guitarists;

therefore, understanding the function of the amplification system and selecting an appropriate

microphone will be huge assets for the conductor when he or she works on guitar concerto

performing or recordings. In addition to the knowledge about the technical issues related to the

amplification, the conductor should know that the soloist has the right of selecting the

amplification option. This subject should be discussed before signing the contract and should be

mentioned in the agreement for the performance.

151
Ibid.
109

Chapter 7

Conclusion

The objective of this dissertation was to provide practical information about Concierto de

Aranjuez for conductors. Chapter one states the purpose and objective of the research and brief

information about Concierto de Aranjuez and Joaquin Rodrigo. This chapter also presents history

of the guitar literature, its construction, and amplification issues. Chapter two is a literature review

consists of five resources related to: Concierto de Aranjuez; guitar in the orchestral and opera

literature; guitar method and technique; concertos for guitar and other instruments; conductor.

The information related to Concierto de Aranjuez includes historical background of this

concerto from the perspective of a musicologist, technical and practical suggestions by a

professional conductor, and analysis about flamenco techniques and cadenzas of Rodrigo’s guitar

concertos. While studying this information, I discovered historical and musical background

knowledge about this concerto which is useful to the conductor. The resources related to the

orchestral and opera literature allow me to recognize the use of the guitar in the mainstream

classical music history and how the guitar has developed its status through the years. The

information about guitar method and technique explains the basic knowledge about the guitar.

Finally, the resources about concertos and conducting skills inspire me to shape the outline of my

analysis by adopting methods from other performance guide-dissertation and the conducting

analysis.

Chapter three, four, and five feature the analysis of each movement of Concierto de

Aranjuez. These three chapters provide the structure of the movements, guidelines about sound

balance, articulations, and beat patterns. The suggestions about errata and discrepancies were

presented in these Chapters. Chapter six offers perhaps the most pragmatic information for the

non-guitar-playing conductor. Here, useful information is offered regarding conducting guitar


110

concertos in general, establishing dynamic levels, dealing with the issues arising from unidiomatic

fingerings, and understanding different playing styles. Chapter six also offers important

information about microphone styles and its characteristics so the conductor can set up an

appropriate amplification system for the guitar concerto performance.

In conclusion, this dissertation provides general principals for conducting guitar concertos

as follows.

1. Relative Dynamics and articulations

This dissertation provides various examples of the combination of the guitar and other

instruments such as bassoon, clarinet, and trumpet. The research indicates how to harmonize the

ensemble by reducing orchestral instruments’ volume or exaggerating staccato while playing with

the guitar in order to produce a well-balanced sound. For example, the first bassoonist should play

the eighth notes with light staccato while accompanying the guitar in the first movement. In general,

the trumpet should keep its sharp staccato sound while playing rhythmic passages; however, it

should be always played without being overpowering. The rasgueado-like string passage at the

beginning of the first movement needs a lot of percussive effects in piano; therefore, the conductor

should encourage the musicians to produce the rhythmic sound without hesitation.

2. Understanding Arpeggio Patterns and Lightning Acceleration

At the cadenza, the guitar often demonstrates its splendid arpeggios, which often are not

familiar with the orchestral musicians and conductors. The guitar soloist does not need huge

motions to produce the arpeggios, and the timber of the arpeggio could be perceived almost

obscure to the conductor. Chapter four of this dissertation explains how to group the arpeggio

patterns and to listen to the main notes by providing precise analyses. The dissertation provides
111

breathing points for the orchestra while the guitarist is shifting the left-hand position to facilitate

the coordination of the solo and tutti connections.

There is another characteristic of the guitar, not stated in the score: lightning acceleration.

Guitar soloists sometimes make a very short acceleration at the end of the phrase, which introduces

a tutti of the orchestra to provide a dramatic effect. Measure 25 of the first movement and one bar

before rehearsal number 25 at the third movement are good examples. Like the trumpet, the guitar

has a very short reaction time to produce a sound. Therefore, the conductor should predict the

acceleration and give a preparation beat to the orchestra a little bit in advance.

3. Other Unknown-Characteristics of the Guitar

For many instruments, playing a lot of notes equals producing loud sounds; however, for

the guitar, it often creates the opposite result due to its complicated fingerings. This dissertation

gives some examples of idiomatic and unidiomatic fingerings of the guitar and provides

suggestions such as adjusting the tempo, reducing the volume of the orchestra, and so on. The

register of the guitar also affects the volume of the sound. This dissertation discovers some

principals about dealing with the register of the guitar. The high and mid register of the guitar

sound has rich overtones, and a good projection, especially for the notes played on the three upper

strings in high positions. However, the low register sound has less clarity when it is played with a

tutti of the orchestra. Chapter three of this research provides suggestions about the harmonization

of the low register guitar sound and the tutti by adjusting the volume of the orchestra.
112

Further Research

Conducting research on Concierto de Aranjuez was challenging since there are so few

resources directly connected to the guitar concerto literature. Since it is a first foray into this type

of research for the guitar concerto, perhaps this research will provide a template for future

conducting guides to other guitar concertos. This research was only focused on analysing

Concierto de Aranjuez; however, it provides basic structure for any conductor’s guide to a guitar

concerto. I hope that research such as this will embolden conductors to undertake the performance

of guitar concertos more often.


113

Bibliography

Adler, Samuel. 2002. The Study of Orchestration. 3rd ed. New York: W.W. Norton.

Aguado y García, Dionisio. (1843) 1981. New Guitar Method. London: Tecla Editions.

Berlioz, Hector. (1856) 1902. The Orchestral Conductor; Theory of His Art. New York: C.
Fischer.

Berlioz, Hector, Strauss, Richard, Front, Theodore. (1856) 2013. Treatise on Instrumentation.
New York: Dover Publications.

Boyd, Michael Alan. 2005. "The Works for Guitar and Orchestra of Federico Moreno-Torroba
and Performing Edition of “Romancillos” for Guitar and Orchestra." D.M.A., The
University of Southern Mississippi.

Brudvig, Robert Ian. 2002. "A Performer’s Guide to the Concerto for Marimba and Orchestra
and “P.S. to a Concerto” by Anders Koppel." D.M.A., The University of Arizona.
http://myaccess.library.utoronto.ca/login?url=https://search-proquest-
com.myaccess.library.utoronto.ca/docview/304802276?accountid=14771.

Cano, Pablo Jose Gomez. 2016. "Modern Guitar Techniques; a View of History, Convergence of
Musical Traditions and Contemporary Works (A Guide for Composers and Guitarists)."
D.M.A., ProQuest Dissertations Publishing.

Carlevaro, Abel. 1984. School of Guitar: Exposition of Instrumental Theory (Escuela De La


Guitarra). Translated by Jihad Azkoul and Bartolome Diaz. London: Boosey and Hawkes.

Cooper, Colin. 2001. "Guitar interviews. vol. 1: the best from Classical Guitar Magazine."
Pacific, MO: Mel Bay Publications.

Dallman, Paul Jerald. 1972. Influence and use of the Guitar in the Music of Hector Berlioz.
College Park, Md.: Dallman.

Davis, Gary D., and Ralph Jones. 1989. The Sound Reinforcement Handbook. Milwaukee: Hal
Leonard.

Desmet, Sam. 2014. A practical guide for composing and performing guitar-piano chamber
music (Order No. 3625798). Available from ProQuest Dissertations & Theses Global.
(1557705625). Retrieved from
http://myaccess.library.utoronto.ca/login?url=https://search.proquest.com/docview/1557705
625?accountid=14771

Engstrom, Gregory. 2000. "Part 1. Concerto for Guitar and Orchestra (an Original Composition).
Part 2. an Analysis of the Concerto for Guitar and Small Orchestra by Heitor Villa-
Lobos." Ph.D., Kent State University.
114

http://myaccess.library.utoronto.ca/login?url=https://search-proquest-
com.myaccess.library.utoronto.ca/docview/304628062?accountid=14771.

Erheim, Amer. “A Guide to Different Types of Microphones.” RTC Electronics, July 30, 2018.
https://www.rtcelectronics.ca/guide-different-types-microphones/.

Green, Rachel Kay. 2017. "Alberto Ginastera's Harp Concerto, Op. 25: A Synthesis of Argentine
Nationalism and Neo-Expressionism."DMA diss., University of Arizona.
http://myaccess.library.utoronto.ca/login?url=https://search.proquest.com/docview/1947046
253?accountid=14771.

Hudson, Roger West. 1992. The Orchestration of the Guitar Concerto : A Comparison of the
Concerto in A Major, Op. 30, by Mauro Giuliani and the Concierto Del Sol by Manuel
Ponce.

Itkin, David. 2014. Conducting Concerti : A Technical and Interpretive Guide. First edition ed.
Denton, Texas: University of North Texas Press.

King, Richard. 2016. Recording Orchestra and Other Classical Music Ensembles. Abingdon:
Taylor & Francis Group. Accessed November 12, 2019. ProQuest Ebook Central.

Kracht, Jerry Donald. 1974. "Some Stylistic Problems in the Performance of Selected Orchestral
Literature from the Eighteenth, Nineteenth, and Twentieth Centuries: An Essay Together
with a Comprehensive Project in Orchestral Performance." D.M.A., The University of Iowa.

Leinsdorf, Erich. 1983. "The Composer's Advocate: A Radical Orthodoxy for Musicians." New
Haven, Connecticut: Yale University Press.

Lind, James Meyer. 2012. "The Trumpet Concertos of Anthony Plog: A Performer's Guide."
D.M.A., University of North Texas.
http://myaccess.library.utoronto.ca/login?url=https://search-proquest-
com.myaccess.library.utoronto.ca/docview/1335280280?accountid=14771.

Luna, Juanjo. "Biography." Web Joaquin Rodrigo. Accessed January 03, 2019.
https://www.joaquin-rodrigo.com/index.php/en/biografia/10-autor/biografia/13-biografia-
corta.

Nieweg, Clinton F., Stuart S. Serio, and Jennifer A. Johnson. "Scores & Parts: Joaquin Rodrigo’s
Concierto De Aranjuez for Guitar and Orchestra." Journal of the Conductors Guild 24/1-
2 (2003): 68-69. Accessed August 20, 2018.
doi:https://cog.memberclicks.net/assets/JOURNALS/Volume24[1].pdf.

Pettersen, Michael. “Classical Guitar Mic.” Shure. Accessed October 3, 2019.


https://www.shure.com/en-US/support/find-an-answer/classical-guitar-mic.

Quine, Hector. 2000. Guitar Technique: Intermediate to Advanced. Oxford: Oxford University
Press.
115

Schuller, Gunther. 1997. The Compleat Conductor. New York; Oxford: Oxford University Press.

Shearer, Aaron, and Tom Poore. 1990. Learning the Classic Guitar. Pacific, MO: Mel Bay
Publications.

Rochman, Davida. “Multi-Pattern Microphones: What, Where and How?” Shure, August 11,
2014. https://www.shure.com/en-US/performance-production/louder/multi-pattern-
microphones-what-where-and-how.

Romanillos, José L. 1990. Antonio De Torres: Guitar Maker - His Life and Work. Shaftesbury,
Dorset: Element Books.

Russell, David, Yang, Xuefei, and Karadaglic, Milos, “Joaquín Rodrigo’s Journey to ‘Concierto
de Aranjuez’,” interview by Blair Jackson, Classical Guitar, no. 378 (Summer 2015).

Sor, Fernando. (1830) 1981. Méthode Pour La Guitare. Genève: Minkoff Reprint.

Stanek, Mark C. 2004. "Guitar in the Opera Literature: A Study of the Instrument's use in Opera
during the 19th and 20th Centuries." D.A., Ball State University.

Summerfield, Maurice J. 2002. The Classical Guitar : Its Evolution, Players and Personalities
since 1800. 5th ed. Blaydon on Tyne, U.K; Milwaukee, WI: Ashley Mark Pub. Co; Hal
Leonard, exclusive distribution in USA and Canada.

Tan, Wann-Dar. 2005. Lawrence Weiner's Concerto for Guitar and Orchestra: Analysis, edited
by Thomas Johnson. D.M.A. ed. United States -- Texas: University of North Texas.

Valdes, Lesley. 1987. "A Guitar Concerto's Special Problems." New York Times (1923-Current
File), H23. http://myaccess.library.utoronto.ca/login?url=https://search-proquest-
com.myaccess.library.utoronto.ca/docview/110815675?accountid=14771.

Valenzuela, Carlos Ricardo Saeb, Noemí Lugo, and Dieter Hennings-Yeoman. 2017. The
cadenzas of the first modern guitar concertos. http://uknowledge.uky.edu/music_etds/77/.

Vieira, Márlou Peruzzolo. 2017. "The Collaborative Process from the Performer's Perspective: A
Case Study of Non-Guitarist Composers." Ph.D diss., Universidade de Aveiro (Portugal).

Wade, Graham. 2001. A Concise History of the Classical Guitar. Pacific (MO): Mel Bay.

Wade, Graham. 1985. Joaquín Rodrigo and the Concierto de Aranjuez. Leeds: Mayflower
Enterprises.

Wagner, Richard. 1989. Wagner on Conducting. Edited by Edward Dannreuther. New York,
NY: Dover Publications.

Weingartner, Felix. 1906. On Conducting, Edited by Ernest Newman. London: Breitkopf &
Hartel.
116

Whitter, Marcia Kay. 1995. "The Ellen Zwilich Flute Concerto from a Performer's Perspective:
Analysis, Performance Guide, Composer, and Style." DMA diss., University of Oregon.
117

Appendix

Letters of Permission

From: Caroline Kane <[email protected]>


Sent: June 19, 2019 3:30 PM
To: Youngjoon Koh <[email protected]>
Subject: RE: Rodrigo CONCIERTO DE ARANJUEZ Permission to Use Copyrighted Material
in a Doctoral Thesis

Dear Mr. Koh:

This email will serve to revise and extend the term indicated in paragraph 2 of the permission
agreement dated September 6, 2018 (copy attached) for an additional eight (8) months, to the
following:

2. This permission is valid providing your doctoral dissertation is completed by June 1, 2020.

There will be no additional fee for this term extension.

With best wishes,

Caroline Kane

Caroline Kane

Vice President – Licensing & Administration


Schott Music Corp | EAMDC

254 West 31st Street, 15th Fl


New York, NY 10001
Direct: +1 212 461 6948
Fax: +1 212 810 4565
[email protected]
http://www.schott-music.com
http://www.eamdc.com
118

From: Youngjoon Koh <[email protected]>


Sent: June 14, 2019 5:52 PM
To: Caroline Kane <[email protected]>
Subject: Re: Rodrigo CONCIERTO DE ARANJUEZ Permission to Use Copyrighted Material
in a Doctoral Thesis

Dear Ms. Kane, hope all is well with you.

I was wondering if you would be able to extend the permission period of the copyright materials.

( It ends Sep 6 2019.)

Now, I started to write the last chapter and the expected defense date will be at the beginning of
December.

( Everybody is on vacation now and the external committee member should have two month
reading time for my dissertation.)

In case of receiving a modification request from the committee, submitting the final dissertation
and making a hard copy could be done by February.

I would like to know if you could give me a six - month extra period which ends March 6 2020.

( I'm sure that the final submission will be done before March 6, but in case.)

I would be happy to pay the fee for the extended period.

Thank you for your consideration and please let me know your thoughts.

Sincerely,

Francois Koh
119

From: Caroline Kane <[email protected]>


Sent: September 6, 2018 1:54 PM
To: Youngjoon Koh
Subject: RE: Rodrigo CONCIERTO DE ARANJUEZ Permission to Use Copyrighted Material
in a Doctoral Thesis

Dear Mr. Koh:

Thank you for your e-mail of today.

Thank you for the information that you will include excerpts from the two scores. I do not need
the list of excerpts.

Attached please find the permission agreement for the use of excerpts from the two scores in
your dissertation. Would you please sign and return two copies of this document to us along
with your payment? I will then send you your copy of the agreement fully executed.

Please let me know if you have any questions or concerns.

With best wishes,

Caroline Kane

Caroline Kane

Vice President – Licensing & Administration


Schott Music Corp | EAMDC

254 West 31st Street, 15th Fl


New York, NY 10001
Direct: +1 212 461 6948
Fax: +1 212 810 4565
[email protected]
http://www.schott-music.com
http://www.eamdc.com

From: Caroline Kane <[email protected]>


Sent: September 17, 2018 1:31:01 PM
To: Youngjoon Koh
120

Subject: RE: Rodrigo CONCIERTO DE ARANJUEZ Permission to Use Copyrighted Material


in a Doctoral Thesis

Dear Mr. Koh:

Attached please find a copy of the permission agreement fully executed. I am sending to you by
mail today an original copy of the agreement fully executed.

With best wishes,

Caroline Kane

From: Youngjoon Koh


Sent: September 17, 2018 1:44 PM
To: Caroline Kane
Subject: Re: Rodrigo CONCIERTO DE ARANJUEZ Permission to Use Copyrighted Material
in a Doctoral Thesis

Dear Ms. Kane,

Thank you very much for sending me the signed agreement in PDF.

As soon as I finish my dissertation, I will send you a copy by mail.

Best regards,

Francois Koh

You might also like