The Art of Arranging for Guitar

by James Edwards

In creating guitar arrangements I try to approach the music as if I were the original composer engaged in

writing great works for the guitar. For example, how would Debussy have used the guitar if he had possessed
a performer’s knowledge of its technique? A successful arrangement conveys the mood, character and spirit of
the piece without compromising the composer’s artistic vision.

A practical definition of an arrangement might be: the adaptation of a piece from one medium of music

(piano, for example) to another, such as guitar. It sounds simple enough but, as every instrument has its own
idiosyncrasies and limitations, many passages that are effective on one instrument are ineffective or impossible
on another. Therein lies the true art of arranging; how does one transfer the music to the guitar and make it sound
as if that music were always meant for it? Successful arranging requires a combination of knowledge, technique,
taste, and imagination- all hard skills to acquire and even harder to explain in print!

One of the greatest arrangers in history was J. S. Bach. He wrote many arrangements for harpsichord of

Vivaldi’s violin concertos, and often rewrote his own works for different instruments. The Lute Suite in E Major
so popular with guitarists also exists as a violin partita, and there is a version of the prelude for organ as well.

There are those who frown on playing arrangements, preferring to play music originally composed for the

guitar. While it’s true that many wonderful pieces were written for the guitar, Bach, Handel, Haydn, Mozart,
Beethoven, Chopin, Brahms, Albéniz, Granados, and Debussy, to name just a few, did not write for the guitar
as it was not yet recognized as a serious instrument in their day. So, if you wish to commune with and enjoy works
by some of the best musical minds in history; there is no recourse but to arrange.

I should add that it is not only the guitar repertoire that has been enriched by arrangements, but also the

flute, violin, organ, and orchestra. Arrangements and transcriptions are commonly created for almost every
instrument, even the keyboard family whose repertoire has benefited greatly from its popularity with composers
over the past 350 years.

The real issues in arranging are those of quality, integrity and the original composer’s intention. Here are

some important considerations:

1.) Is the arranger respectful of the composer’s original work or is the piece being adapted for commercial

or egotistical purposes? If your line of reasoning includes: “Because it’s so well known, people will like this no
matter what I do to it,” or “This arrangement will really impress people even if I leave out whole sections,” you
should question your motivation in attempting to render the piece in the first place.

In this article, the word “arrangement” is used synonymously with “transcription” and is intended to signify

the creative/technical process that is applied to elements of both concepts. The word “transcription” generally
implies a note-for-note rendition whenever possible of a piece originally written for another instrument; On
the other hand, much more freedom can be taken in creating an “arrangement,” including variations in melody,
harmony, meter, tempo, rhythm, register, and accompaniment concepts singular to the guitar. GS editor.

2.) Is the spirit of the piece coming through, or are so many notes being left out or altered that the composer’s

vision is lost?

3.) Does the arrangement sound natural and musical on the guitar? Does it lie well on the fretboard, or is

the listener’s or performer’s attention diverted by the technical challenge of the piece?

The guitar has an innate ability to charm and this power to enchant is a great asset. My goal is to have the

listener say, “How beautiful that sounds!” and not, “How difficult that must be!” The art of arranging includes
everything from transcription (note for note transfer from lute tablature, for example), to works where one takes
an existing melody or theme and creates a piece that essentially becomes a composition in itself (Brahms’
Hungarian Dances, for example). In this article, I’ll demonstrate a few arranging techniques and concepts,
sharing what I’ve learned through much trial and error over the last thirty years.

Melody in the Bass Register

As we all know, the bass strings of the guitar have more sonority and sustain than the first, second, and third

strings (the trouble with trebles!). So placing the melody in the bass can be a powerful and effective option. Villa
Lobos’ brilliant use of this technique in his Prelude #1 contributed to the lasting popularity of this piece. He
makes the guitar sound very rich and full.

Example 1: Greensleeves provides a great opportunity to demonstrate the effectiveness of stating the melody

in the bass because it already exists in a solo version that gives us the harmonies for the melody. In general, a
bass melody works best in slow songs that take full advantage of the sustain capability of the low strings.

Example 1

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Example 2: Take the melody and simply transpose it an octave lower, depending on the key and register of

the original melody, of course. In this case, we have chosen a good key for the guitar and just need to lower the
melody one octave.

Example 2

Example 3: It’s effective to place the harmonies between the bass notes (a la Villa Lobos) to help them sing

out more clearly.

Example 3

Example 4: In this example, I’ve arpeggiated the harmonies and altered them slightly here and there. One

of the reasons I’ve chosen a folk song is that it allows us to be a little more flexible and creative. I don’t recommend
trying to rewrite Bach!

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Example 5: Shenandoah
Here is a melody to which you can apply the technique of stating the melody in the bass. I’ve already written

it in the bass register in a suitable key. Try adding harmony and counterpoint notes and let me know how it goes!

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* the chords above each measure are just to give you something to go by. Feel free to experiment.