Editing Arrangement (section)

== Classical music ==
Arrangement and [[Transcription (music)|transcriptions]] of [[Classical music|classical]] and [[Art music|serious music]] go back to the early history of [[classical music]].

=== Eighteenth century ===
[[J. S. Bach]] frequently made arrangements of his own and other composers' pieces. One example is the arrangement that he made of the Prelude from his [[Partita for Violin No. 3 (Bach)|Partita No.'' ''3]] for solo [[violin]], BWV'' ''1006.[[File:Bach Partita 3 for Violin Prelude 01.wav|thumb|Bach Partita 3 for Violin Prelude]] [[File:Bach Partita 3 for Violin Prelude 02.png|thumb|center|500px|Bach Partita 3 for Violin Prelude]]

Bach transformed this solo piece into an orchestral [[Sinfonia]] that introduces his [[Wir danken dir, Gott, wir danken dir, BWV 29|Cantata BWV29]]. "The initial violin composition was in E'' ''major but both arranged versions are transposed down to D, the better to accommodate the wind instruments".<ref>Mincham, J. (2016) the Cantatas of Johan Sebastian Bach. http://www.jsbachcantatas.com/documents/chapter-85-bwv-29/ Retrieved 31 August 2020.</ref>[[File:Bach Cantata 29 Sinfonia 01.wav|thumb|Bach Cantata 29 Sinfonia]] [[File:Bach Cantata 29 Sinfonia 02.png|thumb|center|600px|Bach Cantata 29 Sinfonia]]

"The transformation of material conceived for a single string instrument into a fully orchestrated [[concerto]]-type movement is so successful that it is unlikely that anyone hearing the latter for the first time would suspect the existence of the former".<ref>Mincham, J. (2016), ''The Cantatas of Johann Sebastian Bach''. http://www.jsbachcantatas.com/documents/chapter-85-bwv-29/ Retrieved 31 August 2020.</ref>

=== Nineteenth and twentieth centuries ===

==== Piano music ====
In particular, music written for the [[piano]] has frequently undergone this treatment, as it has been arranged for orchestra, chamber ensemble, or [[concert band]].<ref>[https://www.britannica.com/EBchecked/topic/36011/arrangement Arrangement], Encyclopædia Britannica online</ref> [[Beethoven]] made an arrangement of his [[Piano Sonata No. 9 (Beethoven)|Piano Sonata No.'' ''9]] for [[string quartet]]. Conversely, he also arranged his ''[[Grosse Fuge]]'' (one of his [[Late string quartets (Beethoven)|late string quartets]]) for [[piano duet]]. The American composer [[George Gershwin]], due to his own lack of expertise in orchestration, had his ''[[Rhapsody in Blue]]'' arranged and orchestrated by [[Ferde Grofé]].<ref>Greenberg, Rodney. ''George Gershwin'', p. 66. Phaidon Press, 1998. {{ISBN|0-7148-3504-8}}.</ref>

[[Erik Satie]] wrote his three ''[[Gymnopédies]]'' for solo piano in 1888.[[File:Satie Gymnopedie No. 3 for piano solo 01.wav|thumb|Satie Gymnopedie No.'' ''3 for piano solo]] [[File:Satie Gymnopedie No. 3 for piano solo 02.png|thumb|center|500px|Satie Gymnopedie No. 3 for piano solo]]

Eight years later, [[Debussy]] arranged two of them, exploiting the range of instrumental [[timbres]] available in a late 19th-century orchestra. "It was Debussy whose 1896 orchestrations of the Gymnopédies put their composer on the map."<ref>Taruskin, R. (2010, p. 70) ''The Oxford History of Western Music, Music in the early Twentieth Century''. [[Oxford University Press]].</ref>[[File:Debussy Gymnopedie 1, arrangement of Satie’s Gymnopedie 3.wav|thumb|Debussy Gymnopedie 1, arrangement of Satie's Gymnopedie 3.]] [[File:Debussy Gymnopedie 1, arrangement of Satie’s Gymnopedie 3.png|thumb|center|500px]] [[File:Debussy Gymnopedie 1, arrangement of Satie’s Gymnopedie 5.png|thumb|center|500px|Debussy Gymnopedie 1, arrangement of Satie's Gymnopedie 3]]

''[[Pictures at an Exhibition#Arrangements and interpretations|Pictures at an Exhibition]]'', a [[Suite (music)|suite]] of ten piano pieces by [[Modest Mussorgsky]], has been arranged over twenty times, notably by [[Maurice Ravel]].<ref>[[Pictures at an Exhibition#orchestral arrangements|Partial list of orchestral arrangements to Pictures at an Exhibition]]</ref> Ravel's arrangement demonstrates an "ability to create unexpected, memorable orchestral sonorities".<ref name="Orenstein, A. 2016, p. VIII">Orenstein, A. (2016, p. VIII. Preface to ''Mussorgsky-Ravel, Pictures at an Exhibition''. Miniature score, London, Eulenburg.</ref> In the second movement, "Gnomus", Mussorgsky's original piano piece simply repeats the following passage:[[File:Mussorgsky Gnomus original bars 19-24.wav|thumb|Mussorgsky Gnomus original bars'' ''19-24]] [[File:Mussorgsky Gnomus original bars 19-25.png|thumb|center|500px|Mussorgsky "Gnomus", original bars'' ''19–25]]Ravel initially orchestrates it as follows:[[File:Mussorgsky-Ravel Gnomus bars 19-24, first orchestraion 01.wav|thumb|Mussorgsky-Ravel "Gnomus", first orchestration]] [[File:Mussorgsky-Ravel Gnomus bars 19-24, first orchestraion 02.png|thumb|center|500px|Mussorgsky-Ravel "Gnomus", first orchestration]]

Repeating the passage, Ravel provides a fresh orchestration "this time with the [[celesta]] (replacing the [[Woodwind instrument|woodwinds]]) accompanied by string [[Glissando|glissandos]] on the [[fingerboard]]".<ref name="Orenstein, A. 2016, p. VIII"/>[[File:Mussorgsky-Ravel Gnomus bars 19-24, first orchestration 03.wav|thumb|Mussorgsky-Ravel Gnomus, second orchestration]] [[File:Mussorgsky-Ravel Gnomus bars 19-24, first orchestration 04.png|thumb|center|500px|Mussorgsky-Ravel "Gnomus", second orchestration]]

==== Songs ====
A number of [[Franz Schubert]]'s songs, originally for voice with piano accompaniment, were arranged by other composers. For example, his "highly charged" and "graphic" song "[[Erlkönig (Schubert)|Erlkönig]]" ("The Erl King") has a piano introduction that conveys "unflagging energy" from the start.<ref>Newbould, B. (1997, p. 57) ''Schubert: the Music and the Man''. London, Gollancz.</ref>[[File:Schubert Erl King piano introduction 01.wav|thumb|Schubert "Erlkönig", piano introduction]] [[File:Schubert - Erlkönig - M. 1-5.svg|thumb|center|500px|Schubert "Erlkönig", piano introduction]]

The arrangement of this song by [[Hector Berlioz]] uses strings to convey faithfully the driving urgency and threatening atmosphere of the original.[[File:Erl King - Berlioz version for audio replacement.wav|thumb|"Erlkönig", arrangement by Berlioz]] [[File:Erlkonig, arrangement by Berlioz 02.png|thumb|center|500px]]

Berlioz adds colour in bars'' ''6–8 through the addition of [[Woodwind instrument|woodwind]], [[Horn (instrument)|horns]], and a [[timpani]]. With typical flamboyance, Berlioz adds spice to the harmony in bar'' ''6 with an E'' ''flat in the horn part, creating a [[half-diminished seventh chord]] which is not in Schubert's original piano part.[[File:Erlkonig, arrangement by Berlioz 03.png|thumb|center|500px|"Erlkönig", arrangement by Berlioz]]

There are subtle differences between this and the arrangement of the song by [[Franz Liszt]]. The upper string sound is thicker, with violins and [[Viola|violas]] playing the fierce repeated [[Octave|octaves]] in [[unison]] and [[bassoons]] compensating for this by [[Voicing (music)#doubling|doubling]] the [[cellos]] and [[Bass guitar|basses]]. There are no timpani, but [[trumpets]] and horns add a small jolt to the rhythm of the opening bar, reinforcing the bare octaves of the [[String (music)|strings]] by playing on the second main beat.[[File:Erl King - arrangement by Liszt opening bars 01.wav|thumb|Erl King - arrangement by Liszt opening bars]] [[File:Erl King - arrangement by Liszt opening bars 02.png|thumb|center|500px|Erl King – arrangement by Liszt, bars'' ''1–4]]

Unlike Berlioz, Liszt does not alter the harmony, but changes the emphasis somewhat in bar'' ''6, with the note A in the [[Oboe|oboes]] and [[Clarinet|clarinets]] grating against rather than blending with the G in the strings.[[File:Erl King - arrangement by Liszt bars 5-8.png|thumb|center|500px|Erl King – arrangement by Liszt, bars'' ''5–8]]

"Schubert has come in for his fair share of transcriptions and arrangements. Most, like Liszt's transcriptions of the [[Lied]]er or Berlioz's orchestration for ''Erlkönig'', tell us more about the arranger that about the original composer, but they can be diverting so long as they are in no way a replacement for the original".<ref>Newbould, B. (1997, p. 467) ''Schubert: the Music and the Man''. London, Gollancz.</ref>

[[Gustav Mahler]]'s ''[[Lieder eines fahrenden Gesellen]]'' ("Songs of a Wayfarer") were originally written for voice with piano accompaniment. The composer's later arrangement of the piano part shows a typical ear for clarity and transparency in rewriting for an ensemble. Below is the original piano version of the closing bars of the second song, "Gieng heit' Morgen über's Feld".[[File:Mahler Gieng heut' Morgen uber's feld final bars piano version for audio 01.wav|thumb|Mahler Gieng heut' Morgen uber's feld final bars of the piano version]] [[File:Mahler Gieng heut' Morgen uber's feld final bars of the piano version.png|thumb|center|500px|Mahler "Gieng heut' Morgen uber's feld", final bars of the piano version]]

The orchestration shows Mahler's attention to detail in bringing out differentiated orchestral [[Timbre|colours]] supplied by woodwind, strings and horn. He uses a [[harp]] to convey the original [[arpeggio]]s supplied by the left hand of the piano part. He also extracts a descending [[chromatic]] melodic line, implied by the left hand in bars'' ''2–4 (above), and gives it to the horn.[[File:Mahler Gieng heut' Morgen uber's feld final bars of the orcherstral arrangement.wav|thumb|Mahler Gieng heut' Morgen uber's feld final bars of the orchestral arrangement]] [[File:Mahler Gieng heut' Morgen uber's feld final bars of the orchestral arrangement.png|thumb|center|500px|Mahler "Gieng heut' Morgen uber's feld", final bars of the orchestral arrangement]]