Description:	A representation of the traditional musical staff comprised of five horizontal "lines" on which the clef notation (treble), time signature (2/4), loudness notation (ff), key (C Minor), notes, rests, and holds are constructed.
Woods:	Tulip (5 pieces): the horizontal "lines" of the musical staff. Vermilion (5 pieces): double fortissimo indication (1 piece), rest signs (2 pieces), and hold notations (2 pieces). Cocobolo (7 pieces): treble clef support (1 piece), time signature support (1 piece), a pair of eighth-note triplets (2 pieces), three half notes (2 pieces), and a flat sign (1 piece).
Finishes:	"Minwax" (fast-drying) Polyurethane, Clear Gloss, was originally applied to the seventeen pieces involving all three wood species. The polyurethane dried quickly and properly on the tulip and vermilion pieces. However, repeated applications to the cocobolo pieces always resulted in a "rubbery" finish, even after days of drying. Experts consulted indicated that the high resin content of this wood, a member of the rosewood family, was leaching through the polyurethane and would preclude proper curing. Several sources recommended shellac to seal in the resins. The final finish on all seventeen pieces is Zinsser "Bulls Eye Shellac, Clear (formerly known as "white").
Size:	6"H x 16"W x 5-1/2"D
Notes:	The carver sought to express his admiration for art of all genres in this piece. The English word "art" ("artisan," "artist," etc.) was derived from the Latin word "artis," which means to juxtapose elements of one or more genre in a pleasing fashion. What could be depicted that would be a worthy representative of all great art - an example of the juxtaposing a few simple elements in such a manner that the assembly would endure the centuries? The opening theme (first five measures) of Symphony No. 5 In C Minor, Op. 67, by Ludwig van Beethoven was chosen. This symphony was composed between 1804 and 1808, and it had its first performance at the famous marathon concert in the Theatre An Der Wien at Vienna on December 22, 1808. In music, the term "transcription" connotes the rewriting of a composition for an instrument or instruments other than that or those originally specified. "TRANSCRIPTION" was selected as the title for this piece to reflect the reconfiguration of a work written for musical instruments so that it might be expressed in a different medium - woods. Consideration was also given to the titles "ARTIS" and "SYMPHONY IN WOODS."

Assembly: Careful inspection of the piece will reveal several brass screws used to secure certain of the pieces. It will also be apparent that access for a Phillips screwdriver to the screw heads would be impossible in the fully assembled state. This made a carefully staged assembly sequence imperative. Planning the assembly sequence was further complicated by the need to leave certain surfaces unfinished to allow glue adherence to the unfinished surfaces of adjacent parts. Post-assembly finishing of the entire piece would have been impossible due to access limitations in certain areas. At several times prior to assembly, the carver suspected that it might be impossible to devise a sequence of finishing certain surfaces, installing certain screws, gluing certain pieces, installing certain other screws, etc. which would achieve the desired outcome.