Volumes 13 and 14 of this integral comprise the works that Granados transcribed, adapted, arranged or completed from his own works or those of other authors, this being a very common practice in his time. Throughout the second half of the 19th century and a good part of the 20th, it was very common to make transcriptions for piano of works of diverse origin, given that its diffusion as a domestic instrument and the public's desire to listen to successful music composed for the theater or the Symphony orchestra generated a great demand for scores of these characteristics. Examples are the remarkable transcriptions of Bach's organ and violin works by Busoni and Brahms or Liszt's of Mozart, Bellini and Verdi's operas. Other composers arranged piano versions of their own orchestral works such as Grieg with hisHolberg or Granados Suite with El Jardí d'Elisenda .

Although Granados was not particularly prolific in this genre, he showed his skill as an adapter in the transcription of the 26 Sonatas for the harpsichord by Domenico Scarlatti, on which he conferred brilliant piano writing and to some extent virtuosity. He also concluded Azulejos , which Albéniz left unfinished at his death, perfectly capturing its style and texture, he made a transcription for two pianos from Triana , belonging to Albéniz's Suite Iberia (a work that, given its importance and popularity, appears in Vol 17 of this publication) and the harmonization of the Royal March(which already appears in Vol. 7, corresponding to juvenile works). He also adapted for piano one of the numbers of his own four-movement work El jardí d'Elisenda, written for chamber orchestra, voice, piano and harp.