HDTenEightyP/NetNews huggingface dataset:
From: frank@spock.retix.com (Frank Guerrero)
Subject: Re: Need a Recomendation
Organization: Retix, Santa Monica CA
Date: Mon, 23 Nov 1992 17:24:45 GMT

In article <1eqlh7INN827@usenet.INS.CWRU.Edu> ak835@cleveland.Freenet.Edu (Michael P. Burns) writes:
>
>.
>loyola@bnr.ca (Nelson Loyola) asked:
>.
>>Could someone please recomend a good classical guitar book?
>.
>(paragraph deleted)
>.
>>Also flamenco music interests me very much.  Could one learn this
>>style of playing from reading a book or do I really need lessons?
>.
>. (stuff deleted)
>Flamenco is also best learned with a teacher.  If there are no
>flamenco teachers in Ottawa start with a classical teacher.  The
>basic techniques are the same and will transfer to flamenco music
>when you do find a teacher.

Flamenco, is indeed, best learned with a flamenco teacher (stress on the
flamenco). We all, obviously, don't have either the bucks or the time to
run out and experiment with new things, but, if you really want a good 
book to explore flamenco, I highly recommend Juan Martin's Art of Flamenco.
I've gone (virtually) through all the books available and this one stands
out. It covers more than just the technique and also comes with recordings
to listen to - in real-time and slow!

Frank



-- 
Frank Guerrero, Retix - The OPENNetworking Company
		2401 Colorodo Blvd, Santa Monica CA 90404 
		Phone:		(213) 828-3400 
		FAX:		(213) 828-2255
From: stolcke@ICSI.Berkeley.EDU (Andreas Stolcke)
Newsgroups: rec.music.classical.guitar
Subject: Re: Angel Romero plays Aranjuez on TV
Date: 21 Nov 92 05:54:16 GMT
Article-I.D.: agate.1ekiu8INNbr9
Reply-To: stolcke@icsi.Berkeley.EDU (Andreas Stolcke)
Organization: International Computer Science Institute, Berkeley, CA, U.S.A.
NNTP-Posting-Host: icsib30.icsi.berkeley.edu

In article <1992Nov20.185003.7594@cerritos.edu> radams@cerritos.edu writes:
:I just saw a videotape of Angel Romero playing the Aranjuez concerto
:on PBS. Angel is incredible to watch and I intend to view it several times
:more as a guitar clinic. He started playing around 2 or 3 years of age
:under the tutelage of his father Celedonio Romero which most of you already
:know. What you may not know is that he does not kick back and rely on
:natural talent like other guitarists who were born with a guitar in their
:hands. A student of his says that Angel is quite fastidious at checking all
:aspects of his technique daily, checking sound, finger curvature, finger
:motion etc. etc.  The work he does really shows in the perfect confidence
:(almost swaggering confidence) and relaxed attidude he projects while he
:performs, having room to enjoy himself (some critics might even say he is
:a bit cocky but I would refer to it as just enjoying himself). This is not
:easy when you are playing the Aranjuez at a virtuoso tempo, televised live
:in front of an large audience. He played solidly and nearly flawlessly (were
:talking live folks, not a studio recording). I'm told that he makes a living 
:on this piece and he plays it like he owns it. It may play on PBS in other
:areas (it was shown in California 11-13) soon or perhaps some of you have
:seen it. 

I stubled upon the program the other day on KQED S.F. and was quick enough
to get a tape in and miss only the three opening bars.  Quite amazing.
In fact Angel spent a good part of the time looking sideways towards the
conductor as if to make sure the others were still with him -:).
The cadenza in the 2nd movement was a clear high point, maybe because he
could finally go at it without having to pay attention to the orchestra.

Part of the reason they went so fast may have been the programming schedule.
The whole thing lasted 30 mins., and that included a short symphonic
piece at the end, so they had to play the entire Concierto in roughly
20 mins.

-- 
Andreas Stolcke					stolcke@icsi.berkeley.edu
International Computer Science Institute	stolcke@ucbicsi.bitnet
1947 Center St., Suite 600, Berkeley, CA 94704	(510) 642-4274 ext. 126
From: seifert@netcom.com (Rich Seifert)
Newsgroups: rec.music.classical.guitar
Subject: Re: Good/bad acoustics for guitar (Was: re: parkening)
Date: 16 Nov 92 19:02:52 GMT
Article-I.D.: netcom.1992Nov16.190252.28198
Organization: Netcom - Online Communication Services  (408 241-9760 guest)

In article <1e6ve2INN31i@agate.berkeley.edu>, stolcke@ICSI.Berkeley.EDU (Andreas Stolcke) writes:
> 
> Maybe the performer is not the only one to blame. Herbst theatre must be
> among the very worst places to play as a guitarist.  Last weekend I heard
> the Assads play there, and their sound didn't project very well, which was
> made even worse by a rather noisy audience.  I know it was probably not the
> performers' fault since I heard them play in much larger places with
> a terrific sound up into the last rows.  I remember a similar experience
> at Herbst with a Julian Bream concert.
> 

While Herbst leaves much to be desired, it is still possible for
a guitarist to perform well there. I heard Manuel Barrueco and Pepe Romero
last year, and both were acoustically fine, although Barrueco is so
intent on keeping his right hand rock-solid that he never gets any tone
color changes.

Julian Bream's performances have been going downhill for a long time.
I don't think the hall had much to do with it.

-- 
Rich Seifert                    Networks and Communications Consulting
seifert@netcom.com              (408) 996-0922
                                (408) 996-2860 FAX
"... specialists in Local Area Networks and Data Communications systems"
Newsgroups: rec.music.classical.guitar
From: beltran@ns.network.com (Tony R. Beltran)
Subject: Re: Modern guitarists who play classical  (was Re: Yngwie Malmsteen)
Organization: Network Systems Corporation
Date: Tue, 17 Nov 92 19:31:14 GMT

In article <BxvI5G.C9E@hplabs.hpl.hp.com> fouts@hpl.hp.com writes:
>
>I once saw a PBS special about Carlos Santana.  During the closing
>credits they showed some film of Santana playing some South American
>stuff on a classical guitar.  To this day I wish I had a recording of
>his classical playing but have never found one.
>
Hey!  I saw this also.  This post is the first time I have heard
anyone else mention it.  Wish I had taped it since I was very impressed.

Tony
From: br105@cleveland.Freenet.Edu (Jeffrey A. Del Col)
Newsgroups: rec.music.classical.guitar
Subject: Yngwie pulls a Zappa?
Date: 20 Nov 92 22:45:58 GMT
Reply-To: br105@cleveland.Freenet.Edu (Jeffrey A. Del Col)
Organization: Case Western Reserve University, Cleveland, OH (USA)
NNTP-Posting-Host: hela.ins.cwru.edu


Maybe Malmsteen has nothing but contempt for metalheads.  Maybe he
has taken to heart Frank Zappa's statement that kids today wouldn't know
good music if it jumped up and bit them in the ass.  Ergo, he plays
Bach, they don't know it- he laughs all the way to the bank.

Well, I said MAYBE!

J. Del Col, who at first thought "Yngwie" was a typographical error.
            or a compositor's test line like "etaoin shrdlu." 
-- 
Jeff Del Col      *   DECONSTRUCTION--- the critical method invented      
A-B College       *                      by Procrustes  
Philippi, WV      *                             
                  *
From: andersmh@ucsu.Colorado.EDU (ANDERSON  MIKE HOWARD)
Subject: Re: LH Pressure
Organization: University of Colorado, Boulder
Date: Tue, 17 Nov 1992 18:16:19 GMT

In article <1992Nov16.185117.26127@netcom.com> seifert@netcom.com (Rich Seifert) writes:
>
>The higher action also gives a great deal of flexibility (and volume)
>for ornamentation. I specified slightly extra-high frets when my 
>instrument was made for the same reason. It allows a more noticeable
>vibrato, and makes trills/mordents/etc. much clearer and stronger.
>
>Yes, you need a "little" extra force on the left hand, but its
>not such a big deal. 
>
>-- 
>Rich Seifert                    Networks and Communications Consulting
>seifert@netcom.com              (408) 996-0922
>                                (408) 996-2860 FAX
>"... specialists in Local Area Networks and Data Communications systems"

I read recently that Segovia liked a very high action.  I wonder if
this had anything to do with his kind of stacotto(sp?) sound.  It could
imagine that a raised action would cause the note to stop sounding a bit
sooner than if the action is lower.  Anyhow, the article (in some british
magazine) claimed that the high action had a lot to do with Segovias 
tone.

Mike
Newsgroups: rec.music.classical.guitar
From: timk@meaddata.com (Tim Klein)
Subject: Easy Street Suite, by Robert Hardaway?
Organization: Mead Data Central, Dayton OH
Date: Wed, 18 Nov 1992 21:27:41 GMT


A guitarist named Robert Nathanson recorded three of the nine movements
in something called _Easy Street Suite_ by Robert Hardaway.  

Does anyone here have info about that suite, or about either of those two
Roberts?

===========================================================================
Timothy Klein                 "Mellow yellow" is slang for "really groovy".
timk@meaddata.com                                         -- Jimi Hendrix
From: huy@rainbow.asd.sgi.com (Huy Nguyen)
Newsgroups: rec.music.classical.guitar
Subject: Re: re: parkening
Date: 16 Nov 1992 00:53:13 GMT
Organization: Silicon Graphics, Research & Development
Distribution: world
Reply-To: huy@rainbow.asd.sgi.com (Huy Nguyen)
NNTP-Posting-Host: rainbow.asd.sgi.com

| I agree with one exception.  I always felt Parkening's technique was
| at the level of the best.  Why do people say otherwise???  My main
| criticism is that there is something about the recordings on Angel
| records that I really dislike.  It sounds very muffled.  Has anyone
| else noticed that?
|  
| I have a recording of Williams' Recuerdos de la Alhambra and I can
| hear a definite "galop" in his tremelo.  Parkening is smooth as silk.
| I never have understood what people have against Parkening.
| 
| Mike "not Musically Correct" Anderson
| 
| 

I used to think Parkening was among the best until I actually saw him live
at a recital in SF. He can play pretty fast and smooth but the tone
was very naily and he just doesn't play with enough volume. 
It's just wasn't the same as with his recoding. I haven't bought any
of his new recording so may be the new recording is just as bad.
The way he was playing on that night(Herbst Theater, Winter 88?), I don't
know how he ever becomes famous. I heard that there was a period when he
was burned out with the guitar and he did not play at all during
that time. 
John William, on the other hand plays better live than in his recordings.
I think John William may be trying to record too many records and thus
does not put in enough efforts when he records compared with other players.

Newsgroups: rec.music.classical.guitar
From: loyola@bnr.ca (Nelson Loyola)
Subject: Need a Recomendation
Organization: Bell-Northern Research, Ottawa, Canada
X-Newsreader: TIN [version 1.1 PL6]
Date: Thu, 19 Nov 1992 16:03:46 GMT


Hi,

Could someone please recomend a good classical guitar book?

I'm  relatively  new to guitar  playing, I've been learning for about 10
months  now.  I haven't  yet  taken  any  lessons  and I've  done all my
learning  from reading  books and reading the guitar  newsgroups  on the
net.  I've basically been learning rock and blues stuff, but now I think
I've learned  enough to start  learning the music that really  interests
me.  I'm  wondering  if any of you out there could  recomend a book that
starts with the basics of  classical  playing and then takes me into the
more challenging stuff?

Also flamenco music  interests me very much.  Could one learn this style
of playing from reading a book or do I really need lessons?

I'm thinking of eventually taking lessons after I build up the dexterity
in my  hands.  Does  anyone  have an  opinion  on this or should I start
right away with taking lessons?

Thanks in advance for your responses.


Later,
Nelson Loyola                       Norstar Development
Tel: (613) 765 4513                 Bell-Northern Research Ltd.
FAX: (613) 763 7742                 P.O. Box 3511 Station C
Internet: loyola@bnr.ca             Ottawa, Ontario, Canada K1Y 4H7
Newsgroups: rec.music.classical.guitar
From: quigley@acs.ucalgary.ca (Martyn Thomas Quigley)
Subject: Re: Help out a new guy
Date: Tue, 17 Nov 92 02:48:53 GMT
Distribution: usa
Organization: The University of Calgary, Alberta

seifert@netcom.com (Rich Seifert) writes:
>> 
>> Alonso Mudarra's 'Fantasia' is on my new CD, and it is simply the most 
>> beautiful piece of music that I have heard in a _long_ time.  If anyone has
>> the music to this, or knows where I can get it, PLEASE let me know. I really
>> need to know this one.
>
>There is a fine transcription is the Frederick Noad "Renaissance Guitar"
>collection. The fingering is made much easier by tuning the G string to
>F#, a la lute. [.....]

Mudarra wrote more than one fantasia; we're presumably talking about
the 'Imitation de la Harpe a la maniere de Ludovico' (if you'll
forgive my French).  Max Eschig publishes this, ME 8093, in a trans-
cription by Pedro Ibanez.  It is indeed a fine piece and wonderfully
satisfying to play.  

Mart
From: huy@rainbow.asd.sgi.com (Huy Nguyen)
Newsgroups: rec.music.classical.guitar
Subject: Re: Williams & sight reading
Date: 17 Nov 1992 20:11:22 GMT
Organization: Silicon Graphics, Research & Development
Distribution: world
Reply-To: huy@rainbow.asd.sgi.com (Huy Nguyen)
NNTP-Posting-Host: rainbow.asd.sgi.com

|   Leo Brouwer was one of the judges at the Alirio Diaz Competition in
| Caracas in October 1990, and at a party beforehand, several of my fellow
| competitors and I were talking to him. He told us of the premiere of his
| Toronto guitar concerto a couple of years before. Basically, Brouwer 
| wasn't able to get *any* of the music to Williams until just a couple
| of weeks before the performance, and from what Brouwer said that night,
| he couldn't get the last movement to WIlliams until the day before, so in
| the premiere performance, Williams was basically sightreading this stuff,
| really fast and difficult scale passages, and nailing it. Brouwer was
| conducting, and said he was just astounded at how well Williams played,
| and that during the last movement, at one point he looked over at 
| Williams, furiously wailing, and Williams half-glanced at Brouwer, and
| smilingly muttered "you bastard!" under his breath without dropping a
| note...
| 
| ----------------------------------------------------------------------------
| Mark Basinski      Internet: basinski@biosci.arizona.edu
| 
| 

I attended one J. William concert recently where he was saying that he does not
not give master class to guitar players because he thinks guitar students
are too obsessed with their instrument and they don't know how to read music. 
He only gives master class to
an ensemble. He believes that guitar players must listen to other instruments
and practice their sight reading skill by playing in an ensemble.
He is particularly disgusted at the fact that
people are so eager to get a hold of his transcription to copy his fingering.
From: rpuranik@sei.cmu.edu (Rajesh Puranik)
Subject: chord fingerings
Organization: Software Engineering Institute
Date: Mon, 23 Nov 1992 18:12:17 GMT

Thanks to those who replied to my request for music theory books.  I have a
related question about chords.

Are jazz, pop, and classical music chords fingered similarly?  For example, is
a Cmaj7 chord fingered the same way regardless of the style of music?  If so,
I could use a jazz chord book I have at home to learn the basic chord and
substitution theory.  If not, is there a book specifically on chord theory
for classical guitar?

Thanks,


Rajesh Puranik
Software Engineering Institute

Newsgroups: rec.music.classical.guitar
From: v035550@stortek.com (Steve Monroe)
Subject: Re: Parkening
Originator: v035550@stcvax
Organization: Storage Technology Corp.  Louisville, CO
Date: Mon, 16 Nov 1992 19:04:51 GMT


In article 1992Nov9.051707.19716@usage.csd.unsw.OZ.AU,
markc@hydra.maths.unsw.EDU.AU writes,
 
>To me Parkening has always been a second rate musician. This has nothing
>to do with his technical ability which is fine. To me he represents the
> worst of the Segovia tradition.

Then, in article 1992Nov13.222304.29671@menudo.uh.edu,
wjin@cs.uh.edu writes,

>The fact that people are not so good as Parkening  does not mean that
>they don't have good ears to criticize.

And, in article 1e6rdpINNl7g@fido.asd.sgi.com,
huy@rainbow.asd.sgi.com (Huy Nguyen) writes,


>I used to think Parkening was among the best until I actually saw
> him live at a recital in SF. He can play pretty fast and smooth
> but the tone was very naily and he just doesn't play with enough
> volume.

The amount of hubris in these and other posts is quite amusing.  I
venture that NOT ONE reader of this group has one-tenth the level
of proficiency that Parkening does.  "Second rate" indeed. 
 
The above types of comments are typical of a bunch of classical snobby
types, who, if EVERY detail isn't in its own proper box is labeled
with terms like "second rate" and so forth.  If you wish to hear perfection,
get a sequencer.  Only a machine will give you the perfection you are looking
for.  Only a machine should.  The "naily" bit and low volume is part of an
individual's style.  I have  sequences of the Paganinni Caprices that are
absolutely note perfect.  Tempi are rock solid.  Dynamics are whatever
you wish.  Absolutely perfect intonation.  The machine NEVER makes a mistake.
Problem is the computer has no soul.  All the things people criticise
Parkening for amount to soul.

Finally, the fact that people are "not so good as Parkening" takes away any
credibility that their criticism may have.


sjm

Newsgroups: rec.music.classical.guitar
From: beascoea@colossus.cs.rpi.edu (Alex Beascoechea)
Subject: Re: Good/bad acoustics for guitar (Was: re: parkening)
Organization: Rensselaer Polytechnic Institute, Troy, NY
Date: Mon, 16 Nov 1992 03:04:42 GMT

In article <1e6ve2INN31i@agate.berkeley.edu> stolcke@ICSI.Berkeley.EDU (Andreas Stolcke) writes:
>PS.  The Assads were terrific nevertheless.  They played a transcription
>of Rhapsody in Blue I hadn't heard before.  Anyone know whether they
>have this recorded yet?  The program notes mentioned that they have three

Yes, they played this one in Skidmore College (Saratoga Springs,N.Y) last
Thursday and the arrangement is really good! People went crazy about their
performance.
>-- 
>Andreas Stolcke					stolcke@icsi.berkeley.edu
>International Computer Science Institute	stolcke@ucbicsi.bitnet
>1947 Center St., Suite 600, Berkeley, CA 94704	(510) 642-4274 ext. 126


-- 
----------------- Alex Beascoechea -----------------
alex@ecse.rpi.edu beascoea@cs.rpi.edu beasca@rpi.e
----------------------------------------------------
From: wjin@cs.uh.edu (W. Woody Jin)
Newsgroups: rec.music.classical.guitar
Subject: Bream (was Re: Williams & sight reading)
Date: 18 Nov 1992 06:30:19 GMT
Organization: University of Houston
NNTP-Posting-Host: modigliani.cs.uh.edu

In article <1992Nov17.162953.8366@jarvis.csri.toronto.edu> elf@dgp.toronto.edu (Eugene Fiume) writes:
>
>There's much to admire in Williams, but when it's all said and done I find
>myself reaching for a Bream CD more often.  That's probably an unfashionable
>thing to admit to.  The question of live performances is another issue
>altogether though.

Another Bream fan here ( 8-) ).
Even though I admire Williams most, like Eugene, I also find myself
reaching for Bream's LP/CD more often.

His sound is not loud, super-clear or round like Williams but the
the nuance of the sound that he creates is someting. And he has a tone
which is very suitable for baroque music.

Moreover I have to praise his ability of transcriptions.  Ususally when
a music is transcribed for another instrument, I usually like the original
much better.  But this is not the case with Bream.
His transcriptions are very natural and musical. He makes me think 
that transcription is another genre of art.

On the other hand, Williams transcriptions in Vivalid Concertos CD are
quite disappointing. I don't know how those Vivaldi's beautiful concertos 
sound so boring with guitar in that CD.

BTW, what is Bream recently doing ?  It seems to me that he is not really
active nowadays.


-- 
____   ____  ____ ____________________________________ (___) _________________
|  |   |  |  |  |  W. Woody Jin (wjin@cs.uh.edu)       (o o)      Moo.... 
|  |   |  |__|  |  PhD Student. Research Asst.  o=======\ /  I'm  a Cow Lover.
|  |   |        |  Dept. of Computer Science   / |     ||O   My wife  was born
\  |---|  |--|  |  University of Houston      `  ||'---||    in Cow year. Mooo
 \____/|__|  |__| _______________________________^^    ^^_____________________
From: chenl@cbnewse.cb.att.com (julian.l.chen)
Newsgroups: rec.music.classical.guitar
Subject: Re: Help out a new guy
Date: 16 Nov 92 19:11:25 GMT
Article-I.D.: cbnewse.1992Nov16.191125.29247
Distribution: usa
Organization: AT&T

>[...]
>I haven't had much opportunity to hear any, and know what to buy.  If anyone
>is interested, I finally decided on a collection called 'Spanish Guitar Music'
>by John Willams.  It is on Sony's Essential Classics.
>
>Now that I'm hooked, there are a couple things I need help in finding:
>
>Alonso Mudarra's 'Fantasia' is on my new CD, and it is simply the most
>beautiful piece of music that I have heard in a _long_ time.  If anyone has
>the music to this, or knows where I can get it, PLEASE let me know. I really
>need to know this one.
>
>A friend of mine has two of the 'Solo Guitar Playing' books by Noad, and they
>look like something that could help me out a lot.  I have not been able to find
>a copy for myself.  Does anybody know of someplace I could order them from,
>or a store in the Lafayette, Indiana or Anchorage, AK, areas where I could find
>them?
>
>All e-mail will be greatly appreciated!  Thanks,
>
>Jamison

It is funny, I just finished studying Mudarra's Fantasia the past week
with my guitar teacher. I have to say this is a quite difficult piece
for me to play well (even I already have a solid 5 years classical guitar
trainning behind me). It took me a whole month to be able to play it
semi-decent. And a LOT more time to be able to perform in front of the 
audience. The left hand part of this piece is easy, but the difficult
part is on the right hand. I think this is definitely for a advanced player.

You can find the music score in Noad's "The Renascence Guitar". You should
be able to find them in any large music shop in you area. Guitar Solo
also has some other versions, but I think Noad's version is quite good.
Although we changed a lot of his fingering. Noad uses lute tuning (EAD#FBE),
which I think is appropriate.

Julian