HDTenEightyP/NetNews huggingface dataset:
From: wjh@cbnewsl.cb.att.com (william.j.hery)
Subject: Charlie Byrd (was Xmas Album Suggestions?
Organization: AT&T
Distribution: na
Date: Sun, 8 Nov 1992 18:20:21 GMT

kene@sequent.com (Ken Ewing) writes:
>I might get knocked for this, but I thought I'd at least mention it... 
>
>The only Christmas music I've yet seen for classical guitar is a record 
>and book by Charlie Byrd called (I think) the Charlie Byrd Christmas Album.  
>Mr. Byrd is known in the jazz circles, and his performance on the album 
>something less than smooth (at times rather sloppy, IMHO)...

Byrd is a talented guitarist who, unfortunately, plays mostly jazz now
and has allowed his once fine classical skills wane. His style of jazz
playing, while incorporating some of the classical techniques, is less
demanding than classical.

In the 50s, he studied with Segovia and recorded some classical albums
(which I have not heard, but have heard good things about). For a number
of years, he owned(?) and was the principal performer at a club in
Washington DC, where he played both jazz and classical in performance.
I saw him perform in NY about 20 years ago and was impressed with his
playing on the classical pieces he included (although I was not that
knowledgable about classical guitar at the time). He also recorded the
Villalobos Etudes and Preludes in the mid 60s.

From the late 60s on, much of his recorded output was very commercial
(and I wouldn't even call it jazz for the most part), and more
simplistic than his earlier jazz recordings (which are excellant), and I
haven't heard any of his new recordings for years. But I did see him
perform live aobut 4 years ago. He played mostly fairly simplistic
jazz/pop, but he did attempt two classical pieces, both Villalobos
pieces. I say attempted, because he clearly wasn't up to it any more
(probably from lack of practice at that level). I went home and played
his recordings of the same two pieces, and he used to be able to play them
well...

Bill Hery
AT&T Bell Labs
201-386-2362
hery@att.COM
From: ak835@cleveland.Freenet.Edu (Michael P. Burns)
Newsgroups: rec.music.classical.guitar
Subject: Re: Flamenco: doing golpes on a classical guitar
Date: 12 Nov 1992 15:04:42 GMT
Organization: Case Western Reserve University, Cleveland, Ohio (USA)
NNTP-Posting-Host: slc10.ins.cwru.edu


In a previous article steyn@cs.rochester.edu (Gavin Steyn) states:
.
>I've started fooling around with flamenco music, but I'm not serious
>enough to want to buy a flamenco guitar.
.
>Currently, I've been doing golpes onto and index card that I've
>taped to the body of the guitar, but this is, to say the least,
>inelegant and iconvenient :-(.  I've heard that there are plastic
>thingies you can attach to the guitar, and I've got a couple of
>questions:
.
>1) Do golpes on an unprotected guitar hurt it (except for resale
>value, which this guitar doesn't really have, anyway).
.
I started with my Flamenco classical guitar and after putting a
few fingernail-sized holes in the top I found some of the plastic
thingies (also called golpeador).  I believe Guitar Solo in San
Francisco has them listed in their catalog.
.
>2) Do the plastic thingies hurt in any way?
.
I guess it depends on what you mean by hurt.  You'll never get it
off again after you put it on so be careful when applying it.
I have never noticed any difference in sound quality after applying
the thingie.  My Flamenco guitar has a thicker golpeador which was
applied by the maker.  I've played other guitars of the same model
without the golpeador and could detect no difference.
.
>3) If the answers to both of the above are no, which is a better
>solution?
.
I can't think of any other solution if you want to play golpes,
but I believe you'll be satisfied with the above.
.
-- 
Michael P. Burns

ak835@cleveland.freenet.edu
Newsgroups: rec.music.classical.guitar
Subject: The Segovia Collection
From: cpferron@csss112.cs.hh.ab.com (Paul Ferroni -- TCC)
Date: 10 Nov 92 12:23:31 EST
Reply-To: cpferron@cs.hh.ab.com
Followup-To: rec.music.classical.guitar
Distribution: world
Organization: Allen Bradley
Keywords: segovia, collection, CD

   I've been listening with interest to the discussions on Guitar music (listening)
recommendations, and have one of my own along with a query.   The Segovia Collection
of CD's are excellent.  The best ones (IMHO) are the older ones, even though they're
mastered on tape.  My favorite is Volume 1 -- An All Bach Program (MCAD-42068).  If 
anyone is interested in the complete list (that I know of) I'll post/followup.  I've
managed to collect what I have through the BMG Compact disc club (recently renamed to
BMG classical music service, or some such thing).

   Question:  I have volumes 1-9 with the exception of Volume 3.  What is Volume 3?
Is it available?   Are there more volumes (past 9)?   Any information would be 
appreciated.

Paul Ferroni
cpferron@cs.hh.ab.com
Newsgroups: rec.music.classical.guitar
From: newjack@engin.umich.edu (Kyong Soo Lee)
Subject: Re: S.L. Weiss
Date: Sat, 07 Nov 92 22:58:06 EST
Organization: University of Michigan Engineering, Ann Arbor

Pardon me, but are you all talking about the original Weiss piece or the suite 
written by Ponce "in the style" of L.S. Weiss?  I mean the first poster mentioned
about the recording of the piece by Segovia, and I believe that one is by Ponce, not
S.L. Weiss exactly.


Kyong Lee
U of Michigan, School of Engineering
Wolverines Rule!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Newsgroups: rec.music.classical.guitar
From: alopez-o@neumann.uwaterloo.ca (Alex Lopez-Ortiz)
Subject: Re: Advice from Segovia
Organization: University of Waterloo
Date: Fri, 6 Nov 1992 00:28:14 GMT

In article <COLWELL.92Nov4215359@pdx023.world>, colwell@pdx023.world
(Robert Colwell) writes:
> 
> Next you'll be telling me you don't like Carlos Barbosa-Lima.

There's a player that cannot be criticized of being to technical. :-)


Alex

p.s. For those of you that don't know much about guitars and think that
Williams is the best and the like let me explain that Barbosa-Lima had
little if any formal training, and he positions the right hand in one of
the most unconventional ways amongst professional guitar players. :-)  :-)


-- 
Alex Lopez-Ortiz                              alopez-o@maytag.UWaterloo.ca
Department of Computer Science                      University of Waterloo
Waterloo, Ontario                                                   Canada
Newsgroups: rec.music.classical.guitar
From: ml4477@sarah.albany.edu (   Sting   )
Subject: Re: Yngwie Malmsteen
Organization: State University of New York at Albany
Date: Thu, 12 Nov 92 17:58:09 GMT

In article <92317.092043KAP118@psuvm.psu.edu> Kevin Polcovich <KAP118@psuvm.psu.edu> writes:
>Yngwie Malmsteen. Any Comments on style, music, etc.?
>                       Just Wondering.....Kevin

	Although he is not my favorite artist, I think he one of the best
classical trained 'Heavey Metal" guitarist.  I enjoy seeing and hearing him
play.  I also like to play his stuff on my electric and acoustic.  It is quite
a workout.  The only negative comment I could say is that he usually always
stays in the harmonic minor.  Many of his riffs are pretty text book but he
executes them flawlessly and I think that is what I enjoy about his playing.

						My $0.02,

--- 
  ___________________________________________________________________________
 /    **   ****	                                   |     World Cup 1994	     \
|    **   **  **   Marc A. Lefebvre	   	   |        --USA--           |
|   **   **    **   Computer Science Department    |"He shoots ... he scores!"|
|  **	**  *   **   University of Albany          |--------------------------|
| *******  ********                                | "Don't Drink and Derive" |
|		"I'd rather be Windsurfing!"       `--------------------------|
|  ml4477@sarah.albany.edu   ml4477@rachel.albany.edu   marc@nick.csh.rit.edu |
 \___________________________________________________________________________/
From: radams@cerritos.edu
Newsgroups: rec.music.classical.guitar
Subject: Re: Practice Tips for Busy Amateurs?
Date: 10 Nov 92 16:53:52 PST
Organization: Cerritos College, Norwalk CA

In article <1992Nov10.171014.28533@delfin.com>, 
mr@delfin.com (Mark Rosenberg) writes:

> Thats the background. Now for the question. Suppose I've got 1 hour
> per day to play and I'd like to clean up my technique but still have
> fun playing real music. How should I split my time between technical
> exercises and working on pieces? Are there any good alternatives to
> Segovia scales? What about dissecting pieces to isolate scales and
> other passage work to use as exercises?
> 

There are some good pieces for technique maintenance. I use Etude #1 by
Villa-Lobos but I also use the Segovia scales daily. Someone else in this
group suggested practicing the scales according to the circle of fifths which
makes it more interesting. I also would suggest changing the rhythms, using
4/4, 3/8, 2/4 and dotted rhythms and staccato, etc. to keep it interesting
as well as beneficial. There are some Barrios studies that are also good
for scales, arpeggios, stretching (especially stretching) and strengthening
bar finger. Try to focus on good sound production, tone, and control no 
matter if you are working on exercises or pieces.  Make the scales musical
by starting a scale at mf then crescendoing a little as you ascend with the
highest note the loudest then decrescendo as you descend. Then you can reverse
this procedure once in a while. Exercises can be musical studies as well
as technical studies if you vary timbre, sonority, timing, dynamics, etc.
Lastly, with focused concentration, you can get as much out of one hour
practice as most players get with 3 to 5 hours of practice. 



-------------------------------------------------------------------------------
	Roger Adams
	radams@cerritos.edu               To those in whom love dwells,
	Cerritos College                  the whole world is one family.
	11110 Alondra Blvd                             A Hindu Proverb
        Norwalk, California 90650
	USA        		          292 Dwapara :-)
-------------------------------------------------------------------------------
From: radams@cerritos.edu
Newsgroups: rec.music.classical.guitar
Subject: Re: Long session of bars (was Re: String Tension)
Date: 12 Nov 92 19:18:36 PST
Followup-To: rec.music.classical.guitar
Organization: Cerritos College, Norwalk CA

In article <basinski-121192172419@lully.biosci.arizona.edu>, 
basinski@biosci.arizona.edu (Mark Basinski) writes:

>  As mentioned below, you can practice using minimal effort. Try playing a 
> series of notes (say a scale, one note at a time) where you reduce the 
> finger pressure until the note buzzes. THEN gradually increase the 
> pressure very slightly until you can play the note without a buzz. You'll
> find that this level of pressure is really not very much.

This is good, but make sure that your right hand is playing at a concert
volume and not real lightly or weakly so that you won't have any false
illusions about how light your left hand can be. You also may want to
practice this way with vibrato on the left hand to see how that affects
the necessary pressure to avoid buzzing. I am a buzzless type player and
I consider it important to do what Mark advises with solid volume on right
hand and then vary the volume and see how you can lessen or increase strength
of pressing on left hand depending on volume level of right hand. You can
press very lightly at pianissimo but need to press harder at mf or ff etc.
Let me now bring up what I read in a book on violinists. Isaac Stern and
others recommend pressing hard with left hand to get a viril tone. This may
not apply to guitar perhaps, but I noticed that I had a thin tone, apparently
adjusting to the accustomed light pressure of left hand. When I played with
very solid tone and projection, I noticed I needed stronger pressure in
left hand fingers. Yehudi Menhuin in his "Unfinished Journey" speaks of
pressing only as hard as necessary to avoid a buzzy sound.  So I think
it just depends on what sound you want on the instrument and they are
probably both quite correct (Isaac Stern always had a very viril, deep
beautiful tone which may indeed require strong L.H. pressure. My point then 
is, make sure when you are experimenting with L.H. finger pressure, that R.H.
isn't whimpy (unless you like whimpy tone).



-------------------------------------------------------------------------------
	Roger Adams
	radams@cerritos.edu               To those in whom love dwells,
	Cerritos College                  the whole world is one family.
	11110 Alondra Blvd                             A Hindu Proverb
        Norwalk, California 90650
	USA        		          292 Dwapara :-)
-------------------------------------------------------------------------------
From: basinski@biosci.arizona.edu (Mark Basinski)
Newsgroups: rec.music.classical.guitar
Subject: Re: Scarlatti & other matters
Date: 9 Nov 92 21:45:00 GMT
Followup-To: rec.music.classical.guitar
Organization: Univ. of Arizona

In article <1992Nov9.003358.17444@ucc.su.OZ.AU>, pope@physics.su.OZ.AU (The
Nightstalker) wrote:
> >> for the Flamenco influence in his music...Does anyone know if any of it has
> >> been transcribed for piano.
> OOOPs, I meant for guitar!

	Well, sure, there's quite a number of Scarlatti transcriptions out there.
Leo Brouwer's 12 sonatas is worth buying; Eliot Fisk has published a set 
(perhaps more than one?) - I have his transcription of K.322 on my 
"gotta learn that soon" list - I think David Russell has a set out, as
does David Tannenbaum

----------------------------------------------------------------------------
Mark Basinski      Internet: basinski@biosci.arizona.edu
Newsgroups: rec.music.classical.guitar
From: lbroda@s.psych.uiuc.edu (Larry Broda)
Subject: Re: TAB is the word... :-)
Organization: UIUC Department of Psychology
Distribution: na
Date: Thu, 5 Nov 1992 19:35:10 GMT

darsie@eecs.ucdavis.edu (Richard Darsie) writes:

>In article <2NOV199214140761@meena.cc.uregina.ca>, pdickof@meena.cc.uregina.ca (PDICKOF) writes:
>> 
>> Lest I be called a Luddite, tablature went out of use because modern notation
>> has significant advantages. (it is independent of the instrument, tuning, etc).
>                                                                    ^^^^^^

>How is tablature not independent of tuning? One of the reasons I like
>tablature so much is that it's *much* easier to play music in different
>tunings from tablature than from standard notation. It's just a map of
>the fingerings, *whatever the tuning*.

But a map of fingerings is completely tied to a given tuning.  Tune
your guitar differently and play from the tabulature and you'll get an
awfully strange sounding piece of music.

I think the problem here is in thinking from general to specific.  In
general, neither tab or music notation are tied to a specific tuning.
But a specific tabulature absolutely requires a given tuning on the
guitar, while standard music notation does not; it merely depends upon
the player knowing where the notes are on the guitar, whatever the
tuning.

--
Larry Broda
Dept. of Psychology
Univ. of Illinois at Champaign-Urbana
lbroda@s.psych.uiuc.edu
Newsgroups: rec.music.classical.guitar
From: lbroda@s.psych.uiuc.edu (Larry Broda)
Subject: Re: Parkening [Was Re: Advice from Segovia]
Organization: UIUC Department of Psychology
Date: Fri, 6 Nov 1992 17:10:34 GMT

elf@dgp.toronto.edu (Eugene Fiume) writes:

>Some people have stomped pretty hard on poor "Christ" Parkening.  On the
>whole, I tend to side with them, but there are some things he does beautifully.
>I especially appreciate his lovely treble tone while playing legato.

>Speaking of good examples of this, is Foster's transcription of
>``Sheep may safely graze'' (found on Parkening Plays Bach) available?
>Anyone out there play it?
>-- 

A collection of several of the pieces from that Bach album was
published, and I think it's still around.  The "Sheep may safely
graze" arrangement, if I recall correctly, features the 6th string
tuned down to C, and is not overly difficult except for some rather
large left hand stretches.

--
Larry Broda
Dept. of Psychology
Univ. of Illinois at Champaign-Urbana
lbroda@s.psych.uiuc.edu
Newsgroups: rec.music.classical.guitar
From: mtc@iscp.bellcore.com (Ming Chao)
Subject: Julian Bream and John Williams duets CDs
Organization: Bellcore
Distribution: usa
Date: Fri, 6 Nov 92 23:43:20 GMT
Followup-To: Classical CDs

RCA Europe issued their 3 duet CDs.  I bought 2 and here's the
numbers:

Together Again	RD80456
Live		RD89645

A friend of mine bought the other (I think it's the 1st with
Sor's op. 34, Caruli's op. 34?, and some Granados and Falla)
so I know it's available too, but I don't have the number.

Ming Chao
Organization: University of Maine System
Date: Thursday, 12 Nov 1992 16:22:16 EST
From: <IO21145@MAINE.MAINE.EDU>
Newsgroups: rec.music.classical.guitar,
Subject: Giuliani tempo?

     I'd welcome metronome setting suggestions for the following
pieces by M.Giuliani;

SONATINA: op 71, # 1
  Maestoso, Minuet et trio, Rondo:Allegreto
"THE ROSE"

  Thanks!

Seth Warner
From: lmcgee@bondo.corp.sgi.com (Lee McGee)
Newsgroups: rec.music.classical.guitar
Subject: How do I play my tremolo loUDER?
Date: 9 Nov 92 18:37:16 GMT
Reply-To: lmcgee@sgi.com
Organization: Silicon Graphics

Whew!  After two years of (admittedly occasional) practice, I can 
finally play "Recuerdos De La Alhambra" all the way through, with 
musicality and some dynamics, even.  <brag, brag>

But, it's so darned soft that only I can hear it!

How can I improve the strength and volume of my right-hand tremolo?  
I have a good, loud guitar (M. Hirade), so that's not really the problem.   
Any hints for practice will be appreciated and TRIED!

-- 
________________________________________________________________
Lee McGee   lmcgee@sgi.com
Silicon Graphics, Inc		
PHONE (415) 390-2403  FAX   (415) 961-9584  PAGE  (415) 807-2246
From: radams@cerritos.edu
Newsgroups: rec.music.classical.guitar
Subject: Re: Advice from Segovia
Date: 6 Nov 92 05:44:07 GMT
Organization: Cerritos College, Norwalk CA

In article <Bx9qn2.Mpr@math.uwaterloo.ca>, 
alopez-o@neumann.uwaterloo.ca (Alex Lopez-Ortiz) writes:

> In article <COLWELL.92Nov4215359@pdx023.world>, colwell@pdx023.world
> (Robert Colwell) writes:
>> 
>> Next you'll be telling me you don't like Carlos Barbosa-Lima.
> 
> There's a player that cannot be criticized of being to technical. :-)
> 
> 
> Alex
> 
> p.s. For those of you that don't know much about guitars and think that
> Williams is the best and the like let me explain that Barbosa-Lima had
> little if any formal training, and he positions the right hand in one of
> the most unconventional ways amongst professional guitar players. :-)  :-)
> 

I saw Carlos Barbosa-Lima live in Orange County several months ago and I
find him to be quite an entertaining guitarist. Yes his right hand technique
is unconventional and it looks a bit strained and may cost him some day.
He plays very well though and has a great arrangement of "Sounds of
Bells" by Pernambuco which has a lot of counterpoint that he added.  His
persona is what makes him worth hearing. He does not have technique like
a Williams, but don't underestimate him - some of the arrangements he
does, like the preludes of Gershwin are difficult and I think most guitarists
would not feel comfortable at all playing some of his arrangements. He
has a lot of facility and stretching ability in his left hand. But best of
all is his obvious love of the guitar and his pleasure in performing which
he communicates to the audience.  I would definitely recommend hearing
him if you have not done so.


-------------------------------------------------------------------------------
	Roger Adams
	radams@cerritos.edu               To those in whom love dwells,
	Cerritos College                  the whole world is one family.
	11110 Alondra Blvd                             A Hindu Proverb
        Norwalk, California 90650
	USA        		          292 Dwapara :-)
-------------------------------------------------------------------------------
From: darsie@eecs.ucdavis.edu (Richard Darsie)
Newsgroups: rec.music.classical.guitar
Subject: Re: TAB is the word...  :-)
Date: 5 Nov 92 18:07:27 GMT
Distribution: na
Organization: University of California, Davis

In article <2NOV199214140761@meena.cc.uregina.ca>, pdickof@meena.cc.uregina.ca (PDICKOF) writes:
> 
> Lest I be called a Luddite, tablature went out of use because modern notation
> has significant advantages. (it is independent of the instrument, tuning, etc).
                                                                    ^^^^^^

How is tablature not independent of tuning? One of the reasons I like
tablature so much is that it's *much* easier to play music in different
tunings from tablature than from standard notation. It's just a map of
the fingerings, *whatever the tuning*.

Richard

> Peter pdickof@meena.ca.uregina.cc
> 
> 
Newsgroups: rec.music.classical.guitar
From: colwell@pdx023.world (Robert Colwell)
Subject: Re: Advice from Segovia
Organization: /fs2/d/colwell/.organization
	<1992Nov5.024755.7414@netcom.com>
Date: Thu, 5 Nov 1992 05:53:59 GMT

In article <1992Nov5.024755.7414@netcom.com> seifert@netcom.com (Rich Seifert) writes:

   And I thought I was the only one! I have listened to Parkening many times
   and have never had a truly enjoyable experience. I also find his
   techique excellent, but lacking musically. The reference to singing
   the lines is valid. (I don't always remember to do this myself, however!)

   The other strange thing is that I have heard Parkening play the same piece
   years apart, and the performance is IDENTICAL every time (no, I'm
   not talking about a recording). It's like he is a machine. 
   I would at least expect his mood to change the tempo or feeling, but
   nada.

   I have given up on listening to him. There are many more interesting
   performers. I can tolerate technical errors for better musicality.

Aw, geez, Rich, you went and gored my sacred cow. Parkening RULES. There, I
guess that settles that.

Interesting that you say he always plays identically. I read an interview
with him a few years back where he said that Segovia had once told him not
to record until he was much older, because otherwise he'd discover that his
tastes had changed so substantially that he'd want to disavow his earlier
recordings and redo them anyway. And Parkening said that he had indeed run
into that phenomenon. Since I haven't had the chance to collect two data
points on him, I can't make the obvious before-and-after comparison though.

Next you'll be telling me you don't like Carlos Barbosa-Lima. Then I'll
REALLY get mad. And don't even THINK bad things about Sharon Isbin. :-)

Bob Colwell  colwell@ichips.intel.com  503-696-4550
Intel Corp.  JF1-19
5200 NE Elam Young Parkway
Hillsboro, Oregon 97124
Newsgroups: rec.music.classical.guitar