HDTenEightyP/NetNews huggingface dataset:
From: ujwb@uxa.ecn.bgu.edu (Jeff Beer)
Newsgroups: rec.music.classical
Subject: Re: tonal value of chords and harmonic series [?]
Date: 27 Jan 1993 16:25:35 -0600
Organization: Educational Computing Network
NNTP-Posting-Host: uxa.ecn.bgu.edu

There is George Russell's Lydian Chromatic Concept Of Tonal
Organization.   I don't want to mislead by oversimplifying, but the
theory measures how close a tone is to a tonality by how far
away it is on the circle of 5ths.  A G therefore is closest, and an F
therefore farthest.  An F# is closer than F, ( hence "Lydian" in its
title), despite F being in the major scale.  The theory explains this,
but I am not going to cover it here. One of his concepts in this theory is
called Tonal Gravity.  This has a chart from which you can take an
interval, and determine how much it is moving towards a specific (or
each, if you wish) tonality.  Russell speaks in terms of inward or 
outword moving, corresponding the terms "inside" and "outside" in jazz 
vernacular.  While it is not explained very clearly, I was finally 
able to decipher it and write a computer program which would weight 
a sequence of pitches.   It does some to be a fairly decent method of 
quantifying how "inside" a series of pitches will sound to a specific tonality.  
They present an analysis of the row on Berg's Violin Concerto as it
relates to the tonal gravity theory. 

If you are interested, I presume most music libraries would have it.
The book is published by Concept Music.  I am not sure, but I think Russell 
teaches in the Third Steam department at New England Conservatory.  He has a
number of records out with jazz big bands, and I find his compositions
interesting.  For a good example, check out "The African Game", on
Bluenote recods.

Jeff
From: basinski@biosci.arizona.edu (Mark Basinski)
Newsgroups: rec.music.classical.guitar
Subject: Re: Recuerdos de la Alhambra (Was Re: Yepes)
Date: 22 Jan 93 21:02:50 GMT
Followup-To: rec.music.classical.guitar
Organization: Univ. of Arizona

In article <93022.115917HASSLER@MAINE.MAINE.EDU>, HASSLER@MAINE.MAINE.EDU
(John Hassler) wrote:
>  Re-read what you wrote.  You come off sounding rather (you should excuse the
> expression) _young_.
>     I have also heard that Segovia said something to the effect that, "the
> melody is in the thumb".   Whatever you think of his style, Segovia was a
> fine musician.  I'm sure that he knew as well as anybody the "Music
> Appreciation I" definition of a melody, so he was probably trying to make
> a point by hyperbole.
>    Because of the circumstances, I can still remember the first time I
> ever really listened to Requerdos.  The bass line was what caught my
> attention; the "melody" was not in the foreground.  Since this was well
> before I ever put fingerprints on a guitar, I suspect that this is a
> common response.  (Supported somewhat by comments from listeners when
> I have played the piece.)  Perhaps this is what Segovia had in mind.

		alas, I am not so young anymore. I make no bones about calling this
a dumb idea - I gave the example of performing the piece as a 2 part
thing for singer and guitar. Do you really think that having a guitarist
play the tremolo and having a singer sing the the "accompaniment" would
be a convincing musical performance? This is not to say that the
accompaniment
should not have musicality, but that the top voice is a song!

   You're comment about "the first time I heard the piece" only shows 
how often the piece is misplayed. Performing Recuerdos in such a way the
the tremolo takes on the characteristic of a singing voice is actually very
difficult, and the natural gravity of the thumb makes the bass part
overwhelmingly "noticeable" if the performer isn't careful. The melody
*should* be in the foreground, and giving the proper continuous and
dynamically varied phrasing to that melody is much more difficult and
advanced than just playing ami over and over.

----------------------------------------------------------------------------
Mark Basinski      Internet: basinski@biosci.arizona.edu
From: basinski@biosci.arizona.edu (Mark Basinski)
Newsgroups: rec.music.classical.guitar
Subject: Re: String Recommendations?  (No Augustines, please...)
Date: 25 Jan 93 18:51:56 GMT
Followup-To: rec.music.classical.guitar
Organization: Univ. of Arizona

In article <1jvn1tINNstq@crcnis1.unl.edu>, mpaul@unl.edu (marxhausen paul)
wrote:
> What do you like for strings on your classical guitar? 

 I use D'Addario Pro Arte J44s (ultra high tension). The trebles are
touted as being "laser-selected" i.e. very carefully calibrated sizing -
I dunno about that, but I *never* have intonation problems and they sound 
good. The basses are also very good and quite durable (when I used to
use Augustine, the trebles regularly were unusable, but the basses sounded
great until they went dead, which seemed to take 3 days, and I'm not really
an acidhand).

  I've also tried the new Savarez "Alliance" trebles - I like them too
(though I don't really like their basses). Keep in mind that every guitar
has it's own characteristics and each instrument may have a specific
level of tension which results in the best sound for that guitar.
----------------------------------------------------------------------------
Mark Basinski      Internet: basinski@biosci.arizona.edu
From: leblanc@knuth.mtsu.edu (Stuart LeBlanc)
Newsgroups: rec.music.classical.guitar
Subject: Re: What albums to buy...
Date: 22 Jan 1993 18:06:18 -0600
Organization: Dept of Comp Science, Middle Tenn State Univ, Murfreesboro, TN
NNTP-Posting-Host: knuth.mtsu.edu
Keywords: Classical Guitar Music

>   I am a begining guitarist playing acoustic/electric contemporary
>music, basically the regular stuff.  The few classical songs I can play
>(as simple as they may be) is some of the most incredibly written and
>    arranged music I've heard.   I was wondering if someone could mail
>me a       definitive list of music selections to start my collection.
>Everyone has 5 or 6 albums they can't do without, but a few would be
>great.  I  am interested in solo or duet guitar, classical, spanish,
>flamenco.... I greatly appreciate your efforts to start me out in my
>collection.

Vox records has recently reissued their catalog of recordings by Manuel
Barrueco.  It's a 3-CD set entitled "300 Years of Guitar Masterpieces",
and - are you ready for this - it costs $16 in most stores.  There are
many guitar players and enthusiasts as well as serious music critics who
consider these recordings to be the guitar at it's best.  Whether or not
that is true, this collection contains works from all the major style
periods of music, and is thus an excellent sampler of the guitar
repertoire.  If you ever buy any guitar CD, make it this one.

Other recommendations:

John Williams and Julian Bream Live

Hubert Kappel - Virtuoso Transcriptions

David Russell - Baroque Transcriptions

John Williams - Great Guitar Concertos

Julian Bream - Twentieth Century Guitar

Jakob Lindberg - Baroque Guitar and Lute (period instruments)

Paul O'Dette - The English Lute

Angel Romero - Virtuoso Guitar Works (Rodrigo, Torroba, etc.)

Kazuhito Yamashita - Pictures at an Exhibition (sit down for this one)
 
Enjoy.

Stuart LeBlanc
Guitar Instructor
MTSU Dept. of Music
From: ihrj@vax5.cit.cornell.edu
Newsgroups: rec.music.classical.guitar
Subject: Re: What albums to buy...
Date: 25 Jan 93 15:02:22 EST
Distribution: rec
Organization: Cornell University

In article <leblanc.727746859@knuth.mtsu.edu>,
leblanc@knuth.mtsu.edu (Stuart LeBlanc) writes
> 
> Vox records has recently reissued their catalog of recordings by Manuel
> Barrueco.  It's a 3-CD set entitled "300 Years of Guitar Masterpieces",
> and - are you ready for this - it costs $16 in most stores.  There are

Actually even less - I saw it at Tower in NYC for $13.98. For over 3 hours
of music that's a steal ! To digress a bit - why is it that Manuel B's
original recordings on Vox are so much better than his recent one's on 
Angel/EMI ? Can anyone answer this ? With the exception of his Bach/de
Visee recording, which is excellent, his other recordings on the Angel
label have been very poorly recorded. I am not quibbling with the quality
of his performances (I can, but I'm not !), but about the engineering
side of things. It seems to me he should do something to rectify this.

> John Williams and Julian Bream Live

Is this available on CD ? I've been looking all over for it.
I'd appreciate it if anyone has a catalogue number or something.
   
> John Williams - Great Guitar Concertos

Also, his recording of the Four Lute Suites by J S Bach. For initiates
to classical guitar I also strongly recommend Spirit of the Guitar - Music
of the Americas by JW. I've given  it to several friends who wanted to
know more about classical guitar and they all enjoyed it immensely.

> Julian Bream - Twentieth Century Guitar

Again is this out on CD ? I'd also recommend his Classical Guitar and
Music of Spain - Albeniz and Granados.

Another strong recommendation I have is William Kannengiser's "Rondo
Alla Turka". It's on the GSP label. It's got transcriptions of Handel's
8th keyboard suite (it works well) and the Mozart sonata with the Turkish
Rondo as it's 3rd movement (which works in part and sounds ridiculous at
times). It also has an excellent recording of Brouwer's "El Decameron
Negro" and pieces by Brian Head, a composer out of USC (interesting stuff -
some of you might like to play it).

Also "Latin American music for two guitars" - Sergio and Odair Assad. Apart
from these, let me point out that I agree with most of Stuart LeBlanc's
recommendations as I have many of the albums he mentioned.

Let me also apologize for my earlier "null" posting. Usenet is only
available on a vms system at Cornell, and if you're not on a vt100
terminal, you can run into unforeseen problems, as I discovered this weekend.

Later,

G. A. George
From: leblanc@knuth.mtsu.edu (Stuart LeBlanc)
Newsgroups: rec.music.classical.guitar
Subject: Re: REQUEST: Barrueco concert schedule
Date: 21 Jan 1993 21:01:52 -0600
Organization: Dept of Comp Science, Middle Tenn State Univ, Murfreesboro, TN
Distribution: usa
NNTP-Posting-Host: knuth.mtsu.edu

>choosing a high fret on a lower string as opposed to a lower fret on a
>higher string, to play a particular note.  Barrueco said, simply, "Just
>use the open strings and the easier positions - it's a lot easier!"
>My instructor, who was instructed somewhat by Barrueco, mentioned that
>he didn't think the effort Segovia went to in his transcriptions to
>use higher frets for notes was worth it - made the pieces too hard and
>the tone produced was not worth it.

It should be mentioned that Barrueco, and good string players in
general, consider fingering to be integral to the interpretation of a
piece.  In the three dozen or so Barrueco classes I've been to, there
probably wasn't one in which he didn't say "when looking at a fingering,
you *have* to understand what the musical intent of that fingering is."

Though it is indeed a lot easier to use open strings, for a technician
of Barrueco's caliber it isn't particularly hard either way.  The
fingering he recommended was also based on his ideas on baroque
performance practice, which generally lay along the lines of modern
baroque string playing; e.g. sharper and more even articulation,
clarity of texture, more high end in tone (in baroque music he rarely 
uses a stopped string if there's an open note available, and he *never*
uses rest stroke in baroque music), "terraced" dynamics, wider latitude
in ornamentation, etc.  

This highlights the fact that good musicians (including 
Barrueco) realize that the criteria for what sounds good in baroque
music are not necessarily the same for what sounds good in other styles
of music.  For instance, if the student in question had played something
by Ponce on the other hand, Barrueco would have been be more hesitant to 
recommend putting everything on open strings, *except* if only for technical
reasons (he has been known to say "do *whatever* you need to do to get
the notes").

Stuart LeBlanc
Guitar Instructor
MTSU Dept. of Music
Newsgroups: rec.music.classical.guitar
From: prichard@mksol.dseg.ti.com (John C Prichard III)
Subject: Re: Who know this Song ?
Organization: Texas Instruments, Inc
Date: Mon, 25 Jan 1993 14:57:04 GMT

This sounds like the beginning of the song "Romanza" or Spanish Romance
(I think Liona Boyd's name for it) by anonymous.

+-------------------------------------------------------------------+
 	John Prichard			prichard@mksol.dseg.ti.com	       
 	Texas Instruments		Voice: (214)575-6268		       
Newsgroups: rec.music.classical.guitar
From: sci40027@nusunix1.nus.sg (HO CHOO LIANG)
Subject: Re: Who know this Song ?
Organization: National University of Singapore
X-Newsreader: TIN [version 1.1 PL6]
Date: Tue, 26 Jan 1993 03:03:44 GMT

It's <Romance de Amor>. (sp?)
From: dam@dcs.glasgow.ac.uk (David Morning)
Newsgroups: rec.music.classical.guitar
Subject: Re: Copyright (Was: Tab to Vivaldi's Concerti)
Date: 26 Jan 93 10:37:35 GMT
Organization: Glasgow University Computing Science Dept.

basinski@biosci.arizona.edu (Mark Basinski) writes:

>In article <C1Ex7G.47n@dcs.glasgow.ac.uk>, dam@dcs.glasgow.ac.uk (David
>Morning) wrote:

>> It's all covered by the Berne Convention on International Copyright 1859
>> ratified Brussells 1959 at your local library, an incredibly dull read if
>> ever there was one.
>> Most countries use Berne as the mechanism for enforcing copyright control,
>> USA being a signatory a few years ago.
>> 
>   There is also the legal "fair use" concept, which would apply to
>using short excerpts of copyrighted material for certain purposes. I think
>that might be in the Berne Convention too

Yes, your right, although Berne isn't too clear on how much of a short
extract constitutes 'fair use'. Berne also categorises the fair use clause
into 'educational' use (i.e. for use in an educational establishment) and
commercial use. Schools can use a larger extract than 'Joe Public'. There's
a misconception that somehow you can take a large chunk of music (or book
articles), post it to Usenet and claim its for educational purposes. That's
not the intention of the fair use. You can only use the 'education' option
if it were used solely within a proper educational institution and Usenet
does not fall into that category (University of Usenet! :-) ).

If you use the fair use clause in conjunction with 'for educational use' as
a vehicle for posting copyrighted material, your skating on thin legal ice.

Having said that...everybody does it in alt.guitar.tab and rec.music.guitar.tab
as well as innumerable pictures posted.

'Nuff said...Mr copyright officer will come along sooner or later.


Dave

--
From: dam@dcs.glasgow.ac.uk (David Morning)
Newsgroups: rec.music.classical.guitar
Subject: Re: Copyright (Was: Tab to Vivaldi's Concerti)
Date: 25 Jan 93 13:52:27 GMT
Organization: Glasgow University Computing Science Dept.

olavt@ulrik.uio.no (Olav Torvund) writes:

>Every posting of a tab, score or lyric to a song is a copyright
>infringement, as long as the music is not public domain or is posted
>by the author.

If the author has been dead 50 years, it's not. What *may* be an infringement
of copyright is if you copy someone more current's ARRANGEMENT of the original
works.
Your own arrangement of one of Beethoven's pieces is your copyright, no one
else's and if you choose to post your own arrangement that's up to you.

It's all covered by the Berne Convention on International Copyright 1859
ratified Brussells 1959 at your local library, an incredibly dull read if
ever there was one.
Most countries use Berne as the mechanism for enforcing copyright control,
USA being a signatory a few years ago.

But I'd be interested in knowing who the copyright holders for traditional
folk songs with no known author was.


Dave

--
From: ihrj@vax5.cit.cornell.edu
Newsgroups: rec.music.classical.guitar
Subject: Re: What albums to buy...
Date: 23 Jan 93 14:49:59 EST
Distribution: rec
Organization: Cornell University

In article <leblanc.727746859@knuth.mtsu.edu>,
leblanc@knuth.mtsu.edu (Stuart LeBlanc) writes: 
>>   I am a begining guitarist playing acoustic/electric contemporary
>>music, basically the regular stuff.  The few classical songs I can play
>>(as simple as they may be) is some of the most incredibly written and
>>    arranged music I've heard.   I was wondering if someone could mail
>>me a       definitive list of music selections to start my collection.
>>Everyone has 5 or 6 albums they can't do without, but a few would be
>>great.  I  am interested in solo or duet guitar, classical, spanish,
>>flamenco.... I greatly appreciate your efforts to start me out in my
>>collection.
> 
> Vox records has recently reissued their catalog of recordings by Manuel
> Barrueco.  It's a 3-CD set entitled "300 Years of Guitar Masterpieces",
> and - are you ready for this - it costs $16 in most stores.  There are
> many guitar players and enthusiasts as well as serious music critics who
> consider these recordings to be the guitar at it's best.  Whether or not
> that is true, this collection contains works from all the major style
> periods of music, and is thus an excellent sampler of the guitar
> repertoire.  If you ever buy any guitar CD, make it this one.
> 
> Other recommendations:
> 
> John Williams and Julian Bream Live
> 
> Hubert Kappel - Virtuoso Transcriptions
> 
> David Russell - Baroque Transcriptions
> 
> John Williams - Great Guitar Concertos
> 
> Julian Bream - Twentieth Century Guitar
> 
> Jakob Lindberg - Baroque Guitar and Lute (period instruments)
> 
> Paul O'Dette - The English Lute
> 
> Angel Romero - Virtuoso Guitar Works (Rodrigo, Torroba, etc.)
> 
> Kazuhito Yamashita - Pictures at an Exhibition (sit down for this one)
>  
> Enjoy.
> 
> Stuart LeBlanc
> Guitar Instructor
> MTSU Dept. of Music
Newsgroups: rec.music.classical.guitar
From: gvillo@ucsu.Colorado.EDU (Gwot)
Subject: What albums to buy...
Summary: Looking for suggested classical guitar albums to buy
Keywords: Classical Guitar Music
Organization: University of Colorado, Boulder
Date: Fri, 22 Jan 1993 17:17:40 GMT

   I am a begining guitarist playing acoustic/electric contemporary
music, basically the regular stuff.  The few classical songs I can play
(as simple as they may be) is some of the most incredibly written and     
arranged music I've heard.   I was wondering if someone could mail me a      
definitive list of music selections to start my collection.  Everyone
has 5 or 6 albums they can't do without, but a few would be great.  I 
am interested in solo or duet guitar, classical, spanish, flamenco....
I greatly appreciate your efforts to start me out in my collection.
gvillo@ucsu.colorado.edu

Newsgroups: rec.music.classical.guitar
From: brownww@meena.cc.uregina.ca (BROWNWW)
Subject: Re: String Recommendations?  (No Augustines, please...)
Date: 27 Jan 1993 15:32 -0600
News-Software: VAX/VMS VNEWS 1.4-b1  
Organization: University of Regina, Regina, Sask., Canada
Followup-To: rec.music.classical.guitar

In article <basinski-250193115959@lully.biosci.arizona.edu>, basinski@biosci.arizona.edu (Mark Basinski) writes...
>In article <1jvn1tINNstq@crcnis1.unl.edu>, mpaul@unl.edu (marxhausen paul)
>wrote:
>> What do you like for strings on your classical guitar? 
> 
> I use D'Addario Pro Arte J44s (ultra high tension). The trebles are
>touted as being "laser-selected" i.e. very carefully calibrated sizing -
> [...]
>Mark Basinski      Internet: basinski@biosci.arizona.edu

I also agree strongly that the D'Addario Pro Arte's are excellent.
I use the J45 (normal tension) and think they sound very good.  I can not
afford to change my strings more than once a month, so when I buy them in
boxes, I appreciate the long shelf-life, too.

Bill Brown
University of Regina    Internet: brownww@meena.cc.uregina.ca 
Regina, Saskatchewan              brownw@hercules.cs.uregina.ca
Canada                            wbrown@nyx.cs.du.edu 
C.S. student              Bitnet: brownwil at uregina1
---------------------------------------------------------------------
From: leblanc@knuth.mtsu.edu (Stuart LeBlanc)
Newsgroups: rec.music.classical.guitar
Subject: Re: hoof-flex for humans
Date: 27 Jan 1993 11:00:55 -0600
Organization: Dept of Comp Science, Middle Tenn State Univ, Murfreesboro, TN
NNTP-Posting-Host: knuth.mtsu.edu
Keywords: nails

>>I believe this is what Adam Holzman uses, and he has *major* nail wear
>>problems.  Other products I've heard recommended:...
 
>Do you mean he uses it and still has major problems despite it, or
>that he uses it *because* he has major wear problems (and thus finds
>it helpful)?
 
Oops, forgive the ambiguity there... yes, if this is indeed the product
Adam uses (I'm fairly sure), without it he would have to resort to 
permanent use of players nails, or some other contingency.  

Stuart LeBlanc
Guitar Instructor
MTSU Dept. of Music
leblanc@knuth.mtsu.edu
Newsgroups: rec.music.classical.guitar
From: ajm@iconix.oz.au (Andrew Mack)
Subject: Recuerdos de la Alhambra -- another view
Organization: ICONIX Corporation World Headquarters
Date: Thu, 21 Jan 1993 00:00:13 GMT

I'm a rock guitarist trying to play Recuerdos de la Alhambra.
I got turned on to it after hearing versions by Segovia and some
flamenco guitarist (can't remember who -- not one of the big names).
Segovia's version I love.
The other one -- the thumb part is very staccato. It doesn't sing the
way Segovia's does. There's no doubt Segovia was a beautiful musician.
For myself, I'm still trying to get the tremolo down. It's a new
technique for me.

Anyway ... all this talk about accompaniment vs. melody and so on I
think is a furphy. I think each part is equally important and
highlights the other. Neither part stands on its own -- each needs the
other part to bring out its own beauty.
I don't even think of either one as being "melody" or "accompaniment".
Nor do I think either one should be "highlighted" over the other. At
various times in the piece, the thumb part is more melodic than the
tremolo part, and vice versa.

Take the long view. Does it really matter which part you emphasise?
Remember, you're not trying to be dogmatic -- you're trying to make
music. If it sounds good, it is good.





Technical question for you tremolo experts: what is the right-hand
fingering for the occasional triplets in the tremolo part?
Newsgroups: rec.music.classical.guitar
From: lbroda@s.psych.uiuc.edu (Larry Broda)
Subject: David Russel (summary)
Organization: UIUC Department of Psychology
Date: Sun, 24 Jan 1993 06:48:00 GMT
Keywords: David Russel

I want to thank everybody who responded to my query about David
Russell.  The response was unaminous in praising both his teaching and
musicianship.  I will be auditing a master class by Russell this week
and will post any insights gained from it.
Newsgroups: rec.music.classical.guitar
From: elf@dgp.toronto.edu (Eugene Fiume)
Subject: Re: Who know this Song ?
Organization: Department of Computer Science
Date: 25 Jan 93 14:15:40 GMT

In article <1k0lujINNse1@rs2.hrz.th-darmstadt.de> montag01@rbg.informatik.th-darmstadt.de (rainer montag) asks
>
>Can anybody tell me,what "Song" this is ?
>I only know the Beginning on the higher Strings ...
>
>It goes like that:

> [tab deleted.]

I looks like the piece variously called "Spanish Romance" or "Romance".
It's available in anthologies everywhere.
-- 
Eugene Fiume, Dynamic Graphics Project
Department of Computer Science, University of Toronto
elf@dgp.toronto.edu, (416) 978-5472