HDTenEightyP/NetNews huggingface dataset:
From: basinski@biosci.arizona.edu (Mark Basinski)
Newsgroups: rec.music.classical.guitar
Subject: Re: Copyright (Was: Tab to Vivaldi's Concerti)
Date: 25 Jan 93 19:02:58 GMT
Followup-To: rec.music.classical.guitar
Organization: Univ. of Arizona

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

> But I'd be interested in knowing who the copyright holders for traditional
> folk songs with no known author was.
> 
  Well, it's probably public domain also, i.e. the tunes and lyrics that
can be demonstrated to be "anonymous" or "traditional" cannot be
copyrighted,
though an arrangement of such can.
----------------------------------------------------------------------------
Mark Basinski      Internet: basinski@biosci.arizona.edu
From: montag01@rbg.informatik.th-darmstadt.de (rainer montag)
Newsgroups: rec.music.classical.guitar
Subject: Who know this Song ?
Date: 25 Jan 1993 12:20:35 GMT
Organization: TU Darmstadt
Distribution: world
NNTP-Posting-Host: rbhp60.rbg.informatik.th-darmstadt.de


Can anybody tell me,what "Song" this is ?
I only know the Beginning on the higher Strings ...

It goes like that:

						
e |7---7---7---|7---5---3---|3---2---0---|-0---3---7---|12-----
B |-0---0---0--|-0---0---0--|-0---0---0--|--0---0---0--|--0----   and so on ... 
G |--0---0---0-|--0---0---0-|--0---0---0-|---0---0---0-|---0---
D |------------|------------|------------|-------------|-------


I know , it's a "classic" ,but send Answers to :

rainer montag
montag01@rbg.informatik.th-darmstadt.de

or to this Newsgroup

TNX !!
From: gallag@happy.EEAP.CWRU.Edu (gallag)
Newsgroups: rec.music.classical.guitar
Subject: Nails and Olive Oil
Date: 27 Jan 1993 02:55:24 GMT
Organization: EEAP, CWRU, Cleveland
NNTP-Posting-Host: happy.eeap.cwru.edu
Summary: "Natural Strengthener"
Keywords: Nails

	A dermatologist (sorry I didnt catch her name) from the University 
	Hospitals in Cleveland was on a local morning show taking about
	"natural" skin care  She suggested soaking brittle/dry nails
	in olive oil to avoid breaking.

	I am currently using Vasiline Intensive Care Hand and
	Nail Formula. This weekend I did some construction related
	work for a relative and I caught a nail (cutical) on the end
	of a piece of electrical conduit. Ordinarily this would 
	have caused the nail to break because it bent back quite a
	bit. However, the only damage is a small "crease" from end to end  
	and the nail is still strong!!

	Thanks for the suggestion. 

						Mike Gallagher
From: radams@cerritos.edu
Newsgroups: rec.music.classical.guitar
Subject: Re: REQUEST: Barrueco concert schedule
Date: 21 Jan 93 17:02:58 PST
Distribution: usa
Organization: Cerritos College, Norwalk CA

In article <8197@dove.nist.gov>, 
wack@ariel.ncsl.nist.gov (John Wack) writes:

> ascension up to that final high D chord.  This student was doing it the
> Segovia way, avoiding notes played on open strings and, if he could,
> 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.  Like an earlier poster said, he also
> favors a straight right wrist.  

Ernesto Bitetti, whom I studied with, also would emphasize easier fingerings
and taking optimum advantage of open strings. I think seasoned performers like
Barrueco and Bitetti are interested in feeling as comfortable as possible
technically so that the focus can be mainly on the music even if it means
not bothering with a slight nuance that might be gained from a more difficult
fingering but this doesn't mean that they would use a fingering that is
musically inappropriate just for the sake of easier excecution.


-------------------------------------------------------------------------------
	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        		          293 Dwapara :-)
-------------------------------------------------------------------------------
From: basinski@biosci.arizona.edu (Mark Basinski)
Newsgroups: rec.music.classical.guitar
Subject: Re: String Recommendations?  (No Augustines, please...)
Date: 27 Jan 93 21:36:32 GMT
Followup-To: rec.music.classical.guitar
Organization: Univ. of Arizona

In article <15683.2b669a61@ohstpy.mps.ohio-state.edu>,
egras@ohstpy.mps.ohio-state.edu wrote:
> 	The one and only time I tried Savarez strings I found the trebles
> to be very "scratchy".(This meaning that if you run you finger up and down
> the trebles, you hear a scratchy noise.)  This sort of bothered me.  I've
> learned to accept, not like, the scratchy sound from the bass strings, but
> why settle for scratcy trebles?
> 
   Was that "one & only time" actually using the new Savarez Alliance
trebles? They are not "scratchy", but I do recall buying some Savarez
strings several years ago that were "textured" (or is the term 
"rectified"?); anyway, they were *very* scratchy; unusable as far as I 
was concerned. The Alliance strings are worth trying. I find that on
my instrument the blue-card ones (*super* high tension) work quite
well, sound very good (but my guitar seems to like high tension
strings anyway - I usually use J44s).

----------------------------------------------------------------------------
Mark Basinski      Internet: basinski@biosci.arizona.edu
From: jim@nimbus.com (Jim Washburn)
Newsgroups: rec.music.classical.guitar
Subject: Re: David Russell
Keywords: Russel, teaching
Date: 21 Jan 93 22:33:18 GMT
Reply-To: jim@nimbus.com (Jim Washburn)
Organization: Nimbus Technology, Santa Clara, CA USA

In article <C17oFr.EA7@news.cso.uiuc.edu> lbroda@s.psych.uiuc.edu (Larry Broda) writes:
>I'm auditing a master class by David Russell next week.  Though I've
>read a lot of good stuff about him, I've never heard him live or on
>recordings.  Unfortunately, he is only giving the class, no
>performance.  
>
>Can people who are more familiar with Russell offer some
>opinions/comments on this guitarist?
>
>--
>Larry Broda
>Dept. of Psychology
>Univ. of Illinois at Champaign-Urbana
>lbroda@s.psych.uiuc.edu


I heard David Russell play two years ago at Herbst Theatre in San Francisco. From
the first few notes it was evident that he possesses a exceptionally beautiful tone.
His playing manner and demeanour were relaxed, apparently without tension or
nervousness; he is one of the few guitarists I've seen who actually appeared to
be enjoying giving the concert. The program was well-chosen, avoiding the standard
over-performed pieces while remaining engaging and accessible. Altogether it was
one of the two or three most enjoyable classical guitar concerts I've attended
(and I've seen all the well-known players). I'm looking forward to seeing him
again in April.

-Jim Washburn
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 20:49:48 GMT
Followup-To: rec.music.classical.guitar
Organization: Univ. of Arizona

In article <1993Jan22.051516.6547@usage.csd.unsw.OZ.AU>,
markc@hydra.maths.unsw.EDU.AU wrote:
> 
> Am I alone here in thinking the Recuerdos de la Alahambra is one
> of the most boring pieces of music ever written for the guitar? 

  It is a beautiful little Romantic miniature when done well, but
is at best a "bon-bon" in the menu of music available to the guitar.

> How about a discussion of some more substantial music. What do people
> out there in netland think of Tippet's Blue Guitar and Eliot Carter's
> Changes? as two examples?
> 
  I've only heard Tippett's piece twice, once in '85 when Bream was playing
it (and I don't recall being too impressed with it, though the rest of the
performance was *really* good, which isn't always the case with JB) and
again in '89 when David Tannenbaum performed the piece at the GFA festival
in Lubbock, and I recall being impressed that time, but I still have no
clear image of the piece. I bought the music recently and have messed with
it a bit (my teacher was trying to get me to put that on my doctoral solo
recital, but I chickened out and did the Martin pieces instead). It looks
interesting - maybe later.

   The Carter piece is *very* cool (though really demanding). I heard this
piece a lot when it was played by one of my (former) colleagues here, Todd
Seelye, who is a fantastic performer of difficult contemporary music.
I've heard that Eduardo Fernandez also has been performing it recently,
though I haven't heard him do that (but I'm sure he'd play the hell out
of it).
----------------------------------------------------------------------------
Mark Basinski      Internet: basinski@biosci.arizona.edu
Organisation: European Space Technology Centre (E.S.T.E.C)
Date: Friday, 22 Jan 1993 11:50:13 CET
From: <RATKINS@ESTEC.BITNET>
Newsgroups: rec.music.classical.guitar
Subject: Re: David Russell

I have had the pleasure of attending master classes, concerts, and individual
tuition classes given by David Russell, at the week long Classical Guitar
Festival of Great Britain held at West Dean in the UK in 1991 and 1992. I will
be there again in 1993, as will David also.

At the festival I have had the pleasure also of attending classes given by
other eminent musicians including Leo Brouwer, John Mills, Carlos Bonell and
many others.

Without wishing to criticise these gentlemen, I have found David Russell to be
the most sincere, warm and understanding of teachers. His ways of putting a
player at ease are exemplary and he gets the best out of their performance.

I think you will endorse my opinion after your session with him.As to his
playing, he is simply the greatest. Listen to any of his CDs and you will hear
what I mean.

Roy Atkins
From: egras@ohstpy.mps.ohio-state.edu
Newsgroups: rec.music.classical.guitar
Subject: Re: String Recommendations?  (No Augustines, please...)
Date: 27 Jan 93 14:21:21 EST
Organization: The Ohio State University, Department of Physics

> 
> While it is definitely a matter of taste, the guitar they are going on,
> and the type of music you play, I have been using the Savarez Alliance
> High Tensions for a year or two now, and love them. They are very
> crisp and clear on the trebles, and the basses have a WONDERFUL
> rich sound. The only drawback I hav found is that the basses lose
> their richness rather quickly. They are noticeably different in a 
> few days, and have to be replaced about every 2 weeks. This will
> vary with the amount you play- I am on the instrument 3-4 hours a
> day.


	The one and only time I tried Savarez strings I found the trebles
to be very "scratchy".(This meaning that if you run you finger up and down
the trebles, you hear a scratchy noise.)  This sort of bothered me.  I've
learned to accept, not like, the scratchy sound from the bass strings, but
why settle for scratcy trebles?

	Currently I use Augustine or D'Addario very high tension strings.
I switch back and forth to add some variety.

BrianE
Newsgroups: rec.music.classical.guitar
From: boop@cbnewsi.cb.att.com (joseph.a.lapenta)
Subject: "A Little Romance" -- soundtrack
Organization: AT&T
Distribution: usa
Date: Wed, 27 Jan 1993 20:08:25 GMT


Hello.  I figured this would be the right newsgroup for the
following question.  At the end of a movie called "A Little
Romance" there is a piece of classical guitar music playing as the
credits are rolling.  Could someone please tell me the name of this
piece and if possible, reccommend good recordings of it?  I am not
only interested in a good performance, but excellent sonics as
well (no recordings from 1940s please).  I have only a CD player
and would prefer and all digital recording (no flames please).  

Please respond by email as I don't read this newsgroup often.

Thanks in advance to all who respond!

Joe LaPenta
From: egras@ohstpy.mps.ohio-state.edu
Newsgroups: rec.music.classical.guitar
Subject: Re: hoof-flex for humans
Date: 27 Jan 93 14:24:07 EST
Organization: The Ohio State University, Department of Physics

>  
> I have it on pretty good authority (they used it for a month and a half
> straight) that this stuff doesn't work.  Of course, there are always
> individual disparities in how effective any preparation will be, so you
> may find this stuff to be *somewhat* helpful.

	I hope they got their money back since it's guarenteed.

BrianE
From: radams@cerritos.edu
Newsgroups: rec.music.classical.guitar
Subject: Re: Banned from the repertoire (Was Re: Recuerdos de la Alhambra)
Date: 22 Jan 93 20:01:37 PST
Organization: Cerritos College, Norwalk CA

In article <leblanc.727745184@knuth.mtsu.edu>, 
leblanc@knuth.mtsu.edu (Stuart LeBlanc) writes:

> My selection for this honor would be Leyenda.  Although I love the

Regarding the "banning" of repertoire, I find that my reaction to hearing
Leyenda or Recuerdos and other very-often-played pieces is also one of
dreariness if the performance is dreary. The pieces are good enough musically
to be interesting, and when they are played well, they are worth hearing. I
venture that the reason for the boredom in hearing these pieces is the way that
they are played.  Even the player may become bored with a piece due to aversion
to her/his interpretation (which she/he usually attributes to not liking the
piece anymore or 'outgrowing' the piece).  I was rehearsing with a conductor
one time privately and we discussed this very subject. He said, for instance,
that everybody is sick of hearing Beethoven's 5th and they don't want to
hear it anymore. Why? because it is not played right or well enough. He thinks
that any piece played well, with intelligence, musicality, knowledge of
historical context and significance and style, will be well received always -
even if the piece has been played billions of times. Artur Rubenstein once
was asked if he ever got tired of playing certain pieces that he has played
thousands of times (speaking of only the performances :-) and he replied
that he always performs a piece as if he is playing that piece for the very
first time. That way it is fresh and never dull (at least not to me). 


-------------------------------------------------------------------------------
	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        		          293 Dwapara :-)
-------------------------------------------------------------------------------
From: basinski@biosci.arizona.edu (Mark Basinski)
Newsgroups: rec.music.classical.guitar
Subject: Segovia (WAS Re: REQUEST: etc)
Date: 21 Jan 93 21:10:10 GMT
Followup-To: rec.music.classical.guitar
Distribution: usa
Organization: Univ. of Arizona

In article <8197@dove.nist.gov>, wack@ariel.ncsl.nist.gov (John Wack)
wrote:
> From one class I attended, which was billed as a master class but was open
> to the public so guys like me got in, I remember a Peabody Institute
> student playing Bach's Prelude from the series for Cello (sorry, can't
> remember exact title but most should know the popular piece I'm referring
> to).  The student was near the end of the piece where you're playing some
> ascending notes that culminate in a G (8th fret on B string) while droning
> on the open high E string, just before the finale where you start the
> ascension up to that final high D chord.  This student was doing it the
> Segovia way, avoiding notes played on open strings and, if he could,
> 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.  
 
   One must remember that Segovia came from a *Very* romantic tradition,
and was always most interested in doing beautiful things with the guitar,
which he always did very well. In particular, Segovia often favored playing
melodic material around the a (1st ledger line above treble clef) on the
2nd string way up high, as opposed to playing it on the first string, 
closer to first position. Segovia liked to do this because of the the
sweeter, rounder tone that the guitar produces there, and apparently
on his famous Hauser guitar, that area was exceptionally beautiful.

  BUT! Segovia also was playing Bach as a romantic, with no concern nor
knowledge of the more recent interest in performing baroque music with an
authentic approach to the sytlistic characteristics of the music. So, even
in many cases where the simpler fingering is easier, it may also be
more appropriate from musical standpoint, i.e. concentrating on clarity
and balance of polyphonic material, etc. Certainly for intermediate level
students I'd recommend the simpler, straightforward fingering, at least
at first.
----------------------------------------------------------------------------
Mark Basinski      Internet: basinski@biosci.arizona.edu
From: leblanc@knuth.mtsu.edu (Stuart LeBlanc)
Newsgroups: rec.music.classical.guitar
Subject: Re: Recuerdos de la Alhambra (Was Re: Yepes)
Date: 21 Jan 1993 03:27:19 -0600
Organization: Dept of Comp Science, Middle Tenn State Univ, Murfreesboro, TN
NNTP-Posting-Host: knuth.mtsu.edu

>>Of course I'm serious.  Have you read other responses to this?
>>Apparently I'm not the only one to have heard/read this.  But even if you

>  well, sorry, but I'm a performer and teacher and I have no qualms at
>all about telling you "You're wrong" - If you (or anyone else) think
>the bass  line is more  melodically interesting than the top line, well
>fine, but that is not what tremolo is about. 

Although Mark Basinski could perhaps make his point somewhat more
tactfully, and in fact if you look at the coda of Recuerdos there are
those phrases where the upper voice repeats a note while the
accompaniment takes a more melodic character, he is nonetheless correct:
the upper voice is the melody, and the basic musical intent of the tremolo
is to approximate the sustained quality of the singing voice.  There are
probably a few hundred songs by Schubert which are of precisely the same
texture as Recuerdos, and although most musicians would say the piano
accompaniments are very fine, there are probably very few who would
characterize the piano part as melody and the voice part as
accompaniment.

This intuitive perception is borne out compositionally as well, because
there is a plainly apparent technique of motivic development in the
melody of Recuerdos, which a competent interpreter will avail themself
of to good musical effect.

Stuart LeBlanc
Guitar Instructor
MTSU Dept. of Music
From: chem91@Elroy.UH.EDU ("Bill Harrison (713)-743-2789")
Newsgroups: rec.music.classical
Subject: Re: Mahler 7
Date: 26 Jan 93 15:28:44 GMT
Article-I.D.: menudo.1k3lbcINNpam
Reply-To: chem91@Elroy.UH.EDU
Organization: University of Houston
NNTP-Posting-Host: elroy.uh.edu

[...]
>
>Well, if you're going to take the yard-goods approach to buying CDs (1
>minute = $X), then shouldn't it go for density as well as time?  In
>other words, a record company would be justified in charging you 1,000
>times as much for a recording of the Mahler 8th Symphony as for a solo
>piano recording of the same duration.
>
>My point is that it makes no sense to make this kind of simplistic
>equation.
>
>Jon Alan Conrad

Well, I would phrase it that a solo piano disc should be 1000 times as 
*cheap* as a Mahler 8... ;=)   Two-CD sets which contain about 80 or 90
minutes of music bug me too.  Those enlightened companies who provide 
filler material will tend to get my business.  

Bill


+ ~~~~~~~~~~~~~~~~~~~~~~~~~\               /~~~~~~~~~~~~~~~~~~~~~~~~~~~+
| Bill Harrison,            \             /       "Be as radical as... |
| University of Houston, TX  >-----------<         reality itself"     |
| CHEM91@JETSON.BITNET      /             \                V. I. Lenin |
+ ~~~~~~~~~~~~~~~~~~~~~~~~~/               \~~~~~~~~~~~~~~~~~~~~~~~~~~~+
Newsgroups: rec.music.classical
From: apter@fid.morgan.com (Steve Apter)
Subject: Re: Public Service Announcement
Organization: Morgan Stanley & Co., New York, NY
Date: Thu, 21 Jan 1993 22:03:45 GMT

In article <CB.93Jan21125456@tamarack13.timbuk> cb@tamarack13.timbuk (Chris Brewster) writes:
>Dave Lampson writes:
>
>   ... A better overall suggestion is a nifty little product (to which I 
>   have no connection whatsoever) called, now get this, Goo-Gone. ...
>
>I have something with a name something like Lift-Off that meets Dave's
>description, including where I bought it (a hardware store).  I think the
>important point is to go to a hardware store.  There are lots of other solvents
>that either give you headaches or get you high, or both, and I'd be interested,
>at the risk of turning this into alt.heloise, to know which ones get the goo up
>and don't wreck plastic.  There's carbon tetrachloride (Energine?), thinners for
>all sorts of finishes, nail polish remover etc.  Any chemists here?
>
>Chris Brewster
>cb@cray.com
>


I might point out that the cheapest nontoxic substance that removes
the labels without eating through the jewelbox into the CD (and onward
into the earth's core) should satisfy.

PS:  On inspecting my treated copy of the Tennstedt/Kennedy Beethoven
Violin Concerto, I do notice slight marks around where the lighter-
fluid was applied.

PPS:  alt.heloise?  Is that a *medieval* joke Chris?


Newsgroups: rec.music.classical