HDTenEightyP/NetNews huggingface dataset:
From: mr@delfin.com (Mark Rosenberg)
Subject: Re: Help out a new guy
Reply-To: mark@delfin.com
Organization: Delfin Systems, Sunnyvale CA
Date: Tue, 17 Nov 1992 15:24:22 GMT

In article <1992Nov16.185845.27299@netcom.com>, seifert@netcom.com (Rich Seifert) writes:
|> In article <1992Nov15.175658.18138@gn.ecn.purdue.edu>, jprien@gn.ecn.purdue.edu (Jamison R. Prien) 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. Still, it is a difficult piece to master, especially at
|> speed. 

There are quite a number of transcriptions of this. Personally, I like
the Fegellen (sp?). I got my copy from Guitar Solo in San Francisco.
To me, one indicator of a good transcription is whether 
the fingerings of the syncopated
eighth note passages that abound in the piece are an arpegio. There
are a surprisingly large number of transcriptions that merely have you
play these as scales. 
-- 
Mark Rosenberg
internet:mark@delfin.com
phone: (408) 562-1126	fax: (408) 748-1140
snail: Delfin Systems, 3000 Patrick Henry Drive, Santa Clara, CA 95054-1814
Newsgroups: rec.music.classical.guitar
From: seifert@netcom.com (Rich Seifert)
Subject: Re: Help out a new guy
Organization: Netcom - Online Communication Services  (408 241-9760 guest) 
Distribution: usa
Date: Tue, 17 Nov 1992 20:17:10 GMT

In article <1992Nov17.042556.19257@cs.rochester.edu>, steyn@cs.rochester.edu (Gavin Steyn) writes:
> In article <1992Nov16.191125.29247@cbnewse.cb.att.com> chenl@cbnewse.cb.att.com (julian.l.chen) writes:
> 
> [talking about Mudarra's "Fantasia" that sounds like a harp (sorry, I
> forget the actual title)]
> 
> > 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.
> 
> Actually, there are some interesting technical bits for the left hand, too,
> if you want to really make the guitar sound like a harp...
> 
> >Although we changed a lot of his fingering. Noad uses lute tuning (EAD#FBE),
> >which I think is appropriate.
> 
> Hmmm...  I've played it both ways, and I like the traditional guitar 
> tuning.  There are a lot of places where it's nice to have the open G
> ring through, whereas the only place that really uses the F# is toward the
> end, and that can easily be fingered on the D string.
> 

I think that what most people (including myself) like about this piece 
are those beautiful dissonances ringing through. This requires playing
the dissonant arpeggios cross-string (1-2-3, and occasionally 4).

What is interesting is that the original tablature indicates that this
is NOT what was intended! Mudarra shows those arpeggios done by 
changing the left hand fingering on the SAME string, which of course
eliminates any ringing through. 

We are left with a decision on maintaining the intent of the composer,
or going for the most beautiful (to our ears) sound. I (any many
others) opt for the latter, but it is just interesting to note that
this is more OUR sensibilities than the composer's.



-- 
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: colwell@pdx022.world (Robert Colwell)
Subject: Andrew York 'Faire'
Followup-To: rec.music.classical.guitar
Organization: Intel Corp., Hillsboro, Oregon
Date: Fri, 20 Nov 1992 08:08:23 GMT

I really like Andrew York's guitar compositions, and have a standing order
at Guitar Solo to ship his transcriptions whenever they become available.
One recent piece he did is called "faire", and as I was playing it through
for the first time, my wife dropped what she was doing to just listen. (She
never does that, draw whatever conclusion you want!) She then informed me
it was her new favorite piece I've ever played, and that it sounded like
"someone wandering through memories".

It's not hard at all, I sightread the whole thing. Try it on someone YOU
love.

Bob Colwell  colwell@ichips.intel.com  503-696-4550
Intel Corp.  JF1-19
5200 NE Elam Young Parkway
Hillsboro, Oregon 97124
From: loon@underdog.ee.wits.ac.za (LOON M J)
Newsgroups: rec.music.classical.guitar
Subject: Latin American duets??
Date: 16 Nov 92 13:57:21 GMT
Article-I.D.: underdog.loon.86
Organization: Wits Electrical Engineering (Undergrads).


Has anyone got any great Latin American duets to recommend to me? Some Latin 
American solos would also be great. 

Thanks in advance.
--
Marc Loon <loon@underdog.ee.wits.ac.za>
Elec Eng, Wits, Johannesburg
From: lbroda@s.psych.uiuc.edu (Larry Broda)
Newsgroups: rec.music.classical.guitar
Subject: Re: parkening
Date: 16 Nov 92 21:36:11 GMT
Article-I.D.: news.Bxtw0E.BE9
Organization: UIUC Department of Psychology

fouts@bozeman.hpl.hp.com (Martin Fouts) writes:


>It is perhaps that Parkening is getting old.  He use to teach Master's
>classes at Montana State University in Bozeman in the late 70's and

Agg! Parkening is only in his early 40's, I believe.  If he is too
old, let's all hang it up now.

--
Larry Broda
Dept. of Psychology
Univ. of Illinois at Champaign-Urbana
lbroda@s.psych.uiuc.edu
From: darsie@eecs.ucdavis.edu (Richard Darsie)
Newsgroups: rec.music.classical.guitar
Subject: Re: Vihuela music
Date: 20 Nov 92 16:54:34 GMT
Distribution: na
Organization: University of California, Davis

In article <basinski-171192123205@lully.biosci.arizona.edu>, basinski@biosci.arizona.edu (Mark Basinski) writes:
> 
>   It is possible to find facsimilie publications of the original tab, and
> it might be possible to find a modern version of the tab. Mudarra's book
> was called "Tres Libros de Musica en Cifra" (pub 1546), and a good music
> library might well have a facsimile (I can't recall if these have been
> published by Minkoff of Geneva or what - I know I've seen fac. versions
> of Milan's "El Maestro" and Narvaez's book also).

There were 7 printed collections of vihuela music published in the 16th
century:  

   Luys Milan: "El Maestro" (1536)
   Luys de Narvaez: "Los seys libros...el delphin" (1538?)
   Alonso de Mudarra: "Tres libros de musica en cifra" (1546)
   Diego Pisador: "Can't think of the title right now" (1546)
   Enriquez de Valderrabano: "Libro de musica...Silva de Sirenas" (1547)
   Miguel de Fuenllana: "Orphenica Lyra" (1552)
   Esteban Daza: "El parnasso" (1576)

All of these have been reprinted in facsimile form. All of them have
some outstanding music in them, though Pisador's is generally of a
lesser quality. Valderrabano's book is HUGE and a good source of
interesting music. It also has a section of duets, some of which
require instruments tuned to different pitches. Daza's music is also
very good, but is not generally for the amateur as it is very difficult.
Narvaez I would also rate as top-notch, and his music runs the gamut
of difficulty so there's something for everyone.  Valderrabano's book
includes difficulty ratings for each piece.

Richard Darsie
darsie@eecs.ucdavis.edu

> ----------------------------------------------------------------------------
> Mark Basinski      Internet: basinski@biosci.arizona.edu
> 
>
From: fbahrami@ucselx.sdsu.edu (Farhad Bahrami)
Newsgroups: rec.music.classical.guitar
Subject: Re: Modern guitarists who play classical  (was Re: Yngwie Malmsteen)
Keywords: John McLaughlin
Date: 18 Nov 92 22:16:18 GMT
Organization: SDSU Computing Services

John McLaughlin, in his current trio setting, plays a nylon-string 'classical'
guitar.  He's also written a couple of guitar concertos, one of which is 
available on CD (and cassette).  It's entitled Meditereanean, and is performed
by McLaughlin with the London Philharmonic,  Micheal Tilson Thomos conducting.

Back in the 80's he did a couple of albums with 'the Players' (including
Katia LaBeque) where he played nylon-string guitar.. pretty modern-sounding too.

FYI, there was an interview in some magazine a couple of years ago with
McLaughlin *and* Malmsteen...hmmm interesting.

For more details, please send email to above account.

Farhad
Organization: University of Illinois at Chicago
Date: Friday, 20 Nov 1992 07:41:06 CST
From: <U53519@uicvm.uic.edu>
Newsgroups: rec.music.classical.guitar
Subject: Re: Need a Recomendation

In article <1992Nov19.165750.7584@cerritos.edu>, radams@cerritos.edu says:
>
>In article <1992Nov19.160346.1098@bnr.ca>,
>loyola@bnr.ca (Nelson Loyola) writes:
>
>I recommend finding a good teacher first. This may eventually end up in
>some FAQ but if you have a good teacher then it hardly matters what book
>you use (maybe the teacher will have her/his own materials). Now, the
>question may follow, "how do I find a good teacher?". I hope others will
>contribute to answering this .....

Over the past twenty years I've had maybe seven classical guitar teachers
(I've moved fairly frequently).  Four of them I found through music stores
or the "Yellow pages".  The other three, one of whom is my present teacher,
teach in college/university guitar programs.  Based on my limited exper-
ience, I would suggest looking for teachers among college/university
faculty rather than through music stores or the yellow pages.  Here's
why:

     1. College/uiversity music programs tend to have more competitive,
     rigorous standards for employment than music stores.  There are
     so few faculty positions in classical guitar that odds favor you
     finding an exceptional performer/teacher in the university than
     in the music store.  Clearly, exceptions exist!  Guitar Solo, I
     imagine, has a far more impressive list of instructors to refer
     prospective students than many college faculties.

     2.  College faculty are more likely, I believe, to be engaged in
     performance -- and at a more demanding level -- than music store
     instructors.  Most schools expect faculty to give recitals and
     concertize as part of the tenure process.  Even though I am a
     "recreational" guitarist, I have found that teachers who perform
     are more exacting in their teaching; plus, it's fun to see your
     instructor on stage in a big hall!

     3.  College instructors tend to teach more advanced players than
     music store instructors, attend master classes, etc., all of
     which can contribute to better teaching.

Conventional wisdom might suggest that a beginning student begin with
a teacher who is convenient and inexpensive, then, at time progresses,
move to a more advanced (e.g. college level) instructor.  My experience
with music school/yellow pages instructors was that I had fun, learned
some basics, and picked up bad habits.  College instructors, on the
other hand, were more demanding but much more helpful.  Were I to do
it over, I would start with a college faculty member....

Incidentally, my experience has been that college faculty are not
necessarily much more expensive.  I presently pay $15 for a 1/2 hour
lesson with a collge faculty member who is active in performance,
transcribes music for flute and guitar, and is an extraordinary
teacher.

-- Ray Sparrowe

Department of Management
University of Illinois - Chicago
Newsgroups: rec.music.classical.guitar
From: fouts@bozeman.hpl.hp.com (Martin Fouts)
Subject: Using Giuliani's right hand studies.
Date: Tue, 17 Nov 1992 18:11:57 GMT
Reply-To: fouts@hpl.hp.com
Organization: Hewlett-Packard Labs

I've been using Giuliani's right hand studies off and on for a year,
and they have been very beneficial, but I wonder if I could get more
from them?

Basically, I spend 5 minutes at the begining of each practice session
working with one study at a specific metronome setting.  Each day for
a week I try to increase the setting.  I usually start at 60 and move
on to about 120 by the end of the week.  When I practice, I try to
concetrate on correct right hand execution, making sure that each
repetition of the pattern is exactly like the previous and that all
are efficient for the particular pattern.

I'm not trying to become a blazing player, but just to establish good
right hand skill.

Any suggestions on how to improve this approach?

Marty

-- 
Martin Fouts                  |  M/S 1U-14
Member of Technical Staff     |  HP Laboratories
EMAIL:  fouts@hpl.hp.com      !  MAIL:  P.O. Box 10490
PHONE:  (415) 857-2971        |  SHIP:  1501 Page Mill Road
  FAX:  (415) 857-8526        |  Palo Alto, CA 94304-1126

novae erratae!
Newsgroups: rec.music.classical.guitar,rec.music.makers.guitar,rec.music.makers.guitar.tablature
From: iglesias@euler.Berkeley.EDU (Immaculada Iglesias)
Subject: guitar for sale
Reply-To: iglesias@euler.Berkeley.EDU (Immaculada Iglesias)
Organization: University of California, Berkeley
Distribution: ca
Date: Tue, 17 Nov 1992 19:20:50 GMT
Expires: Wed, 23 Dec 1992 08:00:00 GMT


Spanish classical guitar for sale.

NEW and completely hand-made.

The maker of the guitar is Luis Goya,
			   Cava baja 42, 
			   Madrid, Spain.

Characteristics of guitar:
	bottom and sides are made of indian rosewood
	top is made of canadian cedar (dark)
	tuning fork is made of ebony
	scale length is 65cm.

The prize of the guitar is $1000 (includes the case) 

If interested contact Luis Goya (junior) 
at (510) 643-2769 8pm-11pm,
or leave a message in my account 
(iglesias@euler.Berkeley.EDU).
Do not reply to the newsgroup.
Newsgroups: rec.music.classical.guitar
From: markc@hydra.maths.unsw.EDU.AU ()
Subject: Re: Re:Williams and the Romeros
Organization: school of Mathematics UNSW
Date: Mon, 16 Nov 1992 04:14:34 GMT



Roger Adams replies to my post:

>>Now, having said all this (including previous posts), I do not
>>take speed as very important. You need enough speed and facility so that
>>they can be used for musical purposes and never for their own sake. I still
>>prefer Williams as a player if you take musicality and technique together
>>as well as the kinds of programs he plays which I like so I am not ranking
>>on anyone here. But liking a guitarist should not lead someone to think that
>>the guy rules on every aspect of technique and musicianship, unless he
>>actually does. I heard Williams play the Chaconne (Bach) live also and he
>>had definite difficulty on one of the scale passages (may have been just
>>a nail problem or a random mistake) even though the rest of the piece was
>>as clean as a whistle. Again subjective, but it tended to confirm my view that
>>he is not as strong on scale passages as on other aspects of technique but
>>his scales are faster than 99.9999% of all other guitarists just the same.

I heard Williams play the Chaconne in concert a couple of years ago. He had
no difficulty with the scale passages at all. In fact he flew through them.
at amazing speed, maintaining that famous crystal like clarity. You should
keep in mind that Williams is a notoriously lazy guitarist, who relies on
his extraordinary technique to see him through when he has not been doing
a lot of playing. Case in point. Williams stayed with Peter Calvo, who 
now runs the Australian Institute of Music, a few years ago. He was to give
a performance of the Orange Juice concerto. Williams did not practice at all
in the days before the concert. He played a couple of scales on the day,
then went out and gave a note perfect performance. He is the only guitarist
I know of who can do that. However you can get into trouble doing that. He
has been known to programme the chaconne without having worked on it for ages.
By his own admission, when he does so, it is not always as clean as he 
would like. You may well have heard such a performance.

I like Pepe as a player. I know he can play very fast, so can a lot of 
people. Eliot Fisk can play at extraordinary speed, and reputedly so can 
Eduardo Fernandez (although his tone can be very brittle). Of course the
Assad brothers are no slouches either. To me how ever, this is not the 
most interesting aspect of guitar playing. I know Williams can play at
extreme speed, not just in scale passages, but in *any* passage, but this 
is secondary to the quality of the music he makes. I think we are both agreed
on that.

Mark C.







Newsgroups: rec.music.classical.guitar
From: quigley@acs.ucalgary.ca (Martyn Thomas Quigley)
Subject: Re: A. Barrios & M. Llobet recordings -- Anyone hear?
Date: Sat, 21 Nov 92 04:23:38 GMT
Organization: The University of Calgary, Alberta
Keywords: Barrios, Llobet, classical guitar

archulet@spot.Colorado.EDU (Jim Archuleta) writes:
>
>  I am a true lover of the compositions of the enigmatic
>character Augustin Mangore Barrios.  Several times I have seen
>advertisements offering original recordings.  

Don't know, never heard them.  I have $$$ if you can supply them.

>Can you really
>hear the genius through the ancient recording?  Does these
>recordings merit inclusion into one's guitar recording collection?

YES YES YES ABSOLUTLEY DO YOU GET THE PICTURE YES YES--EVEN
IF YOUR BIFF!!!  

(soz)

>  Any descriptions or reviews would be welcomed.  Also, I have
>yet to read any mention of Barrios.  What are your experiences
>with his music?

I know of two distinct sets of transcriptions, there is the Stover
vols 1-4, published by Belwin|Mills (brilliant) and the Zen-On
series.  Run, don't walk, to your nearest store.  Try and grow
an extra left arm on the way...it's hard.

Mart
From: radams@cerritos.edu
Newsgroups: rec.music.classical.guitar
Subject: Re: A. Barrios & M. Llobet recordings -- Anyone hear?
Date: 20 Nov 92 16:54:59 PST
Organization: Cerritos College, Norwalk CA

In article <archulet.722219484@spot.Colorado.EDU>, 
archulet@spot.Colorado.EDU (Jim Archuleta) writes:

>   I am a true lover of the compositions of the enigmatic
> character Augustin Mangore Barrios.  Several times I have seen
> advertisements offering original recordings.  Can you really
> hear the genius through the ancient recording?  Does these
> recordings merit inclusion into one's guitar recording collection?

I have a record set of him playing his own music and it is quite an
experience to hear his virtuosity recorded in the days where there were
no gimmicks and high-tech manipulations of the performances. My problem
is that I no longer have a turn table and everything is going to cd's so
I'm not sure what I want to do. I probably should go ahead and get another
turn table.

>   Any descriptions or reviews would be welcomed.  Also, I have
> yet to read any mention of Barrios.  What are your experiences
> with his music?

I have played many of his works. I find that they are all well crafted but
not so many fit into my sense of what I think audiences want to hear. I
love the works that Williams plays of Barrios, I especially enjoyed hearing
him play Choros de Saudade live along with Cueca. I am currently working
up Danza Paraguaya. I like a couple of his waltzes and Catedral. Williams
plays Barrios in a mellow, very clean, musical and charming manner. There
are sloppier but vital performances of his stuff such as Fisk's recording
of Maxixe (sp?). Diaz has also recorded Danza Paraguaya and other Barrios
and was probably the one credited with introducing Barrios's music to
Williams who then put Barrios back on the map.


-------------------------------------------------------------------------------
	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: davidc@brahms.udel.edu (David Casper)
Newsgroups: rec.music.classical.guitar
Subject: NYC Performance Dates
Keywords: NYC,dates
Date: 19 Nov 92 14:42:18 GMT
Followup-To: poster
Organization: University of Delaware

The following information was kindly sent to me by Roberta Wallis
(on NOV 9...I haven't been around and just read my mail today
(NOV 19)...so I apologize about the Assad Duo)...

The New York Guitar Concert Series, presented by the D'Addario Foundation:


(Tuesday, Nov. 10        8 p.m.          The Assad Duo) ***Sorry! :-(

Saturday, Jan. 16       8 p.m.          Ricardo Iznaola

Saturday, Feb. 13       8 p.m.          Guitar Trek (debut)

Saturday, Mar. 27       8 p.m.          David Russell

Saturday, Apr. 17       8:30 p.m.       Trio Tiento with Stephen Robinson


Tickets:  $15

Merkin Concert Hall
129 W. 67th Street
New York City

box office: (212) 362-8719

-- 
David W. Casper
davidc@brahms.udel.edu
From: ihrj@vax5.cit.cornell.edu
Newsgroups: rec.music.classical.guitar
Subject: A. Barrios recordings
Date: 22 Nov 92 19:28:43 EST
Distribution: rec
Organization: Cornell University

Hello, world ! At last I've been able to gain access to this newsgroup.
Cornell bureaucracy had foiled my attempts to date. About the Barrios
recordings :

My guitar teacher lent me a double album (I don't remember the label)
with, among others, La Catedral (2nd and 3rd movements), Aconquija,
Cueca, Maxixe, La ultima cancion, Un sieno la floresta, some transcriptions
of Bach, Schumann, maybe Brahms and some Tarrega (any Spanish-speakers
reading this are requsted to forgive my spelling). As somebody else
remarked, the man had amazing chops - listen to the way he rips through
the Allegro in La Catedral, for eg., and personality. He plays the Bourree
from the Bach 3rd cello suite in an entirely personal, un'authentic' way
which I love (the performance practice crowd would have a fit if they 
heard this version, but I'd rather have personality than boring repetition,
and the man has personality to spare). 

The recording quality is terrible, though - but get them anyway. From
both a historical point of view and a pedagogical point of view (and
also a musical point of view), it's worth getting.

BTW, nobody mentioned that Barrios used steel strings, since he had
trouble getting good gut. He slid pencil erasers over the strings and
jammed them against the bridge to get rid of the twang. It's hard to
discern if you have no forewarning. Also keep in mind that these are
direct to disc recordings - since they had no magnetic tape, they 
recorded them directly on wax. Hence there is no splicing, overdubs,
studio gimmickry, etc.

Hope this helps,

G. A. George
From: turin@soda.berkeley.edu (Jimmy Reza de la Turin)
Newsgroups: rec.music.classical.guitar
Subject: RE: other Neoclassical Composers/Artist
Date: 22 Nov 1992 23:20:43 GMT
Organization: U.C. Berkeley, CS Undergraduate Association
Distribution: world
NNTP-Posting-Host: soda.berkeley.edu


 Anyone has ever heard stuff from Tony Macalpine?? I consider him
very classical and modern. He also plays classical piano and
is very good at it.  He uses both in his songs. One of my fravorites
is the "The Raven" from the Edge of Insanity... 

				Turin
Newsgroups: rec.music.classical.guitar