HDTenEightyP/NetNews huggingface dataset:
From: brad@buck.viewlogic.com (Bradford Kellogg)
Subject: Re: How do I play my tremolo loUDER?
Originator: brad@buck
Organization: Viewlogic Systems, Inc.
Date: Wed, 11 Nov 1992 20:31:23 GMT


I would suggest experimenting with where you get on the strings
with your plucking hand, i.e. closer or farther from the bridge,
and also look carefully at the motions of your tremelo-ing fingers.
While economy of motion is often touted, perhaps you could also
experiment with wilder motions, and see if you can grab the string
more vigourously with each roll of the fingers. Maybe all you need
is a little application of brute force.

Admittedly, playing forcefully while still sounding fluid takes
practice. But this stuff (Tarrega) is soulful music, and sometimes
you just have to get down and boogie.

Cheers
Newsgroups: rec.music.classical.guitar
From: basinski@biosci.arizona.edu (Mark Basinski)
Newsgroups: rec.music.classical.guitar
Subject: Re: String Tension (Was Re: Kohno Classical)
Date: 9 Nov 92 22:07:56 GMT
Followup-To: rec.music.classical.guitar
Organization: Univ. of Arizona

In article <1992Nov9.090255.21645@menudo.uh.edu>, wjin@cs.uh.edu (W. Woody
Jin) wrote:
> . . . Not only I cannot continue the whole
> sequence at a time, but also I feel pain in my left hand after I finish.

 OW! You should not feel PAIN! If you do, you're probably doing something
physically incorrect. It's true that certain pieces demand more (and may
cause more pain). If you don't study with anyone, you might consider
taking some lessons (and having your guitar checked out) to see what
could be done. 

	With my students, I try to get them to learn how to use the left arm
more efficiently, both in terms of the weight of it, and using larger
muscle groups. For example, if you do lots of bars, and the only way
you can get the bar to work is by really pinching hard, i.e. lots of
pressure with the thumb, you're going to have problems. It is much
more efficient to use the arm (both weight and arm/shoulder muscles)
along with fixation of the index finger to do bars - the thumb is 
hardly necessary at all for force, but serves a role as a stabilizer. This
in turn is much easier to do if the guitar is angled slightly away from
you, that is, the neck should be slanting away from you at about
a 25 - 30 degree angle. This is a very difficult thing to explain; it is
really necessary to "get the hang" of it physically, and a teacher
(who understands this concept) is the ideal way to learn this. I really
got into this in detail in my studies with Abel Carlevaro, but this is
something that many players and teachers stress, not just Abel.
----------------------------------------------------------------------------
Mark Basinski      Internet: basinski@biosci.arizona.edu
Newsgroups: rec.music.classical.guitar
From: markc@hydra.maths.unsw.EDU.AU ()
Subject: Re: Advice from Segovia
Organization: school of Mathematics UNSW
Date: Mon, 9 Nov 1992 05:17:07 GMT



Jim Tims writes:
>
>>`Are there even two worthwhile opinions on this? 8^) Parkening is absolutely
>>all by himself.  Williams can easily outplay him, and a lot of hotrod
>>fretboard Liberaces can tug at your heartstrings, but for intelligent
>>musicality Parkening stands alone.

I must strongly disagree here. But with no flames directed at anyone! To me
Parkening has always been a second rate musician. This has nothing to do
with his technical ability which is fine. To me he represents the worst of
the Segovia tradition. While the likes of Julian Bream were getting composers
of the class of Britten, Walton and Tippett to write for the instrument,
and someone like Eliot Fisk has music written by Lucianio Berio to enrich
the repetoire, Parkening has slavishly followed the Segovian tradition.
When was the last time Parkening played something new? Or recorded something
other than a bit of a Bach lute suite or Albeniz transcription? I cannot
speak for anybody else, but I believe that the sooner the guitar loses the
"Segovia is God" mentality that so many people have, the better it will be for
the instrument. This is not meant to denegrate what Segovia achieved, but
the instrument was around before him and is doing fine now. Yes he was a
great player, but too many guitarists, Parkening being a prime example,
have followed that tradition and added nothing to it. When was the last time
Yepes or Lagoya or Parkening  or even Pepe Romero actually recorded a work
that had not been recorded 265 times previously? Does the guitar NEED 
more recordings of Leyenda (Asturias) or Sor's op9? I think the answer is 
no. There are many fine pieces in the repetoire, both modern and pre 20th 
century which should be played and brought to the public's attention. That is
how to make the guitar a living part of music. Younger players like Norbert
Kraft, David Starobin, Tannenbaum, Eduardo Fernandez, Reinbert Evers and
many more are bringing new music, some ordinary, some good some great, to
the musical public. Even John Williams, who has recorded a fair slab of the
guitar repetoire, has recently released an all Takemitsu CD. When Christopher
Parkening starts playing Luigi Nono in his concerts, and puts out a CD
of Henze's complex and difficult Royal Winter Music, then I will start to
see him as more than a block of wood musically.

Mark C.

>>There.  Take your best shot.
>>Maybe there's flaming in r.m.c.g after all!

Was that good enough?
From: mozart@coos.dartmouth.edu (Sting)
Newsgroups: rec.music.classical.guitar
Subject: Re: Tunning fork
Date: 6 Nov 92 16:14:23 GMT
Organization: Dartmouth College, Hanover, NH

In <1992Nov5.103125.16963@infodev.cam.ac.uk> dahe@cl.cam.ac.uk (David Elworthy) writes:

>|> what brings us to the question: if you've got an electronic tuner why
>would you
>|> bite into a tuning fork ??? ;)
>|> --

>So you can
>(a) borrow one and buy the other and have confidence they are consistent.
>(b) disprove claims made on the net.
>(c) not have to buy any more batteries for the electronic tuner.
>(d) not have your pockets pulled out of shape by carrying it around.
>(e) not lose kudos points by using it at gigs and sessions.
>(f) not have to suffer the bad vibes which modern technology creates in
>classical music (man).
>and also because
>(f) biting the electronic tuner doesn't work.

From my experience tuning pianos, you can get a more accurate-sounding
tuning by checking the vibrations between a fork and strings with your
ear rather than letting the electronics sort it out.  I don't know exactly
why this is true, but I've found that tuning a piano with an electronic tuner,
even if I line up all the gadgetry just-so, does not produce as refined and
pleasant a sound as doing it by ear with a fork.  In large part, this may 
be because there is a certain amount of intentional error introduced when
tuning in even-tempered scales, but it still leaves a tuning-fork as a more
musically useful tuning implement...

-Sting

------------------------------------------------------------------------
Michael J. Fromberger
Consultant:  Computer Resource Center / Consultants' Office
Dartmouth College, Hanover, NH
CRC: (603) 646-2626  CONS: (603) 646-3417  HOME: (603) 643-5716
Sting@Dartmouth.EDU / mozart@coos.dartmouth.edu / 69224f@d1
  all requests granted - all grants requested!
"The trouble with marrying your mistress is that you create
 a job vacancy ... "
------------------------------------------------------------------------
From: jdalin@devildog.att.com (Jimmy Dalin)
Newsgroups: rec.music.classical.guitar
Subject: Re: Right Hand Studies
Date: 5 Nov 92 18:43:33 GMT
Organization: AT&T IMS - Piscataway, NJ (USA)

In article <Bx93Cw.836@news.cso.uiuc.edu> lbroda@s.psych.uiuc.edu (Larry Broda) writes:
>
>Re: the Romeros vs Williams speed debate:
>
>	I have to agree that Pepe Romero is faster than Williams and
>technically flawless.  But the person arguing for Williams seems to be
>implying that speed=quality.  Speed is merely a tool, necessary for
>executing certain passages and handy for impressing other guitarists,
>but never an end in itself.  The fastest guitarist in the world might
>be a lousy musician.  Williams may not be as fast as Pepe Romero, but

(and so on.)

I went many years ago to a Norman Blake concert.  He's a fabulous guitarist,
and plays folk and old-time music, for those of you not familiar with his
work.  Before he started, he introduced his wife to the audience and
explained that her primary function was to remind him to slow down during
concerts and recording sessions.

-- 
Jim Dalin            "No Salga Afuera"  
AT&T                    N.Y.C.T.A.
ATTMail id: !jdalin            
Compuserve: 72260,1573
From: basinski@biosci.arizona.edu (Mark Basinski)
Newsgroups: rec.music.classical.guitar
Subject: Re: Narciso Yepes
Date: 6 Nov 92 17:29:26 GMT
Followup-To: rec.music.classical.guitar
Organization: Univ. of Arizona

In article <14567.2af95562@ohstpy.mps.ohio-state.edu>,
egras@ohstpy.mps.ohio-state.edu wrote:
> 	I hear that Segovia and Yepes really hated each other.  Anyone have
> any good stories?

hmm, well, I must say I never had a very high opinion of Yepes. I have only
heard a few of his recordings (his Villa-Lobos album is good technically,
but he has no understanding of the music IMHO). I heard him play the
Vivaldi
and the Rodrigo "Fantasia" concerti a couple years back, and it was pretty
dull - awful tone and totally against my musical concept of both pieces.

Segovia supposedly called him "that little man with the shiny shoes and the
shiny head and nothing in between..."
----------------------------------------------------------------------------
Mark Basinski      Internet: basinski@biosci.arizona.edu
Newsgroups: rec.music.classical.guitar
From: mtc@iscp.bellcore.com (Ming Chao)
Subject: Classical Guitar Store in NY area
Organization: Bellcore
Distribution: usa
Date: Sat, 7 Nov 92 00:24:28 GMT
Followup-To: Store in NY area

Another guitar store in the NY city area:

American Institute of Guitar
250 West 54th street
Suite 608
New York, NY 10019
(212) 757-3255

Last time I went there, they have a Manual Contreras,
a Ramirez Centennial, a Hopf, and a Iouanu?(a NY state maker).
The guy (Andy) there is quite nice.  You can try out the guitars in a small
room full of guitars (very quiet).


Ming Chao
Newsgroups: rec.music.classical.guitar
From: lbroda@s.psych.uiuc.edu (Larry Broda)
Subject: Re: Narciso Yepes
Organization: UIUC Department of Psychology
Date: Fri, 6 Nov 1992 16:53:30 GMT

egras@ohstpy.mps.ohio-state.edu writes:



>	I was wondering if anyone has ever heard or heard of a record called
>THE ART OF SPANISH GUITAR Vol. I & II recorded by Narciso Yepes.  I have
>Volume I and really enjoy it.  I have never seen volume II and was wondering
>if it is any good.   What are your opinions about Yepes' playing.  I think
>he is a great musician who gets fabulous tone and adds alot of good
>interpretation to songs (rather than being a pure technitian). 
>	
>	I hear that Segovia and Yepes really hated each other.  Anyone have
>any good stories?

>BrianE

I don't like Yepes interpretations, which I find mechanical and often
too slow (I guess you could also say "stately and dignified") but I do
listen to him sometimes because of his beautiful tone and the
interesting sonorities of the ten-string guitar.  If you like Back,
seek out his recordings of the Lute works; I have a two-volume set on
DG from pre-CD days, but I don't know if it is still in print or in CD form.

I once heard part of a radio interview with Yepes in which the
interviewer asked him if his techniqiue was similar to Segovia.  He
was very definite in saying that his technique was completely
different from Segovia (and even photos of Yepes playing make it
obvious that this is true) and wouldn't pursue it beyond that (this
was back when Segovia was still alive).


--
Larry Broda
Dept. of Psychology
Univ. of Illinois at Champaign-Urbana
lbroda@s.psych.uiuc.edu
From: yook1@husc10.harvard.edu (Philip Yook)
Newsgroups: rec.music.classical.guitar
Subject: Strings
Date: 6 Nov 92 11:38:10 GMT
Article-I.D.: husc10.YOOK1.92Nov6033810
Distribution: rec.music.classical.guitar
Organization: Harvard Arts and Sciences Computer Services, Cambridge, MA

What are the best strings to use?
Newsgroups: rec.music.classical.guitar
From: "James F. Tims" <p00168@psilink.com>
Subject: Re: Advice from Segovia
Organization: Semper Excelsior
Date: Thu, 5 Nov 1992 17:29:05 GMT
X-Mailer: PSILink (3.2)

>DATE:   Thu, 5 Nov 1992 05:53:59 GMT
>FROM:   Robert Colwell <colwell@pdx023.world>
>
>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
[Parkening badmouth abbreviated...]
>
>   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.
>
Are there even two worthwhile opinions on this? 8^) Parkening is absolutely
all by himself.  Williams can easily outplay him, and a lot of hotrod
fretboard Liberaces can tug at your heartstrings, but for intelligent
musicality Parkening stands alone.

There.  Take your best shot.
Maybe there's flaming in r.m.c.g after all!

>
>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

Yeah!  Take that you Philistines. %^/



-- 
jim tims 
"And if you're a miner, when you're too tired and old and sick and stupid
to do your job properly, you have to go, whereas just the opposite applies
with the judges."  Beyond the Fringe
From: bgray1@cc.swarthmore.edu (Brandon Gray)
Newsgroups: rec.music.classical.guitar
Subject: Need good Tuck & Patti recommendations...
Date: 9 Nov 92 21:15:14 GMT
Organization: Only represent myself...

Hey!  Anyone fans of Tuck and Patti? (I would hope so, with all this
discussion over jazz fingerstyle on classical...)  Anyway, I heard one song
by them on my college radio station last night, and was completely
intrigued by their style and sound.  What album(s) would be good beginning
point(s) to listen to?  I definitely would like to buy some of their music
in the near future, if at all possible, so please feel free to send me
E-mail or respond to the post with your comments and suggestions!  Also,
some background on the group would be greatly appreciated...I heard a rumor
that they were married, is this true? etc...  Later much!
                          
Brandon
Newsgroups: rec.music.classical.guitar
From: bulger@ug.cs.dal.ca (Fred Bulger)
Subject: Re: Flamenco Recording List
Organization: Math, Stats & CS, Dalhousie University, Halifax, NS, Canada
Date: Fri, 6 Nov 1992 20:40:30 GMT

In article <1992Nov4.142939.18433@ugle.unit.no> gg@iok.unit.no (Gus Gassmann) writes:

>and while we're at it, i'll make a plug for another album he worked on:
>Passion Grace and Fire (with John McLaughlin and the much maligned 
>Al Di Meola)

  One question... which one is Passion, which one is Grace, and which one is
Fire ?  8^)


						   -Fred.

-- 
  Fred Bulger                |  1-(902)-429-3057 
  6137 Charles St.           |  bulger@ug.cs.dal.ca  
  Halifax, Nova Scotia       |  fbulger@ac.dal.ca 
  CANADA    B3l 1K8          |  bulger@moon.sba.dal.ca
From: kent@netcom.com (Kent Crispin)
Newsgroups: rec.music.classical.guitar
Subject: Re: String Tension (Was Re: Kohno Classical)
Date: 10 Nov 92 18:27:12 GMT
Article-I.D.: netcom.1992Nov10.182712.21536
Organization: Netcom - Online Communication Services (408 241-9760 guest)

In article <1992Nov10.094530.6142@menudo.uh.edu> wjin@cs.uh.edu (W. Woody Jin) writes:
>I think that the key point is to build strong muscle between the thumb
>and index finger in left hand.  As I practice, I can play longer
>sequence of Cejas(bars) naturally.   Oh, God, but this improvement is
>so slow.  After 7+ years of practicing (even though somewhat sparse),
>I still could not make the long Ceja sequences in Bach's prelude of
>Unaccompanied Violon Cello III and in Estudio Brillante.
>Does anyone know efficient practice ?  

I also have noticed that after long barred passages the muscle group
at the base of the thumb gets fatigued to the point where I can't
continue playing.  It doesn't hurt except in the sense of being a
muscle "burn", but I still have to stop playing for an extended time
(an hour perhaps) before the hand completely recovers.  But I also
am "sparse" with my practice...

A couple of years ago I joined a Rock Gym -- a gym with artificial
rocks where you could practice climbing.  They had a small weight room
and a very knowledgable exercise physiologist who would give advice.  Why
do I mention this, you wonder?  It's because rock climbing requires very
strong hands, and as part of their program they had special exercises
for strengthening the hands.  

While I don't think those exercises are directly applicable to guitar,
there were two important points I picked up.  First, the muscles of
the hand *can* be strengthened considerably by an appropriately
designed exerecise program.  Second, any skilled muscular activity can
benefit by a general improvement in strength -- there were several
climbers there who had reached plateaus of performance where they were
not limited by skill but were limited by strength.

There is an athletic component to playing many musical instruments -- I
have heard musicians described as "small-muscle athletes".  In training
the hands for the special rigors of playing the guitar you might consider
addressing the problem of thumb strength directly.
-- 
Kent Crispin			"No reason to get excited",
kent@netcom.netcom.com		the thief he kindly spoke...
Newsgroups: rec.music.classical.guitar
From: farber@mailhost.aa.cad.slb.com (Phillip Farber)
Subject: Re: Kohno Classical
Organization: Schlumberger CAD/CAM; Ann Arbor, Michigan (USA)
Date: Fri, 6 Nov 1992 15:59:25 GMT


jeff@canada.sun.com (Jeff Larstone) writes:
[...]
>Hannabach produces several string classes from low to super-high
>tension. They are quite expensive - at least in ottawa - costing
>about $22 Cdn. including tax. IMO, they are excellent strings and
>although I am no afficiando, I would characterize these strings as
>tonally "bright/crisp/clean" with excellent longevity. I prefer the
>super-high tension to the high tension as they solve the sloppy
>G string problem I have on my guitar.


How would you characterize the sound of Hannabach strings across the
various tensions of which you have experience, i.e. are the super-high
tensions brighter/louder/stiffer than the high tension?

It is my experience that higher tension strings tend to be slightly
brighter and clearer although at the expense of requiring more
pressure to bar.

Phil.
-- 
===========================================================================
Phillip Farber                            farber@ann-arbor.applicon.slb.com
Applicon Schlumberger                     farber@aaaca1.sinet.slb.com
Ann Arbor, Michigan 48106-0986 (USA)
From: egras@ohstpy.mps.ohio-state.edu
Newsgroups: rec.music.classical.guitar
Subject: Re: Xmas Album Suggestions?
Date: 5 Nov 92 16:57:56 EST

In article <1992Nov5.142150.9240@lsa.umich.edu>, gerald.b.ross@um.cc.umich.edu (Gerald Ross) writes:
> How about some suggestions for guitar Xmas music on CD.
> 
> Here are my recent favorites...
>       Hymns, Carols and Songs about Snow - Tuck Andress
> 
>       Nutcracker Suite - Modern Mandolin Quartet
> 
> more?




	I'd really appreciate any info on good Christmas sheet music for
classical guitar.  Does anyone know if Carol of the Bells has been arranged
for either solo guitar or ensemble?

	I have one Christmas music book which is ok.  I'd like to get some 
good quality, pretty sounding, transcriptions which range from intermediate
to difficult.

Thanks,

BrianE
From: basinski@biosci.arizona.edu (Mark Basinski)
Newsgroups: rec.music.classical.guitar
Subject: Re: Decent Vila Lobos Editions
Date: 5 Nov 92 21:19:30 GMT
Followup-To: rec.music.classical.guitar
Organization: Univ. of Arizona

In article <92Oct31.164733.26187@acs.ucalgary.ca>, quigley@acs.ucalgary.ca
(Martyn Thomas Quigley) wrote:
> There is "Abel Carlevaro Guitar Masterclass, Vol III, Technique, Analysis
> and Interpretation of the Guitar Works of Heitor Villa-Lobos", York Press,
> ISBN 389044-0428.  It does not contain complete fingerings for the whole 
> of each study, but it does have suggestions for all of the most awkward 
> sections of each piece, often 3 or 4 alternatives.  He knew V-L and 
> includes some comments from V-L about how various parts should be played, 
> as well as his own.
> 
> Carlevaro apparently has the original V-L manuscript and he points out
> too how errors have crept into the published Eschig edition and into
> recordings.

These Carlevaro books are pretty good. I was in Uruguay studying with 
Carlevaro in 1990 on a Fulbright Scholarship, and we went over all the
Villa-Lobos Etudes and Preludes. Abel wanted to publish a "performance
edition" with EVERYTHING fingered (he's really big on writing in *all*
left and right hand fingerings nearly all the time, sometimes even if it
seems obvious. Anyway, he does make a lot of very good fingering
suggestions
in those Abel Carlevaro MasterClass" editions (pub by Chanterelle).

Able has manuscripts in HVLs hand for studies 1-5 (and prelude 1). I went
over those with him, and picked his brain for any other variances with
the published edition. Everyone knows that there are many typographical
errors in the Max Eschig edition (and some of these were NOT fixed in the
new Noad publication). I've been meaning to put together my own
"definitive"
list of errata, i.e. the list of all the changes/wrong notes/etc that I
came up with in my studies with Carlevaro. If there's interest, I'll post 
it when I get done...mostly very small stuff, but interesting.

One of the problems with that is the fact that Carlevaro was working with
HVL in Rio in 1943, and that's when HVL gave him those manuscripts
(Carlevaro also gave the world premiere of the etudes at that time I
believe). ANYWAY,
if HVL gave the manuscripts to AC in '43, then what did he send to Eschig
in 
in the early 50s to publish? In other words, until somebody could track
down
what Eschig used as an original, it's impossible to know whether that 
Eschig version was the same or slightly different from the manuscript that
Carlevaro has.

Mark
----------------------------------------------------------------------------
Mark Basinski      Internet: basinski@biosci.arizona.edu
Newsgroups: rec.music.classical.guitar
From: steyn@cs.rochester.edu (Gavin Steyn)
Subject: Re: TAB is the word...  :-)
Organization: Computer Science Department University of Rochester
Distribution: na
Date: Thu, 5 Nov 1992 19:42:25 GMT

In article <18913@ucdavis.ucdavis.edu> darsie@eecs.ucdavis.edu (Richard Darsie) writes:

>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*.

This is assuming that you always want to play with same tuning as the
editor who did the tab.
  For example, I've been working on a lot of lute transcriptions lately,
some of which are fingered for the G string tuned to F#, and some of
which are fingered for standard tuning.  However, I personally sometimes
find that my decision is the opposite of the editor's.  In those cases,
it's much easier to change the fingerings when reading the standard 
notations than it would be if the pieces were in tab format.

  BTW, speaking of lute pieces, has anyone else found that putting a
capo on the third fret makes the guitar sound much more "lute-like"?
I've just started doing this recently, and I really like the sound a
lot for Renaissance music.

Gavin Steyn
steyn@cs.rochester.edu
"So he's had the lifelong ambition of reversing the polarity of the earth?"
Newsgroups: rec.music.classical.guitar