HDTenEightyP/NetNews huggingface dataset:
Newsgroups: rec.music.classical.guitar
From: elf@dgp.toronto.edu (Eugene Fiume)
Subject: Re: Brazilian Rosewood 
Organization: Department of Computer Science
Date: 20 Dec 92 19:02:50 GMT

I think I used to know the answer to these when I used to hang around with
luthiers.  What are the visual and sonic differences between African and
Brasilian rosewood?  Is the Brasilian variety synonymous with "Jacaranda"?
Is African still plentiful?

Also, has there been much success with artifical guitar backs for acoustic
guitars?  Yes, I know about Ovation, but I'm talking about successes :-) .
-- 
Eugene Fiume, Dynamic Graphics Project
Department of Computer Science, University of Toronto
elf@dgp.toronto.edu, (416) 978-5472
Newsgroups: rec.music.classical.guitar
From: "James F. Tims" <p00168@psilink.com>
Subject: Re: Performance, Nerves, and Right Hand
Organization: Semper Excelsior
Date: Fri, 11 Dec 1992 19:14:17 GMT
X-Mailer: PSILink (3.2)

>DATE:   Wed, 9 Dec 92 15:40:26 GMT
>FROM:   Tony R. Beltran <beltran@ns.network.com>
>
>>> Am I the only person whose right hand tends to get uncontrollably
>>> shaky during public performance? I can be calm as a cucumber right
>>> up to when I sit down to play, and then I can barely control my
>>> right hand. I know its performance anxiety, but can anything be
>>> done about it directly?
>>> 
>
[...good stuff deleted.  Back up a spool if you need to. 8^) ]

>While I have the floor :-), here is a book on guitar harmony I
>would recommend:
>
>Harmony for Guitar
>by Lance Bosman
>Musical New Services 1978, 1990, 1991
>Distributed by:
>Music Sales Limited
>Newmarket Road, Bury St. Edmunds,
>Suffolk IP33 3YB
>order no. MN10095
>
>This book is not your typical "short cut via excercises" fingerboard
>wizard type of presentation.  It is presented as a true study in 
>harmony from a guitarist's viewpoint using the classical repitoire.
>
>Tony
>

Thanks, Tony.

I don't seem to see this mentioned, and it may sound trivial, but
Lyster Bass told me early on to make my first piece something I can
play in my sleep.  Some nice, pretty easy, ever-popular, pleasant
piece that you could play after shoveling snow; in my case Estudio 13 
from the Segovia collection of 20 Sor Studies.  Gives you time to 
calm down.  Just a suggestion.

-jim tims


Newsgroups: rec.music.classical.guitar
From: boarjas@elof.iit.edu (Jason Boardman)
Subject: **QUICK SINEAD SURVEY PLEASE ANSWER**
Organization: Illinois Institute of Technology, Chicago
Date: Fri, 11 Dec 92 17:12:33 GMT


*****  SIMPLE SURVEY -- PLEASE READ *****

I have seen much talk about Sinead on the net lately, 
and was wondering what the general opinion of Sinead
was.  Please take the 20 seconds it takes to reply to
this question and answer it.  (A simple Y or N will do).
Please use your newsreader's reply option or regular
email to submit votes -- do not post your answer.

Question:
Do you still support (or have a general good opinon of)
Sinead O'Connor?

If you wish to send detailed replies as to why or why not,
please do, but they are not required.  Thanks in advance!

Jason Boardman
boarjas@elof.iit.edu
From: darsie@eecs.ucdavis.edu (Richard Darsie)
Newsgroups: rec.music.classical.guitar
Subject: Personal to Bob Girard
Date: 16 Dec 92 16:34:19 GMT
Distribution: usa
Organization: University of California, Davis

Sorry for the bandwidth waste. I accidentally lost your e-mail
address.  I got your snail mail, and I am sending your book today.

Hope you enjoy it!

Richard
Newsgroups: rec.music.classical.guitar
Subject: <None>
From: xarjp@levels.unisa.edu.au
Date: 11 Dec 92 19:34:48 +1030
Organization: University of South Australia

I see that Brazilian Rosewood has been placed on the endangered species
list.
This means, I believe, that trade in objects (guitars) constructed from 
this material is forbidden (criminal offence), regardless of the time of 
construction of the object. International transport of objects constructed 
from the material will result in customs seizure of the object, without 
compensation.

In other words, the same rules as ivory.

I'm sure I'll be corrected if I'm wrong.

Cheers, Rob Potter
From: ak835@cleveland.Freenet.Edu (Michael P. Burns)
Newsgroups: rec.music.classical.guitar
Subject: Re: Performance, Nerves, and Right Hand
Date: 15 Dec 1992 16:19:10 GMT
Organization: Case Western Reserve University, Cleveland, Ohio (USA)
NNTP-Posting-Host: slc4.ins.cwru.edu


In Article #666 exubrst@exu.ericsson.se (Brad Steele) stated:
.
>The discussion of the Fight or Flight response, beta
>blockers, and stage fright is an interesting one.  I
>wonder what types of preliminary activities might help
>to aleviate the fear that starts this.  Perhaps a
>slight change of diet or sleep pattern might help to
>reduce the level of chemicals in the body that would
>magnify this response.  There may be a way to not
>block the electro-chemical response, but reduce the
>offending chemical.
.
>This has been an uneducated, simplistic comment
>designed to stimulate potentially more intelligent
>discussion along the lines of electro-chemical
>response and stage fright.
.
>Brad
.
These are very good ideas and have been researched in the
bio-medical community for quite some time.  One problem with
trying to reduce the level of the neurotransmitter chemicals
responsible for the F or F response in the entire body is that
they are also mediating other responses at the same time. The
fear response begins in the brain with the brain's perception
of a threat to the organism.  Some of the threatening stimuli
are programmed into us by heredity. For example, an infant
responds to a sudden loud noise the same way adults do: the
hands go up to protect the head, the head ducks down and the
knees come up to protect the vital organs in the abdomen and
chest.  These are nearly instantaneous responses.  The
neurochemically mediated responses, like increased heart rate,
increased breathing, hands shaking, etc., take a minute or so
to appear.  That's why you keep shaking after you meet a large
doberman in a dark alley and find but there's really a ten foot
fence between you and the beast.
.
So some of our fear responses are genetic.  Others are learned,
such as the fear of humiliation and resulting loss of self esteem
that is associated with performance anxiety.  Both types of fear
responses can be controlled, if not eliminated, in their pre-brain
stage.  For example, if you know that big dog is around the corner,
and you also know that the big, strong fence is there, then you
know there's nothing to be afraid of and can walk by the dog
without your heart in your throat.  That lack of the fear response
will be reinforced by experience.  The more times you walk past
the dog without getting your throat ripped out, the less the F or F
response comes into play.  You might not eliminate it completely
but you won't be reduced to a mess of quivering jello.  I think
it's the same for performance anxiety.  Others have presented some
very good suggestions of ways to prepare for performances and
harness the fear.  I think the best way is to face the fear and
use the fear's energy as a stimulus to get your butt in gear and
practice.  Fear can be good if we can use it to our advantage.
.
-- 
Michael P. Burns

ak835@cleveland.freenet.edu
Newsgroups: rec.music.classical.guitar
From: spady@bcstec.ca.boeing.com (Robyn Spady)
Subject: Re: **QUICK SINEAD SURVEY PLEASE ANSWER**
Organization: Boeing Computer Services
Date: Wed, 16 Dec 1992 00:01:34 GMT

In article <1992Dec11.171233.26631@iitmax.iit.edu> boarjas@elof.iit.edu (Jason Boardman) writes:
>
>*****  SIMPLE SURVEY -- PLEASE READ *****
>
>Question:
>Do you still support (or have a general good opinon of)
>Sinead O'Connor?
>
What does this have to do with rec.music.classical.guitar?

Robyn Spady (spady@bcstec.ca.boeing.com)
From: kent@netcom.com (Kent Crispin)
Newsgroups: rec.music.classical.guitar
Subject: Re: Performance, Nerves, and Right Hand
Date: 13 Dec 92 02:04:57 GMT
Organization: Netcom - Online Communication Services (408 241-9760 guest)

In article <1g4sgjINNd1j@usenet.INS.CWRU.Edu> ak835@cleveland.Freenet.Edu (Michael P. Burns) writes:
.
.
>3. Psychological:  I used to get into the trap of thinking that
>   because I made a few mistakes that I was a crummy guitarist,
>   a terrible musician, a worthless human being and ugly to boot :-{.
>   You may be thinking, that's going a bit overboard, but I sure
>   other musicians and performers in other venues have had similar
>   feelings.  I think this is the root cause of the stage fright.
>   As contrived as it sounds, I have found that periodically
>   repeating to myself something like "You're a pretty good
>   guitar player, you know?" can really help calm down the shakes.
>-- 
>Michael P. Burns
>
>ak835@cleveland.freenet.edu

My job has forced me to deal with stage fright, albeit in a different
arena -- I need to give presentations on a fairly regular basis.  After
quite a few years of this I note the following:  1)  I still don't like
giving speechs  2) But I have gotten used to it.

What has really puzzled me, though, is *why* it bothers me to stand in
front of an audience.  I think it is more fundamental than a fear of
making mistakes.  It may be something like this: dealing with other
people is a very important survival skill.  Even in small groups
most of our dealings are basically one-to-one, and our communication
uses constant feedback from the other parties facial expressions and
body language.

But when we are truly forced to communicate with a group that feedback
mechanism no longer works.  A different mode of communication is involved.
That is, speaking to an audience is really a different process than 
speaking to another person.

Carrying this idea a little further, then, we might say that stage
fright is really the reaction you have to communicating in an unfamiliar
way -- it is the emotional reaction to losing one of the "normal" feedback
channels in communication.

Of course, this is a very weak theory.  But I would be very interested in
any other ideas people may have on the "why" of stage fright.  For example,
are there any useful models in animal behavior?  Are there studies on the
subject?  What are the effects of beta blockers?  How about cross-cultural
comparisons?



-- 
Kent Crispin			"No reason to get excited",
kent@netcom.netcom.com		the thief he kindly spoke...
Organization: University of Maine System
Date: Friday, 11 Dec 1992 11:25:23 EST
From: John Hassler <HASSLER@MAINE.MAINE.EDU>
Newsgroups: rec.music.classical.guitar
Subject: Re: Large Halls, Guitars, and Technique

In article <Bz358M.1wB@cs.vu.nl>, mwelie@cs.vu.nl (Welie van M) says:
>
>I have question about naillength. I am not playing that long (1 1/2 year)
>but I've always been struggling with my nails. When I started I had
>them very long so it was easier to learn to play apoyando. Then I
>made them shorter and shorter. Today my the white part of my
>nail is about 3 mm . Is that regarded as long or short ?

Yes.  :-)

   The definitive answer is, "it depends".  My nails have 4 different
shapes, and I use 4 different lengths (and shapes).  My i nail is almost
flat, and the white part is about 1mm.  My a nail is strongly curved,
and is about 3mm.  The m is intermediate in shape and length.  My p has
a "hook", and I have to file it in a particular way to make it work.
   I played around with different ways of shaping my nails for years
before I was happy with them.  I read books, took advice from other
players, and just tried things.  (And sometimes had to wait a couple
of weeks for the failures to grow out enough to change again.)  Up to
a point, shorter is better, for me.
   Maybe somebody can give you definitive answers; all I can say is to
try things until you're happy, and don't worry about what is the "correct"
nail length.  If they give you the sounds you want, and they're not so
long that they get broken all the time, then you have the right length.
=======================================================================
J. C. Hassler                       Chem. Eng.          U. of Maine
Newsgroups: rec.music.classical.guitar
From: seifert@netcom.com (Rich Seifert)
Subject: Re: Performance, Nerves, and Right Hand
Organization: Networks & Communications Consulting
Date: Tue, 15 Dec 1992 00:33:41 GMT

In article <2933190795.11.p00168@psilink.com>, "James F. Tims" <p00168@psilink.com> writes:
> 
> I don't seem to see this mentioned, and it may sound trivial, but
> Lyster Bass told me early on to make my first piece something I can
> play in my sleep.  Some nice, pretty easy, ever-popular, pleasant
> piece that you could play after shoveling snow; in my case Estudio 13 
> from the Segovia collection of 20 Sor Studies.  Gives you time to 
> calm down.  Just a suggestion.
> 

Yeah, that is a good idea. I usually use the semi-famous Robert
Johnson Alman.



-- 
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"
From: radams@cerritos.edu
Newsgroups: rec.music.classical.guitar
Subject: Re: Fingernails
Date: 14 Dec 92 16:58:50 PST
Organization: Cerritos College, Norwalk CA

In article <Bz9pn6.BAD@unccsun.uncc.edu>, 
jwh@uncc.edu (jerry holt) writes:

> I would like to know if anyone knows of a proven way to strengthen 
> weak fingernails  that have a tendency to split.  

I have heard of many players, including flamenco players that put a lot of
wear and tear on their nails, use nail polish (transparent) like hard-as-nails
polish as a prevention to splitting or breaking of nails. It gives a protective
coating to the nails.  I have had no problem with nails so I cannot comment
on how useful this method is.


-------------------------------------------------------------------------------
	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: seifert@netcom.com (Rich Seifert)
Newsgroups: rec.music.classical.guitar
Subject: Re: Performance, Nerves, and Right Hand
Date: 15 Dec 92 00:31:02 GMT
Organization: Networks & Communications Consulting

In article <1992Dec13.020457.24468@netcom.com>, kent@netcom.com (Kent Crispin) writes:
> 
> What has really puzzled me, though, is *why* it bothers me to stand in
> front of an audience.  I think it is more fundamental than a fear of
> making mistakes.  It may be something like this: dealing with other
> people is a very important survival skill.  Even in small groups
> most of our dealings are basically one-to-one, and our communication
> uses constant feedback from the other parties facial expressions and
> body language.
> 
> That is, speaking to an audience is really a different process than 
> speaking to another person.
> 
> Carrying this idea a little further, then, we might say that stage
> fright is really the reaction you have to communicating in an unfamiliar
> way -- it is the emotional reaction to losing one of the "normal" feedback
> channels in communication.
> 
> Of course, this is a very weak theory.  But I would be very interested in
> any other ideas people may have on the "why" of stage fright.

Since I was the original poster, I think I can refute the theory (at least
as concerns my problem).

While I have awful stage fright while performing, I regularly speak
to large groups at conventions, etc. I am a University instructor
and industry consultant on computer networks. I don't think its the
lack of feedback. Perhaps it is simply a lack of confidence in my
ability (I am a much better consultant than musician!).

The good news is, I had a performance (actually two) locally this past
week, and nailed both of them. A lot of good ideas came from this thread
(especially helpful was simulating the performance environment at home,
and playing my program "on cue" at a specific time, to an attentive
audience). A lot of practice helped, especially practicing SLOW and
LOUD. A loud warm-up backstage seemed to calm me down, too. 

Thanks to everyone who responded. I think I will save the thread so 
I can look at at before my next performance.

-- 
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"
Organization: University of Maine System
Date: Monday, 14 Dec 1992 12:18:12 EST
From: <IO21145@MAINE.MAINE.EDU>
Newsgroups: rec.music.classical.guitar
Subject: Handel (Samson Minuet?)

I was wondering if anyone knew of an anthology that contained
the minuet from  'Samson' by Handel ( performed by Chrostopher
Parkening on his Bach album)

Seth Eliot Warner
Newsgroups: rec.music.classical.guitar
From: jwh@uncc.edu (jerry holt)
Subject: Fingernails
Keywords: fingernails, stengthen
Reply-To: jwh@uncc.edu
Organization: University of NC at Charlotte
Date: Mon, 14 Dec 1992 21:13:54 GMT

I would like to know if anyone knows of a proven way to strengthen weak fingernails
that have a tendency to split.  I have read many articles in this group that have suggested
making fake nails out of ping-pong balls, buying "Players Nails", coating the nails with
super-glue, etc. , but none of these are satisfactory to me.  I tried the ping-pong ball
idea, but the look was atrocious.  Coating the nails with super glue was ok temporarily,
and seems to be a good way to repair a broken nail, but as a long term measure it seems
to be lacking (glue cracks and chips after a few days, requiring near-constant reapplication).
I have not tried "Players Nails" yet (I may resort to this if I can not get a satisfactory solution).

What I am looking for is a way to strenthen the natural nail.  Is there a lack of some vitamin
or mineral in my diet that causes my nails to be weak, can these be replaced by a change
in diet or with vitamin supplements?  (I have tried the gelatin tablets, to no avail).  Or
is there some sort of proven protein supplement that can be externally applied to the nail
that will strengthen them over a period of time?  I have tried a product called "Nutra Nail"
that boasted stronger nails in 7-10 days, but the substance had no effect on my nails.

I even tried gong to a manicurist, thinking that maybe if I had my nails done by a professional
that it would help prevent them from chipping and peeling.  This did not work either.  She 
suggested that I rub cuticle oil into my cuticles every night and that would take care of
the problem.  I haven't tried it yet,; does anyone have any experience with that?

At this point I am desperate.  It has become a constant battle for me and frustrates me to
the point of thinking of just learning to live with the dull sound that comes from plucking 
with the ends of my fingers.

Thanks for any help/suggestions you are able to offer.

Jerry Holt
jwh@uncc.edu
From: radams@cerritos.edu
Newsgroups: rec.music.classical.guitar
Subject: Re: Right Hand Technique
Date: 11 Dec 92 16:40:29 PST
Organization: Cerritos College, Norwalk CA

In article <168B9B8C3.M23231@mwvm.mitre.org>, 
M23231@mwvm.mitre.org writes:

>>> technique which does this. This may account for the lightning fast strong
>>> staccato picados of such players as Sabicas (RIP) and Paco de Lucia. I know
>>> of no comparable capability among the professional classical players.
>>>
>>
I responded:
>>I do. Pepe Romero, Angel Romero.
>>
> I'd have to disagree with you on that. I've seen Pepe and Angel play and have h
> eard all their records. They do not have the flamenco picado technique at the s
> ame level as Paco de Lucia and Sabicas in my opinion--but they are principally
> classical players anyway, so I don't expect them to do it as well. They have
> other nice qualities.

I must have made a mistake in equating what flamenco players call "picado"
and the "apoyando" or rest stroke scales (i,m alternating). I have heard
all the guitarists you have mentioned also. Pepe in my judgement is 
unmistakably faster live (playing flamenco) then Sabicas (I have heard
Sabicas live and also have some recordings of his). Now Pepe's flamenco
tape (much of which he says was played in the style of Sabicas) which I
have displays his speed more modestly - ie. same speed as Sabicas. As
for comparing the Romeros with Paco de Lucia, we will have to get out
a radar gun :-) because it is difficult to judge at those levels without
some objective measuring device. I think Angel and Pepe have the speed
of Paco de Lucia and as I said in a previous post, the Romeros have the
speed but with nice tone, beautiful sound which is not required of flamenco
players (so this is not meant as an insult to Paco de Lucia).


-------------------------------------------------------------------------------
	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: exubrst@exu.ericsson.se (Brad Steele)
Newsgroups: rec.music.classical.guitar
Subject: Re: Performance, Nerves, and Right Hand
Date: 14 Dec 92 19:21:31 GMT
Reply-To: exubrst@exu.ericsson.se
Organization: Ericsson Network Systems, Inc.
X-Disclaimer: This article was posted by a user at Ericsson.
              Any opinions expressed are strictly those of the
              user and not necessarily those of Ericsson.

The discussion of the Fight or Flight response, beta
blockers, and stage fright is an interesting one.  I
wonder what types of preliminary activities might help
to aleviate the fear that starts this.  Perhaps a
slight change of diet or sleep pattern might help to
reduce the level of chemicals in the body that would
magnify this response.  There may be a way to not
block the electro-chemical response, but reduce the
offending chemical.

This has been an uneducated, simplistic comment
designed to stimulate potentially more intelligent
discussion along the lines of electro-chemical
response and stage fright.

Brad

Internet: exubrst@exu.ericsson.se
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