HDTenEightyP/NetNews huggingface dataset:
From: jprien@gn.ecn.purdue.edu (Jamison R. Prien)
Subject: Re: Modern guitarists who play classical  (was Re: Yngwie Malmsteen)
Organization: Purdue University Engineering Computer Network
Date: Wed, 18 Nov 92 00:25:48 GMT

In article <basinski-171192145915@lully.biosci.arizona.edu> basinski@biosci.arizona.edu (Mark Basinski) writes:
>
> Having said this, when I listen to Steve Howe play classical, I find it 
>pretty bad. True, I thought "mood for a day" was cool when I was 17, and
>I played it (but back then I also thought "Siberian Khatru" was cool and
>learned that too...). Having spent many years listening and learning
>music from all parts of the classical guitar repertory, I now find Steve's
>"classical" stuff pretty bad - I mean it's OK for what it is, just an
>amateur thing, but compositionally quite lacking. There is so much really
>great music (that is not necessarily difficult or flashy) available for
>classical guitar. I'd rather hear a simple pavan by Alonso de Mudarra
>played well than hear someone playing paganini on a steel string, but 
>that's just my taste. 

Before I say anything about the above article, I would like to thank everyone
who e-mailed and posted responses to my questions.  (I'm 'the new guy'.)  If
anyone still has input, though, I'd love to hear it.  Thanks, everyone!
I'm not expecting to be able to play the piece, but with the help of my
theory class, I will be able to figure out how to make the sounds I like.

From what I know, Steve Howe has had almost no formal training, and I also 
read that he doesn't read music, either.  One must keep that in mind when
criticizing his music, although I can understand your points.  His playing
expresses so much more emotion than I have heard in other guitarists' -- that
is why he is my favorite.  There are no lyrics on Steve's new solo album, but
with the help of very brief liner notes, I (like to) think that I hear exaclty
what he was trying to tell me.  Maybe I'm biased - I've been listening to Asia
for 10 years.

>
>	 I think the main issue is frequently this: what are you looking for in 
>music? an exciting guitarist? or a beautiful sound? an aesthetically
>satisfying composition? There is no one answer...

I believe Steve has all of the above, and I sincerely hope my newfound interest
in classical music doesn't spoil the music that I've come to love already.

Thanks again!



-- 
Jamison R. Prien

jprien@gn.ecn.purdue.edu
Newsgroups: rec.music.classical.guitar
From: gerald.b.ross@um.cc.umich.edu (Gerald Ross)
Subject: Re: Anyone tried Scott Joplin's Rag?
News-Software: IBM OS/2 PM RN (NR/2) v0.14 by O. Vishnepolsky and R. Rogers
Reply-To: gerald.b.ross@um.cc.umich.edu (Gerald Ross)
Organization: University of Michigan Math Dept
Date: Thu, 19 Nov 1992 20:10:19 GMT

In  <Bxz9zr.D4E@news.iastate.edu>  song@iastate.edu (Chang-Hyeon Song) writes:
> Hello, anyone want to share idea about Rag music on classical guitar.
> I bought a guitar rag(Joplin's) tape by Barbosa Lima and the sheet music, too.
>
> I have just listen to the tape about several week, and then yesterday, I first
> tried Weeping Willow.
> Dammn, it was so hard to get the rhythm.
> This is the second day to read the transript, but again hard to grasp the
> rhythm.
>
> Anybody has recoomandation on how to play Rag?
>

Try to listen to some "non" classical players for this style.
Many guitarists on the Kicking Mule record label play ragtime
pieces by composers:  Scott Joplin, Joseph Lamb,
Eubie Blake etc.. The arrangements are also available
from Kicking Mule (mostly tab though).
==============================================================
=
= Gerald Ross
=
=     ...It's 1992.  So where's my jetpack?
=
==============================================================


Newsgroups: rec.music.classical.guitar
From: song@iastate.edu (Chang-Hyeon Song)
Subject: Re: Bream (was Re: Williams & sight reading)
Organization: Iowa State University, Ames, IA
Date: Wed, 18 Nov 1992 19:12:52 GMT

In article <1ecntrINNdta@menudo.uh.edu> wjin@cs.uh.edu (W. Woody Jin) writes:
>
>Another Bream fan here ( 8-) ).
>Even though I admire Williams most, like Eugene, I also find myself
>reaching for Bream's LP/CD more often.
>


>BTW, what is Bream recently doing ?  It seems to me that he is not really
>active nowadays.

I heard that he had a  big car accident, but he miraculously got over.
But he can play not as fast as he could, but more mature.

        +----------------------------------------------------------+
        |      Chang-Hyeon Song     |      song@iastate.edu        |
        |   Iowa State University   |       (515) 292-2209         |
        +----------------------------------------------------------+


Newsgroups: rec.music.classical.guitar
From: archulet@spot.Colorado.EDU (Jim Archuleta)
Subject: A. Barrios & M. Llobet recordings -- Anyone hear?
Keywords: Barrios, Llobet, classical guitar
Organization: University of Colorado, Boulder
Date: Fri, 20 Nov 1992 00:31:24 GMT

}-{*}-{*}-{*}-{*}-{*}-{*}-{*}-{*}-{*}-{*}-{*}-{*}-{*}-{*}-{*}-{

Hello Outstanding New Newsgroup!

  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?
  Any descriptions or reviews would be welcomed.  Also, I have
yet to read any mention of Barrios.  What are your experiences
with his music?
  Lastly, Miguel Llobet, Segovia's early influence, also recorded.
Any review of these recordings?  I know someone on the NET has
experience here.
  Thanks!

Jim Archuleta

}*{-}*{-}*{-}*{-}*{-}*{-}*{-}*{-}*{-}*{-}*{-}*{-}*{-}*{-}*{-}*{

Newsgroups: rec.music.classical.guitar
From: "James F. Tims" <p00168@psilink.com>
Subject: Re: Buying Guitars
Organization: Semper Excelsior
Date: Mon, 23 Nov 1992 04:03:24 GMT
X-Mailer: PSILink (3.2)

>DATE:   22 Nov 92 20:45:47 GMT
>FROM:   John Merlin Fisher <fisher@majestix.cs.uoregon.edu>
>
>Hello all,
>
>I am interested in getting a classical guitar, but I know nothing about
>them. I own a steel-string Takamine, and while it does great for folk/rock,
>campfires, and the like, it doesn't lend itself real well to classical,
>which I have been leaning toward lately. I am not after a real expensive
>guitar - just something that plays nice, and will last a good while. I
>recently saw some used guitars, in great condition, made in Mexico. I don't
>recall the brands. They were selling for $100-$150. Are these pieces of
>junk, or will these last me for a while? Are there any brands I should
>consider/not consider?
>
>Thanks for the help,
>John

I'm no expert, but I have played rather a lot of different guitars.
I once owned a Ramirez and now own a Khono-20. I've played Fletas, 
Barberos, and various other makes that were sold in Sutherland's
House of Guitars in Atlanta when I studied there.  I bought a Yamaha
classical for a friend, oh, about '82, in a little music store in Utica.
It cost $75 then, probably still not much over $100, though I couldn't
say for sure.  Might want to find somebody that sells them and give
one a go. I'm not really an expert, but it sure seemed like a lot of
guitar for the money.  It's still in good shape, too.  Just played it
last spring.  It's not a Hauser, but I've heard a lot worse for $500.





-- 
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

Newsgroups: rec.music.classical.guitar
From: fouts@bozeman.hpl.hp.com (Martin Fouts)
Subject: tempo markings / metronome settings
Date: Tue, 17 Nov 1992 18:08:21 GMT
Reply-To: fouts@hpl.hp.com
Organization: Hewlett-Packard Labs

I understand that tempo markings came into use slowly over time, and
that efforts to relate tempo markings to metronome settings appeared
even later.  I even understand that various composers have been
"caught" changing the suggested metronome marking for scores over time
and that the whole process of relating a tempo marking to a metronome
setting is still controversial.

However, I would be interested in knowing more, and I don't know
where to look.  Where would I find discussions of how to relate tempo
markings to metronome settings, either for specific composers or for
specific periods of music, or at all for that matter?

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!
From: hrybyk@netcom.ubc.ca (Michael Hrybyk)
Newsgroups: rec.music.classical.guitar
Subject: Pacific Northwest performances
Date: 21 Nov 1992 02:16:36 GMT
Organization: UBC
Distribution: world
Reply-To: hrybyk@netcom.ubc.ca
NNTP-Posting-Host: poplar.netcom.ubc.ca

Does anyone have/keep/publish a list of recitals for the Seattle/Vancouver area?
Alternatively, is there a classical guitar society in the PacNW?

Finally, I just moved to Vancouver, and am looking for a teacher. I'd be grateful
for any leads.

Mike


Newsgroups: rec.music.classical.guitar
From: frank@spock.retix.com (Frank Guerrero)
Subject: Re: Liona Boyd
Organization: Retix, Santa Monica CA
Date: Mon, 23 Nov 1992 17:05:26 GMT

In article <1ej23vINNa1i@usenet.INS.CWRU.Edu> br105@cleveland.Freenet.Edu (Jeffrey A. Del Col) writes:
>
>Is Liona Boyd still doing conceerts, recordings, etc.?  I've got 
>a couple of CD's, but her earlier, more classical stuff does not
>seem to be available in that format.

I was at a benefit for Barbie York (composer Andrew's wife) last year where
Liona played and she commented that she had just moved to Los Angeles to
be closer to the entertainment business. I haven't heard anything since...

Frank



-- 
Frank Guerrero, Retix - The OPENNetworking Company
		2401 Colorodo Blvd, Santa Monica CA 90404 
		Phone:		(213) 828-3400 
		FAX:		(213) 828-2255
From: kene@sequent.com (Ken Ewing)
Newsgroups: rec.music.classical.guitar
Subject: Re: Wanted: hymn tunes & variations
Date: 16 Nov 92 20:18:47 GMT
Article-I.D.: sequent.1992Nov16.201847.29601
Organization: Sequent Computer Systems Inc.

In article <1992Nov16.183633.2695@stsci.edu> laidler@STSCI.EDU () writes:
>
>I'm looking for classical guitar arrangements of traditional
>hymn tunes, with or without variations, for beginner or
>beginner-intermediate level.

The only thing I've seen like this is two books by Rick Foster 
called (predictably) "Hymns for Classic Guitar" and "More Hymns 
for Classic Guitar".  There are corresponding record albums for 
each book.  Foster has a third book, which I possess but have 
forgotten the title.  The first two books (and possibly the third) 
are published by Mel Bay.  I bought them 10 years ago or so, so 
I don't know if they are still available.  The first book is 
pretty good (it even contains the arrangement of "Jesu, Joy of 
Man's Desiring" that Parkening plays on his Bach album), but 
most arrangements are a little awkward to play.  This is especially 
noticeable if you play pieces from the second book, which clearly 
shows that Foster developed more maturity in his arranging (IMHO).  

>I'd also be interested in guitar/organ or guitar/piano duets
>of any sort, in the same skill range.

I was intrigued once by a John Williams album of guitar and pipe organ 
duets (all Bach).  I thought I might like to try them, so I went 
to a music store to inquire about music.  They laughed out loud 
at me at the counter.  I talked to my friend who plays pipe organ, 
and after looking at the organ music, I realized that about all 
Williams did was to play one of the organ lines in the arrangement.  
I never did follow through with creating my own transcriptions, but 
I still might do that someday.  

>If you've got any, or know of a likely source, please send
>me email.
>

I thought more people might be interested, so I posted.  

  Ken Ewing 
  Sequent Computer Systems, Inc. 
  Beaverton, Oregon 
  kene@sequent.com 
  ...!uunet!sequent!kene 
Newsgroups: rec.music.classical.guitar
From: rpuranik@sei.cmu.edu (Rajesh Puranik)
Subject: music theory books
Organization: Software Engineering Institute
Date: Mon, 16 Nov 1992 21:26:04 GMT

I embedded this request in a reply about fingerstyle jazz and got no replies,
so let me be more explicit.

Can anyone recommend a music theory book written from a classical guitarist's
perspective?  I'm using Solo Guitar Playing by Noad to learn sight-reading and
performance techniques but it's shy on the theory.  I would like to be able to
analyze the compositions I play from a structural point of view but I'm
lacking the vocabulary or knowledge.

Speaking of sight-reading, I've been playing off and on for six years now
(both with and without a teacher), and I've focused on sight-reading at the
expense of a well-developed technique.  How important would you consider
sight-reading in the development of a guitarist?  I am considering whether I
should concentrate on technique for a while for balance.

Thanks,


Rajesh Puranik
Software Engineering Institute

Newsgroups: rec.music.classical.guitar
From: ajm@iconix.oz.au (Andrew Mack)
Subject: Who was that guitarist?
Organization: ICONIX Corporation World Headquarters
Date: Wed, 18 Nov 1992 00:42:19 GMT

Hi folks,

I hope this question isn't out of place in this newsgroup, but I'm guessing
that this is the de-facto "acoustic guitar" group ...

So ... about ten years ago, I heard this amazing version of "The Girl From
Ipanema" played on solo acoustic guitar. It sounded like a nylon-string.
The mystery guitarist played it quite fast and started out with a fairly
straight chord-solo approach, but as the song progressed it got more and more
"outside" and ended up nearly in outer space. It was fantastic.

I ... I n-never heard it again.

Does this ring a bell with anyone? Can someone name the mystery guitarist
or am I doomed to elevating this performance to epic-myth status in the
recesses of my mind?

(Maybe I should offer money ...)

Thank you,
over and out.
Newsgroups: rec.music.classical.guitar
From: seifert@netcom.com (Rich Seifert)
Subject: Re: Transcriptive vacancies
Organization: Netcom - Online Communication Services  (408 241-9760 guest) 
Date: Wed, 18 Nov 1992 23:13:51 GMT

In article <92322.163013IO21145@MAINE.MAINE.EDU>, <IO21145@MAINE.MAINE.EDU> writes:
> 
> I would like to recive some thoughts from fellow guitarists on
> the mass of transcriptions available to us. Specifically, is it
> worth our while to perform music unintended for our instrument?
> (apart from the relatives viheuela, lute, barouque guitar - etc.)

Absolutely. Transcriptions are nothing new. The fact that a composer
is unfamiliar with the workings of a certain instrument does not mean 
that the music should not be played on it. In fact, I find that many of
Scarlatti's sonatas sound better on the guitar than on the harpsichord,
due to the range of tone color possible on the guitar to separate voices.

Relatively few composers understood the guitar, especially during the
Classical period (we get Carulli and Legnani, while the rest of the
world got Mozart and Beethoven).
 


-- 
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: ccarlson@eng.auburn.edu (Craig Carlson)
Newsgroups: rec.music.classical.guitar
Subject: Silver Polish? and cheap guitars
Date: 23 Nov 92 04:56:31 GMT
Reply-To: ccarlson@eng.auburn.edu
Organization: Auburn University Engineering

Anybody out there ever tried silver polish to clean their bass strings?  I figure 
if I loosen the strings I can do it without getting the stuff all over the fretboard.
Does everyone just replace their strings every few weeks?  Do shiny clean strings
sound any better?

On another note, I recently bought a Goya guitar (sold by Martin), and after a month
of use the finish is wearing off the fretboard.  Granted, I did not spend alot on
this instrument, but I assumed that for around $100 I could get a student guitar that
wouldn't fall apart.  Doesn't the Martin name mean anything anymore?  Or am I just
a neophyte, and this happens to all classicals?  I also noticed the wood on the 
fretboard doesn't seem to be sanded as smooth as on steel strings - why?

The label inside the guitar said `EXAMPLE' GT-16.  Is this just a prototype that was
made to look like the final product, but not intended for retail sale?  Should I call
Ralph Nader? :) 

- Craig
From: hrybyk@netcom.ubc.ca (Michael Hrybyk)
Newsgroups: rec.music.classical.guitar
Subject: Liona Boyd, Stephen Robinson, Rafaela Smits, Sharon Isben (phew!)
Date: 21 Nov 1992 02:12:27 GMT
Organization: UBC
Distribution: world
Reply-To: hrybyk@netcom.ubc.ca
NNTP-Posting-Host: poplar.netcom.ubc.ca

Liona Boyd is performing in Vancouver tonight, but I decided not to go. Is there
any truth to the rumor she was once Trudeau's girlfriend? Who cares about whether
she's better than _______________ (Williams|Parkening|Bream ...)  :-) ;-).

Stephen Robinson is due to give a performance in mid-December here in Vancouver. I've
never heard his work, can anyone give a review?

I recently bought a R. Smits CD of modern work - again, anyone knowledgeable with
a review?

Mike

PS - just obtained Sharon Isbin's West Side Story and Gershwin CD. Nice to hear some
lighter pieces performed with enthusiasm and clarity. I recommend it. 

PPS - I'm just a beginner, but I find Isbin's work both precise and impassioned. She
has done the standards (Bach lute suites) as well as a wide range of contemporary
pieces. Very enjoyable.


Newsgroups: rec.music.classical.guitar
From: frank@spock.retix.com (Frank Guerrero)
Subject: Re: A. Barrios & M. Llobet recordings -- Anyone hear?
Organization: Retix, Santa Monica CA
Date: Mon, 23 Nov 1992 17:11:40 GMT

In article <basinski-201192150618@lully.biosci.arizona.edu> basinski@biosci.arizona.edu (Mark Basinski) writes:
>In article <archulet.722219484@spot.Colorado.EDU>,
>archulet@spot.Colorado.EDU (Jim Archuleta) wrote:
>>   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?
>
>  Yes, there are recordings of Barrios performing his own music, and 
>other stuff also..

I don't have his address anymore (should be easy to get) but Richard Stover
has taken it upon himself to be Barrios's historian. He's written several
articles (old Soundboard) and a book about him. If you're really that
interested, I'll tap my sources to see where he is and what he offers
nowadays....

Frank


-- 
Frank Guerrero, Retix - The OPENNetworking Company
		2401 Colorodo Blvd, Santa Monica CA 90404 
		Phone:		(213) 828-3400 
		FAX:		(213) 828-2255
From: fouts@bozeman.hpl.hp.com (Martin Fouts)
Newsgroups: rec.music.classical.guitar
Subject: Modern guitarists who play classical  (was Re: Yngwie Malmsteen)
Date: 17 Nov 92 18:32:02 GMT
Reply-To: fouts@hpl.hp.com
Organization: Hewlett-Packard Labs

Steve Howe plays some very nice music in the classical tradition on
his solo albums, some of which he wrote.

I once saw a PBS special about Carlos Santana.  During the closing
credits they showed some film of Santana playing some South American
stuff on a classical guitar.  To this day I wish I had a recording of
his classical playing but have never found one.

In the age of Andrew Loyd Weber (sp?) and Philip Glass I'm not sure I
know how to tell a (neo-?)classical composer from a pop composer, so I
just don't try.

Enjoy what you like, play what you can, and stay on the d*mn beat (;-)

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
From: toni@nebot.ac.upc.es (Toni Cortes Rossello)
Subject: Princep's toys suite
Organization: Departament D'arquitectura de Computador (UPC)
X-Newsreader: Tin 1.1 PL4
Date: Mon, 23 Nov 92 11:08:28 GMT

	Some time ago I listened on the radio a wonderfull guitar piece.
The name, If I don't missremember is Princep's toys suite. I think It was
compossed by Nikita Kusin (It may be missspelled).

	Does anyboy know of this suite? Has it been recorded? Does
anybody have it on paper, who printed it (I cnnot get a copy if I don't
know the publlisher)?

	Thanks in advance.

		Toni.

--
Toni Cortes Rossello                         | What are you reading my Lord ?
Mail  toni@ac.upc.es			     | Words, words, words,   
Departamento de Arquitectura de computadores | 		Only words.         
Universidad Politecnica de Catalunya (UPC)   |			Hamlet.
From: steyn@cs.rochester.edu (Gavin Steyn)
Newsgroups: rec.music.classical.guitar
Subject: Re: Help out a new guy
Date: 17 Nov 92 04:25:56 GMT
Distribution: usa
Organization: Computer Science Department University of Rochester

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.

  Just another opinion to throw into the fray :-).

BTW, I once heard this done on a harp.  It was really beautiful, and the 
harpist managed to bring out a little melody from all the opening
scale-like runs.  I don't now how he managaed it--never been able to 
reproduce the sound myself.

Gavin Steyn
steyn@cs.rochester.edu
"So he's had the lifelong ambition of reversing the polarity of the earth?"