HDTenEightyP/NetNews huggingface dataset:
From: radams@cerritos.edu
Newsgroups: rec.music.classical.guitar
Subject: Re: Bream 
Date: 17 Nov 92 23:33:47 PST
Organization: Cerritos College, Norwalk CA

In article <1ecntrINNdta@menudo.uh.edu>, 
wjin@cs.uh.edu (W. Woody Jin) writes:

  Speaking of Bream:
> Moreover I have to praise his ability of transcriptions.  Ususally when
> a music is transcribed for another instrument, I usually like the original
> much better.  But this is not the case with Bream.
> His transcriptions are very natural and musical. He makes me think 
> that transcription is another genre of art.
> 

I would like to comment on one of his transcriptions, Sevilla of Albeniz.
In the main theme, the original shows tied notes at the end of the first
phrase (or half phrase) which is the way all pianists and _all_ other
guitarists play it. But Bream, on one of his recordings that I have, eliminates
the tie and elects to play the last note of the mini-phrase and this pattern
continues on similar phrases throughout the piece. This to me ruins the music 
and actually makes it sound cartoonish. I am exposed to a lot of piano music
since my girlfriend is a concert pianist (Sevilla is in her repertoire) and
so perhaps other guitarists who are unfamiliar with the piece in the piano
repertoire may think Bream's transcription is fine, but it trashes the
rhythm. Bream will go down as one of the all time great performers in the
classical field but I have great trouble with that particular transcription
and can't figure out why he would do such a thing. 


-------------------------------------------------------------------------------
	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 :-)
-------------------------------------------------------------------------------
Newsgroups: rec.music.classical.guitar
From: kalt@nmsu.edu (Kerry Alt)
Subject: Re: Schubert - Mertz transcriptions
Followup-To: rec.music.classical.guitar
Organization: NMSU Computer Science
	<basinski-131192120617@lully.biosci.arizona.edu>
Date: Thu, 19 Nov 1992 22:01:29 GMT

In article <basinski-131192120617@lully.biosci.arizona.edu> basinski@biosci.arizona.edu (Mark Basinski) writes:

> Path: nmsu.edu!lynx!unmvax!mimbres.cs.unm.edu!ncar!noao!amethyst!organpipe.uug.arizona.edu!lully.biosci.arizona.edu!user
> From: basinski@biosci.arizona.edu (Mark Basinski)
> Newsgroups: rec.music.classical.guitar
> Date: 13 Nov 92 19:01:10 GMT
> References: <92317.162755IO21145@MAINE.MAINE.EDU>
> Sender: news@organpipe.uug.arizona.edu
> Followup-To: rec.music.classical.guitar
> Organization: Univ. of Arizona
> Lines: 25

> In article <92317.162755IO21145@MAINE.MAINE.EDU>, IO21145@MAINE.MAINE.EDU
wrote:
>  Dunno? I just saw those in the Guitar Solo catalog the other day. I was 
> somewhat surprised to discover that in all of Schubert's vast output,
> there are only 2 things that he called for guitar - one quartet (flute,
> viola,cello % guitar) and one song for 2 tenors and baritone with guitar
> accomp (D. 80 I think?).
> ----------------------------------------------------------------------------
> Mark Basinski      Internet: basinski@biosci.arizona.edu

You might like to know that the quartetyou mentioned here was not
written by Schubert. He made a transcription of a trio for flute,
viola, and guitar by Matieka. For a long time it was believed that
Schubert wrote it, but not so.

-Kerry
--

**************************************************************
**  Kerry Alt                    email:    kalt@nmsu.edu    **
**  New Mexico State University  office:   505/646-3645     **
**  Box 30001/3CS                fax:      505/646-6218     **
**  Las Cruces, NM 88003-0001    home:     505/524-7247     **
**************************************************************
From: quigley@acs.ucalgary.ca (Martyn Thomas Quigley)
Subject: Re: Liona Boyd, Stephen Robinson, Rafaela Smits, Sharon Isben (phew!)
Date: Sat, 21 Nov 92 04:50:53 GMT
Organization: The University of Calgary, Alberta

hrybyk@netcom.ubc.ca writes:
>Liona Boyd is performing in Vancouver tonight, but I decided not to go. [...]
>Who cares 
>about whether
>she's better than _______________ (Williams|Parkening|Bream ...)  :-) ;-).

Nobody.

Mart
Newsgroups: rec.music.classical.guitar
From: quigley@acs.ucalgary.ca (Martyn Thomas Quigley)
Subject: Re: re: parkening
Date: Tue, 17 Nov 92 02:23:21 GMT
Distribution: na
Organization: The University of Calgary, Alberta

wjin@cs.uh.edu (W. Woody Jin) writes:

>> and I don't see too many other
>>guitarists doing that - classical arrangements of American music.
>
>John Williams :  in his album - "Best Friends : Cleo Laine & John Williams".
>It includes songs like : Feelings, Killing me softly with his song,
>Eleanor Rigny, He's so beautiful, If, ...etc.
>This (semi) classical interpretations of modern popular songs is so
>well perfomed by both musicians that I just cannot ask any more from them.
>They play as if they were really best friends (are they in reality ? ).

I would say they were.  Williams used to hang out a lot with Dankworth
and Laine (who are married) in the 70's.  Which reminds me of a story
my father told me a year or two ago.  It seems he was going into a Mahler
concert at the Royal Festival Hall and heard a familiar voice behind him.
No, not Williams, but Frankie Howerd, but his guest *was* Williams.  Just
wondering what other curious friendships famous guitarists have...?

As for arrangements for voise and guitar, there is a beautiful CD by
Laurinda Almeida and Salli Terri (and Martin Ruderman (flute)).  Amongst
other goodies there is a stunning interpretation of the Bachianas 
brasileiras No. 5.

Mart
From: br105@cleveland.Freenet.Edu (Jeffrey A. Del Col)
Newsgroups: rec.music.classical.guitar
Subject: Liona Boyd
Date: 20 Nov 1992 16:01:03 GMT
Organization: Case Western Reserve University, Cleveland, OH (USA)
Reply-To: br105@cleveland.Freenet.Edu (Jeffrey A. Del Col)
NNTP-Posting-Host: hela.ins.cwru.edu


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.

J. Del Col
-- 
Jeff Del Col      *   DECONSTRUCTION--- the critical method invented      
A-B College       *                      by Procrustes  
Philippi, WV      *                             
                  *         
Newsgroups: rec.music.classical.guitar
From: mckinzie@schaefer.math.wisc.edu (Mark McKinzie)
Subject: Re: Yngwie Malmsteen
Organization: Univ. of Wisconsin Dept. of Mathematics
Date: Mon, 16 Nov 92 05:17:38 GMT

lhcompt@cs.umd.edu (Lawrence H. Compton) writes:

>In article <92317.092043KAP118@psuvm.psu.edu> KAP118@psuvm.psu.edu (Kevin Polcovich) writes:
>>Yngwie Malmsteen. Any Comments on style, music, etc.?
>>                       Just Wondering.....Kevin

>His guitar playing is ruined by his arrogance. You are not a virtuoso
>just because you can play fast. He believes he's great, but if he is
>why is he playing adolescent heavy metal?

Obvious answer:  That is where the money is.  Or maybe just maybe he
actually enjoys it, and believes one can actually create music, even
if it sells well to longhaired white 12 year old males?

ObClassical.guitar:  Has anyone heard the Eliot Fisk recording of
    Paganini's Caprices?  Oh My.  Truly astounding, at times.  The
    one drawback is the fact that much of what makes the Caprices
    so exciting on violin (or flute) is the way in which Paganini
    translated guitar techniques (harmonics, double stops, hammer-ons,
    etc...) and forced them into the virtuoso violin toolbox.  Many
    of the passages which make your jaw drop when performed on a
    violin become very dull and ho-hum when Fisk rattles them off
    on the guitar.  Still, this ranks right up there in my top five
    recordings of the Caprices, for the novelty if nothing else.


-- 
Mark McKinzie          |    Listen, if they're going to buy lunch boxes,
mckinzie@math.wisc.edu | they might as well buy David Cassidy lunch boxes.
UW Dept. of Mathematics|
Madison, WI 53706      |                  -David Cassidy-
From: seifert@netcom.com (Rich Seifert)
Newsgroups: rec.music.classical.guitar
Subject: Re: Help out a new guy
Date: 16 Nov 92 18:58:45 GMT
Article-I.D.: netcom.1992Nov16.185845.27299
Distribution: usa
Organization: Netcom - Online Communication Services  (408 241-9760 guest)

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.
> 

Unquestionably this is one of the most beautiful pieces of the Renaissance
to listen to, TODAY. I suspect that in its time it was considered weird
and possibly ugly, much in the same manner that some fringe music is
considered today (e.g., Kronos [personal bias, no flames please!]).

The dissonances are absolutely gorgeous.

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. By the way, the speed indication in the Noad transcription is 
clearly wrong. He says it should be at 69 to the quarter note. 
69 to the HALF note is more like it, and 96 is not out of the question.

Good luck. 



-- 
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: basinski@biosci.arizona.edu (Mark Basinski)
Newsgroups: rec.music.classical.guitar
Subject: Re: tempo markings / metronome settings
Date: 17 Nov 92 22:18:19 GMT
Followup-To: rec.music.classical.guitar
Organization: Univ. of Arizona

In article <BxvH1z.BLF@hplabs.hpl.hp.com>, fouts@bozeman.hpl.hp.com (Martin
Fouts) wrote:
> 
> I understand that tempo markings came into use slowly over time, and
> that efforts to relate tempo markings to metronome settings appeared
> even later.  

  True. The first published music to have any tempo indication was 
the vihuela book "El Maestro" of Luis Milan, pub in 1536.

>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.
> 
  There is the story of Beethoven supposedly deciding that the metronome
was useless after he had put metronome markings in some works on one day, 
and coming back to them on a different day, found that he disagreed with
the marking he put previously. Just goes to show that the tempo that
"feels right" depends upon how you feel at the time. What feels right
one day might seem too fast or too slow on another day.

> 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?
> 
  There are many standard music reference works to try. If you are near a
decent library, see if they have the New Grove Dictionary (20 vols). For
a description of baroque tempi, I'd recommend Robert Donington's books
on Baroque Performance. Even a simple music dictionary like the New Harvard
can give short definitions for terms referring to tempi.

  Nonetheless, one of the really difficult things to do (and the mark of
a real musician) is to cultivate the ability to choose and subtly modify
a tempo to suit a particular piece of music. Not that one should ignore
tempo markings, but sometimes you find out that the tempo was put by an
editor (not the composer) or that publishing errors have confused things
(for example, there have been occasions where a common time was put when
it should have been a cut time, which radically alters the meaning of a
"moderato" marking).

ack...what a mess...as a humourous footnote: I get to take my doctoral
prelims
next week, and the things I'm going to be asked will probably include 
musical terms in French, German and Italian...I mean, it's one thing if you

see "Allegro" but what if it says "Sehr Lebhaft"?
----------------------------------------------------------------------------
Mark Basinski      Internet: basinski@biosci.arizona.edu
From: basinski@biosci.arizona.edu (Mark Basinski)
Newsgroups: rec.music.classical.guitar
Subject: Re: Transcriptive vacancies
Date: 18 Nov 92 22:03:13 GMT
Followup-To: rec.music.classical.guitar
Organization: Univ. of Arizona

In article <92322.163013IO21145@MAINE.MAINE.EDU>, IO21145@MAINE.MAINE.EDU
wrote:
> 
> 
> 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.)

			Silly question! Of course! That's not to say that everything
works on guitar. 

			Baroque stuff works very well, which isn't too surprising when 
you consider how composers viewed music - things were not so tailored
to a particular instrument. J.S.Bach is only the most famous example
of a composer who would write music for one instrument and then 
re-arrange the same thing for a totally different instrument. For
example, he made arrangements of violin concerti to substitute 
harpsichord for violin!! 

   The Bach music for solo cello and violin is perhaps the greatest 
music in the modern guitar's repertoire, and works very well.

	   Keyboard music is a trickier problem - Some stuff works - simpler
pieces of Scarlatti, Rameau, Couperin (but some of that is just too
complex - better as a duet!). Even certain Mozart pieces can be done
(see William Kennengeiser's recent Mozart transcription).

				Albeniz and Granados works very well (though it is very demanding)
partly due to the intrinsic "guitaristic" nature of the spanish 
musical trasition.

    BUT! I'm not so enthusiastic about the late 19th century Tarrega
apporach of transcribing Beethoven, Schubert, Brahms, etc...I don't
feel the guitar can really do justice to this music (I'm sure I can't
with only one guitar), and I have even more doubts about Yamashita and
his orchestral transcriptions. I have to admit that I found his recording
of "Pictures at an Exhibition" amazing, but I don't have any desire to
listen to that (I'd rather hear the piano or orchestral versions). I
heard him do the Dvorak "New World Symphony" twice in concert and though
there were lovely moments, I mostly found it tedious and often downright
ugly (when he was really blasting and straining to achieve an orchestral
FFF or something...).

----------------------------------------------------------------------------
Mark Basinski      Internet: basinski@biosci.arizona.edu
Organization: University of Maine System
Date: Tuesday, 17 Nov 1992 16:30:13 EST
From: <IO21145@MAINE.MAINE.EDU>
Newsgroups: rec.music.classical.guitar
Subject: Transcriptive vacancies


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.)
Newsgroups: rec.music.classical.guitar
From: nelsonis@rintintin.Colorado.EDU (Ian S. Nelson)
Subject: Tell me some good acoustic
Organization: University of Colorado, Boulder
Date: Thu, 19 Nov 1992 00:46:35 GMT

I'm looking for some good acoustic guitar albums.  Preferably "Joe Satriani"
like, not too many words just lots of good guitar playing.  Also I want it to
be a little more musical than Joe's albums (I like his work sometimes, but it's
too fast at times)  Don't care if it has an ethinic sound.  Please reply via
email.


-- 
Ian S. Nelson			I speak for only my self, not my school.
Finger for a PGP public key.
From: basinski@biosci.arizona.edu (Mark Basinski)
Newsgroups: rec.music.classical.guitar
Subject: Vihuela music
Date: 17 Nov 92 19:31:38 GMT
Followup-To: rec.music.classical.guitar
Organization: Univ. of Arizona

In article <1992Nov17.152422.3500@delfin.com>, mr@delfin.com (Mark
Rosenberg) wrote:
> |> > Alonso Mudarra's 'Fantasia'
>
> 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. 

  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).

	 Anyway, for any vihuela or 6 course lute stuff, it can be really
interesting and beneficial to tune the 3rd sting to f# and read the
tab - you'll see the original fingering that way. You might want to
change some things, but it's quite explicit about how to play it. In
the case of lute music (and maybe vihuela too) there can be some really
big left hand stretches unless you also place a capo on the 2nd or
3rd fret (which gives a string length more like the original inst.).
The main problem is getting used to stuff in the italian/neapolitan
tab (which is upside down as compared to french tab - this is more
familiar, same string order as modern tab, etc.).
----------------------------------------------------------------------------
Mark Basinski      Internet: basinski@biosci.arizona.edu
From: basinski@biosci.arizona.edu (Mark Basinski)
Newsgroups: rec.music.classical.guitar
Subject: Re: A. Barrios & M. Llobet recordings -- Anyone hear?
Date: 20 Nov 92 22:00:07 GMT
Followup-To: rec.music.classical.guitar
Organization: Univ. of Arizona

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. In fact, Barrios was the first guitarist to record
a complete suite by Bach (I don't think Segovia ever did, did he?)
Anyway, I heard a few cuts from this several years ago (a colleague 
had the records), and what I recall being most interesting was how
FAST he played - this cat had some chops! I didn't always like it, 
but I think it's a great thing for anyone studying his music. One 
thing to beware of is this: Barrios was such an amazing and intuitive
musician, he tended to play pieces different every time, so if you
listen to the recording, it might be quite different than a published
version.
----------------------------------------------------------------------------
Mark Basinski      Internet: basinski@biosci.arizona.edu
Newsgroups: rec.music.classical.guitar
Subject: Re: Using Giuliani's right hand studies.
From: radams@cerritos.edu
Date: 17 Nov 92 16:36:56 PST
Organization: Cerritos College, Norwalk CA

In article <BxvH7z.Boy@hplabs.hpl.hp.com>, 
fouts@bozeman.hpl.hp.com (Martin Fouts) writes:

> 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?
> 
> (stuff deleted)
> Any suggestions on how to improve this approach?

If you haven't done so already, you might want to try planting of the
right hand - both sequential and full planting, depending on the context.
This increases control and ease of execution. Of course, planting is not
always musically desirable but it is possible in many situations. A sequential
plant (in case you don't know) on an descending arpeggio means that when
you play your ring (a) finger, say on the first string, at the same time that
you are playing the (a) finger, your (m) finger moves to the next string to
be played so that when the note is ready to be played, your finger is already
on it, then as (m) plays, (i) finger moves to next string at the same time,
and dido with (p). A full plant can be useful in an ascending arpeggio,
meaning that all fingers are resting on the strings that will be played in
the arpeggio pattern and you release each finger one at a time. I make use
of planting whenever possible in arpeggios found in pieces that I perform
in order to increase security, control.



-------------------------------------------------------------------------------
	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 :-)
-------------------------------------------------------------------------------
Newsgroups: rec.music.classical.guitar
From: kjc7435@ultb.isc.rit.edu (K.J. Cater)
Subject: Anyone know a good book for a beginner country guitar player??
Originator: kjc7435@ultb
Organization: Rochester Institute of Technology
Date: Mon, 16 Nov 1992 21:05:10 GMT

I'm seriously considering taking up the guitar and learning to play my
country favorites....I'd like to know if there are any good books for
beginners out there.....   

Please reply by e-mail! Thanks :)

K. Cater.
e-mail:"kjc7435@ritvax.isc.rit.edu".
From: ihrj@vax5.cit.cornell.edu
Newsgroups: rec.music.classical.guitar
Subject: David Russell tour dates ?
Date: 22 Nov 92 19:33:50 EST
Distribution: rec
Organization: Cornell University

Someone posted the Merkin Hall guitar concert series schedule for the
year. My friends and I are thinking of seeing David Russell when
he comes around. Does anyone know whether he's playing anywhere
else in upstate NY, western Mass, New Jersey or northern Pennsylvania ?
Concerts outside NYC tend to be cheaper and besides we can avoid the 
hassle of driving to the city if he's playing in any of these places.
I'd appreciate any information,

G. A. George
Newsgroups: rec.music.classical.guitar
From: andersmh@ucsu.Colorado.EDU (ANDERSON  MIKE HOWARD)
Subject: Re: re: parkening
Organization: University of Colorado, Boulder
Date: Tue, 17 Nov 1992 18:04:48 GMT

Is Parkening even in his fifties yet?  He started very young.

>Segovia had a similar problem in that he should have retired long
>before he died, because he was no longer up to the physically
>demanding repertoire he attempted to play.
>
>-- 
>Martin Fouts                  |  M/S 1U-14

I couldn't disagree more.  I am a devout fan of Segovia.  I felt
his special style of play stayed with him to the very end.  Sure, there
was more string buzz and he didn't try any fast stuff, but he still know
just when to apply a portando and hold a very sweet note, like no other.

Mike

Newsgroups: rec.music.classical.guitar