HDTenEightyP/NetNews huggingface dataset:
From: steyn@cs.rochester.edu (Gavin Steyn)
Subject: Miller's dance 
Organization: Computer Science Department University of Rochester
Date: Fri, 6 Nov 1992 04:36:44 GMT

I;m posting some corrections to the Behrend transcription of Falla's
_the Miller's Dance_.  It's the only transcription I've seen anywhere,
and it's riddled with inaccuracies.

First, immediately after the main section begins (the E chords), there
are 6 repeated F chords.  In the original score, the lower F
alternates with a G.  Since this is impractical on a guitar, the most common
solution, and the one I used, is to alternate the top F with a G.  But this
leaves you with one too few fingers.  So, my fingering for this chord
ends up being kind of idiosyncratic...

     - - - - 1 1   1st fret
     - 1 - 2 - -
     - - 3 - - -

This lets the 4th finger come down on the G.  (If you don't want to do the
f->g thing, you still need to change his finger to change C on the A
string into a B, which is correct).  Of course you don't want to hit the
6th string.

Then we come to that melody section, which is completely wrong.
I'll write the upper and lower lines, the base unit being an 8th note.
upper case letters are the lowest octave, lower case letters are the next
highest octave, and a ! will indicate the octave above that: 
(and a !! the octave above that)

                ~                                     ~
    e!  a!! a!! a!!  g! f! e!           e!    a!! a!! a!!  g! f! g!f!
E a b d E a b d e a! b! d! E a b d e a! b! d! E a b d e a! b! d! E a 

                       ~
e!      e!   a!! a!! a!! g! a!! b!! c!! b!! g!
b d e a b d! E F b c e f b! c!  E           e!
                                            d

The ~'s are trills, and really add character to the line; I don't know
why the transcription leaves them out...

I didn't post a tab for the above, because there are several good ways
to finger it--the first position is very easy, and works.  I prefer the
fifth, because I think the tune sounds sweeter there, but to each his
own...

Anyway, from there, the piece is mostly okay, although there are some stylistic
problems that I have.  For one thing, he has a d fingered on the fifth
fret, when logic dictates that it should be an open string later on.
  Also, there are a bunch of chords that are pizz, and it makes more sense
if they're played tambor.  
  Finally, there's the big finale.  Plucking the strings may be okay until you
hit the end, but by that point it makes no sense.  Instead, the last set
of chords should be done as two rasgueados.  His right hand fingering is
awful there.

  There are some other minor changes that I have with his right hand, but
they're mostly personal, and so if anyone wants them they should send
e-mail.

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
From: wjin@cs.uh.edu (W. Woody Jin)
Subject: Re: Practice Tips for Busy Amateurs?
Organization: University of Houston
Date: Wed, 11 Nov 1992 00:15:06 GMT

In article <BxIKrA.LBH@unccsun.uncc.edu> jwh@uncc.edu writes:
>In article 28533@delfin.com, mr@delfin.com (Mark Rosenberg) writes:
>>This group is great! It's frequented by everyone from pre-beginners to
>>teachers and concert performers. I bet a lot of the people in this
>>group are like myself - somewhere in the middle. I'd love to get some
>>advice on how to make effective and enjoyable use of what little time
>>I currently have for playing. What with my non-music career, a 3
>>year-old son, and other domestic duties, I'm doing well if I can get 1
>>hour/day of playing in.

I think that I am in the similar group as Mark R. is in.
Before this news group was created I had not played the guitar for two
years.  The creation of this news group gave me guitar Renessance.
As a CS graduate student who has hard time in making time to play the
classical guitar,  I hope other maestros in this group kindly suggest
good methods.

I think that I also spend quite a time in practicing scales and 
Arppegios.  Sometimes, I just end up with these practices since I have many
other things to do.  Even though such practice is essential for good
play, I wonder to my self whether it is too excessive for a pure amateur,
hobbist like me.
If I suggest mine (please don't hesitate to critisize me),
I replace such arppegios and scales with actual music that I like.
For example :
   1) E major scale and slur (with minor combination of arpegio) :
      . Sor's L'Encouragement 2nd Movement last variation.
   2) D major scale :
      . Carulli's Duo II  Second movement.
   3) pima sequence Arppegio :
      . Villa Lobos Prelude No.4 Animato part
      . Villa Lobos Prelude No.2 last several measures in the middle part.
   4) ppimamip sequence Arppegio :
      . Villa Lobos Prelude No.2 middle part.
   5) In Mark's case, I think that you might add
      . some parts of Bach's Chaconne  for piai, pimi, arppegio.
            and d-minor scales.
   etc. etc. ....

One pitfall in this method I that I am caught by is  that
I sometimes fall into the music itself, rather than improving the
quality of the sound of each note.
So I think that in this case it is very important to practice these pieces
evenly without expressing your emotions.

If you are already using this method and if you have other pieces which you
think is good for practicing, please let me know.

-- 
____   ____  ____ ____________________________________ (___) _________________
|  |   |  |  |  |  W. Woody Jin (wjin@cs.uh.edu)       (o o)      Moo.... 
|  |   |  |__|  |  PhD Student. Research Asst.  o=======\ /  I'm  a Cow Lover.
|  |   |        |  Dept. of Computer Science   / |     ||O   My wife  was born
\  |---|  |--|  |  University of Houston      `  ||'---||    in Cow year. Mooo
 \____/|__|  |__| _______________________________^^    ^^_____________________
From: kene@sequent.com (Ken Ewing)
Newsgroups: rec.music.classical.guitar
Subject: Re: Xmas Album Suggestions?
Date: 6 Nov 92 21:41:54 GMT
Article-I.D.: sequent.1992Nov6.214154.2937
Organization: Sequent Computer Systems Inc.

In article <14565.2af95294@ohstpy.mps.ohio-state.edu> egras@ohstpy.mps.ohio-state.edu writes:
>In article <1992Nov5.142150.9240@lsa.umich.edu>, gerald.b.ross@um.cc.umich.edu (Gerald Ross) writes:
>
>	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 might get knocked for this, but I thought I'd at least mention it... 

The only Christmas music I've yet seen for classical guitar is a record 
and book by Charlie Byrd called (I think) the Charlie Byrd Christmas Album.  
Mr. Byrd is known in the jazz circles, and his performance on the album 
something less than smooth (at times rather sloppy, IMHO), but the 
arrangements are fun to play.  (I've got the book out now practicing 
up for December.)  Also, the book only contains about half the pieces 
that appear on the record...only the older "traditional" Christmas songs 
got into the book.  

  Ken Ewing 
  Sequent Computer Systems, Inc. 
  Beaverton, Oregon 
  kene@sequent.com 
  ...!uunet!sequent!kene 
Newsgroups: rec.music.classical.guitar
From: krod@cbnewsd.cb.att.com (craig.engelhorn)
Subject: Re: Fake fingernails and gelotine drinks.
Organization: AT&T
Distribution: usa
Date: Sat, 7 Nov 1992 21:19:34 GMT


I split my thumbnail and used superglue to succesfully fix the split until
it grew out.  In fact, I used some very fine fiberglass cloth ( I also
build model airplanes) glued over the broken nail with superglue.  After the
glue dried I merely shaped the "fiberglass" with an emery board.



Craig Engelhorn
AT&T Bell Laboratories
cae@iexist.att.com
Newsgroups: rec.music.classical.guitar
From: song@iastate.edu (Chang-Hyeon Song)
Subject: Re: Flamenco Recording List
Organization: Iowa State University, Ames, IA
Date: Sat, 7 Nov 1992 00:41:49 GMT

In article <BxBArI.3w6@cs.dal.ca> bulger@ug.cs.dal.ca (Fred Bulger) writes:
>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^)
>
>

I think that Paco was Passion, *John* was Grace, and Al was Fire.
I guessed.

P.S. Have you heard another album (live) of them?  

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


Newsgroups: rec.music.classical.guitar
From: corrigan@areaplg2.corp.mot.com (Jerry Corrigan)
Subject: Re: Tunning fork
Organization: Motorola, CCR&D, CORP, Schaumburg, IL
Date: Mon, 9 Nov 1992 18:36:52 GMT

In article <1992Nov6.161834.4786@b15.ingr.com>, jay@b15.ingr.com (Jay Reeves) writes:
|> In article <14552.2af7e3e9@ohstpy.mps.ohio-state.edu> egras@ohstpy.mps.ohio-state.edu writes:
|> >
|> >	As a physicist, I feel qualified to comment on this.  The above
|> >statement is utter nonsense.  Frequency (i.e. pitch) DOES NOT CHANGE when
|> >going through different media.  Both speed and wavelength change, but
|> >frequency does not.  Why does your voice sound to you different on tape?
|> >This has to do with acoustics, just as your voice sounds different in a
|> >bathroom.
|> >
|> >BrianE 
|> 
|> Wait a second - In electronic applications, frequency and wavelength ARE 
|> directly related: the higher the frequency - the shorter the wavelength.  
|> Wavelength is defined as the distance between 2 points in a periodic wave.  
|> Frequency is defined as the number of cycles per second.  If the frequency 
|> (which IS a periodic wave) increases, the number of cycles per second 
|> increase, which means the distance between 2 identical points on the waveform
|> shortens, thus the wavelength MUST shorten.  Period.  Now I can't imagine
|> why these laws of physics would change outside of the electronic world.
|> 

Wavelength is the speed at which the wave travels divided by frequency. If the
speed changes and the frequency is held constant, the wavelength will change.
From: basinski@biosci.arizona.edu (Mark Basinski)
Newsgroups: rec.music.classical.guitar
Subject: Re: TAB is the word...  : -)
Date: 6 Nov 92 17:41:20 GMT
Followup-To: rec.music.classical.guitar
Distribution: na
Organization: Univ. of Arizona

In article <1992Nov5.194225.15430@cs.rochester.edu>, steyn@cs.rochester.edu
(Gavin Steyn) wrote:
> >How is tablature not independent of tuning?...
> >...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.

 the idea of tab being independent of the tuning is that you read the
fingerings - the point is that if you can read tab, you can play pieces
for renaissance lute (if you tune that way or *on* a lute) and you
can also read pieces for baroque lute (provided that you can come up
with an instrument that you can tune that way..)

> 
>   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.

 I prefer the 2nd fret, for a couple of reasons  - the pitch is closer
to the pitch used at the time (which is important when working with a
singer, though if they have perfect pitch, they'll hate reading a G and
hearing an F#), but still has the "lute-like" sound BUT you're upper
range is longer (you don't lose so many of your highest notes), plus
if you have DOTS on your neck (sorry, I have to have a dot at the 7th
fret), then the dot is at the "5th" fret, which I find less confusing
than if it was at the "4th" fret (i.e. if the cape is at the 3rd fret)
----------------------------------------------------------------------------
Mark Basinski      Internet: basinski@biosci.arizona.edu
From: basinski@biosci.arizona.edu (Mark Basinski)
Newsgroups: rec.music.classical.guitar
Subject: Re: String Tension (Was Re: Kohno Classical)
Date: 10 Nov 92 17:54:31 GMT
Followup-To: rec.music.classical.guitar
Organization: Univ. of Arizona

In article <1992Nov10.094530.6142@menudo.uh.edu>, wjin@cs.uh.edu (W. Woody
Jin) wrote:
> But when I play continuous Cejas(bars), I just cannot find any other way.
> I am just run out of strength in left hand.
  
   That is the point - the hand itself needs the help of the larger
muscle groups.

> But, I think that using left arm/shoulders weight/muscles will force 
> the right arm to press the guitar harder
> and unnecessary strengh on right arm will deprive natural fingering.
> Also, I think that it is not a good idea to use shoulder or arms to
> put strengths.  Both arms and shoulders (left and right) should not 
> have any extra strengths, and they should be smooth and natural.

   All I can do is give you my perspective as a serious performer and 
teacher. It is possible to misuse *any* muscular/mechanical part of
the body. The point is that by learning how to make the best use of the
larger muscle groups (arm, shoulder, back) you can simplify 
the essential tasks which the hand and fingers do. Obviously, there are
many things that only the fingers can accomplish, but the larger
muscle groups can participate and assist. This is a well established
part of the instrumental technique for many instruments - piano, strings,
etc. Many well known guitar teachers (including Carlevaro,Oscar Ghiglia,
Bruce Holzman) make use of this idea. 

> I think that you are explaining the very basic position of playing 
> the classical guitar.

  I think you are missing the point. As I said in the earlier post, this
point is nearly impossible to communicate without having someone who
understands it work with you physically. 

> I think that the key point is to build strong muscle between the thumb
> and index finger in left hand.  

    It is true that a certain amount of strength and stamina is necessary,
but the thumb/index cannot do the job alone - this is why you're having
problems.

> . . .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 ?  

   Doesn't your lack of success and continued frustration tell you 
something? Seek a teacher to help you. 
----------------------------------------------------------------------------
Mark Basinski      Internet: basinski@biosci.arizona.edu
Organization: University of Maine System
Date: Thursday, 5 Nov 1992 13:50:18 EST
From: John Hassler <HASSLER@MAINE.MAINE.EDU>
Newsgroups: rec.music.classical.guitar
Subject: Re: Routine Guitar Maintenance
 <92309.220418U53519@uicvm.uic.edu>

In article <92309.220418U53519@uicvm.uic.edu>, U53519@uicvm.uic.edu says:
>
>In article <1992Nov4.193009.17118@delfin.com>, mr@delfin.com (Mark Rosenberg)
>says:
>>
>>I've never known exactly what routine maintenance (besides string changing
>>and removing dust and perspiration with a dry cloth) you should perform on
>>a guitar. Now that I have a Brune I am more motivated that when I was
>>playing $150 factory guitars. Should I use and kind of polish or cleaner
>>on the body? What should I do to remove patina from the fingerboard?
>>-
>Mark -
>
>Richard Brune repaired a nick on the face of my guitar and in the process
>found that he had to do significant additional finish work.  The reason
>for the extra work, he explained, was that I had used a polish on the face
>of the instrument.  Note that it wasn't Pledge or Turtle Wax, but a
>product marketed by Martin Guitars for guitars.  So, at least for my
>instrument, polish was a bad idea.
>
>-- Ray Sparrowe
>
>University of Illinois Chicago
>Department of Management

    I have a guitar made by Ron Pinkham, Rockland, ME.  He told me not
to use anything on it but a damp cloth.  He was also very distressed to
see that I use silicone wipes to clean my glasses.  He told me that it
gets from my fingers to the guitar, and makes it very difficult to get
a good finish again if it ever needs repair.  (I use them anyway; hope
I never need to have it repaired.)
-----------------------------------------------------------
J. Hassler      Dept of Chem Eng        U of Maine
Newsgroups: rec.music.classical.guitar
From: timk@meaddata.com (Tim Klein)
Subject: Re: Tube Screamers
Organization: Mead Data Central, Dayton OH
Date: Thu, 5 Nov 1992 16:36:13 GMT

In article <Bx57AC.294@visix.com>, mark@visix.com (Mark Myers) writes:
|> In article <pquince.720208907@blacks>, pquince@blacks.jpl.nasa.gov (Peter Quince) writes:
|> |> I am looking for a good Tube Screamer for my classical guitar.
|> |> Does anyone have any good suggestions?  Any suggestions at all?
|> 
|> Pardon my ignorance, but what's a Tube Screamer?


It's a very good distortion pedal made by Ibanez.  I assume Mr. Quince
wants to make his classical guitar sound like an electric, possibly to
wake up the people in the back row of the audience.  I believe Ibanez
has re-issued its Tube Screamer, so you should be able to find one at
just about any music store.  Jam on, dude.


===========================================================================
Timothy Klein                 I wish I had a kryptonite cross.  Then I
timk@meaddata.com             could keep both Dracula AND Superman away.
...!uunet!meaddata!timk                               -- Jack Handey
Newsgroups: rec.music.classical.guitar
From: mr@delfin.com (Mark Rosenberg)
Subject: Re: Jazz Fingerstyle Too?
Reply-To: mark@delfin.com
Organization: Delfin Systems, Sunnyvale CA
Date: Fri, 6 Nov 1992 16:01:54 GMT

In article <COLWELL.92Nov4214803@pdx023.world>, colwell@pdx023.world (Robert Colwell) writes:
|> 
|>    >How about allowing discussion on Jazz Fingerstyle in this group?
|> 
|> Jazz on a classical guitar is still unusual. Earl Klugh comes to mind
|> instantly, although I know many jazz fans who would object to my calling
|> his music "jazz". Well, it sure ain't classical, whatever you call it.

Someone whose jazz playing is likely to be inspiring to classical players
is Ralph Towner. He has a solo concert CD on ECM. His playing with Oregon
on the  groups old vinyl is also great. Ever since he got into synthesizers
I've not been as greatly impressed. 
-- 
Mark Rosenberg
internet:mark@delfin.com
phone: (408) 562-1126	fax: (408) 748-1140
snail: Delfin Systems, 3000 Patrick Henry Drive, Santa Clara, CA 95054-1814
From: basinski@biosci.arizona.edu (Mark Basinski)
Newsgroups: rec.music.classical.guitar
Subject: String Tension (was Re: Kohno Classical
Date: 9 Nov 92 22:19:25 GMT
Followup-To: rec.music.classical.guitar
Organization: Univ. of Arizona

In article <1992Nov9.164007.13885@delfin.com>, mr@delfin.com (Mark
Rosenberg) wrote:
> . . . I too would like to know what, all other things being equal, increased
> string tension does to tone.
	
  It is important to realize that the effect of different string tensions
depends on the particular instrument in question. Most concert quality
instruments will sound noticeably different (though perhaps not by much)
with different tension strings; the question is *which* tension works
best for that guitar. You should experiment to find out what you like.
Also, some guitars are intrinsically "stiffer" than others. I use
D'Addario J44 (extra hard tension) on my Michael Thames spruce top (65 cm)
and due to the amount of "give" in the instrument, it feels less stiff
than some other guitars of the same size equipped with lighter tension
strings.

 Given that the idea is to transfer energy from the string to the top, a
higher tension string may deliver more energy, and thus be louder, but it's
important to consider also how tension affects sustain - i.e. the *rate* of
enegy transfer. In some cases, lower tension may not be as loud but will
sustain longer. The other general tendency is that higher tension strings
are larger in diameter (note that the new Savarez Alliance are *not*,
rather
they are made of higher density nylon)...anyway, the fatter strings can 
tend to have a darker sound, especially the 3rd string.
----------------------------------------------------------------------------
Mark Basinski      Internet: basinski@biosci.arizona.edu
From: ak835@cleveland.Freenet.Edu (Michael P. Burns)
Newsgroups: rec.music.classical.guitar
Subject: How fast is fast? (& does it matter?)
Date: 9 Nov 1992 13:26:36 GMT
Organization: Case Western Reserve University, Cleveland, Ohio (USA)
NNTP-Posting-Host: slc10.ins.cwru.edu


The discussion about playing fast reminded me of an anecdote from
a concert by Joe Pass which I attended a few years ago.  After 
playing some elegant and harmonically interesting fingerstyle
ballads Mr. Pass remarked that often when he attended concerts
what he heard during the intermission was comments like "Man,
can that guy play FAST!"  So, Pass said, just so I don't 
disappoint anybody I'll play the next piece.  And he proceeded to
play so fast that it was amazing the strings didn't catch on fire.
BUT...in my opinion the rest of the concert was much more enjoyable.

It seems to me that beyond a certain speed required to give contrast
to slower passages and create a sense of energy and urgency, excess
speed of playing is unneccesary and undesirable.
-- 
Michael P. Burns

ak835@cleveland.freenet.edu
Newsgroups: rec.music.classical.guitar
From: beascoea@altair.cs.rpi.edu (Alex Beascoechea)
Subject: Paul Galbraith?
Organization: Rensselaer Polytechnic Institute, Troy NY
Date: Fri, 13 Nov 1992 20:26:31 GMT


A guitarrist called Paul Galbraith is performing in a school in the Troy,N.Y
area this weekend. He is anounced as an internationally aclaimed virtuoso.
It seems that he uses a very unorthodox playing position ( the guitar is
 supported by a metal spike, similar to a cello) 

Can anybody comment upon this? Is he really good? What do you think about
this playing position? What do you think about other rarities,e.g, Yepes 10
strings?

Alex.
-- 
----------------- Alex Beascoechea -----------------
alex@ecse.rpi.edu beascoea@cs.rpi.edu beasca@rpi.e
----------------------------------------------------
From: steyn@cs.rochester.edu (Gavin Steyn)
Newsgroups: rec.music.classical.guitar
Subject: Re: TAB is the word...  :-)
Date: 9 Nov 92 20:16:43 GMT
Distribution: na
Organization: Computer Science Department University of Rochester

In article <19048@ucdavis.ucdavis.edu> darsie@eecs.ucdavis.edu (Richard Darsie) writes:

>This is interesting. Did you know that the actual tonality of the 
>Renaissance lute is exactly a minor third above the guitar?
>In other words, "lute tuning" on the guitar is EADF#BE, but the
>lute is actually tuned GCFADG. This must explain why a capo on 3
>makes it sound more "lute-like".

Actually, I don't think that's the reason.  It's more that the capo
effectivey shortens the strings of the guitar, and moves you higher
up the neck, giving a more delicate sound.  The lute had (I believe)
shorter strings, and a more delicate sound, which the capo lets us
imitate.

(Incidentally, the lute isn't REALLY tune a minor third up, since those
pitches have changed in the meantime)

Gavin Steyn
steyn@cs.rochester.edu
"So he's had the lifelong ambition of reversing the polarity of the earth?"
From: egras@ohstpy.mps.ohio-state.edu
Newsgroups: rec.music.classical.guitar
Subject: Narciso Yepes
Date: 5 Nov 92 17:09:53 EST



	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