HDTenEightyP/NetNews huggingface dataset:
From: mr@delfin.com (Mark Rosenberg)
Subject: Re: Kohno Classical
Reply-To: mark@delfin.com
Organization: Delfin Systems, Sunnyvale CA
Date: Mon, 9 Nov 1992 16:40:07 GMT

In article <1992Nov6.155925.1019@ann-arbor.applicon.slb.com>, farber@mailhost.aa.cad.slb.com (Phillip Farber) writes:

|> How would you characterize the sound of Hannabach strings across the
|> various tensions of which you have experience, i.e. are the super-high
|> tensions brighter/louder/stiffer than the high tension?
|> 
|> It is my experience that higher tension strings tend to be slightly
|> brighter and clearer although at the expense of requiring more
|> pressure to bar.
|> 
There are a number of guitar configuration issues that interact and influence
tone, left-hand ease-of-playing, right-hand ease-of-playing, and dynamic
range. I too would like to know what, all other things being equal, increased
string tension does to tone. I use Hannabach super-high tension strings so
that I can have increased dynamic range without raising the action.
-- 
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: st1da@rosie.uh.edu (Jeff Phillips)
Newsgroups: rec.music.classical.guitar
Subject: Re: NAILS, NAILS, NAILs
Date: 6 Nov 92 17:50:00 GMT
Article-I.D.: rosie.6NOV199211501281
Organization: University of Houston
News-Software: VAX/VMS VNEWS 1.41

In article <1992Nov2.124910.733@blurt.oswego.edu>, ps_ind05@blurt.oswego.edu
 writes...
>How can I grow better finger nails? 

Try eating lots of protien.  It might help.

Jeff Phillips
Newsgroups: rec.music.classical.guitar
From: elf@dgp.toronto.edu (Eugene Fiume)
Subject: Re: Advice from Segovia
Organization: Department of Computer Science
Date: 11 Nov 92 16:08:45 GMT

In article <2930417092.4.p00168@psilink.com> "James F. Tims" <p00168@psilink.com> writes:
[In reference to Christopher Parkening]

>>
>>Was that good enough? 
>>
>Eminently.  Your best shot is definitely sufficient to carry the argument.
>I withdraw, with the whining "reposte," that he plays Bach awfully well.
>I don't mean to grovel, but leave me something.  8^)  Nice shot.

After all the analysis is done, your ears and heart should rule.  If you enjoy
Parkening, go where your heart takes you.
-- 
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: wjin@cs.uh.edu (W. Woody Jin)
Subject: Re: The Best Aranjuez
Organization: University of Houston
Date: Tue, 10 Nov 1992 08:02:12 GMT

In article <lTB=JZ@engin.umich.edu> newjack@engin.umich.edu (Kyong Soo Lee) writes:
>Hello fellow guitar lovers!
>I just want to as you all one simple question.  Which, in your opinion, is the best 
>Concierto de Aranjuez recording out there now?  Also, I'm trying to get the list of all the
>Aranjuez recordings out there these days and a review for each, please contribute.

1) Romero
     Colorful with vitality, emotion and brightness.
     Also with lots of musicality.

2) John Williams
     Solid. Less colorful than Romero but listen to the fast passage 
     in the second movement - crystal clean.
     Some people might find it a little bit dry interpretation
     (I do), but it is still very good performance.

IMHO, other recordings cannot be compared with the above two.
Does anyone know more enjoyable recordings ?


-- 
____   ____  ____ ____________________________________ (___) _________________
|  |   |  |  |  |  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
 \____/|__|  |__| _______________________________^^    ^^_____________________

Newsgroups: rec.music.classical.guitar
From: wjh@cbnewsl.cb.att.com (william.j.hery)
Subject: Re: The Segovia Collection
Organization: AT&T
Date: Thu, 12 Nov 1992 02:27:54 GMT
Keywords: segovia, collection, CD

cpferron@cs.hh.ab.com writes:
>   Question:  I have volumes 1-9 with the exception of
>   Volume 3.  What is Volume 3?
>Is it available?   Are there more volumes (past 9)?   Any information would be 

Vol 3 is called "MY FAVORITE WORKS" and is all Spanish composers (Albeniz,
Torroba, Sor, Tarrega, Granados, Turina, and Castelnuevo-Tedesco); most
of the works are in the standard repertoire that everyone seems to record.
But of course, these are by played Segovia.

Bill Hery
Newsgroups: rec.music.classical.guitar
From: steyn@cs.rochester.edu (Gavin Steyn)
Subject: Flamenco: doing golpes on a classical guitar
Organization: Computer Science Department University of Rochester
Distribution: usa
Date: Wed, 11 Nov 1992 17:54:59 GMT


I've started fooling around with flamenco music, but I'm not serious
enough to want to buy a flamenco guitar.

Currently, I've been doing golpes onto and index card that I've taped
to the body of the guitar, but this is, to say the least, inelegant
and iconvenient :-(.  I've heard that there are plastic thingies you
can attach to the guitar, and I've got a couple of questions:

1) Do golpes on an unprotected guitar hurt it (except for resale value,
which this guitar doesn't really have, anyway).

2) Do the plastic thingies hurt in any way?

3) If the answers to both of the above are no, which is a better
solution?

Thanks,

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: kent@netcom.com (Kent Crispin)
Subject: Re: Tunning fork
Organization: Netcom - Online Communication Services (408 241-9760 guest)
Date: Mon, 9 Nov 1992 03:06:06 GMT

In article <1992Nov6.161834.4786@b15.ingr.com> jay@b15.ingr.com (Jay Reeves) writes:
>
>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.

That's because the speed of travel of the wave is a constant in electronics
applications -- about the speed of light.  We are explicitly talking about
situations where the speed of transmission is the factor that changes, and,
in those circumstances the frequency does stay the same.  Think of a sound wave
in a room hitting a glass window -- the sound wave that hits the window
is causing the window to vibrate at the exact frequency of the original
wave.  The wave will be transmitted through the glass at the speed of sound
in glass, but the frequency will remain the same...

Now, the situation is really more complicate than that, because bones
in your head are solid objects with varying density and complex
shapes, so there will be reasonances that will amplify certain
frequencies and attenuate others.  So the timbre of the sound will
definitely change.  For lower audio frequencies these are very minor
effects, because the wavelengths involved are so long compared to the
size of the head, but for frequencies >5kh the wavelengths are on the
order of an inch or two.

>As far as the stuff about your voice sounding different, it's due to the
>inner ear: when you speak, you are hearing yourself from 2 sources:
>1) The vibrations of the skull, as you speak, which are transmitted to the 
>   inner ear. 
>2) The transmission of sound thru the air entering thru the ear canal. 

This is true as far as it goes, but it doesn't actually explain anything:
You haven't given any reason why the two modes of transmission should sound
different...




-- 
Kent Crispin			"No reason to get excited",
kent@netcom.netcom.com		the thief he kindly spoke...
From: basinski@biosci.arizona.edu (Mark Basinski)
Newsgroups: rec.music.classical.guitar
Subject: Re: Eliot Fisk in Chicago 1/31/93
Date: 9 Nov 92 21:42:15 GMT
Followup-To: rec.music.classical.guitar
Organization: Univ. of Arizona

In article <92313.160847U53519@uicvm.uic.edu>, U53519@uicvm.uic.edu wrote:
> 
> Eliot Fisk will be playing at the Old Town School of Folk Music on January
> 31, 1993, at 3:00 p.m.  The concert is sponsored by the Chicago Classical
> Guitar Society.  The Old Town School is a small hall; advance ticket purchase
> is strongly recommended.
> 
> Call the society for details: 708 475-7877.
> 
> -- Ray Sparrowe
>    Department of Management
>    University of Illinois, Chicago

Well, much as I'd love to be there, it's impossible. If anybody finds out,
could you post the program?

----------------------------------------------------------------------------
Mark Basinski      Internet: basinski@biosci.arizona.edu
From: basinski@biosci.arizona.edu (Mark Basinski)
Newsgroups: rec.music.classical.guitar
Subject: Re: The Segovia Collection
Date: 12 Nov 92 20:19:14 GMT
Followup-To: rec.music.classical.guitar
Organization: Univ. of Arizona

In article <1992Nov12.022754.21513@cbnewsl.cb.att.com>,
wjh@cbnewsl.cb.att.com (william.j.hery) wrote:
> Vol 3 is called "MY FAVORITE WORKS" and is all Spanish composers (Albeniz,
> Torroba, Sor, Tarrega, Granados, Turina, and Castelnuevo-Tedesco); most
> of the works are in the standard repertoire that everyone seems to record.
> But of course, these are by played Segovia.
> 
  Especially for those works written for Segovia, those recordings are 
tremendously valuable for anyone studying the same pieces (and they're
beautiful to listen to also, funky recording quality notwithstanding).
----------------------------------------------------------------------------
Mark Basinski      Internet: basinski@biosci.arizona.edu
Newsgroups: rec.music.classical.guitar
From: elf@dgp.toronto.edu (Eugene Fiume)
Subject: Re: String Tension (Was Re: Kohno Classical)
Organization: Department of Computer Science
Date: 11 Nov 92 22:40:26 GMT

When Woody Jin wrote
>
>> . . .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 ?  

Mark Basinski responded
>
>   Doesn't your lack of success and continued frustration tell you 
>something? Seek a teacher to help you. 

I agree with technical suggestion but not the tone.  I think Mark is right
in suggesting that the larger muscle groups in the arm should play a part
in a barre.  I personally believe you should be able to barre effectively
without the use of a supporting thumb.  Try it!  Use your index finger as a
barre without any additional support from your thumb and don't place the
other fingers on the strings.  Then use the minimum of forearm/upper arm
pressure needed to get the barre to sound clean.  You'd be surprised how
little effort is needed to accomplish this.  It's of course a function of
fret position.  I think I subconsciously use a blend of Woody's and Mark's
suggestions (not that I would imagine imposing my technique on anyone).  I
use mostly lower arm/hand pressure in the lower positions and higher-arm
pressure in higher positions.  Consequently, I've never felt the need for
additional stabilisation using my right arm (reverse if you're a left-hand
picker).

I discovered this without the aid of a teacher (which is why I disagree
with Mark to some extent).  My first teacher in fact recommended all
hand pressure, which was a losing strategy for me.  My second teacher
agreed with my "discovery".
-- 
Eugene Fiume, Dynamic Graphics Project
Department of Computer Science, University of Toronto
elf@dgp.toronto.edu, (416) 978-5472
From: kene@sequent.com (Ken Ewing)
Newsgroups: rec.music.classical.guitar
Subject: Re: The Best Aranjuez
Date: 10 Nov 92 18:59:01 GMT
Article-I.D.: sequent.1992Nov10.185901.24228
Organization: Sequent Computer Systems Inc.

In article <lTB=JZ@engin.umich.edu> newjack@engin.umich.edu (Kyong Soo Lee) writes:
>Hello fellow guitar lovers!
>I just want to as you all one simple question.  Which, in your opinion, 
>is the best Concierto de Aranjuez recording out there now?  


(I originally sent this by e-mail, but then thought it might be 
interesting on the net.)  

I have heard three recordings:  

  John Williams 
  Alexandre Lagoya 
  ?????? (I borrowed the CD from a friend, I don't remember the artist) 

I have also heard Parkening do Aranjuez live with the Portland (Oregon) 
Symphony.  

I only bought the Lagoya recording a few days ago, and have only listened 
to it once, and that was while I was doing other things around the 
house.  I think my favorite recording is Williams, but that is probably 
because it is the first recording I ever heard, and I listened to it 
intently for many years before I listened to anyone else.  I tend to 
compare all other recordings to that one.  

I have another question though.  It seems to me that the ORCHESTRA 
track on the Aranjuez recordings sounds virtually the same on every 
recording.  I've often wondered if there is just a "boilerplate" 
recording of the orchestra portion that floats around to which the 
different artists play in the studio.  That might be something of 
a crude concept, but the thought has crossed my mind.  Any thoughts 
on this?  

  Ken Ewing 
  Sequent Computer Systems, Inc. 
  Beaverton, Oregon 
  kene@sequent.com 
  ...!uunet!sequent!kene
From: radams@cerritos.edu
Newsgroups: rec.music.classical.guitar
Subject: Re: Decent Vila Lobos Editions
Date: 6 Nov 92 01:39:48 GMT
Followup-To: rec.music.classical.guitar
Organization: Cerritos College, Norwalk CA

In article <basinski-051192140153@lully.biosci.arizona.edu>, 
basinski@biosci.arizona.edu (Mark Basinski) writes:

>> Carlevaro apparently has the original V-L manuscript and he points out
>> too how errors have crept into the published Eschig edition and into
>> recordings.
> 
> list of errata, i.e. the list of all the changes/wrong notes/etc that I
> came up with in my studies with Carlevaro. If there's interest, I'll post 
> it when I get done...mostly very small stuff, but interesting.
> 

I for one am very interested in a errata list. You said that even the
Noad edition (which I have not seen) has errors in it. I wonder why the
publishing of these works has been so mickey mouse?


-------------------------------------------------------------------------------
	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: lbroda@s.psych.uiuc.edu (Larry Broda)
Subject: Re: Strings
Organization: UIUC Department of Psychology
Distribution: rec.music.classical.guitar
Date: Fri, 13 Nov 1992 16:32:14 GMT

seifert@netcom.com (Rich Seifert) writes:

>In article <YOOK1.92Nov6033810@husc10.harvard.edu>, yook1@husc10.harvard.edu (Philip Yook) writes:
>> What are the best strings to use?

>I tried the Alliance blue card/extra high tension and they were just
>atrocious. You couldn't make them buzz for anything, but they sounded
>just lifeless. I got so annoyed that I took them off the next day
>and threw them away.

I have found that with some strings the trebles sound rather dead for
the first few days but open up nicely therafter, so maybe you should
have given these strings more time (then again, maybe they would have
remained lifeless).  I noticed this in particular with Augustine, and
since it also took a few days for them to stay in tune, that few days
didn't matter much to me.  This was with medium tension; I've never
tried high tension strings.

However, I should add that I have abandoned Augustines now in favor
of d'Addario J45's, which sound good from the first, stay in tune much
sooner, and just plain sound better on my guitar.  However, I miss the
distinctive smell of Augustines when you open the little plastic
packages, and now I don't get six pictures of Segovia in my string
sets....

--
Larry Broda
Dept. of Psychology
Univ. of Illinois at Champaign-Urbana
lbroda@s.psych.uiuc.edu
From: basinski@biosci.arizona.edu (Mark Basinski)
Newsgroups: rec.music.classical.guitar
Subject: Re: Decent Vila Lobos Editions
Date: 6 Nov 92 17:50:41 GMT
Followup-To: rec.music.classical.guitar
Organization: Univ. of Arizona

In article <1992Nov5.173948.7547@cerritos.edu>, radams@cerritos.edu wrote:
> I for one am very interested in a errata list. You said that even the
> Noad edition (which I have not seen) has errors in it. I wonder why the
> publishing of these works has been so mickey mouse?

 Yep, the Noad version fixed many, but not all of the typos - some of the
things I consider "typos" are obvious (i.e. missing double-sharp signs in
etude 7) but some are not (i.e. missing repeats in etude 1). I think Noad
just got the original Eschig plates and did the best he could, but didn't
have any HVL originals.

Anyway, I have had a number of mail messages indicating interest in a list
of Villa-Lobos "corrections". As I said, these reflect my studies of these
works with Carlevaro (who studied and played all that stuff with
Villa-Lobos
in 1943). I do ask your patience, as at the moment I'm studying for my 
doctoral prelim exams for my DMA in guitar performance here at UA, so I
won't have much time to put all that into e-format for about a month, but
I do have it all marked - I just did all 12 etudes on a solo recital last
week (and I'd done the 5 preludes before as well).

----------------------------------------------------------------------------
Mark Basinski      Internet: basinski@biosci.arizona.edu
From: basinski@biosci.arizona.edu (Mark Basinski)
Newsgroups: rec.music.classical.guitar
Subject: Re: The Best Aranjuez
Date: 10 Nov 92 17:40:43 GMT
Followup-To: rec.music.classical.guitar
Organization: Univ. of Arizona

> > . . . Which, in your opinion, is the best 
> > Concierto de Aranjuez recording out there now?

	The best? Geez...music isn't football, you know. What I like best you
might not, and vice versa...ANYWAY, recently Chris Parkening was here
for a performance (of Aranjuez) and a master class. I missed the concert
(but heard it was pretty mediocre), but Parkening made a VERY interesting
comment in the master class: He said that recently he recorded both the
Aranjuez and the "Fantasia para un Gentilhombre" in London (I can't recall
the condoctor/orch...London Symphony Orch?) - but anyway, Joaquin Rodrigo
was there and Parkening said that he and the conductor went over both
scores with Rodrigo to ask many questions about wrong/right notes,
adjustments to the guitar part, interpretation, etc. The recording, which
will be released on CD soon, reflects these discussions. So, I'm very much
looking forward to this just as a "definitive" recording in terms of the
notes (not necessarily because I think Parkening is the best guy to do it).
As an example of something that Rodrigo wrote but that you almost never
hear, in the cadenza at the end of the Canario in "Gentilhombre", right
before the long scale leading back into the tutti, there is a chord, and
in the Schott edition I learned this from, the chord is basically an
A sus 4...well, according to CP the e on the 4th string is really supposed
to be a D#!!! which gives a really dissonant, quintessentially Rodrigo
chord (Segovia probably changed it cause he thought it was ugly). 
----------------------------------------------------------------------------
Mark Basinski      Internet: basinski@biosci.arizona.edu
Newsgroups: rec.music.classical.guitar
From: "James F. Tims" <p00168@psilink.com>
Subject: Re: Right Hand Studies
Organization: Semper Excelsior
Date: Thu, 5 Nov 1992 14:46:44 GMT
X-Mailer: PSILink (3.2)

>DATE:   5 Nov 92 00:45:12 GMT
>FROM:   radams@cerritos.edu
>
>In article <1992Nov4.054915.25256@usage.csd.unsw.OZ.AU>, 
>markc@hydra.maths.unsw.EDU.AU () writes:
>

ROGER>>>
>>>As far as speed is concerned, Pepe and Angel Romero could blow away a warmed-up
>>>Williams with cold hands in a snow storm :-). However, I agree that Williams 


MARK>> 
>> fast making lots of mistakes on the way. The whole point is that Williams can
>> play at extraordinary speed and not make a single mistake whilst maintaining
>> a crystal clear tone and consistent volume. 
>>
>
[deletions....]

ROGER>
>Williams is still the standard in guitar technique overall.

[deletions....]

>
MARK>>
>> playing in time, with precision and clarity. Elliot Fisk has said in an 
>> interview I have, that in his view nobody has gone past Williams technique,
>> including himself. 
>
ROGER>
>your idol. But I think your declaration that Williams was faster than any other
                        ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^  
[deletions...]

Mark didn't claim that.  I did, and I deeply apologize for the squabbling
I seem to have started.  Sort of like Tom Hanks in the movie about lady
baseball players, "What are you doing?  Are you flaming?  No flaming!
There's no flaming in r.m.c.g.!!"  8^(




-- 
jim tims 
"And if you're a miner, when you're too tired and old and sick and stupid
to do your job properly, you have to go, whereas just the opposite applies
with the judges."  Beyond the Fringe
From: cbettis@unlinfo.unl.edu (clifford bettis)
Newsgroups: rec.music.classical.guitar
Subject: Re: TAB is the word... :-)
Date: 9 Nov 1992 18:58:31 GMT
Organization: University of Nebraska--Lincoln	
Distribution: world
NNTP-Posting-Host: unlinfo.unl.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".

As a lute player I feel obliged to make a couple of comments. In the 
period of time you're talking about there was no standardized pitch; 
lutenists tuned the top string as high as it could go and then tuned 
the other strings accordingly. The intervals between the strings are 
known but the absolute pitches various composers used is lost to us. 
It is known that over the last few centuries our standard for "A" has 
increased a bit in pitch (this comes from studying wind instruments 
and organs of the times). I do not think a guitar with a capo on the 
third fret sounds very much like a lute at all; there is more than 
just a pitch difference. As far as the discussion of tablature goes, 
some types of music are notably easier to read on fretted instruments 
in tablature. I recall performing a Dowland song (Sorrow Stay) with a 
very accomplished classically trained singer and the difficulties she 
had reading the Elizabethan syncopations in modern notation. The 
tablature, on the other hand, was comparatively simple. I read both 
sorts of notation but prefer the Tablature. I like to think of 
tablature as telling you how to play the music whereas modern notation
tells you how it sounds and leaves it to you to figure out how to play
it. 
Cliff Bettis
Newsgroups: rec.music.classical.guitar