Back to index of "this and that in my life" pages by Donald Sauter.
Dedicated to the proposition that every thought that's ever been thunk may be of interest to some looney toon . . .
THEE: Tablature and "standard" notation I thank you for your ASCII tabs of Mudarra. My local luthier made a nice 4-course guitar to my specifications and when I play that guitar I want to do it from a tab. I hate working a "normal" score back to tab, but I have done it a few times. As an amateur classical guitarrist (who can read), I believe your comments are very approPriate. I hate music where they want to show off how polyphonic their guitar writing is and tie whole and half notes for a few measures like if their guitars could hold a note that long. A tab gives you a better idea of how the piece is supposed to sound. However, I do not think writing a fugue for guitar with a tablature would be a good idea... you just would have a lot of problems trying to figure out which voice is doing what. So my proposal is: we have to know how to read BOTH. It surprises me that someone can claim that we can't read in a variety of tunings... I would say all classical guitarrists can work with EADGBE, DADGBE, and DGDGBE. I do not know many violin players that could do something with one or two strings tuned differently. The plucked string people are more familiar with scordatura than the guys with the bows. An interesting issue comes up when playing in a small group (let's say strings +guitar)... can you imagine what the other musicians would say if they saw you playing from a tab? They claim that most guitarrist have a very unsteady beat because of doing so much solo work that they cannot play with a group...sadly, they are right. They say most of us cannot read music and if they saw us reading from a tab they would have their proof. I have played the basso continuo part with a small chamber orchestra (it is FUN), and they did not like the idea of me writing occasional chord symbols... looks like if you could not "read music", they said.. Actually, since most string players have no idea of how a continuo should work, they do not know that the little numbers are exactly that: chord symbols. Maybe a classical guitarrist should be able to sight read all three: notes, tabs, and a bass line with numbers undeneath. Well, thank you again for the interesting comments, the tabs and a fast-loading web site, ME: I'm working on putting up Baroque guitarist Anthoine Carre's work on the web now in tablature. There's a large suite for 2 guitars with a melody and a bass instrument. I copied LC's copy, if you can imagine throwing a book from 1690 on a xerox machine. ME: playboy and pop Thanks for sending me the Playboy Advisor passage from your book. Jim Peterson was way off when he said, "For the first ten years of its life Playboy was a jazz magazine with naked women in it. We didn't discover rock and roll until about 1963." My web page documents very precisely the relationship of Playboy and pop music in the 1960s. Virtually the only way in which pop music showed up in Playboy until 1967 was passing mentions of pop songs (almost always by the Beatles) covered by jazz artists. Playboy first reviewed a pop album - by the Mama's and the Papas - in Feb 1967. The next time was May 19667, and with that issue, Playboy threw open its doors to pop musicians. THEE: Aguado Polonaise I've been looking for a guitar tablature of a Aguado Polonaise op.2 and wondering if you may be able to help me. Reading over your website on Aguado I see you have done extensive work on the subject. I'm guessing this is in volume 3 and I'll probably buy it but I don't read and the conversion would take me forever. I learn from tabs quickly however, and really desire to learn this piece. I am an amateur who loves to play and hope I'm not wasting your time. ME: Thanks for asking, but I'm afraid I can't help. I limit my tablature production mostly to things that were in tablature to start with, or are in odd tunings. Best of luck. ME: Re: Guitar and Piano Music Glad you found my guitar music lists intriguing. Sorry, I don't know of any piano & guitar music on the web. I also haven't scanned any of my music. There really hasn't been any demand to speak of for what I have, but I can assure you that good, old- fashioned photocopies would be much higher quality, much cheaper and involve far less time and effort than going the digital route. >You have an impressive list of music on your website. I'm wondering if you know some web sites that offer free downloads of sheet music arranged for piano and guitar duo's. Or if maybe you could email me some scans? ME: The MSPAP test the first week of May, and funnily enough, I don't know if there's life for me after the MSPAP. I'm hoping they'll see that we should be gearing up for next year's now. I think that, even though I haven't been under observation while working with the kids, I've managed to make an impression. I sold myself as a "MSPAP coach", but really, I'd like to be the all-purpose "standardized test coach". Besides the MSPAP, there are California tests for 2nd, 4th and 6th graders, and county benchmark tests for 2nd through 6th for each quarter. It seems to me that there is so much testing that it would make good sense to teach directly to the tests. After all, that's what the kids are supposed to know. Believe me, if I were brought on permanently, we would work up lists of everything that appeared on every test the kids take. That would be the curriculum. I'm flabbergasted at how vague everybody is on what will appear on the MSPAP. It's only been going on for 10 years, good grief! You gave me a start with your claim that "yesterday" is a hundred dollar word. I thought I had checked all my web pages for them. Well, here's how I see it Y E S T E R D A Y 25 5 19 20 5 18 4 1 25 = (something way over 100) THEE: eBay Bid Notice - Item 1421977942: Carl Butler and Pearl- Avenue Of Prayer-360 LP Here's a quick note to confirm your eBay bid! Carl Butler and Pearl-Avenue Of Prayer-360 LP (item 1421977942) Your bid was in the amount of: $7.49 Your maximum bid was in the amount of: $13.00 The auction closes on: Apr-12-01 11:05:49 PDT THEE: > Still laughing over, "Well, waddaya *think* separates Texas and Kansas [or whatever]??? Texas and Kansas???? Man, you Easterners do need geography lessons! A while back, I got a similar remark from someone else. I'd said something about Nevada and that person commented that someone had planned to go to Fremont & some other city in Nevada on a trip that included Kansas and Iowa. HUH???????? I replied, something along these lines. "A long way to Nevada from Kansas and Iowa. Although I'm not sure about the second town you named, there's a Fremont near Lincoln, Nebraska." The reply: "Okay, so I'm embarrassed. I always get confused about that part of the country between California and New York." Did I ever tell you my NJ stories? I have two of them, one each from my two trips to NJ/NY. The first occurred when I was on a high school spring break trip sponsored by the Des Moines United Nations Association--two busloads of DM high schoolers from 6 high schools. One evening, we were on Broadway for a production of Hello, Dolly. A large group of NJ teens was sitting directly in front of us, and, as they recognized the contrast between our impeccable standard English and their offbeat dialect, they began talking to us. Didn't take long for us to figure out they thought we lived in the Wild West, not the Midwest. So we gladly obliged. We talked of living in log cabins, riding our horses 10 miles to our one-room schoolhouse . . . and they believed it all. So we decided to embellish . . . just a tad bit, mind you. One friend spoke of her dad being scalped by the Indians; I spoke of grandma's still in the backyard. That was just the start, but you've got the picture by now. Far more memorable part of the evening than the musical. [In Teanneck, NJ] Hself (co-chaperon) & I were staying with the same family, and they decided to take us on a driving tour of Teanneck. What a thrill. Suddenly, the husband remarked, "This is what we call a stop street. Do you know what that is?" Hself & I looked around, then looked at each other, baffled. Not believing what we were hearing, we both opted for silence. Obviously, the silence was taken for ignorance. After all, what would an Iowan and a Texan know about life in the city, or about cars, for that matter . . . He continues: "You see that red sign on the corner, the one that says 'STOP'? That means when you drive up to it, you have to stop." "Oh, really; we'd never have guessed . . ." THEE: Querido Seqor Sauter: Le escribo desde Espaqa y no se dsnde se encuentra Usted. Creo que azn no alcanzo a comprender la magnitud de su trabajo en la web, si bien me siento impresionado por el simple hecho de poder hallar las obras de Mudarra, Gerau o Sanz a mi disposicisn en internet. Utilizando una modo especialmente ingenioso para transcribir la grafma. Ya sslo esto serma monumental, pero veo que hay mucho mas. Sinceramente: estoy impresionado. Soy guitarrista y estoy muy interesado en los vihuelistas Espaqoles del XVI. ?Para cuando Orphenica Lyra, Silva de Sirenas, El Delphmn, o El Maestro? Reciba mis respeto y mi mas sincera admiracisn. THEE: Re: am. guitar Yes, the guitar parts of the Neville do seem like solos, and a careful reading of the title page only ascribes the piano part to neville. I use the "Idyll", "Elsa Gavotte" and "Fleur de Lys Polka" as solos myself. ME: records, definitions 1 and 2 First (well, not first, but recently) I run a "successful" eBay auction to the tune of one penny, and now I find myself outbid on a Carl Butler and Pearl album that my mom has been wanting for years. Who'd've thought there'd be such stiff competition for the "Avenue of Prayer" album? Oh well, I'll snag one sooner or later. I'd like to think I could avoid saying something as funny as "To rip it out takes away its whole reason for being there" to the press, but I'm sure I'm just kidding myself. I heard the highest note ever on a record today. It was a on 10" by Mado Robin. I looked her up in my reference book, and lo and behold, it said she could, in fact, hit the highest note on earth! (That's a c''''.) The one on my record is just a b- flat''', but that's still pretty exotick, in my book. THEE: Subject: Give me a C, a bouncy C! We went to an orioles game yesterday afternoon. The Orioles won and Cal Ripkin hit an RBI. These things don't happen very often anymore. This will be the last e-mail message I send before I begin reformatting my hard drive in just a few minutes. There's a possibility that it will be the last e-mail message I send from this computer for a very long time, but I have confidence that after some aggravation all will be well again. Signing off! THEE: Subject: Alonso's Erratum In re-vamping my Tres Libros French tab files, I found an error at m50 of AM49: a flag is missing. Other than that, the only errors I've caught are a couple of inconsequential redundant flags. AM50 (Pater Noster): for m100 I have two different 1st chords: course 2 fret 3, course 4 fret 5; or course 2 fret 3, course 4 fret 3, course 5 fret 5. I know I observed this discrepancy between old and new files while doing the Italian tab, but it seems I never really resolved it. Your ascii file has the 2-note version, with no correction listed. Where did I get the 3-note chord? What does Mudarra have? THEE: Tres Afterthoughts Something occurred to me after sending along the Mudarra volume. I had said throughout this process that it was for free internet distribution. That still holds, and the bound volume you received is one of only two: yours and mine. Not for sale. No hard copy publishing. I just didn't know if you might suspect some new/hidden motives upon receipt of a finished product. There are a number of other musicians out there in e-land who are really into this idea of free internet publishing--almost like a sheet music version of Napster. My only concern is a potential of loss responsibility for content resulting from insufficient editing "passes". I know from ultimately consulting the facsimile that you personally put a lot of thought and effort into preparing your tablatures before posting them. Is this hurting music publishers? Someone on the lute mailing list asserted that it ain't necessarily so. If you like the music you're downloading, you'll very possibly be willing to spring for still more in a nicely bound copy to replace the loose sheets. Meanwhile, if it hadn't been for the freebies, you might never find out about Mudarra, or Mertel, or etc. (not to mention Anon) and never look to supporting the printers. THEE: monopoly money Do you know where can I find out what color the monopoly money is for other countries besides the U.S.? Or ... if you have anything other than the U.S. version, can you please tell me what color the money is in your country and tell me what country you are from? Thank you in advance. $1 - $5 - $10 - $20 - $50 - $100 - $500 - Country: _________________ THEE: Grrrrrr . . . I'd nearly completed a masterpiece and somehow it vanished into cyberspace . . . FRUSTRATION! Unfortunately, no time to recreate at the moment. Masterpieces take time, you know. Perhaps this weekend I'll get back to the narrative of my morning's encouter with the Cyclops. ME: Subject: my fault! You're right about the 3-note chord in AM50 at measure 100. At first I was going to chalk it up to an inexplicable input error on my part, but my better (and more embarrassing) guess is that it sounded wrong enough that I thought it needed correcting - and forgot to note the change. I'm guessing I used the material in m182-3 as justification for my "correction". Of course, the thing to do is restore Mudarra's original 3-note chord. Sorry about that! ME: afterthoughts Just got to your second message. No, I never suspected any attempt on your part to become a millionaire off of Mudarra. To be honest, though, I would cheer for you if you did. My own, and probably very unique, viewpoint in this matter is: if I create something with no intention (and effectively no means) of cashing in on it, and somebody else does have the wherewithal to cash in on it, I say go ahead and good luck. That doesn't hurt me in any way. (Well, I wouldn't want him to steal the credit.) And who knows, there are still good people out there, and he might even kick back a generous tip. I know there's a place or two in my web pages where I rant against our (what I consider) insanely long periods of copyright protection. The intentions are in the right place, but the reality is that they just keep lots of great work completely and totally inaccessible. It's lose-lose. The public can't enjoy it, and the creator doesn't make any money. I envision a copyright system where you can copy anything made publicly available if you pay the copyright holder his specified fee. Doesn't that make more sense than, "DO NOT COPY"? I agree 100% about music on the web creating a demand for the real, printed stuff. When people ask me why I don't put up those 1000s of pages of guitar music listed on American guitar music page, I explain that if I did have the time and resources to do it (which I don't), it would take years for an individual to download and print out - at a price phenomenally higher, and print quality much lower than even good old-fashioned photocopies. They could get razor sharp copies from me in a few days for pennies per page. It's interesting that when I put up the complete Francisco Guerau book in ascii tab, the publisher of the facsimile, Tecla, did not object, and only asked for a link to his page offering the Guerau book. ME: lc ohare Sorry about your masterpiece going up in smoke. I know the feeling (sort of - I've never written an actual masterpiece.) Right now I am seeing more and more old "backups" to diskettes go bad. I am frantic for a simple way to save computer files forever. I've never asked to have anything put on reserve in the music division. With an occasional exception, of course, you can expect your things to come up in 15 minutes or so, maybe a lot less. I suspect trying to do things in advance would be more trouble than it's worth. I'm aware of that batch of cards in the catalog under O'Hare. Yeah, I've seen those crazy song titles. (I like the one, "Here's Your Coat; What's Your Hurry?) As much as possible, I like to call up whole boxes or carts of material rather than individual pieces found on cards in the catalog. If I see a piece for male quartet by O'Hare in the catalog, I would never fill out a slip for that piece; I would say, bring me up M1594.O "all O'Hare". (M1594 is male quartet.) Consider what a tiny fraction of the orchestra arrangements, if any, were listed in the card catalog! In fact, I have slips like this ready to go for mixed voices quartet, female quartet, and band parts. Just haven't gotten to them yet because there's been so much "reduced orchestra parts" (M1350). I could send you slips like these so you'd be ready to go when you get there. You can submit a max of 3 call slips, but that's no problem since, with WC's prodigious output, you'd be crazy to submit more than one at a time, ha ha. (I was dumfounded when 9 or 10 boxes of orchestral parts came up!) There's a rule now that everyone needs a library card, although I think they might waive that for foreigners on very short visits. Still, it's probably easiest just to get one. The office is to the left after you enter the Madison bldg (which has the music division.) If for any reason that turns out to be a hassle, I would go on around to the music division without a card and see what they say. You're right, I don't have much experience with the pop songs. I know there's a separate pop song catalog, but I haven't gotten experienced with it. To be honest, I haven't the vaguest idea how useful it is - what years it covers, what's considered a pop song, etc. It's not that my lawn's so big it takes me so long to cut the grass. It's because it's so small that it's *all edge* - house, fence, shrubs, tree stumps, etc. There's hardly any straightaways, just yanking this way and that. It also takes me time to get prepared, rake up, bag and clean up (meaning me). Kansas jumped to mind as the state above Texas, but I knew instantly that was wrong, and that it's really OK. I let it stand just to get a rise out of you :) . Sorry about that. ME: tablature and music Thanks for your comments on tablature. I like everything you say - there is value in both tablature and muusic notation. I claim that even a fugue could be written in tablature. You would just have to add separate stems to the fret numbers like we do for noteheads. It wouldn't be as compact and neat and simple looking as the more usual tablature notations, but it would work. And if it were an unusual tuning, it would be necessary to use tab. I got a kick out of your comments on tablature readers playing with music readers. Right now I'm trying to prepare Anthoine Carre's baroque guitar book for putting up on the web in ascii tablature. Part of the book is devoted to a huge suite for 2 guitars (in tablature, of course) and a melody and bass instrument, in music notation. That should be fun to play. ME: exotick entertainment and pics I guess the C is for Cal, but what's a "bouncy" C? I didn't know about Paul sending Suicide to Sinatra when he was 14, and that's not how he tells it in the Miles book. U of M is running a series of concerts with excerpts from 9 different operas on the Orpheus story. The first one last night was superb. It repeats Sunday afternoon. Offenbach is great! THEE: Give me a C, a bouncy C! That was a terribly written article about "It's Suicide" from the Beeb, wasn't it? I think you could read it to say that he wrote the song when he was 14 but didn't necessarily send it to Frank when he was 14. Funny you should mention "Orpheus." I've been slobbering over Cocteau's "Orphic Trilogy" on DVD and may buy it some time soon. That Cocteau, genius! Hself's making me read Shakespeare's "The Tempest" this week. THEE: Infield fly suggestion I agree with your suggestion about the infield fly rule, however, I dont think the only underlying reason for the rule is to eliminate the easy double play. Just like the catcher is fair game at plays at the plate, where the runner can plow into them, what would keep base runners from drilling into the shortstop during these situations? With the shortstop concerned with the runner, he may get hit by the ball........there are already to many head injuries in sports.....and funnier things have been know to happen. I think safety is a bigger issue than double plays in this case.......especially in ametuer baseball. Thanks for the fun read! THEE: RE lc ohare Don't know what's happening , but this note came back saying, "user
unknown." Something else was acting up, too, so I've rebooted and am trying again. Since it's California, not Maryland, that's supposed to sink into the ocean, I figure you're still out there. As for the masterpiece, it was a highly accurate account of the car accident I had Thursday a.m. on my way to work. The momentary inspiration, unfortunately, is gone with the wind. Or should I say, "The wind done gone dat 'spired dat 'count"? I suppose you've heard all the flap about the parody of GWTW. I kinda like the idea of retelling the story from the point of view of Scarlett's mulatto sister. Hope it eventually gets published despite the decision that it's more plagiarism than parody. I haven't looked for the eBay copies, but I hear that someone with pre-publication copies is promoting "the book that might not have a first edition." Pretty funny. Anyway, as far as the wreck went, I was stopped for a red light in Broken Arrow rush hour traffic (7:10 a.m., everyone heading to Tulsa). Screech . . . squeal . . . . "Where's that noise coming from? And THAT smell of burning rubber???" Crash . . . crunch . . . jolt . . . A few unvoiced expletives later, I opened my car door and climbed out to face the attacker. "E-gads, what behemoth was this?" My happy little Dodge Neon had been brutally assaulted by a vicious leviathan . . . Well, would you believe by a 1986 Merc nearly as big as a leviathan? The monstrosity spewed forth its contents--an elderly man, luckily no worse for wear than I. We met at the point of attack to survey the remains. Glancing first at my baby, I initially discerned no damage. Closer inspection revealed scraps on the underside of the left rear bumper and a 1-1/2 inch crack on the right. Turning to confront the adversary, I found myself face to face with the Cyclops. One eye was gone, spattered on the pavement at my feet. My baby's rear had received little but a swat, and the perpetrater had lost an eye and suffered some noticeable frontal injuries. I won't even go into the next two days of trying to deal with the insurance company. No contest on the claim, but getting past the layers of "enter this number if you want that, and that number if you want this . . . and leave your message and I will return your call: Your call is very important to me . . . " Blggggggghhhhhhhhhhh....... Gotta enjoy the absurdity, huh? Actually, the first person I reached took all the info and was extremely helpful. But later, when I was in class, an adjuster left a voice mail message on my office phone. She talked so fast that I had to listen 5 times (no exaggeration; Uhhhh . . . maybe it was four, but NO fewer) to figure out her name was Veronica something-or-other and to get the new number, which I was now supposed to call. So call I did. The second person I got on the line was . . . well, let's just say "they" (that anonymous "they") shouldn't call such a gorgon a "customer service" rep! "What's the policy number?" she demanded. I began to give it: "PHD . . ." "That's not a Hartford number!" she barked. "But . . . but . . . but . . . it's the number on his Hartford insurance card," I stuttered in disbelief. "It's NOT a Hartford number!" she persisted. "IT'S the number I gave to the first customer service rep this morning, and SHE had no problem looking it up on the computer," I argued, getting irritated by this time. "It's not a Hartford number. ALL of OUR policy numbers start with three digits." "Odd, it WAS a Hartford number 5 hours ago . . . " "Do you, perhaps, KNOW the policy holder's name???" Clinching up inside and preparing to wrap the phone cord around her neck long distance, I gave her the name: "Calvin Hself, Jr." She entered it on her computer. THAT policy number begins with 555 . . . ALL of OUR policy numbers begin with 3 digits [idiot]." "So you changed them during the lunch hour???" "Your claim has been assigned to Veronica Hself. You'll have to wait for her to call you." "Ah, Hself . . . She does have a surname! She already called me. That's why I'm calling now. She left this number so I could return her call. Darn good thing it's a toll free number, too!" "You'll have to wait for her to call you." "Gee, thanks for your helpful, polite customer service. Hartford should make you employee of the year . . ." So I waited . . . No one called. The next day I phoned again, this time getting someone who took the PHD policy number with no problem and connected me with Veronica's extension. "This is Veronica Hself. I had to leave the office. Leave a message at the sound of the tone, and I'll get back to you as soon as possible. I'm committed to returning your call before 4:00 p.m." "Yeah, right, it's 3:45," I thought, as I prepared to leave the message. "BEEP . . . This extension is not currently accepting voice mail. Please hold the line to be transferred to an attendant." "WHAT THE HECK??? An attendant just connected me to this number." "Hartford. Can I help you?" "I've been trying to reach Veronica Hself for two days, but she's never in her office." "One moment. I'll connect you with someone else in her group. . . . " "This is Manuel Hself. How can I help you?" "Ive been trying to reach Veronica Hself, but she's never in. Yesterday, a driver with Hartford insurance slapped my baby on the behind . . . AND my husband has already gotten an estimate for the damages." "What????????? Can you give me the abuser's policy number?" "PHD . . . . " "Okay. [Enters the number]. Yes, I see that liability has already been accepted by Hartford. You can fax the estimate to . . . ." "Thanks for your help. I'll phone my husband, and he'll fax it in a few minutes." I call Hself. "Sure, no problem. I'll fax it now." Minutes pass. "Sue, I thought Hartford was based in CT. This fax number is in San Antonio." "The company address is CT. Who knows where I phoned. It's an 800 number. San Antonio's beginning to make more sense . . ." Donald, aren't you glad I didn't get into the insurance dealings? So . . . the drum part includes a solo designated "cane hop effect." Keep that in mind *whenever* this durned article gets into print. :-) It's my best proof. >I'm aware of that batch of cards in the catalog under O'Hare. Yeah, I've seen those crazy song titles. (I like the one, "Here's Your Coat; What's Your Hurry?) Yes, a coat would be nice to go along with the hat . . . (Perchance, are you giving me a hard time again???) ...yup, explains Wayne Shirley's comment when he hunted down and copied 3-4 band arrangements for me a couple of years ago. Something about how digging through the boxes looking for the right pieces made him realize "how important O'Hare was to American band history." >There's a rule now that everyone needs a library card, although I think they might waive that for foreigners on very short visits. Especially foreigners who don't speak English . . . Yeah, I hear you . . . >Still, it's probably easiest just to get one. Guess I should be able to get a card without too much trouble. As a foreigner, what do I need to get one? An Oklahoma passport? >You're right, I don't have much experience with the pop songs. I know there's a separate pop song catalog, but I haven't gotten experienced with it. To be honest, I haven't the vaguest idea how useful it is - what years it covers, what's considered a pop song, etc. Someone asked the definition of a pop song in his oldsongs listserv posting a while ago. The answers were as varied as you might expect. >It's not that my lawn's so big it takes me so long to cut the grass. It's because it's so small that it's *all edge* - house, fence, shrubs, tree stumps, etc. Now I get the picture. We have a jungle. Seemed like a good idea 12 years ago to plant trees and shrubs when we had a barren lot with nothing but a newly-constructed house and fresh sod. Now we have such dense foliage that there's little grass in the backyard. Oklahoma is so hot and typically dry in the summer that people grow mainly grass that likes sun & dry spells. However, that same grass doesn't tolerate shade. I've just spent a couple of hours pulling up tree seedlings that have proliferated in the bare dirt that used to be grass. Other than all the seedlings, about the only thing thriving out there is a carpet of volunteer violets. Flocks of joyous tweeting birdies though, even a dove nesting on our front porch. >Oh yeah, if you were using that 10 10 811 number I recommended, the crooks have changed their charging system without warning. There's a $.75 per month universal service fund charge new this year, so I say nuts to them. $.75/month. Man, that's robbery! Cuddle Up's for sale on ebay right now, as is "There's a Little Bit of Color, and It Means the World to Me"--WC's musical setting of a patriotic flag poem. Last I looked early this morning, neither had any bids. The first ends today, the other in 3-4 days. Although I've begun collecting some of the sheet music of tunes he orchestrated when I can get them inexpensively, this may be my first non-photocopy of his original music. Hopefully no one else covets it. Starting price is $4.30, if I recall correctly. Not a bad deal, yet not as good as your hexaflexagon. Why didn't you tell me about that one? I coulda easily bid 2 cents. Then you could charge $3.50 for priority mail like most of the ebay dealers do. THEE: We have been playing roofball for awhile now. Today I noticed a new site with paddles, balls, a video and strategy tips. http://rooftennis.com/ Don't know if the rules differ slightly. Have you contacted them? Looks like roofball is entering the big leagues. THEE: >My friend Brian saw your RatBag magazine and was quite interested. He borrowed it, even. He had just heard something himself recently about running cars on used cooking oil. There's a US-based video documentary called "The Fat of the Land" which is also useful if your friend can find it. >I've played your tape to several friends and haven't heard a negative comment yet. >Have no fear, I really do enjoy that sort of music. It's a long haul from the opera I listen to now, Egads! Opera! Must admit, opera's about as low on my list of musics I'm likely to listen to as you can get. Have you heard Alois Haba's quarter-tone suffragette opera "The Mother"? That & Schoenberg's "Moses und Aaron" are 2 of the only bearable operas I've ever heard. I'm not even a big enthusiast for Cage's "Europeras". >My father has been trying to engage Andre in a pen-pal exchange. Now, THAT sounds interesting!! THEE: roofball Here's more activity on the roofball front. Also found a great roofball ball on the Bay Bridge walk yesterday. I've got 15 Bay Bridge walk certificates now. ME: I work with 3rd-graders, which is a blast, and they just finished a state-administered weeklong "school performance achievement" test, which is pure torture. I swear, they put college level stuff on that thing. Makes me want to smash some skulls together... ME: Right, Maryland isn't slated for sinking in the ocean, but we have felt a few (*very* minor) earthquakes out here in my lifetime. (Plus, tornadoes, in case you thought you had the market cornered on them things.) >I quickly tried to back up my WC music database (in Access) to 3-1/4" diskette. TOO BIG!!! I saved to the hard drive. Yikes! A 3-1/4" diskette can hold a thousand pages of text! Sorry about the insurance hassle. You might know, or maybe can guess that I'm not overly fond of "insurance". It encourages maximum dishonesty on the part of both the insurers and the insured; it's more trouble than it's worth, even when there is a whiff of honesty involved; it minimizes any caring we might have for our fellow man, or family members, even; it encourages maximum irresponsibility on the part of the insured. It's a tremendously expensive middle man who doesn't produce anything. When you make use of it, they take their money right back by raising your rates. We all pay 3 times as much into the insurance bucket as we get back out. Who needs it, grrr... Still your story was great entertainment. You should add it to your website, says me. Nope, I missed the flap about the GWTW parody. You know what a normal sort of guy I am, so it's safe to admit I haven't caught the first flick yet. The MSPAP test for the 3rd-graders is now history, except it's not really. I don't expect to ever fully recover from that miserable experience. I'll just say here that there are people high up in the Maryland State Dept. of Education who, for their own good, and the well-being of society, need their throats throttled. >That's great. I'd heard one could expect long waits. Our tax dollars must really be at work. I'm sure I can find something to do to kill a few minutes as I wait. Yes, our tax dollars are at work, but not exactly in the way you might expect. The tax dollars go toward putting systems into place that discourage the use of the library. So there's never more than 2 or 3 diehards (like me) there. The recorded sound division is the champ - they go to such lengths to discourage use that I'm not sure I've *ever* seen anyone doing research in there. On that subject, just a few weeks ago, the copyright division implemented a new requirement of some sort of registration card to use access their catalogs. Don't know how big a hassle that is. On Saturday, I called up Grandmother's Songs. Neat! I copied a couple of spirituals and Camptown Races. I thought it would be interesting to compare granny's musical memory with the original. >$.75/month. Man, that's robbery! It's the *principle* of the thing! They didn't inform their customers! (Never mind it more than doubled the cost of my 69 cent long distance call!) THEE: Washington Guitar Society Have you heard Stephen Bennett, the guitarist, yet? He is playing this Saturday on the radio show Prairie Home Companion. I think his is exceptional. My first web hit sent me to the page where you reference Walter Jacobs. I don't typically pay enough attention to sheet music details, but I believe that he also had a profound impact on mandolin/guitar orchestra music. I'm the webmaster and acting president of The Takoma Mandoleers, a mandolin and guitar orchestra that rehearses in Arlington, VA. I'd like to see what the WGS and Mandoleers could do together to help promote guitar and mandolin music. BTW, we really need more guitarists in the orchestra. THEE: Re: Question for seller -- Item #1428270131 Dear Customer, 40CDs is FORTY CDS yes. Thanks, email@example.com wrote: >Does 40CD mean "forty CDs"? Might seem like a dumb question, but my browser could insert a funny character between 4 CD (and all those artists could easily fit on 4 CDs, and $15 per CD is not an unrealistic opening bid.) THEE: I work with older kids (in guitar lessons). It's tough to teach 8 year olds guitar. But it's definitely possible! Haven't heard of a state administered _guitar_ achievement test (thank goodness) :-) But I hear that those tests are ridiculous. Especially at such a young age. I find that kids at that age need to feel like they're succeeding. Not like they're failing a test. Things are fine here too. I used a bunch of the LC music in my relatively new "Easy Classics for Guitar" (Dover) You're in the acknowledgments. If you'd like I can send you a copy... ME: easy classics YES! I'd love to see Easy Classics For Guitar! That's exciting! Could I send you some more music as a token of my appreciation? You could either find some things in my web page that were added after the batch you got, or I could pick some of the more recent finds. Or I could reimburse you for the book... THEE: > Right, Maryland isn't slated for sinking in the ocean, but we have felt a few (*very* minor) earthquakes out here in my lifetime. (Plus, tornadoes, in case you thought you had the market cornered on them things.) Can't say I've ever felt an earthquake, nor have I been in a tornado. However, I've been as close as I care to be. Several years ago, a huge funnel cloud passed over our neighborhood. One idiot across the street climbed up on his roof with binoculars. What he thought he was going to see, I haven't a clue, but he'd sure have been the first to get a close up look if the thing had come lower. About 12-14 miles north just outside the town of Catoosa, it came down, wiped out a large truck stop on I-44, picked up numerous cars and tossed them about, killed a dozen or more people. Another time, a small tornado lifted part of the roof from the Broken Arrow branch of a large Tulsa hospital. This was within 3 miles of home. Yesterday afternoon around 4:30, Hself e-mailed from OU, irritated because she'd just lost an hour of study time for her two German finals today; tornado sirens had gone off and everyone had to head to the dorm basement. (Her room is on the 11th floor.). "Huhhhhhh . . . What happened?" I asked. "Dunno, wasn't paying attention to the weather. I sat in a corner & and read German literature. Then when I got back to my room, Hself called, and I lost another hour." Really worried, I can tell... >Nope, missed the flap about the GWTW parody. You know what a normal sort of guy I am, so it's safe to admit I haven't caught the first flick yet. The Wind Done Gone has been banned from publication at least for the time being. The author is black and the parody told from the point of view of Scarlett O'Hara's mulatto sister (no such character in original novel!) The judge decided the new book is more plagiarism than parody. Personally, I think it sounds like great fun. "What is a sand-dance?" It took me nearly two years to find the answer but finally I found the right books, including Marshall & Jean Stearns' Jazz Dance mentioned above and multi-volume International Encyclopedia of Dance. You'll read more when you read my full article, but here's the gist of it--again a traditional African-American dance. The dancer sprinkled a container of sand on the hard dance floor. Shoes created the drum rhythm and drum "rim shots." As the dancer performed shuffling steps, the sand shifted, making sound described by one dancer as the sound of "the brush on the snare drum." How was some of this heard over the music? One quote provided the answer. The musical accompaniment stopped occasionally as the dancer performed, thus allowing an audience to hear the shifting sand. >Yes, our tax dollars are at work, but not exactly in the way you might expect. The tax dollars go toward putting systems into place that discourage the use of the library. So there's never more than 2 or 3 diehards (like me) there. Strange . . . With such a resource, I'd have expected a crowd. >At the copy machine, I'm like a champion typist who doesn't have any idea what he just typed. And if you believe that one... I understand completely. I'll never forget the day I spend copying more than 600 pages of music at University of North Texas. I was in automaton mode. Speaking of principles (as you were . . .), such idealism has gotten me into trouble many times. As one example safe to tell, I caught a student cheating on an exam for an independent study English course offered through the multidisciplinary lab where I used to head the whopping 2-person English staff. I reported this to the lab coordinator. "Don't say anything," she ordered me. "You don't want to get involved. It'll be your word against hers." "HUH??? Since when should the cheating student's word be trusted over the word of the instructor who caught the student red-handed?" We went around and around about such manners. I consistently tried to uphold some semblance of community college academic standards; she as consistently told me to let the students lie & cheat in any way that they saw fit. She even threatened, "If you want a full time faculty position here, you won't make waves." ME: Don't get used to such rapidfire responses from me. I needed to go online to see if I could snag the copy of Helen Traubel's Metropolitan Opera Murders novel on eBay. Nope, but I drove the profits up a little for the seller. Don't feel like you have to bring me into the modern computing age, but I'm still not clear on zip drives. I wasn't asking if the technology is forever - everybody knows that's measured in months nowadays (unfortunately for our collective mental health) - I need to know if the actual magnetic ""impressions" last significantly longer than the few years you can hope for from disks and diskettes. And I wasn't clear from what you said if I can have 25 files named "bill", for example, on the zip disk in the same directory (or folder or whatever they might call it now.) I'm very impressed with your database. It took me a long time at LC to realize I'd better scratch a note on the back of every piece I copy saying where it came from. When you copy a piece, you tend to feel like, "How could I possibly forget where I got this?" Uh uh. I got a fun piece from LC called A Trip To Rocky Point (1890) for 2 banjos, guitar and mandolin solo that works in a bunch of sound effects. It recreates some "Minstrel Entertainment in progress at the Casino. While here we listen to the Selections: "My Pretty Little Dark Eyed Claire" a Song and Dance air, with jig effect..." In the dance part, it calls for "Two blocks of wood with sand paper tacked on; when rubbed together they produce the effect of a jig danced on a sanded floor." Kind of similar to what you described, the shuffling starts and stops for a few measures at a time. >Everything you've said about the test make it sound completely unreasonable for 3rd graders. They could have my hide for talking about anything I saw on the test (actually there are *5* completely different weeklong tests for each of the grades involved!) but I'll risk this much: they took *3 complete pages* of instructions (written on a high school level, I'd say) just to say, "Write a story about anything you want."!!! Is it any surprise that after that the kids don't even know which end is up? >No copies of music copyright catalogs in the Music Division? I'd guessed these would be available there? Sorry about that. The massive copyright catalogs are on the 4th floor. The older ones are a real trip (in the other sense of the word.) >I understand completely. I'll never forget the day I spend copying more than 600 pages of music at University of North Texas. I was in automaton mode. 600 pages! Wow! I am in awe. (But did you get perfect margins?) THEE: >I needed to go online to see if I could snag the copy of Helen Traubel's Metropolitan Opera Murders novel on eBay. Nope, but I drove the profits up a little for the seller. I've done that a few times myself! When WC's "Dreamland Waltzes" (written for Dreamland Park, Coney Island) I was determined to own my first piece of his original music. I put in an almost- the-last minute bid that I KNEW no one would top. After all, why would anyone else care so much about a 1909 music sheet from a relatively unknown-today composer? Was I in for a surprise. In the last coupla seconds, someone topped my already absurd bid. Turns out it was the Coney Island Museum! If I'd bid double what I bid, the same might have happened. >And I wasn't clear from what you said if I can have 25 files named "bill", for example, on the zip disk in the same directory (or folder or whatever they might calli it now.) bill1, bill2, bill3, etc., or bill, billy, billyjoe, billiejo, billybob, if you will, but not all bill. >I got a fun piece from LC called A Trip To Rocky Point (1890) for 2 banjos, guitar and mandolin solo that works in a bunch of sound effects. It recreates some "Minstrel Entertainment in progress at the Casino. While here we listen to the Selections: "My Pretty Little Dark Eyed Claire" a Song and Dance air, with jig effect..." In the dance part, it calls for "Two blocks of wood with sand paper tacked on; when rubbed together they produce the effect of a jig danced on a sanded floor." Kind of similar to what you described, the shuffling starts and stops for a few measures at a time. That's great. Could well be the recreation of a sand dance. From what I can tell, such dances were very common at that time, but they'd gone into a major decline by the time WC wrote "The Sand-Dancers." Even though they were revived now and then, particularly by a dancer named Sandman Sims, from whom I got the quote about the shifting sand being like the "brush on snare drum," sand dances were scarce enough that WC may well have felt inclined to preserve them in the music. THEE: Subject: UNARCHY Noticed your site when looking up Roofball. Liked UNARCHY idea. Often thought judges and lawyers cannot be trusted. Judge Robert Bork likes the idea of sticking with the LAW instead of judicial precedent. That too would be a improvement. There is a new Roofball/Rooftennis site. http://rooftennis.com/ Know anything about them? Was thinking about ordering a kit. ME: In a nutshell, the test was more insane than I could have possibly imagined. I only got to see it (and, at that, only *one* of the *five* completely different 3rd-grade tests!) because I was assigned to transcribe for a student who is a slow writer. There are people in the Maryland State Department of Education who, for their own good and the well-being of society, need to have their throats throttled. Sorry to gross anybody out with my opera stuff. I got hooked a few years ago when I started searching out original versions of some of the guitar arrangements I was playing. The first two I bought, Die Zauberflo"te and Cavalleria Rusticana, knocked me out. I suppose there's dross in every opera, but that's the same with every sort of music. (And which is the dross varies from person to person anyway.) There are non-musical aspects that add to the interest, like history, the history of music, the history of opera itself, and the history of sound recording. For instance, I recently listened to Handel's Giulio Cesare, and it had me looking up him and Cleopatra and the Ptolemy guys in my big, old 1-volume encyclopedia. Very interesting. A few weeks ago I went to hear the premier performance of an opera called Agamemnon, and it exposed me to a cast of characters from the Trojan War times, and Greek drama and dramatists, of which I had known little. One of the downsides to opera is that many plots are hardly more than "boy meets girl" (as is the case in all literary and performance genres.) Even so, it's at least a little something to hang the music on. The university of Maryland recently ran a sort of marathon on the Orpheus myth. They performed extracts from 9 different operas on the story, dating from the first surviving one in 1600, up to ones by Krenek and Milhaud. (There were also art songs, a dance piece and a play.) Maybe the Orpheus story by itself seems rather slender, but it's what the composer does with the material. And, in this case, it was fascinating to compare (in 4 sittings) treatments spanning 400 years. I also wonder if part of my interest in opera has to do with the extent to which it is disdained by "the masses". To find that out, I guess I'd have to examine my "subconscious", which is not accessible to me, ha ha. Surely less than 1 person in a hundred could belly even the tiniest dose of opera. Fine with me. You mentioned Haba and Schoenberg and, as always, your familiarity with "recent" serious music amazes me. I vaguely know something of Haba and his music, but didn't know about his opera. I would have doubted that I could enjoy an opera by Schoenberg, but after hearing Krenek at the U. of M., now I'm curious (although maybe they have *nothing* to do with each other, what do I know.) Andre was causing so much trouble that they've cut his schoolweek down to 2 days - Tuesday and Thursday - for whatever that will accomplish. I overheard the special ed coordinator making some phone calls last week regarding the possibility of getting the police to take Andre home. Actually, she kind of knew in advance that they couldn't do it. Apparently, police can only take a student away from school who has made a suicide threat. Anyhow, I could have told her that about the only thing police are good for is traffic violations. Stand up to a 9-year-old? You've got to be joking... Sorry about my clumsy stabs at fitting your music into the "big scheme" of things. I know your music isn't either punk or noise - I was probably trying to find labels thhat might sort of point somebody who only knows music from the radio in the (*very* general) direction. (And I know that creators don't like to be labeled at all.) I had figured that "punk" covers a huge range, just like "jazz" can be sleepy or wild improvisations; or big band-type music with every note specified; or dixieland, even. I also gather that "noise" has a more specific definition than I had thought. Anyhow, I'll be paying more attention to the structure on your tape. ME: Visited a guitar friend last night and we had fun finding Kithara Editions on the web. I'm thrilled you could use some of those pieces in your collection! ME: wgs Thanks for landing on my site. No, the Washington Guitar Society has never had a website. I'm curious who your co-worker was who was the webmaster of something like that. It does look like Walter Jacobs provided lots of material for the mandolin orchestra. Have you ever thumbed through the M1360 class at the Library of Congress? Getting the WGS and the Mandoleers together sounds like a great idea to me. My vision of the WGS was always simply to alternate member recitals with ensemble sessions. One of the reasons I'm not involved now is my disappointment that nobody seems to care about playing with and for his guitar friends. Still, I encourage you to give it a go. THEE: Roofball is great. I was just about to start my own website with our own variation of Roofball when I thought I would look up other sites, just in case I was infringing on others rights or something. Your's was the first page that came up in my Yahoo! search. I can't believe how many sites there are! Our home has the shorter garage roof as shown in the second design on your page. We have been using and refining our own rules over the last two summers. I am amazed at how similar most of the variations are. Then again, what more can you do with a ball and a roof. Just thought I'd drop a note for fun. Nice job describing the game!
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