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 goofus . . .
ME: phooey, etc. >>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? >And, of course, the kids had to be subjected to the complete instructions. I hope someone in the school at least translated in a final sentence. Nope. That wouldn't be fair. It would mean the tester's, and probably principal's, certification. They could kiss Maryland goodbye. Watch out - the MSPAP is coming to a state near you. >>I need to know if the actual magnetic "impressions" last significantly longer than the few years you can hope for from disks and diskettes. >That I don't know. Sorry. Well, phooey... >>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. Phooey on bill1, phooey on bill2, phooey on bill3, phooey on etc., phooey on billy, phooey on billyjoe, phooey on billiejo, phooey on billybob... Phooey on zip drives. Am I the only person on earth who wants to save his stuff? It's not bigheadedness - it's just plain sensible. Here's a couple of recent entertainment experience for me. A few weeks ago I went to hear the premier performance of an opera called Agamemnon. That exposed me to a cast of characters from the Trojan War times, and Greek drama and dramatists, of which I had known ver little. 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.) The only one that I knew, and is well known today, is the opera by Gluck. It was absolutely fascinating to compare (in 4 sittings) treatments spanning 400 years. THEE: Roofball Just getting around to checking out e-mail from other day (Hself had told me there was message from you about roofball) when I see there is another entry concerning same. I cannot believe this many people surf on the net lookin for the true rules. THEE: Re: phooey, etc. >Nope. That wouldn't be fair. It would mean the tester's, and probably principal's, certification. They could kiss Maryland goodbye. Watch out - the MSPAP is coming to a state near you. Absurd how such tests work. My students wouldn't follow a set of directions that long. Attention spans are far too short! >Phooey on bill1, phooey on bill2, phooey on bill3, Bill1, 2, 3 were WC, my grandfather, and my dad >phooey on etc., etc. was my brother, bill4. >phooey on billy, phooey on billyjoe, phooey on billiejo, phooey on billybob... Now you're getting too personal, my friend! And I KNOW you're from Maryland. No Okie would say "phooey" on billy/billie- anybody. Yup, those bills are an endangered species, sure 'nuff. Next time you're in Washington, consider picketing the White House. To heck with the whales and the least terns . . . save them-thar bills. "Least terns?" you ask. They nest on the banks of the Arkansas River. Think Tulsa. The river runs through it. >Great story on the Dreamland Waltzes auction. Did I ever send you the link to the website where my lost treasure now resides? If not, click on the link & then on the link to the midi file. http://www.coneyislandusa.com/museum.shtml > I went to hear the premier performance of an opera called Agamemnon. While you're kicking back, pick up some of the plays. What can one compare them to? Soap operas . . . with a more intellectual bent. My first exposure came when I was a high school exchange student in Denmark. My host family & I went to the one town movie theatre to see Elektra--performed in Greek with Danish subtitles. Thank Zeus this was cinema, not pure audio!!! I was instantly enthralled. Despite the earlier remark, I could follow a bit of the dialog--not in the Greek, but by making out a word here and there in the subtitles. During intermission, everyone filled me in, answering my questions about what I didn't understand. With that background, I could follow the remainder. After all, what happens in tragedies? Hence forth, I started to read on my own. The next summer, I was working as a proofreader at Look Magazine (Sound "glamorous" for a kid just out of high school? . . . Just wait; I'll tell that story below.) During lunch hrs., I went through a couple volumes of tragedies, unable to put them down until I had to. Keats wrote a sonnet titled "On First Looking Into Chapman's Homer" that sums up a similar experience, though he was speaking of Chapman's translations of the epic poems, not of the tragedies. He was awe-struck; I suppose I was, too. >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. I've taught tragedies for years, but I know little more than nothing of the operas. My lit anthologies have most often included Oedipus and/or Antigone, not much selection, yet both marvels, much to my students amazement. Say "Ancient Greece," and students' eyes glaze over; their minds close. Don't mention the time or place, just spin a yarn, or the start of one, get them hooked, and then send 'em home to read, and you have a sure-fire winner that spans all ages and crosses all cultures. I have a video of Stravinsky's Oedipus performed in Japan, recorded several years ago from Great Performances on PBS--the only "Greek" opera with which I'm familiar. I've supplemented the class assignment with excerpts and, just for the heck of it, also with P.D.Q. Bach's hilarious parody "Oedipus Tex." Btw, Jocasta becomes Billie Jo. And, no, not kiddin'! I first heard it when driving (in the car, not dogies . . . ) and was soon laughing so hard that I had to pull over into a parking lot to give the radio my full concentration. Look for the CD titled "Wanted: Oedipus Tex & Other Choral Calamities"--selections such as these: Aria: You murdered Your Father" Recitative" When Billie Jo Heard." I easily found a copy in a Tulsa music store. There was something else. . . . Yup, I knew it . . . the glamorous Look Magazine proofreader job, right? You're picturing the job that shaped a naive kid into a sophisticated college English professor, right? The proofreader of feature stories, the corrector of grammar, the stylist extraordinaire . . . the all-important work that honed those budding skills (if one can mix metaphors enough to sharpen blossoms) Well, think again. This was in Des Moines, where I grew up--the home of Look's . . . subscription processing center. What did I proofread? Did you ever subscribe to anything only to be irritated that the mailing label spelled your name incorrectly? Did mail ever fail to reach you because someone put the wrong address on it? Happens to me all the time... Know how those little labels are printed? Why with metal addressograph plates. So I ask again, "What did I proofread 8-hrs/day? I was given stacks of subscription orders and trays of addressograph plates, 200 to a tray. These were hot off the addressograph machines in the next room, where the equipment operators "typed" in the info, which came out as raised letters on metal. My job was to compare the information on the customer's order form to the information on the plate. If eagle- eye spotted an error, she had a gizmo on her desk that allowed her to print a copy of the plate onto a small piece of paper. She then paper clipped the bad plate to the paper and set it aside. When the full tray had been examined, all bad plates from the tray, with their corrections marked on the printed paper, were returned to the addressograph room where a new plate could be made. How was I fortunate enough to get this upscale job? When applying for a job at Look, one took an aptitude test. One portion of the test involved comparing random combinations of letters and numbers in one column to those in another column and circling differences. Only one catch: this was timed. Lucky me; I was good at it. The personnel manager later told me that I'd received the highest score ever made on the test by an applicant in Des Moines. What was my reward? Reading shiny metal plates 8 hrs/day, 5 days/week under bright lights that created a glare on the plates . . . all for the great monetary reward of minimum wage minus 10c/hr. Yup, you read that right . . . and I lied about something. I worked 8 hrs/day 4 days/wk and 7 hrs. on Fridays. This was the company's cost-cutting measure: work the students only 39 hrs/week and avoid complying with the minimum wage law for full-time workers. A step or two above the Calcutta sweatshops, sure; but not more than three. So, phooey . . . The next summer I graduated to sorting mail by zipcodes. This enabled me to get off my derriere & to stand on a concrete floor 8 hrs/day tossing mail into cubby holes, sorting first by 1st digit, then taking all numbers beginning with that digit & sorting by second, and so on. This is one situation where it's good to have a computer take over the job of a human. Then there was the time 4 of us were pulled from our department for a week to assemble photo albums of pics from a big company convention--another lovely story, but one that will have to leave you in suspense cuz I'm tired 'n' typed out for tonight. THEE: Re: phooey, etc. Phooey . . . and more phooey . . . The request slips didn't arrive, and I leave tomorrow. Hard to believe that a letter can reach most foreign locations faster than it can cross our own country. I know the location of the Music Division. I'll also take pencils. I almost never use pencils, but we have a couple somewhere in the house. My father-in-law used to have a cupboard full. Once he gave the girls boxes of them, and, guess what, the erasers all had dry rot. What's the sense of using a pencil except to use an eraser, I ask you? Heaven knows how long he'd had 'em. Really would love to visit the family cemetery plots at Rock Creek & Mt. Olivet. Not enough time . . . never enough time . . . Phooey . . . THEE: Subject: Monopoly Hi! I am a college student and my math instructor is British. We have an extra credit question that we are supposed to research about British monopoly..... What is the cheapest piece of property I can purchase if I was playing the British version of this game? ME: the shonen go-bangles (just kidding) Had a gamelon concert at the U. of Md. penciled in on my calendar for last Saturday night for the longest time. At the last moment it got pipped by a Gilbert & Sullivan concert up in Gaithersburg at the high school. It was plenty fun enough. I walked the Bay Bridge again the week before, for the 15th time. Bumped into my folks. Found a cool Barbie ball - a perfect roofball, in fact. Saw Millionaire tonight. Knew from 9th grade biology that the bright flashes you see in your eyes are called phosphenes, but otherwise wouldn't have done well. One poor lady was pretty upset when she went out early on a roman numeral question. She figured D = 50 and so chose C = 100 as the biggest of the four choices. THEE: Subject: None! We're getting psyched for our trip, though it is perhaps just a bit silly. I'll have to pick up the new Go-Go's CD somewhere between Penn. Station and Rockefeller Center, just in case Hself gets us backstage. Did you get my Beeb story today about Yoko threatening some hapless artist with a suit? THEE: Thanks, Questions, Quasi Baroque Guitasr Before I ask you a question, let me express my appreciation and gratitiude to you for the wonderful work you are doing on your UNARCHY website. Thank you. My question is twofold: a) The pieces by Francisco Guerau all end without resolving to the "tonic". What does this mean? b) How would it help to know the mass per unit length of a string without first knowing precisely how different masses per unit length affect the sound and feel on a given guitar? P.S. I built a quasi baroque guitar by taking a three quarter size modern guitar and redrilling the bridge and replacing the tuning machines with a twelve string set. Comes close; still haven't found the right string for the first course. Currently using a ..057 Carbon fiber lute string-the best so far, but still not quite right. THEE: Subject: tabs you have a GREAT site...an eclectic selection of tabs, i am going to try the vaughn williams and i will let you know...strange to go the u.k.(weed - he has the best classical tabs) to end up back here in washington d.c. on your site..."session" is a great term for 1/2 inning...you know, though, without the infield fly rule we'd have nothing left about which to argue except the DH ("designated hell" [my son is a pitcher]) ME: I received Easy Classics For Guitar, and I'm think it's great! What a nice selection! Great job! I hope it stays in print for a long, long time. I've always figured there can't be much money to be made publishing guitar music, but this looks to me like a winner. A wide variety of good, playable music, great cover, cheap price, a major publisher... Best of luck! Funny thing was, it probably sat between my front door and the storm door for 4 or 5 days before I discovered it. I always go in and out my back door. Matanya Ophee has (or at least had) an interesting article on his Editions Orphee website about the Peruvian air. He has traced the original composition to Manuel Ferrer. He also explains where the "peruvian" comes from. If you need another project suggestion, how about the Holland operatic duos published as a set? I guess that wouldn't be such a money maker, but I'd love to see them available to the guitar world. It's probably too wasteful, but I envision an edition containing both facsimiles of the originals, plus edited versions ready to perform. I think there are lots of opportunities to hand off notes from guitar 1 to guitar 2 (or just eliminate them if guitar 2 already has them) to make the duets easy to play with no loss of effect. I would also suggest simple arpeggiations in some places in guitar 2 where Holland has basic boom-chucks. I might even include a CD - not of a guitar performance, but of extracts from the operas. Anyhow, for MY money, such an edition would be a knock-out! ME: good luck with soundboard! I just got the latest Soundboard and read Peter Danner's farewell. That could have been a major disappointment for me (being a *big* Peter Danner fan) but I can't imagine who might do a better job with it. Thanks for taking it over! Good luck. Here are just a few thoughts from a long time reader, for what they're worth. When I first became a GFA member back in 1981, I wrote a couple of times to the Soundboard requesting a Forum-type section where guitarists could ask questions, answer other people's questions and share their own discoveries and observations which might be of interest but not a big enough deal for a full-blown article. After all these years, I still feel the same way. It could all be kept at a very high level by the editorial staff, as opposed to the mostly worthless chatter in internet discussion groups (which didn't even exist back then, of course.) I also believe that interesting articles could come from sifting through all the internet discussion and distilling threads of interest down to their essence. For that matter, perhaps Soundboard could find whole articles of exceptional value on the web and arrange with the writer to edit up a print version for the magazine. I often read about a lecture at a guitar festival that sounds like it would have made a great Soundboard article. For example, James Buckland presented his research on the terz guitar at a GFA Festival. I want to know! Perhaps there aren't many guitarists like me whose main pleasure is playing lots of new (meaning, previously unfamiliar) music, but please register my single vote for loads of music in the Soundboard. In the most recent issue, for example, I wish we had the *complete* Traviata arrangement by Razzetti. As always, you are more than welcome to anything in my collection of public domain music from the Library of Congress. ME: dvd heaven We forgot to have a look at your British Monopoly set. Did I ever tell you how my bid on the Carl Butler and Pearl album turned out? My $16 bid was the only one until the last day, so it stayed registered at $3. Then one guy put in a $15 bid. I suppose he got a shock to see that he was still outbid. Then he put in a $20 bid which ruled until the final moments when somebody else topped that in one shot. Another movie I think I need to see is Interrupted Melody, The Life Story Of Marjorie Lawrence. A clip from that was played at LC the other night. It was also screened last Tuesday at a vocal competition (that was priced for rich people only.) ME: facsimiles for soundboard One other thought occurred to me. A small thing I could offer Soundboard is doctoring up guitar music facsimiles to make them look like a million dollars for publication. Just connecting broken lines, filling in noteheads, etc. - nothing more. THEE: your web Thanks for the wonderful site. I am a big fan of both Mudarra and the Beatles. I learned to play "Gallarda" and "Fantasia..." from the tablature on your site. THEE: Convinced that young men dressed in suits and ties, who read novels or the Wall Street Journal while riding the Metro, have far greater merits than those dressed in jeans, t-shirts, and boots, driving pickups, and scanning sports scores or gawking at Playboy centerfolds, my daughters are also ready to return. Following her tours, Hself has also determined to do an internship at the LC or National Archives, saying that she might do a second internship at the Clinton Library. "Then I could list 'Clinton Intern' on my resume. That ought to get people's attention," she added. Next, I look forward to slicing and dicing [of photocopied music]. Who knows. . . Perhaps with all the practice, I'll qualify to sell Vegematics at the Oklahoma State Fair. THEE: Re: good luck with soundboard! Thanks for your kind words. Peter's achievements have been enormous, and I'll need all the help I can get to make sure Soundboard doesn't decline after his departure as the Lute Society journal did. Your suggestions and your generous offer to provide music are duly noted and I hope to take advantage of both in the future. ME: Subject: ^&*@# 1. ^&@*# 2. ^&*@# 3. ^&@#* 4. ^@* Time's up! This was supposed to be waiting for you when you got home. It bounced back twice due to a filled mailbox, near as I can tell. I'd hate to have to face *your* piled up email, that's for sure! I'd be glad to get you a Plantation Pastimes upgrade. Don't be shy about telling me the deadline, if it's on the horizon. Visited my piano partner Elmer last night, and he played the 3 Grandmother's Songs I copied - 2 spirituals and Camptown Races. They were all nice. Camptown races sure sounded different (and cool), but maybe it was me. I still regret letting you take the ledger-size copies. I feel like it's my responsibility to get them down to letter size. Plus I derive great satisfaction doing it. Plus I don't trust normal people to do it perfectly. (That's not you, of course!) Plus I could have covered up a few of my goofs, and you'd've been none the wiser. There was so much hubbub at the copy machines that I goofed a few magnifications. In at least 2 cases, the plate number will have to get sliced off the bottom. (If I had done it, I'll bet you would've never noticed!) I suppose it'll take a more eloquent person than me to explain to the world why 1st- generation copies of hard-to-get material *must* be done as as if those copies will become the masters. There are lots of reasons for this, the least of which, but powerful nonetheless, and easiest to argue, is that they very well *could* become the masters for a variety of reasons not limited to theft, loss, crumbling to dust or destruction in wars or by terrorist bombs. The Wagner-on-silent-film-fest on Thursday night at LC's Mary Pickford theater was thoroughly fascinating and fun. They also had nonsilent clips, including the Tristan und Isolde scene from Willy the Opera-singing Whale. I saw that probably 30 years ago or so, and ever since, I've been dying to see it again. >"Least terns?" you ask. They nest on the banks of the Arkansas River. Think Tulsa. The river runs through it. Gotcha. (But where's Tulsa?) My dictionary has least flycatchers, but no terns. About my little chuckle over the new age radio show, I promise it wasn't about the music, to which I have no objection, and a few records of it in my own collection, but about (what seems to me) the unlikeliness of early 20th C. American music being aired on such a radio program. What could be more different? In comparison, rap, disco, Wagner, Stavinsky, folk musics, Philip Glass, muzak... might be considered mainstream new age. My first attempt at reading a translation of Agamemnon was not successful. I just couldn't bash the jumble of words into subjects and predicates, plus there were so many names that I would have to stop and read up on. I put it on the back burner for now. Thanks for the P.D.Q. Bach recommendation. I also have had good laughs at his things, one example being his Blaues Gras Cantata, which has some great bilingual puns (German/English). My friend Hself just groans at the thought of P.D.Q. Bach, but my claim is that Schickele's music is very good, irrespective of the humor. >One portion of the test involved comparing random combinations of letters and numbers in one column to those in another column and circling differences. Only one catch: this was timed. Lucky me; I was good at it. The personnel manager later told me that I'd received the highest score ever made on the test by an applicant in Des Moines. Funny! It really illustrates a big difference between your brain and mine. I think it was about 10th grade when we took an aptitude test and part of it was just as you described. When the tester explained what we were to do in that section, everybody laughed, thinking how could anything be so easy? But, of course, the point was, *how many* could you do in the 30 seconds or 1 minute. There was an outburst of "Wha', huh?" when time was called, because nobody expected such a short time limit. When I heard a few kids discuss the test afterwards, everybody mentioned completing a significantly greater number of comparisons in that section than me (with only one exception, Mike Hself), so I just kept my trap shut. >The next summer I graduated to sorting mail by zipcodes. This enabled me to get off my derriere & to stand on a concrete floor 8 hrs/day tossing mail into cubby holes, sorting 1st by 1st digit, then taking all numbers beginning with that digit & sorting by second, and so on. This is one situation where it's good to have a computer take over the job of a human. With one drawback - one *big*, *huge*, *monstrous* drawback. Automated post office equipment destroys mail! I won't go into all my personal experiences in recent years. I was shocked to find out very recently from my friend Hself, a long-time (and eternally disgruntled, although I don't think he does much at all) USPS employee that rigid items are forbidden in envelopes! Their darn machines are designed to bend your mail around spindles! If a key or CD or stiff card comes through, the envelope will get ripped up, and the machine will break down. (Which serves 'em right, I say.) And why can't they at least tell the public about this??? At my friend's house last night we visited the Coney Island Museum site. Enjoyed the Dreamland Waltz cover and music very much - probably my best music-on-the-web experience to date. I've got him all enthused about Suds and Battle Of The Sexes, by the way. THEE: Re: ^&*@# 1. ^&@*# 2. ^&*@# 3. ^&@#* 4. ^@* Time's up! My mail used to be worse than it is these days. It was a nasty sight after being gone for two weeks, even if much of it was junk mail I could delete without reading. Gotta be careful, though, because it's easy to mistake the junk mail for the good mail; some of my friends use obscenities (or masked ones) for subject lines. ;-) [I suspect my subject line joke flopped. Those aren't obscenities, or, if they are, that's not the point. It's a proofreading aptitude test.] Thank God for major sheet music collectors like Elliott Adams in Sacramento. He supplied piles of covers for the last issue [of the Rag-Time Ephemeralist]. Don't think I ever told you Adams' story. He's the pianist who recorded "The Sand-Dancers" and the collector who sent me the music. People tell me he has the largest privately-owned ragtime era sheet music collection in the country. How did he start it? As a Cub Scout during WWII, he was helping with a curbside paper drive. You know, an early recycling effort before the term appeared. Part of the plea: Check your attics. Drag out all that old sheet music. After all, who plays the piano anymore now that we have radios . . ." So picture a little uniformed lad standing on the curb, helping people unload piles of paper as they drive up to drop it off. "What's this colorful stuff?" he asks himself. "Hey, I like these pictures . . ." He begins sorting out the wheat from the chaff--uh, er, the sheet music from the newspapers, etc., setting the music aside in a stack, then in a box, then in boxes . . . and more boxes . . . hauling it all home, much to his scout leader's dismay. Surprising we didn't lose the war, isn't it? A subversive was born that day . . . as was a lifelong collection. So who is this guy who plays ragtime and undermines the military? He's a dermatologist by profession. As far as we know, only Adams plays "The Sand-Dancers" because only Adams has a copy of the music. (He has also written glowing comments about the piece and, when I first sent him some biographical info on WC, he immediately replied, "I always suspected Wm. Christopher O'Hare was a highly trained musician! There's a grandeur about his work that you don't find in other early rags." . . . Which reminds me of the e-mail I had this week from Claes Ringqvist, another doc (cardiologist), who plays ragtime cornet in a group in Sundvall, Sweden. Claes also founded the Swedish Bunk Johnson Society. Seems he became enthralled with Johnson, a black cornetest, when Claes was a kid. He then took up the cornet himself. After founding the group years later, he was at a cardiology conference in the US. He noticed that most of the docs were from hospitals named for people. You know, insignificant places like Mayo Clinic and Johns Hopkins. So what did Claes do? When asked for his hospital name, he began writing, "Bunk Johnson Memorial Hospital, Sundvall, Sweden." Now he gets all his professional mail from the US sent to that address, and the local hospital has a well-known, though unofficial, name. >My dictionary has least flycatchers, but no terns. No, no, . . . NO! . . .that's not it . . . not in the least! Around here, we have least terns and scissor-tailed flycatchers, the latter our state bird. You've got that danged Eastern dictionary again. >About my new age radio show chuckle, I promise it wasn't about the music, to which I have no objection, and a few records of it in my own collection... Yanni makes me yawn, but I have some good "new age-y" Native American CDs. Imagine them, will you. >What could be more different? In comparison, rap, disco, Wagner, Stavinsky, folk musics, Philip Glass, muzak... might be considered mainstream new age. Pretty different, true, but oddly Cindy's listeners liked the change of pace. We had several calls while on the air. After I made my quick exit she recieved more. In three hours, we covered everything from black Broadway's In Dahomey (1903) to WC to Treemonisha to a lot of talk about the history of ragtime, the controversies surrounding it (Recall the little article you sent and imagine what white folks said if a black man would condemn it so harshly.) >My first attempt at reading a translation of Agamemnon was not successful. Try Antigone and Oedipus. Of course, you've gotta read Oedipus Rex before listening to Oedipus Tex. Ignore most of the Chorus stuff. A lot of it's incomprehensible if you don't happen to be an ancient Greek religious fanatic with a fetish for genealogy and family curses. Read the cast list. Then read the dialog, thinking "soap opera" all the while. It works for my students. >My friend just groans at the thought of P.D.Q. Bach, but my claim is that Schickele's music is very good, irrespective of the humor. Terrific stuff. I'm told that when the first publicity about P.D.Q. came out years ago, the musicologists were going wild. Took them a while to figure out what was going on, that it was all a hoax. I think they had to hear the first recording. We've got those town names, too [I joked about street name Quanah sounding more like a place name.] How about Quapaw or Tahlequah, the latter the Cherokee tribal capital to this day. Walk the downtown streets just an hour from here, and you'd see all the street signs in both Cherokee and English. Also some signs on businesses. Still a Cherokee newspaper, too. And the university in town, with a student body of about 17% Native American must still teach English to some of the students as a second language. No kiddin'. What ever happened to Carlisle Indian School???? Just cut off their hair, make 'em dress in whitey's clothes, ban their religions and languages . . . Good ol' American ways, the land of tolerance and freedom . . . >At my friend's house last night we visited the Coney Island Museum site. Enjoyed the Dreamland Waltz cover and music very much - probably my best music-on-the-web experience to date. I've got him all enthused about Suds and Battle Of The Sexes, by the way. Glad to see the enthusiasm spreading. Sure wish I knew if ol' WC is lookin' down and grinnin' 'bout all this. Or maybe just shaking his head and asking, "How crazy are they, anyway?" Wouldn't you love to know what he'd think of his music on the Internet? Many folks say that Ophelia is probably the best ragtme orchestra in the world today . . . and all the members are Norwegian! Ah well, this year's winner of the Joplin Fest ragtime composing contest is a young Hungarian, Tomas Ittzes. He's a music teacher in some public school over there and runs an annual ragtime festival... Hey, just thought of something. The winning rag is on the internet as a midi file, as is another Ittzes named for Ed, "Ed's Running Rag." The new one is "Sedalia Rag." Here's the link. http://www.ragtime.nu THEE: I'm interested in guitar/piano music How can I get a hold of these. I've been searching for this kind of music for a while and have only found piano reductions. I want some genuien guitar/piano music. Any info will greatly appreciated THEE: Subject: Beware of dog! in anticipation of your visit Sat. morning just wanted to warn you in advance that we've got an 8 pound yapping maniac of a papillon (breed of dog) who will surely try to drive you away when you first come up. He quiets down after a few minutes but nothing I've tried keeps him totally quiet. He's never bitten anyone! We've another dog, too -- a sweet bichon who's very loving to everyone (though she'll roar at people who approach the door, too). Hopefully, as they age they'll mellow out (they are 2 & 3 yrs/old). Look forward to our session! ME: Re: Comments on Web Site Thanks for the tips on other piano & guitar music, and the recording. Actually, my web page just lists pieces that are in my own collection which I found at the Library of Congress. (I have other pieces which I bought in modern editions.) I believe that LC has about a third of all the known 19th C. European guitar & piano editions, which is very impressive, in my opinion. They're not obligated to own any of them. By the way I have found about 25 more pieces at LC since the ones I have listed. I should add those to my web page. Thanks for making me think about this. >Really interesting web site, even if I did not read all already. Appreciated the remarks about scoratura, the baroque guitar tablatures and your interest for piano-guitar music. You could also add a work by Mario Castelnuovo Tedesco, dedicated to Segovia, really nice: Fantasia for Guitar & Piano, op145. You mentioned a lot form Carulli. The are also some Beethoven variations on a Mozart theme, originally written for cello & piano, and transcribed, arranged & more by Carulli himself (I think it's op66). There is an extraordinary CD from Philippe Villa (Romantic Guitar) & Carole Carniel (Piano-Forte), playing Carulli. If you don't know it, I really advise it. THEE: Re: Yamaha G-50 A Thanks for the tip-- yes, they do have one on e-bay-- never even crossed my mind to check there: http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=1436384791 Looks as though they have one bid for $65! >Thanks for visiting my site. To be honest, I don't really know what a Yamaha G-50 A is worth. I've been curious myself. Have you checked to see if any are being sold on eBay? >>I saw your article-- what would a guitar like that be worth today. I have one that my wife wants to sell. THEE: Subject: guitar and piano pieces You mentioned a collection of guitar and piano pieces on your website. I am friends with a classical guitarist, and these duets are pretty rare. How might I get a copy? THEE: Mass per unit length Let me first thank you for the wonderful work you're doing on your Unarchy site. I took a three quarter- size modern guitar and redrilled the bridge and added a set of twelve string tuning machines to it to produce a budget Baroque Guitar. I think it's quite reasonably effective. My question concerns your statements about mass per unit length as a standard for buying guitar strings. I don't see how knowing the mass per unit length of a string would be more helpful than knowing the string tension, unless one knew how different masses per unit length felt and sounded on the instrument. Keep up the good work and the good fight. THEE: I have been reading your site about the big bang. To me all this is very simple. There has never been a big bang. The reason is the following : until now nobody did found the medium of light, but if there is a medium then there can not be a big bang because we don't need singularities in spacetime when there is a medium for light. The laws of relativity are the same when there is a medium, but time is moving from one mass to another mass, as well as energy does. ( supposing that the mass of matery and maybe antimatery is the medium of light ) THEE: Subject: eBay End of Auction - Item # 1437030289 (Carl Butler and Perl LP) Congratulations - this auction successfully ended Item Title : Carl Butler and Perl LP (Item# 1437030289) Final Price : $4.00 Auction Ended At : Jun-14-01 10:42:34 PDT Total number of bids : 1 High-bidder E-mail:email@example.com THEE: Subject: Web-Site Greetings. My name is David Maurice Hself but I call myself Dave, you can too. I have posted both original and non-original (plagerized) work on Weed's web-page http://alt.venus.co.uk/weed/music/classtab/). I have had stuff there for quite some time but I just got around to looking over your web-site which he has a link to on the bottom of his page. I must say that your web-site is very thought provoking and entertaining. I really liked the stuff about evolution, the Big Bang Theory, and the SETI project. I share your opinion on many things. For example, I have read many books and found many web-sites both for and against evolution but I still think the theory is flawed. How can an organ like the eye evolve? There is no survival benefit to a half evolved eye. How can evolutionist think that the eye is a result of mutations? I don't buy it. I think that the creationists are even more deceived in there beliefs. I do believe that there is another factor at work besides the "survival of the fitest" theory. I think that there is a push towards higher intelligence at play. So, in a effort to re-introduce evolution back into the human race, I have developed two plans: 1. Mandatory Intelligence Test or be Executed (Euthanised if that is more appealing) - This would be similar to getting your driver's license. At a certain age (18 or so) you would be required to take a standard intelligence test. If you fail you get one re-test. Fail again and you get put down. The test would not be extremely difficult or anything. Just simple things like reading, basic math and language skills. There would also be a common sense portion to the test. This section would definately weed out some folks. 2. Safari Duty - This would be similar to Jury Duty. A group of 30 -50 people would be selected at random to serve. These people would be carried to an undisclosed locale where they would be placed in the middle of an enormous enclosure. There would be two doors on opposite sides of the enclosure. One door would be the exit. The other door would open to let out several starved lions. The people would then be fair game for the lions. The weakest, sickest, most fat and unhealthy would be weeded out in this manner. I know that these ideas are somewhat inhumane but I think that they are good ideas for population control and to encourage people to stay healthy and become educated. In essence, to create a stronger human race. I also enjoy being overly critical of word and phrase usage. Here are some common sayings that I believe are either ridiculous or have been bastardized. 1. "You want to have your cake and eat it too." Well, if I have my cake I can do what ever in the hell I want with it. I believe the saying should be, "You want to eat your cake and have it too." This would imply wanting the best of both things. I want to eat my cake yet I still want to have it after i've eaten it. 2. "They were talking about him behind his back." Well, wouldn't that be his front? If you look at the front of my back, you are looking at my back. If you go behind my back, you will find my front. The saying should be, "They were talking about him to his back." 3. "I have more work to do than I can shake a stick at." I can shake a stick at damn near anything no matter how big it is. It may not go away but I sure can shake a stick at it. I think this saying has to do with a magic wand. Maybe we should say, "I have more work to do than I can wave a magic wand at." 4. "You need to get on the ball." or "You need to get on the stick." Is there a difference in degree here? And where did this saying originate? If I get on a ball or a stick will that prompt me to get busy? I don't know. As you can see I am either too analytical or I just like to be critical of the things we humans think and do. Anyway, I encourage you to check out my web-site. Not much there but let me know how you like some of the stuff I have composed. I would like to share more thoughts and ideas with someone like you. I really enjoyed (and still am) your web-site. Very thought provoking. I am attaching 2 files. One is an excerpt from a book by Alan Watts and the other is a short essay I bagan writing on the philosophy that he puts forth. It is kind of like a philosophical extension of his writing. I don't know why I just thought you might like to read something that is thought provoking. Think of it as a reciprocal gesture of ideas. THEE: Re: Carl Butler & Pearl LP I'm really excited about this. My mom has been trying to replace her lent-out-and-never-returned copy for about 15 years now. So she's going to get the surprise of her life. I'm eager to hear it, too. THEE: Sadly, I had to close the gallery. I did it for a year, then the bottom really dropped out when the stock market crashed. I could have kept going, spending more of my own money, but it wasn't worth it. I found that many artists were selling to clients and cutting out my commission. A dose of reality for me! THEE: Cool Beans & sequels. Also e-mailed another bidder. Anyhoo, she's a tap dancer & knows how to do sand dances! In fact, she's met Sandman Simms, perhaps the best known sand dancer of all. I've used a quote from Simms in my article--about the sound of the sand being "the brush on the snaredrum"--all part of my argument about recreating the music through sound, as in the "canehop effect" of "Levee Revels" and "Plantation Pastimes." I've drawn a blank on finding reference sources for cane hops, but now I have the dancer curious. She'll make a search for me. My kind gestures pay off repeatedly, so are they really kind or Machiavellian? Let's call them the former. Sure sounds better . . . We have Saturday tickets for Naughty Marietta, part of the Gilbert & Sullivan Festival. Are you saying, "Hey, whoa . . . Wait a minute! Naughty Marietta . . . Gilbert & Sullivan . . .???? If so, you're right. Guess they decided to broaden the festival scope a bit this year. Victor Herbert is probably happy. THEE: Re: Life's Unfair >(1) I get lambasted on your book review page and that > ungrateful Hself character is called a "friend" > on your old friends page? Does the phrase "Hunters > and Collectors" mean anything to you? Geez, man, you were the *inspiration* for my book reports page! What higher honor can there be??? >(2) Was it just me, or was Paul McCartney's TV special > just a trifle self-serving? Did he and Linda really > run the farm all by themselves? Was that the Wings special? I saw it at Hself's house. I think we both thought it was a drag. Did the farm actually get "run"? Dunno. >(3) Regarding that song Wings played, "The Mess I'm In", > or something like that: isn't that a rip-off, lyrically > and melodically, of The Band's "The Shape I'm In"? >Inquiring minds want to know. Well, you sure came to the wrong place. But, you've got me curious. Maybe I can find a copy of the Band song on some live Dylan album or something and make a comparative listen. Have made some truly great discoveries recently, though. Have you ever heard the original Golden Slumbers (English lullaby)? I have 2 recordings now. Biggest discovery was a day or 2 ago. I found that that "Domino" song that Paul sings to the I Me Mine backing at the end of Sweet Apple Trax Vol 2 is a real song! It was interpolated into my gala performance of Die Fledermaus by Mario del Monico (who interpolated Vesti la giubba into the 1987 film The Untouchables). George rips off another one!!!! >Sincerely, > You know who this is! You too. ME: Thanks for the feedback on my website. I still laugh every time I think about your accelerated evolution plans for humans. You've got your work cut out for you. But, I've always despaired of getting our number system converted over from base 10 to base 8 (*tons* of advantages) - and just recently I had a brainstorm on how to accomplish it. We'll just make base 8 numbers the standard when we create and implement a simple, universal second language. All I need to do is write up 2 web pages, and we're on our way! I also have a web-page-waiting-to-happen called "words and such" that will be a dump of all the funny word usages I've accumulated over the years. THEE: Re: Matchbox Thanks a lot for the info. I'll incorporate Blind Lemon in my web page when I get around to it. I'm no blues expert, and if I had heard Blind Lemon Jefferson's version of Matchbox Blues once, I probably wouldn't have been sure if it was original with him. But now I see everybody is in agreement that he gets credit. Thanks again. >On your Beatles trivia page you are correct. Matchbox was not written by Carl Perkins but by an old Blues guitarist by the name of Blind Lemon Jefferson. ME: Re: Wine vs water >In the wine-water-teaspoon problem, strictly speaking a full teaspoon of wine was transfered to the water glass and less than a full teaspoon of water was transfered back. The question didn't ask about final states so the fact that some wine went back to make everything even is not part of the answer. Actually, I think the question *is* about final states. The question was, after all the transfers, is there more wine in the water, or water in the wine? That's what trips most people up, that more wine is transferred to the water than water to the wine, but in the end there's as much water in the wine as wine in the water. Thanks for the interest and keeping me honest and on my toes. ME: baroque guitar and mpl You are the very first person to tell me that you rigged up your own baroque guitar based on my suggestion. Right now I'm in a mode of just using a single-strung guitar (with terz guitar strings) and adding high octaves for the 4th and 5th strings. I guess I was never totally happy with the strings I experimented with on the baroque guitar. I was always hoping somebody would pick up the ball and say, "Here's exactly what you need for a great baroque guitar sound and feel on a modified modern guitar!" About your questions: a) The pieces by Francisco Guerau all end without resolving to the "tonic". What does this mean? Your guess is as good as mine. The best I can do (based on *nothing*) is that maybe he just figured the last chord was so obvious it was an insult to the player's intelligence to write it out. Still, it's sure not obvious to me exactly what notes he would have played. b) How would it help to know the mass per unit length of a string without first knowing precisely how different masses per unit length affect the sound and feel on a given guitar? The mass per unit length doesn't "effect" the sound and the feel of the string - that would be the material the string is made of. I think the most fundamental requirement when choosing a string is that it has to be *playable* when tuned to the desired note - not too hard to press, not so flabby that it slaps against all the frets, and more or less the same tension as the other strings. Given a variety of string manufacturers making strings of different materials, I guess then it would be up to the guitarist to experiment with the different string materials to see which he thinks sounds and feels the best. But at least he'd always be able to choose strings that give him the exact, desired tension on his guitar. You also phrased the question as: "I don't see how knowing the mass per unit length of a string would be more helpful than knowing the string tension unless one knew how different masses per unit length felt and sounded on the instrument." The confusion there is you *don't* and *can't* know the string tension when you choose a string by its "gauge" (diameter.) That's why you *need* mass per unit length, so you can buy a string that you know will have the desired tension when tuned to the specified note. Make any sense? I know have a hard time saying it clearly. By the way, I just put up Antoine Carre's baroque guitar book on my site in modern (ascii) tablature. There's a few typos in the explanatory material, but the tablature should be in good shape. ME: I unloaded my ideas of what the world needs in the way of an archival system for computer files, but I didn't mention a safeguard that would have to be very simple and very cheap for computer makers to implement - a second hard disk in every computer that mimics *exactly* what happens on the main hard disk. When either one of them crashes, you will have *everything*. Then you make an exact copy of the the one that didn't crash, and you're up and running. Simple as that... [I've been told this is not so simple.] I checked Anthology out of the library a few days ago. I know I've become an old curmudgeon, but I hate it. Obviously, I didn't jump into it without my biases, but it only confirms my belief that interviews are the poorest form of journalism. For a tiny fraction the effort they could have produced something infinitely more valuable - just slap together all the primary source material on a cd-rom. If anyone wants a Beatle autobiography, here's what you do: Don't start from scratch. The story has been told a million times; all we need now are gaps filled, and clarifications and corrections. Give each Beatle a copy of Davies, Norman and Brown, a red pen, and, if you want to go crazy with high-tech, a voice-actuated cassette recorder. There. And lucky for me I'm not a visual person and barely see pictures in books, because, if I were, what they did in Anthology [not a single caption!!!] would send me up the nearest bell tower with a high-powered rifle. Current reading is Rudolf Bing's autobiography. Lots of good stories in opera. ME: Re: your web >Thanks for the wonderful site. I am a big fan of both Mudarra and the Beatles. I learned to play "Gallarda" and "Fantasia..." from the tablature on your site. Thank you for the kind words. I don't think anyone has ever written before to say they actually played some of the pieces on my site. Still, it's something I would do just because I "have to". By the way, I just put up a bunch of music by baroque guitarist Anthoine Carre. It's easy to add a few octave notes to play on the modern guitar. Start with some of the simpler menuets and gavotes. ME: Re: Question about Sanz's Canarios Thanks for your interest in my Sanz tablatures. I was always kind of disappointed when I put them up the world didn't come hollering, "Hey, please put *all* of them up!" To answer your question, yes, Sanz has 2 Canarios in his book (or is it 3 books in one?) One Canarios is in G (Book 2, page 6) and the other is in D (Book 1, page 8). What really amazes me about your question is that I would think the Canarios in D is the famous one! It's been published and played and recorded to death! Not that the piece ever wears out... But somehow you became familiar first with the lesser known one in G. Yes, there's a lot of similarity between the 2 pieces. I hope that helps. >Thanks for releasing sanz's tabs on the web. >The few original tabs and facsimile of Sanz's Canarios I saw correspond to the one you give here, in G major. >However, there exists an arrangement by Emilio Pujol, in D major, quite different but whose second part seems to closely correspond to the first version. Is Pujol's Score an arrangement of another Canarios by Sanz ? Or is this version on your site (and also on the facsimile I saw) incomplete ? Or has Pujol taken a lot of freedom in the adaptation ? ME: more mudarra I've been thinking about you recently because I've been seeing some new Mudarra publications come out. A guitarist local to my area has one called "Guitar Music From Tres Libros de Musica" published by Mel Bay. I guess, like the title says, it's *just* the music for guitar (not vihuela). And I got an email from Keith Calmes, who put out the excellent "Masterpieces of the 16th C. Guitar" book by Mel Bay, saying, "Next out is a transcription of Mudarra's 2nd book, which we are calling The Eight Masterpieces of Alonso Mudarra. Let me know what you think. It should be out in a month."
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