Clossical Guitar Society of Upstate N.y. 8 Banta Place, Stamfard, NY 12167www.cgsuny.org 607'865-8775

President 's MessageBy Dennis Turechek

I recently returned from NYC where the best classicalguitar seminar on the planet takes place every yearabout this time. I'm referring, of course, to the NewYork Guitar Seminar at Mannes. Our friends, MichaelNewman and Laura Oltman, who headlined our fallfestival in 2004 are the artistic directors and they havecreated a sensational event. The flavor is internationalas Michael and Laura are able to attract the bestplayers from around the world. The theme, oremphasis, this year was on pedagogy and honoredBruce Holzman and his many prize winning students,too numerous to mention, most of whom were featuredperformers for this occasion. lt was great to run intoseveralof our members there namely; Deena Berkefrom lthaca and, of course Don Witter from Brooklyn.

I heard many accomplished guitarists deliveringsuperb concerts every night but the one that stands outfor me was Ricardo lznaola's performance. His playingis more powerful in both sound and conception than weare accustomed to hearing today. His playingtransported me back thirty or forty years to a time whenguitarists were going for the biggest sound, the largestdynamic range and maximum expressivity. Eventhough Mr. lznaola probably has considerable technicalprowess, I forgot to notice, as it was quickly submergedin the sweep of his musical power. His intenseinvolvement in the music was riveting. He held nothingback and played fearlessly as if this was to be his lastperformance on earth. Compelling stuff!!

Kudos to Michael and Laura for another outstandingseminar, lf you can make it to NYC in late June/earlyJuly 2006, make sure to check out the New York GuitarSeminar at Mannes. lt willenrich your life.

"Fingerstyle Coes National"By Tom Rasely

The fact is that, while not allfingerstyleguitar playing is classical, all classical playingis fingerstyle. Particularly when you define"fingerstyle" as anything you do without a pick.

At the National Guitar Workshop(Connecticut campus) this July, I had achance to teach a class in fingerstyle guitar.This class consisted of 5 players, only one ofwhom had ever played anything fingerstyle,and that at a very elementary level.

The other feature of this class was the agerange, which included the youngest and theoldest student at this camp. There was Terra(12), Julian (14), Colette (33), Belinda (47)and Richard (83). That's aTl year spread.

To get them started in fingerstyle, Iintroduced them to the basic hand positionlthe same formation of the hand and fingersthat you find in any beginning classicalmethod book. Then I had them experimentwith string assignments- first using the thumbon the bottom 4 strings and the 1st and 2nofingers on the top two strings, an thenreducing the thumb to the bottom 3 strings(bass strings), and using three fingers on top.

(Continued on page 2)

lNsror THrs lssugPRESIDENT,5 MESSAGE 1

" Fingerstyle goes National" ' 1

Performance Workshops 2

New York's Underground Cuitarists 3

Fall Festival Preview 4Word Search Puzzle 6

Musical Transcription 7Dennis Turechek

(Continued from page 1)

We tried finger picking patterns, alternatingfingering on single note lines, playing doublestops in a variety of combinations, pluckingchords, slapping the strings. lt was a lot forthem to soak up.

Part of my task for the week was to getthem o play a song for a student concert.Because of the age range I chose "AmazingGrace", which they all knew. The arrangementwas in 3 parts, each employing a differentcombination of strings, and atl ptayedfingerstyte of course. We played through itthree times (verses), so that every studenthad to learn all 3 parts. They did it! lt wasfantastic.

As I saw it, the goal for the week was tosend them home with at least one thing thatwoutd revolutionize their ptaying. They attagreed we had done that

By the time this newsletter is published I witthave had a chance to return to Connecticutand teach the first week of August. I can onlyhope that the second session goes as wetl asthe first.

For more information on National GuitarWorkshop visit their web site:http ://www. ou itarworkshoporders. com/

Did You Know..."That to play a guitar in | 550would have identified you as a

Spanish gracioso, most likely aDon Juan."

NEWS from the ALBANY REGIONby Jon Tario

It wasn't the flavorful scent of smoothlyblended mocha and coffee or the vibrantlypainted masterpieces mounted on the walls ofProfessor Java's Coffee Sanctuary thatdelighted the rooms senses. Instead, on June17th, the sound of beautiful Classical Guitarmusic took center stage, tickling the ears of thesanctuaries sophisticated patrons. Membersfrom the Classical Guitar Society of UpstateNew York's Performance Workshops, whichare located throughout the Capital Regionsupplied the evenings entertainment. KevinChase, Andy Davies, Jon Tario, Bill Simcoe,Michael Castro, and Dick Osborne all bravedthe stage, providing a broad pallet of ClassicalGuitar Repertoire that ranged from Baroque toBrazifian Jazzto 20th Century Popular Music.

The group is open to anyone interested inlistening to or performing Clasbical Guitarmusic. They meet monthly at each othershomes for private gatherings or at businessestablishments for public performances. Thelast Performance Workshop was held Sunday,August 21, atthe home of Kevin Rielly in PorterCorners.

The Bethlehem Town Library will tentativelyhost a concert by the Classical Guitar Societyof Upstate New York - Capital Region(CGSUNY-CR) on November 6th. For moreinformation contact either myself attariit24@vahoo.com or Albert Muir atlbp@capital.net

AfiENTION MEiiBERS:Please take the time to submit artictes,

Anecdotes, or other interesting tidbits toBe included in upcoming newstetters.

We want to know what you are doing,of concerts would be appreciated.

Emait info to: musicatm@hancock.net

New York's UndergroundG u ita ristsby Julia Crowe"hepr inted with permission from Me1 Bay's

Guitarsessions webzine,www. qui tarsessions . comtt

In the daily dash and scramble down New Yorksubway steps to its gum wadspeckledplatforms, natives who have been stymied byplodding tourists or a bad day at work can lookiorward to two things: going home and hearing aninteresting tune before their train arrives'New Yorkis underground provides a wild auralpalette, from shamisen players to m.ariachi bands,classical violinists, folk singers, inexhaustibledrummers and keyboardists mixed in with colorfulhip-hop dancers, mimes, and oddities such as aballroom dancer whose partner happens to be alife-size rag doll.

Fifteen Years ago, the MTA decided todistinguish the best of its enterprising performersby instituting a program entit led "Musicians UnderNLw York," irittr auditions held every May at GrandCentral Station. The selected entertainers aredesignated by official orange and black bannersbear'lng tfre MUruY logo along with the performer'sname, and they are given the opportunity toperfoim at prime stations on a rotating schedule'Many of these "buskers" say it provides them arare chance to connect with the more humanizingaspects of playing in a seemingly indifferentsetting. "You get to see immediately what peoplefeel about your music," says Brazil ian jazz guitaristCarlos Munhoz. "sometimes they have zeroknowledge about the kind of music you are playing,so it givds me the opportunity to be a culturalambalsador." Munhoz, who is from Rfo de Janeiro,has been performing regularly as a MUNY musicianfor the past fifteen years. He plays exclusively inGrand Central Station and Penn Station an averageof four times every two weeks while alsoperforming weekly at The World Bar in TrumpTower. "The MUNY program gave me theopportunity to organize myself and has served as agood referencer" saYs Munhoz.

Munhoz's repertoire consists of Jobim andBonfd in addition to the samba and bossa novarhythms on his French-Canadian made Godinguitar. About ten years ago when he wasierforming in Grand Central Station, he had givenone of his complimentary demos to a passingcouple as a way of saying thank you for theirdonation. Three years later, the man phoned

Munhoz to inform him that the incident hadmarked their first date, and that they had enjoyedhis music so much that itcame to signify that one special afternoon forthem. He then asked if Munhoz wouldbe available to play his guitar at their wedding'The invitation was gladly accepted."Another time, when I was set up in PennStation," Munhoz says, "I was playing Ave Maria,Gounod's adaptation of Bach's first "Prelude fromThe Well- Tempered Clavier" when I'd noticed alady standing there for a long time. She musthave lost hei train but still gave me a beautifulsmile. A cop came along and told me to move onbecause the station was crowded but I pointed outmy MUNY banner and explained I had beensc'heduled to play here. I continued playing andright at the emotional height of the music, thisw-oman turned around once more with the mostbeatific expression on her face' The policemanslapped me a $250 ticket for disturbing thepeace. The case was later dismissed in court''Rlaying

in a setting like this goes to show you,thoug[, you do nol always realize how much yourmusil has an effect on people and does movethem, even if what they're hearing is just for a fewminutes."

No one knows this better than Bronx-bornclassical guitarist Don Witter, Jr' whodecided to leave behind his job as a computernetwork troubleshooter in '94 tor a shot at winninga MUNY banner. "For years, I 'd seen musiciansplaying and I knew that I wanted to bring guitar toi'egutai people," says Witter. Witter, who alsoserves as one of the judges on the MUNYaudition panel, says, "We don't have too manyguitarists. You really have to b-e amplified and it'si tougn situation in particular for a classicalguitaiist to keep it going. I play year-round, evenin terrible cold snaps. I grew up in New York,though, so it's nothing for me to experiencethe weather changes and I love playing.' 'Witter performs at a variety of stations and saysof the various challenges he faces, "The newtrains are nasty sounding suckers. On the 4Line, the new silver trains make so much noise,even when they are standing still. The mostcourage-building station is 28th & Lex on the6, thiuptown side. This is the noisiest station thatever existed. You have to have character to play

there." In spite of the din, Witter says, "I find ithelps build my concentration. The other factor isthat playing with amplif ication helps build yourtouctr-you must have pure clean sound with no

(Continued on Page 5)

5s Annual ClassicalOct l &

JOIN US for our 5th annual Fall Festival.

This year's activities include a futt dayof mini concerts, tectures, demonstrationsby members of the society. There witl be"awide variety of music performed. Therewitt be something for everyone!

The evening concert witt be given byour featured artist: Ana Vidovic.

Ana is an extraordinary tatent offormidabte gifts taking her ptace amongstthe elite musicians of the world today.

Though barety twenty four years ofage, she has atready won an impressivenumber of prizes and internationalcompetitions atl over the wortd.

Equatty impressive is the fact that shehas atready recorded five CDs, onsof themfor the Naxos tabet and that she hasalready concretized in some twentycountries throughout the wortd.

In her native Croatia she hasperformed with the Zagreb Sotoists andthe Zagreb Phitharmonic Orchestra andwith Symphony Orchestra of the CroatianRadio and Tetevision, as wett as havingbeen featured in three televisiondocumentaries by the eminent Croatianfitm director Petar Kretja.

Ana Vidovic began ptaying the guitarat the earty age of five and at thirteen shewas the youngest student ever to enter theMuscial Academy in Zagreb, where shestudied with Professor lstvan Romer.Currentty she is attending the PeabodyConservatory of Music in Battimore, MD.Where she is further refining herremarkabte gifts under the tutetage ofwortd renowned guitarist Manuel Barrueco.

You wi[[ not want to miss theopportunity to hear this young artistperform.

Guitar Fall Festival2,2005

Name:

Address:

Advanced EveningConcert Ticket Sale

Phone:

Email:

# of Tickets ordered:

(S1 5.00 advanced price)(520.00 at the door)

TOTAL INCLOSED:

Please Make Check payable to:

Classical Guitar Societyof Upstate NY

Mail to: CGSUNY8 Banta PlaceStamford, NY 12167

Order must be received by Sept 25for discount price to apply.

scratches or squeaks because you never know whois out there l istening. Interestingly, for somereason, I've noticed I tend to tune up a half step onmy guitar. There's something about the acousticsunderground that causes me to do that."Witter relies on his Takamine EC-1325 and a CrateTaxi amp for playing his repertoire of classicalpieces and jazz standards. He advises subwayplayers to be aware of their surroundings. "Youshould not think you're in an isolated situation.Don't be offended by homeless people, and ifsomeone is hanging around too long, do not havetoo much money in your [guitar] case. Keep it to aminimum to avoid temptation. Play every singlenote well and bring your business cards becauseyou never know who might hire you."Witter admits to one incident where a kid snatched$4.00 from his case. "I would have given himchase, but I felt it was better to say to this youngman, 'Hey, I earned this, You've got to learn toearn yours.' " One time, when Witter wasperforming in Penn station, a homeless manoffered him a piece of cheese. "I was stunned," hesays. "That was the most powerful moment I haveever had as a musician.""Also, a woman had also approached me to say shehad lost her husband just the week before-andthat the song I had played had been one of theirfavorites. "Witter says that sometimes he wil l catch peoplehumming a tune and enjoy surprising them bylaunching into a sixstringed rendition of the piece.His playing has earned him front-row theatretickets to Broadway shows from appreciativelisteners, and he was once asked to perform at adinner held at Christie's Auction House. He has alsoserved as the entryway performer to theEastern Parkway Station at the unveiling of theBrooklyn Museum renovation and was asked toplay at the VIP cocktail hour for the MTA's 100thAn niversa ry Celebration.Witter wistfully recounts performing for GuitarReview founder and friend Rose Augustine, a fewweeks before she passed away. "I grew up knowingRose from the 60s from the original New YorkClassical Guitar Society," he says. "She had givenme the invitation to hang out at her place and dropby whenever. I played for her the bossa nova,some Jobim, Sor and Catalonian folksongs. Shegave me a box of strings and expressed concernthat a person of my talent would play in thesubway, but I 'm a New Yorker! I grew up here andto me, it 's as natural as anything else."Witter leaves no doubt about this. His all-t imefavorite station is Grand Army Plaza in Brooklyn.

"I played there for my birthday this year," hesays. "I put up signs saying that it was mybirthday-and that I wanted to spend it withyou! In Grand Army Plaza,I've watchedchildren grow up. When I see the people whohave given to me all these years, I surprisethem by giving them my new CD because Ihave got something to give back."

For more information on the MTA's performingarts program, visit:htto://www. mta. nyc. nv. us/mta/aft/mu nv' htm

Julia CroweJulia is a New York-based guitarist and writer.She writes a monthly column and features forClassical Guitar Magazine in the U.K. and is aregular contributor to Acoustic Guitar Magazineand Mel Bay's Guitar Sessions@ webzine. Shehas also written for FRETS and Guitar Player.Julia is a graduate of the University of Chicagowith a degree in English Literature and hasworked extensively in print journalism, film andtelevision. She has lived and performed in NewYork, Los Angeles, Wexford, Ireland and Paris.She has performed solo in Grant Park, theDaley Center Plaza and at DePaul University inChicago.Julia played an arrangement of John Lennon's"Imagine" at a 9/11 memorial concertin Manhattan, where she resides. Recently shedebuted several of her own pieces atthe World Financial Center Wintergarden Plaza's"Carnival on the Hudson," in a benefit fordowntown public schools.For more information, please visit her websiteat www.juliacrowe.com

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