Re: [Finale] Looking for a Jazz Font Substitute

[A-NO-NE Music]

Darcy James Argue / 05.1.5 / 01:25 AM wrote:

>You should *never* use only an uppercase "M" and a lowercase "m" to 
>designate major and minor in jazz chord symbols, no matter what chord 
>font you use.  Standard practice is to use "MA" and "MI" -- as Chuck 
>Sher does -- or, better (IMO), "MA" and "mi".  Some people prefer "maj" 
>(or "Maj") and "m" -- that's fine too.  But there isn't enough of an 
>instantaneous visual difference between just an uppercase "M" and a 
>lowercase "m" for accurate sight-reading, no matter what font you're 
>using.
>
>My personal preference is to go with geometric chord symbols instead -- 
>the delta triangle for major, and the minus symbol for minor -- as used 
>in Aebersold and Advance Music publications.


After Berklee have been trying to establish the 'rule' this long, we
still don't have the standard.  I think it's kinda sad.

I write 'Maj' and '-' (minus sign).  This is the only way I can sight-
read in studio without making mistakes.  Triangle often confuses me with
diminish.


-- 

- Hiro

Hiroaki Honshuku, A-NO-NE Music, Boston, MA
 


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[Finale] Finale 2005 to 2004 backwards compatibility [WIN]

[Richard Yates]

1. Save the 2005 file as ETF.
2. In Finale 2004 save a 'New document without libraries' as ETF.
3. Open the 2004 file in Notepad and copy the first 30 lines.
4. Open the 2005 file in Notepad and replace the first 30 lines with the
copied ones.
5. Save the 2005 file.
6. Open it in Finale 2004.

I just did this with a file that has many articulations and expressions. All
appear on first perusal to be perfect. Trying this from 2004 to 2003 was
problematic as layers were shifted up one number and so layer four was lost.
2005 to 2004 does not seem to have that problem.

Richard Yates


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Re: [Finale] Finale 2005 to 2004 backwards compatibility [WIN]

[jp.gilles]

Richard Yates a écrit :
1. Save the 2005 file as ETF.
2. In Finale 2004 save a 'New document without libraries' as ETF.
3. Open the 2004 file in Notepad and copy the first 30 lines.
4. Open the 2005 file in Notepad and replace the first 30 lines with the
copied ones.
5. Save the 2005 file.
6. Open it in Finale 2004.

Richard  you are great !
I've just try with a harp duo with many artic. expres. and custom lines 
and this work fine 2005 > 2004

Thank you so much for this tip.
Jean Paul
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Re: [Finale] Looking for a Jazz Font Substitute

[Christopher Smith]

On Jan 4, 2005, at 11:23 PM, Leigh Daniels wrote:
Hi all,
I like the Finale Jazz Font a lot except for the fact the chord symbol
lower and upper case M's are too similar,  causing confusion.
Is there another font available that doesn't have this problem?
The Sher Music font is great but not for sale :-(.
**Leigh
I use the Dom Regular font; it looks a bit like a Speedball type font 
with upper and lower case, that matches the other JazzFont items pretty 
well.

I created an entire chord suffix library using it, which I will send to 
anyone who wants it, free.

Christopher
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Re: [Finale] Looking for a Jazz Font Substitute

[Christopher Smith]

On Jan 5, 2005, at 10:44 AM, Christopher Smith wrote:

On Jan 4, 2005, at 11:23 PM, Leigh Daniels wrote:

Hi all,

I like the Finale Jazz Font a lot except for the fact the chord symbol
lower and upper case M's are too similar,  causing confusion.

Is there another font available that doesn't have this problem?

The Sher Music font is great but not for sale :-(.

**Leigh


I use the Dom Regular font; it looks a bit like a Speedball type font with upper and lower case, that matches the other JazzFont items pretty well.

I created an entire chord suffix library using it, which I will send to anyone who wants it, free.

Christopher



Oh yeah, I almost forgot. This is where you can get the font for free.

Dom Regular or Dom Casual (available for free at 

http://www.momscorner4kids.com/fonts/domcasual.htm

This is a PC font. This will work anyway on Mac OSX, but if you are on a Mac OS9, you 		will need the font converter utility, available on the same site.)


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Re: [Finale] Looking for a Jazz Font Substitute

[John Howell]

At 8:37 AM -0500 1/5/05, A-NO-NE Music wrote:
I write 'Maj' and '-' (minus sign).  This is the only way I can sight-
read in studio without making mistakes.  Triangle often confuses me with
diminish.
I know that the minus sign is in common use, but i discourage its use 
because it can mean two different things, minor or flat.  As in: 
C-7(-5).

John
--
John & Susie Howell
Virginia Tech Department of Music
Blacksburg, Virginia, U.S.A 24061-0240
Vox (540) 231-8411  Fax (540) 231-5034
(mailto:[EMAIL PROTECTED])
http://www.music.vt.edu/faculty/howell/howell.html
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Re: [Finale] Looking for a Jazz Font Substitute

[Darcy James Argue]

On 05 Jan 2005, at 11:31 AM, John Howell wrote:
At 8:37 AM -0500 1/5/05, A-NO-NE Music wrote:
I write 'Maj' and '-' (minus sign).  This is the only way I can sight-
read in studio without making mistakes.  Triangle often confuses me 
with
diminish.
I know that the minus sign is in common use, but i discourage its use 
because it can mean two different things, minor or flat.  As in: 
C-7(-5).

John
Hi John,
No one today would *ever* read that chord symbol as Cb7(b5).  To any 
halfway competent musician, "C-7" means "C minor seventh," never "Cb 
seventh."

There's nothing whatsoever ambiguous about "C-7".  If your piano player 
or guitarist interprets that symbol as "Cb7", they clearly have 
problems that can't be solved simply by using a different chord 
nomenclature.

As for alterations, they should be given with flats and sharps, not 
pluses and minuses.  No matter what chord nomenclature you use, writing 
"(-5)" or "(+5)" instead of "(b5)" and "(#5)" is bad practice.

- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY
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[Finale] Black Hole (OT)

[Dean M. Estabrook]

My daughter is asking for some help in researching a topic for a speech 
class. Hopefully, some of you may have some info on the topic, i.e., a 
source for her to delve into.  A few months ago, I read an article 
somewhere inre scientific research which had discovered sounds 
emanating from Black Holes. Unfortuately, I can't remember my source.

Remarkably enough, the pitch of the sounds in question was a super low 
B Flat. Do any of you know of a source towards which I can point my 
daughter in the hopes of investigating this phenomenon?

Thanks in advance,
Dean
Para mí, la música es la respiración de la vida y de Dios.
Per me, la musica è l'alito della vita e di Dio
Pour moi, la musique est le souffle de la vie et de Dieu.
Für mich ist Musik der Atem des Lebens und des Gottes.
Dean M. Estabrook
Retired Church Musician
Composer, Arranger
Adjudicator
Amateur Golfer
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Re: [Finale] Black Hole (OT)

[Aaron Sherber]

At 12:43 PM 01/05/2005, Dean M. Estabrook wrote:
>B Flat. Do any of you know of a source towards which I can point my
>daughter in the hopes of investigating this phenomenon?
Sure. Just Google for:
"black hole" sound flat
and you'll get a whole bunch of hits.
Aaron.
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Re: [Finale] Black Hole (OT)

[Dean M. Estabrook]

Cool ... thanks. There was, indeed, an abundance of info.
Dean
On Jan 5, 2005, at 10:35 AM, Aaron Sherber wrote:
At 12:43 PM 01/05/2005, Dean M. Estabrook wrote:
>B Flat. Do any of you know of a source towards which I can point my
>daughter in the hopes of investigating this phenomenon?
Sure. Just Google for:
"black hole" sound flat
and you'll get a whole bunch of hits.
Aaron.
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Para mí, la música es la respiración de la vida y de Dios.
Per me, la musica è l'alito della vita e di Dio
Pour moi, la musique est le souffle de la vie et de Dieu.
Für mich ist Musik der Atem des Lebens und des Gottes.
Dean M. Estabrook
Retired Church Musician
Composer, Arranger
Adjudicator
Amateur Golfer
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Re: [Finale] Black Hole (OT)

[Brad Beyenhof]

On Wed, 05 Jan 2005 13:35:43 -0500, Aaron Sherber wrote:
> At 12:43 PM 01/05/2005, Dean M. Estabrook wrote:
>  >B Flat. Do any of you know of a source towards which I can point my
>  >daughter in the hopes of investigating this phenomenon?
> 
> Sure. Just Google for:
> 
> "black hole" sound flat
> 
> and you'll get a whole bunch of hits.

There are indeed a bunch; one of the really good ones can be found at:
http://news.bbc.co.uk/1/hi/sci/tech/3096776.stm

-- 
Brad Beyenhof
[EMAIL PROTECTED]
http://augmentedfourth.blogspot.com
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Re: [Finale] Black Hole (OT)

[John Bell]

On Jan 5, 2005, at 17:43, Dean M. Estabrook wrote:
My daughter is asking for some help in researching a topic for a 
speech class. Hopefully, some of you may have some info on the topic, 
i.e., a source for her to delve into.  A few months ago, I read an 
article somewhere inre scientific research which had discovered sounds 
emanating from Black Holes. Unfortuately, I can't remember my source.

Remarkably enough, the pitch of the sounds in question was a super low 
B Flat. Do any of you know of a source towards which I can point my 
daughter in the hopes of investigating this phenomenon?
It's Bb on the 380th leger line below the bass clef.
John
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Re: [Finale] Looking for a Jazz Font Substitute

[A-NO-NE Music]

Darcy James Argue / 05.1.5 / 00:56 PM wrote:

>As for alterations, they should be given with flats and sharps, not 
>pluses and minuses.  No matter what chord nomenclature you use, writing 
>"(-5)" or "(+5)" instead of "(b5)" and "(#5)" is bad practice.


Furthermore, #5 is theoretically incorrect.  It is Aug5 as in Augmented
5th, as in the interval of the 5th is Aubmented :-)

It is often I face people doesn't care the difference between Aug5 and
b13th as well as #11 and b5.  They all dictates different scales.


-- 

- Hiro

Hiroaki Honshuku, A-NO-NE Music, Boston, MA
 


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Re: [Finale] Looking for a Jazz Font Substitute

[Brian Williams]

Darcy James Argue wrote:

> As for alterations, they should be given with flats and sharps, not
> pluses and minuses.  No matter what chord nomenclature you use, writing
> "(-5)" or "(+5)" instead of "(b5)" and "(#5)" is bad practice.
> 
> - Darcy

Claire Fisher would vehemently disagree with you on this. Depending upon the
key signature, a lowered alteration could either be flat or natural, and a
raised alteration could either be sharp or natural. Using + and - in front
of alterations removes all confusion. For example:

B7(b5) might imply B, D#, Fb, A to the literal-minded person because the 5th
is already sharped. Where as B7(-5) implies exactly what it intends.

Just my $.02
Brian

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Re: [Finale] Looking for a Jazz Font Substitute

[mnoia]

 

  -Messaggio Originale- 
  Da: Christopher Smith 
  A: finale@shsu.edu 
  Data invio: mercoledì 5 gennaio 2005 
  16.57
  Oggetto: Re: [Finale] Looking for a Jazz 
  Font Substitute
  
  
 
I use the Dom Regular font; it looks a bit like a Speedball type 
font with upper and lower case, that matches the other JazzFont items pretty 
well.I created an entire chord suffix library using it, which I will 
send to anyone who wants it, free.Christopher
  
Thanks a lot, Christopher, could you send the 
library to themark AT tele2.it ?
 
Many thanks
 
Marc
 
 

No virus found in this outgoing message.
Checked by AVG Anti-Virus.
Version: 7.0.298 / Virus Database: 265.6.7 - Release Date: 30/12/2004
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Re: [Finale] Re: Johnny Williams

[Rocky Road]

Could you be referring to John Williams the British classical 
guitarist and founder of Sky??
I always thought of him as an Australian. I'm not sure why. Was he 
born in Australia?

--
Rocky Road - in Oz
"Fleeing from the Cylon tyranny, the last Battlestar, Galactica, 
leads a ragtag, fugitive fleet, on a lonely quest, for a shining 
planet known as Earth."
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Re: [Finale] Re: Johnny Williams

[Bill Thompson]

Rocky Road wrote:
Could you be referring to John Williams the British classical 
guitarist and founder of Sky??
I always thought of him as an Australian. I'm not sure why. Was he 
born in Australia?
I honestly don't know for certain. I am reasonably sure I read somewhere 
that he was British, but that particular brain cell could be damaged!

I'll do some homework...
Bill
--
Bill Thompson
Audio Enterprise
KB3KJF
--
"Most of us think of mathmatics as those chicken tracks-little wiggle signs. 
That isn't math!
That's the fossil remnants of a thought... Math is structured learning."
Richard Heyser
--
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Re: [Finale] Re: Johnny Williams

[Rafael Velasco]

- Original Message - 
From: "Bill Thompson" <[EMAIL PROTECTED]>
To: 
Sent: Wednesday, January 05, 2005 7:56 PM
Subject: Re: [Finale] Re: Johnny Williams


> Rocky Road wrote:
> 
> >> Could you be referring to John Williams the British classical 
> >> guitarist and founder of Sky??
> >
> > I always thought of him as an Australian. I'm not sure why. Was he 
> > born in Australia?
> 
> I honestly don't know for certain. I am reasonably sure I read somewhere 
> that he was British, but that particular brain cell could be damaged!
> 
> I'll do some homework...
> 
> Bill
> 

He was born in Melbourne, Australia in 1941.
At least that is what I read at http://www.griot.de/biojohnwilliams.html

regards
Rafael Velasco

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RE: [Finale] Looking for a Jazz Font Substitute

[drjazz00]

Christopher…

 

I went to the site and could not find “Dom”
font…  What am I doing wrong???

 

Marv…

 









From:
[EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Christopher Smith
Sent: Wednesday, January 05, 2005
10:58 AM
To: finale@shsu.edu
Subject: Re: [Finale] Looking for
a Jazz Font Substitute



 


On Jan 5, 2005, at 10:44 AM, Christopher Smith wrote:


On Jan 4, 2005, at 11:23 PM, Leigh Daniels wrote:

Hi all,

I like the Finale Jazz Font a lot except for the fact the chord symbol
lower and upper case M's are too similar, causing confusion.

Is there another font available that doesn't have this problem?

The Sher Music font is great but not for sale :-(.

**Leigh


I use the Dom Regular font; it looks a bit like a Speedball type font with upper
and lower case, that matches the other JazzFont items pretty well.

I created an entire chord suffix library using it, which I will send to anyone
who wants it, free.

Christopher




Oh yeah, I almost forgot. This is where you can get the font for free.

Dom Regular or Dom Casual (available for free at 

http://www.momscorner4kids.com/fonts/domcasual.htm

This is a PC font. This will work anyway on Mac OSX, but if you are on a Mac
OS9, you will need the font converter utility, available on the same site.)


Christopher 






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Re: [Finale] Looking for a Jazz Font Substitute

[Christopher Smith]

On Jan 5, 2005, at 4:49 PM, Brian Williams wrote:
Darcy James Argue wrote:
As for alterations, they should be given with flats and sharps, not
pluses and minuses.  No matter what chord nomenclature you use, 
writing
"(-5)" or "(+5)" instead of "(b5)" and "(#5)" is bad practice.

- Darcy
Claire Fisher would vehemently disagree with you on this. Depending 
upon the
key signature, a lowered alteration could either be flat or natural, 
and a
raised alteration could either be sharp or natural. Using + and - in 
front
of alterations removes all confusion. For example:

B7(b5) might imply B, D#, Fb, A to the literal-minded person because 
the 5th
is already sharped. Where as B7(-5) implies exactly what it intends.

Just my $.02
Brian
With complete respect for Clare Fischer (the underappreciated jazz 
composer/pianist, I assume?) everyone who uses chord symbols nowadays 
knows that all extensions are major or perfect unless otherwise 
specified, with the exception of the 7th, which is always minor unless 
otherwise specified. Chord symbols are not supposed to be key-specific 
- they were devised taht way.

Chirsotpher
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Re: [Finale] Black Hole (OT)

[Carl Dershem]

John Bell wrote:
On Jan 5, 2005, at 17:43, Dean M. Estabrook wrote:
My daughter is asking for some help in researching a topic for a 
speech class. Hopefully, some of you may have some info on the topic, 
i.e., a source for her to delve into.  A few months ago, I read an 
article somewhere inre scientific research which had discovered sounds 
emanating from Black Holes. Unfortuately, I can't remember my source.

Remarkably enough, the pitch of the sounds in question was a super low 
B Flat. Do any of you know of a source towards which I can point my 
daughter in the hopes of investigating this phenomenon?

It's Bb on the 380th leger line below the bass clef.
That would be OK, except it's just a *bit* sharp.  Don't you just wish 
that start would pay more attnetion to intonation?

cd
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Re: [Finale] Looking for a Jazz Font Substitute

[Darcy James Argue]

On 05 Jan 2005, at 04:49 PM, Brian Williams wrote:
Darcy James Argue wrote:
As for alterations, they should be given with flats and sharps, not
pluses and minuses.  No matter what chord nomenclature you use, 
writing
"(-5)" or "(+5)" instead of "(b5)" and "(#5)" is bad practice.

- Darcy
Claire Fisher would vehemently disagree with you on this.
Due respect, but Claire can disagree all he likes.  But the fact is, 
his view is distinctly nonstandard, and no major jazz publisher uses 
(+5), (-5), (+11), (-13), (-6), etc.  They all use (#5), (b5), (#11), 
(b13), (b6), and so on.

Depending upon the
key signature, a lowered alteration could either be flat or natural, 
and a
raised alteration could either be sharp or natural.
Yes, but the universally-accepted jazz convention is to ignore that.  
"#11" means a *raised* eleventh, regardless of the key signature, and 
every jazz musician knows that.  No one's going to see "BbMA7(#11)" and 
think the "#11" means E-sharp.  [Again, if they do, you've got bigger 
problems.]

Using + and - in front
of alterations removes all confusion.
No, it doesn't, because (A) it's nonstandard, and (B) it's easily 
confused with "-" for minor and "+" for augmented.  That's why no 
publisher uses Claire's method -- not even Advance Music, who publish 
his works.  (They may overrule their house style for his compositions 
-- I don't know, I don't have any of them in front of me -- but they 
certainly don't use his nomenclature for any of their other composers.)

B7(b5) might imply B, D#, Fb, A to the literal-minded person because 
the 5th
is already sharped.
Again, only to a person who doesn't know the first thing about jazz 
chord symbols.

- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY
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[Finale] FYI: GPO / ASCAP

[Cecil Rigby]

Hi all-

I was online at ASCAP registering some new titles and took a glance at the
retail affiliation pages. Just thought I'd drop this into the forum since
there's been some recent talk about GPO here and some might want to purchase
it this way.

direct from site:

Garritan Personal Orchestra
Garritan Orchestral Libraries is offering ASCAP members a 20% discount on
its Personal Orchestra Sample Collection. Garritan Personal Orchestra is an
affordable and easy-to-use orchestra for your computer. It includes all the
major instruments of the orchestra - strings, brass, woodwinds, and
percussion - plus the Native Instruments Kontakt Sample Player to play them
with. Garritan Personal Orchestra will enable ASCAP members to add realistic
sounding orchestral instruments to their music quickly and easily. No extra
software is necessary. The library comes with a suite of software
applications (such as a notation program and sequencer) that help ASCAP
members write, mix and play music without fuss or added expense. Just load
the instruments in your computer and play.

Garritan Personal Orchestra works on PC or Mac. It works as a Stand Alone
(for live performance), as a Plug-in (VST/DX/RTAS & AU - for recording and
mixing), or with popular notation programs (for scoring). Please visit
www.garritan.com for details and to hear demos.

To order, go to www.garritan.com and go to the online ordering form and in
the discount box, select "ASCAP" and your ASCAP Member Number and deduct 20%
(total price $224) or call 360-376-5766 to order. If there are any questions
you may e-mail [EMAIL PROTECTED]

---
Cecil Rigby
[EMAIL PROTECTED] (personal)
www.harrockhall.com
[EMAIL PROTECTED]


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Re: [Finale] Re: OT: Who are you?

[Kurt Gnos]

So, who am I?
I am using Finale since 2.2 after using some Atari programs as Notator and 
Score (I don't even know how it's name was) and after using a Commodore C 
64 where I set "Jesus, meine Freude" manually using a graphics program...

I am a musician. I started with guitar, than piano, than church organ, and 
I studied church (church organ, conducting) music and school music 
(education). Later I studied Jazz Saxophone and Piano, and right now I'm 
taking Jazz Singer's lessons.
I'm teaching at a Gymnasium (high school?) in Zug, Switzerland, and I do a 
lot of arranging. I also wrote a book containing songs for my church (my 
Finale get-through), and I wrote and will write a lot of canons whicht I 
love (some are published in the meantime)... I teach from 12 to 19 years 
old and really like the job.

I also love Funk, Soul and Jazz besides my classical education, and during 
the last year I bought a Rhodes Mark I, a Wurlitzer 201A, a 
Clavinet/Pianet, and finally a RT3 which is a B3 plus more pedals and 
special pedal presets (and a Leslie, and a Hammond Cabinet).

I use Finale to arrange and compose, but often I write using pencil/paper 
first and use Finale for notation.

I miss Finales' former EPS options most. For several versions I have not 
been able to print Finale EPS instead of .TIF - EPS would give me much more 
flexibilitiy...!

I also like HQs (Haikus) - so
Using Finale
is a thing to sing in Spring
EPS lacking...
cheers
Kurt 

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Re: [Finale] Looking for a Jazz Font Substitute

[laloba2]

I'm with Darcy (and Christopher) on this one with the utmost respect 
to Mr. Fisher.  I use the following..

CMaj7 (as Hiro mentioned, the triangle can look too much like the 
diminished symbol in a hand written chart)
C-7 (minor 7)
Cdim7
Caug7

Also as Hiro pointed out.
(#11) is different than (b5) ...#11 means some flavor of lydian to me 
(either lydian or lydian b7)  or part of an altered dominant upper 
structure (extension)...(b5)  means lowered fifth as in half 
diminished to me (but I think of half diminished as Locrian)

(#5...I call it aug...) is different than (b13) ... the former is of 
course augmented fifth...and the latter is a member of the upper 
structure (extension) of one of the flavors of an altered dominant.

Of course in modal tunes, things can get really interesting beyond 
this...I find complete paragraphs work best in that situation!! 
(just kiddin'...kind of :)-)

-K


On 05 Jan 2005, at 04:49 PM, Brian Williams wrote:
Darcy James Argue wrote:
As for alterations, they should be given with flats and sharps, not
pluses and minuses.  No matter what chord nomenclature you use, writing
"(-5)" or "(+5)" instead of "(b5)" and "(#5)" is bad practice.
- Darcy
Claire Fisher would vehemently disagree with you on this.
Due respect, but Claire can disagree all he likes.  But the fact is, 
his view is distinctly nonstandard, and no major jazz publisher uses 
(+5), (-5), (+11), (-13), (-6), etc.  They all use (#5), (b5), 
(#11), (b13), (b6), and so on.

Depending upon the
key signature, a lowered alteration could either be flat or natural, and a
raised alteration could either be sharp or natural.
Yes, but the universally-accepted jazz convention is to ignore that. 
"#11" means a *raised* eleventh, regardless of the key signature, 
and every jazz musician knows that.  No one's going to see 
"BbMA7(#11)" and think the "#11" means E-sharp.  [Again, if they do, 
you've got bigger problems.]

Using + and - in front
of alterations removes all confusion.
No, it doesn't, because (A) it's nonstandard, and (B) it's easily 
confused with "-" for minor and "+" for augmented.  That's why no 
publisher uses Claire's method -- not even Advance Music, who 
publish his works.  (They may overrule their house style for his 
compositions -- I don't know, I don't have any of them in front of 
me -- but they certainly don't use his nomenclature for any of their 
other composers.)

B7(b5) might imply B, D#, Fb, A to the literal-minded person because the 5th
is already sharped.
Again, only to a person who doesn't know the first thing about jazz 
chord symbols.

- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY
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[Finale] OT John Williamses

[Ken Moore]

In message <[EMAIL PROTECTED]> Jim Williams
writes:
>Thank you, Chuck, for affirming that I am not nuts.

The Penguin Encyclopedia of Popular Music has four:

John Towner Williams, the composer, (b. 1932 Feb 8, Flushing NY) who
started as a jazz pianist;

Johnny Williams, father of the above (no dates) who played drums with
Raymond Scott, late '30s;

John Williams, (b. 1929 Jan 28, Windsor VT) pianist with Stan Getz,
Cannonball Adderley, in the 50s;

John Williams, (b. 1941 Apr 24, Melbourne, Australia), guitarist, in
Britain since 1952, studied with Segovia, London debut 1958 (!).

-- 
Ken Moore
[EMAIL PROTECTED]
Web site: http://www.mooremusic.org.uk/
I reject emails > 100k automatically: warn me beforehand if you want to send one
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