Re: [Harp-L] plagarism

[Vince Meghrouni <Foomcorp@xxxxxxxxxxxxx>]

So you have achieved something wonderful, made a great  
accomplishment.  One among many, I'm sure.  So why feel the necessity  
to point out the deficiencies in others?  Is it not possible that  
someone can quote an entire chorus or two of a classic harp  
performance from antiquity merely to bring it living and breathing  
into real time at some gig?  As perhaps a tribute to a beloved master  
amidst otherwise improvised material?  Must it be either/or?  Must  
there only be one and only one way to incorporate the past solos of  
the greats without garnering derision, and that one way happens to be  
the way you deem appropriate?

And rather than address points someone brought up, you cite a forward  
by an "ultimate authority" who has approved of your work.  But it  
does not address what the person brought up.


On Jun 30, 2007, at 11:12 PM, Glenn Weiser wrote:

> ------------------------------
>
> Message: 7
> Date: Sat, 30 Jun 2007 15:47:42 -0700 (PDT)
> From: Joe Lempkowski <mr_jlemko@xxxxxxxxx>
> Subject: [Harp-L] Re: plagarism
> To: harp-l@xxxxxxxxxx
> Message-ID: <210266.1818.qm@xxxxxxxxxxxxxxxxxxxxxxxxxxx>
> Content-Type: text/plain; charset=iso-8859-1
>
> Glenn wrote:
>
> "I wrote out 70 Little Walter solos in as yet
> unpublished book, and 21 harp solos published in the
> book "Master's of the Blues Harp."
>
> Why would a person that feels so strongly about this
> topic write a book that pretty much guarantees that
> the reader is going to do something which you consider
> horrifying or unethical?
>
> What's worse?  Copying someones solos or making a
> quick buck by doing something that will reinforce and
> promote behavior which you (as the author) considers
> unethical?
>
> Maybe you should burn those transcriptions.
> ____________
>
> Jazz players have transcribed or otherwise learned solos from the  
> greats forever. Transcribed solos allow you study the technique,  
> phrasing, etc of the greats as starting point for you own  
> improvising, which is exactly what my books says.  That's what the  
> legit purpose of learning these solos is. These solos can also be  
> misused, though, which is amy point in this thread.
> Below is Charlie Musselwhite's foward to my book. Read this and see  
> what you think.
> -Glenn
>
> This is a VERY cool book. About the coolest harp instruction book  
> I've ever read. Whether you're just beginning or already well on  
> your way to mastering blues harp, you'll love this book.
>
> You will find a great variety of styles by well-known artists that  
> will round out your knowledge of blues harp. Their techniques are  
> explained and represented in the written music and tablature, which  
> are easy to read and comprehend. I don't know of another book that  
> covers tongue blocking so thoroughly. And tongue blocking is pretty  
> important in playing blues.
>
> Having the actual solos from recordings written out this way allows  
> you to follow with your eyes what your ears are hearing. This is a  
> great way to learn. All the guesswork is taken out; it's ALL HERE.  
> Everything you need to know to really get down to business and  
> tackle playing blues with authority is RIGHT HERE.
>
> You also get interesting and informative biographies of the  
> players, which is good, because it gives you an insight into both  
> the creators and current performers of this music.
>
> Good luck, and let it be fun.
>
> Charlie Musselwhite
> Sonoma County, California.
> May 2000
>
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Vince Meghrouni
http://www.myspace.com/fiendhorn