Starting the meeting with a quiet bang, Chris mentions that he'd like to work a bit with an approach to Opening that he's developed. The motion passes, and we slot it in for a little later in the meeting. Both Glenn and Victor note that we need to begin revisiting CMaj and the 3rd and 5th primaries, and the agenda of the meeting is born. It is still light outside, so we don't bother with the room lights.
Tuning, and then an improvisation.
After this, we begin working directly with the 3rd primary, first playing and naming the notes, and then singing and playing the scale. This is played both ascending and descending, the latter of which provides some interesting jumps to sing. At this point, it's getting just a little too dark, so Victor turns on a light, which seems to have a noticeable effect on the team. We then work with the exercise of playing the scale at the 5th fret C on the low G, adusting fingering as necessary.
Following this, Chris presents an exercise he's developed for approaching the triplet circulation in Opening, which seems to be related to a circulation exercise that Claudio Lafalce presented in Sassoferrato, in March. Partway through this, Rick has to take leave, in order to play "Dad". After about 30 minutes or so of working with this exercise (and Opening in general), we elect to take a break. Some mild conversation, with a bit of discussion of gigs. A few minutes in, Rick returns, having been relieved of his parently duties before he made it home.
Back in the circle, we return to CMaj. Starting off with a circulation of CMaj, 3 octaves, low C to fifth fret 1st string (which only takes a couple of tries), we work with a simple 3-note ascending pattern (c-d-e-d-e-f-e-f-g etc.). Conceptually, this is not difficult, but holding the pattern is a little challenging, and it takes a number of attempts to get it right. Brad brings up the story of Curt Golden crystallizing CMaj on the guitar by being on the sidelines during a Guitar Craft course circulation that took roughly 3 hours and mentally playing every note with the circle (though he had no guitar in hand). After a few more minutes, we make it up and down again, and then make a go at diatonic triads, which is successful in a more timely fashion.
A little bit of talking, and a moment of silence to finish the night at roughly 10:20 p.m.
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