Victor, Alex, Chris, Rick, Dev, Brad, Glenn
Everyone has arrived at the loft by about ten minutes after eight o' clock. For the earlier circlers, there is some preliminary Calliope-ing and circulation.
Since there is a working date and location for an upcoming performance project, it seems appropriate to the group to consider the undertaking as imminent and to set aside guitars for a serious discussion addressing specifics. An inquiry into the availability of the individual circlers reveals that there will be only one full rehearsal before the group enters the space in January.
The first thread of discussion addresses the basic question, "what will the task be?" What time of day, and for how long? How much time for preparation will be needed? Will rehearsals be closed or open? A dispute breaks out over the role of refreshments.
The second consideration is promotion, the effort made by the group to become known in the world-at-large. There are a plentitude of radio connections with this group, and it is felt that the best application of these opportunities is toward the middle of the project, around early March, to capitalize on the energy of an established process; propagation via various content-hosting websites is discussed as an obvious recourse - names are named; the kind review of a reputable critic is somewhat wistfully brought up as a valuable asset, and again something felt to be more opportune later in the project than earlier; and posters, in the right places.
In connection with promotion, the question of having a recording is brought to trial. There is a general consensus that having a recording would be useful for promotional purposes, but its role in relation to the performance experience (i.e. an affirmative response to the common after-show request for a recording) is less clear; several options are discussed, including memory sticks with select cuts and a special bonus track.
The final question is in regard to what name the group will call itself by; the proposal of this question is followed by a peculiar silence. V has a strong sense about the present name, and the suggestion is made to consider naming the performance series instead.
R departs at 9:45, as does the rest of the group not long after at around 10:10.
Tuesday, November 30, 2010
Tuesday, November 16, 2010
GCNE Meeting/Rehearsal 11-14-10
Chris, Victor, Brad, Dev
C arrives upstairs around 8:00, without guitar (at the luthier's for much needed renovation) to the sound of V and B rehearsing the lead section of Calliope: tonight, B has picked up the mirror for this part of the piece.
C is kindly offered the use of a guitar brought by V. This guitar has action worse than that in the shop, but possesses an other-worldly passive pick-up - an adjustment in the mix is needed to accommodate its bodacious presence. A mixer tutorial is improvised to assist C in this purpose.
The meeting formally begins, as many do, with silent acknowledgment. Following this, V asks C, "what were you doing?" to which C replies, "sitting still." This begins discussion and role playing that brings the inquiry to bear on all members of the group, which ties into the previous weeks' thread of having a sense of the impulse of the group's and our own individual work, rather than falling back on habit/convention/appealing to scriptural authority. For additional commentary on this matter, V proffers his favorite Zen anecdote and recommends the work of R.H. Blithe.
There will be guitar playing, however. B decides that it is best to have a larger group presence before continuing work with his arrangement of Debussy. V asks what the group would like to work on; D would like to improvise, with which B is comfortable, and C suggests Calliope. A thirty-minute improv with some intense moments ensues, and a break is called at approximately 9:08.
Back at 9:26
Calliope is given a hearing. There is some talk of the best way to phrase the bass part for the main section. The basses and leads are both given independent run-throughs, and the appraisal is similar: the phrasing of the notes, in terms of grouping (e.g. da, taka, taka dimi) is somewhat lacking. It is suggested that such work is not laborious, but merely requires a small period of extra attention.
The group tackles Batrachomyomachy. A click track is used to keep this piece steady, and much section work follows. A new lead configuration (V, B and D) works out the arrangement for the round in the "frog" section, and several attempts are made before this is played accurately. A question arises regarding the role of vibrato and the significance of just intonation.
The meeting ends, in silence, around 10:30.
C arrives upstairs around 8:00, without guitar (at the luthier's for much needed renovation) to the sound of V and B rehearsing the lead section of Calliope: tonight, B has picked up the mirror for this part of the piece.
C is kindly offered the use of a guitar brought by V. This guitar has action worse than that in the shop, but possesses an other-worldly passive pick-up - an adjustment in the mix is needed to accommodate its bodacious presence. A mixer tutorial is improvised to assist C in this purpose.
The meeting formally begins, as many do, with silent acknowledgment. Following this, V asks C, "what were you doing?" to which C replies, "sitting still." This begins discussion and role playing that brings the inquiry to bear on all members of the group, which ties into the previous weeks' thread of having a sense of the impulse of the group's and our own individual work, rather than falling back on habit/convention/appealing to scriptural authority. For additional commentary on this matter, V proffers his favorite Zen anecdote and recommends the work of R.H. Blithe.
There will be guitar playing, however. B decides that it is best to have a larger group presence before continuing work with his arrangement of Debussy. V asks what the group would like to work on; D would like to improvise, with which B is comfortable, and C suggests Calliope. A thirty-minute improv with some intense moments ensues, and a break is called at approximately 9:08.
Back at 9:26
Calliope is given a hearing. There is some talk of the best way to phrase the bass part for the main section. The basses and leads are both given independent run-throughs, and the appraisal is similar: the phrasing of the notes, in terms of grouping (e.g. da, taka, taka dimi) is somewhat lacking. It is suggested that such work is not laborious, but merely requires a small period of extra attention.
The group tackles Batrachomyomachy. A click track is used to keep this piece steady, and much section work follows. A new lead configuration (V, B and D) works out the arrangement for the round in the "frog" section, and several attempts are made before this is played accurately. A question arises regarding the role of vibrato and the significance of just intonation.
The meeting ends, in silence, around 10:30.
Tuesday, November 9, 2010
GCNE Meeting/Rehearsal 11-7-10
Victor, Brad, Glenn, Chris, Dev
C arrives at the loft at 8:00, where V, B and G are already set up and sharing experiences of large fruit.
Before beginning, C offers feedback he received regarding the GCNE's Bean & Leaf performance two weeks prior. This leads to a lengthy discussion of the different perceptible stages of education and having one's own understanding of the work. Apropos to B's discovery of an ideal performance space, there is also talk of the group's vision for an upcoming performance project with points being brought up and addressed from last week. Some concerns include how to facilitate adequate rehearsal time on a weekly schedule, as well as the challenge of remaining creative in a continuous moment. D arrives during this talk, which lasts over an hour.
Guitar work for the evening focuses on B's new arrangement of a Debussy prelude. Initially, there is some confusion regarding timing, but as this is redressed the work of learning the notes proceeds smoothly. Several sections are given repetition as they are learned, and eventually the group is running through bar one to bar nineteen. Unlike most other pieces in the group's repertoire, this portion of this piece is played fingerstyle; some pointers are given to the inexperienced.
After 45 minutes of work, D excuses himself from the circle, and work continues for about fifteen more mimutes. The meeting concludes with a long silence at 10:20.
C arrives at the loft at 8:00, where V, B and G are already set up and sharing experiences of large fruit.
Before beginning, C offers feedback he received regarding the GCNE's Bean & Leaf performance two weeks prior. This leads to a lengthy discussion of the different perceptible stages of education and having one's own understanding of the work. Apropos to B's discovery of an ideal performance space, there is also talk of the group's vision for an upcoming performance project with points being brought up and addressed from last week. Some concerns include how to facilitate adequate rehearsal time on a weekly schedule, as well as the challenge of remaining creative in a continuous moment. D arrives during this talk, which lasts over an hour.
Guitar work for the evening focuses on B's new arrangement of a Debussy prelude. Initially, there is some confusion regarding timing, but as this is redressed the work of learning the notes proceeds smoothly. Several sections are given repetition as they are learned, and eventually the group is running through bar one to bar nineteen. Unlike most other pieces in the group's repertoire, this portion of this piece is played fingerstyle; some pointers are given to the inexperienced.
After 45 minutes of work, D excuses himself from the circle, and work continues for about fifteen more mimutes. The meeting concludes with a long silence at 10:20.
Monday, November 1, 2010
GCNE Meeting/Rehearsal 10-31-10
Chris, Brad, Rick, Dev, Glenn
Most of the team has arrived by 7:35, and the PA is set up for the meeting which begins around 8:00.
There is one circulation to check levels, and a second circulation which continues into pass-to-the-person-of-your-choice, as G arrives. There is a short improv which occurs before G is seated, which begins quietly then bubbles dynamically, and then tapers away.
The team of the evening is gathered and seated by 8:17, and the meeting begins with a discussion which encompasses the status on finding a weekly space; logistics related to this, including budget and location; talk of alternative performance projects, including monthly performances and house concerts; the value and options of recording a demo; the challenges of a weekly performance, and the idea of having an extended-length rehearsal once a month. This talk lasts for about fifty minutes.
A question is then put on the table: "Is there anything anyone would like to work on?"
B's new arrangement is brought up as an option, but not everyone is prepared. It is decided that next week the group will aim to be familiar with the first nineteen bars, or approximately first page, of the piece. C announces that he has a new arrangement of his own, to be looked at in the near future.
C suggests Intergalactic Boogie Express as a piece which needs detail work. Per request, a slower play-through than has been normal recently. Following this, there is some section work and a faster reading. Much talk of pulse and the precarious split between the bass and leads, as well as feeling the triplets. B offers to count in a third take, which shows signs of improvement.
Next, D suggests Calliope, which is taken around performance tempo (88 BPM). Speeding up is noted, particularly in the "cowboy" section. Valuable dissection ensues, with some correcting of notes being played, to looping the main bass part with an ear toward playing the last note of each phrase more staccato. G offers advice to look at the phrase as it falls on a grid, seeing where notes are rhythmically on specific parts of the count.
G suggests Eye of the Needle, based on last Saturday's performance. There is one play-through which is felt to be "nice" by the players. C is given a note on the dynamic trajectory of the burbles, which can come out as a third voice as the harmony unfolds in the second F# section.
A break is called at 10:05, and lasts for about ten minutes.
The final piece to be looked at is Where's the Nurse, via R. Before launching into this, the finale is given a test run by the two lead players, and a needed adjustment in the mix is made. D confesses to his feeling duress under the gaze of B during this section, who for many months longed for D's part; a switch is made. Two play-throughs, with commentary on the dynamics of the melody section.
The meeting ends in silence at 10:38.
Most of the team has arrived by 7:35, and the PA is set up for the meeting which begins around 8:00.
There is one circulation to check levels, and a second circulation which continues into pass-to-the-person-of-your-choice, as G arrives. There is a short improv which occurs before G is seated, which begins quietly then bubbles dynamically, and then tapers away.
The team of the evening is gathered and seated by 8:17, and the meeting begins with a discussion which encompasses the status on finding a weekly space; logistics related to this, including budget and location; talk of alternative performance projects, including monthly performances and house concerts; the value and options of recording a demo; the challenges of a weekly performance, and the idea of having an extended-length rehearsal once a month. This talk lasts for about fifty minutes.
A question is then put on the table: "Is there anything anyone would like to work on?"
B's new arrangement is brought up as an option, but not everyone is prepared. It is decided that next week the group will aim to be familiar with the first nineteen bars, or approximately first page, of the piece. C announces that he has a new arrangement of his own, to be looked at in the near future.
C suggests Intergalactic Boogie Express as a piece which needs detail work. Per request, a slower play-through than has been normal recently. Following this, there is some section work and a faster reading. Much talk of pulse and the precarious split between the bass and leads, as well as feeling the triplets. B offers to count in a third take, which shows signs of improvement.
Next, D suggests Calliope, which is taken around performance tempo (88 BPM). Speeding up is noted, particularly in the "cowboy" section. Valuable dissection ensues, with some correcting of notes being played, to looping the main bass part with an ear toward playing the last note of each phrase more staccato. G offers advice to look at the phrase as it falls on a grid, seeing where notes are rhythmically on specific parts of the count.
G suggests Eye of the Needle, based on last Saturday's performance. There is one play-through which is felt to be "nice" by the players. C is given a note on the dynamic trajectory of the burbles, which can come out as a third voice as the harmony unfolds in the second F# section.
A break is called at 10:05, and lasts for about ten minutes.
The final piece to be looked at is Where's the Nurse, via R. Before launching into this, the finale is given a test run by the two lead players, and a needed adjustment in the mix is made. D confesses to his feeling duress under the gaze of B during this section, who for many months longed for D's part; a switch is made. Two play-throughs, with commentary on the dynamics of the melody section.
The meeting ends in silence at 10:38.
Subscribe to:
Posts (Atom)