Victor, Dev, Alex, Chris, Rick, Brad, Glenn
Various Circlers arrive between 5:30 and 6:00. R, C and A are the first present and go about setting up the performer-seats. To do this, a mark is made using masking tape in the approximate center of the playing area; from here, a speaker cable is employed to make the stools roughly equidistant from the tape and from one another. The resulting circle will be the framework for the performance space, including the lighting arrangement, which has been tampered with since last week.
Other members of the team begin to make their way in from the cold - some get to work setting up equipment while others clean and prepare the venue, as necessary practical tasks seem to delegate themselves. The condition of the bathrooms is now being taken into consideration, for the available use of the bold and daring in need.
During the practical work guests arrive, and are guided upstairs to where the Circle will shortly be holding a soundcheck and brief warm-up.
For this, there are some "probe" circulations and parts of pieces called. The group also visits a familiar exercise which is given some new colors, probably a suitable variation given the presence of patient listeners.
Tonight, a set around forty-minutes which is received enthusiastically and with curiosity. Subjectively (for the writer), a strong showing.
Some mingling after the performance, followed by a pow wow with snacks. Discussion revolves around a new priority entering the realm of Circle life: promotion. This is how we make our presence known in the world - speaking of which...
Come see Guitar Circle Sundays! Yes, you! If you are in the Boston area, what better way to relax on a Sunday evening than being surrounded by seven guitars mixed in quadraphonic sound, a sonic landscape where arrangement, improv, angularity and elegance form one continuity? Here's the next show:
http://www.facebook.com/#!/event.php?eid=161435913902865
Free admission - be there or be . . . well...
Afterward, there is some rehearsal of Debussy and Cat Stevens, both of which will soon be premiering in the repertoire. After a long night, the meeting ends at nearly 10:30.
Thursday, January 27, 2011
Wednesday, January 19, 2011
Guitar Circle Sundays, 1-16-11
Victor, Alex, Chris, Rick, Dev, Brad, Glenn
C and A arrive at the space around 5:20, where V is present and already warming up on guitar. There is some extra work to be done before the first performance of Guitar Circle Sundays this evening, and some Circlers are arriving early to clean, set up equipment, and tweak lighting, among other things. The group will also be getting a sense of a time table of necessary tasks involved in preparing the space.
When all are assembled, still working, a moment is taken to discuss ideas for a group exercise to be used while present in the performance space. This exercise of attention is to help the Circlers stay grounded amidst the energy and emotions that come from performance, and this kind of performance project in particular. D offers a suggestion which receives consensus.
There is a little time for group warm-up after practical work, during which Lindsay S. arrives (along with another of B's pals, Simon). Lindsay shared a 'bill' with the Circle last March and tonight is generously acting as doorperson for the group on somewhat short notice. It is anticipated that the audience tonight will be mostly family and friends, which is useful and appropriate at this beginning point of the undertaking; no larger-scale promotion has been done, other than a sandwich board outside.
The Circle goes on around 7:40 to an audience of eight or nine quiet, strong listeners.
There is some brief socializing after the performance, and a pow wow after the audience departs and the dust settles. Some points of performance are discussed, including how to handle mistakes individually and as a group. There is another note to be careful about judging audience response by appearances - the Circle has been applauded by hecklers and imbibed by silent auditors.
Without a babysitter, R is forced to depart around 9:00, and the remaining Circlers decide that it is most profitable to spend rehearsal time on The Sunken Cathedral. After forty minutes or so of work, there is a tear down around 10:00.
C and A arrive at the space around 5:20, where V is present and already warming up on guitar. There is some extra work to be done before the first performance of Guitar Circle Sundays this evening, and some Circlers are arriving early to clean, set up equipment, and tweak lighting, among other things. The group will also be getting a sense of a time table of necessary tasks involved in preparing the space.
When all are assembled, still working, a moment is taken to discuss ideas for a group exercise to be used while present in the performance space. This exercise of attention is to help the Circlers stay grounded amidst the energy and emotions that come from performance, and this kind of performance project in particular. D offers a suggestion which receives consensus.
There is a little time for group warm-up after practical work, during which Lindsay S. arrives (along with another of B's pals, Simon). Lindsay shared a 'bill' with the Circle last March and tonight is generously acting as doorperson for the group on somewhat short notice. It is anticipated that the audience tonight will be mostly family and friends, which is useful and appropriate at this beginning point of the undertaking; no larger-scale promotion has been done, other than a sandwich board outside.
The Circle goes on around 7:40 to an audience of eight or nine quiet, strong listeners.
There is some brief socializing after the performance, and a pow wow after the audience departs and the dust settles. Some points of performance are discussed, including how to handle mistakes individually and as a group. There is another note to be careful about judging audience response by appearances - the Circle has been applauded by hecklers and imbibed by silent auditors.
Without a babysitter, R is forced to depart around 9:00, and the remaining Circlers decide that it is most profitable to spend rehearsal time on The Sunken Cathedral. After forty minutes or so of work, there is a tear down around 10:00.
Thursday, January 13, 2011
GCNE Meeting/Rehearsal 1-9-11
full group: Victor, Brad, Chris, Alex, Dev, Glenn, Rick
Today is an extended meeting for the Circle in preparation for Opening Night of their performance series next week. Also, over the past few days a scheduling conflict has arisen with another group that uses the space, and this problem will need to be assessed and dealt with.
C and A arrive around noon, where B and V have already been working for two hours, engineering an equipment set-up to be used for performance. The rig has been outfitted with a pair of matching PA speakers for full quad sound and a direct input box to help streamline cables; serendipitously, eight bar stools were discovered on arrival by B and V, potentially preventing a talked-about GCNE expense.
A soundcheck with the four, and a few bits of repertoire, including a Hideyo-less Blockhead. A first nod is given B's arrangement of The Sunken Cathedral; D arrives during this time. Some visits to other repertoire with D, then a return to TSC. G arrives, and the first break is called at 1:40.
There is some discussion of the logistics and repercussions of a time slot conflict with another group, which the primary contact for Spontaneous Celebrations was unaware of during his correspondence with B. Once a month, this said other group - a men's group, numbering between 30 to 70 - would need the room on a Sunday, during the time that the Circle would be performing. There is another room below the main one - perhaps (depending on what they are doing) the men's group could be negotiated with to move operations there? Maybe do some performances at a different venue? Or, perhaps it is a sign that SC is not the right place for the Circle?
With such things in mind, the group returns to rehearsal mode in silence around 2:00. V calls an improvisation, which in turn leads to some spirited circulation - some Circlers are on the edge of their seats! R's arrival marks the attendance of the full group.
With R, more repertoire is called, and Opening in particular receives a good deal of attention. To go with the six or the seven seat arrangement? That is the question, and at the moment the former appears the more stable of the two. More work in this vein until 4-ish, where a second break (for lunch) is called. This recess lasts about forty-five minutes.
When the Circle returns, they are anticipating the arrival of a karate instructor whose class may require them to move downstairs. V calls a few circulations to get the group engaged after the lengthy break, and repertoire work continues, without interruption (the instructor graciously deferred to the lower room). Work is able to proceed until the advent of the men's group around 5:45.
Sure enough, the men's group does require the larger space, and it is time for the Circle to quickly set their gear aside. They reconvene downstairs in the smaller room, which is a kind of community space, but also oddly suited to an intimate performance. For now the guys are unplugged, and decide it is a good occasion to take TSC by the horns (during this, there is plenty of chanting and dancing coming from upstairs). A final break is called at 7:00, after which, a few full takes of Cathedral. The group aims to be off-book with the piece by next week.
Although the men's group needs the main space for their work, B reports that they are willing move their social period from the beginning of their meetings to the end - accommodating, and perhaps bolstering, a performance downstairs by the GCNE at 8:00. There seems to be a general consensus that SC is worth a shot, with three upstairs performances and one downstairs each month. Naturally, there is much talk of remaining preparation for next week. D and R volunteer to come in during the week (barring horrendous weather) to tweak the lighting. The group is currently looking at some miscellaneous refurbishment of the upstairs room, and will be in touch with their contact for the space.
With their bases covered, the Circle return upstairs to clean up, and are out the door by about 9:20.
Today is an extended meeting for the Circle in preparation for Opening Night of their performance series next week. Also, over the past few days a scheduling conflict has arisen with another group that uses the space, and this problem will need to be assessed and dealt with.
C and A arrive around noon, where B and V have already been working for two hours, engineering an equipment set-up to be used for performance. The rig has been outfitted with a pair of matching PA speakers for full quad sound and a direct input box to help streamline cables; serendipitously, eight bar stools were discovered on arrival by B and V, potentially preventing a talked-about GCNE expense.
A soundcheck with the four, and a few bits of repertoire, including a Hideyo-less Blockhead. A first nod is given B's arrangement of The Sunken Cathedral; D arrives during this time. Some visits to other repertoire with D, then a return to TSC. G arrives, and the first break is called at 1:40.
There is some discussion of the logistics and repercussions of a time slot conflict with another group, which the primary contact for Spontaneous Celebrations was unaware of during his correspondence with B. Once a month, this said other group - a men's group, numbering between 30 to 70 - would need the room on a Sunday, during the time that the Circle would be performing. There is another room below the main one - perhaps (depending on what they are doing) the men's group could be negotiated with to move operations there? Maybe do some performances at a different venue? Or, perhaps it is a sign that SC is not the right place for the Circle?
With such things in mind, the group returns to rehearsal mode in silence around 2:00. V calls an improvisation, which in turn leads to some spirited circulation - some Circlers are on the edge of their seats! R's arrival marks the attendance of the full group.
With R, more repertoire is called, and Opening in particular receives a good deal of attention. To go with the six or the seven seat arrangement? That is the question, and at the moment the former appears the more stable of the two. More work in this vein until 4-ish, where a second break (for lunch) is called. This recess lasts about forty-five minutes.
When the Circle returns, they are anticipating the arrival of a karate instructor whose class may require them to move downstairs. V calls a few circulations to get the group engaged after the lengthy break, and repertoire work continues, without interruption (the instructor graciously deferred to the lower room). Work is able to proceed until the advent of the men's group around 5:45.
Sure enough, the men's group does require the larger space, and it is time for the Circle to quickly set their gear aside. They reconvene downstairs in the smaller room, which is a kind of community space, but also oddly suited to an intimate performance. For now the guys are unplugged, and decide it is a good occasion to take TSC by the horns (during this, there is plenty of chanting and dancing coming from upstairs). A final break is called at 7:00, after which, a few full takes of Cathedral. The group aims to be off-book with the piece by next week.
Although the men's group needs the main space for their work, B reports that they are willing move their social period from the beginning of their meetings to the end - accommodating, and perhaps bolstering, a performance downstairs by the GCNE at 8:00. There seems to be a general consensus that SC is worth a shot, with three upstairs performances and one downstairs each month. Naturally, there is much talk of remaining preparation for next week. D and R volunteer to come in during the week (barring horrendous weather) to tweak the lighting. The group is currently looking at some miscellaneous refurbishment of the upstairs room, and will be in touch with their contact for the space.
With their bases covered, the Circle return upstairs to clean up, and are out the door by about 9:20.
Wednesday, January 5, 2011
GCNE Meeting/Rehearsal 1-2-11
Victor, Chris, Glenn, Dev, Rick, Brad
This week, the Circle have their first formal meeting in a new performance/rehearsal space, Spontaneous Celebrations in Jamaica Plain, MA. SC is a converted cathedral become cultural center which hosts classes, work groups and performance geared toward cultural awareness and community development.
The team begins arriving around 6:30. V, C, G and D get to work unloading equipment from V's car (including four P.A. speakers, which will be used for the group's first adventure into quad sound); all is brought upstairs to the large room the Circle will be using for its nearing performance series. R is not far in tow.
B arrives just before 7:00, and the Circle is in full gear-set-up mode. For tonight, they will be working with the amp and mixer in the center of the circle. Also noteworthy: two of the four speakers used for tonight's space probing will be exchanged later in the week for a pair which better matches the classic set.
With V at the mixer, a sound check is underway: some circulations, in various configurations; Growing Circle; Flying Home (with V outside listening on behalf of the neighbors). The room is "live", meaning that sound made in it carries easily and with generous reverbaration. For the circle, perhaps ironically in light of their augmented speaker set-up, this means a minimum of amplification is required.
The plan is to play through some repertoire and improvisations with alternating circlers listening in the center: one piece, then one improvisation and switch. The lights g down, and the set unfolds as follows:
Eye of the Needle, with R in the center;
Askesis > C;
Bach Prelude > D;
Bicycling to Afghanistan > G...
Various comments are offered regarding inter alia the balance of guitars, the dynamic range of the overall sound, and the challenge of playing together in such a "wet" sonic space (not to mention the physical distance the group is unaccustomed to).
A break is called at 8:30, which returns the group to a continuing discussion of certain logistics. One salient concern is the placement of the mixer and the arrangement of cables so as to facilitate maximum elegance and practicality for both Circle and audience. Another is the task of refurbishing the space, which will involve cleaning, spackling, painting, replacing old mirrors, acquiring drapes, etc. The "blurb" V wrote on behalf of the group and to be used for promotion, leads to talk of group identity and group aim, specifically how individual members of said group can be aware of it for themselves.
Back at 9:50.
Some more music...
Where's the Nurse, circulation, Austurias > B
Finally, Opening receives a full-group hearing with its new bass part.
A quick tear down, and end around 10:20.
This week, the Circle have their first formal meeting in a new performance/rehearsal space, Spontaneous Celebrations in Jamaica Plain, MA. SC is a converted cathedral become cultural center which hosts classes, work groups and performance geared toward cultural awareness and community development.
The team begins arriving around 6:30. V, C, G and D get to work unloading equipment from V's car (including four P.A. speakers, which will be used for the group's first adventure into quad sound); all is brought upstairs to the large room the Circle will be using for its nearing performance series. R is not far in tow.
B arrives just before 7:00, and the Circle is in full gear-set-up mode. For tonight, they will be working with the amp and mixer in the center of the circle. Also noteworthy: two of the four speakers used for tonight's space probing will be exchanged later in the week for a pair which better matches the classic set.
With V at the mixer, a sound check is underway: some circulations, in various configurations; Growing Circle; Flying Home (with V outside listening on behalf of the neighbors). The room is "live", meaning that sound made in it carries easily and with generous reverbaration. For the circle, perhaps ironically in light of their augmented speaker set-up, this means a minimum of amplification is required.
The plan is to play through some repertoire and improvisations with alternating circlers listening in the center: one piece, then one improvisation and switch. The lights g down, and the set unfolds as follows:
Eye of the Needle, with R in the center;
Askesis > C;
Bach Prelude > D;
Bicycling to Afghanistan > G...
Various comments are offered regarding inter alia the balance of guitars, the dynamic range of the overall sound, and the challenge of playing together in such a "wet" sonic space (not to mention the physical distance the group is unaccustomed to).
A break is called at 8:30, which returns the group to a continuing discussion of certain logistics. One salient concern is the placement of the mixer and the arrangement of cables so as to facilitate maximum elegance and practicality for both Circle and audience. Another is the task of refurbishing the space, which will involve cleaning, spackling, painting, replacing old mirrors, acquiring drapes, etc. The "blurb" V wrote on behalf of the group and to be used for promotion, leads to talk of group identity and group aim, specifically how individual members of said group can be aware of it for themselves.
Back at 9:50.
Some more music...
Where's the Nurse, circulation, Austurias > B
Finally, Opening receives a full-group hearing with its new bass part.
A quick tear down, and end around 10:20.
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