Tonight will be the first performance in the Guitar Circle Sundays series with less than the optimum number of circlers, as Dev is out of town and on tour with Lindsay Mac. One of the main ideas behind GCS is the commitment to put on a performance every week for a defined period of time, whether there are six players or two - the quality of intention brought to the undertaking changes what is possible for those undertaking it, and in this sense Dev is not far in tow.
Previously during the week, a 'Girls Rock' seminar was held at Spontaneous Celebrations (catering to such fast-rising genres as 'country-punk' and 'awesome'), and there is some head-scratching as to how to cope with missing equipment (actually relocated by the girls). Thus the GCNE is running a little late.
The show goes on, however, eventually, to a house of twelve. There is a lot of energy and a peculiar sense of adventure in the improvisation of this circle of six. Squeaking, bending, 'outside' playing and guitar-box percussion all find application throughout the night. There is a stretch of tonal fabric over/under which soloists emerge and recede. It isn't all underground gardens, though, as selections of Cat Stevens and Jeff Beck recall a distant world of pop music.
For the second time during this series, the Circle is called back for an encore. The group offers 'Thrak' as a return, and opts for Bach's No. 1 from the Well-Tempered Clavier. It happens that Andrew Alexander, a professional Boston-area singer, is in the audience, and on the spur of the moment Victor asks him if he can accompany the group's Bach circulation with Gounod's famous Ave Maria vocal melody. Andrew obliges, does one 'false take', then delivers a captivating reading of the piece with the Circle, deftly navigating around the missing bar.
The audience is lively after the performance. Once they have departed, there is some talk in the group about a website revamp, future guest circlers, and possible filming. As it is late, there is once again no after-show rehearsal.
Wednesday, February 23, 2011
Saturday, February 19, 2011
Guitar Circle Sundays #5, 2-13-11
Normal load-in, set-up. Some of our stuff has been used, however.
Quick soundcheck and addressing of repertoire which is burning to be played this evening. Some further refining of Opening is undertaken. Specific use of accents and dynamics occur in both primary voices of the piece, causing them to collide, undulate and overlap in a distinct way. One suggestion is for the piece to be played louder overall.
Some guests arrive, unsolicited, who have been to a previous performance, and the pressure is on.
Showtime at 7:43. A feature of this performance is the intelligent quality of its improvisation. There are circulations occurring spontaneously over a vamp, and a soloist stepping forward from an embroidery without disrupting it. Brad, Rick and Chris are called on to begin when ready, and the remaining ensemble comes in to accompany/counterpoint as a group unto itself; generally, there is a predilection for 'mini-groups' to form and reintegrate into the full Circle at a whim.
The Circle receives its first call for an encore, and offers a recital of Debussy's The Sunken Cathedral. The performance is about an hour long (the entire show, that is).
Afterward in rehearsal, Glenn has a new piece to introduce to the group - Shostakovich's Prelude XXII in G minor, a Seattle Circle/Tuning the Air favorite. Glenn's arrangement sports an elegant circulation pattern for the melody accompanied by a bass/chord section. The melody section attempts the first few bars, but Rick will have to look it over on the run.
There is some discussion of logistics and repertoire for the GCNE's upcoming radio appearance on Wednesday. With this, Love is Green, Bicycling to Afghanistan and Batrachomyomachy all receive a hearing, but which will make the cut?
Quick soundcheck and addressing of repertoire which is burning to be played this evening. Some further refining of Opening is undertaken. Specific use of accents and dynamics occur in both primary voices of the piece, causing them to collide, undulate and overlap in a distinct way. One suggestion is for the piece to be played louder overall.
Some guests arrive, unsolicited, who have been to a previous performance, and the pressure is on.
Showtime at 7:43. A feature of this performance is the intelligent quality of its improvisation. There are circulations occurring spontaneously over a vamp, and a soloist stepping forward from an embroidery without disrupting it. Brad, Rick and Chris are called on to begin when ready, and the remaining ensemble comes in to accompany/counterpoint as a group unto itself; generally, there is a predilection for 'mini-groups' to form and reintegrate into the full Circle at a whim.
The Circle receives its first call for an encore, and offers a recital of Debussy's The Sunken Cathedral. The performance is about an hour long (the entire show, that is).
Afterward in rehearsal, Glenn has a new piece to introduce to the group - Shostakovich's Prelude XXII in G minor, a Seattle Circle/Tuning the Air favorite. Glenn's arrangement sports an elegant circulation pattern for the melody accompanied by a bass/chord section. The melody section attempts the first few bars, but Rick will have to look it over on the run.
There is some discussion of logistics and repertoire for the GCNE's upcoming radio appearance on Wednesday. With this, Love is Green, Bicycling to Afghanistan and Batrachomyomachy all receive a hearing, but which will make the cut?
Wednesday, February 9, 2011
Guitar Circle Sundays #4, 2-6-11
We arrive at the normal time for load-in, between 5:30 and 6:00. Our process for preparing the space has streamlined somewhat, but this week there are two oddities to keep in mind: first, there is the men's group that meets on the first Sunday of every month. They have already given us permission to use the larger room upstairs for this session, but we will need to know how to accommodate their program while taking care of our own business . . . second, we will be competing against the Super Bowl as Sunday evening entertainment. This will impact our draw and, as we would soon discover, our parking.
With the men's group gathering and socializing downstairs, it is a good time for the Circle to warm up. Victor calls out a tonal progression: A minor pentatonic, to A harmonic minor, to C symmetrical, to C harmonic minor. There are motions happening in different places in the circle at different times, but they mostly lack assurance, resulting in an ambiguous, chimeric improvisation. Victor suggests to listen for something to happen in the music before making a change, similar to our approach in the "twinkle" section of Austurias. The second take is more sure-footed, and the grounds for something to explore in the future.
The performance is slotted around 8:00, slightly later than usual but with people continuing to wander up from downstairs and in from the cold. Overall, it is a strong set from the Circle, featuring a coherent, compellingly diatonic imrpov; a stomping surprise duet from Chris and Rick; and a Blockhead with a back-and-forth guitar breakdown from Glenn and Victor over the polyrhythmic coda. To put a period on this fairly action-packed evening, the Circle kindly asks permission to debut a new piece: Debussy's The Sunken Cathedral. This prelude makes a good conclusion to the set.
A forty-four minute performance for another generous, and highly receptive, audience. Afterward, Victor is called away to familial duties, and given the late start, the rest of the Circle decide to tear down a little early.
With the men's group gathering and socializing downstairs, it is a good time for the Circle to warm up. Victor calls out a tonal progression: A minor pentatonic, to A harmonic minor, to C symmetrical, to C harmonic minor. There are motions happening in different places in the circle at different times, but they mostly lack assurance, resulting in an ambiguous, chimeric improvisation. Victor suggests to listen for something to happen in the music before making a change, similar to our approach in the "twinkle" section of Austurias. The second take is more sure-footed, and the grounds for something to explore in the future.
The performance is slotted around 8:00, slightly later than usual but with people continuing to wander up from downstairs and in from the cold. Overall, it is a strong set from the Circle, featuring a coherent, compellingly diatonic imrpov; a stomping surprise duet from Chris and Rick; and a Blockhead with a back-and-forth guitar breakdown from Glenn and Victor over the polyrhythmic coda. To put a period on this fairly action-packed evening, the Circle kindly asks permission to debut a new piece: Debussy's The Sunken Cathedral. This prelude makes a good conclusion to the set.
A forty-four minute performance for another generous, and highly receptive, audience. Afterward, Victor is called away to familial duties, and given the late start, the rest of the Circle decide to tear down a little early.
Thursday, February 3, 2011
Guitar Circle Sundays #3, "Opening Night", 1-30-11
Victor, Chris and Alex are at the space around 5:20 . . . S the karate instructor is here and concluding his own practice. The trio get to work in short order, and as other Circle members arrive there is a sense of both urgency and quiet that accompanies the practical work. It is a transitional kind of performance for the Circle tonight, venturing from the confidence of friends and family to (hopefully) the consideration of an indifferent listening public.
Luckily, there is extra time for soundchecking and warm-up before doors open. The guitar levels in the speaker mix are a bit strange . . . Victor asks the group to play any two-note vamp from A minor pentatonic to get a better gauge of the surround. With six guitarists, the result billows, recedes and pulses through the space in a way reminiscent of an early Guitar Craft piece, All or Nothing. A quintet version of Morning Has Broken soars through the rafters.
The performance proper begins at 7:40 with a motion from Victor: he raises and lowers the headstock of his guitar in a cadence, and a splash of harmony from all points ripples and undulates into the first improvisation of the night. A Q-&-A session later provides the audience with an opportunity to get to know their favorite Circlers; instead, tonight, they raise questions regarding the significance of instrument design and the rules on clapping.
Because of the style and intimacy of GCNE performances, it is often apparent to audience members that applause is not required between pieces of music/improvs. As a performance group, the Circle aspires to responding in the moment to what is right - and encourages its audience to do the same. It may sometimes feel 'risky' having this choice, but it is also an opportunity for real communion between listener and performer.
Altogether, a performance of about forty-seven minutes. After a little mingling, the Circle holds a pow wow to discuss performance notes. Of particular importance are some remarks made regarding the kind of energy brought to the beginning of a set. Rehearsal again falls to Brad's arrangement of the Debussy prelude, The Sunken Cathedral; there is a special connection the unfolding of this piece has had to the group's embracing of this endeavor and space.
The equipment is put away, and the Circlers are moving out by 10:40.
Luckily, there is extra time for soundchecking and warm-up before doors open. The guitar levels in the speaker mix are a bit strange . . . Victor asks the group to play any two-note vamp from A minor pentatonic to get a better gauge of the surround. With six guitarists, the result billows, recedes and pulses through the space in a way reminiscent of an early Guitar Craft piece, All or Nothing. A quintet version of Morning Has Broken soars through the rafters.
The performance proper begins at 7:40 with a motion from Victor: he raises and lowers the headstock of his guitar in a cadence, and a splash of harmony from all points ripples and undulates into the first improvisation of the night. A Q-&-A session later provides the audience with an opportunity to get to know their favorite Circlers; instead, tonight, they raise questions regarding the significance of instrument design and the rules on clapping.
Because of the style and intimacy of GCNE performances, it is often apparent to audience members that applause is not required between pieces of music/improvs. As a performance group, the Circle aspires to responding in the moment to what is right - and encourages its audience to do the same. It may sometimes feel 'risky' having this choice, but it is also an opportunity for real communion between listener and performer.
Altogether, a performance of about forty-seven minutes. After a little mingling, the Circle holds a pow wow to discuss performance notes. Of particular importance are some remarks made regarding the kind of energy brought to the beginning of a set. Rehearsal again falls to Brad's arrangement of the Debussy prelude, The Sunken Cathedral; there is a special connection the unfolding of this piece has had to the group's embracing of this endeavor and space.
The equipment is put away, and the Circlers are moving out by 10:40.
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