In attendance: Victor, Rick, Chris (scribe), Brad
The quartet convene around 7:45, and directly begin work on some recently proposed repertoire ideas. First on the plate is Peaches En Regalia, which Rick has arranged. The group tackles the piece one rehearsal mark at a time (first the 'A' section, then the 'B', etc.), with most present learning as they go along (Chris and Brad mention they have been working on the more difficult sections first). This is promising enough for future work.
Next the company takes on the second overworld theme from Super Mario Bros. 3, which Chris has brought in. Part distribution will depend on seating, but for practical purposes an ad hoc formation of the arrangement is taken on by the group. If the intention is to inject some mirth into a GCNE set, then the mission appears well on its way to accomplishment. Again, the group takes it by section-by-section, and loops the 'loop' a few times.
Victor would like to hear how a three-part harmony arrangement of Jessica would sound, so the group gives it a whirl with Rick alternating between one of the voices and a comp pattern. This also seems promising, and the guys discuss possibilities for a complete arrangement.
A little talk about how to approach full-group pieces (Opening, Fugue No. 1, La Cathedrale Engloutie) before the rehearsal is done at 11:00.
Friday, January 27, 2012
Inaugural Meeting, GCNE performance project Season Three, "The Loft", 1-15-12
In attendance: Victor, Rick, Chris (scribe), Brad, Alex, Scott
The group commences the next period of its work with silence, and a circulation which leads to several spots of improvisation. With this keynote, the circlers decide that the next step is to share personal aims for the project. Rick has Dev's aims (currently visiting family in India) and reads them aloud for the group on his behalf.
The ensuing discussion is a thread of logistical topics, the most pressing of which is the selection of a space for the performance part of the project. A handful of prospects are offered and subsequently appraised, with a likely candidate coming out of the rough. Appointments are made for further investigation before a final decision is made.
Next is a general consideration of promotional work, which inter alia includes arriving at a new and exciting name for the performance series (now likely happening on a Thursday or Friday).
Besides promotion, the other task which the group has reserved these two months for is repertoire: things added, things resurrected, things brought to a higher performance standard. The motto is no wrong notes! Mistakes, perhaps, but not mistakes in the understanding. Victor points out that the concert standard for a professional is seven times through without an error. Improvised repertoire is also discussed.
After a break, the group delves into personal guitar practice with each member sharing what he is doing, and how far along he is with that work. Victor offers some exercises along the way, according to the need of each particular player.
The group takes some time to share ideas for new repertoire, which are added to a list of repertoire to be carried over from last season.
With a circulation, the meeting concludes around 11:00.
The group commences the next period of its work with silence, and a circulation which leads to several spots of improvisation. With this keynote, the circlers decide that the next step is to share personal aims for the project. Rick has Dev's aims (currently visiting family in India) and reads them aloud for the group on his behalf.
The ensuing discussion is a thread of logistical topics, the most pressing of which is the selection of a space for the performance part of the project. A handful of prospects are offered and subsequently appraised, with a likely candidate coming out of the rough. Appointments are made for further investigation before a final decision is made.
Next is a general consideration of promotional work, which inter alia includes arriving at a new and exciting name for the performance series (now likely happening on a Thursday or Friday).
Besides promotion, the other task which the group has reserved these two months for is repertoire: things added, things resurrected, things brought to a higher performance standard. The motto is no wrong notes! Mistakes, perhaps, but not mistakes in the understanding. Victor points out that the concert standard for a professional is seven times through without an error. Improvised repertoire is also discussed.
After a break, the group delves into personal guitar practice with each member sharing what he is doing, and how far along he is with that work. Victor offers some exercises along the way, according to the need of each particular player.
The group takes some time to share ideas for new repertoire, which are added to a list of repertoire to be carried over from last season.
With a circulation, the meeting concludes around 11:00.
Thursday, January 12, 2012
small group meeting, Rick's House, 1-6-12
In attendance: Rick, Chris (scribe), Scott, Brad, Dev, Alex
We begin with a circulation around 8:30, followed by some remarks regarding the purpose of our meeting tonight. Once we have settled this, we decide it would be best to warm up the hands with a primary exercise, a simple ascending pattern (1-2-3-4) for the left hand up and down the neck at a moderate tempo (sixteenth notes at 60 BPM). Intermittently, we take the opportunity to refresh some of the principles behind the exercise, such as succession, simultaneous release and constant release. Dev makes a note to be cautious about ringing strings (especially undesirable when amplified) and to keep right hand movement small; Alex reminds us to listen for tone.
Next, we continue along the same lines with a different fingering pattern, a descending figure (4-3-2-1). We find ourselves speeding up, with a few in the group admitting that this form of the exercise comes less easily than the familiar ascending pattern. Chris hypothesizes that the difficulty comes from the quality of constant release feeling unusual, while Dev suggests that we are not used to leading with the fourth, small finger.
For further variation, Alex proffers the "Hammerhead" exercise, which displaces a given fingering pattern to adjacent strings without disrupting its constituency (thus making any first primary figure a candidate for experimentation). He demonstrates a form for ascending and descending across strings, so that the exercise may be taken a la the first primary. We spend some time practicing on the middle strings, then add the outer strings, proceeding at a similar moderate tempo.
Next, Chris requests an exercise for the right hand. Alex then presents a figure based on Albeniz's Austurias (Leyenda) which incorporates an accelerating tremolo part with some continuous work for the left hand. First, as we come to grips with the figure, we practice eighth notes at 60 BPM (possibly slower) before adding and alternating with the triplet form. For fun, we take it up to 80 BPM, but don't last long.
After a break with some practical discussion, we reconvene with a second circulation that leads into some extended improvisation. This turns out to be an appropriate spot to conclude the meeting, and we do so around 10:30.
We begin with a circulation around 8:30, followed by some remarks regarding the purpose of our meeting tonight. Once we have settled this, we decide it would be best to warm up the hands with a primary exercise, a simple ascending pattern (1-2-3-4) for the left hand up and down the neck at a moderate tempo (sixteenth notes at 60 BPM). Intermittently, we take the opportunity to refresh some of the principles behind the exercise, such as succession, simultaneous release and constant release. Dev makes a note to be cautious about ringing strings (especially undesirable when amplified) and to keep right hand movement small; Alex reminds us to listen for tone.
Next, we continue along the same lines with a different fingering pattern, a descending figure (4-3-2-1). We find ourselves speeding up, with a few in the group admitting that this form of the exercise comes less easily than the familiar ascending pattern. Chris hypothesizes that the difficulty comes from the quality of constant release feeling unusual, while Dev suggests that we are not used to leading with the fourth, small finger.
For further variation, Alex proffers the "Hammerhead" exercise, which displaces a given fingering pattern to adjacent strings without disrupting its constituency (thus making any first primary figure a candidate for experimentation). He demonstrates a form for ascending and descending across strings, so that the exercise may be taken a la the first primary. We spend some time practicing on the middle strings, then add the outer strings, proceeding at a similar moderate tempo.
Next, Chris requests an exercise for the right hand. Alex then presents a figure based on Albeniz's Austurias (Leyenda) which incorporates an accelerating tremolo part with some continuous work for the left hand. First, as we come to grips with the figure, we practice eighth notes at 60 BPM (possibly slower) before adding and alternating with the triplet form. For fun, we take it up to 80 BPM, but don't last long.
After a break with some practical discussion, we reconvene with a second circulation that leads into some extended improvisation. This turns out to be an appropriate spot to conclude the meeting, and we do so around 10:30.
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