In attendance: Rick, Chris (scribe), Brad, Dev
8:40 - 11:00 PM
A circulation to begin, followed by some brief observations on the movement of key centers. The WTC fugue appears to be the first item on the agenda, picking up the thread from Sunday. It is decided that, although missing some parts, attempting a full play-through might be valuable for clarification and practice. This is given a few tries, with resting players providing a count. Many re-attempts are made, allowing individual players to iron their parts out; the group lands on bars 19-21 for some focused work, before going all the way through one or two times successfully. They also give it a shot without metronome, with not-discouraging results.
After a short break, some old repertoire crops up - Where's the Nurse, Calliope, Intergalactic Booogie Express, and Flying Home. The conclusion of Flying Home calls for a short circulation that leads to some various passages of improvisation.
Next, Dev is introduced to some of his parts for Peaches en Regalia. We hover around sections "A" and "B" before pushing up to "D", the current goal of familiarity for the piece.
The meeting concludes with a short conversation on practical subjects, both within and without the Circle.
Friday, February 10, 2012
GCNE performance project, Season Three, rehearsal #2, Thacher Montessori, 1-29-12
In attendance: Victor, Rick, Chris (scribe), Brad, Dev, Scott, Alex
8:25 - 10:10 PM
Rehearsal begins with work on an arrangement of a fugue from The Well-Tempered Clavier. First it is necessary for the group to officially determine its seating order; once this is settled scores are distributed and the individual members take a collective moment to learn a few of their parts. Gathered again, and with metronome in tow, an attempt is made at the full 27-bar piece. A couple of strategies are employed following this: first, to work on only small sections at a time; and second, to take the tempo down. The first goal is bar 14, where there is a perceptible breath in the music. However, even this proves too much at first, and the group scales its efforts back to bar 8, before some focused work on bars 6-9. This eventually leads back to bar 14, which is considered a sufficient-enough accomplishment for the evening's work on the piece.
Next up the group revisits Jessica as a repertoire idea. Parts are tested and delegated in the context of the full group, and musings are had for possibilites of a full arrangement, including how to abridge the piano and guitar solo sections. A correct score for the "head" of the arrangement is also needed.
The same full-group treatment is given to Overworld 2. There are a few decisions regarding orchestration made on-the-fly, while most of the work is devoted to the cascading second section of the "chorus". These bars are drilled many times consecutively before a few more attempts from the top.
Some closing remarks regarding La Cathedrale Engloutie and Opening before dismissing.
8:25 - 10:10 PM
Rehearsal begins with work on an arrangement of a fugue from The Well-Tempered Clavier. First it is necessary for the group to officially determine its seating order; once this is settled scores are distributed and the individual members take a collective moment to learn a few of their parts. Gathered again, and with metronome in tow, an attempt is made at the full 27-bar piece. A couple of strategies are employed following this: first, to work on only small sections at a time; and second, to take the tempo down. The first goal is bar 14, where there is a perceptible breath in the music. However, even this proves too much at first, and the group scales its efforts back to bar 8, before some focused work on bars 6-9. This eventually leads back to bar 14, which is considered a sufficient-enough accomplishment for the evening's work on the piece.
Next up the group revisits Jessica as a repertoire idea. Parts are tested and delegated in the context of the full group, and musings are had for possibilites of a full arrangement, including how to abridge the piano and guitar solo sections. A correct score for the "head" of the arrangement is also needed.
The same full-group treatment is given to Overworld 2. There are a few decisions regarding orchestration made on-the-fly, while most of the work is devoted to the cascading second section of the "chorus". These bars are drilled many times consecutively before a few more attempts from the top.
Some closing remarks regarding La Cathedrale Engloutie and Opening before dismissing.
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