Attending: Victor, Chris, Rick, Scott, Dev, Brad
The meeting opens with some necessary discussion about the status of the project, and where everyone stands on it. Good comments all around. This leads into a list-making session to decide what the primary list of repertoire will be, so that we can move on to some new food.
Asturias, Where is the Nurse?, and Calliope are the next trio to get the bump.
Moving into guitarizing. . . Victor leads calisthenics. About 10 minutes of "group looping".
Working on Nurse. A lot with this piece really stems from relating to the beat and time. Some disagreement on certain small but important points in the bass, but clarification is made. Lots of looping parts.
A break while Chris takes his leave for the night.
Back in the circle: Calliope. It needs work, certainly, but it *is* rusty. Victor makes some points about accent picking.
Some work with Asturias.
A couple of quiet circulations to close the night.
Monday, November 25, 2013
Saturday, November 9, 2013
Mid-week at Dev's
2013/11/06
2100-2230
In attendance: Chris, Dev, RM, Scott
Arriving at Dev's for 1830 for a pre-meeting dinner I find that I am the first to arrive. Scott arrives a little before 1900 but Chris is nearly a full hour late! The group takes this in stride as he travels from two states away to attend meetings. Conversation and catching up while waiting on Chris.
Dinner at a local Indian fine dining establishment from 2000-2045. It was Victor's suggestion that the group meet for dinner and at this particular restaurant.
Circling up and beginning at 2100 with Scott running calisthenics. Scott proclaims first primary work and sets the metronome at a "slow" tempo. Working in eight notes changing from alternate picking in one position, then all release in the next position, then all return in the next and then the pattern repeats. Some observations are made regarding rushing during certain picking approaches. The next exercise is to play a first primary variation where a pattern (1-2-3-4) is played on one string while counting out loud in 5 and once the fingering/counting pattern resolves, moving to the next string. As an added challenge on the way down the neck from 1st string to 6th, the open string is added as the first note and the counting is in 4. Some comments are made regarding the challenge of staying with the count and the not rushing ahead of the click.
Work then proceeds to VOAC. Comments after the first run through include "That was much better than the first run through at last meeting" and "The dynamics seem more pronounced". A question is asked about dynamics in the "pulse" part and RM noticing the difference in playing the "claw" alone with two "pulses." The tempo is referenced with the metronome, it is played again and immediately afterward the tempo is verified with the metronome. A comment is made that the tempo slowed slightly but that this was "not too bad."
EOTN is next. The initial run through is met with a comment of "yikes" immediately afterward. Lotsa mistakes and misses and a bit of discussion follows as to what was experienced during these misses. Also a brief discussion is made as to the bass players giving their notes their full value as well as request to RM from Dev: "Can you please play it perfectly at next meeting?" RM agrees to comply. Another run through followed by a request by Scott to improv. Dev suggests that Scott begin by playing a motif and we would all join in. Afterward some discussion on difficulty trying to find tone centers through some of the shifting that the improv presented (Scott's initial motif also had a non-diatonic chromatic element that I can best describe as outlining a progression similar to "White Room" by Cream). Dev recollected some work that the 'Circle did about 3 years ago with recognizing tone centers and hinted at revisiting this.
At 2210 Chris announces that he needs to leave and after a some discussion and a brief pause the meeting is completed at 2230. Before he does leave we engage is a bit of chat centered around Chris' movie watching project and his request for future movie suggestions are plentiful. After Chris leaves Dev and Scott introduce RM to an episode of Metalocalypse which rounds out an evening of work sandwiched between some socializing and camaraderie building.
2100-2230
In attendance: Chris, Dev, RM, Scott
Arriving at Dev's for 1830 for a pre-meeting dinner I find that I am the first to arrive. Scott arrives a little before 1900 but Chris is nearly a full hour late! The group takes this in stride as he travels from two states away to attend meetings. Conversation and catching up while waiting on Chris.
Dinner at a local Indian fine dining establishment from 2000-2045. It was Victor's suggestion that the group meet for dinner and at this particular restaurant.
Circling up and beginning at 2100 with Scott running calisthenics. Scott proclaims first primary work and sets the metronome at a "slow" tempo. Working in eight notes changing from alternate picking in one position, then all release in the next position, then all return in the next and then the pattern repeats. Some observations are made regarding rushing during certain picking approaches. The next exercise is to play a first primary variation where a pattern (1-2-3-4) is played on one string while counting out loud in 5 and once the fingering/counting pattern resolves, moving to the next string. As an added challenge on the way down the neck from 1st string to 6th, the open string is added as the first note and the counting is in 4. Some comments are made regarding the challenge of staying with the count and the not rushing ahead of the click.
Work then proceeds to VOAC. Comments after the first run through include "That was much better than the first run through at last meeting" and "The dynamics seem more pronounced". A question is asked about dynamics in the "pulse" part and RM noticing the difference in playing the "claw" alone with two "pulses." The tempo is referenced with the metronome, it is played again and immediately afterward the tempo is verified with the metronome. A comment is made that the tempo slowed slightly but that this was "not too bad."
EOTN is next. The initial run through is met with a comment of "yikes" immediately afterward. Lotsa mistakes and misses and a bit of discussion follows as to what was experienced during these misses. Also a brief discussion is made as to the bass players giving their notes their full value as well as request to RM from Dev: "Can you please play it perfectly at next meeting?" RM agrees to comply. Another run through followed by a request by Scott to improv. Dev suggests that Scott begin by playing a motif and we would all join in. Afterward some discussion on difficulty trying to find tone centers through some of the shifting that the improv presented (Scott's initial motif also had a non-diatonic chromatic element that I can best describe as outlining a progression similar to "White Room" by Cream). Dev recollected some work that the 'Circle did about 3 years ago with recognizing tone centers and hinted at revisiting this.
At 2210 Chris announces that he needs to leave and after a some discussion and a brief pause the meeting is completed at 2230. Before he does leave we engage is a bit of chat centered around Chris' movie watching project and his request for future movie suggestions are plentiful. After Chris leaves Dev and Scott introduce RM to an episode of Metalocalypse which rounds out an evening of work sandwiched between some socializing and camaraderie building.
Thursday, November 7, 2013
Thacher Music Room, 11-4-2013
Minutes by Dev
We began with Victor leading calisthenics. Relaxing the left hand, going through each part of the hand. Victor set the metronome and we played on beat 1 of a 4-beat click. Over time, we added more notes, but always with the idea of burying the click and playing with full tone. We would periodically be reminded of relaxation. We progressed through some variations, eventually playing one note on each string while tapping our heads, moving around, etc. Some work on the Burbles and getting them to sit right in the "mix".
This led into work on Eye of the Needle. We played it through once, and then broke it down into sections. Various people played parts together, to more clearly hear what was going on. Scott was shown the idea of picking through the string and resting the pick on the adjacent string. Lots of work here on subtle but important musical ideas.
Victor discussed the idea of not "knowing", but "seeing".
Break
Work on Voices of Ancient Children was next. A run-through, and then smaller groups. We spent some time on dynamics and also on when the "claw" part should re-enter after the "free melody" line of the lead.
It was almost time for Chris to leave, but we worked on Flying Home. Work with the basses on accenting the open D. The idea of letting the piece do the work. Victor discussed other traditions and practicing.
Completion
Tuesday, October 29, 2013
Sunday Meeting at Thacher
2013/10/27
1930-2235
In attendance: Victor, Scott, Dev, Brad, Chris, RM
The room is tidied and the team is seated by 2000. Opening circulation leads way to improv. RM leads calisthenics with work on the 1st primary in semiquavers up and down the neck in true ascending and true descending patterns. Tempos range from 76 to 92. For the second half of calisthenics the team does a syncopation exercise with semiquaver picking and introducing a single semiquaver rest that moves around in 2-bar patterns.
Dev then asks for EOTN. After a few go throughs the comment is made "It needs a bit more work in places." Another noticing is that while we need to play it "at the drop of a hat" with musicality, we aren't doing this. A suggestion for marching is met with indifference so a bit of section work for the benefit of the basses is addressed. In this, Victor sees a few points with the leads that need addressing and they run through a few section with the basses listening. Comments are made that there is vast improvement. The full team get's back at it with counting added for the basses in the Dm section.
Work then on VOAC with half the team playing, half listening. Then the other half gives it a go. Tempo is addressed and adopted as 90 being the target. A comment is made that it isn't sounding very musical and the suggestion is give: "play it as though your life depended upon it." A few more go 'rounds with attention on musicality and the team notices that there is slight improvement.
As Flying Home is called Chris announces that he is on a tight curfew and has to leave at 2100 and since it was 2100, he leaves. The 5 piece team begins work on Flying Home and after playing though twice Dev fills Victor in on the Flying Home work that was done and the noticings at the previous meeting.
Victor calls for the basses to play and has some comments and suggestions for them centering around how to play more together. Then the leads-only play through the Dm section as RM tries to project while Victor runs the harmony and back again. RM comments that he noticed an additional fingering correction at the last meeting and that his practice on this has been helping, but still a good way to go yet. Though, it does seem to be getting a bit easier to play. Victor then pushes the tempo up and the team plays the piece through. Comments include "old habits creep back in" and "so hard."
A closing circulation turned improv and the meeting is adjourned at 2235.
1930-2235
In attendance: Victor, Scott, Dev, Brad, Chris, RM
The room is tidied and the team is seated by 2000. Opening circulation leads way to improv. RM leads calisthenics with work on the 1st primary in semiquavers up and down the neck in true ascending and true descending patterns. Tempos range from 76 to 92. For the second half of calisthenics the team does a syncopation exercise with semiquaver picking and introducing a single semiquaver rest that moves around in 2-bar patterns.
Dev then asks for EOTN. After a few go throughs the comment is made "It needs a bit more work in places." Another noticing is that while we need to play it "at the drop of a hat" with musicality, we aren't doing this. A suggestion for marching is met with indifference so a bit of section work for the benefit of the basses is addressed. In this, Victor sees a few points with the leads that need addressing and they run through a few section with the basses listening. Comments are made that there is vast improvement. The full team get's back at it with counting added for the basses in the Dm section.
Work then on VOAC with half the team playing, half listening. Then the other half gives it a go. Tempo is addressed and adopted as 90 being the target. A comment is made that it isn't sounding very musical and the suggestion is give: "play it as though your life depended upon it." A few more go 'rounds with attention on musicality and the team notices that there is slight improvement.
As Flying Home is called Chris announces that he is on a tight curfew and has to leave at 2100 and since it was 2100, he leaves. The 5 piece team begins work on Flying Home and after playing though twice Dev fills Victor in on the Flying Home work that was done and the noticings at the previous meeting.
Victor calls for the basses to play and has some comments and suggestions for them centering around how to play more together. Then the leads-only play through the Dm section as RM tries to project while Victor runs the harmony and back again. RM comments that he noticed an additional fingering correction at the last meeting and that his practice on this has been helping, but still a good way to go yet. Though, it does seem to be getting a bit easier to play. Victor then pushes the tempo up and the team plays the piece through. Comments include "old habits creep back in" and "so hard."
A closing circulation turned improv and the meeting is adjourned at 2235.
Mid-week at RM's
2013/10/23
2100-2300
In attendance: Chris, Dev, Brad, RM
Chris arrives at 2100 and after some casual chatting he and RM get to work on sections of Flying Home. Dev and Brad arrive at 2145 and once tuned join in, forgoing calisthenics. Flying Home is worked section by section as a team and in various pairs. Points that the group note:
It is noted that the chief reason for this seems to be in the understanding of where the top of the beat is and the apparent desire to push, in some cases. There is some noticing while playing in pairs that one's part feels very different when going from playing with one person to another.
Playing suggestions are repeated from a previous meeting and there is a question of whether those suggestion might have been targeted at addressing a specific problem and possibly not to be taken as a general rule therefore, not necessarily applicable at this meeting. Flying Home work is wrapped up with several tries at a faster tempo with the instruction given "hold on best you can."
A closing circulation turned improv and the meeting is adjourned at 2300.
2100-2300
In attendance: Chris, Dev, Brad, RM
Chris arrives at 2100 and after some casual chatting he and RM get to work on sections of Flying Home. Dev and Brad arrive at 2145 and once tuned join in, forgoing calisthenics. Flying Home is worked section by section as a team and in various pairs. Points that the group note:
- Dev and Brad have a different approach to playing the bass line
- When they put some attention on this they seem to play more "together"
- Chris and RM have a different approach to playing the lead line
- When they put some attention on this they seem to play more "together"
It is noted that the chief reason for this seems to be in the understanding of where the top of the beat is and the apparent desire to push, in some cases. There is some noticing while playing in pairs that one's part feels very different when going from playing with one person to another.
Playing suggestions are repeated from a previous meeting and there is a question of whether those suggestion might have been targeted at addressing a specific problem and possibly not to be taken as a general rule therefore, not necessarily applicable at this meeting. Flying Home work is wrapped up with several tries at a faster tempo with the instruction given "hold on best you can."
A closing circulation turned improv and the meeting is adjourned at 2300.
Thursday, October 24, 2013
Thacher Gym, 10-20-2013
Minutes: Scott
Brad led calisthenics this day. He started us off with the 16 bar exercise. Once we had finished, he had us repeat this with the addition of counting the bars out loud. Then the same thing, only counting 3/4 over the 16 bar exercise. This concluded calisthenics for the evening.
After calisthenics, Dev had us go through 'Eye of the Needle', but only playing the first and the last note of the piece to a metronome. This was to see if we would all end in the same place. After this, we played through all of 'Eye of the Needle' a few times. Then we moved on to 'Flying Home'. Each section worked on playing precisely on the beat. At this point, we had an audience of two earwigs scurrying around our feet, so we played 'Voices of Ancient Children' for them. We played it twice without a metronome and once with the metronome at the suggested tempo.
After calisthenics, Dev had us go through 'Eye of the Needle', but only playing the first and the last note of the piece to a metronome. This was to see if we would all end in the same place. After this, we played through all of 'Eye of the Needle' a few times. Then we moved on to 'Flying Home'. Each section worked on playing precisely on the beat. At this point, we had an audience of two earwigs scurrying around our feet, so we played 'Voices of Ancient Children' for them. We played it twice without a metronome and once with the metronome at the suggested tempo.
Catching up: 9-29-2013
Minutes: Scott
Victor led calisthenics. He started by taking us through the first primary, focusing on the amount of pressure we put on the strings. He then introduced an exercise to work on our familiarity with the fretboard. He would call out a finger, string and fret number; everyone would have to locate the fret on the correct string with the finger indicated without looking.
Then we worked on repertoire. Eye of the Needle was the first song worked on. After playing through the song as a whole group a couple times, Dev suggested just the basses play to the metronome. When this was done, we took a break.
During the break we discussed if it would be appropriate to perform in the near future.
Voices of Ancient Children was the next song we worked on. The rhythm sections worked on counting and keeping track of each change in the song, while the lead section discussed alternate ways of playing their section.
We concluded the night by playing Flying Home a few times.
Victor led calisthenics. He started by taking us through the first primary, focusing on the amount of pressure we put on the strings. He then introduced an exercise to work on our familiarity with the fretboard. He would call out a finger, string and fret number; everyone would have to locate the fret on the correct string with the finger indicated without looking.
Then we worked on repertoire. Eye of the Needle was the first song worked on. After playing through the song as a whole group a couple times, Dev suggested just the basses play to the metronome. When this was done, we took a break.
During the break we discussed if it would be appropriate to perform in the near future.
Voices of Ancient Children was the next song we worked on. The rhythm sections worked on counting and keeping track of each change in the song, while the lead section discussed alternate ways of playing their section.
We concluded the night by playing Flying Home a few times.
Tuesday, October 15, 2013
Victor's House, 10-13-2013
Attending: Victor, Chris, Brad
Illness claiming half the circle tonight.
Brad arrives at Victor's a little early than 7:30, and helps a bit with cleaning and preparing the space. Sending Victor's youngest to bed is of necessity, so she gets a duo version of Third Relation as a lullaby.
Once she's put to bed, Victor and Brad eschew calisthenics and move straight into Flying Home, working on the bass part. The F Phrygian section gets a hard look, and we carve it up a bit into its two elements of bass and tenor, especially focusing on the rhythm of the thumpy bass. Chris arrives as we're working on this.
Some more carving and dissecting and attention to staccato-ness, and the lead part gets a close look. Then combining the parts and running it as such.
A break. Victor's family returns home just as we're wrapping the first part of the meeting, and Chris and Brad talk a bit about bands and jazz guitar.
Voices is up next. The big work with this seems to be helping Victor with really learning the counting (and deciding exactly how to count) of the lead-bass. Besides a bit of incongruity, some musical playing.
A long discussion that stems from a question to Chris about perfection, and Victor's work on music as a manifestation of three different workings of the brain. Brilliant stuff, from a subjectively objective viewpoint.
Eye of the Needle, once, sans bass.
Wrapping up around 11 pm.
Illness claiming half the circle tonight.
Brad arrives at Victor's a little early than 7:30, and helps a bit with cleaning and preparing the space. Sending Victor's youngest to bed is of necessity, so she gets a duo version of Third Relation as a lullaby.
Once she's put to bed, Victor and Brad eschew calisthenics and move straight into Flying Home, working on the bass part. The F Phrygian section gets a hard look, and we carve it up a bit into its two elements of bass and tenor, especially focusing on the rhythm of the thumpy bass. Chris arrives as we're working on this.
Some more carving and dissecting and attention to staccato-ness, and the lead part gets a close look. Then combining the parts and running it as such.
A break. Victor's family returns home just as we're wrapping the first part of the meeting, and Chris and Brad talk a bit about bands and jazz guitar.
Voices is up next. The big work with this seems to be helping Victor with really learning the counting (and deciding exactly how to count) of the lead-bass. Besides a bit of incongruity, some musical playing.
A long discussion that stems from a question to Chris about perfection, and Victor's work on music as a manifestation of three different workings of the brain. Brilliant stuff, from a subjectively objective viewpoint.
Eye of the Needle, once, sans bass.
Wrapping up around 11 pm.
Rick's House, 10-9-2013
Chris's minutes:
In attendance: Brad, Chris, Rick, Dev
We arrive and are seated c. 9:15. Chris is asked to lead the opening calisthenics exercise; he returns to the First Primary Extension (playing First Primary figures v. continuous cross-picking permutations) for further exploration with the group. The theme is alternating between two figures: first, in one position, moving up and down strings; then, ascending and descending the entire neck, at about 50 BPM (eighth notes). Observations are offered regarding vacillation in time feel and loss of a sense of the pulse during execution (we wind up playing the '1' on the backbeat).
The main work of the night is Flying Home. Dev selects a tempo for reference at the beginning of the first take, but does not say what it is, nor does he leave the click on during the playthrough. Overall, the piece is more relaxed and confident than it was three nights ago--and at 84 BPM. The ease is lost on subsequent takes, however. Section work follows, including some extended looping, but the playing does not generally improve. Dev later suggests that this is due to our habits taking hold as we begin to work a little harder, and that we can be mindful of this influence in our practice and playing.
The meeting concludes with a little repertoire/future performance discussion.
In attendance: Brad, Chris, Rick, Dev
We arrive and are seated c. 9:15. Chris is asked to lead the opening calisthenics exercise; he returns to the First Primary Extension (playing First Primary figures v. continuous cross-picking permutations) for further exploration with the group. The theme is alternating between two figures: first, in one position, moving up and down strings; then, ascending and descending the entire neck, at about 50 BPM (eighth notes). Observations are offered regarding vacillation in time feel and loss of a sense of the pulse during execution (we wind up playing the '1' on the backbeat).
The main work of the night is Flying Home. Dev selects a tempo for reference at the beginning of the first take, but does not say what it is, nor does he leave the click on during the playthrough. Overall, the piece is more relaxed and confident than it was three nights ago--and at 84 BPM. The ease is lost on subsequent takes, however. Section work follows, including some extended looping, but the playing does not generally improve. Dev later suggests that this is due to our habits taking hold as we begin to work a little harder, and that we can be mindful of this influence in our practice and playing.
The meeting concludes with a little repertoire/future performance discussion.
Wednesday, October 9, 2013
Thacher Music Room, 10-06-2013
Chris's minutes:
In attendance: Brad, Chris, Dev, Rick, Victor.
The meeting begins sans Victor around 8:00. Dev runs the warm-up exercise: tonight, clapping parts of the beat in a circulation around a click-track--whole notes, half notes, quarters, eighths, eighth note triplets and sixteenth notes (and even attempted sixteenth note triplets) are all passed around the circle in sequence. We come back to the eighth note triplet pattern and spend some extended time practicing and discussing strategies for approaching this more complex rhythm.
In attendance: Brad, Chris, Dev, Rick, Victor.
The meeting begins sans Victor around 8:00. Dev runs the warm-up exercise: tonight, clapping parts of the beat in a circulation around a click-track--whole notes, half notes, quarters, eighths, eighth note triplets and sixteenth notes (and even attempted sixteenth note triplets) are all passed around the circle in sequence. We come back to the eighth note triplet pattern and spend some extended time practicing and discussing strategies for approaching this more complex rhythm.
A short exercise to warm up fingers on the guitar, then straight to Flying Home to begin repertoire work. Even at a slow tempo (and perhaps also because of it), the piece is muddy and labored. Each player then takes a turn at rehearsing the group, focuing on an aspect or drill that stands out for them. About this time Victor returns, and is able to offer quick one-on-one technical advice to each seat.
Further repertoire work with Voices of Ancient Children and Eye of the Needle, with Victor now joining on guitar. A small tweak is made to the former piece, which is almost ready for performance and ready to be rotated out of the docket for close focus work. The meeting ends with a circulation and rough-and-ready improv, closing with a short circulation reprise.
Further repertoire work with Voices of Ancient Children and Eye of the Needle, with Victor now joining on guitar. A small tweak is made to the former piece, which is almost ready for performance and ready to be rotated out of the docket for close focus work. The meeting ends with a circulation and rough-and-ready improv, closing with a short circulation reprise.
Sunday, October 6, 2013
Dev's Apartment, 09-26-2013
Minutes: Dev
Scott led calisthenics with variation of the First Primary at slower tempos. After this, there was a circulation that turned into an improv. Then we spent some time teaching Scott the bass part to Eye of the Needle. Specific attention and direction were given to lengths of notes, tone and feel. We ran sections and worked on details, eventually playing along to a recording. We then took a break.
After the break we worked on Voices of Ancient Children. For this we worked on counting specifically, and strategies for "what to do when you are lost". A few parts were clarified. At 9:05pm, we ended.
Sunday, September 22, 2013
Brad's Apartment, 09-22-2013
Attending: Rick, Brad, Chris, Dev
Opening the meeting with a circulation, Cmajorish with a tonally ambiguous ending.
Rick running calisthenics. First working with the Hammerhead exercise, to refresh our fingers. Following this with a modification that adds the pivot in:
--------5---|------5-6---|-----5-6-7--|--5-6-7-8---|5-6-7-8-|
5-6-7-8---5-|6-7-8-----6-|7-8-------7-|8---------8-|--------|
9-8-7-6---9-|8-7-6-----8-|7-6-------7-|6---------6-|--------|
--------9---|------9-8---|----9-8-7---|--9-8-7-6---|9-8-7-6-|
More working with the pivot, and digging into the technique. Nitpicky, superfocused, and useful.
Eye of the Needle, next. One false start, and then a full run. Some discussion about voicing and the octave bass in the re-intro. Problems with ringing strings. Some things are really starting to sound nice.
Discussion.
Work with Voices of Ancient Children, next. Some discussion about interpretive freedom, dynamics, timbre, and ensuring we communicate with each other.
During the break: movie talk.
After the break, back in with a circulation that becomes an improv.
Flying Home, next. Lots of work with this one; a lot of looping as a quartet, and in different pairs, to get a feel for who needs what, and what parts need what attention. Some related calisthenic work as well, to really focus in on physical necessities in our playing (wrist positions, sheer speed, fingering choices). All this while remaining aware of our time (tending to fall off the metronome at speeds that aren't what we usually work at). Dev presents an exercise that is focused on speed in the right hand, and being able to hear at a faster speed. The apparent necessity of pushing to a very fast speed and then bringing in quality/economy of motion, as opposed to approaching through sheer quality, yields some interesting discussion.
Bass work largely focuses on phrasing; the intro seems to sound better when phrased in tandem with the lead, and the main verse in D likes thumping.
A huge change comes about when we look at the lead part's jump from the 5th fret to the 13th fret, and Chris demonstrates how he fingers that interval. Super useful stuff.
In for the first midweek meeting at Dev's, this coming Thursday.
Opening the meeting with a circulation, Cmajorish with a tonally ambiguous ending.
Rick running calisthenics. First working with the Hammerhead exercise, to refresh our fingers. Following this with a modification that adds the pivot in:
--------5---|------5-6---|-----5-6-7--|--5-6-7-8---|5-6-7-8-|
5-6-7-8---5-|6-7-8-----6-|7-8-------7-|8---------8-|--------|
9-8-7-6---9-|8-7-6-----8-|7-6-------7-|6---------6-|--------|
--------9---|------9-8---|----9-8-7---|--9-8-7-6---|9-8-7-6-|
More working with the pivot, and digging into the technique. Nitpicky, superfocused, and useful.
Eye of the Needle, next. One false start, and then a full run. Some discussion about voicing and the octave bass in the re-intro. Problems with ringing strings. Some things are really starting to sound nice.
Discussion.
Work with Voices of Ancient Children, next. Some discussion about interpretive freedom, dynamics, timbre, and ensuring we communicate with each other.
During the break: movie talk.
After the break, back in with a circulation that becomes an improv.
Flying Home, next. Lots of work with this one; a lot of looping as a quartet, and in different pairs, to get a feel for who needs what, and what parts need what attention. Some related calisthenic work as well, to really focus in on physical necessities in our playing (wrist positions, sheer speed, fingering choices). All this while remaining aware of our time (tending to fall off the metronome at speeds that aren't what we usually work at). Dev presents an exercise that is focused on speed in the right hand, and being able to hear at a faster speed. The apparent necessity of pushing to a very fast speed and then bringing in quality/economy of motion, as opposed to approaching through sheer quality, yields some interesting discussion.
Bass work largely focuses on phrasing; the intro seems to sound better when phrased in tandem with the lead, and the main verse in D likes thumping.
A huge change comes about when we look at the lead part's jump from the 5th fret to the 13th fret, and Chris demonstrates how he fingers that interval. Super useful stuff.
In for the first midweek meeting at Dev's, this coming Thursday.
Tuesday, September 17, 2013
Thacher Music Room, 09-15-2013
Attending: Victor, Brad, Rick, Scott, Chris, Dev
A customary pause to open the meeting.
Brad leading calisthenics: first working with the 1st Primary. Working through 8 patterns up and down the neck, beginning at a slow tempo, moving two steps ahead, and then dropping back to the mean.
With a few minutes left, presenting an exercise related to Chris's from the week before: again using the finger pattern of the 1st Primary while applying this to lateral movement across the fretboard, with the addition of an additional open string following each pattern. The right hand does not break pattern (5-4-3-2). This is met with approval, and Victor takes the opportunity to mention that the real work in this is to see the simplest way to see a pattern, and the simplest way to describe a pattern.
Work on Eye of the Needle. A fair amount of work with the metronome, and nailing the first note of each transition. Chris's own work in bringing out the burbles is noticeable and well-executed. One run-through in the dark, with the appropriate scratched notes.
A short break with consumption of baked goods.
Back in the circle for Voices of Ancient Children. One run-through with the full team, and then Dev asks two different trios to play it (Victor-Scott-Brad, then Chris-Dev-Rick). Some different ideas about articulation and dynamics, while we try to arrive at this circle's interpretation. Victor notes that he's letting Dev take the lead on the bass melody, and is working to simply fill out that sound. Useful stuff.
Flying Home is next, and gets one playthrough at 76 bpm. It's intentionally slow, to see where it's at and what different parts need. Not great, but not bad for not having been played in months, and not having been really worked for a year or so.
A bit of discussion takes us up to the mark, and we all take our leave. Next meeting is later this week at Dev's house.
A customary pause to open the meeting.
Brad leading calisthenics: first working with the 1st Primary. Working through 8 patterns up and down the neck, beginning at a slow tempo, moving two steps ahead, and then dropping back to the mean.
With a few minutes left, presenting an exercise related to Chris's from the week before: again using the finger pattern of the 1st Primary while applying this to lateral movement across the fretboard, with the addition of an additional open string following each pattern. The right hand does not break pattern (5-4-3-2). This is met with approval, and Victor takes the opportunity to mention that the real work in this is to see the simplest way to see a pattern, and the simplest way to describe a pattern.
Work on Eye of the Needle. A fair amount of work with the metronome, and nailing the first note of each transition. Chris's own work in bringing out the burbles is noticeable and well-executed. One run-through in the dark, with the appropriate scratched notes.
A short break with consumption of baked goods.
Back in the circle for Voices of Ancient Children. One run-through with the full team, and then Dev asks two different trios to play it (Victor-Scott-Brad, then Chris-Dev-Rick). Some different ideas about articulation and dynamics, while we try to arrive at this circle's interpretation. Victor notes that he's letting Dev take the lead on the bass melody, and is working to simply fill out that sound. Useful stuff.
Flying Home is next, and gets one playthrough at 76 bpm. It's intentionally slow, to see where it's at and what different parts need. Not great, but not bad for not having been played in months, and not having been really worked for a year or so.
A bit of discussion takes us up to the mark, and we all take our leave. Next meeting is later this week at Dev's house.
Sunday, September 8, 2013
Thacher Music Room, 09-08-2013
Special Focus Project, Fall 2013 - Spring 2014
Attending: Victor, Brad, Chris, Scott, Rick, Dev
This evening marks the beginning of a special project as outlined by Dev, primarily involving an approach to quality.
The meeting opens in the circle, with no guitars, for some important discussion, question-answering, and detail sorting. This takes roughly 90 minutes or so. Some good points made, and valuable insight offered. The notion of minimizing "noise" is expanded upon, along with some clarification on the work of the energies.
It is decided that we will take this project on as a group. More details will reveal themselves as time goes on.
A short break for our hindquarters.
Back in the circle with guitars. Dev asks Chris to run a few minutes of calisthenics, which can best be summarized as: applying the 1st Primary fingerings to a lateral movement across the fretboard, while also developing a variation of the lateral movement.
We'll be working with 3 pieces in the beginning of this project: Eye of the Needle, Voices of Ancient Children, and Flying Home.
Eye of the Needle: two run-throughs. After the first, Victor and Brad trade parts, and there are notes about dynamics made. Some very specific spot-work on the intonation of a harmony in the high lead (it needs to be pulled sharp).
Voices: Chris takes Scott to the hall to show him the "pulse". Victor and Dev run over the bass lead part, and Brad and Rick refresh on the "claw". Two full runs, with a primary directive to the non-lead players to drop volume significantly. Some other notes about dynamic shaping.
Flying Home would be next, but it is quite late, so we choose to save it for next week. Next week will also be the first double-meeting week for this project.
Attending: Victor, Brad, Chris, Scott, Rick, Dev
This evening marks the beginning of a special project as outlined by Dev, primarily involving an approach to quality.
The meeting opens in the circle, with no guitars, for some important discussion, question-answering, and detail sorting. This takes roughly 90 minutes or so. Some good points made, and valuable insight offered. The notion of minimizing "noise" is expanded upon, along with some clarification on the work of the energies.
It is decided that we will take this project on as a group. More details will reveal themselves as time goes on.
A short break for our hindquarters.
Back in the circle with guitars. Dev asks Chris to run a few minutes of calisthenics, which can best be summarized as: applying the 1st Primary fingerings to a lateral movement across the fretboard, while also developing a variation of the lateral movement.
We'll be working with 3 pieces in the beginning of this project: Eye of the Needle, Voices of Ancient Children, and Flying Home.
Eye of the Needle: two run-throughs. After the first, Victor and Brad trade parts, and there are notes about dynamics made. Some very specific spot-work on the intonation of a harmony in the high lead (it needs to be pulled sharp).
Voices: Chris takes Scott to the hall to show him the "pulse". Victor and Dev run over the bass lead part, and Brad and Rick refresh on the "claw". Two full runs, with a primary directive to the non-lead players to drop volume significantly. Some other notes about dynamic shaping.
Flying Home would be next, but it is quite late, so we choose to save it for next week. Next week will also be the first double-meeting week for this project.
Monday, June 17, 2013
Thacher Gym 2013-06-16
GCNE 2013-06-16,
2045-2310
Victor, Chris, Rick, Scott, Brad and Glenn
The team begins by arranging chairs in a circle for 5 in the center of Thacher's gymnasium. Once seated and settled a circulation begins. This circulation completes to the growing sounds of Victor's cell phone vibrating. Brad leaves, guitar in hand, to open the door for Glenn.
The seating arrangement is adjusted to make Glenn a spot in between Brad and Scott and once re-settled another circulation with what appear to be attempts at double-time, off-beat secondary circulation, 3-notes per player and single note staccato. This develops into improv based loosely on C, Am and G before completing. Victor introduces another circulation in C before the last improv notes fade away and this ends with a single finishing chord. Some observations by Glenn about accidentals and the intention behind them which proceeds into discussion on circulation strategies and the suggestive warning that work in this area might become too regimented.
This leads to discussions of Summer schedules and individual's possible aims and vision for the Circle moving forward. Suggestions of merely working together, working with quality, circulation work, working with the aim of presenting our work to the public every 4-6 weeks or so, finding a neutral meeting space, working toward "putting something in the bank" as a group, a possible "High Flyer's Performance Project" and a way of working At-A-Distance, especially when we can't meet regularly, as a way of connecting to our other team mates. Much thoughtful discussion on several of these points follows as well as ways to incorporate specific division of attention exercises into our personal and group work.
The discussion winds down with focus on whether or not there is a necessity to have a dedicated blog, separate email group and formal, regimented structure to the "AAD" Circle work. The danger of policing one another and ourselves while motivated by ego is brought to light. The general consensus is arrived at toward the end of discussions that a simple email could appear from any team member when the impulse arises to share something of value from their work. For now, the suggestion is made to work scales, rhythmic subdivisions of quarter, quarter eight, quarter triplet and sixteenth note groupings, repertoire (Victor mentioned that if performing it might not be a bad idea to have 6-7 pieces that the team plays well) and the 60-point exercise. Individuals were encouraged to use their own judgement to extrapolate, modify and explore some of this as they deem profitable.
Victor's cell phone beeps telling the team that it is 11PM and the targeted completion time for our meeting. A short circulation is played before the space is restored and the team departs.
2045-2310
Victor, Chris, Rick, Scott, Brad and Glenn
The team begins by arranging chairs in a circle for 5 in the center of Thacher's gymnasium. Once seated and settled a circulation begins. This circulation completes to the growing sounds of Victor's cell phone vibrating. Brad leaves, guitar in hand, to open the door for Glenn.
The seating arrangement is adjusted to make Glenn a spot in between Brad and Scott and once re-settled another circulation with what appear to be attempts at double-time, off-beat secondary circulation, 3-notes per player and single note staccato. This develops into improv based loosely on C, Am and G before completing. Victor introduces another circulation in C before the last improv notes fade away and this ends with a single finishing chord. Some observations by Glenn about accidentals and the intention behind them which proceeds into discussion on circulation strategies and the suggestive warning that work in this area might become too regimented.
This leads to discussions of Summer schedules and individual's possible aims and vision for the Circle moving forward. Suggestions of merely working together, working with quality, circulation work, working with the aim of presenting our work to the public every 4-6 weeks or so, finding a neutral meeting space, working toward "putting something in the bank" as a group, a possible "High Flyer's Performance Project" and a way of working At-A-Distance, especially when we can't meet regularly, as a way of connecting to our other team mates. Much thoughtful discussion on several of these points follows as well as ways to incorporate specific division of attention exercises into our personal and group work.
The discussion winds down with focus on whether or not there is a necessity to have a dedicated blog, separate email group and formal, regimented structure to the "AAD" Circle work. The danger of policing one another and ourselves while motivated by ego is brought to light. The general consensus is arrived at toward the end of discussions that a simple email could appear from any team member when the impulse arises to share something of value from their work. For now, the suggestion is made to work scales, rhythmic subdivisions of quarter, quarter eight, quarter triplet and sixteenth note groupings, repertoire (Victor mentioned that if performing it might not be a bad idea to have 6-7 pieces that the team plays well) and the 60-point exercise. Individuals were encouraged to use their own judgement to extrapolate, modify and explore some of this as they deem profitable.
Victor's cell phone beeps telling the team that it is 11PM and the targeted completion time for our meeting. A short circulation is played before the space is restored and the team departs.
Tuesday, May 7, 2013
Thacher Montessori Gym, 5-5-2013
In attendance: Victor, Glenn, Chris, Scott, Brad
Opening the meeting with right-hand calisthenics: follow-through downstrokes (56ish bpm, once every two beats), to follow-through upstrokes, to "stop" picking, then alternate picking, then double time, then double time again, and then 4 beats per string. Upping the tempo two or three times. First Primary work, with concentration on the right hand.
Chris suggests revisiting the diatonic modes of the major scale, which Scott has not learned before--this allows us to fully revisit how they are constructed, from light to dark: Lydian, Ionian, Mixolydian, Dorian, Aeolian, Phrygian, Locrian. (Ascending fifths, incidentally). The way to learn this seems to be circulating each one with tonal center C, droning a C while circulating each scale up and down one octave several times (to allow it to completely move around the circle). Following this, Victor moves to short improvs, which are each begun by one player, while the rest of the circle moves to recognize and respond in the correlating mode.
A break.
Back in the circle, improvising work. We jump straight in to recording improvs, and move through 3 improvs. After the third, we move upstairs to the music room of the school and listen back to the whole set. A few things crop up: open and closed forms, harmonic density, certain timing and feel qualities. Swing/shuffle rhythms are specifically mentioned as something that presents itself, but isn't able to be sustained, simply because it's not a regular part of our practice.
For next week, specific work to be involved includes repertoire (from the to-be-practiced list for the OCG), all diatonic modes in C, and swing/shuffle time.
Opening the meeting with right-hand calisthenics: follow-through downstrokes (56ish bpm, once every two beats), to follow-through upstrokes, to "stop" picking, then alternate picking, then double time, then double time again, and then 4 beats per string. Upping the tempo two or three times. First Primary work, with concentration on the right hand.
Chris suggests revisiting the diatonic modes of the major scale, which Scott has not learned before--this allows us to fully revisit how they are constructed, from light to dark: Lydian, Ionian, Mixolydian, Dorian, Aeolian, Phrygian, Locrian. (Ascending fifths, incidentally). The way to learn this seems to be circulating each one with tonal center C, droning a C while circulating each scale up and down one octave several times (to allow it to completely move around the circle). Following this, Victor moves to short improvs, which are each begun by one player, while the rest of the circle moves to recognize and respond in the correlating mode.
A break.
Back in the circle, improvising work. We jump straight in to recording improvs, and move through 3 improvs. After the third, we move upstairs to the music room of the school and listen back to the whole set. A few things crop up: open and closed forms, harmonic density, certain timing and feel qualities. Swing/shuffle rhythms are specifically mentioned as something that presents itself, but isn't able to be sustained, simply because it's not a regular part of our practice.
For next week, specific work to be involved includes repertoire (from the to-be-practiced list for the OCG), all diatonic modes in C, and swing/shuffle time.
Monday, April 29, 2013
Thacher Montessori Gym, 4-28-2013
A bit of catch up, first:
The past few weeks have been focused on preparing for the OCG VII. Improvisation is a regular feature, but we've also begun to hammer at repertoire again, in anticipation of "anything could happen". The 60 Points is a common touchstone, as well; one thing we have been doing with this involves circulating while cycling the 60 Points. The most recent exercise in this vein involved moving around the space, circulating to each other while calling each of the 60 points (a three person circulation, while calling each point every four notes). Interesting work.
Some of the repertoire has been outside the "official list" that the Orchestra has been reviewing AAD. At the end of the day, it's good work to revisit some of this material. Hope got a check-in with this circle for the first time since last year's course.
==========
In attendance: Victor, Chris, Brad
Small group tonight. 28 Bars while warming up, with a little clarification on bar 24, beat 4.
A bit of discussion, and then jumping right in with some very focused right-hand work. Slow metronome, working from a very deliberate follow-through release stroke, to a deliberate follow-through return stroke, then alternating, then a stop-stroke (picking through the string and stopping immediately on the other side of the string), followed by alternating stop-strokes with 16th note picking, then moving this to each string. Some basic 2nd Primary work, moving to the 16 Bar Exercise. 1st Primary work, with focus on the right hand, moving to ambulating while running the 1st Primary
Where is the Nurse?, twice through.
Break, during which Victor makes some reading suggestions to Chris.
Back on stools. When ready, Begin, with each others' guitars, as if we'd never played the instrument before.
When ready, Begin. Probably 20 minutes. Hot.
When ready, Begin, while recording (using the mic on Victor's Macbook). Not quite as hot, but good moments, and similar strategies being used. We head up to the classroom to listen through a couple of times and make observations about the playing and habits presenting themselves. Even just among us three, this is a markedly different group from last year.
Calling it a night around 11:20 p.m.
The past few weeks have been focused on preparing for the OCG VII. Improvisation is a regular feature, but we've also begun to hammer at repertoire again, in anticipation of "anything could happen". The 60 Points is a common touchstone, as well; one thing we have been doing with this involves circulating while cycling the 60 Points. The most recent exercise in this vein involved moving around the space, circulating to each other while calling each of the 60 points (a three person circulation, while calling each point every four notes). Interesting work.
Some of the repertoire has been outside the "official list" that the Orchestra has been reviewing AAD. At the end of the day, it's good work to revisit some of this material. Hope got a check-in with this circle for the first time since last year's course.
==========
In attendance: Victor, Chris, Brad
Small group tonight. 28 Bars while warming up, with a little clarification on bar 24, beat 4.
A bit of discussion, and then jumping right in with some very focused right-hand work. Slow metronome, working from a very deliberate follow-through release stroke, to a deliberate follow-through return stroke, then alternating, then a stop-stroke (picking through the string and stopping immediately on the other side of the string), followed by alternating stop-strokes with 16th note picking, then moving this to each string. Some basic 2nd Primary work, moving to the 16 Bar Exercise. 1st Primary work, with focus on the right hand, moving to ambulating while running the 1st Primary
Where is the Nurse?, twice through.
Break, during which Victor makes some reading suggestions to Chris.
Back on stools. When ready, Begin, with each others' guitars, as if we'd never played the instrument before.
When ready, Begin. Probably 20 minutes. Hot.
When ready, Begin, while recording (using the mic on Victor's Macbook). Not quite as hot, but good moments, and similar strategies being used. We head up to the classroom to listen through a couple of times and make observations about the playing and habits presenting themselves. Even just among us three, this is a markedly different group from last year.
Calling it a night around 11:20 p.m.
Saturday, April 27, 2013
Work Day, Camp Caravan, 04-27-2013
In attendance (from GCNE): Alex, Dev, Glenn, Chris (later), Brad. Others participating in this day included members of the Bennett groups that are involved and connected with the Millers River Educational Cooperative.
7:30 a.m.: Group sitting.
8:30 a.m.: Breakfast.
9:30 a.m.: Meeting in the "Conservatory" to discuss practical work and inner work for the day. Today's practical work is primarily focused on preparing Camp Caravan for the Orchestra of Crafty Guitarists Special Performance Project. Inner work is focused on the present moment. Stops will be held every half-hour.
9:45 a.m.: Alex, Dev, Glenn, and Brad walk through the main house to check rooms and see what needs to be moved, and where it needs to be moved to. We also touch on the electrical work that Rick and Dev finished last weekend. A large portion of the other attendants are dusting out the dorm.
10:15 a.m.: moving bed frames (30ish bunk beds) from a storage cabin to the dorm, and then beginning to assemble them.
11:30 a.m.: Movements. Participation for those who are experienced, and active watching for those who are not. Chris arrives at some point in the middle.
1:00 p.m.: Lunch, discussion of what the afternoon holds.
1:45 p.m.: Finishing assembling of bed frames, checking the cabins, and then moving furniture and bed frames and such in the main house to accommodate the staff that will be staying inside the house for the project.
3:10 p.m.: Final meeting and observations about the day for the work day proper.
3:45 p.m.: Tea and cookies.
4:00 p.m.: Back to work, tying up loose ends, moving mattresses.
4:45 p.m.: End of the day discussion about things that need to happen from a practical point of view. The list of truly necessary and unfinished items is beginning to shrink noticeably.
5:30 p.m.: Final departure for the Circle.
7:30 a.m.: Group sitting.
8:30 a.m.: Breakfast.
9:30 a.m.: Meeting in the "Conservatory" to discuss practical work and inner work for the day. Today's practical work is primarily focused on preparing Camp Caravan for the Orchestra of Crafty Guitarists Special Performance Project. Inner work is focused on the present moment. Stops will be held every half-hour.
9:45 a.m.: Alex, Dev, Glenn, and Brad walk through the main house to check rooms and see what needs to be moved, and where it needs to be moved to. We also touch on the electrical work that Rick and Dev finished last weekend. A large portion of the other attendants are dusting out the dorm.
10:15 a.m.: moving bed frames (30ish bunk beds) from a storage cabin to the dorm, and then beginning to assemble them.
11:30 a.m.: Movements. Participation for those who are experienced, and active watching for those who are not. Chris arrives at some point in the middle.
1:00 p.m.: Lunch, discussion of what the afternoon holds.
1:45 p.m.: Finishing assembling of bed frames, checking the cabins, and then moving furniture and bed frames and such in the main house to accommodate the staff that will be staying inside the house for the project.
3:10 p.m.: Final meeting and observations about the day for the work day proper.
3:45 p.m.: Tea and cookies.
4:00 p.m.: Back to work, tying up loose ends, moving mattresses.
4:45 p.m.: End of the day discussion about things that need to happen from a practical point of view. The list of truly necessary and unfinished items is beginning to shrink noticeably.
5:30 p.m.: Final departure for the Circle.
Monday, April 8, 2013
Brad's Apartment, 04-07-2013
In attendance: Brad, Glenn, Dev (arrives later), Rick, Chris
Warming up with some simple exercises; touching on the 1st Secondary, running the 1st Primary up and down the neck (rushing).
Askesis to get the blood going. A scratched "gap" gets a rerun from the tricky bit to the end. A little more spot work on the end, and then another full run of the piece. We haven't really run this piece for some time, and it feels good to touch up on repertoire.
Eye of the Needle gets some work, as well; Glenn stresses the need to let the phrases breathe, which means getting into the intricacy of the timing. A couple of plays through helps iron out the details.
Now we get into some serious work on Chrysanthemum: instead of working from the beginning, Glenn chooses to jump into the middle, at the beginning of the upside portion. Dev arrives while we are deep into this. Brad is also taking notes for transcribing later.
A break to give our minds a break.
Back at it. We eventually get the entire middle section, up to the beginning of the end.
Some more repertoire. Chris mentions an article he'd read regarding excessive tension being produced as a result of trying to "get a sound". Dev suggests we put this into action, and the natural piece to test this is apparently Flying Home, on the brisk side. Good observations all around.
Calliope, as well. Serious rushing.
Some circulation work. Adopting a basic +2 -1 form, we eventually drop to not changing our notes just to get the timing right. This has the unintended effect of writing a surprisingly haunting and lovely melody that Glenn rightly insists on recording. A bit more experimenting with this (shifting down a minor third, shifting down chromatically, trying to find the right spot to reverse the circulation).
Calling it a night around 11:15 p.m.
Warming up with some simple exercises; touching on the 1st Secondary, running the 1st Primary up and down the neck (rushing).
Askesis to get the blood going. A scratched "gap" gets a rerun from the tricky bit to the end. A little more spot work on the end, and then another full run of the piece. We haven't really run this piece for some time, and it feels good to touch up on repertoire.
Eye of the Needle gets some work, as well; Glenn stresses the need to let the phrases breathe, which means getting into the intricacy of the timing. A couple of plays through helps iron out the details.
Now we get into some serious work on Chrysanthemum: instead of working from the beginning, Glenn chooses to jump into the middle, at the beginning of the upside portion. Dev arrives while we are deep into this. Brad is also taking notes for transcribing later.
A break to give our minds a break.
Back at it. We eventually get the entire middle section, up to the beginning of the end.
Some more repertoire. Chris mentions an article he'd read regarding excessive tension being produced as a result of trying to "get a sound". Dev suggests we put this into action, and the natural piece to test this is apparently Flying Home, on the brisk side. Good observations all around.
Calliope, as well. Serious rushing.
Some circulation work. Adopting a basic +2 -1 form, we eventually drop to not changing our notes just to get the timing right. This has the unintended effect of writing a surprisingly haunting and lovely melody that Glenn rightly insists on recording. A bit more experimenting with this (shifting down a minor third, shifting down chromatically, trying to find the right spot to reverse the circulation).
Calling it a night around 11:15 p.m.
Thacher Montessori Gym, 03-31-2013
In attendance: Victor, Brad, Glenn, Chris, Scott
Several activities; largely focused on prepping for the OCG. A fair amount of warming up, and encouragement provided from the team for a member.
Victor trying out something new with an improv. Lights on for this one, and we're asked to use the full space of the gym. As a directive, though, we're also asked to phrase everything in fives (a slow five, a long five, fast fives). This comes to a stop, eventually.
Running the sixty points while circulating a simple +5 -4 pattern.
Improvising and ambulating in the dark.
Ending the meeting somewhere around 11 pm.
Several activities; largely focused on prepping for the OCG. A fair amount of warming up, and encouragement provided from the team for a member.
Victor trying out something new with an improv. Lights on for this one, and we're asked to use the full space of the gym. As a directive, though, we're also asked to phrase everything in fives (a slow five, a long five, fast fives). This comes to a stop, eventually.
Running the sixty points while circulating a simple +5 -4 pattern.
Improvising and ambulating in the dark.
Ending the meeting somewhere around 11 pm.
Sunday, March 24, 2013
Thacher Montessori Gym, 03-24-2013
In attendance: Victor, Brad, Glenn, Chris, and Dev arrives a little later.
The meeting gets underway a bit on the late side; Victor suggests revisiting our revision of Sigh and a Kiss. A bit of review for everyone, but Glenn's edits eventually make sense. Dev arrives while we're parsing this information, and we run the piece a couple of times.
We also check in with 49 Notes. A bit of the same: a couple of runs with adjustments.
A quick break for Knockout.
Lots of updates on the OCG VII project. A lot of discussion on important logistics, what the Circle will need to do for promotion, and some opening discussion about travel-related items. Also, a clarification on a related exercise. A bit more discussion.
With guitars on, we take to our feet for a bit of playing. In the circle: Where is the Nurse?, Askesis, A Sigh and a Kiss, and 49 Notes. Work is necessary, but it's nice to know that some things are only a little rusty.
At this point, we've been playing in a relatively tight circle. On a whim, Brad asks if we can try 49 Notes again, as absolutely far apart as we can manage to position ourselves. Interesting work: the distance really significantly creates lag and timestretching.
Back on our stools for a few moments of final notes, and we call the meeting for the night.
The meeting gets underway a bit on the late side; Victor suggests revisiting our revision of Sigh and a Kiss. A bit of review for everyone, but Glenn's edits eventually make sense. Dev arrives while we're parsing this information, and we run the piece a couple of times.
We also check in with 49 Notes. A bit of the same: a couple of runs with adjustments.
A quick break for Knockout.
Lots of updates on the OCG VII project. A lot of discussion on important logistics, what the Circle will need to do for promotion, and some opening discussion about travel-related items. Also, a clarification on a related exercise. A bit more discussion.
With guitars on, we take to our feet for a bit of playing. In the circle: Where is the Nurse?, Askesis, A Sigh and a Kiss, and 49 Notes. Work is necessary, but it's nice to know that some things are only a little rusty.
At this point, we've been playing in a relatively tight circle. On a whim, Brad asks if we can try 49 Notes again, as absolutely far apart as we can manage to position ourselves. Interesting work: the distance really significantly creates lag and timestretching.
Back on our stools for a few moments of final notes, and we call the meeting for the night.
Monday, March 11, 2013
Thacher Montessori Gym, 3/10/2013
In attendance: Victor, Rick, Chris, Brad. Dev arrives at a later time.
Pre-meeting, Chris and Brad (and with a bit of help from Rick as he arrives) de-chair the gym, leaving a mostly clear floor. Some tuning, warming up, and then a quiet moment to open the meeting. Warming up with the 1st Secondary, in 3 string chromatic form. Bumping this up to division of attention, counting the exercise in 7, twelve times through. A bit of a struggle, but we get it after a few tries.
Next, expanding on the C Major exercise from the week before: a crosspicking exercise that entails a simple 6/9 chord, or a bass note, a sixth above, and then a ninth above that. In CMaj, a chord built on an A would be, low to high, A F B. The simple version would be to cross pick the three-note chord, low to high, up and down the neck:
g------------------------------------------------------------
E------------------------------------------------------------
A------2-----3-----5-----7------8-------10-------12----------
D----3-----5-----7-----9-----10------12-------14-------------
G--2-----4-----5-----7-----9------10-------12----------------
C------------------------------------------------------------
There are many variations to this.
The importance of working creatively, and of trying things that you're not sure of, is brought up; Victor makes the suggestion that we make this part of our practice, especially in light of the Orchestra work. This is necessarily different from the work of developing and maintaining craft, wherein one might work to perfect a particular skill--this is more the work of constantly doing something new ("Can I do this? Now can I do it backwards? Now can I run through this while maintaining a different count and engaging a different center of the body?").
Around this time, Dev arrives, just in time for a break.
After the break, Dev takes the lead to bring everyone up to date on logistics for the OCG tour in May. Some tasks will be getting handed out to others, soon.
Victor brings Dev up to date on what he missed in the first part of the meeting.
Up on our feet, on the other side of the gym, we work with circulating in alphabetic order in a rotating pattern (1 2 3 4 5, 2 3 4 5 1, 3 4 5 1 2, 4 5 1 2 3, 5 1 2 3 4). Concurrently, we're to be paying attention to our breathing, as well as the sound of our feet on the floor. It's a little tough, but we eventually get it. We then move to a standing circulation, with the same idea, but running the 60 points, one point per cycle around the group (standing still). Some difficulty getting through the exercise leads to a repetition with the lights out, which is noticeably easier. At the completion of another circuit, there is a moment of silence, followed by spontaneous ambulant improvisation, still with the lights off. Roughly 12 minutes.
After a long moment, the lights go back on, and we head back to the circle for a bit of discussion. The meeting closes shortly after.
Pre-meeting, Chris and Brad (and with a bit of help from Rick as he arrives) de-chair the gym, leaving a mostly clear floor. Some tuning, warming up, and then a quiet moment to open the meeting. Warming up with the 1st Secondary, in 3 string chromatic form. Bumping this up to division of attention, counting the exercise in 7, twelve times through. A bit of a struggle, but we get it after a few tries.
Next, expanding on the C Major exercise from the week before: a crosspicking exercise that entails a simple 6/9 chord, or a bass note, a sixth above, and then a ninth above that. In CMaj, a chord built on an A would be, low to high, A F B. The simple version would be to cross pick the three-note chord, low to high, up and down the neck:
g------------------------------------------------------------
E------------------------------------------------------------
A------2-----3-----5-----7------8-------10-------12----------
D----3-----5-----7-----9-----10------12-------14-------------
G--2-----4-----5-----7-----9------10-------12----------------
C------------------------------------------------------------
There are many variations to this.
The importance of working creatively, and of trying things that you're not sure of, is brought up; Victor makes the suggestion that we make this part of our practice, especially in light of the Orchestra work. This is necessarily different from the work of developing and maintaining craft, wherein one might work to perfect a particular skill--this is more the work of constantly doing something new ("Can I do this? Now can I do it backwards? Now can I run through this while maintaining a different count and engaging a different center of the body?").
Around this time, Dev arrives, just in time for a break.
After the break, Dev takes the lead to bring everyone up to date on logistics for the OCG tour in May. Some tasks will be getting handed out to others, soon.
Victor brings Dev up to date on what he missed in the first part of the meeting.
Up on our feet, on the other side of the gym, we work with circulating in alphabetic order in a rotating pattern (1 2 3 4 5, 2 3 4 5 1, 3 4 5 1 2, 4 5 1 2 3, 5 1 2 3 4). Concurrently, we're to be paying attention to our breathing, as well as the sound of our feet on the floor. It's a little tough, but we eventually get it. We then move to a standing circulation, with the same idea, but running the 60 points, one point per cycle around the group (standing still). Some difficulty getting through the exercise leads to a repetition with the lights out, which is noticeably easier. At the completion of another circuit, there is a moment of silence, followed by spontaneous ambulant improvisation, still with the lights off. Roughly 12 minutes.
After a long moment, the lights go back on, and we head back to the circle for a bit of discussion. The meeting closes shortly after.
Monday, March 4, 2013
Thacher Montessori Gym
In attendance: Brad, Victor, Glenn, Scott.
With Scott on his way, we begin by warming up with the First Secondary on 2 strings, in basic chromatic form. At Victor's suggestion, we try with a symmetrical scale, but switch to Dorian. Eventually, we give 3 strings a shot, but this proves to be a bit much in Dorian, so at Glenn's request we fall back to the basic chromatic 4-fret form. This eventually gets harmonized. A short discussion on how we learn, and the systematization of learning through patterns and numbers.
It comes to light that Brad has not learned Chrysanthemum yet, so the next bit of time is spent running the intro and first section of the head so that he can learn this piece (and eventually transcribe it). Scott arrives in the middle of this.
Victor calls a circulation; Cmaj with some chromaticism follows. Next, a simple form of +4/-3 follows; the ante is then upped when Victor directs us to cycle through the 60 points with each iteration of the complete form (every 16 beats). We have a bit of a group habit of stepping on each other's toes at moments, and there are a couple of moments where the 60 Point form gets confused. But generally, we make it through.
Back/backside break, during which knockout is played.
Post-break, a check-in with Scott, and a 5th Primary-based drill in Amin/Cmaj for boning up on fretboard knowledge.
Brad asks a small question about a harmony part in Thrak.
Some work with Sigh and a Kiss, which includes an extended bit of solo trading between Glenn and Brad, as well as reviewing Glenn's revised revision to the ending. Eventually, we get a couple of successful runs through the parts. There is a question about how this may or may not apply to the work towards the OCG.
A moment of silence to end the meeting. Afterwards, goats.
With Scott on his way, we begin by warming up with the First Secondary on 2 strings, in basic chromatic form. At Victor's suggestion, we try with a symmetrical scale, but switch to Dorian. Eventually, we give 3 strings a shot, but this proves to be a bit much in Dorian, so at Glenn's request we fall back to the basic chromatic 4-fret form. This eventually gets harmonized. A short discussion on how we learn, and the systematization of learning through patterns and numbers.
It comes to light that Brad has not learned Chrysanthemum yet, so the next bit of time is spent running the intro and first section of the head so that he can learn this piece (and eventually transcribe it). Scott arrives in the middle of this.
Victor calls a circulation; Cmaj with some chromaticism follows. Next, a simple form of +4/-3 follows; the ante is then upped when Victor directs us to cycle through the 60 points with each iteration of the complete form (every 16 beats). We have a bit of a group habit of stepping on each other's toes at moments, and there are a couple of moments where the 60 Point form gets confused. But generally, we make it through.
Back/backside break, during which knockout is played.
Post-break, a check-in with Scott, and a 5th Primary-based drill in Amin/Cmaj for boning up on fretboard knowledge.
Brad asks a small question about a harmony part in Thrak.
Some work with Sigh and a Kiss, which includes an extended bit of solo trading between Glenn and Brad, as well as reviewing Glenn's revised revision to the ending. Eventually, we get a couple of successful runs through the parts. There is a question about how this may or may not apply to the work towards the OCG.
A moment of silence to end the meeting. Afterwards, goats.
Sunday, February 24, 2013
Thacher Montessori, in the gym
In attendance: Victor, Chris, Brad, Rick, Dev, Glenn
The meeting opens with us sitting in a circle. At Victor's invitation, Dev takes the lead, giving an account of the recent course that was held earlier this month near Cuernevaca, Mexico, hosted by the Contemporary Guitar Ensemble. Lots of good information, and plenty to look forward to in the coming months and years.
This leads quite naturally into a discussion of the upcoming special project (Dev noticeably self-corrected after calling it a course) here in May with the Orchestra. As of this meeting, the first performance of the Orchestra of Crafty Guitarists East Coast Tour 2013 will be held in precisely three months, not far from the last GCNE performance series held at Harvard-Epworth. The middle now seems to be past, and most all agree that time has noticeably accelerated. A fair amount of practical work stands in front of us, in addition to the guitar-and-otherwise work.
As requested by Sandra, Dev runs the team through an exercise; this is to sort of bring us in sync with some work we got from her back in December, and is also related to the work of the Orchestra. Following this, we take it up in an ambulatory fashion, attempting to run it faster and faster. Some interesting observations.
Once we've run through this exercise to a logical sort of conclusion for the night, Victor walks over, kills the lights, and gives the "When ready, begin while ambulating in the dark" command. Some of the more creative improvising this Circle has engaged with: to the scribe's ears, this is some of the most musical playing he's heard in a while. Lotsa juice.
A short break.
Back in the circle, Dev gives a formal introduction of the First Secondary, and some of the variations RF presented with it.
A final G Major circulation/improvisation to end the night.
The meeting opens with us sitting in a circle. At Victor's invitation, Dev takes the lead, giving an account of the recent course that was held earlier this month near Cuernevaca, Mexico, hosted by the Contemporary Guitar Ensemble. Lots of good information, and plenty to look forward to in the coming months and years.
This leads quite naturally into a discussion of the upcoming special project (Dev noticeably self-corrected after calling it a course) here in May with the Orchestra. As of this meeting, the first performance of the Orchestra of Crafty Guitarists East Coast Tour 2013 will be held in precisely three months, not far from the last GCNE performance series held at Harvard-Epworth. The middle now seems to be past, and most all agree that time has noticeably accelerated. A fair amount of practical work stands in front of us, in addition to the guitar-and-otherwise work.
As requested by Sandra, Dev runs the team through an exercise; this is to sort of bring us in sync with some work we got from her back in December, and is also related to the work of the Orchestra. Following this, we take it up in an ambulatory fashion, attempting to run it faster and faster. Some interesting observations.
Once we've run through this exercise to a logical sort of conclusion for the night, Victor walks over, kills the lights, and gives the "When ready, begin while ambulating in the dark" command. Some of the more creative improvising this Circle has engaged with: to the scribe's ears, this is some of the most musical playing he's heard in a while. Lotsa juice.
A short break.
Back in the circle, Dev gives a formal introduction of the First Secondary, and some of the variations RF presented with it.
A final G Major circulation/improvisation to end the night.
Tuesday, February 19, 2013
Small group at Brad's Apartment
In attendance: Chris, Brad.
With limited crew, there isn't a wide breadth of material to fall back on, but we do what we can.
- At Chris's prompting, Brad shows him a warm up for the hands that he's been using for a couple of months.
- Chris demonstrates some more of the small detail work that he's been looking at; some very particular phrasing in a few bars of the C Major Cello Prelude. This works into some discussion of classical notation, personal interpretation, how daring one can be, etc.
- A bit of work with some of the rhythmic work we'd done two weeks back; Brad makes an over-suggestion.
- Short break
- A bit of repertoire work: Where's the Nurse gets a run. Chris notes that he really likes to hear the piece lay back hard on the downbeat of the bar (a heavy "one"). With a bit of explanation, we give this a try, and find that it really brings out the sexiness of the piece, for lack of a better term. Also, a bit of attention to the lead outro arpeggios for Brad, with another note from Chris about the methodic approach.
- Brad mentions he's been working with overplaying the accents in Askesis, as well as addressing a very specific instruction from Victor about how to play the "many bugs" part. We run the bass part from top to bottom, and then focus on a few spots where Chris knows the lead. Chris's comment is that it really brings out the playfulness of the music, in contrast to the more constant attack that is commonly associated with Crafty music.
- A couple runs of Growing Circle; the second time, Brad asks Chris to overplay the dynamics (or really to just play louder). Chris's dead strings don't make this easy for him.
With that, we call it a night.
With limited crew, there isn't a wide breadth of material to fall back on, but we do what we can.
- At Chris's prompting, Brad shows him a warm up for the hands that he's been using for a couple of months.
- Chris demonstrates some more of the small detail work that he's been looking at; some very particular phrasing in a few bars of the C Major Cello Prelude. This works into some discussion of classical notation, personal interpretation, how daring one can be, etc.
- A bit of work with some of the rhythmic work we'd done two weeks back; Brad makes an over-suggestion.
- Short break
- A bit of repertoire work: Where's the Nurse gets a run. Chris notes that he really likes to hear the piece lay back hard on the downbeat of the bar (a heavy "one"). With a bit of explanation, we give this a try, and find that it really brings out the sexiness of the piece, for lack of a better term. Also, a bit of attention to the lead outro arpeggios for Brad, with another note from Chris about the methodic approach.
- Brad mentions he's been working with overplaying the accents in Askesis, as well as addressing a very specific instruction from Victor about how to play the "many bugs" part. We run the bass part from top to bottom, and then focus on a few spots where Chris knows the lead. Chris's comment is that it really brings out the playfulness of the music, in contrast to the more constant attack that is commonly associated with Crafty music.
- A couple runs of Growing Circle; the second time, Brad asks Chris to overplay the dynamics (or really to just play louder). Chris's dead strings don't make this easy for him.
With that, we call it a night.
Tuesday, January 22, 2013
Thacher Gym, 1/20/2013
In attendance: Brad, Victor, Dev, Glenn, Chris
- Meeting opening with a reminder of the 5 Relations
- Some basic warming up: Staccato-Legato, circulation
- Ambulation work; the area is slightly reduced to account for fewer people. When Victor kills the lights, we're a bit more open and freer than we were last week.
- Observations afterward. A break, during which Chris and Victor reconstruct the six triads of the 5 Relations, and Brad, Glenn, and Dev talk about movies.
- Repertoire visited includes Where is the Nurse? and Sigh and a Kiss. Glenn uses the time to visit a possible rearrangement of a middle section to the piece; somewhat satisfied. We might see a scratch recording of the changed part.
- Meeting opening with a reminder of the 5 Relations
- Some basic warming up: Staccato-Legato, circulation
- Ambulation work; the area is slightly reduced to account for fewer people. When Victor kills the lights, we're a bit more open and freer than we were last week.
- Observations afterward. A break, during which Chris and Victor reconstruct the six triads of the 5 Relations, and Brad, Glenn, and Dev talk about movies.
- Repertoire visited includes Where is the Nurse? and Sigh and a Kiss. Glenn uses the time to visit a possible rearrangement of a middle section to the piece; somewhat satisfied. We might see a scratch recording of the changed part.
Sunday, January 13, 2013
Thacher Gym, 1/13/2012
In attendance: Victor, Glenn, Brad, Dev, Scott, Chris
Victor and Brad arrive ahead of everyone else; Chris and Dev arrive shortly after at exactly the same time. With word that Glenn and Scott will be arriving a little later, we all head inside to the gym.
After some pick-up basketball between Chris and Dev, and Scott arriving in the meantime, we all find our way to a circle, and begin the meeting by reviewing Sandra Bain Cushman's work on the Five Relations as it was presented last month. Glenn arrives right as we finish up with this, just as we move to warming up the hands with the Staccato-Legato Exercise. Victor brings Glenn up to speed, and then walks everyone through a quick summation of the Five Relations.
This leads into an appropriation of Frank Sheldon's "filling" exercise: with guitars, we endeavour to fill a space as much as possible while constantly remaining in motion, and passing notes around, while also maintaining contact with each other. At one point, a melody gets played across all of us that is just incredible.
This moves to improvisation instead of passing notes. After some time, Victor kills the lights, and we continue to improvise while ambulating. Interestingly, we all know to end at the same time--Victor walks back through the relations, and then brings the lights back up.
Seated back in the circle, we all have some good observations to share. This leads into a discussion that ranges over several topics, including the structure of a process, and how it relates to music. This is followed by a quick break.
Post-break, we talk a bit about repertoire. 49 Notes gets a performance for Victor and Dev, with some useful commentary for everyone. This moves into a discussion about repertoire that would be useful for the Orchestra project coming this May, including a rather bold idea from Victor. This does get somewhat tangential for a bit, but we come back to Where Is The Nurse? and run this 3 times. More discussion follows from this: Victor relates an experience that involved meeting a teacher on a trip to India, and that teacher's complete "ubiquity". The phrase, "How can you hope to see everything if you don't love everything?" makes an appearance.
"Eye of the Needle", once through. On a whim, Victor has us move back to the filling exercise, and we play it again while ambulating in the dark. Some missed notes (due to big jumps and not being able to see), but a useful and informative run.
Back in the circle, and a short completion with the relations, once more.
Victor and Brad arrive ahead of everyone else; Chris and Dev arrive shortly after at exactly the same time. With word that Glenn and Scott will be arriving a little later, we all head inside to the gym.
After some pick-up basketball between Chris and Dev, and Scott arriving in the meantime, we all find our way to a circle, and begin the meeting by reviewing Sandra Bain Cushman's work on the Five Relations as it was presented last month. Glenn arrives right as we finish up with this, just as we move to warming up the hands with the Staccato-Legato Exercise. Victor brings Glenn up to speed, and then walks everyone through a quick summation of the Five Relations.
This leads into an appropriation of Frank Sheldon's "filling" exercise: with guitars, we endeavour to fill a space as much as possible while constantly remaining in motion, and passing notes around, while also maintaining contact with each other. At one point, a melody gets played across all of us that is just incredible.
This moves to improvisation instead of passing notes. After some time, Victor kills the lights, and we continue to improvise while ambulating. Interestingly, we all know to end at the same time--Victor walks back through the relations, and then brings the lights back up.
Seated back in the circle, we all have some good observations to share. This leads into a discussion that ranges over several topics, including the structure of a process, and how it relates to music. This is followed by a quick break.
Post-break, we talk a bit about repertoire. 49 Notes gets a performance for Victor and Dev, with some useful commentary for everyone. This moves into a discussion about repertoire that would be useful for the Orchestra project coming this May, including a rather bold idea from Victor. This does get somewhat tangential for a bit, but we come back to Where Is The Nurse? and run this 3 times. More discussion follows from this: Victor relates an experience that involved meeting a teacher on a trip to India, and that teacher's complete "ubiquity". The phrase, "How can you hope to see everything if you don't love everything?" makes an appearance.
"Eye of the Needle", once through. On a whim, Victor has us move back to the filling exercise, and we play it again while ambulating in the dark. Some missed notes (due to big jumps and not being able to see), but a useful and informative run.
Back in the circle, and a short completion with the relations, once more.
Sunday, January 6, 2013
Brad's Apartment, 1/6/2013
In attendance: Glenn, Chris, Scott, Brad
The first meeting of the new year. Opening with a circulation (mostly CMajor-ish) that becomes an improvisation.
Brad mentions RF posting the basic idea of the first Secondary exercise in his online diary, and shows this to the circle; this leads to running the exercise up and down the neck, and then exploring some basic approaches (shifting the notes around, changing the picking approach, et al).
Chris presents 49 Notes. This does not take long, and we have a couple of full runs of the piece in short order.
Back/bum break.
Back in the circle, we run 49 Notes again.
Glenn reviews the basics of Chrysanthemum. After this, we take a short look at Eye of the Needle, to see where Scott stands on this. This produces a good look at the use of the left hand, and what to do about it.
Another circulation that becomes an improvisation (mostly FMajor-ish), ending in harmonics. A final rundown of 49 Notes again, which closes the meeting.
The first meeting of the new year. Opening with a circulation (mostly CMajor-ish) that becomes an improvisation.
Brad mentions RF posting the basic idea of the first Secondary exercise in his online diary, and shows this to the circle; this leads to running the exercise up and down the neck, and then exploring some basic approaches (shifting the notes around, changing the picking approach, et al).
Chris presents 49 Notes. This does not take long, and we have a couple of full runs of the piece in short order.
Back/bum break.
Back in the circle, we run 49 Notes again.
Glenn reviews the basics of Chrysanthemum. After this, we take a short look at Eye of the Needle, to see where Scott stands on this. This produces a good look at the use of the left hand, and what to do about it.
Another circulation that becomes an improvisation (mostly FMajor-ish), ending in harmonics. A final rundown of 49 Notes again, which closes the meeting.
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