Sunday, December 16, 2012
Small group at Thatcher 12/16/12
Present: Victor, Chris, Glenn.
I arrived about 15 minutes late, and couldn't get anyone's attention for about 20 minutes, so these notes begin at 8:05.
Victor told me that he and Chris had been talking about the school shooting in Connecticut. I joined in the conversation as we set up our stools. As the three of us sat waiting for something to drop in, the only thing that seemed right to me was the 28 bars, which was just what Victor suggested. We reviewed it, then played it through. Victor reminded us how to incorporate the Lord's Prayer into the piece, so we played it again doing this as best we could.
We talked about what Chris and I had been working on. This led to a discussion about possible large group pieces for the upcoming Orchestra course. An ideal piece would have the following characteristics: 1) Printed score available. 2) Should be able to be practiced in isolation (a MIDI file might help with this). 3) Assuming the players show up knowing their parts, should not require much fine-tuning when they all arrive on the course. In other words, the parts should be played as notated. This led to some discussion of how playing without a conductor is a challenge.
We also talked about the pros and cons of regular performance. My idea was that a regular monthly performance, perhaps back at Spontaneous Celebrations, could be productive. Chris and Victor filling me in on some of the related challenges that the team encountered during my absence.
We worked on Peaches en Regalia, looping bits where the tempo was uneven, playing slower than usual and paying attention to accuracy and unanimity.
We had a bit of a break. Victor played a video clip of one of his students singing and playing piano. We also did a bit of experimenting with the pitched bells that happened to be sitting in an open case on the floor. These are square pitched hollow metal bars with rubber ended clappers on the outside, which are intended to be used in a bell choir. We built some chords and played around with listening to different tones in each ear. I was struck, no pun intended, by how these objects made musical notes seem to have physical form.
In the last segment of the evening, I presented some of the piece Chrysanthemum. Chris used the word "architectonic," which was a new one on me and Victor. We wrapped up around 11:30.
Glenn writing.
Thursday, December 13, 2012
Working with Sandra Bain Cushman, 12-09-2012
Held at Thacher Montessori. In attendance: Victor, Glenn, Dev, Chris, Rick, Brad, Scott, Wayne, and Sandra
(No notes taken that day, so this will be generally anecdotal.)
Work with Sandra Bain Cushman, today! (Link opens a new window.) Sandra has a long and storied history with the Guitar Craft and Guitar Circle work, as well as the Orchestra of Crafty Guitarists, and is also a wonderful person, to boot.
Our work today focuses on Sandra's "Five Relations" work, and we begin in the Thacher music room with guitars off, exploring the first triad of the relations: Balance. The idea is that before we can be balanced with our guitars, we first need to be able to find balance in the body. Once Sandra's made a pass around the circle with each of us, she invites us to strap guitars on and begin playing, while she continues to work with each of us.
Circulation work that slowly moves to improvising.
Next follows Animation. More work directly with Sandra, followed by more improvising while Sandra comes around to each one of us. Opposition after this.
Span comes next, as part of an AT lie-down, that eventually becomes ambulatory work, and then more work with guitars, taking us out into the hall, up and down the stairs several times, and back into the music room. This brings us up to a lunch break.
After lunch, we meet in the gymnasium for more ambulation. Outwardly, this exercise is simple enough: an extension of Frank Sheldon's exercise of filling a space as much as possible while also constantly remaining in motion. We maintain this while also keeping some connection with the others in the group as a whole. As an added level of complexity, we cycle the 60 Point exercise as well. Two cycles through, with a pause on the hour (something else we have been doing today).
Back up to the music room to work. Integration as part of a sitting exercise.
Some questions, answers, and discussion. Observations given.
The final triad, Poise, with Glenn as a willing demonstration subject, and then each person in turn. Some final work with guitars, during which Sandra kills the room lights and leaves us to improvise on our own.
We collect our things, and go back to the gym to review a diagram of the Five Relations, with the triads drawn in to illustrate; most everyone takes a photograph for their own reference later. Some mildly profuse thanking of Sandra, a couple of nods toward the approaching future, and that brings the day to a happy close.
(No notes taken that day, so this will be generally anecdotal.)
Work with Sandra Bain Cushman, today! (Link opens a new window.) Sandra has a long and storied history with the Guitar Craft and Guitar Circle work, as well as the Orchestra of Crafty Guitarists, and is also a wonderful person, to boot.
Our work today focuses on Sandra's "Five Relations" work, and we begin in the Thacher music room with guitars off, exploring the first triad of the relations: Balance. The idea is that before we can be balanced with our guitars, we first need to be able to find balance in the body. Once Sandra's made a pass around the circle with each of us, she invites us to strap guitars on and begin playing, while she continues to work with each of us.
Circulation work that slowly moves to improvising.
Next follows Animation. More work directly with Sandra, followed by more improvising while Sandra comes around to each one of us. Opposition after this.
Span comes next, as part of an AT lie-down, that eventually becomes ambulatory work, and then more work with guitars, taking us out into the hall, up and down the stairs several times, and back into the music room. This brings us up to a lunch break.
After lunch, we meet in the gymnasium for more ambulation. Outwardly, this exercise is simple enough: an extension of Frank Sheldon's exercise of filling a space as much as possible while also constantly remaining in motion. We maintain this while also keeping some connection with the others in the group as a whole. As an added level of complexity, we cycle the 60 Point exercise as well. Two cycles through, with a pause on the hour (something else we have been doing today).
Back up to the music room to work. Integration as part of a sitting exercise.
Some questions, answers, and discussion. Observations given.
The final triad, Poise, with Glenn as a willing demonstration subject, and then each person in turn. Some final work with guitars, during which Sandra kills the room lights and leaves us to improvise on our own.
We collect our things, and go back to the gym to review a diagram of the Five Relations, with the triads drawn in to illustrate; most everyone takes a photograph for their own reference later. Some mildly profuse thanking of Sandra, a couple of nods toward the approaching future, and that brings the day to a happy close.
Tuesday, December 4, 2012
Thacher Music Room, 12/2/2012
In attendance: Victor, Brad, Glenn, Wayne, Rick, Chris
The meeting opens with a moment of silence, broken as Brad moves to let Glenn into the building. Once Glenn has situated himself into the circle, a bit of circulation to soundcheck.
Some improv exercises to warm up: first, four beats each, with the aim to continue the phrase as it is passed from player to player. This gets expanded to picking up a phrase before the previous player has completely finished playing (i.e., Brad picks up the torch as Victor is coming to the end of his phrase, and then Glenn does the same as Brad is finishing up). Longer phrases are invited. This is expanded even further to a three-player chain: Victor begins, Brad joins in, Glenn follows suit, and Wayne picks up where Victor leaves off; Rick will then pick up where Brad leaves off, Chris picks up Glenn's thread, and Victor takes over as Wayne is finishing up. Some interesting work.
(Brad: One thing I noticed about this was how the number of players in this exercise also created some interesting dyads [Victor/Wayne, Brad/Rick, Glenn/Chris]. Personally, it became a bit difficult to pay attention to the other players, as I was listening to keep track of what Rick was playing.)
Moving to working on Crescent Study. Mostly getting a feel for the pace of the piece; the spatial circulation order is easy enough to pick up, and so the work is largely focused on remembering notes and the shift from a 6/8 (duple triplets) feel to half-speed (quarter note) feel. A few runs of the first two pages, and the next two pages are slotted for the following week.
A break for the hindquarters.
Working on Peaches. Some spot work on the diddly bits going back into the restatement of the main theme, the slinky bits in the guitar solo, and a couple of runs through the piece as a whole.
Glenn asks to try a couple of ideas out regarding the arrangement of Sigh and a Kiss. Nothing concrete, but some good ideas that needed to be heard in order to be continued.
Victor asks everyone what they've been working on; Chris demonstrates a bit of the C Major Cello Prelude that he's been refining over the past month.
A final circulation to close the night.
The meeting opens with a moment of silence, broken as Brad moves to let Glenn into the building. Once Glenn has situated himself into the circle, a bit of circulation to soundcheck.
Some improv exercises to warm up: first, four beats each, with the aim to continue the phrase as it is passed from player to player. This gets expanded to picking up a phrase before the previous player has completely finished playing (i.e., Brad picks up the torch as Victor is coming to the end of his phrase, and then Glenn does the same as Brad is finishing up). Longer phrases are invited. This is expanded even further to a three-player chain: Victor begins, Brad joins in, Glenn follows suit, and Wayne picks up where Victor leaves off; Rick will then pick up where Brad leaves off, Chris picks up Glenn's thread, and Victor takes over as Wayne is finishing up. Some interesting work.
(Brad: One thing I noticed about this was how the number of players in this exercise also created some interesting dyads [Victor/Wayne, Brad/Rick, Glenn/Chris]. Personally, it became a bit difficult to pay attention to the other players, as I was listening to keep track of what Rick was playing.)
Moving to working on Crescent Study. Mostly getting a feel for the pace of the piece; the spatial circulation order is easy enough to pick up, and so the work is largely focused on remembering notes and the shift from a 6/8 (duple triplets) feel to half-speed (quarter note) feel. A few runs of the first two pages, and the next two pages are slotted for the following week.
A break for the hindquarters.
Working on Peaches. Some spot work on the diddly bits going back into the restatement of the main theme, the slinky bits in the guitar solo, and a couple of runs through the piece as a whole.
Glenn asks to try a couple of ideas out regarding the arrangement of Sigh and a Kiss. Nothing concrete, but some good ideas that needed to be heard in order to be continued.
Victor asks everyone what they've been working on; Chris demonstrates a bit of the C Major Cello Prelude that he's been refining over the past month.
A final circulation to close the night.
Monday, November 26, 2012
Thacher Music Room, 11-25-2012
In attendance: Victor, Brad, Rick, Glenn, Wayne, Dev
Rick and Dev are both running a bit late.
The meeting opens with a short bit of improvising, which also serves as soundcheck music. Victor asks each of us what we've been working on, and then suggests the staccato-legato exercise as a means of warming up. We bring Wayne up to speed on this, and then run it for a bit. Following this, a bit of 1st primary to warm the right hand up.
With Dev and Rick still in their respective transits, the suggestion to write a song before they arrive is floated; quickly, a basic figure arises in six (5-7-7-5), with a vague bass part being formulated underneath this. Dev arrives around this time. Some general harmonic structure is implied, and then an off-the-cuff line from Glenn is expanded and developed as a sort of in-between bit (the metric is something like 2-3-3-2-2-3-3-2-2-2-4). Back to the main section (in A and D) for a bit, and then a line in Bdim shows up. This is developed, with a bit of clarification. A bit more work, and we let this go as Rick arrives.
A bit of shifting and soundchecking, and we move to working with circulation. The unexpected challenge of circulating in quarter notes, then 8ths, then 16ths twice, and then 8ths, and then beginning again with quarters. We also work a bit with 8ths to triplet 8ths and back, and a touch with 8ths to triplet 8ths to 16ths, and back.
Following this, a deep working of A Sigh And A Kiss. Good and productive work. A break after this.
A request for further work on Iron Man is declined; some work on Peaches en Regalia follows instead. A quiet moment to end the night, and we all set off for our respective homes.
Rick and Dev are both running a bit late.
The meeting opens with a short bit of improvising, which also serves as soundcheck music. Victor asks each of us what we've been working on, and then suggests the staccato-legato exercise as a means of warming up. We bring Wayne up to speed on this, and then run it for a bit. Following this, a bit of 1st primary to warm the right hand up.
With Dev and Rick still in their respective transits, the suggestion to write a song before they arrive is floated; quickly, a basic figure arises in six (5-7-7-5), with a vague bass part being formulated underneath this. Dev arrives around this time. Some general harmonic structure is implied, and then an off-the-cuff line from Glenn is expanded and developed as a sort of in-between bit (the metric is something like 2-3-3-2-2-3-3-2-2-2-4). Back to the main section (in A and D) for a bit, and then a line in Bdim shows up. This is developed, with a bit of clarification. A bit more work, and we let this go as Rick arrives.
A bit of shifting and soundchecking, and we move to working with circulation. The unexpected challenge of circulating in quarter notes, then 8ths, then 16ths twice, and then 8ths, and then beginning again with quarters. We also work a bit with 8ths to triplet 8ths and back, and a touch with 8ths to triplet 8ths to 16ths, and back.
Following this, a deep working of A Sigh And A Kiss. Good and productive work. A break after this.
A request for further work on Iron Man is declined; some work on Peaches en Regalia follows instead. A quiet moment to end the night, and we all set off for our respective homes.
Thursday, November 8, 2012
Thacher Music Room, 11/4/2012
In attendance: Victor, Brad, Glenn, Rick, Scott, Dev
This is largely anecdotal.
Dev running a bit late, but we begin without him with a full group improv. After this, Victor asks what we've been working on; Scott mentions that he's been playing a few open mics (in NST, per request for clarification). A call for a demonstration yields Radiohead's "I Might Be Wrong".
Some circulation work, and then a call to Dev to check on his progress. With an ETA of 10-ish minutes, we elect to break and wait for Dev.
Dev arrives a short time later; once we've worked out a cabling issue, Dev delivers a short report on next year's Orchestra of Crafty Guitarists tour, and the progress with this so far. A brief discussion regarding a weekend with Sandra Bain Cushman, as well.
Victor runs a sitting exercise with us.
Some work on Sigh and a Kiss, including teaching Scott some of the bass part. Also, some general work with Peaches en Regalia (which is surprisingly bare, sans Chris).
A short silence to close the night.
This is largely anecdotal.
Dev running a bit late, but we begin without him with a full group improv. After this, Victor asks what we've been working on; Scott mentions that he's been playing a few open mics (in NST, per request for clarification). A call for a demonstration yields Radiohead's "I Might Be Wrong".
Some circulation work, and then a call to Dev to check on his progress. With an ETA of 10-ish minutes, we elect to break and wait for Dev.
Dev arrives a short time later; once we've worked out a cabling issue, Dev delivers a short report on next year's Orchestra of Crafty Guitarists tour, and the progress with this so far. A brief discussion regarding a weekend with Sandra Bain Cushman, as well.
Victor runs a sitting exercise with us.
Some work on Sigh and a Kiss, including teaching Scott some of the bass part. Also, some general work with Peaches en Regalia (which is surprisingly bare, sans Chris).
A short silence to close the night.
Friday, October 26, 2012
Lantern Festival, Jamaica Pond
10/21/2012
Attending: Victor, Brad, Glenn, Chris
Brad and Victor arrive early at the pond, around 5:30pm, to set the space, which involves lighting a small area with soda-bottle lanterns (decorated by local kids) hung from poles of bamboo, as well as arranging in a semi-circle with small amps. Chris and Glenn arrive at about the same time, a little after 6pm. A bit of warming up, and we unofficially begin with an improv that emerges out of a tuning and soundcheck.
No clue as to what a setlist may have looked like; we mostly just play what came to mind. Some pieces got several runs (Overworld II, for instance), and some only one or two. Generally, the audiences that stop to watch are very supportive.
After a couple of hours, we call it a night. Some clean-up, and there is a general agreement of grabbing dinner afterwards. All is finished around 8:20 or so.
Attending: Victor, Brad, Glenn, Chris
Brad and Victor arrive early at the pond, around 5:30pm, to set the space, which involves lighting a small area with soda-bottle lanterns (decorated by local kids) hung from poles of bamboo, as well as arranging in a semi-circle with small amps. Chris and Glenn arrive at about the same time, a little after 6pm. A bit of warming up, and we unofficially begin with an improv that emerges out of a tuning and soundcheck.
No clue as to what a setlist may have looked like; we mostly just play what came to mind. Some pieces got several runs (Overworld II, for instance), and some only one or two. Generally, the audiences that stop to watch are very supportive.
After a couple of hours, we call it a night. Some clean-up, and there is a general agreement of grabbing dinner afterwards. All is finished around 8:20 or so.
Tuesday, October 16, 2012
Sunday evening at Victor's House
10/14/2012
In attendance: Victor, Brad, Chris.
Opening the meeting with a couple of pieces to send Elspeth to bed: 3rd Relation and Growing Circle.
At Victor's prompting, working with a simple form with a twist: 2 bars of 5 in D minor, 2 bars in F minor, 2 bars in A-flat minor, 2 bars in C-flat minor, and repeat. The twist is to do with the roles, which rotate with each 2 bars: 1 bass, 1 person circulating on the beat, 1 person circulating off the beat. So, if we begin in Dmin, we have Victor on bass, Brad on the beat, and Chris off the beat. Then, at Fmin, Brad takes the bass, Chris moves to on-beat, and Victor switches to off-beat.
Juggling the roles proves to be difficult, and the addition of unfamiliar keys throws Brad a bit too much (time goes out the window). So we spend some time rotating roles in one key, and then bring the key changes in again after a bit. Good work.
Victor asks Chris what he has been working on; this becomes a chance for Chris to get some one-on-one time with Victor, regarding his right hand (and the pivot, as well). At one point, Victor plays parent again, and Chris and Brad talk a bit about guitar care. Eventually Chris finds himself playing a couple of different guitars.
Break. Pat Metheny in discussions.
Breaking the break, a circulation.
Following this, Victor instructs Chris to solo, as Brad and Victor circulate 4-note chords (individual notes). Then Victor and Chris circulate (Brad soloing), and Chris and Brad circulating. Victor observes the challenge of knowing the directionality of the melody and shifting it on the fly as the tonal colors shift in time.
A couple of runs through the Bach Fugue in C Major. Tough with 3/7 of the parts, but we at least know where we are.
Two passes through Voices of Ancient Children, the second one more assured than the first.
Silence to close out the meeting at a surprisingly late-feeling quarter to 11.
In attendance: Victor, Brad, Chris.
Opening the meeting with a couple of pieces to send Elspeth to bed: 3rd Relation and Growing Circle.
At Victor's prompting, working with a simple form with a twist: 2 bars of 5 in D minor, 2 bars in F minor, 2 bars in A-flat minor, 2 bars in C-flat minor, and repeat. The twist is to do with the roles, which rotate with each 2 bars: 1 bass, 1 person circulating on the beat, 1 person circulating off the beat. So, if we begin in Dmin, we have Victor on bass, Brad on the beat, and Chris off the beat. Then, at Fmin, Brad takes the bass, Chris moves to on-beat, and Victor switches to off-beat.
Juggling the roles proves to be difficult, and the addition of unfamiliar keys throws Brad a bit too much (time goes out the window). So we spend some time rotating roles in one key, and then bring the key changes in again after a bit. Good work.
Victor asks Chris what he has been working on; this becomes a chance for Chris to get some one-on-one time with Victor, regarding his right hand (and the pivot, as well). At one point, Victor plays parent again, and Chris and Brad talk a bit about guitar care. Eventually Chris finds himself playing a couple of different guitars.
Break. Pat Metheny in discussions.
Breaking the break, a circulation.
Following this, Victor instructs Chris to solo, as Brad and Victor circulate 4-note chords (individual notes). Then Victor and Chris circulate (Brad soloing), and Chris and Brad circulating. Victor observes the challenge of knowing the directionality of the melody and shifting it on the fly as the tonal colors shift in time.
A couple of runs through the Bach Fugue in C Major. Tough with 3/7 of the parts, but we at least know where we are.
Two passes through Voices of Ancient Children, the second one more assured than the first.
Silence to close out the meeting at a surprisingly late-feeling quarter to 11.
Thursday, October 11, 2012
Catch-up on Two Meetings
Just a short recap on the past two meetings with the Circle.
9/30/2012 - Victor, Dev, Rick, Glenn, Wayne, Brad, Chris--Scott's out for the night. Some expanded work with the Guitarist Inside exercise, moving into some circulation work. A report on the previous weekend's gig at the art gallery (generally seen to be a very positive and well-given performance), and then some work on repertoire.
During the break, a discussion on linear/horizontal vs. vertical time, and how that relates to us and our aims and undertakings. The Somerville Honk festival is mentioned.
After the break, an initial presenting of a new piece. A bit more repertoire work, and then we call it a night. Very late.
10/7/2012 - Victor, Brad, Rick, Glenn, Chris, Scott. As a result of finding out that the Honk Festival was to be this weekend in particular, and just a lack of time to prepare, the JP Lantern Festival has re-arisen as a performance opportunity--low-budget and low-risk, but likely a good source of work. We're plugged in tonight via travel amplifiers.
Generally, some repertoire is approached, and we also revisit working with circulation patterns. "We're getting better." Not nearly as late of a night as the week before.
Sunday, September 23, 2012
Gallery 263 performance
Attending: Victor, Brad, Chris, Glenn, Wayne, Scott
9/22/2012
Wayne and Victor arrive early, followed by Brad shortly after at 5:45. Load-in reveals that a couple key pieces of equipment were left behind, so Victor spends a moment tracking down alternatives. Meanwhile, Chris arrives, and he, Brad, and Wayne all help to set the space. Some warming up, Glenn arrives, and we finish setting the PA. Our opening act, Chris Paradise and his band, arrive at about 7. Our own Scott succeeds in finding the space, shortly after.
A quick soundcheck for the Circle, followed by Chris's group. People have begun filtering in.
The show begins early, with the promoter (Mr. Curt) introducing Chris Paradise and his group a few minutes before 8. They play their set, which is well received. At set's end, we give the audience a short break, and circle up in the green room to gather ourselves and have a quick pre-show talk. Then, out into the world.
I do not recall the entire set. But, it did begin with a circulation, followed by Intergalactic Boogie Express (Chris Paquette's request). Improvisation, followed by Growing Circle. A few other pieces, including a first outing for Sigh and a Kiss, and a moment while we asked if there were any questions. Eye of the Needle, followed by Bicycling to Afghanistan and Love is Green. A couple more pieces and improvs (including a great THRAK), a brisk-moving-to-pretty-freaking-brisk Calliope, a well-received Overworld II (and one of the best times we've played it), circulation and improv, Derailed at the Junction, and improv leading into Asturias. A final light sprinkling of harmonics marked the end of the set.
A supportive audience, and a lovely space. Tearing down our equipment, a bit of conversing with our hostess for the evening (the woman who helps run the Gallery), and we set off into the night.
9/22/2012
Wayne and Victor arrive early, followed by Brad shortly after at 5:45. Load-in reveals that a couple key pieces of equipment were left behind, so Victor spends a moment tracking down alternatives. Meanwhile, Chris arrives, and he, Brad, and Wayne all help to set the space. Some warming up, Glenn arrives, and we finish setting the PA. Our opening act, Chris Paradise and his band, arrive at about 7. Our own Scott succeeds in finding the space, shortly after.
A quick soundcheck for the Circle, followed by Chris's group. People have begun filtering in.
The show begins early, with the promoter (Mr. Curt) introducing Chris Paradise and his group a few minutes before 8. They play their set, which is well received. At set's end, we give the audience a short break, and circle up in the green room to gather ourselves and have a quick pre-show talk. Then, out into the world.
I do not recall the entire set. But, it did begin with a circulation, followed by Intergalactic Boogie Express (Chris Paquette's request). Improvisation, followed by Growing Circle. A few other pieces, including a first outing for Sigh and a Kiss, and a moment while we asked if there were any questions. Eye of the Needle, followed by Bicycling to Afghanistan and Love is Green. A couple more pieces and improvs (including a great THRAK), a brisk-moving-to-pretty-freaking-brisk Calliope, a well-received Overworld II (and one of the best times we've played it), circulation and improv, Derailed at the Junction, and improv leading into Asturias. A final light sprinkling of harmonics marked the end of the set.
A supportive audience, and a lovely space. Tearing down our equipment, a bit of conversing with our hostess for the evening (the woman who helps run the Gallery), and we set off into the night.
Friday, September 14, 2012
Repertoire review, Brad's apartment
For 9/13/2012
In attendance: Brad, Glenn, Wayne, Chris
Wayne and Chris are first to arrive. While waiting for Glenn, we roughly set the circle, and then begin circulating, from Dmin-ish to Amaj-ish to Cmaj-ish. Some brown moments, but also some really graceful melodies popping out.
On Glenn's arrival, Wayne notes his requested agenda for the night (this being the primary motivator for the meeting), and we set right to work on it. First up: Eye of the Needle. One run-through, and then some spot work to clarify the bassline. A note on stepped dynamics in the outro.
Moving on to Third Relation. Some focused questions about the bass part (accented vs. alternate/cross-picking, whether to mute or not to mute), and then a runthrough to cement the ideas together.
Growing Circle: teaching the middle lead section to Wayne (and Brad by proxy), with a small reminder about one string, and then some looped runs through that section and through to the outro.
A short break.
Hitting a few themes to keep up some of the work: Calliope, Askesis, and a particularly disjointed Overworld II (difficult without Gtr II).
A circulation moving to an improv, and ending the night with a final bump on a low C.
In attendance: Brad, Glenn, Wayne, Chris
Wayne and Chris are first to arrive. While waiting for Glenn, we roughly set the circle, and then begin circulating, from Dmin-ish to Amaj-ish to Cmaj-ish. Some brown moments, but also some really graceful melodies popping out.
On Glenn's arrival, Wayne notes his requested agenda for the night (this being the primary motivator for the meeting), and we set right to work on it. First up: Eye of the Needle. One run-through, and then some spot work to clarify the bassline. A note on stepped dynamics in the outro.
Moving on to Third Relation. Some focused questions about the bass part (accented vs. alternate/cross-picking, whether to mute or not to mute), and then a runthrough to cement the ideas together.
Growing Circle: teaching the middle lead section to Wayne (and Brad by proxy), with a small reminder about one string, and then some looped runs through that section and through to the outro.
A short break.
Hitting a few themes to keep up some of the work: Calliope, Askesis, and a particularly disjointed Overworld II (difficult without Gtr II).
A circulation moving to an improv, and ending the night with a final bump on a low C.
Sunday, September 2, 2012
Thatcher, Gallery 263 team (-Scott) 9/2/12
Thatcher. Victor, Brad, Glenn, Wayne, Chris. I (Glenn) arrived late, so I don't know what happened from 7:30 to 8:00. After my arrival,
sound check
Warming up, C Maj in three octaves, second position, open strings, and increasing tempi, with attention to breath.
Variations on circulation, including awareness of breath and limb rotation.
"Free" circulation, where each seat could pass to any other seat.
Put together a list of possible material for the 263 gig.
Worked through some of this, including Eye of the Needle, Third Relation, Calliope, Bicycling to Afghanistan, Derailed.
Took a break, Victor printing out posters, Chris playing piano.
Did some work on A Sigh and a Kiss, section by section, and then through the whole piece. Discussed some options for the improvised section.
Ended around 11:15
Monday, July 23, 2012
Victor's house, 7/22/2012
In attendance: Victor, Dev, Brad, Chris, Glenn
Dev running a bit late due to work.
Warming up with 5th Primary work (CMaj, 4th string, up to 12th fret and back). Beginning on the slower side, around 80, and slowly increasing speed. As we hit 88, Victor asks us to make a conscious effort to listen to the other players in the circle: with one pass up and down the neck, listening to a player's sound directly as it's coming from the guitar, and on the next pass, listening to the whole sound and ambiance of the player. On the next pass, move to the next person, and repeat the process. Some comments about looking away from the neck.
Third Relation loop: second Dm section, 1st Am section, F#m descending section, Am section, repeat. Victor drills Brad on the Am section and makes a couple of suggestions.
Calliope, 1st Cmaj section loop. Dividing Attention and counting as 4 bars of 3, followed by 6 bars of 4. A full runthrough of the piece. Victor suggests really digging in and observing how long we can hold our
attention, and what happens when we lose our attention (and why it keeps happening at a certain point).
A break. Dev arrives. A bit of discussion on genetics, and how far back they go, and how they can be followed.
Back in the circle, and with Dev, some circulation work. High pitches to low pitches, and back again, key of C Natural Minor. The primary rule is to make sure you are lower than the person before you (or higher, if you're climbing back up). Several passes, with increasing speed. Finally, an extended pass, with multiple traverses up and down and up again, stretching outside of the key.
Reaching back to an exercise we'd done in 2010: each person takes a turn beginning/establishing an improv, and the rest of the circle has to figure out the tonic and join in. Some discussion follows, about give and take, when to remain in one area and when to move on, and drama.
Revisiting The Guitarist Inside, extending the exercise. It's suggested that we work with this as we can.
A final moment, and finishing for the night.
Dev running a bit late due to work.
Warming up with 5th Primary work (CMaj, 4th string, up to 12th fret and back). Beginning on the slower side, around 80, and slowly increasing speed. As we hit 88, Victor asks us to make a conscious effort to listen to the other players in the circle: with one pass up and down the neck, listening to a player's sound directly as it's coming from the guitar, and on the next pass, listening to the whole sound and ambiance of the player. On the next pass, move to the next person, and repeat the process. Some comments about looking away from the neck.
Third Relation loop: second Dm section, 1st Am section, F#m descending section, Am section, repeat. Victor drills Brad on the Am section and makes a couple of suggestions.
Calliope, 1st Cmaj section loop. Dividing Attention and counting as 4 bars of 3, followed by 6 bars of 4. A full runthrough of the piece. Victor suggests really digging in and observing how long we can hold our
attention, and what happens when we lose our attention (and why it keeps happening at a certain point).
A break. Dev arrives. A bit of discussion on genetics, and how far back they go, and how they can be followed.
Back in the circle, and with Dev, some circulation work. High pitches to low pitches, and back again, key of C Natural Minor. The primary rule is to make sure you are lower than the person before you (or higher, if you're climbing back up). Several passes, with increasing speed. Finally, an extended pass, with multiple traverses up and down and up again, stretching outside of the key.
Reaching back to an exercise we'd done in 2010: each person takes a turn beginning/establishing an improv, and the rest of the circle has to figure out the tonic and join in. Some discussion follows, about give and take, when to remain in one area and when to move on, and drama.
Revisiting The Guitarist Inside, extending the exercise. It's suggested that we work with this as we can.
A final moment, and finishing for the night.
Sunday, July 8, 2012
Supplemental Practice 7/5
GCNE
2012-07-05, 1345-1531
Dev, Brad and Rick
Once Rick arrives and chairs are arranged the meeting begins. An opening circulation centered on "C" and "G" with several changes of direction and a few double-time shifts morphs into improv about halfway in. Then a revisiting of a recent exercise tentatively called "step on your buddies' toes" circulation with more direction changes, stacatto/legato/sostenuto as well as timbral variances and a few fits of laughing.
Dev needs to take an aspirin break at 1423.
Back at 1428 and after a brief discussion on what might be played at the coming "Movie Night" gig, the team works on Askesis; the first run through is aborted and deemed too fast, the second is taken all the way through with the team agreeing that the mistakes might be due to lack of warm-up.
At 1445 Rick takes a phone call of necessity.
Resuming work at 1450 the subject of the future of GCNE comes up in discussion but the suggestion that this is saved for the upcoming meeting with the full team is adopted. The team then plays Third Relation twice. The first time through many mistakes are apparent to the team so Rick makes a suggestion of attempting to show no emotional or physical reaction to mistakes and it is applied to a second run through.
A play-through of Intergalactic Boogie Express is next at 1520. Brad offers the opinion that this is one of the group's better-played pieces while Dev offer's the advice not to "ham the ending." Then Where is The Nurse is played once though and an observation is made that this is also a piece that the team plays well.
Dev takes a few minutes to review the "Rock and Roll 5's" in THRAK and then it is given some attention; first in sections and them once through complete. The team is less critical of the outcome of the play through given that Dev is playing a less familiar part but it is agreed upon that being able to play multiple parts in repertoire gives the team added flexibility and is a challenge that might be worth exploring.
A final circulation revisits most of the strategies employed during the opening 2 circulations.
The next meeting is scheduled for Sunday July 8th.
This meeting is adjourned at 1531.
2012-07-05, 1345-1531
Dev, Brad and Rick
Once Rick arrives and chairs are arranged the meeting begins. An opening circulation centered on "C" and "G" with several changes of direction and a few double-time shifts morphs into improv about halfway in. Then a revisiting of a recent exercise tentatively called "step on your buddies' toes" circulation with more direction changes, stacatto/legato/sostenuto as well as timbral variances and a few fits of laughing.
Dev needs to take an aspirin break at 1423.
Back at 1428 and after a brief discussion on what might be played at the coming "Movie Night" gig, the team works on Askesis; the first run through is aborted and deemed too fast, the second is taken all the way through with the team agreeing that the mistakes might be due to lack of warm-up.
At 1445 Rick takes a phone call of necessity.
Resuming work at 1450 the subject of the future of GCNE comes up in discussion but the suggestion that this is saved for the upcoming meeting with the full team is adopted. The team then plays Third Relation twice. The first time through many mistakes are apparent to the team so Rick makes a suggestion of attempting to show no emotional or physical reaction to mistakes and it is applied to a second run through.
A play-through of Intergalactic Boogie Express is next at 1520. Brad offers the opinion that this is one of the group's better-played pieces while Dev offer's the advice not to "ham the ending." Then Where is The Nurse is played once though and an observation is made that this is also a piece that the team plays well.
Dev takes a few minutes to review the "Rock and Roll 5's" in THRAK and then it is given some attention; first in sections and them once through complete. The team is less critical of the outcome of the play through given that Dev is playing a less familiar part but it is agreed upon that being able to play multiple parts in repertoire gives the team added flexibility and is a challenge that might be worth exploring.
A final circulation revisits most of the strategies employed during the opening 2 circulations.
The next meeting is scheduled for Sunday July 8th.
This meeting is adjourned at 1531.
Monday, July 2, 2012
small group meeting 7/1
Chris, Brad, Wayne, Scott in attendance
Brad's pad
Chris, Brad and Wayne meet on the grass and begin at 8:00 with a circulation. to warm up, they take four first primary patterns in a sequence that alternates when changing direction on the neck to ascending or descending (with the 13th position as the pivot), in sixteenth notes at 80 BPM. Scott arrives shortly after this work begins, and the group retakes the exercise; a small adjustment in tempo is made.
next, the group splits off into pairs to work on Growing Circle - Brad teaching Scott the bass part, and Chris teaching Wayne the intro and main section of the lead. as it begins to get dark, the group reconvenes and relocates upstairs for some ensemble practice: two takes of just the intro and main section, to get the new players' feet wet; then, a couple takes counting the bars while playing.
this latter work leads to some ideas for division of attention practice, and to a counting exercise using the main theme from Invocation. Brad prefaces this with the suggestion that we should be working to expand our capacity to do this kind of work for greater lengths of time, e.g. to be able to divide attention for ten or fifteen minutes, or more. tonight the egg timer is set for eight minutes. Wayne departs shortly after this at 9:31, on family-related business.
Chris gives an exposition on a C Major exercise he has been working with based on closed triads on the top three strings. some of the chords are difficult, and the group winds up taking the 3rd inversion sequence for actual work, visualizing moving fragments of C Major across three strings. Chris even demonstrates how such fragments can be incorporated into dance music.
a final circulation to close the meeting, shortly after 10:00.
Brad's pad
Chris, Brad and Wayne meet on the grass and begin at 8:00 with a circulation. to warm up, they take four first primary patterns in a sequence that alternates when changing direction on the neck to ascending or descending (with the 13th position as the pivot), in sixteenth notes at 80 BPM. Scott arrives shortly after this work begins, and the group retakes the exercise; a small adjustment in tempo is made.
next, the group splits off into pairs to work on Growing Circle - Brad teaching Scott the bass part, and Chris teaching Wayne the intro and main section of the lead. as it begins to get dark, the group reconvenes and relocates upstairs for some ensemble practice: two takes of just the intro and main section, to get the new players' feet wet; then, a couple takes counting the bars while playing.
this latter work leads to some ideas for division of attention practice, and to a counting exercise using the main theme from Invocation. Brad prefaces this with the suggestion that we should be working to expand our capacity to do this kind of work for greater lengths of time, e.g. to be able to divide attention for ten or fifteen minutes, or more. tonight the egg timer is set for eight minutes. Wayne departs shortly after this at 9:31, on family-related business.
Chris gives an exposition on a C Major exercise he has been working with based on closed triads on the top three strings. some of the chords are difficult, and the group winds up taking the 3rd inversion sequence for actual work, visualizing moving fragments of C Major across three strings. Chris even demonstrates how such fragments can be incorporated into dance music.
a final circulation to close the meeting, shortly after 10:00.
Wednesday, June 27, 2012
Dev's House
6/24/2012
In Attendance: Dev Ray, Scott Dozier, Victor McSurely, Rick McCarthy, Wayne Wylupski, Brad Hogg
In Attendance: Dev Ray, Scott Dozier, Victor McSurely, Rick McCarthy, Wayne Wylupski, Brad Hogg
Beginning around 8 pm with Dev, Scott, Brad, and Wayne. An
opening circulation, going round the circle, followed by another circulation
that begins with intentional passing across the circle and grows quickly into a
full improvisation.
Dev comments on the newness seems to be coming from Wayne; this
prompts a discussion about where Wayne had left off in the beginning years of
Guitar Craft, and where we are as a circle.
Circulation pattern work; first a review of +2 -1, and then some
stretching. Brad suggests a pattern of +2 -1 +1 -1, while counting in 5 (1 2
3 1 2). The big
help here seems to be looking the way that you are passing. Once we get
that under our hands, Dev mixes it up and suggests playing a rest on the 1,
while still having the spot in the pattern "played" by the
circulation (so the rest would happen on a person's slot, and they would get
the note, but wouldn't actually play anything). This proves to be a good
challenge. Some playing with this, and
then quick observations (noticing startles, difficulties with the gap of the
rest) and a note that this particular pattern ends up with a ping pong that
shifts on each bar of 5. Another run of
the pattern with this in mind makes it much easier to play, but also makes it
too easy to think of the ping pong and just play that. After a few minutes of this, we take a short
break that ends up running longer—some discussion of various topics, during
which Rick arrives.
With Rick in the circle, we take a moment to collect, and then a
circulation and improv. Nice stuff.
Back in with the circulation work. We review what we’d been doing with Rick, run that for a moment,
and then Brad puts forward a different pattern: forward 3, reverse 2, and then begin again to the right of the
player that finishes the pattern. So,
with an order of Dev – Brad – Wayne – Rick – Scott, it would look like:
Dev – Brad – Wayne – Rick – Wayne – Brad
Wayne – Rick – Scott – Dev – Scott – Rick
Scott – Dev – Brad – Wayne – Brad – Dev
Brad – Wayne – Rick – Scott – Rick – Wayne
Rick – Scott – Dev – Brad – Dev – Scott
Once we have our fingernails latched onto this, Rick ups the
ante: count out loud in 5. This we do, and then bump it up just a touch
more with a footstomp when the six-note pattern shifts. A couple of attempts result in peals of
laughter, and then we begin to get the hang of it. At about this time, Victor arrives.
A short circulation to incorporate Victor, and then a short
discussion of what we’ve been doing, to bring him up to speed. At his request, a short report on what is
going on with the AAD course. Some more
discussion follows of upcoming performances and work we have coming our way.
Back with the for3-rev2 circulation we’d been working with, sans
stomping or counting. Victor adds an
extra step that we hadn’t thought of:
using the two non-playing circulators in the circuit, playing on the &s
of 1 and 4. This looks like this:
Rick (Wayne) Victor – Scott – Dev (Brad) Scott – Victor
Scott (Victor) Dev – Brad – Wayne (Rick) Brad – Dev
Fun work.
At this point, Victor takes a moment to talk about Orchestra work,
and presents two exercises that we should be working with: The Guitarist Inside work, and
Division of Attention. We run this last
one for about 8 minutes or so. Some
final words, a final circulation, and we call it a night.
Sunday, June 17, 2012
Small Group (regular Sunday), Glenn's House
Attending: Glenn, Scott, Rick, Brad.
Jumping straight in with CMaj work, and circulating up and down 3 octaves; different permutations of this, including a revisit to +2 -1 while maintaining tertiary motion. Per a suggestion from Rick, we move to the E diminished scale (half-whole), and then the E whole-tone scale. Different strategies being used throughout.
A break while we move upstairs for noshing, courtesy of Scarlet's kitchen work. Many thanks.
Back to the basement. Some general calisthenics work--Scott has been working with the Hammerhead exercise, so we run that for a bit. A couple of different interpretations of the anchor exercise (the 4th primary) are presented. Glenn re-presents the 16 bar exercise, reminding everyone that the focus of the exercise is not in the hands.
A final circulation/improvisation to close the night.
Jumping straight in with CMaj work, and circulating up and down 3 octaves; different permutations of this, including a revisit to +2 -1 while maintaining tertiary motion. Per a suggestion from Rick, we move to the E diminished scale (half-whole), and then the E whole-tone scale. Different strategies being used throughout.
A break while we move upstairs for noshing, courtesy of Scarlet's kitchen work. Many thanks.
Back to the basement. Some general calisthenics work--Scott has been working with the Hammerhead exercise, so we run that for a bit. A couple of different interpretations of the anchor exercise (the 4th primary) are presented. Glenn re-presents the 16 bar exercise, reminding everyone that the focus of the exercise is not in the hands.
A final circulation/improvisation to close the night.
Thursday, June 14, 2012
Small Group at Dev's
In attendance: Dev Ray, Rick McCarthy, Glenn Hughes, Brad Hogg.
Beginning around half-past for noon, due to a late arrival.
Opening circulation in F Lydian, leading to improvising in A minor-ish.
When work is called for, Rick (or Dev) mention some circulation work that had happened some weeks prior: +2 -1 in a very small group context. We revisit this, and then bump it up a notch by assuming 16th-note phrasing (1e&a2e&a3e&a, with an accent on the downbeat), and begin trying something "different" on the downbeat (a low note, or a chord, or a harmonic).
This is challenging but fun, and an off-the-cuff remark ("The next step is doing it in 5") becomes the next step, still retaining the +2 -1 circulation. Now it gets interesting. To keep it easy to hear, we use Cmaj pentatonic, and just using a single octave, to ground the ear.
A full circuit looks like this:
Rick - C
Glenn - D
Brad - E
Glenn - G
Brad - A
Dev - C
Brad - D
Dev - E
Rick - G
Dev - A
Rick - C
Glenn - D
Rick - E
Glenn - G
Brad - A
Glenn - C
Brad - D
Dev - E
Brad - G
Dev - A
Really good work, and a lot of evidence of multiple strategies being used at once. A suggestion of "developing variations" floats by, but isn't quite taken up.
A break for the bums, with some general chatter in between. This leads to Rick mentioning a Church of Flying Dreams piece, "Branding Iron", and how the Circle needs to learn this piece. Glenn begins to play through it, and Dev and Brad immediately strap their guitars on--evidently, the time is now.
Some really good and fun work with this; enthusiasm is not diminished for this piece, and it's very likely that this will move from a solo piece to a Circle piece.
Some associative discussion regarding some of the current AAD course work, and moving into Discipline. A moment of silence closes the meeting at a little after 2 p.m.
Beginning around half-past for noon, due to a late arrival.
Opening circulation in F Lydian, leading to improvising in A minor-ish.
When work is called for, Rick (or Dev) mention some circulation work that had happened some weeks prior: +2 -1 in a very small group context. We revisit this, and then bump it up a notch by assuming 16th-note phrasing (1e&a2e&a3e&a, with an accent on the downbeat), and begin trying something "different" on the downbeat (a low note, or a chord, or a harmonic).
This is challenging but fun, and an off-the-cuff remark ("The next step is doing it in 5") becomes the next step, still retaining the +2 -1 circulation. Now it gets interesting. To keep it easy to hear, we use Cmaj pentatonic, and just using a single octave, to ground the ear.
A full circuit looks like this:
Rick - C
Glenn - D
Brad - E
Glenn - G
Brad - A
Dev - C
Brad - D
Dev - E
Rick - G
Dev - A
Rick - C
Glenn - D
Rick - E
Glenn - G
Brad - A
Glenn - C
Brad - D
Dev - E
Brad - G
Dev - A
Really good work, and a lot of evidence of multiple strategies being used at once. A suggestion of "developing variations" floats by, but isn't quite taken up.
A break for the bums, with some general chatter in between. This leads to Rick mentioning a Church of Flying Dreams piece, "Branding Iron", and how the Circle needs to learn this piece. Glenn begins to play through it, and Dev and Brad immediately strap their guitars on--evidently, the time is now.
Some really good and fun work with this; enthusiasm is not diminished for this piece, and it's very likely that this will move from a solo piece to a Circle piece.
Some associative discussion regarding some of the current AAD course work, and moving into Discipline. A moment of silence closes the meeting at a little after 2 p.m.
Saturday, June 9, 2012
GCNE on Transmission Hour
This morning, GCNE will be taping about an hour's worth of music for a local music show that has been around for a little while, "Transmission Hour", produced by Low Budget Records. Along with the recently completed 3rd season of weekly performances, the Camp Caravan course (which included an Orchestra-style performance for the MREC community), as well as the opportunities that have begun coming up for us, we've had no shortage of work available to us.
Chris and Brad arrive first to the studio at 8:50 a.m., followed shortly by the film crew, then Rick, Glenn, Dev, Scott and his girlfriend Shaelyn (who is serving as an auxiliary photographer of the proceedings), and Victor. We stick to staying out of the way of the film/sound crew and choose to spend our time warming up as they prepare the space for shooting. Truth be told, this is a welcome change for us, and our technical involvement is limited to a few suggestions on mics from Victor and some minor points.
Set-up completed, and we filter in and sit down on our respective stools; a couple of adjustments are made, a few minutes of soundcheck, and we find ourselves 10 minutes ahead of schedule, affording a few more minutes to change shirts as necessary and collect ourselves.
Back into the studio, sitting down, and cameras and audio begin to roll.
Circulation
Growing Circle
Eye of the Needle
Askesis
3rd Relation
"When ready, begin."
Overworld II
Voices of Ancient Children
Hommage a J.S.B.
Intergalactic Boogie Express
THRAK
Where Is The Nurse?
Circulation/Improv
Love Is Green
Flying Home
Peaches en Regalia
Prelude no. 1 in C Major
Batrachomyomachy
Asturias
This was slightly abbreviated from the setlist we had walked in with, due to time constraints and a couple of false starts. Also, the second "Circulation/Improv" may be in a different spot.
The tape runs out just barely after we complete the set. A quick tear-down, and we reconvene in the green room for a quick logistics meeting (discussing the very near future and the new/possibly returning members and bringing them into the fold in true GCNE fashion). We complete this, complete the endeavor as a whole, and take our leave of the studio.
Friday, April 27, 2012
Inside Out rehearsal #11
Victor's House, 4 - 23 - 12, 8:00 - 11:30 PM
**Victor, Rick, Chris (scribe), Brad, Dev, and Scott in attendance.
**we begin with circulation. after a few limp passes, Victor makes two notes on listening while circulating: 1) to hear 'in space'; 2) to hear 'direction in terms of intentionality'. these suggestions seem to open a door which leads to a longer and more satisfying circulation; this is followed by some observations from the group.
**approaching 6/7th's of Fugue no.1 from the WTK without a spoken count or click. before long, we are shedding at a maximum performance tempo of about 76 BPM. next comes the work of combining two performances into one: the Prelude into Fugue. Prelude requires some attention of its own during this process, specifically flow and timing; some of the earlier work with circulation resurfaces in regard to this.
**after a break, we take a few moments to address some structural points in Voices of Ancient Children.
**a few passes through Peaches en Regalia. much time is devoted to detail work, including dynamics and phrasing of voices for specific sections. another task is to articulate the bass voice's special role as "drummer" for the five-guitar arrangement.
**a play-through of Overworld 2, followed by the introduction of a special underscore to be used on specific occasions.
**Victor, Rick, Chris (scribe), Brad, Dev, and Scott in attendance.
**we begin with circulation. after a few limp passes, Victor makes two notes on listening while circulating: 1) to hear 'in space'; 2) to hear 'direction in terms of intentionality'. these suggestions seem to open a door which leads to a longer and more satisfying circulation; this is followed by some observations from the group.
**approaching 6/7th's of Fugue no.1 from the WTK without a spoken count or click. before long, we are shedding at a maximum performance tempo of about 76 BPM. next comes the work of combining two performances into one: the Prelude into Fugue. Prelude requires some attention of its own during this process, specifically flow and timing; some of the earlier work with circulation resurfaces in regard to this.
**after a break, we take a few moments to address some structural points in Voices of Ancient Children.
**a few passes through Peaches en Regalia. much time is devoted to detail work, including dynamics and phrasing of voices for specific sections. another task is to articulate the bass voice's special role as "drummer" for the five-guitar arrangement.
**a play-through of Overworld 2, followed by the introduction of a special underscore to be used on specific occasions.
Monday, March 26, 2012
Inside Out rehearsal #9
Rick's House, 3 - 25 -12, 8:15 PM - 12:15 AM
**Victor, Rick, Chris (scribe), Brad, Dev, and Scott in attendance.
**a +4 -3 circulation to commence the meeting. the circulation travels in one direction in an ambiguous, slightly chromatic tonality, concluding without chords.
**Prelude to begin repertoire work. the opening bars flow well but things become less even as uncertain notes creep in. to expedite the correction process, the group retakes from within the piece, rather than from the beginning, which also challenges the structural understanding of players who are more familiar. things begin to go more smoothly, and the group decides to move on and return to the piece later.
**Peaches en Regalia is approached next, at first slower than performance tempo. after a second run, Rick takes Dev aside to help him with a few parts while Victor, Chris and Brad woodshed the two perpetuo sections. when Rick and Dev return, the group makes several more runs through the piece, eventually incorporating a fade-out at the end of the arrangement. Rick makes a note to "roll" all chords in the piece.
**after a break, there is a small consensus to continue work on Fugue no. 1 from the WTK. Chris makes a suggestion to play through the piece with only the "head" of each voice's entry, and a second time imagining the voice as a response to the previous entry. after these two runs, the group is eager to tackle the fugue with full parts. much work is devoted to this, employing several strategies: with metronome; without metronome, but counting; with no metronome, no counting. at one point, Scott steps aside to refresh his part, while Rick and Dev work out an intricacy in the last bar. as another volley of takes ensues, Victor and others begin mapping the entry of other parts for themselves, to enhance reliability and contrapuntal awareness. a pass is even made at a full Prelude/Fugue, which stays together until the end.
**a couple play-throughs of Overworld 2, with Dev conducting dynamics. some late-in-the-night banter leads to the addition of a small tone color in the finale, and the piece seems ready for Thursday.
**while Rick makes an excursion upstairs, the group compiles a list of performable (and maybe performable) repertoire for Thursday. this dovetails into a recital and somewhat lengthy discussion of Voices of Ancient Children, before Rick returns downstairs.
**a little more Fugue, and recapitulation of logistics, before dispersal.
**Victor, Rick, Chris (scribe), Brad, Dev, and Scott in attendance.
**a +4 -3 circulation to commence the meeting. the circulation travels in one direction in an ambiguous, slightly chromatic tonality, concluding without chords.
**Prelude to begin repertoire work. the opening bars flow well but things become less even as uncertain notes creep in. to expedite the correction process, the group retakes from within the piece, rather than from the beginning, which also challenges the structural understanding of players who are more familiar. things begin to go more smoothly, and the group decides to move on and return to the piece later.
**Peaches en Regalia is approached next, at first slower than performance tempo. after a second run, Rick takes Dev aside to help him with a few parts while Victor, Chris and Brad woodshed the two perpetuo sections. when Rick and Dev return, the group makes several more runs through the piece, eventually incorporating a fade-out at the end of the arrangement. Rick makes a note to "roll" all chords in the piece.
**after a break, there is a small consensus to continue work on Fugue no. 1 from the WTK. Chris makes a suggestion to play through the piece with only the "head" of each voice's entry, and a second time imagining the voice as a response to the previous entry. after these two runs, the group is eager to tackle the fugue with full parts. much work is devoted to this, employing several strategies: with metronome; without metronome, but counting; with no metronome, no counting. at one point, Scott steps aside to refresh his part, while Rick and Dev work out an intricacy in the last bar. as another volley of takes ensues, Victor and others begin mapping the entry of other parts for themselves, to enhance reliability and contrapuntal awareness. a pass is even made at a full Prelude/Fugue, which stays together until the end.
**a couple play-throughs of Overworld 2, with Dev conducting dynamics. some late-in-the-night banter leads to the addition of a small tone color in the finale, and the piece seems ready for Thursday.
**while Rick makes an excursion upstairs, the group compiles a list of performable (and maybe performable) repertoire for Thursday. this dovetails into a recital and somewhat lengthy discussion of Voices of Ancient Children, before Rick returns downstairs.
**a little more Fugue, and recapitulation of logistics, before dispersal.
Sunday, March 18, 2012
Inside Out tech rehearsal
Harvard-Epworth United Methodist Church, 3 - 15 - 12, 5:30 - 8:30 PM
**Victor, Rick, Chris (scribe), Brad, Dev, and Scott in attendance.
**as people are arriving and getting settled, Brad "loans" Scott a guitar with a pickup.
**once equipment is moved inside and everyone is gathered, the group takes a moment to observe its "beginning" in the space.
**the first question to be addressed is how best to use the space for the group's particular style of performance. speakers and seats are placed (with adjustments made), and the board is set up.
**some extended soundchecking, including circulations with three, four, five and six people. there is a small discrepancy between the height of the group's temporary stools and the speakers that is causing acoustical difficulty for some of the players.
**a couple pieces: Eye of the Needle and Austurias.
**the group begins tearing down around what would be the time of the theoretical end of a performance. with some questions as to the storage of equipment, everything is cleaned up only a little after 8:00.
**Dev gives some advice for making phone calls to promotional contacts, before the group leaves off. there is no sign of the group that follows us in the space at 8:30.
**Victor, Rick, Chris (scribe), Brad, Dev, and Scott in attendance.
**as people are arriving and getting settled, Brad "loans" Scott a guitar with a pickup.
**once equipment is moved inside and everyone is gathered, the group takes a moment to observe its "beginning" in the space.
**the first question to be addressed is how best to use the space for the group's particular style of performance. speakers and seats are placed (with adjustments made), and the board is set up.
**some extended soundchecking, including circulations with three, four, five and six people. there is a small discrepancy between the height of the group's temporary stools and the speakers that is causing acoustical difficulty for some of the players.
**a couple pieces: Eye of the Needle and Austurias.
**the group begins tearing down around what would be the time of the theoretical end of a performance. with some questions as to the storage of equipment, everything is cleaned up only a little after 8:00.
**Dev gives some advice for making phone calls to promotional contacts, before the group leaves off. there is no sign of the group that follows us in the space at 8:30.
Inside Out rehearsal #7
Thacher Montessori, 3 - 11 - 12, 8:30 - 11:30 PM
**Victor, Rick, Chris (scribe), Brad, Dev, Scott, and Alex in attendance.
**the group spends the afternoon doing a photo shoot, followed by dinner.
**before meeting with guitars, Dev does some follow-up on promotional work and engages the group in discussion on some ideas to promote the upcoming GC course.
**for warm-up, Where's the Nurse and Batrachomyomachy, with a little detail work on the latter.
**next is Prelude and Fugue no. 1 from Bach's WTC. the Prelude team plays through the piece as far as their knowledge will collectively take them, which tonight is about half-way. it seems that there is a little lack of clarity in the notes of the sequence (rather than the structure) for some players, which is luckily a straightforward fix. then onto Fugue, which tonight is begun from the final chord of the preceding Prelude. conversely, the obstacle to this piece seems to be structural - entering at the right time, counting correctly, etc.
**Dev requests Voices of Ancient Children. the group plays through the piece once, tentatively but without any conspicuous mistakes. Dev makes a note on the tempo, and Chris offers to have a clear delineation of the structure for the next rehearsal.
**the final piece for rehearsal is Overworld 2. Chris has made some changes to the "coda" he has written for the main loop, based on the previous week's responses to it. He takes a moment to teach these as well as a new ending. Then, the team makes several passes through the complete Overworld, and concludes the meeting.
**Victor, Rick, Chris (scribe), Brad, Dev, Scott, and Alex in attendance.
**the group spends the afternoon doing a photo shoot, followed by dinner.
**before meeting with guitars, Dev does some follow-up on promotional work and engages the group in discussion on some ideas to promote the upcoming GC course.
**for warm-up, Where's the Nurse and Batrachomyomachy, with a little detail work on the latter.
**next is Prelude and Fugue no. 1 from Bach's WTC. the Prelude team plays through the piece as far as their knowledge will collectively take them, which tonight is about half-way. it seems that there is a little lack of clarity in the notes of the sequence (rather than the structure) for some players, which is luckily a straightforward fix. then onto Fugue, which tonight is begun from the final chord of the preceding Prelude. conversely, the obstacle to this piece seems to be structural - entering at the right time, counting correctly, etc.
**Dev requests Voices of Ancient Children. the group plays through the piece once, tentatively but without any conspicuous mistakes. Dev makes a note on the tempo, and Chris offers to have a clear delineation of the structure for the next rehearsal.
**the final piece for rehearsal is Overworld 2. Chris has made some changes to the "coda" he has written for the main loop, based on the previous week's responses to it. He takes a moment to teach these as well as a new ending. Then, the team makes several passes through the complete Overworld, and concludes the meeting.
Inside Out rehearsal #6
Thacher Montessori, 3 - 4 - 12, 8:00 - 11:30 PM
**Victor, Rick, Chris (scribe), Brad, Scott, Alex in attendance.
**for a calisthenic warm-up, the group tackles the "anchor" exercise up and down the neck first at a moderate, and then a brisk, tempo.
**a play-through of Flying Home for something a bit more musical.
**several pieces of new repertoire are in need work, and people are at various levels of proficiency with various parts within that repertoire. the group splits up to economize the work and find a direction: Alex works individually on his parts for the fugue; Rick works with Chris on the perpetuo sections of Peaches en Regalia; and Brad and Victor work on their own part for Peaches.
**after the small groups session, a few full recitals of Peaches before Alex and Rick must both make early departures.
**following a short break, the remaining group plays through some repertoire: Growing Circle, once at a slow tempo and again more quickly; one take of Bicycling to Afghanistan; Moving Force, with Chris pulling Scott outside to show him the bass part; and finishing up with Thrak, getting Scott on board with marching, counting, and a little help from the Talking Heads.
**Victor, Rick, Chris (scribe), Brad, Scott, Alex in attendance.
**for a calisthenic warm-up, the group tackles the "anchor" exercise up and down the neck first at a moderate, and then a brisk, tempo.
**a play-through of Flying Home for something a bit more musical.
**several pieces of new repertoire are in need work, and people are at various levels of proficiency with various parts within that repertoire. the group splits up to economize the work and find a direction: Alex works individually on his parts for the fugue; Rick works with Chris on the perpetuo sections of Peaches en Regalia; and Brad and Victor work on their own part for Peaches.
**after the small groups session, a few full recitals of Peaches before Alex and Rick must both make early departures.
**following a short break, the remaining group plays through some repertoire: Growing Circle, once at a slow tempo and again more quickly; one take of Bicycling to Afghanistan; Moving Force, with Chris pulling Scott outside to show him the bass part; and finishing up with Thrak, getting Scott on board with marching, counting, and a little help from the Talking Heads.
Saturday, March 3, 2012
Inside Out rehearsal #5
* Thacher Montessori, 2 - 26 - 12
* 7:50 - 11:30 PM
* In attendance: Victor, Rick, Chris (scribe), Brad, Dev
** to begin, a circulation which hovers between C and G Major.
** once again, the group warms up with familiar repertoire: Where's the Nurse, Askesis, Batrachomyomachy, Calliope, Intergalactic Boogie Express
** two play-throughs of La Cathedrale Engloutie as a quintet. the group decides that the piece is tenable as a five-part arrangement, if needed. some sections are still rusty. off-book for next week, please!
** short break, which leads to some discussion. among the topics are recruitment ideas for the Circle; turning the burner up on our work currently; a practical point regarding season length; and, still an issue, a name, to be addressed later.
** saddled with guitars again, the group tackles Peaches en Regalia, focusing specifically on the "D" section.
** the group plays a game with free association to help them settle on a name ("Inside Out"). a few decisions made regarding certain arrangements (Opening, Overworld 2), and what to have ready for next week.
* 7:50 - 11:30 PM
* In attendance: Victor, Rick, Chris (scribe), Brad, Dev
** to begin, a circulation which hovers between C and G Major.
** once again, the group warms up with familiar repertoire: Where's the Nurse, Askesis, Batrachomyomachy, Calliope, Intergalactic Boogie Express
** two play-throughs of La Cathedrale Engloutie as a quintet. the group decides that the piece is tenable as a five-part arrangement, if needed. some sections are still rusty. off-book for next week, please!
** short break, which leads to some discussion. among the topics are recruitment ideas for the Circle; turning the burner up on our work currently; a practical point regarding season length; and, still an issue, a name, to be addressed later.
** saddled with guitars again, the group tackles Peaches en Regalia, focusing specifically on the "D" section.
** the group plays a game with free association to help them settle on a name ("Inside Out"). a few decisions made regarding certain arrangements (Opening, Overworld 2), and what to have ready for next week.
Inside Out rehearsal #4
Thacher Montessori, 2 - 19 - 12
8:00 - 11:00 PM
In attendance: Victor, Rick, Chris (scribe), Brad, Dev, Scott
The meeting begins with discussion of what obstacles stand in the way of a full-on promotional effort for the upcoming performance series. One of these items - the selection of a name - is given some deliberation after an unsuccessful session last week, but with results that are no more clear. The group once again decides to let the question rest and move on to guitar work.
First order is some familiar repertoire to warm up: Eye of the Needle, Where's the Nurse, Growing Circle. The last piece is taken more slowly and with section work to accommodate Scott, who is newly jumping on as a player.
Then another familiar piece: the first prelude from The Well-Tempered Clavier, with Dev taking the fifth seat. Focus is mainly directed toward establishing the pattern and flow of the circulation, rather than going through the whole piece note-wise. A step is also taken to determine articulation - legato, staccato, as written, or let ring? with the group settling on the last. This work naturally leads to the accompanying fugue, which is given several run-throughs with 6/7 of the ensemble.
The final pieces to be reviewed are La Cathedrale Engloutie and Opening. For the latter, Victor leads a short rhythm clinic for the high line, which must circulate a triplet figure across four seats. The highs are eventually able to find a groove, and Chris joins in with the eighth note counter-rhythm for a more or less successful looping of the first section. A few last-minute memorandums before closing.
8:00 - 11:00 PM
In attendance: Victor, Rick, Chris (scribe), Brad, Dev, Scott
The meeting begins with discussion of what obstacles stand in the way of a full-on promotional effort for the upcoming performance series. One of these items - the selection of a name - is given some deliberation after an unsuccessful session last week, but with results that are no more clear. The group once again decides to let the question rest and move on to guitar work.
First order is some familiar repertoire to warm up: Eye of the Needle, Where's the Nurse, Growing Circle. The last piece is taken more slowly and with section work to accommodate Scott, who is newly jumping on as a player.
Then another familiar piece: the first prelude from The Well-Tempered Clavier, with Dev taking the fifth seat. Focus is mainly directed toward establishing the pattern and flow of the circulation, rather than going through the whole piece note-wise. A step is also taken to determine articulation - legato, staccato, as written, or let ring? with the group settling on the last. This work naturally leads to the accompanying fugue, which is given several run-throughs with 6/7 of the ensemble.
The final pieces to be reviewed are La Cathedrale Engloutie and Opening. For the latter, Victor leads a short rhythm clinic for the high line, which must circulate a triplet figure across four seats. The highs are eventually able to find a groove, and Chris joins in with the eighth note counter-rhythm for a more or less successful looping of the first section. A few last-minute memorandums before closing.
Inside Out rehearsal #3
Thacher Montessori, 2 - 12 -12
8:00 - 11:00 PM
In attendance: Victor, Rick, Chris (scribe), Brad, Scott
As people are getting settled, Dev asks whether the group should talk or play guitar first. There are several important matters to be discussed, which takes up the first part of the meeting: firstly, deciding which repertoire (out of a long list) to have ready for opening night in roughly a month's time. Nothing is ruled out, but a few suggestions are made on how to address repertoire in a quality-oriented but time-efficient way.
The next topic is deciding on a name for the performance series, as part of the process of beginning the group's promotional efforts. This turns out to not be so easy, and after a good bout of deliberation the topic is dropped with a vow "not to think about it whatsoever" until a later time. Dev also briefs the group on correspondence strategies.
For guitar playing, the group turns to some older repertoire with the idea of using it like a warm-up, while saving performance notes for personal practice. Going through each piece once, we play Askesis, Where's the Nurse, Third Relation, Flying Home, and Growing Circle, before a short break.
The Circle reconvenes with Peaches en Regalia, which exhibits a wide gamut of familiarity with individual players. Rehearsal of the piece is thus largely a process of running through the early sections, with Rick assisting respective circlers with an array of difficulties. Victor makes an appointment to learn the piece in person.
Overworld 2 gets a run with more last minute re-orchestration, and La Cathedrale Engloutie is given hearing for the first time since the end of season one, with a tighter arrangement and a new player. The first take is reassuring, and with some clarification from Brad the group makes it to the last measures more or less satisfactorily.
8:00 - 11:00 PM
In attendance: Victor, Rick, Chris (scribe), Brad, Scott
As people are getting settled, Dev asks whether the group should talk or play guitar first. There are several important matters to be discussed, which takes up the first part of the meeting: firstly, deciding which repertoire (out of a long list) to have ready for opening night in roughly a month's time. Nothing is ruled out, but a few suggestions are made on how to address repertoire in a quality-oriented but time-efficient way.
The next topic is deciding on a name for the performance series, as part of the process of beginning the group's promotional efforts. This turns out to not be so easy, and after a good bout of deliberation the topic is dropped with a vow "not to think about it whatsoever" until a later time. Dev also briefs the group on correspondence strategies.
For guitar playing, the group turns to some older repertoire with the idea of using it like a warm-up, while saving performance notes for personal practice. Going through each piece once, we play Askesis, Where's the Nurse, Third Relation, Flying Home, and Growing Circle, before a short break.
The Circle reconvenes with Peaches en Regalia, which exhibits a wide gamut of familiarity with individual players. Rehearsal of the piece is thus largely a process of running through the early sections, with Rick assisting respective circlers with an array of difficulties. Victor makes an appointment to learn the piece in person.
Overworld 2 gets a run with more last minute re-orchestration, and La Cathedrale Engloutie is given hearing for the first time since the end of season one, with a tighter arrangement and a new player. The first take is reassuring, and with some clarification from Brad the group makes it to the last measures more or less satisfactorily.
Friday, February 10, 2012
small group meeting, Rick's House, 2-1-12
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.
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.
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.
Friday, January 27, 2012
rehearsal #1, GCNE performance project Season Three, Thacher Montessori, 1-22-12
In attendance: Victor, Rick, Chris (scribe), Brad
The quartet convene around 7:45, and directly begin work on some recently proposed repertoire ideas. First on the plate is Peaches En Regalia, which Rick has arranged. The group tackles the piece one rehearsal mark at a time (first the 'A' section, then the 'B', etc.), with most present learning as they go along (Chris and Brad mention they have been working on the more difficult sections first). This is promising enough for future work.
Next the company takes on the second overworld theme from Super Mario Bros. 3, which Chris has brought in. Part distribution will depend on seating, but for practical purposes an ad hoc formation of the arrangement is taken on by the group. If the intention is to inject some mirth into a GCNE set, then the mission appears well on its way to accomplishment. Again, the group takes it by section-by-section, and loops the 'loop' a few times.
Victor would like to hear how a three-part harmony arrangement of Jessica would sound, so the group gives it a whirl with Rick alternating between one of the voices and a comp pattern. This also seems promising, and the guys discuss possibilities for a complete arrangement.
A little talk about how to approach full-group pieces (Opening, Fugue No. 1, La Cathedrale Engloutie) before the rehearsal is done at 11:00.
The quartet convene around 7:45, and directly begin work on some recently proposed repertoire ideas. First on the plate is Peaches En Regalia, which Rick has arranged. The group tackles the piece one rehearsal mark at a time (first the 'A' section, then the 'B', etc.), with most present learning as they go along (Chris and Brad mention they have been working on the more difficult sections first). This is promising enough for future work.
Next the company takes on the second overworld theme from Super Mario Bros. 3, which Chris has brought in. Part distribution will depend on seating, but for practical purposes an ad hoc formation of the arrangement is taken on by the group. If the intention is to inject some mirth into a GCNE set, then the mission appears well on its way to accomplishment. Again, the group takes it by section-by-section, and loops the 'loop' a few times.
Victor would like to hear how a three-part harmony arrangement of Jessica would sound, so the group gives it a whirl with Rick alternating between one of the voices and a comp pattern. This also seems promising, and the guys discuss possibilities for a complete arrangement.
A little talk about how to approach full-group pieces (Opening, Fugue No. 1, La Cathedrale Engloutie) before the rehearsal is done at 11:00.
Inaugural Meeting, GCNE performance project Season Three, "The Loft", 1-15-12
In attendance: Victor, Rick, Chris (scribe), Brad, Alex, Scott
The group commences the next period of its work with silence, and a circulation which leads to several spots of improvisation. With this keynote, the circlers decide that the next step is to share personal aims for the project. Rick has Dev's aims (currently visiting family in India) and reads them aloud for the group on his behalf.
The ensuing discussion is a thread of logistical topics, the most pressing of which is the selection of a space for the performance part of the project. A handful of prospects are offered and subsequently appraised, with a likely candidate coming out of the rough. Appointments are made for further investigation before a final decision is made.
Next is a general consideration of promotional work, which inter alia includes arriving at a new and exciting name for the performance series (now likely happening on a Thursday or Friday).
Besides promotion, the other task which the group has reserved these two months for is repertoire: things added, things resurrected, things brought to a higher performance standard. The motto is no wrong notes! Mistakes, perhaps, but not mistakes in the understanding. Victor points out that the concert standard for a professional is seven times through without an error. Improvised repertoire is also discussed.
After a break, the group delves into personal guitar practice with each member sharing what he is doing, and how far along he is with that work. Victor offers some exercises along the way, according to the need of each particular player.
The group takes some time to share ideas for new repertoire, which are added to a list of repertoire to be carried over from last season.
With a circulation, the meeting concludes around 11:00.
The group commences the next period of its work with silence, and a circulation which leads to several spots of improvisation. With this keynote, the circlers decide that the next step is to share personal aims for the project. Rick has Dev's aims (currently visiting family in India) and reads them aloud for the group on his behalf.
The ensuing discussion is a thread of logistical topics, the most pressing of which is the selection of a space for the performance part of the project. A handful of prospects are offered and subsequently appraised, with a likely candidate coming out of the rough. Appointments are made for further investigation before a final decision is made.
Next is a general consideration of promotional work, which inter alia includes arriving at a new and exciting name for the performance series (now likely happening on a Thursday or Friday).
Besides promotion, the other task which the group has reserved these two months for is repertoire: things added, things resurrected, things brought to a higher performance standard. The motto is no wrong notes! Mistakes, perhaps, but not mistakes in the understanding. Victor points out that the concert standard for a professional is seven times through without an error. Improvised repertoire is also discussed.
After a break, the group delves into personal guitar practice with each member sharing what he is doing, and how far along he is with that work. Victor offers some exercises along the way, according to the need of each particular player.
The group takes some time to share ideas for new repertoire, which are added to a list of repertoire to be carried over from last season.
With a circulation, the meeting concludes around 11:00.
Thursday, January 12, 2012
small group meeting, Rick's House, 1-6-12
In attendance: Rick, Chris (scribe), Scott, Brad, Dev, Alex
We begin with a circulation around 8:30, followed by some remarks regarding the purpose of our meeting tonight. Once we have settled this, we decide it would be best to warm up the hands with a primary exercise, a simple ascending pattern (1-2-3-4) for the left hand up and down the neck at a moderate tempo (sixteenth notes at 60 BPM). Intermittently, we take the opportunity to refresh some of the principles behind the exercise, such as succession, simultaneous release and constant release. Dev makes a note to be cautious about ringing strings (especially undesirable when amplified) and to keep right hand movement small; Alex reminds us to listen for tone.
Next, we continue along the same lines with a different fingering pattern, a descending figure (4-3-2-1). We find ourselves speeding up, with a few in the group admitting that this form of the exercise comes less easily than the familiar ascending pattern. Chris hypothesizes that the difficulty comes from the quality of constant release feeling unusual, while Dev suggests that we are not used to leading with the fourth, small finger.
For further variation, Alex proffers the "Hammerhead" exercise, which displaces a given fingering pattern to adjacent strings without disrupting its constituency (thus making any first primary figure a candidate for experimentation). He demonstrates a form for ascending and descending across strings, so that the exercise may be taken a la the first primary. We spend some time practicing on the middle strings, then add the outer strings, proceeding at a similar moderate tempo.
Next, Chris requests an exercise for the right hand. Alex then presents a figure based on Albeniz's Austurias (Leyenda) which incorporates an accelerating tremolo part with some continuous work for the left hand. First, as we come to grips with the figure, we practice eighth notes at 60 BPM (possibly slower) before adding and alternating with the triplet form. For fun, we take it up to 80 BPM, but don't last long.
After a break with some practical discussion, we reconvene with a second circulation that leads into some extended improvisation. This turns out to be an appropriate spot to conclude the meeting, and we do so around 10:30.
We begin with a circulation around 8:30, followed by some remarks regarding the purpose of our meeting tonight. Once we have settled this, we decide it would be best to warm up the hands with a primary exercise, a simple ascending pattern (1-2-3-4) for the left hand up and down the neck at a moderate tempo (sixteenth notes at 60 BPM). Intermittently, we take the opportunity to refresh some of the principles behind the exercise, such as succession, simultaneous release and constant release. Dev makes a note to be cautious about ringing strings (especially undesirable when amplified) and to keep right hand movement small; Alex reminds us to listen for tone.
Next, we continue along the same lines with a different fingering pattern, a descending figure (4-3-2-1). We find ourselves speeding up, with a few in the group admitting that this form of the exercise comes less easily than the familiar ascending pattern. Chris hypothesizes that the difficulty comes from the quality of constant release feeling unusual, while Dev suggests that we are not used to leading with the fourth, small finger.
For further variation, Alex proffers the "Hammerhead" exercise, which displaces a given fingering pattern to adjacent strings without disrupting its constituency (thus making any first primary figure a candidate for experimentation). He demonstrates a form for ascending and descending across strings, so that the exercise may be taken a la the first primary. We spend some time practicing on the middle strings, then add the outer strings, proceeding at a similar moderate tempo.
Next, Chris requests an exercise for the right hand. Alex then presents a figure based on Albeniz's Austurias (Leyenda) which incorporates an accelerating tremolo part with some continuous work for the left hand. First, as we come to grips with the figure, we practice eighth notes at 60 BPM (possibly slower) before adding and alternating with the triplet form. For fun, we take it up to 80 BPM, but don't last long.
After a break with some practical discussion, we reconvene with a second circulation that leads into some extended improvisation. This turns out to be an appropriate spot to conclude the meeting, and we do so around 10:30.
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