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.
Friday, October 26, 2012
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.
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