In attendance: Victor, Brad, Glenn, Chris, Scott
Several activities; largely focused on prepping for the OCG. A fair amount of warming up, and encouragement provided from the team for a member.
Victor trying out something new with an improv. Lights on for this one, and we're asked to use the full space of the gym. As a directive, though, we're also asked to phrase everything in fives (a slow five, a long five, fast fives). This comes to a stop, eventually.
Running the sixty points while circulating a simple +5 -4 pattern.
Improvising and ambulating in the dark.
Ending the meeting somewhere around 11 pm.
Monday, April 8, 2013
Sunday, March 24, 2013
Thacher Montessori Gym, 03-24-2013
In attendance: Victor, Brad, Glenn, Chris, and Dev arrives a little later.
The meeting gets underway a bit on the late side; Victor suggests revisiting our revision of Sigh and a Kiss. A bit of review for everyone, but Glenn's edits eventually make sense. Dev arrives while we're parsing this information, and we run the piece a couple of times.
We also check in with 49 Notes. A bit of the same: a couple of runs with adjustments.
A quick break for Knockout.
Lots of updates on the OCG VII project. A lot of discussion on important logistics, what the Circle will need to do for promotion, and some opening discussion about travel-related items. Also, a clarification on a related exercise. A bit more discussion.
With guitars on, we take to our feet for a bit of playing. In the circle: Where is the Nurse?, Askesis, A Sigh and a Kiss, and 49 Notes. Work is necessary, but it's nice to know that some things are only a little rusty.
At this point, we've been playing in a relatively tight circle. On a whim, Brad asks if we can try 49 Notes again, as absolutely far apart as we can manage to position ourselves. Interesting work: the distance really significantly creates lag and timestretching.
Back on our stools for a few moments of final notes, and we call the meeting for the night.
The meeting gets underway a bit on the late side; Victor suggests revisiting our revision of Sigh and a Kiss. A bit of review for everyone, but Glenn's edits eventually make sense. Dev arrives while we're parsing this information, and we run the piece a couple of times.
We also check in with 49 Notes. A bit of the same: a couple of runs with adjustments.
A quick break for Knockout.
Lots of updates on the OCG VII project. A lot of discussion on important logistics, what the Circle will need to do for promotion, and some opening discussion about travel-related items. Also, a clarification on a related exercise. A bit more discussion.
With guitars on, we take to our feet for a bit of playing. In the circle: Where is the Nurse?, Askesis, A Sigh and a Kiss, and 49 Notes. Work is necessary, but it's nice to know that some things are only a little rusty.
At this point, we've been playing in a relatively tight circle. On a whim, Brad asks if we can try 49 Notes again, as absolutely far apart as we can manage to position ourselves. Interesting work: the distance really significantly creates lag and timestretching.
Back on our stools for a few moments of final notes, and we call the meeting for the night.
Monday, March 11, 2013
Thacher Montessori Gym, 3/10/2013
In attendance: Victor, Rick, Chris, Brad. Dev arrives at a later time.
Pre-meeting, Chris and Brad (and with a bit of help from Rick as he arrives) de-chair the gym, leaving a mostly clear floor. Some tuning, warming up, and then a quiet moment to open the meeting. Warming up with the 1st Secondary, in 3 string chromatic form. Bumping this up to division of attention, counting the exercise in 7, twelve times through. A bit of a struggle, but we get it after a few tries.
Next, expanding on the C Major exercise from the week before: a crosspicking exercise that entails a simple 6/9 chord, or a bass note, a sixth above, and then a ninth above that. In CMaj, a chord built on an A would be, low to high, A F B. The simple version would be to cross pick the three-note chord, low to high, up and down the neck:
g------------------------------------------------------------
E------------------------------------------------------------
A------2-----3-----5-----7------8-------10-------12----------
D----3-----5-----7-----9-----10------12-------14-------------
G--2-----4-----5-----7-----9------10-------12----------------
C------------------------------------------------------------
There are many variations to this.
The importance of working creatively, and of trying things that you're not sure of, is brought up; Victor makes the suggestion that we make this part of our practice, especially in light of the Orchestra work. This is necessarily different from the work of developing and maintaining craft, wherein one might work to perfect a particular skill--this is more the work of constantly doing something new ("Can I do this? Now can I do it backwards? Now can I run through this while maintaining a different count and engaging a different center of the body?").
Around this time, Dev arrives, just in time for a break.
After the break, Dev takes the lead to bring everyone up to date on logistics for the OCG tour in May. Some tasks will be getting handed out to others, soon.
Victor brings Dev up to date on what he missed in the first part of the meeting.
Up on our feet, on the other side of the gym, we work with circulating in alphabetic order in a rotating pattern (1 2 3 4 5, 2 3 4 5 1, 3 4 5 1 2, 4 5 1 2 3, 5 1 2 3 4). Concurrently, we're to be paying attention to our breathing, as well as the sound of our feet on the floor. It's a little tough, but we eventually get it. We then move to a standing circulation, with the same idea, but running the 60 points, one point per cycle around the group (standing still). Some difficulty getting through the exercise leads to a repetition with the lights out, which is noticeably easier. At the completion of another circuit, there is a moment of silence, followed by spontaneous ambulant improvisation, still with the lights off. Roughly 12 minutes.
After a long moment, the lights go back on, and we head back to the circle for a bit of discussion. The meeting closes shortly after.
Pre-meeting, Chris and Brad (and with a bit of help from Rick as he arrives) de-chair the gym, leaving a mostly clear floor. Some tuning, warming up, and then a quiet moment to open the meeting. Warming up with the 1st Secondary, in 3 string chromatic form. Bumping this up to division of attention, counting the exercise in 7, twelve times through. A bit of a struggle, but we get it after a few tries.
Next, expanding on the C Major exercise from the week before: a crosspicking exercise that entails a simple 6/9 chord, or a bass note, a sixth above, and then a ninth above that. In CMaj, a chord built on an A would be, low to high, A F B. The simple version would be to cross pick the three-note chord, low to high, up and down the neck:
g------------------------------------------------------------
E------------------------------------------------------------
A------2-----3-----5-----7------8-------10-------12----------
D----3-----5-----7-----9-----10------12-------14-------------
G--2-----4-----5-----7-----9------10-------12----------------
C------------------------------------------------------------
There are many variations to this.
The importance of working creatively, and of trying things that you're not sure of, is brought up; Victor makes the suggestion that we make this part of our practice, especially in light of the Orchestra work. This is necessarily different from the work of developing and maintaining craft, wherein one might work to perfect a particular skill--this is more the work of constantly doing something new ("Can I do this? Now can I do it backwards? Now can I run through this while maintaining a different count and engaging a different center of the body?").
Around this time, Dev arrives, just in time for a break.
After the break, Dev takes the lead to bring everyone up to date on logistics for the OCG tour in May. Some tasks will be getting handed out to others, soon.
Victor brings Dev up to date on what he missed in the first part of the meeting.
Up on our feet, on the other side of the gym, we work with circulating in alphabetic order in a rotating pattern (1 2 3 4 5, 2 3 4 5 1, 3 4 5 1 2, 4 5 1 2 3, 5 1 2 3 4). Concurrently, we're to be paying attention to our breathing, as well as the sound of our feet on the floor. It's a little tough, but we eventually get it. We then move to a standing circulation, with the same idea, but running the 60 points, one point per cycle around the group (standing still). Some difficulty getting through the exercise leads to a repetition with the lights out, which is noticeably easier. At the completion of another circuit, there is a moment of silence, followed by spontaneous ambulant improvisation, still with the lights off. Roughly 12 minutes.
After a long moment, the lights go back on, and we head back to the circle for a bit of discussion. The meeting closes shortly after.
Monday, March 4, 2013
Thacher Montessori Gym
In attendance: Brad, Victor, Glenn, Scott.
With Scott on his way, we begin by warming up with the First Secondary on 2 strings, in basic chromatic form. At Victor's suggestion, we try with a symmetrical scale, but switch to Dorian. Eventually, we give 3 strings a shot, but this proves to be a bit much in Dorian, so at Glenn's request we fall back to the basic chromatic 4-fret form. This eventually gets harmonized. A short discussion on how we learn, and the systematization of learning through patterns and numbers.
It comes to light that Brad has not learned Chrysanthemum yet, so the next bit of time is spent running the intro and first section of the head so that he can learn this piece (and eventually transcribe it). Scott arrives in the middle of this.
Victor calls a circulation; Cmaj with some chromaticism follows. Next, a simple form of +4/-3 follows; the ante is then upped when Victor directs us to cycle through the 60 points with each iteration of the complete form (every 16 beats). We have a bit of a group habit of stepping on each other's toes at moments, and there are a couple of moments where the 60 Point form gets confused. But generally, we make it through.
Back/backside break, during which knockout is played.
Post-break, a check-in with Scott, and a 5th Primary-based drill in Amin/Cmaj for boning up on fretboard knowledge.
Brad asks a small question about a harmony part in Thrak.
Some work with Sigh and a Kiss, which includes an extended bit of solo trading between Glenn and Brad, as well as reviewing Glenn's revised revision to the ending. Eventually, we get a couple of successful runs through the parts. There is a question about how this may or may not apply to the work towards the OCG.
A moment of silence to end the meeting. Afterwards, goats.
With Scott on his way, we begin by warming up with the First Secondary on 2 strings, in basic chromatic form. At Victor's suggestion, we try with a symmetrical scale, but switch to Dorian. Eventually, we give 3 strings a shot, but this proves to be a bit much in Dorian, so at Glenn's request we fall back to the basic chromatic 4-fret form. This eventually gets harmonized. A short discussion on how we learn, and the systematization of learning through patterns and numbers.
It comes to light that Brad has not learned Chrysanthemum yet, so the next bit of time is spent running the intro and first section of the head so that he can learn this piece (and eventually transcribe it). Scott arrives in the middle of this.
Victor calls a circulation; Cmaj with some chromaticism follows. Next, a simple form of +4/-3 follows; the ante is then upped when Victor directs us to cycle through the 60 points with each iteration of the complete form (every 16 beats). We have a bit of a group habit of stepping on each other's toes at moments, and there are a couple of moments where the 60 Point form gets confused. But generally, we make it through.
Back/backside break, during which knockout is played.
Post-break, a check-in with Scott, and a 5th Primary-based drill in Amin/Cmaj for boning up on fretboard knowledge.
Brad asks a small question about a harmony part in Thrak.
Some work with Sigh and a Kiss, which includes an extended bit of solo trading between Glenn and Brad, as well as reviewing Glenn's revised revision to the ending. Eventually, we get a couple of successful runs through the parts. There is a question about how this may or may not apply to the work towards the OCG.
A moment of silence to end the meeting. Afterwards, goats.
Sunday, February 24, 2013
Thacher Montessori, in the gym
In attendance: Victor, Chris, Brad, Rick, Dev, Glenn
The meeting opens with us sitting in a circle. At Victor's invitation, Dev takes the lead, giving an account of the recent course that was held earlier this month near Cuernevaca, Mexico, hosted by the Contemporary Guitar Ensemble. Lots of good information, and plenty to look forward to in the coming months and years.
This leads quite naturally into a discussion of the upcoming special project (Dev noticeably self-corrected after calling it a course) here in May with the Orchestra. As of this meeting, the first performance of the Orchestra of Crafty Guitarists East Coast Tour 2013 will be held in precisely three months, not far from the last GCNE performance series held at Harvard-Epworth. The middle now seems to be past, and most all agree that time has noticeably accelerated. A fair amount of practical work stands in front of us, in addition to the guitar-and-otherwise work.
As requested by Sandra, Dev runs the team through an exercise; this is to sort of bring us in sync with some work we got from her back in December, and is also related to the work of the Orchestra. Following this, we take it up in an ambulatory fashion, attempting to run it faster and faster. Some interesting observations.
Once we've run through this exercise to a logical sort of conclusion for the night, Victor walks over, kills the lights, and gives the "When ready, begin while ambulating in the dark" command. Some of the more creative improvising this Circle has engaged with: to the scribe's ears, this is some of the most musical playing he's heard in a while. Lotsa juice.
A short break.
Back in the circle, Dev gives a formal introduction of the First Secondary, and some of the variations RF presented with it.
A final G Major circulation/improvisation to end the night.
The meeting opens with us sitting in a circle. At Victor's invitation, Dev takes the lead, giving an account of the recent course that was held earlier this month near Cuernevaca, Mexico, hosted by the Contemporary Guitar Ensemble. Lots of good information, and plenty to look forward to in the coming months and years.
This leads quite naturally into a discussion of the upcoming special project (Dev noticeably self-corrected after calling it a course) here in May with the Orchestra. As of this meeting, the first performance of the Orchestra of Crafty Guitarists East Coast Tour 2013 will be held in precisely three months, not far from the last GCNE performance series held at Harvard-Epworth. The middle now seems to be past, and most all agree that time has noticeably accelerated. A fair amount of practical work stands in front of us, in addition to the guitar-and-otherwise work.
As requested by Sandra, Dev runs the team through an exercise; this is to sort of bring us in sync with some work we got from her back in December, and is also related to the work of the Orchestra. Following this, we take it up in an ambulatory fashion, attempting to run it faster and faster. Some interesting observations.
Once we've run through this exercise to a logical sort of conclusion for the night, Victor walks over, kills the lights, and gives the "When ready, begin while ambulating in the dark" command. Some of the more creative improvising this Circle has engaged with: to the scribe's ears, this is some of the most musical playing he's heard in a while. Lotsa juice.
A short break.
Back in the circle, Dev gives a formal introduction of the First Secondary, and some of the variations RF presented with it.
A final G Major circulation/improvisation to end the night.
Tuesday, February 19, 2013
Small group at Brad's Apartment
In attendance: Chris, Brad.
With limited crew, there isn't a wide breadth of material to fall back on, but we do what we can.
- At Chris's prompting, Brad shows him a warm up for the hands that he's been using for a couple of months.
- Chris demonstrates some more of the small detail work that he's been looking at; some very particular phrasing in a few bars of the C Major Cello Prelude. This works into some discussion of classical notation, personal interpretation, how daring one can be, etc.
- A bit of work with some of the rhythmic work we'd done two weeks back; Brad makes an over-suggestion.
- Short break
- A bit of repertoire work: Where's the Nurse gets a run. Chris notes that he really likes to hear the piece lay back hard on the downbeat of the bar (a heavy "one"). With a bit of explanation, we give this a try, and find that it really brings out the sexiness of the piece, for lack of a better term. Also, a bit of attention to the lead outro arpeggios for Brad, with another note from Chris about the methodic approach.
- Brad mentions he's been working with overplaying the accents in Askesis, as well as addressing a very specific instruction from Victor about how to play the "many bugs" part. We run the bass part from top to bottom, and then focus on a few spots where Chris knows the lead. Chris's comment is that it really brings out the playfulness of the music, in contrast to the more constant attack that is commonly associated with Crafty music.
- A couple runs of Growing Circle; the second time, Brad asks Chris to overplay the dynamics (or really to just play louder). Chris's dead strings don't make this easy for him.
With that, we call it a night.
With limited crew, there isn't a wide breadth of material to fall back on, but we do what we can.
- At Chris's prompting, Brad shows him a warm up for the hands that he's been using for a couple of months.
- Chris demonstrates some more of the small detail work that he's been looking at; some very particular phrasing in a few bars of the C Major Cello Prelude. This works into some discussion of classical notation, personal interpretation, how daring one can be, etc.
- A bit of work with some of the rhythmic work we'd done two weeks back; Brad makes an over-suggestion.
- Short break
- A bit of repertoire work: Where's the Nurse gets a run. Chris notes that he really likes to hear the piece lay back hard on the downbeat of the bar (a heavy "one"). With a bit of explanation, we give this a try, and find that it really brings out the sexiness of the piece, for lack of a better term. Also, a bit of attention to the lead outro arpeggios for Brad, with another note from Chris about the methodic approach.
- Brad mentions he's been working with overplaying the accents in Askesis, as well as addressing a very specific instruction from Victor about how to play the "many bugs" part. We run the bass part from top to bottom, and then focus on a few spots where Chris knows the lead. Chris's comment is that it really brings out the playfulness of the music, in contrast to the more constant attack that is commonly associated with Crafty music.
- A couple runs of Growing Circle; the second time, Brad asks Chris to overplay the dynamics (or really to just play louder). Chris's dead strings don't make this easy for him.
With that, we call it a night.
Tuesday, January 22, 2013
Thacher Gym, 1/20/2013
In attendance: Brad, Victor, Dev, Glenn, Chris
- Meeting opening with a reminder of the 5 Relations
- Some basic warming up: Staccato-Legato, circulation
- Ambulation work; the area is slightly reduced to account for fewer people. When Victor kills the lights, we're a bit more open and freer than we were last week.
- Observations afterward. A break, during which Chris and Victor reconstruct the six triads of the 5 Relations, and Brad, Glenn, and Dev talk about movies.
- Repertoire visited includes Where is the Nurse? and Sigh and a Kiss. Glenn uses the time to visit a possible rearrangement of a middle section to the piece; somewhat satisfied. We might see a scratch recording of the changed part.
- Meeting opening with a reminder of the 5 Relations
- Some basic warming up: Staccato-Legato, circulation
- Ambulation work; the area is slightly reduced to account for fewer people. When Victor kills the lights, we're a bit more open and freer than we were last week.
- Observations afterward. A break, during which Chris and Victor reconstruct the six triads of the 5 Relations, and Brad, Glenn, and Dev talk about movies.
- Repertoire visited includes Where is the Nurse? and Sigh and a Kiss. Glenn uses the time to visit a possible rearrangement of a middle section to the piece; somewhat satisfied. We might see a scratch recording of the changed part.
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