Victor, Alex, Chris, Rick, Dev, Brad, Glenn
Everyone has arrived at the loft by about ten minutes after eight o' clock. For the earlier circlers, there is some preliminary Calliope-ing and circulation.
Since there is a working date and location for an upcoming performance project, it seems appropriate to the group to consider the undertaking as imminent and to set aside guitars for a serious discussion addressing specifics. An inquiry into the availability of the individual circlers reveals that there will be only one full rehearsal before the group enters the space in January.
The first thread of discussion addresses the basic question, "what will the task be?" What time of day, and for how long? How much time for preparation will be needed? Will rehearsals be closed or open? A dispute breaks out over the role of refreshments.
The second consideration is promotion, the effort made by the group to become known in the world-at-large. There are a plentitude of radio connections with this group, and it is felt that the best application of these opportunities is toward the middle of the project, around early March, to capitalize on the energy of an established process; propagation via various content-hosting websites is discussed as an obvious recourse - names are named; the kind review of a reputable critic is somewhat wistfully brought up as a valuable asset, and again something felt to be more opportune later in the project than earlier; and posters, in the right places.
In connection with promotion, the question of having a recording is brought to trial. There is a general consensus that having a recording would be useful for promotional purposes, but its role in relation to the performance experience (i.e. an affirmative response to the common after-show request for a recording) is less clear; several options are discussed, including memory sticks with select cuts and a special bonus track.
The final question is in regard to what name the group will call itself by; the proposal of this question is followed by a peculiar silence. V has a strong sense about the present name, and the suggestion is made to consider naming the performance series instead.
R departs at 9:45, as does the rest of the group not long after at around 10:10.
Tuesday, November 30, 2010
Tuesday, November 16, 2010
GCNE Meeting/Rehearsal 11-14-10
Chris, Victor, Brad, Dev
C arrives upstairs around 8:00, without guitar (at the luthier's for much needed renovation) to the sound of V and B rehearsing the lead section of Calliope: tonight, B has picked up the mirror for this part of the piece.
C is kindly offered the use of a guitar brought by V. This guitar has action worse than that in the shop, but possesses an other-worldly passive pick-up - an adjustment in the mix is needed to accommodate its bodacious presence. A mixer tutorial is improvised to assist C in this purpose.
The meeting formally begins, as many do, with silent acknowledgment. Following this, V asks C, "what were you doing?" to which C replies, "sitting still." This begins discussion and role playing that brings the inquiry to bear on all members of the group, which ties into the previous weeks' thread of having a sense of the impulse of the group's and our own individual work, rather than falling back on habit/convention/appealing to scriptural authority. For additional commentary on this matter, V proffers his favorite Zen anecdote and recommends the work of R.H. Blithe.
There will be guitar playing, however. B decides that it is best to have a larger group presence before continuing work with his arrangement of Debussy. V asks what the group would like to work on; D would like to improvise, with which B is comfortable, and C suggests Calliope. A thirty-minute improv with some intense moments ensues, and a break is called at approximately 9:08.
Back at 9:26
Calliope is given a hearing. There is some talk of the best way to phrase the bass part for the main section. The basses and leads are both given independent run-throughs, and the appraisal is similar: the phrasing of the notes, in terms of grouping (e.g. da, taka, taka dimi) is somewhat lacking. It is suggested that such work is not laborious, but merely requires a small period of extra attention.
The group tackles Batrachomyomachy. A click track is used to keep this piece steady, and much section work follows. A new lead configuration (V, B and D) works out the arrangement for the round in the "frog" section, and several attempts are made before this is played accurately. A question arises regarding the role of vibrato and the significance of just intonation.
The meeting ends, in silence, around 10:30.
C arrives upstairs around 8:00, without guitar (at the luthier's for much needed renovation) to the sound of V and B rehearsing the lead section of Calliope: tonight, B has picked up the mirror for this part of the piece.
C is kindly offered the use of a guitar brought by V. This guitar has action worse than that in the shop, but possesses an other-worldly passive pick-up - an adjustment in the mix is needed to accommodate its bodacious presence. A mixer tutorial is improvised to assist C in this purpose.
The meeting formally begins, as many do, with silent acknowledgment. Following this, V asks C, "what were you doing?" to which C replies, "sitting still." This begins discussion and role playing that brings the inquiry to bear on all members of the group, which ties into the previous weeks' thread of having a sense of the impulse of the group's and our own individual work, rather than falling back on habit/convention/appealing to scriptural authority. For additional commentary on this matter, V proffers his favorite Zen anecdote and recommends the work of R.H. Blithe.
There will be guitar playing, however. B decides that it is best to have a larger group presence before continuing work with his arrangement of Debussy. V asks what the group would like to work on; D would like to improvise, with which B is comfortable, and C suggests Calliope. A thirty-minute improv with some intense moments ensues, and a break is called at approximately 9:08.
Back at 9:26
Calliope is given a hearing. There is some talk of the best way to phrase the bass part for the main section. The basses and leads are both given independent run-throughs, and the appraisal is similar: the phrasing of the notes, in terms of grouping (e.g. da, taka, taka dimi) is somewhat lacking. It is suggested that such work is not laborious, but merely requires a small period of extra attention.
The group tackles Batrachomyomachy. A click track is used to keep this piece steady, and much section work follows. A new lead configuration (V, B and D) works out the arrangement for the round in the "frog" section, and several attempts are made before this is played accurately. A question arises regarding the role of vibrato and the significance of just intonation.
The meeting ends, in silence, around 10:30.
Tuesday, November 9, 2010
GCNE Meeting/Rehearsal 11-7-10
Victor, Brad, Glenn, Chris, Dev
C arrives at the loft at 8:00, where V, B and G are already set up and sharing experiences of large fruit.
Before beginning, C offers feedback he received regarding the GCNE's Bean & Leaf performance two weeks prior. This leads to a lengthy discussion of the different perceptible stages of education and having one's own understanding of the work. Apropos to B's discovery of an ideal performance space, there is also talk of the group's vision for an upcoming performance project with points being brought up and addressed from last week. Some concerns include how to facilitate adequate rehearsal time on a weekly schedule, as well as the challenge of remaining creative in a continuous moment. D arrives during this talk, which lasts over an hour.
Guitar work for the evening focuses on B's new arrangement of a Debussy prelude. Initially, there is some confusion regarding timing, but as this is redressed the work of learning the notes proceeds smoothly. Several sections are given repetition as they are learned, and eventually the group is running through bar one to bar nineteen. Unlike most other pieces in the group's repertoire, this portion of this piece is played fingerstyle; some pointers are given to the inexperienced.
After 45 minutes of work, D excuses himself from the circle, and work continues for about fifteen more mimutes. The meeting concludes with a long silence at 10:20.
C arrives at the loft at 8:00, where V, B and G are already set up and sharing experiences of large fruit.
Before beginning, C offers feedback he received regarding the GCNE's Bean & Leaf performance two weeks prior. This leads to a lengthy discussion of the different perceptible stages of education and having one's own understanding of the work. Apropos to B's discovery of an ideal performance space, there is also talk of the group's vision for an upcoming performance project with points being brought up and addressed from last week. Some concerns include how to facilitate adequate rehearsal time on a weekly schedule, as well as the challenge of remaining creative in a continuous moment. D arrives during this talk, which lasts over an hour.
Guitar work for the evening focuses on B's new arrangement of a Debussy prelude. Initially, there is some confusion regarding timing, but as this is redressed the work of learning the notes proceeds smoothly. Several sections are given repetition as they are learned, and eventually the group is running through bar one to bar nineteen. Unlike most other pieces in the group's repertoire, this portion of this piece is played fingerstyle; some pointers are given to the inexperienced.
After 45 minutes of work, D excuses himself from the circle, and work continues for about fifteen more mimutes. The meeting concludes with a long silence at 10:20.
Monday, November 1, 2010
GCNE Meeting/Rehearsal 10-31-10
Chris, Brad, Rick, Dev, Glenn
Most of the team has arrived by 7:35, and the PA is set up for the meeting which begins around 8:00.
There is one circulation to check levels, and a second circulation which continues into pass-to-the-person-of-your-choice, as G arrives. There is a short improv which occurs before G is seated, which begins quietly then bubbles dynamically, and then tapers away.
The team of the evening is gathered and seated by 8:17, and the meeting begins with a discussion which encompasses the status on finding a weekly space; logistics related to this, including budget and location; talk of alternative performance projects, including monthly performances and house concerts; the value and options of recording a demo; the challenges of a weekly performance, and the idea of having an extended-length rehearsal once a month. This talk lasts for about fifty minutes.
A question is then put on the table: "Is there anything anyone would like to work on?"
B's new arrangement is brought up as an option, but not everyone is prepared. It is decided that next week the group will aim to be familiar with the first nineteen bars, or approximately first page, of the piece. C announces that he has a new arrangement of his own, to be looked at in the near future.
C suggests Intergalactic Boogie Express as a piece which needs detail work. Per request, a slower play-through than has been normal recently. Following this, there is some section work and a faster reading. Much talk of pulse and the precarious split between the bass and leads, as well as feeling the triplets. B offers to count in a third take, which shows signs of improvement.
Next, D suggests Calliope, which is taken around performance tempo (88 BPM). Speeding up is noted, particularly in the "cowboy" section. Valuable dissection ensues, with some correcting of notes being played, to looping the main bass part with an ear toward playing the last note of each phrase more staccato. G offers advice to look at the phrase as it falls on a grid, seeing where notes are rhythmically on specific parts of the count.
G suggests Eye of the Needle, based on last Saturday's performance. There is one play-through which is felt to be "nice" by the players. C is given a note on the dynamic trajectory of the burbles, which can come out as a third voice as the harmony unfolds in the second F# section.
A break is called at 10:05, and lasts for about ten minutes.
The final piece to be looked at is Where's the Nurse, via R. Before launching into this, the finale is given a test run by the two lead players, and a needed adjustment in the mix is made. D confesses to his feeling duress under the gaze of B during this section, who for many months longed for D's part; a switch is made. Two play-throughs, with commentary on the dynamics of the melody section.
The meeting ends in silence at 10:38.
Most of the team has arrived by 7:35, and the PA is set up for the meeting which begins around 8:00.
There is one circulation to check levels, and a second circulation which continues into pass-to-the-person-of-your-choice, as G arrives. There is a short improv which occurs before G is seated, which begins quietly then bubbles dynamically, and then tapers away.
The team of the evening is gathered and seated by 8:17, and the meeting begins with a discussion which encompasses the status on finding a weekly space; logistics related to this, including budget and location; talk of alternative performance projects, including monthly performances and house concerts; the value and options of recording a demo; the challenges of a weekly performance, and the idea of having an extended-length rehearsal once a month. This talk lasts for about fifty minutes.
A question is then put on the table: "Is there anything anyone would like to work on?"
B's new arrangement is brought up as an option, but not everyone is prepared. It is decided that next week the group will aim to be familiar with the first nineteen bars, or approximately first page, of the piece. C announces that he has a new arrangement of his own, to be looked at in the near future.
C suggests Intergalactic Boogie Express as a piece which needs detail work. Per request, a slower play-through than has been normal recently. Following this, there is some section work and a faster reading. Much talk of pulse and the precarious split between the bass and leads, as well as feeling the triplets. B offers to count in a third take, which shows signs of improvement.
Next, D suggests Calliope, which is taken around performance tempo (88 BPM). Speeding up is noted, particularly in the "cowboy" section. Valuable dissection ensues, with some correcting of notes being played, to looping the main bass part with an ear toward playing the last note of each phrase more staccato. G offers advice to look at the phrase as it falls on a grid, seeing where notes are rhythmically on specific parts of the count.
G suggests Eye of the Needle, based on last Saturday's performance. There is one play-through which is felt to be "nice" by the players. C is given a note on the dynamic trajectory of the burbles, which can come out as a third voice as the harmony unfolds in the second F# section.
A break is called at 10:05, and lasts for about ten minutes.
The final piece to be looked at is Where's the Nurse, via R. Before launching into this, the finale is given a test run by the two lead players, and a needed adjustment in the mix is made. D confesses to his feeling duress under the gaze of B during this section, who for many months longed for D's part; a switch is made. Two play-throughs, with commentary on the dynamics of the melody section.
The meeting ends in silence at 10:38.
Tuesday, October 19, 2010
GCNE Meeting, 10/17/10 - The Loft
At 7:43 the CT contingent, Rick M., Brad and Victor are at the loft setting up. The meeting opens with a discussion of logistics regarding Saturday's upcoming performance at Bean & Leaf in New London, including transportation, load-in/arrival times and detailed talk of back line and available equipment.
Rehearsal begins with a play-through of Eye of the Needle. V makes a performance note pertaining to ringing strings and harmonics at the end of this and other pieces; Growing Circle is also given a hearing.
Following these two pieces, V switches gears to a warm-up using the legato-staccato exercise the group has been focusing on for the past few weeks. The first portion of this work involves playing in the first position on the neck and switching the finger playing a legato note (while the others remain staccato) on call, beginning with the first finger and moving successively to the fourth. For the second portion the same fingering pattern is moved up the neck to the 12th fret, with the legato finger changing in the same succession with each change in position, and back.
The group returns to repertoire with Third Relation. V prefaces this with a note on the function of the first bar of a phrase establishing its order. Next, Askesis is given a run. This is followed by some section work focusing on the clarity of (in this case) the first transition, at incrementally faster tempos. A similar approach is taken with the next piece, Calliope, with some words on the art of tempo/rhythm change in a set.
Where's the Nurse is the final piece to be looked at before a break, and performance notes from all corners are offered, including discussion of the character of the arpeggios and the place of a crescendo in the bass transitioning to the finale.
Break at 9:13. There is discussion of business card layout and function, as well as the obligatory CP stand-up yarn.
The "luau team" returns to active service for a play-through of Blockhead, with V adopting the role of listener/click track. A few false takes, but an 8th note count-in does the trick. V suggests hearing the 16th note pulse throughout the piece and especially during the final chordal section, and takes up drum sticks to assist.
Glenn arrives at 9:46.
With a now expanded ensemble, a number of pieces are given hearing. First is Opening, which is given two or three complete play-throughs. Next, Where's the Nurse and Calliope both make second appearances. G, C and V play Love is Green, which while expressive has "glitches"; advice is offered to C to let the melody notes sustain and perhaps to start singing his part, to become familiar with it as a melody.
The Prelude is played, with many brown/jazz notes, but with improving flow.
Finally, the group runs through Morning Has Broken, with a suggestion for the possible addition of a low part for some of the verses. Jocularity ensues, and a final improv concludes the lengthy meeting at 11:10.
Rehearsal begins with a play-through of Eye of the Needle. V makes a performance note pertaining to ringing strings and harmonics at the end of this and other pieces; Growing Circle is also given a hearing.
Following these two pieces, V switches gears to a warm-up using the legato-staccato exercise the group has been focusing on for the past few weeks. The first portion of this work involves playing in the first position on the neck and switching the finger playing a legato note (while the others remain staccato) on call, beginning with the first finger and moving successively to the fourth. For the second portion the same fingering pattern is moved up the neck to the 12th fret, with the legato finger changing in the same succession with each change in position, and back.
The group returns to repertoire with Third Relation. V prefaces this with a note on the function of the first bar of a phrase establishing its order. Next, Askesis is given a run. This is followed by some section work focusing on the clarity of (in this case) the first transition, at incrementally faster tempos. A similar approach is taken with the next piece, Calliope, with some words on the art of tempo/rhythm change in a set.
Where's the Nurse is the final piece to be looked at before a break, and performance notes from all corners are offered, including discussion of the character of the arpeggios and the place of a crescendo in the bass transitioning to the finale.
Break at 9:13. There is discussion of business card layout and function, as well as the obligatory CP stand-up yarn.
The "luau team" returns to active service for a play-through of Blockhead, with V adopting the role of listener/click track. A few false takes, but an 8th note count-in does the trick. V suggests hearing the 16th note pulse throughout the piece and especially during the final chordal section, and takes up drum sticks to assist.
Glenn arrives at 9:46.
With a now expanded ensemble, a number of pieces are given hearing. First is Opening, which is given two or three complete play-throughs. Next, Where's the Nurse and Calliope both make second appearances. G, C and V play Love is Green, which while expressive has "glitches"; advice is offered to C to let the melody notes sustain and perhaps to start singing his part, to become familiar with it as a melody.
The Prelude is played, with many brown/jazz notes, but with improving flow.
Finally, the group runs through Morning Has Broken, with a suggestion for the possible addition of a low part for some of the verses. Jocularity ensues, and a final improv concludes the lengthy meeting at 11:10.
Tuesday, October 12, 2010
GCNE Meeting, 10-08-2010, The Loft
In attendance: full company, with Victor McSurely, Chris Paquette, Glenn Hughes, Dev Ray, Rick McCarthy, Brad Hogg, Alex Lahoski.
Rick, Brad, the Connecticut contingent, and Victor all arrive at the loft at roughly 7:30, and begin to warm up in the circle at about 7:45 with some circulation. Shortly after we begin, the doorbell rings once, letting Glenn up the stairs. Dev follows shortly after, and both join in as they are able.
After 45 minutes of circulation and improvisation, Victor calls Where is the Nurse?, Growing Circle, and Intergalactic Boogie Express, to check in with these pieces. Afterward, he puts forwards some comments about working with rising energies in an improvisation or otherwise, and then suggests work on Opening. Since the basses need to visit their own circulation (now at 3 people), the leads choose to go out to the hall and work on Love is Green. Dev, having no current part on this piece, opts to work on Batrachomyomachy in the next room over.
Roughly 15 minutes later, the leads come back into the loft, with Dev in tow. They run through Love is Green, and then the Opening team opens an inquiry into Opening. The first section is up to snuff, so we run this section a few times. After this, Alex and Brad take to the hall to work on the second section. While they are out there, the rest of the team tackles Calliope, focusing on the bass part (since the leads got such a workout the week before). On Alex and Brad's return, the team runs the 1st and 2nd sections of opening as a dual 3-person circulation, with some degree of success.
Following this, Brad begins to present an arrangement he's been working on for the circle--this is postponed, as it seems to be more appropriate to send out the files to the circle when it's completely finished. With this, there is some discussion regarding the gig that is coming up in two weeks, and we close the night at around 11 p.m. From here on out, Chris Paquette will be assuming minutes duties for each week's meeting.
Rick, Brad, the Connecticut contingent, and Victor all arrive at the loft at roughly 7:30, and begin to warm up in the circle at about 7:45 with some circulation. Shortly after we begin, the doorbell rings once, letting Glenn up the stairs. Dev follows shortly after, and both join in as they are able.
After 45 minutes of circulation and improvisation, Victor calls Where is the Nurse?, Growing Circle, and Intergalactic Boogie Express, to check in with these pieces. Afterward, he puts forwards some comments about working with rising energies in an improvisation or otherwise, and then suggests work on Opening. Since the basses need to visit their own circulation (now at 3 people), the leads choose to go out to the hall and work on Love is Green. Dev, having no current part on this piece, opts to work on Batrachomyomachy in the next room over.
Roughly 15 minutes later, the leads come back into the loft, with Dev in tow. They run through Love is Green, and then the Opening team opens an inquiry into Opening. The first section is up to snuff, so we run this section a few times. After this, Alex and Brad take to the hall to work on the second section. While they are out there, the rest of the team tackles Calliope, focusing on the bass part (since the leads got such a workout the week before). On Alex and Brad's return, the team runs the 1st and 2nd sections of opening as a dual 3-person circulation, with some degree of success.
Following this, Brad begins to present an arrangement he's been working on for the circle--this is postponed, as it seems to be more appropriate to send out the files to the circle when it's completely finished. With this, there is some discussion regarding the gig that is coming up in two weeks, and we close the night at around 11 p.m. From here on out, Chris Paquette will be assuming minutes duties for each week's meeting.
Thursday, October 7, 2010
GCNE Meeting, 10-03-2010, The Loft
In attendance: Victor McSurely, Chris Paquette, Brad Hogg, Glenn Hughes.
As Glenn arrives at around 7:45 or so, Victor, Chris, and Brad are beginning to play through Calliope. We play through it once, and Glenn is able to join in for the last bit of it. Another run through (at about 74 bpm), and we move on to working with the staccato-legato exercise. An initial run through the fingering at a higher speed prompts us to back it down to 69 bpm, running at 16ths through the patterns (1st finger legato, then 2nd finger, etc.). We also find that certain patterns want to be rushed more, with respect to where the legato note falls within the beat--something that welcomes a personal practice approach.
Moving on from this, we jump into actual section work with Calliope. There is only one bass player tonight (Chris), but he is doing a pretty heroic job of keeping up with three lead players. With respect to the leads, the dynamics and accenting of the high melody are what seem to jump out as most necessary to work on--Victor does mention that this used to be accent picked, and that it might be useful to reapproach this piece as such. Most of the work with this is running at 78 bpm or so, but we'll need to bring it up to around 84-88.
Here, there be breaks to be had.
Back in the circle, more circulation work. Victor has us work with arpeggiating a Cmaj chord, and then presents an exercise: starting from Glenn and moving to Victor, each person will be the "one" for four beats, as we circulate in turn (changing our note as necessary). This turns out to be a little trickier than we anticipated, so we fall back to clapping in time. Eventually, we move to running notes, in order to get the feel of each position, and running the exercise as originally intended. It's actually very interesting to hear when we "get" the exercise and start playing musicially, as well as hearing the difference between permutation as the one gets shifted around the circle.
This work takes us up to 10 p.m., when we close the meeting. Next week, we'll likely be working with Opening again (with a 3-person circulation in the bass).
As Glenn arrives at around 7:45 or so, Victor, Chris, and Brad are beginning to play through Calliope. We play through it once, and Glenn is able to join in for the last bit of it. Another run through (at about 74 bpm), and we move on to working with the staccato-legato exercise. An initial run through the fingering at a higher speed prompts us to back it down to 69 bpm, running at 16ths through the patterns (1st finger legato, then 2nd finger, etc.). We also find that certain patterns want to be rushed more, with respect to where the legato note falls within the beat--something that welcomes a personal practice approach.
Moving on from this, we jump into actual section work with Calliope. There is only one bass player tonight (Chris), but he is doing a pretty heroic job of keeping up with three lead players. With respect to the leads, the dynamics and accenting of the high melody are what seem to jump out as most necessary to work on--Victor does mention that this used to be accent picked, and that it might be useful to reapproach this piece as such. Most of the work with this is running at 78 bpm or so, but we'll need to bring it up to around 84-88.
Here, there be breaks to be had.
Back in the circle, more circulation work. Victor has us work with arpeggiating a Cmaj chord, and then presents an exercise: starting from Glenn and moving to Victor, each person will be the "one" for four beats, as we circulate in turn (changing our note as necessary). This turns out to be a little trickier than we anticipated, so we fall back to clapping in time. Eventually, we move to running notes, in order to get the feel of each position, and running the exercise as originally intended. It's actually very interesting to hear when we "get" the exercise and start playing musicially, as well as hearing the difference between permutation as the one gets shifted around the circle.
This work takes us up to 10 p.m., when we close the meeting. Next week, we'll likely be working with Opening again (with a 3-person circulation in the bass).
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