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.
Friday, February 10, 2012
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.
Saturday, December 24, 2011
Season's End Meeting, 12-18-2011, at Canary Square Pub
In attendance: Victor McSurely, Rick McCarthy, Alex Lahoski, Chris Paquette, Dev Ray, Brad Hogg.
All have arrived at Canary Square (come for the fries, stay for the waitrons) by 8 p.m. for a celebration of season's end, as well as a fairly important discussion of the schedule and plan for the next phase of the circle. A lot of logistics aside, the big points of the meeting come out to be:
All have arrived at Canary Square (come for the fries, stay for the waitrons) by 8 p.m. for a celebration of season's end, as well as a fairly important discussion of the schedule and plan for the next phase of the circle. A lot of logistics aside, the big points of the meeting come out to be:
- The Intro to Guitar Circle and Guitar Circle Advanced-Beginner and Intermediate courses that are fast approaching in May 2012, here in Massachusetts.
- Strategies/schedules for promotion work. Dev is officially named Promotional Director, giving further proof of his many capabilities.
- The push for new music and adjusted performance conditions for the new season coming up in the spring.
With a good amount of joshing and joking around, we manage to draw up a relatively comprehensive list of "necessary things to do and approach". We all leave just around 10 p.m., making sure to tip the waitress generously, and go our separate ways out into the cold night.
See you all next year!
Monday, December 19, 2011
Guitar Circle Sundays s. 2 #14, 12-11-11
In attendance: Victor, Rick, Chris, Alex, Brad, Scott, Dev, David
With two additional guitars, we take a little extra time to soundcheck tonight. Scott is running late, so we take the stage at around 8:00.
The set that unfolds:
circulation
Where's the Nurse
improv
Blockhead
circulation II
Voices of Ancient Children
Askesis
Derailed at the Junction
Morning Has Broken
Flying Home
improv II
Third Relation
improv III
Thrak
Prelude in D minor
Intergalactic Boogie Express
Eye of the Needle
improv III
Austurias
circulation III
Completion meeting after the performance, where David takes an early leave and the rest remain until 11:00.
With two additional guitars, we take a little extra time to soundcheck tonight. Scott is running late, so we take the stage at around 8:00.
The set that unfolds:
circulation
Where's the Nurse
improv
Blockhead
circulation II
Voices of Ancient Children
Askesis
Derailed at the Junction
Morning Has Broken
Flying Home
improv II
Third Relation
improv III
Thrak
Prelude in D minor
Intergalactic Boogie Express
Eye of the Needle
improv III
Austurias
circulation III
Completion meeting after the performance, where David takes an early leave and the rest remain until 11:00.
Subscribe to:
Posts (Atom)