Thursday, December 16, 2010

Tuning the Air #195

A Tuning the Air Journal

Thursday December 16, 2010 – Tuning the Air #195

Tuning the Air #195
December 16, 2010
Fremont Abbey Arts Center, Seattle WA


Final performance of 2010.

The set:
Joel Palmer: Tuning the Space
Neptune
Vrooom
The Children's Hour
Cultivating the Beat

Selection from the Hat: Step away from the strings

A Day in the Life

Travis Address Audience

Spiral Circulation Ab Major
Twilight

Eve

Selection from the Hat: Press 9 for access to the roof
Ninth Guitar E
Prayer of Gratitude #22
Spontaneous Composition in F# Lydian
Space Zombies! From Outer Space! w/Joel
Encore:
Chacarera
Eye of the Needle

Thursday, December 9, 2010

Tuning the Air #194

A Tuning the Air Journal

Thursday December 9, 2010 – Tuning the Air #194

Tuning the Air #194
December 9, 2010
Fremont Abbey Arts Center, Seattle WA

The set:
Neptune
Vrooom
The Children's Hour
Cultivating the Beat
Selection from the Hat: A Beautiful Noise
A Day in the Life

Travis Address Audience

Spiral Circulation Ab Major
Twilight
Eve
Selection from the Hat: A Walk Across a Frozen Pond
Ninth Guitar E
Prayer of Gratitude #22
Spontaneous Composition in A Minor
Space Zombies! From Outer Space! w/Joel
Encore:
Chacarera

Thursday, December 2, 2010

Tuning the Air #193

A Tuning the Air Journal

Thursday December 2, 2010 – Tuning the Air #193

Tuning the Air #193
December 2, 2010
Fremont Abbey Arts Center, Seattle WA

Gustav Holst makes his Tuning the Air debut!

The set:
Neptune
Vrooom
The Children's Hour
Cultivating the Beat

Selection from the Hat: Opening Pandoras Box

A Day in the Life

Travis Address Audience

Spiral Circulation Ab Major
Twilight

Eve

Selection from the Hat: The Pharaoh’s Cat at the Carnival
Ninth Guitar E
Selection from the Hat: Sneaking up on Sunrise
Spontaneous Composition in A Minor w/Oboe
Space Zombies! From Outer Space! w/Joel
Encore:
Chacarera

Saturday, November 20, 2010

What Actually Was On Tap

What Actually Was On Tap
for the blues band house concert/recording session
Saturday November 20, 2010

The set was entirely called on the fly, with input from the (very supportive) audience. Some pieces were repeated for the recording.

Set 1:
  1. Opening Blues
  2. Dust My Broom
  3. Little Red Rooster
  4. Deep Elem Blues
  5. Born Under A Bad Sign
  6. Built For Comfort
  7. First Train Home
  8. Two Trains Running
  9. Sound The Bell
  10. Wang Dang Doodle
  11. How Blue Can You Get?

Set 2:
  1. Deep Elem Blues
  2. Boom Boom
  3. It Hurts Me Too
  4. Wang Dang Doodle
  5. Messin' With The Kid
  6. How Blue Can You Get?
  7. Mean Town Blues
  8. Little Red Rooster
  9. Dust My Broom

What Might Be On Tap

What Might Be On Tap
for the blues band house concert/recording session
Saturday November 20, 2010

In alphabetical order...
  1. Boom Boom (John Lee Hooker)
  2. Born Under A Bad Sign (Booker T Jones/William Bell)
  3. Built For Comfort (Willie Dixon)
  4. Deep Elem Blues (Traditional)
  5. Dust My Broom (Robert Johnson)
  6. First Train Home (Peter Green)
  7. Going Down Slow (James Burke Oden)
  8. How Blue Can You Get? (Leonard Feather)
  9. It Hurts Me Too (Elmore James)
  10. Little Red Rooster (Willie Dixon)
  11. Mean Town Blues (Johnny Winter)
  12. Messin’ With The Kid (Junior Wells)
  13. Sittin’ On Top Of The World (Walter Vinson/Lonnie Chatmon)
  14. Sound The Bell (Johnny Winter)
  15. Two Trains Runnin’ (Muddy Waters)
  16. Wang Dang Doodle (Willie Dixon)
  17. Yonder Wall (Elmore James)
  18. You Don’t Love Me (Willie Cobbs)
And some others in the pocket.

Thursday, November 18, 2010

Tuning the Air #192

A Tuning the Air Journal

Thursday November 18, 2010 – Tuning the Air #192

Tuning the Air #192
November 18, 2010
Fremont Abbey Arts Center, Seattle WA

The set:
Tuning the Air into Chimes – F Harmonic Minor w/Joel
Vrooom
The Children's Hour
Cultivating the Beat

Selection from the Hat: Diving Off A Cliff

Chacarera
A Day in the Life

Travis Address Audience

Spiral Circulation Ab Major
Twilight

Selection from the Hat: Vortex Of Whispers
Ninth Guitar E
Selection from the Hat: A First Meeting

Free Circulation in A Minor
Eve
Space Zombies! From Outer Space! w/Joel
Encore:
Eye of the Needle

Saturday, November 13, 2010

D-Day #3 for Gustav, followed by a Music Lab

A Tuning the Air Journal

November 14, 2010 – D-Day #3 for Gustav, followed by a Music Lab

With the Abbey otherwise occupied this morning, we once again used the opportunity for the performance team to focus on Neptune. Bill sat in and leant his observations from the periphery; with a piece of music like this, requiring every bit of attention every player can muster simply to execute, having an independent set of ears in the room makes a huge difference. We were able to dive in today, with only minimal review of the mechanics of various sections. About half the team was entirely off-book, and from what I observed the scores that were out seemed largely security blankets. This meant that we were able to address the entirety of the composition, and the flow from one section to the next; the actual musical considerations rather than the mechanical ones. By the end of the day, when almost all of the scores were on the floor rather than in the lap, there was a definite sense that this is a piece that is realistically possible. The plan is to run it at soundcheck on Thursday and rehearse it in the Great Hall on Saturday, and see how close we can get.

In the afternoon, Mary Beth, Greg, Carl and I gathered for the Music Lab. For this entire season I have been working with this group on gaining an understanding of the subtle effect and repercussions of note choices when improvising and circulating within a particular key or mode. Guitar Craft spent nearly its entire existence with beginners and beginner-intermediate players as its center of gravity. For beginners, playing no wrong notes is a major accomplishment when faced with this challenge. As long as the note I choose is within the scale/mode called, we’re okay. Things sound generally sonorous and, as anyone with any Guitar Craft experience can attest, occasionally miracles happen. Whether these musical miracles are the result of dumb luck or the hand of the Muse reaching down and taking control may be debatable, but there is no question that people with very little experience or knowledge or chops are often the hands through which extraordinary music arrives.

If relying on luck and/or divine intervention is the strategy, we remain beginners. The cost of actually learning about what we are doing is almost always a (temporary) loss of access to magic. Players who begin to understand what their musical choices mean, and can hear what flavor their note choice adds to the meal, often become conservative. It is difficult to improvise freely, while concerning ourselves with these matters. If our frame of reference is “music theory”, or we simply have a more refined set of ears to listen with, we begin to see that, for instance, pounding out a B or an F in the lower register of a C Major circulation is at best a bold harmonic choice, and at worst a clueless hijacking of the tonality. But sometimes it is exactly the right thing to do; and if that is so, a beginner is more likely to do it. They are truly innocent, whereas a slightly more experienced player would have known better and for very “good reasons” chosen to avoid it.

So basically, moving from the cluelessness of a beginner to the evolving competency of an intermediate player very often means getting worse for a while.

Since it was a small group today, I sat in the circle. We worked for most of the first hour on evolving a particular scale/mode. We began with, and always returned to, circulating the notes of the C Major triad – C-E-G – in order to clearly establish the “C Majorness” of the scale to be explored. One at a time, and eventually together, we added to the available notes for circulation the Major 7th, the Major 9th, and the Major 13th, pausing occasionally to talk about the qualities that these notes add to the overall sound, color and feel of the music. Then we added the #11th. Here we moved very clearly from Major to Lydian, and we noted what the flavor of that was. We briefly worked with the perfect 11th in order to experience the contrast. Returning to Lydian, we circulated for some time, always beginning with the C Major triad and then adding the other available notes as the spirit moved, always making the effort to notice what happened when a new note was introduced.

The final step in the process was to introduce the Minor 7th, turning the scale into a Lydian Dominant. A very different texture, highlighting the power of the choice of 7th. When we put it all together we circulated beginning with the C Major triad and added notes as the spirit moved, this time with both the Minor 7th and Major 7th available; listening for which 7th was present at a given moment and making the choice to run with that tonality, to move to the other tonality, or to allow them to coexist in a musical way. Very satisfying.

There was something wonderful about these circulations. We managed to maintain the tonal center of gravity at all times, without any sense of restriction. From time to time we would move off into a related mode, and this had the flavor of intelligent modulation rather than a loss of center. Time spent in this new mode served to strengthen the primary mode, rather than dilute it.

The reason for exploring this particular scale was that it is used in a Chick Corea piece entitled Children’s Song #1. I learned this piece too many years ago to think about, and it flew by for me seemingly out of the blue yesterday. It is a simple little piano composition that could easily be played by 2 guitarists, but for this I divided each “hand” into two interlocking parts. On the surface it is a very simple little 6/8 lullaby, but the timing is not quite what it seems. So while all of the “parts” can be learned in just a minute or two, playing it is another matter – doze for a moment and it goes off the rails. The melody includes both the Major and Minor 7th, as well as the #11th; on the one hand rather exotic – “ethereal” is the impression one gets hearing it – but so beautifully constructed that there is absolutely nothing odd, contrived or radical sounding, even to western ears.

Wonderful.

Thursday, November 11, 2010

Tuning the Air #191

A Tuning the Air Journal

Thursday November 11, 2010 – Tuning the Air #191

Tuning the Air #191
November 11, 2010
Fremont Abbey Arts Center, Seattle WA

The set:
Tuning the Air into Chimes – F Harmonic Minor w/Joel
Vrooom
The Children's Hour
Cultivating the Beat

Selection from the Hat: Sailing the Sea of Sun Machines

Chacarera
A Day in the Life

Travis Address Audience

Spiral Circulation Ab Major
Twilight

Selection from the Hat: Moonbeams and Shadows
My Precious Dream
Ninth Guitar E

Spontaneous Composition in A Minor
Eve
Space Zombies! From Outer Space! w/Joel
Encore:
Eye of the Needle

Wednesday, November 10, 2010

Opening for the California Guitar Trio

A Tuning the Air Journal

Wednesday November 10, 2010 – Opening for the California Guitar Trio

The Tuning the Air Performance Team (with special guest, Tony Geballe) did a short opening set tonight for the CGT at Fremont Abbey…

The set:
C harmonic minor Zither: high to low
Circulation into Spontaneous Composition in C harmonic minor
C harmonic minor Zither: low to high
Voices of Ancient Children
Space Zombies From Outer Space
A Day in the Life
Twilight
Where is the Nurse?
Encore: Sat in with CGT for...
Chacarera

Thursday, November 4, 2010

Tuning the Air #190

A Tuning the Air Journal

Thursday November 4, 2010 – Tuning the Air #190

Tuning the Air #190
November 4, 2010
Fremont Abbey Arts Center, Seattle WA

Special Guest Artists: Darlene Franz (oboe) and Tony Geballe (guitar)

The set:
F Harmonic Minor Chimes w/Joel
Vrooom
The Children's Hour
Cultivating the Beat

Selection from the Hat: Like A Tiger With Wings

Chacarera
A Day in the Life

Travis Address Audience

Spiral Circulation Ab Major
Twilight

Selection from the Hat: Journey Into A Mysterious Cave

My Precious Dream
Ninth Guitar E

Spontaneous Composition in A Minor (with oboe)
Eve
Space Zombies! From Outer Space! w/Joel
Encore:
Horn Up Your Ass (for Taylor’s 35th birthday)
Eye of the Needle

Saturday, October 30, 2010

D-Day #2 for Gustav, followed by a Music Lab

A Tuning the Air Journal

Saturday October 30, 2010 – D-Day #2 for Gustav, followed by a Music Lab

Back to the living room again today for another rehearsal entirely dedicated to Neptune. This is very meticulous work. In three hours we worked our way backward from the end of the piece to the beginning, building it one block at a time until we were able to run it from beginning to end successfully. It is a deceptively simple sounding piece, and there is no room for any lapses of attention. The next step would seem to be to get completely “off book”, and to really begin to address the musical issues, in particular flow and continuity. It may take a while yet; we don’t have any full days to give to it in the next couple of weeks – Monthly Open Circle next Saturday, and the CGT in town the following week.

For the Music Lab we moved to looking at the harmonic material from earlier weeks, but this time coming from a “playing by ear” approach, rather than theory and/or fretboard knowledge (although having access to that information was certainly useful). The game involved one player choosing a note, any note, and pulsing it. That note is the tonic and it is up to the other players to add notes necessary to create a particular modality; for this session we stuck with major and natural minor. This is an exercise that works best when there are at least 7 or 8 players. With only 4 today, it was difficult. Not a lot of room for much more than the basics. Some good insights into choices of inversions, though. I would hope we could pick this up again with more players in the future, and move on to a wider selection of modes.

For me, the two high points of the Music Lab were the opening and closing circulations. Some of the best circulating I have heard in a long time. The opener was specifically C Major, and was singing right out of the gate. Wonderful listening and choices. The closer was “the note of your choice.” It began wonderfully, and got better. Several times it began to wind down, but it turned out these were just breathers, and it would spring back to life. We went about 10 minutes overtime, but there was no way I was going to do anything to interrupt; I would have been very happy to have it go on all afternoon.

Thursday, October 28, 2010

Tuning the Air #189

A Tuning the Air Journal

Thursday October 28, 2010 – Tuning the Air #189

Tuning the Air #189
October 28, 2010
Fremont Abbey Arts Center, Seattle WA

The set:
F Harmonic Minor Chimes w/Joel
Vrooom

The Children's Hour
Cultivating the Beat

Selection from the Hat: Constellations

Chacarera
A Day in the Life

Travis Address Audience

Spiral Circulation Ab Major
Twilight

Selection from the Hat: What Can You See In The Dark?

My Precious Dream
Ninth Guitar E

Spontaneous Composition in D Major
Eve
Space Zombies! From Outer Space! w/Joel
Encore:
Eye of the Needle

Saturday, October 23, 2010

D-Day #1 for Gustav, followed by a Music Lab

A Tuning the Air Journal

Saturday October 23, 2010 – D-Day #1 for Gustav, followed by a Music Lab

Some time ago, Taylor indicated that he had an arrangement in mind for Holst’s Neptune, from “The Planets”. From time to time he would bring bits and pieces in and we would test out the concepts; various zithers, cascades and tremolo-ed chords to simulate the harps, voices and long tones of the orchestral arrangement. Over the summer break he completed his arrangement, and when we began getting together in August to experiment with potential new material, it was among the pieces worked with. It is not a piece that any of us can really practice alone, other than to memorize the sequence of events, the chord voicings called for and perhaps the picking pattern of the arpeggios. It can only be practiced together.

It has been some time since we have taken on a new piece of repertoire that requires this level of rehearsal to realize. Until we can play it with some level of competence, we can’t really even judge whether or not the arrangement works on a musical level, or is right for this group and the production. It is entirely possible that once it is on its feet we will discover that it the arrangement needs rethinking or reworking. It is rare, but not unheard of, that we practice a piece for weeks or months, only to ultimately decided that it isn’t right for us for any number of reasons, and abandon it altogether.

We decided to take advantage of the fact that Fremont Abbey is not available for our regular Saturday rehearsals for the next two weeks, and dedicate those rehearsals to getting the piece on its feet.

So, three hours of Gustav Holst today. The first 22 bars are the most straightforward, and we have been playing them for some time. The challenge here is largely counting. So we began with just a short review of that section.

What follows are 22 more bars, each one different, and each one involving some form of zither or cascade, accompanied often by arpeggiated lines in sixteenth-note triplets. There was nothing to do but to walk through the entire arrangement, one bar at a time, and work out the details. This can be tedious work, only relieved by the ability to finally hear what had only been a concept. We strung bars and sections together as best we could, so that there would be as much context as possible for this string of otherwise disparate bars of music, but the primary aim was to get every bar on its feet. A number of errors in the score were discovered and winnowed out. A handful of general concepts and techniques were identified. Next Saturday we will, presumably, be putting it all together.

After rehearsal, a short break and then there were five onboard for the Music Lab. Today was part one of a couple of Labs that I have in mind to bring our practical connection with the quality and character of intervals, chords and modes up a notch. Two of the players, as well as myself, had just spent three rather intensive hours in critical listening, which either primed us for this work, or had us in a giddy altered state. Today’s exploration was a little on the mathematical side, laying out modes in terms of their base triads and upper structure harmonies, realized through some technically tricky circulation patterns, with theory informing practice. Next week I plan to turn it around and work more from the ear, working back to practice and theory from a more tangible auditory experience. Somewhere between the two approaches is where understanding abides.

Thursday, October 21, 2010

Tuning the Air #188

A Tuning the Air Journal

Thursday October 21, 2010 – Tuning the Air #188

Tuning the Air #188
October 21, 2010
Fremont Abbey Arts Center, Seattle WA

The set:
C Harmonic Minor Chimes w/Joel Palmer
Voices of Ancient Children

Cultivating the Beat
Vrooom

Selection from the Hat: Swimming in Wind
My Precious Dream
Selection from the Hat: The War Machine Awakes
Address Audience
Spiral Circulation Ab Major
Twilight

The Children's Hour
A Day in the Life

Spontaneous Composition in D Major
Eve

Ninth Guitar E
Space Zombies! From Outer Space! w/Joel Palmer
Encore:
Eye of the Needle

Monday, October 18, 2010

Performance Team Rehearsal

A Tuning the Air Journal

Monday October 18, 2010 – Performance Team Rehearsal

Pretty much a night of nuts and bolts for the performance team. We are working on learning the CGT’s Chacarera, just in case it might be something useful to know, perhaps early in November, when they are in town. Howard learned much of it when he was on the summer project in Spain a couple of years ago, and the Trio had sent us mp3’s of the individual parts. I spent a bit of time over the weekend mapping out the arrangement that is used on “Andromeda”. So it was a matter of organizing, playing and counting, and getting the feel and flow. In an hour, it was pretty much ready to roll. A bit more personal work all the way around is necessary, I would venture, but we are substantially there.

After a break, we worked on tightening up Ninth Guitar E, with Bob at the helm, putting us through our paces. We seem to have crossed a certain threshold with the piece, and so daring to have fun no longer seems to be fatal to our capacity to play and count. That is a good thing.

A little Vrooom work, and then we ended the rehearsal with an exploration of Chris’ final arrangement of the de Hartmann/Gurdjieff piano piece, Prayer of Gratitude. A lovely way to complete the evening.

Saturday, October 16, 2010

Full Team Circle and Performance Team Rehearsal

A Tuning the Air Journal

Saturday October 17, 2010 – Full Team Circle and Performance Team Rehearsal

A truly remarkable morning of work together.

Frank returned to the Saturday morning full team circle. We are working with “upping the ante” for everyone, giving the players not currently in the performance team an opportunity to work at that level of challenge, and giving the performance team a weekly opportunity to play (emphasis on play) with material and ideas that are not necessarily directly related to the practical needs of the next performance. This has been very fruitful work this season, and we asked Frank if he would be available to help with this process.

Frank was on fire! He arrived with what turned out to be two-thirds of an inspiration for a game/exercise; two-thirds in the sense that he had a clear idea for two contrasting approaches to an improv exercise, but the third third did not reveal itself to him until we were actually in the room and addressing the challenge. In the first part of the exercise we worked with a musical expression of a familiar exercise with “filling the room”. In this we look for our place in the room where we each have the maximum space around us. Of course, as soon as someone moves, it changes everything, and so we all move. In fact, the room is in constant dynamic motion. To this exercise, he added the instruction to play parts on our guitar as different from everything else we hear as possible. A wonderful and interestingly thoughtful cacophony. For the next stage of the exercise we were asked to do the opposite: to get as close together as possible and play exactly the same thing in the same way. Once this unanimity was established we were instructed to break up, move away, and then do it again. The human sculptures created by 12 guitarists trying to get as close together as possible (without touching) while working to come to consensus on what to play were quite amazing.

The “third third” arrived for Frank, and he instructed us to do both exercises at the same time; that is both stay as far away and as close together as possible from one another, both physically and musically. Obviously impossible. But only impossible for an individual. For the entity of the group, entirely possible, although it took us a few minutes to grasp this. A little tentative play with the conundrum, and suddenly it came to life. A number of people, afterward, noted that they had experienced the arrival of The Orchestra in that moment; a completely organic improv beast, assembling and deconstructing without pretense. An unlike the three Orchestras I have thus far worked with, this one involved and required no “section leaders”. Amazing music.

We gathered in the circle and shared observations. The full circle work completed with a short, silly, but informative exercise in telling jokes.

After a short break, the performance team reconvened for rehearsal. Frank and Bill joined us for the first hour. Bill offering his ears and musical insights to the work we were undertaking, and Frank silently working the perimeter.

This was the nuts and bolts portion of the rehearsal. In some ways kind of a letdown (albeit, a totally necessary one) from the earlier circle. For myself, however, I found that the quality of the earlier work informed the rehearsal in several unmistakable ways. The first thing I noticed was a kind of heightened sensitivity. We were working, in the first part of the rehearsal, with matters of time, feel and pulse, specifically with The Children’s Hour. In circulated parts we are particularly exposed, and I found that while I was making the same kinds of observations and remarks I always do (for better or for worse), I was experiencing a level of empathy that was unusual. Occasionally, this generally increased sensitivity in the circle manifested as a bit of prickliness, but I was at all times aware of a general good will that made the work extremely productive.

After Bill and Frank departed, and another short break, we launched into the initial presentation, parts assignments and read-through of a new/old piece of material that we may play with the California Guitar Trio when they perform here in November. As with much CGT material, deceptively simple. Not so difficult on the technical level, but requiring a level of precision that may not be so evident from the outside.

Sadly, for the next two weeks the Abbey is not available for Saturday rehearsals, so the full group circles are on hold until November 6. The performance team is going to take advantage of this to use that time to get Neptune off of the drawing board and into the repertoire.

Thursday, October 14, 2010

A Tuning the Air Journal

Thursday October 14, 2010 – Tuning the Air #187


Tuning the Air #187
October 14, 2010
Fremont Abbey Arts Center, Seattle WA

The set:
C Harmonic Minor Chimes w/Joel Palmer
Voices of Ancient Children

Cultivating the Beat
Vrooom

Selection from the Hat: A Tornado Is Coming This Way
My Precious Dream
Selection from the Hat: Boomerang
Address Audience
Spiral Circulation Ab Major
Twilight

The Children's Hour
A Day in the Life

Spontaneous Composition in D Major
Eve

Ninth Guitar E
Space Zombies! From Outer Space! w/Joel Palmer
Encore:
Horn Up Your Ass (in honor of the visiting Hellboy’s birthday)
Eye of the Needle

Monday, October 11, 2010

Performance Team Rehearsal

A Tuning the Air Journal

Monday October 11, 2010 – Performance Team Rehearsal

A little circulation to warm up, and then we launched into Ninth Guitar E, which will be in the set for next Thursday’s performance. Necessary detail work with the metronome on the connections and interactions between the 3 parts, one section at a time. Integration. Work with playing the piece with a sense of ease and fun. Noted that it really is a very silly little ditty, and yet it requires maximum care and attention to pull off. Counting through the solo sections remains one of the most hazardous aspects of the tune. It was declared ready for performance, and so we are on for Thursday.

During the break, discussion about possibilities for the CGT gig in November, including a piece that we might be able to join them on. Also a mention of a change in the House Team and the gap that will create, with a major role in need of filling.

I had some questions about a particular section of A Day In The Life, and so after the break we took a little time to explore how we are interpreting it. Good work, and clarity achieved.

The balance of the rehearsal on continuing work with Vrooom, and a little discussion about the set list for this week.

Saturday, October 9, 2010

Full Team Circle and Performance Team Rehearsal

A Tuning the Air Journal

Saturday October 9, 2010 – Full Team Circle and Performance Team Rehearsal

Sitting at my place. A drizzly Seattle Saturday morning. Then off to Fremont Abbey Arts Center for rehearsal.

The first hour or so was for the entire guitar-playing team, making sure we have a continuous exchange of experience and information within the group as a whole. The obvious motivation is to give the guitarists not on the performance team a regular and reliable opportunity to work with the performers in musical situations that are not beginners circles or open circles or the music lab; to stretch and challenge the entire group. That the non-performers benefit from this is the obvious hope. The actual result is actually a lot more bilateral than that. At last week’s circle we played a bit with some cascades using the augmented scale, and that exploration led very directly to the introduction the Performance Team is using for Vrooom. Not only good R&D, but good music.

Today we began by moving wordlessly into an improvisation. I cannot speak for the other players, but my intention was to work with introducing, hearing and developing themes within the composition. I opened with a little statement in C Lydian. This was answered, in shape and spirit if not perfectly in the tonality. The composition took a number of turns as it developed, and I was able to recognize a certain amount of thematic material that appeared and reappeared at crucial moments.

Next we moved onto the de Hartmann piano piece that Chris has been introducing. We worked with everyone learning the melody together (two parts in parallel harmony), and getting a handle on overall form. Before we wrapped it up, Jaxie, Carl and I took a shot at the bass line as well. There are a couple of internal parts that need to be fleshed out, but the piece is substantially there for us. At some point, we may be able to include a full-group rendition of the piece in a performance. We shall see.

A short break, and then the Performance Team, with Bill sitting in as listener/advisor, reconvened to have a look at some of the things we learned from Thursday’s performance. An observation and decision quickly made about the end of Space Zombies! From Outer Space! and a change we can make that will tighten up the end of the show considerably. Then on to Vrooom. Thursday was our first ever performance of the piece (much to the delight of our resident Audient), and we had plenty to look at in detail based on the experience. Some clarifications, a bit of tightening, and a whole lot of metronome work.

Another, even shorter break, and on to Ninth Guitar E which, we learned at the end of rehearsal, will be in next week’s set. Bob presented a modified arrangement that felt all the way around to be a very definite improvement. Again, mostly metronome work. Bill and Bob mixed and matched the sections, with a lot of work on better understanding the timing and phrasing of the parts, and how they interact, compliment and contrast one another. This was nuts and bolts work of the most basic and necessary kind, and very clearly moved us out of the learning phase and into the performance phase. The need for some serious personal practice is evident before we reconvene on Monday, when we will do section work to pull it all together for next Thursday’s performance.

Thursday, October 7, 2010

Opening Night

A Tuning the Air Journal

Thursday October 7, 2010 – Opening Night

Late Tuesday night I got a Google alert about a reference to Tuning the Air on the web somewhere. Clicked on it and it took me to the Seattle Times, and an article by Michael Upchurch. It opened with:
The sound can be brushstroke-soft or plectrum-sharp as the melodies are passed around the room. And because the nine guitarists surround you rather than face you from onstage, there's a marvelous feeling of floating in the middle of their music, with each "current" of sound coming at you from nine different directions.
That’s something I’d like to experience. Wait a minute… it’s us!

Toward the end of last season, Michael attended a show. We spoke briefly afterward, and on the strength of his experience he posted a short notice in his column in the times. We had record audiences the last two weeks of the season. A little attention is always a good thing. But a little attention from a sympathetic and insightful writer who has the ear of “our” audience – it doesn’t get much better than that. He and I sat down and spoke last week for an hour, and this week’s article was the result.

Good sized audience tonight. Not the onslaught we experienced at the end of last season, but very respectable; not to mention attentive and appreciative.

All in all, a good show. The improvs had life to them. My only critical observation was that the pacing was not what it can be when we are on our A-game. Not surprising for the first show of the season. It usually takes a few shows for us to really hit our stride. The silence after Eye of the Needle was profound. Very difficult to decide to violate it.



Tuning the Air #186
October 7, 2010
Fremont Abbey Arts Center, Seattle WA

The set:
C Harmonic Minor Chimes w/Joel
Voices of Ancient Children
Cultivating the Beat
Vrooom

Selection from the Hat: Sun and Rain
My Precious Dream
Selection from the Hat: A Picnic on the Moon
Address Audience
Spiral Circulation Ab Major
Twilight

The Children's Hour
A Day in the Life

Spontaneous Composition in D Major, with Oboe
Eve
Space Zombies! From Outer Space! w/Joel
Encore:
Eye of the Needle

Monday, October 4, 2010

Final Tech Rehearsal

A Tuning the Air Journal

Monday October 4, 2010 – Final Tech Rehearsal

Our final rehearsal together before Thursday’s opening. We arrived at Fremont Abbey at 8:30 and quickly set to work. We completely set up the performance space, lights and sound reinforcement, including chairs enough for a sizeable audience. The House Manager worked out the details for the front of house and other off-stage details. We made very short work of this. The work we did last week served us well, with a number of people holding responsibilities for the various aspects of the system. We were ready to soundcheck and begin the runthrough in about 30 minutes.

We ran the set, more or less without comment, except to look at various blocking issues, entrances and exits, balance issues for the places where Joel will be playing along with us, and to fill in necessary details. Bill once again provided ears, sitting in the center of the circle and making notes for the Music Director. Darlene arrived just in time to play oboe on the D Major Spontaneous Composition.

Generally uneventful; neither transcendent nor shabby. The D Major Spontaneous Composition certainly had something, and everything was adequately represented. A working rehearsal. Eye of the Needle in the encore slot was particularly good.

Striking the set went very quickly, as Bill and the Music Director compared notes. No doubt some changes will be made in the set before Thursday.

Saturday, October 2, 2010

Monthly Open Circle and Performance Team Rehearsal

A Tuning the Air Journal

Saturday October 2, 2010 – Monthly Open Circle and Performance Team Rehearsal

The Monthly Open Circle consisted of TTA company members and one returning visitor this month, so once again I elected to sit down in the circle and work as a player as well as directing the action. For the first hour we focused on various circulation patterns, with very satisfying results. Even the most complex patterns, once the team had internalized them, flowed very well and seemingly naturally. Before taking a break we worked with some cascade patterns, first in a whole tone scale and then in the augmented hexatonic scale we have touched on lately in the Voodoo Situation. Chris, the TTA Music Director sitting to my left, clearly heard/saw something in this exercise that would be useful in the Tuning the Air set.

Since the assembled group was entirely from the company, and the one visitor was keeping up very well, for the second half of the Circle I turned it over to Chris to continue presenting his arrangement of the de Hartmann piece, and we managed to get the entire form up and running. Some refinements yet, but essentially it is there.

From there back to my place for the final rehearsal before opening night. We will be able to run the set on Monday, but that is the dress/tech rehearsal, so this was our final opportunity to work out details. Bill was onboard to give us feedback. The first part of the rehearsal was all about getting Vrooom into performance shape, adding the cascade intro that appeared at the Open Circle.

Through the setlist, only pausing to focus on necessary details. Everything coming into shape, although every player was certainly making mental notes about things to focus on in their personal practice in order to be prepared.

Keeping the other new material up and on track, we ran as much of Neptune as we have memorized, and then Ninth Guitar E. The latter had a lot of life, even if not note perfect, and as a result it was promoted to encore material for Thursday.

We ended the rehearsal with some focused metronome work on a number of pieces.

Thursday, September 30, 2010

Performance Team Rehearsal at the Wilsons

A Tuning the Air Journal

Thursday September 30, 2010 – Performance Team Rehearsal at the Wilsons

Jaxie was going to be a little late, due to a family obligation, so for the first few minutes of the rehearsal we focused on getting the “head” to Ninth Guitar E on its feet. The middle 8 was the only part we had not yet addressed, so the 3 sections split off for a few minutes to review and consolidate the parts. We came back and ran the new section several times with and without the metronome. We then put it into context and ran the entire head a number of times, mostly with the metronome. Finally, after Jaxie had arrived and settled in, the whole piece, beginning with the head, moving to the whacky-Williams improv section, and then returning to the head. Clearly, we can do this.

We then moved on to a systematic review of all of our repertoire, much of which we have not played together for some time. For the most part we did not stop to correct of fix anything. The function of the runthrough was more as a reality check; for the performers in terms of seeing where their personal work lies, and for the Music Director as he begins to put together the set list for opening night. We played (not necessarily in this order):
  • Voices of Ancient Children
  • Cultivating the Beat
  • My Precious Dream
  • Sigh and a Kiss
  • Twilight
  • Space Zombies! From Outer Space!
  • A Day In The Life
  • The Children’s Hour
  • Vrooom into Thrak*
During the break, the conversation turned to the CGT’s visit to Seattle in November, and Paul’s suggestion of one particular piece we might join them for. This segued into the presentation by Lost Pedro of a CGT piece for consideration in the set, as well as the possibility of expanding it into a full group piece. Chris also mentioned the idea of expanding Pipeline for the large group.

Saturday will be the Open Circle in the morning and then Performance Team rehearsal in the afternoon. By then we will have a preliminary set list to work with and tweak as necessary. Monday evening will be a full tech/dress rehearsal at Fremont Abbey. Then… Thursday!





* I observed that as of the first week of December, I have been playing and performing this piece for 25 years.

Monday, September 27, 2010

Tech Rehearsal at Fremont Abbey

A Tuning the Air Journal

Monday September 27, 2010 – Tech Rehearsal at Fremont Abbey

The team arrived at the Abbey at 8:30. We gathered, and the Managing Director gave us our marching orders. The aim was to get the lights and sound set up as quickly as possible. Travis was working with Gene, the soundman/genius, and training Carl in the setup of the sound. Necessary backup, and freeing Travis to attend to larger concerns. Ian also worked with Greg as backup on the light setup. Redundancy in technical areas is a good thing.

We were set up in record time. Sound check was relatively painless. One small glitch in Joel’s gear was the only hang-up, and that was addressed swiftly.

Chris began calling pieces. A Day In The Life, Vrooom, My Precious Dream, Ninth Guitar E (as far as we know it so far), and even the first page of Neptune. Joel was so hot in Space Zombies! From Outer Space! that the guitarist were tripping over their own smiles, and so we did it again. Greg, from his post in the center of the circle, registered an unambiguously thrilled thumbs up on Neptune. A good night all the way around. The work that needs to be done between now and opening night was definitely clear, but the sense was that it is totally doable.

Striking the set was notably efficient. We're getting pretty good at this.

Thursday evening we rehearse at the Wilsons. On Saturday, the Open Circle and then the Performance Team rehearses. The set list for opening night will be set, and it will be run at the dress rehearsal next Monday. On our way!

Saturday, September 25, 2010

Full Team Circle and Performance Team Rehearsal, and Tech Preparation

A Tuning the Air Journal

Saturday September 25, 2010 – Full Team Circle and Performance Team Rehearsal, and Tech Preparation

Ah, the perils of having 4 rather major and time-demanding projects all on the front burner… the Tuning the Air blog ends up fifth in line, and too often left off entirely. Mia Culpa.

Monday and Thursday were evening rehearsals at the Wilsons, and today we were at Fremont Abbey for an hour of full team self-organized musical work, followed by a Performance Team rehearsal and an hour or so of practical work around the Abbey.

For the full group hour we began again with wordless improvisation, and as with last week it was very satisfying on every level – good group interaction, thoughtful but still playful. High level work. Toward the end of the hour, the suggestion was made that Chris begin presenting the De Hartmann piece to this group. He showed us the first 8 bars. In earlier Performance Team rehearsal, he had assigned parts, but for this we all learned every part, and then gravitated to the one that best fit us. With very little adjustment of assignments, an excellent balance and sound was achieved, and the sense that this is the right group to be taking the piece on.

A short break, and then we transitioned into Performance Team rehearsal mode. Earlier in the week the Musical Director had the epiphany that all Music Directors always have about 2 weeks before opening: we are nowhere near ready to perform, and we have very limited rehearsal time. So the heat was turned up on the Performance Team get our practice regimen amped up, our established repertoire up to performance level, and to get a firm handle on the new material that has been presented thus far. For today’s rehearsal, we touched briefly on Vroom, and it was clear that the challenge had been taken up. Not quite performance-ready, but the path to performance-readiness is clear. Then on to Bob’s Ninth Guitar E. Here we are still at the beginning of the learning curve on the composed sections, and just a little further along on the improvs. We worked primarily on getting the next 8 bars up and running. This took some time, but we crossed a certain threshold, and the general feeling was that the impossible was becoming possible. A much clearer picture of the Whole, and how these individual parts and sections fit in. Again, not performance-ready, but the path is much clearer, and the necessary work very straight-forward.

Then on to Neptune. Still the most daunting of the new material, our full parts had arrived this week and we are in a position to begin to dive into the Music much more seriously, again with a much better grasp of whole. In the case of this piece, rehearsing the group is the work most needed. Individual parts are not particularly difficult or complex in themselves, but everyone has a separate part. There is no duplication, so the way they connect to one another, and the way the various sections flow from one to the next – that is the real challenge. While a modicum of personal work to learn and memorize the parts is called for, it will be the group work that brings this little gem to life. So little time, so much to do.

After rehearsal, a small team remained at the Abbey to install some shelving in the storage area, while the rest of us drove to the TTA storage unit to collect everything we need for the show; lighting rigs, PA and house stuff. By the time we got back, the shelves were ready and we stowed the gear away. Monday night will be a tech rehearsal, which generally means a lot of tech and not a lot of rehearsal. Necessary, of course, but wouldn’t it be nice to be spending that time on Neptune?

Saturday, September 18, 2010

Full Team Circle and Performance Team Rehearsal

A Tuning the Air Journal

Saturday September 18, 2010 – Full Team Circle and Performance Team Rehearsal

For me, this was a big day.

Last season we saw that there was a need for the Tuning the Air company to spend more time working together in the circle. We were opening up the show to more improvisation, and more intentional hazard. But we had settled into small working groups – the Performance Team, the House Circle, Sgt Bones, etc – and were not making the opportunities for all of us to sit in the circle and work together. There were times when I got together with the House Team on guitars (this morphed into the Music Lab), and of course there was the Monthly Open Circle where we could all take part. But the open circle is geared for beginners, and the music lab is specifically “educational”. So we changed the weekly schedule to include 90 minutes on Saturday morning for the whole team. We invited Frank to take charge of these sessions, so that the entire team (myself included) could focus on the work. In this way, Alexander Technique became the unifying theme for the season, with a specific focus on breath and breathing. Sandra Bain Cushman came into town for a week of intensive work, that mirrored and amplified what we were doing with Frank.

We made a lot of changes last season, so it is difficult to say precisely what was responsible for the huge qualitative shift that occurred, but I feel very strongly that it all sprang from the foundation of this work together.

This year as we began the pre-preparation for the new season, the question of what it takes to be on the performance team arose on a number of occastions. In our 5 years we have lost a number of players to normal attrition and necessity, and we have added a few players as well. There are certainly quantifiable standards and requirements that we could enumerate; but the truth is that no one currently on the performance team has absolute command of everything that might appear on that list. Clearly, it is not a matter of checking off items on a list of skills.

In fact – and this is the tricky bit – skill is not sufficient. There will never be a Tuning the Air audition. There is something else. For myself, I always know when someone is ready to be on the team – I can’t explain it, and it is always impossible to justify/rationalize on the basis of qualitative standards.

The x-factor is that it really comes down to “what does Tuning the Air need?”

Parenthetically, in every case I have known when a player is leaving the performance team, because I have seen that in fact they have already left. I was “taken by surprise” only once, and frankly that was because I really, really didn’t want to see what I was seeing; active denial – not a useful quality, but a human one I suppose.

So, in discussing the question of what it takes to be on the performance team with the Tuning the Air Artistic Director, Music Director and Managing Director, I came to the conclusion that holding the question is better than sitting down and trying to answer it. It is something that needs to be seen, rather than enumerated. Holding the question is active. The decision, then, was to dedicate the full company portion of the Saturday morning rehearsal to working together at the highest musical level we can, giving everyone who wishes the opportunity to see themselves in that circumstance, and hopefully to recognized the qualities required, as well as the skills.

We know how to do this. It is not a class. I do not have a pile of exercises that will unfold to reveal the answers. It is not for me or anyone else to “teach”.

So, without any preconceived plan, we set ourselves up in the circle, and sat for a few minutes in silence. Out of the corner of my eye I saw Jaxie’s hands move to her guitar. We all responded by quietly bringing ourselves to a place of readiness and responsiveness. She played a note and passed it across the circle. Forty-five minutes later, the improvisation came to its completion. Fantastic.

Compared to that, the Performance Team rehearsal that followed was mundane. Necessary, and very good work done on a very practical level. I actually love this part of the process.

We dove into Vroom once more. I am substantially off-book at this point. There are 3 parts that I still use the score for, but it is more of a security blanket than a necessity. Two of the sections are short, rhythmically eccentric lines that simply need a bit of drilling. This rehearsal served that purpose for one of them, and a little practice before Monday should take care of the other. Then there is one long but technically very easy passage that simply needs memorization. This should also be possible before Monday. The primary accomplishment of this rehearsal was that we reached a full-group understanding of the piece. A very clear sense that we have turned the corner from hacking through the parts to addressing the Music.

Ran The Children’s Hour, A Day In The Life and Space Zombies! From Outer Space!, taking a few moments as necessary to address problem areas. The rehearsal ended with a little more R&D on Holzt’s Neptune, which we are chomping at the bit to get up and running.

Thursday, September 16, 2010

Performance Team Rehearsal

A Tuning the Air Journal

Thursday September 16, 2010 – Performance Team Rehearsal

Since Thursday is gig night during the season, we have decided to go ahead and set it aside for rehearsals during the preparation period. The full team was all present and accounted for at the Wilsons tonight. As is our practice this season, we opened with a bit of open circulation.

The work for tonight continued to focus on new material, and material that was new last season. We began with Vroom. We began looking at the “bass solo” sections, where the lead players are playing cross-picking figures in 7, Mary Beth and I are playing the low bass accompaniment, and Travis and Chris have the bass solo/melody. Each part has its particular challenges, and we had not yet picked this section apart to understand what is happening, and how these parts are related. Until now, in our run-throughs, simply getting to the end of the section at the same time was a major success. This is the kind of detail work that indicates we are beginning to change modes in our own process. We spent the better part of the rehearsal on this, resisting the temptation to spend a lot of time breaking up into sections, except for a period when Chris and Travis slipped away to compare notes on the tricky timing of the solo.

Grunt work, but necessary and useful grunt work.

After the break, we again touched on A Day In The Life, Space Zombies! From Outer Space! and The Children’s Hour, and a bit more R&D on Prayer of Gratitude.

Wednesday, September 15, 2010

An Evening With Sgt Bones

A Tuning the Air Journal

Wednesday September 15, 2010 – An Evening With Sgt Bones

Was called upon by Sgt Bones, my current favorite guitar-circle-related band, to give them some feedback on the state of their repertoire.

It was a lot of fun. I have spent a large part of the last 25 years working with guitar circles at the beginner level, where simply making it through a piece with all of the notes in the right place is a legitimate reason for celebration. Happily, this is a group that is moving into the next stage of the process. The notes are there. What is necessary for them lies in the realm of Quality; musical choices, phrasing, breathing and performing. Part of the challenge is to let go of the concerns of the first phase; to trust that the notes will be there in the right place, and to attend to other matters.

They ran their set: 49 Notes, a circulation in G Harmonic Minor, Eye of the Needle, Lament, and Big Rock Candy Mountain. I just listened, watched, and took it in, making occasional notes to myself. Melvin kibitzed. Afterward, we talked a little about where they are, and then I walked through the pieces one at a time, consulting my internal notes, and trying out a few ideas. Almost everything we worked with had to do with trusting that the work they have done thus far will not fail them, and to move into matters of playing as a group. Much of this was not new news to them, clearly, but perhaps hearing it from a fresh corner helped to drive it home. And with any luck I may have been able to clear up one or two questions of detail on the performance of these pieces.

A good way to spend an evening.

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Sgt Bones monthly podcasts

Monday, September 13, 2010

Performance Team Rehearsal

A Tuning the Air Journal

Monday September 13, 2010 – Performance Team Rehearsal

The Music Director had to work tonight, but left a couple of instructions that boiled down to “Circulate” and Vroom.

We began with some free circulations, helping us to get back into the group groove. Next, a bit of the C Augmented Scale (C-C#-E-F-G#-A), which had the dual virtues of keeping us circulating, while continuing to explore one of the tonalities used in the Voodoo Situation.

Straight on to Vroom. The bass players (Mary Beth, Travis and myself – Chris is also on bass, but was absent tonight) excused ourselves and headed to the back room to address a particular passage with very tricky timing. This took some time. The lead players drilled their parts with the metronome. When we rejoined the group, we began by putting the bass part we were concerned with into context by playing it all together. This helped to make sense of what feels like a strangely disjointed rhythm when played alone. Expanded the part we were practicing, adding the sections that come before and after, eventually opening up to the entire piece which we ran several times. Not yet presentable, but very definite progress and an increased sense that this is doable. Some insights into where the metronome does and does not work with this piece. We are asked to be off book for Thursday’s rehearsal, so there is personal work to be done.

It was already late at this point. We took a short break and then reconvened for the final 20 minutes to run some of the newer material from last season; specifically A Day In The Life and The Children’s Hour. Travis had missed Saturday’s rehearsal when we confronted all of the current repertoire. He has very specific roles to play on these pieces, and it took a little while for him to get them back into his hands.

Next rehearsal: Thursday evening.

Saturday, September 11, 2010

Monthly Open Circle and TTA Rehearsal

A Tuning the Air Journal

Saturday September 11, 2010 – Monthly Open Circle and TTA Rehearsal

Not a terribly early beginning. This season the Saturday morning group sitting will be at 9am on Open Circle days (8:30am on regular rehearsal Saturdays), so it was an easy morning. After the sitting, we migrated to Fremont Abbey (by way of assorted coffee shops), for the 10am Open Circle. Eight in attendance, all from the TTA company. Two newcomers had signed up, but they did not show. Since this was a group of players with circle experience, I decided to sit in the circle myself rather than direct the work from my feet. One of the plans for this season is to set aside the first hour of every Saturday rehearsal for the full group, not just the performance team, and to work on more challenging circulation work and other exercises. With no newcomers, this felt more like that than an Open Circle, and I decided to go with it.

We circulated for two hours, taking several different strategies for contending with dual circulations – bidirectional circulating, bidirectional with one on the off-beat, bidirectonal with one moving at double-time, and two circulations in the same direction with one at double-time. Interesting to look at the difference in experience between working to perceive and enter into the circulation, and actually breaking it down in terms of counting in order to execute it with some reliable accuracy.

At noon, out the door and back to my place (by way of various grocery stores for snacks and sustenance). Chris had made a mistake in the scheduling email, listing rehearsal time as 1pm rather than 12:30, so those of us who had been at the morning circle chilled out and snacked at leisure until 1pm when the others arrived. Wishing to keep to the 3-hour rehearsal plan, we determined that everyone was available to 4pm, and then dove in.

This was reality check day. We began with the new material from last season: The Children’s Hour, A Day In The Life, and Space Zombies! From Outer Space! Chris’ sense was that these would be the most difficult to get back, and his intuition was borne out. Sobering. Most of us had to dig for our scores. Several times through each, getting them up and running, reviewing target tempos and remembering musical indications. Our work is cut out for us.

A break, and then into our core repertoire; pieces we have been playing for some time. We simply ran these as a way to begin to reconnect and take inventory of the work ahead. Here we revealed mostly rust, and it was clear that there is both individual and group work to be done.

Another short break, followed by a bit of discussion about some work we could consider taking on for this season, as a group. This rather naturally moved us to an arrangement Chris is working on of a de Hartmann piano piece, one of the pieces of new material that we have been playing with off and on during the August “R&D” rehearsals. Lovely, and full of potential. Next was a down and dirty look at Vroom, showing improvement but still needing some very focused work supported by a lot of personal work. We skipped past Neptune, as Taylor has not completed the arrangement, but took the opportunity to nag him to get on it since there is very strong support for getting it up and running for this season. We also passed on the Voodoo Situation for this week. For the last 15 minutes we looked at learning a few bars of Bob’s anagrammatical opus. In August we had been focusing on a specific section involving some structured group improvisation, but we had not yet heard any of the music that will surround it, so this was our first exposure.

Thursday, September 2, 2010

Begin with the Creative...



Begin with the Creative...

Seattle Circle Guitar School Mission Statement

The Seattle Circle Guitar School is a nonprofit music school devoted to opening the door to the creative process for children and adults, regardless of previous training or experience. Our approach emerges from the knowledge that learning to play music together contains endless possibilities for growth, and that the experience gained through this process develops skills that are essential.

Music Instruction Turned Inside Out

We have turned traditional musical instruction on its head. We begin by immersing students in a musical environment where they are composing and experimenting on their first days in class. The master musician is able to play and have fun while calling directly on the Muse. We treat the children as if they are master musicians and gradually build in the skills needed to actually move toward this goal. We introduce skills as the child recognizes the need for them: my pick keeps falling out of my hand! Well, let's take a closer look at how to hold the pick, then. If we can remain in contact with this spirit of exploration and play while developing skills, then our journey is joyful and we remain in contact with the spirit of music.


Working within the guitar circle, we open the door to a world where learning is a meaningful inquiry. Once we have a taste of this playful and joyful spirit, then any musical pursuit is enriched.

Our Approach Is Experiential

Music is primarily a collaborative activity, and the skills we develop in the process have far reaching application. We learn by doing, by failing, by doing again in the light of what we have learned. What we experience is ours, and cannot be taken away or forgotten. It informs us as we look ahead to where we want to go, and helps us to see for ourselves what we need in order to get there.

Make This Sound

The Seattle Circle Guitar School works within the oral tradition of music, engaging our students with the actual sound and feel of music as presented by practicing musicians. Throughout history and in every culture, musical education has been transmitted through apprenticeship. Music is best learned by being around musicians, listening to and playing with musicians.

Engaging The Whole Body

Crucial to our enjoyment and long-term participation in music is how we use our bodies - if it is physically hard, uncomfortable or painful to play, we won't have fun! The SCGS faculty has a strong background in Alexander Technique. The aim here is freedom and relaxation in the body; release of unnecessary tension; engagement and direction of attention; and the ability to respond to each other, to the situation, and to Music itself.

Where Did All This Space Come From?

In the experience of playing music, sometimes a new world opens up: a world with lots of space in it.


The Guitar Circle

The Guitar Circle embodies a new approach to guitar instruction and music-making as developed over 25 years in Guitar Craft, which was founded in 1985 by Robert Fripp. When a group of people sit together in a circle with guitars, something happens which does not happen any other way, and we can get a glimpse of something magical.


“I wish I had had the opportunity to play this way when I was a child…they are learning how to play cooperatively, listen carefully, and have fun playing together!” - Marian Wagner, 3rd grade teacher, Salmon Bay School

Sunday, August 29, 2010

Weekend at CCMAC: Sessions #5 and Departure

A Tuning the Air Journal

Sunday August 29, 2010 – Weekend at CCMAC: Sessions #5 and Departure

Sunday August 29, 2010
Copper Colored Mountain Arts Center
Ann Arbor, MI

5:00am – Rise
5:30am – 1-hour silent meditation with community
6:30am – Free time/breakfast
9:00am – Community blessing (without doughnuts this time)
9:30am – Free time
1:00pm – Lunch
2:00pm – Session #5
3:30pm – Seminar completion
4:45pm – Departure for Airport

Up again for the 5:30 sitting. Made some minor adjustments, and avoided yesterday’s discomfort in my legs. Back to the house for a bit of breakfast, and then a morning mostly to myself. The community had some community business to attend to. I read, showered, and got myself more or less packed and ready to head for the airport after the afternoon session. Lovely lunch of homemade pesto (basil grown here on the property). Got a tour of the second barn which has a room on the top floor with 4 walls of stunning Tibetan-style paintings of various relevant deities and teachers. My understanding of Buddhist practice and tradition is woefully inadequate, but the shear artistic impact was impressive and wonderful.

Session #5, our final session, began at 2pm. I did not plan on a heavy work session, but primarily aimed to bring the various threads of inquiry from the weekend to a completion. I began with putting the rhythmic figures the team had memorized and practiced, together. Again I was pleased to discover that this had been taken seriously, and so I was able to move the exercise much further along than I had dared to hope or anticipate. More work with boomwhackers, taking the basic circulation exercises we had explored yet another step.

We re-gathered in the circle to share observations before drawing the weekend to a close. Very good insights that indicated to me that what was being presented, beyond the superficial activities, was comprehended and the team seemed to recognize the value of what they had experienced. Ended the meeting and the class with the Tuning the Air hand clap circulation and “let it go” gesture, which brought the weekend to a very powerful completion for me.

A little free time. Got my stuff together and ready for travel. Cleaned out my room. Walked about the property enjoying the heat. Hit the road for the Detroit Airport a little before 5pm. Breezed through security. Had time to grab some functionally adequate food before departure time, since there would be no food on the plane and nothing in my refrigerator when I got home.

Travel was smooth. I even had no one in the seats adjacent to me – almost unheard of these days. The only dark spot on the trip was the brain-dead Delta employee at the gate who saw the duffle bag I was carrying the boomwhackers in and insisted that it would not fit in the overhead. My explanation that on the way out it had fit just fine, taking up the same space as a little wheelie bag, did not sway her. The fact that it fit in the stupid little measuring thing at the gate was not enough to convince her that her estimation of the bags size was possibly in error. Meanwhile, as this conversation was going on, people were passing by us dragging steamer trunks on wheels that were never going to fit in any overhead compartment ever. In the end her idiocy trumped my energy for argument, and the bag was checked. Pea brains rule the world. Not enough to spoil my weekend, though.


Back to Day 2

Saturday, August 28, 2010

Weekend at CCMAC: Sessions #2, 3 and 4

A Tuning the Air Journal

Saturday August 28, 2010 – Weekend at CCMAC: Sessions #2, 3 and 4

Saturday August 28, 2010
Copper Colored Mountain Arts Center
Ann Arbor, MI

5:00am – Rise
5:30am – 1-hour silent meditation with community
6:30am – Free time/breakfast
9:00am – Community blessing (followed by doughnuts!)
9:30am – Session #2
12:00noon – Free time
1:00pm – Lunch
2:00pm – Session #3
4:30pm – Break
5:00pm – Out to Ann Arbor with three of the CCMAC team for an awesome dinner
7:00pm – Session #4

Sitting at 5:30 is pretty brutal, even for me. Plus, it has been a long time since I’ve done my morning sitting cross-legged on cushions. But I didn’t bring my kneeler with me (along with the laptop, a decision designed to keep me down to carry-on for the flights), so I suffered legs falling asleep.

Session #2 began at 9:30am. The two or three people from the Ann Arbor vicinity who took part in last night’s free class did not decide to follow through and sign up for the full weekend. I choose not to take this personally. So the team for the balance of the weekend are all part of the group here that runs the Arts Center. There will generally be 13 or 14 in the circle, depending on a few individual schedules (a couple of the participants will need to miss at least one session due to their work obligations). One advantage to this turn of events is immediately apparent. This is already a group. This is a community following a particular spiritual path, from the Buddhist tradition, and they are used to working together. This makes my life a bit easier, in certain respects, since turning a mob of strangers into a group is generally where a lot of my energy goes at the beginning of a seminar. Not necessary here.

We began with a return to clapping circulation exercises, picking up on the work from last night and going further and deeper.

Then a 40-minute session of Body Beat. I had originally envisaged this for the afternoon session. It is a good way to generate energy in that after lunch midday slump. But the weather forecast is for high temperatures and humidity today. The barn-converted-to-arts-center has fans and some air conditioning, but I am concerned that even with that it will be too much. Even at 11am it is pretty warm when we wrap it up. Good work, and the team manages to rise to most of the challenges. Clapping on backbeats always a stumbling block, but not nearly as daunting for this group as for most, so naturally I push it!

Back to the circle, and out with the boomwhackers. We reviewed the rhythmic figures I presented to be memorized last night, and introducing the next ones. The penny seemed to drop that this is going to require a bit of personal work and review in between class sessions.

After lunch, Session #3 began at 2pm. It was in fact pretty warm in the barn, and I wanted to keep the physical activity low-key. Dug into my storehouse of Frank Sheldon exercises, and introduced two. First was the “Winking Game”. This never fails to illuminate the state of our attention. Plus, it is a bit silly, kind of fun, and when it clicks there is a wonderful elegance about the way the group interacts and moves that is instantly noticeable. Excellent observations from the team. Then to another Frank classic: circulating words. We worked with creating stories one word at a time in circulation. The fans in the room made speaking up an absolute necessity, and forgetting to speak up a good indication of attention having meandered. I asked one of the participants to summarize the story of Goldilocks and the Three Bears, and then had the group tell it in circulation (“the first 4 words of your story will be ‘once upon a time’, and you will indicate the end of the story with ‘happily ever after’.”) The version of Goldilocks that emerged was a little strange, but certainly entertaining. This helped the group to get a sense of narrative, with a beginning and a middle and an end, and so the next totally improvised story had much more coherence, ending in raucous laughter over some strange images with potentially bawdy interpretations.

Introduce the next set of rhythmic figures to be memorized. Now it is abundantly clear that this exercise is going to involve personal work. Ended the afternoon session with some thrakking in 5 and 7, with hand claps and then boomwhackers. Wrapped up Session #3 at about 4:15.

Went into town with Hootie as well as both the president and the executive director of CCMAC (who happen to be a married couple). Great bbq, and interesting conversation discovering a lot of crossed paths. Time for a little rest and personal gathering before the next session.

Session #4 at 7pm. I began by introducing the final rhythmic figures to be memorized for the weekend. Drilled them to make sure everything was in place. A number of people made notes for studying. The plan is to put it all together at the final session on Sunday afternoon.

Just beyond the middle, and the evening of a good day of pretty hard work. A bit of fun seemed in order. A number of the people in the class are studying drumming on conga drums, and an inquiry determined that there were enough extra drums around that we could have an entire conga drum circle. The risk, as I saw it, of this was that by putting familiar instruments in everyone’s hands we might revert to familiar and comfortable patterns. This is not a drum seminar, and I am definitely not a drum teacher. We are working with opening up, directing and dividing attention, connecting with the other players. Thankfully, the team seemed to get this, and so outside of a bit of random banging as the drums were set up, we managed to remain on task. We went to a number of circulation exercises already introduced, and pushed a bit further. The sound of the drums certainly adds a bit of fun, which helps. Definite improvement. We thrakked, this time adding an 11 pattern to the 5 and 7. This, as always brought the energy level up. I reminded the group of the basic exercises in directed attention we have been using to contain our energy and this was instantly understood. A lot of juice in the room. Moved on to set up The Whizz. We managed a certain velocity, and even flirted with escape velocity. Not sure what kept us from really taking off. Is it the nature of drums? The hot weather? Something in the nature of this particular group? Perhaps simply not enough people to really handle the current. I don’t know. Certainly fun, and very cool sounding on the drums.

Wrapped things up at about 9pm. Back to my quarters. Chilled and did a bit of reading, and early to bed (5:30 will again come sooner than I realize).

Back to Day 1
On to Day 3

Friday, August 27, 2010

Weekend at CCMAC: Travel and Session #1

A Tuning the Air Journal

Friday August 27, 2010 – Weekend at CCMAC: Travel and Session #1

The class description on the Copper Colored Mountain Arts Center website read as follows:
This Moment: Exploring the interface of music and mindfulness.
Weekend Workshop, August 27th-29th

Open to musicians and non-musicians alike. We will use Musical exercises integrating mindfulness and rhythm to create a dynamic space, deepening the connection between awareness and the joy of music. Using instruments, clapping, boomwhackers and group circulation techniques, we will explore the relationship of attention, rhythm and group interaction. Instructed by Curt Golden.

Friday August 27th, 7:00pm Free Introductory Evening
Saturday August 28th, 9:30am-12:00pm, 2:00-4:30pm, 7:00pm-?
Sunday August 29th, 2:00pm-4:00pm
I was up bright and early in Seattle. My ride to the airport arrived right on time. No problems at the airport, and everything fit in carry-on. Arrived Detroit a little early. RV (aka, I have come to learn, “Hootie”) met me out front and we made the 45ish minute drive to the Ann Arbor vicinity. Off the interstate, onto some state roads and then a dirt road, and Copper Colored Mountain Arts Center.

Summer in the Midwest; hot and humid. My room is a small office in one of the houses, converted for guests. I have a lovely view of the grounds. The buildings are air conditioned. Whew. I share supper with the residents of the house at 6pm, keeping it light since 7pm is showtime.

Session #1 (of 5) was free and open to the public. Most of the participants would be taking part in the entire weekend, but an unknown number might show up just for this session. So my challenge was to present, in about 90 minutes, material that would set the weekend in motion, while being a coherent whole for those who would not be returning. I talked a little about my background and introduced the them of working with attention. A little more PT Barnum/razzle dazzle, perhaps, than I might have unleashed at the first session had it not been for the visitors. Introduced circulation with some simple forms using hand claps, pushing the complexity up to the edge of the available attention. We did several iterations of an exercise circulating our names, as well as the names of those sitting to our left and right. This not only serves as a way of introducing ourselves, but also injects a bit of levity into a proceeding that can sometimes become a little self-consciously serious, and introduces a necessary element of play into the way we approach the challenges.

At this point, the dramatic introduction of the boomwhackers. I learned this trick from watching Sandra and Rob; you walk into the center of the circle, open the bag and unceremoniously dump 50 colored and tuned pvc tubes onto the floor, making a raucous clatter that never fails to elicit smiles all around, even if you know it is coming (at least that has been my experience). I invited everyone to choose the two tubes that attracted them, and we launched into some more challenging circulation work.

Wrapped the session up at about 8:30, introducing a couple bars of specific rhythm to be memorized by those taking part in the entire weekend. This will be a thread we will follow, adding more bars each session until (hopefully) it can be all put together by the closing meeting. It is clear to me that except for a couple of guitarists known to me, the team is a combination of non-musicians and people who have begun studying hand drumming. That makes boomwhackers the closest we will get to working with melody or harmony. Changing harmonic elements is one way to inject variety into repeated exercises, but that little ploy is not going to be available to me this weekend. Most of the people taking part in the weekend seem to be part of this community, which means they have an established practice, and that will likely be what makes this work.

In that slightly psychotic jet-lagged state; very tired from a long day of travel and work, but in a time zone where it is later than my internal clock will acknowledge, I went back to my room and fell into a longish nap. Got up long enough to slip out to the kitchen for a midnight snack, then a quick wash-up and back to bed in earnest. This community does a one-hour silent meditation at 5:30am, and jet lag or no jet lag that hour is going to sneak up on me fast.

On to Day 2

Saturday, August 14, 2010

Performance Team R&D

A Tuning the Air Journal

Saturday August 14, 2010 – Performance Team R&D

Met briefly with Travis and Chris at 9:30, to discuss the proposed realignment of organizational structure for Tuning the Air. My life gets easier. Or, so one might hope. We’ll see. Mostly, my energy will be somewhat redirected. Briefly touched on some practical issues, including getting promotion up and running. A question about the CGT potential at Fremont Abbey in November. Before we could get far into that, however, it was 10am and the rest of the performance team was arriving.

Six of us got together this morning, plus a special east coast guest who sat in as an observer. The plan largely to begin shaking the dust off. Fremont Abbey is booked for September, and so we cannot open the show until October. Making a virtue of a necessity, Chris thought that we could use this time, which ordinarily would have been the beginning of the formal rehearsal crunch, to work on some simmering ideas for new material. No guarantee that any of it will make it into the show, but injecting a little “new music energy” into the process, just to see what happens.

We began with some work on the scales that Ian introduced last season in the context of the Voodoo Situation. In rehearsals we rarely had time to give these tonalities the kind of exploration they require if we really intend to present them with any level of mastery, let alone playful creativity. This work helped a lot, bringing both the “Augmented Scale” [C-C#-E-F-G#-A] and the “Lydian Augmented Scale” [F-G-A-B-C#-D-E] more into our common experience. Some beautiful things came up as we discovered the natural tonal centers. Took a brief look at the zither potential of the Augmented Scale, and quickly saw that there is something there to be explored further.

Chris and Howard presented Vrooom. Howard worked with Bob on the lead lines. Chris took Ian, Travis and myself aside to get the bass line going. A tricky little ditty. It needs more lead players. Taylor may already know the lead; not sure if Jaxie and/or Mary Beth have ever addressed it. It is a piece that the League has been playing for some time, and we tend to bump into it whenever we attend a course in Europe. Fun. Twisted. Entirely doable.

A short break to stretch. We took some of that time to come back to the CGT question. Travis, who has been the point person on the discussion, brought us up to date on the email conversations that have taken place so far, and the various options that have been discussed. Cleared up a few questions, and set a plan in motion to get a bit more to the heart of the matter. More to follow.

After the break, Bob introduced what will be the middle section of a piece he is working on. It involves 3 truly twisted bass lines in 15. The circle was divided into 3 groups of 2 (it will be 3 groups of 3 when we are all together). Each group responsible for one of the bass lines. Chris and I had the one in “C”. While we played it (Struggled? Scrambled? Faked it?), Howard and Travis improvised Cmin7 chord vamps in the midrange, and Bob and Ian improvised melody/solo lines in the upper range. When we switched to the Ian/Bob bass line (in “D”), Chris and I moved to chord improvs and Howard/Travis took on the lead/solo improvs. When the Howard/Travis bass line (“E♭”) was on, Chris/Curt moved to lead, and Ian/Bob to chords. Bob set up a specific form for these changes:
C min – 4 bars
D min – 4 bars
C min – 4 bars
D min – 4 bars
E♭ min – 8 bars
First we simply circulated (and connected) the bass lines. Once that was more or less (mostly less, but who is keeping score) established, Bob added the chord improvs, ad finally the lead/solos as well. Playing the bass lines was certainly a challenge, but keeping contact with the long 15 count while improvising was what nearly always undid us. We did manage to hit a stride and for a few repetitions of the form it was possible to hear the potential of this arrangement. Improvising within a structure. And the movement of parts around the circle could be very effective in the performance space.

We were scheduled to go to 1pm. At 12:45 we agreed we had reached saturation.

Sunday, August 8, 2010

Retreat Day 4

A Tuning the Air Journal

Sunday August 8, 2010 – Retreat Day 4
  • 6:00am – Rise
  • 6:30am – Curt and Tony walk to W. Broadway to join team
  • 7:00am – Sitting
  • 7:45am – Breakfast prep
  • 8:00am – Breakfast
  • 8:30am – Personal meetings. Preliminary cleanup. Curt, Tony and Victor (and later, Tom) get with guitars, Curt sharing Seattle ear training exercises.
  • 9:30am – Work in the Circle with guitars; new exercise from RF
  • 10:30am – House restoration
  • 11:30am – Final meeting
  • 12:25pm – Completion of retreat acknowledged with enthusiasm
  • 12:27pm – Intentional walk to the restaurant at the end of the block for a post-retreat/pre-departure meal and decompression.
Everyone leaving town was on the road by about 3:00pm. Tony, Jaxie and I did one last turn around the House. Tony and I were back at his place at 3:30pm. He is napping. I am going to do the same. Dinner plans for us with Jaxie at a Peruvian restaurant (I do love NY).

Saturday, August 7, 2010

Retreat Day 3

A Tuning the Air Journal

Saturday August 7, 2010 – Retreat Day 3
  • 6:00am – Rise
  • 6:30am – Curt and Tony walk to W. Broadway to join team
  • 7:00am – Sitting
  • 7:45am – Breakfast prep
  • 8:00am – Breakfast
  • 9:15am – Work in the Circle with guitars – Tony presenting a bell ringing exercise
  • 10:30am – Meet to complete presentation of reports on professional life: Jaxie, Curt, Sandra, Tony.
  • 12:30pm – Lunch prep
  • 1:00pm – Lunch
  • 3:30pm – Report on Seattle Circle Guitar School
  • 4:00pm – Tea (continue SCGS discussion)
  • 4:30pm – SSG I meeting
  • 5:00pm – SSG IV meeting
  • 5:30pm – Vayu Prana Meditation
  • 6:15pm – Dinner prep and AT/Breathing work with Sandra
  • 7:00pm – Dinner
  • 8:30pm – Personal meetings
  • 9:30pm – Work in the Circle with guitars
NYC was kind to us; I managed to sleep with open windows and no A/C. When Tony and I stepped out onto W 4th Street at 6:30am it was noticeably less hot than previous days. Not so much cool, but welcomingly warm; my body warmed up from the simple exertion of a brisk walk to SoHo, rather than simple existence in the sauna of NY in August.

For the work in the Circle this morning, Tony introduced an exercise he is doing with the NY Circle, involving traditional bell ringing changes. Very challenging for us.

After lunch Jaxie, Tony and I presented a report on the status of the Seattle Circle Guitar School. The ensuing discussion went into and through Tea (Tony preparing Turkish Coffee for the second day in a row!). Very good feedback, as well as some brainstorming about related reading, plus potential donors to help us get through the initial period. The photos of the Kids Circle performing at Tuning the Air was again a big hit, meeting universal enthusiasm. The videos of that show were also very effective, not to mention a source of amusement – never a bad combination.

Awesome Pad Thai from the kitchen team of Jaxie, Tom and Robert. Associatively, a number of kitchen-related Guitar Craft histories, recorded by Tony.

[go to Day 4]

Friday, August 6, 2010

Retreat Day 2

A Tuning the Air Journal

Friday August 6, 2010 – Retreat Day 2
  • 6:00am – Rise
  • 6:30am – Curt and Tony walk to W. Broadway to join team
  • 7:00am – Sitting
  • 7:45am – Breakfast prep
  • 8:00am – Breakfast
  • 9:15am – Work in the Circle with guitars
  • 10:15am – Meet to present reports on professional life: Tom, Victor, Dev
  • 12:45pm – Lunch prep
  • 1:00pm – Lunch
  • 2:30pm – Personal time, dinner pre-prep
  • 4:00pm – Tea
  • 5:00pm – Vayu Prana Meditation
  • 5:30pm – Work in the Circle with guitars
  • 6:00pm – Dinner prep
  • 7:00pm – Dinner
  • 9:30pm – Listen to JGB talk on the Formatory Apparatus, and follow-up discussion
  • 11:00pm – Curt and Tony walk back to W 4th Street for the night
Interesting to look back on the day in terms of remembering and documenting the schedule which, outside of the general plan for meals, is not predetermined; we look ahead a few hours, and make sure we have time set aside for a number of activities we consider essential. What utterly fails to be captured is the content of the activities, taken on by a group that has been working together for, in some respects, 25 years. Almost entirely self-organizing. After the early evening intro to the meditation we are taking on for the weekend, feet and guitars directed us to the Circle without a word spoken. Meal conversation is never strained or in any way formal, and yet it is very much a part of the activity of the retreat in which matters, often of great import, are observed, considered and discussed in depth. How do you describe eight people with minimal talking converging on a kitchen, and less than 60 minutes later there is a stupendous meal laid out on a well appointed table, everything accomplished with a care that is not at all precious. After listening to JGB’s Theme Talk, the discussion was unforced and relaxed. Walked back to Tony’s apartment thinking, “finally, after so many years of those kinds of meeting, that is the way they are supposed to be.” Not a shoe gazer in the bunch.

Big news of the day: Robert finally had his initiation into the Guitar Craft Kitchen.

Over lunch, received the news from England that Alice Lawton has flown away. She and Ken, who passed away last year, hold a special and happy place in Guitar Craft history, specifically in the Red Lion House era, and were a great support to us.

[go to Day 3]

Thursday, August 5, 2010

Retreat Day 1

A Tuning the Air Journal

Thursday August 5, 2010 – Retreat Day 1

Arose at Tony’s place about 6:30am. Sat at 7am. Already in the 80’s outside with serious humidity. A shower and breakfast, and then he and I headed out to the Whole Foods on Houston (just typing that phrase makes me shake my head) to do the basic shopping for the weekend. Tony took a page (or maybe 2?), and I took a page (largely the vegetable and fruit page). An hour or so later, 8 or 10 bags of groceries. Citibank saw a $250 charge try to go through at a grocery store in NYC, and elected to not approve the purchase, on the chance that the card had been stolen (speaking to them later, my snarky reference to the fact that I had purchased the airline ticket on that card didn’t make much of an impression). So, Chase got that business today, and Citibank did not. We hailed a cab and headed down to SoHo to the retreat location. Managed to make all the keys work, unloaded the groceries, turned on the air conditioning (by this time 80ยบ was only a fond memory).

We headed back up to the Village to Tony’s place to get the guitars and a few necessities (Tony and I will be returning to his apartment to sleep throughout the weekend). Again cabbed back to SoHo, and found that Jaxie had arrived. A few bits of Housecraft, and then we hit the streets for a slice for lunch. The rest of the team would be arriving between 2 and 3pm. Hot and crowded out, we brought the pizza back to eat in comfort.

Tom called to let us know he and Robert were a few blocks away, so we went down to meet them. Loaded out their car, and Tom left to put it in the parking lot. Dev and Victor arrived next, looking a bit wrung out, having driven from Boston with no AC in the car. Victor came in, and Dev set out to the parking lot. Sandra arrived, and we loaded her gear out. Tony accompanied her to the parking lot. By tea time, we were all present and accounted for.

Over tea, some discussion about the weekend, with Robert leading off regarding his aims. We all weighed in on our sense of the weekend, and talked about the flow of the days, meals (everyone is on kitchen duty at every meal – only dinners are at all involved, but even they are going to be as simple as possible).

Eight of us in a wonderful kind of choreography as we improvised our way through the dinner prep. Dinner had a force in it. I gave Mr Bennett’s blessing, nearly stumbling on the line that often gets ironically inverted. More discussion over dinner about Guitar Craft, GC History, and this group.

For the evening meeting, Robert presented the exercise for our morning sitting, which ties directly into the exercise we will be taking on throughout the day. Afterward, some guitaring seemed to be calling us. We sounded tired and a bit dispersed, but a necessary breaking of the ice. Robert, still on UK time, called it a night about 10:30. The rest of us sat and talked another hour before Tony and I left for the 20-minute trek back to his place, and the rest settled into their beds.

[go to Day 2]

Saturday, July 31, 2010

Music Lab

A Tuning the Air Journal

Saturday July 31, 2010 – Music Lab

Very productive Lab today. Eight in attendance: Christina, Mary Beth, Taylor, Rob, Ian, Carl, IgorK and Greg. This made an exercise possible that we could not address with fewer people.

We began with three circulations in A Harmonic Minor, tuning the air as it were.

To begin to get inside A Harmonic Minor we spent about 30 minutes on the circulation exercise we have been addressing for the past few weeks. We began on “A” at the 12th fret of the 3rd string. The first player played that A, followed by the note one diatonic step above or below; G# or B. The second player began with the second note, and followed it with a note one diatonic step above or below that, and so on. With so many people in the circle, keeping track of where we were when our turn came was something of a challenge, but the work of the previous Labs has paid off, and there was significant improvement. We moved on to include diatonic thirds to this exercise, which although a little more difficult, still resulted in noticeably more musical choices in the circulation.

Sticking with A Harmonic minor, we came back to the exercise first addressed a couple of weeks ago. I assigned notes from the tonic seventh chord to the players: A-C-E-G#. With 8 players, this arpeggio was repeated: A-C-E-G#-A-C-E-G#. We walked up through the diatonic seventh chords:

I-II-III-IV-V-VI-VII-I

…and then repeated this. In A Harmonic Minor, this was:

Amin(Maj7)-Bmin7flat5-Cmaj7aug-Dmin7-E7-Fmaj7-G#dim7-Amin(maj7)

I asked the players to track this sequence both in terms of the scale degrees (I, II, III, etc) and the root note names (A, B, C. etc – I did not insist on the full names of the chords, but simply to be aware of the harmonic movement in terms of the root). The aim was to begin to recognize the quality of each of the chords formed by this scale – however we might choose to characterize those qualities.

We then began with the I chord in the high octave and then moved “up” through the sequence while moving down in terms of voice leading. For instance:
  • We began with Amin(maj7) in the high octave: A-C-E-G#
  • Then moving “up” to the II chord, Bmin7flat5, with everyone who needed to change notes choosing to move to the closest available note down the scale: A-B-D-F
  • Then moving “up” to the III chord, Cmaj7aug, with everyone who needed to change notes choosing to move to the closest available note down the scale: G#-B-C-E
And so on. The secret to this is that whoever is playing the root of the current chord does not change notes when the chord changes.

Once we had this sequence under control, we moved up the sequence while moving down the scale, and then repeated the sequence moving up the scale, and so on. We applied a number of different circulation strategies in order to illuminate the quality of the chords in the sequence while moving through different voicings.

With 8 in the circle, 2 groups of 4, each with the same arpeggio, it was possible to explore the concept of contrary motion in voice leading. One group began in the high octave and moved down through the harmonic sequence while the other began in the low octave and walked “up”, and then the reverse.

Some stunning musical moments, simply by following this very simple exercise.

This exercise stretched out well over the first hour, so when we reconvened after a short break, there was really only about 30 minutes available. We used this to have a little fun with the bridge of Rhythm Changes, a little practical exploration of the Circle of Fifths.

For this, rather than assigned notes, we went with the notes of our choice, making necessary adjustments to ensure good sounding and complete voicings. The basic rule of voice leading remained the same: stay with common tones, otherwise move by step, and only change by “leap” within a chord. E7-A7-D7-G7, 2 bars each, followed by a C triad as the resolution, turning around back to the E7. In reality, an 8-bar phrase would have been used in that place (likely I-V7-I-VII7), but time demanded this short-cut.

Before we were done, we were actually circulating in swing. Big fun. Very sad that time ran out.