New England Repertoire Project
Meeting #4
07/14/2002

In attendance: AlexL, DaveT, DavidK, GlennH, MartinB, TerryT
Meeting conducted by: VictorM

The meeting commenced with Victor's announcement that we would for the
moment be altering our tuning method. With 3 tuning forks (A, C & G), we
would listen to each tone one, then on the second striking of the tone tune
the corresponding string finally tuning the E to G at the 4th fret if you
hadn't already tuned the string. The instructions were mostly followed and
tuning was completed.

We began with the Third Relation 8 measures of 16 exercise. This seemed more
coherent than we have played it previously.

We began with Eye of the Needle. First we played with no instructions. This
seemed better than previous attempts but still not whole. Victor then asked
us to play the best we possibly could (as if our lives depended on it). This
was about the same if slightly better. Then Victor asked us to play and
think about something else (look at other members etc). This was farcical
and scattered but the energy in the circle seemed to increase. Lastly Victor
asked us to play it and and not try to hard, or think about other things, but
just play and listen to the music. This was the best effort of the lot although
as Victor would say later the feel, timing and transitions still need a lot of attention.
Victor also mentioned that we should try and learn from our mistakes.

Victor then read us part of a Franz Listz biography that dealt with the
virtuoso violinist Paganini.
Victor had mentioned this to the group during the first meeting when he was
demonstrating the Paganni Pivot. The first section described Paganni, how
he was so good that he was not only a virtuoso on the violin but took the
instrument and music to heights never before attained. He was rumored to
have sold his soul to the devil, murdered his wife and used her intestine
for one of his strings. His supposed prison term for this crime was where he
evolved his skills armed only with a violin as a companion. He could play as
well on 4,3,2 or even one string and would never let the orchestra hear his
capriccios before the actual concert. Listz was so enamored with Paggani&Mac226;s
ability that he was driven to try the same resolution of the most difficult
playing on piano, espoused on the violin by Paganni .The reading finished
with letter to a student by Listz who was so enthralled by Paganni he said
that in his music and performance were his very soul. Victor stated that he
was rumored to have practiced 15hrs a day and that there was slim
possibility that a Paganini could be produced in modern culture. He also never
practiced (after he attained a certain level) saying that he had done his work,
and now was allowed to rest. Victor made the point of saying that we all should
set our goal to a high standard, as Paganni set his goal at being the best on his
instrument.

We then moved onto circulation with various slow and fast circulations.
First we played sequentially around the circle then alternated from every
person to every other person during each rotation. Circulations were in C
switching the F to an F# and the B to Bb and back to B during various
circulation attempts. Although there were many starts and stops there
were some very positive circulations. The alternation was great for focus
and it was suggested that we make the effort to receive and give the notes
and look at the other member when this was happening. The fast circulation
was not great but the slower ones seemed to gel quite a few times. Victor
asked us to think musically during the circulations and play the note we
intended to play.

We then moved on to 5 and 7 exercises first with guitars in circulations,
which started strong but fizzled quickly. Then we attempted some members
counting 7 while playing 5 and some counting 5 while playing 7. When this
was unsuccessful some comments were made about this being easier alone at
home and clapping. We put guitars down and split the circle with alternating
members 1,3,5 clapping 7&Mac226;s and members 2,4,6 slapping 5&Mac226;s. This was better
than the other attempts and finished with 3 members trying to slap 5&Mac226;s and 7
at the same time. This met with limited success.
The meeting finished with Victor showing the 3rd section of Third Relation
including for the adventurous members alternating groupings and patterns for
the section. A question was posed as to what was homework and it was decided
that it was all that had been covered so far. Victor stressed using a drum
machine for tempo instead of a metronome, as it is more musical. Victor also
stressed that we should visualize our goals as much as possible when
practicing especially when receiving energy from the practice. During the
meeting a real sense of humor, camaraderie and a group identity was present
even when struggling with the pieces and exercises.

The next meeting is July 28th

MB

New England Repertoire Project

Meeting #3
07/07/2002

In attendance: DaveT, DavidK, GlennH, MartinB, TerryT
Meeting conducted by: VictorM

The meeting began with one of the members asked to perform the Thrak rhythm. We then commenced working on 5 and 7 pattern clapping, both on upbeats and downbeats. When this initially seems to be too great a challenge, we worked on the various parts without guitars and while standing up, freeing up our bodies to move. We began by stomping each foot on a downbeat (1/4 notes in 4), and when that was going smoothly, added a clap on the upbeat. We then worked on a pattern in 5, with a clap coming on the 1, the and of 2, the and of 3, the 5, all the while keeping the feet going. One member exclaimed they finally "got it", and a comment was made that it was seen/felt externally as well by those watching when he "got it", which is an important quality to be aware of when performing. We then worked on a similar pattern in 7, with the clap coming on the 1, the and of 2, the and of 3, the and of 4, the 6, the 7, again keeping the feet going. Once this was relatively smooth, we split into two groups, one clapping the 5 pattern, one clapping the 7 pattern simultaneously. We then took a short break after all the stomping and clapping. We then returned to the stools and guitars and attempted the beginning of Thrak. In the words of one member, "We suck". We tried switching the 5 and 7 players and we still sucked. But we sucked cheerfully.

We then attempted a run-through of Eye of the Needle. There were some major tuning problems evident.

Victor introduced an exercise to us, which relates somewhat to Third Relation. It is comprised of 8 measures of 16 16th notes:

1st measure: third finger, 3rd string, 15th fret: 3-3-3-3 x4 (refers to string)
2nd measure: add second finger to 4th string, 14th fret: 4-3-3-3 x4
3rd measure: add pinky to 2nd string, 17th fret: 4-3-2-3 x4
4th measure: move pinky to 1st string, 17th fret: 4-3-1-3 x4
5th measure: same as 3rd measure
6th measure: move index finger to 5th string, 14th fret: 5-3-2-3 x4
7th measure: same as 3rd measure
8th measure: index finger as in 6th measure, pinky as in 4th: 5-3-1-3 x4

repeat

The thing to concentrate on while doing this is movement through time. A line with numbers, a grid, etc. Choose a visualization, but be constantly aware of it. This can lead to a similar awareness in life. It was also mentioned that after working on this exercise a lot of energy can be built up which needs to go somewhere. It was suggested that this energy can aid in visualizing or clarifying one's aim, and it can also be used for healing.

We practiced the exercise for 7 minutes.

We then split up into two groups to work on the first two main sections of Third Relation.

Finally we worked on circulating in C Major. When the initial attempt didn't go well, we put down the guitars and Victor asked us to think of it as being given something by the previous person, adding to it/changing it in some continuous fashion, and passing it to the next person. We worked on circulating a ball of "energy" applying this principle. After two complete circulations of the "energy", we picked the guitars back up and tried to apply the same principal to the musical circulation.

Next meeting on 7/14 @ 8:15pm. No meeting on 7/21.

DK

New England Repertoire Project
Meeting #2
06/30/2002

In attendance: DaveT, GlennH, AlexL, MartinB, DevR, TerryT
Meeting conducted by: VictorM

The meeting began with Victor walking us through and awareness "filling"
exercise. We started with our feet, and their contact with the floor, and
worked our way up the body to the head. With this completed, we tuned.

Our first work was with Eye of the Needle. We were asked to count the
introduction, but this time to count the 8th notes. This produced some
interesting results. After a few attempts, with some improvement, an
observation was made about being in tune (or rather, out of tune), and how we
might address this. We continued to work through the rest of the piece,
including the ending. An observation ventured after the first few attempts at
the whole piece, about the tendency to speed up when playing the last 4 notes of
the 13/8 patterns and the last 7 notes of the 4/4 patterns. During this time,
as we played, we were asked to make eye contact with a partner across from us in
the circle and have one partner make faces, while the other attempted to emulate
that face. Between attempts, we stop to bring attention to ourselves and our
breathing.

Here, during a pause, we are asked to consider what it would be like to be a
part of a musical group where it made no difference what the other members
thought of you.

Next, we began work on Thrak. To begin, we work with the intro in 5. Next, we
are split roughly in half and address the first section of 5 with 7. Finally,
we work to alternate the 4 bars of 5 of the intro with 2 bars of the 5 with 7.

Next, we begin a circulation, choosing any note, and any sequence of notes, and
circulate to the left.

Finally, we begin the first melody section of Third Relation. After a brief
review of the intro, we split into two teams, one to work on the Bass part, one
to work on the lead. After about 10 minutes, we rejoin and slowly play the two
parts together.

Homework:
- Counting Eye of the Needle. Can we do this counting 8th notes? Quarter notes?
When we count on the beat, can we observe where we play the notes: behind, on,
or ahead of the beat? If we play on the beat, can we observe where we count:
behind, on, or ahead of the beat? Can we do this in any combination?

- Thrak. Can we count the rhythms using 16th notes? Can we count using 8th
notes? Can we count the 5's in 7? Can we count the 7's in 5? Can we tap 5 with
one hand, 7 with the other? While counting? While tapping our foot in 4?

- Third Relation. Work on the new part we have learned.

Next Meeting: 07.07.2002 @ 8:15 PM

A.L.

June 16th, Inaugural Meeting

it took some time to settle after dinner. which was had after the meeting
with ben. one participant was late, another didn't show. victor asked that
everyone help to maintain the space where we are meeting. he spent some
time going over the stated aim of the project in each of its aspects. he
emphasized that this wasn't a performance project. he said that the standard
will be high, and that some of the group might decide understandably to drop
out. consistent attendance is expected. there is one rule and that is we are
not to talk about someone unless they are present. we spent some time going
over the 7th guitar craft primary, the paganini pivot. participants were
asked to address this exercise. we began to look at the 3rd guitar craft
theme "eye of the needle" and most of the parts of this piece were
handed out. during this process we took a short break. we also learned the
first 8 bars of "the third relation". there are no explicit directions for
the amount of practicing one is to do. participants should learn to
recognize their own needs in keeping up. the next meeting will be june 30th
at 8:15. V.M.