07.03
Casa De Encuentros San Juan Bosco
Av. Fuerza Aerea 1800
Funes
Pvcia. de Santa Fé
Argentina.
Awake at 05.00. Rising at 05.54.
The shower did not quite find itself able to reach warm.
Viewing various GC written materials from the past. There is much here that is mostly forgotten & worth rediscovering / revisiting / remembering. All part of The Writing Project.
Morning Exercise at 07.15.
09.33 Breakfast at 08.00 with performance. Silence came to visit at c. 08.20 & with it a sense of… a notion of Silence’s contribution to GC.
Then, a few words on yesterday evening’s desperate fun. What goes on, on the inside of the player, while they are playing? Recently, with the NAFGC gringos in NYC, we looked at an exercise addressing this properly, for the first time in 25+ years. (Well, I remember another occasion after 23+ years in Seattle).
A few words presented on the qualities of musicianship, and how these reflect the qualities of being human.
The Mighty Bull called what was needed for this morning: The Orchestrina at 10.00; followed by Calisthenics with The Mighty Bull at 11.30.
Personal meetings for me at 11.30. Twelve names appeared on 10 time slots.
Post-breakfast inpromptu meeting with Hernan discussing expressed interest from Brazil in the work of the Guitar Circle.
11.10 The performance space is prepared I…
II...
III...
(Pix courtesy of Director Nunez).
And then… an awful, terrible Orchestrina meeting at 10.00.
The Orchestrina gathered in a large Circle. Producer Nunez was recording, for the first time.
Orchestrina, when ready, please begin. And then, a late arrival arrived late, perhaps three minutes into a strong beginning. Leave it! The late arrival joined the Circle.
Orcehstrina, when ready, please begin again. And it didn’t, it started. Then awful strumming at pudding tempo & a witless bass riff, to pin everything to earth. Spiraling movement, clustering, into three circles & from time to time something almost began. Then the awful, deathly strumming, hammering away, filling all available space with – noise, riffs, automatic pump-it-out un-music at a tempo to halt the flow of blood.
14.12 On the board I…
II...
III...
The Death Of Music
If you know what you are going to play, play something else;
or nothing at all.
After all, why hit the right note when a lot more notes get in the way?
One string is often sufficient;
and sometimes already one string too many.
Rhythm becomes more apparent when we stop playing from time to time.
Dynamics are good, and more obvious when some notes are quieter than others.
If you like to hit things loudly, constantly, relentlessly, consider becoming a drummer.
Loud, endless strumming = death.
Good to listen to yourself;
but listening to others is necessary.
Remain in motion, whether stationary or not:
Stillness is dynamic, and only appears to be static.
Breathing is permissible
The criteria are reliability, repeatability & responsibility.
You are playing with friends;
whether you like them or not,
whether they like you, or not;
whether we know it or not.
If none of these apply to you, a career in artist management, A&R or drumming is waiting.
La Muerte de la Música
Si sabes lo que vas a tocar, toca otra cosa; o nada.
Después de todo, por que tocar la nota correcta cuando hay un montón de otras notas que se interponen en el camino?
Una cuerda a menudo es suficiente;
y a veces una sola cuerda ya es demasiado.
El ritmo se hace mas aparente cuando dejamos de tocar de vez en cuando.
Las dinámicas son buenas, y son mas obvias cuando algunas notas suenan mas despacio que otras.
Si quieres tocar fuerte, constantemente y sin parar, considera hacerte baterista.
Rasgueo fuerte y sin fin = muerte.
Es bueno escucharte a ti mismo;
pero escuchar a los demás es necesario.
Permanece en movimiento, estés estacionario o no:
la Quietud es dinámica, solo aparenta ser estática.
Respirar es permisible
Los criterios son confiabilidad, repetibilidad & responsabilidad.
Estas tocando con amigos,
te gusten o no,
les gustes o no;
lo sepamos o no.
Si nada de esto es aplicable para ti, hay una carrera como manager de grupos, A&R o como baterista esperándote.
Domingo 3 de Octubre 2010
(Translated by Fernando Kabusacki).
Qualities of time & our experiencing of it…
Creative Time
My beginning & end are not apart
I Am one instantaneous moment of presence
Time’s Cycle Eternity
Welcome the unexpected This is the first time
Time’s Arrow
One thing after another
Welcome the expected
Calidades del tiempo y nuestra experiencia de él…
Tiempo creativo
Mi comienzo y fin no están separados
Soy un momento instantáneo de presencia
El Ciclo del Tiempo Eternidad
Bienvenido lo Inesperado Esta es la primera vez
La Flecha del Tiempo
Una cosa después de la otra
Bienvenido lo esperado
(Translated by Fernando Kabusacki).
14.25 Six Personal meetings beginning at 11.30. Various arising comments…
The universe changes when we take a decision.
The whole Present Moment of the Guitar Craft current.
Would you give up all you wanted in life to work & feed your children?
Lunch at 13.00 with performances, the first of which elicited a hum-along with the audience.
What is our work for this afternoon? Violeta, Ignacio & Leonor presented initiatives.
A comment on an experience of déjà vu. And an announcement in Spanish, without translation – it was for Spanish speakers.
15.33 Viewing GC written materials from the early days.
18.20 Tea at 16.00.
A visit to the Hellton adjoining Sr. Nunez’ new, modest room on The Higher Level.
Six personal meetings. When fantasy and imagination govern the questions, how to respond? And particularly where my Spanish-language skills are less than pitiful. Fernando K has been translating quite a few of the meetings. He should have been at more.
T’ai chi at 18.30.
20.27 Dinner at 19.00.
Several performances, one particularly high octane.
Questions asked on the morning sitting. A few words in response.
Words presented on moving From Happy Gigster to Professional, alternatively expressed, From Bad To A Bit Better Than That.
GC is different from Western approaches to learning guitar in that it has both inner & outer dimensions. No doubt this is true of all useful & necessary endeavours, but in the Guitar Circle both are explicitly addressed. At Berklee, I’m not aware that students learn to sit for half an hour, doing nothing, before they play their instruments. Here, we practice the instrument & the person simultaneously, each supporting the other, and both within the social context of performance (formal & informal).
Historically, students have inclined more towards the guitar or the craft in Guitar Craft: the “outer” & “inner” approaches; the what & the how of becoming a guitarist, musician & person; alternatively expressed, addressing function & being. Functionally, the calistenics & primary exercises support the establishment of an efficient & sound executant technique, whatever the individual’s personal aim. A significant proportion of lifers are more attracted to the craft side; with guitar, music & performance supporting their work in developing a personal practice. The form GC courses adopt encourage initiative; and develop social skills by working in concert & community with others: many people in one body, both unique & a multiplicity. All this, to make available the direct & immediate experience of Music flying by & carrying us with it.
Noting, the best players leave. Working with the musically modestly-endowed is too frustrating. Guitar Craft was a kindergarten; those who grew quickly left as new youngsters continued to arrive, and old youngsters to grow slowly.
This evening Sr. Nunez the Promoter is auditioning for Tuesday’s performance.
Dribble.
20.54 A young student has come to my door: will I teach him to play guitar? He is in a state: he has been touched by something real & available, but his station does not correspond to this. He is seeking a personal apprenticeship.
No. I have been giving guitar lessons for 50 years. I no longer do that. You should go to The Mighty Bull of Mendoza, who is present on this course. Now, I carry my guitar, but I do something else.
Casa De Encuentros San Juan Bosco
Av. Fuerza Aerea 1800
Funes
Pvcia. de Santa Fé
Argentina.
Awake at 05.00. Rising at 05.54.
The shower did not quite find itself able to reach warm.
Viewing various GC written materials from the past. There is much here that is mostly forgotten & worth rediscovering / revisiting / remembering. All part of The Writing Project.
Morning Exercise at 07.15.
09.33 Breakfast at 08.00 with performance. Silence came to visit at c. 08.20 & with it a sense of… a notion of Silence’s contribution to GC.
Then, a few words on yesterday evening’s desperate fun. What goes on, on the inside of the player, while they are playing? Recently, with the NAFGC gringos in NYC, we looked at an exercise addressing this properly, for the first time in 25+ years. (Well, I remember another occasion after 23+ years in Seattle).
A few words presented on the qualities of musicianship, and how these reflect the qualities of being human.
The Mighty Bull called what was needed for this morning: The Orchestrina at 10.00; followed by Calisthenics with The Mighty Bull at 11.30.
Personal meetings for me at 11.30. Twelve names appeared on 10 time slots.
Post-breakfast inpromptu meeting with Hernan discussing expressed interest from Brazil in the work of the Guitar Circle.
11.10 The performance space is prepared I…
II...
III...
(Pix courtesy of Director Nunez).
And then… an awful, terrible Orchestrina meeting at 10.00.
The Orchestrina gathered in a large Circle. Producer Nunez was recording, for the first time.
Orchestrina, when ready, please begin. And then, a late arrival arrived late, perhaps three minutes into a strong beginning. Leave it! The late arrival joined the Circle.
Orcehstrina, when ready, please begin again. And it didn’t, it started. Then awful strumming at pudding tempo & a witless bass riff, to pin everything to earth. Spiraling movement, clustering, into three circles & from time to time something almost began. Then the awful, deathly strumming, hammering away, filling all available space with – noise, riffs, automatic pump-it-out un-music at a tempo to halt the flow of blood.
14.12 On the board I…
II...
III...
The Death Of Music
If you know what you are going to play, play something else;
or nothing at all.
After all, why hit the right note when a lot more notes get in the way?
One string is often sufficient;
and sometimes already one string too many.
Rhythm becomes more apparent when we stop playing from time to time.
Dynamics are good, and more obvious when some notes are quieter than others.
If you like to hit things loudly, constantly, relentlessly, consider becoming a drummer.
Loud, endless strumming = death.
Good to listen to yourself;
but listening to others is necessary.
Remain in motion, whether stationary or not:
Stillness is dynamic, and only appears to be static.
Breathing is permissible
The criteria are reliability, repeatability & responsibility.
You are playing with friends;
whether you like them or not,
whether they like you, or not;
whether we know it or not.
If none of these apply to you, a career in artist management, A&R or drumming is waiting.
La Muerte de la Música
Si sabes lo que vas a tocar, toca otra cosa; o nada.
Después de todo, por que tocar la nota correcta cuando hay un montón de otras notas que se interponen en el camino?
Una cuerda a menudo es suficiente;
y a veces una sola cuerda ya es demasiado.
El ritmo se hace mas aparente cuando dejamos de tocar de vez en cuando.
Las dinámicas son buenas, y son mas obvias cuando algunas notas suenan mas despacio que otras.
Si quieres tocar fuerte, constantemente y sin parar, considera hacerte baterista.
Rasgueo fuerte y sin fin = muerte.
Es bueno escucharte a ti mismo;
pero escuchar a los demás es necesario.
Permanece en movimiento, estés estacionario o no:
la Quietud es dinámica, solo aparenta ser estática.
Respirar es permisible
Los criterios son confiabilidad, repetibilidad & responsabilidad.
Estas tocando con amigos,
te gusten o no,
les gustes o no;
lo sepamos o no.
Si nada de esto es aplicable para ti, hay una carrera como manager de grupos, A&R o como baterista esperándote.
Domingo 3 de Octubre 2010
(Translated by Fernando Kabusacki).
Qualities of time & our experiencing of it…
Creative Time
My beginning & end are not apart
I Am one instantaneous moment of presence
Time’s Cycle Eternity
Welcome the unexpected This is the first time
Time’s Arrow
One thing after another
Welcome the expected
Calidades del tiempo y nuestra experiencia de él…
Tiempo creativo
Mi comienzo y fin no están separados
Soy un momento instantáneo de presencia
El Ciclo del Tiempo Eternidad
Bienvenido lo Inesperado Esta es la primera vez
La Flecha del Tiempo
Una cosa después de la otra
Bienvenido lo esperado
(Translated by Fernando Kabusacki).
14.25 Six Personal meetings beginning at 11.30. Various arising comments…
The universe changes when we take a decision.
The whole Present Moment of the Guitar Craft current.
Would you give up all you wanted in life to work & feed your children?
Lunch at 13.00 with performances, the first of which elicited a hum-along with the audience.
What is our work for this afternoon? Violeta, Ignacio & Leonor presented initiatives.
A comment on an experience of déjà vu. And an announcement in Spanish, without translation – it was for Spanish speakers.
15.33 Viewing GC written materials from the early days.
18.20 Tea at 16.00.
A visit to the Hellton adjoining Sr. Nunez’ new, modest room on The Higher Level.
Six personal meetings. When fantasy and imagination govern the questions, how to respond? And particularly where my Spanish-language skills are less than pitiful. Fernando K has been translating quite a few of the meetings. He should have been at more.
T’ai chi at 18.30.
20.27 Dinner at 19.00.
Several performances, one particularly high octane.
Questions asked on the morning sitting. A few words in response.
Words presented on moving From Happy Gigster to Professional, alternatively expressed, From Bad To A Bit Better Than That.
GC is different from Western approaches to learning guitar in that it has both inner & outer dimensions. No doubt this is true of all useful & necessary endeavours, but in the Guitar Circle both are explicitly addressed. At Berklee, I’m not aware that students learn to sit for half an hour, doing nothing, before they play their instruments. Here, we practice the instrument & the person simultaneously, each supporting the other, and both within the social context of performance (formal & informal).
Historically, students have inclined more towards the guitar or the craft in Guitar Craft: the “outer” & “inner” approaches; the what & the how of becoming a guitarist, musician & person; alternatively expressed, addressing function & being. Functionally, the calistenics & primary exercises support the establishment of an efficient & sound executant technique, whatever the individual’s personal aim. A significant proportion of lifers are more attracted to the craft side; with guitar, music & performance supporting their work in developing a personal practice. The form GC courses adopt encourage initiative; and develop social skills by working in concert & community with others: many people in one body, both unique & a multiplicity. All this, to make available the direct & immediate experience of Music flying by & carrying us with it.
Noting, the best players leave. Working with the musically modestly-endowed is too frustrating. Guitar Craft was a kindergarten; those who grew quickly left as new youngsters continued to arrive, and old youngsters to grow slowly.
This evening Sr. Nunez the Promoter is auditioning for Tuesday’s performance.
Dribble.
20.54 A young student has come to my door: will I teach him to play guitar? He is in a state: he has been touched by something real & available, but his station does not correspond to this. He is seeking a personal apprenticeship.
No. I have been giving guitar lessons for 50 years. I no longer do that. You should go to The Mighty Bull of Mendoza, who is present on this course. Now, I carry my guitar, but I do something else.
