06.44
Casa De Encuentros San Juan Bosco
Av. Fuerza Aerea 1800
Funes
Pvcia. de Santa Fé
Argentina.
Today in England it is Mother-In-Law Barbara’s birthday, and here in Argentina with a 4-hour difference. Today is also the 25th. anniversary of the Minx taking an interest in Robert.
Rising at 05.55 from a busy night arriving at a strange hotel in a strange part of NYC a week before a Crimson show, with a lot of personal practicing necessary to be ready in time. Getting up to a cold shower in Funes was pretty much a relief after this night-activity.
09.03 Morning Sitting at 07.15. At the beginning, a mosquito took a personal interest in the top of my right hand. It seemed inappropriate to jump up & shout – bastard thing! – and slap at it, in cruel disregard of our mutual-existing in the realm of living things. So the bastard thing bit me.
Breakfast at 08.00. Following the arrival of Silence, recapitulating the Six Principles of the Performance Event.
1. We take a decision, and something happens.
2. This intentional something goes better than we might anticipate, and deserve.
3. Each performance is unique.
4. Each performance is a multiplicity of performances.
5. The possible is possible.
6. The impossible is possible.
The Seventh Principle resides within Silence. This Principle directs our attention towards trust in the benevolence of the Creative Impulse. In the Guitar Circle we are not asked to trust what is being said or presented, but to consult our own experience in relationship to it. What’s the point of the Morning Sitting? Well, perhaps after 40 days we’ll have a better taste of whether this is for me, or not. We are not asked to trust the “obscure ideologies” that are sometimes discussed. But we can consult our feelings when working in the Circle, and in reflection after a course. There is no compulsion in GC: we’ve given a week of our time to it and this may not be an approach that works for us, even where we see it to be a positive undertaking. Or, it may continue to work quietly & direct the way we live our daily lives; and 20 years later we return with a guitar. Or, maybe next week.
The recent decades have been characterised by a widespread abuse of trust by political authorities, military authorities, financial authorities, even high levels in the Catholic Church, in addition to the far lower levels of artist management by nominal pillars of British society. So, where can we place our trust? Perhaps we can place our trust in music. It seems necessary, to me, that we must be able to trust our artists. If our poets tell us lies, our singers declaim untruths for money, then civilized societies are in peril. But, if we trust music, perhaps we begin to trust what is behind music. When we stand face to face with music, and see what is behind it, our trust in music becomes faith; noting belief is what we hold, and Faith holds us. But for now, we engage a supportive skepticism, held with goodwill, and consult our feelings: Does this move me? Is this real for me?
The artist must be true. This, in distinction to the category of professional lying for those engaged in commerce, in whatever field. The Seven Assumptions, on the board last Saturday 2nd. October, give us a basis for approaching true. This evening, we act on behalf of Music, and the audience looks to us to honour our role: we must be true.
09.10 NB Points of Seeing, of creative insight, don’t go away unless we send them away. They continue to expand, and are available to ongoing reflection & consideration as our own experience grows & matures. A point of creative insight remains with us all our lives.
11.44 Green Room at 10.00 for two Orchestrina run-throughs of moving between, into & within spaces. A break at c. 10.40, returning at 11.15 for the third. My judgment: we are now sufficiently practiced to have confidence in our moving, while also fresh enough for discovery & challenge. The announcers have also rehearsed within these overall preparations.
The Combined Ensembles combine I…
II...
III...
Personal meetings at noon.
On the board…
Ladies, Gentlemen, Friends & Family,
A request from Robert Fripp & The Orchestrina of Crafty Guitarists –
Many thanks for your presence & your interest in our work. Please gives us your ears. Please do not take photographs, on cameras or mobile telephones; with or without flash. This disturbs our work to a greater degree than it is possible to simply explain, or you might believe, were we able. Please also, do not record or film.
So, if you will, relax & enter our performance space with goodwill. We need your support.
16.11 Lunch at 13.00. Mostly quiet. A few useful & necessary words on the schedule & work to be done.
A little resting, cleaning, practising. Two personal meetings at 16.30.
On the board I…
II...
A few words on the qualities of improvising…
A few words on the qualities of improvising with reference to the tetrad of the participants in any orchestra, The OCG & ourself. The tetrad…
Composer
Section Leaders Conductor
& Principal
Rank & File
This also applies to how we each comprise our own personal orchestra; those parts of our personality, the many smaller persons, that are our own rank & file; those parts of us that assume responsibility for overseeing the actions of the smaller persons; the principal player among the section leaders; the conductor of our life; and the part of us that is represented by The Composer.
The different qualities of improvising might be referred to as…
Spontaneous Composition
Extemporisation Improvisation
Developing Variations
Riffing / Jamming
… and correspond to the degrees of musicianship…
Genius
Professional / Craftsman Master / Mystery
Happy Gigster / Journeyman
… acknowledging the gendered language; redressing this to some extent in recognising that mastery in musicianship confers a sense of the mystery which is involved in being part of the musical process, the bringing of music into the world.
These degrees of musicianship are characterized by the quality of volitional attention that is available to each; a corresponding Present Moment & region of geographical influence that is appropriate to each degree of intensity of personal presence, integrity or Being, and capacity to bear suffering.
The primary modes of extemporizing: to initiate, to respond, to do nothing. Examples of these: soloing, accompanying, tacit. Doing nothing, properly undertaken, provides a necessary field within which the action takes place. This particular role is generally overlooked and, when effective, is sometimes referred to as radical neutrality: the doing nothing that enables doing everything.
Forcing our tricks & licks and riffs onto the other members of an ensemble is a form of force, and for them amounts to musical imprisonment.
The primary importance lies in the connections between these degrees of musicianship, as exemplified in the players, rather than in the players (or stations) themselves. For example, the distinguishing element of the connection between Master / Mystery & Journeyman is discipline. In our own lives, when the Master / MysteryPerson in us undertakes a commitment, it is in the knowledge that all the smaller parts in us may be relied upon to follow direction, and the totality of what we are will discharge that commitment: even God can count on this! The connection between the Professional & the Journeyman is flexibility. The connection between what is represented as Professional & Genius is spontaneity; and between Master / Mystery & Genius (the creative spark at the centre of who we are) is the capacity to see what is right action in any particular confluence of time, place & person: right judgement.
One small example: in a piece of music at the Master / Mystery level, each note is necessary. At the Happy Gigster level (perhaps Level Two – Three in GC terminology) there are notes that are, musically, superfluous; albeit possibly serving a functional utility, as in continuous cross-picking to hold time.
A few rough words, roughly indicating the centre of gravity of the subject, from a working player’s perspective.
Unas palabras sobre las calidades de improvisar…
Unas pocas palabras sobre las calidades de improvisar en referencia a la tétrada de los participantes de cualquier orquesta, la OCG y nosotros mismos. La tétrada…
Compositor
Lideres de Sección Conductor
& Principal
Miembros de la Orquesta
Esto también se aplica a como cada uno de nosotros conformamos nuestra propia orquesta personal; aquellas partes de la personalidad, las muchas personas mas pequeñas que son nuestra pequeña tropa; aquellas partes de nosotros que asumen responsabilidad por supervisar las acciones de las personas mas pequeñas; el músico principal entre los lideres de sección; el conductor de nuestra vida; y la parte de nosotros que esta representada por El Compositor.
Las diferentes calidades de improvisar pueden referirse como…
Composición Espontánea
Extemporisación Improvisación
Desarrollar Variaciones
Tocar Riffs / Zapar (Jamming)
… y corresponden a los grados de ser músico…
Genio
Profesional / Craftsman Master / Mystery
Happy Gigster / Jornalero
… reconociendo el lenguaje con género; remediándolo de alguna manera al reconocer que la maestría en la música confiere un sentido de misterio que esta involucrado en parte del proceso musical, el traer la música al mundo.
Estos grados de ser músico están caracterizados por la calidad de la atención volicional disponible para cada uno; un Momento Presente correspondiente y una región de influencia geográfica apropiada para cada grado de intensidad de presencia personal, integridad y Ser; y capacidad de soportar sufrimiento.
Los modos primarios de extemporizar: iniciar, responder, hacer nada. Ejemplos de estos: hacer solos, acompañar, tácito. Hacer nada, llevado a cabo apropiadamente, provee un campo necesario dentro del cual la acción toma lugar. Este rol particular generalmente se pasa por alto y, cuando es efectivo, a veces se lo llama neutralidad radical: el hacer nada que posibilita hacer todo.
Introducir nuestros trucos y yeites y riffs forzadamente en otros miembros de un ensamble es una forma de fuerza, y para ellos se convierte en una prisión musical.
La importancia primaria está en las conexiones entre estos grados de ser músico, como está ejemplificado en los players, más que en los players (o estaciones) en sí. Por ejemplo, el elemento distintivo de la conexión entre Master/Mystery y el Jornalero es disciplina. En nuestras propias vidas, cuando la persona Master/Mystery toma un compromiso, es a sabiendas de que se puede confiar en que todas las pequeñas partes en nosotros seguirán una dirección, y que la totalidad de lo que somos va a llevar a cabo ese compromiso: hasta Dios puede contar con esto! La conexión entre el Profesional y el Jornalero es la flexibilidad. La conexión entre lo que se representa como Profesional y Genio es espontaneidad; y entre Master/Mystery y Genio (la chispa creativa que está en el centro de lo que somos) es la capacidad de ver cual es la acción correcta en cualquier confluencia de tiempo, lugar y persona en particular: juicio correcto.
Un pequeño ejemplo: en una pieza de música en el nivel de Master/Mystery, cada nota es necesaria. En el nivel del Happy Gigster (tal vez Nivel Dos – Tres en terminología de Guitar Craft) hay notas que son, musicalmente, superfluas; aunque con la posibilidad de servir una utilidad funcional, como un crosspicking continuo para mantener el tiempo.
Unas pocas palabras, indicando a grosso modo el centro de gravedad del tema, desde la perspectiva de un músico trabajador.
(Translated by Fernando Kabusacki).
19.13 The personal meeting for 16.45 arrived punctually one hour late.
In discussions today: the Guitar Circle addresses learning an instrument while simultaneously developing a personal practice, or interior discipline; both develop within the social context of performance & the direct experiencing of the Musical Event. I don’t know another approach like this in the commercially-mediated educational world, although it seems likely that a comparable approach is ongoing at several places around the world outside Westernised culture. Balinese gamelan springs to mind: not exact, but closer.
Meanwhile, reports are coming in that our promoter, Sr. Nunez, is developing other interests in the area…
An exceptional & very tasty buffet at 18.00
The Green Room opens at 20.45 with all arriving by 21.15.
22.42 The Green Room convened at 20.50. Picks distributed at 21.10.
Useful advice given to the young men in The OCG IV regarding their dressing.
The announcers didn’t appear at 21.15. Hernan came through the door with the information that the announcers & House Team were dealing with an unanticipated press of arrivals, c. 80 instead of 60-70, and carrying more chairs into the Ballroom.
Announcers announced at 21.20, returning at 21.28, allowing The OCG IV sufficient time to get into the ballroom punctually at 21.30.
Orchestrina Of Crafty Guitarists: when ready, please begin! Perhaps 7 minutes later The Orchestrina was continuing in Circle mode, so a few helpful encouragements in the backs of several & The Orks enclustered. Several various moods & movements & areas were covered during c. 30 minutes in all, including some pudding strumming & heavy accents in 4.
Little Amazing Beast of Horror: please ensnake! The Combined Ensembles of Buenos Aires & Rosario played six pieces, two each in three positions in the ballroom. At the end of this, the remaining members returned in a snake led by Marcello for a Whizz with Mariana, Queen Vicious, in pole position. The Orchestrina left the ballroom, led out by Ignacio. The encore team of five + Robert returned for Schizoid Man.
How was it? Well, babies sung along, children moved about, some adults smiled.
There is a milling as guests & audients move closer to departure mode.
23.46 Fernando’s Mother & a friend came to say hello.
Guests departed, dessert with the Team. A quiet de-vibration.
00.12 Smoking-chums are on the patio, in conversation & discussion of the evening.
Casa De Encuentros San Juan Bosco
Av. Fuerza Aerea 1800
Funes
Pvcia. de Santa Fé
Argentina.
Today in England it is Mother-In-Law Barbara’s birthday, and here in Argentina with a 4-hour difference. Today is also the 25th. anniversary of the Minx taking an interest in Robert.
Rising at 05.55 from a busy night arriving at a strange hotel in a strange part of NYC a week before a Crimson show, with a lot of personal practicing necessary to be ready in time. Getting up to a cold shower in Funes was pretty much a relief after this night-activity.
09.03 Morning Sitting at 07.15. At the beginning, a mosquito took a personal interest in the top of my right hand. It seemed inappropriate to jump up & shout – bastard thing! – and slap at it, in cruel disregard of our mutual-existing in the realm of living things. So the bastard thing bit me.
Breakfast at 08.00. Following the arrival of Silence, recapitulating the Six Principles of the Performance Event.
1. We take a decision, and something happens.
2. This intentional something goes better than we might anticipate, and deserve.
3. Each performance is unique.
4. Each performance is a multiplicity of performances.
5. The possible is possible.
6. The impossible is possible.
The Seventh Principle resides within Silence. This Principle directs our attention towards trust in the benevolence of the Creative Impulse. In the Guitar Circle we are not asked to trust what is being said or presented, but to consult our own experience in relationship to it. What’s the point of the Morning Sitting? Well, perhaps after 40 days we’ll have a better taste of whether this is for me, or not. We are not asked to trust the “obscure ideologies” that are sometimes discussed. But we can consult our feelings when working in the Circle, and in reflection after a course. There is no compulsion in GC: we’ve given a week of our time to it and this may not be an approach that works for us, even where we see it to be a positive undertaking. Or, it may continue to work quietly & direct the way we live our daily lives; and 20 years later we return with a guitar. Or, maybe next week.
The recent decades have been characterised by a widespread abuse of trust by political authorities, military authorities, financial authorities, even high levels in the Catholic Church, in addition to the far lower levels of artist management by nominal pillars of British society. So, where can we place our trust? Perhaps we can place our trust in music. It seems necessary, to me, that we must be able to trust our artists. If our poets tell us lies, our singers declaim untruths for money, then civilized societies are in peril. But, if we trust music, perhaps we begin to trust what is behind music. When we stand face to face with music, and see what is behind it, our trust in music becomes faith; noting belief is what we hold, and Faith holds us. But for now, we engage a supportive skepticism, held with goodwill, and consult our feelings: Does this move me? Is this real for me?
The artist must be true. This, in distinction to the category of professional lying for those engaged in commerce, in whatever field. The Seven Assumptions, on the board last Saturday 2nd. October, give us a basis for approaching true. This evening, we act on behalf of Music, and the audience looks to us to honour our role: we must be true.
09.10 NB Points of Seeing, of creative insight, don’t go away unless we send them away. They continue to expand, and are available to ongoing reflection & consideration as our own experience grows & matures. A point of creative insight remains with us all our lives.
11.44 Green Room at 10.00 for two Orchestrina run-throughs of moving between, into & within spaces. A break at c. 10.40, returning at 11.15 for the third. My judgment: we are now sufficiently practiced to have confidence in our moving, while also fresh enough for discovery & challenge. The announcers have also rehearsed within these overall preparations.
The Combined Ensembles combine I…
II...
III...
Personal meetings at noon.
On the board…
Ladies, Gentlemen, Friends & Family,
A request from Robert Fripp & The Orchestrina of Crafty Guitarists –
Many thanks for your presence & your interest in our work. Please gives us your ears. Please do not take photographs, on cameras or mobile telephones; with or without flash. This disturbs our work to a greater degree than it is possible to simply explain, or you might believe, were we able. Please also, do not record or film.
So, if you will, relax & enter our performance space with goodwill. We need your support.
16.11 Lunch at 13.00. Mostly quiet. A few useful & necessary words on the schedule & work to be done.
A little resting, cleaning, practising. Two personal meetings at 16.30.
On the board I…
II...
A few words on the qualities of improvising…
A few words on the qualities of improvising with reference to the tetrad of the participants in any orchestra, The OCG & ourself. The tetrad…
Composer
Section Leaders Conductor
& Principal
Rank & File
This also applies to how we each comprise our own personal orchestra; those parts of our personality, the many smaller persons, that are our own rank & file; those parts of us that assume responsibility for overseeing the actions of the smaller persons; the principal player among the section leaders; the conductor of our life; and the part of us that is represented by The Composer.
The different qualities of improvising might be referred to as…
Spontaneous Composition
Extemporisation Improvisation
Developing Variations
Riffing / Jamming
… and correspond to the degrees of musicianship…
Genius
Professional / Craftsman Master / Mystery
Happy Gigster / Journeyman
… acknowledging the gendered language; redressing this to some extent in recognising that mastery in musicianship confers a sense of the mystery which is involved in being part of the musical process, the bringing of music into the world.
These degrees of musicianship are characterized by the quality of volitional attention that is available to each; a corresponding Present Moment & region of geographical influence that is appropriate to each degree of intensity of personal presence, integrity or Being, and capacity to bear suffering.
The primary modes of extemporizing: to initiate, to respond, to do nothing. Examples of these: soloing, accompanying, tacit. Doing nothing, properly undertaken, provides a necessary field within which the action takes place. This particular role is generally overlooked and, when effective, is sometimes referred to as radical neutrality: the doing nothing that enables doing everything.
Forcing our tricks & licks and riffs onto the other members of an ensemble is a form of force, and for them amounts to musical imprisonment.
The primary importance lies in the connections between these degrees of musicianship, as exemplified in the players, rather than in the players (or stations) themselves. For example, the distinguishing element of the connection between Master / Mystery & Journeyman is discipline. In our own lives, when the Master / MysteryPerson in us undertakes a commitment, it is in the knowledge that all the smaller parts in us may be relied upon to follow direction, and the totality of what we are will discharge that commitment: even God can count on this! The connection between the Professional & the Journeyman is flexibility. The connection between what is represented as Professional & Genius is spontaneity; and between Master / Mystery & Genius (the creative spark at the centre of who we are) is the capacity to see what is right action in any particular confluence of time, place & person: right judgement.
One small example: in a piece of music at the Master / Mystery level, each note is necessary. At the Happy Gigster level (perhaps Level Two – Three in GC terminology) there are notes that are, musically, superfluous; albeit possibly serving a functional utility, as in continuous cross-picking to hold time.
A few rough words, roughly indicating the centre of gravity of the subject, from a working player’s perspective.
Unas palabras sobre las calidades de improvisar…
Unas pocas palabras sobre las calidades de improvisar en referencia a la tétrada de los participantes de cualquier orquesta, la OCG y nosotros mismos. La tétrada…
Compositor
Lideres de Sección Conductor
& Principal
Miembros de la Orquesta
Esto también se aplica a como cada uno de nosotros conformamos nuestra propia orquesta personal; aquellas partes de la personalidad, las muchas personas mas pequeñas que son nuestra pequeña tropa; aquellas partes de nosotros que asumen responsabilidad por supervisar las acciones de las personas mas pequeñas; el músico principal entre los lideres de sección; el conductor de nuestra vida; y la parte de nosotros que esta representada por El Compositor.
Las diferentes calidades de improvisar pueden referirse como…
Composición Espontánea
Extemporisación Improvisación
Desarrollar Variaciones
Tocar Riffs / Zapar (Jamming)
… y corresponden a los grados de ser músico…
Genio
Profesional / Craftsman Master / Mystery
Happy Gigster / Jornalero
… reconociendo el lenguaje con género; remediándolo de alguna manera al reconocer que la maestría en la música confiere un sentido de misterio que esta involucrado en parte del proceso musical, el traer la música al mundo.
Estos grados de ser músico están caracterizados por la calidad de la atención volicional disponible para cada uno; un Momento Presente correspondiente y una región de influencia geográfica apropiada para cada grado de intensidad de presencia personal, integridad y Ser; y capacidad de soportar sufrimiento.
Los modos primarios de extemporizar: iniciar, responder, hacer nada. Ejemplos de estos: hacer solos, acompañar, tácito. Hacer nada, llevado a cabo apropiadamente, provee un campo necesario dentro del cual la acción toma lugar. Este rol particular generalmente se pasa por alto y, cuando es efectivo, a veces se lo llama neutralidad radical: el hacer nada que posibilita hacer todo.
Introducir nuestros trucos y yeites y riffs forzadamente en otros miembros de un ensamble es una forma de fuerza, y para ellos se convierte en una prisión musical.
La importancia primaria está en las conexiones entre estos grados de ser músico, como está ejemplificado en los players, más que en los players (o estaciones) en sí. Por ejemplo, el elemento distintivo de la conexión entre Master/Mystery y el Jornalero es disciplina. En nuestras propias vidas, cuando la persona Master/Mystery toma un compromiso, es a sabiendas de que se puede confiar en que todas las pequeñas partes en nosotros seguirán una dirección, y que la totalidad de lo que somos va a llevar a cabo ese compromiso: hasta Dios puede contar con esto! La conexión entre el Profesional y el Jornalero es la flexibilidad. La conexión entre lo que se representa como Profesional y Genio es espontaneidad; y entre Master/Mystery y Genio (la chispa creativa que está en el centro de lo que somos) es la capacidad de ver cual es la acción correcta en cualquier confluencia de tiempo, lugar y persona en particular: juicio correcto.
Un pequeño ejemplo: en una pieza de música en el nivel de Master/Mystery, cada nota es necesaria. En el nivel del Happy Gigster (tal vez Nivel Dos – Tres en terminología de Guitar Craft) hay notas que son, musicalmente, superfluas; aunque con la posibilidad de servir una utilidad funcional, como un crosspicking continuo para mantener el tiempo.
Unas pocas palabras, indicando a grosso modo el centro de gravedad del tema, desde la perspectiva de un músico trabajador.
(Translated by Fernando Kabusacki).
19.13 The personal meeting for 16.45 arrived punctually one hour late.
In discussions today: the Guitar Circle addresses learning an instrument while simultaneously developing a personal practice, or interior discipline; both develop within the social context of performance & the direct experiencing of the Musical Event. I don’t know another approach like this in the commercially-mediated educational world, although it seems likely that a comparable approach is ongoing at several places around the world outside Westernised culture. Balinese gamelan springs to mind: not exact, but closer.
Meanwhile, reports are coming in that our promoter, Sr. Nunez, is developing other interests in the area…
An exceptional & very tasty buffet at 18.00
The Green Room opens at 20.45 with all arriving by 21.15.
22.42 The Green Room convened at 20.50. Picks distributed at 21.10.
Useful advice given to the young men in The OCG IV regarding their dressing.
The announcers didn’t appear at 21.15. Hernan came through the door with the information that the announcers & House Team were dealing with an unanticipated press of arrivals, c. 80 instead of 60-70, and carrying more chairs into the Ballroom.
Announcers announced at 21.20, returning at 21.28, allowing The OCG IV sufficient time to get into the ballroom punctually at 21.30.
Orchestrina Of Crafty Guitarists: when ready, please begin! Perhaps 7 minutes later The Orchestrina was continuing in Circle mode, so a few helpful encouragements in the backs of several & The Orks enclustered. Several various moods & movements & areas were covered during c. 30 minutes in all, including some pudding strumming & heavy accents in 4.
Little Amazing Beast of Horror: please ensnake! The Combined Ensembles of Buenos Aires & Rosario played six pieces, two each in three positions in the ballroom. At the end of this, the remaining members returned in a snake led by Marcello for a Whizz with Mariana, Queen Vicious, in pole position. The Orchestrina left the ballroom, led out by Ignacio. The encore team of five + Robert returned for Schizoid Man.
How was it? Well, babies sung along, children moved about, some adults smiled.
There is a milling as guests & audients move closer to departure mode.
23.46 Fernando’s Mother & a friend came to say hello.
Guests departed, dessert with the Team. A quiet de-vibration.
00.12 Smoking-chums are on the patio, in conversation & discussion of the evening.
