06.45
Casa De Encuentros San Juan Bosco
Av. Fuerza Aerea 1800
Funes
Pvcia. de Santa Fé
Argentina.
Awake earlier than rising, leaving the bed at 05.53.
12.47 Morning Sitting at 07.15.
Breakfast at 08.00. At 08.25 comments, observations & reports on yesterday evening’s performance. A leg-shaking break at 09.15 & returning. A member of the Team left at 10.00 by taxi, with much waving as they departed. Comments continued, ending with a report by Hernan of his interactions with the audience & their expressed reviews of the performance.
At 10.33 a short break & returning at 10.45 for more comments. Two new forms of The Whizz were obliquely indicated in the reports so far: the Death Whizz & the Fart Whizz. The end of the world was forecast at 10.58 for 11.30. What would be said if we knew for a fact that we would be dead at 11.30?
This was, in effect, the final meeting for reports & observations, allowing time for mostly all that might usefully be presented before our imminent deaths. When the forecast end of the world passed, it was considered prudent to allow for the possibility of lunch, in case we were all continuing alive & hungry. Lunch call for 13.30.
Fun with Ignacio & guitars called by Ignacio for noon.
A meeting afterwards with Hernan & Horacio the Publisher, discussing the publication of a book of GC repertoire pieces.
Personal meetings for Sr. Nunez underway at noon.
The performance space I…
II...
Fair to say that a performance in the hometown of the performers, with family members in the audience – fathers, mothers, wives, ex-wives, new wives, children, friends – is a major distraction for the players. Courtesy, manners, expectation of conduct by those of common society, all act to draw the attention of the performers away from their proper work, and to undermine their playing through disturbing & disintegrating their focus.
14.07 Lunch at 13.30. The world seems to be turning still, so Violeta & Alexander at 15.00, tea at 16.00, house cleaning at 16.30, personal meetings with The Mighty Bull Of Mendoza & Sr. Nunez, and even a Shop with the Vicious Sisters after tea.
15.43 On the board I…
II...
III...
IV...
A few words on time & relating to it...
The musician has three disciplines: the hands, the head & the heart. Each of us tends to be more functionally disposed towards one more than the others (and in some cases two of these, in which case the third centre is referred to as under-developed). Some players are more naturally centred in their hands, and by extension their bodies; some are more in their hearts, and by extension their feelings; and some are located in the head: these are the more intellectual or cerebrally oriented players.
So, we have three primary ways of relating to time: through the body, through the feelings & through the head. Our experiencing of time, from each of these perspectives, is different.
Good time is primarily in the body; connecting & playing to the fundamental pulse of any piece of music is through the body.
Music is a quality organized in sound & in time (and may also be understood as a way of shaping Silence). The quality of music is eternal, but the forms of organization adopted for musical expression vary from culture to culture, and from time to time. In that part of Western popular culture, in the genre known as rock music, c. 1973 in the United States, one way of relating to fundamental pulse was known as laid back. The drummer, while maintaining fundamental pulse, placed their snare beat at the back end, or slightly behind, the top or centre of the beat. This, without the pulse slowing or deviating: not metronomic & fixed, but good time. In punk c. 1976-77 in London, the accent was right on top of the beat, with tempi characteristically faster. These, two examples of experiencing time primarily through & in the body.
Those more seated in their emotions, and disposed to gush in their emotional lives, in their relating-to-time will tend towards rubato. In a singer, the accompanist will be prepared for colla voce.
Performers centred in their head will tend to play ahead of the beat & move around it. Sample listening to the standard repertoire of violin concerti & its soloists will reveal much movement around the beat, particularly in passages of allegro & presto. To anyone who has ever played for dancing, or those experiencing time in their bodies, this is poor time.
Three notions of the process of music unfolding: time, timing, and time ordered or organized. Time – relating to fundamental pulse & its rate of flow (tempo) is primarily in the body. Timing - the stressing of legal discontinuities in the placement of the note around the beat in response to feeling what is right - is primarily in the heart. The organization & ordering of the sequence of unfolding flow, through time signatures & bars, is primarily in the head.
One standard GC suggestion as to how we might improve our time, is to put up posters – Dance In The Village Hall On Saturday Night! – and place bowls of overripe fruit near the entrance. Those intent on dancing tend to be unforgiving towards those who upset their enjoyment with bad time.
Unas palabras acerca del tiempo y de cómo relacionarse con él...
El músico tiene tres disciplinas: las manos, la cabeza y el corazón. Cada uno de nosotros tiende a estar más dispuesto hacia unos mas que hacia otros (y en algunos casos hacia dos de ellos, en cuyos casos al tercer centro se lo suele llamar sub-desarrollado). Algunos ejecutantes están naturalmente más centrados en las manos, y por extensión en sus cuerpos; otros más en sus corazones, y por extensión en sus sentimientos, y algunos están en la cabeza: estos son los ejecutantes mas intelectuales o cerebrales.
Entonces, tenemos tres maneras primarias de relacionarnos con el tiempo: a través del cuerpo, a través de los sentimientos y a través de la cabeza. Nuestra experiencia del tiempo, desde cada una de estas perspectivas, es diferente.
El buen tiempo está primariamente en el cuerpo; el hecho de conectarse y de tocar el pulso fundamental de cualquier pieza de música es a través del cuerpo.
La Música es una calidad organizada en sonido y en tiempo (y puede ser entendida también como una manera de darle forma al Silencio). La calidad de la Música es eterna, pero las formas de organización adoptadas para la expresión musical varían entre las distintas culturas, y de tiempo en tiempo. En esa parte de la cultura popular Occidental, en el genero llamado música de rock, alrededor de 1973 en los Estados Unidos, una manera de relacionarse con el pulso fundamental era conocida como laid back (tirado hacia atrás). El baterista, mientras mantenía el pulso fundamental, ponía el beat de su tambor adelante, o apenas atrás, arriba o en el centro del beat. Esto, sin que el pulso se desvíe o ralente: no metronómico o fijo, sino buen tiempo. En el punk entre 1976 y 1977 en Londres el acento estaba justo arriba del beat, con tempos característicamente mas rápidos. Estos son dos ejemplos de tener la experiencia del tiempo primariamente a través de y en el cuerpo.
Aquellos que se apoyan más en sus emociones, y mas dispuestos a desbordarse en sus vidas emocionales, en su relación con el tiempo tienden al rubato . Con un cantante, el acompañante debe estar preparado para tocar colla voce.
Los performers centrados en su cabeza tenderán a tocar antes del beat y moverse alrededor de él. Escuchando como muestra el repertorio standard de conciertos de violín y sus solistas revelará mucho movimiento alrededor del beat, particularmente en pasajes allegro y presto. Para cualquiera que haya tocado música para bailar, o para aquellos que tienen la experiencia del tiempo en sus cuerpos, esto es tiempo pobre.
Tres nociones del proceso de la música desarrollándose: tiempo, timing y tiempo ordenado u organizado. Tiempo – tomado en relación con el pulso fundamental y su frecuencia de flujo (tempo) es primariamente en el cuerpo. Timing – el reforzar discontinuidades legales en la ubicación de la nota alrededor del beat en respuesta al sentir lo que es correcto – es primariamente en el Corazón. La organización y ordenamiento de la secuencia de flujo en desarrollo, a través de métricas y compases, es primariamente en la cabeza..
Una sugerencia standard en GC en cuanto a como podemos mejorar nuestro tiempo, es pegar posters que digan – Baile en el Salón del Pueblo el Sábado a la Noche! – y poner bowls con fruta madura cerca de la puerta. Aquellos que intentan bailar tienden a no perdonar a quienes arruinan su disfrute con su mal tiempo.
(Translation by Fernando Kabusacki).
17.15 Tea at 16.00 with solo performance, now the last in the series by this player.
Four personal meetings at 16.30, 16.31, 16. 32 & 16.33.
The Shop of the Vicious Sisters opened at 16.45 & hurtled into action I…
II...
Rain…
The Funes Throat that has been going around is lurking, making itself available even to the English.
18.49 Mostly packed.
19.41 Dinner at 19.00 with performance by a trio of new formation. The main theme was supported by a hum-along from the audience.
Final meeting called in the Final Meeting Room for 20.30.
21.03 Most comments & observations were presented this morning. Thanks were given to those many people who made this course possible. Without Sr. Nunez none of us would have been here; and when he has had enough, it stops. Those participating AAD were spoken for.
Director Nunez gave an overview of possible & likely future courses, acknowledging expressed interest from Brazil: two courses at Sant Cugat (Beginners & Intermediates) late January 2010 & July 2010 for perhaps 5 weeks; a possible course in Lunlunta or Brazil March – April 2012. RF is willing in principle to attend these if recommended by Sr. Nunez.
This course, The Orchestra Of Crafty Guitarists IV - The Orchestrina was declared completed at 20.58. An unfisting was made, to earth the vaunting spirits of those present.
21.30 Hernan has just left the Star’s Room from our own final meeting.
We have an early departure call.
Casa De Encuentros San Juan Bosco
Av. Fuerza Aerea 1800
Funes
Pvcia. de Santa Fé
Argentina.
Awake earlier than rising, leaving the bed at 05.53.
12.47 Morning Sitting at 07.15.
Breakfast at 08.00. At 08.25 comments, observations & reports on yesterday evening’s performance. A leg-shaking break at 09.15 & returning. A member of the Team left at 10.00 by taxi, with much waving as they departed. Comments continued, ending with a report by Hernan of his interactions with the audience & their expressed reviews of the performance.
At 10.33 a short break & returning at 10.45 for more comments. Two new forms of The Whizz were obliquely indicated in the reports so far: the Death Whizz & the Fart Whizz. The end of the world was forecast at 10.58 for 11.30. What would be said if we knew for a fact that we would be dead at 11.30?
This was, in effect, the final meeting for reports & observations, allowing time for mostly all that might usefully be presented before our imminent deaths. When the forecast end of the world passed, it was considered prudent to allow for the possibility of lunch, in case we were all continuing alive & hungry. Lunch call for 13.30.
Fun with Ignacio & guitars called by Ignacio for noon.
A meeting afterwards with Hernan & Horacio the Publisher, discussing the publication of a book of GC repertoire pieces.
Personal meetings for Sr. Nunez underway at noon.
The performance space I…
II...
Fair to say that a performance in the hometown of the performers, with family members in the audience – fathers, mothers, wives, ex-wives, new wives, children, friends – is a major distraction for the players. Courtesy, manners, expectation of conduct by those of common society, all act to draw the attention of the performers away from their proper work, and to undermine their playing through disturbing & disintegrating their focus.
14.07 Lunch at 13.30. The world seems to be turning still, so Violeta & Alexander at 15.00, tea at 16.00, house cleaning at 16.30, personal meetings with The Mighty Bull Of Mendoza & Sr. Nunez, and even a Shop with the Vicious Sisters after tea.
15.43 On the board I…
II...
III...
IV...
A few words on time & relating to it...
The musician has three disciplines: the hands, the head & the heart. Each of us tends to be more functionally disposed towards one more than the others (and in some cases two of these, in which case the third centre is referred to as under-developed). Some players are more naturally centred in their hands, and by extension their bodies; some are more in their hearts, and by extension their feelings; and some are located in the head: these are the more intellectual or cerebrally oriented players.
So, we have three primary ways of relating to time: through the body, through the feelings & through the head. Our experiencing of time, from each of these perspectives, is different.
Good time is primarily in the body; connecting & playing to the fundamental pulse of any piece of music is through the body.
Music is a quality organized in sound & in time (and may also be understood as a way of shaping Silence). The quality of music is eternal, but the forms of organization adopted for musical expression vary from culture to culture, and from time to time. In that part of Western popular culture, in the genre known as rock music, c. 1973 in the United States, one way of relating to fundamental pulse was known as laid back. The drummer, while maintaining fundamental pulse, placed their snare beat at the back end, or slightly behind, the top or centre of the beat. This, without the pulse slowing or deviating: not metronomic & fixed, but good time. In punk c. 1976-77 in London, the accent was right on top of the beat, with tempi characteristically faster. These, two examples of experiencing time primarily through & in the body.
Those more seated in their emotions, and disposed to gush in their emotional lives, in their relating-to-time will tend towards rubato. In a singer, the accompanist will be prepared for colla voce.
Performers centred in their head will tend to play ahead of the beat & move around it. Sample listening to the standard repertoire of violin concerti & its soloists will reveal much movement around the beat, particularly in passages of allegro & presto. To anyone who has ever played for dancing, or those experiencing time in their bodies, this is poor time.
Three notions of the process of music unfolding: time, timing, and time ordered or organized. Time – relating to fundamental pulse & its rate of flow (tempo) is primarily in the body. Timing - the stressing of legal discontinuities in the placement of the note around the beat in response to feeling what is right - is primarily in the heart. The organization & ordering of the sequence of unfolding flow, through time signatures & bars, is primarily in the head.
One standard GC suggestion as to how we might improve our time, is to put up posters – Dance In The Village Hall On Saturday Night! – and place bowls of overripe fruit near the entrance. Those intent on dancing tend to be unforgiving towards those who upset their enjoyment with bad time.
Unas palabras acerca del tiempo y de cómo relacionarse con él...
El músico tiene tres disciplinas: las manos, la cabeza y el corazón. Cada uno de nosotros tiende a estar más dispuesto hacia unos mas que hacia otros (y en algunos casos hacia dos de ellos, en cuyos casos al tercer centro se lo suele llamar sub-desarrollado). Algunos ejecutantes están naturalmente más centrados en las manos, y por extensión en sus cuerpos; otros más en sus corazones, y por extensión en sus sentimientos, y algunos están en la cabeza: estos son los ejecutantes mas intelectuales o cerebrales.
Entonces, tenemos tres maneras primarias de relacionarnos con el tiempo: a través del cuerpo, a través de los sentimientos y a través de la cabeza. Nuestra experiencia del tiempo, desde cada una de estas perspectivas, es diferente.
El buen tiempo está primariamente en el cuerpo; el hecho de conectarse y de tocar el pulso fundamental de cualquier pieza de música es a través del cuerpo.
La Música es una calidad organizada en sonido y en tiempo (y puede ser entendida también como una manera de darle forma al Silencio). La calidad de la Música es eterna, pero las formas de organización adoptadas para la expresión musical varían entre las distintas culturas, y de tiempo en tiempo. En esa parte de la cultura popular Occidental, en el genero llamado música de rock, alrededor de 1973 en los Estados Unidos, una manera de relacionarse con el pulso fundamental era conocida como laid back (tirado hacia atrás). El baterista, mientras mantenía el pulso fundamental, ponía el beat de su tambor adelante, o apenas atrás, arriba o en el centro del beat. Esto, sin que el pulso se desvíe o ralente: no metronómico o fijo, sino buen tiempo. En el punk entre 1976 y 1977 en Londres el acento estaba justo arriba del beat, con tempos característicamente mas rápidos. Estos son dos ejemplos de tener la experiencia del tiempo primariamente a través de y en el cuerpo.
Aquellos que se apoyan más en sus emociones, y mas dispuestos a desbordarse en sus vidas emocionales, en su relación con el tiempo tienden al rubato . Con un cantante, el acompañante debe estar preparado para tocar colla voce.
Los performers centrados en su cabeza tenderán a tocar antes del beat y moverse alrededor de él. Escuchando como muestra el repertorio standard de conciertos de violín y sus solistas revelará mucho movimiento alrededor del beat, particularmente en pasajes allegro y presto. Para cualquiera que haya tocado música para bailar, o para aquellos que tienen la experiencia del tiempo en sus cuerpos, esto es tiempo pobre.
Tres nociones del proceso de la música desarrollándose: tiempo, timing y tiempo ordenado u organizado. Tiempo – tomado en relación con el pulso fundamental y su frecuencia de flujo (tempo) es primariamente en el cuerpo. Timing – el reforzar discontinuidades legales en la ubicación de la nota alrededor del beat en respuesta al sentir lo que es correcto – es primariamente en el Corazón. La organización y ordenamiento de la secuencia de flujo en desarrollo, a través de métricas y compases, es primariamente en la cabeza..
Una sugerencia standard en GC en cuanto a como podemos mejorar nuestro tiempo, es pegar posters que digan – Baile en el Salón del Pueblo el Sábado a la Noche! – y poner bowls con fruta madura cerca de la puerta. Aquellos que intentan bailar tienden a no perdonar a quienes arruinan su disfrute con su mal tiempo.
(Translation by Fernando Kabusacki).
17.15 Tea at 16.00 with solo performance, now the last in the series by this player.
Four personal meetings at 16.30, 16.31, 16. 32 & 16.33.
The Shop of the Vicious Sisters opened at 16.45 & hurtled into action I…
II...
Rain…
The Funes Throat that has been going around is lurking, making itself available even to the English.
18.49 Mostly packed.
19.41 Dinner at 19.00 with performance by a trio of new formation. The main theme was supported by a hum-along from the audience.
Final meeting called in the Final Meeting Room for 20.30.
21.03 Most comments & observations were presented this morning. Thanks were given to those many people who made this course possible. Without Sr. Nunez none of us would have been here; and when he has had enough, it stops. Those participating AAD were spoken for.
Director Nunez gave an overview of possible & likely future courses, acknowledging expressed interest from Brazil: two courses at Sant Cugat (Beginners & Intermediates) late January 2010 & July 2010 for perhaps 5 weeks; a possible course in Lunlunta or Brazil March – April 2012. RF is willing in principle to attend these if recommended by Sr. Nunez.
This course, The Orchestra Of Crafty Guitarists IV - The Orchestrina was declared completed at 20.58. An unfisting was made, to earth the vaunting spirits of those present.
21.30 Hernan has just left the Star’s Room from our own final meeting.
We have an early departure call.
