I
Some good comments, one on the strength and power available when working in the Circle.
Firstly, there is our personal contribution, then that of the others sitting in the Circle. Also, it is in the nature of the Circle to concentrate and intensify power. But there is something more than this: in addition to what is available in our Circle, there is the eternal Guitar Circle which our particular Circle exemplifies. When we are inside the Circle, all the work that has gone into the eternal Circle is available to support our work within this specific form of it.
Monday 24th. January, 2010;
Monasterio Nuestra Senora De Los Angeles, Monjas Dominicas,
Sant Cugat, Spain.
II
To the House Of Guitars at 10.15 in the newly-renovated Auditorium.
All levels of experience were present in the meeting: Beginners, Advanced-Beginners, Intermediate and Experienced, Constantly-Beginning Beginners.
In the Circle: 43 guitars. We each moved to our chair, brought part of our attention to the soles of the feet; the top of our head; and to what is in between. What is in front of us; what is behind us. Returning our attention to ourselves, the soles of our feet, the top of our head, and what is in between. Then, moving the attention out from ourselves to the whole of the auditorium. Returning the attention to ourselves, and into the right hand.
Then, with the right hand we took the pick and chose a note. Any note. For those who have not played the guitar for a week, or perhaps 4.5 days, this was their first intentional note for that period.
When ready, please begin to play your note. Circa 5 minutes.
When ready, please begin. This moved to a circulation, naturally and from itself. Then Robert stepped into the Circle and asked: When the note is moving around the Circle, what is moving?
Various answers were presented: sound, intention, music, love. So we moved some more love around the Circle, along with the note. Perhaps also some sound, music and intention moved with it. Then the love moved in two directions: love moved on the downbeat in one group and the upbeat in the other. Love became complicated at this point because downbeat and upbeat, as is proper to a loving relationship, became intertwined and indistinguishable. Love is love, after all. Why differentiate between down and up?
Then Love moved quickly around the Circle, noting that quick is living. Finally, three directed love chords, with the moment held at the end of this, and the meeting was completed.
Thursday 24th. May, 2012;
Purgatory, Camp Caravan, Royalston, Massachusetts.
III
Mrs. Moscow asked a question about discharging the role of Queen Vicious when in pole position of the Whizzing.
The Whizzing will speak to you directly. And we learn on our feet.
Saturday 21st. April, 2012;
Foresteria Sorelle Povere di S. Chiara,
Monastero S. Maria Delle Grazie, Farnese, Italy.
IV
The How To Count From One To Five? guitar meeting, with 10 in the Inner Circle and perhaps 23 in the Outer.
No definitive answer was provided to the meeting-question. At one point, a nominal downbeat with two subsequent upbeats became three upbeats with no common down. It was decided that our lips were not sufficiently tight, but even further lip-tension proved to have no positive effect.
All three groups, the Inner Circle plus two in the Outer, broke up declaring: All this counting is too much like prog – where’s the feel man? and formed two whizz groups. These eventually renounced their independent status and became one, providing a good example of Structural Co-operation in the Synergic Epoch, committing itself to whizzing until the world became a better place.
They were led into the world by Mrs. Moscow, reigning as Queen Vicious. The promenade began, leaving the Room Without Dancing and roaming the corridors of the building, perhaps representing the Lower Levels awaiting redemption, until returning to the Room Without Dancing; where the whizz abruptly halted.
The world was declared a better place, with free dispersal from the Circle.
Wednesday 16th. November, 2011;
Monasterio Nuestra Senora De Los Angeles (Monjas Dominicas)
Sant Cugat, Spain.
V
Words at breakfast on The Assumption Of Virtue, the Eighth Assumption of Work In The Circle. This is the invisible Assumption:
Assume the virtue if ye have it not.
What is the virtue, or qualities and characteristics, of the Ideal Musician of our aspiration? Perhaps put more simply, what are the characteristics and qualities that we would associate with the Master Musician? It's not much use to say– they’re really very very good! – which doesn't help us in any practical sense. Among the qualities we would hope to find in the Master Musician is presence. Perhaps the most important quality we would ask of our ideal Musician is that they are true. If they are not present in performance, then they are lying. This is almost unforgivable. It is forgivable, but not by mortals.
The Second Assumption, after Intention, is Presence. When the Circle moves into the public sphere, it becomes vulnerable. The Circle is subject to the arbitrary impulses, unreasoned expectations and demands of the audience. Members of the public are not, in the main, trained in listening; which follows the same principles as training to play an instrument. In performance, the Circle is interacting with people who are mostly untrained in both intentional listening and the cultivation of personal presence. This is dangerous. So, the Presence of and within the Circle/s is necessary.
When the Outer Circle is playing and the Inner Circle not playing, the Inner Circle continues to be part of the overall performance. That is, they maintain their personal presence and remain intentionally within the performance, albeit while appearing to be Doing Nothing.
It may be that less experienced members of the Inner Circle, when not playing, become as-if members of the audience – we're here to listen to all these guitarists playing funny things! – so we can let go of personal presence, twitch a little, move our feet about, and think this is fine because we're not performing. As Senor Nunez reminded us yesterday evening, even when not playing a note we continue to be part of The OCG, and the Seven Assumptionsremain: we are asked to be present.
An easy assumption to make, by those playing in public, is that we go out to play in public to enjoy ourselves. This was very much the assumption of the young players of my teenage years. We took our playing seriously, but hoped to have a good time. In the Guitar Circle and The OCG, we are not here to have a good time. We are here to serve something higher: the Creative Impulse manifested through Music.
It may be that, in serving music, we have a good time, even that we experience joy, but this is not our primary aim: it is only a by-product of our work. In a sense, we give up what we want from the performance that the performance might become something more. We sacrifice our demand to have a good time for the possibility of something far more substantial taking place.
When Angels descend from the heavens on fiery chariots and blow trumpets of gold in your ear, this is joyful. Baby Blue, I was there.
Saturday 21st. April, 2012;
Foresteria Sorelle Povere di S. Chiara,
Monastero S. Maria Delle Grazie, Farnese, Italy.
