Thirteen compositions from Trey's catalog, plus a bonus transcriptions of his parts from the King Crimson piece "The ConstruKction of Light." Beautifully spiral bound in a 12"x9" text.
I have just launched an Indiegogo campaign to get funds together to produce a score book of my compositions. Full scores with tabs in both 4ths and 5ths versions of the tuning. Including a very special version of King Crimson's "The ConstruKction of Light."
This has been in the back of my mind for many, many years; and now, it is finally coming to birth."
Go here to see the video and read all about it.
A bit more about the aikido practice.
As I mentioned before, our aikido work was mostly with weapons and led by Andrea. I say ‘mostly’, because it was often hard to say when we were doing aikido and when we weren't. Many of the games and bodywork bridged across the music<>aikido spectrum.
Though once we had weapons in our hands we were definitely practicing aikido. One of the interesting things for me was that Andrea and Nik’s weapon work was different from what I was used to. It wasn’t far away, but it seemed to come from a different line.
July 30-August 5 Nik Bärtsch workshop -- Val Mesocco, Switzerland
I had been thinking about coming to this workshop for over two years, ever since Henry Kaiser first told me Nik was doing this kind of thing. Aikido + Music + Meditation. Perfect for me. Thankfully, I was able to be in the vicinity (Europe) close enough to the dates so that I could extend my trip and come here.
Zurich, Switzerland July 29, 2013 -- performance with Nik Bärtsch & Mihai Balabaș at Club Exil.
I ended up blowing off my flight from Munich to Zurich and taking the train directly from Innsbruck. It was a much, much nicer way to travel through the Alps. Tobias went with me, which was great. We got to debrief the tapping workshop and do a fair bit of gear-geek talk.
I arrived in Zurich very weak and immediately went to sleep for another 18 hours. Nik (Bärtsch) had asked me to join him in his weekly performance at Club Exil the next day (Monday, August 29). Nik’s band Ronin has been playing a weekly Monday night gig in Zurich for years. If you want to know how to get good as a band, look no further than this: play a weekly gig, year after year after year. When I met David Harrington of the Kronos Quartet he told me that they rehearsed 5 days a week. Why is Kronos so damn good and how do they learn so much material so quickly? They rehearse regularly and have been doing so for decades.
I’m back home and settled in from the European Tapping Seminar. This took place in the majestic Alps of Innsbruck, Austria. Markus Reuter and I were the hosts/leaders of the week. Though huge kudos goes out to Markus’ very dedicated team of players who have been working with him over the years.
The week was quite amazing. For all of us. I saw some outstanding improvement in the players present. And, for myself, I gained some tremendous insights. Not to mention that my playing was lit on fire for a good chunk of the week.
Trey Gunn and Markus Reuter
Music and The Tapping Technique
For all tapping instruments and all levels
June 18 - 23, 2012
I'm very please to announce this tapping workshop I'll be doing with Markus Reuter in Europe this summer.
To get involved and reserve your space head over to HERE
This has been a long time coming for me. For years and years
Beyond a certain point there is no return. This point has to be reached.”
- - Franz Kafka
I am coming to this entry much later than I thought. However, Life has pulled me forward more diligently than my typing fingers could keep up. So I am now taking this moment to return to June 27th, when my son and I left San Francisco after spending several days at the San Francisco Aikido Project.
I don't usually share insights from particular meetings with my coaching clients but, following on from the Ira Glass quote above, I did see something the other day worth sharing.
I recently received a very thoughtful email asking more specifics about how I define 'music coaching' as distinct from 'music instruction'. Here was my reply.
Basically, there is a kind of spectrum with Instruction on one end and Coaching on the other end. Only two people I am currently working with fall completely on the "coaching end".
I think I can explain it like this.
The instruction end of the spectrum is where one needs to work on facility and there may not be a burning drive to realize some clear vision. The coaching end is where there IS a very clear aim/vision but there is either uncertainty about how to realize it or the spiral of the process is putting blocks in the way.
I have begun teaching in a fairly substantial way lately, and I love it. I have had a few private students over the last few years although no one has hung around for terribly long. Either their interest in studying with me was a ruse in order to meet me, and once they did the process was complete. Or, they had come to learn how to play a touchstyle instrument (Warr Guitar or Stick or that style adapted to guitar or bass). But once I showed them the work involved they quickly vanished! Who knows? Most likely it wasn’t time for me to be giving instructions. So I answered their questions and they mostly moved on.