Sunday, April 21, 2019



"While parallels between THESIS and ARGUMENT abound, distinctions between language and music are conspicuously revealed. With and in music, 'meaning' lodges elsewhere and differently than in language; in music, what joins and follows next is what there is, is how music 'becomes'; if grammar or reference or syntactic structure-like back&fore&middle-ground concerns of 'meaning' crop up as I hear a music, at best they are sui generically pertinent to the particular work; music is always now and here; attachings and reference emanate from within, thens attach to and make nows, but if and as I struggle to speak of them I'm transliterating; music doesn't need what language depends on; 'meaning' and reference within do not need to give rise to reference without in order for music to be. Music as music, as recreation of experience, is totally liberated and wild and free."
- Elaine R. Barkin "reexperiencing Language ,as a Music revisited"  Open Space Magazine issue 19/20 fall 2015/spring 2016



April 13, 2019
Narrow - Mecca Normal [from Kill Rock Stars]

oh all
that is strong

oh each
that is specific

oh so
much that is irrepeatable

a pirate legend of the mean teen seas

song doesn't get much better
than this

the Earth is Calling Our Name - Dean Evenson [from Native Healing]

it stays put
saturated smoothed lacquered

Liebeslied (Amended) - Keith Eisenbrey [recorded at the Tintinabulary, June 15, 2010]

patiently edging out into exposure
the small timing flaws just prove it's handmade
the Chickering's palette/timbre allows the emergence of lines to be clear inside the chords
I doubt I'll ever play this better or more patiently

Ik Junoon Paint It Red - Zindagi Na Milegi Dobara [from Bollygood Volume 1]

swing with an accent
hunky hunky chunky chunky

April 14, 2019
Banned Rehearsal 912 - Karen Eisenbrey, Keith Eisenbrey, Anna K, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer [June 2016]

The 32nd Bannediversary on the porch
wash your eyelids
crows squabbling and sniping on the left
scrape and poke like archaeologists

traffic events: locatable gusts of wind
a band plays in the distance

We play a benefit for the bugs and critters gathered under the maple tree beside our porch

Sonata in D minor K. 1 - Domenico Scarlatti - Pieter-Jan Belder

sequences extend just a bit longer into iterationality here and delighted

I'm Only Sleeping (rehearsal) - The Beatles [from Anthology Volume 2]

mostly vibraphone and some drums
rather attractive

Go Tell It On The Mountain - Lake Washington Singers, Betty Eisenbrey, director

fun arrangement how it starts by building the bed of the harmony of the tune we know

the artifactual bass boom almost makes it sound like they have a tuba back there

You - The Who [from Face Dances]

femme fatale too late
the ultradiscrete tracks work pretty well here
to hear what the players are playing

The Gift of Love - London Symphony Orchestra [from Listen to the Joy]

Pops as in The Pops
concert series for arrangers to showcase to and of publishers
taking care of business

Reaper Song - Witchy Poo [from Kill Rock Stars]

but entertaining standing laughing

Track 4 - Seattle Chamber Music Festival [from a private tape, July 2001]

could be Weill I would believe it
for a while but moves into another more magical garden
(((never trust, quite
a magical garden)
tells a story
(does not narrate a story, tells it)
happy endings)
full of feeling)

Summer Days - Bob Dylan [Key Arena, Seattle, October 2006]

Unsure of the title, not being a Dylanologist
rockabilly - the South's equivalent of Surf of the West

The Sow Took The Measles B - Train Case [Karen Eisenbrey, Neal Kosály-Meyer]

pretty tight ensemble for a multi-tracked recording
(it's that blood harmony bone rhythm)

The Motherfucking Bus Part I - Chaotic Noise Marching Corps [from Zero to Lizard Man]

a sound cue
or an audio-graph as one might take a snap shot of a moment

In Session at the Tintinabulary

April 15, 2019
Gradus 346 - Neal Kosály-Meyer

highest B-nat
highest B-nat and highest C-sharp
pianissimo and on down the hammer sound
predominates over the string sound
especially when the rest of the harp is damped

April 18, 2019
Yellow Line (3 takes) - Your Mother Should Know
Candy (3 takes) - Your Mother Should Know
Don't Know How to Start Over - St. Rage
Summer Girl (2 takes) - St. Rage
Regular (2 takes) - Your Mother Should Know

In about an hour and a half, including set-up: eleven takes for two bands, six tracks each, two PZMs taped to the wall, one decoupled stereo condenser mic down near the drums, one wide diaphragm con-mic for Neal [Kosály-Meyer] to sing at, one headset con-mic for Karen [Eisenbrey] to do same. It's a good thing both bands are the same two people. I'll be working at finding the treasures of these over the next few weeks.

A note from your ever so humble recording clerk: The titles of the YMSK songs are my placeholder titles, not the official song names.


and naked ran out hair screaming might suck
breasts dry with want o mother husbands give
us the heart give us body and soul speak

an embodiment of the absence of itself
an image of duration bereft
or innocent or prior to any notion of pulse

Saturday, April 13, 2019



"But, what time are we discussing? That is, whose time? I ask because if it's a matter between my descriptive time and the piece's time, then the issue is not time and temporality but rather the spacing between the two times and someone's (my) desire to minimize that spacing, or redescribed, to align or otherwise match the times, with the assumption that a closeness of fit in some sense matches or otherwise accords with human closeness, that is, that pieces and people can communicate as people and people communicate, and that communication is the utopian moment in these texts."
- Scott Gleason "A Group of Listenings" Open Space Magazine issue 19/20 fall 2015/spring 2016


Philipsburg, Montana fixture part

April 7, 2019
Eleanor Rigby (strings only) - The Beatles [from Anthology Volume 2]

like finding someone's old shoe

Something In Blue - Thelonious Monk [from The London Collection]

as voice leading, treats small alterations in the interval of parallelism as a change in motion type, a juncture

Kind of Woman (remastered) - Stevie Nix [from Bella Donna]

song as greeting card
proxy serenader
surrender serenader
what might want being said but better by the avatar
mix tape inclusion possibility

I See Stars - Screaming Trees [from Clairvoyance]

high energy pressure applied at certain wavelengths like a mouth shape or accent shape

N.O.U. Cooking With Gas! - The Nation of Ulysses [from Kill Rock Stars]

in glorious demo quality
an instrumental with weird echo balance
bass! drums sax vibraphone
a near jazz experience

"Mrs. Ramsay rose. Lily rose." - Keith Eisenbrey - Keith Eisenbrey [composed 2001, recorded March 2019]

bits share gestures or echoes of gestures
but not shapes, except, perhaps, the shape of dissipation
Ken & I: that the notes go away is the piano's true strength, an automatic theme
very much a thinking like Ken Benshoof sort of piece
in this sense: Ken is sensitive to the sizes of and trajectories of affect/figuration time spans
i.e. musical material hunks
it was a regular theme of our lessons lo these many decades past
my sensitivity to them doesn't have the same flavor as Ken's
but how could it?
but it is indisputably there

Philipsburg, Montana fixture art
Cowboy Waltz - Earl Murphey, Bill Ashley [from Art of Field Recording Volume 1]

guitar and fiddle
plucker and scraper
played so as not to allow the bodies playing to be lost in the played out to us body song

Sow Took the Measles All Tracks - Train Case [June 2011]

each track in a row
yup, internet
he says
first everybody guide track
then just guitar
as chords change tones are reborn
then after pause
the guitar again
another pause
before Karen sings
and nicely too
then Neal sings his harmony as a kind of psalmtone song
he wants to do it one more time
always the intro wait wait wait space
but is a better take at that
then another guitar track

Battle Cry - Crystal Beth & the Boom Boom Band [from Yugen 3]

cinematic Valkyrie schrei

(if you escape
with our bones
all in your bag
you will be fortunate)

the scary kind
root magic

April 9, 2019

Hallelujah - Lake Washington Singers, Betty Eisenbrey [April 1966]

not that one
but another

Santa Claus and His Old Lady - Cheech & Chong [a Rescued Record]

knowledge and remembering
kicked out of the projects

connection with other persons requires connection with personal history
you need, if not to speak their language, to hear it

Stranger In a Strange Land - U2 [from October]

moves indoors to big room sound to a smaller room sound
the space around us, joining us, shifts volumetrically

April 11,2019
Banned Rehearsal 100 Side A - Karen Eisenbrey, Keith Eisenbrey, Neal Kosály-Meyer [June 1986]

Karen at the Blowout, near Bickleton, WA, in the past
we have done it
but first the patriotistical hymn

whew that's over
we have in deed be gun
the apple is criticised
a few toys and Karen's drums chime to begin be gin
what did we do with the pow'r chord?
Outpost Bickleton Manse (the one Karen moved into after growing up in the first one)
easily we enter into session sessile mode (we sit) and or metaphorically

at drums me
at piano Neal
at harmonica Karen?

difficult to rememorize at this rememove
when it becomes so focused of a sudden falling into

Karen reads the paper

food registration due Friday
guitar and drums left off the little half guitar
they went into classrooms ate hot lunch and came home
Grandview School District is currently accepting applications
for one half Kinder Garten teacher
lunch menus
Mabton School District and milk

last day
Sunnyside School District
hey hey hey

sudden song
Philipsburg, Montana just for nice
when the time comes where you gonna be who'll be right who'll be left when a strummy breathy breathing strumming poem
the Sudden Song project persisted throughout 1985-86
quiets down fierce

In Session at the Tintinabulary

April 8, 2019
Banned Rehearsal 979 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer


here is polenka tell in french well brought-up
punch yes sing you keep standing get money
that will be much for that's quite a lullaby

would draw thunder
the lion in my wall

Saturday, April 6, 2019



". . . what is the 'music-ontological core' of musical experience, and how do we reach it? The answer resists discursive felicity; it is a multiplicity, always in motion, involving flows of intensities between experiencer and experienced object—as experienced, but in a way that is sensitive both to the kinds of meaning-generative flows from the object (as both a temporally-constituted and -constituting musical reality), and to the knowledge that one's experience is situated and incomplete, that every effort to contact the music in its putative wholeness only reveals new transcendental lines and new epistemological possibilities."
- Chris Stover "Walking Up and Over, Approaching Boretz's Qixingshan" Open Space Magazine issue 19/20 fall 2015/spring 2016


Maryhill Stonehenge

March 30, 2019
Cheyenne's Song - Dean Evenson [from Native Healing]

from under the warm snug blanket
release tension release ease
tummy full

Liebeslied (Amended) - Keith Eisenbrey [from a home recording of 3/1/2007]

my bits (added to Ben's now withdrawn solo piano piece Liebeslied (for a pianist alone))
schematically interlaced with his bits
in order to underline the schematic image within his bits as my bits unlace them

for me: it gave me a performance version (for a pianist among others)
this was a pretty strong performance, one of the last I made on the 6' Yamaha my folks bought for me when I was in high school
necessary time is given
but it doesn't lag either

Light It Up - High Class Wreckage [from a pre-release copy of High Class Wreckage]

pumped for mayhem

Loser - St. Rage [June 2016]

St. Rage is a fictional band in my wife's novel The Gospel According to St. Rage (soon to be re-published by Not A Pipe Publishing). They are played here, as always, by Your Mother Should Know, which is my wife, Karen Eisenbrey, and her brother, Neal Kosály-Meyer. I did the honors behind the recording device and final mix.

nice job guys!

Yellowstone National Park, Wyoming
Taxman - The Beatles [from Anthology Vol. 2]

once each track could be recorded clean the parts could be treated as replaceable, optional, swappable. ultimately, it swaps the compositional focus from an arrangement of chords and tunes performed by folks to an arrangement of tracks laid atop chords and tunes

Nutty (take 2) - Thelonious Monk [from The London Collection]

loose and playful

Some Other Time - X [from Wild Gift]

expression on face: grim, stiff, determined

Radio Head - Talking Heads [from True Stories]

toy orchestra in lego land

Make You Come - Kicking Giants [from Kill Rock Stars]

we do love our guitar players round these here parts

Track 3 - Seattle Chamber Music Festival [July 2001]

artifacts of nasty splatters
nothing like digital to point out its own flaws
made me jump every time

No Condemnation - Thee Emergency [from Can You Dig It]

just the blues
the blues almighty
and with a bonus song as part of the track

Sow Took The Measles (A Reverb) - Train Case [June 2011]

If I did put any reverb in there it is nicely minimal
Train Case is also Karen and Neal, in a more acoustic homegrown idiom

Wave, Beach, Pebbles Large, Close Extreme, Surf, Storm, Foam, Ocean Roar, Intense, Sizzle, Crash, Impact Puff - Pete Comley [from Ocean Ambience Rocky Coastline Vol 1_1]

This was all of 2" long. I'll need to rethink how to listen to this album so that I actually have time to sit down after pushing play.

March 31, 2019
Little Lamb Who Made Thee - Lake Washington Singers, Betty Eisenbrey, director [April 1966]
Baker City, Oregon

a really nice setting of Blake's poem
it captures some of its divine innocence
even in its Hollywood style

Ruby My Dear - Thelonious Monk [from The London Collection]

superb brushwork back there on the skins and pans Mr. Blakey!

Planet Earth - Duran Duran [from Duran Duran]

the eighties
when they manufactured a sound
to be an image of blatantly manufactured sound

Banned Rehearsal 99 - Karen Eisenbrey, Keith Eisenbrey, Neal Kosály-Meyer [June 1986]

Petrushka country fair in the Horse Heaven Hills
we are recording on a boom box at the Bickleton Pioneer Picnic and Rodeo
mostly, in intent, to memorialize the calliope of Meyer family legend, the calliope reborn from recalcitrant scrap, its erstwhile melodies having been re- and re- permuted into a gleeful quilt of melody parts set free of their prior moorings

tape is running
you have been immortalized

Carousel of the Calliope of Legend
that calliope, it explains so much

oh no, we're staying in Seattle for ever
giddy with penultimatricidal tendencies
Carny Vater of the Prankmaker
shacks and bunkers
but honestly, what gender is any of this?

to correct the calliope
is to silence the oracle
chaos divine incipit
how it Klings and Klangs
Kling Klang
(I guess this fits, do as well as any)
getting some pie on tape
by laws
in the sense that there are none

April 4, 2019
My Red Self - Heavens to Betsy [from Kill Rock Stars]

flipside or formerside or pastside or stillinside
of Kaley Lynn Eaton's Poem in Praise of Menstruation as heard recently at Salon
attitudes surrounding the cultural taboo received slapback into culture's face
strong and straight with a no nonsense blatancy to it like my friend Jill Borner's My Baby Left Me

Cedar Flute Love Song - Dean Evenson [from Native Healing]

It is required that it be muddied by loop echo and smudged with bird song.
Do they make flutes with cedar? Wouldn't it be splintery? Dunno.

Liebeslied (Amended) - Keith Eisenbrey [from Preludes in Seattle Part 2, March 2007]

see above and elsewhere for what this is
I didn't manage to improve it (nor play it very well for that matter) so much as point out some if its, and my, problems. A project far more essential to me to have done than to do for any else

Hendrixesque - Henry Guiazda - Nathan Davis, cello [from Hendrix Uncovered - New Music Inspired by Jimi Hendrix]

more loops for repeating with
mirrored halls
distant doors
(locked anyway)

The Drink I Didn't Have Last Night - St. Rage [June 2016]

Here they are again.
late night rough
wrinkled plenty

In Session at the Tintinabulary

March 31, 2019
"Mrs. Ramsay rose. Lily rose." - Keith Eisenbrey " [assembled from parts recorded March 29]

I wrote Mrs. Ramsay, its title taken from Virginia Woolf's To The Lighthouse (I liked how she framed
your blogger ca 2001
Lily with roses), in 2001. It was my first large-scale composition since Slow Blues. Slow Blues was structured like a set of variations, each iteration exactly 12 bars long in a slow 4/4 meter, and each successive variation based on the same sequence of mod-17 pitch sets arcanely related to the bare-bones blues sequence I I I I | IV IV I I | V V I I, cycling through the 17 M-transforms available in mod-17. For Mrs. Ramsay I played a similar game, but the structural segments aren't all the same size or shape, vary more widely in affect, and, if I recall correctly, the various M-transforms are re-ordered according to some rule I have long since forgotten. I performed this just once, at an early Seattle Composers' Salon back when they were held at the Mennonite Church in Lake City. Tom Baker may have a dub of that performance, but until I recorded it last Friday I did not have any recording of it for my own reference. In practice this means that I really didn't know how it went from outside of playing it. And so I am ever so glad to finally make its acquaintance.

Frankie and Johnny - Keith Eisenbrey [assembled from parts recorded March 29]

Karen under Jail
For several years now, and interrupted by a self-imposed indifferently observed sabbatical, I have been working on a sequence of etudes. Big surprise: there will probably be 17 of them all together, if I should be so fortunate as to finish. Frankie and Johnny is the 13th and most recently completed. I think of it as an opera, an opera in which the main character is the traditional song itself, which is written in the score with approximate, unstaved, pitches. The piano part is a sequence of 3-note groups written as, but not intended to be played as, whole-note simultaneities. I had been practicing for about a month, trying on all sorts of voices to sing with and tinkering with various schemes of approaching the projection into figuration space of the 3-note groups. In the end I sang it in a nearly straight folk style, and improvised the figuration in the real time of the recording. Since I stopped to shuffle pages between each verse I had to piece together the takes of them, but even with that, first take best take.

April 1, 2019
Gradus 345 - Neal Kosály-Meyer

development, as a received notion, is a sequence or group of varied by related ideas
related by repetition of some kind of some aspect or set of aspects

we pick up a thought and turn it over in our ears :: of as many aspects as can be held in mind, while following the variations
it is where our focus shrinks to the immediate

Saturday, March 30, 2019



March 24, 2019
Puyallup, WA ca 1966
The Witch (Live) - The Sonics [from Boom]

somewhere in the back of the palate of those wailing shrills is an emulation of Screamin' Jay

Nice Work If You Can Get It - Thelonious Monk [from The London Collection]

so he's a singer at one with rhythm
a Satie-esque end game

New Lace Sleeves - Elvis Costello [from Trust]

this song's kind of all over the map

Fire - Bruce Springsteen [from Bruce Springsteen & the E Street Band Live 1975-1985]

odd bridge
an out of affect experience
it jars a bit I think

Immediate Impact Zone - Infamous Menagerie [from Kill Rock Stars]

its implied architecture
repetition structures
social inventions
mini ritual

about as great a thing as it could be

Dudley's Song - Dean Evenson [from Native Healing]

not completely without merit in the pitch play department
though rather enclosed, as in a vitrine

Sweat Sex - Thee Emergency [from Can You Dig It]

comin' on like The Who and all
full stadium roar
an altar call

Sow Took The Measles - Train Case [June 2011]

I take pride in the fact that I convinced Karen and Neal to record the songs they were playing for their Mom. 

Opus - Jon Forshee - Joshua Charney, piano [from Open Space CD 36]

playful figurations
downright melodramatic!
all riled up

a really tremendous solo piano piece, probably some several gradations over my technical abilities. {frowny face}

Mt. Rainier National Park
March 26, 2019
Got To Get You Into My Life - The Beatles [from Anthology Vol. 2]

bared of orchestra

organ, bass, drums, vocals
lifted from the mix
or the rest of the mix leached away

how ideas are tried

Child of Heaven - Lake Washington Singers, Betty Eisenbrey, director [December 1971]

from my Mom's private tape

Track 8 - Empire Brass Quintet [from American Brass Band Journal Revisited]

another unnamed track that came into the mix through Karen's family

Banned Rehearsal 97 - Karen Eisenbrey, Keith Eisenbrey, Neal Kosály-Meyer [June 1986]

chorale tune is the thing
shabby by this time with no rehab done
correcting part work or grading

we spin some disks
let's shout

sight singin'
somewhere in this book is a good chord
false alarm

March 28, 2019
Laugh or Cry - The Vagabonds [a Rescued Record]

somewhere between the Buzzcocks and Simon & Garfunkel
this 45 was found in a box

Lost Tracks - Dean Evenson [from Native Healing]
Mt. Rainier National Park

piety without content
mood mix

so seeming mistrustful of what it could be
of what any bit could be
form lines reverberated out, dissipated

Liebeslied (Amended) - Keith Eisenbrey [Chapel Performance Space June 5, 2010]

When I returned to Seattle in 1984 Ben Boretz gave me the original pencil score of his (now withdrawn) unfinished composition Liebeslied (for a pianist alone) - composed in the early 70's. I copied it (in ink on vellum, and later with engraving software) and performed it several times over the next couple of decades. At some point Ben suggested that I re-compose it. Liebeslied (Amended) was by first go at it, my amendments consist of making a half-hearted but personally intriguing stab at drawing out the opening section, and revoicing a few of the big chords in the middle. This was not a particularly successful performance, due to my usual chronic rushing - and I still have trouble getting my paws around those big crashy chords.

Hammer in a Bag - Pouch

Sean Delaney's go to move is a Godzilla shriek 
containing multitudes
as shrieks go, high class indeed

Huge Guy in the Mosh Pit - St. Rage [June 25, 2016]

And it's Neal and Karen again! Your Mother Should Know impersonates Karen's fictional high school garage rock band. This recording benefits from being turned up loud. Sloppy but earnest.

March 29, 2019
Hear Us - Era of Peace - Lake Washington Singers, Betty Eisenbrey, director [April 1966]

the choral first person
as an operatic invention
derived from the congregational first person
the creepy politics of combinations
subversive anti-individualist propaganda

Nutty (take 1) - Thelonious Monk [from The London Sessions]

playing a polyvocal game with a sensibility that concerns where within phrase length spans one can play loose and off and where one is to play flat and plain
in order to play at platformers or web slinging
on the audio grid

The Emerald City (from a broomstick)
Forest Fire - Dead Kennedys [from Plastic Surgery Disasters - In God We Trust]

grown men impersonating 10 year old boys
as they thought themselves 
bethinking themselves

This Is My Day - Julian Lennon [from The Secret Value of Daydreaming]

this arrangement is crying just crying for a big orchestra and a 100 voice backing choir
those synths just don't quite cut it

Loch Ness - The Velvet Sidewalk [from Kill Rock Stars]

some musics are sudden floriations
others are the belowground parts of the soil fungus
we rot music

Track 2 - The Seattle Chamber Music Festival [July 2001]

oh such glorioso amateur intonations! so robust! spritus maximus.

disco into nations

a half reeler silent accompaniment
morally upliftingly 

Workin' Man's Blues - Bob Dylan [Key Arena, 2006]

playin' the old guy 
playin' the old tunes

does anybody believe in this anymore, what he's saying?

Sow Took The Measles A - Train Case

When I first started recording them I kept a bunch of versions. this is one.
Karen has a superpower. She can sing.

The Ship - Brian Eno [from The Ship]

the soundtrack
to the film
of the finding
of the ship

das Rheingold's anacrusis

instrument of death to all
its sepulchral nature even at birth

vowels shaped at liminal register deep

reverberance plucked by cotton candy tongue out
the after wave

And Your Bird Can Sing - The Beatles [from Anthology Vol. 2]

you can't see me
the poster child of isolation recording

Echo Song - Lake Washington Singers, Betty Eisenbrey, director [December 1971]

works it out nice
within its chamber 

the layers of media transfer 
as they successively disengage

Untitled Track - Throbbing Gristle [from Greatest Hits]

like something Pete Comley might have said

Banned Rehearsal 98 - Karen Eisenbrey, Keith Eisenbrey, Neal Kosály-Meyer [June 1986]

heart felt cry of bluesy oh city to ope
sprite at its funmaker makiest
"It Hurts" - Neal's sudden song

when we aim we are dead on laser bent
we are the generatoration 
that shreds the past
we are the past shredders

Port Macquarie, New South Wales, 1986
"this is banned rehearsal number ninety eight / the last banned rehearsal in this house for a long time"
actually probably the last ever full session
karen and I made some assembly rechoireds and some telepaths, but by the time there was a quorum again we had moved to the Front House, in front of the Half House, Greenwood, where we were

this hits on a large quantity of cylinders heretofore never known
intervals energize persistence
a sister worthy shaman fellow

accuracy presumes rectitude
precision does not
we dredge down

(funny that karen should worry about echoing in her books the girl boy boy dynamic of Harry Potter plots, when banned rehearsal was all of that long beforetimes)

Love's a Hard Game to Play - Stevie Nicks [from Timespace]

a sexy viola register there Stevie
pretty hot

In Session at the Tintinabulary

March 25, 2019
Banned Rehearsal 978 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer

I played piano because I just had it tuned and because it's fun

March 29, 2019
"Mrs. Ramsay rose, Lily rose." - Keith Eisenbrey
Frankie and Johnnie [from Études d'exécution imminent] - Keith Eisenbrey

Port Macquarie, New South Wales, 1986
Karen has been in Portland for a conference since Wednesday, so Friday morning I took advantage of the relative quiet of a morning with nobody else up and about to record some takes and tests. Mrs. Ramsay (yes, it's from Virginia Woolf) is a piece I wrote shortly after Slow Blues and that I don't have a solid studio recording of yet. Frankie is an opera that comprises the 13th Etude of my work in progress Études d'exécution imminent. I hope to work on patching these together tomorrow to see if they tick. 

Saturday, March 23, 2019



March 16, 2019

Psycho (Live) - The Sonics [from Boom]

dip dap digi digi do || Waoww!

My Melancholy Baby - Thelonius Monk [from The London Collection]

an opportunity to touch exquisitely
articulate press and delicate release

Daily Records - The Who [from Face Dances]

stage confessional
stage in life

are at a show

Banned Rehearsal 96 - Karen (Meyer) Eisenbrey, Keith Eisenbrey, Neal Kosály-Meyer [June 1986]

no rush getting to session mode
your blogger, Neal, and Karen, 1986
but when we do it is done

I have a place
I read Intermezzo V with a ukulele at my belly

Neal has a high regard
of the arranging of my tapes in three neat little stacks
a hero's task

a journey
everything cold
and now slowly open the eyes

Some Things Have Holes (a sudden song by Neal)

then two thirds of us wander off session briefly
drum beat pitched on 3 and 1 (in 3)

I'm So Sorry About That (another one by Neal)
tracing excuse to repentance to silliness of not my fault, reverts to blaming the victim
Karen, finally, has had it

March 17, 2019
I'm Waiting for the Man - Moe Tucker [from I Feel So Far Away - Moe Tucker Anthology 1974 - 1998]

like slow dance nothings whispered in your ear

Symphony #1 - Beethoven - Philharmonia Northwest, Roupen Shakarian

no feathers ruffled here

one might re-argue the familiar critique of this, i.e. that it isn't a Symphony it's a piece for wind band with strings, in terms of: it uses too many resources for the type of piece it is. It tries to goose the style just by noising it up. Too many out-of-doors instruments in-of-doors for what is still pretty much an in-of-doors piece

Coming Home - Dean Evensen [from Native Healing]

I hate being snarky about this, it's just my tone.

the idea is that if music is [A] Healing, then you will feel [B] Better
and that there is a cause and effect relationship between this music and Healing

but I may be misunderstanding the relationship completely
A does not cause B
but brings B within A
i.e. feel Better by being here in Healing where we feel fine

Banned Rehearsal 704 - Karen Eisenbrey, Keith Eisenbrey, Neal Kosály-Meyer

on the porch
Mt. Rainier National Park 2006

we sure been doin' this a long time hain't we?
steady on the quiet water
it's never the same jungle out there on the drifting banks as the drifting banks drift by

we pluck back at the quiet evening
now and then we get all excited about something and run off to scribble

but we return

for Milton - Samuel Adler - Michelle Ross [from Milton Babbitt: A Composers' Memorial]

enters fully into the whole concert piece mode

Half a Bus Closer to Home - St. Rage [June 2016]

St. Rage is the fictional band in my wife's soon to be second editioned debut novel "The Gospel According to St. Rage." In this recording they are impersonated by Karen Eisenbrey and Neal Kosály-Meyer, both of Your Mother Should Know, and were recorded by me. My favorite part is the angelic teen chorus in shiny "Homework!" harmony.

Saturday, March 16, 2019



March 10, 2019
Volta I/Volta II - Thomas Simpson - The King's Noyse, David Douglass [from Mascharada - Music at the Bückeburg Court of Ernst III]

The game here isn't fancy imitation, it is the play of motions at each moment.

The Witch (alternate take) - The Sonics [from Boom]

here was raised their Ebenezer

Misterioso - Thelonius Monk [from The London Collection]

ticking sixths
and sets of trichords

little diatonic bits at top and bottom
of each ticking sixth
tempo play of ticking
within the ostensible beat

With a Shout - U2 [from October]

call to arms
drums to introduce it

they mean it
all of them

Banned Rehearsal 95 - Karen Eisenbrey, Keith Eisenbrey, Neal Kosály-Meyer

we discuss the immensity of 95
ocarina duet or trio
ocarina, flute (2 of), and conch shell

Liberated Intonation: staking a claim for most particular as to pitch but not shackled by any rationalist strictures
nor Partch nor Rameau nor Schenker

crow spread
intonation of mouth shape congruence

the trick is this:
to be gloriously dissonant
and resplendent in consonance
at once

intonation so pointed as to allow the wobble as an equal partner
as so as
so to as
to as to


(gets to places I wish Aku had got to)

I will speak truth
the greatest sci fi score maker sound ever is the Wurlitzer Funmaker Sprite in the hands of Banned Rehearsal

tarry the twice told tale

this ceremony is to purge the rational

and throughout: the terroir of background furnace noise

Hum Bom - Allen Ginsberg [from Holy Soul Jelly Roll]

rhyme and rhythm

Le Tombeau de Couperin - Maurice Ravel - W.A. Mozart - Philharmonia Northwest, Roupen Shakarian

effortless butterfly flying
it flits
then more frogs
then flowers

neo-classical is its own exoticism

Track 1 - Seattle Chamber Music Festival 2001 [from my mom's private collection]

robustly recorded


a epic battle ballad in 16mm

Total Energy - Thee Emergency [from Can You Dig It]

strobe effect badge: achieved!

March 14, 2019
Banned Rehearsal 793 - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt, Neal Kosály-Meyer

we are quiet
the familiar entertainer acts as a decoy
we are led by the familiar into peril
it, the familiar, drifts off
we remain

alien worlds leak through from distant wave planes
what counts as big is so so gently, so with such color
what presses in, what pokes in, what washes through

and their proportional irrations

Johnny Law - Robbers' Roost [from Live in Minneapolis]

interaction: the banished meets the banisher

In Session at the Tintinabulary

March 11, 2019
Banned Rehearsal 977 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt

Neal had a work thing, but we carried on

Saturday, March 9, 2019



March 8, 2019
Maple Leaf Reservoir Park - March 2019
Morsel Trio
Chapel Peformance Space, Good Shepherd Center, Seattle
Emily Acri, violin; Chris Young, cello; Steven Damouni, piano

pre: nervous energy hums chest high among those who prepare their desires: what are they for, their desires? what about their desiring makes their nerves dance?

Note: I don't mean bad nervous, not at all. Rather: expectant, alive.

Morsel - Luke Fitzpatrick

slow back panning shots of frozen immobilities
drama of ceremony
Rite of Winter

what remains for aye after dragon's passing?
a long low lingering ice

The old is dying and the new cannot be born - Daniel Webbon

modern dance, even unscreened, must tell the tale in its own movements
triadic harmony and diatonic tunes
skirt mighty close to the edge of tonal disambiguity but never cross

Memories from Within a Valley Fog - Charles Corey

careful is its use of the bigger now
until it lets loose

since when let loose
it evaporates

at several rates

Light and Matter - Kaija Saariaho

not afraid to get similarities of sound and resonance from the various instruments all digging into the same dirt spades clanking

not to paint an encompassing world but to portray the spirit of the single minded, adventuring

whiff of political energy (Dmitri?)

what could be the tune
struggling mightily with what would be an harmonic undertow

Massive kudos to this superb young trio for this ambitious program of strong and completely believable compositions - three quarters local! More like this from each and every one of you, please!


March 7, 2019
Piano Drop
Jack Straw Cultural Center, Seattle

On a beautiful afternoon late in April of 1968 a thrift store-purchased piano was dropped from a helicopter onto a farm near Duvall. Several thousand had gathered to picnic and observe. It missed the woodpile, and those gathered, landing with a less than spectacular thump in the sod. Its harp and what of the frame it remained attached to was rescued to a basement to wait for its next adventure.

In honor of that long ago plunge to earth a successor to one of the institutional perpetrators laid the remains upon a table in a room and called upon the local composing community to comment and respond. Among those who took the bait was my band-mate Aaron Keyt. He asked Karen and me, and his wife Jennifer Chung, to help perform Piano Gusting, which involves blowing through straws at contact microphones placed or clipped to various parts of the wreck and plugged into handheld battery powered amplifiers.

The recordings of the dozen or so pieces have been strung together to play into the room on a loop. A video projection constructed from films and stills taken at the event plays on one of the walls. Print displays contain some press of the original event, some information about the current event, and related graphical content.

It's a bit like visiting a tomb inhabited by clearly joyous spirits. Oh that good feeling vibe of hippieful happenings, and how they linger! I arrived earlyish in the morning and stayed through all, I think, of the sound loop. Just about the time I thought I was hearing sounds I had heard before (about an hour) the Jack Straw lobby began to fill with 5th graders. Life does go on.


March 1, 2019
The Hustler - The Sonics [from Boom]

aspirations of the high school geek guy surfer dude wannabe

Meet Me Tonight in Dreamland - Thelonius Monk [from The London Collection]


big nix on the expostulation

Blood on the Floor - Throbbing Gristle [from Greatest Hits]

fades out longer than it is
hint of an artifact, audio catalog entry

Banned Rehearsal 93 - Karen Eisenbrey, Keith Eisenbrey, Neal Kosály-Meyer [June 1986]

FW in progress

chains and expanses and repetitions

vectors accumulate causes before the beginnings of 'em (prevenience!)

her mirth is uncontrollable
quietly joined by music box wound very slow

a text constructed of the images of the root objects mentions in the text


recording is a phonograph of the place I lived hidden beside and illuminaudiating the insides of the old howits

a ramskin

face to the east face to the west face to face addressing the plane

cuts off in the middle of the prankquean

Everybody and Their Dog - Fitz of Depression [from Kill Rock Stars]

The size or focus of the guitar sound in comparison to the bass and drums disconnects the sense of beat location unity. Each focus has its own exact locus of it-ness.

High and Inside - Keith Eisenbrey [from Preludes in Seattle, June 2006]

a terrific "what if" piece
Q: What [would it be like] if [A were B]?
The answer is the image of the specifics of the question.

A: structural refraction of imputed overtones, in this case. (is that what the guy in the paper meant by "outdated minimalism?")

In my own ever so humble opinion its a pretty sophisticated hunk of meta-minimalism.

for Milton - David Saperstein - Peter Jarvis, vibraphone [from Milton Babbitt: a composers' memorial]

toy piano, as sound making tool, is more like a vibraphone than like a piano. (duh!)
The key is the what of what is struck not the how of how it is struck. A truer toy piano would be more like a hammer dulcimer I think.

delightful actorly narration

Gradus 291 - Neal Kosály-Meyer [June 2016]

world building
work world
work shop building
world work
building shop world work
world in which to work
world work shop
even quotes my Sonata g e g e g e g e

defies editing into anything to be tossed at the market

Difference between:
A. composer as originator of the score
B. composer as the image the audience constructs in their own heads as the image of the source of the sound speaking

(this is getting downright Taylorish)

using the one note that's out of tune as the lovely and natural focus

March 3, 2019
Paduan XII and Galliard XII - William Brade - The King's Noyse, David Douglass [from Mascharada - Music at the Bückeburg Court of Ernst III]

a picture of a courtly dance
or a stage tableaux with actual folks peopling it

Variations on a Romance Wq. 118/6 - C.P.E. Bach - Miklos Spanyi

instructions on compositional keyboard figuration
instead of this you could do that or this other or or or
or how to transfer plain into fancy

tricks of the trade

rather slight though, for CPEB

I Met Him On A Sunday - The Shirelles [from Shirelles Anthology]

each of them magnificent all on their own. Babado!

Vomit Express - Allen Ginsberg [from Holy Soul Jelly Roll]

doin' his Dylan
which shows just how similar they are
and precisely how they differ
crazy tin whistle back there

In This House That I Call Home - X [from Wild Gift]

tombstone shoes
attractive rhythm section

You Can Call Me Al - Paul Simon [from Graceland]

To what extent is any signed-up-with-a-label recording artist anything but a brand?

Feels Blind - Bikini Kill [from Kill Rock Stars]

sung loud no matter what is being said in order to be heard over the kind of band that sings loud no matter what is being said in order to be heard

Track 1 - Bob Dylan [from Key Arena October 13, 2006]

BD: I'm playing with a blues band as a poet, sensitive to the rhythm of each line

where it accents
where it moves along
where it sticks
and where within the blues of it

it touches down

Time Stratifications II Song From The Deep Silence - S. Eric Scribner  [from Storm Sound Cycle, May 2011]

past settles deep into ocean floor

almost lively compared to some of the storm sound cycle pieces
poco poco poco piu poco vivace
a lively moil

a roomsized tam tam wham

Terrible Touch - Ancient Warlocks [from Ancient Warlocks II]

Aaron Kraus at the top of his game slow surfing on gooey wall magma

for sure, but just letting it shine

March 5, 2019
Paduana XVIII - William Brade - The King's Noyse, David Douglass [from Mascharada - Music at the Bückeburg Court of Ernst III]


the body from which it hangs
its own weight
and how it moves freely to the floor

Tomorrow Never Knows - The Beatles [from The Beatles Anthology Volume 2]

processed wisdom
audio processing obscures the song's weakness as both music and poem

Animal Cycle - The Lake Washington Singers, Betty Eisenbrey, director [December 1971]

cute humorous poems with illustrations
just good enough

be kind and tender to the frog

Girls on Film - Duran Duran [from Duran Duran]

fancy funk rhythm
recorded with money

Banned Rehearsal 94 - Karen Eisenbrey, Keith Eisenbrey, Neal Kosály-Meyer [June 1986]

one room
for singing long tones
for chatting (which stops)
leaving long sung tones and breaks

tones zeroing in on particular resonances within the mouth's shape

we join forces with slow deliberation
and stick clacks
and a recurring avalanche of distorted bells

holler tones
and tambourine signal scour

we stuck with it

This was the seventh and last of the tapes we made on June 7, 1986, pressing forward to get to 100 before Neal up and left for San Diego for several years.

Girl Germs - Bratmobile [from Kill Rock Stars]

nyah nyah nyah DIY
singularly lacking in professional pretension
my people

Gradus 100 - Neal Kosály-Meyer [June 2006]

experiments in pedaling
dampers and their careful application

an aside: odd how when the dampers are ON the string, damping it, we call it "dry," but when they are out of play, OFF the string, we call it "wet." the more damper the drier, the less damper the wetter.

back in 06, when the kettle still whistled

for Milton - John Melby - Patricia Sonega, soprano [from Milton Babbitt: a composers' memorial]

a nagging puzzle
how to or why to join a virtual, i.e. mathematically manufactured, resonance with a biological resonance. A matter of skulls and algorithms underlining each other's limits.

March 7, 2019
Gradus 292 - Neal Kosály-Meyer [June 2016]

one note then two notes

What might writing be like if our alphabet had multiple octaves?
Lexical counterpoint

hold a single pitch in mind
there are no others

tonality, as a conception, involves various highly specific relations among approximated acoustical relations - not all of them the closest.
from an ad hoc selection of close acoustical relations a spherical surface of relations is formed, the heirarchicality of which depends on its moment to moment attitude toward us, as projected by the pitches presented

replace the constants:
what gives?

Satyr's Dance - Thomas Simpson - The King's Noyse, David Douglass [from Mascharada - Music at the Bückeburg Court of Ernst III]

melodic treatment of tempo changes (oh give me some of that old ritornello show!)
i.e. the notes these melodies are made of are tempos

Sonata in A Op. 1 No. 3 - G. F. Handel (arr. Milstein) - Nathan Milstein, Georges Plademacher [from Nathan Milstein The Last Recital]

the fewer the forces at hand, for Handel, the more I find I like it. Why? because the wee-est of inflections tell big.

Laudate Dominum - W.A. Mozart - Lake Washington Singers, Betty Eisenbrey [April 1966]

Ferocious precision:
Nice work Mom! You made it sound like something I wish I might have written.

"Why yes, actually. This is my mother's Mozart."

Dave - Cheech & Chong [a Rescued Record]

predecessor to Monty' Python's Holy Grail guards routine
or postdecessor to Who's on First?

using a conceit of misunderstanding as a study in timing

Bella Donna (Remastered) - Stevie Nicks [from Bella Donna Deluxe Edition]

each backing bit is calibrated to her ping

she is lit just so

Stand On It - Bruce Springsteen [from Six B Sides (private tape)]

fills the space your brain be in

March 8, 2019
I.O.U. - Kreviss [from Kill Rock Stars]

blundering into Ritornello!
modes on a dial

Marriage of Figaro Overture - W.A. Mozart - Philharmonia Northwest, Roupen Shakarian

from my Mom's collection, Mom playing second fiddle, as it were, in this near professional community orchestra in the 90's. Perfectly enjoyable.

Oklahoma Cry Song - Dean Evenson [from Native Healing]

too-o-o- m-o-uchm-muchr-er-ev-er-b.b.b.b

I would prefer to hear a recording of these instruments in their accustomed architecture, but I suppose they are just trying to put forth a sound. Not for me. Remember.

Revolution #1 - Thee Emergency [from Can You Dig It]

action film
hot rod racering
for the thrill of it

battle comin' in fast
get pumped

Hoary Marmot, Sourdough Ridge, Mount Rainier National Park ca. 1994
Time Stratifcations III Frogscape - S. Eric Scribner  [from Storm Sound Cycle, May 2011]

that frog there has a fine career waiting as a master guiroist

one could do this with a live frog chorus
if it weren't for the fact that we really creep them out when we try
(and so enters David Dunn . . .)

piano player playing piano using a technique with no name

Rock Bottom Rag - Mark Pascen and Robber's Roost [from Cuatro]

That guitar playing: no slouch Mark!! such a deft touch! A strong cut from this young man that Karen and I happened upon busking on a still night in Ellensburg many years ago.

In Session at the Tintinabulary

March 4, 2019
Oak Harbor Marina - Keith Eisenbrey

My brother had an errand at the marina so we walked the finger piers. On the way back I recorded our 30 second traversal of the gangway.