Saturday, November 21, 2020



"There are scores for players, there are scores for composers. A score for players you read as an invitation to enact, creatively, an intention, an idea, an image, a narrative, a sound, a structure, a quality, a complexity, a feeling, perceived as pre-existent, as implicitly in the score-code, however many sonic details are inscribed, or must be invented in the playing. A score for composers you read as a specific inducement to discover within yourself, to converge upon with your co-players, to invent, without preformed expectations, an intention, a meaning, a sensibility, a trajectory, a vision, a landscape, a music unknown before and unimaginable ever except under the influence of the scoretextimage."

- Benjamin Boretz "Notes for Open Space CD 6 (1994)" from "Being About Music Textworks 1960-2003 J. K. Randall Benjamin Boretz Volume 2: 1978-2003"



November 14, 2020

Michael Nicolella

classical guitar
comfort food 

subjects of our conversation:
the close affinity of guitar and keyboard
(guitar the elder)
differentiation of manual function
the ratio of pulchritudisinousness to aptitude for classical guitar
the utter impossibility of doing what he is doing as he does it 

when we all go back to live concerts we'll have to remember not to talk during it
the notion of instrumental contrapuntal arrangement
who invented more than one string per sound board? 

across the encore universe 

conceptual question with electronic instruments: are they centered on making a sound or on the subtlety of the interface with which they are operated

Wayward in Limbo

With the Chapel closed indefinitely due to the COVID-19 pandemic, the Wayward Music Series now moves from the concert hall to the living room. In place of our usual ten monthly concerts, Nonsequitur is curating and commissioning ten Seattle artists each month to create a series of streaming audio sessions of exclusive material. Many of these will be essentially “live” performances recorded at home for this occasion. Others may create a mix of pre-recorded material that has not been previously released elsewhere.

- from the Wayward Music Series website at

S. Eric Scribner

the membrane upon which we live
is a spherical drum
whose voice sings
under our mad careers
howling and humming 

we want patience
for hearing these foundations
for hearing where to plant our posts 

attend to the constants 

whatever he's doing
even when there are extra-musical reasonings prompting it
he's always focused entirely
on what the sound he is making
is sounding like

November 15, 2020

Blake DeGraw

1. for Orchestra

2. Slath

3. for Viola

4. Six Vowels

Mensuration Canon for Six Voices

of morphing birds 

longer shapes
are shared 

details of rhythm
on what would be the note and measure level
fend for themselves 

aesthetic static
luscious vocal sound in six vowels 

canon of the signal
a metaphor
for canon of the pitch token information


November 14, 2020

Seizième Ordre (Sol) - François Couperin - Kenneth Gilbert

let us imagine a ceremony
ornate nuptials perhaps
flowered maidens
cockaded youths 

we are admonished
solemn but kind 

now we dance a stomping dance
now an old folks dance
or an inspection
a test time tune for developing an answer 

a song is offered
for edification 

and we exit dancing 

counsel is had among the elders
or droning speeches 

back outside

the party should look pretty
dress accordingly

November 15, 2020

The Sorceress - George Frideric Handel - The Academy of Ancient Music, Christopher Hogwood, Kiri Te Kenawa

mostly little symphonies alternating with songs with more songs as it goes 

I discover that this is a modern assemblage of works taken from his oeuvre
I should have known
as it is far better put together as a large group than what I have heard of GFH himself

Concerto for Harpsichord, Strings & Continuo in G Major, Wq. 16 - Carl Philipp Emanuel Bach - Los Angeles Chamber Orchestra, Gerard Schwarz, Malcolm Hamilton

deep in the works
a chaos agent is kept
for later use
it needn't always be heroic
nor a battle

Sonata in B-flat Major Hob. XVI:18 - Franz Joseph Haydn, Christine Schornsheim

could be blatant pastiche of CPE Bach

Symphony in D Major, K. 133(133) - Wolfgang Amadeus Mozart - Academy of Ancient Music, Jaap Schroder, Christopher Hogwood

he tells little stories with the harmonic rhythm
one must behave
after all is said and done
as befits the china and silver service 

vigorous and royal

November 17, 2020

Sonata in C minor, Op. 10 #1 - Ludwig van Beethoven - Wilhelm Kempff

it is preposterous
that such a passage as that first section
that repeats
could serve
as a repeatable stability
to which one might return
how can we return
where we never

Sonata in G Major, Op. 40 #1 - Muzio Clementi - Howard Shelley

never tires of trying to delight and amuse
decorative, genteel, avuncular,  patient 

occasionally loses himself while playing with an interesting puzzle or a clever turn of figuration

Sonata in F minor, Op. 77 - Johann Ladislaus Dussek

melodic focus
á Bellini 

or a firebrand

November 18, 2020

Impromptu in C minor, Op. 90 #1 - Franz Schubert - Murray Perahia

foursquare phrasing
stands firm
on an emotionally unstable surface
or in spite of
or is permeable
or sinks down into
or is the surface
over unstable depths
a tight leash
a tenuous thread

Etude in A minor, Op. 10 #2 - Frédéric Chopin - Alfred Cortot [recorded in 1933]

in Rock & Roll High School
a paper airplane
flies through the school
camera on its back

Quintet in E-flat Major, Op. 44 - Robert Schumann - Quatuor Via Nova, Jean Hubeau

piano can take the bass line
liberating the cello 

the drama of affect
and the drama of tonal rhetoric
are in cahoots 

sudden turnaround to frenetic activity
(had heard some Schubert) 

drama on a large stage 

stunning coda in the 2nd movement

Elijah Part I (end) - Felix Mendelssohn - Atlanta Symphony Orchestra & Chorus, Robert Shaw, Thomas Hampson, Barbara Bonney, Henriette Schellenberg, Florence Quivar, Marietta Simpson, Jerry Hadley, Richard Clement, Thomas Paul, Reid Barteleme

amply annotated
makes the whole rather ponderous 

birth perhaps of the self-conscious masterpiece genre

Variations on 'Weinen, Klagen, Sorgen, Zagen' - Franz Liszt - Alfred Brendel

rather than duplicate
in ultra-grandiose modern noise
the spectacle of a baroque oratorio
get down inside
explore the particulars
of where it didn't go before

November 19, 2020

In Session at the Tintinabulary

November 16, 2020

Banned Telepath 65 Tintinabulary - Karen Eisenbrey, Keith Eisenbrey, Anna K, Neal Kosály-Meyer

November 17, 2020

Banned Telepath 65 Toad Hall - Aaron Keyt

Banned Rehearsal 1014 - Karen Eisenbrey, Keith Eisenbrey, Anna K, Aaron Keyt, Neal Kosály-Meyer

Karen and Keith at the Tintinabulary, pulling Anna and Neal in by phone in a can from Outpost Lake City, Aaron at Outpost Toad Hall, we do what we do and make the noise we make.


its conditions by prejudices behind
which lurk in ambush just as many classes
that got acquired at previous historical

his desert
of grid mounted objects

Saturday, November 14, 2020



"Freddy Malins, who had listened with his head perched sideways to hear her better, was still applauding when everyone else had ceased and talking animatedly to his mother who nodded her head gravely and slowly in acquiescence. At last, when he could clap no more, he stood up suddenly and hurried across the room to Aunt Julia whose hand he seized and held in both his hands, shaking it when words failed him or the catch in his voice proved too much for him.

--I was just telling my mother, he said, I never heard you sing so well, never. No, I never heard your voice so good as it is to-night. Now! Would you believe that now? That's the truth. Upon my word and honour that's the truth. I never heard your voice sound so fresh and so . . . so clear and fresh, never."

- James Joyce "The Dead" from "Dubliners"



November 8, 2020

Robin Holcomb & Wayne Horvitz: Solos and Duets

If Seattle has a class act this is it. Robin wears her aging voice with more than grace, its faults and catches are made into new marvels of expression. There is no doubt here. This is the real thing.


November 7, 2020

Moonglow - Art Tatum [from Classic Early Solos]

stage wide shenanigans with a whole troupe of dancers
in the midst of which
as though it could always be so easy
a song is embedded

Horn Concerto in E-flat (#2) - Richard Strauss - Staatskapelle Dresden, Rudolf Kempe, Peter Damm

German culture in the pleasant timeline
a fantasy made as a delusionary tactic
the feel good drug

Petrushka Ballet Suite - Igor Stravinsky - Columbia Symphony Orchestra, Igor Stravinsky

this is recorded as though we are in all the really good seats
always exactly distanced for enhanced clarity
you are in the orchestra
all moments are placed just so
to you
radio ready 

radio: the new stage
tightened up orchestration
brightens the place right up
like a new coat of paint 

the trumpet high trombones low duo in The Masqueraders is right out of Tchaikovsky's playbook 

I think only Stravinsky could get away with such a strange path through his original
turning it into an entirely other something
what it might be if it was not a story

November 8, 2020

Duo for Oboe & Clarinet - Arthur Berger - Phyllis Lanini, Don Stewart

a game danced with hats and canes
wind players can look straight at you
they don't need to twist themselves into their instrument like a violinist would 

the timbres of the two are distinct enough that there is little ambiguity as to which is playing which notes

Wake Up Little Susie - The Everly Brothers [collected from Dave Marsh's The Heart of Rock & Soul]

It could happen to you!
Has anyone in rock & roll since then ever mentioned their reputation as something they were concerned about?
Where did all the reputations go?
Long time passing.

Three Cool Cats - The Beatles [from The Beatles Anthology, Volume 1]

everything fits together

24 Preludes, Preludes 9 through 16 - Lockrem Johnson - Keith Eisenbrey [from a recital on October 25, 2002]

aside from going too fast
and rushing the rhythm
I do get the idea of them right I think

Garden Party - Rick Nelson [collected from Dave Marsh's The Heart of Rock & Soul]

young man feeling old song
with in the know name drops

(" chart shines high where the blue milks upset...") - Benjamin Boretz - Keith Eisenbrey [from a recital on October 10, 2000]

Within its voice, it accomplishes marvels of figurational modulation and variety.
So what do I mean by figuration?
:: the specifics of how the notes are patterned within and among the hands
alberti bass is a figure
boom chick bass is a figure 

What's magic about the "Chopin" bit is that it is as though the one-handed-dyad pairings vanish like fog burning off and reappear without ever breaking stride.
I made a few clunkers but otherwise played it pretty well.

Poor Little Critter on the Road - the Knitters [from Poor Little Critter on the Road]

and other hangover favorites

Seeds - Keith Eisenbrey - Keith Eisenbrey [from a recital on March 17, 2007]

I wrote each of these to a person
I put them in letters and sent them out
intending I guess
for the recipients to make something of them
perhaps they did
I don't know
never heard 

They look so abstract on the page but I find when these seeds hit the reality of actuation they reveal what they always were in my head - potentialities.

November 9, 2020

Better Days - Bruce Springsteen [from Lucky Town]

He jumps right into full power mode.
generic Bruce
I'm just not sure why he's shouting
imitating himself
doing his own song

Let All Mortal Flesh Keep Silent - Sergei Glagolev - University Temple Chancel Choir, Chris Vincent

that's a good idea

Introduction and Rondo Capriccioso - Camille Saint-Saëns - Itzhak Perlman [from Masters of the Bow - Violin - Volume 1]

cult of the virtuoso 
for display only
not to be sold

November 10, 2020

Gradus 111 - Neal Kosály-Meyer - Neal Kosály-Meyer [January 2007]

the trail ended

Before moving from all A-naturals to the first new pitch class (it would be an E-natural) Neal made  series of rungs with each single A. This was A3.

timeline thinking
where along the unspooling time band
does this impact occur
always now
then then 

by the end of does
the d is gone

November 11, 2020

Downtime - Russell Craig Richardson, Benjamin Boretz [from Open Space DVD 1]

map of an interior world 

and through space 


a loving portrait of an instrument I knew pretty well at one time
lived across a wall from it  
the One piano

Banned Telepath 53 Tucson - Steve Kennedy [January 2017]

constructed from who knows what lying about
a collection of screeches and rattles and thumps and blats and shakes
raucous glory
no wonder he fit in so well with us right away
trading floor on the noise exchange
a seminar by an all on its own solo improvisor

November 12, 2020

Fantasia, Fvb 8 - William Byrd - Christopher Columbo [from The Fitzwilliam Virginal Book]

reading anachronistically
:: music constructed as a series of fugato openings spilling over each other and their repercussions and refractions 

good luck keeping up
though it sounds like it ought to be easy squeezy

Pavane deSpaigne, Spagnoletta - Michae Praetorius - New London Consort, Philip Picket [from Dances from Terpsichore]

shifts within the motion types make 3D meter
show of grace in bearing
no stomping in this one

Suite in A Major, BuxWV 243 - Dietrich Buxtehude - Simone Stella

the exact science of how much is needed to shape a thought in all its bodily presence

Fugue in A minor, BVW 543- Johann Sebastian Bach - Albert Schweitzer

That keyboard figure
in which one note alternates
with the notes
of an embedded moving part 

here they come loose from each other 

in the acoustic space 

scansion problematic 

but we cling
lest we drown


must be industry sinks the rapidly
to impose him sink state that it has no
longer under between the advance of

nascent arid tactics
everything cold
is colder

Saturday, November 7, 2020



"One should recognize that all "schools of thought" are relative to interests, and not born out of theoretical objectivity - in fact, theoretical objectivity is rather to be skeptically viewed as perhaps irrelevant to the reason for which one thinks - namely, to deal with problems of unclarity or insecurity in one's identity or one's intuition or one's perception or one's motivation or one's "program" for activity or behavior or interbehavior. "Objectivity" is therefore without a subject or a purpose and of all modes of thought most prone to self-referential irrelevance. (You could argue that a "field" consisting of "objective" thinking develops its own internal energies; but that is precisely what unmasks such a "field" as being relevant only to its own internal economy - an analysis which I believe would not really be congenial to the practitioners of most such fields.)"

- Benjamin Boretz "thoughts in an email, 10/93 (to Marianne Kielian-Gilbert)" from "Being About Music Textworks 1960-2003 J. K. Randall Benjamin Boretz Volume 2: 1978-2003"



Wayward in Limbo

With the Chapel closed indefinitely due to the COVID-19 pandemic, the Wayward Music Series now moves from the concert hall to the living room. In place of our usual ten monthly concerts, Nonsequitur is curating and commissioning ten 

Seattle artists each month to create a series of streaming audio sessions of exclusive material. Many of these will be essentially “live” performances recorded at home for this occasion. Others may create a mix of pre-recorded material that has not been previously released elsewhere.

- from the Wayward Music Series website at

October 31, 2020

Melia Watras & Michael Jinsoo Lim

the almond tree duos - Melia Watras

gently archaic
in the manner that J.K. Randall's Troubador songs are
but not reaching quite so many centuries back
perhaps Praetorius at times
or Debussy at others 

occasional modestly extended techniques in playful play
archaic but with modern commentary 

it reminds me how much I love solo strings
a string player is so closely entwined
their body and the instrument's body

in some modern jazz pieces
post bebop
the ritornella can be
a sequence of  unison or heterophonic rhythms
angular in pitch contour and metrical thrust
very like old courtly dance
some of this is
very like that

November 1, 2020

Angelique Poteat & Artemisia Winds

Josiah Boothby, Ryan Hare, Angelique Poteat

Melisma - Angelique Poteat

Sound, Flight, Touch - Josiah Boothby

Under the Sun - Angelique Poteat

Tales for Three - Ryan Hare

Harkening - Ryan Hare

You Are Home - Angelique Poteat

dressed up for formal presentation
sit down concert style music relies on and benefits from close inspection
in turn
allowing a liberty to indulge in fine distinctions 

it is also
for better or worse
the formality with which I am personally familiar
and in which I have been schooled
and in which I find myself 
all too easily indulging
and in which
consequently I am these days
more and more leery

the formality of it is rooted
in academic
presentation ready
c.v. enhancing
perhaps inescapably
without regard to the qualities of the music as itself 

but this particular streaming presentation isn't being had within that milieu

so how might a musical thought
requiring for its optimal reception
the kind of close attention
that is
on the best occasions
at least available
in that cloistered academic environment
operate now
in this new world?


October 31, 2020

Selections from Die Meistersinger: Prelude to Act III, Dance of the Apprentices, Entrance of the Meistersingers - Richard Wagner - Philadelphia Orchestra, Eugene Ormandy

trope of the Liszt Wagner camp:
start dark slow and mysterious
echo back
the hush
the dark 

the stillness insisted upon
to hear this
in the space it is composed for 

rather dark for a comedy though
those are some well-behaved apprentices
so happy to be German Villagers
and here comes the glorious vanity of man
on parade
pomping and strutting

Boris Godunov, Act I, Scene II - (1872 version) - Modeste Mussorgsky -Polish Radio National Symphony Orchestra, Jerzy Semkow, Martti Talvela, Leonard Mroz, Nicolai Gedda, Bozena Kinasz, Andrzej Hiolski, Aage Haugland, Halina Lukomska, Polish Radio Chorus of Krakow, Boys Chorus from the Krakow Philharmonic Chorus

it is dark outside
but bright and cheery in here
uh oh
men's voices laughing
trouble will follow 

and a dance not so far out from parts of Petrushka 

it is hard to be happy in Moskva 

outside of this story
of this stage
in the outside
of the image of this music
abides an oppressive expanse of dark silence
a wilderness of nothing for days and days around 

many words are spilt in peril

Les Eolides - César Franck - Orchestre Philharmonique De Liege, Paul Strauss

this main melody (the first one)
seems to have a prior existence
of which this is only a series of clever allusions

My Home - Antonín Dvořák - Czech Philharmonic Orchestra, Vaclav Neumann

our peasants are happier than your peasants 

Nationalism signified by
an accent of dance
sentence structure
phonemic patterning
melodic slant

November 1, 2020

Sextet in D minor, Op. 70 "Souvenir de Florence" - Pyotr Ilyich Tchaikovsky - Copenhagen String Quartet, F. Christensen, I. Geisler

Figuration in classical form arose as a means of articulating fine distinctions of harmony within segments of frames.

In Romantic neo-classical usage this aspect of figuration is partly subsumed to its use as prolongation of melody,
and thus the theme was born
and melody found it had arisen
within a kind of prison
its roles laid out in books.

1st theme should be X
2nd theme should be Y

The face of the music is turned toward the audience rather than toward within the circle of players. They are doing this for us,
then for them.

The later movements
especially when they thin out
are playful -
a welcome relief 

leave room for national character
it's all the rage
big tune payoff shot

Klavierstücke, Op. 119 - Johannes Brahms - Julius Katchen

The struggle anent the barline is waged on all fronts available. 

Davidsbundler in the Modern World
fighting the old fight

Concerto in F-sharp minor - Alexander Scriabin - London Philharmonic Orchestra, Lorin Maazel, Vladimir Ashkenazy

begins in mid-swoon Hollywood scene of mad passion
wanders into innocent childhood dreamy land
sugar plums and all
got the Tchaikovsky model on his noggin 

his piano writing here is far more engaging than in any concerto of Tchaikovsky's or Rachmaninov's, but engaging is subtle and won't get you far in Romantic Piano Concerto Land. 

he is of that Land though a natural citizen
and not a slouch of one either
Happy Ending Glory Land

November 2, 2020

You Been a Good Old Wagon - Len Spencer [from Allen Lowe's Turn Me Loose White Man]

an edifying reminder of just how blatant the racist caricatures really were

Valsette - Zoltán Kodály - Jenö Jandó

the sense of a waltzy 3 emerges gently
2 vanishes
but when?

November 3, 2020

Le Roi de etoiles - Igor Stravinsky - Radio-Symphonie-Orchester Berlin, Riccardo Chailly


this is an alien mind
sit down
I'm talking

Reflection Rag - Scott Joplin - William Albright

Life here is charming and controlled.
All the phrases are 4 barred, because America
isn't fancy that way
we like triadic harmonies
deal wid it

Three Fantastic Dances - Dmitri Shostakovich - Dmitri Shostakovich

three little ironical knots

James Alley Blues - Richard Rabbit Brown [from Allen Lowe's Really The Blues]

such a light touch!
rather grim message though

November 5, 2020

Moses und Aron, Act I - Arnold Schoenberg - Sinfonieorchester des Osterreichischen Rundfunks, Michael Gielen, Gunter Reich, Louis Devos, Eva Csapo, Elfriede Obrowsky, Roger Lucas, Richard Salter, Ladislav Illavsky, Werner Mann, Maria Muhlbacher, Elisabeth Wagner, Helga Chlup, Elisabeth Brommel, Alfred Winkler, Franz Handlos, Chor des Osterreichischen Rundfunks, Wiener Sängerknaben

not a friendly bush
the corporate voice of God
as against Moses' Sprechstimme
as against Aron's blank stone face tenor
translating 3rd hand revelations 3rd hand 

a number opera

crowd of God
crowd of the people
a dense onslaught of voices contending

In Session at the Tintinabulary

November 2, 2020

Banned Rehearsal 1013 - Karen Eisenbrey, Keith Eisenbrey, Anna K, Neal Kosály-Meyer

Anna and Neal, improvising, phoned in from Outpost Lake City. I put the receiving phone in a large tin can and mic'd it separately. Karen and I improvised around it at the Tintinabulary.


cannot help him sink into fed can
compatible for the sway cannot help
letting him sink into such a state that

and hear
the reflection
a thing lit

Saturday, October 31, 2020



"A score is a stimulus. to specific expressive events. to, that is, experientially realized creative activity.

There are primary and secondary creative activities. depending on the depth of expression elicited from you.

A stimulus to creative activity you value for its specificity. The greater its specificity as a stimulus the more potent its capacity to engender and participate in an episode of creative activity associated with it.

Stimulus specificity. which, liberates ideas in direct ratio to its distinctness. is easily confused with coercive specificity as to literal detail. If a stimulus has the effect in a given episode of creative activity of being coercive as to literal detail to some extent: to that extent, its stimulation is specific, but of something other than primary creative activity. at most of some form of secondary creative activity.

To the extent that a quest for 'correctness' ('compliance') replaces a quest for the maximum awareness of specificity of stimulus in the interest of specificity of response: primary creative activity is unavailable."

- Benjamin Boretz "(1/81)" from "Being About Music Textworks 1960-2003 J. K. Randall Benjamin Boretz Volume 2: 1978-2003"



October 28, 2020

Jazz: The Second Century - Night Two - Watch Party
Earshot Jazz

Cha - Carol J Levin, Heather Bentley, and Solvej Noa (Amelia Love Clearheart)

Ray Larsen

EarthtoneSkytone - Kelsey Mines, Carlos Snaider

Rae - Abbey Blackwell, Ronan Delisle, Evan Woodle

the river
is wide and level 

up to the brush
that crowds the banks 

the ancient bed
is unknowable
its depth unspecifiable 

bright sky
bright water 



October 25, 2020

Variation, Fvb 7 - Ferdinando Richardson - Claudio Columbo  [from The Fitzwilliam Virginal Book]

the running notes
float weightless
the pillars of homophony 

I want
to refocus
my attention
to the pillars 

one could think of Chopin's C Major Etude as being similarly configured - running notes and slower melodic/contrapuntal spine - but not as gracefully accomplished

Bransle de la Torche - Michael Praetorius - New London Consort, Philip Pickett [from Dances from Terpsichore]

these old courtly dances
I presume they are courtly
else why would they have been kept at all
are derived
from even older courtly dances
(we presume or I do) 

the act of writing down
or transcribing
from the demotic
to the aristocratic
becomes composing
it throws cultural grit into the machinery of demotic, unwrit, tradition  

Suite in E minor, BuxWV 237 - Dietrich Buxtehude - Simone Stella

moves in all directions at once
all the time 

a devious cabinetry

Huitième ordre (si mineur) -  François Couperin - Rafael Puyana

voices playing peekaboo games among the keys
hiding in the tetrachords 

spider silk macramé 

a flattering portraiture
each of his subjects is dressed
in all the fancy gewgaws
and latest doodads

those are some ferocious chords down there Frank! 

keep to the straight way
of manly virtue
and rejoicing shall be yours

Die Wohltemperierte Klavier, Band I, Prelude and Fugue in C-sharp minor - Johann Sebastian Bach - Christiane Jaccottet

a lovely duet
the prelude is 

sequences of  
multiply chromatic
approaches to the structurally penultimate

Sonata in F Major - Georg Philipp Telemann - Michala Petri, Elisabeth Selin

is this about scales
I think so
then tonguing

Sonata in A Major, Wq. 48/6 - Carl Philipp Emanuel Bach - Miklós Spányi

tiny monkey hands
taking music apart from the inside 

no dramatic necessity here
necessity here
is geometric

Adagio in F Major, Hob.XVII.9 - Franz Joseph Haydn - Christine Schornsheim

he flings flowers
in a down the wedding aisle flower flingy way

Sonata in D Major, K. 381 - Wolfgang Amadeus Mozart - Keith Eisenbrey, Chris Vincent [recorded during service at University Temple United Methodist Church, Seattle, September 30, 2018]

Mozart is alive here
to the theater
of the mechanism
that two people making this happen
make happen

Sonata in C Major, Op. 20 - Muzio Clementi - Howard Shelley

charming and full of tricks
fully engaged entertainment
he's showing all this to us 

now see what you can do

Sonata in G minor, Op. 49#1 - Ludwig van Beethoven - Artur Schnabel

a sonata for playing in tempo never veering 

how many times has this been rescued from vinyl?
presumably some or all of:
from 78 rpm dubplate to 78 rpm master
from 78 rpm master to 78 rpm production
from 78 rpm production to 33 1/3 rpm master
from 33 1/3 rpm master to 33 1/3 rpm production
from 33 1/3 rpm to indexed memory locations

and more intermediate steps than that no doubt

October 26, 2020

Symphony in B minor "Unfinished" - Franz Schubert - The Met Orchestra, James Levine

a quicker tempo than to which I am accustomed
it misses something important

sounds great
but the moments don't sink in 

now appropriate for the small screen
Il Commendatore

October 27, 2020

Etude in C Major, Op. 10#1 - Frédéric Chopin - Alfred Cortot [recorded in 1942]

there is a quartzy hardness about this music
it wants to sing
but is only capable
of etching the surface
on rare moments
when it glances
at just the right angle
so that the light
might just catch it
at it

String Quartet in A minor, Op. 41#3 - Robert Schumann - Quatuor Via Nova

melodies spill off the ends of melodies into the framework
the opening section
exposition to those who insist on music appreciation lingo
has no stable metrical locations

advantage counterpoint 

statements are answered by forked tongue questions 

poly-chambered in that
the walls hold them in space
they don't always agree
where they are
all at the same time

Elijah, Part I (beginning) - Felix Mendelssohn - Atlanta Symphony Orchestra & Chorus, Robert Shaw, Thomas Hampson, Barbara Bonney, Henriette Schellenberg, Florence Quivar, Marietta Simpson, Jerry Hadley, Richard Clement, Thomas Paul, Reid Barteleme

what stands for piety?
oratorical structures developed for the stages and orchestras and choirs of a previous century
in bloated Romantic modernization 

Elijah champion of the old order 

reasonable expressions
appropriate for the occasion
gussied up Enlightenment fan fiction

October 29, 2020

Ein Faust-Symphonie - Franz Liszt - Royal Philharmonic Orchestra, Beecham Choral Society, Thomas Beecham, Alexander Young

baton pass
traces the logic
brick upon brick
tissue upon tissue 

Faust opening and Gretchen opening
have similarities in procedure 

as in
how the batons pass

motives are sequences of ordered pitch intervals
slotted into segments of metrical and key function locations
all parts and slottings are malleable
linear melodic thinking
the melody is making this music as it goes
as a listener we are right in there with it in 3rd person audiential


will be years and a half and boughs and trunks
and stumps of possible brief open country
some bright lake or pool broad river so

open olive lakes
nascent arid tactics
everything cold

Saturday, October 24, 2020



"Academe has two equal and opposite problems, both life-threatening, and together virtually terminal: academe cannot survive into the contemporary world and its contemporary predicaments without coming up with genuinely new ways of thinking; equally, academe (at least in its liberal-arts/humanities aspects) is structurally incapable of either engendering or supporting or even tolerating truly new ways of thinking."

- Benjamin Boretz "The Responsibility of the Arts in the Dialogue About Educational Reform" from "Being About Music Textworks 1960-2003 J. K. Randall Benjamin Boretz Volume 2: 1978-2003"



October 23, 2020

Seattle Modern Orchestra - Julia Tai and Jérémy Jolley, Co-Artistic Directors

Clarinet Sonata - Edison Denisov - Deanna Briggs, clarinet

Air in G minor - Lou Harrison - Paul Taub, flute

The Moon and Sun Are Eternal Powers - Jarrad Powell - Paul Taub, flute

Simultaneously Solitary (Shendos No. 14) - Tom Baker - James Falzone, clarinet; Raymond Larsen, trumpet; Maria Ritzenthaler, viola; Abbey Blackwell, bass; Bonnie Whiting, percussion

In Memoriam Muhal Richard Abrams for Violin and Glockenspiel - Tyshawn Sorey - Eric Rynes, violin; Bonnie Whiting, percussion

Julia and Jérémy assembled a handful of Seattle's finest performers and presented an hour of flawless magic both in spite of and in recognition of these horrid times, secluded as we are from the simplest pleasures of playing music together. As always, the local composers, represented here by Tom Baker and Jarrad Powell, held their own just fine with their peers from elsewhere.

These are strange times indeed, when many of us, myself included, find ourselves suffering from emotional stresses of which we are often only dimly aware. Even in the past these can find sudden and unwitting outlet - music might move us to tears or leave us flabbergast and waste in a heap. One never really knows the whens or the hows nor the whats nor the whys. Last night I was moved - and I hesitate, here, to admit it, because I'll need to qualify it immediately - to unremitting fits of joyful and giddy hilarity. Was something about the concert funny? I suppose from a certain point of view I could point out aspects I could analyze that way - and some (by now ubiquitous) connection issues during the after gig chat certainly fed into it - Tom (and you know I love you dearly): you could get a side-gig going - think "Tom Headroom", just sayin' - but in the end my reaction was just that, mine, and its specifics had little to do with the specifics of what I was hearing or seeing. My best guess is that I was so happy at how well it was going and in how "all in" everybody was, that hilarity overcame me.

Be all that as it may, and on top of the spectacular performances all around, the show itself was put together with obvious love and care. SMO wears its institutional and professional aspirations proudly. When they do something they do it right, sharing it for us with joy and fervor. I loved the way the whole thing flowed, sound and video both - and I would like to extend my personal congratulations to the production team. Seeing and hearing five performers in five locations, hearing with each other in real time, arranged so beautifully on the screen, was deeply moving. Thank you all, you are part of what makes Seattle a blessed place.


October 17, 2020

Creole Bells - Metropolitan Orchestra [from Allan Lowe's Turn Me Loose White Man]

bandstand band
gets that piccolo calliope sound
that Stravinsky picked up a few years later in Petrushka

Sonata, Op. 1 - Alban Berg - Alfred Brendel

some pushing and shoving going on between and among the various musics crowded into this counterpoint 

one of them went sulking off 

an opera scene
a brawl some if it
in graceful slo mo

October 18, 2020

Jeux - Claude Debussy - Orchestra of Radio Luxembourg, Louis De Froment

cells that repeat
spans that don't
attention isn't drawn
to a larger framework
but is held
within a few moments to either side 

the sense of now is narrow and mercurial
the repeating of a cell
is what defines
the cell
a mesmeric trick

The Pleasure Dome of Kubla Khan - Charles Tomlinson Griffes - Boston Symphony Orchestra, Seiji Ozawa

twice or thrice exotic:
francophilic treatment
of an English opium dream
of the east
in the past 

the purpose of this music is
to portray
to be about something
to evoke images
and lead one through those images
as a docent might

Variations on a Noel - Marcel Dupre - David Di Fiore

in its close ties to architecture
building and instrument
are one and same
and because those buildings are for the most part liturgical spaces
organ music  has been more closely related and tied to that music appropriate to Western Christian hymnody et al
this has limited the range of its repertoire 

if the medium is the message
then a large part of the message of organ music
has been tied to the uses of sacred space 

but darn it he plays well 


and no other instrument
no ensemble
has the same capability of dissociating
and voice
into regions of the room

Five Sacred Songs for voice and small ensemble - Anton Webern - Halina Lukomska

syllable to note correspondence keeps it atomic
if it's not a note it isn't a part of music

Home Sweet Home - Frank Jenkins [from Allan Lowe's  Turn Me Loose White Man]

variations on a theme
in a pattern
marked by figuration

Just a Closer Walk With Thee - Stuart Hine - Prospect Choir

each beat
an accent
the barbershop

Kind Hearted Woman Blues - Robert Johnson

casual consideration of the downbeat
held together by structural lyrics and timbral echoes between guitar and voice

Four Norwegian Moods - Igor Stravinsky - New York Philharmonic, Igor Stravinsky 

I could imagine this the soundtrack of a National Geographic newsreel
in which direction do these exotic pictures query?
east to west or west to east?
who commissioned this?

Violin Concerto in D - Erich Wolfgang Korngold - Stuttgart Radio Orchestra, Willy Mattes, Ulf Hoelscher

come see the view from here
isn't it lovely 

lifts itself to see
or steps up
then sinks back
into warm fine happy home 

plays between scrubby scrubby violin playing and singing singing violin playing
throw some sparkly dust around to make it swoony 

slow movement
I hear now how he echoes the sound of a violin within similar sounds in the orchestra ties colors together

scrubby finale ends 7 times over in quick succession

Night Train - Jimmy Forest [collected from Dave Marsh's The Heart of Rock & Soul]

the sax pitches lift into brightness
!honk! in your ear
train's air horn I suppose
happy party sultry blues

Farther Up The Road - Bobby Bland [collected from Dave Marsh's The Heart of Rock & Soul]

nearly a duplication of the ensemble in Night Train above if voice and sax could be counted as 


Four French Songs - [unknown composer(s)] - Betty Eisenbrey, Ronnie Martin

from a private tape
I must presume she was practicing these at home when I was little
so I've heard them before
but it has been some time since then

Everybody Loves a Winner - William Bell [collected from Dave Marsh's The Heart of Rock & Soul]

arranged to perfection
back up singers are brilliant

Breakers Off Baranquilla - Lake Washington Singers

from a private tape
the layers of its (that prior tape's) former medial states as they push stop and go off air in sequence

"...such words as it were vain to close..." - J. K. Randall - Lana Anikina Suran [from Open Space 40]

the logical and lyrical extremes of Debussyan clarity

Pastorale: The Color of Water - Neal Kosály-Meyer - Neal Kosály-Meyer [recorded October 4, 2010]

we discuss slowed down prepping for the next major performance in Snohomish
we talk about Gradus
I was using "my 'drothers"

Ain't Got You - Bruce Springsteen [from Tunnel of Love]

wooing the other
channel love
the subdued orchestration
probably didn't even need
as much as he used

October 20, 2020

Banned Rehearsal 283 - John E, Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt, Marilyn Meyer, William Meyer

we are in a small room together
a busy infant is making busy infant sounds
while we strum bang pluck and blow
conversations cross intersect
and rebound in the room
from in and from out of the room
volitional? and not so much?
resplendently cruddy
when musicality is not a favored thing
neither input nor output
patience is required
musicality in some new form
may emerge someday
we finish with Stein
a reading

October 21, 2020

Explosion! - Shonen Knife [from Brand New Knife]

by the book maximum generic in your generic face corporate fabricated for genericness

F r AgMe Nt(s) - Marcus Oldham - Keith Eisenbrey [recorded March 11, 2007]

this was the last recording I made on the Yamaha 6' my folks bought for me in high school 

gesturally expressionist 
tightly coiled pitch work 
nothing is let go 
pulled back 

Radio Nowhere - Bruce Springsteen [from Magic]

his vocal is buried deeper in the mix than is his usual custom
as best I can tell he's advertising the songishness of the song - not his best and only half finished at that

October 22, 2020

Sonata - Aaron Keyt - Keith Eisenbrey [recorded April 12, 2014]

removing tonal function and leaving only what?
common tone relations?
or not even that?
at least strong motivic gestural cross relations
the things that are going on together
may have difficult relations between themselves
but they are each
things going on
and it is together
that they are going on 

I dropped a lot of notes

Ranjana Phillauri - Diljit Diosanjh [from Bollygood Volume 2]

reverse exoticism
or succumbing -
(I want a portmanteau for succumbing and subsumption)
- to the powers that pay?
evidence that the sheer sound of pop is meaningless, empty.
the flavor of meaning only

In Session at the Tintinabulary

October 19, 2020

Banned Telepath 64 Lake City Messages - Anna K, Neal Kosály-Meyer

Banned Telepath 64 Tintinabulary - Karen Eisenbrey, Keith Eisenbrey, Anna K, Neal Kosály-Meyer

Banned Telepath 64 Toad Hall - Aaron Keyt

Banned Rehearsal 1012 - Karen Eisenbrey, Keith Eisenbrey, Anna K, Aaron Keyt, Neal Kosály-Meyer

Aaron played drum at Toad Hall, Anna and Neal phoned from Lake City while Karen and I were playing in the Tintinabulary. Anna and Neal had also left some long messages so we added those in also 


no sign of years ago grill had but as
teddy buying the glass but nothing you
could call a name and on a dark night when

more than one
monologue in the world
the ground wind sees

Saturday, October 17, 2020



"3. Fetishizing the machine: in western classical music playing and singing are not projecting imagery of peoplesound (or for that matter godsound or creaturesound or spiritsound) but powersound - impersonified mechanismsound - the cosmos imaged not as person but as machine, not anthropomorphic but mechanomorphic - the person empowered by appropriating the puissance of the superpersonal Mover, Fabricator, Generator . . ."

- Benjamin Boretz "Thoughts on a Transcontinental Train, Thanksgiving 1989" from "Being About Music Textworks 1960-2003 J. K. Randall Benjamin Boretz Volume 2: 1978-2003"



photo by Karen Eisenbrey
October 13, 2020

Galiarda, Fvb 6 - Ferdinando Richardson - Claudio Columbo

the ornaments are measured, not quickly to impress with skill, but to clarify their place within the metrical layers, integrated

Ballet des sorciers, - des Princesses, - Incerti - Michael Praetorius - New London Consort, Philip Pickett

for old music, prior to the ossification of ensembles, plausible is OK. rule 1: no instrument known to have not been in existence then; rule 2: no inflation beyond the scale of social events reasonably to be expected from the household in question.

Suite in D minor, BWV 234 - Dieterich Buxtehude - Simone Stella

skill at the keys has become a real thing
and learnedness 

this keyboard music isn't an imitation of any other ensemble
it is native
specific to the instrument's intimacy

Onzieme Ordre (do) - François Couperin - Rafael Puyana

These pieces sing, pushing at the small corners of rhythm with its ornaments, like socks crammed into the backs of drawers, playing long games with balance

Die Wohltemperierte Klavier, Band I, Prelude and Fugue in C-sharp minor - Johann Sebastian Bach - Sviatoslav Richter

each falling
falls through
different wafts
each rising
rises on
different rungs
moments of sweet clarity

Sonata in G Major - Georg Philipp Telemann - Michala Petri, Elisabeth Selin

recorder duets are displays of practical acoustics
creating the impression
that sound is a configuration
of some medium
in the room
although what we actually hear
is a mental image
made from
two sensors
and wetware

Sonata in A minor, Wq. 49/1 - Carl Philipp Emanuel Bach - Richard Egarr

no element in any sequence is without specificity 

by the time you've caught on
he's lost you

Magnificat - Francesco Durante - University Temple Chancel Choir - Chris Vincent, Howard Wolvington

the choir I am in, small, full of mostly old folks
(now in lockdown)
every week we would pull off a miracle
but we could also pull of something ridiculously ambitious
such as this.
Yes we have some great soloists to help
but there we are doing our miracle

Thine Is The Glory - George Frideric Handel (arranged by Robert Hobby) - David Di Fiore

flattery gets you nowhere
unless you're flattering the English

Allegretto and Presto in G Major - Franz Joseph Haydn - Christine Schornsheim

acceptable but unremarkable
a study

Symphony in D Major, K38(38) "Apollo et Hyacinth" - Wolfgang Amadeus Mozart - Academy of Ancient Music, Jaap Schroder, Christopher Hogwood

energetic vibrant too short to show much, all for the best at that age

October 14, 2020

Sonata in G minor, op. 7#3 - Muzio Clementi - Howard Shelley

no completion
without interruption 

shimmed up
balanced but skew 

now where did I leave that?
how did it get over there? 

the intricate ornamentation of an earlier age has been pushed aside for shiny passagework
without the fancy clothes there is room to move ones limbs

Sonata in G minor, op. 49#1 - Ludwig van Beethoven - Wilhelm Kempff

Mozartean in lyricality, but quite modest and correct.
One senses someone looking over his shoulder

Symphony in B minor "Unfinished" - Franz Schubert - Berlin Philharmonic Orchestra, Karl Böhm

the splayed spirit
holding together
more or less 

Interior Man has become fodder
for public psychodramatic display
to be judged on the cruel turmoil of soul index

Etude in C Major, op. 10#1 - Frédéric Chopin - Alfred Cortot (recorded in 1933)

Raw display of personal prowess as aesthetic image is part of the cult of personality
Napoleon syndrome

Fantasiestuck, op. 12#9 - Robert Schumann - Peter Frankl

striving to understand what repeating this thing means
is it about where it ends?
is it about its length?
is it about its registral vector?

String Quartet in F minor, op. 80 - Felix Mendelssohn - Quatuor Ysaÿe

they are keeping a secret
(who us?) 

music for the players mostly, we are peripheral enjoyers. 

demonstrably respectable musicianship
nice but hardly revolutionary

Sonata in F-sharp minor, op. 2 - Johannes Brahms - Julius Katchen

brash and mal-shaped
the parts fight each other
in unseemly seams
the overflow last movement wanders off in denial of its own world beating ambition

October 15, 2020

Eine Faust Symphonie - Franz Liszt - Boston Symphony Orchestra, Leonard Bernstein, Kenneth Riegel

in the 19th Century
symphony and opera swallowed each other
each became the whole of each

but also like a triptych 

into each
of which
we enter as it were a virtual reality 

that must be Leonard jumping around on the podium making that pounding sound

a woman's place is within
the setting is interior
internal looking past the world
no sudden leaps of imagination
no thought that isn't holy

trickster Mephistopheles clown
let the audience leave cheering the devil

how did she get in here
so we could have the moral of the story 

the eternal womanliness
(sung by men)
nice tenor soloist though

Selections from Die Meistersinger von Nürnberg - Richard Wagner - Seattle Symphony, Gerard Schwarz

step through here please
you will forget
where you have ever been
what you have ever seen 

Wagner has in common with cats
an inability to dance
there is no party downstairs

Boris Godunov, Act I, Scene I (1872 version) - Modeste Mussorgsky -Polish Radio National Symphony Orchestra, Jerzy Semkow, Martti Talvela, Leonard Mroz, Nicolai Gedda, Bozena Kinasz, Andrzej Hiolski, Aage Haugland, Halina Lukomska, Polish Radio Chorus of Krakow, Boys Chorus from the Krakow Philharmonic Chorus

entombed dead of night
barely flickering 

another combination of solo male voices and chorus
(as in the prologue) 

the past instructs the future
the camera does not move

October 16, 2020

Sonata in C Major - Ethel Smyth - Liana Serbescu

important to remember that the composer was only 19 at the time this was written. 

the how it is done school of composition
the Clementi-Songs-Without-Words-Album-For-The-Young academy.
(but 19). 

the thinking is clear and unfussy
quite likable
but one senses a pedant over her shoulder

1812 Overture - Pyotr Ilyich Tchaikovsky - The Philadelphia Orchestra - Riccardo Muti

This has been reworked as a hi-fidelity show recording (the money shows).
Why did I find myself rooting for the French?

Capriccio espagnol - Nicolai Rimsky-Korsakov - The Philadelphia Orchestra - Eugene Ormandy

He does not seem to be particularly interested in what the music is doing
beyond being pleasing
but Nicolai sure can make what he's doing sound great

No wonder he was so alarmed by Mussorgsky. 

See all the pretty costumes! It's like we were really there.

Sonata in F minor - Alexander Scriabin - John Ogdon

scraps of a sonata
overheard at a party 

scraps of a revolution
overheard in a crowded tavern 

sweeping with wide-screen emotion.


Mephistopholes? is that you too?
Is this literally based on Eine Faust Symphonie?
Well, it seems likely

we are back at what could be Gretchen at the end
the bitter end
(that's a coffin for sure, and a hymn.) 

I can't think the mapping with Liszt is an accident.

Poeme - Ernest Chaussson - Luxemburg Radio Orchestra, Louis De Froment, Patrice Fontanarosa

strangely recorded. Old? not so much: 1973 if google is to be believed. It might a bad transfer at some point.

the music goes like somebody's dream ballet moment

ravishment is the clear intent


begins with comparison at the most
background structural 28
limited is measurement for some p such

oblique voice
circle voice
more than one

Saturday, October 10, 2020



"Is rationality a description of the real or a resistance to it? Does rationality make claims about the real, or claims against it? Is rationality in compliance with the real, or in revolt against it? Is rationality explication or is it denial? Is it justification or condemnation? Is the real world that which is rational, or is the rational the attempt to create the real world? Is real equivalent to rational or incompatible with it?"
- Benjamin Boretz "Fragment from "The Purposes & Politics of Engaging Strangers: (a sociomusical occasion)"" from "Being About Music Textworks 1960-2003 J. K. Randall Benjamin Boretz Volume 2: 1978-2003"



Wayward in Limbo

With the Chapel closed indefinitely due to the COVID-19 pandemic, the Wayward Music Series now moves from the concert hall to the living room. In place of our usual ten monthly concerts, Nonsequitur is curating and commissioning ten Seattle artists each month to create a series of streaming audio sessions of exclusive material. Many of these will be essentially “live” performances recorded at home for this occasion. Others may create a mix of pre-recorded material that has not been previously released elsewhere.

- from the Wayward Music Series website at

October 3, 2020

La Sonora Clandestina

reedy multi-pitch-classed sustained sonority 

breathing in chord
breathing out chord

presence emerges
and further fluctuations are discerned
beneath the husk
densely wound

temple grounds
water feature
rushing calm 

tiny articulations where the turning bands are tied together
deeper within
or further without
out deeper
in further
breathing in
with out
with in
the husk
the heart


October 3, 2020

Quartet in F-sharp minor - Arnold Schoenberg - Ramor Quartet, Maria Theresia Escribano

regressing to look behind
moments of voices together at such granularity one can't ignore the details nor let it slide
you'll be hopelessly lost
in the blink of an eye 

if a segment has a direction then something can follow it
rather than just come after it 

closely bound voice clusters composed so as to hear each interval within
the counterpoint pulls apart the voices 

intensity of strenuous intention

October 6, 2020

Scott Joplin's New Rag - Scott Joplin - William Albright

variety is in:
which harmony/figuration follows 

chords treated as objects

a harmony is, it doesn't become

4 Lieder, op. 4 - Anton Webern - Heather Harper, Charles Rosen

voice and piano respond to each other in kind
expression without word painting
voice and piano each responding to the text
as rhythm and statement 

statements have structure
as to how words build things to say.
the songs are tied strictly to their original language

Teasin' the Frets - Nick Lucas [from Allen Lowe's Really The Blues]

ragtime? to keep the dancers unconfused
set piece modulations
ready made
in their pockets
interchangeable parts

Sadie Lee Blues - Peg Leg Howell [from Allen Lowe's Turn Me Loose White Man]

I don't think he was properly done with that song when the 78 master ran out of space

Concert for Chamber Orchestra - George Anthiel - Philadelphia Virtuosi Chamber Orchestra, Daniel Spalding

friendly modernism
chamber music
in that each player
can hear the part they play in the whole
and enjoy it
following the whole is not a problem
for us
nor for anyone 

the music parts are music parts 

I was mostly through it before I noted the absence of stringed instruments

October 8, 2020

Nice Work If You Can Get It - Fred Astaire [from Allen Lowe's That Devlin' Tune]

the song as a dance
sings with his feet
dances with his voice

Music for Movies - Aaron Copland - New Philharmonia Orchestra, Aaron Copland

formal challenges:
must be capable of comprehension
on possibly substandard sound systems
even when no one realizes it's there
:: nothing fancy enough to draw attention to its inner workings
:: a frame around or within the experience
he goes for bright and clear
static harmonic areas
immovable bass tones
never modulate
as such
stay put

My Little Brown Book - Al Hibler [from Allen Lowe's That Devlin' Tune]

forced quantitative verse?
the syllables he sits on
and those he cuts short
partition the meter
and where they sit
in how the key refolds itself

Concertino for 12 Instruments - Igor Stravinsky - Columbia Chamber Ensemble, Igor Stravinsky

this is Stravinsky's ear thinking, pay mind here kids

Please Say You Want Me - The Schoolboys [collected from Dave Marsh's The Heart of Rock & Soul]

echo set to POP! on AM radio

pay off:
the pitch
the poise
the swing
the shattering air

and off it sails
out of the park
into the yodelsphere

in Session at the Tintinabulary

October 5, 2020

Banned Telepath 63 Tintinabulary - Karen Eisenbrey, Keith Eisenbrey, and Anna K and Neal Kosály-Meyer (phoning from Outpost Lake City)

October 6, 2020

Banned Telepath 63 Toad Hall - Aaron Keyt

Banned Rehearsal 1011 - Karen Eisenbrey, Keith Eisenbrey, Anna K, Aaron Keyt, and Neal Kosály-Meyer

we gather sound together for you.


known nor possible obtained to john pater
volo ut ubi sum ego illi
sint mecum ut maybe also may work

my shadow on the down road
sliding through the splash
a striking music