Saturday, December 16, 2017

Playlist

Recorded

December 9, 2017
Banned Rehearsal 256 - John E, Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [May 1991]


We have a baby at Toad Hall
We play Mario 3
Rondo loop vid game tune bits
In my future life I want to be an Anarchymedian Scholar

December 12, 2017
Who Are You - Pearl Jam [from Rearviewwindow]

Neo Eno Floyd
Mid 90s psychedelia

Banned Rehearsal 622 - Isaac E, Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt, Neal Kosály-Meyer [November 2001]

Isaac asks
how the pedal works
leverage
lugubrious wafts around impervious worlds
into the funks

the maltempered electric guitar and zither
we have trouble with intergenerational assimilation/incorporation
so much of what we do is predicated on long intracultural history
what we do is
I imagine
incomprehensible to many if not most or would be
why would we presume that a child would get it?
of course a child would not necessarily regard it as odd behavior
surely all families make noise and record it


John Henry - Bruce Springsteen [from The Seeger Sessions]

JH's Hammer
vs
BS's Compression

Even money

Saturday, December 9, 2017

Playlist

Live

December 5, 2017
UW Modern Music Ensemble, Cristina L. Valdés, Director
Brechemin Auditorium, Seattle

Tierkreis - Karlheinz Stockhausen - Caitlin Beare, Emily Acri, Chris Young, Abbey Blackwell, Hexin Qiao, Edward Cunneen

Dual-faced rather than two part, the counterpoints shadow behind as though further behind in the shadows of the shadows behind. Where is the light placed to cast these exact shadows thusly?

(Stray thoughts: rhythms of the outer (outré?) Brubeck (that is, kind of jazzy at times); Looney Tunes Back in Action (another take on the two shadowing worlds of The Tune and The Counter Tune)).

Music in Similar Motion - Phillip Glass -Caitlin Beare, Emily Acri, Chris Young, Hexin Qiao,
Duck Island and Duck. Green Lake, Seattle, December 9, 2017
Edward Cunneen

How like machines we can be
if we allow it.
Nothing disturbs its shiny surface. All the parts fit. Nothing disturbs. Bots may safely sleep.

(I must admit to not being a big PG fan).

Quartet for the End of Time - Olivier Messiaen -Caitlin Beare, Emily Acri, Chris Young, Hexin Qiao

at any one time
all aim similarly
circumscription
confinement
phrased in single times
dissentless

I don't recall ever having heard this piece all the way through before. Messiaen somehow never came up for me as a student and these last 3 decades I've had so many other irons in the fire listening-wise that my experience with his music is quite limited. I was glad, at long last, to have been introduced to this piece by such a fabulous, musical, and completely engaged young crew! I love it when everybody is all in. I do indeed.

Recorded

December 3, 2017
Love Princess 1 - Isabel K, Anna K, Keith Eisenbrey [March 2006]

My 6 year-old nibling, going by Isabel at the time, wanted to make a recording so we did. The payoff? I can hear the invention of pulse and pattern in real time, the basic units of compositional form. "Do it again!" is a mythic desire. See what I'm doing this arm then this arm then this arm then this arm and the wonderful words of the names of the things that make music. Ukelele. Drum. Cymbal.

Improvisation - Paul Kikuchi [from Portable Sanctuary Vol. 1]

Signals
insect buzz flap
bbbbblapp through the air
upper edges of short waves
out at their short wave stone henge
dancing naked on the stars

Banned Telepath 45 Somerville - Aaron Keyt [March 2016]

Spinets undo pretense. Essentially a fancy toy piano, in careful hands entirely its own instrument with its own relation of energy input to dynamic output, box, range, quality, degree of clunk. There is a quivering in its reverberance, shaking in its boots.

December 7, 2017
The Third Pavian and The Galliarde to the Third Pavian - William Byrd - Elizabeth Farr [from My Ladye Nevells Booke]

The Pavian is, for the most part, a set of detailed solutions to the problems raised in the gap between the 1st and 2nd thing happening of anything happening. The Galliard rocks between upper and lower hemiolas. Hemiolan hula dance.

Die Kunst der Fuge, Contrapunctus XIX - J. S. Bach - Zoltan Kocsis

I understand there is some small controversy as to whether this incomplete quadruple fugue belongs in the set at all because it doesn't have the main fugue subject announced in Contrapunctus I. I have no particular opinion on that score, but I do note that if you fold the Contrapunctus I subject over, creasing at the 3rd note, you get the first subject of this - sort of. And parts of the other subjects also include parts of the CI subject. In the lost or unfinished portion at the end, perhaps the idea was to create that CI subject by fitting together the bits of these subjects - a new fugue arising amidst the counterpoints, a music within a music. I can't imagine it was beyond his capability.

Old Man Blues - Jimmie Blythe [from Alan Lowe's That Devilin' Tune]

Quick alteration of just-barely-contained and not-hardly-at-all-contained.

Hard Travelin' - Woody Guthrie [from Columbia River Collection]

Our internal migratory patterns. "I thought you knowed." Woody's collective I is in democratic opposition to the royal we.

Honey Don't - Carl Perkins [from Sun's Definitive Hits]

Word count economy. Leaning forward with a different bounce, but not so far from scat as all that.

Autumn - Edmund Rubbra - Lake Washington Singers, Betty Eisenbrey, Joanne Deacon [from my mom's tape of April 1961]

Mood interleaved.

I'm Living in Two Worlds - Bonnie Guitar [from Dark Moon and Other Country Favorites]

Listen to her long vowel-y syllables and the rhythm of their drawings out. Rounding diphthongs in the leisurely open air.

Get It While You Can - Janis Joplin [from Pearl]

She turns on a dime to sweet
and every elsewhere in like coin

Golden Years - David Bowie [from Station to Station]

A comfy complex groove || jump cut to anguish pronouncement || then back to comfy complex.

Piano Variations - Webern - Neal Kosály [from Neal's Recital Tape May 1981]

The tape, having cooked some decades before I transferred it to digital, left ghosts of notes scattered in Webern space.

Do You Hear What I Hear - [from Hallmark's Listen to the Joy]

Those boys really worked at rounding their vowels. Completely drowned in sentimental familiarity.

In Session at the Tintinabulary

December 4, 2017
Banned Rehearsal 947 - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt


We haven't played much in this configuration since the early '90s, 700 odd Banned Rehearsals ago.

December 9, 2017
Tweety Bird - Keith Eisenbrey

As Karen and I were walking around Green Lake this morning we heard this group of pootootweeters pootootweeting.

Saturday, December 2, 2017

Playlist

Recorded

November 25, 2017
Off He Goes - Pearl Jam [from Rearviewmirror]

chords are ledges
we tumble off or clamber on

Tom The Toad - Banned Rehearsal [Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt, Neal Kosály-Meyer, November 2011]

Karen was laughing so hard at the beginning that it almost didn't get going. Finally Neal lays out the
the decade of chaos
camp favorite as a punk song quick.

Loki - Brad Anderson [from Dark Energy - Interstellar Pianos]

Satie with cyborgs
being to space transparent
battle!
architecture abides

Gradus 189 - Neal Kosály-Meyer [March 2011]

Paths of thought looping through both thought as action and thought as decision, instant will.
In the long quiet stretches where Neal is not operating the piano to make sound the recording appears to have a subtle wash to it my ear follows from left to right unable to quite catch it tricked by traffic without.
These various tones ventriloquize each other in relation to written music's syncreticalistical-kabbalistical roots.
Tiny pianississimo short wide interval dyads over so quickly and so gently that one can hear the sequence of one's thoughts as to just what that was as it was: tiny, then pianississimo, then short, then wide, then intervaled, then dyandic, then over so quickly that one can . . .
Tone: flesh of it, ghost of it.

Kaun Tujhe - Palak Muchchai, Amaal Mallik [from Bollygood Volume 1]

Pachelbel Canon type harmonic scheme. Particular about their reverb. Does better when the big orchestra stuff doesn't take over - its entrance is generally not finessed to nearly the degree that every other sonorous movement is, which makes them jar. Missed opportunities.

November 26, 2017
The Seconde Pavian and The Galliarde to the Seconde Pavian - William Byrd - Elizabeth Farr [from My Ladye Nevells Booke]

Shift from voice to voice is relaxed, courtly, full of politesse. The rhythm of shift from voice to voice is not to lead on but to graciously uncover. A pleasant company to hang with.

Die Kunst der Fuge, Canon in Hypodiatessaran al rovescio e per augmentationem perpetuus - J. S. Bach - Zoltan Kocsis

Its attractiveness as a sound, as a music, is a deception, or is so not the point. Plays for thought's keeps.

Woody Guthrie
Creep Along, Moses - Taskiana Four [from Goodbye, Babylon]

Timbral intonation and a lesson in internal metrics: each harmony each song segment each breath given ample time without overbearing override of beat in your face.

It Takes A Married Man to Sing a Worried Song - Woody Guthrie [from Columbia River Collection]

He got off topic here from strictly river songs.
Or: a married man's advice to one of his past selves: Bloom to Dedalus.
A gentle and unpretentious arrangement of it though, a lovely performance direct on point.

Gesang der Jünglinge - Stockhausen

Disp- and Simil-arities of scale and/or presence, dynamic, direction, conjointure. Alienation (from us) (from each other). Some are alone in themselves some irrevocably bundled no matter to where they are sent spinning: music, noise, language, voice.

One wonders at the experience of the boy whose voice we hear. I could imagine stodgy classical music parents hearing the finished result and complaining "He sang his heart out for you and then you put the whole thing in a blender?!"

When Children Pray - Lake Washington Singers, Betty Eisenbrey, Joanne Deacon [April 11, 1961]

Sentimental triumphalism. Sampler: (illustrated needlework saying picture).

I Want You - Bob Dylan [from Biograph]
Karen operates a pink balloon

Creating a persona for listeners to want to be, or several, open-ended enough to be serviceable in nearly any situation.

Gettin' In Tune - The Who [from Who's Next]

Going Pop to invent Power Pop. I'm growing up! See!
Makes it sound pretty good.

Station to Station - David Bowie [from Station to Station]

Train chug (fast) on flange (slow) as though standing in for rolling echoes of bridges and hills. Every
moment of the instrumental buildup is composed as to newness and stasis. Bridge follows bridge follows bridge. A platformer.

I Threw A Brick Through A Window - U2 [from October]

Window: a thing that is there but is invisible
Brick: a thing that is there that can be seen
Window: hidden fact
Brick: disclosed fact
Window: secret
Brick: known
I threw a discoverer through a secret.

A new theory about my general bad attitude about Bono: His voice is phenomenal, no question, but its affective range is narrow (though not as egregiously so as Billy Joel's), it can really only do what it has already always done. This tends to come across to me as overly sincere and insufferable. However, that is simply the voice he has to work with and he has managed to find ways to make it work to its limits.

November 28, 2017
Banned Rehearsal 68 "Spring Equinox" - [Karen Eisenbrey, Keith Eisenbrey, Anna K, Neal Kosály-Meyer, March 1986]


Having moved up north Karen (she was still a Meyer then) has become a regular.
Thumping.
Balloons are held between hands and their surfaces transtrude each other.
Pitchy rhythm of texture differentials (or rhythmy pitch of).
Farty.
Significant portions of this are not apparent.
We hear hints of goings on but not all makes it out to us.
Soundtrack to an unfathomable irrecoverable scene.
That is: Sound made in the image that: the sound of made sound is not the show.
Probably the session with Karen playing balloons. I have some pictures.
Finally! The dulcimer!
Eventually in a remarkable space, Funmaker folding much of us inside.

Looking Around - The Young Fresh Fellows [from Electric Bird Digest]

Not a completeness, a transient recurring mood.

November 30, 2017
Banned Rehearsal 433 - [Isaac E, Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt, Neal Kosály-Meyer, August 1996]

Karen, Whidbey Island, WA, ca. 1996
dive right in.
we are drilling and grinding sounding stone
unyielding yanking at defenses
cornet violin guitar drums
right up front
clarinet
open up relax grip
beat on our flabby belly drums
turn a corner down to inside at furioso galloping in bits and pieces
evening campfire harmonica plaint (too much guitar - my fault)
filling crannies seagull-toned reeds and tambourine jackhammer banjo chisel
regrets have no place in listening learn lesson and move on
omnipresence of distorted tambourine shake sound a surface rough and broken
roof or ceiling stubborn
whoever was doing it was really into it
baked on hard, mineral

Agatha Reads a Letter - Meri von Kleinsmid [from Sonicabal 2001]

Melody in richly overtoned synth sound. Swarmy. Goose sized bees.

In Session at the Tintinabulary

November 27, 2017
Gradus 325 - Neal Kosály-Meyer

I am sitting in a rocking chair
short bursts in figures of two to five or so
thinking about thinking about
tiny spider (on my book then)
gradual plethorization of sonorities groups object sound groups broken discontinuity
archipelago in a low tide shallow sea

Saturday, November 25, 2017

Playlist

Live

November 18, 2017
Finnegans Wake Chapter 3 - James Joyce - Neal Kosály-Meyer
Gallery 1412, Seattle

Neal performs this in the dark. It is difficult to take notes in the dark. The dark in which Neal performs this is as much a temporal, Joycean darkness, as a literal, nocturnal darkness. The text itself is so tightly focused on the most immediate statement that the past disappears more quickly than it does in more standard practice prose. We can't see where we've been, and by this we realize that we can't see where we are headed either.

Recorded

November 19, 2017
The Firste Pavian and The Galliarde to the Firste Pavian - William Byrd - Elizabeth Farr

Jeweled rings bedeck the downbeats, ornaments that expand their durations. It is an old way of mediating the vertical and the horizontal realms, curving their axis points.

Die Kunst der Fuge Contrapunctus XVIII (alio modo Fuga a 2 clav.) - J. S. Bach - Zoltan Kocsis

A two-piano rendition of the upside-down-ready fugue.

Two Tight Blues - Kid Ory, Johnny Dodds [from Alan Lowe's That Devilin' Tune]

This language of hyperaware body movement flies under the social radar, where much can be said. Tunes mime a dancer. Puppetry.

Ramblin' Blues - Woody Guthrie [from Columbia River Collection]

The verses are single statements, or simple question and answer pairs, repetitious, with no explicit narrative. And yet the narrative is clear, peopled, conversational.

Frantic Antic - The Jumpin' Jacks [a Rescued Record]

Commercial happy fifties kid music from when Rock and Roll was as yet unknowable. Beatnik beach blanket bingo lingo. Tight playing though!

Three Highland Airs - The Lake Washington Singers, Betty Eisenbrey, Joanne Deacon [from my mom's tape of a concert on April 11, 1961]

I listen to these the way I would look at an old snapshot, a personally fascinating generational artifact.

I Don't Believe You - Bob Dylan [from Biograph]

The power of story telling is the power of persuasion over memory. There's Bob hogging the narrative, betrayed again, or so he says.

My Wife - The Who [from Who's Next]

Bar talk stories men tell each other.

November 21, 2017
String Trio in 2 Movements - Elaine Barkin - Davis Trio [from Open Space 34]

Vaporless, frozen, drifting, weightless, flash-lit, a chorale only audible a few notes in any direction || a stillness moving by partial illumination.

Ein Hundenleben - University of Washington Contemporary Group Improv Ensemble [from Neal's Recital Tape 5/22/1981]

Starts with a high quiet whistling
Maple Leaf 1991
all enter plucking or intoning
(a slow)
(frantic)
or quick response

enter clowns

Suffers I think from too much me on the piano.

Puzzlin' Evidence - Talking Heads [from True Stories]

Tight, clean, controlled. At a remove from us. To hear the song clearly it must be held out at an exact distance. Do not enter! Observe. That drum sound there: the space it is in is too big for you. Squint at it through this crack.

November 22, 2017
Banned Rehearsal 255 - John E, Karen Eisenbrey, Keith Eisenbrey, and Aaron Keyt [May 1991]

There is no beginning to this. There is where the tape starts to record full of vigorous scribbling. The funmaker with its blank stare tone colonizes the sound - a hippo on an anthill. Don G plays in the background (with tootmentary). The various strengths with which the signal comes through making the stage more strangely real for a while. Multiple Don Gs threaded through. Banned Giovanni. Envelopes of drum resonance striking the room drum bursts of radiated sound. We are, in part, and rudely, a form of music criticism. Having actual musics intrude is, if anything, overplaying that role. It becomes too obvious. Small: 'viva la liberta?'

Saturday, November 18, 2017

Playlist

Live

November 11, 2017
Amy Denio
Truth is Up for Grabs
Chapel Performance Space, Good Shepherd Center, Seattle

Pre: Neal tells us that 2/3 of Neal's & Anna's wedding brass ensemble is participating. Packed! All the chairs are brought out. Big enough to be a murmuring, luscious in this space.

The governing vibe is of a pit orchestra, rather than an art orchestra. That is, there is no concerted attempt on the part of the performers to transcend themselves and become else than a group of musicians playing this music.

Full tilt expression, nothing held back, nor humor nor sorrow nor low nor high nor ought nor else.

How they end (the songs): not quite abrupt(ly).

Recorded

November 11, 2017
Banned Rehearsal 620 - Karen Eisenbrey, Keith Eisenbrey,  Aaron Keyt, Neal Kosály-Meyer [October 2001]


Snare drum springs soften the sax. I revisit an old thought. Weighty massive thoughts dimple the ground. Tattered banners bothered in a chilly wind. Dampers off the strings prolong sax bleats room eloquence. Frivolity kept away. Every thought is a palpable mass.

O Mary Don't You Weep - Bruce Springsteen [from The Seeger Sessions]

As (though) recorded live in a big living room.

Banned Rehearsal 787 - Karen Eisenbrey, Keith Eisenbrey, Neal Kosály-Meyer [March 2011]


bits of sound barnacle the border
hints of vastness in the near distance
held back
drums guitar and bass a rock band
in the same sense we were ever a jazz band
"banned rehearsal" pronounced "scribble scribble"
eloquence feeds back has been trying to escape into glory
irreproducible results Neal sings!
It Was a Monday Evening
narrative church rhythm thank you very much
done found some groove we never found before and never will again
pure

Bulleya - Amit Mishra, Shipa Rao [from Bollygood Volume 2]

Values production value. What is this without its bells and whistles? Full throttle is the base line setting.

November 12, 2017
Your blogger, ca 2001
Ut Re Mi Fa Sol La - William Byrd - Elizabeth Farr

Recorded so that, or is it always that, harpsichord sound is more specifically localized than piano. It is lighter, pointier. Immense intellectual heft, lightly borne, tales within tales within could finish and be done several times but then continue on, again, into ravishing beauty.

Die Kunst der Fuge, Contrapunctus XVIII - J. S. Bach - Lionel Rogg

To be inside this fuguescape fuguemare fugeuedral aware of the granular harmony of the spirit.

2nd fugue like a chapel echoes the cathedral and looook! we can open up this wall and create a third midsize space - and finally 3rd fugue here's the choir with our Orgelmeister Kappelmeister - an architectural tour, all the sites singing. Surely if this had gone on JSB had a grander weirder place for it to get to than any such place as it had already been.

Karen and me, 1986
November 13, 2017
Lazy Drag - Thomas Morris [from Alan Lowe's That Devilin' Tune]

Light touch on the beat at the start, allowing them to fatten it up or thin it out as needed. Patterns of same.

Columbia's Waters - Woody Guthrie [from Columbia River Collection]

Conceit: this song is a job application in which many of WG's stock phrases are trotted out again. A window into a process of making.

For Minors Only - Chet Baker, Art Pepper [from Playboys]

Clearly, this track is a product, an object, quintessentially commercial.

Far and Wide - Brahms - Lake Washington Singers, Betty Eisenbrey, Joanne Deacon [from A Musical Souvenir: The Lake Washington Singers Spring Concert (April 11, 1961)]

Some fine piano playing there, Joanne!

Hymnen - Stockhausen
Karen and Isaac, 1996

What is a theme within such a thicket?! A prop, a focus, a thread to follow, a placeholder: NOT THE SHOW.

I think to myself "this is the Stockhausen that got on the cover of Sgt. Pepper's." Extreme Ivesian quote festival. (I started composing about 10 years after this was made, and it only took me about 4 years to find it, for it to find me.) I spent a lot of time with it back in the day.

Sounds we follow as they variously incarnate and morph toward other veering incarnations.

Electronic music was what it is now, a bunch of folks playing with new toys. What sounds can we get on this? What are its sounds? Its voice? As it concerns radio: radio waves, invisible light, dark light, another dark, another sleep, another night, another wake. Front loaded: an active eventful texture, signals in transit, the harrowing descent, breathing human sleeping.


". . . nur eine Erinnerung": What does that actually do as an excuse for the böses Blut es gibt?

Some events are discrete moments, note-like - hard edged short events. Others are episodes of flange and sweep - long events. Flange-y buzz-hum-y waves rhythmed syllabically. We hear the timbre shift as a quasi-vowel shift. Thuds of war episode in third region where whistlers imitate the whole of what they are of in mimicry, in mimicry as a kind of abstraction. A full range of immediacy(ies) articulating murk.

November 14, 2017
Trust Me - Janis Joplin [from Pearl]

The plea goes on and on circling inside around the instrumentals, pleading never ending changes.

Still Crazy After All These Years - Paul Simon [from The Essential Paul Simon]

In a warm keyboard bath. Is it just me or did I really catch a partial quote of Bridge Over Troubled Water in the strings?

We're Desperate - X [from Wild Gift]

Structural density of the guitar/bass complex: leave space in the verse for the words, leave none in the chorus.

Banned Rehearsal 67 - Karen Eisenbrey, Keith Eisenbrey, Anna K, Neal Kosály-Meyer [March 1986]

In the little Greenwood half house, sneezing, heater, hooting: slide show? Conversational, sort of, in that we are doing activities and also being with each other as just folks a little bit. Bumping around is up front, music as such, in deep background. Woozy but not unpleasantly so. Making spaghetti, it sticks good. Slow swing dinner in B-flat minor. This is our trademark DING! from a junkshop in Kingston NY. The tape machine has an eraserhead button (still does, long unpushed). "I hope that was intentional or not." My dad shows up, must have been something to do with my passport. Karen may have moved up to live with Neal & Anna while interviewing. Tri-doxology, para-para-doxology (hindsight) a hindsight. It is very nice it just slips underneath the skin. Berry-ness is discussed. Wild sound on acoustic guitar.

Polly- Nirvana [from NevermindWordblurbs in exact syllabic count fitted into soundblurb segments with pitch trajectories, a partial song. (Schumann's inescapable ghost.)

Banned Rehearsal 432 - Isaac E, Karen Eisenbrey, Keith Eisenbrey, Anna K, Aaron Keyt, Neal Kosály-Meyer [August 1986]


Paradise

We try to get something to work. Got those wah-wah tech blues. Aaron's synth, I believe, we struggle with the extent of our tech-savvy: this has an "in" that fits the guitar patch cord, therefore if we plug in the guitar to it we will automatically get magnificence. At the time it seemed, oddly, that nothing was happening, that the guitar strumming had no effect on what was coming out of the synth. The jury is still out on it, but the sounds of us struggling with it are fabulous. "It is my firm belief that with five more synthesizers we could achieve total silence." And yet, between the synth, the Mighty Wurzlitzer, and our direct to cassette mastering, I wonder if any prog rock band ever sound as good? the Tintinabulary at its finest. We don't do nicety.

Banned Rehearsal 621 - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt, Neal Kosály-Meyer [November 2001]


Nothing to hear but you. You make the sound. In our digitally produced era there is more air between the sounds, which allows more expanse of surface with which to mess, more coast to invade. Plunks and hums tiny sounds of extreme interhearing. Down to pianississimo violion tremolo and small frame drum, ocarina moving between their soundboxes' resonances, articulating a shiver whistling in the dark.

November 17, 2017
Banned Rehearsal 698 -Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt, Neal Kosály-Meyer [March 2006]


Testing the waters. It generally doesn't take much to get it going, inert as it is, (though it be), just takes the right gentle push prolonged just so long. After several false-like leads: snare drum, flute and buzz, but that also falters . . or wait, now it's moving. Reasons to hang in there. Seeping into other sounds groundwater invisible under cover of underground it sneaks past the carousel skimming the feedback fence, flirting with skimming it under cover of skimming past it we flirt under darkness with the broad light of it, of past days.

Goodbye Amsterdam - Rachel Harrington [from Celilo Falls]

Relations among people occur in landscapes. How much we leave - its expanse of sorrow - when we leave each other. Gentle stutters in the guitar figures.

Banned Rehearsal 906 -Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer [March 2016]


Neal learns himself speaking. Tiny construction workers hammering miniature hammerings. Wallace watches o'er, duets across the continent with cowbell. Lightweight sphere rolls the texture of the drumskinhead amplified by circular tension applied. Copperpipe in syntheticfoam insulationtube squeak like balloons.

In Session at the Tintinabulary

November 12, 2017
Rain Traffic Crabby Crows - Keith Eisenbrey


Our best guess is that the crows were complaining about the rain.

November 14, 2017
Kitchen - Keith Eisenbrey


For the record: I didn't break anything.

November 15, 2017
Second Thoughts - Keith Eisenbrey

I finished composing the first eight Études d'exécution imminent in May of 2014. In terms of the original chart this was the half-way point, but I needed a break to re-think myself, to consider where the composition of these had gotten me, so I took a self-imposed sabbatical from composition - indifferently observed: news of the death of J. K. Randall brought forth a response in the form of J, (September 2014), I was asked to contribute to Ben Boretz's Festschrift (Another, December 2014) and I arranged a traditional hymn tune for Karen to sing just after Christmas (Hail the Blest Morn) - altogether a fairly productive sabbatical. In the spring of 2015 I started working on these disassembled piece parts, which together constitute the 9th Etude, finishing in August, 16 months later. That was a long time for just a few notes, but I flatter myself they are densely packed. Arranged as in this (not quite perfect) performance, one after the other, the piece parts play out the re-writing of memory as it is remembered and its eventual, inevitable, loss.

Saturday, November 11, 2017

Playlist

Recorded

November 4, 2017
The picture I made
Gradus 94 - Neal Kosály-Meyer

Uses dampers as filters to extract partials
silence is resilient
behind me Karen purees pumpkin
time out of grid
a car stereo drives by outside
sidebar tea ceremony
that a sound could seem to happen Now is a demonstration of how wide a span is the apprehension of Now

Thursday After - Youth Rescue Mission [from Youth Rescue Mission]

adding elements one after another in stepped sequence
within song structure serious phrase length rhythm play
blood harmony could almost be the Fleetwoods at the end (just a hint)

Gradus 285 - Neal Kosály-Meyer

I made a picture.

November 5, 2017
The Hunts Upp - William Byrd - Elizabeth Farr [from My Ladye Nevells Booke]

ringing echoes
signals passed on hills
familial tales
courtly tales

Der Kunst der Fuge, Contrapunctus XVII Rectus / Inversus - J. S. Bach - Zoltan Kocsis

strong vertical leaps up? down? contribute to the effect of utter duplication
is it the direction of the leap or its mere distance that tells?

Gatemouth - Kid Ory, Johnny Dodds [from Alan Lowe's That Devilin' Tune]

sliding around the pitch, glisswise
a dance of them


this music is not dance music
this music is dance

Roll Columbia, Roll - Woody Guthrie [from Columbia River Collection]

Progress celebrated, collective progress, progress to benefit us'n'all.

For Miles and Miles - Art Pepper, Chet Baker [from Playboys]

phenomenal playing full of subtleties to be sure but something bluesy has been buffed out if it, refined in an almost pretentious way, if they weren't getting away with it pretty bossly

Echo Song - Orlando di Lasso - Lake Washington Singers, Betty Eisenbrey, Joanne Deacon [from A Musical Souvenir: The Lake Washington Singers Spring Concert (April 11, 1961)]

humored up? or just oddly translated, odderly arranged? or maybe that's just the way it is

Hold On I'm Comin' - Sam and Dave [collected from Dave Marsh's The Heart of Rock & Soul]

thought: jazz is about its rhythm; rock is about its song structure; blues is the glue
these boys have heard some church singin' and how

The Song Is Over - The Who [from Who's Next]

praise chorus
testimony
psalm

November 7, 2017
Song of Fifty Cents - Jack Bean [from The Art of Field Recording Volume 1]

another function of demotic music
actual advice in humorous guise
(not that, but like dirty jokes as ad hoc sex ed)
how it is learned: those life lessons
quite the accent, one needs to pay more than fifty cents of close attention

Improvisation - University of Washington Contemporary Group Improvisation Ensemble [from Neal's Recital Tape]

Conversation wordlessly, as musical exercise.

You Get What You Want - Julian Lennon [from The Secret Value of Daydreaming]

this tries so hard, but I have trouble giving it the benefit of the doubt. The problem is not his singing voice, but something like a lack of roots.

November 9, 2017
Banned Rehearsal 254 - John E, Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [April 1991]


testing 1 2 3
now we have begun
at Toad Hall some crud in it
John 'plains, but 4 weeks old
strenuously lame we thus arrange the possibility of brief moments unlike any others
drill bit into bedrock inexorant
on my wall
there hangs a purple trout
continues on through
metabolism enhanced
be- words auf Deutsch
bell rings for train coming in

Hail Hail - Pearl Jam [from Rearviewmirror]

propelled
engined
til the fuel runs out
the ride is over

In Session at the Tintinabulary

November 6, 2017
Banned Rehearsal 946 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer


Aaron and Neal duet on trumpet and cornet, Karen drums an ocean, Steve tunes in, and there is me with banjo on my knee

Saturday, November 4, 2017

Playlist

Preface


"Some are explaining that each one is doing the thing each one is doing because they are needing to
be doing that thing, because they are needing to be wanting to be doing that thing, because doing that thing is a thing that is feeding them, because doing that thing is a thing that they are needing to be doing so that they can be ones doing something that they are ones needing to be wanting to be doing, because doing that thing is a thing that is something any one will be doing who is one needing to be one doing some things that this one is needing to be doing, because doing that thing is a thing in some way satisfying that one as being the one being that one." Gertrude Stein - The Making of Americans

Texts

Live

November 3, 2017
Seattle Composers' Salon
Chapel Performance Space, Good Shepherd Center, Seattle

Calvin Senter - Colloquies: Moon, Rain, Sun, Wind - for solo guitar

gently persists in not resolving easy

long long thoughts (yep, Longfellow)

solid quiet presence

admirable patience

Mark Wilson - Kyrie eleison from "God Helmet" - for guitar, soprano, and flute

What glorious close heterophony between soprano and flute! It fairly made the melodic elements leap and kiss above our heads.

Clement Reid - Realizations for Horn and Piano

A richly produced illustrated narrative, of the sort whose pages linger in memory.

Nicole Truesdell - Ghost Story - for piano four hands

How does one signal story telling, musically? Or, how does music signal that it is telling story? This then that sequencing to be sure, but with four hands to play with Nicole also gets plenty of this and also that in play, lapping o'er.

Recorded

October 29, 2017
Banned Rehearsal 431 - Karen Eisenbrey, Keith Eisenbrey, Anna K, Aaron Keyt, Neal Kosály-Meyer [July 1996]

one channel aimed in of doors
one channel aimed out of doors
middle passage
industrious at noise making
wrecked and wicked piano sound
in late night dreamy bill evans mode
duet cornet
conjoined banjo
roar from we know not where
subordinate clauses

Banned Rehearsal 619 - Karen Eisenbrey, Keith Eisenbrey, Isabel K, Aaron Keyt, Neal Kosály-Meyer [October 2001]


homing in on room for quiet in the large
for explicit thoughts in transparent company
what can be done if considerations of performance just don't come up
such considerations not eschewed
more as if never known
music innocent of outside apprehension as such
rattling in so many ways
so many ways of rattling

In Session at the Tintinabulary

October 30, 2017
Gradus 324 - Neal Kosály-Meyer

not wandering | not circulating | not but contracting | into falling | into inward collapsing

□▄□

suspended spool | waking extend | thought into forward | space alert spreading | out exhibiting delve | back into

Saturday, October 28, 2017

Playlist

Live

October 21, 2017
Finnegans Wake Chapter 2 - James Joyce - Neal Kosály-Meyer, with Karen Eisenbrey, percussion, and Jim Knodle, lights
Gallery 1412, Seattle

When the lights are out inside where we are, the lights from back stage leak through the cracks in the wall into the darkness where we are.

Recorded

October 22, 2017
A Galliardes Gygge - William Byrd - Elizabeth Farr [from My Ladye Nevells Booke]

Concerned with distinctions: common and elite. How close to the surface the common is, how sophisticated is the ornament. All dressed up for court.

Die Kunst der Fuge, Contrapunctus XVII, Rectus and Inversus - J. S. Bach - Lionel Rogg

Bach designs his material so that it does what he wants it to do. The Inversus almost pulls off the Satie trick of having no difference from the Rectus that makes any difference, it is clearly the same piece in every particular that matters. Heaven and earth, up and down, near to each other past touching.

The King of the Zulus - Louis Armstrong's Hot Five [from Hot Fives and Sevens]

Solo impersonations, complete with shticks-aplenty. It can so easily be heard as exactly a blackface act, and they know it, but it is their shoe in the door.

Talking Columbia - Woody Guthrie [from Columbia River Collection]

Musical journalism, he even tries to stay on topic, but he has a knack for wandering off before you realize where he has led you.

Elegy in Memory of Serge Koussevitsky - Howard Hanson - Seattle Symphony, Gerard Schwarz

Fugal, but rolling in heaves and billows, smoothly in billows and heaves. No non sequiturs here. Edges are beveled soft as a lakeside morning. Hints of Wagner and Ravel, Tunes murmur among the voices, veering toward Hollywood grandiosity.

O Sons and Daughters - Williams - Lake Washington Singers, Betty Eisenbrey [from Spring Concert 1961]

Ripped from an LP, from back in the day when you could press just a few for memory's sake.

Good Thing (Remix) - Paul Revere and the Raiders [from The Legend of Paul Revere]

On the fine line between sincere and creepy, in the end it's so blatantly pornographic I am amazed it was allowed on the radio.

Mercedes Benz - Janis Joplin [from Pearl]

Her entire body goes into the foundation of her sound. A cackle to start. She near-rhymes 'poor', 'tired', and 'Lord'.

Silly Love Songs - Wings [a Rescued Record]

The happy version of the opening from Pink Floyd's Money.

a cheery world cartoon
body smoothed out of voice entire
by intent and engineering

classy songwriting though


Hamburger Lady - Throbbing Gristle [from The Best of Throbbing Gristle]

A dial twiddling virtuouso
undulating a bit like ol' heaves and billows himself.
See above.

October 24, 2017
Banned Rehearsal 66 - Karen Eisenbrey, Keith Eisenbrey, Neal Kosály-Meyer [March 1986]

We may have started to see Banned Rehearsal 100 in the lights by then.

a furnace hum some
tappings around and some
tapings around ocarina
jingly scrapes

we drag the room and pick up noises as we go
The Boospook Pumpkin
oc or other flute
again cassettes were our effect set
stacked literally and loopilly

dragging the past off the seafloor
sounds of its mechanisms
spring doors clopping shut

the immediate is a surface upon which the past is etched
cut phonographically
we are the vinyl

paperformants (neal's)
as long as it takes
an ur gent mess age from the odd IO re cord industry
recollection
Neal names our first brace of kittens

Anarchy
Amnehitabel

after a political announcement
we stop out to birds
and wind roar train
for the west leaves
in 20 minutes better hurry

glorious!

Song Three - Infamous Menagerie

Gets that world weary sneery ugly that PIL aimed at but missed.

In Session at the Tintinabulary

October 20, 2017
Construction - Karen Eisenbrey

While at work, Karen recorded several minutes of hammering from across the street.

October 23, 2017
Banned Rehearsal 945 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt

Only 55 to go before number 1000. We'll probably get there before 2020 if we keep going.

October 27, 2017
The Boospook Story - Karen Eisenbrey

Shortly after we were married (31 years ago this month) Karen made a piece of brilliance, a picture book titled "The Boospook Story". She reads it here,  with preambleous conversation among Isaac, Karen, and Keith Eisenbrey.
The Boospook Stump

Saturday, October 21, 2017

Playlist

Recorded

October 17, 2017
Banned Rehearsal 618 - Karen Eisenbrey, Keith Eisenbrey, Anna K, Isabel K, Aaron Keyt, Neal Kosály-Meyer [September 2001]

Another go at my 2001 piece Work Architecture Unity And The, with a pre or proto verbal lecture, a
language fountain in the months immediately prior to lexical formation, with illustrations. As the composer of the score I can't not hear this as a performance of the piece, but I do love how gently it fades from being that into not being that at all.

Pianofortesynth - Brad Anderson [from Dark Energy]

double double toil and trouble
cauldron signal
bubble and sizzle

Gradus 188 - Neal Kosály-Meyer [February 2011]

Number, count, three is big
but four notes five or six
come up (depending on how you parse)
how many ways there are to count (let me . . .
) to group ratio and number

Neal
but no rational durational rhythm
that is out the window a distraction
eleven there

proximity in time in adjacency in dynamic et al

order assertions
here, this note
ratios of approximate quantities

Chull - Kapoor & Sons [from Bollygood Volume 1]

patterns of fabrics, like a really great scarf

October 19, 2017

In Session at the Tintinabulary

October 16, 2017
Gradus 323 - Neal Kosály-Meyer

Theoretically, if not practically, it is possible to play each of all the combinations of keys on the keyboard. The quantity is finite, if hyper-dauntingly large. What can't be done is to play any one note in all possible ways. This is what allows Gradus to be an experiment in building an idea of composition, as a practice, from near scratch.

Saturday, October 14, 2017

Playlist

Recorded

October 8, 2017
Banned Rehearsal 617 - Karen Eisenbrey, Keith Eisenbrey, Isabel K, Aaron Keyt, Neal Kosály-Meyer [September 2001]

toy boats bobbing in the bay
steady state

low organ throb
indicator measures and creates hidden pulse

(great spring sound!)
intersocial anacrusis

agogic peoples
rhythm is a social event

what shifts in the ear when pitches change
the soil the wind the orbit

bell and drum ritual
lightly touched

October 9, 2017
Banned Rehearsal 697 - Karen Eisenbrey, Keith Eisenbrey, Neal Kosály-Meyer [February 2006]

several species of guitar
bucket brigade messages
a triangular circle

or tuning to each other in a fluid sense
lovely how it refrains from shredding
even when louder

protracted

(long long protracted)

end
fade

wanders into the casing

October 12, 2017
The Chronicles of Dirty Dick Part 1 - Antique Scream [from The Chronicles of Dirty Dick]

Pink Floyd fade
up to wide
vibrato capable vocal
seriously uptight brings
the forces together
doesn't
let go
but slowly piece
by piece relax
to allow full
weight to be
thrown around stops
to start again
Preening Bad Boy.

We Are Climbing Jacob's Ladder (Autoheterophony) - Keith Eisenbrey
Like a chorus o' angles! (Karen's comment).

The Barelye Breake - William Byrd - Elizabeth Farr

Finely tuned adjustments over the phrase, section, and movement breaks. Far more category shifts than simple butt joints would intimate. Early sense of variations, or changes: the theme is not a structure but a thread within possibilities.

Die Kunst der Fuge Contrapunctus XVI Inversus  - J. S. Bach - Lionel Rogg

The fugue is an analytical tool for composers, it is used to pry tunes apart. Surgeon: "Stretto! Inversion! Diminution! Sponge! Suction!"

Sweet Little Papa - Louis Armstrong's Hot Five [from Hot Fives and Sevens]

lipwork ornamentation
big music shaped by minute attitudes of the mouth

On The Sunny Side - Don Albert [from Alan Lowe's That Devilin' Tune]

Don Albert
Lovely glow in his voice as it tails off at phrase ends. Pretty mean trumpet player too.

New Found Land - Woody Guthrie [from The Columbia River Collection]

Living in the light of the morning. One of his better poems.

Don't Be Cruel - Elvis Presley [collected from Dave Marsh's The Heart of Rock & Soul]

A ploy or a plea?
from a genre of personal fictions.

The 95th Psalm - Powell Weaver - The Lake Washington Singers, Betty Eisenbrey, Joanne Deacon [from Lake Washington Singers, April 11, 1961]

This features my mom's long-time accompanist and friend, Joanne Deacon, and a fine solo by soprano Kathleen Richards.

Good Lovin' - The Little Rascals [collected from Dave Marsh's The Heart of Rock & Soul]

A rhythmic schema
arising from a lively bed
begets variations

Love Ain't For Keeping - The Who [from Who's Next]

This is quite a fine little song, whose impact is diminished by the commercial necessity of bloating it out to stadium size.

Louie Louie - The Stooges [from Metallic 'KO]

Garbage rock in the sense that it doesn't take much technique to make it happen (compare with the fancy guitar playing of the Ventures, for instance). Nearly indestructible, Iggy makes a go at it.

Intermezzi, op. 117 #1 and #2 - Brahms - Neal Kosály-Meyer [from Neal's Recital Tape May 1981]

One among many distinguishing characteristics of European repertoire music: a complexity in the
Screaming Trees
way it proceeds through a phrase. Everything can be broken into parts. How do you break yours?

You Tell Me All These Things - Screaming Trees [from Clairvoyance]

No padded seat on this old bike, just tractor metal cold in the morning.

(A connection here: Steve Fisk, who produced this record, is a friend of Neal's (my brother in-law) from his days at Central Washington University, before I knew him. Small world of local music.)

October 13, 2017
Frogs 910415 - Keith Eisenbrey

(and dogs)

one mass of frog sound shifted toward the right
one soloist closer, to the left
dog is in the distance or several dogs or distances

a tape hiss
and occasional traffic
very faint with hint of pitch
emerging from the noise as proto-hum

(I recorded this from an upstairs window at my folks house near Coupeville, WA, the morning of April 15, 1991.)

distant howl
world guiro
waves of phasing rhythms in soft focus

kitchen talk downstairs
action on the edge of the sound
tink of flatware clock chime

morning breaks pulsing bulbous
flange of air prop traffic
phasing with frog croak waves
a quivering air

frogquiversphere

we apes converse in clusters of apeclatter
even from upstairs faint as it is
the room resonance of mom & dad's Coupeville kitchen

one could imagine the frogcroaksound as single oraganism's respiration
or the ripply surface of a pond
a jet's hissy roar goes on a long time
making wavelets in the quiversphere

wind roar
an event in the deep deep bass
(big frog!)

Banned Rehearsal 430 - Karen Eisenbrey, Keith Eisenbrey, Anna K, Aaron Keyt, Neal Kosály-Meyer [July 1996]

ominous biding banshee
raucus and magnificent wail

dire
D I R E
dire

the longer the held organ tones persist
the more questionable becomes their intonation

squeaky balloon violin stylings
elephant seal bellow soulfulness electric guitar

whatever this is
it is seriously pissed

drops into conversation mood
just cranky
tarzanyell grim march

off again to wander ferocious

In Session at the Tintinabulary

October 9, 2017
Banned Rehearsal 944 - Jennifer Chung, Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer


We were in a bit of noisy mood I think.

October 11, 2017
October 12, 2017
Focus tracks - St. Rage
Distracted Driver tracks - St. Rage - Karen Eisenbrey, Neal Kosály-Meyer

We did the basics on the 11th, and filled in some extras on the 12th.


Sunday, October 8, 2017

Playlist

Live

October 6, 2017
Sean Hamilton
John Teske

Chapel Performance Space, Good Shepherd Center, Seattle

Loci - Sean Hamilton

Manipulation of resources in deliberate sequence (the activity). The angle of head on neck is crucial and exact. "My approach to improvisation is as a unique moment in time." (I think that's what he said and I spent a certain amount of time working my head around what that might be meaning). There was a moment where I imagined the surface of a moment's sound had suddenly been frozen into a prolonged static noise. It could have been any of them, but it was this one.

Vector Scores - John Teske - Luke Fitzpatrick, violin; William Hayes, guitar; Evan Smith, saxophone; Neil Welch, saxophone; Maria Scherer Wilson, violoncello

prelude
glob
dirge,,march
topographies, book ii
trashfire
short segment of long span (ad:sr)
tree


pulsing as breathing in sleep
animate glow within embers

vignettes of topographies
small framed windows looking out to vast 

landscapes
seascapes

worldscapes
move on to the trashfire

growlbigbeasts and shriekbeasts
the congress these sounds make is not proper

nor publically appropriate
but personal, adult, intimate

talk amongst themselves predicated on
their individual identities as such

not in any characteristics that could be measured
by language or money or war

the categories have been blown
up and emptied

Recorded

October 1, 2017
The Galliarde for the Victorie - William Byrd - Elizabeth Farr

Leaning forward in its chair, excited to show the next irrespresible delight.

Die Kunst der Fuge, Contrapunctus XVI Rectus / Inversus - J. S. Bach - Zoltan Kocsis

Yet another evidence of Bach's long fascination with inversion - turning tunes, counterpoints, entire musical fabrics headside footwards, fact and image.

Lonesome Blues - Louis Armstrong's Hot Five [from Hot Fives and Sevens]

It is only a fistful of practices (riffs, guides, frames) but it is enough to tell near any tale.

Triflin' Gal - Jimmy Revard [from Alan Lowe's That Devilin' Tune]

Surely this went on and on, or would have, had it not been necessary to fit it on a record.

Roll On Columbia - Woody Guthrie [from The Columbia River Collection]

Sickening how anymore the verses celebrating Indian killing are elided, repressed, denied, forgotten. It's so easy just to leave them out.


Sweet Lorraine - Frank Sinatra, The Metronome All Stars [from Alan Lowe's That Devilin' Tune]

He descends down his tessitura with style, stopping at each station, making eye contact, again and again.

Stardust - Ben Webster [from Alan Lowe's That Devilin' Tune]

The heart of the rhythm depends utterly on being able to hear his breaths. Good lesson for singing.

Divertimento - Benjamin Boretz

The midi realization forwards the plainness of the material, flat footed, uninflected neo-classical tune bits. The rhythmic gambits seem pasted on, clumsy images of unexpected or exciting texture tokens. It isn't until well into it that we discover that each just so wrongly bent move, each he can't really have meant that adjustment of the tilt, has left us hanging well out over thin air, wingless, far into the unknown, paddleless.

Vere Languores - Tomás Luis de Victoria - Lake Washington Singers, Betty Eisenbrey [from Lake Washington Singers April 11, 1961]

From my mom's tape. I remember as a small child (I was two, then, but many times, also, afterward) being sent to bed while some of the singers listened to the concert tapes in the living room. The laughter and talk of women, and voices and singing and recorded sound.

Gimme Some Lovin' - The Spencer Davis Group [collected from Dave Marsh's The Heart of Rock & Soul]

Were the drums recorded in a stairwell, the rest in a gym? Crazy.

Me and Bobby McGee - Janis Joplin [from Pearl]

Road song, names and places, evoking Guthrie, Ginsberg, Whitman. A song the story of which is the singing of songs.
And so it goes.


October 3, 2017
Iggy Talks - The Stooges [from Metallic 'KO]

And what after all did they pay for, the chance to throw eggs?

Thela Hun Ginjeet - King Crimson [from Discipline]

The drums surround the scraps of overheard disjointed story. A dangerous place, to the narrator, but the group that  jumped and intimidated were quite clearly acting out of fear as well.

Bottles - Aaron Keyt

Glass panpipe pipery shivery breath inflected pitch. I am blowing bottles in a room. hootch hoot bottle pond pondering empty bottles. Lucieric exploration of a space made both by the room and the recording equipment, heavy on the latter, and less fussy about ideal presentation. Not fussy at all, in fact.

Sittin' On A Pitchfork - Young Fresh Fellows [from Electric Bird Digest]

Beerband mock-ironic feelgood anthem. It may be where I am but I wouldn't have it any other way.

October 5, 2017
Banned Rehearsal 429 - Keith Eisenbrey, Anna K, Aaron Keyt, Neal Kosály-Meyer [July 1996]
Karen suggests, upon being informed that she wasn't credited in this one, that this may have been the privately legendary session on a beastly hot day (she being great with child at the time so choosing not to enter the oven) after which I flopped myself down into the plastic wading pool. AHH!

Forward and transparent, that is to say, loud but clear, each sound seems placed into the mix with considered intent. The violated boundary between loudspeakered and unloudspeakered. ((Time's distance allows the opportunity of hearing without self-consciousness. At the time of making one is so focused on one's own part that the whole of the sound is obscured.)) That must be Aaron's synth back there in ear-purge mode. Long loud acoustic notes shift the filling of space by the electric standing sounds. Cassette tape was our effects pedal.

In Session at the Tintinabulary

October 2, 2017
Gradus 322 - Neal Kosály-Meyer

Specifyable intent activity, morphing, alters the parameters. Starting over without rounding off. Simply stop. Pause. Start over. Doesn't clear the palate, it positions memory as perspective. Not a music for ribbons and bows.