Saturday, November 24, 2018



November 18, 2018
Quartet in B-flat Major, op. 130 - Beethoven - Alban Berg Quartett

the more these unison notes get to know their fellows not the less fellowship ensues but the more specific their intra-life

the key upon which we stand is often a bit soft
just before a cadence our feet punch through requiring detour

this warmheartening mass of stringbox resonance, if we could imagine it as arising from other means than stringboxes,
what might that means be imagined as sounding like


the key must be somewhere around here
look everywhere

The Prodigal Son - Rev. S. J. "Steamboat Bill" Worrell [from Goodbye, Babylon]

rhythm saying translation
gospel according to Rev. Steamboat

Blue 7 - Sonny Rollins, Tommy Flanagan, Doug Watkins, Max Roach [from The Smithsonian Collection of Classic Jazz]

each chord to chord sequentialization they play is cross-indexed to other songs in which such exact sequentialization pre-occurred in their individual and immediate imagination

tell me true
do I or you believe Max Roach was really keeping track of where one was through all of that?
yes, do.

Working In The Coal Mine - Lee Dorsey, Allen Toussaint [a Rescued Record]

Zoolander! or slang code?

Wheatland - Oscar Peterson, N. H. Orsted-Pedersen, Louis Hayes [from The Great Connection]

settles into frenchfilm montage mode

the happiness of it treated as one might have treated a key in other spheres

the hypothetical

Pop Pop Da Da's Empty Word Club Band - Aaron Keyt - Neal Kosály-Meyer, vocals

a precision key-bard contains its own recomposed notes (program)
what can a Da Da do? La de Da?

Da Da as (sophomoric) (insufferable) cleanser
works a charm

Hyena - REM [from Life's Rich Pageant]

the big guitar guitar guitar sound is a room they love returning to

Banned Rehearsal 274 - John E, Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [November 1991]

johnny jump up?
in the pre-garage Maple Leaf Tintinabulary
before it was infested and became


jumpup jumpup

cymbal of drumset and shrillpenny whistle join to battle high fidelity
jolly jumpup baby we have here

a drumbeat and its worthy opponents the different drummers
vowels intonate
differently hung in acoustic space
low or high on the bendy branch
rattles and cymbals totally into messing with cassette tape limits

the drums may be big in Jerseyville
but they're bigger here

6 and 3
got it to go (an ad)
Piccolos is closed! replaced by Pete's Pizza

the beads travel over the face of the ground
like a horde of antelope

there is no still point at the center of it all
Aaron sibilates a list with s sounds
everything goes (on) in the mouth
it's a stage
all the world's a

when Banned Rehearsal talks gibberish to toddlers
we overdo it
in a way that only Da Da did could

tempo on a slider

the stance from which Aaronsbundler is played
in motion
on the march

Lauda Anima - Keith Eisenbrey - Keith Eisenbrey [composed February 2001; recorded November 2018]

in my mind composing this I was focused on subverting the 4 4 4 4 -ness of it but ended up problematizing octave equivalence or non
seemed almost too simple when I wrote it, too obvious
I was wrong about that

November 20, 2018
Froggie Went a Courtin' - Bruce Springsteen [from The Seeger Sessions]

replication of field recording at the start
we are Miss Mousy
every song is a reason for a big fat singalong

Soundform I Voice - S. Eric Scribner [from Storm Sound Cycle May 2011]

or creek crease along the trail
creek cross creek crease

November 20, 22, and 23, 2018
Finnegans Wake Part 2 Chapter 3 - James Joyce - Jenken's Henchmaen [from Waywords and Meansigns]

as si fi ro bo vox overread from signalsphere
detailed language largely bulldozed by and under space
space synthesized joyce voice
as though humano-utteral rhythm abstracted from spellingplay picked up from broadcast
oaky doaky in episodes cued by interludes and breaks
gender in voice filter
knock knock
wanders off from digital filter to a more transparent sing song spoken area
it is with great relief that we
tuff as reset word
making silly voices

what might we make of the expanse of this? draw maps? train our microscopes? pursue dubious rumors of sense?

does the global, granular, and quotidian together gathered form a whole or only so if we close our eyes I believe in Fairies I do I do (Kathleen E saw them wearing boots)

suspicion :: the helps we get from our fellows indicate paths of pains of inquiry which, truth be told, have so often been found empty and wormy


one's own associations distract into the personal

we each make of it what we will
if we will
less and less do I so will

missive from distant galaxy


to decipher by xray of ruined scroll unflattenable

ends with chantish (on the) plain cloistered (in the)

November 23, 2018
Ah, miserata vita - Johann Grabbe - The King's Noyse, David Douglass [from Mascharada - Music at the Bückeburg Court of Ernst III]

oh, how compositionally arch!
balanced with clowns
so as
to cut more deeply

King Arthur Act II - Henry Purcell - Le Concert Spirituel, Hervé Niquet

barely dramatizing outside of a desire to compose a complexity of vocal presentation, spectacular!

by stringing it together
with a plot and characters

actual stage acting not required

In Session at The Tintinabulary

November 19, 2018
Banned Rehearsal 970 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt

Aaron brought over a new wind instrument, a tiny little saxophone about the size of a soprano

Sunday, November 18, 2018



November 15, 2018
Heather Bentley and Friends
Chapel Performance Space, Good Shepherd Center, Seattle

Heather/Dio Duo - Heather Bentley, viola; Dio Jean Baptiste, drums; (with Darren Palmer, video)

flutterby shutterby
seaby skyby
shorn of weight

cyclic himalayas crash the skyshore

cooperative restraint
allowance in laser focus

CHA - Heather Bentley, Amelia Love Clearheart, Carol J. Levin

giddy rhyming path
leading where it always started and began

a polydimensional shimmer song
turned a corner turned beyond the corner turned

nothing crucial not
nothing not crucial

capsules eschewed for bare feet


November 10, 2018
Stockholm Stomp - California Ramblers [from Alan Lowe's That Devilin' Tune]

for dancing Charlestons for slidy strings

Boppin' The Blues - Carl Perkins [from Sun Records Definitive Hits]

the kid's done some yodeling
catching up an octave or so in unguarded dipthongs such as "y" in "baby" or "rhythm"

What Becomes of the Brokenhearted - Jimmy Ruffin [collected from Dave Marsh's The Heart of Rock & Soul]

one wonders just how much it cost to produce this recording

all those engineers to pay
all those musicians to pay

On The Trail - Oscar Peterson Trio [from The Great Connection]

stringing a whole puppet theater of dancers
any of whom are lighter on their feet than any Astair or Kelly e'er was
one or more impersonating all or all

then things get serious

AB 7A - Throbbing Gristle [from Throbbing Gristle's Greatest Hits]

sparkly! will there be rainbows and sly unicorns?

awakes beneath it subtended slowed speech
grumbling troll

tin foil
drum snare

Banned Rehearsal 84 - Karen Eisenbrey, Keith Eisenbrey, George Kosály, Marta Kosály, Neal Kosály-Meyer [June 1986]

enthusiastic singing! a treasury to hear them unleashed
a different take on field recording
to think of it as field recording

and in comes MLKingJr
full feed back

captured or embraced by the mouths of apes

and back to the fingerspun glass rims
funmaker joins the fray

in layers like how we dress here
sound outfits on parade

grimly go we grimly go
gimly grow we gimly grow

dinly go we dinly go
and grow and grimly

oboi roi in gloire

some of these layers are rough and tough
energy relaxes so simply

Beethoven build repeats ad nauseum

add your message here

Voluntary on Old 100th - Canadian Brass [from Red, White, & Brass]

brass ensembles to organ music: what bell choir music is to piano, or halfway along
another nexus: church and art music - a stubborn one if ever was

Top of the World - Wes Weddell [from My Northwest Home]

on a Toppenish farm!

November 11, 2018
Banned Rehearsal 703 - Karen Eisenbrey, Keith Eisenbrey, Neal Kosály-Meyer [June 2006]
jittering nervously theatrical fidgets
that is
fidgets portrayed the ground as level and clear
the mountains miles away

it may be night
nay it might be

it might be May
at night, nay

a feedback hovers far off, poised
ceremonial tingling tinkling bingling and bongling
care must be exercised lest it veer too near us

bells from the rafter pendant
we zero in on it

stops and then

Bury Me Close - Rachel Harrington [from Celilo Falls]

oops! already blogged this one recently oh well
knockout melody of those words

Where Are You - Rachel Harringon [from Celilo Falls]

this is the one I should have so I did
a howl to wolfmoon human moon howl
string band sneaks up on you and is perfect before you are aware it is

Gradus 289 - Neal Kosály-Meyer [April 2016]

and the first g preceded by quite the list of notes
an abundance in which sing precise intervals
re-deconstructing in exponentially accelerating epic grandeur
a sense of a chord sound

a combination (in a rung) is a collection, a set, a bagfull, a bag
each bag being infinite in extent and content

some long no note bits are between rungs but others aren't

King Arthur Act I - Henry Purcell - Le Concert Spirituel, Hervé Niquet

the five act format works in a smaller room where the guests can accept the shorter parts as worth the size of space
a costumed oratorio

November 13, 2018
Premier livre de pièces de Clavecin - Jean-Phillipe Rameau - Pieter-Jan Belder

the end in mind at every beginning renewed
loves that low grumble
Chopinesque suggestion of contrapuntal elaboration
never acquiescing to the fact of it
a confluence - the Gavotte of this also came up in my sight-reading cycle that same morning
order among the suite parts is satisfactory but not crucial, ad hoc is ok
except the Prelude, which must be first

In Session at the Tintinabulary

November 12, 2018
Gradus 342 - Neal Kosály-Meyer

a sequence of Venn diagrams formed as a chain jumble linked by how a token is a part of a pair
Romantic Ordealism - that an artist's effort is part of the image of what the piece is as itself
plausible melody and polyphony

November 13, 2018
Lauda Anima - Keith Eisenbrey

I wrote this chorale prelude in 2001 for organ, and only had to make a few adjustments to make it work for piano, which version I present here.

Saturday, November 10, 2018



November 4, 2018
Banned Rehearsal 273 - John E, Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [October 1991]

I am about
in tone nation
of tempo

sticks to its guns
in the red toad hall
the piano of eliza act 2

hearing J grow before our ears
becoming conscious of one's own sensations
nursery song for the young to join

I'm trying to figure out who's playing what
but the math doesn't work out
pretty certain me on piano, and Aaron on brass
so if Karen is plucking the pluckinator who's holding the baby?

domestica moltissima

a trope of complaint about free improvisation is that it always devolves into increased volume competition
this is the counterexample

a diaper is changed right there on tape

a forest of intervals none heard ever before
we wallow so in the the revel of our mis mal in tone nation

in all the ways
can be

Pressure Drop - the Specials

as the verse descends stepwise
the word repetition spreads
the pressure drops

Carpe Diem Carpie - Wes Weddell [from My Northwest Home]

fishy fish tale
that giant golden horse trough in the sky

We Shall Overcome - Bruce Springsteen [from The Seeger Sessions]
Songs from the Voices on Earth - S. Eric Scribner - Ivan Arteaga [from Storm Sound Cycle May 2011]

an ambience created on the fly cooperatively
Ivan's friendly inquiries toward the sound around him

November 6, 2018
Finnegans Wake Part 2 Chapter 2 - James Joyce - Ollie Evans and Steve Potter and Co [from Waywords and Meansigns]

M Python radio play in a blender
overheard at its rehearsal
overheard at toothbrushing

multiplex the multiplex narratorices
over the backdrone
classroom at attention

such as it may be
studiorum upstarts
to me or not to me

the game goes on
distinctly understuttered
incipit intermissio

from the table
over a book
read by another

November 8, 2018Concerto in G BWV 1048 - J.S. Bach - New London Consort, Phillip Pickett

shuffling through the stacks for
great oh yeah I remember that's sooo cool! things

deep in the stacks
subindexed scary bass (truly)
almost forgot myself

query the first: how might this have sounded then?
query the next: given how it might have sounded then, among those possibilities, how amazing might we make it sound this time?

Quartet in A minor Op. 132 - Beethoven - Alban Berg Quartett

thoughts circulate in contemplation of an enormity or
but we really can't just not
(a distracting toy)
seek chapelic comfort

4 Organ Preludes - Brahms - Craig Cramer

the tug-o-war among:
the instrument
the space
the score
the performance
the sheer sound
the recording
the abstraction

[blogger's note: Bach Beethoven Brahms (alphabetical order too!)

In Session at the Tintinabulary

November 5, 2018
Banned Rehearsal 969 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer

November 10, 2018
Maple Leaf 181110 - Keith Eisenbrey

I recorded some birds in our backyard this morning

Saturday, November 3, 2018



October 28, 2018
You Need Jesus on Your Side - Deacon A. Wilson [from Goodbye Babylon]

each phrase in verse or chorus is a vector of rhetoric, preaching in the structure of preaching

Footnote to Howl - Allen Ginsburg [from Holy Soul Jelly Roll]

hideous human angel ho(w)ly the fourth dimension kindness of the soul

Variations for Orchestra - Elliott Carter - Chicago Symphony Orchestra, James Levine

films projected on all the walls around us
but not always on all or more than one
we seek out wheretoward to attend
balancing systems of rhetorical affect
with systems of pitch

as rhetorical affect is used to clarify the pitch
the patterns of rhetorical differentiation are exploited with the hard edged systemic rigor image

to keep it civilized

the actual facts of the system
are so many red herrings

Soft Winds - Oscar Peterson, N. H. Orsted-Pedersen, Louis Hayes [from The Great Connection]

playing the recognizableness of a tone
oh that's this
knows he's on to something
but doesn't allow much high art pretension to show

Trust Your Mechanic - Dead Kennedys [from Plastic Surgery Disasters - In God We Trust]

not a happy surfer's surf rock wave
rather a rocket car g-forced blubber face

Banned Rehearsal 83 - Karen Eisenbrey (Meyer), Keith Eisenbrey, Neal Kosály-Meyer [May 1986]

soft ball
some background noise
like a distant subaquiescent engine
softball game
repetition brings comfort
from this stability
we make inquiries
kitchen vicinity acoustic
running water
harmonica and softball shaped clay ocarina
proximity effect as improvised compositional device
at the half house pushing to 100
my tub filling in a microphoned house
running water to which we warble
mitt glove!
sneaks upon one in two
Karen to be always being present as transparent image of presence

all oc
oc mit

improvisation as conceptual multimodular composition thinking
bathtub clangy delight
Neal supplies the "the"
article to which the all is applied
and why

among our finer moments even though talking in it
extraordinarily focused on its soundworld
one channel is where Neal goes to play by himself
a guitar chord plucked?
NO! clavichord tangented
a new sound

Fear Bitterness and Hatred - The Young Fresh Fellows [from Electric Bird Digest]

67ish mini big guitar

"...woe my road is spoken..." 060604B - Keith Eisenbrey

string quartet for robot string quartet
getting there

Dark Star - Youth Rescue Mission [from Youth Rescue Mission]

grownup song
nicely layered backing vocals

Something of Mine - St. Rage [Karen Eisenbrey and Neal Kosály-Meyer vocals and instrumentals, recorded and produced by Keith Eisenbrey - April 2016]

in a can luscious

October 30, 2018
Concerto in G BWV 1049 - J.S. Bach - New London Consort, Philip Pickett

spendthrift rubato
if you want it straight go down the street
3 magic strokes and they appear
lofted free
shadow lines scribble and scribble cleared outside
extra dry tremolo shiver guiro

Finaletto "Di si felice innesto serbiam memoria eterna" - Rossini - Failoni Chamber Orchestra (Budapest), William Humburg, Roberto Servile, Sonia Ganassi, Ramon Vargas, Angelo Romero, Franco de Grandis, Hungarian Radio Chorus [from The Barber of Seville (Highlights)]

over before you know it
time to hit the road

Grosse Fuge in B-flat op. 133 - Beethoven - Alban Berg Quartett

tries an ill-fitting subject on for several sizes
various success
fugue and continuous granular variations
it will never fit
none of it

Trio in E minor op. 114 - Brahms - Walter Barylli, violin; Franz Koch, horn; Franz Holetchek, piano

clearly, this was ripped from vinyl, but by whom?

single thread music
3 distinctly produced sounds become one melodic thread

November 1, 2018
Your Enemy Cannot Harm You (But Watch Your Close Friend) - Edward W. Clayborn [from Goodbye Babylon]

replacement of (words) by (fancily vibratoed high guitar)
rather a bleak sermon

Pent-Up House (excerpt) - Sonny Rollins [from The Smithsonian Collection of Classic Jazz]

head repeat serves a stabilizing function like binary form repeats in classical
especially as here where the phrases skew off meter

Visions of Johanna - Bob Dylan [from Biograph]

cultural imprint
his luck and talent and skill to have hit upon a rubric in which any can find themselves

until you step back a tidge

Just Squeeze Me - Oscar Peterson, N. H. Orsted-Pedersen, Louis Hayes [from The Great Connection]

differentiates threads of tune by how they hang in the swing

Log P - Keith Eisenbrey, Neal Kosály-Meyer [November 1981]

keyboard dueting
perhaps too compatico
nice vibrato on the stop tones though

Adeste Fidelis - London Symphony Orchestra, et al [from Listen To The Joy]

I hope they all got paid.

In Session at the Tintinabulary

October 29, 2018
Gradus 341 - Neal Kosály-Meyer