Saturday, October 12, 2019




"Text #5 'utility, quality'

'masterwork art, definitive formulation, validated method are among the crotchety gluttons at the feast of brotherhood; not its hosts'"
J. K. Randall - "Fontainebleau" News of Music May 1985



October 5, 2019
Orchestra Seattle 
Seattle Chamber Singers
William White, conductor
First Free Methodist Church, Seattle

Vast Array - Carlos Garcia
Changer Story - Roger Fernandes, storyteller
La Création du monde - Darius Milhaud
The Earthmakers - Carol Sams

Roger Fernandes told us a story about how Beaver made the world.

Carlos Garcia's piece seemed, to me, underdone, full of color and full of color, but dearthed of payoff.

I believe this is my first go at the Milhaud.

Carol Sams pulled out all the stops and then some. A huge piece for masses of folks. I might be able to get a better bead on it if I were to hear it alone. That is, I'm having more and more trouble these days with masses of folks performing for masses of folks. Much of this problem is simply personal to me: I am less and less comfortable being one among a large audience. It stresses.

Prom Queen
October 11, 2019
Prom Queen's 5th Anniversary 'Midnight Veil'
Gala w/ Von Wildenhaus
The Triple Door, Seattle

For our 33rd anniversary Karen and I went out on the town to hear two extremely sexy singers in pretty dresses, each backed by bunches of dudes with pretty guitars and other gears. There was also a film made of music videos from Prom Queen's album Midnight Veil. We had a grand time.


October 6, 2019
The Purposes and Politics of Engaging Strangers - Benjamin Boretz - Benjamin Boretz, John Peel, Penelope Hyde, The Barrytown Orchestra, The Goleta Anarchist Music Ensemble

Jim (Randall) says
public art
starting now from here a question arose
that's where quality was thrown (into consciousness) like trash in a can
impervious to analysis or discourse
the very purpose of structure is an alienation of expression
how might one describe a word

the difficulty in producing masterwork art, is that it, as a thing, was never there in experience to experience

to refer to any particular creative expression as a masterwork necessitates the activity of pretending the existence of the class

bridge parts
do we believe in the presence of masterworks
the utterances of the knights of most worship

ontological angst
expressive coexplorer

context can not be a method
stubbornly nonverbal facts

should problem people
logically be ostracized altogether

Humoresques - Antonín Dvořák [from Naxos The Very Best of Dvorak]

silent movie music
a story teller's music
its enchantment

Banned Rehearsal 797 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer
speaks in communal percussion tongues

the sound is delicate
and directionality is surreally specific

transgressory tom tom
top to bottom

hear this message from your local bodhrán
Neal ponders the train 16 coaches long

there are characters representing a rhythm section
and chord changes and song lounging not on stage

Helluva Mountain King - Chaotic Noise Marching Corps [from Zero to Lizardman]

pretty darned fun neighbors! punkassgrieg.

October 7, 2019
Sonata in D K. 45 - Domenico Scarlatti - Pieter-Jan Belder

full of   hesitancies

like clock cogs

Messiah Part 2 - George Frideric Handel - Atlanta Symphony Orchestra & Chamber Chorus, Robert Shaw, Kaaren Erickson, Sylvia McNair, Alfreda Hodgson, Jon Hmphrey, Richard Stilwell, Layton James

to his credit he is clearly concerned with being certain that the words are understood, in every syllable of them

but why do we like sheep?

glorification of the kinginess of Christ
expedient in a monarchy

Lift Up Your Hearts - Lake Washington Singers, Betty Eisenbrey, director [April 1966]

Outside The Rain - Stevie Nicks [from Bella Donna]

another one drifts off
none listen to the end anyway

October 8, 2019
Kosály-Meyer 3 - Anna K, Neal Kosály-Meyer [October 1986]

five thousand seven hundred and forty seven
flies on the wall

a quiet dripping measures the conversation
a guitar is plucked
two strings alternating irregularly, open, framing a sung tone

later a conversation in fowl or wee critter talk

names of the actors

October 10, 2019
Nightingale Whistle - Aaron Keyt [from November Choses]

I was going to listen to the whole set of choses this night
but realized after a few seconds that it was too intense far for that sort of nonsense

bales and whirds
their calls submerge

languid and shrill jungles joined at the solvent

Bake Eyes - Yuni in Taxco [from Sanpaku]

the jangle of it, bright, overwhelms

a tiny careful tingly shape

Loser - St. Rage [at the Common Good Cafe, August 2016]

a determined loser
powers attitude through to level two


begins to sing in the second longings
1 of the first stanza concerning this
dark night and its happy traits about which

everything cold
is colder
the blankness of my walls

Saturday, October 5, 2019



September 29, 2019
The Memory of All That (pre-release version) - Benjamin Boretz - Megan Berti, mezzo-soprano, Zuzanna Szewczyk Kwon, piano

the setting
if such it is
attends the rhythm and structure of the argument
as much if not far far more than the meaning of the words
or of the whole, of its sentiment

the rhythmic structure of the argument being
as much if not far far more what it means
as what the words end up saying

Huge Guy In The Mosh Pit - St. Rage [live at the Common Good Cafe, Seattle, August 2016]

the words
mosh pit
sung or shouted
as a single word
equal accents or nearly so

Sonata in G minor, K. 43 - Domenico Scarlatti - Pieter-Jan Belder

the rhythm of its formal discourse
patterning its procedures

formality concerned with formality

El Salón México - Aaron Copland - New Philharmonia Orchestra, Aaron Copland

our own unearned exotic
Northern European derived culture in a clash with Iberian derived culture
mixed with our collective unspoken sins toward our native cultures
North and South translated to the New World
which is as old as ours was

the tell: the folk elements treated as primitivistic color

When the Kids Get Married - Harvey Schmidt - Mary Martin, Robert Preston [from I Do! I Do!]

sax and violin
the oldest team in Vaudeville
(nothing else holds fashion)

Donnerstag aus Licht Act 2 - Karlheinz Stockhausen - Michael Angel, Paul Sperry, Markus
Stockhausen, Annette Meriweather, Suzanne Stephens, Elizabeth Clarke, Matthias Holle, Mark Tezak, Alain Louafi, Majella Stockhausen, Michel Arrignon, Hugo Read, Simon Stockhausen, Chor des Westdeutschen Rundfunks Kolne

waiting with stagy impatience
for something

occupying itself
thumb twiddling
left to its own devices
a(n) [insert collective noun here] of practice rooms


everybody is in their own individually packaged muffle room




Just a Touch - REM [from Life's Rich Pageant]

perfect example of what the 80s sound could be
I wrote the word "ouffit" and then "ooffit"
I might have meant "outfit"
not certain
nor what I might have meant by it

String Quartet 2 (Quasi una Fantasia) op. 64 - Henryk Gorecki - Kronos Quartet

incremental disbetterment
something is always still, always hard, scarred
repetition disrupts

who can pen the most dire quartet?
big accordion chords wheeze in the warm strings
all those little wooden boxes set a quivering

always heavy
a weary ever so weary load

those noisy obfuscations are really noisy
its narrative is a jumble
and then he practically plays Silent Night for us

Hallelujah - George Frideric Handel [from Robert Shaw Master of the First Art Vol. 1]

repetitions in stepwise increments
a bit of Scarlatti's formalism as formalism game

"Strummy Song" - Bob Dylan [Key Arena October 2006]

tangled up in blue?
a rhythm section is only as valuable as the freedom it allows

October 1, 2019
Gradus 196 Part 2 [at Chapel Performance Space, August 2011] - Neal Kosály-Meyer - Neal Kosály-Meyer

some foreign agent is making clanky sounds
perhaps they were outside the Chapel
knocking pipes about

learning to press the keys one mechanism at a time
in all the combos of key mechanisms there are
the nearly infinite machine
first rung (of these two): two notes - low and mid
second rung (of these two): one high A

laughter in another more distant sounding space leaks in to this one

throughout of course the fluctuating hish of people-moving machines, their engines, their tires on pavements

the goal is to learn to play piano
by playing this piece which is a piece for learning to play the piano
but only in the sense that this piece and the piano are the same
playing anything else isn't playing the piano in the sense one is learning to play by playing this piece

Siberian Delirium - Crystal Beth and the Boom Boom Band [from Yugen 3]

a hard tight wad in the high back nasal space of the mask
as though robotic

October 3, 2019
Sonata in F Major, K. 44 - Domenico Scarlatti - Pieter-Jan Belder

Scarlatti is that fellow you always knew or suspected was worth chatting up
and really was

listening is a life hack
reckless with trajectories

Les Eolides - César-Auguste-Jean-Guillaume-Hubert Franck - New York Philharmonic, Kurt Masur

about the downbeat
before it
after it
just above it

buoyant beat
no beat without an essential qualification (not a beat until qualified) (only a beat in that it is qualified)
predicates an invisible bass line
surreptitious line logic

the itness of it is deeply concerned with the preceding and succeeding its of its itnesshood (Daseinsheit?)

Batman - The Who [from A Quick One]

popronicity badge achieved
television and rock and roll
reverse engineered for flavor

Moon Over Main - Dead Kennedys [from Plastic Surgery Disasters/In God We Trust]

close interval yodel echoed by guitar
benefits heavily by being indecipherable

gamer music
each segment a play level
playing with what would be fire in firmer hands

That Was Your Mother - Paul Simon [from Graceland]

bar talk story
and the science of the groove-like groove

In Session at the Tintinabulary

September 30, 2019
Banned Rehearsal 990 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer

As we were playing I noticed that the tiles on one edge of the drop ceiling my Dad and I put up 25 years go were sagging alarmingly next to where some had fallen several years ago. Now I need to decide what to do about it. In the meantime we rattled around the room.


morning and the sun was mounting willingly
and the time arrives which laechelnd winkt und
19 sinnend kind betrueben fleht hat

but the troll said (and hungrily
too) I'm going to eat you
the sound

Saturday, September 28, 2019



September 21, 2019
graphic scores by John Teske
Chapel Performance Space, Good Shepherd Center, Seattle

Any Ensemble:
Greg Campbell, percussion
Luke Fitzpatrick, violin
Haley Freedlund, trombone
Nel Kennon, viola
John Teske, double bass
Neil Welch, saxophone


by the fucking neck
bone flute
libera me
brain slap
klaxon wail
papercut butterflies
blood on the hearth
death rattle

to imagine how fine any ensemble might sound
imagine them tuning

it never isn't tuning
pitch match activity

attention drifting through a space not designed to be attended by that particular attention



d'y'wan'a tune again?

all together
now a tuning
might be a polyvalent trajectory interwoven


dance -cession :: (pro-) (re-) (ob-)

September 22, 2019
Bill at 93: Clarinet Works of William O. Smith
Gallery 1412, Seattle

Variants for clarinet alone (1967) - Eric Mandat, clarinet
1412 (structured improvisation, 2019) - William O. Smith, clarinet; Greg Campbell, percussion
Epigrams for clarinet (2009) - Robert Spring, clarinet
Evening Ritual (2019) - Rachel Yoder, clarinet
Jazz Fantasy (2019) - Jeffrey Cohan, flute; Tate Cohan, oboe
Five (Six) for clarinet ensemble and clarinet soloist - William O. Smith, clarinet; with Deanna Brizgys, Jesse Canterbury, James Falzone, Beverly Setzer, Rachel Yoder, and Jenny Ziefel; Paul Gillespie, conductor

Largely possibly due to the long residence here in Seattle of William O. Smith, we have an
embarrassment of riches in the clarinet department. On this night that cup ranneth over.

September 26, 2019
Canções Profundas (Deep Songs)
by Steve Peters
Greg Campbell, percussion; Jesse Canterbury, clarinets; Lesli Dalaba, trumpet; Amy Denio, clarinet, saxophone, voice; Steve Peters, saxophone; Christian Pincock, trombone; Joshua Parmenter, additional electronic processing; Rafael Carvalho, viola da terra


is land
by its shore

is an 
experiment in

a sweep upward
a most 


even from afar

from which
how strange this other
shore must be

and vast


September 24, 2019
Come Thou Fount of Every Blessing - Robert W. Thygerson - University Temple Chancel Choir, Chris Vincent, conductor

with a light touch airborne dance

O Magnum Mysterium - Morton Lauridsen

really really gooey
lives to linger

Gradus 107 - Neal Kosály-Meyer (October 2006)

the first 6 A-naturals one more time

The silences could be where it is going on elsewhere
prone to wander, Lord I feel it

high tones suddenly close, poke lights

you awake?

In Session at the Tintinabulary

September 23, 2019
Gradus 356 - Neal Kosály-Meyer

Obvious Observation:
When there is only one note in play, that aspect of musical curiosity that might be called the "which note(s) next?" anxiety is set aside.

leaving: when? how loud? how pedaled? how prolonged? how terminated?

When there are two, anxiety returns

a book
on each page a word
and an aperture

through which aperture
can be read all or some part of
the word on the next page down
or not
in both directions


any more than what is works are fixed what
know how to live without spiritual
or temporal things as substance passive

a crow in the distance
to tell them through the middle
to see how far reaching

Saturday, September 21, 2019


"Snowflakes, maple leaves, spots on leopards, stripes on zebras, palm fronds, banana skins, identical twins, lizard's tails, men's eyes, women's toes, Joans and Johns differ, each unto themselves. For physical survival, I need to be able to distinguish each lizard and each mushroom. For psychic survival, I desperately want to be able to distinguish each eye and each leaf and each E-flat. How not always to think in terms of terms and kinds and types is hard work; the eschewal of broad generalizations and categories, cases and classes takes time. But there's always an unexpected payoff when I try.

Virginia Woolf said simply 'Think of things in themselves.'"

Elaine Barkin "Rules of One's Own" from "e : an anthology"



September 7, 2019
Sonata in D minor, K. 41 - Domenico Scarlatti - Pieter-Jan Belder

a mock fugue
a probable canon

like JSB, the contrapuntal conceits are just the ground, the bramble through which what it actually is

Messiah Part 1 - George Frideric Handel - Atlanta Symphony Orchestra & Chamber Chorus, Robert Shaw, Kaaren Erickson, Sylvia McNair, Alfreda Hodgson, Jon Humphrey, Richard Stilwell, Layton James

An historical thought:
in our culture composition is considered to be an intellectual activity, the province of experts, geniuses, immortals. but listening is for anybody. Why is that? Ben Boretz says "Listening is primal composition."

One problem with music such as this, in one's own tongue, is that the word painting sticks out.

It is orchestrated like a brick wall.

An amusing tidbit:
the use of wordpainting is often pointed to, not just to help neophytes into the listening, but also as the very fingerprint of genius itself. I aver that that is most certainly what it is not.

now become a cult classic
sing along
like Rocky Horror Picture Show

A Quick One, While He's Away - The Who [from A Quick One]

in the image of Bob
but the scenes change

how many songs is this song?
Story line: a really good stupid movie.

September 10, 2019

Year 1 - X [from Wild Gift]

In my confusion I had conflated X with Talking Heads. I got most of the way through without cognitive dissonance, trouble-less, before I clicked back. Many of my favorite Talking Heads songs are by X.

It Came Upon a Midnight Clear - London Symphony Orchestra [from Listen To The Joy]

but it was so polite you missed it.

Desert Angel - Stevie Nicks [from Timespace]

memoir song
desert storm I suppose
one of those designer label wars from the '90s.

Das Dörfchen - Franz Schubert [from Robert Shaw Master of the First Art]

piano may as well be
not there

Rain In The Dust - Robert Tree Cody, Will Clipman [from Heart of the Wind]

The reverb makes it difficult to hear what sounds the lips are making. Short.

September 12, 2019
Gradus 196 part 1 - Neal Kosály-Meyer [live at the Chapel Performance Space August 2011]

Chapel, at the
which has a low breathy tone about it just catching air as it does
one should not hear the entrance

one should be being social during the entrance
then, once social being is done
come in

some organism is making a blowy noise on something

windy in the real world tonight
Donnerwort! for real in the world tonight!
September of storms

So why is it this luscious recorded ambiance should so luscious be, as compared to any, including this actual ambiance?
Because it is a layer upon experience : experience experiencing

far far away rumble
somebody's rattling dishes

bit closer that one
long long rumbly sky

each A a mark

slowly doing doings
are afoot

September 17, 2019
Hjarta og Eldur - SeaStar [from Never Go Back]

of heroic deeds and dire

Sonata in B-flat Major, K. 42 - Domenico Scarlatti - Pieter-Jan Belder

perfectly ordinary
were it not for that bit that hangs
and quite tiny

Central Park In The Dark - Charles Ives - Saint Louis Symphony Orchestra, Leonard Slatkin

layers combine but never bend
forever incongruous accumulation to no end

Dry Bones - Lake Washington Singers, Betty Eisenbrey [April 1966]

no trombones in this one

Leather and Lace (remastered) - Stevie Nicks [from Bella Donna]

public analysis of self with other :: thin
not as affecting as would have been hoped
another half song
in all sorts of dimensions

September 19, 2019
Amazing Grace - Neal Kosály-Meyer [San Diego, October 1986]

and its pitch set as ordered and inflected
as I imagine it might be like, mutatis mutandis, to understand a raga from within its womb
gospel raga blues
composition in minute differentials

{NB: Neal sang the hymn unaccompanied in an empty church for 47 minutes}

On Excursion in Portland and Environs

September 13, 2019
4 33 Hawthorne Bridge Song - Keith Eisenbrey

No blog last week because we were in Portland so that Karen could help staff her publisher's booth at
the Rose City Comic Con. I took a walk around the Willamette River. Under Hawthorne Bridge I stopped and recorded cars on the bridge deck above me. All I had was my phone, so that is what I used.

Steel Bridge - Keith Eisenbrey

On the north end of my walk I recorded this train crossing Steel Bridge.

Robert Meyer Tour - Keith Eisenbrey

We were staying with relatives in Milwaukie (Karen's Dad's Brother and his Wife). Uncle Bob showed me, with demonstrations, his fine collection of brass instruments.

Gramophone Demonstration - Keith Eisenbrey

Then he demonstrated one of his gramophones. This was one where the stylus moves up and down and the diaphragm is horizontal to the record's surface - like as if a snake had swallowed a silver dollar - and the records themselves are nearly a 1/4 inch thick.

September 14, 2019
Propane Tank Bell - Keith Eisenbrey

The next morning I recorded the sound of the bell that hangs outside their front door, made from a propane tank.

Steel Bridge (Worthy) - Keith Eisenbrey

I had left Karen at Comic Con and walked to a spot on the esplanade near the Steel Bridge to record the sounds of traffic and Max trains crossing. It ended up being an excellent spot also for passing cyclists, scooterists, and pedestrians. I had been sitting there for about 30 minutes, reading a magazine, when a younger man - mid 40's perhaps, with an intense air, wound tight, asked if I was going to be there a while and would I watch his wallet and stuff. After some confusion on my part, having not been expecting to be addressed, I agreed. He told me his name, left his phone and jacket and perhaps a syringe. "Nitro"* he said, if you do drugs. I told him I didn't. Then I told him "Come back soon," which I had to repeat. He seemed focused elsewhere, pumped, psyched up.

He met a younger man with a skateboard a few dozen yards away and together they walked out onto the walkway under the bridge. My heart began to pound some. They got to a point just before the first support. He removed his shirt, looked over both sides of the walk. He hoisted himself, gracefully, onto the rail, then back to the walk. He replaced his shirt, climbed back to the rail and with a dramatic sweep of his arms leaped feet first into the Willamette.

He surfaced quickly and began to swim to shore. His companion came back near to where I was sitting and clambered athletically over the rail and, apparently, down the embankment. A few minutes later they both re-appeared over the rail, the leaper dripping wet, and recovered his belongings.

I had been considering what to say, finally settling on "That was an extreme baptism." He said "I like that." His companion said "That was awesome," and they walked on south along the esplanade. It's all on the recording, including the splash.

*listening back I realize that my memory had failed on this point, even though I wrote the story down just a few minutes after the fact. He actually said they were his nitroglycerin pills, concerned I suppose that I might think they were worth experimenting with.

Max Train Luna Milwaukie - Keith Eisenbrey

On the orange line back to Milwaukie the announcer kept saying "Linea de Milwaukie." (I hope I spelled that correctly. My Spanish is shamefully nonexistent.) I turned my recorder on too late to capture the line, but the moon was out, hence the Luna.

In Session at the Tintinabulary

September 9, 2019
Gradus 355 - Neal Kosály-Meyer

no end in mind?
the mind can't conceive of this end
to which there is no approach

September 12, 2019
O Ewigkeit, du Donnerwort (one way) - Keith Eisenbrey

The third chorale in my chorale project, being the twelfth part of Études d'exécution imminent.

September 16, 2019
Banned Rehearsal 989 - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt

We are back indoors for the fall and winter and spring.

September 19, 2019
O Ewigkeit, du Donnerwort (other way) - Keith Eisenbrey

The fourth chorale of the above, being the same tune, but blandished an other way.


the and the the weather be very fine
usually congregate below a
clerk's improved is seat who could be wife on

we turn a corner
in stop frame motion

Saturday, September 7, 2019



September 1, 2019
Peter Piper - Lake Washington Singers, Betty Eisenbrey, director [April 1966]

an adorable plush toy of a piece

Big Sister's Clothes - Elvis Costello [from Trust]

His song smithery is respectable
though I'm not sure those weird sound intro-outro bits do it any favors

The Turning - Screaming Trees [from Clairvoyance]

Syd Barrett in the new world

Jeremy - Pearl Jam [from Rearviewmirror]

this song doesn't need its presented size in sound, this need to fill a large space, inflated into stadium architecture. It belongs in a cosmically smaller sort of infinite space. There is no room, no crevice, withintowhich we might slip secure.

Ave verum corpus - Wolfgang Amadeus Mozart - Atlanta Symphony and Chorus, Robert Shaw [from Robert Shaw Master of the First Art]

that moving inner voice on the im of immolatum
a spark to die for

Carnival Overture - Antonín Dvořák [from Naxos The Very Best of Dvořák]

barker, more like
Come on in! Thrills Chills Romance and Joy!

wonder magic

Gradus 195 - Neal Kosály-Meyer - Neal Kosály-Meyer [August 2011]

3 rungs in memory of John Cage the rehearsal
measuring out a long space circling past fixtures
then relativistically from the other side having been passed over after passing over the threshold to an otherly measured time

another thing Gradus is:
as the whole of Gradus is:
a piece about thinking about pitch space that acts like a micro-neural network brain flash

a crawler arising from within its own context
alarm will sound
distant accordions on the echo walls

Ocean Ambience Rocky Coastline Vol. 1 Part 1 - Pete Comley

the sea snores by the sea shells
and we have heard her
the sea caressing smooth her pebbles
for how long has the sea been making sand

the hands of the sea beat the drums of land

the lands are plate drums
the sea drums

shakes us through our soles

September 2, 2019
Sonata in C minor, K. 40 - Domenico Scarlatti - Pieter-Jan Belder

in imitation of another's manners
theater of being
mimics and coerces

Symphony in D Major (#2) - Jean Sibelius - London Symphony Orchestra, Colin Davis

his ways
to count 3
to meter 3

That tune is such a diva!

If there are scenes they move.

not scenery, but that too
and all within the path of the melody wheresountowhere'ere it goes
(nice job on the timps back there!)

heroic postures
somewhere between Duck Dodgers and Alberich

a composer who, as a theater manager keeps intricate track of his props

entry through the gates triumphal and pomp and there are the crowds and there the streamers
Daddy's home.

granular melodic synthesis
(one of the great tuba parts of all time)
nationalistical, natürlich

September 3, 2019
Where Are The Snows? - Harvey Schmidt - Mary Martin, Robert Preston [from I Do! I Do!]

is an interesting question, considering they wonder nightly and twice if there's a matinee

Dead End - Dead Kennedys [from Plastic Surgery Disasters/In God We Trust]

2-bit even among the sophomorics

Assembly Rechoired 7 - Karen (Meyer) Eisenbrey, Keith Eisenbrey [September 1986]

We had some technical issues, but this is the first tape we made in the big Greenwood House whereintowhich Karen and I moved just before we got married.

mountain dulcimer and penny whistle
(there, I fixed the missing channel)

on my part mostly obsessively noodling on small instruments - penny whistle & monochord - perhaps in an attempt to feel comfortable with them

funmaker in a new space
the phone rings
domestic: music made within house life

September 4, 2019
Once - Pearl Jam [from Rearviewmirror]

too much Bono in this one for my taste
the song is packed to the point of homogeneity

Dona nobis pacem - Johann Sebastian Bach- Atlanta Symphony and Chorus, Robert Shaw [from Robert Shaw Master of the First Art]

slow tempo nearly inert fiddly bits clarify their function without giving away their destination, which simply arrives because there it is

Banned Rehearsal 709 - Karen Eisenbrey, Keith Eisenbrey, Neal Kosály-Meyer [October 2006]

one is not articulate upon a device
it doesn't pay to pretend to be

and if:
one is articulate, in some or any sense, upon a device
it does not pay to pretend not to be

it is not a simple nor quick task
to discern which you may be upon any given device

one makes the attempt in good faith
with ears open

so that:
the benefits of sticking with it long enough to discover something
emerge resplendent

The Memory of All That - Benjamin Boretz - Megan Berti, mezzo-soprano; Zuzanna Szewczyk Kwon, piano [from Open Space 31]

the doubled struggle of
finishing a word
and sounding an interval

the tempo of the argument
as it destroys
its erstwhile subject

the piano sounds are a posture
within the stating voice

Half a Bus Closer to Home - St. Rage [at the Common Good Cafe August 2016]

"Carol Anne would have been ready to go." (Karen to Neal, who was tuning the guitar again)

In Session at the Tintinabulary

September 2, 2019
Banned Rehearsal 988 - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt, Neal Kosály-Meyer

On the porch as the September evening darkens and quiets
Aaron warblers his warbler


australian the years buried beneath that
black cloud the cultural I told him it
was supposed to my primary task to

through matrix
trace result
sand paper

Saturday, August 31, 2019



"Imagine, I say to myself, that each time you listen to music, you are hearing it as if it is being
composed, invented, impromptu, for you, each time you listen. Clearopen your mind and ears and listen to what you hear as if you've never heard anything quite like it before. You are the traveler who does not prepare for an approaching journey by reading every book on places to be visited or sights to be seen, the traveler who awaits what there is to be discovered and who might not mind getting lost once in a while -- not the traveler for whom descriptions and reproductions and photographs become, or subsequently remain, the reality.

And here I am reminded of a quip I came across last year: A grandmother is wheeling her grandchild in a carriage. A stranger stops, looks in, and exclaims, 'What a beautiful child!', to which the grandmother replies, 'Yes, but you should see his photograph!'"

Elaine Barkin "In Your Own Verse: a.k.a. 'An Alice is Lost'" from "e : an anthology"



August 24, 2019
So Sad About Us - The Who [from A Quick One]

love the luh luh luh luh luh luh luh bridge

Donnerstag aus Licht Act I - Karlheinz Stockhausen - Rundfunkorchester Hilversum, Peter Eotvos, Robert Gambill, Michael Angel, Paul Sperry, Markus Stockhausen, Annette Meriweather, Suzanne Stephens, Elizabeth Clarke, Matthias Holle, Mark Tezak, Alain Louafi, Majella Stockhausen, Michel Arrignon, Hugo Read, Simon Stockhausen, Chor des Westdeutschen Rundfunks Kolne

They sing past each other.

All those resources harnessed, disciplined, brought to bear, and in the end it seems, largely, to be an exercise in exactly that: resource accumulation, hoggery.

not particularly anything ever at any moment nor in any part

dead pan plastering of the infantile upon the impenetrable

opacity upon opacity exhaustively exhausting of any energy

nothing feeds back
nothing touches

one way communique

August 25, 2019
Assembly Rechoired 6 - Karen (Meyer) Eisenbrey, Keith Eisenbrey [August 1986]

Historical Note: This is probably the last half house session ever.

trademark bell clang then du then the music box given to me by the jerk of a landlord when I was living in the barn in Red Hook drummer dog cymbal ape entertainer given (music box) by Tina at work choo choo train

That sound is probably the rock played by the bone.

the rock gong the bone I found as a kid in Freeland on Holmes Harbor the pickeldu the chinese oboe my mom gave me for Christmas one year (now the "Obo Roi") the bug guitar (garage/yard sale, Freeland) the alligator that lives in the bathroom given to me be Alison W on my birthday conch shell given to be by my parents african horn given by parents for Christmas 1985 3 little bells (junkshop in Kingston, New York) with trademark bell for $20 shopping with Charles Stein bamboo flute my brother gave me bass ocarina that Karen once played for an entire session the whistle bought the same day I bought the guiro AND the funmaker 5 string guitar the funmaker or a march in d minor the swing real slow.

It can do lots.

but we have limited time harmonica (my brother) train whistle (parents)  boatswain whistle Karen's uke the one with the notes on the front so you know how it's tuned the recorders (my brideprice, inventory of) claves (Nogales, my mom's) bell (little brother)

This bell has the white house and the capital building souvenir stand outside of the commerce building in Washington DC toy piano (Jaymar (now destroyed)) the one string indian ukulele gourd rattle (Nogales) drum rattle on a stick given to me by Pam from San Francisco guiro sacrificed to the loft

the clavichord the right maraca and the left maraca bunch of beaters and it in turn is playing the guitar should we play the march? el march, el Aaronsbundler

Even Flow - Pearl Jam [from Rearviewmirror]

the sound you get when you dive right in fuck it all rimshot backbeat

Rex Tremendae - Hector Berlioz - Atlanta Symphony and Chorus, Robert Shaw [from Robert Shaw Master of the First Art]

remember :: first tenor :: high C

Shaw is getting some interesting theatrical tempo effects, and now I am interested in what he was thinking for the whole Requiem. He plays every event as an interruption, which is actually a pretty amazing moment by moment elucidation of what he was digging about this piece.

August 26, 2019
Gradus 106 - Neal Kosály-Meyer [October 2006]

still back in the 30 minute session mode
completion of the first 6 A naturals
yet another riff on the stretches where nothing happens but waiting  for the stretch where nothing happens to be done, and dogma.

vis-a-vis 4'33", i.e., the sounds that are out there in ambienceland are part of the music

well, possibly. but what if I deny it?
as in, why insist on that way to take it?
what if those sounds out there in the ambience just don't cut it for me? as music? fall flat?
frankly, what I find more interesting is the development of pitch composition within these limited sets of notes, intentionally maximizing potentials
the very antipode of emptiness

August 27, 2019
Tumbi Medley - Balvinder Mast [from Bollygood vol. 1]

a stringed instrument plucked and light percussion with some fluid roll to it
too bad it's stuck in pop four four

Focus - St. Rage [at the Common Good Cafe August 2016]

and now
Barbara's back!

Sonata in A Major, K. 39 - Antonio Scarlatti - Pieter Jan Belder

clown act

balance pole

structural ornamentation

Symphony in D minor (#3) - Gustav Mahler - London Symhony Orchestra, Georg Solti

the deeper harrumph
bottoms out

I'm so dired

operatic songform overladen with dramatic context

the chorus of
interrupted by the chorus of
upted by the

stretto interrupto
now he has gone and got it great with soliloquy

without a stage, this music is incomprehensible

songs in the between story
ghosts everywhere

The pleasure of Mahler, if such could ever be a pleasure, is following the twists and turns of chromatic implications within the part work

his swift changes of focus, near to far, though, never quite manage the swiftness of CPE Bach's cognitive re-groupings, it is far too elephantine to thread those mercurial needles

In Session at the Tintinabulary

August 30, 2019
Aus Meine Herzen's Grunde - Keith Eisenbrey - Keith Eisenbrey

Several years ago I embarked on a large group of works for piano, not completed yet, far from it, under the common title Études d'exécution imminent. The 12th item in the group, composed in 2017, is a set of 12 settings of chorale tunes chosen from the justly famous Bach-Riemenschneider harmonized and figured chorales. Simply put, I have used the chorale tune as a cantus firmus from which to hang pitches derived by an ad hoc cycling through of a matrix of mod-17 ordered interval classes, highlighting the strangeness of the relation between sets of interval classes and their respective inversions. This is the first of those 12.

Grant us sleep - Keith Eisenbrey - Karen Eisenbrey, Keith Eisenbrey

August 31, 2019
Our food our lives - Keith Eisenbrey - Karen Eisenbrey, Keith Eisenbrey

Before we got married I asked Karen to write two prayers for our future family life, one for bedtime and one for mealtime. She did. I then set them so that they could be sung and presented the scores to her as my wedding gift. The score of the bedtime grace hangs in our bedroom, and that of the mealtime grace hangs near the table. We have been singing them daily now for nearly 33 years, but had never recorded them, so now I did.


limited is measurement for some p such
may be independent p as e.g.
interval similitude subsets as

sliding through the splash
a striking music
of such murders

Saturday, August 24, 2019



August 17, 2019
Thollem/Boschnack/Denio Trio
Thollem McDonas, Samantha Bischnack, Amy Denio
Chapel Performance Space, Good Shepherd Center, Seattle

simultaneous layered narratives
in a more natural way than film, for instance, can achieve by doubling the image over itself
more like split-screen
but the split is within the hearing ear

Thollem (on piano) uses the single note trill a lot
a go to performance practice
like Scriabin

one from among them suggests or ignites
the others conjoin in invention of the suggestion
which activity has both a different aim and a different result than Banned Rehearsal's active reluctance to take a lead or allow one

quick reps of finger, tongue, and embrace

has also come to peace with its adeptness and that of its participants

gestures form a path through pitch

repetition of tunes across instruments doesn't really make it more coherent
rather, it demonstrates that the layers across which repetitions are passed are distinct, which pressures against any pulling toward unified integrity.

Liszt tricks

Amy shares

[NB: a lovely evening guys! we had a superbulous time!]


August 17, 2019
The Honeymoon is Over - Harvey Schmidt - Mary Martin, Robert Preston [from I Do! I Do!]

Something is bubbling back there in the orchestra, boiling water sounds perhaps? They play domestic friction for
show biz spectacle.

Caribbean Wind - Bob Dylan [from Biograph]

A background sound in one segment is
"ssshhhh (pause) hhhhse"
whispering in, whispering out

careful handling of the ends of lines, the ends of stanzas
what lingers on when the thought pivots around

Nowell-Dieus vous garde - The Boston Camerata [from A Renaissance Christmas]

The means of written music's elaboration, at that time, was just being invented, and was limited by the features of that notation system. This overcompensates for the paucity of its means by the sheer wonder of its fancy.

Trophy - Geto Boys [from We Can't Be Stopped]

"M----- F-----" and the other profanities serve partly as rhythmic filler, a fall back stance within a sophisticated rhythm speech.

August 18, 2019

O magnum mysterium - Tomás Luis de Victoria - Atlanta Symphony and Chorus, Robert Shaw [from Robert Shaw Master of the First Art]

as architecture
this composition is designed to waft sound explorator sounds into it
into architecture (the space formed by brick&mortar or stone&wood)

this music is composed
to inhabit the space
with us

|||| an aside ||||
a possible issue with electronic music arises here:

:: It can be, if it allows itself to be, designed with a null space in mind.
but can it be heard if the space of its hearing is null, or is that another take on Ben's an-echoic chamber?

And I stood . . . soul to soul - Bob Dylan [live at Key Arena October 2006]

song title anyone?
occupies the emotional "My Way" spot in the set list

a positive virtue: Bob doesn't easily feel uncomfortable in any American genre. The blues is the music we breathe.

vis-a-vis the space this was performed in (Key Arena):
It is simply not possible to occupy it with sound
No sound can illuminate this architecture, designed to be dead

Banned Rehearsal 796 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer [August 2011]

The Tintinabulary, however, as a space, as an architecture, has going for it:

:: the use of proximate space, i.e., the microphone is not a neutral co-occupant of the music's chamber box. the instruments we play, in playing them, talk back. but the talk back ought not always to be obeyed ::

|||| an other aside ||||
a possible issue with parametric composition:

:: sometimes the sound of the pitch parameter detaches from its source, its time point parameters ::

some duck call playing the roll of cartoon baby crying
a duck telling long-winded jokes

a scherzo of a type

I believe I am doing most of the keyboards, but I'm not sure who was playing the push button toy guitar

a lovely session, in fact

some sounds are made by a thing and sound like it
some things sound as though grounded nowhere, parametrically disjoined

Fickle Sun (I) - Brian Eno [from The Ship]

Ambient in that it hopes to transform one's ambience
colonize it completely

pounding beat, honest, quite violent too
but occupies that space in a way very like that of de Victoria

that being
its architecture is a space to occupy

ambience enfolding engulfing submerging

August 21, 2019
Sonata in F, K. 38 - Domenico Scarlatti - Pieter-Jan Belder

Classical tonality, as here, privileges scale degree function to the point where register becomes transparent, mutable

more parametric mind games

Etudes-Tableaux (selections) op. 39 - Serge Rachmaninov - Evgeny Kissin

The role, in the structure, of the individual note, has been subsumed, Lisztified, beneath chordal sonority, i.e. the sonorities made by simultaneous strike of multiple pitch events.

(The gooey symptom of which pointillistic practice was or could be or could have been a cure)

proliferation of voices and histories
these voices here arise from the dead
(but)/(and) quite entertaining from a strictly pianistic point of view

In Session at the Tintinabulary

August 19, 2019
Banned Rehearsal 987 - Karen Eisenbrey, Keith Eisenbrey, Anna K, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer

on the porch
we make another attempt
to merge with the neighborhood of noise


spirit as well by reason of the
lowliness and the condition of this life
known nor possible obtained to john pater

oblique voice
circle voice

Saturday, August 17, 2019



"Music journalism survives through the continuous propagation of compositional 'movements',
endlessly contending in mutual exclusion and hostility for some ultimate 'supremacy', the achievement of which creates, for a brief Hegelian moment, a new Establishment that is, in its turn, opposed and overthrown. In this our journalists are the victims of their own dedication to hyperbole and generality; for they are frequently left unable to describe a musical work except as a type, a pawn in an ideological conflict whose 'outcome' is the only evident substantive issue. And when works are so regarded, they are described only in terms of their most immediate 'typical' characteristics, whose significance seems to lie only in their contrast with some other, contending 'school'. Perhaps this tendency results also from the considerably greater ease of describing a composition in terms of what it is not than in terms of what it is as a unique realization of particular musical ideas."
Benjamin Boretz "2.26.68 Journalism" from "Music Columns from The Nation 1962-1968"



August 10, 2019
Finnegans Wake Part 1 Chapter 2
performed from memory by Neal Kosály-Meyer
Gallery 1412, Seattle

earth side hoist
a cad with a pipe
here comes everybody
imposing cobweb crusted corks
may his hairs be rubbed in dirt


August 10, 2019
Sonata in A minor, K. 36 - Domenico Scarlatti - Pieter-Jan Belder

through-composed artifice
every other aspect of experience is banished and vanished
clarity alone remains

Way Faring Stranger - Lake Washington Singers, Betty Eisenbrey, director [April 1966]

alto solo
verse with oooo's in the upper voices
then another canon
this world of woe

Around And Around - Moe Tucker [from I Feel So Far Away: Anthology 1974-1998]

flat line delivery
except or also the "woo!"

not exactly a cover of the song
more a re-imagining of both the song and energy from which it sprang

Banned Rehearsal 103 - Karen (Meyer) Eisenbrey, Keith Eisenbrey, Aaron Keyt [August 1986]

wound strings are like long guiros
longitudinal scraping
ukulele and ocarina comment
working it like sawing or sanding
ocarina player switches to harmonica

intent: keep sound going, all of space filled
an urgency to continue in like tempo
steady state

pressure applied for metamorphic hopes
not without some success

It just takes some time.

We can relax,
having managed to get somewhere.

We have entered that temple of chapels through which the Wurlitzer wanders, singing praise to noise! praise to noise!
flutes descanting in its train

Now it is time to operate some devices and make rubbings. Wagner is pelted by balloons and bells. O the glorious Rhein rising! We play the stage machinery.

Is it safe yet to emerge?
We do anyway. Clean up the mess. uh oh. Aaronsbundler.

August 11, 2019
The Other Level - Geto Boys [from We Can't Be Stopped]

porn fan fic

Wie Lieblich ist deine Wohnungen - Johannes Brahms - Atlanta Symphony and Chorus, Robert Shaw [from Robert Shaw Master of the First Art]

In Chopin the strange counterpoints that shape the melody's harmonic heaving are never whole, but persist in hints and patches only. Here they are worked out to the nth, and Brahms is desperate to insist that you hear that he has worked them out as he surely has.

Gradus 105 - Neal Kosály-Meyer [October 2006]

resonance is what reaches out to us
binding sounds
testing the limits of contact

Is there a chaos between touch and not touch?
a touch at the limn of release?

August 13, 2019
Tre Duetti - Elliott Carter - Rolf Schulte, Joel Krosnick [from Milton Babbitt: A Composers' Memorial]

the heart of thought laid bare

{extraneous performance noise: humming, breathing, podium creaking, turning pages. The line between acceptable and irritating is personal. For me, any voiced vocal noise is a problem, (because it's pitched?). Herein I am more than willing to overlook the humming for the other strengths of the performance.}

Distracted Driver - St. Rage [at the Common Good Cafe, August 2016]

trending on twitter
eating marshmallow peeps

In 2016 Karen's YA urban fantasy novel "The Gospel According to St. Rage" was released. This was from the book release event, in which Karen and her brother, Neal Kosály-Meyer, posing as St. Rage, the fictional band within the book, sang the songs Barbara, her fictional hero, wrote.

And Hey! That book is being re-released soon! Now available for pre-order, and soon to be followed by the sequel, "Barbara and the Rage Brigade".

August 15, 2019
Sonata in C minor, K. 37 - Domenico Scarlatti - Pieter-Jan Belder

For those with ears to hear, Scarlatti thinks in naked composition with a forthrightness that neither Haydn nor Beethoven could quite manage. A perfect match of means and ends, i.e., music, as such.

Symphonie in C minor - Camille Saint-Saëns - Orchestre du Capitole de Toulouse, Michel Plasson

not room to breathe
but briefly
room to recall

oh the Schubert oh the reminiscence
via Mendelssohn and Berlioz and Tchaikovsky I think
the elan of chops standing in for invention
check in with past glories for the I recognize that bit jollies of the cognoscenti (the cogknows?)

something about the way it builds from scraps prefigures Sibelius
and it is never not lively in transfigurations of its idée fixe
every moment of every moment is melodically charged
Busoni was soon to till this same field
then it goes gleefully oratorical-finale-fugue-ish on us
Bach obsessed, but aren't we all?
grandiosity to the max maximum maximaxiest
music designed for the architecture it was meant to fulfill

In Session at the Tintinabulary

August 12, 2019
Gradus 354 - Neal Kosály-Meyer

molecular soup hanging just above its atomic base
free floating melody and harmony parts
flotsam with potentialities


the sprung based as we have certain conditions
must be industry sinks the rapidly
to impose him sink state that it has no

pitch bent mind time
want to stop
go for a walk