Sunday, April 28, 2019



"Whereas in everyday speech we tend to use words and syntax more than we savor them, passing through language in order to communicate or glean a message, when w listen to music we tend to attend differently: individual moments, and successions and interactions among these moments, are what music is, they are why we listen."
- Dora A. Hanninen "Words, Musical Organization, and Boretz's 'Thesis'" Open Space Magazine issue 19/20 fall 2015/spring 2016



April 23, 2019
Sonata in G Major, K.2 - Domenico Scarlatti - Pieter-Jan Belder

short term

is a

to game

a cloak
for the large scale tricks to play beneath

I'm Only Sleeping (take 1) - The Beatles [from Anthology Vol. 2]

jangleguitar and dead aim vocals
a bit of shaker

The Man I Love - Thelonious Monk [from The London Collection]

TM thinks like a singer
and that singer's ideal accompanist

:: to what extent
moment by moment ::

to let the chords carry the song
and exactly when and how precisely, to be sure the tune is played straight

From a Whisper to a Scream - Elvis Costello [from Trust]

flabs out

In Session at the Tintinabulary

April 22, 2019
Banned Rehearsal 980 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer


doch klimmt sie in oben stand es binden
die drei zum felsen auch die jungfrau sprach
in dem soll herz wird munter er sterben

the numbers reduced irretrievably
to little dots that flash

Sunday, April 21, 2019



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



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

oh all
that is strong

oh each
that is specific

oh so
much that is irrepeatable

a pirate legend of the mean teen seas

song doesn't get much better
than this

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

it stays put
saturated smoothed lacquered

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

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

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

swing with an accent
hunky hunky chunky chunky

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

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

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

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

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

sequences extend just a bit longer into iterationality here and delighted

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

mostly vibraphone and some drums
rather attractive

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

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

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

You - The Who [from Face Dances]

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

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

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

Reaper Song - Witchy Poo [from Kill Rock Stars]

but entertaining standing laughing

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

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

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

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

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

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

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

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

In Session at the Tintinabulary

April 15, 2019
Gradus 346 - Neal Kosály-Meyer

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

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

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

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


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

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

Saturday, April 13, 2019



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


Philipsburg, Montana fixture part

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

like finding someone's old shoe

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

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

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

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

I See Stars - Screaming Trees [from Clairvoyance]

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

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

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

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

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

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

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

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

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

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

cinematic Valkyrie schrei

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

the scary kind
root magic

April 9, 2019

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

not that one
but another

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

knowledge and remembering
kicked out of the projects

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

Stranger In a Strange Land - U2 [from October]

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

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

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

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

at drums me
at piano Neal
at harmonica Karen?

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

Karen reads the paper

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

last day
Sunnyside School District
hey hey hey

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

In Session at the Tintinabulary

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


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

would draw thunder
the lion in my wall

Saturday, April 6, 2019



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


Maryhill Stonehenge

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

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

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

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

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

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

pumped for mayhem

Loser - St. Rage [June 2016]

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

nice job guys!

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

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

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

loose and playful

Some Other Time - X [from Wild Gift]

expression on face: grim, stiff, determined

Radio Head - Talking Heads [from True Stories]

toy orchestra in lego land

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

we do love our guitar players round these here parts

Track 3 - Seattle Chamber Music Festival [July 2001]

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

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

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

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

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

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

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

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

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

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

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

Planet Earth - Duran Duran [from Duran Duran]

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

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

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

tape is running
you have been immortalized

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

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

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

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

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

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

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

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

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

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

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

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

Here they are again.
late night rough
wrinkled plenty

In Session at the Tintinabulary

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

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

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

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

April 1, 2019
Gradus 345 - Neal Kosály-Meyer

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

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