Saturday, November 30, 2019



"...does a musical image incandesce because it flashes forth by a twinkle of surface the full depth of the pool of reference on which it floats? Floats: The twinkle is the depth's edge, ultimately depthlimiting. twinkle at poolbottom, and there will be only flat bottom perceived; but twinkle at top, and there is a pool to float over felt, surface, depth, bottom, all together. So the experience of riches of musical depth comes by way of the acuity not the complexity of the musical surface; all is conveyed by the explicit sparkle of that twinkle: high atop a deep or boiling or tranquil or shoalfilled current; or just a map of the bottom of something or other. Still waters evaporate, vanish in sands, leave perception high and dry; to keep buoyant the flashes must flicker evernew dimensional senses (not another pool over there, but another depth, an unpremeditated cove, an elusive channel, connected within a timespan of spacesense: the pool reshaped as twinkles unveil newfolds, eddies, islands, inlets, changes over time become part of what it is: roiled, glossy, ripply, sparkly, gloomy, gleaming, reflected invert blueskybowl: time, shaped over time; space, shaped over time; (leafflutter: a still image that only a movie camera can record).) And if the texture datasaturates, repletes unto itself, color neutralizes, drains: demorphizes. If the reference is the surface, then the incandescence never glows."

Benjamin Boretz "Mirage - benjamin boretz notebook entries 1974-1976"
from "Being About Music Textworks 1960-2003 J. K. Randall Benjamin Boretz Volume 1: 1960-1978"



November 24, 2019
Cricket - Aaron Keyt [from November Choses]

a rhythms three be these:
one | first | too fast to count the clicks || tempo flexible
two | second | not quite too fast to count the clicks || tempo stable-ish
three | third | too slow to count a tempo at all

Deathwish Moss Lawn - Yuni in Taxco [from Slow Charade]

Syd Barrett in #Electronic #Ecstatic #Bath

Thanks Everybody - Karen Eisenbrey [St. Rage Book Launch, August 2016]

the legend of the magic hat

Sonata in C minor K. 56 - Domenico Scarlatti - Pieter-Jan Belder

uses every part of the meter
every portion's part
even the oink

to build above the meter
a stunning over-arch


Secret Love - Billy Stewart

pan placement:

left || right

space between | |

a countable set of locations
from which sounds are presented as coming from

Edge of Seventeen (Early Take) - Stevie Nicks [from Bella Donna]

The words can mostly be understood,
which ends up being neither here nor there.

the lines are chosen by their phoneme mix and pattern
symphonic projection a given

Clairvoyance - Screaming Trees [from Clairvoyance]

tightly held affectual range
from part of verse to part of verse
so that the very simple is
within its context

Symphony in G Major (#8) Op. 33 III. Allegretto grazioso - Molto vivace [from Naxos The Very Best of Dvorak]

music harking back
symphonic music as such

what an extremely odd thing to have ever occurred to anyone to do
19th Century Synthesizer
Berlioz Model

ZFP All 110917 - Keith Eisenbrey [September 2011]

exploring the notion of signal
the dragon of cyclicity itself
lower to higher

meta instrumental

[I wanted a wide and dense frequency band to play with]

we make sense of music with the same innate desperation with which we make sense, or attempt to, of talk

long range translation of transformed duration pattern

I waited out the reverberation of the strings

we hear these events differently for having heard them before differently

Skateboard - Low Hums [from Shine Rock]

hiding behind an effects wall


definitely two words

November 26, 2019
Sonata in B-flat Major K. 57 - Domenico Scarlatti - Pieter-Jan Belder

Keep each phrase in its own pocket.
(to show how it's done)
motoric continuity honored in its breach

Is there a music more tempting to analyze than this?

Strawberry Fields Forever(demo sequence) - The Beatles [from Beatles Anthology Volume 2]

an image behind
what we now all know it became

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

a relief

November 27, 2019
Banned Telepath 7 San Diego - Anna K, Neal Kosály-Meyer, Yvonne Meyer [November 1986]

This was part of what was eventually assembled into Banned Rehearsal 105. I was amused that I was listening to it on November 27, 33 years to the day after it was made - if Neal labeled it correctly. Karen and I made a tape in Bickleton on the 28th - see below. Later in December Aaron was visiting us in Seattle so we made a third Telepath. The whole was finally put together early in 1987.

guitar (acoustic): the tongue drum (now living in the Tintinabulary, beneath the xylophone, next to the little marimba): kitchen implements. A song (Neal), sudden: Just Another Thanksgiving

Either Neal is bending pitch habitually or there is some variability in the tape mechanism's speed. Flute holes are blown across. thudding drumming - as might be box or suitcases: lip vibratories, tubes activated, running water into a sink in the distance, tiny rattles up near, occasionally steady pulse gets going, but low key not unduly coercive

The Telepath Project was, socially, a binding mechanism. It gave us, even before all the marriages, a way to continue to interact with loose coordination across distance and time. In this session no intense energy is expended on the task of performative projection, and yet it wanders by now and then.

with mute object
in water

An A-list Novel

Crow Call - Aaron Keyt [from November Choses]

as with JKR's pine cones

and response
and grapple

Into The Night - Ancient Warlocks [from The Superwizard 7" Single]

the live version
was heard recently
this being
one of their songs
(as in songs)
it's a whole thing

pronouncement production
accent accentuation
all led by the beat or rhythm section

beat factory
pulse grooves
surfers' waves

That's just how you have to say it to stay in the tube.

That Last One - Karen Eisenbrey [St. Rage Book Launch, August 2016]

I like how my recording picks up the audience reaction, Nan's laugh.

November 28, 2019
Sonata in C minor K. 58 - Domenico Scarlatti - Pieter-Jan Belder

chromatic fugato passing through the diatonicscape

Strawberry Fields Forever (take 1) - The Beatles [from Beatles Anthology Volume 2]

The metrical flow of the text drags against the friction of the one two one two one two one two of the instrumental/vocal pitch partitioning

Think About It (Alternate Version) - Stevie Nicks [from Bella Donna]

a letter of support and advice, set to a generic tune

O Little Town of Bethlehem - London Symphony Orchestra [from Listen to the Joy]

a perfectly good singalong song overencumbered with orchestration

First Contact - Robert Tree Cody, Will Clipman [from Heart of the Wind]

flute and drum support a single unison tune
never straying far from each other

Gradus 197 - Neal Kosály-Meyer [September 2011]

is not as simple as
high tone low tone in between tone

there is more audible sound signal in the low
i.e. the low contains or includes high, while the high does not include or contain the low

moving from one extreme through the middle to the other, there is a shift in depth

obvious stuff, but worth bearing in mind when relying on register as a compositional determinate

squeaky pedal

If: the point is to compose
and if: the point is to not compose a piece
but to compose without composing a piece
then: Gradus is a systemic solution attempt
an experiment

Shizukasa - Paul Kikuchi [from Autonomic]

so let us wallow
in low tone roll around
mid tones enhance

November 29, 2019
Sonata in F Major K. 59 - Domenico Scarlatti - Pieter-Jan Belder

the fine and politic art of hijacking an answering phrase

Sonata in D minor Wq. 62/15 - C.P.E. Bach - Miklos Spanyi

cobbled together from un-like-to-be-fitting parts
phrase elision: the sense that a note not the beginning has become a beginning
its form identity elided
a never was, except as an anticipation of a now narrowly avoided

La Forqueray - Jacques Duphly - Christophe Rousset

a graciously lyrical continuity, so civilized!
then another, for distance

Roll Up The Ribbons - Harvey Schmidt - Mary Martin, Robert Preston [from I Do! I Do!]

a little waltz for two
waiting for you

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

a strong song for DK, benefiting again from incomprehensibility

Banned Telepath 7 Bickleton  - Karen Eisenbrey, Keith Eisenbrey [November 1986]

Karen reads from Barbara and the Rage Brigade
Neverending Bookshop, Edmonds
upon guitarbody

the dragonbody
snoring in the corner

layers of armored scales

tempting the dragon
to peer through
a tiny aperture

to appear

little drummy sounds on the guitar or som'm

Karen's drums were still in Bickleton, perhaps we brought them back with us that trip?

Intent on composition the same way that Gradus is (see 197 if\and if\then above)

drum whispers
in dragon's ear

dragons sure are stage hogs

oh and now we sneak up on
once again

The Aaronsbundler is

:: at which silence falls

goes elsewhere
back to guitar
Karen bumps the drum
drawing down to its
scaly bed sleep

In Session at the Tintinabulary

November 25, 2019
Banned Rehearsal 994 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt

Neal is home rehearsing for an upcoming Finnegans Wake Chapter. We carry on. Beatnik Blanket Bongo.


it into little shouldn't give does tell
i'll show you minister into orange
crates he nails bookcases aside all the

it is violet now and I am not
der Mond scheint
the time

Saturday, November 23, 2019



"We, in other words, presume to decide and create what reality is to be, while you presume that what you decide and create is what reality is and must be. Ladies and gentlemen - metacolleagues - I submit that we are both at the very least insufferable, and share a common stake in concealing from the innocent world our social unsavoriness. That, in fact, is why we both need humanists and journalists to misrepresent us publicly as if we had permissible manners and redeeming social value. Lord help us all if they ever turned on us the sharp critical tools of our own methodologies, in place of the nice soft soap they have been accustomed to use. Until that fearful juncture, at any rate, we can share at least the tranquil joys of that impunity which comes uniquely of being thoroughly misunderstood, even by one another."
Benjamin Boretz "Musical Cosmology For the Physics Section of the American Association for the Advancement of Science, Boston, 2/19/76"
- reprinted in "Being About Music Textworks 1960-2003 J. K. Randall Benjamin Boretz Volume 1: 1960-1978"



November 17, 2019
Selections from The Sound of Music - Lake Washington Singers, Betty Eisenbrey, director; JoAnne Deacon, piano [April 1966]

with interludes
to take us one song to another
JoAnne in fine fettle

Hey! That's my own Mom singing Lonely Goatherd and Edelweiss !!

The Highwayman (Remastered) - Stevie Nicks [from Bella Donna]

the likes of those
country watershed, denizen of

gaudete, gaudete - The Boston Camerata [from A Renaissance Christmas]

a concertante (quasi)

Across Lapland - J. K. Randall [from Open Space 39]

fitting for variations of the theme and kind
composer in the works

Ask Your Question Mix K - Your Mother Should Know [September 2011, remixed January 2013]

2 3 four
quite fine in many ways

Circles - Ease [from Roots]

Gothic Buzzcocks go ro co co
sci fi action adventure
very guy

November 19, 2019
Sonata in G Major, K 55 - Domenico Scarlatti - Pieter-Jan Belder

How do these disparate tonalities seem to go together
with each other?
How is this a piece?

image of an intricate mechanism

Symphony No. 3 - Aaron Copland - New Philharmonia Orchestra, Aaron Copland

a panoply with motor pulse stand in for tour guide
all gung ho muscular Americana
with a pudgy sentimental filling
orchestrated to sound fine in the cinema
bright and brassy

Copland tries on Shostokovich's glasses

Hey hokey folks! Let's tip cows!

activity above all
motor it!

Also sprach Captain America

for all the bombast, fails to deliver

November 21, 2019
Arkansas Traveler - Louis Riendeau and Larry Reindeau [from The Art of Field Recording Volume 1]

what language is that? Swedish Cajun patois?
music interloped with crazy talk story talk
tight knots of pitch work
learned that in Canada

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

true colors for the preacher man
pablum for the disaffected 13 year-old

Assembly Rechoired 9 - Alison B, Karen Eisenbrey, Keith Eisenbrey, Nan H

homely and meta
subdued stereo spread
rattles ease it open

each of us
does the best
we can
to transcend
all of us together
and still be each of us
each of us gathered

holy bone
a relic
from a

Holy Cow!

In Session at the Tintinabulary

November 17, 2019
My soul doth magnify the Lord - Karen Eisenbrey, soprano; Keith Eisenbrey, composer/piano

I have been working for many months, in fits and starts and putterings, on a setting of the passage in Luke known as The Magnificat. Karen and I will be presenting it at the 10:30 Service of University Temple United Methodist Church, Seattle, a week from this Sunday, on December 1, 2019. The modifications to the King James version of the text are mine.

November 18, 2019
Gradus 359 - Neal Kosály-Meyer, composer/piano

single time of attack
of instantiation
start point

temporal order doesn't interfere with registral order or dynamic order (though d.o. here tends to also
be flat (unordered) or believably so.

register determinate
segments bundled

can stick in a register
or wander
or reach out from
or pulse
or slosh

figuration matrix:

| single pitch || single start |
| duple pitch || duple start |
| single pitch || duple start |
| duple pitch || single start |

November 21, 2019
O Lamm Gottes, unschuldig - Keith Eisenbrey, composer/piano


it begins to sing in the second verse
fired with love's urgent longings 1 of the
first stanza concerning this dark night and it

blunders ahead

Saturday, November 16, 2019



"The kind of analysis undertaken in connection with such constructional systems as those of Carnap's Aufbau, and The Structure of Appearance also represents an intensely practical matter for art, since the very identity of an art entity is a theoretical construct quite remote from the pragmatics of object-identification in the physical world. Art entities, in fact, may be said to have identity as entities of their types just by virtue of being identifiable as interpretations of a general notion of entityhood within that type. Therefore, the extent to which they can be determinately recognized as particular entities of their types depends first of all on the generality of the concept of entityhood they are regarded as interpreting. And secondly, the degree of their particularity depends on the number of intervening concepts that can be, or that are, invoked between the atomic and the global levels, concepts which distinguish and order subentities as the ultimate determinants of the global structure. Thus the salient characteristic of an art entity may, most generally, be considered to be its 'coherence'; and the extent of its coherence, and hence of its particularity as a work of art, may be considered to reside in the degree and nature of determinate complexity exhibited in the ordered structure of subentities of which it is a resultant."
Benjamin Boretz "Nelson Goodman's Language of Art, from a Musical Point of View
(for the Sixty-Sixth Annual Meeting of the American Philosophical Association, Eastern Division, on December 29, 1969, at a symposium devoted to Nelson Goodman's Languages of Art.)"
- reprinted in "Being About Music Textworks 1960-2003 J. K. Randall Benjamin Boretz Volume 1: 1960-1978"



November 9, 2019
Seattle Composers' Salon
Chapel Performance Space, Good Shepherd Center, Seattle

Carson Farley
Garrett Fisher
Clement Reid
Satchel Henneman

Two Movements from Mirror Sonatina - Carson Farley
Clement Reid, piano

has a map
we build congruities and how
Satie and silent film pianistimism

Clement played magnificently. This is a huge sonatina.

Seven Raga ??s - Garrett Fisher
GraceAnn Cummings, piano

we are introduced to, and led to believe in, those cadenza cliches because they are masks, clever and attractive, somewhere between Short & Johnson
experience sharing

Explorations (excerpts) - Clement Reid
Clement Reid, piano

My issue: I was having trouble hanging with it, mostly due to exhaustion (long week at work). However, I do have some stray thoughts about playing "inside the piano" that don't necessarily pertain to this piece exactly.

A. The mechanism of a piano's action is a technology that has been fussed with for over 200 years, in order to maximize the flexibility and transparency with which an operator can manipulate the hammers and pedals. The scaling and voicing is adjusted meticulously to provide a believably homogeneous sound across its range.

B. Most pianists spend countless hours in the practice of playing the keys (outside the piano) and the vast majority of the literature is designed to be thus played.

C. Pianos have an exciting quantity of long wires, a huge soundboard, and all sorts of other ways to make sound upon them.

D. While the piano keyboard itself has become largely regularized, the parts inside, both the actions and the frames upon which the wires are stretched, exhibit a surprising variety of designs, such that a pianist can't rely on finding that the harp practiced upon will be the same as the harp found at performance. Especially at the lower end, where the wires cross over each other, a needed note might be found to be inaccessible at performance time.

E. The confluence of the above has possible consequences, among which might be: A performer might be less comfortable, and thus, possibly, less effective, playing inside than outside; The awkwardness of reaching over the keyboard and pinboard into the innards can be a fraught theater.

:: I have written reams of piano music, and only once*, long ago, indicated anything that wasn't "fingers on the keys." I haven't found a need for it yet. I am not a purist however, and willingly improvise in and out and all over anything I can find, pianos included. ::

*Well, twice, if I count clavichord scores and include the suggestion in Another that the performer might try playing the piece without first filling the instrument with ping pong balls.

X (where X = Your Name), thus: Trevor O'Laughlin - Satchel Henneman
Trevor O'Laughlin, double bass

if there were more frames
with a yell and story

this was quite lovely


November 10, 2019
Sonata in D Major, K. 53 - Domenico Scarlatti - Pieter-Jan Belder

We delight in the ease with which the charge can be communicated through the medium of the structure of the diatonic collection.


What exactly is this tonal meaning overlay that we so easily call forth
and to what deafness does it tempt us?

Symphony 3 "Camp Meeting" - Charles Ives - St. Louis Symphony Orchestra, Leonard Slatkin

an honest attempt is made to write the National Music of America
his stated aspirations surpassed his executive capabilities

we sure do like a rousing march

dense with implied intent
surreal metrical modulations

Disguises - The Who [from A Quick One]

in a box
in a box

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

an eruptive

Assembly Rechoired 8 - Karen Eisenbrey, Keith Eisenbrey [November 1986]

Isn't this what all newlyweds do?

(getting a hum in one channel or a buzz)

Is that the bugle? It would have been new to us, from Coupeville
(Freudishly mal-typed Coupleville)
 a Honey Moon bought antique.

the sound this projects to us is not the sound one could possibly imagine as somewhere from which a professional would deign to record. Our habitat.

A new bell?
Possibly, this is that time in my life when I no longer knew all that I had. I was rich. I play duets with myself as a way of keeping my brain active, like crosswords.

What is the acoustic structure of the dreaded 60 cycle hum? discern within the Fourier transform which perturbations arose mathematically and which evidence outside influence.

Our neighbor comes by for a favor and a cat skritch. We leave it to the cats. Anarchy and Amnehitabel. Listen close. We hear their purr. We show sounds to the tape. Those cats are making noise at us. We demonstrate how making coffee sounds back in the day. Espresso spaceship landing. That was Amnehitabel purring. We were so pleased we could make espresso together in our own home.

cast a nets
the Funmaker makes fun in the big house out front

Karen castanets
was this elsewhere???

Anvil - Aaron Keyt [from November Choses]

an underground conspiracy of metals
longest delayed ever of the fourth fugal entrance
at the end
the waiting for it game

Jobs, Jobs, Jobs - Nate Omdal [from Seattle Jazz Composer's Collective Volume 1]

improv rudiments
the drumming

November 12, 2019
St. Rage Book Launch - Karen Eisenbrey, Neal Kosály-Meyer et al [August 2016]

open with a song
Carol Anne would have been ready to go.

this book's sequel will come out in just a few days!!
What's in the bottle?
Fairy tale flavor
the sequel in the works even then

November 14, 2019
Sonata in A minor, K. 54 - Domenico Scarlatti - Pieter-Jan Belder

such fragile thoughts
pried apart

rhythmic relations among the augmentations of contrapuntal rates of sequencing
oo la la! Eat that, Brahms!

Carmina Burana - Carl Orff - San Francisco Symphony & Chorus, Herbert Blomstedt, Lynne
Dawon, John Daniecki, Kevin McMillan

admirably articulate, dynamics less compressed than often on recorded media. An actual stepped continuum. lighter sound smaller forces allow crisp quick tempos (not always exactly together, alas, but usually so)

demonstrates how little gargantuanism does for it, it-ness-wise.

Theater of tempi of time rates

In Session at the Tintinabury

November 11, 2019

Banned Rehearsal 993 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt

And then there was pear apple crisp

November 14, 2019
Der Tag, der ist so freudenreich - Keith Eisenbrey

My 2017 chorale setting.


away somewhere weeping and wailing and
panting for breath sonia and polenka
rushed bring stupid behind policeman with

(arranged my tapes in three neat little stacks)
carrying a sack of gold
a bird flutters through the sun

Saturday, November 9, 2019



"Thus, in the public view as well, 'great' music remained inextricably associated with 'big' music. The prevalence of this attitude is perhaps most strikingly revealed by the Hollywood movies about musicians that proliferated in the thirties and forties, in which the great musical moments are never at recitals or during performances of late Beethoven quartets, but in those strange Hollywood concertos that, by stringing together bunches of candenza-flourish clichés without much attempt at actual coherence, were a far more devastating parody of Romantic nostalgia than the wildest flight of dada ever conceived."
Benjamin Boretz - Music - The Nation: October 26, 1963, reprinted in Being About Music, Textworks 1960-2001, Volume 1



November 3, 2019
Sonata in D minor, K. 52 - Domenico Scarlatti - Pieter-Jan Belder

a gracious home
designed in a single breath

Symphony in G (#4) - Gustav Mahler - Berliner Philharmoniker, Bernard Haitink

out of doors in the air
possibly haunted
those wafts of ghosts
what are they?
perhaps the dead of many wars
perhaps the skeletal framework of the monarchical order
perhaps the near future
a wandering day
stomp your boots coming in

languid evening in the home
over pipes and tales
one of the servants has a scordatura
so picturesquely quaint

evening quiet
full satisfied
don't look behind the screen
let's not talk of that
as the not talking of that wafts through empty halls
a vacancy in our satisfaction
our strenuously prosperous society
allows this display

we read to the children
else they won't remember us
or our macabre undertones

:: I rather like Mahler's spacious way with meter, operating on several levels of time rates with refreshing and awkward ease ::

Someone Needs Me - Harvey Schmidt - Mary Martin [from I Do! I Do!]

a song of few words

Let's Groove (Instrumental) - Earth Wind & Fire [a Rescued Record]

a song of no words
brass and synthesizers
the comes-along-with instrumental-track-thing
of the eighties
residue of a club scene

Wild Wild Life (extended version) - Talking Heads [from True Stories]

as I was saying
designed for loud speakers
in a wide low ceilinged place
speakers in the four corners
maximum separation
this club has moved to the small screen scene

Carrizo Breeze - Robert Tree Cody, Will Clipman [from Heart of the Wind]

flute and sampled marimba-like machine
and frame drum in our left ear
too much reverb, but otherwise rather nice

Ask Your Question 110906 Draft F Compressed & EQ - Your Mother Should Know [September 2011]

for me who doesn't know what I am doing behind the mixing board
I enjoy it and I can get interesting results
I can see why people really get into it

all of these recordings by Neal and Karen preceded their first gig playing together, in November of 2011 if I recall correctly

Into the Night (live) - Ancient Warlocks [from Ancient Warlocks Live Volume 1]

A Character monologues to create his myth
Hero: a role and its soliloquy

In Session at the Tintinabulary

November 4, 2019
Gradus 358 - Neal Kosály-Meyer

the greater the quantity of notes
in the collection
the more conceptual
or the less concrete
is the notion that the notes are a part of a limited set
that what these notes are about
is the collective of which they are an ostensible part

November 7, 2019
Alle Menschen müssen sterben - Keith Eisenbrey

I continue my quest to record the twelve chorale settings that constitute Part 12 of my work-in-progress Études d'exécution imminent, which appears to be taking the shape, as I compose it, of a kind of multi-roomed gallery exhibit of thoughts about music, scores, composition, and performance.

St. Rage Demos - Karen Eisenbrey, Neal Kosály-Meyer

I haven't listened to the tracks yet, but we recorded demo versions of three new St. Rage songs. St. Rage is the fictional rock band in Karen's novel "The Gospel According to St. Rage," and in the soon to be released sequel "Barbara and the Rage Brigade." St. Rage is impersonated by Your Mother Should Know personnel: Karen Eisenbrey and Neal Kosály-Meyer.

Don't Know How to Start Over
Punk Rock Drummer Girl
Summer Girl


think steinbeck hand scrawled turning up taped cash
the no checks cashed for more school bus slows and
stops frost gilded my kids the windows flash

two scrambled and an english, tea
no view now
elf ore

Saturday, November 2, 2019


The cover of our wedding invitation

October 27, 2019
Barbara Ann - The Who [from A Quick One]

up high nasal

especially in the A of Ann
almost a long E

is that whistling
or an ocarina

I Want Candy - Bow Wow Wow [from Nancy's Mix]

a throwback
on Nancy's Mix
(a dub of a mixtape of early 80s rock songs collected in 1982 or 1983 by one of Nancy Chase's friends)

On the original tape I had of Nancy's Mix, this song was at the end of a side and cuts off suddenly in midstream when the tape ran out.

Several years ago I reconstructed the mix by buying all the tracks.

So, complete as it now is, a nervous anxiety arises at that particular moment, where it used to cease.

Want Your Body - Julian Lennon [from The Secret Value of Daydreaming]

to be
a heart throb

or not to be
a heart throb

String Quartet #12 in F, III Molto Vivace - Antonín Dvořák [from Naxos The Very Best of Dvorak]

There is something dancy about the folkfigured counterpoints of this.

Our balloons. One got away.
Ask Your Question Draft D- Your Mother Should Know [September 2011]

I'm pleased with the drum sound as recorded and mixed.

a prayer
not a demand

Lies - India Glover [from Pup Demo]

our whole lives can be
such as ill conceived subplots might be
mere situations not intended to be resolved

We were told to
October 29, 2019
Sonata in E-flat Major K. 51 - Domenico Scarlatti - Pieter-Jan Belder

He is exploring the balances of clearly demarcated phrases and figurations just as the balances among phrases and figurations were beginning to become the default surface geography of music in that culture, but before the conversational mode of Haydn or Mozart became ascendant.

The length of a phrase or figuration, as one uses that length to feel its balance with others, is perceived metrically, that is, by its length as it sits within a dancing meter. Those metrical segment lengths are projected precisely. There is no mistake about them.

Sonata in A Major - César-Auguste-Jean-Guillaume-Hubert Franck - Pinchas Zukerman, Marc Neikrug

from a single fountain
each its own
each movement rises
suggesting itself to itself

waters in various active states

in the clear light of morning
at last
We did anway.

The Little Shepherd's Song - Lake Washington Singers, Betty Eisenbrey, JoAnne Deacon [April 1966]

oh how pleasant to be a little
like a greeting card so precious

An unlabeled bonus track snuck in.

Let's Groove - Earth Wind and Fire [a Rescued Record]

Impersonal robotics for maximum anonymity, for maximum permissivity.

October 31, 2019
Banned Rehearsal 104 - Karen (Meyer) Eisenbrey, Keith Eisenbrey, Anna K, Aaron Keyt, Neal Kosály-Meyer, and a host of others [October 1986]

This recording of Karen's and my wedding is filed under Improvisations.

It is a Banned Rehearsal because all of us were there and it was recorded.

I don't remember who pushed Record. Probably me.

I wrote all the music used except the hymn we all sang.

Karen wore her mother's wedding dress.

Prelude: entered into reverently, advisedly.

We used the words of an older service. We plighted each our troths.

Then Karen enters to a processional in 6/4 time.

We chose old vows.

Pastor Bob talks.

Hymn: Charles Wesley's Love Divine to Rowland Pritchard's Hyfrydol. I can hear Karen's mom's voice clearly articulating the suspension.

Pastor Beryl charges us.

Some scripture: Sing to the Lord a new song. Entreat me not to leave thee.

Two songs auf Deutsch (Luther's translation, which I was in the middle of at the time), texts from Song of Solomon. Alto: Yvonne Meyer; Tenor: Peter Herpst. I can't remember the name of the pianist, but she played splendidly.

Best dressed Banned Rehearsal
Item: No song should ever feel finished. Why should it?

Plighting troths, the solid bones of an old service.

And then Karen's mom's joke on me: I had run out of time to write a postlude of sufficient length to allow most of our guests to exit, so I padded what I had with repeats, figuring nobody would really be paying attention. Karen's mom stayed seated through the whole thing, so everybody got to hear all those uncalled for repetitions.


best wedding ever
and succinct!

Marching Machine - Aaron Keyt [from November Choses]

Regularity is imputed to be mutually incomprehensible as the sounds make marginal comments upon each other and vie for primacy.

Sounds flirt with being the last sound for a bit, a long protracted bit. And then it was.

Where - White Orange [from White Orange]

...dDd . . dDd ...

vocal sound rises from within the mess of messed up upper partials of the mix
seeing what they did to our getaway car

compression to imitate that over-driven dive bar wall melting sound

Something of Mine - St. Rage [recorded at the Common Good Cafe, August 2016]

living blood
fill up my pint

I don't even know your name
blood is flowing warm

In Session at the Tintinabulary

October 28, 2019
Banned Rehersal 992 - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt, Neal Kosály-Meyer

Steve was in Tucson. Neal found duck sounds. The ceiling has not yet fallen in. Aaron operates the viola. I play drums and cymbals once I crawl back there. The slow St. Rage Summer Girl is heard. Karen may have started on the xylophone.

October 31, 2019
In dulci jubilo - Keith Eisenbrey

Part 12 of my work-in-progress, Études d'exécution imminent, consists of twelve chorale tune settings. This is the seventh of them. A segment of the root mod-17 row form is interpreted as intervals hanging down from the melody pitch into four parts, rotating variously in patterns.


office says work the work which by nature
holy spirit are in me so father
art in be the world sent by

insidious green
the numbers reduced irretrievably