 |
| The cover of our wedding invitation |
October 27, 2019
Barbara Ann - The Who [from A Quick One]
vowels
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.
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
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
The Little Shepherd's Song - Lake Washington Singers, Betty Eisenbrey, JoAnne Deacon [April 1966]
oh how pleasant to be a little
shepherd
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.
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.
hubbub
applause
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
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.
vowels
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.
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. |
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 |
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
shepherd
like a greeting card so precious
An unlabeled bonus track snuck in.
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]
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 |
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.
hubbub
applause
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.
Postscripts
office says work the work which by nature
holy spirit are in me so father
art in be the world sent by
insidious green
violets
the numbers reduced irretrievably
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