Saturday, February 29, 2020



February 28, 2020
Seattle Composers' Salon
Chapel Performance Space, Good Shepherd Center, Seattle
Jeremiah Lawson
Mariza Costa-Cabral
Keith Eisenbrey
Sheila Bristow
Doug Palmer

Jeremiah Lawson - Sonata in D minor
Mariza Costa-Cabral - Piano Pieces (selections)
Keith Eisenbrey - Anybody's Fingerbook (selections)
Sheila Bristow - Piano Pieces (selections)
Doug Palmer - 3 songs from an opera (Farewell My Lovely) - Barbara Hume, voice; David Paul Mesler, piano

It was a distinct pleasure to be the substitute host for this event. I didn't want to be distracted from my Tom Baker impersonation duties by taking notes, but (my own entry possibly excepted) the presentations were all distinctly engaging, the Q&A was lively and supportive, and we all left smiling. I look forward to hearing more from everybody.


February 22, 2020
Rusalka op. 114 Act I (selection) - Antonín Leopold Dvořák [from Naxos The Very Best of Dvorak]

Oh silver moon

Every few moments I got a whiff of one of his near contemporaries. Franck! Wagner! Mussorgsky! Puccini! Verdi! This little aria gets through a bunch of stuff.

Bumper in the Hail - Courtney Marie Andrews [from No One's Slate is Clean]

affect calibration
(Dvořák was doing the same thing)
often effectively
though the power immersion wash at the end may be a bit much

Corollaries (Down's Down) 160924 - Keith Eisenbrey - Keith Eisenbrey

so that each note fades to nothing
how low will it go (just that low) (that time)
the notes allow super-ample time to get to thinking so that each note appears !!bang!! mid thought
like a rock through a window
wait for it
the fact that it has a beginning and an ending may not be a proper part of its itness

(Trio) Sonata in G minor, K 88 - Domenico Scarlatti - Pieter-Jan Belder, Rémy Baudet & Frank Wakelkamp

discretely, politely, stable
so as not to disturb

each movement a step more ritmato and varied

Sleeping Angel (from "Fast Times") - Stevie Nicks [from Bella Donna]

center stage spotlight glory
spinny stars

Badlands - Bruce Springsteen [from Bruce Springsteen and the E Street Band Live 1975-1985]

inhabits the persona of his song's fictive voice
you could, almost, believe it is him saying it
a bit of a method over-actor
break the furniture

Japanese Lanterns - Whiting Tennis [from Three Leaf Clover]

effective use of found or pre-recorded sounds, structurally psychedelic

Chaotic Heart - Your Mother Should Know [live at SkyChurch November 2011]

I recorded this from an elevated booth/cage in the back of the venue.

The drums sound great!
a call to arms
a come on in

The Little Western - SeaStar [from Never Go Back]

heroic journey
and it heroic heroes

February 23, 2020
(Trio) Sonata in D minor, K. 89 - Domenico Scarlatti - Pieter-Jan Belder, Rémy Baudet & Frank Wakelkamp

muscular 3rd movement
for the enjoyment of the participants

Machine - Black Flag [from The First Four Years]

same remit as Throbbing Gristle
but without the synths

Maniac Rockers From Hell - Sun Sect [a Rescued Record]

(in their dreams)
or so they say

The Noon Witch - Antonín Leopold Dvořák [from Naxos The Very Best of Dvorak]

baseline balance with high alarm to hinge into other dramas, other scenes.
spends a lot of time transitioning and hearkening back or forth
happy to get outdoors

uh oh
(spooky woods)

Song From the Voices on Earth (underlying electronic track) - Steve Scribner

layers of doings filtered by precipitation through a dense gaseous shadow
outlived cellular husks easing through the seafloor
and beyond
whistling into the dark void

Corollaries (Up's Down) 160924 - Keith Eisenbrey

so that each note fades to nothing

That this would be a shorter piece if the damper pedal wasn't pressed the whole time is certain. So: instrument and tempo correlate (a corollary with correlations). tee hee.

Polyphony is a compression algorithm
Melody determines duration shapes
Immediate repetitions (at the zero interval) startles and sticks out as does no other interval as it comes about: a unique noticing in this context :due to: the interval as such is underlined. Sameness shouts.


we take it apart
we smash its atoms
we are those who stare at beans

(Trio) Sonata in D minor, K. 90 - Domenico Scarlatti - Pieter-Jan Belder, Rémy Baudet & Frank Wakelkamp

evoking a much larger ensemble than just these three by judicious use of articulation and counterpoint
(back to compression algorithms)

Gold Dust Woman - Stevie Nicks [from Bella Donna]

dance and song
how to be seen :: own it
high fantasy (dragons, witches, etc.)

Esprits divin - Boston Camerata [from A Renaissance Christmas]

certainly attractive enough

One True Love - Whiting Tennis [from Three Leaf Clover]

bitter edge recrimination song

Ask Your Question - Your Mother Should Know [live at SkyChurch November 2011]

Neal's deVille (the guitar amp, courtesy of High Class Wreckage, see below)
comfort sound transitional object

Flesh - Crystal Beth & The Boom Boom Band [from Yugen 3]

heterophony reed to strum
took a long wild run at that loop

February 25, 2020
(Trio) Sonata in G Major, K. 91 - Domenico Scarlatti - Pieter-Jan Belder, Rémy Baudet & Frank Wakelkamp

decorum maintained
at all times

at least in this room

when we get outside we can let loose into outdoors decorum
{interesting use of empty beats there Domenico!}
back indoors again
on the way home among familiars

Six Pack - Black Flag [from The First Four Years]

establish a rhythm then goose it
mirror of their song "TV Party"
but smaller

Because The Night - Bruce Springsteen [from Bruce Springsteen and the E Street Band Live 1975-1985]

verses thrown away for a hook heavy chorus
modulation won't help
nor will an unearned noodly nowhere instrumental thingy
this just sounds tired

Slavonic Dances op. 46 (selection) - Antonín Leopold Dvořák [from Naxos The Very Best of Dvorak]

music you can do for yourself for sale here
no time to finesse nothin'!

Over - High Class Wreckage [from High Class Wreckage]

rhythm differentials
are a crucial braille
within the energy beam

February 27, 2020
Corollaries (Up's Down) 161008 - Keith Eisenbrey - Keith Eisenbrey

hairpin envelopes
an illusion of distance and speed
in a doppler-bereft universe

image: arriving then leaving
not staying

piano notes:
no clear beginning
or time point
as such
at all

at least in the sense that
we ontologize the note as happening


then going away

it is always itself throughout
across expanse
a spatial now

Sonata in D minor, K. 92 - Pieter-Jan Belder

a nod to France as nods to France were done back then.

The strong rhythmic profile allows the substance of the structure to play surreptitiously, hid. Led blindfolded.

Gold and Braid (Live 1982) - Stevie Nicks [from Bella Donna]

rides the band surfer-like

pop music in general often has a difficult time with the ends of things
fades and raves and other cop outs

Nothing In Common - Thompson Twins [a Rescued Record]

Stingy Julian Lennon vibe
empty professionalismus
can't fade out quite quickly enough

In Session at the Tintinabulary

February 24, 2020
Banned Rehearsal 1002 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, 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

** ** **

the snow had disappeared
but the weight of it had not
lighted windows

Saturday, February 22, 2020



I-90 Floating Bridge, Seattle
February 15, 2020
Sonata in A Major K. 83 - Domenico Scarlatti - Pieter-Jan Belder

it might
elsewhere // have been at

before what counts
as balance

If You Were My Love (unreleased version) - Stevie Nicks [from Bella Donna]


(She likes appoggiaturas as much as Mozart did)

What an experience of a person might be
presented to allow just so much of naked self

what clothes to wear?
hair to do?
face to paint?

other armor

Joseph, lieber Joseph mein - Boston Camerata [from A Renaissance Christmas]

a carol for a pageant
having survived obliteration through all the time passed

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

loop echoes accumulate, dissipate
otherwise they are inactive to the flow: dis-agented, neutralized, abandoned

echo: the past filtered by distance and memory
instant nostalgia

Gradus 200 - Neal Kosály-Meyer [October 2011]

notes and lentils
tendrils drill air
lentils's tendrils


game of frames

roots drill earth
little lintel lentils
and other beans

game of beans

alien beans
pine cone stones

beans in frames

lintels of lentil tendrils

pine cones
conifer cones

O I been working on the bean frame
been bean framing

(". . . simple words like if and it . . .")

frame farm
farm frame
frim fram

Bad Service and Boredom - Robber's Roost [from Live in Minneapolis]

will Full Toilet tempos

February 16, 2020
Sonata in F Major K. 82 - Domenico Scarlatti - Pieter-Jan Belder

If ascending the chord is by a different figure than descending back down then the option opens to switch them up. One could sing these lines, but they truly seem to have been born as finger figures

Damaged I - Black Flag [from The First Four Years]

putting anger on for size
guitar presses down sharp and heavy,
pounds down and presses


squeaky squeal between the pounds

Feel It - Sun Sect [a Rescued Record]

funk bass
front half back half
of each measure

sits on the balls of its feet
then on the heels of its feet
back forth pelvis shift
of each measure

The Persistence of Memory, for Giselle - J. K. Randall [from Open Space 39]

Understandable at and through every moment and event, this music is helpful to its own self-understanding. This music tells you itself.

Sea, Sea, Sea - Whitney Ballen [from White Feathers, White Linen]

A fully formed song: more like JKR than like Sun Sect.

Corollaries (Down's Up) 160924 - Keith Eisenbrey

so that each note fades to nothing

more like a wood block print than like a drawing
more like an impressed trace than like an inscribed trace

not through-composed but rather strophic
testing tensile strength


Within the last year or so I went back to these pieces and changed some of the notes. I did this in order to adjust the process of moving across the register limit from high back down around again to the bottom, and vice versa. This was less to benefit these pieces exactly (but I think it did) than to make them easier for me to think about - especially as a part of the larger project to which these belong, because I needed essentially the same flip to happen in a later piece and being consistent seemed to be more clear than not. But I resist remaking all these recordings with the corrected notes. I'm moving on.


Portal to the Pacific, Seattle
these very long big low tones make the is it over now anxiety a palpable part of the experience of the piece

exploring the crevices that Neal might miss on the steps

Sonata in C Major, K. 84 - Domenico Scarlatti - Pieter-Jan Belder

His direct repetitions serve to hold an event still. Otherwise they would forever be running in all directions at the same speed. The kinds of motion are in balance as kinds, among themselves.

The Dealer (unreleased version) - Stevie Nicks [from Bella Donna]

it's about cards

a photo of a ballad

Independence Day - Bruce Springsteen  [from Bruce Springsteen and the E Street Band Live 1975-1985]

same relation but different angle of shoulder shrug


Summer - Whiting Tennis [from Three Leaf Clover]

hook based lyric not a ballad
just not hook heavy

Banned Rehearsal 802 - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt, Neal Kosály-Meyer
[November 2011]

in full battle, though it seems so friendly

Bike Tunnel, Sam Smith Park, Seattle
oystrygotts and vestrygoons

not to worry
it's not a real duck

lands deep after launch into composition land, throwing curves at each other by bend of bay, a battle of giants and a spat of sprites

Fickle Sun (II) The Hour Is Thin - Brian Eno [from The Ship]

message from:
message to:

February 17, 2020
Sonata in F Major, K. 85 - Domenico Scarlatti - Pieter-Jan Belder

wiggling fingers for pleasure

I've Heard It Before - Black Flag [from The First Four Years]

meta put-on
self parody

Fun Time - Bruce Willis [a Rescued Record]

local boy hangs with his musician neighbors
motown:: about: competence, collective, specialized function, how it's done.

Slavonic Dances op. 72 (#10 in E minor) - Antonín Leopold Dvořák [from Naxos The Very Best of Dvorak]

forgets which key it was headed at
end of 2nd phrase
or is that a sly glance?

Usefully marketable music for social occasions, available for solo, duet, orchestra, infinitely arrangeable

allow time for the old folks to be charmed

Death March - Smokestack and the Foothill Fury [from America's Freedom Death March]

full body soul voice dance engagement
cinched tight

Corollaries (Up's Down) 161021 - Keith Eisenbrey

Sam Smith Park, Seattle
as precisely unambiguous as can be
music as data stream
study question: why might this be useful and to whom?

Sonata in C Major, K. 86 - Domenico Scarlatti - Pieter-Jan Belder

Presuming the opening figure to be written as {graphic}
what a marvelously packed toolbox of durations and duration relations.
Always delightful, often astonishing

Blue Lamp (from Heavy Metal) - Stevie Nicks [from Bella Donna]

stage show
"greatest hits" is a concept, therefore Bella Donna is a concept album

It may not be the best way to approach someone, but it does provide a sample of sorts. We put up with the notion that being a hit was what the song was about because it is commercial music after all.

Magnificat quinti toni - Boston Camerata [from A Renaissance Christmas]

obsessed with consonant blend
like Partch was

back in its day
serious money
paid for this music

Three Leaf Clover - Whiting Tennis [from Three Leaf Clover]

laid back comfort empathy

Badlands - Your Mother Should Know [live at Skychurch, November 2011]

make an entrance
come out swinging
invoke the muse

Ocean Ambience Rocky Coastline Volume 2 - Pete Comley

Jimi Hendrix Park, Seattle
What are the perturbations of those who perturb the imperturbable?

cavern voice

One would think an entire indexed collection of ocean sounds, impeccably recorded, would be soothing. It is not. It is terrifying.

Isolation of sound
nameable characteristics,
nothing mysterious, extraneous, unnamed
wanders in

hears all
highly classified

February 20, 2020
Sonata in B minor, K. 87 - Domenico Scarlatti - Pieter-Jan Belder

What sort of society allowed this to flourish? So tightly bound

harpsichord v piano

harpsichord: note's incipits overwhelm - rational/digital
piano: the harp overwhelms - irrational/analog

rationality overwhelms itself as does ir-
alike unstable

Louie Louie - Black Flag [from The First Four Years]

"it just shows I'm not very smart"

a musician's re-rendition, rethinking the rhythmic premise, playing the Sonics' game.

Hearts and Bones - Paul Simon [from The Essential Paul Simon]

hollow spaces after downbeat or strongbeat
a muttered hook
strong hook
allows wandering away

In Session at the Tintinabulary

Jimi Hendrix Park, Seattle
February 17, 2020
Gradus 364 - Neal Kosály-Meyer

one and two
pulsing bean
might just be
the dryer making that thumping

acting out schematics
software controlled

liberating or confining?
It depends.


delay her but the old rag-topped nag
covered the 600 miles of dark nearly
like swung off at I hadn't since I

don't count
roll a clam shell down a level plane
redwing blackbird on a bare tree top

Saturday, February 15, 2020



karen's deconstructed apple cranberry pie
"And terror
Is doubled, tripled, as he sees around him
Strange figures in the sky and savage beasts,
The Scorpion, for instance, arms outreaching
In two half-circles, and the other members
Spread over infinite acres, and black poison
Stinking and rank, and the threatening curved stinger.
Out of his senses, with cold fear upon him,
Phaethon dropped the reins."
- Ovid "Metamorphoses" (translated by Rolfe Humphries)



February 9, 2020
Sonata in F Major, K. 78 - Domenico Scarlatti - Pieter-Jan Belder

The first impacts set the increment and the focus, the remainder of the figure establishes the tools and rates of embellishment.

There is a tiny little coda.

Let Me Fly - Sister Fleeta Mitchell, Rev. Nathaniel Mitchell, Lucy Barnes [from Art of Field Recording Volume 1]


unfussy piano playing, but it holds the tempo and the swing of it

3 part vocals arranged for a clearly structured variety
clearly structured but not four square constricted

the persons of each voice are distinct
blending at the dialect

Clarinet Concerto : Fire Dances - Deborah Drattell - Seattle Symphony, Gerard Schwarz, David Shifrin

fraught moments
each juiced with fraughtness

starts in the high shrills
drops slowly
into stasis

this is orchestrated

late model expressionism

once a passage is orchestrated it stays put

it has a cadenza
because concertos do
it's in the book

Before The Beginning - Robert Tree Cody, Will Clipman [from Heart of the Wind]

more like Scarlatti in its thinking
than like Drattell

why?: because it doesn't have moving from itself eventually to be a consideration in what it is building.

If you aren't entirely there
how can you mess around?

Loaded Gun, Loaded Youth - Full Toilet [from Full Toilet 7"]

also, for same reason, more like Scarlatti
and also for its delight in rhythm play

Corollaries (Down's Down) "161011" - Keith Eisenbrey - Keith Eisenbrey

matter of fact version
What we have here, friends,
is a list of notes,
crisp and clear.

Sonata in G Major, K. 79 & 80 - Domenico Scarlatti - Pieter-Jan Belder

The harmony changes.
The harmonies change
in order for us to be where we are
with a different view.

composition in the small

Herzgewachse, op. 20 - Arnold Schönberg - Twentieth Century Classics Ensemble, Robert Craft, Eileen Hulse, John Alley, Sioned Williams, Tim Carey

short form operatic fiction thingy
with a truly remarkable high note in it

Sleeping Angel (alternate version) - Stevie Nicks [from Bella Donna]

small collection of pitches (5?)
two over

I must say she does seem to be getting a sensual kick out of filling herself with her own head resonance.

You Can Look (But You Better Not Touch) - Bruce Springsteen [from Bruce Springsteen and the E Street Band Live 1975-1985]

He's telling a story in a noisy room, and bringing the noise of the noisy room along with the story. Plot points get lost in the noise of the noisy room in which a story is told.

My Prayer for Bella - J. K. Randall [from Open Space 39]

breath breaking
heart taking

Preludes in C Major, A minor, G Major, E minor, and A Major - Keith Eisenbrey - Keith Eisenbrey

When I played my C Major Prelude for Ben Boretz a few years ago he commented, after the first measure, "Liebeslied" - that is, acknowledging that this is yet another of my pieces that sprang from his unfinished solo piano "Liebeslied." And of course it's more than the springing from of it. It tracks Ben's  Partial piece (the whole of it) rather well, in miniature. Condensed re-composition.

These selections formed the prelude to a service at Langley United Methodist Church in August of 2015.

Why Was I Born - Mark Paschen & Robber's Roost [from Cuatro]

cars come and go like the ocean tide
and singing saw

Sonata in E minor, K. 81 - Domenico Scarlatti - Pieter-Jan Belder

This one has violin and continuo too
and a quick second movement

from when what a Sonata was was more fluid, invented

for this one you will need to seek assistance

say hey
write something for us to play together

larger scale: I wrote a bunch of them
We'll be a hit!

a perfectly balanced ensemble, like bluegrass string band

American Waste - Black Flag [from The First Four Years]

duality is destiny
virtual contrary motion

the center point is the point
the shaking laser point
of it all

Dirty Money - Swing Out Sister [a Rescued Record]

machine ensemble
nothing real but the flashing lights that flash
and her rather attractive alto voice
imitatio madonna

Sonata in G major, op. 100 II Larghetto - Antonín Leopold Dvořák [from Naxos The Very Best of Dvorak]

for violin and piano. this is really nice stuff!

Introduction - Your Mother Should Know [Live at Sky Church, November 2011]

traditional and customary
brings up all the
family business

Corollaries (Down's Up) "161021" - Keith Eisenbrey - Keith Eisenbrey

to alphabetize is to shuffle
alphabetize is shuffle to to

the time should flex with pitch !
! flex pitch should the time with

In Session at the Tintinabulary

February 10, 2020
Banned Rehearsal 1001 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer

We discussed, among other items, how long it might take us to get to 2000, and how old we might be. Perhaps after we retire we can speed production.


to a lack of the consolation to
enough of counsels or spiritual
books about them doing this to which they


of such murders
I do not scream

Saturday, February 8, 2020



Gallery 1412 Groundhog's Eve
"And Mercury
Might have told more, but all the eyes of Argus,
He saw, had closed, and he made the slumber deeper
With movements of the wand, and then he struck
The nodding head just where it joins the shoulder,
Severed it with the curving blade, and sent it
Bloody and rolling over the rocks. So Argus
Lay low, and all the light in all those eyes
Went out forever, a hundred eyes, one darkness."
- Ovid "Metamorphoses" (translated by Rolfe Humphries)



February 1, 2020
Banned Rehearsals 999 and 1000
Gallery 1412, Seattle
Jennifer Chung, Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer

It is truly amazing where persistence will get you. Banned Rehearsal made its first tape on June 24, 1984. It was just Aaron, Neal and me, gathered in my upstairs room in Bellevue. I think Neal had brought along an electric bass and an amp. There were probably a few recorders, rattles, and I forget what all else.

And here we gather at Gallery 1412 nearly 36 years later to make our 1000th numbered session. I am grateful and honored to have been a part of this project, this "continuing argument in creative expression," this vast array of musical junkyard art, this laboratory for basic research in listening.

Thank you to those who came to hear us make our little bit of history. And thank you to my fellow band members, Jennifer, Karen, Steve, Aaron, and Neal, to our sometime and occasional regulars Anna K and Pete Comley, and to all those who have joined us for just a few or for many sessions over the years. It has been, for me, an intensely gratifying and rewarding collaboration. There have been some struggles, and there have certainly been some abysmally lame moments, but when it is at its best it is as good as any music gets, ever. And, anymore, it is, consistently, at its best. We don't know what we're doing, but we have become quite good at it.

We don't know what we're doing, but who ever does?

Onward to elsewhere!


February 2, 2020
Sonata in G Major K. 75 - Domenico Scarlatti - Pieter-Jan Belder

grasps a figure
won't let it go

no matter which key
or mode

grabs away at it

Bella Donna (Demo Version) - Stevie Nicks [from Bella Donna]

a possible statement, read through a stencil
only the bits that hint enough
without saying

not in frame
not in world
not in utterance

E la don don - Boston Camerata [from A Renaissance Christmas]

soloists sprinkled around the lines
an arrangement that was probably not in the score

perhaps it could be heard as an attempt to arrange it as they might have done
but without benefit of the mindset with which they would have done what they did

Symphony in D minor (#7), III - Antonín Leopold Dvořák [from Naxos - The Very Best of Dvorak]

slowish performance tempo allows some detail through
but lacks verve or bite

10xoxxoxxoxx - Paul Rubenstein [from Solo Trios]

flat affect
raw and blatant

thumb piano
toy piano
electric guitar

possibly processed
certainly compressed

any roundness
is an effect of mixing it up among the partials

scours it big time!

Corollaries (with introduction and questions) - Keith Eisenbrey - Keith Eisenbrey [at Seattle Composers' Salon, November 2016]

four readouts
into the speculated void
brings out familial similarities

end when transmission fails

data points as what you get
is all what you get

hiding in plain sight
the notion that what you were measuring is the between the points
where the interval

Golly, but I got a bunch of excellent thoughtful questions! I love Salon!

I am the Webernizer
bow before me

Sonata in G minor K. 76 - Domenico Scarlatti - Pieter-Jan Belder

In The Wizard of Oz
the Munchkins passing rumors along in the chorus are thinking like Scarlatti

information spreads though the community
Munchkin chorus
mic check
in flagrantly invertible counterpoint

Paint - J. K. Randall, Wally Shoup [from Inter/Play]

in that May
when Wally visited Jim
in 1981

sound is behaving as though recorded by boombox or dicta-phone
dynamic leveling by automatic compression

I am a compendiator

the background machine noise affects this sound-as-a-music
to the point where
because of it
the set of all the sounds that aren't in it
(in the background machine noise)
would be
really really different
different at a near primal level of determinate feelingness


contrapuntal elaboration and prolongation is a form of fancy chord voicing
extending voicing through time and dissonance


Jim working on an extension of the sound examples for that part of Compose Yourself that charts the placements of focus within the mouth cave


a binding stain
food coloring
gets in everything

yup! ya start monkeying around
with free improv and pretty soon you'll be
speaking in tongues

doesn't everybody?
what is speaking anyway?


fly on wall
when Wally
visited Jim
to you


Cadillac Ranch - Bruce Springsteen [from Bruce Springsteen and the E Street Band Live 1975-1985]

young men with that top of the world feeling
from the long line of rock and roll car commercials

commercial music is a genre

preacherin' agin

with kazoo

Lightning Over Sonora - Robert Tree Cody / Will Clipman [from Heart of the Wind]

fancy drumming

Atta Boy - Goat Rodeo [from The Goat Rodeo Sessions]

showing off chops
portrayed as: how cool! A-list classical dude gets down and pawrtees!

but, could be another take on highbrowin' up the vernacular for polite society
like as many a beloved 19th & 20th Century composer has done
that is, cultural appropriation (oh the horror)

the emotional edge of societies meeting

they do play mighty well

Corollaries (Down's Down) - Keith Eisenbrey - Keith Eisenbrey [September 2016]

Aaron and Jennifer
I made it all space age
these are the sounds the probes returned from the void
when down was set to down

the minimalist face of what I do is the tool to get at other things

in this version of this composition it is so that partials will be laid bare (all those harmonic tones that pulse and roll in the decay)

you can hear them coming
a new pitch-time correlation discovered on the fly
(but not Jim's P-TC)

learned from Neal
applies here
the time given is time for thinking
Karen and Steve

February 4, 2020
Sonata in D minor K. 77 - Domenico Scarlatti - Pieter-Jan Belder

This would be a most excellent clavichord piece!
that lovely espressivo tempo
clavichord would be all over that

it lives in precisely weighted touch
clavichord's game

another multi-movement, faster after slower

Gold and Braid (unreleased version) - Stevie Nicks [from Bella Donna]

narrow ambit vocal line
a fifth I think at most

Two Fantasies on "Une jeune fillette" - Boston Camerata [from A Renaissance Christmas]

start here
end there

get to the end there
as best you can

don't jostle

William Harry Holmes - Whiting Tennis [from Three Leaf Clover]

a song can be a mood setting movie scene

Preludes in B Major and D-flat Major - Keith Eisenbrey - Keith Eisenbrey [at Langley United Methodist Church, August 2015]

messed up more than I should have

Walk On - Ancient Warlocks [from Ancient Warlocks II]

the slow dance
with the
power waltz
in it

In Session at the Tintinabulary

February 3, 2020
Gradus 363 - Neal Kosály-Meyer

open with a big brush
to free a space
(compositional strategy)

then get out the fine tips

composing with minimal generalization

registrally compact ideas
or mixes of registrally compact ideas
inter-registrally enunciated ideas
are relatively rare

but potent


in dem soll herz wird munter er sterben
sie konnten ohn grab wer lay lore auf
dem tiefen rhein da kommt sie in den kahn

turning through the window
the bird exterior
flitting about

Saturday, February 1, 2020



"Anyone setting forth to hunt the snark, until the very conclusion of the voyage, believes he will succeed."
Robert Peters "Hunting the Snark : a compendium of new poetic terminology"



January 26, 2020
Sonata in C minor, K. 73 - Domenico Scarlatti - Pieter-Jan Belder

long complex phrases

wherein the balance is complicated by internal repetition

if the whole thing balances
liberties may be taken
in close quarters

multi-movement! unusual for DS

without trying much to hold them together
in any way
more obvious than charm

Sally Ann - W. Guy Bruce, Guy Bruce, Jr. [from The Art of Field Recording, Volume 1]

blood rhythm
a micro tribal thing

Banned Telepath 8 Seattle - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [December 1986]

detail of an image made by Anne Gorrick
You're in charge of making sound
pots pans
bowls and possibly cans
for the rhyme

are banged on
sherry is served

kitchen sink
(weren't Neal&Anna also doing dishes?)

now there are two
the time being can have company

likewise with the harp
a picture of Betty Crocker

that was the salad bowl
funeral for a salad set

far beyond the ken of man
we are quite noisy about it too

the kittens didn't get up on the table today
and take any tea bags

:: in session we were washing dishes and I broke a glass salad bowl that had been a wedding present. I had forgotten that the episode had been recorded, but while listening back became increasingly uneasy, the sounds of dishes banging around being quite lively and rough, about the possibility that something might get broken, though confident that nothing had. Oops.

Cookies - Eisenbreys, Guantts, and Kosály-Meyers [December 2006]

back in the kitchen
but in the next house along
in a family conversation matrix

couples function as a repetition unit
as a repetition as accentuation unit
we each repeat our co-copulator's phrases
to accent them

I thought my tastebuds would change. (a complaint)
a cauldron of mentation

I confess to Karen midrecording that I am recording
layering polyphonicals

Daddy what's that noise?
O that's music.

Aunt Karen shows how to cut gingerbread men out.
clatter of cousins, nattering nabobs of nieces

krumkake tannenbaum oops
AKU provides creepy background music


:: all the various cousins from the Meyer side were gathered in our house just before Christmas 2006. There was cookie making and multiple conversations layed out in front of the microphone. My old synthesizer piece, AKU, provides a horror suspense vibe to the proceedings. From the perspective of lovely layered sound I'm sorry I can't share this publicly. Too many minors.

will we ever make it to the ocean? - Koko and the Sweetmeats [from Sacrifice]

of a longish car ride
like The Odyssey

lingerly effects

Corollaries - Keith Eisenbrey - Keith Eisenbrey

in which
that tempo is right, correct
at which
the piece finds itself
in allowing it

key to market fluctuation
and other false cyclics

January 28, 2020
Sonata in A Major, K. 74 - Domenico Scarlatti - Pieter-Jan Belder

register, the up down of pitch of it
is crucial
where it hangs
on the keyboard

put up high
until it unspools
to join the pond frogs

Shady Grove - W. Guy Bruce [from The Art of Field Recording, Volume 1]

tuned in Shady Grove key

not the Shout, Lulu key
I pick a lot of open strings

Two Hearts - Bruce Springsteen [from Bruce Springsteen and the E Street Band Live 1975-1985]

all hook
no fish

This Town - Whiting Tennis [from Three Leaf Clover]

drifting glance at the lodged

at the moored

Prelude in C-sharp minor -Keith Eisenbrey, Keith Eisenbrey

some wrong notes
but some right tones

:: this was performed as a prayer response during a Sunday morning service at Langley United Methodist Church in August 2015

Hope the Gender Variant Chicken - Bicycle Face [from The Wonders of Female Strength]

I suppose it is
in the Hope the Gender Variant Chicken key

In Session at the Tintinabulary

January 27, 2020
Banned Rehearsal 998 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Neal Kosály-Meyer

tonight at 8 (as I write this) we look forward to performing Banned Rehearsals 999 and 1000 at Gallery 1412. Golly, has it been so long since number 1, way back in June of 1984?

Number 100 was in June of 1986;
Number 200 would have been in December of 1989, but does not exist as a whole (long story involving a never-made telepath part);
Number 300 was in August of 1992;
Number 400 was in September of 1995;
Number 500 was in June of 1998;
Number 600 was in February of 2001;
Number 700 was in April of 2006;
Number 800 was in October of 2011;
Number 900 was in December of 2015.


on sion's one's votaries oh thunders
finger scorch'd the stone garb glance appear shiver'd
by a long twist at the back of 31

through matrix
trace result
sand paper