Saturday, March 28, 2020



"He leaps, a little playful,
On the green grass, or lays the snowy body
On the yellow sand, and gradually the princess
Loses all fear, and he lets her pat his shoulder,
Twine garlands on his horns, and she grows bolder,
Climbs on his back, of course all unsuspecting,
And he rises, ever so gently, and slowly edges
From the dry sand toward the water, further and further,
And swimming now, with the girl, trembling a little
And looking back to the land, her right hand clinging
Tight to one horn, and the other resting easy
Along the shoulder, and her flowing garments
filling and fluttering in the breath of the sea-wind."
- Ovid "Metamorphoses" (translated by Rolfe Humphries)


Live Streaming

March 25, 2020

American Art Songs
Peter Nelson-King, piano & voice

William Ames - A Patch of Old Snow; Fire and Ice
Paul Bowles - In the Woods
Alexander Lipsky - Lilac-Time
Aaron Copland - Song
Irwin Heilner - The Tide Rises
Theodore Chanler - These, My Ophelia
Carl Ruggles - Toys
Ray Green - selections from Four Short Songs
Otto Luening - Only Themselves Understand Themselves
Hugo Weisgall - 4 Songs, op. 1
David Diamond - Epitaph
William Flanagan - 2 Songs

It's been a rough week at the Tintinabulary, due not only to the general crisis disgorging itself around us, but also due to an unrelated, not unexpected, but nevertheless difficult personal loss. And so, on this roughest of rough days it was a genuine comfort to tune in to this live streamed (I want to say strummed) solo recital. Thank you!

Peter is many curious and valued things here: pianist, singer, antiquarian, treasure hunter, teacher. These often lovely short works - all by early 20th century composers who have, for the most part, fallen somewhat south of fame -  share, for the most part, an expressionistic attitude toward text-setting. The purpose of the song is to act out the poem, to pronounce its referential meaning fully. Squeeze out every gooey drip. This idea goes way back, traceable at least to the early Baroque habit of text painting (Purcell's "shake" - the name then for what we would now call a "trill" - on the sung word "shake," for example), and coming to full hot-house floriation between the wars, at about the time many of these songs were promulgated. It comes as no surprise that the more astringent practices of, say, Webern or Stravinsky, arose then as a corrective.

Not to complain of course, far from it! I was genuinely delighted to hear each of these. We were amused at how, through clever use of telephone camera settings, Peter managed to play his piano backwards, his (apparently) right hand thundering the bass, his left arabesqueing lightly the treble. Right on cue his cat attempted a cameo (Karen called it) before being deftly off-staged by our host. Thank you once again, Peter. You truly made a difficult day much better.


March 22, 2020
Sonata in F Major K. 106 - Domenico Scarlatti - Pieter-Jan Belder

The figures only need to be distinguished from their immediate fellows. They show no need to be utterly original, as figures. The music lives in the play of the figures' immediately distinguishable parts.

Again, Not - Benjamin Boretz, Jill Borner, Bruce Huber, Jeff Presslaff, Charles Stein [from Open/Space]

so civil
as to be
near inert

pokes prods scratches
sporadic signals
from unknown sources

connection unstable
spare and pointed
so that we hear

the bits forming trajectories
or occasional clots
except there where

it is while I write this
sounds form strands
just past where they register

as events
then it seems to have
overwhelmed the equipment

probably not
cuts off

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

Bruce goes for the Guthrie

My Home, op. 62 - Antonín Leopold Dvořák [from Naxos The Very Best of Dvorak]

The slow intro to the main show allows spaces to open within the main show that aren't new spaces, but recalled spaces, and allows its tempo, as it begins, to be specifically relative to sometempo prior.

Banned Rehearsal 803 - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [November 2011]

delicate curiosity

Hendrix - Ease [from Roots]

segments (four?) in a sequence
a guitar runs through it

one just guitar
two just guitar plus drums
three just guitar plus drums plus vocal
four just guitar plus drums plus vocal yelled

March 24, 2020
Sonata in F Major K. 107 - Domenico Scarlatti - Pieter-Jan Belder

first: show the cards. all of them.
then proceed to prestidigitate

at the end
the whole thing seems to balance
then you probably only still seem to have your wallet

Bella Donna (Live 1982) Stevie Nicks [from Bella Donna]

so done up it done gone
all the words are underlined
in order to disaudibalate them

O vos omnes - Boston Camerata [from A Renaissance Christmas]

nearly straight
all for the good

Radio Ice Waves - Triptet [from Imaginary Perspective]

orbits rock slowly
ocean swell

the song of the slower whale

March 26, 2020
Banned Rehearsal 919 - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt, Neal Kosály-Meyer [September 2016]

excelsior breathing steady

others wander the room at variously frenetic paces

stable steady seems of a piece with an entity, locatable

other persons flirt with identity, singularity,

the whole eludes circumspection
it takes work

concurrent silences:
a hinge
an articulation
a bending moment

}}product of excelsior!{{

turn together once
forever joined
the path narrows as it climbs

In Session at the Tintinabulary and Outposts

March 22, 2020
br_3-22-20_covid19_1 - Steve Kennedy

March 23, 2020
Bannedecameron 200323 - Karen Eisenbrey, Keith Eisenbrey

March 24, 2020
STE-018 200324 - Aaron Keyt [playing along to Steve's br_3-22-20_covid19_1]

We all do what we can to stay connected in dark times. My hope is, at some point, to lump it all together into a grand banned quarantiniad.


conductor that after i suppose well
don't know which by the bye what i naturally
inquired but if perhaps nor yet but

** ** **

an image of duration bereft
or innocent or prior to any notion of pulse
or specific rational value

Saturday, March 21, 2020



"The god comes wheeling down,
Does not disguise himself, so great the pride,
The confidence of his splendor. But he aids it,
Smoothing his hair, making the robes fall even,
The golden border showing; and he carries
In his right hand the wand that makes men slumber
Or rouses them to wakefulness: the sandals
Glitter around his ankles."
- Ovid "Metamorphoses" (translated by Rolfe Humphries)



March 14, 2020
Darkness on the Edge of Town - Bruce Springsteen [from Bruce Springsteen and the E Street Band Live 1975-1985]

Text on a page arises from thought in a mind, and though it has a reasonable reading can be unreasonably read. As it is here. There is an interval between the reasonable and the unreasonable, an interval along a line between reason and un.

Cello Concerto op. 104 (selection) - Antonín Leopold Dvořák [from Naxos The Very Best of Dvorak]

(the slow movement)
Concerto-ness: two or more stand at a distance or entwine their parts, as each mirrors the other and their entwining and their standing at a distance.

Think Accessories - Operation ID [from Legs]

Sneaking around with sudden bright lights. Then we take a ride, go into a sketchy place. Spaceships are there. Skittery little things aren't they? Ride back out quick.

Corollaries Omnibus - Keith Eisenbrey

awesome fades in
fade in
some fades

they come forward each at their time and at their pitch
to witness the hum of still distant or distant again comings or goings
an anatomy of chaos

March 15, 2020
Sonata in E minor, K. 98 - Domenico Scarlatti - Pieter-Jan Belder

artifice as, nearly, an end in itself
were it not for
nothing can be so revealing

Dream (Live 1982) - Stevie Nicks [from Bella Donna]

pop: a style of performance in which song is buried in show.

Riu, Riu, Chiu - Boston Camerata [from A Renaissance Christmas]

popped up: that is: was the old practice so gussied up with production value?

The Kustard King - Whiting Tennis [from Three Leaf Clover]

self inflicted nostalgia vibe icky sound all for an I could have told you so

Draw You Close - Your Mother Should Know [live at SkyChurch November 2011]

not a finished song, but to its credit it clearly inhabits its song space.
not pop.

The Main Part - India Glover [from Pup Demo]

verse: a private communication
chorus: public

songwriterly self-referentiality (the song to itself)
diggin' it.

Sonata in C minor, K. 99 - Domenico Scarlatti - Pieter-Jan Belder

I think Scarlatti would have loved the way phonograph records can get stuck. But he would want to compose with where the partitions of his figures get independently, variously, stuck.

obvious: some figures cadence within themselves, others don't.
codetta summary

Soft Palate - David Hicks, James Kelly, J. K. Randall [from Inter/Play]

equal parts
forthrightly, scrapy, and snarky

We have a quick auto-response to follow where led. Everybody looks where the first looks, in turn, to not be left alone.

The familiars having been got over it then gets down to business with familiars in the unfamiliar.

the pronunciator works on pronunciation
(riddle me this:
How does a noun become a nun? By pronouncing pronunciation.)

holding pattern
until a new matter
is what

leave room
for what the matter is

(don't) dance so close
your brother (I heard that) has become a different man

bold pat

bald pat
balding pat

balding pattern
holding pattern

holding pat
hold pat

bold pat

Racing In The Street - Bruce Springsteen [from Bruce Springsteen and the E Street Band Live 1975-1985]

When heard live, after it has been intimately learned in the comfort of one's own vinyl, is it the same song at all, or a memory of it? They are singing along too.

Piano Quintet in A Major, Op. 81 (selection) - Antonín Leopold Dvořák [from Naxos The Very Best of Dvorak]

must have loved Schubert.

Color Me Black - White Orange [from White Orange]

intense pressure
music between metal plates
Pink Floyd reference: (set the controls for the heart of the sun)

Gradus 297 - Neal Kosály-Meyer [September 2016]

While he was telling of what he would do I was shedding a tear for old Ireland, so I didn't hear of what he would do to the pitch set battalions of old Ireland.

Does a "combination" of __ include the intervals between those of __ of which the combination is possible of what can be combined? Mutually boned.

A collection always returns to itself (trapped)

the further we go the more subtle the distinction might be between rung and rung. If order is stipulated then ordinality is an unquestionable fact, as is distance along enumeration. O the eons!

March 16, 2020
Sonata in C Major, K. 100 - Domenico Scarlatti - Pieter-Jan Belder

kitten on keys game there
mouse chase
attack paw

Angel (Live 1982) - Stevie Nicks [from Bella Donna]

song for enjoyment of a specific voice

person lifted into voice, a kind of possession
voice possessed

Outrage - Stuart Dempster, William O. Smith

Leaving parts of themselves along the way
like loops
sticky loops

doing with people in a space what would be done later by electronic means.

Wisconsin Blue - Whiting Tennis [from Three Leaf Clover]

covered up, not shown enough to be heard clearly
lazy songwriting

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

no fat on this one
lean and tense from outer space

Forest of Thorns - Your Mother Should Know [live at SkyChurch November 2011]

chaotic opening is a winner
(altar call: genre gambit)
James Brown already won that game.

Mr. Kerosene - Dræmhouse [from Only Friends EP]

veiled, but not covered up.
The threat is seen quite clearly.

compositional. solid.

March 17, 2020
Sonata in A Major, K. 101 - Domenico Scarlatti - Pieter-Jan Belder

direct repeat:
structural echo?
structural emphasis?
phraseological time warp?

that is: using balance A:B as reference, then with AA:B, A is both balanced by B and not balanced by B. Its balance is activated.

Orange Dots, Pasted - David Hicks, James Kelly, J. K. Randall [from Inter/Play]

Pitch freak is, I understand, the name of the game. We love notes (musical events of singular moment) because we can single each of them out as an entity. Pitch is a ready-made cross-reference among these singular items of study. They are good about holding still, so that we can listen at it closely, in grains.

March 18, 2020
Respect Yourself - Bruce Willis [a Rescued Record]

Drumming is at the root of this, as a music. Every sound plays a part, even the solo vocalist.

Czech Suite, Op. 39 (selection) - Antonín Leopold Dvořák [from Naxos The Very Best of Dvorak]

as sold in shops

Movement Exercise #1 for Blindfolded Ensemble - Beth Fleenor [from Seattle Jazz Composers Ensemble Vol. 1]

One of the bounds within which this plays is the obligation to play well, to make the means invisible. Not so much as though the puppet strings aren't there as that they don't matter so long as the actual pursuit is agreed upon.

Banned Rehearsal 918 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer [September 2016]

here, playing well is neither encouraged nor enjoined
it is tolerated if it doesn't showboat much

allow ample room for hints of quiet doings
nearly inaudible is AOK.

composition as: establishment of a specious structural hegemony over a time span.

March 19, 2020
Sonata in G minor, K. 102 - Domenico Scarlatti - Pieter-Jan Belder

B follows A in more than one sense
i.e. not just follows after but tracks it either in whole or in part
aspects of A track into B, which becomes a new A for a new B.

That's the basic move.

After The Glitter Fades (Live 1982) - Stevie Nicks [from Bella Donna]

NB: sorry, it never does. It gets in the water. glitter is evil.

This Land Is Your Land - Bruce Springsteen [from Bruce Springsteen and the E Street Band Live 1975-1985]

Bruce is trapped in the same stadium must be filled quagmire as Stevie Nicks, but has a bit more room to stray, just because he's a man and a bigger draw, I suppose. He still can't help gussying it up with production value and new chords. Did it need improvement?

Legends Op. 59 - Antonín Leopold Dvořák [from Naxos The Very Best of Dvorak]

episodic, a sequence of affects
relies on the pattern of returning material to tie it together (Schumann's game)
just enough to imagine a story behind it

Sweet Angel - Your Mother Should Know [live at SkyChurch November 2011]

comes with its own preamble
one chorus must be a guitar solo
a brief one

Lion Storm - Ancient Warlocks [from Ancient Warlocks Live Vol. #1]

a strong rope pulled taut

Sonata in G Major, K. 103 - Domenico Scarlatti - Pieter-Jan Belder

devious contrapuntal relations
he knows more ways through the maze
than you do

Wade The Water to My Knees - Lucille Holloway and Basers [from Art of Field Recording Vol. 1]

heterophonic clapping rhythm
sparks on the river

Wie schön leuchtet die Morgenstern - Boston Camerata [from A Renaissance Christmas]

o give me more of that old Renaissance meter play!

Symphony #9 (selection) - Antonín Leopold Dvořák [from Naxos The Very Best of Dvorak]

(the Going Home movement)
an operatic moment with hints of Mendelssohn's midsummer and Mussorgsky's Volga sunrise. The purpose of the little episode that isn't the big tune is to modulate back into the episode that is the big tune.

the backstory is hinted at in the middle bit.

Wet Petition - Yuni [formerly in Taxco] [from Slow Charade]

technological means toward a more branded sound.

Spokane Steam Plant Chimney Stomp - Karen Eisenbrey and Keith Eisenbrey [September 2016]

what fun!
how we kept from laughing I know not.

I don't know if you can still go in the room under the long open chimney in the current configuration of the restaurant there. A pity, if not.

Sonata in G Major, K. 104 - Domenico Scarlatti - Pieter-Jan Belder

several ways to get to the bottom of the keyboard
then some other ways to not move much at all

March 20, 2020
Leather and Lace (Live 1982) - Stevie Nicks [from Bella Donna]

(sexual politics of the music industry as it comes out on this end)
Addressing A for the benefit of B presumes a skew of the fandom curve toward B.

Sledgehammer - Peter Gabriel [collected from Dave Marsh's The Heart of Rock & Soul]

Addressing A for the benefit of A (sort of), or playing Cyrano for everyman's mixtape of sexual braggadocio. Does that trick ever work?

quality instrumentals though. the money spent shows.

". . . the robes fall even,
The golden border showing"

Two Waltzes, Op. 54 (selection) - Antonín Leopold Dvořák [from Naxos The Very Best of Dvorak]

lazy gracious then briefly (while the old folks aren't watching) more physically flirtatious, then quite openly sultry

Each waltz or trio is a way that a couple might be together, dancing, framed by elegance.

Have Yourself a Merry Little Christmas - Your Mother Should Know [live at SkyChurch November 2011]

see you in a dingy bar someplace soon

Gradus 298 - Neal Kosály-Meyer [September 2016]

each musician's composing improvising listening analyzing narrating ear can activate a devious scheme
devious because, ultimately, inscrutable

must be accepted as an object immediately, while it occupies its span of experience

Analysis as a musical activity is a tool for discovering the ear behind the noise. We can hear what the ear is thinking because the playing of what we hear is the thinking of the ear.

Sonata in G Major, K. 105 - Domenico Scarlatti - Pieter-Jan Belder

fingery figurations are (of a piece with) the mechanics of the action
all those levers and plectra and key balances

balance - metrical, rhythmical, or of a lever - is a mechanism

Stop Draggin' My Heart Around (Live 1982) - Stevie Nicks [from Bella Donna]

the guitar part plays the part of the A (in being addressed)
what A says back (a thankless role)
is the guitar played by the B singer here?
acting out sexual politics for the benefit of _?

Reading: Luke II 3-8 - Boston Camerata [from A Renaissance Christmas]

woyse meyn
woyse guys

Romance in F minor, Op. 11 - Antonín Leopold Dvořák [from Naxos The Very Best of Dvorak]

poetic in how it fills out its pitch space

[it sounds like the piano has its lid down, muffled]

The keyboard writing is quite fine, and quite clearly post Haydn/Mozart, in that it evokes a heterogeneous ensemble rather than, say, a lute or a blended choir of like voices.

Sleeping By Myself - Eddie Vedder [from Ukulele Songs]

long line melody
takes you right along
sets you down at the end

Otter Song - Bicycle Face [from Wonders of Female Strength]

a delight
it is positive positive
like like

In Session at the Tintinabulary

March 15, 2020
Maple Leaf 200315

I was up early so I put the microphone out early to listen to the birds.

March 16, 2020
Meadowbrook Pond 200316

Up early again I drove to a nearby wetland park to hear more birds.


fired with love's urgent longings 1 of the
first stanza concerning this dark night and its
now to discuss the about which love's urgent

** ** **

pitch in a swamp is a bird on a cattail
an embodiment of the absence of itself
an image of duration bereft

Saturday, March 14, 2020



"New words would be needed to describe this impossible music."
- Honoré de Balzac "Gambara" (translated by Clara Bell and James Waring)



March 8, 2020
Sonata in C Major, K. 95 - Domenico Scarlatti - Pieter-Jan Belder

a teaching piece
for hand over hand leaps

could be useful as a music
while a scene is being changed

Pray for Rain - Benjamin Boretz, Art Carlson, Glen Carter, Bill Delp, Janet Fader, Bruce Huber (from Inter/Play August 1981)

serpent under cover
proceed with suspicion
and circumspection

Nothing to Lose - Thompson Twins [a Rescued Record]

Produced with a capital P
too much for the frame of the song
more a demonstration of what might be thrown against a wall

nothing sticks

Serenade for Winds op. 44 (selection) - Antonín Leopold Dvořák [from Naxos The Very Best of Dvorak]

the stories told by those who march
early films listened to how these go
in their shot by shot modeling

this music's camera angles
don't move

Legend of Persephone - Shelby Earl [from Burn the Boats]

coded personal direct address

Corollaries (Up's Up) 160911 - Keith Eisenbrey - Keith Eisenbrey

so that each note fades to nothing

what the pianist is engaged in
in this activity
is different than the effect
the result of the pianist's activity has
upon the listener's listening

performer's point of view

because sound surrounds us
we don't presume that the performer
hears a different thing than we do
(an illusion)

What sort of wall is this we are set to climb?
which interval is most conceptual?
:: the time duration between
:or: the pitch interval?


how far away can we get?

Sonata in D Major, K. 96 - Domenico Scarlatti - Pieter-Jan Belder

fanfares! fo fun!

(here's the guy who doesn't favor fanfares
(not a fanfare fan))

O! The Heroic FanFare! O!

A delightful magnificence
made of near nothing

Outside The Rain (Live 1982) - Stevie Nicks [from Bella Donna]

makes a lot out of 4 or 5 notes
sings us more eloquently than we could imagine saying ourselves

Es ist ein Ros entsprungen - Michael Praetorius - Boston Camerata [from A Renaissance Christmas]

on lute?
ah! then sung
then with a little bell kit
or celesta

Louisiana Donut Counter Man - Whiting Tennis [from Three Leaf Clover]

a super hero
into the bass
in a big way
can't have enough of that bass

The Day You Deleted Me - Your Mother Should Know [live at SkyChurch November 2011]

a loud sound with a soft, sore, heart

Goin' Nowhere - Arbor Towers [from In Transit EP]

angel /\ demon

shoulder familiars

March 10, 2020
Sonata in G minor, K. 97 - Domenico Scarlatti - Pieter-Jan Belder

no waiting until you are ready
dives right in and heads for the bottom

which is why the repeats are so helpful

as well as being an articulation point
among many similar such points in miniature



web of articulation points

Fome Fay Fubfeffile - David Hicks, J. K. Randall, Daniel Warner [from Inter/Play August 1981]

whispertorial conspiration
statements spoken out
left shoulder
right shoulder

say it!
as read

(such sympathy for vibrations)

take a thing somewhere
and it is compromised as a thing

plant a thing out there
and it might stick

pool shots

two talking makes not a conversation necessarily

an enclosure opens upon us
sounds can be made that aren't, first, for others

open every day
closes it

In Sesssion at the Tintinabulary

March 9, 2020
Banned Rehearsal 1003 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Neal Kosály-Meyer

Aaron was out of town, but we braved the virus and made our intrepid noise.


it usual breakfast do you think it is
because i had perhaps that is how i
stick it he said anything first don't think

open olive lakes
nascent arid tactics
everything cold

Sunday, March 8, 2020



"Too late, alas, lover and god repented
The cruel vengeance, and hated both his anger
And willingness to listen,and most of all
Hated the bird for telling. He hates the bow,
Hates quiver, arrows, and the aiming hand."
- Ovid "Metamorphoses" (translated by Rolfe Humphries)



March 3, 2020
Clouds of Mercy - Whiting Tennis [from Three Leaf Clover]

slidily tuned vocal
too pristinely captured to believe
a bit of talk in the last moments of the fadeout
don't make it real

Don't Fly Away - Your Mother Should Know  [live at SkyChurch November 2011]

The guitar and drums proceed in a unison bolero rhythm at no particular odds with the plan of the words. not fully worked out.

HLAH - Chaotic Noise Marching Corps [from Zero to Lizard Man]

OK, so similar in its unison rhythm to DFA above, but here the vocal is mostly with it, only partly straying. No steps are taken to assure aural legibility of the text. The static texture of it is the whole point.

Sonata in F Major, K. 94 - Domenico Scarlatti - Pieter-Jan Belder

tonal contortionism
left foot
on red
or so you think

Old John Henry Died on the Mountain - Henry Gradell Terry [from The Art of Field Recording Volume 1]

with ax whumps and hound yip
exertion poem

Reading: Luke 2:17-19 - Boston Camerata [from A Renaissance Christmas]

careful pronunciation
it must be correct
because it sounds so correct

Stabat Mater (selection) - Antonín Leopold Dvořák [from Naxos The Very Best of Dvorak]

patterns of neighbor notes in alternating alternation
melodic head rhyme
a duet

The sung lines start as folk song
but foul themselves in the pitch design

Nasty and Mean - Yuni in Taxco [from Sanpaku]

mumble pop
gluey echo
no danger of distinctness

The no fuss end is nice.

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

to clear the air
and formed of itself

March 5, 2020
Sonata in G minor, K. 93 -  Domenico Scarlatti - Pieter-Jan Belder

a fugue
The offset of the 3rd entrance is gauged by the figuration footprint of the subject.

Subject is an interesting word choice.
Is it a metaphor from the pictorial art? :: the subject of the painting
Is it a metaphor from the grammatical art? :: the subject of the sentence
Here it is more like "index brick" or "reference set."

What would a language thing be like if it used a subject like a fugue does? What might a language-fugue subject be like?

I Need to Know (Live 1982) - Stevie Nicks [from Bella Donna]

echo lines
viewmasteringly joining
into round focus

Candy's Room - Bruce Springsteen [from Bruce Springsteen and the E Street Band Live 1975-1985]







The Golden Spike - Whiting Tennis [from Three Leaf Clover]

If you let the noise sound precede the song it is clearly intentional, therefor not noise

pleady and soulful(tm)

Rocks and Glass - Your Mother Should Know  [live at SkyChurch November 2011]

I might be
they and I
still don't know
or might not

the common malaise
claimed as personal
dynamic meaningfullness mirror

Champagne - No Rey [from Contradictions]

with a sense of humor


allowing the rhythm
to punctuate the structure
rather than hide
or smear it

In Session at the Tintinabulary

March 2, 2020
Gradus 365 - Neal Kosály-Meyer

Some sonorities
do not fracture easily.

Focus on a single fulcrum


Some sonorities
come prefractured.

Finding pieces.


so hot they shoot forth flame and thus charity
is not a gentle and delightful desire
it seeks the will to be delightful spirit


insidious green
the numbers reduced irretrievably