Saturday, April 25, 2020



"ok so thats got it together. so you couldn't pry it apart with a tendollar toothpick. so maybe its the payoff on all the purple burble's been let off around here lately, not that Im naming any names you understand, but lets face it, you know what I mean, with the windows shut and all, hard to feature all that jive in one sitting."
- Benjamin Boretz "Language, as a Music"



April 18, 2020
You Shook Me All Night Long - AC/DC [from a private mix CD]

Bragging about some sex or other having been had, but for who's benefit?

so that he can remember a good time?
so that he can misremember a bad time?
so that he can establish his prowess over us?

so that we can hitch a ride on his good time?
so that we can admire his prowess over us?

eponymous your?:

Middle of the Riddle - White Orange [from White Orange]

There is a predilection for extreme uniformity upfront
blocklike simple parts
big bricks laid straight

-- how many bricklayers can a bricklayer layer? a bricklayer can layer all the bricklayers a bricklayer can layer if a bricklayer can layer bricklayers --

clear demarcations underneath
to put oneself into a mind, a meditation, just not the quiet kind

Ravenna Park A - Keith Eisenbrey [November 2016]

Our footfalls munch down the path.
It is a polytempo (see bus chain below).
But understandable as what it is.
It takes little effort to piece it together as a single texture

composers' intents:
what was heard by composers or imagined by composers to be hearable as X

our easy cognition of what that is
such as recognizing walking

the relation between:
our recognition of what it happens to have been, and
to composers' intents

(unfinished thinking - I do that a lot)

a polytempo heard as a whole
like Ben's fluttering leaves, a still picture that can only be experienced as a film is experienced

the motion fills in the stillness
the texture of it

The Promised Land - Bruce Springsteen [from Bruce Springsteen and the E Street Band Live 1975-1985]

He has to shout to be heard over the roar of his approbation. He takes upon himself the voice of us, his version of us.

personal cosmic celebration
is church of a kind: cult of personality: enabler of power feedback: we approbate: he sings: he sings our song big enough to be heard
and to sound as big
as it is in our personal cosmic

Jiaen - Yuni in Taxco [from Slow Charade]

left right alternates guitar power strikes establish poles
)(      trippy     )(

He over-uses the effect on the voice, I suppose to make it join the high jangled partials' moil with a kind of moil warp.

The Whiskey and Fire For All - Chaotic Noise Marching Corps [from Zero to Lizard Man]

a pledge of allegiance to themselves


A.W. at 10 side 1 [1986]

Neal had been at the UW and Neal being Neal had talked to his teachers and thereby acquired some piano students. When he left for San Diego I took on two of them, including A.W.- but that was a few months later.

This tape was made while Neal was the teacher. It consists of short recordings made by an extremely bright 10 year-old, improvising on piano and noisemakers. They are each and all kind of cool, full of humor. It also paints a lively picture of the space of creation and of the distortions promulgated upon that space by the imperfections of the recording mechanism.

button chunk slide show next please

Pedagogically, does it make sense, or is it effective, to inform the student of the important features of music before allowing them to infer that this music thing might require such things as important features?

distortion to die for
the microphone is greatly disturbed

gramophone telephone microphone
gramovision television microvision

Neal, as teacher, is using a part of this to both invent and teach Gradus. A.W. names each note and then plays it. Know your notes.

Our methodology was not typical

the acoustic/tetrachordal norm of Western music is hard coded into the keyboard's pattern of diatonic key. (It's quite clever, how each key feels different under the player's hands.)

Neal and A.W. find that note humorous.

Tunnel Mountain - Chad McCullough - Seattle Jazz Composers Ensemble [from SJCE Volume 1]

What is the conversation about and where is it being held?

Conversations are held.

A date movie.

Ravenna Park B - Keith Eisenbrey [November 2016]

sounds damp
in a gravelly sandy gritty wet shiny sort of way
swing squeak call of distant trumpet beast
we walk to where it can no longer be heard
then cease recording

April 19, 2020
Cover Me - Bruce Springsteen [from Bruce Springsteen and the E Street Band Live 1975-1985]

The song comes with serious packaging at both ends
icky weird

Without You - Eddie Vedder [from Ukulele Songs]

It occurs to me here
because he is using it
that the melodic trope of making two tunes out of one by alternating high and low notes in which the high notes can be one tune and the low notes another
is a finger thinking figure
not arising through vocal thinking
but it works

Falling - No Rey [from Contradictions]

bit of calypso in the concept
a whole set of characters in a place
an advertisement for falling in love again

A.W. at 10 side 2 [1986]

We continue with F 2.
no need to ask the question
it is F-sharp not G-flat, decisive

A truly patient 10 year old intelligence

DRAMA: will it be A-flat or G-sharp
inquiring minds are all aquiver

A-flat it is! the crowd goes wild.

The microphone in the device is unshielded, so it picks up its own mechanicalism. clunky.

And now that all have been nominated, they are mine!

Whatever is happening is happening because they are listening, truly listening, to all that is happening. Randallian in many essential ways.

Segments or Takes. Stop and record again.

Each a specific thought, unclouded. Admirable attention. I wish you could hear this, but they were a minor. It moves beyond piano. Jim would dig this. Some scrapy thing. buzzguiro. Really gets into it. Without hindrance of system. When you come to a bridge, cross it.

Muffle and Hum - Triptet [from Imaginary Perspective]

a nearly slow tempo
Adagio not Lento
a trans-urban adagio

Banned Telepath 50 Anchorage - Aaron Keyt [November 2016]

free reeds of some kind

if so, its finest hour
or 10 minutes

that's what I'm talking about
in search of the implicated key

ignore the clown
if you dare

April 21, 2020
I'm On Fire - Bruce Springsteen [from Bruce Springsteen and the E Street Band Live 1975-1985]

Introduce the parts of a song so the audience knows where you're headed
so you can gauge the response
so you can amend the playlist

Alone In This Together - Star Anna and the Laughing Dogs [from Alone In This Together]

It's our song!
Aiming for the mountaintop in this

2nd & Virginia - Arbor Towers [from In Transit EP]

from the end of a culvert
been dumped
in countless bars
for what is possessed is what is already desired
you should feel at home in this gutter

back into the mirror

101 - Martin Butler, J. K. Randall [from Inter/Play - April 1986]

class or room?
each other
with or as a piano key operator
perhaps emerging into a shared space
wherein a project of them might become
as two might converse
without assigned topic

the signal acquired some wobble along the way

April 22, 2020
Pie - Tyrannosaurus Grace [from E.P. 1]

a polemic
arguing against a position
creationism I presume
designed in no way I can discern
to convince

(abuse of another's position is a losing proposition
from the get go)

Banned Telepath 50 Seattle - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Neal Kosály-Meyer [November 2016]

back to the fallen house
behind the dull lecturer are some stunning tam tam low warnings
we are music sound sounding
bangings and tappings
strum and pluckings
percussounds on the edge of pitchiness
declamatory mode
the rhetoric of discourse
outed as dull
lifting it above makes it no less dull
for another event unspecified
his literary eminence honors us not
neither do we him any

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

our legend lost
what is it that is responded to?
not the particulars
but the inflation of the particulars into a shareable moment
empathy for whom?
for ourselves' younger selves?

Track 2 - High Class Wreckage [Live at the Funhouse, July 2011]

thrill ride
we are strapped on along
drag down the flat wild down

Late Daydream - India Glover [from Pup Demo]

the line forms
on fingers plucked

guitar hands cooperate within their fret board sound box functions
(generally): one excites the other restrains :(cooperatively)
the vocal lines take advantage of the hands being busy

JKR at WM & M - Tom Hajdu, David Madole, Andrew Milburn, J.K. Randall, Nancy Riecken [from Inter/Play - April 1986]

recent quasi musical experimental activity
someplace indexed in New Jersey: Manville

nary a human was sighted
that's us on this tape months before in a Princeton classroom
we brushed snow off the benches then spontaneously fled
played book tunes
Four Corner Solo
the huge figure eight stomped on the snowfield before we got there
Four Corner Goons
grass plot
painted ad
concrete divider
tree bell
please remember to come back to these
no freakery allowed say hello
railroad hangout flattened three coins
three old geezers on the benches looked right there
meet at four corners
underarm synthesizer
four corner golf
snowfield green
and kicked bottle
concrete divider
same rule
the benches
appropriate intricate and distinct
overwhelms even JKR's declamation

what are we doing? I hope you will help us speculate

chalkboard scrawl across the stereofield
a choir sings in the back

Track 2 - Pouch [Live at the Funouse, July 2011]

uncovered (outed) as a careful balance
by: JKR's theatrical (near failure to) shout down

April 23, 2020
Banned Rehearsal 923 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer [November 2016]

Atreus falling once again
It is chosen to be heard from the other side
there will never be a better back-up band
and what view will Anchorage have of these goings on?
Here Comes Aaronbody!
free reed among the clangs and declangers
morse pulse signal reeds to bells
words remembered can be remembered
but our pluckings become unique again

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

Like Manville emptying
what is created by those who flock together
brought by a woven dream that was never a promise
to those responsible for the weaving of it

my brain came from a factory (side a) - Koko and the Sweetmeats [from Sacrifice]

existential trap
blues pound
pound pound
pound blues

I got those we have title in the first line blues

bridge is a siren song of the desert retreat
decoupling - disgridding

Walk On - Ancient Warlocks [from Ancient Warlocks 'Live!']

the bass part holds steady (in its mind)
but stumbles on rough terrain
scrambles to keep posture
no notice
nothing to see

top heavy
loose joint in the middle stilts

3 Rhapsodies - Elaine Barkin - Mark Carlson, Sheridon Stokes, Gary Gray [from Open Space]

vibratos sacred and profane
brook and beak
burble and bark
Scarlatti games with pitch bends
among unnamed contagonists

15xoxoxooxoxoxoxo - Paul Rubinstein [from Solo Trios]

among a set of 3, 2 of which share an envelope type, that of them with the unique envelope type must be the song

though that may be due to the shared type being an apparent hand/finger energy (plucking and plunking) and the unique type being a sustained quasi-vocal or bowed string type

hand gestures to clarify speech

312 Bus Chain Song - Keith Eisenbrey [December 2016]

just as fabulous as I remember
rhythm of breaking edge of just good enough to get by civilization
convention place tunnel station

Born to Run - Bruce Springsteen [from Bruce Springsteen and the E Street Band Live 1975-1985]

we cheer ourselves on
to oh so heroically venture forth

my escape? I crossed a lake
after venturing to sit at the feet of the East
Seattle not being Brooklyn

Helping Hand - Goat Rodeo [from The Goat Rodeo Sessions]

interrupts going nowhere to be nowhere at all

Banana Slug Taxi - Bicycle Face [from The Wonders of Feminine Strength]

will be your first choice
jewel heist!
the more they pursued them the more they got stuck
into the night

In Session at the Tintinabulary and Outposts

April 20, 2020

commercial potential 1-7 - Steve Kennedy
STE-021 200420 - Aaron Keyt
Bannedecameron 200420 Maple Leaf and Lake City - Karen Eisenbrey, Keith Eisenbrey, and Neal Kosály-Meyer (calling in)

We gather ourselves as best we can. Karen and I played on the porch for the first time this year. Neal called in and chatted with street passers by and others, presumably from a safe distance. Steve made a lively roaring piece of craziness, to which then Aaron added a track of ring modulated sampled cello sound.

In February of 2019 Banned Rehearsal performed a short but milestone set at Hollow Earth Radio as part of the Seattle International Improvised Music Festival - after which the rest of the festival was snowed out or under, not being completed for several months. The last time we gathered together we made our 1003rd recorded session in the main sequence, said number being the legendary count of Don Giovanni's Spanish victims. The world promptly went all to pieces. We deeply regret our error.


inquired but if perhaps nor yet but
tiring by the guard and i to each
usually were small talk we inn new

only isomorphism
sinew at other sunsets

Saturday, April 18, 2020



"And so let us now, with the aid of such wisdom as we may command, return forthwith to the place of our adventure, not dallying overlong in speculative digression lest, in musing the while upon the perils of unscientifically grounded conjecture, we unduly exaggerate the risk that happenings of some considerable moment may pass unobserved before our preoccupied sense."
- Benjamin Boretz "Language, as a Music"



April 11, 2020
War - Bruce Springsteen [from Bruce Springsteen and the E Street Band Live 1975-1985]

lesson and carol
cover of course

As a song it suffers from an irrecoverable opening whammy, much as does Also sprach Zarathustra.

Who Cares About You - Full Toilet [from Full Toilet 7"]

a great trip actually
It has that opening whammy thing down and then stops.

Pledge Allegiance - Robber's Roost [from Live in Minneapolis]

add to the right left margin lists of Boretz's I/O

Winners - Manfriday [a Rescued Record]

manufactured live feel
hey kids
do it yourself
without leaving the house

sampled sound feel
no reason for instrumental intervals
if none are strutting
hey kids
insert your righteous strut solo here

push button for cheering multitude sound sample

When the Darkness Comes Out at Night - Whitney Ballen [from White Feathers/White Linen]

a sweet song sung with joy
down with how unimportant it is to be taking it seriously

a strenuous joy

April 12, 2020
Banned Rehearsal 921 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer [October 2016]

the need:
a place to stand
: could be a score
: could be a habit
: could be a rut or a phone booth or a wood box
: could be a vehicle
: could be a room or the past or our conjointed experience together

? how comfortable do we need to be with our bona fides ?
? our imprimatur ?
? does our place to stand allow adequate liberty to each others' places to stand ?
? does our place to stand disappear in the experience of the moment, become transparent to it ?
? are we now the center of attention ?

The house of Atreus has fallen in the dust. Pastichery has a similar problem.

a magnum mysterium - Boston Camerata [from A Renaissance Christmas]


if you don't mess with it so much it's lovely!

Monkey on a Chain - Courtney Marie Andrews [from No One's Slate Is Clean]

big arrangement of small sounds made bigger in perspective
big voice saying things to you holds its own
plenty big

I'm Set Free - Brian Eno [from The Ship]

slow moving rise of pitch level into choral harmony
like any another choir anthem might do has done

You Can Call Me Al - Paul Simon [from The Essential Paul Simon]

staccato talk-o
urban tales
told quick

Desert Bloom  (underlying electronic track) - Steve Scribner

a chorale underneath the yet dark sky
commendable intonation doing
no fade out on that
no sir just cut it off

lovely understated it-ness

April 14, 2020
Gradus 302 - Neal Kosály-Meyer [November 2016]

we listen for paths to follow and then we have followed
calls into question the tense of listening
a fluid multi-morphing attitude to the sense of experience of what might as well be called now
bending sequential experience to follow the path we have formed to be on

[aside: music is often composed so that sequence matters to its image of comprehensibility. It can't be mixed or shuffled in our experiencing of it and still be recognizably it.]


radical content determinacy writ so large as to be ungraspable as experience

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

or Klickitat County
as Karen sings it

the better life elsewhere
the myths of worker migrant america
the allure of the south

whips his big man out
sax, right

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

a report from the grit road
DIY blues hillbilly perfection
last red cent shiny dime
and time in time

Ocean Ambience Rocky Coastline (Volume 3) - Pete Comley

a list of sounds
arcanely cataloged and sequenced
for real

a drawer of specimens
of such beetle-like things
alike and not the same
a memento of eternity
that will persist beyond and without regard for our time of woe
and even these not eternal
all of it that we can be conscious of is limited to that of which our consciousness is capable
no more

April 15, 2020
Singet und klinget, ihr Kindelein - Boston Camerata [from A Renaissance Christmas]

instrumental parts and vocal parts of essentially identical, interchangeable, double-able

does it mean that they were intended to be infinitely arrangeable,
or that these were the sorts of lines composers knew how to work with and were acceptable in polite paying company
and that they intended these pieces for the particular forces available to the instant occasion for which it was written
nor to be ever after considered

I Will - High Class Wreckage [from High Class Wreckage]

your evil ways
yeah I like 'em

the increments are extraordinarily narrow
but carefully prepared to inhabit the package they are packed in
with only just the bare necessity of protrusion

Banned Rehearsal 922 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Neal Kosály-Meyer [November 2016]

"Bickleton Burger" for Aaron's birthday
shades of Aaronsbundler wheezing on the pump organ
trigger alert: metal on metal squeaking

out loud
reading from a score
of any kind
to some extent
a cop-out
a dis-engagement
a breach of social contract


success at engagement involves disappearance as a clearly independent activity agent
one's part comes apart
joins collectivity

the undigested past
use fresh water

April 16, 2020
You Make My Tremolo - Sun Sect [a Rescued Record]

The band plays in another room, early DIY? Demo-ish frog croak
record me! I wanna be a paperback writer
bluesy bland guitar hook

What Love Will Provide - Yuni [formerly in Taxco?] [from Sanpaku]

late surf pop in a big can

Austin - SeaStar [from Never Go Back]

the power of a melody sung alone
still does it for me
all one ever really needs

Working On The Highway - Bruce Springsteen [from Bruce Springsteen and the E Street Band Live 1975-1985]

all he really needed here
was a set of spoons

Smoke Goes Clearing - Shelby Earl [from Burn The Boats]

teaching one's self's mirror's you

who comfort
him or her

me you I

Gradus 303 - Neal Kosály-Meyer [November 2016]

rung one:
the nearly replete
rung two:
the replete
{of the collection so far}

this is not counting in the sequential manner, i.e.

0 - 0
1 - 1
10 - 2
11 - 3
100 - 4
101 - 5
110 - 6
111 - 7
1000 - 8
1001 - 9
1010 - 10
1100 - 12
1011 - 11
1101 - 13
1110 - 14
1111 - 15

it is out of order as counting
and will continue to scatter as time goes on
that is, taken as an expression of quantity in base 2
increment becomes confused or refracted
and that refraction is a figure
writ upon time

any segment of a rung might express a number in base 2
and any number can be placed in a hypothetical time point
so that composition can be time travel

{{having grown old with tape bleed it is easy for me to hear a PPP pitch instance followed by a the same pitch played F as just that: tape bleed
though here, that's just how he plunked it}}

and partitions of rungs played together
(think Babbitt's arrays)
are different quantities or quantity numbers nobbing hob together in a counterpoint of time travelings
extending beyond the universe

like tapes played together
as tape bleed made big

Bransle de poictou - La bona novella - Boston Camerata [from A Renaissance Christmas]

The Renaissancy in all its jingle bell hoary glory
so quaint

--- Warning - Operation ID [from Legs]

a ringtone to riff under
push it around if you can
holds together under pressure
not immovable
but moves as a thing

Go Fast - Crystal Beth and the Boom Boom Band [from Yugen 3]

create a rhythmic environment
like a room to be in
of one's own
as it were

decorative impulse
in a non bull-shit way
throw some posters on the wall
what you might want to see
to reflect memory and aspiration and attitude


(-)ture he has labored at this and to be
complete monicker means a year at harvard
without music the only reward he

hung there from another mind
dyes dray violet
blows on the bass drum

Saturday, April 11, 2020



"encreaturing each newly multiplied member
and all as well,
irreducibly metabonded herenow,
repleting, for clarity's sake,
whatever has been
beclogging in metaform effusion without,
backcumulating in multiform deflection within,
whatever across a timescene tightwarped
the flickerthickening multiprescient urnow
of omniconjunction fast
forever attached
has been unspooling,
                 from a firstindexed moment,
                                                               to now"
-Benjamin Boretz "Language, as a Music"


Live Streaming

April 8, 2020
American Interwar Piano Music
Peter Nelson-King, piano

Leo Sowerby - "River Night" from Florida Suite (1930)
Alexander Lipsky - Four Sketches (1928)
Harold Brown - Little Prelude No. 1 (1935)
Elliott Carter - Pavane from Pocahontas (1936)
Lazare Saminsky - Three Shadows (1935)
Amy Beach - By the Still Waters (1924)
John Alden Carpenter - Diversions (1923)
William Bailey - Musing (1930)

Our local unearther of old treasures presented another fascinating glimpse at the strange and often lovely things that American Music has been. I was especially taken by the sophisticated keyboard writing of Amy Beach and John Alden Carpenter.


April 4, 2020

Walk The Corn - Three Fingers - [from Three Songs]

succinct, bracingly so
The chord change pattern provides an ample expanse upon which to inscribe vocal precision.

Edge of Seventeen - Stevie Nicks [from Timespace: The Best of Stevie Nicks]

variations on the oo oo oo
(the lines as rhythms have angled jumpcut corners to them)
oo oo oo variations come back with "eyes on him"

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

stadium blues bluster
here's the part where you applaud us

Track 1 - Pouch [Live at the Funhouse, July 2011]

the vocal: a cross between a roar and a shout and a scream
the foil: for a beach buggy bounce instrumental

Que Linda Noche - Lunas [from Over Me]

take me I'm a door prize? out of your way? Posies-like power pop.

Airplane Blues - Allen Ginsberg [from Holy Soul, Jelly Roll]

circles around his old themes
just like the blues do

Tau garçó, la durundena - Boston Camerata [from A Renaissance Christmas]

theatrical alternation of solos
is there documentation of the theatrical alternation of solos as a practice
or could we determine its origin in more recent times?

Gradus 202 (Rung 3) Live at the Chapel- Neal Kosály-Meyer [December 2011]

Rung Three begins with a long wait, and then, it seems, another, without pause.
While we wait the mind wanders.
[an interruption]
live theater! with stomping!
then a high A-nat
then a mid A-nat
so at last: two

compositional idea: play mostly the higher A-nat
occasionally dropping in the mid A-nat
ratio of higher/mid is, say, 50/1?
all pp to p
not long this 20 minute rung
we applaud

Willow I - Tyler Daniel Bean [from On Days Soon To Pass]

The instrumental is way up front.
They could re-do that I think.
It's a nice sound but it overwhelms the vocal for no apparent reason.

April 5, 2020
Leather and Lace - Stevie Nicks [from Timespace: The Best of Stevie Nicks]

The size of voice and the size of arrangement are well matched, and it is a pleasure. It must be tricky to accomplish this with such a big alto voice.

They! - U-Men

Screamin' J opening
rollicking good humor having a grand old good time
seriously not taking themselves
not so seriously
a bit like Young Fresh Fellows, but ruder, and (provisionally) smarter in an overtly smarter way

Roots - Wild Assumptions [from Roots/Run Like You]

short long
short long
quickly bounced
|2 1 2 1 2|2 1 2 1 2| etc.

Gradus 300 - Neal Kosály-Meyer [October 2016]

pale wash of signal dispersing sheer to the buoyant abyss

rung one
single pitch
must have been the new one
place protection here in order to continue safely on
up the pitch

rung two
two pitches at a Major 6th
G-nat to E-nat
the long silences serve to keep away that this-music-is-part-of-a-piece feeling
that is
that the moment we are in is locked in place

pitches assert their distinction from their function as interval node
I am what I am without comparison

Over Yonder Where Jesus Is - Leona Ruth [from Art of Field Recording Volume 1]

Earthly life as exile
solo mezzo voice
sung straight with tasteful ornamentation
gives tasteful a good name

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

wherein he tells a long story
get 'em on your side
build rapport
fathers songs and lovers
in time of war

tale told to a bar stool
in carefully constructed verse and chorus
uncertainty on the part of the speaker as to whether this wasn't his dream all along that they got or didn't
hope deflation

Love Song to Make Us Millions (side A) - Koko and the Sweetmeats [from Sacrifice]

In a large space
falls apart with impeccable elegance
into a new and slower tempo

Analysis Paralysis - Three Fingers [from Go Deep]

nice rhythm section!
excellent balance
clean trucks
but fussily just so

Conversation Pit (Austin Texas) - Benjamin Boretz, Janet Farr [from Inter/Play]

came out west
cote cooing
slumber hoots
tender hoots

behind all that is an omnipresent roar of what?
signal hypersensitive as to the mechanism that excites it
makes a noise, a roar, a whisper
electronically stable like dust were ye made

the effect of the recording mechanism
is present to the face of how this sounds
as though it were a movie on the outside of a building

coaxed out becomes quite a thing
furniture is moving across the floor
the space between is being cleared
that long song ends thwunk on the tonic

Tura lura lura, lo gau canta - Boston Camerata [from A Renaissance Christmas]

like those movies
establish local color
everybody doing some renaissance era craft
playing a part
goes way modern

10xxoxxoxxox - Paul Rubinstein [from Solo Trios]

kalimba and reboxed bowed 'ud
kalimba is less a thumb piano
than it is
a metal tongued cavern

Thunder Punch Elephant Kick - Ancient Warlocks [from Ancient Warlocks 2]

I will now hit you with tribal power infusion ceremony
power up

April 6, 2020
Stop Draggin' My Heart Around - Stevie Nicks [from Timespace: The Best of Stevie Nicks]

the show is the show and on it goes
everyone loves the theater
latch on as needed

We're the Center for Disease Control Boys - C.D.C. Boys [a Rescued Record]

Honestly, this came up for listening all on its own.

every night we sit around and make this kind of noise

while Karen sews masks

April 7, 2020
Gradus 203 - Neal Kosály-Meyer [December 2011]

A-nats 1 3 5 6 & 8 then 1 3 5 7 & 8
the composing or analyzing ear can focus on the specious facts of notes and sequence
indexed by incipit and pitch
on the lingering mix of decays

for example
one could focus on what each new impact does to the ongoing decay mix
and at what point it simply becomes a part of that mix
or adds into it
keeps it afloat

listen to the figure from all sides til it is heard right
then move to another part to listen at
a pitch becomes a location outside of sequence space

Here We Are - Robber's Roost [from Cuatro]

I could listen to that guitar playing
for a good long while

Do The Meditation Rock - Allen Ginsberg with Steven Taylor [from Holy Soul, Jelly Roll]

I fought the Dharma and the Dharma won
for the crowds

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

Mary and Joseph and the babb'

Quarter Chicken Dark - Goat Rodeo [from The Goat Rodeo Sessions]

points at
the demotic
to what end?

to pull fans in : subterfuge
to relax : a lark
to get down : to slum
: or pretend

hard to escape its need to showcase chops

April 9, 2020
Gradus 301 - Neal Kosály-Meyer [October 2016]

As I listen a new guest is here
an old stuffed bear
looking out the window
hoping passing kids will get a kick out of it

Early on and for many years Gradus was the piece wherein Neal played nothing but A naturals. The pitch class palette is larger now. Is it difficult to hear as the same project? No. Why not? The ear matters more. The rungs involve and engage an approach, an activity. The ear is an unwritten score.

white collar intervals like anybody else's


do intervals even exist on this planet?
because clearly, these ain't them

In Session at the Tintinabulary and Outposts

April 6, 2020
Bannedecameron 200406 Maple Leaf - Karen Eisenbrey, Keith Eisenbrey, Neal Kosály-Meyer (calling in)

br 04-06-20_covid-19_2 - Steve Kennedy

STE-018 200406 - Aaron Keyt

Karen and I set up in the studio so that Neal could call in and join us from afar. Steve sent about 4 minutes of precious signal. Aaron played along with a recording of what Karen Me and Neal had recorded, and recorded that.


coach-windows the bulky passenger the
bank always with him being that k. was
mercy and him off to besides k. had

a small road in the nether regions
an edge more or less complicated
by the motions of the whole distance between

Saturday, April 4, 2020



"And as he stood there, gazing at his victim,
A voice was heard, coming from where, he knew not,
but he could hear it saying: "Why, O Cadmus,
Stare at the serpent slain? You also, some day,
Will be a serpent for mortal men to stare at."
- Ovid "Metamorphoses" (translated by Rolfe Humphries)



Ravenna Park, Seattle
March 28, 2020
Sonata in G minor, K. 108 - Domenico Scarlatti - Pieter-Jan Belder

Just how close are those closely related keys? Etched so clearly they seem more clearly distant.

contrapuntaled key parts

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

So: If the referenced story or milieu is irretrievable from this text residue, as such, what parts of it might not be? Perhaps only or as much as the gap between what of the story or milieu can be told to any others, or by any others. The shift of points of view from line to line is the heart of it.

Johnny 99 - Bruce Springsteen [from Bruce Springsteen and the E Street Band Live 1975-1985]

I'd love to hear someone like Braxton take a run at that opening harp Schrei. Once again, the room is too big for the lyrical thrust of the song. He has to shout.

Gradus 201 - Neal Kosály-Meyer [December 2011]

Ravenna Park, Seattle
Music may be without purpose. Yet it seems to possess one. Or it seems it must have one in order to possess it. But does it need purpose to exist? Purpose for us or for it?

It (can) witness(es) us back to us.  mirror by which we hear our face, or see our voice.

Different pedaling provides multiple splash patterns for sympathetic reverberings.

sounds awaken wires
sound wakes wires

echolocation of the soul, man

::{{dis-alliteration: gradually removing alliteration to reveal the residuals, the outliers}} thus: graduy removing aiteraion to revea the residuas; gaduy emoving aiteraion to revea the residuas; gaduy emoving aiteaion to evea the esiduas; gaduy emoing aiteaion to eea the esiduas; gadu moing aiteaion to ea the siduas; gau moing aiteaion to ea the siuas; gau moing aiteaion to ea the iua; etc.

Purple Berries - Low Hums [from Shine Rock]

absent tracks are allowed to bleed
melodic construction (by the quatrain) straight and clear

Sonata in A minor, K. 109 - Domenico Scarlatti - Pieter-Jan Belder

How much of the key do we glimpse at once?

Reading: Luke II 20-21 - Boston Camerata [from A Renaissance Christmas]

were there now
abiding you say

An Experiment in Reading (Beckett) - Jill Borner, Benjamin Boretz, Charles Stein [from Open Space 3]

Ravenna Park, Seattle
Jill's speaking voice is sparing of the hard "t"
a remarkable set of vowels and rhythm of reading
the words of at least one speaking reader seem to affect the pattern of the others' patterned appearance

an image like any other

March 29, 2020
For When I Go - Star Anna and the Laughing Dogs [from Alone In This Together]

anguish as fuel
to lift anguish to voice

no slack

Gradus 299 - Neal Kosály-Meyer [October 2016]

The two rungs are distinguished from each other only by the inclusion of a C-sharp in the second that isn't in the first. The size of the collections is large enough that the single distinguishing feature could be regarded as ineffective, unless you knew to listen for it.

However, Neal usually makes a compositional decision to also distinguish co-sessional rungs by a shift in performance approach. What might the motivation for that thumb on the scale be?

This music speaks piano. It does not imitate. It clears a space for itself, a wide open space.

Sonata in A minor, K. 110 - Domenico Scarlatti - Pieter-Jan Belder

Ravenna Park, Seattle
The ornaments are anything but ornamental. They are tools to pattern with. Put pin here.

How Still My Love (Live 1982) - Stevie Nicks [from Bella Donna]

Word play (on "still" - used two ways) to hook.

Wraps the line up in a cocoon. The rest of it is a conversation cloud around the hook.

Reason to Believe - Bruce Springsteen [from Bruce Springsteen and the E Street Band Live 1975-1985]

A well written song, even for Bruce, who is no slouch most of the time. the tune and delivery isn't so far lifted from conversational description - just lifted enough.

Banned Rehearsal 804 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer [December 2011]

A procession with instruments
into a chamber
like a toybox
more to process with

calling to
within the chamber
each gesture
has ceremonial intent

We have learned to play the rattle.

seed shaker and tinkly bells
new sounds new phase
cowbell takes an extended solo
bell canto

leads to the misty pool
so we shift gears
get in the boat

preset intros
out us

sunda - Paul Kikuchi - Paul Kikuchi, percussion; Taina Karr, oboe and english horn; Ivan Arteaga, clarinet; Greg Sinibaldi, bass clarinet; Natalie Mai Hall, cello; John Teske, contrabass [from Autonomic]

Skunk Cabbage, Ravenna Park, Seattle
overtly ceremonial
no troop of misfits these!
poeticized minimalism
made lyrical

Sonata in G minor, K. 111 - Domenico Scarlatti - Pieter-Jan Belder

oh the hang
of the beat three!

syncopation owned

This Man is Mine - Heart [from Greatest Hits]

Well, those vowels sure are.

Ungaresca -  - Boston Camerata [from A Renaissance Christmas]

on recorder
with fancy fancies
and odd tuning

Monster - Tyrannosaurus Grace [from E.P. 1]

This song is clear in how it wants to sound. The combined gender vocals are killer.

Banned Rehearsal 920 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Neal Kosály-Meyer [October 2016]

We start off where we left off
imagine that(!)
pitched thumps thumping

each corner of the room has its voice, its aural face
wholly fine in how each successive moment clarifies the past
exquisite pp percussion bit

pitch returns
to our world

the Pythagorean authority of a pitched wire
returns to our world

March 30, 2020
Sonata in B-flat Major, K. 112 - Domenico Scarlatti - Pieter-Jan Belder

stumping the GPS
loves square corners

Edge of Seventeen (Live 1982) - Stevie Nicks [from Bella Donna]

propelled past all by the motor
it spills over the 4X4

Born in the U.S.A. - Bruce Springsteen [from Bruce Springsteen and the E Street Band Live 1975-1985]

It isn't like he goes to great trouble to make himself understood. He starts nowhere and goes back to it in some sort of triumph, I guess.

April 1, 2020
Gradus 202 (Rung 1) Live at the Chapel - Neal Kosály-Meyer [December 2011]

For his live presentations Neal performs three rungs spread out over two hours. The ratio of time spent on each rung is 40/60/20. Usually one of the rungs exhibits a single pitch for its entirety. Sometimes that's the 60 minute rung. He generally inserts a lengthy silent bit in each rung, proportioned (I think) to that rung's duration. Here, the first rung is 40 minutes, and has three pitches, all A-nats: one high-mid, one low-mid, one quite-high.

The chapel has things to say.

More later.

Crapitol Hill - Choke The Pope [from Emotional Material]

local flavor place name dropping with sophomoric attitude in prominent display. Not profound.

Jim Squared - James Kelly, J.K. Randall [from Inter/Play]

If what we do in this moment adequately composes this moment, then what do we care else of deeper structure? Closely following its own impatience with stagnation, it shifts on its haunches and plays with the woowoosterious, steps back to take in a lovely thought. Our fingers fiddle jointly. It stops mattering who who is, though we know who who is. (Or what is.) When two are four. Ears when followed lead deeper. Unknown where we are. Light a candle. Look around. It was growing into a dynamic harmony blob that might be an other self. Enter without thought of a prior substrate.

The End of September - Larry Solomon

We are in  control of these pulses. We have all agreed not to move. Do not let go. Though the ground will.

Track 1 - High Class Wreckage [Live at the Funhouse, July 2011]

From which (HCW) Neal got his loud DeVille amplifier. Beer spewers of yore. So long ago. This was, or so I hear, their last good {epic, totally} show - the last one in which the guitarist wasn't so wasted as to fail. Too fancy to be punk. Flipoff Metal? Jalopy racing.

April 2, 2020
Penny for My Thoughts - Robber's Roost [from Swallow Your Fears]

hardened data bits
under pressure

Rhiannon (live 1982) (Remastered) - Stevie Nicks [from Bella Donna]

Maple Leaf, Seattle
grieve out dancing

at one point actual grief intrudes upon the proceedings

||:: an aesthetic issue with direct emotional expression. It shows up the inadequacy of the means by which emotion is expressed in aesthetic discourse, or it undercuts that discourse's strength of expression? even money, I suppose ::||

Nouvelles, Nouvelles - Boston Camerata [from A Renaissance Christmas]

Reconstructed practice. We guess at it. Plausibility rather than authenticity is the best we can do.

Gradus 202 (Rung 2) Live at the Chapel - Neal Kosály-Meyer [December 2011]

Rung 2 (60 minutes) is a very low A-nat, one instance of which is enough to suffice as to the greater score. Ring the rung for all it's worth. While listening to this live I became obsessed with the endings of tones. Beginnings can be big or little. Endings can be many things, or it might be supplanted, made never was, by a new beginning of the same tone.



encounters it flame on both persuading
love holy execution stem from god
hence the soul thinks time this shoots up delight

a such beetle like thing
spins the blades
of Jack the Ripper