Saturday, July 26, 2025

Playlist

Washington Arboretum
Preface

"I don't mean to say that I have killed lions, or seen the wonders of travel in the deserts of Arabia or Prussia: or that I have been a very fashionable character, living with dukes and peeresses, and writing my recollections of them as the way now is. I never left this my native isle, nor spoke to a lord, (except an Irish one, who had rooms in our house, and forgot to pay three week's lodging and extras); but, as our immortal bard observes, I have in the course of my existence been so eaten up by the slugs and harrows of outrageous fortune, and have been the object of such continual and extraordinary ill-luck, that I believe it would melt the heart of a mile-stone to read of it - that is, if a mile-stone had a heart of anything but stone."

from The Comic Almanack, an Ephemeris in Jest and Earnest, First Series, 1835-1843

Texts

Live

July 19, 2025

Gradus ad Ignotum
Chapel Performance Space, Good Shepherd Center, Seattle
Matt Benham, Hanna Broback, Aaron Michael Butler, Haley Freedlund, Noel Kennon, Dave Knott, Neal Kosály-Meyer, Christian Pincock, Greg Sinibaldi, Dave Stanford, John Teske, Evan Woodle

Gradus for Fux, Tesla, and Milo The Wrestler - Neal Kosály-Meyer
Novelty Generator - John Teske
(performed simultaneously)

pay no mind
to the chair
behind the back end
of the piano 

some of this audience
have functions
that fold into the event's
intentional ritual 

we'll start
be explaining ourselves 

the ring of musicians
in the round 

not be an ordeal?
possible?
it is a discipline
and
if a discipline
doesn't involve
the difficulty of ordeal
what is it?
one response might be
to find
a point of focus
an immoving standpoint
a seed
immoving
but transmuting microelaborations
upon immobility

to proceed stepwise
up the partials
is to reach
to where
you
already
have been 

modulation
to reach
into
an adjoining set of partials
adjoining
being defined
as the delta
between
where we were
and where we now are 

any pitch set
implies
a structured set of partials 

a motion
between pitch sets
implies
a motion
between
sets of partials 

a shift
in our perception
of the space we inhabit 

a music
of what accumulates in tonal space
if
it holds still for a moment 

that boat
is moored
in a still dawn vibe 

at what point
might a line be crossed
into Pythagorean sound porn?
what are we now over indulging in? 

the League of Extraordinary Partials
a Neo-Hellenist adventure
in empirical mathematics 

sound
in a womb of its own making 

celebration and amplification
of any sacred sound that haps along 

a tone
as its status
within a set of partials
what it is
and
what
what it is
does
to what is done 

an effective synthesis
is immediately effective
effect is immediate
until translated into language 

imitatio air traffic 

mediating immediacy
to be told
it is two hours
is
to presume
it will never end 

sensibility of the whole

the darkening has ensued
impatience
moves to the side 

to extend an improvisation
to engage in a chosen focus
for a chosen duration
a discipline
its nature
as an ordeal
is not mitigated
by its inherent pleasures 

Sisyphustian  note rolling 

night falls
in the realm
of the giant octopi 

at some point
the extent of it
becomes
the point of it 

this piano concerto
is utterly unlike a piano concerto 

melody
arising
from any fibrillation
between partial sets of partials 

when we hear each other 

assertions are born
to be interrogated 

the recording device
glows within its fuzzy wig 

wallow
in the hollow of partials
and tone

Washington Arboretum
the color of the breeze
fades into night
a priest circles the space
to sign the time 

we understand
a complexity
by focusing within it
and
a simplicity
by focusing about it 

cruciform 

waiting out
that
last
metronome

Recorded

July 19, 2025

Banned Rehearsal 502 - Karen Eisenbrey, Keith Eisenbrey, Anna K, Neal Kosály-Meyer [August 1, 1998]

we clap to turn the session on
we take a listen around
we blast and boom 

expressive freedom
doesn't mean
immunity from scrutiny
or consequence
or judgment
it demands them 

in a stressed time
we work hard
to make a thing happen
perhaps too hard
but no work is wasted
and even flailing about
has a usefulness

Track 2 [from Eisenbrey 2003] {NB: an indifferently labeled CD from my mom's collection, probably the souvenir from a music camp she attended in 2003}

Chopin?
melody and sweeping passion
Liszt?
familiar
but not by name
if Chopin
a Lisztian Chopin

Banned Rehearsal 741 - Karen Eisenbrey, Keith Eisenbrey, Neal Kosály-Meyer [June 30, 2008]

on the porch
we are quiet
because
the neighborhood evening
is quiet
and that
is the space we are in 

in modular arithmetic
M0 of any S
is equivalent
to M0
of any other S
and
could function
as a path between them
or
a symptom
of their abstract natures 

we provide this small portion of evening
with an imprint of sounds
creating an intentional uniqueness
a filled time 

recording an event of sounds
making an artifact
that mimics an event of sounds 

this space
in this time
invites
wandering
about it

Jasper Mountain Reserve
July 20, 2025

Auction Caller - No Man's String Band [from Let the Truth Be Told]

relatively limited lexicon of chords
allows for simpler sharing
ease of social entry

August Amble, Alaska State Fair - Aaron Keyt - Sounds of Late [recorded live at Gallery 1412, April 16, 2018]

would you look at that!
imagine!
check out all the booths
inspect specimens

Soundscroll V part 1: Violent Landscape - S. Eric Scribner - The Hexaphonic 3 [from Soundscrolls V-IX Live)

named in parts
its project name
and number
and its object of imputed depiction
or resemblance

Madrigals, Book VIII: Ogni amante è guerrier: No. 1, Ogni amante è guerrier; nel suo gran regno - Claudio Monteverdi - Concerto Italiano, Rinaldo Alessandrini

individuation
maximized
by stanza
line
syllable
levels 

a culture of exquisiteness

Praeludium in G minor, BuxwV 150 - Dieterich Buxtehude - Simone Stella

figurations in metrical congruence
hung
upon discongruent pedal tones
musics
set above a music of platforms
or
elaborately carved pedestals
pull back
to reveal
a spacious hall
full of such treasures

Premier livre de clavecin: Deuxieme Ordre (fin) : La Mimi. Affecteusement - François Couperin - Kenneth Gilbert

our sense
of where this sits
within its metrical phraseological framework
develops
over a goodly portion
of its opening gambit

Jasper Mountain Reserve
Bringet dem Herrn Ehre seines Namens, BWV 148 - Johann Sebastian Bach - Amsterdam Baroque Orchestra, Amsterdam Baroque Choir, Ton Koopman

the mechanism of its fitting together
is intended to impress
with its subtlety and sophistication 

the work of the Master Clockmaker 

accompanying tones
of a slower recitative 

a place
for the voice to stand
its body language
miming
the sense of the words
as that sense develops
over the course
of its constituent statements

Sonata in C Major, Kk. 284 - Domenico Scarlatti - Pieter-Jan Belder

it is always clear
we're not at the home key
since
it
only exists
when figured
so

Adagio in B minor, K. 540 - Wolfgang Amades Mozart - Kristian Bezuidenhout

we empathize with these puppets
didn't we see these guys before
in other keys? 

adventures
struggling through the spheroid maze

Jasper Mountain Reserve
July 21, 2025

Quartet in D minor, Op. 103 - Franz Joseph Haydn - Tatrai Quartet

1
a quiet soul
exploring their thoughts 

2
a vigorous soul
troubled in spirit
taking comfort
in a calming voice

Prelude in C minor, Op. 28 #20 - Frédéric Chopin - Garrick Ohlsson

finality
(in triplicate)

Album für die Jugend, "Fröhlicher Landmann, von der Arbeit zurückkehrend", Op. 68 #10 - Robert Schumann - Éric Le Sage

a snapshot

Prelude in D-flat Major, Op. 35 #1 - Alexander Scriabin - Dmitri Alexeev

a spinning disk
a delicate pottery

Mississippi Jailhouse Groan - Rube Lacy [from Turn Me Loose White Man]

guitar to voice
chair to person
the posture
of their combination

I Hear Music - Billie Holiday [from Lady Day: The Complete Billie Holiday on Columbia]

within the conceit of the lyrics
a Cagean Position Paper
right down to the sunny disposition

Sonatas and Interludes: Sonata VII - John Cage - Boris Berman

you called? 

literalizing
the registral orchestration potential
of keyboard writing

Jasper Mountain Reserve
July 22, 2025

When Your Love Has Gone - Morgana King [from Sings The Blues]

when the singer is kissing the microphone
the effect
is as though
it
were intimately direct to ear 

the band plays behind the arras

Marshmallow World - Darlene Love [from A Christmas Gift for You from Phil Spector]

the wall of sound
is opaque
but there's nothing behind it 

(Darlene is faultless here)

What King of Fool Am I? - Bill Evans [from Some Other Time / The Lost Session from the Black Forest]

solos
do the tune
behind its back
(demonstrating
exactly
what kind of fool
they think it is)

Raw Power - The Stooges [from Raw Power]

brought to you
by your friendly electric utility provider 

corrupts rawly

Darkness on the Edge of Town - Bruce Springsteen [from Live at The Roxy July 7, 1978]

well he tried hard

Born With a Plastic Spoon in My Mouth (Substitute) - The PKs [from Live in The Living Room]

I may need to ask Karen
what song this is
but finally caught the chorus
(might not be the name though)

Flower - Soundgarden [from Ultramega OK]

the drummer's role
within the industry
is to enforce regularity
in the guise of rhythm
the bass's fist

Love's Been Good to Me - Nina Simone [from A Single Woman]

the science of the dramatically lit entrance 

more harp!

For Lover's Sake - Goodness [from 1995-1998]

illicitly fantasizing
with vintage upspeak

Banned Rehearsal 653 - Karen Eisenbrey, Keith Eisenbrey, Neal Kosály-Meyer [July 21, 2003]

in which
we introduce the xylophone
on the arms of some bells 

chatter by guitar 

muscle memory
by rote
performing the actions of
useful
at the level
of tool use
but not for magic
for that
we'll all get down on the floor
and pluck things
and shake others
groove on out

Intermezzo in midi #5: Remembrance of Things Past - J. K. Randall [from Open Space 22]

let's think this through carefully shall we? 

in each position
from all sides
a puzzle indeed

Jasper Mountain Reserve
Gradus 234 - Neal Kosály-Meyer - Neal Kosály-Meyer [October 7, 2013]

listening on headphones
is like listening to music
in a sound bubble
(contained) 

a rung
is to learn
a combination of notes
as contained
within the figures
constructed of them
(that manifest them)
cross-indexed
subboxes
of rungs
within the rung 

a note
in a figure
becomes
that note
in that figure
but
that's backwards? 

the figure
manifests the notes
that make it?

Double Down - Slothrust [from The Pact]

power pose
dance of disdain

Banned Rehearsal 1077 - Karen Eisenbrey, Keith Eisenbrey, Anna K, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer [June 5, 2023]

we sneer at the underbellies
of passing beasts

squeaky hinges
and duck calls
a tube that moans and chortles
a wooden frog ribbit 

otamatone speaks its mind
crows concur 

we sing the earthworms
to cozy slumber 

we rattle out
a protective spell

Jasper Mountain Reserve
July 23, 2025

Ham Beats All Meat -  Dr. Humphrey Bates and his Possum Hunters [from Really The Blues]

explicitly
about different dietery usages
across a socioracial distinction

They Are There!, second take (1943) - Charles Ives - Charles Ives [from Charles Ives Plays Charles Ives]

concerns itself with the noise of its making

Greensleeves - Peggy Lee [from Sea Shells]

arranged for zither(?) and harp
no obvious Peggy can be discerned

Hallelujah (I Love Her So) - Stevie Wonder [from Recorded Live: The 12-Year Old Genius]

should a 12 year old
have
a favorite coffee cup
brought to them?

Speak No Evil - Wayne Shorter [from The Classic Blue Note Recordings]

structured jazz improvisation practice 

generally
structured means 
a series of stanza-like spans
with internally cycling chord changes
and
their various relationships 

the room they are in
is a given

the utility of such structures
is their sharability
relative ease of comprehension
and
its acceptance
of whatever the players feel like throwing into it

Everything's All Right - David Bowie [from Pin Ups]

enjoying being his own back up singers

Visions - Sun Ra, Walt Dickerson [from Visions]

Walt sure can skitter quickly on the vibraphone

Side 2 - Pink Floyd [from The Final Cut]

tyrants and kings
playing with death
a book of dark doggerel
isolation of the pawns

as sides of records go
this one is a bit of a mess

Jasper Mountain Reserve
Agnus Dei (the service) - Keith Eisenbrey - Bellevue First United Methodist Church Chancel Choir; Huntley Beyer, conductor; Marilyn Newman(?), organ [recorded live at Bellevue First United Methodist Church, May 15, 1988]

OK
polyphony fodder
but
effectively expressive
and quite well sung
prickly choral writing
ostentatiously old fashioned
somebody even got those lowest bass notes
hoorah!

Palo Alto Scene - Lennie Tristano [from Note to Note]

the truly cool
say it with chords
voiced just so
lost in a song

Banned Rehearsal 503 - Karen Eisenbrey, Keith Eisenbrey, Neal Kosály-Meyer [August 8, 1998]

after the conversation dies down
the session
has found a thing to stand upon
to dramatize with
we enter
so symphonically
as though anyone were out there
to observe
what a fine composer Banned Rehearsal has gotten to be
(and it had) 

Karen on the Mighty W
me on pianer
and Neal on tenor 

we howl
and ring our little bells 

miniaturized holograms of sound bursts

some of us have abandoned keyboards
for percussions 

a gargle throated pirate
growls into his corner stout 

radio waves
provide for us
our past
we fight back
stand our ground
take it to their own turf
listen in
upon their cicadal chatter
we layer our layers
in layers of layers 

how did three accomplish such chronal confusion? 

lovely soft sough
of sound upon sound
time upon time 

we are alone
with the bright little feedback sprite 

or
is that the Mighty W
(it may be)
(or not) 

distant radio beacons
we bang upon our chimney at them
and shake our angklung 

the Graal! 

best get serious
about this ritual business 

how exactly did we get here again? 

the cicadas are all asnore 

where do they come from?
how are they here?
what infernal powers brought them upon us? 

a security blanket
the engines of this marine vessel
venturing out
and in
and beyond
and elsewhere

we have long since
given showy compositional chops
the heave ho 
fish swim treatment 

this knot of finger wriggles

once our attention has been shifted
where will it land?

Jasper Mountain Reserve
{journal entry of August 23, 2006:

in Slow Blue Three configuration 

a gradual composed build
holding a constant pressure
the parts
to each other
bangclank equipment 

rich in sonorous diversity
pitch
weight
surface 

big frogs
Mighty Wurlitzer
cornet o'er top
the big shout
jack it again
we have built it to bigness
and now
we dissipate

last 5 minutes
the opening of the session
fed back in
through tiny tins}

Fangle - Christian Asplund [from Brainstun]

a texture of rhythm
press upon it
what it becomes
as different pressures
are applied
attitudes of squozedness
transformed anew
for the coda

Gradus 142 - Neal Kosály-Meyer [July 14, 2008]

when the notes aren't being played
are they thinking of each other? 

voicing their names
into the rung span
attempting to play
an evenly sustained tone
as though it weren't being nudged regularly

they have returned from their journey
and are quietly with us again
with leave
to rumble mightily
to shake the cobwebs

Jasper Mountain Reserve
July 24, 2025

Rapture in Ruins - The Botherations [from The Botherations S-T]

he's shouting at us
but I can't make out a word
so
it's a shanty rhymed
vocal sound
doing
a melodic
(it's made of notes)
thingy
over
the banging
and scrubbing

Banned Rehearsal 956 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt [April 9, 2018]

20 years after 503
there are more of us in the room
but the sounds
are fewer
and smaller
more precise
more transparent 

an intent
to make a sound
implies purpose?
an end result?
to make
that sound
but why
that sound?
or
might it be
that the intent
wanted to hear
the sound
of an intended sound
so that
it could be shaped? 

ideas
come
in the form
of a thing
received
from outside
allowing
our projection
of the giver
of that thing
into a figure
outside us
a confusion
of in
and out of us
is a confusion
of reflection
we
are not a singularity
our minds
are designed
around social interactions

hypothetically meandering:
if ideas arise within organs in the brain
different organs
different kinds of ideas
one could
conceivably
seek to recognize
within ones inner thought chatter
which brain organ
was providing the idea in question
recognize their accents and word usages
set them to arguing with each other
(excuse me
my brain
is having an internal discussion)
or
on another level
arising within organs of the mind
would we seek
to recognize them
by the form of their expression?
such as language
music
dance
etc.
?

Jasper Mountain Reserve
Ussers of Sleep (part 2) - S. Eric Scribner [from Ussers of Sleep]

from an album
with some of my rocks
pictured on the cover 

memory port 

the alarm continued 

if you could float me a ride

I Wish I Could Shimmy Like My Sister Kate - Boyd Senter and his Sentipedes [from Really the Blues]

imitating bawdy singers instrumentally
a stage review

Charlesville - Milt Jackson [from Soul Brothers]

lickety split
together
through devious metrical games

Lands of Love - The Art Farmer Quartet with Jim Hall [from Interaction]

the drummer's drumming
breathes 

fitting marginal comments in
where no one will notice 

check in
to see
where the tune
has got to

Body and Soul - Thelonious Monk [from The Complete Columbia Studio Solo Recordings]

plays
so that
the piano
feels
those chords
in its bowels

The Punk Meets the Godfather - The Who [from Quadrophenia]

all the problems of narrative in music
made real loud 

the author's voice
is opaquely attitudinal

How Much Can I Do? - Los Lobos [from ...And A Time To Dance]

a list of:
to show you
I do Xs

Questioningly - Ramones [from Road To Ruin]

a day
in the drama
of a wreck headed relationship

Something Wordy - the PKs [from Live in The Living Room]

ends lines
with rhymes
on high

Van Diemen's Land - U2 [from Rattle and Hum]

a hymn
an inscription in stone
set in a pillar 

fade?
really??!!
and interview??
ugh

Glass Windcubes - Helena Alexander [from The City Sketches]

a sketch artist
freehand composing

The Searcher - The Kent 3 [from Blood on the Flat Track Soundtrack]

we no longer have Zusammenkunstwerken
we have package deals

Old Ladies - The Empty Cage Quartet [from Stratostrophic]

caricaturization
a form of impersonification

Gradus 235 - Neal Kosály-Meyer - Neal Kosály-Meyer [October 21, 2013]

repetition
suspicions
a mind
behind 

petitions and repetitions
instance insistence 

if instances of matching pitches
were a solid object
then
any other instance
would affect
all instances
of such matching pitches
equally
it
would react
as a singularity 

consciousness
the surf of mind upon the shores of hypostasis

September - Nat Evans [from Flyover Country]

an harmonic presence appears
then appears moving
appearing moving
moves appearing
joined by another sound world
the system
breathes
steady and slow
free space
for the gentle souled

In Session at The Tintinabulary

July 20, 2025

Milburn - Keith Eisenbrey

July 21, 2025

Gradus 417 - Neal Kosály-Meyer

a new pitch class

straight man
excuse me,
do you know
where the pitch class
is being held?
wiggly man
why yes
where no
gee you're sharp
a flat, actually 

the new pitch class
is high class 

classification and categorization
can a system
based on classifications and categories
be used
to discover
concepts
outside of classifications and categories?: 

music in terms of notes 

Postscripts

Drops

Keith Eisenbrey 26: Figure Studies 201 (part 1)

Two more solo piano improvisations. These are both from early in 2010.

1. Figure Study 100315
2. Figure Study 100405


recordings of my compositions (and more!) can be found at keitheisenbrey.bandcamp.com - free to download or stream

Saturday, July 19, 2025

Playlist

Subvector Colloquy
Preface

"This experiment is related to language: how is language involved in the processing of sensory phenomena? How does language modify (filter, modulate, truncate, reduce, amplify) the fullness of the sensory experience of an external object: Language is not a neutral recollection of facts, events or past experiences; it changes the memory of a past experience through a rationalization performed in the present moment. Language works along paths of metaphors and associations to produce an intellectualization of the sensuous processes, by selecting what to remember and what to forget, what to paste together and what to separate, what to emphasize or understate. This linguistic process ushers in more questions: how does the sense of time alter as we encode an experience in memory? How incomplete is our representation of objects which change and decay over time (since we often store only a snapshot in our memory)? And a question specific to this experiment, which took place in the presence of an audience: are there differences, perceptually, between the species of time of the performer and that of the observer?"

Sascia Pellegrini, from The Amplification of Sense

Texts

Live

July 16, 2025

Subvector Colloquy
Chapel Performance Space, Good Shepherd Center, Seattle
Tom Baker, Keith Eisenbrey, Haley Freedlund, Leanna Keith, Jim Knodle

The Wizards Returned with Reinforcements to Once Again Corrupt the Young and Confound The Ancient!

Tom "Green Eggs and Ham" Baker, guitar
Keith "The 500 Hats of Bartholomew Cubbins" Eisenbrey, piano
Haley "Would You Rather Be a Bullfrog?" Freedlund, trombone
Leanna "Oh, The Places You'll Go!" Keith, flute
Jim "Horton Hears a Who" Knodle, trumpet

It was the hottest day of the year
(so far)
but the Colloquial Wizards cast cooling spells

a completely wonderful evening
in my ever so humble opinion
(recordings linked below)

Recorded

July 12, 2025

Sordid Crude - Keith Eisenbrey [April 30, 1988]

forcing the limits
of signal retention
and fidelity
on magnetic media
through
repeated tape speed alterations
using
a Teac reel to reel tape recorder
in conjunction
with a cassette tape deck
for years now
the Teac has been retired
and leads a quiet life
as my bednight table 

original intent
was to discover
what
if anything
the process might divulge
about the shape
of my Sonata in 2 Movements 

conclusion
many aspects of it
hold their own quite well
still quite pleased
with how the 2nd movement
simply replaces
the ongoingness
of the first
as though
it
had never been
the highest tones
have little left
but a sound
like distant firecrackers
the tape wobble
becomes quite dramatic
prefiguring Ms. Found In A Bottle

Washington Arboretum
Branle de Montirande - The Baltimore Consort [from La Rocque'n'Roll - Popular Music of Renaissance]

melody constructed for clear segmentation
into isometric portions

Glory To God (rehearsal take 1) - Keith Eisenbrey - Karen Eisenbrey, Keith Eisenbrey

these takes were indifferently dated
but were within a year or so of composition
so 1998-2000 range
likely more toward 1998

The Gnossienee #3 - Brave Combo [from Box of Ghosts]

in the same lame bin
as
the various classical melody collections
(as seen on TV
just the parts you love
none of the boring bits)
but now
with drum tracks
and cabaret arrangements 

grotesques in vitrines

Gradus 141 - Neal Kosály-Meyer [June 16, 2008]

Bloomsday (Jim's Day) 

a vector of perception
a thing
a pitchy thing
a thing
of two pitches
a coordinated thing
of two pitches
already
some aspects overlooked
perhaps
aspects appear simultaneously
but
along different registers of perception
multiple paths
converging
within the specious now
of consciousness
only
the path of attention
that provides
an illusion
of sequential experience 

music
as a mode
allowing perception
of simultaneously unfolding processes
organizing them
so that
we can flirt
with bewilderment
or wallow in it
your call
or subdue it
or rationalize it
and yet
we hear sounds
as objects
in the world around us
that sound
that object
that note
that twitter
that boom
that crash
that bang
that clank

no amount of repeating
can make a note
the same note
as another
howsoever functionally similar they may be

Washington Arboretum
July 13, 2025

In Jiro's Room - Lori Goldston [from Film Scores]

a film score standing alone
can be both music and film 

as a film
standing alone
might be
both film and music 

one might imagine
a film
with music
in which
both film and music
are
those modes
and
that the modes
film as music
and music as film
become a synthesis

Banned Rehearsal 955 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Neal Kosály-Meyer [March 26, 2018]

if I leave the listening room
to retrieve my water bottle
as my recorded voice
is announcing the date and participants
then
when I return
the session
is already fully engaged 

pitched instruments
can be polyphonic
because pitched structures can be 

if sessions
were conceived primarily
as a social experiment
a postulation
about people being together
and if
and to the extent that
Banned Rehearsal
has been
such sessions
then
as that social experiment
has continued to run
these 40 years
a social cohesion
has arisen
and a music has been formed
within that social cohesion
a music
that is us
and is
of us
being together
unique
to the particulars
of the parties involved

whistle like a frog 

the little midi man
says three and four 

who wrote the book on love 

randomization
to sort
without a finger on the scale 
to mix a metaphor
or more 

now the little midi man
is tootootootootootooing 

T Ux2 O (Tea, You twice, Oh)

Ux2 = double U 

so two
is four letters
not three 

I wonder
wonder
I won

Four Places on Planet Earth - S. Eric Scribner [from Adjacencies]

I think I may have been involved in this {nope}
or at least participated in something
from the same score
on a different occasion 

there is (are)
(a) persistent tone producing device(s)
in this music
that is out of place
as a place on earth
in the sense
the other sounds in this music
are
but
not out of place
in this music 

the limits of the space
in which the places on earth are placed 

some music is spacy
this music is placy 

a place
is a sense
of how sounds transpire
these sounds transpire
in different sensations of placeness 

count of places
is immaterial  

there are only
one of many
spontaneously generating polyphonies 

ribbit
ribbit

Washington Arboretum
July 14, 2025

Madrigals, Book VIII: Altri canti di marte: No. 2, Due belli occho fur l’armi, onde traffitta - Claudio Monteverdi - Concerto Italiano, Rinaldo Alessandrini

in general
song is a different mode of expression
than poetry
more translation into
than presentation of 

choral song
even more so

Kommt her zu mir, spricht Gottes Sohn, BuxWV 201 - Dieterich Buxtehude - Simone Stella

a comforting and tender presence
a color of light

Premier livre de clavecin: Deuxieme Ordre (fin) : Les Idees Heureuses. Tendrement, sans lenteur - François Couperin - Kenneth Gilbert

graceful growth

contour accent
combined with figuration
between the parts
is where
and what
the meter is

Herr, gehe nicht ins Gericht, BWV 105 - Johann Sebastian Bach - Amsterdam Baroque Orchestra, Amsterdam Baroque Choir, Ton Koopman

confession
reckoning
penance
the work
of repentance
a ritual
by which
we accept forgiveness
(grace) 

oboe dances
palm to palm
with voice 

these notes
are countable pulses

Sonata in D Major, Kk. 282 - Domenico Scarlatti - Pieter-Jan Belder

we will attend to each
in good order
and completely 

now to new business 

a delicate matter
requiring some care be taken
and discreetly 

all done

Sonata in F Major, K. 494 - Wolfgang Amadeus Mozart - Kristian Bezuidenhout

1
balanced repetitions
fool us
into thinking
repetition
is where the action is
only later
are we pulled into his story telling
they become place-holders
so that
we know
we have arrived
somewhere
solid
for a time 

2
the motions required
to trace dreamy paths
through tonal space 

3
this figure
insists on itself
so that
we recognize its reappearances

"Solo e pensoso" - Aria from "Il Canzoniere" - Franz Joseph Haydn - Orchestre de Chambre de Lausanne, Armin Jordan, Edith Mathis

an operatic aria
is a major production
time must be allowed
for the singer to collect their wits
and maneuver their costumed self
to their mark
and so
to shine
most respendantly 

you can always count on Papa Haydn
to do a good job of it 

and time
for the audience
to throw flowers

Prelude in E-flat Major, Op. 28 #19 - Frédéric Chopin - Garrick Ohlsson

a young sprite flits
that's all

Album für die Jugend: Volksliedchen, Op. 68 #9 - Robert Schumann - Eric Le Sage

each syllable speaks

Poème Tragique, Op. 34 - Alexander Scriabin - Dmitri Alexeev

such a handsome figure of a man
passionate and true
begins to ponder
in the night
the cares of a nation

Washington Arboretum
July 15, 2025

West Indies Blues - Piron's New Orleans Orchestra [from That Devilin' Tune]

we hear long ago
through a compromised aperture

Come Over Here - Elder R. Bryant [from Turn Me Loose White Man]

inviting as to a lively party

I'm All For You (take 2) - Billie Holiday [from Lady Day, The Complete Billie Holiday on Columbia]

language infects our perception of music
but
that tune
is doing a number
on those cornball words

Sonatas and Interludes: Sonata VI - John Cage - Boris Berman

figures such as harp music
could be arranged?
treating the harp
as a different preparation?

Chippie - Ornette Coleman [from Something Else!!!!]

this road
has bumps
but our shocks
are in good order
so
we speed on down
take them
in stride

Little Child - The Beatles [from With The Beatles]

harmonica explosion to open
which then steps back from the microphone

Midnight Mood - Bill Evans [from Alone]

chords to wrap around oneself
to warm
hot chocolate

Time - Pink Floyd [from The Dark Side of the Moon]

time is allowed its alarm
these songs are such a production
before we get to words
which are quite few
compared
to the heft of the instrumentals
the poem
is included with other objects
actually two songs
from a certain point of view

Rock & Roll N***** - Patti Smith Group [from Easter]

like the Pink Floyd of Time
this is a comment upon the world in general
and a posture within it

Badlands - The PKs [from Live in The Living Room]

for drums
tambourine
and distant guitar
and vocals
elaborately arranged

Washington Arboretum
Helter Skelter - U2 [from Rattle and Hum]

Bono's cover
is constrained
in comparison with the original

Quartet for Oboe, Violin, Viola, and Cello in F Major, K. 370 (K. 386b) - Wolfgang Amadeus Mozart - Itzhak Perlman [from The Art of Itzhak Perlman]

one presumes
written for an oboist he met somewhere 

this music
is for the musicians playing it
the audience
are just eavesdropping
all those voice-leading figuration games he plays
are for their amusement
and our vicarious delight

Heartbreak Hotel (feat. Faith Evans and Kelly Price) - Whitney Houston [from My Love Is Your Love]

epistolarily yours
wish you were here
so blame
could be arranged

Gradus 48 - Neal Kosály-Meyer [July 14, 2025]

of such vastly inconceivable extent
that any moment of it
is all there is of it
however
it is only the conceit of its discipline
that makes it so
the sounds are
of themselves
the same sizes and shapes
as other sounds can be 

a rhythm like tapping codes
that discover themselves
in conversation
by a language
arising
to the occasion 

two tones
chattering freely with each other

raw census of notes
a crude measure

Autumn Island - True Bugs [from 25 Songs]

the thoughts so free
with duck weed

Banned Rehearsal 845 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer [September 30, 2013]

chamber music
with harmonica and birthday card 

forest critters
at peace

without failure to distinguish
any signal's source object

One Man's Ceiling Is Another Man's Floor - Paul Simon [from In The Blue Light]

revisiting songs from old days

Sinfonia 2 (clavichord) - Keith Eisenbrey - Keith Eisenbrey [recorded August 5, 2023]

explains itself as it goes
as best it can
its clockwork is deceptively clever

Washington Arboretum
July 17, 2025

Ida Red - Tweedy Brothers [from Turn Me Loose White Man]

fiddling and strumming for mutual pleasure
dance song
designed to be cycled
as directed
by the dance caller

They Are There!, first take (abandoned) (1943) - Charles Ives - Charles Ives [from Charles Ives Plays Charles Ives]

enthusiastic and wordy

Someone To Watch Over Me - Sarah Vaughan [from Sarah Vaughan Sings George Gershwin]

introductory stanzas
as in the original show version
followed by the tune everybody whistles in the lobby

On Christmas Day In The Morning [from The Life Treasury of Christmas Music]

before Commercial Christmas in Middle America
could afford to be seen
as Commercial Christmas

Cogitation - Sun Ra [from Monorails and Satellites]

leads into
and just past
a groove 
veering freely up its sides
dune jumping
then they get to talking 

angular
simpatico

As Long As He Will Stay - Morgana King [from New Beginnings]

these musicians are playing the part assigned them
professional suppression
of anything that might get in the way of the vocals 

it's a paying gig

Morning Sun - Carole King [from Welcome Home]

modulate towards the hook chorus key
so the consumers can find the record
to buy it 

flirtatious fade on the instrumentals

Talk Talk Talk Talk Talk Talk - T Bone Burnett [from Truth Decay]

recorded in an empty room
journal of observations

Washington Arboretum
Agnus Dei - Keith Eisenbrey - Bellevue First United Methodist Church, Huntley Beyer [recorded in rehearsal May 12, 1988]

back when I was trying on anything
that was composition
before I discovered myself again
as my own best performer
and
more crucially
keyboards as my natural voice 

not actually poorly written
just what?
inert?
the part-writing is quite clear
a valiant attempt
very much in the manner of a serious piece of choral music 

the choir is game
and is doing quite well
in the difficulties
I threw at them 

I do tend to treat the words
as polyphony-fodder

God Is Seen - Robert Shaw Festival Singers [from Amazing Grace]

familiar to me
from the inside
our choir sang this at least once

July 18, 2025

Subvector Colloquy - Tom Baker, Keith Eisenbrey, Haley Freedlund, Leanna Keith, Jim Knodle [recorded live July 16, 2025]

respiring corporately
we breathe an image
into aural space
cooling spells
for a warm evening
not
of a one-mind
but
a mind
of one us
inhabiting
the combined ear
of all present 

playful fugato in the second set
as we fancy 

Seattle's spacy muse

In Session at The Tintinabulary

July 13, 2025

St. John's - Keith Eisenbrey

July 14, 2025

Banned Rehearsal 1129 - Karen Eisenbrey, Keith Eisenbrey, Anna K, Aaron Keyt, Neal Kosály-Meyer

Postscripts

Drops

Music of Aaron Keyt - Part 1

My decades-long collaboration/conversation with Aaron Keyt has been among my most valued musical relationships. I have two more volumes of recordings waiting in the wings, and quite a few scores queued up to learn and record. This first volume includes pieces written over the last four decades and more. The recordings were made from 2005 through 2014, except "Monsters" for piano 4-hands, which were recorded live in 2022. Jennifer K. Chung plays the Primo and I the Secundo.

Three Bagatelles (1999)
Occasional Pieces (1984-1989)
Monsters (2022)
Three Pastorales (1984)
Sonata (2012)

recordings of my compositions (and more!) can be found at keitheisenbrey.bandcamp.com - free to download or stream

Saturday, July 12, 2025

Playlist

Washington Arboretum
Preface

"Now therefore hearken unto their voice: howbeit yet protest solemnly unto them, and shew them the manner of the king that shall reign over them. So Samuel told all the wordes of the Lord unto the people that asked a king of him. And he said, This will be the manner of the king that shall reign over you: He will take your sons, and appoint [them] for himself, for his chariots, and [to be] his horsemen; and [some] shall run before his chariots. Also he will make them his captaines ouer thousands, and captaines ouer fifties, and to eare his ground, and to reape his haruest, and to make instruments of warre, and the thinges that serue for his charets. He will also take your daughters and make them apoticaries and cookes, and bakers. And he will take your fields, & your vineyardes, and your best Oliue trees, and giue them to his seruants. And he will take the tenth of your seede, and of your vineyards, & giue it to his Eunuches, and to his seruants. And he will take your men seruants, and your maide seruants, and the chiefe of your yong men, and your asses, and put them to his worke. He will take the tenth of your sheepe, and ye shall be his seruants. And ye shall cry out in that day because of your king which ye shall have chosen you; and the LORD will not hear you in that day."

I Samuel 8:9-18 (Geneva Version)

Texts

Recorded

July 5, 2025

Boo Boo's Birthday - Thelonious Monk [from Underground]

a complex series of like events
keep it all in your ear mind

Your Man My Man - Betty Davis [from Betty Davis]

as with a knife at ones throat
threat postures

Someone to Watch Over Me - Willie Nelson [from Stardust]

truly one of Gershwin's best
sung with respect

Without You - David Bowie [from Let's Dance]

manufactured glow on his vocal falsetto
suppleness

Banned Rehearsal 136 - Karen Eisenbrey, Keith Eisenbrey, Anna K, Aaron Keyt, Neal Kosály-Meyer [April 3, 1983]

Banned Rehearsal 136
Bickleton provides the pit orchestra
to San Diego's opera stage 

when did I first?
that was the last 

oh oh one
is cracked 

a fool I must be 

pogopuppeteer 

bow
box

July 6, 2025

Bring da Ruckus - Wu-Tang Clan [from Enter the Wu-Tang (36 Chambers)]

threat of harm is conversational default mode
machismo

Glory to God - Keith Eisenbrey - Karen Eisenbrey, Keith Eisenbrey [recorded live at University Temple United Methodist Church, Seattle, September 6, 2006]

clearly formed melody
accompaniment stays out of its way
and supports

Track 1 - Victorious Gospel Choir [from Bruce Springsteen: Christmas in Asbury Park]

the choir's sound
is somewhat lost
in
what sounds like
a large space
try
as they mightily do

Banned Rehearsal 740 - Karen Eisenbrey, Keith Eisenbrey, Neal Kosály-Meyer [June 9, 2008]

a session is a conversation
that involves its space
as intimately
as its participants 

feedback production
always carries
a potential
to overwhelm 

anxiety results 

that sounds like me on piano
Karen I presume
is playing the drum
and Neal
on everything else
correct 

feedback
touch
and flavor
of rhetorical sequitur 

this percussion stuff
is lovely
metallic sounds
resonating
on metallic chambers
every so lightly brushed with feedback
binding those sounds together
accompanied
by harmonica feedback humming
and guiro scratching 

flute engages directly now
feedback lullaby

Washington Arboretum
July 7, 2025

Dizzy - Lures [from Dizzy]

a bar
is a framework
used
to organize words
into lines
a sequence
of chord changes
is a framework
used
to organize lines
into stanzas

Ghosting Doubles (third sighting) - Keith Eisenbrey [recorded live at The Chapel Performance Space, Good Shepherd Center, Seattle, March 24, 2018]

does a sequence of notes form a melody
by default
id est
if
it's a sequence of notes
then
it is a melody 

or
might a process
that generates that sequence

if that process
is not concerned
with the notes
as a melody
complicate
or compromise
any such automatic melodic apprehension?

Tranquil Landscape - S. Eric Scribner [from SoundScrolls: Lost Landscapes]

microtonal twisting
loves being lovely
but not indulgent 

spare time
that surrounds sounds
their time-breathing-room 

may be tranquil
but there is no lack of activity

Madrigals, Book VIII: Altri canti di marte: No. 1, Altri canti di marte, e di sua schiera - Claudio Monteverdi - Concerto Italiano, Rinaldo Alessandrini

drop the needle on Monteverdi
and magic is discovered 

hollow harmony of morte 

Monteverdi doesn't seduce like Mozart
rather
he ensnares
a trap
into which
one
continues
to fall

Praeludium in C Major, BuxWV 136 - Dieterich Buxtehude - Simone Stella

lumbering through its chorale
brontosaural 

it goes on and on
because clerical garb
can be complex
to don
properly 

and
they never hurry 

is a change of tempo hopeful
or not
in terms of impending post-praeludial dramatics? 

nope
we have a fugue too
don't get excited

Premier livre de clavecin: Deuxieme Ordre (fin) : La Babet. Nonchalamment - François Couperin - Kenneth Gilbert

a bit of the caricaturist in him
but
in a drolly humane spirit 

draw me a porcupine
now a cow

Erforsche mich, Gott, und erfahre mein Herz, BWV 136 - Johann Sebastian Bach - Amsterdam Baroque Orchestra, Amsterdam Baroqued Choir, Ton Koopman

did Bach and his librettist presume
that the day's lesson
was congregationally known
prior
to their instant telling of it 

we'll start with deep mind bends
and earisthenics 

the best way to confuse
is to clarify
clearly

characterized recitativerers

near hidden flute stops

never unlearned

Washington Arboretum
Sonata in D Major, Kk. 282 - Domenico Scarlatti - Pieter-Jan Belder

some meters don't resolve themselves immediately
as soon as they do
I regret
their loss of irresolve 

rhythm creates meter
which is entirely dependent upon it 

meter
as an upstart sect of rhythm

Sonata in F Major, K. 494 - Wolfgang Amadeus Mozart - Kristian Bezuidenhout

1
these characters introduce themselves to us
in which process
we become involved
in their chaos
and such engaging chaos
we're delighted to be involved 

2
on older keyboards
such as fortepiano
it isn't so much
the timbre delta across register
it's the presence delta
and/or speaking-time delta
presence envelope 

una corda
alters all the deltas 

3
instant problems
instant
and amazing solutions

Die Schöpfung, Part III - Franz Joseph Haydn - Berliner Philharmonic, Herbert von Karajan, Gundula Janowitzs, Christa Ludwig, Fritz Wunderlich, Werner Krenn, Walter Berry, Dietrich Fischer-Dieskau, Wiener Singverein

let's take a look around shall we?
isn't it lovely
so pure and chaste
hand in hand
conjoined in song 

a chorus of angels
spy upon them
commenting from behind
the arrases of Eden
upon
the bare asses
(Eve's and Adam's)

a display of voices
ends of things
are events unto themselves 

this fugue is jollier than Bach's was

Washington Arboretum
July 8, 2025

Prelude in F minor, Op. 28 #18 - Frédéric Chopin - Garrick Ohlsson

crammed in
lid slammed

Album für die Jugend, Wilder Reiter, Op. 68 #8 - Robert Schumann - Eric Le Sage

the rider may be wild
but the piece has been fenced into balanced periods

Prelude in A-flat Major, Op. 33 #4 - Alexander Scriabin - Dmitri Alexeev

the registers fight into a tonality

Mother's Religion - Kentucky Trio [from Turn Me Loose White Man]

harmony on a hum
the tempo is free from metronomic shackles
without being any less firm

In The Mornin' - Johnson, Nelson, Porkchop [from Turn Me Loose White Man]

when I was a young man
91 years ago
witness of long sufferer

Laughing at Life (take 2) - Billie Holiday [from Lady Day: The Complete Billie Holiday on Columbia]

the format of these musics
is designed for record sales

Sonatas and Interludes: Sonata V - John Cage - Boris Berman

conceptually for three instruments
perhaps just two
the wooddrum sound
and the twangy ringy sound
(in two registers)

It's Too Late - Buddy Holly and The Crickets [from The 'Chirping Crickets']

he steps into a larger echo booth
for the chorus

For All We Know - Aretha Franklin [from Laughing On The Outside]

slow dance
romantic groove
folks need hardly move
words
to travel
as directly as possible
tongue to ear

Caledonia Mission - The Band [from Music from Big Pink]

sounds older than they can claim
young men singing like old men

Happy - Michael Jackson [from Music & Me]

young singing
like older
than young
if not old

Thirteen Emily Dickinson Songs: If I'm Lost - Now - George Perle - Bethany Beardslee, Morey Ritt

this music is written carefully

The Sea Song - the PKs [from Live in The Living Room]

Washington Arboretum

two chords
to see saw between
(sea song see saw)

People Have The Power - Patti Smith [from Dream of Life (Remastered)]

somehow I ended up with two versions of this album 

a voice of impact
those with ears to hear
we shall see
what repetition
through the weeks
works

About a Girl - Nirvana [from Unplugged in New York]

a voice of focus

PC KEE 5 - Pete Comley, Keith Eisenbrey [July 6, 2003]

jumps right into Titus Andronicus
chocolate
coffee
cawfee
coded messages
sent by typing lesson instructions
an electric guitar
visits another's
memories'
back offices
listens in
wraith-like
another mind
is a strange museum
doppler shifting explained
loudness levels of tones 

Washington Arboretum
my guitar playing
is messing with that demonstration of Pythagorean intervals 

Tannhäuser is saved!
O Glory! 

we'll bring our own frogs thank you 

to give the mockingbirds
a run for bragging rights 

alone
the heaviness
of heavenness 

conviction of hypnosis
is hypnosis 

conflicting sets
of hypnotists
dissimultaneities
autolisping 

we have drifted into flute space 

inter-outer-planetary
where sounds go
to have fun
far from importance
ever new
outermore spheres

Homesick - Courtney Marie Andrews [from Urban Myths]

the piano is low in the mix
as though it were from elsewhere
pitfalls of studio isolation

Scrap Film 2 - Keith Eisenbrey [September 18, 2013]

including
as I had forgotten
a performance
of my Intermezzo 6
zoo exhibit
bird and human chatter
copious occasional tape wobble

Everything - Whitney Ballen [from You're a Shooting Star - I'm a Sinking Ship]

are y'all OK?
party in a dark mood

Washington Arboretum
Sinfonia 2 (midi) - Keith Eisenbrey [June 1, 2023]

the game play
is clear as day 

the shape
of the playfield geometry
possibly less so

When You And I Were Young, Maggie - Fiddlin' John Carson [from Turn Me Loose White Man]

fiddlin' John
fiddles honestly

It Won't Be You - Bessie Smith [from Empty Bed Blues]

blues singer
frown clown
with talk back
backing band

Study No. 9, The Anti-Abolitionist Riots (1943) - Charles Ives - Charles Ives [from Charles Ives Plays Charles Ives

I get an impression
that he cared more
that everything be included
than
in how it sounds
making sense of it
is not his problem

Cottontop - Stan Hasselgard [from That Devilin' Tune]

fancy jazz
that adheres not
to the old standards
of vocal song

I'll Never Let You Go (Boo Hoo) - Little Richard [from Little Richard]

that piano
is low in the mix
but everybody
not right up to the soloist-microphone
is also 

creating
a plausible space
for this music to be in

Washington Arboretum
July 9, 2025

Boys - The Beatles [from Please Please Me]

boy group
does girl group song
only slightly altered
dance band
plays dance band hits
without regard
of dance song
gender

Remember A Day - Pink Floyd [from A Saucerful of Secrets]

in tune with ones generational peers
that they too were children
not long since

lost in reverie

Down So Low - Etta James [from Etta James]

a slow blues stanza
in a gospel locution
aiming at the rafters

If You Pray Right - Nina Simone [from Baltimore]

but is heaven a reward
for correct living?
isn't that what Jesus said it isn't?

11:00 Tick Tock - U2 [from Under a Blood Red Sky]

once again
the band outshines Bono

Some Sound Examples - Banned Rehearsal [April 23, 1988]

early in the Banned Rehearsal story
Neal would break into Wild Thing
there are a bunch of them
in 1988
as a gift to Neal
in far off San Diego
I put together a mixtape of them
and sent it off to him with no explanation
as to what it was
this is what it was 

in a way
it counts
as Banned Rehearsal's
one and only
rock album
on cassette
two copies existed 

I borrowed an academic voice
introducing sound examples
by number
for reference 

several varieties
of unhinged
comportment
as if
one were on another stage
our sound
as commodity
an hallucinatory audience 

hence the title 

this one may have been recorded live
in Brechemin of all places 

rhythm guitar riff
is a posture of control  

this is the real thing
the last was a rehearsal
for this 

not sustainable
but cheery anyway
back to the studio
and at the end
with Amazing Grace
and Uncle Louie Louie
gleefully quoding libet

Washington Arboretum
Cold Mountain Songs: Today - Robert Morris [from Open Space 30]

the voice and the piano entwine tonally

Glory to God (Rehearsal take 2) - Keith Eisenbrey - Karen Eisenbrey, Keith Eisenbrey [July 30, 1998]

at a generous tempo and gentle
rather a fine performance for both of us

Moose Knuckles - Frieze of Life [from Nuclear Frog Pond]

a generator for alt-jazz song titles
that could be band names 

name objects
made of word objects

Zither Film 17 - Keith Eisenbrey - June 15, 2008]

identified as identified by identified with
compared as compared by compared with
shuffled as shuffled by shuffled with
isolated as isolated by isolated with
grouped as grouped by grouped with
critiqued as critiqued by critiqued with
queried as queried by queried with
measured as measured by measured with
processed as processed by processed with
distilled as distilled by distilled with
comprehended as comprehended by comprehended with
apprehended as apprehended by apprehended with
traced as traced by traced with
birthed as birthed by birthed with
smudged as smudged by smudged with
sleeps as sleeps by sleeps with

These Are the Days - The Hunting Club [from Holiday Beach]

how much of the social thrust of this music
is its posturing

Corollaries (Up's Down) - Keith Eisenbrey [recorded live at The Chapel Performance Space, Good Shepherd Center, Seattle, March 24, 2018]

sinking without hurry
ever down
from the last ever

Betwixt The Electrons (Razor Space) - Pete Comley [from Paintronics 7, Early Lo-Fi Stuff  - Guitar]

what is fidelity low in comparison with? 

filling the media
with signal

expect ants the size of elephants
and rabid tomatoes
emerging
from flaming forests

Washington Arboretum
July 10, 2025

Shreveport Blues - Clarence William's Blue Five [from That Devilin' Tune]

regional dialects
of social music
the feels of its grooves

Come Over Here - Elder Richard Bryant's Sanctified Singers [from Goodbye, Babylon]

where the jubilation
is an ecstatically sanctified dance

Just You Just Me - Lester Young [from That Devilin' Tune]

is the worthiness of a listening experience
contingent
on our being able
to track the flow
of the changes
keeping them
in their proper sequence
or
can we leave that to the performers? 

would that question only make sense to a musician?

Night and Day - Bill Evans [from Everybody Digs Bill Evans]

begins with an empty drum set solo
song to enter the clatter later

I Wish I Was In Bowling Green - The Brothers Four [from The Brothers Four Cross-Country Concert]

complacent privileged Americana

Washington Arboretum
Say It With Music - Rusty Dedrick Orchestra [from Irving Berlin, All By Myself, Notable Compositions 1926-1933]

a melody mellow
played on a cello 

melody and romance
wander hand in hand
cupid never fails
assisted by a band

Directions - Carole King [from Fantasy]

this music lives
in a nice place
where conversation
is meaningful

There Are Other Worlds - Sun Ra [from Languidity]

a dawn ritual
on one of them 

mysteries
whispered
lips to ears
released
into enlightenment

Hang Tough - The PKs [from Live in The Living Room]

music
with limited music-technical moving parts
now we'll pretend we're Bruce Springsteen

Monkey Dance - T Bone Burnett [from The Talking Animals]

short seduction story
with chorus
and euphemismical hook stanza
standing in
for the closed bedroom door

Festive Overture - Empire Brass Quintet [from Class Brass on the Edge]

fanfare for circus clowns
and troops of acrobats
in the form of a medley review
each feature
does their shtick in greeting

Big House On The Corner - James King [from Bed By The Window]

a music for folks to be nostalgic within
like Günter Grass's onion slicing establishments

Banned Rehearsal 652 - Karen Eisenbrey, Keith Eisenbrey, Neal Kosály-Meyer [July 7, 2003]

I record sessions
because I am greedy
I want to hear everything
again
later 

ominous chimney bell
the sounds
mix themselves together
an aural blend 

devices activated
to allow entry 

the desire
to categorize
sort ones thoughts 

a good night to be a zither 

a flute
is a feedback loop
under bodily control
feedback loop
as expressive conduit
its worth
judged
by the appropriateness
of the degrees of control
the player has
to the specific
expressive
need
right tool
for the right job 

gentle electroflange
sweeps the shore
curves of waves

Washington Arboretum
trapped
in a groove
inflicts a grid
upon the whole
a cage
a barrier
I shake my rattle at you
I will bang my chimney
and ring a little bell
bewilder with content 

mechanical pulses
impervious to play
squeeze to burst
nearly
to separate
the parts of sound
to distinguish
its parts

Sind' - The Tiptons Saxophone Quartet [from Laws of Motion]

this music is its own circus

Fox Spit 130923 - Keith Eisenbrey [September 23, 2013]

playing guitar
involves a sensitivity
in pitch and hard position
that is differently configured
than in playing keyboards 

my automatic knowledge
of which pitches I'm playing
is a visual metaphor
and doesn't connect with guitar notes
ignorance as a kind of liberty

Your Car - Red Ribbon [from Dark Party]

to escape the intolerable
impossible

Sinfonia 2 (piano) - Keith Eisenbrey [June 1, 2023]

I am gratified
at how each of these Sinfonias
changes
when played on each different instrument

Mobile Blues  - Wade's Moulin Rouge Orchestra [from That Devilin' Tune]

a well rehearsed stage act
playing for folks
not to each other

Take It Easy - Duke Ellington [from Ken Burns Jazz]

inventing an urbane sophistication

They Say It's Spring - Blossom Dearie [from Give Him the Ooh-La-La]

what the modern cynics shout of
poet's plights are pathetic

Packing Up - Chris Kenner [from Land of 1000 Dances]

a dance in every activity
one of the fifty ways there must be at least

what one tells ones buddies
at the bar

Summertime - Big Brother and the Holding Company [from Cheap Thrills]

with canonic guitar intro
sung to the singer's self

Golden Lady - Stevie Wonder [from Innervisions]

speaks Vegas glitz natively
and with authority of its class

Just As Long As We're Together - Prince [from For You]

this music
is a type of music
made of types of music

Dancing With Myself - Generation X [from Nancy's Mix]

collected back when I knew people who were clued into current fashions

In Session at The Tintinabulary

July 7, 2025

Arlington - Keith Eisenbrey

Postscripts

Drops

Music of Aaron Keyt - Part 1

My decades-long collaboration/conversation with Aaron Keyt has been among my most valued musical relationships. I have two more volumes of recordings waiting in the wings, and quite a few scores queued up to learn and record. This first volume includes pieces written over the last four decades and more. The recordings were made from 2005 through 2014, except "Monsters" for piano 4-hands, which were recorded live in 2022. Jennifer K. Chung plays the Primo and I the Secundo.

Three Bagatelles (1999)
Occasional Pieces (1984-1989)
Monsters (2022)
Three Pastorales (1984)
Sonata (2012)

recordings of my compositions (and more!) can be found at keitheisenbrey.bandcamp.com - free to download or stream