Saturday, September 6, 2025

Playlist

Maryhill Stonehenge Memorial
Preface

"Come, I would say to them, it's not that bad. You should appreciate a pig's advantages. Mud-slick and swift, they are hard to catch. Low to the ground, they cannot easily be knocked over. They are not like dogs, they do not need your love. They can thrive anywhere, on anything, scraps and trash. They look witless and dull, which lulls their enemies, but they are clever. They will remember your face.

They never listened. The truth is, men make terrible pigs."

Madeline Miller - from "Circe"

Texts

Recorded

August 31, 2025

Banned Rehearsal 509 - Karen Eisenbrey, Keith Eisenbrey, Anna K, Aaron Keyt, Neal Kosály--Meyer [September 26, 1998]

we take our places
as instrument specific sound sets
a session's sound
can often persist
as a span
of unmoving location
a wave washes over it
moving its pebbles
and again 

a space
we explore
and our vehicle of exploration 

the tools we use upon it
our response within it 

radio sound
from the room's radio
non-diegetic music
transformed
into diegetic
(it's been diegeticized) 

a nonpermitted use of radio broadcasts 

a ceremony in octaves
is changed
upon the piano
proper to the service

{journal entry of October 24, 2006:

articulative distance
confounds
has a tendency
to confound
the cognition
of temporal relationships 

Bach praxis
can be seen
as
bringing order
to perception
by means
of careful regimentation
of all aspects of sound
into discrete relationship{s}
to each other
vertically
horizontally
rhythmically
and metrically
it is the path
of compositional justification
and
its goal
is depth
through clarity
meaning
through maximal determinacy
a music
eschewing this clarity
might arise
that strives
for sensual whelming
a surface
whose depth
is the apprehension
of maximal articulative difference
a music
that thrives
among the parameters
that strongly resists
discrete rationalization
in which
that discrete rationalization
is secondary
non-essential
to the primary discourse
of noise with noise 

we characterize
rather than rationalize

the resonant qualities
of a sound source
are primary
to the rational construct
of the music made with that sound source 

this
of course
is a dialectic
{NB hm} 

and neither can
nor ever will exist
purely 

in this context
the use of
plug & play styles
to borrow the magic
of formerly
fully developed utterance
comes across
as a distracting nuisance}

What Up Gangsta - 50 Cent [from Get Rich or die Tryin']

fluent boasting
to overwhelm response

Improvising a Framework for Composition so as to Compose My Thoughts about Improvisation - Keith Eisenbrey - Keith Eisenbrey[recorded live at The Chapel Performance Space, Good Shepherd Center, Seattle, September 4, 2008]

as a composition to be performed
it is formed
of several interweavable
(movable and optional)
parts 

no reason
to prepare any performance
so as
to mimic another 

every reason
to re-tailor it
to the occasion 

ladies and gentlemen
the National Anthem

Godddess I - Antique Scream [from Two Bad Dudes]

danced from the middle parts
stones talking

September 1, 2025

Gradus 333 - Neal Kosály-Meyer - Neal Kosály-Meyer [May 14, 2018]

inscribe an image
as though it were words 

notes
persist
at their
locations
if nothing
moves
through them 

book back
book front 

angle can

Phil Ochs is Dead - The No Ones [from My Best Evil Friend]

vocal harmony singing
or
just an effect applied
the sheen of vocal harmony
without the blood 

hearing oneself in a mirror

Shake It Down - Lillian Glinn [from Turn Me Loose White Man]

the blues announces itself
so we know what's in store

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

a dance of right angles and icy surfaces

Something To Remember You By - Morgana King [from Morgana King Sings The Blues]

fantasizing break-up sex as a torch song

Put On a Happy Face - Stevie Wonder [from With a Song In My Heart]

marketing
Happy
like clothing 

a brand

Little Miss Strange - The Jimi Hendrix Experience [from Electric Ladyland]

the sung stanzas
are there
to introduce the guitars

I'm One - The Who [from Quadrophenia]

they put the singer in a
can costume and lighting change! 

motion
from internal confession
to public presentation

The Hitchhiker's Guide To The Galaxy, Primary Phase, Episode 00 - Douglas Adams - BBC

an advertisement
deranged imagination

September 2, 2025

Crickets - Keith Eisenbrey [September 1, 1982]

Maryhill Stonehenge Memorial
at least I always presumed they were crickets
or some sort of cicada
but
some of them may be frogs 

one layer
seems to be either constant
or produced in durations longer than I would expect
of a frog 

but some
are more syllabic
believably air powered 

there is also some traffic heard 
from 9G
a hundred yards or more away
through the woods 

this was recorded
from my apartment door
which looked out into Ben's backyard 

air traffic noise
is not as constant
but frequently occasional 

I ended up using this sound
as part of a 1983 recorded performance
of Intermezzo 5
which is a text
spoken
in that performance
by Jill Borner
I don't recall how I managed to put them together
but
the idea was to cover up some of the tape hiss
that crept in
(modest success)
due to the less than optimal technological means at my disposal 

this goes on
for as long as it does
because that's how long the tape side was 

this sound has no events
until we make them
no span of its continuity
is transformed
by any other
a mass of sediment

Dum Transisset Sabbatam - Cambridge Singers, John Rutter [from Brother Sun, Sister Moon]

Palestrinal thirdiness
wafts through space 

whom does one make
of a blended voice
the choral person?

Branle de la torche (Praetorius) - The Baltimore Consort [from La Rocque'n'Roll - Popular Music of Renaissance]

dance on the buzzies

Ray of Light - Madonna [from Ray of Light]

there is an art
to capturing the public's attention
but the history of commercial successes
is not necessarily
the history of our music
but
the history of musical performance
packaged as product

Song of Solomon 3:1-4 - Keith Eisenbrey - Karen Eisenbrey, Keith Eisenbrey [recorded live at University Temple United Methodist Church, Seattle, November 6, 2004]

a poem of seeking out
and pulling in
and enclosing 

filter feeding barnacles

Black Cat Blues - Star Anna and The Laughing Dogs [from Crooked Path]

small town western blues 

weight that defeats 

insists on nothing
less than abiding it

Maryhill Stonehenge Memorial
Gradus 237 - Neal Kosály-Meyer - Neal Kosály-Meyer [November 19, 2013]

thirdy down
forth A up 

louder softer
nearer farer 

each
a metaphor of the other 

each
creating within themselves
the image
of the other 

image creation
all the way down 

is there a difference
between creation and appearance
what is created
appears
what appears
is created
that is
it is created
as it appears
and appears
as it is created
the difference
is in attitude
and position
either
from one side
or the other
or
in some other position
relative to them
but
what is the substrate?
is the substrate
a what?
or an object
of any kind?
how could it be?
(without resorting
to the turtles
of Yertleland)

perhaps
not
that
there isn't an end
to the turtles
or substrates
but
that
the conceptualizing minds of humans
(not the brains)
have no possibility
of passing through the impasse? 

would it appear different from there?
or
would its appearance
create another substrate? 

it is
what/who/where/when
cannot appear
and cannot be created
(nor spelled out
for that matter)
once again
explanation muddies waters 

it is louder
or softer
and seems
nearer or farer
each
is a metaphor
but
each metaphor
creates a geometry
and geometries
are also metaphors
but
we accept
the mapping
between them
immediately
no explanation
could keep up with it
not even John Henry 

(we won't even start on larger or smaller)

Murky Shadows - Steve Layton & Sound-In [from The Summer Sessions]

collecting samples and filters
for game play with others 

web-enabled subcultures

Brewer - Keith Eisenbrey - Keith Eisenbrey [July 16, 2023]

the second (added) part
is helpful
but also
has its own business to attend

Madrigals, Book VIII: Dolcissimo uscignolo - Claudio Monteverdi, Rinaldo Alessandrini

such elegant ornamentation 

Wagner was just jealous

your blogger at Maryhill Stonehenge Memorial
Praeludium in E minor, BuxWV 142 - Dieterich Buxtehude - Simone Stella

here the ornaments are ponderous
magnificent
severe
comportment:
logical
stern 

fugue subject
a two part figure
the leaping part
and the stepping part 

simple
plain
vernacular 

oh
so you thought I was done did you
must get grander still
augmentation upon augmentation
and
how could we not have a Gigue?

Schauet doch und sehet, ob irgen ein Schmerz sei, BWV 46 - Johann Sebastian Bach - Amsterdam Baroque Orchestra, Amsterdam Baroque Choir, Ton Koopman

music impersonating text
words spill out from within each other

the time of text
severed from the page
and set adrift in choral space
impersonates text
by co-opting text
for the proper articulation of human voices*
in blended voices
now
we're being told some stuff
our baritone hero stands up
and affirms correctness of behavior
to meet the crisis
proceeds
to melismate at some length
a voice from on high 

*human voices
sound more human
if they're saying words
scat
plays on that image
with nonsense syllables
in lieu of words 

the flutes
wind ribbons
around
our chorale response 

the ends of these
do not close themselves off from the world
into which they are sent

Sonata in G Major for Organ, Kk. 290 - Domenico Scarlatti - Pieter-Jan Belder

a new way to think about time in music 

balance and dynamism

Mazurka in D Major, Op. 33 #2 - Frédéric Chopin - Garrick Ohlsson

every figure
its own tonality
they dance across the floor

your blogger's better half, at same
Album für die Jugend, "Erster Verlust", Op. 68 #16 - Robert Schumann - Éric Le Sage

conjures a scene
from a few notes
and a culture
that sees scenes in music

Ballade in B minor, S. 171/2 - Franz Liszt - Beatrice Berrut

left hand
rolling waves stage set
crank them up
per the script
pre-empting Rimsky-K's Sinbad scenes
by decades 

operatic peril
not intent
upon verisimilitude
not necessary
all peril
will be encountered and vanquished heroically 

fade on a long suspension 6-5

Prelude in B Major, Op. 37 #3 - Alexander Scriabin - Dmitri Alexeev

sneaks his way
from voice to voice
in passages
between phraselets of figures

Maryhill Stonehenge Memorial
September 3, 2025

There'll Be Some Changes Made - Chicago Rhythm Kings [from That Devilin' Tune]

Vaudeville stage vocal delivery
even some time to tap or dance along with the band

Love Me Or Leave Me - Nina Simone [from Little Girl Blue]

sung with elbows at hips
where the action is
insistently quick
no time to waste

I Wonder (Where Are You Tonight) - Aretha Franklin [from Laughing On The Outside]

commercial recording
seeks to fill the audio image
with product 

feelings divulgement

The Weight - The Band [from Music from Big Pink]

story told across a bar

Out The Blue - John Lennon [from Mind Games]

a valentine

Why Do You Do - Los Lobos [from And a Time To Dance]

upper body dance
shoulders and chest
twist down the middle

Bad Brain - Ramones [from Road to Ruin]

novelty lyric
sophomoric humor

Intermezzo 1 - Keith Eisenbrey [recorded September 2, 1983]

trying them at a quicker tempo
in prep
for a presentation
of the lot of them
which
outs this one
as heart on sleeve

Serenade - Keith Eisenbrey [recorded May 19, 2011]

sometimes a music just wants to skip along happily
to end in worry 

mixed thoughts
quiet contemplation
a trill of a different mode 

we visit Ken 

each movement
is toward a narrow focus 

lovely playing past me!

Maryhill Museum of Art
Sonata for Violin and Piano in D minor, Op. 108 - Johannes Brahms - Itzhak Perlman

unfolds as an operatic scene
devastatingly sung
ravishing
lovely
it adjusts within its story chair
a battle passionate
vibrato
like a silently filmed seawavescape 

note:
it's best you don't actually zero in
on the sound of the vibrato
it isn't what you think 

fascinating
but distracting 

but then
that's generally true
no sound
is what we think it is
if we were to listen carefully
at each 

Heroic Struggle
so manly
nothing some good solid polyphony can't handle
you just see!

Banned Rehearsal 510 - Karen Eisenbrey, Keith Eisenbrey, Anna K, Aaron Keyt, Neal Kosály-Meyer [October 3, 1998]

we have sneaked in
to occupy the drum stool
and piano bench 

side drums
take the floor
this stuff kinda cooks actually
then parts themselves
to retool and regroup

thought experiment
listen
as though one's past with the session
wasn't 

works its way
into a polytemporal groove 

screamy reeds ride atop
bouncily 

tribal vocabulary

insistently
multiples of events

some of what might rub me wrong
in a music
may not rub
any other so
or
if so
then
most likely
not exactly so
nor
so
through any identical route 

a session
is an expanse
in which
to think communally 

a sequence of musics
symphonic and chamber 

somebody's piano extravaganza
sounds like it must be me
soliloquizing on the Kingsbury 

the doorchimes
usher
in and out 

a sudden room sized hum is hummed
a bit of hum magic
end of a life style
radio beams in

Maryhill Museum of Art
{journal entry of October 29, 2006:

drums and light sax
heavy drum
hand drumming
piano and violin
piano and ukulele
very gentle
intimate
like dust settling on knickknacks
piano and drums (hand)
radio guiro piano sax
in many ways
quite a sophisticated session
in the sense
that
it takes a great deal
of Banned Rehearsal savvy listening history
to really grasp what's going on
socially
i.e.
lots of conversation
underlying this utterance
is this Aaron's new alto?
must be
played
really
with remarkable restraint}

The Christmas Song - Whitney Houston [from One Wish: The Holiday Album]

she controls this song
as though she were singing it through
rather than
as though
her singing
had been assembled later
from fragments

Gradus (Chapel Event) - Neal Kosály-Meyer - Neal Kosály-Meyer [recorded live at The Chapel Performance Space Good Shepherd Center, Seattle, September 4, 2008]

what it means
is who we are 

knock down
drag out
with the feet 

Gradus
as an experience
over the long haul
has been a laboratory space
a neutral realm
(for a certain idea of neutral)
for speculative thought
wanders outside certain cultural considerations
(will it sell
for starters)

Mars - Chaotic Noise Marching Corps [from Smashed at Smash Put]

Seattle's Favorite Feral Pep Band Carnival Act

Banned Rehearsal 959 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer [May 21, 2018]

the room is listening
otamatone makes its sound
under protest
a gripe and a grumble 

we remain hushed and blankety
our hands-on elbows-into-it
laboratory 

the otamatone sings drunkenly along
with the voice on the radio

Through the Door - Tom Baker, Anna La Berge [from Sand]

fluttery flute sounds
acoustically wrecked
probes and wires
acoustic signals
inserted
as electronic signals
inscribed
as digital media
that describes
the acoustic signal
and performs operations
upon the digital media
to make
desired effects
upon the electric signal
as
it gets re-inscribed
into
an acoustic signal
and
we hear it

Columbia River, form Maryhill Stonehenge Memorial
September 4, 2025

Four or Five Times - King Oliver [from Really The Blues]

if I die
I'm going to try to do it
[insert title here] 

droll conceit
at a shamble

I've Got A Woman - Ray Charles [from Ray Charles at Live at Newport]

old school slow open
until
we go through the door
to the new school hep tempo 

thin lyrics
for vocal play

Please Please Me - The Beatles [from Please Please Me]

guys making demands
barely a song
just enough to mass produce and sell

Set The Controls for the Heart of the Sun - Pink Floyd [from A Saucerful of Secrets]

a day at the space beach 

tripping

American Tune - Paul Simon [from There Goes Rhymin' Simon]

an unfortunate skip 

we all
wonder
what's gone wrong

Thirteen Emily Dickinson Songs: XIII "She Bore It Till The Simple Veins" - George Perle - Bethany Beardslee, Morey Ritt

to be sung in a dimly lit vigil

Intermezzo 2 - Keith Eisenbrey - Keith Eisenbrey [recorded September 2, 1983]

the opening three note salvo
an 8/9 interval within a 17 interval 

music for piano without dampers
an intentional limitation
of ones means of articulation
other methods
will need to be optimized 

(wildly wobbly) 

also
eschews dynamic contrast and process

Get Up - REM [from Green]

could pair with The Beatles' I'm Only Sleeping

Maryhill Museum of Art
Hark, I Hear The Harps Eternal - Robert Shaw Festival Singers, Robert Shaw [from Amazing Grace]

music of the spheres
universal vibrations
harps eternal

Round & Round - Bonnie Raitt [from Fundamental]

did the engineers take something off her vocal track?
bandpass filter?
like she's on the phone
(why?)

Song of Solomon 3:1-4 (050517C) - Keith Eisenbrey - Karen Eisenbrey, Keith Eisenbrey [recorded at Jack Straw Cultural Center, Seattle, May 17, 20025]

the importance of leaving ones prior intent in the back seat

Frenetic Interlude #1 - Kai - Sacajawea Students [from Digital Dreams]

a synthesizer doodle repeated a few times

Gradus 237 - Neal Kosály-Meyer - Neal Kosály-Meyer [November 19, 2013]

we compose
two tones
together
to think
toward
tune 

if Rung the First
hath two tones
that match in pitch
and Rung the Second
hath two tones
that match not in pitch
is it a different sense of two in play 

does pitch matching
affect the meaning
experientially
of number?

Try New Things - Black Dresses [from Hell Is Real]

sharp
brittle
handle with care

Banned Rehearsal 1080 - Karen Eisenbrey, Keith Eisenbrey, Anna K, Neal Kosály-Meyer [July 17, 2023]

Maryhill Museum of Art
on the patio
we behave like
(the sounds of)
wee critters
so as
not to overly alarm
those
as is
wee critters 

without intentful behavior

we imitate the sound environment we are in
(a hunting skill)
an audio blind
or a diplomatic mission 

behave like frog calls
and bird song
the pipsqueaks
arguing it out

electronic production of sound
crosses a distinction
different in kind
from the distinction between
say
two acoustic instruments' sounds 

when in woods
do as woods do 

production
into the clear air 

in imitation
of the sound world
around us 

we include those sounds
that are ours
and are likely to get creative 

it accepts
its own balance and mix
no over-fuss allowed 

that loud car
was not well imitating
the qualities
of its aural environment
in order
to blend in with them
lacks
environmental empathy

Chocolate To The Bone - Barbecue Bob [from Really The Blues]

even the various guitar strings
are in conversation among themselves
as to
the conversation they have
with the vocal

More Than You Know - Judy Garland [from Judy In Love]

a message of devotion
writ on elegant stationery 

color by technicolor

O Come All Ye Faithful [from The Life Treasury of Christmas Music]

on a big organ
once through
no more

Maryhill Museum of Art
Some Sunny Day - Rusty Dedrick Orchestra [from Irving Berlin - All By Myself: Notable Compositions 1926-1933]

keep to one's assigned slots

Grey Seal - Elton John [from Goodbye Yellow Brick Road]

the mix makes it clear
that even if it is Elton playing piano
he's not doing so
while singing
or
he's not in the same room with it 

the pernicious magic
of industrial music production

In Session at The Tintinabulary

August 31, 2025

Brattle Street - Keith Eisenbrey

September 1, 2025

Gradus 420 - Neal Kosály-Meyer

all but one of all the notes in play
and then
all the notes in play 

when we speak
of the types
of Fuxian motions
we are referencing
an analysis
of the music
into voices
within a pitch geometry
that is inherently directional
up's up after all
comparing pitch-directional vectors
among the voices
but also
relying on pitches
to be matched 

an item
voided of its content 

what do we make
of all that we leave out
when we abstract?
does it vanish?
retrievable in imagination
the imagined retrieval
of the remainder
of abstraction
but
pitches
can also be recalled from memory
indirectly
through their effects
on subsequent pitches 

melodic intervals
melody itself
are
(is)
acts
of extra-conscious
immediate
memory 

music
touches the stuff
of our experiencing
of our experience
it cracks our code
in its simulacrumifications
of real time

(it isn't our real time
it is its real time)

Postscripts

Drops

Music of Benjamin Boretz
Keith Eisenbrey, piano

The music of Benjamin Boretz, which I first encountered as an undergraduate, has played a central role in my own sense of musical possibility and depth ever since. I was deeply fortunate to study with him for a few years in the early 80s, and have been blessed with his ongoing friendship and conversation since that time. It is my distinct pleasure to share these recordings with you now. 

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

No comments:

Post a Comment