tag:blogger.com,1999:blog-75691665115165205812024-03-19T01:47:14.149-07:00Now Music in New AlbionAn inquiry into music, through those particular musics I am listening to, with a focus on that produced by musicians local to the Seattle area.Keith Eisenbreyhttp://www.blogger.com/profile/16399615075612440296noreply@blogger.comBlogger698125tag:blogger.com,1999:blog-7569166511516520581.post-60315302837650316462024-03-16T11:29:00.000-07:002024-03-18T16:00:58.957-07:00Playlist<p style="text-align: center;"><b>Preface</b></p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBrjP8vifv6yREs0ZahvXcCUPjwFP1khp7-P8GoagEInc5_qaCRWnAdTiebonsuFmd8NS8Nc77yJCXilVIMFZG1jZXNSOOvqR5sCfWoHENbG97tPoAQ88GjEtGsF8t9_wEv3WJuM9Xovfp-SR4_BTUtJkhUeW3hxvCg7RzRCG76LK9LRzU4LnsYkD5TvM/s1476/240316.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1476" data-original-width="1316" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBrjP8vifv6yREs0ZahvXcCUPjwFP1khp7-P8GoagEInc5_qaCRWnAdTiebonsuFmd8NS8Nc77yJCXilVIMFZG1jZXNSOOvqR5sCfWoHENbG97tPoAQ88GjEtGsF8t9_wEv3WJuM9Xovfp-SR4_BTUtJkhUeW3hxvCg7RzRCG76LK9LRzU4LnsYkD5TvM/w356-h400/240316.jpg" width="356" /></a></div>"The Ghostly Passengers in the Ghost of a Mail"<p></p>
<p>Hablot K. Browne (Phiz) from "The Posthumous Papers of The Pickwick Club"</p>
<p style="text-align: center;"><b>Texts</b></p>
<p><b>Recorded</b></p>
<p>March 10, 2024</p>
<p>
<i>Symphony in D Major, K48(48) (#8)</i> - Wolfgang Amadeus Mozart - Academy
of Ancient Music, Jaap Schroder, Christopher Hogwood
</p>
<p>
cadence is a tonal structure event <br />within an episode of figurations
<br />an articulation <br />that often doesn't stop for itself <br />except at
major divisions <br />or <br />it might stop at points <br />if it can clarify
<br />the length of spans of figurations in play <br />so that <br />those
spans of figurations <br />can play games
</p>
<p>
second and third movements <br />each begin with phrases <br />marked by
stopped cadences <br />fourth too <br />his rhetorical tool chest
<br />becomes loaded <br />with phrase length options <br />as well as
cadential options <br />lively at every moment
</p>
<p>
<i>Sonata in C minor, Op. 17 #2</i> - Johann Christian Bach - Bart van Oort
</p>
<p>
I'm working on this piece <br />(on clavichord) <br />Bart plays a fortepiano
<br />accomplishes some of the ornaments with nicely done tempo fluctuations
<br />sensitive dynamics within phrases <br />not static <br />the point of
the recapitulation <br />is to play the former material <br />with new details
<br />and in different key relationships <br />not <br />to be the same
<br />but <br />to be the same <br />differently
</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfcdhNlHvmw6urfUT0d89BUj4DcBH76r8_qF98jHNed4M0Fi_OUyRg8gQ4JB5IrsBt-V7u4wO2_k_sg5_vmhuCT5ITepG5VgqiAKjN-AgnqvtzPr4wY6e5w1yYySxqveV4kwAg1y0wjsrTg-UE_GQJ7cvZ02PO8xuh54RHoXFE2ftH9iYBjMPq4i68WN8/s5472/240316%20E.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfcdhNlHvmw6urfUT0d89BUj4DcBH76r8_qF98jHNed4M0Fi_OUyRg8gQ4JB5IrsBt-V7u4wO2_k_sg5_vmhuCT5ITepG5VgqiAKjN-AgnqvtzPr4wY6e5w1yYySxqveV4kwAg1y0wjsrTg-UE_GQJ7cvZ02PO8xuh54RHoXFE2ftH9iYBjMPq4i68WN8/w400-h266/240316%20E.jpg" width="400" /></a></i></div><i>Sonata in E-flat Major, Op. 11 #1 </i>- Muzio Clementi - Howard Shelley
<p></p>
<p>
figures are puppets <br />and interact as puppets in a stage <br />the plot
need not concern us <br />if they are intent on their interactions
</p>
<p>
tempting to attempt to listen to this <br />with the rapt attention of a young
child <br />at puppetry
</p>
<p>
can we listen with such wide-eyed innocence? <br />or has that ability been
lost to us ?
</p>
<p>
Clementi seems to not be capable <br />of causing alarm <br />in such an
innocent
</p>
<p>
<i>Sonata in B-flat Major, Op. 24</i> - Johann Ladislaus Dussek - Taija
Hakkila
</p>
<p>
Dussek's show <br />might delight such a one <br />less <br />leans heavily on
innuendos <br />and flirty games
</p>
<p>
to enter this post-repeat portion <br />is to enter a different world
<br />winding halls and sudden encounters <br />perhaps in dreamland
</p>
<p>one needs a fondness for witty repartee </p>
<p>
a sequence of modulations in quick succession <br />is a journey through new
spaces <br />we identify with the figures traveling through these spaces
<br />not with the spaces
</p>
<p>
<i>Sonata in E Major, Op. 14 #1</i> - Ludwig van Beethoven - Stephen
Kovacevich
</p>
<p>
a personal favorite of mine <br />he plays the first movement gently
</p>
<p>
do I identify with the figures here? <br />less so: <br />these figures are
their tonality <br />they don't pass through it <br />if we do<br />say
<br />in the post-repeat world <br />it's more like <br />we are worrying over
things <br />in our minds <br />not passing through them
</p>
<p>
a key is an aspect of a problem <br />the problem clarifies itself <br />with
a cheerful stroll <br />on a nice day
</p>
<p>ends with a remarkable dissociation <br />of the parts of beats </p>
<p>those beats <br />are each <br />in two places <br />at once</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr10RdcmZF50z-j9Jfn9zhPlXJ5Gn4oS2Qw4RDx-75ih1gAixVGxUbVeU4gs_7-63kuP8oOTp2JRlpipZS5cZOPqZHM35vX9oaW31TwFwwkyG3e2oZRhrfCCcwy0g7b8nvxmsTgFo7xsCGeFtAlTGeED6hPEtjnc2Jh9f32ifyqPnsJbuV5sd_tE_Aoa8/s5472/240316%20F.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr10RdcmZF50z-j9Jfn9zhPlXJ5Gn4oS2Qw4RDx-75ih1gAixVGxUbVeU4gs_7-63kuP8oOTp2JRlpipZS5cZOPqZHM35vX9oaW31TwFwwkyG3e2oZRhrfCCcwy0g7b8nvxmsTgFo7xsCGeFtAlTGeED6hPEtjnc2Jh9f32ifyqPnsJbuV5sd_tE_Aoa8/w400-h266/240316%20F.jpg" width="400" /></a><i></i></div><i>Variazioni in C Major, Op. 14</i> - Friederich Kuhlau - Loredana Brigandi
<p></p>
<p>
the goal is to use the most non-descript theme possible <br />in order to
display <br />imagination <br />and skill <br />and cleverness <br />each
variation is a different character
</p>
<p>
<i>Sonata in F minor D625 505 (#11)</i> - Franz Schubert - Paul Badura Skoda
</p>
<p>
back to figures as characters <br />but also <br />as the sung expressions of
those characters
</p>
<p>Schubert is what he sings </p>
<p>a land of fancy <br />and of mysteries <br />and sorrows</p>
<p>
<i>Semiramide Overture </i>- Gioachino Rossini - BBC Symphony Orchestra -
Jascha Horenstein
</p>
<p>
an overture can introduce us <br />to the concept of character <br />that will
be in play <br />within the opera proper
</p>
<p>
singable <br />memorable <br />melodies <br />establish <br />that melody
<br />is where it's at
</p>
<p>
sudden bursts <br />promise us exciting drama <br />and dire
pronouncements
</p>
<p>
the music is part of the stagecraft <br />all sorts of characters <br />just
imagine the craziness they are about to be in <br />pies will fly!
</p>
<p>
an extensive overture <br />we are well into his world <br />by the time the
curtains open
</p>
<p><i>Polonaise in F minor, Op. 71 #3</i> - Frédéric Chopin - Peter Katin</p>
<p>
we are now in a more expansive world <br />(because) we are on a smaller stage
</p>
<p>
<i>Impromptus on a Theme by Clara Wieck, Op. 5</i> - Robert Schumann - Peter
Frankl
</p>
<p>
the theme is a thought <br />about its opening school-book figure <br />the
impromptus <br />are thoughts about a thought
</p>
<p>
an impromptu <br />is a thought <br />from a hypothetical <br />or fanciful
character
</p>
<p>
the characters that speak those thoughts <br />are lots of fun <br />somebody
down there is shaking the ladder <br />but thoughts of another <br />give
peaceful reverie <br />whistley hopes
</p>
<p>this impromptu is impersonating a fugue</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggs67CJIB8ehyphenhyphenQHmnSRzjnAA43KaqQvLZE99OoZim5n1XKlfBYz60G9yDkNOUVO0UR5PP9U1rVIC_ZhMFYC3cHqOJnkis47sdkAgJQfWnzfBpBw1Yb6z7Dx4ZR3CwwoFB3f9KG1024fT_BlyzDgFtn5EmDRtjq-2hMvEQKgURfIWpxLEcLfoj7HccS4V4/s4023/240316%20A.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2874" data-original-width="4023" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggs67CJIB8ehyphenhyphenQHmnSRzjnAA43KaqQvLZE99OoZim5n1XKlfBYz60G9yDkNOUVO0UR5PP9U1rVIC_ZhMFYC3cHqOJnkis47sdkAgJQfWnzfBpBw1Yb6z7Dx4ZR3CwwoFB3f9KG1024fT_BlyzDgFtn5EmDRtjq-2hMvEQKgURfIWpxLEcLfoj7HccS4V4/w400-h286/240316%20A.jpg" width="400" /></a></div>March 11, 2024<p></p>
<p><i>Scherzo in D minor, Op. 10 </i>- Clara Schumann - Susanne Grützmann</p>
<p>tripping over themselves <br />to stay in the same plot line</p>
<p>
<i>Incidental Music to A Midsummer Nights Dream, Op. 21/61</i> - Felix
Mendelssohn - Symphonie-Orchester des Bayerischen, Rafael Kubelik, Edith
Mathis, Ursula Boese, Bavarian Radio Chorus, Wolfgang Schubert
</p>
<p>all is balance and lightness <br />even among the hee haw crowd </p>
<p>
when I was living in Red Hook <br />my walking would often pass a farm
<br />at which a donkey resided <br />I was interested to note <br />that the
sound it made <br />was more <br />haw hee <br />than is popularly
promulgated
</p>
<p>
overtures written <br />not for any specific production <br />but for some
idealized version <br />in cultural consciousness
</p>
<p>direct repetition <br />is an easy balance enforcement </p>
<p>
but always entertaining <br />and marvelously orchestrated <br />doesn't get
as bogged down <br />by Masterpiece Piety <br />as does Elijah
</p>
<p>
the movement that rehashes <br />the hee haw material <br />from the overture
<br />is not nearly as much fun as it was<br />the first time
</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjsjZFftX0jF6kDAxc_rblQBb-oYq7ONENK1xwdYEfJ1k14xCu8u1xKDTxcXCtx49wdaDm-pVTtaJbgbnGW0qxPyOnHWf79wtshtM9n_0YNo6GQ47lU-BC6fgRjgb83FEAq_jiE1NGk-a3K_MGosaAAgIL7pV-8cri4kRDZvOUmGZOc0nDRe7qYI_T0Mg/s5472/240316%20G.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjsjZFftX0jF6kDAxc_rblQBb-oYq7ONENK1xwdYEfJ1k14xCu8u1xKDTxcXCtx49wdaDm-pVTtaJbgbnGW0qxPyOnHWf79wtshtM9n_0YNo6GQ47lU-BC6fgRjgb83FEAq_jiE1NGk-a3K_MGosaAAgIL7pV-8cri4kRDZvOUmGZOc0nDRe7qYI_T0Mg/w400-h266/240316%20G.jpg" width="400" /></a><i></i></div><i>Il lamento</i> - Franz Liszt - Claudio Arrau<p></p>
<p>
we are taken to the theater <br />upon whose stage <br />a lament is presented
<br />we identify <br />with the character <br />who sings the lament <br />on
the stage <br />created by the music <br />as the stage <br />so made
</p>
<p>vanishes behind the fervor</p>
<p>
<i>Allegro from the F.A.E. Sonata</i> - Johannes Brahms - Yehudi Menuhin,
Hephzibah Menuhin
</p>
<p>
composed like someone writing a solo with accompaniment <br />rather than
<br />as a chamber piece for violin and piano
</p>
<p>
<i>5 Gedichte für ein Frauenstimme (Wesendonck Lieder)</i> - Richard Wagner -
Philharmonia Orchestra, Otto Klemperer, Christa Ludwig
</p>
<p>aching long lines <br />long aching lines <br />long lines aching </p>
<p>
arching long lines <br />lines arching long <br />lines long arching
</p>
<p>
forestalling cadence <br />no holding still ever <br />striving further
<br />the world looks different <br />from each further step <br />gazing
hopelessly <br />out the dark window <br />poems <br />set in lines <br />in a
drama
</p>
<p>
for Wagner <br />there was no him <br />without a stage <br />and a big one at
that
</p>
<p>
veer off on four <br />that keeps it both still <br />and moving <br />for as
long as feasible
</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhFV9GF0cJrJT43JH238LWfKXqoHvwgeOrYdGLIbYfUmZ6LrtNzrNB5l2An3Q5qWzzqjozwH-FhVavlV2XPgGs0ezEyGcFsQ1y1aR92QVTFG-yy_tMqXXeNaWAfx4EbaTIfNw1G3yqq7fLB3ntD6QZJ8gj4Q1ow783TVVEh39UCMlSFwMrmguKV8-8VgI/s5472/240316%20B.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhFV9GF0cJrJT43JH238LWfKXqoHvwgeOrYdGLIbYfUmZ6LrtNzrNB5l2An3Q5qWzzqjozwH-FhVavlV2XPgGs0ezEyGcFsQ1y1aR92QVTFG-yy_tMqXXeNaWAfx4EbaTIfNw1G3yqq7fLB3ntD6QZJ8gj4Q1ow783TVVEh39UCMlSFwMrmguKV8-8VgI/w400-h266/240316%20B.jpg" width="400" /></a></div>March 12, 2024<p></p>
<p><i>Willie Has Gone to the War</i> - Stephen Foster - Gregg Smith Singers</p>
<p>gentle parlor music <br />while the armies slaughter each other</p>
<p>
<i>Concerto in A minor</i> - Edvard Grieg - Seattle Symphony Orchestra, Gerard
Schwarz, Bella Davidovich
</p>
<p>
this has some lovely tunes in it <br />and proceeds with clarity <br />the
keyboard writing <br />is perhaps a bit florid <br />modeled on Schumann's
Concerto I suppose <br />but without the contrapuntal workings beneath it
<br />the melodies sure do sing though
</p>
<p>
each step in his modulations <br />are presented in full <br />it is
demonstrated <br />that no corners were cut <br />no untoward leaps were
made
</p>
<p>
music composed <br />as a sequence of themes <br />to hum on your way
out
</p>
<p>
the accompanimental figures <br />know their lots in life <br />and keep to
them
</p>
<p>the flautist played their third movement solo beautifully </p>
<p>a little trumpet fanfare <br />announces the big tune show-stopper</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVME68chJYvX50_MaFEKJs7dzvm8g_5zgr8cPVb1mdqRK1uwHuIE2so_k5Ph-cNnzv__upcZd75WtfWWWfbUox2324kBCqnexvC6300Bn5L-_Fb9kKoi2kejky5WGXkTblrqDsSZKZMmhQTanjQxVH7A7Raip4EiWLxeuV-cRiU8Ge21Wys3hFB9DcAJE/s5472/240316%20H.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVME68chJYvX50_MaFEKJs7dzvm8g_5zgr8cPVb1mdqRK1uwHuIE2so_k5Ph-cNnzv__upcZd75WtfWWWfbUox2324kBCqnexvC6300Bn5L-_Fb9kKoi2kejky5WGXkTblrqDsSZKZMmhQTanjQxVH7A7Raip4EiWLxeuV-cRiU8Ge21Wys3hFB9DcAJE/w400-h266/240316%20H.jpg" width="400" /></a><i></i></div><i>Symphony in E-flat Major, Op. 10 (#3) </i>- Antonín Dvořák - London
Symphony Orchestra, Istvan Kertesz
<p></p>
<p>this opens so many times <br />I don't know where I am anymore </p>
<p>
every few bars <br />the subject changes <br />a movement <br />of strange
on-goings
</p>
<p>the curtain opens <br />a village scene <br />morning </p>
<p>our hero desponds</p>
<p>the path to hope <br />lies through the darker tonalities</p>
<p>
less concerned with taking all the steps to get places <br />than Grieg
</p>
<p>points to <br />and is <br />then <br />at </p>
<p>
here comes our hero <br />in shiny white armor <br />possessor of a quiet
family farm <br />in Idylicville
</p>
<p>
imagine if he had ever found a librettist <br />with as crazy an imagination
<br />and an audience that could keep up
</p>
<p>E-flat <br />of course <br />we get a hint of Das Rheingold </p>
<p>
later at the ball <br />candelabras and intrigue and drama <br />unwinds onto
the dance floor <br />words are exchanged <br />and glances <br />and
cuts
</p>
<p>adventure and troubles <br />oh the suitors! <br />worthy and un-</p>
<p>
<i>Symphony in F minor, Op. 36 (#4)</i> - Pyotr Ilyich Tchaikovsky - Seattle
Symphony Orchestra, Gerard Schwarz [from a broadcast of May 8, 1992]
</p>
<p>
I bothered to tape this off the radio <br />because I thought the live
performance was pretty fine <br />the radio-compression weakens it near
fatally <br />its size is diminished <br />no room to be big <br />no room to
be small <br />it all fits snugly <br />into the confines <br />of the FM
signal
</p>
<p>no situation <br />is safe from exposure </p>
<p>
the audience is allowed their cough <br />before all the pizzicattos let
loose
</p>
<p>
and the sudden FF <br />of the fourth movement <br />is reduced down to the
size of a closet <br />a pity <br />because the conversational fortissimo
<br />is half the fun
</p>
<p><i>Nocturne (from 2 Canons)</i> - Ethel Smyth - Liana Serbescu</p>
<p>
a canon is a tactic <br />to connect moments <br />between voices <br />as
they go by <br />and continue <br />to be going by <br />it bumps us out of
time
</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhit07Pb0uCs25zeqPi56VDEOY-B275qbGKjgXRTNZ9xxGlLR5-Sp4ceC0lHBWImDYYy1RsqoP5Dsaj6f0KCHoJg-ePHxqTmJWsIGhkP9GZ3_5HpGcYSKtcOUbJWs8BN6jxk_-x4Ub4JoeDvQwTpl4m8vocfR2N8OIo5vEqe17yk3yuan7ELTeiBZt-zsk/s5472/240316%20C.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhit07Pb0uCs25zeqPi56VDEOY-B275qbGKjgXRTNZ9xxGlLR5-Sp4ceC0lHBWImDYYy1RsqoP5Dsaj6f0KCHoJg-ePHxqTmJWsIGhkP9GZ3_5HpGcYSKtcOUbJWs8BN6jxk_-x4Ub4JoeDvQwTpl4m8vocfR2N8OIo5vEqe17yk3yuan7ELTeiBZt-zsk/w400-h266/240316%20C.jpg" width="400" /></a></div>March 13, 2024<p></p>
<p>
<i>Russian Easter Festival Overture</i> - Nicolai Rimsky-Korsakov -
Philadelphia Orchestra, Eugene Ormandy
</p>
<p>
the subject remains intact <br />and in view <br />even out in the
street
</p>
<p>a folio of illustrations <br />ends with a full-page spread</p>
<p>
<i>Vexations</i> - Eric Satie - Keith Eisenbrey [recorded live at Jack Straw
Cultural Center, Seattle, May 16, 2010]
</p>
<p>
My half-hour <br />of what may be the Seattle premiere <br />I was on early on
a Sunday morning
</p>
<p>
I haven't thought about it much since then <br />and I don't speak French
<br />but my recollection is <br />that the indication to play it 840 times
<br />was not a clear cut instruction <br />but an ambiguously suggestive
possibility
</p>
<p>
<i>"Pour se jouer 840 fois de suite ce motif, il sera bon de se préparer au
préalable, et dans le plus grand silence, par des immobilités sérieuses."</i>
</p>
<p>
true or not <br />I like the idea of couching performance <br />instructions
as open-ended possibilities <br />or subjunctives
</p>
<p>
the piece itself asks questions of itself <br />from every angle you care to
observe from
</p>
<p>
an unaskable question <br />after which <br />we went out for breakfast<br />I
enjoyed the project <br />more than I feared I would
</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhd0u6_Ed0xxJW79BXKrTf_lBbLg-Cz41XtT6R-BUWfuXcMPymlO7QRvsP8duY58sw08SA3rM70-eDwO9ARjXQVG1-G3wBLr3VNi3LaoaT_uvDqPbZwK7ogrZvCx8MXcR20WqzcDK9ffRBxfajvXzVrv7h0MP1_mC4o5zOMkT4br-MPUciyfOe5aMt2oGE/s5472/240316%20I.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhd0u6_Ed0xxJW79BXKrTf_lBbLg-Cz41XtT6R-BUWfuXcMPymlO7QRvsP8duY58sw08SA3rM70-eDwO9ARjXQVG1-G3wBLr3VNi3LaoaT_uvDqPbZwK7ogrZvCx8MXcR20WqzcDK9ffRBxfajvXzVrv7h0MP1_mC4o5zOMkT4br-MPUciyfOe5aMt2oGE/w400-h266/240316%20I.jpg" width="400" /></a><i></i></div><i>Das Klagende Lied</i> - Gustav Mahler - Concertgebouworkest, Amsterdam;
Bernard Haitink; Heather Harper; Norma Procter; Werner Hollweg; Netherlands
Radio Chorus; Meindert Boekel
<p></p>
<p>
song cycle <br />embedded in a symphony <br />or in an oratorio <br />or all
three <br />at once
</p>
<p>
the song has little purchase <br />on the other parts of this music <br />in
danger <br />of slipping off <br />into who knows what strange realm <br />we
<br />are trapped in this music <br />as are those <br />who must be the
characters <br />in the unfolding tale
</p>
<p>
companion piece to <i>Gurrelieder <br /></i>another monstrosity
</p>
<p>
the difficulty lies <br />in the fact <br />that <br />I have no plausibly
appropriate category <br />for what this is <br />or might have been meant to
be <br />and keep trying to make one thing <br />or another <br />out of it
<br />but <br />it doesn't go like any of those things <br />really <br />it's
a wholly unique mess
</p>
<p>I am forced to hope <br />that was the intent</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisZkR5JFTs8uAzZu275wup4EBVF0idf604uf_Cj02jV85ZCQrOZRq2-nmGEuohkWyY4rtW2Y66hf263g4mddNVeN99c5DAglkbGIsGbVncGO4Pb7i2g_UGww0a_ZYlSA5HZJ-ZTAh6Dvi8XIoAy7v40oera0obTCyWuhLyP4TX_kNus7D6lKdqyzi-C3o/s5472/240316%20D.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisZkR5JFTs8uAzZu275wup4EBVF0idf604uf_Cj02jV85ZCQrOZRq2-nmGEuohkWyY4rtW2Y66hf263g4mddNVeN99c5DAglkbGIsGbVncGO4Pb7i2g_UGww0a_ZYlSA5HZJ-ZTAh6Dvi8XIoAy7v40oera0obTCyWuhLyP4TX_kNus7D6lKdqyzi-C3o/w400-h266/240316%20D.jpg" width="400" /></a></div>March 14, 2024<p></p>
<p><i>Poeme tragique, Op. 34</i> - Alexander Scriabin - Michael Ponti</p>
<p>a moment of turning <br />a flash scene <br />a glance</p>
<p>
<i>Passacaglia, Op. 1</i> - Anton Webern - Czech Philharmonic Orchestra, Hans
Swarowsky
</p>
<p>
Webern <br />as the ecstatic voluptuarian <br />digging into the heart of
chromatic polyphony <br />wielding a scourge
</p>
<p><i>Brouillards</i> - Claude Debussy - Paul Jacobs</p>
<p>
what might have been a melody <br />enters <br />atop the burbling <br />but
only a few notes <br />outline <br />where it would have been
</p>
<p>
<i>Poem for Flute and Orchestra</i> - Charles Griffes - Eastman-Rochester
Orchestra, Howard Hanson
</p>
<p>
what is poem about it? <br />high-toned literate voice <br />speaking in
formal measures
</p>
<p>who knows <br />perhaps there is a particular poem as its model </p>
<p>to transport us <br />to a mind <br />like that of poetry's</p>
<p><i>Farewell Blues</i> - Isham Jones [from <i>That Devilin' Tune</i>]</p>
<p>
staggering home <br />arms across shoulder <br />keeping everybody <br />in a
loose jointed <br />vertical position
</p>
<p>we all sing <br />everybody's songs at once</p>
<p>
<i>Every Day of the Week Blues </i>- Pink Anderson, Simmmie Dooley [from
<i>Really The Blues</i>]
</p>
<p>
rather than have the guitar <br />provide the other <br />of the dialog
<br />there is <br />another singer <br />in that function
</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeKacnIG3yS6cYCvidgDfwgPCeJ2RG9_H6t_bF0BDjISfrgaysfnNkloi0oJhugtl9awvuAT2XaRuu5Wu08XHCVACsdrJAxG5ar_YunRK0LJ7Ajo0cYeeMSJtsHmsIoWdMm_vIosduFdn8IQLoViEEzA8YwhrPjw-uDvi9ktaCSVM9MhLpK2WyzBZrvHw/s5472/240316%20J.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeKacnIG3yS6cYCvidgDfwgPCeJ2RG9_H6t_bF0BDjISfrgaysfnNkloi0oJhugtl9awvuAT2XaRuu5Wu08XHCVACsdrJAxG5ar_YunRK0LJ7Ajo0cYeeMSJtsHmsIoWdMm_vIosduFdn8IQLoViEEzA8YwhrPjw-uDvi9ktaCSVM9MhLpK2WyzBZrvHw/w400-h266/240316%20J.jpg" width="400" /></a><i></i></div><i>Suite for Clarinet and Bassoon</i> - Johanna Beyer - Jackie Glazier,
Marissa Olegario
<p></p>
<p>
simultaneous lectures <br />come together at the hinges <br />or chokepoints
<br />squeezing through the same moment <br />to continue on their independent
journeys
</p>
<p><i>Jim Jam Stomp</i> - Joe Marsala [from <i>That Devilin Tune</i>]</p>
<p>
almost <br />if not a quite <br />be-bop up-tempo and attitude <br />hot jazz
<br />not the other kind
</p>
<p>
<i>Divertimento for Small Orchestra (after Couperin)</i> - Richard Strauss -
New York Chamber Symphony, Gerard Schwarz
</p>
<p>
there was an urge <br />to enlarge <br />and re-color <br />the intimate
musics <br />of earlier centuries
</p>
<p>
is it just a desire <br />to share this music <br />with a larger audience
<br />(amplification)?
</p>
<p>or was there a discomfort <br />with its intimacy? </p>
<p>
or <br />simply <br />a performance <br />on the instrument of Strauss's
<br />personal virtuosity <br />with extemporaneities unfolding
</p>
<p>an old man's diversion <br />while waiting out the war </p>
<p>
the last surviving denizen <br />of turn-of-the-century <br />German music
culture <br />playing <br />with old French court music culture
</p>
<p>
<i>Milk'em in the Morning Blues</i> - Tennessee Ernie Ford [from
<i>Turn Me Loose White Man</i>]
</p>
<p>
topical social music <br />for rural America <br />but <br />it probably isn't
actually about dairy life <br />as such <br />I suspect innuendo <br />wink
wink
</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLh2rwhFXCPzFQkV8L5b2ncFfxIJgdcDF4Bi9vZ-6YhHtPwiq6ex2QbWH-X2bVqDlQQjm_Ka2LKEpnMYPIW1KxbcW0-iaxlj9CmvSE_enjUEzdbGFwjBfmNeeKmSzeIGVwiqb9QxWJtCcb5Ja0pN6mJrFRhWVACqXInIrJqgSUKIu3rFhQj1HhpvMiLf4/s5472/240316%20L.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLh2rwhFXCPzFQkV8L5b2ncFfxIJgdcDF4Bi9vZ-6YhHtPwiq6ex2QbWH-X2bVqDlQQjm_Ka2LKEpnMYPIW1KxbcW0-iaxlj9CmvSE_enjUEzdbGFwjBfmNeeKmSzeIGVwiqb9QxWJtCcb5Ja0pN6mJrFRhWVACqXInIrJqgSUKIu3rFhQj1HhpvMiLf4/w400-h266/240316%20L.jpg" width="400" /></a></i></div><i>Concerto pour Harp, Op. 323</i> - Darius Milhaud - Orchestre de L'opera de
Lyon, Kent Nagano, Frederique Cambreling
<p></p>
<p>
calling on the rhetoric of a culture <br />can call unexpected accoutrements
<br />here <br />calling on the Satie-esque <br />brings Satie's crowd with
him <br />and his scent
</p>
<p>neo-classicism <br />begins to feed on itself</p>
<p>
music as a place to be <br />a company to keep <br />rather than <br />a drama
to undergo <br />or an ordeal to endure
</p>
<p>genteel social <br />effervescent <br />movement two bubblies </p>
<p>
and if neo-classical <br />is a music <br />in consideration of another music
<br />then <br />what happens <br />when the music doing the considering
<br />is the music under consideration? <br />surely strange toadstools
<br />will appear <br />another life form <br />gets in on the action <br />of
rot <br />and decay <br />then back to chipper chipper <br />back to life in
business <br />rebuilding itself <br />four movements <br />four seasons
<br />a time for each <br />no histrionics here <br />we are French
<br />we'll tie it into a decorative knot <br />and we're done
</p>
<p>
<i>Run Rudolph, Run</i> - Chuck Berry [from <i>The Best of Chuck Berry</i>]
</p>
<p>
a careful poet <br />who restricted his forms <br />to a tight circle of
rhythms
</p>
<p>cry sleep drink and wet <br />whizzin' like a saber jet</p>
<p><i>That's The Way Love Is</i> - Bobby Bland [a <i>Rescued Record</i>]</p>
<p>
with vintage surface noise <br />back when things were recorded all at once
<br />everybody in the same room <br />where folks could hear each other
</p>
<p>dipthwhip</p>
<p>
<i>Lingua II: Maledetto</i> - Kenneth Gaburo - Alan Johnson, Elinor Barron,
Bruce Leibig, Sherry Dorn, Bonnie Mara Barnett, Robert MacDougall, Bruce
Rittenbach
</p>
<p>a new thought is heard from <br />out of left coast </p>
<p>the turning of the screw </p>
<p>
everlasting wriggler <br />the Nile Delta <br />was irrigated by an
endless
</p>
<p>what <br />||: meaning what? to what end? :|| </p>
<p>
acting on the short end of a lever <br />arousing my scent pouch to a fury
<br />in canon
</p>
<p>
the paleotecnical phase <br />horse-driven <br />Archimedean muggymuddled
<br />the unified thread standard
</p>
<p>breathe-in <br />ex-spire </p>
<p>
a new screw is announced <br />obsolete screw warehouses <br />a dedicated man
<br />not just the facts <br />but the sludge around them
</p>
<p>all memorable</p>
<p><b>In Session at The Tintinabulary</b></p>
<p>March 10, 2024</p>
<p><i>Madrid</i> - Keith Eisenbrey</p>
<iframe allow="autoplay" frameborder="no" height="20" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1776574566&color=%23ff5500&inverse=false&auto_play=false&show_user=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/keith-eisenbrey" style="color: #cccccc; text-decoration: none;" target="_blank" title="Keith Eisenbrey">Keith Eisenbrey</a> · <a href="https://soundcloud.com/keith-eisenbrey/36-madrid-240310-240310" style="color: #cccccc; text-decoration: none;" target="_blank" title="36 Madrid 240310 [240310]">36 Madrid 240310 [240310]</a></div>
<p>March 11, 2024</p>
<p>
<i>Banned Rehearsal 1096</i> - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt
</p>
<p>March 12, 2024</p>
<p><i>Was mein Gott will, das gscheh allzeit</i> - Aaron Keyt</p>
<p><i>Von Gott will ich nicht lassen</i> - Aaron Keyt</p>
<p style="text-align: center;"><b>Postscripts</b></p>
<p><b>Drops</b></p>
<p>Keith Eisenbrey 15: 2014</p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=617015691/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-15-2014">Keith Eisenbrey 15: 2014 by Keith Eisenbrey</a></iframe>
<p>
Early 2014 found me completing the first part of Études d'exécution imminent -
the project that would keep me busy into 2021. Another was written for Ben
Boretz, in celebration of his 80th. J was composed while thinking about the
late J. K. Randall. The six movements of Another are Sphinxes, Scarabs, Pools,
Potions (first batch), Potions (second batch), and Smoke, which movements can
intermingle in performance and sometimes do, and so I include here three quite
different versions for your enjoyment - two on clavichord and one live version
on piano.
</p>
<p>
J and the second version of Another were recorded live at The Chapel
Performance Space, The Good Shepherd Center, Seattle, in 2016; the other
tracks were recorded at my home in 2015.
</p>
<p>Prior volumes are available at keitheisenbrey.bandcamp.com</p>
<p>All are free for download.</p>
<p><b>Skaldmud's Doodle Gallery</b></p>
<p>listening journal doodles from 2021</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvEljE6As_ivuVX8Tz0Xike75rGgkR2sZD6Wy57p8wqhvGDWbNWE3Ejf5iNePZjqadDAu3ExAiY66gOpcoV18rPy9n2FhOUwBQkC6yYH70E0_mB961ziok1CTICmnyhVCTIEPPnDuIS5lsizeumpzqxAGdZ7cWfv-VcFeWylov_SWjN5c5mgJhhZbeHDg/s2495/2024%20scan932.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2067" data-original-width="2495" height="331" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvEljE6As_ivuVX8Tz0Xike75rGgkR2sZD6Wy57p8wqhvGDWbNWE3Ejf5iNePZjqadDAu3ExAiY66gOpcoV18rPy9n2FhOUwBQkC6yYH70E0_mB961ziok1CTICmnyhVCTIEPPnDuIS5lsizeumpzqxAGdZ7cWfv-VcFeWylov_SWjN5c5mgJhhZbeHDg/w400-h331/2024%20scan932.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEix0myHcv9oe7zc1qnanNHTifLbp3mymc1fI9aCIaf15BE9Y1mi1CNUhyphenhyphenA3WzSXXwb-rlkp_-xqLw0c1A_3ZFWAccP2utT0dDMl8M0veFQPUG-zXxIq3jMY91dO1mze0eS3cgpunTKqOznAO7hvLAH_PTTQcMQ1imG0G_Fz0YXJdwOO31V_oaDrc6jNmDw/s1767/2024%20scan933.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1329" data-original-width="1767" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEix0myHcv9oe7zc1qnanNHTifLbp3mymc1fI9aCIaf15BE9Y1mi1CNUhyphenhyphenA3WzSXXwb-rlkp_-xqLw0c1A_3ZFWAccP2utT0dDMl8M0veFQPUG-zXxIq3jMY91dO1mze0eS3cgpunTKqOznAO7hvLAH_PTTQcMQ1imG0G_Fz0YXJdwOO31V_oaDrc6jNmDw/w400-h301/2024%20scan933.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJS6x-3QxyoOa3OtSRTBW7lZUWPnxkfIMcJw4lDj2boVzzuHYyq0pl5EJ9hiueJWf71jGS7XXHnEx22K67NLtYwiuJf3W-a8NNVVChJ54uTgr1iehSACL4047T7ukC_DJoQSlrX0B-ukmxND-XTGAZSacSkViC8FVEM3zq5xu0h_aDlPZB2I6lJ7pJtkU/s2476/2024%20scan934.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1294" data-original-width="2476" height="209" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJS6x-3QxyoOa3OtSRTBW7lZUWPnxkfIMcJw4lDj2boVzzuHYyq0pl5EJ9hiueJWf71jGS7XXHnEx22K67NLtYwiuJf3W-a8NNVVChJ54uTgr1iehSACL4047T7ukC_DJoQSlrX0B-ukmxND-XTGAZSacSkViC8FVEM3zq5xu0h_aDlPZB2I6lJ7pJtkU/w400-h209/2024%20scan934.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKMyr50a1FKWFsPEIFHHOKovD3FLT37HstHOyxckm48cx9JZ9nLA4VYdS5kphAqVW4BREzdtbmMa0Usj0qKCnVWXzpKaRVwhgJr6nlrRbBqSNY9uLh-zwE3pNhkCx3pVaJCVa87aFxY9lOCdetrymaftqHoUPI-jY2tC9ViXi8uH_EbtdTwno9ajsXHfw/s561/2024%20scan935.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="354" data-original-width="561" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKMyr50a1FKWFsPEIFHHOKovD3FLT37HstHOyxckm48cx9JZ9nLA4VYdS5kphAqVW4BREzdtbmMa0Usj0qKCnVWXzpKaRVwhgJr6nlrRbBqSNY9uLh-zwE3pNhkCx3pVaJCVa87aFxY9lOCdetrymaftqHoUPI-jY2tC9ViXi8uH_EbtdTwno9ajsXHfw/w400-h253/2024%20scan935.jpg" width="400" /></a></div><br /><p><br /></p>
Keith Eisenbreyhttp://www.blogger.com/profile/16399615075612440296noreply@blogger.com0tag:blogger.com,1999:blog-7569166511516520581.post-57322655828085500342024-03-09T14:51:00.000-08:002024-03-09T15:35:17.929-08:00Playlist<p style="text-align: center;"><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFQ0kvtDqBJB_heYS6uTLEDhuQ1D2SOgNGBb6iTd-xufFa7S54RKkOw3Vt50RpogBWG15NSqb7YsTUkXOeszmEr3-4MIcORofIIqbmLI2Ms3mSiVowieUUKmRAIULQuuevArG5zQrgfUyCJNOgL8TuRXSdgQ_M8BAkUwlc1-006ddD-64xxZ8yD2GnvhE/s3950/240309%20A.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2775" data-original-width="3950" height="281" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFQ0kvtDqBJB_heYS6uTLEDhuQ1D2SOgNGBb6iTd-xufFa7S54RKkOw3Vt50RpogBWG15NSqb7YsTUkXOeszmEr3-4MIcORofIIqbmLI2Ms3mSiVowieUUKmRAIULQuuevArG5zQrgfUyCJNOgL8TuRXSdgQ_M8BAkUwlc1-006ddD-64xxZ8yD2GnvhE/w400-h281/240309%20A.jpg" width="400" /></a></b></div><b>Preface</b><p></p>
<p>
"I don't quite recollect how many tumblers of whiskey toddy each man drank
after supper; but this I know, that about one o'clock in the morning, the
baillie's grown-up son became insensible while attempting the first verse
of 'Willie brewed a peck o' maut;' and he having been, for half an hour
before, the only other man visible above the mahogany, it occurred to my uncle
that it was almost time to think about going, especially as drinking had set
in at seven o'clock, in order that he might get home at a decent hour. But,
thinking it might not be quite polite to go just then, my uncle voted himself
into the chair, mixed another glass, rose to propose his own health, addressed
himself in a neat and complimentary speech, and drank the toast with great
enthusiasm. Still nobody woke; so my uncle took a little drop more, - neat
this time, to prevent the toddy disagreeing with him, - and, laying violent
hands on his hat, sallied forth into the street."
</p>
<p>Charles Dickens, from "The Posthumous Papers of The Pickwick Club"</p>
<p style="text-align: center;"><b>Texts</b></p>
<p><b>Recorded</b></p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJgJmFR4VAs1Q6mmyYWZcinwnGxLj4WtvlkAtO0iq0-Xu_6qA49GknAEfvxzG7y0KD-9CEKLDqtChQrKsoqb4pR5mG_dQi0wuXPGAuglGjmBySR4MUcuw468-xvI1XCPgQ8KxriMy7OHu5xiRNEanW8GhmfIBIfnRHwL4yYtJEHzYCgGDZaWAB00g5g0c/s3275/240309%20B.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3275" data-original-width="3275" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJgJmFR4VAs1Q6mmyYWZcinwnGxLj4WtvlkAtO0iq0-Xu_6qA49GknAEfvxzG7y0KD-9CEKLDqtChQrKsoqb4pR5mG_dQi0wuXPGAuglGjmBySR4MUcuw468-xvI1XCPgQ8KxriMy7OHu5xiRNEanW8GhmfIBIfnRHwL4yYtJEHzYCgGDZaWAB00g5g0c/w400-h400/240309%20B.jpg" width="400" /></a></div>March 2, 2024<p></p>
<p>
<i>Symphony in A Major, Op. Posth. 90, "Italian" (#4)</i> - Felix Mendelssohn
- San Francisco Symphony Herbert Blomstedt
</p>
<p>
1 <br />the living of others can seem picturesque from outside its daily grind
<br />a fantasy of Italy seen from the dour North
</p>
<p>
2 <br />we turn from our ideas of what we see <br />to our gracious living on
top of it
</p>
<p>
3 <br />we bring back our pleasant memories of travel <br />and spread them
around our homes as décor <br />this movement is over-stuffed and occasionally
tedious
</p>
<p>
4 <br />everybody loves a Tarantella <br />even one as obsessed with its
correctness as this one <br />there are no clunky moves in this world
</p>
<p>
T<i>raumerei (aus Kinderszenen, Op. 15) </i>- Robert Schumann - Vladimir
Horowitz [from Horowitz in Moscow]
</p>
<p>brief subsidence in the harmonic stability <br />a passing cloud</p>
<p><i>Sonata in D-flat Major, Op. 730</i> - Carl Czerny - Martin Jones</p>
<p>1 <br />we are traveling from our comfort <br />to a new comfort </p>
<p>
a storm sweeps our path <br />wind and rain <br />but we have solid homes
<br />able to shield us from such troubles
</p>
<p>
2 <br />again we open in a secure feeling <br />bring in drama to provide
contrast <br />all will be well
</p>
<p>3 <br />a bit of vigorous exercise for the constitution </p>
<p>
4 <br />difficulty of execution is treated as a positive good <br />wanders
about the typical paths without particular aim or wild imagination
<br />everything by the book
</p>
<p>
<i>Prelude to Lohengrin, Act III </i>- Richard Wagner - Philadelphia
Orchestra, Eugene Ormandy
</p>
<p>
frenetic strings <br />brash brass <br />pleasant reeds <br />Germanic
self-mythology
</p>
<p>March 3, 2024</p>
<p><i>Romanze in A minor</i> - Clara Schumann - Susanne Grützmann</p>
<p>
this melodic figure has a top (first) segment <br />and a bottom (next)
segment <br />the key of this piece is defined by the gap between them
<br />it should be noted <br />that the two segments are quite near in
register <br />but there is no mistake between them <br />the dimensions of
that gap arise in the ear-mind <br />a solid chunk of music
</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj7Mdocp8Ofhb4eHQs0j8_EyUT7oInVOYlPJmDqsvcwhTaKg92g2jYVOvUbHaRIpRrdFap4xA7i2aAxyCsuLDGf2cFNeLfuw3A0OY3ILav_gaZEVunOzkaQsuNJnxsjEa1WbRmWkSBMzIgZof5Qr41oKNvRJryyWmAOBEX4ByihxUo9kY6-3MdI-jPtP8/s5472/240309%20G.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj7Mdocp8Ofhb4eHQs0j8_EyUT7oInVOYlPJmDqsvcwhTaKg92g2jYVOvUbHaRIpRrdFap4xA7i2aAxyCsuLDGf2cFNeLfuw3A0OY3ILav_gaZEVunOzkaQsuNJnxsjEa1WbRmWkSBMzIgZof5Qr41oKNvRJryyWmAOBEX4ByihxUo9kY6-3MdI-jPtP8/w400-h266/240309%20G.jpg" width="400" /></a></i></div><i>Der 94st Psalm</i> - Julius Reubke - David di Fiore [from
<i>The Grand Organ of the Castle Church of St. Catherine in Kremnica</i>]
<p></p>
<p>
the Avenger God Psalm <br />in the person of one who pictures vividly what the
words are saying <br />as one reads along with the Psalm <br />the
soundtrack to the inner reader's imagination <br />(love those low pipes)
<br />a cantata without words out loud
</p>
<p>
victory in battle as a sign of divine favor <br />a pernicious notion
<br />goes way back
</p>
<p>we love our battle scenes</p>
<p>
<i>Symphony in F (No. 00)</i> - Anton Bruckner - Orchestre Symphonique Minstre
Cultre D'URSS, Gennady Rozhdestvensky
</p>
<p>
clearly this argument has been raging long before we got here <br />the most
big R Romantic of his neck of history <br />Wagner was something else
entirely
</p>
<p>
not even Bruckner faced off two dolce flutes against a wall of fortissimo
brass <br />because it was a good idea <br />for him <br />it was part of the
full working out of an idea <br />a necessary move
</p>
<p>a composed-in virtual echoic chamber </p>
<p>this is a strange sounding symphony</p>
<p>
Brucknerian non-sequitur <br />a pesky sprite such as a cat can be <br />takes
on fiendish proportions <br />no balance or tedium avoidance <br />the
Brucknerian fake-to-the-tight-end modulation <br />picks himself up off the
dirt <br />listens to the forest birds <br />modulation as a matter of soul
survival
</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxvTrAKrqhd-l75pSmExRIjH_sUHroueAXAQ5ZO9n0OhyYd8qiXhHrxFUXYJpS1PN_e_n2xyNj5gH1-zqsjAQq2opBgs887axdqE0DrhPbxnR3c66d52s003ud-lWwq6zr0HzTh1GnPch55jPLRt8F-9CXNuUerCOAzsrvdC3eE4eJMugWudGGXNmU-gU/s5472/240309%20C.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxvTrAKrqhd-l75pSmExRIjH_sUHroueAXAQ5ZO9n0OhyYd8qiXhHrxFUXYJpS1PN_e_n2xyNj5gH1-zqsjAQq2opBgs887axdqE0DrhPbxnR3c66d52s003ud-lWwq6zr0HzTh1GnPch55jPLRt8F-9CXNuUerCOAzsrvdC3eE4eJMugWudGGXNmU-gU/w400-h266/240309%20C.jpg" width="400" /></a></div>March 4, 2024<p></p>
<p>
<i>Ein Deutsches Requiem, Op. 45 </i>- Johannes Brahms - New York
Philharmonic, Westminster Choir, Bruno Walter, Irmgard Seefried, George
London, John Finley Williamson
</p>
<p>
from the center of the chest <br />house of convictions and social cohesion
<br />moral bedrock <br />a grim march from cradle to grave <br />words of
comfort ex machina <br />back to the grim march to meet thy doom
<br />fortissimo junction <br />alternative <br />a choice to be made
</p>
<p>
this requiem is mostly an extended theological dialog <br />has a choral
"I"
</p>
<p>
were Brahms to have composed an opera <br />I'm sure his characters would be
given ponderous tomes of lines to sing
</p>
<p>throwing figures around like confetti</p>
<p>everybody loves a good day of judgment movie spectacular</p>
<p>
heroic cadence <br />righteousness-er counterpoint than yours <br />writes
this stuff because its the morally correct thing to do
</p>
<p>
<i>The Tempest, Fantasia after Shakespeare</i> - Pyotr Ilyich Tchaikovsky -
National Symphony Orchestra of Washington, D.C., Antal Dorati
</p>
<p>
takes its time (marvelously) to get things going <br />nice bit of
orchestration too <br />I guess he didn't want to open with the storm and blow
his wad all at once <br />this seems to me like it needs a dance to complete
it <br />costumes dancing around without inhabitants <br />a strange puppet
show <br />no one but Tchaikovsky ought to feel competent enough to wield the
tune bird <br />kind of a strange take on the play if you ask me
</p>
<p>
<i>Andante maestoso "Vexilla Regis prodeunt" (from Via Crucis)</i> -
Nederlands Kamerkoor, Reinbert De Leeuw, piano
</p>
<p>plain <br />unadorned <br />uniform <br />every note a monk</p>
<p><i>Etude "Allegro Deciso", Op. 16 #1</i> - Ferruccio Busoni, Wolf Harden</p>
<p>
a composer-instrumentalist can approach the composition of an etude <br />from
any or many of several standpoints <br />it might even just be a quick sketch
of an idea for something else
</p>
<p>
<i>Suite for Violin and Orchestra </i>- Frederick Delius, Royal Philharmonic
Orchestra, Vernon Handley, Ralph Holmes
</p>
<p>
like a floral arrangement <br />a Suite is a less fraught genre than Sonata
<br />absolvement <br />moments not movements
</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjC2TqiVXgXvMGDlvL1hq34I2Pv7WTIosNt_P0_QZ-wDK8byT1s58Bt1Pp_nyGHOBC_t6QCUZkhqdhEkxoZkB0GBRVadaxCc2QnZD_yZVg7Si6YTNeZP3V2UjhIy2obumgpyYyhO_TpnVLeNiNmGYhojAv9av-MXpQnrbgN3Rf2jV4Fyg0gPygOr_hObYo/s5472/240309%20H.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjC2TqiVXgXvMGDlvL1hq34I2Pv7WTIosNt_P0_QZ-wDK8byT1s58Bt1Pp_nyGHOBC_t6QCUZkhqdhEkxoZkB0GBRVadaxCc2QnZD_yZVg7Si6YTNeZP3V2UjhIy2obumgpyYyhO_TpnVLeNiNmGYhojAv9av-MXpQnrbgN3Rf2jV4Fyg0gPygOr_hObYo/w400-h266/240309%20H.jpg" width="400" /></a></i></div><i>Symphony in E minor, Op. 95 "From the New World" (#9)</i> - Antonín Dvořák
- Columbia Symphony Orchestra, Bruno Walter
<p></p>
<p>
for years <br />as a child <br />this recording <br />of this symphony
<br />was half of what a symphony was <br />the other half was Shostakovich's
9th
</p>
<p>
the peculiar clunkiness of these transitions <br />were what stood for
composition
</p>
<p>no wonder I grew up so confused </p>
<p>
Dvořák as an unwitting identity warrior <br />English Horn stands for pastoral
<br />sylvan <br />in the lap of nature <br />prayer rises to bliss
</p>
<p>
we have entered the wilderness of contrapuntal disintegration <br />time to
pull out the magic pan pipes <br />a vigorous horse ride <br />will help you
feel better
</p>
<p>what's this <br />a forest naiad on loan from Europe?</p>
<p><i>Old Black Joe</i> - Thomas Craig [from <i>Turn Me Loose White Man</i>]</p>
<p>
body in the lower pipes <br />loose jointed piano playing <br />unrepentantly
elastic pulse
</p>
<p>
<i>Madama Butterfly, Act I</i> - Giacomo Puccini - Coro e orchestra
dell'Accademia di Santa Cecilia, Alb erto Erede, Renata Tebaldi, Giuseppe
Campora, Nell Rankin, Giovanni Inghilleri, Piero de Palma, Fernando Corena,
Gianna Diozzi, Melchiorre Luise, Michele Calvino, Luigi Pizzeri
</p>
<p>
busy bowing <br />officious administration <br />colonizers eroticize the
exotic from a distance <br />effective moment <br />after effective moment
<br />as if these folks were caricatures of passionate Italians <br />youth
and beauty arrive on the clamshell of an other civilization
</p>
<p>
the problem with modeling the going of your opera <br />on that of spoken
drama <br />is that one is held in check by the dramatic weakness of the play
you are working with <br />situations that are believable in the artificial
world of recitative and da capo arias and set pieces <br />fall on their face
in naturalistic declamation <br />based on the rhythms of stage acting
</p>
<p>Pinkerton arrives with a whiff of the Star Spangled Banner</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUh1tCr50hE8WjTkhvDVaOIUsifkXQOoBIyex4pJjl2ksrs-U2Bp6AMB8gcZQK_xBh4QJQXrUgJikjsP_StKQPR0TK-dT3Rtu-LF3CI07LRZxnEilmW9ou3oUFLNSmPOabITDturwj-IwZdndt1ZflMAdzsZz20EcpH5e-mXAwKgLRS8ajAOBIHrc3qSM/s5472/240309%20D.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUh1tCr50hE8WjTkhvDVaOIUsifkXQOoBIyex4pJjl2ksrs-U2Bp6AMB8gcZQK_xBh4QJQXrUgJikjsP_StKQPR0TK-dT3Rtu-LF3CI07LRZxnEilmW9ou3oUFLNSmPOabITDturwj-IwZdndt1ZflMAdzsZz20EcpH5e-mXAwKgLRS8ajAOBIHrc3qSM/w400-h266/240309%20D.jpg" width="400" /></a></div>March 5, 2024<p></p>
<p>
<i>Saga-Drom (The Dream of Gunnar), Op. 39</i> - Carl Nielsen - Danish Radio
Symphony Orchestra, Herbert Blomstedt
</p>
<p>
in the north <br />tales begin in dim morning twilight <br />clues are sparse
<br />first farm chores occupy the landscape <br />a study in lighting
</p>
<p>
<i>The Land of Cotton</i> - Hedges Brothers & Jacobson [from
<i>Turn Me Loose White Man</i>]
</p>
<p>each line has its own tempo <br />vaudeville locution</p>
<p>
<i>The Tales of an Old Grandmother</i> - Sergei Prokofiev - Nathan Milstein,
Georges Plademacher
</p>
<p>
establishing a remove from the listener <br />we observe within the frame
provided
</p>
<p><i>Variations on a Noël</i> - Marcel Dupré - Douglas Cleveland</p>
<p>
variations concern themselves <br />with the structures of the theme <br />as
they might be discovered or imagined <br />in different lighting
<br />identical pose <br />the theme<br />remains unchanged <br />even if
hurried along <br />now and then <br />the theme is the structure of its
melody
</p>
<p>
for a piece that really is about tone colors <br />this recording is a a bit
murky to my ear
</p>
<p>
<i>Z mrtvého doma, Act 1</i> - Leoš Janáček - Vienna Philharmonic, Charles
Mackerra, Jiri Zahradnicek, Ivo Zidek, Vaclav Zitek, Dalibor, Jedlicka,
Antonin Svorc, Jaroslava Janska, Vladimir Krejcik, Richard Novak, Beno
Blachut, Zdenek Svehla, Eva Zigmundova, Zdenek Sousek, Jaroslav Sousek
</p>
<p>
comes apart as it comes together <br />pushes the characters around
<br />excellent writing for timpani back there
</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiv8-uK5zypQF4CqbQRbuP-PndPW2oSKHfUxC_znu5OefMrFOAYePbNCNIaSxr6yxooqWvHj6z2hyphenhyphenCxbNKFxmSCPvqZRpnwP0SWF02j6wMV0T-BVJW8qWT9YTHzAhL3_rFOarqxCodfu8-sgB-pmy74YT9jNgD0F9tZrTrnjtcxkzvI3grJk3wTvGJvh08/s5472/240309%20I.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiv8-uK5zypQF4CqbQRbuP-PndPW2oSKHfUxC_znu5OefMrFOAYePbNCNIaSxr6yxooqWvHj6z2hyphenhyphenCxbNKFxmSCPvqZRpnwP0SWF02j6wMV0T-BVJW8qWT9YTHzAhL3_rFOarqxCodfu8-sgB-pmy74YT9jNgD0F9tZrTrnjtcxkzvI3grJk3wTvGJvh08/w400-h266/240309%20I.jpg" width="400" /></a></i></div><i>Evocacao </i>- Heitor Villa-Lobos - New York Chamber Symphony, Gerard
Schwarz - Robert Bonfiglio
<p></p>
<p>
film score music <br />nothing below the surface immediacy <br />affects
anything on screen
</p>
<p><i>String Quartet, Op. 28 -</i> Anton Webern - Juilliard String Quartet</p>
<p>
a pitch indexes a moment in music space <br />a matching pitch indexes a
matching moment in music space <br />distances can be calculated within
different frameworks<br />within or across music spaces
</p>
<p>
<i>Ode (Triptychon for Orchestra)</i> - Igor Stravinsky, London Symphony
Orchestra, Michael Tilson Thomas
</p>
<p>
doings in the background amid the lower voices <br />could be street scenes
<br />elaborate caper plots going down
</p>
<p><i>Sonata I (from Sonatas and Interludes)</i> - John Cage - Adam Tendler</p>
<p>
prepared piano is a solution <br />to the itch to have an instrument
<br />just like the piano <br />but with different sounds <br />a
pianistically regimented virtual orchestra <br />proto-midi
</p>
<p>
<i>There Is Only One</i> - Four Leaf Clover Quartet [from
<i>Turn Me Loose White Man</i>]
</p>
<p>love the sloppy piano player back there</p>
<p>
<i>Moscow, Cheryomushki, Act 1</i> - Dmitri Shostakovich - Residentie
Orchestra The Hague, Russian State Symphonic Capella, Gennady Rozhdestvensky
</p>
<p>
a windup puppet opera <br />complete with circus parades <br />or a play
<br />in which the characters stop for a moment <br />to be in an opera
<br />and sing a song <br />get stuck on a word <br />or take the stage in the
local pub <br />or on a stage where the audience is right there to sing to
<br />clear the stage for a big dance number <br />everybody gets a few lines
to fill with couplets <br />one does not expect the sound of an explosion
<br />nor I suppose of a motor car
</p>
<p>
music to back the spoken dialogue <br />cinematic <br />non-diegetic music
<br />as a description of a social situation
</p>
<p>
<i>Prisoner of Love</i> - James Brown [collected from Dave Marsh's
<i>The Heart of Rock & Soul</i>]
</p>
<p>I presume that in concert this went on considerably longer</p>
<p>
<i>Voice of the Bard (William Blake)</i> - Allen Ginsberg [from
<i>Holy Soul Jelly Roll</i>]
</p>
<p>the melody he sings lurches around to the lengths of Blake's syllables</p>
<p>
<i>Seaside Bar Song</i> - Bruce Springsteen [collected from Neal
Kosály-Meyer's <i>Bo and the Beat</i>]
</p>
<p>desperately seeking California</p>
<p>
<i>Three Songs</i> - Keith Eisenbrey - Keith Eisenbrey, Kenneth Jaffe
[recorded live at The Studio Theater, Meany Hall, University of Washington,
May 16, 1979]
</p>
<p>
the texts are by Walt Kelly <br />for which I neither asked for nor was I
granted permission to use <br />but <br />I think I did a rather nice job of
setting them for a 20-year-old<br />attempting songs for the first time
</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghi83p5GOGX3jfJgd7xxgwy8rmXDyDev3cnGIH82GKWyAMuimgSwlS7UUJiZcKOU_stH-nngkPKwjAkJPiqTQidpeMn1KFx97Q7RtdG4CWdMdPdBO_tZHPgsET6D5OlVlv54mCvLpYo9KwwYWETztURcgj9F7oHaoYQLLTtj4JGycACMAiu7w0AYGfpIY/s5472/240309%20E.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghi83p5GOGX3jfJgd7xxgwy8rmXDyDev3cnGIH82GKWyAMuimgSwlS7UUJiZcKOU_stH-nngkPKwjAkJPiqTQidpeMn1KFx97Q7RtdG4CWdMdPdBO_tZHPgsET6D5OlVlv54mCvLpYo9KwwYWETztURcgj9F7oHaoYQLLTtj4JGycACMAiu7w0AYGfpIY/w400-h266/240309%20E.jpg" width="400" /></a></div>March 6, 2024<p></p>
<p>
<i>Untitled</i> - Joe's Smokin' Pals [form <i>Bard Sampler 82 & 83</i>]
</p>
<p>a story of sorts <br />with guitar on top</p>
<p>
<i>Sonatina</i> - Keith Eisenbrey - Keith Eisenbrey [from
<i>Purple Stripe</i>]
</p>
<p>
this is the original recording I made on clavichord <br />somewhat the worse
for dubbing among tapes <br />otherwise a solid performance <br />included as
part of a cassette album for limited distribution among correspondents
</p>
<p>
<i>A Matter of Life and Death </i>- Steven Mackey - Elizabeth Di Felice [from
<i>Open Space 4</i>]
</p>
<p>
morse-ic rhythms slicing through <br />once again the urge to have a piano
<br />but differently sounding <br />pulling the attention toward the sensual
</p>
<p>
<i>Minute Etudes</i> - Emily Doolittle - Keith Eisenbrey [recorded live at The
Chapel Performance Space, Good Shepherd Center, Seattle, June 23, 2012]
</p>
<p>
this was the first time I had worked these up <br />I gave them another try a
year or so ago <br />a bit sloppy here and there <br />some finger puzzles
only partially worked out <br />possibly a bit too tricky and exposed for me
<br />to be able to accomplish live <br />with any reliability
</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_7VjOHon0BzX5BuHTtrdQ22LgrGcCr63IP93Yhu7D08EN6G4rzwxXAvS00cizvcPAtB7nKxo7-3n36kPeCxsSkWYC9HJuiCGW_W8vH6P9n_LHhtGj7crvke8ZiWWuL8RNtqgwmrCh9MV4OHmfcWLboJaeu8g9FeYmoAFxdpHgT_8xKmK2f4_mcsdmB8s/s5472/240309%20J.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_7VjOHon0BzX5BuHTtrdQ22LgrGcCr63IP93Yhu7D08EN6G4rzwxXAvS00cizvcPAtB7nKxo7-3n36kPeCxsSkWYC9HJuiCGW_W8vH6P9n_LHhtGj7crvke8ZiWWuL8RNtqgwmrCh9MV4OHmfcWLboJaeu8g9FeYmoAFxdpHgT_8xKmK2f4_mcsdmB8s/w400-h266/240309%20J.jpg" width="400" /></a></i></div><i>Autonomous Systems: Red Rocks</i> - David Dunn<p></p>
<p>
as I understand it <br />David is attempting <br />among other things <br />to
use analog means to generate a sound world <br />that might be the kind of
sound world understood by non-human critters <br />and broadcasting that sound
<br />into an ongoing natural environment <br />in hopes of eventually
establishing a basis for inter-species communication
</p>
<p>
<i>Like a Bird on the Deep</i> - Keith Eisenbrey - Keith Eisenbrey [recorded
at the Tintinabulary, Seattle, June 14, 2015]
</p>
<p>
the hymnodic "me" <br />of 19th Century American hymnody <br />a relic of The
Great Awakening
</p>
<p>
<i>"of shreds and patches"</i> - Elaine Barkin [from <i>Open Space 34</i>]
</p>
<p>
what stands for cyclic <br />is poked and prodded apart <br />its shreds
surround it widely
</p>
<p>Grumpy Toad is my favorite</p>
<p><i>Greenwood 180101</i> - Keith Eisenbrey</p>
<iframe allow="autoplay" frameborder="no" height="20" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/379417166&color=%23ff5500&inverse=false&auto_play=false&show_user=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/keith-eisenbrey" style="color: #cccccc; text-decoration: none;" target="_blank" title="Keith Eisenbrey">Keith Eisenbrey</a> · <a href="https://soundcloud.com/keith-eisenbrey/greenwood-180101" style="color: #cccccc; text-decoration: none;" target="_blank" title="Greenwood 180101">Greenwood 180101</a></div>
<p>
at New Year's Moment <br />in one of Seattle's minor downtowns <br />we hear
the fireworks <br />while waiting for our bus <br />locked out of my own phone
</p>
<p><i>Mississippi John Hurt Tribute</i> - Jeremiah Lawson - Jeremiah Lawson</p>
<p>mixing my metaphors <br />just like they're cookie dough </p>
<p>rhymes "-phors" with "dough" <br />works with the tune</p>
<p>
<i>O Pulchra Facies (De Virginibus, Antiphona</i>) - Hildegard Von Bingen -
Sequentia [from <i>Spiritual Songs</i>]
</p>
<p>springs from a deep slow music <br />in droning viols</p>
<p><i>Madonna, Io Ben Vorrei</i> - Carlo Gesualdo - Delitiæ Musicæ</p>
<p>
statements begin with imitation that can be followed <br />until you can't
<br />to come together at the cadence <br />it's a rhythm of the melodic color
<br />of the cadence points <br />in sequence
</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfwQQAMQmVB_88blUzEhlMn_9jDyh-Zvx4y-CSEoOj4syAotqjDbzA4VZ3xDKD0FLRAwuZugu3lacck400OUFnpyJfH84MDtV3mfaOg9guBcyjUyPnIkQqslZfKkMVaQ9HigcBfovHDDgaYRBQkv14qMDKf9HEIpNAkIg1uCN4gLjz1xcQJmdg7h6ITXQ/s5472/240309%20K.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfwQQAMQmVB_88blUzEhlMn_9jDyh-Zvx4y-CSEoOj4syAotqjDbzA4VZ3xDKD0FLRAwuZugu3lacck400OUFnpyJfH84MDtV3mfaOg9guBcyjUyPnIkQqslZfKkMVaQ9HigcBfovHDDgaYRBQkv14qMDKf9HEIpNAkIg1uCN4gLjz1xcQJmdg7h6ITXQ/w400-h266/240309%20K.jpg" width="400" /></a></i></div><i>Antverpské renesančné tance</i> - Anonymous - David dei Fiore, Matúš Kucbel
<p></p>
<p>
David sent me this more recent recording of these pieces <br />this time
with percussion <br />what the sound lacks in fidelity it makes up for in how
much fun they're having
</p>
<p>
<i>Jubilate Deo omnis terra</i> - Peter Philips - The Choir of Royal Holiday,
Robert Gough
</p>
<p>
each shift of note within the polyphonic texture <br />a new sense of the
vowel <br />as a structural node within the poem-music
</p>
<p>
<i>O Lieber Herre Gott</i> - Heinrich Schütz - La Chapelle Royale, Philippe
Herreweghe, Agnes Mellon, Greta de Reyghere, Monique Zanetti, Howard Crook,
Jean-Paul Fouchecourt, Herbe Lamy, Renau Machart, Peter Kooy, Peter Lika
</p>
<p>rising in stepwise sequence <br />perfect clarity</p>
<p>
<i>Erhalt uns Herr, bei Deinem Wort</i> - Dieterich Buxtehude - Stella Simone
</p>
<p>
trills and mordents <br />provide a pitch with an explicit context <br />on
top of its implicits
</p>
<p>a twisted two minutes</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyRUs0vR9tUUZhvplQzO0UdDGOMON8XVIHBwEcSFuSt35s-_e84ijHjYISs2otVXnnaWy5WmA03OtaCy49cdFIRex615t6-dKKi9ROS58MPCepfKnR7BO-HCj5-IQvWc_RuKBc-uFW_94alBoW5N9WyqvFidtVeygnXIKaNU-MaVRhGdQiA8TzuCmpX10/s5472/240309%20F.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyRUs0vR9tUUZhvplQzO0UdDGOMON8XVIHBwEcSFuSt35s-_e84ijHjYISs2otVXnnaWy5WmA03OtaCy49cdFIRex615t6-dKKi9ROS58MPCepfKnR7BO-HCj5-IQvWc_RuKBc-uFW_94alBoW5N9WyqvFidtVeygnXIKaNU-MaVRhGdQiA8TzuCmpX10/w400-h266/240309%20F.jpg" width="400" /></a></div>March 7, 2024<p></p>
<p>
<i>David et Jonathas, Act II</i> - Marc-Antoine Charpentier - Pinchgut Opera,
Antony Walker, Orchestra of the Antipodes, Dean Robinson, Paul McMahon, David
Parkin, Andrei Laptev, Anna Fraser, David Greco, Cantillation, Anders J.
Dahlin, Simon Lobelson, Richard Anderson, Sara Macliver, Ashley Giles
</p>
<p>
chess moves in the plot <br />matched by intricate and vigorous part
writing
</p>
<p>
tune strands <br />conglomerated meters <br />deceptive moves into false
hemiolas
</p>
<p><i>La Logiviere</i> - François Couperin - Kenneth Gilbert</p>
<p>close attention and memory might get us through</p>
<p>
<i>Invention in D Major</i> - Johann Sebastian Bach - Edith Picht-Axenfeld
</p>
<p>
allows the figures to create what meter they might <br />or <br />letting the
written meter guide <br />a contrast to be exploited
</p>
<p><i>Noel Suisse</i> - Louis-Claude Daquin - Marie-Claire Alain</p>
<p>rhythmic head rhyme <br />a binding tool</p>
<p>
<i>How Excellent Thy Name</i> - George Frideric Handel - University of Puget
Sound Chorale - Thomas Goleeke
</p>
<p>the English hire a German to flatter God for them</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8STH21H5AEk6FPcLX2-d6mlj667illupoKOZSdOZijAtqFQl5ZTtjP92Mkjl84OiRDXncOH4GOLzWsL86szEIRFGUu2LhPbFsHPjO062wb6dpVHBXkcAeNvjGWaPGxIs9BRllbhQ-5M5unMa4ksTSk1gHE7njA_zTZJ2TwEsoPj5pcnAPUzirRUKf_N8/s5472/240309%20L.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8STH21H5AEk6FPcLX2-d6mlj667illupoKOZSdOZijAtqFQl5ZTtjP92Mkjl84OiRDXncOH4GOLzWsL86szEIRFGUu2LhPbFsHPjO062wb6dpVHBXkcAeNvjGWaPGxIs9BRllbhQ-5M5unMa4ksTSk1gHE7njA_zTZJ2TwEsoPj5pcnAPUzirRUKf_N8/w400-h266/240309%20L.jpg" width="400" /></a></i></div><i>Keyboard Sonata in B minor, Wq. 65.13</i> - Carl Philipp Emanuel Bach -
Miklós Spányi
<p></p>
<p>an interior space <br />we'll take the slow tour thank you </p>
<p>check out all the nooks and cupboards </p>
<p>
half cadence through the side door <br />his downbeats modulate on the spot
<br />into elsebeats <br />meter <br />inflected by figurationally implied
alternate meters
</p>
<p><i>La de Vatre</i> - Jacques Duphly - Christophe Rousset</p>
<p>this garment is lavish with fine textiles <br />hoops and coiffures</p>
<p>
<i>Symphony in C Major, Hob. 1 #9</i> - Franz Joseph Haydn - Austro Hungarian
Haydn Orchestra, Ádám Fischer
</p>
<p>
<i>now</i> where have we landed? <br />quick bowing <br />second movement is a
location <br />circumscribed <br />controlled access <br />the lines in this
period <br />all rhyme at the head <br />so we know where we are in it
</p>
<p><b>In Session at The Tintinabulary</b></p>
<p>March 3, 2024</p>
<p><i>Costellow </i>- Keith Eisenbrey</p>
<iframe allow="autoplay" frameborder="no" height="20" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1770189063&color=%23ff5500&inverse=false&auto_play=false&show_user=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/keith-eisenbrey" style="color: #cccccc; text-decoration: none;" target="_blank" title="Keith Eisenbrey">Keith Eisenbrey</a> · <a href="https://soundcloud.com/keith-eisenbrey/35-costellow-240303" style="color: #cccccc; text-decoration: none;" target="_blank" title="35 Costellow [240303]">35 Costellow [240303]</a></div>
<p>March 7, 2024</p>
<p><i>after Halt in Gedächtnis Jesum Christ</i> - Aaron Keyt</p>
<p style="text-align: center;"><b>Postscripts</b></p>
<p><b>Drops</b></p>
<p><i>Keith Eisenbrey 15: 2014</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=617015691/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/transparent=true/" style="border: 0; height: 470px; width: 350px;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-15-2014">Keith Eisenbrey 15: 2014 by Keith Eisenbrey</a></iframe>
<p>
Early 2014 found me completing the first part of
<i>Études d'exécution imminent</i> - the project that would keep me busy into
2021. <i>Another</i> was written for Ben Boretz, in celebration of his 80th.
<i>J </i>was composed while thinking about the late J. K. Randall. The six
movements of <i>Another</i> are Sphinxes, Scarabs, Pools, Potions (first
batch), Potions (second batch), and Smoke, which movements can intermingle in
performance and sometimes do, and so I include here three quite different
versions for your enjoyment - two on clavichord and one live version on piano.
</p>
<p>
<i>J </i>and the second version of <i>Another </i>were recorded live at The
Chapel Performance Space, The Good Shepherd Center, Seattle, in 2016; the
other tracks were recorded at my home in 2015.
</p>
<p>
Prior volumes are available at
<a href="http://keitheisenbrey.bandcamp.com">keitheisenbrey.bandcamp.com</a>
</p>
<p>All are free for download.</p>
<p><b>Skaldmud's Doodle Gallery</b></p>
<p>listening journal doodles from 2021</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_iJB5DWx0e7epK7-QwZlIJzQiAxu0dzno7b9Cn7TpFdq4uLQ0r0lwTiTwtZFIRC5Ka34Gdl8yj6qk6E902St1dFw8aDXLLJt-s6xf26dEleugsk0djBDHkHakNRUfaYWmX-hwRSKSDFCBfkOJ47mQqdtPoJYEbrcE-zyYwiFUGgbpgIriXxrtcTl2_9s/s2259/2024%20scan928.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1161" data-original-width="2259" height="205" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_iJB5DWx0e7epK7-QwZlIJzQiAxu0dzno7b9Cn7TpFdq4uLQ0r0lwTiTwtZFIRC5Ka34Gdl8yj6qk6E902St1dFw8aDXLLJt-s6xf26dEleugsk0djBDHkHakNRUfaYWmX-hwRSKSDFCBfkOJ47mQqdtPoJYEbrcE-zyYwiFUGgbpgIriXxrtcTl2_9s/w400-h205/2024%20scan928.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWk5_p_6FmTewiNJGnjaYxjW5HoTOppqfDdjCY8dMBn352OXyjRUIX4qcG9uG9FGQVfgSCLJL0jRrXHe84dhPgKyt239aRYLpRbXefUgdHtggo19SqzjKPe3uLVNFf9HpycbnFoKObscEngfP-eu5WldWwMkR0hUHClaxK58KdXd63lnbdamznOMAOW9A/s620/2024%20scan929.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="620" height="194" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWk5_p_6FmTewiNJGnjaYxjW5HoTOppqfDdjCY8dMBn352OXyjRUIX4qcG9uG9FGQVfgSCLJL0jRrXHe84dhPgKyt239aRYLpRbXefUgdHtggo19SqzjKPe3uLVNFf9HpycbnFoKObscEngfP-eu5WldWwMkR0hUHClaxK58KdXd63lnbdamznOMAOW9A/w400-h194/2024%20scan929.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYo0d5bWI7uVEkr5P-aw_TkOjSeW9iJ75MnXv0wxCngh0s0tG5cTGz-JBT5KN7eS1vo4OLHZD5A0jNsDGilr70brBX5SisX1m0cQkTdESKXXAm8DQ3dUZ069dZkCb956_9zh6GaPBuDE9yb3lOJ500eH9LJBn1MkT1OcZxKZ50YLpiMltAVzwwBlq5_Wg/s2702/2024%20scan930.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2702" data-original-width="2417" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYo0d5bWI7uVEkr5P-aw_TkOjSeW9iJ75MnXv0wxCngh0s0tG5cTGz-JBT5KN7eS1vo4OLHZD5A0jNsDGilr70brBX5SisX1m0cQkTdESKXXAm8DQ3dUZ069dZkCb956_9zh6GaPBuDE9yb3lOJ500eH9LJBn1MkT1OcZxKZ50YLpiMltAVzwwBlq5_Wg/w358-h400/2024%20scan930.jpg" width="358" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTuMEVACv-dfl5ZItXgsBFf0Liok8G2mA1kUWmUeKuDM6ELAKe8b1RL1jbukh5P2hY15hiIMs4Dh9enuwsTB2LkEXl5fivqABl0WHItJvliQC7weJVu5m8yIaW24hkpQJGCl3_p-sHQ-HRefqpywInBi-H_KVdIsQ5vNjwDL0Lxnd7RcaqGw7ho3HMbwg/s2042/2024%20scan931.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1693" data-original-width="2042" height="331" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTuMEVACv-dfl5ZItXgsBFf0Liok8G2mA1kUWmUeKuDM6ELAKe8b1RL1jbukh5P2hY15hiIMs4Dh9enuwsTB2LkEXl5fivqABl0WHItJvliQC7weJVu5m8yIaW24hkpQJGCl3_p-sHQ-HRefqpywInBi-H_KVdIsQ5vNjwDL0Lxnd7RcaqGw7ho3HMbwg/w400-h331/2024%20scan931.jpg" width="400" /></a></div><br /><p><br /></p>
Keith Eisenbreyhttp://www.blogger.com/profile/16399615075612440296noreply@blogger.com0tag:blogger.com,1999:blog-7569166511516520581.post-59943869050153051222024-03-02T13:04:00.000-08:002024-03-02T13:06:36.356-08:00Playlist<p style="text-align: center;"><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjI7jIm06m063ccizDeOmRiQSvtrzQCbakq1nUOzI2QiCWymGogcEHkQSf6gH8dIzbEsgjJ92MfChXTjg-vTQY9vNADE1f2sHcdR3qtbidMLlGkrBDskY4CqSu4cDDaW51CD50nWTdZF9tlLJ-n_SFFSVMySUp3ish51FcxLlGKZDUX9LoVsbUdsX5g4O8/s3059/240302%20A.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2687" data-original-width="3059" height="351" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjI7jIm06m063ccizDeOmRiQSvtrzQCbakq1nUOzI2QiCWymGogcEHkQSf6gH8dIzbEsgjJ92MfChXTjg-vTQY9vNADE1f2sHcdR3qtbidMLlGkrBDskY4CqSu4cDDaW51CD50nWTdZF9tlLJ-n_SFFSVMySUp3ish51FcxLlGKZDUX9LoVsbUdsX5g4O8/w400-h351/240302%20A.jpg" width="400" /></a></b></div><b>Preface</b><p></p>
<p>"THE LORD:</p>
<p>
Appear quite free on that day, too;<br />I never hated those who were like
you:<br />Of all the spirits that negate,<br />The knavish jester gives me
least to do.<br />For man's activity can easily abate,<br />He soon prefers
uninterrupted rest;<br />To give him his companion hence seems best<br />Who
roils and must as Devil help create.<br />But you, God's rightful sons, give
voice<br />To all the beauty in which you rejoice;<br />And that which ever
works and lives and grows<br />Enfold you with fair bonds that love has
wrought,<br />And what in wavering apparition flows<br />That fortify with
everlasting thought.
</p>
<p><i>(The heavens close, the Archangels disperse.)</i></p>
<p>MEPHISTO <i>(alone):</i></p>
<p>
I like to see the Old Man now and then<br />And try to be not too uncivil.<br />It's
charming in a noble squire when<br />He speaks humanely with the very Devil."
</p>
<p>Johann Wolfgang von Goethe - from "Faust", translated by Walter Kaufmann</p>
<p style="text-align: center;"><b>Texts</b></p>
<p><b>Recorded</b></p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7sER5tEAD8LY41EQob8BHQr3pHXgs716N4zSL3LjQkVDdTxXgUiAELuKeVJ_klmd8oROexE1XLlYd3idXfP4UbAof_HXGEoxUj1yZGQB0JLzwSqJMs_nlN4ysFghQn-oYbNHfreDT4t6f_X1kYQjABbmmnihHss2gx8VI21LtP-lZsrkofnR1ROQi5aY/s5472/240302%20C.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7sER5tEAD8LY41EQob8BHQr3pHXgs716N4zSL3LjQkVDdTxXgUiAELuKeVJ_klmd8oROexE1XLlYd3idXfP4UbAof_HXGEoxUj1yZGQB0JLzwSqJMs_nlN4ysFghQn-oYbNHfreDT4t6f_X1kYQjABbmmnihHss2gx8VI21LtP-lZsrkofnR1ROQi5aY/w400-h266/240302%20C.jpg" width="400" /></a></div>February 25, 2024<p></p>
<p><i>Theme and Variations in C Major</i> - Ferruccio Busoni - Wolf Harden</p>
<p>
let's be square <br />let's be square again <br />we'll be square for awhile
<br />quite charming <br />but square
</p>
<p>
we'll be so <br />in the face of anything else <br />that might happen
<br />out there <br />in figuration land
</p>
<p>
<i>Serenade for Wind Instruments in D minor, Op. 44</i> - Antonín Dvořák -
London Symphony Orchestra, István Kertész
</p>
<p>
ceremonial and celebratory <br />but not cheerful <br />more like a parade of
judges <br />and other very self-important people <br />trailed by urchins and
their caretakers
</p>
<p>a most pleasant picnic <br />the kiddos play spinning games</p>
<p>
turns trills appoggiaturas <br />all the old graces persist <br />as
signifiers of lyrical flowingness
</p>
<p>
to play a note <br />one must understand its place within its utterance
<br />one's understanding of it <br />becomes it <br />but <br />in a
variously fraught synthesis <br />of it <br />and of understanding
</p>
<p>
what did I mean by that? <br />by that <br />I meant <br />that <br />that I
meant
</p>
<p>the judges process off <br />with no loss of self-importance</p>
<p>
Khovantchina, Act I - Modeste Mussorgsky - Sofia National Opera, Atanas
Margaritov, Dimiter Petkov, Todor Kostov, Lyoubomir Bodourov, Stoyan Popov,
Nikola Gyuzelev, Alexandrina Milcheva-Nonova, Milen Paounov, Maria Dimchevska,
Dimiter Dimitrov, Nadya Dobriyanova, Verter Vrachovsky
</p>
<p>
drunkenness from the night before <br />interrupts the peaceful morning
</p>
<p>
conversational <br />not in the rhythms of actual conversation <br />but in
the schematic presentation of pulse-organized music <br />or <br />this
singing isn't pretending to be speaking <br />this singing completes its
sentences <br />balancing its phrases
</p>
<p>
the stage populates with chorus members <br />the Greek chorus has become an
active character <br />voice of the people <br />and suddenly <br />the maiden
enters <br />in peril <br />at the top of her lungs
</p>
<p>he keeps setting her off </p>
<p>
the audience is addressed <br />as a narrator might provide some analysis
<br />or commentary
</p>
<p>a drama of musics <br />acts out <br />in the drama of stage </p>
<p>that sounds like the curtain</p>
<p>
<i>Don Juan, Op. 20</i> - Richard Strauss - Staatskapella Dresden, Rudolf
Kempe
</p>
<p>
impatience <br />then total focus to overwhelm <br />irresistible <br />only
to refocus <br />cadence through a chromatic thicket <br />adventure time
</p>
<p>this is presumably Byron's Don Juan we have here</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpr-drbtaVlCbEMzx6Fdqx3cvljL_lv4yzaDv2rx-B63q79MDTrYchtAhkZBelgRGSlkAeIUWE0CZTE0tQZgpJBOCus53HiHeYYtIoZzvRNUHjyO874itw0EIgy4nEpwpKvcT9IphBOrGgk5CFFGMXJyM1RpcY1rYuZhgrx5y-o4N1jLyu0LYoHrCLZF0/s1677/240302%20B.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1677" data-original-width="1651" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpr-drbtaVlCbEMzx6Fdqx3cvljL_lv4yzaDv2rx-B63q79MDTrYchtAhkZBelgRGSlkAeIUWE0CZTE0tQZgpJBOCus53HiHeYYtIoZzvRNUHjyO874itw0EIgy4nEpwpKvcT9IphBOrGgk5CFFGMXJyM1RpcY1rYuZhgrx5y-o4N1jLyu0LYoHrCLZF0/w394-h400/240302%20B.jpg" width="394" /></a></div>February 26, 2024<p></p>
<p>
<i>Karelia Suite, Op. 11</i> - Jena Sibelius - Gothenburg Symphony Orchestra,
Neeme Järvi
</p>
<p>
music arises from below <br />or from a distance <br />the victorious parade
past <br />in their wake a waste of sorrow
</p>
<p>taking apart Das Rheingold's opening upward sweep </p>
<p>
Spring will come one morning without permission <br />whistling merrily off to
the happy fields <br />pompous palace <br />busy streets
</p>
<p>
<i>Sonata in F-sharp minor, Op. 23 (#3)</i> - Alexander Scriabin - Michael
Ponti
</p>
<p>
struggling through an impasse of so many possibilities <br />round and round
<br />testing each door over and over <br />rattle the hinges
</p>
<p>melody and figuration cross paths in opposite directions</p>
<p><i>Quartet in F Major</i> - Maurice Ravel - Budapest Quartet</p>
<p>
fantastical limpid delights <br />nymphs and naiads <br />civilized polish
over what is not spoken of <br />painted in muted tones and flowing lines
<br />faerie peril <br />faerie weariness <br />faerie furioso
</p>
<p>hangs on its penultimates <br />to turn elsewhere</p>
<p>
<i>Quartet in B Major, Op. 7 (#1)</i> - Béla Bartók - Juilliard String Quartet
</p>
<p>
expressionist anguish <br />it melts alone <br />they meet in secret
<br />furtive glance across shoulder <br />stern words <br />keep it quiet
<br />a flickering screen <br />a slow pantomime
</p>
<p>string quartet as expressionist theater</p>
<p><i>Peccadilles Importunes</i> - Eric Satie - Frank Glazer</p>
<p>a mechanical device <br />deflationistical</p>
<p>
<i>4 Songs, Op. 13 </i>- Anton Webern - London Symphony Orchestra, Pierre
Boulez, Heather Harper
</p>
<p>the illusion of melodic cohesion interrogated </p>
<p>doublings of instruments set aside with derision </p>
<p>imitation dissected <br />divided for study</p>
<p>
<i>Der Geburtstage der Infantin</i> - Franz Shreker - Leipzig Gewandhaus
Orchestra, Lothar Zagrosek
</p>
<p>
far from the cares of the kingdom's subjects <br />a princess
<br />functionally <br />was a pawn <br />in a global game <br />of keeping
peace <br />by arranging marital relations <br />among a set of
dysfunctionally inter-related ruling families
</p>
<p>
lush expansiveness of nostalgia for the Empire <br />as it once stood in our
fond remembrance
</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHajXyXXGYlI-PBq0dcXriaCFbxFxHAfeIOqDkFZkGoFkTiKsGOFjxykCaDcemsTID9RIcRX2JEzqxWo8ydXrgb6yy5LHGglx_NxSt746qhSa0qLQEI7V10p7DyKk4i7rtG1uwHuB7Y7j6w1I4mc2T1z_uN44i2d6RW65xJ0F0OBw_KZnjrp6HVKqS7k8/s5472/240302%20D.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHajXyXXGYlI-PBq0dcXriaCFbxFxHAfeIOqDkFZkGoFkTiKsGOFjxykCaDcemsTID9RIcRX2JEzqxWo8ydXrgb6yy5LHGglx_NxSt746qhSa0qLQEI7V10p7DyKk4i7rtG1uwHuB7Y7j6w1I4mc2T1z_uN44i2d6RW65xJ0F0OBw_KZnjrp6HVKqS7k8/w400-h266/240302%20D.jpg" width="400" /></a></div>February 27, 2024<p></p>
<p>
<i>An American in Paris</i> - George Gershwin - Philadelphia Orchestra,
Eugene Ormandy
</p>
<p>
imbuing Paris <br />with the image <br />of the heartland <br />of America's
self-mythology
</p>
<p>a series of vignettes <br />complete with fleeting chinoiserie </p>
<p>may as well be a broad appeal movie </p>
<p>
sound-stage Paris <br />though I think Gene Kelly & Company improved on
it
</p>
<p>great tunes <br />but arranged more like a medley than like a piece</p>
<p>we must be back near the hotel <br />there are the car horns honking</p>
<p><i>Chinatown</i> - Louis Armstrong [from <i>That Devilin' Tune</i>]</p>
<p>a seriously noisy surface from the vinyl </p>
<p>energetic performance <br />live? <br />guess so there's the applause</p>
<p>
<i>An Outdoor Overture</i> - Aaron Copland - London Symphony Orchestra, Aaron
Copland
</p>
<p>
music for another hokey ballet? <br />{NB, no, not so it would seem}
</p>
<p>sharp orchestration <br />using simple means with an ear open</p>
<p>
change scene <br />play with tune bits for a bit <br />then play the tune the
bits are from
</p>
<p>get all big <br />change the scene </p>
<p>narrative</p>
<p>
<i>Evocations</i> - Carl Ruggles - Buffalo Philharmonic, Michael Tilson Thomas
</p>
<p>
grumpy <br />occult <br />bad news <br />music turned inward <br />American
Expressionist
</p>
<p>
<i>Lord Will Make a Way</i> - Elder A. Johnson [from
<i>Turn Me Loose White Man</i>]
</p>
<p>wild vocal yodels <br />right into the guitar's upper squeal</p>
<p>
<i>Have I Waited Too Long</i> - Faron Young [from
<i>Turn Me Loose White Man</i>]
</p>
<p>home on the range <br />cowpoke dance</p>
<p>
<i>Break-Up</i> - Jerry Lee Lewis [from <i>Sun Records Definitive Hits</i>]
</p>
<p>an excellent example of his pianistic shenanigans</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGmRmMmmSyti3TB-UmVuwGgScnapvy9ack4_gwNQsiVX7Ixl4kLX5ZvvOGxi9H9QdLYIbDfA7EB3L_CaVJhqF2t7jOrez76u-xz4Tyb7EnRLkh864zTqOgwzKQZambc1rW4QIY5Y1ZxGGOs2zJju0WHxfNVXRmHklx-iNLX4v_gilrX4r20c_D-a8A_Gg/s3642/240302%20G.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3472" data-original-width="3642" height="381" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGmRmMmmSyti3TB-UmVuwGgScnapvy9ack4_gwNQsiVX7Ixl4kLX5ZvvOGxi9H9QdLYIbDfA7EB3L_CaVJhqF2t7jOrez76u-xz4Tyb7EnRLkh864zTqOgwzKQZambc1rW4QIY5Y1ZxGGOs2zJju0WHxfNVXRmHklx-iNLX4v_gilrX4r20c_D-a8A_Gg/w400-h381/240302%20G.jpg" width="400" /></a></i></div><i>Adoramus Te Christe</i> - Lake Washington Singers, Betty Eisenbrey
[recorded live April 16, 1963]
<p></p>
<p>nicely done Mom!</p>
<p>
<i>School Boy (William Blake)</i> - Allen Ginsberg [from
<i>Holy Soul Jelly Roll</i>]
</p>
<p>a translation <br />using pitch to follow the rhyme</p>
<p>
<i>Let's Get It On</i> - Marvin Gaye [collected from Dave Marsh's
<i>The Heart of Rock & Soul</i>]
</p>
<p>comes at you from all angles</p>
<p>
<i>Eppesithalamium</i> - Milton Babbitt [from Eric Carlson's
<i>Slowly Expanding Milton Babbit Album</i>]
</p>
<p>everything a conversation could be</p>
<p>
<i>No Art In The West</i> - The PKs [recorded live in the Bickleton Manse,
1983]
</p>
<p>
great drum playing Karen! <br />back in youth <br />when the image was clear
and clean
</p>
<p>
<i>It's Christmas All Over The World</i> - London Symphony Orchestra, Placido
Domingo [from <i>Joy To The World</i>]
</p>
<p>
the sea sun of joy <br />brings us by a sudden lurch of recirculation
<br />slam whap <br />into the ridiculous <br />(type: fucking; <br />as in
<br />"fucking ridiculous")
</p>
<p>
<i>Banned Rehearsal 316</i> - John E, Karen Eisenbrey, Keith Eisenbrey
[January 3, 1993]
</p>
<iframe allow="autoplay" frameborder="no" height="20" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1763394732&color=%23ff5500&inverse=false&auto_play=false&show_user=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/keith-eisenbrey" style="color: #cccccc; text-decoration: none;" target="_blank" title="Keith Eisenbrey">Keith Eisenbrey</a> · <a href="https://soundcloud.com/keith-eisenbrey/banned-rehearsal-316-930103" style="color: #cccccc; text-decoration: none;" target="_blank" title="Banned Rehearsal 316 930103">Banned Rehearsal 316 930103</a></div>
<p>
our common play time <br />nursery school rules <br />don't be a hog
<br />don't stomp on others
</p>
<p>our own uniquely liberated intonation </p>
<p>improvisationally developed linguistics</p>
<p>
this was recorded in the Northwest Room <br />now lair of young men
<br />before we framed in the half-garage <br />it has a right-in-your-face
sound to it
</p>
<p>the boy speaks in single word poetry natively <br />briefly </p>
<p>punctuational yawns</p>
<p>is this music? <br />why would it want to be? </p>
<p>
it is a record of an episode in our lives <br />an intentionally staged
phonograph
</p>
<p>what does music hide? <br />keep obscured behind? </p>
<p>
stupendously too much for direct-to-cassette mastering <br />so gloriously
resplendent tintinnabulation <br />pan pipery <br />bow bouncing <br />box
thumping
</p>
<p>
we demonstrate <br />that our free reeds <br />are free of a common
intonation
</p>
<p>and the Aaronsbundler makes a cameo </p>
<p>a surface to rub vigorously</p>
<p>the outfielder is not responding at all </p>
<p>
jolly John! <br />playing ball off the headbone <br />and the unmistakable
shriek of 18 month old glee <br />I deliver the lecture toward correct
parenting
</p>
<p>boncy ball boncy ball boncy ball</p>
<p>my foot is completely numb</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinpM7X3D5tSfQGTM_F7De7U86IZ0G8mePbiy7FZz1bYdya6wjPQQetiygGE5-H6Mfqmdb1fPtGaa3EIwYt7Wt7oEL2-dANMAdUg0K3bRLCP_g32heINec9_T8Yi14wHWqUeaYsYzmi6ctKauteVv7Wdibx2ncrRdwSC-OW-VmiGbx8JaIf04Pkx5zuoBU/s5472/240302%20H.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinpM7X3D5tSfQGTM_F7De7U86IZ0G8mePbiy7FZz1bYdya6wjPQQetiygGE5-H6Mfqmdb1fPtGaa3EIwYt7Wt7oEL2-dANMAdUg0K3bRLCP_g32heINec9_T8Yi14wHWqUeaYsYzmi6ctKauteVv7Wdibx2ncrRdwSC-OW-VmiGbx8JaIf04Pkx5zuoBU/w400-h266/240302%20H.jpg" width="400" /></a></i></div><i>Hold On Be Strong</i> - Outkast [from <i>Aquemini</i>]<p></p>
<p>slow entry <br />timed perfectly with the tea kettle whistle </p>
<p>I have no recollection of why I have this album</p>
<p>
<i>Preludes 1 - 4 - </i>Ken Benshoof - Keith Eisenbrey [recorded live at
University Temple United Methodist Church, Seattle, October 6, 2006]
</p>
<p>
I love how his rhythms trip over themselves <br />catching up with their
continuations
</p>
<p>nicely sensitive playing there past me <br />yes I have my moments</p>
<p>
<i>Again a Gun Again a Gun Again a Gun Again a Gun</i> - Empty Cage Quartet
[from <i>Stratostrophic</i>]
</p>
<p>
a thornbush opening <br />clearing into trumpet <br />helped by drums and bass
ministrations <br />relaxing down to just the bass <br />taking time <br />the
winds <br />entry with drum <br />who plays with the bass <br />while reed and
brass lengthen the line <br />set a time plan <br />now we're all cheering on
the drums
</p>
<p>
<i>Puppet Pieces</i> - Kam Morrill - Keith Eisenbrey [recorded at The
Tintinabulary, Seattle, July 20, 2018]
</p>
<p>cues for a never-to-be puppet show</p>
<p>
<i>Wire Sculpture for Ben</i> - Craig Pepples - Julia Hsu [from
<i>Open Space 43</i>]
</p>
<p>
the pitch of the sounds leads through itself <br />we view these notes
lengthwise
</p>
<p>
<i>Banned Rehearsal 1067</i> - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt
[recorded at The Tintinabulary, Seattle, January 2, 2023]
</p>
<iframe allow="autoplay" frameborder="no" height="20" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1418881123&color=%23ff5500&inverse=false&auto_play=false&show_user=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/keith-eisenbrey" style="color: #cccccc; text-decoration: none;" target="_blank" title="Keith Eisenbrey">Keith Eisenbrey</a> · <a href="https://soundcloud.com/keith-eisenbrey/banned-rehearsal-1067-230102" style="color: #cccccc; text-decoration: none;" target="_blank" title="Banned Rehearsal 1067 [230102]">Banned Rehearsal 1067 [230102]</a></div>
<p>
we trend toward quiet <br />but a case is opened <br />and out comes the banjo
<br />joined soon by seed pod rattle <br />xylochatter <br />tenor banjo
<br />xylophone <br />snare drum <br />plus additional percussion <br />as
might be handy
</p>
<p>
not a performance of music <br />but an episode of playing with sounds and
noise makers
</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1FoxLy6jo0Nw-3aGOoZDMSVQuPEueoKXV_ZIDBvTz-Kje0rJ2Ac53ChKhoQdyZlQWfNRqfo-iFoe0ZGhL86seoar_QA2O4n5eqN6zYWVMLTcJeCrwFtgAZ1UM8aLnvfcVl5uIyv-RsM2jP0dWjRDeChM_7PpzBL5_8PPmA_euitUlGZJxUL3GY7PaKKc/s3336/240302%20E.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2708" data-original-width="3336" height="325" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1FoxLy6jo0Nw-3aGOoZDMSVQuPEueoKXV_ZIDBvTz-Kje0rJ2Ac53ChKhoQdyZlQWfNRqfo-iFoe0ZGhL86seoar_QA2O4n5eqN6zYWVMLTcJeCrwFtgAZ1UM8aLnvfcVl5uIyv-RsM2jP0dWjRDeChM_7PpzBL5_8PPmA_euitUlGZJxUL3GY7PaKKc/w400-h325/240302%20E.jpg" width="400" /></a></div>February 28, 2024<p></p>
<p>
<i>O Vis Aeternitatis</i> - Hildegard Von Bingen - Sequentia, Barbara
Thornton, Laurie Monahan [from <i>Canticles of Ecstasy</i>]
</p>
<p>
furling into emptiness <br />outside of its confines <br />the wicked world
</p>
<p>
<i>Baci soavi e cari: Quanto ha di dolce amore</i> - Carlo Gesualdo - Delitiæ
Musicæ, Marco Longhini
</p>
<p>and here we are <br />in it</p>
<p>
I suppose there is word painting in there <br />if one knew the language
<br />but also <br />clearly <br />working with the sounding rhythm of the
words <br />as they form their poem
</p>
<p>
<i>O quam suavis est a 8</i> - Peter Philips - The English Cornett and Sackbut
Ensemble, The Choir of Royal Holiday, Robert Gough
</p>
<p>flowering from concord <br />dancy rhythms for sacred use</p>
<p>
E<i>rhore Ich Wenn Ich Rufe</i> - Heinrich Schütz - University of Puget Sound
Women's Chorus, Sylvia Munsen
</p>
<p>tempos in tempos</p>
<p>
<i>Praeludium in D Major, BWV 139</i> - Dieterich Buxtehude - Simone Stella
</p>
<p>
a procession with great anticipation <br />sit down folks <br />this is
serious business <br />an extensive prelude <br />must have been quite the
event
</p>
<p><i>Messe pour les Covent</i> - François Couperin - Barbara Baird</p>
<p>
fills its container <br />roots reporting in <br />all committees present
<br />every moment of ceremony is filled with experience <br />music <br />if
nothing else <br />is available
</p>
<p>this is intense </p>
<p>
I wish the engineers hadn't cut off the reverberation of the ends of these
pieces
</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXWU2RZgotnDf-9dFfh3MHrXN_Iorufwwej_sqnxxnWzARnbW10wuioNpaMWYCXobyVtASikNta8WgsWu5w1DaIqh-idPKXBSaxnN3OYrTxcKqeDcVyHMh9tJPJKx7P7Y8XuUFYHPys4K7JJn36HWbFMzW1nfvSwyi-Uj-1n7n_LjVVe55lP-UH7NVs0w/s5472/240302%20I.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXWU2RZgotnDf-9dFfh3MHrXN_Iorufwwej_sqnxxnWzARnbW10wuioNpaMWYCXobyVtASikNta8WgsWu5w1DaIqh-idPKXBSaxnN3OYrTxcKqeDcVyHMh9tJPJKx7P7Y8XuUFYHPys4K7JJn36HWbFMzW1nfvSwyi-Uj-1n7n_LjVVe55lP-UH7NVs0w/w400-h266/240302%20I.jpg" width="400" /></a></i></div><i>Médée, Act I</i> - Marc-Antoine Charpentier - Les Arts Florissant, William
Christie
<p></p>
<p>
begins honestly enough <br />with a ballet in praise of the producer <br />a
master of the small moments <br />playful bass lines <br />the procedure is
irregular <br />but the result is gracious
</p>
<p>opera number: <br />an enactment of a dramatic moment </p>
<p>narrative clues </p>
<p>this is a ballet <br />you may chatter</p>
<p>
we live in an age of revivement <br />of recollection <br />and
reenactment
</p>
<p>
conversation hinge aria plate <br />it splays feelings out into the world
<br />at right angles to time's flow
</p>
<p>
music and language share a time scale <br />or several <br />in our cognitive
apparatus
</p>
<p>
each character always in character <br />puppet-like <br />must be a happy act
ending <br />the chorus scatters confetti and rice and tickertape
<br />trumpets no less <br />how thrilling
</p>
<p>music is a means of keeping chaos constructively in order</p>
<p>
<i>Nach dir, Herr, verlangt mich, BWV 150</i> - Johann Sebastian Bach -
Gächinger Kantorei, Helmut Rilling
</p>
<p>endless weeping figures</p>
<p>
the choral me <br />a construction of notes <br />moralistic <br />keep things
in line <br />constructing the bones of a Lutheran Liturgy <br />competing
with the whole of the past
</p>
<p>
does the choral me exist before Bach? <br />as a ghost behind the Mass perhaps
<br />dunno <br />but <br />if it did <br />did it contain so may individuated
voices?
</p>
<p>units within the choral me</p>
<p>
<i>Sonata in C Major</i> - Daniel Purcell - Stanislav Surin [from
<i>Hudba v Trnavskej Katedrale</i>]
</p>
<p>polite life loves its happy endings <br />and endless flattery</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcTFh3hCGOFqWeoAxLZ5TTMreeUw7gRXgh2HZP75gMWl9fj8jZF_5-KjZGPSPjrqS_BQjDQ-zC7wxuqO4NRzBeUZJgdWeCFc4H44gIvcoAOBNMTbXy6hou9hIuke4eX3g3cc_-J6BPyXR34-9aGIJR_jR1jGnxBF9NSa5jweihrmt_E17Dot6PoSTimTE/s5317/240302%20J.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5317" height="275" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcTFh3hCGOFqWeoAxLZ5TTMreeUw7gRXgh2HZP75gMWl9fj8jZF_5-KjZGPSPjrqS_BQjDQ-zC7wxuqO4NRzBeUZJgdWeCFc4H44gIvcoAOBNMTbXy6hou9hIuke4eX3g3cc_-J6BPyXR34-9aGIJR_jR1jGnxBF9NSa5jweihrmt_E17Dot6PoSTimTE/w400-h275/240302%20J.jpg" width="400" /></a></i></div><i>Acis and Galatea, Act II</i> - George Frideric Handel - Seattle Symphony
Orchestra, Gerard Schwoard Dawn Kotoski, David Gordon, Glenn Siebert, Jan
Opalach, Seattle Symphony Chorale
<p></p>
<p>
but alas <br />no happy happy happy shall last <br />plate upon plate
<br />four upon four <br />confounds accounting
</p>
<p>
the chorus was instructed to enunciate the k of hark <br />so that it wouldn't
sound like they were singing har har har <br />so <br />the enunciation aids
the comprehension of the text (the words) <br />but not of the music
<br />which is as perfectly clear with har as with hark <br />(the enunciated
k does not make it less silly)
</p>
<p>
whining <br />disdaining <br />over and over <br />life is a pain
<br />indeed!
</p>
<p>
altogether too fond of melismatics that run on and on <br />here comes the
party crasher
</p>
<p>
morendo endo for Acis <br />poor chap <br />he is no more <br />no more
<br />no more
</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqVp4XwkvhWhF3Yb2ETMEgjtdN8Vd_XcENfvzZb0r1del4JhnBBlWgvvNOdkTFm0gWNPYOlwjmwRJvS5o3FXB885JTvw8gjX98fud4vRe_q-OfefPN99fRyUISzva753HwwKkbNueZOHkuBtNa9FjXX1P7bjg7Glb999geKizDcJHgE6ceUJvPrA6S9nw/s5472/240302%20F.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqVp4XwkvhWhF3Yb2ETMEgjtdN8Vd_XcENfvzZb0r1del4JhnBBlWgvvNOdkTFm0gWNPYOlwjmwRJvS5o3FXB885JTvw8gjX98fud4vRe_q-OfefPN99fRyUISzva753HwwKkbNueZOHkuBtNa9FjXX1P7bjg7Glb999geKizDcJHgE6ceUJvPrA6S9nw/w400-h266/240302%20F.jpg" width="400" /></a></div>February 29, 2024<p></p>
<p>
<i>Concerto in D Major, RV 93 </i>- Antonio Vivaldi - Chamber Orchestra of St.
Petersburg Philharmonic, Vladimir Altschuler, Marco Tsessos
</p>
<p>
a movement is a costume <br />an impression to be made in an extended moment
</p>
<p>
<i>Noell 11, en Recit en taille</i> - Louis-Claude Daquin - Marie-Claire Alain
</p>
<p>
ornate upper registers <br />clear and functional bass <br />a two voice
counterpoint <br />as a contrasting continuation
</p>
<p>
<i>Keyboard Sonata in C Major, Wq. 65.8 </i>- Carl Philipp Emanuel Bach -
Miklós Spányi
</p>
<p>
very polite when folks are paying attention <br />but playful when backs are
turned <br />rarely lands where one knows he must have <br />same platform
<br />different geometry
</p>
<p>
loves phrase ends cut short <br />or spilling off into glittery figure play
</p>
<p><i>La Felix</i> - Jacques Duphly - Christophe Rousset</p>
<p>
the naming conceit in French keyboard pieces <br />a piece is <br />or depicts
<br />an object <br />animate or un <br />or a state of moment (mood)
<br />often <br />the specific connection is lost to time <br />and
generations of speculation
</p>
<p>
<i>Sinfonia in E-flat Major </i>- Johann Christian Bach - Camerata
Budapest, Hanspeter Gmür
</p>
<p>
1 <br />a burst of sound <br />then fiddly stuff <br />signifying theatrical
expectancy <br />the appearance of a second subject <br />means <br />you'll
have to be patient <br />so get all your sitting down <br />and fidgets
<br />done with
</p>
<p>
2 <br />such polite grace <br />on all points of etiquette <br />the picture
of idealized society <br />the form without the subterfuge
</p>
<p>
3 <br />then we can be happy and gay <br />all is innocent peace
<br />(pre-fall)
</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkzSwKBuhb8Bmb8xxzqZbDmtZKJi4P84yy-nAAlQBgjZZZy5-t59ZdaF-3YaNrvREEAP4eYooPLRIkaCgOT4q99vGLyp3is-6Xx7e3ulfEu-Q96EjxUtfUQgdWeGP30k7uHLAz5JoCmo4P39QGvzXaGxmGtj3GGwCz5ISyhYZ2zI990EiEOBR-7kheKUg/s5472/240302%20K.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkzSwKBuhb8Bmb8xxzqZbDmtZKJi4P84yy-nAAlQBgjZZZy5-t59ZdaF-3YaNrvREEAP4eYooPLRIkaCgOT4q99vGLyp3is-6Xx7e3ulfEu-Q96EjxUtfUQgdWeGP30k7uHLAz5JoCmo4P39QGvzXaGxmGtj3GGwCz5ISyhYZ2zI990EiEOBR-7kheKUg/w400-h266/240302%20K.jpg" width="400" /></a></i></div><i>I finti eredi (Giuseppe Sarti)</i> - Franz Joseph Haydn - Orchestre
de Chambre de Lausanne, Antal Doráti, Aldo Baldin
<p></p>
<p>
there is a clear practical benefit <br />for operas to be constructed of
individual pieces <br />they could then be swapped in and out <br />as
occasion suggests
</p>
<p>hey Joe <br />could you crank out a tenor aria for tonight?</p>
<p>
<i>Symphony in G minor K173dB(183)</i> - Wolfgang Amadeus Mozart - Academy of
Ancient Music, Jaap Schroder, Christopher Hogwood
</p>
<p>
we are led by the hand <br />our attention is taken and directed <br />nothing
is hidden
</p>
<p>interrupting continuation </p>
<p>the cellar is a few steps deeper than that sir </p>
<p>
we love our easy chairs <br />parasol boat <br />floats blissfully <br />but
with feelings <br />(inner drama) <br />in hinted words
</p>
<p>
full blown <i>Sturm und Drang</i> <br />very fashionable <br />at all the
finest opera houses <br />and concert halls <br />so exciting
</p>
<p><i>Sonata in D Major, Op. 10 #2</i> - Muzio Clementi - Howard Shelley</p>
<p>
a two-movement sonata form <br />from Clementi no less <br />charming as
always
</p>
<p>
there is a notion about keys <br />that they are associated with specific
things or ideas <br />if they were <br />then that would be like a mass
synesthesia within a cultural milieu <br />or defining its own cultural
milieu
</p>
<p>is culture itself a mass synesthesia?</p>
<p>
<i>Sonata in A-flat Major, Op. 5 #3</i> - Jan Ladislav Dussek - Tulja Hakkila
</p>
<p>
and another! <br />all the rage <br />composes with coquetry <br />all the
passion of an elopement adventure <br />in the dead of night <br />for your
imagination to wander upon <br />each key <br />a window into the story so far
<br />whole lotta banging going on <br />adventures of a lovable me <br />so
charming <br />living the Don Juan life <br />Chico Dussek <br />who me?
</p>
<p>
<i>Sonata in E Major, Op. 14 #1</i> - Ludwig van Beethoven - Artur Schnabel
</p>
<p>
I worked on this one for quite awhile <br />it's a pretty radical piece in its
way <br />for its plainness if nothing else <br />each bit is exactly that bit
<br />and not its neighbor bit <br />with an appassionato melody in the second
section <br />out of thin air <br />such specific figurations <br />tears
pulse apart <br />and wrestles the parts to the ground in triumph
</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdQ2ZR16xVOohGU5RVDEe-mH13UIRJabSfdrbZygO9Hhpy3drX9h7vqC8tmk_v-MzOkq8wmUfiumPF7G2XDILD1k_8rISKXZ8k0wKds2FyWqvsq3lmOX52aNqdC8edEq1vylAxUfKZwhHdhZkUrgJo9CjbKcFltHRRdAxxVxoef9pF2zzBp3n9kEYEK40/s5472/240302%20L.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdQ2ZR16xVOohGU5RVDEe-mH13UIRJabSfdrbZygO9Hhpy3drX9h7vqC8tmk_v-MzOkq8wmUfiumPF7G2XDILD1k_8rISKXZ8k0wKds2FyWqvsq3lmOX52aNqdC8edEq1vylAxUfKZwhHdhZkUrgJo9CjbKcFltHRRdAxxVxoef9pF2zzBp3n9kEYEK40/w400-h266/240302%20L.jpg" width="400" /></a></i></div><i>Symphony in D Major, D82 (#1)</i> - Franz Schubert - Berlin Philharmonic
Orchestra, Karl Böhm
<p></p>
<p>1 <br />I am being grand indeed <br />but there's trouble hidden in me</p>
<p>
no doubt produced here <br />on a grander scale than Franz ever heard it
with
</p>
<p>
go straight <br />until lost <br />then turn <br />keep going <br />you'll
find it for sure
</p>
<p>2 </p>
<p>
so exquisitely tasteful <br />hold up <br />where is this from <br />the
inside does not match the outside <br />oh the tragicomic irony of it
<br />reveals an undertow
</p>
<p>
3 <br />makes hay out of the extra figure <br />thrown in for fun
<br />differentiated menuet <br />and more homogeneous trio?
<br />definitely
</p>
<p>
4 <br />all are working to the common end <br />an exciting theater of
spectacle and noise
</p>
<p><i>Caprice</i> - Niccolò Paganini - Nathan Milstein</p>
<p>
gymnastic theater <br />circus act <br />or the image of a circus act <br />as
something else
</p>
<p>
<i>Sonatina in C Major, Op. 55 #1</i> - Friedrich Kuhlau - Loredana Brigandi
</p>
<p>
lessons in compositional comportment <br />suitable for all sexes or mixed
company
</p>
<p>another two-movement-er</p>
<p>
<i>Polonaise in B-flat Major, Op. 71 #2</i> - Frédéric Chopin - Garrick
Ohlsson
</p>
<p>
the key has been redecorated in the strangest taste <br />lovely but
idiosyncratic
</p>
<p><b>In Session at The Tintinabulary</b></p>
<p>February 25, 2024</p>
<p><i>Castle Street</i> - Keith Eisenbrey</p>
<iframe allow="autoplay" frameborder="no" height="20" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1763415675&color=%23ff5500&inverse=false&auto_play=false&show_user=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/keith-eisenbrey" style="color: #cccccc; text-decoration: none;" target="_blank" title="Keith Eisenbrey">Keith Eisenbrey</a> · <a href="https://soundcloud.com/keith-eisenbrey/34-castle-street-240225-240225" style="color: #cccccc; text-decoration: none;" target="_blank" title="34 Castle Street 240225 [240225]">34 Castle Street 240225 [240225]</a></div>
<p>February 26, 2024</p>
<p><i>Banned Telepath 102 South</i> - Steve Kennedy</p>
<p>
<i>Banned Telepath 102 Tintinabulary</i> - Karen Eisenbrey, Keith Eisenbrey
</p>
<p>
<i>Banned Rehearsal 1095</i> - Karen Eisenbrey, Keith Eisenbrey, Steve
Kennedy
</p>
<iframe allow="autoplay" frameborder="no" height="20" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1763418540&color=%23ff5500&inverse=false&auto_play=false&show_user=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/keith-eisenbrey" style="color: #cccccc; text-decoration: none;" target="_blank" title="Keith Eisenbrey">Keith Eisenbrey</a> · <a href="https://soundcloud.com/keith-eisenbrey/banned-rehearsal-1095-240226" style="color: #cccccc; text-decoration: none;" target="_blank" title="Banned Rehearsal 1095 240226">Banned Rehearsal 1095 240226</a></div>
<p>February 27, 2024</p>
<p><i>274 Jesu, geh voran auf der Lebsenbahn</i> - Aaron Keyt</p>
<p><i>274a after Jesu, geh voran auf der Lebsenbahn</i> - Aaron Keyt</p>
<p>February 29, 2024</p>
<p><i>203 O König Jesu Christe </i>- Aaron Keyt</p>
<p><i>243 - Durch Adams Fall ist ganz verdebt</i> - Aaron Keyt</p>
<p><i>277 Mir ist Erbarmung widerfahren</i> - Aaron Keyt</p>
<p style="text-align: center;"><b>Postscripts</b></p>
<p><b>Drops</b></p>
<p><i>Keith Eisenbrey 14: 2011-2012</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2265844381/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/transparent=true/" style="border: 0; height: 470px; width: 350px;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-14-2011-2012">Keith Eisenbrey 14: 2011 - 2012 by Keith Eisenbrey</a></iframe>
<p>
After having worked closely as a pianist with the prelude cycles of my local
colleagues Lockrem Johnson, Greg Short, and Ken Benshoof, and being a
long-time admirer of the cycles of Chopin and Scriabin, I began to wonder what
a set of preludes written by me, one in each key, would be like.
</p>
<p>
"Welcome to my planet. I come in peace." started as an idea for something else
entirely that took on a life of its own. Prior volumes are available at
keitheisenbrey.bandcamp.com
</p>
<p>All are free for download.</p>
<p><b>Skaldmud's Doodle Gallery</b></p>
<p>listening journal doodles from 2021</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPLtQflnMZGGXG9inRLWW4rRT9iWR_sy0KWUozUoi8G0bUKsfELB2kbWphhd8oEQOiN27qr4OHd2L0lLidDpsntq5xbMf-ExxESIarIF8Ri-11WlEqYG9ZGEEGPNM9FRMGw00Xv-lJpb6tVUZWyO0kZdVPbWWKk5PCSKR8GniB_PqH5v_vPCIGoRNEn10/s2687/2024%20scan924.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1752" data-original-width="2687" height="261" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPLtQflnMZGGXG9inRLWW4rRT9iWR_sy0KWUozUoi8G0bUKsfELB2kbWphhd8oEQOiN27qr4OHd2L0lLidDpsntq5xbMf-ExxESIarIF8Ri-11WlEqYG9ZGEEGPNM9FRMGw00Xv-lJpb6tVUZWyO0kZdVPbWWKk5PCSKR8GniB_PqH5v_vPCIGoRNEn10/w400-h261/2024%20scan924.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiQbIjwrzOER8e8lb-IVNpYNQBWLvfBUa65S1bdLJZVNDq_o4Wcb_HDuVHAyPbFx16Eh9EDKvs4Cf50nZYbWs99tGhlS33-juHv1RfbSAFa2swjGmNEngcmvHsW3vVxEwOkEcMhxKHfVCliqryW2PU7vNKoGeMIAH1f0-d5RgSsy5biQ6hqlAiZK4768g/s2840/2024%20scan925.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2840" data-original-width="2540" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiQbIjwrzOER8e8lb-IVNpYNQBWLvfBUa65S1bdLJZVNDq_o4Wcb_HDuVHAyPbFx16Eh9EDKvs4Cf50nZYbWs99tGhlS33-juHv1RfbSAFa2swjGmNEngcmvHsW3vVxEwOkEcMhxKHfVCliqryW2PU7vNKoGeMIAH1f0-d5RgSsy5biQ6hqlAiZK4768g/w358-h400/2024%20scan925.jpg" width="358" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1eoU54MXfGeviCCgC65nfDsnAwc6Nva-D_VQMakjMhrSuJElIvUKSO4n1N1fZ_UJ2oRdFH1s6lzCDil-Qx0fQimAtvmmhqKyjMQLacV6Z3AIC-eaDm9rkAwaqx7vcy7BYgpkKMyZOQg_SQNGRwSN24h4OCDdCEaw7RxO8wrmVGypIUjx_euAYLeXbMxE/s1846/2024%20scan926.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1329" data-original-width="1846" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1eoU54MXfGeviCCgC65nfDsnAwc6Nva-D_VQMakjMhrSuJElIvUKSO4n1N1fZ_UJ2oRdFH1s6lzCDil-Qx0fQimAtvmmhqKyjMQLacV6Z3AIC-eaDm9rkAwaqx7vcy7BYgpkKMyZOQg_SQNGRwSN24h4OCDdCEaw7RxO8wrmVGypIUjx_euAYLeXbMxE/w400-h288/2024%20scan926.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirIhc5PwnbuNmfm6y24gZRHxK-nZ81zv60Nskzs-ERjBAYIJHZFE4M40rCKy8DrBYFi2J3N3AEOS1vBBVAQVkUVum0Agu87PLqlAxv7uuN-tm98RkA6SjK9XCPDIR9ANv4LLYC8sCWZh8oacXPhulZQdn5pE-lGtt9z-K0IvyMmL8iuEA8jVlNiguvmjc/s2426/2024%20scan927.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1073" data-original-width="2426" height="178" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirIhc5PwnbuNmfm6y24gZRHxK-nZ81zv60Nskzs-ERjBAYIJHZFE4M40rCKy8DrBYFi2J3N3AEOS1vBBVAQVkUVum0Agu87PLqlAxv7uuN-tm98RkA6SjK9XCPDIR9ANv4LLYC8sCWZh8oacXPhulZQdn5pE-lGtt9z-K0IvyMmL8iuEA8jVlNiguvmjc/w400-h178/2024%20scan927.jpg" width="400" /></a></div><br /><p><br /></p>
Keith Eisenbreyhttp://www.blogger.com/profile/16399615075612440296noreply@blogger.com0tag:blogger.com,1999:blog-7569166511516520581.post-88289227213240867642024-02-24T13:37:00.000-08:002024-02-24T14:18:03.932-08:00Playlist<p style="text-align: center;"><b></b></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheJsZte2tJEK_st2TBsPGbFhlpP6agu0PGL5keilTsDoAIAK6v7FtGzf3N9FvXR-kgoVRyVluAPbSv3sCjViQ9Q5fcgTDTBOtCcblwE1eVeHS8PSfXMXjISU2JT3TuPNiEAIcvD6-kv5WZJtjmorjtMO-tJMSypJpS9_g92s8tpP7YN5unqZ2TK7QWNz0/s5472/240224%20A.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheJsZte2tJEK_st2TBsPGbFhlpP6agu0PGL5keilTsDoAIAK6v7FtGzf3N9FvXR-kgoVRyVluAPbSv3sCjViQ9Q5fcgTDTBOtCcblwE1eVeHS8PSfXMXjISU2JT3TuPNiEAIcvD6-kv5WZJtjmorjtMO-tJMSypJpS9_g92s8tpP7YN5unqZ2TK7QWNz0/w400-h266/240224%20A.jpg" width="400" /></a><b></b></div><b>Preface</b><p></p>
<p>
"'Mr. Allen,' said Mr. Pickwick, 'what is the matter, sir?'<br />'Never mind,
sir!' replied Mr. Allen, with haughty defiance.<br />'What is it?' inquired
Mr. Pickwick, looking at Bob Sawyer. 'Is he unwell?'<br />Before Bob could
reply, Mr. Ben Allen seized Mr. Pickwick by the hand, and murmured, in
sorrowful accents, 'My sister, my dear sir; my sister.'<br />'Oh, is that
all!' said Mr. Pickwick. 'We shall easily arrange that matter, I hope. Your
sister is safe and well, and I am here my dear sir, to - '<br />'Sorry to do
anythin' as may cause an interruption to such wery pleasant proceedin's, as
the king said wen he dissolved the Parliament,' interposed Mr. Weller, who had
been peeping through the glass door; 'but there's another experiment here,
sir. Here's a wenerable old lady a lyin' on the carpet waitin' for dissection,
or galwinism, or some other rewivin' and scientific inwention.'<br />'I
forgot,' exclaimed Mr. Ben Allen. 'It is my aunt.'<br />'Dear me,' said Mr.
Pickwick. 'Poor lady! gently, Sam, gently.'<br />'Strange sitivation for one
o' the family,' observed Sam Weller, hoisting the aunt into a chair. 'Now,
depitty Sawbones, bring out the wollatilly.'"
</p>
<p>Charles Dickens - from "The Posthumous Papers of the Pickwick Club"</p>
<p style="text-align: center;"><b>Texts</b></p>
<p><b>Recorded</b></p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6iOheYrAuNzuvskL_sZN182YuShHUPR2hjX9ZFK7wqoRPtwQKdE_0Ht7KF7yU9zCtaQbgwmvmbtM7doZtV30xQtGaG9UnQm4-XEg4EOvQDL2JlkknSqcpX40weC1CDQgyiVddY9UKMTXaWYtxtrAij8cVsWlW2Ghh8eJM_NtPP26Bilg6pFIm4bmXeVk/s5472/240224%20F.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6iOheYrAuNzuvskL_sZN182YuShHUPR2hjX9ZFK7wqoRPtwQKdE_0Ht7KF7yU9zCtaQbgwmvmbtM7doZtV30xQtGaG9UnQm4-XEg4EOvQDL2JlkknSqcpX40weC1CDQgyiVddY9UKMTXaWYtxtrAij8cVsWlW2Ghh8eJM_NtPP26Bilg6pFIm4bmXeVk/w400-h266/240224%20F.jpg" width="400" /></a></div>February 17, 2024<p></p>
<p>
<i>Two Slants: Duty, Vita</i> - Charles Ives - Dora Ohrenstein, Phillip Bush
</p>
<p>stomps the end of Duty <br />lingers at the end of Vita</p>
<p>
<i>Serial Diatonicism</i> - Carson "Carsonics" Farley - Keith Eisenbrey
</p>
<p>
the thickest of the chords are a challenge to play clearly on clavichord <br />but
I think I managed pretty well <br />the tempo shifts work (to my ear) <br />an interesting
challenge
</p>
<p>
<i>Her Gown Was of Vermillion Silk</i> - Charles Ives - Paul Sperry, Irma
Vallecillo
</p>
<p>the text is in the past tense <br />the word painting is in the present tense</p>
<p><i>Punch Drunk Lovers</i> - Steve Layton [from <i>Lucky You</i>]</p>
<p>offset sound plates <br />edges not trued up nor trimmed</p>
<p><i>Nature's Way</i> - Charles Ives - Dora Ohrenstein, Phillip Bush</p>
<p>a comforting sentiment</p>
<p><i>Grimoire</i> - Steve Layton [from <i>Lucky You</i>]</p>
<p>
dark foreboding <br />Fafner proximity warning <br />it seems he may have smelled the
blood of that Englishman after all <br />grumpiness level high
</p>
<p>
<i>From 'The Incantation'</i> - Charles Ives - Mary Ann Hart, Dennis Helmrich
</p>
<p>etched filigree presents this text</p>
<p><i>Two Minds Inside</i> - Steve Layton [from <i>Lucky You</i>]</p>
<p>playing an echo game on a schematic board</p>
<p><i>An Election</i> - Charles Ives - Paul Sperry, Irma Vallecillo</p>
<p>comments overheard on the street</p>
<p><i>Persephone</i> - Steve Layton [from <i>Lucky You</i>]</p>
<p>
far below the bellows of beasts <br />a sequestered realm of stillness <br />and
nanoincremental accretion <br />hollowing out the chambers above <br />to clog the
chambers below
</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC_6jw6b8L_yDJOB_hd_SgomSQYfbQoREb63nGQE3ZEox84tTMAK0yPmHJ1rzb2ZCoINIa-PkWNq9XEu6kTgfd-r8X5hkv_UT6H4-Giy93v08VruMrDxQ37sZUtmHuq42mtU4r_upoHFB-oXKIntg59cvFrhnKlGfXu6KglCwP_1QjzeNRSjrYzjv2gfk/s5472/240224%20B.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC_6jw6b8L_yDJOB_hd_SgomSQYfbQoREb63nGQE3ZEox84tTMAK0yPmHJ1rzb2ZCoINIa-PkWNq9XEu6kTgfd-r8X5hkv_UT6H4-Giy93v08VruMrDxQ37sZUtmHuq42mtU4r_upoHFB-oXKIntg59cvFrhnKlGfXu6KglCwP_1QjzeNRSjrYzjv2gfk/w400-h266/240224%20B.jpg" width="400" /></a></div>February 18, 2024<p></p>
<p><i>At Sea</i> - Charles Ives - William Sharp, Steven Blier</p>
<p>a fragment song or aphoristic <br />extends beyond its horizon</p>
<p><i>Go Go Dynamo</i> - Steve Layton [from <i>Lucky You</i>]</p>
<p>
for dancing <br />turn the groove this way and that <br />the hips the feet the shoulders
the hat <br />reset the rhythm ball <br />move where the moves now fall <br />aerobic and fun
<br />you'll grin a ton
</p>
<p><i>Flag Song</i> - Charles Ives - Paul Sperry, Irma Vallecillo</p>
<p>Country and God and Manly Determination <br />square jaws and ready fists</p>
<p><i>Gold In a Gray Land</i> - Steve Layton [from <i>Lucky You</i>]</p>
<p>
pebbles in a pool of many dimensions <br />each with its surface and depths <br />each
pebble descends true <br />through its discovered pool
</p>
<p>
<i>Far From My Heavenly Home</i> - Charles Ives - Mary Ann Hart, Dennis
Helmrich
</p>
<p>a prayer</p>
<p><i>First Autumn Day </i>- Steve Layton [from <i>Lucky You</i>]</p>
<p>
the hemisphere of the biosphere <br />begins its necessaries to survive the long
dark <br />winds and current shift <br />life pulls back into itself
</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRwlc8D2W7ZiYoNHyNTqJEWzydayzpKtYW_Cx-NCmHfa9T80QntCz8AIl6TF3Sk2HFPZexBeEiB-opbx4IiPa9_orFCMkJmhkJ5gZMUHLvQGaP_XSQMc8urdESh2-bNvkem9gt35gs3Hx5IrjEOKlaKBFVfnGXDTlZZHiG4tE2pvJhPx7DL5NoLiseOtc/s5472/240224%20G.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRwlc8D2W7ZiYoNHyNTqJEWzydayzpKtYW_Cx-NCmHfa9T80QntCz8AIl6TF3Sk2HFPZexBeEiB-opbx4IiPa9_orFCMkJmhkJ5gZMUHLvQGaP_XSQMc8urdESh2-bNvkem9gt35gs3Hx5IrjEOKlaKBFVfnGXDTlZZHiG4tE2pvJhPx7DL5NoLiseOtc/w400-h266/240224%20G.jpg" width="400" /></a></i></div><i>The Last Reader</i> - Charles Ives - Dora Ohrenstein, Phillip Bush<p></p>
<p>
that scarce remembered lay <br />there's the schoolbook cadence <br />and there's the oh
so modern waft of scent
</p>
<p><i>Deah</i> - Steve Layton [from <i>Lucky You</i>]</p>
<p>shaman <br />calling a power out <br />reaching toward it to speak to it</p>
<p><i>The Greatest Man</i> - Charles Ives - Paul Sperry, Irma Vallecillo</p>
<p>cute</p>
<p><i>Baila</i> - Steve Layton [from <i>Lucky You</i>]</p>
<p>
I'm being acquired point by point <br />(oh gee he's up to my knee) <br />one two three
four <br />increments of engulfment
</p>
<p>
<i>The Housatonic at Stockbridge</i> - Charles Ives - Mary Ann Hart, Dennis
Helmrich
</p>
<p>
the use of "at" or "on" in geographic place names or descriptions <br />an East
coast thing? <br />I think here we would say "in" or "near" Stockbridge
</p>
<p>
<i>When I Was a Child I Lived By the River</i> - Steve Layton [from
<i>Lucky You</i>]
</p>
<p>menacing but placatable <br />if properly feared</p>
<p><i>Resolution</i> - Charles Ives - Dora Ohrenstein, Phillip Bush</p>
<p>a quotation pulled from its surrounds</p>
<p><i>Lucky You</i> - Steve Layton [from <i>Lucky You</i>]</p>
<p>
a happy walking hum <br />with which we say <br />ta ta to Mr. Layton <br />'til we pick him up
again in the next cycle <br />and now lucky me <br />a marathon of Ives songs
</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXkuK4PE21htIl4lOD9UvIAfLMCZ07cgTMZZWxE0ONPAcAiCJVrsxi6HnrIbLoDAJUYi38neCqvniYdLZRfa-XscsMOQxlZKvLvjPljrkBqgigfmpewwdbfCw6Ma5bCyVmQhzlc6QuXKL3d0kMzAqM2VvklvBPykKI-h6jLDkMb-qi6XHcuToEHxCdRM8/s5472/240224%20H.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXkuK4PE21htIl4lOD9UvIAfLMCZ07cgTMZZWxE0ONPAcAiCJVrsxi6HnrIbLoDAJUYi38neCqvniYdLZRfa-XscsMOQxlZKvLvjPljrkBqgigfmpewwdbfCw6Ma5bCyVmQhzlc6QuXKL3d0kMzAqM2VvklvBPykKI-h6jLDkMb-qi6XHcuToEHxCdRM8/w400-h266/240224%20H.jpg" width="400" /></a><i></i></div><i>Two Little Flowers; Evening; Immortality; Yellow Leaves; Ann Street; Peaks;
The White Gulls; 1, 2, 3; Majority; Remembrance; The One Way; The Rainbow
(So May It Be!); The Side Show; A Sea Dirge; In the Mornin</i>
- Charles Ives - Dora Ohrenstein, Philip Bush; Mary Ann Hart, Dennis Helmrich;
Paul Sperry, Irma Vallecillo; William Sharp, Steven Blier
<p></p>
<p>
thrice repeated clauses <br />plangence <br />plainness <br />ding dong bell <br />what are art songs
for? <br />to give singers a music more suitable to an intimate space than is
allowed in opera <br />and to sing in different tenses and characters <br />than would
generally come up on the dramatic stage <br />interesting <br />these seem to benefit from
not being isolated from their own kind <br />several of them together lifts each
individually <br />they are all and each <br />not the all and all <br />but rather <br />a part
written in stones <br />ragtime photographs of moments <br />the music of a time <br />the color
if its time <br />point at the map <br />name the streets <br />to his credit he doesn't obscure the affectual dissonances of the poem
</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoApFWRn1sTjjIAjA-vp11sDlDifRDYpe3iLK_ZgmZu3O88B8qAfs7gB-j6zVDQJG1Cd4IEsaUs_iXj3KQw5JkvX7TZovzFP4CP-rhz2ezwj1O8wjl05aa7OyC9rX_vDfAZkeJBQsFs23bcghQ9d5l1D2G8XwCzUtOBkr97PMRD9G-QtaBgh1IrvAzGNo/s4313/240224%20C.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2771" data-original-width="4313" height="258" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoApFWRn1sTjjIAjA-vp11sDlDifRDYpe3iLK_ZgmZu3O88B8qAfs7gB-j6zVDQJG1Cd4IEsaUs_iXj3KQw5JkvX7TZovzFP4CP-rhz2ezwj1O8wjl05aa7OyC9rX_vDfAZkeJBQsFs23bcghQ9d5l1D2G8XwCzUtOBkr97PMRD9G-QtaBgh1IrvAzGNo/w400-h258/240224%20C.jpg" width="400" /></a></div>February 19, 2024<p></p>
<p>
<i>Ich Grolle Nicht; Widmung; We Melodien; There Is a Lane; Elégie; Evidence;
Berceuse; Rough Wind; South Wind; No More; On Judge's Walk; A Night Thought;
Song of the Dead; Where the Eagle; Tolerance; The Love Song of Har Dyal;
Omens and Oracles; Those Evening Bells; Frühlingslied; ein Ton; Marie; Song;
Memories; Waltz; Songs My Mother Taught Me; Son of a Gambolier </i>- Charles Ives - Dora Ohrenstein, Philip Bush; Mary Ann Hart, Dennis
Helmrich; Paul Sperry, Irma Vallecillo; William Sharp, Steven Blier
</p>
<p>
so <br />these can function effectively as Preludes do <br />in sets of the same <br />they set
each other up and off <br />or <br />like variations <br />the mix of them more alive <br />than any
one of them as an individual thought </p><p>pre-19th Century it is my understanding
<br /> that songs were written to be intersticed <br />as part of a longer musical event
<br /> one might be included between movements of a symphony exempli gratia <br />the
arrival of song cycles <br />was part of change in the social circumstances <br />in which
music was shared music <br />became part of bourgeois home life <br />these offer a
picture of domestic life 100 years ago <br />and of what was appropriate within its
confines <br />texts that could be printed in a respectable periodical </p><p>man's
hearthstone <br />build my own </p><p>for all Ives's reputation as a modernist <br />the vast
majority of these are not so far out as to be modernistic <br />kazoos
notwithstanding <br />surely that sort of thing was seen frequently on the
vaudeville stage</p><p>the old dance ground
</p>
<p>***************</p>
<p>
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiicNKQNsNy80KFcrV_2AbFE8AXOdMgKlj_MVcecx0BtsN_d9dNps922eV7iXiOuibLKq6zJKoj6MnKaW2uem45ggfdr728W72bobQmbsNQyTOTHY6ZAzPLTUs2xg-LIYa7PNS4LZSyte-KKfVZWXd0RezlawMf2VIEvTugGwkC3CPBaiGWrB9sD2SrCnY/s5472/240224%20D.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiicNKQNsNy80KFcrV_2AbFE8AXOdMgKlj_MVcecx0BtsN_d9dNps922eV7iXiOuibLKq6zJKoj6MnKaW2uem45ggfdr728W72bobQmbsNQyTOTHY6ZAzPLTUs2xg-LIYa7PNS4LZSyte-KKfVZWXd0RezlawMf2VIEvTugGwkC3CPBaiGWrB9sD2SrCnY/w400-h266/240224%20D.jpg" width="400" /></a></div>{NB: And so we begin a new cycle, composed of those tracks I have indexed to
years ending in "3" or "8".}
<p></p>
<p>
<i>O Quam Mirabilis Est (Antiphona)</i> - Hildegard Von Bingen - Sequentia,
Barbara Thornton
</p>
<p>voice illuminates space</p>
<p>
<i>Baci Soavi E Cari</i> - Carlo Gesualdo - Delitiæ Musicæ, Marco Longhini
</p>
<p>voice confers with voice <br />long lined phrases</p>
<p>
<i>A Suite of Dances</i> - Anonymous - David di Fiore [from The Grand Organ of
the Castle Church of St. Catherine in Kremnica]
</p>
<p>
David played these for us many times at services over the years <br />I remember
that his voicing on them evolved over time <br />experimenting with rhythm and color
</p>
<p>
<i>Benedictus Deus noster</i> - Peter Phillips - Royal Holloway Choir, Rupert
Gough, The English Cornett and Sackbut Ensemble
</p>
<p>voice populates space <br />full of glory</p>
<p>February 20, 2024</p>
<p>
<i>Historia der Auferstehung Jesu Christ, Op. 3</i> - Heinrich Schütz -
Capella Augustana
</p>
<p>
ornate reading <br />even setting the title <br />do I have the same trouble with
word-painting here? <br />not so much <br />it seems to be more in the nature of a
sensitive declamation <br />than in a clever <br />look-at-what-I-did there <br />the music
amplifies <br />they are gesticulations in the character of the declaimer <br />part of
their person and demeanor <br />I think our choir did at least a part of this many
years ago <br />perhaps even under Chuck Peterson <br />back when we were ambitious</p><p>Schoenberg was not the first to set the voice of divinity in multiple parts
<br />including the voice of Mary</p><p>this is a setting of the Johannine resurrection
story
</p>
<p>
<i>Ich habe Lust abzuschieden, BWV 47</i> - Dieterich Buxtehude - Purcell
Quartet, Suzie LeBlanc, Dame Emma Kirby, Clare Solomon
</p>
<p>bass lines with lives of their own have business below and above</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIMAdcVwIuOy_dRqIsOggAS7c6onVJ4TWtKRVWiujNd8WTIcwalrZOpK8j7TcldTHD09v-DxmaI9t_5SgRWmW7CCsANcZBqNxB8dcIB3YAqipoUlb43DXqdFiqJaeUWlmRqZYseMLSaGYN0ghLcQI8_yQjKezxyi5GC3VMNRVksURC7QWmsgx2Pdzs2dE/s5472/240224%20I.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIMAdcVwIuOy_dRqIsOggAS7c6onVJ4TWtKRVWiujNd8WTIcwalrZOpK8j7TcldTHD09v-DxmaI9t_5SgRWmW7CCsANcZBqNxB8dcIB3YAqipoUlb43DXqdFiqJaeUWlmRqZYseMLSaGYN0ghLcQI8_yQjKezxyi5GC3VMNRVksURC7QWmsgx2Pdzs2dE/w400-h266/240224%20I.jpg" width="400" /></a></i></div><i>David et Jonathas, Act I</i> - Marc-Antoine Charpentier - Pinchgut Opera,
Antony Walker, Orchestra of the Antipodes, Dean Robinson, Paul McMahon, David
Parkin, Andrei Laptev, Anna Fraser, David Greco, Cantillation, Anders J.
Dahlin, Simon Lobelson, Richard Anderson,Sara Macliver, Ashley Giles
<p></p>
<p>
we wanted the stories to be enacted within our behold <br />it needed to be writ
large <br />music in the service of making things larger than life <br />opens with
royalty's conference with sorcery <br />which has power over the spirit of
Samuel <br />interesting</p><p>sound effects!! <br />thunder and hooves! </p><p>balance between the
phrases of voice and the remarks of the orchestra <br />pay mind when they join
forces <br />basso profundo divine authority figure <br />must be Samuel</p><p>this here is
ceremonial and pomply <br />a chorus is an opportunity to reset <br />change the mind
scene <br />metrical accelerants <br />big screen biblical epic
</p>
<p>
<i>Liebster Jesu, wir sing hier, BWV 731</i> - Johann Sebastian Bach -
Stanislav Surin
</p>
<p>
the increment between activation of the key <br />and the speaking of the pipes
<br />varies with rank and pitch and space <br />blurring synchrony
</p>
<p><i>Allemande de Laborieuse</i> - François Couperin - Kenneth Gilbert</p>
<p>
grace filters down from above <br />the fount and the echo box <br />clarification signals
conclusion
</p>
<p>
<i>Acis and Galatea, Act I</i> - George Frideric Handel - Seattle Symphony
Orchestra, Gerard Schwarz, Kawn Kotoski, David Gordon, Glenn Siebert, Jan
Opalach, Seattle Symphony Chorale
</p>
<p>
this music goes about its business certifying the preparations <br />dusting the
chandeliers </p><p>tableauxers take their places</p><p>presented as though on too big a
stage <br />if it's worth singing <br />it's worth repeating <br />the characters are picture
book illustrations <br />trouble with the sheep <br />placid and pastoral <br />enjoy the
picture book <br />and our conversations too <br />there're those happy happy happy wes
<br />everybody's happy couple
</p>
<p>
<i>Hipocondrie a 7 concertanti</i> - Jan Dismas Zelenka - Camerata Bern,
Alexander van Wijnkoop
</p>
<p>
the depictions of worry and miscertainty <br />following darker paths <br />an unstable
affect <br />or <br />the affect is of an unstable sort
</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjCx8FFtAjYJtbbRary2dAQyeFBTl5lwoH9E_QC5P4FahrasvL0Q13l1dRTb9pbM7vdlPoWWXD9awQJWET4h2V5dcZyAClAlM7kJKjqsOMg8ChMEhfKCZ6y0qqOw4ydiXw-oBv2f2zTMFn2AHilddWOui8uKT3ni16MIpWAUzCgtqMINrssk33wrmN1v4/s5472/240224%20E.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjCx8FFtAjYJtbbRary2dAQyeFBTl5lwoH9E_QC5P4FahrasvL0Q13l1dRTb9pbM7vdlPoWWXD9awQJWET4h2V5dcZyAClAlM7kJKjqsOMg8ChMEhfKCZ6y0qqOw4ydiXw-oBv2f2zTMFn2AHilddWOui8uKT3ni16MIpWAUzCgtqMINrssk33wrmN1v4/w400-h266/240224%20E.jpg" width="400" /></a></div>February 21, 2024<p></p>
<p>
<i>Noel 10 'Grand jeu et duo'</i> - Louis-Claude Daquin - Marie-Claire Alain
</p>
<p>
celebratory dance with doubles and variations <br />music for a large space <br />we sit
back and observe from our seats
</p>
<p>
<i>Sonata in A Major, Wq. 65.10</i> - Carl Philipp Emanuel Bach - Miklós
Spányi
</p>
<p>sets up shop in one's head <br />a short study in chromatic progressions</p>
<p>
<i>Sonata in D Major, Kk.223</i> - Domenico Scarlatti - Pieter-Jan
Belder
</p>
<p>no mind intrusion here <br />it intrigues <br />invites study</p>
<p><i>La Damanzy</i> - Jacques Duphly - Christophe Rousset</p>
<p>rings on every finger <br />frills at every seam</p>
<p><i>Three Scottish Tunes</i> - James Oswald - Nancy Hadden</p>
<p>early folk adaptations <br />a sprightly Greensleevs</p>
<p>
<i>Ah, tu non senti, from Ifigenia in Tauride (Tomasa Traetta)</i> - Franz
Joseph Haydn - Orchestre de Chambre de Laussanne, Antal Dorati
</p>
<p>
a number for another composer's opera <br />a dramatic recitative <br />orchestra plays
<br />then the singer <br />et cetera <br />until late in the game <br />rhetorical structure employed for
dramatic impact
</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2hiz8dgSlWD3N9HTlUXwUrZRFftQx93Cw6c6ACwGHL-7HPaZiENcaGeR4f38ZEPSXPR8_dBVYcNE9EtTjif5Q_duJ1aBxHy4GE0RGz2Q6L17oGoYAE2KywkJLiPhXCkKiBpzhyxDHV1HDBMEvlGHgQ3XWSWe46h2yhX31zZpUeq-l6QwzlfkRHy3Dnkk/s4011/240224%20J.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="4011" height="364" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2hiz8dgSlWD3N9HTlUXwUrZRFftQx93Cw6c6ACwGHL-7HPaZiENcaGeR4f38ZEPSXPR8_dBVYcNE9EtTjif5Q_duJ1aBxHy4GE0RGz2Q6L17oGoYAE2KywkJLiPhXCkKiBpzhyxDHV1HDBMEvlGHgQ3XWSWe46h2yhX31zZpUeq-l6QwzlfkRHy3Dnkk/w400-h364/240224%20J.jpg" width="400" /></a></i></div><i>Symphony in D Makor, K45(45)</i> - Wolfgang Amadeus Mozart - Academy of
Ancient Music, Jaap Schroeer, Christopher Hogwood
<p></p>
<p>
1 <br />glittering <br />bursting with invention and contrast </p><p>2 <br />a methodical progression
<br />wanders astray <br />but sticks to its procedures </p><p>3 <br />dancers line up <br />a dance is a
structured conversation </p><p>4 <br />lively dinner conversation
</p>
<p><i>Sonata in G Major</i> - Johann Christian Bach - Bart van Oort</p>
<p>
the top line melody is the hero of its own tale <br />fingery figures shaped for the
hand
</p>
<p><i>Sonata in A Major, Op. 10 #1</i> - Muzio Clementi - Howard Shelley</p>
<p>
1 <br />clarity and grace <br />post repeat <br />behind the scenes <br />pump the servants <br />pull the
strings of society </p><p>2 <br />cobbled together <br />irregular <br />loves to find the dark corners
of phrase endings <br />the three meter complicates itself </p><p>3 <br />spinning machinery
<br />mechanical toy wonder <br />the era of the virtuoso has arrived
</p>
<p>
<i>Sonata pour le Clavecin où le Forte-Piano in G Major, WoO, C.40</i> -
Johann Ladislaus Dussek
</p>
<p>
1-A <br />a refined gentleman with genuine passions that erupt in his handsome
breast so noble <br />1-B <br />a rough and noisy character with true tenderness in his
broad chest </p><p>2 <br />let's see how they do at the dance among their fellows <br />or amid
the chatter of an evening at dinner and cards <br />but wanders into dangerous
territory
</p>
<p>
<i>Concerto in B-flat Major, Op. 19 (#2)</i> - Ludwig van Beethoven - Boston
Symphonie Orchestra, Seiji Ozawa, Rudolf Serkin
</p>
<p>
1 <br />use the most unlikely hinge <br />it will be unmistakable on its return <br />a fixed
point <br />from which to survey the dance of motions in concord or in opposition
<br />Ludwig muscles in on the virtuoso scene <br />is that Beethoven's cadenza? </p><p>2 <br />a
phrase is an adventure full of plot points <br />big R Romantic <br />back when it was an
intellectual posture </p><p>3 <br />rollicking fun at the local Bierhall <br />switches from
looking back at the music <br />to simply playing it <br />ha! fooled ya!
</p>
<p><i>Sonata in C Major </i>- Johann Nepomuk Hummel - Constance Keene</p>
<p>
1 <br />the assertion is questioned <br />discussed in its presence <br />has a clever
figuration game <br />irrepressible <br />hey <br />do you remember that assertion we were
discussing </p><p>2 <br />ok let's take this thing apart shall we <br />but first we'll breakfast
on the veranda <br />an important conversation being had <br />in which the assertion
figures heavily </p><p>3 <br />a great twittering is heard in the domestic labyrinth
<br /> perhaps the assertion solved itself <br />its commerce fulfilled <br />all settled
</p>
<p><i>Sonata in G Minor, Op. 13</i> - Friederich Kalkbrenner - John Khouri</p>
<p>
1 <br />the stormy part of passion <br />he becomes a bit of a bore about it </p><p>2 <br />whew! now
what? <br />forcing the music to get bigger <br />a constant pressure of espressivo
utterance </p><p>3 4 <br />golly they all sure do start with a loud bang
</p>
<p>February 22, 2024</p>
<p>
<i>Caprice in E Major, Op. 1 #1</i> - Niccolò Paganini - Salvatore Accardo
</p>
<p>virtuosic flashpoint <br />next stop Liszt</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRmlTVz3bqBCgJOS7lmSxa-rA1q-JePINi5izKy1GLKd9KIZZVQN57-LfbHHWQ-UULZ_A9ty9CLzOO67YBrngNvM4zvz6Sp_KyZVcRPE0DPSCWLgldZV003cEv7gKH1U52tRnR1MCyWbDPOGOuMLQc7syOt2_IXGhxtTla3AhYOqx786-tGuHicZ325L8/s3695/240224%20K.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="3695" height="395" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRmlTVz3bqBCgJOS7lmSxa-rA1q-JePINi5izKy1GLKd9KIZZVQN57-LfbHHWQ-UULZ_A9ty9CLzOO67YBrngNvM4zvz6Sp_KyZVcRPE0DPSCWLgldZV003cEv7gKH1U52tRnR1MCyWbDPOGOuMLQc7syOt2_IXGhxtTla3AhYOqx786-tGuHicZ325L8/w400-h395/240224%20K.jpg" width="400" /></a></i></div><i>Die Schöne Müllerin </i>- Franz Schubert - Gerard Souzay, Dalton Baldwin<p></p>
<p>
each page a poem <br />each poem an illustration <br />master of the passing shadow <br />or
change in the weather <br />music <br />the stage setting props and drops <br />no hurry getting
around to what might be a plot <br />wandering involves many scenes to be believable
wandering <br />and there she is right on cue <br />stations of the mill a <br />sequence of
rhymed soliloquies <br />piano part moves effortlessly between being a piece in its
own right and clearly playing a supporting role to the voice <br />two roles
<br />harmonic support and lyric foil <br />as in blues guitar playing <br />such as Mr.
Johnson's <br />the pianist has an excellent touch <br />microscopic attention to
shades of affect <br />somebody got his dander up <br />gets dark indeed <br />shades of
the Werther of Young Sorrows
</p>
<p><i>Gran Capriccio in C minor</i> - Carl Czerny - Martin Jones</p>
<p>
a caprice follows thought <br />playing registers off each other <br />the keyboard is a
puppet stage <br />this one shows melodramas nightly <br />matinees on weekends <br />and
a post melodrama fugue for the aficionados
</p>
<p>
<i>Introduction and Bolero in A minor, Op. 19</i> - Frédéric Chopin - Garrick
Ohlsson
</p>
<p>
a tour through the measures <br />singling out particularly significant pitch places</p><p>for northern Europeans <br />did the Bolero as a dance type <br />appeal <br />because of its
sultry <br />fantasy inciting <br />Spanish origins?
</p>
<p>
<i>Les nuits d'ete</i> - Louis-Hector Berlioz - Orchestre de Paris, Daniel
Barenboim, Kiri Te Kanawa
</p>
<p>
loves his scenery <br />lusts after the opera stage <br />a magician with his orchestra <br />or
<br />instrument is a sound to be applied where needed <br />these scenes are not static
<br />things happen in them
</p>
<p>
<i>O Weh des Scheidens</i> - Clara Schumann - Dorothea Craxton, Hedayet
Djeddikar
</p>
<p>private communication <br />direct address <br />mixtape</p>
<p>
<i>Ouverture-Manfred</i> - Robert Schumann, Boston Symphony Orchestra -
Wilhelm Furwängler
</p>
<p>
there it is right there <br />forever slipping from our grasp <br />and here comes that
astonishing <br />name that tune <br />final chord
</p>
<p><i>Variations on a Hungarian Song</i> - Johannes Brahms, Julius Katchen</p>
<p>
for piano two-fists <br />the fists dream of one day becoming real hands <br />fully
intertwinable </p><p>try to force their way in <br />through fierce counterpoint
</p>
<p>
<i>Richard III, Op. 11</i> - Bedřich Smetana - Czech Philharmonic Orchestra,
Václav Neumann
</p>
<p>
early appearance of tune-bird <br />cinema spectacular <br />royal ceremony <br />pomp and
costumes <br />horse chases in the dead of night <br />thrills and chills <br />all our favorite
bits <br />complete with kettle drums to make it all kingly <br />a bit of a trip
</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLJT__tEzciZCw5NbAZT5vap1jyRjUB_1_04pjryA71a_7A4sz9zntcmi6BV_fAv2fwPCsHNcGDyhN5kWHQgad14BhNj4KXQ5RYGIb9ymCyOcrX-Loa7v3NeX60BhusNYWMJfAKhcJ-nMf5tkPQxeKGS4i2P-up-JW5ag2AdNEjXjhn8_r8p3ZDiB9a9E/s5472/240224%20L.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLJT__tEzciZCw5NbAZT5vap1jyRjUB_1_04pjryA71a_7A4sz9zntcmi6BV_fAv2fwPCsHNcGDyhN5kWHQgad14BhNj4KXQ5RYGIb9ymCyOcrX-Loa7v3NeX60BhusNYWMJfAKhcJ-nMf5tkPQxeKGS4i2P-up-JW5ag2AdNEjXjhn8_r8p3ZDiB9a9E/w400-h266/240224%20L.jpg" width="400" /></a></i></div><i>Rhapsodie espagnole</i> - Franz Liszt - Stephen Hough<p></p>
<p>
laying the whole keyboard wizard thing on pretty thick <br />now down to business
<br />these puppets are big and scary <br />but wear rhinestone shoes <br />and a sparkly jacket
<br />and there are candelabras </p><p>modulation by tossing the threads into the air <br />and finding
where they fall to
</p>
<p>
<i>Fatum, Op. 77</i> - Pyotr Ilyich Tchaikovsky - National Symphony Orchestra
of Washington, D.C., Antal Dorati
</p>
<p>
a scarlet thread <br />invisible if not suspected <br />doing its work <br />high and low <br />in
court and field <br />and town and village <br />forces are gathering <br />there's gonna be a
blow-up <br />he's telegraphing it big-time <br />pull back <br />to the furtive opening <br />find
our happy place <br />nope sorry <br />Mr. Stomp is here to stomp
</p>
<p><b>In Session at The Tintinabulary</b></p>
<p>February 18, 2024</p>
<p><i>Hingham</i> - Keith Eisenbrey</p>
<iframe allow="autoplay" frameborder="no" height="20" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1757031126&color=%23ff5500&inverse=false&auto_play=false&show_user=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/keith-eisenbrey" style="color: #cccccc; text-decoration: none;" target="_blank" title="Keith Eisenbrey">Keith Eisenbrey</a> · <a href="https://soundcloud.com/keith-eisenbrey/33-hingham-240218-240218" style="color: #cccccc; text-decoration: none;" target="_blank" title="33 Hingham 240218 [240218]">33 Hingham 240218 [240218]</a></div>
<p>February 19, 2024</p>
<p><i>Gradus 392</i> - Neal Kosály-Meyer</p>
<p>
an energized location in space <br />a grouping thereof <br />is an attitude of that space</p><p>a
fulcrum in the earbrain <br />between <br />being a part of a vertical (momentary)
sonority <br />and being part of an horizontal (sequential) figure </p><p>occupy the
fulcrum </p><p>a preponderance of root position triadic harmonies <br />skews the balance
toward the momentary (vertical) sonorities <br />as a primary consideration </p><p>more
transparent texture <br />skews it toward the sequential (horizontal) <br />separates the
voices </p><p>reverberation space and pitch space <br />reverberation space <br />is an artifact
of physical objects in physical space <br />pitch space <br />is a virtual space arising
out of perception of aspects of a sonic environment </p><p>at the fulcrum the
dimensions shift easily one to the other
</p>
<p>February 23, 2024</p>
<p><i>Psalm 119 </i>- Aaron Keyt</p>
<p><i>Ein wahrer Glaube Gotts Zorn stillt</i> - Aaron Keyt</p>
<p style="text-align: center;"><b>Postscripts</b></p>
<p><b>Drops</b></p>
<p><i>Keith Eisenbrey 13: Music as Film (part 2) 2008 - 2009</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=469382060/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-13-music-as-film-part-2-2008-2009">Keith Eisenbrey 13: Music as Film (part 2) 2008 - 2009 by Keith Eisenbrey</a></iframe>
<p>
Volume 13 completes my Music as Film project, in which I built up textures
from snippets of sound. "Zither Film" is just that process and nothing else.
"Improvising a Framework for Composition so as to Compose My Thoughts about
Improvisation" uses layers from the earlier "Lids Film" in conjunction with
texts both original and found. "Torch Song" is all about its found texts. It
may not properly belong in the project's remit but it tagged along anyway. It
certainly doesn't belong anywhere else.
</p>
<p>
Volumes 1 through 12 are available at
<a href="http://keitheisenbrey.bandcamp.com">keitheisenbrey.bandcamp.com</a>
</p>
<p>All are free for download.</p>
<p><b>Skaldmud's Doodle Gallery</b></p>
<p>listening journal doodles from 2020</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2EMnCgEtTNetQVLlnkmigVs-j2vvQW9d74gFdMIwnV_Eblp3OjuTBqTzX8V8Q1qL2zzyWqQ2_fWba-HyzfLO5tkgyFPnfd2QZmYMSs2j_4h3PpRwMRFBxFbW_Z3h8ZQArnpt_i3mxCwVdqt_gvr056Nj8fTvHIJDdsNsN5nqwgX2nm8BQ29BoxueTE54/s2717/2024%20scan919.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2717" data-original-width="2545" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2EMnCgEtTNetQVLlnkmigVs-j2vvQW9d74gFdMIwnV_Eblp3OjuTBqTzX8V8Q1qL2zzyWqQ2_fWba-HyzfLO5tkgyFPnfd2QZmYMSs2j_4h3PpRwMRFBxFbW_Z3h8ZQArnpt_i3mxCwVdqt_gvr056Nj8fTvHIJDdsNsN5nqwgX2nm8BQ29BoxueTE54/w375-h400/2024%20scan919.jpg" width="375" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSc6mUbyTJY15rEGCMY7d84wmHVdT9E10yZE4slhNr80_2RS7i4yjsAtmJU4gqissMk_bsBf-Udq2lOL_EWiDrGplIdgSY2oLKv3h5kZcY224Rx91yjx6QCJw0OsJqZ0mWq8c90DRFkKYpN5bCI26AKOFFZzVqrlyGwVN4MLwjMB4Ipr3oC9WrBaUyiR8/s2328/2024%20scan920.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1880" data-original-width="2328" height="323" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSc6mUbyTJY15rEGCMY7d84wmHVdT9E10yZE4slhNr80_2RS7i4yjsAtmJU4gqissMk_bsBf-Udq2lOL_EWiDrGplIdgSY2oLKv3h5kZcY224Rx91yjx6QCJw0OsJqZ0mWq8c90DRFkKYpN5bCI26AKOFFZzVqrlyGwVN4MLwjMB4Ipr3oC9WrBaUyiR8/w400-h323/2024%20scan920.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgvJ0PLohGiXBqLCcvnyQxrZmTvFi84ZuwvoLSduKeQqufkQqKDtTZhWf9q0ue3XFYw7a4NxbDf0s-c_4x68jbYrdrnFNzkmyna7BpR6qEXibk8lI7o0YOcwnalc5QtAQgQw8On9MczYIWY7NRiN3ufxV65hfGVcxSjxcj3dwYwdMt0LlFciqmvY_LhAk/s2505/2024%20scan921.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1772" data-original-width="2505" height="283" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgvJ0PLohGiXBqLCcvnyQxrZmTvFi84ZuwvoLSduKeQqufkQqKDtTZhWf9q0ue3XFYw7a4NxbDf0s-c_4x68jbYrdrnFNzkmyna7BpR6qEXibk8lI7o0YOcwnalc5QtAQgQw8On9MczYIWY7NRiN3ufxV65hfGVcxSjxcj3dwYwdMt0LlFciqmvY_LhAk/w400-h283/2024%20scan921.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8YhKVQh8O-tJF7PNFBNF36N5-xG-DWNt7NTm9jXG2urYy34-S9IM3WJaClfopMiR3bzmCzZZyLTJFE-0Da0KdwyeXZ6AT6vS0uNbwuIpxg8ms9IuuFBIGkMf0p4Jxz8h54XQi_tFz0RA3vcn9H2ws5DhJkJ07-LHMS-C42nlQ_Z-TZ5pplq3RcdksUxM/s2525/2024%20scan922.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1531" data-original-width="2525" height="243" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8YhKVQh8O-tJF7PNFBNF36N5-xG-DWNt7NTm9jXG2urYy34-S9IM3WJaClfopMiR3bzmCzZZyLTJFE-0Da0KdwyeXZ6AT6vS0uNbwuIpxg8ms9IuuFBIGkMf0p4Jxz8h54XQi_tFz0RA3vcn9H2ws5DhJkJ07-LHMS-C42nlQ_Z-TZ5pplq3RcdksUxM/w400-h243/2024%20scan922.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDkAguDvAmPdPnMMRtIJhdxfy-1vyhAQgaM-m7LTdD3JTDCSpEYmn3b0jKlALWiH3V29WCvH1HKNODB25UZhWUCC64Dbwuf7K29zn3ZmfjVszcfcmISNBk6VmlZgWmn3pXtmdsled06weeirOby_eJLMXJEycgQVyeft7riXvNfRC6qON3O_CN8jUEqtw/s2540/2024%20scan923.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1575" data-original-width="2540" height="248" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDkAguDvAmPdPnMMRtIJhdxfy-1vyhAQgaM-m7LTdD3JTDCSpEYmn3b0jKlALWiH3V29WCvH1HKNODB25UZhWUCC64Dbwuf7K29zn3ZmfjVszcfcmISNBk6VmlZgWmn3pXtmdsled06weeirOby_eJLMXJEycgQVyeft7riXvNfRC6qON3O_CN8jUEqtw/w400-h248/2024%20scan923.jpg" width="400" /></a></div><br /><p><br /></p>
Keith Eisenbreyhttp://www.blogger.com/profile/16399615075612440296noreply@blogger.com0tag:blogger.com,1999:blog-7569166511516520581.post-22398171772264848072024-02-17T15:06:00.000-08:002024-02-18T07:47:43.477-08:00Playlist<p style="text-align: center;"><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWKxAkUWIJLKKCRvI1c59udjIVwl7H6ynYdgSHL86O0wxvF11M5DM3P7l1ugOcng-Oeqnxe6h8-m4ED4fxCph_xPFzxo9Zn7FnokX7iVJfsBFGbtfO1n5GovosG5ULaAyd2tkfRbqsQDQ_iUl4QAO6dq6-JukHibOPJV8fCBDV7dQdm90YRtLk7qaWd3s/s5472/240217%20C.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWKxAkUWIJLKKCRvI1c59udjIVwl7H6ynYdgSHL86O0wxvF11M5DM3P7l1ugOcng-Oeqnxe6h8-m4ED4fxCph_xPFzxo9Zn7FnokX7iVJfsBFGbtfO1n5GovosG5ULaAyd2tkfRbqsQDQ_iUl4QAO6dq6-JukHibOPJV8fCBDV7dQdm90YRtLk7qaWd3s/w400-h266/240217%20C.jpg" width="400" /></a></b></div><b>Preface</b><p></p>
<p>
"So spoke the wooers,<br />But wise Odysseus<br />had the great bow in his
hands<br />and, having examined it thoroughly<br />just as a man<br />skilled
in song and the lyre<br />easily stretches the string about a new lyre-peg,<br />fastening
the twisted sheep-gut at both ends,<br />so did Odysseus without effort<br />bend
the great bow.<br />Holding it in his right hand,<br />he tested the
string.<br />And the string sang sweetly <br />under his touch<br />like the
voice of a swallow.<br />Great anguish took hold of the wooers.<br />The
complexion of each changed hue.<br />Zeus thundered, manifesting a mighty
sign,<br />and divine Odysseus, who had endured so much,<br />was happy that
the Son of Kronos, crooked in counsel,<br />had sent him an omen,<br />and he
took a swift arrow<br />that lay unsheathed on a table -<br />the others were
stashed in a hollow quiver -<br />precisely those arrows of which<br />the
Achaians were soon<br />to have a direct experience."</p><p></p>
<p>Homer - from "The Odyssey", translated by Charles Stein</p>
<p style="text-align: center;"><b>Texts</b></p>
<p><b>Recorded</b></p>
<p>February 10, 2024</p>
<p><i>Like a Sick Eagle</i> - Charles Ives - Mary Ann Hart, Dennis Helmrich</p>
<p>trying new gimmicks on for size <br />sempre portamentissimo</p>
<p><i>Confidential to Me</i> - Bob Dylan [from <i>A Tree With Roots</i>]</p>
<p>the piano could use some tuning</p>
<p>
<i>The Train is A-Coming</i> - Seeger Family [from
<i>American Folk Songs for Children</i>]
</p>
<p>
any mundane event can occasion a song <br />collect the words that come to
mind <br />string them together until the Gospel message sneaks in
</p>
<p>
<i>The Shell of the Sky</i> - Steve Layton & Sound-In [from
<i>Miracles and Wonders</i>]
</p>
<p>
the sense of parallax as a form of far-sightedness <br />what is close up
blurs at speed <br />what is far away stays more still <br />rushing through
now and past <br />the past toward a new now <br />within a differently angled
past
</p>
<p>these rails are smooth <br />they have no clackety clack</p>
<p><i>I'll Not Complain</i> - Charles Ives - J. J. Penna, Robert Gardner</p>
<p>a complaint in the the form of a resolution to not complain</p>
<p><i>Odds and Ends (Take 1)</i> - Bob Dylan [from <i>A Tree With Roots</i>]</p>
<p>the guitar has more to do on this one</p>
<p>
<i>The Little Black Train</i> - Seeger Family [from
<i>American Folk Songs for Children</i>]
</p>
<p>
train arrival <br />a little newspaper poem to tuck in the tails of columns
</p>
<p><i>Midsummer </i>- Steve Layton [from <i>Excavations 2013-2014</i>]</p>
<p>
all of the recorded music listened to as part of this journal <br />is stored
as information on a hard drive that is not much larger than a pack of cards
</p>
<p><i>December</i> - Charles Ives - Paul Sperry, Irma Vallecillo</p>
<p>stream of quick consciousness</p>
<p>
<i>Nothing Was Delivered (Take 3)</i> - Bob Dylan [from
<i>A Tree With Roots</i>]
</p>
<p>thirty seconds of it</p>
<p>
<i>When The Train Comes Along</i> - Seeger Family [from
<i>American Folk Songs for Children</i>]
</p>
<p>train to the afterlife <br />death done summoned me</p>
<p><i>Bully</i> - Steve Layton [from <i>Lucky You</i>]</p>
<p>lording the hallway <br />power walk</p>
<p><i>The World's Highway</i> - Charles Ives - Paul Sperry, Irma Vallecillo</p>
<p>
we get all the noise of adventure <br />and peace of return to home and
garden
</p>
<p><i>Odds and Ends (Take 2)</i> - Bob Dylan [from <i>A Tree With Roots</i>]</p>
<p>an accusation <br />get out of my face</p>
<p>
<i>John Henry</i> - Seeger Family [from
<i>American Folk Songs for Children</i>]
</p>
<p>
the man who did what he said he would with a hammer in his hand <br />hammered
till he broke his heart
</p>
<p><i>To The Waters and the Wild</i> - Steve Layton [from <i>Colors</i>]</p>
<p>borne on billows</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjN_plJJgwshQcnOQiYxc9HsgADbXnF9kQ0JQySSTvIuAas-SiVu9qvGtw5_xRprbINHEhuXfBfYCII8t2J4-E7ecCdQDSPzD2bYwzXpQ05A_XSLnMF8dBF3X5_Qc2sCFFpnGxEsIpEsU-kkSHeTBmrMvvkZIJdm-h2coCG2boY-PlKkTLlfyKKNJQnVRE/s5472/240217%20D.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjN_plJJgwshQcnOQiYxc9HsgADbXnF9kQ0JQySSTvIuAas-SiVu9qvGtw5_xRprbINHEhuXfBfYCII8t2J4-E7ecCdQDSPzD2bYwzXpQ05A_XSLnMF8dBF3X5_Qc2sCFFpnGxEsIpEsU-kkSHeTBmrMvvkZIJdm-h2coCG2boY-PlKkTLlfyKKNJQnVRE/w400-h266/240217%20D.jpg" width="400" /></a></div>February 11, 2024<p></p>
<p><i>A Night Song</i> - Charles Ives - Mary Ann Hart, Dennis Helmrich</p>
<p>
word painting as a practice <br />leads to choosing texts for their paintable
words
</p>
<p><i>Get Your Rocks Off</i> - Bob Dylan [from <i>A Tree With Roots</i>]</p>
<p>a song is as long as the story he wants to tell <br />the squalor's life</p>
<p>
<i>Every Monday Morning</i> - Seeger Family [from
<i>American Folk Songs for Children</i>]
</p>
<p>
the daily rural life <br />as it fell under John Henry's hammer <br />so as to
be connected to the commerce of the continent
</p>
<p>
<i>Daughters of the Frost Moon</i> - Steve Layton [from
<i>Ending to Begin</i>]
</p>
<p>
burst at intervals begin to release others from their long enchantment an
unstable ground
</p>
<p>
<i>From "The Swimmers"</i> - Charles Ives - Mary Ann Hart, Dennis Helmrich
</p>
<p>
I suppose it's a challenge to both paint the words effectively and make an
independently plausible music of it <br />but still
</p>
<p>
<i>Clothesline Saga (Answer to Ode)</i> - Bob Dylan [from
<i>A Tree With Roots</i>]
</p>
<p>backyard fences</p>
<p>
<i>Going Down to Town</i> - Seeger Family [from
<i>American Folk Songs for Children</i>]
</p>
<p>two singers two strummers a balanced pair of pairs</p>
<p>
<i>Trabant Holiday</i> - Steve Layton & Sound-In [from
<i>Miracles and Wonders</i>]
</p>
<p>
a machine is doing its doohickey doings <br />fascinating and amusing
<br />quite charming
</p>
<p><i>Ilmenau</i> - Charles Ives - Eric Trudel, Sumi Kittelberger</p>
<p>
why would we think that moods and words (reference) are objects that music
needs?
</p>
<p>
<i>Apple Suckling Tree (Take 1)</i> - Bob Dylan [from
<i>A Tree With Roots</i>]
</p>
<p>chew the fat song</p>
<p>
<i>Sailing In The Boat</i> - Seeger Family [from
<i>American Folk Songs for Children</i>]
</p>
<p>coastal</p>
<p><i>Juny</i> - Steve Layton [from <i>Excavations 2013-2014</i>]</p>
<p>this is an urban way to move and walk and hold oneself</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsGLTN8l13h6vjkYTzeWIR05vWURmC4edU1bVzV_5slLfdH133U7x8rrzSlm_4HwvyKbEMpw7OKJc_rYLHDyTR2gBLPv-u5kc5BM2wzG8ZSQzTYnb2jcIebthALCRXjrjrQwUwVpQa9t1o6TYVHc0jT38QKlfULIy0uWBnY5K_f2Oegg0HNFzq6jrbUXg/s5472/240217%20E.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsGLTN8l13h6vjkYTzeWIR05vWURmC4edU1bVzV_5slLfdH133U7x8rrzSlm_4HwvyKbEMpw7OKJc_rYLHDyTR2gBLPv-u5kc5BM2wzG8ZSQzTYnb2jcIebthALCRXjrjrQwUwVpQa9t1o6TYVHc0jT38QKlfULIy0uWBnY5K_f2Oegg0HNFzq6jrbUXg/w400-h266/240217%20E.jpg" width="400" /></a></div>February 12, 2024<p></p>
<p><i>Cradle Song</i> - Charles Ives - William Sharp, Steven Blier</p>
<p>
but ought not the mood of music match the mood of the poem? <br />it is
certainly a possible conceit <br />but there are many approaches
</p>
<p>
<i>Apple Suckling Tree (Take 2)</i> - Bob Dylan [from
<i>A Tree With Roots</i>]
</p>
<p>
for instance <br />this text's mood <br />has few apparent doings <br />with
this stomp dance
</p>
<p>
<i>Blow, Boys, Blow </i>- Seeger Family [from
<i>American Folk Songs for Children</i>]
</p>
<p>song on the waterfront</p>
<p><i>Ecstasy in the Overload</i> - Steve Layton [from <i>Lucky You</i>]</p>
<p>
a steady flow <br />with waves carried within its column <br />tap into it for
tool applications <br />or self maintenance
</p>
<p>
adjusting to the motions of the magnetosphere chamber <br />our home in
hostile space
</p>
<p><i>Because of You</i> - Charles Ives - Paul Sperry, Irma Vallecillo</p>
<p>a courting song <br />you changed the world for me </p>
<p>were't not</p>
<p>
<i>All You Have To Do Is Dream (Take 1)</i> - Bob Dylan [from
<i>A Tree With Roots</i>]
</p>
<p>energy builds up to be released at the ends of groups of four</p>
<p>set up <br />set up <br />set up <br />punch line</p>
<p>
<i>Fire Down Below</i> - Seeger Family [from
<i>American Folk Songs for Children</i>]
</p>
<p>fire is general over the ship</p>
<p><i>Pushers</i> - Steve Layton [from <i>Colors</i>]</p>
<p>
we observe from several stations <br />monitor activity and operation
<br />factory floor <br />robust machinery
</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGwLRGorP_thTbZ1iBrWFslcIUyNXAmOc7sQ4O6yspptjX5PxTBPIiO5s7FTlwXS6_hhjP9l8zhsdYChIVNd193PfYny_6o3WmdKvqiHrsio4TDRvKoQY8rjdTb-MnM_q7W52TaTjyIeH9KP3F1-d5yeoHnRzQvKbW1ttIQ58YeULYbat0btq9zf8J2qQ/s5472/240217%20I.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGwLRGorP_thTbZ1iBrWFslcIUyNXAmOc7sQ4O6yspptjX5PxTBPIiO5s7FTlwXS6_hhjP9l8zhsdYChIVNd193PfYny_6o3WmdKvqiHrsio4TDRvKoQY8rjdTb-MnM_q7W52TaTjyIeH9KP3F1-d5yeoHnRzQvKbW1ttIQ58YeULYbat0btq9zf8J2qQ/w400-h266/240217%20I.jpg" width="400" /></a></i></div><i>At The River</i> - Charles Ives - William Sharp, Steven Blier<p></p>
<p>
the ideal of it is mired in the mud <br />with everything else that comes down
this way
</p>
<p>
<i>All You Have To Do Is Dream (Take 2) </i>- Bob Dylan [from
<i>A Tree With Roots</i>]
</p>
<p>
not only does he not care particularly if we like him <br />he also doesn't
care over much to be understood
</p>
<p>and so we bid adieu to Bob until the next cycle sometime</p>
<p>
<i>Sally Go Round the Sunshine</i> - Seeger Family [from
<i>American Folk Songs for Children</i>]
</p>
<p>didn't even have time to sit down <br />trade lines <br />pom pom</p>
<p>
<i>The Seer of W 36th Street </i>- Steve Layton & Sound-In [from
<i>Miracles and Wonders</i>]
</p>
<p>
cycles rely on charm <br />like cute robots <br />not-cycles rely on the
excitement of curiosity
</p>
<p><i>Immortality</i> - Charles Ives - Douglas Dickson, Tamara Mumford</p>
<p>a moral observation</p>
<p>
<i>This Old Man</i> - Seeger Family [from
<i>American Folk Songs for Children</i>]
</p>
<p>
this song goes like I remember having learned it in elementary school
<br />counting practice for forming minds
</p>
<p><i>Hanging</i> - Steve Layton [from <i>Excavations 2013-2014</i>]</p>
<p>
we are a space probe <br />out in the lonely <br />greet the distant stars one
by one
</p>
<p><i>In The Alley</i> - Charles Ives - William Sharp, Steven Blier</p>
<p>how I intended to court Sally</p>
<p>
<i>Skip-a to My Lou </i>- Seeger Family [from
<i>American Folk Songs for Children</i>]
</p>
<p>find a rhyme game for dancing to pull them in from anywhere</p>
<p>
<i>Òyeme como quien oye llover</i> - Steve Layton [from
<i>Ending to Begin</i>]
</p>
<p>
eerie sighs <br />the image of cyborg consciousness <br />echo <br />the image
of dream consciousness <br />signal <br />without linguistically pertinent
articulation <br />we know it says <br />we know not what <br />a message
inscribed need not be translatable <br />to be clearly understood <br />as
being an inscribed message
</p>
<p><i>Requiem </i>- Charles Ives - Dora Ohrenstein, Phillip Bush</p>
<p>
not much rest in this Requiem <br />short of absolute dissolution <br />uses
dissonance as an effect
</p>
<p>
<i>When I Was a Young Maid</i> - Seeger Family [from
<i>American Folk Songs for Children</i>]
</p>
<p>
under what social circumstances did songs such as these spread to find
themselves here?
</p>
<p>
<i>Through The Eye of the Needle </i>- Steve Layton & Sound-In [from
<i>Miracles and Wonders</i>]
</p>
<p>now be a good camel <br />through you go <br />that-a-boy </p>
<p>morse rhythms<br />parallel motions <br />chromatic motions</p>
<p><i>Afterglow</i> - Charles Ives - William Sharp, Steven Blier</p>
<p>observations of a man of infinite leisure</p>
<p>
<i>The Closet Key</i> - Seeger Family [from
<i>American Folk Songs for Children]</i>
</p>
<p>lost and sought and found in that lady's garden</p>
<p>
<i>In The Fish Tank</i> - Steve Layton & Sound-In [from
<i>Miracles and Wonders</i>]
</p>
<p>
a village of sounds <br />curious and eager <br />interesting characters in
the more intricately hidden back alleys
</p>
<p>
<i>General William Booth Enterest Into Heaven</i> - William Sharp, Steven
Blier
</p>
<p>this one is magnificently theatrical <br />bizarre </p>
<p>washed in the blood of the lamb <br />in a fierce martial tempo </p>
<p>sound effects <br />style effects</p>
<p>
<i>Built My Lady a Fine Brick House</i> - Seeger Family [from
<i>American Folk Songs for Children</i>]
</p>
<p>something to sing <br />to keep the time while dancing</p>
<p>
<i>Troubled Times</i> - Steve Layton & Sound-In [from
<i>Miracles and Wonders</i>]
</p>
<p>singing our songs in Babylon far away <br />tangled tongues</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhScc2ZISWzOZbEL_RMpn11oHvvVu8cd0cSh1MINE630H5KwRuFdZMYjfJZH-HZtoM4xpVMfdntBn73hl5ccLomudhy9iufylB-WQPVLCgun_SqBV_E60h8Ed915IyOhsxRCLrEonU-_oITPPZIalaEbhYbcQnectJ2QQMOGDhtrugO5aMMrguhL7OUbHo/s5472/240217%20F.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhScc2ZISWzOZbEL_RMpn11oHvvVu8cd0cSh1MINE630H5KwRuFdZMYjfJZH-HZtoM4xpVMfdntBn73hl5ccLomudhy9iufylB-WQPVLCgun_SqBV_E60h8Ed915IyOhsxRCLrEonU-_oITPPZIalaEbhYbcQnectJ2QQMOGDhtrugO5aMMrguhL7OUbHo/w400-h266/240217%20F.jpg" width="400" /></a></div>February 13, 2024<p></p>
<p><i>To Edith </i>- Charles Ives - Dora Ohrenstein, Phillip Bush</p>
<p>
piano acquired a role as default accompanying instrument <br />derived from
its ability to mimic other ensembles
</p>
<p>
<i>Where Oh Where Is Pretty Little Susie</i> - Seeger Family [from
<i>American Folk Songs for Children</i>]
</p>
<p>what's a paw paw patch <br />that so attracts Susie and Sarah?</p>
<p>
<i>Legos</i> - Steve Layton & Sound-In [from <i>Miracles and Wonders</i>]
</p>
<p>busy bots</p>
<p><i>In April-tide</i> - Charles Ives - Eric Trudel, Matthew Plenk</p>
<p>here's Mr. Educated Composer Person being proper</p>
<p>
<i>Jingle at the Windows</i> - Seeger Family [from
<i>American Folk Songs for Children</i>]
</p>
<p>does not bother to word-paint <br />nor to make much sentiment</p>
<p><i>Steam Toys</i> - Steve Layton [from <i>Excavations 2013-2014</i>]</p>
<p>
if the wind-up Nairobi Trio were left to run on and on nonstop <br />it might
have mutated as it broke down <br />to this
</p>
<p><i>From 'Perecelsus'</i> - Charles Ives - Paul Sperry, Irma Vallecillo</p>
<p>
American music loved new techniques <br />for what they mean <br />still
<br />word/mood painting <br />so what's my beef? <br />are we doing it in
service of the poem or to gild it? <br />is the poem primarily about its
surface sentiment?
</p>
<p>
<i>Adam Had Seven Sons </i>- Seeger Family [from
<i>American Folk Songs for Children</i>]
</p>
<p>fatherhood and authority</p>
<p><i>Locomotive </i>- Steve Layton [from <i>Lucky You</i>]</p>
<p>
a name might be a placeholder <br />within language <br />for what might not
be a possible thing <br />within word world
</p>
<p>
language <br />music <br />mathematics <br />evaporate <br />if their
confluence is contrived away
</p>
<p>
<i>Romanzo di Central Park</i> - Charles Ives - Dora Ohrenstein, Phillip Bush
</p>
<p>
sequence by half-step increment <br />loosens scale degree functionality
<br />order-determination's toe-in-the-door
</p>
<p>
<i>Here Sits a Monkey</i> - Seeger Family [from
<i>American Folk Songs for Children</i>]
</p>
<p>mixer game from another time</p>
<p>
<i></i></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;">
<tbody>
<tr>
<td style="text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiCFQ7eWxqtAEqmq4PRR972gq28U4qOPegEdxGw5ekMXGL5YkU_YnNQXZ6VfFyfL1zznclk21gbXTYylahi-q22EX8HHmok1ogA-drSPVpnXRPpKFPzNaqmfSj2GdZfSM4IGnX7_AzSQK59xXi8Ly3znveNWXBgSu5XJ0GUrTYj-BOqdBs7TLmUkBBNsw/s1570/240217%20A.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="610" data-original-width="1570" height="155" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiCFQ7eWxqtAEqmq4PRR972gq28U4qOPegEdxGw5ekMXGL5YkU_YnNQXZ6VfFyfL1zznclk21gbXTYylahi-q22EX8HHmok1ogA-drSPVpnXRPpKFPzNaqmfSj2GdZfSM4IGnX7_AzSQK59xXi8Ly3znveNWXBgSu5XJ0GUrTYj-BOqdBs7TLmUkBBNsw/w400-h155/240217%20A.jpg" width="400" /></a>
</td>
</tr>
<tr>
<td class="tr-caption" style="text-align: center;">
The Long Embrace
</td>
</tr>
</tbody>
</table><i>
This Long Embrace</i>
- Steve Layton [from <i>Colors</i>]
<p></p>
<p><i>My Lou Jennine</i> - Charles Ives - Paul Sperry, Irma Vallecillo</p>
<p>
to amuse ourselves <br />we decorate poetry in song <br />something for the
visitors' notebook when <br />we go out in the evenings to make our calls
</p>
<p>
<i>Go To Sleepy</i> - Seeger Family [from
<i>American Folk Songs for Children</i>]
</p>
<p>mama and papa are going to the mail boat</p>
<p><i>Nordland</i> - Steve Layton [from <i>Ending to Begin</i>]</p>
<p>
a showcase of sounds <br />curated sets <br />clues to what lies within
<br />tales <br />potions <br />fertilizers
</p>
<p><i>Religion </i>- Charles Ives - Dora Ohrenstein, Phillip Bush</p>
<p>ambiguities tamed in Concord Sweet</p>
<p>
<i>Monday Morning Go To School </i>- Seeger Family [from
<i>American Folk Songs for Children</i>]
</p>
<p>sings Monday Evening</p>
<p>
<i>Squall Line</i> - Steve Layton & Sound-In [from
<i>Miracles and Wonders</i>]
</p>
<p>the church bells ring out <br />news <br />alarum <br />in jocund rhythm</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdT1rJy6iYykxaBTrFW-39aYbED0xUitWmpSyDjX66B5XqdF2O9WIrdtQeZgJCw28yKPXKjkLBZQlvyQhN8hHvSsfAomC15YrFfN2GCB9H5nV7MJFpOgmNKDRjDaMaD3jQBwfryhaj63ykJq447izL1YQ03s7j6T6c10Hlv5jbX406bB7Al4upQbdc3OQ/s3904/240217%20J.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2800" data-original-width="3904" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdT1rJy6iYykxaBTrFW-39aYbED0xUitWmpSyDjX66B5XqdF2O9WIrdtQeZgJCw28yKPXKjkLBZQlvyQhN8hHvSsfAomC15YrFfN2GCB9H5nV7MJFpOgmNKDRjDaMaD3jQBwfryhaj63ykJq447izL1YQ03s7j6T6c10Hlv5jbX406bB7Al4upQbdc3OQ/w400-h288/240217%20J.jpg" width="400" /></a></i></div><i>The New River </i>- Charles Ives - Paul Sperry, Irma Vallecillo<p></p>
<p>special effects spectacular</p>
<p>
<i>Hush 'N' Bye </i>- Seeger Family [from
<i>American Folk Songs for Children</i>]
</p>
<p>promising ponies after slumber <br />and sweet cake</p>
<p>
<i>Weave of Rings</i> - Steve Layton & Sound-In [from
<i>Miracles and Wonders</i>]
</p>
<p>
stepping out of mundane time <br />into sempiternal cyclings <br />a
manufactured timelessness
</p>
<p><i>Down East</i> - Charles Ives - Paul Sperry, Irma Vallecillo</p>
<p>
so I ask myself: <br />Ives, Seegers, Layton <br />- New England, Americana
Museum, The Great Northwest? <br />- Closet Royalists, Cataloguists, Citizen
Putterer
</p>
<p>
<i>Turtle Dove</i> - Seeger Family [from
<i>American Folk Songs for Children</i>]
</p>
<p>
the past had its regional musics <br />as do we <br />though the present's way
of being <br />is clearly not like the past's
</p>
<p>
<i>Widow of the Pines</i> - Steve Layton & Sound-In [from
<i>Miracles and Wonders</i>]
</p>
<p>
a list is ordered language <br />or <br />a list is language objects ordered
<br />a sentence is a list of words <br />a list of letters <br />a list of
shapes <br />a list of sounds
</p>
<p>
is language the list of sounds <br />or is it our parsing of it? <br />is
music the sounds we hear <br />or our parsing of it?
</p>
<p>
yes <br />one hopes <br />without one the whole vanishes <br />without the
whole there is naught to parse
</p>
<p>
<i>The Things Our Fathers Loved </i>- Charles Ives - Mary Ann Hart, Dennis
Helmrich
</p>
<p>whiskers from kittens <br />formed into mittens</p>
<p>
<i>Mary Had a Baby</i> - Seeger Family [from
<i>American Folk Songs for Children</i>]
</p>
<p>
catechism in a nonsense song <br />the people keep a coming and the train done
gone
</p>
<p>definitely an autoharp</p>
<p>
<i>Shine On Beast</i> - Steve Layton & Sound-In [from
<i>Miracles and Wonders</i>]
</p>
<p>
this music arises in a world in which the isolated sounds go wandering out
<br />to tax our powers of making discretions of particulars <br />that is
<br />it isn't meant to blend <br />because 'meant' is not it its
make-up
</p>
<p>motor impulse music <br />quasi-autonomic</p>
<p><i>In Flanders Fields </i>- Charles Ives - William Sharp, Steven Blier</p>
<p>
sucked (back){?} into Europe's mirefields <br />nothing so patriotic as
fighting for auld England <br />war-mongering mutters
</p>
<p>
<i>Jesus Born in Bethelea</i> - Seeger Family [from
<i>American Folk Songs for Children</i>]
</p>
<p>simple chords to strum <br />for learning strumming</p>
<p>
<i>Conversations With Moonlight</i> - Steve Layton & Sound-In [from
<i>Miracles and Wonders</i>]
</p>
<p>phenomena in dance <br />converse across languages </p>
<p>
lists can be subjected to functions <br />output recycles input <br />input
coopts recycling <br />to distribute itself <br />controlling output of input
<br />cooption <br />choose the process <br />craft the process
</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW78qtGiYCZgxROiU1IYo6VJH9eA6SxpwkXkFpIDL3BapPhOL8O5wkIZMWQ_YUd1Y0STFSnyMZ2HPsEKJ1bVtjflOmniX5zsfLRrOgjete_RUJVkBrCiknQ1UdfwRz8xGZmrxI9_2Qa7fUThjvuLoBb0clC-os2bphsmgDkMwoSBYu7mdcmWNjP_hRqUA/s5472/240217%20K.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW78qtGiYCZgxROiU1IYo6VJH9eA6SxpwkXkFpIDL3BapPhOL8O5wkIZMWQ_YUd1Y0STFSnyMZ2HPsEKJ1bVtjflOmniX5zsfLRrOgjete_RUJVkBrCiknQ1UdfwRz8xGZmrxI9_2Qa7fUThjvuLoBb0clC-os2bphsmgDkMwoSBYu7mdcmWNjP_hRqUA/w400-h266/240217%20K.jpg" width="400" /></a></i></div><i>Tom Sails Away</i> - Charles Ives - William Sharp, Steve Blier<p></p>
<p>troubled </p>
<p>
its a whole little film <br />here's this <br />here's that <br />too much
detail jumped all over by the music <br />O Boy let's paint some words!
</p>
<p>
<i>The Cherry Tree Carol </i>- Seeger Family [from
<i>American Folk Songs for Children</i>]
</p>
<p>indigenous midrash <br />Gospel according to the least of these</p>
<p>
<i>The White Wind </i>- Steve Layton & Sound-In [from
<i>Miracles and Wonders</i>]
</p>
<p>
a caldron of spaces <br />those that come as parts of sounds <br />the melody
is slow <br />sensitive to the length of time each note needs <br />to speak
<br />its "this is me"
</p>
<p><i>They Are There</i> - Charles Ives - Paul Sperry, Irma Vallecillo</p>
<p>
here's the Ra Ra Hip Hip Hoo Ray <br />a rouser speech spouting applause lines
</p>
<p>
<i>Little Birdie</i> - Seeger Family [from
<i>Animal Folk Songs for Children</i>]
</p>
<p>
picking rhythms and tempo <br />time poetry <br />the old proportional meters
<br />where they got it from
</p>
<p>
<i>Two Point Five Minute War</i> - Steve Layton & Sound-In [from
<i>Miracles and Wonders</i>]
</p>
<p>
a profoundly obscured text <br />ink on permanently scrolled scroll
<br />clutching secrets <br />mundanities <br />dust and dust
</p>
<p><i>In Autumn</i> - Charles Ives - Douglas Dickson, Michael Cavalieri</p>
<p>suitable for any polite company</p>
<p>
<i>The Sea Fowl</i> - Seeger Family [from
<i>Animal Folk Songs for Children</i>]
</p>
<p>
melody traces the movements of beasts <br />an admission of awe <br />shockin'
to me <br />a strange song altogether</p>
<p>
<i>A Voice Came</i> - Steve Layton & Sound-In [from
<i>Miracles and Wonders</i>]
</p>
<p>
alchemy of music into words <br />words into music <br />words within music
<br />therefore <br />music within words?
</p>
<p><i>In Flanders Fields</i> - Charles Ives - J. J. Penna, Patrick Carfizzi</p>
<p>there are the marching drums <br />row on row <br />stuck</p>
<p>
<i>Old Bangum</i> - Seeger Family [from <i>Animal Folk Songs for Children</i>]
</p>
<p>
the song that stuck in my head <br />until I'd composed it out <br />here
<br />as a kind of adventure lullaby <br />dream hero myth
</p>
<p>
<i>Stomped Box</i> - Steve Layton & Sound-In [from
<i>Miracles and Wonders</i>]
</p>
<p>
deeply disgruntled worker beasts <br />making Orcs and Orcs <br />always with
the Orcs <br />why are we making Orcs?! <br />let's scour our brain pans
</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitXGowGjlxY6qOaPFXCWLnIPbfhuMgkkuAX_YamrwwKIP_TpriZoRzfkqgTALGFc1hjIMFlKgw2DSyFfp1b3bwYZS_D53qHVxBEK_72gEymOT7bVcYsvZAKxR6oj-pZErClqJgo9EdYtQNrWLrADX7_W8JflEtt9MS0g-rOabxek6F2aNd6FTrHL-tyhU/s5472/240217%20G.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitXGowGjlxY6qOaPFXCWLnIPbfhuMgkkuAX_YamrwwKIP_TpriZoRzfkqgTALGFc1hjIMFlKgw2DSyFfp1b3bwYZS_D53qHVxBEK_72gEymOT7bVcYsvZAKxR6oj-pZErClqJgo9EdYtQNrWLrADX7_W8JflEtt9MS0g-rOabxek6F2aNd6FTrHL-tyhU/w400-h266/240217%20G.jpg" width="400" /></a></div>February 14, 2024<p></p>
<p>
<i>In My Beloved's Eyes</i> - Charles Ives - Douglas Dickson, Michael
Cavalieri
</p>
<p>talking oneself into an exalted state</p>
<p>
<i>The Swapping Song</i> - Seeger Family [from
<i>Animal Folk Songs for Children</i>]
</p>
<p>climb back up by nonsense rhyme games</p>
<p>
<i>Morning Ferry</i> - Steve Layton & Sound-In [from
<i>Miracles and Wonders</i>]
</p>
<p>
gathering the scattered folk <br />to catch their drifts into a funnel
<br />for statistical analysis
</p>
<p><i>Disclosure</i> - Charles Ives - Dora Ohrenstein, Phillip Bush</p>
<p>a song full of discrete stylistic episodes</p>
<p>
<i>Great Big Dog</i> - Seeger Family [from
<i>Animal Folk Songs for Children</i>]
</p>
<p>wagged his tail and shook the meadow</p>
<p><i>Soar Somore</i> - Steve Layton [from <i>Excavations 2013-2014</i>]</p>
<p>
figures in a cyclic groove <br />displaying a seperate larger pattern on its
surface <br />leave what is constant <br />to play out at the end
</p>
<p><i>Because Thou Art</i> - Charles Ives - Mary Ann Hart, Dennis Helmrich</p>
<p>a very proper attitude toward one's lord and husband</p>
<p>
<i>Saw a Sow </i>- Seeger Family [from <i>Animal Folk Songs for Children</i>]
</p>
<p>tell a tall tale <br />t'amuse tots</p>
<p><i>Hymn of The Lost</i> - Steve Layton [from <i>Lucky You</i>]</p>
<p>
the boom of the drum <br />activates the motes into images <br />from which
they settle through the layers <br />to the bottom <br />to be re-activated
</p>
<p><i>William Will</i> - Charles Ives - William Sharp, Steve Blier</p>
<p>hoorah for Will McKinley and his bill! <br />newsreel stump speech</p>
<p>
<i>Turkey In The Straw</i> - Seeger Family [from
<i>Animal Folk Songs for Children</i>]
</p>
<p>whoopin' up a tune called Turkey in the Straw</p>
<p><i>Stop</i> - Steve Layton [from <i>Ending to Begin</i>]</p>
<p>
permeated <br />inundated <br />engulfed <br />absorbed <br />acculturated
</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmo92EXN7-WkoD9cyr2M4dOGtfH7m69jF0ZAN468R550hk_7RUhx2fFMY0TL_Gz0YbzFvDAKUcYrPMg5jc6D1sgmSIZ7wVzxuoTa9BCuz3lSbWSEyN9SdoTwKADLmCqS-G_cPqZOv5tLrtazi3qWoT2zQVPY1NB_b1WuhJxtqXyy0fmTtGA3DTrVfe8xY/s5472/240217%20L.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmo92EXN7-WkoD9cyr2M4dOGtfH7m69jF0ZAN468R550hk_7RUhx2fFMY0TL_Gz0YbzFvDAKUcYrPMg5jc6D1sgmSIZ7wVzxuoTa9BCuz3lSbWSEyN9SdoTwKADLmCqS-G_cPqZOv5tLrtazi3qWoT2zQVPY1NB_b1WuhJxtqXyy0fmTtGA3DTrVfe8xY/w400-h266/240217%20L.jpg" width="400" /></a></i></div><i>In Summer Fields (Feldseinsamkeit)</i> - Charles Ives - Douglas Dickson,
Michael Cavallieri
<p></p>
<p>
important that the harmony be understood in groups of four <br />a modest
tinge of Brahmsian polyrhythm <br />a quite modest tinge
</p>
<p>
<i>Once I Had an Old Gray Mare</i> - Seeger Family [from
<i>Animal Folk Songs for Children</i>]
</p>
<p>
sings 'once'd I had' <br />a conversation with a turkey buzzard <br />found
her in a mudhole flat on her back <br />the whole skinning story <br />frosted
toes
</p>
<p>
<i>Humming Bumper Cupcombs</i> - Steve Layton & Sound-In [from
<i>Miracles and Wonders</i>]
</p>
<p>shuttle travel <br />warp and woof across city streets</p>
<p><i>In The Alley</i> - Charles Ives - Douglas Dickson, Robert Gardner</p>
<p>here's that Sally of the alley again <br />it will end in tears for sure</p>
<p>
<i>Little Rooster</i> - Seeger Family [from
<i>Animal Folk Songs for Children</i>]
</p>
<p>
animal sounds game <br />with a green bay tree <br />to fill the answering
phrase <br />old Mcdonald type
</p>
<p>
<i>The Nighthawks</i> - Steve Layton & Sound-In [from
<i>Miracles and Wonders</i>]
</p>
<p>
our aperture is narrow and unchanging <br />it sees what it can see <br />we
make of it what we are capable of making of it <br />is there a reason to
think <br />that our conceptions are not limited <br />by our conceptual
apparatus?
</p>
<p><i>In The Mornin'</i> - Charles Ives - Douglas Dickson, Tamara Mumford</p>
<p>
The repetition of clauses is an underscoring <br />instructions on how the
line is to be emphasized
</p>
<p>
<i>Who Killed Poor Robin?</i> - Seeger Family [from
<i>Animal Folk Songs for Children</i>]
</p>
<p>
sparrow with the arrow <br />beetle with little thread and needle <br />those
sound like gut strings on that guitar
</p>
<p>
<i>Wandelwonderland </i>- Steve Layton & Sound-In [from
<i>Miracles and Wonders</i>]
</p>
<p>at night they launch the invasion force into the interstellar void</p>
<p><i>The Incantation</i> - Charles Ives - J. J. Penna, Patrick Carlizzi</p>
<p>when the shooting stars are hooting</p>
<p>
<i>Lost Gander</i> - Seeger Family [from
<i>Animal Folk Songs for Children</i>]
</p>
<p>banjo time <br />alternating straight pluck tune and harmonic pluck tune</p>
<p>
<i>The Rose Window </i>- Steve Layton & Sound-In [from
<i>Miracles and Wonders</i>]
</p>
<p>
so what's the difference between a recorded acoustic sound <br />and a
recorded synthetic sound <br />less noise in the latter <br />or just a
simpler signal <br />a signal designed as such <br />not simply recorded as
such <br />it lacks the chamber <br />that included both microphone and sound
</p>
<p><i>The Indians</i> - Charles Ives - Eric Trudel, Robert Gardner</p>
<p>a premature funeral oration <br />they're still very much here</p>
<p>
<i>The Leatherwing Bat</i> - Seeger Family [from
<i>Animal Folk Songs for Children</i>]
</p>
<p>
internal rhyme play <br />to swing the melody into a long lined metrical
pattern
</p>
<p>
<i>Hermit Crabs</i> - Steve Layton & Sound-In [from
<i>Miracles and Wonders</i>]
</p>
<p>subaqueous buoyance and inertial resistance</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRFaZ6LffE5SI6zKz75HIUK8-8CMEIET3P3AM1l_eigibIxS1naMdw275e5USFGIV5CdDo5p-XUJkytphjeYqYM1OBIZACg6ju4JxStFcUoocCdMflYGBTPejIN9hSMG9u5soM8Wp3MRs6Qu7p6KY6TiwkV_fVBYu0PqoXbUJvdQbgVh3iXM-eqLRqYVw/s5472/240217%20H.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRFaZ6LffE5SI6zKz75HIUK8-8CMEIET3P3AM1l_eigibIxS1naMdw275e5USFGIV5CdDo5p-XUJkytphjeYqYM1OBIZACg6ju4JxStFcUoocCdMflYGBTPejIN9hSMG9u5soM8Wp3MRs6Qu7p6KY6TiwkV_fVBYu0PqoXbUJvdQbgVh3iXM-eqLRqYVw/w400-h266/240217%20H.jpg" width="400" /></a></div>February 15, 2024<p></p>
<p><i>The Innate</i> - Charles Ives - J. J. Penna, Robert Gardner</p>
<p>
these notes are curled up into a tight wad <br />resisting disentanglement
<br />a sermon from a stern pulpit
</p>
<p>
<i>Jane, Jane </i>- Seeger Family [from <i>Animal Folk Songs for Children</i>]
</p>
<p>a song upon a rhythm groove<br />socially organized cooperation</p>
<p>
<i>At Play in a Crooked House</i> - Steve Layton & Sound-In [from
<i>Miracles and Wonders</i>]
</p>
<p>card sharks spying out tells</p>
<p><i>Maple Leaves</i> - Charles Ives - Mary Ann Hart, Dennis Helmrich</p>
<p>no firm foundation found</p>
<p>
<i>Old Bell Cow</i> - Seeger Family [from
<i>Animal Folk Songs for Children</i>]
</p>
<p>trash talk the livestock</p>
<p>
<i>Unsteady in Moonlight</i> - Steve Layton [from
<i>Excavations 2013-2014</i>]
</p>
<p>
adding spices and herbs to an instrument's sounds <br />the object with the
strings and soundbox is the main course <br />the various filters and effects
are embellishments <br />do they enhance or alter or obscure the instruments
naked virtues
</p>
<p>
<i>I Know and Loved a Maid</i> - Charles Ives - William Sharp, Steve Blier
</p>
<p>parlor-ready</p>
<p>
<i>Animal Song</i> - Seeger Family [from
<i>Animal Folk Songs for Children</i>]
</p>
<p>
and so we leave the Seeger Family Museum for the nonce <br />I'll skip the
gift shop <br />they probably have instruments for sale
</p>
<p><i>Not Your World Anymore</i> - Steve Layton [from <i>Lucky You</i>]</p>
<p>these are patient to nibble away at the last increments</p>
<p><i>From 'Amphio'</i> - Charles Ives - Mary Ann Hart, Dennis Helmrich</p>
<p>from bourgeois heaven family dream life</p>
<p><i>Ending To Begin</i> - Steve Layton [from <i>Ending to Begin</i>]</p>
<p>what if the filters talk back <br />a living resonance chamber</p>
<p><i>Karen</i> - Charles Ives - Douglas Dickson, Kenneth Tarver</p>
<p>the scene changes with each line</p>
<p>
<i>Blowhard</i> - Steve Layton & Sound-In [from
<i>Miracles and Wonders</i>]
</p>
<p>
Hosehorn Caverns National Sound Monument: <br />Hall of the Bellows of Beasts
</p>
<p>
<i>The Last Reader</i> - Charles Ives - Douglas Dickson, Michael Cavalieri
</p>
<p>
prolongs a tone that might have passed away <br />escapist fantasy sentiment
</p>
<p>
<i>The Angle of Afternoon Light</i> - Steve Layton & Sound-In [from
<i>Miracles and Wonders</i>]
</p>
<p>figures echoed in altered states</p>
<p>
<i>The Light That Is Felt</i> - Charles Ives - Douglas Dickson, Tamara Mumford
</p>
<p>the age of bourgeois sentiment <br />the trash romances of the era</p>
<p><i>Stresses</i> - Steve Layton [from <i>Excavations 2013-2014</i>]</p>
<p>
a style is a doing in multiple iterations <br />languages within a community
of styles <br />languages of languages
</p>
<p><i>Like a Sick Eagle</i> - Charles Ives - Eric Trudel, Robert Gardner</p>
<p>a woe's me drama</p>
<p><i>Centering </i>- Steve Layton [from <i>Lucky You</i>]</p>
<p>
a photograph <br />again with menace <br />but happy birds <br />or angry
<br />amid the menace
</p>
<p>
the presence of a musical idea <br />is not subject to search or seizure
<br />nor to the presence or absence of any element
</p>
<p>
<i>Lincoln The Great Commoner</i> - Charles Ives - Eric Trudel, Robert Gardner
</p>
<p>
trying on the emancipator's hat and coat <br />the very type of manly heroism
<br />mighty as a continent
</p>
<p>
<i></i></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;">
<tbody>
<tr>
<td style="text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJIC-TyA_oTUd2aQN6IiDwQK6nyHzpeT9hlVUe7d7Pz-fKwNgk_tIMOGVrOrDVfKYs0FziAIJEs091tRj3wHdZy7yAW5TYLVXoDh9pl91KB4nuytjTv0GkXFYw6V7Zlg42ws5sn1DJvkLUu4Sq0citfhuovEd8AG4vKReHztc9eN6PbtXZcRd9RhVZS1s/s703/240217%20B.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="226" data-original-width="703" height="129" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJIC-TyA_oTUd2aQN6IiDwQK6nyHzpeT9hlVUe7d7Pz-fKwNgk_tIMOGVrOrDVfKYs0FziAIJEs091tRj3wHdZy7yAW5TYLVXoDh9pl91KB4nuytjTv0GkXFYw6V7Zlg42ws5sn1DJvkLUu4Sq0citfhuovEd8AG4vKReHztc9eN6PbtXZcRd9RhVZS1s/w400-h129/240217%20B.jpg" width="400" /></a>
</td>
</tr>
<tr>
<td class="tr-caption" style="text-align: center;">Orison</td>
</tr>
</tbody>
</table><i>
Orison</i>
- Steve Layton [from <i>Lucky You</i>]
<p></p>
<p><i>Die Lotosblume</i> - Charles Ives - Eric Trudel, Kenneth Tarver</p>
<p>a school exercise <br />Schreiben Sie ein Lied auf Deutsch</p>
<p><i>27 Voices</i> - Steve Layton [from <i>Lucky You</i>]</p>
<p>I'm not counting <br />but I'll take his word for it <br />cubes of cubes</p>
<p>
<i>The Love Song of Har Dyal</i> - Charles Ives - Douglas Dickson, Jennifer
Casey
</p>
<p>embedded voices <br />sticky matrix</p>
<p><i>High Plains</i> - Steve Layton [from <i>Lucky You</i>]</p>
<p>in an early light <br />proto dawn</p>
<p><i>Luck and Work</i> - Charles Ives - Douglas Dickson, Janna Baty</p>
<p>adventure and industry</p>
<p><i>I Remember To Forget</i> - Steve Layton [from <i>Lucky You</i>]</p>
<p>
add it in <br />stir it constantly <br />add cream periodically <br />show the
base
</p>
<p><i>La Fède</i> - Charles Ives - William Sharp, Steve Blier</p>
<p>
we are stern <br />we are tender <br />we are the patriarch in our own minds
</p>
<p><i>The Sky a Blanket of Fire</i> - Steve Layton [from <i>Lucky You</i>]</p>
<p>
Summer in the brush and forest <br />sci-fi mag cover art <br />it has
<br />the flavor of a distant world <br />distance and alienation suffuse the
tongue
</p>
<p><i>The Indians</i> - Charles Ives - Paul Sperry, Irma Vallecillo</p>
<p>the past was <br />in the past <br />reduced to a misty recollection</p>
<p><i>Motel Rooms</i> - Steve Layton [from <i>Lucky You</i>]</p>
<p>anonymous places <br />anywhere America</p>
<p><b>In Session at The Tintinabulary</b></p>
<p>February 11, 2024</p>
<p><i>Park Street</i> - Keith Eisenbrey</p>
<iframe allow="autoplay" frameborder="no" height="20" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1750115268&color=%23ff5500&inverse=false&auto_play=false&show_user=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/keith-eisenbrey" style="color: #cccccc; text-decoration: none;" target="_blank" title="Keith Eisenbrey">Keith Eisenbrey</a> · <a href="https://soundcloud.com/keith-eisenbrey/32-park-street-240211-240211" style="color: #cccccc; text-decoration: none;" target="_blank" title="32 Park Street 240211 [240211]">32 Park Street 240211 [240211]</a></div>
<p>shape-note tunes are shapely patterns of notes</p>
<p>February 12, 2024</p>
<p><i>Banned Telepath 101 South</i> - Steve Kennedy</p>
<p>
<i>Banned Telepath 101 Tintinabulary</i> - Hayley, Karen Eisenbrey, Keith
Eisenbrey, Neal Kosály-Meyer
</p>
<p>
<i>Banend Rehearsal 1094</i> - Hayley, Karen Eisenbrey, Keith Eisenbrey, Steve
Kennedy, Neal Kosály-Meyer
</p>
<iframe allow="autoplay" frameborder="no" height="20" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1750180203&color=%23ff5500&inverse=false&auto_play=false&show_user=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/keith-eisenbrey" style="color: #cccccc; text-decoration: none;" target="_blank" title="Keith Eisenbrey">Keith Eisenbrey</a> · <a href="https://soundcloud.com/keith-eisenbrey/banned-rehearsal-1094-240212" style="color: #cccccc; text-decoration: none;" target="_blank" title="Banned Rehearsal 1094 240212">Banned Rehearsal 1094 240212</a></div>
<p>February 15, 2024</p>
<p><i>Sinfonia 11 (midi)</i> - Keith Eisenbrey</p>
<iframe allow="autoplay" frameborder="no" height="20" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1750116519&color=%23ff5500&inverse=false&auto_play=false&show_user=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/keith-eisenbrey" style="color: #cccccc; text-decoration: none;" target="_blank" title="Keith Eisenbrey">Keith Eisenbrey</a> · <a href="https://soundcloud.com/keith-eisenbrey/11-sinfonia-11-240215-midi" style="color: #cccccc; text-decoration: none;" target="_blank" title="11 Sinfonia 11 240215 (midi)">11 Sinfonia 11 240215 (midi)</a></div>
<p>I think I like it now</p>
<p>February 16, 2024</p>
<p><i>Aus tiefer Not Lasst uns zu Gott</i> - Aaron Keyt</p>
<p>these are deceptively tricky</p>
<p><i>Sinfonia 11 (clavichord)</i> - Keith Eisenbrey</p>
<iframe allow="autoplay" frameborder="no" height="20" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1750117176&color=%23ff5500&inverse=false&auto_play=false&show_user=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/keith-eisenbrey" style="color: #cccccc; text-decoration: none;" target="_blank" title="Keith Eisenbrey">Keith Eisenbrey</a> · <a href="https://soundcloud.com/keith-eisenbrey/11-sinfonia-11-240215-240216-clavichord" style="color: #cccccc; text-decoration: none;" target="_blank" title="11 Sinfonia 11 240215 [240216] Clavichord">11 Sinfonia 11 240215 [240216] Clavichord</a></div>
<p><i>Serial Diatonicism</i> - Carson "Carsonics" Farley</p>
<p>
I'll need to listen to this in the coming week to confirm that I've got
something interesting to send to Carson
</p>
<p style="text-align: center;"><b>Postscripts</b></p>
<p><b>Drops</b></p>
<p><i>Keith Eisenbrey 13: Music as Film (part 2) 2008 - 2009</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=469382060/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-13-music-as-film-part-2-2008-2009">Keith Eisenbrey 13: Music as Film (part 2) 2008 - 2009 by Keith Eisenbrey</a></iframe>
<p>
Volume 13 completes my Music as Film project, in which I built up textures
from snippets of sound. "Zither Film" is just that process and nothing else.
"Improvising a Framework for Composition so as to Compose My Thoughts about
Improvisation" uses layers from the earlier "Lids Film" in conjunction with
texts both original and found. "Torch Song" is all about its found texts. It
may not properly belong in the project's remit but it tagged along anyway. It
certainly doesn't belong anywhere else.
</p>
<p>Volumes 1 through 12 are available at <a href="http://keitheisenbrey.bandcamp.com">keitheisenbrey.bandcamp.com</a></p>
<p>All are free for download.</p>
<p><b>Skaldmud's Doodle Gallery</b></p>
<p>listening journal doodles from 2020</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQOKLSbdDPsEVI_m8TU31noNl7AvYGmQaxRyAj1kqsoXW9fuGVSL0-VVYjsNKGbJHPtNnL4rcgxZFi8O8iLdX-suFy_8mgHpvo-hOxR_uuHF8ZGFqR5l7xOdf-vgVYFuPcxgv35WvtLwtsQ196ksZ2rMx-HPCCViqTeB_YD6XcSWzR3MIeZHz98qrUNxc/s2820/2024%20scan915.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2820" data-original-width="2318" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQOKLSbdDPsEVI_m8TU31noNl7AvYGmQaxRyAj1kqsoXW9fuGVSL0-VVYjsNKGbJHPtNnL4rcgxZFi8O8iLdX-suFy_8mgHpvo-hOxR_uuHF8ZGFqR5l7xOdf-vgVYFuPcxgv35WvtLwtsQ196ksZ2rMx-HPCCViqTeB_YD6XcSWzR3MIeZHz98qrUNxc/w329-h400/2024%20scan915.jpg" width="329" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvDTRnZ7cUITyDA1rifoOOt-M4WygTgIHgVRu6WsVMkOUkB5DWFbg_wvr7wlURfWAtC-A6d6z5HLgl2u4XSORTyuT9qIQSY2dmT9i-O13tcf426y2HfL3eO4dcWPo75n6A0b2y7cf2F6TetfRuaLhnfBCq0ulsLDS2mMmEVt2ojKVL5HQzGW_c7mpt0Jg/s2402/2024%20scan916.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1865" data-original-width="2402" height="310" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvDTRnZ7cUITyDA1rifoOOt-M4WygTgIHgVRu6WsVMkOUkB5DWFbg_wvr7wlURfWAtC-A6d6z5HLgl2u4XSORTyuT9qIQSY2dmT9i-O13tcf426y2HfL3eO4dcWPo75n6A0b2y7cf2F6TetfRuaLhnfBCq0ulsLDS2mMmEVt2ojKVL5HQzGW_c7mpt0Jg/w400-h310/2024%20scan916.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZVbx3y08chNk-gq_4Gg-4H-mwB-m5JlK_kCC14sfJHC1KCEQ8Qo9w30xhwhOqJ9LqTNFdBj17aIXAdrWbMawQgy5SCHOboG1GAvEnnOtYuFn466hPMFZDHrPL63lTwthJJA3WdjLEFP54SnJ5xKAXuRvcngCDJEz9zsb54i6bWThh3qy2E2abScs_L3c/s822/2024%20scan917.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="319" data-original-width="822" height="155" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZVbx3y08chNk-gq_4Gg-4H-mwB-m5JlK_kCC14sfJHC1KCEQ8Qo9w30xhwhOqJ9LqTNFdBj17aIXAdrWbMawQgy5SCHOboG1GAvEnnOtYuFn466hPMFZDHrPL63lTwthJJA3WdjLEFP54SnJ5xKAXuRvcngCDJEz9zsb54i6bWThh3qy2E2abScs_L3c/w400-h155/2024%20scan917.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYmWi5lTDeXmJIFbTbG7ooHVH0184iR2gnAhyRqZ8JAwbmzjS29r9vxTb8tIuOAojr1TMjr0f6bNq6uo0JTPY_W9GYF93IKwUYTB8M9jA_CLVGdAGmQNrR-z87zi5hpmKrA879o0g85XHLh31l2t8avyKM-G3R3vbRLbHJncN-NtuUkXpjP57ZlZSjhqc/s1225/2024%20scan918.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="265" data-original-width="1225" height="86" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYmWi5lTDeXmJIFbTbG7ooHVH0184iR2gnAhyRqZ8JAwbmzjS29r9vxTb8tIuOAojr1TMjr0f6bNq6uo0JTPY_W9GYF93IKwUYTB8M9jA_CLVGdAGmQNrR-z87zi5hpmKrA879o0g85XHLh31l2t8avyKM-G3R3vbRLbHJncN-NtuUkXpjP57ZlZSjhqc/w400-h86/2024%20scan918.jpg" width="400" /></a></div><br /><p><br /></p>
Keith Eisenbreyhttp://www.blogger.com/profile/16399615075612440296noreply@blogger.com0tag:blogger.com,1999:blog-7569166511516520581.post-81968187914830895612024-02-10T13:09:00.000-08:002024-02-10T18:11:38.206-08:00Playlist<p style="text-align: center;"><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaFZNsJK3syJTgEPOfdnHAf9pQ246YIUrnEOk1jWqvLpKMxVE7y_nnhKCnhulLnIC3-ZiqRSch8TwaifzDp-M6bnzUClgjjJ2__bvv9gpScpBWBB0ii312KhVc6Gj5Zyd_PGwX1iHw8xDy8vre9m73zjRmcSQWa8uIUIKa9x3PdQjLnN0Sn2UVZ_p7gKk/s1612/240210%20M.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1612" data-original-width="1268" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaFZNsJK3syJTgEPOfdnHAf9pQ246YIUrnEOk1jWqvLpKMxVE7y_nnhKCnhulLnIC3-ZiqRSch8TwaifzDp-M6bnzUClgjjJ2__bvv9gpScpBWBB0ii312KhVc6Gj5Zyd_PGwX1iHw8xDy8vre9m73zjRmcSQWa8uIUIKa9x3PdQjLnN0Sn2UVZ_p7gKk/w315-h400/240210%20M.jpg" width="315" /></a></b></div><b>Preface</b><p></p>
<p>Mrs. Bardell encounters Mr. Pickwick</p>
<p>
Hablot K. Browne (Phiz) - from "The Posthumous Papers of The Pickwick Club"
</p>
<p style="text-align: center;"><b>Texts</b></p>
<p><b>Recorded</b></p>
<p>February 3, 2024</p>
<p><i>The See'r</i> - Charles Ives - Paul Sperry, Irma Vallecillo</p>
<p>one of those songs written to try out nifty new chords</p>
<p>
<i>Trinkle Tinkle (Live)</i> - Thelonious Monk [from
<i>The Complete Blue Note Recordings</i>]
</p>
<p>
making a music of the whisking away of eraser crumbs <br />herding greased
piglets <br />a rhythm with <br />which a solo <br />periodically
<br />closely <br />references the subject <br />or <br />strays <br />or
<br />returns <br />complete with tempos of straying and returning <br />lots
of snap back sudden
</p>
<p>
<i>Yea! Heavy and a Bottle of Bread (take 2)</i> - Bob Dylan [from
<i>A Tree With Roots</i>]
</p>
<p>long hold on "of . . . . bread . . . " at the end</p>
<p>
<i>My Horses Ain't Hungry</i> - Mike, Peggy, and Penny Seeger [from
<i>American Folk Songs for Children</i>]
</p>
<p>that sounds like an autoharp and fiddle</p>
<p><i>Gods Float in the Azure Air</i> - Steve Layton [from <i>Lucky You</i>]</p>
<p>inassertive <br />cyclicity unaligned</p>
<p>
<i>I Hear a Tone, "Ein Ton"</i> - Charles Ives - Eric Grudel, Sumi
Kittelberger
</p>
<p>
||:intone <br />ein Ton <br />nein to <br />one int<br />tone in <br />nto
nei:||
</p>
<p>
<i>In Walked Bud (Live)</i> - Thelonious Monk [from
<i>The Complete Blue Note Recordings</i>]
</p>
<p>playful revelry <br />crazy sax solo</p>
<p><i>I'm Not There</i> - Bob Dylan [from <i>A Tree With Roots</i>]</p>
<p>at most sounds like he's making a demo of the song for another to sing</p>
<p>
<i>Did You Go the Barney?</i> - Mike, Peggy, and Penny Seeger [from
<i>American Folk Songs for Children</i>]
</p>
<p>checklist for chores</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_somSTE8p9bpId2NdIA7-OuU2i5P7GQMxdGekk5llZJR6R_DrOlR3PrUTuq0mKRVhf8Qy_NdAktM5qfIUYLQ6qacELtoqVpn8GVghmDJ75-QaJKiy7AIQNu79WYJXGOyJoMtLVPyC2md-K5DVWckKkYqASkImqwrkrJx6klXCfW_2hi7uvPp3xTQebSY/s5472/240210%20A.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_somSTE8p9bpId2NdIA7-OuU2i5P7GQMxdGekk5llZJR6R_DrOlR3PrUTuq0mKRVhf8Qy_NdAktM5qfIUYLQ6qacELtoqVpn8GVghmDJ75-QaJKiy7AIQNu79WYJXGOyJoMtLVPyC2md-K5DVWckKkYqASkImqwrkrJx6klXCfW_2hi7uvPp3xTQebSY/w400-h266/240210%20A.jpg" width="400" /></a></div>February 4, 2024<p></p>
<p><i>Flutter By</i> - Steve Layton [from <i>Moving Bodies</i>]</p>
<p>
something is bubbling beneath the surface <br />playful pinnipeds <br />or
otters <br />or selkies<br />or merfolk
</p>
<p><i>On The Counter </i>- Charles Ives - Paul Sperry, Irma Vallecillo</p>
<p>
many other cultures have written down music as an artifact <br />so we can't
rightly blame Western Culture alone
</p>
<p>
<i>I Mean You (Live)</i> - Thelonious Monk [from
<i>The Complete Blue Note Recordings</i>]
</p>
<p>
notation: <br />born in the desire to get hold of a span of music <br />and
make it hold still for further study and manipulation <br />which
<br />perforce <br />engenders its own modes of thinking about music
<br />that is <br />as manipulable in some sense from a distance of time
</p>
<p>
the experience of music you are about to hear <br />was fashioned in the
past
</p>
<p>
signal recording serves the same functions as any other notation <br />we
treat it as a tool for study and manipulation of music
</p>
<p>
mid-century jazz form <br />head solo solo solo . . . head <br />a socially
engendered format <br />quasi-egalitarian
</p>
<p><i>Please Mrs. Henry </i>- Bob Dylan [from <i>A Tree With Roots</i>]</p>
<p>hard luck blues <br />begs for something</p>
<p>
<i>Have a Little Dog</i> - Mike, Peggy, and Penny Seeger [from
<i>American Folk Songs for Children</i>]
</p>
<p>how much nonsense can be fit into the schema</p>
<p>
<i>First Steps</i> - Steve Layton & Sound-In [from
<i>Miracles and Wonders</i>]
</p>
<p>
notating in real-time in the past <br />the past's real-time <br />but all the
time in the past is as real as can possibly be <br />notating immediately with
the actuation of music <br />but the physical actions differ <br />they are a
different dance
</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO4IfU__jcj6EAQzlHOsyuweJ4gR2iRYO2nRPr3ZM_DHhQLnBRiBIHQq06x5fZUM6FzXgJiZdUhyphenhyphenCriJS9SF4b3CBb_7N71qhO9ad9H2apRDSyXfYQxKET9ftRDdJo3viD5Mit4uzslf9p2ZQodrMV7zgScIg4mjHXZfrnxIyor_txemBN836FuGJQA-g/s5472/240210%20F.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO4IfU__jcj6EAQzlHOsyuweJ4gR2iRYO2nRPr3ZM_DHhQLnBRiBIHQq06x5fZUM6FzXgJiZdUhyphenhyphenCriJS9SF4b3CBb_7N71qhO9ad9H2apRDSyXfYQxKET9ftRDdJo3viD5Mit4uzslf9p2ZQodrMV7zgScIg4mjHXZfrnxIyor_txemBN836FuGJQA-g/w400-h266/240210%20F.jpg" width="400" /></a></i></div><i>Slugging a Vampire</i> - Charles Ives - Mary Ann Hart, Dennis Helmrich<p></p>
<p>
an odd little fragment of a story <br />being told with forthright vehemence
</p>
<p>
<i>Epistrophy (Live)</i> - Thelonious Monk [from
<i>The Complete Blue Note Recordings</i>]
</p>
<p>
since we must now part with Monk and Company for awhile I'm glad this is the
final cut <br />as it is fine
</p>
<p>
<i>Crash on the Levee (Take 1) </i>- Bob Dylan [from <i>A Tree With Roots</i>]
</p>
<p>in the voice of a preacher <br />hell-fire and brimstone variety</p>
<p>
<i>Frog Went a-Courtin' </i>- Mike, Peggy, and Penny Seeger [from
<i>American Folk Songs for Children</i>]
</p>
<p>
a celebration is planned and prepared in a community <br />all play their part
and do their work
</p>
<p>cat eats bride <br />details on page 8</p>
<p><i>Loose Weave</i> - Steve Layton [from <i>Excavations 2013-2014</i>]</p>
<p>pitch comes apart from the inside into itself</p>
<p><i>Scotch Lullaby</i> - Charles Ives - Dora Ohrenstein, Phillip Bush</p>
<p>that's what it is alright</p>
<p>
<i>Crash on the Levee (Take 2)</i> - Bob Dylan [from <i>A Tree With Roots</i>]
</p>
<p>no boats gonna row</p>
<p>
<i>Little Bird, Little Bird</i> - Mike, Peggy, and Penny Seeger [from
<i>American Folk Songs for Children</i>]
</p>
<p>2 + 2 + 3 + 2 meter in the opening</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiE7uyLbuf9C_6BdcrkYSM5ubNNEEL62VWHXF7qbfiEPqmPM1uAXtV9rDlbrfWaIalkrVTuY2Wmg4LMVfwTecuBjdlAYpgt8bATQ9HVDx4eyyPUqG7C2zvuN9BQi25DBQuHof2PmMQEQQErU7YfdOOvZMPi-iX9HA8thKSSKPkRcySNPsqLz4TvrOyoups/s5472/240210%20B.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiE7uyLbuf9C_6BdcrkYSM5ubNNEEL62VWHXF7qbfiEPqmPM1uAXtV9rDlbrfWaIalkrVTuY2Wmg4LMVfwTecuBjdlAYpgt8bATQ9HVDx4eyyPUqG7C2zvuN9BQi25DBQuHof2PmMQEQQErU7YfdOOvZMPi-iX9HA8thKSSKPkRcySNPsqLz4TvrOyoups/w400-h266/240210%20B.jpg" width="400" /></a></div>February 5, 204<p></p>
<p><i>They're In The Walls</i> - Steve Layton [from <i>Colors</i>]</p>
<p>a title that might be the line for the film cue</p>
<p><i>Autumn</i> - Charles Ives - William Sharp, Steven Blier</p>
<p>the dark is closing in</p>
<p><i>Lo and Behold (Take 1)</i> - Bob Dylan [from <i>A Tree With Roots</i>]</p>
<p>
the conglomerators either saved some of the stronger tracks for this segment
of the collection <br />or Bob and band just started to dig into the project
with more performance intent
</p>
<p>
<i>Free Little Bird</i> - Mike, Peggy, and Penny Seeger [from
<i>American Folk Songs for Children</i>]
</p>
<p>
every collected song item has a provenance <br />but the structure of that
provenance is always uncertain <br />and also presumes that at various points
in the past the traces of that provenance terminate <br />in acts of
creativity
</p>
<p><i>Jogi</i> - Steve Layton [from <i>Ending to Begin</i>]</p>
<p>
ritual actions in species of sequences <br />so that the magic will work
<br />the sequences need not follow customs of plausibility <br />possibly
they ought not to
</p>
<p>
<i>I Knew and Loved a Maid</i> - Charles Ives - Douglas Dickson, Michael
Cavalieri
</p>
<p>in the manner of a vaudeville songster doing their serious number</p>
<p><i>Lo and Behold (Take 2)</i> - Bob Dylan [from <i>A Tree With Roots</i>]</p>
<p>
imagining the scene within which this exchange takes place <br />chorus
articulates the scene into portions <br />any clear referential relation of
the words of the chorus to those of the verses escapes me
</p>
<p>
<i>Poor Old Crow</i> - Mike, Peggy, and Penny Seeger [from
<i>American Folk Songs for Children</i>]
</p>
<p>
from the distributed population of the North American interior <br />we talked
about our animal friends
</p>
<p><i>Day </i>- Steve Layton [from <i>Moving Bodies (Pandemic 10)</i>]</p>
<p>
in the manner of a drummer's groove with breaks <br />we are in its vehicle
<br />traveling through and past zone after zone
</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp7yvkSKs1TtEJh6K12e5jYX1n2v0WUpGTtucXBQrZQ6dDEU9JX1ht4tkn2J63LBdf7qbp99FrOfDf18doOzok6_3aMAmPqGe07iu60GVsGLXB_YjIKxisvQLS10e4GS306_YHOTrB8CN8v6epIvVcWUNh9lRQ_Nze6SZIWJmfrf0EZuKYsAZJZrLo_ng/s5472/240210%20G.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp7yvkSKs1TtEJh6K12e5jYX1n2v0WUpGTtucXBQrZQ6dDEU9JX1ht4tkn2J63LBdf7qbp99FrOfDf18doOzok6_3aMAmPqGe07iu60GVsGLXB_YjIKxisvQLS10e4GS306_YHOTrB8CN8v6epIvVcWUNh9lRQ_Nze6SZIWJmfrf0EZuKYsAZJZrLo_ng/w400-h266/240210%20G.jpg" width="400" /></a></i></div><i>Hymn</i> - Charles Ives - Dora Ohrenstein, Phillip Bush<p></p>
<p>this hymn remembers its uses <br />all in the past</p>
<p>
<i>You Ain't Going Nowhere (Take 1)</i> - Bob Dylan [from
<i>A Tree With Roots</i>]
</p>
<p>basement noise <br />head o' lettuce</p>
<p>
<i>Ducks in the Millpond</i> - Mike, Peggy, and Penny Seeger [from
<i>American Folk Songs for Children</i>]
</p>
<p>
instruments also have provenance <br />and are pegged to their cultural
position <br />especially if being played with the traditional techniques
</p>
<p><i>Warning Sign</i> - Steve Layton [from <i>Lucky You</i>]</p>
<p>
the four x four cyclicity of it pulls us along on tracks <br />no give
<br />we are taken
</p>
<p><i>Tarrant Moss</i> - Charles Ives - William Sharp, Steven Blier</p>
<p>gleeclub manly song</p>
<p>
<i>Too Much of Nothing (Take 1)</i> - Bob Dylan [from
<i>A Tree With Roots</i>]
</p>
<p>a little much on the bass <br />waters of oblivion</p>
<p>
<i>Jim Crack Corn </i>- Mike, Peggy, and Penny Seeger [from
<i>American Folk Songs for Children</i>]
</p>
<p>examples of the varieties of variety in the oral record</p>
<p>
<i>Four Corners</i> - Steve Layton & Sound-In [from
<i>Miracles and Wonders</i>]
</p>
<p>square or intersection <br />the grumbling man intrigues me</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2oA-f8pe9g9QELaFkBxi1Z63onWR0FHRajrUY9jOk1mo_G5fEGiXzHfoPWjWcha746LQydVlJkTmWnRRNoNlcPOK0xHAJmzzcS6rVcxV8P7LMCno0haf066zOlYqCNx156pHrpBpLoMl4A9Zki-L71Yy3ek2JoL11Mz3SlZp1SpP9Ja0T_iwkeUObbo4/s5472/240210%20C.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2oA-f8pe9g9QELaFkBxi1Z63onWR0FHRajrUY9jOk1mo_G5fEGiXzHfoPWjWcha746LQydVlJkTmWnRRNoNlcPOK0xHAJmzzcS6rVcxV8P7LMCno0haf066zOlYqCNx156pHrpBpLoMl4A9Zki-L71Yy3ek2JoL11Mz3SlZp1SpP9Ja0T_iwkeUObbo4/w400-h266/240210%20C.jpg" width="400" /></a></div>February 6, 2024<p></p>
<p>
<i>Through Night and Day</i> - Charles Ives - Paul Sperry, Irma Vallecillo
</p>
<p>the word-painting is plain for all to see</p>
<p><i>This Wheel's On Fire</i> - Bob Dylan [from <i>A Tree With Roots</i>]</p>
<p>
the you of this poem may not be the same throughout <br />singing with a heavy
pack weighing down the going of it <br />there is no up it's all down
</p>
<p>
<i>Eency Weency Spider</i> - Mike, Peggy, and Penny Seeger [from
<i>American Folk Songs for Children</i>]
</p>
<p>a song I learned as itsy bitsy</p>
<p><i>Yaquareté</i> - Steve Layton [from <i>Excavations 2013-2014</i>]</p>
<p>
and immediately we are there <br />immersed <br />not every thing is heard
right away <br />but it was all clearly there all along
</p>
<p><i>Pictures</i> - Charles Ives - Dora Ohrenstein, Phillip Bush</p>
<p>
the base of his style is correct and essentially conservative <br />using
other style elements as contrast <br />modulating into one style from another
</p>
<p>
<i>You Ain't Goin' Nowhere (Take 2)</i> - Bob Dylan [from
<i>A Tree With Roots</i>]
</p>
<p>
the accompaniment is the paper stock upon which he prints his words <br />this
is newsprint stock <br />cheap crude consistent <br />allowing the song to be
considered without anything fancy added to it
</p>
<p>
<i>Dog Tick</i> - Mike, Peggy, and Penny Seeger [from
<i>American Folk Songs for Children</i>]
</p>
<p>
the unanswered question <br />why can't a dog tick dance like a 'bacco worm?
</p>
<p><i>Shangri-La</i> - Steve Layton [from <i>Colors</i>]</p>
<p>the chamber opens carefully <br />luminosity billows about and forth</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiDOJIkPUSprk6y3xZP3IqcCx_8WgVAlruoT0_bdsnhL7mSTqoue-PZyMoHRfxTBNe1SHjc6xWqOgBSHTE9Jxe8AY-76l84MB7rGmo9ag4SByzbbZ_XSbUfzgrbFhIR5Eh78kuZ-7Ijds_qtc5ctj5xvTBhNX-wXqe0BaZ0OV_SPMU-Ge4_8k_P0ttw3A/s5472/240210%20H.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiDOJIkPUSprk6y3xZP3IqcCx_8WgVAlruoT0_bdsnhL7mSTqoue-PZyMoHRfxTBNe1SHjc6xWqOgBSHTE9Jxe8AY-76l84MB7rGmo9ag4SByzbbZ_XSbUfzgrbFhIR5Eh78kuZ-7Ijds_qtc5ctj5xvTBhNX-wXqe0BaZ0OV_SPMU-Ge4_8k_P0ttw3A/w400-h266/240210%20H.jpg" width="400" /></a></i></div><i>I Travelled Among Unknown Men</i> - Charles Ives - Eric Trudel, Matthew
Plenk
<p></p>
<p>unknown to whom? <br />nostalgia for our old England home</p>
<p><i>I Shall Be Released</i> - Bob Dylan [from <i>A Tree With Roots</i>]</p>
<p>
some attention was paid to the melody on this one and to the harmony singing
</p>
<p>
<i>Who Built The Ark? Noah, Noah</i> - Mike, Peggy, and Penny Seeger [from
<i>American Folk Songs for Children</i>]
</p>
<p>a counting game song embedded in a folk tale</p>
<p>
<i>A Life of No Ambition</i> - Steve Layton [from
<i>Moving Bodies (Pandemic 10)</i>]
</p>
<p>
such as the flowers or the trees or the bugs or the moss <br />needs and
cycles but no striving for ought else
</p>
<p><i>August </i>- Charles Ives - William Sharp, Steven Blier</p>
<p>
a mimic picks up the gist of the thing quickly <br />on command <br />the
scene changes around our hero <br />a close double
</p>
<p>
<i>Too Much of Nothing (Take 2)</i> - Bob Dylan [from
<i>A Tree With Roots</i>]
</p>
<p>
searching out the least comfortable place for the tune to fit <br />proceeds
with effort
</p>
<p>
<i>Mary Wore Her Red Dress</i> - Mike, Peggy, and Penny Seeger [from
<i>American Folk Songs for Children</i>]
</p>
<p>sure a lot of red things in this <br />finally wanders into butter</p>
<p>
<i>Tales From the Bicycle War</i> - Steve Layton & Sound-In [from
<i>Miracles and Wonders</i>]
</p>
<p>no sudden altercation can stay our course <br />we must pauselessly pedal</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2bzlrx5z-muROU3FgcG0dJxMln_aIWOkkDk5Asy2EeuLh7k-ATr_C9CBoh23VL53sFpPrvPEqkzE0-pprJnJsEfRm2i8XK5XdUyKDLUD38Bfp8OJ-lrsQzU8gTgJG8apWswmjBin8Qrk2xhAqGbi1Xoq5pz-4VvrVs5QcWIYN0wypghsRzMiPyByaeI0/s5472/240210%20I.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2bzlrx5z-muROU3FgcG0dJxMln_aIWOkkDk5Asy2EeuLh7k-ATr_C9CBoh23VL53sFpPrvPEqkzE0-pprJnJsEfRm2i8XK5XdUyKDLUD38Bfp8OJ-lrsQzU8gTgJG8apWswmjBin8Qrk2xhAqGbi1Xoq5pz-4VvrVs5QcWIYN0wypghsRzMiPyByaeI0/w400-h266/240210%20I.jpg" width="400" /></a></i></div><i>Kären</i> - Charles Ives - Paul Sperry, Irma Vallecillo<p></p>
<p>certainly pleasant enough <br />with a hint of Away In The Manger to it</p>
<p><i>Tears of Rage (Take 1)</i> - Bob Dylan [from <i>A Tree With Roots</i>]</p>
<p>all these songs are wearing the same suit of clothes</p>
<p>
<i>Pretty Little Girl with the Red Dress On</i> - Mike, Peggy, and Penny
Seeger [from <i>American Folk Songs for Children</i>]
</p>
<p>
pan pipe and little banjo? <br />and fast tapping <br />almost like a ukulele
as a sound
</p>
<p><i>Ningyo </i>- Steve Layton [from <i>Lucky You</i>]</p>
<p>
automaton dance <br />they all come out when the shop is empty in the night
</p>
<p><i>Walt Whitman</i> - Charles Ives - Paul Sperry, Irma Vallecillo</p>
<p>shouted strongissimo</p>
<p><i>Tears of Rage (Take 2)</i> - Bob Dylan [from <i>A Tree With Roots</i>]</p>
<p>
so all the songs are intended to vanish into each other <br />a uniform set
</p>
<p>
<i>This Lady She Wears a Dark Green Shawl</i> - Mike, Peggy, and Penny Seeger
[from <i>American Folk Songs for Children</i>]
</p>
<p>kitchen gossip song</p>
<p><i>Midlife Crisis</i> - Steve Layton [from <i>Ending to Begin</i>]</p>
<p>
the stage is painted black <br />narrow lights reveal the presences of bodies
<br />clad and masked in black
</p>
<p><i>Mists</i> - Charles Ives - Dora Ohrenstein, Phillip Bush</p>
<p>
there was a need that the new elements play by some rules or other
<br />couldn't just be let loose in havocs and kerfuffles
</p>
<p><i>Tears of Rage (Take 3)</i> - Bob Dylan [from <i>A Tree With Roots</i>]</p>
<p>
were they working on a specific project? <br />or workshopping to see what
might arise spontaneously?
</p>
<p>
<i>Do, Do, Pity My Case </i>- Mike, Peggy, and Penny Seeger [from
<i>American Folk Songs for Children</i>]
</p>
<p>complaint from the servants' standing place</p>
<p><i>Ukraine </i>- Steve Layton [from <i>Moving Bodies (Pandemic 10)</i>]</p>
<p>
sitting here among the birds and bells <br />whines of sirens in the distance
</p>
<p><i>Walking </i>- Charles Ives - Mary Ann Hart, Dennis Helmrich</p>
<p>
so is this album of all the songs more like the Seeger Museum <br />or more
like a Dylanesque self-assertion <br />or a Laytonian exploration?
<br />clearly this album project is a museum of songs by a self-asserter
</p>
<p>
<i>The Mighty Quinn (Take 1)</i> - Bob Dylan [from <i>A Tree With Roots</i>]
</p>
<p>which makes any particular song little more than an episode in a sitcom</p>
<p>
<i>Walk Along, John</i> - Mike, Peggy, and Penny Seeger [from
<i>American Folk Songs for Children</i>]
</p>
<p>
a parade <br />but museum piece though this is <br />I appreciate it <br />as
it allows me the chance to sit down with it <br />and check it out
</p>
<p><i>Dark Time</i> - Steve Layton [from <i>Moving Bodies (Pandemic 10)</i>]</p>
<p>tones emerge on the tongue as we linger</p>
<p><i>A Farewell to Land</i> - Charles Ives - Dora Ohrenstein, Phillip Bush</p>
<p>starts well <br />then he chickened out and got noisy</p>
<p>
<i>The Mighty Quinn (Take 2)</i> - Bob Dylan [from <i>A Tree With Roots</i>]
</p>
<p>
so I do understand that these are <br />many of them <br />literally the same
song in different takes <br />but <br />the guitar strums bass licks organ and
piano <br />all of it <br />could be transported form one song to the next
with no appreciable loss
</p>
<p>
<i>Hanging Out the Linen Clothes</i> - Mike, Peggy, and Penny Seeger [from
<i>American Folk Songs for Children</i>]
</p>
<p>every chore has a song <br />chore and song are one</p>
<p>
<i>Birthing Spring</i> - Steve Layton [from
<i>Moving Bodies (Pandemic 10)</i>]
</p>
<p>
of course <br />I treat every track as a museum piece <br />they're all in my
museum <br />I do my best to observe them doing their things <br />the
contours of a larger music can only be glimpsed through each of the many
<br />down close where the grit shows <br />more there to listen at than some
<br />the point of collection is study not categorization
</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBENtxNgyFHbI56cg5KAhJ2ITwa2zR7Lsomi1MzX_-5hMwSK155N5yW4btEFdA2c9ZEyijqpNciG7Ls12ca9yFBwpiBN0v3jwPsyeGFbHKsumbjkXjyfIfYJ5TQ4tCV713ITfhpFD3rRVzL8ew4P3wwXSz4NWWq5HYruFbn7LOtZRt588ZOcsg_YHc-Tc/s5472/240210%20D.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBENtxNgyFHbI56cg5KAhJ2ITwa2zR7Lsomi1MzX_-5hMwSK155N5yW4btEFdA2c9ZEyijqpNciG7Ls12ca9yFBwpiBN0v3jwPsyeGFbHKsumbjkXjyfIfYJ5TQ4tCV713ITfhpFD3rRVzL8ew4P3wwXSz4NWWq5HYruFbn7LOtZRt588ZOcsg_YHc-Tc/w400-h266/240210%20D.jpg" width="400" /></a></div>February 8, 2024<p></p>
<p><i>Luck and Work</i> - Charles Ives - William Sharp, Steven Blier</p>
<p>moralism caught in its own thornbushes</p>
<p>
<i>Open The Door Homer (Take 1)</i> - Bob Dylan [from
<i>A Tree With Roots</i>]
</p>
<p>
relying on the authority of the guy on the next stool over <br />the spiritual
authority of rumor and advice
</p>
<p>
<i>Lula Gal</i> - Mike, Peggy, and Penny Seeger [from
<i>American Folk Songs for Children</i>]
</p>
<p>
jawbone walking and jawbone talking <br />they must have quite the collection
of instruments at their disposal
</p>
<p><i>Elevator</i> - Steve Layton [from <i>Moving Bodies (Pandemic 10)</i>]</p>
<p>
each floor announced while the machinery continues to operate <br />odd floors
and even floors have separate grooves <br />activated by careful addition or
subtraction <br />this breaks down as we ascend toward the teens of floors
<br />stop at 12 <br />back down we go <br />my memory is not sufficient to
determine whether the grooves match those of ascension <br />though we seem to
have accelerated <br />going back up
</p>
<p><i>Ich Grolle Nicht</i> - Charles Ives - J. J. Penna, Robert Garner</p>
<p>
why would anyone set a text that had a famous (and fabulous) setting already?
<br />to say something different with the text than before
</p>
<p>its irony has been removed <br />what would that be <br />an ironiectomy?</p>
<p>
<i>Open The Door Homer (Take 2)</i> - Bob Dylan [from
<i>A Tree With Roots</i>]
</p>
<p>they're singing Richard not Homer</p>
<p>
<i>Old Aunt Kate</i> - Mike, Peggy, and Penny Seeger [from
<i>American Folk Songs for Children</i>]
</p>
<p>
the way to a boy's heart is through the stomach <br />here's the details that
had been at eleven
</p>
<p>
<i>Night Drive With Wipers Going</i> - Steve Layton & Sound-In [from
<i>Miracles and Wonders</i>]
</p>
<p>
damp ghosts passing by <br />we are carried along <br />gone with the flow
<br />music is invented in microcommunities that exist within <br />(but*)
<br />the greater culture that includes industrial pop music and its imitators
<br />(* in an alienated relation to it <br />id est <br />in protest to it)
</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG1_GWawoLs6wNmjA-PNcppqgKd2tThhc_KxXTcOWnbtDMPOf9jVPGO5E38kOPI5VT-o6gxUqPsvH2t_TU5Dmh3cPQnySBIfjxf7fsOSCWTh8Q0ZQ-n11i7nSShgVIIf3K2NMmItD602cSAhgYwrFan4TF25dhhfwALVv0BDi1mQEZ-hfOzUbKmT6Unk0/s5472/240210%20J.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG1_GWawoLs6wNmjA-PNcppqgKd2tThhc_KxXTcOWnbtDMPOf9jVPGO5E38kOPI5VT-o6gxUqPsvH2t_TU5Dmh3cPQnySBIfjxf7fsOSCWTh8Q0ZQ-n11i7nSShgVIIf3K2NMmItD602cSAhgYwrFan4TF25dhhfwALVv0BDi1mQEZ-hfOzUbKmT6Unk0/w400-h266/240210%20J.jpg" width="400" /></a></i></div><i>September</i> - Charles Ives - Mary Ann Hart, Dennis Helmrich<p></p>
<p>hastily scrawled</p>
<p>
<i>Open The Door Homer (Take 3)</i> - Bob Dylan [from
<i>A Tree With Roots</i>]
</p>
<p>
working on being able to do it in his sleep <br />over and over <br />so
<br />a collection of notes for various projects <br />it has in common
<br />a calligraphic style <br />though that is a fancy term for the fact of
the matter
</p>
<p>
<i>What Did You Have For Your Supper</i> - Mike, Peggy, and Penny Seeger [from
<i>American Folk Songs for Children</i>]
</p>
<p>almost sounds like a variant verse from Lord Randolph</p>
<p><i>Lost</i> - Steve Layton [form <i>Excavations 2013-2014</i>]</p>
<p>
so what is a microcommunity <br />can it be further organized <br />that is
<br />inwardly organized <br />are there submicrocommunities? <br />yes
<br />ultimately <br />any culture is a sense we have <br />of something
shared among encounters and episodes <br />of social interactions among
individuals <br />including interactions arising or being governed <br />from
within the institutionalized hierarchies of the greater culture <br />such as
orchestras or concerts or happenings
</p>
<p><i>Dreams</i> - Charles Ives - Dora Ohrenstein, Philip Bush</p>
<p>
the piano often doubles the singer's notes <br />as is typical in hymnody
<br />more so than in Lieder or artsong
</p>
<p>
<i>Nothing Was Delivered (Take 1)</i> - Bob Dylan [from
<i>A Tree With Roots</i>]
</p>
<p>
a letter of disrupture <br />writing slowly so as to be understood
<br />dreary song at a dreary tempo in a dreary groove
</p>
<p>
<i>Baby Dear</i> - Mike, Peggy, and Penny Seeger [from
<i>American Folk Songs for Children</i>]
</p>
<p>
comforting song for a fussy baby <br />no instruments <br />(hands full of
baby)
</p>
<p><i>Revolution Number</i> - Steve Layton [from <i>Lucky You</i>]</p>
<p>
so microcultures consist of interactions among individuals <br />the role of
the individual <br />is that of a moment <br />an event location <br />an
indexed spot <br />but <br />which also contains images of its past's
interactions <br />as mnemonic senses of those interactions <br />both
individual and conglomerated <br />thus <br />internalizing the alienations
<br />the protest <br />within the interactions
</p>
<p><i>A Perfect Day</i> - Charles Ives - Dora Ohrenstein, Philip Bush</p>
<p>such as at Barbie's opening</p>
<p>
<i>Nothing Was Delivered (Take 2)</i> - Bob Dylan [from
<i>A Tree With Roots</i>]
</p>
<p>it's not about the calligraphy <br />which is bland</p>
<p>
<i>Johnny, Get Your Hair Cut</i> - Mike, Peggy, and Penny Seeger [from
<i>American Folk Songs for Children</i>]
</p>
<p>recruitment <br />hair cut <br />sword and pistol</p>
<p><i>Bittersweet</i> - Steve Layton [from <i>Colors</i>]</p>
<p>
so <br />as individuals we interact with others <br />interacting from the
perspective of our sense of how things are <br />and the other's as well
<br />microcultures arise in the meeting of minds <br />music is a field (or
collection thereof) of those interactions <br />autonomous but reflective of
the other such fields
</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1JvIZJkQAt_xuuYFumdqi3MaUzu9UZg-Zc1wpnqbNRLtX72aJKF0FFtmhjA45b4sVTl_Z_igJOtt1eadJqSkzKBS-nZ8Wp5MGYXOiB0KqNGw_Zr7p-x7AldZrYBJ_6hyphenhyphenGQwry8p0V9kQZtQ7OOZYD0LjF2CZ1DrVXSo01tBE7l9A0OC6hNRNUlFqx-oM/s5472/240210%20K.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1JvIZJkQAt_xuuYFumdqi3MaUzu9UZg-Zc1wpnqbNRLtX72aJKF0FFtmhjA45b4sVTl_Z_igJOtt1eadJqSkzKBS-nZ8Wp5MGYXOiB0KqNGw_Zr7p-x7AldZrYBJ_6hyphenhyphenGQwry8p0V9kQZtQ7OOZYD0LjF2CZ1DrVXSo01tBE7l9A0OC6hNRNUlFqx-oM/w400-h266/240210%20K.jpg" width="400" /></a></i></div><i>Camp Meeting</i> - Mary Ann Hart, Dennis Helmrich<p></p>
<p>from within the murky night of quandary</p>
<p><i>Going to Acapulco</i> - Bob Dylan [from <i>A Tree With Roots</i>]</p>
<p>lethargic <br />at this rate they may get there in a few years</p>
<p>
<i>I Got a Letter This Morning</i> - Mike, Peggy, and Penny Seeger [from
<i>American Folk Songs for Children</i>]
</p>
<p>early communication network</p>
<p><i>On The Run</i> - Steve Layton [from <i>Ending to Begin</i>]</p>
<p>
so what is the venue for these interactions <br />the internet clearly
<br />but also still dive bars movie houses and concert halls and studios
<br />the individuals in microcultural interactions <br />have a sense of
those venues <br />unique to each of them
</p>
<p><i>Charlie Rutledge</i> - Charles Ives - Paul Sperry, Irma Vallecillo</p>
<p>stories around the body <br />a wake</p>
<p><i>Gonna Get You Now</i> - Bob Dylan [from <i>A Tree With Roots</i>]</p>
<p>uptempo <br />to almost lazy <br />slow mule cart</p>
<p>
<i>Rose, Rose, And Up She Rises</i> - Mike, Peggy, and Penny Seeger [from
<i>American Folk Songs for Children</i>]
</p>
<p>there's a lot going on so early in the morning</p>
<p>
<i>Rue Galande</i> - Steve Layton & Sound-In [from
<i>Miracles and Wonders</i>]
</p>
<p>a carnival waltz hovering just below the surface static</p>
<p><i>His Exaltation</i> - Charles Ives - William Sharp, Steven Blier</p>
<p>an exaltation is a form of flattery</p>
<p><i>Wildwood Flower</i> - Bob Dylan [from <i>A Tree With Roots</i>]</p>
<p>
this would fit not poorly with the Seegers <br />the family of whom tried to
pull his plug <br />as rumor and legend has it
</p>
<p>
<i>What'll We Do With the Baby</i> - Mike, Peggy, and Penny Seeger [from
<i>American Folk Songs for Children</i>]
</p>
<p>mothering chore game song</p>
<p>
<i>On The Prowl</i> - Steve Layton & Sound-In [from
<i>Miracles and Wonders</i>]
</p>
<p>
record keeping among any particular microculture <br />is a task occasionally
ventured <br />success varies <br />music as film <br />music aimed to excite
the visual imagination
</p>
<p><i>Watchman!</i> - Charles Ives - Mary Ann Hart, Dennis Helmrich</p>
<p>the theology of a holy event and its impressions</p>
<p>
<i>See That My Grave Is Kept Clean</i> - Bob Dylan [from
<i>A Tree With Roots</i>]
</p>
<p>
he's sung this one before <br />trying it now in his new clothes <br />with
autoharp(?)
</p>
<p>
<i>Hush, Little Baby</i> - Mike, Peggy, and Penny Seeger [from
<i>American Folk Songs for Children</i>]
</p>
<p>the Seeger family business <br />keeping the relics intact</p>
<p>
<i>Cry From The Rooftop</i> - Steve Layton & Sound-In [from
<i>Miracles and Wonders</i>]
</p>
<p>
matters are discussed among the microcultures <br />within events of
interaction <br />words can describe the surface of a music
</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFMOS6bXPx25m9f2jmtKyud4SA-PNoapne9OPk6ISMH1zLW84XbdDlSae-9tlDv3vmsPwecOjEnaocyW_mdBNoLQrqpNfDQOfvPwOQamp1-9AJBrkibejwD2i8O9fCexMio_tGYjvPt5a4_5mSp0EEquA8zggco06XFEc2c1h7KbSzmi1Q1EccCmbQQFo/s5472/240210%20L.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFMOS6bXPx25m9f2jmtKyud4SA-PNoapne9OPk6ISMH1zLW84XbdDlSae-9tlDv3vmsPwecOjEnaocyW_mdBNoLQrqpNfDQOfvPwOQamp1-9AJBrkibejwD2i8O9fCexMio_tGYjvPt5a4_5mSp0EEquA8zggco06XFEc2c1h7KbSzmi1Q1EccCmbQQFo/w400-h266/240210%20L.jpg" width="400" /></a></i></div><i>Vote For Names</i> - Charles Ives - Paul Sperry, Irma Vallecillo<p></p>
<p>a disaffected campaign rouser</p>
<p>
<i>Come 'Round The Mountain</i> - Bob Dylan [from <i>A Tree With Roots</i>]
</p>
<p>another of the old songs</p>
<p>
so then <br />quite the ride <br />flipping among these few so quickly like
this <br />but <br />there's a better life to come <br />good Lord willing and
the creek don't rise
</p>
<p>
<i>Pick a Bale of Cotton</i> - Mike, Peggy, and Penny Seeger [from
<i>American Folk Songs for Children</i>]
</p>
<p>job application <br />off to Texas</p>
<p>
<i>Sailing</i> - Steve Layton & Sound-In [from
<i>Miracles and Wonders</i>]
</p>
<p>
cyclic deja vu all over again <br />will they (Ives Dylan Seegers Layton) be
forever linked in my headspace
</p>
<p>
so <br />to concern myself with the matter at hand <br />microcultures are
where strange ideas germinate <br />simply because their institutions are less
imperious
</p>
<p>
<i>From 'Lincoln The Great Commoner'</i> - Charles Ives - Paul Sperry, Irma
Vallecillo
</p>
<p>
pioneer then when it was <br />us migrant now when it is them <br />blunt
effects blunt actions
</p>
<p>
<i>Flight of the Bumblebee</i> - Bob Dylan [from <i>A Tree With Roots</i>]
</p>
<p>must have been pretty late in the night <br />they all sound tired</p>
<p>
<i>This Old Hammer</i> - Mike, Peggy, and Penny Seeger [from
<i>American Folk Songs for Children</i>]
</p>
<p>a job of work to do <br />but I'm leaving to go back home</p>
<p>
<i>We Keep At It</i> - Steve Layton & Sound-In [from
<i>Miracles and Wonders</i>]
</p>
<p>
issues of style genre technique et cetera <br />are part of the institutional
categorizations of culture <br />not parts of culture's creative workings
<br />exit gradually stage left
</p>
<p><b>In Session at The Tintinabulary</b></p>
<p>February 4, 2024</p>
<p><i>Leyden</i> - Keith Eisenbrey</p>
<iframe allow="autoplay" frameborder="no" height="20" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1743276537&color=%23ff5500&inverse=false&auto_play=false&show_user=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/keith-eisenbrey" style="color: #cccccc; text-decoration: none;" target="_blank" title="Keith Eisenbrey">Keith Eisenbrey</a> · <a href="https://soundcloud.com/keith-eisenbrey/31-leyden-240204-240204" style="color: #cccccc; text-decoration: none;" target="_blank" title="31 Leyden 240204 [240204]">31 Leyden 240204 [240204]</a></div>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEganPDpDIFwpgfkukV8d8FqVY2UmbTbMuntj7PQTQXNva5GGIv-qrb8Pz6QXVKTVJ5pXwIbBCPN0beAYdM8KALCe9Zu7ybQBCd5Vv1GaimvxBrJpbK8AGooms5IxbkN7y-FKTewr5x52QUNi3mvwpQy-O00-oWTlgR9uby9N0bpsRnFhDVbhklY5DXyhkQ/s5472/240210%20E.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEganPDpDIFwpgfkukV8d8FqVY2UmbTbMuntj7PQTQXNva5GGIv-qrb8Pz6QXVKTVJ5pXwIbBCPN0beAYdM8KALCe9Zu7ybQBCd5Vv1GaimvxBrJpbK8AGooms5IxbkN7y-FKTewr5x52QUNi3mvwpQy-O00-oWTlgR9uby9N0bpsRnFhDVbhklY5DXyhkQ/w400-h266/240210%20E.jpg" width="400" /></a></div>February 5, 2024<p></p>
<p><i>Gradus 391</i> - Neal Kosály-Meyer</p>
<p>third F-sharp then plus the fifth C-sharp </p>
<p>
might it on occasion be true <br />that an outside sound is not part of the
music <br />but just an outside sound?
</p>
<p>
could a different music <br />from outside the venue <br />also be part of
this music <br />or does the "part of" matter <br />could the outside sound be
music <br />just not this music
</p>
<p>
intended for performance <br />what are we saying <br />this music is intended
to make its noise in the world
</p>
<p>
a score is an artifact of a creative process <br />it can have no intent
<br />since it is neither God nor life-form <br />merely an inscription
tempting interpretation
</p>
<p>
we liken sounds to objects that make sounds <br />bells reeds hollow
spaces
</p>
<p>
in music we hear number play <br />there are 88 possible starting points for
Gradus <br />any will do <br />and innumerable progressions through them
<br />an innumerable collection of possible Graduses <br />for combining
with
</p>
<p>
could a note <br />once introduced into the cycle <br />be re-introduced as a
new note? <br />is there a law against it
</p>
<p>February 7, 2024</p><i>139 Verleih uns Frieden gnädlich (1)</i> - Aaron Keyt
<p><i>139 Verleih uns Frieden gnädlich (2)</i> - Aaron Keyt</p>
<p>February 9, 2024</p>
<p><i>160 Kommt her, ihr seid geladen</i> - Aaron Keyt</p>
<p><b>Drops</b></p>
<p><i>Keith Eisenbrey 13: Music as Film (part 2) 2008 - 2009</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=469382060/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/transparent=true/" style="border: 0; height: 470px; width: 350px;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-13-music-as-film-part-2-2008-2009">Keith Eisenbrey 13: Music as Film (part 2) 2008 - 2009 by Keith Eisenbrey</a></iframe>
<p>
Volume 13 completes my Music as Film project, in which I built up textures
from snippets of sound. "Zither Film" is just that process and nothing else.
"Improvising a Framework for Composition so as to Compose My Thoughts about
Improvisation" uses layers from the earlier "Lids Film" in conjunction with
texts both original and found. "Torch Song" is all about its found texts. It
may not properly belong in the project's remit but it tagged along anyway. It
certainly doesn't belong anywhere else.
</p>
<p>
Volumes 1 through 12 are available at
<a href="http://keitheisenbrey.bandcamp.com">keitheisenbrey.bandcamp.com</a>
</p>
<p>All are free for download.</p>
<p><b>Skaldmud's Doodle Gallery</b></p>
<p>listening journal doodles from 2018 and 2019</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsJwR1-Mi6OukEujLsNWQtkXn4s-THZcmi1w8Gd7s6AgxXoBdzWEEGjmLDAnmBs8TARDkReNqEEQN6Yp7uVukDy43ZaDEc2oVdT-8oPFhlS73VWcdVB5NrPbJSWXSRF1mbje9Jg4HjmekCjenCCOG6nNfqAHK-sx1L0h_mhX_rmpTQtX1jIYsRjAJddSY/s2446/2024%20scan009.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1166" data-original-width="2446" height="191" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsJwR1-Mi6OukEujLsNWQtkXn4s-THZcmi1w8Gd7s6AgxXoBdzWEEGjmLDAnmBs8TARDkReNqEEQN6Yp7uVukDy43ZaDEc2oVdT-8oPFhlS73VWcdVB5NrPbJSWXSRF1mbje9Jg4HjmekCjenCCOG6nNfqAHK-sx1L0h_mhX_rmpTQtX1jIYsRjAJddSY/w400-h191/2024%20scan009.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhX8VkSoZcF6mFtfeMDqnbLCOfHnF701AS9su0awKlDl4sHv9OdlRhZpygVBlOeLhlxIzH0ivDFE7-6oeIN6ouUIuRBYvHxL9eyvzxq57wJrufYE_GbttjFzvubf3XWslrAp8KDLsokAd0xeXStHhJ-P3szv8e6DFmT5RZoLO7oUUgtjHyv-xmoOV3d49c/s1599/2024%20scan010.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="738" data-original-width="1599" height="185" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhX8VkSoZcF6mFtfeMDqnbLCOfHnF701AS9su0awKlDl4sHv9OdlRhZpygVBlOeLhlxIzH0ivDFE7-6oeIN6ouUIuRBYvHxL9eyvzxq57wJrufYE_GbttjFzvubf3XWslrAp8KDLsokAd0xeXStHhJ-P3szv8e6DFmT5RZoLO7oUUgtjHyv-xmoOV3d49c/w400-h185/2024%20scan010.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiC9v6KNAuE5o-o-o31MXVMrCWtQeYAO5QJc_SxkNsrFG8nQekLhbtppk2a5RFCHu3Y36x4TvKu9hJ5m1o0Lz1krEhbGuLXdU4BoenkAz_Yf7kDf0REA_VnbwpIrVkPJ5tN4UQjCh3_alZHtSq_t4ou8vTSbOZo6Y_Wl7tfAHeZ5M-nYpvH4jPa0qwXzLw/s2323/2024%20scan011.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="955" data-original-width="2323" height="165" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiC9v6KNAuE5o-o-o31MXVMrCWtQeYAO5QJc_SxkNsrFG8nQekLhbtppk2a5RFCHu3Y36x4TvKu9hJ5m1o0Lz1krEhbGuLXdU4BoenkAz_Yf7kDf0REA_VnbwpIrVkPJ5tN4UQjCh3_alZHtSq_t4ou8vTSbOZo6Y_Wl7tfAHeZ5M-nYpvH4jPa0qwXzLw/w400-h165/2024%20scan011.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiBCwhsDB55enN5v-83z5E0yLuSErqI9O_iTckWifIltp9d1ytZAKtlRVODJHBedlceY3fYg77cA0a79hgQ7pxXmWEgR8jqJUnfv-QsNTlXH_aFolWPecrX5K_fId2Ly3F9jiiLwcQybyBZ41jDK_mM42IcWWXcerCCW33sSZ1W0OEUzPySl9ku0ddqlo/s2535/2024%20scan012.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1009" data-original-width="2535" height="159" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiBCwhsDB55enN5v-83z5E0yLuSErqI9O_iTckWifIltp9d1ytZAKtlRVODJHBedlceY3fYg77cA0a79hgQ7pxXmWEgR8jqJUnfv-QsNTlXH_aFolWPecrX5K_fId2Ly3F9jiiLwcQybyBZ41jDK_mM42IcWWXcerCCW33sSZ1W0OEUzPySl9ku0ddqlo/w400-h159/2024%20scan012.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFjidIdPRoU63SqzthFHz5rVcSHFMqQAKyc8yUYhp_fxtYL7JEOh6YC4bWLT5tQv9Uf94ubindt4d9HmV6I0ishjCSpmy3Mc0zvglchhVE9c_r8fyp5QWPxDTuY6hS1a-JvMO15061R3PHe-A1CvutjFbTPhQWIEO6ENS2zKnNjubpmPFnL2uXTvk-yzk/s3140/2024%20scan013.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3140" data-original-width="2338" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFjidIdPRoU63SqzthFHz5rVcSHFMqQAKyc8yUYhp_fxtYL7JEOh6YC4bWLT5tQv9Uf94ubindt4d9HmV6I0ishjCSpmy3Mc0zvglchhVE9c_r8fyp5QWPxDTuY6hS1a-JvMO15061R3PHe-A1CvutjFbTPhQWIEO6ENS2zKnNjubpmPFnL2uXTvk-yzk/w298-h400/2024%20scan013.jpg" width="298" /></a></div><br /><p><br /></p>
Keith Eisenbreyhttp://www.blogger.com/profile/16399615075612440296noreply@blogger.com0tag:blogger.com,1999:blog-7569166511516520581.post-70876270337758749202024-02-03T14:05:00.000-08:002024-02-03T14:46:37.289-08:00Playlist<p style="text-align: center;"><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFXnZ9n7tceC2vpphXf8dJ0IZPlCA6hq6cWD3PyI6E9zbN6P-QduQseN27LiphTMHi2wN7yJOuF6e5r4qfToYs_AqFOup9YRiOObI-cRaQBw6IW6QQW6Vmxkf2ROqjKBnBf2UfzdqrtAEUNzoP6n6pqOA3HG9oQyfY1GQZ1BDxGDfLTwztWd2UNYPBBds/s5472/240203%20A.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFXnZ9n7tceC2vpphXf8dJ0IZPlCA6hq6cWD3PyI6E9zbN6P-QduQseN27LiphTMHi2wN7yJOuF6e5r4qfToYs_AqFOup9YRiOObI-cRaQBw6IW6QQW6Vmxkf2ROqjKBnBf2UfzdqrtAEUNzoP6n6pqOA3HG9oQyfY1GQZ1BDxGDfLTwztWd2UNYPBBds/w400-h266/240203%20A.jpg" width="400" /></a></b></div><b>Preface</b><p></p>
<p>
"i have had my ups and downs<br />but wotthehell wotthehell<br />yesterday
sceptres and crowns<br />fried oysters and velvet gowns<br />and today i herd
with bums<br />but wotthehell wotthehell<br />i wake the world from sleep<br />as
i caper and sing and leap<br />when i sing my wild free tune<br />wotthehell
wotthehell<br />under the blear eyed moon <br />i am pelted with cast off
shoon<br />but wotthehell wotthehell"
</p>
<p>Don Marquis - from "the song of mehitabel" from "archy and mehitabel"</p>
<p style="text-align: center;"><b>Texts</b></p>
<p><b>Live</b></p>
<p>January 27, 2024</p>
<p>
<b><i>Flawed Contraption<br />Greg Campbell, Jesse Canterbury<br /></i></b>Chapel Performance Space, Good Shepherd Center, Seattle
</p>
<p>
in the morning the harbor wakes up <br />birds and early fisherfolk <br />a
fog forms <br />all the business of morning near the piers <br />vibraphone
bells and clarinet discuss exact intonation <br />but not intonation of any
system beyond exactness <br />horizon throbs <br />release <br />a new
creature enters <br />clarinet is dismantled then re-mantled <br />mallets
turn about like clock hands <br />station to station <br />bells to drums
<br />shore birds scurry along <br />we have met on a set of ordered pitches
<br />coalescing <br />moving from piece to piece <br />dual wielding bell
bows <br />we accumulate pitch resonances that hang in the air <br />herd of
cowbells on a frame <br />pitches flock like bird swarms <br />conjoined
business all wound up <br />vibraphone wash <br />melody and resonance beds
</p>
<p><b>Recorded</b></p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjudl75MzFzRlEQJOKed3a_VwCOOQLthb8eh7AkvoStlxyE_bM8ANJM9-pCVZzN9cUF1QIFKZTB3R3c1mhrx3wZtXY_2NhEorNmiUi6eeiY6Y7D1026cc72Ou-B9Is3Gb7hvTisr-Q-Fw3zP18NSh8-Ck6JM3WjHjE8rN6IRsceiGBMWh8GOHqg_0BvoY8/s5472/240203%20B.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjudl75MzFzRlEQJOKed3a_VwCOOQLthb8eh7AkvoStlxyE_bM8ANJM9-pCVZzN9cUF1QIFKZTB3R3c1mhrx3wZtXY_2NhEorNmiUi6eeiY6Y7D1026cc72Ou-B9Is3Gb7hvTisr-Q-Fw3zP18NSh8-Ck6JM3WjHjE8rN6IRsceiGBMWh8GOHqg_0BvoY8/w400-h266/240203%20B.jpg" width="400" /></a></div>January 27, 2024<p></p>
<p><i>Wojak, Op. 74 #10</i> - Frédéric Chopin - Ewa Podleś, Garrick Ohlsson</p>
<p>goosing notes at the ends of lines into impolite harmonic situations</p>
<p><i>My Native Land</i> - Charles Ives - William Sharp, Steven Blier</p>
<p>song in the time of sentimental nationalism</p>
<p>
<i>Criss Cross</i> - Thelonious Monk [from
<i>The Complete Blue Note Recordings</i>]
</p>
<p>
index point and locations above it in a sequence for subsequent discussion
</p>
<p>
<i>I Feel That I've Known You Forever</i> - Elvis Presley [from
<i>Pot Luck</i>]
</p>
<p>
greeting card song <br />ends on a weird chord <br />nearly not in tune but
could be anyway
</p>
<p>
<i>You Gotta Quit Kickin' My Dog Around</i> - Bob Dylan [from
<i>A Tree With Roots</i>]
</p>
<p>
in the discussion he uses the term 'harmony' to mean <br />I think <br />a
note to be sung that isn't part of the tune <br />as in 'sing harmony'
<br />as opposed to singing in harmony or establishing a harmony
</p>
<p><i>Mary, Don't You Weep</i> - Aretha Franklin [from <i>Amazing Grace</i>]</p>
<p>
a function of the gospel choir<br />to embody the community from within which
witness is made <br />socially structured <br />supported <br />'we' or 'us'
<br />a first person plural
</p>
<p>
<i>Riding in the Buggy, Miss Mary Jane</i> - Mike, Peggy, and Penny Seeger
[from <i>American Folk Songs For Children</i>]
</p>
<p>
songs for social amusement <br />does the tall tale trope extend outside of
the states? <br />one imagines probably
</p>
<p><i>Starlight</i> - Taylor Swift - [from <i>Red</i>]</p>
<p>
this song is for fantasizing with <br />suburban dream world <br />cloisters
in cloisters
</p>
<p><i>Unreal City</i> - Steve Layton [from <i>No Answer</i>]</p>
<p>
it is night <br />all abed <br />empty streets <br />empty rooms <br />voice
groups move as though through thick tar
</p>
<p>
<i>Hole In The Ground (Alternative Mix)</i> - David Bowie [from <i>Toy</i>]
</p>
<p>
groups of measures <br />grouped by different patterns in the rhythm section
<br />what is called a modulation in this music <br />is a different animal
than in gallant practice
</p>
<p><i>Rocky Ground</i> - Bruce Springsteen [from <i>Wrecking Ball</i>]</p>
<p>
songs for solidarity among those for whom American life isn't a walk in a
fantasy of empowered success <br />working class gospel
</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJIqQof-iyR-A3cJiuuAFvPTlyv-C8-HiadAOnmIQm125k_wOQrxjsN7aCSnaSP8g838gbZf25J46VAJpbvKXD4N2IY33rEv8o6oLwwcy5RA_XLAidxP3dOZ-sbQ4YviHHzcXDaWEhDBA5UJFVc-i0f_zOkds63WblMwmC7ONN_XuZycwb6UxMLkktXsI/s5472/240203%20C.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJIqQof-iyR-A3cJiuuAFvPTlyv-C8-HiadAOnmIQm125k_wOQrxjsN7aCSnaSP8g838gbZf25J46VAJpbvKXD4N2IY33rEv8o6oLwwcy5RA_XLAidxP3dOZ-sbQ4YviHHzcXDaWEhDBA5UJFVc-i0f_zOkds63WblMwmC7ONN_XuZycwb6UxMLkktXsI/w400-h266/240203%20C.jpg" width="400" /></a></div>January 28, 2024<p></p>
<p>
<i>Dwoajaki koniec, Op. 74 #11</i> - Frédéric Chopin - Ewa Podleś,
Garrick Ohlsson
</p>
<p>
stepping to the side of the imputed tonality <br />in recording art song
<br />it is possibly essential <br />that the singer's breaths be audible
</p>
<p>
<i>His Exaltation</i> - Charles Ives - Daniel Trevor Bircher, Diego Matamoros,
Douglas Dickson, Michael Cavalieri, Patrick Carfizzi
</p>
<p>a manly bonding song <br />with manly chords <br />with manly dissonances</p>
<p>
<i>Criss Cross (Alternate Take)</i> - Thelonious Monk [from
<i>The Complete Blue Note Recordings</i>]
</p>
<p>
winding up with style and synchronicities <br />these musicians are thinking
about and discussing the how of how what they do does what it does
</p>
<p><i>Night Rider</i> - Elvis Presley [from <i>Pot Luck</i>]</p>
<p>
this one's a rocker <br />with a fine guitarist and a tight band <br />having
a bit of fun making a groove like that go
</p>
<p>
<i>See You Later, Allen Ginsberg</i> - Bob Dylan [from
<i>A Tree With Roots</i>]
</p>
<p>these musicians have just gotten silly <br />too much beer in the booth</p>
<p><i>Never Grow Old</i> - Aretha Franklin [from <i>Amazing Grace</i>]</p>
<p>
these musicians are focused on <br />and focused from within <br />the
present actuality of the perfection of prayer
</p>
<p>
|| rhetorically <br />it provides a single charisma for all to focus upon
<br />hoisted on their shoulders
</p>
<p>
|| however <br />the rhetorical technique in and of itself <br />is not that
present actuality of the perfection of prayer <br />the focus <br />is prior
to and innocent of that device
</p>
<p>|| it might be a different device that could also serve</p>
<p>
<i>Billy Barlow</i> - Mike, Peggy, and Penny Seeger [from
<i>American Folk Songs For Children</i>]
</p>
<p>
these musicians seem to have a gig as a museum exhibit <br />but I think they
actually like singing these songs <br />so they're having a good time at it
</p>
<p><i>Sunbreaks</i> - Steve Layton & Improv Friday [from <i>PPP</i>]</p>
<p>
these musicians are opening a space for themselves <br />in each of their
geometries <br />joint and several
</p>
<p><i>Dress </i>- Taylor Swift [from <i>Reputation</i>]</p>
<p>these musicians are being a billboard <br />selling a sexual fantasy</p>
<p><i>Shadow Man (Alternative Mix)</i> - David Bowie [from <i>Toy</i>]</p>
<p>
that's a skillful pianist back there <br />actual dynamics and touch
</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj817NxRZyWW58sQroFW3RfP5HOeEpo9oDGQOQvXL0311IBzdK2tTb4N6ToGnS3T-FlwZB26UgyiQtTzHSDefZUxfyQTEzSGb8xbIXmZp39QPsHZkdaV0AIXoQ5NYfjfT5HL_y3qt3HWp4_N2VHXM-zDidXJF8ek0uACspC3LBmX0REU0OhDR4Jbn0HFiQ/s5472/240203%20D.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj817NxRZyWW58sQroFW3RfP5HOeEpo9oDGQOQvXL0311IBzdK2tTb4N6ToGnS3T-FlwZB26UgyiQtTzHSDefZUxfyQTEzSGb8xbIXmZp39QPsHZkdaV0AIXoQ5NYfjfT5HL_y3qt3HWp4_N2VHXM-zDidXJF8ek0uACspC3LBmX0REU0OhDR4Jbn0HFiQ/w400-h266/240203%20D.jpg" width="400" /></a></div>January 29, 2024<p></p>
<p><i>We Are Alive</i> - Bruce Springsteen [from <i>Wrecking Ball</i>]</p>
<p>
the guitar strumming fades in from a distance <br />the singer appears at our
ear <br />string band with winds (synthetic?) and percussion <br />but the
string band is so massed it mostly just seems to strum <br />forgoing the
intricate part work to which those instruments are partial
</p>
<p>
<i>Moja piesczotka, Op. 74 #12</i> - Frédéric Chopin - Ewa Podleś, Garrick
Ohlsson
</p>
<p>
narrow melody in the minor mode portion <br />until that sudden leap <br />all
hidden in a charming waltz package
</p>
<p><i>Thoreau</i> - Charles Ives - William Sharp, Steven Blier</p>
<p>
by the azure tint <br />distance obscurity abstraction <br />the flavors of
our perceptual limitations aestheticized
</p>
<p>
<i>Eronel (1988 Digital Remaster)</i> - Thelonious Monk [from
<i>The Complete Blue Note Recordings</i>]
</p>
<p>
these musicians are intent upon their playing <br />as an image of what music
is <br />id est <br />this playing is the music <br />I don't play that tune
<br />that tune is what I play <br />this one has a stutter skip in part of it
</p>
<p><i>Fountain of Love </i>- Elvis Presley [from <i>Pot Luck</i>]</p>
<p>travelogue arrangement with mariachi styling</p>
<p><i>Tiny Montgomery</i> - Bob Dylan [from <i>A Tree With Roots</i>]</p>
<p>
an accent can signify cultural attitude <br />we ascribe this to the person
singing <br />but it more properly should be ascribed to our projection upon
the singer/persona <br />as they arise within the song we are hearing
</p>
<p>
<i>Remarks by Rev. C. L. Franklin/Precious Memories/My Sweet Lord</i> - Aretha
Franklin [from <i>Amazing Grace</i>]
</p>
<p>
Rev. Franklin is a practiced public speaker <br />subsequent remarks
accompanied by piano as it sneaks into the song <br />like a recitative
<br />a cooperative venture that relies on both the style of music <br />and
the style of speaking
</p>
<p>
<i>The Juniper Tree</i> - Mike, Peggy, and Penny Seeger [from
<i>American Folk Songs For Children</i>]
</p>
<p>sounds like a lap dulcimer</p>
<p><i>Begin Again</i> - Taylor Swift [from <i>Red</i>]</p>
<p>she pulls her short 'A' sounds (th'a't) <br />back into the sinuses</p>
<p>
<i>Decrepit Pocket Circus</i> - Steve Layton & Sound-In [from
<i>Further Journey</i>]
</p>
<p>
cave trolls and cave bears tell tales of heroic deeds in the bowels of the
earth
</p>
<p>
<i>Toy (Your Turn To Drive) [Alternative Mix]</i> - David Bowie [from
<i>Toy</i>]
</p>
<p>
Bowie-type intro: <br />care taken to compose how the groove assembles itself
</p>
<p><i>Land of Hope and Dreams</i> - Bruce Springsteen [from Wrecking Ball]</p>
<p>
gospel witness imported to a stage spectacular <br />never grow old
<br />triumph at the end of the rainbow <br />the whole Sister Amy shtick
</p>
<p>
<i>Nie maczago trzeba, Op. 74 #13</i> - Frédéric Chopin - Ewa Podleś, Garrick
Ohlsson
</p>
<p>
these songs are fabulous <br />I hadn't heard them before and had paid them
little mind <br />but they are fast becoming some of my favorite Chopin
</p>
<p><i>Harpalus</i> - Charles Ives - Dora Ohrenstein, Phillip Bush</p>
<p>silverish delicacy</p>
<p>
<i>Straight No Chaser</i> - Thelonious Monk [from
<i>The Complete Blue Note Recordings</i>]
</p>
<p>
figure A: <br />pointer <--- toward ---> points of geometric time on a
circulating surface
</p>
<p>
<i>That's Someone You Never Forget</i> - Elvis Presley [from <i>Pot Luck</i>]
</p>
<p>
the emotional vocabulary of the stereotypical 19th Century lady novel reader
<br />transfigured into a quivery velvet voice
</p>
<p>
<i>The Spanish Song (Take 1)</i> - Bob Dylan [from <i>A Tree With Roots</i>]
</p>
<p>
song jumping <br />free form <br />an inebriate stumbling through the catalog
</p>
<p>
<i>Old Joe Clarke</i> - Mike, Peggy, and Penny Seeger [from
<i>American Folk Songs For Children</i>]
</p>
<p>
examples of styles of picking and strumming <br />also of songs <br />there
needn't be much to them to be such a song
</p>
<p><i>Swallowed Up</i> - Bruce Springsteen [from <i>Wrecking Ball</i>]</p>
<p>
ooo! depiction! <br />we are the clot in the great fish's gullet <br />wears
his words on a studied voice <br />gussied up with production
</p>
<p><i>Silver Screen</i> - Steve Layton [from <i>No Answer</i>]</p>
<p>
the cymbal strike opens a door into the fog of Noirhattan <br />the texture of
the sound has become denser <br />pressured <br />crowded <br />the new normal
</p>
<p><i>The Great War</i> - Taylor Swift [from <i>Midnights</i>]</p>
<p>
we are sure she's talking about something <br />but not enough information to
be certain of any particular application to particular events
</p>
<p>
<i>In The Heat of the Morning (Unplugged & Somewhat Slightly Electric
Mix)</i>
- David Bowie [from Toy]
</p>
<p>the two faces of the charmer <br />public private</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj8exJCqJwatG9t307oiHqWY_CoQ4cHGMqriGbnGeMEjIzWi6AURVMqKvGv7jT8nWbK-xDH25nQfjnNvIJZ9Rgxha5tx4lqCldych2ith5ZccKrGkpPP8thI_uABKojSCAbLJwK0DNzHAYi9Z2AcI8zFCMv_fwwgfGLZm6MdfuI1XwIJiX074OY80uVlA/s5472/240203%20E.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj8exJCqJwatG9t307oiHqWY_CoQ4cHGMqriGbnGeMEjIzWi6AURVMqKvGv7jT8nWbK-xDH25nQfjnNvIJZ9Rgxha5tx4lqCldych2ith5ZccKrGkpPP8thI_uABKojSCAbLJwK0DNzHAYi9Z2AcI8zFCMv_fwwgfGLZm6MdfuI1XwIJiX074OY80uVlA/w400-h266/240203%20E.jpg" width="400" /></a></div>January 30, 2024<p></p>
<p>
<i>Pierścień, Op. 74#14</i> - Frédéric Chopin - Ewa Podleś, Garrick Ohlsson
</p>
<p>
establishing a triad stands for establishing a key <br />if he isn't going to
treat of the whole tonic/dominant/subdominant fiasco <br />he simply doesn't
bother with it
</p>
<p><i>The Children's Hour</i> - Charles Ives - Paul Sperry, Irma Vallecillo</p>
<p>learned composition <br />wallowing in bourgeois dreaminess</p>
<p>
<i>Straight No Chaser </i>- Thelonious Monk [from
<i>The Complete Blue Note Recordings</i>]
</p>
<p>
he secures his subject as best he can <br />but they're lively and squirm
something awful
</p>
<p>
<i>The Spanish Song (Take 2)</i> - Bob Dylan [from <i>A Tree With Roots</i>]
</p>
<p>northerners playing in brownface</p>
<p>
<i>Down By The Greenwood</i> - Mike, Peggy, and Penny Seeger [from
<i>American Folk Songs For Children</i>]
</p>
<p>voice alone calming lullaby</p>
<p><i>American Land</i> - Bruce Springsteen [from <i>Wrecking Ball</i>]</p>
<p>
get the big parade drums out <br />we're off to war <br />join us we're
pirates <br />a life of excitement and glory <br />colonial shock troops
</p>
<p>
<i>This Is Why We Can't Have Nice Things </i>- Taylor Swift [from
<i>Reputation</i>]
</p>
<p>such a scold this <br />is no longer the voice of a human-sized person</p>
<p><i>Intrada</i> - Steve Layton [from <i>Lucky You</i>]</p>
<p>
the subject's heart is beating <br />we can investigate strands of twisted
strands <br />abstractly abstracted
</p>
<p>
<i>I Dig Everything (Unplugged & Somewhat Slightly Electric Mix)</i> -
David Bowie [from <i>Toy</i>]
</p>
<p>presented as one might <br />on a stage <br />with backup singers</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5yY0VJeuW7BWPYjBkEuUQLCVDxW7akGspbUbQJU2IC2KsP_WhwfzhhsZ8Y3LMyGweDErUyV7NiDFGPF3EWBBVasbU4XfR3H1liQKgYJNtfy507X4zn_j-nqrFUHCI2HVzHvTpUuBodw9lj7_uxwWM6h88OuleGi3tizFDHziqgsXJN3DMWw-TtfD0yPU/s5472/240203%20K.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5yY0VJeuW7BWPYjBkEuUQLCVDxW7akGspbUbQJU2IC2KsP_WhwfzhhsZ8Y3LMyGweDErUyV7NiDFGPF3EWBBVasbU4XfR3H1liQKgYJNtfy507X4zn_j-nqrFUHCI2HVzHvTpUuBodw9lj7_uxwWM6h88OuleGi3tizFDHziqgsXJN3DMWw-TtfD0yPU/w400-h266/240203%20K.jpg" width="400" /></a></i></div><i>Narzeczony, Op. 74 #15</i> - Frédéric Chopin - Ewa Podleś, Garrick Ohlsson
<p></p>
<p>misgivings and intestinal turmoil</p>
<p><i>World's Wanderers</i> - Charles Ives - Dora Ohrenstein, Phillip Bush</p>
<p>those with leisure <br />not migrant workers</p>
<p>
<i>Ask Me Now</i> - Thelonious Monk [from
<i>The Complete Blue Note Recordings</i>]
</p>
<p>
dusts his keyboard both directions <br />cleans each note he needs <br />some
take some scrubbing <br />some figures are the subject <br />some are just
clearing detritus from the work space
</p>
<p>
<i>I'm Your Teenage Prayer</i> - Bob Dylan [from <i>A Tree With Roots</i>]
</p>
<p>advertising copy or camp skit</p>
<p>
<i>Roll That Brown Jug Back To Town</i> - Mike, Peggy, and Penny Seeger [from
<i>American Folk Songs For Children</i>]
</p>
<p>sung in full costume in the character of an original authentic</p>
<p>
<i>A Lonely Man</i> - Steve Layton & Sound-In [from
<i>Further Journey</i>]
</p>
<p>
out west where a lonely man can be lonely with pride <br />words hitch a ride
<br />an image sense is not to be made here <br />in case of penalty
</p>
<p><i>Bigger Than The Whole Sky</i> - Taylor Swift [from <i>Midnights</i>]</p>
<p>
the brand we know as Taylor Swift <br />is in the voice of a divine movie star
rodeo queen patriarchal-corporate good girl
</p>
<p>
<i>You've Got A Habit of Leaving (Unplugged & Somewhat Slightly Electric
Mix)</i>
- David Bowie [from <i>Toy</i>]
</p>
<p>remembering the 60s fondly</p>
<p>
<i>Piosnka Litewski, Op. 74 #16</i> - Frédéric Chopin - Ewa Podleś, Garrick
Ohlsson
</p>
<p>
voice is the silver screen <br />piano is the pantomime orchestra
<br />translating the film into music
</p>
<p>
<i>The Housatonic At Stockbridge </i>- Charles Ives - Eric Trudel, Robert
Gardner
</p>
<p>sounds like night <br />or immobalizingly muggy </p>
<p>yikes! there's a whole excitement!</p>
<p>
<i>Willow Weep For Me</i> - Thelonious Monk [from
<i>The Complete Blue Note Recordings</i>]
</p>
<p>
the voicing on each punchy little chord <br />finds their unsuspected corners
</p>
<p><i>Four Strong Winds </i>- Bob Dylan [from <i>A Tree With Roots</i>]</p>
<p>
it's been worse times <br />our hang in there anyway anthem <br />some
wanderers settle down
</p>
<p>
<i>As I Walked Out One Holiday</i> - Mike, Peggy, and Penny Seeger [from
<i>American Folk Songs For Children</i>]
</p>
<p>
two pitch bass voice part <br />in imitation of easy chord strumming
<br />song takes a very dark turn <br />down a deep well <br />15 fathoms deep
</p>
<p><i>Water Wheel</i> - Steve Layton [from <i>No Answer</i>]</p>
<p>with cute little sea hamsters running it round and round</p>
<p>
<i>The London Boys (Unplugged & Somewhat Slightly Electric Mix)</i> -
David Bowie [from <i>Toy</i>]
</p>
<p>a generation's narrator</p>
<p><i>Paris </i>- Taylor Swift [from <i>Midnights</i>]</p>
<p>fashion check-in <br />having a fantasy romance in title town </p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWB-dG1lG-ahSJTuLZWstQ5mIFaFglLhHtHkG3RQPQiFW_2RC8hsbzJVdsug854ZFZh2YaLgGNZn1souuRke749uzXWSOYELiCDalTuWfspyq0hdr5mWd2dmGtBh95a6W8-Ha5KvhXj3dpTRwyYccO6ridL4iVFqzk4-npaffOd08c780UaLtGc-KbH8Y/s5472/240203%20L.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWB-dG1lG-ahSJTuLZWstQ5mIFaFglLhHtHkG3RQPQiFW_2RC8hsbzJVdsug854ZFZh2YaLgGNZn1souuRke749uzXWSOYELiCDalTuWfspyq0hdr5mWd2dmGtBh95a6W8-Ha5KvhXj3dpTRwyYccO6ridL4iVFqzk4-npaffOd08c780UaLtGc-KbH8Y/w400-h266/240203%20L.jpg" width="400" /></a></i></div><i>Śpiew grobowy, Op. 74 #17</i> - Frédéric Chopin - Ewa Podleś, Garrick
Ohlsson
<p></p>
<p>
foreshortened <br />we view above us <br />as from a pit <br />a national hero
<br />so proud <br />so noble <br />so tortured
</p>
<p><i>Du Alte Mutter</i> - Charles Ives - Paul Sperry, Steven Blier</p>
<p>
an accomplished gentleman <br />who is an accomplished composer <br />ought to
be able to write <br />an accomplished Lied
</p>
<p>
<i>Skippy</i> - Thelonious Monk [from
<i>The Complete Blue Note Recordings</i>]
</p>
<p>a game for astounding each other <br />loads of fun</p>
<p>
<i>The French Girl (Take 1)</i> - Bob Dylan [from <i>A Tree With Roots</i>]
</p>
<p>let's put it down in G <br />to hear himself in all the songs</p>
<p>
<i>She'll Be Coming Round The Mountain When She Comes </i>- Mike, Peggy, and
Penny Seeger [from <i>American Folk Songs For Children</i>]
</p>
<p>authentic practices</p>
<p>
<i>New Land</i> - Steve Layton & Sound-In [from <i>Further Journey</i>]
</p>
<p>it's different in the forest <br />the further in the more different</p>
<p>
<i>Karma Man (Unplugged & Somewhat Slightly Electric Mix)</i> - David
Bowie [from <i>Toy</i>]
</p>
<p>a portrait</p>
<p><i>High Infidelity</i> - Taylor Swift [from <i>Midnights</i>]</p>
<p>always circles back through the same old story <br />as it gets older</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2prv4a6HHha_H5KbaCRyCdUTuiPVc2xS0DuwI-h7S9Yl4zB9KUTlHGbriP-pMS_21La57ErvkZ3SvlUPSXw_dBseqNv4bEpyq_odgDLcdiFa7VVGhz-Xe-NO_euSgVRDFoYmx3RkH6qMkeCOBvfVXA1nCB2Zgcx2NQcfM-I1IfsTTOLBGdl0Lf-Co_gU/s5472/240203%20F.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2prv4a6HHha_H5KbaCRyCdUTuiPVc2xS0DuwI-h7S9Yl4zB9KUTlHGbriP-pMS_21La57ErvkZ3SvlUPSXw_dBseqNv4bEpyq_odgDLcdiFa7VVGhz-Xe-NO_euSgVRDFoYmx3RkH6qMkeCOBvfVXA1nCB2Zgcx2NQcfM-I1IfsTTOLBGdl0Lf-Co_gU/w400-h266/240203%20F.jpg" width="400" /></a></div>January 31, 2024<p></p>
<p><i>West London</i> - Charles Ives - Dora Ohrenstein, Phillip Bush</p>
<p>
circular melody bits <br />each attached to its appropriately hued patch of
piano <br />amen tag
</p>
<p>
<i>Skippy (Alternate Take)</i> - Thelonious Monk [from
<i>The Complete Blue Note Recordings</i>]
</p>
<p>limber</p>
<p>
<i>The French Girl (Take 2) </i>- Bob Dylan [from <i>A Tree With Roots</i>]
</p>
<p>one song bum's idea of the sound of his world</p>
<p>
<i>Juba</i> - Mike, Peggy, and Penny Seeger [from
<i>American Folk Songs For Children</i>]
</p>
<p>the same four lines repeated with mouth percussion in the breaks</p>
<p><i>I Stumbled to the Door </i>- Steve Layton [from <i>No Answer</i>]</p>
<p>
film cue <br />extended dance mix <br />we groove on cycles <br />accepting
the illusion of perpetual return
</p>
<p>
<i>Conversation Piece (Unplugged & Somewhat Slightly Electric Mix)</i> -
David Bowie [from <i>Toy</i>]
</p>
<p>
a song is a role or set of roles <br />activated into sound space <br />sound
is invisible in space <br />but space is audible in sound
</p>
<p><i>Call It What You Want</i> - Taylor Swift [from <i>Reputation</i>]</p>
<p>ok it seems to be about some guy <br />vaguely catty</p>
<p><i>Hymn</i> - Charles Ives - Douglas Dickson, Ian Howell</p>
<p>
this hymn has been moldering on a shelf <br />its voices have weakened their
hold on each other
</p>
<p>
<i>Hornin' In (Alternate Take)</i> - Thelonious Monk [from
<i>The Complete Blue Note Recordings</i>]
</p>
<p>clear linear trajectory emerges from the splotchy figures</p>
<p><i>Joshua Gone Barbados</i> - Bob Dylan [from <i>A Tree With Roots</i>]</p>
<p>a non-commercial space to try things out in</p>
<p>
<i>Run, Chillen, Run </i>- Mike, Peggy, and Penny Seeger [from
<i>American Folk Songs For Children</i>]
</p>
<p>it's almost day</p>
<p>
<i>Will You Still Love Me Tomorrow</i> - Steve Layton [from <i>No Answer</i>]
</p>
<p>a flow within the sample data making like vowels being mouthed</p>
<p><i>Glitch</i> - Taylor Swift [from <i>Midnights</i>]</p>
<p>there is no outer surface to this</p>
<p>
<i>Shadow Man (Unplugged & Somewhat Slightly Electric Mix)</i> - David
Bowie [from <i>Toy</i>]
</p>
<p>
piano figure presents three stepped locations <br />but the figuration as such
has no discernible after life
</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZ404tImnW4znN_SAB6E6BuMZj6WQGtXd76jnvt7-M228yjgfEVwFmm7MSgHfrXWEqtOufUrBb99HHfg6VFe9S1gKViyYDf0ncWlHh0qQ8AqD_VtA_cQpUFtmKnLUeSR4B7YEb7gQKgjiq6fqaYs1BpsKtKNpZSFwxDM0w4ecLCu5WK2bT9BCFifOqX3w/s5472/240203%20I.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZ404tImnW4znN_SAB6E6BuMZj6WQGtXd76jnvt7-M228yjgfEVwFmm7MSgHfrXWEqtOufUrBb99HHfg6VFe9S1gKViyYDf0ncWlHh0qQ8AqD_VtA_cQpUFtmKnLUeSR4B7YEb7gQKgjiq6fqaYs1BpsKtKNpZSFwxDM0w4ecLCu5WK2bT9BCFifOqX3w/w400-h266/240203%20I.jpg" width="400" /></a></i></div><i>God Bless and Keep Thee</i> - Charles Ives - Mary Ann Hart, Dennis Helmrich
<p></p>
<p>appropriate for any and all high-toned parlours <br />none need blush</p>
<p>
<i>Hornin' In</i> - Thelonious Monk [from
<i>The Complete Blue Note Recordings</i>]
</p>
<p>
here the piano figure <br />also narrow in range <br />has quite the time of
it trying horns on for size
</p>
<p>
<i>I'm In The Mood For Love</i> - Bob Dylan [from <i>A Tree With Roots</i>]
</p>
<p>
Dear Reader: <br />we're in for an awful lot of this album over the next few
weeks <br />personally I'm not overly fond of it for many reasons <br />and I
presume as a matter of practice <br />that my reasons for not liking it much
<br />are more interesting than the mere fact that I don't is
</p>
<p>
<i>All Around The Kitchen</i> - Mike, Peggy, and Penny Seeger [from
<i>American Folk Songs For Children</i>]
</p>
<p>
likewise there will be many of these tracks as well <br />we're just through
the first CD of two <br />and there are quite a few left in the animal album
also
</p>
<p><i>Shashanka</i> - Steve Layton [from <i>No Answer</i>]</p>
<p>
and though I haven't counted remaining tracks <br />I'm convinced that Steve
will be the final holdout <br />outlasting even Ives <br />who wrote a
shitload of songs <br />I'm not personally sorry for that <br />I could
imagine worse playlists <br />notably <br />those without anything even half
as interesting as what Steve does <br />but why wherefore and for what reasons
<br />are these my preferences?
</p>
<p>
<i>Let Me Sleep Beside You (Unplugged & Somewhat Slightly Electric Mix)</i>
- David Bowie [from <i>Toy</i>]
</p>
<p>
there are a few more songs on this album <br />not much of it will survive
into next week <br />{NB: none did} <br />so what does it seem to be?
<br />tracks left unfinished or unreleased somewhy <br />Bowie was a smart and
thoughtful song writer song producer song collaborator and stage song
performer who more or less invented self re-invention
</p>
<p><i>New Year's Day</i> - Taylor Swift [from <i>Reputation</i>]</p>
<p>
and just a few more songs from the woman of the hour <br />so what is she
doing? <br />she's making big-screen movies out of pop song parts <br />she
(the brand) is inconceivable without the movies <br />so what are they as
movies?
</p>
<p><i>Abide With Me</i> - Charles Ives - Paul Sperry, Irma Vallecillo</p>
<p>
and then of course <br />we have our old New England Ivy League bourgeois prim
and proper parlor provider pater familia Uncle Charles <br />so sincere
</p>
<p>
<i>Sixteen (first take) </i>- Thelonious Monk [from
<i>The Complete Blue Note Recordings</i>]
</p>
<p>
Monk I believe will survive this week <br />{NB: yep!} <br />I enjoy listening
to his piano playing <br />he's a poker <br />that is <br />as a pianist he
pokes the notes and not the keys <br />(the black and white - the ivories)
<br />the notes <br />the pitches <br />he pokes those <br />it's a simple
magic <br />that's why they seem to bend <br />we feel his poke through the
pitch
</p>
<p><i>All-American Boy</i> - Bob Dylan [from <i>A Tree With Roots</i>]</p>
<p>
so back to Bob <br />but perhaps my complaints should be addressed to those
responsible for making this public <br />here's my beef with this as an album
<br />the sound of it deafens me to anything they might be doing musically
<br />and try though I might <br />and I do <br />I can't hear it <br />it
gets me to no good place
</p>
<p>
<i>I'm Going To Join The Army</i> - Mike, Peggy, and Penny Seeger [from
<i>American Folk Songs For Children</i>]
</p>
<p>
so this album is a museum of song examples <br />instrument examples
<br />performance style examples <br />et cetera <br />there really should be
a comprehensive index <br />but it is a remarkable museum
</p>
<p><i>Slip Beats</i> - Steve Layton [from <i>No Answer</i>]</p>
<p>
so would this album be different as a music <br />if the titles were rotated
with respect to the tracks numbers?
</p>
<p>
with Steve the ontological issue arises <br />I know Steve <br />he sometimes
reads this blog <br />{NB hi Steve!} <br />he as a person in relation to me is
on a different plane than the other survivors on the list <br />this one is
strobey
</p>
<p>
<i>Hole In The Ground (Unplugged & Somewhat Slightly Electric Mix)</i> -
David Bowie [from <i>Toy</i>]
</p>
<p>
the salutary effect of multiple versions in the rotation <br />is that they
become just that <br />versions <br />they de-mystify each other
</p>
<p><i>Would've Could've Should've</i> - Taylor Swift [from <i>Midnights</i>]</p>
<p>
So Ms Swift stars in all her movies <br />all her movies star her <br />all
movies star her <br />all movies <br />her the star <br />must be strange
<br />automegalomanic <br />the wind machine blows the hair <br />in every
scene <br />every shot
</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg534-lBdEj8ixb6XkBUUyQIOPFo1gAoOxAhueXxAtELuwpDzSLmo6_YE3iG6jnAEmlTFOP5RK_sjmyyg8_RecylVrU7NTv8wX48snlM6vVqPoDNckb0UPT1KxrYCw3hOZgXp60T_yyDBFyNeOkAcctJ5OkRvbq9GIIcecTSul5cp_l0w3V9U9UJeTVFHc/s5472/240203%20J.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg534-lBdEj8ixb6XkBUUyQIOPFo1gAoOxAhueXxAtELuwpDzSLmo6_YE3iG6jnAEmlTFOP5RK_sjmyyg8_RecylVrU7NTv8wX48snlM6vVqPoDNckb0UPT1KxrYCw3hOZgXp60T_yyDBFyNeOkAcctJ5OkRvbq9GIIcecTSul5cp_l0w3V9U9UJeTVFHc/w400-h266/240203%20J.jpg" width="400" /></a></i></div><i>Old Home Day</i> - Charles Ives - William Sharp, Steve Blier<p></p>
<p>
neogothic impressionism <br />we visit each old 'un in turn <br />what a wonderful
time we had <br />as cinematic as Swift? <br />no and yes <br />just cinema of
a different time <br />patriotic rouser good ol' boy song
</p>
<p>
<i>Sixteen (second take)</i> - Thelonious Monk [from
<i>The Complete Blue Note Recordings</i>]
</p>
<p>
so he pokes and prods pitch around <br />and time with it <br />what does he
make of it with all that prodding <br />trick question <br />the prodding and
poking are a dance <br />he is collaborating with those pitches <br />what he
made of it is a dance partner
</p>
<p><i>Sign on the Cross</i> - Bob Dylan [from <i>A Tree With Roots</i>]</p>
<p>
so OK Bob <br />I suppose it was one of those guy-bonding things <br />hey
I've been silly too <br />so the hope is for something to make it worthwhile
<br />this track may qualify <br />they seem to be taking it seriously
<br />(as least while he's singing) <br />can't quite sell the spoken verse
though <br />he caricaturates it all up
</p>
<p>
<i>Scraping Up Sand in the Bottom of the Sea</i> - Mike, Peggy, and Penny
Seeger [from <i>American Folk Songs For Children</i>]
</p>
<p>
dulcimer? and banjo <br />there are more banjos in the banjo family than you
think
</p>
<p><i>The Moment of Equinox</i> - Steve Layton [from <i>No Answer</i>]</p>
<p>
equator crossing <br />tossed in the gravity sea <br />this music refreshes
the ear <br />gives it a firm massage <br />detox
</p>
<p>
<i>Baby Loves That Way (Unplugged & Somewhat Slightly Electric Mix)</i> -
David Bowie [from <i>Toy</i>]
</p>
<p>
invented it ad hoc <br />every song he does involves the inventions of at
least one self <br />self-invention is his whole shtick
</p>
<p><i>Dear Reader</i> - Taylor Swift [from <i>Midnights</i>]</p>
<p>
so we bid adieu to our movie star for the time being <br />thanks so much for
stopping by <br />we'll just be going now <br />exit toward the lobby
<br />fade to black
</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh71xJ0aaTJFp_PC_aKoFEf4kWkL1rxDIACikGQI__CVQvbUDEb0OI2wnEmHaQ6EK-mdWb94xF8kgU4OozaPb4LKu46oMKHRpIuudse958vD7ccQvhAvgSrfRNoA_Y3Ok_cOPz8cQ_Myhq3YhogSUxHZsaZAZva5GtEKPhzTKyNzbviTOXVz6mkwKffUe4/s5472/240203%20G.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh71xJ0aaTJFp_PC_aKoFEf4kWkL1rxDIACikGQI__CVQvbUDEb0OI2wnEmHaQ6EK-mdWb94xF8kgU4OozaPb4LKu46oMKHRpIuudse958vD7ccQvhAvgSrfRNoA_Y3Ok_cOPz8cQ_Myhq3YhogSUxHZsaZAZva5GtEKPhzTKyNzbviTOXVz6mkwKffUe4/w400-h266/240203%20G.jpg" width="400" /></a></div>February 1, 2024<p></p>
<p><i>Hymn of Trust</i> - Charles Ives - Frederick Teardo, Tamara Mumford</p>
<p>
so it would seem that Ives spent most of his composing energies on songs
<br />there sure are a bunch of them <br />their limited scope avoids the
often murky tedium of some of his longer scores <br />(Symphonies, I'm looking
at you) <br />the shape of these is always clear <br />we know where we are
and so does he
</p>
<p>
<i>Carolina Moon</i> - Thelonious Monk [from
<i>The Complete Blue Note Recordings</i>]
</p>
<p>
he plays a tune and then puts some questions to it <br />the ensemble is the
arena within which those are hashed out <br />the questions never disappear
</p>
<p><i>Silent Weekend</i> - Bob Dylan [from <i>A Tree With Roots</i>]</p>
<p>
trope <br />complaining about one's romantic treatment <br />so this album
could be seen as <br />primarily <br />a museum piece <br />that is <br />as a
hunk of Dylan in the raw<br />a primary source <br />but also as a song
repository <br />less so of performance style <br />which is rote for the most
part
</p>
<p>
<i>Old Mister Rabbit</i> - Mike, Peggy, and Penny Seeger [from
<i>American Folk Songs For Children</i>]
</p>
<p>
this collection is quite consciously a repository of all sorts of things that
would otherwise vanish traceless
</p>
<p><i>A Regular Life</i> - Steve Layton [from <i>No Answer</i>]</p>
<p>
power tools! <br />walking along <br />taking in the hears <br />along the way
<br />sounds on a stroll <br />each new sound presented with Kovacsian
blatancy <br />back to the guy in the garage with his drill
</p>
<p>
<i>Can't Help Thinking About Me (Unplugged & Somewhat Slightly Electric
Mix)</i>
- David Bowie [from <i>Toy</i>]
</p>
<p>
in the first person singular <br />which is common for Bowie <br />the
characters he invents for his songs address us <br />as themselves <br />to us
<br />as sometimes fictional others <br />or <br />as sometimes our actual
selves
</p>
<p><i>Serenity</i> - Charles Ives - Mary Ann Hart, Dennis Helmrich</p>
<p>
dissonant <br />yes <br />in the service of atmosphere <br />brief sudden
consonant fragment <br />(to tone-paint beauty?)
</p>
<p>
<i>Let's Cool One</i> - Thelonious Monk [from
<i>The Complete Blue Note Recordings</i>]
</p>
<p>
score as prescriptive ritual <br />Plato's council of elders <br />to keep the
youngsters in line <br />it is an authority <br />for how that ritual goes
<br />it might be quite laid back
</p>
<p><i>Don't Ya Tell Harry</i> - Bob Dylan [from <i>A Tree With Roots</i>]</p>
<p>comic bar tale from the old times <br />Harry is Henry in their singing</p>
<p>
<i>Old Molly Hare</i> - Mike, Peggy, and Penny Seeger [from
<i>American Folk Songs For Children</i>]
</p>
<p>Mike's accents have his accent</p>
<p>
<i>Silly Boy Blue (Unplugged & Somewhat Slightly Electric Mix)</i> - David
Bowie [from <i>Toy</i>]
</p>
<p>
London sound: <br />what I dig about Bowie's
songwriting/producering/arrangering <br />is that it is always clear what he's
doing <br />he doesn't obscure anything
</p>
<p><i>Introverted</i> - Steve Layton [from <i>Ending to Begin</i>]</p>
<p>
we mechanized the repeated notes <br />as due to the audible record skips
<br />but then <br />our mechanism falls apart <br />and we accumulate quite
the theogony <br />distinguish not just the instruments <br />but the spaces
they appear to inhabit <br />nice finger bells
</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDGoXkHmFJsmRurhGqURI54l_dpDgI6x0N4HyC7YafDRvJOZDv3DwNmiX-H0sehmXXZELzLJ13Sqq-aCPjaEwno68k_OJV21IXsG52SzAg44MmojmiRdI3cIWLrMn9p49hphq0SoC3m-YhLctsuKdEbec_S5uF1sXAInF6EJ8rmjBURJH6ngqwLH_SFYI/s5472/240203%20H.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDGoXkHmFJsmRurhGqURI54l_dpDgI6x0N4HyC7YafDRvJOZDv3DwNmiX-H0sehmXXZELzLJ13Sqq-aCPjaEwno68k_OJV21IXsG52SzAg44MmojmiRdI3cIWLrMn9p49hphq0SoC3m-YhLctsuKdEbec_S5uF1sXAInF6EJ8rmjBURJH6ngqwLH_SFYI/w400-h266/240203%20H.jpg" width="400" /></a></i></div><i>Du Alte Mutter</i> - Charles Ives - William Sharp, Steven Blier<p></p>
<p>
a poem addressed to <br />as a conceit <br />a character <br />out there in
the world <br />who is never expected <br />within the conceit <br />to read
the poem <br />it is a rhetorical rather than an actual epistle
</p>
<p>
<i>I'll Follow You</i> - Thelonious Monk [from
<i>The Complete Blue Note Recordings</i>]
</p>
<p>
his left hand stands to the side of his right hand's melodicizing
<br />commenting <br />supporting <br />admiring <br />a separate character on
stage <br />the straight man <br />trickster type <br />duet partner
<br />foil
</p>
<p><i>Bourbon Street</i> - Bob Dylan [from <i>A Tree With Roots</i>]</p>
<p>an ill-tuned trombone is holding forth from the next barstool</p>
<p>
<i>Oh, John The Rabbit</i> - Mike, Peggy, and Penny Seeger [from
<i>American Folk Songs For Children</i>]
</p>
<p>the trouble with critters</p>
<p><i>Helios</i> - Steve Layton [from <i>Excavations 2013-2014</i>]</p>
<p>the sun rises too near <br />far too near</p>
<p>
<i>Toy (Your Turn To Drive) (Unplugged & Somewhat Slightly Electric
Mix)</i>
- David Bowie [from <i>Toy</i>]
</p>
<p>his forces enter in order that they be counted</p>
<p>
<i>Reflections</i> - Thelonious Monk, Sonny Rollins [from
<i>The Complete Blue Note Recordings</i>]
</p>
<p>this duet groove is negotiated tensely <br />room to spread out</p>
<p>
<i>Million Dollar Bash (Take 1)</i> - Bob Dylan [from
<i>A Tree With Roots</i>]
</p>
<p>
a party of some legend <br />self-mythologizing through the side of his mouth
</p>
<p>
<i>The Little Pig</i> - Mike, Peggy, and Penny Seeger [from
<i>American Folk Songs For Children</i>]
</p>
<p>
as museum exhibits they are scrubbed of any aroma <br />their venue has been
expunged
</p>
<p><i>Altiplano</i> - Steve Layton [from <i>Colors</i>]</p>
<p>
breath across a chamber <br />pitch is about the chamber <br />the hand is in
charge of the chamber <br />the bells and face <br />are in charge of the
breath
</p>
<p><i>Christmas Carol</i> - Charles Ives - William Sharp, Steven Blier</p>
<p>
it is certainly of its time as to fashionable hymnody <br />a lullaby<br />everybody
wants to put Jesus to sleep
</p>
<p>
<i>Misterioso </i>- Thelonious Monk, Sonny Rollins [from
<i>The Complete Blue Note Recordings</i>]
</p>
<p>
2 to 3 rhythm with the prevailing drum groove <br />and yet neither end quite
lines up geometrically <br />the hemiola has slipped askew <br />an
arrangement that re-introduces the band in its pecking order
</p>
<p>
<i>Yea! Heavy and a Bottle of Bread (Take 1)</i> - Bob Dylan [from
<i>A Tree With Roots</i>]
</p>
<p>so guys what are we doing today?</p>
<p>
<i>Bought Me a Cat</i> - Mike, Peggy, and Penny Seeger [from
<i>American Folk Songs For Children</i>]
</p>
<p>fiddle-aye fee <br />animal sound game</p>
<p><i>Creepers</i> - Steve Layton [from <i>Moving Bodies (Pandemic 10)</i>]</p>
<p>
imagine a venue to which this is native <br />or an event to which it gives
witness <br />how do we parse its articulations <br />the image of
polycyclicity
</p>
<p><i>Ilmenau</i> - Charles Ives - Paul Sperry, Irma Vallecillo</p>
<p>in nature all is at rest <br />I am troubled and would rest in nature</p>
<p>
<i>Crepuscle With Nellie (Live)</i> - Thelonious Monk [from
<i>The Complete Blue Note Recordings</i>]
</p>
<p>lots of mic noise</p>
<p>
<i>Million Dollar Bash (Take 2)</i> - Bob Dylan [from
<i>A Tree With Roots</i>]
</p>
<p>whatever it takes <br />we'll all make it to it</p>
<p>
<i>Hop, Old Squirrel</i> - Mike, Peggy, and Penny Seeger [from
<i>American Folk Songs For Children</i>]
</p>
<p>
another index <br />nonsense syllable fillers <br />all the many species of la
di das
</p>
<p><i>Monster</i> - Steve Layton [from <i>Miracles and Wonders</i>]</p>
<p>
through the dark and twisty passages of this our all too narrow galaxy
<br />the Minotaur still feeds at men's souls
</p>
<p><b>In Session at The Tintinabulary</b></p>
<p>January 28, 2024</p>
<p><i>Alfreton</i> - Keith Eisenbrey</p>
<iframe allow="autoplay" frameborder="no" height="20" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1736801535&color=%23ff5500&inverse=false&auto_play=false&show_user=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/keith-eisenbrey" style="color: #cccccc; text-decoration: none;" target="_blank" title="Keith Eisenbrey">Keith Eisenbrey</a> · <a href="https://soundcloud.com/keith-eisenbrey/30-alfreton-240128-240128" style="color: #cccccc; text-decoration: none;" target="_blank" title="30 Alfreton 240128 [240128]">30 Alfreton 240128 [240128]</a></div>
<p>an arrangement from an old shape-note song book</p>
<p>January 29, 2024</p>
<p>
<i>Banned Rehearsal 1093</i> - Hayley, Karen Eisenbrey, Keith Eisenbrey, Steve
Kennedy, Aaron Keyt, Neal Kosály-Meyer
</p>
<iframe allow="autoplay" frameborder="no" height="20" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1736802369&color=%23ff5500&inverse=false&auto_play=false&show_user=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/keith-eisenbrey" style="color: #cccccc; text-decoration: none;" target="_blank" title="Keith Eisenbrey">Keith Eisenbrey</a> · <a href="https://soundcloud.com/keith-eisenbrey/banned-rehearsal-1093-240129" style="color: #cccccc; text-decoration: none;" target="_blank" title="Banned Rehearsal 1093 240129">Banned Rehearsal 1093 240129</a></div>
<p>January 31, 2024</p>
<p><i>Ich grüsse dich am Kreuzesstamm</i> - Aaron Keyt</p>
<p>February 2, 2024</p>
<p><i>Auf Christi Himmelfahrt allein</i> - Aaron Keyt</p>
<p>
the spare textures of these and their narrow ranges makes them ideal
clavichord scores
</p>
<p style="text-align: center;"><b>Postscripts</b></p>
<p><b>Drops</b></p>
<p><i>Keith Eisenbrey 12: 2007 - 2010</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3752034608/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/transparent=true/" style="border: 0; height: 470px; width: 350px;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-12-2007-2010">Keith Eisenbrey 12: 2007 - 2010 by Keith Eisenbrey</a></iframe>
<p>
This volume is bookended by two large works: a study of the traditional song
"Old Bangum", and "Sonata Liebeslied" which systematically explodes a seed
idea courtesy of Benjamin Boretz. It also includes six original hymns and "N",
a marginal commentary on Neal Kosály-Meyer's "Gradus" project.
</p>
<p>
Volumes 1 through 11 are available at
<a href="http://keitheisenbrey.bandcamp.com">keitheisenbrey.bandcamp.com</a>
</p>
<p>All are free for download.</p>
<p><b>Skaldmud's Doodle Gallery</b></p>
<p>listening journal doodles from 2019</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPpIfTDhoA-T5NcopgLmkxFXzhHu52i5hz953zLh3R2hA5gJeCFUfQQCSgdmDU9EtZltmBZr4GqbmWOEKoFY9O9ZNotGerZxDl_EXuOSyR6nSgRp4tFn4oOUKXsSefn4eklFZeI5g5GhOV9Gu2Udj0eTJewRjs8qRtkgf44OmsQRlj2E4p-H4bip1455Q/s2407/2024%20scan005.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1481" data-original-width="2407" height="246" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPpIfTDhoA-T5NcopgLmkxFXzhHu52i5hz953zLh3R2hA5gJeCFUfQQCSgdmDU9EtZltmBZr4GqbmWOEKoFY9O9ZNotGerZxDl_EXuOSyR6nSgRp4tFn4oOUKXsSefn4eklFZeI5g5GhOV9Gu2Udj0eTJewRjs8qRtkgf44OmsQRlj2E4p-H4bip1455Q/w400-h246/2024%20scan005.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7TnoJSvw7OtDm5KxUh2V9-T6k7UvwcSEhOvdQrah8Q6a43z8uO8Ush1uDhDlIstZQ2pIQGyBMYxFIW5xfJ1anas9SR66ud8UBAJWQ4DYjGj9h0QKYvF1NDth2N_nY9tn4dFNDW2FdBlJhayToEE7cryOxIg-Y0BFGzYo_yFhUfebC3DSEIi41Cq5hwVE/s2431/2024%20scan006.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2431" data-original-width="2402" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7TnoJSvw7OtDm5KxUh2V9-T6k7UvwcSEhOvdQrah8Q6a43z8uO8Ush1uDhDlIstZQ2pIQGyBMYxFIW5xfJ1anas9SR66ud8UBAJWQ4DYjGj9h0QKYvF1NDth2N_nY9tn4dFNDW2FdBlJhayToEE7cryOxIg-Y0BFGzYo_yFhUfebC3DSEIi41Cq5hwVE/w395-h400/2024%20scan006.jpg" width="395" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPxoNWqm-mczepVCZS-SwX8TL1Cr4Xp-Mp9S23sKs9LsFgJBFM2n3LsGq_Aah6M9ZhT0XseBwFNe1F0ERuBVphKS0FNpxyHsQRrZ-tQqhDxyajtH7Z6HSuP1WfEWegpUIWZpvHfvh7dO_GsLBTIeSHWjQe1GwB8ukgGBtImyqgCbGoPoew1PoRm2_b9s8/s1211/2024%20scan007.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="457" data-original-width="1211" height="151" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPxoNWqm-mczepVCZS-SwX8TL1Cr4Xp-Mp9S23sKs9LsFgJBFM2n3LsGq_Aah6M9ZhT0XseBwFNe1F0ERuBVphKS0FNpxyHsQRrZ-tQqhDxyajtH7Z6HSuP1WfEWegpUIWZpvHfvh7dO_GsLBTIeSHWjQe1GwB8ukgGBtImyqgCbGoPoew1PoRm2_b9s8/w400-h151/2024%20scan007.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiR324cb5n9DZpAhOzA66vyy9P5mTv21QDTxKbWuZbTtNkruw8xSvnJjhi47JYukOsMASPCSsApBT-3ttO54Ux42v1H-uo6GSo0ELf6_0AwymnWW1UYnuWiH7XS8ntDdFGAQTib0OcMKr85juU4YRWuHJh3J1P21i3TEo3YtxEuN74f9V7YKhaPyu9BEM/s2510/2024%20scan008.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2510" data-original-width="2426" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiR324cb5n9DZpAhOzA66vyy9P5mTv21QDTxKbWuZbTtNkruw8xSvnJjhi47JYukOsMASPCSsApBT-3ttO54Ux42v1H-uo6GSo0ELf6_0AwymnWW1UYnuWiH7XS8ntDdFGAQTib0OcMKr85juU4YRWuHJh3J1P21i3TEo3YtxEuN74f9V7YKhaPyu9BEM/w386-h400/2024%20scan008.jpg" width="386" /></a></div><br /><p><br /></p>
Keith Eisenbreyhttp://www.blogger.com/profile/16399615075612440296noreply@blogger.com0tag:blogger.com,1999:blog-7569166511516520581.post-33463427068745637762024-01-27T11:51:00.000-08:002024-01-27T14:42:50.039-08:00Playlist<p style="text-align: center;"><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhck7zY4XJ4eaZhVZhoK6KUDxbqQ5Opluk6EAEeF3X6dc827gP28X3-C32ZZqy2rHNjgoeZHZKFVkH-_LmSUKheQd7JFaHkc42lKVo9MBX4uaLrF3khZx4ri8zDLafk8TFVRWZ51Qxoc40Lg7kN3y1yIRpv6im7qRwy9bauoWW1bGkVs4KfakogvZiMTp0/s435/240127%20M.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="435" data-original-width="414" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhck7zY4XJ4eaZhVZhoK6KUDxbqQ5Opluk6EAEeF3X6dc827gP28X3-C32ZZqy2rHNjgoeZHZKFVkH-_LmSUKheQd7JFaHkc42lKVo9MBX4uaLrF3khZx4ri8zDLafk8TFVRWZ51Qxoc40Lg7kN3y1yIRpv6im7qRwy9bauoWW1bGkVs4KfakogvZiMTp0/w381-h400/240127%20M.jpg" width="381" /></a></b></div><b>Preface</b><p></p>
<p>The Red-Nosed Man discourseth</p>
<p>
Hablot K. Browne (Phiz) - from "The Posthumous Papers of The Pickwick Club"
</p>
<p style="text-align: center;"><b>Texts</b></p>
<p><b>Recorded</b></p>
<p>January 20, 2024</p>
<p><i>Mazurka in F minor, Op. 63 #2</i> - Frédéric Chopin - Garrick Ohlsson</p>
<p>
that first note <br />becomes both pickup beat <br />and recurring focus
<br />getting anywhere <br />involves <br />returning back through the door
<br />a door to many rooms
</p>
<p><i>Her Eyes</i> - Charles Ives - Douglas Dickson, Kenneth Tarver</p>
<p>a backhanded compliment in masquerade</p>
<p><i>Harp Suite</i> - Lou Harrison - David Tannenbaum</p>
<p>
played on guitar? <br />a gentle morning <br />garden stroll <br />occasional
percussion <br />drawing the trees <br />rocks in raked sand <br />flawless
figure dance <br />refreshingly non dramatic
</p>
<p>
<i>I Should Care (1988 Remaster)</i> - Thelonious Monk [from
<i>The Complete Blue Note Recordings</i>]
</p>
<p>
in the course of the stanza <br />the pitch center drifts downward <br />is
lifted back <br />to drift again
</p>
<p><i>Kiss Me Quick</i> - Elvis Presley [from <i>Pot Luck</i>]</p>
<p>
opens heaven's door <br />not really aimed at the teens here <br />more
upscale <br />heading Vegasward
</p>
<p>
<i>Still In Town, Still Around</i> - Bob Dylan [from <i>A Tree With Roots</i>]
</p>
<p>
laid back <br />the journalistic notion <br />of <br />an artist
<br />re-inventing themself<br />assumes <br />that <br />first impressions
are accurate <br />and <br />that <br />what one does once <br />is a complete
picture <br />of a self
</p>
<p>
<i>Three Airs for Frank O'Hara's Angel</i> - Lukas Foss - Cornell Contemporary
Singers, Judith Kellock, Lukas Foss
</p>
<p>
the parts of the vocal ensemble <br />in dialog with each other
<br />characters with costumes <br />spotlights <br />and blocking
</p>
<p>
we always know where we are <br />in relation to the stage <br />faces forward
<br />theater of ritual
</p>
<p><i>Baby Come Back</i> - Bonnie Raitt [from <i>Green Light</i>]</p>
<p>
opening gestures <br />must be recognizably generic <br />but
<br />distinctive to the song <br />for playing name that tune
</p>
<p>
<i>It Rained a Mist</i> - Mike, Peggy, and Penny Seeger [from
<i>American Folk Songs for Children</i>]
</p>
<p>news of the day <br />boys playing ball</p>
<p>
<i>Snow Globe </i>- Steve Layton & Improv Friday [from
<i>Shared Circle</i>]
</p>
<p>
imagine if you must <br />a globe of faery dust <br />reedsome drones <br />of
solid tones
</p>
<p>a mage's spell <br />fell</p>
<p>
<i>The Ballad of Jackhammer John</i> - Cahalen Morrison [from
<i>Roll Columbia</i>]
</p>
<p>
the watering hole of legend <br />at The Rising Sun <br />where anything can
happen <br />working man <br />single combat heroes <br />agitprop <br />for
worker solidarity
</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKYFc1o3wbgIjffpFsBCNZJl09gs_L8wW8xfmgdjVYNvFbfSxgefH3jp6JOJjbcA3SUH47lnECdK1KojatyhzO5RwQZUqzxzfxgPKmrdgFyg64fVy7e-uwDymfE9_d3gN-q9YFUwhNopJo6KB8AiXz-MHebMxO6fiyQhOTH5O7Pq4evnrFwOUPuk9QjPs/s5472/240127%20A.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKYFc1o3wbgIjffpFsBCNZJl09gs_L8wW8xfmgdjVYNvFbfSxgefH3jp6JOJjbcA3SUH47lnECdK1KojatyhzO5RwQZUqzxzfxgPKmrdgFyg64fVy7e-uwDymfE9_d3gN-q9YFUwhNopJo6KB8AiXz-MHebMxO6fiyQhOTH5O7Pq4evnrFwOUPuk9QjPs/w400-h266/240127%20A.jpg" width="400" /></a></div>January 21, 2024<p></p>
<p><i>Te Deseo Lo Mejor</i> - Christina Aguilera [from <i>Aguilera</i>]</p>
<p>
we are surrounded by Christinas <br />several in ear <br />voice <br />is a
product to be applied liberally
</p>
<p><i>Take a Love Song</i> - Sarah Vaughan [from <i>Feelin' Good</i>]</p>
<p>
disconnect <br />the business as usual accompaniment <br />to <br />the
anything-but <br />of Sarah's performance <br />she has vowels no one else
does
</p>
<p><i>Two For The Road</i> - Bruce Springsteen [from <i>Tracks</i>]</p>
<p>
all sorts of quantities in this text <br />mostly numbers on one hand
<br />except a thousand <br />just once <br />unless I made it up
</p>
<p><i>Sad Beautiful Tragic </i>- Taylor Swift [from <i>Red</i>]</p>
<p>
imagine your life <br />as edited for cinema <br />dress properly <br />the
voice is a screen <br />upon which to imaginate your self <br />to get a
better look at it <br />but the screen imparts <br />its own projection
<br />from the other side
</p>
<p><i>I Hear You</i> - Waxahatchee [from <i>Out In The Storm</i>]</p>
<p>
the guitar line is plain <br />notes arranged to support the vocal line
<br />patterned in the shape of a stanza
</p>
<p><i>Baby Loves That Way</i> - David Bowie [from <i>Toy</i>]</p>
<p>the intro gives the audience a chance to admire the costumes</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglzdpYRMrqszxabK4-YDbw3RuLYxqw9_dhqNt7T_UXFdja8pA41zRz7Xfl3RZ4d-tAXamc3eMi5lNXWB0_VfE3U4StOYJ6wsLPjcJ_IKb5m7MFHAPTz1d41b1r77FF04J4I_sSNqut5er7sZr1CxA764jQPigOXe2pyGsOl2AS-MJTHKD7oCPbwgKhIZY/s5472/240127%20B.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglzdpYRMrqszxabK4-YDbw3RuLYxqw9_dhqNt7T_UXFdja8pA41zRz7Xfl3RZ4d-tAXamc3eMi5lNXWB0_VfE3U4StOYJ6wsLPjcJ_IKb5m7MFHAPTz1d41b1r77FF04J4I_sSNqut5er7sZr1CxA764jQPigOXe2pyGsOl2AS-MJTHKD7oCPbwgKhIZY/w400-h266/240127%20B.jpg" width="400" /></a></div>January 22, 2024<p></p>
<p><i>Best of Me</i> - Christina Aguilera [from <i>Lotus</i>]</p>
<p>defiance <br />contrapuntally elaborate heterophony <br />echo presence</p>
<p><i>My Mind</i> - Micah B [from <i>Live from Sound Off 2012</i>]</p>
<p>like this <br />no face book status</p>
<p>
<i>The Cure For What Ails You</i> - Swingset Showdown [from
<i>Short Bus Ruckus</i>]
</p>
<p>
the style of keyboard playing <br />is similar to that of Peter Fedofsky
<br />(but just the style)
</p>
<p>
<i>Mazurka in C-sharp minor, Op. 63 #3</i> - Frédéric Chopin - Garrick Ohlsson
</p>
<p>
the (conceptually) <br />never completed (sans fine) <br />is that this one?
<br />no <br />that's a different one <br />but this could have gone there
</p>
<p><i>Premonitions</i> - Charles Ives - Paul Sperry, Irma Vallecillo</p>
<p>impressionism <br />as it applies to early 20th Century American music:</p>
<p>
music depicts <br />but not objects or sounds <br />but rather <br />depicts
feelings <br />thought to arise <br />from the objects or circumstances
<br />it is still depiction
</p>
<p>
<i>Evidence</i> - Thelonious Monk [from
<i>The Complete Blue Note Recordings</i>]
</p>
<p>
so <br />does this music depict anything <br />if it does <br />it's not up in
your face about it <br />if it has a subject matter <br />it is just what it
happens to be doing <br />at the moment <br />not depiction <br />but being
<br />or <br />perhaps <br />sometimes <br />participation <br />deep this one
is
</p>
<p><i>Just For Old Time Sake</i> - Elvis Presley [from <i>Pot Luck</i>]</p>
<p>
so what's going on here <br />depiction-wise <br />the song depicts a singer
<br />singing the song <br />creates a person <br />on the fly <br />success
at this <br />depends <br />on the singer's actual abilities <br />in that
sense <br />this <br />is very like what Bowie does
</p>
<p><i>Waltzin' With Sin</i> - Bob Dylan [from <i>A Tree with Roots</i>]</p>
<p>
he's a song bum <br />but he's our song bum <br />so I guess we gotta keep
him
</p>
<p>
so <br />what was it about Dylan <br />that allowed so many folks <br />to
project themselves into his songs
</p>
<p>
<i>My Sweet Lord/Give Yourself to Jesus</i> - Aretha Franklin [from
<i>Amazing Grace</i>]
</p>
<p>
cool down <br />instrumental <br />first number on the 2nd half <br />jump
right in <br />read a psalm <br />surround it in song
</p>
<p><i>Talk To Me</i> - Bonnie Raitt [from <i>Green Light</i>]</p>
<p>time to come clean dude</p>
<p><i>Obsession</i> - Sarah Vaughan [from <i>Brazilian Romance</i>]</p>
<p>
the orchestra depicts a cartoon image <br />of a tropical jungle <br />Sarah's
technique <br />is flawless and imaginative
</p>
<p>
<i>Wolves-A-Howling</i> - Mike, Peggy, and Penny Seeger [from
<i>Animal Folk Songs for Children</i>]
</p>
<p>
the fiddle <br />might be depictive of the wolves <br />howling <br />tongue
tripper lyrics
</p>
<p>
<i>Death To My Hometown</i> - Bruce Springsteen [from <i>Wrecking Ball</i>]
</p>
<p>
the backup chorus <br />is more interesting as a music <br />than his gritted
teeth <br />pectoral pushing <br />machismoid voice
</p>
<p>army recruitment song</p>
<p>
<i>No Answer (Charlotte Moorman)</i> - Steve Layton [from <i>No Answer</i>]
</p>
<p>
possible trends <br />no direct paths <br />to follow nightmarish <br />all
the noir <br />packed in a little box <br />inside your head
</p>
<p><i>Karma</i> - Taylor Swift [from <i>Midnights</i>]</p>
<p>cultural permission <br />to be completely self-absorbed</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMcoqSLbUqreWA86S9qGFXgiqV9zClNt4Io-KuV5itBIevcF1_xdhNze6SCvBaag9iemTerXGN54ABZpMQCnWAyr63r-ds8HC6xHS2kEkhf_Q52RmYNnGscK4W74npTb0hw2fc4qpbJHx_NvHDFauzOdSNP2zbfBNZriiH4IZIRRwIpueyiNndmu5uUHo/s3934/240127%20F.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3010" data-original-width="3934" height="306" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMcoqSLbUqreWA86S9qGFXgiqV9zClNt4Io-KuV5itBIevcF1_xdhNze6SCvBaag9iemTerXGN54ABZpMQCnWAyr63r-ds8HC6xHS2kEkhf_Q52RmYNnGscK4W74npTb0hw2fc4qpbJHx_NvHDFauzOdSNP2zbfBNZriiH4IZIRRwIpueyiNndmu5uUHo/w400-h306/240127%20F.jpg" width="400" /></a></i></div><i>Heaven</i> - Beyoncé [from <i>Beyoncé</i>]<p></p>
<p>
wow <br />karma and heaven <br />as commerce understands them <br />overacted
<br />(but quite well) <br />(this must be the heaven part)
</p>
<p>
<i>Grand Coulee Powder Monkey</i> - Scott McCaughey, Peter Buck [from
<i>Roll Columbia</i>]
</p>
<p>good morning <br />grand coulee <br />good morning <br />little man </p>
<p>job interview <br />just to show that girl <br />back in Spokane </p>
<p>I'd a give you the job <br />but I was buried <br />way down dead</p>
<p><i>Can't Help Thinking About Me</i> - David Bowie [from <i>Toy</i>]</p>
<p>escaping the past that pulls</p>
<p>
<i>Just A Fool (featuring Blake Shelton)</i> - Christina Aguilera [from
<i>Lotus</i>]
</p>
<p>
a <br />just got dumped whisky order <br />turns into <br />Siegmund und
Sieglinde embracing vocally <br />the power belters
</p>
<p><i>A Little More </i>- Waxahatchee [from <i>Out In The Storm</i>]</p>
<p>consumed by shortcomings</p>
<p>
<i>Horror Shock</i> - Fit For Hounds [from <i>Live from Sound Off 2012</i>]
</p>
<p>
dystopian hero movie <br />faith in utopia <br />through adventure <br />we
make these for games
</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaut3Jo3On_tz7ar1yT4hlViUD0j-edrfJd2W4xkjACxeMvUitR7FVSuTmyX8DojPzhu0JMxsecsl06OxSj-jLUyOjlG_eGhp0koeMe8zCME0e8BSZTwR61aehxxcJBdK39I-yer3s2fQ9XUfSTTsimk1gLNz3pI4G1HOBDBSGv9xQzQpu29V7aWpRRtI/s5472/240127%20C.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaut3Jo3On_tz7ar1yT4hlViUD0j-edrfJd2W4xkjACxeMvUitR7FVSuTmyX8DojPzhu0JMxsecsl06OxSj-jLUyOjlG_eGhp0koeMe8zCME0e8BSZTwR61aehxxcJBdK39I-yer3s2fQ9XUfSTTsimk1gLNz3pI4G1HOBDBSGv9xQzQpu29V7aWpRRtI/w400-h266/240127%20C.jpg" width="400" /></a></div>January 23, 2024<p></p>
<p><i>Hulanka, Op 74 #3</i> - Frédéric Chopin - Ewa Podleś, Garrick Ohlsson</p>
<p>ample opportunity for stein slamming <br />piano takes the chorus</p>
<p><i>Chanson de Florian</i> - Charles Ives - Mary Ann Hart, Dennis Helmrich</p>
<p>for a French song <br />use a French style <br />no Lederhosen here</p>
<p>
<i>Misterioso (1988 Remaster)</i> - Thelonious Monk [from
<i>The Complete Blue Note Recordings</i>]
</p>
<p>composes like an improvisor <br />and improvises like a composer </p>
<p>
that is <br />A <br />with blithe confidence <br />and <br />B <br />as though
working something out <br />complete with head scratching
</p>
<p><i>Gonna Get Back Home Somehow</i> - Elvis Presley [from <i>Pot Luck</i>]</p>
<p>
gone astray <br />but repeating of it <br />he says <br />he's leaving now
<br />but he's still here
</p>
<p><i>Big River</i> - Bob Dylan [from <i>A Tree with Roots</i>]</p>
<p>practicing his sneer</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEXrGpDE9qATzaalsynbrVbfudYCkCYOCiJiizhDOdy3VcPnbFENz4RqtBRpacXrUM5E8AzIzEX5a63W3zOvMKyRn7aPKd7O9IDJMsKy0PYnDGfXQXNbYt9Xh6DH-LvmsYiu676EyFBlXRDftjtwKl6zBzpJcYzctjtpIp97E549BFL_fkn1nFJnt3G8w/s5472/240127%20G.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEXrGpDE9qATzaalsynbrVbfudYCkCYOCiJiizhDOdy3VcPnbFENz4RqtBRpacXrUM5E8AzIzEX5a63W3zOvMKyRn7aPKd7O9IDJMsKy0PYnDGfXQXNbYt9Xh6DH-LvmsYiu676EyFBlXRDftjtwKl6zBzpJcYzctjtpIp97E549BFL_fkn1nFJnt3G8w/w400-h266/240127%20G.jpg" width="400" /></a></i></div><i>Greatest Show On Earth</i> - Sarah Vaughan [from <i>Feelin' Good</i>]<p></p>
<p>
a travesty <br />to inflict this arrangement/song <br />on one of our greatest
voices
</p>
<p><i>Green Lights</i> - Bonnie Raitt [from <i>Green Light</i>]</p>
<p>
being in a band <br />being in a cool convertible <br />being in <br />not out
<br />cruising
</p>
<p>
<i>Rain or Shine</i> - Mike, Peggy, and Penny Seeger [from
<i>American Folk Songs for Children</i>]
</p>
<p>
me and my Donna gal? <br />the sad lonely life of the cowboy <br />driving
dogies to San Antonio
</p>
<p><i>Cold Gauguin</i> - Steve Layton & Improv Friday [from <i>PPP</i>]</p>
<p>
being within multiple acoustic spaces at once <br />how many can we
contemplate at once <br />two <br />three <br />twenty?
</p>
<p><i>King of My Heart</i> - Taylor Swift [from <i>Reputation</i>]</p>
<p>
a screenplay <br />completely aside from her musicianship <br />or of her
actual living self <br />I'm not sure I like the persona <br />of the singer
of this
</p>
<p><i>Cuando Me Dé la Gana </i>- Christina Aguilera [from <i>Aguilera</i>]</p>
<p>vigorous <br />spirited</p>
<p>
<i>Organ Introduction (On Our Way)/On Our Way</i> - Aretha Franklin [from
<i>Amazing Grace</i>]
</p>
<p>
making a rhythm game <br />out of testimony <br />to allow <br />an entry
point <br />for those <br />for whom <br />that point <br />was made
</p>
<p><i>This Depression</i> - Bruce Springsteen [from <i>Wrecking Ball</i>]</p>
<p>working class resentment <br />born of anxiety</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz27Zu-fYhznC9nGU4L7XqV7RJSwG0R5QxDS97Pl3yVjJw38a6UpBRWNDqvjDduYJ_NphZAL4mRuaKDuV52wkO03RAU5d4UEVZUjWDSK22WGO2Dqz9IBDsFlHRpF0rkKGVd8sdk2SQwtDJeJuB7IQtC2BXI0ggIfDwXHV_Z_MLo9fxjTE8xDVCeLRdxCU/s3014/240127%20H.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2421" data-original-width="3014" height="321" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz27Zu-fYhznC9nGU4L7XqV7RJSwG0R5QxDS97Pl3yVjJw38a6UpBRWNDqvjDduYJ_NphZAL4mRuaKDuV52wkO03RAU5d4UEVZUjWDSK22WGO2Dqz9IBDsFlHRpF0rkKGVd8sdk2SQwtDJeJuB7IQtC2BXI0ggIfDwXHV_Z_MLo9fxjTE8xDVCeLRdxCU/w400-h321/240127%20H.jpg" width="400" /></a></i></div><i>Pastures of Plenty </i>- Orville Johnson [from <i>Roll Columbia</i>]<p></p>
<p>
pies in skies <br />big on promise <br />work hard <br />and it's yours
<br />a statistical falsehood
</p>
<p>migrant workers <br />are us </p>
<p>pretty radical song to write under a gummint contract, Woody</p>
<p><i>I Dig Everything (Alternative Mix)</i> - David Bowie [from <i>Toy</i>]</p>
<p>
hi def analog <br />dig everything <br />internally staged character image
<br />dancing in a room <br />with ironic remove
</p>
<p><i>Blue (featuring Blue Ivy)</i> - Beyoncé [from <i>Beyoncé</i>]</p>
<p>a prayer of devotion <br />stronger together</p>
<p><i>No Question (Demo)</i> - Waxahatchee [from <i>Out In The Storm</i>]</p>
<p>
each singer/persona <br />projects an idea of the distance <br />they expect
you <br />the listener <br />to be at <br />in respect to them <br />the
singer/persona <br />it is allowed <br />for us <br />to push back
</p>
<p>
<i>Voices Down Low </i>- Kids and Animals [from
<i>Live from Sound Off 2012</i>]
</p>
<p>
song play <br />being a caper criminal tough guy <br />then we introduce the
band
</p>
<p>
<i>Gdzie lubi, Op. 74 #5</i> - Frédéric Chopin - Ewa Podleś, Garrick Ohlsson
</p>
<p>a triad <br />its dressing robe <br />and pipe </p>
<p>stands for the key</p>
<p><i>The Cage </i>- Charles Ives - Paul Sperry Irma Vallecillo</p>
<p>must have heard some Cowell</p>
<p>
<i>Misterioso (Alternate Take) </i>- Thelonious Monk [from
<i>The Complete Blue Note Recordings</i>]
</p>
<p>the image of serious <br />our tonal fixation</p>
<p><i>(Such An) Easy Question</i> - Elvis Presley [from <i>Pot Luck</i>]</p>
<p>(but) loaded</p>
<p><i>Folsom Prison Blues</i> - Bob Dylan [from <i>A Tree With Roots</i>]</p>
<p>playacting bad actors</p>
<p><i>When You Think Of It</i> - Sarah Vaughan [from <i>Feelin' Good</i>]</p>
<p>nobody is given much chance <br />to really play off each other</p>
<p>
<i>One Cold and Frosty Morning</i> - Mike, Peggy, and Penny Seeger [from
<i>American Folk Songs for Children</i>]
</p>
<p>
it seems <br />like there might have been <br />more to it <br />but
<br />this was all <br />that came down to us
</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5UufvzHuzaj6ju2fsV_iD4OD9oza3Q5ig1n9__lq_Us2PyjtwdA31-d2sgPRrsEzrSTUNbVnxvyFljRKQK6LyPb4Cgtb2LcOJrnwWDqGZGAA3w0vIbTW0Tb1xLNQupLljngrAQy_5o8NCLrlreXMlSV0a9L1yQKhwxYR1E0j-T6FrHhmjtPnGy2nA7R8/s5472/240127%20I.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5UufvzHuzaj6ju2fsV_iD4OD9oza3Q5ig1n9__lq_Us2PyjtwdA31-d2sgPRrsEzrSTUNbVnxvyFljRKQK6LyPb4Cgtb2LcOJrnwWDqGZGAA3w0vIbTW0Tb1xLNQupLljngrAQy_5o8NCLrlreXMlSV0a9L1yQKhwxYR1E0j-T6FrHhmjtPnGy2nA7R8/w400-h266/240127%20I.jpg" width="400" /></a></i></div><i>The Snake, The Tiger, and The Eagle</i> - Steve Layton & Improv Friday
[from <i>Shared Circles</i>]
<p></p>
<p>is David Bowie sneaking up behind of us? </p>
<p>seems not malign <br />mostly</p>
<p><i>Fade (Demo)</i> - Waxahatchee [from <i>Out In The Storm</i>]</p>
<p>
long spaces of strum <br />in which to consider the situation <br />before the
stanzas go on
</p>
<p><i>Sweet Nothing</i> - Taylor Swift [from <i>Midnights</i>]</p>
<p>
weight of the world on every gesture <br />one of Balzac's great Parisian
ladies <br />that run civilization
</p>
<p>
<i>Aretha's Introduction/What A Friend We Have In Jesus</i> - Aretha Franklin
[from <i>Amazing Grace</i>]
</p>
<p>
you only get out of it <br />what you put into it <br />dial it down <br />for
the big crescendo to the final
</p>
<p><i>The Wish</i> - Bruce Springsteen [from <i>Tracks</i>]</p>
<p>for Mom </p>
<p>who calls their mom baby?</p>
<p>
<i>Intro/No Es Que Te Extrañe</i> - Christina Aguilera [from <i>Aguilera</i>]
</p>
<p>high production value <br />for the music video</p>
<p>
<i>The London Boys (Alternate Version)</i> - David Bowie [from <i>Toy</i>]
</p>
<p>lots of hoisted modulating</p>
<p>
<i>Up On and Out</i> - Young Pacific [from <i>Live from Sound Off 2012</i>]
</p>
<p>whoever ran the sound of this recording <br />did an excellent job</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZIZ4H6sDEquoff1EzW_CizQ0q1RZMecoH5InRx2EV3rwzPrevuneXFldmiHQ9Hkn3GP5zeb1AA1Q4zbf8QdgL9haQk5MNPAmDgrv37JczoaLsf_Me4PhiaN5ODNUy-KEH43qKOll24W5cFaBodmqoC2DlDeDRyFyNHFpS_-mgep7pxdVn8G1PHnkC72Q/s5472/240127%20D.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZIZ4H6sDEquoff1EzW_CizQ0q1RZMecoH5InRx2EV3rwzPrevuneXFldmiHQ9Hkn3GP5zeb1AA1Q4zbf8QdgL9haQk5MNPAmDgrv37JczoaLsf_Me4PhiaN5ODNUy-KEH43qKOll24W5cFaBodmqoC2DlDeDRyFyNHFpS_-mgep7pxdVn8G1PHnkC72Q/w400-h266/240127%20D.jpg" width="400" /></a></div>January 24, 2024<p></p>
<p>
<i>Precz z moich oczu!</i> - Frédéric Chopin - Ewa Podleś, Op. 74 #6, Garrick
Ohlsson
</p>
<p>first measure is at odds with itself <br />an image within its tonality</p>
<p>
<i>The Light That Is Felt</i> - Charles Ives - William Sharp , Steven Blier
</p>
<p>a quintessentially impressionist concept <br />bent toward piety</p>
<p>
<i>Epistrophy</i> - Thelonious Monk [from
<i>The Complete Blue Note Recordings</i>]
</p>
<p>
an urgent tempo vamp pattern <br />holds thought close to the objects in play
</p>
<p><i>Steppin' Out of Line </i>- Elvis Presley [from <i>Pot Luck</i>]</p>
<p>
the apostrophe <br />in steppin' <br />is a signifier <br />for low speech
<br />and low speech <br />of a particular regional provenance
</p>
<p><i>Bells of Rhymney</i> - Bob Dylan [from <i>A Tree With Roots</i>]</p>
<p>
in the form of a folk song <br />which it may be <br />some politics thing
<br />from across the North Atlantic
</p>
<p><i>Wholy Holy</i> - Aretha Franklin [from <i>Amazing Grace</i>]</p>
<p>speaking from within the word being spoken</p>
<p><i>Wanting More </i>- Sarah Vaughan [from <i>Brazilian Romance</i>]</p>
<p>
a smaller ensemble suits her <br />for this song <br />plus strings
<br />unless that's a keyboard
</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEh59dXraBP7L_5HA_GB-TRRTAAur3JUx08oe7ptFjrLC3ul5DUnN4fUu7sPzOZukqpNFpkldDelzO3674G3dgDqY6u2jrY35R4HKXY8XrgvHE8ih4fYgf0CR6b4dF3oUuBwcjQL1PdFzF_QMw84HEgUhL5H_iw-M5K-wJzuTPAyWCwlveuahOGoB2Rx0/s5472/240127%20J.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEh59dXraBP7L_5HA_GB-TRRTAAur3JUx08oe7ptFjrLC3ul5DUnN4fUu7sPzOZukqpNFpkldDelzO3674G3dgDqY6u2jrY35R4HKXY8XrgvHE8ih4fYgf0CR6b4dF3oUuBwcjQL1PdFzF_QMw84HEgUhL5H_iw-M5K-wJzuTPAyWCwlveuahOGoB2Rx0/w400-h266/240127%20J.jpg" width="400" /></a></i></div><i>Song of the Doodlebug</i> - Mike, Peggy, and Penny Seeger [from
<i>Animal Folk Songs for Children</i>]
<p></p>
<p>
doodle back in the ground <br />scoop the ground <br />digging dirt
<br />rhyme
</p>
<p><i>The Lucky One </i>- Taylor Swift [from <i>Red</i>]</p>
<p>
here you are <br />where you presumably aimed at <br />but <br />the fame of
stardom <br />exists entirely in the peculiar bubble <br />of its face
<br />as presented <br />by industry
</p>
<p>
<i>Die Tiefe Jahre</i> - Steve Layton & Sound-In [from
<i>Further Journey</i>]
</p>
<p>
machines that agitate <br />matter that settles <br />slowly <br />fold by
fold <br />wave by wave <br />mote by mote
</p>
<p><i>Silly Boy Blue (Tibet Version)</i> - David Bowie [from <i>Toy</i>]</p>
<p>
singing the song <br />is part of the performance <br />not the whole of it
<br />the song <br />as presented <br />is a staged spectacular <br />right
here in my living room
</p>
<p><i>The Honeymooners </i>- Bruce Springsteen [from <i>Tracks</i>]</p>
<p>marriage <br />as a weary defeat <br />in a weary life</p>
<p><i>Light Up The Sky</i> - Christina Aguilera [from <i>Lotus</i>]</p>
<p>
we are allowed to hear her breathing <br />as part of her singing <br />then
we're not
</p>
<p>
<i>Commune</i> - Electricity and it's Double [from
<i>Live from Sound Off 2012</i>]
</p>
<p>
a rhythm scrubber <br />projecting authority of a kind <br />stubborn
independence
</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpvrHNrrfl_utYlxTkRHgE23gg0EZyfCJjmpnHlp-a0Z64r_YQXpYCs01mBT_I3hQeqfqalsUxDIEd0K_EXW0-xgm-sb_EzAWfmculrviRcPRRmohQNQaoVBUWSjVJlzf6IFbrTxo1LegDON_2Ip4PdUiuociikhe8a914M-W3HYyO7CalU1XrxwreFYY/s5472/240127%20K.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpvrHNrrfl_utYlxTkRHgE23gg0EZyfCJjmpnHlp-a0Z64r_YQXpYCs01mBT_I3hQeqfqalsUxDIEd0K_EXW0-xgm-sb_EzAWfmculrviRcPRRmohQNQaoVBUWSjVJlzf6IFbrTxo1LegDON_2Ip4PdUiuociikhe8a914M-W3HYyO7CalU1XrxwreFYY/w400-h266/240127%20K.jpg" width="400" /></a></i></div><i>Posel, Op. 74 #7</i> - Frédéric Chopin - Ewa Podleś, Garrick Ohlsson<p></p>
<p>
he doesn't outline his material <br />coyly <br />gallantly <br />he dumps it
in your lap <br />every chord a key
</p>
<p>
who opined <br />that the Mazurkas are Chopin's most intellectual pieces?
<br />surely these songs should be added to that list
</p>
<p>
<i>Her Gown Was of Vermilion Silk</i> - Charles Ives - Douglas Dickson,
Michael Cavalieri
</p>
<p>
steering a narrow path <br />between depiction and impression <br />perhaps
<br />a conflict between voice and training <br />with her peacock fan
<br />satirical ala Mussorgsky
</p>
<p>
<i>I Mean You </i>- Thelonious Monk [from
<i>The Complete Blue Note Recordings</i>]
</p>
<p>who is that vibraphone player <br />golly <br />third hand</p>
<p><i>I'm Yours </i>- Elvis Presley [from <i>Pot Luck</i>]</p>
<p>early segregated tracks <br />wild organ sound</p>
<p><i>(unknown)</i> - Bob Dylan [from <i>A Tree With Roots</i>]</p>
<p>
things going wrong all over <br />sounds too drunk to sing <br />stray word
things <br />poke through <br />broken heart
</p>
<p>
<i>Climbing Higher Mountains</i> - Aretha Franklin [from <i>Amazing Grace</i>]
</p>
<p>
seduction by overwhelm-ment <br />and amazement <br />and amusement <br />and
underscoring
</p>
<p>
<i>By 'm Bye</i> - Mike, Peggy, and Penny Seeger [from
<i>American Folk Songs for Children</i>]
</p>
<p>
a different version shows up in the Christmas album <br />no spacy autoharp
strum there though <br />that's here
</p>
<p><i>Wrecking Ball </i>- Bruce Springsteen [from <i>Wrecking Ball</i>]</p>
<p>
playing the old man <br />rough and tough <br />coach <br />manly
<br />manful man <br />passing on the wisdom <br />to the younger man
<br />tough <br />big show finale number <br />name of album <br />name of
tour <br />big noise <br />composed <br />so as <br />to be <br />the above
</p>
<p><i>Der Blaue Reiter</i> - Steve Layton [from <i>No Answer</i>]</p>
<p>
their leitmotiv <br />dance mix <br />12" <br />45 rpm <br />of the 80s
<br />parody
</p>
<p><i>Mastermind</i> - Taylor Swift [from <i>Midnights</i>]</p>
<p>
Balzac all over <br />his great French ladies <br />masters of the world
<br />getting what she needs <br />from a man
</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7BMaIMi_ziTE0FCpQ9YsyEf2eCPnFPCE4LbG1zE-wRCRzRu3-AET-D-t26bismqfnFe6se8s4JYNuKeYZdpwERkOyM3dK-IBfXfOKgzaYd7TbGjiqbhCMSmRk-Gy9qAu6q0WXXamaw96XkBKeKlcsX6k4ByaO3LUkRIPP0R4wAn4wTnFrXXQSgDNNWQU/s4624/240127%20L.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="4624" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7BMaIMi_ziTE0FCpQ9YsyEf2eCPnFPCE4LbG1zE-wRCRzRu3-AET-D-t26bismqfnFe6se8s4JYNuKeYZdpwERkOyM3dK-IBfXfOKgzaYd7TbGjiqbhCMSmRk-Gy9qAu6q0WXXamaw96XkBKeKlcsX6k4ByaO3LUkRIPP0R4wAn4wTnFrXXQSgDNNWQU/w400-h315/240127%20L.jpg" width="400" /></a></i></div><i>Your Smile</i> - Sarah Vaughan [from <i>Brazilian Romance</i>]<p></p>
<p>
totally cheesy production <br />such a pity <br />to not honor a voice like
that <br />with our best
</p>
<p><i>Empty Words</i> - Christina Aguilera [from <i>Lotus</i>]</p>
<p>
after John Cage? <br />possibly not <br />I'm not listening <br />I'm done
</p>
<p><i>Let Me Sleep Beside You</i> - David Bowie [from <i>Toy</i>]</p>
<p>
a low voice <br />in a higher sound world <br />secret message <br />creepy
sub tinge <br />of incest
</p>
<p>
<i>Śliczny chłopiec, Op. 74 #8</i> - Frédéric Chopin - Ewa Podleś, Garrick
Ohlsson
</p>
<p>
hint of modulation <br />as an inflection <br />between stanzas <br />we turn
the page <br />with a little pirouette <br />otherwise <br />we plod reedingly
along
</p>
<p><i>Grantchester</i> - Charles Ives - Mary Ann Hart, Dennis Helmrich</p>
<p>accretions on a former purity <br />resplendent in a later impression</p>
<p>
<i>Four In One (1988 Remaster)</i> - Thelonious Monk [from
<i>The Complete Blue Note Recordings</i>]
</p>
<p>playful head construction <br />scribble here <br />scribble there</p>
<p><i>Something Blue</i> - Elvis Presley [from <i>Pot Luck</i>]</p>
<p>wedding porn <br />wedding weird</p>
<p>
<i>Next Time on the Highway</i> - Bob Dylan [from <i>A Tree with Roots</i>]
</p>
<p>
everybody plays all the time <br />to make a din <br />a song can be sung for
awhile
</p>
<p>
<i>God Will Take Care of You </i>- Aretha Franklin [from <i>Amazing Grace</i>]
</p>
<p>
each segment of the text <br />is treated as an individual <br />and given its
proper dues <br />over in the sanctified church <br />they join together in a
little praise
</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPuMvuOnrY_cVzcItFoMQtkMshPBsnicumKwKps0khNmPxaexgN6yw0gh-BaK3LOamZd5qWlrZ_2aN4tpKwASs-DuMQJq_2Khy90rA-J4RKbKYVyvnE2ULvnc2FiO9balSrItBEKTpWWErw7n1OT9M8dAQ4-y0NgOH3Pv0v4v2yC-0xcj4M7DfWu0c49w/s5472/240127%20E.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPuMvuOnrY_cVzcItFoMQtkMshPBsnicumKwKps0khNmPxaexgN6yw0gh-BaK3LOamZd5qWlrZ_2aN4tpKwASs-DuMQJq_2Khy90rA-J4RKbKYVyvnE2ULvnc2FiO9balSrItBEKTpWWErw7n1OT9M8dAQ4-y0NgOH3Pv0v4v2yC-0xcj4M7DfWu0c49w/w400-h266/240127%20E.jpg" width="400" /></a></div>January 25, 2024<p></p>
<p>
<i>Jim Along Josie</i> - Mike, Peggy, and Penny Seeger [from
<i>American Folk Songs for Children</i>]
</p>
<p>activity game <br />for post-toddlers <br />with their parents</p>
<p><i>The Stakeout </i>- Steve Layton & Improv Friday [from <i>PPP</i>]</p>
<p>
a quiet rumble from a distant hollow chamber <br />reeds snore gently back to
sleep <br />movement in the hallways <br />distant <br />this sound <br />is
what is behind something <br />which exists <br />only <br />as the image
<br />projected by this sound <br />as I perceive it
</p>
<p>
<i>Dancing With Our Hands Tied</i> - Taylor Swift [from <i>Reputation</i>]
</p>
<p>
oh my! <br />such dire piano chords <br />(over-reverberated) <br />every
event is legendary <br />perhaps it makes more sense on the music video
</p>
<p>
<i>In the Heat of the Morning (Alternative Mix)</i> - David Bowie [from
<i>Toy</i>]
</p>
<p>
like a little soldier catching butterflies <br />two characters sing this
<br />they alternate <br />verse chorus verse chorus
</p>
<p><i>Lucky Man </i>- Bruce Springsteen [from <i>Tracks</i>]</p>
<p>
singing in a concrete walled chamber <br />underground parking <br />hollow
garage <br />but scrubbed clean <br />no grease
</p>
<p><i>Shut Up</i> - Christina Aguilera [from <i>Lotus</i>]</p>
<p>
four sheep blat pitches <br />count themselves <br />through the verse
<br />take the chorus off <br />but are right there <br />like pros <br />for
the next verse <br />skips the bridge too <br />emerges slightly less blatty
<br />keep on <br />through the last chorus
</p>
<p><i>Melodya, Op. 74 #9</i> -Frédéric Chopin - Ewa Podleś, Garrick Ohlsson</p>
<p>
this one <br />has an earnest conversation with its key <br />discussed from
many angles <br />thoroughly <br />this voice <br />is the singer persona
<br />stage actoring
</p>
<p><i>My Native Land</i> - Charles Ives - Mary Ann Hart, Dennis Helmrich</p>
<p>this one also nearly cinematic</p>
<p>
<i>Four In One (Alternate Take)</i> - Thelonious Monk [from
<i>The Complete Blue Note Recordings</i>]
</p>
<p>
playful <br />the directions some inner voices are leading <br />are not
aligned <br />with the contrapuntal plane of the others
</p>
<p><i>Suspicion</i> - Elvis Presley [from <i>Pot Luck</i>]</p>
<p>
abandoning rock&roll for pop <br />which is <br />escaping a narrow
sub-genre <br />the point is <br />to sell more records <br />period
</p>
<p><i>Tupelo</i> - Bob Dylan [from <i>A Tree with Roots</i>]</p>
<p>playacting old timer <br />big flood</p>
<p><i>Old Landmark</i> - Aretha Franklin [from <i>Amazing Grace</i>]</p>
<p>aerobics</p>
<p>
<i>There Was a Man and He Was Mad</i> - Mike, Peggy, and Penny Seeger [from
<i>American Folk Songs for Children</i>]
</p>
<p>porch party game <br />blew him up to Jeremiah</p>
<p>
<i>Everything Has Changed (featuring Ed Sheeran)</i> - Taylor Swift [from
<i>Red</i>]
</p>
<p>
butterfly romance <br />quick cut transitions <br />but they don't transit
</p>
<p>
<i>Perfect Suburban Lawn</i> - Steve Layton & Sound-In [from
<i>Further Journey</i>]
</p>
<p>
and the perfect suburban bug life forms <br />that make their home there
<br />such a quiet life <br />to be a lawn <br />vegging there <br />in the
sunshine and rain
</p>
<p><i>Conversation Piece</i> - David Bowie [from <i>Toy</i>]</p>
<p>
reading along <br />an internal monolog character <br />forms <br />around the
singing voice
</p>
<p><i>You've Got It</i> - Bruce Springsteen [from <i>Wrecking Ball</i>]</p>
<p>
all the compliments <br />followed by a demand <br />title gets ample airtime
</p>
<p>
<i>Your Body (Martin Garix Remix)</i> - Christina Aguilera [from <i>Lotus</i>]
</p>
<p>a loud club <br />cash day <br />thurs day</p>
<p><b>In Session at The Tintinabulary</b></p>
<p>January 21, 2024</p>
<p><i>Golan </i>- Keith Eisenbrey</p>
<iframe allow="autoplay" frameborder="no" height="20" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1729588680&color=%23ff5500&inverse=false&auto_play=false&show_user=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/keith-eisenbrey" style="color: #cccccc; text-decoration: none;" target="_blank" title="Keith Eisenbrey">Keith Eisenbrey</a> · <a href="https://soundcloud.com/keith-eisenbrey/29-golan-240121" style="color: #cccccc; text-decoration: none;" target="_blank" title="29 Golan [240121]">29 Golan [240121]</a></div>
<p>January 22, 2024</p>
<p><i>Gradus 390</i> - Neal Kosály-Meyer</p>
<p>
and then <br />one might imagine a figure <br />reanimated at each note
<br />wherein <br />doth such a figure cohere? <br />as sound <br />it can't
<br />there is no coherence <br />in the nature of sound <br />we <br />are
the connective tissue of music
</p>
<p>
ladies and gentleman <br />we have achieved triadic homophony <br />a gestural
stability <br />a plain with vegetation <br />and local terrain
<br />modulation by common interval type <br />dragging a chorale behind it
<br />on a sledge <br />predicable <br />after the fact <br />we can trace a
coherence within it <br />that we impute to the performer <br />the modes of
culture <br />that can be verbalized <br />may not be music's only available
modes <br />rhetorical plausibility <br />reliance placed upon the shapeliness
of thought <br />ala Ginsberg and Kerouac
</p>
<p>January 23, 2024</p>
<p><i>Gelobt sei Gott im höchsten Thron </i>- Aaron Keyt</p>
<p>January 26, 2024</p>
<p><i>O Lamm Gottes, unschuldig am Stamm</i> - Aaron Keyt</p>
<p style="text-align: center;"><b>Postscripts</b></p>
<p><b>Drops</b></p>
<p>Keith Eisenbrey 11: 2007 - Music as Film (part 1)</p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=628670095/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-11-2007-music-as-film-part-1">Keith Eisenbrey 11: 2007 - Music as Film (part 1) by Keith Eisenbrey</a></iframe>
<p>
My "Music as Film" project involved building complex sound textures from tiny
fragments of sound outward, and was inspired by aspects of some of Stan
Brakhage's film making techniques - especially the kind of individual care
taken with each frame of such films as "Mothlight". The source sounds for
Consider the Birds and Sputnik Love were portions of recent Banned Rehearsal
sessions that happened to be on my computer. For Lids Film I recorded myself
playing bells and potlids, and used that.
</p>
<p>Volumes 1 through 10 are available at <a href="http://keitheisenbrey.bandcamp.com">keitheisenbrey.bandcamp.com</a></p>
<p>All are free for download.</p>
<p><b>Skaldmud's Doodle Gallery</b></p>
<p>listening journal doodles from 2018 and 2019</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEzfotfPsklJvwloFyol1lXPGwQdI3OesevZOqQ9xYvP5_PraaiFjIDXxC9i512DGE4mVYBMpc2NX0dvkSydesbTbNw2ehQLBgopWvYQqMVyEBgytvRuokDtlR5Z-LRt0VIevIifN45cbIyrSI5u8gXId8GWMzu19zbdv7tifiQtq21yvE0ymXs1_XMeY/s699/2024%20scan001.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="231" data-original-width="699" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEzfotfPsklJvwloFyol1lXPGwQdI3OesevZOqQ9xYvP5_PraaiFjIDXxC9i512DGE4mVYBMpc2NX0dvkSydesbTbNw2ehQLBgopWvYQqMVyEBgytvRuokDtlR5Z-LRt0VIevIifN45cbIyrSI5u8gXId8GWMzu19zbdv7tifiQtq21yvE0ymXs1_XMeY/w400-h133/2024%20scan001.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXl2xc9eEJfrjmqMn1DWdvMo070uzxPHgNyrijWVVErDSiAK1h_ddhuSAdgvW6IN5Q-HEKUtnk3vTwYjx9elTD6SU4pWcshxEFG1VsvmyxXsC3CfzLoMHg4QoXWmNELVbwYnodztzHsXsHUwkALAhyZxEOmLWVMmljnLnIrXC8lXky7CaRRzQMkl_s_1A/s2456/2024%20scan002.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1732" data-original-width="2456" height="283" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXl2xc9eEJfrjmqMn1DWdvMo070uzxPHgNyrijWVVErDSiAK1h_ddhuSAdgvW6IN5Q-HEKUtnk3vTwYjx9elTD6SU4pWcshxEFG1VsvmyxXsC3CfzLoMHg4QoXWmNELVbwYnodztzHsXsHUwkALAhyZxEOmLWVMmljnLnIrXC8lXky7CaRRzQMkl_s_1A/w400-h283/2024%20scan002.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOgYpHR7lLXeVZHG118CG2R1pZxjLCySk5xGUKPekKLRWEdB2zr1enjrLpROknxMecmz-V4IMhy4tIfHxV2UMsd2LyV4b4xP3VebaNZz2LVpwj0S1ecfA3_J7JdsjoUUB4_YNjgYtLFWO2Cws-orEpvreMvckqGQmlaMijCtdoAxAGHRpiz-_csp9Z1AY/s2545/2024%20scan003.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1914" data-original-width="2545" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOgYpHR7lLXeVZHG118CG2R1pZxjLCySk5xGUKPekKLRWEdB2zr1enjrLpROknxMecmz-V4IMhy4tIfHxV2UMsd2LyV4b4xP3VebaNZz2LVpwj0S1ecfA3_J7JdsjoUUB4_YNjgYtLFWO2Cws-orEpvreMvckqGQmlaMijCtdoAxAGHRpiz-_csp9Z1AY/w400-h301/2024%20scan003.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSH8I6SXydGh7aFlxI0ow4NL1YZ3mXruTAEAICOg-BJpgglRwZYyno4a3r5oJ3GP5kFHEnGhL5LIy1rXqCbYcEC0aDP0038icoiNhsr89u_WH_ghuEu0bNvauyMNxNO9DmYnUuvUFAHwJfUJdqvC_nhlYKTlKMkHshnEMNZrFwFKRKpXbv1jPDqImHsxs/s2510/2024%20scan004.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1624" data-original-width="2510" height="259" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSH8I6SXydGh7aFlxI0ow4NL1YZ3mXruTAEAICOg-BJpgglRwZYyno4a3r5oJ3GP5kFHEnGhL5LIy1rXqCbYcEC0aDP0038icoiNhsr89u_WH_ghuEu0bNvauyMNxNO9DmYnUuvUFAHwJfUJdqvC_nhlYKTlKMkHshnEMNZrFwFKRKpXbv1jPDqImHsxs/w400-h259/2024%20scan004.jpg" width="400" /></a></div><br /><p><br /></p>
Keith Eisenbreyhttp://www.blogger.com/profile/16399615075612440296noreply@blogger.com0tag:blogger.com,1999:blog-7569166511516520581.post-23915126916178829472024-01-20T11:58:00.000-08:002024-01-20T14:37:01.072-08:00Playlist<p style="text-align: center;"><b></b></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBwGYbPYHyCjRSIZLCwB8K3oDzLemW1oGzRihhj7jFLAoxAF4Xd8CF7E9AymAhNvwA6_DkHJ3N8QdT-oAlJks2JniJAB9Q6Mcqc88yCDxYL-tI4w8cC8bu4CHOsCTCRM4cgOnm6PvOhCIQuPcPN13YDczAzRJYo6xbroq9K1iNP12UE_xU9oL_OOUNIPQ/s5472/240120%20M.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBwGYbPYHyCjRSIZLCwB8K3oDzLemW1oGzRihhj7jFLAoxAF4Xd8CF7E9AymAhNvwA6_DkHJ3N8QdT-oAlJks2JniJAB9Q6Mcqc88yCDxYL-tI4w8cC8bu4CHOsCTCRM4cgOnm6PvOhCIQuPcPN13YDczAzRJYo6xbroq9K1iNP12UE_xU9oL_OOUNIPQ/w400-h266/240120%20M.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Stu and Renko send bells to Newcastle</td></tr></tbody></table><b>Preface</b><p></p>
<p>
"'Vere are they?' said Sam, reciprocating all the old gentleman's grins.<br />'In
the snuggery,' rejoined Mr.Weller. 'Catch the red-nosed man a goin' anyvere
but vere the liquors is; not he, Samivel, not he. Ve'd a wery pleasant ride
along the road from the Markis this mornin', Sammy,' said Mr. Weller, when he
felt himself equal to the task of speaking in an articulate manner. 'I drove
the old piebald in that 'ere little shay-cart as belonged to your
mother-in-law's first wenter, into vich a harm-cheer wos lifted for the
shepherd; and I'm blest' said Mr. Weller, with a look of deep scorn - 'I'm
blest if they didn't bring a portable flight o' steps out into the road a
front o' our door, for him to get up by.'<br />'You don't mean that?' said
Sam.<br />'I <i>do</i> mean that, Sammy,' replied his father, 'and I vish you
could ha' seen how tight he held on by the sides wen he did get up, as if he
was afeerd o' being precipitayted down full six foot, and dashed into a
million o' hatoms. He tumbled in at last, however, and avay ve vent; and I
rayther think - I say I rather think, Samivel - that he found his-self a
little jolted when we turned the corners.'<br />'Wot, I s'pose you happened to
drive up agin a post or two?' said Sam.<br />'I'm afeerd,' replied Mr. Weller,
in a rapture of winks, 'I'm afeerd I took vun or two on 'em, Sammy; he wos a
flyin' out o' the harm-cheer all the way.'
</p>
<p>Charles Dickens - from "The Posthumous Papers of The Pickwick Club"</p>
<p style="text-align: center;"><b>Texts</b></p>
<p><b>Live</b></p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyDaKNtvqQMqRZFzZcIVaBWvZnYor-R8mk5JzwD8ieUxv849gfgcTUzhZMIq8VKqyc1ujg8H0RNFuhjHztPJ1ywWAzv1wdZcQOwQ_N89q0U7k9hOaYM66Zr9Kqe_nBKpDQ7QiUUFahRHlFAKQDlW-HiErCGvRUAAAPk-CDhwySYNseDywpV7RZM1g9K7E/s2993/240120%20A.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2335" data-original-width="2993" height="313" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyDaKNtvqQMqRZFzZcIVaBWvZnYor-R8mk5JzwD8ieUxv849gfgcTUzhZMIq8VKqyc1ujg8H0RNFuhjHztPJ1ywWAzv1wdZcQOwQ_N89q0U7k9hOaYM66Zr9Kqe_nBKpDQ7QiUUFahRHlFAKQDlW-HiErCGvRUAAAPk-CDhwySYNseDywpV7RZM1g9K7E/w400-h313/240120%20A.jpg" width="400" /></a></div>January 18, 2024<p></p>
<p>
<b><i>Six Seasons: Album Release Concert featuring the music of Angelique
Poteat<br /></i></b>Chapel Performance Space, Good Shepherd Center, Seattle
</p>
<p><i>Ripples of Possibilities</i> - Laura DeLuca, Angelique Poteat</p>
<p>closely tailing <br />tether dance <br />our day</p><p>of low-key frolic <br />at the ocean's shore</p>
<p><i>Pacificus</i> - Will Langlie-Miletich</p>
<p>
grounded <br />on open string <br />the floor is firm <br />the ceiling
<br />distant <br />domed
</p>
<p><i>Fluid Dovetail</i> - Angelique Poteat, Olivia Chew</p>
<p>
getting together <br />or approaching getting together <br />each new move
<br />prepared by the last <br />in an unsevered thread
</p>
<p><i>Meditation on Providence</i> - Efe Baltacigil, Thomas Lee</p>
<p>
long linear procession <br />its going is continuous <br />and without seams
</p>
<p><i>Album Listening Party - II. Push V. Thankful VI. Sparkle</i></p>
<p>Laura DeLuca, Mikhail Schmidt, Artur Girsky, Olivia Chew, Sarah Rommel</p>
<p>
all in it together <br />so that <br />all in it <br />know <br />they are
together <br />in it
</p>
<p>
Ken Benshoof talked about <br />writing for musicians <br />as <br />thinking
<br />about the kinds of things <br />that <br />they like to play <br />lines
<br />that clearly fit <br />the lines of others <br />that clearly fit
<br />tightly communal <br />close <br />indoors thinking
</p>
<p><b>Recorded</b></p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghQij80yW4vnD6e1SKCtiJYkLJoe-Uh-bCcUjXfEbhJeWjZh7_UGddN-AC95Hdf4o3dbeWgdY-n2AAgwVkqg-Vg7H4K2dWT8kzRL9krHIMwU4sWdggId6ObniwXH83Tld2xmJj4DxBwVSLhjWQgTkSB7H6X5ooURAMz-sPgKIOIB_1xHwfbQGC0qNSblQ/s5472/240120%20B.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghQij80yW4vnD6e1SKCtiJYkLJoe-Uh-bCcUjXfEbhJeWjZh7_UGddN-AC95Hdf4o3dbeWgdY-n2AAgwVkqg-Vg7H4K2dWT8kzRL9krHIMwU4sWdggId6ObniwXH83Tld2xmJj4DxBwVSLhjWQgTkSB7H6X5ooURAMz-sPgKIOIB_1xHwfbQGC0qNSblQ/w400-h266/240120%20B.jpg" width="400" /></a></div>January 13, 2024<p></p>
<p>
<i>Waltz in A-flat Major, Op. 64 #3</i> - Frédéric Chopin - Garrick Ohlsson
</p>
<p>
slides right past establishing cadences <br />missing exits blithely <br />but
then <br />the key it is in <br />is <br />whatever these notes are doing
together <br />being <br />where they are being
</p>
<p><i>The Collection</i> - Charles Ives - Dora Ohrenstein, Phillip Bush</p>
<p>strong and brave and manly <br />and sentimentally resolved</p>
<p>
<i>'Round Midnight </i>- Thelonious Monk [from
<i>The Complete Blue Note Recordings</i>]
</p>
<p>
front halves and back halves <br />just one of several segmentations possible
<br />of groups of two and four
</p>
<p><i>Belchezaar</i> - Bob Dylan [from <i>A Tree With Roots</i>]</p>
<p>
a folk tale <br />from the years of exile <br />nothing else <br />there was
no man <br />(just the hand)
</p>
<p>
<i>Abraham, Martin, and John</i> - Ray Charles [from
<i>A Message from The People</i>]
</p>
<p>
there's another interesting keyboard sound <br />some sort of electric piano?
<br />or a stop on an organ
</p>
<p>
I suppose <br />on an electric organ <br />the sense in which it's a stop
<br />is entirely metaphoric
</p>
<p><i>Willya Wontcha</i> - Bonnie Raitt [from <i>Green Light</i>]</p>
<p>honkytonk dance <br />packed with twang</p>
<p>
<i>The Wind Blow East</i> - Mike, Peggy, and Penny Seeger [from
<i>American Folk Songs for Children</i>]
</p>
<p>an unlikely weather forecast <br />from all directions </p>
<p><i>Devil's Arcade</i> - Bruce Springsteen [from <i>Magic</i>]</p>
<p>every song has a power move <br />you could set your watch to it</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8xRAA8Xq58V9JfckBeV2NsJU9knrG9wGhK8-vXj7FImdBve0tCeqVOMqhOFOIZjJBf3unBxH80hwR1brQXVQvtvuLXK1TaEYhKfQ0JWHIgwEX6bQI4aafiS6M8rclppcrxVnZbGVopIluwc5TD0bL3FtLcgAeD1hRNQOLlTsFVqwDMcCK6V2fX3XcQV8/s5472/240120%20C.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8xRAA8Xq58V9JfckBeV2NsJU9knrG9wGhK8-vXj7FImdBve0tCeqVOMqhOFOIZjJBf3unBxH80hwR1brQXVQvtvuLXK1TaEYhKfQ0JWHIgwEX6bQI4aafiS6M8rclppcrxVnZbGVopIluwc5TD0bL3FtLcgAeD1hRNQOLlTsFVqwDMcCK6V2fX3XcQV8/w400-h266/240120%20C.jpg" width="400" /></a></div>January 14, 2024<p></p>
<p>
<i>Breaking Free for a Moment</i> - Steve Layton & Improv Friday [from
<i>Shared Circle</i>]
</p>
<p>
some textures resolve into pulse <br />others <br />into several <br />others
<br />are genuinely wild <br />a music can explore textural landscapes
</p>
<p><i>Silver (Demo)</i> - Waxahatchee [from <i>Out In The Storm</i>]</p>
<p>
differentiated melodic ranges <br />and trajectories <br />between the verse
stanza <br />and the louder wider choppier chorus stanza
</p>
<p><i>Bejeweled</i> - Taylor Swift [from <i>Midnights</i>]</p>
<p>
separates the last word of a line into a new space <br />("...| |nice")
<br />also <br />by repetition of each part <br />and at different increments
</p>
<p><i>Easy Evil</i> - Sarah Vaughan [from <i>Feelin' Good</i>]</p>
<p>
soft low brass and reeds <br />in a slow groove <br />love that low scooped
"agaaaaain"
</p>
<p><i>Nameless One, No. 3</i> - Sun Ra [from <i>Celestial Love</i>]</p>
<p>
they're cooking on this one <br />from the point of view <br />of the
musicians <br />in their musical interactions <br />the audience <br />must be
with them <br />among them <br />(participation)
</p>
<p>
<i>The Dress Rehearsal Blues</i> - Tielman Susato Krummhorn Gesellschaft [from
<i>The Glory of The Krummhorn</i>]
</p>
<p>then I started thinking about it <br />snippets of conversation </p>
<p>
this is actually quite sweet and funny <br />there they are <br />playing
around with my crazy recorder tunes <br />on krummhorns <br />folks just
joking around <br />with notes I wrote! <br />Wow! <br />I never knew I'd had
such an influence!
</p>
<p>
<i>***Flawless (feat. Chimamanda Ngozi Adichie)</i> - Beyoncé [from
<i>Beyoncé</i>]
</p>
<p>dominance <br />fence <br />an essay</p>
<p><i>New Found Land</i> - John Moen [from <i>Roll Columbia</i>]</p>
<p>this is the best on-topic song Woody wrote for this project </p>
<p><i>Traquito </i>- Christina Aguilera [from <i>Aguilera</i>]</p>
<p>dance floor <br />circling lights</p>
<p><i>How I Got Over</i> - Aretha Franklin [from <i>Amazing Grace</i>]</p>
<p>participation is a relationship <br />in which all are engaged equally</p>
<p>
<i>Advance (12" Single Version)</i> - Boogie Down Productions [from
<i>Criminal Minded</i>]
</p>
<p>
syncopatic groove poetics <br />shouting ones name <br />into the groovoid
<br />false endings
</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMscqoc94a-E3M6Xz1EjBS0SiBxxBHEbzEro2PSmxLYE4X6djFgEv5s79XFY3jKjDQvWMDFDCSuDHjcpoRWakV0e8Of61Y9CodBe_QSb1bPuKWeHyY_npBK67StCN6qPL00OZxumBWqRskhfw3GjlZC0zrFijD87Gf-7M8wgZtNQkNelfDffUknweMgQc/s5472/240120%20D.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMscqoc94a-E3M6Xz1EjBS0SiBxxBHEbzEro2PSmxLYE4X6djFgEv5s79XFY3jKjDQvWMDFDCSuDHjcpoRWakV0e8Of61Y9CodBe_QSb1bPuKWeHyY_npBK67StCN6qPL00OZxumBWqRskhfw3GjlZC0zrFijD87Gf-7M8wgZtNQkNelfDffUknweMgQc/w400-h266/240120%20D.jpg" width="400" /></a></div>January 15, 2024<p></p>
<p><i>True Colors (Cyndi Lauper)</i> - Prom Queen [from <i>Covers</i>]</p>
<p>
pop music <br />:: a groove dedicated <br />to providing <br />the relatively
inarticulate <br />with well-formed expression <br />:: like greeting cards
</p>
<p><i>Silly Boy Blue </i>- David Bowie [from <i>Toy</i>]</p>
<p>closely composed melody <br />fully operatic</p>
<p><i>Stumble </i>- REM [from <i>Dead Letter Office</i>]</p>
<p>
traversing the given <br />the fenced yard <br />the language <br />chord
change <br />schematic diagrams <br />(lead sheets)
</p>
<p><i>Best Friend</i> - Madonna [from <i>MDNA</i>]</p>
<p>
a diagrammed lyric <br />(by production/chord change cycles) <br />each part
in a box
</p>
<p>writer::inker <br />writer::producer</p>
<p>
<i>Missing Words VI: VI. Erebusterror (Erebus-Terror) </i>- Eric Nathan [from
<i>Missing Words</i>]
</p>
<p>
theatrical cues do not jump mood <br />it is sacrosanct <br />not even event
can shake it
</p>
<p>
<i>Cousins</i> - Bruce Hamilton & Friends [from <i>Mash Hits Vol. 1</i>]
</p>
<p>somebody is banging metallics in the hallway</p>
<p><i>Totem 55</i> - Sascia Pellegrini [from <i>Totem V</i>]</p>
<p>these sounds pass <br />as the four winds pass <br />in gusts and gales</p>
<p><i>Shut Up, Tim</i> - Swingset Showdown [from <i>Short Bus Ruckus</i>]</p>
<p>tantrum</p>
<p>
<i>Track 16</i> - Star Anna [streamed from Fiddler's Inn, Seattle, March 7,
2022]
</p>
<p>
(tuning for the last song) <br />the flow of song <br />is of such a nature
<br />that <br />only total <br />personal <br />engagement <br />will allow
it <br />unimpeded <br />it <br />will <br />necessarily <br />then <br />be
formed <br />in the image <br />of the singer <br />its totally engaged agent
<br />it<br />can only properly exist <br />as <br />one's total engagement
<br />with it
</p>
<p>
<i>Old Soul</i> - Northern Departure [from <i>Live from Sound Off 2012</i>]
</p>
<p>
this one's for the guitar nerds <br />in front of stage <br />lyrics <br />are
a version of the great American migrant worker clan legend
</p>
<p><i>My Funny Valentine</i> - Amy Denio</p>
<p>
playing the Peggy Lee/Morgana King game <br />and quite credibly too
</p>
<p>cicadas?</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_PVWzFXc-css16RQdKnhJJVWV18J2_agpzwmdWqpq9KsZ-ujdyNr8dWVt4akGc72_KyIs0C9XkfnNYk8FedDLAj5WW8GApPkFuiSs0BKIFaaLGXpYUrH7j4flISDtuOmPom7sA58DOtf7elU0qeJejMBlg8r87hXOd441rmtFldsAuDxaUxGIiRmXfPg/s5472/240120%20E.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_PVWzFXc-css16RQdKnhJJVWV18J2_agpzwmdWqpq9KsZ-ujdyNr8dWVt4akGc72_KyIs0C9XkfnNYk8FedDLAj5WW8GApPkFuiSs0BKIFaaLGXpYUrH7j4flISDtuOmPom7sA58DOtf7elU0qeJejMBlg8r87hXOd441rmtFldsAuDxaUxGIiRmXfPg/w400-h266/240120%20E.jpg" width="400" /></a></div>January 16, 2024<p></p>
<p>
<i>Waltz in D-flat Major, Op. 64 #1</i> - Frédéric Chopin - Garrick
Ohlsson
</p>
<p>fast forward <br />to the middle part <br />then again <br />to get out</p>
<p><i>Qu'il M'irait Bien</i> - Charles Ives - Dora Ohrenstein, Philip Bush</p>
<p>stylish <br />prim</p>
<p>
<i>Who Knows (Alternate Take)</i> - Thelonious Monk [from
<i>The Complete Blue Note Recordings</i>]
</p>
<p>pointing out the key features <br />as they whip by</p>
<p><i>I'm A Fool for You</i> - Bob Dylan [from <i>A Tree With Roots</i>]</p>
<p>part of the rehearsal process <br />getting the chords right</p>
<p>
<i>Take Me Home, Country Roads</i> - Ray Charles [from
<i>A Message From the People</i>]
</p>
<p>
chemistry between Ray and his choir <br />calls them <br />like a fiddler
dance caller
</p>
<p><i>Let's Keep It Between Us</i> - Bonnie Raitt [from <i>Green Light</i>]</p>
<p>
a song can be a theatrical presentation <br />of a private-type conversation
<br />so we know how to say <br />what we fantasize ourselves needing to say
</p>
<p>
<i>Nothing Will Be As It Was</i> - Sarah Vaughan [from
<i>Brazilian Romance</i>]
</p>
<p>
the meter is spacious <br />and activated with multiple internal rhythm
vectors
</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDN0f__qOkeVFj9w75AcGPSlUaZ0EB9Ma_b1fPBFSR872JCR1lQ-Zsr2NuVzNLA_8m3G2bIRl48oD9669K1CVGlRYQTZPgm5qxcf8PsCM7QfHGsW4f9aQAmNEY5jI7-kYYmKzj71r6PpMIu_IqHsv3718u5YfgAAb0NLvWU1qZj1t4sNGJdo-B2oALKUM/s4360/240120%20H.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3248" data-original-width="4360" height="297" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDN0f__qOkeVFj9w75AcGPSlUaZ0EB9Ma_b1fPBFSR872JCR1lQ-Zsr2NuVzNLA_8m3G2bIRl48oD9669K1CVGlRYQTZPgm5qxcf8PsCM7QfHGsW4f9aQAmNEY5jI7-kYYmKzj71r6PpMIu_IqHsv3718u5YfgAAb0NLvWU1qZj1t4sNGJdo-B2oALKUM/w400-h297/240120%20H.jpg" width="400" /></a></i></div><i>Jack, Can I Ride</i> - Mike, Peggy, and Penny Seeger [from
<i>Animal Folk Songs for Children</i>]
<p></p>
<p>clapping game <br />sing-song song</p>
<p><i>Terry's Song</i> - Bruce Springsteen [from <i>Magic</i>]</p>
<p>all the greatest greatests <br />roped into a mixed hyperbole</p>
<p><i>Holy Ground</i> - Taylor Swift [from <i>Red</i>]</p>
<p>
the end of each line <br />finally moves to a different note <br />the
sequence of those different notes <br />is a composed line <br />simple but
effective
</p>
<p><i>Initiatica</i> - Steve Layton [from <i>No Answer</i>]</p>
<p>
into the magic <br />part of ritual <br />the part <br />that re-envisions
time's passing
</p>
<p><i>Pure/Honey</i> - Beyoncé [from <i>Renaissance</i>]</p>
<p>an advertisement for a lifestyle</p>
<p>
<i>Precious Lord, Take My Hand/You've Got a Friend</i> - Aretha Franklin [from
<i>Amazing Grace</i>]
</p>
<p>
these gospel arrangements <br />are compositions upon a hymn <br />fabulous
without question <br />but <br />the hymn remains itself <br />always ready
<br />for a new ear to re-invent it
</p>
<p>
<i>Say No Brother (Crack Attack Don't Do It) [12" Inst. Reality Mix]</i> -
Boogie Down Productions [from Criminal Minded]
</p>
<p>
like music minus one <br />rap your own shows <br />what of it is made
<br />bit by bit <br />laid out for use <br />not for show
</p>
<p><i>Around The World</i> - Christina Aguilera [from <i>Lotus</i>]</p>
<p>
this sex <br />is a themed production <br />Enchantment Under the Sea
</p>
<p>oops <br />somebody pulled the plug</p>
<p><i>White Ghost Train</i> - Cahalen Morrison [from <i>Roll Columbia</i>]</p>
<p>
off topic? <br />nothing to do with dams or electricity <br />or even Oregon
Territory
</p>
<p>westward now to Death Valley</p>
<p><i>Toy (Your Turn To Drive)</i> - David Bowie [from <i>Toy</i>]</p>
<p>
gauging how much it takes <br />to hold interest <br />in spinning
cycles
</p>
<p>a hypnotism trick <br />accumulation without transformation</p>
<p>
<i>Nocturnal Me (Echo and The Bunnymen)</i> - Prom Queen [from <i>Covers</i>]
</p>
<p>
surrounded with cushions <br />and heavy hangings <br />incense and
voluptuaries
</p>
<p><i>Recite Remorse (Demo)</i> - Waxahatchee [from <i>Out In The Storm</i>]</p>
<p>
a song <br />to be sold <br />must be <br />in the approved range of styles
<br />industry demands it <br />more effective than censorship
</p>
<p>
<i>Missing Words VI: VII. Rolleirückblende (Rollei-Flashback)</i> - Eric
Nathan [from <i>Missing Words</i>]
</p>
<p>gravity inexorable <br />questions allowed <br />answers not so much</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjze3Cib4WUX5rx0tLPZEmrf004KT1zP1YuKlEbe7qJHrYK-zAmsBU1bGFANl8O9MIO4UwduhrYQPhafsLVukGCuhQP0VnGDRz0rja19aHbVSV3iDy7C91tX43tq_N1ksObLoSHwTzZLtwhqKsJ_GvbMkux3mvEgTirZWdAFq763U5n1IsC_TiwBgs4Pa8/s3641/240120%20I.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3099" data-original-width="3641" height="340" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjze3Cib4WUX5rx0tLPZEmrf004KT1zP1YuKlEbe7qJHrYK-zAmsBU1bGFANl8O9MIO4UwduhrYQPhafsLVukGCuhQP0VnGDRz0rja19aHbVSV3iDy7C91tX43tq_N1ksObLoSHwTzZLtwhqKsJ_GvbMkux3mvEgTirZWdAFq763U5n1IsC_TiwBgs4Pa8/w400-h340/240120%20I.jpg" width="400" /></a></i></div><i>Line Pumpercar</i> - Bruce Hamilton & Friends [from
<i>Mash Hits Vol. 1</i>]
<p></p>
<p>
does it follow <br />that <br />if music is made of sound <br />and that
<br />if sound is a translation of a signal <br />that <br />then<br />music
<br />is made of signal(s)? <br />or <br />is music a mode <br />that only
exists <br />in the translation of the signal <br />which translation <br />is
our invention
</p>
<p>
<i>Give Me All Your Luvin' (feat. LMFAO & Nicki Minaj) [Party Rock Remix] </i>- Madonna [from <i>MDNA</i>]
</p>
<p>buy my records</p>
<p>
<i>Bad Morning Breath</i> - Swingset Showdown [from <i>Short Bus Ruckus</i>]
</p>
<p>at least it isn't prolonged</p>
<p><i>Broken Submarines</i> - Kithkin [from <i>Live from Sound Off 2012</i>]</p>
<p>
battle songs <br />go for the show-off moves <br />accelerandos are a good
trick
</p>
<p><i>Call Your Girlfriend</i> - Star Anna</p>
<p>instructions <br />among the famous 50 ways <br />to do it</p>
<p>
<i>Waltz in D-sharp minor, Op. 64 #2</i> - Frédéric Chopin - Garrick Ohlsson
</p>
<p>
he does not move into a new key <br />he simply discovers it <br />where it
had always been <br />eternally ready
</p>
<p>
careful of that harmony down there <br />those voices are plotting amongst
themselves
</p>
<p><i>Weil' Auf Mir</i> - Charles Ives - Dora Ohrenstein, Phillip Bush</p>
<p>sonorous pianissimo</p>
<p>
<i>All the Things You Are </i>- Thelonious Monk [from
<i>The Complete Blue Note Recordings</i>]
</p>
<p>
piano sneaks in behind the vibraphone <br />while the singer practices
distraction
</p>
<p>
<i>I Forgot to Remember to Forget </i>- Bob Dylan [from
<i>A Tree With Roots</i>]
</p>
<p>searching for the eternal strum groove <br />for the laziest summers</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEis_umIvmUe2W4vkJDGpFPCxcqGCsSIXU5eisTzqlzFOaLXv92nt3pyVeQdFHm2zw1MYoDhnG3gtTNP2uxnF_fwTcVEqwHScl2lrsqZ7npPbdhMrhyphenhyphenbF3tcI5au343Br0uQ5pj9M0guDHz5ELJCPKpAMLB2KYRthC84v_UYGZfFpk_MBg-jDSBiGYkCPoQ/s3036/240120%20F.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2264" data-original-width="3036" height="299" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEis_umIvmUe2W4vkJDGpFPCxcqGCsSIXU5eisTzqlzFOaLXv92nt3pyVeQdFHm2zw1MYoDhnG3gtTNP2uxnF_fwTcVEqwHScl2lrsqZ7npPbdhMrhyphenhyphenbF3tcI5au343Br0uQ5pj9M0guDHz5ELJCPKpAMLB2KYRthC84v_UYGZfFpk_MBg-jDSBiGYkCPoQ/w400-h299/240120%20F.jpg" width="400" /></a></div>January 17, 2024<p></p>
<p><i>Promise Me</i> - Sarah Vaughan [from <i>Feelin' Good</i>]</p>
<p>
soft light romantic <br />vocal technique remains sharp <br />in this new
world
</p>
<p><i>Me and The Boys</i> - Bonnie Raitt [from <i>Green Light</i>]</p>
<p>playing with cars</p>
<p>
<i>Rain, Come Wet Me</i> - Mike, Peggy, and Penny Seeger [from
<i>American Folk Songs for Children</i>]
</p>
<p>fragment of a prayer</p>
<p><i>Jack of All Trades</i> - Bruce Springsteen [from <i>Wrecking Ball</i>]</p>
<p>doing all those manly things <br />to get by <br />shoot 'em on sight</p>
<p>
<i>Piano Dream </i>- Steve Layton & Sound-In [from <i>Further Journey</i>]
</p>
<p>
disparate transmissions <br />waiting for the lights to change <br />which may
be delayed <br />combined sound environment <br />arising by chance <br />for
encryption
</p>
<p>a community may develop in the meantime</p>
<p><i>Cuando Me Dé la Gana </i>- Christina Aguilera [from <i>Aguilera</i>]</p>
<p>drinking songs <br />are drinking songs <br />the world over</p>
<p>
<i>Every Saturday Night </i>- Ray Charles [from
<i>A Message from the People</i>]
</p>
<p>catfish butterbeans and chitlin</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBF4lyUhETlmilFEalGNvo814XPJwCazlsAerNz6j0d2LC_CIws9UmKhBN6cp5P2kD-miickDFvSTvgRf3FFZ2Vb4Dxe1CAuNh-Lwd1netDNOCNjTF5SlZ2rckQdoG-TyP6ksUVytUSMLgCL8AMqZgAmjxjpP_am8LMluZmniYOtFbsRMe1PQP0xPHVD0/s5472/240120%20J.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBF4lyUhETlmilFEalGNvo814XPJwCazlsAerNz6j0d2LC_CIws9UmKhBN6cp5P2kD-miickDFvSTvgRf3FFZ2Vb4Dxe1CAuNh-Lwd1netDNOCNjTF5SlZ2rckQdoG-TyP6ksUVytUSMLgCL8AMqZgAmjxjpP_am8LMluZmniYOtFbsRMe1PQP0xPHVD0/w400-h266/240120%20J.jpg" width="400" /></a></i></div><i>Stop the Violence (Massive 12" Inst. Version) </i>- Boogie Down Productions
[from <i>Criminal Minded</i>]
<p></p>
<p>
regularity is deceptive <br />in that <br />any thread of it <br />may not
persist <br />new threads disrupt <br />some times <br />appear <br />like
islands
</p>
<p><i>Superpower (feat. Frank Ocean) </i>- Beyoncé [from <i>Beyoncé</i>]</p>
<p>
there's that O Holy Night arpeggiated accompaniment figure <br />this song is
a staged dance on film
</p>
<p><i>Getaway Car</i> - Taylor Swift [from <i>Reputation</i>]</p>
<p>twisting a song around an excuse</p>
<p><i>Liza Jane (Alternative Mix)</i> - David Bowie [from <i>Toy</i>]</p>
<p>the vocal infiltrates <br />from within the guitar fire</p>
<p>
<i>Climbing Higher Mountains</i> - Aretha Franklin [from <i>Amazing Grace</i>]
</p>
<p>
a question arises <br />concerning the sacredness of bodily expression
<br />and what that means
</p>
<p><i>Never Tear Us Apart (INXS)</i> - Prom Queen [from <i>Covers</i>]</p>
<p>
living in vintage sound <br />songs can tell a story <br />or <br />be about
one <br />recitative <br />da capo aria <br />da capo <br />ad lib
</p>
<p>
<i>The Song of the Grand Coulee Dam</i> - George Rezendes, David Grisman [from
<i>Roll Columbia</i>]
</p>
<p>or <br />can be an excuse <br />for banjo pickin' </p>
<p>built <br />by the hand <br />of the man</p>
<p>
<i>Glassloops</i> - Bruce Hamilton & Friends [from
<i>Mash Hits Vol. 1</i>]
</p>
<p>
enter as a polyphonic voice <br />everybody here <br />seems to be dressed in
the same chord <br />the power of fashion
</p>
<p><i>Sparks Fly (Demo)</i> - Waxahatchee [from <i>Out In The Storm</i>]</p>
<p>leapwise melody <br />to rejigger the accentuation of syllables</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIRxco-D0dZik1T7mo6J1esROc9qAF4I4Nelqv2Y8EEpaowe_r7G2CZr5cE3AXBUCS8zaEBo5VhELnvO-IcNCLa6NkjfTq5f_B8uyDRdM0e_xvYyWJfqA-4O-6YUFAq5hSemu73Iuc36kPGayYmUkaZzHKYCSaz6iRNJFKXdADp5MpTHU1zeY9IqqGs7c/s5472/240120%20K.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIRxco-D0dZik1T7mo6J1esROc9qAF4I4Nelqv2Y8EEpaowe_r7G2CZr5cE3AXBUCS8zaEBo5VhELnvO-IcNCLa6NkjfTq5f_B8uyDRdM0e_xvYyWJfqA-4O-6YUFAq5hSemu73Iuc36kPGayYmUkaZzHKYCSaz6iRNJFKXdADp5MpTHU1zeY9IqqGs7c/w400-h266/240120%20K.jpg" width="400" /></a></i></div><i>I Just Smoked the Best Crack of My Life</i> - Swingset Showdown [from
<i>Short Bus Ruckus</i>]
<p></p>
<p>that's nice</p>
<p><i>Infinity</i> - Kung Foo Grip [from <i>Live from Sound Off 2012</i>]</p>
<p>a physical workout <br />to shout this <br />so quickly breathless</p>
<p><i>Keep On</i> - Star Anna & Mike McCready</p>
<p>hang in there folks</p>
<p><i>Syntopia 2</i> - Sascia Pellegrini</p>
<p>a caldron <br />closely watched <br />patiently attended </p>
<p>||{a break for an important stretch}|| </p>
<p>back to the patient caldron <br />in progress</p>
<p>
the caldron <br />is not just what is in it <br />but also <br />who put what
is in it <br />into it
</p>
<p>mumble crumble <br />roil and rumble </p>
<p>
third part <br />much later <br />many centuries in fact <br />a very long
process of attendance
</p>
<p>heart throbbing </p>
<p>fine</p>
<p>
<i>Mazurka in B Major, Op. 63 #1</i> - Frédéric Chopin - Garrick Ohlsson
</p>
<p>
metrical pulse <br />is much malleable <br />his stuttering ornaments
<br />and witty all dones
</p>
<p><i>Feldeneinsamkeit</i> - Charles Ives - Mary Ann Hart, Dennis Helmrich</p>
<p>
to show that he'd been to school <br />and knew how it was done <br />on the
continent <br />so pretty
</p>
<p>
<i>I Should Care (Alternative Take)</i> - Thelonious Monk [from
<i>The Complete Blue Note Recordings</i>]
</p>
<p>
its that piano vibraphone singer act again <br />a comic clumsiness <br />in
the grace with which they support the singer
</p>
<p>purpose of the piano solo <br />to fuddle the time of return</p>
<p><i>You Win Again</i> - Bob Dylan [from <i>A Tree With Roots</i>]</p>
<p>not a bad demo <br />the mix is OK but crude</p>
<p>
<i>America the Beautiful </i>- Ray Charles [from
<i>A Message from the People</i>]
</p>
<p>
fanfare in marching rhythm <br />in the further verses <br />and the big
timpani bam bam bam bam <br />ala Zarathustra
</p>
<p><i>I Can't Help Myself </i>- Bonnie Raitt [from <i>Green Light</i>]</p>
<p>
party time for golden youth <br />looks back <br />to its more innocent
remembrances
</p>
<p><i>It's Simple</i> - Sarah Vaughan [from <i>Brazilian Romance</i>]</p>
<p>
a song is made of pitch energies <br />pulling at each other in an enclosed
space
</p>
<p>
<i>Daddy Shot a Bear</i> - Mike, Peggy, and Penny Seeger [from
<i>Animal Folk Songs for Children</i>]
</p>
<p>through the keyhole and never touched a hair</p>
<p>
<i>Le Miroir Amère</i> - Steve Layton & Improv Friday [from <i>PPP</i>]
</p>
<p>given half a chance <br />we will find voices that lead</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfLeIAW7FzvOOXsdrvYLVJjiIPqwDXc0utyWEFP-1YHxnbr8llK3IEHN4ogv2ljzoqwokfsvpjQgmzgXX7Nm2-Yu0yZudvyrijiuCsdUCEB48Pcvb53IHrbyRtN9U3i2frPbx8vFr-5GZZuwPKbQak6wsG95wl8iRrwgeFdOfaMbArFHEv9pN1b1Cbz50/s5472/240120%20L.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfLeIAW7FzvOOXsdrvYLVJjiIPqwDXc0utyWEFP-1YHxnbr8llK3IEHN4ogv2ljzoqwokfsvpjQgmzgXX7Nm2-Yu0yZudvyrijiuCsdUCEB48Pcvb53IHrbyRtN9U3i2frPbx8vFr-5GZZuwPKbQak6wsG95wl8iRrwgeFdOfaMbArFHEv9pN1b1Cbz50/w400-h266/240120%20L.jpg" width="400" /></a></i></div><i>A-Ramblin' Round </i>- John Moen [from <i>Roll Columbia</i>]<p></p>
<p>
judging a song <br />one can't rely on <br />either <br />the independent
strength of the words <br />nor <br />the independent strength of the music
<br />there is <br />another music <br />to how they synthesize <br />into
something <br />more than joined
</p>
<p><i>Labyrinth</i> - Taylor Swift [from <i>Midnights</i>]</p>
<p>was that a french horn blurp? <br />sure sounds like it </p>
<p>
what would these people sing about <br />if their love lives weren't
complicated at <br />least as presented
</p>
<p><i>Amazing Grace</i> - Aretha Franklin [from <i>Amazing Grace</i>]</p>
<p>
carried along <br />we carry along carrying along <br />every word <br />in
every statement <br />no slack <br />we are securely carried along
</p>
<p>
<i>Stop the Violence (Massive 12" A Capella Version)</i> - Boogie Down
Productions [from <i>Criminal Minded</i>]
</p>
<p>just the vocal track <br />digital silence <br />between segments</p>
<p><i>Circles</i> - Christina Aguilera [from <i>Lotus</i>]</p>
<p>this song is a rude gesture</p>
<p><i>Roll, Columiba, Roll</i> - Fine Company [from <i>Roll Columbia</i>]</p>
<p>wild and reckless <br />to be conquered</p>
<p><i>Summer Renaissance</i> - Beyoncé [from <i>Renaissance</i>]</p>
<p>
long stanzas <br />are distinguished by their trajectories <br />or
<br />there is a set of cycling trajectories <br />that are sequenced into a
song
</p>
<p><i>When You Need Me</i> - Bruce Springsteen [from <i>Tracks</i>]</p>
<p>
band comes in at the 2nd verse <br />full cliche <br />by the book song
production
</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqz-cW53tfLRz38fmcXD4N_sXwoo8Hs0tR6CbJMMMuV0yvnjUPyXRE5zDbE3WQL_4KoWR5kLznMAz_GlpY46Bjs4Tc0rL-Y_AOety8GNNGJ80P76DQnI88M7cfGmVVo9itwl-6rLTta6MRmTiYdqgHwTR9XjYMwELaX-lI3ahxv_4u1vJUSPcbC8y7DV4/s5472/240120%20G.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqz-cW53tfLRz38fmcXD4N_sXwoo8Hs0tR6CbJMMMuV0yvnjUPyXRE5zDbE3WQL_4KoWR5kLznMAz_GlpY46Bjs4Tc0rL-Y_AOety8GNNGJ80P76DQnI88M7cfGmVVo9itwl-6rLTta6MRmTiYdqgHwTR9XjYMwELaX-lI3ahxv_4u1vJUSPcbC8y7DV4/w400-h266/240120%20G.jpg" width="400" /></a></div>January 18, 2024<p></p>
<p>
<i>Dronedrift</i> - Bruce Hamilton & Friends [from
<i>Mash Hits Vol. 1</i>]
</p>
<p>
two harmonies alternate <br />tick tock <br />split return <br />we do love to
throb <br />the layers are removed piecemeal <br />that's the show
</p>
<p><i>Brass Bean (Demo)</i> - Waxahatchee [from <i>Out In The Storm</i>]</p>
<p>
demo <br />just the song <br />with its skeletal arrangement
<br />pre-production <br />no fancy hem to finish it
</p>
<p><i>You've Got a Habit of Leaving</i> - David Bowie [from <i>Toy</i>]</p>
<p>
production is Bowie's native compositional paradigm <br />composing a sound
file in the shape of an industry song
</p>
<p><i>Free From You</i> - Swingset Showdown [from <i>Short Bus Ruckus</i>]</p>
<p>celebrating self-centered slackerhood</p>
<p><i>Closure</i> - The Oh Wells [from <i>Live from Sound Off 2012</i>]</p>
<p>
the keyboard sounds like a toy <br />not bad in itself <br />but why play dull
patterns <br />with a dull sound? <br />more a skit than a song
</p>
<p><b>In Session at The Tintinabulary</b></p>
<p>January 14, 2024</p>
<p><i>Luton</i> - Keith Eisenbrey</p>
<iframe allow="autoplay" frameborder="no" height="20" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1723114485&color=%23ff5500&inverse=false&auto_play=false&show_user=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/keith-eisenbrey" style="color: #cccccc; text-decoration: none;" target="_blank" title="Keith Eisenbrey">Keith Eisenbrey</a> · <a href="https://soundcloud.com/keith-eisenbrey/28-luton-240114-240114" style="color: #cccccc; text-decoration: none;" target="_blank" title="28 Luton 240114 [240114]">28 Luton 240114 [240114]</a></div>
<p>I'll be at these for a while I think.</p>
<p>January 15, 2024</p>
<p>
<i>Banned Rehearsal 1095</i> - Haley, Karen Eisenbrey, Keith Eisenbrey, Aaron
Keyt, Neal Kosály-Meyer
</p>
<iframe allow="autoplay" frameborder="no" height="20" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1723120128&color=%23ff5500&inverse=false&auto_play=false&show_user=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/keith-eisenbrey" style="color: #cccccc; text-decoration: none;" target="_blank" title="Keith Eisenbrey">Keith Eisenbrey</a> · <a href="https://soundcloud.com/keith-eisenbrey/banned-rehearsal-1095-240115" style="color: #cccccc; text-decoration: none;" target="_blank" title="Banned Rehearsal 1095 240115">Banned Rehearsal 1095 240115</a></div>
<p>
Stu and Renko sent some venerable lids/bells and they are rung in introduction
so that the other lids and bells can get to know them
</p>
<p>January 17, 2024</p>
<p><i>Dies ist der Tag, den Gott gemacht</i> - Aaron Keyt</p>
<p>January 19, 2024</p>
<p><i>Nun wolle Gott, dass unser Sang</i> - Aaron Keyt</p>
<p>
these are fun to play on clavichord which forwards their particularly Keytian
graceful clumsiness
</p>
<p style="text-align: center;"><b>Postscripts</b></p>
<p><b>Drops</b></p>
<p><i>Keith Eisenbrey 11: 2007 - Music as Film (part 1)</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=628670095/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/transparent=true/" style="border: 0; height: 470px; width: 350px;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-11-2007-music-as-film-part-1">Keith Eisenbrey 11: 2007 - Music as Film (part 1) by Keith Eisenbrey</a></iframe>
<p>
My "Music as Film" project involved building complex sound textures from tiny
fragments of sound outward, and was inspired by aspects of some of Stan
Brakhage's film making techniques - especially the kind of individual care
taken with each frame of such films as "Mothlight". The source sounds for
Consider the Birds and Sputnik Love were portions of recent Banned Rehearsal
sessions that happened to be on my computer. For Lids Film I recorded myself
playing bells and potlids, and used that.
</p>
<p>Volumes 1 through 10 are available at <a href="http://keitheisenbrey.bandcamp.com">keitheisenbrey.bandcamp.com</a></p>
<p>All are free for download.</p>
<p><b>Skaldmud's Doodle Gallery</b></p>
<p>listening journal doodles from 2016 and 2017</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUtHkJ6JaLvGgYDSKWqaL7aP_Mk1TcdM5J2SeuP1iQ-zHPn4W9FJIJuFvGMl1A6w1CtaGsn9WLi4jL04eCp_n1r4elsSeQwaTLNeTifFOWH4nb2jJ-ej9NUEfRUWIvrdUlt_TjmMAkyhDGMoVHf6EY-ACvnEOo_94FRtsxuLZD9K_nfsulP5eU7VxeOhU/s1944/2023%20scan888.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1255" data-original-width="1944" height="259" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUtHkJ6JaLvGgYDSKWqaL7aP_Mk1TcdM5J2SeuP1iQ-zHPn4W9FJIJuFvGMl1A6w1CtaGsn9WLi4jL04eCp_n1r4elsSeQwaTLNeTifFOWH4nb2jJ-ej9NUEfRUWIvrdUlt_TjmMAkyhDGMoVHf6EY-ACvnEOo_94FRtsxuLZD9K_nfsulP5eU7VxeOhU/w400-h259/2023%20scan888.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVFurxlU9XlitMNDtFfS6Er6D7Ng7hLGCgt0PA6uACzOFEJ1_FNJk3XWKGPDWkG1WwOcKkMf5qGmHPA-HNRGe-8JQuri7J9eXbpkZKa7VtjFljsdaoAVNmvr-edpxEulOjtC4OlIDzWQUjPmO57F2-aAnaONR-QIWu-QA6vGne4W0sX6-5CZ0FL1L2Xyg/s2663/2023%20scan889.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2663" data-original-width="2466" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVFurxlU9XlitMNDtFfS6Er6D7Ng7hLGCgt0PA6uACzOFEJ1_FNJk3XWKGPDWkG1WwOcKkMf5qGmHPA-HNRGe-8JQuri7J9eXbpkZKa7VtjFljsdaoAVNmvr-edpxEulOjtC4OlIDzWQUjPmO57F2-aAnaONR-QIWu-QA6vGne4W0sX6-5CZ0FL1L2Xyg/w370-h400/2023%20scan889.jpg" width="370" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihB1oWq0OGWeQdiwJK_seK7fDsiwGb4FjSxzAGFvOS7lIlDVjKewEUJZ6A7JLnfGhL69ynqpauOVD4WfAQp-lXP0QBO_k1Vo7ws-7J3Kd_E7GgddkvOs05re_vqolK0LtCYnsc9eqgbsiC9NptdvaCa_LbpkU-JDYUpM4FDG09RFe4sIZVgluauZv03Kc/s2515/2023%20scan890.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1122" data-original-width="2515" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihB1oWq0OGWeQdiwJK_seK7fDsiwGb4FjSxzAGFvOS7lIlDVjKewEUJZ6A7JLnfGhL69ynqpauOVD4WfAQp-lXP0QBO_k1Vo7ws-7J3Kd_E7GgddkvOs05re_vqolK0LtCYnsc9eqgbsiC9NptdvaCa_LbpkU-JDYUpM4FDG09RFe4sIZVgluauZv03Kc/w400-h179/2023%20scan890.jpg" width="400" /></a></div><br /><p><br /></p>
Keith Eisenbreyhttp://www.blogger.com/profile/16399615075612440296noreply@blogger.com0tag:blogger.com,1999:blog-7569166511516520581.post-77410984729326296522024-01-13T13:05:00.000-08:002024-01-13T14:04:08.962-08:00Playlist<p style="text-align: center;"><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWthhbui_jfZ2vxvA3xt_METLmDbAmdmW4oxPGHKhLv8pr9ZlE0pqaKs2Nge4IhupWqjUIrrolsbaLVG2NQ7CETDV_rMgvnF1saoH6Mk-Tnviy_N0c1gV583At1B4SylkqyyqwMxPuQXuE8g8qHLkbnjullDpzZ6mJTDqrKlz9TWsJ4OMWm4YlQFKpzkQ/s5472/240113%20A.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWthhbui_jfZ2vxvA3xt_METLmDbAmdmW4oxPGHKhLv8pr9ZlE0pqaKs2Nge4IhupWqjUIrrolsbaLVG2NQ7CETDV_rMgvnF1saoH6Mk-Tnviy_N0c1gV583At1B4SylkqyyqwMxPuQXuE8g8qHLkbnjullDpzZ6mJTDqrKlz9TWsJ4OMWm4YlQFKpzkQ/w400-h266/240113%20A.jpg" width="400" /></a></b></div><b>Preface</b><p></p>
<p>
"Could a deaf man who had never heard understand music? Probably not, since we
could never convey (or tell if we were conveying) the relevant relational
information, for that is based on the intersubjectivity of auditory
perception. And his world would be altogether so different where, especially,
events prominently involving auditory aspects are concerned, that the problem
of determination would be insurmountable: imagine that we take him to an
orchestral concert, the advance information having been given that he was
about to experience "music". Then he <i>sees</i> a succession of events
associated with discriminable objects, including people, instruments batons,
etc. 'How did you like the music?' we ask. 'It was beautiful' is his answer.
Our enthusiasm at thus having created yet another music-lover against what
appeared to be insuperable odds so overwhelms us that we offer to take our
friend to yet another concert. this time involving only a string quartet. He
accepts with pleasure, and in the event observes a subset of what he has
already become familiar with from his previous encounter with "music". 'How
charmingly intimate, what graceful and elegant music' is his report this time.
But then we take him to an organ recital, with no familiar instruments in
view. At the end he turns to us in unconcealed irritation: 'You call
<i>that </i>music?'"
</p>
<p>
Benjamin Boretz - from "Meta-Variations: Studies in the Foundations of Musical
Thought"
</p>
<p style="text-align: center;"><b>Texts</b></p>
<p><b>Recorded</b></p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5vr-wVSvix92O5RK05Sg8_BpPpJuuiKLrV2jyNqBNrWx0nPEAL0H-tOSXXB5XhsCCZ2g2KdxPcHc7PdTjNunUrue3oLxhuLQI4eCK3uUAf9J-hZcVCTm-sghiPv5aokGwhkP9rdXuTj6_AQIwI2BIkqa3GCclDpREe1d6_kmXapC9Z9dUluXYyy7rvhI/s5472/240113%20B.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5vr-wVSvix92O5RK05Sg8_BpPpJuuiKLrV2jyNqBNrWx0nPEAL0H-tOSXXB5XhsCCZ2g2KdxPcHc7PdTjNunUrue3oLxhuLQI4eCK3uUAf9J-hZcVCTm-sghiPv5aokGwhkP9rdXuTj6_AQIwI2BIkqa3GCclDpREe1d6_kmXapC9Z9dUluXYyy7rvhI/w400-h266/240113%20B.jpg" width="400" /></a></div>January 6, 2024<p></p>
<p>
<i>Fantasie in C Major, Wq. 59/6</i> - Carl Phillip Emanuel Bach - Alexei
Lubimov
</p>
<p>
the depth <br />of dynamic contrast <br />and articulation<br />and precision
<br />on this instrument <br />(a tangent piano) <br />are astonishing
</p>
<p>we gave up so much <br />for more power</p>
<p>this music follows its momentary thoughts</p>
<p>
<i>Étude pour le pianoforte d'apres les caprices de Paganini in E-flat Major,
Op. 3 #5</i>
- Robert Schumann - Florian Uhlig
</p>
<p>
figures in the top <br />trade with figures on the bottom <br />in a rhythm
<br />a back and forth <br />patta-cake <br />quick time
</p>
<p><i>Zyczenie op. 74 #1</i> - Frédéric Chopin - Ewa Podlés, Garrick Ohlsson</p>
<p>a little waltz explosion <br />between each stanza</p>
<p><i>He is There!</i> - Charles Ives - Mary Ann Hart, Dennis Helmrich</p>
<p>
gung ho <br />off to war <br />confident in rectitude <br />of being a Yankee
Boy
</p>
<p>
<i>In Walked Bud</i> - Thelonious Monk [from
<i>The Complete Blue Note Recordings</i>]
</p>
<p>
the lower voice of the tune <br />pulls the upper down <br />against its will
<br />and active resistance
</p>
<p><i>Johnny Todd</i> - Bob Dylan [from <i>A Tree with Roots</i>]</p>
<p>selected portions <br />of grab bag songs <br />(the album)</p>
<p><i>Deep Into the Night</i> - Sarah Vaughan [from <i>Feelin' Good</i>]</p>
<p>
classic jazz chanteuses <br />reinventing themselves <br />as swanky nightclub
acts <br />going pop <br />selling out <br />just trying to make a
living
</p>
<p>nothing new for Madonna and company <br />path paved by Satchmo?</p>
<p><i>Keep This Heart in Mind</i> - Bonnie Raitt [from <i>Green Light</i>]</p>
<p>the changes quicken at the ends of stanzas</p>
<p>
<i>Sweet Water Rolling</i> - Mike, Peggy, and Penny Seeger [from
<i>American Folk Songs for Children</i>]
</p>
<p>the concise brevity of this is salutary</p>
<p><i>Paradise </i>- Bruce Springsteen [from <i>The Rising</i>]</p>
<p>ooo <br />its mooody <br />with melodic hints <br />of greensleeves</p>
<p>
a sense I have <br />for no reason to which I can point <br />beyond my gut
reaction <br />that <br />it's just altogether too much <br />all an act
<br />prepared <br />controlled <br />not trustworthy
</p>
<p>
<i>C Garden</i> - Steve Layton & Improv Friday [from
<i>Summer Mirages</i>]
</p>
<p>
foghorn testing ground <br />signaling locations with sound <br />points on a
chart <br />the octopi have their own system <br />the whales another
<br />barnacles are infamous blabbermouths
</p>
<p><i>So It Goes...</i> - Taylor Swift [from <i>Reputation</i>]</p>
<p>
hard break between segments <br />small to big <br />back to small
<br />without the hard break
</p>
<p><i>Hole In The Ground</i> - David Bowie [from <i>Toy</i>]</p>
<p>
Bowie didn't so much reinvent himself <br />as he did reinvent the characters
he was portraying <br />reciting poetry <br />as a part of the dance
<br />zusammenkunstwerklich
</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEix0Z5SaGRbprgb9vh97Q8j-wgXR3Xr-COPRVoD9fS6zodGs-CNjyh1_Zy7Ncu5cuxgmoUflWuTiIPZbSxzbr_Mgq4FZycHeniwHKAhglXi6F1Z5wy2ZvI3GpMVmcphWUERdq9Oqck7AoFQCDiWtLKYzSresIzOrbIGDOcp5mw3QuNi4ru8gS-kBvJj-zQ/s5472/240113%20C.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEix0Z5SaGRbprgb9vh97Q8j-wgXR3Xr-COPRVoD9fS6zodGs-CNjyh1_Zy7Ncu5cuxgmoUflWuTiIPZbSxzbr_Mgq4FZycHeniwHKAhglXi6F1Z5wy2ZvI3GpMVmcphWUERdq9Oqck7AoFQCDiWtLKYzSresIzOrbIGDOcp5mw3QuNi4ru8gS-kBvJj-zQ/w400-h266/240113%20C.jpg" width="400" /></a></div>January 7, 2024<p></p>
<p>
<i>There'll Be No Peace Without All </i>- Ray Charles [from
<i>A Message from the People</i>]
</p>
<p>
a lament or complaint <br />and projected conclusion of the current course
<br />in short <br />a prophecy
</p>
<p><i>Nameless One No. 2</i> - Sun Ra [from <i>Celestial Love</i>]</p>
<p>
there's that crazy keyboard again <br />part celeste <br />part vibraphone
<br />part electric guitar <br />but <br />if this is a reed based electronic
keyboard <br />then it is essentially an electric kalimba <br />believable
</p>
<p>
<i>Four Hebrew Dances</i> - Rae Colborne - Tielman Susato Krummhorn
Gesellschaft [from <i>The Glory of The Krummhorn</i>]
</p>
<p>
can a music have a national identity? <br />at end <br />tape mechanism sound
<br />clearly not part of the music we just heard <br />and yet <br />capable
<br />as a sound <br />of being part of some other music <br />it just didn't
happen to be a part of this one
</p>
<p><i>Is The Place?</i> - Greg Sinibaldi [from <i>Frieze of Life</i>]</p>
<p>
can the concept of silence be a radish?<br />can the silence of radish be a
concept?<br />can the radish of concept be a silence?<br />can the silence of
concept be a radish?<br />can the concept of radish be a silence?<br />can the
radish of silence be a concept?
</p>
<p>yes <br />if memory serves </p>
<p>across broad spaces <br />measured out</p>
<p><i>I Think I Love You </i>- Waxahatchee [from <i>American Weekend</i>]</p>
<p>
there is a quiet hiss <br />that sounds like <br />it could be <br />the sound
<br />of whatever machinery <br />might be in use <br />to record with
<br />or <br />of the amp
</p>
<p>
<i>Ballad of the Great Grand Coulee</i> - Darrin Craig, John Newfeld [from
<i>Roll Columbia</i>]
</p>
<p>rural <br />dust abraded speech <br />oldtimer <br />tellin' straight</p>
<p>
<i>Ensemble 1</i> - Sascia Pellegrini [from
<i>7 Percussion Impossibilities</i>]
</p>
<p>
each drummer follows their own logic <br />as well as the logic of the
other
</p>
<p>they contend</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5Q3-fYdqLI_k7TdhV5PhzOAeGq7tApVxTXxRVhFIswkzqoJRHVnbyfk3BJhM_lccVO4SVvvyxBKTn7TnAxDS4QiMMWJwXItfYHb6UIkDgOK6by7N8g-nBFI4LScAni6nfTXRut3yduyHVue8y0BKP9aZ5iq2wfvFfk4lcxNPgoCIlv3RWzG_IoWkNZ5Q/s5472/240113%20D.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5Q3-fYdqLI_k7TdhV5PhzOAeGq7tApVxTXxRVhFIswkzqoJRHVnbyfk3BJhM_lccVO4SVvvyxBKTn7TnAxDS4QiMMWJwXItfYHb6UIkDgOK6by7N8g-nBFI4LScAni6nfTXRut3yduyHVue8y0BKP9aZ5iq2wfvFfk4lcxNPgoCIlv3RWzG_IoWkNZ5Q/w400-h266/240113%20D.jpg" width="400" /></a></div>January 8, 2024<p></p>
<p>
<i>You'll Never Walk Alone</i> - Aretha Franklin [from <i>Amazing Grace</i>]
</p>
<p>
congregational participation <br />the congregants participate <br />in the
soloist's musical ecstasy <br />share it <br />(a soteriological model)
<br />id est <br />we share <br />in Christ's resurrection <br />and
that <br />is our salvation
</p>
<p>
<i>Stop The Violence (Massive 12" Extended Version)</i> - Boogie Down
Productions [from <i>Criminal Minded</i>]
</p>
<p>
nice vacation music <br />the president's still on one <br />full of humor and
wit
</p>
<p><i>Blank Page </i>- Christina Aguilera [from <i>Lotus</i>]</p>
<p>
how is this into-the-rafters vocal delivery <br />the music of those
words?
</p>
<p>which are <br />as best I can tell <br />personal and intimate</p>
<p>
<i>Sleeping Fish</i> - CEP [from <i>Drawing The Target Around The Arrow</i>]
</p>
<p>fish tank fish <br />a bubble in a harsh world</p>
<p><i>All Up In Your Mind</i> - Beyoncé [from <i>Renaissance</i>]</p>
<p>
echoes pull words from the lines <br />and run into the basement with them
</p>
<p><i>Gardening At Night</i> - REM [from <i>Dead Letter Office</i>]</p>
<p>
this song rarely fails to take me back <br />to The Oaks <br />in Barrytown
<br />an attic apartment <br />a long narrow room of books <br />into where
<br />music was played back <br />on cassette decks
</p>
<p><i>Dr. Strangelove (Jack Flash)</i> - Prom Queen [from <i>Covers</i>]</p>
<p>patterns of 3 2 or 4 syllables <br />in beaded strings <br />a bracelet</p>
<p><i>7,500 Kisses </i>- Amy Denio [from <i>The Big Embrace</i>]</p>
<p>an intense conversation <br />high personal stakes</p>
<p>
<i>Missing Words VI- III. Witzbeharrsamkeit (Joke-Insistence) II</i> - Eric
Nathan - Re:Naissance Opera [from <i>Missing Words</i>]
</p>
<p>displayed in enclosures</p>
<p>
<i>Curtains (Electric Sheep)</i> - Bruce Hamilton and Friends [from
<i>Mash Hits Vol. 1</i>]
</p>
<p>
sounds are made by agents <br />which we personify <br />costume <br />and
cast onto an open stage <br />to enact the scene <br />their sounds are making
</p>
<p>
<i>Blood and Bubblegum</i> - Star Anna [streamed from Fiddler's Inn, Seattle,
March 7, 2022]
</p>
<p>tastes like cigarettes <br />and the tip of my tongue</p>
<p>
<i>Stone Blues</i> - Freddie & The Screamers [from <i>I Ain't Crazy</i>]
</p>
<p>novelty song blues <br />acting the type</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj43OOYuqgLnA0W9oATT8fB4ZwSqeu0EGvBvD2IG19eM_NB7IcpbfzFjpQvvJNCQnm431PuirHI9h3eMg7E77rKrDaHZsAkgbWZUT2BXt6I38F9L8hx_kHSseVpeY_ptg9qMlL113RJxWrZ5Z2eLfIlGpc5e2M_UUas5HU3I3zDa8Iwu3kwldtH3ThZ-To/s5472/240113%20H.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj43OOYuqgLnA0W9oATT8fB4ZwSqeu0EGvBvD2IG19eM_NB7IcpbfzFjpQvvJNCQnm431PuirHI9h3eMg7E77rKrDaHZsAkgbWZUT2BXt6I38F9L8hx_kHSseVpeY_ptg9qMlL113RJxWrZ5Z2eLfIlGpc5e2M_UUas5HU3I3zDa8Iwu3kwldtH3ThZ-To/w400-h266/240113%20H.jpg" width="400" /></a></i></div><i>Epigraph</i> - Benton Roark - Re:Naissance Opera [from
<i>Music from The Apocrypha Chronicles</i>]
<p></p>
<p>
one imagines <br />that in the world of game (video) music creation
<br />there exists <br />a fringe of weirdos <br />this may fit that
</p>
<p>
<i>Track 13</i> - Curtains For You [recorded live at The High Dive, Seattle,
April 6, 2012]
</p>
<p>
does the bar crowd <br />participate in the musical ecstasy <br />of the band
<br />even if <br />they're not actively listening <br />but <br />being
bathed in its continuity?
</p>
<p>
<i>Rock de Roqueiro</i> - Camarones Orquestra Guitarristica [from
<i>Live in Natal</i>]
</p>
<p>all done for the evening <br />thanks guys</p>
<p><i>Beautiful Killer</i> - Madonna [from <i>MDNA</i>]</p>
<p>aural not-quite soft-porn <br />controversial gunshot</p>
<p><i>In The Morrow</i> - Brandi Carlile [from <i>Bear Creek</i>]</p>
<p>watching ones own dissolution <br />as it happens</p>
<p><i>Movie Star</i> - Swearin' [from <i>Swearin'</i>]</p>
<p>
song can rely <br />on a disjunction <br />between <br />the thrust of the
words <br />as they might be written <br />and read <br />and <br />the person
of the singer character <br />within the song
</p>
<p>
<i>(I Ride) My Station Wagon</i> - Swingset Showdown [from
<i>Short Bus Ruckus</i>]
</p>
<p>love song <br />to a car type</p>
<p>
<i>The Pleasure is All Yours </i>- Tomten [from
<i>Live from Sound-Off 2012</i>]
</p>
<p>lessons in industry</p>
<p>
<i>Étude pour le pianoforte d'apres les caprices de Paganini in G minor, Op. 3
#6</i>
- Robert Schumann - Florian Uhlig
</p>
<p>the key of epic struggle <br />against the elements</p>
<p>
<i>Wiosna, op. 74 #2 </i>- Frédéric Chopin - Ewa Podlés, Garrick Ohlsson
</p>
<p>
tunes that focus on a few notes at a time <br />patterning them discretely
within the stanza structure <br />more like a song <br />straight ahead
<br />than like an "art song" or Lied
</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2JFAJKOheLA4d9jDo-apRyXVWOR3nHWJ87-G893FBZdVNwBdFttMpzX_b0eoFv_XMr4L67KC7fS49qUbrhfY637w_l7U8fAyQOPwK8-CzaUigdgVoYHzMtsV6JkXDQAiQBuMkfijGI8VsJnwmVWoyiCEDLBAsKNefJs2K42MKzaZ8-xjUVe42UjZYsIg/s5472/240113%20I.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2JFAJKOheLA4d9jDo-apRyXVWOR3nHWJ87-G893FBZdVNwBdFttMpzX_b0eoFv_XMr4L67KC7fS49qUbrhfY637w_l7U8fAyQOPwK8-CzaUigdgVoYHzMtsV6JkXDQAiQBuMkfijGI8VsJnwmVWoyiCEDLBAsKNefJs2K42MKzaZ8-xjUVe42UjZYsIg/w400-h266/240113%20I.jpg" width="400" /></a></i></div><i>Allegro</i> - Charles Ives - Paul Sperry, Irma Vallecillo<p></p>
<p>surely this young man wears a tie <br />and a proper hat</p>
<p>
<i>Monk's Mood</i> - Thelonious Monk [from
<i>The Complete Blue Note Recordings</i>]
</p>
<p>
some notes set others in motion <br />some notes reset the trap <br />these
things happen <br />when pitches pool on the floor
</p>
<p><i>Cool Water</i> - Bob Dylan [from <i>A Tree With Roots</i>]</p>
<p>
there is a sense in which <br />this album <br />is a catalogue of examples
<br />of how to turn anything <br />into the same song <br />as the others
</p>
<p><i>Hey Mister</i> - Ray Charles [from <i>A Message from the People</i>]</p>
<p>from the aggrieved</p>
<p><i>River of Tears</i> - Bonnie Raitt [from <i>Green Light</i>]</p>
<p>life in the hardworking land</p>
<p><i>Photograph</i> - Sarah Vaughan [from <i>Brazilian Romance</i>]</p>
<p>the tawdriness of the song <br />disappears behind the glow of that voice</p>
<p>
<i>Of All The Beast'es </i>- Mike, Peggy, and Peggy Seeger [from
<i>Animal Folk Songs for Children</i>]
</p>
<p>
a panther <br />cry for Suzy Anna <br />turkeys in Atlanta <br />rhyme game
</p>
<p><i>My City of Ruins </i>- Bruce Springsteen [from <i>The Rising</i>]</p>
<p>
can one take oneself seriously <br />as the voice of anything <br />more
extensive <br />than their own person?
</p>
<p>
without a certain amount of hubris <br />not my branch of church <br />too
much Sister Amy for my taste
</p>
<p>
<i>The Last Time (feat. Gary Lightbody)</i> - Taylor Swift [from <i>Red</i>]
</p>
<p>
life in the cinematic suburbia of teen yearning <br />end of Act 2 <br />the
big breakup
</p>
<p><i>Gaia</i> - Steve Layton & Sound In [from <i>Further Journey</i>]</p>
<p>
a cave <br />where the jungle's sounds <br />all collect <br />higgled and
piggled <br />out of their history <br />bearing Ghosts <br />of their places
of origin <br />settlement <br />is inevitable <br />nature's inexorable
forces
</p>
<p><i>Totem 47</i> - Sascia Pellegrini [from <i>Totem IV</i>]</p>
<p>industrial <br />sure <br />medical <br />sure <br />believable </p>
<p>
systems monitor <br />and communication hub <br />ear to the ground
<br />Erde's borborbygmi <br />whalish wails <br />raceway surface
</p>
<p>
the aliens have had enough of our nonsense <br />they're taking off in their
space orbs
</p>
<p>
<i>What a Friend We Have in Jesus </i>- Aretha Franklin [from
<i>Amazing Grace</i>]
</p>
<p>
composed to put us on the same page <br />tap your feet <br />if you have 'em
<br />become entribed
</p>
<p><i>Smile</i> - Sun Ra [from <i>Celestial Love</i>]</p>
<p>
interesting voice <br />falsetto? <br />[June Tyson] <br />I don't think so
<br />the low end doesn't sound like it <br />plus <br />a hint of vibrato up
high
</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEha-LXqmg_P4ddrLI9EA5G5LLMZTlql1KYS7Kg4crwZpYum8R3GEMNgQPoHlH4vY4G5VToyA7EMQ2arqaUMm-1wEfz8ogAm82SCi-YpJaFK3zf7MN2MUmL98bXGoH7tBaEuUX79uWc3GQ9toqEUVpq4wxL-uCqJutsVQK13IaQjFifBF4yyGly8ibAOOjo/s5472/240113%20J.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEha-LXqmg_P4ddrLI9EA5G5LLMZTlql1KYS7Kg4crwZpYum8R3GEMNgQPoHlH4vY4G5VToyA7EMQ2arqaUMm-1wEfz8ogAm82SCi-YpJaFK3zf7MN2MUmL98bXGoH7tBaEuUX79uWc3GQ9toqEUVpq4wxL-uCqJutsVQK13IaQjFifBF4yyGly8ibAOOjo/w400-h266/240113%20J.jpg" width="400" /></a></i></div><i>Pastorale</i> - Keith Eisenbrey -
<i>Tielman Susato Krummhorn Gesellschaft</i> [from
<i>The Glory of The Krummhorn</i>]
<p></p>
<p>
with foghorns <br />(the running out of air <br />was instructed <br />by
yours truly <br />as a means <br />I suppose <br />of activating the duration
and cutoff) <br />very much <br />thinking of those notes <br />as sounds
<br />with attack and decay envelopes <br />only finding the melody
<br />after the space has been properly prepared <br />more of a ceremony
<br />than a pastorale I think
</p>
<p><i>Claude et Eric</i> - Gren Sinibaldi [from <i>Frieze of Life</i>]</p>
<p>
stop <br />every few steps of moving <br />to listen <br />are we still all
here <br />are we still alone <br />OK <br />we have arrived <br />lets get
things cooking on the stove here
</p>
<p><i>XO </i>- Beyoncé [from <i>Beyoncé</i>]</p>
<p>
not all the instrumentals <br />are in the same room <br />some <br />are much
closer <br />than the same room <br />celebration dance
</p>
<p><i>Ball (Demo)</i> - Waxahatchee [from <i>Out in the Storm</i>]</p>
<p>
what exactly <br />is the point of view <br />of the recording artist?
</p>
<p><i>Brujería</i> - Christina Aguilera [from <i>Aguilera</i>]</p>
<p>sultry tale told <br />with dance and verses</p>
<p>
<i>Essays in Bdp-ism</i> - Boogie Down Productions [from
<i>Criminal Minded</i>]
</p>
<p>
the material world of entrapment <br />overlaying echoes <br />points out
<br />how melodic the speech is
</p>
<p>
<i>Damn I Wish I Was Your Lover</i> (Sophie B. Hawkins) - Prom Queen
[from <i>Covers</i>]
</p>
<p>shucks <br />you're the only shoe that fits</p>
<p>
<i>Washington Talking Blues</i> - Scott McCaughey [from <i>Roll Columbia</i>]
</p>
<p>way out across yonder somewhere <br />people changing places</p>
<p><i>Baby Loves That Way</i> - David Bowie [from <i>Toy</i>]</p>
<p>
economic use of pitch and harmonic vocabulary <br />drummer is on a tight
leash
</p>
<p>
<i>Carnival of Sorts (Box Cars)</i> - REM [from <i>Dead Letter Office</i>]
</p>
<p>
carting heavy stuff <br />here to there <br />in frames of film <br />out of
town
</p>
<p>
<i>Trio Procession</i> - Bruce Hamilton & Friends [from
<i>Mash Hits Vol. 1</i>]
</p>
<p>
titles <br />can be code names <br />or desriptors <br />or genre/conversation
marker <br />sounds in a box
</p>
<p>
<i>Verge of Crying</i> - CEP [from <i>Drawing the Target Around the Arrow</i>]
</p>
<p>
code names <br />can be titles <br />one senses the dial twiddler
<br />lurking above <br />and behind this <br />eyes closed <br />headphones
activated
</p>
<p>
<i>Missing Words VI- IV. Dielennystagmus (Hallway-Nystagmus)</i> -
Re:Naissance Opera [from <i>Missing Words</i>]
</p>
<p>
if a note emerges <br />like a spirit <br />and winks out <br />like a car
rushing past <br />is it <br />still<br />a note?
</p>
<p>austere layout</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-WRf7TmXl_zBhCM-NfY9d5C2y_EQoHBgNOOya5DcHhVyiqZ6xdo8uwtdK9wlYZBP3h0y5e1LTEL3YkuuIZMGXOxveVHCuHLGpCvjyY9DJApyG-q_WOLU7Ea9bpya0QhvbwG7pRnqAVW9KpbkFh2jR5W4UpRdnobmxFaRatmBju6ZrzS8nqIEYx65wgcY/s5472/240113%20E.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-WRf7TmXl_zBhCM-NfY9d5C2y_EQoHBgNOOya5DcHhVyiqZ6xdo8uwtdK9wlYZBP3h0y5e1LTEL3YkuuIZMGXOxveVHCuHLGpCvjyY9DJApyG-q_WOLU7Ea9bpya0QhvbwG7pRnqAVW9KpbkFh2jR5W4UpRdnobmxFaRatmBju6ZrzS8nqIEYx65wgcY/w400-h266/240113%20E.jpg" width="400" /></a></div>January 9, 2024<p></p>
<p>
<i>Bard Improvisors' Ensemble (side 2)</i> - Tildy Bayar, Hillary Butler, Dan
Sedia
</p>
<p>
this concerns itself <br />with its room <br />the room these sounds are in
<br />has come to this room <br />(where I am sitting) <br />for a visit
</p>
<p>exact proximity <br />even the flooring </p>
<p>
the piano <br />is embarrassed to find itself <br />muttering happily to
itself <br />wakes with a start <br />oops!
</p>
<p>
vocal puppets <br />all quiet (not!)<br />but the room <br />is still with us
</p>
<p>
<i>Wrong Five O'Clock</i> - Freddie & The Screamers [from
<i>I Ain't Crazy</i>]
</p>
<p>oops <br />bad boys <br />get comeuppance</p>
<p><i>Biopsy of Statecraft</i> - Amy Denio [from <i>The Big Embrace</i>]</p>
<p>pitchcraft for sure</p>
<p>
<i>Track 14 </i>- Star Anna [streamed from Fiddler's Inn, Seattle, March 7,
2022]
</p>
<p>
the shape of the stanza <br />is announced <br />then filled <br />with a tale
of retribution
</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJ3qNTj1T9fMk_U-n3SygI6dyPLDmVQ5pgUW9F8z2RQUKzFo2mh0gZWIAbK8AiUURIT8_tDuIsxi9Ji-b6zTM-HQWX-btuEnFlgxzbww5loGRbkUEXY9EDxjFq189o35gna0nDIgoF940YAa6iD4a7XoUu5JCP75nAOuRFPjl9Pk2bdDczRmj3GSsQpdI/s5472/240113%20F.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJ3qNTj1T9fMk_U-n3SygI6dyPLDmVQ5pgUW9F8z2RQUKzFo2mh0gZWIAbK8AiUURIT8_tDuIsxi9Ji-b6zTM-HQWX-btuEnFlgxzbww5loGRbkUEXY9EDxjFq189o35gna0nDIgoF940YAa6iD4a7XoUu5JCP75nAOuRFPjl9Pk2bdDczRmj3GSsQpdI/w400-h266/240113%20F.jpg" width="400" /></a></div>January 10, 2024<p></p>
<p>
<i>Track 14 (fragment)</i> - Curtains For You [recorded live at The High Dive,
Seattle, April 6, 2012]
</p>
<p>
in this dive bar <br />the colorful keyboard sound <br />gets lost
<br />behind the bass drums guitar mass <br />my DAT ran out <br />before the
song did
</p>
<p>
<i>Equinox</i> - Benton Roark - Re:Naissance Opera [from
<i>Music from The Apocrypha Chronicles</i>]
</p>
<p>
start with the sheen of tiny bell sounds <br />fill in below <br />conclude
<br />with the holy oomph <br />of a trombone chorale
</p>
<p><i>I Fucked Up</i> - Madonna [from <i>MDNA</i>]</p>
<p>
"nobody does it better than myself" <br />is a way of distancing ones ego
<br />from culpability
</p>
<p>it was my self <br />that oopsed <br />it wasn't me </p>
<p>
then proceeds <br />to provide excuses <br />for ones <br />self's
<br />behavior
</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoAWUEXFQmBzqEuoT5mObTkUjSofsKV1UxkG9TFjct5YYGD_i0aze7RygUG3oMXd9Cjx_n1RsL5N7NJQ9QnfKfHWLJ1P3-qEIoQBDFFAEwGXtiY5jC2VHELNX2x3vqhg1rOC6rh6RfwMn8CibmO74M5s6DAvzC-q3WTjrma5jVK4CHMgBmqahwt0flDPI/s5472/240113%20K.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoAWUEXFQmBzqEuoT5mObTkUjSofsKV1UxkG9TFjct5YYGD_i0aze7RygUG3oMXd9Cjx_n1RsL5N7NJQ9QnfKfHWLJ1P3-qEIoQBDFFAEwGXtiY5jC2VHELNX2x3vqhg1rOC6rh6RfwMn8CibmO74M5s6DAvzC-q3WTjrma5jVK4CHMgBmqahwt0flDPI/w400-h266/240113%20K.jpg" width="400" /></a></i></div><i>Just Kids</i> - Brandi Carlile [from <i>Bear Creek</i>]<p></p>
<p>
the modern pop song <br />as a genre <br />is an electrified creature
<br />stripped <br />of its production trapping <br />what's left?
</p>
<p>
is <br />the structure of the song <br />(its "song form") <br />et al
<br />so designed <br />so as <br />to maximize <br />the POW <br />of the
electrified creature <br />and thus <br />would not be able to stand <br />on
its own song feet?
</p>
<p><i>Naked</i> - Swingset Showdown [from <i>Short Bus Ruckus</i>]</p>
<p><i>Sonny Don't</i> - Tomten [from <i>Live from Sound Off 2012</i>]</p>
<p>advice in adversity <br />with country twang</p>
<p>
<i>Smutna rzeka, Op. 74 #3</i> - Frédéric Chopin - Ewa Podlés, Garrick Ohlsson
</p>
<p>
the piano part <br />keeps out of the way <br />an entirely different way
<br />for Chopin to treat the piano <br />as an instrument
</p>
<p><i>Her Eyes</i> - Charles Ives - Douglas Dickson, Kenneth Tarver</p>
<p>
for an accomplished young man to sing <br />during musical evenings <br />in
Bourgeoisieland
</p>
<p>
<i>Who Knows?</i> - Thelonious Monk [from
<i>The Complete Blue Note Recordings</i>]
</p>
<p>
lively imagination <br />in the piano <br />(when it is the)
<br />accompaniment <br />always supportive <br />never grandstanding
</p>
<p>
<i>Banks of the Royal Canal</i> - Bob Dylan [from <i>A Tree With Roots</i>]
</p>
<p>
this one <br />is more of an intended performance <br />a demo <br />or test
of concept <br />the arrangement <br />needs to be relaxed and bland <br />so
that <br />they don't distract from the singer
</p>
<p><i>Run To Me</i> - Sarah Vaughan [from <i>Feelin' Good</i>]</p>
<p>tiny little harpsichord <br />songs of the day</p>
<p><i>Can't Get Enough</i> - Bonnie Raitt [from <i>Green Light</i>]</p>
<p>
stylish accompaniment <br />but it doesn't develop much <br />keeps to its
lane
</p>
<p><i>Valentine's Day</i> - Bruce Springsteen [from <i>Tunnel of Love</i>]</p>
<p>mellow make-out montage</p>
<p>
<i>Go To Sleep</i> - Mike, Peggy, and Penny Seeger [from
<i>Animal Folk Songs for Children</i>]
</p>
<p>
go to town <br />buy a pretty little pony <br />odd verse about parental
abandonment
</p>
<p>
<i>Moths on the Porchlight</i> - Steve Layton & Improv Friday [from
<i>PPP</i>]
</p>
<p>
I wonder sometimes <br />about the sequence of inventions <br />vis a vis a
cut such as this <br />and a title such as that <br />chosen after? <br />or
part of the score? <br />grabbed from an ever-replenishing bag <br />of random
song titles?
</p>
<p>
how much credence <br />do I want to give the title <br />as somebody's
description<br />of this music?
</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipJlVMeGOROt8NZQRbwL6lP1wXJLULs6-XCXCrifSfdyL8I98CsMAzX8MYYKwSavUP5mNYVaRkbVJaZC7sw6GgJntfqNKrRlJFQjCUlQWktE3aS36TtMxSpZnIZ0G-nMFthsZ-u5E1aaIqDu-61ib4W1HkyImyaV9MwNI82-dsrLzo_J_Kw2ALnmDyWUM/s5472/240113%20L.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipJlVMeGOROt8NZQRbwL6lP1wXJLULs6-XCXCrifSfdyL8I98CsMAzX8MYYKwSavUP5mNYVaRkbVJaZC7sw6GgJntfqNKrRlJFQjCUlQWktE3aS36TtMxSpZnIZ0G-nMFthsZ-u5E1aaIqDu-61ib4W1HkyImyaV9MwNI82-dsrLzo_J_Kw2ALnmDyWUM/w400-h266/240113%20L.jpg" width="400" /></a></i></div><i>Gorgeous</i> - Taylor Swift [from <i>Reputation</i>]<p></p>
<p>her dilemma <br />goes round and round</p>
<p><i>Totem 54</i> - Sascia Pellegrini [from <i>Totem V</i>]</p>
<p>
a contending knot-node <br />of cultural identity <br />but <br />culture is
<br />at root <br />idiocentric
</p>
<p>
<i>What Have They Done To My Song</i> - Ray Charles [from
<i>A Message from The People</i>]
</p>
<p>a rhythm lesson <br />advanced</p>
<p><i>Drop Me Off In Harlem</i> - Sun Ra [from <i>Celestial Love</i>]</p>
<p>
big band arrangement <br />investigates itself <br />remains true
<br />collaborative efforts <br />not aimed at triumph
</p>
<p>
<i>Krummy Kuartet for Krummhorn Konsort </i>- John R. Phelps - Tielman Susato
Krummhorn Gesellschaft [from <i>The Glory of The Krummhorn</i>]
</p>
<p>
in multiple movements! <br />a regular concerto <br />fast slow fast
<br />send 'em out smiling
</p>
<p><i>Noccalula</i> - Waxatchee [from <i>American Weekend</i>]</p>
<p>
as though on the piano <br />in the church basement <br />self dialog <br />at
odds
</p>
<p>
<i>It Takes a Married Man to Sing a Worried Song </i>- Pharis & Jason
Romero [from <i>Roll Columbia</i>]
</p>
<p>expecting several more <br />paternity and prosperity</p>
<p><i>America Has a Problem</i> - Beyoncé [from <i>Renaissance</i>]</p>
<p>
constant strobe pulse <br />same act <br />on rotation every thirty seconds
<br />this <br />is a different part of the ride
</p>
<p><i>Precious Memories</i> - Aretha Franklin [from <i>Amazing Grace</i>]</p>
<p>
the structure of the music <br />allows room for participation <br />and
<br />instructs on its proper applications <br />acculturation <br />in
sanctioned ecstasy <br />(sanctified ecstasy)
</p>
<p>
<i>The Bridge Is Over (Bladerunners Edit)</i> - Boogie Down Productions [from
<i>Criminal Minded</i>]
</p>
<p>
cymbal and snare <br />cut the sound <br />into squares <br />of several sizes
</p>
<p><i>Cease Fire</i> - Christina Aguilera [from <i>Lotus</i>]</p>
<p>
nothing that can be said or sung <br />to be improved <br />by multiple
readings <br />piled thick upon each other
</p>
<p>
<i>You Are Here</i> - CEP [from <i>Drawing The Target Around The Arrow</i>]
</p>
<p>
these dissonances <br />resolve <br />are completed <br />their motion
<br />is perfected <br />in a throbbing <br />rhythmiverse
</p>
<p><i>Can't Help Thinking About Me</i> - David Bowie [from <i>Toy</i>]</p>
<p>oolloolala <br />step across <br />return to the top <br />of the verse</p>
<p><i>1,000,000</i> - REM [from <i>Dead Letter Office</i>]</p>
<p>adventure hero <br />in the movies</p>
<p>
<i>Dream a Little Dream of Me (Mama Cass)</i> - Prom Queen [from
<i>Covers</i>]
</p>
<p>
accompanied by ukulele <br />campfire <br />and crickets <br />and 78 rpm
static
</p>
<p><i>I Love This Cunterie</i> - Amy Denio [from <i>The Big Embrace</i>]</p>
<p>recite right along <br />with the orange-haired gizmo <br />in harmony</p>
<p>
<i>Missing Words VI- V. Witzbeharrsamkeit (Joke-Insistence) III</i> - Eric
Nathan - Re:Naissance Opera [from <i>Missing Words</i>]
</p>
<p>
let's pretend <br />to defang Beethoven <br />by humiliating a seed motive
</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSYBWGrv9SuPustZCnYF2ov8DPghqqKjtPGqb-xR1dscIpxgtBlYHmoT6N7RgG9D1PMGVrcypBTusHiHToJnv1RoIlN5xKvX-5kS6Gu7ZGjQXJC_Qg888ctBkEi-sW03b5KIRi_JOWayAwO3MRevlgqqXVKPXMGZif8mWXo5CbOMEJ_6sIBw1FDwE8fUM/s5472/240113%20G.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSYBWGrv9SuPustZCnYF2ov8DPghqqKjtPGqb-xR1dscIpxgtBlYHmoT6N7RgG9D1PMGVrcypBTusHiHToJnv1RoIlN5xKvX-5kS6Gu7ZGjQXJC_Qg888ctBkEi-sW03b5KIRi_JOWayAwO3MRevlgqqXVKPXMGZif8mWXo5CbOMEJ_6sIBw1FDwE8fUM/w400-h266/240113%20G.jpg" width="400" /></a></div>January 11, 2024<p></p>
<p>
<i>Mettle/Meddle</i> - Bruce Hamilton & Friends [from
<i>Mash Hits Vol. 1</i>]
</p>
<p>incoming <br />with assault vehicles <br />full blast destructors</p>
<p>
<i>Ramblin' Blues (Portland Town)</i> - Ben Hunter & Joe Seamons [from
<i>Roll Columbia</i>]
</p>
<p>
pay-off line <br />pulls back <br />to hey hey hey <br />takes 'em all
<br />to the ocean blue <br />Klickitat too <br />for Uncle Sam
</p>
<p>
<i>Silver Lining</i> - Star Anna [streamed from Fiddler's Inn, Seattle, March
7, 2022]
</p>
<p>
the words<br />bend <br />to fit the music <br />that was bent <br />to the
way <br />the words <br />want <br />to bend
</p>
<p><i>B-Day Song (feat. M.I.A.) </i>- Madonna [from <i>MDNA</i>]</p>
<p>birthday <br />in a happy world</p>
<p><i>Nice Shoes</i> - Swingset Showdown [from <i>Short Bus Ruckus</i>]</p>
<p>
an unlikely story <br />for bragging <br />in the locker room <br />but then I
woke up
</p>
<p>
<i>Take Off</i> - Northern Departure [from <i>Live from Sound Off 2012</i>]
</p>
<p>some banjo scrubbing <br />and mandolin flight <br />yee ha!</p>
<p><b>In Session at The Tintinabulary</b></p>
<p>January 5, 2024</p>
<p><i>Sinfonia 10 (midi)</i> - Keith Eisenbrey</p>
<iframe allow="autoplay" frameborder="no" height="20" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1716728787&color=%23ff5500&inverse=false&auto_play=false&show_user=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/keith-eisenbrey" style="color: #cccccc; text-decoration: none;" target="_blank" title="Keith Eisenbrey">Keith Eisenbrey</a> · <a href="https://soundcloud.com/keith-eisenbrey/10-sinfonia-10-240105-midi" style="color: #cccccc; text-decoration: none;" target="_blank" title="10 Sinfonia 10 240105 (midi)">10 Sinfonia 10 240105 (midi)</a></div>
<p>
I had hoped to have this one completed last year, but some better details
found their way in while late in clavichord workshop phase.
</p>
<p>January 7, 2024</p>
<p><i>Dunstan</i> - Keith Eisenbrey</p>
<iframe allow="autoplay" frameborder="no" height="20" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1716729621&color=%23ff5500&inverse=false&auto_play=false&show_user=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/keith-eisenbrey" style="color: #cccccc; text-decoration: none;" target="_blank" title="Keith Eisenbrey">Keith Eisenbrey</a> · <a href="https://soundcloud.com/keith-eisenbrey/27-dunstan-240107-240107" style="color: #cccccc; text-decoration: none;" target="_blank" title="27 Dunstan 240107 [240107]">27 Dunstan 240107 [240107]</a></div>
<p>this weeks shape-note tune arrangement</p>
<p>January 9, 2024</p>
<p><i>Sinfonia 10 (clavichord)</i> - Keith Eisenbrey</p>
<iframe allow="autoplay" frameborder="no" height="20" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1716730971&color=%23ff5500&inverse=false&auto_play=false&show_user=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/keith-eisenbrey" style="color: #cccccc; text-decoration: none;" target="_blank" title="Keith Eisenbrey">Keith Eisenbrey</a> · <a href="https://soundcloud.com/keith-eisenbrey/10-sinfonia-10-240105-240109-clavichord" style="color: #cccccc; text-decoration: none;" target="_blank" title="10 Sinfonia 10 240105 [240109] Clavichord">10 Sinfonia 10 240105 [240109] Clavichord</a></div><p><i>Ermuntre dich, mein schwacher Geist</i> - Aaron Keyt</p>
<p>January 11, 2024</p>
<p><i>Sinfonia 10 (piano)</i> - Keith Eisenbrey</p>
<iframe allow="autoplay" frameborder="no" height="20" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1716731883&color=%23ff5500&inverse=false&auto_play=false&show_user=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/keith-eisenbrey" style="color: #cccccc; text-decoration: none;" target="_blank" title="Keith Eisenbrey">Keith Eisenbrey</a> · <a href="https://soundcloud.com/keith-eisenbrey/10-sinfonia-10-240105-240111-piano" style="color: #cccccc; text-decoration: none;" target="_blank" title="10 Sinfonia 10 240105 [240111] Piano">10 Sinfonia 10 240105 [240111] Piano</a></div>
<p>January 12, 20242</p>
<p><i>Fröhlich soll mein Herze springen</i> - Aaron Keyt</p>
<p>
these pieces of Aaron's are from a 2019 collection of hymn tune arrangements.
I have been recording them on clavichord, which accentuates their Keytian
oddities.
</p>
<p style="text-align: center;"><b>Postscripts</b></p>
<p><b>Drops</b></p>
<p><i>Keith Eisenbrey 10: 2005-2007</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3039356322/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/transparent=true/" style="border: 0; height: 470px; width: 350px;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-10-2005-2007">Keith Eisenbrey 10: 2005-2007 by Keith Eisenbrey</a></iframe>
<p>
Volume 10 includes my breakthrough piece "Hockets", in which (using a bespoke
computer program) I found a way to compose in two simultaneous syntaxes:
mod-17 order-determinate and mod-12 content-determinate. Also included are
"The Abyss" a computer assisted electronic piece based on stanzas from Byron's
"Childe Harold's Pilgrimage"; a hymn setting with words by Fanny Crosby; an
etude for piano; a set of variations for string quartet (in a midi
realization); and "Pavan" for violin and piano, exquisitely played by Matthew
Weiss.
</p>
<p>Volumes 1 through 9 are available at keitheisenbrey.bandcamp.com</p>
<p>All are free for download.</p>
<p><b>Skaldmud's Doodle Gallery</b></p>
<p>listening journal doodles from 2016 and 2017</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgD3MoWTHvlz4AemQVUKN_Xz4YL_qiw9U6v-NHg8Pko73w1DrZasGznU33QtUbTxyc3MeVkywWgZ_l9aBs7wK_VErvW5WjaYVJVLrnluI0AQdL4ZoNrtjy3xJsqDTiT0oW19z-RtwYZHfa2_zurQC_v_2rv6Cn-o9vWIuhiH3_s83YtUYimqliw2lqRWUI/s2535/2023%20scan744.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1023" data-original-width="2535" height="161" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgD3MoWTHvlz4AemQVUKN_Xz4YL_qiw9U6v-NHg8Pko73w1DrZasGznU33QtUbTxyc3MeVkywWgZ_l9aBs7wK_VErvW5WjaYVJVLrnluI0AQdL4ZoNrtjy3xJsqDTiT0oW19z-RtwYZHfa2_zurQC_v_2rv6Cn-o9vWIuhiH3_s83YtUYimqliw2lqRWUI/w400-h161/2023%20scan744.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU3prqtspB0TZE-ce4TajjroHIureQhcs1zv-RpnUnRoLhDT8TvtCKTEHQry5sAOOSwRQMI7EGnjxyWKYZl_Mm5a2nBbL0PMG8pWJSY6Lchq66bXngeLq_NHAIQc23hcJ4FvpC6xMRYny5S1hlDBpppcWegj312E_U0VXDlkx1HANpxu4N1AnXjsMicrs/s930/2023%20scan885.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="846" data-original-width="930" height="364" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU3prqtspB0TZE-ce4TajjroHIureQhcs1zv-RpnUnRoLhDT8TvtCKTEHQry5sAOOSwRQMI7EGnjxyWKYZl_Mm5a2nBbL0PMG8pWJSY6Lchq66bXngeLq_NHAIQc23hcJ4FvpC6xMRYny5S1hlDBpppcWegj312E_U0VXDlkx1HANpxu4N1AnXjsMicrs/w400-h364/2023%20scan885.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQi9K9dN0yYZ_PKbm93JVcK46Z-QGDLhzlbAEdRknn2Ov-RX-wvSJoPbRMW3dObgK3jzDqevMd9EE3p6OAygL46Wkbwjp37VfOGa3gJhANy3AeO4n5z-CEjmd2ZxyLuBjUugBtm4-vcSioIwWfl7bj9mA0oPUVFj1bzrLGCaV7gGEB_C_OgJJYOI0EpoQ/s2323/2023%20scan886.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="630" data-original-width="2323" height="109" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQi9K9dN0yYZ_PKbm93JVcK46Z-QGDLhzlbAEdRknn2Ov-RX-wvSJoPbRMW3dObgK3jzDqevMd9EE3p6OAygL46Wkbwjp37VfOGa3gJhANy3AeO4n5z-CEjmd2ZxyLuBjUugBtm4-vcSioIwWfl7bj9mA0oPUVFj1bzrLGCaV7gGEB_C_OgJJYOI0EpoQ/w400-h109/2023%20scan886.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZlfiyHVDdG9YxaZNc86ISMuxelhVKv7UvxCIIRd4tK-5cx1p_ipAM1FJCkVp4eYpMWmRyZF6XB3vMFiQ6bNofKUPJWXZO259_UjWy6KCLgjiBGft_yfbeCYiUT_ih91LMpxKKWRNhUE0VGhclYGol8F8s-SUignLqsPmVh9iKTLTSKSRkcn5HRRKvjdA/s2289/2023%20scan887.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="777" data-original-width="2289" height="136" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZlfiyHVDdG9YxaZNc86ISMuxelhVKv7UvxCIIRd4tK-5cx1p_ipAM1FJCkVp4eYpMWmRyZF6XB3vMFiQ6bNofKUPJWXZO259_UjWy6KCLgjiBGft_yfbeCYiUT_ih91LMpxKKWRNhUE0VGhclYGol8F8s-SUignLqsPmVh9iKTLTSKSRkcn5HRRKvjdA/w400-h136/2023%20scan887.jpg" width="400" /></a></div><br /><p><br /></p>
Keith Eisenbreyhttp://www.blogger.com/profile/16399615075612440296noreply@blogger.com0tag:blogger.com,1999:blog-7569166511516520581.post-59104834748740038012024-01-06T12:26:00.000-08:002024-01-07T08:01:15.343-08:00Playlist<p style="text-align: center;"><b></b></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiC5gdkJluB6jJhEByTZ7TYYqL_yQG4Ov1JBy_7JJQsZWaDzi7GXo1oSgcSe5t37LJU6XVmdiQH52hx_iFxqp9x9PWvrvaU2x4fPXJkWYtQb9E-pkvXgmG0VKtDSGonDJ7zT94L8OWOxwt6N6FQ30zlKjfSGeyGYq8U4EtR22SBmkn66K8a33g_pJmNdYA/s5472/240106%20A.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiC5gdkJluB6jJhEByTZ7TYYqL_yQG4Ov1JBy_7JJQsZWaDzi7GXo1oSgcSe5t37LJU6XVmdiQH52hx_iFxqp9x9PWvrvaU2x4fPXJkWYtQb9E-pkvXgmG0VKtDSGonDJ7zT94L8OWOxwt6N6FQ30zlKjfSGeyGYq8U4EtR22SBmkn66K8a33g_pJmNdYA/w400-h266/240106%20A.jpg" width="400" /></a><b></b></div><b>Preface</b><p></p>
<p>
"With this prelude, Mr. Samuel Weller burst at once into the following wild
and beautiful legend, which, under the impression that it is not generally
known, we take the liberty of quoting. We would beg to call particular
attention to the monosyllable at the end of the second and fourth lines, which
not only enables the singer to take breath at those points, but greatly
assists the metre:-
</p>
<p>ROMANCE</p>
<p>I</p>
<p>
Bold Turpin vunce, on Hounslow Heath,<br />His bold mare Bess bestrod-er;<br />Ven
there he see'd the Bishop's coach<br />A-coming along the road-er.<br />So he
gallops close to the 'orse's legs,<br />And he claps his head vithin;<br />And
the Bishop says, 'Sure as eggs is eggs,<br />This here's the bold Turpin!'
</p>
<p>CHORUS</p>
<p>
And the Bishop says, 'Sure as eggs is eggs,<br />This here's the bold Turpin!'
</p>
<p>II</p>
<p>
Says Turpin, 'You shall eat your words,<br />With a sarce of leaden
bul-let;<br />So he puts a pistol to his mouth,<br />And he fires it down his
gul-let.<br />The coachman, he not likin' the job,<br />Set off at a full
gal-lop,<br />But Dick put a couple of balls in his nob,<br />And perwailed on
him to stop.
</p>
<p>CHORUS (sarcastically)</p>
<p>
But Dick put a couple of balls in his nob,<br />And perwailed on him to stop."
</p>
<p>Charles Dickens - from "The Posthumous Papers of The Pickwick Club"</p>
<p style="text-align: center;"><b>Texts</b></p>
<p><b>Recorded</b></p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEht4l0jd3TGqVZJaz2ojJURZyRgYvrvD2l7YkPYcpE38ZaR3yOUJY3OFFGXWi2BBXSp585DGpK8xkjFZviNmy3KZ_jULrZZ4tAdbogLhVeYVPPZag5fyHy3t99bULkUsuyqfIjTsr-nV78gyuhGwN1rv7U1bkXMXzqhOP_K5E967py8GYI-1tvslbtyF2E/s3824/240106%20B.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2776" data-original-width="3824" height="290" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEht4l0jd3TGqVZJaz2ojJURZyRgYvrvD2l7YkPYcpE38ZaR3yOUJY3OFFGXWi2BBXSp585DGpK8xkjFZviNmy3KZ_jULrZZ4tAdbogLhVeYVPPZag5fyHy3t99bULkUsuyqfIjTsr-nV78gyuhGwN1rv7U1bkXMXzqhOP_K5E967py8GYI-1tvslbtyF2E/w400-h290/240106%20B.jpg" width="400" /></a></div>December 30, 2023<p></p>
<p>
<i>Hang Your Head In Shame</i> - Ray Charles [from
<i>Modern Sounds in Country and Western Music</i>]
</p>
<p>
the choir serves as a highlighter <br />these are the important take-aways
</p>
<p><i>Ol' roison the beau</i> - Bob Dylan [from <i>A Tree With Roots</i>]</p>
<p>
private workshop tapes <br />made public <br />the sound is unbalanced
<br />harsh and muddy
</p>
<p>
<i>Organ Introduction, Opening Remark, On Our Way</i> - Aretha Franklin [from
<i>Amazing Grace</i>]
</p>
<p>
introducing the concept of a recording session <br />as <br />primarily
<br />a religious service
</p>
<p>
<i>The Silky Veils of Ardor </i>- Joni Mitchell [from
<i>Don Juan's Reckless Daughter</i>]
</p>
<p>long held syllables <br />freely remetricized lines</p>
<p><i>Blue Intensity</i> - Sun Ra [from <i>Celestial Love</i>]</p>
<p>
jazz adjacent music <br />sharing a set of conceptions <br />about form and
content <br />and their relations <br />in action <br />among a
population <br />(steady hand at the tiller) <br />presumably
<br />arising spontaneously <br />within an economy of musicians <br />playing
together <br />and listening to one another
</p>
<p><i>So Many Stars</i> - Sarah Vaughan [from <i>Brazilian Romance</i>]</p>
<p>
the sung melody <br />is a stable presence <br />in a scene of sinking
harmonies
</p>
<p>
<i>Crocodile Song</i> - Mike, Peggy, and Penny Seeger [from
<i>Animal Folk Songs for Children</i>]
</p>
<p>tall tale <br />to sing on board ship</p>
<p><i>Conversation Piece</i> - David Bowie [from <i>Heathen</i>]</p>
<p>
sung <br />as one might mumble movie lines <br />rather than <br />as one
might declaim stage lines
</p>
<p><i>Long Walk Home</i> - Bruce Springsteen [from <i>Magic</i>]</p>
<p>
to escape from <br />is to be forever tied to <br />all encompassing intensity
<br />of the big screen
</p>
<p>
<i>Le Dénouement</i> - Steve Layton and Improv Friday [from
<i>Shared Circle</i>]
</p>
<p>vigorous containment <br />compulsive fussiness</p>
<p><i>Look What You Made Me Do</i> - Taylor Swift [from <i>Reputation</i>]</p>
<p>
role playing <br />as gang boss <br />or corporate wolf <br />adding a word
<br />to a ritmato line <br />for the metrical game it makes
</p>
<p><i>Totem 46</i> - Sascia Pellegrini [from <i>Totem IV</i>]</p>
<p>
ultra quiet ultra slow <br />ramp up <br />a cartoon sound <br />slidy voice
<br />greeting to floor <br />walls <br />ceiling <br />angles
<br />dimensions <br />the pitched hum complex <br />does not represent a
space <br />but <br />we represent what it is <br />with the metaphor of space
<br />cartoon sound <br />joined by others of its kind <br />formed from the
woodwork walls <br />not open to hierarchic functionality
</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiD8DM9y-qUUjr8kWKjGRXmLwyda1OcmGDeiQ4OQjAt-VvBAUiIQTdyeBo2MGb1_UePIi7qAnmODoLJTo9IKVC-IXM5COMnbLlYc9ddVwB_hT7zZakr5ZCQOoBxC8A8i_GCXTH43MSndt3kPXuDKz5nWyxBa64VmMlBc-R20wUjGNiOaRVmG1I8GMROak/s4917/240106%20C.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2762" data-original-width="4917" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiD8DM9y-qUUjr8kWKjGRXmLwyda1OcmGDeiQ4OQjAt-VvBAUiIQTdyeBo2MGb1_UePIi7qAnmODoLJTo9IKVC-IXM5COMnbLlYc9ddVwB_hT7zZakr5ZCQOoBxC8A8i_GCXTH43MSndt3kPXuDKz5nWyxBa64VmMlBc-R20wUjGNiOaRVmG1I8GMROak/w400-h225/240106%20C.jpg" width="400" /></a></div>December 31, 2023<p></p>
<p>
<i>Rondo in D minor, Wq. 61/4</i> - Carl Phillip Emanuel Bach - Alexei Lubimov
</p>
<p>
this music has pieces <br />scraps <br />inscrutable continuity <br />the path
to outside <br />must be here somewhere
</p>
<p>
<i>Baur, was tragt in Sacke</i> - Orlando Lassus - Tielman Susato Krummhorn
Gesellschaft [from <i>The Glory of the Krummhorn</i>]
</p>
<p>
the persons of each instrument <br />are not always obscured <br />by the
intricacy of the part writing
</p>
<p><i>Epona</i> - Greg Sinibaldi [from <i>Frieze of Life</i>]</p>
<p>
racing on foot <br />huffing and puffing <br />then in a pacing game <br />of
microdistances <br />side wary <br />eyeing the other
</p>
<p><i>Bathtub</i> - Waxahatchee [from <i>American Weekend</i>]</p>
<p>confident songwriting <br />tape's in the mail</p>
<p><i>End of My Line</i> - Timberbound [from <i>Roll Columbia</i>]</p>
<p>family almanac history</p>
<p>
<i>Missing Words VI: I. Witzbeharrsamkeit (Joke-Insistence) I</i> - Eric
Nathan [from <i>Missing Words</i>]
</p>
<p>gestures <br />as puppets <br />gesturing the gestures</p>
<p><i>King of the Road</i> - REM [from <i>Dead Letter Office</i>]</p>
<p>still learning each other the song <br />take it slim</p>
<p><i>Rocket</i> - Beyoncé [from <i>Beyoncé</i>]</p>
<p>aural soft porn</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9iKxt5V0T1Yl1O-Mo0N-Kv0pAliIkG1LR6tYOxQoZpw2xKwmyHtONFvJQshmHgFOmbHsPs3RXcVVM78yRzrK7auDryfxDVvXhSmNYHmU2JI1x6BuD2x_l47_e2vUGbth7re0qWWmjOnbEiQxIIrfF5GJC50b_8ASe-7Pw_bx1rpn_cpe5qlplCYOHwvg/s3642/240106%20D.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3642" data-original-width="3642" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9iKxt5V0T1Yl1O-Mo0N-Kv0pAliIkG1LR6tYOxQoZpw2xKwmyHtONFvJQshmHgFOmbHsPs3RXcVVM78yRzrK7auDryfxDVvXhSmNYHmU2JI1x6BuD2x_l47_e2vUGbth7re0qWWmjOnbEiQxIIrfF5GJC50b_8ASe-7Pw_bx1rpn_cpe5qlplCYOHwvg/w400-h400/240106%20D.jpg" width="400" /></a></div>January 1, 2024<p></p>
<p>
<i>They Ain't Coming Back</i> - Gaytheist [from <i>Let's Jam Again Soon</i>]
</p>
<p>
even a song such as this <br />has qualities that can be noted and considered
<br />the frustration on my end <br />might be analyzed <br />as a reaction
<br />to those<br />musical qualities it possesses <br />being used
<br />primarily <br />as a means of social posturing <br />an ID badge
<br />and not <br />primarily <br />as a thought about music <br />from within
its presented rhetoric
</p>
<p><i>Track 11</i> - Star Anna [streamed from Fiddler's Inn, March 7, 2022]</p>
<p>
so <br />is this different <br />and if so <br />how? <br />for one thing
<br />what she sounds like she's doing <br />is not posturing <br />but
<br />something more like channeling of a persona <br />from within the self
<br />that is <br />the singer<br />singing the song being sung
<br />disappears <br />becomes utterly transparent <br />the music <br />is a
music <br />not a costume
</p>
<p>
<i>Bard Improvisors' Ensemble (side 2)</i> - Tildy Bayar, Andrea Brandfon, Dan
Sedia [November 4, 1987]
</p>
<p>
difficulty in the hearing of a dyad <br />(as an experience) <br />for example
<br />with earmind <br />trained and practiced <br />in any of many Western
diatonic dialects <br />we hear <br />what it is <br />its name <br />(a
third) <br />before we hear that it has properties <br />local to its
immediate context <br />hence <br />the Viennese School's <br />attempted
eschewal of tonal structures <br />or even of tonally smelling structures
<br />the tactic failed <br />not because of any defect in atonality <br />as
such <br />but <br />because the culturally received earmind <br />was
<br />at that time <br />far more deeply <br />and intuitively
<br />understanding <br />of that pitch landscape <br />so that <br />it could
not even hear a thing as music <br />if it weren't heard <br />as diatonically
contextualized <br />Rahn's "tonal filters" <br />or "12-tone filters"
<br />but<br />what are they filters of?
</p>
<p>
nice piano solo <br />is that Tildy? <br />I don't know Andrea <br />and it
doesn't read like something Dan would do <br />but I would readily believe
Tildy
</p>
<p>
some sound may be leaking in from another music room <br />rockin' out bass
<br />but pianissimo <br />far under even the piano's pianissimo <br />the
piano persisted past the bass <br />but now it's back
</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5znv0YSmPEIgruNGyZQwbfpBfX8TR-hTYAR08c_BqLknbFrasrQjfJm0tVSLH-jtq7mHoghOEYJeB8j6lYsEe6F6yNQX38bacFT_7bsVkL5wKIpxxVHwdNt9U27GZQIy8qdyykEK7oB-Qv_EtMiu7iHAOB_8U-kL5Tge-kfs6aOZ2T5uP55Hp_CYIrN0/s5472/240106%20H.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5znv0YSmPEIgruNGyZQwbfpBfX8TR-hTYAR08c_BqLknbFrasrQjfJm0tVSLH-jtq7mHoghOEYJeB8j6lYsEe6F6yNQX38bacFT_7bsVkL5wKIpxxVHwdNt9U27GZQIy8qdyykEK7oB-Qv_EtMiu7iHAOB_8U-kL5Tge-kfs6aOZ2T5uP55Hp_CYIrN0/w400-h266/240106%20H.jpg" width="400" /></a><i></i></div><i>Sing for Me </i>- Christina Aguilera [from <i>Lotus</i>]<p></p>
<p>
I have no reason to think she doesn't mean it sincerely <br />she sings
<br />because she has to <br />fair enough <br />its the commercial sheen of
it that bugs me
</p>
<p><i>Pupil</i> - CEP [from <i>Drawing The Target Around The Arrow</i>]</p>
<p>
the compositional identity <br />of any of these cuts <br />is just not what
they're about
</p>
<p>
<i>Symbiosis</i> - Jessica McCann, Benton Roark - Re:Naissance Opera [from
<i>Music from The Apocrypha Chronicles</i>]
</p>
<p>
improvisatory sound design <br />for an aesthetic construction <br />or
installation <br />designed space with designed sound
</p>
<p><i>321 North</i> - Cowgirls, The </p>
<p>this song actually happens right there <br />naked </p>
<p>long jam <br />longberry jam <br />lognberry jam</p>
<p><i>Donald the Lump</i> - Amy Denio [from <i>The Big Embrace</i>]</p>
<p>no playing games</p>
<p><i>Floating Out To Sea</i> - Tom Swafford [from <i>Rough Spaces</i>]</p>
<p>
we observe the tone painter <br />painting a painter <br />painting
<br />vigorous marks <br />made truly particular <br />even peculiarly so
</p>
<p><i>November Rain (Guns N' Roses)</i> - Prom Queen [from <i>Covers</i>]</p>
<p>mixed message <br />or not <br />it's complicated</p>
<p><i>I Used To Spend So Much Time Alone</i> - Chastity Belt</p>
<p>
a special pre-order gift <br />shuffled into my listening pieces <br />after
the entire album <br />of which it was a pre-order special <br />time is
porous <br />how one's listening habits <br />transform the artifacts
<br />displaced in memory time
</p>
<p>
<i>Solitude (Trio)</i> - Steve Peters [from <i>With My Back to the Wall</i>]
</p>
<p>resisting mildly <br />function and cyclicity</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFtcqbYVJD-ci0xJ5s1NTxNt7ITM0Oa9jD3SrvuNMnhondg7xiErmbHn7oISvkkYLStD4-L_9ucgiWm18RBKX8xzlUjKL1MMSXO_mIkSQKGwyqM07jPKrZ4caW6pJ9DjSisE3xman_GToaApz6YXIMf3WvuU661jaIakTvRMzjyflEmUyceFnOQaakpAo/s5472/240106%20E.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFtcqbYVJD-ci0xJ5s1NTxNt7ITM0Oa9jD3SrvuNMnhondg7xiErmbHn7oISvkkYLStD4-L_9ucgiWm18RBKX8xzlUjKL1MMSXO_mIkSQKGwyqM07jPKrZ4caW6pJ9DjSisE3xman_GToaApz6YXIMf3WvuU661jaIakTvRMzjyflEmUyceFnOQaakpAo/w400-h266/240106%20E.jpg" width="400" /></a></div>January 2, 2024<p></p>
<p><i>Waltzing Walrus</i> - Black Plastic Clouds [from <i>Electroplate</i>]</p>
<p>
a band is music by committee <br />one hopes consensus reigns <br />but
difficult to maintain
</p>
<p><i>Alien Invasion</i> - Klondike Kate</p>
<p>schematic decision tree <br />limited moves available</p>
<p>
<i>Frost (Mirjam Tally)</i> - Halla Steinunn Stefánsdóttir [from
<i>Strengur</i>]
</p>
<p>
slow <br />deep <br />heart throb <br />breath of the mountain giant
<br />clad in sheets of rock <br />the moon pulls <br />the sun pulls
</p>
<p>the giant pulls back</p>
<p>
<i>Drunk Driver</i> - Camarones Orquestra Guitarristica [from
<i>Live in Natal</i>]
</p>
<p>thrill ride with <br />no thanks</p>
<p><i>Serial Diatonicism for Harp</i> - Carson Farley</p>
<p>
takes some odd turns <br />what would this sound like <br />on clavichord
<br />(thanks for the score Carson!! <br />I'll be getting back to you on
this)
</p>
<p><i>Pie</i> - Tyrannosaurus Grace [from <i>Much More Than a Story</i>]</p>
<p>
to whom is this pro-Darwin diatribe addressed? <br />is it expected <br />that
the recipient (intended) <br />will actually hear it? <br />what ends up
coming through <br />is less the thrust of the argument <br />than the
resentment of the speaker
</p>
<p>
<i>Cut 12</i> - Nancy Cole Silverman - Adam Varner [from
<i>A Much Married Woman</i>]
</p>
<p>
final payment made <br />success <br />entourage and black cigars <br />the
place to go <br />equal counterparts <br />4500 of what <br />absent <br />a
real husband <br />the end <br />with music and credits <br />coincidental
</p>
<p><i>Fria</i> - Bruce Hamilton and Friends [from <i>Mash Hits Vol. 1</i>]</p>
<p>
aesthetics of connection noises <br />playing with plugs <br />the guitar and
reeds soldier on <br />episode <br />not piece
</p>
<p><i>Go </i>- St. Paul de Vence [from <i>St. Paul de Vence</i>]</p>
<p>advice and instruction <br />for those about to launch </p>
<p>long b'bye</p>
<p>
<i>Pissin' Up a Rope</i> - Freddie & The Screamers [from
<i>I Ain't Crazy</i>]
</p>
<p>bad boys <br />at the bad boy bar <br />we speak bad boy here</p>
<p><i>The Chart</i> - Low Hums [from <i>Low Hums</i>]</p>
<p>about the groove <br />not about being a song</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQfFViQeJ9EhFgLS_Hth2tFf5gsekRxTkks2Byz9yjy9yt5Y5LGk0c0EBg1LNTNOEzSNnkZxwEJsGphDkRJIsf0M63eG3ijjVRK6zML_ZAwzxtrU2KCxyaZzJKajd8FxqwvPIWGnsk9dTuoXUh4SdYH0GRhE3th6kjjQ-fMNgIcYA9QAsimkgOmQqvhec/s3333/240106%20I.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2592" data-original-width="3333" height="311" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQfFViQeJ9EhFgLS_Hth2tFf5gsekRxTkks2Byz9yjy9yt5Y5LGk0c0EBg1LNTNOEzSNnkZxwEJsGphDkRJIsf0M63eG3ijjVRK6zML_ZAwzxtrU2KCxyaZzJKajd8FxqwvPIWGnsk9dTuoXUh4SdYH0GRhE3th6kjjQ-fMNgIcYA9QAsimkgOmQqvhec/w400-h311/240106%20I.jpg" width="400" /></a><i></i></div><i>Track 11</i> - Curtains For You [recorded live at The High Dive, Seattle,
April 6, 2012]
<p></p>
<p>suburban jungle drums <br />segue to a new song <br />no break really</p>
<p><i>Heart's Content</i> - Brandi Carlile [from <i>Bear Creek</i>]</p>
<p>circling around a signified <br />only hinted at</p>
<p><i>Kill 'Em With Kindness</i> - Swearin' [from <i>Swearin'</i>]</p>
<p>the sound is more kill 'em than kindness</p>
<p><i>Surfactants</i> - Triptet [from <i>Figure in the Carpet</i>]</p>
<p>
on wavelengths <br />groove episode <br />evershifting <br />our clockwork
rooms
</p>
<p><i>Godzilla</i> - Swingset Showdown [from <i>Short Bus Ruckus</i>]</p>
<p>
the monster monster <br />the humanity <br />oh the horror <br />plot synopsis
<br />executive summary <br />another battle piece <br />tone battle
</p>
<p>
<i>That's Just The Way It Went Down </i>- Karin Blaine [from
<i>Modern Day Living</i>]
</p>
<p>
dealing with wreckage <br />Godzilla and what not <br />all the ways <br />we
talk to ourselves
</p>
<p>
<i>Responsible Too Long</i> - Shannon Stephens [from <i>Pull It Together</i>]
</p>
<p>
simple strum <br />reducing the melody <br />to its notes <br />misses
<br />what just happened
</p>
<p><i>Masterpiece</i> - Madonna [from <i>MDNA</i>]</p>
<p>
missed a chance <br />to rhyme Lisa <br />of Mona Lisa <br />with see ya
<br />as in <br />came to see ya
</p>
<p>
the art history professor <br />gushy luv song <br />gets stuck at the end
<br />for the dancers to exhaust themselves
</p>
<p>
<i>Seattle Heatwave</i> - Song Sparrow Research [from
<i>Song Sparrow Research</i>]
</p>
<p>all stops <br />big warm lazy</p>
<p>
<i>Let It Out (feat. Neal Kosály-Meyer)</i> - Andrew James Robison [recorded
live at The Rat and Raven, Seattle, August 9, 2012]
</p>
<p>doing <br />doing <br />the song</p>
<p>
<i>What Dust We Dote On</i> - Land of Pines [from
<i>Live from Sound Off 2012</i>]
</p>
<p>
negotiating cooperation <br />in the adolescent middle of everything
over-mattering
</p>
<p>do competitions help <br />whom help they</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEMd-SFLspWtxUe9MdvuEPOZAihUdjQ99ZBe6UV6ZdV3L3_dln91ZAw9S67r1h_JJcoERupNkh1dBjbeGKK0K3kUFvtLiBuZS9Ff-WbFijff4qrLbf6IOUYcJe2Eco_aRTFfAk1fK2ifAUsi5qwL33YodrHA3PDkdixAwJOh-COTHt1nasDMYg8LJSdX8/s5472/240106%20J.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEMd-SFLspWtxUe9MdvuEPOZAihUdjQ99ZBe6UV6ZdV3L3_dln91ZAw9S67r1h_JJcoERupNkh1dBjbeGKK0K3kUFvtLiBuZS9Ff-WbFijff4qrLbf6IOUYcJe2Eco_aRTFfAk1fK2ifAUsi5qwL33YodrHA3PDkdixAwJOh-COTHt1nasDMYg8LJSdX8/w400-h266/240106%20J.jpg" width="400" /></a></i></div><i>J. K. Randall Interview Part 5</i> - Scott Burnham, J. K. Randall<p></p>
<p>
how sparse <br />the page is <br />if this sound <br />it ends <br />because
you ran out of intervals <br />grabbing pitchspace <br />in peculiar manners
<br />listening <br />is the key operation <br />the grandfather <br />of
let's take it easy <br />everything that was <br />now resonates <br />as
<br />that <br />a great place for burble <br />nothin' goin' for sostenuto
<br />principals to run around <br />with pithy cogency <br />the present
situation <br />has been molded <br />that comes a cropper <br />we get it
<br />it knows we get it <br />in on it <br />the same kind of kicks <br />it
does <br />the very opposite of razzle dazzle <br />ethical and political and
fundamental <br />the aesthetic dodge <br />use the new <br />to recolor the
old <br />ridiculously impoverished
</p>
<p>
<i>Freya Fantasie in F-sharp minor, Wq. 67</i> - Carl Phillip Emanuel Bach -
Alexei Lubimov
</p>
<p>
a tale of woe <br />when suddenly <br />the scamp <br />comes scamping in
<br />tells of scamp's own woes <br />the tale of woe <br />hath cast a pall
<br />o'er all
</p>
<p>
<i>Étude pour le pianoforte d'apres les caprices de Paganini in B-flat Major,
op. 3 #4</i>
- Robert Schumann - Florian Uhlig
</p>
<p>
taking the plain <br />and playing tricks upon it <br />adventure on every
hand
</p>
<p>
<i>Mazurka in C-sharp minor, Op. 50 #3 </i>- Frédéric Chopin - Garrick Ohlsson
</p>
<p>
dreamily it falls <br />from the ceiling <br />faery motes <br />sparkle
<br />but oh <br />the handsome captain <br />such dash and dance <br />and
that's how it's done kids
</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipdZU62R8MYr7L73EOrT8gQ7RfzUjW0QQJ-tmP-qNkVoiXodEkmI7f38N0p99sORbsI6GZ_fa4gR_IDlJzfZ3oL7AYSJIvSC9h7689sZlZba7mwYxg5B6L9V7vohRtwYiYohlO359_FXjzFs5XmfYfyJt2o60yt_vYz_swXNb86p-RojbFRsI9QnF90d4/s5472/240106%20F.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipdZU62R8MYr7L73EOrT8gQ7RfzUjW0QQJ-tmP-qNkVoiXodEkmI7f38N0p99sORbsI6GZ_fa4gR_IDlJzfZ3oL7AYSJIvSC9h7689sZlZba7mwYxg5B6L9V7vohRtwYiYohlO359_FXjzFs5XmfYfyJt2o60yt_vYz_swXNb86p-RojbFRsI9QnF90d4/w400-h266/240106%20F.jpg" width="400" /></a></div>January 3, 2024<p></p>
<p><i>An Old Flame</i> - Charles Ives - William Sharp, Steven Blier</p>
<p>so proper</p>
<p>
<i>Introspection</i> - Thelonious Monk [from
<i>The Complete Blue Note Recordings</i>]
</p>
<p>close on each side</p>
<p><i>Please Mr. Brown </i>- Sarah Vaughan [a <i>Rescued Record</i>]</p>
<p>anything <br />but what Mr. Murray taught <br />a novelty song</p>
<p>
<i>I'm Guilty of Loving You</i> - Bob Dylan [from <i>A Tree with Roots</i>]
</p>
<p>
<i>Heaven Help Us All</i> - Ray Charles [from
<i>A Message from The People</i>]
</p>
<p>
it must have been the times <br />that brought so many <br />to need to say
something <br />but <br />message covers up <br />whatever the music might be
<br />by hijacking sympathy
</p>
<p><i>Sophisticated Lady</i> - Sun Ra [from <i>Celestial Love</i>]</p>
<p>
nice sounding electric keyboard of some kind [?] <br />it morphs <br />a song
<br />is a thing to be playing <br />not a piece <br />in the 19th Century
European sense
</p>
<p><i>When You're Alone</i> - Bruce Springsteen [from <i>Tunnel of Love</i>]</p>
<p>gets stuck in the chorus</p>
<p>
<i>Go On, Ol' Gater</i> - Mike, Peggy, and Penny Seeger [from
<i>Animal Folk Songs for Children</i>]
</p>
<p>knots all over his tail <br />put him in a muddy hole</p>
<p><i>Panic in Detroit (Outtake)</i> - David Bowie [from <i>Heathen</i>]</p>
<p>each line has a person <br />with a life to tell it</p>
<p>
<i>Dreaming of Seahorses </i>- Steve Layton and Improv Fridays [from
<i>PPP</i>]
</p>
<p>
close up to the tapping drum <br />rubbing drum <br />the electronica
<br />permeates at a distance <br />liquidly <br />an acoustic instrument
<br />contends <br />with the act of playing it <br />in a way <br />that
electronica <br />steps back from
</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHqxwOlkVfz1o2xtm3JZ59K46-uGtCJSjHPh4EmyVEcUNsLm6ylMoajdgFW9oTbJEGzLucZjkeIjgR5dSc_X_OCWPHZ86piL35BYy5LJyOFuyHdVQj2tWuYlQiV0O7_h2a-0r2-1ZW2YaomTgjKSaasB8flu95LcGoplcoCAwyzcgeMRb8YiHJ_-JncTU/s5472/240106%20K.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHqxwOlkVfz1o2xtm3JZ59K46-uGtCJSjHPh4EmyVEcUNsLm6ylMoajdgFW9oTbJEGzLucZjkeIjgR5dSc_X_OCWPHZ86piL35BYy5LJyOFuyHdVQj2tWuYlQiV0O7_h2a-0r2-1ZW2YaomTgjKSaasB8flu95LcGoplcoCAwyzcgeMRb8YiHJ_-JncTU/w400-h266/240106%20K.jpg" width="400" /></a></i></div><i>Never Been Wrong (Demo)</i> - Waxahatchee [from <i>Out In The Storm</i>]
<p></p>
<p>
this version of the album <br />includes a complete set of demos <br />one for
each song
</p>
<p><i>Totem 53</i> - Sascia Pellegrini [from <i>Totem V</i>]</p>
<p>
delicate work <br />down in the tens of microns <br />solders must be precise
<br />energy must be vented away <br />from its release
</p>
<p>
:|| a thing anyone is doing allows in and out privileges <br />:|| doing so if
that thing anyone is doing is a piece will result in significant loss of
whatness <br />:|| from that standpoint maximizing personal profit is
paramount <br />:|| one must attend to it all to consume it at all
</p>
<p>
<i>Aretha's Introduction/Wholly Holy</i> - Aretha Franklin [from
<i>Amazing Grace</i>]
</p>
<p>arrival <br />at a certain frenzy of orchestration</p>
<p>
<i>Scott LeRock Megamix</i> - Boogie Down Productions [from
<i>Criminal Minded</i>]
</p>
<p>
80s Headroom nerves <br />to the max <br />we are taken on a verbal joy ride
</p>
<p><i>Melodia na Neblina</i> - Greg Sinibaldi [from <i>Frieze of Life</i>]</p>
<p>
the voices lead in a slippery way <br />not quite graspable <br />not quite
parallel <br />not quite <br />as in <br />parallel you say <br />is that what
that was <br />seemed weird to me <br />but if parallel you say it is
<br />then parallel it is <br />are lines lines here? <br />does the math hold
across the metaphor? <br />these pitches may be immatchable
</p>
<p><i>Stay Stay Stay </i>- Taylor Swift [from <i>Red</i>]</p>
<p>
I'm a power blonde <br />deal with it <br />vocals mirror <br />in compatible
<br />but distinct persons
</p>
<p>
<i>Columbia's Waters</i> - Caitlin Belem Romtvedt, David Romtvedt, and Joe
Seamons [from <i>Roll Columbia</i>]
</p>
<p>
right good worker <br />sell the experience <br />to be shared
<br />prosperity around the corner <br />the old American Dream <br />[The
Grand Co-] <br />UL Double E
</p>
<p><i>Suéltame</i> - Christina Aguilera [from <i>Aguilera</i>]</p>
<p>
the image they seem to be going for <br />is that <br />each word <br />or
syllable <br />of the vocal <br />is individually massaged <br />by the
engineers <br />making the singer disappear <br />or better <br />to appear to
be <br />no more real <br />than the AI replacement <br />soon to come
</p>
<p>
<i>Cantus</i> - Keith Eisenbrey - Tielman Susato Krummhorn Gesellschaft [from
<i>The Glory of the Krummhorn</i>]
</p>
<p>
I had forgotten that the Gesellschaft <br />included this piece of mine on
their compilation
</p>
<p>not all that far off <br />rhetorically <br />from my flute trio </p>
<p>the clicking sticks provide a place to stand in observation </p>
<p>more of those immatchable pitches <br />for unutterable chords</p>
<p><i>Mine (feat. Drake)</i> - Beyoncé [from <i>Beyoncé</i>]</p>
<p>
taking multiple runs at a phrase <br />each character segregated separable
</p>
<p><i>Consumer: 2080</i> - Gaytheist from <i>Let's Jam Again Soon</i>]</p>
<p>
more he-man he-man dystopian utopianism <br />it's an action movie <br />as a
rock radio opera <br />scripted by 10 year-old boys
</p>
<p>
<i>Missing Words VI: II. Betttrug (Bed-Deception)</i> - Eric Nathan [from
<i>Missing Words</i>]
</p>
<p>thinking about pitch matching <br />and its tolerances</p>
<p><i>Wolves, Lower</i> - REM [from <i>Dead Letter Office</i>]</p>
<p>
man of few words <br />and inscrutable sequence <br />the occasional brief
light show
</p>
<p><i>Open Your Heart (Madonna)</i> - Prom Queen [from <i>Covers</i>]</p>
<p>a plea</p>
<p>
<i>Window Seat</i> - CEP [from <i>Drawing The Target Around The Arrow</i>]
</p>
<p>
if being a music <br />is what this is doing <br />it is not wanting to budge
from bed of a morning
</p>
<p>built in <br />acoustic bias <br />to the pitch field's shape</p>
<p>
<i>Track 12</i> - Star Anna [streamed from Fiddler's Inn, Seattle, March 7,
2022]
</p>
<p>
watch in full <br />over and over again <br />side B <br />where it's a little
shorter <br />in the panic room
</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTdeJI7q-nJ_4gaGnywP6wDKzklWvKtZzt8RiCayB6OXzfI5fJJgh1xQKtRleO1RbhWbpfpsiFlMzM59SWHv3dCk9VZg8XmDE0w4ei4uRUtOKk0Jvr1onJtQFbBKO1OX8xjniCqIDJ_X7Ikenj26oycXEWxcjFmqHnBMsojK4zIHjkLYgHvkHcSbkTXDA/s1903/240106%20G.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1903" data-original-width="1614" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTdeJI7q-nJ_4gaGnywP6wDKzklWvKtZzt8RiCayB6OXzfI5fJJgh1xQKtRleO1RbhWbpfpsiFlMzM59SWHv3dCk9VZg8XmDE0w4ei4uRUtOKk0Jvr1onJtQFbBKO1OX8xjniCqIDJ_X7Ikenj26oycXEWxcjFmqHnBMsojK4zIHjkLYgHvkHcSbkTXDA/w339-h400/240106%20G.jpg" width="339" /></a></div>January 4, 2024<p></p>
<p>
<i>Bard Improvisors' Ensemble (side A)</i> - Tildy Bayar, Hillary Butler, Dan
Sedia [November 25, 1987]
</p>
<p>
we all take some time <br />to accustom ourselves <br />to the space <br />see
where we fit <br />how much room we have <br />the room itself <br />insists
on its openness <br />assertion fails to fester here <br />conversation is
earned <br />playful poking game <br />allowing nothing to happen <br />opens
potential <br />guiro goes big <br />gentle souled sounds <br />feels
like eavesdropping
</p>
<p><i>Feral Fleas</i> - Amy Denio [from <i>The Big Embrace</i>]</p>
<p>don't make us freeze <br />or turn us into bees</p>
<p><i>Space Invasion</i> - Black Plastic Clouds [from <i>Electroplate</i>]</p>
<p>sung in hero voice <br />everything builds in fours</p>
<p>
<i>Sporocarp</i> - Jessica McCann, Benton Roark - Re:Naissance Opera [from
<i>Music from The Apocrypha Chronicles</i>]
</p>
<p>
cool sounds <br />for a nature show <br />best without narration of any kind
</p>
<p><i>Qua</i> - Bruce Hamilton and Friends [from <i>Mash Hits Vol. 1</i>]</p>
<p>
machines to manufacture sounds <br />via signal manipulation <br />machines
have limits <br />all physical objects have limits <br />or they wouldn't be
objects <br />capable only of making those sounds <br />of which the hardware
is capable <br />in only those ways <br />that programmers can devise
<br />given the language in use
</p>
<p><i>Bastard</i> - Klondike Kate</p>
<p>
putting on a beat <br />like a costume <br />it is a show <br />relies on
being instantly understandable
</p>
<p><i>The Surrogate</i> - Tom Swafford</p>
<p>
this performance is stageless <br />immediate <br />with us <br />here
<br />now <br />this would be quite the cadenza for the Brahms
</p>
<p>
<i>Your Butt's Too Big</i> - Freddie & The Screamers [from
<i>I Ain't Crazy</i>]
</p>
<p>every song <br />is a misbehavior <br />a standup act</p>
<p>
<i>Track 12</i> - Curtains For You [recorded live at The High Dive, Seattle,
April 6, 2012]
</p>
<p>one is being narrated at</p>
<p>
<i>Bronx</i> - Camarones Orquestra Guitarristica [from <i>Live in Natal</i>]
</p>
<p>
the fourth bar <br />prepares the cycle <br />back to the recurring now
<br />of the cycled group <br />it's the same day <br />as always <br />it
just keeps coming around and around
</p>
<p><i>Glass</i> - Tyrannosaurus Grace [from <i>Much More Than a Story</i>]</p>
<p>
that cheap trick <br />of starting quiet <br />to tempt the listener <br />to
turn up the volume <br />then WHAM in your face
</p>
<p><i>Modern Day Living</i> - Karen Blaine [from <i>Modern Day Living</i>]</p>
<p>from a family <br />common to mine <br />of preachers and musicians </p>
<p>consumption will always be conspicuous</p>
<p><i>Falling Free</i> - Madonna [from <i>MDNA</i>]</p>
<p>
piano's sound filtered <br />what changes exactly <br />it is scoured clean
<br />of person <br />phonied up <br />sounds readied for AI understanding
<br />warmed <br />softened <br />tortured
</p>
<p><i>Rise Again </i>- Brandi Carlile [from <i>Bear Creek</i>]</p>
<p>clinging to the stringband outfit <br />nothing wrong with fringe</p>
<p>
<i>Wherever Time Takes Us</i> - Song Sparrow Research [from
<i>Song Sparrow Research</i>]
</p>
<p>doing a Western Lou Reed</p>
<p><i>Empty Head</i> - Swearin' [from <i>Swearin'</i>]</p>
<p>
each stanza <br />adds to the telling <br />of multiple tales
<br />differentiated by line number <br />the last line <br />is
existentialler than the others
</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHPMIpCS5hu-0NaEDNjd6EDuGMyqywzV_y4FAOVj2nEe3aNQNFjVjyeZpmr78v0_OhFCd6uxh3jJySXTWvMySetVSM3_Fs-CsQFfmB9ztf1fUgiE0aywAnTRtUkWyBfA24-aYgLYRB-IhEBB6QpRGpXH_TLfW8CyHXs9vGos3U8rh0mTNBGvtKcQKsilY/s1867/240106%20L.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1407" data-original-width="1867" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHPMIpCS5hu-0NaEDNjd6EDuGMyqywzV_y4FAOVj2nEe3aNQNFjVjyeZpmr78v0_OhFCd6uxh3jJySXTWvMySetVSM3_Fs-CsQFfmB9ztf1fUgiE0aywAnTRtUkWyBfA24-aYgLYRB-IhEBB6QpRGpXH_TLfW8CyHXs9vGos3U8rh0mTNBGvtKcQKsilY/w400-h301/240106%20L.jpg" width="400" /></a></i></div><i>Gender Ambiguous Generic Love Song</i> - Swingset Showdown [from
<i>Short Bus Ruckus</i>]
<p></p>
<p>turns into a regular showcase <br />even a guitar solo</p>
<p>
<i>It Hurts Quite a Bit</i> - The Oh Wells [from
<i>Live from Sound Off 2012</i>]
</p>
<p>
I hadn't thought about this album in years <br />and I am just now realizing
<br />that most if not all of these <br />are 'covers' <br />the songwriting
is a bit too consistently sophisticated <br />for even a well-funded
high-school's talent show <br />(but <br />I may be misremembering that these
were limited to high-school bands) <br />(but <br />my point holds anyway)
</p>
<p><i>J. K. Randall Interview Part 6</i> - Scott Burnham, J. K. Randall</p>
<p>
a compensatory strategy <br />for having perfect pitch <br />the shape that
pieces find themselves in <br />spliced them all together <br />and filtered
out the metronome <br />what got me into computer in the first place <br />get
the rhythms right <br />Beethoven <br />is the supreme arbiter <br />not just
for all things musical <br />but for all things period <br />a helluvan
anthology <br />the punchline floats <br />exegesis <br />construction of
cycles <br />within 12 <br />the +/-(1 and 5) cycles <br />an analogy
<br />not ambitious <br />quite refreshingly distinct <br />with similar
structural effect <br />culturally delivered pre-composition <br />a
composition that reeks of its own principals <br />things that cropped up
<br />you can sort of imagine <br />what about octaves <br />they crop up
<br />oddly <br />everything is flickering <br />odd <br />and interesting
<br />but boy <br />is it grounded <br />a vivid magnetism <br />the deep left
over <br />building up <br />step by step <br />catch up <br />with it
<br />just cuddly old Jim <br />Hello Here I Am
</p>
<p><b>In Session at The Tintinabulary</b></p>
<p>December 31, 2023</p>
<p><i>Mendon</i> - Keith Eisenbrey</p>
<iframe allow="autoplay" frameborder="no" height="20" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1710277569&color=%23ff5500&inverse=false&auto_play=false&show_user=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/keith-eisenbrey" style="color: #cccccc; text-decoration: none;" target="_blank" title="Keith Eisenbrey">Keith Eisenbrey</a> · <a href="https://soundcloud.com/keith-eisenbrey/26-mendon-231231-231231" style="color: #cccccc; text-decoration: none;" target="_blank" title="26 Mendon 231231 [231231]">26 Mendon 231231 [231231]</a></div>
<p>
That's 26 of these for 2023. <br />Still in the middle of Long Meter with long
to go
</p>
<p>January 1, 2024</p>
<p>
<i>Banned Rehearsal 1091</i> - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt
</p>
<iframe allow="autoplay" frameborder="no" height="20" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1710278952&color=%23ff5500&inverse=false&auto_play=false&show_user=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/keith-eisenbrey" style="color: #cccccc; text-decoration: none;" target="_blank" title="Keith Eisenbrey">Keith Eisenbrey</a> · <a href="https://soundcloud.com/keith-eisenbrey/banned-rehearsal-1091-240101" style="color: #cccccc; text-decoration: none;" target="_blank" title="Banned Rehearsal 1091 240101">Banned Rehearsal 1091 240101</a></div>
<p>Aaron brought over a new toy! A Stylophone!</p>
<p>January 2, 2024</p>
<p><i>And Let This Feeble Body Fail</i> - Keith Eisenbrey</p>
<iframe allow="autoplay" frameborder="no" height="20" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1710282912&color=%23ff5500&inverse=false&auto_play=false&show_user=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/keith-eisenbrey" style="color: #cccccc; text-decoration: none;" target="_blank" title="Keith Eisenbrey">Keith Eisenbrey</a> · <a href="https://soundcloud.com/keith-eisenbrey/and-let-this-feeble-body-fail-231116-240102" style="color: #cccccc; text-decoration: none;" target="_blank" title="And Let This Feeble Body Fail 231116 [240102]">And Let This Feeble Body Fail 231116 [240102]</a></div>
<p>
I wrote this hymn a month or so ago <br />setting Charles Wesley's 4 stanza of
6 lines each <br />in the manner of a lullaby
</p>
<p>January 5, 2024</p>
<p><i>Gottes Sohn ist kommen</i> - Aaron Keyt</p>
<p><i>Dein König kommt in niedern Hüllen</i> - Aaron Keyt</p>
<p>
I managed a better performance of the first one, and after some trouble even
got the second one too
</p>
<p>
to my ear these could sound fabulous on a fretted string instrument
<br />Theorbo anyone?
</p>
<p style="text-align: center;"><b>Postscripts</b></p>
<p><b>Drops</b></p>
<p>Keith Eisenbrey 9: 2002-2005</p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=163772318/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-9-2002-2005">Keith Eisenbrey 9: 2002-2005 by Keith Eisenbrey</a></iframe>
<p>
This volume finds me exploring both mod-17 and mod-12 environments (sometimes
simultaneously).
</p>
<p>Volumes 1 through 8 are available at <a href="http://keitheisenbrey.bandcamp.com">keitheisenbrey.bandcamp.com</a></p>
<p>All are free for download.</p>
<p><b>Skaldmud's Doodle Gallery</b></p>
<p>listening journal doodles from 2016</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0Ycg0G9s7HoAEVXhgxHH27eRt_7kOFtYXVzbDXawUbk0GLdrlZQ0GWM2HuRBZej00gZFbcNECqu6pTUfl4geEO57glXlpVdZlzFw8uWj6r6Cm60VA1BIt3WYx1v3VAvzL284-UuuMwUMdKheQMh1NzPs_fkrAqkhThirp9dNyrMd2NOz1lhOoNJZbZCE/s1132/2023%20scan740.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="324" data-original-width="1132" height="115" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0Ycg0G9s7HoAEVXhgxHH27eRt_7kOFtYXVzbDXawUbk0GLdrlZQ0GWM2HuRBZej00gZFbcNECqu6pTUfl4geEO57glXlpVdZlzFw8uWj6r6Cm60VA1BIt3WYx1v3VAvzL284-UuuMwUMdKheQMh1NzPs_fkrAqkhThirp9dNyrMd2NOz1lhOoNJZbZCE/w400-h115/2023%20scan740.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNYr9y2chMEkky_Eeob4osZKohUDLb-RlGpQLlwUvJceJmCkZl7y1vS7gSqJNYnpdj-BWiuYas0lKZTGSfvkfcOXr_wqSH6phQu1C8sIFsvVezpJn2fGH-r2k11tcxf5jNit1q3tZznaigX4okwBcX82nnRwIJiFJftVXRibZvZ02xqug5Uyb8a5Na3VY/s2658/2023%20scan741.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1954" data-original-width="2658" height="294" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNYr9y2chMEkky_Eeob4osZKohUDLb-RlGpQLlwUvJceJmCkZl7y1vS7gSqJNYnpdj-BWiuYas0lKZTGSfvkfcOXr_wqSH6phQu1C8sIFsvVezpJn2fGH-r2k11tcxf5jNit1q3tZznaigX4okwBcX82nnRwIJiFJftVXRibZvZ02xqug5Uyb8a5Na3VY/w400-h294/2023%20scan741.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwwTidbIxl-IQhb884xrGS4kllb9k_z_9eFniX3r4ou8ku6pEgjuuFpo7aAJfc1rNDe0Kei0SK_nvR8fCeO2SqOz3s9i-uGk3TVobmx7MqXxveSDafPN7zr5FsUm7Wj5QKSxDsgzdyF_W3UCZWtV5ci7an06MBiyVSZHpHzGBxlCkC0s54lgr0boMqXqg/s2707/2023%20scan742.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2707" data-original-width="2072" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwwTidbIxl-IQhb884xrGS4kllb9k_z_9eFniX3r4ou8ku6pEgjuuFpo7aAJfc1rNDe0Kei0SK_nvR8fCeO2SqOz3s9i-uGk3TVobmx7MqXxveSDafPN7zr5FsUm7Wj5QKSxDsgzdyF_W3UCZWtV5ci7an06MBiyVSZHpHzGBxlCkC0s54lgr0boMqXqg/w306-h400/2023%20scan742.jpg" width="306" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC374EdK3zB81ZTmf9bCNOQtCaDVqQnKVRwkJtnjbkEdVh5wscD_tArFAkeaC0O0g4w1ZEfAFQvq1nVY_ySvPDS0lvnfy6QCaiYPrDuQa4mcAUeVY2DUP5uvg7ZUTTgM9FLyluMiaveq2WPH2W59m0G6f3Fz3pWpSA6NDDMn4dB0tQhu4iqHXG7JkNd5w/s2436/2023%20scan743.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1220" data-original-width="2436" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC374EdK3zB81ZTmf9bCNOQtCaDVqQnKVRwkJtnjbkEdVh5wscD_tArFAkeaC0O0g4w1ZEfAFQvq1nVY_ySvPDS0lvnfy6QCaiYPrDuQa4mcAUeVY2DUP5uvg7ZUTTgM9FLyluMiaveq2WPH2W59m0G6f3Fz3pWpSA6NDDMn4dB0tQhu4iqHXG7JkNd5w/w400-h200/2023%20scan743.jpg" width="400" /></a></div><br /><p><br /></p>
Keith Eisenbreyhttp://www.blogger.com/profile/16399615075612440296noreply@blogger.com0tag:blogger.com,1999:blog-7569166511516520581.post-39284929993152749852023-12-30T11:23:00.000-08:002023-12-31T07:34:01.326-08:00Playlist<p style="text-align: center;"><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1tYE7vkICU_D23idYi4gPRlVFZvjk05r76T74jrtl6iAfHXBDfzem_vqWcaitu6mSX7J3TaNS_jMS6S2GYH7Xn4LR2upjFtenS1JgN45H8BcTv_NqeqZRyJ_jmm-E73EtNjFRlwxxuV4xRtdqejQDOP-DsFxWHr6dFjHCfnADzrvUl75oWyW6KespFTA/s5472/231229%20A.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1tYE7vkICU_D23idYi4gPRlVFZvjk05r76T74jrtl6iAfHXBDfzem_vqWcaitu6mSX7J3TaNS_jMS6S2GYH7Xn4LR2upjFtenS1JgN45H8BcTv_NqeqZRyJ_jmm-E73EtNjFRlwxxuV4xRtdqejQDOP-DsFxWHr6dFjHCfnADzrvUl75oWyW6KespFTA/w400-h266/231229%20A.jpg" width="400" /></a></b></div><b>Preface</b><p></p>
<p>
"The word uses up the thought for the moment; then stores it away.<br />It
gets my mind off the hook. No stories apply.<br />It converts to magic by
releasing its intrinsic ability to change what it touches."
</p>
<p>George Quasha - from "Not Even Rabbits Go Down This Hole"</p>
<p style="text-align: center;"><b>Texts</b></p>
<p><b>Recorded</b></p>
<p>December 23, 2023</p>
<p>
<i>Étude pour le pianoforte d'apres les caprices de Paganini in E Major, Op. 3
#2</i>
- Robert Schumann - Florian Uhlig
</p>
<p>
not just a transcription <br />but <br />a mimesis <br />of the sense <br />of
the voice <br />of the person <br />of the original <br />(that would be
Paganini <br />or his stage persona)
</p>
<p>
<i>Mazurka in C-sharp minor, Op. 30 #4</i> - Frédéric Chopin - Garrick Ohlsson
</p>
<p>
through the curtains <br />into the inner chambers <br />draped in satins
<br />and <br />to the center of the ball <br />glittering lights <br />all
<br />an airy wish <br />alas
</p>
<p><i>Harpalus</i> - Charles Ives - Erid Trudle, Lielle Berman</p>
<p>ascends the steps to frantic <br />twice</p>
<p>
<i>April In Paris</i> - Thelonious Monk [from
<i>The Complete Blue Note Recordings</i>]
</p>
<p>every misstep <br />rewarded <br />glorified</p>
<p>
<i>Rip It Up (take 6)</i> - Little Richard [from <i>Here's Little Richard</i>]
</p>
<p>
||:X It Up:|| <br />direct repeat <br />of balls-on performance singing
<br />a question of vocal technique
</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIn6gAfgLZpDOo6jKu8caucYEYnaEeglLjzeL32lztnVCZ0-0j9vH8aEaKl-7H61RHFtHgyKsK2o_GSHaG8sKxR91TvJqSB7TAsEWv7UhDgb3-sfQBwPxmuxcEUDGtKyJ_vd4uNppHCKQO9hxLG_i3578N7luLR_PR7cDHoROICMwUse5AExnyWSK04l8/s5472/231229%20B.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIn6gAfgLZpDOo6jKu8caucYEYnaEeglLjzeL32lztnVCZ0-0j9vH8aEaKl-7H61RHFtHgyKsK2o_GSHaG8sKxR91TvJqSB7TAsEWv7UhDgb3-sfQBwPxmuxcEUDGtKyJ_vd4uNppHCKQO9hxLG_i3578N7luLR_PR7cDHoROICMwUse5AExnyWSK04l8/w400-h266/231229%20B.jpg" width="400" /></a></div>December 26, 2023<p></p>
<p>
<i>Teardrops in My Heart</i> - Ray Charles [from
<i>Modern Sounds In Country and Western Music</i>]
</p>
<p>
some notes in this melody <br />take their time to ripen <br />others pass
between them <br />setting them up <br />get an assist
</p>
<p><i>Under Control</i> - Bob Dylan [from <i>A Tree with Roots</i>]</p>
<p>
doing while in seclusion <br />workshop <br />brought to light <br />by the
rabidity of some fans <br />and the cupidity of others
</p>
<p>
<i>Deep In The Night</i> - Sarah Vaughan [from
<i>Sarah Vaughan with Michel LeGrand</i>]
</p>
<p>epistle to a distant lover</p>
<p>
<i>Off Night Backstreet</i> - Joni MItchell [from
<i>Don Juan's Reckless Daughter</i>]
</p>
<p>subject matter <br />a first person life</p>
<p>
<i>Interstellarism (Interstellar Low Ways)</i> - Sun Ra [from
<i>Celestial Love</i>]
</p>
<p>living within a song <br />to learn its ways</p>
<p>
<i>Oh, Oh, The Sunshine</i> - Mike, Peggy, and Penny Seeger [from
<i>American Folk Songs for Children</i>]
</p>
<p>behind which <br />Sally has a red dress <br />buttoned behind</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-1xo24dVD5A5GbSq2OQ7r1Hwqi9nhOQUInLoSYwKn9AvVobFLgI0X69cCtih-yL3CqJEaRqRU3XrC04CinpSdbOdJ0O9KmmbB3q-ceIElC63YDDoeA6ajRTL9zApfnqYz4Ycqu1MSvKb7HPvvkcjy1IbdkzPAgup-wNz2X4IySawTlEnhrhlTefNk-T0/s5472/231229%20E.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-1xo24dVD5A5GbSq2OQ7r1Hwqi9nhOQUInLoSYwKn9AvVobFLgI0X69cCtih-yL3CqJEaRqRU3XrC04CinpSdbOdJ0O9KmmbB3q-ceIElC63YDDoeA6ajRTL9zApfnqYz4Ycqu1MSvKb7HPvvkcjy1IbdkzPAgup-wNz2X4IySawTlEnhrhlTefNk-T0/w400-h266/231229%20E.jpg" width="400" /></a></i></div><i>Can I Forgive Him (Demo)</i> - Paul Simon [from
<i>Songs from The Capeman</i>]
<p></p>
<p>song person <br />is in conflict and pain</p>
<p><i>The Rising</i> - Bruce Springsteen [from <i>The Rising</i>]</p>
<p>
lines descend <br />at their ends <br />following a typical speech pattern
<br />to obscure the singingness of it all
</p>
<p>anthems arrive at full volume <br />on schedule</p>
<p>
<i>Storsjön Sommaren</i> - Steve Layton & Improv Friday [from
<i>Summer Mirages</i>]
</p>
<p>
reedy noodles <br />fade back <br />for reverby keys <br />a lake <br />with
birds and bugs <br />merges into evening <br />no disturbances expected
</p>
<p><i>Elm</i> - Greg Sinibaldi [from <i>Ariel</i>]</p>
<p>
guitar speaks the words <br />from which the ewi* sounds emerge <br />from the
wings <br />enter the drums <br />into the solemn dance <br />we come to rest
<br />here
</p>
<p>*electronic wind instrument</p>
<p>
<i>Quartet 2</i> - Sascia Pellegrini [from
<i>7 Percussion Impossibilities</i>]
</p>
<p>moves as a body moves itself <br />polypedal <br />wary <br />confident</p>
<p><i>Bang Bang</i> - David Bowie [from <i>Never Let Me Down</i>]</p>
<p>fragments of americana sludge <br />we can dance to our worst urges</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhytcCfDBxGWWN9miqD-y4H6GchDu2bKk7G4edRyam9u2QzfQxbPwaCQC2_pmGCVcGaFTMHjQynsyVjX_A-1UtLX_8rmf7q-m4_cSW6YnA1JDWsejcErWjQdOyreMgl0niAIbzjJADcn1lOCPz3Inq4mxwXZV3vo8YOL8uNWm2beCMUPlv3H5JiiGlT6sY/s5472/231229%20F.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhytcCfDBxGWWN9miqD-y4H6GchDu2bKk7G4edRyam9u2QzfQxbPwaCQC2_pmGCVcGaFTMHjQynsyVjX_A-1UtLX_8rmf7q-m4_cSW6YnA1JDWsejcErWjQdOyreMgl0niAIbzjJADcn1lOCPz3Inq4mxwXZV3vo8YOL8uNWm2beCMUPlv3H5JiiGlT6sY/w400-h266/231229%20F.jpg" width="400" /></a></i></div><i>We Are Never Ever Getting Back Together</i> - Taylor Swift [from
<i>Red</i>]
<p></p>
<p>ferocious</p>
<p>
never ever together <br />the sounds of v <br />and of th <br />are sung
<br />so as <br />to sound <br />nearly identical <br />a true rhyme
</p>
<p>
<i>Guys on the Grand Coulee Dam</i> - Fire Company [from <i>Roll Columbia</i>]
</p>
<p>
the muscle men <br />who made the dam <br />with names and all
<br />recruiting song
</p>
<p><i>La Reina</i> - Christian Aguilera [from <i>Aguilera</i>]</p>
<p>whatever it's about <br />is quite involving <br />Latino gospel?</p>
<p><i>A. r. "Hommage à Ravel"</i> - Iannis Xenakis - Ahi Takahashi</p>
<p>
homage <br />worship <br />obsequies <br />fealties <br />pledges <br />oaths
<br />kneeling <br />with sweeping <br />cockadery
</p>
<p><i>Cactus (Pixies)</i> - Prom Queen [from <i>Covers</i>]</p>
<p>on a cement floor <br />(wishin')</p>
<p><i>But In Dreams</i> - Lures [from <i>There's No Pressure</i>]</p>
<p>
is the larger rhythm <br />built from the smaller <br />or <br />does it
enclose them?
</p>
<p>
each stanza <br />with the same weary lassitude <br />but <br />even such
<br />can rise to their own hero height
</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlFP_zk9fIEDPzZ8aCivg105EXvMh6yOVLcNsDN-D1nH-1hsnJFBcHi21yqrIIqkGP-J4EU2LlMaQ_kMwqgubbC29WOM1Bl7aap4wVkNxxoRrpww5Ld_CkjkS_2ryklOUHEDaOfwGyTW22hY8snCNrVVQ-h56SO2_2g5LBGr-iQeTaSO_Ye6qjeyPEyZI/s3486/231229%20G.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3486" data-original-width="3162" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlFP_zk9fIEDPzZ8aCivg105EXvMh6yOVLcNsDN-D1nH-1hsnJFBcHi21yqrIIqkGP-J4EU2LlMaQ_kMwqgubbC29WOM1Bl7aap4wVkNxxoRrpww5Ld_CkjkS_2ryklOUHEDaOfwGyTW22hY8snCNrVVQ-h56SO2_2g5LBGr-iQeTaSO_Ye6qjeyPEyZI/w363-h400/231229%20G.jpg" width="363" /></a></i></div><i>Missing Words V: III. Watzmannwahn (Watzmann-Delusion)</i> - Eric Nathan
[from <i>Missing Words</i>]
<p></p>
<p>
from all corners <br />the past importunes <br />coopts attention <br />all
intent <br />to reach <br />the tippy top toptimost toppiness
</p>
<p>
<i>Audite Nova</i> - Orlando Lassus - Tielman Susato Krummhorn Gesellschaft
[from <i>The Glory of the Krummhorn</i>]
</p>
<p>
announcement music <br />ceremonially useful <br />it is <br />a thorough
introduction <br />a full briefing
</p>
<p>
<i>Gleeful Surrender</i> - Black Plastic Clouds [from <i>Electroplate</i>]
</p>
<p>
long instrumental opening <br />:(will there be a vocal?): <br />yes
<br />there will
</p>
<p>
a small poem <br />for the profundity of its frame <br />so righteous <br />an
accent <br />an advertisement
</p>
<p><i>Fade</i> - Waxahatchee [from <i>Out In The Storm</i>]</p>
<p>naked came we into this world <br />came here with nothin'</p>
<p>
<i>You're So Civilized</i> - Star Anna [streamed from Fiddler's Inn, March 7,
2022]
</p>
<p>
strumming energy <br />muted or deflected <br />into the song singing energy
</p>
<p><i>Elementary</i> - Boogie Down Productions [from <i>Criminal Minded</i>]</p>
<p>all about the dance <br />placement of statements <br />regimented</p>
<p>
<i>Pra Inglés Ver</i> - Camarones Orquestra Guitarristica [from
<i>Live in Natal</i>]
</p>
<p>
the larger blocks <br />are formed of the smaller <br />and <br />do not
enclose them
</p>
<p>
down to a point <br />or several <br />depending on the level(s) of
abstraction in play
</p>
<p>
<i>I'm Fine</i> - Chastity Belt [from
<i>I Used to Spend So Much Time Alone</i>]
</p>
<p>
the guitar sound <br />has elements <br />that are at odds with each other
<br />a narrow tension field
</p>
<p><i>Thique</i> - Beyoncé [from <i>Renaissance</i>]</p>
<p>full length production <br />complete with costume changes</p>
<p><i>Walter's Theme</i> - REM [from <i>Dead Letter Office</i>]</p>
<p>if not his theme <br />then <br />at least <br />his fashion statement</p>
<p>
<i>Glass Strings</i> - Tyrannosaurus Grace [from
<i>Much More Than a Story</i>]
</p>
<p>
trying out production chops <br />try to get into the biz <br />one way or
another
</p>
<p><i>Queen of England</i> - Gaytheist [from <i>Let's Jam Again Soon</i>]</p>
<p>
rhetoric strictly limited <br />loud but limited <br />like a stiff puppet
<br />with only a few poses
</p>
<p>
<i>Sensing</i> - Jessica McCann - Re:Naissance Opera [from
<i>Music from The Apocrypha Chronicles</i>]
</p>
<p>
we've all returned to the open hearth <br />passing pipes <br />grooving all
together
</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgGzuv32Uom30lRiPD442Fat9oGeev1FsEtDtfqbytSa_EdbrQvaKcM3hyphenhyphenuNNY4Tq8_bk73QxwQWFrOo9GvOs5A4jZmBudfz2mxsSkwgXDU7Ly_VMzQhMn8GnVzV24jcTS8v0eQi6qCPjzI0gFxFsTveAqma1K7Oj6seh0PoomTs_b_HogV5bSTUI3P3Y/s5472/231229%20C.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgGzuv32Uom30lRiPD442Fat9oGeev1FsEtDtfqbytSa_EdbrQvaKcM3hyphenhyphenuNNY4Tq8_bk73QxwQWFrOo9GvOs5A4jZmBudfz2mxsSkwgXDU7Ly_VMzQhMn8GnVzV24jcTS8v0eQi6qCPjzI0gFxFsTveAqma1K7Oj6seh0PoomTs_b_HogV5bSTUI3P3Y/w400-h266/231229%20C.jpg" width="400" /></a></div>December 27, 2023<p></p>
<p><i>Adore</i> - Prince [from <i>Sign O' The Times</i>]</p>
<p>
salutations <br />oh baby <br />payload <br />elucidation <br />including
erasures <br />and betweens of lines <br />spilling off the edges
</p>
<p>
the duet <br />between the voice of the epistle <br />and the inner voice
<br />of the epistle's recipient <br />while reading
</p>
<p>slow dance tempo <br />for those tender moments</p>
<p>
<i>Emu Lunaire</i> - Bruce Hamilton and Friends [from
<i>Mash Hits Volume 1</i>]
</p>
<p>robotic manufacture <br />of intricate parts </p>
<p>next!</p>
<p>
<i>It Can Wait</i> - CEP [from <i>Drawing The Target Around The Arrow</i>]
</p>
<p>respiration cycles</p>
<p>
<i>Abstract Emotions</i> - Steve Peters [from
<i>With My Back To The World</i>]
</p>
<p>:an emotion that has been named:</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgS_lS2rKGBP1TqNWFdUuWORf3JUtoUtj91xWKtNPlU5YywmZtWnhCZ83yX5884JNlH-HjyxHAZBLjdwEqb_odA8VBXThnA_XN6qFQft37n2NnT66ll5rlBQu86UdpfIy-MlMbYWLqTWVy1cITK6VOxOF_duIlDqfj4ma1kpM9UJn7Z8Ishk7iGoPVpNBY/s5472/231229%20H.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgS_lS2rKGBP1TqNWFdUuWORf3JUtoUtj91xWKtNPlU5YywmZtWnhCZ83yX5884JNlH-HjyxHAZBLjdwEqb_odA8VBXThnA_XN6qFQft37n2NnT66ll5rlBQu86UdpfIy-MlMbYWLqTWVy1cITK6VOxOF_duIlDqfj4ma1kpM9UJn7Z8Ishk7iGoPVpNBY/w400-h266/231229%20H.jpg" width="400" /></a></i></div><i>Bard Improvisors' Ensemble (side 1)</i> - Tildy Bayar, Andrea Branfon, Dan
Sedia
<p></p>
<p>being here <br />is sufficient <br />society of friends </p>
<p>
when music arrives<br />it is set in a sufficient society of friends
</p>
<p>saying is sufficient <br />packaging is extraneous </p>
<p>::||::</p>
<p>
recording is the translation <br />into an object <br />of an abstraction
<br />of an experience
</p>
<p>
lingering resonance <br />throbs as it recedes <br />the bell clock
<br />tolled twelve
</p>
<p><i>Crashing</i> - Swearin' [from <i>Swearin'</i>]</p>
<p>the groove has hollow gaps in it </p>
<p><i>Still Life With Sylvia</i> - Tomten [from <i>Cremation Songs</i>]</p>
<p>pop piano style <br />too much arm <br />too stiff in the wrist</p>
<p>
<i>Strengur (Mirjum Tally)</i> - Halla Steinunn Stefánsdóttir [from
<i>Strengur</i>]
</p>
<p>continuing our slow descent <br />miles below</p>
<p>
<i>Cherbourg to New York Harbor</i> - St. Paul de Vence [from
<i>St. Paul de Vence</i>]
</p>
<p>squeezebox hymn</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjI5FEdemKPMxPsCozXBF4olUv-Xf0zaSXiFMwXvcq6-JbmLilewRUO6HVNIdHX2-efOTkPWc-wMAKrkvClMZ74yRnZCTvrEQPdnROki8vwG2MhrCDpGuaruW_n9Q4vtK9iYKXE814LURxNE_6BUw0h4yFCw824e68GnrWPge_bV1GfhFfiE2qsVjnus4w/s5472/231229%20I.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjI5FEdemKPMxPsCozXBF4olUv-Xf0zaSXiFMwXvcq6-JbmLilewRUO6HVNIdHX2-efOTkPWc-wMAKrkvClMZ74yRnZCTvrEQPdnROki8vwG2MhrCDpGuaruW_n9Q4vtK9iYKXE814LURxNE_6BUw0h4yFCw824e68GnrWPge_bV1GfhFfiE2qsVjnus4w/w400-h266/231229%20I.jpg" width="400" /></a></i></div><i>Mayflower</i> - Amy Denio [from <i>The Big Embrace</i>]<p></p>
<p>
not a lick of luck <br />paints her scene <br />from the character out
<br />eyeing your turkey hands <br />with the legs
</p>
<p><i>Safe-ish</i> - Tom Swafford [from <i>Rough Spaces</i>]</p>
<p>
as though the notion of tonic <br />had died <br />and left us suddenly bereft
of a goal
</p>
<p>
|-| <br />goal gaol <br />gal lag <br />log gol <br />lago loga <br />alg glo
<br />lo go <br />al ag <br />aa ao<br />oo ll<br />lg gl<br />|-|
</p>
<p>
<i>It's A Jungle Out There</i> - Freddie and The Screamers [from
<i>I Ain't Crazy</i>]
</p>
<p>
and now a word from our strutting performative Machismo-lander <br />parading
fear
</p>
<p><i>Cherrybomb</i> - Klondike Kate</p>
<p>
recorded without special attention to the vocal <br />but <br />likes to hear
the guitar <br />part dominant mix <br />learn to play guitar <br />with
Klondike Kate
</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVwK0ykoC0J5zEGX5GdFnFRId3yISaPfQeU9hu-q_OPBQKFW_3dGHaRuXOACV6KLJ23l1DZRXwe-OjnYp0ZnozkR0BIgcSw3xUlwpkZqaGGcWdZbA3l9K_1P62RuANBS9vbiYyF1cSwDlv2Dh9bBVZms9ERFkFW9Pxo6PJa8YfoHQKfvszCUhQ12o2Slc/s5472/231229%20J.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVwK0ykoC0J5zEGX5GdFnFRId3yISaPfQeU9hu-q_OPBQKFW_3dGHaRuXOACV6KLJ23l1DZRXwe-OjnYp0ZnozkR0BIgcSw3xUlwpkZqaGGcWdZbA3l9K_1P62RuANBS9vbiYyF1cSwDlv2Dh9bBVZms9ERFkFW9Pxo6PJa8YfoHQKfvszCUhQ12o2Slc/w400-h266/231229%20J.jpg" width="400" /></a></i></div><i>I'm Gonna Lose Again</i> - Robin Holcomb<p></p>
<p>furnitureless <br />emptied <br />swept clean</p>
<p><i>Midnight Roads</i> - Low Hums [from <i>Low Hums</i>]</p>
<p>
counting off <br />to establish common tempo <br />imprecise <br />by the
widths of the words <br />one two three four <br />incipit <br />center
<br />or accent <br />whereeverin the word <br />that is <br />and yet
<br />it kinda works
</p>
<p><i>Mittelalter Music Aus Seben</i> - Carson Farley</p>
<p>presented as a groovy automaton</p>
<p>
<i>Track 10</i> - The Tailenders [recorded live at The High Dive, Seattle,
April 6, 2012]
</p>
<p>
making use of musical means <br />to act out a part <br />a ritual action
<br />a superstition <br />activity engaged without supporting evidence
<br />we were the Tailenders
</p>
<p>
<i>What Did I Ever Come Here For</i> - Brandi Carlile [from <i>Bear Creek</i>]
</p>
<p>tied to a place <br />without so willing it to be</p>
<p>
<i>Fine Lookin' Woman</i> - Tyrannosaurus Grace [recorded live at The Rat and
Raven, Seattle, August 9, 2012]
</p>
<p>I'm gonna I'm gonna I'm gonna (?)<br />on this one <br />but duzzee? </p>
<p>complains a lot </p>
<p>introducing the band as a chorus</p>
<p>
<i></i></p><div style="text-align: left;"><i><i><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhikE_y2vjnhlHIv1gYPIYvdJ-tIPBqhv94NNsVzyotbuB4UJnDvfTjdoz6jlQBzmvTm4mt_So3EhP2piq8pViAl7Jgk6B8s1rpzbGafiOg8zwZF9aXrv37YPmT7soPpv_qnvk2FnSKatJLI17aLZKoyO9XTpOX9t5pQrOL__1WDhefuWIt18278PZTM3Q/s5472/231229%20K.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhikE_y2vjnhlHIv1gYPIYvdJ-tIPBqhv94NNsVzyotbuB4UJnDvfTjdoz6jlQBzmvTm4mt_So3EhP2piq8pViAl7Jgk6B8s1rpzbGafiOg8zwZF9aXrv37YPmT7soPpv_qnvk2FnSKatJLI17aLZKoyO9XTpOX9t5pQrOL__1WDhefuWIt18278PZTM3Q/w400-h266/231229%20K.jpg" width="400" /></a></div>The Myth of an Ordinary Man</i> - Triptet [from
<i>Figure In The Carpet</i>]</i></div><p></p>
<p>
that individual <br />who is most like most people <br />in most possible
ways? <br />(not this) <br />(then) <br />the man of the ordinary myth
</p>
<p>I wanna be a mythematician <br />ultra-intuitionist mythematics</p>
<p><i>Circus</i> - Swingset Showdown [from <i>Short Bus Ruckus</i>]</p>
<p>you've been recruited <br />to the deviant realm</p>
<p>
<i>Track 11</i> - Nancy Cole Silverman - Adam Verner [from
<i>A Much Married Woman</i>]
</p>
<p>spats and top hat <br />a morning wedding </p>
<p>Billy Bligh <br />Mr. and Mrs. </p>
<p>
still no Billy <br />how could she explain <br />bigamied again <br />the
cashbox, empty
</p>
<p>
sit down <br />a sheer genius <br />gotta business to run <br />horse out of
the barn
</p>
<p>
<i>Track 10</i> - Curtains For You [recorded live at The High Dive, Seattle,
April 6, 2012]
</p>
<p>cabaret bump <br />Weimar grind <br />small stage <br />dingy curtains</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpH7y3x7l3jkkH8cce8XP9kPw5-bhkvaTBBFO9wld3P1zSeEWpwXl6-z0rvsro7O0ybVb-WJFbu4YVYXaQAg85HeQFpKDcKrlvBbNw0FcfR1M-sW694Oq1k0Gkzcfai2r_h6wOkoOd3VkiVx-X8m5HrDvKYcLaUPNWFxGZsMPuCTa3prOI3fcFODWZkd8/s3763/231229%20D.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2749" data-original-width="3763" height="293" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpH7y3x7l3jkkH8cce8XP9kPw5-bhkvaTBBFO9wld3P1zSeEWpwXl6-z0rvsro7O0ybVb-WJFbu4YVYXaQAg85HeQFpKDcKrlvBbNw0FcfR1M-sW694Oq1k0Gkzcfai2r_h6wOkoOd3VkiVx-X8m5HrDvKYcLaUPNWFxGZsMPuCTa3prOI3fcFODWZkd8/w400-h293/231229%20D.jpg" width="400" /></a></div>December 28, 2023<p></p>
<p><i>The Deepest End</i> - Karin Blaine [from <i>Modern Day Living</i>]</p>
<p>
anxiety <br />concerning being found out <br />and imprisoned
<br />romanticized resistance memory <br />rhapsody on glory days <br />Spain
in the 30s
</p>
<p>
<i>Buddy Up to the Bully</i> - Shannon Stephens [from <i>Pull It Together</i>]
</p>
<p>gang loyalty <br />suspicions <br />shaky ground</p>
<p><i>Love Spent</i> - Madonna [from <i>MDNA</i>]</p>
<p>banjo and cheesy synth <br />match made in heaven</p>
<p>
<i>I'd Like To Take This Chance</i> - Rachel Harrington [from
<i>Makin' Our House a Honkytonk</i>]
</p>
<p>for the hokey word play </p>
<p>title (say it) <br />to say <br />(title) say it </p>
<p><i>Infinite Psychobabble</i> - Yuni in Taxco [from <i>Prizes</i>]</p>
<p>
experimenting with guitar sound <br />soups and sauces <br />slowly
accumulating accretion <br />putting it together <br />for later disassembly
and reconfiguration
</p>
<p>feeder streams <br />to meander streams <br />alluviating the landscape</p>
<p>
<i>New Ragtime Revolution</i> - Song Sparrow Research [from
<i>Song Sparrow Research</i>]
</p>
<p>
an advertisement for the titular events <br />season tickets $20 <br />there's
a whole slide show that goes with it
</p>
<p>
<i>One More Time</i> - The Ancients [recorded live at The Rat and Raven,
Seattle, August 9, 2012]
</p>
<p>
everybody jumps aboard the boat <br />at the same time <br />all must do it
right <br />or they all must take a swim
</p>
<p>
<i>The Bike Riders</i> - Andrew James Robison [recorded live at The Rat and
Raven, Seattle, August 9, 2012]
</p>
<p>call of the wild side <br />for chafers at bits <br />and other sad tales</p>
<p>
<i>Bipasha </i>- Salim Merchant, Sulaiman Merchant [from
<i>Bollygood Volume 1</i>]
</p>
<p>
producer: <br />commercially employed composer <br />they come with their
equipment <br />become their own tool box
</p>
<p><i>Lockdown</i> - Fit For Hounds [from <i>Live from Soundoff 2012</i>]</p>
<p>
introducing himself <br />to the stage audience <br />we get the whole hero
event tale
</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZH0jKnhayvc0Jfu82iIsUyNgDyLY2jmqBFMNHoTPhqBY5SJUcN0Cj9_B4cximm3YnF1Onto5y5DKHxem7D5hyphenhyphen_zkT4zAFXraM3bbx4MwBAX0XsCfcupdYSt0Vw_4z9qUMxQYp2ftmj3ejSkUvp-XYDzcYUZGvXtMud9KYPIH4i0ppviJCQO7g2_skwUg/s5472/231229%20L.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZH0jKnhayvc0Jfu82iIsUyNgDyLY2jmqBFMNHoTPhqBY5SJUcN0Cj9_B4cximm3YnF1Onto5y5DKHxem7D5hyphenhyphen_zkT4zAFXraM3bbx4MwBAX0XsCfcupdYSt0Vw_4z9qUMxQYp2ftmj3ejSkUvp-XYDzcYUZGvXtMud9KYPIH4i0ppviJCQO7g2_skwUg/w400-h266/231229%20L.jpg" width="400" /></a></i></div><i>Soundscroll 7</i> - S. Eric Scribner - Bruce Greeley, Natalie Mai Hall,
Mike Sentkewitz [recorded live at The Chapel Performance Space, Good Shepherd
Center, Seattle, May 24, 2012]
<p></p>
<p>
encreaturing the surface of a space <br />music built <br />as a story board
is built <br />new scene <br />sans plot <br />(ne'er a thought) <br />cold
scene <br />iron stillness <br />intense listening required <br />to ignite
the score <br />to make its music <br />all in <br />for the duration
</p>
<p><i>Peterman-Demo</i> - Peterman</p>
<p>voice riding on the guitars <br />drums deep in the back</p>
<p><i>J. K. Randall Interview Part 4</i> - Scott Burnham, J. K. Randall</p>
<p>
self-consciously antagonistic <br />peculiar C Majorish <br />tonal music
still breathes <br />that did not be any means exhaust the landscape of the
12-tone of propaganda <br />able to talk in an even-handed manner <br />from a
civilized standpoint <br />fighting notion <br />conforming to laws of the
universe <br />reach out there <br />for nature and convention
<br />generates each interval <br />with unique multiplicity <br />the primary
features <br />within a set of instructions <br />the payoff of them <br />as
basic composition <br />and pre-composition <br />elegant and indirect
<br />in calling myself a pitch freak <br />fatal <br />it's mickymousing
<br />and we hate that
</p>
<p><i>This Christmas Is For Us</i> - Shelby Earl</p>
<p>put all the work aside now</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7ohIDQV0M3t3i1NKt41MqGjq8VfFplvF4MQC7JoVkUvmFLzRgThc2v9g5SFD4kNun5vijab9hbaSxGZund3UF3WoIpUAduGpBWNRKhKCrGq7HLWosWuA1CNrUaXSvNvcRP9W6vVwhOsqN6U-L6sRMna1mM8yx2iJzM5N-DJH8-Yy-WYKBpuK9PdRtbMM/s1403/231229%20M.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="925" data-original-width="1403" height="264" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7ohIDQV0M3t3i1NKt41MqGjq8VfFplvF4MQC7JoVkUvmFLzRgThc2v9g5SFD4kNun5vijab9hbaSxGZund3UF3WoIpUAduGpBWNRKhKCrGq7HLWosWuA1CNrUaXSvNvcRP9W6vVwhOsqN6U-L6sRMna1mM8yx2iJzM5N-DJH8-Yy-WYKBpuK9PdRtbMM/w400-h264/231229%20M.jpg" width="400" /></a></i></div><i>Jim Meyer Memorial Service</i><p></p>
<p>
there was a fault copying to digital at some point <br />sound badly
compromised <br />we recite scripture <br />as though it were an authority
<br />not to be questioned <br />the interdenominational <br />and
internondenominational <br />translation battles
</p>
<p><i>Whatever I Can Get</i> - Red Ribbon</p>
<p>mood mongering</p>
<p>
<i>Étude pour le pianoforte d'apres les caprices de Paganini in C Major, Op. 3
#3</i>
- Robert Schumann - Florian Uhlig
</p>
<p>
addressing a pitch <br />then readdressing it intently <br />packing punches
<br />a multiply readdressed collection field <br />formed while you hear it
</p>
<p><i>Mazurka in A-flat Major</i> - Frédéric Chopin - Garrick Ohlsson</p>
<p>
tiny knots of tonal thinking <br />figures of ambiguous meter <br />hesitation
above three (of three) <br />for finessed cadences
</p>
<p>the prize</p>
<p><i>The Innate</i> - Charles Ives - William Sharp, Steven Blier</p>
<p>
this tonality rarely looks outside <br />though it sometimes looks into church
</p>
<p>
<i>Off Minor</i> - Thelonious Monk [from
<i>The Complete Blue Note Recordings</i>]
</p>
<p>
an ordered set of figures <br />strolling the sidewalks <br />of a hopping
scene <br />greeting all neighbors <br />passing by <br />no tying things up
<br />with any bows
</p>
<p>
<i>She's Got It (Alternative Version)</i> - Little Richard [from
<i>Here's Little Richard</i>]
</p>
<p>
truncated song parts <br />except the hook chorus <br />where the groove lives
</p>
<p><b>In Session at The Tintinabulary</b></p>
<p>December 24, 2023</p>
<p><i>Wakefield</i> - Keith Eisenbrey</p>
<iframe allow="autoplay" frameborder="no" height="20" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1703899833&color=%23ff5500&inverse=false&auto_play=false&show_user=true" width="100%"></iframe>
<div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;">
<a href="https://soundcloud.com/keith-eisenbrey" style="color: #cccccc; text-decoration: none;" target="_blank" title="Keith Eisenbrey">Keith Eisenbrey</a>
·
<a href="https://soundcloud.com/keith-eisenbrey/25-wakefield-231224-231224" style="color: #cccccc; text-decoration: none;" target="_blank" title="25 Wakefield 231224 [231224]">25 Wakefield 231224 [231224]</a>
</div>
<p>a two-voice arrangement of a tune from an 1846 shape-note songbook</p>
<p>December 28, 2023</p>
<p>
<i>Gottes Sohn ist kommen</i> - Aaron Keyt [from 40 Hymn Arrangements (2019)]
</p>
<p>
Aaron sent me a score of his arrangements of old German hymns, set for field
organ, but which I'm hoping will all work pretty well on clavichord. This one
did
</p>
<p style="text-align: center;"><b>Postscripts</b></p>
<p><b>Drops</b></p>
<p><i>Keith Eisenbrey 9: 2002-2005</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=163772318/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/transparent=true/" style="border: 0; height: 470px; width: 350px;"><a
href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-9-2002-2005"
>Keith Eisenbrey 9: 2002-2005 by Keith Eisenbrey</a
></iframe>
<p>
This volume finds me exploring both mod-17 and mod-12 environments (sometimes
simultaneously).
</p>
<p><i>Keith Eisenbrey 8: 2001-2002</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1360596768/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a
href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-8-2001-2002"
>Keith Eisenbrey 8: 2001-2002 by Keith Eisenbrey</a
></iframe>
<p>A serendipitous mash-up and more mod-17 shenanigans.</p>
<p><i>Keith Eisenbrey 7: 1995-2001</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1774068906/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a
href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-7-1995-2001"
>Keith Eisenbrey 7: 1995-2001 by Keith Eisenbrey, Karen Eisenbrey</a
></iframe>
<p>
During our years of chaos (parenting), keeping my hand in the game writing
short pieces - and one big break-through.
</p>
<p><i>Keith Eisenbrey 6: 1988-1994</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1185240499/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a
href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-6-1988-1994"
>Keith Eisenbrey 6: 1988-1994 by Keith Eisenbrey</a
></iframe>
<p>
Working with narrative forms, both explicit and implicit, playing games with
memory, and finding ways to set texts.
</p>
<p><i>Keith Eisenbrey 5: 1984-1988</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=641022695/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a
href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-5-1984-1988"
>Keith Eisenbrey 5. 1984-1988 by Keith Eisenbrey</a
></iframe>
<p>
My first years back in the Puget Sound area, working with the experience of
repetition and with relationships between the vertical and horizontal pitch
realms.
</p>
<p><i>Keith Eisenbrey 4: 1983-1984</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3616259267/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a
href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-4-1983-1984"
>Keith Eisenbrey 4. 1983-1984 by Keith Eisenbrey</a
></iframe>
<p>
Finishes up the music I wrote while I was in New York (state) under the
ostensible supervision of the academic world.
</p>
<p><i>Keith Eisenbrey 3: 1982-1983</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2544871921/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a
href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-3-1982-1983"
>Keith Eisenbrey 3. 1982-1983 by Keith Eisenbrey</a
></iframe>
<p>
Written in Red Hook, NY, and Malabar, FL, as I was beginning to think about
thinking about music.
</p>
<p><i>Keith Eisenbrey 2: 1981-1982</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1543052747/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a
href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-2-1981-1982"
>Keith Eisenbrey 2. 1981-1982 by Keith Eisenbrey</a
></iframe>
<p>
What occupied my time toward at the end of my undergrad days and in the year
before I went east for a while.
</p>
<p><i>Keith Eisenbrey 1: 1979-1981</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1650666157/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-1-1979-1981">Keith Eisenbrey 1. 1979-1981 by Keith Eisenbrey</a></iframe>
<p>Keyboard works I composed while an undergrad at the UW. </p>
<p>All are free for download.</p>
<p><b>Skaldmud's Doodle Gallery</b></p>
<p>listening journal doodles from 2015</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimzCd79i1O4Q9LzvJMA1vrszsNSI-1UQG1FY14EZEIdQZYleRw96nKeku3KV4A4onFOk1n77aGXlBqsywHD3qMfpTOqIV4NRkEyQjwHKU2-lZzF_EX_X63U-WmbtetMXrMcOdrIYomdwbr9EnpVVnyeS7antfpJDQ6gs3N1b3swjeyl4xr-DyGPDDyvSM/s2525/2023%20scan736.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1683" data-original-width="2525" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimzCd79i1O4Q9LzvJMA1vrszsNSI-1UQG1FY14EZEIdQZYleRw96nKeku3KV4A4onFOk1n77aGXlBqsywHD3qMfpTOqIV4NRkEyQjwHKU2-lZzF_EX_X63U-WmbtetMXrMcOdrIYomdwbr9EnpVVnyeS7antfpJDQ6gs3N1b3swjeyl4xr-DyGPDDyvSM/w400-h266/2023%20scan736.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyQznoUkBAaG4wDyGsRTKgZ6j1YkV4x4QlyuhD524X0RoGYJv9IlR2_RuqEb7gI4WCJR8Kn0R-jGcDrKJy4_gePRfphBc7SxiDOzesIlNf1Z52TgTe7NjKRxsCKOb3l8qmSIyaSwwTNA0Y34T4V__2IznPb_u-cxgxPyo6tVWrAYt_i9IDMnByKHMjeME/s2333/2023%20scan737.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="807" data-original-width="2333" height="139" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyQznoUkBAaG4wDyGsRTKgZ6j1YkV4x4QlyuhD524X0RoGYJv9IlR2_RuqEb7gI4WCJR8Kn0R-jGcDrKJy4_gePRfphBc7SxiDOzesIlNf1Z52TgTe7NjKRxsCKOb3l8qmSIyaSwwTNA0Y34T4V__2IznPb_u-cxgxPyo6tVWrAYt_i9IDMnByKHMjeME/w400-h139/2023%20scan737.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirgIV2QfqWFbEbV0xrZv_MegRlK_HEgsO6G5CgjAEZTFtGYR7mlk0fnANZJNONTQ7_7FecZwnNbwRPxMIqEMMMtaJ8ON74GAdNRBSs9fbClgr3bqfySyezJ_eWh7lzp2H3OOSsmVQ8PXozBJrNgfuHUDNjIzG7f8OsASAAN1TEU-2DcJydVROu3StWEq4/s792/2023%20scan738.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="265" data-original-width="792" height="134" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirgIV2QfqWFbEbV0xrZv_MegRlK_HEgsO6G5CgjAEZTFtGYR7mlk0fnANZJNONTQ7_7FecZwnNbwRPxMIqEMMMtaJ8ON74GAdNRBSs9fbClgr3bqfySyezJ_eWh7lzp2H3OOSsmVQ8PXozBJrNgfuHUDNjIzG7f8OsASAAN1TEU-2DcJydVROu3StWEq4/w400-h134/2023%20scan738.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRSsbR4Z-iUnK59OCr94OrwEe_fC-xBieqR9ZGK_Gu_pJSx8s_38Gw_yHTXqQ_6fVo2XsWG1MZq2OGjkboOWEP16_-0fN6DCgLJixS2X44SNTKIXLm48FQkHJbhbznwng1X504DPiaixt97M_S5_u1EFJclSlZDe5jBNvvXHu_bBIjm1pUhaeGZYBclbA/s2417/2023%20scan739.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="329" data-original-width="2417" height="55" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRSsbR4Z-iUnK59OCr94OrwEe_fC-xBieqR9ZGK_Gu_pJSx8s_38Gw_yHTXqQ_6fVo2XsWG1MZq2OGjkboOWEP16_-0fN6DCgLJixS2X44SNTKIXLm48FQkHJbhbznwng1X504DPiaixt97M_S5_u1EFJclSlZDe5jBNvvXHu_bBIjm1pUhaeGZYBclbA/w400-h55/2023%20scan739.jpg" width="400" /></a></div><br /><p><br /></p>Keith Eisenbreyhttp://www.blogger.com/profile/16399615075612440296noreply@blogger.com0tag:blogger.com,1999:blog-7569166511516520581.post-5771698339060505992023-12-23T13:08:00.000-08:002023-12-23T13:56:07.864-08:00Playlist<p style="text-align: center;"><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7Cj9YCDmqKZW3NCM26iPNQOhKC1L1fHSZg_FXvEwnx8QA9KvHAxB7zw5Hqv0BdjlnAWHjKxTx3BcVbueUEOPpQ9ZYzCyQKOmo9-axriIJjAG8i-598ZVHnwFC-8lYeptOHg1Er44eJdXOLkACmGVoSwftS3ndXUfsZXwrQEvYBScgHYHSzQhnveoeELQ/s1381/231223%20M.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1381" data-original-width="1311" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7Cj9YCDmqKZW3NCM26iPNQOhKC1L1fHSZg_FXvEwnx8QA9KvHAxB7zw5Hqv0BdjlnAWHjKxTx3BcVbueUEOPpQ9ZYzCyQKOmo9-axriIJjAG8i-598ZVHnwFC-8lYeptOHg1Er44eJdXOLkACmGVoSwftS3ndXUfsZXwrQEvYBScgHYHSzQhnveoeELQ/w380-h400/231223%20M.jpg" width="380" /></a></b></div><b>Preface</b><p></p>
<p>"Discovery of Jingle in the Fleet"</p>
<p>
Hablot K. Browne (Phiz) - from "The Posthumous Papers of the Pickwick Club"
</p>
<p style="text-align: center;"><b>Texts</b></p>
<p><b>Live</b></p>
<p>December 16, 2023</p>
<p>
<b><i>Finnegans Wake, Part II, Chapter 2 - James Joyce<br />Neal
Kosály-Meyer<br /></i></b>Chapel Performance Space, Good Shepherd Center, Seattle
</p>
<p>more mud <br />than man </p>
<p>feeds on scholarship</p>
<p>king's house <br />of stone </p>
<p>buffalo times <br />bison days </p>
<p>the wanders <br />off </p>
<p>the game <br />goes on</p>
<p>rock a bye <br />Babel </p>
<p>flat <br />on the wall</p>
<p>naughty times <br />infinity </p>
<p>pose <br />the pen</p>
<p><b>Recorded</b></p>
<p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMCqixnoM7xE6hryRftj9GNrvrOb8nfmNZv7yuJC5-h8JhnXC_Ej0-ma3OJH5fQcM_C6brGcwNTorY48lBtstos2PwACBADkeceVG8UssBCmXmskJ2tmw9G3zdGnmD6RSM-CyZbPlmLD4p3EiHH1h-FlPsZ-LgbIvyf1w0opmmitjqxl8E2BOvmBFlJDg/s4000/231223%20N.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4000" data-original-width="3000" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMCqixnoM7xE6hryRftj9GNrvrOb8nfmNZv7yuJC5-h8JhnXC_Ej0-ma3OJH5fQcM_C6brGcwNTorY48lBtstos2PwACBADkeceVG8UssBCmXmskJ2tmw9G3zdGnmD6RSM-CyZbPlmLD4p3EiHH1h-FlPsZ-LgbIvyf1w0opmmitjqxl8E2BOvmBFlJDg/w300-h400/231223%20N.jpg" width="300" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Finnegans Wake's wake</td></tr></tbody></table>December 17, 2023<p></p>
<p>
<i>Étude pour le pianoforte d'apres les caprices de Paganini in A minor, Op. 3
#1</i>
- Robert Schumann - Florian Uhlig
</p>
<p>
yes it's just scales <br />starting at different spots <br />but <br />the
hook catches <br />easily <br />the fish <br />fights <br />but <br />is
brought aboard
</p>
<p>
<i>Scherzo in B-flat minor, Op. 31</i> - Frédéric Chopin - Garrick Ohlsson
</p>
<p>
a perfectly fine dramatic opening <br />repeated <br />at the end of each
iteration <br />bass plunks <br />octaves <br />from somewhere
<br />other
</p>
<p>the key <br />or a McGuffin </p>
<p>social fantasy advert <br />for the high-class-living life </p>
<p>
masculine muscular adventure <br />feminine dreamy <br />meet in passion
<br />19th Century gender dualism paradigm <br />clinging to the last shreds
of stability
</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVEIaKL56eD2SNaOefWIK-8ORaRd0uMz2Z7cL3ZefEFSTH6duXytViLylEpMRzDy8WLxon6UZVyMEtoQd-ZsDpspTyxd4BEr4wRxmUI4GdjzQtbJV8wDMPS9_T-tjgsaz5e5owngFcrMZ1P9NtvneRNW37ERjyPW-EnvqBnxjIqcRe9CJsBczAbu0LjA0/s5472/231223%20D.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVEIaKL56eD2SNaOefWIK-8ORaRd0uMz2Z7cL3ZefEFSTH6duXytViLylEpMRzDy8WLxon6UZVyMEtoQd-ZsDpspTyxd4BEr4wRxmUI4GdjzQtbJV8wDMPS9_T-tjgsaz5e5owngFcrMZ1P9NtvneRNW37ERjyPW-EnvqBnxjIqcRe9CJsBczAbu0LjA0/w400-h266/231223%20D.jpg" width="400" /></a></i></div><i>I Travelled Among Unknown Men</i> - Charles Ives - William Sharp, Steven
Blier
<p></p>
<p>
is he intentionally crowding the lines into his tune <br />it becomes a
caricature of clumsy sincerity
</p>
<p>
<i>April in Paris (alternate take)</i> - Thelonious Monk [from
<i>The Complete Blue Note Recordings</i>]
</p>
<p>
how many directions is he taking this <br />at once <br />eight or nine at
least
</p>
<p>
<i>Rip It Up (take 4)</i> - Little Richard [from <i>Here's Little Richard</i>]
</p>
<p>in his 88? <br />he drives a piano?</p>
<p>
<i>Making Believe</i> - Ray Charles [from
<i>Modern Sounds in Country and Western Music</i>]
</p>
<p>the classy orchestra <br />is like fancy duds <br />or a hat </p>
<p>
modern sounds <br />modern materials <br />modern living <br />coppertone
<br />and avocado <br />are not far off from here
</p>
<p>
<i>Come All Ye Fair and Tender Ladies</i> - Bob Dylan [from
<i>A Tree With Roots</i>]
</p>
<p>trying a guitar</p>
<p><i>Rainy Days and Mondays</i> - Sarah Vaughan [from <i>Feelin' Good</i>]</p>
<p>
if anything <br />it's in even worse taste <br />than the original Carpenters
hit <br />but <br />it shines
</p>
<p>
<i>Don Juan's Reckless Daughter</i> - Joni Mitchell [from
<i>Don Juan's Reckless Daughter</i>]
</p>
<p>word driven <br />like hip hop </p>
<p></p>
<div style="text-align: right;">single person theater</div>
<div style="text-align: right;">public apology </div>
<p></p>
<p>complete with collaged tracks</p>
<p><i>Sometimes I'm Happy</i> - Sun Ra [from <i>Celestial Love</i>]</p>
<p>quiet <br />thoughtful</p>
<p><i>One Step Up</i> - Bruce Springsteen [from <i>Tunnel of Love</i>]</p>
<p>undertow <br />of our economy disaster</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJ-gzQoO5o6ItnfZdj5v9nt-Fk3Ah0E-O3lBCAsUESa6iY7XZuH7bIyvFpc3pJJHoPrRnWbnKaoxueQFS3ajwQJ2Xwtqe-rINA1L_zJaQExy9kIVYD-oQyPGiZ_GxXhU60_HURLPMiojuf4hWPYyhc6y0UsDty1OlYhAYrBdVWcpYjvU241FpzaRl7XQQ/s3657/231223%20A.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2566" data-original-width="3657" height="281" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJ-gzQoO5o6ItnfZdj5v9nt-Fk3Ah0E-O3lBCAsUESa6iY7XZuH7bIyvFpc3pJJHoPrRnWbnKaoxueQFS3ajwQJ2Xwtqe-rINA1L_zJaQExy9kIVYD-oQyPGiZ_GxXhU60_HURLPMiojuf4hWPYyhc6y0UsDty1OlYhAYrBdVWcpYjvU241FpzaRl7XQQ/w400-h281/231223%20A.jpg" width="400" /></a></div>December 18, 2023<p></p>
<p>
<i>Riding Round The Cattle</i> - Mike, Peggy, and Penny Seeger [from
<i>Animal Folk Songs for Children</i>]
</p>
<p>tales around the cowboy campfire</p>
<p>
<i>Born in Puerto Rico (demo)</i> - Paul Simon [from
<i>Songs from The Capeman</i>]
</p>
<p>
original destiny <br />introducing the crew <br />resolving <br />into
ensemble crowd song
</p>
<p><i>A Better Future (Remix by Air)</i> - David Bowie [from <i>Heathen</i>]</p>
<p>
life in the cogs <br />electromagnetic fields <br />statements held in
solitary
</p>
<p>
<i>Beauty and The Beast</i> - Steve Layton & Improv Fridays [from
<i>PPP</i>]
</p>
<p>
without mood violation <br />expansion allowed <br />happens <br />regardless
of allowance
</p>
<p><i>BP </i>- Camarones Orquestra Guitarristica [from <i>Feeexta</i>]</p>
<p>
bang bang bang bang <br />joining body and axe <br />and power grid <br />and
industry <br />run it into the rust
</p>
<p><i>Totem 52</i> - Sascia Pellegrini [from <i>Totem V</i>]</p>
<p>
below the traffic <br />above the traffic <br />within the traffic
<br />without the traffic <br />enclosure <br />objectification <br />set
discourse <br />on off <br />in out <br />choices made <br />before
becoming conscious <br />there <br />they are <br />voila! <br />waddaya know!
</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7qYJAs0LpVWK8LrqHuooeca7nHsT9G0Mna-JZWNa35hJfyAR4sxPI0o-ygoJ-cYag48gCtmQdopAWBOsjcDRjMyFZH0Ddwkr6UbpDgZKV23pdurRC5ibiI3fqFsV3rBZb-VJZQunUNA2NCSzP338-9q3y6B-GF0L5JkL4Oaf48nHjIE6_-PVifDrqoDw/s2775/231223%20E.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2187" data-original-width="2775" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7qYJAs0LpVWK8LrqHuooeca7nHsT9G0Mna-JZWNa35hJfyAR4sxPI0o-ygoJ-cYag48gCtmQdopAWBOsjcDRjMyFZH0Ddwkr6UbpDgZKV23pdurRC5ibiI3fqFsV3rBZb-VJZQunUNA2NCSzP338-9q3y6B-GF0L5JkL4Oaf48nHjIE6_-PVifDrqoDw/w400-h315/231223%20E.jpg" width="400" /></a></i></div><i>Wohlauf, wohlauf, Jung and Alt</i> - Ludwig Senfl - Tielman Susato
Krummhorn Gesellschaft [from <i>The Glory of The Krummhorn</i>]
<p></p>
<p>
motet: <br />a song <br />for the participants <br />or <br />in which
<br />the experience <br />from inside <br />is of a particular remove of
flavor <br />from <br />the experience <br />from outside
</p>
<p><i>Shizsaad</i> - Greg Sinibaldi [from <i>Frieze of Life</i>]</p>
<p>a packed 43 seconds <br />jam packed jam</p>
<p><i>Let There Be Love</i> - Christina Aguilera [from <i>Lotus</i>]</p>
<p>
lots of high-end Hertz sound in this <br />bright lights <br />mirrors
<br />strobes <br />the whole shebang <br />to overwhelm
</p>
<p><i>November Rain</i> - Prom Queen [from <i>Doom Wop</i>]</p>
<p>
a more personal approach <br />I wrote a letter <br />in verse <br />to you
<br />subdued lighting
</p>
<p><i>Vigilante Shit</i> - Taylor Swift [from <i>Midnights</i>]</p>
<p>a clear threat <br />in a slinky outfit</p>
<p>
<i>The P is Free (12" version)</i> - Boogie Down Productions [from
<i>Criminal Minded</i>]
</p>
<p>what is told <br />to one's pals</p>
<p><i>Just </i>- Swearin' [from <i>Swearin'</i>]</p>
<p>from a narrow slice <br />of common generational experiences</p>
<p><i>No Question</i> - Waxahatchee [from <i>Out In The Storm</i>]</p>
<p>
going for direct confrontation <br />some shoving <br />every traceable line
<br />is a melody <br />and <br />can be understood <br />as melodies are
understood
</p>
<p>
<i>Girls Just Want to Have Fun</i> - Star Anna [streamed from Fiddlers Inn,
Seattle, March 7, 2022]
</p>
<p>some tuning <br />then a version <br />that drips with weariness</p>
<p><i>Femme Fatal</i> - REM [from <i>Dead Letter Office</i>]</p>
<p>the song that Nico sang <br />sung in her key <br />in her octave</p>
<p>
<i>This Time</i> - Robin Jackson and The Caravan [from <i>Dust Diaries</i>]
</p>
<p>
it's that patented <br />sincere <br />piano chord <br />whacking <br />a
Vegas act
</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKgaZE48pYSmVA3hja3gu9Sxrxi-bONnAZOZNc2rXv4AkM8JFL883r4mFuoCVw20Bxdu-PSPIh9_I7M4UXCBmrSPYdl0zgjYFGxKMrwIDVSYlekdYAwTRtZYdXzk6CGGw7E6cII2b608NG597OsapKeZldgYQRXvhfKmAvKU8wUgXyeQpMr1XtkbS1Ck4/s2605/231223%20F.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1978" data-original-width="2605" height="304" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKgaZE48pYSmVA3hja3gu9Sxrxi-bONnAZOZNc2rXv4AkM8JFL883r4mFuoCVw20Bxdu-PSPIh9_I7M4UXCBmrSPYdl0zgjYFGxKMrwIDVSYlekdYAwTRtZYdXzk6CGGw7E6cII2b608NG597OsapKeZldgYQRXvhfKmAvKU8wUgXyeQpMr1XtkbS1Ck4/w400-h304/231223%20F.jpg" width="400" /></a></i></div><i>Jackhammer Blues</i> - Orville Johnson [from <i>Roll Columbia</i>]<p></p>
<p>been in jail <br />about a thousand times</p>
<p><i>Heated</i> - Beyoncé [from <i>Renaissance</i>]</p>
<p>turning a song <br />into a euphemism <br />or vice versa</p>
<p>
<i>It's Gonna Be A Beautiful Night</i> - Prince [from
<i>Sign O' The Times</i>]
</p>
<p>
a live track <br />join the fun <br />becoming the costume <br />you are
<br />on the inside <br />word dump <br />message broadcast <br />dance as you
leave
</p>
<p>
<i>Bonfire Machines</i> - Bruce Hamilton & Friends [from
<i>Mash Hits Volume 1</i>]
</p>
<p>
start with kindling <br />manufactured echo <br />of a composed echo <br />two
sounds <br />face off <br />across <br />a fast receding <br />former present
<br />it's coming back
</p>
<p><i>Hasta La Vista (Baby)</i> - Lures [from <i>There's No Pressure</i>]</p>
<p>
slow burn introduction <br />if <br />that is we are waiting for <br />a song
<br />we were <br />and we get it <br />in full psychedelic sprawl
</p>
<p>
<i>Missing Words V: II. Kissenkühlelabsal (Pillow-Chill-Refreshment)</i> -
Eric Nathan [from <i>Missing Words</i>]
</p>
<p>
keeps quite still <br />in the dark <br />careful probes are launched <br />to
assay <br />slips easily into arrival
</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9XoLLmsha4UAy9_-XPfF5rdz4O2LuWImhnF4Ug5VZeJ1W0l6efn2DVRliibfrX0JTcrBzDK89uuAxOHWyQg-7qgLV2FmJZU-ypgu35x_hxYI32__yuxnmYfDb1G3O_bOovibTOPnpKriMAyaV5lqBMwsv7_H1UdTTC5g7TkUJbXDaFgjLqehd5hAA5Xk/s5472/231223%20B.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9XoLLmsha4UAy9_-XPfF5rdz4O2LuWImhnF4Ug5VZeJ1W0l6efn2DVRliibfrX0JTcrBzDK89uuAxOHWyQg-7qgLV2FmJZU-ypgu35x_hxYI32__yuxnmYfDb1G3O_bOovibTOPnpKriMAyaV5lqBMwsv7_H1UdTTC5g7TkUJbXDaFgjLqehd5hAA5Xk/w400-h266/231223%20B.jpg" width="400" /></a></div>December 19, 2023<p></p>
<p>
<i>Thursdays Tape (Part 2)</i> - Barrytown Orchestra (Tildy Bayar, Wayne
Berman, Benjamin Boretz, Markus Olin-Fahle, Marco Ramirez)
</p>
<p>
side two <br />we can be playful <br />nobody's listening <br />except Keith
<br />nearly 40 years <br />from then's now <br />sleepy heart beat <br />but
<br />how do I know <br />I know <br />because I think I do <br />but
<br />how do I think
</p>
<p>fluent tabula rasa </p>
<p>authority <br />is a corruption <br />of I think this is correct</p>
<p>
one cannot know <br />unless one thinks one knows <br />but <br />how does one
think?
</p>
<p>
if one does not know <br />how one thinks <br />one cannot <br />with all
honesty <br />rely <br />on what one thinks <br />one knows
<br />capeesh?
</p>
<p>this session <br />gets into the crannies <br />tuneful</p>
<p>
<i>Family Tradition</i> - Tyrannosaurus Grace [recorded live at The Rat and
Raven, Seattle, August 9, 2012]
</p>
<p>
comic honkytonk country song <br />a bit </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgG93tJXHjIIzKWzgupjGGLBdE4VNzQ7wj0GPuAl9XU5_4Xzjpdyy0FsFlBF9WTYfDArZ40ovG74NWIR7_Ehve7n2zpkso3AdJqG5zAvAYuI_LPtB7v15f_Dvwb10SDlBd1swIUe1gRaw-AAnDIPKuezGA_zz1jrtNTqvGnyNQogFJ_A_etzTb8lrkBdiM/s2472/231223%20G.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1429" data-original-width="2472" height="231" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgG93tJXHjIIzKWzgupjGGLBdE4VNzQ7wj0GPuAl9XU5_4Xzjpdyy0FsFlBF9WTYfDArZ40ovG74NWIR7_Ehve7n2zpkso3AdJqG5zAvAYuI_LPtB7v15f_Dvwb10SDlBd1swIUe1gRaw-AAnDIPKuezGA_zz1jrtNTqvGnyNQogFJ_A_etzTb8lrkBdiM/w400-h231/231223%20G.jpg" width="400" /></a></div>like The Knitters <br />and then all
of it again <br />but all punked up
<p></p>
<p><i>Boat People</i> - Amy Denio [from <i>The Big Embrace</i>]</p>
<p>survivors under attack</p>
<p>
<i>Interweaving</i> - Benton Roark - Re:Naissance Opera [from Music from
<i>The Apocrypha Chronicles</i>]
</p>
<p>
picturesque <br />like our image of southern Europe <br />in the 19th Century
</p>
<p>
<i>Track 8</i> - Peterman [recorded live at The Blue Moon, Seattle, October 4,
2012]
</p>
<p>
vigorous scrubbing<br />as a gesture <br />easy to accomplish on stage
<br />not too complex to remember <br />effective for their purposes
</p>
<p>
<i>Bender</i> - Chastity Belt [from <i>I Used To Spend So Much Time Alone</i>]
</p>
<p>confessionary epistle</p>
<p>
<i>Vancouver (duet)</i> - Steve Peters [from <i>With My Back to the World</i>]
</p>
<p>gamba? <br />(nope viola) <br />nice sound <br />lovely piece</p>
<p>
<i>Track 8</i> - Black Plastic Clouds [recorded live at The Sound Effects,
Seattle, October 26, 2012]
</p>
<p>
we are a marching band <br />swaggering down the street <br />parade
style
</p>
<p>
he just don't give a damn <br />says it so many times <br />it must be
true
</p>
<p>frankly militaristic</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQA5x1lT6bHyxe7ZTZOaOGJNqDqMF5pZS79cY-kc8fXlbimiOCtb5zPKnaQoMdd4D-xkSHftZm-pCvt-s1tLmfTde1GUskmSEva_zNS72ZUIQKD9-ffSgQSNKB4pWcpvcgl0Pya8p43ByqH949AbN2NPVIGLneOm9F9WqV4nzex-MriI6YVXpyFu5fjlU/s5472/231223%20H.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQA5x1lT6bHyxe7ZTZOaOGJNqDqMF5pZS79cY-kc8fXlbimiOCtb5zPKnaQoMdd4D-xkSHftZm-pCvt-s1tLmfTde1GUskmSEva_zNS72ZUIQKD9-ffSgQSNKB4pWcpvcgl0Pya8p43ByqH949AbN2NPVIGLneOm9F9WqV4nzex-MriI6YVXpyFu5fjlU/w400-h266/231223%20H.jpg" width="400" /></a></i></div><i>Words for Lyrics</i> - Gaytheist [from <i>Let's Jam Again Soon</i>]<p></p>
<p>showy guitar playing</p>
<p>
<i>In the Bottomless Hollow of the Winter Sky</i> - Halla Steinunn
Stefánsdóttir - Mirjam Tally [from <i>Strengur</i>]
</p>
<p>
light toed scamperers <br />cluttering about <br />sharpening <br />honing
<br />polishing <br />bonding <br />with the tools <br />of death and cookery
<br />playful re-appearances <br />scattered iterations <br />sur-impressional
</p>
<p>
<i>Instant Love</i> - Freddie and The Screamers [from <i>I Ain't Crazy</i>]
</p>
<p>commodity woman <br />guy brag talk</p>
<p><i>Singalong</i> - CEP [from <i>Drawing the Target Around the Arrow</i>]</p>
<p>
follow the bouncing ball <br />the response on this keyboard <br />sounds
sluggish <br />or <br />it sounds like the player <br />is working with a
sluggishly responding keyboard
</p>
<p>repetitions <br />as a practice <br />machine adaptation</p>
<p><i>Absence</i> - Tom Swafford [from <i>Rough Spaces</i>]</p>
<p>from since </p>
<p>
the left hand <br />fingers the four <br />the right hand <br />grasps the one
<br />the hands <br />join <br />in cooperation <br />arm and hand
</p>
<p>
<i>Track 9</i> - The Tailenders [recorded live at High Dive, Seattle, April 6,
2012]
</p>
<p>
this one's for Trixie <br />mumble through the words <br />it's cool
<br />singing into chin
</p>
<p><i>Ballad of Bluebell</i> - Tomten [from <i>Cremation Songs</i>]</p>
<p>
accented syllables <br />I THINK <br />that I <br />shall NEV<br />er SEE
<br />a POEM <br />as LOVE<br />ly AS <br />a TREE
</p>
<p>
<i>The Point of It All</i> - Robin Holcomb [from <i>One Way Or Another</i>]
</p>
<p>classy-song writing</p>
<p>
<i>When Our Boys Have Been Buried</i> - St. Paul de Vence [from
<i>St. Paul de Vence</i>]
</p>
<p>an old plaint</p>
<p>
<i>Jeremiah Lawson at Seattle Composers Salon</i> - Jeremiah Lawson [recorded
live at The Chapel Performance Space, Good Shepherd Center, Seattle, July 7,
2017]
</p>
<p>
lives in the intricacy of its figuration <br />its finger play <br />right and
left <br />arm and hand
</p>
<p>
questions for Jeremiah <br />the rest of it is pretty theoretical
<br />whatever chords you can get <br />with the slide <br />is what you have
to work with
</p>
<p><i>The Devil in Me</i> - Emily Stranger</p>
<p>bad girl power trip</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaJyHM2WYz-eA1cpJpptPyb58bA8Iz9hwWcsSSurcBWX64JQSCiHgV9BDfsQ2PT0Ri9ADD3pgzbd61i65Bx5wlj3Ka4fpet23gEFPcCFa2bPjJGNf1doErAwOEiPSyOe9H5KHiV_X0YWpDneef8ROyMT6jDHBUPp0nFsgSB3w8yYUiZv1s2EFOrFSBdwQ/s5472/231223%20I.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaJyHM2WYz-eA1cpJpptPyb58bA8Iz9hwWcsSSurcBWX64JQSCiHgV9BDfsQ2PT0Ri9ADD3pgzbd61i65Bx5wlj3Ka4fpet23gEFPcCFa2bPjJGNf1doErAwOEiPSyOe9H5KHiV_X0YWpDneef8ROyMT6jDHBUPp0nFsgSB3w8yYUiZv1s2EFOrFSBdwQ/w400-h266/231223%20I.jpg" width="400" /></a></i></div><i>Tuning The Blue City</i> - Triptet [from <i>Figure in the Carpet</i>]<p></p>
<p>
plate beasts <br />prowling the planes <br />slipping subdimensionally
<br /><i>Sie fressen</i> <br />growlily
</p>
<p>
<i>Jessi Harvey at Seattle Composers Salon</i> - Jessi Harvey [recorded live
at The Chapel Performance Space, Good Shepherd Center, Seattle, July 7, 2017]
</p>
<p>
trying it out on all possible walls <br />take it to its end <br />stubborn
<br />determined <br />with mighty fists <br />upon the board
</p>
<p><i>Tuesday Nite</i> - Carson Farley</p>
<p>a distant stadium <br />that sings in guitar</p>
<p>
<i>Vampire Energy Drink </i>- Swingset Showdown [from <i>Short Bus Ruckus</i>]
</p>
<p>for coffee achievers</p>
<p><i>Snowflake</i> - Choke The Pope</p>
<p>telling someone off <br />in our own special way</p>
<p><i>Down The Deep River </i>- Low Hums [from <i>Low Hums</i>]</p>
<p>back in the swamps</p>
<p><i>Lifetime</i> - Ease</p>
<p>lost in near space <br />montage time</p>
<p><i>I'll Still Be There</i> - Brandi Carlile [from <i>Bear Creek</i>]</p>
<p>
loves the yodel register <br />quasi falsetto <br />then the same <br />in
full voice <br />ding!
</p>
<p><i>Rebirth/In Your Bones</i> - Aaron Crows</p>
<p>
prog narrative <br />psychedelic symbolist fantasy <br />close person
<br />double horror
</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8FoX04traRMf6CMHOkSyb98TZaP1PaPfAa8GOSO75rrpgmC-T2GAIEdp2owz4-c3_gbHEmI4hnq42vTK_SYeCvYn4QD1xV4feEXur1rd7UWAAHGGyJTHTHywvg1K5DimC8LePsjIjr3KSGIxjC84sSUYc71ekkfQQOao0Vgny0UTrvP7_5lcMbfsP47g/s5472/231223%20C.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8FoX04traRMf6CMHOkSyb98TZaP1PaPfAa8GOSO75rrpgmC-T2GAIEdp2owz4-c3_gbHEmI4hnq42vTK_SYeCvYn4QD1xV4feEXur1rd7UWAAHGGyJTHTHywvg1K5DimC8LePsjIjr3KSGIxjC84sSUYc71ekkfQQOao0Vgny0UTrvP7_5lcMbfsP47g/w400-h266/231223%20C.jpg" width="400" /></a></div>December 20, 2023<p></p>
<p><i>Mad Cow or Dark Onside</i> - Cowgirls, The [from <i>Compilation</i>]</p>
<p>must have been pretty darn loud in there</p>
<p><i>Shrill </i>- Crystal Beth</p>
<p>sound poetry <br />as glossolalic lyric <br />for drumming</p>
<p>
<i>Track 9</i> - Curtains for You [recorded live at High Dive, Seattle, April
6, 2012]
</p>
<p>deeply reliant <br />on the bounce <br />in the rhythm section </p>
<p>the song wanders off <br />when it loses interest</p>
<p><i>Fall On November</i> - Canals of Venice</p>
<p>Rob really does have a remarkable voice <br />has a stage ping</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioqfULEN0zlymgPTOYlvA8IU6NMf-FxZilI-Gs6dBoe-L4rQlhqR2oWoxMuOvPf7ozU6NXKC9BbzrfmeQw9WYLb7h50ANEDzZ21G6NunnsdXM4zpD9ZdXkLb8CxPpt5FJoYzOLSI2MLhrvbswR_UIG7KgOTj8c0hkk-N2yhsKeXi_C1RinieSnzi8Bulg/s5472/231223%20J.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioqfULEN0zlymgPTOYlvA8IU6NMf-FxZilI-Gs6dBoe-L4rQlhqR2oWoxMuOvPf7ozU6NXKC9BbzrfmeQw9WYLb7h50ANEDzZ21G6NunnsdXM4zpD9ZdXkLb8CxPpt5FJoYzOLSI2MLhrvbswR_UIG7KgOTj8c0hkk-N2yhsKeXi_C1RinieSnzi8Bulg/w400-h266/231223%20J.jpg" width="400" /></a></i></div><i>What Was I Thinking?</i> - Karen Blaine [from <i>Modern Day Living</i>]
<p></p>
<p>to meet <br />after years <br />have passed</p>
<p><i>Escape</i> - Klondike Kate</p>
<p>cross-instrumental flam <br />tell 'em off song</p>
<p><i>Uz kolku noc wav</i> - Stanislav Surin [from <i>10 Songs</i>]</p>
<p>
piano figures <br />point back <br />at the words <br />they reference
<br />the structure <br />of the stanzas
</p>
<p><i>This I Promise</i> - Specyphi [from <i>9 Songs</i>]</p>
<p>being one's own hero <br />manly type <br />he's on a loop</p>
<p>
<i>Down the Drain and It's Gone</i> - Shannon Stephens [from
<i>Pull It Together</i>]
</p>
<p>
settle down <br />it's a long ballad <br />sung slow <br />keep your eyes
<br />on the sky shine
</p>
<p><i>I'm A Sinner</i> - Madonna [from <i>MDNA</i>]</p>
<p>in the most banal notion of sin</p>
<p>
<i>Moonshine Boy</i> - Rachel Harrington [from
<i>Makin' Our House a Honkytonk</i>]
</p>
<p>an invitation <br />to dance <br />the life <br />sweetly hokey</p>
<p><i>Moto USA</i> - Yuni in Taxco [from <i>Prizes</i>]</p>
<p>
tempo/meter tracks <br />that slide against each other <br />in kickback space
<br />an art project <br />using voices and guitars
</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjozmw3mnyuzpluGdj79nAmQm2Nh_a_HNey6ocvRHElhgZGXygB768NgAoTwZ9q_WMK-fJA1p5F_ODSKSJpy4QV5akNmyuHidgKNQKJjoqUkxrhFuDKcf5yrs9Sle8jYonIZc9vrnOqjvhKxhkLDot3kD-FAwXkUMfDgrkeXjI29qXB25LAb1Pbsvqn_yc/s5472/231223%20K.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjozmw3mnyuzpluGdj79nAmQm2Nh_a_HNey6ocvRHElhgZGXygB768NgAoTwZ9q_WMK-fJA1p5F_ODSKSJpy4QV5akNmyuHidgKNQKJjoqUkxrhFuDKcf5yrs9Sle8jYonIZc9vrnOqjvhKxhkLDot3kD-FAwXkUMfDgrkeXjI29qXB25LAb1Pbsvqn_yc/w400-h266/231223%20K.jpg" width="400" /></a></i></div><i>Sounds of Summer</i> - Song Sparrow Research [from
<i>Song Sparrow Research</i>]
<p></p>
<p>
what mystifies me <br />is how a music <br />such as this <br />arises
<br />out there <br />in the greater world <br />we share <br />what sort of
life <br />does this come from?
</p>
<p>
<i>Tie Me Up Tie Me Down</i> - The Ancients [recorded live at The Rat and
Raven, Seattle, August 9, 2012]
</p>
<p>
into Cindy Lauper <br />before it was cool <br />have some stickers
<br />going for the Bolero vibe <br />but only time for a quickie
</p>
<p>
<i>Track 10</i> - Nancy Cole Silverman - Adam Verner [from
<i>A Much Married Woman</i>]
</p>
<p>
when Billy walked in <br />nothing <br />nothing <br />melting resistance
<br />nothing's like this <br />come with me to Europe! <br />we can have a
life <br />whisked away <br />reflecting <br />upon the success <br />of the
evening
</p>
<p>
<i>There's a Train That's Rollin' Through Town</i> - Andrew James Robison
[recorded live at The Rat and Raven, Seattle, August 9, 2012]
</p>
<p>name on the chalkboard <br />trying to say goodbye</p>
<p><i>Phase Cannon - Violin</i> - S. Eric Scribner</p>
<p>
tuning up <br />tuning down <br />at once <br />then <br />ever so further
<br />further apart <br />music <br />for rubbing one's beard at
</p>
<p>
is there <br />a threshold <br />beyond which <br />clear thinking eludes
itself?
</p>
<p>predisposition to foreseeable consequences = interest = prejudice</p>
<p>
on the spectral plane <br />we imagine no sudden shifts <br />all is cushioned
<br />not cathedralic <br />more chapelic <br />emergence <br />not appearance
<br />what we hold tight <br />sense of self
</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgwkgPTVmkCroyyafCmzOrRafZb9y_SEIvSi3iPLnqSrVYyMTEVmDcOPx5ylcRbYVex1kl3EpIL44eg9-6jfF6kKj778loRzzOe9fP5Vakzhlm6239cvS61z_Ioik2aingj9kj5AlmmHCh2jUvucqBVTEpQmEcIqlgASF2ydtsUJDi5H_B7niNTwHqlRw/s5472/231223%20L.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgwkgPTVmkCroyyafCmzOrRafZb9y_SEIvSi3iPLnqSrVYyMTEVmDcOPx5ylcRbYVex1kl3EpIL44eg9-6jfF6kKj778loRzzOe9fP5Vakzhlm6239cvS61z_Ioik2aingj9kj5AlmmHCh2jUvucqBVTEpQmEcIqlgASF2ydtsUJDi5H_B7niNTwHqlRw/w400-h266/231223%20L.jpg" width="400" /></a></i></div><i>Jazba </i>- Ladies vs Ricky Bahn [from <i>Bollywood Volume 2</i>]<p></p>
<p>
production design <br />in durations <br />measured by beats <br />and beats
of beats
</p>
<p>
<i>The Point Of A Picture</i> - Ambulance [from
<i>Live from Sound Off 2012</i>]
</p>
<p>
is the guitar solo <br />and the attitude <br />with which singing is
accomplished
</p>
<p><i>Goldenbats II</i> - Geoff Duncanson, Dennis Meade</p>
<p>
more long spacy waves <br />brush the shore <br />from right to left
<br />from out to in <br />down our skin <br />pillow tones <br />are you
still with us <br />or <br />are you <br />where we are? <br />storm sounds
<br />and everything
</p>
<p>
new scene <br />in the dark <br />rainforest <br />and science narration
<br />is this Steve Scribner and Pete Comley <br />jamming under assumed
names?
</p>
<p>we end <br />so in tune <br />with each other</p>
<p><i>With Respect to George (midi)</i> - Benjamin Boretz</p>
<p>
inspecting carefully <br />testing all the pitch contours <br />of this
music's surface
</p>
<p><b>In Session at The Tintinabulary</b></p>
<p>December 17, 2023</p>
<p><i>Rothwell</i> - Keith Eisenbrey</p>
<iframe allow="autoplay" frameborder="no" height="20" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1698011427&color=%23ff5500&inverse=false&auto_play=false&show_user=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/keith-eisenbrey" style="color: #cccccc; text-decoration: none;" target="_blank" title="Keith Eisenbrey">Keith Eisenbrey</a> · <a href="https://soundcloud.com/keith-eisenbrey/24-rothwell-231217-231217" style="color: #cccccc; text-decoration: none;" target="_blank" title="24 Rothwell 231217 [231217]">24 Rothwell 231217 [231217]</a></div>
<p>
If all goes well I'll have completed 26 of these by the end of the year, and
another 52 by the end of next year. I might have exhausted the Long Meter
tunes by then. Unsure.
</p>
<p>December 18, 2023</p>
<p>
<i>Banned Rehearsal 1090</i> - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt,
Neal Kosály-Meyer
</p>
<iframe allow="autoplay" frameborder="no" height="20" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1698012726&color=%23ff5500&inverse=false&auto_play=false&show_user=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/keith-eisenbrey" style="color: #cccccc; text-decoration: none;" target="_blank" title="Keith Eisenbrey">Keith Eisenbrey</a> · <a href="https://soundcloud.com/keith-eisenbrey/banned-rehearsal-1090-231218" style="color: #cccccc; text-decoration: none;" target="_blank" title="Banned Rehearsal 1090 231218">Banned Rehearsal 1090 231218</a></div>
<p>December 19, 2023</p>
<p><i>Sinfonia 7 (piano)</i> - Keith Eisenbrey</p>
<iframe allow="autoplay" frameborder="no" height="20" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1698013236&color=%23ff5500&inverse=false&auto_play=false&show_user=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/keith-eisenbrey" style="color: #cccccc; text-decoration: none;" target="_blank" title="Keith Eisenbrey">Keith Eisenbrey</a> · <a href="https://soundcloud.com/keith-eisenbrey/07-sinfonia-7-231103-231219-piano" style="color: #cccccc; text-decoration: none;" target="_blank" title="07 Sinfonia 7 231103 [231219] Piano">07 Sinfonia 7 231103 [231219] Piano</a></div>
<p>December 20, 2023</p>
<p><i>Sinfonia 8 (piano)</i> - Keith Eisenbrey</p>
<iframe allow="autoplay" frameborder="no" height="20" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1698013692&color=%23ff5500&inverse=false&auto_play=false&show_user=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/keith-eisenbrey" style="color: #cccccc; text-decoration: none;" target="_blank" title="Keith Eisenbrey">Keith Eisenbrey</a> · <a href="https://soundcloud.com/keith-eisenbrey/08-sinfonia-8-231122-231220-piano" style="color: #cccccc; text-decoration: none;" target="_blank" title="08 Sinfonia 8 231122 [231220] Piano">08 Sinfonia 8 231122 [231220] Piano</a></div>
<p><i>Sinfonia 9 (piano)</i> - Keith Eisenbrey</p>
<iframe allow="autoplay" frameborder="no" height="20" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1698014208&color=%23ff5500&inverse=false&auto_play=false&show_user=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/keith-eisenbrey" style="color: #cccccc; text-decoration: none;" target="_blank" title="Keith Eisenbrey">Keith Eisenbrey</a> · <a href="https://soundcloud.com/keith-eisenbrey/09-sinfonia-9-231208-231220-piano" style="color: #cccccc; text-decoration: none;" target="_blank" title="09 Sinfonia 9 231208 [231220] Piano">09 Sinfonia 9 231208 [231220] Piano</a></div>
<p>
I now have versions of all nine completed Sinfonias on midi, clavichord, and
piano. Number 10 is drafted and ready for clavichord workshop. I expect some
changes before it's done.
</p>
<p style="text-align: center;"><b>Postscripts</b></p>
<p><b>Drops</b></p>
<p><i>Keith Eisenbrey 8: 2001-2002</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1360596768/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-8-2001-2002">Keith Eisenbrey 8: 2001-2002 by Keith Eisenbrey</a></iframe>
<p>A serendipitous mash-up and more mod-17 shenanigans.</p>
<p><i>Keith Eisenbrey 7: 1995-2001</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1774068906/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-7-1995-2001">Keith Eisenbrey 7: 1995-2001 by Keith Eisenbrey, Karen Eisenbrey</a></iframe>
<p>
During our years of chaos (parenting), keeping my hand in the game writing
short pieces - and one big break-through.
</p>
<p><i>Keith Eisenbrey 6: 1988-1994</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1185240499/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-6-1988-1994">Keith Eisenbrey 6: 1988-1994 by Keith Eisenbrey</a></iframe>
<p>
Working with narrative forms, both explicit and implicit, playing games with
memory, and finding ways to set texts.
</p>
<p><i>Keith Eisenbrey 5: 1984-1988</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=641022695/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-5-1984-1988">Keith Eisenbrey 5. 1984-1988 by Keith Eisenbrey</a></iframe>
<p>
My first years back in the Puget Sound area, working with the experience of
repetition and with relationships between the vertical and horizontal pitch
realms.
</p>
<p><i>Keith Eisenbrey 4: 1983-1984</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3616259267/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-4-1983-1984">Keith Eisenbrey 4. 1983-1984 by Keith Eisenbrey</a></iframe>
<p>
Finishes up the music I wrote while I was in New York (state) under the
ostensible supervision of the academic world.
</p>
<p><i>Keith Eisenbrey 3: 1982-1983</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2544871921/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-3-1982-1983">Keith Eisenbrey 3. 1982-1983 by Keith Eisenbrey</a></iframe>
<p>
Written in Red Hook, NY, and Malabar, FL, as I was beginning to think about
thinking about music.
</p>
<p><i>Keith Eisenbrey 2: 1981-1982</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1543052747/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-2-1981-1982">Keith Eisenbrey 2. 1981-1982 by Keith Eisenbrey</a></iframe>
<p>
What occupied my time toward at the end of my undergrad days and in the year
before I went east for a while.
</p>
<p><i>Keith Eisenbrey 1: 1979-1981</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1650666157/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-1-1979-1981">Keith Eisenbrey 1. 1979-1981 by Keith Eisenbrey</a></iframe>
<p>Keyboard works I composed while an undergrad at the UW. </p>
<p>All are free for download.</p>
<p><b>Skaldmud's Doodle Gallery</b></p>
<p>listening journal doodles from 2015</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQfuceaep60UusWnzU4CwyDZXrGdsaTMAFYjBnYJtxZg54RugsVaxbTer2qZDWPLvoqKVFLtPC54rwbAaaXbUNY5mxQLSujOQHrPR-QsyjnvnEZJa8gXfyZaiYFtqiw3PIXVfX4RBcU6rPsNMiAq_6jBlI7fRAK_krhkunJnY47mAKUvvMHVfBcpIQ-bA/s2441/2023%20scan732.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="536" data-original-width="2441" height="88" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQfuceaep60UusWnzU4CwyDZXrGdsaTMAFYjBnYJtxZg54RugsVaxbTer2qZDWPLvoqKVFLtPC54rwbAaaXbUNY5mxQLSujOQHrPR-QsyjnvnEZJa8gXfyZaiYFtqiw3PIXVfX4RBcU6rPsNMiAq_6jBlI7fRAK_krhkunJnY47mAKUvvMHVfBcpIQ-bA/w400-h88/2023%20scan732.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggBbVE1cHXFeNromJS8npuBGTBZHhHeYJH5z4KyWMp7WYJtgjD5mUhl8zhLuRmJIU1uhd5NtnV8XeW6Lo2oGBdlEzBdHgjU8DXWMj0-rbnJmCEoxrTNs11je8BKjA6T0oBjRlRC2Gywwc74ExWiB0GsoJv0DZuZ8BH_sxIMIGwmYr6wruGE6mhfpXIy_I/s1023/2023%20scan733.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1023" data-original-width="516" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggBbVE1cHXFeNromJS8npuBGTBZHhHeYJH5z4KyWMp7WYJtgjD5mUhl8zhLuRmJIU1uhd5NtnV8XeW6Lo2oGBdlEzBdHgjU8DXWMj0-rbnJmCEoxrTNs11je8BKjA6T0oBjRlRC2Gywwc74ExWiB0GsoJv0DZuZ8BH_sxIMIGwmYr6wruGE6mhfpXIy_I/w201-h400/2023%20scan733.jpg" width="201" /></a></div><br /><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsnpNzveDYwJsNk69LCAi7duyeFggipSHMUvVeAE9R5Dx36Ka37H_Jt8qP69J7Mzar_I5fwKPM2ZcgFzTD8CnyYNqRYHhxnF-ig97OrVoSw9RePTcawHzNqjMkkdc3VlOS3KiLVKVE97DIxdYEO3nEe3iY7X3gpASB7z0SNluXp8KXIVeXhk1FtPHIsUc/s1860/2023%20scan734.jpg"><img border="0" data-original-height="915" data-original-width="1860" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsnpNzveDYwJsNk69LCAi7duyeFggipSHMUvVeAE9R5Dx36Ka37H_Jt8qP69J7Mzar_I5fwKPM2ZcgFzTD8CnyYNqRYHhxnF-ig97OrVoSw9RePTcawHzNqjMkkdc3VlOS3KiLVKVE97DIxdYEO3nEe3iY7X3gpASB7z0SNluXp8KXIVeXhk1FtPHIsUc/w400-h196/2023%20scan734.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj84wnZAbomPeoqYAI3-pZcz-6e3ryY6y9JxcWWH19WNHR34UFcAUwCL2qA5E0fv7Gx2x-YduPeEpaRZigK-YUsETRLwhkjNf6iKigXlk0pHCjYK4G6vu3GT0F0bUoZXMShKLAImnGIgJKEaubmQvm9yN1dv5jCnGxlBypW8lUTCdpt19mGze5yY9fr2k4/s2461/2023%20scan735.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1319" data-original-width="2461" height="215" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj84wnZAbomPeoqYAI3-pZcz-6e3ryY6y9JxcWWH19WNHR34UFcAUwCL2qA5E0fv7Gx2x-YduPeEpaRZigK-YUsETRLwhkjNf6iKigXlk0pHCjYK4G6vu3GT0F0bUoZXMShKLAImnGIgJKEaubmQvm9yN1dv5jCnGxlBypW8lUTCdpt19mGze5yY9fr2k4/w400-h215/2023%20scan735.jpg" width="400" /></a></div><br /><p><br /></p>
Keith Eisenbreyhttp://www.blogger.com/profile/16399615075612440296noreply@blogger.com0tag:blogger.com,1999:blog-7569166511516520581.post-60539671466867137262023-12-16T11:43:00.000-08:002023-12-16T13:51:53.900-08:00Playlist<p style="text-align: center;"><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikmrcZUy7o3aWSWHKmX8593hxKt7JQY0csvSrErvf5Kz1npKd9MQnzi5CK4MS8tBRDlvKG6PAH_z_dWExwX9Vsol_4r63qWgdduntomt_Y510xeL2tnmaSWlpK9ecIYjYPYK_Z8pvYEKbRdmwwZpif2Cl4AdJvhksBIYQWkbojT8lzWrId8XlO0iMxXJQ/s5472/231216%20G.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikmrcZUy7o3aWSWHKmX8593hxKt7JQY0csvSrErvf5Kz1npKd9MQnzi5CK4MS8tBRDlvKG6PAH_z_dWExwX9Vsol_4r63qWgdduntomt_Y510xeL2tnmaSWlpK9ecIYjYPYK_Z8pvYEKbRdmwwZpif2Cl4AdJvhksBIYQWkbojT8lzWrId8XlO0iMxXJQ/w400-h266/231216%20G.jpg" width="400" /></a></b></div><b>Preface</b><p></p>
<p>
"'We took them out of the smoke,<br />since they're no longer gleaming<br />as
once they were when Odysseus left for Troy<br />but are all tarnished now<br />where
the breath of fire has touched them.<br />Furthermore,<br />
some god has put a greater fear in my breast:<br />that when you're full
of wine<br />and have some fracas going on among you,<br />you'll injure one
another<br />and cause aspersions to be cast upon your feast<br />
and on your
wooing,<br />for iron draws a man to it all on its own.'"
</p>
<p>Homer - from "The Odyssey", translated by Charles Stein</p>
<p style="text-align: center;"><b>Texts</b></p>
<p><b>Recorded</b></p>
<p>December 10, 2023</p>
<p><i>Étude in C minor, Op. 10 #12</i> - Frédéric Chopin - Garrick Ohlsson</p>
<p>such passion can't resolve <br />only subside </p>
<p>
one could also read this (Revolutionary Étude) <br />as the guillotining étude
<br />the crowd frenzy <br />followed by a head hitting the basket
<br />cinematic gore
</p>
<p><i>Another Good Cow Puncher</i> - Charles Ives - Kia Sams, Russ Warner</p>
<p>did Ives travel West as a young man?</p>
<p>
<i>Well You Needn't (alternate take)</i> - Thelonious Monk [from
<i>The Complete Blue Note Recordings</i>]
</p>
<p>the left hand finds a chromatic path <br />slowly <br />stepwise</p>
<p>
<i>Rip It Up (take 3)</i> - Little Richard [from <i>Here's Little Richard</i>]
</p>
<p>down to the Union Hall <br />Rock Rip Shake Rock <br />happy soul</p>
<p>
<i>I'll Never Stand In Your Way</i> - Ray Charles [from
<i>Modern Sounds in Country and Western Music</i>]
</p>
<p>the art <br />of not over singing</p>
<p>a letter <br />to be reread </p>
<p>
<i>I Can't Come In With a Broken Heart</i> - Bob Dylan [from
<i>A Tree With Roots</i>]
</p>
<p>a somewhat desperate attempt <br />to internalize a continent's music</p>
<p>
<i>Wave </i>- Sarah Vaughan [from <i>Sarah Vaughan with Michel LeGrand</i>]
</p>
<p>
to display her range <br />and accurate landings <br />any old where <br />and
to sell it
</p>
<p>I'm not convinced by that clarinet though <br />if that's what it is</p>
<p>
<i>Dreamland</i> - Joni Mitchell [from <i>Don Juan's Reckless Daughter</i>]
</p>
<p>claimed the beach <br />and all the concessions </p>
<p>journal entry song </p>
<p>on the arm of her Marlboro Man</p>
<p><i>Celestial Love</i> - Sun Ra [from <i>Celestial Love</i>]</p>
<p>
the outlook shifts every few measures <br />just a bit <br />modest <br />but
telling parallax <br />chord colors adjust as we dance
</p>
<p><i>Too Dizzy</i> - David Bowie [from <i>Never Let Me Down</i>]</p>
<p>
stanzas begin and persist in a narrow place <br />until the last line
<br />escaping out the pressure valve
</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhS4tZ9ue2cjQRy7Ub9sGlJ_hmUTO0SKBuy8xiPB5T1kdi68oKU-5gzJFZFDnshaX8PIKigBmNZL7kdrvAYOuU502aV-TCVLhfdbnP7BsiuNd-qURLtWoDV8SwltAnl5kuIi8-vBnbH2B-7-nR_OlDUolj5DVCD2xH6Gq0a1MHB9v8_WYnOTq5cuV_O1qs/s5472/231216%20C.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhS4tZ9ue2cjQRy7Ub9sGlJ_hmUTO0SKBuy8xiPB5T1kdi68oKU-5gzJFZFDnshaX8PIKigBmNZL7kdrvAYOuU502aV-TCVLhfdbnP7BsiuNd-qURLtWoDV8SwltAnl5kuIi8-vBnbH2B-7-nR_OlDUolj5DVCD2xH6Gq0a1MHB9v8_WYnOTq5cuV_O1qs/w400-h266/231216%20C.jpg" width="400" /></a></i></div><i>Stewball</i> - Mike, Peggy, and Penny Seeger [from
<i>Animal Folk Songs for Children</i>]
<p></p>
<p>
guys into ponies <br />and presumably purses <br />for running them <br />or
something
</p>
<p>the story may have lost me somewhere</p>
<p>
<i>Shoplifting Clothes</i> - Paul Simon [from <i>Songs from The Capeman</i>]
</p>
<p>
the sexy bass voice of commerce <br />tempting <br />would you like to buy her
a diamond
</p>
<p><i>Chorale</i> - Greg Sinibaldi [from <i>Frieze of Life</i>]</p>
<p>
we have been brought to this place <br />escorted by the bass and drums
<br />where the winds are our acolytes
</p>
<p><i>Last to Die</i> - Bruce Springsteen [from <i>Magic</i>]</p>
<p>war betrays youth <br />how much armor does one man need?</p>
<p><i>Wicked Game (Chris Isaak)</i> - Prom Queen [from <i>Covers</i>]</p>
<p>lines that veer <br />if divided into tiny word sets</p>
<p><i>The Drop</i> - Steve Layton [from <i>No Answer</i>]</p>
<p>maintenance machines <br />scouring the nanoways</p>
<p><i>Totem 45</i> - Sascia Pellegrini [from <i>Totem IV</i>]</p>
<p>
auras interact <br />as they pass near each other <br />this <br />is that
sound <br />turned way up
</p>
<p>a breaking city <br />war zone activated <br />ravenous beast</p>
<p><i>Toccata in C Major, Op. 7</i> - Robert Schumann - Florian Uhlig</p>
<p>
clear the decks <br />there's some fingers gonna wiggle here <br />and they
need room
</p>
<p>hiding supplemental melodies <br />within a figuration thicket </p>
<p>see there <br />that's why you've got to stand back </p>
<p>here we go again</p>
<p>
<i>Where My House Lives</i> - Willie Nelson [from
<i>. . . And Then I Wrote</i>]
</p>
<p>
behind the hokey <br />is the reality of economic separation <br />by forced
continental jobs seeking
</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiB2WTDr1VwBehmZxJBEzju0fGCjpizDUFivHE7nWkR73I09p0T8L3zkgcw0pZp7wFG3nccZYV5ezW51n1Gu_kVW_ukU2QVZFHomnWnblljt-TdcsF6ca_z9VhMgNPweZvQy_KhGa7Qxy1CghN8M1DFH3R8jKNXbry2SsoyYQaIInossVyiAntTQH1W_bU/s5472/231216%20F.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiB2WTDr1VwBehmZxJBEzju0fGCjpizDUFivHE7nWkR73I09p0T8L3zkgcw0pZp7wFG3nccZYV5ezW51n1Gu_kVW_ukU2QVZFHomnWnblljt-TdcsF6ca_z9VhMgNPweZvQy_KhGa7Qxy1CghN8M1DFH3R8jKNXbry2SsoyYQaIInossVyiAntTQH1W_bU/w400-h266/231216%20F.jpg" width="400" /></a></div>December 11, 2023<p></p>
<p><i>Bandwagon</i> - REM [from <i>Dead Letter Office</i>]</p>
<p>
the words keep on starting over <br />scooping up from below <br />repetition
<br />because there's only so much content that can be used <br />per song
<br />too much <br />and the multitudes will be confused <br />and unable to
find the record for purchase
</p>
<p><i>Magic City Wholesale</i> - Waxahatchee [from <i>American Weekend</i>]</p>
<p>word by word rhyme lists <br />smile at everyone <br />formulaic fun</p>
<p><i>Come Pick Me Up</i> - Star Anna [from <i>Soundtrack</i>]</p>
<p>perverse desire <br />from inside the party <br />of the perverse part</p>
<p><i>Como Yo</i> - Christina Aguilera [from <i>Aguilera</i>]</p>
<p>
tactic: <br />open with a portion of the upcoming groove <br />that would be
readily understood <br />as fitting <br />into an on-the-beat <br />sort of
place <br />but reveal <br />that that was mistaken <br />by completing the
groove <br />in an other on-the-beat<br />sort of place<br />(demonstrating
<br />how assembled this is) <br />snap to fit
</p>
<p>
<i>Im Bad wol wir recht frolich sein</i> - Ludwig Senfl - Tielman Susato
Krummhorn Gesellschaft [from <i>The Glory of the Krummhorn</i>]
</p>
<p>domestic nursery song (?) <br />given the full learned treatment</p>
<p><i>Misanthrope</i> - Black Plastic Clouds [from <i>Electroplate</i>]</p>
<p>
quasi doppio tempo <br />keep the greater beat <br />cut the internal
subdivisions out <br />yell and yawp
</p>
<p><i>Delicate</i> - Taylor Swift [from <i>Reputation</i>]</p>
<p>
the difficulties <br />of trusting anyone <br />while living a public life
<br />microscope of which <br />is <br />an extended adolescent
self-consciousness <br />but now alienated from self
</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx3U_7nrYOV1-OaBKagvRw50gtnCwaGA3NCziGvziywL2GugWRQKfcYC4Bh9zWcmz6mrMdaCci7GQHITQExLfd_NqSQLx8_pegHnNyDN1FZOn0VummCiJA0oVEdTYE1hAVtgk7Vb382UeCqA2qWEhf_UxVFCdYx6NUz3PFEtCYOoUV_3bzQL6NTnICkyQ/s3465/231216%20B.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2937" data-original-width="3465" height="339" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx3U_7nrYOV1-OaBKagvRw50gtnCwaGA3NCziGvziywL2GugWRQKfcYC4Bh9zWcmz6mrMdaCci7GQHITQExLfd_NqSQLx8_pegHnNyDN1FZOn0VummCiJA0oVEdTYE1hAVtgk7Vb382UeCqA2qWEhf_UxVFCdYx6NUz3PFEtCYOoUV_3bzQL6NTnICkyQ/w400-h339/231216%20B.jpg" width="400" /></a></i></div><i>Ludwigssyndrome (Ludwig's Syndrome)</i> - Eric Nathan [from
<i>Missing Words</i>]
<p></p>
<p>
in the shape of cinematic drama <br />the sounds can be seen doing this
<br />in our hearing <br />characters <br />elements <br />objects
<br />puppets <br />what happens <br />stays happened <br />a disassembled
ensemble composition
</p>
<p>
<i>Operating Room Interview</i> - Boogie Down Productions [from
<i>Criminal Minded</i>]
</p>
<p>publicity is performance</p>
<p>
<i>Altas Aventuras</i> - Camarones Orquestra Guitarristica [from
<i>Live in Natal</i>]
</p>
<p>soundtrack ready</p>
<p><i>Two Trees</i> - Lures [from <i>There's No Pressure</i>]</p>
<p>
sounds like a children's book <br />until the singer comes in <br />sounding
like an adult <br />who lives in a children's book neighborhood
</p>
<p>
<i>Hyphae</i> - Benton Roark [from <i>Music from The Apocrypha Chronicles</i>]
</p>
<p>peaceful</p>
<p><i>Leave Me Alone</i> - Michael Jackson [from <i>Bad</i>]</p>
<p>clenched tight <br />spring steel</p>
<p><i>Jealous</i> - Beyoncé [from <i>Beyoncé</i>]</p>
<p>
the main vocal thread <br />is a talking to <br />or a narration <br />the
others <br />are marginal comments
</p>
<p><i>Rx for Recipe</i> -Amy Denio [from <i>The Big Embrace</i>]</p>
<p>a big pinch of surfers <br />travel scrapbook</p>
<p><i>Something's Wrong</i> - Emily Stranger [from <i>Labor of Love</i>]</p>
<p>journal entry <br />overshared on the socials <br />as a song</p>
<p><i>The Cross (2020 Remaster)</i> - Prince [from <i>Sign O' The Times</i>]</p>
<p>
an interesting Christology <br />I'm not sure <br />if it needed any more than
that acoustic guitar <br />and his voice <br />especially the sitar back there
<br />sneaked in from Help
</p>
<p>
<i>Track 8</i> - Curtains For You [recorded live at The High Dive, Seattle,
April 6, 2012]
</p>
<p>
quite a nice rhythm section back there <br />the keys dance on their floor
</p>
<p>
<i>What Am I To Do </i>- Shelby Earl [from
<i>The Man Who Made Himself A Name</i>]
</p>
<p>Orion in June</p>
<p><i>Taos (Duet)</i> - Steve Peters [from <i>With My Back To The World</i>]</p>
<p>gentle syllable to syllable</p>
<p>
<i>Thursdays Tape (Part 1)</i> - Barrytown Orchestra (Tildy Bayar, Wayne
Berman, Benjamin Boretz, Markus Olin-Fahle, Marco Ramirez)
</p>
<p>
gently begun <br />sounds like music shifting in its chair <br />music shifts
<br />in its shifting chair <br />poking inquiries <br />from the many corners
<br />negotiating by ear <br />all the perils <br />of social interaction
<br />sharing good <br />piling on <br />not so much <br />seems unlikely in
this crowd anyhow <br />music <br />as a utopian clot of times <br />a path
forward <br />for the non-homogenous <br />or a-homogenous <br />(ahem)
<br />in the same house together <br />something is simmering on the stove
<br />somebodies are having a raspberry contest <br />in the back of the
kitchen <br />ever on the verge <br />of settling back <br />to hear nothing
happening <br />except <br />settling back to hear it <br />to be furthered
</p>
<p><i>Greed</i> - Karin Blaine [from <i>Modern Day Living</i>]</p>
<p>so many preachers in the family</p>
<p>
<i>The Biggest Thing That Man Has Ever Done (The Great Historical Bum)</i> -
Caitlin Belem Romtvedt, David Romtvedt, Joe Seamons [from
<i>Roll Columbia</i>]
</p>
<p>
condensed history of American Exceptionalism <br />from the worker's point of
view <br />with anti-Hitler message tag verse
</p>
<p>
<i>Strengur</i> - Halla Steinunn Stefánsdóttir - Halla Steinunn Stefánsdóttir,
Kent Olofsson [from <i>Strengur</i>]
</p>
<p>
upon what terms does this entreat my engagement? <br />1. curiosity:
<br />what is this brave new world <br />what are these brave new strangers?
<br />2. gatekeeping: <br />what do I get out of this? <br />3. interest:
<br />I sought it out <br />so owe it my attentions <br />4. snobbery:
<br />I'm so cool to be listening to this <br />5. lust: <br />it's so
voluptuous <br />6. surveillance: <br />keeping tabs on the world
<br />outside my doors
</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEUlBIneuw_zEsYNrSV1-EDwooJ0cQEQAp8afi280SNjdSkoORMSbkWv_YKkvVFNW3m6lb1u42FHjRbnbmGbe1hV5V5AP21hFSWpED12SG9MlELEKEle7ra5TjFrjx9hyphenhyphen8264nPPbdKIxKmGgirWSBm6oreeMqzqdNM7KpxGQwNWM3hVELHuY_GVdFh1o/s3615/231216%20E.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2361" data-original-width="3615" height="261" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEUlBIneuw_zEsYNrSV1-EDwooJ0cQEQAp8afi280SNjdSkoORMSbkWv_YKkvVFNW3m6lb1u42FHjRbnbmGbe1hV5V5AP21hFSWpED12SG9MlELEKEle7ra5TjFrjx9hyphenhyphen8264nPPbdKIxKmGgirWSBm6oreeMqzqdNM7KpxGQwNWM3hVELHuY_GVdFh1o/w400-h261/231216%20E.jpg" width="400" /></a></div>December 12, 2023<p></p>
<p><i>Monster</i> - Tyrannosaurus Grace [from <i>Much More Than A Story</i>]</p>
<p>
two syllables at a <br />time developing into extended groupings <br />but not
far extended <br />ends of lines <br />get special treatment
</p>
<p>
<i>Don't Worry </i>- Chastity Belt [from
<i>I Used To Spend So Much Time Alone</i>]
</p>
<p>bedroom mope</p>
<p><i>Melting Down</i> - Tom Swafford [from <i>Rough Spans</i>]</p>
<p>contemplations in wax</p>
<p><i>Snowy Summer</i> - Specyphi [from <i>Nine Songs</i>]</p>
<p>
overwhelming sameness of weight and delivery <br />factory output <br />day
and night
</p>
<p><i>Choist</i> - Gaytheist [from <i>Let's Jam Again Soon</i>]</p>
<p>enabling testosteronic anger vibes</p>
<p><i>Old Dog Tray</i> - Robin Holcomb [from <i>One Way Or Another</i>]</p>
<p>let's revisit old Americana shall we?</p>
<p>
<i>Your Fabulous Friends</i> - Shannon Stephens [from <i>Pull It Together</i>]
</p>
<p>guitar doing a hi-hat gesture <br />open shut <br />open shut</p>
<p><i>Valley Hum</i> - CEP [from <i>Drawing The Target Around The Arrow</i>]</p>
<p>playing with pitch bend</p>
<p>
<i>Be A Fool </i>- Mikey and Matty [from
<i>And It Came To Pass/Not to Stay</i>]
</p>
<p>the words between the blue lines</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZMqTL1CULNFKayaBTP4N5xNqctNhZohTnsXtqa1hvgWfmUa7KgrkHJG9XjEZ-ynkQCHl4Br0x40LBfWM7sAPGWV-NjfLbYn5DDtfuJjbD_G78GGctWZfQy3uYxm0EnrfGCb50Ou4bP2pkYuPw8SgDsySmT6Fbm8EyEmMuPOTrA5WIqrjc1HWgnJwHHNE/s3199/231216%20A.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3199" data-original-width="3008" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZMqTL1CULNFKayaBTP4N5xNqctNhZohTnsXtqa1hvgWfmUa7KgrkHJG9XjEZ-ynkQCHl4Br0x40LBfWM7sAPGWV-NjfLbYn5DDtfuJjbD_G78GGctWZfQy3uYxm0EnrfGCb50Ou4bP2pkYuPw8SgDsySmT6Fbm8EyEmMuPOTrA5WIqrjc1HWgnJwHHNE/w376-h400/231216%20A.jpg" width="376" /></a></i></div><i>I Don't Give a (feat. Nicki Minaj)</i> - Madonna [from <i>MDNA</i>]<p></p>
<p>
we have become our jail bars <br />embracing clockwork precision <br />machine
enforced <br />promotion of self <br />is the product <br />ooga chaka
<br />ooga chaka
</p>
<p><i>Brain is for Lovers</i> - Bad Cop/Bad Cop [from <i>Warriors</i>]</p>
<p>from the other side of a passage</p>
<p><i>Nocturne</i> - Eric Flesher</p>
<p>fireflies and phosphoresence</p>
<p>
<i>Hippie in My House</i> - Rachel Harrington [from
<i>Makin' Our House a Honkytonk</i>]
</p>
<p>try to clean him up some <br />this land is your land too</p>
<p><i>Mette's Tune</i> - Tomten [from <i>Cremation Songs</i>]</p>
<p>
prelude brings us into the space of this <br />it is its immediate appearance
<br />not its textual payload
</p>
<p><i>Ode to the Sun</i> - Carson Farley</p>
<p>complete with signage</p>
<p><i>Superbronco</i> - Yuni in Taxco [from <i>Prizes</i>]</p>
<p>
see what I can <br />do over and over <br />a juggling act <br />polyphony
pervades every thought <br />thinking pink <br />thinking floyd
</p>
<p><i>Sun Scenario</i> - Ephrata [from <i>Ephrata</i>]</p>
<p>glorious day <br />refreshing aural rinse <br />crescendo</p>
<p><i>Sinfonia 4 (clavichord)</i> - Keith Eisenbrey - Keith Eisenbrey</p>
<iframe allow="autoplay" frameborder="no" height="20" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1584398703&color=%23ff5500&inverse=false&auto_play=false&show_user=true" width="100%"></iframe>
<div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;">
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</div>
<p>
one cannot help <br />but talk with ones hands <br />the language of hands
<br />needs no truth
</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_i50kCnnUISa4b_FpLp5ApXkCCQNmmwomNxhDVFrUG3pUuV8purVuMhqmL9-U7OWoiaHCz4crW47drNueRV7EXMAQXkCqMH-jsFF0A-G5vKeGt21a81lsbyFS4OPE6G57OOR9Us-2ajxue0Cy3QKc6H692Wfw4lM18FaX61vKxO6-q80jkcATOm2QJ54/s918/231216%20H.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="399" data-original-width="918" height="174" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_i50kCnnUISa4b_FpLp5ApXkCCQNmmwomNxhDVFrUG3pUuV8purVuMhqmL9-U7OWoiaHCz4crW47drNueRV7EXMAQXkCqMH-jsFF0A-G5vKeGt21a81lsbyFS4OPE6G57OOR9Us-2ajxue0Cy3QKc6H692Wfw4lM18FaX61vKxO6-q80jkcATOm2QJ54/w400-h174/231216%20H.jpg" width="400" /></a></i></div><i>Svadba</i> - Stantislav Surin [from <i>10 Songs</i>]<p></p>
<p>chords come in threes <br />developmental quartad</p>
<p><i>The Night Has No Eyes</i> - Chris Brokaw</p>
<p>I am smaller than my guitar <br />even when there are two of me</p>
<p><i>Sinfonia 4 (piano)</i> - Keith Eisenbrey - Keith Eisenbrey</p>
<iframe allow="autoplay" frameborder="no" height="20" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1596711705&color=%23ff5500&inverse=false&auto_play=false&show_user=true" width="100%"></iframe>
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</div>
<p>but the piano <br />says different things <br />with my hands</p>
<p>
<i>Ever Feel So Down</i> - Song Sparrow Research [from
<i>Song Sparrow Research</i>]
</p>
<p>whence this desire for such soft sounds? <br />naugahyde pop</p>
<p><i>C.O.D. (Human Error Pre-Order)</i> - Charms</p>
<p>
worth the pre-order <br />for the ability <br />to refer to the track <br />as
above <br />which amuses me
</p>
<p><i>The Sun of Righteousness On Me</i> - Keith Eisenbrey - Keith Eisenbrey</p>
<p>
more a proof of concept <br />than a performance I like <br />I do like the
piece though <br />trying to out-austere old Sam Wesley
</p>
<p><i>Fever Swimmer</i> - Brendan Byrnes [from <i>Micropangea</i>]</p>
<p>
fun with synthtoys <br />for big boys <br />music to display <br />a bespoke
tuning
</p>
<p><i>Sandworm </i>- Emma Danner</p>
<p>as though sung through a pre-digital telephone <br />autumn depressional</p>
<p><i>All The Stupid Days</i> - The No-Ones</p>
<p>
small volcano on parade <br />beneath the cellar floor <br />in the massed
guitar room
</p>
<p>
<i>Uderfrykte</i> - The Ancients [recorded live at The Rat and Raven, Seattle,
August 9, 2012]
</p>
<p>
theme songs <br />for their favorite <br />late-night <br />schlock
<br />anime <br />adventure fantasy <br />team <br />credit are
apportioned
</p>
<p><i>One on One (midi)</i> - Benjamin Boretz</p>
<p>
midi sings a robot tune <br />but it's an actual thing being sung <br />robot
or not <br />bot or not <br />dynamic presence <br />elastic space
<br />running cables <br />snaking node paths
</p>
<p>
<i>Invention in A minor (2a from 19 Inventions)</i> - Gavin Borchert - Keith
Eisenbrey
</p>
<p>such lovely lines!</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBTcyNKc9Xy9TuXSpNws79-9nYR9548BrG1z5kUDONI1tg1cmsmaSDW3eYMcIOcUhp6ttqybGk0dn4sNTelzgL8vrb133u4dugEB3Ekic-aun_hQRY22GSc6YxTQdCcKFuMH0qYFTlARE2ODvy1ncsdxu4NpV1bLehH3U7ijVPacD6SRIvn5graFDZEkw/s5472/231216%20D.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBTcyNKc9Xy9TuXSpNws79-9nYR9548BrG1z5kUDONI1tg1cmsmaSDW3eYMcIOcUhp6ttqybGk0dn4sNTelzgL8vrb133u4dugEB3Ekic-aun_hQRY22GSc6YxTQdCcKFuMH0qYFTlARE2ODvy1ncsdxu4NpV1bLehH3U7ijVPacD6SRIvn5graFDZEkw/w400-h266/231216%20D.jpg" width="400" /></a></div>December 14, 2023<p></p>
<p>
<i>Hold Tight Geraldine</i> - Andrew James Robison [recorded live at The Rat
and Raven, Seattle, August 9, 2012]
</p>
<p>
downbeats release to the back <br />downbeat beat <br />full of word
<br />back of beat beat <br />more clipped
</p>
<p>
<i>Guitar Sonata in D minor, Movements III and IV</i> - Jeremiah Lawson
[recorded live at The Chapel Performance Space, Good Shepherd Center, Seattle,
July 7, 2017]
</p>
<p>
treating American hymnody with love and respect <br />with figuration
variations <br />from all over the guitar pickers map
</p>
<p><i>Watch's End</i> - Alex Anthony Faide </p>
<p>
big synthy chords <br />fading into and out from each other<br /> gooily
<br />and then <br />the ubiquitous steady pulse <br />drum machined tracks
<br />to resolve it <br />into familiar territory <br />where we remain stuck
<br />even after it all fades to off
</p>
<p>
<i>Track 9</i> - Nancy Cole Silverman - Adam Verner [from
<i>A Much Married Woman</i>]
</p>
<p>they jabbered on <br />drinks for the house!</p>
<p>
<i>Out </i>- Jay Hamilton [recorded live at The Chapel Performance Space, Good
Shepherd Center, Seattle, July 7, 2017]
</p>
<p>
crowded commands muttered <br />begin <br />turn again <br />close <br />if
none <br />then motor suggestions <br />overhead (a bang!)
</p>
<p>||applause|| </p>
<p>
comments and questions are entertained <br />still coping with the box
<br />not Swan Lake <br />both accident and on purpose <br />some discussion
of when it begins and ends
</p>
<p><b>In Session at The Tintinabulary</b></p>
<p>December 8, 2023</p>
<p><i>Sinfonia 9 (midi)</i> - Keith Eisenbrey</p>
<iframe allow="autoplay" frameborder="no" height="20" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1692136812&color=%23ff5500&inverse=false&auto_play=false&show_user=true" width="100%"></iframe>
<div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;">
<a href="https://soundcloud.com/keith-eisenbrey" style="color: #cccccc; text-decoration: none;" target="_blank" title="Keith Eisenbrey">Keith Eisenbrey</a>
·
<a href="https://soundcloud.com/keith-eisenbrey/09-sinfonia-9-231208" style="color: #cccccc; text-decoration: none;" target="_blank" title="09 Sinfonia 9 231208">09 Sinfonia 9 231208</a>
</div>
<p>
I made a few changes from an earlier version while it was in clavichord
workshop, but now it's done.
</p>
<p>December 9, 2023</p>
<p><i>Sinfonia 9 (clavichord)</i> - Keith Eisenbrey</p>
<iframe allow="autoplay" frameborder="no" height="20" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1692137415&color=%23ff5500&inverse=false&auto_play=false&show_user=true" width="100%"></iframe>
<div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;">
<a href="https://soundcloud.com/keith-eisenbrey" style="color: #cccccc; text-decoration: none;" target="_blank" title="Keith Eisenbrey">Keith Eisenbrey</a>
·
<a href="https://soundcloud.com/keith-eisenbrey/09-sinfonia-9-231208-231209-clavichord" style="color: #cccccc; text-decoration: none;" target="_blank" title="09 Sinfonia 9 231208 [231209] Clavichord">09 Sinfonia 9 231208 [231209] Clavichord</a>
</div>
<p>
It is a much different piece when played on clavichord than when the robot
harpsichord is set off.
</p>
<p>December 10, 2023</p>
<p><i>Winchelsea</i> - Keith Eisenbrey</p>
<iframe allow="autoplay" frameborder="no" height="20" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1692135984&color=%23ff5500&inverse=false&auto_play=false&show_user=true" width="100%"></iframe>
<div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;">
<a href="https://soundcloud.com/keith-eisenbrey" style="color: #cccccc; text-decoration: none;" target="_blank" title="Keith Eisenbrey">Keith Eisenbrey</a>
·
<a href="https://soundcloud.com/keith-eisenbrey/23-winchelsea-231210-231210" style="color: #cccccc; text-decoration: none;" target="_blank" title="23 Winchelsea 231210 [231210]">23 Winchelsea 231210 [231210]</a>
</div>
<p>
another arrangement of a tune from a shape-note songbook promulgated during
the Tyler Administration.
</p>
<p style="text-align: center;"><b>Postscripts</b></p>
<p><b>Drops</b></p>
<p><i>Keith Eisenbrey 8: 2001-2002</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1360596768/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/transparent=true/" style="border: 0; height: 470px; width: 350px;"><a
href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-8-2001-2002"
>Keith Eisenbrey 8: 2001-2002 by Keith Eisenbrey</a
></iframe>
<p>A serendipitous mash-up and more mod-17 shenanigans.</p>
<p><i>Keith Eisenbrey 7: 1995-2001</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1774068906/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a
href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-7-1995-2001"
>Keith Eisenbrey 7: 1995-2001 by Keith Eisenbrey, Karen Eisenbrey</a
></iframe>
<p>
During our years of chaos (parenting), keeping my hand in the game writing
short pieces - and one big break-through.
</p>
<p><i>Keith Eisenbrey 6: 1988-1994</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1185240499/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a
href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-6-1988-1994"
>Keith Eisenbrey 6: 1988-1994 by Keith Eisenbrey</a
></iframe>
<p>
Working with narrative forms, both explicit and implicit, playing games with
memory, and finding ways to set texts.
</p>
<p><i>Keith Eisenbrey 5: 1984-1988</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=641022695/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a
href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-5-1984-1988"
>Keith Eisenbrey 5. 1984-1988 by Keith Eisenbrey</a
></iframe>
<p>
My first years back in the Puget Sound area, working with the experience of
repetition and with relationships between the vertical and horizontal pitch
realms.
</p>
<p><i>Keith Eisenbrey 4: 1983-1984</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3616259267/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a
href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-4-1983-1984"
>Keith Eisenbrey 4. 1983-1984 by Keith Eisenbrey</a
></iframe>
<p>
Finishes up the music I wrote while I was in New York (state) under the
ostensible supervision of the academic world.
</p>
<p><i>Keith Eisenbrey 3: 1982-1983</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2544871921/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a
href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-3-1982-1983"
>Keith Eisenbrey 3. 1982-1983 by Keith Eisenbrey</a
></iframe>
<p>
Written in Red Hook, NY, and Malabar, FL, as I was beginning to think about
thinking about music.
</p>
<p><i>Keith Eisenbrey 2: 1981-1982</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1543052747/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a
href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-2-1981-1982"
>Keith Eisenbrey 2. 1981-1982 by Keith Eisenbrey</a
></iframe>
<p>
What occupied my time toward at the end of my undergrad days and in the year
before I went east for a while.
</p>
<p><i>Keith Eisenbrey 1: 1979-1981</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1650666157/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a
href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-1-1979-1981"
>Keith Eisenbrey 1. 1979-1981 by Keith Eisenbrey</a
></iframe>
<p>Keyboard works I composed while an undergrad at the UW. </p>
<p>All are free for download.</p>
<p><b>Skaldmud's Doodle Gallery</b></p>
<p>listening journal doodles from 2014</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLMPmWWu89RziPEISo8RpGkqMDCzeUCuYt41Yn5mSlpz-EtP-CkiEWPYUOs5EM-SaIE-46mVTnHYqO3bSAWlGDyFT9D7EM1ptNHbrHg5tQJ_lCfzilx7rSM4wafB7sObaYOA1__omuD1SeNnd5sAw_oiZ9ITHT_DQococjIvNmfyEM_1_13HpK51jmS3o/s2446/2023%20scan729.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1240" data-original-width="2446" height="203" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLMPmWWu89RziPEISo8RpGkqMDCzeUCuYt41Yn5mSlpz-EtP-CkiEWPYUOs5EM-SaIE-46mVTnHYqO3bSAWlGDyFT9D7EM1ptNHbrHg5tQJ_lCfzilx7rSM4wafB7sObaYOA1__omuD1SeNnd5sAw_oiZ9ITHT_DQococjIvNmfyEM_1_13HpK51jmS3o/w400-h203/2023%20scan729.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUEw7wTgpolEwN64XdMA_zRJIAVhFq4gxJGhCBxxPNCHv1hdNcx6Pa-pEdoM-RcRokyIcrPasYx5WIf09B8EcoV4wNREViM2NUmQHpNnHCDAt1k17guivJ67GGz6Xt8HqBRSVCwtx558xduT14VleW20HxurT2AmAbgNpa_e-auORVBOC9I55EpPFXph8/s2348/2023%20scan730.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="733" data-original-width="2348" height="125" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUEw7wTgpolEwN64XdMA_zRJIAVhFq4gxJGhCBxxPNCHv1hdNcx6Pa-pEdoM-RcRokyIcrPasYx5WIf09B8EcoV4wNREViM2NUmQHpNnHCDAt1k17guivJ67GGz6Xt8HqBRSVCwtx558xduT14VleW20HxurT2AmAbgNpa_e-auORVBOC9I55EpPFXph8/w400-h125/2023%20scan730.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGRjB12ZaE0fiRqqS0UCxC0JsUtmyFq7ENz-rUMaAo9pjytnf-NTwAAJDfMjb9QY470M_gazIsVoDZexcaO2BWLQt1Z57NOtDhMIRj616ijdAuPRiGX_qd-eWi7vdaxoBoNMdgxxRa7UMRfXGcvPk-OMhR3o8_1k9SNdkWcE1eSAmm2rcfowJkwcugMLg/s2495/2023%20scan731.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1634" data-original-width="2495" height="263" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGRjB12ZaE0fiRqqS0UCxC0JsUtmyFq7ENz-rUMaAo9pjytnf-NTwAAJDfMjb9QY470M_gazIsVoDZexcaO2BWLQt1Z57NOtDhMIRj616ijdAuPRiGX_qd-eWi7vdaxoBoNMdgxxRa7UMRfXGcvPk-OMhR3o8_1k9SNdkWcE1eSAmm2rcfowJkwcugMLg/w400-h263/2023%20scan731.jpg" width="400" /></a></div><br /><p><br /></p>
Keith Eisenbreyhttp://www.blogger.com/profile/16399615075612440296noreply@blogger.com0tag:blogger.com,1999:blog-7569166511516520581.post-21362060084988721352023-12-09T12:01:00.000-08:002023-12-10T07:28:58.292-08:00Playlist<p><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiNORQggsG0cyB9GGsnlW1ZORv1xWyRf0aXIbsDfoj-ZG0TCWTngBftI5JVqLRxezBQc_yP1K4yWnuc3V2ywv98b-kR5smIkfDmpOJORNQVxQmp_Ita7C749Dwcpt0DO8RiSB6JeXx9bb7GUd5qbsArtwdJMzf6FOC9eSJFLAqoW-DE2fHI_bGeCPvqbE/s3675/231209%20L.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3546" data-original-width="3675" height="386" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiNORQggsG0cyB9GGsnlW1ZORv1xWyRf0aXIbsDfoj-ZG0TCWTngBftI5JVqLRxezBQc_yP1K4yWnuc3V2ywv98b-kR5smIkfDmpOJORNQVxQmp_Ita7C749Dwcpt0DO8RiSB6JeXx9bb7GUd5qbsArtwdJMzf6FOC9eSJFLAqoW-DE2fHI_bGeCPvqbE/w400-h386/231209%20L.jpg" width="400" /></a></b></div><b>Preface</b><p></p>
<p>
"There was only one man in the room, and he was leaning out of window as far
as he could without overbalancing himself, endeavouring, with great
perseverance, to spit upon the crown of the hat of a personal friend on the
parade below. As neither speaking, coughing, sneezing, knocking, nor any other
ordinary mode of attracting attention, made this person aware of the presence
of a visiter, Mr. Pickwick, after some delay, stepped up to the window, and
pulled him gently by the coat tail. The individual brought in his head and
shoulders with great swiftness, and, surveying Mr. Pickwick from head to foot,
demanded in a surly tone what the - something beginning with a capital H - he
wanted."
</p>
<p>Charles Dickens - from "The Posthumous Papers of The Pickwick Club"</p>
<p><b>Texts</b></p>
<p><b>Recorded</b></p>
<p>December 2, 2023</p>
<p>
<i>Étude in E-flat Major, Op. 10 #11</i> - Frédéric Chopin - Garrick Ohlsson
</p>
<p>
the key <br />is a composite of situations <br />within <br />an array of keys
</p>
<p><i>Mirage</i> - Charles Ives - Paul Sperry, Irma Vallecillo</p>
<p>a sensibility <br />formed in the age of sentimentality</p>
<p><i>Fourth Sonata</i> - Lockrem Johnson - Lockrem Johnson</p>
<p>
1 <br />restless business <br />difficult to grasp for long <br />but
stubborn
</p>
<p>2 <br />distracted <br />on a dull indoor day </p>
<p>
3 <br />evening avians <br />slide across the sky <br />waves lap <br />the
gravel beach <br />we <br />will storm the morning's sandcastles
</p>
<p>
<i>Well You Needn't</i> - Thelonious Monk [from
<i>The Complete Blue Note Collection</i>]
</p>
<p>quirkily drawn figures <br />kept short <br />clipped speech</p>
<p>
<i>Rip It Up (Take 1)</i> - Little Richard [from <i>Here's Little Richard</i>]
</p>
<p>that jump-right-in opening <br />took some work</p>
<p>
<i>Your Cheatin' Heart</i> - Ray Charles [from
<i>Modern Sounds in Country and Western Music</i>]
</p>
<p>
a light touch on ornaments <br />the backup singers <br />sing the line
<br />then Ray taps it <br />with his magic song wand
</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJ7vEOTOopy2DT6odx24-7lnrd_JQc2a76aFXtskgnGOSSJVDxD3gvc3pW2-gXP4QoKboBWs_8dui69PfkZPnLtSo_nLNfqknVmzYn3QDhTBcZT8qhatW_y91UpGPZtGsm_XzqfAl9DyoUtYllgjxycEroC9oe3esU1p7sS7Ccdk7fSw4b_398uhEOVjU/s5472/231209%20H.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJ7vEOTOopy2DT6odx24-7lnrd_JQc2a76aFXtskgnGOSSJVDxD3gvc3pW2-gXP4QoKboBWs_8dui69PfkZPnLtSo_nLNfqknVmzYn3QDhTBcZT8qhatW_y91UpGPZtGsm_XzqfAl9DyoUtYllgjxycEroC9oe3esU1p7sS7Ccdk7fSw4b_398uhEOVjU/w400-h266/231209%20H.jpg" width="400" /></a></i></div><i>On A Rainy Afternoon</i> - Bob Dylan [from <i>A Tree With Roots</i>]<p></p>
<p>a workshop <br />for common fluency</p>
<p>
<i>Blue, Green, Gray and Gone</i> - Sarah Vaughan [from
<i>Sarah Vaughan with Michel LeGrand</i>]
</p>
<p>
quite the ornamented melisma <br />on green <br />heavy arranger's hand
<br />on the payoff
</p>
<p>
<i>The Tenth World</i> - Joni Mitchell [from
<i>Don Juan's Reckless Daughter</i>]
</p>
<p>
percussion <br />provides play of light <br />on the surface <br />massaged
<br />by a hundred kittens
</p>
<p>
a singer <br />singing in their own language <br />they are producing
syllables <br />that group into words <br />imitating language
</p>
<p>barnyard sounds in play <br />a lively forest</p>
<p>
<i>Goodbye, Old Paint</i> - Mike, Peggy, and Penny Seeger [from
<i>American Folk Songs for Children</i>]
</p>
<p>
what the song <br />is about <br />is uncertain <br />but <br />parts of it
<br />may be about death
</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZNG-M9JbIOSYAAivjSOSar5F4j9Fwtzk9wA6XufQy178dMxBwO_g__ssbbH7M0u-r88lYNFK4FPbektBFOd6wsrGlAcL-NZkPuQ_Wu-oijpUAGVvPIeCIVrANSOzqJgbJ7xrNDJbvL6jjtB_EKAPSo4Rww54ZQgpr8J2Kx31Tp4u3qoyp_j1vwMfLJoc/s5472/231209%20K.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZNG-M9JbIOSYAAivjSOSar5F4j9Fwtzk9wA6XufQy178dMxBwO_g__ssbbH7M0u-r88lYNFK4FPbektBFOd6wsrGlAcL-NZkPuQ_Wu-oijpUAGVvPIeCIVrANSOzqJgbJ7xrNDJbvL6jjtB_EKAPSo4Rww54ZQgpr8J2Kx31Tp4u3qoyp_j1vwMfLJoc/w400-h266/231209%20K.jpg" width="400" /></a></div>December 3, 2023<p></p>
<p><i>Trailways Bus</i> - Paul Simon [from <i>Songs from The Capeman</i>]</p>
<p>
passengers on the move <br />everyman no more <br />only <br />each or any man
</p>
<p>anonymous was not a woman <br />but everyman is </p>
<p>
how might a dramatic work with music <br />be imagined <br />so that <br />the
drama <br />is generated <br />by the song form
</p>
<p><i>You're Missing</i> - Bruce Springsteen [from <i>The Rising</i>]</p>
<p>
a poem <br />is incapable of capturing the truth <br />of anything <br />any
more <br />than a lens <br />can capture <br />an image <br />or <br />that a
microphone <br />can capture <br />a sound <br />a poem <br />is an
inscription <br />a graffito<br />an act
</p>
<p>
<i>Being Cauliflower</i> - Steve Layton & Improv Friday [from
<i>Shared Circle</i>]
</p>
<p>I look like a brain <br />a thinking cauliflower </p>
<p>brilliant</p>
<p><i>Don't Blame Me</i> - Taylor Swift [from <i>Reputation</i>]</p>
<p>
the high tech <br />production value added <br />manufactured perfection
<br />occults the song
</p>
<p>
<i>Quartet I</i> - Sascia Pellegrini [from
<i>7 Percussion Impossibilities</i>]
</p>
<p>
you <br />will only be given the tour once <br />so attend closely <br />to
every detail
</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz7XwoKijLEdQYsXrCUGHZKDo0D1_U5KWm6r3cyxjtHPt33dhBXvTsrjHEBRm65qxRJ1OFPfv5nX_VKfytC06fJEm9XmHEiMfSyUI9jq35ePNHXk8pSgsnBVBHeVAgISuNwHZTHhwKClxSWTvqDV7XuoWQ9E4yHdy_e93gbxJsCsyAqVrCbYSH-JiODJY/s5472/231209%20G.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz7XwoKijLEdQYsXrCUGHZKDo0D1_U5KWm6r3cyxjtHPt33dhBXvTsrjHEBRm65qxRJ1OFPfv5nX_VKfytC06fJEm9XmHEiMfSyUI9jq35ePNHXk8pSgsnBVBHeVAgISuNwHZTHhwKClxSWTvqDV7XuoWQ9E4yHdy_e93gbxJsCsyAqVrCbYSH-JiODJY/w400-h266/231209%20G.jpg" width="400" /></a></i></div><i>Darkness On The Face Of The Earth</i> - Willie Nelson [from
<i>. . . And Then I Wrote</i>]
<p></p>
<p>this dude <br />was clearly clueless</p>
<p><i>Hello, Goodbye</i> - The Beatles [from <i>Anthology</i>]</p>
<p>
the guitar track <br />is different than <br />the originally released version
</p>
<p><i>Oddfellows Local 151</i> - REM [from <i>Document</i>]</p>
<p>
pay close mind <br />to the underbrush <br />the mood message <br />beneath
the rumor itself
</p>
<p>
<i>Keep On Singin' My Song</i> - Christina Aguilera [from <i>Stripped</i>]
</p>
<p>
snuggles up to the song <br />gospel <br />according to personal aspiration
<br />voice dancing
</p>
<p>impressive actually</p>
<p>
<i>Lightness of Bleeping</i> - Bruce Hamilton & Friends [from
<i>Mash Hits Volume 1</i>]
</p>
<p>
playing with toys <br />in a heap <br />everybody strives <br />to make the
heap <br />sound good <br />clean <br />faultless
</p>
<p><i>Wintering In The Dark</i> - Greg Sinibaldi [from <i>Ariel</i>]</p>
<p>
episodes of voice leading <br />as voice leading episodes <br />are generally
experienced <br />appear <br />within the roil of partials
</p>
<p>low dynamic waves <br />in the hi hat</p>
<p>tap tap tap <br />then <br />persists steadily throughout</p>
<p>
it <br />is not a flat surface <br />responds to the ongoing rhythm <br />of
experienced voice leading episodes
</p>
<p><i>Let Me Sleep Beside You</i> - David Bowie [from <i>Toy</i>]</p>
<p>in story teller mode <br />second person direct address</p>
<p>
<i>Galliarde: The Widow's Mite</i> - Anthony Helborn - Tielman Susato
Krummhorn Gesellschaft [from <i>The Glory of The Krummhorn</i>]
</p>
<p>what a fun dance!</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh23uvSXyh2nDwyZtO20okE-wyHKItUtGI7H9KyFkOns6FJEFFwy9OwzPD2wIlVOtS8yVNFB_qhEwll-3lJZOj-xa_cW6wwN-YYIlh0io7yz4pVeC26v1CdAD3On_vgZwVi76VqBQrcOKloVy7gwfhvyLGdgXCMIv45FyL4j7Q3tnnDJ9J7BYqoiOMGlj4/s5472/231209%20F.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh23uvSXyh2nDwyZtO20okE-wyHKItUtGI7H9KyFkOns6FJEFFwy9OwzPD2wIlVOtS8yVNFB_qhEwll-3lJZOj-xa_cW6wwN-YYIlh0io7yz4pVeC26v1CdAD3On_vgZwVi76VqBQrcOKloVy7gwfhvyLGdgXCMIv45FyL4j7Q3tnnDJ9J7BYqoiOMGlj4/w400-h266/231209%20F.jpg" width="400" /></a></i></div><i>Equiplibrium</i> - Pete Comley [from <i>Lost City Music, Volume 2</i>]<p></p>
<p>
reconciled <br />to the presence <br />of consciousness <br />patterns
<br />within the pitches' space
</p>
<p>
<i>Butt Sax</i> - Tyrannosaurus Grace [recorded live at The Rat and Raven,
Seattle, August 9, 2012]
</p>
<p>being <br />the bad boy <br />bad girl</p>
<p>the female vocalist <br />is fully into it</p>
<p>
<i>Rx For A Scrambled Egg and Peanut Butter Sandwich</i> - Amy Denio [from
<i>The Big Embrace</i>]
</p>
<p>
the world <br />is spinning around my eyes <br />each <br />on their own
circle
</p>
<p>
<i>Space Oddity</i> - Star Anna [from <i>Live at Rimbert Illustration</i>]
</p>
<p>this song's space <br />must be prepared <br />with care</p>
<p><i>Smooth Criminal</i> - Michael Jackson [from <i>Bad</i>]</p>
<p>
voice <br />as percussion <br />played with the hands <br />its own strobe
effect
</p>
<p>
<i>Track 7</i> - Peterman [recorded live at The Blue Moon, Seattle, October 4,
2012]
</p>
<p>
one of the songs they did really well <br />it scares me to think
<br />showcase <br />for their two <br />(quite distinct) <br />vocalists
<br />as such
</p>
<p>
<i>Early Richard</i> - Camarones Orquestra Guitarristica [from <i>Feeexta</i>]
</p>
<p>the in-between night</p>
<p><i>Virgo's Groove</i> - Beyoncé [from <i>Renaissance</i>]</p>
<p>full contact dance mix</p>
<p>
<i>Karelia Suite, Op. 11</i> - Jean Sibelius [from
<i>100 Greatest Classics</i>]
</p>
<p>
such happy peasants <br />tripping down the lane <br />bespewing flowers right
and left <br />bunnies smiling <br />shiny noble knights <br />of impeccable
manners <br />festival day <br />with puppet shows <br />and jousting
</p>
<p>
<i>Track 7 </i>- Black Plastic Clouds [recorded live at The Sound Effects
Café, Seattle, October 26, 2012]
</p>
<p>
they find a groove <br />they's jammed to <br />before <br />keep it short
</p>
<p><i>The Lover Is Always Alone</i> - Prom Queen [from <i>Doom Wop</i>]</p>
<p>adventures <br />with high-end-living <br />fantasy</p>
<p>
<i>Tageslichtspielschock (Daylight-Show-Shock)</i> - Eric Nathan [from
<i>Missing Words</i>]
</p>
<p>
notes contain vectors <br />if it contains a vector <br />it's a note
</p>
<p>how can a melody be thought to be? </p>
<p>Noh strikes <br />segments <br />hinge <br />at dynamic high points</p>
<p>sounds <br />like a recollection</p>
<p>
<i>The Bridge Is Over (Red Alert Version)</i> - Boogie Down Productions [from
<i>Criminal Minded</i>]
</p>
<p>taunting <br />trash <br />talk</p>
<p>
<i>Royal Hotel</i> - Robin Jackson and The Caravan [from <i>Dust Diaries</i>]
</p>
<p>romance novel scene <br />circular narrative <br />under the bridge</p>
<p><i>Passages</i> - Lures [from <i>There's No Pressure</i>]</p>
<p>
lines <br />are bisected <br />by pitch shift <br />articulation <br />divides
<br />but multiplies <br />strength
</p>
<p>
<i>Chicory</i> - Jessica McCann, Benton Roark - Re:Naissance Opera [from
<i>Music from The Apocrypha Chronicles</i>]
</p>
<p>
drum strike <br />awakens the time being <br />which <br />considers
<br />leisurely <br />whether to open their eyes
</p>
<p>
slowly whispered words <br />are more portentious <br />than clearly spoken
ones
</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWWnqTdbstuP-6YMbAXwnUP1lkVdiVlsbuqgUk88gOnb8nHFOYqEzHAxxRkwGPdgDX407FjV6xs0ZXwjS3p-CQXBU-mCqrGJCxgkP2mqSCNKr8qASgFqAgu44skEjmA8GMNWGsx6C-rWDZhfMvjXOLplE-JggNaNmbsj2p-6RdLQFpuXA00tN6lLZP5yg/s5472/231209%20J.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWWnqTdbstuP-6YMbAXwnUP1lkVdiVlsbuqgUk88gOnb8nHFOYqEzHAxxRkwGPdgDX407FjV6xs0ZXwjS3p-CQXBU-mCqrGJCxgkP2mqSCNKr8qASgFqAgu44skEjmA8GMNWGsx6C-rWDZhfMvjXOLplE-JggNaNmbsj2p-6RdLQFpuXA00tN6lLZP5yg/w400-h266/231209%20J.jpg" width="400" /></a></div>December 5, 2023<p></p>
<p>
<i>I Could Never Take The Place of Your Man</i> - Prince [from
<i>Sign O' The Times</i>]
</p>
<p>bloodless <br />until the long guitar solo <br />doing soloing</p>
<p>
<i>Get That Feeling</i> - Freddie & The Screamers [from
<i>I Ain't Crazy</i>]
</p>
<p>
raunch blues <br />beneath the radar of civil propriety <br />a specter haunts
the low down night
</p>
<p>
<i>Boxing Gloves</i> - Shelby Earl [from
<i>The Man Who Made Himself A Name</i>]
</p>
<p>a place <br />from which to turn <br />and begin <br />launch stability</p>
<p><i>Trouble (explicit)</i> - Doug Kolmar [from <i>So Said Life</i>]</p>
<p>
when we call American Slavery <br />our "original sin" <br />we are not just
eliding our genocide <br />of the Indian nations <br />we are also
<br />buying into the idea <br />that absolution <br />is the proper solution
</p>
<p><i>Bell Piano Piece</i> - Tildy Bayar</p>
<p>
concerns <br />the exact comparison <br />of those <br />bell sounds <br />and
those <br />piano sounds
</p>
<p>
||{"piece" <br />implies a physical object, <br />"movement" <br />could be
more accurate as a term}||
</p>
<p>a wide field of possibilities</p>
<p><i>Track 8</i> - The Tailenders [from <i>High Dive</i>]</p>
<p>
this <br />is what we put together <br />to do this with <br />show and tell
<br />with beer
</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEid_XVzfaT8MfCJcuOsrBpzl8r6ig-fEgu0LoeFyifX4znzu_bgdioVVUyAy9OeCxnzZo4RQ7KMtCLZpGViLwc1mqmzXuCM4Pk_BpOy8IGwBc7SDfF2XvOUAsdQQGel1BD95c7QvXuj8Mutf3wLXNXAIFjXz0ZX5klA-4KzsnUV0YQrCS-e6AcoEOcehKo/s5472/231209%20E.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEid_XVzfaT8MfCJcuOsrBpzl8r6ig-fEgu0LoeFyifX4znzu_bgdioVVUyAy9OeCxnzZo4RQ7KMtCLZpGViLwc1mqmzXuCM4Pk_BpOy8IGwBc7SDfF2XvOUAsdQQGel1BD95c7QvXuj8Mutf3wLXNXAIFjXz0ZX5klA-4KzsnUV0YQrCS-e6AcoEOcehKo/w400-h266/231209%20E.jpg" width="400" /></a></i></div><i>A Little More</i> - Waxahatchee [from <i>Out In The Storm</i>]<p></p>
<p>band trading cards NFTs </p>
<p>not fair <br />this is a strong song <br />convincingly sung</p>
<p><i>Good With Me </i>- Emily Stranger [from <i>Labor of Love</i>]</p>
<p>bad girl <br />good girl <br />temptation</p>
<p>
<i>Track 7</i> - The Hunting Club [recorded live at The Sound Effects Café,
Seattle, October 26, 2012]
</p>
<p>
several notions <br />of how the song might be sung <br />working it out in
real time <br />and in sequence <br />in short <br />it keeps morphing
<br />to something new <br />without going back <br />this part <br />is where
the coaster-car <br />is chain-hoisted <br />to the top of the track <br />we
<br />stop <br />up here <br />where the view is
</p>
<p>
<i>Roll On Columbia, Roll On</i> - Kate Power, Steve Einhorn [from
<i>Roll Columbia</i>]
</p>
<p>and the Klickitat too <br />imperial aspiration <br />shiploads of plenty</p>
<p>
<i>Strengur Zona</i> - Halla Steinunn Stefánsdóttir - Halla Steinunn
Stefánsdóttir, Kent Olofsson [from <i>Strengur</i>]
</p>
<p>
highway <br />vacant of all our thoughts <br />here to there <br />departed
sirens <br />devouring winds <br />scraped bare <br />to fragile stone crust
<br />seethes <br />into contact <br />with the icy blackness <br />out there
</p>
<p><i>Under Land</i> - Triptet [from <i>Figure In The Carpet</i>]</p>
<p>
mixtures <br />of timbres and pitches <br />curated <br />to keep stillness
lively <br />tightly bound <br />limited move sets
</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgR8QvZEI-rtfFbvFdSw5gbV-4cVl6u-UYbYb4T1JJ1p_MJf1u4K_Px92Q6l_D9gvDAT8dRzWjDlbAxnMajyh-_mKm799GjOA2jilClTCx-mIBMcCRLM8O6mvkoQLuKDso_xHMO4W-i2QDWPKqeZEErRbhjxQIxXRq1ENbCd7M2olY4BF7nGzf40th_Af0/s5472/231209%20D.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgR8QvZEI-rtfFbvFdSw5gbV-4cVl6u-UYbYb4T1JJ1p_MJf1u4K_Px92Q6l_D9gvDAT8dRzWjDlbAxnMajyh-_mKm799GjOA2jilClTCx-mIBMcCRLM8O6mvkoQLuKDso_xHMO4W-i2QDWPKqeZEErRbhjxQIxXRq1ENbCd7M2olY4BF7nGzf40th_Af0/w400-h266/231209%20D.jpg" width="400" /></a></i></div><i>5am</i> - Chastity Belt [from <i>I Used to Spend So Much Time Alone</i>]
<p></p>
<p>
to be acceptable <br />as music <br />obeisance <br />must be paid <br />to
the generic qualities
</p>
<p>feeling trapped</p>
<p><i>Electrical Storm</i> - Robin Holcomb [from <i>One Way Or Another</i>]</p>
<p>
if a song <br />is a domicile <br />how is it decorated <br />where is it
located <br />who lives in it
</p>
<p>is a song a domicile <br />or a room <br />how narrow is it</p>
<p>
<i>Track 7</i> - Andrew James Robison [recorded live at The Blue Moon,
Seattle, October 4, 2012]
</p>
<p>
each line <br />is intoned <br />on a single pitch <br />dipping down at the
end <br />with alleluias <br />(pronounced whoa-o-o-o) <br />heavy accent on
the line's start
</p>
<p><i>We Are Possessed</i> - Gaytheist [from <i>Let's Jam Again Soon</i>]</p>
<p>if the goal <br />is to fill a room <br />why use the trappings of rage?</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnsXotvUDxgZ6czNMw2qRsFHnUNiddwqNO4JwVAJZFHXoAlMls_tbTTmoIEF3X_IB5KjPVQAxlKLaXL13IHGmp2WhbprsMYd605wtsQHAshXtUkVntXzO8Leo6w86wVdF4ok-1oKpGo_U80kxwl90frHIo5kjt1U_qWd4kbBLitseVXsTnlbpb19iwxMg/s5472/231209%20C.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnsXotvUDxgZ6czNMw2qRsFHnUNiddwqNO4JwVAJZFHXoAlMls_tbTTmoIEF3X_IB5KjPVQAxlKLaXL13IHGmp2WhbprsMYd605wtsQHAshXtUkVntXzO8Leo6w86wVdF4ok-1oKpGo_U80kxwl90frHIo5kjt1U_qWd4kbBLitseVXsTnlbpb19iwxMg/w400-h266/231209%20C.jpg" width="400" /></a></i></div><i>Fork In The Road</i> - Robber's Roost [from <i>Rage & Reason</i>]<p></p>
<p>catch that chord <br />criss cross <br />applesauce</p>
<p>playings <br />with sayings</p>
<p><i>War Love</i> - St. Paul de Vence [from <i>St. Paul de Vence</i>]</p>
<p>
song arrangement <br />as a performance practice <br />importing <br />studio
recording tropes <br />as compositional decisions
</p>
<p><i>Telesnow </i>- Charms [from <i>Human Error</i>]</p>
<p>late night <br />set not adjusted <br />per instructions </p>
<p>so synthy <br />so pedally</p>
<p>
<i>Letter </i>- Mikey and Matty [from <i>And It Came To Pass/Not To Stay</i>]
</p>
<p>lines descend <br />no upspeak considered</p>
<p>
<i>Haunt Me</i> - Red Ribbon [recorded live at The Blue Moon, Seattle, October
4, 2012]
</p>
<p>so I'll remember</p>
<p><i>Forget About Life</i> - Alvvays [from <i>Antisocialites</i>]</p>
<p>
more descending lines <br />but <br />it does strive <br />toward pushing
upward <br />under condominium signs
</p>
<p>
<i>Leaving Town</i> - Steve Peters [from <i>With My Back To The World</i>]
</p>
<p>
a guitar song <br />breathes its figurations <br />acceptable repetition count
<br />(a sensibility)
</p>
<p><i>Jiu-Jitsu </i>- Swingset Showdown [from <i>Short Bus Ruckus</i>]</p>
<p>specializing in novelty songs <br />for the immaturing mind</p>
<p>
<i>Vertical Sunset</i> - CEP [from <i>Drawing the Target Around the Arrow</i>]
</p>
<p>
repeatability <br />or perhaps <br />nearly so <br />the nearly so <br />or
<br />the not absolutely so <br />is an edge
</p>
<p><i>Evacuate Now</i> - Tom Swafford [from <i>Rough Spaces</i>]</p>
<p>alarms <br />are ringing <br />bowing science <br />lots of frog</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4vK9SEXmBblPUPMHNuhHYpFBvYE6MIkb_lf7ehKuMLLp1w7rPFicIJK1Tdbqj6oGNL2BUYqHxIY4vIhmA9jIVkjSOjghoN8B3LMohacI260e9fjHkkWKmJnrb13FlLvVhwdJ6GvMP8DxfH6LtZs7oHxjqVXKzZF4cSgOtpSODBLEwRixfmLMS6WaYgHM/s5472/231209%20I.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4vK9SEXmBblPUPMHNuhHYpFBvYE6MIkb_lf7ehKuMLLp1w7rPFicIJK1Tdbqj6oGNL2BUYqHxIY4vIhmA9jIVkjSOjghoN8B3LMohacI260e9fjHkkWKmJnrb13FlLvVhwdJ6GvMP8DxfH6LtZs7oHxjqVXKzZF4cSgOtpSODBLEwRixfmLMS6WaYgHM/w400-h266/231209%20I.jpg" width="400" /></a></div>December 7, 2023<p></p>
<p><i>Yiju</i> - Byron Au Yong [from <i>Yiju</i>]</p>
<p>on the stage side of the lights <br />shadow puppet music</p>
<p><i>Weissnichtwo</i> - Tomten [from <i>Cremation Songs</i>]</p>
<p>
loudness <br />as in loudness wars: <br />the problem <br />is not the desire
to make things audible <br />but <br />the fact <br />that there are ways to
accomplish that <br />and also<br />preserve dynamic range <br />the urge to
squish everything <br />into the same little box <br />or conceptualizing the
audio field <br />as a little box <br />when it can be vast
</p>
<p><i>Rumba disintegrada</i> - Eric Flesher</p>
<p>
forward momentum <br />under variable environmental resistances <br />and
power depletion
</p>
<p><i>Red Sky's Warning</i> - Low Hums [from <i>Low Hums</i>]</p>
<p>western sky <br />long highway</p>
<p><i>Evil Twin</i> - Ephrata [from <i>Ephrata</i>]</p>
<p>emotional distance <br />and denial</p>
<p><i>Psalm 23 in Old American Style</i> - Jeremiah Lawson</p>
<p>supple strophes <br />with an Amen</p>
<p>
<i>Song 8</i> - Youth Rescue Mission [recorded live at The High Dive, Seattle,
April 6, 2012]
</p>
<p>
song <br />as a physical struggle <br />such a weight to move <br />from place
to place
</p>
<p><i>Kids</i> - Bad Cop/Bad Cop [from <i>Warriors</i>]</p>
<p>mannered presentation <br />80s throwback</p>
<p><i>Sinfonia 3 (clavichord)</i> - Keith Eisenbrey - Keith Eisenbrey</p>
<iframe allow="autoplay" frameborder="no" height="20" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1565842807&color=%23ff5500&inverse=false&auto_play=false&show_user=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/keith-eisenbrey" style="color: #cccccc; text-decoration: none;" target="_blank" title="Keith Eisenbrey">Keith Eisenbrey</a> · <a href="https://soundcloud.com/keith-eisenbrey/03-sinfonia-3-220721-230711-clavichord" style="color: #cccccc; text-decoration: none;" target="_blank" title="03 Sinfonia 3 220721 [230711] Clavichord">03 Sinfonia 3 220721 [230711] Clavichord</a></div>
<p>explains itself plainly <br />a pleasant stroll</p>
<p><i>A Promise to Keep </i>- Brandi Carlile [from <i>Bear Creek</i>]</p>
<p>
how our life journeys <br />fit <br />into the common culture <br />so
<br />we can know <br />how to consider ourselves
</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8omhZO_vKz3q8sFgyf4yPetWHmY3jeqEsVhGBF6c1A9dzbjhB8hXkBu4cRKjhkyvCrTZHaML4IsMJRJ9HUwn-Z1MaxV6NR70RGuZTJXkDPfOb34RjsTOj3TA5h-at471PA7Fico7afHq0oNhyKH-QXlCIxOstWYeTPaRfuTu9zX4luD06cTVZBijpcVg/s5472/231209%20B.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8omhZO_vKz3q8sFgyf4yPetWHmY3jeqEsVhGBF6c1A9dzbjhB8hXkBu4cRKjhkyvCrTZHaML4IsMJRJ9HUwn-Z1MaxV6NR70RGuZTJXkDPfOb34RjsTOj3TA5h-at471PA7Fico7afHq0oNhyKH-QXlCIxOstWYeTPaRfuTu9zX4luD06cTVZBijpcVg/w400-h266/231209%20B.jpg" width="400" /></a></i></div><i>Dream Gig</i> - Alone in Dead Bars [recorded live at The Victory Lounge,
Seattle, July 15, 2017]
<p></p>
<p>
living the aspirational life <br />nothing left to lose <br />insoles in my
shoes
</p>
<p><i>Wasted Days, Wasted Years</i> - Anxious Arms</p>
<p>monster truckery <br />energy spew <br />for fun <br />and beer money</p>
<p><i>Other Dogs </i>- Cowgirls, The [from <i>Compilation</i>]</p>
<p>
doesn't seem to depend <br />on actually circling back around <br />if it
seems as though <br />it could <br />or <br />might have <br />that is
sufficient
</p>
<p>
<i>Piano Phasing</i> - Kristogger Zegers - Ann Cummings and a host of others
</p>
<p>
resource use <br />as expression <br />we'll borrow some of Bach's notes
<br />so we can tell the press <br />it's meaningful and important
<br />and classical <br />this rubs me as wrongheaded <br />because <br />it
wipes out the reason <br />I play piano: <br />its capability <br />of being
clear <br />transparent to thinking <br />neither Bach <br />nor this activity
<br />seem to be doing anybody any favors <br />altogether too many fists
flailing <br />for my taste <br />hey kids <br />we have all these pianos
<br />lets pound on them all at once <br />now we'll do it again
<br />instruments put<br />to their lowest and worst use <br />the fact
<br />that the resulting sound <br />on occasion <br />is unique <br />is
immaterial <br />tending to evaporate <br />into desperation <br />unwieldy
</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLdghR0dQx4A36RYy1w4P7K39WsZPmQC9fihmvStMECIUjSatqrMUB4_dsy-VesMAtUcBN-3lcI_1ImypbS9rkIkrU83TxKBt2eV3KqJD81oJxgUk1CllO8vvw0XDycoQ35UGxS5TmArCv-ybHI4MAOGnO5xb39mfXpvgJ6HlKtMjNAKXZYegvkOp6Zlk/s3009/231209%20A.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2698" data-original-width="3009" height="359" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLdghR0dQx4A36RYy1w4P7K39WsZPmQC9fihmvStMECIUjSatqrMUB4_dsy-VesMAtUcBN-3lcI_1ImypbS9rkIkrU83TxKBt2eV3KqJD81oJxgUk1CllO8vvw0XDycoQ35UGxS5TmArCv-ybHI4MAOGnO5xb39mfXpvgJ6HlKtMjNAKXZYegvkOp6Zlk/w400-h359/231209%20A.jpg" width="400" /></a></i></div><i>Bottle Meat</i> - Eric M. Costa, Peter Nelson-King<p></p>
<p>melting pyramids <br />constant habits <br />beat progeny </p>
<p>
the problem <br />with accompanied poetry readings <br />is <br />that the
idea of a duet of equals <br />is a difficult concept <br />for many of them
<br />it <br />becomes a frustrating exercise <br />in parallel play
</p>
<p>on a hook <br />on the wall <br />hangs a key</p>
<p><b>In Session at The Tintinabulary</b></p>
<p>December 3, 2023</p>
<p><i>Surrey</i> - Keith Eisenbrey</p>
<iframe allow="autoplay" frameborder="no" height="20" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1686584880&color=%23ff5500&inverse=false&auto_play=false&show_user=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/keith-eisenbrey" style="color: #cccccc; text-decoration: none;" target="_blank" title="Keith Eisenbrey">Keith Eisenbrey</a> · <a href="https://soundcloud.com/keith-eisenbrey/22-surrey-231203-231203" style="color: #cccccc; text-decoration: none;" target="_blank" title="22 Surrey 231203 [231203]">22 Surrey 231203 [231203]</a></div>
<p>
22 arrangements into the song-book <br />and I have yet to spend more than an
hour or so <br />on any of them
</p>
<p>December 4, 2023</p>
<p>
<i>Banned Rehearsal 1089</i> - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt
</p>
<iframe allow="autoplay" frameborder="no" height="20" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1686604155&color=%23ff5500&inverse=false&auto_play=false&show_user=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/keith-eisenbrey" style="color: #cccccc; text-decoration: none;" target="_blank" title="Keith Eisenbrey">Keith Eisenbrey</a> · <a href="https://soundcloud.com/keith-eisenbrey/banned-rehearsal-1089-231204" style="color: #cccccc; text-decoration: none;" target="_blank" title="Banned Rehearsal 1089 231204">Banned Rehearsal 1089 231204</a></div>
<p>
we find ways to problematize mechanical pulse generation <br />bugging the bug
as it were <br />at one point <br />its googly eyes came off <br />and dropped
into the marimba stand <br />it was gruesome
</p>
<p style="text-align: center;"><b>Postscripts</b></p>
<p><b>Drops</b></p>
<p><i>Keith Eisenbrey 7: 1995-2001</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1774068906/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-7-1995-2001">Keith Eisenbrey 7: 1995-2001 by Keith Eisenbrey, Karen Eisenbrey</a></iframe>
<p>
During our years of chaos (parenting), keeping my hand in the game writing
short pieces - and one big break-through.
</p>
<p><i>Keith Eisenbrey 6: 1988-1994</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1185240499/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-6-1988-1994">Keith Eisenbrey 6: 1988-1994 by Keith Eisenbrey</a></iframe>
<p>
Working with narrative forms, both explicit and implicit, playing games with
memory, and finding ways to set texts.
</p>
<p><i>Keith Eisenbrey 5: 1984-1988</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=641022695/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-5-1984-1988">Keith Eisenbrey 5. 1984-1988 by Keith Eisenbrey</a></iframe>
<p>
My first years back in the Puget Sound area, working with the experience of
repetition and with relationships between the vertical and horizontal pitch
realms.
</p>
<p><i>Keith Eisenbrey 4: 1983-1984</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3616259267/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-4-1983-1984">Keith Eisenbrey 4. 1983-1984 by Keith Eisenbrey</a></iframe>
<p>
Finishes up the music I wrote while I was in New York (state) under the
ostensible supervision of the academic world.
</p>
<p><i>Keith Eisenbrey 3: 1982-1983</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2544871921/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-3-1982-1983">Keith Eisenbrey 3. 1982-1983 by Keith Eisenbrey</a></iframe>
<p>
Written in Red Hook, NY, and Malabar, FL, as I was beginning to think about
thinking about music.
</p>
<p><i>Keith Eisenbrey 2: 1981-1982</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1543052747/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-2-1981-1982">Keith Eisenbrey 2. 1981-1982 by Keith Eisenbrey</a></iframe>
<p>
What occupied my time toward at the end of my undergrad days and in the year
before I went east for a while.
</p>
<p><i>Keith Eisenbrey 1: 1979-1981</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1650666157/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-1-1979-1981">Keith Eisenbrey 1. 1979-1981 by Keith Eisenbrey</a></iframe>
<p>Keyboard works I composed while an undergrad at the UW. </p>
<p>All are free for download.</p>
<p><b>Skaldmud's Doodle Gallery</b></p>
<p>listening journal doodles from 2014</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX7p7KIEXbM16QXJeC3eAWorKVOr68lXxNJG8y3axngsLMamfUKHd-W_LcWOCbm69LTR3zaWCq3MLVIhCOLofcouLWigtMOMN4XWTWtJ3iSFEZbgtO8UF-erToaL8s364hZJxU6r5vLfsZV6pWkI-SQmITvkoEWNEdwAQyQRWzM6mjl7r8FX80v4E5Ats/s2308/2023%20scan640.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1801" data-original-width="2308" height="313" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX7p7KIEXbM16QXJeC3eAWorKVOr68lXxNJG8y3axngsLMamfUKHd-W_LcWOCbm69LTR3zaWCq3MLVIhCOLofcouLWigtMOMN4XWTWtJ3iSFEZbgtO8UF-erToaL8s364hZJxU6r5vLfsZV6pWkI-SQmITvkoEWNEdwAQyQRWzM6mjl7r8FX80v4E5Ats/w400-h313/2023%20scan640.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0foixBAiLht4W_L3giM512c-d0vDFkZko17GgJCnBoeQPOjUhvgsGssuYJ3XPAptnYvSxbf7Lwuar-vHcgVIP9bLt52VqeLTR8fWKtjId5kE6RavgmsTBxPwYsbEBIvbUSxAPOrkH6yPg4Lh9_opK7jxZt06N3s7FzQRxuGsmTYZHNJ1AHj3rVLIxV4E/s2003/2023%20scan641.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1329" data-original-width="2003" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0foixBAiLht4W_L3giM512c-d0vDFkZko17GgJCnBoeQPOjUhvgsGssuYJ3XPAptnYvSxbf7Lwuar-vHcgVIP9bLt52VqeLTR8fWKtjId5kE6RavgmsTBxPwYsbEBIvbUSxAPOrkH6yPg4Lh9_opK7jxZt06N3s7FzQRxuGsmTYZHNJ1AHj3rVLIxV4E/w400-h265/2023%20scan641.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPRdR3MN0Y2KK21D8FDYOCRjM2ZlPK_BCUzb4LtFPZ3tCW7gOgmOx-bcnzvhiPYrI79xuI-uddsOX1pmpQO9DjRdzwhD5-qd6Mr0b2uNkgbaEiNBhzaMgvSQobW2JHEFYebqAIWFeC5-QCit0n-HwGClcYlgZKavAJCP4RbiKoLlcHOk6xqLnULNxwpv0/s2599/2023%20scan642.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2599" data-original-width="2446" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPRdR3MN0Y2KK21D8FDYOCRjM2ZlPK_BCUzb4LtFPZ3tCW7gOgmOx-bcnzvhiPYrI79xuI-uddsOX1pmpQO9DjRdzwhD5-qd6Mr0b2uNkgbaEiNBhzaMgvSQobW2JHEFYebqAIWFeC5-QCit0n-HwGClcYlgZKavAJCP4RbiKoLlcHOk6xqLnULNxwpv0/w376-h400/2023%20scan642.jpg" width="376" /></a></div><br /><p><br /></p>
Keith Eisenbreyhttp://www.blogger.com/profile/16399615075612440296noreply@blogger.com0tag:blogger.com,1999:blog-7569166511516520581.post-40798838612537214472023-12-02T14:16:00.000-08:002023-12-03T07:46:22.113-08:00Playlist<p style="text-align: center;"><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzuzoweIf7VVCfUzeHvtRAy4DI9rUpLzTxRP7GAmruLmtWawmKCWI-XhR9HrmCYlf_clC0O5uC7V5Hzsp7RPifaVOdpTeknUi12ym4IsveyUBc8pjD6F3tUMMu8Sxft0YpxNLbVGelTp1YbZMmXyf8Lpeb3zEziFqnHaNRj6CYyV-IrrSaTbYtNujvoMo/s3479/231202%20A.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3210" data-original-width="3479" height="369" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzuzoweIf7VVCfUzeHvtRAy4DI9rUpLzTxRP7GAmruLmtWawmKCWI-XhR9HrmCYlf_clC0O5uC7V5Hzsp7RPifaVOdpTeknUi12ym4IsveyUBc8pjD6F3tUMMu8Sxft0YpxNLbVGelTp1YbZMmXyf8Lpeb3zEziFqnHaNRj6CYyV-IrrSaTbYtNujvoMo/w400-h369/231202%20A.jpg" width="400" /></a></b></div><b>Preface</b><p></p>
<p>"I'm surprised to be here in any form."</p>
<p>George Quasha - from "Not Even Rabbits Go Down This Hole"</p>
<p style="text-align: center;"><b>Texts</b></p>
<p><b>Live</b></p>
<p>November 27, 2023</p>
<p>
<b><i>HedgeWitch<br />Heather Bentley, Leanna Keith, Bonnie Whiting
<br /></i></b>The Royal Room, Seattle
</p>
<p>
I didn't have my notebook with me so no detailed notes. <br />This was a
completely marvelous hour-long improvisation. <br />Whenever I hear others
improvising <br />I note to myself <br />how different <br />doing so
<br />as a performance practice <br />aimed audience-ward <br />is <br />than
doing so <br />as a means of internal exploration <br />self-contained
<br />as Banned Rehearsal finds ourselves doing.
</p>
<p><b>Recorded</b></p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSdSBhIbWeK5glgkOz12-sAqAwNSESvZGhrx8ptPlzn1N07Kd9DqZk6goIQOUzOzX5gDVLpPJEexBKJIugyZ2E2mFLmq4FHA6q-o24wWglh9D_G4-6GLWi9MTbycIq7S_2uU5zQrRYlAvWZOsfZhBlUbeWr6bUNWB1Vc7TQyXIHC1FnzhdDfKImwf_kt0/s3956/231202%20B.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2618" data-original-width="3956" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSdSBhIbWeK5glgkOz12-sAqAwNSESvZGhrx8ptPlzn1N07Kd9DqZk6goIQOUzOzX5gDVLpPJEexBKJIugyZ2E2mFLmq4FHA6q-o24wWglh9D_G4-6GLWi9MTbycIq7S_2uU5zQrRYlAvWZOsfZhBlUbeWr6bUNWB1Vc7TQyXIHC1FnzhdDfKImwf_kt0/w400-h265/231202%20B.jpg" width="400" /></a></div>November 25, 2023<p></p>
<p>
<i>Étude in A-flat Major, Op. 10 #10</i> - Frédéric Chopin - Garrick Ohlsson
</p>
<p>offset melody figuration play <br />bubbly liveliness</p>
<p><i>Song 19</i> - Charles Ives - Kia Sams, Russ Warner</p>
<p>
opening lines are in a different affect <br />than the remainder <br />when he
thinks of an old melody <br />he uses it directly <br />we watch old movies
<br />for the hats and gowns <br />we listen to Ives <br />for its evocation
of a time and place
</p>
<p>
<i>Ruby My Dear </i>- Thelonious Monk [from
<i>The Complete Blue Note Recordings</i>]
</p>
<p>each register a persona <br />sharing ideas about the song between them</p>
<p>
<i>Oh Why? (Take 9)</i> - Little Richard [from <i>Here's Little Richard</i>]
</p>
<p>seems strangely truncated <br />incomplete <br />half a song</p>
<p>
<i>Take These Chains From My Heart </i>- Ray Charles [from
<i>Modern Sounds in Country and Western Music</i>]
</p>
<p>
the conceit of the words <br />is plain to understanding <br />the path of
their saying <br />is lucid throughout <br />nearly obscuring the care
<br />with which <br />he sings their melody
</p>
<p>
<i>The Fool On The Hill (Take 4)</i> - The Beatles [from <i>Anthology</i>]
</p>
<p>circles around its center melody <br />mid-invention</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEha6FQOEBtNsfqA-3ShmnOU7WtvBBDjS6PGGo4j1s4S6tveVjmjswIlXBQbGBDD1dsHmf8usC4Z0NQAqXH3ykmaH6qgzloeV3F1ME_XA5UXRFgktz7PSU2qH1LoVbhlKgYllD67BllzoRk1x-vW0O20N-4EsUweKxyE6TZG9ZCOZ59XEVdjR_2X6MmQc-s/s5472/231202%20H.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEha6FQOEBtNsfqA-3ShmnOU7WtvBBDjS6PGGo4j1s4S6tveVjmjswIlXBQbGBDD1dsHmf8usC4Z0NQAqXH3ykmaH6qgzloeV3F1ME_XA5UXRFgktz7PSU2qH1LoVbhlKgYllD67BllzoRk1x-vW0O20N-4EsUweKxyE6TZG9ZCOZ59XEVdjR_2X6MmQc-s/w400-h266/231202%20H.jpg" width="400" /></a></i></div><i>Alone Again Naturally </i>- Sarah Vaughan [from <i>Feelin' Good</i>]<p></p>
<p>
among songsters' singing <br />there exists a continuum <br />between full on
singing <br />and simply saying <br />any songster <br />has a range of that
continuum <br />at their disposal <br />Sarah's range is wide <br />bends
toward singing
</p>
<p>
<i>Otis and Marlene </i>- Joni Mitchell [from
<i>Don Juan's Reckless Daughter</i>]
</p>
<p>
melody <br />at the service <br />of how the words go <br />unconcerned
<br />with singalongness <br />must be a no-break <br />afore the next song in
the album
</p>
<p>
<i>Brilliant Disguise</i> - Bruce Springsteen [from <i>Tunnel of Love</i>]
</p>
<p>
romantic imposter syndrome <br />all the world's a stage <br />radio ready
</p>
<p>
<i>Hop Up, My Ladies</i> - Mike, Peggy, and Penny Seeger [from
<i>Animal Folk Songs For Children</i>]
</p>
<p>
dance call <br />with fill-in rhymes <br />a series of questions <br />to
which no answer is expected <br />beyond the chorus
</p>
<p>
<i>Killer Wants To Go To College II</i> - Paul Simon [from
<i>Songs from The Capeman</i>]
</p>
<p>shaped for dramaturgical reasons <br />not musical</p>
<p><i>Sunday (Moby Remix)</i> - David Bowie [from <i>Heathen</i>]</p>
<p>
the underlying groove is a technological marvel of frictionless quartz crystal
precision
</p>
<p><i>Your Body</i> - Christina Aguilera [from <i>Lotus</i>]</p>
<p>
extruded under pounding pressure <br />low center of gravity <br />dropping
<br />with each pound pound pound
</p>
<p>
<i>Seashore </i>- Steve Layton & Sound-In [from <i>Further Journey</i>]
</p>
<p>
a chain's end <br />drags upon the ground <br />hanging <br />and drawn
<br />from far out of image <br />the ground <br />rings <br />as it passes
<br />the chain <br />takes upon itself <br />a bathyspheric reverberance
</p>
<p><i>Piano 5</i> - Sascia Pellegrini [from <i>Five Piano Fantasies</i>]</p>
<p>
suddenly <br />the registers notice the others in the sound <br />everybody
freaks out at once <br />moderated then <br />by noticing a dance <br />a tone
dance
</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_w1UCvVXXXkdV6FTIQVxkpwX7zPf8UYepD5nzD6Nwx9XSb1aqDj8uDf-97MQ_HnZk6ud__WM3apTOhLRkoPkvLheWt-s7NBrSq2sWDBZ6DNHASeqMZ2pWk4tEJeliWhcuM2xEPguTHdPUmlm9jKm_OjC5AzhbWnBfQLlx-tgeThNMXkaCdhn4zQhmGX0/s5472/231202%20C.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_w1UCvVXXXkdV6FTIQVxkpwX7zPf8UYepD5nzD6Nwx9XSb1aqDj8uDf-97MQ_HnZk6ud__WM3apTOhLRkoPkvLheWt-s7NBrSq2sWDBZ6DNHASeqMZ2pWk4tEJeliWhcuM2xEPguTHdPUmlm9jKm_OjC5AzhbWnBfQLlx-tgeThNMXkaCdhn4zQhmGX0/w400-h266/231202%20C.jpg" width="400" /></a></div>November 26, 2023<p></p>
<p>
<i>Undo The Right</i> - Willie Nelson [from <i>. . . And Then I Wrote</i>]
</p>
<p>
one wonders <br />whether these songs started with the verbal game <br />to
which a song lyric was then attached <br />he loves to articulate <br />front
and back halves of lines <br />couplet aware versification <br />rights and
lefts <br />wrongs and rights
</p>
<p><i>Rotary Ten</i> - REM [from <i>Dead Letter Office</i>]</p>
<p>
acoustic bass??!! <br />amusing themselves in the back of the tour bus
<br />they found a groove
</p>
<p><i>I Almost Do</i> - Taylor Swift [from <i>Red</i>]</p>
<p>
living on the verge of a Hollywood reunion scene <br />remember when we were
<br />for the fade out <br />pull back <br />to black
</p>
<p>
<i>A Musicians Pocket Guide to the European Aristocracy</i> - Greg Sinibaldi
[from <i>Frieze of Life</i>]
</p>
<p>
tableaux <br />or animatronic dioramas <br />on a prone wheel <br />the
aristocrats <br />led dull lives <br />in the large <br />and petty <br />this
one keeps pet flies <br />a sideshow
</p>
<p><i>The Craving Variation </i>- Red Ribbon [from <i>Freaks Only</i>]</p>
<p>a song part </p>
<p>I have this much of it so far</p>
<p>
<i>Track 8</i> - Star Anna [streamed live from Fiddler's Inn, Seattle, March
7, 2022]
</p>
<p>
Forest with laser focus <br />and can sneeze <br />introduction <br />is a
social negotiation <br />a ritual <br />between the singer and the song
<br />permission to board <br />introductions <br />formally <br />introduce
parties <br />in an exchange <br />of introductions or credentials
</p>
<p><i>Dear Santa Fe </i>- Bob Dylan [from <i>A Tree With Roots</i>]</p>
<p>
all the words are not necessary <br />to sing a song end <br />rhyme overload
</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzBZZDGFsj71XjwWuVvevilBnsAAOX8ElntLpvCTe2G69Ba4FfbL8GZW59Z3-2ldrMYSW2N4PZXGOgtWbHMtYRUXwdPfNnE7ifWQhhaZKVXN1EdDC1alIg405s5ii6Dmc3Fvk0z1CBzdEcdp-ss0xSp4NaKg2xOhSRNw2Evi-Aq4M_rylNolP23iLF27w/s5472/231202%20I.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzBZZDGFsj71XjwWuVvevilBnsAAOX8ElntLpvCTe2G69Ba4FfbL8GZW59Z3-2ldrMYSW2N4PZXGOgtWbHMtYRUXwdPfNnE7ifWQhhaZKVXN1EdDC1alIg405s5ii6Dmc3Fvk0z1CBzdEcdp-ss0xSp4NaKg2xOhSRNw2Evi-Aq4M_rylNolP23iLF27w/w400-h266/231202%20I.jpg" width="400" /></a></i></div><i>Almain: The Fruit of Love</i> - Anthony Holborne -Tielman Susato Krummhorn
Gesellschaft [from <i>The Glory of the Krummhorn</i>]
<p></p>
<p>percussion drums and jangles <br />with krummhorn <br />a march</p>
<p>
<i>I Believe</i> - Glenn Tate [from <i>Some of My Favorite Love Songs</i>]
</p>
<p>lounge piano <br />is a type of theater <br />as much as of music</p>
<p><i>Partition </i>- Beyoncé [from <i>Beyoncé</i>]</p>
<p>
a narrative made of word sounds <br />in drum patterns <br />and quite a
sharply drawn one at that
</p>
<p><i>Sand & Smoke</i> - Prom Queen [from <i>Doom Wop</i>]</p>
<p>
sad sacks at the bar <br />a prophecy arises <br />enchantment ensues
<br />sad sack magic <br />take your curtsy <br />bow
</p>
<p><i>Jibing</i> - Amy Denio [from <i>Chapel Sessions</i>]</p>
<p>
a sailing term <br />(flipping the jib) <br />in tricky winds <br />this is
incomprehensible <br />unless taken seriously <br />and impossible <br />not
to smile at <br />mind blowing <br />tricky winds <br />jibe ho!
<br />(translation: DUCK!)
</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkM-BxXwrs4oMax7f-EtRP_2A6AU9MN8_rHggIYo-CQVGP8GY36Dg2Ln59SkqpbiCD_jhscvwp_K77pNgV21V0alPaxoI9eO1Rcwz6dAEq1byI_X-0di-lGbDyWbYp1pTOuYt3sDb3fvZ5pLR1C1dnBAeDzHOORYunwc1prQ25Qi2Rwd3jELFsk-EAYZo/s5472/231202%20D.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkM-BxXwrs4oMax7f-EtRP_2A6AU9MN8_rHggIYo-CQVGP8GY36Dg2Ln59SkqpbiCD_jhscvwp_K77pNgV21V0alPaxoI9eO1Rcwz6dAEq1byI_X-0di-lGbDyWbYp1pTOuYt3sDb3fvZ5pLR1C1dnBAeDzHOORYunwc1prQ25Qi2Rwd3jELFsk-EAYZo/w400-h266/231202%20D.jpg" width="400" /></a></div>November 27, 2023<p></p>
<p>
<i>Where The Hell Did They Go</i> - The Young Fresh Fellows [from
<i>The Men Who Loved Music</i>]
</p>
<p>jump on or <br />watch their wake </p>
<p>motorized personal marine transport</p>
<p>
<i>Black Temple, Red Sky</i> - Pete Comley [from
<i>Lost City Music Volume 2</i>]
</p>
<p>spinning nodes hum in the magnet field</p>
<p>
<i>Song 7</i> - The Tailenders [recorded live at The High Dive, Seattle, April
6, 2012]
</p>
<p>
dissonance <br />peeping fantasy <br />over drum beat sequence
<br />patched-in
</p>
<p>
<i>Shark Repellent Boat Spray</i> - Lures [from <i>There's No Pressure</i>]
</p>
<p>grabs and shoves <br />si'down son <br />the ride starts immediately</p>
<p>guitar showcase <br />not so far from Ventures land</p>
<p>
<i>Flowers for Eurydice</i> - James May - Stephanie Lamprea [from
<i>Quaking Aspen</i>]
</p>
<p>
somewhat less histrionic <br />than many of these cuts have been <br />but
<br />there are still frequent eruptions of hyper-modernistic vocalizing
<br />no song without high notes
</p>
<p>
<i>Symphony #5 (Toccata)</i> - Charles-Marie Widor [from
<i>100 Greatest Classics</i>]
</p>
<p>
circus parade <br />costumes! <br />horses! <br />acrobats! <br />now around
the corner of the block <br />they'll be back
</p>
<p>
<i>Song 6</i> - Curtains For You [recorded live at The High Dive, Seattle,
April 6, 2012]
</p>
<p>party lights <br />can be glimpsed inside <br />should we go in</p>
<p>
<i>Not Afraid To Die</i> - Shelby Earl [from
<i>The Man Who Made Himself A Name</i>]
</p>
<p>statement of purposeful desire <br />adventure ready</p>
<p>
<i>Missing Words IV: II. Dreiecksumgleichung (Triangle-Reorganization)</i> -
Eric Nathan - International Contemporary Ensemble, Nicholas DeMaison [from
<i>Missing Words</i>]
</p>
<p>
trajectories on the violin <br />joined by cello strings <br />two bows at
work <br />pick up some reeds <br />when you can <br />where we might be left
<br />or have gotten to <br />a playroom <br />nursery <br />toys
</p>
<p>
<i>The Ride of The Valkyries</i> - Richard Wagner [from
<i>100 Greatest Classics</i>]
</p>
<p>
the opening resolves into a rhythm in three <br />after some fuss <br />the
instrumental only version <br />no Valkyries in attendance <br />an empty
introduction
</p>
<p>
<i>A Trama </i> - Camarones Orquestra Guitarristica [from
<i>Live in Natal</i>]
</p>
<p>
here's the step <br />and its variations <br />cycle through <br />in the
prescribed order of iterations
</p>
<p>
<i>Song 9</i> - Mud on My Bra [recorded live at Sunset Tavern, Seattle, April
18, 2017]
</p>
<p>
kickin' down <br />the feelin' groovy street <br />on a feelin' groovy
mornin'
</p>
<p>familiar store fronts <br />familiar sidewalk walkers</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO7vHkwEfFNX_zQZoLR3ZUhHCLtdqLkflU06B5vu6DVdU1wOBgD8clHOVhJrMBFIbTp9vHTFwYO9jsOMIM48OBZquWOQANcbsj9a_so8qJz-Aw9CjKR_e3VPJ2u2JMY7D1NQsMfTRsgZ_3cOl0iQ8p-MO0hHqolIEpjHV9Fk4TXsJ9z2AO5XJwzlaCC-A/s5472/231202%20J.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO7vHkwEfFNX_zQZoLR3ZUhHCLtdqLkflU06B5vu6DVdU1wOBgD8clHOVhJrMBFIbTp9vHTFwYO9jsOMIM48OBZquWOQANcbsj9a_so8qJz-Aw9CjKR_e3VPJ2u2JMY7D1NQsMfTRsgZ_3cOl0iQ8p-MO0hHqolIEpjHV9Fk4TXsJ9z2AO5XJwzlaCC-A/w400-h266/231202%20J.jpg" width="400" /></a></i></div><i>Strata</i> - Benton Roark - Re:Naissance Opera [from
<i>Music from The Apocrypha Chronicles</i>]
<p></p>
<p>
this sound is where we stand <br />this is one weight <br />this another
<br />making progress <br />stepwise <br />artifact emerging <br />use the
brush <br />to brush <br />the matrix off
</p>
<p><i>Dirty Diana</i> - Michael Jackson [from <i>Bad</i>]</p>
<p>
descending by lift <br />to the scene <br />every moment <br />has its move
<br />some infamous groupie legend <br />the new demi monde
</p>
<p><i>To The Moon</i> - Karin Blaine [from <i>Modern Day Living</i>]</p>
<p>so here we are in the land of innuendo and euphemism</p>
<p><i>Hear You</i> - Waxahatchee [from <i>Out In The Storm</i>]</p>
<p>
an album has become a collection of songs <br />associated with a time and a
tour <br />it is its own concept <br />and happily accepts accretions
<br />from the working files <br />deluxe version can mean <br />you get demos
too <br />no more waiting <br />for the commemorative omnibus set
</p>
<p><i>Still Good</i> - Doug Kolmar [from <i>So Said Life</i>]</p>
<p>keeping in touch for real <br />all communication windows open</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZD3OE1kNJIGDdf5iGFwINJYWwf5_B7aRv4eubS3DhyphenhyphenB0uKQFOVyeJd9-L1lhsFRnk1nfbvU7bRrt-m3Af2nYrgutpQ0c4bE040ZzK5GA7KlObmN1deXQqJrnVAcSQZDDzNHOacYFcvgjq2cXJXkCNcMZRD20f8kb4fV54hY7We2hL4hhB9pVpwl9d1ss/s5472/231202%20E.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZD3OE1kNJIGDdf5iGFwINJYWwf5_B7aRv4eubS3DhyphenhyphenB0uKQFOVyeJd9-L1lhsFRnk1nfbvU7bRrt-m3Af2nYrgutpQ0c4bE040ZzK5GA7KlObmN1deXQqJrnVAcSQZDDzNHOacYFcvgjq2cXJXkCNcMZRD20f8kb4fV54hY7We2hL4hhB9pVpwl9d1ss/w400-h266/231202%20E.jpg" width="400" /></a></div>November 28, 2023<p></p>
<p>
<i>Green Monkey Meat (Part 2)</i> - Tildy Bayar, Ben Boretz, Frank Carter,
Bruce Huber, Penelope Hyde [from <i>Inter/Play</i>]
</p>
<p>
sea life <br />amid docks and hulls <br />emerged to the sphere of bells
<br />quiet <br />wee hour <br />highways <br />a fog <br />uncloaks itself
<br />and holds us close <br />bedding adjusts <br />to our sleeping motions
<br />mooring lines <br />creak in the tide <br />a large vessel <br />passes
offshore <br />and the gulls <br />have awakened <br />as is their squawky
wont <br />massive forms glide below <br />time to whop up some breakfast
</p>
<p><i>Crutch </i>- Tyrannosaurus Grace [from <i>Much More Than A Story</i>]</p>
<p>
I am what I am <br />and will continually not apologize for it <br />in your
face <br />an attitude to cop
</p>
<p>
<i>Used To Spend</i> - Chastity Belt [from
<i>I Used To Spend So Much Time Alone</i>]
</p>
<p>
the act of singing <br />forces <br />the consideration of all the parts of
words <br />and of how they act together <br />which can alter ones
considerations <br />of what one is saying
</p>
<p><i>Shining </i>- Robin Holcomb [from <i>One Way Or Another</i>]</p>
<p>
a sheltered life <br />circumscribed by custom <br />the sacrificial virgin
<br />arrayed in divine youthhood
</p>
<p>
<i>Operating Room Interview</i> - Boogie Down Productions [from
<i>Criminal Minded</i>]
</p>
<p>corporations bickering in public <br />part of the song and dance</p>
<p><i>Long Time Coming</i> - Specyphi</p>
<p>musics <br />as tribe totems <br />colors <br />uniforms</p>
<p><i>Separator</i> - Charms [from <i>Human Error</i>]</p>
<p>
regimentation beast <br />line up <br />like pews <br />kept in line
<br />ferocious <br />as all get out <br />as long <br />as one <br />is kept
<br />in line <br />join the machine
</p>
<p>
<i>Violin with Þytur</i> - Halla Steinunn Stefánsdóttir - Halla Steinunn
Stefánsdóttir, Kent Olofsson [from <i>Strengur</i>]
</p>
<p>
become one with the hum <br />the homme hum <br />home hum <br />the sprits
<br />speak seancilly <br />music <br />social use <br />coercion
<br />temptation <br />overwhelmment <br />music <br />is without morals
<br />nor scruples <br />it <br />is inexorable <br />ancestors <br />speak in
fragments <br />decontextualized <br />prophetic <br />oracular even!
</p>
<p>
subterranean worm ravaged <br />Alice's Eat Me <br />this is some spacy space
here <br />melting rock flow <br />installation sound <br />enchantment
<br />we are being released <br />but slowly <br />hip gnosis <br />knows
<br />hip noses
</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj83zQ10C6oCJlKwNhtas2AfmKJmCJNwHTzcPCinb6NuvjN0IuiARF1htB8WetQZ3Dyebob1fYm1xuXhEv9s8bEB50OPUTABfjsIFRHxZv4LDEbaumQgP8TX31DBD_y7ffNSICLTqLK2NudGdfFhSLxMooQL1SceoOO1XZfjyawD_vUBUkk6sT0zyZIanI/s5472/231202%20K.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj83zQ10C6oCJlKwNhtas2AfmKJmCJNwHTzcPCinb6NuvjN0IuiARF1htB8WetQZ3Dyebob1fYm1xuXhEv9s8bEB50OPUTABfjsIFRHxZv4LDEbaumQgP8TX31DBD_y7ffNSICLTqLK2NudGdfFhSLxMooQL1SceoOO1XZfjyawD_vUBUkk6sT0zyZIanI/w400-h266/231202%20K.jpg" width="400" /></a></i></div><i>Strange Relationship</i> - Prince [from <i>Sign O' The Times</i>]<p></p>
<p>formulaic verse <br />versus <br />formulaic commentary </p>
<p>
a dance <br />when they wander off <br />the words <br />word parts
<br />become drums
</p>
<p><i>Faces Like Ours</i> - Shannon Stephens [from <i>Pull It Together</i>]</p>
<p>
counting one's hopes <br />a weird lullaby <br />will survive <br />and take
care <br />of an insular us <br />circle the wagons
</p>
<p><i>Saved By A Waif</i> - Alvvays [from <i>Antisocialites</i>]</p>
<p>
great sound in the opening <br />before the instruments come in singing
<br />two voices or more <br />overwhelmed by reverbs
</p>
<p><i>Hell Times</i> - Robber's Roost [from <i>Rage & Reason</i>]</p>
<p>showing off the guitar chops <br />cred badge</p>
<p><i>Faery Sound</i> - Rutland Boughton [from <i>100 Greatest Classics</i>]</p>
<p>really??</p>
<p><i>Superstar</i> - Madonna [from <i>MDNA</i>]</p>
<p>you tell that to all the guys dontcha <br />Marabel Morgan mantra</p>
<p><i>Auld Lang Syne</i> - Three Fingers [from <i>Stocking Stuffers</i>]</p>
<p>
with right good cheer <br />and all the verses <br />for auld lang syne
<br />and cheering <br />and bells
</p>
<p>
<i>We're The Carnivores</i> - Mikey and Matty [from
<i>And It Came To Pass / Not So Stay</i>]
</p>
<p>
I lost track of the conceit of the poem <br />picking up a word or two here
and there <br />dissolve out <br />eaten away
</p>
<p><i>One: FiveText</i> - Benjamin Boretz [from <i>Open Space 46</i>]</p>
<p>
turn upon completion <br />motions obscured <br />in motions <br />we find
ourselves in each of their chambers
</p>
<p>
<i>Nothin' To Do But You</i> - Rachel Harrington [from
<i>Makin' Our House a Honkytonk</i>]
</p>
<p>another way to do Marabel Morgan</p>
<p><i>Jackhammer Blues</i> - Martha Scanlan [from <i>Roll Columbia</i>]</p>
<p>rattled brains <br />bruised joints <br />deafened</p>
<p><i>Milk River </i>- Steve Peters [from <i>With My Back To The World</i>]</p>
<p>we see the sky swimming by <br />as we spin by seeing sky</p>
<p><i>Dear God</i> - XTC [from <i>Fossilfuel</i>]</p>
<p>one of those</p>
<p><i>Donkey Jacket Death Dream</i> - Yuni in Taxco [from <i>Prizes</i>]</p>
<p>
late night movies with Elvira <br />squishy psyche <br />deli cat <br />the
spirits have turned their gaze upon you
</p>
<p><i>On My Knees</i> - Gaytheist [from <i>Let's Jam Again Soon</i>]</p>
<p>apparently upset about something</p>
<p><i>Believe It</i> - Emily Stranger [from <i>Labor of Love</i>]</p>
<p>flanged out repercussions <br />flavors of dissection</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGWmReAqAkbQjIahx2vNB4ENnLa6qQ2Kb0tv5wDcYYjHCRbhLOtcjBNow-4_Pt1tesNqErBKQ8D_gnTrL-cOh-45wcf1wS5HPu5Sf0qnp54DLVdVKIg-bKVeyLYVOnJ30IfeBHtcgHXlTOuMPAugJoc-1zMNtIeY0wsxuGtzIjU_QJl9sZm98o3I-soTg/s5472/231202%20F.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGWmReAqAkbQjIahx2vNB4ENnLa6qQ2Kb0tv5wDcYYjHCRbhLOtcjBNow-4_Pt1tesNqErBKQ8D_gnTrL-cOh-45wcf1wS5HPu5Sf0qnp54DLVdVKIg-bKVeyLYVOnJ30IfeBHtcgHXlTOuMPAugJoc-1zMNtIeY0wsxuGtzIjU_QJl9sZm98o3I-soTg/w400-h266/231202%20F.jpg" width="400" /></a></div>November 30, 2023<p></p>
<p>
<i>Georgia Bottleneck Blues</i> - Cecil Barfield [from
<i>The Art of Field Recording</i>]
</p>
<p>guitar tunings<br />named after songs <br />this one is Sebastopol </p>
<p>three distinct registers <br />going' down the road feeling bad</p>
<p><i>Smutna rana elektricka</i> - Stanislav Surin</p>
<p>
a weary minor mode mood <br />pervading <br />instrumental verse <br />brings
nothing new to the party
</p>
<p>
<i>Black Background</i> - CEP [from
<i>Drawing The Target Around The Arrow</i>]
</p>
<p>
labeled ideas <br />a throbbing node <br />and a clear node
<br />intermuddling
</p>
<p><i>Peeking Around Corners</i> - Tom Swafford [from <i>Rough Spaces</i>]</p>
<p>imparting what is seen in a secret voice</p>
<p><i>AW at 12</i> - AW</p>
<p>
comprehensible voices <br />clearly singing <br />repetitious? patient.<br /> wandery?
intentionally so. <br />landed <br />a melodic noodle <br />over block chords
<br />amply spaced <br />and loosely <br />twice curved <br />a curve on a
curve <br />similarities to Sonatina of similar era <br />includes ocarina
hoots <br />the tape machine <br />made a clicking noise <br />which the tape
machine recorded <br />and reports upon <br />try <br />out
</p>
<p>its <br />the</p>
<p>new <br />in <br /><br />not a pipe<br />to be seen </p>
<p>
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6GXSC2aolSIImLaoXp5gGR6pvJJk1Q8jR14TBnbUutKyIW9g6dqnzJKALoRzjU9UjATKPpKfbdGX11YM8dFSHqgbxZBGwEtvKUlb-M5QU9iVlqGqxAKe1KU2tJ2mb4kgCJZSo7sgw4FJt2agN8H3L6tWoe3hw-DRhjkUjxDllNtiWUdgaQj1B1DEfFJM/s2343/231202%20M.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1633" data-original-width="2343" height="279" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6GXSC2aolSIImLaoXp5gGR6pvJJk1Q8jR14TBnbUutKyIW9g6dqnzJKALoRzjU9UjATKPpKfbdGX11YM8dFSHqgbxZBGwEtvKUlb-M5QU9iVlqGqxAKe1KU2tJ2mb4kgCJZSo7sgw4FJt2agN8H3L6tWoe3hw-DRhjkUjxDllNtiWUdgaQj1B1DEfFJM/w400-h279/231202%20M.jpg" width="400" /></a></div><br />arrival celebration <br />scales are fun <br />or <br />is it a messed up
metronome <br />oops <br />there's me <br />different recording device
<br />one of our lessons no doubt
<p></p>
<p>
would AW be mortified <br />that I am listening to this now <br />30 plus years hence? <br />possibly <br />perhaps <br />a particularly loud clock on
the wall <br />tick tock</p>
<p>
<i>The Night Belongs To You</i> - Song Sparrow Research [from
<i>Song Sparrow Research</i>]
</p>
<p>soft <br />semirural <br />warm feeling <br />pop</p>
<p><i>Leaving Joyous Gard</i> - Tomten [from <i>Cremation Songs</i>]</p>
<p>
tripping on Englishy fantasy <br />stiff fingered piano playing <br />memories
of Renfaeryland
</p>
<p><i>22-III.6</i> - Eric Flesher</p>
<p>
the collected squeaks of magic door hinges <br />form near <br />and far out
</p>
<p><i>What You Say </i>- John Cage - John Cage</p>
<p>
set theory and scales of perception <br />statements spoken <br />in the
manners of poetry being recited <br />in which <br />it is of no concern
<br />what gets thrown into the whole <br />so that <br />it is thrown into it
</p>
<p>all the present states <br />now <br />one after the other</p>
<p><i>The Skies </i>- Brendan Byrnes [from <i>Micropangea</i>]</p>
<p>
classy flavor of background sound <br />for a psychedelically themed
restaurants
</p>
<p><i>I Don't Give A Fuck</i> - Porn Bloopers [from <i>Blooper Reel</i>]</p>
<p>
seems to be a common attitude <br />translation into energy <br />of a
performance of the line
</p>
<p><i>Baltimore Demo</i> - Doug Palmer</p>
<p>
a reading <br />as at a funeral <br />or <br />with soap opera pacing <br />it
is a whole scene
</p>
<p>
<i>Happy Birthday</i> - The Ancients [recorded live at Rat and Raven, Seattle,
August 9, 2012]
</p>
<p>
we hear out loud <br />only what we say ourselves <br />as though <br />we
were deaf
</p>
<p><i>Pharoah</i> - Ephrata [from <i>Ephrata</i>]</p>
<p>
doing with actual voices <br />what synthesizers do <br />the way <br />some
pop classical vocalismists <br />did <br />probably still do
</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWvxXH0QnGJSP47Z54-eoHHbk01F1SHSyUnbh-brBlQL5tIAIQeZyIWF4bMS_S3tPEpRPkGLpMvpWiC2DTU6RSJJHtKIqRARMPdrdHzGLK2MCIR0ZXCHRAUD2xDQVhGN77tSUgc2jzyTdlePUOwtDYYXh6oEiOLYaYSDXOiPbsHTAuBQPEYYZaulr6SV8/s5472/231202%20L.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWvxXH0QnGJSP47Z54-eoHHbk01F1SHSyUnbh-brBlQL5tIAIQeZyIWF4bMS_S3tPEpRPkGLpMvpWiC2DTU6RSJJHtKIqRARMPdrdHzGLK2MCIR0ZXCHRAUD2xDQVhGN77tSUgc2jzyTdlePUOwtDYYXh6oEiOLYaYSDXOiPbsHTAuBQPEYYZaulr6SV8/w400-h266/231202%20L.jpg" width="400" /></a></i></div><i>Strange Moon I</i> - Kin of the Moon and Strange Interlude [streamed from
the Chapel Performance Space, Seattle, March 5, 2022]
<p></p>
<p>
side question: <br />are we seeking dialog <br />or acclamation <br />applause
or engagement <br />I mean <br />we're talking the same language here right?
<br />side question: <br />am I imitating someone doing something <br />or am
I doing something?
</p>
<p>alien dust specks <br />joy bells ringing in our ears</p>
<p>applause <br />waits to finish <br />taking it in </p>
<p>
is there social music <br />that demands <br />anywhere in America <br />our
actual engagement
</p>
<p>
<i>There's A Train That's Rollin' Through</i> - Andrew James Robison [recorded
live at Rat and Raven, Seattle, August 9, 2012]
</p>
<p>obsessive memory</p>
<p><i>Blind </i>- The Maldives [from <i>Mad Lives</i>]</p>
<p>being sorry <br />for one's witnessing</p>
<p><i>Sonata 3 in C-sharp minor</i> - Adagio - Jeremiah Lawson</p>
<p>honest use <br />fully engaged <br />is always appropriate</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnhYUX10yGD-xkvGDsRbi195O2cEU_V6rQl38WDJrvP1Oz2DmhpVDhHG72W4NdyyhMIV0eVwSSBZt_nl1mYMtTqaX53iK_IQuLkE6n_yVOCn30xX-eYAdVvKq06FygEtJS7MtpqE5Lk161IqIe1T2BA-pyNPIwJsBVipBDlu-AkaysP_DVE7ig5lHxqK0/s5472/231202%20G.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnhYUX10yGD-xkvGDsRbi195O2cEU_V6rQl38WDJrvP1Oz2DmhpVDhHG72W4NdyyhMIV0eVwSSBZt_nl1mYMtTqaX53iK_IQuLkE6n_yVOCn30xX-eYAdVvKq06FygEtJS7MtpqE5Lk161IqIe1T2BA-pyNPIwJsBVipBDlu-AkaysP_DVE7ig5lHxqK0/w400-h266/231202%20G.jpg" width="400" /></a></div>December 1, 2023<p></p>
<p><i>Hundreds & Thousands</i> - Swearin' [from <i>Swearin'</i>]</p>
<p>
an attitude <br />an age <br />lines that fight among their parts <br />made
of lists
</p>
<p><i>Warriors</i> - Bad Cop/Bad Cop [from <i>Warriors</i>]</p>
<p>work-out music <br />pumping itself up <br />it is its exertion</p>
<p><i>Diagnosis</i> - Lover Lover</p>
<p>
model correspondence: <br />poem of personal dedication <br />read as a song
<br />a gift made by hand
</p>
<p><i>A Much Married Woman Track 8</i> - Nancy Cole Silverman - Adam Varner</p>
<p>
pull in a big name <br />something's fishy <br />magician's tricks
<br />dancing with her man <br />an unprepared Belle <br />over their heads
</p>
<p>
<i>Los Marinaros</i> - Alone In Dead Bars [recorded live at The Victory
Lounge, Seattle, July 15, 2017]
</p>
<p>memoire entry <br />an event <br />better than the last one</p>
<p><i>Sinfonia 3 (midi)</i> - Keith Eisenbrey</p>
<iframe allow="autoplay" frameborder="no" height="20" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1310517292&color=%23ff5500&inverse=false&auto_play=false&show_user=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/keith-eisenbrey" style="color: #cccccc; text-decoration: none;" target="_blank" title="Keith Eisenbrey">Keith Eisenbrey</a> · <a href="https://soundcloud.com/keith-eisenbrey/03-sinfonia-3-220721" style="color: #cccccc; text-decoration: none;" target="_blank" title="03 Sinfonia 3 220721">03 Sinfonia 3 220721</a></div>
<p>no reason to figure it out <br />that's what it's working on</p>
<p><b>In Session at The Tintinabulary</b></p>
<p>November 24, 2023</p>
<p><i>Sinfonia 8 (midi)</i> - Keith Eisenbrey</p>
<iframe allow="autoplay" frameborder="no" height="20" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1680322461&color=%23ff5500&inverse=false&auto_play=false&show_user=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/keith-eisenbrey" style="color: #cccccc; text-decoration: none;" target="_blank" title="Keith Eisenbrey">Keith Eisenbrey</a> · <a href="https://soundcloud.com/keith-eisenbrey/08-sinfonia-8-231124-231124-midi" style="color: #cccccc; text-decoration: none;" target="_blank" title="08 Sinfonia 8 231124 [231124] Midi">08 Sinfonia 8 231124 [231124] Midi</a></div>
<p>this one is jolly</p>
<p>November 26, 2023</p>
<p><i>Shoel</i> - Keith Eisenbrey</p>
<iframe allow="autoplay" frameborder="no" height="20" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1680322011&color=%23ff5500&inverse=false&auto_play=false&show_user=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/keith-eisenbrey" style="color: #cccccc; text-decoration: none;" target="_blank" title="Keith Eisenbrey">Keith Eisenbrey</a> · <a href="https://soundcloud.com/keith-eisenbrey/21-shoel-231126-231126" style="color: #cccccc; text-decoration: none;" target="_blank" title="21 Shoel 231126 [231126]">21 Shoel 231126 [231126]</a></div>
<p>I am truly enjoying this project</p>
<p>November 30, 2023</p>
<p><i>Sinfonia 8 (clavichord)</i> - Keith Eisenbrey</p>
<iframe allow="autoplay" frameborder="no" height="20" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1680322869&color=%23ff5500&inverse=false&auto_play=false&show_user=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/keith-eisenbrey" style="color: #cccccc; text-decoration: none;" target="_blank" title="Keith Eisenbrey">Keith Eisenbrey</a> · <a href="https://soundcloud.com/keith-eisenbrey/08-sinfonia-8-231124-231130-clavichord" style="color: #cccccc; text-decoration: none;" target="_blank" title="08 Sinfonia 8 231124 [231130] Clavichord">08 Sinfonia 8 231124 [231130] Clavichord</a></div>
<p>lose the metronomic impetus and the music thinks as itself</p>
<p style="text-align: center;"><b>Postscripts</b></p>
<p><b>Drops</b></p>
<p><i>Keith Eisenbrey 7: 1995-2001</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1774068906/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-7-1995-2001">Keith Eisenbrey 7: 1995-2001 by Keith Eisenbrey, Karen Eisenbrey</a></iframe>
<p>
During our years of chaos (parenting), keeping my hand in the game writing
short pieces - and one big break-through.
</p>
<p><i>Keith Eisenbrey 6: 1988-1994</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1185240499/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-6-1988-1994">Keith Eisenbrey 6: 1988-1994 by Keith Eisenbrey</a></iframe>
<p>
Working with narrative forms, both explicit and implicit, playing games with
memory, and finding ways to set texts.
</p>
<p><i>Keith Eisenbrey 5: 1984-1988</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=641022695/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-5-1984-1988">Keith Eisenbrey 5. 1984-1988 by Keith Eisenbrey</a></iframe>
<p>
My first years back in the Puget Sound area, working with the experience of
repetition and with relationships between the vertical and horizontal pitch
realms.
</p>
<p><i>Keith Eisenbrey 4: 1983-1984</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3616259267/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-4-1983-1984">Keith Eisenbrey 4. 1983-1984 by Keith Eisenbrey</a></iframe>
<p>
Finishes up the music I wrote while I was in New York (state) under the
ostensible supervision of the academic world.
</p>
<p><i>Keith Eisenbrey 3: 1982-1983</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2544871921/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-3-1982-1983">Keith Eisenbrey 3. 1982-1983 by Keith Eisenbrey</a></iframe>
<p>
Written in Red Hook, NY, and Malabar, FL, as I was beginning to think about
thinking about music.
</p>
<p><i>Keith Eisenbrey 2: 1981-1982</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1543052747/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-2-1981-1982">Keith Eisenbrey 2. 1981-1982 by Keith Eisenbrey</a></iframe>
<p>
What occupied my time toward at the end of my undergrad days and in the year
before I went east for a while.
</p>
<p><i>Keith Eisenbrey 1: 1979-1981</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1650666157/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-1-1979-1981">Keith Eisenbrey 1. 1979-1981 by Keith Eisenbrey</a></iframe>
<p>Keyboard works I composed while an undergrad at the UW. </p>
<p>All are free for download.</p>
<p><b>Skaldmud's Doodle Gallery</b></p>
<p>listening journal doodles from 2013</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCNBcT-yYk7G29z8NmIk9zn9HBGMepJc3ysYGiB1sKKTW12x7Eq7WsGW3Aqq5fDg_YkDnRoVOCaIyHZ9VfnQr2mjh3_QS_wxlZ3lu03cKu59g6h778rDzPTpE6egtHPClXU9vx1STQnN7xMvVVR-FiSMzOIOV2PE2YbGH59c9174TvThYuh8u-uveO5DM/s1324/2023%20scan636.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="861" data-original-width="1324" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCNBcT-yYk7G29z8NmIk9zn9HBGMepJc3ysYGiB1sKKTW12x7Eq7WsGW3Aqq5fDg_YkDnRoVOCaIyHZ9VfnQr2mjh3_QS_wxlZ3lu03cKu59g6h778rDzPTpE6egtHPClXU9vx1STQnN7xMvVVR-FiSMzOIOV2PE2YbGH59c9174TvThYuh8u-uveO5DM/w400-h260/2023%20scan636.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEix-_z0fY9uuwLZmk5M0R1tcFmoPfpFcjI9Ha0eaziL9AXw5Osz0Se7Riq3-P7cSJjcLOd6awq39ByHNnWWp_IrpXlUI7fTuiDeRxFzF1S8_tcg5M4RO5Lkd6TL1r9hBxdHI7rnVQcU3F3fYARSJJnvzY3BqQg6ljEWEvWvj-ssA1djJ1zCGpmH-sko36A/s2328/2023%20scan637.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1014" data-original-width="2328" height="174" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEix-_z0fY9uuwLZmk5M0R1tcFmoPfpFcjI9Ha0eaziL9AXw5Osz0Se7Riq3-P7cSJjcLOd6awq39ByHNnWWp_IrpXlUI7fTuiDeRxFzF1S8_tcg5M4RO5Lkd6TL1r9hBxdHI7rnVQcU3F3fYARSJJnvzY3BqQg6ljEWEvWvj-ssA1djJ1zCGpmH-sko36A/w400-h174/2023%20scan637.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtatJ5C2XV39XNsKTAQw-97Va1m5CKaD6KE8VOKjKZGANNn6FYysSES825mOb4zHw_QH4f5dln7w58OzpD2JVUJKp6MifJD4u6ntH7AbArrzzTv6A5XAVF3d52cOB4WaJB9zu25HjzVbPr_STgX57e6YA1U7lJ00L9jwNVB_xKQjzY17R6RpsdVEl0jIw/s2200/2023%20scan638.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="959" data-original-width="2200" height="174" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtatJ5C2XV39XNsKTAQw-97Va1m5CKaD6KE8VOKjKZGANNn6FYysSES825mOb4zHw_QH4f5dln7w58OzpD2JVUJKp6MifJD4u6ntH7AbArrzzTv6A5XAVF3d52cOB4WaJB9zu25HjzVbPr_STgX57e6YA1U7lJ00L9jwNVB_xKQjzY17R6RpsdVEl0jIw/w400-h174/2023%20scan638.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5dudZsMsaCfCeoJyENKWfedVLcbxrXnGM3AvYTiKW8lc_qaUlzLqdUOnUVEiIGdEOX4TczjLMG1pv5VMYwgWskBhG4dJfsqiM8ELvLHAAEKkZvvx3kFDwo4SEm5YSWuogwxDo5Nl0q4GXtPbubUOM3xr4bxxBQ6cMvu8-8TWHrxTpG9QaXZuVi58Og4o/s2062/2023%20scan639.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1590" data-original-width="2062" height="309" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5dudZsMsaCfCeoJyENKWfedVLcbxrXnGM3AvYTiKW8lc_qaUlzLqdUOnUVEiIGdEOX4TczjLMG1pv5VMYwgWskBhG4dJfsqiM8ELvLHAAEKkZvvx3kFDwo4SEm5YSWuogwxDo5Nl0q4GXtPbubUOM3xr4bxxBQ6cMvu8-8TWHrxTpG9QaXZuVi58Og4o/w400-h309/2023%20scan639.jpg" width="400" /></a></div><br /><p><br /></p>
Keith Eisenbreyhttp://www.blogger.com/profile/16399615075612440296noreply@blogger.com0tag:blogger.com,1999:blog-7569166511516520581.post-39949641071347805902023-11-25T11:40:00.000-08:002023-11-25T11:40:48.155-08:00Playlist<p style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0ZP6TgvQ-2aGOUMNm_41bdVzXDLEH5fi_-5BT__4lFmcuIlG1ved8hBsjT7HleD56HW8YPvwdNQAkwkau-oPhv5dsyBQPX_ed7lkri6m_LiIu860_i3CXsIk-AD_ys2VzuKDri1ylJUQoChEI_7MfoJwtCsDW0YGpDthJgQ9a0A8f8V6W-DqJ-SP7PN0/s3870/231125%20A.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="3870" height="378" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0ZP6TgvQ-2aGOUMNm_41bdVzXDLEH5fi_-5BT__4lFmcuIlG1ved8hBsjT7HleD56HW8YPvwdNQAkwkau-oPhv5dsyBQPX_ed7lkri6m_LiIu860_i3CXsIk-AD_ys2VzuKDri1ylJUQoChEI_7MfoJwtCsDW0YGpDthJgQ9a0A8f8V6W-DqJ-SP7PN0/w400-h378/231125%20A.jpg" width="400" /></a><b>Preface</b></p>
<p>
"There was yet another class of persons, - those who were waiting to attend
summonses their employers had taken out, which it was optional to the attorney
on the opposite side to attend or not, and whose business it was, from time to
time, to cry out the opposite attorney's name, to make certain that he was not
in attendance without their knowledge.
</p>
<p>
For example: leaning against the wall, close beside the seat Mr. Pickwick had
taken, was an office-lad of fourteen, with a tenor voice; near him, a
common-law clerk, with a bass one.
</p>
<p>A clerk hurried in with a bundle of papers, and stared about him.</p>
<p>'Sniggle and Blink,' cried the tenor.</p>
<p>'Porkin and Snob,' growled the bass.</p>
<p>'Stumpy and Deacon,' said the new-comer.</p>
<p>
Nobody answered; the next man who came in was hailed by the whole three, and
he in his turn shouted for another firm, and then somebody else roared in a
loud voice for another, and so forth.
</p>
<p>
All this time the man in the spectacles was hard at work swearing in the
clerks, the oath being invariably administered without any effort at
punctuation, and usually in the following terms: -
</p>
<p>
'Take the book in your right hand this is your name and handwriting you swear
that the contents of this your affidavit are true so help you God a shilling
you must get change I haven't got it.'"
</p>
<p>Charles Dickens - from "The Posthumous Papers of The Pickwick Club"</p>
<p style="text-align: center;"><b>Texts</b></p>
<p><b>Recorded</b></p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCHec73gzDxrDoNYfPFW4ZSiHSCf6vc6Pl9Tec3kzERmXysRgcLufPMVaIb2NnVsPff8HIXAZA5xMybB2nikwv3mFMujXXyPcFTJQqafmOpY9pEa3trMKYFpSu4LdbdvlNsjseB3DAMz4tqQUFpg4aRPdpb3pg4SoH4FCckRqxPCipBy3cb-t3yJkjN5A/s5472/231125%20B.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCHec73gzDxrDoNYfPFW4ZSiHSCf6vc6Pl9Tec3kzERmXysRgcLufPMVaIb2NnVsPff8HIXAZA5xMybB2nikwv3mFMujXXyPcFTJQqafmOpY9pEa3trMKYFpSu4LdbdvlNsjseB3DAMz4tqQUFpg4aRPdpb3pg4SoH4FCckRqxPCipBy3cb-t3yJkjN5A/w400-h266/231125%20B.jpg" width="400" /></a></div>November 19, 2023<p></p>
<p>
<i>Sonata in C Major, K. 309</i> - Wolfgang Amadeus Mozart - Kristian
Bezuidenhout
</p>
<p>
1 <br />setting off on adventuring <br />one among our party wonders what they
are doing <br />on occasion <br />a shadow is taking us in <br />wondering one
<br />finds a possible way out or on
</p>
<p>
2 <br />each successive iteration <br />develops the prior iteration <br />in
groups of like developments <br />harking back <br />to successively larger
spans <br />wrap it up <br />in a reminiscing coda
</p>
<p>
3 <br />figuration marks time spans <br />in metrical and pitch functions
<br />each supporting the other <br />that is <br />providing the ground
<br />upon which the other can appear <br />pitch within and from meter
<br />meter from and within pitch functions
</p>
<p>exit through the garden gate</p>
<p><i>Étude in F minor, Op. 10 #9</i> - Frédéric Chopin - Garrick Ohlsson</p>
<p>
worried waiting <br />full of fret <br />all the disasters <br />that might be
befalling <br />even as we pace
</p>
<p>
<i>Fantasiestück in F Major, Op. 12 #7 "Ende vom Lied"</i> - Robert Schumann -
Eric Le Sage
</p>
<p>
our well prepared hero has returned victorious <br />the swarming kiddos
pester with questions <br />are told exciting tales <br />full of peril and
suspense
</p>
<p>pausing on the door step <br />weary of it all</p>
<p>
<i>When Stars Are In The Quiet Skies</i> - Charles Ives - Mary Ann Hart,
Dennis Helmrich
</p>
<p>a hymn feel throughout <br />and a lullaby</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjF2MpU_xQL49w6GivUvrgRsgYwVXblYGfFOxDURC5GVLrLdNHtErRIEJcMOk8rj0sl9qO12Uf28vP1BukPd7szDrP_Orr8T_Dz9qJUyYqr6tRJRrMFRZIYH9ySvidDIwtLR__bjs4srlNbs1qHEXo7NfMZGcY2Vz1gnIYQTSgJpNx3gGOkZNQ4kTTQGgQ/s3862/231125%20L.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3163" data-original-width="3862" height="328" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjF2MpU_xQL49w6GivUvrgRsgYwVXblYGfFOxDURC5GVLrLdNHtErRIEJcMOk8rj0sl9qO12Uf28vP1BukPd7szDrP_Orr8T_Dz9qJUyYqr6tRJRrMFRZIYH9ySvidDIwtLR__bjs4srlNbs1qHEXo7NfMZGcY2Vz1gnIYQTSgJpNx3gGOkZNQ4kTTQGgQ/w400-h328/231125%20L.jpg" width="400" /></a></i></div><i>Ruby My Dear (alternate take)</i> - Thelonious Monk [from
<i>The Complete Blue Note Recordings</i>]
<p></p>
<p>
the melodic thread spins off <br />then reappears <br />right back where we
left it <br />or <br />the tune tosses us playful <br />skyward <br />catches
us without fail
</p>
<p>
<i>Oh Why? (takes 3 and 4)</i> - Little Richard [from
<i>Here's Little Richard</i>]
</p>
<p>a blues being unjustly arrested</p>
<p>
<i>Oh, Lonesome Me</i> - Ray Charles [form
<i>Modern Sounds In Country And Western Music</i>]
</p>
<p>ironic uptempo setting</p>
<p><i>I Love My Baby</i> - Nina Simone [from <i>High Priestess of Soul</i>]</p>
<p>two phrases <br />two adventures <br />and that's just for starters</p>
<p>
<i>Pieces of Dreams</i> - Sarah Vaughan [from
<i>Sarah Vaughan with Michel LeGrand</i>]
</p>
<p>orchestrated pianistically</p>
<p>
<i>Paprika Plains</i> - Joni Mitchell [from
<i>Don Juan's Reckless Daughter</i>]
</p>
<p>
we're going to have a long talk <br />so sit back <br />with special effects
for the dream sequence <br />dramas of arrival home <br />or distant land
</p>
<p>
piano is severely limited <br />in what it does <br />its notes
<br />designate energies <br />without being energies themselves
</p>
<p>an uninterrupted sequence of several songs</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYzyAlZWd5o5olrktPioYoohAwNiBzlyuOlKy668Q1NZEMYRnR9NtKquGdb52wf_5WWxP6om0AVs65Ui6VNOA6t7q24Yyp-XOsOIwvNGzV1d3i_ejWj28FHuDa0WBWBSoEcLymOTxqQiks0lSNjS2bVGi2Sm40ht4sqRaM5HsUcNj3NrGAB3cGgi38sjw/s5472/231125%20C.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYzyAlZWd5o5olrktPioYoohAwNiBzlyuOlKy668Q1NZEMYRnR9NtKquGdb52wf_5WWxP6om0AVs65Ui6VNOA6t7q24Yyp-XOsOIwvNGzV1d3i_ejWj28FHuDa0WBWBSoEcLymOTxqQiks0lSNjS2bVGi2Sm40ht4sqRaM5HsUcNj3NrGAB3cGgi38sjw/w400-h266/231125%20C.jpg" width="400" /></a></div>November 20, 2023<p></p>
<p><i>'87 and Cry</i> - David Bowie [from <i>Never Let Me Down</i>]</p>
<p>
machined precision drumming <br />makes the engineers job easier <br />music
with restraining bolts
</p>
<p>
<i>Whoa Mule! Can't Get The Saddle On</i> - Mike, Peggy, and Penny Seeger
[from <i>Animal Folk Songs for Children</i>]
</p>
<p>goes on as long as it takes</p>
<p><i>Virgil</i> - Paul Simon [from <i>Songs from The Capeman</i>]</p>
<p>character monologuing for the theater audience</p>
<p><i>Mary's Place</i> - Bruce Springsteen [from <i>The Rising</i>]</p>
<p>
the title occurs nearly <br />if not quite <br />25 times <br />during the
course of the song
</p>
<p>
<i>Journey on the Longest Day</i> - Steve Layton & Improv Friday [from
<i>Summer Mirages</i>]
</p>
<p>
does the habit of imagining sounds <br />to have been produced by objects
<br />rather than by wiring <br />rest <br />on our (my) experience of sounds
<br />in unsynthesized life?
</p>
<p>is there something more primal going on? </p>
<p>
do we (I) <br />need <br />at some level <br />sounds to be produced by
objects <br />whose methods of doing so <br />are obvious to the eye and hand
<br />graspable in our bodies?
</p>
<p>
or <br />is it simply a lack of imagination <br />on our (my) part <br />that
I can't grasp the physicality <br />of the processing by electronic means
<br />(the process can't be picked up and inspected) <br />possibly
<br />exacerbated <br />by having become comfortable with music coming out of
speakers <br />to be a trace of the sound of graspable instruments?
</p>
<p><i>Rx for the Wife</i> - Amy Denio [from <i>The Big Embrace</i>]</p>
<p>flesh and bone drumming</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCCVVS46DzngBCshthDoYu315SVbS-RqzkhKnMLGItAQQ1wr2Cd5VPSIJCW6JKDhdnI8WtW7emxIQvoG9fSt08ipNNMUrOjl2M6g4pBSlPRD1L-AGcrF2nZQvd9xZMCM2gRKDVjqRGJAySRBzx_nIpPvVpUKh107_cm9dZDeysDAlrM5e0lzOu9vDIWNM/s2605/231125%20K.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2472" data-original-width="2605" height="380" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCCVVS46DzngBCshthDoYu315SVbS-RqzkhKnMLGItAQQ1wr2Cd5VPSIJCW6JKDhdnI8WtW7emxIQvoG9fSt08ipNNMUrOjl2M6g4pBSlPRD1L-AGcrF2nZQvd9xZMCM2gRKDVjqRGJAySRBzx_nIpPvVpUKh107_cm9dZDeysDAlrM5e0lzOu9vDIWNM/w400-h380/231125%20K.jpg" width="400" /></a></i></div><i>Pitch Collection 4</i> - Sascia Pellegrini [from <i>Atoneide</i>]<p></p>
<p>
proximity complicates count <br />proximate nodes <br />pitch is our name for
pulses of audible sounds <br />that quickly follow each other <br />but
<br />that we can't distinguish as pulses <br />but <br />we do distinguish
their texture <br />as a quality of a sound <br />processed in the immediate
<br />pulses audible as such <br />are no longer <br />in that sense
<br />part of the same sound <br />but rather <br />individual distinct
moments <br />processed analytically <br />a rhythm feel <br />is not a pitch
feel
</p>
<p>
<i>One Step Beyond</i> - Willie Nelson [from <i>. . . And Then I Wrote</i>]
</p>
<p>
plainly arranged clarity of textual expression <br />allows space to pull the
rug out
</p>
<p><i>Your Mother Should Know</i> - The Beatles [from <i>Anthology</i>]</p>
<p>
before the production gewgaws had been applied <br />errors allowed <br />a
draft
</p>
<p><i>King of Birds</i> - REM [from <i>Document</i>]</p>
<p>
performances are composed for venue sets <br />groups of plausible venues
<br />in which the performance could work optimally <br />a recording
<br />for wide distribution <br />is aimed at a wide array of
possibilities <br />its generic nature <br />as a performance <br />becomes a
requirement <br />for marketing purposes
</p>
<p><i>I'm OK</i> - Christina Aguilera [from <i>Stripped</i>]</p>
<p>
cinematic preamble <br />for the kids of abusive homes <br />and to arouse
empathy <br />for those who suffer such <br />one is compelled <br />to
understand her <br />as being heart-felt about it
</p>
<p><i>Luminary Blake</i> - Waxatachee [from <i>American Weekend</i>]</p>
<p>
the voice is remarkable <br />even through <br />the made on bedroom equipment
production sheen
</p>
<p><i>Waltz #2</i> - Star Anna [from <i>Soundtrack</i>]</p>
<p>
a waltz <br />here <br />is in 12/8 <br />(complex common) <br />what's
complex about three? <br />what's common about two?
</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-RA701VnGCZQJ_1ASzRN2qFoFQL2uHvVd9vqS5K4FNdXVSVwq3SvwF_RXZIqeRrcCCH8Gl1yLAOcMR_RwNTB4r1PMfKIXhKToC6YMtut1_0rZyfVvCEJS3_M69uW1uVg5G7dZyiigHmlRre3zaonYGTuzsX3ub4TY9L9NeqTA9y4e6M8YNpDGCli6oc0/s5472/231125%20J.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-RA701VnGCZQJ_1ASzRN2qFoFQL2uHvVd9vqS5K4FNdXVSVwq3SvwF_RXZIqeRrcCCH8Gl1yLAOcMR_RwNTB4r1PMfKIXhKToC6YMtut1_0rZyfVvCEJS3_M69uW1uVg5G7dZyiigHmlRre3zaonYGTuzsX3ub4TY9L9NeqTA9y4e6M8YNpDGCli6oc0/w400-h266/231125%20J.jpg" width="400" /></a></i></div><i>Question...?</i> - Taylor Swift [from <i>Midnights</i>]<p></p>
<p>compositional upspeak <br />tied into a narrative circle</p>
<p><i>Pro Lazarus</i> - Bob Dylan [from <i>A Tree With Roots</i>]</p>
<p>trying things on </p>
<p>
<i>Die Katzenpfote</i> - Anonymous - Tielman Susato Krummhorn Gesellschaft
[from <i>The Glory of the Krummhorn</i>]
</p>
<p>an essay in (polyphonic) voice direction textures</p>
<p><i>Shiz Saad 3</i> - Greg Sinibaldi [from <i>Frieze of Life</i>]</p>
<p>incidental music to a dramatic work</p>
<p>
<i>At The Dark End of the Street</i> - Andrew James Robison [recorded live at
The Blue Moon, Seattle, October 4, 2012]
</p>
<p>
sung as a duet <br />each voice maintains their own way <br />at what the song
is <br />harmony <br />is difficult for individuals
</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIaTGIUkxnyt80vJdgBJ6X8hfm6ZSpNV-znJKRpkd16LDgXz6ngMrxdTCNxZVigNsvItojlT6jpI58CLBrsH8pq-prGBzwuxjnNNeHTVGs7tnmuOD2B3CksroC1hFNi63Vv263mU65g2Mn9MNxVn-ZsiIGY_Y8IBnHnn8WS1eNPJOMMKnr3jyc2PZK7Rk/s4000/231125%20D.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="4000" data-original-width="3413" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIaTGIUkxnyt80vJdgBJ6X8hfm6ZSpNV-znJKRpkd16LDgXz6ngMrxdTCNxZVigNsvItojlT6jpI58CLBrsH8pq-prGBzwuxjnNNeHTVGs7tnmuOD2B3CksroC1hFNi63Vv263mU65g2Mn9MNxVn-ZsiIGY_Y8IBnHnn8WS1eNPJOMMKnr3jyc2PZK7Rk/w341-h400/231125%20D.jpg" width="341" /></a></div>November 21, 2023<p></p>
<p><i>Company Retreat!</i> - Gaytheist [from <i>Let's Jam Again Soon</i>]</p>
<p>loud</p>
<p>
<i>Part VIII of Eurydice</i> - Hilda Doolittle - William Bond [from
<i>Quaking Aspen</i>]
</p>
<p>Eurydice stakes her claim</p>
<p>
<i>Poleganala e Todora</i> - Philip Koutev - Bulgarian State Radio & TV
Female Vocal Choir [from <i>Le Mystere des Voix Bulgares</i>]
</p>
<p>
polychoral <br />distinct voice combinations <br />alternate <br />overlap
</p>
<p>
<i>Bless The Beasts And The Children </i>- Glenn Tate [from
<i>Some of My Favorite Love Songs</i>]
</p>
<p>
decor music <br />thrives on uniformity <br />homogeneity <br />the ability
<br />to transform <br />any song <br />into <br />the same music
</p>
<p>
<i>Nothing Golden Can Stay</i> - Red Ribbon [recorded live at The Blue Moon,
Seattle, October 4, 2012]
</p>
<p>
two tempos alternate <br />quicker instrumental half-time <br />vocal heavy
and draggy <br />split the difference at the end
</p>
<p><i>The Talkin' Blues</i> - Al James [from <i>Roll Columbia</i>]</p>
<p>ooze on into the promised land <br />rural imagery</p>
<p><i>Virgo's Groove</i> - Beyoncé [from <i>Renaissance</i>]</p>
<p>
start easy <br />into the dance <br />invocation <br />invitation <br />plea
<br />sexual come-on
</p>
<p>
<i>Rest In The Lord (from Elijah)</i> - Felix Mendelssohn [from
<i>100 Greatest Classics</i>]
</p>
<p>
each phrase exactly correct and tasteful <br />we are polite people <br />and
always can't forget it
</p>
<p>
<i>Monsoon Season</i> - Pete Comley [from <i>Lost City Music Volume 2</i>]
</p>
<p>
our need to imagine otherness <br />exoticism <br />fantastical realms
<br />distant planets <br />distant times <br />conjuring them <br />here and
now
</p>
<p>gulls in flight <br />become radio chatter frequency sweeps</p>
<p>
I recognize that bell <br />it is a plow wheel <br />(I am credited with
supplemental percussion on this album)
</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0rONi2dsQidp1beb0z61nyveEWuagM81tELY9vB1kStnmEQLcUGrH8vtFoeSNq9cfhkmUwYRuG17g-3_OqJhcb0wAVgb1irsMlQeU4OUiBwdHGHrh3durW60UD2rkURSYYVfTgZg6E0zw9gB7zDMX1zS_5R2dTJ1yp_AnLNs2eGuRsa037N6sRlw6ctM/s4369/231125%20H.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3275" data-original-width="4369" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0rONi2dsQidp1beb0z61nyveEWuagM81tELY9vB1kStnmEQLcUGrH8vtFoeSNq9cfhkmUwYRuG17g-3_OqJhcb0wAVgb1irsMlQeU4OUiBwdHGHrh3durW60UD2rkURSYYVfTgZg6E0zw9gB7zDMX1zS_5R2dTJ1yp_AnLNs2eGuRsa037N6sRlw6ctM/w400-h300/231125%20H.jpg" width="400" /></a></i></div><i>Oscar Theme</i> - Swingset Showdown [from <i>Slow Bus Ruckus</i>]<p></p>
<p>bragging on the roadie</p>
<p>
<i>Stuck in Salina, Kansas</i> - Smokestack and The Foothill Fury [from
<i>River Rats and Pipelines</i>]
</p>
<p>low episode in a hard life</p>
<p><i>Rockabye</i> - Robin Holcomb [from <i>One Way Or Another</i>]</p>
<p>
living in permanent suspicion <br />poems of conversation <br />from within an
intimacy <br />possibly shared
</p>
<p>
<i>Well Done</i> - Total Experience Gospel Choir, Pat Wright [from
<i>Bits and Pieces</i>]
</p>
<p>personal testimony <br />aspiring to affirmation</p>
<p><i>Hills (Instrumental) -</i> Chris Brokaw [from <i>Stories</i>]</p>
<p>that lonely guitar reverb <br />for soulful introspection </p>
<p>
what does introspection look like? <br />is it transparent to visual
inspection
</p>
<p>
<i>Track 8</i> - Arbor Towers [recorded live at Victory Lounge, Seattle, July
15, 2017]
</p>
<p>
this is rather nice <br />put some juice on the chorus <br />starts with solo
drums <br />settles back to just guitar and bass <br />toward the end
<br />drum sneaks in among the guitarist's fingers
</p>
<p><i>This Year</i> - Robber's Roost [from <i>Rage & Reason</i>]</p>
<p>everything is nothing as it seems</p>
<p><i>I Just Can't Stop Loving You</i> - Michael Jackson [from <i>Bad</i>]</p>
<p>the camera loves his voice</p>
<p><i>Blown Away </i>- Black Plastic Clouds [from <i>Electroplate</i>]</p>
<p>
far more together in the studio <br />than they were live <br />segregated
sounds <br />but used so baldly <br />it's refreshing <br />in a way <br />all
the seams show <br />rehearsal's footprint
</p>
<p>
<i>Missed Exit</i> - CEP [from <i>Drawing the Target Around The Arrow</i>]
</p>
<p>deconstructed heart beat <br />in offset filters</p>
<p>
<i>Blue and Yellow, Yellow and Gold</i> - Mikey and Matty [from
<i>It Came To Pass / Not To Say</i>]
</p>
<p>Seattle's favorite blood harmony vocal group</p>
<p>
<i>Hallelujah Chorus (from The Messiah)</i> - George Frideric Handel [from
<i>100 Greatest Classics</i>]
</p>
<p>
give the choir their melody as a prelude <br />so they remember how it goes
<br />was this originally sung by men and boys? <br />(yes)
</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuVBzcH7FpVyQMkA8wkwhVK0QiEEgsJuTntt22L6KM67ffBtlcuMgsHpT4aJH3_mWYSk6XEzysy_V_faPRihuhdzGD9LQKXadey1UCuESSNmkpERVF8G_uJlrO5umVMco68q9-Leap4PtV6UfGDg8bhl7fRhvJygF0nzggl2lvImtUmTB2YmaRGdrYKs8/s5472/231125%20I.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuVBzcH7FpVyQMkA8wkwhVK0QiEEgsJuTntt22L6KM67ffBtlcuMgsHpT4aJH3_mWYSk6XEzysy_V_faPRihuhdzGD9LQKXadey1UCuESSNmkpERVF8G_uJlrO5umVMco68q9-Leap4PtV6UfGDg8bhl7fRhvJygF0nzggl2lvImtUmTB2YmaRGdrYKs8/w400-h266/231125%20I.jpg" width="400" /></a></i></div><i>Surrender (Suicide)</i> - Prom Queen [from <i>Covers</i>]<p></p>
<p>imagine the Fleetwoods doing this</p>
<p><i>First Song of Spring</i> - Tomten [from <i>Cremation Songs</i>]</p>
<p>whistle like birds <br />flutes stand for birds <br />unspecified mood</p>
<p>
<i>Missing Words IV: I. Erkenntnisspaziergang (Cognition-Stroll)</i> - Eric
Nathan [from <i>Missing Words</i>]
</p>
<p>
squirrel burst motion <br />resolving into toy steam engine face-off
<br />staged transpiration <br />calming spirits have taken the field
<br />the toy steam engines return <br />to stomp the ending
</p>
<p>
<i>Ant Farm</i> - The Young Fresh Fellows [from
<i>The Men Who Loved Music</i>]
</p>
<p>getting all social analytical</p>
<p><i>Zaarmu </i>- $.99 Dreams [from <i>Brood of Bau</i>]</p>
<p>
return to the exotic shores <br />with its swarms of ravenous biting
insects
</p>
<p>
not unlike an aural interpretation <br />of a cover <br />on a 70s
<br />sci-fi <br />mag <br />jungle planet <br />issue
</p>
<p><i>Friends of Friends </i>- Porn Bloopers [from <i>Blooper Reel</i>]</p>
<p>they seem to be trying to use the cymbals <br />as vocal microphones</p>
<p>
<i>Yesteryear</i> - Jessica McMann, Benton Roark - Re:Naissance Opera [from
<i>Music from The Apocrypha Chronicles</i>]
</p>
<p>the calming spirits <br />weary <br />have returned</p>
<p>
<i>All In The April Evening</i> - Hugh S. Roberton [from
<i>100 Greatest Classics</i>]
</p>
<p>
plummily pronounced <br />sentimental piety <br />Anglican barbershop men's
ensemble
</p>
<p><i>Hotel Limone</i> - St. Paul de Vence [from <i>St. Paul de Vence</i>]</p>
<p>barely gets started and stops</p>
<p><i>Consequence</i> - Ephrata [from <i>Ephrata</i>]</p>
<p>shimmery surface <br />shines effortlessly <br />no dust no grime</p>
<p><i>Trouble (radio edit)</i> - Doug Kolmar [from <i>So Said Life</i>]</p>
<p>talking to the current affairs page</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg69C7LL-AWEixL-4BALxHKol1dlSBCKVBbTlS6sY1eW5C8UbVWVxqeyVBQdQg2s7BjJmW_tWJALbLqqNgPsrz5hJ-Oi2F5Z1bDOyC7w2t8XoRz8BQwskfhmmMZChqzs9vZnM9jnwqcSBPmHPOE_t-i3diE5wq1vqkUynYFKrMA62aQG3TcurI1vxL27Uw/s5472/231125%20E.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg69C7LL-AWEixL-4BALxHKol1dlSBCKVBbTlS6sY1eW5C8UbVWVxqeyVBQdQg2s7BjJmW_tWJALbLqqNgPsrz5hJ-Oi2F5Z1bDOyC7w2t8XoRz8BQwskfhmmMZChqzs9vZnM9jnwqcSBPmHPOE_t-i3diE5wq1vqkUynYFKrMA62aQG3TcurI1vxL27Uw/w400-h266/231125%20E.jpg" width="400" /></a></div>November 22, 2023<p></p>
<p>
<i>Selections from The Nutcracker</i> - Pyotr Ilyich Tchaikovsky [from
<i>100 Greatest Classics</i>]
</p>
<p>
leaning in <br />to the ir-reality <br />of this particular ir-reality
</p>
<p>
children have such wild imaginations <br />yes <br />but this is grownups
<br />making believe <br />they have a child's imagination <br />but <br />it
isn't <br />it's grownups' imaginations <br />each imagined object <br />is
coherent <br />within its setting <br />which is not a necessary contingency
<br />for children <br />for adults <br />it's our way of rationalizing
<br />and taming <br />our own imaginations
</p>
<p><i>Night Ship</i> - Byron Au Yong [from <i>Yiju</i>]</p>
<p>
sticks <br />paper <br />exhalation <br />inhalations <br />various mouth
shapes <br />and dynamic gestures
</p>
<p>a poem of sounds</p>
<p>
<i>Something Is Missing (Mean Jeans)</i> - Alone In Dead Bars [recorded live
at Victory Lounge, Seattle, July 15, 2017]
</p>
<p>don't stop partyin' <br />inertia <br />and the forces that act upon it</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLxEVKD3VQl7aQyvOa7SmsWIGX8NT6ANb-NrwGkYNpDw6jRQtU9VS-dmO1sfCeXhJG5J84f1oRwVANXtSTBxRS_feI8GmLrezC0D4FQtSQer4uk8KtTKlWllrPsCELhng3VLokgtONz1TxVwyTOz5mykL5JI6cQNetspgbN9M-yBsEtAA6JEOF6DclmZk/s5472/231125%20F.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="5472" data-original-width="3648" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLxEVKD3VQl7aQyvOa7SmsWIGX8NT6ANb-NrwGkYNpDw6jRQtU9VS-dmO1sfCeXhJG5J84f1oRwVANXtSTBxRS_feI8GmLrezC0D4FQtSQer4uk8KtTKlWllrPsCELhng3VLokgtONz1TxVwyTOz5mykL5JI6cQNetspgbN9M-yBsEtAA6JEOF6DclmZk/w266-h400/231125%20F.jpg" width="266" /></a></i></div><i>Grid</i> - Steve Peters [from <i>With My Back To The Wall</i>]<p></p>
<p>on the edge of one <br />and an other <br />a prayer is lifted</p>
<p><i>If I Was Your Girlfriend</i> - Prince [from <i>Sign O' The Times</i>]</p>
<p>dial past possibility <br />channels an intimacy of artifice</p>
<p><i>Soft Eyes </i>- Low Hums [from <i>Low Hums</i>]</p>
<p>effectively composed pause <br />between stanzas </p>
<p><i>Track 9</i> - Marjorie Palmer [from <i>Make a Joyful Noise</i>]</p>
<p>
I'm going to sing you a song <br />(as part of a service) <br />we're on page
348 <br />Softly and Tenderly Jesus Is Calling <br />sung chorally
<br />congregationally <br />a certain amount of getting pulled along
<br />after the piano <br />time allowed <br />for pitch scoopers <br />to
scoop <br />I like the voice that pierces through all <br />in its own unique
<br />glorious <br />concept <br />of micro-intonation
</p>
<p><i>Anyway</i> - Emily Stranger [from <i>Labor of Love</i>]</p>
<p>
tag on syllable <br />to finish the <br />word <br />after long protraction
<br />interrupting breathing <br />a statement group <br />to be repeated
<br />variously <br />no end to extend to
</p>
<p>
<i>Say No Brother (Crack Attack Don't Do It)</i> - Boogie Down Productions
[from <i>Criminal Minded</i>]
</p>
<p>a lecture</p>
<p>
<i>We Have Really Nice Things</i> - Youth Rescue Mission [recorded live at The
High Dive, Seattle, April 6, 2012]
</p>
<p>
perfect alignment <br />firmly planted <br />stretched out tempo <br />arrives
heavily on its ones
</p>
<p><i>MOB </i>- Camarones Orquestra Guitarristica [from <i>Feeexta</i>]</p>
<p>
made of simple parts <br />clearly labeled and packaged <br />into its place
<br />within the stanza groupings
</p>
<p>
<i>Thinh không (Ether)</i> - Halla Steinunn Stefánsdóttir - Halla Steinunn
Stefánsdóttir, Lương Huệ Trinh [from <i>Strengur</i>]
</p>
<p>
small made big <br />close to an other <br />made close to me <br />partial
<br />irregular <br />cyclicity <br />it doesn't move <br />from place to
place <br />but <br />shifts <br />within its own geology <br />becomes
<br />a different object <br />past the caesurae <br />you may want to put
that down <br />and step back <br />now
</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGTV02WRK50qJqPQSRi44vM-v1HMIvXbi2lXkQWfvDj1voKmGKJwQd2zbq5ZKbR08UikYCzN5x-vLH-Nl0A_AKpR3uY7TrIn2I0v1EzPNVMHTQGA-h8fMDjAPm2jpKYcoBEaQm7vaSHpC1iaYEkRXNNk1SpJ9Ka0zJryi1iQ-64qBw-LM3PjSrqQmyYaM/s5472/231125%20G.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGTV02WRK50qJqPQSRi44vM-v1HMIvXbi2lXkQWfvDj1voKmGKJwQd2zbq5ZKbR08UikYCzN5x-vLH-Nl0A_AKpR3uY7TrIn2I0v1EzPNVMHTQGA-h8fMDjAPm2jpKYcoBEaQm7vaSHpC1iaYEkRXNNk1SpJ9Ka0zJryi1iQ-64qBw-LM3PjSrqQmyYaM/w400-h266/231125%20G.jpg" width="400" /></a></i></div><i>Homily </i>- Milton Babbitt - Eric Carlson [from
<i>The Slowly Expanding Milton Babbitt Album</i>]
<p></p>
<p>
sticks on a tight drum <br />an effect <br />much like <br />making it up
<br />as gone along
</p>
<p><i>100 </i>- Brandi Carlile [from <i>Bear Creek</i>]</p>
<p>
that drum is annoying me <br />she's singing the song <br />but is she singing
with her musicians <br />or to them <br />or in front of them
</p>
<p><i>House of Flames</i> - The Maldives [from <i>Mad Lives</i>]</p>
<p>
composed song <br />with string band vibe <br />in a psychedelic state
<br />Pink Floyd <br />and Fairport Convention <br />do shrooms together
</p>
<p><i>Resolved</i> - James Falzone [from <i>So Far Still</i>]</p>
<p>
melody and meter play a chasing game <br />out on the figuration fields
<br />take a deep breath before embarking
</p>
<p>
<i>Green Monkey Meat Part 1</i> - Tildy Bayar, Benjamin Boretz, Frank Carter,
Bruce Huber, Penelope Hyde [from <i>Inter/Play</i>]
</p>
<p>
knowing each of these people <br />I can easily imagine them <br />all in the
same space <br />making this sound <br />but <br />as to who might be behind
which sound <br />I am at a loss <br />though <br />it's likely Bruce on the
guitar
</p>
<p>
focusing down into the thick of it <br />where who's who <br />isn't who's
there
</p>
<p>
there has been a shift of instruments <br />in the face of X <br />some step
back <br />to Y
</p>
<p>
specific placement of sounds <br />the audio projection <br />if I move around
<br />the furniture changes places
</p>
<p><i>Real World (Pere Ubu)</i> - Cowgirls, The [from <i>Compilation</i>]</p>
<p>outside commercial aspirations</p>
<p><i>Wild Me</i> - Bad Cop / Bad Cop [from <i>Warrriors</i>]</p>
<p>approaches with fangs bared <br />slogans declaimed</p>
<p><i>70's Bike Chase </i>- Tom Swafford [from <i>Rough Spaces</i>]</p>
<p>bursts of two or three <br />each figure unique</p>
<p><b>In Session at The Tintinabulary</b></p>
<p>November 19, 2023</p>
<p><i>Cabot </i>- Keith Eisenbrey</p>
<iframe allow="autoplay" frameborder="no" height="20" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1674422418&color=%23ff5500&inverse=false&auto_play=false&show_user=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/keith-eisenbrey" style="color: #cccccc; text-decoration: none;" target="_blank" title="Keith Eisenbrey">Keith Eisenbrey</a> · <a href="https://soundcloud.com/keith-eisenbrey/20-cabot-231119-231119" style="color: #cccccc; text-decoration: none;" target="_blank" title="20 Cabot 231119 [231119]">20 Cabot 231119 [231119]</a></div>
<p>this week's arrangement of a tune from an 1846 shape-note song book</p>
<p>November 20, 2023</p>
<p>
<i>Banned Rehearsal 1088</i> - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt
</p>
<iframe allow="autoplay" frameborder="no" height="20" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1674423546&color=%23ff5500&inverse=false&auto_play=false&show_user=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/keith-eisenbrey" style="color: #cccccc; text-decoration: none;" target="_blank" title="Keith Eisenbrey">Keith Eisenbrey</a> · <a href="https://soundcloud.com/keith-eisenbrey/banned-rehearsal-1088-231120" style="color: #cccccc; text-decoration: none;" target="_blank" title="Banned Rehearsal 1088 231120">Banned Rehearsal 1088 231120</a></div>
<p style="text-align: center;"><b>Postscripts</b></p>
<p><b>Drops</b></p>
<p>Keith Eisenbrey 6: 1984-1988</p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1185240499/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-6-1988-1994">Keith Eisenbrey 6: 1988-1994 by Keith Eisenbrey</a></iframe>
<p>
Working with narrative forms, both explicit and implicit, playing games with
memory, and finding ways to set texts.
</p>
<p>Keith Eisenbrey 5: 1984-1988</p><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=641022695/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-5-1984-1988">Keith Eisenbrey 5. 1984-1988 by Keith Eisenbrey</a></iframe>
<p>
My first years back in the Puget Sound area, working with the experience of
repetition and with relationships between the vertical and horizontal pitch
realms.
</p>
<p>Keith Eisenbrey 4: 1983-1984</p><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3616259267/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-4-1983-1984">Keith Eisenbrey 4. 1983-1984 by Keith Eisenbrey</a></iframe>
<p>
Finishes up the music I wrote while I was in New York (state) under the
ostensible supervision of the academic world.
</p>
<p>Keith Eisenbrey 3: 1982-1983</p><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2544871921/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-3-1982-1983">Keith Eisenbrey 3. 1982-1983 by Keith Eisenbrey</a></iframe>
<p>
Written in Red Hook, NY, and Malabar, FL, as I was beginning to think about
thinking about music.
</p>
<p>Keith Eisenbrey 2: 1981-1982</p><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1543052747/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-2-1981-1982">Keith Eisenbrey 2. 1981-1982 by Keith Eisenbrey</a></iframe>
<p>
What occupied my time toward at the end of my undergrad days and in the year
before I went east for a while.
</p>
<p>Keith Eisenbrey 1: 1979-1981</p><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1650666157/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-1-1979-1981">Keith Eisenbrey 1. 1979-1981 by Keith Eisenbrey</a></iframe>
<p>Keyboard works I composed while an undergrad at the UW. </p>
<p>All are free for download.</p>
<p><b>Skaldmud's Doodle Gallery</b></p>
<p>listening journal doodles from 2013</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW4ZMemtOcIuDpPYzU7J5GvZGlyrkhtj3o5zfMdj0aWHZCJW5xznbGeGqAmn_OlpxyNSSBJ0IPOpy0u1iQ2Coeb0cZfTXYrZ1RlCWdG4ilgoNngFQ2BpCvTVP5y35IHbnpT5-OWrXaifOUA_X2QknQRjAWhnGSdgQo8Urs-KMLuSQJ5mzTDDZFQpE-iRI/s2407/2023%20scan631.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1358" data-original-width="2407" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW4ZMemtOcIuDpPYzU7J5GvZGlyrkhtj3o5zfMdj0aWHZCJW5xznbGeGqAmn_OlpxyNSSBJ0IPOpy0u1iQ2Coeb0cZfTXYrZ1RlCWdG4ilgoNngFQ2BpCvTVP5y35IHbnpT5-OWrXaifOUA_X2QknQRjAWhnGSdgQo8Urs-KMLuSQJ5mzTDDZFQpE-iRI/w400-h226/2023%20scan631.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFFZPRdgwhywRIybnsK861qCPAkRzlARo7ISkA8huJzcmS5g-BhtfZ3HJ7YZ0jpsK7CRVYp6_ztrToq33HgzZ55DtexRi00XRVe_FV8LTFE8LqiuQREaHrxpOsxsMdUbornPZ-VPsKq2ibrNWQRZcd81G6xjPRAnLohXhy2wzHuh_svqONjRMfa8WvKAU/s2328/2023%20scan632.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1206" data-original-width="2328" height="208" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFFZPRdgwhywRIybnsK861qCPAkRzlARo7ISkA8huJzcmS5g-BhtfZ3HJ7YZ0jpsK7CRVYp6_ztrToq33HgzZ55DtexRi00XRVe_FV8LTFE8LqiuQREaHrxpOsxsMdUbornPZ-VPsKq2ibrNWQRZcd81G6xjPRAnLohXhy2wzHuh_svqONjRMfa8WvKAU/w400-h208/2023%20scan632.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjw-tn9Dr1aKrbZE1YKgXV-ccCgXwVCNE7whlM497aWxfzqNbDMwYKWyQ7fKwucmPqVn5pX31pPlOE_Ko7WyYv57UvYuwI5YTDgYPrfPAeIvMLkYXHrgDaUNR0zSniyYCBMOyEXulntEh_OdcijzFar3xFXvbEvI5qxnRJeWj5fOjq0KhpHk9teaNIoY7U/s3509/2023%20scan635.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3509" data-original-width="2550" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjw-tn9Dr1aKrbZE1YKgXV-ccCgXwVCNE7whlM497aWxfzqNbDMwYKWyQ7fKwucmPqVn5pX31pPlOE_Ko7WyYv57UvYuwI5YTDgYPrfPAeIvMLkYXHrgDaUNR0zSniyYCBMOyEXulntEh_OdcijzFar3xFXvbEvI5qxnRJeWj5fOjq0KhpHk9teaNIoY7U/w291-h400/2023%20scan635.jpg" width="291" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT1hR_c1qgzYpjxAac2-rDiUAzrFh2B4IcO0rUxS02fAr24l1ChyphenhyphenY5HFgqf1Jn1Z8H_5Utxa_v1-92EKsQBPHAin_WXGVSitiO9YljUbTGKvazFp16Z5TRl1t2VKO_kYpkxZit0DDthaO-HtRNIm4IKBIybE3eKHnAFSTRNeX2wlWLjEq6ROOAxl3Mgs8/s2254/2023%20scan634.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1373" data-original-width="2254" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT1hR_c1qgzYpjxAac2-rDiUAzrFh2B4IcO0rUxS02fAr24l1ChyphenhyphenY5HFgqf1Jn1Z8H_5Utxa_v1-92EKsQBPHAin_WXGVSitiO9YljUbTGKvazFp16Z5TRl1t2VKO_kYpkxZit0DDthaO-HtRNIm4IKBIybE3eKHnAFSTRNeX2wlWLjEq6ROOAxl3Mgs8/w400-h244/2023%20scan634.jpg" width="400" /></a></div><br /><p><br /></p>Keith Eisenbreyhttp://www.blogger.com/profile/16399615075612440296noreply@blogger.com0tag:blogger.com,1999:blog-7569166511516520581.post-63591405939686460352023-11-18T12:28:00.000-08:002023-11-20T07:38:06.714-08:00Playlist<p style="text-align: center;"><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6ph4eedyfQyAYHgl690ixYUyearl-at2SydvpTLAS2-cTRYYLiVpuweV_WqQquOaHaPueqqyWpfeOuszRKGtO3eMiZi3vVOqd8E_akA4uAo8eZFOJFEID4q4HCPf3moL61QDeVNWWiU9VlIA-GbL3T61g9SHocm2881CFL-e9lBmj17YxetqoKOW1-s8/s5472/231118%20A.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6ph4eedyfQyAYHgl690ixYUyearl-at2SydvpTLAS2-cTRYYLiVpuweV_WqQquOaHaPueqqyWpfeOuszRKGtO3eMiZi3vVOqd8E_akA4uAo8eZFOJFEID4q4HCPf3moL61QDeVNWWiU9VlIA-GbL3T61g9SHocm2881CFL-e9lBmj17YxetqoKOW1-s8/w400-h266/231118%20A.jpg" width="400" /></a></b></div><b>Preface</b><p></p>
<p>
"So he spoke,<br />and Antinoös grew more angry in his heart<br />and, looking
out from under angry eyebrows,<br />spoke winged words:
</p>
<p>
'Now I do not think<br />that you'll get out of the halls<br />
all in one piece,<br />since you insist on uttering
such words of derision.'
</p>
<p>
So saying, he seized the footstool<br />and let it fly at Odysseus<br />and
hit him right at the point<br />where the shoulder joins the back.<br />Odysseus
stood like a rock, utterly unmovable,<br />nor did the missile of Antinoös
make him teeter,<br />but he shook his head in silence pondering vengeance
<br />in the secret inner chambers of his heart . . ."
</p>
<p>Homer - from "The Odyssey" translated by Charles Stein</p>
<p style="text-align: center;"><b>Texts</b></p>
<p><b>Recorded</b></p>
<p>November 11, 2023</p>
<p>
<i>Adagio in F Major, Anh. 206a</i> - Wolfgang Amadeus Mozart - Kristian
Bezuidenhout
</p>
<p>
leads an experienced life <br />through all its moments <br />at each turning
<br />homing in <br />on completeness <br />its pull <br />ever-present
</p>
<p>passions resolved in the end <br />the book may be closed now</p>
<p><i>Étude in F Major, Op. 10 #8</i> - Frédéric Chopin - Garrick Ohlsson</p>
<p>
jolly at first <br />bluffs through peril <br />will the jollity hold
<br />why yes! <br />the jolly will hold <br />we'll sit on the porch now
<br />and spin our yarns
</p>
<p>
<i>Fantasiestück in C Major, Op. 12 #6 "Fabel" </i>- Robert Schumann - Eric Le
Sage
</p>
<p>
here are the puppets <br />this is their conflict <br />and this the moral
lesson
</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj77NVd0NUXH3n7DEXRuRr0BQpRt8n5ad_SMBLkCbA1UZ96FY1SbbAsrwMX91PDt9-Fw_5BCxiRrn4koJZGTHdmFu32btrNlABiXCjHB5mXPf6t7aO4jWZU3b3z7qN_CultvNKkCTmWJ08R5axlfcHkYswwoVSkO46QLjPbWIvpwsurUWA6EnwTtjVVecA/s2767/231118%20F.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2703" data-original-width="2767" height="391" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj77NVd0NUXH3n7DEXRuRr0BQpRt8n5ad_SMBLkCbA1UZ96FY1SbbAsrwMX91PDt9-Fw_5BCxiRrn4koJZGTHdmFu32btrNlABiXCjHB5mXPf6t7aO4jWZU3b3z7qN_CultvNKkCTmWJ08R5axlfcHkYswwoVSkO46QLjPbWIvpwsurUWA6EnwTtjVVecA/w400-h391/231118%20F.jpg" width="400" /></a></i></div><i>Track 18</i> - Charles Ives - Kia Sams, Russ Warner<p></p>
<p>
dreamy slow drift <br />into town energy <br />every location <br />has its
story to tell <br />as we march along the main street
</p>
<p>New English self-satisfaction</p>
<p>
<i>Nice Work If You Can Get It</i> - Thelonious Monk [from
<i>The Complete Blue Note Recordings</i>]
</p>
<p>
bass line <br />might be on a different planet <br />and it would still serve
<br />to keep the melody on target
</p>
<p>
<i>Miss Ann (Take 6)</i> - Little Richard [from <i>Here's Little Richard</i>]
</p>
<p>
each line <br />opens with a descending figure <br />in carefully patterned
variants
</p>
<p>
<i>Midnight </i>- Ray Charles [from
<i>Modern Sounds in Country and Western Music</i>]
</p>
<p>
muted/unmuted low bones <br />instruments <br />sound like something somebody
is doing
</p>
<p><i>Work Song </i>- Nina Simone [from <i>High Priestess of Soul</i>]</p>
<p>surviving with soul intact</p>
<p>
<i>His Eyes, Her Eyes</i> - Sarah Vaughan [from
<i>Sarah Vaughan with Michel LeGrand</i>]
</p>
<p>underlining parallels with effects <br />for recording orchestra</p>
<p><i>Jericho </i>- Joni Mitchell [from <i>Don Juan's Reckless Daughter</i>]</p>
<p>
comfortable clothing <br />we can move in easily <br />no bunching or binding
</p>
<p>
<i>Goodbye, Julie</i> - Mike, Peggy, and Penny Seeger [from
<i>American Folk Songs for Children</i>]
</p>
<p>inner monolog <br />of anticipated reunion</p>
<p><i>Happy </i>- Bruce Springsteen [from <i>Tracks</i>]</p>
<p>
post-industrial complacent <br />dreams of hopes <br />warm glow <br />deep
fuzzy
</p>
<p>
<i>Time Is An Ocean </i>- Paul Simon, Mark Anthony, and Ruben Blada [from
<i>Songs from The Capeman</i>]
</p>
<p>not from the normative Americana experience <br />as seen in the movies</p>
<p><i>Heathen</i> - David Bowie [from <i>Heathen</i>]</p>
<p>
a fog on the sound <br />soft light <br />break into the clear <br />am I
<br />where I belong <br />anymore
</p>
<p>the air is charged with flow <br />we are carried </p>
<p>
<i>Languourous Motion</i> - Steve Layton & Improv Friday [from <i>PPP</i>]
</p>
<p>
a buoy <br />tethered <br />to the muddy river's bed <br />the gentle
undulations <br />of the earth's rhythms <br />touch its bell <br />a sound
<br />afloat <br />on a sound <br />actively languorous <br />keeping at it
</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGBvyZR6IdZANQKgWlbtJGDGkJKZ3SMquX7sIFGE0ITGjZPLaqGAR9Sfc7T4EIxszKDNgK7bZqYV2NRKgUYY-YF1HqmZTIkGurF7u2UAoJvbHuGos8lI4T7OZVL2D8MiqUCfvTWbsbgB4NqyttT0bOOG4lyVUUh_z28zWi0g9KHwLtPtaOfnZtUjzPRzs/s5472/231118%20G.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGBvyZR6IdZANQKgWlbtJGDGkJKZ3SMquX7sIFGE0ITGjZPLaqGAR9Sfc7T4EIxszKDNgK7bZqYV2NRKgUYY-YF1HqmZTIkGurF7u2UAoJvbHuGos8lI4T7OZVL2D8MiqUCfvTWbsbgB4NqyttT0bOOG4lyVUUh_z28zWi0g9KHwLtPtaOfnZtUjzPRzs/w400-h266/231118%20G.jpg" width="400" /></a></i></div><i>I Did Something Bad</i> - Taylor Swift [from <i>Reputation</i>]<p></p>
<p>the joy <br />of exacting revenge</p>
<p><i>Totem 51</i> - Sascia Pellegrini [from <i>Totems V</i>]</p>
<p>
a marker of place <br />it stays put <br />and its place <br />is made
<br />to stay put
</p>
<p>a writing <br />a reminder <br />of the local mythic<br />heroes</p>
<p>
in that sense <br />a hero <br />is an imaginary figure <br />brought forth
<br />in order to people our stories <br />the story <br />made the hero
<br />and includes them <br />why <br />the realms <br />of Gods <br />and
heroes <br />are so close <br />is <br />that <br />they are all <br />within
stories <br />shared among people
</p>
<p>
the surrounds have changed <br />the place stays put <br />in its place
<br />of staying put <br />it breathes <br />through tubes <br />strides
<br />on dry brush
</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivSi4H-q5RfuryFkQUYlZBrfvCik9rx_G-CRb5P4xfooMP_2k2DWEPRSd-5DqJiitGG4coyh0pLz8fytRjx7cyj_VCaiktZwqJi7-rtLlNjv_9k2_i8Z2ldinPv82k3e5aifK_c_KK3zibGCHpb5XLA3S1LoZWDOfnyPebAj47dfIl_Q0JGe0WbNkzWiQ/s5472/231118%20B.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivSi4H-q5RfuryFkQUYlZBrfvCik9rx_G-CRb5P4xfooMP_2k2DWEPRSd-5DqJiitGG4coyh0pLz8fytRjx7cyj_VCaiktZwqJi7-rtLlNjv_9k2_i8Z2ldinPv82k3e5aifK_c_KK3zibGCHpb5XLA3S1LoZWDOfnyPebAj47dfIl_Q0JGe0WbNkzWiQ/w400-h266/231118%20B.jpg" width="400" /></a></div>November 12, 2023<p></p>
<p><i>Three Days</i> - Willie Nelson [from <i>...And Then I Wrote</i>]</p>
<p>a song that explains its text's conceit <br />in case we didn't catch on</p>
<p><i>Spanish is the Lovin'</i> - Bob Dylan [from <i>A Tree With Roots</i>]</p>
<p>
late evening <br />fireside anthem <br />anyone can imagine themselves
<br />into the song
</p>
<p>trope <br />in song <br />regret for Mexico <br />our Latin half</p>
<p><i>Pale Blue Eyes</i> - REM [from <i>Dead Letter Office</i>]</p>
<p>
more regret <br />for lost love <br />hang out at the end of it <br />for
another go round
</p>
<p>
<i>Nice Work If You Can Get It</i> - Glenn Tate [from
<i>Some of My Favorite Love Songs</i>]
</p>
<p>performed <br />as a dance <br />on the keys</p>
<p>
<i>Robot Sadists and the Mechanical World</i> - Yuni in Taxco [from
<i>Prizes</i>]
</p>
<p>
marching in strict formation <br />all language objects <br />must be
roughened up <br />distressed <br />a new section at the end <br />as
extensive <br />as the song portion
</p>
<p>an accumulation of short cycles in maneuvers</p>
<p><i>The Atrocity of Sunsets</i> - Greg Sinibaldi [from <i>Ariel</i>]</p>
<p>small objects being rolled in a tin drum</p>
<p><i>Santo</i> - Christina Aguilera [from <i>Aguilera</i>]</p>
<p>
a thin membrane <br />for environment <br />and we're inside <br />being told
things
</p>
<p><i>The Fool On The Hill (Demo)</i> - The Beatles [from <i>Anthology</i>]</p>
<p>
how often does the process of producing a song for release <br />eliminate
wonderful oddities
</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM1uFFtWM2Bi0cAa__7ddVPLp_TsTbpvvMf3UTD7u3ZXVChbh2a0IzoBtTMiom19Ob7QQ_-Tvh5anqM_zb9A-nyQJ2mJSszU1BoKOlUjPxyr5o6MCJIk4egpWTlL-VPe4CoRAu3Ff9WeqohNumD5JnIkY-x-t4I6u0u5lQHFYyinZhneZnyIQjllcwN4g/s5472/231118%20H.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM1uFFtWM2Bi0cAa__7ddVPLp_TsTbpvvMf3UTD7u3ZXVChbh2a0IzoBtTMiom19Ob7QQ_-Tvh5anqM_zb9A-nyQJ2mJSszU1BoKOlUjPxyr5o6MCJIk4egpWTlL-VPe4CoRAu3Ff9WeqohNumD5JnIkY-x-t4I6u0u5lQHFYyinZhneZnyIQjllcwN4g/w400-h266/231118%20H.jpg" width="400" /></a></i></div><i>Es taget, Ach Elslein</i> - Ludwig Senfl - Tielman Susato Krummhorn
Gesellschaft [from <i>The Glory of the Krummhorn</i>]
<p></p>
<p>a contraption <br />concerning <br />how inner workings go</p>
<p><i>Beat Surrender</i> - The Jam [from <i>The Sound of The Jam</i>]</p>
<p>
presumes <br />a big stage <br />with flashing lights <br />and sparkly body
suits <br />and dancing <br />lots of dancing
</p>
<p>
<i>Eyes of an Angel </i>- The Swearengens [from <i>Devil Gets Her Way</i>]
</p>
<p>the devil made me do it <br />not my fault <br />I can't be blamed</p>
<p>
<i>Krist Novoselic's New Band</i> - Alone in Dead Bars [recorded live at The
Victory Lounge, Seattle, July 15, 2017]
</p>
<p>we're kinda like a rock band</p>
<p>
<i>Blood and Bubblegum</i> - Star Anna [from
<i>Live at Rimbert Illustration</i>]
</p>
<p>
my skin <br />is a two way radio <br />a strumming verse <br />songs take
their hooks out <br />for go round <br />after go round
</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioxVSdk12-MfMQBlfDhoCc6Pm3ty20sSdIyyO1PHGhbedMOCgNqz4Klks6ZU7fYW0iNZdEjSwz5LCacHvwgG16gfeSNv5d_5hvUTk3pQ5ZG-nscfPXt9MALXEh6H9MFB2I4lSIzf3KnDhqC-wQQDvJKL_TsMOp4WwZTebxJ8rrxQHManYxXl1I4efKj90/s5472/231118%20C.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioxVSdk12-MfMQBlfDhoCc6Pm3ty20sSdIyyO1PHGhbedMOCgNqz4Klks6ZU7fYW0iNZdEjSwz5LCacHvwgG16gfeSNv5d_5hvUTk3pQ5ZG-nscfPXt9MALXEh6H9MFB2I4lSIzf3KnDhqC-wQQDvJKL_TsMOp4WwZTebxJ8rrxQHManYxXl1I4efKj90/w400-h266/231118%20C.jpg" width="400" /></a></div>November 13, 2023<p></p>
<p>
<i>Here We Come a Wassailing</i> - London Symphony Orchestra [from
<i>Songs for the Holidays</i>]
</p>
<p>
orchestrated opening <br />has a taste of Mahler's Fourth <br />so much
arrangement <br />that the song itself <br />may be irrecoverable
</p>
<p>
<i>The Fantastic and Glittering Palace of Madness</i> - Pete Comley [from
<i>Lost City Music, Volume 2</i>]
</p>
<p>
composing a sound world <br />or <br />as much of its entirety as possible
<br />there is no leakage from outside <br />it's all text <br />its wave form
<br />is what there is <br />an illusionary project <br />virtual reality
<br />a believable fiction
</p>
<p>
<i>Rooftop Days</i> - Song Sparrow Research [from
<i>Song Sparrow Research</i>]
</p>
<p>
old songbook words <br />warm blanket <br />unforced tones <br />glow
surrounds us <br />why leave
</p>
<p>
<i>Rato D'Agua</i> - Camarones Orquestra Guitarristica [from <i>Feeexta</i>]
</p>
<p>as though with authority <br />assumed</p>
<p>cyclicity<br />tempts one<br />to hear music<br />from above it</p>
<p>massed volume <br />keeps you tied and gagged</p>
<p>
<i>Treehouse</i> - Mikey and Matty - [from
<i>And It Came to Pass / Not to Stay</i>]
</p>
<p>
verse one <br />an odd rhyme <br />about fingernails <br />and time to suck us
in <br />unfolded <br />into a larger metaphor
</p>
<p>
<i>Grand March from Aida</i> - Giuseppe Verdi [from
<i>100 Greatest Classics</i>]
</p>
<p>
as royalty <br />expects force projection <br />acclamatory <br />opposing
brass choirs <br />act out a fictional space <br />inside a staged space
</p>
<p><i>Zibra Island</i> - Brendan Byrnes [from <i>Micropangea</i>]</p>
<p>
sounds from a diorama <br />impulses reverberate through the instruments
<br />in waves <br />machined precision <br />an infra game locale
</p>
<p><i>House of Flames</i> - The Maldives [from <i>Mad Lives</i>]</p>
<p>
acoustic strings and reeds <br />dissonance against a drone <br />in out
<br />in out
</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9GJqsx8VbHjL8u8zdLEbu9j2dE7b_R0ftMthS7zQpSafxRJ3xFgrOnf_Y3o6rR_fUZb12rZkWox3UgJsgz4iI86t-3AkoB0Dyfzd7PTGsibn_4eqAxScEwK-eTDT1Bsh3Ma3LvM6qA4AlQsecSybkPSFhQWj8fbyjEC1PTS-1ODnnHhm5KIg70IMtpy4/s5472/231118%20I.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9GJqsx8VbHjL8u8zdLEbu9j2dE7b_R0ftMthS7zQpSafxRJ3xFgrOnf_Y3o6rR_fUZb12rZkWox3UgJsgz4iI86t-3AkoB0Dyfzd7PTGsibn_4eqAxScEwK-eTDT1Bsh3Ma3LvM6qA4AlQsecSybkPSFhQWj8fbyjEC1PTS-1ODnnHhm5KIg70IMtpy4/w400-h266/231118%20I.jpg" width="400" /></a></i></div><i>Harvesting </i>- Amy Denio [from <i>The Chapel Sessions</i>]<p></p>
<p>
there is no other way for this melody to be <br />than <br />to be this way
<br />with these tones <br />and overtones <br />in this jacked up resonance
<br />with these vowels <br />these slow diphthongs <br />aloft <br />on a
magic sonority ride
</p>
<p><i>Worm Man</i> - Ramones [from <i>Halfway to Sanity</i>]</p>
<p>doing his Stooges bit <br />playing the cartoon villain</p>
<p><i>Sklamanie</i> - Stanislav Surin</p>
<p>
the piano is from a strange distance <br />to have been played by the singer
<br />whose microphone <br />removes them <br />from anywherein<br />that
might have enclosed it <br />mostly
</p>
<p><i>Broken</i> - Bad Cop/Bad Cop [from <i>Warriors</i>]</p>
<p>blame the old</p>
<p><i>Plastic Off the Sofa</i> - Beyoncé [from <i>Renaissance</i>]</p>
<p>mixed messages <br />make out session</p>
<p>
<i>Schopska Pesen</i> - Philip Koutev - Bulgarian State Radio & TV Female
Vocal Choir [from <i>Le Mystere des Voix Bulgares</i>]
</p>
<p>a firm challenge</p>
<p>
<i>Mother Don't Cry For Me</i> - Andrew James Robison [recorded live at The
Rat and Raven, Seattle, August 9, 2012]
</p>
<p>a country <br />or post country <br />epistle</p>
<p><i>I Need You</i> - Prom Queen [from <i>Doom Wop</i>]</p>
<p>all the sounds <br />squeeze into this tight closet <br />in your head</p>
<p><i>Copper Bottom</i> - Robin Holcomb [from <i>One Way Or Another</i>]</p>
<p>couplets rhyming <br />and not</p>
<p><i>Man In the Mirror </i>- Michael Jackson [from <i>Bad</i>]</p>
<p>
quiverbrato <br />stanza repetitions <br />guided <br />by the structure
<br />of the dance number
</p>
<p>
<i>Astro Novus</i> - The Ancients [recorded live at The Rat and Raven,
Seattle, August 9, 2012]
</p>
<p>eventually <br />it's a song about space adventure refugees</p>
<p>
<i>He Was Despised </i>- Marjorie Palmer [from <i>Make A Joyful Noise</i>]
</p>
<p>harsh piano sound</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX32DdmvrwkJ5hSlMEO8Mmr41IfnCy6E1kGH9LWoVPBNH35zC9j7NYu-yv5vM5p7gUZ3YaTjueILBL38rnKbBtMGvtgDzYQiBqRokeJApznzoikW1pefKHT3MytXGlXFMK8-JhGciarSolfsuufdahimYhKDg7q6hpY0g7QsjCao_7FsqqUWyXb0OmoH8/s5472/231118%20J.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX32DdmvrwkJ5hSlMEO8Mmr41IfnCy6E1kGH9LWoVPBNH35zC9j7NYu-yv5vM5p7gUZ3YaTjueILBL38rnKbBtMGvtgDzYQiBqRokeJApznzoikW1pefKHT3MytXGlXFMK8-JhGciarSolfsuufdahimYhKDg7q6hpY0g7QsjCao_7FsqqUWyXb0OmoH8/w400-h266/231118%20J.jpg" width="400" /></a></i></div><i>Sharlet's Rag</i> - Robber's Roost [from <i>Rage & Reason</i>]<p></p>
<p>
I have had the pleasure <br />of seeing Sharlet herself <br />a small dog
<br />who performed tricks <br />while Mark was busking <br />in E-burg
</p>
<p>
<i>Soon As I Get Home</i> - Total Experience Gospel Choir [from
<i>Bits & Pieces</i>]
</p>
<p>
where does the notion <br />that we'll wear crowns in heaven <br />come
from?
</p>
<p>well done codetta track <br />hidden there <br />past the end</p>
<p><i>Divine/Mimosa</i> - Swearin' [from <i>Swearin'</i>]</p>
<p>as though recorded on limited equipment</p>
<p><i>Whatever I Can Get</i> - Red Ribbon [from <i>Freaks Only</i>]</p>
<p>in this mess together</p>
<p>
<i>George N. Gianopoulos: An Autumn Sunset: II. “Lagooned in gold...”</i> -
Stephanie Lamprea [from <i>Quaking Aspen</i>]
</p>
<p>well that's one way to recite a poem <br />the color of your feet</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5PrtEnIPfXUrgqSL87Q6o3NwFYr5OBCFMKCP6WzYv-BE3B7lDrhzPlzDKAAKrikG3HG-nNZfE1L7DvnrPMLYH_KzYUzEr0MZh1bXsr1QFLvy75tB6AaD3ZhZSOgOjnYEFTKDK2aGgVPytbEztnUpyuhdUH7neczDsE6KKv0264388IwPh6DuoE3ospDs/s5472/231118%20D.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5PrtEnIPfXUrgqSL87Q6o3NwFYr5OBCFMKCP6WzYv-BE3B7lDrhzPlzDKAAKrikG3HG-nNZfE1L7DvnrPMLYH_KzYUzEr0MZh1bXsr1QFLvy75tB6AaD3ZhZSOgOjnYEFTKDK2aGgVPytbEztnUpyuhdUH7neczDsE6KKv0264388IwPh6DuoE3ospDs/w400-h266/231118%20D.jpg" width="400" /></a></div>November 14, 2023<p></p>
<p>
<i>Roses from the South</i> - Johann Strauss [from
<i>100 Greatest Classics</i>]
</p>
<p>
bloom quickly <br />when they go <br />between each bush <br />a gravel path
<br />watch your step <br />none of that giddy fluidity <br />from character
to character <br />that Chopin couldn't resist <br />this <br />is <br />to
dance to
</p>
<p>
<i>Sunshine </i>- Tyrannosaurus Grace [recorded live at The Rat and Raven,
Seattle, August 9, 2012]
</p>
<p>
drummer solos in <br />bass joins the jam <br />feedback <br />and we settle
into what I presume will be <br />the song's groove <br />the one high-voice
vocalist <br />squeaks between notes
</p>
<p><i>Runaway </i>- Lures [from <i>There's No Pressure</i>]</p>
<p>
man <br />at a loss <br />about someone <br />who <br />had found <br />one of
those fifty ways
</p>
<p>
<i>Schubladenbrief ((Desk-)Drawer-Letter)</i> - Eric Nathan - Parry Karp,
Christopher Karp [from <i>Missing Words</i>]
</p>
<p>
elbow grease <br />into it <br />block dynamics <br />hard boundaries
</p>
<p>
<i>Got My Mojo Working</i> - The Young Fresh Fellows [from
<i>The Men Who Loved Music</i>]
</p>
<p>a live version I think <br />reckless jalopy fun</p>
<p>
<i>Which Side Are You On</i> - Ian Bell, John Teske [from
<i>Embers of Discontent (final mix)</i>]
</p>
<p>
for the dire opening credits <br />of the big screen epic film <br />of the
Harlan County War
</p>
<p><i>Brass Beam</i> - Waxahatchee [from <i>Out In The Storm</i>]</p>
<p>upfront attitude of judgmentalism <br />but also reflective about it</p>
<p><i>Fill The Space</i> - Doug Kolmar [from <i>So Said Life</i>]</p>
<p>music as valued pastime</p>
<p>
<i>Madrigali, "Six Fire Songs On Italian Renaissance Poems": V. Luci serene e
chiare</i>
- Morton Lauridsen - Polyphony, Stephen Layton]
</p>
<p>in dialog with art song <br />as well as madrigals </p>
<p>
madrigals <br />as to the way the voices work with each other <br />but
<br />art song <br />in how it faces out <br />rather than in <br />it is
addressed to us <br />as a body <br />the voices <br />don't speak among
themselves <br />as much as in the older practices
</p>
<p>
<i>Song 5</i> - Peterman [recorded live at The Blue Moon, Seattle, October 4,
2012]
</p>
<p>
the drums that open <br />help establish the parameters <br />within which
social dancing <br />or moshing <br />can be accomplished
</p>
<p><i>Dream Gig</i> - Dead Bars [from <i>Dream Gig</i>]</p>
<p>I've got insoles in my shoes <br />give me something beautiful</p>
<p><i>Dark River</i> - Steve Peters [from <i>With My Back to the Wall</i>]</p>
<p>ripples <br />glass <br />bodies of warm light</p>
<p>
<i>Abide With Me</i> - William Henry Monk [from <i>100 Greatest Classics</i>]
</p>
<p>
{this collection is larded with obscurish Anglican anthems} <br />nearly a
self-parody <br />hymn words <br />ought not <br />not <br />not <br />to be
word-painted <br />and <br />one should never <br />never <br />never
<br />express a devotional mood with them
</p>
<p>
<i>Track 7</i> - Nancy Cole Silverman - Adam Verner [from
<i>A Much Married Woman</i>]
</p>
<p>
lots of telling <br />long unaccounted periods of time <br />situations and
dialog <br />nothing necessary to the back story <br />is left to figure out
<br />Diamond Jim Brady <br />introduced <br />with his 3X5 <br />notecard
<br />personal information
</p>
<p>
<i>Chemical Hearts</i> - Shelby Earl [from
<i>The Man Who Made Himself a Name</i>]
</p>
<p>
round and round <br />but with a gloriously handled dramatic hesitation
<br />before the leap <br />to cycle back <br />at two points
</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjROcSihGugJrJ6WI3rdqJKSBzJ45tW14b6v9w4IQQlGLt4Hdkjdgdlkaua4AvNwyIMRa8ldWK3UMLnU12gS4bNAG80qVn3kTyh7NtIhN6Edf974Ti_jGsEuXi63XDyl9Ru23qhFO3qgnFpCv0McKvZspr_nOsXCHgVRDQw8vS-aqTYnBkqQo56AZqehIE/s5472/231118%20K.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjROcSihGugJrJ6WI3rdqJKSBzJ45tW14b6v9w4IQQlGLt4Hdkjdgdlkaua4AvNwyIMRa8ldWK3UMLnU12gS4bNAG80qVn3kTyh7NtIhN6Edf974Ti_jGsEuXi63XDyl9Ru23qhFO3qgnFpCv0McKvZspr_nOsXCHgVRDQw8vS-aqTYnBkqQo56AZqehIE/w400-h266/231118%20K.jpg" width="400" /></a></i></div><i>Strengur </i>- Halla Steinunn Stefánsdóttir, Lương Huệ Trinh [from
<i>Strengur</i>]
<p></p>
<p>
corporate breathing <br />plot driven <br />this <br />then this <br />but
playful
</p>
<p>
<i>Fantasia on "Greensleeves"</i> - Ralph Vaughan Williams [from
<i>100 Greatest Classics</i>]
</p>
<p>arrangements follow arrangements <br />innumerable costume shifts</p>
<p>
<i>Chunka </i>- Bruce Hamilton and Friends [from <i>Mash Hits Volume 1</i>]
</p>
<p>a rude interruption <br />someone's drilling holes into the sound world</p>
<p>
<i>Crows</i> - Mud On My Bra [recorded live at Sunset Tavern, Seattle, April
18, 2017]
</p>
<p>the flat affect <br />slow count to eight <br />part of the costume</p>
<p>
<i>Biosynthesis </i>- Benton Roark - Re:Naissance Opera [from
<i>Music from The Apocrypha Chronicles</i>]
</p>
<p>
at first <br />there is no stage <br />but <br />it appears <br />up front
<br />with the synth on it
</p>
<p>is a speaker a stage?</p>
<p>
<i>U Got The Look (2020 Remix)</i> - Prince [from <i>Sign O' The Times</i>]
</p>
<p>
song <br />as a collection of statements <br />forming themselves <br />into a
structure <br />but <br />without much consideration <br />of narrative
scansion
</p>
<p>
<i>Track 6 </i>- Black Plastic Clouds - [recorded live at The Sound Effects
Café, Seattle, October 20, 2012]
</p>
<p>pounding out one and three</p>
<p>
<i>Track 8</i> - Sun Dummy [recorded live at Victory Lounge, Seattle, April
27, 2017]
</p>
<p>guitar keeps time steady <br />vocal pulls away <br />to no avail</p>
<p><i>Good Intentions</i> - Emily Stranger [from <i>Labor of Love</i>]</p>
<p>
dark Taylor <br />once <br />what is said <br />is said <br />repeat it all
<br />in <br />what might as well be <br />the same order
</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh23qHyMI5AST1gWF3sRflGzcUlK7XFEoVXnTrGIj1tUfUaBvjsnICRk32jWzx6TRe4y8okeW1Oz-Nw5Xlh9m-HEdXqE03s9fmm7-EHaNw315TXPSpe0ZfMQHHxmccJSCIexKVFimG3YyRXA8n2rLuSy3-Hxc6TkB3_Md4JPEg038qK8MJEkDxU192jYQw/s5472/231118%20E.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh23qHyMI5AST1gWF3sRflGzcUlK7XFEoVXnTrGIj1tUfUaBvjsnICRk32jWzx6TRe4y8okeW1Oz-Nw5Xlh9m-HEdXqE03s9fmm7-EHaNw315TXPSpe0ZfMQHHxmccJSCIexKVFimG3YyRXA8n2rLuSy3-Hxc6TkB3_Md4JPEg038qK8MJEkDxU192jYQw/w400-h266/231118%20E.jpg" width="400" /></a></div>November 16, 2023<p></p>
<p>
<i>Succe$$ I$ The Word (12" Success Version)</i> - Boogie Down Productions
[from <i>Criminal Minded</i>]
</p>
<p>
end run <br />to the goal <br />as culturally defined <br />eat more to win
</p>
<p>
<i>Track 6</i> - The Hunting Club [recorded live at The Sound Effects Café,
Seattle, October 20, 2012]
</p>
<p>gentle walk <br />in a transfigured landscape</p>
<p><i>Already Gone</i> - Alvvays [from <i>Antisocialites</i>]</p>
<p>
the glider squeaks <br />when we swing our legs <br />our inner voice
<br />fills experience <br />utterly self-absorbed
</p>
<p><i>Limbus 3</i> - James Falzone [from <i>So Far Still</i>]</p>
<p>topiary <br />somewhat out of pristinity <br />grand and lovely</p>
<p>
<i>Souper</i> - Milton Babbitt [from
<i>Erik Carlson's Slowly Expanding Milton Babbitt Album</i>]
</p>
<p>
our dinghy <br />jostled by wakes <br />from all sides <br />don't stand up
</p>
<p>
<i>Ode To The Nightwatchman</i> - Triptet [from <i>Figure In The Carpet</i>]
</p>
<p>probes infest body civic <br />press to the walls <br />keep to shadows</p>
<p><i>Hallelujah</i> - Three Fingers [from <i>Stocking Stuffers</i>]</p>
<p>
does it bug anyone else <br />that the song's self-description <br />"the
fourth the fifth" etc. <br />doesn't match the actual tune being sung?
</p>
<p><i>Mistress Kitenu</i> - Tom Swafford [from <i>Rough Spaces</i>]</p>
<p>balance beam care</p>
<p><i>The Meeting Place</i> - XTC [from <i>Fossilfuel</i>]</p>
<p>video song <br />reinventing cinema <br />from the montage outward</p>
<p>
<i>The Wish </i>- Robin Jackson and The Caravan [from <i>Dust Diaries</i>]
</p>
<p>my exploratory youth <br />of love cycles</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-4fNoBRvdbnvPK0IydjI0b9DsydbDB3IekGQ7D1_Xy0nTLaFot1oorcAHv9Wgy6zyox-IZ7DFk9-uPBuAfrdFQHwbM-zgV3K9EQL7ectK11SCkrVmFyOFoUNikR06BdIr2KIA6v9UfTR_3QZEJ0zDZFjfxdy3h9C6_CcHDBefGwSkY96F0Evwys8IZ04/s5472/231118%20L.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-4fNoBRvdbnvPK0IydjI0b9DsydbDB3IekGQ7D1_Xy0nTLaFot1oorcAHv9Wgy6zyox-IZ7DFk9-uPBuAfrdFQHwbM-zgV3K9EQL7ectK11SCkrVmFyOFoUNikR06BdIr2KIA6v9UfTR_3QZEJ0zDZFjfxdy3h9C6_CcHDBefGwSkY96F0Evwys8IZ04/w400-h266/231118%20L.jpg" width="400" /></a></i></div><i>Something Else</i> - Chastity Belt [from
<i>I Used To Spend So Much Time Alone</i>]
<p></p>
<p>
cumulo vampus <br />expecting little <br />step <br />briefly <br />barely
<br />to the side <br />all of an inch or two
</p>
<p><i>Motus ad Nihilum</i> - Eric Flesher</p>
<p>
understated funky four <br />in a rolling drum <br />the terrain changes
<br />but our kickin' along mood <br />remains buoyant
</p>
<p>
<i>The River Between</i> - Benjamin Boretz, Richard Teitelbaum [from
<i>Inter/Play</i>]
</p>
<p>
radical chamber music <br />there is no audience <br />outside the chamber
<br />I am in it <br />with them <br />I am <br />made an equal <br />of them
<br />instantly <br />there is no other way <br />to be in the chamber
<br />with them <br />than <br />with them
</p>
<p>
direction shift <br />synth leads <br />piano observes <br />stretches feet
<br />unmoved
</p>
<p>
immediate <br />total <br />vesting <br />irrecoverable <br />comprehensive
<br />and unavoidable <br />inclusivity <br />{mortal sin <br />being the
obverse <br />of unconditional love <br />as in a coin <br />but <br />in what
moral universe <br />might such a coin <br />have been minted?}
</p>
<p>
flowing <br />to the next leap <br />use the force Luke <br />into the weeds
<br />the whole explosion <br />of whens and whats <br />and nervous safety
</p>
<p>
ocean swells <br />from slow angles <br />subdued in harbor <br />dredging
<br />to bedrock <br />scraping clean <br />whew! <br />done with that
</p>
<p>
let's sit for a spell <br />one is still with them <br />I <br />being the one
<br />as is still <br />with them
</p>
<p>
a fabric <br />can ascend <br />and descend <br />pitch-wise <br />and
pitch-class-wise <br />in <br />incompatible directions <br />simultaneously
<br />chronometrically <br />kairologically
</p>
<p>
<i>I'm Looking For a Woman</i> - Freddie & The Screamers [from
<i>I Ain't Crazy</i>]
</p>
<p>raunch on display <br />at the local bar and grill </p>
<p>
is repetition of a verse <br />required for radio play <br />or
<br />to otherhow sell the song? <br />has there been market research?
</p>
<p><i>Anak Ko</i> - Charms [from <i>Human Error</i>]</p>
<p>
enter at your own risk <br />subsumption of self <br />into the prevailing
décor <br />is strictly enforced
</p>
<p><i>Sonata in C-sharp minor, Moderato</i> - Jeremiah Lawson</p>
<p>
ferociously complex guitar figurations <br />one is compelled <br />to hold
the thread of thought <br />through thick and thin
</p>
<p><b>In Session at The Tintinabulary</b></p>
<p>November 12, 2023</p>
<p><i>Lindon</i> - Keith Eisenbrey</p>
<iframe allow="autoplay" frameborder="no" height="20" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1668664725&color=%23ff5500&inverse=false&auto_play=false&show_user=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/keith-eisenbrey" style="color: #cccccc; text-decoration: none;" target="_blank" title="Keith Eisenbrey">Keith Eisenbrey</a> · <a href="https://soundcloud.com/keith-eisenbrey/19-lindon-231112-231112" style="color: #cccccc; text-decoration: none;" target="_blank" title="19 Lindon 231112 [231112]">19 Lindon 231112 [231112]</a></div>
<p>another arrangement of a shape-note tune</p>
<p style="text-align: center;"><b>Postscripts</b></p>
<p><b>Drops</b></p>
<p><i>Keith Eisenbrey 6: 1984-1988</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1185240499/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-6-1988-1994">Keith Eisenbrey 6: 1988-1994 by Keith Eisenbrey</a></iframe>
<p>
Working with narrative forms, both explicit and implicit, playing games with
memory, and finding ways to set texts.
</p>
<p><i>Keith Eisenbrey 5: 1984-1988</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=641022695/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-5-1984-1988">Keith Eisenbrey 5. 1984-1988 by Keith Eisenbrey</a></iframe>
<p>
My first years back in the Puget Sound area, working with the experience of
repetition and with relationships between the vertical and horizontal pitch
realms.
</p>
<p><i>Keith Eisenbrey 4: 1983-1984</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3616259267/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-4-1983-1984">Keith Eisenbrey 4. 1983-1984 by Keith Eisenbrey</a></iframe>
<p>
Finishes up the music I wrote while I was in New York (state) under the
ostensible supervision of the academic world.
</p>
<p><i>Keith Eisenbrey 3: 1982-1983</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2544871921/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-3-1982-1983">Keith Eisenbrey 3. 1982-1983 by Keith Eisenbrey</a></iframe>
<p>
Written in Red Hook, NY, and Malabar, FL, as I was beginning to think about
thinking about music.
</p>
<p><i>Keith Eisenbrey 2: 1981-1982</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1543052747/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-2-1981-1982">Keith Eisenbrey 2. 1981-1982 by Keith Eisenbrey</a></iframe>
<p>
What occupied my time toward at the end of my undergrad days and in the year
before I went east for a while.
</p>
<p><i>Keith Eisenbrey 1: 1979-1981</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1650666157/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-1-1979-1981">Keith Eisenbrey 1. 1979-1981 by Keith Eisenbrey</a></iframe>
<p>Keyboard works I composed while an undergrad at the UW. </p>
<p>All are free for download.</p>
<p><b>Skaldmud's Doodle Gallery</b></p>
<p>listening journal doodles from 2012</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjl7kAcCu85OhR6d90qUQZW9ig1uuK9_VJh2q6bCBsZorft6ZSNAZcPwpfNMVSNJefFwfM-kkn0QdV8tdIpnH170xzWyLTSPLwhIplsAyMyBxtoFQ1O49Kbf1XRAxbhV4bxXHRhE1vnEFdFv6Rrmm2gpx30ibuaZGWoTNjV9ZlTtSBJUK9JFoJ-gbV8brI/s2367/2023%20scan627.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1978" data-original-width="2367" height="334" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjl7kAcCu85OhR6d90qUQZW9ig1uuK9_VJh2q6bCBsZorft6ZSNAZcPwpfNMVSNJefFwfM-kkn0QdV8tdIpnH170xzWyLTSPLwhIplsAyMyBxtoFQ1O49Kbf1XRAxbhV4bxXHRhE1vnEFdFv6Rrmm2gpx30ibuaZGWoTNjV9ZlTtSBJUK9JFoJ-gbV8brI/w400-h334/2023%20scan627.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUCL38Ylv3ml2CNErRMFMVdN_5NlOO3ruGc7WX_bzb9v50DATSzfuSXverei8HMMF6OIlAaXORdLgZsOkrUfzB6oA3MldAm6sZn2sSn2DnOj6lqGMS5Ws5hxaysV-her3JUdUIfrjdQTys7tUAhe0iyCuLxLXhnBqH7pAnfXbT3yl9tv0V5PX1UrUHU6o/s1452/2023%20scan628.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1132" data-original-width="1452" height="311" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUCL38Ylv3ml2CNErRMFMVdN_5NlOO3ruGc7WX_bzb9v50DATSzfuSXverei8HMMF6OIlAaXORdLgZsOkrUfzB6oA3MldAm6sZn2sSn2DnOj6lqGMS5Ws5hxaysV-her3JUdUIfrjdQTys7tUAhe0iyCuLxLXhnBqH7pAnfXbT3yl9tv0V5PX1UrUHU6o/w400-h311/2023%20scan628.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_aCR2CH3J1_XSEpY64Cv-TY2oGdM7WdSqFxh1ZoTDSQiMNj51sRHBmctACzLzyiy07ljKEuYu8fKDDPiTa_eDt8UGgxHeSlnKHOFBpoQKpa-utRvkmyVJFMPumiOK0qJNMGHbsAjA_ZShdGfrBlv4IvcRmgrJCEY9aj30RaX7u20mTtL_u1uoUxWd0aQ/s1924/2023%20scan629.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="895" data-original-width="1924" height="186" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_aCR2CH3J1_XSEpY64Cv-TY2oGdM7WdSqFxh1ZoTDSQiMNj51sRHBmctACzLzyiy07ljKEuYu8fKDDPiTa_eDt8UGgxHeSlnKHOFBpoQKpa-utRvkmyVJFMPumiOK0qJNMGHbsAjA_ZShdGfrBlv4IvcRmgrJCEY9aj30RaX7u20mTtL_u1uoUxWd0aQ/w400-h186/2023%20scan629.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdfDdaVgqxmOC8OatOLN9XnxRkGW7IhuU-yQkPTgHRurzAv1UYpv7AOc711V_AqB9c77R2O3PD6VqnWguVtKWpHncq32lgifkMLFl8mRSmBLa7HmyiuUw3gd8ykPMgqysH061IYeo8GSEfVncPlLwILU6xY1C25iD2iQ823KasP8q22_O0EMjnwLJOieY/s3509/2023%20scan630.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3509" data-original-width="2550" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdfDdaVgqxmOC8OatOLN9XnxRkGW7IhuU-yQkPTgHRurzAv1UYpv7AOc711V_AqB9c77R2O3PD6VqnWguVtKWpHncq32lgifkMLFl8mRSmBLa7HmyiuUw3gd8ykPMgqysH061IYeo8GSEfVncPlLwILU6xY1C25iD2iQ823KasP8q22_O0EMjnwLJOieY/w291-h400/2023%20scan630.jpg" width="291" /></a></div><br /><p><br /></p><br />Keith Eisenbreyhttp://www.blogger.com/profile/16399615075612440296noreply@blogger.com0tag:blogger.com,1999:blog-7569166511516520581.post-5862682883225624482023-11-11T15:17:00.004-08:002023-11-12T17:38:59.377-08:00Playlist<p style="text-align: center;"><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCFcntEOBqy9YEDDEC-mEvFcORm2UL0GX4o087pQc0E8MqZ7q_p1F7SnFhvlVDAITPsgDIXzFWVX1BftTyiZTXHbvZG0-Hu34dY492VIgiLvp-0XI4gnQvfT-WzUyciwt4bH6ETQ9vcSrX8rmTalcGMi-NSSpOb9srom6LTpFnzE5wl4MXrIsSZtTRycU/s5472/231111%20A.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCFcntEOBqy9YEDDEC-mEvFcORm2UL0GX4o087pQc0E8MqZ7q_p1F7SnFhvlVDAITPsgDIXzFWVX1BftTyiZTXHbvZG0-Hu34dY492VIgiLvp-0XI4gnQvfT-WzUyciwt4bH6ETQ9vcSrX8rmTalcGMi-NSSpOb9srom6LTpFnzE5wl4MXrIsSZtTRycU/w400-h266/231111%20A.jpg" width="400" /></a></b></div><b>Preface</b><p></p>
<p>
"Pogo: My everlovin' <b>word!</b><br />Churchy: We's gone make our livin' as
the <b>newly revived dyin' folk singers!</b><br />Beauregard: <b>Zam! Zam!</b><br />P: <b>My land!</b><br />C: 'is <b>your</b> land'! Wanna be in the
act?<br />B: We'll <b>be bigger'n</b> the four weevils ... get a load of<b>
this!</b><br />C and B (singing) {To the tune of <i>Ma Graney's Cremation</i>}:
</p>
<p>
We're going to blank some verse today<br />That has never been blunk
before...<br />And every time we make a rhyme<br />It figures against the
score.
</p>
<p>
Yeah, man! Yeah man! Yeah, yeah,<b> and oog...<br /></b><br />We'll think in
terms both big and black<br />And blank and blankety tragic.<br />With staring
eyes we'll ride the skies<br />In search of hophead magic.
</p>
<p>
What we say will be fair fraught<br />With a fright of utter meaning...<br />And
near the night we'll dig the sight<br />Of the Pizza tourist Leaning...
</p>
<p>
We'll bring guitars, disdain cigars<br />And, sighing, eschew shoes.<br />We'll
hit a string and numbly sing<br />Those big old blank verse blues.
</p>
<p>{Churchy holds up a sign: 'Youth! How Sad!'}</p>
<p>
We rise! We rise! To fall again,<br />Setting blazes in our hair...<br />To
make a light for this, our night,<br />This swooning, sweet despair..."
</p>
<p>
Walt Kelly - from "Hijinks from the Horn of Plenty: The Complete Syndicated
Comic Strips, Volume 8"
</p>
<p style="text-align: center;"><b>Texts</b></p>
<p><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoe6kOeV23b5esVyiAliUyTXcc4iK1Rf8JR8bLzwuSKMKuZmORtdlk_qdBL47nIuQcf4Hwmj6k8GvU1UbyjzR3CSMvOf8wLrwoSV7IhKEhrrmJVaKaV0VjMAh2xAn4aMM7IXgg3YA8WuidTGBZa_NQ_byyqk3d6cRYSajJ_5-6Gqdj9Krm7P3Cskdw5T0/s4266/231111%20B.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="4266" height="343" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoe6kOeV23b5esVyiAliUyTXcc4iK1Rf8JR8bLzwuSKMKuZmORtdlk_qdBL47nIuQcf4Hwmj6k8GvU1UbyjzR3CSMvOf8wLrwoSV7IhKEhrrmJVaKaV0VjMAh2xAn4aMM7IXgg3YA8WuidTGBZa_NQ_byyqk3d6cRYSajJ_5-6Gqdj9Krm7P3Cskdw5T0/w400-h343/231111%20B.jpg" width="400" /></a></b></div><b>Recorded</b><p></p>
<p>November 4, 2023</p>
<p><i>Étude in C Major, Op. 10 #7</i> - Frédéric Chopin - Garrick Ohlsson</p>
<p>busy street on fast-forward feet flying</p>
<p>
<i>Fantasiestück in F minor, Op. 12 #5 "In der Nacht" </i>- Robert
Schumann - Eric Le Sage
</p>
<p>
gusty <br />about time for a lyric tale <br />let's hope the roof stays on
</p>
<p><i>Circus Band </i>- Charles Ives - William Sharp, Stephen Blier</p>
<p>gung ho <br />Ivy League <br />life grabbing</p>
<p>
<i>Nice Work If You Can Get It</i> - Thelonious Monk [from
<i>The Complete Blue-Note Recordings</i>]
</p>
<p>
key strike <br />so that <br />the pitch bends <br />or perhaps <br />that's
just time at Monk's command <br />rough runs <br />or we don't hear as quickly
as he
</p>
<p>
<i>Miss Ann (take 1)</i> - Little Richard [from <i>Here's Little Richard</i>]
</p>
<p>a complaint in blues</p>
<p><i>Mr. Record Man</i> - Willie Nelson [from <i>...And The I Wrote</i>]</p>
<p>sincerity cosplaying <br />it's just his manner in song</p>
<p>
<i>He Ain't Comin' Home No More</i> - Nina Simone [from
<i>High Priestess of Soul</i>]
</p>
<p>similar <br />but there is an edge to it <br />so watch your fingers</p>
<p>
<i>Seems Like I Gotta Do Wrong</i> - Ray Charles [from
<i>A Message From The People</i>]
</p>
<p>dignity</p>
<p>
<i>Talk To Me</i> - Joni Mitchell [from <i>Don Juan's Reckless Daughter</i>]
</p>
<p>addressed to guitar <br />or other muse</p>
<p><i>Love and Passion </i>- Sarah Vaughan [from <i>Brazilian Romance</i>]</p>
<p>
a problem with albums <br />we think of them as containing a certain kind of
thing <br />which colors our pre-conception <br />of what's about to happen
<br />it anticipates experience
</p>
<p>
<i>The Kicking Mule</i> - Mike, Peggy, and Penny Seeger [from
<i>Animal Folk Songs for Children</i>]
</p>
<p>dance band novelty song</p>
<p>
<i>Killer Wants To Go To College </i>- Paul Simon [from
<i>Songs from The Capeman</i>]
</p>
<p>wandering point of view</p>
<p><i>The Fuse </i>- Bruce Springsteen [from <i>The Rising</i>]</p>
<p>patriotism <br />a deceptive muse <br />overblowing it is a problem</p>
<p>
<i>We Spun the Stars on a Summer Night </i>- Steve Layton & Improv Friday
[from <i>Shared Circle</i>]
</p>
<p>
left channel right channel effects <br />may not quite disappear <br />if you
face them sideways <br />ear to the wind
</p>
<p>
why headphones bug me <br />I can't turn my head within the sound's space
<br />it follows my head <br />clamped on
</p>
<p>
we continue our slow sinking <br />this music rewards standing up and walking
about inside it <br />to hear it properly
</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv2FQC-IBddhGATKZK3Ngm1I4jWAOIUMzqqoITS6sn_tRLdcK7qpOjodekL45raCKK7vvm_rCjyOo4kAd7-BbIkazOe7mXbThysHzUiEW6bBLhgWTdUyZACbWuMpaIVPHFJYXYKDqAS1aTaF5ke3rGVNeo9gWfdZzXQo4lTnTxCcWtcYbpCIoudmbWwJI/s5472/231111%20C.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv2FQC-IBddhGATKZK3Ngm1I4jWAOIUMzqqoITS6sn_tRLdcK7qpOjodekL45raCKK7vvm_rCjyOo4kAd7-BbIkazOe7mXbThysHzUiEW6bBLhgWTdUyZACbWuMpaIVPHFJYXYKDqAS1aTaF5ke3rGVNeo9gWfdZzXQo4lTnTxCcWtcYbpCIoudmbWwJI/w400-h266/231111%20C.jpg" width="400" /></a></div>November 5, 2023<p></p>
<p><i>Golden Age</i> - Star Anna [from <i>Soundtrack</i>]</p>
<p>tone poem <br />a long way yet to go</p>
<p><i>Meditation 4</i> - Sascia Pellegrini [from <i>Meditations</i>]</p>
<p>
meditative:<br />conducive of a state of being <br />named meditation <br />in
which <br />one meditates <br />that is <br />one in which <br />one considers
<br />ones state of being
</p>
<p>
a meditation <br />need not be meditative <br />one might have
<br />im-meditative meditations
</p>
<p>to consider a state of being <br />difficult to consider</p>
<p>states of being <br />without motion <br />an oxymoron? </p>
<p>
is the pool responding to forces out of intention's control <br />or is it a
being speaking?
</p>
<p>
<i>We Wish You a Merry Christmas </i>- The Philadelphia Brass Ensemble [from
<i>Festival of Carols in Brass</i>]
</p>
<p><i>Lightnin' Hopkins</i> - REM [from <i>Document</i>]</p>
<p>
music is a mode of experience <br />from the standpoint of anyone hearing it
<br />that mode <br />is a state of being <br />a bubble <br />a
distinguishable thing
</p>
<p><i>The Voice Within </i>- Christina Aguilera [from <i>Stripped</i>]</p>
<p>
message from the sisterhood <br />vocal projection control <br />two voices in
one <br />as though <br />singing it twice <br />seamlessly
</p>
<p>let 'er rip <br />Ms. Christina!</p>
<p><i>22</i> - Taylor Swift [from <i>Red</i>]</p>
<p>playing <br />going out dancing <br />as a dance</p>
<p>
<i>Prostrate Before a Periwinkle</i> - Amy Denio [from <i>The Big Embrace</i>]
</p>
<p>poly-duet of reeds <br />with light percussion</p>
<p><i>Shadow Man </i>- David Bowie [from <i>Toy</i>]</p>
<p>
an advice <br />concerned with <br />dealing with <br />a mode of being
<br />Mr. Headtrip
</p>
<p><i>Goin' Down the Road </i>- Bob Dylan [from <i>A Tree with Roots</i>]</p>
<p>
romanticizing the great American wanderer <br />freedom or misery
<br />dressed up as heroic <br />aspirational
</p>
<p>
<i>Ave Maria </i>- London Symphony Orchestra [from
<i>Songs for the Holidays</i>]
</p>
<p>
the chord progression <br />of a performative piety <br />more of an Advent
thing than a Christmas thing
</p>
<p>
<i>When I Fall In Love </i>- Glenn Tate [from
<i>Some of My Favorite Love Songs</i>]
</p>
<p>
poignance <br />homogenous sound <br />all parts fit all parts <br />mode of
mood
</p>
<p>
<i>Point of Egress (Instrumental)</i> - Chris Brokaw [from <i>Stories</i>]
</p>
<p>
a calling card <br />hello this is me <br />what I <br />can do <br />have
done
</p>
<p><i>Untitled </i>- Red Ribbon [from <i>Freaks Only</i>]</p>
<p>simple means <br />brilliance results</p>
<p><i>Church Girl </i>- Beyoncé [from <i>Renaissance</i>]</p>
<p>
witness type <br />turns sour <br />what one says <br />must conform to the
brand
</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6hKwAo52_h7BVRfsOjU1XXka8wB69gOPplHJIZURrCEDC9zRBnq_nwtJFp_7JVGmlvprkdnJ_KWTVCmZw5AdOgZkREK5tfQk3xb77C_oYahUSr0WINa7udOgqEVU_g7CaluxLroyPKPL2Z98y4mwiM9eIlHU5U7TMoULwW5cIJtGQpjG1k79CsvxxDW8/s5472/231111%20D.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6hKwAo52_h7BVRfsOjU1XXka8wB69gOPplHJIZURrCEDC9zRBnq_nwtJFp_7JVGmlvprkdnJ_KWTVCmZw5AdOgZkREK5tfQk3xb77C_oYahUSr0WINa7udOgqEVU_g7CaluxLroyPKPL2Z98y4mwiM9eIlHU5U7TMoULwW5cIJtGQpjG1k79CsvxxDW8/w400-h266/231111%20D.jpg" width="400" /></a></div>November 6, 2023<p></p>
<p><i>I Am The Walrus </i>- The Beatles [from <i>Anthology</i>]</p>
<p>
just the song <br />without the psychedelic static <br />the lyrics are plenty
</p>
<p><i>I Know Him So Well </i>- Whitney Houston [from <i>Whitney</i>]</p>
<p>
coming to a musical comedy ready self realization <br />in show closing anthem
mode
</p>
<p><i>Ghosts </i>- The Jam [from <i>The Sound of The Jam</i>]</p>
<p>you've been blokesplained</p>
<p><i>Cave Dwellers</i> - Red Ribbon [from <i>Time Is Running Out</i>]</p>
<p>stuck</p>
<p><i>Sparks Fly </i>- Waxahatchee [from <i>Out In The Storm</i>]</p>
<p>
band's echo space <br />close to our ears <br />but with a long narrow hall
behind it <br />the melody is a solid <br />makes no concession to the words
<br />which are strung out on it <br />one by one
</p>
<p>
<i>I'm Gonna Lose Again </i>- Robin Holcomb [from <i>One Way Or Another</i>]
</p>
<p>art lounge</p>
<p>
<i>Rosamunde-Overture </i>- Franz Schubert [from <i>100 Greatest Classics</i>]
</p>
<p>
innocent charm may not avail <br />but will do for now <br />fashionable pit
orchestra clichés
</p>
<p><i>( )</i> - Greg Sinibaldi [from <i>Frieze of Life</i>]</p>
<p>
slow seepage under pressure <br />advantage taken of seams <br />and
inclusions of differing resistance <br />the tune bit that opens <br />less
the skeleton key to decipherment <br />than a keyhole <br />through which
entry is gained <br />methodical occupation <br />individuals set up shop
<br />space allowed within <br />which lets the space <br />at the end
<br />remain familiar <br />as though still within
</p>
<p><i>Electroplate </i>- Black Plastic Clouds [from <i>Electroplate</i>]</p>
<p>carrying a private argument <br />into the public sphere</p>
<p><i>There's No Pressure</i> - Lures [from <i>There's No Pressure</i>]</p>
<p>but there is a weariness that weighs down</p>
<p><i>Love Blind </i>- Robber's Roost [from <i>Rage & Reason</i>]</p>
<p>a letter <br />to disclose how one feels</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3ySEHYRv66c0QqLk2dh5xaG9ek88aaQm9hek089DWDtAaXuANBPDqnJx8mazNZBxPYD1P-JRmZhCSF9BG9tX5qSlTy-Eqht0o0WTC_TumI0zUETy03AEeN_YPp8DLJDaAGVthy15JOEszMZfLS__CxHaa3Pxvdsg3g9FyhDBLKbmxLkHkxHo-PTU8nxE/s2970/231111%20E.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2099" data-original-width="2970" height="283" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3ySEHYRv66c0QqLk2dh5xaG9ek88aaQm9hek089DWDtAaXuANBPDqnJx8mazNZBxPYD1P-JRmZhCSF9BG9tX5qSlTy-Eqht0o0WTC_TumI0zUETy03AEeN_YPp8DLJDaAGVthy15JOEszMZfLS__CxHaa3Pxvdsg3g9FyhDBLKbmxLkHkxHo-PTU8nxE/w400-h283/231111%20E.jpg" width="400" /></a></div>November 7, 2023<p></p>
<p>
<i>Mir Stanke le</i> - Bulgarian State Radio & TV Female Vocal Choir,
Philip Koutev [from <i>Le Mystere des Voix Bulgares</i>]
</p>
<p>vertical pitch stations <br />ornamented paths between</p>
<p><i>Canopy </i>- Pete Comley [from <i>Lost City Music Volume 2</i>]</p>
<p>birdish twitters</p>
<p><i>Come To Me (Bjork)</i> - Prom Queen [from <i>Covers</i>]</p>
<p>
arachnid come-on <br />take care of all your problems <br />draped heavily
over the background
</p>
<p>
<i>Tear Shaped Bruise (Your Mother Should Know)</i> - Dead Bars [from
<i>Dream Gig</i>]
</p>
<p>one of Neal's songs <br />making it big</p>
<p>
<i>Panel </i>- Michael Bisio, Matthew Shipp [from <i>Flow of Everything</i>]
</p>
<p>
deceptive <br />not a flat surface <br />as seems <br />from a special
angle
</p>
<p>not easy <br />going in <br />or out </p>
<p>quiet grove <br />at the heart of it</p>
<p><i>Mothers of the Disappeared </i>- U2 [from <i>The Joshua Tree</i>]</p>
<p>
pretentious fade in <br />so we know it's a meaning burdened event
<br />swaying to the warm glow of moral thoughts
</p>
<p><i>Guurmu </i>- $.99 Dreams [from <i>Brood of Bau</i>]</p>
<p>
cyclic as a background concept <br />without facts of its own on the surface
<br />even where the surface assembles itself <br />in a cyclic image <br />it
isn't the guiding cycle <br />subsisting
</p>
<p>
<i>Like I Do (feat. Josiah Johnson)</i> - Shelby Earl [from
<i>The Man Who Made Himself A Name</i>]
</p>
<p>halves of parallel dialogs <br />split screen <br />wildly massed strings</p>
<p><i>So Said Life </i>- Doug Kolmar [from <i>So Said Life</i>]</p>
<p>
a song speaking to a situation <br />might speak secretly <br />to
another
</p>
<p>a sentimental sermon</p>
<p><i>Tears of God </i>- Los Lobos [from <i>By The Light of The Moon</i>]</p>
<p>
but to be fair <br />sermons are for congregants <br />broadcast message
<br />for those who hear it <br />critiquing what you haven't heard <br />is
pretense
</p>
<p><i>Leaving </i>- St. Paul de Vence [form <i>St. Paul de Vence</i>]</p>
<p>puppy dog eyes <br />I was wrong <br />poor me <br />soulfulness porn</p>
<p><i>Sometimes the Moon </i>- Shallow Lenses [from <i>War Poems</i>]</p>
<p>
and we want to say something worth saying <br />sometimes a sermon is worth
saying <br />and Lord knows there's need for comfort
</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5xL3liuqOo2vH2wMXrhfMU8d82HjCwpf7g8tHWFMRPEQqV3WrB_sqFIVACoTiJGoTda-UKbBFHGkUabE0qPKlfbdQgbR_j5E4VFSZrSk17rUaP72aL3Pp61Al8fDap3QF4RzqKMNVsMdiskLCt5DB___iHmHPLJbfvvTR_X4QaQn44Z3PPhPZcAQSYYI/s5472/231111%20H.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5xL3liuqOo2vH2wMXrhfMU8d82HjCwpf7g8tHWFMRPEQqV3WrB_sqFIVACoTiJGoTda-UKbBFHGkUabE0qPKlfbdQgbR_j5E4VFSZrSk17rUaP72aL3Pp61Al8fDap3QF4RzqKMNVsMdiskLCt5DB___iHmHPLJbfvvTR_X4QaQn44Z3PPhPZcAQSYYI/w400-h266/231111%20H.jpg" width="400" /></a></i></div><i>George N. Gianopoulos: An Autumn Sunset: I. “Leagured in fire...”</i> -
Stephani Lamprea [from <i>Quaking Aspen</i>]
<p></p>
<p>all mad scene <br />all the time</p>
<p><i>Cyrano De Berger's Back </i>- X [from <i>See How We Are</i>]</p>
<p>for theater buffs</p>
<p><i>Mother </i>- Byron Au Yong [from <i>Yiju</i>]</p>
<p>
culturally specific <br />several other sides of mother <br />than we are
accustomed to
</p>
<p><i>Be Cool</i> - Three Fingers [from <i>Stocking Stuffers</i>]</p>
<p>another sermon <br />but pretty cool</p>
<p>
<i>Mesa & Plain </i>- Steve Peters [from <i>With My Back to The World</i>]
</p>
<p>a flexible membrane of cyclicity</p>
<p>
<i>Paid in Full (Mini Madness)</i> - Eric B. & Rakim [from
<i>Paid in Full</i>]
</p>
<p>new dimensions <br />new values <br />it's so fresh</p>
<p><i>Skinhead </i>- Cowgirls, The</p>
<p>caricature</p>
<p>
<i>Hey, Myla </i>- Mud On My Bra [recorded live at The Sunset Tavern, Seattle,
April 18, 2017]
</p>
<p>let's go! <br />lots of cowbell</p>
<p>
<i>~~~-~~~~---~~~~~~---~~~~~~~~~(Rojahn Remix)</i> - Lost Chocolate Lab [from
<i>(Previously) Clean</i>]
</p>
<p>we are being washed clean <br />inside and out</p>
<p><i>Another Part of Me</i> - Michael Jackson [from <i>Bad</i>]</p>
<p>
imagine <br />if you can <br />hearing his voice <br />without seeing him move
<br />in your head
</p>
<p>a villain in their lair</p>
<p><i>Lightning Pass My Way </i>- Low Hums [from <i>Low Hums</i>]</p>
<p>
gots his glow on <br />perturbations signal articulation <br />beginnings of
the end
</p>
<p>
<i>Track 7</i> - Strange Like Us [recorded live at The Sunset Tavern, Seattle,
April 18, 2017]
</p>
<p>
the recording doesn't do justice <br />to how well this group sounded live
<br />specifically <br />their vocals mixed together live <br />into something
new in the room <br />on the recording <br />they are more distinct than they
were live
</p>
<p>and a toybox full of tricks at the end <br />I had forgotten</p>
<p>
<i>Straußmanöver (Ostrich-Maneuver) </i>- Eric Nathan [from
<i>Missing Words</i>]
</p>
<p>
is a collection of similars <br />what an album is <br />or <br />could it be
a scrapbook <br />was it composed <br />as a set <br />or to be performed as a
set <br />certainly to be performed <br />without regard to set inclusion
<br />specifics <br />an illustrated list of each thing to be heard in its
turn
</p>
<p><i>Bye Bye Baby </i>- Ramones [from <i>Halfway to Sanity</i>]</p>
<p>four Bs three ys two es and an a <br />BBBByyyeea</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4yfZPdDlNCb8kYmRDxwRvYMc1XpcXcCImvJVE26XroCIAESuji7u8Zn2hG62jNIhnejRksN4zgsnRnQu6xzxhKE4yggYvZ5mSIytsWBUWNZSDFKw9mIadZBh2ugwuE096dvJYzp5ce8kriLUZu_73BXZgd5gSaXnVux20u88H7yZK7PMndBpRQ85STYc/s5038/231111%20I.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5038" height="290" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4yfZPdDlNCb8kYmRDxwRvYMc1XpcXcCImvJVE26XroCIAESuji7u8Zn2hG62jNIhnejRksN4zgsnRnQu6xzxhKE4yggYvZ5mSIytsWBUWNZSDFKw9mIadZBh2ugwuE096dvJYzp5ce8kriLUZu_73BXZgd5gSaXnVux20u88H7yZK7PMndBpRQ85STYc/w400-h290/231111%20I.jpg" width="400" /></a></i></div><i>Keep Your Heart Young </i>- Brandi Carlile [from <i>Bear Creek</i>]<p></p>
<p>sisterly advice from the future <br />repeat till learned</p>
<p>
<i>Track 7 </i>- Sun Dummy [recorded live at the Victory Lounge, Seattle,
April 27, 2017]
</p>
<p>such a weary voice</p>
<p>
<i>Part IX</i> - Alex Anthony Faide [from <i>Particles of The Infinite</i>]
</p>
<p>
bright clean magic <br />sparkles moves like dream games <br />regions come
and go so seamlessly here
</p>
<p>
<i>Piano Concerto (last Movement)</i> - Edvard Grieg [from
<i>100 Greatest Classics</i>]
</p>
<p>
has all the gestures of a piano concerto <br />a series of moments <br />and
with flags waving <br />here's The National Pride Tune Bird <br />to inspire
us all <br />with fervor and fire
</p>
<p>
<i>Which Side Are You On</i> - Ian Bell, John Teske [from
<i>Embers of Discontent (first mix)</i>]
</p>
<p>
altar call <br />conscription <br />threat posture <br />ostracism <br />or
worse
</p>
<p>
<i>Dream Gig </i>- Alone in Dead Bars [recorded live at the Victory Lounge,
Seattle, April 27, 2017]
</p>
<p>keep on dreamin'</p>
<p><i>6 or 7 Miles After</i> - Jostaberry [from <i>Hello Turbine</i>]</p>
<p>
nice sounding drums <br />joined by electric Muppets <br />tune lost in words
<br />words lost in turn
</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyzYhljukD7hxcojIJzY8pCkdH7ujxSHgqVVXiTr-SoxwUwhQKjUf87jucr24KAarg5C4Swkq_fu1cBMeYOfFgE0FhlBtxKVjZl7uKCCvU1qL6bJ4SGHwsjMxAE9kxN-FQWAq6P2sq9xg9TUzW1CKgQFXJS3Es5br6tAIqimmEhlWTPuXZbxXAQ2t7ryQ/s5472/231111%20F.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyzYhljukD7hxcojIJzY8pCkdH7ujxSHgqVVXiTr-SoxwUwhQKjUf87jucr24KAarg5C4Swkq_fu1cBMeYOfFgE0FhlBtxKVjZl7uKCCvU1qL6bJ4SGHwsjMxAE9kxN-FQWAq6P2sq9xg9TUzW1CKgQFXJS3Es5br6tAIqimmEhlWTPuXZbxXAQ2t7ryQ/w400-h266/231111%20F.jpg" width="400" /></a></div>November 8, 2023<p></p>
<p>
<i>Violin Concerto in G minor, Op. 26 (2nd movement)</i> - Max Bruch [from
<i>100 Greatest Classics</i>]
</p>
<p>
boor'zhwah sentiment <br />looks back at the mess they made <br />and assures
themselves <br />it was all for the best
</p>
<p>lullaby lullaby <br />sweet dreams</p>
<p>
<i>Track 6 </i>- Youth Rescue Mission [recorded live at The High Dive,
Seattle, April 6, 2012]
</p>
<p>
a public service message about water <br />a song desires close attention
<br />hard to do in venue <br />small sounds get lost
</p>
<p>
<i>What The Hell </i>- Chastity Belt [from
<i>I Used to Spend So Much Time Alone</i>]
</p>
<p>a recording allows the possibility <br />of designing a venue to the song</p>
<p><i>Labor of Love </i>- Emily Stranger [from <i>Labor of Love</i>]</p>
<p>words <br />collected from the scenaria<br />of internal monologs</p>
<p>
<i>Elizabethan Serenade</i> - Ronald Binge [from <i>100 Greatest Classics</i>]
</p>
<p>
what <br />pray tell <br />is Elizabethan about this? <br />{NB: ah! Elizabeth
the more recent!} <br />squarely in 19th or early 20th Century's light opera
territory as best I can tell <br />bandstand favorite somewhere
</p>
<p>
<i>Track 6 </i>- The Tailenders [recorded live at The High Dive, Seattle,
April 6, 2012]
</p>
<p>
many parts are present <br />but misbalanced <br />feedback issues <br />falls
apart behind the hum
</p>
<p><i>sCraps</i> - Gaytheist [from <i>Let's Jam Again Soon</i>]</p>
<p>aggressively filling space <br />bring a snorkel</p>
<p>
<i>Departure of a Leaf</i> - Halla Steinunn Stefánsdóttir - Lương Huệ
Trinh [from <i>Strengur</i>]
</p>
<p>
approaching <br />in telescoping waves <br />blooms in blooms <br />face to
face <br />the ledge narrows
</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYftSBCfaqD6tsdL4Fsdy5KbP4CdO6Cuv2fhBieci8HZjMJfrkrTfe-5s_PzS7oDchdH4ocqYV2NPIJG01ePunzD5UHEUE18ZR-h7Mo2bMAVXUUQ7BVZGonppvr4WnV6bvxTnTCDLDf32JY3GVLY7J7yOz62cbWIHAN8Xw2GjwgCefv0YY2NhJThREobs/s5042/231111%20J.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2929" data-original-width="5042" height="233" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYftSBCfaqD6tsdL4Fsdy5KbP4CdO6Cuv2fhBieci8HZjMJfrkrTfe-5s_PzS7oDchdH4ocqYV2NPIJG01ePunzD5UHEUE18ZR-h7Mo2bMAVXUUQ7BVZGonppvr4WnV6bvxTnTCDLDf32JY3GVLY7J7yOz62cbWIHAN8Xw2GjwgCefv0YY2NhJThREobs/w400-h233/231111%20J.jpg" width="400" /></a></i></div><i>Symphony in A Major (2nd movement)</i> - Ludwig van Beethoven [from
<i>100 Greatest Classics</i>]
<p></p>
<p>
theme and variations <br />as a dramatic procession <br />pulled back into
line <br />round the corner <br />the full horror appears <br />turn back
<br />retrace
</p>
<p>
<i>Track 6 </i>- Curtains For You [recorded live at The High Dive, Seattle,
April 6, 2012]
</p>
<p>
singing <br />is a method of vocal projection <br />so that one can be heard
<br />at a distance <br />roaring <br />(not heard here) <br />seems loud
<br />but carries less detail
</p>
<p><i>Dream Fever</i> - Charms [from <i>Human Error</i>]</p>
<p>when bands are led by gearheads <br />gear head <br />dead head</p>
<p>
<i>Aura </i>- Benton Roark - Re:Naissance Opera [from
<i>Music from The Apocrypha Chronicles: Mycologue Imprints</i>]
</p>
<p>
film scenes in an exhibition <br />the soundtrack tone-poem <br />all the
literal ingredients
</p>
<p><i>Forever In My Life</i> - Prince [from <i>Sign O' The Times</i>]</p>
<p>
texts and backing texts <br />begins to sound like a rehearsed line <br />two
readings <br />dancing with each other
</p>
<p>
<i>Peggy Loucura</i> - Camarones Orquestra Guitarristica [from
<i>Live in Natal</i>]
</p>
<p>
shake your head up <br />you'll feel better <br />medical discombobulation
<br />by prescription only
</p>
<p><i>Books and Pills</i> - Porn Bloopers [from <i>Blooper Reel</i>]</p>
<p>thrashing <br />for the physical release of it</p>
<p><i>Samantha and Steve</i> - Tom Varner [from <i>Sound Vespers</i>]</p>
<p>human sized <br />human aware <br />tightcast</p>
<p>
much of that <br />is out on the lawn by this time <br />they fall back
<br />in languorous liquidity <br />serenading the passersby <br />sweet song
for slumber's solace <br />we trudge out into the planet <br />metallic jets
become drumheads <br />and marbles <br />an aural phantasm of frogs forms
<br />and speaks <br />lots to say <br />life in the bog <br />nobody knows
the trouble I've been <br />a fresh crew approaches <br />chatting amiably
<br />which voice to follow <br />attempt the voice less followed
</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWjVirdlzeuXk5TH7tvg_lVdi7iSE7y11BGh2TlrLpDToRnG7xHCswQC7bzAQRapbozlIHQEKUMWXkWK66jPWWD_l69Mei7dymzOZMUb_PPFSRzycayYafH5iuqv_nKVpmy_P2t8V3r4nw_H4aq1aFE5USlVnSOaNDQivDgLFA1bFPlhVVspR97xxrGXc/s3896/231111%20K.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2971" data-original-width="3896" height="305" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWjVirdlzeuXk5TH7tvg_lVdi7iSE7y11BGh2TlrLpDToRnG7xHCswQC7bzAQRapbozlIHQEKUMWXkWK66jPWWD_l69Mei7dymzOZMUb_PPFSRzycayYafH5iuqv_nKVpmy_P2t8V3r4nw_H4aq1aFE5USlVnSOaNDQivDgLFA1bFPlhVVspR97xxrGXc/w400-h305/231111%20K.jpg" width="400" /></a></i></div><i>Sweeping Through The City </i>- Total Experience Gospel Choir, Pat Wright
[from <i>Bits and Pieces</i>]
<p></p>
<p>
recorded right here <br />in a space in space <br />from a place
<br />infectious accelerando to release
</p>
<p><i>Wild Red Roses </i>- Karin Blaine [from <i>Modern Day Living</i>]</p>
<p>in the form of a folk song</p>
<p><i>Lollipop (Ode to Jim)</i> - Alvvays [from <i>Antisocialites</i>]</p>
<p>
I'll be good daddy <br />suburban teeny pop <br />playing some of the same
games as Ms Swift
</p>
<p><i>Unresolved </i>- James Falzone [from <i>So Far Still</i>]</p>
<p>fipple flute! <br />a melody worth following</p>
<p>
<i>Madrigali, "Six Fire Songs On Italian Renaissance Poems": V. Luci serene e
chiare </i>- Morten Lauridsen - Polyphony, Stephen Layton
</p>
<p>lines tumble over each other like kittens</p>
<p>
<i>HM Evolved </i>- Tyrannosaurus Grace [from <i>Much More Than a Story</i>]
</p>
<p>he might have used words in this song <br />but I could not make them out</p>
<p>
<i>Up The Flagpole </i>- CEP [from <i>Drawing The Target Around The Arrow</i>]
</p>
<p>a slow throb</p>
<p><i>Wyoming </i>- Tom Swafford [from <i>Rough Spaces</i>]</p>
<p>
problem with naming a piece Wyoming <br />is that I immediately think about
the place <br />and the word <br />and forget what I'm here for
</p>
<p>tempo of a hog auctioneer</p>
<p>
<i>I Don't Let The Little Things Get Me Down </i>- The Young Fresh Fellows
[from <i>The Men Who Loved Music</i>]
</p>
<p>backhanded blues</p>
<p><i>Give Myself To You </i>- Specyphi</p>
<p>practiced guitar playing</p>
<p>
<i>Track 7 </i>- Arbor Towers [recorded live at Victory Lounge, Seattle, July
15, 2017]
</p>
<p>
big sound to attract attention <br />mumble back into the sound <br />then big
again <br />back to mumble
</p>
<p>
<i>We Miss You And Wish You Well </i>- Lori Goldston [from
<i>High and Low</i>]
</p>
<p>
expressive changes upon a melodic idea <br />ways to extend a final
<br />cycle back with new changes
</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoTZXjwoQfNEvhQeB0nmoQGUYz4Tsso1nXO755ZsC-vTgmCuXTV_6zPM6kBNUBYYdG8kXOLyry3uGLGwmrzNH1ADlUBLPbzrLf04NZYf2MzNiedGtFJj4Ysnm7AG6Yo_ndqCdqsFLdIxaRqKCML1j0lBVOzD4KUE5WNlWMruQoaTWgpAWHbSzAzRYGB9c/s4369/231111%20G.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3275" data-original-width="4369" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoTZXjwoQfNEvhQeB0nmoQGUYz4Tsso1nXO755ZsC-vTgmCuXTV_6zPM6kBNUBYYdG8kXOLyry3uGLGwmrzNH1ADlUBLPbzrLf04NZYf2MzNiedGtFJj4Ysnm7AG6Yo_ndqCdqsFLdIxaRqKCML1j0lBVOzD4KUE5WNlWMruQoaTWgpAWHbSzAzRYGB9c/w400-h300/231111%20G.jpg" width="400" /></a></div>November 9, 2023<p></p>
<p>
<i>Advance (12" vocal version)</i> - Boogie Down Productions [from
<i>Criminal Minded</i>]
</p>
<p>
projected toughness <br />an essential brand marker <br />a turnaround
<br />on the fear of others <br />lines packed between strong beats <br />on
one and four <br />patterns square up politely <br />in 2s 4s and 8s etc.
<br />if they don't <br />start over
</p>
<p><i>Out of Sight </i>- Shannon Stephens [from <i>Pull It Together</i>]</p>
<p>
self deceptions <br />from self help land <br />a hanger <br />to decorate
with alternate readings
</p>
<p><i>King of Viridia </i>- Tomten [from <i>Cremation Songs</i>]</p>
<p>
inside the psychedelic opening tone poem <br />we find a song <br />sounding
vaguely 80s <br />or vaguely Doors-ish <br />with some piano pounding
</p>
<p>
<i>Soundbox 1 </i>- Marina Alberto, Omar Willey, Carlos Snaider, Leanna Keith,
Heather Bentley [streamed January 29, 2022]
</p>
<p>
don't let this guy say grace at Thanksgiving <br />not arguing the facts of
his case necessarily <br />but the stance from which they are spoken <br />it
bugs me <br />pushes buttons <br />alarms sound
</p>
<p>
but enough of that <br />a pulse fabric is spread irregularly <br />cycling
<br />a region with a pulse terrain <br />as it
</p>
<p>(disdain porn) <br />period applause pause </p>
<p>
ivories tickled <br />strings picked <br />a comfortable evening with close
friends <br />drop on by anytime <br />leave when you must <br />or wish
</p>
<p>applause pause </p>
<p>
a new kind of plucked string sound <br />and light percussion <br />something
with a bit of <br />across the pond <br />to it <br />and viola
</p>
<p>applause pause <br />turn the page </p>
<p>this guy again <br />a hiccup away from wingnut conspiracy purveyance</p>
<p>applause pause </p>
<p>
harp or like instrument <br />an electric plucked string enters <br />we are
in a lovingly tended garden
</p>
<p>applause pause </p>
<p>
poet dude and viola <br />disdain is not profundity <br />just
close-mindedness
</p>
<p>applause pause </p>
<p>
poet dude again <br />playing the role of soloist <br />the other noisemakers
<br />instantly accompanimentalized <br />lingosplaining <br />why so
acquiescent?
</p>
<p>
conversation made futile <br />vastly better <br />every moment when loud guy
isn't vocalizing <br />language casts a shadow on music
</p>
<p>applause pause <br />end <br />thanks guys</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2Cfb14ZR9QspJx3ZxI9hHgJzOdMrwOJqdu0fHRzidCCq_KkT8YJqLPFrfjtO08NR6BcxMGyrNDFFxfmc-MOOVcHla6NPAS5dumrQ2q4rIlzA9Yyxlc-HHTfpML3O0TQ37hxdcSkRE4m86L6LHqlYH7JW6C1CDMoBsOiBQUHa-ATD8TFcqRKj8lyJ9hb0/s4565/231111%20L.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3141" data-original-width="4565" height="275" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2Cfb14ZR9QspJx3ZxI9hHgJzOdMrwOJqdu0fHRzidCCq_KkT8YJqLPFrfjtO08NR6BcxMGyrNDFFxfmc-MOOVcHla6NPAS5dumrQ2q4rIlzA9Yyxlc-HHTfpML3O0TQ37hxdcSkRE4m86L6LHqlYH7JW6C1CDMoBsOiBQUHa-ATD8TFcqRKj8lyJ9hb0/w400-h275/231111%20L.jpg" width="400" /></a></i></div><i>XAS</i> - Xenakis - ST-X Ensemble, Charles Zachary Bornstein<p></p>
<p>
a sunnier but harsher late Stravinsky <br />reeds being overtly reedy
</p>
<p>
stochastic does not equal haphazard <br />it is a strict mathematical point of
view <br />or place of hearing
</p>
<p>
our emotional states <br />have a star power problem <br />over enamored of
big names <br />for their bignamesness alone <br />the field <br />even with
the emotional range of inquiry <br />is huge <br />if sliced finely enough
</p>
<p><i>Some Girls </i>- Madonna [from <i>MDNA</i>]</p>
<p>
Max Headroom's angry daughter <br />technoid carapace <br />using one's bully
pulpit <br />(pussy pulpit?) <br />to open pop addled minds <br />just a
little
</p>
<p><i>Columbia Talkin' Blues</i> - Carl Allen [from <i>Roll Columbia</i>]</p>
<p>Mr. Guthrie <br />writing Rooseveltian agitprop <br />plastics</p>
<p>
<i>Three Summer Pieces </i>- Emily Doolittle - Laurel Swindon, Amanda Lowrey
</p>
<p>
instrument = character <br />that is <br />instrument <br />if and only if
<br />character <br />but <br />not character <br />if and only if
<br />instrument <br />character can be <br />of characters <br />or inside
one <br />that is <br />a way to think of chamber music <br />as distinct from
orchestral (massed) music <br />a theater of instruments <br />how many folks
are on stage matters <br />suddenness at any time <br />is character-driven
<br />how Nielsenish!
</p>
<p>
<i>Fanfare for Double Brass Sextet </i>- Milton Babbitt [from
<i>Erik Carlson - Slowly Expanding Milton Babbitt Album</i>]
</p>
<p>
Siegfried's partisans <br />have taken to arguing nits and picking iotas
<br />we do not mention the orangutan <br />the meager fare of fans
<br />holding forth in their echoing circles
</p>
<p>
<i>I'll Show You Mine </i>- Rachel Harrington [from
<i>Makin' Our House a Honkytonk</i>]
</p>
<p>what temptation is about</p>
<p><i>What Is Mine </i>- Ephrata [from <i>Ephrata</i>]</p>
<p>
inventing a sound <br />as a style <br />for a brand <br />on the rack
<br />at the music consumption store <br />for the soundtracks <br />of your
life
</p>
<p><i>A Long Awakening </i>- Motoko Honda</p>
<p>
where does music fit into folks' day-to-day today? <br />for this question
<br />I can't go by my experience <br />as I am likely an outlier <br />this
is <br />honestly <br />quite pretty <br />attention is paid to voices
<br />and sheen <br />dreamy sparkle dust
</p>
<p><b>In Session at The Tintinabulary</b></p>
<p>November 3, 2023</p>
<p><i>Sinfonia 7 (midi) </i>- Keith Eisenbrey</p>
<iframe allow="autoplay" frameborder="no" height="20" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1662616464&color=%23ff5500&inverse=false&auto_play=false&show_user=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/keith-eisenbrey" style="color: #cccccc; text-decoration: none;" target="_blank" title="Keith Eisenbrey">Keith Eisenbrey</a> · <a href="https://soundcloud.com/keith-eisenbrey/07-sinfonia-7-231103-midi" style="color: #cccccc; text-decoration: none;" target="_blank" title="07 Sinfonia 7 231103 Midi">07 Sinfonia 7 231103 Midi</a></div>
<p>
when I workshopped this on clavichord I made quite a few amendments from my
first draft <br />mostly cutting out unnecessaries
</p>
<p>November 5, 2023</p>
<p><i>Brentford </i>- Keith Eisenbrey</p>
<iframe allow="autoplay" frameborder="no" height="20" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1662616977&color=%23ff5500&inverse=false&auto_play=false&show_user=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/keith-eisenbrey" style="color: #cccccc; text-decoration: none;" target="_blank" title="Keith Eisenbrey">Keith Eisenbrey</a> · <a href="https://soundcloud.com/keith-eisenbrey/18-brentford-231105-231105" style="color: #cccccc; text-decoration: none;" target="_blank" title="18 Brentford 231105 [231105]">18 Brentford 231105 [231105]</a></div>
<p>This week's devotional arrangement</p>
<p>November 6, 2023</p>
<p>
<i>Banned Rehearsal 1087 </i>- Karen Eisenbrey, Keith Eisenbrey, Steve
Kennedy, Aaron Keyt, Neal Kosály-Meyer
</p>
<iframe allow="autoplay" frameborder="no" height="20" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1662617994&color=%23ff5500&inverse=false&auto_play=false&show_user=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/keith-eisenbrey" style="color: #cccccc; text-decoration: none;" target="_blank" title="Keith Eisenbrey">Keith Eisenbrey</a> · <a href="https://soundcloud.com/keith-eisenbrey/banned-rehearsal-1087-231106" style="color: #cccccc; text-decoration: none;" target="_blank" title="Banned Rehearsal 1087 231106">Banned Rehearsal 1087 231106</a></div>
<p>
it was great to have all of the most active crew members in attendance
<br />it seems like it has been a while
</p>
<p>November 7, 2023</p>
<p><i>Sinfonia 7 (clavichord) </i>- Keith Eisenbrey</p>
<iframe allow="autoplay" frameborder="no" height="20" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1662615813&color=%23ff5500&inverse=false&auto_play=false&show_user=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/keith-eisenbrey" style="color: #cccccc; text-decoration: none;" target="_blank" title="Keith Eisenbrey">Keith Eisenbrey</a> · <a href="https://soundcloud.com/keith-eisenbrey/07-sinfonia-7-231103-231107-clavichord" style="color: #cccccc; text-decoration: none;" target="_blank" title="07 Sinfonia 7 231103 [231107] Clavichord">07 Sinfonia 7 231103 [231107] Clavichord</a></div>
<p>and here it is on clavichord <br />piano is next</p>
<p style="text-align: center;"><b>Postscripts</b></p>
<p><b>Drops</b></p>
<p><i>Keith Eisenbrey 6: 1984-1988</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1185240499/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-6-1988-1994">Keith Eisenbrey 6: 1988-1994 by Keith Eisenbrey</a></iframe>
<p>
Working with narrative forms, both explicit and implicit, playing games with
memory, and finding ways to set texts.
</p>
<p><i>Keith Eisenbrey 5: 1984-1988</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=641022695/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-5-1984-1988">Keith Eisenbrey 5. 1984-1988 by Keith Eisenbrey</a></iframe>
<p>
My first years back in the Puget Sound area, working with the experience of
repetition and with relationships between the vertical and horizontal pitch
realms.
</p>
<p><i>Keith Eisenbrey 4: 1983-1984</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3616259267/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-4-1983-1984">Keith Eisenbrey 4. 1983-1984 by Keith Eisenbrey</a></iframe>
<p>
Finishes up the music I wrote while I was in New York (state) under the
ostensible supervision of the academic world.
</p>
<p><i>Keith Eisenbrey 3: 1982-1983</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2544871921/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-3-1982-1983">Keith Eisenbrey 3. 1982-1983 by Keith Eisenbrey</a></iframe>
<p>
Written in Red Hook, NY, and Malabar, FL, as I was beginning to think about
thinking about music.
</p>
<p><i>Keith Eisenbrey 2: 1981-1982</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1543052747/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-2-1981-1982">Keith Eisenbrey 2. 1981-1982 by Keith Eisenbrey</a></iframe>
<p>
What occupied my time toward at the end of my undergrad days and in the year
before I went east for a while.
</p>
<p><i>Keith Eisenbrey 1: 1979-1981</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1650666157/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-1-1979-1981">Keith Eisenbrey 1. 1979-1981 by Keith Eisenbrey</a></iframe>
<p>Keyboard works I composed while an undergrad at the UW. </p>
<p>All are free for download.</p>
<p><b>Skaldmud's Doodle Gallery</b></p>
<p>listening journal doodles from 2012</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwuOAi-RnnO1UuyyhKYQpVf07McvSH_yHdlvITvY63Gkk08cIYNTEsBRtIZCV4aivEfPGyX-bZr-gOeZ3sFm4sHt318AAamCjEkMST0itIdOfvYBJqduGYGn3fjbesBW6DZ0VYkyrhYcivVSADuAH3sS3_TXnTdIu-JxwvH7pTF_56aRprVqO27tQ-g5g/s3509/2023%20scan624.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3509" data-original-width="2550" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwuOAi-RnnO1UuyyhKYQpVf07McvSH_yHdlvITvY63Gkk08cIYNTEsBRtIZCV4aivEfPGyX-bZr-gOeZ3sFm4sHt318AAamCjEkMST0itIdOfvYBJqduGYGn3fjbesBW6DZ0VYkyrhYcivVSADuAH3sS3_TXnTdIu-JxwvH7pTF_56aRprVqO27tQ-g5g/w291-h400/2023%20scan624.jpg" width="291" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3LOLjvmRAZg2eZPOgyrECN_t7aPf9xZi9ZpTdSGWGqxrUcRLvHk0jZ0aiSPfuL0BmckY9WWNjkWkdZLgRDqDGOQc_r8BLFnsi8RskTeTp56H84zistSohpA6DJOmGXqpzUfRepuv_MMHfOsUmnZoFNXHFOXGbWu5jhaOAvSVVp9mUwF4YzyYT6QP2iQw/s2669/2023%20scan625.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2669" data-original-width="2450" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3LOLjvmRAZg2eZPOgyrECN_t7aPf9xZi9ZpTdSGWGqxrUcRLvHk0jZ0aiSPfuL0BmckY9WWNjkWkdZLgRDqDGOQc_r8BLFnsi8RskTeTp56H84zistSohpA6DJOmGXqpzUfRepuv_MMHfOsUmnZoFNXHFOXGbWu5jhaOAvSVVp9mUwF4YzyYT6QP2iQw/w368-h400/2023%20scan625.jpg" width="368" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_VfO-G8jP3Pd6DNyRkjoFuQk_h_RprCE3EliNbQvAXT4lM4C3x70LKz_Br3BoHabZTCk6BM8EJaINKxocr5OxVgED4G2Hdyh3pypbSLIbsy22VJkTDGl2I-dw83_yXSphwa0dD_IWXNw1LGUvdqlJmRMe6XHnMyDYLMu45cS3b9Mnv_G9wDKxQnSVyJ4/s2525/2023%20scan626.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2525" data-original-width="2525" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_VfO-G8jP3Pd6DNyRkjoFuQk_h_RprCE3EliNbQvAXT4lM4C3x70LKz_Br3BoHabZTCk6BM8EJaINKxocr5OxVgED4G2Hdyh3pypbSLIbsy22VJkTDGl2I-dw83_yXSphwa0dD_IWXNw1LGUvdqlJmRMe6XHnMyDYLMu45cS3b9Mnv_G9wDKxQnSVyJ4/w400-h400/2023%20scan626.jpg" width="400" /></a></div><br /><p><br /></p>
Keith Eisenbreyhttp://www.blogger.com/profile/16399615075612440296noreply@blogger.com0tag:blogger.com,1999:blog-7569166511516520581.post-77159915635102367342023-11-04T13:29:00.001-07:002023-11-04T14:26:59.519-07:00Playlist<p style="text-align: center;">
<b></b></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;">
<tbody>
<tr>
<td style="text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQyIkh3VauQvqqgQfVkO5r4Gzhb9zwG0hgD1_5gC7V7iATCylY2olgbRy0ZFCBjOcLeFbxnYnC-FAWxq2b4zOKxJI0XaCHdC4Bk_dGgrFfIMVAQoCXEQ7dyAO3rgy4KcXemnejMD6IbIeMCSF35OCOTZBTuyPQiu5TCat9DhphyMqtZNGQEqtUtKRFY7I/s5472/231104%20B.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQyIkh3VauQvqqgQfVkO5r4Gzhb9zwG0hgD1_5gC7V7iATCylY2olgbRy0ZFCBjOcLeFbxnYnC-FAWxq2b4zOKxJI0XaCHdC4Bk_dGgrFfIMVAQoCXEQ7dyAO3rgy4KcXemnejMD6IbIeMCSF35OCOTZBTuyPQiu5TCat9DhphyMqtZNGQEqtUtKRFY7I/w400-h266/231104%20B.jpg" width="400" /></a>
</td>
</tr>
<tr>
<td class="tr-caption" style="text-align: center;">
are we being goosed or mooned here?
</td>
</tr>
</tbody>
</table><b>
Preface</b>
<p></p>
<p>
"The virtues of avoiding thinking straight are underplayed.<br />Things issue
their hidden beauty in raw relations beyond comparison.<br />And now for the
questions that befuddle and do not need to be asked."
</p>
<p>George Quasha - from "Not Even Rabbits Go Down This Hole"</p>
<p style="text-align: center;"><b>Texts</b></p>
<p><b>Live</b></p>
<p>October 28, 2023</p>
<p>
<b><i>Cove - Kin of the Moon with Shadow Girls Cult<br />Heather Bentley, Kaley
Lane Eaton, Leanna Keith, Cassie Bray, Zane Exactly<br /></i></b>Chapel Performance Space, Good Shepherd Center, Seattle
</p>
<p><i>Rewilding</i> - Heather Bentley</p>
<p>
honed <br />it glows from inside its glow <br />slices wrapped <br />stowed
<br />stands firm <br />adze words float free <br />purchase gained on grain
<br />mineral geomancy <br />balance sempiternal
</p>
<p><i>I Remember</i> - Kaley Lane Eaton</p>
<p>Tokitae <br />Penn Cove</p>
<p><i>The Cosmic Sermon</i> - Dominic Matthews</p>
<p>
they sneak in while it's dark <br />mischief's ground laid <br />the Chapel
ghost may have joined the party <br />the whole wandering band has arrived to
stay <br />at last <br />repose <br />regions of doing
</p>
<p><i>Cove</i> - Heather Bentley (feat: Shadow Girls Cult, puppetry)</p>
<p>
travel by foot <br />arrival <br />two paneled door <br />into the eye egg
</p>
<p><b></b></p>
<div class="separator" style="clear: both; text-align: center;">
<b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSM5CAeGmqdZepCuxDyd7lpuZ-OKFpzPLTqgItxyMqHvHKDzZm0DegqA3zPcRi3Pw16paWBcJVMNSntHy7vs1Ianoh2bwQYjXZoHDuRqRABU1W0o2VgYatYCQhhbABvrw1PPqipuOFbDZ3rxM_IZOq4FoheyiVZAq4UyYTvQTZ5hUdZqKlVi4w-ypMezw/s3387/231104%20A.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2911" data-original-width="3387" height="344" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSM5CAeGmqdZepCuxDyd7lpuZ-OKFpzPLTqgItxyMqHvHKDzZm0DegqA3zPcRi3Pw16paWBcJVMNSntHy7vs1Ianoh2bwQYjXZoHDuRqRABU1W0o2VgYatYCQhhbABvrw1PPqipuOFbDZ3rxM_IZOq4FoheyiVZAq4UyYTvQTZ5hUdZqKlVi4w-ypMezw/w400-h344/231104%20A.jpg" width="400" /></a></b>
</div>
<b>Recorded</b>
<p></p>
<p>October 28, 2023</p>
<p><i>Six Intermezzi, Op. 4</i> - Robert Schumann - Eric Le Sage</p>
<p>
shape shifter <br />uncanny returns <br />motion <br />from moment to moment
<br />of same or greater import <br />as motion <br />from movement to
movement <br />from between to between <br />counting betweens is a fool's
game <br />sequences of sequences <br />deceptive all
</p>
<p>
<i>Impromptu in A-flat Major, Op. 29</i> - Frédéric Chopin - Garrick Ohlsson
</p>
<p>
so rational and clear compared to RS <br />though not lacking in fancy
<br />or dreaminess <br />what balances stays balanced <br />disjunctures
allowed their space to process <br />all the ducklings accounted for
</p>
<p>
<i>Sometimes I Sit Beneath The Tree</i> - Charles Ives - Kia Sams, Russ Warner
</p>
<p>stanzas begin in singsong <br />end in dreamy</p>
<p>
<i>Thelonious</i> - Thelonious Monk [form
<i>The Complete Blue Note Recordings</i>]
</p>
<p>
this melody plays true <br />straight to its mark <br />even while dancing on
wings unwavered
</p>
<p>
<i>Miss Ann (Demo)</i> - Little Richard [from <i>Here's Little Richard</i>]
</p>
<p>
I value these "deluxe" editions that include various versions of songs that
have become familiar in their finished releases <br />this is the song he sold
to the song producer <br />so money could be spent <br />to dress it up
</p>
<p>
<i>The Part Where I Cry</i> - Willie Nelson [from <i>...And Then I Wrote</i>]
</p>
<p>
we know exactly what each word is doing <br />and why each note is what it is
</p>
<p><i>Come Ye</i> - Nina Simone [from <i>High Priestess of Soul</i>]</p>
<p>
conduit for musics unforgotten and unforeseen <br />breaking free of the
backbeat hegemony
</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTKTO5V8vR4cY3v6COimWtf-jcj9IeP3hScJV87wlHnDkmTXojY1jQM93oT4Wu4mizW8z0i9AovK5-lVX5ndIhZooWV0w37Pq1A6GvRZ1q-UYMTOeHPx2MdU0T8W5NFgnFbvOvDOs811urnbPh8MgStVcCQ3FwQpleTfp2z1K0MPPbOzewLzowWar77E4/s5472/231104%20G.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTKTO5V8vR4cY3v6COimWtf-jcj9IeP3hScJV87wlHnDkmTXojY1jQM93oT4Wu4mizW8z0i9AovK5-lVX5ndIhZooWV0w37Pq1A6GvRZ1q-UYMTOeHPx2MdU0T8W5NFgnFbvOvDOs811urnbPh8MgStVcCQ3FwQpleTfp2z1K0MPPbOzewLzowWar77E4/w400-h266/231104%20G.jpg" width="400" /></a></i></div><i>Summer Me, Winter Me</i> - Sarah Vaughan [from
<i>Sarah Vaughan with Michel LeGrand</i>]
<p></p>
<p>
the virtual physical space the first instruments inhabit <br />is not that of
the vocal <br />Sarah <br />however <br />has got this song delivered intact
<br />if not vastly improved
</p>
<p>
<i>Overture-Cotton Avenue</i> - Joni Mitchell [from
<i>Don Juan's Reckless Daughter</i>]
</p>
<p>
avoids firm resolution into grooves <br />passes through them <br />comes in
back doors <br />may as well be this song as another <br />spit shine on its
dancin' shoes
</p>
<p><i>Two Faces</i> - Bruce Springsteen [from <i>Tunnel of Love</i>]</p>
<p>
the Springsteenian "mister" <br />the fellow on the next bar stool <br />a
useful fiction
</p>
<p>
<i>Old Bell'd Yoe</i> - Mike, Peggy, and Penny Seeger [from <i>Animal Folk Songs for Children</i>]
</p>
<p>fiddled into being</p>
<p>
<i>Sunday Afternoon</i> - Paul Simon, Ednita Nazario [from
<i>Songs from The Capeman</i>]
</p>
<p>a people's experience and wisdom</p>
<p></p>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiY3_T-5gE7MXPviVkDNyZ35qj8tsbssfRoRG4MoHh_flPL_gspanAGZSzRI_L2YlH8O9R9DnIh_E5nSXdpuvRTk2oKZM5BntSWk0yDFf5PMM7NX6bV5xd0OID2LWpR6D0omW3QYXsrgY7bZx0xe47o-UwWXgWzDo0WTRq87Yyw4ixrN1qyp9toQYDjXVw/s5472/231104%20C.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiY3_T-5gE7MXPviVkDNyZ35qj8tsbssfRoRG4MoHh_flPL_gspanAGZSzRI_L2YlH8O9R9DnIh_E5nSXdpuvRTk2oKZM5BntSWk0yDFf5PMM7NX6bV5xd0OID2LWpR6D0omW3QYXsrgY7bZx0xe47o-UwWXgWzDo0WTRq87Yyw4ixrN1qyp9toQYDjXVw/w400-h266/231104%20C.jpg" width="400" /></a>
</div>
October 29, 2023
<p></p>
<p><i>A Better Future</i> - David Bowie [from <i>Heathen</i>]</p>
<p>
a musical stage show <br />song embedded in it <br />or <br />the stage show
is draped around song <br />transformation of words by melody <br />and of
melody by words <br />the act of singing <br />a crucible
</p>
<p>
<i>Said George W. to The N.S.A.</i> - Capitol Steps [from
<i>O Christmas Bush</i>]
</p>
<p>do you fear what I fear</p>
<p><i>Make The World Move </i>- Christina Aguilera [from <i>Lotus</i>]</p>
<p>
pop music (industrial) <br />distinguished by its elaborate packaging
<br />product designed <br />to enhance the elaborate packaging
</p>
<p><i>Four Winds</i> - Steve Layton [from <i>No Answer</i>]</p>
<p>
animated sparkle dust of prior power <br />it is amazing what a little thought
and imagination can accomplish <br />with little more than cheesy sci-fi
sounds <br />raises a question about music <br />whose instruments can't be
picked up and carried about <br />picking up their entire support structure
doesn't count
</p>
<p><i>Totem 44</i> - Sascia Pellegrini [from Totem <i>IV</i>]</p>
<p>
virtual environment <br />something big is crashing down <br />they are
knocking <br />so the drear vault is opened <br />they're leaving <br />up
they go
</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCpjfz6n-4Lv4J93WTZVZBoEqWYZB6M7bKlhZTwWH74-CPE1kRml1uX1wjSXZnbOd_aPWkFDpPuKcbyeXT7GrPtbmTpvZFBb3KDe38TUBGHWBi1QMC7Kr1T_rCOtK6FSxJztLZtQs2k4DEoSD-n7XTLVnWVS2LU2hZU_488nsS_-O7L4F989OeA9SyWFE/s5472/231104%20H.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCpjfz6n-4Lv4J93WTZVZBoEqWYZB6M7bKlhZTwWH74-CPE1kRml1uX1wjSXZnbOd_aPWkFDpPuKcbyeXT7GrPtbmTpvZFBb3KDe38TUBGHWBi1QMC7Kr1T_rCOtK6FSxJztLZtQs2k4DEoSD-n7XTLVnWVS2LU2hZU_488nsS_-O7L4F989OeA9SyWFE/w400-h266/231104%20H.jpg" width="400" /></a></i></div><i>Don't Tell Me Your Troubles</i> - Ray Charles [from
<i>Modern Sounds in Country and Western Music</i>]
<p></p>
<p>the spirit of this song has been lifted</p>
<p>
<i>Away In A Manger</i> - The Philadelphia Brass Ensemble [from
<i>Festival of Carols in Brass</i>]
</p>
<p>
presume <br />the soundtrack of Christendom <br />sentimentalizing itself out
of countenance <br />completes your decoration
</p>
<p><i>Ages of You</i> - REM [from <i>Dead Letter Office</i>]</p>
<p>
are they almost pretending to be British <br />accent of the decade
<br />guitar between lines :: carriage return <br />ding!
</p>
<p><i>Town Called Malice</i> - The Jam [from <i>The Sound of The Jam</i>]</p>
<p>
doing David Bowie <br />or his kid brother <br />partying on down to social
commentary
</p>
<p>
<i>Saturday Morning</i> - Tyrannosaurus Grace [recorded live at The Rat and
Raven, Seattle, August 9, 2012]
</p>
<p>he's blaming somebody for something</p>
<p><i>Black Sweet Blood Mouthfuls</i> - Greg Sinibaldi [from <i>Ariel</i>]</p>
<p>
music can be a depiction of our inner state <br />an expression of that state
<br />filtered through music's transformative thresholds <br />but <br />it is
still not that state <br />without pretending to be <br />or to express that
state <br />but it also <br />immediately <br />creates that state
</p>
<p>
<i>Let's Not Kid Ourselves</i> - Star Anna [streamed from Fiddler's Inn,
Seattle, March 7, 2022]
</p>
<p>when did things get so hard?</p>
<p>
<i>Nine Hundred Miles</i> - Bob Dylan [from <i>A Tree With Roots</i>]
</p>
<p>but we won't ride the whole way</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3oCg9l5cNumOgwkpUzd43Owz_wuz1e8NxTmT6peAdp3X_9lnHjOMKoeK2W_HN8O346NtSlw6S662mjk-dQhgQo7WQd-U4X_vDp4G5KYIVKv6G2NEL_xJsYIYKRNqOUcGmye1p1KJ1bf5wPus1myhli1BhjQsnYpQXfdyXuubDF9L2Og8yGv-PicCTGaM/s5472/231104%20I.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3oCg9l5cNumOgwkpUzd43Owz_wuz1e8NxTmT6peAdp3X_9lnHjOMKoeK2W_HN8O346NtSlw6S662mjk-dQhgQo7WQd-U4X_vDp4G5KYIVKv6G2NEL_xJsYIYKRNqOUcGmye1p1KJ1bf5wPus1myhli1BhjQsnYpQXfdyXuubDF9L2Og8yGv-PicCTGaM/w400-h266/231104%20I.jpg" width="400" /></a></i></div><i>The Mess We're In</i> - Los Lobos [from <i>By The Light of The Moon</i>]
<p></p>
<p>dancing with the commentators</p>
<p>
<i>I Will Wait For You</i> - Glenn Tate [from
<i>Some of My Favorite Love Songs</i>]
</p>
<p>
a music can be a depiction <br />of a song <br />depicting a mood
<br />ragtime harmonies <br />in Weimar cabaret act
</p>
<p>
<i>Pie in the Sky</i> - Ian Bell, John Teske [from
<i>Embers of Discontent</i>]
</p>
<p>come out every night <br />a pestilence <br />a curse </p>
<p>
<i>Track 6</i> - Arbor Towers [recorded live at The Victory Lounge, Seattle,
July 15, 2017]
</p>
<p>oh to be dark <br />and mysterious <br />moody <br />misunderstood</p>
<p><i>Midnight Rain</i> - Taylor Swift [from <i>Midnights</i>]</p>
<p>
weirdish filter <br />on the vocal occasionally <br />like a forced
sub-fundamental
</p>
<p></p>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgsjiFMFZda9sOcku0ZaOk6G9f6R1bGGJ1uxRl8aF9smNo273eP7UxOh99cTOenkUKBJUwbAfEhXU8u2qO8D7vzf5DzSXqm59yvuhzDuLaKZsCpBlJtYJulO0rgQZjd3jDFT3AbNkESPBWXDr1Wew9xEB3kR2_X4RLfZHXY43jNVW9pWXd7ZpZ_7j-ULM/s5472/231104%20D.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgsjiFMFZda9sOcku0ZaOk6G9f6R1bGGJ1uxRl8aF9smNo273eP7UxOh99cTOenkUKBJUwbAfEhXU8u2qO8D7vzf5DzSXqm59yvuhzDuLaKZsCpBlJtYJulO0rgQZjd3jDFT3AbNkESPBWXDr1Wew9xEB3kR2_X4RLfZHXY43jNVW9pWXd7ZpZ_7j-ULM/w400-h266/231104%20D.jpg" width="400" /></a>
</div>
October 30, 2023
<p></p>
<p><i>Only A Northern Song</i> - The Beatles [from <i>Anthology</i>]</p>
<p>anti-advertising <br />opposite mode to Roll Over Beethoven</p>
<p><i>Just Good Friends</i> - Michael Jackson [from <i>Bad</i>]</p>
<p>blowing up a dance floor drama <br />life as performance fodder</p>
<p>
<i>City of the Dead </i>- Pete Comley [from <i>Lost City Music, Volume 2</i>]
</p>
<p>
we are such a social animal <br />we postulate societies post-mortem
<br />what else would we do?
</p>
<p>
<i>Track 4</i> - Peterman [recorded live at The Blue Moon, Seattle, October 4,
2012]
</p>
<p>a second-order meter <br />joining poetic meter <br />to dance meter</p>
<p><i>Be Good </i>- Waxahatchee [from <i>American Weekend</i>]</p>
<p>the endless boredom of young adulthood</p>
<p><i></i></p>
<div class="separator" style="clear: both; text-align: center;">
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</div>
<i>~~-~-~-~~~~~~--~-~~-~~~~--~-~(Rojahn Remix)</i> - Lost Chocolate Lab
[from <i>(Previously) Clean</i>]
<p></p>
<p>
pushing strums into a jelly mass <br />to quiver it <br />response evident on
surface <br />reverts <br />postulating its internal vibration <br />volume
echo's manners of behaviors <br />drumbody
</p>
<p><i>Surprise Surprise</i> - X [from <i>See How We Are</i>]</p>
<p>word play <br />songwriting slam</p>
<p><i>Splashing 2</i> - Greg Sinibaldi [from <i>Frieze of Life</i>]</p>
<p>
one steps <br />two steps <br />three steps <br />start over <br />start over
<br />start over <br />slower
</p>
<p>
<i>That's All Right Mama</i> - Red Ribbon [recorded live at The Blue Moon,
Seattle, October 4, 2012]
</p>
<p>a cover remade from its own image <br />quite brilliant</p>
<p>
<i>Hey Myla (M.O.M.B.)</i> - Mud on My Bra [from
<i>Demo #2 (Manger Studio Mixes)</i>]
</p>
<p>I wanna good mic stand <br />let's go! <br />freak flag flying</p>
<p>
<i>Mund-Phantom (Mouth-Phantom)</i> - Eric Nathan [from <i>Missing Words</i>]
</p>
<p>
it rises before us <br />we stay put <br />these notes are exhibited thusly
<br />which is how we hear them
</p>
<p>
<i>As The Rhyme goes On (Radio Mix)</i> - Eric B. & Rakim [from
<i>Paid in Full</i>]
</p>
<p>the little snippets <br />and the little bits <br />competitive verbality</p>
<p>
<i>Mother Don't Cry For Me</i> - Andrew James Robison [recorded live at The
Blue Moon, Seattle, October 4, 2012]
</p>
<p>just write about what's goin' on</p>
<p>
<i>No Tattoos </i>- Alone in Dead Bars [recorded live at The Victory Lounge,
Seattle, July 15, 2017]
</p>
<p>
drums supplied by you <br />the listener <br />the guy up front can only imply
<br />not supply
</p>
<p><i>Dido on Fire</i> - Kaley Lane Eaton [from <i>Cedar</i>]</p>
<p>head on <br />what song does</p>
<p>October 31, 2023</p>
<p><i>Hot Thing</i> - Prince [from <i>Sign O' The Times</i>]</p>
<p>
do the results justify the means of production <br />(manufactured rather than
played)
</p>
<p>
<i>Track 5</i> - Beast of the Sky [recorded live at The Sound Effects Café,
Seattle, October 26, 2012]
</p>
<p>
play-act tough guy <br />in tough guy dive bar <br />the pit plays their part
</p>
<p><i>Hey</i> - Alvvays [from <i>Antisocialites</i>]</p>
<p>
how does a band like this get put together? <br />it desires to be a product
<br />to be consumed
</p>
<p><i>Planet </i>- Jostaberry [from <i>Hello Turbine</i>]</p>
<p>
as the means of manufacture become widely available <br />those means become
the only acceptable means <br />where are the people?
</p>
<p><i>I'm Not Jesus</i> - Ramones [from <i>Halfway to Sanity</i>]</p>
<p>the frowny face Ramones <br />trying to be shocking</p>
<p>
<i>Track 5</i> - Black Plastic Clouds [recorded live at The Sound Effects
Café, Seattle, October 26, 2012]
</p>
<p>
this band could only have put themselves together <br />the sax
<br />blissfully playing in its own damned key
</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMJlaXG-Jvtlygt3V1fYwo419L0o0fp6QLr8dr9W3Cu1ee3NOVeYvH5pXlKQvHgFp6s8YF8KlPTHh_ySApRJT3GKFv334aPQmxU81tyEapBQzNjMbCCkjoH_-LYsP1CWKfN1NA_wKtXQHCpEd9IH0e1QiDQNfZEJchKc3JTtRJ9p8nP9U_Qvwj8lmBaVY/s5472/231104%20L.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMJlaXG-Jvtlygt3V1fYwo419L0o0fp6QLr8dr9W3Cu1ee3NOVeYvH5pXlKQvHgFp6s8YF8KlPTHh_ySApRJT3GKFv334aPQmxU81tyEapBQzNjMbCCkjoH_-LYsP1CWKfN1NA_wKtXQHCpEd9IH0e1QiDQNfZEJchKc3JTtRJ9p8nP9U_Qvwj8lmBaVY/w400-h266/231104%20L.jpg" width="400" /></a></i></div><i>1000 Things</i> - Ephrata [from <i>Ephrata</i>]<p></p>
<p>
however this group got together <br />they're all actually singing those
harmonies <br />(I've heard them do it live) <br />much to their credit
</p>
<p>
<i>Dreams of The Butterfly</i> - Denise Glover [from
<i>Dreams of The Butterfly</i>]
</p>
<p>
what is a viola called <br />when played as a fiddle is played? <br />don't
get sucked into the vortex <br />good advice
</p>
<p><i>Barcarolle</i> - Jacques Offenbach [from <i>100 Greatest Classics</i>]</p>
<p>
nursery songs <br />to treat the tots <br />come back <br />to the mother lode
<br />of Empire's embrace
</p>
<p>
<i>Track 5</i> - The Hunting Club [recorded live at The Sound Effects Café,
Seattle, October 26, 2012]
</p>
<p>
almost any band that collects itself <br />creates a unique music <br />from
how they all got there
</p>
<p>
<i>Chapter 6</i> - Nancy Cole Silverman - Adam Verner [from
<i>A Much Married Woman</i>]
</p>
<p>
swept her off the piano bench <br />onto the stage <br />uh oh <br />don't
fall for the piano pounder <br />dashing off the stage <br />and disappeared
into the night
</p>
<p><i>Gargling</i> - Amy Denio [from <i>Chapel Sessions</i>]</p>
<p>
the house that Jack built <br />without textual clues <br />who let the cat
in?
</p>
<p>
<i>"Alla Hornpipe" from Water Music</i> - George Frideric Handel [from
<i>100 Greatest Classics</i>]
</p>
<p>
even a king can understand trumpets <br />how well can a band on a barge be
heard?
</p>
<p>
<i>Loose Ends</i> - Bruce Hamilton & Friends [from
<i>Mash Hits Volume 1</i>]
</p>
<p>playing with weirdness <br />in its own little theater</p>
<p><i>Call It A Day</i> - Merchant Mariner [from <i>Merchant Mariner</i>]</p>
<p>oar pulling tempo <br />galley raillery <br />all hands heard</p>
<p>
<i>Part VIII</i> - Alex Anthony Faide [from <i>Particles of The Infinite</i>]
</p>
<p>
small to big in one swoop <br />the addition of another big <br />to already
big <br />is small potatoes <br />enter with overwhelming force
<br />resistance is useless <br />exhausting <br />big after big <br />after
big after big
</p>
<p>
<i>The Lord's Prayer </i>- Albert Hay Malotte [from
<i>100 Greatest Classics</i>]
</p>
<p>let's sing this as slowly as possible <br />to extend the suffering</p>
<p><i>Silhouette in a Suitcase</i> - Tea Cozies [from <i>Bang Up</i>]</p>
<p>interesting pitch work <br />quite a fine cut</p>
<p><i>Swimming, Tuesday</i> - Chris Brokaw</p>
<p>a guitar solo <br />as though a song might have been sung to it</p>
<p><i>Alright On My Own</i> - Emily Stranger [from <i>Labor of Love</i>]</p>
<p>being a perfect teen in an imperfect life</p>
<p><i>Minute Waltz</i> - Frédéric Chopin [from <i>100 Greatest Classics</i>]</p>
<p>but has a complete little romance in it</p>
<p><i>Love on Mars?</i> - O-Face [from <i>Shrug Life</i>]</p>
<p>more cousin music!</p>
<p>
<i>Hard Travelin'</i> - Ben Hunter, Joe Seamons [from <i>Roll Columbia</i>]
</p>
<p>job of work <br />way down</p>
<p>
<i>Strengur Fragments</i> - Halla Steinunn Stefánsdóttir - Davíð Brynjar
Franzson [from <i>Strengur</i>]
</p>
<p>
urban environment with interference from the cyberwaves <br />passes with the
traffic <br />this is indoors
</p>
<p>
<i>Adagio from Spartacus and Phrygia</i> - Aram Khachaturian [from
<i>100 Greatest Classics</i>]
</p>
<p>music is cinema <br />it fills your screen</p>
<p><i>Rain Tractor </i>- Triptet [from <i>Figure in the Carpet</i>]</p>
<p>rhythm of broken tire chains <br />lively <br />irregular regularity</p>
<p></p>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVr4ICGbVjphyxUNQO83RQ7yfIDzCImPHXgOmLMsxvvm44IRDiCFNLPRBHm9UzINE2-OFz-PKiHHVBtDIgrLvxN0ERrJPPGpBkxmF4CUFs6VjAVzzMezpCByVG_2REe4bM7EBmkuiLIz6kuJpVlAWEP1eqQjVKnh0tdSvg22KcRuoLxbBhSF4YtdwD7q0/s5472/231104%20E.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVr4ICGbVjphyxUNQO83RQ7yfIDzCImPHXgOmLMsxvvm44IRDiCFNLPRBHm9UzINE2-OFz-PKiHHVBtDIgrLvxN0ERrJPPGpBkxmF4CUFs6VjAVzzMezpCByVG_2REe4bM7EBmkuiLIz6kuJpVlAWEP1eqQjVKnh0tdSvg22KcRuoLxbBhSF4YtdwD7q0/w400-h266/231104%20E.jpg" width="400" /></a>
</div>
November 1, 2023
<p></p>
<p>
<i>A Música Invisível Continua</i> - Camarones Orquestra Guitarrística [from
<i>Feeexta</i>]
</p>
<p>
parties at a single pitch <br />so <br />to be the vibe <br />that the club is
being <br />conjured celebration
</p>
<p>
<i>Thunderstoner </i>- Benton Roark - Re:Naissance Opera [from
<i>Music from The Apocrypha Chronicles</i>]
</p>
<p>environments inhabiting a sound world in a bubble</p>
<p>
<i>Madrigali, "Six Fire Songs On Italian Renaissance Poems": IV. Io piango</i>
- Morton Luaridsen - Polyphony, Stephen Layton
</p>
<p>
conjectural proposal: <br />there is a bubble around a sound world <br />in it
<br />is the sound world <br />outside <br />is not the sound world
<br />though <br />it might be another <br />we distinguish immediately
<br />as we hear it <br />to distinguish that bubble <br />might be called
<br />hearing that bubble <br />or <br />that sound world <br />or <br />that
other sound world <br />or <br />that music
</p>
<p><i>Mustache Song</i> - Swingset Showdown [from <i>Short Bus Ruckus</i>]</p>
<p>
but reporting <br />"I heard that" <br />is to collapse the bubble <br />and
present it whole <br />but <br />"hearing" it <br />is both immediate
<br />and continual <br />the past tense is an abstraction
</p>
<p><i>Amputations </i>- Bad Cop/Bad Cop [from <i>Warriors</i>]</p>
<p>let's be movie villains <br />chewing our way through time's scenery</p>
<p>
<i>Greg's Magic, Haley's Lament</i> - Tom Varner [from <i>Sound Vespers</i>]
</p>
<p>
inclusion in one bubble or another <br />can be unstable <br />the bubble we
make <br />to keep bubbles grouped <br />is a near-conscious artifact <br />a
hunch <br />an input of intention
</p>
<p>winds sing like birds</p>
<p>
but: <br />within a sound world <br />there are sounds also <br />each heard
<br />distinguished <br />in their own bubbles <br />it's bubbles all the way
down
</p>
<p>we wander among them <br />as we do</p>
<p>
one bubble just wrote something <br />on that other bubble <br />with chalk
<br />while its back was turned
</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimVNLpMCSn21AFRDB7Vs6-lj0usnD36VgH6CCfXElL7C12mubsL-9t1rXLTygJKgcMd99zEkir4t39IET1JlyRK-bz2Erl07h0-etq-ICKVlpkpNHxWWBo4yNFMtdUAiDcOZiZHZ7qGQqfYESHmWAuwnAbN5v7DSQ24hyUmKPl8a_8jAcdnXpjsrKbWC0/s5472/231104%20J.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimVNLpMCSn21AFRDB7Vs6-lj0usnD36VgH6CCfXElL7C12mubsL-9t1rXLTygJKgcMd99zEkir4t39IET1JlyRK-bz2Erl07h0-etq-ICKVlpkpNHxWWBo4yNFMtdUAiDcOZiZHZ7qGQqfYESHmWAuwnAbN5v7DSQ24hyUmKPl8a_8jAcdnXpjsrKbWC0/w400-h266/231104%20J.jpg" width="400" /></a></i></div><i>It's Gonna Rain</i> - Total Experience Gospel Choir [from
<i>Bits and Pieces</i>]
<p></p>
<p>
in teaching to sing this music <br />the text <br />is learned also
<br />message delivered
</p>
<p>
<i>Improvisation > Drums</i> - Ask The Ages [from
<i>Ask The Ages Live at the Chapel</i>]
</p>
<p>
cyclicity segregates time <br />and counts it <br />also <br />cyclicity
establishes an index <br />for size and shape <br />against which <br />all
else is measured
</p>
<p>
one bubble supplanting another <br />by determined co-existence <br />it gets
very quiet <br />and resists increase
</p>
<p>
this bubble has a stage in it <br />with spotlights <br />open mic night
<br />at Open Mike's Guitar & Lounge
</p>
<p>sequence defies sequence <br />it confounds it <br />confound it! </p>
<p>attention drifts away</p>
<p>
<i>The Boat That Never Touches Water</i> - The Maldives [from
<i>Mad Lives</i>]
</p>
<p>
daydreamy <br />deep roots <br />in a bed of firmly packed krummhorns
<br />there's something almost propagandish about this <br />the hidden altar
call
</p>
<p><i>So Far Still</i> - James Falzone [from <i>So Far Still</i>]</p>
<p>what's inside a shruti box? <br />krummhorns <br />that's what</p>
<p>
<i>Two Brothers</i> - The Young Fresh Fellows [from
<i>The Men Who Loved Music</i>]
</p>
<p>an old west sage <br />with moral</p>
<p><i>No Angel</i> - Beyoncé [from <i>Beyoncé</i>]</p>
<p>voice <br />as compositional element <br />in a being a bad girl fantasy</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGp30aOcQx1si7ppEyZGSYmvu_lg4AD8AFdlQcJeJPlCJoJTIxfroKh3V8gAXIZNJAnZhKadNK-OSQyJ2OS5icaaO9HdxIkITwfSGbzTVoO3yOBIe-LKuNsTJ6Yjat4BMhIZURN-O6B3q4LaYKKo3ZmvuMsvEDWqKbgOwr3W44obfuCseCRiQBHFYi7nE/s5472/231104%20K.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGp30aOcQx1si7ppEyZGSYmvu_lg4AD8AFdlQcJeJPlCJoJTIxfroKh3V8gAXIZNJAnZhKadNK-OSQyJ2OS5icaaO9HdxIkITwfSGbzTVoO3yOBIe-LKuNsTJ6Yjat4BMhIZURN-O6B3q4LaYKKo3ZmvuMsvEDWqKbgOwr3W44obfuCseCRiQBHFYi7nE/w400-h266/231104%20K.jpg" width="400" /></a></i></div><i>Vengeance (Will Be Mine)</i> - Prom Queen [from <i>Doom Wop</i>]<p></p>
<p>melodramatic <br />stagy <br />skit of anybody's vengeance dreams</p>
<p>
<i>Songs of Sleep and Dreams: Dorme enquantoen velo</i> - Tom Baker [from
<i>Deeply Lodged</i>]
</p>
<p>it came through <br />carried in a stream of bubbles</p>
<p>
<i>Criminal Minded </i>- Boogie Down Productions [from <i>Criminal Minded</i>]
</p>
<p>a whole resumé <br />brag</p>
<p>
<i>Dark Night's New Moon</i> - Smokestack and The Foothill Fury [from
<i>River Rats and Pipelines</i>]
</p>
<p>speaking for a multitude of souls</p>
<p>
<i>It's That Time of Night</i> - Robin Jackson and The Caravan [from
<i>Dust Diaries</i>]
</p>
<p>
the only way to get away with verses like that <br />is to bury them in a song
</p>
<p><i>Limberjack's Jig</i> - Tom Swafford [from <i>Rough Spaces</i>]</p>
<p>
narrative trajectory <br />linked episodes <br />sequence matters<br />dramatically
leaning back against the divan <br />eyes to the flies<br />back of hand to
forehead <br />illustratorly lines
</p>
<p></p>
<div class="separator" style="clear: both; text-align: center;">
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</div>
November 3, 2023
<p></p>
<p>
<i>Ach Elslein, liebes Elselein</i> - Ludwig Senfl - Tielman Susato Krummhorn
Gesellschaft [from <i>The Glory of The Krummhorn</i>]
</p>
<p>
poem <br />has X-quantity syllables <br />tune <br />has X-quantity notes
<br />(almost) <br />presented without embellishment
</p>
<p>
<i>Don't Mess with Me Baby </i>- Freddie & The Screamers [from
<i>I Ain't Crazy</i>]
</p>
<p>I'll bet he doesn't use this line to their face <br />bar stool posturing</p>
<p><i>Track 7</i> - Marjorie Palmer [from <i>Make a Joyful Noise</i>]</p>
<p>70s <br />general purpose <br />pop-sacred</p>
<p><i>Moving Soil</i> - Lori Goldston [from <i>High and Low</i>]</p>
<p>displacing the stuff of an economy</p>
<p><b>In Session at The Tintinabulary</b></p>
<p>October 29, 2023</p>
<p><i>Ashfield</i> - Keith Eisenbrey</p>
<iframe allow="autoplay" frameborder="no" height="20" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1656885858&color=%23ff5500&inverse=false&auto_play=false&show_user=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/keith-eisenbrey" style="color: #cccccc; text-decoration: none;" target="_blank" title="Keith Eisenbrey">Keith Eisenbrey</a> · <a href="https://soundcloud.com/keith-eisenbrey/17-ashfield-231029-231029" style="color: #cccccc; text-decoration: none;" target="_blank" title="17 Ashfield 231029 [231029]">17 Ashfield 231029 [231029]</a></div>
<p>
this week's quickly composed arrangement of a melody found in an 1846
shape-note song book
</p>
<p>October 30, 2023</p>
<p><i>Gradus 389</i> - Neal Kosály-Meyer</p>
<p>
both F-sharps so far <br />at the middle <br />if one were to configure
experience <br />in multiple simultaneous interlocking arithmetics <br />just
to see what would happen <br />leading paths <br />discovering trails <br />by
going <br />a trail is the terrain we stand on <br />the land is its support
<br />the formula <br />is the message <br />in the message of the media
</p>
<p>I stood up and waggled my arms <br />in lieu of a telephone </p>
<p>
number doesn't mind <br />what it is <br />nor does it mind <br />an infinite
company <br />nor a null <br />not number's problem
</p>
<p>finding the floor <br />to stand firm on it <br />parallel bunches</p>
<p style="text-align: center;"><b>Postscripts</b></p>
<p><b>Drops</b></p>
<p><i>Keith Eisenbrey 6: 1988-1994</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1185240499/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/transparent=true/" style="border: 0; height: 470px; width: 350px;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-6-1988-1994">Keith Eisenbrey 6: 1988-1994 by Keith Eisenbrey</a></iframe>
<p>
In this volume I'm working with narrative forms, both explicit and implicit,
playing games with memory, and finding ways to set texts. An added bonus is
the first piece I composed using mod-17 arithmetic to design pitch structures.
I honestly had no idea how far it would take me.
</p>
<p><i>Keith Eisenbrey 5: 1984-1988</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=641022695/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-5-1984-1988">Keith Eisenbrey 5. 1984-1988 by Keith Eisenbrey</a></iframe>
<p>
This volume covers my first years back in the Puget Sound area, working with
the experience of repetition and with relationships between the vertical and
horizontal pitch realms.
</p>
<p><i>Keith Eisenbrey 4: 1983-1984</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3616259267/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-4-1983-1984">Keith Eisenbrey 4. 1983-1984 by Keith Eisenbrey</a></iframe>
<p>
This volume finishes up the music I wrote while I was in New York (state)
under the ostensible supervision of the academic world.
</p>
<p><i>Keith Eisenbrey 3: 1982-1983</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2544871921/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-3-1982-1983">Keith Eisenbrey 3. 1982-1983 by Keith Eisenbrey</a></iframe>
<p>
This set of pieces was written in Red Hook, NY, and Malabar, FL, as I was
beginning to think about thinking about music.
</p>
<p><i>Keith Eisenbrey 2: 1981-1982</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1543052747/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-2-1981-1982">Keith Eisenbrey 2. 1981-1982 by Keith Eisenbrey</a></iframe>
<p>
These are what occupied my time toward at the end of my undergrad days and in
the year before I went east for a while.
</p>
<p><i>Keith Eisenbrey 1: 1979-1981</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1650666157/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-1-1979-1981">Keith Eisenbrey 1. 1979-1981 by Keith Eisenbrey</a></iframe>
<p>
These are the keyboard works I composed while an undergrad at the UW.
</p>
<p>All are free for download.</p>
<p><b>Skaldmud's Doodle Gallery</b></p>
<p>listening journal doodles from 2011</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvy_q5xI1IuQUghli4qzsoNGvvearYpwGZh-zS63wrLB4JvyYKvVT26f3xN4U6JAsVl-DZu27Z-xRULEw7k8bh_H5Uz_Kw7zJLdqwPrKH_M4hjsMDsVZxrcpe8y4Ag7d8X1UIJp4TiFpPzy8PrT-zWsx2mgsfiIGeG1gkrBPq3g1_Gw3ROS-t5jXDMEkU/s679/2023%20scan575.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="452" data-original-width="679" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvy_q5xI1IuQUghli4qzsoNGvvearYpwGZh-zS63wrLB4JvyYKvVT26f3xN4U6JAsVl-DZu27Z-xRULEw7k8bh_H5Uz_Kw7zJLdqwPrKH_M4hjsMDsVZxrcpe8y4Ag7d8X1UIJp4TiFpPzy8PrT-zWsx2mgsfiIGeG1gkrBPq3g1_Gw3ROS-t5jXDMEkU/w400-h266/2023%20scan575.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmUuAygYKXxTMt1PvDRkLWQVHvXuZlD2nkMdmROCU4lH3X54b5ONiYrHA-i4zD_IPHOgUIxu8kiSFtF5evaRhfnpV2l_6aJmw4QQBDEeAphkv9ulRZMZ7hhiKHIYfka6X-RNrm4kc1PhrgrZRqUpbLaUnjWfbkc-Uh_NDBy2SlpTTIQj_j6jEL030C1BQ/s2441/2023%20scan576.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1718" data-original-width="2441" height="281" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmUuAygYKXxTMt1PvDRkLWQVHvXuZlD2nkMdmROCU4lH3X54b5ONiYrHA-i4zD_IPHOgUIxu8kiSFtF5evaRhfnpV2l_6aJmw4QQBDEeAphkv9ulRZMZ7hhiKHIYfka6X-RNrm4kc1PhrgrZRqUpbLaUnjWfbkc-Uh_NDBy2SlpTTIQj_j6jEL030C1BQ/w400-h281/2023%20scan576.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6QciVEpHsvYYU4tGGtEQYtFBcv8py-H6vMJ0WMdttgoK-JdCanapOYWzh6dDFFQwi46BDwnfd0HLlEQury13Qj33JTeKjj-sPgM4vwYulkQidU0A16Q1T20V2IKj_Kib8hGHlbBJo4lBTaMCnIniNHCpN3ks9Ixzn9cEqj0FmXEr4lByjBymWA5Pv7cU/s1338/2023%20scan577.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1211" data-original-width="1338" height="363" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6QciVEpHsvYYU4tGGtEQYtFBcv8py-H6vMJ0WMdttgoK-JdCanapOYWzh6dDFFQwi46BDwnfd0HLlEQury13Qj33JTeKjj-sPgM4vwYulkQidU0A16Q1T20V2IKj_Kib8hGHlbBJo4lBTaMCnIniNHCpN3ks9Ixzn9cEqj0FmXEr4lByjBymWA5Pv7cU/w400-h363/2023%20scan577.jpg" width="400" /></a></div><br /><p><br /></p><p><br /></p>
Keith Eisenbreyhttp://www.blogger.com/profile/16399615075612440296noreply@blogger.com0tag:blogger.com,1999:blog-7569166511516520581.post-81091441745786297442023-10-28T12:12:00.002-07:002023-10-29T07:34:41.946-07:00Playlist<p style="text-align: center;"><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSJ3hC4iLpWT0mp0S-cAG2KE2oEVzfd9tiEVz4Ks3_YnnDiQRwR0VMYpVybL3KyDKYsGVPq05xcA6UfV6P0TPRFzMywbK4jvCqoqn-ZAqs-zB1LrqTOv-q0QhOKqJU-cgp2A0y2RTu_rZCEOp6KLnY1w6nZk38SYWWbHjOBj84SmgBSDjaq3BQmY7bObQ/s5472/231028%20A.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSJ3hC4iLpWT0mp0S-cAG2KE2oEVzfd9tiEVz4Ks3_YnnDiQRwR0VMYpVybL3KyDKYsGVPq05xcA6UfV6P0TPRFzMywbK4jvCqoqn-ZAqs-zB1LrqTOv-q0QhOKqJU-cgp2A0y2RTu_rZCEOp6KLnY1w6nZk38SYWWbHjOBj84SmgBSDjaq3BQmY7bObQ/w400-h266/231028%20A.jpg" width="400" /></a></b></div><b>Preface</b><p></p>
<p>
"Pogo: Now, what you doin'... <b>Drawin' pictures?<br /></b>Albert: I'm
showin' you how to become a <b>famous cartoonist</b> ... First, you thinks of
a <b>catchy name</b>... then you sits down an' writes a
<b>half-a-dozen jokes</b>...<br />Pogo: S'pose you can't <b>think</b> of any
jokes?<br />Albert: No drawback... you mere <b>swipes</b> 'em from your
pals... <b>Actually</b>, if you can't get up anything <b>funny</b>, then you
gotta learn to draw guns and/or <b>girls</b>!<br />Pogo: S'posin' you
<b>can't </b>draw?<br />Albert: <b>No drawback! </b>You makes
<b>cartoon animals </b>that talk...<br />Pogo: Gee, I dunno... Who'd believe
in <b>talkin' cartoon animals?<br /></b>Albert: No drawback! Who believes in
<b>anythin'</b> these days? Take the young, they believes in
<b>very little</b>...<br />Pogo: Oh, I dunno about <b>that</b>...they
<b>don't </b>believe in a lot of the old icons, that's for sure...<br />Albert:
No, I means they believes in <b>very little</b>... like do you ever notice
what them girls wear on the beach?<br />Pogo: Well, I've <b>noticed </b>what
some of 'em <b>don't</b> wear...<br />Albert: It's <b>Sunday!<br /></b>Pogo:
S'pose you can't grind out cartoon animal <b>faces?<br /></b>Albert:
<b>No drawback!</b> You learn to draw awful <b>big </b>balloons..."
</p>
<p>
Walt Kelly - from "Hijinks from the Horn of Plenty: The Complete Syndicated
Comic Strips, Volume 8"
</p>
<p style="text-align: center;"><b>Texts</b></p>
<p><b>Recorded</b></p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlFRw80rIpxxgaJF-bkA2pnySO6qR3MauiFhiqLJR4U9QU5qtVHeNQOaRkmTqdRLk4oYkNBdM25jc0MxduqMlzTNVwQUFls9_PPFAhv_tCsM3RO1Y7xpUswlffZKuS-MmSZHujw8Ev6Nhg8nXBT5iN_i877L5Pl40n53s8YY-SBKuDMbq_WwnWfrac4vM/s5472/231028%20B.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="5472" data-original-width="3648" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlFRw80rIpxxgaJF-bkA2pnySO6qR3MauiFhiqLJR4U9QU5qtVHeNQOaRkmTqdRLk4oYkNBdM25jc0MxduqMlzTNVwQUFls9_PPFAhv_tCsM3RO1Y7xpUswlffZKuS-MmSZHujw8Ev6Nhg8nXBT5iN_i877L5Pl40n53s8YY-SBKuDMbq_WwnWfrac4vM/w266-h400/231028%20B.jpg" width="266" /></a></div>October 21, 2023<p></p>
<p><i>Intermezzo in B minor, Op. 4 #6</i> - Robert Schumann - Eric Le Sage</p>
<p>
full boil figuration <br />stops here and there <br />to impersonate the
characters <br />moving them around on stage
</p>
<p><i>Nocturne in B Major, Op. 32 #1</i> - Frédéric Chopin - Garrick Ohlsson</p>
<p>
held together politeness <br />bursts out at the end of the third phrase of
four <br />opening up a range of elsewheres <br />certain to be worked with
<br />a theatrical mantelpiece <br />suppression can't survive
</p>
<p><i>At Parting</i> - Charles Ives - Paul Sperry, Irma Vallecillo</p>
<p>borders on parody <br />so sincere and proper</p>
<p>
<i>Suburban Eyes (alternate take)</i> - Thelonious Monk [from
<i>The Complete Blue Note Recordings</i>]
</p>
<p>rhythmic anomalies are cracks to explore</p>
<p>
<i>Long Tall Sally (take 6)</i> - Little Richard [from
<i>Here's Little Richard</i>]
</p>
<p>
rollicking fun tales <br />from the room that's hoppin' right now <br />you
could be here too
</p>
<p>
<i>Someday (You'll Want Me to Want You)</i> - Ray Charles [from
<i>Modern Sounds in Country and Western Music</i>]
</p>
<p>
report from the romantic trading floor <br />a hint of bump and grind in the
horn hits
</p>
<p>
<i>I Hold No Grudge</i> - Nina Simone [from <i>High Priestess of Soul</i>]
</p>
<p>
in the latter days of the sweeping violins <br />soon synthesizer would take
over <br />fewer contracts to pay
</p>
<p>
<i>I Will Say Goodbye</i> - Sarah Vaughan [from
<i>Sarah Vaughan with Michel LeGrand</i>]
</p>
<p>
but if you want classy <br />you go for the shimmery glow of a movie orchestra
</p>
<p><i>Tunnel of Love</i> - Bruce Springsteen [from <i>Tunnel of Love</i>]</p>
<p>
the hook is for hanging onto while free-associating your situation <br />with
a stray line or more higgle piggle in the verses <br />or <br />inventing one
for some fictional singer persona
</p>
<p>why are the back-up singers two flights down the stairwell?</p>
<p>
<i>The Big Sheep</i> - Mike, Peggy, and Penny Seeger [from
<i>Animal Folk Songs for Children</i>]
</p>
<p>
a biggest whopper contest <br />performed in approved folk song style
<br />nonsense words to cover any indiscretions pending
</p>
<p>
<i>Can I Forgive Him</i> - Paul Simon [from <i>Songs from The Capeman</i>]
</p>
<p>many sided indictment </p>
<p>a man and a guitar</p>
<p><i>Natura Abolita</i> - Jarrad Powell [from <i>Natural Selection</i>]</p>
<p>
percussive envelopes imply the striking of a surface or cord or lip
<br />phonemic consonants dripping into the dark pool <br />absorbed
<br />taken
</p>
<p>bats and shriekbirds </p>
<p>this music is a space with sounds in it</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0-maYhtKdZnWxT3o24fVEnMDFzw93zsUZ6PiSqlwwgdkqjQ3Ma0z8vGihZzW4QFZ_dwNrYGBvcIleJgSM14vVrOEC4YUJEGypY6QsskgS8WYD7F5MF-o2rG9ZlAE1KZu5V8FcsFHVdc1d7N7idAsLK0ctyTkk0ZcJYUV8QRcqrBCIbrhqVMQxB8ns3eQ/s5472/231028%20C.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0-maYhtKdZnWxT3o24fVEnMDFzw93zsUZ6PiSqlwwgdkqjQ3Ma0z8vGihZzW4QFZ_dwNrYGBvcIleJgSM14vVrOEC4YUJEGypY6QsskgS8WYD7F5MF-o2rG9ZlAE1KZu5V8FcsFHVdc1d7N7idAsLK0ctyTkk0ZcJYUV8QRcqrBCIbrhqVMQxB8ns3eQ/w400-h266/231028%20C.jpg" width="400" /></a></div>October 22, 2023<p></p>
<p><i>Runaway</i> - Head for the Hills [from <i>Robber's Roost</i>]</p>
<p>the old weird America <br />scrubbed up all clean and wholesome</p>
<p><i>That Wasn't Me</i> - Brandi Carlile [from <i>Bear Creek</i>]</p>
<p>
tempo and feel in the <i>Let It Be</i> camp <br />some of that is the plangent
two fisted piano chords
</p>
<p>
<i>End Game (feat. Ed Sheeran & Future)</i> - Taylor Swift [from
<i>Reputation</i>]
</p>
<p>
divvy up each line <br />into a few words <br />in one spot <br />a few words
<br />in another <br />line them up in a dance sequence <br />so that
<br />the play of the parts of lines <br />with the other parts
<br />reconfigures the sense
</p>
<p>
<i>In Too Deep</i> - Steve Layton and Sound-In [from
<i>Miracles and Wonders</i>]
</p>
<p>
a tight space <br />rough passages to re-traverse <br />light may fail first
</p>
<p><i>Sonata for Solo Viola, Op. 25</i> - Paul Hindemith - Paul Hindemith</p>
<p>
conversations had among the four strings <br />this would make an interesting
left-hand piano piece
</p>
<p>
an historic recording <br />ripped from vinyl <br />original was made in an
imperfectly quiet space <br />possibly in recital <br />in which case <br />a
pretty quiet audience
</p>
<p>
multiple iterations of ideas in succession <br />variations in register
<br />size <br />end points <br />direction <br />old things in new places
<br />or <br />objects regarded from various angles <br />puzzled over
</p>
<p><i>Crazy</i> - Willie Nelson [from <i>. . .And Then I Wrote</i>]</p>
<p>
first two word statement <br />more spoken than sung <br />he turns on the
singing to complete his line <br />composes the melody to make the expression
of the words clear
</p>
<p>
<i>O Little Town of Bethlehem</i> - The Philadelphia Brass Ensemble [from
<i>Festival of Carols in Brass</i>]
</p>
<p>
square little hymn tune with modern (for 1868) expressive punch <br />(as
hymns go)
</p>
<p><i>Lightnin' Hopkins</i> - REM [from <i>Document</i>]</p>
<p>
a procession entrance <br />vocals from the back <br />to join the drums up
front <br />a portrait embedded <br />pressed in twice
</p>
<p>
<i>Tales from The Riverbank</i> - The Jam [from <i>The Sound of The Jam</i>]
</p>
<p>
theatrical song writing <br />that is <br />it is written as though for stage
</p>
<p>
<i>Rudolph the Rednosed Reindeer</i> - Capitol Steps [from
<i>O Christmas Bush</i>]
</p>
<p>sort of</p>
<p><i>Red Hot Kinda Love</i> - Christina Aguilera [from <i>Lotus</i>]</p>
<p>
more stage show <br />or songwritten with the director of the video as the
target
</p>
<p><i>Your Old Clothes</i> - Red Ribbon [from <i>Freaks Only</i>]</p>
<p>glorious DIY crud sound <br />closet rock <br />let it buzz</p>
<p><i>Pota</i> - Sascia Pellegrini [from <i>Epidemics</i>]</p>
<p>
mind bend time <br />hearing this as though it arose in prog land <br />and
not in academic land <br />though both are probably equally wrong <br />so
<br />what is it?<br />there is certainly the element of gradual accumulation
of sounds <br />a prog land thing <br />but <br />it resists groove heroically
<br />an academic land thing <br />neither is virtuous <br />we all know
<br />there is no virtue in music <br />just community <br />finds places to
go <br />after maximal accumulation <br />dinosaurs on the short waves
<br />and ray guns on the tube <br />fade out <br />definitely a prog land
thing <br />back to your regularly scheduled brain waves
</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9Lbchqcgpd8RFJmlujVivdLDI088e2oLjz2f1Zxfi4n6Zx5Cpaqt214bpSXWdAP0Qzs2hZ1VLmnNed314YX3b7_OGW5VMZE9_ZKqVfGvJlgD31OgfT1IOY7i4oCvhH0BlD2RViAxIRP-kaw5lshTX5OhgAWkuOnpdkQ59C-ShMJ3pxRen7L0piqdrDhM/s5472/231028%20D.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9Lbchqcgpd8RFJmlujVivdLDI088e2oLjz2f1Zxfi4n6Zx5Cpaqt214bpSXWdAP0Qzs2hZ1VLmnNed314YX3b7_OGW5VMZE9_ZKqVfGvJlgD31OgfT1IOY7i4oCvhH0BlD2RViAxIRP-kaw5lshTX5OhgAWkuOnpdkQ59C-ShMJ3pxRen7L0piqdrDhM/w400-h266/231028%20D.jpg" width="400" /></a></div>October 23, 2023<p></p>
<p><i>Slow Love</i> - Prince [from <i>Sign O' The Times</i>]</p>
<p>
part of the kneejerk analysis habit <br />is defensive <br />how is this
attempting to do its number on me <br />part is inquisitive <br />is how it
attempts to do its number on me an essential part of what it is <br />does
this music attempt to clarify <br />or to obscure its methodology
</p>
<p><i>Stripped, Pt. 2</i> - Christina Aguilera [from <i>Stripped</i>]</p>
<p>a quick apology and a fade-out</p>
<p>
<i>Pie in the Sky</i> - Ian Bell and John Teske [from
<i>Embers of Discontent</i>]
</p>
<p>document of a tone-deaf preacher's message</p>
<p><i>Manic Panic</i> - Prom Queen [from <i>Doom Wop</i>]</p>
<p>rhetorical questions <br />accumulating anxiety feel</p>
<p>
<i>Locarno</i> - Jessica McMann - Re:Naissance Opera [from
<i>Music from The Apocrypha Chronicles</i>]
</p>
<p>long thunder <br />drops of rain and synthy percussion sounds</p>
<p><i>Glow Girl</i> - The Who [from <i>The Who Sell Out</i>]</p>
<p>
front end <br />a pair of not obviously connected song bits <br />with
smart-ass tail-off
</p>
<p><i>Holiday Story</i> - X [from <i>See How We Are</i>]</p>
<p>
anecdotal situation <br />over-use of the hook <br />if it becomes the whole
song
</p>
<p><i>Grafig 1</i> - Greg Sinibaldi [from <i>Frieze of Life</i>]</p>
<p>
wiggling worm <br />little hat <br />little briefcase <br />bopping down the
street
</p>
<p>
<i>Track 5</i> - Youth Rescue Mission [recorded live at the High Dive,
Seattle, April 6, 2012]
</p>
<p>
dropping syllables onto the floor <br />slowly <br />singularly heavy rolling
<br />a large lake <br />slow evening ponder <br />valiant efforts to pump it
up
</p>
<p><i>Recite Remorse</i> - Waxahatchee [from <i>Out In The Storm</i>]</p>
<p>
witness to how it seemed <br />at an articulatory life event <br />halfway out
the door <br />out of my body
</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiapIrN5R5L1-z_XL6DedpQJIsvQf5qvsC1IOsFV_B6k5Yz69b98ajk4swWqynXNhIhr1DUB5gD7ZqahJtx3onYLTtAHCXeOOEQKMhn58rwmlYKy5boemLisK_PK9KAPGe4Ln41Hzq56CF_VjrptTRFg0WxwzMWO9bxevm77mw7BERNNgm8Sbp4BxQpb9U/s5472/231028%20E.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiapIrN5R5L1-z_XL6DedpQJIsvQf5qvsC1IOsFV_B6k5Yz69b98ajk4swWqynXNhIhr1DUB5gD7ZqahJtx3onYLTtAHCXeOOEQKMhn58rwmlYKy5boemLisK_PK9KAPGe4Ln41Hzq56CF_VjrptTRFg0WxwzMWO9bxevm77mw7BERNNgm8Sbp4BxQpb9U/w400-h266/231028%20E.jpg" width="400" /></a></div>October 24, 2023<p></p><p><i>Panic Room</i> - Star Anna [from <i>Live at Rimbert Illustration</i>]</p>
<p></p><p></p>
<p>also witness as above <br />social impact of our sorry history</p>
<p><i>King of France</i> - Bob Dylan [from <i>A Tree with Roots</i>]</p>
<p>dredging the muck left over from the continental take-over</p>
<p><i>A Real Cool Time</i> - Ramones [from <i>Halfway to Sanity</i>]</p>
<p>the friendly neo-50s dance band Ramones</p>
<p><i>Track 17</i> - The Humidiflyers [from <i>Humidiflyers 2002</i>]</p>
<p>guitar opens with a sequence of notes in a quintuplet over the slow four</p>
<p>
<i>Track 5</i> - The Tailenders [recorded live at the High Dive, Seattle,
April 6, 2012]
</p>
<p>
bass and drums with a baritone vocal <br />all the sonority mooshed up
together in the room resonance <br />a keyboard provides some relief
</p>
<p><i>Crime and Punishment</i> - Shallow Lenses [from <i>War Poems</i>]</p>
<p>solidarity anthem <br />comfort in troubling times</p>
<p>
<i>When George Bush Was Head of the C.I.A.</i> - Amy Denio [from
<i>Chapel Sessions</i>]
</p>
<p>
setting up a steady field <br />with anomaly traps <br />that prod it to
unravel
</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7JWUJ0lVVMKuEbkjknEQkJJ0oL_Z3oCVrHFeF16TMFSJd7OmyIFLIAEnI46ezVHxabJcD6Sl9MwRv7Qjfq7PhTTUwxRbUAGf1HyPm-iEGWHTq4x18kiGTMmjngkfHJxo87772PFtR7dWQpaplQ0yZLrNSd5H_EUe_J-2CDZ7NTsT18LjSoByi08iRm7U/s5472/231028%20I.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7JWUJ0lVVMKuEbkjknEQkJJ0oL_Z3oCVrHFeF16TMFSJd7OmyIFLIAEnI46ezVHxabJcD6Sl9MwRv7Qjfq7PhTTUwxRbUAGf1HyPm-iEGWHTq4x18kiGTMmjngkfHJxo87772PFtR7dWQpaplQ0yZLrNSd5H_EUe_J-2CDZ7NTsT18LjSoByi08iRm7U/w400-h266/231028%20I.jpg" width="400" /></a></i></div><i>Within You Without You (Instrumental)</i> - The Beatles [from
<i>Anthology</i>]
<p></p>
<p>
somebody found some cool new toys to play with <br />probably could have done
without the western strings to dress it up for western ears
</p>
<p>
<i>Scene and Dance of the Little Swans</i> - Pyotr Ilyich Tchaikovsky [from
<i>100 Greatest Classics</i>]
</p>
<p>
such a struggle to climb those last few steps to the top of the tune
<br />sink back into weariness <br />in comes the clean-up crew
</p>
<p>
<i>Through The Rain (feat. Kelly Price & Joe)</i> - Mariah Carey [from
<i>Charmbracelet</i>]
</p>
<p>
self help pep talk <br />pile up the performance layers <br />a long rinse
cycle
</p>
<p>
<i>Song 4</i> - Curtains For You [recorded live at the High Dive, Seattle,
April 6, 2012]
</p>
<p>life is hard song <br />getting by <br />by surviving <br />a celebration</p>
<p><i>Run Run Rudolph</i> - Three Fingers [from <i>Stocking Stuffers</i>]</p>
<p>Rudolph <br />as the intermediary <br />for Santa prayers</p>
<p><i>Crushing My Soul</i> - Emily Stranger [from <i>Labor of Love</i>]</p>
<p>here's my robot self <br />I'm trouble <br />and you'll be sorry</p>
<p>
<i>The Hebrides Overture</i> - Felix Mendelssohn [from
<i>100 Greatest Classics</i>]
</p>
<p>
like the <i>Pastorale Symphony</i> but more touristy <br />Romanticized
<br />fantastical <br />a land of ghosts in arms <br />and pretty countryside
<br />here are my slides
</p>
<p>
difference between Felix Mendelssohn and Robert Schumann: <br />if Schumann
had composed this instead of Felix <br />just imagine how weird it would have
been <br />don't get me wrong <br />this is Mendelssohn at the top of his game
<br />but he will never pull the foundation out from your beliefs like
Schumann could
</p>
<p>
<i>All The Things You Are</i> - Glenn Tate [from
<i>Some of My Favorite Love Songs</i>]
</p>
<p>
talk about objectification <br />moods to order <br />I does this one
<br />the showstopper
</p>
<p>
<i>The Red Blanket</i> - Robin Jackson and The Caravan [from
<i>Dust Diaries</i>]
</p>
<p>go-to cadential formulae <br />to mark the line rhymes that matter</p>
<p><i>And Then Nothing</i> - Lures [from <i>There's No Pressure</i>]</p>
<p>
the guitar sound was made with care <br />I like the engineering on this
<br />everything is clear but not sequestered <br />sounds are designed to be
sounds within a sound <br />exquisite balance <br />nice job y'all!
</p>
<p>
<i>Strengur</i> - Halla Steinunn Stefánsdóttir - Davíð Brynjar Franzson [from
<i>Strengur</i>]
</p>
<p>a diary entry under possible attack <br />life goes on</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmkmJm5_Nlb5GLH19IkHoXlIb5DtWchsVOjY300rTbgREyDfqXYuy99YknrhSBSjbmpw_3g-Lr5APZfqRpzxuE_YIJ8DCvUycTbpSjwJ_dDGH88i22CRIYNwfWBXA0NKjLNo6QR13qxfvbHwWiczs4nPn4L-wTs4x9F4D5rhLjAEr6PFUkuX49-ChP0mo/s5472/231028%20J.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmkmJm5_Nlb5GLH19IkHoXlIb5DtWchsVOjY300rTbgREyDfqXYuy99YknrhSBSjbmpw_3g-Lr5APZfqRpzxuE_YIJ8DCvUycTbpSjwJ_dDGH88i22CRIYNwfWBXA0NKjLNo6QR13qxfvbHwWiczs4nPn4L-wTs4x9F4D5rhLjAEr6PFUkuX49-ChP0mo/w400-h266/231028%20J.jpg" width="400" /></a></i></div><i>Solemn Melody</i> - Walford Davis [from <i>100 Greatest Classics</i>]<p></p>
<p>
well the <i>Hebrides Overture </i>it most certainly is not <br />not just
solemn <br />but solemn with great propriety and respect
</p>
<p>
<i>Save the Brainforest</i> - Pete Comley [from <i>Lost City Music Vol. 2</i>]
</p>
<p>all sorts of strange beasts howl by</p>
<p>
<i>Festa dos Gatos</i> - Camarones Orquestra Guitarristica [from
<i>Live in Natal</i>]
</p>
<p>energetic guitar front <br />highly competent</p>
<p>
<i>Strong Swimmer</i> - Shelby Earl [from
<i>The Man Who Made Himself a Name</i>]
</p>
<p>encouraging self talk</p>
<p><i>Angry Brass, Angry Bells </i>- Tom Varner [from <i>Sound Vespers</i>]</p>
<p>
baiting <br />sniping <br />making it up under their breaths <br />now they've
had so much they're starting to snore <br />somebody's stomping in the back
parlor <br />night has sunk
</p>
<p>
<i>Arrival of the Queen of Sheba</i> - George Frideric Handel [from
<i>100 Greatest Classics</i>]
</p>
<p>fountains of flowers flung fairly far</p>
<p>
<i>Evolution</i> - Tyrannosaurus Grace [from <i>Much More Than A Story</i>]
</p>
<p>is my hobbyhorse <br />but this song is about getting drunk</p>
<p>
<i>There Once Was a Muffin</i> - Marjorie Palmer [from
<i>Make a Joyful Noise</i>]
</p>
<p>a silly recital song</p>
<p><i>Abeyance</i> - James Falzone [from <i>So Far So Still</i>]</p>
<p>this melody is a clown act full of characters</p>
<p>
<i>Andante Cantabile</i> - Pyotr Ilyich Tchaikovsky [from
<i>100 Greatest Classics</i>]
</p>
<p>handing favorite bits down through the string section</p>
<p><i>Wha Da We Got?</i> - Karin Blaine [from <i>Modern Day Living</i>]</p>
<p>
night of cousins! <br />Marjorie Palmer and I share a set of grandparents
<br />and we both share a set of grands with Karin
</p>
<p><i>Face The Music</i> - Dead Bars [from <i>Dream Gig</i>]</p>
<p>
embracing the inner slacker <br />for want of a better word <br />I admire the
flatfootedly structural use of notes throughout
</p>
<p>
<i>Pt. VII </i>- Alex Anthony Faide [from <i>Particles of the Infinite</i>]
</p>
<p>action movie <br />fully armed</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZsFrnpFDyUP-yojyVeR1_Jy1YWPFq4wt6GyViKH-RgxDygFLuD0NjKj0_cMdlbRBXRtT-mNkUYbrT-p8axzOdtiGXAth4606jQ4M0V23ln-HNkic7NnmAX8C-fyamakv8YNn74BBMTsYr6ysKvtQQVxedhH-zTSCdREpu73Dstc5iw9BpGv5a_-ekpLk/s5472/231028%20F.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZsFrnpFDyUP-yojyVeR1_Jy1YWPFq4wt6GyViKH-RgxDygFLuD0NjKj0_cMdlbRBXRtT-mNkUYbrT-p8axzOdtiGXAth4606jQ4M0V23ln-HNkic7NnmAX8C-fyamakv8YNn74BBMTsYr6ysKvtQQVxedhH-zTSCdREpu73Dstc5iw9BpGv5a_-ekpLk/w400-h266/231028%20F.jpg" width="400" /></a></div>October 25, 2023<p></p>
<p><i>New York's In Love</i> - David Bowie [from <i>Never Let Me Down</i>]</p>
<p>pulling words <br />from against the wall <br />onto the dance floor</p>
<p><i>From Your Lipps</i> - Specyphi</p>
<p>
heavy industry <br />big machines <br />must yell over the noise my yelling is
making
</p>
<p>
<i>I'm Too Pretty for Jail</i> - Strange Like Us [recorded live at The Sunset
Tavern, Seattle, April 18, 2017]
</p>
<p>attitude expression <br />anything further falls to the side</p>
<p><i>Break My Soul </i>- Beyoncé [from <i>Renaissance</i>]</p>
<p>
antagonistic to the man in charge <br />workplace rebellion <br />from within
an industry <br />that has plenty of drudge work to do <br />channeling the
frustration du jour
</p>
<p>
<i>My Friend Ringo</i> - The Young Fresh Fellows [from
<i>The Men Who Loved Music</i>]
</p>
<p>confession time</p>
<p><i>Cold November</i> - Shannon Stephens [from <i>Pull It Together</i>]</p>
<p>
the beat moves ahead in sudden increments <br />but only when it finally must
<br />after strong reticence
</p>
<p>
<i>Transsexual Girlfriend</i> - Mud On My Bra [recorded live at The Sunset
Tavern, Seattle, April 18, 2017]
</p>
<p>
melodies in words and guitar <br />follow the same lines <br />guitar adds
some stuttery syllables between
</p>
<p>
<i>Songs of Sleep and Dreams: Houve um ritmo no meu sono</i> - Tom Baker -
Chérie Hughes, Brian Chin, Ben Thomas [from <i>Deeply Lodged</i>]
</p>
<p>
take the text apart <br />comment from the international café <br />but the
text is still apart <br />commentary notwithstanding
</p>
<p>
<i>Madrigali: Six Fire Songs on Italian Renaissance Poems: III. Amor, io sento
l'alma</i>
- Morton Lauridsen - Polyphony, Stephen Layton
</p>
<p>fancy choral writing</p>
<p>
Give Me All Your Lovin' (feat. Nicki Minaj & M.I.A.) - Madonna [from
<i>MDNA</i>]
</p>
<p>advice for to pick up dudes</p>
<p>
<i>Song 7</i> - Sun Dummy [recorded live at Victory Lounge, Seattle, April 27,
2017]
</p>
<p>
the long intro makes sense in a dive-bar <br />it gives the song a chance to
soak in <br />before it properly begins <br />wouldn't want to startle anyone
by just bursting into song <br />voice aims between open strings
</p>
<p><i>Brain Pig</i> - Tom Swafford [from <i>Rough Spaces</i>]</p>
<p>
speaking in strings <br />how it is <br />resists straight lines <br />veers
</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif2dm80RYsfFOnzdDfNgLx9dlt7K5Swpvq3rKFhI0ou0eiVRFHa4Gzq8Hw1MUxOoHRonq2qqWXj495i5QMhyphenhyphenyHgW4TaHjDrX2dXEsROb5diUZ0Tbrgh2eMEMoiKMOJq6UwpV98VdNFF8ALK0KVk0TXpqgAPAQfl8al1KTorbIecFI_hwtBMnCgaTDzzY0/s5472/231028%20K.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif2dm80RYsfFOnzdDfNgLx9dlt7K5Swpvq3rKFhI0ou0eiVRFHa4Gzq8Hw1MUxOoHRonq2qqWXj495i5QMhyphenhyphenyHgW4TaHjDrX2dXEsROb5diUZ0Tbrgh2eMEMoiKMOJq6UwpV98VdNFF8ALK0KVk0TXpqgAPAQfl8al1KTorbIecFI_hwtBMnCgaTDzzY0/w400-h266/231028%20K.jpg" width="400" /></a></i></div><i>Extended Beat</i> - Eric B. & Rakim [from <i>Paid in Full</i>]<p></p>
<p>the distinction between sample and sample-ready is a legal one only</p>
<p>
<i>Get You Some</i> - Rachel Harrington [from
<i>Makin' Our House a Honkytonk</i>]
</p>
<p>slinky number</p>
<p>
<i>No Tattoos</i> - Alone in Dead Bars [recorded live at Victory Lounge,
Seattle, April 27, 2017]
</p>
<p>
the stanza twice <br />then with woo ooo ooo <br />then with the words
again
</p>
<p><i>Moss on Rock</i> - Lori Goldston [from <i>High and Low</i>]</p>
<p>as though the drums were all inside the cello's body</p>
<p><i>Super Hoe</i> - Boogie Down Productions [from <i>Criminal Minded</i>]</p>
<p>nothing gets away</p>
<p><i>Wear Gloves</i> - Yuni in Taxco [from <i>Prizes</i>]</p>
<p>
we'll take the elevator up to the party <br />band in the back <br />vocal
echoes into itself occlusively
</p>
<p>
<i>Its Obvious</i> - Chastity Belt [from
<i>I Used to Spend So Much Time Alone</i>]
</p>
<p>weary subsuburban <br />why get out of bed</p>
<p><i>A Lazy Farmer Boy</i> - Robin Holcomb [from <i>One Way Or Another</i>]</p>
<p>
a quasi pastiche <br />a failed courtship <br />rural legend <br />pastoral
</p>
<p>
<i>We Remain Faithful</i> - Total Experience Gospel Choir, Pat Wright [from
<i>Bits & Pieces</i>]
</p>
<p>
does any language promulgated about music <br />change it <br />is it possible
<br />for it <br />to remain unviolated <br />is there anything inside the
topic of discourse
</p>
<p>frenzy for spirit to enter</p>
<p>
<i>Virgil</i> - Bigfoot Wallace & His Wicked Sons [from <i>Virgil</i>]
</p>
<p>
in the West <br />where things move from place to place <br />railyard to the
afterlife
</p>
<p>
<i>It's Just Everything</i> - Gaytheist [from <i>Let's Jam Again Soon</i>]
</p>
<p>
sound pressed to face <br />slows down to renew pressure <br />angry
<br />constant
</p>
<p>
<i>General Relativity</i> - Robber's Roost [from <i>Rage & Reason</i>]
</p>
<p>capsule highlights <br />science lecture notes</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5SBfilRz6PS34AegE7iB2gMXTdtiVj1yHjux0NhAz-MaN28JwscBi0eASLR-2EeqC-t39sHvPw_TuQLeCDSiFcoWc67ZwH7_shqzY2feZ13ubS0vGBFvXy6XLFsWkfrf8b2-S80gETT0MR_U5glN266PmEVW3tbWo_QKXtbRK5cfeH_PLzYijWqGpGas/s5472/231028%20G.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5SBfilRz6PS34AegE7iB2gMXTdtiVj1yHjux0NhAz-MaN28JwscBi0eASLR-2EeqC-t39sHvPw_TuQLeCDSiFcoWc67ZwH7_shqzY2feZ13ubS0vGBFvXy6XLFsWkfrf8b2-S80gETT0MR_U5glN266PmEVW3tbWo_QKXtbRK5cfeH_PLzYijWqGpGas/w400-h266/231028%20G.jpg" width="400" /></a></div>October 26, 2023<p></p>
<p>
<i>Carol of the Bells</i> - London Symphony Orchestra [from
<i>Songs for the Holidays</i>]
</p>
<p>could be a threat <br />beware <br />Christmas this way comes</p>
<p>
<i>Devil Gets Her Way</i> - The Swearengens [from <i>Devil Gets Her Way</i>]
</p>
<p>
not a downtown guitar style <br />nor a downtown roll to it <br />straight
shooter
</p>
<p><i>Only is Gone</i> - Charms [from <i>Human Error</i>]</p>
<p>
the eradicatory equipment has arrived <br />and has powered up <br />song in
its wake <br />treats us to another power cycle <br />the beat persists
<br />so we don't lose our bearings <br />and slip free
</p>
<p>
<i>Lungs</i> - Mike and Matty [from <i>And It Came to Pass / Not to Stay</i>]
</p>
<p>a pleasant instrumental <br />fronted by mellow horns</p>
<p>
<i>Es taget vor dem Walde</i> - Ludwig Senfl - Tielman Susato Krummhorn
Gesellschaft [from <i>The Glory of The Krummhorn</i>]
</p>
<p>krummhorns with a vocal from the mid-Baroque (a guess) {NB: early}</p>
<p>
<i>Catapult</i> - Song Sparrow Research [from <i>Song Sparrow Research</i>]
</p>
<p>bobbing side to side <br />swivel from the top of the hips</p>
<p><i>Linger & Fade</i> - Anxious Arms [from <i>Never Was</i>]</p>
<p>from incommensurable distances <br />in conflicting spaces</p>
<p>
<i>Pockets</i> - Michael Bisio, Matthew Shipp [from <i>Flow of Everything</i>]
</p>
<p>
there is a sensibility to how vertical and horizontal elements work together
<br />endemic to the common practices associated with jazz <br />chords are
objects within key fields <br />the directionality of internal voice-leading
elements <br />is relatively free of the structural role it plays within
European derived tonal practice
</p>
<p><i>For The Love Of You</i> - Whitney Houston [from <i>Whitney</i>]</p>
<p>slung low <br />loosely fitting <br />a classy date</p>
<p><i>Eboa Ocean</i> - Brenday Byrnes [from <i>Micropangea</i>]</p>
<p>
we witness <br />as tones emerge <br />jostling figures that quiver in the
flow <br />the effects of unseen currents <br />and excitements <br />it moves
not <br />we move not <br />an invisible cage <br />magnetic forces
</p>
<p><i>Sasquatch Love</i> - Porn Bloopers [from <i>Blooper Reel</i>]</p>
<p>
just the basics <br />played with energy <br />no sense getting fancy here
</p>
<p><i>Orphaned Heart</i> - Doug Kolmar [from <i>So Said Life</i>]</p>
<p>impulse to share experience and stories and celebrations</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXTBuAwmDSecusfjECHDgNP20gOe72f6uEHKj4C9BLQeFRD2wAWewhGVIWXTqLraeei0368aZOxDQmSDAu3MUIPLHc6tZtuqPET7Hi-FzUJd4HMBU-Te0E4ulD_d070MI-BoZWttR0hV8tC0XpdeVb2B2oN0BwYEfBIXYEKsZ6a4zthNJJEpv1631mQ3o/s5472/231028%20H.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXTBuAwmDSecusfjECHDgNP20gOe72f6uEHKj4C9BLQeFRD2wAWewhGVIWXTqLraeei0368aZOxDQmSDAu3MUIPLHc6tZtuqPET7Hi-FzUJd4HMBU-Te0E4ulD_d070MI-BoZWttR0hV8tC0XpdeVb2B2oN0BwYEfBIXYEKsZ6a4zthNJJEpv1631mQ3o/w400-h266/231028%20H.jpg" width="400" /></a></div>October 27, 2023<p></p>
<p>
<i>Liebestraum in A-flat Major (#3)</i> - Franz Liszt [from
<i>100 Greatest Classics</i>]
</p>
<p>
harmony figures dropping beneath the opening melodic notes <br />opening into
passionate effusion <br />spilling into pools of cascading figures
</p>
<p>
<i>Lucy</i> - Andrew James Robison [recorded live at Rat and Raven, Seattle,
August 9, 2012]
</p>
<p>
movie-trope: <br />guy with a guitar singing his songs at a dive bar that is
full but openly ignoring him <br />I've never seen that in my experience
<br />generally the solo guy plays first <br />when the bar is not yet full
<br />but populated by some of the other musicians that will be playing
<br />and hangers-on <br />they are about as attentive and supportive as any
bar-crowd ever is
</p>
<p><i>Water</i> - CEP [from <i>Drawing the Target Around the Arrow</i>]</p>
<p>
make a sound <br />put it in a file <br />carefully preserved <br />for later
reference and research
</p>
<p><i>Solitude</i> - Steve Peters [from <i>With My Back to the World</i>]</p>
<p>open voiced triads bloom <br />intoned sonorities</p>
<p><i>Exit</i> - U2 [from <i>The Joshua Tree</i>]</p>
<p>moralist preacher man <br />with a stage show and visual aids</p>
<p>
<i>Dead for Hire</i> - The Ancients [recorded live at Rat and Raven, Seattle,
August 9, 2012]
</p>
<p>
theme song for adventure game allies <br />to be sung while being summoned
<br />and stowed in your bag of allies
</p>
<p><i>One Stop Shopping</i> - The Deadrones [from <i>We Are Watching</i>]</p>
<p>pounding with full arm strength <br />or <br />from within a mech suit</p>
<p><i>Sachy</i> - Stanislav Surin [from <i>Ten Songs</i>]</p>
<p>
lively ironic <br />(stepped back from direct address) <br />opening verses
<br />slow down to get serious <br />back to lively ironic
</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2F89hnItQtbo8p0YJNaCuRKuDQQ_q5q16Agv83ZbjOqkur1rOuRlKMFqWdMUzdiPq4ln5mDZZwNDrbjDgm-O7krQHFt_Epslc-Z2JvNvV6_VM-Zj9sgF6xgX96VqgCuWX-4HBdrNAQFg5BSVnBVWt9Pnu5_dW8MNo4rVF3Dzre3HNpqMBNoWSB4eFmzs/s5472/231028%20L.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2F89hnItQtbo8p0YJNaCuRKuDQQ_q5q16Agv83ZbjOqkur1rOuRlKMFqWdMUzdiPq4ln5mDZZwNDrbjDgm-O7krQHFt_Epslc-Z2JvNvV6_VM-Zj9sgF6xgX96VqgCuWX-4HBdrNAQFg5BSVnBVWt9Pnu5_dW8MNo4rVF3Dzre3HNpqMBNoWSB4eFmzs/w400-h266/231028%20L.jpg" width="400" /></a></i></div><i>Pritouritze Planinata</i> - Bulgarian State Radio & TV Female Vocal
Choir, Philip Koutev [from <i>Le Mystere des Voix Bulgares</i>]
<p></p>
<p>a lamenting vocal <br />explained by its underlying harmony army </p>
<p><i>Shrinking Violet</i> - Swearin' [from <i>Swearin'</i>]</p>
<p>
the instruments are the singer's double <br />their team <br />their sibs in
arms
</p>
<p><i>Dieter</i> - Tomten [from <i>Cremation Songs</i>]</p>
<p>the melody instrument has a spotlight <br />the band lurks in the dark</p>
<p>
<i>Edith Wharton: An Autumn Sunset</i> - William Bon [from
<i>Quaking Aspen</i>]
</p>
<p>doom poem <br />poom doem <br />poom doom <br />poem doem <br />nay!</p>
<p><b>In Session at The Tintinabulary</b></p>
<p>October 22, 2023</p>
<p><i>Windham </i>- Keith Eisenbrey</p>
<iframe allow="autoplay" frameborder="no" height="20" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1651516311&color=%23ff5500&inverse=false&auto_play=false&show_user=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/keith-eisenbrey" style="color: #cccccc; text-decoration: none;" target="_blank" title="Keith Eisenbrey">Keith Eisenbrey</a> · <a href="https://soundcloud.com/keith-eisenbrey/16-windham-231022-231022" style="color: #cccccc; text-decoration: none;" target="_blank" title="16 Windham 231022 [231022]">16 Windham 231022 [231022]</a></div>
<p>
continuing my weekly devotional: <br />arranging a melody from an 1846
shape-note song book
</p>
<p>October 23, 2023</p>
<p>
<i>Banned Rehearsal 1086 </i>- Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt
</p>
<iframe allow="autoplay" frameborder="no" height="20" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1651517526&color=%23ff5500&inverse=false&auto_play=false&show_user=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/keith-eisenbrey" style="color: #cccccc; text-decoration: none;" target="_blank" title="Keith Eisenbrey">Keith Eisenbrey</a> · <a href="https://soundcloud.com/keith-eisenbrey/banned-rehearsal-1086-231023" style="color: #cccccc; text-decoration: none;" target="_blank" title="Banned Rehearsal 1086 231023">Banned Rehearsal 1086 231023</a></div>
<p>October 26, 2023</p>
<p><i>Sinfonia 9</i> - Keith Eisenbrey</p>
<iframe allow="autoplay" frameborder="no" height="20" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1651518867&color=%23ff5500&inverse=false&auto_play=false&show_user=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/keith-eisenbrey" style="color: #cccccc; text-decoration: none;" target="_blank" title="Keith Eisenbrey">Keith Eisenbrey</a> · <a href="https://soundcloud.com/keith-eisenbrey/09-sinfonia-9-231026-midi" style="color: #cccccc; text-decoration: none;" target="_blank" title="09 Sinfonia 9 231026 Midi">09 Sinfonia 9 231026 Midi</a></div>
<p>
the process as it has developed: <br />once the array of pitches to be used is
calculated <br />I make a quick draft of a piece using an ad hoc tactic of
exploiting the pitch-set frames. <br />Later I'll workshop it on clavichord
<br />at which time I will probably make some changes. <br />I'm enjoying the
midi robot-harpsichord though.
</p>
<p style="text-align: center;"><b>Postscripts</b></p>
<p><b>Drops</b></p>
<p><i>Keith Eisenbrey 5: 1984-1988</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=641022695/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/transparent=true/" style="border: 0; height: 470px; width: 350px;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-5-1984-1988">Keith Eisenbrey 5. 1984-1988 by Keith Eisenbrey</a></iframe>
<p>
This volume covers my first years back in the Puget Sound area, working with
the experience of repetition and with relationships between the vertical and
horizontal pitch realms.
</p>
<p><i>Keith Eisenbrey 4: 1983-1984</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3616259267/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-4-1983-1984">Keith Eisenbrey 4. 1983-1984 by Keith Eisenbrey</a></iframe>
<p>
This volume finishes up the music I wrote while I was in New York (state)
under the ostensible supervision of the academic world.
</p>
<p><i>Keith Eisenbrey 3: 1982-1983</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2544871921/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-3-1982-1983">Keith Eisenbrey 3. 1982-1983 by Keith Eisenbrey</a></iframe>
<p>
This set of pieces was written in Red Hook, NY, and Malabar, FL, as I was
beginning to think about thinking about music.
</p>
<p><i>Keith Eisenbrey 2: 1981-1982</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1543052747/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-2-1981-1982">Keith Eisenbrey 2. 1981-1982 by Keith Eisenbrey</a></iframe>
<p>
These are what occupied my time toward at the end of my undergrad days and in
the year before I went east for a while.
</p>
<p><i>Keith Eisenbrey 1: 1979-1981</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1650666157/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-1-1979-1981">Keith Eisenbrey 1. 1979-1981 by Keith Eisenbrey</a></iframe>
<p>
These are the keyboard works I composed while an undergrad at the UW.
</p>
<p>All are free for download.</p>
<p><b>Skaldmud's Doodle Gallery</b></p>
<p>listening journal doodles from 2010</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-qMZW6dGeRgT4-jKTXN-wB2akIcxH82yt2W_0JeHSW2v8Fdo29BOEWqBbRK9zpTn2E_0T6e57ORcZY9hKLUVomrTEWfPVy5jmpQ4BReWDC0dkCcWvXHZx4fb515Pi58LHQRbIuTeHYz_2xN8yjbwXBBqyq0C1uM5WIHBq_-bjMDQhA8eBLdm23O-iYMo/s3298/2023%20scan570.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3298" data-original-width="2456" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-qMZW6dGeRgT4-jKTXN-wB2akIcxH82yt2W_0JeHSW2v8Fdo29BOEWqBbRK9zpTn2E_0T6e57ORcZY9hKLUVomrTEWfPVy5jmpQ4BReWDC0dkCcWvXHZx4fb515Pi58LHQRbIuTeHYz_2xN8yjbwXBBqyq0C1uM5WIHBq_-bjMDQhA8eBLdm23O-iYMo/w298-h400/2023%20scan570.jpg" width="298" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcEcbWYbyw6V8dNGB_9oZJL3qxR1IVHjjFqX_I_ujWePNd5oO4NkjvNklGIOa0uQWdmJ9h3bJn_UPYRFRhtdM-mdJK7kQy7Grh-0VVBtNsmRr_Uglq8O6QwBeMGVsYFMsNW2Hk9N89tt-vdSh_DbppCgldxs6cGeYlan2SIYMBuKvVGwIUE5raV86E7_I/s2387/2023%20scan572.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2234" data-original-width="2387" height="374" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcEcbWYbyw6V8dNGB_9oZJL3qxR1IVHjjFqX_I_ujWePNd5oO4NkjvNklGIOa0uQWdmJ9h3bJn_UPYRFRhtdM-mdJK7kQy7Grh-0VVBtNsmRr_Uglq8O6QwBeMGVsYFMsNW2Hk9N89tt-vdSh_DbppCgldxs6cGeYlan2SIYMBuKvVGwIUE5raV86E7_I/w400-h374/2023%20scan572.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIjHWi7to2zLuns8lqvU6PB5ijarPDhoL9kS2vNIEcjapGiJvC_CpbAx_VQIqE_Oybmky4oUim_CvzqcZTXgSM5M8ExwFebXFPUomemKRd2sbATFSuHkm6cLTwZJAhfU8SiHluCO05aDIxK3ZZORwGv6UD7BO0Q0PJhyphenhyphenp2d2lu9yHIPlS9aSDDkmczDt8/s767/2023%20scan573.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="516" data-original-width="767" height="269" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIjHWi7to2zLuns8lqvU6PB5ijarPDhoL9kS2vNIEcjapGiJvC_CpbAx_VQIqE_Oybmky4oUim_CvzqcZTXgSM5M8ExwFebXFPUomemKRd2sbATFSuHkm6cLTwZJAhfU8SiHluCO05aDIxK3ZZORwGv6UD7BO0Q0PJhyphenhyphenp2d2lu9yHIPlS9aSDDkmczDt8/w400-h269/2023%20scan573.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg66QhyefeBJuqtCF82EXun18kCbt6YMy9AIhu20GUy8Xn0LyZhNfu8nPW_7EoXjmOJ1sEKWnU9omrq3jTLUAc1a8hcliIYWDwADEqRMjSdOhDydK6riyp1NUlvujx42olnLu-pspSat44DogyvLJ0f8CYtAGX22UV4wB-kqyvGInloOay4TmHB9tBEYpE/s2426/2023%20scan574.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="915" data-original-width="2426" height="151" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg66QhyefeBJuqtCF82EXun18kCbt6YMy9AIhu20GUy8Xn0LyZhNfu8nPW_7EoXjmOJ1sEKWnU9omrq3jTLUAc1a8hcliIYWDwADEqRMjSdOhDydK6riyp1NUlvujx42olnLu-pspSat44DogyvLJ0f8CYtAGX22UV4wB-kqyvGInloOay4TmHB9tBEYpE/w400-h151/2023%20scan574.jpg" width="400" /></a></div><br /><p><br /></p>
Keith Eisenbreyhttp://www.blogger.com/profile/16399615075612440296noreply@blogger.com0tag:blogger.com,1999:blog-7569166511516520581.post-89560003329757897322023-10-21T13:03:00.003-07:002023-10-24T07:00:40.123-07:00Playlist<p style="text-align: center;"><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcDnGUxSdq2NzOTuVXmNvForoirLdEHqXOFI9UdSQN9QcsY35mfpT3-59mxAQHeus7GUt5kzD5ZkjuV706comtvqrB1MaGzMXymqUTd9wI_MgyEkCG-ytgBYq4pfrxlt7UEY3Cqk6z8B5sVxCZFqM-VwRRAXbbY5ItzraSNTZnQ8yQ7WxVMd-w3UC14ZI/s5472/231021%20L.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcDnGUxSdq2NzOTuVXmNvForoirLdEHqXOFI9UdSQN9QcsY35mfpT3-59mxAQHeus7GUt5kzD5ZkjuV706comtvqrB1MaGzMXymqUTd9wI_MgyEkCG-ytgBYq4pfrxlt7UEY3Cqk6z8B5sVxCZFqM-VwRRAXbbY5ItzraSNTZnQ8yQ7WxVMd-w3UC14ZI/w400-h266/231021%20L.jpg" width="400" /></a></b></div><b>Preface</b><p></p>
<p>
"'He leaves it all at the wrong houses.'<br />Mr. Winkle looked perplexed, and
Bob Sawyer and his friend laughed.<br />'Don't you see?' said Bob; 'he goes up
to a house, rings the area bell, pokes a packet of medicine without a
direction into the servant's hand, and walks off. Servant takes it into the
dining-parlour; master opens it, and reads the label, "draught to be taken at
bedtime - pills as before - lotion as usual; <i>the</i> powder. From Sawyer's,
late Nockemorf's. Physicians' prescriptions carefully prepared:" and all the
rest of it. Shows it to his wife - <i>she</i> reads the label; it goes down to
the servants -<i> they</i> read the label. Next day the boy calls: "Very sorry
- his mistake - immense business - great many parcels to deliver - Mr.
Sawyer's compliments - late Nockemorf's." The name gets known; and that's the
thing, my boy, in the medical way; bless your heart, old fellow, it's better
than all the advertising in the world. We have got one four-ounce bottle
that's been to half the houses in Bristol, and hasn't done yet.'"
</p>
<p>Charles Dickens - from "The Posthumous Papers of The Pickwick Club"</p>
<p style="text-align: center;"><b>Texts</b></p>
<p><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg850GReTwPCFbb-mHD6PlL4TgxsoOYZTPyDmC0SB0-x8AJcTAw1lqOAr8UWSP8Lqg8JfONUhqeM-Cx23DQoGZsbtiNChjW09JnBxOkp0jOVT5BNVoi6fsKQ88PETtWAORybfDy-vE9kFNBnD_4ljC6EUnVmpyCD36nNQfrbruwAxuguLXPmUezw2Qum1g/s5472/231021%20A.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg850GReTwPCFbb-mHD6PlL4TgxsoOYZTPyDmC0SB0-x8AJcTAw1lqOAr8UWSP8Lqg8JfONUhqeM-Cx23DQoGZsbtiNChjW09JnBxOkp0jOVT5BNVoi6fsKQ88PETtWAORybfDy-vE9kFNBnD_4ljC6EUnVmpyCD36nNQfrbruwAxuguLXPmUezw2Qum1g/w400-h266/231021%20A.jpg" width="400" /></a></b></div><b>Live</b><p></p>
<p>October 20, 2023</p>
<p>
<i style="font-weight: bold;">Sonidos: Music of the Americas</i><br /><i style="font-weight: bold;">Seattle Modern Orchestra</i><br /><i style="font-weight: bold;">Christine Lee, Maria Männistö, Marcin Pączkowski, Angelique Poteat, Sarah
Pyle, Julia Tai, Cristina Valdés, Jordan Voelker, Bonnie Whiting</i><br />Chapel Performance Space, Good Shepherd Center, Seattle
</p>
<p><i>Espacios, objetos, sonidos y tiempo</i> - Angélica Negrón</p>
<p>
we all plug in <br />chord of nature sonorities <br />tiresome? <br />or is it
just me? <br />mellifluousism
</p>
<p><i>cristales y susurros (whispers and crystal)</i> - Silvina Milstein</p>
<p>
concerned with its own knottiness <br />slowly flying fish <br />singing as
they leap <br />in scholae
</p>
<p><i>Retour</i> - José-Luis Hurtado</p>
<p>where you have landed <br />is probably perilous</p>
<p><i>Bestiario: seis</i> - Luis Fernando Amaya</p>
<p>
the specimen <br />means to move itself <br />from its slide <br />laser
guided scalpels and probes <br />abrupt finish
</p>
<p><i>Trio Variations</i> - Carlos Sanchez-Gutierrez</p>
<p>
by the end of this talk <br />the chalk board <br />will be full of arcana and
sidetracks <br />we'll need to consider carefully here <br />the crux of the
proof approaches <br />the going roughens
</p>
<p><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir4lQJ_ebQ2noW2GTBexQ5kEXi_oxywtafL4w21peiYq3BqmGUkLsU50pBDTEzP5dVkYNQgmpjQco4PyTGZLVU3Yk6vmz4P9ReOfb4gNXEYCXeYAYSdeQwc_FTQs_ynpaIu3iQZ1cauYYB2P8XBj4zgZOtXlPRGYXHsCv0St_LRaUoaqhAMYFYn55_XpM/s2136/231021%20B.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1864" data-original-width="2136" height="349" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir4lQJ_ebQ2noW2GTBexQ5kEXi_oxywtafL4w21peiYq3BqmGUkLsU50pBDTEzP5dVkYNQgmpjQco4PyTGZLVU3Yk6vmz4P9ReOfb4gNXEYCXeYAYSdeQwc_FTQs_ynpaIu3iQZ1cauYYB2P8XBj4zgZOtXlPRGYXHsCv0St_LRaUoaqhAMYFYn55_XpM/w400-h349/231021%20B.jpg" width="400" /></a></b></div><b>Recorded</b><p></p>
<p>October 14, 2023</p>
<p><i>Intermezzo in D minor, Op. 4 #5</i> - Robert Schumann - Eric Le Sage</p>
<p>
moments come and go so quickly here <br />narrowly bounded chromatic melody
<br />arched over by wide leaping bass
</p>
<p>
<i>Mazurka in D-flat Major, Op. 30 #3</i> - Frédéric Chopin - Garrick Ohlsson
</p>
<p>
proceeds by trying on alternates <br />to check the effect <br />so many
lightings <br />so many faces to try <br />this is Chopin's earbrain thinking
</p>
<p><i>Song 16</i> - Charles Ives - Kia Sams, Russ Warner</p>
<p>the ground gives way <br />the mist rises</p>
<p>
<i>Suburban Eyes</i> - Thelonious Monk [from
<i>The Complete Blue Note Recordings</i>]
</p>
<p>
surface of the pulse <br />as though in cross rhythm to meter <br />or
<br />they hover ever so slightly apart
</p>
<p>
<i>Long Tall Sally (take 1)</i> - Little Richard [from
<i>Here's Little Richard</i>]
</p>
<p>
no wonder the popularized version sounds so rushed <br />the arrangement was
conceived to be much more relaxed <br />plenty of time for skirts to twirl
</p>
<p>
<i>No Letter Today</i> - Ray Charles [from
<i>Modern Sounds in Country and Western Music</i>]
</p>
<p>the ironic remove has been offloaded onto the horns</p>
<p>
<i>I'm Going Back Home </i>- Nina Simone [from <i>High Priestess of Soul</i>]
</p>
<p>
and she's quite cheerful about it too <br />perk up the mood on the dance
floor
</p>
<p><i>Just A Little Lovin'</i> - Sarah Vaughan [from <i>Feelin' Good</i>]</p>
<p>big band arrangement <br />Vegas style</p>
<p><i>One </i>- Carole King [from <i>Simple Things</i>]</p>
<p>
the keyboard playing supports the sincerity <br />not enough to it to support
ironic commentary <br />marking time <br />flute stands for holistic earth
health
</p>
<p><i>Times Square</i> - Ornette Coleman [from <i>Of Human Feelings</i>]</p>
<p>
traffic every which way <br />flashing lights <br />party all the time
<br />losing track of oneself in the hubbub <br />one's parts are sold
separately
</p>
<p><i>Zeroes</i> - David Bowie [from <i>Never Let Me Down</i>]</p>
<p>
as though live <br />and it might be <br />a hand extended through the radio
</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5AaKr3cQ1lsOEh1dNGoO1fe2gMOy_IFWHEB3Od4iiOQ3bT6_Vw9qpfNdRzl-R3tzOUKz9DV3JuGl-5yoTcTqvOhZUi-ZINELX_ZJC7ypWDvpfrb9L6-QAGuiMN31lKzbC9qkIQqK7u_OANFhmq88vIn_GCgYpCDi4JOliEkeErBTfjDixFySNAU-tzJA/s1620/231021%20C.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1620" data-original-width="1258" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5AaKr3cQ1lsOEh1dNGoO1fe2gMOy_IFWHEB3Od4iiOQ3bT6_Vw9qpfNdRzl-R3tzOUKz9DV3JuGl-5yoTcTqvOhZUi-ZINELX_ZJC7ypWDvpfrb9L6-QAGuiMN31lKzbC9qkIQqK7u_OANFhmq88vIn_GCgYpCDi4JOliEkeErBTfjDixFySNAU-tzJA/w310-h400/231021%20C.jpg" width="310" /></a></div>October 15, 2023<p></p>
<p>
<i>Black Sheep, Black Sheep</i> - Mike, Peggy, and Penny Seeger [from
<i>Animal Folk Songs for Children</i>]
</p>
<p>
two stanzas <br />solo vocal <br />flexible meter <br />to fit the scansion
<br />the theme of the text <br />taut <br />between the two stanzas
</p>
<p><i>Quality </i>- Paul Simon [from <i>Songs from The Capeman</i>]</p>
<p>
songs across the street <br />stoop to stoop <br />fast talk <br />to
<br />cool it down<br />buster
</p>
<p>
<i>Further On Up The Road</i> - Bruce Springsteen [from <i>The Rising</i>]
</p>
<p>
kick drum <br />1 + 2 + 1 + 4 <br />stable <br />solid mass <br />block of
amplified sound
</p>
<p>
<i>Fragments and Ecstacies</i> - Jarrad Powell [from <i>Stonehouse Songs</i>]
</p>
<p>
the text's scansion floats on a liquid surface <br />at the gentle mercy of
winds waves and currents
</p>
<p>
<i>Summer Conversations</i> - Steve Layton and Improv Friday [from
<i>Summer Mirages</i>]
</p>
<p>
when we hear a filtered sound <br />we can search out the source <br />prior
to filtering <br />(as we habitually do with, say, a recording of a string
quartet) <br />or <br />we can isolate the filter<br />or <br />take the sound
as what it is <br />referential both to its source <br />and to its filter
</p>
<p><i>Low Tide</i> - CEP [from <i>Drawing the Target Around the Arrow</i>]</p>
<p>
song-writing in the industrial sense <br />can arise as an activity <br />out
of guitar strumming <br />keyboard noodling <br />drum tapping <br />horn
blowing <br />or knob twiddling <br />(as here)
</p>
<p>
<i>Improbable Ensemble 4</i> - Sascia Pellegrini [from
<i>4 Improbable Ensembles</i>]
</p>
<p>
orbiting warily <br />each twitch propagating tensely <br />each tone <br />is
a moment to itself <br />no well-worn melodic paths to be seen <br />a
wilderness of moments
</p>
<p>note: (def)<br />an episode of pitch, <br />an instance with time </p>
<p>the tense wariness eases into a truce</p>
<p>
<i>Funny How Time Slips Away</i> - Willie Nelson [from
<i>. . . And Then I Wrote</i>]
</p>
<p>
one side only <br />meet on the street <br />lots of space between the words
<br />for the instruments to go <br />uh huh <br />yup <br />I hear ya
</p>
<p>
<i>Wassail Song</i> - The Philadelphia Brass Ensemble [from
<i>Festival of Carols in Brass</i>]
</p>
<p>a drinking song for Christmas</p>
<p>
<i>Hank, Karen and Elvis</i> - The Young Fresh Fellows [from
<i>The Men Who Loved Music</i>]
</p>
<p>all the bad news about all the faves</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyqHl0_bf-Wdpk7uAkw9nYPecIc2NMCUbmYi5EaCL-pAzOOj2KhyphenhyphenjDU9Xon0QnyFmksZPt40uxeXgEQwG3PNeubxq4WjjMQDmZdysv8u1rLP0fZgYV43YHdQQdxjZeO01A1jhVn4D-LoiDM50c0o40d5q56bPc1xNbOvnjXKVaCbafNXhcYmasL_Hyask/s5472/231021%20D.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyqHl0_bf-Wdpk7uAkw9nYPecIc2NMCUbmYi5EaCL-pAzOOj2KhyphenhyphenjDU9Xon0QnyFmksZPt40uxeXgEQwG3PNeubxq4WjjMQDmZdysv8u1rLP0fZgYV43YHdQQdxjZeO01A1jhVn4D-LoiDM50c0o40d5q56bPc1xNbOvnjXKVaCbafNXhcYmasL_Hyask/w400-h266/231021%20D.jpg" width="400" /></a></div>October 16, 2023<p></p>
<p><i>Code Name 7</i> - Greg Sinibaldi [from <i>Frieze of Life</i>]</p>
<p>
protagonist ventures into the night <br />which gradually returns the favor
</p>
<p>
is what we say<br />in the presence of an experience<br />about that
experience
</p>
<p>
is what we say <br />about an experience <br />in the presence of that
experience
</p>
<p>streets void of all but mood</p>
<p><i>Misty Mountain Morning</i> - Back Burner [from <i>Simmer On</i>]</p>
<p>
string band <br />North American comfort food <br />family picnic music
<br />the peril <br />is in retreating into itself <br />and circling the
wagons
</p>
<p><i>Blow</i> - Beyoncé [from <i>Beyoncé</i>]</p>
<p>
satisfied sighs <br />in rhythm <br />pattern of verse to chorus <br />et
cetera <br />is from the dance to the surface <br />not dance to a song
<br />but sing to a dance
</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgitMRe9PI45DAblLzRHogLbdG_qnhvKeWSnYujOf8Ya-gZuCIz5H2Qf1mEqT0Sx3IbXIeS7IYuhhUFJfRGBfxFt0bwntdzAMCz2qt_RmdU_5z6dvA7lhk9K2FntEKl4jfp0Q-yjCyK5j8YU_91PnNMyPQ1vhtAaLLvAatPooW5e6cKb_HJH2kgNhO126o/s5472/231021%20H.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgitMRe9PI45DAblLzRHogLbdG_qnhvKeWSnYujOf8Ya-gZuCIz5H2Qf1mEqT0Sx3IbXIeS7IYuhhUFJfRGBfxFt0bwntdzAMCz2qt_RmdU_5z6dvA7lhk9K2FntEKl4jfp0Q-yjCyK5j8YU_91PnNMyPQ1vhtAaLLvAatPooW5e6cKb_HJH2kgNhO126o/w400-h266/231021%20H.jpg" width="400" /></a></i></div><i>The Spook</i> - The Deadrones [from <i>We Are Watching</i>]<p></p>
<p>weighed down <br />significant ballast <br />frivolity lost</p>
<p><i>You're On Your Own, Kid</i> - Taylor Swift [from <i>Midnights</i>]</p>
<p>trying on self-awareness <br />of a certain disillusional character</p>
<p>
<i>Mary Anne with the Shaky Hand</i> - The Who [from <i>The Who Sell Out</i>]
</p>
<p>a cool appraisal <br />of the goods on display <br />for acquisition</p>
<p>
<i>Eric B. Is President</i> - Eric B. & Rakim [from <i>Paid in Full</i>]
</p>
<p>
beat <br />as reference for rhythm <br />pole dance <br />it is conceivable
<br />for the dance <br />to transform the reference pole <br />for the
referrer <br />to transform the beat <br />in this sense <br />gallant era
phraseology <br />is a medium for such an activity
</p>
<p><i>Dirty (feat. Redman)</i> - Christina Aguilera [from <i>Stripped</i>]</p>
<p>
clever solo vocal entrance <br />coming through an assembled song <br />for
dance party <br />loosen up the club scene
</p>
<p>
<i>Again Today / Hiding My Heart</i> - Brandi Carlile [from <i>The Story</i>]
</p>
<p>
front half <br />nursery rhyme to warm up <br />for the meat of the matter
<br />song's doorknob <br />coded lines: <br />those with harmony singing are
the front half <br />those without are the twist to the personal
</p>
<p>
<i>Binders Full of Women</i> - Red Ribbon [from <i>Time Is Running Out</i>]
</p>
<p>escape from paternal oppression</p>
<p><i>For The Worse</i> - Tomten [from <i>Cremation Songs</i>]</p>
<p>rurally twanged lead guitar <br />polished up with suburban shiny</p>
<p><i>Track 6</i> - Star Anna [streamed from Fiddler's Inn, March 7, 2022]</p>
<p>
in this more intimate space <br />the interval <br />between song-Star
<br />and quotidian-Star <br />is narrower
</p>
<p><i>Bring It On Home</i> - Bob Dylan [from <i>A Tree With Roots</i>]</p>
<p>how to ad lib <br />first lessons <br />it's working! <br />it's working!</p>
<p>
<i>Madrigali, "Six Fire Songs On Italian Renaissance Poems": II. Quando son
più lontan </i>- Morton Lauridsen - Polyphony, Stephen Layton
</p>
<p>Gesualdo fan fic<br />sure<br />why not</p>
<p><i>That's Entertainment</i> - The Jam [from <i>The Sound of the Jam</i>]</p>
<p>stripping the information <br />otherwise gleanable <br />bare </p>
<p>robotic irony <br />robotic aspiration irony </p>
<p>we are cool being cool</p>
<p><i>Vacant Train</i> - Head for the Hills [from <i>Robbers Roost</i>]</p>
<p>back to comfort food <br />with fiddle! </p>
<p>
the country stanza starts with a stack of placeholders <br />with the pay-off
line at the end
</p>
<p>there now <br />there's someone else trying to go all beat poet on us</p>
<p><i>Michel</i> - Waxahatchee [from <i>American Weekend</i>]</p>
<p>
the filter on the voice <br />may just be the original equipment signal
<br />recorded in a closet
</p>
<p>
<i>Song 5</i> - Arbor Towers [recorded live at The Victory Lounge, Seattle,
July 15, 2017]
</p>
<p>
a gentle voice <br />with gentle guitar <br />and even gentle drums <br />with
apropos poetics among the chatter <br />went a bit crazy there <br />for a
briefness <br />to break <br />to start again <br />more gently still <br />a
quiet dance <br />tail off
</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinL31ibHyhdQCoMjl28IkrVJT_Mid3wQ2QY7DM2LZ3NT0qnn3SnyNE_AjdiuvVnRtLaSpLD4sn48MHnDG6PhvG1T1nj6JI84LceE2Nibg21TA2oWoFhK2qB1r2DfWxXAfTRlg21BI_AreqgdRoLJl5gu78S7UFEReQulFCWEV3qSpldfydcVVVnMBnUT8/s5472/231021%20I.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinL31ibHyhdQCoMjl28IkrVJT_Mid3wQ2QY7DM2LZ3NT0qnn3SnyNE_AjdiuvVnRtLaSpLD4sn48MHnDG6PhvG1T1nj6JI84LceE2Nibg21TA2oWoFhK2qB1r2DfWxXAfTRlg21BI_AreqgdRoLJl5gu78S7UFEReQulFCWEV3qSpldfydcVVVnMBnUT8/w400-h266/231021%20I.jpg" width="400" /></a></div>October 17, 2023<p></p>
<p><i>Bygones</i> - Robber's Roost [from <i>Rage & Reason</i>]</p>
<p>
clearly <br />there were time and resources afforded to the making of this
whole album <br />some of his busker recklessness has been focused <br />but
the I-am-what-I-am persona remains intact
</p>
<p>
<i>Sgt. Pepper's Lonely Hearts Club Band (Reprise)</i> - The Beatles [from
<i>Anthology</i>]
</p>
<p>an alternate version <br />vocal somewhat buried in the back</p>
<p>
<i>The Bridge Is Over </i>- Boogie Down Productions [from
<i>Criminal Minded</i>]
</p>
<p>
utilitarian instrumentals <br />drum (machine?) <br />and one-finger piano
</p>
<p><i>Track 16</i> - The Humidiflyers [from <i>Humidiflyers 2002</i>]</p>
<p>putting a voice to an aspect of our better angels</p>
<p><i>Track 16</i> - Capitol Steps [from <i>O Christmas Bush</i>]</p>
<p>a lame rap parody</p>
<p>
<i>Richest Hill on Earth</i> - Smokestack and the Foothill Fury [from
<i>River Rats and Pipelines</i>]
</p>
<p>a lament</p>
<p>
<i>Pink Drink</i> - Alone in Dead Bars [recorded live at The Victory Lounge,
Seattle, July 15, 2017]
</p>
<p>pink drink <br />will you save me</p>
<p>
<i>Rubies </i>- Mikey and Matty [from <i>And It Came to Pass / Not to Say</i>]
</p>
<p>text and sound surround a core moment <br />otherwise hidden</p>
<p><i>Windout</i> - REM [from <i>Dead Letter Office</i>]</p>
<p>parts of lines allocated to projective locations</p>
<p>
<i>Sunflowers for Alfred Roy</i> - Mariah Carey [from <i>Charmbracelet</i>]
</p>
<p>carefully using simple words anyone would know</p>
<p>
<i>In the Silence of Midnight</i> - Bonnie Loggins and Mary Lomax [from
<i>The Art of Field Recording</i>]
</p>
<p>
when the death angels came <br />old voices in old harmony <br />singing and
shouting <br />on the streets of pure gold
</p>
<p><i>Funk The Evening</i> - Black Plastic Clouds [from <i>Electroplate</i>]</p>
<p>
even weight on each beat in the intro <br />verse accents on 2 and 4
<br />chorus mixes it up on the inner beats
</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihMaVoKVFo5ydcyAUom_tseu4S8XPxnyKxJ5n4qZooDxVJmzIg56T_fRcLtVa73yOhX7qzj27jnyL6dzTt7yEDnegTJXGvR3etm01xVZZRf5YhxUeHLOfKW50aTYy0B0kkxqSBw5dKLx42mAOqpDITAo77UXkH5srbEiU2chheSe7KLfXgDoWssDnkzSQ/s5472/231021%20E.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihMaVoKVFo5ydcyAUom_tseu4S8XPxnyKxJ5n4qZooDxVJmzIg56T_fRcLtVa73yOhX7qzj27jnyL6dzTt7yEDnegTJXGvR3etm01xVZZRf5YhxUeHLOfKW50aTYy0B0kkxqSBw5dKLx42mAOqpDITAo77UXkH5srbEiU2chheSe7KLfXgDoWssDnkzSQ/w400-h266/231021%20E.jpg" width="400" /></a></div>October 18, 2023<p></p>
<p><i>Hold It Close</i> - Anxious Arms [from <i>Never Was</i>]</p>
<p>
as in an empty room <br />the band comes in to cover up what anyone might say
</p>
<p><i>Down In New Orleans </i>- Doug Kolmar [from <i>So Said Life</i>]</p>
<p>legend rehash <br />tourist brochure</p>
<p><i>Unashamed</i> - Whitney Houston [from <i>Just Whitney</i>]</p>
<p>
vocal shimmy <br />squeezes in <br />from within the synthy reed lick
<br />that opens <br />self-referential <br />artist's statement <br />the
high value production <br />tends to subvert <br />the I-am-what-I-am-ness
<br />of it
</p>
<p>
<i>Weapons of Mass Distraction </i>- Dubious Duo [from
<i>Children of Siberia</i>]
</p>
<p>
nose right down into the toolbox <br />hogs in slop <br />short-form
improvisations <br />the necessarily close proximity <br />of everything to
everything else <br />gains a kind of coherence for it <br />the players
<br />limit their sound world <br />to a few items <br />the session
<br />becomes the residue of them listening to each other <br />through
those particular objects
</p>
<p><i>Okienko</i> - Stanislav Surin [from <i>10 Songs</i>]</p>
<p>with piano guitar <br />and a second voice on one verse</p>
<p><i>Shakes </i>- Porn Bloopers [from <i>Blooper Reel</i>]</p>
<p>aimed squarely at the room</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8hrtnoQg4BuCyJhBjvM7rMQWhf-1loweGrH4Bl0mXem0OdqhoFDsNn1OTYdw9jbpEpCQGO1rfiAVeXTc1rFI2Nkax43KzGRbonrnwuLHIGbyW_EdvBfIVhkUT4IUSprmmBUAS2dMtSwc1-tjiMPuTuRFIAgB4LfifDo1-gRkK8tDIIbeXkLOJpmhfCRM/s5472/231021%20J.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8hrtnoQg4BuCyJhBjvM7rMQWhf-1loweGrH4Bl0mXem0OdqhoFDsNn1OTYdw9jbpEpCQGO1rfiAVeXTc1rFI2Nkax43KzGRbonrnwuLHIGbyW_EdvBfIVhkUT4IUSprmmBUAS2dMtSwc1-tjiMPuTuRFIAgB4LfifDo1-gRkK8tDIIbeXkLOJpmhfCRM/w400-h266/231021%20J.jpg" width="400" /></a></i></div><i>Ritual</i> - Nat Evans [from <i>My Old Friend Death</i>]<p></p>
<p>
incantation within bells <br />the action and its enclosure <br />within its
combination <br />is the passage <br />and the vessel across the river
<br />wait for it <br />more than once
</p>
<p>
<i>Completely Yes</i> - Total Experience Gospel Choir, Pat Wright [from
<i>Bits and Pieces</i>]
</p>
<p>
from the bottom of my heart <br />to the top of my voice <br />ecstatic
surrender <br />a cantata of a song <br />episodes of tempos <br />and rhythms
of call and response
</p>
<p>
<i>Night and Day</i> - Glenn Tate [from <i>Some Of My Favorite Love Songs</i>]
</p>
<p>some of it we remember well <br />so it jumps into a higher register</p>
<p>
<i>Chapter 5</i> - Nancy Cole-Silverman - Adam Verner [from
<i>A Much Married Woman</i>]
</p>
<p>
or <br />would it make more sense <br />be more accurate <br />to say
<br />Episode 5 <br />text as a spoken theater <br />descriptions read like
screenplay instructions <br />the director <br />excuse me <br />The
Director
</p>
<p>Hully Gee!<br />mustachio twirling</p>
<p>
<i>Transsexual Girlfriend </i>- Mud on My Bra [from
<i>Demo #2 (Manger Studio Mixes</i>]
</p>
<p>not invisible</p>
<p>
<i>Flow of Everything</i> - Michael Bisio, Matthew Shipp [from
<i>Flow of Everything</i>]
</p>
<p>
streams merge in a conceptual space <br />between the sounds <br />that hold
them <br />locked <br />more or less <br />in place</p><p>the difference<br />between Mississippi and Missouri and Yellowstone<br />is nomenclature alone<br />the river is one</p>
<p>acoustics is so not where the action is</p>
<p>
<i>Congratulamini nunc omnes </i>- Nicolaus Zanguis - Tielman Susato Krummhorn
Gesellschaft [from <i>The Glory of the Krummhorn</i>]
</p>
<p>
the servants have arranged a little something for your Lordships <br />hit it
guys!
</p>
<p>how delightful <br />throw them a pfennig</p>
<p>
<i>Vines Claim the Ruins</i> - Pete Comley [from
<i>Lost City Music, Vol. 2</i>]
</p>
<p>
literature <br />music <br />drama <br />dance <br />all do obeisance to the
movies <br />sound and light <br />round each other out <br />into a new
sphere of aesthetic image <br />these are things we can make speakers do
<br />and these are things we can make shadows do <br />they join in our
experience
</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDEbbfY0xkJQ-tqdciBFDBsDi_hK2vrb3DJ2c_REtnIq3-759zRF8_HIWxboeQbMZrm9h73Gvbl_P9WnNVm19xMoiqCb6HlX-NZ9Z3RelSUY6W2v9nKDU_cO1bZbxoL2sruSrlCxm_XEnUPVomhSBCOP6F07lBmkDK2G1oN4I3MzfLEFcbEDgJkJzp2js/s5472/231021%20K.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDEbbfY0xkJQ-tqdciBFDBsDi_hK2vrb3DJ2c_REtnIq3-759zRF8_HIWxboeQbMZrm9h73Gvbl_P9WnNVm19xMoiqCb6HlX-NZ9Z3RelSUY6W2v9nKDU_cO1bZbxoL2sruSrlCxm_XEnUPVomhSBCOP6F07lBmkDK2G1oN4I3MzfLEFcbEDgJkJzp2js/w400-h266/231021%20K.jpg" width="400" /></a></i></div><i><br />Doorbler</i> - Bruce Hamilton and Friends [from <i>Mash Hits Vol. 1</i>]
<p></p>
<p>
multiple distinct reality bubbles <br />jostling each other in a close space
<br />the hinge on the outer gate squeaks in the wind
</p>
<p><i>Not My Baby</i> - Alvvays [from <i>Antisocialites</i>]</p>
<p>
big warm well-tuned acoustic guitars <br />how classy <br />vocal is
engineered to sound like a huge stadium <br />amplification <br />but
whispered in your ear <br />for you alone <br />in the magic circle <br />on
the edge of overwhelm-ment
</p>
<p>
<i>Difference (feat. Stephen Fandrich)</i> - Gamelan Pacifica [from
<i>Vessel</i>]
</p>
<p>
virtual reality <br />built on the steady rocks <br />of standing waves
<br />the caws of crows <br />is this a new aesthetic realm <br />or a new
cognitive state <br />that aesthetic desire seeks to engulf?
</p>
<p>the fundamental I want <br />is below where I can hear</p>
<p>
<i>The Christmas Song</i> - London Symphony Orchestra [from
<i>Songs for the Holidays</i>]
</p>
<p>the old chestnut over-roasted</p>
<p><i>Say Hi to the Bad Guy </i>- Ice Cube [from <i>The Predator</i>]</p>
<p>and now for something completely different <br />point of view cinema</p>
<p>
<i>Rock My World</i> - Freddie & The Screamers [from <i>I Ain't Crazy</i>]
</p>
<p>demand <br />challenge <br />guy music for guys</p>
<p><i>Fiend Folio</i> - Ephrata [from <i>Ephrata</i>]</p>
<p>the Pleasure Dome of Kubla Khan in Barbieland</p>
<p><i>Dark Trees </i>- Steve Peters [from <i>With My Back to the World</i>]</p>
<p>
Seattle loves drones because? <br />the winters are dark here <br />standing
waves are objects persisting in space
</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5-aEAaa2vOdUerSoZCOGu8Hk9PHPiMMz661J0gZfqSHXcaL-0DSZmqwDlOsTx3A2Dc2O8w4-UTPekqfLWduhgiYRPmJX_eFBpvhzSvPyu39pfofjuRYhyrwJKFreF2ismMx_oU1RPq8H7D-VGFbBHSjSSkglClzkyl7faAKxxR2BvuI6TDOJDcDScxg4/s5472/231021%20F.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5-aEAaa2vOdUerSoZCOGu8Hk9PHPiMMz661J0gZfqSHXcaL-0DSZmqwDlOsTx3A2Dc2O8w4-UTPekqfLWduhgiYRPmJX_eFBpvhzSvPyu39pfofjuRYhyrwJKFreF2ismMx_oU1RPq8H7D-VGFbBHSjSSkglClzkyl7faAKxxR2BvuI6TDOJDcDScxg4/w400-h266/231021%20F.jpg" width="400" /></a></div>October 19, 2023<p></p>
<p>
<i>Ave Maria</i> - Johann Sebastian Bach/Charles Gounod [from
<i>100 Greatest Classics</i>]
</p>
<p>
a Catholic devotional hymn <br />set to a quintessentially Lutheran's harmony
</p>
<p><i>A Man Is Falling</i> - Byron au Yong [from <i>Yiju</i>]</p>
<p>three stanzas <br />singsong vocals <br />with overdubbed harmony</p>
<p><i>Victoria </i>- Bad Cop/Bad Cop [from <i>Warriors</i>]</p>
<p>words and setting <br />for the purpose of attitude display</p>
<p><i>Tree Line </i>- Jostaberry [from <i>Hello Turbine</i>]</p>
<p>
melody and harmony wander in separate directions <br />linked by a tether to
keep them closish
</p>
<p><i>River of Fools </i>- Los Lobos [from <i>By The Light of the Moon</i>]</p>
<p>
domestic extended home life <br />the world as seen from looking back on it
</p>
<p><i>Joey (Concrete Blonde)</i> - Prom Queen [from <i>Covers</i>]</p>
<p>
two and three syllable lines tightly rhymed <br />inside it opens up
<br />epistle to an estranged someone
</p>
<p><i>Zap Sistah</i> - Amy Denio [from <i>The Big Embrace</i>]</p>
<p>witness and preachment <br />accumulating its completeness in episodes</p>
<p>
<i>Rollschleppe (Escalator-Schlep)</i> - Eric Nathan [from
<i>Missing Words</i>]
</p>
<p>
atmosphere <br />thick with arpeggiations <br />up lifting <br />(now we're
inside) <br />the gravity is strong <br />and we feel our massiveness
<br />with a head start <br />our inertia will surely strive <br />no wafting
without struggle
</p>
<p>
<i>Sableyalo mi Agontze</i> - Bulgarian State Radio & TV Female Vocal
Choir, Philip Koutev [from <i>Le Mystere des Voix Bulgares</i>]
</p>
<p>old is the new new <br />(Ben?) <br />closer to Bruckner than Gounod was</p>
<p><i>Kheshagga </i>- $.99 Dreams [from <i>Brood of Bau</i>]</p>
<p>
evoking an inverted vibe <br />the new is an enclave of the old <br />which is
permeable to it <br />and that's just for openers
</p>
<p><i>Electric Owls </i>- Merchant Mariner [from <i>Merchant Mariner</i>]</p>
<p>fancy song composition <br />surround song</p>
<p>
<i>Hannah Selini: Mid Day</i> - Stephanie Lamprea [from <i>Quaking Aspen</i>]
</p>
<p>
prog chamber chorus <br />if a thing is said <br />it can be filed in the
loops <br />where they dissonate <br />to their heart's content
</p>
<p><i>One Tree Hill</i> - U2 [from <i>The Joshua Tree</i>]</p>
<p>
here's what bugs me about Bono <br />there's something of the Lorenzo Saint
DuBois about his projection <br />just under the surface <br />not to mention
the whole showbeeswax altar-call
</p>
<p><i>Way Down</i> - St. Paul de Vence [from <i>St. Paul de Vence</i>]</p>
<p>
music (here) is handcrafted paper <br />within which the song is interwoven
</p>
<p>
<i>Eleckatricity and All </i>- Annalisa Tornfelt and the Tornfelt Sisters
[from <i>Roll Columbia</i>]
</p>
<p>hiding the payload behind singsong rhymes</p>
<p>
<i>~--~~--~~~-~--~~-------~~-~~~~(Rojahn Remix)</i> - Lost Chocolate Lab [from
<i>(Previously) Clean</i>]
</p>
<p>
a familiar walk <br />in a familiar light <br />being here <br />doing that
</p>
<p><i>Liberian Girl </i>- Michael Jackson [from <i>Bad</i>]</p>
<p>dance and song are one </p>
<p><i>Human Fly (Cramps Cover)</i> - Cowgirls, The</p>
<p>underground punk classic</p>
<p>
<i>Datcho Reverb</i> - Camarones Orquestra Guitarristica [from <i>Feeexta</i>]
</p>
<p>there certainly is some reverb in there <br />no denyin'</p>
<p><i>Smoke (feat. Leanna Keith)</i> - Kaley Lane Eaton [from <i>Cedar</i>]</p>
<p>aestheticization of resignation? <br />Mahlerian?</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6Sjk2Y5fsWp9zzNUZqx9AW8sAuRRtTTtqIkpR3RRdLpFnq-Z3iPXDATRxF_sKX4OX2yzIhhQbrW8058m_82QiRkKVQuQeW9x_y3_YNBbta4xqRFHSEu7BuDez1uSrqtOrLB9NUUaAIlhHfPVAAVuiyTN1MP9083KerSP6TxRoDtVsq9lDn-FJLPSQHY8/s5472/231021%20G.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6Sjk2Y5fsWp9zzNUZqx9AW8sAuRRtTTtqIkpR3RRdLpFnq-Z3iPXDATRxF_sKX4OX2yzIhhQbrW8058m_82QiRkKVQuQeW9x_y3_YNBbta4xqRFHSEu7BuDez1uSrqtOrLB9NUUaAIlhHfPVAAVuiyTN1MP9083KerSP6TxRoDtVsq9lDn-FJLPSQHY8/w400-h266/231021%20G.jpg" width="400" /></a></div>October 20, 2023<p></p>
<p>
<i>Serenade in D Major, Op. 8 </i>- Ludwig van Beethoven - Emanuel Feuermann,
Szymon Goldberg, Paul Hindemith
</p>
<p>
pleasing for all concerned <br />urbane <br />polite <br />echt gallant
<br />it is tempting to hear "the real Beethoven" <br />holding himself back
in this<br />but <br />he was feeling his way along <br />just like the rest of
us
</p>
<p>
the conversations among the players <br />are occasionally clumsy
<br />especially in their attempts to be balanced and polite
</p>
<p>
<i>Where Shall I Go? </i>- Israel Philharmonic Orchestra, Itzhak Perlman [from
<i>Tradition</i>]
</p>
<p>
the melody is active at the starts of the phrases <br />holds the last note
<br />the accompaniment is active at the ends of them <br />a back and forth
rhythm
</p>
<p><i>Black Rabbit</i> - Low Hums [from <i>Low Hums LP</i>]</p>
<p>
well into the song <br />and the beat has stayed away <br />the vocalist's
accent <br />is remarkably like Robin Jackson of Robin Jackson and The Caravan
<br />(are they both from the same town?) <br />more of a primitivist beat
than a rock&roll beat <br />when it finally does come in <br />all on the
toms and kick <br />the occasional cymbal splash <br />at segment ends
</p>
<p><i>Reckoning </i>- The Maldives [from <i>Mad Lives</i>]</p>
<p>
hey it's a banjo! <br />the scene <br />in the sunset<br />on the glider<br />on
the porch<br />as the credits roll
</p>
<p>
<i>I Learned That From You </i>- Denise Glover [from
<i>Dreams of the Butterfly</i>]
</p>
<p>
which is the last line in each verse <br />you can hear it coming <br />by its
rhyme-tell <br />simple means clearly managed
</p>
<p><b>In Session at The Tintinabulary</b></p>
<p>October 15, 2023</p>
<p><i>Ward </i>- Keith Eisenbrey</p>
<iframe allow="autoplay" frameborder="no" height="20" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1646300283&color=%23ff5500&inverse=false&auto_play=false&show_user=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/keith-eisenbrey" style="color: #cccccc; text-decoration: none;" target="_blank" title="Keith Eisenbrey">Keith Eisenbrey</a> · <a href="https://soundcloud.com/keith-eisenbrey/15-ward-231015-231015" style="color: #cccccc; text-decoration: none;" target="_blank" title="15 Ward 231015 [231015]">15 Ward 231015 [231015]</a></div>
<p>this weeks shape-note tune arrangement</p>
<p>October 16, 2023</p>
<p><i>Gradus 389</i> - Neal Kosály-Meyer</p>
<p>
an epic introductory list <br />I choose not to check his work <br />traffic
<br />song <br />a good tune is one that is transparent to its intent <br />it
is in the intent's interest <br />that it is good
</p>
<p>this music has grown from <br />but now begins to step out from </p>
<p>
a compositional rule <br />is just an imaginary path <br />chosen to be
followed <br />designed to be followed <br />a discipline <br />a
proposition
</p>
<p>
in listening <br />I hear a persistence upon certain pitches for long periods
<br />but that is my imputation upon the evidence <br />which <br />though it
is not <br />I presume <br />innocent of Neal's intent <br />is certainly
innocent of any intent I might impute
</p>
<p>anew! <br />anew! </p>
<p>proximity binds <br />geography is destiny</p>
<p>open parallels and other sins of polyphony: <br />a treatise </p>
<p>knock knock <br />who's there <br />impatient arpeggio<br /></p>
<p>October 17, 2023</p>
<p><i>Sinfonia 6 </i>- Keith Eisenbrey</p>
<iframe allow="autoplay" frameborder="no" height="20" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1646300724&color=%23ff5500&inverse=false&auto_play=false&show_user=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/keith-eisenbrey" style="color: #cccccc; text-decoration: none;" target="_blank" title="Keith Eisenbrey">Keith Eisenbrey</a> · <a href="https://soundcloud.com/keith-eisenbrey/06-sinfonia-6-230326-231017-piano" style="color: #cccccc; text-decoration: none;" target="_blank" title="06 Sinfonia 6 230326 [231017] Piano">06 Sinfonia 6 230326 [231017] Piano</a></div>
<p>on piano</p>
<p>October 20, 2023</p>
<p><i>Invention in A minor</i> - Gavin Borchert</p>
<p>
I recorded this revised version (by Gavin) of one of his set of 19 2-part
Inventions
</p>
<p style="text-align: center;"><b>Postscripts</b></p>
<p><b>Drops</b></p>
<p><i>Keith Eisenbrey 5: 1984-1988</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=641022695/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/transparent=true/" style="border: 0; height: 470px; width: 350px;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-5-1984-1988">Keith Eisenbrey 5. 1984-1988 by Keith Eisenbrey</a></iframe>
<p>
This volume covers my first years back in the Puget Sound area, working with
the experience of repetition and with relationships between the vertical and
horizontal pitch realms.
</p>
<p><i>Keith Eisenbrey 4: 1983-1984</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3616259267/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-4-1983-1984">Keith Eisenbrey 4. 1983-1984 by Keith Eisenbrey</a></iframe>
<p>
This volume finishes up the music I wrote while I was in New York (state)
under the ostensible supervision of the academic world.
</p>
<p><i>Keith Eisenbrey 3: 1982-1983</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2544871921/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-3-1982-1983">Keith Eisenbrey 3. 1982-1983 by Keith Eisenbrey</a></iframe>
<p>
This set of pieces was written in Red Hook, NY, and Malabar, FL, as I was
beginning to think about thinking about music.
</p>
<p><i>Keith Eisenbrey 2: 1981-1982</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1543052747/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-2-1981-1982">Keith Eisenbrey 2. 1981-1982 by Keith Eisenbrey</a></iframe>
<p>
These are what occupied my time toward at the end of my undergrad days and in
the year before I went east for a while.
</p>
<p><i>Keith Eisenbrey 1: 1979-1981</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1650666157/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-1-1979-1981">Keith Eisenbrey 1. 1979-1981 by Keith Eisenbrey</a></iframe>
<p>
These are the keyboard works I composed while an undergrad at the UW.
</p>
<p>All are free for download.</p>
<p><b>Skaldmud's Doodle Gallery</b></p>
<p>listening journal doodles from 2010</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimvIUS4XNNuqu4YpmXfj5vF1pzRHIUkHzn8vXMa5LYK-auIxdmRdrZXefk_dRSwLHmlPCa2l6Tfmh9mkssllLPZLo71eMyTViRYNZYZa4gm7DAhS96gV5zvkHm69RWdk35eIVniwQ6g00Rr-L2U6oGbW_x0XHx-F8mErIIkoih69MD3wlDPwcnNgu4r58/s546/2023%20scan566.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="546" data-original-width="457" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimvIUS4XNNuqu4YpmXfj5vF1pzRHIUkHzn8vXMa5LYK-auIxdmRdrZXefk_dRSwLHmlPCa2l6Tfmh9mkssllLPZLo71eMyTViRYNZYZa4gm7DAhS96gV5zvkHm69RWdk35eIVniwQ6g00Rr-L2U6oGbW_x0XHx-F8mErIIkoih69MD3wlDPwcnNgu4r58/w335-h400/2023%20scan566.jpg" width="335" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT6uEQQH5lp-1a2BvZgjlTpGo1n3A_4RUsC3QUWQFNqY1lM8zaP9g4KalnRj0a-w48pb0dJZ_qSqui37L_9HqkaYxRJokUNqTlIyEAFCbhj7f_1LppLWB0cAWgwh84g4LuBQ_Da7z83kYAAmYRbZKCjfjrBA35pCa_WLCUZe3dcWAdhctQS1V7z3nT2To/s2382/2023%20scan567.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1663" data-original-width="2382" height="279" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT6uEQQH5lp-1a2BvZgjlTpGo1n3A_4RUsC3QUWQFNqY1lM8zaP9g4KalnRj0a-w48pb0dJZ_qSqui37L_9HqkaYxRJokUNqTlIyEAFCbhj7f_1LppLWB0cAWgwh84g4LuBQ_Da7z83kYAAmYRbZKCjfjrBA35pCa_WLCUZe3dcWAdhctQS1V7z3nT2To/w400-h279/2023%20scan567.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwYveCUztUD3MKT1kJooitMVrPTs7HJdjGmXjBKr_zjTxT31Rt1JpQ1iIgndi2uIMds78_ENVXGINOEwoXOAVnA6WBqxwwZF9bOWpkSW3RU2mKsHaVeRuGxtdMM5aXVKTgPqHyy-m_bP1mpMswFL6Z7oCZ_5QUV2Td0zCpFmJHlPPqrQDihkZANCP0SRw/s881/2023%20scan568.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="881" data-original-width="290" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwYveCUztUD3MKT1kJooitMVrPTs7HJdjGmXjBKr_zjTxT31Rt1JpQ1iIgndi2uIMds78_ENVXGINOEwoXOAVnA6WBqxwwZF9bOWpkSW3RU2mKsHaVeRuGxtdMM5aXVKTgPqHyy-m_bP1mpMswFL6Z7oCZ_5QUV2Td0zCpFmJHlPPqrQDihkZANCP0SRw/w131-h400/2023%20scan568.jpg" width="131" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0Tqm0X2Iwsg4sYFdu4_Ya6zOH-qyl8Bp6nC09PwB1taJhZaWgG0_B_ai9r6Za7WntizkEmSPiOE5aJBXNQzv97idEJhaYHULFi4JFWmwNeYTaDHxfhADMCl1BdPeD2xEpo4IZ7InTnnDNtF9L-86HQip5iWnh7qkCmQ1OYbWTLgoRFU0JYWyjKiVoL8o/s974/2023%20scan569.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="211" data-original-width="974" height="86" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0Tqm0X2Iwsg4sYFdu4_Ya6zOH-qyl8Bp6nC09PwB1taJhZaWgG0_B_ai9r6Za7WntizkEmSPiOE5aJBXNQzv97idEJhaYHULFi4JFWmwNeYTaDHxfhADMCl1BdPeD2xEpo4IZ7InTnnDNtF9L-86HQip5iWnh7qkCmQ1OYbWTLgoRFU0JYWyjKiVoL8o/w400-h86/2023%20scan569.jpg" width="400" /></a></div><br /><p><br /></p>Keith Eisenbreyhttp://www.blogger.com/profile/16399615075612440296noreply@blogger.com0tag:blogger.com,1999:blog-7569166511516520581.post-53920570946563325772023-10-14T11:49:00.002-07:002023-10-15T14:58:00.415-07:00Playlist<p style="text-align: center;"><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZnDY8vavcVNrb0cnpjzOZ56TDtYMzhiyGBfHDUh7fuMfhph2pEU4xv5k3OULiBAb6qR1nSKdHUJ97IWjQE5NJtkh0AboxWagWhLERh_2YkO_5ldARrX0C5vkHSXFpZhaxQqDZyanpo0Smt7JV2HMaHqbzIOZRo-4XmHGtwuzzEPmE01cAYIxyUb2o6Ss/s4369/231014%20A.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3275" data-original-width="4369" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZnDY8vavcVNrb0cnpjzOZ56TDtYMzhiyGBfHDUh7fuMfhph2pEU4xv5k3OULiBAb6qR1nSKdHUJ97IWjQE5NJtkh0AboxWagWhLERh_2YkO_5ldARrX0C5vkHSXFpZhaxQqDZyanpo0Smt7JV2HMaHqbzIOZRo-4XmHGtwuzzEPmE01cAYIxyUb2o6Ss/w400-h300/231014%20A.jpg" width="400" /></a></b></div><b>Preface</b><p></p>
<p>
"The ill-starred gentleman who had been the unfortunate cause of the unusual
noise and disturbance which alarmed the inhabitants of the Royal Crescent in
manner and form already described, after passing a night of great confusion
and anxiety, left the roof beneath which his friends still slumbered, bound he
knew not whither. The excellent and considerate feelings which prompted Mr.
Winkle to take this step can never be too highly appreciated, or too warmly
extolled. 'If,' reasoned Mr. Winkle with himself, 'if this Dowler attempts (as
I have no doubt he will) to carry into execution his threat of personal
violence against myself, it will be incumbent on me to call him out. He has a
wife; that wife is attached to, and dependent on him. Heavens! if I should
kill him in the blindness of my wrath, what would be my feelings ever
afterwards!' This painful consideration operated so powerfully on the feelings
of the humane young man as to cause his knees to knock together, and his
countenance to exhibit alarming manifestations of inward emotion. Impelled by
such reflections, he grasped his carpet-bag, and, creeping stealthily down
stairs, shut the detestable street-door with as little noise as possible, and
walked off."
</p>
<p>Charles Dickens - from "The Posthumous Papers of The Pickwick Club"</p>
<p style="text-align: center;"><b>Texts</b></p>
<p><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1zgD0pQT9N8SakSWvGhRgi1NZ0GorFlNEgGHcDabUuMIfedj7GQPUbAzLoCGfJLpLoD1Vpy4-C1IP9B9y0trgZPXgJ75Hb9g01xQlxgGOc5A3rd-PC_xO48gpY1mUiYPVPsAQyT5tkRQoLHVsmEC3mNgKwm4_YhQClefHUI-rJz6f6XEJwRsY1GvxsSI/s5472/231014%20B.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1zgD0pQT9N8SakSWvGhRgi1NZ0GorFlNEgGHcDabUuMIfedj7GQPUbAzLoCGfJLpLoD1Vpy4-C1IP9B9y0trgZPXgJ75Hb9g01xQlxgGOc5A3rd-PC_xO48gpY1mUiYPVPsAQyT5tkRQoLHVsmEC3mNgKwm4_YhQClefHUI-rJz6f6XEJwRsY1GvxsSI/w400-h266/231014%20B.jpg" width="400" /></a></b></div><b>Live</b><p></p>
<p>October 7, 2023</p>
<p>
<b><i>Joey Largent and Nat Evans: Music from Dreams</i></b>
</p>
<p>
we have been listening to waves and wind for the last many minutes <br />a
good part of an hour <br />and a very good part it was too
</p>
<p>
four stations <br />piano <br />table <br />reed organ <br />marimba
<br />(us) <br />ignore the piano dolly
</p>
<p>
Rialto Beach and reed organ and voice <br />the tuning is a partition of the
piece <br />perhaps the primal
</p>
<p>
arrival events <br />passing events <br />ornamental events <br />clarifying
events
</p>
<p>
we are in this key <br />resolving into an aural illusion of consonance
<br />veil between act and actualized result
</p>
<p>
the reeds cease sounding <br />we wait at the beach <br />the bench migrates
<br />all migrate <br />till the station up front <br />is station dismantled
<br />and off to the side
</p>
<p>marimba has awesome boots </p>
<p>
we have come inland <br />it has been awhile since a transistor radio was an
instrument <br />out here in concert land
</p>
<p>sound brought forth by touch <br />without force or violence</p>
<p>
we are seated in the rattan throne of the world <br />its reeds rustle as our
weight shifts <br />not the sound of the sound <br />but the action of its
making
</p>
<p>quiet quack <br />diminuendo <br />music without abruption</p>
<p><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQPwH-cxP2xNSHv9SZPtJ-i8Xky9D6AxVfLQyi2tdJit18agrp0-w9yGqO4M_umWdqPc6LQQZl4_j1MnAdgdjD_Ti7YnoFJGqqnQw7wSSVvzRg2fKsMG8tAFU7IZEKPPTwwZiNegvJ_zggfkhRpqLoCQ9nG22Wy8JaATeDksZgpsNxFT3Crm7ZMgSCGHM/s4705/231014%20C.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="4705" height="310" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQPwH-cxP2xNSHv9SZPtJ-i8Xky9D6AxVfLQyi2tdJit18agrp0-w9yGqO4M_umWdqPc6LQQZl4_j1MnAdgdjD_Ti7YnoFJGqqnQw7wSSVvzRg2fKsMG8tAFU7IZEKPPTwwZiNegvJ_zggfkhRpqLoCQ9nG22Wy8JaATeDksZgpsNxFT3Crm7ZMgSCGHM/w400-h310/231014%20C.jpg" width="400" /></a></b></div><b>Recorded</b><p></p>
<p>October 7, 2023</p>
<p>
<i>Caprice en forme de Valse in D-flat Major, Op. 2 #9</i> - Clara Schumann -
Susanne Grützmann
</p>
<p>just about long enough to be half a piece</p>
<p>
<i>Fantasiestück in D-flat Major, Op. 12 #4 "Grillen"</i> - Robert Schumann -
Eric Le Sage
</p>
<p>a figure bubbles up from below <br />erupts into the surface melody </p>
<p>Schumannian metrical addlements <br />patent pended</p>
<p><i>Mazurka in G Major, Op. 50 #1</i> - Frédéric Chopin - Garrick Ohlsson</p>
<p>interwoven threads stage a dialog <br />trading lines and costumes</p>
<p>
<i>Turandot, Act II</i> - Ferruccio Busoni - Radio-Symphonie-Orchester Berlin,
Gerd Albrecht, René Pape, Linda Plechm Gabriele Schreckenbach, Josef
Protschka, Friedrich Molsberger, Celina Lindsley, Robert Wörle, Johannes
Werner Prein, Gotthold Schwarz
</p>
<p>
starts with reworking of <i>Greensleeves </i>on la la la <br />hard upon which
a darker turn is taken <br />the tonal landscape is occasionally on solid
ground <br />fun and games are over <br />back to work <br />the vocal
projections flow unimpeded <br />between sung and spoken <br />the affects
<br />between silly and serious <br />flip in the breeze <br />the
trumpet/oboe melody <br />over the low-voice dialog <br />in Scene IV <br />is
deviously laid out <br />a plot point <br />hidden in plain site <br />finally
falls into the arms of the home key
</p>
<p>
<i>Ballad from Rosamunde</i> - Charles Ives - Dora Ohrenstein, Phillip Bush
</p>
<p>
rocking cradle as start and home <br />Art Song with capital A and capital S
</p>
<p>
<i>Evonce </i>- Thelonious Monk [from
<i>The Complete Blue Note Recordings</i>]
</p>
<p>
it isn't just that he plays fewer notes than his fellows <br />but that each
place he puts a sound <br />somehow <br />connects the whole <br />to a prevenient time scene
</p>
<p><i>The Second Time</i> - Sarah Vaughan [from <i>In A Romantic Mood</i>]</p>
<p>
she takes the song <br />and turns it into a vocal performance <br />just to
the side of show-biz irony
</p>
<p>
<i>You Are My Sunshine</i> - Ray Charles [from
<i>Modern Sounds in Country and Western Music</i>]
</p>
<p>
no song is safe in Ray's hands <br />he will embed his take on it deep inside
<br />unforgettably <br />this one wanders into a gospel church
</p>
<p>
<i>Take Me To The Water</i> - Nina Simone [from <i>High Priestess of Soul</i>]
</p>
<p>
slow burn to the righteous water <br />fantasia coda <br />as the new born
soul drips from ecstatic drenching
</p>
<p><i>To Know That I Love You</i> - Carole King [from <i>Simple Things</i>]</p>
<p>
early light through the kitchen window tempo <br />time to head out the door
<br />and make this another great day <br />return to the kitchen
</p>
<p>reverie in late light</p>
<p><i>Frankie </i>- Bruce Springsteen [from <i>Tracks</i>]</p>
<p>
why do I want to read Frankie and Johnny's distinctive tune-bit <br />into the
background of the opening riff <br />goes on too long at the end <br />just
pull the plug Bruce
</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwqAMhRrmFPbJdxMqbfSz9jkeIvo_lF9jb_4y7Y8e7wy00h26_uyua6eTA8MH6gI0aSRWzkLy-iPkqR1bHMPkZThKeM38x0F00EmTGyeKWf9mwfl2ALOWQ_vwEfgR1KJIlzfzKcBBA4wjjMRMtJ9uNPGuFSaYYxBRq6EtGFloRcygkQNu6uq0npTh-uaQ/s5472/231014%20D.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwqAMhRrmFPbJdxMqbfSz9jkeIvo_lF9jb_4y7Y8e7wy00h26_uyua6eTA8MH6gI0aSRWzkLy-iPkqR1bHMPkZThKeM38x0F00EmTGyeKWf9mwfl2ALOWQ_vwEfgR1KJIlzfzKcBBA4wjjMRMtJ9uNPGuFSaYYxBRq6EtGFloRcygkQNu6uq0npTh-uaQ/w400-h266/231014%20D.jpg" width="400" /></a></div>October 8, 2023<p></p>
<p>
<i>What Shall We Do When We All Go Out?</i> - Mike, Peggy, and Penny Seeger
[from <i>American Folk Songs For Children</i>]
</p>
<p>performed in authentic approved style</p>
<p><i>The Vampires</i> - Paul Simon [from <i>Songs from The Capeman</i>]</p>
<p>gang recruitment scenario <br />beneath a sophisticated cover</p>
<p><i>Klash und Klang</i> - Greg Sinibaldi [from <i>Frieze of Life</i>]</p>
<p>
briefly tight and closely held <br />a bit of scribble <br />and we are in a
murkier tempo <br />back to the opening <br />complete with scribble
<br />trumpet announces their adventure on the outside <br />rondeau with
vigorous scribble <br />sax (alto?) <br />has been out in the sun <br />with
another sax (tenor?)
</p>
<p>they don't return</p>
<p>
<i>Goro-Goro</i> - Jarrad Powell - Jessica Kenney [from
<i>Stonehouse Songs</i>]
</p>
<p>
if the vocal attends to their vowels <br />and their vowels' shifting shapes
<br />then <br />so must the strings <br />and drones
</p>
<p><i>Rear Window</i> - Steve Layton and Improv Friday [from <i>PPP</i>]</p>
<p>
highway <br />down the hill <br />past the trees<br />rattling teacups
<br />in uptempo morse <br />close sounds <br />and distant sounds <br />or
<br />sounds of close and distant objects <br />as we image them in the space
that displays this sound
</p>
<p><i>Wait for You</i> - Star Anna [from <i>Soundtrack</i>]</p>
<p>
if one leaves one will regret it <br />if one refrains from leaving one will
regret that also
</p>
<p>resonance blossoming inside the voice as it soars</p>
<p><i>Four</i> - Sascia Pellegrini [from <i>Ex-C</i>]</p>
<p>pine cone masters <br />tense at play <br />a close match</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJScWhyeAtSLMwTBpsIPjHW4LsGRo9gUfX6rkD7zGTRimkqVggwXr1q80Cc0y9jJCNmULUFBjzvjaRM4IkoEqMz1ux5ro79NgdRqbgoyaoxHdDWr7zq-VhG5fxbmR5FmGrytAZ7llB-U6S9sWfyOygto7s5ovMvJhQjYL_NCFsnrEdr_zUdrTQ8rldmh4/s5472/231014%20E.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJScWhyeAtSLMwTBpsIPjHW4LsGRo9gUfX6rkD7zGTRimkqVggwXr1q80Cc0y9jJCNmULUFBjzvjaRM4IkoEqMz1ux5ro79NgdRqbgoyaoxHdDWr7zq-VhG5fxbmR5FmGrytAZ7llB-U6S9sWfyOygto7s5ovMvJhQjYL_NCFsnrEdr_zUdrTQ8rldmh4/w400-h266/231014%20E.jpg" width="400" /></a></div>October 9, 2023<p></p>
<p>
<i>Slippin' and Slidin' (piano and drums demo)</i> - Little Richard [from
<i>Here's Little Richard</i>]
</p>
<p>loaded with slang</p>
<p><i>Hello Walls</i> - Willie Nelson [from <i>...And Then I Wrote</i>]</p>
<p>
the walls answer back <br />so cheerful <br />(and the window) <br />(and the
ceiling)
</p>
<p>
<i>What Child Is This</i> - The Philadelphia Brass Ensemble [from
<i>Festival of Carols in Brass</i>]
</p>
<p>hymn book 4-part</p>
<p><i>Home</i> - Bonnie Raitt [from <i>Sweet Forgiveness</i>]</p>
<p>an evening hymn <br />western piety <br />home sweet home</p>
<p><i>Love Words</i> - Ornette Coleman [from <i>Of Human Feelings</i>]</p>
<p>populated with time feels</p>
<p><i>Fireplace</i> - REM [from <i>Document</i>]</p>
<p>actions have their meanings <br />nesting</p>
<p><i>Everyone Says "Hi"</i> - David Bowie [from <i>Heathen</i>]</p>
<p>a simple song <br />epistle to the no longer there <br />opens up</p>
<p><i>Shadow On The Wall</i> - Brandi Carlile [from <i>The Story</i>]</p>
<p>guitar plucking Americana close harmony vocals</p>
<p>
<i>7 Months</i> - Red Ribbon [recorded live at The Blue Moon, October 4, 2012]
</p>
<p>
years is flavored with yars <br />as is tears with tars <br />falling off the
standard local pronunciation <br />quasi-bi-syllabic
</p>
<p>
<i>Call Her Mercy</i> - Shelby Earl [from
<i>The Man Who Made Himself a Name</i>]
</p>
<p>
let's have a baby <br />she sang this the last time we saw her live <br />at
the Triple Door <br />when she was visibly great with child
</p>
<p><i>Furrowing</i> - Amy Denio [from <i>Chapel Sessions</i>]</p>
<p>
we will be this melody <br />in a room of mirrored pillars <br />each with
their own song to sing <br />good thing we have a guide
</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVmOsYTIUnTfV4eu3bOhfBLU_9Ej5OdshdYX7SgSF1kbJfM134OKx1Cszw9ZmOgRMRekkIgImW39VQlqJMZjDorvgX1NTGZZzFNoWYDnE31PVTxwRZqTfxpjqD98Xp3nsnm_WlYbB4sW_s5ZluLtxpRuix0plHDE3-VAPPa2Dzvq9ed3tMEsewLjv3R_8/s5472/231014%20H.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVmOsYTIUnTfV4eu3bOhfBLU_9Ej5OdshdYX7SgSF1kbJfM134OKx1Cszw9ZmOgRMRekkIgImW39VQlqJMZjDorvgX1NTGZZzFNoWYDnE31PVTxwRZqTfxpjqD98Xp3nsnm_WlYbB4sW_s5ZluLtxpRuix0plHDE3-VAPPa2Dzvq9ed3tMEsewLjv3R_8/w400-h266/231014%20H.jpg" width="400" /></a></i></div><i>Whole Lotta Shakin' Goin' On</i> - Jerry Lee Lewis [a
<i>Rescued Record</i>]
<p></p>
<p>sounds like a live recording with back-up singers</p>
<p><i>Girls' Eyes </i>- The Who [from <i>The Who Sell Out</i>]</p>
<p>
drinking same tea as The Beatles <br />goes around several too many times
<br />for not much payoff <br />eventually the instrumentals decide
<br />enough is enough
</p>
<p><i>Bonus Track</i> - The Young Fresh Fellows [from <i>Refreshments</i>]</p>
<p>a bit of one of their live shticks <br />or a house party drunken jam</p>
<p><i>Get Mine Get Yours</i> - Christina Aguilera [from <i>Stripped</i>]</p>
<p>
using the parts of her voice <br />chorus stanza <br />consists of alternating
waves of personas <br />echoing across the mix
</p>
<p><i>All of Me </i>- Back Burner [from <i>Simmer On</i>]</p>
<p>
the song is a pretext <br />for engaging in this particular way of making
music <br />with others <br />the continuing appeal of the old standards
</p>
<p>
<i>Song 3</i> - Andrew James Robison [recorded live at The Blue Moon, October
4, 2012]
</p>
<p>trains and buses <br />strings <br />to distant locations</p>
<p><i>Let's Go Away For Awhile</i> - Lures [from <i>There's No Pressure</i>]</p>
<p>for those who prefer a quieter party vibe</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgb2DMm58Jcc-dx6cwDmkPQeXXnZtV6whqsrhmFCREdypPYP3SDA34csDZnB6F9jNvu43_4zU5b4PY4hsg7lTwLCGD2IVBbO0KrdtWWO_2zZCxqy_AgQeXH2FLq5jgPjSXunR0YlXIRgY7lojDRlibsGSWzRdai8gOISId9F5BAI4EBpwTlekLACaiiyBs/s5472/231014%20F.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgb2DMm58Jcc-dx6cwDmkPQeXXnZtV6whqsrhmFCREdypPYP3SDA34csDZnB6F9jNvu43_4zU5b4PY4hsg7lTwLCGD2IVBbO0KrdtWWO_2zZCxqy_AgQeXH2FLq5jgPjSXunR0YlXIRgY7lojDRlibsGSWzRdai8gOISId9F5BAI4EBpwTlekLACaiiyBs/w400-h266/231014%20F.jpg" width="400" /></a></div>October 10, 2023<p></p>
<p><i>Make Believe</i> - Emily Stranger [from <i>Labor of Love</i>]</p>
<p>anticipatory conscious stream <br />ostentatiously holding back</p>
<p><i>Silhouette</i> - Bob Dylan [from <i>A Tree With Roots</i>]</p>
<p>scrap</p>
<p>
<i>A Song (a Dudele)</i> - Israel Philharmonic Orchestra, Itzhak Perlman [from
<i>Tradition</i>]
</p>
<p>
do we do any favors for music <br />of less than formal provenance <br />by
putting it in a tux?
</p>
<p>
<i>Bringin' On the Heartbreak</i> - Mariah Carey [from <i>Charmbracelet</i>]
</p>
<p>
written to be produced by a producer <br />with resources <br />singer
<br />is the face of the brand <br />such glorious <br />upscale
<br />heartbreak <br />for fantasy living
</p>
<p>
<i>Strip Searching Santa Claus</i> - Capitol Steps [from
<i>O Christmas Bush</i>]
</p>
<p><i>Cafe Racer</i> - Ask The Ages [from <i>Ask The Ages</i>]</p>
<p>
taking a tune apart <br />a group endeavor <br />energy of binding released
<br />into a forest of sound-moment-location regions <br />sinews stretched
between them
</p>
<p><i>D Line to The Streamline</i> - Dead Bars [from <i>Dream Gig</i>]</p>
<p>
play a game of pool <br />and act like a fool <br />day in the life <br />punk
rite <br />ever renewed cultural commitment
</p>
<p><i>Border Town</i> - Doug Haire [from <i>Western Stoner</i>]</p>
<p>
this is a still sound <br />unconscious of itself within the surroundings
<br />these sounds can't hear each other <br />they have no ears <br />nor a
concept of what ears can be <br />listening <br />we are now their <br />ears
inaudible to them <br />inconceivable <br />it's up to us now <br />they are
ours
</p>
<p>roaring rail <br />bowing the line longitudinally <br />rail song</p>
<p>
<i>Bike</i> - Pink Floyd [from
<i>The Piper at The Gates of Dawn (digital)</i>]
</p>
<p>
slap back echo to the left <br />rather than end your psychedelic concept
album <br />with puzzlements <br />open the door <br />begin to explore
</p>
<p><i>Largo</i> - Handel - [from <i>100 Greatest Classics</i>]</p>
<p>
19th-Century-Orchestra renditions of 18th Century music <br />is like
<br />music doing a costume drama <br />(authentic® but better®) <br />my what
a warm time that was in there
</p>
<p><i>Pretty Green</i> - The Jam [from <i>The Sound of The Jam</i>]</p>
<p>consumer man dancing <br />repetition can erase words</p>
<p><i>Delphi Stomp</i> - Head For The Hills [from <i>Robbers Roost</i>]</p>
<p>
repetition can survey an experience about to be had <br />plotting townships
and ranges into the future <br />through the ongoing now
</p>
<p>
<i>Song 3 </i>- Beast of the Sky [recorded live at The Sound Effects Café,
October 26, 2012]
</p>
<p>
let's start in adventure tempo <br />release your inner chimpanzee aggression
<br />time to throw dung at the keepers
</p>
<p><i>Track 5</i> - Marjorie Palmer [from <i>Make a Joyful Noise</i>]</p>
<p>
high-toned <br />turn-of-century <br />sacred music <br />has not aged well
</p>
<p>
<i>Violin Fragments</i> - Halla Steinunn Stefánsdóttir [from <i>Strengur</i>]
</p>
<p>
footsteps on a street <br />one imagines <br />chill <br />gray and damp
<br />the pavements <br />still wet <br />and a violin case
</p>
<p>
but also <br />the traffic has picked up <br />bowed string sounds <br />as
they pass by <br />invisible doppler machines <br />without pitch <br />heavy
waves <br />sough <br />in massive gavel blasts <br />events in the
underground <br />transpire <br />along the overground <br />planes pass
<br />like swells <br />leaping like locusts <br />have we finally arrived
<br />what a relief <br />sit down <br />take a load off
</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDnUlBBE9lYCOdgflQAZOPVLRdbFZ2Ga90Rn_x18cwNnNvR0ci9KTkwVQyi4NYRCG1bXEm8pj3qsQEscTSR32LyJRgjPrJO6kVD8JmO2mZXBgA56Bo2tldxhextzTEQTw0oK0UydRXhhQxsNspAwA1ijizojbRqBQNfaQszNul2Wc-8HZhw_WwiFaEo-c/s5472/231014%20I.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDnUlBBE9lYCOdgflQAZOPVLRdbFZ2Ga90Rn_x18cwNnNvR0ci9KTkwVQyi4NYRCG1bXEm8pj3qsQEscTSR32LyJRgjPrJO6kVD8JmO2mZXBgA56Bo2tldxhextzTEQTw0oK0UydRXhhQxsNspAwA1ijizojbRqBQNfaQszNul2Wc-8HZhw_WwiFaEo-c/w400-h266/231014%20I.jpg" width="400" /></a></i></div><i>Lucy in the Sky with Diamonds</i> - The Beatles [from <i>Anthology</i>]
<p></p>
<p>come along <br />I'll show you around</p>
<p><i>Starfish and Coffee</i> - Prince [from <i>Sign O' The Times</i>]</p>
<p>breakfast of schoolyard legends</p>
<p><i>Jimmy Dean</i> - The Humidiflyers [from <i>Humidiflyers 2002</i>]</p>
<p>
it seemed to me <br />the time when I was at Bard <br />in the early 80s
<br />that all the guys <br />wanted to look like James Dean <br />apparently
the image persisted
</p>
<p>
<i>In The Silence of the Midnight</i> - Bonnie Loggins, Mary Lomax [from
<i>The Art of Field Recording</i>]
</p>
<p>
ancient voices of mothers <br />two part harmony singing <br />and shouting
<br />on the streets of pure gold
</p>
<p>
<i>Song 3</i> - Black Plastic Clouds [recorded live at The Sound Effects Café,
October 26, 2012]
</p>
<p>
filling a cultural need <br />along a different aspirational trajectory
<br />than might be politely accepted
</p>
<p>
<i>Song 5</i> - Strange Like Us [recorded live at The Sunset Tavern, April 18,
2017]
</p>
<p>voice comes in with the cymbal <br />stays low <br />mostly moody</p>
<p><i>Elegy</i> - Tom Varner [from <i>Sound Vespers</i>]</p>
<p>
trumpet and horn <br />a new sound with percussion <br />the sound leans away
<br />is pulled back <br />set it all going <br />root around in the drawer
<br />you know the one <br />the going has slowed <br />the wind blows on
</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPQlJlhKqFTkEIjchg76zaAZ5PxxQsi4ceWzPL505scNlp9WzX5B00_A5FjaTf9vP-M9LiYlfxQxgVgO41myLhjpR14P7NFF78uAHIHgr3yOFPBTzFH6ImjSdeTUZGhnqHctaTM8UTW8d4Bpy1Y1qkA4agxN5lK8S9pjxlmc9MN8jA337uUTzEBi1OEkk/s5472/231014%20G.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPQlJlhKqFTkEIjchg76zaAZ5PxxQsi4ceWzPL505scNlp9WzX5B00_A5FjaTf9vP-M9LiYlfxQxgVgO41myLhjpR14P7NFF78uAHIHgr3yOFPBTzFH6ImjSdeTUZGhnqHctaTM8UTW8d4Bpy1Y1qkA4agxN5lK8S9pjxlmc9MN8jA337uUTzEBi1OEkk/w400-h266/231014%20G.jpg" width="400" /></a></div>October 11, 2023<p></p>
<p><i>When It Rains</i> - X [from <i>See How We Are</i>]</p>
<p>
in a network of songs <br />with rain <br />heartbreak <br />and mercy in
them
</p>
<p>
herein <br />a set of lines <br />to repeat <br />in permutationally aligned
chord changes
</p>
<p><i>Slim Cheney</i> - Dubious Duo [from <i>Children of Siberia</i>]</p>
<p>lively drumming <br />character study</p>
<p>
<i>Track 4</i> - The Hunting Club [recorded live at The Sound Effects Café,
October 26, 2012]
</p>
<p>a loose jointed waltz <br />with a leaping melodic exuberance</p>
<p><i>Last Rites</i> - Nat Evans [from <i>Coyoteways</i>]</p>
<p>
a still sound <br />a river perhaps <br />such as Doug Haire might use
<br />interlain <br />with quiet sustained tones <br />to form the light<br />as
we turn
</p>
<p><i>Limbus 2</i> - James Falzone [from <i>So Far So Still</i>]</p>
<p>
what if <br />one could move the preparations around <br />with the same
agility <br />with which the keys can be pressed <br />or stack them
</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnfKVcT_w1XZedWmG0R2xvj91cU8rcBhv9fQibOh2dEpMG6usPM5AnRrs2iuUfnoC1krS8tNPSgN3UCGVkIC9-YCraEP_M8jDSuJ5jsakqohvz3Ao3PKg9JgYxzkPhcVlH8ShmDnR1Qnb89BJbgb1-rjpbcmhPLHNoojOwZJ18jED8Y9pkXG86wy9VH3c/s5472/231014%20J.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnfKVcT_w1XZedWmG0R2xvj91cU8rcBhv9fQibOh2dEpMG6usPM5AnRrs2iuUfnoC1krS8tNPSgN3UCGVkIC9-YCraEP_M8jDSuJ5jsakqohvz3Ao3PKg9JgYxzkPhcVlH8ShmDnR1Qnb89BJbgb1-rjpbcmhPLHNoojOwZJ18jED8Y9pkXG86wy9VH3c/w400-h266/231014%20J.jpg" width="400" /></a></i></div><i>Piano Concerto in E-flat Major (3rd Movement)</i> - Ludwig van Beethoven
[from <i>100 Greatest Classics</i>]
<p></p>
<p>
the theme at the opening <br />is like that of the D-minor Symphony <br />but
upside-down <br />and uptempo
</p>
<p>
I have vivid memories of Rubinstein playing this <br />in his 90s
<br />without moving his fingers or anything
</p>
<p>
<i>Blessing Song from The 1910 Indian Shaker Church</i> - Johnny Moses [from
<i>When The Humans Thought They Were People</i>]
</p>
<p>calling for blessing <br />from the giver of blessings</p>
<p>October 12, 2023</p>
<p><i>Cosmic Osmo</i> - Tea Cozies [from <i>Bang Up</i>]</p>
<p>wash mix</p>
<p>
<i>Track 5</i> - Sarah Pasillas [recorded live at The Victory Lounge, April 27,
2017]
</p>
<p>
folks pay a cover to be in a bar with a band playing <br />but then <br />they
seem to ignore them <br />if they're not "the band I want to see" <br />they
pay a premium for an aural backdrop
</p>
<p>
<i>Concerto for Violin in A Major, Op. 3 #3 </i>- Maddalena Laura Sirmen - The
Seattle Baroque Orchestra
</p>
<p>
fashions in entertainment <br />display and intimidation <br />a kept gate
<br />socially <br />it assists in the privileging of class distinctions
<br />ignoring that aspect <br />the clockwork of it is quite sophisticated
and lively <br />though it breaks no particular ground
</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9wcF_FE-IHK1QFskdX-obsh5RYz5s3WACf98L0uAk2iwyiOR6ONRelCcZKRztLS-akb6bfsOYBmAcO87G5ddjR1Jr25cU8zg7Nauo-ycR388wvMvorhtJ17gu0EI-SfYnQaDquJplgbZdKMlVgP-mPakLhEYrtj-1DffKfU0sskWMtbvhrXpv-ufxsjY/s5472/231014%20K.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9wcF_FE-IHK1QFskdX-obsh5RYz5s3WACf98L0uAk2iwyiOR6ONRelCcZKRztLS-akb6bfsOYBmAcO87G5ddjR1Jr25cU8zg7Nauo-ycR388wvMvorhtJ17gu0EI-SfYnQaDquJplgbZdKMlVgP-mPakLhEYrtj-1DffKfU0sskWMtbvhrXpv-ufxsjY/w400-h266/231014%20K.jpg" width="400" /></a></i></div><i>Für Elise </i>- Ludwig van Beethoven [from <i>100 Greatest Classics</i>]
<p></p>
<p>
rondo subject <br />composed with returning to it in mind <br />the
opening figure <br />is distinctive <br />and open to playful approach
</p>
<p><i>Rabbit Run</i> - Eminem [from <i>8 Mile</i>]</p>
<p>resumé and plan</p>
<p><i>Trevor & Cory</i> - O-Face [from <i>Shrug Life</i>]</p>
<p>bright and weary <br />green eggs and ham <br />peanut butter and jam</p>
<p>
<i>Meow-Ow-Ow</i> - Mud On My Bra [recorded live at The Sunset Tavern, April
18, 2017]
</p>
<p>upspeak adjacent drawl <br />in some final vowels</p>
<p><i>Energy (feat. Beam)</i> - Beyoncé [from <i>Renaissance</i>]</p>
<p>play <br />with quick verbal repetition drumming</p>
<p>
<i>Tannhauser Overture (excerpt)</i> - Richard Wagner [from
<i>100 Greatest Classics</i>]
</p>
<p>solemn <br />continuous <br />teutonic <br />righteous pomposity</p>
<p><i>Time Tunnel</i> - Pete Comley [from <i>Lost City Music Volume 2</i>]</p>
<p>
pulsars and pulsers <br />time travel must be quite the involved process
</p>
<p><i>Pizza</i> - Swingset Showdown [from <i>Short Bus Ruckus</i>]</p>
<p>a social predicament in 19 seconds</p>
<p>
<i>Song 5</i> - Sun Dummy [recorded live at The Victory Lunge, April 27, 2017]
</p>
<p>a song about an email <br />about a guy's dog <br />that was dying</p>
<p><i>Sleep and Dreams: Durmo</i> - Tom Baker [from <i>Deeply Lodged</i>]</p>
<p>
instruments <br />in a theater of dialog <br />trumpet <br />vibraphone
<br />percussion <br />voice
</p>
<p><i>I Lost My Mind </i>- Ramones [from <i>Halfway to Sanity</i>]</p>
<p>in their early-teenage-years style <br />self parody </p>
<p>
<i>You're The Cream In My Coffee</i> - Glenn Tate [from
<i>Some of My Favorite Love Songs</i>]
</p>
<p>clever tunesmithing <br />even without the presumed wordplay</p>
<p><i>Stories (Instrumental)</i> - Chris Brokaw [from <i>Stories</i>]</p>
<p>
heavy <br />pound the floor <br />from low to it <br />convoy on the move
<br />fully equipped
</p>
<p>
<i>If I Knew The Answer</i> - Alone in Dead Bars [recorded live at The
Victory Lunge, April 27, 2017]
</p>
<p>a cover <br />per the announcement <br />it's gonna be OK</p>
<p>
<i>Part VI</i> - Alex Anthony Faide [from <i>Particles of the Infinite</i>]
</p>
<p>in a quiet eleven beat cycle <br />3 + 3 + 5 <br />or <br />3 + 3 + 2 + 3</p>
<p>
<i>Thieving Magpie Overture</i> - Gioachino Rossini [from
<i>100 Greatest Classics</i>]
</p>
<p>
a ceremonial entrance <br />and behind the scenes . . . ?<br />the clown
<br />and ensuing lively brawl <br />and drunken stagger home <br />ends all
over the place <br />greet each light pole <br />and an adventure <br />sure
to end in gaiety
</p>
<p><i>Integration</i> - Ice Cube [from <i>The Predator</i>]</p>
<p>voices from the past</p>
<p><i>Palimpsest</i> - Triptet [from <i>Figure In The Carpet</i>]</p>
<p>discrete episodes <br />silence is discretion <br />we breathe</p>
<p>
<i>Complain</i> - Chastity Belt [from
<i>I Used To Spend So Much Time Alone</i>]
</p>
<p>
the lines bounce off the downbeat <br />ironic remove of inner-self-detachment
</p>
<p><i>Bone Popper </i>- Tom Swafford [from <i>Rough Spaces</i>]</p>
<p>a pizzicato clown parade! <br />what fun!</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYQUqKcjC5uSjNKgXOmhFJi2s607Ssvwwmj-dBZzoAw6QsUYRxkrJqDfOxhtFf3fwX4stOoSuW_IMws0MXhRHsI1ENCfeT4MIogURAbgBV-9bOE07MZQJsZqf9yfPHO96sOVqDtZ6WqraynxC0GJm3A8g3hRkEXuEPGFUriN7FqtY6072GcZkVz_jEAKA/s5472/231014%20L.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYQUqKcjC5uSjNKgXOmhFJi2s607Ssvwwmj-dBZzoAw6QsUYRxkrJqDfOxhtFf3fwX4stOoSuW_IMws0MXhRHsI1ENCfeT4MIogURAbgBV-9bOE07MZQJsZqf9yfPHO96sOVqDtZ6WqraynxC0GJm3A8g3hRkEXuEPGFUriN7FqtY6072GcZkVz_jEAKA/w400-h266/231014%20L.jpg" width="400" /></a></i></div><i>"None Shall Sleep" </i>- Giacomo Puccini [from
<i>100 Greatest Classics</i>]
<p></p>
<p>such heroic determination <br />such a wide screen</p>
<p><i>Listful Thinking</i> - Ask The Ages [from <i>Live at The Chapel</i>]</p>
<p>
creating an orchestral texture <br />from ones expression outward <br />part
of it <br />is the job to do <br />keep hold of the edge of that trampoline
<br />you'll get your turn soon enough
</p>
<p>
a drummer's beat <br />is an explanation of the meter <br />and creates
it
</p>
<p>we're getting very quiet <br />very quiet indeed</p>
<p>and now we know everybody <br />so we'll dance</p>
<p><i>Gold Statue</i> - Charms [from <i>Human Error</i>]</p>
<p>
a power halo around the voice <br />electronically induced <br />plugged in
<br />ignition
</p>
<p>
<i>The Waves and What's Under</i> - Lori Goldston [from <i>High and Low</i>]
</p>
<p>drone with a lively bow rhythm</p>
<p>
<i>Warsaw Concerto</i> - Richard Addinsel [from <i>100 Greatest Classics</i>]
</p>
<p>
a coming attractions edit <br />how many times can we get away with this?
<br />there's the soulful bit <br />so sad <br />and the tune bird of course
<br />so Rachmaninovskian <br />grieving the lost empire <br />just the bits
we want to remember <br /><i>gloire</i> without gore
</p>
<p>the sort of thing an actor would compose for themselves</p>
<p><i>All Too Well</i> - Taylor Swift [from <i>Red</i>]</p>
<p>
fantasy montage <br />planning every magic moment in my life <br />my
cinematic past
</p>
<p><i>Consumer</i> - Gaytheist [from <i>Let's Jam Again Soon</i>]</p>
<p>rage monster assault</p>
<p><i>Once</i> - Robin Holcomb [from <i>One Way Or Another</i>]</p>
<p>situation <br />contemplated <br />complicated <br />uncertain</p>
<p><b>In Session at The Tintinabulary</b></p>
<p>October 8, 2023</p>
<p><i>Hebron</i> - Keith Eisenbrey</p>
<iframe allow="autoplay" frameborder="no" height="20" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1640720265&color=%23ff5500&inverse=false&auto_play=false&show_user=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/keith-eisenbrey" style="color: #cccccc; text-decoration: none;" target="_blank" title="Keith Eisenbrey">Keith Eisenbrey</a> · <a href="https://soundcloud.com/keith-eisenbrey/14-hebron-231008-231008" style="color: #cccccc; text-decoration: none;" target="_blank" title="14 Hebron 231008 [231008]">14 Hebron 231008 [231008]</a></div>
<p>I continue my project of arranging shape-note tunes of a Sunday morning</p>
<p>October 9,2023</p>
<p>
<i>Banned Rehearsal 1085</i> - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt,
Neal Kosály-Meyer
</p>
<iframe allow="autoplay" frameborder="no" height="20" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1640721393&color=%23ff5500&inverse=false&auto_play=false&show_user=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/keith-eisenbrey" style="color: #cccccc; text-decoration: none;" target="_blank" title="Keith Eisenbrey">Keith Eisenbrey</a> · <a href="https://soundcloud.com/keith-eisenbrey/banned-rehearsal-1085-231009" style="color: #cccccc; text-decoration: none;" target="_blank" title="Banned Rehearsal 1085 231009">Banned Rehearsal 1085 231009</a></div>
<p>there we were again</p>
<p>October 10, 2023</p>
<p><i>Two Part Invention in A-flat Major</i> - Gavin Borchert</p>
<p><i>Two Part Invention in G Major</i> - Gavin Borchert</p>
<p><i>Two Part Invention in G Major</i> - Gavin Borchert</p>
<p>that's all 30 of them! Whew!</p>
<p>October 11, 2023</p>
<p><i>Sinfonia 6</i> - Keith Eisenbrey</p>
<iframe allow="autoplay" frameborder="no" height="20" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1640722236&color=%23ff5500&inverse=false&auto_play=false&show_user=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/keith-eisenbrey" style="color: #cccccc; text-decoration: none;" target="_blank" title="Keith Eisenbrey">Keith Eisenbrey</a> · <a href="https://soundcloud.com/keith-eisenbrey/06-sinfonia-6-230326-231011-clavichord" style="color: #cccccc; text-decoration: none;" target="_blank" title="06 Sinfonia 6 230326 [231011] Clavichord">06 Sinfonia 6 230326 [231011] Clavichord</a></div>
<p>on clavichord</p>
<p style="text-align: center;"><b>Postscripts</b></p>
<p><b>Drops</b></p>
<p><i>Keith Eisenbrey 4: 1983-1984</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3616259267/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/transparent=true/" style="border: 0; height: 470px; width: 350px;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-4-1983-1984">Keith Eisenbrey 4. 1983-1984 by Keith Eisenbrey</a></iframe>
<p>
I have started sharing collections of my compositions in albums on Bandcamp.
This volume finishes up the music I wrote while I was in New York (state)
under the ostensible supervision of the academic world.
</p>
<p><i>Keith Eisenbrey 3: 1982-1983</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2544871921/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-3-1982-1983">Keith Eisenbrey 3. 1982-1983 by Keith Eisenbrey</a></iframe>
<p>
This set of pieces was written in Red Hook, NY, and Malabar, FL, as I was
beginning to think about thinking about music.Keith Eisenbrey 4. 1983-1984 by Keith Eisenbrey
</p><p><i>Keith Eisenbrey 2: 1981-1982</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1543052747/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-2-1981-1982">Keith Eisenbrey 2. 1981-1982 by Keith Eisenbrey</a></iframe>
<p>
These are what occupied my time toward at the end of my undergrad days and in
the year before I went east for a while.
</p>
<p><i>Keith Eisenbrey 1: 1979-1981</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1650666157/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-1-1979-1981">Keith Eisenbrey 1. 1979-1981 by Keith Eisenbrey</a></iframe>
<p>
These are the keyboard works I composed while an undergrad at the UW.
</p>
<p>All are free for download.</p>
<p><b>Skaldmud's Doodle Gallery</b></p>
<p>listening journal doodles from 2010</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlyxhs6kV2nTr1Xqu1MMBoZC12nVw0h7EDTWpakn7su-9ioZ9o8OEx6if-i1IDhdLWL08YziyvTuUxdwPIM82w3d5XKneQ83nrTvwsvvkQJe2O6Wc5TDBPmw7trfp03safVinu48gsRthrYIr6fPZErrijUUQbOeThz4gEQIcRINJe4anCl9NRMe14vFc/s2230/2023%20scan562.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="866" data-original-width="2230" height="155" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlyxhs6kV2nTr1Xqu1MMBoZC12nVw0h7EDTWpakn7su-9ioZ9o8OEx6if-i1IDhdLWL08YziyvTuUxdwPIM82w3d5XKneQ83nrTvwsvvkQJe2O6Wc5TDBPmw7trfp03safVinu48gsRthrYIr6fPZErrijUUQbOeThz4gEQIcRINJe4anCl9NRMe14vFc/w400-h155/2023%20scan562.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsnVdPi4dNgIk5090rXqsutkstG2DaiHKwYP_zRzdNyrUcZGmBiK7A6cUJWgxQpANqlzTGFGtwpXZ08W4l4LY15GOB0M7XOECyA3Y28fY4j8xn0hFI7ZmZpI9QLgoSiPhfVee6ATLJLVW_NUC2ISUq1qXUXE02taH0FAlYHQYlY5xZKgfwjh2WO9WrRxc/s2451/2023%20scan563.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1978" data-original-width="2451" height="323" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsnVdPi4dNgIk5090rXqsutkstG2DaiHKwYP_zRzdNyrUcZGmBiK7A6cUJWgxQpANqlzTGFGtwpXZ08W4l4LY15GOB0M7XOECyA3Y28fY4j8xn0hFI7ZmZpI9QLgoSiPhfVee6ATLJLVW_NUC2ISUq1qXUXE02taH0FAlYHQYlY5xZKgfwjh2WO9WrRxc/w400-h323/2023%20scan563.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNCkrUCsfNZ2kKIP-lCnpPU_RgUSp9zkC9iiYwDGNcxIjeiNLFQusEwJ-jzivD02zhukRJ3NvTRUyDln5B4-UZG4cWH9BGLRyPm8zptMy2CzofUUUKDZhDFbMoLdlyeF3TY2YSeCDUZT8bbMYb2Afnv0RVZFhjNldukObLj31M5wyO75nvSqtVCPxtjm0/s1806/2023%20scan564.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="344" data-original-width="1806" height="76" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNCkrUCsfNZ2kKIP-lCnpPU_RgUSp9zkC9iiYwDGNcxIjeiNLFQusEwJ-jzivD02zhukRJ3NvTRUyDln5B4-UZG4cWH9BGLRyPm8zptMy2CzofUUUKDZhDFbMoLdlyeF3TY2YSeCDUZT8bbMYb2Afnv0RVZFhjNldukObLj31M5wyO75nvSqtVCPxtjm0/w400-h76/2023%20scan564.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiNeeP0z_J8PxhgDZ16LaE0M9ryN_3vDNg-7djDRwY681qhNqh49tykPrE2BhlYWojlL5-wLKhOH886VDxW00rq0ybeaC7jdekugQobMekaqxUq6-iu0QRyl3q_vwAgGDArnvN8VyDk3_IV1aATJgukn0sV75eI8Qzf-0DvCmNENpRL-fL7F-3-YrVjHw/s792/2023%20scan565.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="482" data-original-width="792" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiNeeP0z_J8PxhgDZ16LaE0M9ryN_3vDNg-7djDRwY681qhNqh49tykPrE2BhlYWojlL5-wLKhOH886VDxW00rq0ybeaC7jdekugQobMekaqxUq6-iu0QRyl3q_vwAgGDArnvN8VyDk3_IV1aATJgukn0sV75eI8Qzf-0DvCmNENpRL-fL7F-3-YrVjHw/w400-h244/2023%20scan565.jpg" width="400" /></a></div><br /><p><br /></p>
<p></p>Keith Eisenbreyhttp://www.blogger.com/profile/16399615075612440296noreply@blogger.com0tag:blogger.com,1999:blog-7569166511516520581.post-14206740259074206872023-10-07T13:42:00.003-07:002023-10-07T15:05:39.333-07:00Playlist<p style="text-align: center;"><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj16AX-875fPoc39VI1IlTp30wkR0yexbV9FUvSruIO_coDgGb0OJGsJxZJ9Ys56jPYk5-kZol3COcsRJwop9l_ExO3WOuboEYXKPJ_2sIvdGlxpNqJ3jBWagOTRM9ncNyiYdS1QqaoZf-7k3M-HsNq-LWcbD9PwStAwltgKexWe-iXw4SchFcmE4fIOok/s4115/231007%20A.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="4115" height="355" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj16AX-875fPoc39VI1IlTp30wkR0yexbV9FUvSruIO_coDgGb0OJGsJxZJ9Ys56jPYk5-kZol3COcsRJwop9l_ExO3WOuboEYXKPJ_2sIvdGlxpNqJ3jBWagOTRM9ncNyiYdS1QqaoZf-7k3M-HsNq-LWcbD9PwStAwltgKexWe-iXw4SchFcmE4fIOok/w400-h355/231007%20A.jpg" width="400" /></a></b></div><b>Preface</b><p></p>
<p>"It's difficult to believe in reality."</p>
<p>George Quasha - from "Not Even Rabbits Go Down This Hole"</p>
<p style="text-align: center;"><b>Texts</b></p>
<p><b>Live</b></p>
<p>October 4, 2023</p>
<p>
<b><i>Cornish Music Faculty Showcase<br />Raisbeck Auditorium, Seattle</i></b>
</p>
<p><i>Granada, Three Brief Episodes </i> - Michael Nicololla</p>
<p>
ornate flavor (Isaac Albéniz)<br />a critter amuses in the middle of a quiet
afternoon
</p>
<p><i>3 Klezmer Tunes</i> - James Falzone, Neil Welch, Ray Larsen</p>
<p>(Belf's Romanian Orchestra) <br />a revived genre for social celebration</p>
<p><i>The Great Train Race (by Ian Clarke)</i> - Leanna Keith</p>
<p>took the flute world by storm <br />an amusement</p>
<p><i>Inside a Stone</i> - Jesse Myers, Tom Baker</p>
<p>gently jostling <br />river washed <br />rubbing is rocks doing</p>
<p><i>Improvised</i> - Ray Larsen</p>
<p>a little longer than short <br />leading a path where it flows</p>
<p><i>"Not the Right Time" and "Lookout"</i> - Kaley Eaton</p>
<p>begin outside <br />spiral in</p>
<p>
<i>New Work for Quartet</i> - Tom Varner, Neil Welch, Leanna Keith, Greg
Campbell
</p>
<p>
vigorous stirring with bubbles <br />elaborate timer bells <br />intricate
decorations <br />twisted wine
</p>
<p><i>Over Oceans</i> - Johnaye Kendrick, Kelly Ash</p>
<p>vocal duet unaccompanied</p>
<p><i>Improvised</i> - Marcin Pączkowski</p>
<p>becoming a multitude</p>
<p><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf9UTWZ6xTFXSLE5_xkXQvqlNbiNPLJH6eXXh88ATFwR3LKS0bG7UlA0KL1IrdQVpmcNqFeLt8xtErxiNxDFZc2EVS_oEHdP1yLajF5BYX_a6X6Ykxc2IzO8_CBPoVf5GusiiaEw3-P21GjwLSoFzx4kZeJpGJDm092TIZtjYPJaEU2CMfLAfdmZ1ScS8/s5472/231007%20B.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf9UTWZ6xTFXSLE5_xkXQvqlNbiNPLJH6eXXh88ATFwR3LKS0bG7UlA0KL1IrdQVpmcNqFeLt8xtErxiNxDFZc2EVS_oEHdP1yLajF5BYX_a6X6Ykxc2IzO8_CBPoVf5GusiiaEw3-P21GjwLSoFzx4kZeJpGJDm092TIZtjYPJaEU2CMfLAfdmZ1ScS8/w400-h266/231007%20B.jpg" width="400" /></a></b></div><b>Recorded</b><p></p>
<p>September 30, 2023</p>
<p>
<i>Intermezzo in C Major, Op. 4 #4</i> - Robert Schumann - Eric Le Sage
</p>
<p>getting mileage out of unanswered phrases</p>
<p>
<i>Mazurka in B minor, Op. 30 #2</i> - Frédéric Chopin - Garrick Ohlsson
</p>
<p>
turned over enough times <br />surely it will yield the hoped for response
<br />Fie!
</p>
<p>
<i>Turandot, Act 1</i> - Ferruccio Busoni - Radio-Symphonie-Orchester Berlin,
Gerd Albrecht, René Pape, Linda Plechm Gabriele Schreckenbach, Josef
Protschka, Friedrich Molsberger, Celina Lindsley, Robert Wörle, Johannes
Werner Prein, Gotthold Schwarz
</p>
<p>
one exotic <br />like any other <br />may as well be Mars <br />just so
<br />the setting is sufficiently outside <br />any European's wider
understanding <br />of the culturally plausible <br />that anything is
possible
</p>
<p>
through-composed <br />on a different basis than Wagner or Verdi <br />the
music is the scenery costumes and lighting <br />and only peripherally
<br />the characterization of the individuals
</p>
<p>
unabashedly stagy <br />an illustrated book of an opera <br />the pages are
opaque <br />we can't see through into the future <br />nor back into the past
<br />we follow along as it is played for us
</p>
<p>
the whole apparatus <br />is presumably a stand-in for out-of-date ideas of
marriage
</p>
<p>
tonality moves from one uncertainty to the next <br />through back alleys and
hidden doors <br />the carefully composed lines for the singers are
commendable
</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO1YFOYdscKqmClGklNUmFpjOJMDHEXE_2VJf1epG1ur5ifBqjhj0yPswewu2pNVaA2xwpYu79-dy36b5qDP6nMa4d1T0_HtY0GCHuN8d9vHumUO1Xe0EU_ivze1zmY02j3CX6f_LCvbW85hIolPvJT9g4qlsqNdTdNGFf2sNjOy8RhgcM6zjWKLiReUY/s5472/231007%20c.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO1YFOYdscKqmClGklNUmFpjOJMDHEXE_2VJf1epG1ur5ifBqjhj0yPswewu2pNVaA2xwpYu79-dy36b5qDP6nMa4d1T0_HtY0GCHuN8d9vHumUO1Xe0EU_ivze1zmY02j3CX6f_LCvbW85hIolPvJT9g4qlsqNdTdNGFf2sNjOy8RhgcM6zjWKLiReUY/w400-h266/231007%20c.jpg" width="400" /></a></div>October 1, 2023<p></p>
<p><i>Song 15</i> - Charles Ives - Carol Sams, Russ Warner</p>
<p>trips and stumbles lightly through the dance</p>
<p>
<i>Evonce (alternate take)</i> -Thelonious Monk [form
<i>The Complete Blue Note Recordings</i>)
</p>
<p>
even while in the background <br />a rhythmic sensibility <br />the piano solo
<br />though brief <br />is hardly as packed with notes <br />as his
colleagues' are
</p>
<p>
<i>Slippin' and Slidin' (demo)</i> - Little Richard [from
<i>Here's Little Richard</i>]
</p>
<p>at an easy going tempo <br />allows inflection in the piano part</p>
<p>
<i>Hey, Good Lookin'</i> - Ray Charles [from
<i>Modern Sounds in Country and Western Music</i>]
</p>
<p>
Las Vegas is in the west <br />so it must be western music <br />no country
tavern <br />is going to have that size of an orchestra
</p>
<p>
<i>The Gal from Joe's</i> - Nina Simone [from <i>High Priestess of Soul</i>]
</p>
<p>
tempo of brassy bodily swagger <br />patterned motion from measure to measure
</p>
<p>
<i>I Was Born In Love With You</i> - Sarah Vaughan [from
<i>Sarah Vaughan with Michel LeGrand</i>]
</p>
<p>
the urge to say something intelligent about these cuts <br />to prove that I
get it <br />do I <br />probably not
</p>
<p><i>God Only Knows</i> - Carole King [from <i>Simple Things</i>]</p>
<p>
the habit of unpatterned dancing <br />free style <br />not a step <br />does
it ask <br />that the music <br />it is the dance of <br />be heavily
structured <br />clear to the floor <br />possible <br />the purpose <br />is not to
express <br />but to extradite <br />expel <br />purge <br />nice guitar work
back there
</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_0QWogvFv2Hg5aQYcN_Ov5izlukyGN86y97aSMUsfauto9oEN9FNB3MjMxiZwHdocbw5fZljPTm-QUnGw-_NjEzE32I4axf28KBsKjFf1Qnd4xbRlmOf42jnSqVAnr2HJW-snOXgXy4PJ98HMs0QDBZ7nxTqKPyzntZPTF247_M6yY_Rw1jZO56tOi6Y/s5472/231007%20H.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_0QWogvFv2Hg5aQYcN_Ov5izlukyGN86y97aSMUsfauto9oEN9FNB3MjMxiZwHdocbw5fZljPTm-QUnGw-_NjEzE32I4axf28KBsKjFf1Qnd4xbRlmOf42jnSqVAnr2HJW-snOXgXy4PJ98HMs0QDBZ7nxTqKPyzntZPTF247_M6yY_Rw1jZO56tOi6Y/w400-h266/231007%20H.jpg" width="400" /></a></i></div><i>This Hard Land</i> - Bruce Springsteen [from <i>Tracks</i>]<p></p>
<p>
do New Jersey lads say <br />when we did ride <br />or <br />when we rode
<br />or <br />when we went
</p>
<p>pulling in an Americana flavor of high-falutin' hick</p>
<p><i>Glass Spiders </i>- David Bowie [from <i>Never Let Me Down</i>]</p>
<p>
tells us a story <br />one could almost <br />more mood than narrative
<br />the presence of the spoken words <br />is nearer than that of the sung
words <br />we are further from the singer <br />than from the speaker
</p>
<p>
<i>The Old Cow Died</i> - Mike, Peggy, and Penny Seeger [from
<i>Animal Folk Songs For Children</i>]
</p>
<p>lessons in what can't be turned</p>
<p><i>Bernadette</i> - Paul Simon [from <i>Songs from the Capeman</i>]</p>
<p>chipper <br />then suddenly slides into a charmed evening</p>
<p><i>Compass 3</i> - Jarrad Powell [from <i>Natural Selection</i>]</p>
<p>
this tone has a texture <br />bumpy <br />flexible <br />powered
<br />directed intent <br />becomes our space <br />all of it <br />we are
pulled inside
</p>
<p><i>Downpour</i> - Brandi Carlile [from <i>The Story</i>]</p>
<p>sneaking up on what one means to say</p>
<p>
<i>Feather Floats Away</i> - Steve Layton & Improv Fridays [from
<i>Shared Circle</i>]
</p>
<p>
an entry <br />a text <br />a sound <br />a memory <br />an artifact
<br />time-stamped time stamp <br />the participants share a harmonic
sensibility and <br />a temporal
</p>
<p>
<i>Meow-ow-ow</i> - Mud on My Bra [from <i>Demo #2 (Manger Studio Mixes)</i>]
</p>
<p>
the world is full of creative ideas of self-expression <br />and of what might
count as that <br />high energy headbanging
</p>
<p>
<i>Duo 2</i> - Sascia Pellegrini [from <i>7 Percussion Impossibilities</i>]
</p>
<p>
room to dance in sparkle land <br />hide and seek between the drizzle drops
<br />a rain game
</p>
<p>lighting shift <br />the color of the day responds</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgre3IBMpr0a8AxV1_K-mpcmCsGKSWB6Siq9QEmjZE5ybMwCsmCwNN7-zlnjeY1BrxaoDyDzmye_lXVG5ZxwMKY-onyyVaEWyLRVc4ZX9WeBmouKZC6azYtw13MW8qB5BnR-4vkWc2rOApzNDfDj7_ryJip6n2V5CImXsJvjmnwLo8RFuZpFIC7S9UjHkA/s5472/231007%20D.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgre3IBMpr0a8AxV1_K-mpcmCsGKSWB6Siq9QEmjZE5ybMwCsmCwNN7-zlnjeY1BrxaoDyDzmye_lXVG5ZxwMKY-onyyVaEWyLRVc4ZX9WeBmouKZC6azYtw13MW8qB5BnR-4vkWc2rOApzNDfDj7_ryJip6n2V5CImXsJvjmnwLo8RFuZpFIC7S9UjHkA/w400-h266/231007%20D.jpg" width="400" /></a></div>October 2, 2023<p></p>
<p>
<i>Caprice en forme de Valse in E-flat Major, Op. 2 #8</i> - Clara Schumann -
Susanne Grützmann
</p>
<p>a dialog dance <br />light and witty</p>
<p>
<i>Hang Up My Rock & Roll Shoes</i> - Jerry Lee Lewis [from
<i>Rare and Rockin'</i>]
</p>
<p>
riding on an infectious motion <br />whoop it up <br />in the voice of a teen
</p>
<p>
<i>Wake Me When It's Over </i>- Willie Nelson [from
<i>...And Then I Wrote</i>]
</p>
<p>callibrated performance <br />doling out the lines without hurry</p>
<p><i>A Fool Such As I</i> - Bob Dylan [from <i>A Tree With Roots</i>]</p>
<p>a drinking in misery song <br />utilitarian chord changes</p>
<p><i>Takin' My Time</i> - Bonnie Raitt [from <i>Sweet Forgiveness</i>]</p>
<p>
epistolary <br />the changes take an interesting bend at the end of the verse
stanza <br />it goes where it wasn't going
</p>
<p><i>Job Mob</i> - Ornette Coleman [from <i>Of Human Feelings</i>]</p>
<p>
the puppet's many feet dance lightly <br />while its body floats above
<br />in a stiller wind <br />to another location
</p>
<p>
<i>Amy Grant</i> - The Young Fresh Fellows [from
<i>The Men Who Loved Music</i>]
</p>
<p>topical novelty <br />bunch of dudes fartin' off</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEissP9HRYwjFd2lX1ZTrfgWg0__RnbUl-3IRR2C5ZVbFcOwRDWSUBnNUjhcF2Z9E4FxhKf9Ec_1v53IM_l8Qe8h1f760kwKXd7YuADQv323xdeZHD8rusgQ4fCg0yO1wE5j5TtUfvt5wEms6iOnELNTbwoyREroZGwZMSi7NUzUkzpovoTeEFfhf3Q50hI/s5472/231007%20J.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEissP9HRYwjFd2lX1ZTrfgWg0__RnbUl-3IRR2C5ZVbFcOwRDWSUBnNUjhcF2Z9E4FxhKf9Ec_1v53IM_l8Qe8h1f760kwKXd7YuADQv323xdeZHD8rusgQ4fCg0yO1wE5j5TtUfvt5wEms6iOnELNTbwoyREroZGwZMSi7NUzUkzpovoTeEFfhf3Q50hI/w400-h266/231007%20J.jpg" width="400" /></a></i></div><i>Liza Radley</i> - The Jam [from <i>The Sound of The Jam</i>]<p></p>
<p>it tries so hard <br />but the vocal just doesn't have much range</p>
<p><i>I Wonder Where You Are</i> - Back Burner [from <i>Simmer On</i>]</p>
<p>song as pretext for cooperative competence <br />modestly showy</p>
<p><i>Girl</i> - Shannon Stephens [from <i>Pull It Together</i>]</p>
<p>fledging <br />what to expect <br />post launch <br />nice guitar sound</p>
<p><i>Somehow, They Will Know</i> - Anxious Arms [from <i>Never Was</i>]</p>
<p>
microphones right up to the amps <br />not a word is understood
<br />especially the ones he's hollering
</p>
<p><i>Somos Nada</i> - Christina Aguilera [from <i>Aguilera</i>]</p>
<p>
swinging for the upper deck <br />heavy beats on piano <br />long decay
<br />left to do so
</p>
<p>
<i>O Holy Night</i> - The Philadelphia Brass Ensemble [from
<i>Festival of Carols in Brass</i>]
</p>
<p>
no lazy dotted rhythms for these folks <br />nor even any histrionics in the
stratosphere
</p>
<p>
<i>Ein Kleine Nachtmusik (first movement)</i> - Wolfgang Amadeus Mozart [from
<i>100 Greatest Classics</i>]
</p>
<p>
cadential elision <br />some motions are allowed to complete their tasks
<br />some are interrupted <br />a scenario that goes around and around
<br />for all the latecomers
</p>
<p><i>Track 14</i> - The Humidiflyers [from <i>Humidiflyers 2002</i>]</p>
<p>
the word part <br />is in a more believable voice <br />when being sung
<br />than when doing the spoken thing <br />which sounds like it was written
down to be spoken
</p>
<p>
<i>A Pest You Metrosexuals</i> (sic?) - The Capitol Steps [from
<i>O Christmas Bush</i>]
</p>
<p>
<i>Wedding Ring Vacation</i> - Rachel Harrington [from
<i>Makin' Our House a Honky-Tonk</i>]
</p>
<p>lots of <br />-ation rhymes</p>
<p>gonna have some fuuuun</p>
<p><i>Your Type</i> - Alvvays [from <i>Antisocialites</i>]</p>
<p>
the word part <br />is partly a pretext <br />a spell to be cast <br />in
order to conjure this feel of being with people
</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW371wqiJkQLA_O4a54XN9WTKEyRXm9W_lfcTTWW-wFbZwAdPWoDXpkW5VmOSmGjcJU_SO_zrvUly-cf2G4516qw4taX1kvCaFsnSui5PbtwZ4KM095O5pie6IIFcEqhmR2eyZ3nmd0syZ8QwNBcVnunRRnjpatZW2apPDYjXjgPBieA6stDCXZkB0l0w/s5472/231007%20K.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW371wqiJkQLA_O4a54XN9WTKEyRXm9W_lfcTTWW-wFbZwAdPWoDXpkW5VmOSmGjcJU_SO_zrvUly-cf2G4516qw4taX1kvCaFsnSui5PbtwZ4KM095O5pie6IIFcEqhmR2eyZ3nmd0syZ8QwNBcVnunRRnjpatZW2apPDYjXjgPBieA6stDCXZkB0l0w/w400-h266/231007%20K.jpg" width="400" /></a></i></div><i>Once Again</i> - Nat Evans [from <i>My Old Friend Death</i>]<p></p>
<p>opening down <br />settling <br />pressed <br />weighty</p>
<p><i>Girls Eyes</i> - The Who [from <i>The Who Sell Out</i>]</p>
<p>doing American culture <br />as an act <br />and then an ad <br />sheesh</p>
<p>
<i>Bolero (selection)</i> - Maurice Ravel [from <i>100 Greatest Classics</i>]
</p>
<p>
but they cheated <br />fading in on just the last five minutes or so <br />but
as a whole <br />Satieesque <br />it's not like Ravel invented playing the
same rhythm over and over
</p>
<p>
<i>Capriccio in E Major (#9)</i> - Niccolò Paganini - Shlomo Mintz [from
<i>Masters of the Bow</i>]
</p>
<p>having firm words with myself <br />don't mind me <br />a ventriloquism</p>
<p><i>Telluride Song</i> - Head For The Hills [from <i>Robber's Roost</i>]</p>
<p>
a band <br />an activity <br />a family-like relationship <br />a team <br />a
shared endeavoring <br />in a common way of doing
</p>
<p><i>Turn Up The Radio</i> - Madonna [from <i>MDNA</i>]</p>
<p>
how old-fashioned <br />make me louder <br />producer <br />stand-in for group
collaboration <br />the various filters through which she is singing
<br />wander about in ovoid orbitals
</p>
<p><i>Sea of Straight Faces</i> - Ephrata [from <i>Ephrata</i>]</p>
<p>
the care they have taken in their harmony singing shows <br />not done with
synths
</p>
<p><i>Can't Go Home</i> - Doug Kolmar [from <i>So Said Life</i>]</p>
<p>a nice hot cup of tea <br />well cozied</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlSIMvXcCb7QmJ_TTsnvwg9VMBT0Vn65KRYcrkGc4k1TnS_tOQIoZXLSN4IN898gZAUohJcI21Xjb28Ydud-krwaeoWGrCFZS1gh4s8soxhfUjHy1CRAjyNC6CrIEwysWU1u3O4rtiw-Ea5LtTUm4ahJJ1aivdGh9Es3iiPEpskjIQrK4wqywseKKzyyg/s5472/231007%20E.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlSIMvXcCb7QmJ_TTsnvwg9VMBT0Vn65KRYcrkGc4k1TnS_tOQIoZXLSN4IN898gZAUohJcI21Xjb28Ydud-krwaeoWGrCFZS1gh4s8soxhfUjHy1CRAjyNC6CrIEwysWU1u3O4rtiw-Ea5LtTUm4ahJJ1aivdGh9Es3iiPEpskjIQrK4wqywseKKzyyg/w400-h266/231007%20E.jpg" width="400" /></a></div>October 3, 2023<p></p>
<p>
<i>The Scarecrow</i> - Pink Floyd [from
<i>The Piper At The Gates of Dawn (digital)</i>]
</p>
<p>clip clop <br />horse wagon <br />life in the shire</p>
<p>
<i>Remix for P is Free</i> - Boogie Down Productions [from
<i>Criminal Minded</i>]
</p>
<p>
self-promotion <br />of both band and genre <br />self-consciously branding
itself <br />within the societal conceit of brand competition
</p>
<p><i>Battle </i>- Gang Starr [from <i>8 Mile</i>]</p>
<p>
so the business of music is front and center <br />in the brand's conceit
<br />the music within the business <br />seeks to turn around and shake hands
</p>
<p>
<i>Sold Yer Guitar Blues</i> - The Tripwires [from
<i>Makes You Look Around</i>]
</p>
<p>concerning the hard life <br />of dirt-level music</p>
<p><i>Collette</i> - Yuni in Taxco [from <i>Prizes</i>]</p>
<p>
long on the verge of a downbeat <br />which just snuck in the back door
<br />those lines are about their pitch trajectory <br />a line <br />from top
<br />downward to the floor <br />repeat
</p>
<p><i>Blonde </i>- Prom Queen [from <i>Doom Wop</i>]</p>
<p>
in the middle of a doldrum <br />on the self-invention seas <br />a little bit
of bleach and a magic wand
</p>
<p>
<i>Coenties Slip</i> - Steve Peters [from <i>With My Back To the World</i>]
</p>
<p>opening with a seed <br />three notes rising together</p>
<p>
<i>Being for the Benefit of Mr. Kite (take 7)</i> - The Beatles [from
<i>Anthology</i>]
</p>
<p>feet with feats <br />feats with feet</p>
<p><i>Toys In The Attic</i> - REM [from <i>Dead Letter Office</i>]</p>
<p>
actively courting the possibility of dancing in two two <br />or <br />in a
quicker four four <br />your call
</p>
<p><i>Spires</i> - Pete Comley [from <i>Lost City Music Volume 2</i>]</p>
<p>
an entire soundtrack <br />minus only dialogue <br />without film <br />but
even so <br />with lighting and camera work <br />intact
</p>
<p><i>Big K</i> - Goat [from <i>Live at Sonarchy</i>]</p>
<p>
working with power tools <br />wear eye and ear protection <br />be mindful of
your fingers <br />router and lathe <br />table saw and power punch
</p>
<p>
<i>Glad That You Asked</i> - Song Sparrow Research [from
<i>Song Sparrow Research</i>]
</p>
<p>
a voice is valid <br />by virtue of its being <br />as are we <br />equally
valid <br />by virtue of our being <br />not just <br />born so <br />nor
created so <br />but being so <br />in being
</p>
<p><i>Why Change a Thing</i> - Bad Cop/Bad Cop [from <i>Warriors</i>]</p>
<p>attacking life in the work place <br />where it drives</p>
<p><i>The New Savannah</i> - Jostaberry [from <i>Hello Turbine</i>]</p>
<p>
atypical chords and patterns <br />within the rock and roll world <br />the
mid bit <br />where the drum stays out <br />is nice <br />I find myself
asking for atypical drumming <br />to match the pitch stuff going on
</p>
<p><i>Love Is a Contact Sport</i> - Whitney Houston [from <i>Whitney</i>]</p>
<p>
at what point historically <br />did the exigencies of music video production
<br />impinge on the songwriting
</p>
<p>blame the producers</p>
<p>suggestiveness <br />back in our more innocent age</p>
<p>
<i>The Teaching Begun in Samish</i> - Johnny Moses [from
<i>When The Humans Thought They Were People</i>]
</p>
<p>lift up your people</p>
<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4HBw_zE8M6bkfN9wkoJ96f65g1RyKtR0lkjWd7sBX6_zPmkm4advDEVQMOj_u75Y4iRFV6Cwt8lA6qg_eu94CbO0SZUsIhvMkpajjluRjQ0zX2sQSN5GWFN3iChPRV0O5TSEswFU62FTNsjNcYlx6paAQmlzqnqtgh0dXfM_gyneEVSWoaBOxUx3Vl9g/s5472/231007%20L.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4HBw_zE8M6bkfN9wkoJ96f65g1RyKtR0lkjWd7sBX6_zPmkm4advDEVQMOj_u75Y4iRFV6Cwt8lA6qg_eu94CbO0SZUsIhvMkpajjluRjQ0zX2sQSN5GWFN3iChPRV0O5TSEswFU62FTNsjNcYlx6paAQmlzqnqtgh0dXfM_gyneEVSWoaBOxUx3Vl9g/w400-h266/231007%20L.jpg" width="400" /></a></i></div><i>Dave & Ruth Memories</i> - Dave and Ruth Bowman <p></p>
<p>
my people <br />it was this whole thing <br />met in Chemistry class <br />a
red dress <br />navy blue skirt <br />not Gone With The Wind <br />who wrote
the script? <br />with a piano accompaniment <br />there are weird politics
<br />behind each piety <br />but <br />these were a wonderful uncle and aunt
<br />(Dave was my mom's brother)
</p>
<p>
<i>Son of a Good Man</i> - Bigfoot Wallace & His Wicked Sons [from
<i>Virgil</i>]
</p>
<p>down in a swamp <br />tell a story <br />set a mood</p>
<p><i>Motorcycle Blues</i> - The Low Hums [from <i>Night Magic Wine</i>]</p>
<p>
the words <br />are not much more than the title <br />all day long <br />a
constant <br />until the swerves <br />after the verse <br />the point of
having a keyboard player <br />is to have someone to drown out
</p>
<p>
<i>Iron Tears (featuring Del Sol String Quartet)</i> - Gamelan Pacifica [from
<i>Vessel</i>]
</p>
<p>
in the space where all are foreign <br />the purpose of this music <br />is to
open possibilities <br />to weave tapestries <br />to beguile in incense
</p>
<p>
<i>Chinese Arithmatic</i> - Eric B. & Rakim [from <i>Paid In Full</i>]
</p>
<p>
transgressive exoticism <br />theft <br />there is nothing one-ish <br />about
beat one <br />an excuse for fancy drumming
</p>
<p>
<i>Faith-Based Roundup</i> - Dubious Duo [from <i>Children of Siberia</i>]
</p>
<p>lots of yelling</p>
<p>
<i>The Drowsy Sleeper</i> - Mary Lomax [from
<i>The Art of Field Recording</i>]
</p>
<p>reading the signs <br />going away to the wild goose country</p>
<p><i>Out of the Rain </i>- The Swearengens [from <i>Devil Gets Her Way</i>]</p>
<p>
hey babe <br />I'm really trying hard over here <br />I did all the stuff
<br />what's your problem <br />I'm suffering out here
</p>
<p><i>Zap Sistah</i> - Amy Denio [from <i>The Big Embrace</i>]</p>
<p>
the texts <br />are a means of accessing alternative forms <br />for a music
to take
</p>
<p>
<i>Go-Flow </i>- Michael Bisio and Matthew Shipp [from
<i>Flow of Everything</i>]
</p>
<p>
searching outward <br />dendritical <br />a color of tunes <br />upon which
<br />to lay ones weary bones
</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtnPL8H_-b6O7rX44SJ9mBcVykyYzKGVE1NSNSeUW2SgYPbXoCKdk0udhW7BPEIslSQzHjX-a-gTotHTTCN2UVW7eJeVAPM__WVnuNvlXw4cmGqsSKeJ6tMQiotbhvtvYCkSTRGIahbH7-zJVQ2T837JuDx6LZDT61TLtJLNn8s7T4eJQ78Rayp6yUrSg/s5472/231007%20F.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtnPL8H_-b6O7rX44SJ9mBcVykyYzKGVE1NSNSeUW2SgYPbXoCKdk0udhW7BPEIslSQzHjX-a-gTotHTTCN2UVW7eJeVAPM__WVnuNvlXw4cmGqsSKeJ6tMQiotbhvtvYCkSTRGIahbH7-zJVQ2T837JuDx6LZDT61TLtJLNn8s7T4eJQ78Rayp6yUrSg/w400-h266/231007%20F.jpg" width="400" /></a></div>October 4, 2023<p></p>
<p>
<i>Saved Today</i> - Total Experience Gospel Choir, Pat Wright [from
<i>Bits and Pieces</i>]
</p>
<p>ministry of celebration <br />new way of walking <br />new way of talking</p>
<p>
<i>How Do You Keep the Music Playing</i> - Glenn Tate [from
<i>Some of My Favorite Love Songs</i>]
</p>
<p>
sing the song <br />fill the breathing space with arpeggiation <br />and
sweeping gesture
</p>
<p><i>Vacant City</i> - Brendan Byrnes [from <i>Micropangea</i>]</p>
<p>
finding worlds in machines <br />starting point <br />being commercial
<br />song objects <br />internal boundaries <br />pushed at <br />via content
<br />which <br />isn't their <br />without-which-something-else <br />kinds
of sounds <br />kinds of words
</p>
<p><i>Beyond the Zero</i> - Antonioni [from <i>Lullablaze</i>]</p>
<p>
steady flow of words <br />over steady flows of sounds <br />from heels to
knee <br />dip back and forth <br />rocking motion
</p>
<p>
<i>Brillenbrillanz (Spectacles-Luminosity)</i> - Eric Nathan [from
<i>Missing Words</i>]
</p>
<p>
announce first <br />ask yourself what you're about later <br />discussion
among the heralds <br />split into contending parties <br />talk it out
</p>
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsLcT6Ep4fJdkZMsUsiQ7XAxhzdUy3BFjlCey4Jfe6VsB7Y1vGANyjY93TNeARMasjG3Fdf-HnH6Lg7k2Mm7LQg7viCVznSqguC1O5bBWyOBzttQxax4mY2fhE-8ZHzuZwVt3kLho4ziu52mpiK8VrRrrKd0dJElK3ZQSHGt3fqkLOeJ1E2nMd-yDeEqE/s5472/231007%20G.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsLcT6Ep4fJdkZMsUsiQ7XAxhzdUy3BFjlCey4Jfe6VsB7Y1vGANyjY93TNeARMasjG3Fdf-HnH6Lg7k2Mm7LQg7viCVznSqguC1O5bBWyOBzttQxax4mY2fhE-8ZHzuZwVt3kLho4ziu52mpiK8VrRrrKd0dJElK3ZQSHGt3fqkLOeJ1E2nMd-yDeEqE/w400-h266/231007%20G.jpg" width="400" /></a></div>October 5, 2023<p></p>
<p><i>My Baby's Gone</i> - Los Lobos [from <i>By The Light Of The Moon</i>]</p>
<p>
upper trunk motion <br />with a wiggle <br />that rides down body <br />the
drums are the trunk <br />the guitars and bongos <br />are the wiggles
</p>
<p><i>Who Got The Camera?</i> - Ice Cube [from <i>The Predator</i>]</p>
<p>
interaction residue <br />the news from one side <br />the talk from another
</p>
<p>
<i>Sons of No One (The Replacements)</i> - Andrew James Robison [recorded live
at The Rat and Raven, Seattle, August 9, 2012]
</p>
<p>
living wih engines <br />that get us here to there <br />this one is on rails
</p>
<p><i>Lady Lazarus Part II</i> - Greg Sinibaldi [from <i>Ariel</i>]</p>
<p>
untranslated signals <br />compressed data <br />crowd chatter
<br />dis-coalescing beat <br />deep in the weeds
</p>
<p>
<i>Let's Not Kid Ourselves</i> - Star Anna [from
<i>Live at Rimbert Illustration</i>]
</p>
<p>follow the beat <br />as it occupies the sung melody <br />a tough sinew</p>
<p>
<i>Overture to The Marriage of Figaro</i> - Wolfgang Amadeus Mozart [from
<i>100 Greatest Classics</i>]
</p>
<p>
all those keys have a past <br />I'll catch you up <br />while we wait for the
curtain
</p>
<p><i>Save You</i> - Pearl Jam [from <i>Rearviewmirror</i>]</p>
<p>
it was the fashion <br />to include a bit of studio noise <br />before the song
proper <br />a signifier of authenticity <br />we're real <br />we plug in our
guitars just like you folks <br />high energy usage <br />simple parts
<br />fancy singing
</p>
<p>
<i>Balance Beam</i> - Tyrannosaurus Grace [recorded live at The Rat and Raven,
Seattle, August 9, 2012]
</p>
<p>
a story about something that happened <br />I told you so <br />disjointed
<br />but the female vocal is fun <br />in a wild way <br />reckless yodel
</p>
<p><i>Silver</i> - Waxahatchee [from <i>Out In The Storm</i>]</p>
<p>a trip on the lips</p>
<p>
<i>Mid-Day </i>- Hilda Doolittle - William Bond [from <i>Quaking Aspen</i>]
</p>
<p>he speaks as though reading words aloud <br />without quite saying them</p>
<p>
<i>Erghen Diado</i> - Bulgarian State Radio & TV Female Vocal Choir,
Philip Koutev [from <i>Le Mystere des Voix Bulgares, volume 1</i>]
</p>
<p>upscale vernacular <br />for National Pride</p>
<p>
<i>Little Red Rooster</i> - The Myers Sisters [from
<i>The Art of Field Recording</i>]
</p>
<p>
coming by possum stew <br />he will taste so good to you <br />what they mean
<br />is not what they are <br />what they are <br />is
</p>
<p>
<i>Rise of The Ancients</i> - The Ancients [recorded live at The Rat and
Raven, Seattle, August 9, 2012]
</p>
<p>their theme song <br />battle hymn <br />really gets into it</p>
<p><i>Wait For A Call</i> - Merchant Mariner [from <i>Merchant Mariner</i>]</p>
<p>music from a port of call <br />happenin' joint </p>
<p>imaginative tempo work in there</p>
<p><i>Part 6</i> - Claire Lodge [from <i>Seconds</i>]</p>
<p>
a bass line <br />a tune line <br />and a rattle <br />now a drum <br />or
marimba or tabla <br />or both <br />or <br />a lamellophone of unknown shape
<br />click stick too! <br />left with the guitar squealing its tires
</p>
<p><i>Trip Through Your Wires</i> - U2 [from <i>The Joshua Tree</i>]</p>
<p>
this one works pretty well <br />Bono doesn't overdo it <br />almost keeps his
distance
</p>
<p><i>Fat Chance</i> - Swearin' [from <i>Swearin'</i>]</p>
<p>stanza location <br />walls and echo and power <br />back and forth</p>
<p><i>Dinosaurs </i>- Shallow Lenses [from <i>War Poems</i>]</p>
<p>looking back to better times</p>
<p>
<i>Arrival</i> - Re:Naissance Opera [from
<i>Music from the Apocrypha Chronicles</i>]
</p>
<p>
a dance is believable <br />or a play <br />or a pantomime <br />something on
a stage <br />art-museum film perhaps
</p>
<p>
<i>Es ist ein Ros entsprungen</i> - Michael Praetorius [from
<i>The Glory of the Krummhorn</i>]
</p>
<p>
instrumentals are analyses of vocal part singing <br />just the music sans
words <br />except that we do get a singer after a cycle or so <br />robust
temperament
</p>
<p>
<i>Severed Head</i> - Ian Bell, John Teske [from
<i>Embers of Discontent (final mix)</i>]
</p>
<p>
from Labor on the run <br />but labor was never a monolith always a theory
</p>
<p>
<i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSS778vu3VjyfQhaIe4M6HfMR_f8EyY8ko_XJSlE5rI8-NUUmE4s2sgSgNzOQ0E29U5qyzks0JF_L8JSQZdcLg47ebrxd7Mer73fQPIWauhkR4pcinkX-PpMvjRfYcY23AWc0dE6XInOcMcjhtQ0-6aUT0vyfoP2bNVegrToc_UGYM28GpYh6U1XTx4Zo/s5472/231007%20I.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="5472" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSS778vu3VjyfQhaIe4M6HfMR_f8EyY8ko_XJSlE5rI8-NUUmE4s2sgSgNzOQ0E29U5qyzks0JF_L8JSQZdcLg47ebrxd7Mer73fQPIWauhkR4pcinkX-PpMvjRfYcY23AWc0dE6XInOcMcjhtQ0-6aUT0vyfoP2bNVegrToc_UGYM28GpYh6U1XTx4Zo/w400-h266/231007%20I.jpg" width="400" /></a></i></div><i>Randolf The Red-Nosed Coke-Head </i>- Three Fingers [from
<i>Stocking Stuffer</i>]
<p></p>
<p>a public service announcement <br />with a twist of blade</p>
<p><i>Over My Head </i>- Denise Glover [from <i>Dreams of The Butterfly</i>]</p>
<p>
lines alternate rhyme-useful nonsense <br />and head-on statement disguised
with a rhyme
</p>
<p><i>Speed Demon </i>- Michael Jackson [from <i>Bad</i>]</p>
<p>
composed from the dance out <br />question <br />is the child innocent
<br />singing sexualized e<i>ntendres<br /></i>any ickier <br />than our
cultural hyper-sexualization of a teenager
</p>
<p><i>Raiding The Refrigerator</i> - Cowgirls, The</p>
<p>
after a faded countoff <br />one two three four <br />seven kinds of awesome
</p>
<p>
<i>Portland Town to Klamath Falls</i> - Tony Furtado and Kristin
Andreassen [from Roll Columbia]
</p>
<p>
from the internal migrations <br />the BPA uses Woody's cred <br />to tell
folks there's jobs in the Northwest <br />ports and railroads and timber work
to be had
</p>
<p><i>A Day At The Beach </i>- The Maldives [from <i>Mad Lives</i>]</p>
<p>in which <br />we can imagine a more poetic life for ourselves</p>
<p><i>Ghost </i>- Kaley Lane Eaton [from <i>Cedar</i>]</p>
<p>
there's a downbeat inherency <br />in how this settles down <br />densely
<br />under miles of ocean
</p>
<p>
<i>Christmas Hymn</i> - London Symphony Orchestra [from
<i>Songs for the Holidays</i>]
</p>
<p>this arrangement counts as song abuse</p>
<p>
<i>Song 3</i> - Peterman - [recorded live at The Blue Moon, October 4, 2012]
</p>
<p>proto Dead Bars <br />quite an enjoyable band as itself</p>
<p>
<i>Ted Sabatina</i> - Camarones Orquestra Guitarrística [from <i>Feeexta</i>]
</p>
<p>if you have no words <br />there is less for the censors to latch onto</p>
<p>
<i>7---~--~-~--~~----~-~---~~-~--~(Rojahn Remix)</i> - Lost Chocolate Lab
[from <i>(Previously) Clean</i>]
</p>
<p>
the titles could be considered as horizons <br />distant hills' contours
<br />a code for compass direction
</p>
<p>guitar strum poles <br />for a billowy cloud tent</p>
<p><b>In Session at The Tintinabulary</b></p>
<p>October 1, 2023</p>
<p><i>Sterling</i> - Keith Eisenbrey</p>
<iframe allow="autoplay" frameborder="no" height="20" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1634767653&color=%23ff5500&inverse=false&auto_play=false&show_user=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/keith-eisenbrey" style="color: #cccccc; text-decoration: none;" target="_blank" title="Keith Eisenbrey">Keith Eisenbrey</a> · <a href="https://soundcloud.com/keith-eisenbrey/13-sterling-231001-231001" style="color: #cccccc; text-decoration: none;" target="_blank" title="13 Sterling 231001 [231001]">13 Sterling 231001 [231001]</a></div>
<p>an arrangement of a shape-note tune from an 1846 song book</p>
<p>October 6, 2023</p>
<p><i>Two-Part Invention in G</i> - Gavin Borchert</p>
<p>
three more to go! <br />and they look to be considerably simpler than this one
was
</p>
<p style="text-align: center;"><b>Postscripts</b></p>
<p><b>Drops</b></p>
<p><i>Keith Eisenbrey 4: 1983-1984</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3616259267/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/transparent=true/" style="border: 0; height: 470px; width: 350px;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-4-1983-1984">Keith Eisenbrey 4. 1983-1984 by Keith Eisenbrey</a></iframe>
<p>
I have started sharing collections of my compositions in albums on Bandcamp.
This volume finishes up the music I wrote while I was in New York (state)
under the ostensible supervision of the academic world.
</p>
<p><i>Keith Eisenbrey 3: 1982-1983</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2544871921/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-3-1982-1983">Keith Eisenbrey 3. 1982-1983 by Keith Eisenbrey</a></iframe>
<p>
This set of pieces was written in Red Hook, NY, and Malabar, FL, as I was
beginning to think about thinking about music.
</p>
<p><i>Keith Eisenbrey 2: 1981-1982</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1543052747/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-2-1981-1982">Keith Eisenbrey 2. 1981-1982 by Keith Eisenbrey</a></iframe>
<p>
These are what occupied my time toward at the end of my undergrad days and in
the year before I went east for a while.
</p>
<p><i>Keith Eisenbrey 1: 1979-1981</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1650666157/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-1-1979-1981">Keith Eisenbrey 1. 1979-1981 by Keith Eisenbrey</a></iframe>
<p>
These are the keyboard works I composed while an undergrad at the UW.
</p>
<p>All are free for download.</p>
<p><b>Skaldmud's Doodle Gallery</b></p>
<p>listening journal doodles from 2010</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjKWVgcVLMLyIdaXEJ2yWJeBwdZ7Hj8PWd4z8qWlr3s9B8WfAtA4pwMyXsS8grhKXgzHBTy3mZo0ucmnmj_RaiLpNbndf7AAyipIY6H3HTmZlhlNdh2JwE_nP9vXy739rj-e7-XXiN0SWI2GAkhGPiaGP-PuO71M4c1UsHzyRGYPJWqtC37lL2dYKMrAU/s2737/2023%20scan560.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1250" data-original-width="2737" height="183" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjKWVgcVLMLyIdaXEJ2yWJeBwdZ7Hj8PWd4z8qWlr3s9B8WfAtA4pwMyXsS8grhKXgzHBTy3mZo0ucmnmj_RaiLpNbndf7AAyipIY6H3HTmZlhlNdh2JwE_nP9vXy739rj-e7-XXiN0SWI2GAkhGPiaGP-PuO71M4c1UsHzyRGYPJWqtC37lL2dYKMrAU/w400-h183/2023%20scan560.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhG8Q8dcxBvwxBxWrL0zIpyCMN05zIuSYnj4UA8Oa2LiwWJinKTg4daRSrfd_OylcqrlGHoJDUYOugQMS6nuJhCEolnOW-Nwq74HyYl91QQlrCYb_rmrwQZni7P3hUdJLWGNWRo6Z85Zl3DOUFr5mge5tCkgXMd-7woeh_dUbSADhBkJlVHy2kqnxSnj5M/s2614/2023%20scan561.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1914" data-original-width="2614" height="293" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhG8Q8dcxBvwxBxWrL0zIpyCMN05zIuSYnj4UA8Oa2LiwWJinKTg4daRSrfd_OylcqrlGHoJDUYOugQMS6nuJhCEolnOW-Nwq74HyYl91QQlrCYb_rmrwQZni7P3hUdJLWGNWRo6Z85Zl3DOUFr5mge5tCkgXMd-7woeh_dUbSADhBkJlVHy2kqnxSnj5M/w400-h293/2023%20scan561.jpg" width="400" /></a></div><br /><p><br /></p>
Keith Eisenbreyhttp://www.blogger.com/profile/16399615075612440296noreply@blogger.com0tag:blogger.com,1999:blog-7569166511516520581.post-35663073709357347272023-09-30T10:48:00.002-07:002023-10-01T08:04:47.948-07:00Playlist<p style="text-align: center;"><b></b></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQtOYRQBA7chGFx9BGdcgLxWTELPnkflf3tbhST93zcVpnXrO97_BfHahyphenhyphenLn2_3hs_5wj_SkaZ33IEkC7d6Oa2bpKEkBxqQjoslZCOwsUdbvYRwGpLzuMlN6MrBdWeGSm0WjzT14nB6LIAmCPWX-l8YXMXmqZTwN8aaVPbmwiL_RBkIMeAVp7US6-r3Ns/s4000/230930%20A.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4000" data-original-width="3000" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQtOYRQBA7chGFx9BGdcgLxWTELPnkflf3tbhST93zcVpnXrO97_BfHahyphenhyphenLn2_3hs_5wj_SkaZ33IEkC7d6Oa2bpKEkBxqQjoslZCOwsUdbvYRwGpLzuMlN6MrBdWeGSm0WjzT14nB6LIAmCPWX-l8YXMXmqZTwN8aaVPbmwiL_RBkIMeAVp7US6-r3Ns/w300-h400/230930%20A.jpg" width="300" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Paradise Inn, Mt. Rainier National Park</td></tr></tbody></table><b>Preface</b><p></p>
<p>
"'There is a certain island known as Syria --<br />you may have heard of it
--<br />north of Ortygiê, at the turning points of the sun,<br />not
particularly populous, but a good place --<br />good for herds, good for
flocks;<br />plenty of vineyards, plenty of wheat.<br />Famine never comes to
that country<br />nor does any hateful malady<br />that ordinarily befalls
wretched mortals.<br />But when a generation of persons grows old,<br />Apollo
comes along with his silver bow,<br />and Artemis comes with her kindly
arrows,<br />and they set upon them all and slay them all.'"
</p>
<p>Homer - from "The Odyssey", translated by Charles Stein </p>
<p style="text-align: center;"><b>Texts</b></p>
<p><b>Live</b></p>
<p>September 29, 2023</p>
<p>
<b><i>Rice Blood Sugar - Leanna Li Keith<br />Chapel Performance Space, Good
Shepherd Center Seattle<br />Leanna Li Keith, Jenne Hsien Patrick, Kaley
Lane Eaton, Alino To, Heather Bentley, Omar Willey</i></b>
</p>
<p><i>words by Omar Willey</i></p>
<p>against language <br />a diatribe or tribunal</p>
<p>
<i>music by Leanna Li Keith<br />after words by Jenne Hsien Patrick</i>
</p>
<p>
concerning <br />the personal loss of a language <br />and its eclipse
<br />or occultation <br />or effacement <br />or supersedure <br />by a
louder lingo
</p>
<p>swimming fish <br />skimming bugs <br />scattered sky </p>
<p>glide from shadow <br />a bridge <br />a path </p>
<p>stop to listen </p>
<p>narrow passage <br />blocked <br />lost <br />enclosed </p>
<p>draw the music as a stone path </p>
<p>explain confounding barriers <br />cross-lingual melody levitation</p>
<p>spell dance <br />fly away</p>
<p>{the little fold-out program notes are awesome!}</p>
<p><b></b></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhELf3hgdeb2EEDNoaS4ktBfGfHP02CCWqr14BvzfXp2_DCJw9Mt-2dkxGvsp0UDwm1c4H6KCiHNkg90VD7SQ-QLz33lLh_c-c6Ra7svtLxG0-NSYZdOUkaUKJZ2sGwNGC7OcwnSUg7nDfhBfzajeSTqXyLcN9fQgNLZkwwghrDcJeqmNbOKO1FVhp7ppY/s4000/230930%20B.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4000" data-original-width="3000" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhELf3hgdeb2EEDNoaS4ktBfGfHP02CCWqr14BvzfXp2_DCJw9Mt-2dkxGvsp0UDwm1c4H6KCiHNkg90VD7SQ-QLz33lLh_c-c6Ra7svtLxG0-NSYZdOUkaUKJZ2sGwNGC7OcwnSUg7nDfhBfzajeSTqXyLcN9fQgNLZkwwghrDcJeqmNbOKO1FVhp7ppY/w300-h400/230930%20B.jpg" width="300" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Paradise Inn. Mt. Rainier National Park</td></tr></tbody></table><b>Recorded</b><p></p>
<p>September 23, 2023</p>
<p>
<i>Mazurka in B-flat Major, KKIVb/1</i> - Frédéric Chopin - Garrick Ohlsson
</p>
<p>schematic</p>
<p>
<i>Fantasiestück in D-flat Major, Op. 12 #3 "Warum?" </i>- Robert
Schumann - Eric Le Sage
</p>
<p>
it doesn't just begin in media res <br />it never moves from there <br />we
leave it <br />as it remains
</p>
<p><i>Rock of Ages</i> - Charles Ives - Mary Ann Hart, Dennis Helmrich</p>
<p>nicely transformed <br />by simple means</p>
<p><i>Fourth Sonata</i> - Lockrem Johnson - Lockrem Johnson</p>
<p>
1 <br />a wiggle that wanders <br />and the garden it buzzes about
<br />attempting escape <br />but bound firm
</p>
<p>2 <br />night hymns <br />restless attention </p>
<p>
3 <br />small stakes music <br />no ramparts stormed <br />no daring feats
<br />accretion of lightings
</p>
<p>
<i>Humph</i> - Thelonious Monk [from <i>The Complete Blue Note Recordings</i>]
</p>
<p>
Thelonious playing mostly as part of the rhythm section <br />but gets a short
solo
</p>
<p>
<i>Don't Let Me Love You </i>- Sarah Vaughan [from <i>In A Romantic Mood</i>]
</p>
<p>the arrangement gives her lots of room <br />which she fills without fail</p>
<p><i>Touch Me</i> - Willie Nelson [from <i>...And Then I Wrote</i>]</p>
<p>the world's bluest man</p>
<p><i>Well </i>- Little Richard [from <i>The Explosive Little Richard</i>]</p>
<p>
cranking the volume <br />on a completely typical song <br />it's about how he
puts it across <br />while it itself <br />disappears <br />behind the
delivery
</p>
<p>
<i></i></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8jz3dy1qgZK_YkIRxcQO7l9bYHN2pwSGkXm5KB8C1k04LHRUNXqQQP6NWj4mXHKTd5XkkfHLZBaLd4Hms-jkyKO_gwuKwDy-Y6LkDpIscsvlxSxiIbxeKmE47E1PQPWZ5a0SQ7CPU16QvCIaeRypcnOA0kJP2ogcNj3iKAG-JMY3783dePUeIGWabmvQ/s4000/230930%20G.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4000" data-original-width="3000" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8jz3dy1qgZK_YkIRxcQO7l9bYHN2pwSGkXm5KB8C1k04LHRUNXqQQP6NWj4mXHKTd5XkkfHLZBaLd4Hms-jkyKO_gwuKwDy-Y6LkDpIscsvlxSxiIbxeKmE47E1PQPWZ5a0SQ7CPU16QvCIaeRypcnOA0kJP2ogcNj3iKAG-JMY3783dePUeIGWabmvQ/w300-h400/230930%20G.jpg" width="300" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Paradise, Mt. Rainier National Park</td></tr></tbody></table><i>Lift Every Voice and Sing</i> - Ray Charles [from
<i>A Message From the People</i>]
<p></p>
<p>
weaves the rhythmic oddities of the original hymn <br />(in the hymnbook
version) <br />into a new garment <br />do not try to sing along with Ray kids
<br />you'll hurt yourself
</p>
<p><i>Time Alone</i> - Carole King [from <i>Simple Things</i>]</p>
<p>
the chords hold still at the beginnings of the stanzas <br />lift themselves
to fall back to the opening <br />sometimes where we started <br />has been
shifted up a step
</p>
<p><i>They Took My Hand</i> - Nina Simone [from <i>Fodder on My Wings</i>]</p>
<p>a tag song at the end of the album</p>
<p>
<i>By The Side</i> - Israel Philharmonic, Dov Seltzer, Itzhak Perlman [from
<i>Tradition</i>]
</p>
<p>
what remains <br />of a sentimentally stylized song <br />if one has no
attachment to the tune in question <br />a tune and a stylization
</p>
<p>
<i>The Little Black Bull </i>- Mike, Peggy, and Penny Seeger [from
<i>Animal Folk Songs For Children</i>]
</p>
<p>
the legend of what happened then <br />when it came down the meadow <br />with
lots of pawing at dirt
</p>
<p>
<i>Satin Summer Nights</i> - Paul Simon [from <i>Songs from the Capeman</i>]
</p>
<p>an old sound <br />communal singing <br />sleeping on the roof</p>
<p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKsa-ExdaXPYL06sNRZSemLncVTBGN1vouEAcPb0EEjdTcJKBneMcfwNSf3L4GwdzuMtdFv_KBk06fIyK5iHNexx9LCN1M5bzSwuO2OWs06XDgAdx6NMBWIRgksUyEhIWL2FmmlqIojOyXJBWrzc_zeMwBt5aGiJtCrAU5dORKLrK4MyJFnPbKd5wzEvc/s4000/230930%20C.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4000" data-original-width="3000" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKsa-ExdaXPYL06sNRZSemLncVTBGN1vouEAcPb0EEjdTcJKBneMcfwNSf3L4GwdzuMtdFv_KBk06fIyK5iHNexx9LCN1M5bzSwuO2OWs06XDgAdx6NMBWIRgksUyEhIWL2FmmlqIojOyXJBWrzc_zeMwBt5aGiJtCrAU5dORKLrK4MyJFnPbKd5wzEvc/w300-h400/230930%20C.jpg" width="300" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Paradise Inn, Mt. Rainier National Park</td></tr></tbody></table>September 24, 2023<p></p>
<p>
<i>Let's Be Friends (Skin to Skin)</i> - Bruce Springsteen [from
<i>The Rising</i>]
</p>
<p>
late entry <br />in the gather ye rosebuds while ye may tradition
<br />Herrick lives on
</p>
<p>
<i>Listen</i> - Jarrad Powell - Jessica Kenney [from <i>Stonehouse Songs</i>]
</p>
<p>
a low voice speaking <br />and a high voice singing <br />same words
<br />same rhythm of start time points <br />low voice <br />hangs on the sss
of lisssten <br />high voice <br />hangs on the iii of liiisten
</p>
<p>
<i>Song 4</i> - The Tailenders [recorded live at The High Dive, Seattle, April
6, 2012]
</p>
<p>
melody <br />up down up - <br />up down down - <br />the stanza accounting for
itself
</p>
<p>
<i>Neon Blur</i> - Steve Layton & Sound-In [from <i>Further Journey</i>]
</p>
<p>
outside the windows <br />as we slither through the lit up streets <br />one
like another <br />like another <br />like one <br />like any other one
<br />a twisted grid <br />sharpened<br />for the slow skeletonization of the
unarmored
</p>
<p><i>Piano 4</i> - Sascia Pellegrini [from <i>Five Piano Fantasies</i>]</p>
<p>transpires in three pitch regions</p>
<p>
<i>Caprice en forme de Valse in A-flat Major, Op. 2 # 7</i> - Clara Schumann -
Susanne Grützmann
</p>
<p>
that this music <br />is in the voice of a young woman <br />is a biographical
factoid
</p>
<p>
at the time <br />it was dogmatic <br />that no young woman's voice was worth
considering <br />therefore <br />this music was less worthy <br />than it
would be <br />but for the said biographical factoid
</p>
<p>
it had nothing to do with the music itself <br />nor in how transparently it
sang in that voice
</p>
<p><i>Hound Dog</i> - Jerry Lee Lewis [from <i>Rare and Rockin'</i>]</p>
<p>
the ears you need <br />are in the motions of your center of gravity
<br />around your center of depravity<br />(tarzan make little joke there)
</p>
<p><i></i></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSZkSS4NmsrUv94r7diKzrKYoiRWYDssbQ-DjTEerU_fZvpqlwwQnB4GqRlTEO6xJV9nsRIylNzgWemWUecRwSs9zMdanuZATeJwJ6tI4_gtAHP4dhdtBd4UwUu0J8XVoeGqj_zJIAeZiyId3jW2-PxQIBLV00_kApABm-Q1ujFS6_5cWdfXzPnl3PagY/s4000/230930%20H.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3000" data-original-width="4000" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSZkSS4NmsrUv94r7diKzrKYoiRWYDssbQ-DjTEerU_fZvpqlwwQnB4GqRlTEO6xJV9nsRIylNzgWemWUecRwSs9zMdanuZATeJwJ6tI4_gtAHP4dhdtBd4UwUu0J8XVoeGqj_zJIAeZiyId3jW2-PxQIBLV00_kApABm-Q1ujFS6_5cWdfXzPnl3PagY/w400-h300/230930%20H.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Paradise, Mt. Rainier National Park</td></tr></tbody></table><i>Rock, Salt and Nails</i> - Bob Dylan [from <i>A Tree With Roots</i>]<p></p>
<p>
a band is partly the pleasure of playing together <br />which pleasure
<br />is independent of the pleasure of playing for others <br />or for their
entertainment
</p>
<p><i>Three Time Loser</i> - Bonnie Raitt [from <i>Sweet Forgiveness</i>]</p>
<p>
see Jerry Lee above <br />this one has a more vertical vibration <br />any
thing <br />that is on an off beat <br />must also <br />be off an on beat
</p>
<p>
<i>What Is the Name of That Song</i> - Ornette Coleman [from
<i>Of Human Feelings</i>]
</p>
<p>
this one is up around the shoulders <br />perhaps in the angle of set of jaw
as well
</p>
<p>
<i>Hungarian Rhapsody #2</i> - Franz Liszt [from <i>100 Greatest Classics</i>]
</p>
<p>
perhaps not his deepest composition <br />but it makes me think about them
<br />and it's a more interesting work <br />than I think it is often given
credit for <br />a magician with a new trick every few bars
</p>
<p><i>5:15 The Angels Have Gone</i> - David Bowie [from <i>Heathen</i>]</p>
<p>
this one has a presence below the floor <br />I'm changing tracks <br />I'm
changing time
</p>
<p>fancy singing back there David</p>
<p><i>Until I Die</i> - Brandi Carlile [from <i>The Story</i>]</p>
<p>the production is faultless and effective</p>
<p>
<i>Song 4 </i>- Youth Rescue Mission [recorded live at The High Dive, April 6,
2012]
</p>
<p>some nice blood harmony in this one <br />what a view of the mountain</p>
<p><i>The Shed </i>- The Deadrones [from <i>We Are Watching</i>]</p>
<p>
this one's at midriff <br />but is unmoving <br />self heroifying <br />zoned
out
</p>
<p>
<i>I've Got That Feeling</i> - Robin Holcomb [from <i>One Way or Another</i>]
</p>
<p>colorful harmony <br />plainly laid out <br />chosen with great care</p>
<p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOKEUMSW6NZ5GoB7quuh2CEmPSDpIge_I8wHP7VhcBSbqnsac_0TSTlFoKmLG0veYUpGZGn5g8AdGZdoVE9WuK0JLlyBsTvMD-nutWZj79UbBRu3TwBJ3BuSUAy9cbdhuKZAxFZCf9ocQCTHd6OZ9L2vypAhPEAGHnmR5gBYAMshcVDp1D4FHVfLQNFH0/s4000/230930%20D.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3000" data-original-width="4000" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOKEUMSW6NZ5GoB7quuh2CEmPSDpIge_I8wHP7VhcBSbqnsac_0TSTlFoKmLG0veYUpGZGn5g8AdGZdoVE9WuK0JLlyBsTvMD-nutWZj79UbBRu3TwBJ3BuSUAy9cbdhuKZAxFZCf9ocQCTHd6OZ9L2vypAhPEAGHnmR5gBYAMshcVDp1D4FHVfLQNFH0/w400-h300/230930%20D.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Paradise Inn, Mt. Rainier National Park</td></tr></tbody></table>September 25, 2023<p></p>
<p>
<i>Wrap Your Troubles In Dreams</i> - Bill Evans [from
<i>California, Here I Come</i>]
</p>
<p>
chopinesquely winding <br />a right hand chromatic descent <br />into a
twisted figuration <br />trading breaks <br />with the drummer
</p>
<p><i>It </i>- Prince [from <i>Sign O' The Times</i>]</p>
<p>distanced <br />subdued</p>
<p><i>Soar</i> - Christina Aguilera [from <i>Stripped</i>]</p>
<p>a life-style commercial <br />for being a success <br />just like me</p>
<p><i>I Wonder Where You Are</i> - Back Burner [from <i>Simmer On</i>]</p>
<p>
a country music trope <br />lonely <br />left behind <br />dressed up
<br />with an educated accent <br />and an acoustic string band
</p>
<p>
<i>Song 3</i> - Curtains for You [recorded live at The High Dive, April 6,
2012]
</p>
<p>shiny cabaret rock</p>
<p><i>Limbo's Daughter</i> - Tomten [from <i>Cremation Songs</i>]</p>
<p>the lines stay within the chord colors <br />polite</p>
<p>
<i>Snow On The Beach (feat. Lana Del Rey)</i> - Taylor Swift [from
<i>Midnights</i>]
</p>
<p>
opens like a cut on a Christmas album <br />crowding words <br />into whatever
space is left after the non legato verse <br />locution <br />each word on its
own snowflake
</p>
<p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2jjLlvZ55atnlmr8ss8jGNoON-Dzhp3csY7eD1zSIFu3-AaL8OF6C59SBnMmdZteQd84H8CiEatOmxUav78YWpKRnok5C8Ie_1kgtFoeQxgONysPRaVtkm8YUk-gubsK30EpKB8TQRx4tUwfydBuS3oELD5EUqO0sB7oUZhB92BLmNuPK5Jaerc-ahOY/s4000/230930%20E.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3000" data-original-width="4000" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2jjLlvZ55atnlmr8ss8jGNoON-Dzhp3csY7eD1zSIFu3-AaL8OF6C59SBnMmdZteQd84H8CiEatOmxUav78YWpKRnok5C8Ie_1kgtFoeQxgONysPRaVtkm8YUk-gubsK30EpKB8TQRx4tUwfydBuS3oELD5EUqO0sB7oUZhB92BLmNuPK5Jaerc-ahOY/w400-h300/230930%20E.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Paradise, Mt. Rainier National Park</td></tr></tbody></table>September 28, 2023<p></p>
<p>
<i>Good Christian Men, Rejoice</i> - The Philadelphia Brass Ensemble [from
<i>Festival of Carols in Brass</i>]
</p>
<p>homophonic part-writing <br />with clever references to linearity</p>
<p><i>Ave Maria</i> - Franz Schubert [from <i>100 Greatest Classics</i>]</p>
<p>
any segment of a melody <br />moves from A to B <br />via ornamented steps<br /> A
can be the same ptich as B <br />but some transformation occurs <br />to
provide a motion <br />often by means of where that pitch sits <br />within
the underlying harmonic sonority <br />as it moves along <br />transforming
pitch <br />as it moves along
</p>
<p><i>Check Yo Self</i> - Ice Cube [from <i>The Predator</i>]</p>
<p>
thick sticky beat <br />with a 60s vibe to it <br />loves to say <br />you
could have had a V-8 <br />rhythmic texture of speaking <br />as crucial an
element as the rhymes
</p>
<p>
<i>Heroin and Honey</i> - Robin Jackson and the Caravan [from
<i>Dust Diaries</i>]
</p>
<p>suburban sentimental singer <br />sings as the I of the song's text</p>
<p><i></i></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT0ZvbFW_IxQBuZk8DLNXfVn_47-fyuRJ-XAH_4MIkSoMH69DPwWUBZ7I0hB9ZxS0oJxh5NYqnaPrellBc3tAvBkGx0yxyJveLixro2nYVOzJO1xea-GYdk04fWqzjGldUv-xmyIzeVH_MDRfIEeqXMTifUtnkYMPl1tdZcQpjhNylfTJC1DflsyS3xLE/s4000/230930%20I.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3000" data-original-width="4000" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT0ZvbFW_IxQBuZk8DLNXfVn_47-fyuRJ-XAH_4MIkSoMH69DPwWUBZ7I0hB9ZxS0oJxh5NYqnaPrellBc3tAvBkGx0yxyJveLixro2nYVOzJO1xea-GYdk04fWqzjGldUv-xmyIzeVH_MDRfIEeqXMTifUtnkYMPl1tdZcQpjhNylfTJC1DflsyS3xLE/w400-h300/230930%20I.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Paradise, Mt. Rainier National Park</td></tr></tbody></table><i>AmonMonita </i>- Head for the Hills [from <i>Robber's Roost</i>]<p></p>
<p>arty <br />in the way <br />arty movie music <br />is arty</p>
<p>friendly <br />the way <br />small town friendly sees itself</p>
<p>
none of which negates the skilled musicianship in play <br />though it
compromises <br />much hope of transcendence
</p>
<p><i>Seven Months</i> - Red Ribbon [from <i>Freaks Only</i>]</p>
<p>
sounds like it was recorded in Sound Lab at EMP <br />not a bad thing
<br />that small room <br />best we can do balance <br />glorious DIY
</p>
<p><i>Johnny Law</i> - Robber's Roost [from <i>Rage & Reason</i>]</p>
<p>
pulls back <br />to an ironic remove from the song's text's protagonist
<br />I had a friend <br />an act of solidarity <br />creation of a "we".
</p>
<p><i>Early Morning Cold Taxi</i> - The Who [from <i>The Who Sell Out</i>]</p>
<p>self conscious relation to its own poeticisms</p>
<p><i></i></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkpi8R-rGRxAKK201lHZ-55spYFOQAq56R26kLB7Y9ss_7zBwDr0TGHcueYNAVyGDPstE64vyl2nU3H-uUXgXlkWVcrNIZwp_lFWtmFj-BZMvhqiPKzhUqTz6xhuk75g6wer4ojRQHIRnM7gsCNORFe-2a4QdjqSS9D6C4Lp6EByCH3fbgAEQGZXhh9uA/s4000/230930%20J.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4000" data-original-width="3000" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkpi8R-rGRxAKK201lHZ-55spYFOQAq56R26kLB7Y9ss_7zBwDr0TGHcueYNAVyGDPstE64vyl2nU3H-uUXgXlkWVcrNIZwp_lFWtmFj-BZMvhqiPKzhUqTz6xhuk75g6wer4ojRQHIRnM7gsCNORFe-2a4QdjqSS9D6C4Lp6EByCH3fbgAEQGZXhh9uA/w300-h400/230930%20J.jpg" width="300" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Paradise, Mt. Rainier National Park</td></tr></tbody></table><i>Left & Right</i> - X [from <i>See How We Are</i>]<p></p>
<p>
the relative segregation of tracks in the recording <br />(not egregious)
<br />allows analysis <br />of how the individuals fit <br />within the
prevailing homogeneity
</p>
<p>
<i>Somewhere In Time</i> - Glenn Tate [from Some of
<i>My Favorite Love Songs</i>]
</p>
<p>
this music is typical of its demographic <br />an empty statement <br />since
what is typical <br />is defined by the parameters of the demographic in
question
</p>
<p>
how accurate could our preconceptions possibly be? <br />strictly on a
gamblers' odds?
</p>
<p><i>Tulane</i> - The Tripwires [from <i>Makes You Look Around</i>]</p>
<p>
the intro merges into city traffic <br />will we re-emerge <br />and does it
again
</p>
<p>
song writing <br />inventing a language <br />that can only be spoken within
that song
</p>
<p>
<i>Com A Água no Pescoço</i> - Camarones Orquestra Guitaristica [from
<i>Live in Natal</i>]
</p>
<p>
the music recording industry's hegemony <br />does have the benefit of
enabling a free transference of musicianship across national borders
<br />drawback <br />American music is so loud one must be even louder than
that to be noticed
</p>
<p>
<i>Problems</i> - Alone In Dead Bars [recorded live at The Victory Lounge,
Seattle, July 15, 2017]
</p>
<p>the very picture of punk dedication</p>
<p>
<i>Kevin's Song</i> - Mikey and Matty [from
<i>And It Came to Pass/Not To Stay</i>]
</p>
<p>
songs across the hegemony <br />could be sorted <br />in terms of their
textual person <br />(first third omniscient et cetera) <br />I songs <br />Us
songs <br />You songs <br />Them songs <br />mixed songs <br />of various
<br />measurable <br />nominal <br />complexity of persons
</p>
<p>
<i></i></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWuyqmY_1PKWUjGC28xFpAEds85KGx-k1OcWGWYXMDmYaW5olkRV9gABv38e18tMbF6IIUjZFCa0asBOtGd_E24fjFELOXbdC3QyU7w05hZma58HoVd0FOYgaKaXz7ULFunnvyWbgOWH-FwElWUXF97AVVInI5Jdwcf1ra1sLgzwVfiPqsoFE17DA21BE/s4000/230930%20K.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4000" data-original-width="3000" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWuyqmY_1PKWUjGC28xFpAEds85KGx-k1OcWGWYXMDmYaW5olkRV9gABv38e18tMbF6IIUjZFCa0asBOtGd_E24fjFELOXbdC3QyU7w05hZma58HoVd0FOYgaKaXz7ULFunnvyWbgOWH-FwElWUXF97AVVInI5Jdwcf1ra1sLgzwVfiPqsoFE17DA21BE/w300-h400/230930%20K.jpg" width="300" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Paradise, Mt. Rainier National Park</td></tr></tbody></table><i>Chapter 24</i> - Pink Floyd [from
<i>The Piper at The Gates of Dawn (digital)</i>]
<p></p>
<p>
we will now have a reading from scripture <br />all change is constant
<br />and cyclical <br />but <br />how many stages of cyclical cycles <br />and
<br />is there a whimsy at work <br />in its arrangement
</p>
<p>
<i>Symphony 8 "Unfinished", 1st Movement</i> - Franz Schubert [from
<i>100 Greatest Classics</i>]
</p>
<p>
spookiest opening ever <br />the entirety <br />is floating over the abyss
<br />footing free <br />unattached <br />not a drama about conquering the
abyss <br />but <br />a still photograph <br />of abiding it
</p>
<p>a region of everywhere</p>
<p>
<i>(Samish) Lullaby </i>- Johnny Moses [from
<i>When The Humans Thought They Were People</i>]
</p>
<p>melody hangs <br />on certain pitch platforms</p>
<p>
<i>Up On the Desktop</i> - The Capitol Steps [from <i>O Christmas Bush</i>]
</p>
<p>shopping in the new world</p>
<p>
<i>You Should Feel Ashamed</i> - Tyrannosaurus Grace [from
<i>Much More Than A Story</i>]
</p>
<p>
a polemic in a strange argument to still be having <br />tries to convince by
accusation
</p>
<p>
<i>Song 4 </i>- Arbor Towers [recorded live at The Victory Lounge, Seattle,
July 15, 2017]
</p>
<p>
a humble <br />honest <br />act <br />a softened high baritone <br />almost a
tenor <br />sometimes
</p>
<p>another bar band curated talent show</p>
<p>
<i>6-------~--~~-~-~~-~--~~~~~~~--(Rojahn Remix)</i> - Lost Chocolate Lab
[from <i>(Previously) Clean</i>]
</p>
<p>
can a thought think about its own thought <br />without translation services
provided by a dis-interested third party?
</p>
<p>
<i>Being For The Benefit of Mr. Kite! (takes 1 and 2) </i>- The Beatles
[from <i>Anthology</i>]
</p>
<p>abortive starts</p>
<p>
<i>Prelude to the Afternoon of a Faun </i>- Claude Debussy [from
<i>100 Greatest Classics</i>]
</p>
<p>
were we to emerge fully formed <br />out of our own imaginations
<br />innocent of all but carnal lust
</p>
<p>
a pitch world <br />saturated with tonal homogeneities <br />and
voluptuousness
</p>
<p><i></i></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg38iH8GOv2Qp210bAoB3u9xTSsOA9jSADUqzwEPHqKzvdQjEkNde_gWjzj8omXhPDdCS8yWj2c6H7h45Ji_xVa1j4Cr6ZZgFKcMVNanwSDKLEXYgZzLrjqeqo4DhSCZYWdhIiaWG-dQmow0y7frvQySOO8zioCt5SByPm1XbOy5c30Syh3aMYVSVOuIq0/s4000/230930%20L.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4000" data-original-width="3000" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg38iH8GOv2Qp210bAoB3u9xTSsOA9jSADUqzwEPHqKzvdQjEkNde_gWjzj8omXhPDdCS8yWj2c6H7h45Ji_xVa1j4Cr6ZZgFKcMVNanwSDKLEXYgZzLrjqeqo4DhSCZYWdhIiaWG-dQmow0y7frvQySOO8zioCt5SByPm1XbOy5c30Syh3aMYVSVOuIq0/w300-h400/230930%20L.jpg" width="300" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Paradise, Mt. Rainier National Park</td></tr></tbody></table><i>Rocky Counterpoint</i> - Dubious Duo [from <i>Children of Siberia</i>]<p></p>
<p>
they turn on their own fast-forward <br />without benefit of loops <br />or
tape speed limitations
</p>
<p><i>Muted Terrorism</i> - Goat [from <i>Live at Sonarchy</i>]</p>
<p>
finding a mode of speaking <br />in the language of squeaky electronic honks
<br />oboid <br />doubly reeded
</p>
<p><i>Straight Line</i> - Karin Blaine [from <i>Modern Day Living</i>]</p>
<p>
war stories <br />sharing scars in the diner booth <br />lines jammed into
poem shape
</p>
<p><i>Somehow, They'll Know</i> - Anxious Arms [from <i>Never Was</i>]</p>
<p>
an EP <br />is the length of a short dive-bar set <br />and can be designed
with that in mind <br />how best to say it all <br />in five or six songs
<br />more would be too much
</p>
<p>serving size</p>
<p>
<i>Song 5 "Tiger Teeth"</i> - Star Anna [streamed from The Fiddler's Inn,
March 7, 2022]
</p>
<p>greetings to Forest the Dog <br />who is jingly jangly when he is dancing</p>
<p>
whom does the dive-bar circuit serve? <br />what is its social purpose?
<br />to birth national stars? <br />to break into a business? <br />to get
past gatekeepers?
</p>
<p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKHesPb5MfHJTbbAGWpHPRAhS9igaDMR6EQaKKdEuPHh3i2m6CDDGqAuJej85FTGsFxIajVPXGM0ITi-XGyX_jzu331g6NatwiDviLMOXMoOtrRu8v92pckqmy0iEnOEQxqKYU5g2gWSJnk3d1KjA9p7S325UYSKeGP41ILfGQuQh8ao-iR1VvSbahCtk/s4000/230930%20F.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4000" data-original-width="3000" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKHesPb5MfHJTbbAGWpHPRAhS9igaDMR6EQaKKdEuPHh3i2m6CDDGqAuJej85FTGsFxIajVPXGM0ITi-XGyX_jzu331g6NatwiDviLMOXMoOtrRu8v92pckqmy0iEnOEQxqKYU5g2gWSJnk3d1KjA9p7S325UYSKeGP41ILfGQuQh8ao-iR1VvSbahCtk/w300-h400/230930%20F.jpg" width="300" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Ptarmigan tracks, et cetera<br />Mt. Rainier National Park</td></tr></tbody></table>September 29, 2023<p></p>
<p><i>Death of Me</i> - Ramones [from <i>Halfway to Sanity</i>]</p>
<p>composed in squares</p>
<p><i>Subtle Invitation</i> - Mariah Carey [from <i>Charmbracelet</i>]</p>
<p>
makes her introductions in the introduction <br />warms up the sexy voice
<br />chorus <br />re-arrival <br />modalities of delivery
</p>
<p><i>Decibel Festival</i> - Seattle Phonographer's Union</p>
<p>
assembly of sound collectors sharing sounds <br />recognizable for what they
were <br />collectively <br />with the faith <br />that their mixing together
<br />will be co-effective <br />and inter-effective
</p>
<p><i>Fallen</i> - Specyphi</p>
<p>
their quiet cool down number <br />trying to sound seasoned <br />clumsy
movements from segment to segment
</p>
<p><i>Ellen</i> - Porn Bloopers [from <i>Blooper Reel</i>]</p>
<p>vocals are an adhesion <br />on the big guitar sound </p>
<p>plaque</p>
<p>
<i>Part V</i> - Alex Anthony Faide [from <i>Particles of the Infinite</i>]
</p>
<p>
a still pattern <br />being pushed off its balance <br />adds parts to restack
itself <br />spacy coda of pretty synth chords
</p>
<p><b>In Session at The Tintinabulary</b></p>
<p>September 24, 2023</p>
<p><i>Missionary Chant</i> - Keith Eisenbrey</p>
<iframe allow="autoplay" frameborder="no" height="20" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1629381522&color=%23ff5500&inverse=false&auto_play=false&show_user=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/keith-eisenbrey" style="color: #cccccc; text-decoration: none;" target="_blank" title="Keith Eisenbrey">Keith Eisenbrey</a> · <a href="https://soundcloud.com/keith-eisenbrey/12-missionary-chant-230924-230924" style="color: #cccccc; text-decoration: none;" target="_blank" title="12 Missionary Chant 230924 [230924]">12 Missionary Chant 230924 [230924]</a></div>
<p>
This weeks arrangement of a tune from an 1846 shape-note song book. The book
is arranged by meter (in the hymn-book sense). The first bunch (and it's a big
bunch) is "LM" or "Long Meter" or "8+8+8+8" id est each line of the text being
set has eight syllables. For the most part any text of that structure could be
sung to any tune in LM. An hour's compositional pleasure can be got by setting
such tunes with accompanying lines that help them along with lyrical flow, or
that inflict whatever else might suit ones fancy.
</p>
<p>September 25, 2023</p>
<p>
<i>Banned Rehearsal 1084</i> - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt
</p>
<iframe allow="autoplay" frameborder="no" height="20" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1629382767&color=%23ff5500&inverse=false&auto_play=false&show_user=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/keith-eisenbrey" style="color: #cccccc; text-decoration: none;" target="_blank" title="Keith Eisenbrey">Keith Eisenbrey</a> · <a href="https://soundcloud.com/keith-eisenbrey/banned-rehearsal-1084-230925" style="color: #cccccc; text-decoration: none;" target="_blank" title="Banned Rehearsal 1084 230925">Banned Rehearsal 1084 230925</a></div>
<p>We're back in the studio for the long dark. All the toys at our service.</p>
<p style="text-align: center;"><b>Postscripts</b></p>
<p><b>Drops</b></p>
<p><i>Keith Eisenbrey 3: 1982-1983</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2544871921/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/transparent=true/" style="border: 0; height: 470px; width: 350px;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-3-1982-1983">Keith Eisenbrey 3. 1982-1983 by Keith Eisenbrey</a></iframe><p>I have started sharing collections of my compositions in albums on Bandcamp. This set of pieces was written in Red Hook, NY, and Malabar, FL, as I was beginning to think about thinking about music.</p><p><i>Keith Eisenbrey 2: 1981-1982</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1543052747/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-2-1981-1982">Keith Eisenbrey 2. 1981-1982 by Keith Eisenbrey</a></iframe>
<p>These are what occupied my time toward at the end of my undergrad days and in the year before I went east for a while.</p><p><i>Keith Eisenbrey 1: 1979-1981</i></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1650666157/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="https://keitheisenbrey.bandcamp.com/album/keith-eisenbrey-1-1979-1981">Keith Eisenbrey 1. 1979-1981 by Keith Eisenbrey</a></iframe>
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These are the keyboard works I composed while an undergrad at the UW.
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<p>All are free for download.</p>
<p><b>Skaldmud's Doodle Gallery</b></p>
<p>listening journal doodles from 2009</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYLSVOZbCVHVM0MntNVHMC7Q3b_HEYqc3zPooeXh8_kh_fNHbOiSt3pHh2_VzeE0ux0tnqt6JHT2pDmyBbicoAcovKenjFGLTUx73zsNhtYPfQ59L2ALxgIGFlLQsN8EmIxIhtXxXqd117pt3-_cFkmT2jQgUdbjdzdM-DufUYCCQOvzzZmA1pmQ_3z04/s2687/2023%20scan557.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2540" data-original-width="2687" height="378" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYLSVOZbCVHVM0MntNVHMC7Q3b_HEYqc3zPooeXh8_kh_fNHbOiSt3pHh2_VzeE0ux0tnqt6JHT2pDmyBbicoAcovKenjFGLTUx73zsNhtYPfQ59L2ALxgIGFlLQsN8EmIxIhtXxXqd117pt3-_cFkmT2jQgUdbjdzdM-DufUYCCQOvzzZmA1pmQ_3z04/w400-h378/2023%20scan557.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN88dho7-xVKGD6uSCiGO09t58EkKYb6sIY4glwK3TK6H0qYhrNyTboi8DgMjYBrR385N2gh7byYujeIEZOR7iUGGQaFhB2cVoJLRb-2aV8Ro3tYoseUq80bxAJgNdl1fUuWOrdXkZA5LB3MwmjqKPgJZijbS-mTs4H3mAMjRJHDGVbIFaZKVFG-vMwq0/s2702/2023%20scan558.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2505" data-original-width="2702" height="371" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN88dho7-xVKGD6uSCiGO09t58EkKYb6sIY4glwK3TK6H0qYhrNyTboi8DgMjYBrR385N2gh7byYujeIEZOR7iUGGQaFhB2cVoJLRb-2aV8Ro3tYoseUq80bxAJgNdl1fUuWOrdXkZA5LB3MwmjqKPgJZijbS-mTs4H3mAMjRJHDGVbIFaZKVFG-vMwq0/w400-h371/2023%20scan558.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj48vvvV9Hnp68blFy3FLibhhjvvEv7zjMaVSL24AQWsT9MR1ns-sPiy1CB_S_U2z0RFEE8db0UoWw5YFSLBmBZtgzpe0utEvOgpjUGYVsTIJPqcalJkyjNOYWlJnHxb9XRvLOHXsiZQmXZmr8haF6USKlw__Kixpq6Plqe7gPALZsBvX8tTANOaFbBhIU/s2737/2023%20scan559.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1058" data-original-width="2737" height="155" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj48vvvV9Hnp68blFy3FLibhhjvvEv7zjMaVSL24AQWsT9MR1ns-sPiy1CB_S_U2z0RFEE8db0UoWw5YFSLBmBZtgzpe0utEvOgpjUGYVsTIJPqcalJkyjNOYWlJnHxb9XRvLOHXsiZQmXZmr8haF6USKlw__Kixpq6Plqe7gPALZsBvX8tTANOaFbBhIU/w400-h155/2023%20scan559.jpg" width="400" /></a></div><br /><p><br /></p>
Keith Eisenbreyhttp://www.blogger.com/profile/16399615075612440296noreply@blogger.com0