Saturday, October 12, 2024

Playlist

Preface

"Sir,
I beg to inform you that a poor man was blown to atoms by the explosion of the Powder Mills on Hounslow Heath. His affectionate wife, who happened to be passing at the time, carefully picked up the fragments, and placed them together; and, by administering a dose of the Universal Medicine, he was able to walk home, and eat a hearty dinner of bacon and cabbage.
If any person should doubt the truth of the above statement, I beg you will refer them to me, when I will fully satisfy all inquiries. I am easily found out, - as everybody knows me.
Your obedient Servant, Giles Gammon

No. 1, Blarneygig Place,
Salisbury Plain,
next door to Stonehenge.

P.S. - I forgot to add, that the poor woman, in the hurry of the moment, made a small mistake, by placing the head of a donkey, which had been blown off by the explosion, upon her husband's shoulder, instead of his own; But she says it is of very little consequence, as very few of his acquaintance could perceive any difference."

from The Comic Almanack
an Ephemeris in Jest and Earnest, Containing Merry Tales, Humorous Poetry, Quips and Oddities, First Series, 1835-1843

Texts

Recorded

October 5, 2024

An American in Paris (uncut) - George Gershwin -Seattle Symphony Orchestra, Gerard Schwarz

a stroll on the rues
what strange beasts these Parisians are
every street corner a new sight to have seen

this music demands a fantasy for its logic 

a fairly well-constructed medley
but its well-constructedness
is of the 'good-enough' variety
that never questions itself 

Gene Kelly nailed it
a day dreamed romance
in the freshly scrubbed exotic
of the old world
in the new times 

I'm not sure how much the restored cuts add
but the recording sounds pretty good

Two Tickets to Georgia - Ben Pollack [from That Devilin' Tune]

party music for dancing

Mathis der Maler (excerpts): Sonniges Land. Mildes Drängen Schon Nahen Sommers - Paul Hindemith - Kölner Rundfunk Sinfonie Orchester, Radio-Symphonie-Orchester Berlin, Joseph Keilberth Dietrich Fischer-Dieskau, Leopold Ludwig

this music has a lot to get off its chest

October 6, 2024

Symphony in C minor, Op. 65 (#8) - Dmitri Shostakovich - Berlin Philharmonic Orchestra, Semyon Bychkov

1
this music proceeds from the silenced
I ascribe an attitude to it
as I might to a fellow human
I personify
I ascribe a clear intent to mime
in particular
to mime a singer
or a Mussorgskyan mob milling on a somber stage 

this music doesn't move along quickly
no reason to move quickly
within such a constricted and somber stage
its slowness of moving
mimes the narrowness of its confines 

I ascribe to it
an architecture
and a virtual occasion
as though it were an other thing entirely 

a hummingbird is perched in our western lilac
(it's west of our eastern) 

2
compulsory militarization service
reduced to a flip book cartoon 

3
the string through-line of steady sharp pulses
and its refigurations
are full of tricks
can even go undercover as a drumbeat
is finally squashed quite flat 

4
midway the wee smalls
sleepless anxiety tiks its inexorable tok in the dark 

5
morning eventually arrives
and all its worries and concerns
we are reminded of the squashing in the 3rd movement
we pick ourselves back up
mend what we can
resume milling

{journal entry of January 8, 1998:

1
long winter introduction
two parts
then joined
[Fr. Over./elegy]
2nd theme group
as in the 5th
a motor rhythm
a high violin
a slow motor build
horrifically and ever-so-slowly
works its way down
to the long winter
always
a shining hint of spring 

2
back tape {??}
vomiting menuet
grotesquery like silvered platitudes
winds have their secret say
a whispering campaign
always the macabre development
a grinning skeleton dance
a flip back at the end
last few measures 

3
a development from
out of the middle of 2
an invention
- becoming theme & variations
'variations'
that intrude upon each other
to make arch-closures
[no breaks]? 

4
the still long winter
still
inside or outside?
night or day?
bright or dark?
from this side death or that?
weird piccolo bird
as though cubisted
- through facets of glass shards
again
a development from within
some unheard middle of ---? 1.? 

5
spring?
weighted down
but birds!
each with a tale to tell
in careful stanzas
and the macabre rises from within
like gorge
and we cycle back
to that whirling French overture theme
at the top of our
lungs even the skeleton dance returns}

Composition for Twelve Instruments - Milton Babbitt - Boston Modern Orchestra Project, Gil Rose

this music is not difficult to comprehend
it's doing that for you
quite clearly and explicitly
it is taking itself apart

Symphony #6 -  Bohuslav Jan Martinů - Czech Philharmonic Orchestra, Vaclav Neumann

1
carefully
a goodfeeling is tried on
it's been awhile
but we must struggle
through the period of compulsory factory service
industrialization sucks
but it must be done
a job well done
is a goodfeeling hit 

2
a gnat is in the room
and that gnat has friends
a battle among the gnat swarmhordes
heroic deeds 

3
a dramatic vista
a comfortable chair
a fine fire on the hearth
and a pipe
another goodfeeling hit
oh no!
a peril and its anxieties
possible hope in the distance 

smoke on that

October 7, 2024

In Spite of All The Danger - The Beatles [from Anthology]

working hard at getting it together

Love's Gonna Live Here - Buck Owens [collected from Dave Marsh's The Heart of Rock & Soul]

on the country slope
of the American Pop Massif

Spiral I for Electonium & Short Wave Radio - Karlheinz Stockhausen - Harold Bojé

gestures such as might be made
with patches dials and sliders

if an item is composed
with the purpose of creating interest
it has already failed 

a new thing
isn't interesting
just on the basis of its newness
but rather
on a synthesis
of its newness
and its generational relations
to the former things 

where we are now
together with
where we came from
to get here

Extensions for Trumpet and Tape - Charles Dodge - Ronald Anderson

back in the old days
when coordinating live and taped
was done the hard way
stopwatches and pushbuttons and start stop cues 

a problem
the tape part doesn't pull its weight
the trumpet is doing all sorts of fancy lip actions
the tape is rolling
effort of manufacture
is irrelevant to the occasion

Rockaway Beach - Ramones [from It's Alive]

the multitudes
all excited
to see
what made that sound 

bathe in a common social attitude

Delirious - Prince [collected from Dave Marsh's The Heart of Rock & Soul]

builds itself up
from the production a cycle
upon which to dance

Banned Rehearsal 131 - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [January 1, 1988]

toy accordion (closely micd)
violin (less so)
lamellophone (amplified significantly)
some singing (by the lamellophonist) 

we make some adjustments
violin steps closer 

this music wheezes as it moves
or perhaps it just sits there
wheezing without moving 

the physical room this tape was made in
was a low-ceilinged living-room
the virtual room this tape is in
is more crowded 

we are inflected versions of ourselves
balloons in a bag 

we articulate a restart
have a rhythm
like wheezing
breathing
bellows
squeeze and stretch 

we seem to have gotten most of the wheezing over with 

we begin to re-architect  the virtual room
differently inflated sets of balloons
form a different bag
less obvious amplification effects

{journal entry of December 2, 1991:

harps and violin
one harp is actually the accordion from hell
not mouth harp
blues harp}

Weary - Rocksalat [from Loose (a Rescued Record)]

a chord in a set of changes
analyzes the text being sung in conjunction with it

Banned Rehearsal 486 - Karen Eisenbrey, Keith Eisenbrey, Anna K, Aaron Keyt, Neal Kosály-Meyer [February 28, 1998]

this became the second cut on Teach Yourself To Drive 

we grow ourselves out of first principles
(first firstiples)
(princely principles?) 

we move through the duff
like a fungus
toadstool telescopes

whatever it is we are doing
we are fully engaged in it 

one exchange of instrument
ramifies into all the other agendi
and their instruments 

a ceremonial place has been reached
solemnly processed around feedback
glimmering
glinting glancing
final principles

Drogget - Christian Asplund [from Brainstun]

the closest thing I had
in my experience
to what this music was
would have been Braxton
avant jazz? 

a new linqua franca
had emerged
out of my earshot
edging toward Goat Rodeo territory

October 8, 2024

Track 9 - Aaron Keyt [from 7(7)]

cracks of doom sketch book
sound-effects for Bluebeard's doors
tumblers turning in locks

A Five-Note Chord, seen from the porch of a curious mind - Garrett Schumann - Latitude 49 [from Curious Minds]

this music puts itself together with its pitches
(as mine does)
but with more entertainment value
(it's more intentionally shapely)

Banned Rehearsal 951 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer [January 29 & 30, 2018]

journal entry Banned Rehearsal 951
Sonarchy Radio Collage Part 1 (Live Performance) - Pete Comley [from Experimental Radio]

lamellophonics among cetaceans
and the guide Beaver Gigley
Set A and Set B
equivalent but not equal
poetics of description
the consciousness of the great universal mind
and the mortal world

O Novilissima Viniditas - Hildegard Von Bingen - Sequentia [from Canticles of Ecstasy]

to the north of these words
are intended to persist
an index
to an inscription
of a signal
created
as an interpretation
of an inscription
of an idea
so that
you too
should you desire
locate said inscription
signal
interpretation
inscription
idea
place your stylus
on the tablet
and inscribe 

I do not discourage this practice

Geistliche Chor-Music, Op. 11, SWV 369-397 (1648), Volume 1: XVII. Das Wort ward Fleisch - Heinrich Schütz - Capella Augustana

don't look up
there's another indexy inscription
to a sequence of inscriptions
leading back to what?
an idea
(a musical/poetic one)
named by the words
that form its poetry
which (words)
index those words
and their idea inscriptions of thoughts
all the way down
to the beetle-like things 

the opacity
of experiencing
our experiencing

Praeludium in G minor, BuxWV 163 - Dieterich Buxtehude - Stella Simone

prelusive music
to a service of the Word
it separates the realms
an extensive prelude
to a festival service
to put us in the proper frame of mind
ends with several question marks: ??

Der Herr Denket an uns, BWV 196 - Johann Sebastian Bach - Amsterdam Baroque Orchestra & Choir, Ton Koopman

a packaged service of the Word
giving it flesh

Cinquieme Ordre (la): La Flore: Gracieusement - François Couperin - Kenneth Gilbert

does the decorative intent
of courtly music
render it more flippant
as itself
than service of the Word? 

is the seriousness of music
irrelevant
to its worldly intent? 

Keyboard Sonata in B Major, Kk. 244 - Domenico Scarlatti - Pieter-Jan Belder

does a playful face
betray lack of seriousness
is it all just a skill?
a knack?
an actualized idea (?)

Sonata in F minor, Wq. 57/6 - Carl Philipp Emanuel Bach - Miklós Spányi

is this music serious?
what is its intent?
decoration?
service?
flattery?
entertainment?
to be a medium of expression?
marketable as such?
an inscription?
a graffiti?
a lyric poem
a rarefied pleasure
[early fortepiano]
categorically indexed
(by format name)
(also points to a catalogue entry)
and a file
or set of files
on the external drive
velcroed
to the side
of my cassette tape machine
upon which
sits
a laptop
with
audio out
wired
to my home stereo

Symphony in A Major, Hob. I:64 (Tempora mutantur) - Franz Joseph Haydn - Austro-Hungarian Orchestra, Ádám Fischer

this second movement is no ingenue
it reads as deathly serious 

the dance movement might read as flippant
were it not for the messages transmitted
under cover 

this is actually a rather alarmingly strange symphony

Sonata in C Major, K. 330 - Wolfgang Amadeus Mozart - Mitsuko Uchida

an ornament
might be
to a note
or
between notes
ornamenting their interval
bow tie on the difference between them
the difference
they share
a difference
with a quantity of vectors

Symphony in C minor, Op. 65 (#5) - Ludwig van Beethoven - Berlin Philharmonic Orchestra, Wilhelm Furtwängler

a new concept
for what serious could be
a driving urgency
no ingenue here either
the weight of imperial oppression
and this is no light-hearted social occasion
no ball gowns
no glitter
dark of night
secret meet ups
after which
storms
the nation rejoices
hoorah!

October 9, 2024

Caprice in F Major, Op. 1 #22 - Niccolo Paganini - Salvatore Accardo

what is simple on the page
sorceled to incandesce
by the struggle to execute it

Liebesbotschaft, D. 957 #1 - Franz Schubert - Dietrich Fischer-Dieskau, Gerald Moore

at first the lines are set distinctly
articulated
as they develop
the articulations are overrun

Waltz in E-flat Major, Op. 18 - Frédéric Chopin - Garrick Ohlsson

a milieu's soundtrack
creating a depiction
out of whole-cloth 

in miming our times
we create them
(see Cruikshank)

Albumblätter, Op. 124 #7 - Robert Schumann - Florian Uhlig

the oddities of its phraseology
suggest personhood

Via Crucis: Station IX - Jesus fällt zum dritten Mal - Franz Liszt - Nederlands Kammerchor, Reinbert de Leeuw

a through composed recitative
for singers and piano continuo

Fuga: Allegro Giusto, Op. 16 #5 - Ferruccio Busoni, Wolf Harden

opening salvo
in Addams Family Theme rhythm
but pressed forward 

the fugue that wouldn't stop
there's always time for another coda

Fünf Gesänge, Op. 104 - Johannes Brahms - Harvestehude Chamber Choir, Claus Bantzer

the grand plan of Bach the JS
to unite polyphony
with figured bass harmony
in the late stages of falling apart for good 

my new favorite Brahms

Etude in F-sharp minor, Op. 42 #2 - Alexander Scriabin - Michael Ponti

playfully cadenced

Enfantillages pittoresques - Eric Satie - Frank Glazer

a clever monkey
takes some Couperin apart 

French neo-classical modernism

One More Day, My John - Percy Grainger - Percy Grainger, Lotta Mills Hough [from Percy Grainger plays Percy Grainger]

there's an almost Liberacean grandeur
to the pianistical infractions of Mr. Percy Grainger

Wolverine Stomp - The Sunset Band [from That Devilin' Tune]

see Chopin supra
milieus and self creating sound tracks
fluid Fleischer curvilinears

City Trees - Pricilla Alden Beach - Lansdowne Symphony Orchestra, Reuben Blundell

after French models
of the less ironic bent
a watercolor
(and an impressive example of one too!)

Sophisticated Lady - Art Tatum [from That Devilin' Tune]

he plays around in the song
as though it were monkey bars
and he
free
to swing
as fleet as a squirrel

My Man (with Teddy Wilson and his Orchestra) - Billie Holiday [from Lady Day, The Complete Billie Holiday on Columbia]

devotion in spite of it all : a species of erotic playacting

Come Sunday - Duke Ellington - David di Fiore [from The Cathedral Organ Collection - live recital from St Martin Metropolitan Cathedral Bratislava, August 28th, 2013]

here's another one I remember David workshopping
for our postludes and preludes 

Violin Concerto No. 2 - David Diamond - Seattle Symphony Orchestra, Gerard Schwarz, Ilka Talvi

1
under Schwarz
the SSO made excellent recordings
of a certain tranche of American Symphonic music 

violin as shapeshifter
but with a speedy shift 

2
melodic reverie
a warm glow
the incessant activity of life
deadlines to meet
classes to teach
grants to apply for 

Administrativism
(its unwritten manifesto) 

it does run on rather

Dedicated to The One I Love - The "5" Royales [collected from Dave Marsh's The Heart of Rock & Soul]

the electric guitar was their new synth

Please Take Me Back - John Lee Hooker [from The Legendary Modern Recordings]

seems to be just the raw plea
then it becomes a vehicle
for performative pleading

Can I Get A Witness - Marvin Gaye [collected from Dave Marsh's The Heart of Rock & Soul]

chord changes aid scansion

Tighten Up - Archie Bell and the Drells [collected from Dave Marsh's The Heart of Rock & Soul]

a new dance craze
just do what the players do
aerobics

Polyptique for Solo Violin and Two String Orchestras - Frank Martin - Zurich Chamber Orchestra, Edmond de Stoutz, Yehudi Menuhin

each place
has all the proper parts
of place
to be solid
were the light
not so malevolently angled
and
were we
not so weary
were not
the burden
so weighty

October 10, 2024

3 Record Set (continued) - Anthony Braxton - Oberlin College Orchestra, Kenneth Moore

note sets : (various) : sorted by ear : laid out on the time slab 

inventories of items
within delimited boundaries

music
as data 

some coordinates
are notably more full of sound
than others 

the item sets
are laid out
as terrain 

eptly produced notes
in sets
chops
as a given 

if one
were to swap the order positions
of pairs of adjacent notes
how would it alter our overview?
or swap order positions
of adjacent sets
of any magnitude?
put 'em in a blender?
(liquified Braxton?) 

the my-kid-coulda-made-that argument
(...then why didn't they..?.)
id est
it's all just a jumble of random notes?
depictive of the jumble it is out there
in the wild
but
this jumble has been sculpted
into this terrain
of those note sets
on that time slab

Intermezzo 3 - Keith Eisenbrey [recorded live at Bard College, March 18, 1983]

so that polyphonic motions appear
as an epiphenomenon
of a stern figuration
an audial illusion

In 'n' Out of Grace (demo) - Mudhoney [from Superfuzz Bigmuff]

thrill riding
something exposed
with a big motor
grinds to a gradual halt

("…what I could hear, trying to crawl out from between the lines of your last ferocious Sonata…") - Benjamin Boretz [recorded live at University Temple United Methodist Church, Seattle, Mary 14, 1993]

this homophony
is a monophony : a soliloquy 

a few wrong notes
but it comes across

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

song composed as its arrangement
for external application only

Gradus 38 - Neal Kosály-Meyer [March 3, 2003]

pebbles placed just so in sand
a terrain of distinctions of proximities
and inexplicit paths

Symphony #1 (second movement) - Charles Graef

a night scene
 a sea of secrets
a menace monster
Grändelkönig
(80s heavy metal band name?)
horrorgore
nouveaux grandiose

Banned Rehearsal 832 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer recorded live at The Chapel Performance Space, Good Shepherd Center, Seattle, February 22, 2013]

my recording begins
with the space
and us
putting us back up 

the sound
of preparing a public Banned Rehearsal 

an infamous intermission
(for Chris DeLaurenti) 

I overhear the past
eleven years gone
and more

we all take our places
separation of the nuclear material
we march in
according to ceremony
we
the presenters
they
the presentees
me
the present

where am I sitting
(as an auditor
of a recording
of the sound
of a most particular social interaction)
in reference
to that
parenthetically
just referenced interaction?
not just
not in its space
but also
not
in its time
OUTSIDE 

this sounds great!
we give the Chapel Ghost
a right celebratory party
of well wishing 

at our magnificentedly magnificentest
the grand fun for all
cacophoniad of the cacophonaiads
pedal and bell tones
some amplified snorer
comments snorily 

wood
is deconstructed
on stage
in front of multitudes 

music
of which
only the occasion
is pre-planned 

did we have pre-recorded sounds playing?
I don't recall
but I would believe it based on the sound of this

Eight Pieces for the Vernal Equinox - Kris Davis - Rory Cowal

a procedure
or a process
sets of cross-rhythms
pretty fun piano writing
(way over my abilities)
figuration
gesture
mimicry
it talks with its hands

Improvisation - Keith Eisenbrey, Leanna Keith (Subvector Colloquy) [recorded live at The Chapel Performance Space, Good Shepherd Center, Seattle, March 2, 2023}

playful tussle
wooden swords

In Session at The Tintinabulary

October 6, 2024

Ortonville - Keith Eisenbrey

first of the Common Meter tunes in the book: 8 6 8 6

October 7, 2024

Banned Rehearsal 1110 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt

October 8, 2024

Sinfonia 14 (piano) - Keith Eisenbrey

Postscripts

Drops

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

Saturday, October 5, 2024

Playlist

Preface

"Such a function [the modular-interval] is obviously independent of the particular sound chosen in a particular case to interpret it (i.e., of which particular interval happens to be taken as 'modular'). Equally obviously, however, the choice that is made will have a strongly determining influence on the range of possible interval-relation structures within any such case. And whether or not the interpretation as a modular interval of some other sound than our empirically validated 'octave' is in fact empirically feasible, is determinable only by experiential test, not by theoretical postulation."

Benjamin Boretz - from Meta-Variations: Studies in the Foundations of Musical Thought

Texts

Recorded

September 28, 2024

O Choruscans Stellarum - Hildegard Von Bingen - Sequentia [from Canticles of Ecstasy]

unaccompanied monophony
just the naked line 

clearly the strongest presentation

Geistliche Chor-Music, Op. 11, SWV 369-397 (1648), Volume 1: XVII. Das Wort ward Fleisch - Heinrich Schütz - Capella Augustana

homophony
is vertically inflected monophony
polyphony
is commentary
or
horizontally inflected monophony
all enabled
by an ingenious homogeneity

Nun Komm, der Heiden Heiland, BuxWV 211 - Dieterich Buxtehude - Simone Stella

polyphonically supported monophony

Gottes Zeit Ist Die Allerbeste Zeit, BWV 106 - Johann Sebasian Bach - Amsterdam Baroque Orchestra & Choir, Ton Koopman

homophonically supported
monophonically supported monophony
or
homophonically supported
plural monophony 

concerto
for two flutes chorus and continuo
solo voice episodes
inflected
by polyphonic episodes
opens the text
to fill our persons withal 

cute little echoed amen

Triosieme Ordre (ut): Seconde Courante - François Couperin - Kenneth Gilbert

sequential episodes
provide a reset
and a respite
brings the scattered lines together
for a graspable cooperation

Keyboard Sonata in C Major, Kk. 243 - Domenico Scarlatti - Pieter-Jan Belder

an amusement

Keyboard Sonata in E minor, Wq. 65/39 - Carl Philipp Emanuel Bach - Miklós Spányi

fleet little spider fingers
repetition
encapsulates
for direct comparison
across moments
within
immediately available memory
the closely held immediate past

September 29, 2024

Symphony in B-flat Major, Hob. I:51 - Franz Joseph Haydn - Austro-Hungarian Orchestra, Ádám Fischer

1
our hero
full of action and industry
but a tender heart within
what's not to love?
minds the details 

difficulties do deter not them 

discreet with confidences 

the love-interest hero
closely held
in the parental household
it won't be easy to pry them loose 

3
the social occasion
a matrimonial show-room
fancy horn playing back there 

4
discoveries and negotiations
so many details
such a lot of work to do
before the big day

Sonata in A Major, K. 331 - Wolfgang Amadeus Mozart - Alicia de Larrocha

articulated with weight difference
vocal thinking
the subtlest of agogic hesitations ahead of downbeats

Symphony in F Major, Op. 68 "Pastoral" (#6) - Ludwig van Beethoven - Columbia Symphony Orchestra, Bruno Walter

he doesn't stray from F Major
for quite some time
but
at what point
can it be said
to have been established?
reason enough to take the damn repeat Bruno! 

Karen says there was a hawk on our maple snag
had flown off 

here's the big scary storm scene

it occurs to me
that one branch of my family tree
(the Aisenbrey branch)
stems from podunk Germany
these simple country folk
are my progenitors
they were picturesque

Caprice in A Major, Op. 1 #21 - Niccolo Paganini - Salvatore Accardo

in a key
of particularly indexed intimacy
music
magnified micro actions of the body

September 30, 2024

Symphony in C Major, D. 944 (#7(#9)) - Franz Schubert - Berlin Philharmonic Orchestra, Herbert von Karajan

1
full throated imperial majesty 

2
its officious workings
punctilious to the 32nd part
orchestrated in blocks
and blocks of parts of blocks 

3
travels in the countrywide
imbued with vigor 

4
all the cares of an Empire
dispatched 

trombone acts as the Prime Minister

Etudes de concert d'après les Caprices de Paganini pour le pianoforte, Op. 10: III. Etude in G Minor, vivace - Robert Schumann - Éric Le Sage

the beats get shuffled
so pay attention

Andante con Molto - Fanny Hensel - Beatrice Rauchs

a cut across severity
at an angle
or a fracture
or fissure

Waltz in A Minor (1843) - Frédéric Chopin - Peter Katin

a whole lost society
glows with life in this music
its sensibilities laid bare

Variationen über Eina Thema von Robert Schumann, Op. 20 - Clara Schumann - Susanne Grützmann

each variation
a recomposition of
(advanced hermeneutics)
never takes its eyes off the source melody

Via Crucis: Station V "Simon von Kyrene hilft Jesus das Kreuz tragen" - Franz Liszt - Reinbert de Leeuw

this music has wandered far
from anything like a home key

Etude en forme de variations, Op. 17 - Ferruccio Busoni - Wolf Harden

examined closely
the theme will reveal itself
it struggles
and must be restrained
it charms
it inveigles
it dresses up in military finery
it pensivates
it does the puppy eyes
it comforts gently
it struggles more

October 1, 2024

Violin Concerto in D Major, Op. 77 - Johannes Brahms - Chicago Symphony Orchestra, Carlo Maria Giulini, Itzhak Perlman

1
in my habits of listening
a metrical framework
is frequently laid
over the top of the music
(is this in two or in three)
many composers
Brahms among them
seem to be fond
of so configuring the figurations
and gestural inflections
as to problematize
the firm locations
of downbeats
and of internal subdivisions
struggling
against the tyranny of the bar
and all that
often regarded
as good compositional practice
evidence of sophistication
I'll cop to enjoying that game
as much as the next listener
but
I wonder
if my ability
to keep track
of where the downbeat is
and
to habitually transcribe
the ongoing experience
onto such a traditionalist grid
is to my ear's benefit
as though it mattered
to a perceived moment
whether
it were a true
or a false downbeat
what
after all
is more true
about a downbeat
that matches the written meter
and one that doesn't? 

theorem:
rhythms aren't in meters
(as denizens)
the meter
is a theory
about the rhythms in play
id est
there is no two
or three
for a music
to be in
it can't be in
what emerges from it
or can it? 

2
an oboe melody
above a homophony
Bach cantata territory 

3
the metrical grid
is made relatively explicit
in the opening statement
a drumming gesture
in the strings
the key
to the overlay
as helpful as any overlay might be
it still
intermediates
obscures
abstracts
reduces

Sonata in F-sharp minor, Op. 30 (#4) - Alexander Scriabin - Michael Ponti

wherein a meter
dreams of another key
within a dream
of another tonality

Holidays Symphony - Charles Ives - New York Philharmonic, Leonard Bernstein

a set of tone poems
on a theme
as a window
into a past America
we discover
what once signified that
(America)
to our progenitors
the prevailing
educated
New England
culture 

some of it
falls out
like a PDQ Bach misfire 

America
is a marching band battle
in the streets
every storefront
is its own team
Ives
was not among the more lucid prose stylists

Jutish Medley - Percy Grainger - Percy Grainger, Lotta Mills Hough [from Percy Grainger plays Percy Grainger]

a mishmash extravaganza
played earnestly

Caprice - Ruth Crawford Seeger - Jenny Lin

attitude on the street
a black and white comic short
sad ending

Bolero - Maurice Ravel - Orchestre de Paris, Jean Martinon

I've had this recording
since before the brouhaha with Bo
these folks
could still take it seriously
the rhythm section
is counting measures like demons
the birth
of the just-follow-the-instructions school of orchestration
or its epitome

I Gotta Right To Sing The Blues - Lee Wiley [from That Devilin' Tune]

sounds like the movies look
it's all in frame

Mathis der Maler (excerpts): Vorspiel - Paul Hindemith - Kölner Rundfunk Sinfonie Orchester, Joseph Keilberth

good solid craftsmanship
just look at the stitching in that counterpoint!

Trouble Trouble - Betty Roché [form Turn Me Loose White Man]

trouble every time I speak my mind
sad truth

Canteyodjaya - Olivier Messiaen - Martin Zehn

in harsh lighting
no reason for theory of the whole
pasted on scraps
higgledypig
sharp quick cuts
absurdist rage

Tempus Fugit - Miles Davis [from Turn Me Loose White Man]

a show-off cut

String Quartet - Arthur Berger - Lenox String Quartet

chipmunk battles
in the low brush
stealthy waits the tiger
under the fragile cover of night

Pipeline - The Chantays [collected from Dave Marsh's The Heart of Rock & Soul]

beach party cool
California vibe
boosting

October 2, 2024

Thelonious - Thelonious Monk [from Underground]

tapped out
in pitch inflected Morse code rhythm

Funeral for a Friend (Love Lies Bleeding) - Elton John [from Goodbye Yellow Brick Road]

prog left a door open
and glitter got in
to spruce up its pretense
songs extended
to allow for solos
a social gesture
for stadium sized shows
but not a need of the song

Symphony #9 - Roger Sessions - American Composers Orchestra, Dennis Russell Davies

concert music culture
clings most tightly
to its accustomed forms
to the largest budget
anything old or new
must be in the form
of the old
the essence
of what is conserved
in a conservatory
these instruments play weary tunes
cloistered toil
5000 notes
trapped in a symphony box
that might also have a cat in it
serious compositions
need to be understood
by board members
to be taken seriously
there are signs
in board-member code
program notes
as they have come to be
are
for the benefit
of the budget
and its caretakers

R.P. Williams Blues - Dan Sedia [recorded live at Bard College,  March 18, 1983]

my playlist
is designed to take me through time
in five year increments
an interesting shift of perspective occurs
in the 60s and 70s
as the music I'm hearing
becomes
that music
that is
and has been
contemporaneous
with my musical awareness

Arc for String Quartet - Robert Morris - Jack String Quartet [from Robert Morris at 70]

I play a note
I play another
the first
was played from nothing
unprecedented
the second
was played
from the first
is the whole sense of interval
summed in that 'from'?
no
but
there is a connection
between 'from'
and
the location of interval in music 

interval
is a class
of flavors
of 'from'
the glue
of seriality
or
the forces
unleashed
between pitches

Liebeslied - Benjamin Boretz - Keith Eisenbrey [recorded live at University Temple United Methodist Church, Seattle, May 14, 1993]

I'm coming back to this tempo-feel recently
hadn't quite got my hands into those chords yet
nor my weight to flow through my shoulders
note
no reason to hurry into the repeat
I was being quite free with the tempo
not ineffectively at all

Smoking - Goodness [from 1995 - 1998]

the come-on of coolness
inhabiting the in-crowd vibes
a report
from within the enchantment

Banned Rehearsal 646 - Karen Eisenbrey, Keith Eisenbrey Neal Kosály-Meyer [February 7, 2003]

the idea was
that for a group of sessions
everybody would choose an instrument
and we'd stick with it
I probably lost interest first
this instance
has us plucking things
kora
electric guitar
washtub bass
we are become
a strummy sort of hum
boundary
between
what something is sounding like
and
what something is going like
they are different somethings
categorically
sounding
is primordially
pre-intervallic
going
is the essence
of the interval
the motion
the difference

3 Translations of The Works of Maurizio Morchetti: 1. Arrow - Alvin Lucier

difference over time
pitch dismatching
it wears its severity honorably
and integrally
an aid
to the liberated understanding
of intonation

Banned Rehearsal 832 (Aaron's recording) - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer [recorded live at The Chapel Performance Space, Good Shepherd Center, Seattle, February 22, 2013]

live at the Chapel!
how exciting!
we sound great
a personal tour
of what we do
this session
concerns itself
with the bangclank equipment
a song is sung
by a brass instrument
of unknown shape
one of Aaron's no doubt
we transform the chapel
into a large wooden shelled rattle
that time we brought the chimney
low brass
and xylophone bars
strewn across the floor
a magnificent closet you've got there Fibber
shall we peek inside?

some artifacts of the file copying process in this dub
a pity
but not too bad

Watercolors - Craig Pepples - Julia Hsu [from Open Space 47]

1 Caddisfly
acupuncture with oomph behind it 

2 Smoke
there cannot be a generic interval here

Improvisation - Tom Baker, Keith Eisenbrey [from Subvector Colloquy, recorded live at The Chapel Performance Space, Good Shepherd Center, Seattle, March 2, 2023]

this is quite sweet
my accompanist nature enabled

October 3, 2024

Sinfonia in E-flat Major, Op. 9 #2 - Johann Christian Bach - Camerata Budapest, Hanspeter Gmür

1
differentiated iterations
a multi-faceted partitioning
to set the music spinning 

2
the establishing span
establishes the base line
key
meter
and time-span duration 

3
the social graces

String Quartet in D Major, Op. 44 #1 - Felix Mendelssohn - Emerson String Quartet

impatient with the whole establishing business
eager to get ahead of the game
but still playing by the rules 

the Romantic impulse:
to recreate the universe
from mankind outward

Slavonic Dance in D Major, Op. 46a #6 - Antonín Dvořák - The Cleveland Orchestra, Christoph von Dohnányi

how might one mime a music?
or music a mime?
a dance
is a society
mimed
in a music
(miming the motions
of bodies
in music) 

music
has
no terms
for it
to be
in terms
of

Jägerlied - Hugo Wolf - Dietrich Fischer-Dieskau, Daniel Barenboim

and what is music to do
with a poem
of all things?

Madama Butterfly, Act III - Giacomo Puccini - Coro e orchestra dell'Accademia di Santa Cecilia, Alberto Erede, Renata Tebladi, Giuseppe Campora, Nell Rankin, Giovanni Inghilleri, Piero de Palma, Fernando Corena, Gianna Diozzi, Melchiorre Luise, Michele Calvino, Luigi Pizzeri

an attempt to domesticate Wagner
for Italian taste
off-stage sailor chorus?
they must have spent their off hours
studying harmony
they cadence right proper
a strange mix
symphonic techniques ala Wagner
but a close first-person sensibility
to the music
can't give up the set pieces
the singers must have their songs

why would any singer
want to play Pinkerton?
Hi there
I play the cowardly cad 

a system
based on cycles of integers
is subject
to all the difficulties
of numbers
and their theories
susceptible
to speculative tweaks to the universe

Mi Vina de Chapanay - Carlos Guastavino - Teresa Berganzo, Juan Antonio Alvarez Parejo

the keyboard writing is pretty interesting
especially for the type of song it is

Jazz Deluxe - Earl Fuller [from That Devilin' Tune]

sidestep from sophistication
sophistication
at the service
of anything but

Les Noces - Igor Stravinsky - Orquesta del Teatro Nacional de la Opera de Paris, Pierre Boulez, Jacqueline Brumaire, Denis Scharley, Jacques Pottier, Jose van Dam

jumps right in at weird
with unavertible gaze
we don't change to these tempos
we just tune in
to where they have always been
on coordinated
but discrete channels
he even found the old Mussorgsky channel
still there after all these years
relentless

In Session at The Tintinabulary

September 29, 2024

Dunfield - Keith Eisenbrey

and this is the last of the Long Meter tunes

September 30, 2024

Gradus 402 - Neal Kosály-Meyer

I:
back to the old counting
groups of figurations
explore the registers
music
is an action of thought
in the wild
the adventures
of any a group of figurations
on their explore
could partition
a span of experience
into the shape
of a piece of music 

does the announced fact
that they all share a common matrix of pitches
somehow
bind them
into an event
or is that overkill? 

pitch
as such
is not an earmind state
but
every pitch
is 

II:
all that
and one more
(find the new pitch in the pizza)
a voice descends in good time
shares fare thee wells
with ma and pa

October 3, 2024

Liebeslied - Benjamin Boretz

It was Ben's 90th birthday, so I recorded this 1974 "unfinished" work, the original pencil score of which resides in the pine box under my piano

October 4, 2024

Fifth Sonata - Lockrem Johnson

close, so close

Postscripts

Drops

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

Saturday, September 28, 2024

Playlist

Preface

"{March} 31st. - Two days' rain, without ceasing; planning with Isaac on the large kitchen table covered an inch thick with mould - laid down gravel walks of red garter, and stuck up skewers for fruit trees.
April 1. - Rain falling, river rising, cellars filling.
2nd. - Ducks swimming into the parlour - moved to the first floor for safety - Musical Tom (my youngest) splashing about bare-legged in the kitchen, and shouting 'four feet water in the hold.' A leak sprung in the next onion field - all my land under water. Dick, perched on window-sill, angling for roach in the garden. Isaac says we shall get used to it, and the waters always go off again. Daughter Julia tells me the people of Egypt would think it quite a blessing - beg to differ."

from The Comic Almanack
an Ephemeris in Jest and Earnest, Containing Merry Tales, Humorous Poetry, Quips and Oddities, First Series, 1835-1843

Texts

Recorded

September 22, 2024

O Tu Suavissima Virga, Ave - Hildegard Von Bingen - Sequentia [from Canticles of Ecstasy]

the words emerge from the page
or from speech
lifted into the architecture
or lifted directly
into architecture

Geistliche Chor-Music, Op. 11, SWV 369-397 1648), Volume 1: XVI. Ein Kind ist uns geboren - Heinrich Schütz - Capella Augustana

spreading the word
polyphonic model
of community interaction

Fuga in B-flat Major, BuxWV 176 - Dieterich Buxtehude - Simone Stella

playful fantasia in the middle

Cinquieme Ordre (la): La Bandoline. Rondeau. Legerement, sans vitesse - François Couperin - Kenneth Gilbert

the bass line has its own pattern of figures

Jesu, meine Freude, BWV 227 - Johann Sebastian Bach - Concentus Musicus Wien, Bachchor Stockholm, Nikolaus Harnoncourt

this chorale lesson
is first presented plain
homophonic
interpreted for gestural clarity
then
we start to think about it all
it is discussed at length

September 23, 2024

Keyboard Sonata in C Major, Kk. 243 - Domenico Scarlatti - Pieter-Jan Belder

what went up
goes down
an interrupted balance
is an emphatic balance

Sonata in F Major, Wq. 55/2 - Carl Philipp Emanuel Bach - Miklós Spányi

suspended balances
elided cadence points
mid-air
no break between 1 and 2
2 becomes a strange side adventure
an outgrowth
a private garden
a reverie

Sinfonia in B-flat Major, Op. 9 #1 - Johann Christian Bach - Camerata Budapest, Hans Gmür

an introduction to the evening's musical entertainment
and an interlude
between other numbers
its only necessary movement to movement relation
is
to be broadly plausible
and
not disruptive
of the main show
and
to bring it
to a satisfying finish

Symphony in G Major, Hob. I.54 - Franz Joseph Haydn - Austro-Hungarian Orchestra, Ádám Fischer

1
a slow introductory segment
so we know the environs
the eventual key
will be in
and
toward which
it may veer 

2
I wonder
if the composers of the time
thought of slow songish second movements
as opera scenes
of intimate domesticity
id est
the lead's love interest 

this one has a fine violin duet in it 

3
a menuet
is an arena
for all sorts of balancing acts 

4
--

Symphonie in D Major, 1st Version, K300a(297) (#31) - Wolfgang Amadeus Mozart - Academy of Ancient Music, Jaap Schroder, Christopher Hogwood

1
this music has a plot
things happen
the stage is filled with action 

2
a discussion at table
a stern character
and a gracious character
hash it out politely 

3
finish with the excitement
fleet and vigorous
make the orchestra sound good
so there will be enthusiastic plaudits

September 24, 2024

Symphony in C minor, Op. 67 (#5) - Ludwig van Beethoven - NBC Symphony Orchestra, Arturo Toscanini

for many radio listeners
this was Beethoven's Fifth 

AT
is not directing for defnitivity
he is aware of the limitations
of any performance
and of recording and broadcast limitations
he puts it across
as best he can
in tune
with a forward thrust
even in the slow bits
gets on with it
no dramatic moment milking here
oboe honking
no use being subtle about it
sophisticated orchestration
in the old (pre-Berlioz) practice
chamber ensembles
and structured doubling
composed-in
virtual
stringendo
(it 
seems to
but
it
doesn't)

Caprice in D Major, Op. 1 #20 - Niccolo Paganini - Salvatore Accardo

the solo violin's superpower
is
its open strings
they open a door

Symphony in C Major, D. 944 (#7(#9)) - Franz Schubert - Berlin Philharmonic Orchestra, Karl Böhm

1
open with a hymn
stately and proper
strong bones
a sturdy foundation
(we dig deeper)
forth from the abyss
spirit of nationhood
nothing that can't be cured
with some ceremonial celebration
(a celebration of ceremony)
deeds of ancestors
annals of lore
(I'd turn back
if I were you)
triumph is certain 

2
just not here
oboe?
uncertain
fond memories?
uncertain
and yet
we trudge along with the rest 

excitement in the front lines 

sing a pretty song 

3
society and its perils
society is
occasions of human intercourse
the more ceremonial
the more fraught 

4
the cheerful routine
of daily village life
everybody puts their back into it 

modulations
habitually wander dark paths

Romance variée in C Major, Op. 3 - Clara Schumann - Dorothea Grützmann

distinct protagonists
singing the same tune
in their own way
now someone's all aflutter

Fantasiestück, Op. 12 #9 (1958 version) - Robert Schumann - Florian Uhlig

brief
ardent

Ballade in F minor, Op. 52 - Frédéric Chopin - Garrick Ohlsson

when within any span
does this begin
and
how
are we
so far in
wherever it is
we have been
now
for
how long
has it been

Via Crucis: Station IV - Jesus begegnet seiner heiligen Mutter - Franz Liszt - Reinbert de Leeuw

something besides a key center is at work
or in lieu of 

a moment
of unimaginable intimacy

Er ist's - Hugo Wolf - Dieterich Fischer-Dieskau, Daniel Barenboim

doth protest too much

Das Orgel-Büchlein, BV B 27: No. 7, Durch Adams Fall (After J. S. Bach's BWV 637) - Ferrucio Busoni - Wolf Harden

a piano arrangement
of a piece for organ
it invites us
into its space

Poeme in D-flat Major, Op. 41 - Alexander Scriabin - Michael Ponti

these chords are unstable
they seem clear
from a few steps back

Canto Seriosa - Carl Nielsen - Athena Ensemble

piano and horn
the title is plausible

September 25, 2024

A kekszakallu hercog vara - Béla Bartók - London Symphony Orchestra, Antal Doráti, Mihaly Szekely, Olga Szonyi

four groups
of
four low notes
produced by
bows
drawn
across four taut strings
curtain opens
on the last note 

image
and logics
of the new exotic realm:
the unconscious 

partitioning regularity
with variegated key structures 

there's that sound effect
but not amplified
praise the Lord 

patterns of reappearance
across co-determinate spans of times
the numbers
reduce themselves
irretrievably 

the Duke's castle
how many doors?
(eight, counting the front door) 

scalar/arpeggiated figures:
gestures of convenience
(and convention)
they can be registered
as singularities
on a path
from note
to melody 

also:
ornamentations
cadential formulae

Couldn't Hear Nobody Praying - Jubilee Quartette [from Turn Me Loose White Man]

pretty impressive first tenor
stretchy tempo

Don't Get One Woman On Your Mind - Willard Hodgin [from Turn Me Loose White Man]

banjo ukulele?

a pocketful of stock complaints and prayers

Hambone Am Sweet - Southern Singers [from Turn Me Loose White Man]

"Am"
but they sing
"Is"
cultural coloration
(so that
we will know
they're black?)

My Man (with Teddy Wilson and his Orchestra) - Billie Holiday - from Lady Day, The Complete Billie Holiday on Columbia]

what the words say
as she sings them
spills
over the chord changes
like
they live there

Symphony #2 - Bohuslav Jan Martinů - Czech Philharmonic Orchestra, Václav Neumann

composing with count
as patterns break up
to signal
that something
is happening
signification of reference
a means
of enwrapping a span
into a moment
or
enwrapping moments
from spans
is a function
within signification
and thus
within reference
within their processes

reference is a process
there are steps
also sprach Henry Ford 

does music
partake of rhetoric
by metaphor only
or
does rhetoric
make use of music
as a carpenter might a hammer? 

add to scalar/arpeggio:
crescendo builds to big

Boogie Chillen - John Lee Hooker [from The Legendary Modern Recordings]

the rock solid blues meter
seems to have more than one location
of the downbeat
within the same moment

Ritual Dances from The Midsummer Marriage - Michal Tippett - BBC Scottish Symphony Orchdestra, George Hurst

are we going to sacrifice another virgin?
that seems a strange thing to do
in post-war Britain
perhaps a ritual rescue? 

this ritual
has a raft of plot points 

what manner of theatrical production
might this be a plausible part of?
or
is this its own ballet 

a system
can be passé
and still work
just fine 

collect index store
read retrieve listen
record transcribe broadcast 

this is a strange enough animal
a virgin sacrifice
would not surprise

Black Pearls - John Coltrane [from Turn Me Loose White Man]

lookitim go!

So Much In Love - The Tymes [collected from Dave Marsh's The Heart of Rock & Soul]

are those maracas
on two and four?
the soprano in the back row
is no slouch

Everybody's Got Something to Hide (Except for Me and My Monkey) - The Beatles [collected from Neal Kosály-Meyer's Bo and The Beat]

just five years after the Tymes
goodness!

If You've Got The Time - Red Steagall [a Rescued Record]

you too
can be a throwback
to the time of the Tymes

Symphony 38, Op. 314 (III and IV) - Alan Hovhaness - Seattle Symphony Orchestra, Gerard Schwarz, Hinako Fujihara

III
we wallow without working
the music has no intention of leaving
no thing like a reason
for things to happen for 

IV
now we're on the other bank
of the same river
seeing the same things
as before
but
with nervousness
on edge
dream:
the systems of awareness
impinging
on the state of unawareness

October (Love Song) - Chris & Cosey

this song
was distributed
on a 12 inch
45 rpm
vinyl disk
containing four different mixes
of the same song
as it 

how 80s is that?

September 26, 2024

Banned Rehearsal 132 - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [January 6, 1988]

in the Greenwood Big House
we had our sessions
in the main living room
where the big piano was 

in a chordal mood 

someone is playing the blue toy accordion
which
I believe
I was playing
in session
just this last Monday 
{NB: Karen says it was the red toy accordion
which renders the grouping of words above
incorrect}

Karen must have been undecorating
and dismantling the Christmas Tree
I cop
to not helping much 

Anarchy under the tree
sticks with it
through stretches
to try
to get something going
probably
trying too hard 

Aaron and I
conspire
with dijeridu
and horn of some kind
make a droney din

{journal entry of December 5, 1991:

squeaky accords to begin
now dulcimer
soft piano chords
warm sleep chord
sappy chordchords
piano stops
accordion
and dulcimer
a tape
struggling
Aaron sings}

J'ai vû le loup - Anonymous - The Baltimore Concert [from La Rocque'n'Roll]

I could believe the melody
and the words
not convinced by the arrangements

Banned Rehearsal 485 - Karen Eisenbrey, Keith Eisenbrey, Anna K, Aaron Keyt, Neal Kosály-Meyer [February 21, 1998]

we
are the captains
of a jettisoned polyphony
adrift
in the pitch dark sea 

distortion issues
unfortunate artifacts
lacunae in the signal 

some sessions
are sketchpads
crammed within notes 

what is missing
from finished
polished
presented work
is
the glory
of the mishmash
from whence it sprang 

overscribblings
palimpsestuations 
upon palimpsestuations 

the pitch dark sea
goes all the way down 

this
is the sound
of five earminds
thinking stuff up 

vigorous crosshatching
erasures

that must be me on the Kingsbury
I recognize my chord voicings and rhythm

{journal entry of March 7, 2006:

Romantic opening
has more of a balance problem
than a playing problem
some issues possibly
with the transfer
keep ear open for that
does
perhaps
get a bit silly 

a problem
with loud sounds
if they are featureless
obscuring
and of no endearing timbre 

how close can we be to this music?
and what is it
we are trying to get close to? 

a collection of agenda complexes
agendas
or simply
how the personalities behave
in their environment
at first this collective
seems only variously geared
toward each other 

many an autonomy 

they seem unconcerned
with us
and only now and again
with each other 

muttering into our beards
dissipating blats 

how close can we be
to a collective
that is partly sulking
partly seething
and partly attempting to ignore it
into something else
excuse me
your dysfunction is showing}

Seven Light in a Stone Box - Tom Baker - Tom Baker [from Sounding The Curve]

a set of figurations
that might be variants of each other
for some set of tactics 

in terms of the architectural space
that music can occupy
much electronically enabled music
has replaced
or seeks to replace
actual spaces
with virtual
controlled
spaces
free from pollution
and other obscurations
a pure space

Track 8 - Aaron Keyt [from 7(7)]

we'll put our pure spaces
with their impure sounds in them
in a null space
securely sequestered 

a menagerie
of leitmotifs
for the discerning ear

The Duality of Nostalgia - Jared Miller - Latitude 49

a strand of modernity
to duplicate
tape-spliced
or digitally-filtered music
with real
('scuse me,
with acoustic)
instruments
or
exploiting the potentials
unearthed
by constructing a virtual space
within a solid space
the piece
is a constructed
(organized)
sound
a common definition
of what music is
shows its colors
dab of this
dab of that
abstract depictionism
this music
is what it is
if
it does
as it is told
to do

Banned Telepath 59 Lake City - Aaron Keyt [January 30, 2018]

a massacre of crows caw in Lake City

Sinkhole - Dead Bars [from Sinkhole]

the trappings of the punkpop genre
are the proper bindings
for some poetics

In Session at The Tintinabulary

September 22, 2024

Tilden - Keith Eisenbrey

For real this time, just one more Long Meter melody to arrange then it will be on to the Common Meter tunes.

September 23, 2024

Banned Rehearsal 1109 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer

back in the studio for the season

Postscripts

Drops

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