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| hoop trees at the Good Shepherd Center |
May 16, 2019
Compassion
Chants by Hildegard von Bingen
Players: Janna Webbon and Sarah Pyle
Singers: Danielle Sampson and Beth Ann Bonnecroy
The Chapel Performance Space at the Good Shepherd Center, Seattle
part sacramentation
or re-sacramentation
but certainly a reclamation of space for use
by worshiping in it
(quatradual →□← ritual)
service
for each other
I am sorry to have arrived late.
I snuck in behind the celebrants' grand entrance in their Atwood-red robes so I sat off to the side, hoping I wasn't choosing exactly the spot they would need for something. If I did (though I don't think I did) then I'm sorry for that too.
I can not think of a nicer way to have been introduced to Hildegard von Bingen - her chants not messed with as themselves, but set among our presence and our problematicals, still very much alive.
vibrant and relevant
Recorded
May 13, 2019
Sonata in F Major, K. 6 - Domenico Scarlatti - Pieter-Jan Belder
made from the useful parts, not so much of the oink
uses its keys directly, not ever modulating, as such, anywhere
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| Zillah, Washington - Mt. Adams in the distance |
enjoy the party!
Trinkle Tinkle (take 3) - Thelonious Monk [from The London Collection]
a song is:
potential to veer
reckless hot dog water skiing
20 Jazz Funk Greats - Throbbing Gristle [from Greatest Hits]
narrow, peevish strands of extrusia slice and slither
for their own pleasure, not yours
Under African Skies - Paul Simon [from Graceland]
two half songs perfectly matched
verse song :: chorus song
text :: comment
wanders off a bit weird in the fade out
Rebel Rap Family - Geto Boys [from We Can't Be Stopped]
a trailer
for the film
of the legend
Introduction to The Twelve Wild Ducks from The Evil Queen - Seattle Chamber Music Festival [July 2001]
And quite an interesting introduction at that
Once Upon A Time - Bob Dylan [from Key Arena October 13, 2006]
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| Philipsburg, MT |
I'm not enough of a Dylan scholar to know, for the most part, the names of his famous songs. This is the one that starts "once upon a time" and includes "like a rolling stone" and "no direction home."
near to desperate trying to find a new way to sing it just off the map of what he expects we might expect
the instrumental stuff gets eaten alive in that horrible key arena acoustic
The Sow Took The Measles (mass mix) - Train Case [June 2011]
I'm not sure what I was going for, soundwise, on this. It has too much guitar, that's for sure.
I Can't Be Young - Arbor Towers [from In Transit EP]
an interesting meter feel
the drummer and the bass set up some sophisticated metrical thinking
like as if it were a multimovement song
faster bigger song
followed by slower song that seems like it could be a coda, but goes on to return to a faster bigger song
May 14, 2019
Sonata in A minor, K. 7 - Domenico Scarlatti - Pieter-Jan Belder
What happens if you hold still?
What happens if you actively hold still?
Run, Run, Run - The Who [from A Quick One]
The sequence of pitches is less about identity class than about inflection class
I want to make squiggly alphabetical shapes
Pine Cones & Holly Berries - Lake Washington Singers, Betty Eisenbrey, director [December 1971]
a quod libet || above with: beginning to look a lot like Christmas
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| Philipsburg, MT |
public breakup or near
or personal baggage as
half song (resolutionless)
mix tape filler or mix tape sleeper cell?
Assembly Rechoired 1 - Karen (Meyer) Eisenbrey, Keith Eisenbrey, Paul Eisenbrey [June 1986]
I play didj
Karen plays toy piano
Paul plays electric guitar, no doubt the one he passed on to me for safekeeping a few years back.
then I pick up an acoustic (mom's old one from out of the paisley case)
sound and signal and where the processing and how the processing transpires to make exactly this.
we move to postulate a polymusic
You're right. It is a Bovine Horn.
a genuine shaker from genuine San Francisco
We are the catfish of music, the bullhead scavengers hovering above the mud
someone is whistling the whistling solo bit from I Wish I Was A Kellogg's Corn Flake (best wishes Martin)
and an early appearance of the Entertainer music box (the first of two)
[NB - When Neal moved to San Diego, and while Aaron was still at Berkeley, Karen and I continued the Banned Rehearsal project in Seattle. Somehow it didn't seem to be quite exactly Banned Rehearsal if neither Neal nor Aaron weren't also contributing, so we invented a new name - Assembly Rechoired - for improvisation sessions in which it was just Karen and me, but including anybody else that wasn't Neal or Aaron. This was the first. As of this blogging there are 57 of them.]
May 17, 2019
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| Philipsburg, MT |
Igneous - AMM [from The Nameless Uncarved Block]
transparent
holding each other within a serious and circumscribed image of doing aesthetical doings
all within a careful evolvement of a tradition
i.e. if you're standing on the shoulders of giants, don't jump off
long way down it is
Track 8 (The Twelve Wild Ducks from The Evil Queen?) - Seattle Chamber Music Festival [July 2001]
A study in chromatic scales and muscular modes.
Looking back on it as I blog I realize this is probably the introduced music of the introduction I listened to on the 13th.
"...woe my road is spoken..." draft 060709A midi - Keith Eisenbrey
This is the first of five midi drafts I made on July 9, 2006. After the fifth I was done with the last adjustments of tempi and dynamics
deep prying eyes || dyads' eyes
held long || for better prying
while you were listening to that ostensibly charming music
you were charmed right out of your resistance
close magic
we discovered a few things || by prying with our dyads' eyes
into and about || you
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| Yep, Philipsburg, MT |
the vocalists all focus their sound within a narrow range within the sinus area
not full on nasal
but bending toward that
even their instruments do that
given: Indian Sub-Continental Music's repute for hyper-extensive elaboration, these songs must seem improbably brief
Gradus 293 - Neal Kosály-Meyer [July 2016]
lots of notes
but in no hurry
to use them up
experience is: our best guess to feed into memory
It is interesting how it is easier
for me to experience extraneous noise
as part of the music noise when that extraneous noise is coming from the same single medium as the music noise - such as a recorded sound file played back on the stereo system - than out in the wild, possibly because mediated music has always had extraneous noise sound as a proper part of it.
Noise is Media
Media is Noise
in a quasi-Cagean sense
Improvisation is the practice of being deliberate right where the rubber meets the road, at the most granularistical decision point
staying put
and going back
moving on is a struggle
Gradus 348 - Neal Kosály-Meyer
does the earmind
within which these cohere
know it is a singularity that coheres?
how?
it does cohering
to say that it is off the beat
is to suggest there is a criterion outside of itself
that matters to the image of its being
Postscripts
in the which i do by nature which is
looking out 11 tells you that that
hill and some next sights are if a lady
clouds arrive
as threatened
the wizard
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