Saturday, January 25, 2020

Playlist

Preface

"BB: I don't think the connection with improvisation is just illusion. Sometimes composing means getting yourself into the situation where you can improvise just the right thing, whether it is with a drum or a pencil"

From a conversation between Benjamin Boretz and David Lidov, imagined by David Lidov 

- reprinted in the liner notes of Open Space CD 40

Texts

Recorded

January 18, 2020
HM - Tyrannosaurus Grace [from E.P. 1]



long explanation over
tight licks

underline one word 5 times (write it down now, class)
hang a whole clause up there in five underlines (yes it will be on the quiz)

Banned Rehearsal 917 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer [August 2018]



language artifact:
a. (psycho-acoustic) our ears are tuned to it as it tunes to our ears
b. (psycho-linguistic) as text, it references a meaning outside of its sound, it comments upon a world it creates by reference
c. (hard-wired) it becomes discrete in a way that music sound doesn't directly
d. (indirectly) we hear tune A as the music carrier of a text B that creates a world C by reference
e. (continued) we create memory D as the conjointure of tune A as carrier of text B as creator of a world C by [as it creates by] reference
f. (continued) we hear tune A without Text B and recall memory D as the conjointure of tune A with text B which memory includes text B and thus the world C created therein by reference
g. (_____) text reference is a hard-wired psychofact

music artifact:
a. music sound's hard-wired psychofact is a binding of sound and instrument (sounds are sounds of something)
b. sound is a meaning of an object
c. an instrument refers to its sounds - a text refers to its world

instruments mean sounds
texts mean worlds

instrument is text
text is instrument

Sonata in B-flat, K. 70 - Domenico Scarlatti - Pieter-Jan Belder

so: keyboard object means this music into the world
keyboard: the autocrat's dream controller

The more-full-than-the-articulative-fabric-texture sound of a final cadence says: this is a marker, a punctuation. Measure from here.

Music for String Trio Mvt. 1 - Milton Babbitt [from Erik Carlson's Slowly Expanding Milton Babbitt Album]

What fun!!

Going Down The Road Feeling Bad - Jake Staggers [from Art of Field Recording, Volume 1]

a real whopper
banjo blues
vocal in the high sings

Hungry Heart - Bruce Springsteen [from Bruce Springsteen & the E Street Band Live 1975-85]

in full frontal Sister Amy mode
call response preacher man

Grandfather's Breath - Robert Tree Cody / Will Clipman [from Heart of the Wind]

What are we hearing in music we surmise to be westernized, to have been westernized? What is that quality or complex of qualities which, upon infliction, has westernized it thereby?

**

voice raised in song
a raised voice
a raised voice singing
(raised voice singing)
voice raised to singing
voice raised up into singing

24 Preludes - Keith Eisenbrey - Keith Eisenbrey

Preludes to me: to keep them narrowly tonal, in keys, with clear voice leading and cadences and everything, was a discipline within which I can sing. I really like these, not a note out of place.

A key can be a hint of something warily watched.

detailed tales

polytonality at its best: in which it can also be in several keys, but often only in one, but
in which that key or several is clearly constructed by means of several completely distinct establishings.

Archibald Street - Tyler Daniel Bean [from On Days Soon To Pass]



the highway is a guitar string
strum it lengthwise with steel
harmony singing, real singing!

January 19, 2020
Sonata in G Major, K. 71 - Domenico Scarlatti - Pieter-Jan Belder

mode change in the middle of a four-fold cadence phrase

that is,
while in the process of stabilization
the ground shifts

Shout, Lulu - Jake Staggers [from Art of Field Recording, Volume 1]

case study in rock solid non-metronomic tempo

Banned Telepath 8 San Diego - Anna K, Neal Kosály-Meyer [December 1986]

bell like a door bell
squeak like a door hinge

happy holly wood
new year's moments

broadcast sound
that phenomenally dull preacher guy droning on and on

old holly wood
Jacques Cousteau

the dishes being done
neal dus dijeridu while dishes done

neal does not do dishes
duzzee

no he does not
he dus he dijeridus

now do you
do you now
you now do
now you do
you do now
do now you

an outside source
takes up residence out of time

the bibleolator of bibleolatry:
"there is no record any where in the bible that Satan can raise the dead"

bell . . . bell

As the prerecorded drone chant fades out will the denizens put on something else or will this ball bounce and hand clap clicking sticks be it?

the mallets are out on an explore

explore bell
implore bell
implurabell

Piano Trio in E minor "Dumky" (selection) - Antonín Leopold Dvořák [from Naxos The Very Best of Dvorak]

very churchy
this movement is an entire service of worship
or an operatic act that starts with a church service and ends thus
covers of a book back and front

Run Like You - Wild Assumptions [from Run Like You / Roots]

quite a nicely subtle agogic accent there
just enough air between the times
reminded me of how St. Rage might sound

Corollaries - Keith Eisenbrey - Keith Eisenbrey

from my performance at Seattle Composers' Salon in September of 2016

the old version before I rethought how the wraparound should work
a list of notes hiding a list of intervals

lovely extraneous noise in the mix there

back of my mind here: Dan Sedia's 1982 bike lock poem

January 21, 2020
Sonata in C Major, K. 72 - Domenico Scarlatti - Pieter-Jan Belder

Triads are made of scale degrees, which, as they repeat within figurations, blossom the meter buds.

gods - J. K. Randall, Wally Shoup [from Inter/Play - April 1981]

out of doors
whistling in the wind
endeavoring to connect
not to monument
trudging in vegetation
ground cover
nothing that happens here
is projected to please
any outside being
or even
hardly
to reach any

through it all the cyclic motor of what I presume to be a cassette tape machine mechanism
a constant noise background
a ground upon which it is difficult
to inscribe a sound

January 23, 2020
A Matter of Trust - Billy Joel [from The Essential Billy Joel]

message front "I understand" empathy token
icky at the core
sincerity on parade
dough rake

{blogger's note: this came up for listening in error (mine), since I had already blogged it back in April of 2017, at which time I wrote the following):

BJ has great control, just no range, or sense of timing. Even the count-off is performed, tamed.

Kyrie eleison - Boston Camerata [from A Renaissance Christmas]

{blogger's note: back to our regularly scheduled program}

scholars of style
:: one could imagine a performance practice in which an attempt is made to hear and perform exactly what a more modern arranger had in mind when they attempted to understand this music according to the lights they were given ::

all theory all the way down is performance and versa wise

Pitch Derived Rhythm - 6 Demonstrations - J. K. Randall - Open Space Chamber Players: Matt Ross, flute; Viktor Toth, clarinet; Lauren Peacock, cello; Alana Shannon, cello; Corey Chang, piano [from Open Space CD 40]



human

invited
to regroup

at will
or whim

generous
with paths

invites further
investigations

no end
in sight

An Encore - Milton Babbitt [from Erik Carlson's Slowly Expanding Milton Babbitt Album]

conversation for
a co-discovered realm

your blogger, composer of preludes
Preludes 17-20 - Keith Eisenbrey - Keith Eisenbrey

from my recital "Preludes in Seattle Part 5" of February 2018

deep in the flats: A-flat Major, F minor, E-flat major, C minor

when a pitch function is struck
within sequentiality
is not as crucial as where
within the greater conceptual space
it fits

The Far Side of the World - Dræmhouse [from Only Friends EP]

a constant and interjections
oddities
repetitions
an extensible world

In Session at the Tintinabulary

January 20, 2020
Gradus 362 - Neal Kosály-Meyer

Is there (there is) a system to how he announces the notes 2B played

Each, every, a, or any performance of an indeterminate score is determinate in relation to what was indeterminate in the score's imputed intent.

to aim an exploration at the known it is useful
to aim at the unknown

(exp) lore at ion

At what point in this project will (would) it be more advantageous
to remember which notes are not being used,
or is the discipline to not cross that bridge?

the discretion of the rungs

soundbreak in time
costume change in body
ever more rarefied selections

Postscripts

woman forgot water god's flame in
which about saying that it enjoys
eternal life yet it does not work thus

the stone
would draw thunder
the lion in my wall

Saturday, January 18, 2020

Playlist

Preface

detail of an image by Anne Gorrick
"Part of them approved
With words and added fuel to his anger,
And part approved with silence, and yet all
Were grieving at the loss of humankind,
Were asking what the world would be, bereft
Of mortals: who would bring their altars incense?
Would earth be given the beasts, to spoil and ravage?"
- Ovid "Metamorphoses" (translated by Rolfe Humphries)

Texts

Recorded

January 11, 2020
Sonata in E-flat Major, K. 68 - Domenico Scarlatti - Pieter-Jan Belder

Sequences of figures alternate between moving and holding still. Then the sequences all move. Then only a part inside moves in modal shift. And now back to when we started, but with a flourish.

Ceremony of Carols - Benjamin Britten - Lake Washington Singers, Betty Eisenbrey (director), JoAnne Deacon (piano)

A procession clomping clump clomp up to the risers.
Each verse is set.
Static. Flat.
Picture Book. Block Print.
(Relies on wide open grin charm.)
Front cover. Back cover.
Clump clomp clump clomp.

One; Another - Jo Anna Allen, Benjamin Boretz (Inter/Play)

Ben's mbira moment
shimmer bells shimmer

sea bird keen
keen sea bird keen

This is an unstable
→tenuous←
pitch space
we inhabit here

Noh punctuation

crumarmbira
such lovely melody

tres belles
bell trees

Superman - REM [from Life's Rich Pageant]

such a 60s sound
psychedelic Beatles
song structure: strongly developed, complete, composed.
Well done fellas!

Untitled (Slow Waltz) 6th version - Gavin Borchert - Keith Eisenbrey

reverb: grandly huge
(rolls around in it)

title of a work: an inseparable part
Is the untitling a decision to not title or rather to title it untitled?

reverberation: the space sings back

Teenage Daughter - Whiting Tennis [from Three Leaf Clover]



a considered arrangement
(We heard Whiting Tennis several years ago at a nearby dive.)

January 12, 2020
Banned Rehearsal 801 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer [October 2011]



an arcade of curiosities
detail of an image by Anne Gorrick

Simultaneity of attack is not a thing that can happen among these sounds. Even were it to be demonstrated to have happened as an acoustic event-fact, recourse made to a study of the wave form, it wouldn't sound like it, because the parts themselves are in such granularly conceived individually specific time worlds as to be un-comparable at any such bludgeonly level as simultaneity could exist in. If simultaneity of attack is impossible (and sequence at least partly undeterminable) can there be a meter? a tempo? syncopation?

Rattle: a contained chaotic system, like humans.

We have transgressed to the rear corridors of the arcade, its backrooms and utility closets.

Rearview - Three Fingers [from Go Deep]



Vocal syllables are not just on notes, but each note has a vector-complex of diphthong to keep it lively.

Sonata in F minor, K. 69 - Domenico Scarlatti - Pieter-Jan Belder

a repeating
or a seeming to be a repeating
figure made of pitch contours
with familial resemblances

Christmas Oratorio - Charles-Camille Saint-Saëns - Bellevue First Methodist Church Chancel Choir, Betty Eisenbrey (director)

detail of an image by Anne Gorrick
Overture: hanging out in the lobby of the piece proper.
We can consider replacing the specific composed accompanimental sound with a stand-in - such as piano or organ for orchestra - but not so much of replacing the choir and leaving the orchestration otherwise unmolested. Changeling accompaniments.

In order to be a Masterpiece (tm) of this type it must be doable by amateurs or it won't sell.

Helluva soprano there!

He gave the Magnificat to a mixed ensemble of solo singers - heavy on the male end.

A rather dreary business in the end.

Respectable Street - XTC - [from Fossil Fuel]

The drum sound has an interesting isolation.
The art of stage dance has morphed into the art of music video

January 14, 2020
Banned Rehearsal 108 - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [December 1986]



Utterance is experimental at root. We don't know what we think until we do, can't know the effect of our thought, ever. Hot tea helps on a chilly evening. It is a comfort to know there are some live ones left in these melancholy days. Also sprach Mehitabel. And sometimes we mark time only.

January 16, 2020
Untitled (Slow Waltz) 7th version - Gavin Borchert - Keith Eisenbrey

Each of these Versions 2 through 7 was made using the "Acoustic Mirror" effect in Sound Forge. At the time I made them I was concerned that the result was too obviously fake. But after all these years I understand this is largely because of the close proximity I had to hearing the raw take. All recorded acoustic images are exactly as fake as all the others.

As a composition, the central or key image is the just-too-long collapsing modulation sequence that occurs just before the first long pause: after which the image of that sequence is heard to have been permeating, and to continue so to permeate, every motion. It is and was the moment it hears itself.

Gradus 110 - Neal Kosály-Meyer [December 2006]
modified detail of an image by Anne Gorrick

the second A
but first let us pause
before we break our silence

let us not linger
except over the pause after

Minimalism: the art of decoupling specificity from iteration.
side thought: music engravure as a form of critique or analysis.

In Session at the Tintinabulary

January 13, 2020
Banned Rehearsal 997 - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt



It was a cold dark snowy night. Aaron braved a brief break in the precipitation to join us here at the Tintinabulary, keeping us on track to get to number 1000 in time for our show at Gallery 1412 on Groundhog's Eve.

Postscripts

ward purgation terrible frightful
sensory night length the spiritual
rare since this base manner lead lowly ex-

to little dots that flash
the bridge
densely mirrored

Saturday, January 11, 2020

Playlist

Live

January 10, 2020
Why All This Music?
Karin Stevens Dance
Velocity Dance Center, Seattle

Kauai: Sky, Lava Rock, Palms, Sand, Woods, Ocean
Dancers: Micaela Gonzales, Hazel Morris, Ben Swenson-Klatt
Music: CHA - Carol J. Levin, Heather Bentley, Amelia Love Clearheart

Ecology of Wonder
Dancer: Maeve Haselton
Music: Heather/Dio Duo - Heather Bentley, Dio Jean-Baptiste

Llandover Woods
Dancers: Anja Kellner-Rogers, Emma Klein
Music: Crows at a Crosswalk - Leanna Keith, Daniel Husser

A Small Space of Wildness
Dancers: Maeve Haselton, Robert Moore
Music: Kin of the Moon - Leanna Keith, Heather Bentley, Kaley Lane Eaton

A truly enjoyable evening all around. Karen and I had dinner at The Tin Table before the show, and the glory of the sound of the old wooden plank Odd Fellows Hall floor of it as activated by the wait staff in their working was worth the visit even without the lovely dinner itself.

Social composition among the groups of dance performers and the groups of music performers is similar, or rather, the social composition of the music performers, in that each group contains at least one member in common with another, is echoed economically in the social composition among the dance performers in that one dancer is shared among just two of the pieces. Among the music performers numerous sharings, among the dance performers, just one.

I was digging the care and clarity with which ideas propagated through groups of dancers, from unfussy unison motions (I don't know dance-lingo - what I mean is when the dancers are dancing the same movements at the same time, but (unfussy) not overdoing the precision of it) to exchanges and conversations and arguments and lovings.

Recorded

January 4, 2020
Gradus 199 - Neal Kosály-Meyer [October 2011]

After noting the broad empty expanse of it
and the pitch repetition
after noting all that
one might at first wonder, then guess, then surmise, then theorize, then test, then provisionally affirm
the pitch class set size and composition.

It counts as one of those facts about it
one of those red herring facts
as to what is it about it.

Music artifacts are syntheses, every last one of them.

That particular A is chosen because it modulates the moment just so,
not because a decision was made to only play A's
and this happens to be one.

The una corda mechanism had a squeak.

OR

The coercive sense in which errant notes of stray pitch classes hardly matter since the power of their suggested dis-inclusion as a possibility overcomes the fact of their purported wrongness.

We perfect music as we listen to it.

For me, Gradus is a thought experiment, and a welcome consistent presence as an object of consideration.

Tidal Waves - Lunas [from Over Me]

sloshes back and forth in the beat
and a cut short coda
perhaps a segue to the next track

January 5, 2020
Sonata in F-sharp minor K. 67 - Domenico Scarlatti - Pieter-Jan Belder

lots to do
hustles along doing it
not time to waste

Finnegans Wake Chapter 6 (end) - James Joyce - Neal Kosály-Meyer [December 2019]

. . . no applause please

whisper so the message does not travel
any number of ways can be devised to fail to tell

the farce of dustiny
primum mobilisque

deviation from meaning
telling to hear what is meant

one must mind what is never said

pure lyricism of shame brot
(an ethel)
appears to be about cheese

possibly twelve:: :: answer ----.

Land of Hope And Glory - The Who [from A Quick One]

sounds like my generation (baby)
with a pound out to pound it out

Under Pressure - Queen, David Bowie

ultra discrete production
game knows game
no sound need touch another

Banned Telepath 7 Seattle - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [December 1986]

Big Red Bag of Fun
and Aaron's Epic Sneeze
AhCHOOO

definite buzz in the equipment system that's for sure

nothing has ever sounded as good as the funmaker nor will ever

Aaronsbundler fight song

Karen brings me tea (present listening back day)
tea in this hullaballoo!
woo!

how many is we?
Back to take me out to the old root root rot (attenuating circumstances)

sounds in your face
like hawkers at a bazaar

taxonomy of climate
atlas designated regions

among the more ornately wrought of the telepath projects, personnel-wise and geographically
several fine repeated versions of the music box innards from whomever arrived I know not but what has been among us throughout though now sadly broken up about it

:: INFORMATIONS::
a telepath is an improvisation session with a subset of the band (often including guests), made in conjunction with other subsets of the band making each their own telepath in a different location, all to be mixed together later to make a full Banned Rehearsal.

In this case Anna K, Neal Kosály-Meyer, and Yvonne Meyer made a session in San Diego in November of 1986; Karen and I made a session in Bickleton (also November of 1986); then Karen, Aaron Keyt, and I made this session in Seattle. The far flung tapes were gathered together in April of 1987 and became Banned Rehearsal 107.

::OUTFORMATIONS::

the persistent dulcimer
((buzz: the sound of the sound of the mechanism of sound capture))

the shrills hold sway
tamed by the holler

own worldly dissonance proudly

I am reading from an early volume of this book from which this blog I write is lifted

We seek to buzz the space
like a house-sized kazoo

an opera, as is Book of Windows, for that matter

Untitled (Slow Waltz) 5th Version - Gavin Borchert - Keith Eisenbrey

I was early told to think vocally. I do.

Gradus 109 - Neal Kosály-Meyer [December 2006]

a valedictory session, the lowest A again
just because
before launching into the final A-nat
song of teapot past

January 7, 2020
Shine - Star Anna and the Laughing Dogs [from Alone In This Together]

ample room in the meter
for weighty sighs

Selections from Second Thoughts - Keith Eisenbrey - Keith Eisenbrey

(theoretically): the same pulse
but different relations of duration ratios
as much as pitch and pitchclass scheme
distinguish pieces from other pieces
(within this set of Second Thoughts pieces)

what binds a piece as a piece?
a regularity among its parts?
including a regularity that only emerges in comparison with other pieces (within this set of Second Thoughts pieces) exhibiting similar relations among their parts

the sensual experience of thinking

This was my performance at Seattle Composers Salon in January of 2018, and includes the Q&A.

In Session at the Tintinabulary

January 6, 2020
Gradus 361 - Neal Kosály-Meyer

a chord dire and splendent
regions are created

thought path
or trace

Improvisation as real-time composing works
when we can allow ourselves to follow each thought of another in constant recalibration, building on before and kicking away the scaffolding.
while kicking away
but kicking away
or kicking away
if kicking away
if and only if kicking away

further on we go
farther back we reach

polyvalent relations to memory

Postscripts

taste good he said and took it i've asking
time one has a spoilt i can't understand
it usual breakfast do you think it is

the dragon
is language itself
the risen throne

Saturday, January 4, 2020

Playlist

Preface

"My intention is to tell of bodies changed
To different forms; the gods, who made the changes,
Will help me - or I hope so - with a poem
That runs from the world's beginning to our own days."
- Ovid "Metamorphoses" (translated by Rolfe Humphries)

Texts

Recorded

December 28, 2019
In The City - The Who [from A Quick One]

municipal siren's song
immemorial

Rawhide - Dead Kennedys [from Plastic Surgery Disasters / In God We Trust]

spirited!
quasi-cover
re-imagined song

as much as he mocks it
he is enjoying himself
doing this

Assembly Rechoired 11 - Karen Eisenbrey, Keith Eisenbrey [December 1986]



weightless harmonic breaths
slowly reading lines in German
Klopstock?

thumb piano and the free reed blow harps
perturbations in the persistence of doing a single thing

hoot mug
holey
hoot mug

that tree
day after our first Christmas together
(we have the ornament, with the birds, yes, in a cage)
I'm sure I have a picture of that tree
tuning the fretted lap strummer
[what is a piano? battle zither?]

cow bells again
feel no pain

fist whistle
wood branch horn

Karen plays hymn tune on the fretted lap strummer while I play hymn tune on the sasquatch horn. Something fell over.

bangclunketbangetybang
thump

Untitled (Slow Waltz) 2nd Version - Gavin Borchert - Keith Eisenbrey

dyads in the LH |chick chick| part of the |boom chick chick| figure
each functional bit of the figuration follows a distinct path

achingly lovely weird modulation series
pull out of it by appearing as if it hadn't just landed you there out of complete elsewhere man

continuing by momentum right out of one's mortal coil

those last two dyads
from the |chick chick| bit

Banned Rehearsal 711 - Karen Eisenbrey, Keith Eisenbrey, Neal Kosály-Meyer [November 2006]


xylophone whistle horn (cornet? alto?)
go for the bangclank equipment

softly
a gong
goes bong

QUACK!
bleat bleat goes goat
DUCK!

take it from the big hooting the very big hooting
rootntootn

moving a round sound around
playful (at its essence)
play pretend
pretend play
redundant: play and pretend

Neal and I play the lets tune game on big buzz pipes
a softer mallet is used when striking right to the ring of it

December 29, 2019
autumn sonar - Triptet [from imaginary perspective]

drums are in a rolling barrel time zone motor
guitar and horn search the fog and murky water

Second Thoughts - Keith Eisenbrey - Keith Eisenbrey [recorded November 2017]

At the beginning I am establishing articulation points
sonographic nodes
posts
map pins

taking time to do it right
careful

taut not learned
scary dense polyphony elucidated in pitch unison sequence

Sonata in A Major, K.65 - Domenico Scarlatti - Pieter-Jan Belder

just possibly the most lucid composer of the 18th Century

Finnegans Wake Chapter 6 (continuation two) - James Joyce - Neal Kosály-Meyer [December 2019]

. . . Five

note how unique each rhythm of phrase or line or sentence is!
full of repetition and reference

answer: poor old Joe
six: answer (Kitchen with Dinah] tik.

seven: who are this list
answer: eight
and how are your maggies?
answer: descending melody of repeated stressables

nine: panaroma eye of a noodle shake again oh how starling
answer: a collide or scape
10 (ten): answer.

read and spoken
a reading is an analytic performance
speculating the voices that speak
the thrall of our lies
I hope they threw away the mold
lists of name with cough obbligato

not even to the charmer maid . . .

January 1, 2020
Happy Jack (acoustic version) - The Who [from A Quick One]

ironic novelty song
attitude is all it has

Seconds - The Human League [a Rescued Record]

we do love our synthesizers

stands for meaningful if topical
meaningful if you know what it is about
if you don't, not

can't be until it reverberates itself

Resistance at Brechemin (second set) - Chris Cochrane, Doug Henderson [March 1986]

We too had been playing with songs that arise in the context of improvisation.

Ideally, figurational stability should become invisible
and provide a framework that illuminates otherwise inaudible aspects of an iteration

love their synthesizers too
but treat the knobs as a thing to twiddle, rather than as a thing to set
not to get a sound
but to follow them in the air

two levels of instrumental sound:
the performed
and the peripheral
their economy of coexistence.

this sound is song
and this isn't
songsound
and notsongsound

this sound is the jamming of the songsound
the jamming part of it

Untitled (Slow Waltz) 3rd Version - Gavin Borchert - Keith Eisenbrey

ends as a sequence of variations on the end of it
the piece
consequently
ends numerous times in sequence
each more endingly that the last prior ending

The Hunters Return - Robert Tree Cody, Will Clipman [from Heart of the Wind]

gestures signal the ending
the players signal each other

The Day That You Deleted Me - Your Mother Should Know [October 2011]

with the mass horn section! (I had recorded several takes of Mike Gervais on saxophone and Neal Kosály-Meyer on cornet, then used them all)

Hanging On The Telephone - The Tim Version

wordy
the purpose of the hook: structural anchor (dead weight)

Sonata in B-flat Major, K. 66 - Domenico Scarlatti - Pieter-Jan Belder

pay mind to the ends of anything

Finnegans Wake Chapter 6 (continuation three) - James Joyce - Neal Kosály-Meyer [December 2019]

. . . not even the charmer maid

eleven
as the gates may be
temporarily wrapped in obscenity
little brattons

let
me be
Los Angeles

the mooks and gripes
I was operating the blue light at the time
Karen the white.

a woman of no appearance
an invisible [house?]

no applause please . . .

January 2, 2020
Man With The Money - The Who [from A Quick One]

hints at a story behind the song
like a song from a musical

The Groom's Still Waiting at the Altar - Bob Dylan [from Biograph]

trying to deal with punk but trapped in a blues heart

Reading: Luke 1:18-22 - The Boston Camerata [from A Renaissance Christmas]

pronounced like might have been olden time like

Untitled (Slow Waltz) 4th Version - Gavin Borchert - Keith Eisenbrey

it gets to the edge
and peers over
into it
with steady purpose

(shorter each time around)

Slavonic Dance #2 in E minor - Antonín Leopold Dvořák [from Naxos The Very Best of Dvorak]

all in the surface
nowhere to gain purchase
more resumé then music

In Session at the Tintinabulary

December 30, 2019
Banned Rehearsal 996 - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt, Neal Kosály-Meyer


last of the decade

Postscripts

rushed bring stupid behind policeman with
the job was going to be one pass the
boy the elder one's naughty lebziatnikov

carrying a sack of gold
a bird flutters through the sun
the dragon