Preface
"beyond saying, beyond sensemaking, beyond sensing, not the rendition of dreams but the being of something else entirely which becomes in language what a dream is in dreams."
- Benjamin Boretz "First readings" from "inside in . . . / . . . outside out" Open Space Publications, 2020
Texts
Recorded
July 31, 2021
Potlatch Song - Johnny Moses [from When the Humans Thought They Were People]
the introduction
spreads the arena of the pitch material
and the
melodic trajectory
the coda puts an end on it
Consider the Birds 17 - Keith Eisenbrey [February 3, 2007]
I don't remember the specifics of the process.
It involved filtering a
digital sound file in such a way that only tiny snips of it are left,
sparsely rhythmed.
I presume I had a plan for how to be sure
that each resulting filtered layer
would phase in and out among
all the other filtered layers
so that in the final mix there would be a
fluctuating population of short sound bursts
- like a sound panel or
other decorated surface.
There ended up being 44 layers that I mixed in
8 batches
before compiling the whole thing.
This layer is thin and
quiet.
Daytime Slumber - Black Plastic Clouds [from Electroplate]
we are the [X]
and we are the weary
and sullen
resentment
party
Ghosting Doubles (first sighting), midi realization - Keith Eisenbrey [February 12, 2017]
The known
(or at least the imported from out of system)
as a
thread
from which to hang the new
Pavana and Galiard to the Pavan, Fvb 34-35 - John Bull - Claudio Columbo [from The Fitzwilliam Virginal Book]
a most pleasing water feature
happy burbles
Symphoniae sacrae II, op. 10 #13 "Was betrübt du dich, meine Seele" - Heinrich Schütz - Capella Augustana
using the second voice, when it enters, to underline the sentiment.
what
elaboration there is
doesn't extend out the ends of the sung phrases,
it remains with the immediate expression of the text.
Aria in A minor, BuxWV 249 - Dieterich Buxtehude - Simone Stella
showy for Dieterich
the variations move too quickly to get tangled
Fughetta super "Was fürchtst du Feind, Herodes, sehr", BWV 696 - Johann Sebastian Bach - Michael Chapuis
kind of a shame it's so short
it had definite potential for further
twists
Sonata in C minor, Kk. 126 - Domenico Scarlatti - Pieter-Jan Belder
highly embellished head
to start off the first section
- solo
line: an unmistakable marker
Sonata in G minor, Wq. 65/27 - Carl Philipp Emanuel Bach - Miklos Spanyi
1
an expressivo song - single figuration - (mostly) -
repeated
tones
in the left hand,
graced here and there at structural points
2
not so different, but with fewer offsets,
a comfort to the
espressivo singer of 1
3
in much brighter spirits
sextuples to each bass note
- an
allegretto compound meter, but remembering
August 3, 2021
Arietta No. 2 with 12 Variations in A Major, Hob. XVII:2 - Franz Joseph Haydn - Christine Schornsheim
the template approach
- as with any Theme & Variations,
they
all,
each variation
including the theme,
have something in
common,
though the Arietta
as such
is not necessarily the
what that they have in common,
since structurally it isn't special
except as being first in sequence
- until Beethoven strove for
maximal distance all instances were spokes
{but then JSB's Goldberg
Variations?}
- progression thinking and spoke thinking became mutually
permeated.
Is template thinking different from each "other"-thinking
(that is progression and spoke)?
String Quartet in G Major, K. 387 - Wolfgang Amadeus Mozart - Budapest Quartet
received wisdom:
repeats should be taken
if and only if
the effect of repeating
on the repeated music
is the
payoff.
So impatient!
What if the new material,
post repeat,
would
lose out on its particular novelty
that of being both new
and not
having been repeated?
Its specifically "not what we heard here before"
novelty?
Rather than choosing whether to repeat or not
based on what repeating
might add,
how about choosing based on what would be lost should
repeating be eschewed?
{a very strange squeal got into this pressing in
the 2nd movement}
{as though somebody stepped on a cat's tail}
shape shifting bass lines
full on
in goal oriented thinking
back to D major
multiple
spokes
systems local linear sequenced
spoke variations within a
loose template
Etude in C-sharp minor, Op. 10 #4 - Frédéric Chopin - Alfred Cortot [1933]
frantic desperate bulbous cyclicity
August 5, 2021
Klavierstücke, Op. 118 - Johannes Brahms - Walter Gieseking
complexly passionate
every melody is a composite
every singularity
is a multiple
every cadence askew
the template is warped in its
embodiments
There Are Plenty of Fish in the Sea - The Gregg Smith Singers [from The Great Sentimental Age]
hm. gather rosebuds while you can
Pelleas et Melisande, Act V - Claude Dubussy - Orchestre de la Suisse Romande, Ernest Ansermet, Camille Maurane, Chorus of the Grand Théâtre, Geneva, Erna Spoorenberg, George London, Hoekman, Veasey, Brady, Shirley-Quirk
impenetrable reflection retreating inward
Bride of the Waves - Sir Herbert Clarke [from Allen Lowe's That Devilin' Tune]
impressive trumpet tonguing
off beat percussion supplied by 78 rpm
swoosh noise
Sonata, op. 64 (#7) "The White Mass" - Alexander Scriabin - John Ogden
It emerges that 3 or 5 things
or more
are emerging from each
moment
and from within the same closet
or
at least
from on the same bed
nothing like it
ever
Johnson Jass Blues - Frisch Jazz Band [from Allen Lowe's That Devilin' Tune]
everybody wiggles on the same greasy pole
cooperative innuendo
Pictures at an Exhibition - Modest Mussorgsky/Maurice Ravel - Cleveland Orchestra, George Szell
Ravel helps Mussorgsky
(or shows how Mussorgsky)
take(s)
apart his tunes on the fly,
with a recording engineer assist
on
the orchestration (multi-miked)
sounds great in that mid 20th century
pre-digital way that sometimes works.
Finnegans Wake, Chapter 6 (start) - James Joyce - Neal Kosály-Meyer (recorded from Neal's live stream November 21, 2020)
talking head version
FW on FB
sly ref to Sadie Hawkins
and
her day
a dud blimp blump
variously catalogued
rocky fellow
raise a stink to keep the other distanced
huckleberries make their
appearance
earish with eyes shut
rhyming lists
crows cheerio
when they get ecumenical
head rhymes
off rhymes
(Shoe Bard)
slant rhymes in rhyming rhythms
rhetorical rhymes
rhythm
rhymes
lexical reference rhymes
a locrative enigma sounds like a
rude word
the old stock collar is coming back
our hero
national
at the ground of it
to a liberal education . . .
In Session at the Tintinabulary
August 2, 2021
Banned Rehearsal 1031 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt
We gather on and around the porch of the Tintinabulary.
Karen plays
bodhrán mostly,
I wander among tenor banjo, otomatone, thunder drum, and
triangle.
Aaron plucked the concert zither
and Steve kept it shiny
with a bucket of light percussion.
And of course the neighborhood
supplied the backdrop of traffic and shouting child from the duplex across the
street.
We hope to get at least a couple more porch sessions in this
Summer before we need to shut ourselves back down.
For now the sound is
sweet.
Postscripts
::Consult the Oracle
down over the bill with that was my own
affair included in any deduction
offer and before second breakfast
Reality Check::
soon
the stone
would draw thunder
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