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| Clear Creek Falls Overlook |
"1 mizzle
2 drizzle
3 frizzle
4 raw
5 thaw
6
hearts
7 darts
8 smarts
9 loves
10 doves
11 gloves
12
willing
13 billing
14 wooing
15 cooing
16 eyes
17
sighs
18 mate
19 fate
20 love
21 cold
22 scratch
23
scold
24 fight
25 bite
26 spite
27 mope
28 rope"
"Season's Signs" [February 1835] from "The Comic Almanack, an Ephemesis in Jest and Earnest, First Series, 1835-1843"
Texts
Recorded
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| Clear Creek Falls Overlook |
Sonata, Op. 70 (#10) - Alexander Scriabin - Michael Ponti
transmuting mist
into substance
liberated ornamentation
tied no more
to
cadential origins
phraseological logic
has fractured horizontally
and slipped
a collapsed stack of shale
we are left
with the wrack
of a music
a vapor
in
tatters
Country Gardens - Percy Grainger - Percy Grainger
desperately seeking complacency
Brejeiro - Ernesto Nazareth - Marcelo Bratke
first blush
a bit like ragtime
without the tincture of melancholy
stable
homogenous rhythm scheme
formulaic structure of harmonies and harmonic rhythm
normative four counts
lively melody
Big Road Blues - Tommy Johnson [from Really The Blues]
action in the middle strings
tag the last lines with a sweet falsetto
Overture to "The School for Scandal" - Samuel Barber - Seattle Symphony Orchestra, Gerard Schwarz
a sequence of scenes and transitions
events and harbingerings
a mirror of
narrative practice
in the age of cinema
a full plate of character patches
Cantate de l'enfant et de la mêre - Darius Milhaud - Juilliard String Quartet, Leonid Hambro, Darius Milhaud, Madeleine Milhaud
in the rhythm and inflection
of declaimed narrative
words brushing the tender
skin of song
Sonatina in C - Johanna Beyer - Peter Dumsday
1
a tonality
judging itself in a mirror
2
this music
is pleased at what it
sees
3
we'll take a look
in subdued lighting
4
setting the table
each napkin
folded
specially
for each guest
a set(ting)
of variations
Composition for Four Instruments - Milton Babbitt - Erik Carlson [from The Slowly Expanding Milton Babbitt Album]
flute clarinet violin cello?
in singles pairs trios and potential tuttis
a
provisional distinction
between what we immediately understand*
and what we
put together later**
and the motions of the whole distance between them
*what we put music together with
**our flow of experiencing with delighted curiosity
Mystery Train - Little Junior's Blue Flames [from Sun Records Definitive Hits]
good old country blues
even makes the sound of steam releasing
pssssshshshshsh!
Everything Gonna Be All Right - Magic Sam [from Turn Me Loose White Man]
this dances
with a heavy hip bump
Variations on 'America' - Charles Ives/William Schuman - Seattle Symphony Orchestra, Gerard Schwarz
business boosters on parade
Here's That Rainy Day - Bill Evans [from Alone]
the open face of expression
mercurial texture modulations
Baltimore - Nina Simone [from Baltimore]
suddenly
but without suddenness
she has begun to sing
a poem
inscribed
on a
block of funk
BAB KEE 830306 (1983 dub) - Benjamin Boretz, Keith Eisenbrey [March 6, 1983]
holding still
with in bounds
with out bounds
finding a headspace
for five
movements
to be in
Everything's Gonna Turn Out Great - The Young Fresh Fellows [from Totally Lost]
grit your teeth and hang on
Banned Rehearsal 326 - John E, Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [April 10, 1993]
belly tones
big voice
big drum
switched on all-rhythms
machine tempo
switched
off
segmented session
big textural shifts
we could get pretty loud
big bell
we play a marching song game
uncertain sounds appear ephemerally
we have a collective release of the pent-ups
just like April
if the weather displeases
wait a few minutes
it's the jack
not the john
{journal entry of January 21, 1998:
sonorous oogachaka drumming
but doesn't
last long
- episodic tape with kid talking.
when it gets cooking,
a Dionysian
session
- drumming and funmaker}
Garage Fugue - Minus, Dwight Beckmeyer [from Minus(minus)]
a strangely dead sound
the dub?
chromatic fugato with solos to follow
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| Clear Creek Falls Overlook |
Gradus 35 - Neal Kosály-Meyer [January 7, 2003]
there is sound
which we regard
as the carrier
of the instant exposition
of
Gradus
as a playback
of the recording
of the live performance
of this rung
all
sounds
so played back
may include sounds
which
we need not regard
as a part
of
the instant exposition
there are also sounds
occurring
within the same
acoustic
as the played back sounds
which
are not
part of the sound
being even
now
so played back
these further sounds
also
we need not regard
as a part
of
said instant exposition
or
one might accept all instant sounds
or any subset
of them
as part of one's experience
of its exposition
and still
attend most
closely
or even exclusively
to that portion
of that experience
which arose
from the operation of the piano
as what makes
this instant exposition
most unique
most uniquely this exposition
most uniquely Gradus
and most
uniquely music
the earmind
has precise focus
presumably enabled by wetware
psycho-aural lenses
(mechanisms)
detachment from focus
is to not listen at all
Fearless - Taylor Swift [from Fearless]
engineered to glitter
I'm so glittery
eat my glitter
the melody chases the
words
up and down
through glittery rainbow skies
Luke 6:20-26 - Keith Eisenbrey - Zach Buker, Karen Eisenbrey, Keith Eisenbrey [recorded live at University Temple United Methodist Church, Seattle, June 25, 2017]
this dub
includes all the sounds
from the start of record
to the end of record
part of a service
the stern Beatitudes of Luke
nicely done Karen and Zach (and even Keith)
Passacaglia - Noah Creshebsky [from Open Space 37]
recomposed
from the memory of all that
gobsmacked
musics re-assembled
Foundation Pouring - Keith Eisenbrey [February 14, 2023]
a sound I recorded
of a nearby construction site
it might be a sound
that
might not be music
and still
be an interesting sound
O Virga Mediatrix - Hildegard Von Bingen - Sequentia [from Canticles of Ecstasy]
I could do without the harp
seriously
an annoying distraction
Bella Angioletta, da le vaghe piume - Carlo Gesualdo - Delitiæ Musicæ
how like the Creshevsky this is
in its sense of having been assembled
from
discrete parts
Geistliche Chor-Music, Op. 11, SWV 369-397 (1648), Volume 1: I. Es wird das Szepter von Juda (Erster Theil) - Heinrich Schütz - Capella Augustana
we all read this text
from the same song book
but
we each start independently
or codependently
we congrue
Nun lob mein Seel, den Herrn, BuxWV 212 - Dieterich Buxtehude - Simone Stella
lights flash about the tune
to reinforce the learning
of the text
to which
the
tune
is set
Quintieme Ordre (la): Sarabande la Dangereuse, Gravement - François Couperin - Kenneth Gilbert
gracious enough
to encompass all requisite flattery
and courtesy
Invention in E Major, BWV 777 - Johann Sebastian Bach - Edith Picht-Axenfeld
the ups and down
of ups and downs
Sonata in G Major, Kk. 235 - Domenico Scarlatti - Pieter-Jan Belder
comparing one line with another
as presented
with a third line
and a
repetition of the third line
so playful
Sonata in C minor (Molto Adagia, embellished), Wq. 51/3 alt - Carl Philipp Emanuel Bach - Miklós Spányi
use of embellishments rhetorically
to signify
heightened emotional sensitivity
Symphony in D Major, Hob. I:57 - Franz Joseph Haydn - Austro-Hungarian Orchestra, Ádám Fischer
1
a question is asked
into a dark stage
||
curtain opens
to a well-ordered
household
every spoon in its place
and dressed correctly
to the latest
2
in
the dark
across the pillows
so domestic
decisions must be firm
3
time for
lessons
now pay attention
lattle britains
4
time for frolic
and fun
celebrating the ideal
of living
as then imagined
a Royal Household
at leisure
time to put a band-aid on the boo boo
all better now
run and play
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| Clear Creek Falls Overlook |
taking full advantage
of the newest keyboard technologies
hot off the
workshop floor
variations used as a tool
to discover latencies of faces
to
find
what actually persists
constant
through all the changes
kinds of things
happen
at kinds of moments
a fashion model
and their varied outfits
Symphony in F Major, Op. 68 "Pastoral" (#6) - Ludwig van Beethoven - Academy of Ancient Music, Christopher Hogwood
1
taken at a jolly clip
2
the better life
out of doors
good feelings flow
upward
through the flora
from the dirt
3
we're doing our happy chores
all the
day long
4
until interrupted
by wrath from heaven
5
but benevolence
reigns in
the end
Caprice in B-flat Major, Op. 1 #13 - Niccolo Paganini - Salvatore Accardo
flicker shows
of registers
as the bow hops
among the strings
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| Clear Creek Falls Overlook |
Semiramide, Act 2 (finish) - Gioachino Rossini - Orchestra of the Age of Enlightenment, Mark Elder, Opera Rara, Albina Shagimuratova, Daniela Barcellona, Mirco Palazzi, Barry Banks, Gianluca Buratto
and the Lord commanded them
go forth and melismate
at every opportunity
a fever pitch
that relents never
finally a relief
from all the dialog
in
heightened recitativo
a lovely duet
no plot point
that can't be amplified
and
elongated
with fancy singing
and perhaps
that's my real beef with this
it's all about the impressiveness of the singing
and leaves nothing left
for
the music
nor the drama
to be
new scene
opens with thrums of string bass
atop
which float
first
a clarinet
then
a flute
yep
then
an oboe
sure as shootin'
there'll be some more
o' that fancy singin'
suspense fatigue
we must be
toward the big finale by now
here's a chorus
in mostly subdued tones
interrupted by big accents
at increasingly frequent intervals
then
there's some
more high-toned recitative
reminders of the chorus's recent music
articulate
this dialog
a romantic duet
interrupted by noise
and even
a tam tam wham
big
choral cadence
for the finally
finale
final
curtain
Quintet in C Major, D. 956 - Franz Schubert - Vienna Philharmonic Quartet, Richard Harand
1
manifestation
over time
of long
through-lines
moving forward
through any
disruption
resists eradication
2
what forms itself here
can't be rushed
melody
beyond breath
3
vigorous dancing
shake that floor lads
aged sloths in the card
room
larghissimo whist play
back to the sloths
vigor of youth
4
we wonder
have
the long through-lines found their way here
through subterranean channels
apparently they have
and they're moving much faster now
Mazurka in C Major, KKIVb/3 - Frédéric Chopin - Garrick Ohlsson
while you were occupied elsewhere
the countermelody shape-shifted
Piano Sonata in G Minor, IV: Rondo (original version) - Robert Schumann - Florian Uhlig
a battle of tempos
skirmishes through the finger wiggles
Variations über ein Thema von Robert Schumann - Clara Schumann - Michael Ponti
being the same theme Brahms wrote his variations on
at nearly the same time
imagine a recital
with both sets
(interlaced?)
(is that kinky?)
her keyboard writing is genuinely fabulous
String Quartet in C minor, Op. 51 #1 - Johannes Brahms - Budapest Quartet
1
queasily
it finds its key
then hides from it
with some success
2
unsettled
in their pew
Church of Proper Propriety
thoughts bordering
on the possibly
impure
firmly repressed
with trochees
a conflicted prayer
3
waiting out the
mean time
fretting
anticipation
eagerness
no use pacing
no use not pacing
so
we pace
4
cry anguish to the skies
shake those fists
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| Clear Creek Falls Overlook |
suitable for park pavilions
at fashionable summer spas
on the continent
music
of social ease
and relaxed refinement
Allegro Assai e con Fuoco, Op 16 #4 - Ferrucio Busoni - Wolf Harden
these scalar figures
roll across a round and uneven surface
Psyche - César Franck - Moscow Radio Symphony Orchestra - Jemal Dalgat
there has never been such a thing
as a downbeat
imagined
herein
there are no
cycles
there are no hierarchies
afloat
in the eternal bliss
forever deepening
forever reaching
forever entering the gate
of the next eternal bliss
a heart
pulse is awakened
quick
in the morning
to a new rhythm
of bliss
and now
the
recollection
of blisses
and blisses of blisses
oh bliss
In Session at The Tintinabulary
July 28, 2024
Brimfield - Keith Eisenbrey
July 29, 2024
Banned Rehearsal 1104 - Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt, Neal Kosály-Meyer
Postscripts
Drops
A large selection of recordings of my compositions can be found at keitheisenbrey.bandcamp.com
All are free for download.
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