Playlist

Recorded

March 16, 2019

Psycho (Live) - The Sonics [from Boom]

dip dap digi digi do || Waoww!

My Melancholy Baby - Thelonius Monk [from The London Collection]

an opportunity to touch exquisitely
articulate press and delicate release

Daily Records - The Who [from Face Dances]

stage confessional
stage in life
soliloquy

you
are at a show

Banned Rehearsal 96 - Karen (Meyer) Eisenbrey, Keith Eisenbrey, Neal Kosály-Meyer [June 1986]

no rush getting to session mode

your blogger, Neal, and Karen, 1986

but when we do it is done

I have a place
I read Intermezzo V with a ukulele at my belly

Neal has a high regard
of the arranging of my tapes in three neat little stacks
a hero's task

a journey
everything cold
and now slowly open the eyes

Some Things Have Holes (a sudden song by Neal)

then two thirds of us wander off session briefly
drum beat pitched on 3 and 1 (in 3)

I'm So Sorry About That (another one by Neal)
tracing excuse to repentance to silliness of not my fault, reverts to blaming the victim
Karen, finally, has had it

March 17, 2019
I'm Waiting for the Man - Moe Tucker [from I Feel So Far Away - Moe Tucker Anthology 1974 - 1998]

like slow dance nothings whispered in your ear

Symphony #1 - Beethoven - Philharmonia Northwest, Roupen Shakarian

no feathers ruffled here

one might re-argue the familiar critique of this, i.e. that it isn't a Symphony it's a piece for wind band with strings, in terms of: it uses too many resources for the type of piece it is. It tries to goose the style just by noising it up. Too many out-of-doors instruments in-of-doors for what is still pretty much an in-of-doors piece

Coming Home - Dean Evensen [from Native Healing]

I hate being snarky about this, it's just my tone.

the idea is that if music is [A] Healing, then you will feel [B] Better
and that there is a cause and effect relationship between this music and Healing

but I may be misunderstanding the relationship completely
A does not cause B
but brings B within A
i.e. feel Better by being here in Healing where we feel fine

Banned Rehearsal 704 - Karen Eisenbrey, Keith Eisenbrey, Neal Kosály-Meyer

on the porch

Mt. Rainier National Park 2006

we sure been doin' this a long time hain't we?
steady on the quiet water
it's never the same jungle out there on the drifting banks as the drifting banks drift by

we pluck back at the quiet evening
now and then we get all excited about something and run off to scribble

but we return

for Milton - Samuel Adler - Michelle Ross [from Milton Babbitt: A Composers' Memorial]

enters fully into the whole concert piece mode

Half a Bus Closer to Home - St. Rage [June 2016]


St. Rage is the fictional band in my wife's soon to be second editioned debut novel "The Gospel According to St. Rage." In this recording they are impersonated by Karen Eisenbrey and Neal Kosály-Meyer, both of Your Mother Should Know, and were recorded by me. My favorite part is the angelic teen chorus in shiny "Homework!" harmony.

Playlist

Recorded

February 9, 2019
Male Content - Thomas Simpson - The King's Noyse [from Mascharada]

empty set?

an ordered texture of durations
several orders of embedded ordered textures of durations

Alla Polacca in G, Wq. 116/8 - C.P.E. Bach - Miklos Spanyi

scraps cut to not fit quite just so

The City Never Sleeps at Night - Nancy Sinatra [a Rescued Record]

wide-eyed cinematic distance

I Mean You - Thelonius Monk [from The London Collection]

a pickup of three eighth-notes and a downbeat played as
a pickup of three quarter-note triplets and a downbeat, all offset by half of a quarter-note triplet
or fairly like that

October - U2 [from October]

brief
the piano figuration could turn in upon itself intriguingly
but won't

Banned Rehearsal 90 - Karen Eisenbrey, Keith Eisenbrey, Doug Haire, Neal Kosály-Meyer, Wally Shoup [June 1986]

the third of seven sessions made on June 7, 1986, in the attempt (successful) to get to 100 by the time Neal left for San Diego later that month

back at the half house

microphone placement
tape to the window
sacrifice the television

Wally is reading from my listening journal which I had been keeping for 3 months at that time and of which this blog is an extension 33 years later
working backwards bloglike

instructions for the Realistic mixer
Karen's going to make cookies
run the output through the ox
back in time we are in two
at once of times
time travel
time's return

sounds of us recording sounds
life within the veil
all the objects this signal has passed through
as it passes from skull to skull

mix thoroughly
combine ingredients

Salute to John Philip Sousa - The Canadian Brass [from Red, White & Brass]

what was the first military force to have a band?
or has music always lured us off to war

you can almost smell the outdoor air

On/Off - Tom Baker - Tom Baker, Keith Eisenbrey [from Preludes in Seattle, May 2006]

in which
I perform on piano
exciting its harp and board
by amplifying recorded other musics
into its underparts

by signaling to Tom
who operated the ingoing sounds
with my hat
on the music rack

February 10, 2019
Dhunki - Mere Brothers Ki Dulhan [from Bollygood Vol. 1]

with so much money evident in the production the question of heartfeltness seems inappropriate
like one of JKR's "farts in church"

Banned Telepath 49 Mississippi River Brewery - Aaron Keyt [June 2016]

sounds glinting off the echo shiny walls
a box of jewels flashing

Mascharada - Nicolaus Blyer -  - The King's Noyse [from Mascharada]

the multiple tempo changes make this seem a much bigger piece than can quite fit in a minute twenty four

Fantasia in G minor, Wq. 117/13 - C.P.E. Bach - Miklos Spanyi

fabulous instrument (fortepiano?) seems to have a damper pedal
Bach the J.S. used music to exert intellectual control
Bach the C.P.E. used music to consider music

or
given the tremendous gifts of B the C.P.E.
personal, peculiar
what must it have been like to have B the J.S. as dad?

Hitch Hike - The Sonics [from Boom]

rhythmhornB3 has a luscious fuzz all through it

Introspection (take 1) - Thelonius Monk [from The London Collection]

the melody
within itself
loses itself in itself
finds within itself
melody itself

February 12, 2019
Wild Wild Life - Talking Heads [from True Stories]

it's so clean!
so clean the words don't even register
except as placeholders within the songwritery songwriting

Can You Dig It? - Thee Emergency [from Can You Dig It]

showcase: I'm what you got left (all of it)

Time Stratifications I Through a Glass Darkly - S. Eric Scribner [from Stormsound Cycle, May 2011]

sounds recur
flirt with adding

up to a sequence
resist

congealing into
a texture might be

commentary mostly
mutter art

Tetua (Jai Gangaajal) - Sukhwinder Singh, Salim- Salaiman [from Bollygood Vol. 1]

mid
distant
too close

February 13, 2019
Mascharada der Edel Frawen - William Brade - The King's Noyse [from Mascharada]

a genteel quicker but not really quick bit
a breathtaking slow few phrases
rounded by quick slowing to slow

Keyboard Sonata in A Major, Wq. 65/43 - C.P.E. Bach - Miklos Spanyi

master of do-overs and sharp turns
sudden shade

in this music the weather changes always

I Met Him On A Sunday - The Shirelles [from The Shirelles Anthology]

cycling through voices
one for each day
great clapping part!

Introspection (take 3) - Thelonius Monk [from The London Collection]

recorded to make you feel like you're in the keyboard seat

low left
high right

Playlist

Recorded

January 13, 2019

Jenny Jenny - The Sonics [from Boom]

at their raucous best
it is itself
straight ahead
no flinching

Criss Cross - Thelonius Monk [from The London Sessions]

number (or quantity) theory
he's laying all this stuff out there folks
listen up
take notes
it's on the board

Luxembourg - Elvis Costello [from Trust]

derives from the same era as Jenny Jenny above
the bridge gives it away

I love the song, but I'm not sure I'm as enamored of the echo on his voice as he was.

Banned Rehearsal 86 - Karen Eisenbrey, Keith Eisenbrey, Neal Kosály-Meyer [June 1986]

cans and shakers,
cornet,
then
then
YES! The Obo Roi!

Cornet & obo roi make a fine distortion on the tape

lively, but gets a bit stuck in a music trap,
that is, we play music, which is a trap, a habit, a known
Neal finds a pretty little lick on ukulele
a Waltz from Karen on the Funmaker
just like practicing but without any pesky sense of trying to get better
nothing like highminded commercial free improvisation
nothing like

the didgeridoo says didgeridoo
the game we play is to bump each other off our respective kicks

Bierhall badge achieved!
"I Love Baseball" a sudden song
I have a phone call you'll have to get all quiet to which request compliance is partial

We all join in a rousing rendearment of "Take Me Out To The Ball Game" in a slightly less creepy shade of the Mack The Knife tempo, my obligato line to which is perhaps my finest moment on toy piano ever

American Patrol - Canadian Brass [from Red, White & Brass]

a polite swing
bandstand ready bandleader arrangement
even pokes La Marseillaise in there a la Faschingschwank aus Wien

Liebeslied - Benjamin Boretz - Keith Eisenbrey [from my recital: Preludes in Seattle, June 2006]

An unfinished and now withdrawn mid-70's composition, the pencil score to which Ben presented to me as a gift in 1984 when I came back to Seattle. I have performed it many times, and I have also modestly altered it (Liebeslied, Amended), and less than modestly utterly and completely re-composed it at Ben's prodding (Sonata Liebeslied).

What it is about is the particular intervals between chord changes, as they go on, going on within other ongoing musics.

The Last Jubilee - Rachel Harrington [from Celilo Falls]

"don't be blue
if you don't wake up today"
- a kind of subjunctive, as though sung from sleep
"just pick up your harp and play"

Banned Telepath 48 Somerville [Aibell, Jennifer Chung, Aaron Keyt, May 2016]

Assembled (by me) from several sound files hurled across the intersphere from Somerville MA
sound boundaries :: intervals gaps joints adjacencies gores
g'bye kiss me quick to Wallace (a spinet/player cyborg)
vacuuming
If the parts are indestructible the joints can be haphazard
BIG FUNMAKER
what pipe organ music could be if given half a chance

advice for listening: let go of your morbid abstemiosity
don't just live a little live a lot go to the outer

part of what Wallace is, for me, is the mediated Wallace, the recorded sound of it, as it actually landed on this side of the Rockies

Courante I & Courante II - Johann Grabbe - The King's Noyse [from Mascharada]

a gracefully balanced wit dancing on the points of pins

January 15, 2019
Go Joe Go - Phil Napoleon [from Alan Lowe's That Devilin' Tune]

a big orchestra
the 1926 recordist/tech was not quite up to the task
too few microphones, not enough multitrack capability
but its all there if you listen for it
and the dynamic range is real

What's New - Art Pepper [from The Way It Was]

Did the more subtle degrees of nuance become part of the point of this music because the technology made it possible?

You Hurt Me - Wayne Storm [a Rescued Record]

I'm still loving you-ooo-ooo-ooo
hurt me

The spoken verse
Is anything worse?

Spoken word
Poetry's turd?

Darn That Dream - Thelonius Monk [from The London Sessions]

all the extremes of dynamic differentiation in play between mezzo forte and forte
and degrees of forwardness to the back of the hall

Eliza Act 3 - Keith Eisenbrey, Dave Jones, Aaron Keyt [December 1981]

. . . is hushed
twins
two twins
echo

sophomoric in big chunks
not yet awake to the concept that there is a possibility of much more than the clever
best when we leave the wordplay out of it
even better when the musicplay is left out of it too
ceremonial irreverence - a necessary preparation
we exit
fading
on hisses

January 17, 2019
Johnny Bye Bye - Bruce Springsteen [from a collection of 6 B-sides]

barely comes on before it goes out
like a bonus quarter track

Banned Rehearsal 279 - John E, Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [December 1991]

your blogger, ca 1983 - Red Hook, NY

the hats 500
because of the feather
a mighty view

Dr. Seuss's "The 500 Hats of Bartholomew Cubbins" is a touchstone of my own intellectual awakening
(structures of the tale revealing structures of knowledge)

hats and crowns and fathers
very serious nonsense
the father of the father of Nad
the magicians from the southwest tower

Karen remembers hearing the story as told by Captain Kangaroo

nursery songs if songs we do
sounds
guiro overdrive
drum guiro dialogue as conversational composition

In Session at the Tintinabulary

January 14, 2019
Banned Rehearsal 973 - Pete Comley, Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt, Neal Kosály-Meyer

Not rehearsing for our upcoming gig at the Seattle Improvisation Festival on February 7, 8pm at Hollow Earth Radio, we crowd six into the Tintinabulary

Playlist

Recorded

December 22, 2018
King Arthur Act 5 - Henry Purcell - Le Concert Spirituel, Hervé Niquet

The birth of the distinction between high art and low art can be blamed on the concept of Royalty and Nobility. The idea of Learned Court or Church Music, as an economy, allowed only the Learned to be written out, writing being the only means of preservation outside of oral tradition. The demotic appears in written form only through imitation by the learned and otherwise is left to its own devices, its praxis handed down personally - a process that did not stop at the courthouse or churchhouse doors. It remained there also, as always.

Nänie Op. 82 - Johannes Brahms - Atlanta Symphony Orchestra & Chorus, Robert Shaw

consistently engaging as a play of sound colors
nice orchestration!!
a symphonic movement with one of Brahms' few harp parts
about as fine a piece as any other of his

December 26, 2018
Grandpa's Spells - Jelly Roll Morton - George Mitchell, Edward 'Kid' Ory, Omer Simeon, Johnny St. Cyr, John Lindsay, Andrew Hilaire [from Alan Lowe's That Devilin' Tune]

Arrangement is,
as composition is,
a tool for timbral amplification

Adagio for Strings - Samuel Barber - Berliner Philharmoniker, Semyon Bychkov

poignant incomplete, enclosed

All The Things You Are - Art Pepper [from The Way It Was]

never losing cool in the spotlight
easy to hear
how the pairs
join

Let The Good Times Roll - The Sonics [from Boom]

a winning combo of messy reverb and narrow bandwidth

Crepuscle With Nellie (take 3) - Thelonius Monk - Thelonius Monk, Al McKibbon, Art Blakey [recorded in London on November 15, 1971]

cyclily it goes
slow and heavy round
and round and round

Eliza (Interlude) - Keith Eisenbrey, Aaron Keyt [December 1981]

three short movements for spinet and (trombone or tenor tuba?)
clever and brief
but not horrible either

Breakout - Swing Out Sister [a Rescued Record]

synthy machine backed
born to be bland

December 27, 2018
Banned Rehearsal 277 - John E, Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [November 1991]

guitar, autoharp, ocarina
homespun sound with infant and fuss and very faintly if I am not mistaken a radio station brought in on the waves of electric chance

violin and hand drum shiny bright with bell duet
for violin squak and infant squall

deep dynamic focus from mezzo forte on down to where the airwaves shine dimly

öbjét d'kítsch

special brand young parent sleepiness yawn

lesson:
No session or sequence of sessions is important as to where the project might be going
they are only important in the sense that they and their kind exist within the corpus
the junkyard's accumulation is the key, not the particular trajectory of accumulating
history is not as granular nor as linear as we would care to think

this music is very close, near, to our ears, inhabiting its space precisely
its space is its and none others

In Session at the Tintinabulary

December 25, 2018
Fox Spit 181225 - Keith Eisenbrey

After the guests all left
a scribbled bit on the guitar my brother Paul made.

Playlst

Recorded

December 1, 2018
Allemande - William Brade - The King's Noyse [from Mascharada]

closer to clearly a dance than any of Bach's Allemandes are
being older

step kick step kick
do they all stem from the same root dance as the Polka?

King Arthur Act III - Henry Purcell - Le Concert Spirituel, Hervé Niquet

Purcell liked the noise of it
up to his elbows in liking the noise of it

a shake (ornament) on shake (word) - very clever, Henry
wordpainting as blatant as possible, visceral even
as though that were so completely the point
but also distracts some from the little seminar the notes are engaged in, as notes

and then there's a Wind Machine!

Quartet in F Major op. 135 - Beethoven - Alban Berg Quartett

four clowns
each answering

to reprise is to vary
the activating symmetries

we suspect the non sequiturs
are not so non as all that

a lull? a lulling? a trap?
(left hanging in the attentive lurch)

definitely a trap
pizzicati ex machina

Caprice - Henryk Wieniawski - Itzhak Perlman, Janet Goodman Guggenheim [from Itzhak Perlman 
Live in Russia]

an encore
a remnant of the old Music Is For Fun vogue

East Arkansas Shout - Sammie Lewis [from Alan Lowe's That Devilin' Tune]

picked that up (the vogue above)
a draft or older version of the land of a thousand dances
pre mashed potato too

Carabina Trienta-Trienta - Epifiana Sanchez and group [from The Art of Field Recording vol. 1]

There is a slow flange quasi-arpeggiation effect concerning the placement of the strum sound upon the strings within the presence of the recording. tape wobble or intent?

December 4, 2018
Don't Be Afraid of the Dark - The Sonics [from Boom]

a reimagined throwback

Punk and its progeny being a back to the roots music, from the very root of it arises a propensity to revisit older songs and goose 'em. From this trope comes some of my favorite covers and moments: The Stranglers Walk On By; The Dictators I Got You Babe; and (live): Peterman I Can't Help Falling In Love With You; and Red Ribbon That's All Right Mama.

stripping the sheen from the 50's
bringing it home

Chordially (Improvisation) - Thelonius Monk [recorded in London on November 15, 1971]

experimental
thinking with his hands
not a finished thing and clearly not a thing intended to be finished
melody notes perched uncomfortably on lumpy chord chairs

Eliza Act I - Keith Eisenbrey, Dave Jones, Aaron Keyt [December 1981]

oh golly this goes back

in the year between my graduation from the UW and my wandering off to the East
Aaron, occasionally Neal, Dave Jones, and I would gather in the basement of Dave Jones's place north of the University and record improvisations. Over the course of several such session we improvised an opera named after one of the characters in Kurt Vonnegut's Slapstick. The result is easily not all that wonderful, but it has its moments and anticipates many of the activities that came to dominate Banned Rehearsal a few years later.

the overture
intoned trombone, bass clarinet, conch? ceremonial solemn
text erupts
fairy tales

If improvisation's purpose is to elicit pieces of music then we explode that idea by trying to elicit a particular known genre of music, demonstrating just how far off things can get. And it isn't due to us choosing the wrong kind of music to elicit. We do it in numbers.

we didn't have amplification per se to play with so we moved the microphones around instead
competitive cleverility
all of a sudden I realize
hey I'm in control here

December 6, 2018
Diamonds on the Soles of Her Shoes - Paul Simon [from Graceland]

fancy melismas and choral drums

Banned Rehearsal 275 - John E, Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [November 1991]


a piano, so, Toad Hall

as none was available at that time at headquarters
thumbpiano mixed to have presence
J operates a spring contraption and is cyclically quite amused
drum and brass with flabby lip
the organ transformed suddenly into The Show
or was that the Aaronsynth?
going on for the cause of why not go on
awake!
or drift more
fat finger tunes
some tiny whisper whistles imitating cassette ghosting
J squawks discovering agency
double double reed thingy designed for the desire to be at two with one's self
pre-toddler delight
squeamish should turn their ears aside
diaper is being changed

In Session at the Tintinabulary

December 3, 2018
Banned Rehearsal 971 - Karen Eisenbrey, Keith Eisenbrey, Steve Kennedy, Aaron Keyt


December 4-5, 2018

How Firm a Foundation - Keith Eisenbrey

I wrote this chorale prelude-ish arrangement of the hymn tune Foundation in July of 2001, the last of three little organ pieces. For the last decade plus now I've been going through all my keyboard pieces to be sure I have acceptable recorded documentation. They all work pretty well for piano too, though this one requires some carefully applied sostenuto pedal in three or four spots.

Playlist

Recorded

June 25, 2017
Banned Rehearsal 611 - Karen Eisenbrey, Keith Eisenbrey, Isabel K, Neal Kosály-Meyer [July 2001]



Even as it has been recently, my 1981 synclavier piece Aku, then, was upfront in my thinking-about. Here it is again: playing in the background, an articulate teapot whistle, sizzling along with an occasional recorded pronouncement [from my 2001 text piece Confessions of a Polyphonist]. But again, all in the background. Presence and balance. Balancing presence to those present. Bells pick up pitch material or project their pitches into the prerecorded space || of course it's all prerecorded now || teapots and kazoos comment: a group composition discussing the brought in sound on its own terms,  double sudden amp feedback.

A Choice of Weapons - The Sermon [from The Funhouse Comp Thing]

Action movie scene: the guy off the street hero being introduced to the weapons cabinet. This is that music, and it's not just the title.

Banned Rehearsal 784 - Karen Eisenbrey, Keith Eisenbrey, Isabel K, Neal Kosály-Meyer [January 2011]



Tinclatsky puppet theater music. Don't know where that word came from, but I wrote it in my journal

so I thought I'd share it. The Mighty W in its latter days of glorious to the end. Melody in extremis, avoiding exit lingering long on the sense of ending soon.

June 27, 2017
Suspended - Denise Glover [from Pathways]

The rhythmic sense plays with the difference between mass and weight. The mass is clearly present, everything is affected by it. It wheels in Kubrik-ian grandeur, there is simply no earth to which it is bound.

Die Kunst der Fuge Contrapunctus XI - J. S. Bach - Lionel Rogg

Forward at all moments. Forward within all moments. Dogged. Imperative. The cathedral organ just eats this music up, or is it the other way around?

Quartet in G Major opus 76 #1 Hob. III:75 - Haydn

Nothing is hidden, it is all made plain. Life is rich! Enjoy!

Don't Forget To Mess Around - Louis Armstrong [from Hot Fives & Sevens]

Packed in a poke.

Hell And What It Is - Rev. Emmett Dickinson [from Goodbye Babylon]

Murmur like bees beneath singing low murmuring hymns, burners lit.

I'll Be Rested (When The Roll Is Called) - Roosevelt Graves and Brother [from Goodbye Babylon]

Just two voices I think, but each so distinctly rich with formants they frequently confound numbering. A shaker. A guitar.

Thermodynamics - Howard McGhee [from Alan Lowe's That Devilin' Tune]

Fleet and light, pedal to the metal just to the moment before entropy might kick in.

Criss-Cross - Thelonius Monk [from Smithsonian Collection of Classic Jazz]

Ah. Room to breathe! A little english with the hips, airborne.

I Didn't Know What Time It Was - Peggy Lee [from Black Coffee]

The very model of a through-composed performance. She picks you up at the start and plops you down at the end. You have been taken for a ride and never knew it 'til you woke in the ditch.

Running Scared - Roy Orbison [collected from Dave Marsh's Heart of Rock & Soul]

Probably should have studied more how Peggy did it before he tried that trick. He's got a certain amount of power and range, but finesse? Whazzat?

Just Like A Woman - Bob Dylan [from Blonde on Blonde]

Is it just me or does he spend an awful lot of time telling you who you are? Turn the mirror around Bob.

Winterwood - Don McLean [from American Pie]

A pretty voice, but it gets old fast.

Fame - David Bowie [from Changes One]

A cage of rhythm locked down tight, dried vine vocals entwining.

Shine On You Crazy Diamond / Wish You Were  Here - Pink Floyd [from a collection of great dance songs]

Utterly without hurry :: an aspect of PF that continues to endear.

June 28, 2017

Thanks to Steve Kennedy for the images

Banned Sectional 5 AK NWM - Aaron Keyt, Neal Kosály-Meyer [January 1986]

Yowl and hiss. Subtle flange (equipment issue) like wind several walls away. Consistently not leisurely. Busy, but unhurried, intent, methodical, keeping at it, focused. Happy to be a fly on the wall even these 30+ years later.

My Home - Infamous Menagerie

Sample hyper-slowed, joined occasionally by drumming. On some edge between a what-happens-if-we-play-along-with-that and a truly weird-ass instrumental you hear the next morning and wonder what you were thinking. My people!

Banned Rehearsal 423 - John E, Karen Eisenbrey, Keith Eisenbrey, Anna K, Holden K, Neal Kosály-Meyer [May 1996]

Recalibrations and re-collaborations, divergent but mutually visible threads. Wonderful as a struggle, but still a bit of a struggle.

June 29, 2017
Barbara H (cover of Fountains of Wayne song) - Karen Eisenbrey, Keith Eisenbrey,  Isabel K, Neal Kosály-Meyer [July 2001]

Put a push-pin here, partway between drop of a hat covers of Wild Thing to full on full on Your Mother Should Know rock and roll.

Two-Part Invention - Gavin Borchert - Keith Eisenbrey

Gavin's piano music somehow seems conscious of itself, or perhaps its voices are conscious both of each other and of their own processes. Old-soul music.

The Way West - Brian Cobb [from Campfire Songs]

. . . is to regiment forward, to prolong the day ever so incrementally. Sun Chaser.

This Little Light of Mine (Autoheterophony) - Keith Eisenbrey


What is the question to ask of this? What itch does it scratch? Cram the familiar together, wad it up tight, press it hard. Hope to find some aspect of it that is elicited only so. In a sense it's like Lucier's I am sitting in a room, except that the room in this case is a space composed of my music ear and the recording device.

In Session at the Tintinabulary

June 26, 2018
Gradus 314 - Neal Kosály-Meyer

I got to thinking about perfect pitch (I don't have it). Even here where the pitches are few (just four pitch-classes to choose from, named up front) I have to calculate what any particular instance is from the nearby intervals. I can't imagine what it might be like to know a pitch by a name directly, instantly (and I allow how I might be (probably am) completely misunderstanding what having it is like). Plus side: I can hear pitches just fine, but I hear them without name, without category, can divvy them up however ad lib.