Today we shall have the naming of parts. How the opening of that poem by Henry Reed caught his present thoughts; that banal naming of parts of a soldier’s rifle set against the delicate colours and textures of the gardens outside the lecture room. *Japonica glistening like coral  . . . branches holding their silent eloquent gestures . . . bees fumbling the flowers. It was the wrong season for this so affecting poem – the spring was not being eased as here, in quite a different garden, summer was easing itself out towards autumn, but it caught him, as a poem sometimes would.

He had taken a detour through the gardens to the studio where in half an hour his students would gather. He intended to name the very parts of rhythm and help them become aware of their personal knowledge and relationship with this most fundamental of musical elements, the most connected with the body.

He had arranged to have a percussionist in on the class, a player he admired (he had to admit) for the way this musician had dealt with a once-witnessed on-stage accident that he’d brought it into his poem sequence Lemon on Pewter. They had been in Cambridge to celebrate her birthday and just off the train had hurried their way through the bicycled streets to the college where he had once taught, and to a lunchtime concert in a theatre where he had so often performed himself.

Smash! the percussionist wipes his hands and grabs another bottle before the music escapes checking his fingers for cuts and kicking the broken glass from his feet It was a brilliant though unplanned moment we all agreed and will remember this concert always for that particular accidental smile-inducing sharp intake of breath moment when with a Fanta bottle in each hand there was a joyful hit and scrape guiro-like on the serrated edges a no-holes barred full-on sounding out of glass on glass and you just loved it when he drank the juice and fluting blew across the bottle’s mouth

And having thought himself back to those twenty-four hours in Cambridge the delights of the morning garden aflame with colour and texture were as nothing beside his vivid memory of that so precious time with her. The images and the very physical moments of that interval away and together flooded over him, and he had to stop to close his eyes because the images and moments were so very real and he was trembling . . . what was it about their love that kept doing this to him? Just this morning he had sat on the edge of his bed, and in the still darkness his imagination seemed to bring her to him, the warmth and scent of her as she slept face down into a pillow, the touch of her hair in his face as he would bend over her to kiss her ear and move his hand across the contours of her body, but without touching, a kind of air-lovers movement, a kiss of no-touch. But today, he reminded himself, we have the naming of parts . . .

He was going to tackle not just rhythm but the role of percussion. There was a week’s work here. He had just one day. And the students had one day to create a short ‘poem for percussion’ to be performed and recorded at the end of the afternoon class. In his own music he considered the element of percussion as an ever-present challenge. He had only met it by adopting a very particular strategy. He regarded its presence in a score as a kind of continuo element and thus giving the player some freedom in the choice of instruments and execution. He wanted percussion to be ‘a part’ of equal stature with the rest of the musical texture and not a series of disparate accents, emphases and colours. In other words rhythm itself was his first consideration, and all the rest followed. He thought with amusement of his son playing Vaughan-Williams The Lark Ascending and the single stroke of a triangle that constituted his percussion part. For him, so few composers could ‘do it’ with percussion. He had assembled for today a booklet of extracts of those who could: Stravinsky’s Soldier’s Tale (inevitably), Berio’s Cummings songs, George Perle’s Sextet, Living Toys by Tom Ades, his own Flights for violin and percussionist. He felt diffident about the latter, but he had the video of those gliders and he’d play the second movement What is the Colour of the Wind?

In the studio the percussionist and a group of student helpers were assembling the ‘kits’ they’d agreed on. The loose-limbed movements of such players always fascinated him. It was as though whatever they might be doing they were still playing – driving a car? He suddenly thought he might not take a lift from a percussionist.

On the grand piano there was, thankfully, a large pile of the special manuscript paper he favoured when writing for percussion, an A3 sheet with wider stave lines. Standing at the piano he pulled a sheet from the pile and he got out his pen. He wrote on the shiny black lid with a fluency that surprised him: a toccata-like passage based on the binary rhythms he intended to introduce to his class. He’d thought about making this piece whilst lying in bed the previous night, before sleep had taken him into a series of comforting dreams. He knew he must be careful to avoid any awkward crossings of sticks.

The music was devoid of any accents or dynamics, indeed any performance instructions. It was solely rhythm. He then composed a passage that had no rhythm, only performance instructions, dynamics, articulations such as tremolo and trills and a play of accents, but no rhythmic symbols. He then went to the photocopier in the corridor and made a batch of copies of both scores. As the machine whirred away he thought he might call her before his class began, just to hear her soft voice say ‘hello’ in that dear way she so often said it, the way that seem to melt him, and had been his undoing . . .

When his class had assembled (and the percussionist and his students had disappeared pro tem) he began immediately, and without any formal introduction, to write the first four 4-bit binary rhythms on the chalkboard, and asked them to complete it. This mystified a few but most got the idea (and by now there was a generous sharing between members of the class), so soon each student had the sixteen rhythms in front of them.

‘Label these rhythms with symbols a to p’, he said, ‘and then write out the letters of your full name. If there’s a letter there that goes beyond p create another list from q to z. You can now generate a rhythmic sequence using what mathematicians call a function-machine. Nigel would be:

x x = x     x = = =      = x x =      = x x x      x = x x

Write your rhythm out and then score it for 4 drums – two congas, two bongos.’

His notion was always to keep his class relentlessly occupied. If a student finished a task ahead of others he or she would find further instructions had appeared on the flip chart board.  Audition –in your head - these rhythms at high speed, at a really quick tempo. Now slow them right down. Experiment with shifting tempos, download a metronome app on your smart phone, score the rhythms for three clapping performers, and so on.

And soon it was performance time and the difficulties and awkwardness of the following day were forgotten as nearly everyone made it out front to perform their binary rhythmic pieces, and perform them with much laughter, but with flair and élan also. The room rang with the clapping of hands.

The percussionist appeared and after a brief introduction – in which the Fanta bottle incident was mentioned - composer and performer played together *****’s Clapping Music before a welcome break was taken.

percussion pounds painfully pleasant
boom ba dum boom
there is a certain rhythm
to the way people speak
skip across the plains of this globe
and you’ll hear it
at times when I am at my most idle
I can find my hands
going rat tat tat rat
we listen to hip hop
the scratching sound of a needle drop
enough to catch the breath at the top of the path
making your heartbeat stop
I always fancied guitars
strumming your pain with my fingers
but instead i found that words
pop pop pop
out of my mouth
like faulty machine gun fire
I’ll be your rhythmic drum for hire
waiting at the tail end
of all your punch lines
ba dum tish
angry kids pound graphite graffiti onto their desks
which say things like
SOS
Mike was here
School *****
for a good time call X Y and Z
make me an alarm clock
tick tocking in the corner
like your personal circadian metronome
see, people like we
don’t need a megaphone
we just open our mouth
when we knock our messages out
and let them find a place to call their own
a home for the percussionist

[page 1] And it was soon after, that the weekend had ended, and I drove home, only-sort-of-alone. Unclean, happy, not the type-to-convert. I don't mean to end the evening by evening the score. "Better than no one," but beating the billboard, and the broad-side-of-the-barn, and the *****. 

You stole from my sewn lips the secret sentiments, which would scare you. You would have been more than welcome to have just asked. Which is probably why I didn't just ask, after, I mean, [redacted line] I hope someday you see this, hope they read it to you, over me, cold. I want you to know that I am a *******-great-friend. I'm there on those days that you don't 
[page 2] pretend. But I have faith (I have no evidence for faith's power, just a lot-of-it). There'll be space, here, for you, in the end. 

I'll look at you, last night, like I looked to enable. With two-eyes, and no movement, your addiction poking at poisonous salvation. You caught the wordless-stick, so, and subsequently set fire to yourself. This sharing of cigarettes was seen by the Absent-Folk. Jarring, I gathered. "At least," I had thought. 

At least, at that point, he, stood-up, stumbled away. "*******." Am I sure? No? "No." Neither bad blood, nor enough time-spent-forgetting my bleeding, my beaurocracy, or your backpacking abroad. I mumble, and I'm bumbling now, but before... I bet... that boy's been broken. And his riled-up "Ryan!" rang my [page 3] soul. My ever-loving soul! My non-existent, unconvincing, numbed-and-listless, inner-business! And on the porch, in the mourning, I wished him, dishonest, and shaved off his ***** hair. 

And on that porch, 'round 9 A.M., the band was packing up. Personally? "People-watchin'." Probably should check that they're actually... even... there. Probably should hear the percussionist explain rhythm, again. I can't tell if it's in seven-eight or three-four. I'll scoop up all your passion, as it spills out through the doors. Not isolated, all-four! Volume-set. Vicariously, sailing very... south (towards New Orleans, again) leaves in the river, collected for the raft, stacked neatly in the Pile. Vitamins, from the Oldest-Living-star, absorbed through skin, and eardrums.

[page 4] Stuck on the surprise of "****-function?" More surprised the ****-function wasn't ******? "No?" Not-even-sort-of. Not even worth it, with most of my words! "Oh, not including you. You let your ears be lopped-off, by my lamenting. You look like a love I could lose to a friend. I enjoy the loss, for a cause, since, if you're always right, you can never be wrong."

And in my acknowledgement
of my ignorance I become
more powerful than I'd ever 
need be poetic.

Not that my mistress numbered amongst my lamentings. Alas, "merely-explaining." 

"Oi, navigate!" Alas, "it's implicit." Therein's your mistake. [page 5] Implicit implies! I'll sooner strip-search a subject for intentions, ulterior motives remaining unmentioned (inspired, I'd reckon, by the pills I shouldn't chew, and the jokes I should stop making). My unfocused inertia interferes with my ability to infer. 

And if you're still here, you're fantastic. And I find you fascinating. And, I found, you were following. My sorries were useless, imagined-kindred-lies. I'm sorry I had to go and "color it pink." But, I'll copy this page down for you, if you'd save it? The buffer'd seemed beautous up'till I blew it. Shouldn't inquire after you, should I? If I'm still thinking on it, should I ink-it-all out? What was your name, after all? 

[page 6] Was it really an accident, "or'd work seem like hell?" [I've been checking out apartments down there myself.] My shell was left-stinking-up the old Durango. But any newly-blazed-trail leads me "back to the 'co." A larger, sturdy, empty, circle-home, with an unidentifiable paint job, and thrusters that are supposedly-designed to fall back towards earth, and incinerate *(CAUTION: FALLING FIRE). *
"I'm pretty sure that verse is... It's just awesome." One of my best? "It's just awesome!" Okay! I'll remember, to remind you, that I've said the ****-I-say, spent, sped, speeding, smoked-out, and smoking-you-up. Spreading myself thin, like Communion-wafers and sticky, like reunions. 
[page 7] Saying you're glad I came, saying you're glad I came, saying you're glad I came. 

Someone snuck up with a secret. I'd seen nothing-not-standard. Even, in your snatching a spider, from my hands, and moving toward mundane mockeries, meandering, and making-my-year with a yawn. Simultaneously, I heard a sharp hiss, as someone had slowly let the air out of innocence. Somehow, rendering me speechless. Well, without respect to the "Whoa!!!" Spit's still not-red-yet. "Skeletal." Said-right. I suppose if I think hard, you'd screamed adjacently. I suppose I've never suggested a co-operative cackling. You're with it, right? You're with it, you're with me, and "you're my people." You're going to have a good time. You should know, I should've too, but attitude's [page 8] a fiction. An answer-tricked, alive, unknown. 

As a species we suffer, from seeing something done, and wanting nothing else. I'm on page eight, and ready, perenially-crushed into next-generation-dirt, but there, nonetheless. 

Well, "either way," even without you, even with her, even-in-spite-of-her, always because of him. "Always loved him, almost-******-her." Wish: I'd kissed Larry, too. Wish: she'd never married you. Wishing-dry, and diamond-winged, cursed voice, bumped up some orange change to the counter, and then off of it. More expensive than I'd have guessed. Self-consumed and best-dressed. Not rushing in, but wondering, about my-time-left. "And if death squashed potential, was it ******, or theft?" Only [page 9] if---I can look, and---wait, I have enough left, yeah, here. "Thanks, I got you back when I get some-of-my-own." Very sweet-air-tonight. "Mad, I missed the show." All good vibes.

[page 10]
Regal lions, turned house-felines,
in the cave, with so-loved-Dan. 
Thank goodness for the better ones. Thank
goodness for my friends. 

Often, only reasons to stand 
up, withholding coughs and stretching.
Even if you can't interpret all my 
fourth-dimension etchings. 
[page 11]
Sought to state the timeline, as
I'm not strung-on-the-plan. 
And, almost, every human, with
a Facebook, has a band.

There'll always be peripheries 
and, people on the side-
lines, and people craving
air-time, and people, deserving that time. 

All-white eyes, fall back, in 
waste-of-times, and
beer-soaked-pasts. For
the amount they seem to 
smile, you would be 
thinking, "this could last."

[page 12]
"Alas," this feels like the end. I feel like I'm leaving them. Slowly. Silently. The Shadow, to whom Paul'd refer, trying to stitch-himself to my town-skipping, sans-sunlight.

Living room clocks are good drummers
They keep good beats for us guitar strummers
They never complain and they're always on time
Always creative , compliant and song wise
Zen musicians that keep their mouth shut
Approachable and quite cheerful when the band
is in a rut* ...

recollecting collections projecting selections injecting protection infection dejection
dyslexic narcoleptic rejecting dejections ******* complexion complicating interjections
perplexed inspectors intercept pterodactyls relaxing in backpacks extracting disillusion
contortionist philanthropist dejected transgression implementing eradications of moss buying patrons
eclectic perfectionist rests limp-wristed whispering disparaging remarks to the wait staff
trombone percussionist impressed and impoverished gravelling wistfully mimicking Rickles
I sit half disheveled grinding my wisdom teeth feeling the fleeting muse sitting in disbelief –

Once a month in the ghost restaurant
        we bring wine,
        we light candles.
Alan (veterinarian) recites a rowdy lyric
        about the cloacae
        of waterfowl.
Dennis (percussionist, oldies band)
        recites from his bar stool about a pretty lass
        courted by men at a dance, it’s his daughter,
        she saves the last dance for him.
Lynette (social worker) tells how her big brother
        tricked her into looking down
        the nozzle of a hose.
Bob (physical therapist) sings about fishing
        in Canada, then selling all the fish
        to Japan.
Joyce (office manager) reads a poem she wrote
        about music,
so I (contractor, retired) tell about singing
        la la la
        to my grandson
        who needs constant holding.
We all agree holding is a good thing
        but hugging among men is an acquired skill
        not taught in Ohio.
Terry (maintenance man) reads a poem
        about the secret meanings
        of words.
Denise (nobody knows what she does) tells a story
        about hitchhiking in France
        where trapped in a truck
        in the remote alps
        with a man’s hand on her thigh
        she thwarts the tough guy
        by singing songs from The Sound of Music.
Bob washes the wine glasses;
        Terry returns the key to its hiding place.
        We hug, some of us anyway.
Our little town, once a month.
        Literature, home-grown.

I

You’re higher up on a train so the flatness the far horizons the empty fields the ***** disappearing into the distance solitary houses set amongst windbreaks of trees and surrounded by the loam-rich fields the serious machinery turning or drilling the earth raised levies of a distinctive green birds gathering notating music on telegraph wires suddenly a mumuration of starlings undulating wave-like in the drab mouse-grey skies arching and over this train riding perched above the land and now acres of water not a lake flooded land gradually tapering towards a sprawling city all but hidden by its hill-less topography

II

Smash! the percussionist wipes his hands and grabs another bottle before the music escapes checking his fingers for cuts and kicking the broken glass from his feet It was a brilliant though unplanned moment we all agreed and will remember this concert always for that particular accidental smile-inducing sharp intake of breath moment when with a Fanta bottle in each hand there was a joyful hit and scrape guiro-like on the serrated edges a no-holes barred full-on sounding out of glass on glass and you just loved it when he drank the juice and fluting blew across the bottle’s mouth

III

It’s the other side of town past and running the gauntlet of the shops we’d love to stop and look Don’t lets That’s for later Now it’s the house we’ve come to see four narrow cottages joined as one hard to believe the inside from the outside Oh that lemon on the pewter plate Ben’s drawing beneath the windowsill you had to kneel to look at The long table surfaces decorated with stones shells wood on shelves of the right books and the right chairs to read them in we sat still I sketching you in the grey fading light

IV

Suddenly the brightness of the adjoining gallery a dozen paintings nothing here of the interstellar abstract chilly world of the ellipse where she failed to make a home preferring to make a cup of tea alongside a growing bud and the tissued plants the gathered flowers in a chapel niche the white saxifrage of the Highlands and washed out colours of Bamburgh’s beaches then suddenly a child and that life-size photo a tall girl hair braided painterly somewhere in the Italian lakes her obsessive colour chart searching for the unknown purple she had once glimpsed with her father in India

November 7th is the date, I'm ready for the show
Step into my room, close the door, and turn the lights down low.

The performance we put on, so grand it should be a felony
I listen to her heartbeat, it supplies the melody

After she undresses, I play her body like piano keys
Start off playing fast then the tempo changes slowly

I'll be the conductor, wont stop until the morning sun
Also, the lead percussionist,beating passionately on her drum

Beautiful harmonies we create, even Beethoven would envy
Love sounds of the century, we are only just beginning

Sounds of her breathing,Wonderful! Like finely tuned violins
So long since my last performance, I never want this night to end

Stormy weather compliments, thunder and lightning intensify
Emotions over melody, tears falling down her eyes

Our show last for hours, my shirt soaked in sweat
As for her, one word says it all.....Wet

Lightning flashes and thunder rumbles as we reach our ******
I'm exhausted and relieved. We take a bow, cuddle, and relax

Now it's time for us to sleep
We thank our fans for listening
I really hope they all enjoyed
The music from our Symphony

"It's good to have a schedule, 'cause then you'll have at least pseudo-legitimate excuses not to do things you want to do even less than what's scheduled. It can also be nice to have a regular rhythm in Life other than your heartbeat and breathing, which, if you're like me, go overlooked enough as it is."

"If I need more rhythm in my life, I play drums."

"You fancy yourself a percussionist too, eh?
Well, for a fellow clock, you're pretty **** sharp!
What the hell you talkin' to me for? You got it already."

"Just finish tuning that guitar already. 'Open Z minor,' right?"

"It's 'drop go-****-yourself,' actually. Your mom's favorite."

"Funny, your mom loves it when I bang with my eyes closed."

"Alright, both of you: shut it before I leave both of your moms beggin' for more. After last time, they sure as **** know we bassists go deeper."

"As the frontman and vocalist, all I have to say is that worthy ladies appreciate the guys who are confident and good with their mouths, so y'alls gotta be sure to get in on those backup vocals! Also, before I forget: please ask your moms about my Funkadelic records. When things have gotten a little too freaky, I tend to be in a hurry. Whips, latex, chains, *******, ball-gags, belts, oils, sandpaper, rubbing alcohol, vinyl, blowtorches, candles, wine.. you know how it is: it can be hard to remember everything you leave in the locker at the end of a long day at the gym!"

"Hah, I'm sure. But, like I was saying.. we need to schedule more gigs."

"I already scheduled some more with your m-"

"I know. She told me."